War

Will Dan Savage and Savage Love save the Village Voice/New Times chain? Will the chain allow any of its 17papers to endorse candidates in this critical election?

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Maybe it’s up to Dan Savage, the editor of The Stranger in Seattle who writes a sex column called Savage Love with a left political slant for the Village Voice/New Times chain of l7 papers.

Let me explain. The New Times editor MIke Lacey and publisher Jim Larkin have historically refused to allow any of their papers, including the SF Weekly and the East Bay Express, to do editorials, endorse candidates, or take real positions on such critical issues as the war and occupation of Iraq, the Bush vs. Kerry presidential race, or even local races for mayor, governor, and the U.S. House and Senate. Why? It has always baffled me and it baffles the staffs of their l7 papers. And now, this year for the first time, the staffs and readers of the six old Voice papers that were purchased by the New Times last fall (the Voice, the Minneapolis City Pages, the Nashville Scene, the Seattle Weekly, the LA Weekly, and the OC Weekly) will find that they can no longer run the endorsements and strong political coverage they ran so proudly in their papers for years.

What was the New Times position on Bush’s reelection? New Times ducked the issue and, as far as I can tell, the only endorsement published in any New Times paper came from Savage’s column just before election day. Dan, bless his heart, came out for Kerry in the last line of his column and has been pushing for impeachment. He even went out to Pennsylvania a few weeks ago to make trouble for Sen. Rick Santorum. He was successful.

There are major races in almost every one of the Village Voice/New Times cities, from New York to the state of Washington to Tennessee to Florida to Ohio to almost every city and region where the Voice/New Times has a paper. The mission of a real alternative paper is to be alternative to and competitive with the local monopoly daily. Instead, the Voice/New Times papers, by not endorsing, cede valuable political terrain and influence to their local daily competitors with their standard establishment endorsements, usually conservative and establishment to the core, in local and national races (see the Chronicle and Examiner endorsements.) And so the question remains: will Lacey and Larkin, operating out of their headquarters in Phoenix, allow any of their papers, in this terribly critical election, to finally break the taboo and take an editorial stand and do some editorial endorsements?

I bet they won’t. I bet they continue their policy of making no explanation to their staffs and readers. And so once again it will be up to Dan Savage, the zesty gay sex columnist, to save the day and come out with some anti-Bush endorsements in his pre-election column in the l7 Voice and New Times papers. Will he do it? Will Lacey and Larkin allow the Savage endorsements to run in their papers? Let us stay alert. Meanwhile, the Bruce blog will keep you posted.

P.S. What has been the Lacey/Larkin/New Times position on the war and occupation? Let me recap an example from an earlier Bruce blog. Back in 2003, as the Guardian was pounding away on Bush and the invasion with front page stories and strong editorials, Lacey/Larkin/SFWeekly/EastBayExpress/NewTimes gave me a Best of Award for “Best Local Psychic.”

Their Best Of item read: “Move over, Madam Zolta, at least when it comes to predicting the outcome of wars, Bruce-watchers will recall with glee his most recent howler, an April 2 Bay Guardian cover storyheadlined ‘The New Vietnam.’ The article was accompanied by an all caps heading and a photo of a panic-stricken U.S. serviceman in Iraq, cowering behind a huge fireball. The clear message: Look out, folks; this new war’s gonna be as deep a sinkhole as the old one. Comparing a modern U.S. war to Vietnam–how edgy! How brilliant! How original! And how did the prediction pan out? Let’s see now: More than 50,000 U.S. soldiers got killed in Vietnam vs. about l00 in Iraq. Vietnam lasted more than l0 years; Iraq lasted less than a month (effectively ending about two weeks after the story ran.) Vietnam destroyed a U.S. president, while Iraq tuned one into an action hero. Well, you get the picture. Trying to draw analogies between Vietnam and Iraq is as ridiculous as Brugmann’s other pet causes. Scores of reputable publications aroiund the nation opposed the Iraq war, but did so in a thoughtful, intelligent manner. Leave it to the SFBG,our favorite political pamphlet, to help delegitimate yet another liberal cause. Bush, Rumsfeld, and Ashcroft send their sincerest thanks, Bruce.”

I am not jesting. This is what they wrote. I proudly display this Best of in my office. And this was yet another example of New Times journalism: hit, run, and hide. The article was not by-lined and I tried, again and again, by phone calls and by guerrilla emails to Lacey and his SF Weekly editors, to get someone to stand up and say who conceived, wrote, and edited the item. Nobody would fess up. But I was told reliably that the writer was the cartoonist Dan Siegler and the editor was then editor John Mecklin, who was reported to be Lacey’s top editor and hand-picked by Lacey to take on the Guardian in San Francisco. I then confronted them with emails, askijng for confirmation or comment. I got none then and, as the war worsened, I updated my request now and then. I never got a reply.

We had lots of fun with their Best Of award. We did a counter Best of, a full page ad, titled “Best Premature Ejaculation,” a special award to the editors of the SF Weekly/New Times. We ended with this note: “Sorry, folks: We wish the war in Iraq were as neat and tidy as you, Bush, Rumsfeld, and Ashcroft would like to think it is. But you, um, spoke to soon.”

We added a postscript: “Gee, what’s the New Times position on the war anyway. We can’t seem to figure it out.” Three years later, l2 days before the election that is a plebescite on the war and Bush the Perpetrator, the question is more timel than ever: what is the Lacey and Larkin position on the war?

Will they tell us? Or is it up to Dan Savage? B3

WEDNESDAY

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Oct. 25

Theater

Hamlet and Hamlet:
Blood in the Brain

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

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

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

Film

United Nations Association Film Festival

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

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

Assassin fascination

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› cheryl@sfbg.com
Four presidents have been killed in office: the two you hear about (Abraham Lincoln and John F. Kennedy) and the two you kind of don’t (James A. Garfield and William McKinley). But any time a political figure meets a violent death, post-traumatic stress can echo through generations — particularly because Hollywood is so fond of assassination cinema. Oliver Stone’s JFK is the most exhaustive example but certainly not the first; John Wilkes Booth pops up in 1915’s Birth of a Nation.
You don’t even have to be president to get your own assassination narrative (see: this fall’s Bobby) or be a successful target, for that matter. The Assassination of Richard Nixon spun would-be Tricky Dick killer Samuel Byck into a Travis Bickle–by–way–of–Sept. 11 man with a twisted take on the American dream. Fictitious films like Nashville and The Manchurian Candidate also pick up the assassination thread; Taxi Driver went one further by actually inspiring John Hinckley Jr. to take aim at Ronald Reagan.
Images of Reagan’s shooting outside the Washington, DC, Hilton clearly influenced Gabriel Range’s made-for-British-television mock doc Death of a President, by my count the first to imagine the death of a sitting president. The murder takes place Oct. 19, 2007, outside a Chicago hotel surrounded by angry antiwar protesters. Actors playing secret service agents, speechwriters, and sundry witnesses recall their experiences; the events themselves unfold via staged and real footage, some massaged with special effects to make the holy shit! moment as authentic as possible.
But the holy shit! is what you expect — and once Death of a President segues into the President Dick Cheney era, it assumes the far less salacious task of exposing post-9/11 America’s darker corners. A Muslim man is nabbed for the crime; his home country of Syria is taken to task as the FBI scrambles to make a motive out of terrorism. PATRIOT Act Three is passed. Civil liberties become even more restricted. But is the suspect really the killer? Is he a patsy? Or is he guilty only of wrong time, wrong place, wrong race?
In many ways, Death of a President resembles The Confederate States of America — a fake TV doc beamed from a reality where the South won the Civil War — rather than its assassination-obsessed cinematic predecessors. This, despite all the controversy surrounding the film’s sensational suggestion that someone might think the world a better place with Bush in the grave. Ultimately, Range is more interested in using Bush’s untimely death as a way to address issues that already exist in 2006, notably the lose-lose repercussions of a hopeless, never-ending Iraq war. Alas, there’s nothing shocking about that. SFBG
DEATH OF A PRESIDENT
Opens Fri/27
Lumiere Theatre
1572 California, SF
(415)267-4893
Shattuck Cinemas
2230 Shattuck, Berk.
(510) 464-5980
www.deathofapresident.com

Welcome to the CSA

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

Allison inspires youth

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OPINION I first saw Aimee Allison, District 2 candidate for the Oakland City Council, when she addressed a large, enthusiastic crowd of high school students, mostly students of color, from Oakland Tech, McClymonds, and Skyline. She spoke about the ruin and costs of war, the need for decent jobs, and practical ways and means for overcoming poverty in Oakland.
What impressed me about the young, vivacious candidate from the Grand Lake–Chinatown district was not just her Ron Dellums–like vision of Oakland, where “a better world begins.” It was her special ability to break through youthful feelings of despondency, the Generation X cynicism that continues to impede social progress. Allison has a special asset that her adversary, incumbent Pat Kernighan, lacks: an ability to inspire hope and activism among youth, including the struggling students in the least affluent sections of our city.
On Sept. 17, Constitution Day at Laney College, students hosted a debate between Kernighan and Allison. After the debate I talked with Reginald James, a 24-year-old Laney College student. He told me other students agreed that Kernighan was unprepared. “She was unable to relate to youth, to find common ground.”
James said Kernighan tended to blame the federal government for Oakland’s problems, deflecting responsibility from the City Council on which she serves. In contrast, Allison said incumbents should accept accountability for their failures, and she challenged the students to become active in their own cause.
During the debate Kernighan was almost fatalistic. “When there are not enough resources, we have to make hard decisions,” she argued. After the debate, Oakland teacher Jonah Zern summarized Kernighan’s presentation: “Pat continuously stated that she was powerless to change the problems of Oakland, that it was the state and federal government that need to make changes. It made me wonder. Why was she running for City Council?”
It was not her political positions as such or even her record that irked the youthful audience. One student asked Kernighan why the streets in the flatlands are not as clean as those above the freeway. She replied, “They don’t sweep the streets up there because the people do not tend to throw their trash out in the street.” The insinuation that people in the hills are superior to less-fortunate folk upset some students. Allison’s remarks, in contrast, were well received. Allison said, “In rich neighborhoods, parents can raise money for their kids’ sports teams. In others, schools don’t have teams. In rich neighborhoods, they can send their kids to music lessons, while in poor neighborhoods, music and art programs are being cut. Every child deserves an opportunity.”
Kernighan works hard. She knows the ins and outs of city government. But she has no vision, no plan to address the structural defects of Oakland’s social life. As a successful businessperson, Allison responds well to the needs and feelings of the middle class. But unlike most politicians, she maintains close relations and ties with the young and poor of Oakland. She has a valuable talent for enlisting youth in the fight against crime, for uniting our diverse cultures.
Understanding the needs and longings of young Oaklanders, tapping their potential to become agents of change, is a precondition of effective leadership on the City Council. If the Laney debate is an example, Kernighan is out of touch. SFBG
Paul Rockwell
Paul Rockwell is a writer living in Oakland.

Chris Daly video ads

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By Tim Redmond

There’s a modest little war going on over low-tech video ads in the District Six race. I think this one, with sock puppets, is my fave. (Thanks to sfist. Then there’s the more serious one, and this strange cat onethat I don’t really understand. But fun to watch.

GooTube is dead

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

The first 40

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

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

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


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

TUESDAY

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Event

Ed Halter

What is war good for? Besides lining the pockets of Dick Cheney’s fun bunch, it’s sure done a lot for the video game industry. Village Voice critic Ed Halter makes two local stops with his new book, From Sun Tzu to Xbox: War and Video Games. His multimedia lecture explores “war gaming in the new world order.” (Cheryl Eddy)

7:30 p.m.
PFA
2575 Bancroft, Berk.
$4–$8
(510) 642-5249
www.bampfa.berkeley.edu.

Also Sat/21, 8:30 p.m.
Artists’ Television Access
992 Valencia, SF
$5
www.othercinema.com

Music

Tarnation

There’s a painting from the ’30s by Thomas Hart Benton called The Ballad of the Jealous Lover of Lone Green Valley, in which a farm town in the American West reveals its ugly underbelly in the form of a drunken man threatening a woman with a knife. The landscape swoops and swirls with a brooding menace. Local country weepers Tarnation write songs for such occasions. Possessing a voice that smokes and drifts, melancholic balladeer Paula Frazer will introduce you to loves gone wrong and lives gone sour while the band dumps you knee-deep in the most forlorn corner of the lonesome desert. (Todd Lavoie)

With Peggy Honeywell and Matt Bauer
9:30 p.m.
Hemlock Tavern
1131 Polk, SF
$6
(415) 923-0923
www.hemlocktavern.com
www.paulafrazer.com

Reagan youth regurgitated

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› kimberly@sfbg.com
REVIEW Tired of those battered punk-rock veterans of the hardcore years? You know, the geezers rocking in their thrift-store easy chairs, wheezing, “You had to be there — those were the days. I saw Darby when …” before heading to the acupuncturist? Can you help it that you never saw Flag back before My War? That you never tasted the ostracism that the real punks experienced?
No — and those born too late, after the jocks took over the mosh pit, will be thankful that none of the aforementioned ’tude is present in this exhaustive but not exhausting documentary by Paul Rachman and Steven Blush. The filmmakers’ cred is impeccable (Rachman directed music videos for Bad Brains, and Blush wrote Feral House tome American Hardcore: A Tribal History, upon which the film is based), and their resilience (the two toiled in true DIY style for five years on this sprawling document) allows them to rise above Johnny-slams-lately poseur status. And as historians, journalists, and cat wranglers, they deserve the highest praise meted out to those hoping to encapsulate a fired-up, barely containable, and truly grassroots DIY movement: they get the story mostly right.
The filmmakers conducted more than 100 interviews with key players in the US hardcore scene (as well as sundry head-scratchers like, um, visual artist Matthew Barney). My, does it show. Getting essential punkers like Minor Threat’s Ian MacKaye, Bad Brains’ HR, Circle Jerks’ Keith Morris, Cro-Mags’ Harley Flanagan, and Black Flag’s Henry Rollins to party with the camera and to tell their own stories was the best possible move the filmmakers could have made. Their subjects look back with all the intelligence, humor, honesty, urgency, and perhaps surprising to some, subtlety that made them form their own bands, book their own tours, and put out their own music in the first place.
Within the first half hour, Rachman and Blush do the important work of politically contextualizing the 1980–86 wave of hardcore, connecting the dots between the “mourning in America” election of Ronald Reagan; an era that only appeared to offer the alternate balms of disco decadence and shallow sitcom kicks; and the rise of a disgusted and less-than-heard generation that produced more songs, posters, and agitprop railing against a sitting president than the world has seen … until Dubya. Few other recent music docs have been as refreshingly clear-cut — and cutting — about their politics, a direct reaction to an ’80s marked, as one commentator puts it, by a ’50s-style return of the “white man’s order.” In a sense, American Hardcore will be an education not only for kids bred on MTV-appropriated mall punk but for baby boomers convinced of Generation X’s apathy; a far-from-mellowed Vic Bondi (Articles of Faith) offers, “If you’re looking for radicalism in the 1980s, you should look at hardcore.” The film also gives adequate shrift to the pressures that shaped and perhaps ultimately destroyed the genre — for instance, the TV news–making melees between punks and the Los Angeles Police Department — drawing the line from those clashes and band names like, natch, Millions of Dead Cops (MDC).
Bristling with the energy of its music, fans, and grainy shots of men yelling into mics at rec centers, Kiwanis clubs, and random bunkers-turned-venues throughout the country, American Hardcore abounds with great moments. Rachman and Blush rightfully focus on the nexus between DC and LA — Minor Threat–Bad Brains and Black Flag–Circle Jerks — giving Bad Brains in particular, and notably the few black faces in a wash of pasties, their genuine due and eyeballing that straight-outta-an-unwritten-great-American-novel, Apollonian-Dionysian odd couple, MacKaye and Rollins. Though one wishes the filmmakers had snagged more and better live footage, American Hardcore can still claim such incredible, illustrative instances as that of the graying Rollins complaining today of all the crap he’d catch from audiences as Black Flag’s frontperson (remember the halcyon days when being in a punk band meant getting loogied on?) followed by archival images of Rollins onstage getting repeatedly pummeled by an audience member before the vocalist finally loses it and starts wailing back a hundredfold.
But even as the filmmakers display a real affection for their subject, they resist getting too nostalgic. Rachman and Blush don’t pull punches when it comes to fingering the sexism and violence in the scene — and go as far as to name names. Yet the filmmakers talk to too few women and apart from Bad Brains, too few players or observers of color: perhaps there’s no skewing reality, but for a scene that’s this politicized, it looks pretty pale and male.
Perhaps revealing their native predispositions and personal connections, the pair also give the Boston and NYC scenes far too much emphasis and they pointedly neglect the flyover zones. Where are Minneapolis’s Hüsker Dü and Texas’s Big Boys? And while Rachman and Blush get brownie points for their cultural-anthropological leanings and quirky side stories, they eventually fall down on exploring the music itself, its permutations, and its impact outside the rec rooms: do we get any inkling, for instance, of the fact that hardcore started to seep into the MTV mainstream with bands like Suicidal Tendencies?
When the scene finally peters to a close in ’86, Rachman and Blush chalk it up to fickle fans moving on with the trends — wither hair bands? — and stalwarts like MacKaye wearying of the fisticuffs, but there’s just as valid a case to be made for the music changing and artists evolving, as they so often inconveniently do. Black Flag morphed toward heavier, sludgier metal, Bad Brains embraced tradder Rasta sounds, and MacKaye broke it down, post-punk-style, with Fugazi. But perhaps that’s for the next installment: American Hardcore: the Metal/Grunge Years. SFBG
AMERICAN HARDCORE
Opens Fri/13 in Bay Area theaters
www.sonyclassics.com/americanhardcore

A real war on crime

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OPINION Once again, with their backs against the wall, Republicans are attempting to stave off political defeat in November by playing to Americans’ fears about safety and security. Central to the conservative playbook for years has been the lie that progressives cannot keep our communities safe.
The reality is that the current, shortsighted approach to public safety, which touts punishment without rehabilitation, has been a failure. One of the starkest examples is the crisis in California’s prison and parole system — and every day that crisis comes home to San Francisco. Thousands of people are being released from behind bars with no plans and few skills or opportunities. More than 1,500 parolees are living in San Francisco at any given time, and thousands more are being released from county jail every year. Of the estimated 125,000 California prisoners who will be released this year, three out of four will end up back in prison by 2009. California has the highest recidivism rate in the country.
Behind every rearrest is a new crime, often with a new victim. Taxpayers also foot the bill — to the tune of more than $34,000 a year for each person who ends up back in prison.
It’s time for a change. We can no longer accept the fact that three out of four former prisoners will be back behind bars within three years. In this progressive city, we are committed to working together to break that cycle of recidivism by channeling former prisoners into productive lives. These programs must target the crucial process of what’s called “reentry,” the release of individuals from state prison or county jails back into their families and neighborhoods.
Two weeks ago, more than 200 reentry experts and service providers, along with government and criminal justice agencies, gathered for the city’s first-ever Reentry Summit. This past year, Supervisor Ross Mirkarimi sponsored a $1.2 million budget allocation to support new reentry programs. We’ve also spearheaded the San Francisco Reentry Coordinating Council, bringing together members from the business sector, labor, key city agencies, the clergy, and community organizations.
Members of the council have pioneered concrete reentry programs that are delivering results. District Attorney Kamala Harris has created a new accountability and workforce reentry initiative for drug offenders called Back on Track. Public Defender Jeff Adachi’s Clean Slate program provides community-education services and programs to clear criminal records to nearly 2,500 people a year. Sheriff Mike Hennessey is poised to open the Women’s Reentry Center, which will provide direct practical support services to women coming out of jail and prison.
While the city is more than doing its part at a local level to address this issue, we cannot do it alone. It is time for the state to own up to its responsibility for rehabilitating parolees and probationers and ensuring their successful return home. With a detailed, sustained, statewide reentry effort, we can guide former prisoners away from crime, reduce corrections costs, and keep our neighborhoods safe. SFBG
Kamala D. Harris, Jeff Adachi, Ross Mirkarimi, and Michael Hennessey
The writers are, respectively, the district attorney, public defender, District 5 supervisor, and sheriff of San Francisco.

Rock till you drop

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› a&eletters@sfbg.com
“They’re the ones that pushed E-40 into hyphy,” says Hamburger Eyes photographer Dave Potes, in reference to his friends the Mall, a San Francisco art punk trio, and the hype that surrounds them.
“Yeah, we’re part of the hyphy movement,” adds Mall guitarist-keyboardist Daniel Tierney, 27, and his bandmates erupt into cacophonous chuckling.
I’ve heard the “h” word dropped incessantly for weeks now and have pretended to be hip to the Bay Area hip-hop phenomenon. As the band continues chatting about the genre and its influence on the new DJ Shadow album, bewilderment washes over me, and I hang my head and admit to having no idea what anyone’s talking about.
“You’ve got to get on the bus then,” bassist-guitarist-vocalist Ellery Samson, 29, demands when someone mentions the “yellow bus.” In unison everyone chants a couple of “da, do, do, do”s as if the composition should strike a chord, like my sister’s favorite New Kids on the Block track. I grin and nod even though I’m still puzzled.
Whether or not the Mall seriously acknowledge an affiliation to the hip-hop movement is questionable. However, while chilling over beers on a bar patio in the Mission District, I get a sense of buoyancy and selflessness from the mild-mannered band members.
“Up until last month, we all lived within three blocks of this bar,” says drummer Adam Cimino, 28, adding that this particular area definitely inspired their recent songs.
Given the languid quiet of this cool, fogless night — punctuated by the occasional crack of a cue ball or the faint sounds from the bar jukebox — it’s hard to imagine this neighborhood spawning a band whose music brims with pissed-off aggression and agitated velocity. But then, the Mall aren’t exactly from this hood. The band’s beginnings trace back to Montgomery High in Santa Rosa, where Samson and Tierney met and became friends. The pair worked on another musical project, called Downers, but soon found themselves seeking an additional element: Cimino.
Samson gave him a call. “I want to do this screamy, art fag, punk rock thing,” jokes Cimino in a mock-Samson accent, re-creating the talk. “I was, like, ‘I get it. That sounds awesome.’”
The three obtained a practice space without ever playing a note of music together and began work on the first few songs that would end up on their EP, First, Before, and Never Again (Mt. St. Mtn., 2006). From there on, the band gelled into what has become an enterprising experience for all involved.
The group’s new debut, Emergency at the Everyday (Secretariat), is an exercise in emphatic pugnacity and loud-as-shit tumult. The 13 songs — clocking in at less than 20 minutes — are punishing in scope yet danceable. Casio-pop melodies ebb and flow along a thunderous foundation of crunching guitars, plodding bass lines, and dynamite-fueled drum pops.
“We get our sound from fucking up the amps, and we don’t use distortion pedals,” Cimino explains. “It’s just little Casio keyboards and an amp turned to 10. That’s what makes it so gritty-sounding.”
Samson’s vocals add to the mélange of fuzzed-out commotion. Imagine the throaty screech of a young Black Francis shattering through an aggro mixture of angular guitar bluster and punk avidity. During the recording of the album, Samson sang through an old rotary telephone hooked up to a PA to match the distortion of the other instruments and capture the intensity of live performance.
“The music was so blown-out it was too awkward to have clean vocals,” adds a smiling Cimino. “It’s a neat trick.”
But even without the aid from the telephone, you can’t deny the hostility of Samson’s vocals. It’s surprising considering his placid demeanor.
“Everybody’s really angry right now, and we’re just as angry as anybody else,” he says.
The band backs up Samson’s statement by discussing the unending Iraq war and their disapproval of the president, and though the Mall’s songs don’t exactly cover those topics, they certainly fuel the fire. “There’s a lot of violence and frustration and boredom going on,” Cimino adds.
“Fuck, I thought it was party music, man,” Tierney chimes in, and the band bursts into another fit of laughter.
After three years together and a national tour on the horizon, including dates opening for the Slits, the Mall’s sound continues to evolve. And who knows? Maybe their direction will cross the border into genuine hyphy. Already back in the studio recording songs for another EP, the Mall aren’t holding back anything: to them, it’s all about having fun and making great music for their friends.
“It’s totally replaced skateboarding for me,” Cimino says. “I’m off work. I don’t want to watch TV. I don’t want to eat dinner. I get to hang out and play music with these guys.” SFBG
THE MALL
With the Plot to Blow Up the Eiffel Tower and Boyskout
Thurs/5, 9:30 p.m.
Bottom of the Hill
1233 17th St., SF
$10
(415) 621-4455
www.bottomofthehill.com

Divorcing Columbus

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OPINION This year may go down in history as the one new immigrants reignited a civil rights mobilization in the United States. Their efforts, like those of the black liberation movement of the ’60s, will certainly become a catalyst for progressive action from many communities. As southern Italian Americans, this Columbus Day we have to ask our community the age-old question — which side are we on? Unfortunately, many of us have chosen exactly which side we are on: supporting racist immigrant bashers, whether they are legislators in the halls of Congress or vigilante Minutemen. As progressive Italian Americans, we support new immigrants because of the simple fact that our folks were once in the same situation that newcomers find themselves in: overworked, exploited, and demonized for quick political gain. It’s time for the Italian American community to finally reclaim our social justice tradition, divorcing the dazed and confused explorer who discovered a country that was already inhabited. Instead of Columbus, we honor the Italians, Cubans, and Spaniards of Ybor City, Fla., who worked in the cigar industry and were able to create a Latin culture based on values such as working-class solidarity and internationalism (see “Lost and Found: The Italian American Radical Experience,” Monthly Review, vol. 57, no. 8). We also remember the Italian American radicals who were a part of labor actions in the early 1900s, including the Lawrence textile, Paterson silk, Mesabi Iron Range, and New York City Harbor strikes. This year, instead of conquest, we acknowledge those who stood up for justice. Everyone knows about Al Capone, but what about Mario Savio, a founder of the free speech movement in Berkeley in the ’60s? Most people can recite the names of Italian American singers such as Madonna and Frank Sinatra, but they don’t know Cammella Teoli, the 13-year-old southern Italian girl who appeared before Congress in 1912 to testify in her broken English about the horrible working conditions in America’s sweatshops. It’s not surprising that Italian Americans forgot those things. We faced a lot of discrimination when we arrived: two unionists, Nicola Sacco and Bartolomeo Vanzetti, were falsely accused of murder and executed. Italian Americans in the south were lynched by white supremacists. During World War II, thousands were relocated or jailed on suspicion of being enemy aliens. After the war, the anticommunist witch hunts began with the arrest and deportation of Italian American radical Carl Marzani. Today, Italian Americans don’t have to face these threats, yet those who immigrate from Central and South America, Asia, and the Middle East do. It is unlikely that Congress will pass any form of legislation reform this year, and many cities have instituted local statutes designed to run immigrants out of town. Minutemen and similar groups are harassing day laborers in the Bay Area and beyond. As Italian Americans, we call upon our paesani and paesane to remember our roots. Emboldened racists can be stopped — when those of us they claim to represent support the work of grassroots organizations of color bravely confronting these throwbacks. By divorcing Columbus, we start to break down the logic of conquest, which invariably leads to wars abroad and repression at home. SFBG Tommi Avicolli Mecca and James Tracy Tommi Avicolli Mecca and James Tracy are Italian American radicals who organize the annual “Dumping Columbus” reading. This year it’s Oct. 9, 7 p.m., City Lights, 261 Columbus, SF, featuring the legendary Diane DiPrima.

40-year-old teens

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› a&eletters@sfbg.com
American Conservatory Theater, the Magic Theatre, and Marin Theatre Company all turn 40 this year. Accordingly, these three regionally and nationally preeminent Bay Area companies are rolling out ambitious celebratory seasons. But despite all the satisfaction rightfully implied by this triple birthday, theater finds itself in a significant and uncertain period of transition.
Relevance and sustainability were prominent themes when artistic directors Carey Perloff (ACT), Lee Sankowich (MTC), and Chris Smith (Magic) sat down with the Guardian to share their thoughts on the trajectories of their respective organizations as well as theater’s past, present, and future in the culture at large.
CHRIS SMITH There is a lot of looking back and celebration of legacies and all that a significant landmark — turning 40 — suggests. But organic to the Magic’s mission is seeding the future, because we really are about new work. And to be committed to new work is really to have a perspective on the horizon.
We can talk about it from a number of different points of view, including the way most people want to talk about theater and art making these days, which is from the consumer model. We’re all completely obsessed with audiences and consumers. And that’s one of the critical differences [between] now and 40 years ago. In a weird way we’re a 40-year-old teenager. Suddenly we’re saying we have to be more concerned now than in the past about making sure people are having a good experience and getting them in.
But if you stop thinking for one split second about the financial success of the theater or the relevancy of the theater within a country that is arguably celebrating the dumbing down of the political spectrum, the health of the theater as an art form is very, very good. The best thing to cite on that front is the proliferation of high-quality MFA writing programs contributing to the number of committed, intelligent, craft-oriented, theatrically vibrant artists coming into our field.
So I actually have a great deal of optimism about the value that theater will have in the next decade in our society. That’s very distinct from numbers. The audiences that will be attending challenging, literate, smart work I expect are going to shrink. But I think it brings us back to a kind of churchlike sensibility.
The theater as a church for a thinking person is increasingly at value in our digital age, where we’re being separated from liveness, we’re being separated from the communal, separated from contact. We are in a moment between a fundamental impulse to look backwards and an impulse to look forwards. And the artists are the ones that live in that cusp.
CAREY PERLOFF Of course, this is exactly what [Tom Stoppard’s] Travesties is about. There’s a great moment where [Tristan] Tzara says, “As a Dadaist I’m a natural ally of the political left, but the paradox is the further left you go politically, the more bourgeois they like their art.” On the other hand, obviously what Stoppard believes — and what we all have to believe or we wouldn’t be doing this — is that in the long run, when everything else goes, the thing that lasts is art.
The real fight for us in the field right now is to have our own barometers of value. You have to try to take the long view. The only external measures of value [now] are box office sales and critical response. But there are many plays that had miserable box office returns and disastrous critical responses and have come to be the plays we treasure. As I get older, what I most admire in certain artists is their willingness to stay the course and keep their own exploration, their own voice, their own particular artistic journey going, whether or not it seems to be popular or viable.
We wrestle with it here all the time, because I wish people were writing bigger plays. We’re doing [Philip Kan Gotanda’s After the War] at the Geary. Now this may be the most foolhardy choice I’ve ever made, but it’s such a big, meaty play that it deserves to be on the Geary stage. We do Lillian Hellman, we do August Wilson, we do Stoppard. Who’s the next generation of writers writing 10-character plays that can fit in the Geary? No wonder nobody’s doing it, because who’s producing it? Nobody! Of course everyone’s writing four-character plays. They’re not idiots.
You have to say to a writer, “Have the courage to think big. Learn the Chekhovian skill of writing for 10 actors,” which is extremely difficult. To sustain complex character over a canvas that size is a totally different challenge. We don’t ask our writers to do that anymore.
LEE SANKOWICH Well, it comes down to support. To be able to do what both of you are talking about, it comes down to corporate funding and grants.
CP But the grant ethos right now — the word that is used more than anything else — is outcomes, right? We’re all being asked to demonstrate measurable outcomes. To me this is so hilarious. It’s like saying, “I’m going to be raising my children, and the measurable outcomes are what?”
CS We need to — as artists and as leaders of artistic institutions — stand up and say, “No, we need cultural metrics. We need the enlightenment-o-meter for measurable outcomes.” Did I walk out of this performance of Orson’s Shadow knowing more about the peculiar nature of these tremendous stars and their relationships and how that impulse really created art? Did I leave there somehow changed? And can we measure that? Can we say, instead, there was a 20 percent increase in enlightenment — what a remarkable outcome! — although the attendance figures stayed flat?
LS It’s interesting, [when] you walk out of Orson’s Shadow, if nothing else, you realize that the big struggle, especially for Welles and Olivier, [is that] they’re known for what they did 30 years earlier. And their big thing is they’re trying to become modern.
CS The opening of our seasons is really emblematic. MTC is working with these great artists in a very literate, funny, interesting perspective. ACT is working on this very big social canvas in a really smart way with Stoppard. The Magic Theatre is getting to work with Sam Shepard and his most recent play [The God of Hell], likewise his most passionate play, written in a moment specifically with the intention to affect the outcome of an election! SFBG
www.act-sfbay.org
www.magictheatre.org
www.marintheatre.org
For the complete interview with Perloff, Sankowich, and Smith, see www.sfbg.com/blogs/pixel_vision.

Lennon’s boom

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› kimberly@sfbg.com
SONIC REDUCER Which John Lennon did you know? Initially, I was too young to know him as anything more than the moptop behind the chipped bobble-headed garage-sale find — and as one of the songwriters behind my parental units’ token soft-rock gatefold, the Beatles’ Love Songs (Capitol, 1977) (the “White Album”’s “acid rock,” as Moms described it, went way beyond the pale). That’s all the Lennon I could grasp until the Rolling Stone cover pic that accompanied news of his 1980 murder — that coverlineless image picturing a nude Lennon fetally curled around a clothed Yoko Ono. If you dug the raw romanticism of that Annie Leibovitz image and Lennon’s 10-point program to success, excess, then bread-baking, Sean-rearing semiretired rock-star redemption, then you were with us. If you didn’t and you were disgusted, you weren’t — go hang with the Yoko-booing minions at, say, the recent Elvis Costello–Alan Toussaint Paramount show. It was that simple when you were an already media-saturated brat ready to draw battle lines and take pop music dead seriously.
Nowadays, the very undead but still much-pondered Bob Dylan may inspire a higher page count than Lennon when it comes to critical essays, encyclopedias, and that ilk. But I’d venture that Lennon’s influence continues to echo subtly through the culture, starting with the recommended banishing of “Imagine” from Clear Channel airwaves shortly after 9/11 and continuing through to some recent docs, DVDs, and dispatches from his estate.
Ignore the critically mauled 2005 musical Lennon and don’t wait for a Martin Scorsese PBS-approved documentary treatment — though, oh, to glimpse Abel Ferrera’s charred take on Lennon’s Bad Lieutenant–style “lost weekend” with Harry Nilsson. For somewhat unvarnished, intimate footage of Lennon with Ono in their Ascot, England, estate studio and shooting hoops with Miles Davis, check Gimme Some Truth: The Making of John Lennon’s “Imagine” (2000) — the material of Lennon warbling “Jealous Guy” and trianguutf8g in the studio with a very active Ono and a stoic Phil Spector is eye-cleansing.
After sampling Lennon and Ono’s frank BBC interview there, you’ll want even more truth — so turn to last year’s The Dick Cavett Show: John and Yoko Collection DVD, which collects three 1971–72 episodes featuring the gabby couple. It encompasses some of Lennon’s most in-depth US TV interviews, as the relaxed, wise-cracking musician sparred and jabbed with the clearly nervous and very deeply tanned Cavett in between sizable excerpts of Ono’s great Fly and Lennon’s Erection, a cinematic “construct” if there ever was one. Even more astounding than Cavett’s half-baked monologues are the lengthy stretches of airtime devoted to Lennon and Ono explaining their 1972 deportation case — one suspects even Jon Stewart would yelp, “TMI!” — and the pair’s impassioned, controversial performance of “Woman Is the Nigger of the World” (worth it alone to Bay Area–philes when Lennon pulls out a Ron Dellums quote to back up the lyrics) and Ono’s still-nervy, saxed-up “We’re All Water.” The versions of Lennon visible here are familiar and complementary — John as the willful dreamer and the provocative righter of wrongs, be it the plight of American Indians or the lack of consideration given Ono’s art. And one wonders, will network TV ever be quite this maddening — and challenging — again?
Scenes from both The Dick Cavett Show: John and Yoko Collection and Gimme Some Truth surface in The US vs. John Lennon, a new feature film revealing the latest Lennon iteration: the musician as a political animal hounded by the Nixon administration and threatened with deportation. Lennon considered a peace-promoting concert tour following Nixon’s reelection jaunt around the country — and posed a serious enough threat to Tricky Dicky, in the very year millions of 18-year-old Beatles fans were given the vote for the first time, that the US government moved to stop him. Focusing on Lennon’s significance as an activist who devoted his personal life (transforming the Lennon-Ono honeymoon into the peacenik, media-lovin’ bed-in) and considerable platform to antiwar efforts, filmmakers David Leaf and John Scheinfeld (Beautiful Dreamer: Brian Wilson and the Story of “Smile”) worked with documents released as a result of a Freedom of Information Act suit (aided and abetted by Jon Weiner, who consulted and wrote Gimme Some Truth: The John Lennon FBI Files) to make their film. Supported by commentators ranging from Ono and Noam Chomsky to Angela Davis and G. Gordon Liddy, the two have fashioned a sleek, informative primer on the importance of being Lennon and the historical context he emerged from. The only images they wish they had included but didn’t, Leaf told me, were World War II pictures of a bomb-besieged Liverpool and war-torn Japan.
“What’s important to note is that being for peace meant more than being nonviolent for John and Yoko,” he explained from an office in Century City. “This was in their bones, if you will. John saw firsthand what war caused.”
Leaf and his partner have had the film in mind since the mid-’90s, when Lennon’s FBI file was opened. After the disappointments of 2004, it’s intoxicating to imagine an artist and his listeners changing history, and at the very least The US vs. John Lennon allows one to dream, even briefly. Why was Lennon such a menace? “I think what terrifies power the most is truth,” Leaf says. “When truth is spoken without fear of consequence, it is threatening, and when John and Yoko embarked on their campaign for peace, they weren’t promoting themselves or a record but peace or nonviolence.” SFBG
THE US VS. JOHN LENNON
Opens Fri/29 in Bay Area theaters
See Movie Clock at www.sfbg.com

Battle for Bayview

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› steve@sfbg.com
It’s been a week since City Attorney Dennis Herrera invalidated the seemingly successful referendum drive challenging the Bayview Hunters Point Redevelopment Plan, and everyone involved is still wondering what’s next.
Can the biggest redevelopment plan in city history just move forward as if more than 33,000 city residents hadn’t signed petitions asking to vote on it? Legally, that’s where the situation now stands. But even Herrera told the Guardian that the legal question he answered is separate from the policy and political questions.
Should the Board of Supervisors hold a hearing to discuss the controversial issues raised by redevelopment and this referendum? Should it consider repealing the plan and allowing a ballot vote, as some supervisors want?
And if each referendum petition must include a thick stack of all related documents, as Herrera’s opinion indicates, won’t that make it prohibitively expensive for a community group to ever challenge such a complex piece of legislation? Have the citizens in effect lost the constitutional right to force a referendum on a redevelopment plan?
“I can’t speak to what the practical effect will be. I can just tell you what the state of the law is,” Herrera told us, noting that referendum case law clearly indicates that the petitioners should have carried the 62-page redevelopment plan and all supporting documents, not simply the ordinance that approved it.
A “TERRIBLE” DECISION
Four supervisors — Chris Daly, Tom Ammiano, Gerardo Sandoval, and Ross Mirkarimi — voted against the plan in May. All have expressed concern about Herrera’s decision, but none have yet called for a hearing.
“Whether you agree or disagree with this opinion on the validity of the redevelopment referendum, it raises some grave concerns that this process — a democratic, grassroots process — was overturned,” Mirkarimi told us. Daly called the decision “terrible.”
Yet given that they need the support of at least two more supervisors to reconsider the plan, Mirkarimi conceded that the next step will probably have to come from a lawsuit by the petitioners, a move referendum coalition leaders Willie Ratcliff and Brian O’Flynn say they intend to pursue if political pressure fails.
“It’s unclear what the next steps are to dislodge this from the legal shackles that knocked it down,” Mirkarimi said. “Something doesn’t smell right, and it’s difficult to trace the odor completely without the courts getting involved.”
But Ratcliff hasn’t given up on forcing a political solution, which he is pushing through his coalition and the San Francisco Bay View newspaper he publishes. The paper last week ran a story on the decision under the hyperbolic headline “City Hall declares war on Bayview Hunters Point.”
“We’re talking to lawyers, but to us the last resort is going to court. We feel we can pull it off politically,” Ratcliff told us. “What this did really was unite this community. If the city will pull this kind of thing, how are we going to have any faith in this plan? We’re going to flex our power…. People are ready to fight now.”
One gauge of Ratcliff’s support in the community will come on the afternoon of Sept. 27, when he will lead a march and rally on the issue. The event is tied to the 40th anniversary of the so-called Hunters Point Uprising, when a teenager was shot by police and the resulting community backlash was violently quelled using National Guard tanks and police sharpshooters.
“With the 40th anniversary of the Hunters Point Uprising of Sept. 27, 1966, only days away, this sounds like a declaration of war against the same people who protested then and are protesting still against police brutality and for jobs, economic equity and the right to develop our own community and control our own destiny,” Ratcliff wrote in a front page editorial.
Ratcliff told us, “We’re going to have a big march out there to show the city that we oppose this plan.”
THE PLAN IS IN EFFECT
Herrera’s opinion on the referendum was requested by Mayor Gavin Newsom, the San Francisco Redevelopment Agency, Board of Supervisors president Aaron Peskin, and Sup. Sophie Maxwell.
Redevelopment Agency director Marcia Rosen told the Guardian that fears of redevelopment stem from how badly it was handled in the Western Addition in the 1960s, but that the agency and the political climate of the city have changed. She said the agency is approaching Bayview–Hunters Point in an incremental, community-based fashion. She said the plan should go forward and will eventually prove the fears are unfounded.
“The plan was adopted by the board and signed into law by the mayor, and there is no further action needed, so the plan is in effect,” she told us.
Maxwell and Peskin each said they’re inclined to just let the redevelopment plan go into effect, although Peskin said, “I’m not going to stop any supervisor from having a hearing on any subject.”
“It’s important to understand that this plan is a living document, so there will be changes and people talking to each other,” Maxwell told us. “It’s certainly not the end of anything.”
She told the Guardian that the referendum campaign used paid signature gatherers, money from a developer from outside the area, and distorted claims about eminent domain and other aspects of the plan — misrepresentations that signers could have checked if the plan was readily available as legally required.
“The democratic process has to be taken seriously, and democracy is not easy,” Maxwell told us. “The decision was about preserving the democratic process, and people need to have facts at their disposal. There has to be a process and there has to be a standard.”
That’s certainly true — and O’Flynn is a contractor who lives in the Marina. But it’s hard to imagine how carrying around thick stacks of paper filled with complex land-use plans would have made a difference. Most signers would never have stopped to take several hours to read it all.
John Matsusaka, president of the Initiative and Referendum Institute at the University of Southern California School of Law, said that referendum case law has been built around a few courts validating actions by civic officials to strike down citizen movements.
“The sad fact is it looked like elected officials are trying to keep measures off the ballot and looking for ways to support that,” Matsusaka told the Guardian. “Preventing the people from voting is really not going to bring harmony to the community.” SFBG
The Defend Bayview Hunters Point Coalition’s Sept. 27 march begins at 3:30 p.m. at the Walgreens at 5800 Third St. and Williams and continues up Third Street to Palou Street, where there will be a press conference and rally at 4:30 p.m.

Casting off

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› amanda@sfbg.com
Hornblower Yachts assumed control of the ferry service to Alcatraz Island on Sept. 25. As the new crew cast off the dock lines, spurned union workers — some 30-year veterans with the former contractor, Blue and Gold — rallied with supporters at the entrance, asking passengers not to board the boats.
Two union-friendly visitors from Sydney, Australia, ripped up their tickets and demanded refunds. “We don’t agree with what they’re doing to the workers,” one said, while in the background Supervisors Aaron Peskin and Tom Ammiano took turns with the bullhorn, also offering their support to the workers.
“All of our colleagues on the board are not going to stand for it,” Peskin said to the couple hundred laborers gathered on the sidewalk. “We’re going to stand with you and march with you.”
Terry MacRae, CEO of Hornblower, expressed little concern about the boycotting tourists and the rally at his gate. “I suspect there’s plenty more people who want the tickets if they’re not going to use them,” he told the Guardian. Visits to Alcatraz peak this time of year, with a couple thousand people turned away every day when tickets sell out, according to National Park Service spokesperson Rich Wiedeman.
The NPS decision to grant the lucrative, 10-year contract to Hornblower over Blue and Gold has resulted in more than just what some are calling the largest union layoff in San Francisco waterfront history. The story also has an environmental angle as slick as an oil spill and a nasty landlord-tenant tussle.
“The port and I are extremely concerned with how Hornblower has conducted itself,” City Attorney Dennis Herrera told the Guardian, referring to the company’s artful dodge of city and state permitting processes. “They’ve focused more energy on sidestepping public oversight than complying with it.”
Despite infuriating two leading San Francisco institutions — unions and city planners — MacRae has managed thus far to avoid too much of a stir by keeping another critical local constituency off his back with a well-played “green” card.
THE GREEN MACHINE
When NPS put out a request for proposals in 2004, three companies submitted bids for Alcatraz: Red and White, a local charter and bay cruise company that ran the service when it first started in the ’70s; Blue and Gold, which took over Red and White’s boats and unionized crew in 1994; and Hornblower Cruises and Events, which runs charter and dinner boat cruises from five California ports and is a subsidiary of a larger, $30 million company.
When Brian O’Neill, superintendent of the Golden Gate National Recreation Area, announced last year that Hornblower won the bid, union activists immediately challenged the choice. Mayor Gavin Newsom, Peskin, Rep. Nancy Pelosi, and both of California’s US senators expressed concerns about the decision. Neighborhood group Citizens to Save the Waterfront filed suit. Environmentalists, however, were elated.
For the first time since being passed by Congress in 1998, the Concessions Management Act applied to the bid for Alcatraz. In addition to forbidding the Department of the Interior from favoring incumbent contractors, the act also outlined new criteria for awarding contracts that included a mandate to improve environmental quality in national parklands.
“Bluewater Network has been advocating for more than five years for a solar- and wind-powered ferry for San Francisco Bay,” said Teri Schore, a spokesperson for the local environmental group. She added that diesel vessels in the Bay Area account for more pollution than cars and buses combined. “We’ve been talking to every ferry operator on the bay, and we also knew that the Alcatraz contract was up. We thought it was the perfect application.”
Hornblower’s MacRae wrote a provision into his bid that within two years of taking over the Alcatraz service, the company would build and launch a ferry to run on a combination of solar, wind, and diesel power. After one year of testing the vessel, a second would be built within five years.
That — in combination with a plan to make two initial vessels 90 percent more fuel efficient, as well as implement a clean energy shuttle service on the Embarcadero, power the landing facilities with solar panels, purchase green products, and vend healthy snacks — put Hornblower’s bid over the top.
Wiedeman said all bidders are informed that financial feasibility of the company and potential revenue for the government, as well as environmental and sustainability initiatives, were considered. But some criteria were more weighted than others, and Hornblower ranked strongly on all points.
“We’re ecstatic,” Wiedeman said. “We’re looking at higher-quality visitor services from the get-go.”
But some doubt whether the proposed vessels are anywhere close to a reality. MacRae said a final design and marine contractor have not been selected yet, although Solar Sailor’s model BayTri has been touted. A giant solar-arrayed fin provides auxiliary wind and sun power to the trimaran’s diesel engines. No such vessel has ever been built, but the model is based on a smaller solar ferry that services Sydney Harbor in Australia — with a top speed of just seven knots.
The proposed boat is emissions free and could go 12 knots with the aid of the wind, although it would need a push from auxiliary diesel engines to keep up with Alcatraz’s schedule. Boats now run between 15 and 19 knots.
The other concern is that MacRae’s commitment of $5 million for constructing the 600-passenger vessel might not be enough. The San Francisco Water Transit Authority has been looking into a similar vessel carrying no more than 150 passengers that would cost between $6 and $8 million.
“Their requirements for design are different than what mine would be,” MacRae said. “I think it’s possible to do it for $5 million.”
Bluewater Network founder Russell Long worries that the low-budget cap could hurt the vessel’s environmental potential. “We believe that Hornblower may intend to maintain this budget ceiling even if it compromises other aspects of the design, such as best management practices in regard to environmental components,” he wrote in a letter to NPS, urging reconsideration of the contract.
NPS awarded the contract anyway and Bluewater is hoping for the best.
“We will be watchdogging the progress and keeping track of what’s going on. If it doesn’t happen, it will be a huge black eye for the National Park Service, Hornblower, and the city of San Francisco,” Schore said. “At this point we have faith that it’s going to get built, because it’s in the contract.”
However, Hornblower’s snub toward union contracts and dodgy relations with the city suggest that playing by the rules may not be a top priority for the company.
THE PERFECT TYPO
Since 1974, boats to Alcatraz have run from the Pier 39 area of Fisherman’s Wharf, where waiting ticket holders can indulge in the myriad distractions the tourist hub offers.
MacRae launched his new ferry service from Pier 31, half a mile farther south on the Embarcadero, where he currently leases space and operates a charter and dining cruise business.
Pier 31 is little more than a parking lot with a ramp and floating dock, which only sees about 100,000 people a year, far fewer than the 1.3 million annual passengers Alcatraz draws.
MacRae has attractive plans for a complete overhaul of the area, which would include landscaping and sheltered seating, a bookstore, and an informational center. Such alterations would require a thorough run through the city’s planning process, which MacRae told the NPS he won’t be doing until 12 to 18 months from now.
Instead, interim improvements to the lot were planned, which sparked concern from the city that the sudden increase in foot traffic wouldn’t be properly mitigated. That area of the Embarcadero also hosts 250,000 passengers a year from cruise ships docking at adjacent Pier 35. The Port spent close to $200,000 last year controlling that traffic with signage and police officers. The addition of thousands more visitors streaming down the sidewalks seeking passage to Alcatraz could cause gridlock every time a cruise ship docks.
Monique Moyer, executive director of the port, sent repeated letters over the last year to MacRae asking for clarifications about his plans and expressing concern that the change in use of Pier 31 required a review of existing permits.
She wasn’t alone. On July 31, Citizens to Save the Waterfront filed suit against Hornblower, claiming that the amount of activity at Pier 31 would increase twentyfold. “That represents a substantial change in the intensity of use,” Jon Golinger, a representative from the group, told us.
A change in the intensity of use of a waterfront property triggers the need for a complete environmental impact review (EIR) from the Bay Conservation and Development Commission (BCDC), a state agency with jurisdiction over anything within 100 feet of the shoreline. As many city developers know, EIRs can take many months to consider all potential changes to the existing landscape that the applicant would cause. Delays of that sort could have hindered MacRae’s ability to assume ferry service on the contracted date of Sept. 25.
MacRae said the litigation kept him from divulging to the city his proposed plans for upgrades to the pier.
Just days before the lawsuit was to be argued in San Francisco Superior Court on Sept. 6, BCDC executive director Will Travis sent a letter to Moyer stating that Hornblower’s new service and alterations to Pier 31 did not require any new permits.
He cited a typo from Hornblower’s current BCDC-issued permit as an allowance for the increase in passengers. The permit states that the pier may provide “access to the entire bay via vessel for 200,000 to 5000,000 [sic] people/year.”
He footnoted the quote: “There is clearly a typographical error in the 5000,000 number, which is intended to state the maximum anticipated usage of the dock … the correct number is probably either 500,000 or 5,000,000. While it seems reasonable to believe that the correct number is 500,000, the record contains nothing to substantiate this conclusion.”
Travis also relayed that Hornblower plans to use temporary measures that include trailers with port-a-potties, a portable ticket booth, and hollow traffic barriers for guiding traffic and pedestrians on and off the boat.
Herrera told us that this was the first Moyer had heard of what was planned for the lot and there was concern about how other services in the area and traffic on the Embarcadero would be affected, as well as if any structures, signage, and other enhancements would require additional permits. “It certainly would have been nice if they had shared all these plans so the port could conduct the proper environmental review that we all agree is in order,” he said.
In a strongly worded letter to Travis, Herrera wrote that to allow Hornblower to proceed without any environmental review could violate the California Environmental Quality Act (CEQA) and urged the BCDC to “issue an immediate cease and desist order” to prevent the start of service. Herrera also made the salient point that “the later the environmental review process begins, the more bureaucratic and financial momentum there is behind a proposed project, thus providing a strong incentive to ignore environmental concerns that could be dealt with more easily at an early stage of the project.”
On Sept. 7, BCDC commissioners met in closed session at the end of a four-hour meeting and voted to stand by Travis’s argument.
David Owen, a former Peskin aide who’s also a BCDC commissioner, was one of two abstentions to the otherwise unanimous vote. “It was really frustrating, because it seemed like Hornblower did everything in their power to avoid a permit review,” Owen told us. “Now what? We have a CEQA lawsuit and then the Board of Supervisors shuts down the Alcatraz ferry service? They’ve managed to start up service without acquiring a single permit. Kudos to them for strategy.”
Citizens to Save the Waterfront then dropped its lawsuit, feeling it was weakened by the BCDC decision.
“Essentially, now there’s a turf war between Bush’s park service and the Port of San Francisco,” Golinger said. “BCDC tried to avoid getting involved, but the precedent it sets is horrible. A corporation can come in and skirt any planning process.”
UNION TOWN POLITICS
After scoring the Alcatraz bid, Hornblower sought an exemption to the Service Contract Act of 1965 that would have required MacRae to pay equal to or more than what current crew make. But the Department of Labor ruled Sept. 21 against Hornblower. So veteran Blue and Gold crew have added safety to their concerns.
“I’ve made tens of thousands of landings on Alcatraz Island, and now they have captains who have never been there,” Capt. Andy Miller said. For 17 years, Miller has navigated the busy shipping lanes and the constant summer fog against the tugging tide and the sudden slams of inclement weather to bring tourists, park service staff, and supplies to the island.
“No one’s ever gotten hurt. It’s a very tricky place to land a boat. It takes skill and experience that you can’t just hire off the street,” he said.
Miller said he applied for a job with Hornblower but was not interviewed. So far, no captains and only three ticket agents and a deckhand have been hired from Blue and Gold’s former fleet.
“We have a ready workforce,” Master, Mate, and Pilot union spokesperson Veronica Sanchez said. “They’re going to have to be paid the same wages as union workers at Blue and Gold. They don’t want to be a union shop. Why don’t you want to be a union shop on a union waterfront like San Francisco?”
One reason could be concern that it might bump up costs for Hornblower’s other tour operations. “They want us to agree that if we sign up our workers for Alcatraz, that we won’t organize the dining yachts,” Sanchez said. In 1998, the union attempted to organize Hornblower’s dinner cruise operations in San Francisco but didn’t prevail in a supervised election.
MacRae said he’s not opposed to the unions and he’s encouraged the Blue and Gold staff to apply for jobs. “The unionization is the choice of the workers,” he said. “We try to let the employees make the choices. Last time I checked, that’s who the unions represent.”
“We want to make sure we have the best crew,” he said. “Many of the products and guest services we provide aren’t what Blue and Gold do now.” He added that some current employees from the dining cruises have also been shifted to the Alcatraz route.
“I’ve been here 21 years, and we’ve been replaced by busboys and waiters,” said deckhand Robert Estrada, standing with fellow workers outside the gate of the new Alcatraz ferry service.
Estrada said Hornblower’s reliance on part-time, low-wage workers has earned the company the nickname “the Wal-Mart of the Water.” The company’s rapid expansion, from a two-boat Berkeley-based charter to a multinational fleet with government contracts is a similar characteristic.
Blue and Gold spokesperson Alicia Vargas assured us that the remaining ferry services to Alameda, Angel Island, Oakland, Sausalito, Tiburon, and Vallejo will be solvent, but some of the veteran crew who haven’t been laid off yet are worried this is the beginning of the end.
“The public needs to be warned. If funds don’t come from Alcatraz, Blue and Gold could fold,” said David Heran, an International Boatmen’s Union member and deckhand since 1974 who applied to Hornblower but wasn’t hired. “I’m not ready to retire yet, and this wasn’t the way I was expecting it to happen.” SFBG

Oh TV, up yours!

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› johnny@sfbg.com
Dick Cheney surveys the teeming white crowds at the 2004 Republican National Convention. With their Cheney Rocks! placards and stars-and-stripes Styrofoam hats, these people worship him, but he still looks like he wants to spray them with buckshot. “You’re all a bunch of fucking assholes!” he sneers. “You know why? You need people like me — so you can point your fucking fingers and say, ‘That’s the bad guy.’”
OK, maybe Cheney didn’t use those exact words in his convention speech, but we all know he was thinking them, so bless Bryan Boyce’s short video America’s Biggest Dick for making the vice president really speak his mind — in this case, via Al Pacino’s dialogue in Scarface. The title fits: Boyce’s two-minute movie exposes the gangster mentality of Cheney and the rest of the Bush administration, perhaps giving his subject more charisma than he deserves. Ultimately, Cheney gets around to admitting he’s the bad guy — after he’s compared the convention’s hostile New York setting to “a great big pussy waiting to be fucked” and speculated about how much money is required to buy the Supreme Court. “Fuck you! Who put this thing together? Me — that’s who!” he bellows when a graphic exhibition of his oral sex talents receives some boos.
One might think the man behind America’s Biggest Dick might be boisterous and loud, but Boyce — who lives in San Francisco — is in fact soft-spoken and modest, crediting the movie’s “stunt mouth,” Jonathan Crosby (whose teeth and lips Bryce pastes onto Cheney and other political figures), with the idea of using Brian de Palma’s 1983 film. “I knew I wanted extensive profanity, and Scarface more than delivered,” Boyce says during an interview at the Mission District’s Atlas Café. “But I was also amazed at how well the dialogue fit.”
The dialogue fits because Boyce masterfully tweaks found material, particularly footage from television. It’s a skill he’s honed and a skill that motivates the most recent waves of TV manipulation thriving on YouTube, on DVD (in the case of the Toronto-based TV Carnage), and at film festivals and other venues that have the nerve to program work that ignores the property rights of an oppressive dominant culture. “It is, admittedly, crude,” Boyce says of America’s Biggest Dick, which inspired raves and rage when it played the Sundance Film Festival last year. “It’s a crude technique for a crude movie matched to a very crude vice president.” As for the contortions of Crosby’s mouth, which exaggerate Cheney’s own expressions, Boyce has an apt reference at hand: “The twisted mouth to match his twisted soul — he’s got a Richard III thing going on.”
America’s Biggest Dick isn’t Boyce’s only film to mine horror and hilarity from the hellish realms of Fox News. In 30 Seconds of Hate, for example, he uses a “monosyllabic splicing technique” to puppeteer war criminal (and neocon TV expert) Henry Kissinger into saying, “If we kill all the people in the world, there’ll be no more terrorists…. It’s very probable that I will kill you.” All the while, mock Fox News updates scroll across the bottom of the screen. “That footage came from a time when Fox thought that Saddam [Hussein] had been killed,” Boyce explains. “That’s why Kissinger kept using the word kill. Of course, no one says kill like Henry Kissinger.”
In Boyce’s State of the Union, the smiling baby face within a Teletubbies sun is replaced by the grumpier, more addled visage of George W. Bush. Shortly after issuing a delighted giggle, this Bush sun god commences to bomb rabbits that graze amid the show’s hilly Astroturf landscapes — which mysteriously happen to be littered with oil towers. With uncanny prescience, Boyce made the movie in August 2001, inspiring fellow TV tweak peers such as Rich Bott of the duo Animal Charm to compare him to Nostradamus. “Even before Sept. 11, [Bush] was looking into nuclear weapons and bunker busters,” Boyce says. “His drilling in the [Arctic National Wildlife Reserve] led me to use the oil towers.”
Having grown up in the Bay Area and returned here after a college stint in Santa Cruz, Boyce — like other Bay Area artists with an interest in culture jamming — calls upon Negativland (“I thought their whole Escape from Noise album was great”) and Craig Baldwin (“He’s kind of the godfather of cinema here”) as two major inspirations. In fact, both he and Baldwin have shared a fascination with televangelist Robert Tilton, whose bizarre preaching makes him a perfect lab rat on whom to try out editing experiments. “He speaks in tongues so nicely,” Boyce says with a smile. “He’s just so over-the-top and sad and terrible that he lends himself to all the extremes of the [editing] system, such as playing something backwards.”
Boyce believes that the absurdity of “an abrupt jump cut between incongruous things” can “really be beautiful.” And the TV Carnage DVDs put together by Derrick Beckles might illustrate that observation even better than Boyce’s more minimalist tweaking. In just one of hundreds of uproarious moments within TV Carnage’s most recent DVD, the wonderfully titled Sore for Sighted Eyes, a sheet-clad John Ritter stares in abject disbelief at a TV on which Rosie O’Donnell pretends to have Down syndrome. At least two different movie writers at this paper (yours truly included) have shed tears from laughing at this sequence.
“I just picture a conveyer belt, and there are just so many points at which someone could press a big red stop button, but it doesn’t happen,” Beckles says, discussing the source (an Angelica Huston–helmed TV movie called Riding the Bus with My Sister) for the O’Donnell footage. “There’s this untouchable hubris. It blows my mind that people are paid for some of these ideas. Crispin Glover told me that the actors with Down syndrome in [his movie] What Is It? were offended by [the O’Donnell performance], or that they felt uneasy. It is uneasy to see Rosie O’Donnell do a Pee-wee Herman impersonation and think she’s embodying someone with Down syndrome.”
Beckles’s interest in manipuutf8g TV — or as he puts it, “exorcising my own demons” by exorcising television’s — dates back to childhood. But it took several years in the belly of MGM to really fire a desire that has resulted in five DVDs to date. “TV Carnage is my way of screaming,” he says at one point during a phone conversation that proves he’s as funny as his work. Like Boyce and audio contemporaries such as Gregg Gillis of Girl Talk (see “Gregg the Ripper,” page 69), he filters “mounds and mounds and shelves and shelves” of tapes and other material through his computer.
“It’s not so much that I’m always in front of the TV,” Beckles explains. “I’d just say that I have this divining rod for shit. I have these psychic premonitions when I turn on my TV. I have years and years of footage. I pull all of it into my computer and say, ‘Now what?’ Then I take a swig of whiskey and go, ‘You’ve got yourself into it again.'” On Sore for Sighted Eyes this approach results in eye-defying montages dedicated to subjects such as white rapping. (Believe me, you have not lived until you’ve died inside seeing Mike Ditka and the Grabowskis or the Sealy Roll.)
Overall, mind control is TV Carnage’s main theme. One segment within the release Casual Fridays looks at children who act like adults and adults who act like children — two plagues that run rampant on TV. “Kids are like al-Qaeda,” he says. “They’ll shift their plans every day to keep you wondering. [Meanwhile], you can just feel the adults who host teen shows thinking about their mortgage payments: ‘What are kids doing now? Slitting each other’s throats? Great! Let’s do a show about it!’” An infamous “swearing sandwich” sequence within TV Carnage’s When Television Attacks encapsulates Beckles’s worldview. “People who are into self-help — they might as well be taking advice from a sandwich.”
Breaking from the more free-form nature of TV Carnage — which isn’t afraid of running from Richard Simmons to Mao Zedong in a few seconds — Beckles is working within some self-imposed restrictions to make his next project. The presence of rules has some irony, since the project is titled Cop Movie. “I’m taking 101 cop movies and making a full-length feature from them,” he says. “The same script has been used for hundreds and hundreds of cop movies — they just change the characters’ names, using a name that sounds dangerous or slightly evocative of freedom.”
“The reason I’m using 101 movies stems from this ridiculous mathematical aspect I’ve figured out,” he continues. “If I take a certain number of seconds from each movie, it adds up to 66 minutes and 6 seconds, and the whole construct of 666 makes me laugh. I’ve already cut together a part where a guy gets hit by a car, and he goes from being a blond guy to a black guy to a guy with red hair to a guy with a mullet. It flows seamlessly. It’s a real acid trip — and kind of a psychological experiment. After I finish it, I’ll probably just pick out a casket and sleep for a hundred years.”
The encyclopedic aspect of Beckles’s TV Carnage sucks in more recognizable footage such as American Idol’s Scary Mary and a musical number from The Apple. In contrast, the duo who go by the name Animal Charm tend to work with footage that few, if any, people have seen, such as corporate training videos. “Our interest from the beginning has not been to turn to a video we love or have a nostalgic connection to,” says Jim Fetterley, who along with Rich Bott makes up Animal Charm. “We were looking for things that were empty that could be used to create new meanings.”
Those meanings are often hilarious — the new Animal Charm DVD, Golden Digest, includes shorts such as Stuffing (in which a real-life monkey watches animated dolphins juggle a woman back and forth) and Ashley (which turns an infomercial for a Texas woman’s Amway-like beauty business into a bizarre science fiction story). But if reappropriation brings out the political commentator in Boyce and the comedian in Beckles, for Fetterley it’s more of a philosophical matter. Pledging allegiance to contemporaries such as Los Angeles’s TV Sheriff and the Pittsburgh, Pa., collective Paper Rad, he talks about Animal Charm’s videos as “tinctures” he’s used to “deprogram” himself and friends. “Our videos can make an empty boardroom seem like the jungle or something very natural,” he says when asked about his use of National Geographic–type clips and dated-looking office scenes. “In the videos, the animals are like puppets. You could say it’s like animation but on a more concept-based level.”
While Boyce, TV Carnage, and Animal Charm most often work with found material, their cinematic practice — jump-cut editing, for example — is more imaginative and creative than that of many “original” multimillion dollar productions. “We’re not predetermining any space we want to get into,” Fetterley explains, “other than most often that level of disassociation and absurdity where you are almost feeling something like the rush of a drug.” For him, generating this type of “temporary autonomy” is liberating. “With massive paranoia and war going on, it’s so easy to control a lot of people with fear and paranoia. We like to think if we can sit down and show our videos to our friends and others and have a laugh and talk about it seriously, it might help take everyone out of that mind frame.”
Because of the popularity of YouTube and its ability to create a new type of TV celebrity (and also the recent notoriety of musical efforts such as Danger Mouse’s The Grey Album and Girl Talk’s Night Ripper), reappropriation is reaching the mainstream. But even as Animal Charm’s and Boyce’s clips proliferate on the Internet, a veteran such as Fetterley looks upon such developments with a pointedly critical perspective. “There’s a general tendency right now to get excited about things that are unknown or anonymous,” he says. “Accountability is almost more important than appropriation nowadays. All of a sudden, if something is anonymous, it makes people feel very uncomfortable.”
For artists with names, censorship is still very much an issue. Boyce recently found America’s Biggest Dick (along with Glover’s What Is It?) cited during a campaign to withdraw funding from a long-running film festival in Ann Arbor, Mich. But Fetterley sees a troubling larger picture. “Danger Mouse’s Grey Album is a very solid conceptual project — it’s gray,” he notes. “In comparison, if somebody is doing a New York Times article about something current politically or globally, there are red zones and flags that will be brought to others’ attention whether you or I know it or not. Those are things making this moment dangerous, in terms of not being able to be anonymous. With ideas about evidence dissolving and accountability hung up in legalities, it makes the culture around music or aesthetics or youth culture pale in comparison.” SFBG
LAMPOONS AND EYE-TUNES: BRYAN BOYCE’S CULT JAMS AND MUSIC VIDEOS
With launch party for Animal Charm’s Golden Digest DVD
Oct. 7, 8 p.m.
Artists’ Television Access
992 Valencia, SF
$5
(415) 824-3890
www.othercinema.com
www.tvcarnage.com
www.animalcharm.com
For complete interviews with Derrick Beckles of TV Carnage, Bryan Boyce, and Jim Fetterley of Animal Charm, go to Pixel Vision at www.sfbg.com/blogs/pixel_vision.

Angelides says bring our troops home

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By Jonathan Beckhardt
Trailing by as much as 20 points in his race for governor, Democrat Phil Angelides has turned to the Iraq War — the issue supposed to galvanize the nation’s left — and made it a state issue by today vowing to “do everything in [his] power” to bring home the approximately 800 California guard troops deployed in Iraq.
“A Governor’s first responsibility is to ensure the safety of the people of California,” Angelides said at a rally at San Francisco State University devoted to the issue. “And a governor cannot do that without a strong National Guard, [which is] our crucial defense against domestic disorder and natural disaster.”
“What does Governor Schwarzenegger say about the pressure the war has put on our precious citizen soldiers, on their readiness for earthquake, flood, or fire?” Angelides said.
Angelides said he will “put in a formal request to President Bush to return our National Guard units” on his first day in office. Then he will “mobilize governors from across this nation to force a change in national policy- so guard units can be used for their intended purpose, not propping up the Bush-Cheney-Rumsfeld excuse for a foreign policy.”
Though not saying what legal options he might be able to exercise, Angelides said he would “take any action, including going to court,” to carry out his pledge.
The new stand differs from the position he took in May, where at a Primary debate he said governors do not have the power over the Pentagon to bring state Guard troops home from war.
According to the California National Guard, the federal government provides about 85 percent of the funding for the National Guard, though this varies according to the amount the Guard is serving the federal government. The guard is under the command of both the state and federal government, though the federal government’s power over the force supersedes the state’s power over the force.
According to the Angelides campaign, 275 Californians have died in Iraq, 21 of whom have been members of the Guard.

Josh’s going-back-to-jail party at Crash

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On the eve of Josh Wolf going to jail, and on the eve of Chronicle reporters Lance Williams and Mark Fainaru-Wada facing yet another federal decision moving them ever closer to jail, I was honored to be the lead speaker at the fundraiser and going-back-to-jail party for Josh last night at Crash, a club on Mason Street in San Francisco.

I made two major points: first, that this was the only city in the country to my knowledge that had three reporters who were in jail or heading to jail, on orders from Washington, for failing to produce sources and material in federal cases. This was no mistake. This was a direct hit at San Francisco, the country’s leading city for dissent and anti-war movements for decades, and came down directly from the Bush Administration and its PATRIOT Act politics as a way to scare the city and put its dissenters on notice.

My second point was that I was speaking as a member of many journalism organizations (from the Society of Professional Journalists, which has already contributed $30,000 to Josh’s defense, to the California First Amendment Coalition to the California Newspaper Publishers Association to international groups from the InterAmerican Press Association to the World Association of Newspapers to the International Press Institute) and that these professional organizations either are or would be in solidarity on this common ground journalism/public service issue. They could be counted on. But the Josh Wolf case was different because he was a lone freelance video photographer, without a news organization and attorneys behind him, and he looked like easy prey for the local cops and the feds.

That, I noted, was what was so important about the Crash event and the emerging Josh brigade. The event was lively, well attended, lots of fun, and demonstrated that a freelancer who stands tall, as Josh is doing, can build a strong grassroots constituency capable of mobilizing sustained resistance.

The real outrage is that the local cops turned Josh’s case over to the feds and gave them another timely target for Bush in San Francisco. And the cops did so secretly and unilaterally, without going to the mayor, to the supervisors, to the district attorney, to the Police Commission. The cops who are fighting like hell to keep beat patrolmen out of the neighborhoods and were happy to invite the feds to come to town and rough up our press and our public on their behalf. At minimum, that move demands public hearings by the supervisors to determine how this happened and what can be done to see that it never happens again.

Today’s Chronicle blaring front page head said: “SILENCE MEANS PRISON, JUDGE TELLS REPORTERS” No, silence in this case for these three reporters means principle and honor and holding your ground under fire. There is no principle or honor for the people in Washington who are working overtime to put in jail three reporters who were doing their job at this critical moment in the City and County of San Francisco.

Trash hits Toronto: part two

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FEST REPORT Because I’m psychotic, I jammed 22 movies into six and a half days at the Toronto International Film Festival — and was actually pissed at myself for not seeing more. Out of curiosity, I sprinkled in a few prestige pictures: Ken Loach’s The Wind That Shakes the Barley, about the early days of the Irish Republican Army; and Pedro Almodóvar’s Volver, starring a Penélope Cruz so va-va-voomy that it’s almost a relief when another character asks her if her chest was always that enormous.
I knew it’d be tough to top my two early favorites, both detailed in last week’s Guardian: from Korea, monster movie The Host; and from Hong Kong, Johnnie To’s stellar, Sergio Leone–infused gangster story Exiled. Several came mighty close though, including Andrea Arnold’s Red Road — about a woman whose numb existence spent watching surveillance camera footage is rocked when a man with ties to her tragic past happens to stroll into her line of vision. Not only is Red Road exquisitely directed, it features the best acting (particularly from lead Kate Dickie) of any film I saw at TIFF. That’s not a slight against the always-excellent Christian Bale, star of Werner Herzog’s Rescue Dawn, whose Fear Factor–influenced portrayal of a jungle-bound prisoner of war erases all memories of Batman (but not, perhaps, freaky foodie Patrick Bateman).
Fellow Bollywood fans know a Shah Rukh Khan performance is not to be missed under any circumstances, though committing to the 192-minute Never Say Goodbye meant missing out on a few other screenings in the process. (It was worth it.) The fangirl mentality also drew me to Darren Aronofsky’s The Fountain, a polarizing work I heard variously described as “Aronofsky’s 2001” and “Aronofsky does Soderbergh doing Solaris.” Yep, it’s a bit baffling — but in a weirdly spellbinding way. Hugh Jackman, you are almost forgiven for Van Helsing.
TIFF’s documentaries were an overall strong bunch. Prickly American History X director Tony Kaye takes on America’s pro-choice–pro-life debate in the nearly three-hour Lake of Fire. Though the film’s most graphic images are (barely) muted by Kaye’s decision to shoot in black and white, the content — especially the interviews with right-wing extremists — is just as shocking. Other top docs: Macky Alston’s The Killer Within, about a nice, normal family grappling with the knowledge that 50 years prior, its patriarch shot and killed a college classmate for the murkiest of reasons; AJ Schnack’s Kurt Cobain about a Son, which takes the experimental approach of layering audio interviews with the late musician under newly shot footage of Cobain’s Northwest stomping grounds; and the more conventional punk celebration American Hardcore.
The fest’s lightning-rod film was Death of a President, a made-for-British-TV faux doc that imagines what would happen if George W. Bush were assassinated. (Before you start cheering, feel the terror of these words: President Dick Cheney.) JFK remains my favorite dead-prez whodunnit, but Death of a President manages to maneuver its scandalous concept into a perceptive take on post-9/11 civil liberties.
One last thing: do I have to give back my film critic’s wings if I say Borat Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhs was my favorite TIFF movie? Because if loving Borat is wrong, I don’t wanna be right. (Cheryl Eddy)
FEST REPORT Navigating TIFF’s public screenings often leads to a heavy bout of queue fatigue. You line up to purchase tickets, to pick up tickets, to get into the theater, and invariably to get into the exclusive confines of the ladies’ room. And then there’s the peculiar indignity of the absurdly named “rush” line: the film is already sold out, so if you want in, you have to take the chance that there’ll be a no-show ticket holder you can replace. And that requires waiting forever.
But being the first to discover little gems makes it all seem worth it: Agustín Díaz Yanes’s Alatriste (starring an español-speaking Viggo Mortensen) plays like Disney’s Pirates of the Caribbean if Uncle Walt had done a tour of duty in Gallipoli; the Canadian National Film Board doc Manufactured Landscapes follows photographer Edward Burtynsky on a fascinatingly meditative trip through the industrial wastelands of China; and Apichatpong Weerasethakul’s Syndromes and a Century, the perfect companion piece, offers a brilliant, surreal slow boil on urban alienation in an increasingly modernized Thailand.
Of course, there were disappointments too, like Catch a Fire, Phillip Noyce’s well-acted yet underwhelming biopic of South African freedom fighter Patrick Chamusso. And let’s not forget the schlock, like the silly slasher film from Montreal’s Maurice Devereaux. I squinted when the director credit came onscreen, pretending for a moment that I had made it to the TIFF big time but winced at the sight of the movie’s irony-soaked title: End of the Line. (Michelle Devereaux)

Top 5 TIFF moments

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(1) Sarah Polley makes her public debut as a director in the glitzy embrace of a Roy Thompson Hall gala for Away from Her, with the seats packed to the rafters, and gives the audience a manifesto on the importance of government funding and support for Canadian cinema. Yeah! Sarah Polley for cultural ambassador. Now that Lions Gate has picked up the film for distribution, there’s even a happy ending.
(2) Waiting in the green room backstage, I meet Anna Paquin, the little girl from The Piano, all grown up and articulate and serving as a member of the jury making the award decisions on Canadian cinema. We discuss the crowds of fans this year and the odd relationship between acting and celebrity. “Most actors are very shy and timid, you know,” she told me. “Those other people aren’t really actors. They’re celebrities who appear in movies.”
(3) In Away from Her, Julie Christie plays a wise, smart, ironic woman who begins to disappear into an Alzheimer’s fog. During one scene, in which her character, Fiona, seems barely aware of her surroundings, she suddenly snaps to attention as the TV news shows footage of the Iraq war. “Have they forgotten Vietnam?” she asks — more cogently than any administration official these days.
(4) At the “Dialogues: Talking with Pictures” event with Albert Maysles, who was accompanied onstage by documentarian Barbara Kopple, there was a screening of his new film composed of outtakes, The Beales of Grey Gardens. Edith “Little Edie” Bouvier Beale explains in one scene why she’s agreed to do this film with the Maysles brothers. It’s because someone had approached her to do a fiction film based on her life and the notion horrified her. “Imagine, they wanted Julie Christie to play me! I couldn’t have that.”
(5) OK, so not all my top moments are upbeat. On the morning of Sept. 11, I woke up in my room at the Delta Chelsea Hotel to the phone ringing. When I answered, a voice said, “Oh, thank god it wasn’t you.” Huh? It was my friend Susan, who had just heard the news of a triple murder-suicide in a room five floors below mine. I was here on this same date five years ago too. (B. Ruby Rich)
For five more of Rich’s top TIFF moments and additional coverage of the festival, visit www.sfbg.com/blogs/pixel_vision.

Weather channeling

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› a&eletters@sfbg.com
Dancer-choreographer David Dorfman is a poet of the ordinary. He digs below the commonplace and lets us see what’s underneath. Early in his career, with Out of Season, he paired football players with highly trained dancers. Ten years ago he invited his ensemble’s family members to join in performances of Familiar Movements. Both pieces revealed fresh ideas about dance, community, and beauty. They also showed Dorfman to be an artist of sparkling wit with a generous spirit.
In the two pieces that his David Dorfman Dance company made its Bay Area debut with last year, he worked single conceits into exuberant, athletic choreography that resonated beyond its voluptuously evocative appeal. In See Level, sprawled bodies on a studio floor suggested maps of continents, with individual countries that were self-contained yet had relationships with each other. A naked lightbulb inspired Lightbulb Theory, a meditation on death. Is it better, the piece asked in densely layered images, to die quickly or to flicker for a while?
Dorfman’s newest work, the 50-minute underground, opens the Yerba Buena Center for the Arts’ new Worlds Apart series, which according to executive director Ken Foster features artists who “create work that inspires us to think deeply and become responsible citizens of the global village.”
For underground, Dorfman started with history, using local filmmaker Sam Green’s Oscar-nominated documentary The Weather Underground as a jumping-off point. The film documents the activities of the Weathermen (later, Weather Underground). In the 1960s and ’70s, this radical offshoot of Students for a Democratic Society advocated violence to incite change. For Dorfman, the film and his associated research raised questions about individual and social responsibilities when faced with injustice. He also began to wonder about the effect of age on one’s perspective and decision-making process.
Speaking from his home in Connecticut, Dorfman explained that he was a Chicago teenager during the Days of Rage — four days in 1969 when stores and public buildings were attacked in protest of the Chicago Seven trial. “Now, I wanted to look at the idea of resistance against an unwarranted war from the perspective of a man with a 50-year-old body.”
Dorfman’s underground will strike a raw nerve with audiences, though he refuses to narrowly assign blame for the causes of societal unrest. He wants to unearth root causes, not apply Band-Aids. “Yes, of course I feel burned by the elections of 2000 and 2004 and the shameful behavior of our government. But this is not just about the current administration. Much damage was done before,” he said, pointing out that our conversation happened to be taking place on the anniversary of 9/11.
“I try hard to be a good global citizen, and I mourn the needless loss of life. So I want my generation and younger people to look at the nature of activism and what, if anything, justifies the use of force and violence.”
After the June premiere at the American Dance Festival, which occurred during the Israel-Lebanon conflict, a young audience member told Dorfman that he wanted to get off his backside and do something. “I don’t know what that something is,” Dorfman responded. “But we have to talk about it.”
The show stitches documentary footage, photo collages, spoken and projected text, and a commissioned score by Bessie winner Jonathan Bepler to Dorfman’s choreography for his nine dancers — plus some 20 local performers whom he auditioned this month. Though he still loves to work with people he calls “folks who don’t think they can dance,” underground’s choreography requires professionally trained artists.
Reminded of his ideal “to get the whole world dancing,” Dorfman is quick to point out that while realistically war may not always be avoided, perhaps we could learn to tolerate each other, and that dance — “nonsexual, noninvasive physical contact” — just might help.
Besides, he said, “If people are dancing, for that one brief moment they cannot kill each other.” SFBG
UNDERGROUND
Thurs/21 and Sat/23, 8 p.m.;
Sun/24, 2 p.m.
Yerba Buena Center for the Arts Theater
700 Howard, SF
$19–$25
(415) 978-ARTS
www.ybca.org

Watch on the Rhine

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› paulr@sfbg.com
If San Francisco were Europe, Divisadero Street would be the Rhine: the heavily traveled commercial artery that crosses a jigsaw puzzle of (sometimes) quarrelsome fiefs, duchies, and principalities on its way north or south. In this paradigm I make the stretch of Divis from California to Geary, more or less, to be our Alsace-Lorraine, the six-of-one, half-dozen-of-the-other province long the subject of a tug-of-war between greater powers. The contenders across the pond were (and maybe are) Germany and France; over here they are Pacific Heights, land of the rich blond hets, and a confederation of the Lower Haight, NoPa, and parts of the Western Addition — in other words, hipster lands.
Naturally I am not suggesting that Pacific Heights is our Germany; not at all. For some years, the most conspicuous outpost of Marina culture on the nether side of Pacific Heights has been Frankie’s Bohemian Café, a lively simulacrum of some Prague haunt filled with riotous American frat boys who take their Pilsner Urquell by the pitcher. But in recent months there has been southward creep and the establishment of a new outpost: Tortilla Heights, a Mexican restaurant for gringos that opened earlier this spring in the strange space that used to belong to Minerva.
The space is strange — to me — because I can’t quite decide if it more nearly resembles a sound stage or a gymnasium in a public school. If the latter, then the decor is now in the prom-night vein, with some kind of cantina theme: brightly colored lights hanging from the ceiling, booths along the wall sheltered by thatched faux-roofs, and salsa music. The design touches are enough to let you know you are in some kind of Mexican restaurant, but they also have an improvised, portable quality that doesn’t suggest permanence.
And yet … on a recent Saturday night, we found the place pretty well jammed, and it was early. And while the crowd had its share of blonds and fratty types, it also included an elderly couple with their walkers, along with several sets of young mothers whose small children clung to the legs of mommy’s jeans or were stowed under mommy’s arms; it was like a social version of Noah’s ark. There is a chance that this eclectic group was drawn by the restaurant’s witty name — which reminds us, simultaneously, of Tortilla Flats and Pacific Heights — but it is more likely they came for the food, which is surprisingly good. While the menu is very much in the American comfort zone, it includes a variety of regional Mexican dishes, and the kitchen’s preparations are careful and emphasize freshness.
The Yucatecan-style citrus marinade in the grilled citrus chicken burrito ($6.50), for example, is noticeable as both a hint of sweet-sourness in and a tenderizing influence on the poultry flesh. It’s a small detail, but good cooking is nothing but small details. Another such detail is the roasted garlic cream that adds a grace note of luxurious richness to the otherwise virtuous plate of Cabo-style fish tacos ($11), a troika of warm white-corn tortillas stuffed with grilled white fish and shredded cabbage.
A larger detail is that the bigger plates do not come larded with huge scoops of rice and beans — starch that most of us really don’t need, especially if we have stuffed ourselves with complimentary chips and salsa while waiting for the show to begin. (Tortilla Heights, not surprisingly, is swift and generous in replenishing the chips bowl; the salsa was pleasantly fiery on one visit, undersalted on another.) Big blobs of beans and rice do have a way of furnishing a platter, but when they aren’t there, it’s easier to see the dish you actually ordered: an Oaxacan tostada ($11), say, with a heap of wonderfully tender carnitas (along with cilantro-lime cabbage and shavings of parmesan cheese) atop a pair of crisped corn tortillas. Or the blue-corn enchiladas ($12) filled with grilled chicken and topped with melted white cheese and a tart tomatillo salsa.
My friend the cheddarhead, a reliable lover of all things cheesy, did not like the queso chorizo ($5), a small tub of melted mixed cheeses laced with chunks of chili sausage and strips of green chile. The cheese did have a certain Velveeta quality, but it was just the right consistency for dipping surplus chips into. The guacamole ($5), meanwhile, was mainstream but beautifully made, with fresh avocados still chunky from not being overmashed and a good jolt of lime juice for mood lighting. The cheddarhead lodged no complaints.
The contemplation of desserts in Mexican restaurants is usually a perfunctory business. You have flan, and maybe something else. At Tortilla Heights, the dessert menu is characteristically brief, but it does contain one extraordinary item: the churros ($4), a half dozen or so ridged torpedoes of cinnamon-dusted, deep-fried pastry, about the size of medium zucchini, with a ramekin of caramel sauce for dipping them in. The sauce is good, but if it weren’t there you probably wouldn’t miss it, because the churros are sufficient unto themselves: a divine combination of crunchy and tender, sweet but not too sweet, an exotic whisper of cinnamon, and — yes — the fattiness that makes pastry, pastry, particularly if deep-fried. You might well feel uneasy, maybe even guilty, about enjoying them so much, but don’t worry — you had the fish tacos and didn’t like the queso, so you’ll be OK. SFBG
TORTILLA HEIGHTS
Continuous service: Tues.–Sun., 11–2 a.m.
1750 Divisadero, SF
(415) 346-4531
www.tortillaheights.com
Full bar
AE/MC/V
Noisy
Wheelchair accessible