› sarah@sfbg.com
Last week the California State Assembly and Senate unanimously asked Congress to pass a federal shield law to protect journalists from being forced to disclose unpublished material and the identity of a source.
Part of the motivation for the new push for federal legislation is the recent spate of federal attempts to imprison journalists who won’t give up their confidential sources. The latest victim of that crackdown, Josh Wolf, is in federal confinement after refusing to give prosecutors outtakes from a video he shot of a demonstration at which a San Francisco police officer was injured and a taillight was broken on a cop car (see “The SFPD’s Punt,” 8/23/06).
And while Congress is reviewing the case for protecting journalists, the Guardian has taken a hard look at the case against Josh Wolf — and it’s looking more dubious every day.
For starters, the local cops and the federal prosecutors are trying to claim that Wolf isn’t really a reporter.
That’s what sources in the San Francisco Police Department and the US Attorney’s Office tell us, and it’s borne out by the way the feds are pressing their case in court. In legal briefs, the government never refers to Wolf as a journalist, only as a witness. One federal official, who spoke on the condition he not be identified, likened Wolf to a convenience store owner who has a security camera that catches criminal activity on tape.
There are all sorts of problems with this argument — the first being that the courts have never formally contested Wolf’s journalistic credentials. In fact, the local prosecutors admit in legal briefs that they contacted Washington to seek permission to subpoena Wolf — a process that’s required whenever journalists face this sort of legal action.
As Peter Scheer of the California First Amendment Coalition points out, “The Justice Department claims it complied with regulations that say you can’t subpoena a journalist for outtakes without getting a special order from the attorney general.”
Scheer also notes that under California law, even bloggers enjoy the reporter’s privilege, as recently established when Apple Computer unsuccessfully tried to obtain the identities of sources who allegedly leaked business secrets to bloggers.
Lucy Dalglish, executive director of the Virginia-based Reporters Committee for Freedom of the Press, says that a case for Wolf qualifying as a journalist could be made under both the House and Senate versions of the Free Flow of Information Act, simply because Wolf was paid for broadcasting his video of the protest.
“In the Senate version, you have to be involved in journalism for money, make some part of your livelihood from it, while the House version is even broader,” said Dalglish.
Watching the part of Wolf’s video that he’s made public, which is posted online at www.joshwolf.net and was aired without his consent by at least three major TV networks before he was eventually compensated, it’s easy to speculate that the SFPD would not have delighted in the picture it paints of local law enforcement.
The footage of the July 8, 2005, protest begins peacefully with protesters, many of them wearing black ski masks, carrying banners saying “Anarchist Action,” “War is the Symptom, Capitalism is the Disease,” and “Destroy the War Machine.” As night comes on, the mood sparkles, then darkens. Someone lights a firecracker, smoke rises, helmeted police arrive, newspaper boxes are turned over, a Pacific Gas and Electric Co. office is sprayed with paint, and suddenly a police officer is captured holding a protester in what appears to be a choking position, while someone shouts, “Police brutality! Your career is over, fajita boy!” and an officer warns, “Leave or you’re going to get blasted. I’m a fed, motherfucker.”
At the same demonstration, Officer Peter Shields was hit in the head while charging into a crowd of protesters — and nobody knows exactly who hit him. That’s not on the public part of Wolf’s video, and Wolf and his lawyers insist there is no footage of the attack. Wolf fears that the government may be looking for something else — perhaps some video of other protesters — and will ask him to identify them. He refused to turn over the outtakes.
Carlos Villarreal, executive director of the National Lawyers Guild, says District Court Judge William Alsup, who ordered Wolf to jail, “made a big deal that Josh did not have agreement with a confidential source, but his argument turns Josh’s video equipment into a de facto government surveillance camera.”
Noting that there is a lot of trust between Wolf and protesters at demonstrations — “People aren’t afraid to go up to the camera and say, ‘Did you check out the pig that’s kicking a guy down the street?’” — Villarreal claims that “independent journalists are harder to see and spot than their corporate counterparts.”
The second, perhaps equally troubling problem is that the Wolf case should never have gone to the federal level in the first place.
Alan Schlosser, legal director of the American Civil Liberties Union of Northern California, told us there are a lot of red flags in the Wolf case, “beginning with the question, ‘Is there a legitimate federal law enforcement issue here?’”
The federal agents from the Joint Terrorism Task Force (JTTF) and the FBI didn’t choose to investigate the case — the San Francisco cops requested assistance. That in itself was odd: why is an assault on an officer a federal affair?
Schlosser asks, “Were the feds called in because they aren’t bound by the state’s reporter’s shield law?”
In theory, the local cops say it’s a federal issue because a cop car was damaged — and the city gets money from the federal government for law enforcement. Schlosser said it’s disturbing that “the SFPD doesn’t have to show the federal funds went towards paying for the allegedly damaged car…. So that statute could be applied to any number of situations. It’s very troubling. It federalizes law enforcement around demonstrations.”
A highly placed source in the SFPD offered a somewhat alarming explanation: the feds were brought in, the source said, not because of shield law issues but because the cops figured the JTTF and the US Attorney’s Office would move faster and more aggressively than San Francisco district attorney Kamala Harris, who has not been on the best terms with the local police.
In other words, if this source is correct, the SFPD is choosing who will prosecute crimes — based on politics, not the law.
As of press time, all Harris’s office was saying was that “the DA strongly believes in the First Amendment and the rights of the press. She also believes in justice for members of the SFPD. An officer was gravely injured that evening, and those responsible need to be held accountable.”
Asked why the federal government was involved in the investigation, Luke Macaulay, a spokesperson for the US Attorney’s Office, said, “This is not an attempt to profile anarchists and dissidents. It’s an attempt to get to the bottom of a crime.”
Macaulay also referred us to federal filings with the US District Court, which conclude that “the issue could not be more straightforward…. The incident is under investigation so that the grand jury can determine what, if any, crimes were committed.”
As far as we can tell, there’s nothing in writing that lays out when a San Francisco cop is allowed to ask for federal intervention in a case. All the SFPD General Orders say is that department members requesting assistance from an outside agency have to obtain the permission of a deputy chief.
According to records from the Investigations Bureau General Work Detail, Inspector Lea Militello filed a request for assistance from the FBI and JTTF to investigate a “serious assault against an SF police officer.” It was approved by Captain Kevin Cashman and Timothy Hettrich, deputy chief of investigations.
As of press time, the SFPD had not returned our calls inquiring why the FBI and JTTF were involved in an assault case, which is usually the domain of the DA’s Office.
David Campos, a member of the San Francisco Police Commission, said he thinks the commission needs to look at the issue “to make sure investigations are federalized when it’s appropriate and not as a way of getting around California’s shield laws.”
Reached Aug. 23 by phone in the Dublin Federal Correctional Institute, where he’s been held since Aug. 1, Wolf suggested that the feds are after more than pictures. “The Un-American Affairs Committee [in the 1950s] called in one person and forced them to make a list of all the people they knew. It was like Communist MySpace. So, I anticipate that they want all my contacts within the civil dissent movement.”
Wolf said he offered to let the judge view his video, which he insists does not capture the arson or assault. “There should not be a federal investigation. I published my video. They can use that to do their investigation.” SFBG
With all briefs filed, a decision on the Josh Wolf case is expected by Sept. 4.
San Francisco
Yay Area five-oh
› johnny@sfbg.com
“Before Vanishing: Syrian Short Cinema” A series devoted to films from Syria kicks off with a shorts program that includes work by Oussama Mohammed. (Sept. 7, PFA; see below)
The Mechanical Man The PFA’s vast and expansive series devoted to “The Mechanical Age” includes André Deed’s 1921 science fiction vision of a female crime leader and a robot run amok. The screening features live piano by Juliet Rosenberg. (Sept. 7, PFA)
“Cinemayaat, the Arab Film Festival” This year’s festival opens with the Lebanon-Sweden coproduction Zozo and also includes the US-Palestine documentary Occupation 101: Voices of the Silenced Majority, which looks at events before and after Israel’s 1948 occupation of Palestine.
Sept. 8–17. Various venues. (415) 863-1087, www.aff.org
“Global Lens” The traveling fest includes some highly lauded films, such as Stolen Life by Li Shaohong, one of the female directors within China’s Fifth Generation.
Sept. 8–Oct. 4. Various venues. (415) 221-8184, www.globalfilm.org
“MadCat Women’s International Film Festival” MadCat turns 10 this year, and its programming and venues are even more varied. Not to mention deep — literally. 3-D filmmaking by Zoe Beloff and Viewmaster magic courtesy of Greta Snider are just some of the treats in store.
Sept. 12–27. Various venues. (415) 436-9523, www.madcatfilmfestival.org
The Pirate The many forms and facets of piracy comprise another PFA fall series; this entry brings a swashbuckling Gene Kelly and Judy Garland as Manuela, directed by then-husband Vincente Minnelli. (Sept. 13, PFA)
“A Conversation with Ali Kazimi” and Shooting Indians Documentarian Kazimi discusses his work before a screening of his critical look at Edward S. Curtis’s photography. (Sept. 14, PFA)
“The Word and the Image: The Films of Peter Whitehead” The swinging ’60s hit the Yerba Buena Center for the Arts as curator Joel Shepard presents the first-ever US retrospective dedicated to the director of Tonight Let’s All Make Love in London. Includes proto–music videos made for Nico, Jimi Hendrix, and others. Smashing! (Sept. 14–28, YBCA; see below)
Edmond Stuart Gordon of Re-Aminator infamy makes a jump from horror into drama — not so surprising, since he’s a friend of David Mamet. Willam H. Macy adds another sad sack to his résumé. (Sept. 15–21, Roxie; see below)
Anxious Animation Other Cinema hosts a celebration for the release of a DVD devoted to local animators Lewis Klahr, Janie Geiser, and others. Expect some work inspired by hellfire prognosticator Jack Chick!
Sept. 16. Other Cinema, 992 Valencia, SF. (415) 824-3890, www.othercinema.com
Kingdom of the Spiders Eight-legged freaks versus two-legged freak William Shatner. I will say no more.
Sept. 17. Dark Room, 2263 Mission, SF. (415) 401-7987, www.darkroomsf.com
Landscape Suicide No other living director looks at the American landscape with the direct intent of James Benning; here, he examines two murder cases. (Sept. 19, PFA)
La Promesse and Je Pense à Vous Tracking the brutal coming-of-age of scooter-riding Jérémie Renier, 1997’s La Promesse made the name of Jean-Pierre and Luc Dardenne, but Je Pense is a rarely screened earlier work. (Sept. 22, PFA)
Muddy Waters Can’t Be Satisfied Billed as the first authoritative doc about the man who invented electric blues, this plays with Always for Pleasure, a look at New Orleans by the one and only Les Blank. (Sept. 22–26, Roxie)
Rosetta and Falsch The Dardenne brothers’ Rosetta made a splash at Cannes in 1999; Falsch is their surprisingly experimental and nonnaturalistic 1987 debut feature. (Sept. 23, PFA)
loudQUIETloud: A Film About the Pixies A reunion tour movie. (Sept. 29–Oct. 5, Roxie)
American Blackout Ian Inaba’s doc about voter fraud made waves and gathered praise at this year’s San Francisco International Film Festival; it gets screened at various houses, followed by a Tosca after-party, in this SF360 citywide event.
Sept. 30. Tosca Café, 242 Columbus, SF. (415) 561-5000, www.sffs.org
Them! “Film in the Fog” turns five, as the SF Film Society unleashes giant mutant ants in the Presidio.
Sept. 30. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org
“Zombie-Rama” Before Bob Clark made Black Christmas, Porky’s, and A Christmas Story, he made Children Shouldn’t Play with Dead Things. The ending is as scary as the title is funny.
Oct. 5. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net
“Swinging Scandinavia: How Nordic Sex Cinema Conquered the World” Jack Stevenson presents a “Totally Uncensored” clip show about the scandalous impact of Scandinavian cinema on uptight US mores and also screens some rare cousins of I Am Curious (Yellow). (Oct. 5 and 7, YBCA)
“Mill Valley Film Festival” Why go to Toronto when many of the fall’s biggest Hollywood and international releases come to Mill Valley? The festival turns 29 this year.
Oct. 5–15, 2006. Various venues. (415) 383-5256, www.mvff.org
“Fighting the Walking Dead” Jesse Ficks brings They Live to the Castro Theatre. Thank you, Jesse. (Oct. 6, Castro; see below)
Phantom of the Paradise Forget the buildup for director Brian de Palma’s Black Dahlia and get ready for a Paul Williams weekend. This is screening while Williams is performing at the Plush Room.
Oct. 6. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
Calvaire Belgium makes horror movies too. This one is billed as a cross between The Texas Chainsaw Massacre and Deliverance — a crossbreeding combo that’s popular these days. (Oct. 6–12, Roxie)
Black Girl Tragic and so sharp-eyed that its images can cut you, Ousmane Sembene’s 1966 film is the masterpiece the white caps of the French new wave never thought to make. It kicks off a series devoted to the director. (Oct. 7, PFA)
“Animal Charm’s Golden Digest and Brian Boyce” Boyce is the genius behind America’s Biggest Dick, starring Dick Cheney as Scarface. Animal Charm have made some of the funniest movies I’ve ever seen.
Oct. 7. Other Cinema, 992 Valencia, SF. (415) 824-3890, www.othercinema.com
Madame X, an Absolute Ruler Feminist director Ulrike Ottinger envisions a Madame X much different from Lana Turner’s — hers is a pirate. (Oct. 11, PFA)
“The Horrifying 1980s … in 3-D” Molly Ringwald (in Spacehunter), a killer shark (in Jaws 3-D), and Jason (in Friday the 13th Part 3: 3-D) vie for dominance in this “Midnites for Maniacs” three-dimensional triple bill. (Oct. 13, Castro)
“Dual System 3-D Series” This program leans toward creature features, from Creature from the Black Lagoon to the ape astronaut of Robot Monster to Cat-Women on the Moon. (Oct. 14–19, Castro)
“Early Baillie and the Canyon CinemaNews Years” This program calls attention to great looks at this city by Baillie (whom Apichatpong Weerasethakul cites as a major influence) and also highlights the importance of Canyon Cinema. (Oct. 15, YBCA)
“War and Video Games” NY-based film critic Ed Halter presents a lecture based on From Sun Tzu to Xbox: War and Video Games, his new book. (Oct. 17, PFA)
Santo Domingo Blues The Red Vic premieres a doc about bachata and the form’s “supreme king of bitterness,” Luis Vargas.
Oct. 18–19. Red Vic, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com
“Monster-Rama” The Devil-ettes, live and in person, and Werewolf vs. the Vampire Women, on the screen, thanks to Will “the Thrill” Viharo.
Oct. 19. Parkway Speakeasy Theater, 1834 Park, Oakl. (510) 814-2400, www.thrillville.net
“Spinning Up, Slowing Down”: Industry Celebrates the Machine” Local film archivist Rick Prelinger presents six short films that epitomize the United States’ machine mania, including one in which mechanical puppets demonstrate free enterprise. (Oct. 19, PFA)
The Last Movie Hmmm, part two: OK, let’s see here, Dennis Hopper’s 1971 film gets a screening after he personally strikes a new print … (Oct. 20–21, YBCA)
What Is It? and “The Very First Crispin Glover Film Festival in the World” … and on the same weekend, Hopper’s River’s Edge costar Glover gets a freak hero’s welcome at the Castro. Sounds like they might cross paths. (Oct. 20–22, Castro)
I Like Killing Flies And I completely fucking love Matt Mahurin’s documentary about the Greenwich Village restaurant Shopsin’s, possibly the most characterful, funny, and poignant documentary I’ve seen in the last few years. (Oct. 20–26, Roxie)
“Miranda July Live” Want to be part of the process that will produce Miranda July’s next film? If so, you can collaborate with her in this multimedia presentation about love, obsession, and heartbreak.
Oct. 23–24. Project Artaud Theater, 450 Florida, SF. (415) 552-1990, www.sfcinematheque.org)
The Case of the Grinning Cat This 2004 film by Chris Marker receives a Bay Area premiere, screening with Junkopia, his 1981 look at a public art project in Emeryville. (Oct. 27, PFA)
The Monster Squad The folks (including Peaches Christ) behind the Late Night Picture Show say that this 1987 flick is the most underrated monster movie ever.
Oct. 27–28. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
Neighborhood Watch Résumés don’t get any better than Graeme Whifler’s — after all, he helped write the screenplay to Dr. Giggles. His rancid directorial debut brings the grindhouse gag factor to the Pacific Film Archive. (Oct. 29, PFA)
“Grindhouse Double Feature” See The Beyond with an audience of Lucio Fulci maniacs. (Oct. 30, Castro)
“Hara Kazuo” Joel Shepard programs a series devoted to Kazuo, including his 1969 film tracing the protest efforts of Okuzaki Kenzó, who slung marbles at Emperor Hirohito. (November, YBCA)
“International Latino Film Festival” This growing fest reaches a decade and counting — expect some celebrations.
Nov. 3–19. Various venues. (415) 454-4039, www.utf8ofilmfestival.org
Vegas in Space Midnight Mass makes a rare fall appearance as Peaches Christ brings back Philip Ford’s 1991 local drag science fiction gem.
Nov. 11. Clay Theatre, 2261 Fillmore, SF. (415) 346-1124, www.thelatenightpictureshow.com
“As the Great Earth Rolls On: A Frank O’Hara Birthday Tribute” The birthday of the man who wrote “The Day Lady Died” is celebrated. Includes The Last Clean Shirt, O’Hara’s great collaboration with Alfred Leslie.
Nov. 17. California College of the Arts, 1111 Eighth St., SF. (415) 552-1990, www.sfcinematheque.org
Sites and Silences A shout-out to A.C. Thompson for his work with Trevor Paglen on the well-titled Torture Taxi, which helped generate this multimedia presentation by Paglen. (Nov. 19, YBCA)
“Kihachiro Kawamoto” One of cinema’s ultimate puppet masters receives a retrospective. (December, YBCA)
“Silent Songs: Three Films by Nathaniel Dorsky” The SF-based poet of silent film (and essayist behind the excellent book Devotional Cinema) screens a trio of new works. (Dec. 10, YBCA)
CASTRO THEATRE
429 Castro, SF
(415) 621-6120
www.castrotheatre.com
PFA THEATER
2575 Bancroft, Berk.
(510) 642-5249
www.bampfa.berkeley.edu
ROXIE FILM CENTER
3317 16th St., SF
(415) 863-1087
www.roxie.com
YERBA BUENA CENTER FOR THE ARTS (YBCA)
Screening room, 701 Mission, SF
(415) 978-2787
www.ybca.org\ SFBG
Checking the tour and festival circuit
SEPT. 1
Broke Ass Summer Jam 2006 Living Legends revive the ’90s Mystik Journeymen event, which centered on their mag, underground West Coast acts, and a certain DIY drive. One Block Radius, Mickey Avalon, Dub Esquire, Balance, and surprise guests turn out and turn it up. Historic Sweets Ballroom, 1933 Broadway, Oakl. www.collectiv.com.
SEPT. 7
Vashti Bunyan We all want to look after the folk legend — discovered by Andrew Loog Oldham and championed by Devendra Banhart — as she stops in the Bay during her first US tour. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.
SEPT. 8
Mary J. Blige and LeToya Is the latter hit-minx biting Blige’s leather laces? The tour coined “The Breakthrough Experience” just might say it all. Concord Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-TIXS. Also Sept. 10, Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800.
Gigantour Megadeth’s Dave Mustaine has more than “Symphony of Destruction” on his mind. The man builds — namely, a tour showcasing the long-tressed, rock-hard Lamb of God, Opeth, Arch Enemy, and others. McAfee Coliseum, 7000 Coliseum, Oakl. (510) 569-2121.
Japanese New Music Festival Noise legends Ruins and psych ear-bleeders Acid Mothers Temple perform individually and together in, oh, seven configurations. Bottom of the Hill, 1233 17th St., SF. (415) 621-4455.
SEPT. 9
Matisyahu The Hasidic toaster catches the spirit with the nondenominational Polyphonic Spree. San Jose Civic Auditorium, 145 W. San Carlos, San Jose. (415) 421-TIXS.
SEPT. 16
Elton John Hold still, this could be painful. The Caesars Palace fill-in for Celine Dion ushers in The Captain and the Kid (Sanctuary), the sequel to Captain Fantastic and the Brown Dirt Cowboy. HP Pavilion, 525 W. Santa Clara, San Jose. (415) 421-TIXS.
Zion-I Getcher red-hot underground Bay Area hip-hop right here at a show including the Team and Turf Talk. Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 20
Kelis A drab new look and a will to rise above “Milkshake.” Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 20–21
Guns N’ Roses Word has it that the Chinese democrats sold out in minutes. Warfield, 982 Market, SF. (415) 775-7722.
SEPT. 22–24
San Francisco Blues Festival Little Richard and Ruth Brown carouse at the 34th annual getdown, which includes New Orleans tributes and a Chicago harmonica blowout. Fort Mason, Great Meadow, Bay at Laguna, SF. www.sfblues.com.
SEPT. 28
Tommy Guerrero The artist-skater-musician wears many hats — this time he tips a songwriting cap to laidback funk with From the Soil to the Soul (Quannum Projects, Oct. 10) and tours with labelmates Curumin and Honeycut. Mezzanine, 444 Jessie, SF. (415) 625-8880.
SEPT. 29
M. Ward The former South Bay teacher looks forward with his Post-War (Merge) and tools around the state with that other MW, Mike Watt. Fillmore, 1805 Geary, SF. (415) 346-6000.
SEPT. 30
Download Festival Load up on indie-ish artists like Beck, Yeah Yeah Yeahs, Muse, and the Shins. Shoreline Amphitheatre, 1 Amphitheatre Pkwy., Mountain View. (650) 541-0800.
Supersystem The NYC-DC indie funksters wave A Million Microphones in your mug. Rickshaw Stop, 155 Fell, SF. (415) 861-2011.
OCT. 1
Godsmack Much yuks were had over Arthur magazine’s recent editorial slapdown of frontperson Sully Erna. Concord Pavilion, 2000 Kirker Pass Road, Concord. (415) 421-TIXS.
OCT. 2
Mariah Carey Emancipated and on the loose via the “Adventures of Mimi” tour, alongside Busta Rhymes. Watch out, all you ice cream cones. Oakland Arena, 7000 Coliseum Way, Oakl. (415) 421-TIXS.
OCT. 3
Celtic Frost The notorious ’80s metalists join hands with Goatwhore and Sunn O))) and skip with heavy, heavy hearts. Fillmore, 1805 Geary, SF. (415) 346-6000.
OCT. 6–8
Hardly Strictly Bluegrass How now, our favorite free cowpoke (folkie and roots) hoedown? Elvis Costello is the latest addition to a lineup that counts in Ramblin’ Jack Elliott, Iris DeMent, Billy Bragg, Emmylou Harris, Gillian Welch, Allison Moorer, Richard Thompson, T Bone Burnett, Chip Taylor, and Avett Brothers. Golden Gate Park, Speedway Meadow, JFK near 25th Ave., SF. Free. www.strictlybluegrass.com.
OCT. 13
Clap Your Hands Say Yeah Blogged to the ends of the earth — and to the detriment of our frayed nerves — the NYC band huddles with Architecture in Helsinki. Warfield, 982 Market, SF. (415) 775-7722.
OCT. 16
Ladytron The beloved, wry Liverpool dance-popettes reach beyond the “Seventeen” crowd. Fillmore, 1805 Geary, SF. (415) 346-6000.
NOV. 5
Rolling Stones They’re baaack. Van Morrison makes a mono-generational affair. McAfee Coliseum, 7000 Coliseum Way, Oakl. (415) 421-TIXS. (Kimberly Chun)
Fallin’ out
› superego@sfbg.com
Club me. Club me hard. And party me even harder, Miss Autumn — you with the burgundy hair, the tiger-striped jumpsuit, and the White Russian teeth. This is a great time to fall out in the Bay: the weather gets warmer, the nights get longer, and there’s a new crop of fresh-faced, low-tolerance Berkeley students and their future careers to fiddle with. How naughty. Do let’s dive into some fall party highlights, shall we?
Big club news first. Crusty favorite 1015 Folsom (www.1015.com) just underwent a massive remodel and is looking to rebrand itself as a more welcoming, less tired niche spot. So far the calendar looks full of the usual Paul Oakenfold–wacky techno stuff of yesteryear, but there’s an outreach going on to draw in more, er, post-1998-type fare, and the remo looks fabu, so here’s hoping.
1015 is spacious, but the brand-new Temple (www.templesf.com) in the old DNA space is holy fucking cosmic. With five dance areas, underground “catacombs,” and various VIP rooms (including one you get to through a secret door in the women’s john), there’s gonna be a lot of sublebrity scandal reeking from this joint when it opens in September. I’m still all about small, but I’m mysteriously drawn to this place already. Something spiritual? Nah, I just wanna egg all the Hummers.
Also on its way is Slide (www.slidesf.com), an upscale underground speakeasy-style lounge soon to be launched by some of clubland’s wealthiest players. It really is underground — you get to it by going down a slide. Lord knows how you get out. But it’ll be fun watching people try. Look out for beaver cams, skirt wearers.
If you’re gay or a fan of the gay or a pervert nun — and who isn’t on a Thursday — you’ll squeal like a stuck pig that one of San Francisco’s literally balls-out faves, Revival Bingo (www.revivalbingo.com), the raucous fundraiser hosted by the Sisters of Perpetual Indulgence, will rise from the dead on Sept. 7 and will continue to rise on the first Friday of every month at 7 p.m. at Ellard Hall in the Castro.
But Sept. 7? You may be just too hungover from the SF Symphony Opening Gala (www.sfsymphony.org) Sept. 6 to wet your bingo tip. OK, OK, I admit this isn’t exactly a clubby event, and maybe I’m pumping it because I want free press tickets. (Oh yes, I’ll be blogging it on www.sfbg.com.) But I’m tired of standing behind the velvet ropes year after year watching San Francisco’s impeccably accoutred master class promenade down the red carpet to enjoy the Michael Tilson Thomas–led aural fireworks inside. I’m a faggot, dammit. I wanna be in the sparkly parade!
Which brings us to the biggest party weekend of the year: Sept. 23 and 24. That’s when, for the third year in a row, the technolicious LoveFest (formerly the Love Parade; www.sflovefest.org) and the leatherific Folsom Street Fair (www.folsomstreetfair.com) share a weekend of mayhem — LoveFest all day Saturday and Folsom all day Sunday. These are both ginormous institutions that draw hundreds of thousands of visitors each. And oh lord, you should see the outfits. LoveFest boasts hundreds of top-notch live acts, including Massive Attack, Grandmaster Flash, and DJ Shadow, plus a really rickety parade of hilariously homemade floats up Market. Folsom boasts hundreds of top-notch bare buttocks and several hundred lower-notch other parts as well, plus this year it’s woken up to the whole alternaqueer thing, programming a ton of trash-drag live acts and even SF’s favorite musical curmudgeon, DJ Bus Station John, to get your chaps sweaty. Throw on a beer-stained bunny suit and hit up both events.
Finally: “Mass Culture has forced the majority’s subconscious into accepting a monotonous mindset pervaded by ignorance and inaction,” quoth the press release for Be the Riottt (www.riottt.com), the eclectic Vice-meets-Misshapes electro-fash throwdown Nov. 11 at the Bill Graham Civic Auditorium. Riott’s answer? Have an enormous concert featuring some of the biggest international draws in postironic attitudinizing. The Rapture, Metric, Clipse, Diplo, and about 20 other acts (plus, I suppose, thousands of neon Vans and white-framed sunglasses) will stoke the frozen grins of the sans blague generation. I’ll be there with a Cher tambourine. Go team! SFBG
SF Opera under the glass
› a&eletters@sfbg.com
There is no lack of world-class talent in the upcoming fall season, but as far as the portentous tenants in the Civic Center are concerned, the new season’s repertoire stands out as an exercise in artistic tepidness. Perhaps still traumatized by the Bush economy’s brutal impact upon the arts, the San Francisco Opera and Symphony and other big Bay Area arts presenters are taking few chances. Projects with even the subtlest hints of experimentation this season — such as the SF Symphony’s multimedia production of Charlie Chaplin’s City Lights — are being served to the public in carefully marketed packages, brandishing favorite performers with tried-and-true creative teams that have been thoroughly tested over the years.
So as the curtains go up next week, the best performance to watch may well be the one that is taking place offstage: David Gockley, the SF Opera’s new general director, heads his first full season as the top choice for the job. With the company’s somewhat contentious regime change (Pamela Rosenberg vacated the lead post last season), Gockley knows that his every move is being scrutinized by the opera world.
Rosenberg was the only woman leading a major American opera company during her tenure at the SF Opera, boldly introducing on the War Memorial stage the US premieres of major contemporary works such as Olivier Messiaen’s massive St. Francis of Assisi, György Ligeti’s Le Grand Macabre, and the world premiere of John Adams’s Dr. Atomic. Even while facing the funding challenges of a deflated economy, Rosenberg chose to focus the company’s resources on creating the daring, provocative concept-driven productions that are common in Europe. Instead of squandering her production budgets on expensive star singers, Rosenberg brought a fertile artistic sensibility to the company that was wholly fresh and exciting.
Yet the lack of recognizable marquee names combined with the high level of abstraction in her productions displeased the opera’s more conservative, traditional constituencies. Typically, the anti-Rosenberg camp was made up of Metropolitan Opera–jealous patrons and the shrill, mercilessly critical traditionalists who prefer museumlike productions — the kind of stagings populated with ornate period costuming and opulent sets that are often mere vanity vehicles to glorify star singers. So, faced with the criticism of diva-starved patrons and the prospect of having to devote an enormous portion of her time on the job to fundraising, Rosenberg chose not to renew her five-year contract with the SF Opera when it expired.
Attempting to find a less polarizing replacement, the SF Opera’s search committee came up with Gockley, the highly respected former general director of Houston Grand Opera. Chief among Gockley’s strengths is the rapport he has with top talent in the field, paired with a proven ability to entice them into high-profile collaborations.
“I would like to pursue a policy of bringing more of the most prominent stars back to San Francisco, similar to the kind that the public enjoyed during the [Kurt Herbert] Adler and [Terence] McEwen years,” Gockley said in a phone interview last week. “People expect that of a great international company — to provide the big personalities and the most glamorous performers.”
Yes, the divas are back, though certainly not in the abundance suggested by the opera’s tacky marketing campaign launched during the summer season. But what could be the rationale behind the extreme conservatism of SF Opera’s 2006–07 season, in which the most modern entry is Richard Strauss’s Der Rosenkavalier (1911) and the production rosters are populated by stalwart traditionalists such as Michael Yeargan, Thierry Bosquet, and John Conklin? “This year is not mine,” Gockley pointed out, indicating that it was planned by his predecessor before his arrival.
Not unlike Rosenberg, in Houston, Gockley was also known as an innovator and risk taker. In the heart of Bush country, he ushered in Adams’s Nixon in China, a momentous premiere in the history of American opera. A few years later, his controversial commission of Stewart Wallace and Michael Korie’s Harvey Milk was picketed by the religious right.
So what does he have in store for those who actually like more daring theatrical statements?
“Nothing this year,” he said dryly. “But we have already announced a world premiere by Philip Glass [an opera based on the Civil War battle of Appomattox] for next season and will announce the new season in January. Much as I did in Houston, we will have a blend of some core and peripheral repertory work, new works, and premieres — done with great singers and great musical and theatrical values.”
In all fairness, Gockley has the difficult job of being all things to all people during this transitional phase. Of course, this is only the beginning, and before he has the buy-in from all the locals, this former Texan will still have much to prove. SFBG
CHING CHANG’S TOP CLASSICAL AND OPERA PICKS
HENRY PURCELL’S KING ARTHUR
Philharmonia Baroque and Cal Performances join forces to present Purcell’s 1691 dramatic masterpiece in a new, fully choreographed staging by Mark Morris. The original cast from the production’s UK premiere is featured. (Sept. 30–Oct. 7. 510-642-9988, www.calperfs.berkeley.edu)
HILARY HAHN AND THE SF SYMPHONY
More than any so-called diva, violinist Hilary Hahn provides compelling evidence of the divine with her mesmerizing gifts. Appearing with the SF Symphony, Hahn is the soloist in the rarely heard Violin Concerto by Eric Wolfgang Korngold, a composer of forbidden music during the Nazi era. (Dec. 6–8. 415-864-6000, www.sfsymphony.org)
RICHARD WAGNER’S TRISTAN UND ISOLDE
Soprano Christine Brewer’s rendition of Isolde’s orgasmic, transcendent “Liebestod” at the end of this five-hour opera will be well worth the wait, while iconoclast David Hockney’s colorful sets will be mere icing on the cake. Thomas Moser sings Tristan, and Donald Runnicles conducts. (Oct. 5–27. 415-864-3330, www.sfopera.com)
THOMAS ADES
In the rarest of opportunities, the brilliant British composer and pianist Thomas Ades pays a visit to San Francisco to play a recital of his music at Herbst Theatre. Ades created a sensation when, as a fresh-faced 23-year-old composer, he premiered his opera Powder Her Face (containing the now-infamous fellatio scene) in Britain in 1995. (Dec. 9. 415-392-2545, www.performances.org)
Art
1. “Prophets of Deceit” As assorted “powers” turn the fear factor up ever higher, you don’t need to be Mel Gibson (phew) to see that an exhibition looking at apocalyptic cults — especially governmentally sanctioned ones — is a timely idea. San Francisco end-times expert Craig Baldwin and others take on messianic ideologies.
Sept. 12–Nov. 11. CCA Wattis Institute for Contemporary Arts, Logan Galleries, 1111 Eighth St., SF. 1-800-447-1278, www.wattis.org/exhibitions/2006/prophets
2. “Wallace Berman” and “Semina Culture: Wallace Berman and His Circle” A spring event at SF Art Institute whet my appetite for these shows, which gather the projects of artist, filmmaker, and publisher Berman, an undersung figure whose influence has laced the cosmic wonder of many neofolkies, whether or not they know it.
“Wallace Berman”: Sept. 6–Oct. 28. 871 Fine Arts, 49 Geary, suite 235, SF. (415) 543-5155. “Semina Culture: Wallace Berman and His Circle”: Oct. 18–Dec. 10. Berkeley Art Museum Galleries, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu
3. “Neopopular Demand: Recent Works by Fahamu Pecou” Fahamu Pecou is the shit. Peep his Web site and you will agree.
Sept. 20–Oct. 24. Michael Martin Galleries, 101 Townsend, suite 207, SF. (415) 541-1530, www.fahamupecouart.com
4. “Sensacional! Mexican Street Graphics” Taking pages from Juan Carlos Mena and O Reyes’s book of the same name, the Yerba Buena Center hosts a show devoted to comic book, flyer, poster, and street imagery; a music video sideshow promises work by Assume Vivid Astro Focus, which can be like acid (without brain-frying side effects).
Nov. 18, 2006–March 4, 2007. Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, www.ybca.org
5. “New Work: Phil Collins” They are music videos, but they aren’t made by the man behind “Sussudio.” Turner Prize finalist Collins taps into the spirit of Morrissey rather than Peter Gabriel’s follically challenged replacement. His video installation dünya dinlemiyor (the world won’t listen) features kids in Istanbul performing karaoke versions of songs from a certain 1987 Smiths compilation.
Sept. 16, 2006–Jan. 21, 2007. San Francisco Museum of Modern Art, 151 Third St., SF. (415) 357-4000, www.sfmoma.org
6. “Visionary Output: Work by Creative Growth Artists” Recent Guardian Local Artist William Scott is one of a dozen people featured in this show devoted to the great, Oakland-based Creative Growth.
Sept. 7–Oct. 14. Rena Bransten Gallery, 77 Geary, SF. (415) 982-3292, www.renabranstengallery.com
7. “How to Build a Universe That Doesn’t Fall Apart Two Days Later” California has long been a front line and dropping-off point for visionaries, a place where people have brought new ideas about community to life (and sometimes to death). Taking its name from an essay by Philip K. Dick, this 12-person show scopes the state’s future and the state of the future, mixing work by local artists with real-life attempts at space colonizing and urban agriculture.
Nov. 28, 2006–Feb. 24, 2007. CCA Wattis Institute for Contemporary Arts, 1111 Eighth St., SF. 1-800-447-1278, www.wattis.org/exhibitions/2006/universe
8. “Making Sense of Sound” Another wave of sound installations continues to overtake museums and galleries, and the Exploratorium is an ideal site for sonic exploration; this exhibition, featuring 40 new interactive exhibits, promises to be a must-see, I mean must-hear. It’ll all kick off with the arrival and ringing of a cast-iron bell driven cross-country by composer Brenda Hutchinson.
Oct. 21, 2006–Dec. 31, 2007. Exploratorium, 3601 Lyon, SF. (415) EXP-LORE, www.exploratorium.edu
9. “Kala Fellowship Exhibition, Part II” Kala’s first installment included strong work by Liz Hickok and others. The second installment features Miriam Dym, Gary Nakamoto, Sasha Petrenko, and Tracey Snelling.
Sept. 7–Oct. 14. Kala Art Institute Galley, 1060 Heinz, Berk. (510) 549-2977, www.kala.org
10. “Ghosts in the Machine” The new SF Camerawork space — directly above the Cartoon Art Museum — will open with this group show of eight international artists that relates haunting to cultural estrangement. Dinh Q. Lê’s “grass mats” constructed with stills from films such as The Deer Hunter and Apocalypse Now are one example.
Oct. 5–Nov. 18. 657 Mission, SF. (415) 863-1001, www.sfcamerawork.org SFBG
TWO PLUS TWO
TWO PLUS TWO
ERIN GILLEY’S PICKS
1. “365 Days/365 Plays” Suzan-Lori Parks wrote a play for each day of the year. They’ll be performed all year by artists nationwide, and San Francisco will be a huge part of the largest theater collaboration in history. A stunt, but a really cool one. Begins Nov. 13. SF venues TBA. www.publictheater.org
2. Big Love Not the HBO show — living, breathing theater, with a big prize for the ugliest bridesmaid’s dress in the audience. Sept. 28–Oct. 21. Traveling Jewish Theatre, 470 Florida, SF. $15–$30. 1-800-838-3006, www.foolsfury.org
Erin Gilley is general manager of Crowded Fire Theater.
JOHN WILKINS’S PICKS
1. Hamlet: Blood on the Brain In a nifty display of relocation, Campo Santo transports the classic play from Denmark to our own drug-ravaged Oakland in the 1980s. If any theater group can make concept Shakespeare soar, this is the one — simply the best acting core in the Bay Area. Oct. 26–Nov. 20. Intersection for the Arts, 446 Valencia, SF. $9–$20. (415) 626-2787, www.theintersection.org
2. DEFIXONES: Orders From the Dead If you’ve heard Diamanda Galas sing, you’ve been amazed or shocked in the depths of your soul. Here, her three-and-a-half octave voice takes on the Armenian genocide in what promises to be a theatrical assault you won’t soon forget. Oct. 19 and 21. Yerba Buena Center for the Arts Theater, 701 Mission, SF. $15–$35. (415) 978-2787,
www.ybca.org SFBG
John Wilkins is artistic director of Last Planet Theatre.
The jump off
› johnny@sfbg.com
Underground Sam Green’s documentary The Weather Underground helped spark David Dorfman Dance’s ambitious new 50-minute piece about activism and terrorism, but Dorman’s own experiences growing up in ’60s Chicago during the Days of Rage are an even bigger influence. Dorfman and Green will also discuss Green’s film in a related event.
Sept. 21 and 23. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.ybca.org
“Kathak at the Crossroads” Working with companies in India and Boston, Chitresh Das Dance Company has put together perhaps the biggest event ever dedicated to Kathak in this country. No better figure than the energetic, veteran Das could be at the helm of such an undertaking.
Sept. 28–30. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 333-9000, www.kathak.org
Tarantella, Tarantula The local Artship Dance/Theater, led by Slobodan Dan Paich, explores the tarantella, a dance used to ward off the poison of a tarantula bite in particular and malaises of the heart in general. This premiere is paired with a visual art exhibit based on Artship’s years of research on the subject.
Sept. 28–Oct. 8. ODC Theater, 3153 17th St., SF. (415) 863-9834, www.odctheater.org
King Arthur Mark Morris collaborates with the English National Opera and takes on Henry Purcell’s semiopera, giving it a vaudevillian spin, with costume design by Isaac Mizrahi. Productions in England have already been lavishly praised.
Sept. 30–Oct. 7. Zellerbach Hall, Bancroft and Telegraph, Berk. (510) 642-9988, www.calperfs.berkeley.edu
The Live Billboard Project Site-specific specialist (and Guardian Goldie winner) Jo Kreiter knows how to create a dynamic, innovative image. This time she’s doing so at the wild intersection of 24th and Mission streets (near Dance Mission, no doubt). A 10th anniversary production by Kreiter’s Flyaway company, Live Billboard Project will feature her signature aerial choreography.
Oct. 4–8. 24th St. and Mission, SF. (415) 333-8302, www.flyawayproductions.com
The Miles Davis Suite Savage Jazz Dance Company and Miles Davis is a match made in dance heaven — or whatever sphere Davis’s music reaches and thus wherever Reginald Savage’s choreography manages to follow it. If any choreographer is well suited to the late, great Davis, it’s Savage — the real question is what compositions and recordings Savage will mine.
Oct. 12–15. ODC Theater, 3153 17th St., SF. (415) 863-9834, www.odctheater.org
Daughters of Haumea Patrick Makuakane and Na Lei Hulu I Ka Wekiu pay tribute to the women of ancient Hawaii. Both hula kahiko and hula mua will figure in Goldie winner Makuakane’s adaptation of a new book by Lucia Tarallo Jensen that is devoted to fisherwoman, female warriors, and high priestesses.
Oct. 21–29. Palace of Fine Arts Theatre, 3301 Lyon, SF. (415) 392-4400, www.naleihulu.org
Kagemi — Beyond the Metaphors of Mirrors The visual splendor within the title only hints at what the classical-, modern-, and Butoh-trained Sankai Juku company might present in this performance; raves for the mind-bending talents of artistic director Ushio Amagatsu, and the still photos alone make this event a must-see.
Nov. 14–15. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.performances.org
“San Francisco Hip-Hop Dance Fest” You can count on Micaya to not only showcase the best hip-hop dance in the Bay Area but also to bring some of the world’s best hip-hop troupes to Bay Area stages. This year Flo-Ology, Soulsector, Funkanometry SF, and Loose Change will be representing the Bay Area, and Sanrancune/O’Trip House will be traveling all the way from Paris.
Nov. 17–19. Palace of Fine Arts Theatre, 3301 Lyon, SF. (415) 392-4400, www.sfhiphopdancefest.com
Dimi (Women’s Sorrow) The all-female, Ivory Coast–based Compagnie Tché Tché is renowned for pushing dance into realms that are both visually awe-inducing and physically explosive. This piece, overseen by artistic director Beatrice Kombé, entwines the stories of four dancers.
Dec. 1–2. Yerba Buena Center for the Arts Theater, 701 Mission, SF. (415) 978-2787, www.ybca.org SFBG
Memo to reporters covering the escapades of the galloping Conglomerati:
Do not forget to check the Form 8-Ks for juicy information that is usually not disclosed in the corporate press releases of the conglomerati papers and usually not disclosed in their corporate house stories.
For example, the 8-K filing on Aug. 24, 2006, by the MediaNews Group, Inc. (Singleton) with the Securities and Exchange Commission in Washington, D.C., disclosed that key Singleton executives got nice bonuses for their work in consummating the Singleton/Hearst deal:
Joseph J. Lodovic IV, president, got a bonus of $l,000,000.
Gerald E. Grilly, executive vice-president and chief operating officer, got $l50,000. More: Grilly, according to the filing, “will retire from the company effective Aug. 3l, 2006. In connection therewith, Mr. Grilly will receive severance of $l.25 million payable over three years, as well as payment of his fiscal 2000 performance bonus of $8l,250 and $35,000 in connection with the forfeiture of his rights under the company’s supplemental executive retirement plan.”
Anthony F.Tierno, senior vice president of operations, got $50,000 and Eric Grilly, president, MediaNews Group interactive, got $75,000.
The moral: there’s lots of money to be made amongst the top executives of newspapers when they do their monopolizing. But, as we shall find, there’s not much money if any, for the rest of us. In fact, there are enormous upfront and longterm costs to staffers, readers, advertisers, the health and welfare of the community, and the marketplace of ideas principle underlying the First Amendment.
And then there is the juicy legal boilerplate laying out the end of real daily competition in the Bay Area for the duration: “On August 24, 2006, in connection with the consummation of the acquisition by MediaNews Group, Inc…of the Contra Costa Times and the San Jose Mercury News, and the entry by the company into an agreement with the Hearst Corporation pursuant to which (l) Hearst agreed to make an equity investment in the Company (such investment will not include any governance or economic rights or interest in the company’s publications in the San Francisco Bay Area and (ll) the Company agreed to purchase The Monterey Herald and the Saint Paul Pioneer Press from Hearst concurrently with the consummation of such equity investment, the Company awarded bonuses to certain of its officers and employees in the aggregate amount of $l.875 million, including bonuses to the Company’s named executive officers as set forth below.”
Let us save and cherish the delicious key phrase: one of the great whoppers of all time: “such investment will not include any governance or economic rights or interest in the company’s publications in the San Francisco Bay Area…” Translation: this is Hearstese and Singletonese stating in effect: there will be no more of this messy and expensive competition stuff from now on. Trust us.
Remember when Phil Bronstein, editor of the Hearst-owned Chronicle, and Susan Goldberg, editor of the now Singleton-owned Mercury News, made some loud, brave noises early on about how the papers would still compete like hell, no matter how intertwined the companies were on the business side? Bronstein and Goldberg and their editors have a tough job selling this propostion to their staff and communities. I’m afraid the way Hearst and Singleton have put the axe and the shovel thus far to the conglomeration story is a telling sign of what’s to come.
The Bronstein/Goldberg statements violate Brugmann’s Law of Monoply Journalism: when there is no real economic competition between newspapers, then there is no real news and editorial competition between newspapers. Alas. Alas. We shall see. Let us hope for the best. The Guardian and the B3 blog will be watching.
Memo to readers: get your crap detectors at the ready. For starters, check the link below for the latest MediaNews SEC filing. B3
Behind the redevelopment initiative
By Tim Redmond
I just said something nice about Randy Shaw, so it’s time to slap him a fast one. The big story in today’s BeyondChron is a gushing testimonial to the efforts of one Biran Murphy O’Flynn to block the city’s redevelopment plan for Bayview Hunters Point. Shaw calls O’Flynn’s efforts “the Little Engine That Could” (no, really, he does) and says that “O’Flynn’s tenacity in the face of funding problems, and the failure of any single powerful organization to take ownership of the campaign, shows how a single person’s passion and commitment can still make a difference in San Francisco.”
Okay, so there are problems with the redevelopment plan — but O’Flynn is no community hero. He’s the guy, you may recall, who tried to build some condos in what became a North Beach park and got so mad at Sup. Aaron Peskin for opposing the development that he tried to run against him in District Three, with an utter lack of success.
He’s a pal of Joe O’Donoghue and the residential builders, and is pissed at revevelopment, I suspect, not because he worries about the people in Bayview (remember, he ran for supervisor from North Beach, so presumably he lives there), but because the redevelopment plan, for all its flaws, would stop builders like him from turning the southeast neighborhoods into a condo development free-for-all.
Why people get mad at the media, part 8, Business Week/McGraw Hill finally does the right thing and publishes two retractions
As you may remember from my spine-tingling serial blogs, I have now spent more than two weeks scampering up and down the hills and through the bogs with the BW/MH folks in San Francisco and their towering headquarters building in midtown Manhattan. I was trying to get a simple correction on some mistakes it made in its Aug. l4th cover story (“Valley boys: how this 29-year-old kid made $60 million in l8th months.”) Here is a recap and a play-by-play:
BW/MH in its first three lines in its first paragraph in its lead story made two bad mistakes. The lead: “It was June 26, 4:45 a.m., and Digg founder Kevin Rose was slugging back tea and trying to keep his eyes open as he drove his Volkswagen Golf to Digg’s headquarters above the grungy offices of the SF Weekly in Potrero Hill.” The first mistake: Digg.com is a tenant of the Guardian in the Guardian building at l35 Mississippi St., and its offices are above the Guardian offices. The SF Weekly is our chain competitor, owned out of Phoenix, Arizona, and its offices are on the other side of Mission Bay. The second mistake: our offices are not “grungy” and the BW/MH reporters were never in our offices.
I decided, what the hell, I’ll go through the drill and try to get a correction. And so I fought my way up the chain of command, by phone and email, from the sales offices in San Francisco to another office on the Peninsula to editorial offices high up in the BW/MG building on the Avenue of the Americas in New York. Finally, I got a call back from Mary Kuntz, an assistant managing editor who contended that the magazine had already done a correction in its online edition, replacing the SF Weekly offices with the Guardian offices.
This correction also ran in the Aug. 2l edition under a “Corrections and Clarifications” head: “The offices of Digg.com, featured in Valley boys” (Cover story, Aug. l4), are located above those of the San Francisco Bay Guardian, not SF Weekly.” Thanks, I said, noting the change from “grungy” offices to “grungy” lobby and how this was an admission that confirmed the reporters were never in our offices. I argued that leaving that pesky word “grungy” in the online edition and not taking it out of the printed edition only made the “correction” even more worse. She refused to budge, so my wife Jean Dibble, co-founder and co-publisher, went around the paper and took pictures and put them on my blog to try to prove our point that our offices weren’t “grungy.” Maybe this turned the tide. Kuntz went back to confer with some mysterious unnamed editor back in the headquarters ozone.
She called back a couple days later and said they were making another correction. Okay, I said, read it to me. The new correction said that the offices were not “grungy,” but the lobby was “grungy.” I was astounded. How in the world, I asked, can the editors in New York say that our lobby was “grungy” when they hadn’t seen it? She replied that her reporters had and they thought it was “grungy.” Well, I reminded her that the dictionary defined “grungy” as being in a “shabby or dirty in character or condition” and asked specifically what was “grungy” about our lobby? Was it our community bulletin board? Was it our community table for the city’s independent papers? Was it our “free press board” with a map from the Freedom House in New York showing the world’s free, partly free, and not free press, country by country? Was it the alerts from international free press organizations about murdered and jailed journalists? Was it our vintage UPI ticker machine, used in the old UPI office in San Francisco, one of the historic items in a San Francisco journalism museum project that we are helping establish? Was it the famous clock from the window of the old Brugmann’s Drug Store in Rock Rapids, Iowa, which the townsfolk used for decades to set their watches? (We display the clock on the wall near our reception desk.) Or was it perhaps the colorful mural of alternative San Francisco on the outside wall of the Guardian? She said no to all the questions. I then laid down the ultimate threat: Jean Dibble would this time around do pictures of the lobby, the clock, and the mural and put them up on my blog on the Guardian website. Maybe that did the trick.
Kuntz called back a couple of days later and read me the second correction. Fine and thanks, thanks, I said. It ran in the Sept. 4 edition as follows: “In our Aug. l4th cover story on Digg.com, we incorrectly described the offices of the San Francisco Bay Guardian as grungy. We regret the error.”
Amazing. I appreciate the corrections and I appreciate that BW/McGraw Hill did the right thing. I told Kuntz that, if she came to San Francisco, I would invite her (and that mysterious inside editor back in the stacks) for a Potrero Hill martini at the Connecticut Yankee. Or, when I come to New York, I would invite her (and that mystery editor) for a martini at the West End Bar (my old hangout on ll3th and Broadway when I was at the nearby Graduate School of Journalism at Columbia University.) Cheers!
Summing up: how to fight for a correction, how the media should handle reader complaints, the correction policy of the Guardian and the model policy of the Minnesota New Council, an impartial, independent, non-government organization that hears and considers complaints against the news media. The Guardian, let me note, places itself under the jurisdiction of the Minnesota News Council, as outlined in a special box in each Guardian under the letters column.
P.S. Memo to Business Week/McGraw Hill: keep your reporters and editors out of newspaper offices and lobbies. We’ll all be better off.
Fashion Week for the fierce, pt I: Yao-za!
Fab intern K. Tighe went to Thursday’s Fashion Week emerging designers extravaganza, here’s the take:
What to wear? The big question. When I decided to attend the 3rd Annual San Francisco Fashion Week, I didn’t really think it through. You see, I’m not what one might call a “fashionable” person. Oh, I’ve got style for miles and miles — but trendy I am not. I’ve been wearing a uniform of jeans, cowboy boots and free band swag t-shirts for years — and the thought of dressing up for such an event frankly turns my stomach a little. So I did what any self-respecting journalist does in dicey situations such as these — I put on a sweater. I figure at the very least I can start a trend — the “dude ranch rocker on the slopes” look is gonna be all over the Milan runways next year, you watch.
Makeup!!!
I head to the Galleria — roughly 15th & Kansas, that highly fashionable district located just between the Mission and Potrero Hill — hoping the walk will open my mind a little. SF’s Fashion Week is not modeled after the stuff of New York and Paris events — tonight will focus on emerging local designers, and that is a cause I can get behind. I hope.
Eureka! There’s more Eurekaism!
What happens to the news when the conglomerati corner the Bay Area newspaper market
By Bruce B. Brugmann (B3)
As you will remember from my last blog, I unveiled the term Eurekaism to replace the term Afghanistanism for the bad habit of many daily papers to cover stories in Eureka, but not the local big scandal or embarrassing stories in their hometowns.
Well, as I was pedaling away this morning on my cardio machine at the World Gym,
I turned as usual in the Hearst-owned Chronicle to find the day’s real Eureka style news: the second page of the business section under the Daily Digest section. Today, surprise, surprise, the Eureka story was below the fold with a nicely disguised head that read: “State won’t challenge newspaper sale.”
Eureka! There was a rummy little five paragraph story that announced a major new development in the major running story of the emerging new regional media megaconglomerate (Hearst/MediaNews Group/Singleton/Gannett/Stephens/McClatchy). The development: Atty. Gen. Bill Lockyer announced that his office will not take antitrust action over the McClatchy sale of the San Jose Mercury-News and Contra Costa Times to Singleton, but that he would investigate a three-way transaction between the companies and Hearst. The story quoted Lockyer as saying without blushing in his standard line to remove-all-pebbles-from-any-impending consolidation: “It does not appear that these transactions will result in a substantial reduction in competition,” though most everyone in the Bay Area knows otherwise. It is a major story that ought to be regularly covered on the front pages of all the papers, with context, perspective, outside expert opinion, mainstreet commentary, and some tough questions of Lockyer. But the megaconglomerate is either censoring, trivializing or burying the story with axe and shovel.
For example, the Chronicle story was not a Chronicle story, but a Reuters wire service story datelined New York (we pulled down the Reuters story from the Reuters website.) The difference between the Reuters and Chronicle stories was telling: Reuters had a better head, “California Oks McClatchy-MediaNews paper sale,” while the Chronicle left out the local Hearst angle. The Chronicle also cut out five key paragraphs from the Reuters story, notably three that made some embarrassing points:
“The move would result in MediaNews owning most of the largest dailies in the area, including the Oakland Tribune. Hearst owns the San Francisco Chronicle.
“San Francisco-based real estate investor Clint Reilly had filed an injunction to halt McClatchy’s sale of San Jose Mercury News, Contra Costa Times and Monterey Herald.
“He argued the sale would put all three California in a partnership controlled by MediaNews and including Gannett Co. Inc. and privately held Stephens Media Group, therefore reducing competition and harm (sic) advertisers and readers…”
Meanwhile, on the Contra Costa Times, George Avalos wrote a misleading three paragraph story that the “state decision clears away the final regulatory impediment to the MediaNews purchase of the Bay Area papers.” No mention of the continuing Hearst/Singleton investigation nor the
Reilly suit.
Down at the Mercury-News, an unbylined story buried the AG’s statement in the last two paragraphs of a five paragraph story trumpeting the new four man team that will run the nation’s “4th biggest newspaper chain.” No mention of the Reilly suit nor the continuing Hearst investigation.
And what happens on a paper not owned by any of the conglomerati? The headline on the East Bay Business Times got it right: “Attorney General continues to look at Hearst deal.”
I repeat: show me a paper owned by any of the Hearst/MediaNews/Singleton/Gannett/Stephens/McClatchy papers that is really covering the story. Alas, the links below indicate the pattern of how badly they are covering the story. (At the time of this writing, we couldn’t find the Hearst story on the Chronicle website.)
Coming next: Let’s play Eureka!! B3
Doggie do
Bring your favorite pooch (even if he regularly snacks on your US Weekly — dude, a tooth mark right through Jennifer Aniston’s face!) to Dolores Park tomorrow for SF Dog‘s “Dog Days of August” event.
According to the event website, there’ll be “dog arts and crafts” (presumably, made by humans with dog motifs, not actual arts and crafts made by dogs), a doggie fashion show (so Project Runway!), and a screening of Best in Show hosted by the canine-friendly San Francisco Neighborhood Theater Foundation.
UPDATE! Pics from the event after the jump.
Democratic madness
By Tim Redmond
The Democratic County Central Committee can sometimes be a zoo, but it’s no joke: The endorsement of the panel gives tremendous credibility to local candidates and issues, since it represents the official position of the San Francisco Democratic Party. The Aug. 21st meeting was particularly crazy; Zak Szymanski has a good report in the BAR on the committee’s almost non-endorsement of Community College Board member Lawrence Wong, who got blasted for appearing at a hotel that was under union boycott. That’s a problem for any politician — and although Wong apologized over and over again, the labor follks on the committee were having none of it.
In the end, Wong squeaked to an endorsement, which is wrong: There’s a long list of reasons not to support Wong (starting with his support for the smelly deal that shifted bond money from a performing arts center to a new gym that will be used in part by a private school nearby).
And it was wrong — and a kind of sorry statement about the local party — that the DCCC refused to oppose Prop. 83, a tough-on-crime initiative that’s aimed at sexual predators — but has all kinds of problems, the way these things often do. San Francisco Sheriff Mike Hennesey is against it, saying it will cost a fortune for new jails; so is Assembly Member Mark Leno, who says it will drive ex-cons into rural areas, away from services — making them more likely to get into further trouble.
The problem is that the state Democratic Party has endorsed it, fearing that the measure will be a wedge issue in swing districts, where moderate Democrats are facing Republicans — and where Phil Angellides needs to be able to beat Arnold. Some local DCCC members were wary of bucking the state party.
That’s embarassing: San Francisco isn’t Stockton, and our local Democrats should be able to stand up to these dumb crime bills. The DCCC ducked, but thanks to Robert Haaland, the committee will vote again in September.
And check this out: The DCCC refused to back longtime incumbent School Board member Dan Kelly. Labor opposed him, and he lost. The unions are pissed about contract problems with the teachers and staff; I’m pissed at Kelly for his unwavering support of former Supt. Arlene Ackerman. Either way, it’s pretty dramatic for the DCCC to snub an incumbent Democrat like that.
Eureka! Here comes Eurekaism!
Why is it news when Dean Singleton competes in Eureka, but not news when he works to destroy daily newspaper competition in the Bay Area?
By Bruce B. Brugmann (B3)
In my first journalism class at the University of Nebraska in Lincoln in the fall of l953, Professor Nathan Blumberg laid out the useful concept of Afghanistanism. This means, he said with gusto, that the press covers the big story in Afghanistan (obviously, times have changed) instead of covering the big local scandal in their own city (obviously, as I am reporting, times have not changed on this score). He spent the rest of the semester outlining local scandals that the local press in many cities was censoring or trivializing. He ended the semester with a rousing rendition of Upton Sinclair’s “The Brass Check,” his bible of the pattern of Afghanistanism in many American newspapers.
To bring the concept up to date, let us take the Sunday Aug. l3 story in the Sunday Magazine of the San Francisco Chronicle click here. It was a long, detailed, colorful story with lots of photos titled “RUMBLE IN THE REDWOODS, What happens when two daily newspapers duke it out in a market known more for its weed than its writing?” It details, way way up in the redwoods, out there by the ocean, up by the Oregon border, a long long way north of San Francisco, that rare example of head-to-head daily newspaper competition. A Dean Singleton/MediaNews group daily (the Eureka Times-Standard) is being forced to compete ferociously with a new upstart daily (the Eureka Reporter) founded by a local financier/tax attorney/banker called Robin P. Arkley II The lead sums up the point of the story: “It is the unlikeliest retail war in the unlikeliest market, a high-stakes game of chicken in a place so offbeat, it is now the setting for a new Sci-Fi Channel show.”
Just as in the old days when there was real daily competition in San Francisco, the publishers and editors and staff take public shots at each other. Arkley is quoted as saying that “I get tired of the Times-Standard saying ‘Rob is trying to put us out of business.’ I mean (the Times Standard and parent Media News) are a monopoly in every market they are in, whining like a bunch of babies…The first lick of competition they get they scream like they are getting (screwed)…They are not having any fun.”
Arkley says he launched the Reporter out of a desire for more local news. “I noticed over the generations the Times-Standard to the ‘Sub-Standard’ to the ‘Daily Disappointment.’ It was not publishing local news…Part of the challenge for local communities today is to keep our local identities. And one of the easiest and most direct ways to do that is with our local newspapers. I felt we needed a local paper again.”
Arkley says he no longer reads the Times-Standard but Singleton says he reads the Reporter, which he derisively calls “a shopper” because it is delivered free to people’s homes. “I watch (the Reporter carefully,” Singleton says in his Rocky Mountain twang (his company is based in Denver). “But when you get right down to it, it is not really a quality newspaper…I think it makes (Arkley) think he is a big man in town. I am not sure buying a printing press and throwing papers around makes you a big man in town, but he thinks it does.”
In short, Joel Davis, a former Times-Standard entertainment and news editor from l988 to l995 and now a Sacramento journalist and college journalism instructor, wrote a nice yarn that inadvertently made a most telling point on the state of journalism in California and the country today.
For Hearst in San Francisco, which finally got what it always wanted in San Francisco (a virtual morning daily monopoly), and for Singleton, who hates competition with a passion and now is moving lockstep with Hearst toward regional monopoly, old-fashioned daily newspaper competition is a slam bang big story—but only if it is up in Eureka. The real story, how Hearst and Singleton are destroying daily competition and imposing even more conservative monopoly journalism on one of the most liberal and civilized regions of the world, is not much of a story at all. It is only a story to be minimized, marginalized, censored, covered in fragments, and buried deep in the business section (See our coverage and our blogs)
The latest example: in Tuesday’s Chronicle, buried on page 2 of the business section, was a “Daily Digest” short under a wimpy little head titled “Foundation among MediaNews backers.” It was an Associated Press story out of Seattle which provided a nugget of new information from an Aug. 8th Securities and Exchange filing. The nugget: that the Bill @ Melinda Gates Foundation had invested an unspecified amount of money in the megaconglomerate deal.
The news was three weeks old. It was published a week after the Contra Costa times ran it. I did a blog on it a week ago. It was written by the Associated Press out of Seattle, not a Chronicle cityside reporter or one of the legion of Chronicle business reporters. The four paragraph story once again amounted to only a fragment of an item that begged for a real comprehensive story. Not once has the Chronicle or any of the papers involved in the deal (Hearst/Singleton/Gannett/Stephens/McClatchy) done the kind of full and complete story, on this unprecedented major local story, and its adverse consequences to their local communities, that they would have done on anybody else. Not once to my knowledge have any of the monopoly publishers or their editors or columnists had a cross word to say publicly about the others or about the march to regional monopoly.
Why?
Eureka! Here comes Eurekaism! B3
P.S.: One thing I like about Dean Singleton is that, when a reporter calls him for a quote, he is not afraid to give him some juicy ones.
P.S. l: Perhaps I am wrong. Perhaps one of the megaconglomerators has done a real story on the real consequences of such consolidation and regional monopoly on their staffs, the health and welfare of their communities, and the competing voices concept underlying the First Amendment and all good journalism. So I will be announcing a blog game: LET’S PLAY EUREKA! And I will ask people to send me any articles or editorials or columns in any of the megaconglomerate papers that they think laid out the real story. B3
FRIDAY
Aug. 25
Music
Johnette Napolitano
In Johnette Napolitano’s world, bullets are always aimed at the innocent, ghosts make perfectly acceptable bedfellows, and Russian angels are good inspirations for tattoos. If she were a rose, she’d be tucked behind the ear of legendary river banshee la Llorona. Napolitano is the driving force behind urban gothic rockers Concrete Blonde and coconspirator on projects such as Vowel Movement with Holly Vincent and Pretty and Twisted with Marc Moreland. Join this enduring lady of darkness for an intimate solo performance before she heads off to the inaugural Summer Strummer festival in Santa Monica. (Nicole Gluckstern)
9 p.m.
Cafe du Nord
2170 Market, SF
$16
(415) 861-5016
www.cafedunord.com http://www.cafedunord.com
Comedy
Patton Oswalt
Patton Oswalt is funnier than you are. He’s been booed off a Pittsburgh stage for his critiques of President Bush, but in San Francisco that just gives him street cred. His content is so raunchy, smart, and devastatingly on point that he makes me want to punch things. With an impressive television history – from writing for MadTV to costarring in sitcom King of Queens – Oswalt’s stand-up is of a particular brand of lewd that would have most TV execs turning red. (K. Tighe)
With Brent Weinbach
Through Sat/26
8 and 10 p.m.
$15-$20
Cobb’s Comedy Club
915 Columbus, SF
(415) 928-4320
www.cobbscomedyclub.com
Benefit for a journalist in jail (Josh Wolf)
Benefit for a journalist in jail (Josh Wolf)
By Bruce B. Brugmann (B3)
The item below was sent out by Riley Manlapaz, the Guardian’s ace promotions manager, to our email action list for a Saturday night benefit for Josh Wolf, who was jailed on Aug. l for refusing to honor a federal grand jury subpoena for the “out-takes” of his filming of an anarchist rally against the G-8 Summit Bush Administration economic and foreign policies.
I think Wolf’s arrest is a direct strike by Bush and the Attorney General against the City and County of San Francisco, the nation’s leading center of dissent and reportage critical of Bush and the Iraq war. The federal threat to jail the Chronicle reporters Lance Williams and Mark Fainaru-Wada, for their superb reporting in the Balco/Bonds case, only makes this point even stronger and more ominous.
If Bush can get away with putting reporters in jail in San Francisco, he can do it anywhere he wants with impunity and he can impose a chilling effect all across the land. His new weapon: claiming federal jurisdiction in a local case involving local law enforcement on the dangerous basis that a police car that was burned during the demonstration was paid for in federal money. (Actually, as the police report shows, only a rear tail light on the police car was damaged.) But the point is that, with federal money pouring into local communities all over the country, from Homeland Security money up and down, the feds can consider almost anything is under federal jurisdiction and they can move against reporters (and protesters) with federal muscle and jail power. From Hearst/Chronicle reporters to a 24-year-old freelance filmmaker, nobody in the media is safe for the duration, inside or outside San Francisco.
Go to the website of the California First Amendment Coalition (CFAC.org) for its resolution condemning the federal contempt sanctions against the reporters and for the full text of an amicus brief making the First Amendment arguments but also making a new and persuasive legal basis for a reporter’s privilege. See Sarah Phelan’s entry at the politics blog and our ongoing coverage. And much, much more!!! B3
JOSH WOLF BENEFIT
Join musicians and activists to raise money for the legal fees of Josh Wolf, the journalist incarcerated for contempt of court for his refusal to hand over unedited video “out-takes” he shot of a anti-G-8 rally held in the Mission on July 8, 2005. Spoken word artist Diamond Dave Whitaker of Enemy Combatant Radio, Oregon-based musician John Staedler, and DJ Chuck Gonzalez perform. Admission is free but donations will be greatly appreciated. Speakers on Wolf’s behalf include Liz Wolf-Spada, his mother; Krissy Keefer, the Green party congressional candidate in the Eighth District; and Harland Harrison, the Libertarian congressional candidate in San Mateo. 7pm-9:30pm. Can’t attend? Please consider donating online at http://joshwolf.net/grandjury/donate.html
August 19 @ Dance Mission, 3316 24th St
http://www.joshwolf.net/blog
Daly hit piece
By Steven T. Jones
We knew that SFSOS and other front groups that shill for downtown and right-wing interests would go hard after Sup. Chris Daly, but even we were surprised at the shrill and misleading hit piece “The Case Against Daly,” penned by Ryan Chamberlin, a former Republican political operative from the Midwest who did dirty tricks work for the Newsom campaign before becoming the errand boy and protege for SFSOS head Wade Randlett. And it was carried by the San Francisco Sentinel’s Pat Murphy, who is unapologetic about aggressively trying to oust Daly, although he claims it’s some kind of principled stand against incivility instead of the fact that downtown front groups make up the lion’s share of his advertising (and therefore get full access to publish their screeds without abiding those pesky journalistic standards like fairness and accuracy — such as the recent Committee on Jobs anti-government screed).
According to Chamberlin, Daly is bad because he is too hard on developers and because they’re supporting him, he isn’t nice enough to his political enemies, there are supposedly too many potholes in Dist. 6, he supports housing for the rich and the poor but not the middle class (despite Daly strengthening the inclusionary housing ordinance, which creates housing specifically for median income families), and that “he is manipulative and domineering.”
And Chamberlin ought to know a little something about being manipulative, seeming to have no sense of either fair political play, logical arguments, or the campaign finance laws that govern producing documents like this.
“Any reasonable citizen reading this collection should find that each of its contents truly stands on its own merits,” Chamberlin wrote. And on this point we agreed. This piece of garbage truly stands on its merits, or lack thereof. I don’t want to get into a point-by-point refutation of this thing, but if you read it and see any points that seem irrefutable to you, drop me and e-mail (steve@sfbg.com) and I’ll address them.
Is Josh Wolf in jail because of federal laziness?
By Sarah Phelan
An amicus brief filed this week in support of jailed freelance reporter Josh Wolf argues that federal common law already recognizes a reporter’s privilege, that it should be applied to Wolf’s grand jury case, and that before a journalist be compelled to divulge unpublished material in response to a subpoena, the requesting party must demonstrate “a sufficiently compelling need for the journalist’s materials to overcome the privilege.”
‘At a minimum, that requires a showing that the information sought is not obstainbable form another source,” argues the brief, which points out that , “it appears that the US Attorney has not even attempted to make a showing that alternative sources have even been consulted, let alone exhausted, or that Mr. Wolf’s videotape is unique. As the district court repeatedly pointed out, the events Mr. Wolf filmed took place on a public street and the published portions of his video show numerous participants and onlookers, (some with cameras) and dozens of police officers.”
Observing that, ” the record reveals a veritable treasure trove of alternative sources, including possible eye witnesses from law enforcement,” the brief concludes that, “The government seems to want Mr. Wolf’s video not because it is the only source of information about what happened to the police car, but because it speculates that it might be the best and most convenient source of information.”
The full text of the amicus brief which was filed by the Reporters Committee for Freedom of the Press, the national Society for Professional Journalists, the WIW Freedom to Write Fund, and the California First Amendment Coalition can be viewed at http://www.cfac.org
P.S.! A fund-raiser for Josh Wolf happens this Saturday, Aug. 19, 7 to 9:30 p.m., at Dance Mission, 3316 24th st., San Francisco. Free Admission, donations appreciated. Entertainers include Diamond Dave Whitaker of Enemy
Combatant Radio and musician John Staedler. Chuck Gonzalez is the DJ.
Speakers include Josh’s mother, Elizabeth Wolf-Spada; Wolf’s uncle Harland Harrison, Libertarian candidate for Congress from San Mateo County;Krissy Keefer, Green Party candidate for Congress from San Francisco’s east side, and Rick Knee of the National Writers Union. Or consider donating online at http://joshwolf.net/grandjury/donate.html
“That’s GOOD news? Snakes on crack?”
On the occasion of the first San Francisco screening of the most ridiculously hyped movie of 2006 (and, quite possibly, of all time — sorry, George Lucas)…
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City Attorney sues major San Francisco landlord
The City Attorney’s Office announced today that it’s suing one of San Francisco’s biggest landlords, Skyline Realty, aka CitiApartments.
Some of you may remember our three-part series on the company, published in March, in which current and former rent-controlled tenants claimed either in lawsuits or during interviews that they were victims of a patterned attempt to oust them from their apartments.
Why people get mad at the media, part 7, a letter to the editor of Business Week/McGraw Hill
Note to the reader:
This is a copy of a letter I emailed today to the unidentified “editor filter” at bw@businessweek.com, as instructed yesterday by Assistant Managing Editor Mary Kunz at Business Week/McGraw Hill headquarters in New York City. I copied her and Editor-in-Chief Stephen J.Adler and Executive Editors John A. Byrne and Kathy Rebello. I asked for an acknowledgment that they had received my letter and that, if there was any editing, that they show it to me in advance to help prevent further “correction” messes. I also asked that the letter run in both the print and online BW magazines. Let us see what happens.
Coming soon: due to popular demand, I will soon be supplying details on the Potrero Hill martini, how to make it and where to get it.
Letter to the editor of Business Week/McGraw Hill:
In your front page story on Digg.com, you made two major errors in the first three lines of the first paragraph of your lead article. (“How This Kid Made $60 Million in l8 months.”) First, you wrote that Digg.Com was situated “above the grungy offices of the SF Weekly in Potrero Hill.” This is incorrect: Digg.com is situated above the offices of the San Francisco Bay Guardian in the Guardian building, which we own. SF Weekly, our major competitor, has offices on the other side of Mission Bay. Second: our offices are not “grungy.”
You rightly corrected the first mistake in your online edition (not in your print edition). But you have refused, again and again, to honor my simple request for a retraction and explanation in your print and online editions of how your reporters and editors got their facts so wrong. Your reporters and editors did not visit the Guardian offices nor can they specify just what is so”grungy” about the Guardian, our offices, and our building. In short, your correction has only made an “atrocious” mistake even more “atrocious,” the word used by your writer in her conversation with me. Why? What great journalistic principle is at stake in refusing to correct or remove the word “grungy” from your story?
So I posted on my Bruce blog at SFBG.com some candid snapshots of our building and our offices. I invite your staff and your readers to go to my blog and judge for yourself. And I invite you to leave your splendorous offices in mid-town Manhattan and come to San Francisco. I will give you a personal tour of our “grungy offices” and serve you a Potrero Hill martini in my office.
Bruce B. Brugmann, founder, editor, and publisher, San Francisco Bay Guardian, printing the news and raising hell and spreading sunshine inside and outside San Francisco since l966
