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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.”

Style on (less than) a Dime: Take the boring out of button down

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SFBG’s Laura Peach checks out local fashion you can afford. Check out her latest installment here.

Recently I was talking to a friend who lost her job. She was lamenting about her feelings of uselessness and loafing round the house looking for something to do. “Maybe I could pick up knitting… or crocheting… something, anything to keep my hands busy.” A few minutes later came the shift in conversation to clothes, and how she is bored with everything in her closet.

It was this combination of topics – unemployment, the need for a hobby, and the desire for an updated wardrobe – that led us to the idea of reconstructing our own clothes. Cheap? Check. (The clothes are already in your closet.) Keeps the hands busy? Check. Revamps the wardrobe? Double check.

Problem is, we didn’t know how. So we asked fabulous local clothing reconstructionist Miranda Caroligne, who we profiled in January’s Careers and Education section , where to start. She showed us how to turn a boring button-down into an exciting frilled-top worthy of Louis XIV (should his highness become a modern Mission-dweller). With her directions, some basic sewing materials, a shirt out of your closet, and a little time (which, if you are stuck in the same situation as my friend, you may have plenty of), you can reinvigorate your style without spending a dime.

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Learn to make this shirt yourself! Fun and recession-friendly. Photo by Kimberly Sandie.

Street Threads: Look of the Day

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SFBG photog Ariel Soto scoops SF street fashion. See the previous Look of the Day here.

Today’s Look: Olena, Civic Center

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Tell us about your look: “I like European style.”

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

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By Brandon Bussolini

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THE JUAN MACLEAN
The Future Will Come
(DFA)

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

The Juan Maclean, “One Day”

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

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

The BART Board is clueless

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› tredmond@sfbg.com

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

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

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

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

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

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

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

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

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

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

America’s Next Top Supervisor

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Eleven began the competition, but after last week’s spectacular fiasco involving Ross Mirkarimi and a ring-tailed lemur, only five finalists are left to face our panel of sublebrity judges, who reviewed their looks, poise, style, and grace during a session of drunken Googling (Droogling). Which one will receive a $100 modeling contract with Board Babes and a seven-slide spread on HuffPo? Who’s gonna be on top?

THE JUDGES:

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Nicole Markoff of local label Nicacelly (www.nicacelly.com), fashion goddess

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Anna Conda of clubs Charlie Horse (myspace.com/charliehorsecinch) and Herr-A-Chick, merciless queen

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Marke B. of SFBG, noted closet case

THE HOPEFULS:

MICHELA ALIOTO-PIER


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Nicole Oh, you round-the-way girl. Peek-a-boo lacey undergarments haven’t looked this good since Jody Watley. As for your slimmed-down bamboo hoops — nice touch! We know you’re feeling underground, all gold chains and sweet blue eyes. Represent!

Anna You’re a beautiful woman with great eyes and hair, but would a little color — just to break up the funeral gray — kill you?

Marke She’s definitely working the "sweet as apple pie," all-American look. But you know that within that pie lurks a coiled python as pink and sweaty as any hot dog, and that’s what brought down the auto industry.

CHRIS DALY


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Nicole C-Diddy, you’re pushing up on some Sarah Palin eyewear, but I’m not hating. I’m feeling your approach and evolution, running from the "Didn’t we meet at Pops a couple years ago?" 5 o’clock-smudged hipster through proud beard-papa.

Anna Wha … hunh? Oh, I’m sorry. Just a little nap.

Marke I thought Chris was really going to blow it on the Bollywood challenge, but he barely edged out Jaslene by last-minute waxing his thighs with some packing tape and break dancing right through the herd of elephants. Who’s sari now, Jaslene?

A talk with Steve McQueen

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By Johnny Ray Huston

Steve McQueen’s Hunger brings the story of Bobby Sands to the movie screen. As far as directorial debuts go, McQueen’s is a prodigious, visceral one. While a lot of filmmakers try to create Hitchcock-style suspense movies, in Hunger, McQueen goes deeper than those surface concerns to deliver the type of formal daredevilry and structural experimentation worthy of Hitch. He revives the bio drama genre — more specifically, the political bio drama — with a story of one man starving to death. I spoke on the phone with the Turner Prize-winning artist in January about Hunger and topics ranging from his Queen and Country project (Royal Mail stamps depicting recently deceased UK soldiers) to the 1982 Wimbledon final.

SFBG What is the status of Queen and Country at the moment?
Steve McQueen The Art Fund in England has supported the project, and aligned with me and the relatives. It’s a process. People have to be convinced. I spoke to Gordon Brown a couple of months ago, and he wrote back and is looking into the logistics. It’s something I don’t want to let go of until we get it done.

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Steve McQueen photographed by his Queen and Country art project

SFBG It seems there has been a heightened back and forth between the UK art world and feature film, with you and Douglas Gordon, or going back further, people such as Isaac Julien. And also there are filmmakers such as Gus Van Sant, David Lynch, and Michel Gondry, who have had gallery-related projects. By extension, considering you’ve made short works in the art world, I wondered what drew you to want to make a feature for commercial theatres.
SM I can’t answer the question as far as other people are concerned, I can answer simply for me. When I was in art school I wanted to be in film school, and when I was in film school, I wanted to be in art school. I was in NYU for three months but I hated it and left because they wouldn’t allow me to throw a camera up in the air. I went back to London to continue where I’d left off there, within an art context.
That back and forth has always been happening, though. It isn’t exclusive to now. Obviously there’s Warhol and Man Ray. And Ken Russell and so forth.

SFBG I’m glad you bring up Ken Russell — the descriptions I’ve read of [McQueen’s 1993 short film] Bear remind me of the wrestling scene in Women in Love.
SM I never saw it. I saw Tommy.

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Still from Steve McQueen’s Bear

SFBG For whatever reason, though, publications such as Artforum have really shifted their emphasis more to film and film-related art in recent years.
SM Feature film is more populist in its content and approach – it reaches more people. The net gets cast broader or wider year after year within the arts.
Also, film has a certain glamour and appeal to the mass public, and if you can cross over, then people love you even more.

Black Joe Lewis gets raw on the good foot

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By Todd Lavoie

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BLACK JOE LEWIS & THE HONEYBEARS

Tell ‘Em What Your Name Is!

(Lost Highway)

Well, great gosh-a-goddamn, what a sweet surprise: two weeks ago, I’d never even heard of Austin-based soul-whuppers Black Joe Lewis & The Honeybears, and now here I am, once again, swervin’ and stompin’ away to their major-label debut for the millionth time. As far as brassy, blazing tear-’em-up and tear-’em-on-down soulful sonic bad-assery is concerned, this high-octane octet has the genuine know-how: gritty and greasy garage rock meets old-school Wilson Pickett/Otis Redding-style vein-popping r&b, packed into a lean and hungry thirty-minute roar.

With its quick-and-to-the-point playing time and unfussy, straight-to-tape production (courtesy of Spoon’s Jim Eno), Tell ‘Em What Your Name Is! could probably be easily mistaken for a lost treasure from the late Sixties/early Seventies— and that’s exactly the whole idea, judging from Lewis’ obvious adoration for the Pickett/Redding era. Still, with the band frequently playing like their hair’s on fire — charging and crashing and running gleefully into the red — these folks at times remind me of Texan spiritual cousins to The Dirtbombs and The Bellrays, two contemporaries also serving up swaggering minglings of soul and garage sounds. Live, I imagine they must be riveting— we’ll get a chance to catch them in the Bay Area at Slim’s on May 16.

Black Joe Lewis, “Sugarfoot”

A look-see of the band’s MySpace will steer you right to the sources of the disc’s raw-and-ready firepower. The members cite James Brown, Hound Dog Taylor, and Rocket From The Tombs as influences, for example. They all make sense, too: Lewis’ full-throated shout definitely hoots a potent analog to Brown’s get-on-the-good-foot, and his formidable backing band the Honeybears are deserving of all the JB’s comparisons they get.

GAYVNs: the long, hard rundown of events

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By Marke B.

The GayVN Awards: You’ve felt the gay dude excitement, you’ve felt the straight dude excitement. Now, feel the excitement for yourself at the upcoming onslaught of gay porn-related events, as we explode through the wormhole of this weekend’s fabulous — and flab-u-less — events. OMG — meet the stars! Share the love! Be a part of history!

Hey, don’t shoot me — I’m just the 12-inch pianist.

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Will the violent, controversial To the Last Man from Raging Stallion take home the GayVN for Best Picture? Will you take home its stars? Maybe

————–

Friday, March 27th

6PM

Falcon Studios’ GayVN Weekend Kick-off Party
Hosted By Juanita MORE!
Q Bar
456 Castro

Roll In Style
A Safer Sex Fashion Show
With NakedSwordsman 2009 Steve Cruz
Sui Generis
218 Church

To The Last Man Signing
Does Your Mother Know?
4141 18th St.

7PM

Raging Stallion Studios Party
The Edge
4149 18th St.

Bel Ami Studios Party
440 Castro
440 Castro

Barrett Long’s Cockstar
Moby Dick
4049 18th St.

Jet Set Men Studios Party
The Mix
4086 18th St.

Dirty Boy Video Studios Party
Twin Peaks
401 Castro

GayRealityPorn and PornTeam
The Midnight Sun
4067 18th St.

Snap Sounds: The New Dawn — There’s a New Dawn

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Hey, man (and woman). One of the recordings I’m most enjoying lately is There’s a New Dawn, by…(wait for it)…the New Dawn. It’s on Jackpot Records.

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I’ll admit it, I don’t know a ton about the New Dawn, or this recording, other than that in vinyl form it has been known to fetch outrageously high prices from collectors. You could view the New Dawn as a precursor to the Wipers, though they seem overtly Christian today. This is a way-too-underknown but increasingly appreciated Northwest band.

Some things I like about There’s a New Dawn:

— amazing movie preview-like spoken intro about walking hand in hand and gazing out across the sea
— the raw, minimal, tough, electric-mosquito-on-the-attack guitar sound of “I See a Day”
— the vintage-Vietnam Era lyric “I see a day when life will mean much more/Than growing up to die”
— the pounding, surging rhythms of “It’s Time”
— the creepy yet seductive ballad “We’ll Fall in Love”
— the classic 1970s romantic Hallmark Card-style cover art

Viva the New Dawn, again. Read all about them in Ugly Things and here.

Shout-out to 50 hot local fashion designers

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By Juliette Tang and Laura Peach

San Francisco’s fashion scene is vibrantly alive. In our city, you can find almost any garment you want, whether it be a new pair of yoga pants or some crushed velvet medieval slippers, straight out of the studio of a local designer. We love supporting local culture, and we love that there are so many talented designers out there contributing to the melting pot that is San Francisco style.

Besides those we featured in this week’s Spring Fashion Issue, we want to give some shout outs to 50 designers who’ve been on our radar lately. These individuals each have a unique approach to fashion, but together, they contribute to the vast diversity and uniqueness of our distinctly San Franciscan fashion culture.


Distilled Clothing

MEN
1. Printed playful hoodies: Gama-Go
2. Fashionable urban dandywear: Nice Collective
3. Hip-hop flavored urban streetwear: Upper Playground
4. Sexy undies for men: Diane Kirkland of DMK
5. Clothes for art/fashion rockstars: Shotwell
6. Loud and colorful nu rave hoods: Official Tourist
7. Casual daytime menswear: Artificial Flavor
8. Tongue-in-cheek geek chic: Distilled

Body language

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In watching Jess Curtis/Gravity in The Symmetry ProjectStudy #14(re)Presentation, it becomes immediately clear why sculptors from Michelangelo to Maillol to Moore couldn’t keep their hands off the human figure. There is a tactile quality to skin — whether it has the silken gleam of white marble in Maria Francesca Scaroni or Jess Curtis’ scuffed cragginess — that is irresistible. Given how hard these two dancers work, olfactory sensations also become integral to this latest version of an extraordinarily compelling investigation of how we perceive each other and ourselves.

Symmetry premiered last year. Now it is less monochromatic and even hints at an emotional trajectory — from the animalistic to the über-civilized. Is this an improvement? Probably, it adds new forms of inquiry. Does it make the work more theatrically accessible? Yes. Should you go and see it? Yes. Symmetry is brainy, sensuous, and asks important questions.

Mostly Symmetry is performed in the nude. The dancers at first shed false skins, i.e. fur coats, only to reinhabit them later in the form of evening wear. Though improvised, the work adheres to a strict concept: symmetry — balance, complementarities, and stability — as a physical reality. It could have been as deadly as looking at rows of cabbages or graph paper. But in Scaroni and Curtis’ bodies, both alone and together, Symmetry becomes a vibrating, pulsating state of presence by what they call an "inter-corporeal kaleidoscope of flesh."

The piece moves from a sculptural and placid connectedness to a fragmentary and volatile one (think electroshock) to Cabaret-style isolation within togetherness. In the first part it’s strong buttocks; sensitive hands and astoundingly interlocking body parts are particularly compelling. In a grand coup, Symmetry ends with Scaroni rocking on her heels and looking into the black hole of her vagina. Did she see just a kaleidoscope of flesh?

Composer Klaus Janek’s subtle underpinnings — especially the breathing section — were beautifully responsive to the dancers’ needs. (Rita Felciano)

JESS CURTIS/GRAVITY

Thurs/26-Sun/29, 8 p.m., $18–$20

CounterPULSE, 1310 Mission, SF

1-800-838-3006

Alloy trio

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› a&eletters@sfbg.com

It’s another typical afternoon at Zeitgeist: mid-’80s punk rock roaring from the jukebox, the constant clang of beer bottles, the pervasive smell of burgers. "I like these industrial dudes over here," says Brian Hock, the drummer of SF three-piece Bronze. He looks at a gloomily outfitted bunch a few tables away in the gravel pit. "They’re fucking rocking it hard style."

On hearing Hock’s keen observation, I confess to his bandmate Joe Oberjat that when I arrived to meet Bronze on this semi-overcast Saturday afternoon, I initially mistook him for someone at that picnic table — a surly-looking, gothed-out version of Mickey Rourke sandwiched in the middle of the pack.

"Which one? The industrial dude?" Oberjat asks.

"He looks a little pissed off," says vocalist Rob Spector. "But he’s about to pound a double shot of whiskey."

While this is my initial in-person meeting with the band, I first caught Bronze last summer, when they gave an unprecedented performance at a July 4 CELLspace event, cleverly titled "Born on the Fourth of Julive." That day, the trio was an unknown element of an awesome bill that included the likes of Death Sentence: Panda!, No Boss, Sic Alps, and Tussle.

Bronze’s set commenced with Hock, Oberjat, and Spector garbed in matching military suits and sitting side-by-side with their heads tilted downward. Three friends then sheared the trio’s locks while a patriotic number spouted over the speakers. After what seemed like nearly 15 minutes of clipping and cutting, the band members finally rose to their feet and played a knockout batch of tunes. The sound: seriously blissed psych drone-scapes and kraut goodness, à la Can and Harmonia, with smatterings of Flowers of Romance-era P.i.L.

"July 4 was definitely a very strategic-type thing," Spector says, laughing. "The haircuts took a really long time — I knew [they] were going to take longer then we expected."

"It was also our drunkest show," Oberjat adds.

Drunk or not, the band — which formed from the remnants of groups like Fuckwolf, the Vanishing, and Night After Night — has a knack for performances that please the eyes as well as the ear. It’s possible to get a sense of this by checking out some of the YouTube videos on Bronze’s MySpace page (www.myspace.com/copperclub). During one clip, shot in Big Sur, Spector teeters back and forth in a crazed manner, his Dave Thomas-tuned warble getting locked in a groove between Hock’s kinetic beats and Oberjat’s jacked-up, skittering synth sounds. A flood of bright colors spills over the group as Oberjat lurches about in the forefront, toying with his signature custom-made boxed-shaped instrument while swooping down occasionally to joust with a heap of floor pedals.

"We enjoy being a bit theatrical sometimes," Hock explains. "We’ll always [do] slight things that maybe no one will notice, but once in a while we ham it up a little bit. If we play, we want to put on a show in some fashion."

Though Bronze has yet to put out an official release, that’ll change in 2009. Queen’s Nails is set to drop the band’s 10-inch self-titled debut, and Hex will issue a 7-inch single. The band is also deep into recording a full-length for Tigerbeat6, which they hope to have ready before heading out for a European tour in the fall.

BRONZE

with T.I.T.S.

April 1, 9 p.m., $5

The Stud

399 Harrison, SF

(415) 863-6623

www.studbar.com

Cat’s cradle

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› a&eletters@sfbg.com

Independent, slyly defiant, and given to zigzags, the cat is the spirit animal for a certain breed of cinematic gleaners. The films of Warren Sonbert and Chris Marker are packed with the feline kind. A kitty or two shows through the lucid abstractions of Nathaniel Dorsky’s recent work, and Agnès Varda’s La Pointe-Courte (1954) uses the animal as a structural device. Accordingly, Ben Rivers’ This is My Land (2006) opens with a lithe creature snapping its head to face the camera. There are several other such mysterious cameos across the 14-minute film, one of several bricolage studies Rivers has composed of off-the-grid settlers who are themselves catlike in both appearance (the whiskers and quick smile) and manner (gentle wildness).

Rivers must appreciate the cat’s association with the gothic, given his propensity to label his shorts as either horrors or portraits. The London-based filmmaker and programmer comes to town this week for two rare programs split along these lines, though it isn’t as stark a divide as it might first sound. The films are all exquisite documents of overgrown spaces, the kind in which the past is made palimpsest, audible in the creak of floorboards and everywhere apparent in the makeshift and ajar.

There are traces of Murnau, Dreyer, and Herzog in Rivers’ work; the films are welcome demonstrations that Expressionism is nothing so much as a feeling for how the physical world relates to the spiritual one, though musical references are equally revealing. The beards, spirits, and foliage evoke the deep English folk of the Incredible String Band and Roy Harper. In addition, the field recording quilt-work done by Lucky Dragons and the Books provides a useful analogue to Rivers non-sync style. Shot with a wind-up Bolex, Rivers processes the film stock himself, leaving grain and light flecks unpolished, with sound and image each representing an autonomous, well-portioned montage. The films open the same rich interstices of avant-garde, documentary, and ethnography as Apichatpong Weerasethakul’s work, but with an intense intimacy that makes them seem like home movies of the highest order.

The old dark house imagery of Rivers’ gothic curios strike a particularly English chord, but the back-to-the-land portraiture has a special resonance in California. We too know these beards, this tumble of wilderness, this particular migration. If these figures seem to age differently, it’s because their living choices represent a decisive approach to both space and time, something Rivers represents with great cinematic adroitness. The specter of global warming and natural disaster thickens these reclusive reliefs. Rivers has admitted his fondness for ’70s postapocalypse moves, a ripe genre rearticulated in the lunar landscapes and scrapyard play of Ah, Liberty! (2008). Horror, in this context, is a kind of awe. It is inseparable from nature — it is, in fact, nature reclaiming civilization.

"[There are] all kind of wild animals [here], and it’s only because I let it get wild. And that’s my point, but nobody will get it," the central figure of Astrika (2006) explains. Rivers, of course, does get it. The homesteaders’ scattered debris suggests Rivers’ own secondhand materials, improvised objects like a birdfeeder made from a milk container reflect his films construction, and the ethos of self-sufficiency is admired and enacted. The human warmth of his filmmaking emanates from these affinities, which go beyond sympathy to touch the elusive nerve of experience. Rivers’ wind-up camera means that no single shot can exceed 30 seconds. But when the pitter-patter of his images settles on something strange and moving, like a distant view of a horse rolling in the snow, it reminds us that beauty is often a humbling drama of the glimpse.

"THE POETIC HORROR OF BEN RIVERS"

Sat/28, 8:30 p.m., $6

Other Cinema at Artists’ Television Access

992 Valencia, SF

(415) 824-3890, www.atasite.org

"THIS IS MY LAND: BEN RIVERS’ PORTRAITS AND LANDSCAPES"

Sun/29, 7:30 p.m., $10

San Francisco Cinematheque at Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787, www.ybca.org

Appetite: Hookahs on Mission, gnocchi deals, Midi in FiDi, and more

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midi0309.jpg
A delicious-looking dish at Midi. See “Openings” below.

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

———–

NEW RESTAURANT AND BAR OPENINGS

Whew! There are a slew of openings this week. Here’s a rundown of four and stay tuned for many more …

Missionites’ new all-day cafe-wine bar-resto combo: The Corner
Weird Fish, the Mission’s quirky, sustainable seafood joint, debuted a sister spot next door last week, The Corner, which should begin all day hours this week. Seeking to be all things to all people, it’s a cafe with wifi and Four Barrel coffee in the am, BLT Paninis at lunch, and at night, DJs, unique wines by the glass and dishes like duck and medjool dates or fennel-crusted pork chops.
2199 Mission, SF.
415-932-6939

Mission take two: Morak Lounge, a new Moroccan hookah bar
Sixteenth and Valencia has no lack of global eating options, all within a couple block radius. What it hasn’t had up till now is a chic, Marrakech-style lounge where you can smoke a double-apple flavored hookah while sampling Middle Eastern bites (the usual: hummus, baba ghanoush, skewers) or Cardamom-infused martinis. Enter Morak Lounge. Behind bronze doors, bright curtains and comfy cushions equal a sultry space to linger and puff away long into the night (open until big city hours of 3am on weekends).
3126 16th St., SF
415-626-5523

Midi: FiDi’s new French Asian restaurant
Joie de Vivre luxury hotels debuted a new restaurant this past weekend, open for lunch and dinner with a downstairs bar open all day for the Financial District set. Midi, with Chef Michelle Mah of Ponzu at the helm, has been in the works for two years but is finally open in the former Perry’s space. The French Asian fare reinvents classics like duck leg confit with a ginger-rhubarb jus, with Euro-Asian offerings from Hawaiian kampachi crudo to pork rillettes with Dijon mustard. It all goes down nicely post-work (or during a lunch break) with a Lavender French 75 cocktail or with one of seven craft beers or 15 wines by the glass.
185 Sutter Street
415-835-6400
www.midisanfrancisco.com

Barlata, tapas bar from B44 chef, debuts Oakland
Chef Daniel Olivella has helmed Belden Lane’s mainstay, B44, for years… and still will. But he’s branching out with an anticipated East Bay locale, Barlata. Experience Spain from the mile-long list of tapas, bite-sized pinchos and paellas to share. Don’t forget Spanish wines, sherries or (non-Spanish) beers as you join friends at the marble bar or communal table to dine on boquerones, garlic soup, grilled sardines or oxtail in red wine sauce.
4901 Telegraph Ave, Oakl.
510-450-0678
www.barlata.com

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EVENTS

March 26: Wine Enthusiast magazine’s Toast of the Town
Another pricey deal, this one’s your chance to pretend that you’re the elite, sipping wine for a local charity at the classy War Memorial Opera House for Wine Enthusiast mag’s Toast of the Town gala. Dress up and splurge for the VIP gig at 5pm or buy slightly more reasonable 7pm tix to sip wines from over 70 producers and taste bites from 30 restaurants like Ana Mandara, Campton Place, Millennium, Rivoli, Shanghai 1930 and Slanted Door, to name a few. A charity auction for SF Food Bank gives some meaning to your decadent imbibement.
7pm
$75 Early Bird Online/$95 at the door
War Memorial Opera House
401 Van Ness Avenue
415-829-7530
www.wineenthusiast.com/toast

whisk0309.jpg

March 28: Whiskies of the World is back as part of Artisanal Spirits Fest
How can you not love that San Fran has been the setting for the unique Whiskies of the World celebration for 10 years now? Not only are there classes on Cigar Making or Mixology (using, what else? Whiskies), but the setting is downright idyllic. As the sun sets from aboard the San Francisco Belle, smoke your cigar (BYO or buy there) as you roam the deck while Celtic pipe and drum music plays, and sipping whiskies is the collective activity. Sampling booths cover three floors of the boat, staffed by spirits experts from distillers to blenders, while a dinner buffet shores up the stomach for all that imbibing. On top of whiskies, the Indpendent Spirits Fest portion means there’s also local vendors of other types of spirits like St. George Spirits, Charbay, Anchor Steam, Square One, and Osocalis. It’s pricey, yes, but I can think of fewer more enjoyable ways to go…
Sat/28, 6pm, $115-$120; additional classes: $15-20
San Francisco Belle, Pier 3
610-326-8151
celticmalts.com/events.asp

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DEALS

FREE Monday morning coffee at Four Barrel
I didn’t want to have to mention this and make the waits for a capp at Four Barrel longer than they already are, but as the word is leaking out everywhere this week, I thought I’d mention this generous turn from owner, Jeremy Tooker. Playfully calling it an “F.U. Recession” giveaway, get an 8oz. cup of French Press coffee, brewed just right… don’t say I didn’t warn you about looong waits for it, though!
Mondays through April 20th, 8-10am
375 Valencia, SF.
415-282-0800

Weeknight prix fixe and Gnocchi Tuesdays at Bar Bambino
Every time I go to Bar Bambino, I walk away feeling like I was just in my favorite enoteca in an Italian town, sipping Italian wines, robust coffees from both North and South Italy, eating housemade charcuterie and cheeses Bambino’s been making before everyone in town was. Like many lately, they’re offering special menus like an early evening three-course prix fixe for $30. Primi (first course) could be soup, salad, or pasta. Main course is a meat or eggplant polpette, with gelato or signature Citrus Polenta Cake for dessert. Another fun element (for gnocchi fiends like myself) is their Gnocchi Tuesdays, playfully mirroring the tradition of Roman trattorias serving gnocchi dishes on Thursdays. Chef Christian Hermsdorf makes them from scratch, of course, different each week, with past gnocchi made of red kuri squash with sage cream sauce or a Venetian-inspired pumpkin gnocchi in cinnamon and brown butter. Yum…
Sundays-Thursdays, 5-7pm, $30
2931 16th St., SF
415-701-8466
www.barbambino.com

Jovino’s Saturday night Spaghetti Feed
Spaghetti with Niman Ranch meatballs sound good to you? What if you throw in a glass of house wine all for the price of the wine: $9? Now you have a deal. A low-key Cow Hollow cafe, Jovino is a good place to drop in and unwind — and fill up for less than $10.
Saturdays 6-9pm
2184 Union, SF
415-563-1853

San Francisco style

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› culture@sfbg.com

When it comes to fashion, San Francisco is an interesting paradox. Bay Area designers and consumers are notoriously innovative, politically conscious, and stylishly playful. Many who grow up or study here go on to make waves on a national or international scale. And yet this city still is not considered a global style center in the way that New York, Paris, or Milan are. In recent years, even L.A. seems to be getting more attention as a legitimate fashion capital than San Francisco.

With spring (and spring fashion lines) afoot, we decided to profile some of our favorite local designers — those who, regardless of their popularity outside city limits, have decided to stay put or move here to contribute to the San Francisco fashion design dialogue. We predict it won’t be long before the fashion establishment is singing their praises — and wearing their designs. 269-fashioncover.jpg On Lawrence Cuevas and Marivel Mendoza, from left to right: 1) Denim double pocket shirt, avocado tee and twill shorts by Turk+Taylor; 2) Leather jacket and sheer top by Mi, leather hotpants by Shaye, jewelry by Muscovie Design; 3) Raindrop dress by Sara Shepherd, kit leather button shoes by Al’s Attire, jewelry by Muscovie Design; 4) Leather jacket and jeans by Mi, dot tee by Turk+Taylor, white tie by Indie Industries, wing-tip shoes by Al’s Attire; 5) White tee by Mi, corset skirt by Shaye, jewelry by Joy O, polka-dot hat by Al’s Attire. (All Photos by Jeffery Cross. Photo illustration by Mirissa Neff. Styling by Lauren Cohen, Laura Peach, and Juliette Tang. Hair and makeup by Shamika Baker)

 

SOCIALIST STYLE

With delicate features, a smattering of transparent freckles and dark blonde hair that hangs in messy curls to her elbows, Shaye McKenney could be a model. But her approach to fashion is more altruism than narcissism. After returning from an extended sojourn that took her to India, tribal Amazon, and on many nomadic adventures in between, the Oakland native and daughter of a designer opened La Library on Guerrero Street a borrow-or-buy boutique whose purpose is to make stylish clothing available to all.

“The sense of ownership we have is not sustainable,” says McKenney, whose business model was inspired by the designer handbag rental concept seen in Sex and the City. Which is why she doesn’t just sell outright the airy white dresses, embroidered linen jumpsuits, and leather hot pants she makes from her mother’s fabric remnants. It’s passion for social change — as well as for a good pattern and great fit — that drives her. The whole point is being able to share. “We should not have to sacrifice glamour and art because of money and a bad economy.”

 

OLD-FASHIONED, FASHION FORWARD

Tucked away in a former North Beach butcher shop among towers of vintage hatboxes and fabric bolts stacked to the ceiling, custom clothier Al Ribaya is king of the cutting board. His old world tailor shop Al’s Attire makes every imaginable piece of clothing to order, paying more attention to detail than profit. “It’s a difficult thing to make money at,” he admits. “People don’t know what it takes to build something one stitch at a time.”

The other distinguishing factor about Ribaya’s shop is that he outfits people from head to toe. Using the same effort, energy, and remarkable focus, he makes everything from shoes crafted with soles of repurposed tire treads or turn-of-the-century buttons to suits, shirts, pants, jackets, skirts, and dresses. He even makes hats from suit fabric remnants. Every garment is custom labeled with the wearer’s name (alongside Al’s, of course). But despite all this retro hard work (and handiwork), Ribaya’s styles are remarkably fresh and modern. 269-fashiondoll1.jpg On Lawrence, clockwise from top: 1) Striped hat by Al’s Attire; 2) Double-pocket zippered denim shirt by Turk+Taylor; 3) Chambray golf jacket by Al’s Attire; 4) Dark denim jeans by Mi, 5) Silver wing-tip shoes by Al’s Attire; 6) Seersucker shorts by Turk+Taylor, 7) Brown leather jacket by Mi; 8) Avocado tee by Turk+Taylor. Underwear and socks by American Apparel.

 

FORM AND FUNCTION

What if one piece of clothing could be worn seven different ways? What would happen if you took a jacket and turned it upside-down? Or backward? These are the questions that the innovative, boundary-breaking creative minds at Harputs Collective have been asking. Their answer— called the swacket —hangs beside an oversized mirror in the airy industrial Harputs Own shop. The collective members are waiting for curious customers to come and play with the architectural sweater/jacket outerwear—putting it on backward, changing the swooping collar into a hood, then flipping it upside-down and adding a belt, until the most flattering fit is found.

The studio was started in September, a serendipitous confluence of a few thoughtful designers, a retiring tailor who stocked the store with fabrics and machinery, and an established high-end retailer with such a sense of play he will dye garments from New York lines when they are past season just to see if they will sell better in indigo than white. Our favorite part? A garment that fits well and can be worn several ways is less likely to go out of style — and therefore inspires us to consume less. (Our least favorite? They declined to participate in our fashion shoot. But we love ’em anyway.)

 

FASHION PHILOSOPHY

Mi Concept‘s visionary pieces are offered as a bespoke capsule collection for people who appreciate fashion-forward, cutting-edge design — and who aren’t afraid to look like time travelers from some distant utopian future.

Before designing any piece of clothing, Dean Hutchinson, creative director of the Mi Concept, asks himself, “How do I stimulate conversation?” The purpose, Hutchinson, says, is to challenge people to think beyond fashion. It must be working: ever since Mi Concept emerged at 808 Sutter last December, conversation and buzz have followed.

Peek inside the unmarked store and you’ll find an eerie modernist sarcophagus illuminated by fluorescent tubes, where dauntingly expensive-looking clothes cling to hangers as if worn by invisible ghosts. Together the space and the clothing create a synthesis of progressive, modern design.

Hutchinson eschews classic forms in favor of postmodernist distortion, working with asymmetrical lines and deconstructed shapes, often incorporating multiple silhouettes in a single garment to create an effect that evades easy labeling in any genre. “The other day someone said it was like a marriage between Rick Owens and Jil Sander,” Hutchinson said. “That was sort of flattering. But I don’t think about fashion like that. I have an initial idea, and then it just takes on it’s own life. It’s art.” 269-fashiondoll2.jpg On Mari, clockwise from top: 1) Bias-cut raindrop dress by Sara Shepherd; 2) Rouched front dress with pockets by Jules Elin; 3) Bell sleeve wrap jacket by Jules Elin; 4) Corset skirt with teal detail by Shaye; 5) Kit leather button boots by Al’s Attire; 6) Brown leather hotpants by Shaye; 7) Black leather jacket with sleeve zippers by Mi; 8) Polka dot hat by Al’s Attire; 9) Zipper-front dress by Turk+Taylor. Underwear and socks by American Apparel.

 

ECO-FRIENDLY FOR EVERYDAY

Jules Elin’s designs for women are simple and casual, without sacrificing style. The ideal wearer seems to be someone who is practical and comfortable but can appreciate the occasional coquettish detail — like a bell sleeve or a floral lining — on an otherwise unembellished piece.

While Elin is conscious of seasonal trends, there is nothing overtly “fashion-y” about her classic silhouettes: a swing coat is spruced up with extra-large buttons, a zippered jacket is adorned with a ruffled Peter Pan collar, and both are stylish without coming across as self-consciously en vogue. Elin’s pieces are made with organic cotton and get bonus points for not having to be dry-cleaned. On being called an eco-designer, Elin reflects, “I never really thought of it as being progress; I thought it was the right thing to do.”

When it comes to the designs themselves, San Francisco is always an inspiration. “There’s a lot of movement and architecture to the pieces,” she says. “But they’re also really sweet in a way that matches the demographic of this city.” And it’s Bay Area weather that determines the length of Elin’s sleeves: always long enough to be worn over the hands when it’s cold. San Franciscans are responding positively in turn, and even the dire economy hasn’t slowed the growth of her brand. “It’s just made me realize I can always work harder.”

 

CLASSIC SF DAYWEAR

When examining Turk+Taylor‘s well-edited collections of sustainable, nouveau-preppy clothes, the aesthetic appears so cohesive you could never tell that they nearly always result from a disagreement between the designers, Andrew Soernsen and Mark Lee Morris. “We fight all the time,” Soernsen proclaims. “We end up yelling.” During our interview, Soernsen and Morris often contradicted one another while answering the same questions — even the straightforward ones. “But somehow,” says Morris, “it all comes together.”

Soernsen and Morris don’t have fashion degrees. “We can’t sew. We aren’t pattern-makers.” The two designers run their business out of Soernsen’s apartment in NoPa, where boxes of samples are stacked on the floor, racks of clothes clutter every room, and eco-friendly fabrics perilously overflow from shelves and surfaces. Somehow, amid the jumble, they’ve managed to create beautiful collections of casual daywear year after year.

This year was the brand’s fifth, but neither Soernsen nor Morris has quit their day-jobs. “I don’t know how we have time to do this,” Soernsen admits. “We’re so unorganized.” The self-deprecating posturing belies the fact that they’ve grown into an influential label synonymous with San Francisco style. A perfect example? Pop into the SFMOMA store, and you’ll notice the museum tees are all by Turk+Taylor.

 

ACROSS THE POND AND INTO THE BAY

Sara Shepherd is, at heart, a contradiction: edgy London meets cuddly San Francisco. Originally from England, Shepherd moved to San Francisco to attend the Academy of Art University and stayed on to teach at the academy and create a fashion line out of her SOMA studio.

Shepherd’s Victorian menswear-inspired clothing evokes images of urban dandies and Byronic heroes, but her work is consciously feminine and innately modern. With tailoring that emphasizes shape over ornament, Shepherd draws her inspiration from classic British icons, whether fictional, like Alice in Wonderland, or real, like Elizabeth I. Despite the distant historical comparisons, her vision remains practical and wearable for San Francisco women who “know their own mind, who feel strong and confident in what they wear and who they are.” Like Elin, she’s also careful to consider San Francisco weather when designing. “There needs to be the opportunity to layer the clothes. There’s always, always a layer to them.” More local design! See our Pixel Vision blog for 50 more of SF’s hot designers and an exclusive guide to reconstructing a boring button-down into something better, with designer Miranda Caroligne.

WHERE TO BUY

Al’s Attire

1314 Grant, SF; 415-693-9900. www.alsattire.com

Harputs Own

1525 Fillmore, SF; 415-923-9300. www.harputsown.com

Indie Industries and Joy O.

www.indieindustries.com and www.joyodesigns.com

Available at Studio 3579, 3579 17th St., SF; 415-626-2533

Jules Elin

www.juleselin.com

Available at Ladita, 827 Cortland, SF; 415-648-4397

Muscovie Design

www.muscovie.com

Available at Collage Gallery, 1345 18th St., SF; 415-282-4401

Mi

808 Sutter, SF; 415-567-8080. www.themiconcept.com

Sara Shepherd

www.sarashepherd.com

Available at M.A.C. 387 Grove, SF; 415-863-3011

Shaye

La Library, 380 Guerrero, SF; 415-558-9841

Turk+Taylor

www.turkandtaylor.com

Available at ABfits 1519 Grant, SF; 415-982-5726

We can’t trust the BART Board

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So the BART Board is looking at whether BART cops should carry handguns. Nice. They don’t do too well with shotguns, either.

Seriously, what that department needs, more than anything, is civilian oversight, and if this study is about deflecting that, then it’s a worthless idea.

Assembly member Tom Ammiano has a bill that would force the BART Board to create a San Francisco-style oversight agency.

Ideally, the state Legislature wouldn’t have to spend time on this issue; the BART Board would just do it. But the BART Board is made up largely of lame, lazy hacks who have ignored this issue for years. I called Tom Radulovich, one of the few decent members of that board, and he told me he’d support the bill, but wanted it amended. “It’s too prescriptive,” he said. “We all agree on what the elements should be, but I’m not sure locking a variety of the San Francisco Office of Citizen Complaints into state law is the best idea.”

Radulovich had some suggestions — audits, ways to measure how well the system is working, etc. — which all make sense. And I’m sure there are all sorts of ways that Ammiano’s bill can be improved. But here’s the bottom line:

The final measure that comes out of Sacramento MUST be prescriptive. It must outline in very clear detail exactly what the BART Board has to do. The very fact that Ammiano is pushing this issue, and that the BART Board hasn’t already established an effective oversight plan, is all the evidence you need that it simply won’t happen without a firm state mandate.

I like the OCC model; it’s as imperfect as any government system, and a weak or compromised director and a police chief who refuses to cooperate can undermine its effectiveness. But it does the right thing, which is to take all internal affairs-type civilian complaints out of the hands of the police.

I’m sure Ammiano would be more than open to amendments, but if the BART Board members try to argue that the state should simply set broad guidelines and let them handle the details themselves, the answer is simple:

You’ve had more than 20 years to do that, and you’ve failed, and at least three people who ought to be alive today are dead because of that. No way we’re trusting you to get it right this time.

Appetite: Hookahs on Mission, gnocchi deals, Midi in FiDi, and more

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By Virginia Miller

midi0309.jpg
A delicious-looking dish at Midi. See “Openings” below.

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

———–

NEW RESTAURANT AND BAR OPENINGS

Whew! There are a slew of openings this week. Here’s a rundown of four and stay tuned for many more …

Missionites’ new all-day cafe-wine bar-resto combo: The Corner
Weird Fish, the Mission’s quirky, sustainable seafood joint, debuted a sister spot next door last week, The Corner, which should begin all day hours this week. Seeking to be all things to all people, it’s a cafe with wifi and Four Barrel coffee in the am, BLT Paninis at lunch, and at night, DJs, unique wines by the glass and dishes like duck and medjool dates or fennel-crusted pork chops.
2199 Mission, SF.
415-932-6939

Mission take two: Morak Lounge, a new Moroccan hookah bar
Sixteenth and Valencia has no lack of global eating options, all within a couple block radius. What it hasn’t had up till now is a chic, Marrakech-style lounge where you can smoke a double-apple flavored hookah while sampling Middle Eastern bites (the usual: hummus, baba ghanoush, skewers) or Cardamom-infused martinis. Enter Morak Lounge. Behind bronze doors, bright curtains and comfy cushions equal a sultry space to linger and puff away long into the night (open until big city hours of 3am on weekends).
3126 16th St., SF
415-626-5523

Midi: FiDi’s new French Asian restaurant
Joie de Vivre luxury hotels debuted a new restaurant this past weekend, open for lunch and dinner with a downstairs bar open all day for the Financial District set. Midi, with Chef Michelle Mah of Ponzu at the helm, has been in the works for two years but is finally open in the former Perry’s space. The French Asian fare reinvents classics like duck leg confit with a ginger-rhubarb jus, with Euro-Asian offerings from Hawaiian kampachi crudo to pork rillettes with Dijon mustard. It all goes down nicely post-work (or during a lunch break) with a Lavender French 75 cocktail or with one of seven craft beers or 15 wines by the glass.
185 Sutter Street
415-835-6400
www.midisanfrancisco.com

The news from Rock Rapids: Shinny’s funeral

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By Bruce B. Brugmann

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RIP, Parkway Speakeasy Theater

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Say it ain’t so! Oakland’s Parkway Theater announced this week that its doors will close Sunday, March 22. According to the theater’s web site:

“After more than twelve years of serving the great cultural crossroad of Oakland, the Parkway Speakeasy Theater will be closing at the end of business day, Sunday March 22, 2009.

From African Diaspora to Thrillville to lesbian fashion shows and educational porn, the Parkway has offered an eclectic array of movies and events. It was the first theater in California to offer food, beer and wine service in a lounge style movie theater. With a nudge or a push from the community, there was little programming the Parkway theater would not try in order to better be a community center and a safe haven for diverse ideas. The Parkway brought Baby Brigade for the shuttered and abandoned parents of newborns, the first international black gay, lesbian, bi-sexual, transgender film festival and Sunday Salon, a free event for cultural and community enhancement. We, at the Parkway Speakeasy Theater, are deeply proud of the Parkway and will profoundly miss serving its community. Thank you for your patronage.”

Fortunately, all is not entirely lost — the Parkway owners still have their Cerrito Speakeasy Theater, which, like the Parkway, has beer and pizza (and sandwiches with cheeky names: “The Zombie Cow,” anyone?) on the menu, along with new films and special events, including the ever-cool monthly B-movie celebration, Thrillville. It’s also very BART-friendly — literally just a handful of blocks and a Bed, Bath, and Beyond parking lot’s length from the station.

The Parkway closes down with a trio of standout films from 2008: The Wrester, Revolutionary Road, and Let the Right One In (your choice — five bucks!), plus a movie about Lucha Libre that looks pretty unmissable (seven bucks for this one). Head over and show your support Sun/22, or hit up the Cerrito in the coming months to make sure it keeps unspoolin’ films and pourin’ pitchers of PBR.

Swedish fetish

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

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

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

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

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

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

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

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

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

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

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

THE TALLEST MAN ON EARTH

with Herman Dune

March 25, 7:30 p.m., $12–$14

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

Googoosh

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

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

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

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

Designer Dish: Pop Junkie’s spring sugar rush

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By Laura Peach

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Old West meets Studio 54 retro with Pop Junkie’s “Disco Roosters” Tee.

This week, we chatted up local master printmakers Aaron Feiger and Ashley Marcinczyk about the sugary sweet, super sexy San Francisco-inspired designs they’ll be pulling off the press in the next few weeks. Their whimsical T-shirts sprouted into screenprinting project Pop Junkie. The funky, fun tees and totes are popping up not only on the streets of our fair city, but also across the country and in fashion forward, graphic-obsessed Japan. Here’s what the design duo had to say about their work, life, and love of San Francisco style.

SFBG: So… what are you working on right now? Tell us about the new spring line you’re currently cultivating.

Aaron: This season we’ve done our own take on a Barberella theme. I watched it over and over as a kid—I was only 7 or 8 years old. Looking back I can’t believe my mom let me watch something with so many sexual references. We’re adding some geometric shapes into these designs too.

Ashley: I’m making some re-usable beer bags. Everyone’s out at Dolores Park brownbagging it, and I thought it would be great to have an attractive, eco-friendly option. Our homewares will be expanding: we’ll be making more pillows and bags, and coming out with some laser-cut candleholders.

His royal highness

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› a&eletters@sfbg.com

REVIEW Yinka Shonibare’s 1998 photographic essay Diary of a Victorian Dandy, Member of the Order of the British Empire runs like clockwork.

At 11 a.m., Shonibare the nobleman is shown waking and then donning a nightcap in his gilded bedroom; he’s surrounded by four ruddy-cheeked buxom maids and a pale, thin butler, who each cater to his every whim. At 2 p.m., dressed in a three-piece blue-gray suit, he tends to business in his private library. Busts of Greek and Roman conquerors sit atop mahogany bookshelves, observing while high-collared, porcine sycophants with handlebar mustaches congratulate Shonibare on squandering what’s left of his father’s fortune.

By 3 p.m., Shonibare’s nobleman has retired to another bedroom, where — sporting a salmon-pink velvet vest and matching satin tie — he reclines on a chaise lounge with a glass of red wine. An undressed brunette woman on his left caresses the vest, her eyes turned upward as if she’s entranced by his wealth and power. A red-haired girl to his right runs her fingers through his hair. In the background, a woman dressed in a hoop skirt fellates one of Shonibare’s sycophants, another woman lies at the foot of the bed, and still another looks bored as she’s buggered by one of Shonibare’s consorts.

Five p.m. brings a rousing game of billiards in the parlor. The day’s activities end at seven, with white ties, tails, and candelabras in a plush dining room replete with red velvet curtains and gilded framed oil portraits of aristocrats in powdered wigs.

Shonibare is a heavily bearded, 46-year-old Nigerian. This hairy black man, assuming the role of a dandy, places himself at the center of all his photos, reveling in absurd glory. "Historically, the dandy is usually an outsider whose only way through is his wit and style," Shonibare explains, in a text within the monograph Yinka Shonibare MBE (Prestel USA, 208 pages, $55), edited by Rachel Kent. "His apparent lack of seriousness of course belies an absolute seriousness, and that attracts me to the dandy as a figure of mobility who upsets the social order of things."

Shonibare has upset the British social order and gained mobility — including an exquisitely absurd and very real royal appointment — by creating Victorian costumes from Dutch wax print fabrics, then placing them on headless mannequins that strike leisurely poses. Much like the dandified role that he often assumes, his art seems excessive and frivolous at first glance — high fashion in extremis. But it takes on greater dimensions with consideration. The Dutch wax prints that play a prominent role in Shonibare’s work, for example, are usually associated with Africa, though they were first designed in Indonesia, then imported by the Dutch, who brought them to West Africa during the slave trade, making them a symbol of the height of colonization and imperialism.

The actions of Shonibare’s figures: skating (in 2005’s Reverend On Ice), seducing (in 2007’s The Confession) and swinging, both literally (in 2001’s The Swing — after Fragonard) and figuratively (in 2002’s Gallantry and Criminal Conversation), contain surreal, violent, erotic, and decadent connotations. Like his contemporary Kehinde Wiley, or like Ghostface and Prince in the realm of music, Shonibare uses the rococo movement of pre-revolutionary France as a point of departure. Figures of excess and tools of subversion, his headless mannequins take on references to the guillotine.

"Excess is the only legitimate means of subversion, " Shonibare has said. "Hybridization is a form of disobedience … an excessive form of libido, it is joyful sex." An illustration of such ideas, this monograph retrospective of Shonibare’s painting, sculpture, photography, and film work is a must-have piece of Afro-surreal ephemera.