Girls

Peepshow: Art House Sluts

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Each week Justin Juul highlights a rad upcoming local sexy event

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Who: Madison Young is a local porn star who also directs films, makes art, teaches sex classes, and co-owns the coolest “feminist, tranny, queer” art gallery/performance space thing in the whole entire world. It’s called Femina Potens Art Gallery and it’s the best place to visit in SF if you’re looking to balance out your interest in smut with your love of paintings and sculptures and stuff. If you read SEX SF regularly, you probably already know about Femina Potens and you probably go there at least twice a week. But if you’ve somehow missed the boat, go right now. Girls who are boys who want boys to be girls who do boys like they’re girls who do girls like they’re boys flock to FP daily and nightly to stare at sexy paintings, watch dirty movies, and talk about art.

Snap sounds: Rubies

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By Johnny Ray Huston

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RUBIES

Explode from Center

(Telle)

The Norway-to-our-Bay connection is strong in this group, which bridges Bergen and San Francisco. No cosmic disco, though: Simone Rubi plays chanteuse over pop arrangements. The result never reaches the Cardigans’ sublimity, but it matches the warmth of Lois and Marine Girls.

Rubies, “I Feel Electric”

Rubies play Sunday, June 14 at The Independent

Got to be ‘Real’

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TV ADDICTION If you can ignore the resulting three-ring circus of gossip — Countess LuAnn de Lesseps breaks up with her no-account cheating Count! Kelly Bensimon arrested for boyfriend beating! Alex McCord nude! — swirling off this Real Housewives of Orange County spinoff, The Real Housewives of New York City gets my vote as the most consistently toothsome entry into the Real Housewives franchise. Now approaching its May 5 season finale, the reality TV series reads as an uptown-downmarket update of Edith Wharton, albeit brand-crazed (designers, of course, get considerable love, but these enterprising housewives are also busy building their own brands) and considerably less tragic (unless you count the McCord couple’s over-the-top ensembles).

And thanks to some brilliant editing, Jane Austen would have had a hearty, tea-steeped chortle over the Brooklyn Bridge-wide disjunctions between these housewives’ socialite pretensions and more rough-and-tumble actions. It’s tough to beat last season’s climactic clash between crazy-eyed Ramona Singer and the comically striving McCords when Alex violated a girls-party theme dinner by bringing her attached-at-the-hip spouse Simon, coupled with a conversation lightly spinning around the idea, "What is class?"

Yet, in line with Austen, class — both in terms of proper behavior and the various social gradations on view — continues to be in session as this season’s recurring leitmotif. Attempts at behavioral instruction often wonderfully backfire: from the instance when the Countess told guests at a tribute-benefit for her and her husband to essentially shut up, to the episode in which ex-Elle Accessories editor Bensimon ditzily dresses down Bethenny Frankel, a meet-up that succeeds in making Bensimon look not only insanely stupid but horrendously snobby. Hypocrisy among the cognoscenti, who seem generally non-cognizant, persistently rears its dual heads.

Ready to call it all out is Frankel, the outsider chef busily establishing her "Skinny Girl’s Martini" and other business ventures, and the odd woman out since she isn’t and has never been an actual wife, let alone kept up a sprawling house. She functions as the closest thing to an Austenian heroine here. Salty, highly entertaining wisecracks roll off her hardened single-girl shell in rapid succession ("Think of my vagina as a vase — and if you’ve had sex with me it’s time to send flowers.") As much as I appreciate the yenta feistiness of Jill Zarin or the American-Indian-girl-strikes-it-rich forthrightness of de Lesseps, I identify most with the non-wife who’s attempting to keep it really real — especially during a season centered on charity events in the context of a slimly acknowledged recession, amid deeds that seem to have as much to do with building social capital as raising vanishing funds.

www.bravotv.com/the-real-housewives-of-new-york-city

American Violet

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REVIEW Lawyer movies can be really entertaining. Tim Disney’s American Violet certainly is. I was sucked in from minute one. Based on true events, it’s the story of Dee Roberts (an awesome performance by Nicole Beharie), a single mother with four little girls living in the projects of a small Texas town. In these particular projects, there are frequent drug raids. The law states that a single informant’s testimony justifies an indictment — and Dee is wrongfully accused. ACLU lawyer David Cohen (a brilliant Tim Blake Nelson), believes Dee’s community is being harassed because residents are black, although the theory is very difficult to prove. The district attorney Calvin Beckett (a sadistic Michael O’Keefe) is tough, and he likes plea bargains. David, Dee, and do-the-right-thing local lawyer Sam Conroy (the great Will Patton) challenge Beckett. American Violet is not only an interesting story, it’s based on a true one. You can’t help rooting for Dee and hoping that justice will prevail.

AMERICAN VIOLET opens Fri/1 in Bay Area theaters.

Sex-children of the Throb

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By Marke B.

Throbbing Gristle, “Discipline” live at Kezar, 1981

“Like always I persuaaa-aade you.” My audiophile pals have been burbling for weeks about Throbbing Gristle’s return to the Bay Area — an event of enormous sonic-historical magnitude that both Brandon Bussolini and Nicole Gluckstern write about in this week’s issue. And they’ve mostly been taken by the series of vids recorded at Kezar Stadium (“the stadium of dead souls”) in 1981 that documents the raw, uninhibited mind-warp of the group at the time — a perfect tonic for our still-obsessed post-punk indie-bop era. It’s pretty amazing, and I’m loving the obvs tripped-out audience. Also, it looks to have much more in common with composer John Adams‘ Berkeley music-concrete happenings than the overloaded, multimedia Wax Trax spectaculars that industrial would soon veer into, livewise.

The above extended cataclysm, plus this one below by Germany’s Liaisons Dangereuses from 1982, tells a seedy, sweaty, and dirty-sexy industrial story, with a space for women even (“are you ready boys, are you ready girls?”), that I wish had been pin-patched and bedazzled onto Haight Street kids’ jackets rather than the hypersteroidal/paranoid-pop Skinny Puppy-Nitzer Ebb-Ministry one (and hey, doesn’t Depeche Mode have a new album out?)

Liaisons Dangereuses, “Los Niños Del Parque”

It’s a wonder to me how all those macho mid-80s big-time industrial acts could simultaneously be so testosteronal and yet so castrated. Maybe it was all the trying too hard (and it kind of happened again in the 90s with, ew, rap-rock). But, you know, I shaved off my devil lock and fled the industrial dance floor once KMFDM’s “Control” became inescapable. Now that was torture, even though now I find them quite adorable. It’ll be very interesting to see what kind of crowd shows up at the TG show on Thursday, to say the least, and whether they’ll have the spikes to ride the experimental thrust into polysexual purgatory, industrial’s true Valhalla (not hell at all), with barest, brief release.

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From the LA Times Coachella blog: “I think I’ve had three orgasms already,” Genesis P-Orridge said after the first song of Throbbing Gristle’s set. All right, so we know it was good for the fair-haired, transgendered leader of the British industrial act, but how was it for us?

At the desert shore

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a&eletters@sfbg.com

At some point between the group’s termination in 1981 and re-formation in 2004, Throbbing Gristle entered the canon. The more Throbbing Gristle music you’ve heard, and the more you’ve read about it, the less likely that conversion will seem. Matmos’ Drew Daniels acknowledged as much in his contribution to Continuum’s 33 1/3 series on classic albums, an exegesis of the band’s most accessible statement, the puzzling 20 Jazz Funk Greats (Industrial Records, 1979). The group’s relationship with music-as-such was perverse enough to make contemporaries like the Sex Pistols look like Chuck Berry revivalists. Back in the saddle after nearly a quarter-century, Throbbing Gristle mark two has less in common with the noise pranksters of old than the divergent, innovative projects the group has splintered into: spokes(wo)man and singer Genesis P-Orridge’s Burroughsian reengineering of rock’s DNA with Psychic TV; synth whiz Peter "Sleazy" Christopherson’s protean electronic voyages with Coil; and the rain-slick, dark disco of Cosey Fanni Tutti and Chris Carter’s Carter Tutti project all figure in the group’s latest recording, the appropriately bizarre Part Two: The Endless Not (Mute, 2007).

P-Orridge, the most visible and outspoken member, is seductively articulate about the band’s intentions: they have little to do with making music that plays into the pleasure of listening, and much to do with music’s mainline connection to culture. For all of Throbbing Gristle’s touted firsts, its music often verges on indecipherable. None of the group’s gritty, lo-fi recordings evoke emotions beyond a vague, lingering unease. But, the achievements: Throbbing Gristle literally invented modern industrial music with the founding of its so-named label, members Carter and Sleazy are credited with developing an early keyboard-triggered sampler, Tutti’s "Hot on the Heels of Love" was a prime inspiration for first-wave Detroit techno, and "(We Hate You) Little Girls" predates Whitehouse’s power electronics and the whole harsh-noise underground long since percoutf8g in the U.S. and Japan. And so on.

The weird thing about such innovations is that those committed to establishing Throbbing Gristle’s major authorship risk freezing and trapping these self-appointed culture-creeps within one historical moment or another. Despite all the collateral riding on Throbbing Gristle’s "seminal" place in the last half-decade of musical and cultural history, the band’s deliberate failure to be just that — a band — in any conventional sense needs to be acknowledged, partly as a tactical gambit. If Throbbing Gristle is a band more talked about than listened to, it seems inconsequential. Individually and collectively, they were prescient enough to choose culture as their medium, and music as a tool for scrambling it. It’s a foresight that has been borne out by MTV and then the Internet, but the tricky thing is that Throbbing Gristle’s actual accomplishment — the meaning behind what it does — isn’t in music itself, but in culture. That’s a zone where significance tends to be more protean; we can’t simply rely on albums as self-contained, coherent statements that we can either identify with or reject. There’s something trickier going on here, as if Throbbing Gristle’s music is meant to be heard at the second or third degree, when everything’s been attenuated.

The Throbbing Gristle project grew out of COUM Transmissions, a sort of umbrella term for performances and art projects that had strong affinities with the extreme performance artists known as the Vienna Aktionists, William Burroughs, and occultist Aleister Crowley. Their best-known installation, "Pornography," in a gallery within spitting distance of Buckingham Palace, most notably exhibited images of Cosey from various British porn magazines. It was a publicly-funded blight whose purpose was, in part, to convert sensationalist press into a feedback loop worth contemputf8g: the group framed and mounted outraged press clippings, and when newspapers published articles about this détournement, framed those as well. This press-driven mise-en-abyme probably offers the best example of how to listen to TG. The band plumbed new depths with feedback and delay, but their raison d’être was, beyond electronic trickery, setting up circular cultural patterns that explode hypocrisy. In doing so, the creative forces within Throbbing Gristle afford themselves the freedom to play any villainous or anti-heroic role handed to them.

THROBBING GRISTLE

Thurs/23, 8 p.m., sold out

Grand Ballroom, Regency Center

1290 Sutter, SF

www.throbbing-gristle.com

HOW TO DESTROY THE UNIVERSE — PART 6

Thurs/23–Sun/26, various venues

www.mobilization.com

Throbbing Gristle vs. Machine Sex

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P>Though San Francisco might be eternally hampered by the stereotyped perception of a hippie wonderland replete with flowery hair, free love, and fluffy puppies, in reality, SF has long been as much a haven for radical dystopians as it is for their wistfully upbeat foils. From robot circuses to urban exploration to electric sheep, San Franciscans have a demonstrated predilection for the bionic, the blighted, and the bizarre. Add in a penchant for situational absurdism and a fervent appreciation for electronic music predating the Summer of Love, and it becomes clear why San Francisco was ground zero for the first wave of North American industrial noise music, and the city with the strongest connection to its European progenitors — Throbbing Gristle.

Throbbing Gristle is, in every sense of the word, the seminal industrial band, whose confrontational performance tactics, nihilistic lyrics, and audio sampling techniques foreshadowed acts as divergent as Skinny Puppy, Negativland, and 2 Live Crew, despite their repeated assertions that they were not really meant to be a band at all. "Assuming that we had no basic interest in making records, no basic interest in music per se, it’s pretty weird to think we’ve released something like ten albums … that have had an effect on the popular music scene forever." So declared Throbbing Gristle’s Genesis P-Orridge in the Industrial Culture Handbook, first published in 1983. Beginning their Bay Area association in 1976 through correspondence with Oakland-based shock artist Monte Cazazza — who traveled to England to assist with their nascent Industrial Records project and coined their company slogan: "industrial music for industrial people" — Throbbing Gristle’s aural extremism was also painstakingly documented by local champion of the underground V. Vale, first through fifth issue of the publication of RE/Search, and then through Industrial Culture Handbook.

It wasn’t just the Dada-esque, cut-up compositions of Throbbing Gristle and Bay Area-based industrial noise peers like Boyd Rice and Z’ev that gained an early foothold in the collective consciousness of the SF underground. Survival Research Laboratories, founded in 1978 by Mark Pauline, gave mecha-fetishism a physical expression — with installations of and performances by a bevy of robotic entities, often decorated with animal carcasses for ultimate shock value. SRL’s first public event, Machine Sex, featuring dead pigeons on a conveyor belt trundling toward a rotating blade, debuted on St. Patrick’s Day 30years ago. Not long after, Vale introduced Pauline to Monte Cazazza, who became one of SRL’s early collaborators — and the bridge between the musical and mechanical arms of industrial culture.

Industrial music, permanently positioned outside the mainstream by design, has long struggled for recognition in the U.S. But early industrial’s lasting influence on the Bay Area arts is readily apparent in the confrontational panhandling robots of the Omnicircus, the large-scale mechanical sculptures of the Flaming Lotus Girls, the electro-noise/"weirdcore" performances of the Katabatik Collective, the flesh-eating fantasia of industrial music club MEAT, and even in the Mad Max-ian flamethrowing antics and electronica oases found at Burning Man and live looping sensations such as Kid Beyond and Loop!Station. Considered in that vein, you could say a little bit of Throbbing Gristle resides in us all. Chew on it.

A THROBBING GRISTLE AFTERPARTY

With DJs D-SYN, pink noise, R.M.S.

Thurs/23–Sun/26, 11 p.m.-2 a.m., free

Space Gallery

1141 Polk, SF

www.mobilization.com

Sonic Reducer Overage: Vivian Girls, Ghost, Spinal Tap, How to Destroy the Universe, and more

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Take the wheel: Vivian Girls’ “Tell the World.”

How to destroy a weekend – or, for that matter, a weeknight? Sticky, sweaty, and sill up for fun – SF knows how it’s done. Telling ya, there’s so much more to see and hear than we could fit into print.

Dry Spells
Folk rock gets another angelic kick upstairs when the Bay Area band gets onstage. With Pillow Queens and Vultures. Wed/22, 9 p.m., $6. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

The Pets
The Oaktown garage-rock threesome preps for its European journey. With International Espionage and Master Volume. Wed/22, 9 p.m., $5. Kimo’s, 1351 Polk, SF. (415) 885-4535.

Ask a Porn Star: Introducing Wendy Williams, trans sex superstar

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In which super sexy porn people answer questions — each week — from Bay Area locals
By Justin Juul

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Wendy Williams is an award-winning movie star with nearly a half-a-million films under her belt. But that doesn’t mean this month’s featured celebrity is some shallow Hollywood glamour snob… quite the opposite, actually. In fact, it only takes a second of conversation with Williams to realize that she’s really just a down-home southern girl who enjoys the simple things in life.

Williams likes traveling, shopping, advanced social networking and, um…interracial gangbangs. Okay okay okay! So maybe Williams isn’t exactly what you’d call normal, but that’s why she’s so much more intriguing than other media starlets known for dropping their vowels and dipping their thongs. While traditional southern belles like Jessica Simpson, Britney Spears, and Brooke Hogan waste their/our time making crappy music, popping pills, and collecting the worst sunglasses you’ve ever seen in your life, Williams keeps it real and focuses her energy on something we can all relate to: steamin’ hot tranny sex. What I’m saying here is that trans porn is better than reality TV and that mainstream pop icons have less talent than the people you see on Fleshbot everyday. I’m also saying that Williams is much cooler than all the girls I mentioned above because she’s an interesting individual with a mind of her own and those other girls are pretty much the opposite of that (although Britney got pretty cool there for a second).

Anyway! Enough with the half-assed shot at social commentary, right? Here’s the Wendy Williams story in a nutshell:

Leonard Cohen skips, sings, outlasts his audience at the Paramount

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02, you too: A still from Live in London.

By Kimberly Chun

O to be as spry and energetic at 74: Leonard Cohen launched his three-performance stand at the Paramount Theatre in Oakland last night, April 13, with an approximately three-hour concert that had the audience chuckling with amazement when the singer-songwriter came back for a fourth encore. “I tried to leave you,” he moaned.

Cohen had the crowd in his clenched fist throughout multiple standing ovations and a set that fundamentally mirrored that of his recent Live in London DVD and CD. And he put up a good fight, alternating between standing with his knees slightly bent, hands grasping mic and chord, in a boxer’s posture, and kneeling as if a humble mendicant – the latter his favorite way to open an emotionally intense song.

The songwriter received bursts of appreciative applause for lines like, “You told me again you preferred handsome men / but for me you would make an exception,” and, “You fixed yourself, you said, “Well never mind, / we are ugly but we have the music,” from “Chelsea Hotel No. 2,” a song about written about his affair with Janis Joplin. So long ago, yet still so vivid. This beautiful loser has morphed into a wiry, elegant slip of a man, skipping gracefully off the stage after each encore then back. From afar, Cohen resembles less William Burroughs, a Blues Brother, or a Bogart-esque “Tough Jew” like Bugsy Siegel than a smiling Stuart Little-like gent, revealing a snowy white pate beneath the fedora and a fiercely ingenuous grin. There’s a hard-won innocence to the performer, though he was less chatty and more focused than on the recent Live in London. Likewise backup vocalists the Webb sisters chose to chartwheel rather than do-si-do to that key reworked phrase, “All the lousy little poets / coming round / tryin’ to sound like Charlie Manson / and the white girls dancin'” in the charred apocalyptic ode “The Future.”

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“Hey, That’s No Way to Say Goodbye”: A still from Live in London.

Peepshow: Missed Connection, found somehow

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Each week Justin Juul highlights a rad upcoming local sexy event

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Who: Hardcore Christians and other ridiculous assholes probably won’t agree with me here, but the truth about human desire is that it knows no bounds and is utterly insatiable. What this means is that you can be totally happy and living a life of ease with your soul mate, but that you’re never going to stop wondering what it’d be like to jump in a closet with that hot guy/girl who makes your stupid latte every morning. And then there’s all those chicks and dudes at the park and in the check-out line at Safeway, just standing around in cutoff shorts daring you to risk your life for a one night stand. Torture! In a perfect world, you could fall in love and go on romantic vacations with every doable person you see. But it’s not a perfect world (no cake if you plan on eating, remember?) and so if you want to keep things cool with your long-term lover, those evil sirens just have to be ignored. Or do they? If you live in San Francisco and happen to have a computer, you’ve probably heard of the missed connections section on Craigslist. It’s basically a message board for people who locked eyes with someone recently, decided to stay away for whatever reason, and then thought better of that decision afterward. Now they want to either see that person again or publicly-yet-anonymously fantasize about reconnecting. Girls getting off busses, dudes with perfect hair on connecter flights, baristas, waiters, and rugged gas-station attendants are what the missed connections section is all about. You can pine for them on Craigslist all you want, but if you’re feeling really adventurous, you’ll show up at this art show for another small nibble of forbidden fruit.

Live Review: Bridez at the Knockout 4/2

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By Laura Mason

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Members of lo-fi favorites Bridez hang out in this “candid” pic.

We may pride ourselves on this city’s intellectual panache or European debonaire, but the real ego tripping starts with the thriving rock & roll pedigree ingrained in the underbelly of San Francisco that I suspect is the real reason the city’s 20-something set gets dressed in the morning.

This snarling, sweating rock & roll animal is the perfect companion to the stiff drinks and barroom sleaze that dominate our night lives, and bottle-feeding this beast is Bridez. Their lo-fi gospel is true blue, rough-hewn and rife with cool angst, fronted by a singer who could be the testtube lovechild of Karen O., Lou Reed and Courtney Love. Chanteuse Liza Thorn, formerly of So So Many White White Tigers, has impressively mastered a white-hot on-stage swagger most girls only have the courage to do in front of a bedroom mirror, and is quickly blooming into the blazing frontwoman San Francisco needs.

Law vs. Justice

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steve@sfbg.com

City Attorney Dennis Herrera relishes his reputation as a crusading reformer. For several years, his official Web site prominently displayed the phrase "Activism defines SF City Attorney’s Office," linked to a laudatory 2004 Los Angeles Times article with that headline.

"Doing what we can do to ensure civil rights for everyone is not something we are going to back away from," was the quote from that piece Herrera chose to highlight on his homepage, referring to his work on marriage equality. The article also praises the City Attorney’s Office practice of proactively filing cases to protect public health and the environment and to expand consumer rights.

But more recently the City Attorney’s Office also has aggressively pushed cases that create troubling precedents for civil rights and prevent law enforcement officials from being held accountable for false arrests, abusive behavior, mistreatment of detainees, and even allegedly framing innocent people for murder.

Three particular cases, which have been the subject of past stories by the Guardian, reveal unacceptable official conduct — yet each was aggressively challenged using the virtually unlimited resources of the City Attorney’s Office. In fact, Herrera’s team pushed these cases to the point of potentially establishing troubling precedents that could apply throughout the country.

Attorney Peter Keane, who teaches ethics at Golden Gate University School of Law and used to evaluate police conduct cases as a member of the Police Commission, said city attorneys sometimes find themselves trapped between their dual obligations to promote the public good and vigorously defend their clients. "Therein lies the problem, and it’s a problem that can’t be easily reconciled," he told us.

"A lawyer’s obligation is to give total loyalty to a client within ethical limits," Keane said, noting his respect for Herrera. But in police misconduct cases, Keane said, "it is desirable public policy to have police engage in ethical conduct and not do anything to abuse citizens."

RODEL RODIS VS. SF


Attorney Rodel Rodis is a prominent Filipino activist, newspaper columnist, and until this year was a longtime elected member of the City College of San Francisco Board of Trustees. So it never made much sense that he would knowingly try to pass a counterfeit $100 bill at his neighborhood Walgreens in 2003 (see "Real money, false arrest," 7/9/08).

Nonetheless, the store clerk was unfamiliar with an older bill Rodis used to pay for a purchase and called police, who immediately placed Rodis in handcuffs. When police couldn’t conclusively determine whether the bill was real, they dragged Rodis out of the store, placed him in a patrol car out front, and took him in for questioning while they tested the bill.

There was no need to arrest him, as subsequent San Francisco Police Department orders clarified. They could simply have taken his name and the bill and allowed him to retrieve it later. After all, mere possession of a counterfeit bill doesn’t indicate criminal intent.

The police finally determined that the bill was real and released Rodis from his handcuffs and police custody. Rodis was outraged by his treatment, and sued. He insisted that the case was about the civil rights principle and not the money — indeed, he says he offered to settle with the city for a mere $15,000.

"I told my lawyer that I didn’t want a precedent that would hurt civil liberties," Rodis told the Guardian.

To his surprise, however, the City Attorney’s Office aggressively appealed rulings in Rodis’ favor all the way up to the U.S. Supreme Court, which found that the officers enjoyed immunity and ordered reconsideration by the Ninth Circuit Court of Appeals. Last month the Ninth Circuit ruled in the city’s favor, thus expanding protections for police officers.

Rodis can now name cases from around the country, all with egregious police misconduct, that cite his case as support. "Even with that kind of abuse, people can no longer sue because of my case," Rodis said.

Herrera disputes the precedent-setting nature of the case, saying the facts of each case are different. "We’re defending them in accordance with the state of the law as it stands today," Herrera said, arguing that officers in the Rodis case acted reasonably, even if they got it wrong. "We look at each case on its facts and its merits."

Herrera said he agrees with Keane that it’s often a difficult balancing act to promote policies that protect San Francisco citizens from abuse while defending city officials accused of that abuse. But ultimately, he said, "I have the ethical obligation to defend the interests of the City and County of San Francisco."

While it may be easy to criticize those who bring lawsuits seeking public funds, Rodis says it is these very cases that set the limits on police behavior and accountability. As he observed, "The difference between police in a democracy and a dictatorship is not the potential for abuse, but the liability for abuse."

MARY BULL VS. SF


In the run-up to the U.S. invasion of Iraq in 2003, there were months of antiwar protests resulting in thousands of arrests in San Francisco. Activist Mary Bull was arrested in November 2002. Bull said she was forcibly and illegally strip-searched and left naked in a cold cell for 14 hours.

San Francisco’s policy at the time — which called for strip-searching almost all inmates — was already a shaky legal ground. Years earlier Bull had won a sizable settlement against Sacramento County because she and other activists were strip-searched after being arrested for protesting a logging plan, a legal outcome that led most California counties to change their strip-search policies.

So Bull filed a lawsuit against San Francisco in 2003. The San Francisco Chronicle ran front page story in September 2003 highlighting Bull’s ordeal and another case of a woman arrested on minor charges being strip-searched, prompting all the major mayoral candidates at the time, including Gavin Newsom, to call for reform. Sheriff Michael Hennessey later modified jail policies on strip searches, conforming it to existing case law.

But the City Attorney’s Office has continued to fight Bull’s case, appealing two rulings in favor of Bull, pushing the case to the full Ninth Circuit Court of Appeals (from which a ruling is expected soon) and threatening to appeal an unfavorable ruling all the way to the U.S. Supreme Court.

"It’s pretty outrageous and humiliating to strip-search someone brought to jail on minor charges," Bull’s attorney Mark Merin told the Guardian. "If they win, they establish a bad precedent."

Herrera said the case is about inmate safety and that his office must follow case law and pursue reasonable settlements (neither side would say how much money Bull is seeking). "We do it well and we do it with a sense of justice at its core," Herrera said.

Yet Merin said the city’s actions fly in the face of established law: "In the Bull case, he’s trying to get 25 years of precedent reversed."

Merlin noted that "the problem is not with the city, it’s with the U.S. Supreme Court." In other words, by pushing cases to a right-leaning court, the city could be driving legal precedents that directly contradict its own stated policies.

"It would be nice if this city was in a different league, but they look at it like any defense firm: take it to the mat, yield no quarter" he added.

JOHN TENNISON VS. SF


For the Guardian, and for all the attorneys involved, this was a once-in-a-lifetime case. In 1990, Hunters Point residents John J. Tennison and Antoine Goff were convicted of the 1989 gang-related murder of Roderick Shannon and later given sentences of 25 years to life.

Jeff Adachi, Tennison’s attorney and now the city’s elected public defender, was shocked by a verdict that was based almost solely on the constantly mutating testimony of two young girls, ages 12 and 14, who were joyriding in a stolen car, so he continued to gather evidence.

Eventually Adachi discovered that police inspectors Earl Sanders and Napoleon Hendrix and prosecutor George Butterworth had withheld key exculpatory evidence in the case, including damaging polygraph tests on the key witnesses, other eyewitness testimony fingering a man named Lovinsky Ricard, and even a taped confession in which Ricard admitted to the murder.

After writer A.C. Thompson and the Guardian published a cover story on the case (see "The Hardest Time," 1/17/01), it was picked up pro bono by attorneys Ethan Balogh and Elliot Peters of the high-powered firm Keker & Van Nest LLP, who unearthed even more evidence that the men had been framed, including a sworn statement by one of the two key prosecution witnesses recanting her testimony and saying city officials had coached her to lie.

In 2003, federal Judge Claudia Wilken agreed to hear Tennison’s case and ruled that the prosecution team had illegally buried five different pieces of exculpatory evidence, any one of which "could have caused the result of Tennison’s new trial motion and of his trial to have been different."

She ordered Tennison immediately freed after 13 years in prison. The district attorney at the time, Terrence Hallinan, not only agreed and decided not to retry Tennison, he proactively sought the release of Goff, who was freed a few weeks later.

"The only case you can make is that this was an intentional suppression of evidence that led to the conviction of any innocent man," Adachi told the Guardian in 2003 (see "Innocent!" 9/3/03). In the article, Hallinan said "I don’t just believe this was an improper conviction; I believe Tennison is an innocent man."

But the pair has had a harder time winning compensation for their lost years. State judges denied their request, relying on the initial jury verdict, so they sued San Francisco in 2003, alleging that the prosecution team intentionally deprived them of their basic rights.

"What happened to these guys was a horrible miscarriage of justice," Balogh said.

The City Attorney’s Office has aggressively fought the case, arguing that the prosecution team enjoys blanket immunity. The courts haven’t agreed with that contention at any level, although the city spent the last two years taking it all the way to the Ninth Circuit, which largely exonerated Butterworth. The case is now set for a full trial in federal district court in September.

"They are unwilling to admit they made a mistake," Elliot said. "They are doing everything not to face up to their responsibility to these two guys."

The lawyers said both Herrera and District Attorney Kamala Harris had an obligation to look into what happened in these cases, to punish official wrongdoing, and to try to bring the actual murderer to justice. Instead the case is still open, and the man who confessed has never been seriously pursued.

Harris spokesperson Erica Derryck said the Ninth Circuit and an internal investigation cleared Butterworth "of any wrongdoing," although she didn’t address Guardian questions about what Harris has done to close the case or address its shortcomings.

In fact, the lawyers say they’re surprised that the city is so aggressively pushing a case that could ultimately go very badly for the city, particularly given the mounting lawyers’ fees.

"When we filed the case, we never thought we’d be here today," Balogh said. "They had a bad hand and instead of folding it and trying to pursue justice in this case, they doubled down."

Herrera doesn’t see it that way, instead making a lawyerly argument about what the prosecution team knew and when. "Our belief is there is no evidence that Sanders and Hendrix had information early on that they suppressed," Herrera said. "Based on the facts, I don’t think they, Hendrix and Sanders, violated the law. But that’s a totally different issue than whether they were innocent…. It’s not our role to retry the innocence or guilt of Tennison and Goff."

Herrera said he’s limited by the specific facts of this case and the relevant laws. "If the Board of Supervisors wants to do a grant of public funds [to Tennison and Goff], someone can legislate that. But that’s not my job," Herrera said.

As far as settling the case in the interests of justice or avoiding a precedent that protects police even when they frame someone for murder, he also said it isn’t that simple. Keane also agreed it wouldn’t be ethical to settle a case to avoid bad precedents.

"I’m always willing to talk settlement," Herrera said. "This is not an office that makes rash decisions about the cases it chooses to try or settle."

Deputy City Attorney Scott Wiener is the point person on most police misconduct cases, including the Rodis and Tennison cases, as well as another current case in which Officer Sean Frost hit a subdued suspect, Chen Ming, in the face with his baton, breaking his jaw and knocking out 10 teeth.

Wiener, who is running for the District 8 seat on the Board of Supervisors and is expected to get backing from the San Francisco Police Officers Association, recently told the Chronicle that Frost "did not do anything wrong." Contacted by the Guardian, Wiener stood by that statement and his record on police cases, but said, "I consider myself to be fair-minded." He also denied having a strong pro-police bias.

Yet those involved with these cases say they go far beyond the zeal of one deputy or the need to safeguard the public treasury. They say that a city like San Francisco needs to put its resources into the service of its values.

"It raises the broader question of what is the city attorney’s mandate? Is it fiscal limitation regardless of the truth?" Balogh said. "Dennis Herrera has had a very aggressive policy in defending police officers."

Herrera says he is proud of his record as the city attorney, and before that, as president of the Police Commission. "I believe in police accountability and have made that a big part of what I’ve done throughout my career."

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.”

Ex-gay, no way: Sexologist Dr. Jallen Rix talks about surviving the ex-gay movement, part 1

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By Justin Juul

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Dr. Rix, preaching the word

In every great film about post-college urbanites in America, there is a scene in which the hip gay character’s erratic behavior is explained through a montage that looks something like this:

The character — we’ll call him Rickie — is seen as a young child singing in a church choir with another boy. Fast forward two years and Rickie and the other boy – let’s call him Jordan — have become very good friends. They are shown eating lunch together at school, playing football, watching “The Birdcage,” and eventually listening to rock-n-roll music on a record player. This is when “Walk on The Wild Side,” by Lou Reed starts to play. Soon we see Rickie and Jordan –older teenagers now– running out of a school building as hundreds of other students are walking in. The camera follows the boys as they walk to Rickie’s house and then fades out when Rickie opens the door to his room and then slams it behind him. At this point, the POV suddenly switches to Rickie’s mother, a wholesome, but meddling schoolteacher who is inexplicably not at work. She responds to the noise by picking up the phone to call her husband who works at the local church. This is when the song gains momentum and when the images in the montage grow more rapid.

First we see the boys sitting side by side on the bed. Then we see the father grabbing his keys and rushing out the door. Back in Rickie’s room, a cigarette is lit. Mischievous glances are exchanged as the smoke billows and then, just as Lou Reed’s colored girls start to go “do duh do duh do duh do,” we see Rickie’s father kicking down the bedroom door. By the time the next verse of the song starts, it’s two months later and we see Rickie sitting in a classroom. He’s holding a picture of Jordan, and as he twirls it around, we see the words “Jordan RIP” scrawled on the back. Jordan has committed suicide and Rickie has been sentenced to two years at gay camp where he learns to hate himself. The final scene of the montage shows Rickie purchasing a greyhound ticket. He’s finished hiding from himself and from others. He is leaving his family, his church, and his town behind. Cut to Rickie as a young adult. He has just told this story to his best friend, Angela, and they are both crying silently and smoking their fifteenth cigarette of the day.

Very sad stuff, and a little on the dramatic side, but there’s a reason this type of scene occurs so frequently in movies and that’s because it really does happen. Gay kids from small-town religious families really do get sent to ex-gay camps or assigned to ex-gay ministries. And then afterward, when they realize the whole deal is complete bullshit, they really do move to big cities to avoid getting beat up every time they leave the house. The problem with the portrayal of the ex-gay experience in movies is that it’s always either given a comic slant (dorm rooms full of young gays who not-so-secretly enjoy each other’s company immensely) or heavily dramatized (see above). But haven’t you always wondered what it’s really like? Well, we have too.

Sweet symphony

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Has the Parenthetical Girls’ extreme makeover reached completion, or are their collective sleeves still hoarding hidden tricks to be revealed in future remakes/remodels?

The Portland, Ore., avant-popsters — formed in 2002 and originally calling themselves Swastika Girls after a Brian Eno/Robert Fripp song — first grabbed the ears of the listening public three years ago with a double-dose of fractured melodies and droning lo-fi noise. Pivoted around leader Zac Pennington’s preening, twirling vocals, 2006’s Parenthetical Girls and Safe as Houses (both Slender Means Society) jumbled childlike whimsy with bit-lip sexuality, electronic glitchery, and dizzying song structures.

Glockenspiels mingle with unnamable blips and squelches, quivering confessions shove up against tense, volatile arrangements — unabashedly fraught with drama, these recordings inevitably garnered more than a few comparisons to the work of fellow art-damaged experimentalists Xiu Xiu. Still, both discs offer plenty of testimony to Pennington’s distinctive vision. Strip away the songs’ tendencies to scratch and scrape, and one can’t help but notice his fondness for playful, extravagant composition.

That said, few could have predicted the baroque gleam-and-shine of last year’s sumptuous orchestral-pop oddity, Entanglements (Tomlab). Having teamed up with a rotating crew of collaborators in the past, Pennington at last finds his ideal partnership with a quintet of like-minded string-lovers. Additionally, more than a dozen classically trained musicians are brought into the studio: the result is a twisted, trilling naughty-boy stepson to Van Dyke Parks’ Song Cycle (Warner Bros., 1968)

Entanglements‘ title couldn’t be more fitting: flitted out in borderline-Shakespearean verse, a tale of young, doomed love unfolds as body parts and fluids are exchanged fitfully and freely among the heaving rise-and-fall of cellos and violins. Pennington’s vocal pirouettes remain as enchantingly fey as ever, particularly when dishing out pearls as snappy as this couplet from "Young Eucharists": "And what such fates we two betray, as your sacred legs gave way?"

PARENTHETICAL GIRLS

with No Kids

Fri/27, 9 p.m., $10

Cafe du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

The news from Rock Rapids: Shinny’s funeral

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By Bruce B. Brugmann

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Shinny during his years as chief of police in Rock Rapids, Iowa, during the l950s. This was the card I had in my billfold when I heard about his death. He was technically “Shene” but he was Shinny to me. Shinny approved of my pronunciation. His last card omitted a key word from his earlier cards: “lover.”

The funeral services for Elmer (Shinny) Sheneberger, the central figure in the famous Halloween caper of 1951, were held Friday March 20 in the Congregational Church in Rock Rapids, Iowa.

I got word from Marj and retired CPA Jim Wells and Shinny’s nieces Audrey and Margo Wallace that Shinny had died on Saturday March 14 in his suburban mobile home in Phoenix, Arizona. He had fallen the day before and was found 20 hours later. He was terminally ill with cancer but hanging on.

Shinny was born and raised and lived his entire life of 92 years in this little northwest Iowa town. He was what every small town needed and cherished: an authentic good-natured character who went on generation after generation. He was somehow always there, when you needed him and sometimes when you didn’t. When a politician came to town, the word would get around that Shinny was briefing him at the Lane Cafe. When the Hermie Casjens gang rolled a loaded boxcar across Main Street, twice, on Halloween eve in 1951, Shinny was on duty as chief of police and had to move the boxcars off the street.

I never told Shinny who was involved in the incident and he never asked. Finally, years later, I gave him the full story. He laughed and said, “Let’s drink to it.” We did and did all through the years. When he would call me at my office in San Francisco, he would say, “I want to speak to Bruce. This is his parole officer in Rock Rapids.” Shinny had a wonderful way of operating on Halloween: he would just come upon the roving Casjens gang, and would just shine his car lights. We would scatter and he would move on, never making an arrest. In fact, I don’t think he ever made many arrests, that night or on any other Halloweens. His was humane law enforcement, Rock Rapids style.

Shinny did roll the boxcars back off of Main Street, but we never knew exactly how he did it. He explained in detail at our 55th class reunion last June in Rock Rapids. We invited Shinny to come after Dave Dietz and I got firm assurances that the statute of limitations had run and we were free to talk about the incident. We surmised that Shinny had gotten everyone out of a nearby dance at the Community Building to move the cars. No, he said, he rousted people out of the nearby movie theater under threat of “arrest” and pressed them into action, twice.

Shinny was quietly generous. He owned a farm near town and he told me that he was would be willing it to Camp Foster, the YMCA camp on nearby West Okiboji Lake where many of us went to summer camp. “I always thought highly of the boys who came out of that camp,” he told me. “And so I thought that would be a good place for my farm.”

Through the years, Shinny would say to me, “Bruce, you and I have got to get along together. We’re going to be together for a long, long time.” I never could figure out what he was talking about until I was out visiting the Brugmann plot at the Riverview Cemetery, the picture postcard cemetery atop a hill overlooking the Rock River. I noticed that the plot next to the Brugmann plot was the Sheneberger plot. As usual, Shinny was right.

Click here to read Halloween 1951: Fast times in Rock Rapids, Iowa, from the Bruce Blog archive.

Here is the email note I sent to my classmates on our email tree for the Dream Class of 1953 (16 boys, 16 girls, now many less):

Shinny’s funeral will be tomorrow (Friday) in the Congregational Church in Rock Rapids.

I ordered a bouquet of red tulips for the service from the Flower Village, with a note “from the Brugmann family and the Class of 1953.” I assume I don’t need to go over the details once again about Shinny’s connection to our class and his involuntary participation in our class activities and the famous Halloween incident of 1951.

Shinny was a longtime member of our church. He always wanted to live as long as Henry Rahlk, also a member of our church, who lived to be 102. Shinny, alas, only made it to 92.

I always enjoy buying my flowers from Flower Village, which once was in the old Brugmann’s Drugstore building. It’s now across the street in the old Bernstein department store building. Each year on Memorial Day, I phone in to Flower Village and buy potted flowers for all the members of the Brugmann plot at Riverside Cemetery. That’s both sets of my grandparents (Ethel and C. C. Brugmann, founder of Brugmann’s Drug in l902; and Allie and A.R. Rice, a Congregational minister in several small Iowa towns); my mother and father (Bonnie and Conrad Brugmann, who was a partner with my grandfather in the drugstore from the Depression onward); and my aunt and uncle (Mary and Clarence Schmidt, a veterinarian from Worthington who was the family representative in World War II.) I hope to end up in the Brugmann plot with my wife Jean.

And the Village people put the flowers on the plot, always well positioned and blooming nicely. Shinny’s family had the next plot and he would always take pictures of my potted flowers and send them to me with a friendly note about “staying in touch and getting together someday.”

And then I would always call the former Janice Olsen to remind her to pick up the flowers and take them to her home in Rock Rapids, once the home of her aunt and uncle, Edna and Harold Jongewaard. Harold was a funeral director in Rock Rapids for many years and buried almost all of our family in our plot. Janice’ s mother was Elsie Olsen, Clarence’s sister, and the Merl Olsens had a family farm out near Edna that I used to visit when I dated her in our junior year.

I didn’t mean to ramble on so long, but Shinny’s death reminds me once again of how it was and still seems to be back there in Rock Rapids, the best little hometown in the country. There are lots of good connections and lots of good memories, but they grow dimmer and dimmer.

So long, Shinny. I’ll be seeing you soon. B3

SXSW: Q queue, Devo, Dirty Projectors, Girls, and more

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Chapel of the chiming guitar: SF’s Girls fill the Central Presbyterian Church March 19.

Impressions – watercolor, guyliner-streaked, skinny jeans-clad impressions – of SXSW. Here are a few from the frontlines on what turned out to be a stellar Thursday, March 19: I may have missed the Jane’s Addition reunion with Eric Avery at the Rock the Bunny after-hours bash at an old Safeway, but who needs the LA grunge-era implants when there’s so much happening elsewhere?

Rumor has it that Kanye West will be headlining the last Fader Fort show Saturday – a sweltering mecca of lines and bees drawn by the spilled fruity cocktails, out on the other side of I-35 – and that Neil Young is in town. Otherwise the vague official word round the Austin Convention Center is that attendance is down about 10 percent, though artist attendance is up. “Not bad, considering” – the new buzz words?

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Charm (in)offensive: Quincy Jones gives the SXSW keynote.

SXSW: Explosions as Sahm, Floyd are toasted, the Bronx pounds, Tara Jane O’Neil tears it, Explode into Colors does just that

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Back to the basics: The Bronx whip it out March 18. All photos by Kimberly Chun.

Get away from the grip-and-grin events and rambles through parties that offer free drinks and barbecue (though Jackpine Social Club’s Nick Tangborn supposedly threw an ace bash yesterday for ex-Parkside honcho Sean’s Batter Blaster pancake spray product) – there’s music out there if you seek it out. The corporate sponsors may be relatively absent, but there’s still plenty of intrigue, sonically, if you seek it out: PJ Harvey and John Parish, J. Tillman of Fleet Foxes going solo, the Pains of Being Pure at Heart, Blk Jck, We Have Band, et al.

One great budding band of women: Portland, Ore., trio Explode Into Colors. An all-power two-drum approach draws from the Slits and Gang of Four to fashion impassioned, sinewy primal punk. Fully formed and in full possession of their own voice. The group played March 18’s Finally Punk-curated all-ages music-made-by-women show at Ms. Bea’s, which also included Pocahaunted, Yellow Fever, Micachu, and the East Bay’s Splinters.

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Boy meets girls: Explode Into Colors.

More meaner, more cleaner

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"We’re not elitists," asserts Nick Catchdubs, co-founder of Brooklyn dance label Fool’s Gold. In a conference call with business partner A-Trak, he describes Fool’s Gold fans as a sea of hip-hop dudes, skinny-jeans-electro kids, super DJ nerds and Urban Outfitters girls. "The tempos and the beats-per-minute are the only governing factor," adds A-Trak.

You could say that Fool’s Gold is fomenting a cultural moment. After years of dismissing it as cheesy and "gay," rap fans have finally, tentatively, learned to accept dance music. Kanye West landed a number one hit with "Stronger" by remixing Daft Punk’s 2001 "Harder, Better, Faster, Stronger." A-Trak, the other co-founder of Fool’s Gold, is Kanye’s tour DJ. And Washington, DC rapper Wale drove the Internet nuts with his remix of Justice’s "D.A.N.C.E." Catchdubs mixed 100 Miles and Running, the Wale mixtape which featured that viral hit.

Fool’s Gold works with many of the era’s players: Kid Sister, who scored the label’s first successes with clever pop-raps "Damn Girl" and "Pro Nails" (and is A-Trak’s girlfriend); Trackademicks, the Yay Area electro-funk producer-rapper who celebrated the release of the single "Enjoy What You Do" at SF nightspot Vessel last month; and Treasure Fingers, the Atlanta DJ who scored a disco-house smash last year with "Cross The Dancefloor." Its biggest hit to date, though, has been Kid Cudi’s "Day ‘N’ Nite," a lonely-stoner gem that mixes Cudi’s off-key harmonizing against winsome electro melancholy. A-Trak doesn’t have exact figures, but he places digital sales at around 100,000, which he rightly describes as "cool for an indie like us."

Kid Cudi was the first Fool’s Gold artist to win over difficult-to-please hip-hop blogs, which sometimes ridiculed Kid Sister as too fluffy and trendy (perhaps in part because she’s a woman). During Kid Sister’s run of singles in 2007, which eventually landed her a major label deal with Downtown Records, skeptics didn’t know what to make of her or Fool’s Gold — was she some kind of hipster rapper, and was Fool’s Gold just a goofy imprint for fashion-challenged scenesters?

"When we first started the label, we would do all these weird interviews, like, ‘Talk about the hipster rap movement.’ Just bizarre interviews where people would talk about your jeans and sneakers and shit," says A-Trak. "One year later, we hardly ever get those questions. It takes a minute for stuff to assimilate. I think people know that some stuff is trendy and is going to float away like all trends do. But a lot of times it’s just culture at work: ideas coming out and getting assimilated, and then people move on to the next shit."

Fool’s Gold’s greatest ambassador may be A-Trak. A DJ star since the age of 15, when he shocked the then-thriving turntablist world by winning the 1997 DMC World Championships, A-Trak has grown into an influential artist. In the next two months he’ll release DJ mixes for two reputed dance labels, Thrive (Infinity +1, due March 31) and Fabric (Fabriclive.31, set for May 5). His transition from scratch-happy hip-hop head to genre-blurring tastemaker is one that Fool’s Gold might follow.

"The whole aesthetic of Fool’s Gold is based on what Nick and I play in our DJ sets," says A-Trak. "What we put out is really varied, but it all kind of makes sense."

A-TRAK

with Trackademics, Vin Sol

Sat/21, 9pm, $13

Paradise Lounge

1501 Folsom St, SF

www.paradisesf.com

Tokyo!

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Easily capturing the paradoxical essence of the world’s largest megalopolis seems about as likely as a phalanx of harajuku girls uniformed in Little Bo Peep costumes successfully scaling Mount Fuji. Now imagine that Bo Peep army solely consists of two Frenchmen and a Korean, and you have a sense of the heady task undertaken by the filmmakers of Tokyo!, a French production comprising a fantastical triptych of stories about the celebrated city from writer-directors Michel Gondry, Leos Carax, and Bong Joon-ho.

The first, Gondry’s Interior Design tells the intimate fable of Hiroko and Akira, a spirited young Japanese couple who relocate to the big city and become confounded by its mix of vast possibility and soul-crushing suffocation. The aimless Hiroko eventually succumbs to a fate that curiously mixes urban alienation, cultural traditions of utilitarian uniformity, and the whimsical surrealism of an old-fashioned folktale. The result is a sweetly touching, delicately composed encapsulation of old- and new-guard Japanese culture.

Carax’s Merde stars Denis Levant (1991’s Lovers on the Bridge) as a homicidal sewer dweller — part evil clown, part C.H.U.D. — who wreaks havoc on Tokyo out of an avowed hatred for the Japanese. A half-cocked homage to Godzilla, the titular Merde (yes, that’s French for "shit") represents a cartoonish outsider’s view of Tokyo and its denizens. Is it a sly attack on cultural isolationism or just myopic, er, horse merde? Either way it’s painful to watch.

After that unfortunate palate cleanser, Korean filmmaker Bong Joon-Ho (2006’s The Host) channels Michelangelo Antonioni by way of Haruki Murakami in Shaking Tokyo, an atmospheric tale of a shut-in (or hikikomori) who is literally jolted out of his hermetic existence by a strong earthquake and a comely pizza delivery girl with an unusual set of instructional tattoos. Bong’s story effectively conveys the internal turmoil caused by modern disaffection and fear (here, Tokyo itself is the monster), but it would have been nice to see a story that explores the city’s teeming life in all its richness, vigor, and eccentricity instead of envisioning what it would be like without it. Seriously, where’s a harajuku girl when you need one?

TOKYO! opens Fri/20 in Bay Area theaters.

Googoosh

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PREVIEW Googoosh was the predominant soundtrack for youth in Iran in the 1970s. My mother came to the United States then as a college student and, like many other young Iranian girls at the time, was fascinated with Googoosh: her voice, her looks, her dancing, her fashions. Googoosh was the center of pop culture in music and cinema; her face on posters and billboards, her fans ranging from Ray Charles to the shah himself.

For today’s middle-aged Iranians, listening to Googoosh is reminiscent not only of Iranian music of the ’70s, but also of the family and culture they left behind. In 1979, following the Islamic Revolution, all female pop music was banned in Iran and Googoosh went into a 20-year silence. Her albums continued to resonate in the Middle East and greater Western world while she lived a subdued life in Tehran. In 2000, she held her first public performances in two decades, playing to more than 1 million adoring, nostalgic fans in the United States, Europe, and Middle East.

My friend Razmin handed me Googoosh’s greatest hits CD when I was a junior in college. I was completely entranced. I still play it today and sense the power and timelessness of a style that incorporated so many elements of traditional Persian music (and even some ’70s disco and psychedelic-folk) while maintaining an undeniably magnetic pop sensibility. I’m sure the term "voice of a generation" has been used and misused many times over, but I wouldn’t know any other way to introduce the magnificent Googoosh.

GOOGOOSH Sat/21, 8 p.m. $49–$250. Paramount Theatre, 2025 Broadway, Oakl. (510) 465-6400. www.ticketmaster.com

Burning Man season in San Francisco

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By Steven T. Jones, aka Scribe

Burning Man is more than an annual event popular with San Franciscans: it is a year-round culture, one that really comes into season right around now as the art projects take shape and the myriad theme camps starting fundraising. And recently, there have been some fun and inspiring manifestations of this festive season.

Opulent Temple, Burning Man’s biggest and most enduring large-scale sound camp (and my former camp), threw a massive March 6 fundraiser in a Treasure Island warehouse, featuring legendary DJ Carl Cox (and a long list of other spinners) and mind-blowing art pieces by the Flaming Lotus Girls and Peter Hudson. The NBC news clip above insightfully focuses on how the Bay Area’s art communities help each other during hard economic times.

Then last week, there was the benefit party for Hollis Hawthorne, a friend of the Guardian and Burning Man families who is in coma. The event at Slim’s turned out a wide range of talented acts and community-minded burners that raised a staggering amount of money for a one-night event to bring Hollis home to the Bay Area.

The Burning Man story itself came to the stage in San Francisco in January as “A Burning Opera: How to Survive the Apocalypse,” and after receiving critical acclaim for this talented production’s limited engagement, the crew will hold two fundraisers this week to stage another run: Wednesday at the Sisters of Perpetual Indulgence “Burning Bingo” event and this Saturday evening at Café Flore.
There’s also the release of a film about the event, “Dust & Illusions” (an early version of which I reviewed here) by Oliver Bonin (who was embedded with the Flaming Lotus Girls at the same time I was). Among other showings is one at Chicken John’s place on March 28.
Meanwhile, the company that stages Burning Man, Black Rock LLC, is about to be homeless. That well-entrenched crew is getting bounced out of its Third Street headquarters to make way for a massive new UC hospital on the Mission Bay site. Word is they’re still looking for the right digs and only have until next month to find them.