Dancing With the Stars Week 3: "I Don't Come Back With Anything; I Just Keep My Mouth Shut."

Ooh dear, poor Julianne…

I am absolutely stunned by Marlee Matlin’s Jive. I can’t believe it. Fabian must have taught her some kind of counting method to keep them in sync because at the beginning he wasn’t leading her; she was dancing around him, and she still ended perfectly on beat. Perfectly. He simply jutted out his hip and she began. Well, her counting skills are excellent, that’s all I can say. Her kicks weren’t that high, but it’s hard when you’re starting dance as an adult, to have that kind of flexibility. Anyway, awesome.

Strange thing, though: I recently finished reading “Schuyler’s Monster,” (which I wrote a bit about here) about a little girl with a brain abnormality that prevents her from being able to speak. Because the same disorder prevents her from having fine motor skills, such as are needed to make some of the more intricate sign language hand formations, Schuyler learns to “talk” through a computer-type device, where she types words and a voice speaks them. Rob Rummel-Hudson, Schuyler’s father, remarked in the beginning that the voice in her first computer — a male one, just didn’t “look” like a little girl. With her next, more sophisticated computer, he made sure the sound of the voice could be controlled, so they’d have different choices. They finally got a “little girl sounding” little girl. It just reminds me of that when I hear Marlee’s translator speaking! I keep thinking, wait, who’s that, she doesn’t sound like that!

Steve and Anna’s tango: eh. I’m not a Standard dancer, but Tango is getting boring; there’s only so much you can do with it. It’s a dance that really inherently lacks creativity, I think. But I’m not a Standard person. Anyway, this was pretty basic – that little sequence where he rattled her shoulders about was cute — the rest typical. But, now that I’m listening to the judges, yeah, he did well with it, he really did. I guess if I’m bored it means there was nothing noticeably out of line in the dance. Gimmicky though to have Jonathan practicing with Steve in Anna’s sickness-induced absense. The supposed funniness of two big guys dancing a sexy dance together, oh no that’s never been done before… Still all my problems are either with the producers’ or the tango itself; Steve’s still adorable.

Wow, Cristian just blew me away with his jive. Those jive kicks — and Cheryl put in a lot — are damn hard, especially for a beginner. He did them nearly perfectly. And he got some good height on those side kicks. Cute routine; a bit too many sliding through the legs tricks though. Also, I hated that little Sea World excursion. This is what I dislike about shows like this — the phoniness. He needs to learn how to relax and let loose, so she takes him to visit her “friend,” a sea lion. Through the ocean creature, he learns to let loose and have fun with dance, as the lion flaps about on the wet cement, and, miraculously, Cristian does well.

Oh gawd with that Karina / Mario tango. Actually, I felt the opposite as I did of Anna / Steve’s tango. This was weirdly kind of cool because it was so bizarre, and I disagree with Len and his “bitter disappointment.” I always like the Argentine hooks / ganchos. I really couldn’t take my eyes of Karina with that getup though, and kept wondering what she was thinking until I realized she’s supposed to be a prostitute and he her savior. Her dark knight of a savior. But what an odd musical interpretation by the band too, right? Creepy. But I still prefer creepy and weird to typical and boring.

Derek was adorable. Shannon’s jive was okay. She’s tall and skinny and jive is difficult for people with that body type. The judges are eating her up though, so I guess I missed something. I thought it lacked polish, finish on some of the moves. It looked like she was struggling to keep up at points and ended up having to rush some of the steps, which goes along with the height issues. The kick-boxing thing in practice: made more sense than the Sea World and man on man tango. It seemed like a understandable way for her to learn jive kicks.

Oh excellent tango, Julianne!! Bravo! Loved the 50s theme, loved the costumes — his frilly shirt, her dress, her hair — Adam shut up about the gay guys in costumes! Those gay guys — and Julianne — just made your routine! Shut up! I loved the ochos (stylized forward criss-cross steps) over his outstretched leg, the promenade runs, the ending deep dip. This was a classic interpretation of Standard and Argentine and it suited him remarkably well. Julianne is a genius choreographer. Adam needs to stay on because she is the show’s greatest artist. Bruno’s imitation of Len with his “seVEN” was cute. Bruno’s growing on me, which is kind of scary. Wait, what did Adam just say??: “My mom always told me in order to find out about Argentine tango and prostitution and pimps, just go to a Mormon.” No comment.

“Tony’s a fabulous dancer, but he cannot tell a joke,” says Marissa, laughing like the typical sweet girl at the corny but cute guy. Tony is a goof and his jokes are silly. But they’re from the heart, which makes him lovable. Wow, sweet jive. I think this is Marissa’s best performance! I love the ending gaze upward — very Hairspray. Again, I totally disagree with the judges. “It was like a jive on cruise control.” Bruno DOES come up with his lines beforehand. He does! The turns were really good — some of the best American spins I’ve seen; she knows how to spot. Understandably, Marissa sounds like she’s about to cry though upon hearing the judges’ remarks. I don’t get their nastiness either, Marissa! I thought she was really cute.

Wow, another great classic from Louis for Priscilla. This Tango was almost entirely Argentine. I loved the handhold, I loved the forward ochos, I loved how they both developped up their legs, his slightly higher than hers, and how he then snaked it around hers into tricky sexy gancho. She’s dancing beautifully. She kind of reminds me of Jackie Kennedy; royalty. And he treats her with such respect. He and Julianna are the show’s two genius choreographers.

“One thing I’ve learned in football: when you don’t know something, you should keep your mouth shut and your ears open.” I love Jason. Edyta slowed down his jive substantially — it was a very slow, almost west coast swingy jive, which was smart because he seemed to be having some problems with the intricate footwork and keeping up with the kicks. He’s very large — again, it’s a hard dance for someone so tall. Interestingly, he did well with the toe / heel swivels though. But the routine had flavor and personality and charm and bits of cute choreography — like the shadow swivels — and he tries hard and is really respectful of her.

Hehe, how funny was that when the announcer developed a sudden case of laryngitis!? Is that bad of me to laugh? I’m sure it’s not serious…

Did they just say Alvin Ailey was going to be on tomorrow night? I’d heard they were going to be on the show at some time in the near future, but didn’t know it was so soon?! You guys, I’m so excited — now everyone can see my favorite dance company, not just NYers!! Woo hoo!

See, Tom Bergeron’s talking again; it wasn’t serious.

Okay, well in contrast to most of the other Tangos we saw tonight, Kristi and Mark’s was a real Standard ballroom tango, as opposed to Argentine. I prefer Argentine, but this was a pretty perfect Standard, at least technique-wise. Very precise. I do agree with the judges on this one: while it was technically excellent, the emotion was one-dimensional. It bored me, though I love Kristi. That’s a real ballroom hairdo too.

So, who do you guys think it’s going to be tomorrow night? I’m afraid it might be Marissa, though I think she’s a blast.

Sean Bell Shooting Trial Day 21: Trent Benefield Testifies He Was Shot As He Was Running Away

Today’s testimony consisted solely of that of Trent Benefield, one of the three men shot by police detectives in Sean Bell’s car on the morning of 11/25/06.

Honestly, Mr. Benefield was not what I was expecting, after seeing Anthony South‘s on-the-scene footage of him handcuffed from behind and lying on the ground on his stomach screaming of pain in his legs and at paramedics that they were hurting him as they placed him onto a stretcher. Of course he was in serious pain at that point (when asked today by prosecutor Testagrossa on a scale of 1-10 how much pain he was in, he said “15”; the audience laughed), so his screams were understandable.

But today he was extremely well-mannered, very soft-spoken, very nervous-seeming, and very unimposing and unthreatening. No wonder several earlier eyewitnesses never even saw him get into Sean Bell’s car that night; he’s a small, quiet guy who could easily have gone unnoticed. Overall, Benefield seemed honest, at times admitting things against his interest (like having a marijuana addiction and being drunk when leaving the club that night), but because he was intoxicated and somewhat high, his ability to observe and remember events that evening were hindered. Also, he seemed sensitive, and because of the obvious stressfulness of the events, seems not to have seen it all. In any event, there were some real inconsistencies in his testimony.

A small, thin man, Mr. Benefield, 24 years old, had no prior covinctions, and, while currently unemployed, had formerly worked in a tire shop repairing tires. He had known Sean Bell for 6 or 7 years, and had met him through his lifelong friends, Johnell Hankerson (I can’t always hear very well in the courtroom, and may have spelled his name wrong earlier), and Joe Guzman (the other man in the car, whom I expect to testify tomorrow).

Benefield went to Kalua with Sean and James Kollore, in Sean’s Altima. After Sean parked and the three were getting ready to go inside, a police officer pulled up and asked Sean for his driver’s license and registration, which Sean gave him. After inspecting both, the officer returned them to Sean and told him to have a nice day.

After being frisked by the bouncer, the three ordered a round of Long Island Ice Teas, then went to the back of the club, where they were joined by others. Throughout the night, Benefield had three such drinks (though he’d told officers at the hospital, when medicated, that he had Hennesseys instead of Long Island Ice Teas), as well as two blunts of marijuana, which he smoked outside with Bone. Though admitting he had a marijuana addiction, Benefield only used, never sold, the drug. Benefield said he was “intoxicated” and “feeling nice” but not “high” from the marijuana when he and the Bell group left the club, around 3:40-3:45 a.m.

Benefield and his friend Larenzo Kinred were the last of the group to leave the club, as Benefield wanted to finish his drink. By the time he left, everyone was already outside. When he walked out, he saw Coicou standing in front of his SUV holding his right hand in his pocket as if pointing something, making Benefield think he had a gun. Benefield had told District Attorneys when meeting with them shortly after the shooting that Coicou said, “I got it; it’s in my pocket. I’ll shoot you.” He heard Coicou say to Guzman that he was from “Far Rock,” and Guzman respond that he was from Far Rockaway too. He didn’t hear anyone use the word “gun” or any slang for the word, and never saw Hankerson put his arm around Sean and tell him to calm down, as Hankerson testified he did. He never saw Sean return to the club to retrieve his hat.

They all began to walk toward Liverpool Street. As they rounded the corner, Coicou drove up, went past them, and made a right down Liverpool. The men continued on, Guzman, Sean Bell, and Benefield all getting into Sean’s car. Sean got into the driver’s seat, Guzman the passenger front, and Benefield the driver’s-side back seat, behind Sean. All car windows were closed; Benefield never saw Sean speaking with Hankerson through the window. Nor did he remember talking to Marseillas Payne, or her calling out to him from her car, as she’d said she did.

As soon as Bell started his car, Benefield suddenly saw a man (Det. Isnora) approach the car, holding a gun. He came right up to Sean, pointing his gun at Sean, and, since he was sitting directly behind him, Benefield as well. Benefield immediately covered his face with his hands, including his eyes. He saw nothing more, though he heard Guzman call out, “Go, go, drive, go.” He felt Sean step on the gas and felt the car “bump” something. It’s unclear whether the “bump” — Benefield’s word — was the car hitting Isnora or hitting the police minivan. The next thing Benefield remembered was hearing shots fired in rapid succession, with no pause. It was about two seconds between the collision, or bump, and the shots beginning. Benefield never heard Isnora say anything, and never saw anything on him (ie: a badge) to indicate who he was (ie: an officer)

Feeling himself get shot in both calves, Benefield reached over, opened the back driver’s side car door, and began running south, down Liverpool Street. As he ran, he was shot again, in the thigh, right below the right buttock. All officers who’ve testified at trial, or whose Grand Jury testimony we’ve heard, have said they saw Benefield running down the street but didn’t fire at him because they saw he was unarmed, so this testimony is interesting. I’d surmised Friday that it looked from one of the CSU detective’s diagrams like the shot that eventually went into Mrs. Rodrigues’s house appeared to have been fired from way down the street, not at all near Bell’s car, and that, unless it just ricocheted weirdly off of something else, someone may have shot at Benefield. Unfortunately, that bullet entered and exited his thigh, and, I think — unless it had blood on it and the blood could be traced to Benefield — we can’t tell which bullet that was. So, it may be impossible ever to know for certain who fired that shot.

And, Benefield said that he fell immediately after he was shot, which would have been further down near the end of the street, not in front of the Rodrigues house. So, that bullet must have been a bullet other than the one that went into her house. Unless of course, he just doesn’t remember cleary. Extremely complicated crime scene.

Anyway, after he fell to the ground, Benefield looked up to see a tall, dark, heavy-set man (Det. Headley, from the Camry) approaching him with a gun. He saw nothing on him to indicate he was an officer, and, seeing the gun, was scared. Headley told him to “stay down.” Benefield responded, “I didn’t do nothing. I got shot.” Someone told him to put his hands behind his back, and handcuffed him. He repeated that he was shot and needed help. Soon, EMS workers arrived to take him to the hospital, removing his clothing. He identified by photo all clothing found at the scene, besides the gloves and hat, as his. When asked on cross if the marijuana found near those items was his as well, and he said no, there were grumbles in the courtroom and the court officers swifty told everyone to be quiet. (Jean Nelson had testified earlier that the marijuana was his). Benefield didn’t remember cursing at police officers at the scene or getting angry at the hospital over the whereabouts of his jacket (an officer earlier testified, Benefield said, “go fuck yourself,” when he asked him for information and another officer said he’d got upset upon learning his clothing was missing.)

Benefield was at the hospital for 9-10 days, recuperating from the three gunshot wounds. He sustained a permanent injury to his calf: the metal rod holding the bone together. Unable to work since, he lived on payments from a charity organization and a bank loan. At the hospital, he learned the shooters were police officers. There is currently pending a $50 million civil suit against the city, of which he is a part.

The main problem in Benefield’s testimony is that he said he’d heard only one bump followed almost immediately by shots. But he’d told interviewing officers at the hospital about an hour and a half after the shooting that Bell’s car hit something, then reversed and crashed into something else, then sped forward again and crashed a third time: “my man, trying to get away, backed up into another car, then go forward.” Not knowing how to rectify the inconsistencies, he said he must have been mistaken in the hospital; that he “made up” that Bell’s car had reversed, hit something else, then crashed again. The officers taped their conversation with Benefield at the hospital, and that tape was played in court; Benefield acknowledged the voice on it was his.

On cross examination, defense counsels James Cullerton (for Det. Oliver) and Anthony Ricco (representing Det. Isnora) focused a bit on Benefield’s marijuana habit. Cullerton asked Benefield how he paid for it, saying sarcastically, “I take it you make a large amount of money working for the tire maker.” Benefield said he paid for the marijuana with money he earned, and that he didn’t know exactly how much of the money he’d received from the charity organization went for marijuana. And, after he said he must have “made up” the sequence of events to the officer in the hospital, Ricco asked Benefiel how much “reefer” he’d had that morning. Laughs emanated from the second two rows of the defense side of the courtroom (where all the officers sit). A court officer immediately yelled, “Quiet!”, which made me happy because at least everyone’s getting yelled at for making noise, not just those on the prosecution side.

I still found Benefield to be sympathetic, despite inconsistencies between his testimony and what he’d told the officers at the hospital that morning. It was a meaningless inconsistency for one thing — it doesn’t really make a difference whether Sean backed up and went forward again, does it??? It all happened extremely fast. I felt like Benefield was kind of caught on the spot after they played the tape recording of him talking to the officers in the hospital and the inconsistency was glaringly there, and then he didn’t really know what to say, so said he “made it up”. Did Testagrossa not adequately prep him for trial? And, then, all the questions about his marijuana smoking, which he admitted to doing, after all. Again, he’s being made, unnecessarily, into the bad guy, when the poor guy was shot after all and has a metal rod in his leg for life. Yes, the marijuana likely dulled his senses on the morning of the shooting, reducing his observational capacities and calling into question his memory of the events. But is he a liar because he has an addiction, which he may sometimes pay for with borrowed money?

I know the lawyers are doing their jobs, and they’re doing a superb job of pointing out significant inconstencies between witnesses’ trial testimonies and prior Grand Jury testimony or statements made to officers or DAs. But there is definitely something to the Bell family’s claim that the tables are being turned and the prosecution witnesses (and perhaps the black community, or at least a certain segment of it) are being put on trial here with all the focus on the rap lyrics, the 10+-year-old prior convictions, the marijuana habits. Regarding all of this, by the way, there’s a good but too short article in today’s NYTimes by Michael Wilson on Anthony Ricco, the black attorney who’s arguably attacking black prosecution witnesses in order to defend black defendant Gescard Isnora.

"Alvin Ailey Taught Me To Stand Up Straight": AAADT Celebrates 50 Years of "Revelations" at Abyssinian Baptist Church

 

Today, Ariel and I went to the Abyssinian Baptist Church in Harlem, which is currently celebrating its 200th anniversary. The church was founded in 1808 when it separated from a larger demonimation because of racial segregation.

But today Alvin Ailey American Dance Theater was also celebrating its 50th anniversary, today’s event part of its faith-based honoring of the spiritual heritage of Mr. Ailey’s life work, which took place in churches throughout New York and the country, including Rogers, Texas, Alvin Ailey’s own hometown. We were very lucky: at our event, Judith Jamison, artistic director and former dancer extraordinare with Ailey attended and gave a brief speech about Mr. Ailey’s roots in the church. I also spotted a couple of Ailey dancers in the audience, including the illustrious Renee Robinson.

It was a blast! Former Ailey dancer Nasha Thomas-Schmitt, who heads the Ailey Camp outreach program, giving dance lessons to inner-city youth, trained several children in the congregation to dance the opening of “Revelations” — the “I’ve Been ‘Buked” section (pictured above; also see video here, beginning section). So as the choir sang that song, the children walked down the aisles, dressed in the same styled costumes as the original Ailey dancers, up to the pulpit, where they danced — doing everything perfectly! I almost started giggling when the tallest boy in the center reached upward with his arms, leading his “flock.” It was adorable, and he was right on!

The choir also sang “Rock A My Soul in the Bosom of Abraham,” my favorite song in “Revelations” (see the last section of that above video). There was no music here; rather the different choral sections provided the harmony, and the melody. They sang repeated choruses, in so many different chords; it was amazing.

The regular minister, Dr. Rev. Calvin O. Butts, allowed one of the junior ministers, Rev. Eboni Marshall, to give the sermon, since she had previously danced with Alvin Ailey. Her sermon was themed “The Show Must Go On,” the message being mainly that no matter how bad things get for you, your show’s not over and God is there for you. She talked about what being a member of Alvin Ailey had meant to her. She said it “taught me, first of all, to stand up straight.” The audience cheered. She said Ailey also gave her a solid work ethic, self-respect and discipline, and taught her that no matter what happened, no matter how much her body ached, no matter how many last-minute set problems the troupe encountered, etc., the show simply had to go on, no excuses.

This was my first time at an African-American church, and I just have to say, it was so much more lively (to make a huge understatement!) than any white church I’ve been to (at least in Arizona). Rev. Marshall spoke theatrically and emphatically, and the audience was very participatory, shouting “Oh Yes!”‘s, and “Um-HUMS!”, and “Oh, He’s coming!”s throughout, fists pounding the air. It was great! Back home, people sit there in near complete silence and the minister talks in the droning pitch of a shrink.

 

Afterward, Ariel and I went around the corner to a small but down-home-looking restaurant for southern food, called Miss Maud’s SpoonBread. We were going to go to the famous Sylvia’s, but then I realized I was hungry and wasn’t in a mood to wait in a huge line with other “Harlem tourists” and pay a bundle, and small local joints are often better anyway. I’m glad we decided on Miss Maud’s because they had a nice spacious booth, the likes of which I haven’t seen in Manhattan, and it was just a cozy little place. I had my first brunch of fried chicken and waffles, which was delicious, albeit enormous. They had biscuits, just like the biscuits ‘n gravy I’ve had in North Carolina visiting Mom, but these were tiny and shaped like hearts. I thought they were cute, so I had to snap a picture… Anyway, it was a most excellent day!

 

Grupo Corpo at BAM

Friday night I was finally able to see the Brazilian dance troupe, Grupo Corpo, live. I’ve seen videos, and have heard so much about them, through Brazilian friends. So, I’ve been wanting to see them for a while, and I was very happy when they finally came to Brooklyn.

Founded in 1975, the troupe, from the Brazilian province of Belo Horizonte, combines ballet with different forms of Brazilian dance and cultural influences — African, Latin, Native American, Portuguese etc. I saw two pieces, “Benguele” and “Breu”, both choreographed by resident choreographer and co-founder, Rodrigo Pederneiras.

I liked the first, “Benguele” best. I saw it as a celebration of the cultural stew that is contemporary Brazil, melding a variety of movement — West African, Samba, capoeira, Portuguese folk, and even jazz — and a variety of sound, from folksy acoustic guitars to orchestral strings, to, my favorite, pulsating African drums. The running theme was a person trying to make his or her way across the stage, or a people trying to find their home, perhaps the result of a diaspora. The dancers moved back and forth and back and forth across stage with a variety of movement. The most common “walk” was the body bent way over at the waist, the arms hanging down, the hands almost touching the floor, almost dragging along it. But the lower body moved to the beats, which gave the walk a definite style and rhythm. So, although the person looked tired and world-weary, bent over from old age or a life of intense, perhaps slave labor, he continued on, like nothing was going to stop him from finding his destination.

At other times, people would move across the stage sideways, knees deeply bent, in a deep lunge. They were very animalistic, looking at times like crabs, at times like insects, and at times like jaguars or panthers. Sometimes, dancers would suddenly dart up from these crouched positions, legs kicking out, like a martial artist fighting his way out of a bad situation but with style and grace, intellect, and artistry — the super-charged, acrobatic capoeira. Some would nearly fly across stage in a quick jazzy skip. Some would slither in loose, pelvic rotating forward samba walks, or side-stepping samba voltas.

There’s nothing more fun, by the way, than recognizing a move! I see now why ballet is so popular amongst people with ballet training. It’s really interesting to see others do a step you’ve struggled with yourself, or to see a choreographer’s unique take on that step.

At times two people would dance together, trotting across the stage happily in a waltzy, swingy pas de deux, illustrating the position social dance has held in Brazilian culture.

At the end, all movement seemed to meld together, like it was blended into one continuous rhythm. The backdrop became a series of vertical stripes, each color represented, and each dancer wore different-colored sashes criss-crossed over his or her torso, a rainbow medley.

The second piece, “Breu,” I liked less than “Benguele,” but it was still good. In this piece, all dancers were dressed in zebra-striped or almost blindingly checkered costumes that at times looked imprisoning like a straight-jacket, at times intriguingly geometric like a compelling architectural model. This piece was much more obviously violent than the first, as dancers thrashed against each other, threw themselves down to the ground, kicked and pushed each other.

 

At other times, they would refrain from going at each other, to lie down or stand in a row, making various visual shapes with their geometric-patterned bodies. But the movements in line or on the ground would still be fraught with intense emotion. And soon the thrashing pas de deux would return. The Playbill notes that this work was intended to “evoke the dark times in which we live” and to show “the violence and brutality encountered in daily life.” I definitely saw those, but didn’t think it really progressed; it seemed too one note to me.

Another thing I noticed is that most of the members seemed to be white, though there were a couple of black male dancers. I’ve never been to Brazil (yet!) but thought it was a very mixed race society. My friend, Alyssa, and I had noticed the same of Mimulus, when we saw them at Jacob’s Pillow over the summer. Not a criticism or anything; just something I found curious. It’s the same here, of course, with most of the large professional dance companies, especially the ones specializing in ballet. I just wonder if the underlying reasons for that are the same.

Anyway, I really enjoyed Grupo Corpo, especially the wonderful Benguele, and will definitely look forward to more by them!

Sean Bell Shooting Trial Day 20: Revisiting the 14-Foot Tall Shooter

Friday was another short day. There was only one witness, another CSU detective, Michael Cunningham, whose testimony really only pertained to the reckless endangerment counts against Detective Cooper for the bullet that went into the Air Train station, and Detective Oliver for the bullet that went into the house on Liverpool Street.

Cunningham returned to the scene in June 2007, over six months after the shooting, to try to re-do all of the measurements and create a new map of the trajectories of the bullets that pierced the Air Train station, Mrs. Rodrigues‘s living room window, and Mr. Hernandez‘s fence. Cunningham had to do this because, after examining measurements done by prior CSU detectives, he realized there was no way some of the previously projected trajectories could be correct. For example, according to Detective Anzalone‘s measurements and trajectory tracings of the bullet that pierced the Air Train station, the shooter would have had to been standing several blocks further South from where the shooting actually happened (unless he was the 14-foot-tall shooter from previous cross examination testimony).

The problem is, by the time Cunningham returned to the scene to re-do the measurements, things were very different: the Air Train station’s windows had been fixed (so, obviously, the original bullet holes were gone), and Liverpool Street had been re-paved, making the curbside, street levels, and other measurements different from what they had been at the time of the shooting.

Nevertheless, Cunningham tried, using photographs of the scene and video stills from Anthony South‘s footage. He took more measurements and, using Crime Scene Unit computer software, drew some 3-D diagrams of the whole scene which were shown in court.

Cunningham found another bullet impact mark in the Air Train station, and traced its path to a point on Liverpool Street, this one on the block of the shooting. But this new placing is in a location nowhere near the point where Cooper said he shot from (and we know it’s his bullet which pierced that Air Train window). Not that Cooper couldn’t have exaggerated his position, been wrong about it, or even have outright lied, but the new placing doesn’t make much sense; according to the 3-D diagram, it was out in the middle of the street, not near any car, or any place where Cooper would have had cover. Cooper said he had crouched down inside the Camry, opened its door, stepped out with one foot, and, peeking around the car door using it for cover, fired at Bell’s Altima’s back window. But according to Cunningham’s new measurements, as shown on the 3-D diagram, Cooper would have been standing up, out in the middle of the street, shooting. Shell casings were found both in the Camry and in the street.

The diagram also showed the path of Oliver’s bullet that pierced Mrs. Rodrigues’s window. According to that diagram, its trajectory was a straight line to a point smack in the middle of the block, where no one was supposedly standing, far away from where Bell’s Altima was. I’d thought — and I thought that CSU detectives had surmised as well — that that bullet missed the Altima and went into her house instead, but according to this diagram, her house was nowhere even close to Bell’s Altima. Cunningham had no explanation for this. When asked on cross examination whether that bullet could have ricocheted from another point, after hitting some kind of hard surface, then changed direction and gone into her window, he said it was possible. Either that’s what must have happened — the bullet ricocheted, someone was shooting at Benefield as he ran down the street (which none of the eyewitnesses have testified happened, but we haven’t heard from Benefield yet), or else the diagram simply isn’t accurate.

In any event, the CSU evidence all seems to have created more confusion than answers. And people are angry at what seems, at best, to have been careless investigatory work all the way around. Advocacy groups, like 100 Blacks in Law Enforcement Who Care, are asking whether the NYPD may have even intentionally botched this investigation. Retired NYPD Detective Graham Weatherspoon, head of that group, said that Cunningham is known as a very good investigator, but was called in way too late. So, why wasn’t he called in to examine the original crime scene?

Sean Bell Shooting Trial Day 19: Waiting For Guzman

Today was short and boring. Everyone is trying hard to be patient in waiting for the testimony of the two main witnesses: Joseph Guzman and Trent Benefield, which the guards outside had told us last week was supposed to happen this week. I hope the prosecution’s not running behind.

Today the court heard only from two witnesses: an optometrist who examined Sean Bell’s eyes about six months before the shooting, and a ballistic expert who compared bullets and shell casings he received from CSU people to bullets from the five detectives’ guns to try to determine which bullets came from which gun.

Dr. Daniel Friedman, a 79-year-old Queens optometrist, examined Sean Bell’s eyes in May 2006. Sean had come to him at that time to possibly buy a contact lens for his right eye. Without a correction, Sean’s vision in that right eye was poorer than 20/400, making him extremely nearsighted in that eye, with an astigmatism as well. The vision in his left eye, however, was 20/30, so only slightly nearsighted. Legal blindness, according to the doctor, was vision worse than 20/200. So, without the correction Sean would have been legally blind in the right eye but not the left. The Department of Motor Vehicles only mandates that one’s vision must be at least 20/40 in one eye, so, because of his left eye, Sean would have been able to obtain a driver’s license and drive legally without a correction. He never bought any corrective lenses from Dr. Friedman.

(But, remember, most of the action in the car that night was happening on Sean’s right side). Also, darkness and alcohol may impair ability to see, as was elicited on cross.

Detective James Valenti, a firearms operability and identification expert, went through painstaking detail listing each of the 89 pieces of ballistic evidence — whole bullets, deformed bullets, bullet fragments, and shell casings (which are discharged near the shooter when the bullet ejects from the weapon) — that he was given by Crime Scene Unit detectives, and which of the detectives’ guns each one likely came from. Valenti was able to identify 15 bullets and 46 casings; 28 bullet fragments were too small for him to be able to perform tests on. Looking cursorily through my vast notes, I count — no, forget it, it’ll take me all night to do that — suffice it to say the vast majority of recovered shell casings and bullets were fired from Oliver’s gun — hardly surprising given that he fired 31 of the 50 shots — the next highest number from Isnora’s, and a couple each from the weapons of Detectives Headley and Cooper and Officer Carey.

One thing Valenti said that caught my attention was that Glock guns — the type used by Detectives Isnora and Cooper — only needed 5 1/2 pounds of exertion on the trigger in order to discharge bullets. But under the current New York Trigger Policy, weapons must have at least 10 pounds of exertion on the trigger in order for them to fire. The current Trigger Policy was enacted in order to prevent accidental discharge. It doesn’t seem like there were any accidental discharges here, but in any event, why is the NYPD still using the Glocks if they’re not compatible with current trigger policy and can fire accidentally?

Also, on cross examination by Paul Martin, Detective Cooper’s attorney, Valenti, who has some training in firing weapons, said he was trained to fire both with two hands and with only one, that latter done in certain circumstances (which he didn’t specify). That’s important since it goes to the reckless endangerment charge against Cooper (for the bullet he fired into the Air Train platform). It made me realize there hasn’t yet been testimony presented by the prosecution on how officers are trained to fire their weapons, which I really want to hear. With Cooper, that kind of testimony is necessary, to show that he didn’t comply, that he was therefore reckless, and that’s why his bullet went askew.

But more generally, I really want to hear how officers are trained to identify a threat and how they’re supposed to deal with it. I’m sure the court is going to get some of this testimony in the defense case, but the prosecution has the burden of proof and should be trying to show that the detectives not only fired, but that they did so in a way that was inconsistent with their training and thus reckless. As I mentioned before, a black female spectator from the NYPD said to me early on in the trial while we were waiting outside, “We need answers; I know how it’s done and this is not it.” At this point, I’m hoping the prosecution plans on trying to show what she said.

Happy Fiftieth Birthday to the Greatest Dance Company in the World!

 

Today marked the beginning of the Alvin Ailey American Dance Theater’s 18-month-long fiftieth anniversary celebration. I was unable to go to the performance since I was at the trial, but fortunately for me — for all of us! — they have events happening throughout the next year and a half, both in NY and throughout the country, and the world. Go here for a list. In particular, they’re going to be performing in several different churches throughout New York / New Jersey, Texas, Georgia, Illinois, and Pennsylvania as part of their Faith-Based Initiative, beginning at the Abyssinian Baptist Church in Manhattan this Sunday. An archive exhibit will be on display in Washington DC in May, and will move to Los Angeles later in the year. And in August, there will be several free performances and open dance classes throughout NYC. And, remember David Michalek’s Slow Dancing videos that I blogged about last summer ad nauseam? Well, he’s made one of Ailey dancers and it’ll be showing on the facade of their studios on 9th Avenue and 55th Street in Manhattan throughout the entire anniversary celebration. Free art, what more could you ask for!

There are tons of events though, so do go here for more details. And please don’t miss them if they come to your neck of the woods on tour. Global tour begins in September, and US in January. Happy year!

Sean Bell Shooting Trial, Day 18: "Yo, Let Me Holla At You."

Yesterday was relatively mild compared to the day before. The court heard only from two witnesses: the surgeon who performed Sean Bell’s autopsy, Dr. Michael Greenberg, and another of the eyewitnesses to the shooting, Jean Nelson, a seemingly honest man whose testimony was similar to that of Mr. Henkerson, who testified the day before, but with added details.

Sean Bell sustained four wounds, one to the right side of his neck, one to his right shoulder, one to his right torso, and one to his right arm. When Dr. Greenberg began going over the path of each bullet and which organs they penetrated, Mr. and Mrs. Bell and other members of the family left the courtroom, Sean’s mother in tears. The two bullets that caused Sean’s death were the first and third listed above, the one that went into his neck, piercing his larnyx and lodging in his upper arm bone, and the one that went into Sean’s torso, fracturing his rib, abdomen, liver, lung, and lodging in his spine. These numbered bullets, by the way, were randomnly assigned by the doctor; it can’t be determined which struck Sean first. Sean sustained five additional abrasions, but the cause of death was the two gunshot wounds to his neck and torso.

Greenberg also testified that he didn’t see any gunshot residue on any of Mr. Bell’s clothing, which means that the gun’s muzzle must have been fired from over three feet away. An “intervening obstacle,” such as a window, would have prevented any such residue from forming on his clothing (although, as the defense attorneys pointed out on cross, if the passenger-side window was blown out, it wouldn’t have stopped the residue from congealing on the clothes). Mr. Bell’s blood alcohol level was 0.16 grams per deciliter, twice the legal limit. There was no presence of illegal substances in his blood.

Jean Nelson, 28 and married with three children, impressed as sincere and direct; he was there to tell it like it is. He had one prior felony conviction, from 1999, for possessing a firearm, which he had for protection. He also had three misdemeanor convictions, all for marijuana possession. Speaking of which, he was the owner of the bags of marijuana found down the street from the scene.

Mr. Nelson, who wore his hair in an impressively intricate pattern of cornrows (just something I noticed because, seriously, the design was like artwork), had known Sean for 5 or 6 years, meeting him through Mr. Henkerson, whom he’d known all his life. He was a member of the musical group the defense is so interested in, which he and the others had formed to make some money.

He’d gone to a club in Manhattan, “Eugene’s” (where he bought the marijuana), earlier in the night on the 24th, returning to Queens around 3:00 a.m., and meeting up with Henkerson, to go onto Sean’s party. He and Henkerson arrived at Kalua at 3:30, too late to go inside, as the bouncer told them the club was about to close. So the two waited outside for their friends. Soon Coicou pulled up in his SUV and a bit later, the club let out. When Sean left, he and Nelson walked toward the edge of the club where Sean urinated before realizing he’d left something in the club and returned to retrieve it.

When Sean emerged from the club, Nelson heard Coicou say to him, “You can’t do this like that. I got money in there.” Sean asked him what he meant. Soon, Nelson saw Coicou back up with his hands in his vest saying “I’ll shoot you.” James Kollore said, “We’ll take that gun from you.” Sean echoed Kollore, saying, “Yeah, we’ll take that gun from you.”

Nelson walked up to Sean, saying, “come on, you’re getting married tomorrow. You don’t need none of this crap. Let’s go.”

Nelson remembered seeing Detectives Isnora and Sanchez in front of the club, but he paid no attention to them.

Nelson, Sean, and the rest of the group walked down the street to their cars, on Liverpool. On their way, Coicou in his SUV passed them very slowly, stopping at the corner to eye them all. As soon as he passed, he sped up down the street and turned at the next corner. Guzman and Sean proceeded to Sean’s Altima and got inside.

Nelson remembered Lt. Napoli‘s Toyota Camry pass by them and stop mid-block, a little after Sean’s car. Nelson noticed two white men in that car, who looked at him, and he concluded they were police. He remembered the minivan driving onto the street too, and concluded that carried police as well.

He then saw Isnora (whom he’d remembered from the front of the club) walk up to Sean’s Altima, holding a gun in his right hand, pointing it downward. “Yo, let me holla at you,” Isnora said to Sean and Guzman, which, to Nelson, meant, “Let me talk to you.” Though Nelson realized the men in the Camry and the minivan were police, he didn’t assume Isnora was as well.

Sean tried to pull out, nearly running over Isnora. Isnora hopped onto the hood to prevent being “squashed,” and went over the car, landing on the other side. Sean crashed into the minivan, then backed up, running into a wall behind him, before coming forward again, hitting the van. It looked like the Altima was just coasting at that point, and bumped into the van. Nelson then heard shooting. He began running South, dropping his marijuana (which he said was only for personal use) on the way. He looked back once before coming to the corner, and when he did he saw another man, a white man, near the passenger-side door of the Altima pointing a gun at that passenger door.

Nelson continued running, hearing someone behind him say, “oh shit.” He heard bullets piercing the fence of the house he ran past. A couple blocks away, he ran into Kollore and Henkerson, and they returned to the scene, now seeing Benefield on the ground, on his stomach, handcuffed.

On cross, Nelson remembered telling prosecutors during an interview on December 2, 2007, that he thought Sean was drunk, and when he’s drunk he’s “hyper.” He also told them Sean doesn’t like people talking to him “in a smart way.”
Defense counsel Anthony Ricco (Isnora’s attorney) asked Nelson on cross whether it made it a bit “tough” to go back to his neighborhood since his perceptions were “a little different” from his friends’. He said “yes.” After he finished cross examination, Ricco said, “thank you very much and good luck to you.” I’m glad he wasn’t hard on Nelson; there was no reason to be, since he seemed so truthful. So now, after getting so upset with him the day before, I like Ricco again.

Pretty Much As I Expected…

So, Monica and Penn are the first to go. Pretty much as I expected, though I’d thought Adam might be first, but also suspected people might vote for Julianne Hough, which it appears may well be what happened. Unless you guys think Adam managed to redeem himself after the Carrie Ann cursing incident? Well, I’d definitely be happy if people were starting vote for great pro dancers instead of only the celebs!!

Also, hehe, this appears to be a picture taken by none other than dumbass moi of Fabian Sanchez at the U.S. National championships two years ago when he and his partner won the Mambo championship. I call myself a dumbass because Sharon had written me when this season’s “Dancing With the Stars” pro dancers were first announced asking if I’d heard of him and I said, “Hmmm, Fabian Sanchez, no, no, never heard the name…,” when in fact I’ve actually seen the man dance, and had written his name right on my photo page… And thanks to Mig for reminding me 🙂 Haha, that’s the year I’d so wanted my teacher Luis Grijalva and his partner Anya Fuchs to win, or, barring that, Emmanuel Pierre-Antoine and his then partner Joanna Zacharewicz. So even though Fabian was excellent and he and his partner were tremendous fun, I was probably honestly just too sad at that point to think much of the winners.

Sean Bell Shooting Trial, Day 17: Defense Attorneys Go On The Rampage

Today the court heard from Johmell Henkerson, the brother-in-law of Nicole, Sean Bell’s fiance, and an eyewitness to part of the shooting; and the Grand Jury testimony of defendant Detective Michael Oliver, the detective whom the press has focused on the most, as he fired 31 of the 50 shots, though he was not the first to fire.

Up front, I just have to say, I find it unsettling how the prosecution witnesses are being villified. While a witness’s prior convictions are fodder for cross-examination (because legally the judge may use such priors to determine the witness’s overall credibility), the defense attorneys are questioning, and very harshly, about kinds of inflammatory things that have little to no relevance to this case: the witness’s belonging to a rap group in which he created songs about “thug” life (since when is art criminal?); a witness’s long-ago possession of a gun; a witness’s general lifestyle; here, a shooting victim’s vaguely possible criminal activity in that shooting, where charges haven’t even been filed. The issue here, at least regarding the top charges, is whether the detectives were “justified” in shooting. Justification is legalese for self-defense. So, whether they believed deadly force was about to be used against them, and whether that belief was reasonable, from the point of view of a person in the same or similar circumstances. So, making the eyewitness friends of Sean Bell and Joseph Guzman out to be general “bad guys” who have experience with guns has nothing to do with whether the detectives felt threatened right before they shot and whether that threat was reasonable from a person in their shoes. They didn’t know Guzman and his friends beforehand, so it wasn’t like they knew he had a reputation for violence, which could have informed their fear. This was the first time Isnora and Oliver had ever seen Guzman.
Anyway, Johmell Henkerson: he talked slowly and quietly and it was a bit hard to hear him. He also seemed on the verge of tears throughout much of his direct testimony. 30 years old, he’s a medical technician who assists patients with kidney problems, and his wife, Shelby, is Nicole’s sister. He’s known Sean since 2000. Henkerson has two prior felonies, 10 years old — from the mid nineties — one for possession of a controlled substance and one for unlawful imprisonment, and two misdemeanors for loitering.

He met Sean earlier in the evening of November 24th, when they’d celebrated with some egg nog and brandies. Henkerson left to go watch his children while his wife attended Nicole’s bachelorette party. (Another thing made a big deal of on cross: that party was cancelled because the male stripper couldn’t make it, as if hiring a male stripper for one’s bachelorette party has anything to do with whether the detectives thought Guzman had a gun…) Anyway, later that evening, Guzman called him and he picked him up in his Mercedes SUV and brought him to Kalua for the party. However, Henkerson then had an underage cousin with him, who was denied admission to the club. He left to take the cousin home, leaving Guzman there.

Later, he met up with his friend Gene Nelson, and the two of them went back to Kalua, except they arrived so late that it didn’t seem worth paying the cover to go in. So he and Nelson waited outside to meet up with the Bell party. He parked around the corner from the club and he and Nelson walked up to the front entrance and waited for everyone to leave. He noticed Isnora and Sanchez standing to his left, talking. Isnora was wearing a “skull cap,” he said. Soon, Coicou arrived with his big black SUV, the music blaring.

Shortly thereafter, his friends — Hugh, Larenzo, Benefield, Guzman, Bell, and Kollore — all emerged from the club. Bell went back inside because he’d forgotten his hat. When he came back out, he “exchanged words” with Coicou. At one point, Coicou and Bell were standing very close to each other and their body language changed; Sean had been in a good mood when he left the club, but Henkerson now saw that their discussion had “elevated to another kind of situation.”

Coicou had his hands in his pockets, and with one hand, he pointed out at Bell as if he had a gun (Henkerson demonstrated this in the courtroom — he pointed his finger out, through the pocket, as if making clear there was a gun in that pocket and Coicou was aiming it right at Bell.) Henkerson couldn’t hear everything they were saying, but heard either Bell or Guzman say “I don’t give a fuck who you waiting for,” “fuck that bitch you waiting for,” and “I don’t care where the fuck you from.”

Henkerson walked up to Bell and put his arm around him, telling him this guy wasn’t worth it and “let’s leave him alone.” (I have in my notes that Henkerson nearly started to cry at this point, saying, “Sean was in a great mood the whole month; I was trying to bring to him the reality of the situation”). Henkerson also told Guzman they should leave. Henkerson said to Guzman and Bell that Coicou was “holding himself out like he got a gun on him.”

Guzman was mad but decided to let it be and all men began walking toward Liverpool Street. When they got to the corner, Henkerson looked back at Coicou, noticing he was pulling out; he looked at Coicou to “make sure he wasn’t going to do anything.” Coicou drove up to the corner, driving slowly, then turned and made a right onto Liverpool Street, passing them. He then turned right on the next street and was gone.

The men were deciding where they’d go for food, to continue the party. Henkerson had planned to keep Bell with him for the night, until his wedding, so that he and Nicole would next see each other at the ceremony. As Bell and Guzman got into Bell’s Altima, Henkerson spoke with Bell at the window, determining where they’d go next.

Henkerson then saw the Camry driving down the street, carrying a black driver, a white passenger, and a black guy in the back. Before it passed, Henkerson stepped aside, to his right, so that the Camry passed between him and Bell’s car. The men inside all looked at Henkerson, driving slowly and “observing” him, “looking hard” at him. (Had they been looking in the other direction, at Bell’s car, they might have seen Isnora motioning them to the Altima — Isnora had just told them the men in question were getting into a car — but apparently they found Henkerson more suspicious. Why, I don’t know: Henkerson, very slim, almost wiry-limbed, didn’t look the least bit threatening. But not seeing the Altima or Isnora, the Camry continued on).

Anyway, Henkerson looked back at Bell after the Camry passed. He then saw Isnora, the black guy in the skullcap he’d just seen in front of the club. Isnora was walking up (“like he was creeping from somewhere”) behind the Altima. He had a gun drawn.

Henkerson “put two and two together,” realizing the men in the Camry were cops (why else would a white guy be traveling with two blacks in this neighborhood at 4 in the morning?). And cops plus a guy with a gun was a recipe for disaster. “Things could get really ugly,” he thought. He said, “Oh shit, he got a gun.” (On direct he testified he’d said this to himself, but on cross admitted he’d told the Grand Jury he’d said it to Bell and Guzman as well). He did not think Isnora was an officer.
Henkerson decided he and Sean had better “get off the block.” As Bell pulled out, he figured Bell would be okay since he was in his car. Henkerson started running down toward the end of the block. Behind him, he heard an engine revving up, tires screeching, and then gunshots (“a nice amount” of them). When he got to the end of the block, he heard a pause and began to come back, but then the shots started up again.

He turned the corner, and ran in the opposite direction of his car, down a few blocks, winding back up to Liverpool. He’d found Nelson and Kollore on the way. The three men arrived at the top of Liverpool to see Benefield lying on the ground belly down, wearing handcuffs, screaming that he couldn’t feel his legs. The men tried to go back down to where Sean’s Altima was, but were prevented from doing so by officers, who eventually told them which hospital which shooting victim was being taken to.

Henkerson called a cab since “he was in no condition (emotionally) to drive.” The men caught up with Bone, and cabbed first to Jamaica Hospital, where Henkerson (who was crying in the courtroom when he testified to this) saw Bell being operated on, then to Mary Immaculate to visit Benefield and Guzman, then back to Jamaica, where he was told Bell had died. Henkerson then took a cab back back to the club and retrieved his car.

On cross it was brought out that Henkerson had possessed a gun in the past, in the 1996 unlawful imprisonment case. Henkerson said he’s since “moved on with his life.”

It was also elicited on cross that he had been shot in April 2007 on the street of Far Rockaway as he left a restaurant. When asked several questions about that, he noted that he didn’t know what that had to do with this case. One defense attorney asked him why he hadn’t talked to police about that case, and whether it was because he’d had to get an attorney for that case because he was involved in criminal wrongdoing. Defense counsel asked him whether he was testifying in this case to curry favor with the prosecutors so they wouldn’t prosecute him on that case. The judge sustained repeated objections by prosecutors. Defense counsel asked Henkerson if his Mercedes was ever searched on the night of this shooting; Henkerson said no. Defense counsel asked him if the reason he didn’t drive his car to the hospital was not because he was too emotionally disturbed to do so, but because he didn’t want it to be searched. He said no.

At this point, a woman who I assumed was his wife left the courtroom. Words like “bullshit” emanated from the prosecution spectator section.

Later, another defense attorney continued with the line of questioning about Henkerson’s being shot in April 2007, asking him if he had a gun at the time of that shooting. At this point a woman on the prosecution spectator side said something which I couldn’t hear but which was audible to the judge. Cooperman stopped proceedings and called out, “whoever asked that question, leave the courtroom.” The woman got up and left, cursing as she went.

Henkerson seemed genuinely confused whenever asked any questions about the April 2007 shooting or about his own car and why he didn’t drive it.

This is the first time I really got angry with the defense. I think the attorneys are doing a good job of bringing out inconsistencies between witnesses’ trial testimony and their earlier Grand Jury testimony or their prior statements to district attorneys during interviews, getting witnesses to admit things were a lot more nuanced than they’d represented on direct (or, in Coicou’s case, completely different). But, the rap song stuff, the insinuations that Henkerson had some involvement in his own shooting — a case which hasn’t had any kind of disposition, and no discernable relation to this case whatsoever, and the stripper at the bridal shower crap — they have nothing to do with the issues here, they’re meant only to badger and make the witness look like a “bad guy” in general, and those kind of tactics don’t bode well for anyone with any sympathy whatsoever for the Bell family — and you’d have to be heartless not to be one of those people. They really beat up on this witness, a member of the Bell family, and there was no reason to do so. He presented as honest, serious, vulnerable and upset, and not interested in a fight (unlike Coicou, whom they had every reason to go after). Plus, Henkerson’s testimony was not very damaging to the defense.

Okay, briefly Detective Oliver’s Grand Jury testimony:
Oliver, 35, started with the NYPD in 1994, first in patrol as a uniformed officer, then in the narcotics bureau. He’d worked only in Manhattan all the way up to August 2006, when he was assigned to the Social Club Enforcement Unit, first in Chelsea (after Imette St. Gillen was killed), before being transferred to Queens South in October 2006, a month before the shooting. He’d been trained to be an investigator, not an undercover officer, and only in drug buys. In Manhattan, the club initiative’s aim was to close down clubs under the Nuisance Abatement Laws, by conducting drug buy and busts. All activity in Manhattan was centered around drug busts; nothing else.

He had never been to Kalua Cabaret before 11/24/06, the night of the shooting. The undercovers there were primarily to conduct prostitution busts. At the team meeting earlier in the evening, Oliver was assigned to drive the “prisoner van,” with Officer Carey in the passenger seat. Since he’d never been in the area before, Carey told him where to park and directed him around.

When they first arrived in the vicinity, around 12:15, they ate fast food, before proceeding onto the club area, parking a few block away from it. Around 1:15, he saw Sanchez, one of the undercovers, walk by him, toward the club. This signified the operation was beginning, which was confirmed by a radio call from Lt. Napoli, in charge of the operation. He and Carey simply sat in the van until nearly 4:00 a.m., making personal phone calls on their cell phones. At one point, Detective Headley drove by with Napoli, in the Camry, and they exchanged small talk, but he didn’t remember what they said.

Around 3:45, Napoli radioed and said Detective Isnora was in the club and there was a man inside of the club with a gun. That man was wearing a White Sox cap and was heavyset, either black or Hispanic. Oliver waited for further instructions.

Around 4:00, Napoli radioed again saying the man in the White Sox cap with the gun would be exiting the club soon, and for everyone to “move in closer. Keep in tight.” Oliver pulled around the corner, nearer the club, and put on his vest and police shield, which he wore on a chain around his neck. He was nervous: a prostitution operation was one thing; now they were being told someone had a gun, a much more dangerous situation.

Around 4:15, Napoli radioed that the man wearing the White Sox hat was exiting the club and the team should “move in, we’re going to grab him.” Oliver began driving toward the club. Napoli then radioed a third time commanding, “move in, field team.” Oliver proceeded down past the club, and as he did so, looked at the people outside the club for a heavyset black or Hispanic man in a White Sox hat. He didn’t see anyone fitting that description.

At the end of the corner, Oliver made a right onto Liverpool Street. He drove slowly, looking to his left for the White Sox man. He didn’t see him, but instead saw Isnora on the side of the street standing in front of a car. Suddenly, Oliver heard tires screech, and the car ran into him, hitting him head on. He was “in shock.”

He saw three men in that car — two in front and one in back.

That car then reversed and backed into Isnora, causing Isnora to jump. He now saw Isnora had his gun drawn. The car came back at Oliver’s van, hitting him again. Isnora yelled, “He’s got a gun, he’s got a gun.”

Oliver saw the car’s passenger side window blow out. He heard shots. He put his van into park, and got out of the van yelling, “police, don’t move.” He approached the passenger-side door of the car. He saw Guzman begin to raise his right arm, lowering his left shoulder at the same time, as if he was reaching into his waistband. Oliver said he was scared, he didn’t want to die. He shot. Then he had no shots, and he didn’t know why there were no shots firing from his gun. He loaded another magazine into it. He didn’t want to die. It all happened so fast. He shot with the new magazine, and continued firing until he had no more shots left, and no more magazines.

He focused all of his initial shots on Guzman, but at one point, saw the rear window of the car blow out. He then believed the man in the back was firing at him or his colleagues. So, he finished off his rounds shooting at the man in the back, Trent Benefield. He never shot at the driver, Sean Bell.

After the shooting stopped, he told Carry to “cover” him, and he ran to the van and got the radio. He called the central unit telling them shots were fired and “two perps were shot,” and asking them for ambulances and backup units to be sent to the address, which he knew. That radio call was played in the courtroom. He sounded very frantic, but gave a better address and description of where they were than Sanchez had on his 911 call.

Oliver didn’t hear any shouting from Isnora before hearing the Altima’s tires screeched. He may have had music on in the van, but he usually turned off the radio when in pursuit. He never saw Isnora fire.

Oliver said he re-assessed the situation while he was re-loading his weapon. The threat remained, as Guzman was still trying to get his hand up. If he got his hand up, Oliver felt he would be killed. The entire thing happened within seconds. He felt he had no time to take cover from one of the vehicles on the street once he’d left his van.

He never did see Guzman’s hands. It never occurred to him that his fellow officers could have fired. Oliver had only ever fired at the shooting range, never at a person.

“I am trained to eliminate the threat,” he said. “The way to eliminate the threat is to shoot at center mass. Some people die. I have to live with this for the rest of my life. It was the last thing I ever wanted to do.”

DWTS:Whoa Shannon, 2000 Percent Improvement!!

How cute is Anna’s mom?! So sweet! And how much of a little cutie is Steve? He’d better not get kicked off yet — he’s too adorable! He was so funny when he got all excited for himself and gave himself a little hand when he got that trick right (rapidly alternating knee lunges). And charming routine she created for him, with a cute story. She knows his strengths are in his acting and performance skills and she’s making routines heavy on that. I do think Latin is not his strongest style, but, there’s room for improvement — that’s what the show’s about, right? I think the judges were too harsh. Oh and was Steve’s “I thank you and I respect you” comment to the judges a riff on Adam Carolla’s cursing at Carrie Ann last week?

Cristian was really good at ballroom. He was the quintessential “quickstepper” if that’s a word… Very energetic, perfectly upright ballroom posture, very sharp and clean footwork, swift, and fast for a beginner. What I didn’t like was Cheryl. I felt she was too Latin. The way she shook and wiggled; it just didn’t look like Quickstep. Interestingly, he stayed with more traditional movement, not making it Latin-y as well. I think he’s a very good dancer and I has a charming personality that makes you care about him; I think he can do well.

Well, Monica tried. She was actually better this week than last, I think. Her feet are too pigeon-toed; Jonathan needs to work on that. I said this last week about just about everyone — pigeon toed feet really destroy the line, and the camera focused on her feet this time during some swivels and they were way turned in and very unprofessional-looking. Jonathan gave her a disco-y mambo, which is probably better for her than a more Latin-y one since she has this tendency to jump and hop a bit which completely destroys the rhythm and hip action of Latin. I think she has a way to go, and she has a good body. I sure do sympathize with her feelings of discomfort on first-time performing 🙂

Penn wasn’t so bad. The quickstep worked pretty good for him. I agree with Len; he was a “convincing” quickstepper. He does need to work on footwork; it was proper but not sharp and I kept thinking he would trip himself or Kym. But it’s hard for someone of his size — especially with his large feet — to dance so sharply. I liked the little jump. I want to know how does those magic tricks though — both the upstanding tie and the sawing Kym in half… And, he has cool glasses.

Priscilla was adorable. She was really good; there was a lot of fun, sassiness to those steps. Len’s right — Mambo is about having fun, not precision. And the way she lifted and bent her knees (I tend to straighten too much, like in International Latin, and it looks stupid, too ‘arty’ and not loose enough for Mambo), and that little crawling on the floor like a tiger at the end, perfect fun. Of course a lot of this is thanks to Louis — good choreography. He’s giving her lots of classics. Remember when he got reprimanded for that disco-y samba he did for Lisa Rinna? I think learned his lesson — at least with these judges. They want classic. And Priscilla just screams classic anyway. Oh and excellent dress for her. And earrings! Oh and, Barbara, I caught the tail end of some story on one of those tabloid TV shows about how her cosmetic surgeon ended up being a phony and screwed up her surgery. I guess she’s trying to have it re-done…

Okay, Shannon’s not going home this week. Omg — whoa, 2000% improvement. I couldn’t believe it. She looked like a real dancer out there. Very difficult routine, very fast, lots of hard footwork that could easily have tripped her up, hard jump at the end. It’s not as easy to get height on those back kicks as it looks. Only thing, very very nitpicky thing — at one point she extended her leg out and her knee was slightly bent. It just threw the line off a bit and resulted in lack of polish. But teensy tiny problem in overall awesome routine. She was simply gorgeous.

Jason had turnout, Jason had turnout, turnout!!! Makes me very happy 😀 Yay Edyta! The routine was a bit slow (I tend to like faster mambos), but he was fun, and he has such a charming smile. Makes me jealous of her that she gets to dance with him… They look so good together. At first I was worried the judges were going to give Edyta all hell on that “lift” — because I think both of her feet came off the ground every so briefly at the beginning of that swing. But fortunately they didn’t harp, as they have in prior seasons, and said nothing.

Marissa was a huge improvement too. Quickstep suited her well. I’m not sure if ballroom in general is going to be better for her than Latin, but Quickstep is fast and fun and “bubbly”, as Len says, and that’s very her. You can tell why she’s such a Broadway star. She has the best personality, with contagious buoyancy. I felt so badly for her when, prior to dancing, she was crying about not being able to do high extensions and certain athletic tricks. But her personality, which shines through in her movement, is what is so lovable about her.

Julianne looked kinda uncomfortable with Adam, particularly in that little tango promenade thing. He is pretty funny out there. He was bouncing too much, which, as I’ve said before, is a problem many beginning Latin dancers have. Cute choreography from Julianne though, and I love how she bopped him in the face with her … By the way, what did he say about her pelvis, in practice? When she said, try to roll your pelvis, like this… “That’s not your pelvis, baby?” Is that what he said? Yick.

Another very good performance from Marlee. It was a mambo / quickstep though 🙂 but that’s Fabian’s doing. I think she missed a jump and their connection at times wasn’t so good (you’re always supposed to be connected at the pelvis, making a martini-glass shape where waist down is the stem, waist up is the upside-down triangular cup), but that’s the hardest thing for beginning dancers to get about standard ballroom. Wow. I’m so impressed by her. I don’t mean to keep focusing on the deafness, but I can’t believe she can’t hear. I can’t!

Okay, Kristi was just as good as last week. Which is perfect. She’s a natural at all forms of ballroom. She has it in the bag. I hate to make predictions this early, but if she doesn’t win, she should. I wish I had skating background 🙁 Although something tells me she just turns everything she touches into gold. Only thing off was the costume — too much going on. Those gloves kind of took it over the top.

Mario’s so cute! Perfect as well. Funny, I was just thinking how he didn’t fit the “stereotype” of the ballroom dancer, though the footwork and charm and even the frame were right on, and then when I heard the judges’ comments, I realized it was the muscles! Ballroom men are usually not so muscly — and of course you can’t see those biceps because they wear full, long-sleeved tux jackets. So, it was the costume, combined with the physique. But different is definitely good. He and Kristi are my favorites thus far.

And that’s it for “Dancing With the Stars” week 2. I predict tomorrow night it’s going to be Monica and Adam who leave. Unless, people vote to keep Adam on because of Julianne, which I could see happening.