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News News Feature

WE RECOMMEND (THE NOBLE PART)

I know I am expected to rant about goofy things on this page — or at least I have been for the 11 years I’ve been writing this — but I’m taking a break this week. What follows is a commencement speech made by Anna Quindlen at Villanova University, sent to me by a friend, to whom I am very grateful. You may have already read it, but if not, please do. It says everything I want to say every day. I’ve had to edit it just a bit for length and to take out a couple of things that sound like self-help bumper stickers, which make my skin crawl, but here is most of it, and it’s far more profound than anything I might have to say — particularly during this time when public debate is raging about tax increases, the economy, the looming recession, etc. These are Anna Quindlen’s words: “It’s a great honor for me to be the third member of my family to receive an honorary doctorate from this great university. I have no specialized field of interest or expertise, which puts me at a disadvantage talking to you today. I’m a novelist. My work is human nature. Real life is all I know. Don’t ever confuse the two, your life and your work. The second is only part of the first. You will walk out of here this afternoon with only one thing that no one else has. There will be hundreds of people out there with your same degree; there will be thousands of people doing what you want to do for a living. But you will be the only person alive who has sole custody of your life. Your particular life. Your entire life. Not just your life at a desk or your life on a bus, or in a car, or at the computer. Not just the life of your mind, but the life of your heart. Not just your bank account but your soul. People don’t talk about the soul very much anymore. It’s so much easier to write a r sum than to craft a spirit. But a r sum is a cold comfort on a winter night, or when you’re sad, or broke, or lonely. . . . Here is my r sum : I am a good mother to three children. I have tried never to let my profession stand in the way of being a good parent. I no longer consider myself the center of the universe. I show up. I listen. I try to laugh. I am a good friend to my husband. I have tried to make marriage vows mean what they say. I am a good friend to my friends, and they to me. Without them, there would be nothing to say to you today. . . . So here’s what I wanted to tell you today: Get a life. A real life, not a manic pursuit of the next promotion, the bigger paycheck, the larger house. Do you think you’d care so very much about those things if you blew an aneurysm one afternoon or found a lump in your breast? Get a life in which you notice the smell of saltwater pushing itself on a breeze over Seaside Heights, a life in which you stop and watch how a red-tailed hawk circles over the water or the way a baby seal scowls with concentration when she tries to pick up a Cheerio with her thumb and first finger. Get a life in which you are not alone. Find people you love, and who love you. And remember that love is not leisure, it is work. Pick up the phone. Send an e-mail. Write a letter. Get a life in which you are generous. And realize that life is the best thing ever, and that you have no business taking it for granted. Care so deeply about its goodness that you want to spread it around. . . . All of you want to do well. But if you do not do good too, then doing well will never be enough. It is so easy to waste our lives, our days, our hours, our minutes. It is so easy to take for granted the color of our kids’ eyes, the way the melody in a symphony rises and falls and disappears and rises again. It is so easy to exist instead of to live. I learned to live many years ago. Something really, really bad happened to me, something that changed my life in ways that, if I had my druthers, it would never have been changed at all. And what I learned from it is what, today, seems to be the hardest lesson of all. I learned to love the journey, not the destination. I learned that it is not a dress rehearsal, and that today is the only guarantee you get. I learned to look at all the good in the world and try to give some of it back because I believed in it, completely and utterly. And I tried to do that, in part, by telling others what I had learned. By telling them this: Consider the lilies of the field. Look at the fuzz on a baby’s ear. Read in the backyard with the sun on your face. Learn to be happy. And think of life as a terminal illness, because if you do, you will live it with joy and passion, as it ought to be lived.” And there you have it. Put the cell phones down for just one minute, right now, and give that one some thought.

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We Recommend We Recommend

thursday, may 24th

Tonight, in case you didn t get your fill of music at the Beale Street Music Fest, kicks off a weekend of music with the 22nd Annual W.C. Handy Blues Awards at The Orpheum, one of the biggest musical events in the country. And if you don t make it to The Orpheum, there s Sean Costello at Black Diamond; The Beach Boy at the Horseshoe Casino in Tunica; legendary Chicago blues steel guitarist Freddy Roulette at Wild Bill s; and Levon Helm will be at B.B. King s after the awards.

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News The Fly-By

HEISLEY SPEAKS

Owner Michael Heisley may have lost millions of dollars since the Vancouver Grizzlies first joined the NBA as an expansion team in 1995, but recent comments prove beyond the shadow of a reasonable doubt that Mike knows plenty about the basketball business. Discussing his team s options for the NBA draft, Heisley was quoted as saying, We could use a small guy or a big guy. We re pretty flexible. With that kind of vision, how can Memphis resist?

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We Recommend We Recommend

wednesday, may 23rd

Audie Smith and Stormie Williams are at French Quarter Suites tonight.

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Film Features Film/TV

Drunken Horses

The Iranian film A Time For Drunken Horses follows the plight of a group of Kurdish children, siblings living in settlement camps along the Iran-Iraq border. We meet three of these children through some opening-credit dialogue a girl, Ameneh (Ameneh Ekhtiar-Dini), who seems to be about 10; her brother Ayoub (Ayoub Ahmadi), who seems to be about 12; and brother Madi (Mehdi Ekhtiar-Dini), a severely deformed dwarf with fiercely observant eyes. Madi later tries to tell someone that he s three years old (he holds up fingers; Madi doesn t speak in the film), but his siblings reveal that he is really 15.

The children are in a town near their home village where they are taken to work in a marketplace, wrapping glasses in paper for export. The children attempt to smuggle school textbooks back to camp, but the books are seized by the Iranian border patrol. Smuggling, it turns out, is part of the daily existence for this family. Their mother died giving birth to their youngest sibling and now their father supports them by smuggling goods via donkey across the Iraqi border, where things fetch a better price.

The film s title comes from the smugglers practice of feeding the donkeys alcohol so they ll work in the severe cold.

At the beginning of the film, as the children arrive back at the village from the marketplace, the protagonists father has just been killed by one of the many land mines that cover the Iran-Iraq border, throwing the young Ayoub into the role of family leader and provider. Ayoub is faced with the task of providing for his four siblings and trying to raise money for an operation for Madi. More than that, I will not reveal.

Iran has developed a reputation over the last decade for having one of the most fertile of all national cinemas, so much so that a few films have even filtered down to secondary U.S. markets such as Memphis, though we re still waiting for a big-screen glimpse of the acknowledged Iranian master, Abbas Kiarostami. Directed by first-time filmmaker Bahman Ghobadi (who served as an assistant on Kiarostami s The Wind Belongs To Us), A Time For Drunken Horses is brief (80 minutes), documentary spare, and utterly heartbreaking in part because the film is populated with non-professional actors, Kurds who, reportedly, are essentially playing themselves.

The film was made in the Kurdish village where Ghobadi, Iran s first Kurdish director, was born. Ameneh and Madi are played by real-life siblings, which gives their scenes together Ameneh blowing on Madi s face to keep him warn and constantly kissing his cheeks added poignancy. Viewers may have read about the plight of the Kurdish people in news reports, but this film will bring the story home with the kind of immediacy the printed word can t provide.

Compared to the only other modern Iranian films to have played Memphis Children of Heaven and The Color of Paradise A Time For Drunken Horses is less cloying and sentimental and consequently even more powerful. The matter-of-fact documentary power of the film, if not necessarily its artistry, is much more shattering than the Italian Neorealist films (such as Vittorio De Sica s The Bicycle Thief) it has understandably been compared with. Rather, A Time For Drunken Horses evokes the likes of Luis Bunuel s Land Without Bread, the satirical social critic s straightforward travelogue of poverty in Northern Spain.

Moving without being manipulative, A Time For Drunken Horses may not be a great work of cinema, but it confirms the simple, communicative power of the medium itself like few other recent films. And it makes pretty much everything else adorning the multiplexes right now seem profanely irrelevant by comparison.

Categories
News The Fly-By

City Reporter

Well-known Judges Score Low On Bar Survey

McCalla — Temperament questioned.

Judge not lest ye be judged. The Memphis Bar Association has turned that biblical admonition on local judges, and the results are harsh.

Some of the best-known judges in Memphis are also some of the worst, according to a bar association survey released Friday.

U.S. District Judge Jon McCalla, in the news this month for a simmering feud with the Burch Porter & Johnson law firm, scored by far the lowest of any federal judge and lowest overall of any judge in any court in Shelby County. On a 1 to 5 scale, McCalla scored an overall rating of 2.27. His lowest ratings were in the categories of proper judicial demeanor (1.83) and open-mindedness (2.03).

“As federal judges, our obligation is to the law and the Constitution, not to please or displease any particular group,” McCalla told the Flyer. “Beyond that I can’t comment.”

Like other judges, McCalla is hamstrung by judicial canons in responding to the survey.

Attorneys rated judges on a scoring scale of 5 for excellent, 3 for satisfactory, and 1 for unsatisfactory. Judges were rated in 10 categories plus “overall performance.” The overall performance rating was a separate question, not a composite score of the other 10 categories. Of the 2,907 lawyers who received the survey, 695 responded.

Bailey — Worst on punctuality.

Attorneys were asked to rate only judges before whom they have practiced, but they were on the honor system so there is a possibility of ballot-stuffing. More than 400 lawyers rated the state court judges; more than 300 rated the federal judges; fewer than 100 rated some of the municipal judges. Responses were anonymous.

The full survey findings can be viewed at www.memphisbar.org.

McCalla has been criticized for his temperament and for berating lawyers. He is currently presiding over the Shelby County jail lawsuit. The two other federal judges, Julia Gibbons and Bernice Donald, had overall performance scores of 4.45 and 4.13, respectively. The federal magistrates and bankruptcy judges all scored 3.78 or higher, with U.S. Bankruptcy Judge David S. Kennedy the highest at 4.79.

Former state lawmaker Karen Williams (3.13 overall), Kay Robilio (2.57), and D’Army Bailey (2.52) fared worst among the Circuit and Chancery Court judges. Williams was rapped for being slow on rulings (1.98), Robilio for shaky knowledge of the law (1.92), and Bailey — a part-time actor and former mayoral candidate — for not convening court punctually (1.60).

The Circuit and Chancery Court judges with the highest overall ratings were John McCarroll Jr. (4.56) and Robert Lanier (4.51).

The lowest rating among the Memphis Municipal Court judges went to Earnestine Hunt-Dorse (2.80). In Criminal Court, W. Fred Axley brought up the rear (2.70). Their peers with the highest ratings were Donn Southern (4.61) and W. Otis Higgs Jr. (4.34).

Hunt-Dorse — Lowest score for a Memphis city court judge.

“One of the obligations of the bar is to educate the public about the judicial system,” said Linda Holmes, chairman of the Judicial Evaluation Committee. “This judicial evaluation is one way the bar association can give information to the public.”

The Memphis Bar Association has historically been wary of rating judges and backed away from a similar survey two years ago. The canons of the ethics prohibit lawyers from making false statements about a judge or adjudicatory officer, and common sense usually dictates that they keep their mouths shut for the sake of their clients if not themselves.

The flip side of that argument is that lawyers know better than the general electorate who is qualified and unqualified. All judges are elected except for the federal judges and magistrates, who are appointed. Voter turnout in judicial elections is usually the lowest of any elected officials due to apathy and lack of name recognition.

A few judges, such as former Criminal Court judge turned television star Joe Brown, have taken matters into their own hands and molded high-profile public images. But more often than not, if a judge is in the news it is for doing something (or allegedly doing something) bad, not something good.

McCalla, appointed to the federal bench in 1992, is being investigated by the U.S. 6th Circuit Court of Appeals for criticism of his behavior, while Axley, a judge since 1982, has been sued twice for alleged sexual harassment by clerks in his courtroom.

Robilio — Knowledge of law questioned.

At the Flyer’s request, McCalla’s office provided a thick folder of internal reports showing that he has consistently had fewer cases pending than his colleagues over the past eight years. He also gets consistently high marks from jurors.

Axley wrote a brief note to the bar association while the survey was in the works, saying “the questions are appropriate” and he looked forward to the results.

A longer response to the survey came from Bailey, who wrote: “I think that to have a meaningful evaluation it should be broader based than simply a survey of attorneys. Others affected by a judge’s performance such as jurors, litigants, and court personnel should also have some input … .”

The survey was the product of several months of research, including input from judges on the questions. It could become the judicial benchmark, so to speak, by default because other measurements of judicial performance are either nonexistent or not widely disseminated. Jurors, for example, fill out questionnaires at the conclusion of trials but the results are rarely seen by anyone other than the judges themselves.

The survey will be repeated every two years. Holmes said she has had only a handful of reactions so far. Three judges commended her for the survey and another asked a technical question.– John Branston

MLGW: Pay For NBA Arena Or Lower Utility Rates?

Memphians need look no further than a “No Taxes NBA” yard sign to see that the debate on getting an NBA team here is centered on who will pay for the arena.

To aid in the financing of the proposed arena, Memphis Light, Gas and Water has pledged to contribute approximately $50 million to the arena from its Water Division. However, some Memphis business owners and residents have speculated that if MLGW has the money to contribute to the arena financing plan, then that money should instead be applied to a rate decrease.

MLGW president Herman Morris, when he was head of the utility’s legal department, had a similarly conservative view on what money belonged to the utility and what belonged to its customers. The Flyer recently obtained a legal memorandum written by Morris on March 30, 1995, and addressed to MLGW’s then-president Bill Crawford, detailing the utility’s obligations to its rate-payers.

Though the document Morris prepared for Crawford was written to address the legality of the commingling of funds within the utility, Morris also discusses the utility’s responsibility to rate-payers with regard to any surplus funds. In the nine-page memorandum, Morris states that, under the utility’s charter, surplus funds in any MLGW division are the property of rate-payers and must be applied to a rate decrease.

“It is my opinion that … a Tennessee court could find that the customers of MLGW who are entitled to have the surplus funds used to reduce their rates have a property interest in such funds, and further, that MLGW holds those funds in trust for those customers,” Morris’ memo reads.

Under the proposed financing plan, MLGW has pledged to contribute approximately $2.5 million a year in “payment in lieu of taxes” (PILOT) money, for a total of about $50 million over a 23-year period.

Morris’ 1995 legal interpretation may give opponents of the NBA financial plan added ammunition in their battle to keep tax-paid dollars out of the deal. Whether or not MLGW can contribute to the financing of the arena seems to hinge on the definition of “surplus.” And while some rate-payers think MLGW should apply surplus money to a rate decrease, the city of Memphis and MLGW don’t see the money as surplus.

Tom Jones, senior advisor to Shelby County mayor Jim Rout, offers this explanation of MLGW’s PILOT funds:

“MLGW, as a public utility, does not pay property taxes. It pays payment in lieu of taxes [PILOT], rather than taxes, of an amount determined by the city and county government. MLGW has never paid a PILOT for the water department because there was a 30-year-old bond issued, and before now they have been paying off that bond. Those bonds are about to be paid off and for the first time the city has the opportunity to collect PILOT money from the water department and has chosen to earmark that money for the arena,” says Jones.

According to Marlin Mosby, bond consultant for the city of Memphis, without the proposed arena financing plan, MLGW would not have begun paying PILOT money to the city until 2012. Mosby says that under the current arena proposal, the city would “defease” the debt owed by the water department in order to free up money in the utility so that it can begin paying the city PILOT funds in July of this year. This PILOT money would go directly to the city, which has allocated it for the NBA arena.

Nashville attorney Patrick Flynn believes that such a plan would be contrary to the City of Memphis’ charter. “By definition, surplus funds are funds that are not needed at the present time,” says Flynn. “If the PILOT payments were not scheduled to be paid until 2012, then the money for those payments is not due at this time and is therefore surplus. As I understand the Memphis charter, surplus funds must go into a rate decrease for the MLGW rate-payers.”

Under the MLGW charter (which is included as an amendment to the charter of the city of Memphis), “Any surplus thereafter remaining over and above safe operating margins, shall be devoted solely to rate reduction.”

The charter says that all revenues the utility collects for the Water Division must be applied, in order, to six categories of expenditures. The charter also says that any “surplus” funds after the six categories have been satisfied must go to a rate decrease for MLGW customers.

Moreover, under the trustee relationship that Morris’ memo says is created between the utility and rate-payers, the utility is bound by law to act to the greatest benefit of the rate-payers.

“Obligations imposed by the MLGW charter … can be interpreted to impose a trustee relationship on MLGW as it relates to those rate-payers. If so, those rate-payers would have a property interest in the surplus funds and could bring suit to enjoin MLGW from transferring funds to other divisions … ,” the memo reads. He adds in the memo that depriving rate-payers of this property interest without “due process of law” would open the city up to lawsuits as rate-payers could seek to enjoin the city from transferring the money.

“Under the Tennessee Constitution, property interests are secured by the Constitution and cannot be taken away except by ‘due process of law’ or ‘the law of the land.’ If … the MLGW charter, by its terms, creates a legitimate property interest in its customers’ entitlement to a specific use of the surplus funds, procedural due process requires notice and an opportunity to be heard by a fair and impartial tribunal before the property right is taken away. A referendum on the Charter Amendment should satisfy this requirement,” reads Morris’ memo.

Morris also states that for the utility to legally act contrary to its charter, the charter must first be amended. However, his memorandum states that attempting to procure such an amendment “might also threaten the financial rating [AA] of MLGW, to the extent that it created a perception of confusion, instability, or financial problems.”

According to the memo, the liability is not limited to the city of Memphis and MLGW. He notes that not only could the city be held liable for depriving rate-payers of property rights, but that the “municipal officers” could be held personally liable as well. In this case, this personal liability would extend to Mayor Herenton, all members of the Memphis City Council, and to Morris himself.– Rebekah Gleaves

The full text of Herman Morris’ 1995 memorandum to Bill Crawford is available on the Flyer‘s Web site: www.memphisflyer.com

Behind the Numbers

What the Arena Financing Plan Says

“State law permits the City, by resolution of the City Council, to receive from the City water system operated by MLGW an annual payment in lieu of taxes (PILOT) on all water system properties in an amount not to exceed the taxes that would be payable if the water system were privately owned.”

(Editor’s note: The financing plan proposes to use the PILOT payments to finance some of the arena debt, starting in 2003. The annual payment would start at $2.1 million in 2003 and increase to over $3 million in the final year, 2025.)

What the MLGW Annual Report Says

“Operating revenues in the Water Division amounted to $60 million in 1999, an increase of 4.1 percent over 1998, and operating expenses for 1999 totaled $36.1 million, down 1.3 percent from 1998. After providing for operating expenses, debt service, bond reserves, renewals and replacements, and other expenses, the balance of net revenues amounted to $11.7 million.”

What the City Charter Says

“The revenue received each year from the operation of the water division, before being used for any other purpose, shall be used for the following purposes.” (Editor’s note: The purposes listed are operating expenses, bond interest, capital reserves, dividends to the city of Memphis, and expansion of the Water Division.)

“Any surplus thereafter remaining over and above safe operating margins shall be devoted solely to rate reduction.”

What Herman Morris Jr. Said In 1995 As counsel For MLGW

“It is my opinion that, under the facts presented in the instant matter, a Tennessee court could find that the customers of MLGW who are entitled to have the surplus funds used to reduce their rates have a property interest in such funds, and further, that MLGW holds those funds in trust for those customers.”

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Hot Properties Real Estate

New Belle On the Boulevard

Belvedere means “beautiful view” in Italian. With its gentle S-curve and wide, landscaped median, Belvedere Boulevard is most appropriately named. The Belvedere subdivision, one of several comprising present-day Central Gardens, was approved for development in 1906. The land was part of an 800-acre farm established by Solomon Rozelle in 1830. When the subdivision was platted, the area had a few houses dating from the mid- to late 1800s. Most of the houses in the new development were built between 1900 and 1940; a few townhouses were built in the 1960s and ’70s.

This is the first new house in the neighborhood in several decades and is now under construction on Belvedere between Harbert and Glenwood, on property that was for many years the garden of the circa-1912 house next door. The deep, narrow lot has been developed with a small lawn and guest parking in the front, a driveway down the house’s south side, and parking for the owners at the rear, behind the garage.

The brick-clad house has a symmetrical facade with a two-story pedimented portico which provides a gracious porch at street level and a balcony for two bedrooms upstairs. The front entrance is a double-leaf door with a transom. The front windows also have transoms.

The central front hall has a view straight through the house to the rear terrace and courtyard. The living and dining rooms, each with a fireplace, flank the front hall. The den, behind the living room, has its own fireplace and a trio of French doors to the terrace. A wide archway joins the den to the breakfast room, which is almost as large as the dining room. A butler’s pantry with capacious cabinets connects breakfast and dining rooms.

The kitchen and its adjunct spaces and the downstairs master suite are in a long, one-story rear ell. The kitchen, with major work areas at the sink and stove and broad expanses of countertop, would easily accommodate the needs of either an amateur cook or a professional chef. A counter with columns at its corners is both a convenient work or serving space as well as an elegant device to separate the kitchen and breakfast room. A four-foot-wide refrigerator and walk-in pantry provide plenty of food and equipment storage; and there’s more storage, as well as a place for a freezer, in the laundry room. A porte cochère on the south side of the house provides a convenient, sheltered, family entrance and loading zone off the back hall.

A gallery stretches down one side of the ell, forming the long side of the courtyard. The master bedroom with a bay window and expansive bath and dressing areas is situated at the end of the gallery. A three-car garage with a bedroom/playroom and full bath upstairs forms the end wall of the courtyard, an area that could be developed as a garden or an outdoor room that is a visual and functional extension of the interior spaces.

The upstairs has four bedrooms, all with nine-foot ceilings. Each bedroom has a large walk-in closet. The two front bedrooms have access to the balcony, and the two back bedrooms open into a sitting room. One front bedroom and one back bedroom have full baths; each of the other bedrooms has a private vanity but share a tub and water closet.

The design of this house incorporates modern “bells and whistles” conveniences with many desirable amenities, such as large rooms and high ceilings, found in older houses in Central Gardens. It won’t be long before this elegant Colonial Revival blends seamlessly with the other distinctive houses along one of Memphis’ most notable streetscapes.

656 Belvedere Boulevard, 5,500 square feet, 4 bedrooms, 3 baths; $1,200,000

Realtor: Sowell and Company, Agent: Corinne Adrian, 278-4380, 278-8840

Categories
Opinion Viewpoint

Stay, Strom, Stay!

Shakespeare said something about the seven ages of man.

In Strom Thurmond’s first several ages, he was someone I downright loathed. My first recollection of him was as South Carolina’s governor, the segregationist who bolted the Democratic Party. In 1948, he ran for president as a third-party candidate and did so badly he failed, fortunately, to cost Harry Truman the election. The nation has been grateful ever since.

After that — and in due course — Ol’ Strom (he was always old) became the Democratic senator from South Carolina and then the Republican senator from South Carolina. You could say he changed with the times, but what really changed was his constituency. It went from all white and all Democratic to much less white and much less Democratic. Maybe that’s why Ol’ Strom (he was 42 when he crash-landed his Army glider at Normandy) went from filibustering against civil rights legislation to embracing civil rights legislation. You gotta change with the times, son.

There’s not much to admire here–just political pragmatism of the sort that makes it hard to say what Ol’ Strom really believes in. But there is something he truly and genuinely believes in and for which, we can now discern, he is willing to risk his very life: work. The man has to work — or, if you will, have a job. He refuses to retire. This is the Strom I admire. This is the man who, at 98, has finally got me on his side. He will not be moved. He will not go. He will stay in the Senate because the Senate, I sense, is his life. Retirement and death are the same to Strom — Ol’ but not so Ol’ that he is willing to cash in his chips. Deal around once again, fellas.

My view of Strom is not the universal view of Strom, I’ll grant you that. An argument can be made that he has stayed too long, that his state deserves better, more vigorous representation, and, for that matter, so do we all. (It’s our Senate, after all.) What’s more — and duty compels me to add this — it would be great if the Democrats took control of the Senate. The world and all its green things would be better off.

Still, it is a far, far better thing to win a seat than to get one by default. You would not know that from some of the recent articles on Ol’ Strom I have read. There is an undertone of impatience to them, an unstated “be gone with you” message that can be discerned between the lines or, if you are of a certain age, by the odor of ageism wafting from the page.

Make way for another generation, Strom is being told. You are old, aged, ancient, frail, sick, senile, beyond senior, and beyond repair. Go, sir, go!

No, I shout back at the page. Stay, stay! Stay for us all — all of us whose youth has, well, ripened, who see retirement as death’s cozy waiting room (Dr. Reaper will be right with you), who have no hobby except work and whose respite from work is still more work.

We are too old, not worth the cost of a subscription — demographic detritus. We buy nothing. We are worthless. Be gone, be gone, and make way for some jerk kid who thinks it’s cool to say “cool” a lot.

But we do have those Senate seats — not just Strom’s, but all the others over the age of 60. And we have Ol’ Strom himself — undefeated, indefatigable, obstinate, and in all matters political, always, always wrong. But his politics no longer matter to me, only his endurance. It has taken him awhile, but he is my hero.

Stay, Strom, stay.

Richard Cohen is a member of the Washington Post Writers Group. His columns frequently appear in the Flyer.

Categories
Theater Theater Feature

Not So Swimmingly

No matter how strong a person is mentally and physically when they are young, old age will eventually rob them of their vitality. Or so Theatre Memphis’ latest reminds us.

Pride’s Crossing is based on the story of Mabel Tidings Bigelow, who at the age of 26 was not only the first woman to swim the English Channel from England to France but also set the world record for doing so.

When the play opens, Mabel is 90 and virtually alone. She can’t walk, she can’t see, she can’t hear. She lives in the converted stable of her parents’ old house with her housekeeper and the housekeeper’s son and is busy planning a party for the only one of her grandchildren who still visits her.

Time ebbs and flows from the present to memories of Mabel’s childhood in 1920s Boston, her teenage years, her marriage, and her famous swim. Leigh Ann Evans plays Mabel at all stages of her life and does each convincingly but is most talented as the arthritic curmudgeon.

Costume changes done on stage between scenes further revealed the talent of the actress. Evans sheds the years away easily by shucking off her bathrobe to reveal other costumes underneath.

Another stand-out is Jeff Bailey. His portrayal of Mabel’s club-footed, would-be suitor is humorous yet sympathetic, and as her true love and swim coach, he projects just the right amount of compassion and sensuality. Many of the members of the multitalented cast play more than one role and do so with aplomb.

But the entire production seems to struggle with obvious inadequacies in the script. Written by Tina Howe, whose previous work has twice been nominated for Tony Awards, Pride’s Crossing plods along with clichés and limp language. Characters repeatedly answer questions with “I don’t want to talk about it,” deferring necessary plot exposition to flashbacks and slowing the pace of the piece.

In addition, Howe’s story is confusing in several places. Several lifelong friends suddenly appear in the last few scenes of the play, overturning the audience’s perception of Mabel’s character. Their Mabel is one the audience has never seen before.

In another scene, Mabel confronts her mother with the fact that the hours she spent swimming in the ocean were only so her mother would notice her. But if all she really wanted was her mother’s approval, why did she bother swimming at all? Her mother made perfectly clear the behavior she expected of a lady. In fact, it was her father who put the idea of swimming the Channel into her head. During a discussion of sailing he says that anyone can swim, even the dog. A real swim, he says, is the English Channel. It would seem Mabel swam the Channel for him, if anyone.

Well-known for dealing with issues of social class and human relationships, Howe had the perfect subject matter to make a statement about a liberated woman in an unliberated time. But instead, the play treads on dangerous ground by portraying a woman who must have been determined and liberated — she swam for hours a day leading up to her swim of the English Channel in 1928 — as weak and cowardly.

In the first scene, Mabel and her housekeeper have a discussion where they agree that men have all the fun. Later Mabel says, “If I had skin like yours, just think what I could have accomplished,” invalidating herself.

Instead, Mabel’s swimming of the English Channel is used more as a frame for the question of what kind of man a woman should marry. The play does not seek to ask whether a woman’s accomplishments can be enough to satisfy her or enough to let her stand on her own two feet –in Howe’s play, they obviously cannot. Mabel’s friends and family (and the audience dragged along with them) are more interested in her love life and how she chose her husband.

In the end, though, two women are left as foils for each other. One ran away with the man who stole her heart; the other did not, seemingly because her man was Jewish. The kicker is both women are miserable with their lives. The moral? Don’t get old.

Through June 3rd at Theatre Memphis.

Categories
News

The Soul Of the Old South

There’s an old joke about Richmond, Virginia, that questions how many Richmonders it takes to screw in a light bulb. The answer’s three — one to screw in the bulb and two more to talk about how wonderful the old bulb was.

It’s a joke that hits home with plenty of people in the former capital of the Confederacy — and that’s just the way they like it. Much of Richmond has looked exactly the same for more than a century, and most of the city’s most prominent families date their Richmond lineage back many generations. Even so, for a city that’s known for revering its heroes from the Civil War and Revolutionary War to the point of idolatry, Richmond enters the new millennium on the cusp of a small but growing transformation — civic improvement that does a fine job of honoring the past while looking forward.

Like in most of eastern Virginia, toss a rock in Richmond and you’ll hit a historic site. Though it’s filled with the spirit of a bygone era, Richmond’s “South” isn’t the in-your-face, flag-waving kind — that’s too unbecoming for this genteel town. Rather, Richmond prides itself on its brand of aristocratic chivalry. You can’t drive too quickly through its streets, lined with oaks, maples, and magnolias. Life proceeds at a stately, refined pace here; you want big-city excitement, you’ll have to head north to Washington, D.C. Still, there’s plenty going on here.

But for the history enthusiast (particularly the Civil War buff), visiting Richmond is a must. In the center of the city stands the White House of the Confederacy, Jefferson Davis’ home from 1861 to 1864. Next door is the Museum of the Confederacy, a collection of memorabilia that began in the days immediately after the war. In addition to the requisite weaponry and uniforms, visitors can read heartbreaking, scrawled letters, like one from an Alabama soldier in 1862 pleading for his brother to take his place temporarily “So that I can go Home and See my little Baby.”

Visitors can find a more removed — though no less impressive — perspective on the Civil War with a drive down Monument Avenue, one of the South’s grandest thoroughfares. A magnificent stretch of restored 18th- and 19th-century townhouses, Monument is every bit the equal of Memphis’ Belvedere or New Orleans’ St. Charles.

Monument Avenue also serves as an immediate object lesson in the intricate web of Richmond society and politics. Enormous statues of Confederate heroes dot the street, some in Monument’s median, some — like the 100-foot statue of Robert E. Lee — in their own block-sized traffic circles. A few years ago, some Richmonders decided to honor another of the city’s favorite sons, the late tennis champion Arthur Ashe, and ignited the city’s fiercest ideological battle in decades.

No one disagreed that Ashe, an African American who rose from Richmond’s streets to win Wimbledon, deserved an honor. But the form of that honor tied the city in knots. Confederate loyalists protested his enshrinement on their avenue of heroes. Aesthetes wondered about the decorum of a statue in sneakers and sweats. Some Ashe supporters questioned whether the statue should instead stand at the tennis courts where Ashe began his career or in another location similarly accessible to the African-American population. And some simply wished the whole matter would just go away.

Unlike similar skirmishes over Confederate symbolism, the battle had no clear color lines, and political enemies often found themselves on the same side of the fence — for different reasons, of course. In the end, Richmond voted to erect the Ashe statue at one entrance to Monument Avenue sneakers and all.

Other, less-controversial Richmond locales of note include Church Hill, a neighborhood of brick townhouses that’s undergoing a slow, long-term renovation process. Church Hill’s centerpiece is St. John’s Church, where Patrick Henry made his famous “Give me liberty or give me death!” speech — though not, apparently, in those exact words, which were fabricated 40 years later by a biographer. Enormous trees surrounding the church date from Henry’s day.

Nearby, Richmond maintains the Edgar Allan Poe museum in the oldest building in the city. Poe won fame as an editor and critic in Richmond, and the city’s riverboat, Annabel Lee, takes its name from one of his more famous poems. Fifty miles up the road, the University of Virginia has preserved his actual dorm room, even though Poe got drummed out for overdue library fines.

Near Poe’s museum is Shockoe Slip, a former port on the James River that, in recent years, has become home to dozens of trendy restaurants, boutiques, and art galleries. Drive a few miles west and you’ll enter the Fan District, several blocks of Cooper-Young-style alternative music clubs, shops, museums, and more great restaurants. Indeed, the tiny, family-owned restaurants tucked into unexpected nooks all over the city are some of Richmond’s hidden jewels. It’s easy to eat well during a long visit to the city and never get anywhere near a chain.

Outside of Richmond, the surrounding Virginia countryside includes the rolling horse country of Charlottesville to the west and the restored colonial beauty of Williamsburg to the east. The nearby James River plantations offer visitors a chance to step inside 18th-century mansions owned by some of the nation’s oldest and most powerful families.

Without a doubt, the finest time to visit Richmond and central Virginia is the fall. It’s pretty breathtaking. For a weekend jaunt or an extended visit, Richmond and central Virginia are a perfect quiet getaway.

Just don’t tell ’em the new light bulb looks better.

For more information on Richmond, check out the city’s Convention and Visitor’s Bureau at www.richmondva.org or call (800) 365-7272.