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Eternal Egypt

Toiling in the blazing sun and using crude pulleys, ropes, rollers, and massive blocks of stone, slaves struggled for decades to build the great pyramids of Egypt outside the ancient capital city of Memphis. Today, workers from England and America are making use of considerably more advanced devices — electric lifts, acrylic paints, Plexiglas panels, electronic temperature monitors, and more — to re-create that ancient culture in the air-conditioned basement of The Pyramid in modern-day Memphis, Tennessee.

They’ve had just a few weeks to do it, but “everything will be ready, I’m sure of it,” says Brantley Ellzey, an exhibit designer working with Wonders: The International Cultural Series, which is presenting “Eternal Egypt: Masterworks of Ancient Art from the British Museum,” opening here June 28th.

The exhibit of 144 objects, culled from the largest and most important collection of Egyptian artifacts outside of Cairo, will present more than 35 centuries of Nile culture, from the Old Kingdom of 3500 B.C. to the Roman occupation of Egypt in the fourth century A.D. Objects on display range from exquisitely crafted gold jewelry to carved wooden sarcophagus lids to massive sculptures of lions and pharaohs.

Organized by the American Federation of Arts and the British Museum, the exhibit will visit eight American cities during its three-year tour, and moving such valuable objects around takes special precautions.

“They’re not so fragile that they can’t travel,” says Nigel Strudwick, assistant keeper with the British Museum, who is in Memphis with his staff to supervise the installation. “But they are all incredibly valuable, and they have to be carefully monitored, especially the wooden and bronze objects, because they react so easily to damp.”

Moving such treasures from the arid climate of Egypt to the less-than-arid climate of Memphis would seem to be a problem, but Strudwick points out, “These objects were originally made in a hot, basically dry environment, but they’ve been in the British Museum now for anywhere from 150 to 200 years, and they’re used to the British temperature and humidity.”

Another challenge is deciding how to showcase such a broad span of culture. Other Wonders shows focused on a particular historical figure, such as Napoleon or Catherine the Great, or a specific event, such as the sinking of the Titanic. Even the Ramesses the Great exhibition, which kicked off the Wonders Series in 1989, embraced the life and times of just one of Egypt’s many rulers.

“This show is different from Ramesses because this has more emphasis on art and the progression of art through the centuries,” says Nona Allen, Wonders’ public relations manager. “So you’ll see Early Kingdom art as opposed to the Ptolemaic Period, and you’ll see how the art progresses, and even how the mediums they use have changed.”

Visitors will descend into the exhibition past brightly painted murals which create the sensation they are entering an ancient tomb. The first artifact they encounter — to set the stage for the show — is a life-size (and lifelike) 7,000-pound red granite carving of a lion from the New Kingdom reign of Amenhotep III. After that, they pass through a series of 13 galleries arranged chronologically. The objects themselves are showcased in simple Plexiglas cases, but the galleries are dramatically lighted, and many of them are adorned with elaborate murals replicating the elaborate art found inside Egyptian tombs.

Highlights of the show include a massive quartzite sculpture of the head of Amenhotep III, a delicate calcite carving of a royal woman from the Fourth Dynasty, a brilliantly colored molded-glass perfume bottle in the form of a “Bolti-fish” (a symbol of renewal and rebirth to the ancient Egyptians), magnificent ebony statuettes of servants and minor officials that are so perfectly carved viewers can admire their muscles and toenails, and painted papyrus panels showing judgment scenes from The Book of the Dead.

Because of the emphasis on art, one added feature of this exhibition that hasn’t been a part of previous Wonders shows will be the “Imagination Station” activity center for children. Here, adjacent to one of the galleries, kids can try to assemble a large pyramid-shaped puzzle, make and decorate their own paper crowns (both Old Kingdom and New Kingdom versions), string together bead necklaces, make hieroglyphic rubbings off linoleum blocks, and even create their own Egyptian-style cartouche.

“It’s set up for families, so parents can participate with their children,” says Elisabeth Childress, a local artist and teacher who designed many of the murals in the exhibit and created many of the activities here. “It really does reinforce what they’ll see in the museum exhibit. They can see the different styles of crowns and jewelry in the galleries, and they can come in here and try to approximate them. Or they can just make anything they want.”

Childress even tested the projects with classes from different schools, and the kids liked everything they tried.

“It’s really been fun,” she says. “It’s just one of those things that comes together.”

Eternal Egypt:

Masterworks of Ancient Art from the British Museum

June 28th-October 21st, The Pyramid

Open daily 9 a.m. Last entry is 8 p.m., Tickets are sold for a specific date and time.

Prices: $14 for adults, $13 for seniors (60+), $10 for college/military with I.D., $6 for youths (5-17).

For tickets, call Ticketmaster at (901) 743-2787, visit the Eternal Egypt Web site (www.eternalegypt.org), or stop by The Pyramid box office at the north entrance during exhibition hours.

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Sports Sports Feature

No Predictions Here

By the time you read this the Vancouver/Memphis Grizzlies may have already made their draft choices. So you’ll find no predictions here. Drafts are wily and cunning beasties anyway, prone to unpredictability. This draft is particularly full of question marks with no certain number-one pick, all top six teams open to trading for more established NBA talent, and five high-schoolers looking to go among the top slots.

And even if there were easy choices for the Grizzlies, getting that information would be impossible. Talking to Grizzlies GM Billy Knight about the draft is like playing poker where only he has a hand of cards. You don’t stand a chance of winning and you are certainly not having fun.

Here’s what he has to say: “There are a lot of scenarios. There’s a lot of talk. Most of it just plays itself out to be just talk. You have to go through the exercise [i.e., the draft] to make sure it’s just talk.”

Okay. That was confusing and not particularly enlightening. So does Knight have any idea about his team’s strategy? He answers, “We would ultimately like to make the team better and that’s what we are going to try to do.” Oh. Take that to the stockholders’ meeting as your next business plan.

Of course the Grizzlies do have a plan. It’s just that they won’t talk about it. Coaches, GMs, and owners around the league all say what they feel is appropriate. But more than anything, everyone just keeps quiet.

That’s all just part of this game. “We don’t have an answer today because we don’t have to have an answer today,” says Knight. “Why should we come to a decision when we don’t need to?” That’s a fine question and Knight is right in asking it. There’s nothing certain until the season starts. The rest is just potential.

That doesn’t mean there is nothing to say about the process. This year’s draft, with its youth, is all about potential. There are no true game-breakers that will be able to come in and immediately galvanize a team. Even Duke senior Shane Battier, assuredly a contributor from the start, won’t make a team an instant contender.

So what’s the big deal? Why the hype and hoopla over some youngsters coming to play? A lot of it has to do with the rather unfortunate mathematics of getting draft picks. When your team has a top-10 pick (which is good), that means your team is pretty awful (which is bad). The Grizzlies are certainly not good. With a 23-59 record last season, they need help. They can’t look to free agency since they have no room under the salary cap. They do have one exception (a modified version of the Larry Bird rule, giving some salary money that doesn’t count toward the cap) but mostly they have only their own players to wheel and deal. That means, barring trades, the Grizzlies need their draft picks to make an impact.

You’d think there would be a better way. Here’s a team worth a quarter billion dollars coming to a new city that’s going to build it a facility worth more than a quarter billion dollars. And they’re forced to hang their future on the unpredictability of a draft.

Perhaps the problem with getting such a high draft pick is that it fosters hope and hype about the great unknown. No one criticizes the 76ers for picking Allen Iverson number one in 1996. Iverson is potential realized. But there are plenty of other high draft picks who didn’t make it and lots of lower draft picks who have done quite well.

The Grizzlies need a lot: better depth, development from the team’s floor leaders, and improved leadership from its coaches and administrative staff. The players on this team — whoever they may be — need to win a lot more games this year to bury forever that long sojourn in Vancouver, where only humiliation and mediocrity bloomed.

If that happens, everything is just going to be fine, no matter who the Grizzlies get in the draft. That’s not a prediction. That’s a promise.

Past first-round picks by the Grizzlies:

2000 – Stromile Swift, LSU

1999 – Steve Francis, Maryland

1998 – Mike Bibby, Arizona

1997 – Antonio Daniels, Bowling Green

1996 – Shareef Abdur-Rahim, California

1995 – Bryant Reeves, Oklahoma State

Categories
News News Feature

WE RECOMMEND (THE ACCIDENTAL TOURIST PART)

Having left the confines of my porch enough in the last couple of weeks to get out and about, it looks like tourist season has begun in Memphis, and people from all over the world are pouring into the birthplace of rock-and-roll. So I thought it might be wise to point out a few things that newcomers and visitors to Memphis should know, just as rules of thumb. After all, the relocation specialists and travel guidebooks do leave out a few things. First of all, if you have to drive a car here, do so with the utmost caution. See, lots of people in Memphis have a hard time with this. There are many drivers who haven’t quite mastered the art of a turn lane. They don’t get in them to turn and they pay no attention to you if you’re in the turn lane and they want to turn from the non-turn lane. They simply aim for the front end of your car and hit the pedal. Never drive in an area of town called Bartlett. You’ll need a tranquilizer afterward if you do. Beware of the soccer mom gangs. At approximately 3 o’clock every afternoon they are out. They all drive SUVs and they all drive like they are on crack but have run out. If you are doing less than 60 mph in a 35 mph zone, they will drive one inch behind your bumper and all but sideswipe you while attempting to pass you to get to whatever life-changing function it is to which they are bulldozing their way. You are going to be hot. Very hot. Memphis in the summer is lovely in many ways, but it is hot. If you’re pressed for time and can’t spend the evening cooking dinner, simply place a raw chicken on the dashboard of your car in the morning and by the end of the day it will be a nice roasted bird. Stay in places that are air-conditioned until mid-October. Anderton’s seafood restaurant is my top choice for this. You will see a large part of our population sporting the infamous mullet hairstyle. Yes, the carefully maintained Business-in-the-Front, Party-in-the-Back ‘do is everywhere here. And they are worn without shame. In fact, they are celebrated. They are worn by men, women, children, and some poodles. You’ll find the greatest and most varied concentration of them in the nearby hamlet of Millington and any women’s gay bar. Those who choose to sport the mullet, also known as the Kentucky Waterfall, are usually very nice people with huge hearts. So don’t fear them. Embrace their sense of the aesthetic and know that we are at least behind the Midwest in terms of sheer mullet volume. Go to Holly Springs and Oxford, Mississippi. They are lovely towns within an hour-and-a-half drive. Live in Midtown or downtown. Eat Greek cuisine at Melos Taverna as often as possible and ask for Teddy as your server. Hear James Govan at Rum Boogie Cafe. Tour the National Ornamental Metal Museum. Eat your cheeseburgers at Old Zinnie’s. Never miss a club performance by Di Anne Price. Never underestimate the power of a Krystal. Meet Deanie Parker. By all means, spend a Sunday at the Reverend Al Green’s Full Gospel Tabernacle. Love Elvis. And finally, when ordering something cold to drink in a restaurant, ask what kind of Cokes they have. All sodas here are referred to that way. And when your waitress tells you that your food “is fixing to come out,” just smile and be glad you’re in one of the friendliest cities in the world. Welcome to Memphis. Have a good time.

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Music Music Features

Pop Music Killed the Alt-Country Star

The alt-country movement is dead.

Also known as y’allternative and insurgent country, the genre that gave us Uncle Tupelo and the Jayhawks, among many others, has breathed its last breath. And while there’s no autopsy to perform or any evidence to gather, it seems apparent that the time of death was 1999 and the cause was pop music. That year saw the release of Wilco’s Pet Sounds-inspired Summerteeth and the Old 97’s poppy Fight Songs — strong albums by artists who had outgrown the genre that gave them their starts.

Perhaps one of the major reasons for alt-country’s success during the ’90s — and one of its constricting factors — was its emphasis on song over sound. It was a songwriter’s market, attracting many aspiring musicians to its fold and nurturing their talent for lyrics and melodies. All anyone needed was an acoustic guitar and a few capable backup musicians. The music itself was rarely ever revolutionary, but songwriters working in this genre were able to produce some stellar work while cultivating devoted fan bases.

But as the community that formed beneath the No Depression banner became increasingly insular, the warm reverence that marked the genre soon curdled into keep-it-real elitism. When bands sought to expand their sound outside alt-country, which was an inevitable trend, fans booed as often as they cheered — and never so loudly as for the Old 97’s Fight Songs. Many fans and Dallas-area journalists criticized the band for disowning its roots, but they didn’t realize that this transition had been a gradual process beginning with the band’s debut album, Hitchhike to Rhome, a jangly alt-country discovery. The follow-up, Wreck Your Life, saw that acoustic twang develop into a harder, more electric sound, while the band’s Elektra debut, Too Far to Care, was loud and angry and gloriously messy. A more radical departure, Fight Songs remains the band’s shining moment, a 12-song meditation on lost loves and lost cats that places equal emphasis on song and sound.

So in the context of this progression of twang to pop, the band’s new album, Satellite Rides (Elektra), sounds like a step back. It has more twang than Fight Songs, more pop than Too Far to Care. But it retains all the elements that have made the Old 97’s one of the most fascinating groups around. Singer-songwriter Rhett Miller remains compellingly ambiguous: He’s both the sweet-natured boy who lavishes girls with affection and the rebellious troublemaker who exudes a slightly dangerous sexuality. And the rest of the band — bassist Murry Hammond, drummer Philip Peeples, and guitarist Ken Bethea — do more than simply back him up; playing as a tight unit, they infuse the songs with personality and dynamic energy.

The album displays a unique flair and cohesion: Each song seems to have its own complementary twin or twisted doppelganger. The first single, “King of All the World,” shows Miller on top of the world, a strange place for a guy who thinks too much about how relationships inevitably sour. But by the second-to-last song, the brilliant “Book of Poems” — the equivalent to Fight Songs‘ “Busted Afternoon” in its propulsive hook progression, if not in tone — he’s having nightmares again and his book of poetry isn’t enough. One song later, he’s a nervous guy again, wishing us goodbye. Miller remains unbending in his faith in love and romance, even though he admits he’s been hurt by it many times: “I believe in love,” he sings on “Rollerskate Skinny,” “but it don’t believe in me.”

While it’s not quite as consistent as its predecessor, Satellite Rides is an ingenious album that brims with humor and heart. The sound may be a little different from the Old 97’s earlier work, but the songs remain the same: unflaggingly energetic and catchy, simultaneously funny and heartbreakingly sad.

The same is true of the Old 97’s one-time peer Joe Henry. His sound may have evolved into something completely different from alt-country, but the elements that made his early work stand out still shine on his more recent releases.

When founding member Mark Olson left No Depression giants the Jayhawks in 1997, there was a rumor that Henry would replace him. Whether the product of actual discussions between the band and the singer or just wishful thinking by many distressed fans, the collaboration never happened. And not surprisingly either: The year before, Henry had released Trampoline, an album that completely disowned his alt-country background for a more urban and experimental sound.

Such a transition would have been a career-ending risk had the album — and its successor, the near-perfect Fuse — not been as assured and revelatory as it was. Trampoline set drum loops and erstwhile Helmet leader Paige Hamilton’s scorching guitars against Henry’s sophisticated songwriting, and the more eclectic Fuse exquisitely combined jazzy neosoul crooning and dark cabaret pop.

While his new album, Scar (Mammoth), doesn’t top Fuse for cohesion and originality, it does exceed it in ambition. With an elegantly smoky atmosphere and an impressive roster of guest musicians, including jazz legend Ornette Coleman and pianist Brad Mehldau, Scar sounds at times like a concept album, especially with so many names in the song titles: “Richard Pryor Addresses a Tearful Nation” (which gets my early vote for best song title of the year), “Nico Lost a Small Buddha,” and “Edgar Bergen.”

Like its predecessor, Scar also showcases Henry’s keenly observant songwriting. The Richard Pryor song is a poetic funeral dirge that examines the comedian’s influence on American culture, his uneasy relationship with his audience, and his failing health brought on by years of drug abuse and disabling multiple sclerosis. “You watched me while I tried to fall, you can’t bear to watch me land,” Henry sings as Coleman delivers a beautifully angular saxophone solo.

But the big story on Scar is “Stop,” which was rearranged and renamed “Don’t Tell Me” by Henry’s sister-in-law Madonna for her most recent album, Music. With vocals as detached as the stiff beats that bubble beneath the melody, Madonna’s version sounds antiseptic and unconvincing next to Henry’s exotic take on the tune. He brings out the fiery sexuality in the lyrics, and the exotic percussion and Middle Eastern-sounding strings reveal strange, complex emotions.

Further widening the rift between Henry and his folksy beginnings, Scar is an accomplished album full of dark, closeted emotions that proves he still has a gift for lovelorn lyrics and sharp melodies. These are the same talents that made him successful as an alt-country artist, but in this more exotic setting, they bloom more brilliantly.

Once considered to be the saviors of alt-country, North Carolina’s Whiskeytown seemed to have all the ingredients to break through the genre barrier and garner mainstream success: a young, tortured-soul singer named Ryan Adams; a sound that wasn’t too country; and a promising deal with major label Outpost Records. But in 1999, during the round of mergers that restructured almost every aspect of the music business, Outpost dissolved and shelved Whiskeytown’s third album indefinitely. Dealing with that shattering disappointment and amid squabbles among the musicians — of whom only Adams and violinist Caitlin Cary were founding members — Whiskeytown followed its label’s lead and dissolved too, leaving that last album unreleased.

Some two years later, upstart Nashville label Lost Highway Records has made Whiskeytown’s heretofore-unheard swan song, the horribly titled Pneumonia (Lost Highway), available at last. It’s a calculated risk for the new imprint: Because the band is now defunct, the album is virtually unpromotable — no videos, no tours, no radio or television appearances.

Fortunately, Pneumonia might be good enough to overcome that handicap and secure the band’s legacy as No Depression leaders as well as to perhaps gain Lost Highway some prestige points from fans and critics. It’s easily the band’s most accomplished and accessible album to date, despite — or as a result of — the fact that Whiskeytown seemed torn between the safety of the alt-country umbrella and the excitement of experimenting with and expanding their sound.

Pneumonia‘s most outstanding and accomplished tracks are also its most bizarre and unexpected. Lolling along on Hawaiian-sounding ukulele, psychedelic flutes, and bossa nova beats, “Paper Moon” indulges in some sweetly eclectic orchestration that recalls the grandeur of old Disney soundtracks. And “What the Devil Wanted” loops a dark, muted piano theme behind Adams’ vocals, which, plaintively void of any twang, are treated to sound like a scratchy record. The result is evocative and mysterious, and the song ranks among the best the band has ever produced.

At the forefront of Pneumonia are Adams’ gravelly voice and his songwriting, both of which display a greater range of clarity and emotion to match the band’s more diverse musical backdrop. The further he and the band stray from their alt-country roots, the more dynamic and original the music is. And it’s truly a shame that a group finally on the cusp of creating something memorable disbanded before they could reap the rewards. Pneumonia is Whiskeytown’s best and most consistent collection of songs, and it hints that had they stayed together, they might have lived up to all the expectations.

Ultimately, the alt-country movement and its binding sense of community may have run out of momentum, but certain elements of the music — especially the value it placed on intelligent, meaningful songcraft — still thrive in the works of artists like the Old 97’s and Joe Henry.

In other words, alt-country is dead. Long live alt-country.

Categories
Politics Politics Beat Blog

Getting In Front

NASHVILLE — As the legislature grunts and groans its way toward what may or may not be a finish in this last week before the formal end of the state’s fiscal year, one figure from Shelby County has acquired new stature for his efforts, both on stage and behind the scenes, in trying to establish enough revenue to meet Tennessee’s budgetary needs.

That is Jim Kyle, the Democratic state senator from the Frayser-Raleigh area who, until recently, had seemed to have come out the public-relations loser in several of his legislative initiatives — notably in an early call for a countywide referendum on funding a new NBA arena and, most of all, in his sponsorship of a bill inhibiting discount gasoline sales.

The latter bill, enacted just as gasoline sales took another huge upward bump, was later vetoed by Governor Don Sundquist — a fact which was not necessarily greeted with dismay by the beleaguered Kyle, who saw it as a convenient reason to lay that particular burden down.

Twice bitten did not make Kyle shy, however. When the legislature veered into late May with no agreement in sight on tax legislation needed to finish out a budget that, as of now, threatens to be hundreds of millions dollars out of balance, Kyle volunteered to head the joint House-Senate Conference Committee charged with resolving the issue.

He has received kudos in several quarters for his shepherding of that committee’s efforts. The gerund in question is well chosen: Not a day goes by that Kyle isn’t quoted in the state press for some drill-sergeant phrase used to keep his reluctant herd moving toward a resolution of the difficult tax question.

“We’ve been talking the talk, now it’s time to walk the walk” was a typical Kyle utterance, and he has done numerous variations on it as he has continued to prod the committee into doing its work. When the choices became clear — an income tax, a sales-tax-based solution, or simply doing nothing at all other than a possible “continuation” budget that would leave basic questions unresolved — Chairman Kyle kept the pressure on.

One sales-tax adherent grumbled, “I don’t know what he’s talking about. I don’t have anything ready,” but found something specific to propose a day or two later.

By now, with only days left until June 30th, when a choice of some sort will be forced, Kyle has worked to prepare the legislature for a choice which, to many of his fellow legislators, is the most unpalatable (if, in the long run, most inevitable) option of all: a state income tax.

When Lt. Gov. John Wilder, the Senate’s presiding officer, made a long, rambling presentation to the Conference Committee on Sunday, it was Kyle who later (by prearrangement with Wilder, he would say) came before the press with a translation: The venerable Senate speaker, who had taken an anti-income tax pledge last year, was willing to accept such a tax this year.

And it was Kyle who, in the wake of the committee’s deliberations Monday, formally established the income tax as the question legislators would surely have to hazard a vote on. “I just don’t know whether it’ll be a flat tax or a graduated version,” he said.

When asked whether he isn’t taking a risk by being so up front in his efforts, given the fact that horn-honking zealots who oppose an income tax were preparing another set of demonstrations in Nashville as of mid-week, demonstrations that might well be imitated back home in Shelby County during his county mayor’s race, Kyle shook his head.

“At this point,” he said, “I think I can make the case that I’m not afraid to take on the hard questions. That’s what leadership is.” And the income tax is an easier albatross to bear, he indicated, than the gas-price issue would have been.

n As of this writing, Shelby County mayor Jim Rout has not exercised his prerogative, secured last week by agreement with his city-government counterpart, Memphis mayor Willie Herenton, to name a member of the state House of Representatives to the Public Building Authority that will oversee construction of the new NBA arena.

The county mayor, who was taken by surprise when Herenton unilaterally named state senator John Ford to the Authority, promptly insisted on the right to name a House member. Legislation mandating a member from each chamber went virtually unnoticed through the House and Senate recently and was signed into law by Governor Don Sundquist.

Ford had been recommended, as it turns out, by Lt. Governor John Wilder, the Senate’s presiding officer. But his appointment by Herenton can also be regarded as a further sign of rapprochement between the Memphis mayor and the still politically influential Ford family, as well as recognition that Ford has frequently been a confidante for prominent Memphis developers who maintain an interest in where and how the new arena is built. (State senator Steve Cohen, a longtime booster of both collegiate and professional sports in Memphis, had also wanted the Senate appointment.)

Almost as soon as Rout’s right to name a House member — in tandem with House Speaker Jimmy Naifeh of Covington — had been established, state rep. Paul Stanley publicly recommended his House GOP colleague Tre Hargett of Bartlett in a letter to Rout which Stanley made public. Another House member, Rep. Larry Miller, a North Memphis Democrat and an African American, also made it known he wants to serve on the PBA.

Hargett’s candidacy has not sat well with state rep. Kathryn Bowers and other Shelby House members who were active in passing enabling legislation to get state aid for the arena. Hargett, as Bowers and others note, was an opponent of the legislation, as he is of a good many other proposals that involve additional financial commitment on the part of state government. (Hargett was recently co-chair of a special House committee looking into budget-cutting possibilities.)

It may not sit well, either, with Rout, who put himself on the line for the arena and worked mightily to work out acceptable funding sources for it.

It surely doesn’t sit well with Naifeh, who with Rout will make the choice once the two of them sit down to review possibilities. The senate speaker made a point of walking down the aisle in the aftermath of the unprecedented Sunday session and, clearly aware that Miller and Bowers were discussing the matter with a visitor, saying in a loud voice, “Larry, you’re my man! You’re my man!”

Since matters of political and racial balance are important in determining the PBA’s membership, however, and since Hargett is regarded as unacceptable by Bowers and others, a compromise solution may emerge. As Bowers sees it, Rep. Joe Kent, a moderate white Republican from Southeast Memphis, would be an acceptable member, and she foresees a resolution whereby both Kent and Miller get named to the Authority.

“After all,” she notes, “the legislation says at least one House member has to be on the PBA. It doesn’t say more than one can’t be.”

n Rep. Henri Brooks is trying to live down the furor started a couple of weeks back when she failed to stand for the Pledge of Allegiance at the beginning of a legislative session and was asked by House speaker Jimmy Naifeh to remain outside the chamber henceforth until after the pledge.

Brooks’ immediate (and defensive) reaction was to justify her act on the basis that the American flag stood for a past that included slavery. And she criticized Naifeh for talking to her “like a master to a slave” — an interpretation disputed by several nearby legislators, many of them African Americans like Brooks.

What came of it all was a first-class imbroglio with all manner of symbolic content. Talk-show hosts and editorialists throughout the state (including ourselves) thrived on it for a week or so, ringing up every change imaginable on the theme.

It’s over with now. For the record, Brooks has dutifully stood at attention for every subsequent Pledge of Allegiance. “I have for every day for each of the six years since I was elected,” she insists. “It was just that on that day I was wrapped up in some legislation I was working on at my desk for child-safety restraints.”

Brooks made it clear this week that she doesn’t want to see the issue revived or to make any more of a case for her actions that she already did.

A wag once said of Brooks that she was so dedicated to the idea of public service that she decided to skip charm school altogether. An unceasing advocate for all manner of civil rights issues — ranging from her insistence that all state programs funded with federal aid observe Title VI non-discrimination strictures to a recent demand for reparations to the descendants of slaves — she is aware that she has a reputation as a zealot.

Yet she has another side to her nature, one which is not so unyielding as the familiar portrait. Years ago, she unbent during an end-of-session party and bopped at some length with then Rep. Tim Joyce — who, as a white and a Republican conservative, was close to being her philosophical opposite.

A photograph, which ran at the time in the Flyer, chronicles the event.

Reminded of it, she made a request. “I wish you would burn that. In effigy!”

But she grinned when she said it.

n State senator Cohen, whose penchant for taking stands on controversial issues was manifested most recently by his vigorous effort – in vain, as it turned out – to turn back mandatory thumbprint legislation for pawnshops in Shelby and Knox counties, is not one to hide his light under a bushel.

But he has made no attempt to publicize one of his more commendable recent efforts. Cohen, along with House Finance Committee chairman Matt Kisber (D-Jackson), pushed through legislation renaming the Legislative Plaza press room for veteran free-lance reporter Drue Smith.

Smith fell ill recently, and Cohen and Kisber wasted little time in rushing the name-change through. Even more gratifying to the sponsors (as well as, no doubt, to Smith) is the fact that her partial recovery now allows her to work in a chamber named for herself, plaque on the door and all.

Categories
News The Fly-By

VANITY PRESS

The white silk gauntlet has been thrown down. It looks like R.S.V.P. — Memphis monthly society magazine whose daring photojournalists regularly risk life and limb to bring back rare, nearly impossible-to-get shots of expensively clad party animals clutching their drink in one hand and their date in the other — is facing stiff competition. Elite, a shimmering, full-color magazine featuring breathtaking, hitherto unimaginable photos of toothy cocktail-toting socialites prowling about in their natural habitat, made its auspicious debut this month. Critics of R.S.V. P. who claim that the publication s obviously biased shutterbugs only photographed Kevin Kane from one decidedly unflattering angle hail the arrival of this new and much-needed addition to the Memphis media market.

Categories
News The Fly-By

moment of truth

In a nice departure for Moment of Truth, I headed down to T.J. Mulligan’s in the Pinch awhile back to check out the bar-blues band Crash and the Syndicators, who were playing a set after that night’s Eric Clapton concert at The Pyramid.

The band is led by guitarist/singer Crash Kolehmainen, a veteran of the Chicago blues scene who moved to Memphis in 1998, forming the Barrelhouse Kings with harmonica player Lee “Scrap Iron” Raines. Crash and Raines are also partners in the Syndicators, backed by the strong rhythm section of drummer Johnny Mac McDaniel and bassist Dave Zammit.

On this night, Crash and the Syndicators offered sturdy bar-blues with a strong bottom provided by Zammit and McDaniel. Crash and Raines took turns soloing on top, and both are strong players. Crash, who seemed younger than his bandmates, left a little to be desired vocally, and I suspect the sound had something to do with that. Crash’s between-song banter was nearly unintelligible.

The band offered a nice mix of hard-driving songs and smoky slow ones. While on the uptempo numbers the drummer was sometimes a bit too active for my tastes, bassist Zammit never lost control of the groove.

Early in the set at the relatively empty club, the band’s music tended to run together like one long and rather uninteresting song, but it soon became clear that the band was just warming up, waiting for the crowd to arrive.

About half-a-dozen songs in, people began to trickle in. The post-Clapton crowd the band had hoped for indeed filled the club, and the change in energy on stage was palpable — the solos got crisper, the beat got tighter, and the mood in the room was warm and fun. During a performance of John Lee Hooker’s “One Bourbon, One Scotch, One Beer,” Crash even ventured out into the street for his solo, encouraging more people to make the trek from The Pyramid to Mulligan’s. For an Eric Clapton crowd looking for a post-concert nightcap, Crash and the Syndicators seemed a perfect fit.

In a blues-saturated town, these kinds of bands don’t get a lot of attention, but Crash and the Syndicators are very good at what they do. — Chris Herrington

The Memphis Flyer reviews local bands on demand. To schedule your group’s Moment of Truth, call Chris Herrington at 575-9428 or e-mail him at herrington@memphisflyer.com.

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We Recommend We Recommend

thursday, june 28th

Tonight, Voices of the South opens its run of Homegrown at the Buckman Center for Performing and Fine Arts, featuring One Writer s Beginnings by Eudora Welty and Humming Song by Eleanor Glaze. Those wild and wacky rockabilly maniacs, the Dempseys, are at Elvis Presley s Memphis. There s live jazz (and great food) atZanzibar on South Main.

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Letters To The Editor Opinion

Postscript

The Art of Diversity

To the Editor:

David Hall’s art column “Signifying Nothing” (June 21st issue) was excellent. When I received an invitation to attend the diversity forum of the UrbanArt Commission, my response to them was couched in most of the same assumptions as those of Hall.

It is not surprising that art should be swept up and carried along in what is a tide in contemporary mentality. PC mantras such as “diversity” have led many to a point where they don’t see “All have won and all shall have prizes” as the laughable absurdity it is.

Hall speculates briefly that something may come along to point the way for art. I suggest that that something may be an attitude analogous to what is so often said about pornography: We may eventually quit trying to define it and just let those who are so inclined recognize it when they see it.

Ben Brewer, Memphis

To the Editor:

The UrbanArt Commission is committed to diversity in all of our projects — this means reaching out to all artists in the region regardless of the medium and style of their work as well as increasing the number of African-American and minority participants. It is unfortunate that David Hall chose to misconstrue the purpose and outcome of an event he did not attend. Had he attended the forum he would have known that much of the discussion was centered on networking and better communication between artists and arts organizations. Had he followed up with any of the panelists he would have learned that as a result of the forum artists have contacted the UAC, the Memphis Arts Festival, and the Center for Arts Education to get involved in their programs, and individual artists have begun to take steps of their own to begin to improve communication in the arts community.

It is irresponsible of the Flyer to publish an article based on hearsay and misguided assumptions. This is exactly the type of ill-informed negativity that the participating organizations are attempting to eliminate.

Carissa Hussong, Executive Director, UrbanArt Commission, Memphis

David Hall responds: God save us all, not from irrelevance or inadequacy but negativity. It is unfortunate that Hussong equates a dissenting opinion with negativity when it could just as well be signified as diversity.

Prefers Children’s Homes

To the Editor:

Rebekah Gleaves’ disturbing account of child care in Tennessee (“Taking Responsibility,” June 14th issue) reminded me of a woman I met while living in France. Madame Roc considered herself fortunate to have been placed in a children’s home when her parents divorced. They both were able to see her and both contributed to her support, and they were advised not to criticize each other in front of their daughter.

In contrast to the chaotic lives of American children described in Gleaves’ article, the French woman grew up in a stable environment with other young people she considered her brothers and sisters. She described her childhood as happy. How much better this seems than the horrors depicted in the Flyer‘s story.

I don’t know what the solution is, but had I been abandoned as a child I would have much preferred permanent residence in a children’s home to placement in a foster home, where my situation would have been, at best, tenuous.

Anita Martin, Memphis

Grand Slam

To the Editor:

The Tennessee Department of Education has identified a number of Memphis city schools as in need of reform. As a consultant employed by the state and Memphis City Schools, I visit four of these schools. The four share the same detriments, but this letter is about a gigantic benefit they enjoy.

The Memphis Redbirds RBI (Return Baseball to the Inner City) program is doing a world of good in my client schools. As I walk their halls I encounter scores of young people wearing uniforms provided by the Redbirds. I attend games played with equipment provided by the Redbirds. Without the philanthropic efforts of our home team, hundreds of young people would be denied the opportunity to represent their school on the diamond. We need not speculate about what would fill the vacuum in their day if baseball and softball were not available. The enhanced self-esteem experienced by these youngsters will certainly be reflected in their classwork.

Special commendation should be given to Reggie Williams, now a front-office executive and a voice of the Redbirds. He was once an administrator with MCS and is a product of our school system. Under his leadership RBI has altered the lives of hundreds of young Memphians. The challenge goes forth to other business leaders to soar as high.

Joseph Terre Jr., Tennessee Exemplary Educators, Memphis

The Memphis Flyer encourages reader response. Send mail to: Letters to the Editor, POB 1738, Memphis, TN 38101. Or call Back Talk at 575-9405. Or send us e-mail at letters@memphisflyer.com. All responses must include name, address, and daytime phone number. Letters should be no longer than 250 words.

Categories
Editorial Opinion

A New Season

One contest is now over — that between the adherents of building a new arena in Memphis for the soon-to-be-transplanted Grizzlies of the National Basketball Association and the opponents of such an arena (or at least of the public financing of it).

Through vigorous efforts on the part of Mayors Herenton and Rout and numerous influential private citizens, solutions were found to the most vexing issues raised by the opposition. What these came down to were doubts about tying the county’s property tax to the project via general obligation bonds and concerns about getting more private money into the arrangement.

Both objections were dealt with — the former by a decision to shift the local-government burden from G.O. bonds to revenue bonds, which do not directly involve the taxpayer, and the latter by pledges from local citizens, both members of the proposed ownership group and others, to pony up for season-ticket commitments and a share of the arena financing.

With that, the previously unknown Heidi Shafer, an ad hoc activist who had started vigorously promoting a petition drive to force a referendum on the subject of the arena, threw in the towel. As she noted, her reason for carrying on the fight no longer existed, and she wondered out loud about the switch to revenue bonds: Why wasn’t it done that way in the first place?

The answer to that, we suspect, lies in a phrase used — in a wholly different context — by Shelby County commissioner Walter Bailey, another arena opponent. “Bait and switch,” charged Bailey about the shift to revenue bonds, but his focus was on the local taxpayer, not the current Vancouver Grizzlies ownership and the NBA, who were the real foils in that maneuver. Whether intentionally or not, Grizzlies owner Michael Heisley and league officials were baited with general obligation bonds and switched over to the riskier (for them) revenue bonds once they had virtually set up camp in Memphis and it was difficult, if not virtually impossible, for them to turn back.

The fact is, the bait-and-switch aspects of the deal, improvisational and inadvertent as they no doubt were, proved to be indispensable to its completion. It is hard to imagine any other way in which the local opposition, which was beginning to be considerable, could have been stilled. In that sense, Shafer and her fellow grass-roots operatives were not losers but winners, in that they forced an arrangement far more advantageous to Memphis and Shelby County.

The same can be said of the indefatigable Bailey, who promised — once a commission vote to approve the arena project seemed certain — to do his best to make sure the whole thing “works out.” His way of doing that, most recently, was to keep bearing down on the local donors who have promised financial input to make sure they follow through. With that kind of hard-nosed watchdog on our case, who among us would not do just as he had promised?

The Baileys and Shafers and other skeptics are a large part of the reason we can all celebrate the outcome. We think the city and county have come out ahead, and we look forward to the Grizzlies’ first games here this fall at The Pyramid and the beginning of a new season in which all of us are finally on the same side.