Categories
Sports Sports Feature

TIGERS ADVANCE TO NIT QUARTERFINALS

Senior point guard Shyrone Chatman had a double-double and the University of Memphis started the second half with a 16-2 run on its way to a 90-65 win over UTEP Tuesday night in the second round of the NIT. Chatman scored 12 points, had 10 assists, and no turnovers in leading the Tigers (19-14) to the win before 14,101 at The Pyramid. Memphis will host New Mexico Thursday in the quarterfinals. The winner goes to the NIT final four at Madison Square Garden.

“This was a very good win for this program. I loved our intensity and our defense,” coach John Calipari said after the game. “The things I always try to get my teams to do is play their best basketball in March.”

Earl Barron also logged a double-double with 10 points and 10 rebounds, as Memphis put five players in double figures. Senior Marcus Moody led all scorers with 17. Kelly Wise added 16 and freshman Scooter McFadgon had 13. Memphis shot 47 percent from the field, had 21 assists, and only 11 turnovers in the game. The Tigers led 42-29 at halftime.

“That was a good team. They beat a lot of people; won a lot of ball games,” Calipari said of the Miners, who were 23-8 entering the contest. “We got after them. We took them out of a lot of things they wanted to do.”

Moody broke Mingo Johnson’s career three-point mark when he hit his 154th trey midway through the second half. Calipari did not know about it until informed by reporters after the game. “That’s terrific. I’m happy. It was one of his better efforts,” the coach said.

Calipari thanked the crowd for their support. “We had 14,000. The Commercial Appeal was probably at the gate counting each person as they came in, so it’s a legitimate count,” Calipari said, taking a jab at the daily paper’s insistence on giving the turnstile attendance at every game instead of just reporting the number of tickets sold.

Junior John Grice saw his first action since being suspended in December.

“This is not all about basketball why he’s not playing,” Calipari said. “But I wanted to give him an opportunity because he has done some good things in the last two weeks.”

With one more win the Tigers will hit the 20-win mark for the first time since 1996. They also will gain a trip to the Big Apple. The players and coaches have made the latter a goal in part because senior Shamel Jones is from Brooklyn.

Tickets go on sale Wednesday at 8 a.m. at the U of M’s athletic ticket office. The Tiger ticket office will be open until 6 p.m. Wednesday and will be open on Thursday from 8 a.m. to 2 p.m. Tickets go on sale Wednesday at 12 p.m. at The Pyramid.

The Lobos came from behind to beat Pepperdine 81-75 in front of 16,278. It was the second straight home game for New Mexico in the NIT.

Categories
Art Art Feature

THE CHANGING CITYSCAPE

With each passing year, the architecture of a city changes. Buildings come and go. Think about it. How has the built environment in the area surrounding your own neighborhood or workplace changed in the past few years? This month, as Memphis magazine continues to reflect on its 25-year history, we thought it appropriate to consider how the architecture of our city has changed during that period. What are the outstanding design achievements, whether new construction or a renovation, that have made an impact on the city? And who better to comment on this changing cityscape than some Memphis architects? We asked each of them to name some design achievements from the last quarter century. There wasn’t enough space to list all of their choices, but we’ve highlighted a few. Is your favorite among them?

J. Carson Looney, FAIA

Looney Ricks Kiss

“The renovation of The Peabody (1981, McFarland & Associates) marked the turning point for downtown, which, by the late ’70s, was headed to the pits.” says Looney. “Such a major commitment as The Peabody established a precedent in people’s minds. This turning point signaled that it was okay to give a shot at the rebirth of downtown. Smaller projects that might never have taken off did so, all because of The Peabody, the Belz family, and then-director of the Center City Commission, John Dudas. The Belzes brought The Peabody back with such energy and commitment that it could not help but spill over into other areas of downtown.

“The Peabody is of its time, the late 1920s. It was the benchmark for hospitality, not just in Memphis but throughout the Mid-South. The Belz family did an excellent job. They did not go into the project with the intention of making the space “modern.” Instead, their renovation plan drew from the beauty of the original structure-and more importantly, the beauty that was in the public’s mind, and the emotional attachment that people had toward the building.Ê

“A great piece of architecture and great interiors do not always make for a great place, a place people love. It’s how the hotel is operated-and The Peabody is a first-class hotel. But it’s not just a hotel – it has become what it was historically-a destination.”

Lee Askew, FAIA

Askew Nixon Ferguson Architects Inc.

Lee Askew had a theory about buildings. “Buildings that start out as aliens often become icons,” he says. He cites as an example I.M. Pei’s glass pyramid in front of the Louvre in Paris that at first outraged some Parisians but now has quickly become a revered part of the landscape. Askew describes The Pyramid (1991, Rosser Fabrap) as one of the more not-able structures in Memphis that he feels is destined to become another icon. “The Pyramid is significant because of its function and shape, and its siting on the north bluffs,” he says.Ê

Jack Tucker, FAIA

Jack R. Tucker Jr. & Associates Architects

Jack Tucker, a veteran of downtown renovations and restorations, nevertheless looked to East Memphis when naming one of his favorite architectural projects. The Crescent Center at Poplar and Ridgeway (1986, Nathan Evans Pounders Taylor), he says, is appealing because of its subtle curve, its materials, and the fact that the design “looks at itself.” He notes that while the interior architecture of many office buildings can be predictable – in that the use dictates the design of the interiors – The Crescent Center’s exterior exceeds expectations on a major scale.

James Williamson, AIA

Williamson Pounders Architects, PC

The impact of AutoZone Park (2000, Looney Ricks Kiss) on the growth of downtown cannot be overemphasized, says architect James Williamson. “The park has been a real shot in the arm to downtown from a social and cultural point of view,” he says. “Now people are coming down here for recreational purposes.” Williamson also praised the design of the ballpark that opens to the street so passersby “can get a real sense of what’s going on inside.” He describes the plaza in front as “a generous civic gesture.”Ê

Williamson also singled out the Auto-Zone headquarters building (1995, Looney Ricks Kiss), that faces Front Street on the east and the river on the west. “The scale of the east side complements the adjacent Cotton Row warehouses, while the curving glass wall on the west side speaks to the curving nature of the Mississippi.”

The Memphis Brooks Museum of Art’s addition (1989, Skidmore, Owings and Merrill; Askew, Nixon Ferguson and Wolfe), says Williamson, is “extremely successful in that the architects were able to create a new main entrance without covering up or insulting the original, which dates from 1916. The museum’s new rotunda has become, in effect, its new entrance.”

Greg Hnedak, FAIA

Hnedak Bobo Group

Greg Hnedak views the Harbor Town (1989, Looney Ricks Kiss) development as a remarkable achievement whose appeal extends beyond the architecture. “It provides a different lifestyle downtown than just high-rise living, and I hope it helps to bring people back to the city,” he says. The architect adds that the choice of neotraditional architecture for Harbor Town was a logical one, appealing to people who want such designs as porches and houses set close to the street – features that increase the sense of neighborhood.

The architect, who himself has lived in Harbor Town for several years, says he also enjoys the neighborhood feeling that is created by Harbor Town’s commercial district. “Having a store like Miss Cordelia’s where you can buy staples like milk, being able to walk to a cash machine, a dry cleaner, a coffee shop where you can read a newspaper or a book – that’s part of the appeal. There’s even a day spa where you can get a massage.”

“Also, part of the draw is the diversity of people who live in Harbor Town,” says Hnedak, “which is racial to some degree but also economic.” He points out that Harbor Town housing types range from apartment rentals to high-end residences. “This is one of Harbor Town’s strengths that makes it such an appealing place to live,” he says.

“If you had told me 25 years ago, that I would be able to walk from my home to nearby stores, that I would be living in a house downtown that rivals any house in East Memphis, I would think you were dreaming,” Hnedak says. “Now I can look out my living room window and have a view of a pond. If I had to leave, I don’t know where I would go to find anything to compare to Harbor Town.”

[This story originally appeared in Memphis magazine.]

Categories
News The Fly-By

GORE’S ALBATROS III

NUMBER ONE SIGN AL GORE IS DEPRESSED:

Won’t crack a smile, no matter how many lap dances President Clinton buys him.

–From Late Night With David Letterman, November 20, 2000.

Categories
Music Music Features

SEEING CLEARLY NOW

If you wanted to get analytical about it, you could conclude that the rise of angry, adolescent-oriented hard rock over the last half-decade has something to do with the resentment Gen Y kids have for their boomer parents. The higher divorce rates and increase in latch-key childhoods over the last 20 years have changed the tone of teen anger: In the heavy-metal Eighties parents were just accused of spoiling a good time, of taking away your best porno mag, but kids who respond emotionally to Marilyn Manson and Eminem are coming from a deeper source of emptiness. That may be a conclusion that cultural gatekeepers like Bill Bennett and Lynne Cheney share about music they no doubt hate, but it’s also as undeniable as connecting the dots between economic good times, a second baby boom, and consumer-friendly mall-pop.

Crumbling families as a subject for art, much like the life experience itself, is commonplace these days. But good rock-and-roll that deals with it directly is rare, and what makes Everclear’s Art Alexakis so compelling right now is his ability to articulate that particular strain of anguish. As someone who went through it as a kid and has a daughter he’s putting through it right now, Alexakis is able to convey the pain of broken-home childhoods from two angles. He takes the familial dysfunction that young hard-rock bands like Korn and Papa Roach traffic in and makes something of it — with insight and honesty but without whiny solipsism or a loss of good humor.

Alexakis’ journey from late-grunge fluke to the poet laureate of divorced-dad rock has not been a predictable one. Everclear arrived in 1993 with the forgettable grunge of the aptly titled World of Noise then made a commercial dent with the 1995 follow-up Sparkle and Fade. That record, which gave the band its first hit with “Santa Monica,” crystallized their muscular grunge into a more identifiable sound and reflected a more discernible personality at the music’s core. But the band finally started to come into its own with 1997’s So Much for the Afterglow. The title/lead song was a new peak for the band, the Beach Boys harmonies of the intro running into Who/Nirvana power chords and launching an ambitious song that said more about the surprising growth of the band’s music than any critic could. “This is a song about the everyday occurrences that make me feel like letting go,” Alexakis asserted, and so it was. The album also included the hit single “Father of Mine,” a strong commentary on Alexakis’ own single-parent childhood and the first time he hit his great subject head-on.

After a three-year hiatus, Everclear released two albums in 2000, the dubiously connected Songs From an American Movie Vol. One: Learning How to Smile and Songs From an American Movie Vol. Two: Good Time For a Bad Attitude. The conceptual framework of this prestige move is ambiguous; I still haven’t figured out what that title means; and the hard-rockin’ Vol. Two is the band’s worst record since their debut. But Vol. One is a shock.

On Learning How to Smile, Alexakis and company finally find their true voices as a great classic-rock band, referencing Jimmy Page and “Brown-Eyed Girl,” John Prine and “the Otis Redding.” In the most underappreciated pop coup of the year, the band came out of the guitar maelstrom of their previous work with a career album more likely to please fans of Tom Petty and Aerosmith than fans of Nirvana and Sonic Youth. This is their cornball pop move — sampling Public Enemy and “Mr. Big Stuff,” bringing in horns and background vocals and strings — and it’s the one that I adore.

But it’s also Alexakis’ D-I-V-O-R-C-E album, with an overture that contains the following central image: “The only thing that ever made sense in my life/is the sound of my little girl laughing/through the window of a summer night/I sit alone in the backyard/wishing I could be inside.” If you’re wondering why he has to stay outside and only hear her through the window, the rest of the album provides enough context to fill in the gaps — he’s simply there to deliver the child-support check.

Alexakis only comments on his daughter directly at the beginning and end of the album, but she informs all of the relationship songs in the middle of the record, a group of courtship-and-marriage memories that glow with the knowledge of what’s been lost and the damage that’s been wrought. The songs also charm with inspired details of the low-rent dating life that Everclear’s younger and more vague modern-rock competitors can’t touch — such as the plastic welfare-office chair that Alexakis first spies his future bride in and this magic moment from “Here We Go Again”: “There ain’t no place I’d rather be/than watching dirty movies/in that happy room with you/sleeping on a mattress/in the corner/eating Chinese food.”

Everclear isn’t the world’s greatest rock-and-roll band — far from it. But on Friday night at The Pyramid, stuck between the pre-fab modern rock of Lifehouse and the bloated bellowing of Rob Thomas and Matchbox Twenty, they might sound like it.

Categories
We Recommend We Recommend

tuesday, march 20th

Songwriters Night with the Memphis Troubadours at the Flying Saucer.

Categories
News News Feature

WHY WHITES KILL

I can think of no other way to say this, so here goes: We white people need to pull our heads out of our collective ass.

Two more white children are dead and 13 are injured, and another “nice” community is scratching its blonde head, utterly perplexed at how a school shooting like of the one in Santee, California, could happen. After all, as the mayor of the town said in an interview with CNN: “We’re a solid town, a good town, with good kids, a good church-going town — an all-American town.”

Yeah, well maybe that’s the problem.

I said this after Columbine and no one listened, so I’ll say it again: White people live in an utter state of self-delusion. We think danger is black, brown, and poor, and if we can just move far enough away from “those people” in the cities we’ll be safe. If we can just find an “all-America” town, life will be better, because “things like this just don’t happen here.”

Well, bullshit on that. In case you haven’t noticed, “here” is about the only place these kinds of things do happen. Oh sure, there is plenty of violence in urban communities and schools. But mass murder, wholesale slaughter, take-a-gun-and-see-how-many-you-can-kill kind of craziness seems made for those safe places: the white suburbs or rural communities. And yet once again, we hear the FBI insist there is no “profile” of a school shooter. Come again? White boy after white boy after white boy, with very few exceptions to that rule (and none in the mass-shooting category), decide to use their classmates for target practice, and yet there is no profile? Imagine if all these killers had been black: Would we still hesitate to put a racial face on the perpetrators? Doubtful.

Indeed, if any black child in America — especially in the mostly white suburbs of Littleton or Santee — were to openly discuss their plans to murder fellow students, as happened both at Columbine and Santana High, you can bet your ass that somebody would have turned them in, and the cops would have beat a path to their doorstep. But when whites discuss their murderous intentions, our stereotypes of what danger looks like cause us to ignore it — they’re just “talking” and won’t really do anything. How many kids have to die before we rethink that nonsense? How many dazed and confused parents, mayors and sheriffs do we have to listen to, describing how “normal” and safe their community is and how they just can’t understand what went wrong?

I’ll tell you what went wrong, and it’s not TV, rap music, video games, or a lack of prayer in school. What went wrong is that white Americans decided to ignore dysfunction and violence when it only affected other communities and thereby blinded themselves to the inevitable creeping of chaos, which never remains isolated too long. What affects the urban “ghetto” today will be coming to a Wal-Mart near you tomorrow, and unless you address the emptiness, pain, isolation, and lack of hope felt by children of color and the poor, then don’t be shocked when the support systems aren’t there for your kids either.< What went wrong is that we allowed ourselves to be lulled into a false sense of security by media representations of crime and violence that portray both as the province of those who are anything but white like us. We ignore the warning signs, because in our minds the warning signs don't live in our neighborhood but across town, in that place where we lock our car doors on the rare occasion we have to drive there. That false sense of security -- the result of racist and classist stereotypes -- gets people killed. And still we act amazed. But, listen up, my fellow white Americans: Your children are no better, no nicer, no more moral, no more decent than anyone else's. Dysfunction is all around you, whether you choose to recognize it or not. According to the Centers for Disease Control and the Department of Health and Human Services, it is your children, and not those of the urban ghetto, who are most likely to use drugs. That's right: White high school students are seven times more likely than blacks to have used cocaine; eight times more likely to have smoked crack; 10 times more likely to have used LSD; and seven times more likely to have used heroin. In fact, there are more white high school students who have used crystal methamphetamine (the most addictive drug on the streets) than there are black students who smoke cigarettes. What's more, white youth ages 12 to 17 are more likely to sell drugs: 34 percent more likely than their black counterparts. And it is white youth who are twice as likely to binge drink and nearly twice as likely as blacks to drive drunk. And white males are twice as likely to bring a weapon to school as are black males. And yet I would bet a valued body part that there aren't 100 white people in Santee, California, or most any other “nice” community, who have ever heard a single one of the statistics above. Even though the statistics were collected by government agencies using these folks' tax money for the purpose. Because the media doesn't report on white dysfunction. A few years ago, U.S. News ran a story titled: “A Shocking Look at Blacks and Crime.” Yet never have they or any other news outlet discussed the “shocking” whiteness of these shoot-’em-ups. Indeed, every time media commentators discuss the similarities in these crimes, they mention that the shooters were boys, they were loners, they got picked on, but never do they seem to notice a certain highly visible melanin deficiency. Color-blind, I guess.

White-blind is more like it, as I figure these folks would spot color mighty damn quick were some of it to stroll into their community. Santee’s whiteness is so taken for granted by its residents that the mayor, in that CNN interview, thought nothing of saying on the one hand that the town was 82 percent white but on the other hand that “this is America.” Well, that isn’t America, and it especially isn’t California, where whites are only half of the population. This is a town that is removed from America, and yet its mayor thinks they are the normal ones — so much so that when asked about racial diversity, he replied that there weren’t many different “ethni-tis-tities.” I’d like to think that after this one people would wake up. Take note. Rethink their stereotypes of who the dangerous ones are. But deep down, I know better. The folks hitting the snooze button on this none-too-subtle alarm are my own people, after all, and I know their blindness like the back of my hand.

Tim Wise is a Nashville-based writer and activist.

Categories
News News Feature

PEDIATRICIANS WARN OF ANTIBIOTIC OVERUSE

If you’ve been seeing a lot of your pediatrician lately, you’re not alone. Winter is the busiest time of the year in doctors’ offices, as colds, ear infections, and the flu get passed around like kids’ hand-me-downs. While no one enjoys having a sick child, treating those ailments often means an increased use — and potential misuse — of antibiotics.

Antibiotics are powerful medicines that are good for treating bacterial infections such as ear infections, pneumonia, and bacterial sinusitis. But viral infections — which can cause runny noses, colds, coughs, sore throats, ear infections, or upper respiratory infections — are never cured by antibiotics. The problem is, it is sometimes difficult for doctors to determine whether some illnesses are bacterial or viral in nature.

“If you have a cold with nasal discharge, you shouldn’t expect an antibiotic, because you don’t need one,” says Dr. Stephen Threlkeld, an infectious disease specialist with Infectious Disease Associates in Memphis. What’s more, the overprescription of antibiotics is leading to a growing community health risk.

Pneumococcus (streptococcus pneumoniae), is the single greatest bacterial cause of illness in children, according to Dr. Deborah Nelson, associate professor of pediatrics at the University of Tennessee Health Science Center. This common bacteria, which has 90 different strains, is carried by people in the back of the throat and generally doesn’t make us sick. But certain strains of pneumococcus can cause serious infections, including otitis media (an infection of the middle ear), pneumonia, meningitis, and sinusitis.

The use of antibiotics to treat simpler infections has created resistant strains of the bacteria, which are becoming more and more difficult to treat. Since ear infections are common in young children, a lot of physicians overdiagnose this ailment, says Dr. Katharine Cox, an ER pediatrician with Baptist Memorial Hospital-East. Taking repeated doses of antibiotics increases the likelihood that a child will have an infection that can’t be treated with front-line penicillins like Amoxicillin and Cephalosporins, says Cox. That means physicians must turn to other penicillins and prescribe higher doses to effectively treat patients.

“The medical profession is extremely concerned about the rise of resistant strains of pneumococcal bacteria,” says Nelson. “In the 1940s when penicillin was first introduced, it killed everything. Now, it’s only effective for certain strains of bacteria.” According to a 1998 article in the journal Pediatrics, the past several years have seen a rapid increase in the number of strains resistant to penicillin

Why should parents be alarmed? Children who attend day care centers are more apt to be exposed to resistant forms of the bacteria. Couple that with taking more than two or more courses of antibiotics a year and the American Academy of Pediatrics warns, “The more antibiotics prescribed, the higher the chance that your child will be infected with an antibiotic-resistant bacteria. If infected with resistant bacteria, your child might need to be treated in the hospital,” since resistant bacteria only respond to more powerful medicines.

So what’s the answer? Doctors say both physicians and patients must break the cycle of antibiotic overuse.

Do I Need an Antibiotic?

Here are some helpful tips when seeing your pediatrician:

¥ Ask questions, such as “Is the prescription of antibiotics necessary?” Don’t expect your child to be treated with antibiotics every time he gets sick. “If a child is being seen for a fever or cough, ask your physician why she’s prescribing an antibiotic,” says Cox. “Find out whether your child needs it.”

¥ Make sure your child completes the medicine prescribed. Stopping when he show signs of improvement could increase bacterial resistance by killing the weaker bacteria only.

¥ Keep your child at home during recovery.

¥ Allow your child to recover more fully before sending him back.

¥ Teach your child to wash his hands regularly with soap and water. This helps stop the spread of infection.

[This story originally appeared in Memphis Parent.]

Categories
News The Fly-By

POP. 27,666

According to the United States Census Bureau, West Memphis, Arkansas, has seen
a population decline of almost 3 percent since 1990. It is difficult to
determine whether or not this decline has anything to do with impending
natural disasters or the increasing cost of haircuts.

Categories
We Recommend We Recommend

monday, march 19th

Tonight s Moonlighting Chefs Dinner, a series of smaller dinners as
part of Taste of the Nation (benefits the food bank) is at Melange and will be
prepared by chefs Scott Lenhart and Jennifer Dickerson.

Categories
News The Fly-By

POP. 27,666

According to the United States Census Bureau, West Memphis, Arkansas, has seen
a population decline of almost 3 percent since 1990. It is difficult to
determine whether or not this decline has anything to do with impending
natural disasters or the increasing cost of haircuts.