Radio

Sonic Reducer Overage: TV on the Radio, Bun B, Fischerspooner, Webbie, Floating Goat, Passion Pit, and more

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Memorial Day weekend – the wind is down, and the moment has come to break out the hibachi, dust off those sassy hot pants, and kick back for at least a day or three. And of course, there’s more worthy music to fit in there, in between the sunbathing, cookie-baking, and electroclashing.

Fischerspooner
Does the GE halo give me a double chin? And does it electroclash with the rubber tubing? The jaw-dropping live act whips out a dour, synthpop Entertainment, as well as a new stage show. Fri/22, 9 p.m., $29.50. Fillmore, 1805 Geary, SF. (415) (415) 421-8497.



TV on the Radio and Dirty Projectors

The praise-rattled TVs were peppy as all get out at Treasure Island fest last year – and here they come again with the better-than-ever Dirty Projs, which blew everyone away at SXSW this spring. Fri/22, 8 p.m., $30. Fox Theatre, 1807 Telegraph, Oakl. (415) 421-8497.

Devil’s poetry

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AFRO-SURREAL Sadly, the mythology of poet Bob Kaufman almost rivals all we have left of his poetry. However, to place Kaufman within a mere "cult of personality" (along the lines of some of his contemporaries) undermines the innovation of his process and what it brings to the tapestry of American poetics and the complicated and surreal orality of his poems.

Called "the American Rimbaud" by the French, Kaufman lived as a poetic assassin. A frequently arrested union organizer, like Stagger Lee wielding a .44 of devil’s poetry, Kaufman assaulted the willing and unwilling (even white police officers) with verse. If you were cool, you knew his assault was meant as a cipher, a juxtaposition of rhythm, image, and sound meant to invite the listener into a dialectical examination of identity, even the identity obtained from syntax: "I went to a masquerade<0x2009>/ Disguised as myself<0x2009>/ Not one of my friends recognized."

Kaufman’s poetics were Kerouac’s spontaneous prose without the notebook, taken literally. Think an un-choreographed version of "Amethyst Rocks," the prison yard scene in Slam (1998) where Saul Williams stops a would-be beatdown with poetry. Except for Kaufman the beatdown was always real, inevitable, and though sometimes provoked, never for the camera.

Kaufman was the spirit of true North Beach bohemia: the street poet who stood "on yardbird corners of embryonic hopes drowned in a heroin tear," panhandling "with moist prophet eyes" free styles of surrealism, the blues and duende, meant to disturb, disrupt, and ultimately liberate.

Kaufman’s "crackling blueness" is distinctly Californian. In poems like "Carl Chaessman Interviews the PTA," Kaufman filters the "west of the west" through absurdist reflections that juxtapose outlaw figures such as Chessman (a 1960s serial killer on San Quentin’s Death Row) with figures from California’s mythology, all to the rhythms of a radio announcer calling a ballgame: Carl Chessman is in sickly California writing death threats to the Wizard of Oz, his trial is being held in the stomach of Junipero Serra, at last the game starts, Chessman steals all the bases & returns to his tomb to receive the last sacraments from Shirley Temple.

Ultimately, according to poet and scholar Nathaniel Mackey, what Kaufman creates is a cross-cultural poetics difficult to categorize. Though he lived in North Beach and is credited with coining the phrase "beatnik" — and infused his poetry with jazz and Eastern religious influence — Kaufman transcends the singular categorization of "Beat poet." By aligning himself with the pain of "all losers, brown, red, black, and white; the colors from the Master Palette," Kaufman creates a new American poetics — a hybrid poetics of projective California duende blues, an examination of the exhaustion that comes from the persistence of breath.

MORE AT SFBG.COM


PIXEL VISION: Bob Kaufman’s poem "Heavy Water Blues"

Ding dong, Wicked Witch is alive

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AFRO-SURREAL What was black music like before hip-hop took over? On Chaos: 1978-86 (EM), a compilation of private press recordings by the obscure machine funk guitarist Wicked Witch, it resembles squelching synthesizers riffed like rock guitars and deep, rumbling bass stomps. Unevenly tuned fretboard licks mash with splashing, polyphonic drum patterns as a mysterious leading man uncomfortably murmurs lyrics like "I just can’t hang out, too much time is lost."

As a young guitarist hooked on Cream, Sun Ra, and Weather Report who mostly played for family and friends in southeast Washington, D.C., Wicked Witch’s Richard Simms didn’t achieve local fame, much less a national audience. But his subterranean woodshedding reverberates with tremors from an industry in upheaval. Musicians adopted electronic equipment en masse, supplanting the flowery string arrangements of 1970s disco with keyboards and drum programming. It wasn’t just black musicians transitioning to the computer age: early-1980s rock offers contrasts between lush new romanticism (Human League, Duran Duran) and crass arena sounds (Foreigner, REO Speedwagon). While the latter is celebrated via redundant VH-1 retrospectives and football stadium soundtracks, early-1980s black music and its heroes (the System, Imagination) remain unexplored.

Nelson George describes the period in 1988’s authoritative history The Death of Rhythm & Blues. "Synthesizers of every description, drum machines, and plain old electric keyboards began making MFSB and other human rhythm sections nonessential to the recording process," he writes, somewhat overstating his case. "There were so many … with all the personality and warmth of a microwave."

George’s "microwave music" condemnation still resonates, and this crucial period of black music — just before the hip-hop, R&B and quiet storm era — has largely escaped serious critical attention, save for disco aficionados who cherry-pick proto-house music stars like D-Train and Larry Levan. Meanwhile, Wicked Witch’s unintended documentation of the black new wave — meshing machine gun funk with spacey keyboard ambience on "Fancy Dancer," giving a shambolic twist to Mahavishnu Orchestra-style jazz fusion on "Vera’s Back" — has reemerged on the collector’s market. Simms’ private press singles, which include two 7-inches and a 12-inch long player, have been bootlegged. Original copies trade for $100. This probably led EM, a Japanese specialty label, to contact Simms and assemble Chaos.

"It wasn’t commercial," Simms said during a recent phone conversation. Forced Exposure, the Boston distributor handling Chaos, had passed on his information, but it took more than two weeks to finally reach him. Though pleasantly surprised by the novelty of an interview, he’s somewhat suspicious of the affair. When asked how many copies he pressed up, he shoots back, "Why are you inquiring about that?" as if this writer, armed with a copy of Goldmine magazine, wants to corner the market on Wicked Witch collectibles. And how did Simms come up with the name Wicked Witch anyway? "I’m stumped on that one," he says. "I think I wanted something dramatic, like theater."

Simms remembers forming his first band, Paradiagm with teenage friends "on an original-type kick" from around the area. The group recorded the track "Vera’s Back" before going their separate ways. "We were trying to do an original act, but people didn’t really accept it," he says. Chuck Brown’s ingenious go-go style, an amalgamation of James Brown’s call-and-response breaks and N’awlins marching band jazz, reigned as D.C.’s unofficial soundtrack. And since Paradiagm wasn’t a go-go band and didn’t play covers of radio hits, they couldn’t get bookings: "It was too hard to break new material." Simms managed to reach the manager of Return to Forever, Chick Corea’s jazz fusion superstar collective. But he says, mysteriously, "We did vocals, and they weren’t doing no vocals."

After that came Wicked Witch, which Simms describes as a "studio thing" where he worked out his musical ideas and recorded them. Yet even that was relatively short-lived. "My background is jazz fusion," Simms says. For Wicked Witch, he tried to merge fusion and funk, resulting in tracks with cryptic time signatures and spaced-out melodies. "If it was more funky, I think it would have been it. But it wasn’t funky enough. But I still dig it."

By the mid-1980s, the leather-clad hero of "Fancy Dancer" disappeared in the Chocolate City, just as the hip-hop era had begun. "Kids, a job, other things you gotta do … all of the above got put on top of the music. And then the music became close to nothing," Simms says. Before that happened, however, he pressed up those now-collectible records for himself. "Nobody was doing it for me, so I might as well do something on my own, right?"

Electric gypsies

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a&eletters@sfbg.com

Tommy Weber ( Thomas Ejnar Arkner, 1938 — 2006) was a trickster, so I cannot help but love him.

Comin’ from where I’m from — three tribal peoples: Pamunkey, Scottish, mystery African — I have always adored the Afro-Kelt über alles, and been at least inchoately hip to the centrality of the trickster, whether Eshú Elegbara, the Diné Coyote, or the Danes’ own Loki and his spawn Fenrir the apocalyptic Wolf. Such figures surf the spaces between the rational world we animals feel duty-bound to shore up for civilization’s sake, and the great vast unconscious world beyond the reach of imposed order.

The disenfranchised, rejected Dane and deracinated Anglo-African Tommy Weber — the fatally charming and irrepressible antihero of Robert Greenfield’s new A Day In the Life — One Family, the Beautiful People, & the End of the ’60s (Da Capo) — seems a trickster by default. He was left to his own devices by his estranged parents to play among the excreta of Empire well before any 11th-hour attempts by his roguish grandfather, R. E. Weber, to finish him off as a proper, upper-crust, English gentleman. The man famously dubbed "Tommy the Tumbling Dice" by his pop doppelgängers Keith Richards and Anita Pallenberg had an ingrained loathing for authority, yet the right accent to charm anyone in his relentlessly class-obsessed society.

I spent the 1980s back and forth between Africa, Europa (especially not-so fair Albion), and Ray-Gun Amerikkka, chased by those primordial Saharan tricksters Wepwawet and his altar-ego the Pale Fox Yurugu. One film my late Mamanne, sister, and I loved during that period was 1984’s Another Country, starring Rupert Everett as aristo U.K. spy-turned-Russian defector Guy Bennett (i.e., Guy Burgess). The character’s final line has stuck with me. Queried about whether or not he missed the Motherland, his response is, "I miss the cricket." This immortal bit of immortal dialogue is key for Tommy Weber, me, and anyone else brought up along the black Atlantic continuum. It sums up Tommy’s unconscious longing as a patchwork Englishman to rove to the British Empire’s far-flung, dusty, darker outposts. It applies to the cricket pitch desires of émigré "Indians" (from East and West). And I connect it to my early-1980s Anglophilia, stoked by Top of the Pops, Melody Maker, Smash Hits, and NME.

Having (perhaps foolishly) strived to find myself in those sonic fictions, I feel connected to a description of late-period Tommy by Spacemen 3’s Pete Bain: "He’d come staggering in, talk shit at you for an hour with garbled words like a radio that had to be tuned to a certain frequency, and then stagger out again like a drunk" We are all animals of the machine age, hoping to belong, struggling amid turbulent cultural waves. We navigate denatured empire (which yields ordered beauties like cricket, classical music, and the world-famous English gardens tended by such experts as Jake Weber’s aunt, Mary Keen) and the dirty, excreta-slathered murk of primordial tribal tradition (which yields transcendence).

Accompanied by a soul mate nicknamed Puss, Tommy the Tumbling Dice gambled on a folkway that would provide that transcendence — a Swinging London milieu of sex-drugs-rock ‘n’ roll wherein religious and social apostasy was de rigueur. When he crapped out, as a Trickster always does, what came next was relentless nihilism at the prick of a needle. Yet here’s the thing about tricksters: death often means rebirth for them — And Shine swam on, you dig?

Once upon a time, circa America’s bicentennial year, I chanced to view a strange, twisted, little film called Performance (1970) that was far too advanced for my innocence. Every summer in Virginia, my favorite pastime — even above slopping hogs and barn dancing — was handling the snakes. But lil’ ol’ me was yet unprepared for being ensnared in Anita Pallenberg’s chamber of smoke-and-mirrors.

My old soul arose like the fabled Kemetic Bennu bird of prehistory from that befuddling, dazzling screening, leaving me a lifelong devotee of the occultist, pirate triumvirate that is my beloved doom fox Pallenberg, interiors aesthete Christopher Gibbs, and the film’s auteur par excellence — the late, great Scot Donald Cammell. (Yes, Nicholas Roeg was essentially the technical director, but the film’s peculiar psychosexual tangle and audacious vision could come from no other brilliant cerebellum than Cammell’s.)

And so I was transfixed by the cover of Day In The Life. There stared a witch even more lovely and remote than my muse Anita. Looking inside, I discovered that she was Puss Weber, and that the young Fata Morgana boy from a Stones memorabilia photo that I’d long obsessed over was her eldest son, Jake. Alongside his bruh’ Charley, he had an inadvertent ringside seat to Mick and Keith’s maiden voyage into the rough black Atlantic. You can read all about it in this book, a great gift from the cosmos.

"Fantasy" by Earth, Wind, & Fire was the private, tacit anthem of my family’s feminine trio in the 1970s — which paralleled that of the Weber boys. Strange and beautiful it is that Jake, son of Tommy the Tumbling Dice, should find himself co-starring on a show called Medium, wherein his character, Joe DuBois, has a witchy-empowered wife he must support and nurture much as he once did his beloved mother Puss. As Marshall McLuhan proclaimed during the year of Jake’s birth (in Understanding Media: The Extensions of Man): "The medium is the message." Although W.E.B. DuBois (no relation) famously said the problem of the 20th century of is that of the color line, it can now also be argued that the past century-plus has been marked more than almost anything else by the problems stemming from the interface of man and machine — spirituality vs. technology.

In this light, it seems no accident that Tommy Weber has become an antihero fit to rival his fellow Archer, Duane "Skyman" Allman, in my internal spiritual pantheon. I would hazard a guess that both of his sons are currently fulfilling what Tommy wrote to Jake in 1982: "There is a very important secret. Work is much more interesting than play and if you are lucky enough to be able to make your work your play and your play pay, well then you’re in clover."

One cannot claim "Tommy the Tumbling Dice" and his beautiful, free spirit wife Susan Ann Caroline "Puss" Coriat should not have had children, for their now grown sons are vital contributors to our black Atlantic culture and are fine human beings. Still, these rather tortured Swinging Londoners’ families rival the pathology often on display around the corners of my ‘hood in high Harlem.

I am far less enchanted by A Day in the Life‘s testimonials on Puss and Tommy’s pre-Stones circle in London than I am arrested by their families’ collective African history. Greenfield’s book aims to shoot an arrow straight into the heart of Boomerville, yet it also unwittingly works as a strong resource for the far opposite realm of postcolonial studies. In fact, with some tweaking, it could serve as one of that discipline’s core works — a testament to its riches.

One of my most cherished passages in Greenfield’s book deals with Tommy’s haphazard management of the pioneering Afro-rock band Osibisa. A crazy trip through northern Africa is bookended by him, Jake, and Charley enduring a harrowing stay in jail in Lagos. To a degree, Puss and Tommy were confined by being products of their class and times. Yet they cannot be judged now via the uptight lenses of today. On the strength of their private soul-gnosis and Herculean striving to escape the lot dealt them by the hands of cosmic fate, these extraordinary Webers are folk out of — no, beyond — time. We’ll still learn from them on the far side of 2012.

Highbrow smut: local literary porno for book lovers

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By Juliette Tang

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Why Kindle when you can burn?

Sometimes, it really is sexier to close your legs and open a book. Especially in the case of good erotic fiction. While porn gives you a balls-in-the-face visual overload, the pleasures of erotica are subtler, more cerebral. A book of erotica is something you can take with you into the bathtub with a glass of wine, candles lit, and jazz on the radio. Or, put the dust jacket of Ulysses on your copy of Hot-N-Naughty: Extreme Erotica and you’re totally safe to read while MUNI-ing to work in the morning.

Always known as a bookish city, San Francisco does not disappoint bibliophiles whose tastes lean toward the more sensational. Who knew there were so many different words for “penis”? Like “bald-headed butler”? This Friday (May 8, 6:30PM) at the Good Vibrations on Polk (1620 Polk Street), treat yourself to a free session of “Erotica and Wine” with a special reading by writer John Thursday. More of an “erotic philosopher,” Thursday has introduced some truly necessary terms to our sexual lexicon, like zen penis, dong perch, and shirt cocking.

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Not an example of “shirt cocking”

If you’ve got the urge for some sizzling stories but can’t make it out to Good Vibes on Friday, check out some of these progressive San Francisco bookstores for some literary hardcore!

Whole lotta Loquat: the SF indie rockers kick off their du Nord residency Thursday

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By Kimberly Chun

Talk about an unrelenting burst of creativity: San Francisco indie rock band Loquat will be going for broke with its May residency at Cafe du Nord. Vocalist-guitarist Kylee Swenson told me the group is attempting to make each show special, with visuals arranged by the mysterious Kernel Panic, special guests like Raul Sanchez of Penny Arcade, and special DJs like Ted of BAGel Radio. “I just hope it works!” she said by phone. “It could be a total disaster!” As we spoke, Loquat was still tweaking the blend of performers and stage sets.

The group hasn’t been slacking on working on music, either: it has 20 songs written for its next full-length – though don’t expect Loquat to share its latest tunes yet. “We’re still in the incubator stage,” Swenson explained.

Great expectations?

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Equality has been achieved: this recession is kicking everyone’s arse. But I couldn’t help but squirm at a few recent music-biz disjunctions. How does one reconcile the scene at a South by Southwest "Great Expectations" label panel last month, listening to Tony Kiewel describe 2008 as one of the Sub Pop’s best years, with the bad news from Touch and Go’s Chicago HQ a week later? After shuttering its distribution — which once supported imprints ranging from Drag City to Estrus — in February, the 25-year-plus label laid off its entire staff. Owner and ex-Necros bassist Corey Rusk was going to run the enterprise solo.

A second major blow, especially when one considers Touch and Go’s history releasing important discs by Big Black, Scratch Acid, Die Kreuzen, Slint, Jesus Lizard, and of course, the Butthole Surfers (though the label’s 1999 loss in a legal battle with that band likely hasn’t helped). "Touch and Go basically allowed Merge to exist as something other than a singles label," Mac McCaughan of Merge Records stated in February. "If a company that did everything the right way can’t survive in this environment, then who can?"

Are these simply the latest surges and sucks of free-market capitalism’s death throes and toilet-bowl flows? And what’s the state of independence for local labels eking it out in this still-roiling stew of sorry economic news?

"The black and white fact is that [Sub Pop] is not Touch and Go," opines Cory Brown, owner of Bay Area independent Absolutely Kosher and general manager of Misra Records. He notes that Sub Pop is partially owned by Warner Bros. and that Touch and Go had the tough luck of losing some of its biggest artists, including TV on the Radio, Blonde Redhead, and the Yeah Yeah Yeahs. Those departures "all went down not very well," says Brown, who believes Touch and Go’s contraction was "as much an emotional decision as a business one," considering the company had big releases by Pinback and Three Mile Pilot planned.

Rusk declined to comment, although one wonders what will become of his label’s newer bands, among them the Bay Area’s Mi Ami and Sholi. Still, should he strike up a new alliance, all systems could be go at Touch and Go once again. As Brown puts it, "Geoff Travis has closed Rough Trade multiple times now and come back with it."

What of the local label landscape? Lookout! and Jackpine Social Club have ceased new releases, whereas Tigerbeat6 and Anticon have left town. Slumberland is surfing a twee rock revival, and hip-hop’s SMC has taken on bigger fish like Killer Mike. As newbie Bright Antenna appears on the horizon, veterans such as Alternative Tentacles, Fat Wreck Chords, Runt/Water, Quannum Projects, Birdman, Daly City, Dirtybird, and Hook or Crook are staying alive. AT celebrates its 30th anniversary this year. "As music and media become increasingly accessible instantly from anywhere, the role of curator is more important than ever – if I can access 10 millions songs instantly from my phone, how do I choose?," Isaac Bess, director of business development at SF’s IODA (Independent Online Distribution Alliance) writes via e-mail.

Business is bright, thanks to smart planning, for SF distributor Revolver USA and Midheaven Mailorder, which supports labels such as Gnomonsong and DiCristina Stair Builders. "We’re doing well, and I think that has a lot to do with what our expectations are, and not looking for a big record to be carried by Walmart and Target," says general manager Mike Toppe, who thinks it’s more important to "keep connecting with people who are passionate about music."

Fat Mike, who started Fat Wreck Chords to put out music by his bands NOFX and Me First and the Gimme Gimmes, has a more hardcore perspective. "In the ’90s, every fucking band we signed sold a shitload of records and got popular all over the world. It was ridiculous," he e-mails from NOFX’s current European tour. "Now only the really good bands can sell a decent amount. That’s okay, though. This industry collapse is mostly killing mediocre bands." As for the decline in CD and recorded music sales, the SF road warrior believes that’s not going to stop: "The record industry party is over, but great live bands will always do okay."

But what about the groups that can’t pick up blogosphere buzz? Both Jacobs and Brown acknowledge the difficulty in developing emerging or even mid-level bands via traditional avenues. Add in the complicating factor of so-called 360 deals, in which a label takes a percentage of all artist revenue in exchange for promotion, and you have what Brown calls a "destructive" outlook. "The bottom line is musicians should get paid," he said. "Forget about how labels are doing — how are musicians doing in this climate?

"I think new ideas really have to come into play, and those have to be based on the quality of life for the musician, not the company that comes up with an application," he continued, touching on the lack of public funds for musicians and lack of official recourse for bands if, for instance, they don’t get paid by a club. "It’s basic stuff, but it’s harder to look past those things. It has to go back to the content provider."

A weekend under the influence: SFIFF 52

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By Lynn Rapoport

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Mabel (Gena Rowlands, in an Oscar-winning Oscar-nominated performance) has a rare calm moment in A Woman Under the Influence.

The first weekend of the 52nd San Francisco International Film Festival produced a cheerful, if windblown, bottleneck along Post between Fillmore and Webster. The one outside the Castro on Sunday night had a slightly more shell-shocked emotional tenor. The crowd seemed in good enough spirits (though this reviewer admits to getting a bit misty-eyed) while giving Gena Rowlands a standing ovation when the 78-year-old actor came onstage before John Cassavetes’s A Woman under the Influence (1974). But the film’s two and a half hours of abrasive familial dysfunction and poorly attended-to mental illness are rough going, and no one could be blamed for wandering home in a torn-up, overwrought fugue. (Think happy thoughts: like the 2008 restoration of the film by the UCLA Film and Television Archive, underwritten by Gucci.)

Less emotionally brutalizing was Friday evening’s screening of Art & Copy (screening again Tues/28, 4 p.m., Sundance Kabuki), where doc maker Doug Pray (Hype!, Scratch, Surfwise) expressed satisfaction at finally getting a film into SFIFF and noted that this one was centered on “the idea that if you hate advertising, make better advertising.”

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Radio, radio: a scene from Art & Copy.

DVRs, defaced billboards, and legislation to calm the traffic of branding on virtually every visible surface of public space also spring to mind. However, these and other options are left unexplored in favor of a brief history of the revolution that occurred in advertising midcentury; commentary by some of the rebel forces and their descendants, including locals Jeff Goodby and Rich Silverstein (Goodby, Silverstein, and Partners); entertaining behind-the-scenes tales of famous ad campaigns (Got Milk?, I Want My MTV); and stats sprinkled throughout on advertising’s cultural presence, nationally and globally.

Self-comparisons to cave painters and a sequence near the close that feels like an advertisement for advertising (emotionally evocative images of children’s faces upturned in wonder to the sky: check) are somewhat uncomfortable to witness. But Pray has gathered together some of the industry’s brighter, more engaging lights, and his subjects discuss their vocation intelligently, thoughtfully, wittily, and often thoroughly earnestly. It would have been interesting to hear, amid the earnestness, and the exalted talk of advertising that rises to the level of art, some philosophizing on where all this branding and selling gets us, in an age when it’s hard to deny that breakneck consumption is having a somewhat deleterious effect on the planet. Or to learn from these creatives whether there were any ad campaigns they wouldn’t touch, such as one centered on nuclear energy, or the reelection of George W. Bush. After all, many of the interviewees come across as shaggy ex-hippies and liberals. (Last fall, trade paper the Denver Egotist referred to “the entire creative world uniting against John McCain in support of Barack Obama” in a piece on Goodby, Silverstein-made anti-McCain spots that the agency cofounders reportedly underwrote personally.) Still, the film is successful in humanizing and developing a richer picture of a vilified profession. And what it reveals about the visions of its subjects (one compares a good brand to someone you’d like to have over for dinner; another asserts that “great advertising makes food taste better”; another that “you can manufacture any feeling that you want to manufacture”) makes it worth watching, even if you make a habit of fast-forwarding past the ads.

Randi Rhodes is coming back!

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By Bruce B. Brugmann

Well, I was driving along on my way home from work and, poof, all of a sudden Randi Rhodes was gone from her slot on Green 960 radio.

Yesterday, I was driving home on my way from work and, poof, the announcer said Randi Rhodes was coming back. Go the Green 960 website.

So I did and was delighted to find the mystery deepening. “Happy Friday,” the website said. “Yesterday was combination of netroots activism, modern media, and a big slice of luck.”

Well, what happened to Randi and why and how is she coming back? Here’s the official explanation below from the Green 960 website. Let me add that I enjoy Randi greatly, I missed her, and I made a few attempts to find out what happened to her, but no luck. I like her laugh, I like her point of view, I like the way she pounces on issues with facts and passion, and I like the fact that she is a stand-up comedienne who happens to do a damn good job on talk radio. And I like the fact that she would not be chosen to do what Rachel Maddow and Ed Schulz were tapped to do: national television shows. There is no one else quite like her on radio or television.

But will she really be back on the air on May ll, airing weekdays from 3 to 6 p.m.?

PREMIERE RADIO NETWORKS SYNDICATES THE RANDI RHODES SHOW

Premiere Radio Networks is proud to announce that beginning May 11, The Randi Rhodes Show will join its lineup of nationally syndicated radio programs. Airing weekdays from 3 – 6 p.m. ET, Rhodes will enlighten and entertain listeners with her trademark candid, incisive opinions, as well as her biting sense of humor, as she discusses everything from news and current events, to politics and hot topics. The Randi Rhodes Show will broadcast live from Washington, D.C., and will be heard on affiliates across the nation, including KTLK-AM/Los Angeles, KKGN-AM/San Francisco and KPOJ-AM/Portland.

“Right now, America needs a voice that reflects its hopes and concerns. It will be my privilege and pleasure to provide vital information to the public about everything that is possible in the 21st century, and also have a few laughs along the way,” commented Rhodes. “Premiere is an incredible family of radio pros, and is truly the most talented and experienced radio syndicator in the nation. I’m exited about this decision and Premiere’s enthusiasm for this partnership. It’s truly a dream come true.”

Premiere Radio EVP of Affiliate Marketing Julie Talbott stated, “Randi has carved a niche in Talk radio with her straight-forward approach, intelligence, wit and fact-driven content – qualities that attract audiences. We can’t wait to deliver The Randi Rhodes Show to stations nationwide.”

Click here to read Green 960’s blog explaining the comeback of the Randi Rhodes Show.

Gudrun Gut beguiles with a missing essence

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By Brandon Bussolini

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Now two years old, I Put A Record On (Monika Enterprise, 2007) is a record worth lingering over. In addition to being the first solo release from Berlin-based musical gadabout Gudrun Gut, it’s remarkable for how unhurried Gut was in getting around to it: she’s been appearing on recordings and taking part in bands, including a very early incarnation of industrial pioneers Einstürzende Neubauten, for more than 25 years. Her intervening projects give her the aura of a post-punk Zelig: the all-female punk band Malaria! formed in 1981, toured with the Birthday Party, put out records on Belgian boutique label Les Disques du Crepuscule, and performed with Nina Hagen at Studio 54. That the group’s "Kaltes Klares Wasser" would later be covered by Chicks on Speed was a foregone conclusion.

The synthy Matador followed Malaria!’s collapse, but Gut’s ear eventually led her, like any good punk, to techno. With typical great timing too: Berlin had just undergone a techno surge, spearheaded by local duo and label Basic Channel. Abandoning the constraints of playing in a rock-derived idiom in favor of more uncharted territory, Gut also had the good fortune to run across Thomas Fehlmann, a producer with post-punk roots who had recently collaborated with Alex Paterson’s downtempo pace-setters the Orb. The two founded Ocean Club, producing a weekly genre-stomping radio show as well as parties that paired up the likes of experimental techno producer Thomas Brinkmann and splay-shirted southern gothic aficionado Nick Cave.

Gudrun Gut, “Move Me”

None of this is new information, yet all of it is useful in figuring out how something like I Put A Record On came to be. It’s beguiling, though free of big emotions — a left-field album that functions as an homage to the hypnotic state that arrives when you’re sucked into your favorite records. The best indication of its intentions is provided by the sole cover, of Smog’s "Rock Bottom Riser." Gut’s multitracked delivery, over a pistoning and downtrodden bass drum, is affectless enough to make Bill Callahan’s stoic delivery on the original seem fraught. But by the end, she’s wracked by giggles, as flecks of color appear like dried spittle around the monochrome production’s edges. Gut is not an innovator: both she and Callahan are committed to the old, inexhaustible pleasure of listening, regardless of genre. And this is exactly what allows them to give back to their respective genres, if we care to name them, some missing essence.

FIRST PERSON MAGAZINE BENEFIT PARTY FEATURING GUDRUN GUT with Thomas Fehlmann, Grecco Guggenheit, and Nate Boyce. Fri/24, 10 p.m., $10-$15. Mezzanine, 444 Jessie, SF. (415) 625-8880. www.firstpersonmag.com/events.htm

Get juiced

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culture@sfbg.com

I hate the Master Cleanse.

Fighting against our bodies to make them do what we want is counterproductive. Instead, if you cultivate better communication with your body’s needs and reward yourself when it does what you want, you’ll find you’re more in control of your health.

Detoxing can be a beneficial part of doing this, and I have reaped many benefits from raw vegan detoxes. But contrary to popular belief, I think the Master Cleanse does exactly the opposite.

For those who don’t know, the Master Cleanse is a program in which you drink a concoction of water, lemon, maple syrup, cayenne pepper, and sea salt — exclusively — for anywhere from three to 30 days. The cleanse was recently made popular stars like Beyonce as a last-minute way to look good on the red carpet. But some experts say that the cleanse can do more harm than good.

One issue, says Carolynn Kraskouskas, owner and operator of Be Whole Again! Bodywork and Nutritional Therapy (Be Whole Again!, 3150 18th Street Mlbx 511, Suite 536, SF; www.bewholeagain.net), is that cleansing is supposed to allow your organs to rest and rebuild themselves. But the average person doesn’t eat a healthy enough diet to sustain itself during the Master Cleanse. Therefore the diet creates a system where the body doesn’t think you will treat it right, throwing the internal balance off. “For most people who are sick, run-down, tired, or stressed out, it simply stresses the system out more, creating inflammation and a rise in the pH of a person,” she said. This can create an acidic environment that, she says, is the basis for all disease.

So what’s the alternative? Many experts recommend raw juice cleansing or fasting. (Juice is considered raw when it comes from fresh fruits and vegetables, never frozen or pasteurized.) Some say a juice fast can diminish the ill effects of fatigue, skin issues, headaches, insomnia, weight loss and gain, and more.

But what of the lemons used in the Master Cleanse? Cherie Calbom, the “Juice Lady” on Raw Vegan radio (www.rawveganradio.com) admits these do provide some pH regulation and antioxidants, but not enough to deal with the amount of toxins being released during the cleanse. “If you don’t have antioxidants to bind to those toxins, they can do tissue damage,” she says. “Vegetable juice fasting is a much healthier way to go. Antioxidants bind the toxins and carry them out of the body.”

The toughest part about a raw juice fast is that the juice is extremely perishable and should be drunk immediately. There are steps you can take to store fresh juice for up to 24 hours, but, as you can imagine, this could be a full-time job. We’ve assembled a list of places in the city that can help you maintain a healthy juice fast while still having a life. Some places, like Juicey Lucy’s, even provide personal consultations to determine the best cleanse for you and then deliver a full, raw, seasonal, organic juice cleanse to your door three days a week. And don’t forget that even if you’re not fasting, fresh juices are a healthy — and delicious — addition to any diet.

(For more specific information on juice fasting, visit our Pixel Vision blog at www.sfbg.com/blogs/Pixel_Vision.)

Juice Resources

Cafe Del Soul 247 Shoreline Hwy, Mill Valley. (415) 388-1852, www.cafedelsoul.net

Cafe Gratitude 2400 Harrison, SF. (415) 830-3014; 1336 9th Ave, SF. (415) 683-1346; 1730 Shattuck, Berk. (510) 725-4418; 230 Bay Place (in Whole Foods), Oakl. (510) 250-7779, www.cafegratitude.com

Cafe Venue 218 Montgomery, SF. (415) 989-1144, www.cafevenue.com

Estela’s Fresh Sandwiches 250 Fillmore, SF. (415) 864-1850

Frapez 4092 18th St., SF. (415) 503-1323, www.frapez.com

Herbivore 983 Valencia, SF. (415) 826-5657; 531 Divisadero, SF. (415) 885-7133; 2451 Shattuck, Berk., (510) 665-1675

Judahlicious 3906 Judah, SF. (415) 665-8423, www.judahlicious.com

Juicey Lucy’s market stand at Noe Valley’s farmers market on Saturday and Kaiser Permanente’s Geary Street farmers market on Wednesday; 703 Columbus, SF. (415) 786-1285, www.juiceylucys.com

The Plant Cafe Organic 3352 Steiner, SF. (415) 931-2777,www.theplantcafe.com Power Source Juice Bar 81 Fremont, SF. (415) 896-1312, www.powersourcecafe.com

Raw Energy Organic Juice and Café 2050 Addison, Berk. (510) 665-9464, www.rawenergy.net

Sidewalk Juice 3287 21st St., SF. (415) 341-8070

 

First Person Magazine benefit party featuring Gudrun Gut

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PREVIEW Now two years old, I Put A Record On (Monika Enterprise, 2007) is a record worth lingering over. In addition to being the first solo release from Berlin-based musical gadabout Gudrun Gut, it’s remarkable for how unhurried Gut was in getting around to it: she’s been appearing on recordings and taking part in bands, including a very early incarnation of industrial pioneers Einstürzende Neubauten, for more than 25 years. Her intervening projects give her the aura of a post-punk Zelig: the all-female punk band Malaria! formed in 1981, toured with the Birthday Party, put out records on Belgian boutique label Les Disques du Crepuscule, and performed with Nina Hagen at Studio 54. That the group’s "Kaltes Klares Wasser" would later be covered by Chicks on Speed was a foregone conclusion.

The synthy Matador followed Malaria!’s collapse, but Gut’s ear eventually led her, like any good punk, to techno. With typical great timing too: Berlin had just undergone a techno surge, spearheaded by local duo and label Basic Channel. Abandoning the constraints of playing in a rock-derived idiom in favor of more uncharted territory, Gut also had the good fortune to run across Thomas Fehlmann, a producer with post-punk roots who had recently collaborated with Alex Paterson’s downtempo pace-setters the Orb. The two founded Ocean Club, producing a weekly genre-stomping radio show as well as parties that paired up the likes of experimental techno producer Thomas Brinkmann and splay-shirted southern gothic aficionado Nick Cave.

None of this is new information, yet all of it is useful in figuring out how something like I Put A Record On came to be. It’s beguiling, though free of big emotions — a left-field album that functions as an homage to the hypnotic state that arrives when you’re sucked into your favorite records. The best indication of its intentions is provided by the sole cover, of Smog’s "Rock Bottom Riser." Gut’s multitracked delivery, over a pistoning and downtrodden bass drum, is affectless enough to make Bill Callahan’s stoic delivery on the original seem fraught. But by the end, she’s wracked by giggles, as flecks of color appear like dried spittle around the monochrome production’s edges. Gut is not an innovator: both she and Callahan are committed to the old, inexhaustible pleasure of listening, regardless of genre. And this is exactly what allows them to give back to their respective genres, if we care to name them, some missing essence.

FIRST PERSON MAGAZINE BENEFIT PARTY FEATURING GUDRUN GUT with Thomas Fehlmann, Grecco Guggenheit, and Nate Boyce. Fri/24, 10 p.m., $10-$15. Mezzanine, 444 Jessie, SF. (415) 625-8880. www.firstpersonmag.com/events.htm

Snap Sounds: Telepathe

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By Brandon Bussolini

telepathe0409.jpg

Telepathe
Dance Mother
(IAMSOUND)

This debut album by a pair of self-styled producers finds Telepathe at a turning point some bands only reach several albums into a career: ditching trad-rock instruments for synths and sequencers, and turning an eager ear to mainstream pop for cues. A recent profile of the Brooklyn duo of Melissa Livaudis and Busy Gangnes (formerly of First Nation and Wikkid, respectively) portrays the band coming into their own by teaching themselves Logic, a software production program. Dance Mother fleshes out the bedroom MIDI sketches with typically precise production from TV on the Radio’s Dave Sitek. It also plays up the retro-tinged futurism: indie rock’s an insular enough realm for a Mannie Fresh influence to be novel.

Dance Mother’s opening salvo of “So Fine” and “Chrome’s On It” crutches on indie’s high tolerance for mumbled lyrics. The melodies are potent stuff, though, and the songs’ productions, which might not have taken more than an hour to throw together, stand in contrast to the vogue for wet, overworked psych in the band’s home borough. There’s some unevenness to those two compositions, which are the album’s most accessible — it’s hard to decide if we should be frustrated or charmed by the way “Chrome’s On It” smooshes lovely, indistinct verses into a daffy breakdown. (Livaudis sings, with a kind of suburban carriage, “I can feel the real bang bang, I can do the real thing thing.”)

Telepathe, “So Fine”

By track three, Telepathe’s trying out both the Velvet Underground’s “Murder Mystery” sing-speak and the heavy romantic deconstruction of the Kim Gordon-led Sonic Youth Evol track “Shadow of a Doubt.” By track six, Livaudis and Gangnes are making a serious bid to be your new favorite band with the heart-tugging swoon “Can’t Stand It,” which marries the chiming samples of Seefeel and waifish contemporary doo-wop. It’s so measured that you take your emotional cues from the repeating floor tom-and-cymbal motif. This is one to put on the shelf next to Merriweather Post Pavilion for achievements without guitars.

More vids after the jump:

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.”

Smells like 20-something angst: 500 Days of Summer

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By Juliette Tang

Wednesday night at the Sebastiani Theatre in downtown Sonoma, the Sonoma International Festival kicked off with a showing of 500 Days of Summer, an indie-romance starring the lovely and blue-eyed Zooey Deschanel and the surprisingly-cuter-as-he-ages Joseph Gordon-Levitt, alum of 3rd Rock. Directed by music video director Marc Webb, the cloyingly sentimental movie makes liberal use of a twee ‘supermix’ of popular college radio love songs, which included The Smiths, Regina Spektor, Doves, Belle & Sebastian, Black Lips, Spoon, Jack Penate, and Feist — “Mushaboom,” during a wedding scene, no less. About an unstable romance between two scruffy, marginally hip 20-somethings in Los Angeles, the movie was a hit with a Sonoma audience, who clapped and cheered after the showing. It ought to be mentioned, though, that this audience inexplicably also loved the Comcast commercial that played during the previews, clapping and cheering after that as well.

Deschanel and Gordon-Levitt play Summer and Tom, two people who look like everything that protagonists in ‘quirky’ emo rom-coms are supposed to look like. She has long wavy hair with bangs, wears opaque tights, ballet flats, and little cardigans over vintage dresses. He appears to have a large collection skinny ties, sweater vests, Pumas, and messenger bags. Tellingly, in one scene, Tom actually admits that he fell in love with Summer at first sight, because she looks like what his dream girl would look like. Called 500 Days of Summer because Tom’s relationship with summer lasts – hah – 500 days, most of those 500 days are wasted away by Tom, who is either pining after Summer, or subsequently whining when their whirlwind relationship ends abruptly. The film’s message is that Tom’s grave was entirely self-dug because he didn’t recognize the warning signs. As viewers, we’re left wondering why we should feel sorry for Tom at all if the mess was of his own making.

Yelped

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› le.chicken.farmer@gmail.com

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

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

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

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

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

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

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

No.

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

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

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

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

The sausage was dry.

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

EATS

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

50 Clement, SF

(415) 752-2938

No alcohol

MC/V

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

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

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

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By Kimberly Chun

chrisbrowndancing.jpg
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.

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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."

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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.

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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."

West ghost

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› johnny@sfbg.com

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, Lee Anne Schmitt’s beautifully photographed, concisely narrated, and ominously structured look at the Golden State and the state of capitalism. Sneak previewing at Other Cinema for one night before it screens in full 16mm glory at the upcoming San Francisco International Film Festival, Schmitt’s labor of love, shot between 2003 and 2008, is 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.

Categorically speaking, Schmitt’s left-leaning survey of the American landscape belongs next to recent cinematic people’s histories such as Travis Wilkerson’s An Injury to One (2002) and John Gianvito’s Profit Motive and the Whispering Wind (2007). Her dedicated photographer’s eye for still-life truths of American sightseeing is influenced by Cal Arts filmmaking elder James Benning, while her carefully selective use of archival audio — in particular, radio — makes California Company Town an understated female answer to the gay reading of homophobia in Ohio within William E. Jones’s too-obscure classic of new queer cinema, Massillon (1991).

One by one, California Company Town investigates this state’s ghost towns — doom-laden boomtowns of the past where today, at best, bedazzled modern day cowboys and cowgirls reside and line dance for tourists. Surveying forgotten landscapes that verge on post-human, Schmitt has an eye for signs of the times, whether they be literal ("USA WILL PREVAIL" on a theater’s marquee in Westwood; "Stay out" spray-painted over a "Prayer Changes Things" billboard in Trona) or figurative: spider webs of broken glass; a tree falling through the roof of a house; punk rock kids skateboarding near factory ruins. She pairs these sights with the sounds of speeches by FDR, Eldridge Cleaver, Cesar Chavez, Ronald Reagan, radio testimonials, and — most contentiously — her deceptively flat voice-over, which renders each titular site as a place that looks like a dead end yet has roiling life beneath its stingy, abandoned surface.

California Company Town is a one-woman road movie. A lonely film, but also an act of strong resolve built to last — and, in its original filmic form, slowly decay. Over and over, from Chester to Scotia through to McCloud and even Richmond, Schmitt traces the varied yet similar ways in which private interests crush community and exploit natural resources. In the process, she reveals the ultimate forfeiting of American pride of ownership. Grim stuff, yet presented in a manner that ultimately flouts the dry speechifying of academia, doctrinaire ideologues, and public television pablum-pushers. Schmitt concludes her film with a mute final gesture designed to start arguments.

CALIFORNIA COMPANY TOWN

Sat/21, 8:30 p.m.; $6

Other Cinema at Artists’ Television Access

992 Valencia, SF

(415) 824-3890

www.othercinema.com

CALIFORNIA COMPANY TOWN is also screening April 30, May 2, and May 4 at various venues as part of the Golden Gate Awards Competition in the 52nd San Francisco International Film Festival. www.sffs.org>.

Recreational transmissions

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› a&eletters@sfbg.com

Ariel Pink’s music has never existed above or apart from the scrambling music critics do to make sense of it. Not that the busted transmissions making up his Haunted Graffiti series could ever be accused of careerism or provocation. The multiyear lapse between the initial release of his tapes and their reissue under Animal Collective’s Paw Tracks imprint is a requirement for so-called outsider cred, though using the term for an art-schooled kid from Los Angeles is dubious. But even viewed cynically, it’s a serious lacuna, one that doesn’t cotton to Internet imperatives of irony, fidelity, or decipherability.

The received wisdom holds that Pink’s hiss-scored no-fi home recordings are a ghostly take on 1970s MOR/AM radio pap. He does spend serious time anchored in Yacht Rock Cove, particularly on HG entry Scared Famous (self-released, 2002; Human Ear Music, 2007). The cramped verses of Scared‘s exemplary "Gopacapulco" open onto a jingle-chorus, a glimpse of cruise ship Thanatos. The album’s other memorable tracks find him slipping through more schizo territory, with Pink mainlining Deniece Williams over the irrepressible pharyngeal keyboards of "Are You Gonna Look After My Boys?" and huffing Scotchgard on the Kinks’ village green via "Beefbud."

This is music that does more than point to other music, though. If there’s a lasting appeal to Pink’s music, it doesn’t have to do with name-dropping or referentiality — it has everything to do with making these connections problematic, suggesting an outside to the music only to bounce the listener back on the artist’s hermetic world. That’s another way of saying that Pink’s deliberately shoddy craftsmanship is the point of his music: his verses, choruses, and bridges can be so nonlinear they make track divisions seem like an arbitrary nicety.

There’s a tossed-off bit of cruise-ship pondering in Vita Sackville-West’s 1961 novel No Signposts in the Sea that can partly clarify the way in which Ariel Pink is not ironic. Narrator Edmund caps a brief description of harbor cranes by imagining one picking up and flinging an automobile, thinking that the car would appear "as foolish as any object deprived of its rightful means of progression." There’s no way Ariel Pink’s music could be unironical, but the kind of built-in irony isn’t automatic or mocking — the traces of pop moments past that make up the uneven surface of his music aren’t floating there to show how ridiculous and impotent the feelings of our parents’ generation were. Like his patrons in Animal Collective, Pink’s music deals in, to paraphrase critic Mike Powell, the terror and murk of firsts.

Not to say there isn’t humor to spare — just that I won’t waste time trying to explain what’s satisfying about misanthropic bursts like "mankind is a Nazi" on the 10-minute prog epic "Trepanated Earth" off Worn Copy (Paw Tracks, 2005). Pink’s inability to recreate his ad hoc recordings live has earned him a special place in the annals of "you get what you pay for" online vitriol. But how can one expect him to be faithful to his recordings when the recordings aren’t even faithful to themselves? *

ARIEL PINK

With Duchess Says and Cryptacize

Tues/17, 9 p.m., $10–$12

Bottom of the Hill

1233 17th St., SF

(415) 621-4455

www.bottomofthehill.com

Only the hits

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Philly’s Kurt Vile, a self-described homebody and "total record head," has been bashing out one jam after the other ever since his bluegrass-crazed father bought him a banjo for his 14th birthday. Born and raised just outside city limits in a town called Lansdowne, Vile got bitten by the music bug early on, listening to "bluegrass shit like Doc Watson" in his dad’s car while also being "way into acoustic, weird Beck, Pavement, and Sonic Youth and all that" before schooling himself on the likes of Brian Eno, John Fahey, and Neil Young.

"I’ve always been obsessed with a ton of bands — just buying lots of music — and always wanted to play guitar," he explained by phone from the brewery he works at in Fishtown, a section of Philadelphia he characterizes as the "Williamsburg of Philly." "I’m kind of like a sponge and read a lot of rock bios too, so once I get obsessed, I just buy everything by whoever I’m really obsessed with, and it just turns into an influence."

Already seven self-issued CD-Rs deep, Vile’s official debut, Constant Hitmaker (Gulcher), finally came last February, and spent much of the year as a buzz album. A compilation of Vile’s faves among his batch of CD-Rs, the album opens with "Freeway" — a true rock anthem that’s got all of the psych-pop and classic-rock fixings in all the right places. Constant Hitmaker also has neat little rustic-sounding fingerpickers like "Classic Rock in Spring" and "Slower Talkers" and includes plenty of tripped-out fuzz rockers for those who hail Spacemen 3 as godhead.

"There’s definitely a classic rock influence there," Vile said of Hitmaker. "I’m a fan of the song, and certain artists on classic rock radio have that thing where everything they do is great. ‘Freeway,’ for instance, sounds like Tom Petty and has that American pop feeling, but I also like to think that I make it my own, too."

Heading down the coast this week for his first West Coast tour, Vile is looking to having a prolific 2009: he plans to release both solo material and music from his band Kurt Vile and the Violators and unleash a whole stack of wax on banners like Mexican Summer, Skulltones, TestosterTunes, Woodsist, as well as a new full-length he’s currently shopping around to majors.

KURT VILE

With Meg Baird, Sean Smith, and the Jazz Band

Sun/15, 9 p.m., $7–$10

Amnesia

853 Valencia, SF

(415) 970-0012

www.amnesiathebar.com

Radio Africa and Kitchen

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› paulr@sfbg.com

Radio Africa and Kitchen is described by its Web site as a "nomadic" restaurant, but if it has anything like a home, it’s Coffee Bar, the Multimedia Gulch spot kitty-corner from Circolo. This juxtaposition isn’t as unlikely as it seems. Although the first thing you smell when you step into Radio Africa is Coffee Bar’s coffee, the smell reminds you that coffee is native to the highlands of east Africa — and Radio Africa’s food is east African in influence.

The maestro of the project is Eskender Aseged. In the autumn of 2004, having cooked professionally in Bay Area restaurants for two decades, he began Radio Africa on a small scale in his own home, serving dinners that reflected the cuisine of his native Ethiopia to groups of 15 or 20 people. Today, more than four years later, the heart of the drill remains much the same: inventive and elegant cooking that emphasizes healthfulness and carefully chosen ingredients in an atmosphere of (sometimes raucous) festivity.

Despite the arresting name, Radio Africa and Kitchen is several steps removed from Africa. It doesn’t even much resemble the Ethiopian restaurants you find along Divisadero Street in the Western Addition. Coffee Bar, as a locale, is a redoubt of pure Mission District monied hipsterdom: a vault of brick, concrete, and stainless steel, with industrial-style lighting, a gigantic, heavy door, and a large mezzanine.

On that mezzanine you will find the flickering light of votive candles, for a monastery effect. There are also big tables for big parties, along with a dining counter overlooking the bar. The Wi-Fi connection must be especially good at the counter, because it seems to attract diners with laptops, who sit there with plates of food while gazing into glowing screens like hardworking controllers at NASA’s Johnson Space Center, gobbling some takeout while maintaining radio contact during a space walk.

I do wonder about the etiquette of peering at a laptop, or into a handheld, while having dinner, especially when the food is as good as Radio Africa’s. Much as I love the traditional way of presenting the highly spiced dishes of Ethiopia and Eritrea — family-style, on mats of injera — I was delighted to find some of the flavors of east Africa handled in a different way. They’ve been passed through a California filter, in a sense. Also I was pleased to find meat de-emphasized, though I like meat. If you’ve been to one of the old-line places, you’ve probably noticed the prominence of beef. Radio Africa favors seafood and chicken instead, and many of the best dishes have no flesh at all.

We were particularly impressed by a green-bean salad ($6) — really an arugula salad with green beans, slivered almonds, dabs of notably creamy goat cheese, and long fingers of white, faintly blushing radish bound together with a simple vinaigrette. A salad like this one reminds us that there is an art to salad-making, particularly in winter, when not only is matériel in short supply but the human response to greens and uncooked vegetables is at its most reluctant and in need of coaxing.

Edamame hummus ($6) was very much like the usual chickpea kind, except with a faint sheen of green. The hummus was dressed with argan oil, which is derived from the pits of a fruit tree native to Morocco and is thought to have many health benefits similar to those of olive oil. For dipping, the kitchen offered rounds of Tartine sourdough baguette instead of the usual pita bread or lavash.

Were the mushroom crostini ($6) mounted on rounds of toasted Tartine bread? The menu did not give the bread’s provenance, and Tartine would be a reasonable guess, but the question was mostly mooted by the tastiness of the topping: a coarse purée of brown mushrooms seasoned with berbere (an Ethiopian form of chili powder) and swabbed onto the toasts along with bits of basil and shreds of manchego cheese, for a hint of tang.

Seared Maine sea scallops ($6) came embedded in a granular purée of cauliflower (about the consistency of riced potatoes) that had been stewed alicha-style. Scatterings of minced chive helped this plate avert a complete white-out, as did the nice crusting on the scallops themselves, which can be overpoweringly rich and sweet but weren’t here.

Usually a special vegetarian plate makes me suspicious, but Radio Africa’s fantasy ($16) was a small ensemble masterpiece. The dramatis personae included lentils in two guises (green were mashed into something like dal; beluga remained whole), an expertly seasoned eggplant caviar, a wintry tagine of fennel and chard spooned over a foundation of couscous, and (also charmingly wintry) a chestnut salsa to bind the players into a whole of still-discernible parts.

The fantasy was so good that the menu’s premier item, a chunk of true Alaskan cod ($20), crusted with flaps of artichoke heart and seated on a low hill of couscous in saffron broth, slightly paled by comparison. We devoured it nonetheless, while noisy birthday parties unfolded at spacious tables on either side of us.

As befits the abbreviated menu, dessert is typically limited to a single possibility, such as vanilla ice cream ($6) — organic, in two scoops — with a couple of fabulously intense lemon cookies, a few blueberries, and a puddling of chocolate sauce, the last two items combining in a strange harmony as well as providing a wealth of antioxidants and going well with coffee, which — not surprising given the circumstances — is available. Wine and beer too.

RADIO AFRICA AND KITCHEN AT COFFEE BAR

Dinner: Thurs.–Fri., 6:30–10 p.m.

1890 Bryant, SF

(415) 420-2486

www.radioafricakitchen.com

Beer and wine

MC/V

Bearable noise

Wheelchair accessible