Darling (18 page)

In 1972 the museum donated by Michael de Young merged with the museum created by the family of the man who tried to murder Michael de Young to become the Fine Arts Museums of San Francisco.

•   •   •

Men, usually men, who assumed the sole proprietorships of newspapers in the nineteenth century were the sort of men to be attracted by the way a newspaper could magnify an already fatted ego. Newspaper publishers were accustomed to lord over cities.

William Randolph Hearst was given the
San Francisco Examiner
by his father, a mining millionaire and U.S. senator, who may, or may not, have won it in a poker game in 1880. As it happened, young Hearst was born to run a newspaper. He turned the
Examiner
into the largest-circulation paper in San Francisco before he moved on to New York where, in 1895, he acquired the
New York Journal
. Hearst quickly engaged a yellow-journalism rivalry with Joseph Pulitzer's
New York World
. Both Hearst and Pulitzer assumed political careers. Hearst served in the Congress of the United States (“served” is not quite the word), as did Pulitzer, briefly.

We remember Joseph Pulitzer not as a sensationalist journalist but as the philanthropist who endowed an award for excellence in journalism and the arts. We remember William Randolph Hearst
because his castle overlooking the Pacific—fifty miles of ocean frontage—is as forthright a temple to grandiosity as this nation can boast. And we remember Hearst as the original for Orson Welles's Citizen Kane. Welles portrayed John Foster Kane with the mix of populism and egomania audiences of the time easily recognized as Hearst. Kane, the champion of the common man, becomes Kane the autocrat. Kane builds an opera house for his paramour. Kane invents a war.

Citizen Kane
told the story of a newspaper publisher's rise and fall in one generation. A more accurate rendition of the American newspaper saga would require an account of the long dissolution of the nineteenth-century enterprise. Although John Foster Kane has a son—we briefly see the boy, and we see that he will most likely be his mama's boy—the son is removed from the narrative early on (he dies in a car crash with his mother). We can only imagine that Kane's son, grown to manhood, might have resembled Otis Chandler, the utterly golden publisher of the
Los Angeles Times,
who, in retirement, was unable to prevent family members from selling the paper to the Tribune Company in 2000. The saga of American journalism in the twentieth century became a story of children and grandchildren and lawyers. McClatchy, Scripps Howard, Copley, Gannett—newspaper consortiums formed as families sold off the nineteenth century.

The
San Francisco Chronicle
and the San Francisco
Examiner
were both losing money when, in 1965, Charles Thieriot, grandson of Michael de Young, met with William Randolph Hearst Jr. to collaborate on what they called the San Francisco Newspaper Agency. The agency was a third entity designed to share production and administrative costs. The papers were to maintain editorial discretion and separate staffs. In addition, an incoherent Sunday edition shuffled together sections from both the
Chronicle
and the
Examiner
. The terms of the publishers' agreement eventually favored the afternoon Hearst newspaper, for the
Examiner
was soon to fall behind, to become the lesser newspaper in a two-paper town. The
Examiner,
nevertheless, continued to collect half the profits of both.

In January 1988, Phyllis Tucker, the last surviving daughter of Michael de Young, died in San Francisco. Tucker's daughter, Nan Tucker McEvoy, managed to forestall the sale of the paper for several years. But in 1999, the founding publisher's posthumous grip was pried loose by a majority vote of family members to sell. At that time, the Hearst Corporation was desirous of reclaiming the San Francisco market. Hearst paid $660 million to the de Young heirs for the
San Francisco Chronicle
.

To satisfy antitrust concerns of the Justice Department, the Hearst Corporation sold the still-extant San Francisco
Examiner
to the politically connected Fang family, owners of
AsianWeek,
the oldest and largest English-language Asian American newspaper. The Hearst Corporation paid the Fangs a subsidy of $66 million to run the
Examiner
. Florence Fang placed her son Ted Fang in the editor's chair. Within a year, Florence Fang fired her son; Ted Fang threatened to sue his mother. In 2004 the Fang family sold the
Examiner
to Philip Anschutz, a scattershot entrepreneur from Colorado who deflated William Randolph Hearst's “Monarch of the Dailies” to a freebie tabloid that gets delivered to houses up and down the street twice a week, willy-nilly, and litters the floors of San Francisco municipal buses.

•   •   •

The day after I was born in San Francisco, my tiny existential fact was noted in several of the papers that were barked through the downtown streets. In truth, the noun “newspaper” is something of a misnomer. More than purveyors only of news, American
newspapers were entrusted to be keepers of public record—papers were daily or weekly cumulative almanacs of tabular information. A newspaper's morgue was scrutable evidence of the existence of a city. Newspapers published obituaries and they published birth announcements. They published wedding announcements and bankruptcy notices. They published weather forecasts (even in San Francisco, where on most days the weather is optimistic and unremarkable—fog clearing by noon). They published the fire department's log and high school basketball scores. In a port city like San Francisco, there were listings of the arrivals and departures of ships. None of this constituted news exactly; it was a record of a city's mundane progress. News was old as soon as it was dry—“fishwrap,” Herb Caen often called it.

Unwilling to forfeit any fraction of my quarter, I even studied the classifieds—unrelieved columns laid out like city blocks:
Room for rent. Marina. No pets. File Clerk position. Heavy phones. Ticket agent for busy downtown box office. Must be bonded. Norman, we're still here
. Only once did I find the titillation I was looking for, a listing worthy of a barbershop magazine, an
Argosy,
or a Mickey Spillane's:
Ex-Green Beret will do anything legal for cash
. Newspapers were sustained by classifieds, as well as by department-store ads and automobile ads. I admired the urbanity of the drawings of newspaper ads in those years, and I took from them a conception of the posture of downtown San Francisco. Despite glimpses into the classified life of the city, despite the hauteur of ad-art mannerism, the
Chronicle
offered some assurance (to an adolescent such as I was) it would have been difficult for me to describe. I will call it now an implied continuity. There was continuity in the comics and on the sports page, but nowhere more than in the columns.

During Scott Newhall's tenure as executive editor, from 1952 to
1971, the
Chronicle
achieved something of a golden age. Newhall was flamboyant in ways that were congenial to the city. At a time when the
Los Angeles Times
was attracting admiration from the East Coast for its fleet of foreign bureaus, Newhall reverted to an eighteenth-century model of a newspaper as first-person observer.

For nearly two decades the city that prized its singularity was entertained by idiosyncratic voices. At the shallow end of the
Chronicle
's roster (under the cipher of a coronet) appeared Count Marco, a Liberace of the typewriter who concerned himself with fashion and beauty and
l'amour
. At the deep end—a snug corner at Gino and Carlo's bar in North Beach—sat “Charles McCabe, Esq.,” an erudite connoisseur of books, spirits, and failed marriages. Terrence O'Flaherty watched television. Stanton Delaplane, to my mind the best writer among them, wrote “Postcard”—a travel series with charm and humor. Art Hoppe concocted political satire. Harold Gilliam expounded on wind and tide and fog. Alfred Frankenstein was an art critic of international reputation. There was a book column by William Hogan and a society column by Frances Moffat. Allan Temko wrote architectural criticism against the grain of the city's sensibility, a sensibility he sometimes characterized as a liberal spirit at odds with a timorous aesthetic. All the
Chronicle
columnists and critics had constituents, but the name above the banner was Herb Caen.

Herb Caen began writing a column for the
Chronicle
before the Second World War. At that time, Caen was in his twenties and probably resembled the fresh, fast-talking smarty-pants he pitched his voice to portray in print.
Item . . . item . . . who
'
s gotta item?
In 1950 he was lured over to the
Examiner
at a considerable hike in salary, and circulation followed at his heels. He knew all the places; he knew the maître d's, the bartenders, the bouncers,
the flower-sellers, the cops, the madams, the shopkeepers—knew them in the sense that they all knew him and knew he could be dangerous. In 1958 Caen returned to the
Chronicle
and, again, circulation tilted.

Each day except Saturday, for forty years, Caen set the conversation for San Francisco. Who was in town. Who was in the hospital and would appreciate a card. Who was seen drinking champagne out of a rent boy's tennis shoe. His last column began: “And how was your Christmas?” He convinced hundreds of thousands of readers (crowded on buses, on the way to work) that his was the city we lived in. Monday through Friday, Caen was an omniscient table-hopping bitch. On Sunday, he dropped all that; he reverted to an ingenue—a sailor on leave, a sentimental flaneur infatuated with his dream “Baghdad by the Bay.” The point of the Sunday perambulation was simple relish—fog clearing by noon; evidence that the mystical, witty, sourdough city had survived one more week.

After a time, Caen stopped writing Sunday panegyrics; he said it was not the same city anymore, and it wasn't. He wasn't. Caen was quoted in newspaper and magazine interviews admitting that Los Angeles, even San Jose—two cities created by suburbanization—had become more influential in the world than the “cool, grey city of love”—a George Sterling line Caen favored. The Chinese city did not figure in Caen's novel, except atmospherically—lanterns and dragons, chorus girls at the Forbidden City, Danny Kaye taking over the kitchen at Kan's, that sort of thing. The growing Filipino, Latin American city did not figure at all.

In Caen's heyday, the
San Francisco Chronicle
reflected the self-infatuated city. But it was not the city entire that drew the world's attention. In the 1950s, the version of San Francisco that interested
the world was Jack Kerouac's parish—a few North Beach coffeehouses habituated by beatniks (a word Caen coined) and City Lights Bookstore. By the time I was a teenager, the path to City Lights was electrified by the marquees of topless clubs and bad wolves with flashlights beckoning passersby toward red velvet curtains. Anyway, the scene had moved by that time to the fog-shrouded Grateful Dead concerts in Golden Gate Park and to the Haight-Ashbury. A decade later, the most famous neighborhood in the city was the homosexual Castro District. San Francisco never seemed to grow old the way other cities grew old.

In 1967 the
Chronicle
's rock and jazz critic, Ralph J. Gleason, teamed up with a renegade cherub named Jann Wenner to publish
Rolling Stone
magazine. What this disparate twosome intuited was that by chronicling the rising influence of rock music, they were effectively covering a revolution. In New York, writers were cultivating, in the manner of Thackeray, a self-referential point of view and calling it the “New Journalism.” In San Francisco,
Rolling Stone
was publishing a gospel “I” that found itself in a world without precedent: Greil Marcus, Cameron Crowe, Patti Smith, Timothy Ferris, Hunter S. Thompson. I remember sitting in an Indian tea shop in South London in 1970 (in the manner of the New Journalism) and being gripped by envy potent enough to be called homesickness as I read John Burks's account of the Stones concert at Altamont. It was like reading a dispatch from the Gold Rush city.

One morning in the 1970s, the
Chronicle
began to publish Armistead Maupin's
Tales of the City
—adding sex and drugs and local branding to the nineteenth-century gimmick of serial fiction. At a time when American families were trending to the suburbs, Maupin's novel insisted that San Francisco was still magnetic for single lives. In those same years, Cyra McFadden was writing satirically about the sexual eccentricities of suburban Marin County
in a series (“The Serial”) for an alternative newspaper called the
Pacific Sun
.

In those same years, Joan Didion wrote in
The White Album
that for many people in Los Angeles “the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the [Manson family] murders on Cielo Drive traveled like brushfire through the community.” To borrow for a moment the oracular deadpan: In San Francisco, the sixties came to the end for many people in 1977, when Jann Wenner packed up and moved
Rolling Stone
to New York. As he departed, the moss-covered wunderkind griped to a young reporter standing by that San Francisco was a “provincial backwater.”

What no one could have imagined in 1977, not even Jann Wenner, was that a suburban industrial region thirty miles to the south of the city contained an epic lode. Silicon Valley would, within twenty years, become the capital of Nowhere. What no one could have imagined in 1977 was that San Francisco would become a bedroom community for a suburban industrial region that lay thirty miles to the south.

Don't kid a kidder
. Herb Caen died in 1997. With the loss of that daily hectoring voice, the
Chronicle
seemed to lose its narrative thread, as did the city. The
Chronicle
began to reprint Caen columns, to the bewilderment of anyone younger than thirty.