Kids

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?

I’m a lonely guy

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andrea@altsexcolumn.com

Dear Readers:

The letter from "Forty and Frustrated" a few weeks back got a lot of interest and at least one excellent suggestion (go out alone) from a woman who has had success following her own advice. Excellent! I also heard from "F&F’s" male counterpart (and no, sorry, I can’t match them up), and here’s what we’re going to do: We’re going to read this and figure out what’s wrong and come up with a better approach. Together. Here goes:

I’m a 44-year-old guy, single for most of my life. Aside from a 10-year relationship with someone I was not attracted to and got involved with for all the wrong reasons, I’ve never had a girlfriend. I have had a few flings, though none have lasted more than a month.

In the last year, I’ve had more than two dozen dates. All but two weren’t interested in seeing me again. The most recent split was particularly painful because she seemed to be the closest match for me yet. (She apparently felt otherwise.) It’s always the same pattern. There seems to be a strong initial attraction that quickly fades after a couple of weeks. I can’t tell you how many times I’ve been told I’m a nice guy. I’m beginning to think that the few women who are interested enough to want to see me again eventually realize that I don’t have much else to offer, and lose interest. For the record, I’m healthy, fit, athletic. I have a life. I’m not aggressive, conceited, or rude. I like to think I’m a reasonably pleasant person to be around. I’m genuinely interested in what my date has to say. What am I doing wrong?

My profile on Match.com has had over 1,500 hits, I have yet to receive a single unsolicited e-mail. I’ve sent out nearly 500. I’ve had more than a few women write back, appearing interested, only to never hear from them again. When writing my profile, I made a concerted effort to not come across as pretentious or self-absorbed. I don’t have a checklist that’s a mile long. I included photos in which I’m smiling and one can clearly see my face. I would be thrilled to receive an e-mail from a woman who was interested enough to take the time to write one. I can’t speak for other guys, but having a woman ask me out on a date would be one of the most flattering things that could happen to me. And I’ve never backed out of a date at the last minute.

OK! The first thing that catches my eye is the admission, from someone who otherwise seems willing to acknowledge his own more saleable qualities, that he has "not much else to offer." Either this is evidence of a self-image badly enough distorted to cripple any attempts to connect meaningfully with women he might be interested in, or it’s true. If true, we had better hope it is fixable. What does it mean to "have something to offer"?

Well, what are those women looking for? They do want somebody solvent (did anyone else read the articles about chimpanzee chicks who have more sex with the chimp dudes who have more antelope meat?) and sane, but beyond that? Fun, yes; compatible sexually and otherwise, yes; but also, assuming he’s dating women in their 30s, a husband and kids. If women in their 40s, maybe just the former, but these days you never know. What they all probably want, though, is availability and commitment. If he is not signaling that these are on offer, and not going way too far in the other direction and offering them in his opening e-mail, he’d better get signaling, and fast.

I assume they would also like to know why he’s 44, never married, and so little-dated. He’s going to have to come up with a good spin on a sad tale. Not a lie, mind you, but a little polish.

It also occurs to me that he may be — and I hate to say this because I imagine him reading it and I shudder in empathy — boring. True, "nobody wants to date me" is not your most scintilutf8g subject and may not inspire the complainant to dazzling heights of witty word play, but come on. A little joke, some narrative flair, even a pun would help — and I hate puns. Lonely guy, spark it up. Maybe they’re not calling back because they fell asleep.

OK readers, your turn. Have at him. Female daters, would you answer his ad? And have you dated (some version of) this guy? What made you stop?

I recently bought both my kids T-shirts that say "When I Grow Up I’m Going To Save The World." (That these were available in the boys’ department only is an issue for another column.) I’m already grown up, and frankly, I don’t think I’m going to save the world, but hey, let’s save this guy.

What would it take to get him a date?

Love,

Andrea

Don’t forget to read Andrea at Carnal Nation.com.

SFIFF: Shots in the dark

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THURS/23


La Mission (Peter Bratt, USA, 2009) A veteran S.F. vato turned responsible — if still muy macho — widower, father, and Muni driver, 46-year-old Che (Benjamin Bratt) isn’t the type for mushy displays of sentiment. But it’s clear his pride and joy is son Jess (Jeremy Ray Valdez), a straight-A high school grad bound for UCLA. That filial bond, however, sustains some serious damage when Che discovers Jes has a secret life — with a boyfriend, in the Castro, just a few blocks away from their Mission walkup but might as well be light-years away as far as old-school dad is concerned. This Bratt family project (Benjamin’s brother Peter writes-directs, his wife Talisa Soto Bratt has a supporting role) has a bit of a predictable TV-movie feel, but its warm heart is very much in the right place, and the affectionate location shooting makes this an ideal SFIFF opening-nighter. (Dennis Harvey) 7 p.m., Castro.

FRI/24


It’s Not Me, I Swear! (Philippe Falardeau, Canada, 2008) Ten-year-old Leon Dore (Antoine L’Écuyer) is a Harold without a Maude, forever staging near-fatal "deadly accidents" that by now no one blinks twice at — whether they’re expressions of warped humor, cries for attention, or actual (yet invariably failed) suicide attempts). Mom and dad are forever at each others’ throats, while their older son pines for a domestic normalcy that ain’t happening anytime soon. One day mom simply announces she’s splitting for Greece to "start a new life," pointedly without husband and children. This event rachets Leon’s misbehaviors — which also encompass theft and vandalism — up a few notches. Set in kitschily-realized late 1960s Quebec suburbia, director Philippe Falardeau’s adaptation of two linked novels by Bruno Hebert is a very deft mix of family dysfunction, preadolescent maladjustment (or maybe budding sociopathy), and anarchic comedy. (Harvey) 5:45 p.m., Sundance Kabuki. Also Sat/25, 2:45 p.m., Sundance Kabuki; Tues/28, 1 p.m., Sundance Kabuki.

SAT/25


Adoration (Atom Egoyan, Canada/France, 2008) When orphaned teenager Simon (Devon Bostick) writes a paper for French class in which he imagines himself as the son of real-life terrorists, his teacher (Arsinée Khanjian) tacitly encourages its being taken for fact. The resulting firestorm (largely taking place on the Web) raises questions about the boy’s actual parents, free speech, religio-political martyrdom, and so forth. This is the first Atom Egoyan feature based on his own original story — as opposed to literary sources or historical incidents — in 15 interim years. While his fame has certainly risen in the interim, some of us haven’t liked anything so well since that last one, 1994’s Exotica. Adoration recalls such early efforts in the cool intellectual gamesmanship with which characters and technologies are manipulated toward a hidden truth. Yet provocative as it is, there’s something overly elaborate and ultimately dissatisfying about his gambits that makes Adoration less than the sum of its parts. (Harvey) 6:15 p.m, Sundance Kabuki. Also Mon/27, 6:30 p.m., PFA.

Tulpan (Sergey Dvortsevoy, Kazakhstan/Switzerland/Germany/Russia/Poland, 2008) Possible new genre alert: the docu-comedy. Documenatarian Dvortsevoy turns his camera on his native Kazakhstan, and nothing depicted suggests anything Borat might’ve broadcast. The country’s stark, southern steppes form the backdrop for a family of nomads, including married-with-children Samal and Ondas, and Samal’s brother Asa, who returns from his Russian naval service longing for his own flock of sheep. Alas, he can’t get a flock until he lands a wife — and the only local prospect, Tulpan, rejects him on the basis of his "big ears" (and the small fact that she would like to move out of the sticks, into the city, and maybe even attend college). Traditional ways bump up against more ambitious ones (as when Asa dreams of a satellite dish), just as comedic moments trade screen time with grittier scenarios (including actual footage of a sheep giving birth). The end result is an intimate and somehow totally relatable look at a fascinatingly foreign world. (Cheryl Eddy) 6:15 p.m., PFA. Also Mon/27, 9:15 p.m., Sundance Kabuki; April 30, 4:45 p.m., Sundance Kabuki.

TUES/28


In the Loop (Armando Iannucci, England, 2009) A typically fumbling remark by U.K. Minister of International Development Simon Foster (Tom Hollander) ignites a media firestorm, as it seems to suggest war is imminent even as both Brit and U.S. governments are downplaying the likelihood of the Iraq invasion they’re simultaneously preparing for. Suddenly cast as an important arbiter of global affairs — a role he’s perhaps less suited for than playing the Easter Bunny — Simon becomes one chess-piece in a cutthroat game whose participants on both sides of the Atlantic include his own subordinates, the prime minister’s rageaholic communications chief, major Pentagon and State Department honchos, crazy constituents, and more. This frenetic comedy of behind-the-scenes backstabbing and its direct influence on the highest-level diplomatic and military policies is scabrously funny in the best tradition of English television, which is (naturally) just where its creators hei from. (Harvey) 9:30 p.m., Sundance Kabuki. Also May 2, 9:30 p.m., Sundance Kabuki.

APRIL 30


California Company Town (Lee Anne Schmitt, USA, 2008) This land isn’t your land, or my land, and it wasn’t made for you and me — such is the insightful and incite-full impression one gets from California Company Town. Schmitt’s beautifully photographed, concisely narrated, and ominously structured look at the Golden State and the state of capitalism is labor of love, shot between 2003 and 2008; it’s a provocative piece of American history. On a semi-buried level, it’s also an extraordinary act of personal filmmaking that subverts various stereotypes of first-person storytelling by women while simultaneously learning from and breaking away from some esteemed directors of the essay film. (Johnny Ray Huston) 8:35 p.m., PFA. Also May 2, 6:45 p.m., Sundance Kabuki; May 4, 3:30 p.m., Sundance Kabuki.

Rudo y Cursi (Carlos Cuarón, Mexico, 2008) A who’s-who of Mexican cinema giants have their cleats in soccer yarn Rudo y Cursi: stars Gael Garcia Bernal and Diego Luna, and producers Alfonso Cuarón (whose brother, Carlos, wrote and directed), Alejandro González Iñárritu, and Guillermo del Toro. But while Rudo is entertaining, it’s surprisingly lightweight considering the talent involved. Bernal and Luna play Tato and Beto, rural half-brothers discovered by a jovially crooked soccer scout (Guillermo Francella) who gets them gigs playing on Mexico City teams. But athletic achievement seems barely a concern. Of far more importance are Tato’s crooning dreams and high-profile romance with a vapid TV star, and Beto’s left-behind wife and kids — not to mention his raging gambling addiction. Though the drama boils down to one final game (of course), Rudo is really about the bonds and brawls between brothers, not sports teams. Goal? (Eddy) 6:15 p.m., Sundance Kabuki. Also May 1, 4 p.m., Sundance Kabuki.

MAY 1


D Tour (Jim Granato, USA, 2008) There’s been many a band-on-the-brink doc about groups torn apart by substance abuse, or creative differences, or just plain nuttiness (see: 2004’s DiG! and Some Kind of Monster, and any number of Behind the Music eps). In D Tour, local indie popsters Rogue Wave face, and are drawn together by, an entirely different brand of crisis: drummer Pat Spurgeon’s urgent need for a kidney transplant. Director Granato is given full access to subjects who are very open about their feelings (and, in Spurgeon’s case, unpleasant medical procedures). The result is a music- and emotion-filled journey that’ll no doubt inspire many to check off the "organ donor" box on their driver’s licenses. A sadly ironic, late-act twist involving a different band member will come as no surprise to Rogue Wave followers, but D Tour incorporates the tragedy into its storyline without ever exploiting it. (Eddy) 9 p.m., Sundance Kabuki. Also May 4, 3:15 p.m., Sundance Kabuki; May 7, 5:15 p.m., Sundance Kabuki.

MAY 2


The Immaculate Conception of Little Dizzle (David Russo, USA, 2009) Animator Russo’s first feature is a (mostly) live-action whimsy about rudderless Dory (Marshall Allman from Prison Break) who gets fired from his white-collar job and lands in the much scruffier employ of Spiffy Jiffy Janitorial Services. Its punky artist-type staff clean a high-rise’s offices, including one for a test-marketing trying out "self-warming cookies." When our protagonists develop an addictive liking for these treats, strange things begin to occur — like hallucinations and, eventually, male pregnancies of mystery critters. Depending on mood, this arch quirkfest with an ’80s feel (think of all the similar, mildly surreal indie comedies that rode 1984 release Repo Man‘s coattails) may strike you as delightful or just plain irritating. (Harvey) 11 p.m., Sundance Kabuki. Also May 6, 3:30 p.m., Sundance Kabuki.

Tyson (James Toback, USA, 2008) Director Toback is picking up this year’s Kanbar Award for "excellence in screenwriting," but his latest film is a doc scripted largely in the mind of its subject. To call Mike Tyson a polarizing figure is an understatement (and raises the question: Does anyone really like him except Toback, whom he’s known for two decades?). This film — narrated by Tyson, the sole interviewee — won’t endear him to a public that’s seen him besmirch his glorious boxing-ring talents with an array of bad behavior, from a rape charge (here, Tyson calls his accuser a "wretched swine of a woman") to the chomping of Evander Holyfield’s ear. Though he chokes up on occasion and admits at one point that he starting taking fights just for the money, he’s still about as unsympathetic as humanly possible. Fun fact: a friend convinced him to go tribal with the face tattoo. Tyson himself wanted hearts. (Eddy) 4 p.m., Sundance Kabuki.

MAY 3


Moon (Duncan Jones, England, 2008) The Bay Area’s own Sam Rockwell has quietly racked up a slew of memorable performances in variable films — including 2002’s Confessions of a Dangerous Mind and 2008’s Choke — so the fact that he’s pretty much the whole show in this British sci-fi tale is reason enough to see it. A one-man space saga à la Silent Running (1972), it has him as Sam Bell, the lone non-mechanical worker (Kevin Spacey voices his principal robot assistant) on a lunar mining station in the not-too-distant future. He’s just about to finish his long, lonely contracted three-year stint and return home to a desperately missed family when strange things begin to occur. First there are hallucinations, then physical disabilities, then finally the impossible — there’s company aboard the station. Debuting feature director Duncan Jones orchestrates atmosphere and intrigue, though despite one major game-changing twist his original story seems a little thin in the long run. Nevertheless, Rockwell commands attention throughout as a character whose exhaustion, disorientation, and eventual panic feel alarmingly vivid. (Harvey) 9 p.m., Castro.

The Reckoning (Pamela Yates, USA/Uganda/Congo/Colombia/Netherlands, 2008) Yates’ latest documentary chronicles the long-delayed launch and bumpy first years of the International Criminal Court, a Hague-based body founded to prosecute (primarily) war crimes that member nations were unwilling or unable to do so themselves. Its authority is not yet recognized by several nations — including the Big Three of U.S.A., Russia, and China — while prosecutions of various military or political leaders who ordered crimes against civilians are often hampered by political minefields. Nonetheless, the still-struggling court is a beacon of hope for peace and justice around the globe. Yates lays out its work so far as an engrossing series of detective stories investigating instances of mass murder, rape, plunder, etc. in Uganda, the Congo, Darfur, and Colombia. (Harvey) 5:30 p.m., Sundance Kabuki. Also May 5, 6 p.m., PFA; May 6, 6:15 p.m., Sundance Kabuki.

Still Walking (Hirokazu Kore-eda, Japan, 2008) It’s no joy for Ryota (Hiroshi Abe) to bring his wife and stepson up from Tokyo on an annual visit to his elderly parents. The occasion is to commemorate the passing of an older brother who’s been dead for decades but is still held up as the yardstick by which Ryo will always fall short. Mom (Kiki Kirin) is well intentioned enough, if often insensitively blunt-spoken. But retired dad (Yoshio Harada) is an imperious grump who resents Ryo’s not following him into medical practice, disapproves of his marrying a widow, spurns her son from that prior union as less than a "real" grandchild, and is generally kind of a dick. This latest from Hirokazu Kore-eda (2004’s Nobody Knows, 1998’s After Life) is a quiet seriocomedy with lots of discomfiting moments. Yet it’s suffused with enough humor, warmth and surprising joy to easily qualify as one of SFIFF’s best 2009 picks. (Harvey)

8:45 p.m., Sundance Kabuki. Also May 5, 6:30 p.m., Sundance Kabuki.

‘Domestic Vacations’: Artist Julie Blackmon gets trippy

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By Ari Messer

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Snow Day, 2008

One of my most uninteresting college professors used to insist that negatives only exist in language, but couldn’t explain what this meant. That’s funny, I thought, because I can physically feel a complete lack of interest in your class. In fact, I think you can feel it too; it’s contagious. Nonetheless, I was never bored as a child, and I’m still never bored. The boring and the uninteresting are different concepts. Julie Blackmon’s lucid, staged photographs of childhood fantasy worlds in the twilight of America are stunning for a ton of reasons, but first and foremost they get their signature bite and sting by recognizing that everyone in each scene is interested in different things. There is no sincere panorama. From the modern intrusions into Blackmon’s protoclassical, Dutch-inspired scenes — a miniature FedEx truck, Netflix mail — to trippy little things such as the almost lurid dog eyes and discarded gloves in Snow Day (2008), every person, place, and thing appears distracted by an otherworldly mission.

Adding to this sense of confused biography, Blackmon, the oldest of nine kids and now a mother of three, uses people and things from her life in her work like a novelist trussing out character relations pictorially. She reminds me of some essays by Orhan Pamuk about his daughter, Rüya. It’s not the stories themselves that are so thrilling, but the palpable feeling of love in their narrative arcs, plus the vectors they send out into Pamuk’s novels, where characters seem to have little aspects or shimmers of Rüya (even if she wasn’t born when the story was written): her young mind, her toys and delusions, the way she gazes out the window and finds it startlingly new every day.

JULIE BLACKMON: DOMESTIC VACATIONS Through May 23. Tues.-Sat., noon-5 p.m. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020. www.sfcamerawork.org

“Julie Blackmon: Domestic Vacations”

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REVIEW One of my most uninteresting college professors used to insist that negatives only exist in language, but couldn’t explain what this meant. That’s funny, I thought, because I can physically feel a complete lack of interest in your class. In fact, I think you can feel it too; it’s contagious. Nonetheless, I was never bored as a child, and I’m still never bored. The boring and the uninteresting are different concepts. Julie Blackmon’s lucid, staged photographs of childhood fantasy worlds in the twilight of America are stunning for a ton of reasons, but first and foremost they get their signature bite and sting by recognizing that everyone in each scene is interested in different things. There is no sincere panorama. From the modern intrusions into Blackmon’s protoclassical, Dutch-inspired scenes — a miniature FedEx truck, Netflix mail — to trippy little things such as the almost lurid dog eyes and discarded gloves in Snow Day (2008), every person, place, and thing appears distracted by an otherworldly mission.

Adding to this sense of confused biography, Blackmon, the oldest of nine kids and now a mother of three, uses people and things from her life in her work like a novelist trussing out character relations pictorially. She reminds me of some essays by Orhan Pamuk about his daughter, Rüya. It’s not the stories themselves that are so thrilling, but the palpable feeling of love in their narrative arcs, plus the vectors they send out into Pamuk’s novels, where characters seem to have little aspects or shimmers of Rüya (even if she wasn’t born when the story was written): her young mind, her toys and delusions, the way she gazes out the window and finds it startlingly new every day.

JULIE BLACKMON: DOMESTIC VACATIONS Through May 23. Tues.-Sat., noon-5 p.m. SF Camerawork, 657 Mission, second floor, SF. (415) 512-2020. www.sfcamerawork.org

Super Ego: New-bass invades the Bay

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By Marke B.

Get ready, kids — this Saturday night’s all about the new-bass (and I go in deep on it in this week’s Super Ego clubs column). Do like I said and hit up both mindblowing parties featuring this amazing nightlife sound of now.

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Ghislain Poirier, helloooo

In one corner is Montreal’s “King of Bounce” Ghislain Poirier, whose Bounce Le Gros monthly in the MTL not only helped launch the careers of such wiggy Canadian future bass purveyors as Megasoid and the tres-tres atmospheric Sixtoo, but also put Quebec on the world dance music map. Ghislain will storm the Tormenta Tropical monthly’s electro-cumbia castle at Elbo Room.

Below are two video examples of how Poirier wonderfully “plays it both ways” as it were — super-danceable and brainily abstract — with the dancehall boinger “Blazin'” and the headphone freaker “Hit & Red.” The third vid, “Don’t Smile, It’s Postmodern” is his awesome kinda middle ground (although the visuals are waaaay goofy.)

Ghislain Poirier, “Blazin'” featuring Face-T

Ghislain Poirier, “Hit & Red”

Ghislain Poirier, “Don’t Smile”

AND in this other corner, righteous kings of woofer-blowing abstractitude Flying Lotus, Kode9, and the Bug hit Mighty for a jam called “The Future.” I’ll let the videos after the jump give you an idea of each of their genius individual styles, but DO NOT MISS THIS PARTY.

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.

Sonic Reducer Overage: Snoop Dogg, Eugene Mirman, Jeremy Jay, Skin Horse, and so much more

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San Francisco just can’t, just won’t stop. More musical – and comedic – worthies than one can jam into print.

The Get Up Kids
These lesser-known monsters of emo, progenitors of punk-pop, are back. With Approach. Thurs/2, 8 p.m., $26-$29. Great American Music Hall, 859 O’Farrell, SF. (415) 885-0750.

Snap Sounds: The Juan MacLean — ‘The Future Will Come’

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By Brandon Bussolini

juanmaclean.jpg

THE JUAN MACLEAN
The Future Will Come
(DFA)

Whether or not you were up enough on your rock genealogies to make the connection between John MacLean, guitar scraper for synth-punks Six Finger Satellite, and The Juan MacLean, the latter unit’s 2005 debut Less Than Human (DFA) probably took you by surprise. Like LCD Soundsystem, TJM looked towards history to fashion its electro-futurism, but while LCD appealed to rock kids with nods to the Fall, Can, and Daft Punk, TJM’s necro fantasies tended towards marrying Chrome’s glimpse of future-shock with Cybotron’s sleek, muscular productions. On The Future Will Come, the results remain strangely successful, all the more remarkable given techno’s way of sloughing off its skin every two years.

The Juan Maclean, “One Day”

Last year’s Happy House EP displayed just enough refinement and innovation to make up for the group’s three year silence: the 12-minute main track is a mainline rush of looped house piano figures and Nancy Whang’s mantra-like vocals. Of course, it’s not as hard to eliminate the extraneous moments on an EP. Part of what makes this new full-length recording durable is that it moves confidently away from the digressive, instrumental style of the first album towards a minimal, vocal-heavy style that makes its point more effectively, in less time.

I had to make an exception, at first, for MacLean’s singing style. Less chanty and easily endured than on Less Than Human’s “Give Me Every Little Thing,” it remains stiff. With added Brian Eno-like modulations, it resolves less quickly than the album’s other pleasures. Whang’s increased presence in particular is welcome: it allows her monotone to reveal subtle emotional inflections. The assertive vocal cadences of the incredible “One Day” split the difference between disco and hi-NRG, for example, before the chorus melts them down into a strange, bliss-inducing alloy. It’s tempting to see The Juan MacLean as a kind of genre-supercollider: they work in a tradition too perverse to accurately be called either techno or rock or even fit under the umbrella of a catch-all like “electro.” More likely, and less common, TJM is making it up as they go along, which must be where some of that joy they’re singing about comes from.

Agit-aggregator

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› a&eletters@sfbg.com

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

MADONNA ADOPTING COUNTRY OF MALAWI


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

MICHAEL JACKSON STARRING IN LATEST TWILIGHT INSTALLMENT


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

CHRIS BROWN PICKED LAST FOR DANCING WITH THE STARS


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

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


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

JONAS BROTHERS BUSTED IN HUMAN ANTI-GROWTH HORMONE STING


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

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


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

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


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

NO JOKE

BRUCE SPRINGSTEEN AND THE E STREET BAND


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

GREAT LAKE SWIMMERS AND KATE MAKI


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

LILA DOWNS


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

LILY ALLEN


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

AHMAD JAMAL


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

BURMESE


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

The JROTC horror show

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

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

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

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

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

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

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

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


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

Sonic Reducer: Madonna! Kanye! Jonas Brothers! Michael Jackson!

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By Kimberly Chun

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Chris Brown on Dancing With the Stars

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

————

MADONNA ADOPTING COUNTRY OF MALAWI

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

————

279-sonic.web.jpg
Jacko in Twilight 2: Teens Suck

MICHAEL JACKSON STARRING IN LATEST TWILIGHT INSTALLMENT

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

———–

CHRIS BROWN PICKED LAST FOR DANCING WITH THE STARS

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

———–

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

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

————

sonicjonasa.jpg
Jonas Bros in 2012 (projected)

JONAS BROTHERS BUSTED IN HUMAN ANTI-GROWTH HORMONE STING

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

————

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

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

————-

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

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

Ask Nate

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The Guardian introduces a new weekly advice column from Nathan Ballard, press secretary to Mayor Gavin Newsom. We hope you enjoy his insights as much as we always have.

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Dear Nate:

Times are tough in San Francisco for a lot of people, but my life seems to be bottoming out these days. My good city job just got eliminated, the after school program my kids love was cut, my elderly grandmother just lost her home health nurse, and the police still have no idea who murdered my husband last year. He was even shot right in front of one of those crime cameras. What should I do?

Desperate for Help

Dear Dessie:

I reject the premise of your question. Things are going great in San Francisco, particularly under this mayor’s strong leadership. But we feel your pain, which seems to stem from the Board of Supervisors refusing to give the Police Department more money or the authority to constantly monitor those cameras. Sup. Aaron Peskin is the reason your husband’s killer hasn’t been caught. He may actually be the murderer.

Nate

Dear Nate:

I was thinking about going into politics. Do you have any advice for someone considering running for office?

Budding Candidate

Dear Bud:

As my boss has repeatedly said, being mayor is the toughest and most thankless job in the world. He’s constantly dealing with uppity supervisors and complaining constituents, at least when he’s in town. And if you’re one of those spineless, whiny so-called progressives, my advice is to just do something else. Get a real job, something in the private sector. But if you share Mayor Newsom’s belief in building a better San Francisco with more public-private partnerships — and you’ve got a lot of rich friends — I say go for it. But make sure you hire the best advisers by calling Storefront Political Media and Earned Media. We — , er, uh, I mean they really know what they’re doing.

Nate

Dear Nate:

I’m new to San Francisco and trying to understand the political dynamics here. Is the central struggle really between progressives and moderates? Those are the two labels I hear the most, but it doesn’t make much sense to me. What about liberal vs. conservative?

Political Science Student

Dear Poli-Sci:

I reject the label progressive, and so does the San Francisco Chronicle now that we convinced them to. So actually the central struggle in this town is between the radical and unrealistic ultra-liberals and moderates like Gavin Newsom. The mayor can be a fiscal conservative when he needs to be, and he’s liberal on social issues, which makes him a moderate and therefore the voice of reason. He could even be a progressive on some issues, if there were such a thing as a progressive, which there’s not. But he’s never ultra-anything, because that would make him crazy, which he also isn’t. Is that clear?

Nate

Sonic Reducer: Lil Wayne, the Mae Shi, Starfucker, and more this weekend

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Pros to go: “A song by the Mae Shi celebrating the life and work of Xtian Bale.”

You have until Monday to find your place in the sun – or in the shadows. More fun musical offerings than we could fit into print – as usual in super-sweet SF.

Lil Wayne
The Nawlins rapper is said to pumped a good deal of performance-enhancement production values into his stage show – courtesy of a full band, a smoke machine, pillars of fire, and a set of backup dancers. But will Wayne deliver the goods? Or at least appear on time? With T-Pain, Gym Class Heroes, and Keri Hilson. Fri/27, 7 p.m., $42.50-=$147.75. HP Pavilion, 525 W. Santa Clara, San Jose. www.livenation.com

The Mae Shi, Pre, and Past Lives
Hey, it’s all good here. Well, I’ve never seen Pre but the Mae Shi are monsters (gag songs or no) and Past Lives – a band of ex-Blood Brothers – impressed at South by Southwest. Seems to me, though, that Skin Graft’s Pre combines squealing girly vocals with propulsive, clanging post-punk in a way that I’m sure SF kids can get with. Fri/27, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

Starfucker
Don’t hold the fucked-up name against them – the Portland, Ore., combo could be the next Glass Candy, with a newly amplified sense of humor. With Grand Lake and Guidance Counselor. Sat/28, 9:30 p.m., $8. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.



Bonfire Madigan

Sometime SF dweller Madigan Shive whoops it up for her blessed b-day – and for the release of her new EP. With Excuses for Skipping. Sun/29, 8 p.m., $12. Cafe du Nord, 2170 Market, SF. (415) 861-5016.

White Magic
The Brooklyn psych-folk spell-casters send us spiralling. With Avocet. Sun/29, 5 p.m., $10. Hemlock Tavern, 1131 Polk, SF. (415) 923-0923.

Oh, the Comedy (Central)

2

By Natalie Gregory

(Editor’s note: intrepid film intern Gregory reviews a pair of upcoming Comedy Central shows.)

reno911-lennon-interview-1.jpg
Lt. Dangle protects and serves.

Reno 911!, how come you’re so good? The upcoming sixth season looks pretty spectacular. When Jonah Hill is the guess star of the premiere episode, I think it’s an omen for good things to come. There are some new members of the troop, including Deputy Frank Rizzo (Jo Lo Truglio, who you might remember from Superbad) who has a stocked resume, but no recommendations. A stakeout explains why (think drug busts and prostitutes). New officer Sergeant Jack Declan (Ian Roberts) has a hilarious scene coding out a street kids’ lingo for the happenings on the street. Nick Swardson fans, prepare to laugh out loud in that scene. And of course there’s always Lieutenant Dangle (Thomas Lennon) who utters “Goddamnit!” better than anyone in the world. Side note: it’s always nice to see veterans of The State doing well, even if I still miss “I’m Doug. And I’m outta heeeeeerrre”. When’s The State DVD release gonna happen, already?

Sweet symphony

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› a&eletters@sfbg.com

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

When protesters become ‘terrorists’

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› rebeccab@sfbg.com

When does passionate protest become a terrorist threat? Is it when activists choose to target someone’s house, or when the subject of the protest feels scared? Why single out animal rights activists for special treatment? And if the definition of terrorism is expanded for them, what group is next in these turbulent times?

These are the questions being raised by the federal prosecution of four local animal rights activists. Joseph Buddenberg, Maryam Khajavi, Nathan Pope, and Adriana Stumpo pleaded not guilty March 19 to charges of using threats and violence to interfere with University of California animal researchers, in violation of the Animal Enterprise Terrorism Act (AETA).

A coalition of civil liberties defense groups have come to their defense, arguing that the law is unconstitutional and that the activists were merely exercising their freedoms of speech and assembly.

AETA specifically protects research institutions, pharmaceutical companies, and other businesses that use animals from individuals who "interfere with" their operations. Anyone using threats, vandalism, property damage, trespassing, harassment, or intimidation to cause someone connected with an animal enterprise to have "reasonable fear of death or bodily injury" can be tried under the law. But critics say the statute is over-broad, arguing that legal activity like boycotts can be construed as a form of interfering with a business’ operations.

"In its abstract form, and now with these arrests, the AETA is a full frontal assault by the U.S. government on the First Amendment," says San Francisco-based attorney Ben Rosenfeld, a member of the National Lawyers Guild. "Everybody, whether they identify with animal rights causes or not, ought to be very alarmed."

According to an FBI affidavit filed by special agent Lisa Shaffer, the activists took part in actions targeting UC researchers who conduct experiments on animals. They didn’t free caged animals, torch laboratories, or slash tires. Instead the defendants were caught picketing, chanting, and creating flyers. And while the complaint cites an alleged assault, it never states that any of the four defendants was responsible. Yet they each face up to five years in prison.

In October 2007, the complaint alleges, the defendants joined a group of protesters outside a UC researcher’s home in El Cerrito where they marched, chanted things like "vivisectors go to hell!" and rang the doorbell. The second incident took place in January 2008, when a group of about a dozen people "wearing bandanas over their nose and mouth" allegedly drove to a number of researchers’ homes in the East Bay. They "marched, chanted, and chalked defamatory comments on the public sidewalks in front of the residences."

The complaint says UC researchers felt harassed, intimidated, and terrified. Heidi Boghosian, executive director of the National Lawyers Guild in New York City, says AETA is flawed in that prosecutions are based on the targets’ reactions, not the protesters’ intent. "Basing prosecutions on the subjective feelings of individuals to whom no harm was inflicted undermines the foundation of criminal law, which punishes those who commit crimes with the intent to do so," Boghosian told us. "Demonstrating — even noisy, angry demonstrating that may be uncomfortable to others — is still protected under the First Amendment."

During the third incident, six bandana-clad protesters allegedly approached the home of a UC Santa Cruz researcher. Her husband heard banging on the glass pane of the door, opened it, and then "struggled with one individual and was hit with a dark, firm object," according to the complaint. The protesters dispersed, and one allegedly yelled, "We’re gonna get you!" Santa Cruz police later seized a vehicle belonging to one of the activists. Bandanas found inside the car were later sampled for DNA, linking them with three of the defendants.

The complaint doesn’t indicate whether any of the four defendants struck the researcher’s husband or yelled a threat. But that hardly matters. "Another flaw of the AETA is its ‘course of conduct’ language," Boghosian said. "If one protester commits a single unlawful act at a protest … but five others were present, all may be charged with engaging in a course of conduct that interferes or attempts to interfere with the operations of an animal enterprise."

Finally, the FBI charges that in July 2008, a stack of flyers listing the home addresses of two UC professors under the headline "murderers and torturers" was discovered at a Santa Cruz cafe. The FBI tapped security camera footage and Internet use logs to link three of the defendants to the stack of flyers.

Several days after the flyers were discovered, a firebombing took place at one of those researchers’ homes — but the federal complaint doesn’t mention it. When asked if there might be a connection, FBI special agent Joseph Shadler told the Guardian that the complaint speaks for itself.

Several civil liberties groups have been wary of AETA since it was enacted. "The law is so overly broad and so vague that no one knows what’s legal and illegal," Odette Wilkins, who is pushing for a repeal of the bill through her organization, the Maryland-based Equal Justice Alliance, told us. "The USA Patriot Act makes it very, very clear what terrorism is. It’s anything that causes mass destruction … or places the entire civilian population in fear. I don’t see how people exercising their First Amendment rights … rises to the level of terrorism. It’s ludicrous."

FBI special agent Schadler sees it differently. "As far as the distinction between free speech protected by the Constitution and what we would consider terrorism, whenever somebody’s purpose is to cause fear to get their point across, that’s terrorism," he told the Guardian. "The definition of terrorism is using threat of violence, or violence, to accomplish a political means. And the threat of violence — when you are actually going out and threatening to hurt people, or causing people to believe that they’re going to be hurt, or actually hurting them to get your movement or your political voice heard — then you are committing terrorism."

Lauren Regan, executive director of the Eugene, Ore.-based Civil Liberties Defense Center, helped create Coalition to Abolish the AETA. "We were working on putting together a civil lawsuit simply challenging the constitutionality of the law when the criminal indictments happened," she explained.

Regan has been on the case since a previous law, the Animal Enterprise Protection Act, was in place. That statute was upgraded to the AETA in 2006 in the wake of aggressive tactics employed by a radical animal rights group, Stop Huntingdon Animal Cruelty (SHAC). "Many felt [the AEPA] was also unnecessary," she told us. "Because there are already statutes for burglary, theft, vandalism, arson [etc]. Any of the crimes that could have fallen within the AEPA were already federal and state crimes."

Sen. Dianne Feinstein cosponsored AETA along with Sen. James Inhofe (R-Okla.), saying it would "ensure that eco-terrorists do not impede important medical progress in California." Before the bill passed, Rep. Dennis Kucinich (D-Ohio) voiced the lone complaint against it. "I am not for anyone … damaging another person’s property or person. But I am for protecting the First Amendment and not creating a special class of violations for a specific type of protest."

No one else was persuaded. The bill was bundled with other legislation deemed to be noncontroversial then passed by voice vote. The American Civil Liberties Union didn’t oppose it after an amendment was added guaranteeing that it wouldn’t restrict First Amendment rights. The ACLU declined to comment for this story.

Regan says broadening the definition of terrorism can stifle important campaigns. She points to the example of a widely publicized video released by the Humane Society last year that showed disturbing footage of downed cows at a beef processing facility. Though it spurred one of the largest beef recalls in history (and saved school kids from consuming an unsafe meat product), the cameraperson could be tried as a terrorist under the AETA, Regan says, because it was necessary to trespass to shoot the film.

She also criticizes the FBI’s excessive use of paid informants. "This has happened across the country — if someone posts a vegan potluck, the FBI is showing up to see who’s there and what they’re doing," she says. Between 1993 and 2003, the FBI’s counterterrorism division increased 224 percent, according to its Web site.

While advocates are quick to point out that there are no documented deaths associated with animal rights activism, the movement has a history of employing firebombs, threatening phone calls, and other creepy tactics in pressing to end animal cruelty — a trend that led to the passage of the domestic terrorism bill.

"The AETA has backfired, causing an increase in underground activism," says Los Angeles-based activist Jerry Vlasak, whose inflammatory language against animal researchers was quoted extensively during the 2006 Congressional hearing on AETA. Vlasak is a media contact for the North American Animal Liberation Press Office, which operates a Web site featuring anonymous "communiqués" sent in by clandestine activists. In a posting dated March 6, a group called the Animal Liberation Brigade takes credit for burning the car of a Los Angeles primate researcher. "We will come for you when you least expect it and do a lot more damanage [sic] than to your property," the message reads. "Where ever you go and what ever you do we’ll be watching you as long as you continue to do your disgusting experiments on monkeys. And a special message for the FBI, the more legit activists you fuck with the more it inspires us since wer’re [sic] the people whom you least suspect and when we hit we hit hard."

Will Potter, a Washington, D.C.journalist who runs a Web site called Green Is The New Red, testified before Congress prior to the passage of the AETA, arguing that the law would not deter underground activists. Instead he predicts it will have a chilling effect on protests staged in broad daylight. "This legislation will … risk painting legal activity and nonviolent civil disobedience with the same broad brush as illegal activists," he said.

That, says Rosenfeld, is precisely what’s happened. "The whole underpinning of a democratic society is that it’s rights-based, and government power is limited and checked by law," he says. "Here we have a complete perversion of that process. The government gives itself this over-broad, sweeping power to go after anyone it wants and then seeks to reassure people that it will only use those laws against the real bad guys."

Norman Yee and JROTC

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By Tim Redmond

Well, this is pretty fucked. I can’t reach school board member Norman Yee, but the Examiner says he supports bringing back JROTC.

That’s absolutely NOT what he told us when we endorsed him last fall.

Yee was the swing vote to end JROTC. The issue was phys ed credit, but the politics were clear: Voting to stop allowing kids to fulfill their gym requirement with JROTC would spell the end of the program. He did the right thing.

He later told us that if the issue were simply up or down on JROTC, he might have voted to save it, but it’s clear that the JROTC program fails to meet state standards for physical education.

But here’s the rub: Yee told us — told me, personally — that he wasn’t going to bring this issue back up again, that as far as he was concerned it was done. Technically, he hasn’t brought it up again — Jill Wynns and Rachel Norton did. (BTW, lots of people criticized us for not endorsing Norton. I hope you now see why we didn’t.) But if Yee votes to save the program, it will be a slap in the face to all the progressives who supported him.

JROTC, whatever its supporters say, is a military recruitment program. After our school board endorsements last fall, I got comments like this one:

No one’s forcing your kids to join the JROTC. But not having a JROTC forces other kids not to join. That’s wrong.

That’s what all the supposedly liberal people who say they support JROTC talk about: choice. Why not let the students who want to be recruited by the Army on a public high school campus have the right to do that?

And here’s what I — the parent of two public-school kids — have to say:

If I asked my kids if they’d rather have Pepsi or milk with their lunch, they’d say Pepsi in a second. My kids are still in elementary school, but most high school kids would say the same thing. The reason you take soda machines out of high schools is precisely so that kids DON’T have that choice. The reason you don’t let 15-year-olds buy alcohol is that society has decided they aren’t old enough to make that choice. Sometimes, you have to tell impressionable young people that certain things just aren’t good for them.

You can’t join the military until you’re 18. That’s because even the Pentagon has to accept that minors aren’t ready to make those sorts of life decisions. (If it were up to me, I’d raise the age to 25.) If military recruiters want to solicit young people and rope them into that culture before they have enough sense to think twice about what they’re signing on to, I sure as hell don’t want to make it easy. And I don’t want to let them do it in public schools.

Norman — This is madness. Don’t do it.

SXSW: Metallica, Echo and the Bunnymen, Mayyors, Glasvegas, the Pains of Being Pure of Heart, and more

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Thrill them all: Metallica at Stubb’s at SXSW. All photos by Kimberly Chun.

“All my heroes are weirdos,” to crib the title of a !!! number – and Guitar Heroes, beloved weirdos, and pop party kids were out in force Friday, March 20, at South by Southwest.

I started the day with sweet tea and a conference panel, “Great Expectations: Artist Development Meets Economic Reality,” including Dan Mackta of Jive, Pete Ganbarg of Atlantic, Tony Kiewel of Sub Pop, and Michael Goldstone of Mom and Pop Music Co.

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That’s their name – don’t wear it out: The Audacity take to the streets.

SXSW: It begins… with a whisper?

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More Mochi: 215 the Freshest Kids hurl some words at Daly City Records’ Pre-SXSW/St. Patrick’s Day Party at Beso Cantina March 17. All photos by Kimberly Chun.

Or is a whimper more accurate. Yes, the signs are in the air and in the program, as we scan the pages of the official guide and the unofficial day party lists. Welcome to South by Southwest on the downlow, rocked by the turbulent winds blowing off a global economic meltdown.

The big conference keynote names like Pete Townshend, Neil Young, Robert Plant, and Lou Reed? This year we get the uber-talented and esteemed but nonetheless much less sexy – sorry, Quince – Quincy Jones. Instead of the Stooges and Morrissey, we will have onstage interviews with Carlene Carter and the Hold Steady. The corporate banners are still here, but with a not-quite-as-splashy, diminished presence – just where is that MySpace South By Party Bus? The major labels and glossy publications are quieter than usual – whither the Vice party? Is there a Vice party?

Instead Rachael Ray – wholesome indie rock fan incarnate – is serving up the New York Dolls and the aforementioned Hold Steady at her showcase. Hey, after all, we’re all eating in these days – we can use some new recipes. This is SXSW on the cheap, forced onto a low-budg diet by a still-suffering music biz. Yes, music continues unabated, but can its makers afford to make it out here this year? The underground bashes around SXSW appear to slowing down or maybe they just aren’t on the public radar – in any case I still want to make Todd P’s Ms. Bea free all-ages shows and the French Legation outdoor bills – now Arthur-free (R.I.P.). We’ll see if there’s anything as fun as Dan Deacon and Fucked Up’s guerrilla throwdowns shaking up the university campus and the bridge, after hours.

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Swedish fetish

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Americans have always been lured by the siren call of those blindingly blonde babes and bewitching blue-eyed boys, but what exactly is "it" about Sweden that keeps us wanting more? The country is known for being progressive, well educated, sexually liberal, and neutral in wartime. A Swede even holds the Guinness World Record for spinning the most yo-yos simultaneously (nine).

Sweden has infiltrated American style; I don’t know anyone who doesn’t own at least one thing from Ikea, H&M, or Cheap Monday. These companies convey a sleek, stackable, skinny image. This impression is debunked slightly by the current Yerba Buena Center for the Arts exhibition "Irreverent: Contemporary Nordic Craft Art," a showcase for clothes you can’t wear and furniture you can’t use, such as Frida Fjellman’s chandeliers populated by glass owls and frosted squirrels.

There are also the images Bergmania has left us: stunning and haunting images of long coastlines, 18 hours of daylight in June, and splendid mountain ranges shrouded in December darkness. The snow-white vampires of Tomas Alfredson’s Let the Right One In (2008) proliferate our nightmares. The comic glum chums of Roy Andersson’s You the Living (2007) will soon come calling.

For a country with a landscape that’s roughly equivalent to California and a population of about 9 million, Sweden is an impressive exporter of music — the third largest in the world, bested only by the U.S. and U.K. The boom began in the 1970s with those pop perfectionists, ABBA, who crossed the Atlantic to bliss us out with the melancholy euphoria of 1976’s "Dancing Queen" (their sole U.S. chart-topper, although they were the most commercially successful band of the decade).

Following ABBA’s footsteps and to some degree formula, lesser and at times laughable groups emerged from Sweden in the 1980s to reinforce the bright blonde stereotype. Europe advised us to "Open Your Heart" and Roxette counseled to "Listen to Your Heart." Although these acts managed to break into the mainstream, none attained the same timeless staying power of Agnetha, Benny, Björn, and Anna-Frid, with their teen anthems about sneaking out under mama’s nose and "having the time of your life," and their darker, more adult post-Arrival (Polar, 1976) material.

The 1990s only solidified Sweden’s reputation as a pop paradise. It brought some ludicrous acts, such as Rednex with 1994’s "Cotton Eye Joe." But Ace of Base gave us "The Sign" in 1993, and the Cardigans crafted powerful, lasting songs and even albums. Perhaps most notably, Max Martin made Britney Spears famous by writing and producing her 1998 debut single "… Baby One More Time" and creating many more hits for her and the Backstreet Boys. He also collaborated with Robyn, who has achieved cult and critical success at home and more recently in the U.S. with her own songs.

In the 21st century, Sweden’s international music presence has grown more multifaceted. The Hives brought rock to the American charts in 2000 with "Hate To Say I Told You So," and American indie kids and Kanye West went bananas in 2006 for the whistling jam "Young Folks" by Peter, Björn, and John, whose fifth and newest album Living Thing is set for release this month. The female vocalist on "Young Folks," ex-Concretes member Victoria Bergsman, is now focusing on a solo project, Taken By Trees. Psych-folk-jazz rockers Dungen put out their fourth proper album, helpfully titled 4, last fall. The group’s U.S. label is Kemado, while its sound is increasingly Komeda — as in Roman Polanski’s early film composer Krzysztof Komeda.

The Swedish acts, if not hits, keep coming: last month brought femme foursome Sahara Hotnights’ album of cover versions Sparks (Universal); January delivered delicate folkster Loney Dear’s Dear John (Polyvinyl); and charming, Björk-influenced Maia Hirasawa puts out her second album next week. The beautiful Lykke Li recently played the Fillmore, where her opening act, the Västra Götalands Iän duo Wildbirds and Peacedrums, was to die for. Indie-pop trio the Bell recently played the Independent, and the Dylan-inspired Tallest Man On Earth (a.k.a. Kristian Matsson) breaks free from touring with Bon Iver to headline shows in support of the acclaimed Shallow Grave (Gravitation).

Sweden’s second largest city, Gothenberg, plays host to lovelorn troubador Jens Lekman, Madchester-influenced boy duo the Tough Alliance, and doo-wop dolly El Perro del Mar. Another Gothenberg resident, acoustic singer/songwriter José González, gained popularity in 2003 when his cover of Swedish electro duo the Knife’s "Heartbeats" was set to a Sony commercial in which 250,000 colored balls bounced down the steepest streets of San Francisco.

González’s version of "Heartbeat" resparked interest in the Knife’s original, and brother and sister duo Olaf Dreijer and Karin Dreijer Andersson built on that audience with 2006’s critical fave Silent Shout (Mute). This week, sister Karin introduces her solo recording project, Fever Ray. Like her work with the Knife, the 10 songs on Fever Ray (Mute) couple icy electronic atmospheres with quite literal lyrics — one song even refers to dishwasher tablets.

Whatever the "it" is that has captured the hearts of so many Americans and sent all these acts across the ocean to us, it continues to grow and assume new forms. If you ever make the trek to pop paradise, remember: they refer to Swedish Fish as "winegum candy" in Sweden. It’s kinda like how the French don’t use the term "french fries."

THE TALLEST MAN ON EARTH

with Herman Dune

March 25, 7:30 p.m., $12–$14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com