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Mos Def

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PREVIEW Anyone who heard "Big Brother Beat" on De La Soul’s 1996 album Stakes Is High (Tommy Boy) was soon saying, "Who’s this kid Mos Def?" Still, it’s hard to believe that, 13 years later, the radiant voice on that track would become the ubiquitous scion of that good old Native Tongue can-do.

Mos Def can turn up simultaneously in a movie (his next project is a film version of Iceberg Slim’s Mama Black Widow) and on a television show (you catch him on House last a few weeks ago?), yet still find time to cameo on other people’s albums, win an Obie for his performance in a play (Suzan Lori Parks’ Fuckin’ A), and come out with a book (Black 2.0, due this summer). It’s like, wait a minute, there’s got to be more than one Mos Def.

His four albums explore his tortured id and black people’s rightful place as the inventors of rock ‘n’ roll and just about all forms of popular music — all that, and they still maintain the dedication to socially conscious protest we’ve come to expect from our once and future truth-tellers. His fifth, The Ecstatic, is due later this year. He’s coming to Yoshi’s in Oakland for a few sets with Robert Glasper on piano, Mark Kelly on bass, Chris "Daddy" Dave on drums, Casey Benjamin on sax, and Keyon Harrold on trumpet. Be a part of history in the making. It’s not like you have a choice. His name is Most Definite, not Think So.

MOS DEF Tues/14–April 16, 8 and 10 p.m., $55. Yoshi’s Oakland, 510 Embarcadero West, Oakl. (510) 238-9200. www.yoshis.com

Marissa Nadler

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PREVIEW Who is the shy girl casting her eyes downward on the cover of Little Hells (Kemado)? Here in Hell, Marissa Nadler could be a damsel who has tumbled from a frayed tapestry in search of her unicorn, a crystal doll who has escaped from her vitrine, or a tubercular maid who has slipped out of her Victorian deathbed photograph to traipse this earthly plane. She’s the dark, downbeat cousin of the enormous-eyed cameo cutie gracing The Saga of Mayflower May (Eclipse, 2005), the sunlit warbler singing in the lawn at the first Arthur Fest, and the whimsical Rhode Island School of Design-educated artist I spoke to around the time of Songs III: Bird on the Water (Kemado, 2007).

With her fourth full-length, Nadler enters a new, more synthetic, and increasingly richer musical realm than that on her previous recordings — one outfitted with its own exquisite troubles and terrors. The almost imperceptibly swooping faux strings that strafe "Heart Paper Lover" sound like tiny planes dive-bombing a cruel sweetheart. The goth muses slumbering within Nadler’s out-folk also come to light, blinking: one imagines Mary Shelley waking to find herself in Frankenstein’s grave-dirt-encrusted shoes on the harpsichord-strewn, almost Sisters of Mercy-like "Mary Comes Alive." Still, Nadler’s voice has never sounded so fine — catching itself on miniscule beads of longing on "Rosary" and fading, delicately detuned, like a dying darling on "Ghosts and Lovers."

MARISSA NADLER With Eric Shea. Wed/8, 9:30 p.m., $10–$12. Cafe du Nord, 2170 Market, SF. (415) 861-5016, www.cafedunord.com

Appetite: Czech in FiDi, Easter meals, Bushi-Tei bistro, Front Porch bones, and more

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The new cityhouse: apres-shopping bacon-wrapped swordfish

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, deals, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city each week on SFBG. View the last Appetite installment here.

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NEW RESTAURANT and BAR OPENINGS
A double-dose of Bushi-Tei in Japantown with a new bistro
I love you, Bushi-Tei. Though a Michelin-star winner with rave reviews, I often wonder why few seem to have been to this upscale Asian restaurant with a French cuisine ethos? Chef Wakabayashi is a genius, as far as I’m concerned, and the experience, from wine list to savory dishes to desserts, have always been a creative-fresh thrill for me over the years. I dig the dark woods of the modern dining room, the seamless service, and most of all, the glorious food. So I’m delighted to see the unveiling of Bushi-Tei Bistro this week, with a $6-15 price range and dishes like housemade udon, Japanese curry and sushi. Conveniently close to key Japantown/Lower Fillmore landmarks, I’d guess this could be the new gourmet-but-affordable-Asian-eats stop before or after a movie at Sundance Kabuki, a visit to the Kabuki Spring spa or a concert at the Fillmore.
1581 Webster Street
415-409-4959
www.bushi-tei.com

Cityhouse debuts in the Parc 55 Hotel
It appears to be another Union Square hotel restaurant (i.e. expensive), but Parc 55 Hotel‘s $30 million makeover (scheduled to be done in June) includes this steakhouse restaurant, cityhouse, helmed by Chef Brian Healy of the former Terrace at the Ritz-Carlton San Francisco. Open for breakfast, lunch and dinner with an all-day bar oferring swank cocktails and bar bites, it’s a downtown shopping respite or meet-up spot with visiting friends craving steak, bacon-wrapped swordfish, oysters and strawberry rhubarb crisp.
55 Cyril Magnin Street
415-392-8000
http://dev.tigglobal.com/RenaissanceParc55/restaurants/cityhouse.cfm

Cafe Prague is bringin’ Czech back to FiDi… and soon, the Mission
It’s nice to have a little Czech back in town, though I’ll miss the old Cafe Prague space (which closed last Fall), tucked away on Pacific Ave. Hopefully the boho-Euro atmos transfers to their newly-opened Financial District locale. I see the menu consists mainly of salads and sandwiches for the FiDi lunch set, but thankfully a couple Eastern European specialties remain (which I appreciate given that there’s not much of it around), like Hungarian goulash and sauerbraten with dumplings. A second site is soon to open on Mission Street between 17th and 18th, so there’ll be more Prague lovin’ to go around.
424 Merchant Street
415-627-7464

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APRIL 12th EASTER MEALS
1300 on Fillmore’s Gospel Brunch for Easter

Since 1300 on Fillmore opened, it’s been my preferred stop for upscale Southern Soul food with a twist, and it’s jazzy, cool lounge giving tribute to the Fillmore District’s jazz glory days. Though I’ve eagerly been wanting to check out their Gospel Brunch the first Sunday of every month (which has been so popular, they plan on adding a second Sunday), I suspect Easter might be the time to catch the Spirit over cornbread and shrimp ‘n creamy grits. The three-course brunch is $39, including all food, coffee and tea, special drink of choice (mimosa, bellini, juices), and, naturally, some rousing, live gospel music. Hallelujah! P.S. Don’t forget their Fried Chicken Mondays (5:30-11pm) where $28 gets you soup or salad, Black Skillet Fried Chicken and dessert.
$39
1300 Fillmore Street
415-771-7100
www.1300fillmore.com

Indian-style Easter at Dosa on Fillmore
Doing Easter out of the norm means Dosa on Fillmore’s Indian Easter brunch might be your speed, especially when the menu includes a Strawberry-Banana Uttapam (large, pancake-style version of a dosa for $12) or an Egg Poriyal Dosa, filled with a South Indian scramble of organic eggs, chilies, tomatoes and onions ($10). Wash it down with a Bloody Mary Curry ($8.50) or Elderflower Mimosa ($9) and you’ve got yourself a brunch.
11:30am-3:30pm
1700 Fillmore Street
415-441-3672
www.dosasf.com

The antithesis to "Easter brunch" lunch at Bloodhound bar
It’s Bunny BBQ at Bloodhound all Easter afternoon with a glut of meats from Taylor’s smoked ham to rabbit (in sausage form or grilled), plus a slew of down-home sides like chicharrones, beans, and yes, bacon peanut butter brownies. It’s all you can eat and drink of seasonal beer (draft and bottle), with Bloodhound’s excellent classic cocktails still available at regular price. Fatted Calf and 4505 Meats host the event but space is limited to so make sure you RSVP if you want to eat the bunny rather than admire its cuteness.
$30
2pm–7pm
RSVP: info@bloodhoundsf.com
1145 Folsom Street
www.bloodhoundsf.com

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DEALS
Bones and Blues every Tuesday at The Front Porch
The Outer Mission’s Front Porch is one of those places (with rocking chairs on the little front patio) that’s invitingly warm as soon as you walk in. The red booths, pressed-tin ceiling and dim lighting create an overall glow. As of last week, Fats Domino Tuesdays is the night to linger over, yep… dominoes. A game of dominoes with discounted drinks and appetizers and blues music to set the mood. You can bring a partner or there’s sure to be others to play a friendly game with if you come alone. With new chef, Michael Law, aboard, it’s an ideal time to re-visit the heartwarming Southern/New Orleans menu.
Tuesdays 5-7pm
65-A 29th Street
415-282-9043
www.thefrontporchsf.com

Live blues Gumbo Jam at Miss Pearl’s Jam House every second Friday
Miss Pearl’s Jam House is one of those idyllic waterside settings that feels like a party just being there. I find the food and drinks can be hit or miss, but I still love the setting in the continually reviving Jack London Square. What better way to hit Miss Pearl’s than for a second Friday Gumbo Jam (or live music nights all month long, like "Dancin’ Island Sounds")? Chef Joey Altman (of TV and cookbook fame) actually rocks out with blues band, The Back Burners, while serving up a huge pot of gumbo. Way to start your weekend, Nawlins’-style.
2nd Fridays 8pm-12am
One Broadway, Oakland
510-444-7171
www.misspearlsjamhouse.com

The hardest time

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Here are the few undisputed facts in the slaying of Roderick “Cooly” Shannon: in the quiet early-morning hours of Aug. 19, 1989, Shannon piloted his mother’s green sedan past the modest, boxy houses of their Visitacion Valley neighborhood. As Shannon coasted along, a posse of young men piled into four cars and gave chase, careening after him through the darkened streets. At the intersection of Delta Street and Visitacion Avenue, the hunted 18-year-old plowed up on the sidewalk, crashed into a chain-link fence, and fled on foot. He ran a couple of blocks, pounding into the parking lot of Super Fair, a graffiti- covered liquor- and- groceries joint. The mob – about 12 deep – grabbed him as he tried to scale the fence between the store and the house next door.

They pummeled Shannon. Then one of the thugs executed him with shotgun blasts to the shoulder and head.

Police linked Shannon’s murder to a raging war between hood-sters from Vis Valley and Hunters Point. Young people – mostly African American – in the two housing project-heavy districts were waging a bloody battle for control of the drug trade, a battle that had escalated into a string of life-for-life revenge killings.

Homicide cops figured Shannon’s execution was a retaliatory hit for the “Cheap Charlie” slayings six months earlier. “Cheap” Charlie Hughes was a player in the Hunters Point drug business who’d been gunned down on his home turf at the intersection of Newcomb Avenue and Mendell Street in a massive firefight. The attack, thought at the time to be the handiwork of gangsters from Sunnydale public housing, also took the life of Roshawn Johnson and sent nine others to the hospital with gunshot wounds. Shannon’s killers, the San Francisco Police Department contended, either thought he had a role in the Cheap Charlie shoot-up or simply wanted to take a Sunnydale homeboy out of the game.

In the fall of 1990 two young men were locked up for Shannon’s murder and sentenced to 25 years to life in the state penitentiary.

Both men had alibis, and 10 years later both maintain their innocence. There are a lot of reasons to believe them.

The prosecution’s case relied almost completely on the shaky, ever changing testimony of a pair of adolescent car thieves. A new eyewitness says the convicted men had no part in the killing. And in a plot twist straight out of Hollywood, another person has confessed to the crime.

Despite a pile of exonerating evidence, the prisoners remain caged. But one of them – a spiritual, soft- spoken man named John J. Tennison – has an unusually passionate, stubborn lawyer on his side. Jeff Adachi, a sharp-dressed idealist known for winning tough cases, has spent 11 long years fighting for Tennison’s freedom – and isn’t about to give up. This is the story of the lifer and the lawyer who wouldn’t quit.

The 12-gauge shotgun that took Shannon’s life was never found. Immediately after his death, homicide detectives Napoleon Hendrix and Prentice “Earl” Sanders spent three fruitless days scouring the city for clues. The killers left little meaningful evidence at the murder scene – no fingerprints, no footprints, no blood, no DNA.

Then a 12-year-old Samoan girl named Masina Fauolo called, offering eyewitness information. She said nothing about anybody named Tennison. But after months of talking to the inspectors, Fauolo, a pal of the victim who lived a few blocks from the crime scene in subsidized housing, identified Tennison as a key player in the murder. “Fat J.J.,” she said, held Shannon, while a man named Anton Goff blew him away. A few months later Fauolo’s friend Pauline Maluina, then 14, chimed in with a corroborating narrative.

Besides Fauolo and Maluina, no one would admit to having seen the killing.

During the autumn of 1989, propelled by the testimony of the two girls, police rounded up Tennison and Goff and hit them with first- degree murder charges.

Enter Adachi, a tough- talking young public defender. Scoping the prosecution’s evidence against Tennison, he found a case riddled with inconsistencies. He figured his client would walk. “The girls’ stories never made any sense,” Adachi says today. “I really thought this case was a winner.”

The attorney also found a young man who regarded him with deep suspicion. “I’m sure he had a certain stereotype coming in of public defender,” Adachi says. “A lot of it comes from popular media: you always hear that line, ‘Why was he convicted? He had a public defender.’ Within popular culture in the African American community there’s that distrust of anything related to the Hall of Justice.”

“It wasn’t just [Adachi]; it was the whole predicament,” Tennison explains. “I’d never been in that situation – charged with murder.”

Meanwhile, deputy district attorney George Butterworth was building an indictment of Tennison on the words of Fauolo and Maluina. As he did, their stories mutated.

Fauolo’s account of the August 1989 murder, laid out in trial transcripts, went like this: She’d taken the bus from Sunnydale to the corner of 24th and Mission Streets, where she picked up a stolen two-door gray car from her cousin. Fauolo and Maluina took off, cruising through the Financial District, down Mission Street, and north to Fisherman’s Wharf, before heading back to Vis Valley. The kids parked in the lovers lane up above McLaren Park, smoking cigarettes and looking down on the city.

Four cars, full of people Fauolo referred to as “HP [Hunters Point] niggers” – Tennison among them, she said – slid into the lane. After 10 to 15 minutes a green car drove by, speeding along Visitacion Avenue. It was Shannon in his mother’s car, a vehicle usually driven by his cousin, Patrick Barnett. “There go that nigger Pat!” one of the young men shouted. “He going to pay the price now.”

The Hunters Point posse jumped in their cars and tore off after Shannon, apparently thinking they were pursuing Barnett, a suspect in the slaying of Cheap Charlie.

Fauolo and Maluina peeled out, tailing the chase. When Shannon crashed, Fauolo ditched her car by Visitacion Valley Middle School and followed her friend on foot. From the corner of the Super Fair blacktop, standing beneath a Marlboro sign, she watched as the pack, laughing, beat her friend. Goff, whom Fauolo had never seen before, emerged from the crowd, yanked a “long gun” from the trunk of a car, and boasted, “I’m going to blow this motherfucker out!”

“Don’t shoot him!” Fauolo screamed. “Don’t shoot him.”

“Shut the fuck up,” Goff yelled.

Then, according to Faoulo, Tennison held the victim like a sacrificial offering while Goff popped off four or five shots. As the mob slowly slipped away, Fauolo ran to Shannon’s aid. He was lying face up on the asphalt. “Go get Pat,” he croaked. “Go get Pat.” Wearing a T-shirt memorializing a Sunnydale homeboy who’d been murdered a few months earlier, Shannon died.

When Fauolo first contacted the homicide unit on Aug. 22, she made no mention of J.J. Tennison. Throughout the two-and-a-half-hour call with detective Hendrix, the girl said she’d watched the crime go down, but she couldn’t – or wouldn’t – ID any of the participants.

Only after months of talking to the inspectors on a near daily basis would the girl pin the murder on Tennison and Goff.

Yet at the time of the killing, Fauolo knew exactly who Tennison was. He lived on the same Hunters Point street as her cousins. She saw him nearly every Sunday when she visited her relatives. She knew what kind of car Tennison drove. She knew his name.

So why did the girl wait so long to cough up that name, Adachi wondered. “You wanted to bring the people who were responsible for Cooly’s death to justice…. And still you never mentioned J.J.’s name during this [initial] conversation?” he asked Fauolo.

“Because I – I didn’t – I wasn’t ready to talk to him about anything,” Fauolo responded.

Adachi wasn’t buying it. “We thought that the cops had either convinced or at least influenced the girls to identify Goff and Tennison,” he says.

During that first phone call the girl was, however, ready to describe the vehicles that chased down Shannon. One of them, she said, was a yellow-and-white Buick Skylark. The description set off bells for Hendrix and Sanders. Tennison, a known gangbanger who’d been popped a couple of times for selling weed, owned a car matching that description. They poked around for him.

“I heard from a few people the rumor that the homicide detectives were looking for me,” Tennison recounted in a recent Bay Guardian interview. He stopped by the central cop shop at 850 Bryant. “I asked them what was going on. They basically said, ‘Your car and you were involved in a homicide.’ I basically told ’em we can cut this interview short, that my car was in the impound already.”

Towing-company records proved Tennison’s impounded car wasn’t at the scene of the crime, and he was set free.

Still, on Oct. 31, 1989, after repeated in-depth conversations with the police, Fauolo picked out Tennison from a photo lineup. Now, however, she offered new information. Straining the bounds of credibility, Fauolo insisted that Tennison owned two nearly identical, yellow-and-white Buicks: one with a white vinyl top, the other with a white- painted metal roof.

Prosecutor Butterworth never produced any evidence that this second car truly existed. While the SFPD keeps a photo registry of the vehicles of suspected gangsters, it had no snapshots of this mystery car – let alone the actual auto.

At the trial, medical examiner Boyd Stephens told the court that Shannon’s body bore no bruises: the boy hadn’t been beaten with anything but fists. Though Fauolo had sworn in pretrial depositions that the victim had been attacked with bats and sticks, she now said that she hadn’t seen the mob actually striking Shannon with the weapons.

Other aspects of Fauolo’s testimony are troubling. For one thing, she was standing more than 100 feet away from the crime, on a moonless night. Could she really make out the assassins?

Her recollection of the car chase never jibed with that of another witness who took in the pursuit – though not the actual shooting – from his Cora Street window. Shannon and his assailants, this witness said, had been driving in reverse at high speed for at least part of the chase. The victim backed his car into the ballpark fence at high speed, pursued by a black pickup truck “doing about 35 miles an hour backwards.”

Fauolo, who supposedly had a front-row seat to the incident, never mentioned anything about the vehicles reversing rapidly.

Maluina’s testimony – also documented in court records – was even more suspect. In November 1989 the girl was called into her school principal’s office. Hendrix had some questions for her. Yes, Maluina told the detective, she’d seen Shannon get “mobbed” and killed. How had she happened onto the crime scene? She’d been “walking around.” In Maluina’s version of the night’s events, there was no stolen car.

When Hendrix presented the girl with an array of mug shots, Maluina picked out Tennison but failed to ID Goff as the triggerman. She also selected a third man as a possible perpetrator but later retracted that accusation.

Four months later, at a preliminary court hearing, Maluina wasn’t sure Tennison had been among the mob. “I’m not sure,” she said when asked if the boy was one of the killers.

“And that’s your honest answer?” Adachi asked.

“Yes,” the girl replied.

Goff wasn’t there, Maluina told the court at another early pretrial hearing.

In April 1989 Maluina recanted her testimony completely.

She now told Hendrix and prosecutor Butterworth that she hadn’t seen the crime. In fact, she said, she’d fabricated her whole story at the urging of Fauolo. “I wasn’t there when the incident happened,” Maluina told Butterworth. The other girl, Maluina said, had filled her in on the details of the crime, instructing her to single out the “biggest guy” in the mug shot lineup. (Tennison at that point carried about 200 pounds on his roughly five-foot-nine frame.) “The only reason I picked out J.J.’s picture is because Masina told me to,” she pleaded.

His case crumbling rapidly, Hendrix phoned Fauolo – who had moved to Samoa – and put Maluina on the line. By the time the two friends were finished talking, the girl’s story had morphed once again: Actually, she was there, Maluina informed the men.

When the jury heard the case in October 1990, Maluina was steadfast: she’d seen the crime and could pinpoint Goff as the gunman and Tennison as an accomplice. Fear had driven her testimony through its chameleonic changes, she told the court. She hadn’t wanted to be busted for the stolen car, so she’d left it out of her story. She’d recanted her testimony and denied witnessing the crime because she’d feared violent retribution.

Like Tennison’s supposed second car, Fauolo and Maluina’s boosted sedan was never found; either police had failed to track down the hot car, or perhaps it never existed.

The jury, which took three days to arrive at a guilty verdict, believed Maluina and Fauolo.

I pass through many locked steel doors to reach the home of J.J. Tennison.

At the gates of Mule Creek State Prison, two and a half hours northeast of San Francisco in Amador County, I empty my pockets and stand in my socks. A female prison guard, a middle-aged white woman with a gravity- defying shock of bottle blond hair, scopes the insides of my shoes for contraband. “Bleep-bleep-bleep,” shrieks the metal detector as a Latino mom, grade-school kids in tow, passes through. It’s her underwire bra. The guards have her take it off.

I walk through the metal detector without incident. Ahead of me a 12-foot-tall chain-link door slides open. The moment I step through, it shuts behind me, locking me inside of a claustrophobic six-by-eight-foot cage equipped with two security cameras. The cage door pops open, and I walk out into a small courtyard hemmed in by razor wire. I stride across a heat-scorched lawn into another squat cinder-block building.

Here a stoic correctional officer in a green jumpsuit checks me over before unbolting the thick door to the cafeteria- like visiting room.

Tennison, a bulky black man with a freshly shaved head and a bright smile that seems out of place in this drab universe, greets me warmly. He speaks quietly but forcefully, as if this rare face-to-face encounter with the outside world could end at any moment, a soft drawl rounding off the edges of his words. Now 29, he is hefty but not overweight, childhood fat shed for muscle, his complexion coffee- colored, eyes penetrating.

I’ve journeyed here with Adachi, and a palpable tension hangs in the air when the lawyer relates recent developments in the case. The two men lock eyes; sweat beads on Tennison’s tall forehead. Adachi has little good news. “I know it doesn’t seem like we’re doing shit, ’cause you’re still in here,” he says.

The prisoner responds in a near whisper: “It just gets harder and harder every day.”

The youngest of four boys, Tennison grew up “on the hill,” as they say in Hunters Point, on Northridge Street, splitting time between his divorced parents, Dolly Tennison, a shoe salesperson, and John Tennison Sr., a sheet- metal worker at the shipyard. The tough, largely African American neighborhood in southeastern San Francisco comprised his entire childhood world.

At Sir Francis Drake elementary, Tennison recalls, “I was pretty much like any other kid going there: did the work, didn’t like it, played sports.” Physically chunky from an early age, Tennison loved athletics – “any kind of sports” – but football was his game; that is, when he could keep out of trouble. In his teenage years, between two stints in San Francisco’s youth lockups for selling weed, he played linebacker for the MacAteer High School football squad. Tennison the ghetto entrepreneur cliqued up with the Harbor Road “set,” a loose-knit band of teen and twentysomething males who claimed the area around that street’s subsidized apartments as their exclusive drug- slanging fiefdom.

Some days Tennison figures his decade in prison has been a blessing: it beats being dead, and many of his old running mates are six feet under – a half dozen Harbor Road heads were slain in 2000 alone.

To former friends dwelling “on the outs,” he is forgotten: over his 10 years of incarceration their stream of letters has dwindled, their visits have tapered off entirely. Like most lifers, Tennison has gradually become a ghost, a specter of the man his preprison companions once knew.

He doesn’t keep in touch with Goff; he says he scarcely even knew him before they were arrested.

Survival, family, and faith define the con’s existence. Survival in Mule Creek – host to a preponderance of lifers – means keeping your mouth shut and your head down; avoiding the vagaries of “prison politics” by staying in the good graces of the turnkeys and off the shit lists of other inmates; maintaining your sanity in the face of unending repetition. Tennison does not indulge this journalist’s urge to gather stomach- turning details about penitentiary life; he will only hint at the horrors that transpire behind the walls. “Some thangs you just mentally try to block out. I’ve seen a guy get shot. I’ve seen guys get stabbed. It’s a violent place. One minute it’s nice … the next minute somebody’s being carried away on a stretcher.”

In another 14 years Tennison will be a candidate for parole – in theory, at least. The state, from Gov. Gray Davis on down, is allergic to paroling convicted killers, even those legally eligible for early release. And unless that changes, he will never escape the grip of the California Department of Corrections.

What happens to the person buried – along with some of the ugliest, most brutal people on earth – under an avalanche of concrete and steel, alive with only the faintest prospect of rescue?

The weight of long-term incarceration is famous for creating stony- faced sociopaths, but Tennison seems a flat- emotioned husk of a man who – simply, quietly – endures. If truly innocent, he is living out the mother of all nightmares. Yet when I speak to him, I see only the tiniest hints of rage: no fury at the hand fate has dealt him, no profanities for the cops and prosecutors who put him here, no ill will toward the girls who testified against him. He gripes little about his locked- down environs and must be pressed to complain about the conditions of his confinement. “I live very well compared to a lot of other less fortunate people,” he tells me without the slightest touch of irony.

Home is a six-by-eight-foot cell he shares with another man. Amenities include a 13-inch TV, a CD player, and a Walkman. Work is an 18¢-an-hour job in the prison print shop. Recreation is shooting hoops in the exercise yard after work. Nighttime is reserved for prayer. The joys in the inmate’s life are meager: a familiar song on the radio, warm sunlight pouring through his cell window on a chilly day, a phone call to kin.

Family consists largely of mother Dolly and older brother Bruce. John Tennison Sr. died of cancer in 1993; brother Julius doesn’t keep in close contact; brother Mike was shot in the back and killed a few years back. “I lost my brother, I lost my father, I lost my grandfather since I’ve been in prison. Your [cell] door opens, and you know it’s not time for it to open. You know immediately something’s not right. All three times it’s been like that. I pray and pray and pray that nothing happens to my mother while I’m gone.” From his neck hangs a gold cross, jewelry that once belonged to Mike.

Four or five times a week Tennison’s mind flashes back to the moment he heard the guilty verdict. “I was in total shock, disbelief,” he recounts softly. “My whole body went numb. I couldn’t hear for maybe 30 seconds. Couldn’t speak for maybe another 30 seconds. Out-of-body experience – I just couldn’t believe it.

“As long as it’s been, I can remember that day right now as we speak. At times when I’m just sitting back thinking to myself, I remember just hearing ‘guilty.’ And sometimes I think, what if it was the other way around?”

Every single day of the past decade has “basically been the same. Each step ain’t getting no easier. It’s basically the same routine. First thang when I wake: damn I’m still here. I put it in my mind how I’m gonna deal with this day without interrupting anybody’s program, keep anybody from interrupting my program. Physically it’s the same thang. But mentally it’s getting tougher and tougher.”

Like most of this town’s city-paid defense lawyers, Adachi, a Sacramento native, doesn’t conform to the popular, television- inspired conception of a public defender. He doesn’t show up for court in rumpled, coffee- stained suits; isn’t perpetually outgunned by sharp- witted prosecutors; hasn’t been ground down to a state of indifference.

The son of an auto mechanic and a medical lab technician, Adachi is a true nonbeliever, questioning whether a person of color can ever find justice in an American courtroom.

A handsome, slickly dressed man with greased-back hair and a sleek sable Mercedes, he possesses a genius for ripping apart prosecution testimony. Watching him at work – he’s a pit bull in the courtroom – I get the sense that there is nothing in the world Adachi likes more than practicing law.

These days he takes only the toughest cases. He recently represented Lam Choi, the man indicted for offing a Tenderloin mob boss in 1996 in a high- profile, Mafia- style rubout. He is the lawyer for Jehad Baqleh, the cabbie accused of raping and killing 24-year-old Julie Day. If a murder hits the front pages, chances are Adachi will work it, and much of the time his clients go free. Second in command in the office, he has already filed papers to run for the top slot when current chief Jeff Brown steps down in 2002, and many of his colleagues think he’s a natural choice for the job.

But back in 1989, Adachi was a relative newjack, with just three years under his belt as a city-paid defender. The Tennison- Goff trial was the first murder case he worked from start to finish.

Believing the prosecution had a flimsy case, the young attorney didn’t mount a major- league, call-up- every- witness-you-can-find defense. “That’s the only thing I regret: not putting on more of a case. We really didn’t think it was necessary because what the girls said made no sense. It was chock-full of contradictions.”

Goff’s trial attorney, Barry Melton agrees. “We never really believed they had enough of a case to convict these kids,” recounts Melton, now top public defender in Yolo County. “After all, they were trying to hang these guys on the words of a 14-year-old car thief.”

Both defendants had alibis, but both lawyers were loath to put the exonerating figures – black adolescent thugsters – on the stand, knowing they’d play badly to the jury. Tennison, for his part, contended that during the time in question he’d been picking up friends from the Broadmoor bowling alley. Adachi was scared to even admit to the jury that his client had left the house on the night of the killing.

“If they didn’t think these two kids were in a gang, when they saw all the alibi kids, they definitely would’ve,” Melton explains. “It’s been my experience that half the time people can’t remember what they were doing.”

The jury ruling struck the legal team like an industrial- strength electrical shock. “Oh … my … God,” Melton gasped as the verdict was announced; Adachi was speechless as his client wept openly.

Already tenuous, the bond between Adachi and Tennison crumbled. “I wanted to take the stand,” Tennison remembers. “I figured all [the prosecution] could do was say that I was a drug dealer. I felt that I should’ve testified on my own behalf and my witnesses should’ve testified for me. It would’ve eased the pain for me a little.

“After the trial we kind of pointed the finger at each other. When it was all said and done, I felt he didn’t give it his all. I figured I didn’t get off, so he didn’t do his job.”

Adachi, too, felt let down. “I was angry at him because I thought he didn’t help me. I thought he didn’t trust me because I was a public defender. I could’ve found out more about the case had I had more access to the community. If this had occurred in the Japanese community that I’ve been a part of for years, I could’ve gotten down there and found out everything I needed to know. I did all the regular investigation, talked to all the witnesses, talked to his family, all that. But there needed to be an extraordinary effort, not only to solve a murder but to untangle a web of deceit which had been woven by these two girls.”

Sitting in his Seventh Street office, Adachi holds his fingers a millimeter apart: “We had this much trust after the trial.”

Every defense lawyer has watched – sick in the gut – as a client he or she believes to be inculpable is sent to the pen. These are the trials that haunt; Tennison, his face shrouded in darkness, starred in Adachi’s nightmares for many years after the decision.

“The reason he wasn’t acquitted was because the jury was holding the defense to too high a standard,” contends Adachi, who argues that the town’s then- raging gang war “had the effect of really shifting the burden of proof. If I were to analyze it now, in a gang case where somebody’s dead, you’ve got to prove innocence” – rather than simply raising a reasonable doubt.

When a client is found guilty, the public defender nearly always washes his or her hands of the matter, leaving appeals to state-paid lawyers or private counsel. After all, there’s a steady stream of new clients and no funding for lost causes, which is what most appeals are. Adachi conferred with gumshoe Bob Stemi, the investigator who’d helped him craft Tennison’s failed defense. Both men were devastated. They decided to start over, to excavate fresh evidence and reconstruct the case as if they were headed back to trial.

Adachi began reaching out to Tennison, hoping to resurrect some sense of trust.

A month after the verdict came down, S.F. police officers Michael Lewis and Nevil Gittens picked up a man named Lovinsky “Lovinsta” Ricard Jr. on a routine drug warrant. Ricard had a surprise for them: it was he – not Goff and Tennison – who shot Shannon to death, he informed the cops.

According to police transcripts of that confession, Ricard had been cruising around with a bunch of friends in a convoy of three cars and a black pickup truck, looking to leave somebody from Sunnydale bleeding. The posse stopped to loiter in the parking lot of the 7-11 at Third and Newcomb Streets – just a few blocks from the spot where Shannon was killed. Ricard sat in the pickup swilling Old English malt liquor.

Shannon drove by, and Ricard and company lit out after him. When they got to the Visitacion Avenue ball field, Ricard told the cops, Shannon “ran up on the curb, and at the fence he jumped out. Then we started chasing him. I remember I got off the truck and … some people, they had already cornered him, OK…. And they, over there, they were beatin’ him up. They was beatin’ him up.”

Ricard pulled a 12-gauge from the truck and gunned down Shannon, “because we knew he was from Sunnydale.”

“Were any of two individuals, Antoine [sic] Goff or John Tinneson [sic], do you recall whether they were with you on the night this thing occurred?” one of the officers queried.

“No, they were not,” Ricard responded.

There were some flaws in the story. He was fuzzy on some details, like how many shells he’d put in the shotgun and what brand the gun was. He wouldn’t name any eyewitnesses to back up his claim. And he couldn’t provide the murder weapon.

Ricard’s confession was the kind of thing that happens all the time in the movies and almost never in real life – and despite the limits of his story, Adachi assumed Tennison and Goff could start planning their homecoming parties.

The confession turned out to be a bombshell … that never exploded. Judge Thomas Dandurand shot down a request for a fresh trial. Deeming Ricard’s confession unreliable, the police set him free. Legal documents indicate that Ricard now lives in St. Paul, Minn. (Our attempts to reach him through the mail and by phone were unsuccessful.)

On July 2, 1992, nearly three years after the murder, investigator Stemi convinced a witness to step forward. This person, whom we’ll refer to as Witness X for obvious security reasons, gave police, prosecutors, and the defense a detailed rundown of the slaying and the events that preceded it. The new account – which was taped and transcribed – corroborated Ricard’s confession and included the names of four alleged accomplices to the crime. Ricard was indeed the gunman, Witness X asserted. Tennison and Goff had no part in the crime.

Now, Adachi figured, Tennison and Goff would finally walk. Wrong again. Arlo Smith, district attorney at the time, didn’t feel the narrative was strong enough to reopen the case.

Stymied, Adachi kept probing and enlisted the help of private attorney Eric Multhaup in navigating the maze of court appeals.

Tennison and Goff “had nothing to do with it,” Witness X tells me in a recent interview. “Lovinsta even got up and told that he did it, and that neither J.J. nor [Goff] had anything to do with it. I do know what happened – I was there.”

Over the course of a two-hour conversation Witness X offers a convincing recounting of the crime. “Lovinsta went over there while they were beating him up,” shot Shannon, and “came back with his shirt and everything all bloody and said it felt good.

“Lovinsta asked us never to say nothing; everybody was to be quiet,” the informer tells me. Adachi hired an ex-FBI agent to run a polygraph test on X; according to the machine, the witness is telling the truth.

Witness X claims – as police had theorized – that Shannon was killed to avenge the deaths of Cheap Charlie Hughes and Roshawn Johnson. “It was just anybody at random, whoever it is from Sunnydale, you’re gonna die. Unfortunately, Roderick was right there, and he happened to be from Sunnydale.”

Anton (pronounced “Antoine”) Goff is among the 5,800 humans stuffed into the Corrections Department’s Solano County facility, a strip-mall McPrison built for just 2,100 inmates. It’s luxurious compared with his old digs: Goff spent his first five years on 22-hour-a-day lockdown at the infamous Pelican Bay state pen.

The detectives pegged Goff as a man with a clear motive to murder: he’d been wounded – allegedly by a Sunnydale head – in the Cheap Charlie shooting.

But Goff, now 31, claims he was hanging out with “four or five” buddies on the night of Aug. 29 and never even left Hunters Point. “All of ’em was ready to testify,” he says.

Ricard “was a friend we knew growing up in the neighborhood. He wasn’t nobody I hung around with all the time,” Goff relates, saying he’s positive of the man’s guilt. “He told me everything what happened. He told me personally before I was arrested.”

Tennison was a friend, but not a close comrade, Goff says.

He works out three, four hours a day, playing basketball, sometimes handball. There are no weights in the exercise yard, so Goff builds muscle by lifting other inmates. He studies business, planning for a career that may never come. “You have to be tough to get through the situation, ’cause it’s not easy up in here. You have to have your mind right, or you’ll go crazy.”

Constantly, he asks himself, “Why am I here? Why am I being punished?”

Inspectors Hendrix and Sanders spent better than two decades trying to staunch the city’s bleeding. Both African American, the men staffed the homicide unit throughout San Francisco’s goriest years – the crack- fueled murder binge that ran from 1985 to 1993 – digging into some 500 slayings and solving 85 percent of them. As a team they were the kind of hard-boiled, damn near inescapable cops dreamed up by TV scriptwriters.

These days, 63-year-old Sanders, now assistant chief, seems more grandpa than hard-ass. His mind, however, is anything but soft: talking about Shannon’s execution, he effortlessly calls up minute details from the decade- old incident.

Sanders is indignant at Adachi’s allegation that he and Hendrix might have somehow shaped the statements of Maluina and Fauolo. “That is absolutely untrue. It’s speculation on his part,” the veteran officer tells me. “At no time in my career did I intentionally or unintentionally influence a witness.”

Maluina and Fauolo, the ex- detective insists, “had no axe to grind. They were reluctant to come forward because they had families in the community,” but through many hours of dialogue the cops convinced the girls to take the stand.

“Eyewitnesses all the time have inconsistencies,” he says. “And those inconsistencies were pointed out by the defense counsel, very thoroughly. But those inconsistencies were not enough to shake the judgment of the jury as to the guilt of the two young men.”

Maluina’s flip-flop signified an instinct to protect herself, not dishonesty, Sanders argues. “She was afraid. Witnesses get killed. She was frightened, and rightfully so.”

For Sanders the testimony simply made sense – agreeing with the few clues discovered at the scene. He remains adamant about the girls’ integrity.

I ask about Tennison’s supposed second car, the one that never materialized. Irrelevant, according to Sanders. “I looked at the evidence carefully. We didn’t investigate this overnight. As far as I’m concerned, we laid out the evidence, gave it to the prosecution, which presented it to the jury – and the jury agreed that these two young men were guilty.”

So why would Ricard cop to an assassination he didn’t do? Would an innocent guy really volunteer for a permanent stay in the joint? “I have no idea what his motivation would be – except for pressure from some of his gang members. I don’t doubt that he may have been there, but the information he gave doesn’t fit the scenario.

“I initially thought [the confession] was just to confuse the issue, because he did not have the details of what happened. We know exactly the route of the chase. We know what corners – we know where the car was crashed. He didn’t know all that. I don’t know why he came forward. I have no idea.”

Tennison and Goff deserve the purgatory they now dwell in, the cop assures me.

(Hendrix, who retired in 1999 after 34 years on the force, declined to be interviewed for this story.)

Silence governs the urban underworld. Rule one is: you do not snitch. Rule two: Breaking rule one is a transgression punishable by death. Case in point: two witnesses in San Francisco murder cases were slain just in the last two months.

Witness X named three other supposed witnesses, and Adachi’s archaeology has focused on unearthing these characters. Scouring credit data, Department of Motor Vehicles info, court records, and prison rolls, Adachi, along with investigator Stemi, hunted up two of these people, only to run head-on into the code of the streets. Bringing along a tape of Ricard’s confession, Adachi and Stemi paid a visit to one of the alleged witnesses, a convicted dope dealer doing time in the San Quentin state pen. See, they said, your buddy turned himself in; he’s trying to take responsibility for his actions. No dice, the man replied. I don’t got shit to say to you.

Contacting another alleged witness (this one a small-time rapper) via a trusted intermediary, they again came up empty. It didn’t matter that Ricard had already incriminated himself: nobody wanted to talk. Besides, Shannon had been besieged by a mob, and flapping lips could conceivably lead to more arrests. There is no statute of limitations on murder.

“All of them are scared that they’ll go to jail,” Witness X figures.

Since the trial, Maluina and Fauolo have made themselves scarce – both have moved in and out of San Francisco on several occasions – eluding attempts by Adachi and Stemi to reach them. (The Bay Guardian was unable to contact either woman.)

Despite all of the dead ends, Adachi and Tennison have, if anything, grown closer, writing letters and speaking on the phone every couple of weeks.

Adachi keeps the Tennison- Goff trial transcripts next to his paper- covered desk. His notes on the case are jammed into a dozen overstuffed binders lining an office bookshelf. The trial exhibits are stacked in a corner. He and Stemi still discuss the case two or three times a week.

Adachi is amazed at Tennison’s resilience. “I’ve seen him mature into a very spiritual man. For him to be as strong as he’s been – that’s what hits home to me now. How could he stand up to that?”

“I not only think of him as my attorney,” Tennison says, “but I consider him a good friend who’s giving his all to get me out. I think of him as a damn good friend.”

Adachi tells me he “will never, ever give up” on his client. “I don’t care what it takes. I could be 80 years old. I’ll never give up.”

It’s a commitment that has won him praise from his peers. “You’re not going to find too many lawyers with the heart Jeff Adachi has,” ventures Scott Kauffman, a private defense lawyer who specializes in gang cases and death penalty appeals. “I definitely think he’s doing it for J.J., but at another level it’s personal. This case has caused him a lot of pain. I’ve seen him talk about the case – he’s almost in tears.”

Goff’s attorney, Melton, lauds his former cocounsel: “He’s been steadfast. Given the information about the case, you have to remain committed.”

But what if Adachi’s instincts are wrong, and Tennison did murder Shannon? If so, Adachi has wasted 11 years attempting to unchain an assassin.

To keep from obsessing over her son’s fate, Dolly Tennison works herself to exhaustion. Mornings, she clerks at a department store; nights, till 4 a.m., she attends to an ailing 83-year-old woman. Seven years back Dolly fled to a small, solitary apartment on the peninsula. Hunters Point was tainted with “too many damn memories.”

Dignified, her clothes and medium-length hair immaculate, Dolly looks like she’s working very hard to keep her chin up, to keep darkness from closing in. Given the age of her children, she must be approaching senior citizen-<\d>hood, but she looks trim and healthy.

“It hurt like hell for them to say 25 to life for my child,” she tells me, her words rushing out all at once, only to trail off just as quickly. Portraits blanket the walls of her home: chubby Buddha babies; a granddaughter in prep-school togs; son Bruce on his wedding day; J.J. in prison blues; murdered son Mike looking hard.

Dolly beckons me to take in the snapshots from her vantage point on the couch. “I think I’ve been glued to this spot since Mike died. I can sit here and see all my family. I’ll sit here all day long waiting for [J.J.] to call as long as I can hear his voice,” she tells me, pointing to the photo of her dead son, “<\!s>’cause there’s one over there I can’t touch.”

Like the parent of a long- disappeared child, she holds out an almost irrational hope that her son will one day emerge from exile. “My best day is when I go visit my kid. It’s hard knowing my child may not be coming home soon, but he’s gon’ come home.” Dolly is her son’s rock; prayer, she tells me, is her anchor.

Slowly shaking his head, 34-year-old Bruce, a San Francisco parking lot attendant, raises his voice. “I understand that it’s been 10 years outta his life, but it’s been 10 years outta my life, too, 10 years outta my momma’s life. Gone. Can never get back.” Enraged, he blames the legal system for his brother’s lot.

Bruce daydreams about the day his younger sibling is liberated: “He’d just call me and tell me what he’d wanna ride home in. Budget’ll rent anything – a limo, an R.V., whatever. I want just to ride and talk with him – free. No doors closing behind us. The wind blowing on our little bald heads. Seeing the sun rise and the sun set.”

On a mid- November morning, the 9th U.S. Circuit Court of Appeals, the highest- ranking federal court in the western United States, will hear Tennison’s plea. The judiciary hasn’t smiled on Tennison’s appeals: four courts have vetoed his bid for a new trial. The last rejection – by a federal district judge – came in March, leaving Adachi “gutted” and Tennison dejected.

The 9th Circuit’s Mission Street courtrooms are housed in a stately $91 million granite edifice – the interior all marble and polished wood. Inside courtroom three, a pristine chamber worthy of a Tennessee Williams drama, hangs a tile mosaic depicting a freed slave, shackles snapped, approaching a white Lady Justice on bended knee. Beneath the image, on a walnut pew, sit Dolly and Bruce Tennison.

Dolly, dressed for business in a black pantsuit, clutches a form letter from the court: Adachi’s ally, attorney Multhaup, will have 10 minutes to argue before the bench. Bruce throws an arm around his mother’s shoulders. Eleven years in prison, and J.J. Tennison’s fate – whether he will spend the rest of his days behind bars – rests on a 10-minute conversation and a legal brief. Multhaup’s argument today is simple: the lower federal court has abandoned its constitutional duty by refusing to review new evidence in the case.

“We have a claim here that the petitioner is presenting new evidence of factual innocence,” Multhaup tells the panel somewhat nervously.

“But the state courts reviewed this evidence,” one judge replies.

“We had a preemptive strike by the [federal] District Court. The [S.F.] Superior Court that dismissed the case was in no way reasonable, in my opinion. And how many times does this happen in the criminal justice system? We have a person who’s come forward and confessed to the crime.”

The judges launch a fusillade of questions at Multhaup, at one point rattling him a bit. In 10 minutes the hearing is history.

Outside the courtroom the Tennisons, solemn faced, huddle with Multhaup. The attorney plays the optimist, while Diana Samuelson, the lawyer handling Goff’s appeals, is less sanguine, telling me she thinks the circuit will kill the petition.

Prosecutor Butterworth would not speak to the Bay Guardian for this piece. He did, however, fax a one-page rebuttal to Tennison’s charges, which reads in part: “This matter has been reviewed several times by the office of the District Attorney and the San Francisco Police Department based upon the allegations raised [in Tennison’s ongoing appeal]. Nothing has been presented to date that would justify ‘re-opening’ the investigation.”

Grilling Tennison, I look for cracks in his story, telling slipups that might point to his guilt. His account of the night in question – that he was sleeping at a friend’s house, then picking up pals from the bowling alley – corresponds to what he told detectives 11 years ago as they ran the good cop-<\d>bad cop routine.

Why would Fauolo and Maluina lie and put away an innocent man, I ask.

“Over the years I’ve asked myself the same question and still haven’t come up with an answer,” he tells me. But “right out the gate it was no doubt in my mind that the homicide inspectors, the D.A., or somebody put ’em up to this, because I knew they were pointing out the wrong person. As for [Goff], at the time I wasn’t sure, but I was definitely sure that they had the wrong person when they pointed out me.

“I’ve said it from day one: I’m not a murderer. I was a drug dealer at the time. It wasn’t nothing to be proud of, or ashamed of. I was locked up for it twice. I did my time.

“In a time when you want people to believe in the justice system and that the system works, I’m a perfect example that the system is screwed up – from the top to the bottom. And as of right now I can’t see it no other way. Everything is in black and white.”

Tennison is relaxed, coming off like a man who can’t be bothered to front, as I put him on trial all over again. Maybe he’s guilty as hell; maybe he snuffed out Shannon’s young life. But if so, his body language and speech patterns offer no subtle indications of that. When Tennison was picked up by the SFPD, Hendrix and Sanders interrogated him for hours, without a lawyer, and his explanation of the crucial hours never wavered. I wonder if something in his 17-year-old demeanor spelled out “executioner” to the homicide detectives.

I put the question to Sanders. “I worked over 500 murder cases,” the veteran lawman responds. “I’ve talked to a lot of killers in my day, and if I had any indication that he was innocent, I would’ve let him go.”

Uncomfortable playing Solomon, I run Tennison’s story by an old ex-con who spent 25 years in some of the state’s most notorious lockups. “Every guy inside will tell you he’s innocent,” I tell him. “And every bleeding-heart journo wants to believe him.”

“Yeah, but you know, after 10 years or so inside, it becomes really hard to lie,” the former prisoner responds. “You just get so tired, so worn down, it’s impossible to keep up a lie.”

Never mind the fact that Tennison passed a polygraph test.

The 9th Circuit’s ruling arrives in Adachi’s mailbox Dec. 15. He reads through the five-page decision with his heart in his throat. The key information comes in the last two paragraphs: “Tennison’s conviction appears to rest largely on the testimony [of two little girls]. Tennison’s new evidence, taken together, calls into question the reliability of these eyewitness identifications.”

And then, two sentences later: victory. The judges are overturning the ruling of the lower court, instructing federal judge Claudia Wilken to mount a “thorough review” of Tennison’s situation.

It doesn’t mean the inmate is going home tomorrow, nor even that he’ll necessarily get a new trial, but the decision does require Wilken to examine the sworn statements of Ricard and Witness X and to determine whether a retrial should be ordered.

Adachi is elated. Dolly Tennison seems relieved, as if she can finally start breathing again. Bruce Tennison feels like “Christmas came early.”

An upbeat John J. Tennison phones me. “I finally had three judges look over the case and see what should’ve been saw a long time ago.”

Grinning today, the prisoner has already begun steeling himself for rejection at the next round. “I play a lot of basketball to take my mind off it. The [courts] are playing God. My life is in other people’s hands, and there’s nothing I can physically do. Nothing.”

Onward and upward

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With a statewide unemployment rate of 10.5 percent and industries crumbling, it almost seems absurd to think about making upward career moves. But an awful economy doesn’t need to equal personal unhappiness in your work life. Dena Sneider, a career counselor of 15 years and cofounder of the Bay Area Career Center (www.bayareacareercenter.com), gave us some advice on what to do to for your career in the current economic climate.

Don’t stay stuck. If you’re not content with your current job, start the process of figuring out what type of work is best for you. Can’t get yourself out of bed on a Monday morning? No excitement, energy, or engagement in your work? Sounds like it’s time to start searching for a position that will use your skills and make you happier. The economy is in turmoil, which can mean that opportunities are opening up for those keeping an eye out.

Keep perspective. If you’ve recently been laid off and need to find a job just to pay the bills, keep in mind that it’s only temporary. "Take jobs knowing exactly why you are there," says Sneider. "Be prepared for your move back into your career when the time comes."

Explore other options. "The best time to figure out what you want to do is when you are employed — you can network, take classes, or volunteer," says Sneider. Start planning for a career change several months or a few years from now. If you’re unemployed, take advantage of any opportunities you can to gain experience. Sneider often meets people who know what they don’t want, but not what they do want, and they spend time sorting through hundreds of ideas.

Think outside the box. "People who were passionate about what they did are losing careers right now and not knowing what they’ll do," says Sneider. "What people did to make a living may not be possible now, but they can find something close." Think about how your talents can be used in a different industry. Perhaps your passions can be channeled though a new outlet. Or you may find that you can revitalize rusty skills or lean new ones.

Be optimistic. "Just because finding the right job is harder now, does not mean it is not possible," Sneider reminds us. "Be optimistic — once you figure out what you want, go forward!"

Working the curves

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› culture@sfbg.com

Pole dancing classes have become increasingly popular in recent years, and strippers aren’t the ones getting schooled. Lawyers, doctors, social workers, stay-at-home moms, even postmenopausal women with gray hair are turning to a turn around the pole to learn more about their bodies and their sexuality. From group classes at gyms to private lessons in home studios, pole dancing can be now learned at any comfort level.

Once a week, eight to 10 women gather in the small, dimly lit, mirrorless classrooms at San Francisco’s S-Factor (2159 Filbert, SF. 415-440-6420, www.sfactor.com/SF) to learn pole tricks, stripping techniques, and lap dances. "We like to say that you’re teaching your body a new language," says Deb Arana, an instructor at S-Factor. "You need to slow down, think into your curves, play in your girly skin." The classes start with warm-ups based on core strengthening, and moves incorporate yoga, ballet and Pilates.

Each class builds on the one before, and by week three women get to wear their six-inch stripper heels. "Some women are confident enough that they will just carry their heels while walking down the sidewalk or riding the bus, while others tuck them away in their bags," says Arana. "Its amazing to see the changes in the women by the end of the class. I’d say 99 percent are not dancers, but they can flow and move in such a graceful way because the routines are so intuitive."

But perhaps the more significant learning experience comes from the personal and spiritual growth that occurs in the sessions. The small S-Factor classes, which usually have less than a dozen students each, become tight-knit communities. Positive reinforcement from classmates helps women to try new moves, and they encourage one another to take their dancing to a higher level.

Women take the lessons in order to identify with their sexuality as much as they do to get physical exercise. "I thought that the main complaint I would hear would be about being overweight," Arana reveals, "But it’s actually women coming in saying ‘I don’t feel sexy, I’ve never felt sexy.’<0x2009>"

That attitude changes over the course of the class. "Women become conscious of their feminine and sexual selves," says Arana. "It’s not just because we’re giving them new moves, but because they’re comfortable in their own skins."

"Pole dancing becomes an addiction and a way of life," she explains, a surprising note of conviction entering her soothing, honey-tinted voice. "It’s such a journey of self discovery."

S-Factor, whose classes are offered nationwide and bills itself as "the original striptease and pole-dancing-inspired workout," was started by actress Sheila Kelley, who found an intense sense of empowerment in the dancers she watched while researching a role in the movie Dancing at the Blue Iguana (2000). She claims to have started the S-Factor workout to share her newfound physical and emotional state with other women.

Carrying six-inch heels on the bus and learning how to wrap your legs around a pole properly in front of several people is not for all potential pole dancers, though. One-on-one lessons in personal studios can be arranged in San Francisco as well. A former exotic dancer who calls herself Cheri (and who now maintains a career as an economist) runs private lessons out of a classy, modern studio in a quiet residential neighborhood. There is no indication that pole dancing takes place in the unassuming light blue building. Two poles that look like structural supports stand in the center of the second-floor room, and when the lesson starts, Cheri draws the shades, blocking her view of the Bay Bridge to turn her attention to demonstrating pole tricks.

"The important part of pole dancing is making it look good; the workout is secondary," says Cheri. "It’s sort of a hidden workout. I don’t realize it until I wake up sore the next day and wonder what I did to myself. Then I say, ‘Oh, yeah, I was dancing yesterday.’<0x2009>" Light lifting and yoga are helpful supplemental activities to pole dancing, since strength is needed to support your body weight on the pole, and flexibility and mindfulness are essential to proper moves and flow.

Hard-pressed for cash during college, Cheri responded to an ad in the school’s paper for exotic dancers at a local club. "At that time, there was no such thing as pole dancing classes, or any sort of instruction," says Cheri. "You just had to watch yourself in the mirror, and watch other dancers and just sort of learn as you go." She used dancing to support travels through Australia and Europe, but dropped it once she settled down in San Francisco and started her career.

One day, Cheri mentioned to her boyfriend that she would dance for him if he bought her a pole. One was obtained quite quickly, of course. The pole began to be used at parties and Cheri’s friends stared asking her to teach them moves. She realized she had caught on to something, so she started her own studio, called Heels on the Ceiling (www.heelsontheceiling.com). Once she found another pole, a few floor mats, and stilettos in every size for her students, Cheri was in business.

Bachelorette groups flocked to her studio for Cheri’s energetic instruction on floor moves and simple spins. And private students, including mother-daughter pairs, started signing up as well. "I’m a much better educator than a dancer, I think," confesses Cheri. "But at the same time it’s harder to dance in front of women than in front of men. Men are simple creatures with simple minds, but women are constantly judging you and sizing you up."

Although she worries about being judged herself, helping women shift their mindsets about their bodies and sexual selves is the primary reason she continues her lessons. "Pole dancing is teaching women how to harness their sexuality through certain tricks and moves," says Cheri. "It helps women shed their sexual and image insecurities."

Advanced dancing seems like quite the workout: Cheri can suspend herself upside-down on the pole, balancing at a graceful diagonal, like a spoon resting inside of a bowl. Then, before you can blink, she’ll turn around the pole faster than a record spins, and climb to the top with agility of a cat on a fence.

The physical fitness aspect has made lessons at Heels on the Ceiling more legitimate for women. "Pole-dancing has become less politically incorrect recently, because of the workout angle," says Cheri. "I’m glad that society has finally accepted and embraced it."

Deathly youth

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johnny@sfbg.com

A slow descent into a blasted-out void as intimate as it is alienated, the introductory track of the Antlers’ self-released Hospice drops the listener into a sonic space somewhere near This Mortal Coil’s 1984 It’ll End in Tears (4AD). The reference point is a rich one. Jeff Buckley was given to covering It’ll End in Tears‘ opening track, the Alex Chilton composition "Kangaroo," and when Antlers’ singer-songwriter Peter Silberman’s voice enters the scene on Hospice‘s next song, "Kettering," his fallen choir-boy high tenor is a polite echo of the drowned romantic Buckley, whose equally fatalistic father Tim wrote another one of It’ll End in Tears‘ signature tracks. More blatantly, Hospice is an album all about this mortal coil, a recording that — as the title makes clear — lives near or within a threshold into death, alternately charting out or clawing at broken bonds.

Not exactly a light listening experience, whicb might be why Hospice is being greeted as everything from a work of genius (an NPR critic not only deemed it the best album so far this year, but better than anything from 2008) to an overrated angst fest (in the ever-reactive blogosphere, crankier reviewers have envisioned it as backdrop music for Scrubs and deemed it the musical form of Cymbalta). Another aspect of Hospice that triggers strong reactions is its back story, a tale of the now 23-year-old Silberman’s extended creative isolation that’s an urban version of the rural tortured artistry yarn attached to Bon Iver’s acclaimed For Emma, Forever Ago (Jagjauwar, 2008).

To escape the growing chatter, it helps to engage directly with the music, itself far from devoid of cultural signposts. In crafting a 10-song cycle about life and love and death, Silberman draws heavily from the real-life stories and legends of Sylvia Plath and Ted Hughes; one gets the impression that he uses them as a loose-fitting cover for the skeletal remains of his own recent brush with mortality. At this point, Plath is a clichéd symbol of suicidal poeticism and youthful valorizing of depression. (I have memories of a fellow Guardian editor singing "You don’t not do, you do not do" from "Lady Lazarus" in a mockery of her proper bell-like intonation during our Detroit days of being young.)

While Silberman’s invocation of Plath’s inconsolable rage and death-drive lacks humor, it isn’t stiff or overly worshipful. He makes her spirit breathe only to quarrel with it. On the anti-lullaby "Bear," animal imagery gets a bleakly comic twist missing from the heavy-handed Hughes’ favored bestial themes. The bottom line is that Silberman is a talented young singer-songwriter. Hospice is not only prodigious in its ambition, it is well-executed. The title of "Thirteen" reinvokes Chilton while the music’s glacial-yet-golden shimmer could be a missing early Slowdive track or an outtake from Gregg Araki’s 2004 film adaptation of Mysterious Skin. Like another "newgazer," Deerhunter’s Bradford Cox, Silberman places the widescreen blurring soundscapes of late-1980s shoegaze bands in the service of American Gothic narrative impulses. In a perverse way, his odes to fatal anorexics and séances for long-dead writers offer the promise of great things to come.

PLAYLIST

Afrobutt, Wonderbutt (Electric Minds) Humor is at play in these neo-disco tracks and their titles, which include "Urgent Workout Required," "Torro de Butt," "Morning Bump," "Cracks All Gone," and "Wunderbutt."

Johan Agebjörn featuring Lisa Barra, Mossebo (Lotuspike) Paging Vangelis: the songwriter and studio whiz behind Sally Shapiro goes new age.

Blackbelt Andersen, Blackbelt Andersen (Full Pupp) Prins Thomas preps us for his vanilla-sented Lindstrøm reunion with this one-man act from his fledgling label.

Lô Borges, Lô Borges and Nuvem Cigana (EMI Brasil) It took me too long to realize all my favorite tracks on 1972’s classic Clube de Esquina are written by Lô. The cover of Lô’s debut album is perfection, and I am completely in love with Nuvem Cigana’s "A força do vento," "Uma canção," "Viver viver," and O vento não me levou."

Serge Gainsbourg, histoire de melody nelson (Light in the Attic) An appreciation of the recent reissue rainfall of Gainsbourg soundtracks and concept song cyles is overdue. For now, this is one of the best.

The New Dawn, There’s a New Dawn (Jackpot) Jackpot indeed — a lost ultra-collectible classic of ’60s Northwest garage rock is revived, much like Jesus.

Ofege, Try and Love (Academy) "It’s Not Easy" is kid soul at its finest, thanks especially to the singing of bandleader Melvin "Noks" Ukachi.

Arthur Russell, …The Sleeping Bag Sessions (Sleeping Bag/Traffic) Koala power! Russell used the narcoleptic furry clasper as the logo for his dance music label. This comp presents some rare treats. His collaborations with Nicky Siano as Felix are two of the best.

Stereo, Somewhere in the Night (Minimal Wave) This 1980s duo’s criss-cross sunglasses put Kanye’s venetian shades to shame. Minimal Wave delivers once again. (Huston)

Appetite: She-Crab Soup, hot Pican, a Dogpatch Kitchenette, Cosmpolitan special, and more

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cosmopolitansf0309.jpg
The Cosmopolitan on Spear Street. See “Deals” below.

As long-time San Francisco resident and writer, I’m passionate about this city and obsessed with exploring its best food-and-drink spots, deals, events and news, in every neighborhood and cuisine type. I have my own personalized itinerary service and monthly food/drink/travel newsletter, The Perfect Spot, and am thrilled to share up-to-the minute news with you from the endless goings-on in our fair city each week on SFBG. View the last Appetite installment here.

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NEW RESTAURANT and BAR OPENINGS

Awesome sandwiches out of a Dogpatch garage at Kitchenette
Debuting less than two weeks ago out of warehouse in Dogpatch is Kitchenette, a project from chefs who’ve worked at places of such high caliber as Incanto, Chez Panisse and Foreign Cinema, creating daily offerings that are, you guessed it: fresh and seasonal. Check the website for the changing menu which usually consists of a meat and vegetarian sandwiches (occasionally pizza), a salad, fresh juice and cookie. Last week I was converted by the fabulous Bahn Mi-like sandwich of beer & tangerine roasted Berkshire pork ($8) with cilantro, jalapeno, cabbage plus a side of macaroni salad. Washed down with a tart Meyer lemon, tangerine, blood orange juice ($2), I was already planning my next visit. Bring your cash (no other option) and come early because once their daily creations of lunchtime goodness are gone, well… they’re gone.
Monday-Friday, 11:30am-1:30pm or until food runs out
958 Illinois Street (in the American Industrial Center)
www.kitchenettesf.com

Fine dining made more affordable at La Folie’s Lounge
San Fran’s 21-year old French fine dining mecca, La Folie, may not be cheap even in lounge form, but if I don’t have to pay $70 to $105 for the only option of tasting menus in the dining room, I can still make a night of it ordering a la carte in the next door lounge, opening March 31 during their 21st birthday party. You can now eat as little or as much as you wish of the Michelin-starred food given a lounge-twist (think Lobster Croque Monsieurs), cocktail in hand (note: the bar is helmed by Casper Rice of Michael Mina and Rubicon).
2316 Polk Street
415-776-5577
www.lafolie.com

Cafe Altano, a casual, new restaurant in Hayes Valley
Hayes (Valley, that is) is home to a regular foodie row with primo sushi, German food, coffee and chocolate within a couple blocks. Cafe Altano is a humble entry into to the ‘hood, a corner Med-Italian eatery taking over the Modern Tea space (R.I.P.) With pizzas, pastas, mussels, paninis and beers, it sounds like a relaxing late afternoon spot to chill, sitting at the copper bar, communal or sidewalk tables.
602 Hayes Street
415-252-1200

EAST BAY OPENING

The Old South modernized with upscale Southern food and Bourbon Room at Pican
Nothing makes me want to book a reservation more than the words “bourbon” and “Southern food” together. In a chic, Rhett Butler gentleman’s space with burlap-draped chandeliers, crushed shell & limestone bar and a private Bourbon Room, is Oakland’s Pican, conveniently near the Paramount Theatre. New Orleans’ native, Michael LeBlanc (co-founder of Brothers Brewing Co) debuted Pican, his first restaurant, last week for dinner (5-10pm nightly; Friday and Saturday till 11pm), with lunch (and sidewalk seating) forthcoming, on the ground floor of the new Broadway Grand building.

They had me at “She-Crab Soup”, one of my favorite lush delicacies when traveling in Charleston (creamy crab soup with crab roe for deeper texture and flavor), “Southern foie gras” (pan-fried chicken livers with Benton’s incomparable bacon in a sweet onion-Marsala gravy – um… yeah!), Low Country shrimp and grits, Bourbon and molasses-lacquered duck, and peanut jalapeno coleslaw. Small plates run $6-16, entrees $17-29, so it’s a date night or friends night on the town, especially when you can sip from a 96-deep bourbon list (definitely a number of rarities on board), beers, wines or cocktails. They’re going for the goal of biggest Bay Area Bourbon selection with a calendar of events including Bourbon tastings, Cigar dinners, live music, art showings and Winemaker dinners. It it’s all as fabulous as it sounds, I’m prepared to make good use of FasTrak across the bridge.
2295 Broadway, Oakland
510-834-1000
www.picanrestaurant.com

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EVENTS

April 20 – One-night-only dinner prepared by Eric Ripert at Aqua
The name Eric Ripert means something to you if a) you’ve seen Top Chef, where he’s often guested, b) you’ve eaten at Manhattan’s Haute French temple, Le Bernardin, or c) you love and follow great chefs nationwide. Well, Eric is here and cooking for you in a rare one night appearance at our own Aqua, so reserve now, while there’s still time.
$130 not including wine pairings
252 California Street
415-956-9662
www.aqua-sf.com

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DEALS

The Cosmopolitan brings back the Martini Lunch
SoMa’s classic long-timer, The Cosmopolitan, has an old school, New York vibe for power lunches and cocktails post-work (the 4-8pm Wednesday and Friday Happy Hour is now $4 for everything from Belgian beers to sliders, mini-sandwiches and champagne). They prove they mean business with a new Two Martini Lunch deal: yep, two Russian standard vodka martinis for $5. Your boss never has to know.
Wednesday-Friday, 11:30am-3pm
121 Spear Street, Suite B8
415-543-4001
www.cosmopolitansf.com

Morty’s Deli for a fab Reuben and a PBR for $7
I get a touch of my East Coast NJ/NY roots when I eat a fabulous Reuben sandwich at the Tenderloin’s funky fresh deli with NY attitude, Morty’s. On Tuesdays you can now buy a Reuben and PBR for $7. The deals continue with Fish Fry Fridays, Spaghetti and Meatballs Thursdays, and wine specials to pair with.
Deli open Mon-Thu 8am-8pm; Fri 8am-6pm
280 Golden Gate Avenue
415-567-3354
www.mortysdeli.com

Hayes Valley’s Samovar Tea Lounge $10 weekday Tea Lunch
Samovar in Hayes Valley (on their Web site, they’re calling it Zen Valley?) recently started a daily lunch special: soup, salad, 1/2 sandwich (either tofu or turkey) and tea (green, black or herbal) for a mere $10 – including tax!
Monday-Fridays, 10am-1pm
297 Page Street
415-861-0303
www.samovarlife.com

Stormy weather

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› johnny@sfbg.com

It’s a pleasure to see Sean McFarland receive the Baum Award for Emerging American Photographers. Last August, McFarland was one of the eight artists or groups showcased in the Bay Guardian‘s second annual photo issue. The Baum Award is a national honor designated for photographers at a pivotal point in their development, and in McFarland’s case, that development is the opposite of predictable. While many photographers work toward "dazzle ’em" displays of technical virtuosity, McFarland has moved away from earlier saturated digital color images toward simple Polaroid photos that possess ominous allure.

Did I say simple? McFarland’s dreamlike images of weather and landscapes are only simple in appearance — they require subtle combinations of photography and the increasingly popular practice of found-image collage. In terms of subject matter, they personalize and miniaturize the vast and unsettling images of the semi-settled West present in the camera art of Michael Light, David Maisel, and Trevor Paglen. The title of Lindsay White’s current show at Ping Pong Gallery, "A Field Guide to the Atmosphere," might just as well apply to McFarland’s work. The atmosphere is stormy, and as troubling as it is beguiling.

SFBG In the last year or two, your work has shifted away from urban views to elemental images: sky, sea, vast land. What has set you off in that direction?

Sean McFarland I’ve been thinking a lot about the ways in which the earth changes. In an urban environment, we build buildings, roads, and parks, changing the landscape. These are immediate and obvious alterations of our environment. Our actions also change the landscape as we alter the climate — more frequent and powerful storms, rising seas. By focusing on making images of the natural world, of the landscape, I’m interested in making pictures of us. How we change the earth and how the earth effects us.

SFBG Your work from the earlier 2005 era reminds me a bit of a short film, site specific_Las Vegas 05, by an artist named Olivo Barbieri. It has amazing colorful aerial views of Las Vegas in which the city really looks like it is comprised of toy buildings and cars. Were you looking for that kind of "making strange" effect when presenting views some might take for granted?

SM The work I was making from 1999 until around 2002 tried to take things that were fake and make them look real. When I first started re-photographing the collages I was making (in 2003), the miniaturization effect was an unexpected but welcome result. I was working in the other direction, making the real look fake. The collages are made by hand, so the edges are rough and messy. The selective blurring of images was there at first to hide where the images were put together, but it was that transformative quality of the focus that made the process intriguing to me. With the collaged images, I was taking pictures from all over, real images of real things, and by bringing those disparate elements together, the pictures raise questions about what was actually in the photograph.

The image of the park (in the Guardian‘s August 2008 Photo Issue), for example, has the playground from Dolores Park, but with the downtown skyline and bridge removed and replaced with a sky from another city. It may be the absence of the urban center normally in the background that makes the picture seem odd, or it could be that the light from the sky is not the same reflecting off the foreground. The relationship between fact and fiction is one of the strongest reasons I work with photography as opposed to other visual art forms.

SFBG You mention collage as a part of your process. That might not be so apparent to someone who casually glances at your photography. Can you tell me a bit about your approach to collage, and also if there are any collage artists whom you especially like?

SM Lately I’ve been working to make the collage process less apparent. In the past, the images took the final form of a C-Print, made in a darkroom. Now I’m using Polaroid film. Polaroids are mementos and souvenirs of moments, places, and things that actually happened; they imply that whatever is in the picture was witnessed, was real. Since I can’t really take the images I’m making, I’m using collage to do so. A good example is my image of the airplane flying over the black ocean and white land. The picture of the plane is taken from a satellite image of Earth, the land is a photograph I made in the Exploratorium (it’s a picture of an exhibit that shows how land is changed by wind currents).

SFBG Books are a big visual inspiration to me, so I liked seeing you cite the Field Guide to North American Weather and Gerhard Richter’s Atlas as two recent sources of fascination and perhaps material. What drew you to those books and what do you like about them?

SM I enjoy those books because they are both wonderful collections. I work from an archive of several thousand images. This is probably why Atlas is so fascinating to me. It’s the source material (mostly photographs) that Richter uses in his work and it made me even more interested in his work. I like the Field Guide because all the pictures in it are of weather-based natural phenomena. Some of the photographs in it are pretty hard to believe, but actually happened.

SEAN MCFARLAND: THE 2009 BAUM AWARD FOR EMERGING AMERICAN PHOTOGRAPHERS

Thurs/2 through May 23 ( reception Thurs/2, 5–8 p.m.), free or donation

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org

Go into the light

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In an online interview, experimental filmmaker and violin drone pioneer Tony Conrad relates a story: one night, underground drag superstar Mario Montez wandered into the apartment Conrad shared with filmmaker Jack Smith, and at Smith’s behest began an impromptu performance. When Smith flicked on a beaten up 16mm projector to serve as a makeshift spotlight, he and Conrad became transfixed by the play of light that reflected off Montez’s sequined outfit. While it would be glib — and certainly fun — to declare that 1960s structural film was born from the glittering gyrations of a drag queen, Conrad’s anecdote is but one development in his longstanding fascination with the excessive sensory effects of shooting light out into the void. Conrad’s 1965 16mm film The Flicker is perhaps his purest and best-known manifestation of this — 30 minutes of black and white stroboscopic bliss (or hell) that cast its long shadows over Brian Gysin’s dream machines, and more contemporarily, Anthony McCall’s striking digital light and fog projections. You’ll have the chance to see how much flashing light your eyes can take when San Francisco Cinematheque presents screenings of Conrad’s films in conjunction with the New York-based polymath’s weekend-long residency at the concurrent Activating the Medium Festival. While Sunday night’s program features The Flicker, it also puts it into context as a jumping off point for Conrad’s subsequent process-based films and public access video works, in which activities such as electrocution and cooking take on a rhythm as mesmerizing as staring into the pulsating light of a film projector.

TONY CONRAD: FLICKERING JEWEL

Fri/3, 5 p.m. (Program One: "Window, Perspective Shadow")

Sat/4, 8 p.m. (Program Two, with Conrad in performance)

Sun/5, 7:30 p.m. (Program Three: "Flicker and Process Films/Works on Video"), $15

San Francisco Art Institute, 300 Chestnut, SF

www.sfcinematheque.org

Visceral reality

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› a&eletters@sfbg.com

Already a veteran Irish Republican Army volunteer serving his second penitentiary term at age 27, Bobby Sands was leader of Republican prisoners at HM Prison Maze, a.k.a. Long Kesh, outside Belfast in 1981. Early that year he commenced a hunger strike joined by numerous other inmates, an action intended to define IRA incarcerates as political rather than criminal prisoners while boosting international attention for the independence cause.

After 66 days, he was the first of 10 participants to die. The strike’s cessation five months later (participants joined in at staggered intervals) was claimed as a victory by Conservative P.M. Margaret Thatcher and the mainstream British press. Yet the inmates won most of their demands, IRA membership surged, and the "Iron Lady" was thereafter target No. 1 for patriotic loathing among Irish free-staters.

Hunger is the first feature by Steve McQueen, the London photographer, sculptor, and maker of often black and white shorts created primarily for the more rarefied atmosphere of museums and galleries. Their minimalist rigor is very much present here in the exactitude of composition as well as their emphasis on physical detail and visceral experience. It took Julian Schnabel until The Diving Bell and the Butterfly (2007) to find a full-length subject that suited his tactile sense while excusing a lack of narrative instinct or interest; McQueen’s got there on the first try. Hunger is completely realized, without compromise. It’s convincingly ugly in an aesthetically beautiful way, cool to the touch, admirably near-perfect, and off-putting.

We’re introduced to Sands only after several lesser figures take brief center stage: Raymond Lohan (Stuart Graham), a guard whose work weighs heavily on him; new prisoner Davey (Brian Milligan), who refuses to wear "the uniform of a criminal," thus joining the already in-progress "blanket protest"; and older cellmate Gerry (Liam McMahon), who introduces him to the "dirty protest." That protest consisted of caking walls with smeared feces, directing urine into the corridor, and letting uneaten food rot. We finally glimpse Sands (Michael Fassbender) during visiting hours; he puts up a fierce fight as he and others are violently dragged to a forced shave-and-wash.

Hunger is clinical, politically neutral, almost purely observational — interested in simply displaying rather than commenting on the sacrifices made. It’s not unlike McQueen’s series of postage stamps commemorating British soldiers killed in Iraq — created as part of his role as "official war artist" — that were opposed by the Royal Mail and Ministry of Defense.

Ethical debate is limited to one, 17-and-a-half minute shot in which Bobby and Father Moran (Liam Cunningham) lay out personal, political, and religious arguments for and against a potentially lethal strike. It’s only in the subsequent, equally stock-still sequence — a guard sweeping an entire hall-length of piss — that the director’s severity risks feeling schematic.

Needless to say, the final act is unrelenting, with its hallucinations, open sores, and actors starved under medical supervision to scarifying effect. But McQueen finds unsentimental poetry in surprising places throughout, from the snowflakes falling on Lohan’s beating-scarred knuckles to Sands’ lifeless face as a winding sheet is drawn over it. The institutional palette, bare-bones use of sound, even the fully exposed sinewy-to-sticklike male bodies turn docudrama into a kind of exquisite art project, at once devastating and hermetically sealed. *

HUNGER opens Fri/3 in Bay Area theaters.

MORE ON SFBG.COM

Pixel Vision blog: Johnny Ray Huston’s interview with Hunger director Steve McQueen.

Yelped

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› le.chicken.farmer@gmail.com

CHEAP EATS Hardly anyone names their cat Dave. In fact, no one. That I know of. And yet, every 11 years, like clockwork or a comet, I find myself in the position of having to explain Lou Reed to someone. Why this task falls to me, I will never know. I am not in particular a fan, although I do like and sometimes love and generally "get" and occasionally even listen to Lou Reed.

On the other hand I have never enjoyed hearing Bob Dylan sing a Bob Dylan song. Somebody else — pretty much anybody else singing a Bob Dylan song … sure! On the radio the other day they were talking about whether or not white guys could be "hip," and the name that kept coming up was Bob Dylan. Someone mentioned Tom Waits, and Tom Waits mentioned Chuck E. Wise, and somebody said Quentin Tarantino and the whole time I was screaming at my radio and shaking it, because that’s the way I am.

I am exactly the kind of person who would name their cat Dave. As it happens, my cat came with a name already: Weirdo the Cat. But if I ever get the chance to name another one … Dave! Dave the Cat.

Now, if I ever get to name a person, humanity’s going to be in serious trouble. As is that person, Bing. Boy or girl. After the coolest white man that ever lived. I’m not old enough to even know, really, but then, most people who think Jesus was cool never actually jammed with Him, or heard or saw anything He said or did first hand, or even watched His television special — except on South Park. And that’s animated.

My point being that I’m done with dating (again!), or at least writing about it, and so now you get to read about food, lucky you.

Eats. Cheap, yes, but gourmet? Not that making sense is my specialty, but why would you name your restaurant Eats and then describe it as a "gourmet breakfast and lunch restaurant"?

It’s not gourmet. It’s Eats. Clement and Second Avenue. Just look for the line of people waiting on the sidewalk. You’ll never guess what they’re waiting for: eggs. Toast. You know, potatoes … Eats has the standardest menu on Clement. Nothing’s special, not even the specials. Huevos rancheros? Yeah, special maybe in Iowa. But I ask you, Eats, is this Iowa?

No.

Wait, I made a mistake. This is Iowa. Naw, there is one thing special on the menu. It’s the ricotta cheese pancakes! I found out not by sampling them, but by going to Yelp.com. Which is how I plan to review restaurants from now on. Who knew? There are 134 reviews of Eats on Yelp, and almost all of them mention the specialness of the ricotta cheese pancakes.

Hmm … 134 people versus me. I don’t know about you, but I would trust 134 voices over the evidence of my own senses. Especially since, out of any random 134 people, somewhere between 130 and 133 of them are likely to know more about food than I do.

I am a fan of cornmeal pancakes, and pancake pancakes. Word on the Web is that ricotta cheese is the way to go. They’re so good, apparently, you don’t need butter or syrup. (Many, many, many people said this.) I say: why in the wide, wonky world would I order pancakes except as a vehicle for butter and syrup?

In fact, I ordered the cornmeal pancakes, short stack, with a side of sausage. They gave me three cakes, and only two packets of butter. What the — ? I had to go find four more for myself, ’cause the service was kind of slow. The grillfriends I was with, they ordered cornmeal and regular pancakes. And we all agreed: ho-diddly-hum.

The sausage was dry.

And seriously: it may be that the ricotta cheese pancakes are as amazing as 134 people say, but my guess is they’re not. If they were, the cornmeal and regular ones would at least be good, one would think. *

EATS

Mon.–Sat., 8 a.m.–3:30 p.m.; Sun., 8:30 a.m.–3:30 p.m.

50 Clement, SF

(415) 752-2938

No alcohol

MC/V

L.E. Leone’s new book is Big Bend (Sparkle Street Books), a collection of short fiction.

City Grill

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› paulr@sfbg.com

At this moment — at the cusp of spring — the most happening restaurant in Noe Valley is Contigo, which opened early in March in what had been a computer store. The crowd promptly swooped, with a thickness and intensity not seen in the neighborhood since the launch of Fresca nearly four years ago and without, it seems, much in the way of worries about the economic meltdown. You step into Contigo, find yourself against a wall of chattering people, and step out. You step around the corner to City Grill and breathe more easily.

City Grill is the good new restaurant in Noe Valley no one has heard of. It opened in January in what had been the Kookez space (before that, Miss Millie’s, and before that, Meat Market café) just a few steps away from Lupa. The owner of Lupa, Stefano Coppola, also has a hand in City Grill — but there the similarities between the two places end. Lupa serves Roman-influenced food, while City Grill is a kind of nouvelle American diner whose nearest culinary relation is probably Firefly, just a few blocks up the street.

The word "grill" makes me think of a place that serves grilled-cheese sandwiches and bitter coffee, while "city grill" makes me think of some shiny, clattery spot downtown where politicians meet at lunchtime to eat steak and hatch plots. City Grill is neither; it is, instead, a wonderfully woody neighborhood restaurant that manages to preserve much of the past while offering excellent, modern food. I’d like to add "at modest prices," but perhaps price perception carries an element of relativity. City Grill is about equidistant from cheap and fancy. You can pay quite a bit more and not do much better, and you can also pay quite a bit less and not do much worse.

At least one welcome change from the Kookez regime is that the kid-proofed menus, laminated in plastic as at innumerable chain restaurants along the limitless interstates, are gone. City Grill is kid-friendly but doesn’t go overboard about it. The space’s most unusual feature, from a visual or aesthetic point of view, is the exhibition kitchen, which is in the front third of the restaurant — where you might expect to find the bar — rather than (as is more usual) in or at the rear. Since the kitchen bulges out into the dining space and is a beehive of constant activity, the diner’s sense is of being in the audience at some sort of theater in the round, or near-round. Most of the tables and booths have some view of the animated troupe working the kitchen.

As to what emerges from the kitchen: it’s good stuff, and this isn’t surprising, given the quality of Coppola’s nearby Lupa. Coppola has somehow managed to bring an Italian ethic of simplicity and straightforwardness to City Grill’s Cal-American menu. Each dish tends to emphasize a single, principal ingredient, with additions and amendments deployed sparingly and quietly.

A broccoli soup ($6.50), for example, struck us as just broccoli in another form, puréed with some chicken stock, thickened with a bit of potato, and given a bit of tangy crunch by scatterings of croutons and Parmesan cheese. A bowl of mussels and frites ($9.50), meanwhile, was about as disciplined as it gets, with fat Prince Edward Island shellfish topped with a stack of golden fries and a sauce of white wine, garlic, butter, and streamers of tarragon for a bouillabaisse-like hint of licorice. Since we ran out of fries long before the liquid had been sopped up, we asked for a basket of bread. Odd that such a basket hadn’t been brought when we were seated — is this a new way for restaurants to cut back discreetly? — but the bread itself (French, not sourdough) was wonderfully soft and warm, and when we ran through the first basket, we were brought another.

Lamb chops ($24.50) — really a rack of lamb, with each rib bone carefully frenched) — were rubbed with herbs and roasted to the rare side of medium-rare, then plated with a whirl of well-seasoned, creamy mashed potatoes, a thicket of wilted broccoli rabe, and several mysterious, leathery hemispheres we guessed might be dried, pitted cherries.

A more fanciful preparation was a plate of pork medallions ($16) — a trio of what I took to be slices of roasted loin, each arrayed in a haybed of sauerkraut on a platform of russet potato. These layerings were set on the plate pointing outward, like the petals of a flower, while around the edges a country-mustard sauce had been napped. It all seemed naggingly familiar, but I couldn’t quite put my finger on it until I was halfway through: it was a rethinking of choucroute, the warming — and highly sustaining — dish of Alsace.

Then on to Vienna for some strudel ($6) — apple, of course, studded with raisins and topped with a scoop or two of ice cream (for a buck extra per scoop). Strudel is the ultimate pastry experience of Mitteleuropa, but it was brought (along with coffee) by the Turks and is a version of phyllo, like its Middle Eastern cousin baklava. City Grill’s strudel is golden and puffy and could stand on its own without any fruit or ice cream, just a bit of butter and a sprinkle of powdered sugar. Maybe a splash of coffee, or espresso, to wash it down. No matter how American we are, the world is always with us. *

CITY GRILL

Dinner: Tue.–Sat., 5:30 p.m.; Sun. 5 p.m.

Brunch: Sat.–Sun., 9 a.m.

4123 24th St., SF

(415) 285-2400

www.citygrillsf.com

Beer and wine

MC/V

Not noisy

Wheelchair accessible

Out with the old

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› rebeccab@sfbg.com

It may seem odd that the loss of a two-story vacant building would ruffle so many feathers, spur multiple phone calls to the police, and inspire a push from Board of Supervisors president David Chiu to make changes to San Francisco’s building code. But the March 16 demolition of the Little House, a 148-year-old Russian Hill cottage on Lombard Street, struck a nerve and raised a slew of questions — many of which continue to go unanswered.

Controversy may have started swirling because a property that has stood since Abraham Lincoln’s presidency was razed with scarcely a week’s notice on a swiftly issued emergency-demolition permit. It might also have been because the co-owners of the property, Michael Cassidy and James Nunemacher, represent the high-profile Residential Builders Association and the real estate firm Vanguard Properties, respectively — both politically well-connected entities that have been behind projects in the past that drew criticism from various citizens groups.

The Little House, which previously stood at 1268 Lombard St., was by some accounts one of the 10 oldest homes in San Francisco. Under the California Environmental Quality Act, a building of that age would normally require an environmental impact report before the Planning Department can issue a demolition permit. According to Department of Building Inspections spokesman William Strawn, the emergency demolition permit was issued after a structural engineer who had inspected the property on behalf of the owners sent a letter expressing concern that it was in danger of collapse. DBI staffers, including department manager Ed Sweeney, inspected it, and Strawn said the permit process started once they concluded that it presented a safety hazard.

Word that the cottage would be razed sparked an outcry from a group of concerned neighbors and historic preservationists, including architect F. Joseph Butler, who says he discovered it 15 years ago when he learned that it was one of the few structures on Russian Hill to escape the 1906 earthquake and ensuing fires. Butler says he doubts the building was in danger of collapse, and says he tried in vain to convince DBI to allow him to bring in a third party who could offer a second opinion. When asked about that possibility, Strawn said, "The building department would not rely on a third-party source."

The building was torn down March 16, with tensions simmering in the days leading up to it. When a demolition crew showed up March 9 ready to go to work, several days before the emergency permit had actually been issued, a neighbor who was trying to save the cottage phoned the police to halt the demolition. Police reports show that a few days later when the crew arrived on the property and were greeted by a small group of protesters, the cops were called twice more — by both sides. Joe Cassidy, Michael Cassidy’s brother and a prominent member of the Residential Builders Association, is the president of the demolition company.

Protesters charged that the building was neglected on purpose to hasten its demise, so the owners could skirt the regulatory EIR process. "It appears the property owner has exceeded the scope of their permit to replace dry rot by structurally damaging the building and claiming it is in imminent danger of falling down," Cynthia Servetnick, an architect with the SF Preservation Consortium, wrote in an e-mail to the City Attorney’s Office not long before the demolition. Building Commissioner Debra Walker, who also inspected it, noted that "the windows were out, and the doors were out in the back. It looked to me like people had just left it open."

Megan Allison Wade, who blogged about the demolition of the Lombard Street house, wrote in an e-mail to zoning administrator Larry Badiner that she perceived "a very clear case of willful neglect in an attempt to degrade the property into demolish-able condition."

Badiner responded: "This emergency demolition permit supersedes historic preservation and housing preservation procedures. … Without commenting on whether this is willful neglect, public safety would trump any concerns regarding how the building became unsafe."

An article published by the San Francisco Chronicle noted that Nunemacher denied that he and Cassidy had neglected the property. When we called Nunemacher to ask him directly, the conversation didn’t go so well. He said he was busy, and told us to read the other news reports. When asked if this meant he didn’t want to comment, he said, "You are putting words into my mouth. I don’t like what you are doing." Then he threatened to call the police.

Whether or not the property was in fact neglected on purpose is a question that may never be answered conclusively. City Attorney’s Office spokesperson Matt Dorsey told us he was not at liberty to say whether an investigation is underway, but it’s clear that any investigation would have to go forward without a crucial element — the house.

Attorney Arthur Levy made a last-ditch effort to try to save the Little House just before it came down, sending a letter transcribed on his office’s letterhead to a list of city department heads. "What makes San Francisco different is our built environment," Levy says. "It seems to me that when a property owner willfully neglects a building, and that results in demolition … there ought to be some consequences."

For some of those engaged in the fight over the cottage, the incident brings to mind past controversies involving the same players and others close to them. When an historic Victorian shipwrights’ cottage at 900 Innes Ave. — which the city designated as a historic landmark last year — was under the ownership of developer Joe Cassidy, he had plans to demolish it and build condos, retail space, and a kayak center. In that 2005 battle between the RBA developer and preservationists, the preservationists won.

Another project that involved both Joe Cassidy and Nunemacher was a residential development at Fourth and Freelon streets. At the time that project was being permitted, one of the top-selling agents at Vanguard Properties, Jean-Paul Samaha, worked as a liaison between the Board of Supervisors and the Planning Department. In 2005, architect Kepa Ashkenasy lodged an Ethics Commission complaint against Samaha alleging he had failed to disclose a $100,000 loan from Nunemacher, who had been his romantic partner at the time, even when he was in a position of testifying before the Planning Commission in his professional capacity about the Fourth and Freelon development, Ethics records show.

The complaint was dismissed after Samaha lodged a counter-complaint against Ashkenasy with the Human Rights Commission, noting that loans from spouses and domestic partners are exempt from financial disclosure rules, and charging that her allegation was motivated by a kind of homophobia, a HRC document shows. Ashkenasy told the Guardian that she only sought to illuminate a conflict of interest — and added that she is a lesbian.

Servetnick said the case of the Little House highlights a broader issue of vacant historic properties throughout the city that are allowed to go to waste because it’s more profitable to knock them down and build new. Draft legislation introduced by Board President David Chiu seeks to address this concern by requiring owners of vacant properties to register their empty buildings with the city so that inspectors can play a more proactive role in detecting problems before it’s too late.

At a March 26 Planning Commission meeting, Charles Marsteller, former head of government watchdog group Common Cause, told commissioners he had attended the demolition of the Lombard Street cottage. When it came down, he says, he realized how unique it was and earnestly told planning commissioners that he thinks the Little House should be reconstructed, and the lot turned into a park.

As for the demolition, "It was just a put-on by some insiders in City Hall working the network that they normally work," Marsteller says. "And it shouldn’t have happened."

Agit-aggregator

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› a&eletters@sfbg.com

SONIC REDUCER Due to April 1 budget cuts, the original content in this space has been replaced by a selection of music news items from the wire.

MADONNA ADOPTING COUNTRY OF MALAWI


LILONGWE (Rutters) — Madonna announced her plans to adopt the entire southern African nation today after local friends told her that her adopted Malawian children, David and Mercy James, were lonely and needed companionship. In 2006 some Malawian activists attempted to block David’s adoption, but this time many are endorsing the idea of a high-flying life attached to a parent with a global pop brand. "We had no idea she would take her name so literally," opined a High Court clerk. "Nevertheless, I’m looking forward to meeting my nanny and hanging with the backstage crew at mom’s next arena show."

MICHAEL JACKSON STARRING IN LATEST TWILIGHT INSTALLMENT


LOS ANGELES (APE) — In a surprise move, Twilight heartthrob Robert Pattinson has been dropped from the lead role of vampire hottie Edward Cullen. His replacement: the King of Pop. Producers believe that despite his age and HIStory, Michael Jackson has the tween idol beat in the unnatural skin pallor department. "He’s much more believable as a vampire," said one source.

CHRIS BROWN PICKED LAST FOR DANCING WITH THE STARS


LOS ANGELES (FuxNews) — Just weeks after Chris Brown was charged with felony assault, commercial endorsements were suspended, and his music withdrawn from radio stations, the Putf8um recording artist took another backhand blow to his ego: he was snubbed by the entire cast of the popular TV show and picked last in a very special dancer’s-choice episode. "Sure, the guy can cut a rug," said an unnamed contestant. "But everyone saw those unauthorized TMZ pics of his last cut-up partner. Performers always say, ‘Break a leg.’ I don’t want to take that chance."

KANYE WEST: ‘YEAH, I HAVE AN AUTO-TUNE IMPLANT — SO WHAT?’


NEW YORK CITY (Eek! Online) — "It’s just another tool in the studio," hip-hop artist Kanye West said. "Now I don’t even need to touch a computer to get my sound." Emboldened by the success of the operation, West’s surgeons plan to remove a part of the G.O.O.D. Music founder’s brain and install an entire suite of Pro Tools plug-ins.

JONAS BROTHERS BUSTED IN HUMAN ANTI-GROWTH HORMONE STING


WYCKOFF, N.J. — (EmptyV.com) In an effort not to become Hanson or New Kids on the Block, Kevin, Nick, and Joe Jonas have been taking massive amounts of HAH in an effort to retain their tween demographic, allege Wyckoff police after a 4 a.m. raid on the Jonas family McMansion. "Our management told us we were taking flaxseed oil," Kevin said. "They claimed it was pixie dust," added Joe.

ALL-GIRL INDIE ROCK GROUP TAKE HAIR BAND EFFORT TO NEW LEVEL: WITH BEARDS


PORTLAND, Ore. (Ditchfork) — As one of the most pervasive trends in indie rock, beards have stood the test of time and triple-blade, pivoting shavers. One all-girl combo, however, is proving that they can play that game too: this week the Portland-based Her Suit obtained beard transplants at the O’Hare Baldness Clinic outside Chicago. The number of friends on the band’s MySpace page has risen tenfold, particularly among the follically challenged.

MP3S FOUND TO CAUSE CANCER, NEW VINYL FORMAT CONSIDERED ‘ANTI-CARCINOGEN’


SAGINAW, Mich. (AFPEE) — Scientists have determined a link between heavy use of iPods and other MP3 players and increased risk of cochlear cancer. The same team of scientists also determined a simple preventive measure: a protective vinyl coating applied to the actual MP3 players. "Vinyl is not only better," said one researcher. "It makes everything better."

NO JOKE

BRUCE SPRINGSTEEN AND THE E STREET BAND


How prescient is Working on a Dream (Columbia), when employment seems like a figment of the imagination for so many? Wed/1, 7:30 p.m., $38–$95. HP Pavilion, 525 W. Santa Clara, San Jose. www.livenation.com

GREAT LAKE SWIMMERS AND KATE MAKI


Still, sweet waters run deep: GLS drifts softly and drowsily, with nods to country music’s storytelling tradition, whereas ex-neuroscience student Maki teamed with Howe Gelb for On High (OW OM, 2008) and gently noggin-rattling arrangements that go beyond the solo acoustic guitar. Fri/3, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

LILA DOWNS


The Oaxaca native sifts together Fleetwood Mac and Lucinda Williams covers with an original, "Shake Away" — and a bared bellybutton — that seem like a Mesoamerican bid for Shakira’s Latin-crossover crown. Sat/4, 9 p.m., $30. Fillmore, 1805 Geary, SF. www.livenation.com

LILY ALLEN


It’s her, it’s us: one of the first pint-sized, powerhouse MySpace stars chips away at detractors with the "darker, faster" It’s Not Me, It’s You (Capitol). Sat/4, 9 p.m., $30–$32. Warfield, 982 Market, SF. www.goldenvoice.com

AHMAD JAMAL


"Darn that Dream" seems so far away, yet the 78-year-old mastermind with the keys keeps working for the ineffable, last with It’s Magic (Dreyfus, 2008). Sat/4, 8 p.m., $20–$75. Herbst Theatre, 401 Van Ness, SF. www.sfjazz.com

BURMESE


According to member Weasel Walter, Mike, Mark, Mike, and Tissue have come out of hiding, not to play blistering noise from their new 10-inch, but to cover the Circle Jerks’ Group Sex (Frontier, 1980), fore to aft, instead. With the Human Quena Orchestra and Geronimo. Sun/5, 9 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

Sam I am?

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› a&eletters@sfbg.com

He has come, he says, to take American Jewry into the 21st century. Some members of the suburban synagogue that just hired Sam Isaac, charismatic tax attorney and single father turned rabble-rousing rabbi and spiritual visionary, are thrilled. Others, not so much. Between those two poles, and across 12 fully fledged characters, solo performer extraordinaire Charlie Varon takes us on a steadily dramatic, extremely witty, and thought-provoking ride through what he pictures as a transformative moment in Jewish identity. And transformation is what Rabbi Sam — who calls the United States the most Jewish of countries and likes to draw on Lincoln as much as that other Abraham — represents.

No doubt a little shaking up was needed at the synagogue where, as Sam reminds his audience, the young have been drifting away from the religion of their parents, and where for too long the others have gotten by on hollow nostalgia ("museum Judaism" he calls it, "with just a pinch of that shtetl kitsch"). But Rabbi Sam is as determined as he is brilliantly inspired, and with the board of directors split passionately down the middle about him, a showdown looks all but inevitable.

The crux of the matter becomes Sam’s vaguely suspicious management of an anonymous donor’s gift of $2 million, intended specifically to take Jews, and even willing gentiles in the community, on a trip to Jerusalem for a "jolt" of Judaism straight from the Holy Land that will supposedly, under Sam’s tutelage, help take American Judaism out of the past and reinvent it for the future. Slowly, as this project meets resistance from certain crotchety but not unsympathetic quarters, Sam becomes a more ambiguous figure, his embrace of certain influential members of the community beginning to smack of manipulation, his supreme confidence giving off a whiff of megalomania.

Varon’s multicharacter solo show — the first in years from the famed creator of such theatrical gems as Rush Limbaugh in Night School, in ongoing partnership with collaborator and director David Ford — is a performance tour de force, propelling a story both compellingly nuanced and suspenseful. At the same time, and despite its dozen diverse characters and muscular wrestling with the scope of Jewish identity at the beginning of a new century, there is something of a conspicuous absence at the heart of the play, especially given the centrality of Sam’s Jerusalem venture, which is Judaism and America’s inevitable entanglement in the ongoing and escautf8g catastrophe unfolding, disproportionately, for Palestinians and Jews in Israel-Palestine.

Even if it goes unstated in the play — which may simply and understandably be trying to avoid opening a can of worms, thematically speaking — it will probably strike at least some members of the audience that Jerusalem is technically an occupied city, not, therefore, open to all, but rather a principal site of contestation.

Again, it is not hard to imagine Varon and Ford wanting to skip the issue for wholly practical reasons, as an almost uncontainable distraction from the play’s wider concerns. But can it really be avoided? The modern history of Israel and the Israel-Palestine conflict surely has, at the very least, implications for the play’s theme: the nature of Jewish identity in the United States today, a conundrum that American Jewish individuals and groups consciously underscore, for example, by their vocal presence at the forefront of recent nationwide protests against the U.S.-backed Israeli military incursions into Gaza. Silence on this pressing context does not banish it from the consciousness of the audience. Rather, it risks becoming, however inadvertently, a misleading gesture of its own.

RABBI SAM

Through May 10

Thurs–Sat, 8 p.m.; Sun, 7 p.m. (except April 19, show at 2 p.m.), $18

Marsh, 1062 Valencia, SF

800-838-3006, www.themarsh.org

Undead again

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Resident Evil 5

(Capcom; Xbox 360, PS3)

GAMER With sales hovering around the 35 million mark, Capcom’s Resident Evil series has become less of a cash cow and more of a cash elephant. If I explained to you that Resident Evil 5 is in fact the seventh game in the main series, you might care, but suffice to say that between a bookshelf’s worth of games, novelizations, comic books, and feature films, expectations for the most recent installment are running high.

The new title takes place in Africa, where franchise stalwart Chris Redfield has arrived to be gruff and kill things in the name of the Bioterrorism Security Assessment Alliance. The world is beset on all sides by misanthropes with syringes full of tentacle-rich zombifying megavirus, and only the BSAA can keep us from being turned into creatures that look like a walking combination of ground beef and motor oil.

Redfield is joined by his hard-bodied counterpart, Sheva Alomar, a local operative who accompanies the player throughout. Cooperation is the name of the game this time around, and you’ll have to pool resources and abilities to survive. Sidekick A.I. is one of gaming’s greatest deficiencies, and though Sheva’s is certainly passable (read: not a constant frustration), simple online and same-room co-op features make two-person play the optimal approach.

The game retains Resident Evil’s infuriating "stop-and-pop" controls, rooting you to the spot every time you aim your weapon. This is ostensibly to preserve the series’ survival-horror roots, although you would be hard-pressed to find anything scary during the game’s paltry 12 hours of gameplay. RE5 plays like an action title, with streamlined item-management and save utilities and a lot of relentless gunplay.

Visually, the game is stunning, creating an atmospheric and detailed world for the player to riddle with bullets. If only the other aspects of the game’s presentation had received even half as much attention — the writing is horrifically stilted, and the story is incomprehensible. Sometimes it seems like the designers are purposefully insulting the players’ intelligence — "The power is off. Maybe there’s some way to turn it back on" — and every single point is made with a sledgehammer. Early trailers for the game brought accusations of racism (white cop mows down herds of bug-eyed Africans), and while this charge loses potency in context, the appearance of grass-skirted "tribal" zombies who literally throw spears at you is extremely problematic. Thankfully, when your back’s to the wall and you’re running out of ammo, it doesn’t really matter if the zombies are black, blue, or green.

Green-collar heat

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› sarah@sfbg.com

GREEN CITY Local residents, workers, and businesses are anxious to learn who and what will be stimulated by the billions of dollars that President Barack Obama authorized for release when he signed the American Recovery and Reinvestment Act.

Since January 2008, unemployment in the Bay Area has risen from 4.9 percent to 8.4 percent, according to the U.S. Department of Labor Statistics, and house prices and consumer spending are down.

Despite all the anxiety, representatives from local low-income community groups hope to turn Obama’s stimulus package into an opportunity to make local government accountable for creating decent green-collar jobs. And Sups. Eric Mar, John Avalos, Sophie Maxwell, and Board President David Chiu seem happy to help further the community in this environmentally friendly cause.

Mar scheduled a March 23 hearing of the board’s Land Use and Economic Development Committee "to obtain community input on the creation of jobs, particularly green-collar jobs, in San Francisco as the city positions itself for federal investment dollars."

"The hearing was the first step toward building a grassroots coalition to hold government accountable," continued Mar, who worries that the Mayor’s Office is not sharing enough information related to the stimulus package. "Labor and community groups, not just department heads and City Hall, should be at the table."

At the hearing, representatives from the city’s Office of Economic and Workforce Development said that a substantial part of the first wave of stimulus package dollars has already been allocated, mostly to shovel-ready projects such as the Doyle Drive rebuild and massive development projects at Treasure Island and the Hunter’s Point Shipyard.

OEWD representatives also indicated that more waves of formula funding are expected, for which San Francisco must compete with other cities, and that the city’s Department of Technology is constructing a Web site to track all local money from Obama’s $787 billion package.

OEWD deputy director Jennifer Entine Matz says community-based organizations, unions, and community colleges need to work together to ensure that people are successfully brought through any work program. "In many cases, green collar jobs are existing jobs," Matz said. "If we are successful in training people with green power technology, they will be more marketable here and beyond. We can also train and modify people in existing programs."

But representatives from the Chinese Progressive Association, PODER (People Organizing to Demand Environmental and Economic Rights), and POWER (People Organizing to Win Employment Rights) expressed their belief that stimulus package funds should go to help low-income communities, not rich corporations.

"Let’s make sure we stimulate quality to make sure we stimulate the economy," said PODER’s Oscar Grande, who warned against using the funds on low-paid jobs with few advancement opportunities. He and others suggested tracking what communities receive funding. "We want to go past the green hype, the green-washing, and the green lifestyle marketing," Grande said.

Raquel Pinderhughes, an urban studies professor at San Francisco State University who helped Berkeley’s Green Business Council and Oakland’s Green Jobs Corp program, defined green-collar jobs as "blue collar jobs in green businesses.

"Green collar jobs can function to get more people out of poverty," Pinderhughes said. "They can provide living wages. They have low barriers to entry. They provide an opportunity for occupational mobility. They are inherently dignified, and they have a shortage of entry-level workers, so there is room for people."

But Pinderhughes warned that cities must link improving environmental quality to social justice to avoid creating temporary jobs and preserve industrially zoned lands for green-collar jobs. She also said that cities must fund case management services "so folks don’t quickly drop out."

The Land Use Committee has scheduled an April 6 continuation to address a plethora of outstanding issues like how much money is going to specific corporations and departments, the division of funds between public transportation and freeway projects, and how much Lennar Corp. is getting for its Hunters Point Shipyard/Candlestick Point redevelopment project.

April fool, sucka

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@@http://www.sfbg.com/blogs/politics@@

The BART Board is clueless

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› tredmond@sfbg.com

EDITORIAL The senseless and horrifying murder of four Oakland police officers March 21 has cast a pall over law enforcement agencies all over the Bay Area. It’s renewed calls for a federal ban on assault weapons, which is long overdue. (It’s also reminded us why a daily newspaper can be so valuable — Chronicle coverage of the incident, with numerous reporters quickly responding, is the kind of journalism that won’t happen if the city’s only major daily dies.)

Unfortunately, it’s also taken the focus away from other police issues, and while we mourn the four deaths of veteran officers who were killed trying to do their jobs, we can’t stop trying to solve the problems of cops who lack training, supervision, and oversight.

In that context, there is no other way to say this: the BART Board of Directors is as clueless as any governmental organization we’ve seen since the administration of George W. Bush declared victory in Iraq.

In the past 17 years, BART police officers have improperly shot and killed three people. There have been hundreds of complaints of unnecessary use of force. Most recently, a BART cop shot a young man point blank, and video recordings of the incident have created widespread anger and unrest.

Yet there is still nothing resembling a civilian oversight agency for that 200-member force — and the BART Board members are once again asking the public to trust them to take care of the situation.

Assembly Member Tom Ammiano and state Sen. Leland Yee are sponsoring state legislation that would force the BART Board to establish a San Francisco-style office of citizen complaints to handle all civilian complaints about BART police officer conduct. There are ways Assembly Bill 312 can be improved, and Ammiano, who is guiding the measure through its first legislative hearings, is open to productive suggestions. But when the BART Board sent a delegation to meet with Ammiano, the transit directors had only one basic message: they said AB 312 was "too prescriptive" — that is, it sought to set clear, strong rules for what BART has to do. BART would rather that the Legislature make some broad suggestions but let the folks who run the district shape the final outcome.

That’s simply unacceptable. BART has had plenty of time to address this problem, and plenty of notice that something is terribly wrong. In 1992 a BART cop shot and killed 20-year-old Jerold Hall near the Hayward Station, firing a shotgun into the back of Hall’s head as the unarmed young man was walking away. The shooting violated BART’s own police procedures and the rules that govern the use of deadly force at nearly every modern law enforcement agency in America — but the officer received no disciplinary action, not even a reprimand. In 2001 another BART cop shot and killed a mentally ill man who was lying naked on the ground. Again, BART declared the shooting perfectly okay. With that kind of lack of oversight, it’s not surprising that Oscar Grant was shot and killed early New Year’s Day — the BART police have never been held accountable for improper killings.

And the BART Board has never done a damn thing about it.

Now there is a special board committee that’s supposed to study police oversight. It has never held a single public meeting. Board member Tom Radulovich, who represents San Francisco and sits on the committee, told us there will be public meetings soon. But so far, all that the four-member panel has done is hold private discussions with local interest groups, with no public notice. We would argue that those meetings were a clear violation of the spirit, if not the letter, of the Brown Act, which mandates that government agencies hold open meetings. But more than that, the closed meetings suggest that the BART Board has no understanding of the public anger and impatience with its 17-year record of failing to keep its police force in line.

Ammiano and Yee should refuse to compromise the basic premise of their bill. The state of California, which gave BART the right to create a police force, must now mandate exactly how that force will be managed. The BART Board had its chance and failed. We simply can’t trust that ineffective agency to get it right this time. * *

The JROTC horror show

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OPINION I wish that the adults who want to keep the JROTC program in San Francisco public schools would stop throwing the JROTC students under the bus and blaming the bus driver.

In particular, I’m referring to the March 24 Board of Education meeting, where a resolution about JROTC by commissioners Jill Wynns and Rachel Norton was presented as a first-reading agenda item, which, under our rules, denotes that it should be referred to committee for further discussion. There usually isn’t any public commentary on first-reading items because that can occur at the committee meeting, then at the full board meeting when the item is returned for its second reading.

This is the first time that any discussion of JROTC has been on the agenda this year. But adults and kids in support of the program have been turning out to board meetings regularly. And while I’ve been president, the board has offered deference to the JROTC students, moving public comment earlier in the meeting nearly every time the students have shown up.

Before the March 24 meeting, supporters and opponents of the program were warned that it was only a first reading, that public comment would not be taken out of order, and that each side would have five minutes to make its case. Every elected official who planned on attending was informed of those rules. The ridiculousness that ensued as the board’s business and meeting carried on late into the evening came from, and was promoted by, selfish adults interested only in media attention and not concerned about whether this program can be sustained, in its current format, in San Francisco’s public schools.

The yelling and grandstanding by the adults for nearly three of the students’ allotted five minutes was an embarrassment to everyone. And those adults who stepped in front of the children — uninvited — then had the nerve to blame the Board of Education for not bending to their will.

The issues with this program are real — the teacher credentialing, the cost of the program to the district, the accessibility for all students desiring to become potential first responders for their neighborhoods and school sites in case of a municipal emergency, and, of course, the military aspect. The Board of Education, I believe, has to look beyond the glitz of a program that have been with us for eons and beyond the TV sound bites that grossly distort the facts. I’ve been moved to the middle on this issue because of the inflammatory behavior from people associated with both ends — the extreme ends.

I am hopeful that many of you will join me in looking carefully at the alternatives at hand, alternatives that would allow all students to participate. Come to the committee meetings, be informed, ask your questions, and be open to hearing something new.

But put aside the angry accusations and condemnations toward those who want to do the right thing for our children just because they don’t jump when you say they should. *


Kim-Shree Maufas is president of the San Francisco Board of Education.

Made in U.S.A.

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REVIEW Rialto Pictures founder Bruce Goldstein will scoop up the Mel Novikoff award at this year’s San Francisco Film Festival, but local audiences have a chance to sample his good work before then during the Castro Theatre’s run of Rialto’s freshly struck 35–mm print of Jean-Luc Godard’s widescreen, red-white-and-blue firecracker Made in U.S.A. (1967). If the picture seems a helter-skelter jumble of contingencies, it’s important to remember it was but one of four Godard movies to wash up on these shores during the otherwise turbulent 12-month period slicing through 1967 and 1968 (the other three were 2 or 3 Things I Know About Her, La Chinoise, and Week End). Of these, Made in U.S.A. gives the fullest demonstration of Godard’s aim to create a cinema that could take part in the jagged incongruities of modern life. Listing the film’s tangled referents — its confluence of aesthetics, politics, and violence crucially hinges on American hardboiled pulp and the real-life murder of Moroccan leftist Ben Barka — doesn’t begin to describe Made in U.S.A.‘s unexpected pathos. For all its agitprop overtures and modernist complications, the film is also a reflective, conflicted goodbye to the writer-director’s formative romances with American culture and Anna Karina. The porcelain actress, already divorced from Godard by the time the picture was made, gives a fragmented, emotional performance almost entirely in close-up. As the long day closes on Made in U.S.A., an old confidante tells Karina’s Bogart-like investigator that obsolete categories of Right and Left cannot adequately address political problems, to which she responds, "Then how?" That broken question, the neutron star of Godard’s career, shows no sign of letting up.

MADE IN U.S.A. opens Wed/1 at the Castro. See Rep Clock.