Review

Sorry, “Wolverine” — “Star Trek” is the first summer movie worth seeing

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Star Trek? Campiness (Shatner! Montalban!) aside, I was always more of a Star Wars person. That said, I’ve pretty much hated the last four Star Wars movies (yep, Skyguy, that’s me admitting I saw 2008’s pitiful cartoon Star Wars: The Clone Wars, on the big screen no less) — but I thoroughly enjoyed JJ Abrams’ Star Trek (out now). Over at io9, my former Guardian colleage Annalee Newitz’s review is entitled “The Sexualization of Spock” — so that alone should tell you that Trekkie purists might have Bones to pick (har) with Abrams’ youth-gone-wild study of the USS Enterprise. But from a summer-movie standpoint, this flick has it all: explosions, witty one-liners, a fast-paced plot, entire planets in danger, rakish heroes and charismatic villains (including Eric Bana as a sarcastic Romulan), a Beastie Boys-injected car chase, and Simon Pegg. Zoe Saldana’s Uhuru — all false eyelashes and miniskirt — is underwritten to a laughable extent. But that’s pretty much my only complaint, other than I didn’t get to see the movie in IMAX. Yet.

Um, and just for fun:

Live review: Kreator and Exodus deliver the quality bangover

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By LC Mason

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Kreator at a German fest earlier this year

Quality bangover: the gloriously painful aftermath that results after a night of heavy headbanging to brutal bass drum runs and diabolic guitar solos, characterized by roaring tinnitus, aching neck muscles, bruises and scrapes from slamming and stomping into others, as well as stiff hands from gratuitous handing and devil horn-throwing.

This was my condition when I woke up the next morning, ringing ears and all, after witnessing the merciless onslaught of the Kreator and Exodus show at Slim’s on Tuesday, April 28. Except I wasn’t brave enough to enter the roiling whirlpool of 200-pound man-bodies, because a lot more than bruises and scrapes would have gone down, especially as Kreator vocalist-guitarist Mille Petrozza repeatedly and ravenously commanded the audience to “kill each other in the mosh pit.”

In a rhapsodic homecoming performance that surely sated the entire pantheon of thrash metal gods, San Francisco’s legendary sons Exodus played faster and harder than any band half their age and challenged their fans, both young and old, to act accordingly.

Not in attendance

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le_chicken_farmer@yahoo.com

CHEAP EATS Greg handed me an open can of beer and it slid right through my fingers; that’s how greasy they were from eating meat, and that’s why this week’s love-letter-slash-restaurant-review begins in a puddle of foam on a beach blanket, and with the general sense that I very literally can’t hold my liquor.

Earl Butter had some napkins. Also: two homemade balsa wood airplanes, which he had left, intentionally, in a brown bag in my car. The napkins were in his pocket.

"I don’t want no kids touching my airplanes," he said as we were walking from the car to the party, bag of barbecue, a blanket, and a six-pack in tow.

We were not at the beach. We were in the Golden Gate Park, celebrating the recent arrival and impending departure of our old pal and ex Cheap Eats irregular Satchel Paige the Pitcher. He lives in Thailand now with his wife Ann Paige the Pitcher and their two little Wiffle-ballers, Nellie and Kelly Paige the Pitchers.

Every two years they all come back here just to get cold a little and see if they can make it into my column. Probably they have other reasons too. For years, for example, they’ve been trying to talk me out of my fear of flying and into visiting Thailand so they can take me to this restaurant near their house.

Greg is a vegetarian. I offered him the opportunity of a vegetarian’s lifetime: to smell or even lick my fingers, but he passed on this. Probably because his girlfriend was sitting right there — although it’s possible, I suppose, that he just didn’t want to lick my fingers. Or even smell them. Stranger things have happened.

Not that this is one of them, but Kid Coyote found a corner of a piece of old bacon in his backpack and ate it. He said it tasted like cologne. Now, a cologne that smells like bacon … Don’t do this to me! I’m practically a cannibal already.

Speaking of which, and bearing in mind that I recently renewed my poetic license, the love letter portion of this restaurant review will be in passionate, almost psychotic tribute to a red umbrella, not in attendance. It was cold out, and windy — too windy to stand up straight — but no threat of rain. Which was a good thing, because it was also too windy to open an umbrella anywhere but indoors, and everyone knows that’s bad luck.

The umbrella, just to be perfectly clear about it, is in no way associated with last week’s little number about the stuff guys leave at my apartment. Neither museum piece nor talisperson, this umbrella is an umbrella. It was given to me by a tall, dark stranger wearing mirror sunglasses, a funny hat, and a crooked, possibly fake mustache. He said something in French that I have not been able to translate any more precisely than, "Collect your family."

"Thank you. It’s red," I said, accepting the gift with a polite smile, also in French (the smile, not the sentences). And it hasn’t rained since.

Earl Butter hadn’t had lunch so we detoured to George’s, the new 24th Street barbecue, on our way to the park. It looks like it used to be a taqueria, but I’ll be damned if I can think of which one. Anyway, it’s a barbecue now. A kind of a smokeless barbecue. They admit it themselves on the back of the menu: "all meats are slow roasted continuously throughout the day." Technically that’s roastecue.

The three-way George’s special ($12.95) has chicken, beef, and ribs, so those were the three kinds of grease that lubricated my spilt can of beer at the picnic. And it was good meat, and good sauce, and good bean salad and salad salad by way of sides. I let Earl Butter eat the potato and roll, as I’d already had lunch once.

It was a great and windy and cold party, with kids and soccer balls and croquet, potato chips, Oreos, friends I hadn’t seen in a while … and all I could think about was my red umbrella, not in attendance.

At night now, if I sleep, I dream weather reports, and, yes, it’s May, it’s California, but I simply can’t wait for it to rain.


GEORGE’S BBQ

Daily, 11 a.m.–8 p.m.

3231 24th St., SF

(415) 550-1010

Beer & wine

Cash only

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

Sita Sings the Blues

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REVIEW A few years ago, independent animator and comic strip artist Nina Paley left San Francisco for India, where her boyfriend had found employment. A while later, during a visit home, she received a surprise, brusque communication from the bf informing her she need not return — the relationship was over. Just what the bf ultimately got out of this episode is unknown. But Paley got posterity: her first feature film, inspired by both the breakup and the ancient Sanskrit epic the Ramayana, is artistic therapy that also happens to be just about the most delightful movie in eons, cartoon or otherwise. Utilizing very different animation techniques, she cuts between a blatantly autobiographical tale of romantic woe and the mythological travails of Sita, beloved of the noble Rama. He rescues her from an amorous, abducting rival, but his chivalry dies when false accusations about her "purity" threaten to tarnish his image. Then, as now, men are pigs. Sita wriggles through her fate like a Bollywood Betty Boop, frequently crooning vintage 78 tracks by Jazz Age blues chanteuse Annette Hanshaw, and the visual wit on display is akin to Max Fleischer’s antics plus intellectual gamesmanship, grotesque streaks, and eye-popping color. Paley breaks the fourth wall in umpteen ingenious ways. Sita Sings the Blues is so full of fun and invention you may start looking forward to seeing it again after it’s barely started.

SITA SINGS THE BLUES runs Fri/8–Tues/12 at the Red Vic. See Rep Clock.

“Desiree Holman: Reborn”

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REVIEW It’s time to dance — to sashay from the video installation within Nick Cave’s "Meet Me at the Center of the Earth" at Yerba Buena Center for the Arts to the video aspect of Desirée Holman’s part of the SECA exhibition, now in its last days at San Francisco Museum of Modern Art. To hustle between the two is revealing. Not only do Cave and Holman share an irreverent interest in choreography and the unity or community that can spring from mutual movement, they also devote considerable creative energy to costuming. Most compelling of all, these strange kin tap into and surrealistically subvert (in Holman’s case) or explode (in Cave’s instance) conventions regarding race relations in the early Obama era. Think about it. Dance to this.

Closer to the Tenderloin at Jessica Silverman Gallery, Holman turns her attention to the feminine and maternal in "Reborn," a solo show that, much like her SFMOMA contribution, mixes drawings, mask-making (or more precisely here, doll-making), and video involving choreography. Holman’s drawings for the exhibition are as sickly they are lovely — a woman’s split ends take on a windswept weeping willow quality. In the alluring yet disgusting series of images, milk spills from mothers’ mouths as they nurse unsettlingly complacent babies. The video Reborn, nestled perversely in the cement block back room — or should I say back womb? — of Silverman Gallery, mines comedy and the type of incipient frustration that can grow into rage. It does so via games of duck-duck-goose, hummed lullabies, and the occasional bedazzled burka.

DESIRÉE HOLMAN: REBORN

Through May 30. Tues.-Sat., 11 a.m.-6 p.m. Silverman Gallery, 804 Sutter, SF. (415) 255-9508. www.silverman-gallery.com

Making sunshine work

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EDITORIAL The Sunshine Ordinance Task Force and the Ethics Commission are talking to each other, which is some small progress on one of the most annoying lingering issues in San Francisco. But the joint meeting last week, while positive in tone, didn’t solve the basic problem.

Under the city’s Sunshine Ordinance, the task force investigates complaints about city agencies improperly withholding records or meeting in secret. If the task force members find that there’s been a violation — and that the matter is serious enough to merit enforcement action against the city officials involved — the file is forwarded to Ethics, which can charge elected and appointed officials with misconduct.

But that never happens.

Fourteen times the task force has asked Ethics for action, and 14 times those cases have been dismissed — with little serious investigation. In fact, at the April 24 meeting, John St. Croix, the executive director of Ethics, admitted that his staff doesn’t always interview the complainants in these cases. Instead, Ethics asks the respondent for his or her side, and relies heavily on the advice of the city attorney.

That’s a problem in itself, because sometimes City Attorney Dennis Herrera will advise a department to keep something secret when the task force — which has its own lawyer, also from the City Attorney’s Office — disagrees. And in some cases it’s very clear that city officials have willfully ignored, defied, or sought to circumvent the open-government law.

Mayor Newsom, for example, refuses to release his full appointments calendar, which would show the public whom he’s meeting with — a key way for San Franciscans to understand who is influencing, and seeking to influence, city policy. The New York Times just published a detailed investigative report on Treasury Secretary Timothy Geithner’s ties to Wall Street financiers, basing the story in significant part on a review of Geithner’s appointment calendars. The New York City Federal Reserve Bank — a secretive institution if ever there was one — released the calendars of Geithner’s appointments when he was bank president. Newsom can certainly do the same, and the law requires him to. But he simply ignores that mandate.

The district attorney also has the authority to enforce the law, but has never filed a single sunshine violation case.

The San Francisco Sunshine Ordinance is supposed to be the best and most comprehensive law in the state ensuring public access to government activities. But it’s rendered almost meaningless when city officials can defy it, routinely, and suffer no consequences.

The current enforcement system is simply not working. The supervisors should hold hearings on this with the goal of placing a charter amendment on the ballot giving the task force the independent authority to order documents released and adopting a more effective way to sanction officials who disregard the law. The task force should also have the right to take cases directly to the Ethics commissioners and prosecute them in public before the full commission. It’s the biggest open government issue in the city right now. Which supe wants to take it on? *

Mope n’ twee: SFIFF 52’s second weekend

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By Lynn Rapoport. Read Lynn’s report from the first SFIFF weekend here, and Natalie Gregory’s review of SFIFF flick Crude here.

Parked a little ways past the midway point in the SFIFF calendar, the fest’s official centerpiece film, the romantic comedy 500 Days of Summer, packed the Sundance Kabuki’s main house on Saturday night, with most of the appreciative audience lingering for the post-screening Q&A with director Marc Webb and stars Zooey Deschanel and Joseph Gordon-Levitt. (The latter set a lighter tone, or perhaps just startled audience members, by adopting a Ministry of Silly Walks stride and monster-metal voice for the pre-screening introductions.)

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Eternal Summer of the spotless mind?

Film review: ‘American Violet’

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By Natalie Gregory

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

American Violet Trailer

AMERICAN VIOLET opens Fri/1 in Bay Area theaters.

Anvil! The live glory of Anvil this Sunday

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By Marke B.

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This just in from metal heaven:

Ancient Canadian glam-slam heroes Anvil, the touching Spinal Tap of our times who have a critic-ecstatic doc about them (Anvil! The Story of Anvil) out at the moment, will be PERFORMING LIVE at the Bridge Theater this Sunday after two sure-to-be-raucous screening of said doc. Here’s Cheryl Eddy’s review of the film:

Screw you if you compare Anvil to Spinal Tap. Yeah, there are moments of eerie similarity (and Anvil’s drummer is named Robb Reiner — how’s that for a coincidence?), but this heartfelt doc (first seen locally at last year’s San Francisco Jewish Film Festival) doesn’t mock. Friends and bandmates since the early 1980s — when Bon Jovi-level success seemed nearly possible — Reiner and vocalist-lead guitarist Steve “Lips” Kudlow have been chasing the rock god dream their entire adult lives, toiling at day jobs and raising families but leaping at every chance to capture glory, be it a poorly planned European tour or an emotional trip back to the recording studio. Even if you scoff at hair bands, it’s hard not to get wrapped up in this tale of success, failure, and power chords. And with no less than Lars Ulrich calling Anvil “the real deal,” there’s no need to, uh, smell the glove.

And here’s what to shredxxpect:

Anvil, “School of Love” live, Japan, 1984

Anvil live with Anvil! The Story of Anvil
Sun/3, 7:10 and 9:45, $10.50
Bridge Theatre
3010 Geary, SF.
(415) 751-3212
http://www.landmarktheatres.com/Market/SanFrancisco/BridgeTheatre.htm

American Violet

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

AMERICAN VIOLET opens Fri/1 in Bay Area theaters.

“Dean Smith: thought forms 2003-2009” and “Dean Byington”

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REVIEW Call it the tumbling dice effect: dice keep appearing within Bay Area art this spring. First there was the gigantic 16-sided polygon by Brian Wasson at Ping Pong Gallery — a prediction device freed from its Magic Eight ball. Now viewers can roll with enigmas of a dice-centered video installation that is the most intriguing facet of Kent and Kevin Young’s "Jury Breaks DNA Deadlock" exhibition at Steven Wolf Gallery. They can also stare deep into a large-scale C-print of a many-sided die that doubles as a calendar in Matt Keegan’s show at Altman-Siegel Gallery, "Postcards & Calendars." Yet the best invocation of chance and rolling dice takes place just out of sight — or does it? — in a knockout piece within Dean Smith’s "thought forms 2003-2009" at Gallery Paule Anglim. Smith’s 2005 colored-pencil drawing thought form #11, from 2005, was generated by repeatedly rolling a tetrahedron. Smith’s process renders an object — a meta-die — that is both two-dimensional and three-dimensional, and that ultimately collapses or blooms free from dimensionality. The piece’s shades of blue make this state of play a flirtation with the sublime.

The dice games mentioned above are something different from the clichéd forest animals and color-theory rainbows that invaded Bay Area art during stretches of the last decade, or the skulls that took over Artforum in the wake of Damien Hirst’s For the Love of God (2007) and Don Ed Hardy’s mass-production of tattoo imagery — they aren’t trendy gestures so much as chance manifestations. Smith’s thought form #11 is one expression within a multiyear project that yields ever-changing graphite on paper works and video. The pieces at Paule Anglim span from 2003 to 2008 and evoke everything from space ships or outer space community outposts to totems and medieval devices, while never remaining stuck in specificity. They’re well-paired with a one-room, four-piece show by Dean Byington, whose oil-on-linen extensions of collage are a Beatrix Potter-meets-Brueghel-in-paradise hallucinatory delight. "Oh my god, this is all diamonds!" a young girl exclaimed upon looking closely at one of Byington’s works, which seem like minimalist experiments with color from a distance. Step in closer and you’ll discover endless mountains, forests, and quarries; caves with cute yet unsettlingly prison-like windows carved into their sides; stacks of stalagmites; and greenhouses that resemble giant Cartier eggs. Oh, and the occasional strange half-fox half-rodent. Be sure to say hi.

DEAN SMITH: THOUGHT FORMS 2003-09 and DEAN BYINGTON Through Sat/2. Wed-Fri, 10 a.m.-5:30 p.m.; Sat, 10 a.m.-5 p.m. Gallery Paule Anglim, 14 Geary, SF. (415) 433-2710. www.gallerypauleanglim.com

SFIFF 52 review: “Crude”

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By Natalie Gregory

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If you were unaware of the lawsuit between the indigenous Ecuadorian people and Chevron/Texaco, watching Joe Berlinger’s Crude will get you up to speed. It’s a documentary about the case following the plaintiffs and their lawyers in their seemingly impossible fight against one of the most powerful American companies. Pablo Fajardo is the Ecuadorian native lawyer who battles with impressive, inspiring fervor on behalf of his indigenous citizens. Joining him is New York attorney Steven Donziger, a bilingual Harvard whiz who seems amazed that they are even getting through proceedings (the film certainly mentions the David vs. Goliath element of the lawsuit). The case is still locked in litigation and pending testimonies. But the film is powerful in its defense for the native people of Ecuador, and the state of the Amazon. If you only half-questioned Chevron’s ethics before, this film will make you opt for a Shell station — or some form of alternative transportation.

Crude screens at the San Francisco International Film Festival Wed/29, 6:30pm, Sundance Kabuki; Thurs/30, 6:30pm, Sundance Kabuki; and Sat/2, 6:15pm, PFA.

Film review: “Lost in the Fog”

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By Natalie Gregory

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The need…for speed.

If you’re into horses or horse racing, go see John Corey’s Lost in the Fog — Lost in the Fog being a famous steed who cleaned house in 2005. The film follows the success of the horse’s short career as told through the experiences of owner Harry Aleo and trainer Greg Gilchrist. Aleo is a semi-famous San Francisco local. He has pictures of President Reagan in his front office in Noe Valley and terms the neighborhood “Looney Valley.” (Guess who he probably voted for.) At any rate, the guy has owned horses for about 39 years. Fate brings him Lost in the Fog, a seemingly unstoppable horse that was born to run. The film doesn’t exactly explain the whole industry and sport of horse racing. But it’s fun to watch Lost’s rise to the top. The more he dominates, the more I understood why people go so nuts for these animals.

Lost in the Fog
is now playing at the Roxie.

Lymelife

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REVIEW It’s 1979, and disco isn’t the only thing that sucks for Long Island teen Scott (Rory Culkin). Bullies at school beat up his skinny 15-year-old ass; girl next door Adrianna (Emma Roberts) likes him, but "like a brother." Housewife mom Brenda (Jill Hennessy), neglected by real estate magnate spouse Mickey (Alec Baldwin), has gone kinda crazy. Buying into the paranoia around deer-tick-carried Lyme disease, she won’t let Scott go outside without duct-taping shut all worrisome gaps in his clothing. It’s pretty clear to everyone (particularly older son Jim, played by Kieran Culkin — who here seems a rare live wire in the usually underwhelming Culkin acting dynasty) but her that dad is cheating, though for a while no one guesses it’s with Adrianna’s bitchy mum Melissa (Cynthia Nixon). Melissa has her own problems at home, given that husband Charlie (a strikingly tragicomic Timothy Hutton) really does have Lyme disease, which has turned him from a dynamo into an exhausted, pitiful shell of a man. Yeah, you’re thinking, do we really need another dysfunctional-family flashback with the requisite retro pop hits, pot smoking (back when it came dirt cheap), awkward virginity loss, and nostalgically horrible decor? Sure, why not. Lymelife treads no original territory, but its setting and characters are granted more than skin-deep authenticity, and the tangled conflicts in director Derick Martini and cowriting brother Steven Martini’s screenplay really do lead somewhere interesting, even important. There are some annoying quirks, but the overall the Martinis nail a savvy balance of comedy and drama. Plus, amid numerous good performances, there’s Baldwin giving a smug, surly yet sympathetic one that should be a shoo-in for award consideration if anyone still remembers little Lymelife at year’s end.

LYMELIFE opens Fri/24 in Bay Area theaters.

Film review: “The Black Balloon”

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By Natalie Gregory

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Elissa Down’s The Black Balloon is an impressive little film. The Australian import follows the Mollisons, a family centered on their autistic son Charlie (an awards-worthy performance by Luke Ford). It is told mainly through the eyes of Thomas (Rhys Wakefield), Charlie’s younger brother. We see Thomas struggle with the perception of his brother by his peers and his constant regret that Charlie is not normal. His mother Maggie (played with maternal strength by Toni Collette) and father Simon (Erik Thomson) love Charlie unconditionally and take excellent care of him. And there are certainly incidents to be taken care of. Maggie and Thomas argue just after Charlie has just defecated on his bedroom floor. The reason? Thomas locked him in his room when Thomas’ love interest drops by. It is a quest for Thomas to accept his brother’s fate, and to learn by example what it means to be compassionate. A moving film.

The Black Balloon opens Fri/17 in Bay Area theaters.

“Julie Blackmon: Domestic Vacations”

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

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

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

In a Dream

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REVIEW Jeremiah Zagar’s feature has a subject that’s not just close to home, it’s in his home: father Isaiah is an eccentric artist who’s created extraordinary mosaics covering myriad walls, rooms, and several entire buildings in Philadelphia. Julia, his wife of 43 years, views herself as the necessary "reality base" to his "crazy, self-absorbed but amiable … rare flower." Isaiah is a bit of an exhibitionist, his art a "journal of my life" that might easily embarrass family members less accustomed to his idiosyncracies. His past encompasses childhood molestation and institutionalization, while the present is imperiled by "delusions of grandeur." During the several years Jeremiah shot this documentary — at first intended as a simple tribute to a very creative parent — Isaiah upset the family’s long-term yet still very delicate balance by springing a major crisis. On top of that, the filmmaker’s brother moves back in, his marriage collapsed and substance-abuse problems evident to all. The Zagars aren’t anybody’s idea of a standard-issue nuclear unit, but this quietly engaging portrait transcends train-wreck fascination because for all their quirks, they are functional — close, loving, and supportive. Also, because Isaiah’s epic mosaics of tile, paint, and embedded detritus are so remarkable, you’ll want to book the next flight to Philly to see them first-hand.

IN A DREAM opens Fri/17 at the Roxie. See Rep Clock.

Live Review: Bridez at the Knockout 4/2

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By Laura Mason

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

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

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

Morality

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le_chicken_farmer@yahoo.com

Morality

CHEAP EATS Intoxicated by how pretty flowers are in the dark and wowed by the sheer size of the lit TVs in all my neighbors’ windows, I accidentally hit my head on a tree. Hard. The rest of my life is going to be a dream.

Here’s the part where Earl Butter sends a messenger pigeon saying he’s sick, but not sick, and will be sitting home and crying unless anyone comes over and drinks and eats vegetables with him.

Well, I have no particular plans for the evening. I was planning to stay home and cry, myself, so I tell Earl Butter’s bird to tell Earl Butter I’ll be right over. If I don’t hit my head too hard on too many trees, walking to BART.

Which I didn’t. One tree. Hard, but not hard enough to make my life much more than dreamy. What I failed to account for was all the distractions that would bonk and bewitch me on the other side of the pond, walking from BART to Earl Butter’s. Namely, and in no particular order: Pizzeria, the Mission’s first (that I know of) stone oven pizza, good ol’ Good Vibrations, and of course New Yorker’s buffalo wings because I needed some lube.

Butter and hot sauce, babe. That’s what I’m made of.

Buffalo wings remind me of Earl Butter, who got made in upstate New York and introduced me to buffalo wings and bowling as a way of life.

But a friend of a friend of mine died yesterday of either cancer or knife wounds. She had cancer and then got mugged and stabbed, see, and then died in her sleep after she got out of the hospital, hard to say why. So my friend wrote to me, even though I never knew her friend, and it was like an obituary.

"She loved camp comedians, naughty jokes, show tunes, Ireland, bubble baths, and take-out curry," my friend said of her friend. She said she wished she had a blog because she finds herself wanting to talk and write about her deceased pal. A lot.

And a light went on over my head. It’s rare that you get to do something concrete for a friend in need. But the thing is that I kind of do have a blog, or something very much like one. So why don’t I make myself useful for a change and write about my friend’s friend for her, a lot, in this restaurant review?

Her name was Mandy. She died at home, at night, in bed with her long-distance girlfriend Kristen, who had come that day from Kansas City to be with her, to help her get well.

Mandy was a psych nurse and sometimes kept baby hedgehogs under a heat lamp in her guest room, according to her friend (my friend), "rising during the night to bottle feed them." She didn’t have any brothers or sisters, yet had eight godchildren. Think about it. So whoever stabbed her stabbed someone who didn’t have any brothers or sisters, yet had eight godchildren and nursed both baby hedgehogs and human head cases.

Plus there’s the take-out curry factor. Nothing pokes the unfunny bone like an extinguished hankering for curry. Or the smell of paint. I could go on and on, on my friend’s behalf.

But I know a lot of my readers are muggers, so I’ll be succinct: If you take anything at all from this important restaurant review, take this: stop stabbing people, you fucking morons. We’re all dying anyway, of breast cancer and heart disease, and we don’t need knife wounds on top of it all, so fuck the fuck off. If you lack the skill or finesse to eke a living or pick a pocket cleanly, turn the knife inward and cut your gutless bowels out.

For those of you who aren’t muggers, your moral is quite different. When your friend sends a messenger pigeon, and sometimes even if they don’t, go to them. Bring lube, and/or vodka. Bring buffalo wings. Bring pizza.

Yes, Pizzeria has a dumb name, and a posh (and therefore empty) interior. But its pizza has that nice, thin, stone oven crispness. Which I so so so so love.

My friend’s friend Mandy did not like pizza.

PIZZERIA

Tue.–Thu., 3 p.m.–10 p.m.; Fri.-Sat., noon–11:30 p.m.; Sun., noon–10 p.m.

659 Valencia, SF

(415) 701-7492

Beer & wine

AE/D/MC/V

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

Reject the Fisher Museum

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OPINION The Presidio Trust Board and the National Park Service in December rejected Gap Inc. founder Don Fisher’s proposed art museum in the Presidio. They complete their review of his second offer next month. They should reject the second offer as well, and the game will be over.

Fisher and his family should stop trying to convince the Park Service to bend its rules. They should set aside their pride and their own preferences in deference to those of the Park Service and the city of San Francisco. They should announce their decision to move forward with the city to find a location in the city proper.

Most of us in the Presidio’s neighborhood communities do not agree with the seven trust board members that developing a cultural theme park in the Presidio is a good idea. It was introduced by the board only in response to the unsolicited proposal by the Fishers in April 2007. These board members, Fisher’s former colleagues — who are mostly real estate developers — were appointed by former President Bush. President Obama will have his own appointees on the board by June, in time to make the final decision on the Fisher museum.

We don’t want an extravagant $50 million new gathering place in front of the Fisher museum — something the Fishers have offered to help pay for in exchange for permission to build where they want.

We cannot bear the thought of the series of traffic signals inside the park, near the Spanish El Presidio and the 160-year-old U.S. Army Post. The trust says those traffic signals, along with garages in the Presidio, would be needed to manage the daily visitors added by the Fishers’ museum. No national park in America has traffic signals.

Nor do we want the lineup of traffic and signal lights required outside the park, at entrances and on nearby residential streets, that the trust says would be required. The city would, I expect, refuse the federal trust’s request to change city traffic controls to support a museum — one that city officials want to see downtown.

The public will pay another million to respond to the Fishers continued effort. It will end in defeat, if the federal government follows its own review processes — or in a glaring corruption of those processes if it succeeds.

I urge the individual appointed members of the Federal Presidio Trust Corporation and National Park Service officials to reject the Fisher offer next month. Two years and $2 million is enough of our treasure to spend in responding to the unsolicited proposal.

I urge the public to attend the trust hearing April 16, 6:30 p.m. at the Presidio Golden Gate Club. Support the Fisher museum outside the park, and oppose it in the park. *
Donald S. Green is former executive director of the Yosemite Restoration Trust and vice chair of the Presidio Neighborhood Work Group of the SF Board of Supervisors.

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.”

Battlehooch: Fun and freaky

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By Molly Freedenberg

I’ve just figured out what I’m doing on Thursday: going to see Battlehooch (what a great name) at Cafe du Nord. The musicians are friends of a friend, so I might’ve ended up there whether or not I’d done any research. But after listening to their strange, energetic prog rock on myspace – and then watching a vlog piece on what they’re about (the first one on their myspace page)- I’m officially hooked for my own reasons. Thing is, I can’t decide if I like them because these guys are music nerds, because they’re just plain nerds (bandmember non-musical interests include ideas, concepts, and topography), because their music is engaging and strange, or because they seem like so much fun I kinda just want to hang out near them. Either way, I’m betting this band will tickle some of my favorite places – cerebral and otherwise. I’ll have some of that hooch, thanks.

Read the Wiretapmusic review here.

Battlehooch, with The Lovely Public and Schande
Thurs/9
9pm, $10
Cafe du Nord
2170 Market, SF
(415) 861-5016
www.cafedunord.com

“Venture” adventure

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By Natalie Gregory

venture20bros2.png

I hadn’t seen The Venture Bros. before writing this review. I like Adult Swim. But I happen upon it very randomly, when I’m in a certain sort of mood. For devout Adult Swim fans, please skip the next few sentences. Inspired by old school action cartoons, The Venture Bros. features the Venture family, headed by the Monarch and his wife Dr. Girlfriend. They are villains, you see, who face all the problems of a family ruling the universe (or at least trying to take it over through industrial innovation). It feels a little like a cartoon version of Dr. Evil’s shenanigans. It’s amusing, though sometimes, as with other animated series, it feels like one should ingest marijuana before viewing. It’s really all about being in the weird world of the Ventures, and paying attention just enough to catch the wittiest remarks. Well, if you need explanations, there are always DVD commentaries to look forward to.

The Venture Bros. Season 3 is now available on DVD.

Labor deal leaves open issues

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By Steven T. Jones

Yesterday’s joint announcement of a wage concession deal between the Mayor’s Office and Service Employees International Union Local 1021 — the largest union of city employees — included few details, and sources on both sides have been reluctant to give out much information until the rank-and-file have the chance to review it (they say more details could be forthcoming on the union’s website by tonight).

“The goal of this tentative agreement is to protect vital services for San Franciscans, minimize layoffs to employees, preserve the integrity of the collective bargaining agreement, and assist the City with its economic recovery,” read the brief joint public statement.

The Chronicle’s Marisa Lagos got a bit more, with unnamed sources telling her the union has agreed to forgo $40 million in promised pay increases over the next 16 months, including raises that were set to kick in this Saturday. While the promise to “minimize layoffs” was in there, the real question is how to do that, including whether Mayor Gavin Newsom will cooperate with the desire by labor and the left for a package of local tax measures later this year.

Given this week’s report predicting unprecedented budget deficits for each of the next three years — reaching a staggering $750 million by 2011 — there is growing recognition that service cuts alone simply will not solve this city’s fiscal crisis.