Newspapers

Word on the street

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news@sfbg.com

You see them everywhere. When you’re getting off Muni, when you’re crossing the street, in the corner of your eye: Street Sheets for sale. Behind every Street Sheet is a homeless person trying to legitimately make a buck and provide a voice for these frequently-ignored people and issues.

This month Street Sheet celebrates its 20th anniversary as the nation’s oldest, continuously operating street newspaper. Street Sheet is a newspaper focused solely on homelessness, poverty, and affordable housing issues and is distributed by homeless or formerly homeless vendors for a $1 donation.

The vendors keep the profits as a small source of income and, ideally, as a stepping-stone toward a a better life. Street Sheet, a project of the San Francisco-based Coalition on Homelessness, currently prints 16,000 copies twice a month with more than 200 vendors.

Lydia Ely, Street Sheet‘s editor for its first 10 years, believes that one of the paper’s strengths is the consistency of its mission. Bob Offer-Westort, the current coordinating editor, breaks down the mission into three objectives. The first is to provide supplemental income, in a dignified manner, to homeless men and women. Offer-Westort understands that this income is not a solution to homelessnees, but merely a stopgap measure.

Debbie, a vendor who has been selling the newspaper a couple times a week for eight years, uses the roughly $30 per day she earns to "make ends meet, pay for laundry and shampoo, or to go to the food bank."

The second mission, Offer-Westort says, is to "inform the broader public on issues that don’t make it into mainstream media." Even when homelessness, poverty, or housing issues seep into the news, they often are skewed, misinterpreted, or presented with a tone of judgment.

Andy Freeze, director of North American Street Newspaper Association, says street newspapers are "changing conversations around homelessness. Not everything revolves around drugs and alcohol," and street newspapers are bring the real issues of life on the streets to the forefront of discussion.

Despite pressure over the years to include positive stories for tourists, morality tales, horoscopes, and crosswords, Ely says Street Sheet continues to address serious news.

Last, Offer-Westort says, Street Sheet "creates a forum where an oppressed people get their voices heard." As of 2007, San Francisco’s official homeless count was 6,514; and in such a geographically small city, it is a community that is alternately ignored and vilified.

Even respectable vendors like Debby experience people who don’t understand Street Sheet. Debby says some people will "spit at you and call you names. They tell you to get a job." The irony in this is that the people yelling vulgarities at the vendors are the people in need of the education Street Sheet provides.

What those people don’t understand is that homelessness is not a choice and is not always drug or alcohol-related. In this economic crisis, Debby believes that a lot of the people who yell vulgarities "are just a paycheck away from being on the streets themselves."

But she doesn’t let the negativity get to her. "You learn a lot when you are on the other side of the fence. I have learned a lot about myself." Debby has an established spot to sell Street Sheet, a selling strategy, and has developed friendships with some of her regulars.

Offer-Westort, the coordinating editor for the past four years, says his role in the newspaper is not typical of editors in that he doesn’t write. Most of the stories are produced by homeless people. The Coalition on Homelessness includes three work groups — Civil Rights, Families and Immigration, and Right to a Roof — that work with volunteers and homeless or formerly homeless people to determine the content of each issue. Offer-Westort coordinates and "checks for spelling."

Much of what goes into print in street newspapers is "high quality journalism that is being recognized in their communities and nationally," according to Freeze. And while the mission of the paper hasn’t changed in 20 years, the material, as Ely says, has gotten better because of increased awareness and circulation.

When asked where Offer-Westort wants to see the paper in 20 years, he said he’d like to see it "going out of business because homelessness has ended."

Join Street Sheet‘s anniversary celebration Sept. 10 at 5:30 p.m. at SomArts Gallery, 934 Brannan, SF. Admission is $25 and includes food, drink, and entertainment. For more details visit www.cohsf.org/artauction.

‘The Adderall Diaries’

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a&eletters@sfbg.com

EXCERPT My psychiatrist lives just down the street from me. I can walk there. I see her once a month, or once every three months, and she prescribes my pills. The pills make me crazy, I know that, but I don’t see the alternative. It’s really just speed, no different from the original amphetamine salts Gordon Alles injected in June, 1929, and almost identical to the Pervitin used by German paratroopers in World War II as they dropped behind enemy lines in a state the British newspapers described as "heavily drugged, fearless, and berserk." It’s the same stuff injected in high doses in the Haight Ashbury that Allen Ginsburg was talking about in 1965 saying, "Speed is antisocial, paranoid-making, it’s a drag, bad for your body, bad for your mind."

Without the Adderall I have a hard time following through on a thought. My mind is like a man pacing between the kitchen and the living room, always planning something in one room then leaving as soon as he arrives in the other. Adderall is a compound of four amphetamine salts. The salts metabolize at different rates with diverse half lives, so the amphetamine uptake is smoother and the come down lighter. And I wonder if I’m not still walking back and forth in my head, just faster, so fast it’s as if I’m not walking at all.

My psychiatrist is tall and thin and her skin hangs loosely around her face. I like her quite a bit though I’ve never spent more than 15 minutes with her. She works from her home and a small waiting room is always open on the side of her house. There are magazines there, one in particular ADD Magazine. The magazine is full of tips for organizing your life. There’s even an article suggesting that maybe too much organization is not a good thing. Mostly though, it’s about children. How to deal with your attention deficit child and the child’s teacher, who might be skeptical.

In the writing class I teach, a woman recently turned in an essay about her son who suffers from attention deficit. Her essay was written as a love letter and was completely absent of hate or envy or any of the things that make us human. It was missing everything we try to hide.

"How are you feeling?" my psychiatrist asks.

"Better," I reply.

I had stopped taking the pills for a year, maybe more. Three weeks ago I started taking them again. When I quit taking Adderall I was still dating Lissette. I would go to her house in Berkeley during the day while her husband was gone, and wrap myself around her feet while she worked. Or I would visit her at the dungeon she worked at on the weekends as a professional dominatrix. I would sit in the dressing room with the women and we would watch television. Lissette was the most popular and she would be off with the clients most of the day. She would leave them in the rooms to undress. When she returned they would be kneeling on the floor, their naked backs facing her. She might walk carefully toward them, sliding the toe of her boot across the carpet. Or she might stand away from them, letting their anticipation build, as she pulled a single-tail from the rack. She loved to be adored and the best clients made her feel happy and complete. The walls were thin and I could hear the paddles landing on the client’s back with a thud sometimes followed by a scream. When she was done she might come downstairs and sit on my lap for a while, and then we would go.

I have a memory of Lissette in the dungeon, which was really just a four-bedroom basic Californian with a driveway and a yard in a quiet town north of Berkeley, near the highway. She’s standing on the back of a couch, grabbing a toy from above a row of lockers. She’s wearing panties with lace along the bottom and high heels and we’re all staring at the back of her thighs, amazed.

When I was taking Adderall all I thought about was Lissette and when I stopped taking the Adderall I started thinking about other things. Lissette noticed and we broke up. Then we got back together, then we broke up again. Over the course of last year, after I had stopped, I often felt suicidal. I had time, but I didn’t know what to do with it. I was a writer but I had forgotten how to write so I sat with my computer. I sat in coffeeshops or I sat at home or I sat at the Writer’s Grotto, an old building near the ballpark where a group of authors share office space. I still had a bunch of pills left and occasionally I would take one, just to know the writer’s block was real. Then I lost all the pills when my bag was stolen at a bar on 22nd Street six months ago, and that was the end of that.

If you asked me what happened this past year I’m not sure I could tell you. I could say I moved into this apartment on the edge of the city where I can hear children and dogs in the morning and I despise it. I could say I was with and not with Lissette, getting together and breaking up every couple of months. At one point I called her the love of my life. I could say honestly I started to write a novel every day. I could say I went on tour for six weeks with the Sex Workers Art Show and that a compilation of previously written essays and stories about my predilection for — my addiction to — violent sex was released to silent reviews.

I could say I watched the first three seasons of The Wire on DVD and on Sunday nights I went to a friend’s house nearby and ate dinner and watched HBO.

I ran a reading series in the same bar where my bag was stolen. It was part of a literary organization I founded to raise money for progressive candidates running for congress in 2006.

I edited an anthology of political erotica.

I could say I did all these things and if it sounds like a lot I can assure you it isn’t. I’m not married and I have no children. I have friends but they don’t know where I am most of the time. I don’t work. I live on money I made before, money that is almost gone.

Last year I made $10,000.

I live in San Francisco. Rents are going up.

I’m teaching a couple of classes to get by. I know I should get a job, but it’s hard to do that after a while.

From The Adderall Diaries: A Memoir of Moods, Masochism, and Murder (Graywolf Press, 212 pages, $23), published in September.

STEPHEN ELLIOTT With Tobias Wolff and Bucky Sinister. Thurs/27, 7 p.m., $20 (free copy of The Adderall Diaries for attendees). Amnesia, 853 Valencia, SF. (415) 970-0012. www.amnesiathebar.com

Chronicle and Guardian agree on Garamendi

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By Steven T. Jones

The San Francisco Bay Guardian and San Francisco Chronicle often differ in our political endorsements. We’re a progressive newspaper and they’re more conservative, particularly on economic issues. So it was a telling coincidence that we each endorsed John Garamendi for Congress is today’s newspapers, making some of the same arguments as we bypassed two other experienced politicians and an attractive newcomer.

The Garamendi campaign had an interesting take on the two papers as it announced the endorsements this morning: “I am honored to have received endorsements from the San Francisco Chronicle and San Francisco Bay Guardian,” said Garamendi. “The Bay Area’s largest newspaper and largest progressive weekly often disagree on a lot of issues, but on the need for experienced leadership in these troubled times, they are in unison. Debates over health care, job creation, and climate change are front and center in Washington, and my three decades in public service have centered on finding innovative solutions to these very real problems. I will represent the people of the 10th Congressional District with the passion and drive that have defined my entire career and remain focused on the serious issues at hand.”

BTW, you can listen to our endorsement interview with Garamendi, as well as Anthony Woods and Adriel Hampton, here.

Editor’s Notes

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tredmond@sfbg.com

Lucy Dalglish, the director of the Reporters Committee for Freedom of the Press, is about as much of a national leader on open-government and free-speech issues as we have in this country. She’s been watching (and fighting) the battle against government secrecy for more than a quarter century as a reporter in St. Paul, a media lawyer, and since 2000 the head of RCFP. So when she sounds an alarm, it’s worth listening.

And at the annual conference of the Association of Alternative Newsweeklies, she warned that the decline of daily newspapers — something those of us in the alt-media often treat as a spectator sport, jeering at the losers who for years couldn’t figure out how to print news people wanted to read — is going to have a serious impact on open government.

The thing is, conservative, weak, and lame as so many dailies were, they have been the ones funding almost all of the major freedom-of-information lawsuits and organizations. The case law that protects the news media (including bloggers) from nuisance libel suits? That came from The New York Times. The law preventing the government from using prior restraint to block the publication of material it thinks might damage national security? The New York Times. The most important open-government cases in the nation? Mostly filed by medium-sized dailies like The Press Enterprise in Riverside.

I’m not here — lord knows, I’m not here — defending the likes of Knight-Ridder and Copley and Scripps-Howard, which are mostly very conservative newspaper chains that have decimated news coverage, kowtowed to the powerful, and screwed up a lot of communities. But Dalglish has a point: as the old guard in the media spirals into decline, who’s going to take up the free-speech and open-government banner — and by that I mean, who’s going to put up the tens or hundreds of thousands of dollars it takes to file and defend these key lawsuits and keep these organizations alive?

"It isn’t," Dalglish said, "going to be Google."

The Chronicle ran a story June 29th talking about the growing discussion of the need to reform Proposition 13. It was mostly a political piece, looking at the popularity of the measure and the complications of trying to change a law that has pretty much defined public finance in California for 30 years.

Robert Cruickshank at Calitics.com brought up something in response to the Chron story that hadn’t really occurred to me:

"Since 1978," he wrote, "California has experienced two massive housing bubbles. The 1980s bubble, which seemed large at the time, was primarily focused on California and caused widespread unaffordability before the 1989 crash. The 2000s bubble was a nationwide phenomenon, but Prop. 13 played a role by removing a brake on housing inflation. If homeowners saw tax assessments rise in relation to their values, instead of being largely fixed at the rate at the time of purchase, it seems unlikely we would have had the enormous and destructive boom and bust in the housing market we witnessed."

So Prop. 13 causes high housing prices. Probably high rents, too. Worth thinking about. *

Merger on the march

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Originally published August 24, 2005

THE NATION’S TWO largest alternative newspaper publishers have been in intense negotiations over a merger that would create an 18-paper chain controlled to a significant extent by venture capitalists, new documents obtained by the Bay Guardian show.

The documents, which appear to be valid, include a May 27, 2005, draft of a merger agreement between Village Voice Media and New Times. They were provided by a source close to the VVM side of the negotiations.

The draft calls for the creation of a new company controlled by a nine-member board. Five of the members would come from Phoenix-based New Times and its primary venture-capital firm, the Boston-based Alta Communications.

New Times, which owns 11 newspapers including the SF Weekly, would have 62 percent of the equity in the new venture, and VVM, which owns the Village Voice and six other papers, would have 38 percent.

The documents mention a Nov. 30, 2005, date for closing the deal, but suggest that the date may have to be pushed back, in part because of federal regulatory issues.

Rumors of a possible VVM-New Times merger have been swirling for months (see “Chain Gang,” 5/25/05). Neither of the principals has denied the reports, although employees of some VVM papers have attempted to dismiss them.

But the new documents are the first concrete confirmation that talks are indeed going on, and that the two parties are close enough to agreement that they’ve circulated draft bylaws of a new limited liability corporation that would own all of the VVM and New Times papers.

As of late May there were clearly still some issues to be resolved: The documents include a memo from VVM CEO David Schneiderman complaining that New Times wants to “renegotiate the terms of our deal” and arguing that some New Times papers, including the SF Weekly and the East Bay Express, are losing a lot of money.

“In the 2004 Calendar year, SF Weekly, East Bay Express and the Cleveland Scene racked up losses of $4 million,” the memo states. SF Weekly, it says, “is locked in a brutal struggle in SF with no sign of success and the same is true in Cleveland.”

The memo concludes: “In short, they have some real losers and we don’t…. given these facts, I don’t believe a renegotiation is warranted.”

But overall, the shape of the deal appears to be fairly clear. A new Delaware-based LLC would be created, with a nine-member board. Mike Lacey and Jim Larkin, the executive editor and CEO of New Times, would each have a seat on the nine-member board, as would an Alta representative. Lacey, Larkin, and the Alta rep would then choose two more members – one of whom would be New Times chief financial officer Jed Brunst – giving New Times and its banker a 5-4 majority.

Schneiderman (who is slated, the documents show, to receive a $500,000 bonus for his work on the merger) would have a seat on the board, and the final three seats would go to Goldman, Sachs & Co., Trimaran Capital Partners, and Weiss Peck & Greer, all of whom are VVM investors.

So in the end, at least four of the board members – and possibly five – will be venture capitalists

The documents state that all but two of the board members (also called “managers”) can be removed from the board for “cause” – but “the Lacey Manager or the Larkin Manager may not be removed as Managers with or without Cause, it being understood that the sole basis on which either such Manager may be removed as a Manager shall be such Manager’s conviction of a felony.”

The documents suggest that the new company has been set up with the idea of an eventual sale: They state that, for the first three years, the company can only be sold with the consent of six of the nine board members. But over the next two years, five board members could approve a sale, and after five years, three directors could make that decision.

“In the event the Board of Managers approves a Sale of the Company … all Members shall be required and hereby agree to cooperate with and participate in such sale,” they state.

The documents also address the prospect that the SF Weekly, the East Bay Express, and the Cleveland Scene could be sold off or closed if they continue to hemorrhage cash. “[I]f at any time up to and including the Third Anniversary date, the cumulative losses for any of the [East Bay, Cleveland or San Francisco units] (brackets in original document) exceed the cumulative projected losses for such unit … the Company, with the consent of five managers, shall be permitted to dispose of such non-performing unit by merger, consolidation, sale of assets or otherwise,” they state.

The new company would be required to honor the union contracts at the Village Voice – the only paper in either chain that’s fully unionized (the L.A. Weekly has some union workers). But other employees may not fare so well. The new company “may, in its reasonable discretion, transition all employees … to new compensation, benefit plans, programs or arrangements.”

One source in New York said that “as I understand it, Larkin will be the CEO and Schneiderman will run the Internet operations. I believe the rest of the VVM corporate staff (essentially finance people) will be let go.”

A separate document, dated June 1, 2005, is titled “NT/VV Proposed Business Consolidation Agreement Issues List Reutf8g to NT Draft of Contribution and LLC Agreement.” It lists some concerns – apparently from VVM executives – about the deal.

It cites a “drop date of Nov. 30, 2005,” but notes that “[t]his is too short, obtaining HSR approval may take a long time.” That’s a reference to the Hart-Scott-Rodino Act, which requires federal approval of any merger that may have an impact on business competition.

That might not be routine: New Times and VVM have run afoul of federal antitrust laws in the past. The two chains were charged a year and a half ago with conspiring to end alt-weekly competition in Los Angeles and Cleveland (see “New Times Nailed,” 1/29/03). Under a consent decree, the companies are required for five years to give the Justice Department notice before pursuing any merger.

We’ve spoken to several sources close to the negotiations who say it’s likely that process is already under way. But the Justice Department has consistently maintained that any such notice would be confidential.

The two parties are also keeping a tight hold on the information. Staffers at VVM and New Times papers seem unaware of the details of the talks, and top management has refused to answer their questions about the situation. The agreement includes a clause stating, “No press releases or public disclosure, either written or oral, of the transactions contemplated by this agreement, shall be made by a party to the agreement without written consent of VV Media LLC and NT holdings.”

The merger would signal the biggest step so far in the consolidation of ownership in the alternative press. The merged company (which thus far is identified only by the dummy name “Newco”) would represent 14.2 percent of the membership of the Association of Alternative Newsweeklies and would give one chain operation control of some of the biggest media markets in the country, including New York, Los Angeles, Miami, Denver, Seattle, Phoenix, and Houston (see “SOS: No secret New Times-Village Voice Media deal, sfbg.com).

Schneiderman, Lacey, and Larkin all declined to return messages seeking comment.

The Bay Guardian is suing New Times, charging predatory pricing by the SF Weekly.

Shades of time: Q&A with Matt Keegan

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Barack Obama boarding an Air Force One plane for the first time. Gay calendars from the 1960s. A New York Times article on the death of a major urban newspaper. Sundays at the Alemany Flea Market. These are some of the temporal markers at play in Matt Keegan‘s exhibition “Postcards & Calendars.” The show (reviewed in the current Guardian) could be Keegan’s postcard to New York about time spent in San Francisco. It’s also an exploration of the ways in which calendars and other time keepers can be used subversively to convey forms of experience or forge communities. Keegan is no stranger to the such endeavors: his 2008 book AMERICAMERICA (Printed Matter, 140 pages, $35) gathers interviews, old People magazines, memorabilia connected to the “Hands Across America” project, artifacts from his small-scale update of that endeavor, and unorthodox archival material into a journal that doubles as a portrait of the Reagan era. The artist and I recently sat at a petite lemon yellow table with pretty lemon yellow flowers in Altman Siegel Gallery to discuss his current exhibition.

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View of Matt Keegan’s “Postcards & Calendars.” All images from “Postcards & Calendars” courtesy of Altman Siegel Gallery

SFBG Many shows repeat the same execution of a single theme, over and over. In contrast, “Postcards & Calendars” has many forms and facets.
Matt Keegan The thematic of this show is definitely influenced by my time in in San Francisco, but not relegated to being here. Lots of things at play are continuations of my preexisting engagement with photography.
In terms of local influences, the calendars from the GLBT Historical Society had a tremendous impact on this show. Before I met with Rebekah Kim, the Historical Society’s archivist, I was trying to figure out how to map the ways time is not only recorded but visually structured — to think about such rudimentary things as a planner, or a calendar, or a newspaper, in terms of how days and months can be iterated.
When I saw their collection of calendars, part of the power of those objects comes from the way they integrate a social history into an innocuous form. Also, some of the calendars that have a clear porn element, also have a social element. For example, Fizeek from the mid-‘60s — the back of that calendar has notations about who shot which photo and where the photographers are based, which provides it with this added level of social exchange.

keeganpic.jpg
Matt Keegan

SFBG In the past year I’ve amassed a stack of the 1970s SF gay magazine Vector, so it was serendipity to come across a calendar from Vector on the wall in your show. More than with microfiche of local newspapers, I get a sense of what was going on in San Francisco at the time from a publication such as that magazine, simply through the addresses in advertisements.
MK Material that might be considered insubstantial or peripheral in terms of formal archiving and recording has a historical implication. Close to the time when I met with Rebekah, I met with Gerard Koskovich, one of the founding members of the GLBT Historical Society. He told this amazing anecdote about Bois Burke placing an ad in The Hobby Directory that is significant in helping to understand a 1940s and ’50s queer history of correspondence. Within this guide, people would reach out about hobbies such as nude sunbathing and physique photography. I am very interested in the various ways that such print-based and distributed publications were activated to serve unintended purposes. And, I love the way that the calendars, specifically, embed such a social history so that it becomes part of daily and monthly activities.

Barack Obama, 31 shades of white, newspapers as endangered species, the archivist’s life, the art of interviewing, and more, after the jump

Time passages

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johnny@sfbg.com

The past is vanishing, more than ever before. Or so it seems, as so many temporal placeholders — including the newspaper you might be holding in your hands right now — give way to digital facsimiles. This quandary is a morphing source of inspiration for "Postcards & Calendars," a solo show by the New York artist and temporary San Francisco resident Matt Keegan, who is about to complete a teaching stint at California College of the Arts.

While Keegan engages a consistently time-based theme throughout "Postcards and Calendars," he does so via refreshingly varied forms and motifs. He’s dedicatedly studious enough to turn a trip to the GLBT Historical Society into an semi-installation, yet easygoing enough to use sexually-charged archival pieces as material, spontaneous enough to try out something different with each piece in his overall show, subversive (or formally perverse) enough to digitally photograph newspapers, and irreverent enough to break his own rules regarding what constitutes a record of daily life.

Keegan first stung my eyes and queer spirit with a piece from the Altman Siegel Gallery’s inaugural group show. It visually manifested the infinite recess of a ex-romantic relationship in a manner that interspersed teasing hints of still-extant attraction with a palpable sense of emotional loss. All of these aspects brought the "memory drawings" of San Francisco artists Colter Jacobsen to mind, so it’s only fitting that Jacobsen contributes a booklet to "Postcards & Calendars" that plays off of Keegan’s theme. In fact, one can draw further connections between Keegan, Jacobsen, and the NYC filmmaker Matt Wolf — three artists of roughly the same generation who share similar queer historical imperatives while allowing humor, traces of casual lust or longing and even some lovelorn aspects into their art. Keegan’s book AMERICAMERICA (Printed Matter, 140 pages, 2008), an exploration of national identity through the Reagan era’s "Hands Across America" phenomenon, possesses enjoyable parallels to Wolf’s films about the late David Wojnarowicz and Arthur Russell, and Jacobsen’s arrangements of trinkets and trash into expressions that find meaning or power in degradeability.

"Postcards & Calendars" is a direct array of works, often candid, and at times (in the case of the gay calendars from the ‘1970s) full-frontal. But the show’s lingering strength comes from more elliptical gestures, such as a wall of personal imagery that Keegan has rendered more enigmatic and evocative through an unconventional series of drawing and photo processes. In fact, to tap into the depth of what Keegan does here, you need to look closely at the walls themselves, where you might discover 31 passages of time.


MATT KEEGAN: POSTCARDS & CALENDARS

Through May 23

Altman Siegel Gallery

49 Geary, fourth floor, SF

(415) 576-9300

www.altmansiegel.com

The accidental tourist

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a&eletters@sfbg.com

Using dystopian prophet William Burroughs’ landmark essay The Limits of Control as his titular and narrative starting point, auteur Jim Jarmusch meditates on language and travel in his latest cinematic offering. While it’s undeniable that Jarmusch has always worn his Burroughsian influences on his black velvet sleeve, his own Limits of Control is less an explicit pastiche of Burroughs’ theories than a nod to his unique creative methodology.

"[Burroughs’] theories on language and the use of control are really fascinating," Jarmusch explained during a recent phone interview from his downtown New York City office. "But I would say more important for me from Burroughs were his notebooks and scrapbooks, in which he would cut up things from newspapers and magazines. That whole philosophy of the cut-up is very important to me in the construction of The Limits of Control."

Jarmusch’s Limits follows a laconic Lone Man (Isaach De Bankolé) as he travels through the extreme landscapes of Spain, seeking out unnamed contacts and cryptic ciphers that propel him toward some unforeseen climax. Lone Man wanders through the maze of clues with rarely a word spoken. This is not the garrulous Jarmusch of 2003’s Coffee and Cigarettes. Rather, language exists here through an intimate series of picaresque exchanges. Soliloquies are eschewed for images of De Bankolé’s contoured face and the striking architectonic wonders of Madrid and Seville; dialogue is equally parsimonious, with moments of wiry, philosophical meandering and hip, pop-culture musings bubbling up spontaneously between visitors before retreating into long swathes of silence and static.

In their repetitions of catchphrases and rituals, these vignettes — staged by actors Tilda Swinton, John Hurt, and Paz de la Huerta, among others — become increasingly oracular, Rivette-inspired performances communicated in English, French, Spanish, and Arabic. Are these inexplicable codices part of an elaborate conspiracy through which Lone Man will complete his mission, or are they simply coincidental cut-ups leading him toward the lost horizon of the Spanish desert?

With a typically austere, Jarmuschian cool, The Limits of Control cites numerous French and American gangster-outlaw films of the 1960s and ’70s in its hermeneutic, almost mystical, field-study of the nomad. Despite its lack of conventional narrative action, The Limits of Control is largely about the postmodern experience of traveling and experiencing "foreign" lands and languages, a theme recounted in Jarmusch films from Stranger than Paradise (1984) to Mystery Train (1989) to Broken Flowers (2005).

Jarmusch points to Claude Levi-Strauss’ Tristes Tropiques and Alain de Botton’s The Art of Travel as two anthropological inspirations for his own recurring explorations of transition and translations. "[Traveling] used to be a bit more of an adventure," Jarmusch said. "When I was younger and traveled to Europe for the first time, at the airports people would dress up to travel. Now it’s just a frustrating exercise in getting from one place to the next, and the act of travel itself seems almost erasable." *

THE LIMITS OF CONTROL opens Fri/8 in San Francisco.

MORE AT SFBG.COM

Pixel Vision: Erik Morse’s full interview with Jim Jarmusch.

Tax pot and the rich, or bury our heads

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By Steven T. Jones

Newspapers and politicians can empower citizens, or they can promote cynicism and gridlock. The package of bad choices being presented to voters in the coming election are an example of the latter, and so is an article in today’s Chronicle reporting poll results showing voters want neither tax increases nor spending cuts.

It’s certainly true that most people want maximum services and minimal taxes, but Chron’s writer Carla Marinucci does a real disservice by her selective presentation of the Field Poll results. Rather than writing “state voters strongly oppose both new taxes and cuts in their favorite programs and services,” she could have written this: A new poll shows state voters want to close the budget gap by legalizing marijuana and increasing taxes on millionaires.

Instead, readers must make the jump to learn that 56 percent of voters want to legalize and tax marijuana, something legislation by Assembly member Tom Ammiano would do. And they have to make it almost to the end of the story to read that, “Three-quarters also supported more taxes on millionaires.”

It’s sad that veteran Chronicle political writer John Wildermuth has decided to take the Hearst buyout and leave the ailing paper, and we’re left with Marinucci and her consistently disempowering and conservative point-of-view. If the Chronicle wants to become relevant to this city, they should find a political writer who can recognize and present opportunities for progress.

Blocking California’s sunshine: Proposed legislation would limit access to public information

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By Rebecca Bowe

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The California Public Records Act guarantees the right to be able to request government documents that are part of the public record. But proposed legislation heard today by the Assembly Judiciary Committee would restrict access in certain cases. The bill, titled AB 520 and introduced by Assemblywoman Wilmer Amina Carter (D-Rialto), would authorize a superior court to limit the scope of requests a member of the public can make if the court determines that the requestor is seeking information for an “improper purpose.” The text of the bill leaves the definition of “improper” open-ended, specifying only that it is “including, but not limited to, the harassment of a public agency or its employees.”

The bill is still in the early stages, but sunshine advocates are watching closely and weighing in. Californians Aware (CalAware), the California Newspaper Publishers Association (CNPA), and the Freedom of Information Committee of the Society of Professional Journalists Northern California Chapter have all come out against it. Letters of opposition pointed out that even without this new restriction in place, government agencies are often slow to release public records. “Every audit performed by Californians Aware, the California First Amendment Coalition, or CNPA member newspapers such as the Contra Costa Times or Stockton Record, has shown abysmal compliance with the law,” CNPA noted in a letter to Assemblywoman Carter.

Others characterized the proposed rule as an erosion of the principles of open government that are embodied in the state constitution. “The ultimate principle arguing against AB 520 is that like the right of speech itself … the right to obtain information found in public records is so fundamental to informed democracy that certain expressions of that right, while they may be deplored as an excess of license, must be tolerated as a cost of liberty,” CalAware’s opposition letter reads.

In the context of a new presidential administration that has professed a commitment to government transparency, and even delivered on it, AB 520 looks like a giant step backward.

At the desert shore

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a&eletters@sfbg.com

At some point between the group’s termination in 1981 and re-formation in 2004, Throbbing Gristle entered the canon. The more Throbbing Gristle music you’ve heard, and the more you’ve read about it, the less likely that conversion will seem. Matmos’ Drew Daniels acknowledged as much in his contribution to Continuum’s 33 1/3 series on classic albums, an exegesis of the band’s most accessible statement, the puzzling 20 Jazz Funk Greats (Industrial Records, 1979). The group’s relationship with music-as-such was perverse enough to make contemporaries like the Sex Pistols look like Chuck Berry revivalists. Back in the saddle after nearly a quarter-century, Throbbing Gristle mark two has less in common with the noise pranksters of old than the divergent, innovative projects the group has splintered into: spokes(wo)man and singer Genesis P-Orridge’s Burroughsian reengineering of rock’s DNA with Psychic TV; synth whiz Peter "Sleazy" Christopherson’s protean electronic voyages with Coil; and the rain-slick, dark disco of Cosey Fanni Tutti and Chris Carter’s Carter Tutti project all figure in the group’s latest recording, the appropriately bizarre Part Two: The Endless Not (Mute, 2007).

P-Orridge, the most visible and outspoken member, is seductively articulate about the band’s intentions: they have little to do with making music that plays into the pleasure of listening, and much to do with music’s mainline connection to culture. For all of Throbbing Gristle’s touted firsts, its music often verges on indecipherable. None of the group’s gritty, lo-fi recordings evoke emotions beyond a vague, lingering unease. But, the achievements: Throbbing Gristle literally invented modern industrial music with the founding of its so-named label, members Carter and Sleazy are credited with developing an early keyboard-triggered sampler, Tutti’s "Hot on the Heels of Love" was a prime inspiration for first-wave Detroit techno, and "(We Hate You) Little Girls" predates Whitehouse’s power electronics and the whole harsh-noise underground long since percoutf8g in the U.S. and Japan. And so on.

The weird thing about such innovations is that those committed to establishing Throbbing Gristle’s major authorship risk freezing and trapping these self-appointed culture-creeps within one historical moment or another. Despite all the collateral riding on Throbbing Gristle’s "seminal" place in the last half-decade of musical and cultural history, the band’s deliberate failure to be just that — a band — in any conventional sense needs to be acknowledged, partly as a tactical gambit. If Throbbing Gristle is a band more talked about than listened to, it seems inconsequential. Individually and collectively, they were prescient enough to choose culture as their medium, and music as a tool for scrambling it. It’s a foresight that has been borne out by MTV and then the Internet, but the tricky thing is that Throbbing Gristle’s actual accomplishment — the meaning behind what it does — isn’t in music itself, but in culture. That’s a zone where significance tends to be more protean; we can’t simply rely on albums as self-contained, coherent statements that we can either identify with or reject. There’s something trickier going on here, as if Throbbing Gristle’s music is meant to be heard at the second or third degree, when everything’s been attenuated.

The Throbbing Gristle project grew out of COUM Transmissions, a sort of umbrella term for performances and art projects that had strong affinities with the extreme performance artists known as the Vienna Aktionists, William Burroughs, and occultist Aleister Crowley. Their best-known installation, "Pornography," in a gallery within spitting distance of Buckingham Palace, most notably exhibited images of Cosey from various British porn magazines. It was a publicly-funded blight whose purpose was, in part, to convert sensationalist press into a feedback loop worth contemputf8g: the group framed and mounted outraged press clippings, and when newspapers published articles about this détournement, framed those as well. This press-driven mise-en-abyme probably offers the best example of how to listen to TG. The band plumbed new depths with feedback and delay, but their raison d’être was, beyond electronic trickery, setting up circular cultural patterns that explode hypocrisy. In doing so, the creative forces within Throbbing Gristle afford themselves the freedom to play any villainous or anti-heroic role handed to them.

THROBBING GRISTLE

Thurs/23, 8 p.m., sold out

Grand Ballroom, Regency Center

1290 Sutter, SF

www.throbbing-gristle.com

HOW TO DESTROY THE UNIVERSE — PART 6

Thurs/23–Sun/26, various venues

www.mobilization.com

Reilly: The PG&E of Newspapers

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What if one corporation controls every daily newspaper in Northern
California?


By Clint Reilly

Clint Reilly, a former campaign manager who operates as a media activist and columnist, twice sued in federal court to stop the Hearst moves to newspaper monopoly in San Francisco and with Singleton in the East Bay.
As a result of a court settlement in his latest case, he writes a column that appears in Singleton papers but not in the Hearst/Chronicle. Here’s his latest column:

One utility company dominates Northern California. But what if one corporation controlled every daily newspaper?

Newspaper firms argue that monopolies – which streamline production and editorial costs – are the only way for financially beleaguered metropolitan dailies to survive.

The California Public Utilities Commission regulates PG&E for consumers. But who regulates a monopoly newspaper?

If large media conglomerates – unfettered by anti-trust laws – are given a blank check to re-engineer news-gathering in the absence of competition, the results could be grave.

Fit to print?

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a&eletters@sfbg.com

Not long ago, before newspapers themselves were an endangered species, survival among journalists at the country’s leading papers was already a Darwinian proposition, especially for people of color. As playwright Tracey Scott Wilson limns the terrain in The Story, you need only add class, gender, and race to the equation to make things get very dicey—and very complicated—very fast.

Enter Yvonne Robinson (a sharp and charming Ryan Nicole Peters), an ambitious rookie reporter just hired to the local African American community section of a big Washington paper, a section hard-won by editor Pat (Holily Knox) and reporter Neil (Dwight Huntsman) as a corrective to the flagrantly racist coverage of the Metro section. But bright, highly educated Yvonne sees the position as stepping-stone to bigger things, beginning with the Metro section — plans she discusses with her secret lover, the white editor of the Metro department (Craig Marker), himself nervously aware of the minefield of racial politics around them. Frustrated by Pat’s dull assignments, Yvonne finally hits on a career-making feature when she discovers and interviews the culprit in an infamous ongoing case involving a murdered white schoolteacher in the black ghetto. Yvonne’s confessor: a bright, highly educated young girl gang member (Kathryn Tell). Yvonne’s refusal to betray her sources, however, and other details surfacing in the wake of her sensational story, soon throw her credibility in doubt, enraging colleagues and dividing the newsroom as the walls close in.

If the plot sounds far-fetched, it’s actually not far from real events. The Story draws on the Janet Cooke scandal of the early 1980s — Cooke, a young African American reporter at The Washington Post, won a Pulitzer Prize for a heart-rending 1980 feature on a heroin-addicted inner city child whom she later admitted was made up. Wilson makes recent history speak with dramatic and intellectual depth to a set of issues surrounding the everyday, real-world contexts of career, ambition, and racial perceptions and self-perceptions in American society.

Director Margo Hall’s smart and swift West Coast premiere, a coproduction between SF Playhouse and the Lorraine Hansberry Theatre, channels well the play’s fleet dialogue and triple-latte energy — perhaps as much an homage to the representation of newspapers in popular culture as an accurate setting of the action at a big-city newspaper. Framed by Lisa Clark’s abstract set, a repeating series of banner headlines across the back of the stage, Hall’s cast proves sharp and engaging. At the same time, Wilson’s penchant for inter-cutting the rapid-fire dialogue between different but simultaneous scenes can seem strained at times, inadvertently pointing up the artificial nature of the set-up at least as much as the resonant ambiguity in the words and situations themselves. Nonetheless, that ambiguity and complexity make The Story well worth following through its various twists and turns — not only in terms of plot, but in the unfolding reactions and re-reactions of the audience, as our sympathies and judgments zigzag.

THE STORY

Through April 25

Tues, 7 p.m.; Wed-Sat, 8 p.m. (also Sat, 3 p.m.), $30-$40

SF Playhouse, 533 Sutter, SF

(415) 677-9596

Bailout money — for newspapers?

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By Tim Redmond

Check out Nancy Pelosi on the Daily Show with Jon Stewart. SHe looks pretty bad, has no sense of humor, etc, etc, but here’s the fun part:

At one point, Pelosi says that “newspapers” have been calling her, asking for federal TARP bailout money.

Now, I wonder which “newspapers” that might be.

We know Hearst — in the person of Phil Bronstein — has met with Pelosi, and that Pelosi has talked about relaxing antitrust rules for newspapers. Did Bronstein or someone else at Hearst also ask for federal money to support the ailing Chron?

I dunno — Pelosi’s press office hasn’t called me back to say whether she will identify the “newspapers” that have contacted her. I haven’t heard back from Bronstein, either.

I suppose it’s not out of the question — if the taxpayers can bail out AIG and General Motors, why not the San Francisco Chronicle? But would Obama then want to fire the publisher?

Reilly on Hearst’s Hindenberg

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By Tim Redmond

Clint Reilly calls the San Francisco Chronicle “the greatest wealth destruction machine in American journalism today.” It’s an interesting hit on the situation; he cites a Wall Street Journal interview with investment banker (and media industry expert) Jonathan Knee, who notes:

The reason why most newspaper companies have gone bankrupt or appear perilously close to it is that they have too much debt, not that they have stopped being profitable. For the reasons I have already described, they are certainly less profitable than they used to be, but compared to most media businesses like movies and books, most newspapers still have higher profit margins. Unfortunately, many of these companies maxed out on available debt during a bubble in the debt market just before the debt bubble popped and their own profit margins precipitously declined. That does not mean that these companies cannot continue to generate significant cash flow once restructured into a sustainable capital structure.

Then points out that Hearst’s problem isn’t debt — I suspect the bean counters have already written off as a tax loss most of the $700 million the company paid to buy the Chron. The problem, he argues, is bad management:

With more than 75 percent of its circulation outside San Francisco, the Chronicle is unable to cover The City or the suburbs in depth. The paper’s circulation should have been cut in half many years ago; at 360,000, it remains massively expensive to produce, print and circulate. Resizing alone might have saved the paper by dramatically reducing operating costs across the organization.

All of which, of course, argues against Rep. Nancy Pelosi’s plan to eliminate anti-trust regs and allow the Chron to merge with, say, Dean Singleton’s Media News Group.

Don’t fear Bonnie “Prince” Billy – ‘Beware’ marks his most accessible effort to date

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BONNIE “PRINCE” BILLY
Beware
(Drag City)

After multiple career tangents, name changes, and rambles hither and yon, Bonnie “Prince” Billy, ne Will Oldham, appears to have finally arrived. The accolades are pouring in from NPR to small-town daily newspapers — a marvel when one considers the fact that the Louisville, Ky., post-punk scene that Oldham sprang from was so roundly ignored during its most vital years in the late ‘80s and early ‘90s, when Squirrel Bait, Slint, and later Oldham and brothers Ned and Paul performed as Palace (Brothers/Songs/Music).

The most accessible, clean, and least eccentric recording to date from Oldham, Beware might be considered the recording in which the songwriter assumes his rightful place in the current rock canon as the music-maker who prefigured the so-called freak/out-folk scene and the enabler and encourager of such talents as Joanna Newsom and Dawn McCarthy.

This time, his roving sensibility finds its soothingly smooth fit with help from Josh Abrams of Town and Country, Emmett Kelly of Cairo Gang, Akita Youssefi, Jon Langford of the Mekons, Rob Mazurek of Isotope 217, and renowned pedal steel session player Greg Leisz, among others – likely his most accomplished set of contributors to date. Still, despite Beware’s full-bodied, country-soul sound, I feel almost nostalgic for the humanizing glitchy folk Palace and early Bonnie “Prince” Billy was known for – perhaps that’s just my indie rock values rearing their scruffy heads.

Money for nothing and checks for free

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By Steven T. Jones

After almost 20 years working for newspapers in California, I’ve taken hundreds of calls from public relations people seeking to have us write about their corporate clients. I usually ignore them, but sometimes I warn them to be careful what they’re asking for because they just might get it.

So when Amy Wallace from Echo Media Public Relations called me this week, seeking to get me to write a laudatory piece about California Property Tax Savers – which helps clients lower their property tax payments, something she said was important during these hard times – I remembered that local officials had just last month cautioned against using such companies.

Assessor Phil Ting and Treasurer Jose Cisneros sent out a statement that “denounced unscrupulous property tax reassessment services” that charge fees for a service that the city offers for free. I had the company send me a response to the city’s warning, and I called Ting to get a response to their response (which follows).
“Anybody can come into our office and make this request for free. It’s a process that’s created so people don’t have to pay these fees,” said Ting, who said he doesn’t believe this company can get clients more of a reduction than they’d otherwise get, and he said it certainly wouldn’t be enough to offset fees of up to 40 percent.

The “save newspapers… from endorsing politicians” act?

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U.S. Senator Benjamin L. Cardin (D-MD) has introduced legislation that would allow newspapers to become non-profits.

Cardin says the Newspaper Revitalization Act is intended to help the faltering newspaper industry survive.

But there’s a snag: under the act, newspapers would not be allowed to make political endorsements.

They would, however, be allowed to freely report on all issues, including political campaigns.

Advertising and subscription revenue would be tax exempt and contributions to support coverage/operations could be tax deductible.

“The measure is targeted to preserve local newspapers serving communities and not large newspaper conglomerates,” states the press release posted at Cardin’s website.

Monopoly money

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sarah@sfbg.com

Employees at the San Francisco Chronicle are anxiously awaiting the March 31 deadline that its owner the Hearst Corp. has set for accepting buyout offers, after which the ax could fall on any employee at any time. The California Media Workers Guild has voted to accept 150 layoffs and to end seniority considerations at the city’s major daily.

Hearst claims that amendments to the union’s contract are essential to avoid closing or selling the 144-year-old paper, although the company refuses to open its books, making it impossible to verify claims that the Chronicle is losing $1 million a week. Rather than challenging that corporate prerogative, Speaker of the House Nancy Pelosi wants to explore allowing a local monopoly like MediaNews to buy the Chronicle, the last major Bay Area newspaper MediaNews doesn’t already own through its Bay Area News Group subsidiary.

In a March 16 letter to U.S. Attorney General Eric Holder, Pelosi wrote: "I am confident that the antitrust division, in assessing any concerns that any proposed mergers or other arrangements in the San Francisco area might reduce competition, will take into appropriate account, as relevant, not only the number of daily and weekly newspapers in the Bay Area, but also the other sources of news and advertising outlets available in the electronic and digital age, so that conclusions reached reflect current market realities."

Holder responded March 18, telling reporters, "It’s important for this nation to maintain a healthy newspaper industry. So to the extent that we have to look at our enforcement policies and conform them to the reality that the industry faces, that’s something I’m going to be willing to do."

Sara Steffens, chair of the Guild’s Bay Area News Group East Bay unit, recently raised her concerns about that strategy. "Consolidating some or all Bay Area News Group operations with the Chronicle could prove the financial salvation for our struggling newspapers, potentially guarding against bankruptcies or outright shutdown," she wrote on the union’s Web site. "But it could also pave the way for further job loss and erosion of standards."

Justice department lawyers have in the past ruled against mergers that created newspaper monopolies, but media analyst Alan Mutter believes times have changed. "It’s just a question of who is going to qualify," Mutter told the Guardian.

Retired UC Berkeley journalism professor Ben Bagdikian, author of books critical of media monopolies, said the Chronicle‘s "surprising announcement" that it might have to shut down could be a scam. He notes that this news comes "not long after Hearst and [MediaNews owner Dean} Singleton, who owns all the East Bay dailies, formed a partnership to buy media in other parts of the country.

"Hearst a few years ago — granted, in boom times — gifted the Examiner to the Fang family along with a stunning gift of $56 million to the Fangs to take it and make it into a daily," Bagdikian said. "I think it has never before happened in the news business or any other business to pay someone else to compete with them. It was clearly part of a larger plan to get rid of this operating agreement for exemption from antitrust [laws]."

Other critics believe that large newspapers, which are tied to huge printing presses and gas-guzzling delivery trucks, could become extinct, and that nimbler prototypes that deliver news by mobile phone and integrate social networking on their Web sites could assume the old media’s traditional role as public watchdogs.

Jeff Elder, who is studying the newspaper industry as a Knight fellow at Stanford University, told the Guardian, "You either see a daily newspaper as an old railroad station, a really cool part of the city’s history that you maybe can’t afford to save, or an at-risk public school whose continuance is fundamental to democracy."

Elder, a columnist for the Charlotte Observer, was one of a wide variety of media professionals (including Guardian publisher Bruce B. Brugmann), who gathered March 17 in the San Francisco Public Library to discuss the Chronicle‘s future.

"There is no minimizing that it’s a real sad situation for the people being laid off," Elder said. "But there is a real danger in propping up print products by strengthening monopolies. You’re draining off resources while propping up a business model that is becoming increasingly irrelevant."

Will drug cartels buy the Chron?

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By John Ross

Ink drizzles through my punctured veins. Indeed, the toxins that ooze from chemical inks and pulp during a lifetime of reading and writing for newspapers may well have contributed to the tumor that now weighs upon my liver.

Genetics predisposed me to such contamination. My dad was a founding member of the Newspaper Guild when he toiled with Hayward Broun at the old New York World-Telegram (later the World Telegram & Sun.) On December 7, 1941, a day that will live in infamy for more than one reason, George Ross, the WT’s drama critic, restaurant reviewer, Broadway columnist, and general lout-about-town, pushed my stroller into the Telly’s frantic newsroom in lower Manhattan and there, wedged between knobby-kneed reporters, I was introduced to the frenzy of a big-city paper at a maximum moment of world crisis. I was hooked for life.

Newspapers provoke liver cancer. It’s not just the ink and the pulp. Reporters are forever hunched over the bar at the dark dives that abut the rags where they slave, morosely drowning their resentment at editors who just eviscerated their big scoops, in an excess of cirrhosis-generating booze.

Here in San Francisco, working saloons like Hano’s and the M&M, where the newshounds once gathered, have been yuppified into oblivion in this suddenly one-newspaper town. I mourn them as deeply as I mourn my liver.

Although I was on staff at the Examiner (now free and “worth every penny of it”), I never spent much time pounding out my stories on the premises. I had an editor named Jack McCarthy, bless his soul, who insisted that the paper paid me to run away from the pack. The “Monarch of the Dailies” had just been handed over to Willie Hearst, Patty’s cousin, and I found myself a frequent contributor (ten front pages during the stolen 1988 Mexican election) along with Hunter S. Thompson and Zippy the Pinhead as the scion of Citizen Kane commited to going head to head with the Chron. This didn’t last long.

My M.O. at the Zam, much as it had been at the Bay Guardian and Pacific News Service was to ir al lugar de los hechos – to go to the place where it happens – rather than hanging around the phones doing dumb desk stories. I was always on the road. But whether they ran in the dailies (I was big in the Chron-Zam Sunday bulldog edition), Rolling Stone, Mother Jones, the Northcoast Environmental Center Econews or the National Horseshoe Pitching Journal, my reportage always appeared in print. Your thumb got inked with the words I wrote.

Now I’m reduced to bloodless ciphers streaming across Internet pages. Counterpunch serves a function but it hardly satisfies my craving for real live chemical inks and pulp.

By a synchronistic twist of fate, newspapering in the U.S. is dying as fast as my liver. Pretty soon they both will be heirlooms, yellowing ancient slabs like the binders of Mexican newspapers at my corner library in the Centro Historico of Mexico City, El Gran Monstruo, to which my neighbors return time and time again to revisit the heartbreaks of the past.

CJR slams the Chronicle

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By Tim Redmond

The Columbia Journalism Review trashed the Chronicle this week, in a harsh, pointed and entirely on-target piece by Pulitzer Prize winning reporter David Cay Johnston.

Johnston’s chief complaint: The Chronicle has done a miserable job of reporting on its own possible demise. In sharp contrast, he says, the Seattle P-I ran some well-reported stories about the papers’s closing that let readers know what was actually going on.

The blog post raises some interesting journalistic questions, though, that are going to be echoing through this entire debate about the future of newspapers.

The first thing I noticed when I read Johnston’s piece was that he singled out the Chron’s editor, Ward Bushee:

under editor Ward Bushee the Chronicle has provided little actual news reporting about its prospects for dissolution unless its unions agree to drastic job cuts and givebacks for those who remain on the payroll.* Mostly, Bushee gave Chronicle readers unsigned “staff reports”—actually rewritten Hearst press releases.

He later attacks Phil Bronstein, the former Chron editor who is still a top Hearst executive:

At least the careful reader found out that Phil Bronstein, the journalist who is now editor-at-large, has abandoned that role to become an unregistered lobbyist seeking political favors for his employers.

Johnston is a careful, weidely respected reporter who does his homework. And in this case, his analysis of the situation seems entirely accurate. The Chron hasn’t been giving us the real story of what’s going on — and the stuff left off the news pages is really interesting.

But I was surprised that neither Bushee nor Bronstein were quoted in the piece; I’ve always thought that before you attack someone in print (or online) — particularly when you call into question their professionalism or ethics — you should call first to get that person’s response. It’s not only common courtesy and standard journalistic practice; it makes for a better story.

So I emailed both Bushee and Bronstein, and both confirmed that Johnston had never contacted them. Bushee:

I will not comment about the Chronicle’s situation during the union negotiation period. I’ve told this to every reporter who has called to ask.
I have never been asked for comment by the (sic) David Cay Johnson. I was called by him one evening several weeks ago to tell me to look up another story on CJR.com — and then he promptly hung up.
In his latest posting on CJR, he continues to get my name wrong (my father, who has been dead for seven years, was Ward Bushee Jr.). But that is only the start of his errors.

Bronstein:

I’m not going to debate someone who has no real information and hasn’t tried to get any.

In general, we all ought to be talking about the value newsrooms and journalists bring to society – as Bruce Bruggman (sic) did very articulately the other night – to anyone who is willing to listen.

As columnist J.R. Labbe wrote in the Fort Worth Star-Telegram about that paper, “This newspaper gave more ink to the campaign to save the Texas Ballet Theater than it has to making this case for its own future. Time for that to change.”

Okay, fair enough. But here’s where it gets interesting.

I called Johnston to discuss all of this, and he was happy to talk to me. “This was a blog,” he said. “If I were writing a story for the New York Times, I would have absolutely called them.”

Why is a blog at CJR any different from a newspaper story? Johnston:

“I’m the definintion of a dinosaur, but I’m trying to embrace the idea that this is a new era. This is an experiment for me. I’m trying to see what happens when we embrace the values of the blog world. What if we just write what we see? I’ll take some slings and arrows, but I’m trying it out.”

He promised to correct the error on Bushee’s name, and did.

David Cay Johnston has done some phenomenal work He’s a perfect example of the value of a major newspaper — the New York Times had the money to pay him to spend weeks and months digging into the federal tax code so he could tell the world how government policies were helping the rich screw the poor. We’d all be a lot less informed without him.

But I have to say, with all due respect to one of the great reporters of our time, I don’t think a blog for CJR is any different than a story in the Times. The world of journalism is changing, and in a few years, none of us will be putting stories on dead trees any more — but the delivery vehicle isn’t the issue. There will be millions of bloggers who comment on things, which is a positive development and I love it, but there will also have to be real news institutions that pay staff people to report stories. And those reporters still have an obligation to call the objects of their attacks and scorn and get a response.

The future isn’t going to be about newspapers vs. online publications. It’s gong to be about journalists doing one kind of job, and others using the web to do something different. Not bad, not wrong — just different.

Drinking in the dark

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Text by Sarah Phelan.
Q. “How many Irish does it take to change a light bulb. “
A. “Never mind, we’ll drink in the dark.”

I was reminded of this (potentially racist, but I’m part Irish, so screw it) joke yesterday during a two-hour conversation about the Chronicle that took place, mostly between media people, in the basement of the library, on St Patrick’s Day.

The fact that any reporters showed up to talk about journalism on St Paddy’s Day is a good indicator of just how troubled they are feeling about the state of the news industry.

Normally, reporters would be writing about folks drinking too many Irish car bombs, or, if they weren’t working that night, drinking too many green beers themselves.

Instead, they sat and talked about the challenges facing San Francisco’s main daily newspaper, and the future of journalism in the Internet age.

Now, you’d think this would be easy for a bunch of folks who are used to digging into other people’s business and publishing what they find out, including the for-profit-driven doings of this or that evil corporation.

Only this time, the folks being bullied are the workers at the San Francisco Chronicle, which is owned by Hearst. a privately held corporation. This means the Chronicle won’t be publishing the findings of its own journalists’ findings on this matter. Instead, it’s been running reports that have no bylines and sound like Hearst press releases.

And then there’s the disquieting reality that Hearst has refused to open its books to the unions that represent the workers at the Chronicle. This means that all Hearst’s claims, including the statement that the Chronicle is losing $50 million a year, remain just that: claims, until proven otherwise.

No one is disputing the fact that newspapers have been losing advertising revenue to the Internet. Or that few of us have figured out ways to recapture that revenue. Or that many of us have been laid off, suffered pay cuts and/or seen an end to our careers, even as more people read our stuff than ever.

So, are we going to drink in the dark, or shine some light on the situation?

Personally, I don’t want the Chronicle to die. I want it to improve. And, as an investigative reporter, I want proof that Hearst’s financial claims are real.

Long time Chronicle reporter Carl Hall, the local representative of the California Media Workers Guild, confirmed last night that Hearst refused the Guild’s requests to open its books.

Hall also confirmed that Guild members voted to accept the loss of 150 jobs and the elimination of seniority rather than risking calling Hearst’s bluff over the corporation’s threats to close or sell the Chronicle.

Of course the workers did. They’re newspaper men and women. Like doctors and teachers, they love their jobs, no matter who is running the hospital, school or newspaper.

But I wonder if the rest of the media have fallen down on the job, by not challenging Hearst’s unsubstantiated claims, even as the entire nation is discovering that it has been Ponzi-schemed up the kazoo.

I was heartened to hear Chronicle forum panelist and social entrepreneur Tom Murphy point out that some of the industry’s current problems are related to the newspaper-buying binges that Hearst Corp. and Dean Singleton’s MediaNews indulged in during the past decade.

And it was interesting to hear Oakland Tribune editor Martin Reynolds, which itself got swallowed up by Singleton in recent years, admit that many newspapers chains are in a similar situation to the owners of foreclosed homes: “They are upside down on their mortgages, right now,” Reynolds said.

Connect those financial dots to the fact that readership of the Chronicle is growing online, and you begin to realize that there is a way forward through all this, even if we haven’t figured it all out yet.

As Center for Investigative Reporting cofounder and forum panelist David Weir put it last night, ‘Don’t blame the Internet for journalism’s demise. The Internet is not a choice, it is a fact. It is a technical and historical reality.”

The rise and fall of a Polk Street hustler

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› news@sfbg.com

Last June, a small group of costumed 20-something activists from Gay Shame — wielding saxophones, loudspeakers booming electronica, and bullhorns — held a "séance" on Polk Street to "summon the ghosts of Polk Street’s past."

They performed in front of the recently constructed First Congregational Church — what they call "ground zero" for Polk Street gentrification — built over the remains of what they characterize as a gay hustler bar pushed out of the area by Lower Polk Neighbors (LPN), an organization not coincidentally holding its monthly meeting just a few feet beyond the window during the ear-splitting performance.

It was one of many ongoing clashes as new condos, upscale businesses, and trendy "metrosexual" bars replace Polk Street’s SRO apartment buildings, shuttered businesses, and hardscrabble hustler bars.

Protesters blamed the transition on LPN, a "pro-gentrification attack squad" working to transform the city’s "last remaining public gathering place for marginalized queers." New business and neighborhood associations counter that they are only working to beautify, make safer, and "revitalize" the area — a benefit to everyone, including the street’s marginal residents.

But what has been lost in the noise of this high profile, ongoing clash are the stories, needs, and wishes of the very people purportedly at the center of this conflict: the "marginal queers" and the homeless.

I conducted interviews with more than 60 people during the past year, including sex workers, merchants, the homeless, and social service providers — thanks to a grant from the California Council for the Humanities and the sponsorship of the GLBT Historical Society. And I learned that changes on Polk Street stem from a collapse of the area’s community-based economic and social safety nets in the 1990s, combined with the absence of a viable alternative from the city, the neighborhood, or an increasingly affluent gay political establishment.

That trend is illustrated by the story of one such "marginal queer," known on the street as "Corey Longseeker." In a changing neighborhood divided by distrust and tension, it seems that even people from opposing viewpoints are united in their familiarity with a story that has become the stuff of legend: the most beautiful, most successful boy on Polk Street who became the saddest, poorest homeless man in the neighborhood.

Now, during a time of recession and drastic budget cuts to mental health, drug abuse, and HIV-related services, Corey’s story traces the neighborhood’s history and its present challenges.

THEN AND NOW


Corey, now 39, is a constant presence in the neighborhood. He’s always alone when I see him, sometimes sitting on the sidewalk, his head of long stringy hair in his lap, rocking back and forth slightly. Or walking up and down the alleyways, sometimes stooping over and making cupping motions with his arms — picking up imaginary children, I’m later told. Or walking slowly, alone, near City Hall, his arms straight by his side, his body hunched.

"I came to San Francisco because I wanted to be an artist," he told me. He speaks slowly, softly, laboring, with long pauses. "When I first got here, there were a lot more people. We used to play guitars and drink beers or smoke a joint and just hang out and stay out of trouble."

He was diagnosed with schizophrenia, compounded by years of methamphetamine use and complications related from AIDS — a triple diagnosis that is unusually common among homeless people on Polk Street. Corey’s flashes of clarity alternate with moments in which memories blend into different times and places, and seemingly into dreams and fantasy: "I’ve been trying to protect my little self and my little brother and I’m about 500 homicides behind and I don’t know how to bump and grind to pick up the little morsels and the pieces of the people I liked and loved the way I used to know how to." He paused. "So I just keep on."

Dan Diez, now the co-chair of LPN, believes that homeless on the street such as Corey are negatively affecting businesses and residents who "should not have to put up with people sleeping in their doorways." He even talks of moving the homeless to facilities on Treasure Island as one solution. "I think it’s one of the reasons why these condos that have gone up have not been filled."

Corey and Diez may seem to have little in common, but they maintained a close relationship with each other for more than a decade, and Diez felt so close to him that he characterized himself as part of Corey’s "surrogate family."

It was 19 years ago that Diez first laid eyes on Corey, then a fresh-faced 19-year-old who had just moved to San Francisco. Diez, then a city government employee living in the East Bay, was sitting in the Q.T. II, Polk Street’s premier hustler bar — on the very plot of land where protesters later clashed with the LPN meeting.

Corey "wasn’t what I expected someone like a hustler to look like," Diez said. "I cannot tell you, this kid had movie star written all over him. He was extremely clean and very attractive and he just looked like somebody who walked out one of these suburban towns."

Dan befriended Corey, taking him to Burger King, listening to rock music in his car while Corey drew and writing poetry. Dan slipped him $20 bills and took him to movies. With time, he also brought him to the spas to clean Corey up, took care of his laundry, and bought him clean underwear and food.

"A lot of the kids on the street were hustling," Diez said, "but I did not pick up at that time. Corey was the only person I was really interested [in] ‘cuz he was something different. He was a person with a creative bent, which I really admired."

Diez says their relationship was not sexual, though he did enjoy being physically close with Corey. "He was someone I liked being around. It was just really a nice relationship."

In a letter Corey wrote in the late 1990s, he calls Dan one of his "sponcers" [sic], along with another man Diez said is a "multi-multimillionaire" and "very well known in San Francisco." This man bought Corey a car and provided him with plenty of cash and drugs as one of his clients. In Corey’s letter, he says the man "made me into a liveing legand [sic] at the age of twenty two years old by letting me have enough money." Corey listed as his "Boss" a bartender at the Q.T., widely known for facilitating hookups between johns and hustlers, and spoken of warmly by many as being a "big mama" to kids on the street.

By this time, many of the buildings that had held thriving businesses in the ’70s and ’80s were shuttered, leaving sex work and drug sales as a few of the street’s dominant economies. People such as Corey, widely considered to be the most beautiful and lucrative sex worker at the time, were Polk Street’s economic engines.

In fact, Q.T. manager Marv Warren was president of the merchant’s association in the 1990s. The sex trade turned profits on the streets and in the bars. "Most of us didn’t like the idea of these kids hanging out because it didn’t look good," Steve Cornell, owner of Brownies Hardware, recalled. "[But] if there are male prostitutes out there and there are businesses that thrive on that, they’re part of the business association too."

THE BOTTOM LINE


The current conflict on Polk Street has been framed as one between profit-hungry business owners and marginalized queers. But on Polk Street, a coveted bloc of city space long zoned as a commercial corridor, the buck has always been the bottom line.

This is not to discount the deeply emotional ties many have to the area, many who reported escaping abusive families and discrimination to find themselves and their first real family in Polk Street. Just the opposite: the history of Polk Street shows that community and commerce were closely linked.

In the early 1960s, gay men bought up failing shops along the street and created posh clothing stores, record shops, and elegant restaurants. Failing bars and taverns cashed in on gay consumer power. The community combined economic and political power to win major gay rights battles.

Most famously, bartenders formed the Tavern Guild in 1962, the nation’s first gay business association, which combined economic self-interest with charitable support for the nascent gay community. According to historian Nan Alamilla Boyd, the Guild "represent[ed] a marketplace activity that, in order to protect itself, evolves into a social movement."

The Imperial Court, part of the Guild’s fundraising arm, elected Empresses who raised funds for people in the community who needed housing, drug treatment, mental health services, or help with their medical bills. In the ’70s and ’80s, the Polk Gulch was a magnet for young people around the country escaping abusive homes and discrimination, and who therefore did not have the educational or employment background to make it on their own in the city.

Anthony Cabello came to Polk Street from a working class family in Fresno as a teenager in the late 1960s, dining as the guest of an older lover at the posh P.S. Lounge. As a student at a nearby college, he formed lifelong relationships with men on the street who took him to fancy hotels, plays, and dinners. "I did not mind the monetary help, but that wasn’t my primary concern," he said. "I was getting exposed to things that normally, I wouldn’t have the ability to do." He toured Europe in a theater troupe, worked a number of jobs on Polk Street, and now manages the neighborhood’s Palo Alto Hotel, which continues to house people living with AIDS and people of meager means.

Coy Ellison found a safe haven in Polk Street as a teenager in 1978. He did under-the-table work at gay businesses through an unofficial job pool at the street’s bars. That allowed him to avoid being caught by the police and sent back to an abusive home. "There were a lot of people doing that at the time," he said. "Let’s say you needed your apartment painted, was there a kid here who knows how to paint and [the bartenders would] send him off." He later climbed the employment ladder through the bars by working as a bouncer, providing support for new young people coming to the area. He now lives a few blocks away with his partner.

Kevin "Kiko" Lobo moved from San Francisco’s Mission District to Polk Gulch in the early 1980s and found work on the street as a sex worker in bars like the Q.T. "Nobody lost because the bar made money, I got a few drinks, and I met clients." He pooled money with his "street family," made up of teenagers escaping abusive homes and discrimination. On the street, "everything was family," Lobo said. "We all looked out for each other. If you didn’t make any money that day it didn’t mean you were going to sleep on the street." Kiko eventually worked his way into the bar business, becoming a bouncer and later a DJ.

COREY’S STORY


Diez learned that Corey grew up in a deeply religious family in a small town in Minnesota. His mother and father worked in factories, and hunted and fished in the countryside. But "something happened in that family," Diez said. "Either he did something really wrong and they could not put up with him, or they did something wrong and he could not put with up with them, or both — I don’t know." Corey never graduated high school, instead leaving Minnesota for San Francisco.

Corey gave Dan clues as to his move in a series of letters he wrote him from jail, where he was sent on a series of drug charges in the late 1990s. He wrote about three "childhood nightmares" that were "true life stories" and "part of my past survived existence."

He wrote of being part of a "bunch of little gay boys" in high school who "were not allowed to live a normal life one on one with their partners, among lost immediate family, and unforgiven [sic], misunderstanding, or nonaccepting [sic] religious traditional old fashioned folks.

"Our very own parents used to laugh and giggle, and be cruel to us. And no matter how gifted each child was, our parents watched us and made harsh comments, and truly not funny jokes, and then forced us by broken pride, trust, and rejection to survive in Satan’s swamp.

"Some parents are not willing to understand the flower children of the nineties," Corey wrote, but now "I am trying to step out of a nightmare and back into a Dream … [to] kickstart the new flower child era" in San Francisco, "like the hippies once did, so will we rise above once again."

A San Francisco State University study published in Pediatrics in January found that LGBT youth who reported higher rates of family rejection were eight times more likely to report having attempted suicide, and more than three times more likely to use illegal drugs and have unprotected sex, compared with their peers who reported lower levels of family rejection.

Those escaping persecution also appear more likely to be runaways or homeless. While approximately 3-10 percent of the U.S. population identifies as lesbian or gay, 30 percent of youth served by San Francisco’s Larkin Street Youth report that they are lesbian, gay, bisexual, transgender, or intersex.

POLK FALLS APART


By the time Corey arrived in 1990, the twin epidemics of AIDS and methamphetamine addiction were wreaking havoc on Polk Street.

Harvard-educated ethnographer Toby Marotta, who worked on several federally funded research projects in the Polk Gulch, said that by the mid-1980s "the whole southern end of Polk Gulch was being transformed because of methamphetamine use."

Speed was the perfect drug for the early days of AIDS, when people were terrified and confused: it produced feelings of euphoria, a sense of invulnerability, focus, and a desire for sex. But while the drug "produced long mind-escapes" for people who used it, Marotta said, it "completely undercut the personal relationships and social obligations essential to functioning community."

Combined with a national recession and a rash of Polk Street business closures, the economic health of the street, and the support systems enabled by it, suffered a tremendous blow. The money, energy, guidance, and options for street youth employment through local bars and businesses were quickly disappearing.

By the late 1970s, the city’s gay political center had moved to the more affluent Castro District. "For those of us that depended on the street to survive, the money was harder and harder and harder to make," Lobo said. "And that’s what [began] the downward spiral. Some very pretty boys have become very ugly people because of the … loss of the great community."

A large homeless shelter moved onto Polk in 1990, along with much of the hardscrabble Tenderloin population. A different kind of john came to the street, and there was less respect for sex workers, leading to more escape through drug use. Ellison left his work at the bars in the 1990s, when the community of bartenders that had kept violent crime in check on the street broke down. Sex workers increasingly started advertising in newspapers, and later on the Internet.

Corey began using the speed that was rampant on the block, quickly becoming addicted. Diez worried that by continuing to give Corey money, which he used for drugs, he was "keeping him where he was at" instead of helping. "I eventually always gave in because I always wanted to see him have something better," Diez said. "I just enjoyed being with him. Even if we weren’t talking and he was just writing, I just liked him being there. He was company."

As Corey began using more speed, his artwork "became wilder and wilder." He started to lose his teeth, and his blonde hair turned brown. "He went down, I would say, fairly fast," Diez recalled. Spas began to refuse to serve him. He would wander into the street to pick up imaginary children, and began to be more difficult to talk with. "He went into a lot of gibberish or psychobabble," Diez recalled. "He started to look almost Charles Manson-like."

James Harris, a Polk Street community member since 1978, met Corey when he came to the city in 1990. Harris left in the mid-’90s, and when he returned in 2001, he barely recognized Corey. "I just could not believe what I was seeing. What was once a strapping, good-looking, young man had been reduced to this homeless, toothless guy. It freaked me out so bad. It took me a little while to get over it."

Harris has no doubt that Corey’s decline was linked to the breakdown of the Polk community. "If Corey came to Polk Street in 1980, he would have a job as bartender maybe, working somewhere, maybe living in the Castro," he said. "No question about it." Many people who now work in Polk Street businesses and social service organizations started as runaways and sex workers on Polk.

"In the ’60s and the ’70s, it was like a big party atmosphere. I, fortunately was taken under several people wings," said Cabello, the Palo Alto Hotel manager. "Now people don’t have the cash flow, ‘cuz economically times have really changed. People who were out partying and being able to take somebody home and help them find a job are basically waiting in line at Social Security and making sure that their housing is together."

INTO THE SYSTEM


Gay bar patronage decreased citywide in the 1980s and 1990s, the result of AIDS-related deaths, a generational shift, and later the rise of the Internet. The Tavern Guild disbanded in 1995, and by the late 1990s, most of the Polk Street bar owners had either died or retired. Most of the remaining gay bars were remade into upscale heterosexual or mixed drinking establishments, serving new residents attracted by low rents during dot.com era.

Lower Polk Neighbors represented this new bloc of business owners. Diez joined LPN in 2001, when he retired and moved to Pacific Heights. They planted trees, cleaned sidewalks, and successfully pressured the city officials to increase the number of police patrols in the area. In one of their most controversial actions, they opposed the relocation of the RendezVous bar, which they blamed for nurturing the street and hustler population.

Corey and people like him, once the street’s economic engine, were now bad for business. After his string of arrests on drug charges in the late 1990s, Corey always came back to Polk Street after being released. In 1997, he was arrested, diagnosed with HIV while in jail, and sent to a psychiatric hospital.

The most recurrent theme in Corey’s letters from this period were finding love and proving to himself that his love was okay. In a poem, he wrote, "God’s gift a soul /it was not shattered, battered, but whole / … My love from within /was not curse … scattered, tattered, or sin/than [sic] I found I did win /see like yang of yin /by forgiving within /my mind and my kin. I’m forgiving their sins."

When the Rev. Megan M. Rohrer, director of the Welcome Ministry, first met him in 2001, Corey was having "loud, yelling conversations" on the sidewalk outside Old First Presbyterian Church, where he often slept at night. "He was having the conversation of the day he came out to her, and his Mom was always trying to tell him why he couldn’t be gay, and why it was a bad thing. He was always trying to have the conversation that that was who he was, and it was how he loved, and he just kept having the conversation over and over and over, trying to have a different result, which never happened."

The organization formed in the late 1990s as a result of complaints about the increasing number of homeless in the area. Rohrer estimates that 98 percent of the homeless who live in the Polk Gulch and come to the Welcome Ministry have been part of the Polk Street sex work industry. Like Corey, they had aged into the general homeless population.

For four years, Rohrer tried unsuccessfully to place Corey in a hospital or get long-term treatment from the city. Ironically, it was the result of increasing neighborhood complaints that he finally found this. "The neighbors were getting really angry and wanted to get rid of the homeless from the area," Rohrer recalls. In 2005, Corey was arrested on drug charges as part of what she characterized as a sting operation.

The breakthrough came when he was arrested and declared mentally unfit to stand trial for the first time since 1997. The court sent him to Napa State Hospital, a secured mental facility where he was required to take medications. "Finally Corey was getting the mental health services he needed," she said.

In the absence of sufficient social services, this has become standard policing practice, according to Al Casciato, who heads San Francisco Police Department’s Northern Station. "We do not have a front end to the criminal justice system in the health arena that allows us to take these people and put them in a secure facility," he told the Guardian.

"What happens is that we wait until they get in trouble in order to put them in jail to get them off the street and then try to get them into services. We should be trying to get them into services first, but we do not have the capacity to accept everybody into services." Even after police convince a person to use services, during the long waits due to the lack of services, sometimes months at a time, "they fall back into their pattern of either drug abuse, or if they have a mental health issue, their depression starts to spin out again."

Corey was at Napa State for nearly a year on medications. "Corey make some really good strides there," Diez said. "He was also at his artistic high points … he built balsawood airplanes that he gave to children." When he was declared competent to stand trial and sent back to San Francisco, "he was like a completely different person," Rohrer recalled. "He was so with it. He was really clear about what he wanted and where he wanted to go."

But Rohrer spent two months navigating the bureaucracy to get Corey the medication he needed, during which he had slid back into schizophrenia and was no longer willing to take his prescriptions. "It was like watching Corey emerge in this beautiful way and then to disappear," Rohrer said. He’s never been back on medication, and his condition has not improved.

Rohrer was able to find him housing in a nearby SRO hotel through the Homeless Outreach Team, instituted in 2004 as part of Care Not Cash — part of a dramatic move indoors for the homeless in the area. It was an improvement from the streets, on which the supportive "street families" had now broken down. But it’s unclear whether Corey is capable of living on his own, or whether the case managers assigned to him are sufficient.

"They weren’t there," Diez says. "Because I was vacuuming his floor, I was cleaning his sink, I was taking his dirty clothes out. As much as I hate to say it, Corey needs to be in a medical facility where he can have some psychiatric help."

When I visited Corey in his apartment a few months ago, cartoons played on the television, the only piece of furniture other than his bed. His walls were bare and the sink fastened to the wall was clogged with brackish water. The carpet was filthy with cigarette butts and a mouse ran over my feet.

BOTTOMING OUT


Now, with major budget cuts across the board, services are being cut at the time when they are most needed. This will have a tremendous negative impact not only on people like Corey, but also on business owners and service providers in the Polk neighborhood.

The Welcome Ministry will lose big grants next year, Rohrer said. Jennifer Friedenbach, director of the Coalition on Homelessness, says that budget cuts in the works will have a "huge and dramatic impact" on people like Corey and will "devastate" mental health treatment services — with as much as a 44 percent reduction in the publicly-funded mental health treatment system and similar reductions for substance abuse treatment.

Ann R.P. Harrison, director of New Leaf, a mental health organization that serves 1,500 LGBT people a year, says they recently reduced staff hours and the amount of services offered, and, like most nonprofits, are looking at up to a 20 percent budget reduction starting July.

Toby Eastman of Larkin Street Youth, which serves youth under 25, says that $100,000 in HIV prevention services cuts from the Department of Public Health mean "significantly reduced the prevention staff." Eastman expects the cuts to increase next year, at a time when she sees other smaller agencies closing their doors.

Diez and Rohrer take away different lessons from their experiences with Corey. Diez says he has "hardened" about homelessness and has stopped talking with Corey. "I was an enabler for him, which I didn’t like doing but I was always hoping that what I was doing was helping him," he said. "But maybe not. Corey made choices, and maybe they weren’t good choices. And you can’t blame that on the city. It’s gotta go both ways." Once the keeper of Corey’s Social Security card, money, and other personal items, he has now handed that responsibility to Rohrer.

Rohrer sees a failure of the social safety net. "There’s a barrier to getting mental health services that seems like it’s set up so that people will fail," she said. "Places that accept MediCal or city patients can take two months before they can get an appointment. The hospital does not even have the capacity to help those police deem a threat to themselves or others."
"There were gay bars here, and there were affluent men, and that’s not here anymore," Diez said. "The bars are gone, those people who went to those bars don’t come anymore, and Corey’s just a remnant. He’s just existing. He’s surviving. He’s just something that’s eventually going to disappear from the scene."
For now, Corey poses both a challenge for the emerging Polk community and an opportunity for a divided neighborhood to find common ground. He still has dreams, Rohrer says, even if they might not be realistic. "We’re not expecting him to be a Wall Street CEO," she said. "But he’s always going to be stuck in the past if he doesn’t achieve some of his future hopes."
Joey Plaster is curator of "Polk Street: Lives in Transition," an exhibit open through May 31 at the GLBT Historical Society. More information at www.glbthistory.org/PolkProject.