Categories
News News Feature

GOLDSWORTHY NAMED TO AIR QUALITY BOARD

East Tennessee’s loss is Shelby County’s gain in one recent respect. Germantown Mayor Sharon Goldsworthy has been named the municipal-government member of the 14-member state air Pollution Control Board.

Goldsworthy was one of three mayors (the others being Ashe and Pulaski Mayor Dan Speer) nominated for the seat by the Tennessee Municipal League.

She was selected by Governor Don Sundquist, at least partly because West Tennessee had been under-represented on the board, according to Elizabeth Phillips, a spokesperson for Sundquist.

Categories
News News Feature

‘KID-FRIENDLY?’ ALAS, NOT US!

A new report which grades U.S. cities finds that America is becoming a more kid-friendly place. Unfortunately Memphis’ low ranking proves we’re not so kid-friendly after all.

The Kid-Friendly Cities Report Card 2001, a comprehensive 239-city study from the environmental organization Zero Population Growth (ZPG), ranked Memphis in the Independent Cities category as 128 out of 140. Our grade: C-.

The study arranged the 16 different quality-of-life indicators into seven categories to examine the kid-friendliness of each location. These are: Community Life; Economics; Education; Environment; Health; Population Change and Public Safety. Each city receives a grade in each of the 7 categories as well as an overall grade.

“The study is not to point fingers at who is being the least kid-friendly,” ZPG Spokesperson Mark Daley says. “We did it to be informative, to let cities know where they are on this subject matter.”

This study shows that Memphis is excelling in the education, economic and environmental aspects of this city while health, community life and public safety account for some of lower grades.

Issues taken into consideration under the health category include infant mortality rate as well as teenage pregnancy. Violent Crimes and property crimes per 1000 persons are also weighed under the public safety category. The community life category counts children’s attendance for programs and other events in the city.

Even though Knoxville, at #63, and Nashville, at #91, ranked in the top 100 of this study, Memphis still managed to out do Chattanooga, #131. The highest rankings overall went to Portland, Ore., Burlington, Vt., and Overland Park, Kan. While the lowest overall rankings went to Atlanta, Ga., San Bernardino, Calif. and Moreno Valley, Calif.

“This is a study to focus on success in each city,” Daley says. “We as citizens are to take what we know, fix it, and while doing so learn from others’ [cities] success.”

Categories
Book Features Books

Dogwalkers, Unite!

Dogwalker

By Arthur Bradford

Knopf, 144 pp., $20

Arthur Bradford’s story “Catface” first appeared in
Cornell University’s journal Epoch in the spring of 1996. Bradford, who
was a Stegner Fellow at Stanford University at the time, gained something of
an underground following soon afterward.

“Catface” is a mesmeric first-person narrative that
begins, “The disability payments were being cut down since, according to
their doctor, I was getting better.” Upon reading that first line, you
know that here is a humorous voice from left field, perfect for the times, and
the story is sure to be a sort of paean to slackerdom and modern neuroses. It
is indeed that and more. “Catface” won an O. Henry Award in 1996,
and now, five years after its initial publication, it joins 11 other stories
by Arthur Bradford in his long-awaited debut collection, Dogwalker.

The hilarious “Catface,” which opens the collection, is
a tour de force work of fiction on the brink of absurdism. The nameless,
passive narrator wanders through a seemingly timeless world where
responsibility has faded or been worn away, the beleaguered are doomed to
always cross paths with the merely hapless, and the only way to come out of it
all still intact is to remain serenely dumbfounded and imperturbably cool. The
narrator is just that as he, having been out of work for months, goes about
the task of securing a roommate to split the cost of his studio apartment. The
first is Thurber, a kleptomaniac and destroyer of potted plants who snores
loudly. Asked to find another place to live, Thurber packs up his things (and
some of the narrator’s) and leaves amiably enough. The second seems to be
unaware that she is a hooker, and the third stays for only three days — let’s
just say his past catches up with him. And then comes Jimmy. He sets up a tent
as his room and arranges for Thurber, who’s been coming back around, to get
beaten up. This incident sets off a sequence of mishaps, odd voodoolike
ceremonies, and fateful chance meetings with the grotesquely lovable that make
the story one of the funniest and most imaginative to appear in the Nineties.
As for the rest of the stories in Dogwalker, some deliver on the
promise of “Catface” while others are pleasing but not of the same
you’ve-got-to-read-this caliber. Particularly fun are “Bill McQuill”
and “Dogs.”

Bradford seems to have simultaneously lucked onto the Raymond
Carver and Franz Kafka crowd. With his deliberately simple, charmed prose (a
la Carver) and the surreal elements that make up his stories (a la Kafka), he
walks what many consider to be new fictional ground. But such reactions are a
bit myopic. Like the Jews of antiquity, today’s readers of literary fiction
seem to always be desperately searching for a savior, a jinni of the written
word, a reincarnated hero of the past: Though Bradford does not necessarily
call either to mind, William Faulkner and Flannery O’Connor are the two old
heroes most popular in the South. (Very prevalent these days are harebrained
reviews touting some mediocre, excruciatingly melodramatic author as a new
version of one or a metaphysically colluded symbiosis of both of those
arguably irreplaceable writers.)

Bradford is very good and very funny, but he is most definitely
not, as David Sedaris has opined, “the most outlandish and energetic
writer” (Thomas Pynchon is still and will probably always be the reigning
champ of madness and absolute cerebral muscle).

So by all means rush out and buy Dogwalker but don’t do it
expecting to save your reader’s soul. Do it because it’s great fun. You can be
sure of this. Do it because you love Nikolai Gogol’s “The Nose” and
William Kotzwinkle’s The Fan Man and Kafka’s “A Hunger
Artist” and William Gass’ In the Heart of the Heart of the Country
and Denis Johnson’s Jesus’ Son and Laurence Sterne’s The Life and
Opinions of Tristram Shandy
and Kurt Vonnegut’s “Welcome to the
Monkey House” and Donald Barthelme’s “Indian Uprising.” What’s
that? You haven’t read them all? Well, that’s understandable. Those are just
some of the former saviors of fiction. — Jeremy Spencer

All For Love

By Ved Mehta

Thunder’s Mouth Press/Nation Books, 345 pp., $24.95

Somewhere inside two years of psychotherapy followed by two years
of psychoanalysis Ved Mehta said to his Park Avenue doctor, “You can’t
imagine the amount of reading and writing I have to get through in a
day.”

He was right. His doctor couldn’t imagine it, because, strictly
speaking, Mehta neither reads nor writes. He’s normally read to by and
dictates to an amanuensis (Mehta’s word of choice) because he’s blind and has
been since meningitis knocked out his eyesight, age 4, in his native India.
But he doesn’t want you to think of him as blind, doesn’t want to think of
himself as blind, and in All For Love, book nine in Mehta’s continuing
series of autobiographical writings, “Continents of Exile,” didn’t
want his girlfriends thinking so either. In fact, he made it a precondition of
loving them that they not think so at all. What kind of woman would date a
man, live with a man, get pregnant by him, engaged to him, and not once
mention the fact the man couldn’t see? Four kinds and in this order, according
to the four women described in this book: a prima ballerina, a jobless
neurotic, a total ingrate, and a borderline psychotic.

Girlfriend #1, the ballerina, 1962: Gigi dances for the
Metropolitan Opera Ballet Company, things between her and Mehta are going
great guns. Then Gigi brings up ex-boyfriend David in Switzerland, then Mehta
goes impotent, then Gigi tells Mehta, “I am utterly fascinated by you. My
feelings for you are profound.” Then David suddenly shows up from
Switzerland, Gigi agrees to marry him, and Gigi calls Mehta at work at The
New Yorker
to break the bad news. Mehta goes to “the loo” and
sits in a stall. Then he worries that his amanuensis is wondering where he is.
Then he wonders if this same amanuensis knows she’s just witnessed one of the
“worst shocks” he’s ever received. In 1994 Mehta calls Gigi:
“There was never a chance that things could have worked out with us, was
there?” Gigi, the soul of tact: “No, there was never any
chance.”

Girlfriend #2, the neurotic, 1963: Mehta runs into unemployed
Vanessa, from his Oxford days, on the street in New York. Immediate sexual
fireworks, if and when she isn’t jumping out of bed in the middle of the night
to walk a dog, which apparently needs a lot of walking. Already sounds fishy,
but it gets worse. While Mehta is in London, Vanessa’s hooking up with a
waiter in Little Italy. Mehta’s “irritated.” Vanessa and the waiter
marry, Vanessa goes into “deep” psychoanalysis (to deal with
“her feelings of pain and chaos”). Then Vanessa comes into a
“substantial” inheritance. Then Vanessa takes up with a Hindu guru.
In a letter to Mehta in 1999 Vanessa finally described to him “the dog-
sitting situation.” Conclusion: Although Mehta and Vanessa had
“shared a bed,” at a “deeper level” he “had not known
her at all.”

Girlfriend #3, the ingrate, 1966: Lola is Mehta’s perfect
amanuensis: quick-thinking, hard-working, half-Punjabi (Mehta is full
Punjabi), and, what’s more, they share the same birthday! They travel India
for a book Mehta is researching, get it on immediately. Mehta returns to New
York, Lola has an awful lot of trouble joining him. Lola hooks up with a
record-store clerk named Gus, Lola gets pregnant by Gus, Lola gets an
abortion, Lola moves to New York, Lola sets up house with Mehta, Lola leaves
New York to join Gus in London (to get him “out of [her] system”;
Mehta pays for the trip). Then Mehta joins Lola in London, Mehta takes Lola to
Spain, Lola gets pregnant by Mehta, Lola gets another abortion, the second in
10 months, etcetera and whatever. Lola ends up in New Delhi as head of a
string of shops called the Denim Depot, but the latest Mehta heard Lola has
taken up with a “holy woman.” As for Gus? He dead.

Girlfriend #4, the borderline psychotic, 1968: Mehta, now 35,
falls for Kilty (for Katherine): 24, a native New Yorker, a poet, a grad
student in English at Yale, and, you guessed it, a walking basket case. Poor
Mehta. When Kilty isn’t babytalking, isn’t adoring Mehta, isn’t hating Mehta,
she’s complaining of “demons,” getting pregnant by her (ex-
?)boyfriend Coby (a case and a half himself), having a D&C, and seeing a
shrink in Scarsdale. Poor shrink. After six months, he pronounces Kilty
“unanalyzable.” You will, after a few pages of Kilty, have already
pronounced her unbearable. The latest update: No news is good news.

Which brings us back to the Park Avenue doctor above, Mehta’s own
shrink, who forces the author, over the course of some 400 hours of therapy
whittled down to some 70 pages of transcripted sessions at the close of All
For Love
— sessions recalled word-for-word by Mehta? recorded word-for-
word by his trusty amanuensis? did the good doctor know his own remarks were
being recorded? how did this make the good doctor feel? — to maybe give some
thought to certain features of Mehta’s psyche it doesn’t take an analyst to
uncover: that Mehta is a “Milquetoast” and “masochist” and
clearly caught up in the classic Oedipus complex. Other conclusions I’ll leave
in the hands of a professional because only a professional could come up with
them, the chief being that Mehta is unknowingly “projecting” the
doctor into the role of his “fifth lover.” The clue: The author and
analyst used the same laundry! “It’s going to sound silly to you,”
Dr. Bak tells his uncomprehending analysand, “but … unconsciously you
wanted your underpants to be washed with my underpants.”

Yeah, it sounds silly because it is silly, but Mehta’s life since
sounds nifty: a happy marriage and two children. Check future installments of
“Continents of Exile,” as written by (dictated by) Ved Mehta, on the
off-chance more comes out in the wash. — Leonard Gill

Categories
News

Christmastime In the Summer.

It had been a long day on the road for John and me. We had started in Grand
Teton National Park, driven up the spine of the northern Rockies, and were in
Yellowstone National Park, where most driving days are long anyway. This was
August 25th, you see, and Yellowstone is the Ultimate Land of the RV. Travel
on its winding mountain roads averages about 13 m.p.h. in the summer.

Such was our day, with our destination Butte, Montana, that,
despite all the beauty and wonder in Yellowstone, we were just passing
through. Frankly, all we wanted was a bathroom and a sandwich, in that order,
so when we pulled into Grants Village we were moving with that special sense
of urgency which can come only from biological need.

We sped through the store and into the men’s room, where we were
soon side-by-side at the urinals. I had been so focused on getting there that,
once there, my mind began to relax, and then an odd thought occurred to me:
Did I see Santa Claus out there?

I gave this some more thought, and then I remembered Christmas
music. And people dressed as elves. And lights. I feared an LSD flashback. I
turned to John, not sure how to phrase my question.

“Um, John “

But he was already laughing. “Yes,” he said, “you
did see Santa Claus out there.”

We emerged from the bathroom cautiously. People were on ladders,
hanging tinsel around the stuffed-animal display. I approached a woman at a
cash register — she was wearing an elf hat and a “Noel” sweatshirt
— and asked, “What’s with all the Christmas stuff?”

She explained that on August 25th of some bygone year, it had
snowed some crazy amount like two feet, and people got stuck at the
Yellowstone Lodge. So they decided to get out all the Christmas stuff and have
a party, thus creating a tradition.

I should take a moment here to admit that after this experience,
a Yellowstone official explained to me that the snowstorm never happened.
Apparently the whole thing started in the late 1930s when the park’s employees
started having an end-of-season party called Savage Days — “savage”
being a nickname for the employees. In the late ’40s, the park asked a group
of Christians to take over Savage Days and clean it up a bit — hence,
Christmas in August.

When John and I were there, they were planning a pageant and
putting trees up in the hotels, and employees were exchanging gifts. Santa
would be greeting kids later and asking them what they wanted for Christmas —
a special thrill, no doubt, for parents in the middle of spending their life
savings on a trip for the whole clan to Yellowstone. (“Santa, I want one
of those $1,200 hand-carved wolves!”)

Not everybody, I should point out, was in the Christmas spirit
that day. We asked our waiter, Steve from Michigan, if he was going to the
Christmas party, and he said, “Shit, no — can’t even spike the
punch.” Steve was actually wearing an “Employee of the Month”
pin, so when he gave us free refills on our drinks, John said, “That must
be why you’re the Employee of the Month.” Steve’s response: a loud, long
ass-kissing noise followed by “That’s how you get to be Employee of the
Month.”

Such sarcasm, from a guy who said he’d rather be a mechanic in
Knoxville, was entertaining but odd, cast as it was against a backdrop of
party preparations and other displays of joy to the world.

When we went to settle up at the counter, we were greeted by Sis,
a chubby, high-pitched woman who said she was from “BO-mawnt,”
Texas. As she rang us up, a ranger approached, and Sis called out, “Hey,
Critter — hahr yew?” So now we’re talking with Critter and Sis.

Critter had a real blurry picture of a bear to show Sis, and Sis
squealed, “Say, Critter, have you seen mah sawks?” She whipped her
leg up onto the counter, and she had on these green-and-red, knee-length
Christmas socks, with little holiday figures on them: candy canes, reindeer,
etc. I stole a glance at John, and I could see he was barely suppressing
laughter, not to mention his flight instinct.

Then Critter reached down and touched a little pouch on one side
of Sis’ sock, and the thing started to play music!

“What have you got in thar?” the astonished Critter
cried.

“It plays music,” Sis drawled back.

Critter, leaning closer: “Mah gawd, I kin hear it!”

Sis, with a cackling laugh: “Yep, it plays eight sawngs!
This’n here’s ‘Santa Claus is Comin’ to Town.’ If you push the little
reindeer, it plays ‘Jingle Bells.'”

Critter: “Well, ah’ll be!”

By this time, John and I were dashing through the fake snow,
making our merry way the hell out of there. Nothing against Christmas, of
course, but these days we get plenty of it in the winter — for that matter,
in the fall. To see it in August was a little too much, especially when a
person named Critter is pushing buttons on the clothing of a person named Sis
and the Employee of the Month would rather be working on cars somewhere else.
We hitched up our sleigh and drove like the wind for the Montana border.

Categories
Cover Feature News

Wild On the Spring River

Fun-hungry floaters travel by the busload each summer weekend to a
stretch of the Spring River in north-central Arkansas, just below the Missouri
line. Wilderness takes a back seat to wild times as muscled young dudes and
bikini-clad women party down the river consuming mass quantities of brew.

Locals will tell you privately about occasional nudity and public
sex. You’ll also hear hints — but little more — about a “Miss Viagra
Fest,” an informal topless dance contest on the river.

The weekend party on the Spring River looks more like spring
break in Daytona than a cool float in the Natural State.

All in fun?

Maybe. But local authorities aren’t laughing.

“From Mammoth Spring to Hardy on holidays, you have from
7,000 to 10,000 people on that river,” says Fulton County sheriff Lloyd
Martz. “Anytime you have that many people, you are going to have a
problem.”

On July 9th, a Mississippi man on a canoe trip drowned above
Saddler Falls after drinking a case of beer. On Memorial Day weekend, a man
suffered a serious stab wound in an altercation at one of the riverbank
campgrounds.

Litter on the Spring River has sparked tougher state laws on
river trash during the last session of the Arkansas legislature. And residents
complain that trash is ruining the river. Some fear a stunning natural
resource — and a respectable $50 million-a-year tourist trade in Fulton and
Sharp counties — is drifting to hell on a river of beer and hormones.

“We would like to be known for our admirable qualities
rather than the stabbings, drug bashes, fights, sex orgies, and such that are
reported by our police and fire department to be virtually every-weekend
events,” wrote Hardy mayor Louie Seibert in a June letter to Martz to
alert him to the “urgent situation” on the river.

“Most of these people are from Memphis, from Mississippi,
some from Illinois, and some from Missouri,” Martz says.

Beer drinking isn’t exactly unknown on the state’s other popular
float streams, but it is usually more low-key. Experienced paddlers typically
carry out their own trash and collect litter they find along the way.

Jeff Klein, who owns Three Rivers Outfitters in Hardy, says most
of the year the Spring River is peaceful and uncrowded. “We’re really
talking about a three-month period of the year. People come in great numbers
and then they are gone,” Klein says. “The problems that people are
speaking about almost always happen on Saturday.”

Tension is thick among Fulton and Sharp county officials,
residents, and some canoe outfitters over the recent river incidents. Mayor
Seibert says he’s been threatened with a lawsuit over his letter.

Bob Wood, part-owner of the big Many Islands Camp and its
lucrative canoe-rental business, said the mayor’s letter was “all
lies.” Many Islands, where the stabbing occurred, is the largest canoe
outfitter on the river. Wood is furious over the negative publicity the Spring
has gotten in local media.

Stories about fights and drunkenness, he says, are blown
“way out of proportion.” Asked in a phone interview if outfitters
might do more to prevent such incidents, Wood suddenly flared.

“Don’t get too happy with your typing or your
reporting,” he said angrily.

Asked to explain, Wood growled, “You know what I mean. There
has been some pretty loose reporting going on up here.”

Rollin’ On the River

The Spring River begins as a sleepy creek north of Thayer,
Missouri, just across the Arkansas line. The world’s 10th-largest spring,
Mammoth Spring, pumps more than nine million gallons of 58-degree water every
hour into the stream year-round. When dust-dry summer weather transforms other
float streams into rocky puddles, the big, reliable water source makes the
Spring River an easily floatable stream.

The state park at the spring is a wonder in its own right. In
1836, William Allen built the first mill at the site. Another mill went up in
1850. Federal troops burned it during the Civil War. Atop a small hill on the
east bank of the park’s lake stands a Civil War relic, an 1862 siege
cannon.

Still visible at the state park is the original railroad depot,
built in 1885. It served the first rail line through the area, the Kansas
City, Fort Scott and Memphis Line. At the start of the 20th century, the St.
Louis-San Francisco line took over the depot and spurred the growth of the
town of Mammoth Spring. The Frisco Depot now houses a museum.

Trains still crawl noisily on the line paralleling the river
south toward Hardy, drowning out the shouts of partying youths in canoes.

Below the dam at the state park, the Spring River picks up speed
and provides ideal conditions for rainbow and brown trout — and for the rod-
whipping fly-fishermen who regularly work this section of the river.

A few miles below the park stands Dam 3 and the nation’s leading
producer of smallmouth bass, the Mammoth Spring National Fish Hatchery. An
aquarium, a self-guided hatchery tour, and a placid, tree-shaded riverside
grove also attract visitors.

But the lure of the Spring River, at least on the weekends, has
little to do with peace, quiet, or even nature.

You can float more than 60 miles, mostly through private land,
from the hatchery to the Spring’s confluence with the Black River. But the
nine-mile, four-hour trip down from Dam 3 to the Many Islands Campground is
the river’s most popular float.

The trip for many actually begins at Many Islands where a large
man in T-shirt and shorts stands in front of a bright orange school bus
bawling out the names of floating parties. A ragtag corps of party animals,
church kids, college students, high-schoolers, and families clamber aboard
buses for the 10-mile road trip north on U.S. Highway 63.

At the dusty put-in, buses disgorge floaters of all shapes and
sizes. Saturdays in mid-summer hundreds of floaters load up coolers of beer
and snacks and hop into shiny aluminum canoes at the put-in.

A state law that went into effect August 13th requires tie-downs
for ice chests and litter bags aboard all boats. It also prohibits glass
containers on the river. But on this day, only a few boaters appear to meet
these requirements.

Gordon Kumpuris, the Arkansas Canoe Club president, says he
hasn’t paddled the Spring River in years, partly because of the boozing
crowds. “The volume of people, the tremendous amount of alcohol, and the
fact that you seldom see anyone wearing a [life vest] — those three things
equal a bad day on the river and potentially a dangerous time,” he
says.

It’s a safe bet that few of the canoeists have taken the club’s
canoe instruction and safety courses. Most seem a little befuddled by canoe-
handling basics. They chicken-choke their paddles, fight for balance, and
struggle mightily to gain a straight line downstream as gear and coolers slide
along the length of their canoes.

“Whoo-hoo!” a barechested, tattooed young man hollers
and holds his beer high. Redwing blackbirds spook and flap for cover in the
lush greenery lining the banks. Several paddlers tump their boats within feet
of the bank.

And out in the cool river flow, two dozen boats clunk together as
the crews orient themselves. Someone’s bright yellow paddle floats by. Almost
nobody wears the life vests issued with the rental boats.

“Where you from? We’re from Memphis,” a beery
floater shouts.

There are probably 40 canoes clustered in the first mile. At
times, it appears one could walk from boat to boat. Somewhere in the group a
boombox thumps out an insistent bass beat.

Here, still close to the river’s gushing cold-water source, is
where the big trout lurk under the rocky ledges. But aside from the silent
flyfishers standing like herons in the shallow stream, no one seems much
interested in wildlife.

PHOTO BY Dylan
Davis

“Get me a goddamn beer,” barks a bikini-clad woman
standing in a canoe.

“Get your own damn beer,” says the man in the stern. A
child sits on the beer chest in the middle, looking thrilled and a little
embarrassed. Downstream, two young guys engage in horseplay, wrestling in the
shallows, grunting, issuing muffled shouts.

The Spring River owes much of its undeniable charm to the shallow
rock ledges and waterfalls that punctuate its course. But they also present a
measure of danger.

The Mississippi man who drowned in July died near Saddler Falls,
about two miles above Many Islands. In 1999, a Mountain Home canoeist drowned
near High Falls, a six-foot drop near Hardy. His family filed suit in June,
contending an outfitter didn’t properly inform him of the river’s hazards.

Over the Falls

The Spring is an easy float for even first-time canoeists. But
the drinking, the inexperience, and the sheer number of boaters sketch a
narrow, ugly line between comedy and tragedy on the Spring’s ledges and few
fast-water bends.

Aluminum canoes crash through tricky passages one right after
another — sometimes two and three boats abreast — noisily piling up against
each other and eventually snagging other errant canoes.

The spilled contents of the temporarily wrecked boats — beer
cans and bottles, shirts, soggy smokes, flip-flop shower shoes, suntan lotion
containers, paddles, life vests, and assorted trash — bob downstream from the
wrecks.

At one such crash scene, two tattooed men in their 20s laugh
loudly as they watch friends scramble to recover from a dunking. One of the
illustrated men bellows to his friends, “Man, it’d SUCK to be
you!”

A cluster of canoes crowds the muddy bank of the river — right
next to a sun-dazzled bed of empty beer cans, hundreds of them, at streamside.
A bearded man locals call “the hermit” presides as apparent keeper
of the cans.

Above Saddler Falls, the mass of paddlers thickens as it
approaches the bottleneck. The sun is doing its worst now, and some paddlers
who’ve been drinking become quarrelsome.

“By the time they get here, they’re pretty well
crocked,” says Art Stuart, who lives in a riverside vacation home. Just
above the retiree’s house, the Spring River narrows and speeds up.

“See? There’s a can in there,” Stuart says, pointing to
an empty beer can sloshing in a passing canoe. “There’s a million of
them. Sooner or later, they all end up in the river.”

Just below Stuart’s house, Saddler Falls causes recurring multi-
craft dumpings. Paddlers beach their boats to sip beers and watch the action
as the canoes sweep through the chute.

One group of revelers sprays canoeists with water as they come
through, enraging one sunburned man who turns backward in his canoe and
angrily flashes obscene gestures while screaming profanities. Somehow he and
his buddy make the passage without calamity.

But many boaters lose control of their canoes here, and some find
themselves in serious jeopardy.

“They call that Dead Man’s Curve,” says Jeff Klein.
“To me, that is the number one trouble spot on the river. A lot goes on
there that probably shouldn’t.”

A young woman falls from a canoe, disappears underwater in the
current for a moment, then washes into a cluster of rocks where her foot
becomes trapped.

“My foot! My foot!” she screams in the fast, waist-high
water. Bystanders help free her. She is in pain, but appears uninjured except
for bruises and scratches.

Moments later, a canoe rounds the bend and dumps three women in
the river. They pull their boat onto a shoal to recover. Without warning,
another canoe shoots through and collides with the beached boat. The crash
traps a woman’s leg between her canoe and a rock in rushing shallow water.

“My leg!” she howls, her face contorted with pain.
“My leg!”

Bystanders eventually free her, but by then she is unable to
walk. Other canoeists and residents carry her off in a beach chair, planning
to take her to a hospital. At least two other boaters that day exhibit blood-
gushing cuts on their feet.

Below Saddler Falls, the river slows and widens. Boaters drift
and chat. Some swim. Two men offer Mardi Gras beads for a flash of skin. A
young woman pulls down her bikini bottom and shakes her booty in their
direction.

Sometimes it goes beyond flashing.

“A friend told me he saw someone receiving oral sex right
there on the riverbank,” said canoe club president Kumpuris.

A little farther along, one man paddles while his sun-fried
partner lies asleep or unconscious in the bow.

Clampdown

Since the stabbing, increased police patrolling has put a damper
on the wildest partying, many locals agree. One recent Saturday night, three
state police cars and two deputy sheriffs drove the dirt roads and the stretch
of highway between Hardy and Mammoth Spring.

“A little more enforcement probably helped,” Martz
says.

Kumpuris and Klein suggested in separate interviews that, while
responsibility for safety ultimately rests with canoeists, Spring River canoe
rental companies might prevent some of the problems by briefing floaters on
river hazards before they set out.

“The outfitters might do a better job of educating their
renters. And local law enforcement can certainly do a better job of reducing
the amount of alcohol,” Kumpuris said.

Many of the campgrounds, including Many Islands, employ their own
security. Denny Walsh, owner for 21 years of the Spring River Oaks Canoe
Rental and Campground, also has private security on weekends. When campers get
out of hand, he kicks them out.

“We don’t care if people drink. But when they infringe on
other people’s privacy, then they leave,” he says.

Outfitters do what they can to control litter, Klein says, and
all of the canoe rental businesses send workers to collect trash several times
a year.

Sonny Chaffin, who owns Riverside Campground and Resort, lobbied
for passage of the new state law on river litter. He says he’d rather lose
money in the short term than tolerate activities that will ruin the Spring
River as a natural resource.

“If you are going to come up and trash my river, I don’t
want your business,” he says.

Bob Wood of Many Islands insists the litter and other river
problems have improved over what they were 15 years ago. But some problems are
inevitable, he says.

“It is not unusual for me to have 1,500 people here on the
weekends,” he says. “I can have more people right here than the
population of Mammoth Spring and Hardy. And I’m not supposed to have any
problems?”

A short river-rules briefing at the start of a float might help
reduce some of the mayhem. “Lots of times,” Chaffin says, “if
you just educate them at the start of the float, they’ll come
around.”

Chaffin would also like to see a “river patrol,” such
as those he’s seen in Missouri, monitoring activities on the Spring.

“Somebody has to do something,” he says. “Things
seem to be improving. But it’s going to be a long road.”

This article first appeared in the Arkansas Times.

Categories
Music Music Features

Back To Where It Once Belonged

As historically precarious a business entity as it is a culturally
essential bedrock of downtown Memphis, the Center for Southern Folklore will
celebrate its first anniversary at its latest location a little early this
week due to the return of the center’s Memphis Music and Heritage Festival.
The center, co-founded in 1972 by Bill Ferris and executive director Judy
Peiser, was forced out of its last location at 209 Beale Street in the fall of
1999 due to debt problems. With the center homeless for much of 2000, the
Music and Heritage Festival — the organization’s signature event since 1988 –
– didn’t occur last year.

But now it’s back. Arguably the finest annual celebration of
Memphis music and culture the city has, this year’s festival will retain the
three-day, multistage, multigenre format that it had before the center’s year-
long “hiatus.”

This year the festival will feature five stages along a two-block
line connecting the center in Pembroke Square to the Peabody Place
Entertainment and Retail Center. The center’s regular performance space will
be used as one festival stage, followed by: a Trolley Stop Stage right outside
the Pembroke Square doors on Main, a Main Stage in the parking lot across
Second Street from Peabody Place, a Peabody Place Stage in the mall’s large
open area, and a Tower Records Stage inside the new store. As is festival
tradition, genres will be mixed on each stage, encouraging a constant flow of
traffic along a route sprinkled with food and crafts vendors.

Peiser is particularly excited about one act new to the festival:
merengue accordion virtuoso Joaquin Diaz, a Dominican Republic native now
based in Montreal. Peiser was knocked out by a Diaz performance recently at a
Folk Alliance Conference in Vancouver and decided to bring him to the
festival. “I like the festival to present regional artists,” says
Peiser, “but I also want to bring other people in. I especially wanted to
bring something in for the Latino community in Memphis. I think that’s very
important.”

The festival itself is free, but the center will host special
events on Friday and Saturday night at 11 p.m. for a $10 cover. Friday’s late
show will be Jimbo Mathus’ Traveling Road Show, in which the ex-Squirrel Nut
Zipper and native Mississippian will be joined by vintage Sun blues artist and
recent comeback kid Rosco Gordon and center stalwarts the Fieldstones.
Saturday night’s event will be Sock Hop ‘Til You Drop, a pairing of Sun
rockabilly artist Sonny Burgess with the New Orleans band the Royal
Pendletons.

The highlight of the festival may come Sunday night on the Main
Stage, which will close with a four-act stretch of local music that would be
hard to top: The Spirit of Memphis Gospel Quartet is scheduled for 7 p.m. Jim
Dickinson and his North Mississippi Allstars progeny, who will likely play a
jug-band set, will follow. Next up will be Sun rockabilly icon Billy Lee
Riley. Closing out the night, and the festival, will be true Memphis music
royalty in the form of Rufus Thomas and his “kids,” Carla and
Marvell.

The rest of the lineup is a typically enticing mix of sounds —
blues, jazz, country, rock, and gospel, with a touch of rap and world music
thrown in. Blues stands tall, of course. One highlight in that vein could be
Johnny “Duck” Holmes, a cousin of seminal Delta bluesman Skip James.
Holmes owns and operates the Blues Front Café in Bentonia, Mississippi,
and appeared in the Robert Mugge and Robert Palmer documentary Deep
Blues
. According to the center’s Andria Lisle, this will mark Holmes’
Memphis debut. Other blues highlights will be two of the city’s most highly
regarded house bands: The Hard Luck Blues Masters and the Hollywood Allstars
play before packed crowds locally at the Hard Luck Café and Wild
Bill’s, respectively, but both will be venturing outside their normal digs for
festival appearances. Also playing are the Handy Three, who recently won the
Beale Street Blues Society’s annual battle of the bands contest.

As the center approaches its one-year mark in the new location,
Peiser seems pleased with its status. Certainly, the appearance and feel of
the space have changed considerably since last fall’s opening: What at first
had the look of a college cafeteria now feels almost as funky and cozy as the
previous Beale location. The center’s experiment with lunchtime performances
has gone over well, according to Peiser, but the new, more out-of-the-way
location has had an effect on foot traffic. “I think locals still have
trouble finding us, but tourists from, say, Sweden or Switzerland know what
they’re looking for and have no problem at all,” says Peiser. “We’ve
done well with special events — Little Milton, Kate Campbell, Roy Carrier.
This may be a space where [locals] need a specific reason to come, and in the
next year we plan on giving them more reasons.”

2001 Music and Heritage Festival Schedule

Friday, August 31st

Main Stage: Papa Top’s West Coast Turnaround, 5 p.m.; J.M.
Van Eaton’s Van Jam, 6 p.m.; Susan Marshall and Jackie Johnson, 7 p.m.; the
Daddy Mack Blues Band, 8 p.m.; Rosco Gordon with Calvin Newborn and Sonny
Williams, 9 p.m.; Joaquin Diaz and his Merengue Band, 10 p.m.

Trolley Stop Stage: Melissa Dunn, 5:15 p.m.; Sid Selvidge,
6:15 p.m.; Jimmy “Duck” Holmes, 7:15 p.m.; Jimbo Mathus &
Knockdown Society, 8:15 p.m.; Ronnie Williams and Ed Finney, 9:15 p.m.

Center For Southern Folklore Stage: Charlie Wood, 11:30
a.m.; Ross Rice, 12:30 p.m.; Brother Love Blues Band, 1:30 p.m.; Little Albert
Jazz Orchestra, 2:30 p.m.; the Chiselers, 3:30 p.m.; Los Cantadores, 4:30
p.m.; Jim Skinner and Devin Miller, 5:30 p.m.; Old Man Johnson and the Cooter
River Band, 6:30 p.m.; Jeff Huddleston and Blue Bossa, 7:30 p.m.; Sandy
Carroll, 8:30 p.m.; the Hard Luck Blues Masters, 9:30 p.m.

Peabody Place Stage: Memphis James, 11:30 p.m.; Cory
Branan, 12:30 p.m.; Darrel Petteis & Strength and Praise, 6:30 p.m.;
Exodus, 8:30 p.m.

Saturday, September 1st

Main Stage: Melvin Rogers Big Band, 2 p.m.; Herman Green
and the Green Machine, 3 p.m.; Di Anne Price and her Boyfriends, 4 p.m.; the
Bluff City Backsliders, 5 p.m.; Moloch, 6 p.m.; Kate Campbell, 7 p.m.; Sonny
Burgess and the Pacers with Paul Burlison, 8 p.m.; Joaquin Diaz and his
Merengue Band, 9 p.m.; Reba Russell, 10 p.m.

Trolley Stop Stage: Global Warming, 2:15 p.m.; Jason
Freeman, 3:15 p.m.; Poetic Outlet with I.Q.’s 7 ‘Strophes, 4:15 p.m.; Jimmy
Crosthwait, 5:15 p.m.; Smoochy Smith, 6:15 p.m.; the Royal Pendletons, 7:15
p.m.; the True Gospel Travelers, 8:15 p.m.; the Kattawar Brothers, 9:15
p.m.

Center For Southern Folklore Stage: Children’s Theatre, 1
p.m.; Gatemouth Moore, 2:30 p.m.; Eddie Bond, 3:30 p.m.; Shelby Bryant, 4:30
p.m.; Nancy Apple’s Songwriters in the Round, 5:30 p.m.; the Hollywood
Allstars, 6:30 p.m.; Alonzo Pennington, 7:30 p.m.; Brown Sugar, 8:30 p.m.; Ace
Cannon, 9:30 p.m.

Peabody Place Stage: Stax Music Academy Rhythm Section,
11:30 a.m.; Jimmy Crosthwait, 1:30 p.m.; Salute to the Wonders Exhibition
“Eternal Egypt,” 4:30 p.m.; the Obys, 6:30 p.m.; the Daddy Mack
Blues Band, 8:30 p.m.

Tower Records Stage: The Layman Quartet, 2 p.m.; MC
Honcho, Lost Innocence, and Jewel Sanchez, 3 p.m.; Greg Hisky Band, 4 p.m.;
Hank and Becc, 5 p.m.; FreeWorld, 6 p.m.; Roy Harper and Johnny Bellar, 7
p.m.; Jimmy “Duck” Holmes, 8 p.m.; Billy Gibson, 9 p.m.

Sunday, September 2nd

Main Stage: American Deathray Music, 2 p.m.; the
Fieldstones with Barbara Blue, 3 p.m.; the Memphis Klezmer Revue, 4 p.m.;
Angelic Voices of Faith, 5 p.m.; Billy Gibson with Mose Vinson, 6 p.m.; the
Spirit of Memphis Gospel Quartet, 7 p.m.; Jim Dickinson and Sons, 8 p.m.;
Billy Lee Riley, 9 p.m.; Rufus, Carla, and Marvell Thomas, 10 p.m.

Trolley Stop Stage: Alonzo Pennington, 2:15 p.m.; David
Evans, 3:15 p.m.; I.Q. and Fathom 9: Double Exposure, 4:15 p.m.; the Gamble
Brothers, 5:15 p.m.; Randall Morton, 6:15 p.m.; the Porch Ghouls, 7:15 p.m.;
Richard Graham Samba Group with Patricia Reis, 8:15 p.m.; Blind Mississippi
Morris, 9:15 p.m.

Center For Southern Folklore Stage: The Handy Three, 2:30
p.m.; Roy Harper and Johnny Bellar, 3:30 p.m.; the Vance Ensemble, 4:30 p.m.;
the Gospel Jubilees, 5 p.m.; the Jollyaires, 5:30 p.m.; the Neal Brothers, 6
p.m.; Smoochy Smith, 6:30 p.m.; the Subteens, 7:30 p.m.; the Last Chance Jug
Band, 8:30 p.m.; Lucero, 9:30 p.m.

Peabody Place Stage: Kate Campbell, 12:30 p.m.; New
Memphis Hepcats, 4:30 p.m.; Tropix, 6:30 p.m.; Joaquin Diaz and his Merengue
Band, 8:30 p.m.

Tower Records Stage: The Ron Franklin Entertainers, 2
p.m.; Cooley’s House, 3 p.m.; Carol Plunk, 4 p.m.; the Great Depression, 5
p.m.; the Lost Sounds, 6 p.m.; Teresa Pate, 7 p.m.; Perfection, 8 p.m.; Eighty
Katie, 9 p.m.

Categories
Music Music Features

sound advice

Robert Cray has never equaled the commercial heights he reached with
1986’s classic Strong Persuader. One of the decade’s most well-crafted
and soulful song cycles and one of the few legitimate crossover blues records
of the last couple of decades, Strong Persuader would be hard for
anyone to top. But in the decade and a half since that peak, the California-
based triple threat (writer/guitarist/singer) has built a legacy that makes
him one of his era’s signal blues artists. Two steps from the blues in the
Bobby Bland tradition (meaning two steps in the direction of Southern soul
music), Cray’s style is consistent and consistently rewarding. His latest,
Shoulda Been Home, is a nod to Memphis soul, and this week Cray will be
in the city performing on Monday, September 3rd, at the Memphis Botanic
Garden. Opening act and local blues phenom Alvin Youngblood Hart’s take on the
music is as wide-ranging as Cray’s is tightly focused, but the two should make
for a fine double bill.

On Saturday, September 1st, Shangri-La Records will celebrate the
release of Playing For a Piece of the Door: A History of Memphis Garage
and Frat Bands in Memphis, 1960-1975
, a book that comes with a
companion CD. The release concert will reunite several prominent local garage-
rock bands of the era, with currently scheduled performers including Jim
Dickinson and The Catmandu Quartet
, The Guilloteens, The
Rapscallions
, The Castels, The Coachmen, and B.B.
Cunningham
of the Hombres. Show begins at 3 p.m. at Shangri-La.

Chris Herrington

Could I be more excited about a double bill of local musicians?
No, I could not. Automusik, that digitized trio of rockin’ robots, will
be opening for Shelby Bryant (the musical mad scientist who invented
Cloud Wow Music) at the Hi-Tone Café on Friday, August 31st.

For those who have spun Automusik’s disc The Statistical
Probability of Automusik
and found it wanting, all I can do is say,
“See them live!!!” That’s right, three exclamation points — count
’em. Their winking Kraftwerk-meets-agitprop-meets-Samuel Beckett take on
everything from hardware to babies to beach parties is the most innovative and
interesting thing to appear on the Memphis scene in the last couple of
decades. The digital animation that syncs up perfectly with Automusik’s
onstage antics is brilliant, amazingly funny, and surprisingly insightful and
self-aware. Who knew that a flat affect could be so exciting? Bryant (the key
player at the gates of dawn?) is an off-kilter wordsmith whose best work can
stand up against Dr. Seuss and Shel Silverstein. He has built himself a cozy
musical home in a sweetly psychedelic landscape where J.S. Bach has secret
midnight rendezvous with Syd Barrett. Bryant plays so seldomly that missing
even one performance is a crime.

An early heads-up for fans of American Deathray Music
(formerly Deathray, formerly American Deathray). Those glam-punks will be
having a record-release party on Friday, Sept 7th, at 2282 Park Ave. More to
come on this highly anticipated event next week. — Chris Davis

Categories
Opinion

R-E-S-P-E-C-T

It may be an acquired taste, but most Memphians who care about hip hop have
gotten used to the scary-sounding production, hardcore lyrics, and weird bass
hooks that typify the music of Three 6 Mafia. The group’s latent misogyny,
however, is another matter. Luckily, Gangsta Boo, for years the group’s only
prominent female member, is around to set things straight. For this, Gangsta
Boo doesn’t get enough credit. Her lyrics and style are powerful and affirm
femininity and sexuality. And because her songs and verses can stand alone,
Boo’s managed to escape the prevalent “token diva” ghettoization
that has weighed down so many female members of male-dominated rap
cliques.

The best song on Gangsta Boo’s new album, Both Worlds,
*69
, is “Can I Get Paid (Get Your Broke Ass Out) — Da Strippers’
Anthem.” The production is very Three 6 Mafia — horror-movie Casio
background and that tinny tap-tap-tap Memphis-style drum machine — but the
lyrics are affirming, revolutionary, and, dare I say, feminist.

There may not be any other song in mainstream music that is so
empowering and supportive of sex workers. And before you bring up “What
Would You Do,” that ubiquitous current single by City High that hinges on
a dialogue between a female stripper and a disapproving male friend, let me
say this: “What Would You Do” is a nice start but the essential
message of the song is that, due to family finances, some women have no choice
but to become strippers and prostitute. This hardship sets them apart from
(and above) other sex workers.

The theme of “Can I Get Paid” is much more
straightforward: “Get yo broke ass out the club if you ain’t gonna
tip.” Boo speaks in the voice of a stripper and her narrative doesn’t
come off as condescending, self-pitying, annoyingly contemplative and poetic,
or, worst of all, pathetic. This woman is in control; this woman has demands.
She doesn’t waste time questioning the morality of her profession or the
assumed hypocrisy of her career choice. Instead, she straight up tells her
male patrons who don’t tip to quit wasting her time, with lyrics that are 100
percent confrontational. The most blatant example: “We don’t like them
boys who be all up in our face/We don’t like them boys who ain’t spendin’ no
money/We ain’t got no time for y’all muthafuckin’ broke-ass n****s in the
club/If ya ain’t tippin’ get the fuck out, bitch.”

With the perpetual influx of rap and rock songs about stripping
from a male and non-sex-worker point of view, “Can I Get Paid” is
long overdue. Every other mainstream song about sex work ranges from being
merely flaky to being outright detrimental. Example one, the best of the
worst, is the aforementioned City High song. Example two is “Lady
Marmalade,” particularly the new version by Christina Aguilera, Lil’ Kim,
Mya, and Pink. The song glamorizes the life of a sex worker without exploring
aspects of the trade. In the video, the pop princesses prance around in
corsets and high heels on a burlesque stage while servants help Miss Christina
put on her I-fell-face-first-into-a-red-paint-can makeup. This is dangerous
and may remind some of the movie Pretty Woman 10 years ago — a
Cinderella story that served as an enticement for lonely young girls to move
to L.A. and become hookers. Example three is Tina Turner’s “Private
Dancer,” in which the obviously hardened stripper longs for a life
outside of her meaningless existence. Example four, the worst of all, is the
typical narrative from a third-person (and usually male) perspective which
either wrongfully describes sex work as nothing but dangerous and
exploitative, pleads for women to leave the industry for Prince Charmings who
promise a new life, or both. “Roxanne” by the Police and the new
Wyclef Jean song, “Perfect Gentleman,” are good examples.

Gangsta Boo’s song is different. She knows why she strips; she
knows the ins

and outs of her job; she knows the pros and cons; she knows how
to make the money that’s there. She doesn’t fall in love with her customers
(“Stick the money in my lacestrap if you want a show/I’m a private
dancer/Be your love slave for awhile”); she maintains complete control of
her performances (“If them beggin’ bustas is perverted/Keep they mouth
away”); and she doesn’t wax poetic about escaping the business (“I
got bills to pay, but a sister’s gonna suck it up”). Her job is just
that, a job — and she makes it clear that strippers can be smart
businesswomen in control of their bodies and lives.

Gangsta Boo definitely knows what she’s talking about —
surprisingly so for a woman who admits that she’s creating a character and not
speaking from her own experience. Of all forms of mainstream music today, rap
and R&B seem to be the only two genres where women are crossing boundaries
and making major progress. Gangsta Boo is absolutely at the forefront of that.
Getting paid is essential, but can the lady get some respect too?

Categories
News News Feature

GOLDSWORTHY NAMED TO AIR QUALITY BOARD

East Tennessee’s loss is Shelby County’s gain in one recent respect. Germantown Mayor Sharon Goldsworthy has been named the municipal-government member of the 14-member state air Pollution Control Board.

Goldsworthy was one of three mayors (the others being Ashe and Pulaski Mayor Dan Speer) nominated for the seat by the Tennessee Municipal League.

She was selected by Governor Don Sundquist, at least partly because West Tennessee had been under-represented on the board, according to Elizabeth Phillips, a spokesperson for Sundquist.

Categories
Politics Politics Beat Blog

HILLEARY UNDERSCORES DIFFERENCES WITH SUNDQUIST

In an interview before he addressed an audience of the East Shelby County Republican Party at the group’s annual “Master Meal” at Woodland Hills Country Club Friday night, 4th District U.S. Rep. Van Hilleary shied away from loosing any broadsides at a possible general election opponent, Democrat Phil Bredesen, and gave the former Nashville mayor credit for sincerity in his recent espousal of a no-new-taxes policy toward state government.

Hilleary was somewhat more grudging in his attitude toward a GOP partymate, Governor Don Sundquist, declining to say that, if nominated, he expected the governor’s support in a general election contest, other than to say, “I would anticipate having the support of every elected Republican in the state.” Would he seek Sundquist’s support?, he was asked. “I seek everybody’s support,” the congressman replied.

“I’ll give the governor some credit,” Hilleary said. “I think he’s working very hard to restructure TennCare right now, and I thnk a lot of the things he’s doing are thing I would do if I were in his shoes.I think we’re moving the right direction.”

But Hilleary made it clear that the twain were far from meeting on the issue of tax reform.

“I think anytime there’s an issue at the forefront that divides a party rather than serves to bind a party, it’s a problematic situation. The income tax is something the vast majority of Republicans don’t want anything to do with it. There’s a few that do.”

Hilleary, who went on to stress education as a key issue in the interview as well as in his prepared remarks, opined that he would be “extraordinarily lucky” if he didn’t have “some primary opponent” next year.

So far only former State Rep. Jim Henry of Kingston has indicated an interest in challenging Hilleary in the 2002 Republican gubernatorial primary.