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California Public Utilities Commission Unanimously Votes to Approve Largest LGBT Economic Equality Measure in United States History

Media Contact: 
David Perry & Associates, Inc / David Perry / (415) 676-7007 / news@davidperry.com

California Public Utilities Commission Unanimously Votes to Approve Largest LGBT Economic Equality Measure in United States History

California’s Landmark General Order 156 now includes an aspirational goal of 1.5% for LGBT businesses in contracting with California-based Utility Companies, worth over $600 million per year in competitive contracts

7 APRIL 2022, San Francisco, CA: The California Public Utilities (CPUC) today, by unanimous vote, approved a historic measure that will set an aspirational goal of 1.5% for the inclusion of Lesbian, Gay, Bisexual, and Transgender (LGBT) certified businesses in the competitive contracting process with California-based utilities like AT&T, PG&E and Southern California Edison Company. This development will be an update to the CPUC’s Utility Supplier Diversity Program, known as General Order 156, which was created by a 1983 law (Assembly Bill 3638), under the leadership of late Assemblywoman Gwen Moore, a prominent civil rights advocate. Ms. Moore served in the California Assembly from 1978 through 1994, representing the 47th District.  

“The modern-day LGBTQ economic equality movement started here in California in 1974 with the founding the Golden Gate Business Association (GGBA),” stated Paul Pendergast, President of BuildOUT California and a former president of the GGBA. “California is once again leading the way with the establishment of an aspirational goal for utilities to utilize qualified, cost effective, experienced LGBT owned/certified businesses. The Commission’s bold action today represents a defining moment statewide, nationally, and internationally when it comes to LGBT economic vitality” Pendergast added.

The CPUC’s approved Order adopts voluntary procurement goals for LGBT business enterprises over the next three years: 2022 of 0.5%, 2023 of 1.0% and 2024 of 1.5%. “Our directive balances the reliance on historical data with our objective of increasing procurement from LGBT business enterprise amidst unique barriers to entry” stated CPUC Commissioner Clifford Rechtschaffen in his February 9, 2022 Proposed Decision on the matter.

Members of BuildOUT California’s executive leadership team have been working on this issue since the roots of this historic development began nearly eight years ago (September 2014) when California Governor Jerry Brown signed Assembly Bill 1678 (AB 1678), sponsored by then-Assemblymember Richard Gordon. This legislation required the CPUC to include LGBT-owned business enterprises in the Supplier Diversity Program under General Order 156.  The enactment of AB 1678 was an historic moment in the movement to extend equal rights to the LGBTQ community, which has suffered severe discrimination and hostility. 

The amount of business done by California utility companies under third-party contracts is enormous. In 2019, California utilities spent $38 billion.  In 2020, the total jumped to $43.5 billion.  But many of the utilities were bypassing LGBT-owned businesses in their contracting. So, when the CPUC in March 2021 launched a new “rulemaking” proceeding, BuildOUT California, represented by Frank Lindh,  the CPUC’s former General Counsel, intervened as a party. BuildOUT California urged the Commission to adopt an aspirational goal of 1.5% for LGBT-owned businesses. BuildOUT California’s proposal was opposed by the utility companies, who asked for a much lower goal of only 0.5%.  One year later, the CPUC, in response to the testimony and evidence presented by BuildOUT California, adopted a path to the 1.5% goal. The Commission’s action will result in over $600 million per year in competitive contracts with LGBT businesses in California. Using a conservative figure of 5 new jobs per $1M in spend from the energy sector, it is conceivable that had there been a 1.5% spend with LGBT businesses in 2020 there could have been 3,500 new, quality, sustainable jobs created.

In an April 12, 2022, letter to the CPUC’s Commissioners, California LGBTQ Caucus leaders Assemblymember Evan Low (Chair) and Senator Susan Talamantes Eggman (Vice Chair) stated, “For decades, the LGBTQ community has faced discrimination, only to watch its government do nothing… these actions will address a loftier goal in the legislation’s intent: to establish some fairness for LGBTQ businesses that were previously excluded due to discrimination. We firmly believe that a 1.5% minimum is the first step to inclusion.”

Tony Hoang, the Executive Director of Equality California, the 900,000-member strong non-profit advocacy organization stated in his March 1, 2022, letter to CPUC Commissioner President, Alice Reynolds, “The implementation of this law has delayed progress as we have waited nearly eight years for an LGBTBE procurement goal. Unfortunately, biases within some industry sectors create barriers to entry… With this new aspirational goal, the walls impeding progress are being torn down, and we are one step closer to more inclusivity.”

About BuildOUT California

Founded in 2020, BuildOUT California is the world’s first LGBT Industry Association dedicated to the sustainable growth of LGBT owned & certified businesses, and our allies, in the fields of Architecture, Engineering, Construction Services, Real Estate Development, and Related Industries.

A digital archive of filings, data analysis and letters of support from elected officials relevant to the CPUC’s LGBT Goal Setting Process be found here.

COVID & THE QUEEN MARY 2

               SCRIBBLINGS

                                                    From Bill Miller 

Mar 2022

Tue Mar 22nd:   At sea in the eastern Atlantic onboard the Queen Mary 2:   In the long lineage of glorious Cunard captains, Aseem Hashmi is one of the very best.   On our recent three-part voyage, he took the time and sit down (and over coffee) discuss the Cunard flagship and the recent Covid pandemic.

Capt Hashmi is also quite unique.   In the annals of both ocean liner & Cunard’s 182-year history, the captain has held two prestigious roles – he commanded aircraft for British Airways and then, making a career change and being extensively re-educated and retrained, he attended maritime college, graduated, joined Cunard and became master of the illustrious Queen Mary 2. 

COVID & THE QUEEN MARY 2

The Queen Mary 2 was on her annual long winter cruise and in Australia when the disruptive and deadly covid virus took its firm hold back in March 2020.   Like cruise ships worldwide, all plans were disrupted — and huge changes and, of course, challenges lay ahead.   Captain Aseem Hashmi was due to go on leave from the Cunard flagship, but sudden, fresh orders were flashed from Carnival/Cunard headquarters in Southampton.

“We were ordered to return to the UK – and abort our long, 95-day winter cruise.  So, we disembarked all passengers at Fremantle and flew them home – well, except for 200, who for medical reasons could not fly.  Our homeward routing was simple:   Directly to Southampton via only Mauritius (for fuel) and then Durban (again for fuel).   Before departing, however, we were officially re-classified as a ‘merchant ship’.  We were no longer a ‘passenger liner’.   Therefore, there would be no entertainment onboard (except for one pianist), the menus reduced and, at my own request, having church service only once a week.   After departing from Fremantle, we did have an added duty:  We set-up meteorological buoys in the Indian Ocean for the Australian Government.”

Captain Hashmi continued:   “Once at Durban, we waited at anchor for 6 days.   There was a long queue of ships with us.   No one was allowed ashore even as we took on South African fuel.   We actually loaded 3 days extra fuel just for a possible emergency.  We would be 2 ½ weeks at sea, without port calls, from Durban northward to Southampton.  We did, however, have a medical emergency off East London and used a helicopter evacuation.  Altogether, we sailed at a reduced 20 knots to conserve fuel.  There was a long gap between Walvis Bay and Dakar with just about no suitable ports [along the West African coast] for landing or even emergencies.”

“We had 1,250 crew and the 200 guests onboard for the 29-day voyage,” added the Captain.   “Deck 13 was reserved for passengers only.  A bar was open four hours a day – two hours in the daytime, two in the evening.  The crew generally spent time ‘deep cleaning’ the ship.  The only notation during the trip was that we did have another medical emergency off Tenerife, but again we used a helicopter.”

“When we finally reached Southampton, there was great uncertainty, even great fear, of the virus.   It was the very beginning — there was no covid testing yet.   Even the harbor pilots feared us.  On the bridge, we were all dressed like suited astronauts.   Southampton itself was so strange, even eerie.  It was totally silent – completely empty.   The Queen Victoria, Azura and Britannia were already laid-up.  We could see from the bridge that the roads and streets on shore were completely silent.  There wasn’t a car or bus or truck in sight.   But our first priority was to get the staff & crew off the ship.   It became a slow and difficult process.   Quarantine periods in the UK were in place.  The crew was told that they would be paid for at least several months, but sent home first.   Carnival UK chartered several 747 jets and sent them to India & the Philippines.  But first, it was all a very emotional farewell. The Queen Mary 2 was their home, their safe haven.   Many crewmembers were in tears.  We told them that they would probably be back in 4 months.  But it actually took 20 months for them to return.”

The next decision was what to do with the Queen Mary 2.   Captain Hashmi rotated in command and along with a much reduced 120 maintenance crew.   The 131,000-ton liner was placed in “hot lay-up” (as compared to “warm lay-up” for longer periods and “cold lay-up” for  extended periods).   The Captain added, “We were anchored for a month at a time off Weymouth and later Torquay, along England’s South Coast.  At one point, 10  liners were gathered together. We were a solemn group.  Months and months passed, but we would actually leave for sea at times, mostly  in winter and because of storms.  Every crewmember had his or her own cabin — and one with a balcony.  The Carinthia Lounge on Deck 7 was converted to the officers’ club.”

“The normally busy and happy Queen Mary 2 was like the Mary Celeste,” concluded Captain Hashmi.  “She was empty and silent, and we had only dim lighting.  Once a week, we would run water (showers, sinks, toilets, etc) at the same time to avoid plumbing problems.   The ship was of course full of rumors, especially ones of a return to service.   The dates were actually postponed several times.  It was all referred to as our ‘RTS,’ our return to service.   Finally, we were sent to Brest in France for drydocking and a refit, and then, in late September [2021], the crew returned.   A few did not return of course, but those that did  had to be re-trained for safety, newly in place Covid rules & precautions and refreshing for Cunard’s fine White Star service.  The Queen Mary 2 resumed sailing that November [2021].”

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The San Francisco Travel Association, The Hotel Council of San Francisco, the Union Square Alliance and The Golden Gate Restaurant Association issued the following joint statement today regarding the billboard going up in Union Square.

The San Francisco Travel Association, The Hotel Council of San Francisco, the Union Square Alliance and The Golden Gate Restaurant Association issued the following joint statement today regarding the billboard going up in Union Square.

“There are no words sufficient to console the pain of those impacted by addiction across the United States. Here in San Francisco, our hospitality community has been proactive and focused in our efforts to push our elected officials to clean up the open air drug dealing that’s sadly visible in parts of our city. The passionate campaign being launched today by MADD, although impactful, is not the solution as it will only hurt local small businesses and our hospitality workers who just now are beginning to crawl out of the economic disaster caused by COVID and its continuing fallout. We respectfully ask that MADD join with us in pushing for solutions while supporting our tourism industry workers.”      
– San Francisco Travel Association, The Hotel Council of San Francisco, the Union Square Alliance & The Golden Gate Restaurant Association

Media Contacts:
San Francisco Travel: Lori Lincoln, lori@sftravel.com
The Hotel Council of San Francisco / Union Square Alliance: news@davidperry.com
GGRA: amy@ggra.org

Castro Theatre Re-Burglarized

Media Contact: David Perry & Associates, Inc, David Perry / (415) 676-7007 / news@davidperry.com

Castro Theatre Re-Burglarized

Same Individual Arrested Five Days Ago Breaks in Again & Re-Arrested

3 April 2022 – San Francisco: For the second time in a week, San Francisco’s historic Castro Theatre has been burglarized, and by the same person who was arrested for the first burglary five days ago. The suspect, Gary Marx, has been re-arrested and is in custody.

“This is both heartbreaking and galling,” said Mary Conde, Vice President for Bay Area small business Another Planet Entertainment. “Why this individual was allowed on the streets again is beyond my understanding and should be unacceptable. We are so grateful to the San Francisco Police for their continued vigilance and for again arresting this person. However, our system is failing us.”

According to Conde, an additional $15,000 worth of damage was done in yesterday’s incident adding to the previous $30,000 from last week’s incident. Additionally, the expensive leaded glass on the iconic freestanding box office has been broken five times since January.

“We have tried to avoid installing a metal security gate across the front of the Castro’s iconic entrance, but I don’t believe we are now left with any choice,” said Conde.

According to Conde, who is overseeing the renovation of the historic Castro Theatre, such a gate would be costly. January of this year, Another Planet took over management of the LGBTQ community and film landmark that is celebrating its centennial in June. Opened in 1922, the registered San Francisco landmark is still owned by the local Nasser family who built it. 

Awards Announced for 19th Annual International Ocean Film Festival 

media contact:
David Perry & Associates, Inc / David Perry (415) 676-7007
/ news@davidperry.com 

Awards Announced for 19th Annual International Ocean Film Festival 

11 Films Cited in Categories including Conservation, Ocean Sports,
First Time Filmmaker and Diversity & Equity & Inclusion

April 7 – 10 at San Francisco’s Cowell Theater Fort Mason
with additional screenings at The Roxie SF and Smith Rafael Film Center
Virtual Presentations April 11 – 24  

13 World Premieres, 9 US Premieres and 7 Bay Area Premieres.
Films have been received from 30 countries
and 17 filmmakers will be in attendance.

1 April 2022 – San Francisco, CA:  For the first time in two years, live audiences will take in films from around the world for the 19th Annual International Ocean Film Festival, including 11 films announced this week as award winners in categories including Conservation, Ocean Sports, First Time Filmmaker and Diversity, Equity & Inclusion. This year, the Festival will screen in three venues in the Bay Area April 7 – 10 for the first in-person event since 2019: The Cowell Theatre at Fort Mason and the Roxie in San Francisco, and the Smith Rafael Film Center in San Rafael. In addition, virtual presentations will also be offered April 11 – 24. Tickets to the entire festival are on sale online www.intloceanfilmfest.org

“All of our films and filmmakers are standouts and advance our mission of saving our oceans through the beauty and education of the visual medium,” said Ana Blanco, Executive Director for the Festival. “In a field of exceptional quality and diversity, especially this year, we have 11 standouts deserving of special recognition.”

The Eleven Award Winning Films are:
(* Filmmakers On hand to receive their awards)

  • Soul of the Ocean: Howard Wesley Hall Director’s Award *
  • Back to the Sea: Jack Gordon Diversity, Equity & Inclusion Award *
  • Bangla Surf Girls: Elizabeth D Costa, Lalita Krishna, First-time Filmmaker Award *
  • Waterman Isaac Halasima, Steven Ungerleider, David Ulich, Michael Cascio, Ocean Sports Award *
  • Whetū Mārama- Bright Star Toby Mills, Aileen O’Sullivan, Coastal and Island Culture Award
  • The Ocean Solution Darcy Hennessey Turenne, Conservation Award
  • Coextinction Gloria Pancrazi, Elena Jean, Environment Award
  • Selma Maciek Jabłoński, Exploration Award
  • Coding for Crayfish Serge Raemaekers, Karen Logan, Innovation Award
  • INTO THE BLUE: The Wonders of the Coral Triangle, Robert Fonollosa, Wildlife Award
  • Eight Arms the Unite Us, Abdillah Intje, Shorts Award

This year’s 19th Annual International Ocean Film Festival is marked with 18 days of ocean-focused, independent films. In addition, the Festival will host lively Q&A panels with film directors, marine scientists, and industry experts, as they discuss the films and share insights into ocean conservation, preservation, and legislation.    

In addition, this year marks the 11th Annual Student Film Competition in which students tell their stories about the ocean and explore the exciting world of filmmaking. Support for the Student Film Competition comes from PADI (the Professional Association of Diving Instructors). The Student Film Competition is open to middle school and high school students (grades 6 through 12) from around the world. Films must be five minutes or less in duration, and touch upon some subject matter regarding the ocean.  The program is free to attend and is scheduled for Sunday, April 10, 2022 at 12:30 in the Tidepool at Fort Mason. 

According to Blanco, the past two years’ “Virtual Oceans” online Festivals were seen by a record breaking 10,000 people and more than 2500 students took part in the online education series.  During 2020 and 2021, submissions were received from around the world, including films from the USA, Canada, the United Kingdom, Ireland, Malaysia, and Germany.  For this year’s 19th Annual International Ocean Film Festival, Blanco is expecting an even great number – and greater diversity – of submissions.

According to Blanco, this year’s 2022 19th Annual International Ocean Festival will present 13 World Premieres, 9 United States Premieres and 7 Bay Area Premieres. Films have been received from 30 countries and 17 filmmakers will be in attendance.The Festival accepts films of all genres that focus on any of the varied aspects of our big, blue ocean. Subject matter ranges from, but is not limited to, marine wildlife, conservation efforts, ocean environments, coastal cultures, ocean sports and exploration, ocean heroes, and innovative technology designed to help protect the ocean. Films can be documentaries, narratives, shorts, animation, and full-length films from around the world. A number of finalists from the main film festival program will be selected to participate in the world-renowned International Ocean Film Festival Traveling Program. This year’s film categories include Environmental, Marine Sciences/Wildlife, Exploration & Ocean Sports, Coastal Island Culture. Animation, Conservation, Diversity Equity & Inclusion, Shorts and Female Directors.

Since its launch in 2004, the San Francisco-based International Ocean Film Festival has attracted thousands of spectators of all ages from around the world, including film enthusiasts, sea athletes, educators, and environmental supporters. Since then, the festival has presented over 815 films from 40 different countries and featured post-film Q&A sessions with visiting filmmakers, special panel discussions with content experts, and the Annual Free Student Education Program. It was the first event of its kind in North America, inspired by the well-established ocean festival in Toulon, France, which has continued to draw large audiences for more than 40 years.

Current sponsors for the upcoming 19th Annual International Ocean Film Festival include, The Consul General of Canada of San Francisco and Silicon Valley, Laura Wais Underwater Imaging, NOAA, PG&E, RingCentral, RBC Wealth Management and The SSA Group.

Hotel and hospitality partners for the 19th Annual International Ocean Film Festival are:  The Hotel Griffon, The Hotel Zetta, the J.W. Marriott, the Kimpton Alton Hotel, Le Meridien, the Lodge at the Presidio and the Omni Hotel.

The International Ocean Film Festival encourages its patrons, supporters and partners to follow the most current advice from the Center for Disease Control and the World Health Organization for preventing the further spread of the COVID-19 in Northern California and beyond, and to stay tuned for announcements about International Ocean Film Festival events once the threat level is reduced. The 19th Annual International Ocean Film Festival will take place April 7 – 10 at San Francisco’s Fort Mason Center for Arts and Culture (2 Marina Boulevard, Pier 2), the Roxie Theatre in San Francisco’s Mission District (3117 16th Street) and at the Smith Rafael Film Center in San Rafael (1118 4th Street, San Rafael) and April 11 – 23 online at www.intloceanfilmfest.org. The International Ocean Film Festival is a registered 501(c) 3 non-profit. 

Following is the full schedule of films for 2022 19th Annual International Ocean Film Festival

Cowell Theater, Fort Mason Center for Arts & Culture

Thursday April 7 at 4 pm – Program #1

  • The Oyster Farmer, Kika Tuff (USA) 5 min
  • Albacore Tuna: The Tale of a Fish, Jennifer Marie Bell*, Jessica Eden (USA) 37 min
  • The Witness is a Whale, Nick Dean* and Cheryl Dean (Austria) 52 min

Thursday April 7 at 7 pm – Program #2 

  • Back to the Sea, Jack Gordon* (USA) 6 min
  • Eight Arms That Unite Us, Abdillah Intje (Indonesia) 9 min
  • The Last Vaquita, Ed Harrison* & Luke Ripley (UK) 13 min
  • In Too Deep – The True Cost of Deep Sea Mining, Maarten van Rouveroy* (Netherlands) 19 min

Friday April 8 at 1 pm – Program #3

  • Mangrove Forests: Roots of the Sea I Marine Ecosystem Diaries, Rebecca Daniel (UK) 4 min
  • The Dark Hobby, Paula Fouce* (United States) 56 min

Friday April 8 at 4 pm – Program #4: Kiel Program

  • The Origin – Life around the Hot Spring, Claudia Schmitt*(Germany) 4 min
  • STURMFAHRT – The World’s Toughest Sailing Race, Philipp Grieß (Germany) 90 min

Friday April 8 at 7 pm – Program #5: Surf Program 

  • Resurrection Artist, Scott Fitzloff * (USA) 22 min
  • Waterman,  Isaac Halasima*, Steven Ungerleider, David Ulich, Michael Cascio (USA) 93 min

Saturday April 9 at 10 am – Program #6 

  • Deep Look: Starfish Gallop With Hundreds of Tubular Feet, Josh Cassidy*  (USA) 5 min
  • Adventures of a Maritime Archaeologist, Kurt Mann* (USA) 12 min
  • I Just Went for a Swim, Adam Dostalek* (Australia) 18 min
  • Nā Kama Kai – Children Of The Ocean, Ju Martins* (USA) 36 min
  • Celestial, Jack Gordon* (USA) 28 min

Saturday April 9 at 1 pm – Program #7: Sharks Program

  • Great White Sharks, Lakan Duskin (USA) 3 min
  • Fish with Superpowers – The Clownfish and the Shark, Hendrik S. Schmitt* (Germany) 5 min
  • Emperors of the Deep – Short, William McKeever*, Paul Rachman (United States) 20 min
  • Sharks of the Sea of Cortés: A Lost Treasure?, James Ketchum* (Mexico) 27 min
  • Changing Seas: “Recreational Shark Fishing: Collaborating for Conservation”, Kristin Paterakis* (USA) 27 min

Saturday April 9 at 4 pm – Program #8 

  • The Forest Stands Tall, Abbey Dias* (USA) 2 min
  • Veins of an Island, Shireen Rahimi* (USA) 8 min
  • Coextinction, Gloria Pancrazi, Elena Jean (Canada) 93 min

Saturday April 9 at 7 pm – Program #9 

  • ICEolation, Sophie Ballagh & Ewan Blyth (Antarctica) 28 min
  • Soul of the Ocean, Howard Wesley Hall* (USA) 78 min

Sunday April 10 at 10 am – Program #10 

  • Hungry Jellyfish, Sabrina Inderbitzi (Switzerland) 4 min
  • My Journey Across the Ocean, Madeleine Kelly Toomey (USA) 4 min
  • The Blue Forest, Philip Hamilton (UK) 35 min
  • Twist and Spin, Peter Donovan Walker (Vanuatu) 50 min

Sunday April 10 at 1 pm – Program #11 

  • Planktonium, Jan van IJken (Netherlands) 15 min
  • Open Ocean, Nathan Siegel* (Spain) 83 min

Sunday April 10 at 4 pm – Program #12

  • Tess Felix: Portrait Artist, Cynthia Abbott*, Andrea E. Leland (USA) 8 min
  • Bodies of Water, Lavado Stubbs (USA) 10 min
  • The Ocean Solution, Darcy Hennessey Turenne (USA) 14 min
  • Coding for Crayfish, Serge Raemaekers, Karen Logan (South Africa) 30 min
  • INTO THE BLUE: The Wonders of The Coral Triangle, Robert Fonollosa (Spain) 50 min

Smith Rafael Film Center

Friday April 8 at 7pm – Program #1 

  • Lionfish: Ocean Murder Hedgehogs, Sarah Baumann* (USA) 2 min
  • Soul of the Ocean, Howard Wesley Hall (USA) 78 min

Saturday April 9 at 7pm – Program #2 

  • Tess Felix: Portrait Artist, Cynthia Abbott*, Andrea E. Leland (USA) 8 min
  • Selma, Maciek Jabłoński (Poland) 92 min

Sunday April 10 at 4pm – Program #3

  • Stranded: A Whale Rescue Tale, Bruce Narin*, Ashley Love (USA) 25 min
  • Archipelago New York – An Island City, Thomas Halaczinsky* (Germany) 53 min

Roxie Theater

Saturday April 9 at 1:30 pm – Program #1

  • It’s Time to Listen, Louisa Gilbert (Canada) 7 min
  • Fishing with Wally, Ellie Schmidt* (USA) 20 min
  • Bangla Surf Girls, Elizabeth D Costa*, Lalita Krishna (Canada) 85 min

Sunday April 10 at 1pm – Program #2 

  • Deep Look: Sea Slugs Scrub Seagrass by the Seashore, Mike Seely (USA) 4 min
  • Whetū Mārama – Bright Star, Toby Mills, Aileen O’Sullivan (New Zealand) 90 min