Review

Quite an interview: a talk with Judy Stone

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"There’s no craft. I’m just curious." To which I respond, "Are you sure?" as if this respected journalist could be putting me on. I’ve just read Judy Stone’s new book of interviews, Not Quite a Memoir: Of Films, Books, the World (Silman-James Press). "How do you prepare your questions?" I ask. "I don’t," she replies as I stare down at my list of prepared questions. "But don’t let that intimidate you."

Because Stone was born into a family that "couldn’t resist a joke," her confessed lack of organization seems unconvincing. This is the woman who, during a colossal televised press conference for Alfred Hitchcock’s Family Plot, asked Hitch what he’d like on his gravestone. Later, Pauline Kael confronted Stone about her question, to which she responded, "Pauline, the whole movie was about that."

"I don’t include myself in my interviews because that’s not the point," Stone insists. Regardless, her priorities and ethics are clear in her writing. Take the subject of Israel: "I have always felt that I have ethical obligations," she says. "I’m not a Zionist. I’d like to see equal justice for Palestinians. My oldest brother [I.F. Stone] wrote a book called Underground to Palestine. He went with people right out of the concentration camps on the first ship to Palestine. In his articles he came out for a binational state." As if to suppress emotion, she fidgets with her copy of Not Quite a Memoir and reads a quote from her interview with Amos Oz: "Israel was a land for two people, not just one…. This particular national movement is the most stupid and cruel in modern history but we ought to do business with it…. You can’t make peace with nice neighbors." This quote, Stone says, is relevant today, not simply because the conflict in Palestine persists but because "it also applies to the question of negotiating with Iran. Their president is an imbecile and dangerous; so is Bush. So now we have two imbeciles making policy, and it’s a very, very dangerous situation. However, I hope that my interviews with Iranian directors show more of the human side of Iran."

Stone’s new book and her previous collection, Eye on the World: Conversations with International Filmmakers, should be regular fare in college film classes. But although her first book, The Mystery of B. Traven (about the enigmatic author of The Treasure of the Sierra Madre), has recently been republished, Eye on the World is currently out of print. And Not Quite a Memoir, boasting more than 120 interview portraits, including ones of Jean Genet, Leroi Jones, Donald Ritchie, Kathy Acker, Anne-Marie Melville, and Juan Goytisolo, has been publicized little and reviewed less. "It hasn’t even been reviewed in the San Francisco Chronicle, where I worked for 30 years."

Partly guided by an interest in "how each person’s homeland has affected him," Stone’s interviews with writers and filmmakers have taken her all over the world. Although Bernardo Bertolucci didn’t like Stone’s review of his film Luna, he told her a critic is supposed to be "a bridge between the filmmaker and the audience," to which she replied, "I try, I try." Proof positive: her interview with novelist Orhan Pamuk helped American critics better understand his complex work The Black Book.

Today she feels as she did while writing "Encounter in Montenegro." The previously unpublished piece, written in 1959, concludes Not Quite a Memoir and is the only one in which she reveals the way she responds to people. In it she’s a young reporter riding a bus through the black mountains of Yugoslavia. She engages in a discussion with a student from Ghana who makes clear his contempt for Stone, a stranger, and worse, an American. "I still feel that way," she says now. "Feel what way?" I ask. "Feel what way?" she repeats, pausing to help me understand. "This man despised me because I was an American." "So you felt despised?" To which she replies, "Don’t you?" (Sara Schieron)

100 years of secrets

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› gwschulz@sfbg.com

They’re back.

First Amendment foes are again attempting to criminalize news reporting that exposes questionable if not illegal conduct by the White House, Pentagon, and intelligence agencies, from dispatching terrorism suspects to secret torture chambers abroad to listening in on private phone conversations.

An attempt by Sen. Kit Bond (R-Mo.) in 2005 to pass legislation similar to Britain’s Official Secrets Act failed, but Sen. Jon Kyl (R-Ariz.) quietly tried to attach an amendment to an unrelated bill scheduled for committee review last month that would have expanded the Espionage Act of 1917.

The amendment’s broad scope was narrowed March 2 before being shifted to another Senate bill amid an outcry by First Amendment advocates. The proposal’s almost laughably vague original legislative language aimed to punish anyone who published or communicated classified information "concerning efforts by the United States to identify, investigate or prevent terrorist activity."

The amendment would have extended jail time for whistleblowers to 20 years. Senate Bill 2, where the amendment now rests, was originally intended to enact the remaining recommendations of the 9/11 Commission. The new amendment would still punish employees working on Capitol Hill or other unauthorized personnel who knowingly disclose classified information contained in congressional reports.

Coalition of Journalists for Open Government coordinator Pete Weitzel told the Guardian that the earlier language seemed to include newspaper publishers as well as government employees in its scope.

Conservative members of Congress called for reporters to be punished under the Espionage Act after the New York Times, the Washington Post, and other media reported details of the George W. Bush White House’s domestic wiretapping and extraordinary rendition programs. In particular, Post reporter Dana Priest and Times reporter James Risen were condemned and accused of treason by Fox News pundits and jingoistic bloggers for harming national security, today’s ever-present excuse for government secrecy.

"Current laws are sufficient to prosecute anyone who leaks classified information and has an intent to harm the United States," Weitzel told us from Washington. "There’s no impediment to going ahead and prosecuting under existing law. So I don’t see a need for this additional legislation."

Sunshine activists worried the original amendment could plausibly include journalists covering emergency response planning, security failures, public health threats, and federal homeland security spending. In addition, its broadness is simply unconstitutional, according to the Virginia-based Sunshine in Government Initiative.

"The amendment would work to constrain critical reporting on homeland security — even information as basic as homeland security grants — as well as national security and foreign policy matters," the group, which includes the Association of Alternative Newsweeklies (of which the Guardian is a member), wrote in a public statement Feb. 27.

The Espionage Act was passed under President Woodrow Wilson and led to a 10-year prison term for one-time Socialist Party leader and presidential candidate Eugene V. Debs, who was eventually pardoned by President Warren G. Harding after serving three years. Debs had criticized World War I and conscription during a speech in Ohio.

"Do not worry over the charge of treason to your masters," he said during the speech, "but be concerned about the treason that involves yourselves. Be true to yourself, and you cannot be a traitor to any good cause on earth." *

James Madison Freedom of Information Award Winners

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The Society of Professional Journalists’ Northern California Chapter has been handing awards for 22 years to journalists, educators, public officials, and citizens who best exemplify the importance of open and accountable government and a free and diligent press. And every year the Guardian recognizes the winners and helps highlight the important issues that they raise for the Bay Area and beyond. Here are this year’s winners:

Norwin S. Yoffie Career Achievement Award

ROWLAND "REB" REBELE


Three few years ago the Oakland Unified School District announced that, due to budget constraints, it was shutting down all the student-run newspapers in the district. Rowland "Reb" Rebele lives in Aptos, but he read about the shutdown in a San Francisco Chronicle column.

He picked up the phone, made some calls, and found out the situation was desperate and how much money was needed. He then wrote a check sufficient to resurrect the student newspapers for a year. Then he kept on writing checks to keep the papers going last year and again this year. This was typical of Rebele. No one asked him for help. He received virtually no acknowledgment for his gift. But his timely action turned the lights back on for fledgling newspapers that were out of money and, it seemed, out of luck.

Rebele is a First Amendment mensch (a description that James Madison, had he any familiarity with Yiddish, would have approved of). In his half century of publishing community newspapers that he owned and operated in Coalinga, Chula Vista, and Paradise in California and across the country, he was energetic, inspiring, and devoted to his readers and his communities, and a demon in pushing for open government and accountability. He pursued the same policies as a stalwart for half a century in the California Newspaper Publishers Association and as an activist president who brought key reforms and exceptional leaders to the organization.

Rebele has been a director of the California First Amendment Coalition for a decade. He quickly became the one truly indispensable member of the organization, pushing it, pulling it, holding it together, and cajoling it to broaden its activities because he felt the organization and its mission were vital.

He has also launched an innovative internship program at Stanford University. Rather than just give money to the school, he and his wife, Pat, created a program that has enabled dozens of students to get hands-on experience writing for real newspapers in California. Quietly and selflessly, Rebele has spent his newspaper career fighting the good fight for First Amendment and public interest principles. (Bruce B. Brugmann)

Beverly Kees Educator Award

ROBERT OVETZ


Art Institute of San Francisco instructor Robert Ovetz was fired after he criticized the administration for confiscating a magazine his students produced for his class last December.

Ovetz, who had taught at the institute for three years, told his students to create a "culturally critical" magazine as their final project for a cultural studies class he taught last fall. They produced a 36-page zine called Mute/Off.

Less than 24 hours after he and students distributed 500 copies of the magazine, which Ovetz printed with the institute’s copy machine, most were gone. Ovetz initially attributed their disappearance to popularity, but he soon learned from students that the administration of the school, which was purchased by Goldman Sachs and General Electric last year, had removed them from its campuses and even literally pulled them out of students’ hands.

"This is an example of how a corporation is not held accountable for upholding basic constitutional rights [to] free speech. This is a private company that’s operating as an institution of higher learning," Ovetz told the Guardian. "Its only interest is its bottom line, and its bottom line is profit."

Ovetz complained to the administration about vioutf8g the students’ freedom of speech and received his pink slip Dec. 20, 2006. Dean of Academic Affairs Caren Meghreblian told Ovetz the magazine possibly violated copyright law by reproducing corporate logos without permission and had grammatical errors. She also said a story in the magazine called "Homicide," about three white kids playing a video game as black gangsters, might be racist.

After Ovetz and students complained and the media reported the story, the administration allowed students to redistribute the magazines, but it still refuses to give Ovetz his job back. (Chris Albon)

To size up the magazine yourself, visit www.brandedmonkey.com/muteOffLowRes.pdf.

Citizen

RYAN MCKEE


The object of the California Public Records Act is to ensure the people’s right to know how their state and local governments are functioning. Newspapers are often the entities that test the limits and loopholes of the law. But in January 2006 an 18-year-old college student, Ryan McKee, undertook an audit of each of the 31 California state agencies that was the first of its kind. McKee tested how these agencies, which he personally visited, responded to simple requests to view and get copies of readily available public documents. The results revealed a disturbing pattern. Several agencies performed miserably, including the Department of Justice, which counsels and represents many other state agencies on the Public Records Act, and all of the agencies violated at least one aspect of the law. Common problems included asking for identification, making illegal charges, and taking longer than allowed to release information. McKee undertook the audit while volunteering for Californians Aware, a nonprofit where his father, Richard McKee, is president. A copy of the audit, including its results and grades, was sent to each agency to help it better understand and adjust to its responsibilities. (Sarah Phelan)

Journalists

MICHELE MARCUCCI AND REBECCA VESELY, ANG NEWSPAPERS


ANG Newspapers regional reporters Rebecca Vesely and Michele Marcucci are being honored for the series "Broken Homes" and their unflinching pursuit of public records that exposed negligent care administered to people with autism and other forms developmental disabilities. The series highlighted problems ranging from a lack of proper supervision to unlicensed officials working at health care facilities. Some of these offenses were then linked to patient deaths.

The award recognizes the daunting and tedious task that befell the journalists: 15 months of scouring thousands of hard-copy papers from dozens of sources that included licensing agencies, multiple law enforcement bureaus, and coroner’s offices. The results were entered into a database and cross-checked against other sources of information.

"It’s not like we work at the New York Times, where you can lock yourself in a room for a year. This is one-stop shopping here," Marcucci told the Guardian, noting that both reporters continued their daily beats while working on the project. The series was well received and helped prompt state officials to reinstate inspections of licensed facilities that had been eliminated due to budget cuts. (Christopher Jasmin)

ANDREW MCINTOSH AND JOHN HILL, SACRAMENTO BEE


Two reporters from the Sacramento Bee, Andrew McIntosh and John Hill, get Freedom of Information props for exposing the cronyism and the corruption of the California Highway Patrol.

The two wrote a series of articles detailing how the CHP violated state and department regulations in awarding contracts for items ranging from pistols to helicopters.

"The CHP spends hundreds of millions of dollars each year on equipment and goods," McIntosh told the Guardian. "That’s taxpayer money."

McIntosh said he and Hill took a systematic look at the department’s bidding process and found it was not competitive. The investigation led to the suspension of one officer, Gregory Williams, who the reporters found had awarded $600,000 worth of contracts to his daughter’s company for license plate scanning devices, $500,000 of which was canceled after the reporters exposed the scandal.

The reporters also found the CHP, which controls signature gathering at the Department of Motor Vehicles and other state buildings, denied more than 100 applications for permission to register voters or solicit signatures. Other stories pushed Senate majority leader Gloria Romero and Assemblymember Bonnie Garcia to call for a state audit of the CHP.

McIntosh told us the investigation showed "the CHP is not above public scrutiny or the law when it comes to business dealings." (Albon)

MEERA PAL, CONTRA COSTA TIMES


A good mayoral race isn’t really fun unless a bit of scandal emerges, like it did in Pleasanton two weeks before the November 2006 election.

Meera Pal decided to research the roots of a story that was handed to her by city council member Steve Brozosky, who was challenging incumbent mayor Jennifer Hosterman. Brozosky gave Pal e-mails his campaign treasurer obtained through open-records laws that showed Hosterman may have used her city e-mail account to solicit campaign donations and endorsements, a violation of state law.

But Pal went beyond Brozosky’s story and submitted her own public records requests for the city e-mail account of the mayor, as well as a year’s worth of e-mail from Brozosky and the three other council members.

Pal’s public records request revealed that Brozosky’s inbox was completely void of any e-mail, something neither he nor the city’s IT manager could explain. Brozosky is a computer expert who runs a company that vends city Web site software, so his technical expertise made the situation even more suspicious.

Investigations revealed it was just a setting on his computer that was inadvertently scrubbing the e-mail from the city’s server. Though both violations aren’t necessarily serious crimes, the race was close enough that dirt on either side could have had a profound impact on the outcome, and the results show 68,000 voters who were truly torn during the last two weeks before election day while Pal was reporting these stories. Hosterman eventually won by just 188 votes. (Amanda Witherell)

SUSAN SWARD, BILL WALLACE, ELIZABETH FERNANDEZ, AND SETH ROSENFELD, SAN FRANCISCO CHRONICLE


In the wake of 2003’s so-called Fajitagate police scandal — in which San Francisco officer Alex Fagan Jr. and others were accused of assaulting and then covering up their alleged vicious beating of innocent citizens — the San Francisco Chronicle uncovered records showing that Fagan’s short history on the force was marked by regular incidents of abusive behavior, the kind of records that should have served as a warning for the problems to come.

"We decided to take a look to see how common it was. And we spent a lot of time doing that," Steve Cook, the Chronicle editor of what became last year’s five-part "Use of Force" series, told the Guardian. The team used the Sunshine Ordinance to gather boxloads of records on use-of-force incidents, which it organized into a database that was then supplemented and cross-referenced with a wide variety of other public records, along with old-fashioned shoe leather reporting, all the while fighting through bureaucratic denials and delays.

Despite an embarrassing mislabeled photo on the first day of the series that served as fodder for attacks by the Police Department and Mayor’s Office, the series made clear that rogue cops were abusing their authority, totally unchecked by their supervisors. "We were proud of what we were able to show," Cook said. "We showed a department in need of some basic reforms."

The series helped spur the early intervention system that was recently approved by the Police Commission. It’s a good first step, but one criticized by the Chron and the Guardian for failing to include some key indicators used in other cities (see our editorial "Fix Early Warning for Cops," 2/28/07), something that Cook said requires ongoing vigilance by the press, to bring about needed reforms: "Only the news media is really going to accomplish this, if they stay with the story." (Steven T. Jones)

Legal counsel

DAVID GREENE


The First Amendment was never about money. Free speech is supposed to be free. But these days threats to the First Amendment are growing, more and more people who lack the resources of a major media outlet are in need of help — and there aren’t many places dedicated to offering that assistance, free.

That’s where David Greene and the First Amendment Project come in.

Since 1999, as a staff attorney and executive director, Greene has helped dozens of freelance journalists, students, nonprofit organizations, and independent media outlets protect and expand their free speech and open government rights.

The operation he runs is totally independent. That’s a key point in an era of massive media consolidation: when the Guardian sought earlier this year to find legal representation to force open the key records in a lawsuit over Dean Singleton’s local newspaper merger, we found that just about every local media law firm represented at least one of the parties to the case and thus was conflicted. The FAP was not.

Greene and the FAP have represented blogger Josh Wolf and freelancer Sarah Olson in landmark subpoena cases. Greene, with the American Civil Liberties Union of Northern California, wrote the amicus brief on behalf of noted literary artists in the California Supreme Court case In re George T., in which the court, relying heavily on the FAP brief, overturned the conviction of a juvenile who made threats to other students with a poem. And the struggle just goes on. The FAP is funded largely by private donations and always needs additional support.

"Unfortunately," Greene told us, "we have to turn away a lot more cases than we can take." (Tim Redmond)

News media

SAN JOSE MERCURY NEWS


After years of last-minute backroom deals at San Jose’s City Hall, things came to a head when the City Council rubber-stamped proposals to give a $4 million subsidy to the San Jose Grand Prix, $80 million for a stadium to keep the Earthquake soccer team from leaving town, and $45 million for new City Hall furniture.

Clearly, something had to give. But it was left to San Jose Mercury News editorial writers to push for transparent and accessible government and better enforcement of the state’s open government laws.

First they shamed the city, pointing out that "San Francisco, Oakland, even Milpitas have better public-access laws." Next they hammered then-mayor Ron Gonzales for saying that calls for more open government were "a bunch of nonsense." Then they printed guiding principles for a proposed sunshine ordinance that they’d developed in conjunction with the League of Women Voters and Mercury News attorney James Chadwick.

When city council member Chuck Reed was elected mayor on a platform of open government reforms, the paper still didn’t give up. Instead, it’s continuing to champion the need to bring more sunshine to San Jose and working with a community task force on breaking new ground, such as taping closed sessions so they can one day be made available when there’s no further need for secrecy.

Somehow the Merc also managed to pull off another amazing feat: the paper built public understanding of and support for sunshine along the way. (Phelan)

SAN MATEO COUNTY TIMES


When outbreaks of the highly contagious norovirus sprang up in a number of California counties, San Mateo County was among those hit. Public health officials, however, would not release the names of the facilities where numerous individuals became infected, citing concerns about privacy and not wanting to discourage facility managers from contacting health officials.

Nonetheless, the San Mateo County Times ran a series of reports on the outbreaks in the named and unnamed facilities. After publishing reports on unnamed facilities, the news staff began to receive phone calls from residents who wanted to know the names of the facilities. Times reporter Rebekah Gordon told us it became clear that the public wanted to know this information, and the paper fought the county’s secrecy.

Gordon learned that facilities are required by law to report outbreaks, regardless of the potential for media exposure. Times attorney Duffy Carolan sought out and won the disclosure of the names of four facilities.

"The county’s initial nondisclosure decision evoked public policy and public safety concerns at a very broad level, and nondisclosure would have had a very profound effect on the public’s ability to obtain information that affects their own health and safety. By persisting in the face of secrecy, the Times was able to establish a precedent and practice that will well serve to inform their readers in the future," Carolan told us.

The paper learned the outbreak was far more widespread than the county had admitted, finding 146 cases in six facilities. Gordon said, "The numbers were so much higher than we were ever led to believe." (Julie Park)

Online free speech

JOSH WOLF


Even as he sits inside the Federal Correctional Institute in Dublin, where he’s been denied on-camera and in-person interviews, jailed freelance journalist Josh Wolf manages to get out the message. Last month Wolf, who is imprisoned for refusing to give up video outtakes of a July 2005 anarchist protest in the Mission that turned violent, earned a place in the Guinness World Records for being the journalist to have served the longest jail term in US history for resisting a subpoena.

His thoughts on the agenda behind his incarceration were read at press conferences that day, reminding everyone of the importance of a free press. Meanwhile, Wolf has managed to continue operating his blog, www.joshwolf.net, by sending letters to family, friends, and fellow journalists, including those at the Guardian.

Wolf has also managed to create two other Web sites: www.mediafreedoms.net, which supports journalists’ resistance to government pressure, and www.prisonblogs.net, which allows prisoners to air thoughts and grievances. If Wolf can do all this from behind bars, imagine what he’ll do when he finally gets out. As Wolf would say, if we could only speak to him without reserving a phone interview 48 hours in advance: "Free press? Then free Josh Wolf!" (Phelan)

Public official

JOHN SARSFIELD


As district attorney for San Benito County, John Sarsfield upset the political applecart when he tried to prosecute the County Board of Supervisors for ignoring the Brown Act’s prohibitions on private communication and consensus building among board members on matters that involved employment decisions, personnel appeals, contracting, and land use–growth control issues.

His decision didn’t sit well in a county where battles over the future of the land have spawned Los Valientes, a secret society that has targeted slow-growth advocates and anyone who gets in its way — including believers in open government. So the board retaliated by defunding Sarsfield’s office, forcing the DA to file for a temporary restraining order against the board, the county administrative officer, and the county auditor, a countermove that kept his office operating and the investigation alive — until he lost his reelection bid to the board’s chosen candidate in January 2006.

One of Los Valientes’s targets, Mandy Rose, a Sierra Club member and slow-growth advocate, recalled how people on the outside warned Sarsfield what he was up against, "but he insisted on working within the system. It was what he believed in. Someone even said he was a Boy Scout."

For his efforts, Sarsfield’s life was turned into a living hell that cost him his dogs, his marriage, and eventually his job. But now, with this award, he gets some small recognition for fighting the good fight. And he has also been appointed special assistant inspector general within the Office of the Inspector General by Gov. Arnold Schwarzenegger. (Phelan)

Special citations

LANCE WILLIAMS AND MARK FAINARU-WADA, SAN FRANCISCO CHRONICLE


Investigative reporter Lance Williams and sportswriter Mark Fainaru-Wada joined forces in 2003 to take on what became one of the biggest — and most controversial — local news stories of the past five years.

The investigation of the Burlingame-based Bay Area Laboratory Co-operative, better known as BALCO, and the larger scandal of widespread steroid use among baseball players was, the San Francisco Chronicle editors decided, too big for one reporter.

In fact, it turned out to be big enough for a series of stories, a book, and a legal battle that almost sent the two writers to federal prison. The duo admits today it was mostly the fear of getting scooped that drove them through the story’s dramatic rise.

"I’m a baseball fan in recovery," Williams told the Guardian. "I used to think I knew the sport. I didn’t have a clue about this stuff. I’m not kidding you. I had no idea how much a part of baseball steroids had become … that whole sort of seamy underside of the drug culture and the game. I just didn’t know it was like that, and I think most fans don’t either."

Although prosecutors seemed to be focusing on BALCO executives, everyone following the story wanted to know what witnesses — in this case top sports stars — told a federal grand jury investigating the company. The outfit had allegedly distributed undetectable steroids and other designer drugs to some of the world’s greatest athletes, including Giants slugger Barry Bonds, who is on his way to making history with a new home run record.

In 2003 the Chronicle published lurid details of the grand jury’s investigation based on notes Williams and Fainaru-Wada had obtained from court transcripts leaked by an anonymous source. Bonds denied knowingly taking any steroids, but prosecutors waved in the air documents allegedly confirming his regular use of substances banned by Major League Baseball.

Furious prosecutors launched an investigation into the leak of secret grand jury transcripts. The reporters were called on to testify but refused — and so joined two other reporters last year threatened with jail time for resisting subpoenas. A lawyer stepped forward last month and admitted leaking the documents, but Williams and Fainaru-Wada came dangerously close to landing in the same East Bay lockup where blogger Josh Wolf is held for refusing to cooperate with a federal grand jury.

The rash of recent attacks on reporters by federal prosecutors has First Amendment advocates up in arms. After all, no one’s going to leak crucial information if the courts can simply bulldoze the anonymity that journalists grant whistleblowers. Fainaru-Wada and Williams have since inspired a bipartisan proposal in Congress to protect journalists at the federal level (dozens of states already have variations of a shield law in place).

"People roll their eyes when you start talking about the First Amendment," Fainaru-Wada said. "But the First Amendment is not about the press, it’s about the public."

In addition to the James Madison Freedom of Information Award, Williams and Fainaru-Wada’s coverage of the BALCO stories earned them the prestigious George Polk Award. But the story took a dark, unexpected turn last month.

Defense attorney Troy Hellerman, who represented one of the BALCO executives, pleaded guilty Feb. 15 to contempt of court and obstruction of justice charges and could serve up to two years in prison for admitting he twice allowed Fainaru-Wada to take notes from the grand jury’s sealed transcripts.

Just as he was spilling details in 2004, Hellerman demanded that a judge dismiss charges against his client, complaining that the leaks prevented a fair trial. He even blamed the leaks on prosecutors. A deputy attorney general called the moves "an especially cynical abuse of our system of justice."

Media critics lashed out at Williams and Fainaru-Wada for exploiting the leaks before and after Hellerman moved for a dismissal. Among those attacking the Chron reporters were Slate editor Jack Shafer and Tim Rutten at the LA Times, who described the conduct as "sleazy and contemptible."

Williams and Fainaru-Wada today still won’t discuss specifics about their sources, but Williams said without the leaks, names of the athletes involved would have otherwise been kept secret by the government even though the grand jury’s original BALCO investigation was complete.

"The witnesses didn’t have any expectation of privacy or secrecy of any kind," he said. "They were going to be trial witnesses. It was in that context that our reporting got under way. I am sensitive to the need of an investigative grand jury to remain secret. And I’m respectful in general of the government’s secrecy concerns. But it’s not the reporter’s job to enforce that stuff." (G.W. Schulz)

SARAH OLSON


When Oakland freelance writer and radio journalist Sarah Olson stood up to the Army by resisting a subpoena to testify in the case of Iraq war resister First Lt. Ehren Watada, she faced felony charges as well as jail time. But Olson understood that testifying against a source would turn her into an investigative tool of the federal government and chill dissent nationwide. "When the government uses a journalist as its eyes and ears, no one is going to talk to that journalist anymore," Olson told the Guardian.

She also objected to journalists being asked to participate in the prosecution of free speech. "The problem I have with verifying the accuracy of my reporting is that in this case the Army has made speech a crime," Olson said. Watada, whom Olson interviewed, has been charged with missing a troop movement and conduct unbecoming an officer, because he publicly criticized President George W. Bush and his illegal Iraq War.

In the end, Army prosecutors dropped the subpoena once Watada agreed to stipulate that Olson’s reporting was accurate. Olson, for her part, attributes the dropping of the subpoena to the support she received from media groups, including the Society for Professional Journalists. (Phelan)

Student journalist

STAFF OF THE LOWELL


The 2006 school year got off to a rough start for Lowell High School, one of the top-ranked public high schools in the country and certainly San Francisco’s finest. The school’s award-winning student newspaper the Lowell was covering it all.

After the October issue went to press, the school’s two journalism classes, which are solely responsible for writing and editing content for the monthly paper, received a visit from the school’s interim principal, Amy Hansen. Though Hansen says there was no attempt to censor the paper and the classes agree that no prior review was requested when it appeared that the students would be covering some controversial stories, the principal questioned their motivations as journalists and asked them to consider a number of complicated scenarios designed to make them second-guess their roles as reporters. The principal told the student journalists they had a moral responsibility, not to turn out the news, but to turn in their sources and information.

In separate meetings with each journalism class, Hansen questioned them about when it was appropriate to lay aside the pen and paper in the name of the law. The students maintained that as journalists they are in the position to report what happens and not pass moral judgment. Additionally, their privileged position as information gatherers would be compromised if they revealed their sources.

The lectures from Hansen did not deter the journalism classes from their basic mission to cover school news as objectively and thoroughly as possible. Even when police were called in to question Megan Dickey, who was withholding the name of a source she’d used in a story about a tire slashing, she still refused to say what she knew. (Witherell)

Whistleblower

MARK KLEIN


Mark Klein knew there was something fishy going on when his boss at AT&T told him that a representative of the National Security Agency would be coming by to talk to one of the senior technicians. Klein was a union communications tech, one of the people who keep the phone company’s vast network going every day. The NSA visitor stopped by, and before long Klein learned that AT&T’s building on Folsom Street would have a private room that none of the union techs would be allowed to enter.

Klein kept his eyes open and learned enough from company memos to conclude that the government was using AT&T’s equipment to monitor the private communications of unsuspecting and mostly undeserving citizens. When he retired in May 2004, he took a stack of material with him — and when he read in the New York Times a year and half later that the NSA had indeed been spying on people, he decided to go public.

The 62-year-old East Bay resident had never been a whistleblower. "I didn’t even know where to begin," he told us. So he surfed the Web looking for civil liberties groups and wound up contacting the Electronic Frontier Foundation.

It was a perfect match: the EFF was about to file a landmark class-action lawsuit against AT&T charging the company with collaborating with the government to spy on ordinary citizens — and Klein’s evidence was a bombshell.

"Mark Klein is a true American hero," EFF lawyer Kurt Opsahl told us. "He has bravely come forward with information critical for proving AT&T’s involvement with the government’s invasive surveillance program."

Federal Judge Vaughn Walker has kept Klein’s written testimony under seal, but the EFF is trying to get it released to the public. The suit is moving forward. (Redmond)

SPJ-NorCal’s James Madison Awards dinner is March 13 at 5:30 p.m. at Biscuits and Blues, 401 Mason, SF. Tickets are $50 for members and $70 for the general public. For more information or to see if tickets are still available, contact Matthew Hirsch at (415) 749-5451 or mhirsch@alm.com.

James Madison Freedom of Information Award Winners

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The Society of Professional Journalists’ Northern California Chapter has been handing awards for 22 years to journalists, educators, public officials, and citizens who best exemplify the importance of open and accountable government and a free and diligent press. And every year the Guardian recognizes the winners and helps highlight the important issues that they raise for the Bay Area and beyond. Here are this year’s winners:

Norwin S. Yoffie Career Achievement Award

ROWLAND "REB" REBELE


Three few years ago the Oakland Unified School District announced that, due to budget constraints, it was shutting down all the student-run newspapers in the district. Rowland "Reb" Rebele lives in Aptos, but he read about the shutdown in a San Francisco Chronicle column.

He picked up the phone, made some calls, and found out the situation was desperate and how much money was needed. He then wrote a check sufficient to resurrect the student newspapers for a year. Then he kept on writing checks to keep the papers going last year and again this year. This was typical of Rebele. No one asked him for help. He received virtually no acknowledgment for his gift. But his timely action turned the lights back on for fledgling newspapers that were out of money and, it seemed, out of luck.

Rebele is a First Amendment mensch (a description that James Madison, had he any familiarity with Yiddish, would have approved of). In his half century of publishing community newspapers that he owned and operated in Coalinga, Chula Vista, and Paradise in California and across the country, he was energetic, inspiring, and devoted to his readers and his communities, and a demon in pushing for open government and accountability. He pursued the same policies as a stalwart for half a century in the California Newspaper Publishers Association and as an activist president who brought key reforms and exceptional leaders to the organization.

Rebele has been a director of the California First Amendment Coalition for a decade. He quickly became the one truly indispensable member of the organization, pushing it, pulling it, holding it together, and cajoling it to broaden its activities because he felt the organization and its mission were vital.

He has also launched an innovative internship program at Stanford University. Rather than just give money to the school, he and his wife, Pat, created a program that has enabled dozens of students to get hands-on experience writing for real newspapers in California. Quietly and selflessly, Rebele has spent his newspaper career fighting the good fight for First Amendment and public interest principles. (Bruce B. Brugmann)

Beverly Kees Educator Award

ROBERT OVETZ


Art Institute of San Francisco instructor Robert Ovetz was fired after he criticized the administration for confiscating a magazine his students produced for his class last December.

Ovetz, who had taught at the institute for three years, told his students to create a "culturally critical" magazine as their final project for a cultural studies class he taught last fall. They produced a 36-page zine called Mute/Off.

Less than 24 hours after he and students distributed 500 copies of the magazine, which Ovetz printed with the institute’s copy machine, most were gone. Ovetz initially attributed their disappearance to popularity, but he soon learned from students that the administration of the school, which was purchased by Goldman Sachs and General Electric last year, had removed them from its campuses and even literally pulled them out of students’ hands.

"This is an example of how a corporation is not held accountable for upholding basic constitutional rights [to] free speech. This is a private company that’s operating as an institution of higher learning," Ovetz told the Guardian. "Its only interest is its bottom line, and its bottom line is profit."

Ovetz complained to the administration about vioutf8g the students’ freedom of speech and received his pink slip Dec. 20, 2006. Dean of Academic Affairs Caren Meghreblian told Ovetz the magazine possibly violated copyright law by reproducing corporate logos without permission and had grammatical errors. She also said a story in the magazine called "Homicide," about three white kids playing a video game as black gangsters, might be racist.

After Ovetz and students complained and the media reported the story, the administration allowed students to redistribute the magazines, but it still refuses to give Ovetz his job back. (Chris Albon)

To size up the magazine yourself, visit www.brandedmonkey.com/muteOffLowRes.pdf.

Citizen

RYAN MCKEE


The object of the California Public Records Act is to ensure the people’s right to know how their state and local governments are functioning. Newspapers are often the entities that test the limits and loopholes of the law. But in January 2006 an 18-year-old college student, Ryan McKee, undertook an audit of each of the 31 California state agencies that was the first of its kind. McKee tested how these agencies, which he personally visited, responded to simple requests to view and get copies of readily available public documents. The results revealed a disturbing pattern. Several agencies performed miserably, including the Department of Justice, which counsels and represents many other state agencies on the Public Records Act, and all of the agencies violated at least one aspect of the law. Common problems included asking for identification, making illegal charges, and taking longer than allowed to release information. McKee undertook the audit while volunteering for Californians Aware, a nonprofit where his father, Richard McKee, is president. A copy of the audit, including its results and grades, was sent to each agency to help it better understand and adjust to its responsibilities. (Sarah Phelan)

Journalists

MICHELE MARCUCCI AND REBECCA VESELY, ANG NEWSPAPERS


ANG Newspapers regional reporters Rebecca Vesely and Michele Marcucci are being honored for the series "Broken Homes" and their unflinching pursuit of public records that exposed negligent care administered to people with autism and other forms developmental disabilities. The series highlighted problems ranging from a lack of proper supervision to unlicensed officials working at health care facilities. Some of these offenses were then linked to patient deaths.

The award recognizes the daunting and tedious task that befell the journalists: 15 months of scouring thousands of hard-copy papers from dozens of sources that included licensing agencies, multiple law enforcement bureaus, and coroner’s offices. The results were entered into a database and cross-checked against other sources of information.

"It’s not like we work at the New York Times, where you can lock yourself in a room for a year. This is one-stop shopping here," Marcucci told the Guardian, noting that both reporters continued their daily beats while working on the project. The series was well received and helped prompt state officials to reinstate inspections of licensed facilities that had been eliminated due to budget cuts. (Christopher Jasmin)

ANDREW MCINTOSH AND JOHN HILL, SACRAMENTO BEE


Two reporters from the Sacramento Bee, Andrew McIntosh and John Hill, get Freedom of Information props for exposing the cronyism and the corruption of the California Highway Patrol.

The two wrote a series of articles detailing how the CHP violated state and department regulations in awarding contracts for items ranging from pistols to helicopters.

"The CHP spends hundreds of millions of dollars each year on equipment and goods," McIntosh told the Guardian. "That’s taxpayer money."

McIntosh said he and Hill took a systematic look at the department’s bidding process and found it was not competitive. The investigation led to the suspension of one officer, Gregory Williams, who the reporters found had awarded $600,000 worth of contracts to his daughter’s company for license plate scanning devices, $500,000 of which was canceled after the reporters exposed the scandal.

The reporters also found the CHP, which controls signature gathering at the Department of Motor Vehicles and other state buildings, denied more than 100 applications for permission to register voters or solicit signatures. Other stories pushed Senate majority leader Gloria Romero and Assemblymember Bonnie Garcia to call for a state audit of the CHP.

McIntosh told us the investigation showed "the CHP is not above public scrutiny or the law when it comes to business dealings." (Albon)

MEERA PAL, CONTRA COSTA TIMES


A good mayoral race isn’t really fun unless a bit of scandal emerges, like it did in Pleasanton two weeks before the November 2006 election.

Meera Pal decided to research the roots of a story that was handed to her by city council member Steve Brozosky, who was challenging incumbent mayor Jennifer Hosterman. Brozosky gave Pal e-mails his campaign treasurer obtained through open-records laws that showed Hosterman may have used her city e-mail account to solicit campaign donations and endorsements, a violation of state law.

But Pal went beyond Brozosky’s story and submitted her own public records requests for the city e-mail account of the mayor, as well as a year’s worth of e-mail from Brozosky and the three other council members.

Pal’s public records request revealed that Brozosky’s inbox was completely void of any e-mail, something neither he nor the city’s IT manager could explain. Brozosky is a computer expert who runs a company that vends city Web site software, so his technical expertise made the situation even more suspicious.

Investigations revealed it was just a setting on his computer that was inadvertently scrubbing the e-mail from the city’s server. Though both violations aren’t necessarily serious crimes, the race was close enough that dirt on either side could have had a profound impact on the outcome, and the results show 68,000 voters who were truly torn during the last two weeks before election day while Pal was reporting these stories. Hosterman eventually won by just 188 votes. (Amanda Witherell)

SUSAN SWARD, BILL WALLACE, ELIZABETH FERNANDEZ, AND SETH ROSENFELD, SAN FRANCISCO CHRONICLE


In the wake of 2003’s so-called Fajitagate police scandal — in which San Francisco officer Alex Fagan Jr. and others were accused of assaulting and then covering up their alleged vicious beating of innocent citizens — the San Francisco Chronicle uncovered records showing that Fagan’s short history on the force was marked by regular incidents of abusive behavior, the kind of records that should have served as a warning for the problems to come.

"We decided to take a look to see how common it was. And we spent a lot of time doing that," Steve Cook, the Chronicle editor of what became last year’s five-part "Use of Force" series, told the Guardian. The team used the Sunshine Ordinance to gather boxloads of records on use-of-force incidents, which it organized into a database that was then supplemented and cross-referenced with a wide variety of other public records, along with old-fashioned shoe leather reporting, all the while fighting through bureaucratic denials and delays.

Despite an embarrassing mislabeled photo on the first day of the series that served as fodder for attacks by the Police Department and Mayor’s Office, the series made clear that rogue cops were abusing their authority, totally unchecked by their supervisors. "We were proud of what we were able to show," Cook said. "We showed a department in need of some basic reforms."

The series helped spur the early intervention system that was recently approved by the Police Commission. It’s a good first step, but one criticized by the Chron and the Guardian for failing to include some key indicators used in other cities (see our editorial "Fix Early Warning for Cops," 2/28/07), something that Cook said requires ongoing vigilance by the press, to bring about needed reforms: "Only the news media is really going to accomplish this, if they stay with the story." (Steven T. Jones)

Legal counsel

DAVID GREENE


The First Amendment was never about money. Free speech is supposed to be free. But these days threats to the First Amendment are growing, more and more people who lack the resources of a major media outlet are in need of help — and there aren’t many places dedicated to offering that assistance, free.

That’s where David Greene and the First Amendment Project come in.

Since 1999, as a staff attorney and executive director, Greene has helped dozens of freelance journalists, students, nonprofit organizations, and independent media outlets protect and expand their free speech and open government rights.

The operation he runs is totally independent. That’s a key point in an era of massive media consolidation: when the Guardian sought earlier this year to find legal representation to force open the key records in a lawsuit over Dean Singleton’s local newspaper merger, we found that just about every local media law firm represented at least one of the parties to the case and thus was conflicted. The FAP was not.

Greene and the FAP have represented blogger Josh Wolf and freelancer Sarah Olson in landmark subpoena cases. Greene, with the American Civil Liberties Union of Northern California, wrote the amicus brief on behalf of noted literary artists in the California Supreme Court case In re George T., in which the court, relying heavily on the FAP brief, overturned the conviction of a juvenile who made threats to other students with a poem. And the struggle just goes on. The FAP is funded largely by private donations and always needs additional support.

"Unfortunately," Greene told us, "we have to turn away a lot more cases than we can take." (Tim Redmond)

News media

SAN JOSE MERCURY NEWS


After years of last-minute backroom deals at San Jose’s City Hall, things came to a head when the City Council rubber-stamped proposals to give a $4 million subsidy to the San Jose Grand Prix, $80 million for a stadium to keep the Earthquake soccer team from leaving town, and $45 million for new City Hall furniture.

Clearly, something had to give. But it was left to San Jose Mercury News editorial writers to push for transparent and accessible government and better enforcement of the state’s open government laws.

First they shamed the city, pointing out that "San Francisco, Oakland, even Milpitas have better public-access laws." Next they hammered then-mayor Ron Gonzales for saying that calls for more open government were "a bunch of nonsense." Then they printed guiding principles for a proposed sunshine ordinance that they’d developed in conjunction with the League of Women Voters and Mercury News attorney James Chadwick.

When city council member Chuck Reed was elected mayor on a platform of open government reforms, the paper still didn’t give up. Instead, it’s continuing to champion the need to bring more sunshine to San Jose and working with a community task force on breaking new ground, such as taping closed sessions so they can one day be made available when there’s no further need for secrecy.

Somehow the Merc also managed to pull off another amazing feat: the paper built public understanding of and support for sunshine along the way. (Phelan)

SAN MATEO COUNTY TIMES


When outbreaks of the highly contagious norovirus sprang up in a number of California counties, San Mateo County was among those hit. Public health officials, however, would not release the names of the facilities where numerous individuals became infected, citing concerns about privacy and not wanting to discourage facility managers from contacting health officials.

Nonetheless, the San Mateo County Times ran a series of reports on the outbreaks in the named and unnamed facilities. After publishing reports on unnamed facilities, the news staff began to receive phone calls from residents who wanted to know the names of the facilities. Times reporter Rebekah Gordon told us it became clear that the public wanted to know this information, and the paper fought the county’s secrecy.

Gordon learned that facilities are required by law to report outbreaks, regardless of the potential for media exposure. Times attorney Duffy Carolan sought out and won the disclosure of the names of four facilities.

"The county’s initial nondisclosure decision evoked public policy and public safety concerns at a very broad level, and nondisclosure would have had a very profound effect on the public’s ability to obtain information that affects their own health and safety. By persisting in the face of secrecy, the Times was able to establish a precedent and practice that will well serve to inform their readers in the future," Carolan told us.

The paper learned the outbreak was far more widespread than the county had admitted, finding 146 cases in six facilities. Gordon said, "The numbers were so much higher than we were ever led to believe." (Julie Park)

Online free speech

JOSH WOLF


Even as he sits inside the Federal Correctional Institute in Dublin, where he’s been denied on-camera and in-person interviews, jailed freelance journalist Josh Wolf manages to get out the message. Last month Wolf, who is imprisoned for refusing to give up video outtakes of a July 2005 anarchist protest in the Mission that turned violent, earned a place in the Guinness World Records for being the journalist to have served the longest jail term in US history for resisting a subpoena.

His thoughts on the agenda behind his incarceration were read at press conferences that day, reminding everyone of the importance of a free press. Meanwhile, Wolf has managed to continue operating his blog, www.joshwolf.net, by sending letters to family, friends, and fellow journalists, including those at the Guardian.

Wolf has also managed to create two other Web sites: www.mediafreedoms.net, which supports journalists’ resistance to government pressure, and www.prisonblogs.net, which allows prisoners to air thoughts and grievances. If Wolf can do all this from behind bars, imagine what he’ll do when he finally gets out. As Wolf would say, if we could only speak to him without reserving a phone interview 48 hours in advance: "Free press? Then free Josh Wolf!" (Phelan)

Public official

JOHN SARSFIELD


As district attorney for San Benito County, John Sarsfield upset the political applecart when he tried to prosecute the County Board of Supervisors for ignoring the Brown Act’s prohibitions on private communication and consensus building among board members on matters that involved employment decisions, personnel appeals, contracting, and land use–growth control issues.

His decision didn’t sit well in a county where battles over the future of the land have spawned Los Valientes, a secret society that has targeted slow-growth advocates and anyone who gets in its way — including believers in open government. So the board retaliated by defunding Sarsfield’s office, forcing the DA to file for a temporary restraining order against the board, the county administrative officer, and the county auditor, a countermove that kept his office operating and the investigation alive — until he lost his reelection bid to the board’s chosen candidate in January 2006.

One of Los Valientes’s targets, Mandy Rose, a Sierra Club member and slow-growth advocate, recalled how people on the outside warned Sarsfield what he was up against, "but he insisted on working within the system. It was what he believed in. Someone even said he was a Boy Scout."

For his efforts, Sarsfield’s life was turned into a living hell that cost him his dogs, his marriage, and eventually his job. But now, with this award, he gets some small recognition for fighting the good fight. And he has also been appointed special assistant inspector general within the Office of the Inspector General by Gov. Arnold Schwarzenegger. (Phelan)

Special citations

LANCE WILLIAMS AND MARK FAINARU-WADA, SAN FRANCISCO CHRONICLE


Investigative reporter Lance Williams and sportswriter Mark Fainaru-Wada joined forces in 2003 to take on what became one of the biggest — and most controversial — local news stories of the past five years.

The investigation of the Burlingame-based Bay Area Laboratory Co-operative, better known as BALCO, and the larger scandal of widespread steroid use among baseball players was, the San Francisco Chronicle editors decided, too big for one reporter.

In fact, it turned out to be big enough for a series of stories, a book, and a legal battle that almost sent the two writers to federal prison. The duo admits today it was mostly the fear of getting scooped that drove them through the story’s dramatic rise.

"I’m a baseball fan in recovery," Williams told the Guardian. "I used to think I knew the sport. I didn’t have a clue about this stuff. I’m not kidding you. I had no idea how much a part of baseball steroids had become … that whole sort of seamy underside of the drug culture and the game. I just didn’t know it was like that, and I think most fans don’t either."

Although prosecutors seemed to be focusing on BALCO executives, everyone following the story wanted to know what witnesses — in this case top sports stars — told a federal grand jury investigating the company. The outfit had allegedly distributed undetectable steroids and other designer drugs to some of the world’s greatest athletes, including Giants slugger Barry Bonds, who is on his way to making history with a new home run record.

In 2003 the Chronicle published lurid details of the grand jury’s investigation based on notes Williams and Fainaru-Wada had obtained from court transcripts leaked by an anonymous source. Bonds denied knowingly taking any steroids, but prosecutors waved in the air documents allegedly confirming his regular use of substances banned by Major League Baseball.

Furious prosecutors launched an investigation into the leak of secret grand jury transcripts. The reporters were called on to testify but refused — and so joined two other reporters last year threatened with jail time for resisting subpoenas. A lawyer stepped forward last month and admitted leaking the documents, but Williams and Fainaru-Wada came dangerously close to landing in the same East Bay lockup where blogger Josh Wolf is held for refusing to cooperate with a federal grand jury.

The rash of recent attacks on reporters by federal prosecutors has First Amendment advocates up in arms. After all, no one’s going to leak crucial information if the courts can simply bulldoze the anonymity that journalists grant whistleblowers. Fainaru-Wada and Williams have since inspired a bipartisan proposal in Congress to protect journalists at the federal level (dozens of states already have variations of a shield law in place).

"People roll their eyes when you start talking about the First Amendment," Fainaru-Wada said. "But the First Amendment is not about the press, it’s about the public."

In addition to the James Madison Freedom of Information Award, Williams and Fainaru-Wada’s coverage of the BALCO stories earned them the prestigious George Polk Award. But the story took a dark, unexpected turn last month.

Defense attorney Troy Hellerman, who represented one of the BALCO executives, pleaded guilty Feb. 15 to contempt of court and obstruction of justice charges and could serve up to two years in prison for admitting he twice allowed Fainaru-Wada to take notes from the grand jury’s sealed transcripts.

Just as he was spilling details in 2004, Hellerman demanded that a judge dismiss charges against his client, complaining that the leaks prevented a fair trial. He even blamed the leaks on prosecutors. A deputy attorney general called the moves "an especially cynical abuse of our system of justice."

Media critics lashed out at Williams and Fainaru-Wada for exploiting the leaks before and after Hellerman moved for a dismissal. Among those attacking the Chron reporters were Slate editor Jack Shafer and Tim Rutten at the LA Times, who described the conduct as "sleazy and contemptible."

Williams and Fainaru-Wada today still won’t discuss specifics about their sources, but Williams said without the leaks, names of the athletes involved would have otherwise been kept secret by the government even though the grand jury’s original BALCO investigation was complete.

"The witnesses didn’t have any expectation of privacy or secrecy of any kind," he said. "They were going to be trial witnesses. It was in that context that our reporting got under way. I am sensitive to the need of an investigative grand jury to remain secret. And I’m respectful in general of the government’s secrecy concerns. But it’s not the reporter’s job to enforce that stuff." (G.W. Schulz)

SARAH OLSON


When Oakland freelance writer and radio journalist Sarah Olson stood up to the Army by resisting a subpoena to testify in the case of Iraq war resister First Lt. Ehren Watada, she faced felony charges as well as jail time. But Olson understood that testifying against a source would turn her into an investigative tool of the federal government and chill dissent nationwide. "When the government uses a journalist as its eyes and ears, no one is going to talk to that journalist anymore," Olson told the Guardian.

She also objected to journalists being asked to participate in the prosecution of free speech. "The problem I have with verifying the accuracy of my reporting is that in this case the Army has made speech a crime," Olson said. Watada, whom Olson interviewed, has been charged with missing a troop movement and conduct unbecoming an officer, because he publicly criticized President George W. Bush and his illegal Iraq War.

In the end, Army prosecutors dropped the subpoena once Watada agreed to stipulate that Olson’s reporting was accurate. Olson, for her part, attributes the dropping of the subpoena to the support she received from media groups, including the Society for Professional Journalists. (Phelan)

Student journalist

STAFF OF THE LOWELL


The 2006 school year got off to a rough start for Lowell High School, one of the top-ranked public high schools in the country and certainly San Francisco’s finest. The school’s award-winning student newspaper the Lowell was covering it all.

After the October issue went to press, the school’s two journalism classes, which are solely responsible for writing and editing content for the monthly paper, received a visit from the school’s interim principal, Amy Hansen. Though Hansen says there was no attempt to censor the paper and the classes agree that no prior review was requested when it appeared that the students would be covering some controversial stories, the principal questioned their motivations as journalists and asked them to consider a number of complicated scenarios designed to make them second-guess their roles as reporters. The principal told the student journalists they had a moral responsibility, not to turn out the news, but to turn in their sources and information.

In separate meetings with each journalism class, Hansen questioned them about when it was appropriate to lay aside the pen and paper in the name of the law. The students maintained that as journalists they are in the position to report what happens and not pass moral judgment. Additionally, their privileged position as information gatherers would be compromised if they revealed their sources.

The lectures from Hansen did not deter the journalism classes from their basic mission to cover school news as objectively and thoroughly as possible. Even when police were called in to question Megan Dickey, who was withholding the name of a source she’d used in a story about a tire slashing, she still refused to say what she knew. (Witherell)

Whistleblower

MARK KLEIN


Mark Klein knew there was something fishy going on when his boss at AT&T told him that a representative of the National Security Agency would be coming by to talk to one of the senior technicians. Klein was a union communications tech, one of the people who keep the phone company’s vast network going every day. The NSA visitor stopped by, and before long Klein learned that AT&T’s building on Folsom Street would have a private room that none of the union techs would be allowed to enter.

Klein kept his eyes open and learned enough from company memos to conclude that the government was using AT&T’s equipment to monitor the private communications of unsuspecting and mostly undeserving citizens. When he retired in May 2004, he took a stack of material with him — and when he read in the New York Times a year and half later that the NSA had indeed been spying on people, he decided to go public.

The 62-year-old East Bay resident had never been a whistleblower. "I didn’t even know where to begin," he told us. So he surfed the Web looking for civil liberties groups and wound up contacting the Electronic Frontier Foundation.

It was a perfect match: the EFF was about to file a landmark class-action lawsuit against AT&T charging the company with collaborating with the government to spy on ordinary citizens — and Klein’s evidence was a bombshell.

"Mark Klein is a true American hero," EFF lawyer Kurt Opsahl told us. "He has bravely come forward with information critical for proving AT&T’s involvement with the government’s invasive surveillance program."

Federal Judge Vaughn Walker has kept Klein’s written testimony under seal, but the EFF is trying to get it released to the public. The suit is moving forward. (Redmond)

SPJ-NorCal’s James Madison Awards dinner is March 13 at 5:30 p.m. at Biscuits and Blues, 401 Mason, SF. Tickets are $50 for members and $70 for the general public. For more information or to see if tickets are still available, contact Matthew Hirsch at (415) 749-5451 or mhirsch@alm.com.

An evening of esoteric indie rock

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So there’s this guy named Tommy Lee. Maybe you’ve heard of him? Played drums in a little-known rock band? Married some blonde in a red bathing suit? Starred in a salacious home video? Well, apparently this obscure musician is still making his art in the small, private, cult-following-type venues he’s become accustomed to (like Oakland’s Oracle Arena, on two different reality shows, and in a book he’s co-writing, among about a dozen other gigs).

And because I’m on the inside of the indie scene, with my ear to the ground and finger on the pulse and my nose buried deep in music mags you’ve never heard of, I caught wind of Mr. Lee’s recent appearance in the Bay Area. Not only caught wind, mind you, but rode that wind all the way to the stage and then behind it, where I watched this lean, muscled, tattooed, talented, teenager-in-a-man’s-body (If only he could be saved from his obscurity so the rest of the world could appreciate his crush-worthiness…) wail away on the drums while his friends from other little known bands (Guns N Roses, anyone? Black Crowes? Nah, I haven’t heard of ’em either…) and a guy they found on a TV show played along in their tiny garage band named Rockstar Supernova .

Now’s probably the part where I should review the show, but thanks to appropriately rockstar amounts of beer and Jagermeister that took me a week to recover from (and therefore that long to write about it), you’ve probably already read about the show somewhere else. And considering that I met (and liked) the fantastic Mr. Lee before he went on stage, I’m not exactly an unbiased observer anyway.

Instead? Look at some pictures from the Rockstar Supernova show on Thursday, February 22 (with Juke Cartel, fronted by Rockstar Supernova reality show runner-up Toby Rand, and Panic Channel, featuring Dave Navarro):

Lukas Rossi, the former Hooter’s cook from Canada who won the reality show contest and now fronts Rockstar Supernova
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Tommy Lee on keyboards during a cover of The Verve’s Bittersweet Symphony

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The encore, a cover of Prince’s Purple Rain, climaxes with – what else? – a rain storm of purple confetti
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(Molly Freedenberg)

Pinkos, painters, and pansies

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› marke@sfbg.com

REVIEW Los Angeles has lately become quite a hot spot for queer studies scholars, their investigations slipping out of the Hollywood Babylon mode of starstruck speculation and into the lives of everyday Angelenos. In the wake of Lillian Faderman and Stuart Timmons’s well-received 2006 volume, Gay L.A.: A History of Sexual Outlaws, Power Politics, and Lipstick Lesbians (Basic Books), comes Daniel Hurewitz’s Bohemian Los Angeles and the Making of Modern Politics, an ambitious, fascinating attempt to show how Communists, postsurrealist artists, civil rights activists, and pre-gay "fairies" converged in the crucible of early 20th-century Silver Lake — then called Edendale — to create the modern notion of identity, in particular queer identity.

Bohemian Los Angeles is bookended by two extraordinary characters who made their home in Edendale: lauded vaudeville female impersonator Julian Eltinge and gay-rights giant Harry Hay. Both of these men had sex with other men, but they couldn’t have been more distant in their conception of their own identity. The idea of gayness, or the notion of a true inner self that relied on sexuality to achieve its public expression, was as alien to Eltinge and his time (the 1910s) as Grand Theft Auto. Despite the expensive stage gowns and fellatio, the otherwise macho Eltinge was enraged by the showy "cissies," dandies, and fairies who claimed to have "woman’s blood in them" and made up much of his fan base. For him and other prominent male-on-males, homosexuality was a private act that needed no community or publicity to ensure its satisfaction. Hay, who came to prominence 40 years later as the first official gay activist, was a different fish entirely. His Mattachine Society insisted that homosexuality was an underlying impulse knitting everyone who was "that way" into a kinship with a shared cause: civil rights.

Hurewitz’s project is to trace how Eltinge’s view gave way to Hay’s, how activity was transformed into identity and gay pride was born. To do this, he recounts the history of Edendale as one of transformative communities, paying close attention to the artists who gathered around guru Jack Zeitlin in the late 1920s and began exploring the idea of an inner essence that could be communicated through the arts. He looks at members of the Communist Party of Los Angeles who experimented in communal living in Edendale in the 1930s and, in the wake of World War II’s Zoot Suit Riots and Japanese internments, agitated for a notion of civil rights based on ethnic identity. And he tracks the growth of homosexual networks in LA, the prototypes of a community based on sexual desire.

All of these bohemian groups, Hurewitz argues, laid the groundwork for Hay’s and others’ ultimate politicization, their embrace of a sexual inner essence worthy of public declaration. A further inspiration was the steep uptick in homosexual arrests in the 1920s, as the city’s politicos seized on the notion of "degeneracy" as a moral-panic strategy. (One of Hurewitz’s fabulous insights is that the idea of degeneracy was once embraced by some homosexual men as a way to divorce their actions from their character.)

Many gays today feel exhausted by identity politics yet trapped in a ghetto of conformist sexual expression. Refreshingly, this sharply written, well-researched history brings to light some of the magically diverse, willfully perverse, and politically immersed foundations of who we are now. *

BOHEMIAN LOS ANGELES AND THE MAKING OF MODERN POLITICS

By Daniel Hurewitz

University of California Press

377 pages

$29.95

>

It came from San Francisco

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› a&eletters@sfbg.com

Crazed sea lizard terrorizes Seoul! US military negligence spawns bloodthirsty mutant! Breaking news: beast came from San Francisco!

South Korean director Bong Joon-ho’s The Host is just a movie, so the red, white, and blue can’t really be blamed for unleashing a monster on his country’s populace. But Bong’s beast came to life in a part of San Francisco steeped in military history. Tucked away in the Presidio, amid old army barracks, tree-lined drives, and cutting-edge nonprofit facilities is the Orphanage, an upstart special effects company aiming to shape the future of film.

The Orphanage already had a number of high-profile projects under its belt when it eagerly took on The Host. It ended up with its defining achievement to date. When New York Times critic Manohla Dargis, writing from last year’s Cannes Film Festival, called Bong’s movie "the best film I’ve seen at this year’s [festival]," it quickly became the subject of rapturous buzz from all corners: erudite cinema journals, mainstream magazines, and blogs. One of the most consistent subjects of praise has been the movie’s creature. The horror site Bloody Disgusting calls its design "the most astounding part of the film … remarkable and incredibly ambitious … a cross between a dinosaur, a tremor, and a giant squid with giant teeth." Another site describes it as "some kind of aqua-lizard thing that looks as real as anything else in the frame." Bong deserves much of this praise, but he couldn’t have gotten it without the Orphanage, which has joined the long line of important F/X names to emerge from the Bay Area.

When George Lucas moved his F/X company, Industrial Light and Magic (ILM), to Marin in 1980, he made the Bay Area ground zero for film’s technological advances. Pixar and DreamWorks Animation SKG also call the region home, with home bases in Emeryville and Redwood City, respectively. Lucas relocated ILM to the Presidio in 1995, erecting a statue of Yoda to watch over the campus. Though meant to symbolize Lucas’s venerable legacy as an innovator and a maverick, the statue now carries connotations of a different sort: that of an elder accessible only to a select few.

The Orphanage was born of this legacy. Jonathan Rothbart, Stuart Maschwitz, and Scott Stewart — all ILM veterans — founded the company in 1999, landing Brian de Palma’s Mission to Mars as their first feature project. The Orphanage has worked on several of the biggest box office successes of the past few years, including Pirates of the Caribbean: Dead Man’s Chest, Superman Returns, and Harry Potter and the Goblet of Fire. But its partnership with a director on the fringe of the mainstream, Robert Rodriguez, has been its most enduring. The F/X house has worked on three of his features, most notably the "Yellow Bastard" section of Sin City, and is currently finishing Grindhouse, the filmmaker’s collaboration with Quentin Tarantino.

It’s this sense of partnership that prepared the Orphanage for its collaboration with Bong on The Host. Based on the success of his playfully wry 2003 thriller, Memories of Murder, the director received $10 million to make The Host, a budget quite large by Korean standards but extremely modest by Hollywood’s. Unschooled in CGI but knowing he needed animators, he shopped the film around to a number of companies. "Director Bong didn’t choose the Orphanage because of our creature experience; we didn’t really have a whole lot — almost none at all," Arin Finger, the film’s visual F/X producer, says. "[He] approached houses like ILM and the big giants, but what they were going to charge was way out of his budget" — Bong and his producers spent $3 million on the effects for the film — "so it was a great opportunity for us."

The Host is many things: a comedy-drama about a fractured family brought together by catastrophe, a political critique, a horror movie, a revenge tale. But above all it’s about a monster — and quite a monster. Equally capable of frightening grace and endearing clumsiness, the creature and its parts don’t resemble anything in the animal kingdom so much as everything in the animal kingdom: reptile, amphibian, fish, worm, monkey, and at least one bit of human anatomy. Having just dabbled in small-scale creature work with films such as Hellboy and Jeepers Creepers 2, the Orphanage accepted a daunting task when it agreed to animate Bong’s monster, the main character of his film. "We were kind of looking at this project as one where [we] could really develop a creature department," sequence supervisor Brian Kulig says. "On top of that, the creature is running around in darkness, in broad daylight, it’s on fire, it’s drooling, it’s in the rain, it’s swimming. Everything that could possibly happen to this creature pretty much did."

As Finger, Kulig, and fellow sequence supervisor Michael Spaw discuss their work on The Host, the interview site — a stately room just above the rest of the company’s creative team — gives a snapshot of the Orphanage in action. Its headquarters strongly resembles an older part of the Presidio’s history: an army intelligence bunker. Rows of people sit diligently at their computers, with only a sliver of natural light seeping through the occasional ground-level window. One gets the distinct impression that the company has expanded rapidly in recent years and may soon outgrow its home.

Much of this growth can be attributed to The Host and its creature team, whose mastermind was Kevin Rafferty, the visual F/X supervisor. Rafferty, another ILM veteran who has supervised the effects on numerous Hollywood blockbusters, spent much of The Host‘ s shoot on set with Bong and his crew. This level of on-set presence is rare in the F/X world, according to Finger, Kulig, and Spawall three of whom also logged hours in Seoul. Oftentimes, as Spaw put it, the F/X team "is only associated after principal photography is done, and you’re handed plates, and you make everything work. Actually being on set was an invaluable experience." When the trio speak about their time in Korea, they say Bong, the cast, and the crew were eager to collaborate, accessible and gracious in a way unknown in Hollywood, and game for whatever it took to capture a shot.

Having first dreamed up the idea for The Host in high school, Bong had the nature of his beast largely worked out in his head — a vision he articulated to the Orphanage during a two-week visit prior to the shoot. "Director Bong treated the creature like one of his actors. He worked with the animators one-on-one to dial in the expressions and emotions of the character," Finger says, the reference to "Director Bong" a sign of his and his cohorts’ reverence for the filmmaker. Spaw adds, "Director Bong made it clear to us that sure, you have this monster film, a horror film — or however you want to classify this rather interesting piece of cinema — but if you didn’t understand how [the creature] was thinking or how the real physical actors were reutf8g to it, it wouldn’t work."

For the movement of the monster, the Orphanage team used a variety of reference points, including Jurassic Park. But due to the unique nature of Bong’s creature, none was definitive. As Finger says, "You never see a dinosaur swinging by its tail." (The tail is one of the monster’s stronger physical traits, capable of grabbing people and allowing it to latch on to structures and hang in midair.)

Other touchstones in creating the monster — including walruses, crocodiles, and paraplegics — were less predictable. Footage of paraplegics in motion, for example, was useful because Bong and the Orphanage’s creation has just two legs at the very front of its long body. Though incredibly graceful in water, it is challenged on land, where it has a baby’s unpredictable sense of balance. "There is a shot when [it] is first kind of rampaging around in this park area along the Han River, and [it] stumbles and basically does a face-plant and kicks up some dust," Spaw says. "It’s great, really engaging the audience to believe that this thing is not perfect."

To create the CGI version of the monster, the Orphanage relied on a small clay model, or maquette, sculpted by the New Zealand F/X house Weta Digital (King Kong and the Lord of the Rings trilogy), which was constructed using a design that Bong commissioned from artist Chin Wei-chen. Bong had wanted the creature to be completely CGI, but when Rafferty realized there would be significant close-ups involving live actors and the creature, he petitioned for a live puppet as well.

Consequently, the Australian company John Cox Creature Workshop constructed a two-ton model of the beast’s head, a particularly complex piece of art. While the head as a whole resembles a nasty fish, the open mouth is bizarre and unique, as if a vagina had sprouted leathery butterfly wings adorned with spikes. The Orphanage had to adapt its animation to the Cox model, ensuring that the digital monster’s movements and characteristics matched those of the puppet. "We had to cater the animation process, which we normally don’t do — like how the creature’s mouth opens and closes," Kulig says. "The mouth alone had so many intricate parts."

One possible reason for The Host‘s success is that the Orphanage and Bong’s South Korean crew routinely defied convention throughout their collaboration. "It was amazing to watch how Director Bong’s mind worked," Kulig says. "He would react to CGI footage we already had and shoot all these shots that weren’t on the schedule. None of us could figure out what he was doing. But when we showed up the next day and saw the footage edited, it worked beautifully."

Constantly interacting with the Orphanage representatives on set, Bong also recorded daily videos for the SF team in which he critiqued footage projected on a wall behind him. He was adamant that the creature look ungainly and act awkwardly — like, as Kulig puts it, a "fish out of water." Both despite and because of its clumsiness, the creature wreaks considerable havoc on the residents of Seoul and, in particular, a few of the film’s main characters. In some cases the violence proved too great to use actual people. For these shots the Orphanage employed what it calls "digital doubles," or animated versions of the actors. But whenever possible Bong used his cast, who gamely submitted to a variety of miserable scenarios, including being pummeled by cushion-wielding men (stand-ins for the creature) and getting repeatedly dragged through the Han River.

As the South Korean film industry’s cachet has risen worldwide, coproductions with other countries have become more commonplace. The Host, the first major F/X film in Korean history, is also the first to employ a company with strong ties to Hollywood. Finger, Kulig, and Spaw describe an on-set camaraderie in which everyone was both intensely hardworking and jovial. "The opportunity to work with pretty much the most famous Korean actors out there was amazing," Finger says. "On a typical US blockbuster movie, that never happens — the actors are in their trailer and they’re off. We were drinking and singing karaoke with these guys after the shoot, and the director [and crew] as well."

At the center of everything, confident in his vision but eager to use the expertise of others, was Bong. F/X people are used to playing a secondary role as, to paraphrase Spaw, service providers whose job is to make pixels. But on this occasion, the Orphanage’s experience was different. "Every now and then, you have the opportunity to work in service of a great piece of art [that] wouldn’t be the same without your contribution," Spaw says. "That’s why you look to work with someone like Director Bong. Both sides have gotten something truly unique out of the experience." One unique reward: they’ve created the biggest box office hit ever in South Korea. Another: they’ve made a great movie that just might become a classic. *

More on The Host:

Cheryl Eddy’s review

Johnny Ray Huston on director Bong Joon-ho

A talk with Bong Joon-ho

Sorta, maybe an alcoholic

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› gwschulz@sfbg.com

To read about Delancey’s finances, click here.

What exactly is Gavin Newsom doing at Delancey Street?

It’s not counseling, we’re told. It’s not rehab. It’s not detox. It’s not a typical course of treatment at the storied $20 million nonprofit. So what is it beyond a reprieve from the otherwise ugly headlines?

Newsom isn’t talking much about his program. But some mental-health professionals are raising serious questions about his regimen.

San Francisco’s chief executive declared several weeks ago in a public announcement to all the city’s department heads that he was seeking a diluted version of rehab at Delancey Street.

That struck more than a few people as odd. Delancey Street doesn’t do part-time or outpatient treatment. It only takes clients who agree to a long-term, full-time residential program geared entirely toward hardcore alcoholics, drug addicts, and criminals.

It’s not, in other words, a place where someone in Newsom’s condition would typically seek help. And it’s not a place designed to alleviate a comparatively minor thirst for white wine.

The news certainly appalled Dee-Dee Stout.

Stout is a City College of San Francisco professor and an adjunct faculty member at San Francisco State University. It’s her job to train city employees working in any major capacity that involves medically treating alcohol and drug abuse, from San Francisco General Hospital to Community Behavioral Health Services to the Adult Probation Department.

Stout, a certified drug and alcohol counselor, told us friends who’d seen the headlines said, " ‘Oh god, Dee-Dee’s going to hit the roof on this one.’ And they were right."

She struggled to figure out how she could broach the subject to one of her classes at City College — but a student beat her to it, quickly pointing out that it was unethical for credentialed treatment specialists to counsel their close friends. The two-year recertification required of caseworkers in the city includes an ethics update, Stout said.

Delancey Street’s executive director, Mimi Silbert, has been Newsom’s friend since he was a child and knows his father well. Silbert, in fact, has openly discussed Newsom’s progress with the press, including the Guardian, while the mayor’s own ear-piercing silence on the matter enables him to appear repentant.

Stout decided to offer the student extra credit if he drafted a letter outlining the concerns of the class, which she had colleagues review before sending it along to the entire Board of Supervisors, the Mayor’s Office, and pretty much every major newspaper in town.

"This relationship is not acceptable under any applicable code of professional ethics," the letter states. Hardly anyone bothered to write back, save for the auto-response letters Stout received from Sophie Maxwell and the Mayor’s Office, plus a letter from Bevan Dufty urging Stout and her students to empathize with Gavin during this difficult time.

Silbert, for her part, told the Guardian that ethics weren’t a concern for her because Newsom wasn’t a full-tilt drunk and hadn’t submitted completely to a detailed treatment plan when he approached her for help.

"The mayor is not a drug addict," Silbert said. "That’s not what he was looking for…. Having stopped drinking, he wanted to take a look at himself. He drank what people would call ‘socially.’ I’ve seen other people when they stopped drinking — even people who didn’t need detox — and there were physical signs of problems. That’s not the shape the mayor was in."

The mayor is attending both group and solo counseling sessions after work each day, a schedule that Silbert told us is still ongoing.

Dannie Lee, a former Delancey Street resident we interviewed, said that during his own stay he attended group therapy three days a week and they were generally no-holds-barred sessions. Lee lived at Delancey Street for three and a half years after spending much of his adult life in California’s prison system. While the program ultimately worked for him, he insists, he’s skeptical that it could benefit anyone who’s trying to attend as an outpatient.

"Maybe it would be great if [Newsom] was actually there as a client or whatever to really sit in a circle and really share his stuff and listen to the group and let the group really attack," said the 49-year-old Lee, who today is one of Stout’s students. "That probably would be fine. But I don’t see that happening…. I think he would really have to tell things I don’t think he wants to tell."

Press accounts have depicted Delancey Street as an abrasive scrub brush for Newsom’s sinful indulgences. "No Nonsense: Toughness Key to Delancey Street, Silbert’s Success," a Chronicle headline announced Feb. 7. Silbert herself told the Guardian, "No one would come near us if they weren’t serious. I’m old, crotchety, and very direct. I have no time to waste."

That may be true — and it’s clear Delancey Street has had some remarkable success in treating people with severe self-destructive impulses.

San Francisco, on the other hand, years ago eschewed the sort of harsh treatment techniques that have made Delancey Street famous.

H. Westley Clark, director of the federal Center for Substance Abuse Treatment and a one-time clinical professor at the University of California at San Francisco, told us that federal mental-health bureaucrats are less inclined today to fund groups that use confrontational methods for treating clients.

Any local nonprofit agency that wants to provide help to substance abusers using city money must comply with San Francisco’s harm reduction policy, which discourages hostile interview techniques and was set in stone by the San Francisco Health Commission seven years ago.

The letter from Stout’s class points out that treatment professionals are moving away from tough-love verbal upbraids such as those employed by the Delancey Street model.

" ‘Attack therapy’ often involves yelling at patients who have, in our view, a medical condition…. While we realize that some patients are helped by strong, confrontational methods, we believe that an evidence-based approach offers more consistent successful results."

Silbert’s techniques may be controversial, but she does move easily among Democratic Party rainmakers and philanthropists. Delancey Street enjoys wide popularity with the likes of Robert Redford, Sen. Dianne Feinstein, the Washington-based Eisenhower Foundation, and executives at the Gap, Pottery Barn, and Bank of America.

Silbert said the mayor deserves credit for whatever help he chooses to pursue. Other prominent friends of Delancey Street have called her before when they needed to "tune themselves up."

"I would never choose to criticize other people’s approaches, so I’m sorry if people are criticizing ours," she said. "We work hard. We do our best…. I’m glad these people feel they have a definitive answer. I don’t, and I’ve been doing it for 35 years."

If Newsom, as Silbert says, isn’t a serious alcoholic, Delancey Street is a peculiar place for him to seek help.

Most people entering the program have hit rock bottom, a step away from death or lifelong incarceration. They’re one-time prostitutes, drug pushers, robbers, and ruthless bangers. Since the organization was formed in the 1970s, it claims to have transformed the lives of 14,000 people through vocational and education assistance in addition to group counseling.

Very few of those people come in for the sort of casual treatment Newsom is seeking. In fact, Delancey Street typically doesn’t accept anyone who isn’t planning on spending a couple years in residence.

Residents living at the Embarcadero Triangle provide labor for several businesses that buoy the nonprofit financially, from its famous Delancey Street Restaurant to a national moving and trucking service.

Newsom for the most part is refusing to answer questions about his now-public battle with booze.

But Stout suggests that Newsom, by allowing the entirety of his treatment to appear on a marquee, has brought the publicity on himself. "Frankly, I don’t think it’s any of our business if he goes to treatment," Stout said. "I wish he would have just quietly gone and did what he needed to do and said he just had some medical things he needed to take care of, period." *

Fix early warning for cops

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EDITORIAL The San Francisco Police Commission has finally approved a long-overdue plan to monitor problem cops — but the Police Officers Association managed to get it watered down to the point where it won’t be terribly effective. The whole sorry episode was an example of how the POA has been running roughshod over the Police Department and undermining even basic disciplinary procedures.

The commission has been talking about this for four years now, ever since the American Civil Liberties Union and the Controller’s Office released scathing reports outlining the city’s failure to monitor problem officers and identify cops who were prone to violent behavior.

The idea is simple (and it’s worked successfully in plenty of other cities): there are well-established patterns of behavior and performance signals that tend to be associated with police officers likely to get into trouble. The San Francisco system will track uses of force, citizen complaints, police-abuse lawsuits, officer-involved shootings, on-duty accidents, and vehicle pursuits and allow the department to do early intervention with any officer who seems to be developing violent or reckless behavior.

But that ignores two other key indicators — cases in which criminal charges are dismissed because of officer misconduct and cases in which the cops charge citizens with resisting arrest. If an officer is involved in an unusually large number of these sorts of cases, it’s a clear sign of potential trouble, Samuel Walker, a criminologist who’s a national expert on early-intervention systems, told the commission.

The POA, however, helped write the plan — and refused to allow those criteria to be included. The union also made sure that the tracking system can’t be used in considering whether an officer is promoted, disciplined, or allowed to train other cops. In other words, the Police Department can’t use its own data for what would seem to be standard management practices. In fact, POA officials threatened to sue the city if the commission made any effort to tighten the tracking program.

The system is hardly punitive to the cops. The first two times it triggers a red flag, the officer’s supervisor can use the information for closer monitoring — or can simply review the findings and determine there isn’t a real problem. Only after a third warning sign does the officer have to undergo counseling.

A good early-warning system can prevent police violence and abuse, and by weeding out problem officers before they do something that leads to a major lawsuit, it can save the city a lot of money. But the real point here is that the commission and the chief — not the police union — should be making decisions about management policy.

This program won’t go into effect until the end of the year; there’s still plenty of time for the commission to send it back for amendments without buckling to the demands of a rogue police union that has already done tremendous damage to the department’s reputation. Commissioner David Campos, to his credit, was the lone vote against it; the other members of the panel should follow his lead.*

NOISE: Grizzly good times

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Guardian contributor Chris Sabbath caught the Grizzly Bear show at Great American Music Hall on Feb. 20. Here’s his review:

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Upon purchasing Grizzly Bear’s first full-length, Horn of Plenty (Kanine), two years ago as one of those 99-cent treasures on Amazon.com or something, my immediate assumption was that Edward Droste and his Brooklyn buds would probably be one of those hyped bands that just didn’t work out. I wrote the groups syrupy, psych-folk bedroom rock off as “music for the unmasses”: a tail-feather grappler (Animal Collective, in this case) touring the country 10 months of the year and playing in rinky-dink art spaces with bad paintings and hole-in-the-wall dives to the other bands and their girlfriends.

But fast forward to Tuesday night’s sold-out show at the Great American Music Hall, and Droste and his band – comprising drummer Christopher Bear, bassist Chris Taylor, and guitarist Daniel Rossen – were all giving me the finger instead.

Here comes the neighborhood

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TRASH TV This review of E!’s The Girls Next Door started with a vision of me à la Gloria Steinem for her 1963 Bunny Club exposé, only I was doing my research sitting on my boyfriend’s couch and eating Pirate’s Booty, sans notebook. I grew up in an überfeminist house (No Three’s Company!), spent a semester writing a paper on the sexism in Pretty Woman, and went to a once-all-women’s college that had an unwritten rule about using womyn in all campus postings. So I was mentally going to note The Girls Next Door‘s sexism, infantilism, and misplaced values. Then came the eye-popping bobble-head opening and the catchy "Come on, come on to myyyyy house" theme song promising candy — and candy I got in the form of bottle blonds Holly Madison, Kendra Wilkinson, and Bridget Marquardt (Bridg, to me).

The girls of Hugh Hefner’s reality TV series weren’t the dumb bimbos I’d envisioned — OK, Kendra didn’t know polygamy is illegal in this country and deemed Olive Garden the best. They have career aspirations: Babies! Broadcast journalism! Playmate of the Year! Who couldn’t relate to jealous Holly (Hef’s official number one girlfriend) when his ex Barbi Benton sashays into the mansion and declares, "Hef still has my bust!" to her bronze likeness? Who wouldn’t ooze with sympathy when brainy Bridg has to miss the nude shower shoot because her mean old prof refuses to postpone her semester final? And she studied!

It took only an episode for me to realize I wanted to leave behind my hardworking p.c. life and monogamous relationship and live in the Playboy Mansion. I want to order fried chicken and ice cream from the butler; watch movies with my two BFFs and boyfriend, all snuggled in a California King; and slip and slide down the mansion lawns in a red, white, and blue bikini. I want a murder-mystery birthday party and girls who watch my back when the psychic who claimed to connect with the spirit I saw in my bedroom turns out to be a fraud. I want backyard barbecues and luaus and as many puppies as my heart desires. Puffin — as Holly affectionately calls Hef — hasn’t called yet, but the good news is that with such episodes as "Mutiny on the Booty," "Clue-less," and "Eighty is the New Forty" under my belt, that doctoral thesis is practically writing itself! (Anna Mantzaris)

For The Girls Next Door dates and times visit www.eonline.com/on/shows/girlsnextdoor.

Attraction is hell

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› a&eletters@sfbg.com

REVIEW Rarely does ODC Theater pack them in the way it did Feb. 2 for SHIFT Physical Theater’s first full-evening piece, The Shape of Poison. Manuelito Biag has been making work for close to 10 years, but the buzz has really picked up since 2003, when he presented the anguished Giving Strength to this Fragile Tongue. With Poison, developed as an artist-in-residence project at ODC, he has created a work about the inarticulate, often unacknowledged forces that shape our realities. Watching the dancers in pursuit of endless and often turned-in-on-themselves encounters felt like looking for a cause in all those ruffles, vortices, and surges that continually disturb the ocean’s surface. Poison moves leisurely but doesn’t meander; for all its churning, at its core the piece is quiet and wistful.

Philippines-born and California-raised, Biag has described Poison as influenced by the yogic kleshas — corruptions of the mind that prevent enlightenment. It’s not necessary to know that Poison‘s three sections, which can stand independent of each other, explore three kleshas: ignorance, passion, and anger. It’s quite enough to realize that for each part the choreographer developed a highly charged, intensely physical language that he shaped into fluid, at-times soaring movements, which drop hints of narrative like beads of color into a pool of oil. As he did with Tongue, he turned to Jess Rowland for an inspired score, here partially performed live on piano.

The opening trio (Amy Foley, Damara Ganley, and Tessa Nebrida) began posed like statues facing different directions, until Ganley’s tiny tremor sent out enough waves to animate Foley and Nebrida. Even though each of them developed something of a personality — Foley’s lyric groundedness was particularly lovely — more than anything the dancers created a sense of space through which they were reaching for each other, at times tentatively, at times assertively. One had the feeling they were trying to pierce clouds or curtains that hid something. But whenever a connection or moment of clarity was made, it either evaporated or was cut off randomly. There was blindness to the way their hands reached out; touches became almost accidental. In a kneeling position, two dancers held hands and then simply dropped them. A cupped open hand welcomed another, but no emotional current flowed. Almost animal-like, the dancers nosed up to each other, aware of one another’s presence but rarely reutf8g.

The central duet for Biag and the resplendently fierce Erin Mei-Ling Stuart worked with material already explored in Tongue: the unspeakable tension in a relationship in which two individuals feed off each other’s heat. Here the two people were very much equals. Each emotional punch was matched by one of similar force; the two of them were always at a standoff, trapped with no end in sight. The heartbeat in Rowland’s score at times sounded like water torture as the pair watched wearily, waiting for the next explosion to hit. Biag had a stooped way of yanking his legs up — as if dragging them out of a swamp — and then ever so gently moving them like a tiger on the prowl that was truly terrifying. Though he designed wave after wave of full-bodied confrontations, one of the most telling came through his use of arms, which present very narrow points of contact. When the dancers stood face-to-face, forcing their stretched arms against each other, you could see the hell of this mutual repulsion and attraction. This duet is Poison‘s strongest component.

At this point, Biag has not quite mastered choreographing for his multicast group. In Poison‘s third section he looked at chaos and instability from a communal perspective. While he was wonderfully adept at designing fluid and formally inventive movements, the circle and diagonal lineups that he set in opposition to individual expressions of anger — tiny Tanya Bello was particularly fierce — didn’t quite add up. However, an excellent duet for Ganley and Noel Plemmons that peeled away from the ensemble brought on a finale that teetered between hope and despair. In the context of Naomi Lazard’s existential pessimism in her poem "Ordinance on Arrival" (read on tape), about a bleak world from which "there is no vehicle out," hands repeatedly planting seeds suggest futility. Yet the stricken Plemmons, after being brutally repulsed by Ganley, reached out his hand to receive a drop of saliva from each of the other dancers. Thus nourished, he veered toward a strong Ashley Taylor, who throughout seemed to function as a calm within the storm. Was he able to push through suffering into the light? It would be nice to think so. *

Kids get Addicted to War

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› amanda@sfbg.com

It’s a lucid time line of 230 years of American wars and conflicts. It’s a well-researched text, footnoted from sources as varied as international newspapers, Department of Defense documents, and transcripts of speeches from scores of world leaders. It’s been endorsed by such antiwar stalwarts as Susan Sarandon, Noam Chomsky, Helen Caldicott, Cindy Sheehan, and Howard Zinn, who called it "a witty and devastating portrait of US military history."

And it’s a comic book that’s going to be available for 10th-through-12th-grade students in San Francisco’s public schools. Four thousand copies of Addicted to War: Why the U.S. Can’t Kick Militarism, by Joel Andreas, have been purchased and donated to the San Francisco Unified School District using contributions gathered by local peace activist Pat Gerber.

Gerber came across the book at a rally about a year and a half ago and, inspired by the compelling display of such heavy content, presented it to the Board of Education’s Curriculum and Program Committee, where its use as a supplemental text was unanimously approved last fall. The book will be distributed to all high school social studies teachers for review, and those who opt in will be given copies to use as supplemental texts to their already approved curriculum.

Many peaceniks may be familiar with the 77-page comic book that was originally conceived in 1991 to highlight the real story behind the Gulf War. With spare wit and imagery, Andreas plainly outlines how combat is the very expensive fuel that feeds the economic and political fire of the United States.

In outlining this history, Andreas doesn’t gloss over the lesser-known and oft misunderstood conflicts in Haiti, the Philippines, Lebanon, and Grenada. He draws on multiple sources to portray America’s purported need to overthrow foreign governments and establish convenient dictators, including Saddam Hussein, in order to fill the pockets of the most powerful people and corporations in American history. Andreas also includes the blinded eyes of the mainstream media, whose spin and shortcomings keep this business rolling.

The current publisher, Frank Dorrel, came across the book in 1999. "This is the best thing I’ve ever read," the Air Force veteran told the Guardian. "I’ve got a whole library of US foreign policy, but this puts it all together in such an easy format. Howard Zinn, Noam Chomsky, Michael Parenti — they’re all [authors of] great books, but they aren’t easy reads." When Dorrel first discovered the book, he contacted the original publisher to order 100 copies to give to all his friends.

"They didn’t even have 10," he said. "It was out of print."

Dorrel was disappointed with the news and thought an updated text was overdue. With the use of a private investigator, he tracked down Andreas, who happened to live in the Los Angeles area just a few miles from Dorrel.

Andreas agreed it was time for a new edition. Addicted to War now includes Kosovo, Sept. 11, Afghanistan, and the current quagmire in Iraq. Over the years, 300,000 copies have been distributed in English, Spanish, and Japanese. Many of those copies have been distributed to teachers and students through the Books for Schools program, but San Francisco Unified is the first entire district to approve use of the book. Dorrel encourages others to follow suit by deeply discounting the $10 price for school districts to as little as $2.50 a book plus shipping. He seems unconcerned with making a profit and said, "It’s all done to get out the information."

For San Francisco, he discounted the price even further, and the costs were met by donations from local peace activists. No taxpayer or school district funds were involved in the purchase, and Gerber and Dorrel are still accepting donations to defray some costs. (Contributions may be sent to Frank Dorrel, PO Box 3261, Culver City, CA 90231-3261.)

The district teachers’ union, United Educators of San Francisco, expressed unanimous approval of the book, and it sailed through the board’s bureaucracy. But it is not without its critics.

Sean Hannity of Fox News slammed the book for, among other things, illustrations of President George W. Bush wearing a gas mask and a baby holding a machine gun. Hannity invited Sup. Gerardo Sandoval to his Jan. 12 show, introducing him as "the man who doesn’t think we need a military" in a distorted reference to something Sandoval said in a previous appearance.

This time Hannity asked Sandoval, "Do you support this as propaganda in our schools?"

To which Sandoval responded, "It’s not propaganda. But I do support having alternative viewpoints, especially for young people about to become of military age…. I think it provides a balanced approach to history. Some of the actions that the US has taken abroad in our 200-year history have been less than honorable."

To which an aghast Hannity countered, "It encourages high schoolers to kick the war habit. It is so unbalanced and one-sided…. You’re entitled to your left-wing ‘we don’t need a military’ views … but leave our children in school alone."

Strangely, images of the book shown during the Fox segment bear little resemblance to those in the actual text. The news channel flashed to a picture of a thick, hardbound book with a dust jacket of the cover illustration, though as far as Dorrel and Gerber know, it has never been published in hardcover and never with a dust jacket. Gerber thinks the cover image and some internal cartoons were printed from the Web site www.addictedtowar.com and faked into a book that the news channel didn’t have a copy of and had not actually read.

The SFUSD was invited by Fox News to speak on behalf of the book but declined. "We decided we didn’t want to debate in that forum," district spokesperson Gentle Blythe told the Guardian.

Blythe said the district has been contacted mostly by people in support of the work and the only criticism has come from its coverage in the conservative media. She stressed that the use of the book is optional, at the discretion of each teacher, and the Office of Teaching and Learning is researching other texts that offer another perspective but has not settled on anything yet.

"If a teacher agrees with the content, they love the book," Dorrel said. "This is really the history. We’ve been going around in the name of liberty, and it’s not that. It’s a business. It’s really bad when war is your business."

Dorrel said that since he’s been distributing the book, which has all his contact information on the first page, he’s only received a couple of nasty phone calls. "The phone rings every day. Every day there are e-mails, and mostly I just get praise because they’ve never seen anything like this. *

The straight story on the armory

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The sale of the former National Guard armory on Mission Street has caused a flurry of concern about the plans for the site of the new owner and developer, Kink.com. Most of the columns and editorials in the San Francisco Chronicle, Examiner, and BeyondChron.com have been reactionary and politically opportunistic. It has given the cheerleaders of runaway market-rate development a new reason to knock affordable housing advocates in general and the Mission Anti-Displacement Coalition in particular.

For the past six years, MAC, with the participation of hundreds of Mission District residents, has been developing a vision for the neighborhood, called the People’s Plan, which confronts the gentrification pressures of new development and sets out policies for a healthy, sustainable community. Our approach is not that of knee-jerk NIMBYs mindlessly opposing any proposed change in our community. We are in favor of affordable housing, good-paying jobs for immigrants and working-class families, and sustainable economic development.

However, immediately after the Kink.com story broke, writers such as Ken Garcia blamed MAC for directly causing the sale to what other papers are calling a “porn production company.” It’s true that MAC has opposed the previous three development proposals, but the developers themselves, responding to the ups and downs of the market, ultimately dropped the projects for financial reasons. Here’s a brief review:

In 2000 a multimedia office complex proposal was approved by the Planning Department and later dropped. The armory was then going to be a server farm. The server farm was approved by the Planning Department again (contrary to what Garcia has written), but the company went under. A local financier retained control and proposed an outlandish and financially risky housing proposal.

The luxury housing proposal went into the planning process, and an environmental review had begun, but instead, the owner sold the site to Kink.com

MAC didn’t know the owner was secretly negotiating the sale of the armory. Had the financiers been honest with the community, perhaps the city or some other entity could have come forward and put the armory to better use. But at this point, the sale of the armory is complete, and there’s no further process necessary for the new owners to set up shop. That means it’s difficult for the community or city to stop the proposed use.

Now the community finds itself responding to this purchase and to opportunists who are taking advantage of this situation to use the current plan as a wedge issue to attack MAC and other affordable housing activists who have had concerns about high-end market-rate housing development in the Mission. The Mission is both the heart of the Latino community in San Francisco and home to other communities. For a healthy and sustainable community, a measuring stick for a development project is whether it will lead to displacement of residents and community-serving businesses and contribute to gentrification.

MAC will continue to fight for equitable development through the People’s Plan and the Mission rezoning process and will continue to challenge all projects that have the potential to negatively impact our community. *

Eric Quezada and Nick Pagoulatos

Eric Quezada and Nick Pagoulatos are Mission Anti-Displacement Coalition activists.

 

The benefits of fiber

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› sarah@sfbg.com

Amsterdam is building a citywide fiber-to-the-premises system. So are Hong Kong, Milan, and Zurich. If San Francisco follows suit, it would be making a far-sighted, multifaceted investment: FTTP would boost our economy, attracting software companies, video production houses, and digital media shops. It would enhance public health, allowing surgeons to review the same materials from different locations. Municipal fiber would improve public safety, facilitating the mirroring and backup of vital data at remote, earthquake-safe locations. It would enable unlimited and open communications — breaking ongoing communication monopolies — and save buckets of cash within a couple of decades.

These futuristic findings are laid out in the fiber feasibility report Sup. Tom Ammiano commissioned two years ago, but the Department of Telecommunications and Information Services didn’t green-light it until last fall. As a result of this delay, the city’s Maryland-based consultant, Columbia Telecommunications Corp. (CTC), couldn’t complete its fiber study until after Mayor Gavin Newsom said he’d struck a wi-fi deal with the Google-EarthLink partnership that still requires the Board of Supervisors’ approval.

Newsom’s plan was threatened even before his recent scandals. City budget analyst Harvey Rose’s report on municipal wi-fi offered a scathing assessment of the Google-EarthLink deal. Board members will now weigh the two new reports — and the opinions of a growing number of critics of the deal — before deciding on the mayor’s wi-fi proposal.

"So far I have more questions than answers," Sup. Aaron Peskin said of trying to digest the budget analyst’s report. "Questions about free service and quality of service. Questions about the environmental and aesthetic impacts of installing antennas citywide. I’ve got questions about Google’s cooperation with a totalitarian government overseas. I’ve got questions reutf8g to the shitty service I’ve personally gotten from EarthLink. Questions about the municipalization of services and questions about other technologies, including fiber."

Peskin admitted he’s yet to read the fiber report, which lauds FTTP as "the holy grail of broadband" while explaining that wi-fi isn’t a competitor but a complement to fiber, since wi-fi’s key advantage is its "mobility and connectivity during movement."

That said, the report recommends building citywide fiber, which it describes as a "fat pipe all the way into the home or business." In the face of the public sector’s lack of interest in building fiber networks that would meet growing demands for bandwidth and speed in an equitable and affordable manner, the CTC report concludes that municipal fiber would rank San Francisco among the world’s most far-sighted cities "by creating an infrastructure asset with a lifetime of decades that is almost endlessly upgradeable and capable of supporting any number of public or private sector communications initiatives."

With fiber allowing numerous competitors to quickly and inexpensively enter the market and offer competing, differentiated broadband services and access, the report recommends a wholesale open-access model to facilitate "democratic and free market values" and enhance the city’s reputation "for visionary and pioneering projects."

The report estimates a citywide open-access wholesale model will cost $563 million but predicts it will spark economic investment and jobs. It recommends building a pilot network in a 12-square-mile economic development area that includes Bayview, Hunters Point, South Bayshore, Chinatown, the Mission District, Mission Bay, Potrero Hill, SoMa, the Tenderloin, and the Western Addition.

The study also observes that aside from supporting safety and communications systems (thereby saving the city huge and unending costs of leasing circuits from telephone companies) and providing higher quality, higher capacity, more reliable, securer service, fiber is the best backbone for wi-fi systems.

Or as communications activist Bruce Wolfe recently told the Guardian, "Wi-fi is a parasite looking for a wire."

Speaking to us, along with United Layer’s Tim Pozar, SFLan’s Ralf Muehlen, and Our City’s Eric Brooks, Wolfe stated that far from being "the naysayers, as we were accused after critiquing the Google-EarthLink deal, we’re actually the truthsayers."

The foursome, who are supporters and providers of current wi-fi services in San Francisco, said although wi-fi rocks when you’re at an outdoor café or checking bus schedules with a cell phone, fiber rules when you’re in a basement, on a fourth floor, or in need of reliable and efficient service or massive capacity.

"That’s why it makes more sense to roll out a joint fiber-cable-wi-fi system, because all the interference and bog downs would be solved by hooking antennas into fiber," Pozar says. "Putting a bunch of antennas up as a cloud over the city supposedly gives free users speeds of 300 kbps, but anyone making a phone call or downloading a video will drain everyone else’s speeds, and blanketing the city with transmitters will make the spectrum unusable by others."

Muehlen expects the wi-fi service his business provides to get "blown out of the ether, technically, or be severely compromised," by the proposed Google-EarthLink deal. "But I wouldn’t mind if I got a network that didn’t suck," he says. "I just want something that works."

Brooks said many people who can’t afford the Internet are "compartmentalized in lower-income areas. Why not begin by addressing those areas instead of giving away the whole 49 square miles to Google-EarthLink?"

He noted that it will cost Google-EarthLink an estimated $300,000 to pay into the city-run Digital Inclusionary Fund. "That’s a drop in the bucket in terms of providing residents with gear, training, and support that truly bridge the digital divide." *

Singleton buys another daily paper and further locks up the Bay Area market .Where’s the U.S. Attorney General and the California Attorney General?

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By Bruce B. Brugmann

And so it comes to pass that Dean Singleton, already weighted down with 56 daily newspapers and l20 non-dailies in l3 states, including a virtual monopoly of the Bay Area daily market, is buying the Santa Cruz Sentinel.
The story in the San Jose Mercury News/Singleton paper is a snapshot of how things stand in California journalism.The announcement came from out of state (Singleton himself from his Denver headquarters). The paper was bought in a quick shuffle aimed at giving Singleton an even tighter lock on the Bay Area market: Ottaway of New York, a subsidiary of Dow Jones, sells to another New York-based firm (Community Newspaper Holdings Inc) two months ago. And then CNHI sells to Singleton and Singleton says without blushing in a house press release, “We are delighted to accquire the Santa Cruz Sentinel and expand our reach in this very competitive region. The Sentinel is a fine newspaper today but it will be strengthened by the resources of our existing papers.” Chop, chop, whack, whack.

Technically, the Sentinel will be acquired by a Singleton-controlled entity called the California Newspaper Partnership, with the Gannett chain headquartered in Arlington, Virginia, and Stephens Media, out of Las Vegas and Little Rock, Arkansas, as the remaining partners. Meanwhile, as the newly unsealed federal court documents show, Singleton out of Denver and Hearst out of New York have been collaborating on several levels and Hearst is now a major investor with Singleton and helping finance his acquisitions.

This is Singleton’s modus operandi: he doesn’t compete, he clusters and collaborates. I once asked him, back when the old Hearst Examiner was up for sale, why he didn’t come to town and buy it. “Dean,” I said, “come to San Francisco and compete with the Chronicle and we’ll make a real man out of you.” Nope, he replied in five words, “Too much energy, no profit.” And that was that. In short, Singleton and his “competitors” are now partners and there will be no real daily newspaper competition in the Bay area. Why is the only major impediment to this monopoly mess Clint Reilly and his attorneys Joe Alioto and Dan Shulman? Where is the outrage?

Repeating: where is the U.S. Attorney General and the California Attorney General as the monopoly noose of ever more conservative newspapers tightens on one of the world’s most liberal and civilized areas?
Not a peep from former AG Bill Lockyer, who lived under the thumb of Singleton in Hayward with the Hayward Review, and not a peep from current AG Jerrry Brown, who lives under the Singleton thumb in Oakland with the
Tribune and an East Bay monopoly now stretching all the way south to Santa Cruz and Monterey and north to Vallejo. Thank God there are three lively alternative newspapers in the area: the Santa Cruz Good Times and the Santa Cruz Metro and the Monterey County Weekly in nearby Seaside. There’s now even more for them to do. B3

The Mercury News: MN owner acquires Santa Cruz newspaper

Pillow talk

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› a&eletters@sfbg.com

The cold air these last weeks has played foul-weather friend to a couple chilling stage stories about serial child killers — one of them is even called Frozen. Both were recently toasts of Broadway too, though only one includes scary little apple men (not to mention the titular figure of a giant fellow made of soft cushions). This latter would be The Pillowman, of course, by Irish wunderkind Martin McDonagh (The Beauty Queen of Leenane, The Lieutenant of Inishmore), which makes its local debut at the Berkeley Repertory Theatre in a very strong, utterly engaging production directed by Les Waters.

The theme of child murders aside, the two plays (which opened on consecutive nights) couldn’t be further apart. In fact, that very theme is a source of dispute and humor in McDonagh’s hilarious, eerie, and strictly macabre comedy set in a gritty police station–cum–torture chamber in an unnamed totalitarian country (the fine set, a simple but highly atmospheric take on old-world contemporary, is by Antje Ellermann, with sharply complimentary lighting by Russell H. Champa). Here a prolific but largely unrecognized writer named Katurian Katurian Katurian (Erik Lochtefeld) — a stubbornly emphatic name that’s like an engine that won’t turn over and maybe a bit sinister too, like the clang of a railway car with no windows — has been hauled in for some very rough questioning following a string of child murders whose gory details mimic the content of several of his generally ghastly stories.

Katurian and older brother Michal (Matthew Maher) — whose mental disability keeps him squarely in the role of Katurian’s charge and whom the police keep initially in a separate room down the hall for some questioning at the hands of a bulldog cop named Ariel (Andy Murray) — find themselves in a ghastly little story of their own, threatened with impending execution should the interrogation, led by the somewhat wry Inspector Tupolski (Tony Amendola), not go in their favor. But then, their backstory is, we learn, already quite ghastly, making the writer’s ghoulish tales seem all the more meaningful as a necessary escape from childhood horrors and the inevitable vehicle of the Katurian brothers’ worming segue into adulthood.

The Pillowman, however, ultimately has nothing to do with the kind of social, psychological, moral, and forensic themes brought up by Frozen playwright Bryony Lavery in her secularizing examination of sin and forgiveness. (Frozen runs through Feb. 11 at the Marin Theatre Company; see stage listings for information and the review). Instead, it has everything to do with the art, the incandescent allure, even the vital necessity of simply telling stories for their own sake. As such, its primary purpose is to grip the audience by the story-hungry throat, a feat it manages expertly and with a dreamlike complexity, merging one story into another.

Life and art come hopelessly entangled here, though just which is imitating which is hard to say. After the wily Tupolski (played by Amendola with wonderful humor and nuance like a Stalinist version of Barney Miller) synopsizes one of Katurian’s bleak parablelike tales, for instance, a self-satisfied Katurian savors it by absently applying the term "somethingesque" to its construction. Sure enough, our own Mr. K’s story is strikingly Kafkaesque, and so is the predicament such tales have landed him in.

These ironies and nuances come over without the least bit of pretension, however. They’re just part of the grimly comic nightmare director Waters and his cast unfold with unflinching panache. As Katurian, Lochtefeld (last seen at the Berkeley Rep in another memorable turn as a tortured writer, in The Glass Menagerie) delivers a cannily offbeat, charismatic performance, convincingly mixing bottomless artistic pride with obsequiousness before authority, sibling angst, and a gently subversive humor. Maher’s deft turn as Michal, meanwhile, is an equally riveting combination of utter ingenuousness and playful mischief.

If storytelling seems to be a double-edged sword and maybe even a sword of Damocles, its "spirit" (to borrow from Katurian’s exquisite final line) emerges immaculate in the end as a kind of joyful seduction by the master storyteller, the playwright himself, whose intoxicating yarns remain a boon for all concerned. *

THE PILLOWMAN

Extended through March 11, $45–$61

See Web site for dates and times

Berkeley Repertory Theatre, Thrust Stage

2025 Addison, Berk.

(510) 647-2949

www.berkeleyrep.org

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Investigate the Presidio’s money

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EDITORIAL National parks are places where wildlife is preserved, saved, encouraged. The trend in parks these days is to expand the ecological mix; the National Park Service is actually trying to reintroduce wolves to Yellowstone. But as Amanda Witherell reported Jan. 17 ("Where Are the Chicks?"), that’s not the case in San Francisco’s Presidio National Park. At the Presidio a native species that was thriving not long ago — the California quail — is almost entirely gone. That’s a sign that the ecological management of the park is a mess — which is no surprise. The park is run by a semiprivate trust that’s driven by real estate development and moneymaking. If new condos conflict with quail habitat, guess who has to go?

Then there’s the Presidio’s balance sheet. As we reported Jan. 24 ("The Presidio Trust’s Mystery Millions"), the park is sitting on $105 million — a huge chunk of cash — yet has asked Congress for a $20 million loan. What’s all that money for? The trust won’t tell us — it’s a secret.

This is exactly what we feared would happen when Rep. Nancy Pelosi created the first privatized national park 10 years ago: environmental damage, financial unaccountability, and intolerable secrecy. The trust board (appointed by President George W. Bush) meets in public only once a year. Its press office is openly hostile to reporters and makes it exceptionally difficult for the public to get even basic information about park activities.

This is Pelosi’s pet project, and she’s now the most powerful person in Congress, but that doesn’t mean the Presidio should be able to continue operating in this fashion. The House Natural Resources Committee, chaired by Rep. Nick Rahall (D–W.Va.), ought to hold hearings on the Presidio and examine how the trust is operating, whether it’s fulfilling its mission, and how its enabling legislation should be changed. A growing number of environmentalists are now calling for Pelosi to repeal the original bill and turn the Presidio over to the National Park Service, which runs parks as public treasures, not as potential real estate developments.

At the very least, Congress should refuse to provide any more loans to the Presidio Trust until an outside auditor conducts a public review of the books — and explains why a national park is holding $105 million in taxpayer money in the bank for secret projects, then demanding even more public money. *

The media blows a media story

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By Tim Redmond

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

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

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

She has ordered ALL of that unsealed, except for:

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

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

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

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

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

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

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

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

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

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

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

The JonBenet Ramsey

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REVIEW So magical it is to be a six-year-old beauty pageant starlet! Whether it’s vomiting backstage at Raven concerts, shooting free speed while having your nipples taped up, or getting "auditioned" on the hood of Tommy’s PowerWheel, the list of privileged moments seems to never end. The idolatrous adoration of your out-prettied first-grade class should be enough to coast on — but it never is.

For those of us who were never darling enough, the Argus Lounge presents a Wednesday night drink special, the JonBenet Ramsey, that reduces the pounding vigor of such a world into one neat drink. The cocktail’s base is Stoli Vanilla, which recalls the fussy sweetness of the pageant circuit. Ginger ale dilutes the vodka with a crispness that grabs at the throat.

But it’s the drink’s crushed cherry garnish that brings home the quiet heights of such an existence: Christmas days spent lounging in the cellar with friends for hours without being bothered by your family. It all comes together like a well-laid plan. (Jonathan Beckhardt)

ARGUS LOUNGE 187 Mission, SF. Mon.–Sat., 4 p.m.–2 a.m.; Sun., 5 p.m.–2 a.m. (415) 824-1447, www.arguslounge.com

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The video guy

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› kimberly@sfbg.com

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

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

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

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

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

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

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

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

PRIMAL SCENE


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

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

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

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

TAKING OFF ON HISTORY


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

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

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

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

SECA ART AWARD EXHIBITION

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

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

San Francisco Museum of Modern Art

151 Third St., SF

(415) 357-4000

www.sfmoma.org

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The war on trial

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› news@sfbg.com

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

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

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

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

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

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

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

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

THE WAR OF CHOICE


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

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

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

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

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

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

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

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

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

THE POLITICAL QUESTION


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

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

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

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

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

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

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

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

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

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

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

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

SAME OLD STORY


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

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

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

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

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

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

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

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

The secret spies

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› tredmond@sfbg.com

To view the TALON documents in PDF format (524 pages) click here.


To view the full ACLU report click here.

The Pentagon has released to the Guardian and the American Civil Liberties Union 534 pages of documents reutf8g to domestic surveillance — and we don’t know much of anything new about the notorious Threat and Local Observation Notice (TALON) program.

The vast majority of the documents, released under the Freedom of Information Act, are entirely blacked out or heavily redacted. It’s clear there has been a lot of high-level discussion about policies and procedures related to military spying on civilians — but the government isn’t coming clean about more than a sliver of it.

One thing the records do show is that the Pentagon at one point had between 12,000 and 13,000 files in its TALON database — and 2,821 contained information about "U.S. persons." At least 186 of the reports in the files involved antiwar or antimilitary protests.

The Guardian and the ACLU went to federal court in 2006 to demand access to Pentagon records related to domestic surveillance after Santa Cruz Students Against the War and the Berkeley Anti-War Coalition compiled evidence to suggest that they had been the subject of TALON spying.

TALON was originally designed to monitor threats against military bases, but its mission expanded to encompass, for example, protests against military recruiters on the Santa Cruz campus. Pentagon officials admitted in December 2005 that the Santa Cruz student group was spied on under the TALON program.

In fact, documents we received earlier show that data about the student group were shared with the Department of Homeland Security and the Joint Terrorism Task Force, which works with local police agencies (see "No End to Pentagon Spying," 7/5/06).

Initial documents received last year showed that, as of early 2006, there were no clear rules barring the military from conducting surveillance on peaceful protesters. The new documents indicate that in January and February of that year top Pentagon officials ordered a review of procedures and set some restrictions on retaining files on people who were not considered imminent threats.

One document states that information on protesters "has not been provided by recruited sources of information" — in other words, the military wasn’t sending spies to watch protests — but concludes that "this statement is not intended to state that TALON reporting could not result from recruited sources or tasked personnel."

That only confirms what we had learned already: that there is no formal ban on armed forces personnel spying on protesters or planting sources inside peaceful groups or peaceful protests.

However, the operation seems to be winding down a bit. By June 16, 2006, one of the few uncensored documents shows, TALON reports had dropped by 80 percent.

It wasn’t easy to get even these highly censored records. The Guardian-ACLU request was stymied at first, and only after Federal Judge William Alsup on May 25, 2006, ordered an expedited review did the US Army, Navy, and Air Force begin to grudgingly release a few tidbits of information.

It’s astounding how heavily redacted the documents are. Page after page after page shows that high-level policy discussions around TALON and domestic surveillance were taking place at the Department of Defense in January and February 2006 — but military officials won’t reveal a bit about the nature of those talks or the policies that resulted.

"The amount of information that’s redacted is significant," ACLU police practices lawyer Mark Schlosberg noted. "We understand the need for certain information to be kept confidential, but discussion about policies involving domestic surveillance is something the public has a strong interest in." *

Air play

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› a&eletters@sfbg.com

REVIEW There is something about "The Sculpture of Ruth Asawa: Contours in the Air," the de Young Museum’s current retrospective of Ruth Asawa’s work, that initially feels a bit like a natural history museum display. The darkened space, punctuated with spotlights, showcases Asawa’s floating woven wire forms, which look like giant representations of diatoms or plankton. The shadows this installation creates are an important factor, illustrating the concepts the artist considered during their making: positive and negative space, organic growth, and continuous line. One of the first pieces greeting visitors at the entrance resembles a hanging column of ballooning onion and bell shapes. It’s made of woven aluminum and brass wire, and Asawa describes it as a test to see how large a sculpture she could create in crocheted metal wire without it collapsing from its own weight.

A nearby glass case displays sketchbook pages from her formative art-school years. On one page a sentence stands out boldly: "DRAW AIR WITH NOTHING." The lacy forms of industrial metal wire are paralleled by the pen-and-ink drawings on the walls, some of which Asawa calls "meanderings." They’re images formed in an intuitive yet mathematically exponential process — not unlike the route her lifelong career of object making and art activism has taken.

Born in Norwalk, Calif., in 1929 and raised on her parents’ vegetable farm, Asawa was one of thousands of Japanese Americans interned during World War II. At the Santa Anita racetrack camp, she had her first formal lessons in art, taught by several Walt Disney studio animators who were also interned. After the war she attended Black Mountain College in North Carolina, where she studied with legendary artists and thinkers including Josef Albers and Buckminster Fuller. There she met the man who would become her husband and father to her six children, architect Albert Lanier.

After college Asawa studied in Toluca, Mexico, where she learned to crochet baskets. She pushed this traditional craft into the realm of fine art during the 1950s. Her work was chosen to represent the United States in the 1955 São Paolo Biennial, and soon after the Whitney Museum of American Art acquired her work for its collection. However, in the Bay Area, where she has lived since the ’50s, Asawa has remained relatively unknown.

THIS IS THE MODERN WORLD


At the de Young the viewer traipses past Asawa’s complex, bundled copper-wire tumbleweed puffs; wiry snowflake configurations; spongy Möbius strips; plump, electroplated copper, cactilike works; and graphically bold, obsessive-compulsive-esque lithographs and drawings. Some of these date to the late ’90s, but nonetheless, we are really wandering in a realm of late-modernist works. So by today’s postmodernist and post-postmodernist values, Asawa’s pieces don’t readily leap into a contemporary critical arena. They are, for the most part, graceful and avoid the taint of macramé kitsch, although a subtle whiff of hippie-era flavoring does hover over the exhibition. Yet before one judges her art by today’s standards, let’s look at why she merits a retrospective.

This is not Asawa’s first overview: the Oakland Museum of California held one in 2002. One dramatic mandala sculpture on display — Wintermass, from the late ’60s — is similar to the bronze gracing the front entrance to the Oakland Museum. And this isn’t the only Asawa piece available for free viewing in the Bay Area — she is far more ubiquitous than many locals realize. Over the days following my visit to the de Young exhibition, I stumbled upon several of her public works — many of which in no way resemble the art chosen for the show. Rather, they seem to be created by an almost evil twin. Asawa’s public objects generally tend to land in a goofier, now quaint public-art aesthetic. The list includes that tourist mecca mermaid fountain at Ghirardelli Square, the sea lion statue (generally hidden under climbing children) at Pier 39, the whimsical San Francisco landscape fountain outside the Grand Hyatt San Francisco at Union Square, the pair of occasionally functioning giant origami fountains in Japantown — and the steel origami doughnut fountain (titled Aurora) near the Gap’s Embarcadero headquarters. She also helped with the design of Children’s Fairyland in Oakland and more recently a San Jose memorial dedicated to the Japanese American internment.

MAKING LOVE


Asawa was a public sculptor to be reckoned with during city upgrades in the 1970s and ’80s. She was also the force who created the revolutionary Alvarado School summer art workshops in the early ’70s. She spearheaded the creation of San Francisco’s School of the Arts High School and actively served on both state and city art boards. This exhibit includes photo documentation by Asawa’s close chum Imogen Cunningham of her early work and bohemianlike family life. Asawa saw little difference between making art and teaching it to children, which could easily make her one of the godmothers of the social practice genre. The format in which Asawa chose to display her objects early on could also make her something of a forebear of installation artists.

In a period in which homespun crafts and the DIY joys of creation — think ReadyMade magazine — are so prevalent, an appreciation of Ruth Asawa is a timely thing. Captured in the wonderfully dated 1978 documentary by Robert Snyder that’s screening at the exhibition, Asawa declares that "a line can go anywhere" and talks of the importance of being like a bulb planted in soil: she should always be growing while here on earth. Much like that enormous New England mushroom discovered expanding for miles underneath the soil, Asawa planted herself here and flourished quietly, germinating an idealistic sense of the importance of art in the community — something I hope never grows out of style. *

THE SCULPTURE OF RUTH ASAWA: CONTOURS IN THE AIR

Through Jan. 28

Tues.–Thurs. and Sat.–Sun., 9:30 a.m.–5:15 p.m.; Fri., 9:30 a.m.–8:45 p.m., $6–$10

De Young Museum

Golden Gate Park, 50 Hagiwara Tea Garden Dr., SF

(415) 750-3614

www.thinker.org

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