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News News Feature

Harsh Reality TV

You will be at your breakfast table and you will not be able to turn away from the image. An American, impossibly young and healthy, will be looking back at you. The lighting will be bad but you will see the bruises on his face, the redness in his eyes, the sweat glistening on his shaven head. A soldier, he will be in his government-issued brown undershirt. Stripped of his flack-jacket and tunic. Stripped of his bluster and bravado. You will see his fear.

He will speak words that are not his own. His statement will sound bizarre delivered in his Midwestern dialect — the word order askew, the eyes darting, and the delivery halting as if coached from outside the frame.

When he is finished with his confession the video image will shake and then come to rest on another man, an Afghan wearing the dark wrappings and headdress of the Taliban, speaking excitedly in his own language. And when he is through with his address he will move across the drab room toward the American, who will be seated and bound. The Afghan will be holding a long, curved knife.

And the image before you at your breakfast table will change to a female co-host seated on a sofa at the network morning show. She will be visibly shaken, aided by several minutes of discussions with her producer on just the right tone to portray when the video ends. The male co-host will explain that for reasons of “sensitivity” the network decided to edit the video. He will confirm that the young Ranger was indeed executed slowly and painfully on camera. His eyes will moisten. Fade to commercial.

A car company announces that in this time of national difficulty they are here to help with zero percent financing.

No network will show the actual throat-cutting. For that you’ll have to go to any number of Web sites that will let you download it, stream it, or access video-capture images.

Don’t think it will happen? Don’t be so sure.

The Afghanistan Mujahadin that fought the Russian army in the 1980s slit the throats of many a Russian soldier, then sent the videotapes to the enemy. They did it to demoralize, to horrify. The Taliban seems to prefer hanging its victims from cranes and towers or holding big, outdoor, public executions and amputations, but that might be tough to stage from an underground bunker.

Sheikh Mullah Mohammed Umar, the leader of the Taliban (to call him “spiritual leader” as many do is to marginalize his importance), is fixated on what he feels is the lack of American will to accept losses. Time and again he has brought up Somalia, where a dead American Army Ranger was dragged through the streets of Mogadishu and American viewers got to see the bound, broken body piped into their living rooms. The U.S. pulled out of the country soon after. Umar and his ilk are now awaiting their chance to provide the American viewing audience with an even more graphic postcard from abroad.

One imagines Sheikh Umar and Osama bin Laden must be amazed by the bully pulpit they have at their disposal. They know that any statement they make will be broadcast to the American people soon after, with no checking the verity of the allegations or censoring of the threats or indictments of the U.S. government or its military. When the U.S. National Security Advisor asked the network heads to police themselves and use restraint when broadcasting unedited footage from the leaders of our enemies, it was portrayed by many in the media as an attack on the freedom of the press and heavy-handed White House bullying. Do you think that a tape of the president of the United States rushed to the news channels would be put on the air without any review or editing? Not a chance.

Score one for the bad guys.

So let’s accept that the Taliban will execute a military prisoner on camera. Will the media really air it?

Anyone who saw the footage of the dead Ranger in his undershorts being pulled behind the truck in Somalia, which is to say anyone who owned a television set in October 1993, knows the American media has no aversion to airing American military casualties, no matter how brutal.

Anyone who saw the footage of the American and British aircrews captured by the Iraqis in the Gulf War, which is to say anyone who owned a television in February 1991, knows the American media has no moral difficulties broadcasting enemy propaganda spewed from the mouths of injured and threatened captives.

Put these events together in one video and what do you have? Must-see TV.

To call the American media accessory to whatever crime they put on the air is admittedly overstating it. The Taliban will execute whomever they choose to execute, whether or not we get to watch it over a bowl of corn flakes. But a public outcry against any airing of prisoner videos before the fact would send a message to the networks that the public will not allow themselves to be subjected to a propaganda war at the expense of a young man’s life or a family’s unimaginable horror. And a message from the U.S. television networks to Al Jazeera, the Qatar-based “all Taliban, all the time” network that has the most contact with Umar and his minions, would tell the powers in Kabul that any servicemen they capture will not be used as publicity shills.

Afghanistan must be a miserable place to die. Rudyard Kipling wrote of the perils of fighting there in the early 1840s in a war that claimed 12,000 British soldiers: “When you’re wounded and left/On Afghanistan’s plains,/And the women come out,/To cut up your remains,/Just roll on your rifle,/And blow out your brains,/And go to your Gawd,/Like a soldier.”

Kipling’s soldier surely could not appreciate how lucky he was.

Mark Greaney is an international account manager for Sofamor-Danek.

Categories
Film Features Film/TV

Ooey and Gooey

In the planet K-PAX, there are two suns and several purple moons. The light, according to K-PAX‘s hero and alien, Prot (Kevin Spacey), is twilight soft. Here on Earth, however, the cast of the sun is a good deal harsher, and quality of life depends largely on the angle from which you view it. The same can be said of the quality of K-PAX.

Prot just appears one day at New York’s Grand Central Terminal. Unable to explain himself satisfactorily (he has no luggage), Prot gets tossed into a mental hospital and into the care of Dr. Mark Powell (Jeff Bridges). Prot is clearly delusional, though there are things he says that make sense and some other things that are truths yet to be discovered.

If it sounds corny, it is. The whole idea behind K-PAX is that of letting go of the understood and being open to the impossible. Mental-patient Prot is the noble creature here, free of society’s gobbledygook and tuned into the real nitty-gritty so he can give us the lesson of the day: Appreciate, appreciate, appreciate. What’s more, Prot may just be that alien he claims to be. He can cure the sick and talk to dogs and work out complicated astronomical problems. For someone to bring about this wealth of goodwill and wonder he just can’t be human, can he?

Whether you like K-PAX or not depends largely on your willingness to be led on this parade of hope. If you buy it, then the curve the film takes is that much more meaningful. If you don’t, then you can blame it on Spacey’s spaced-out performance. The burden of belief is all on him, and, boy, does he work it. His movements suggest he’s a tourist on this planet: His steps are shy and careful, as if testing the ground for stability, and his head swivels to check out everything. Later on, he runs through different ages: He’s a scared young boy, then an overconfident teen, and finally a man with a family. It may come off as Oscar-winning acting, or it could just be a hell of a lot of overemoting. — Susan Ellis

It’s a damn-near tragedy, really. Here she is, multiple piercings, heavy liner and heavier attitude, surrounded by a bunch of girls happily named Ashley. The real humiliation is that her name is the equally peppy Jennifer.

It’s just one of the many indignities that 17-year-old Jennifer (Leelee Sobieski) — call her “J” — suffers through in the ultra-light, super-awful My First Mister before she realizes what’s really important.

The path to that revelation is through a high-end clothing store, where she’s hired by Randall (Albert Brooks) to work in the stockroom. While J uses her goth look to intimidate, Randall’s merely curious. She goads him about his belly; he questions her about her nose ring. By not backing away from J’s hostility, Randall becomes something different entirely. He, this square, 49-year-old man, is dark teen’s friend.

The first quarter of My First Mister is promising. Sobieski’s scowl and Brooks’ gentle sarcasm mix well. She buys him a Hawaiian shirt; she takes him to get tattooed. He loans her money and makes sure she doesn’t rent a ground-floor apartment. They bond over music. She forces him to have fun, while he tears down her defenses a little.

And while everything between them is officially chaste, J wants to be Randall’s lover. She likes the way the word “lover” rolls over her tongue. It’s absurd. But that absurdity is dropped in favor of an ooey-gooey storyline that’s beyond cloying and beneath everyone involved — the actors and the audience alike. Is that paper airplane in the film really floating to heaven with a note to a departed loved one? Yes, sadly, it is. — SE

As far as scary movies go, I do not watch them. Well, if you count the slivers of screen visible between my fingers, then I watch “parts” of them.

13 Ghosts is different. It was actually quite good, in a ghoulish, not gross, sort of way. A remake of the 1960 William Castle film — this time directed by music video and commercial vet Steve Beck — 13 Ghosts revolves around the Kriticos family, which has seen its share of hard knocks. The mother (Kathryn Anderson) has recently died in the house fire that destroyed all their possessions; and the dad, Arthur (Tony Shalhoub), is just getting by. So, all the responsibility falls to Kathy (Shannon Elizabeth), the trustworthy daughter.

Just when they think all is lost, Arthur inherits a house from his estranged Uncle Cyrus (F. Murray Abraham), who has mysteriously passed away. The family gets to the house, which is made completely of glass, and loves it. They figure: put up some curtains and everything will be okay, right? Wrong. Soon Rafkin (Matthew Lillard), the tortured psychic, shows up and makes them see that their house really isn’t a house and good ole Uncle Cyrus really isn’t good. In fact, the house is a machine ruled by the devil and Cyrus is a collector of spirits.

Of course, the ghosts are conveniently located in the basement. In the original film, Castle lured theatergoers by promoting the “Illusion-O!” viewing glasses which allowed audiences to see on-screen spirits that were invisible to the naked eye. Although glasses aren’t passed out for the remake, the gimmick infuses in the movie. The actors cannot see the tortured souls without donning special glasses. And once they put them on, see the souls, and are attacked by the souls, they finally realize that “it’s time to get out.” Had any thinking person walked up to an all-glass house which contained a massive gear-shift contraption inside, they would have immediately known it was “time to get out.” But this is the movies and intelligence isn’t always in this script.

Either way, the family, Rafkin, and babysitter Maggie (played by female rapper Rah Digga of the Flipmode Squad) continue to battle the ghosts and finally Uncle Cyrus while simultaneously freeing all the trapped souls.

The film does a good job of scene-setting by having most of the action take place in the house. The ghosts look real but aren’t too scary and don’t yell mindless threats of death and destruction. It is clear that they, too, are victims of crazy Uncle Cyrus. Also, the film avoids the typical horror-film scenes of people running through the woods, ax murderers chasing teenagers through abandoned homes, and the continuous flow of victims’ blood.

Take your hands away from your face. This scary movie is worth watching. — Janel Davis

Categories
Politics Politics Beat Blog

KYLE OUT OF MAYOR’S RACE; NORRIS MAY GET IN

The Shelby County Mayor’s race lost one contender Tuesday but stood, down the line a bit, to gain another,

State Senator Jim Kyle opted out of the race, arranging for announcements of his withdrawal to be hand-delivered just before noon Tuesday to his three Democratic Party rivals, State Representative Carol Chumney, Bartlett banker Harold Byrd, and Shelby County Public Defender A C Wharton.

In the statement, as in separate remarks to the Flyer, Kyle cited the state’s desperate fiscal situaton as a reason for his decision to leave the race. Kyle, a key member of the Senate Finance Committee, had hoped for a special session this week to resolve Tennessee’s budget dilemma. It didn’t happen, and that meant, Kyle realized, that he and the rest of the General Assembly would likely be tied up to Nashville from late winter through early summer next year– a period during which he could neither effectively campaign nor, by the terms of state law, raise any money.

Another reason for his departure, Kyle acknowledged, was the recent entry of Wharton, “who has name recognition as good as my own.”

Meanwhile, another senator, Collierville’s Mark Norris, was considering a race for mayor at some point Ð especially if lawyer John Bobango ends up not running in the Republican primary. Norris, a former member of the county commission, is likely to see his senate district joined with that of long-term GOP colleague Curtis Person during legislative reapportionment, which will be controlled by Democrats in Nashville.

In another development, Shelby County Election Commission chairman O.C. Pleasant, a Democrat, acknowledged he was likely to run for the office of Shelby County clerk, opposing incumbent Republican Jayne Creson.

Categories
Cover Feature News

Greetings From New York

“If seven maids with seven mops

Swept it for half a year,

Do you suppose,” the Walrus said,

“That they could get it clear?”

“I doubt it,” said the Carpenter,

And shed a bitter tear.

— Lewis Carroll

Through the Looking-Glass

NEW YORK CITY: Visitors to New York will have no trouble encountering what has been so widely publicized in the wake of the September 11th tragedy: an openness to the visitor that is somewhere between courtly and home-spun. What is normally the world’s busiest, noisiest, and most self-absorbed place — Manhattan Island — has developed small-town ways.

Example: I arrived in Pennsylvania Station from Washington, D.C., at 1 a.m. on Saturday. The mega-concert at adjoining Madison Square Garden — the benefit for the families affected by September 11th, featuring a Woodstock-like panoply of stars — was just concluding. The sprawling terminal abruptly filled with people, a youngish crowd, mainly — not unlike the attendees at a high school football game — hustling toward various exits or tracks. But the flurry didn’t last long, and soon the terminal was virtually deserted.

Meanwhile, I was standing at the south end of the floor, in front of an area marked “BAGGAGE CLAIM.” Its metal doors were locked shut, however, and closed off further by a pair of accordion gates. There was a cluster of policemen in a stand in the middle of the terminal — a sign of the vigilant times — and one of them assured me that when my train from Washington got downloaded I’d see the doors open and could claim my bags. It didn’t happen. While I waited I wandered some 20 feet from my computer bag, which I had parked in front of the gated doors. Another policeman was patrolling the floor. “Sir, is that your bag?” he asked courteously. It was, I answered. “Well, please try to stay close to it.” He all but tipped his hat.

Ultimately I was guided toward the building’s far end, where in a corner I could see an overhead sign reading, “CUSTOMER SERVICE.” Hoisting my computer bag, I walked the length of the floor and entered a room where a heavyset black man sat at a desk with a cellphone or walkie-talkie at his ear. He said hello politely, and, after he had finished giving directions concerning an outgoing train to handlers at some unseen location, he walked with me back down to the other end, making conversation about the concert and the crowds that had just poured through. When we got to the gates, he went through a side door and returned, saying with a look back over his shoulder, “He’ll take care of you.”

Soon the doors of the baggage claim swung open, revealing a pot-bellied, gray-haired man wearing a T-shirt above his rumpled uniform pants. He appeared to have just awakened. “Need your baggage-claim tickets,” he said sleepily. I handed them over. Soon enough, he was at the side door and passed the bags through. “Have a nice time in New York,” he said.

In its imagery, atmosphere, and dialogue, the whole thing might have taken place in Jonesboro or Junction City.

IN MORE SENSES THAN THE DIMUNITION OF ITS SKYLINE, New York has been downsized and has accepted it — not least in its bonding with the hinterland and its apparent determination to become the ultimate Everytown, USA. Not once during my two-and-a-half days in the city did I encounter anything resembling hauteur or brusqueness or an unwillingness to be of service. Every cop, passerby, or straphanger, when asked for directions, gave them happily.

photo bY JACKSON BAKER
Some still hope to find survivors.

One morning I was running in Greenwich Village, in its heartland where 12th Street, Hudson, and Bleecker converge. In some ways, New York maintained its distinctiveness — notably in the diversity of the types who loitered in its multiethnic storefronts, walked its pavement, and sat on its park benches. They included all the tribes of humanity, from standard couples to grannies to mothers wheeling baby carriages to manifest hipsters to the pair of skinhead women who sat together on one bench, their bald pates inclined together like billiard balls in a rack. It was quaint, though, not alien — lesbianism as Norman Rockwell might have imagined it. Just as in the rest of America, flags or flag replicas were everywhere. As I circled Bleecker Park and headed up an asphalt alley, a car passed alongside and the driver leaned out, saying in an indeterminate accent, “No pain, no gain.” Then he smiled and sped away.

LATE OF A SUNDAY AFTERNOON, I headed south on Hudson Street in the direction of what is already known everywhere in the civilized world as “Ground Zero,” shifting streets in the direction of south and east, as I was directed. Whenever I looked westward from an intersection, I could see distant speedboats on the Hudson River. My destination, of course, was defined by what I was not seeing, the twin spires of the World Trade Center. Before September 11th they would have guided me all the way to the tip of Lower Manhattan from the Village in the heart of downtown. In the absence of visual imagery, I began to rely on my olfactory sense — imagining that it would guide me as surely as any beacon.

Even up on 12th Street, I had sniffed something that wafted into and out of my threshold of awareness. It came and went in faint, barely discernible whiffs, as if to give the most minimal possible hints of what I might soon be experiencing. As I walked, I sniffed away like some stereotypical wine connoisseur. First, I had a slight sense of scorched electronics, then, minutes later, one of crushed concrete, and — interspersed with these at uneasy intervals — an unmistakable whiff, even if infinitesimal, of what one smells around the house at home when a small animal has expired somewhere under a back porch. There was no way around it: The 5,000 deaths of September 11th were a part of the city’s very atmosphere.

I encountered the first barricade on West Broadway, the thoroughfare up which, I had read, Mayor Rudy Giuliani had raced with his immediate aides on September 11th to escape the cascade of falling rubble from the collapse of Tower One. Not all of the mayor’s party made it. One or two members of his rear guard had been lost in the avalanche. In that same small-town way with which I’d grown familiar by now, the cops manning the first set of barricades made a point of suggesting I could get closer by shifting over to Broadway and heading further south. Later, on Broadway, racing through one intersection to beat a red light, I heard one policeman say gently, “Sir, you don’t have to run.” Whether he meant that in the small or the cosmic way remained to be seen.

EVENTUALLY, ON BROADWAY, I would come upon the barricaded intersections at Fulton and John, and further down, where the clumps of tourists foretold their vistas even before I got there. One of the cops who had directed me earlier had assured me that my press credentials would get me as far in as I wanted. Whatever. When I got there I was content to see what I could from the same vantage points, generally a block or two away, used by the rest of the visitors. And that proved instructive.

PHOTO BY STEVE COHEN
One of many belaureled checkpoints near Ground Zero.

Yes, the devastation was obvious from the ground-up matter and mangled metal that one could see in the huge land mass sprawled between the gutted mammoth buildings that remained. The size of the forever-absent towers was dramatized by the bulk of those left behind, any of which would be prominent in any other cityscape. Monster machines moved around in the gathering twilight, shifting debris. There were focused shafts of high-energy light here and there where large steel beams were being cut through to make a path for machines and work crews. It was London during the Blitz, or Dresden, or even, as David Halberstam suggests in the current Vanity Fair, Berlin 1945. And one bonded with it — literally — telltale reflexive coughs telling you that motes of the catastrophe had entered your very lungs.

But even as this solidarity with matter and moment and clime was taking place — this ultimate “Ich bin ein New Yorker” — another realization was filtering in. Phase One of the disaster and its aftermath were over, and Phase Two, during which the horrific tragedy and destruction would cease to be fresh and become part of the ordinary, had already begun. You could see it in the paper and graphics that had been pasted and tacked across impromptu storefront bulletin boards. These had once teemed with pictures of the “missing” (a sad euphemism, that), along with heartbreaking handwritten requests from their survivors begging to be told they had been sighted somewhere. Now there were only a few of these left, replaced by remembrances of various kinds, poems, prose, and even articles of their clothing — all totemistic efforts to conjure them up for one last collective paying of attention; it was the tragedy of Willy Loman writ large, a kind of public funeral for these deserving nondescript, and it would have to do.

The people who came to the barricades and intersections and stole their glimpses of the destruction and of the largest burying ground in American history were not so much pilgrims as they were tourists. As they stopped at peddlers’ stands and purchased their souvenirs — the NYPD and FDNY caps and the keychains, placemats, and posters bearing the likenesses of the lost twin towers — they were reminiscent of those who might be visiting the Alamo or Gettysburg or the scene of some other long-ago site of American grief. “Come on, honey,” one man told his apparent wife, “let’s go down to the next corner. You can see Building Number Six better from there.” And the never-ending smoke from deep beneath the smoldering surface of the ruptured fundament hit some middle between Yellowstone Park and Arlington National Cemetery.

ALTHOUGH NEITHER OF US KNEW IT AT THE TIME, state Senator Steve Cohen was in New York at the same time as myself, possessed by the same instinct as mine, to be there at Ground Zero and experience this pivotally important American moment, whatever it would prove to be, before it cooled and turned into something else, before it became, in fact, history. Acting on Mayor Giuliani’s public suggestion that “every government official” should come and see the site personally, Cohen secured an escort from the mayor’s office and, soon enough, was treading on Ground Zero itself. I will leave it to him to describe what he encountered in whatever detail and venue he wishes. For me, it is all summed up in an interchange he reports having had with his guide:

At one point, the mayoral escort, trying to provide a running commentary on the tangled, flattened, deconstructed plateau on which he and Cohen trod, began, “This is … “

“This is hell,” Cohen replied.

ON THE NIGHT TRAIN BACK TO WASHINGTON, I wandered back to the club car, which was filled with homebound firefighters from the Baltimore area. I struck up a conversation with some of them, who — like so many other firefighters from so many other places in America — had worked as volunteers with the FDNY’s own recovery teams and made a point of serving as an honor guard for the funeral rites that still occurred at Ground Zero whenever the identifiable remains of another policeman or fireman were found. There had been six such occasions during this team’s brief visit. All the firefighters, men tempered in various cauldrons themselves, agreed they had never seen horrors on such a scale before.

One of them was willing to spell out what it meant when the remains of once-living human beings were turned up. The nature of it all could be imagined from the fact that one victim was identified from the engraved Rolex watch on his arm — the only part of him that was found. This is why visitors to Ground Zero will so frequently report, “I wasn’t prepared for what I saw.”

Eventually, the man turned back to his mates, who were ordering one beverage after another, letting it hang, and heading home with an obvious edge to their club-car hilarity.

“How about it, dudes!” he shouted. “Who’s ready for another round?”

Categories
News News Feature

KEEPING THE FAITH

The Shelby Baptist Association recently joined a growing number of autonomous Baptist associations and state conventions who feel the need to adopt the Southern Baptist Convention Baptist Faith and Message.

For nearly a quarter of a century Baptists have been in the news fighting about the Bible. Women in ministry, homosexuality and other issues have often been at the forefront of news coverage. But our battle has been over how we read, understand and apply the Bible.

Baptists have consistently maintained “no creed but Christ, no authority but the Bible” until now.

Baptists cherish and defend religious liberty, and deny the right of any secular or religious authority to impose a confession of faith upon a church or body of churches. We honor the principles of soul competency and the priesthood of believers, affirming together both our liberty in Christ and our accountability to each other under the Word of God.

The real issue is whether or not the individual Baptist or local congregation is free to study the Bible. A local pastor was quoted by the Commercial Appeal as saying “There is only one interpretation of scripture with various applications.” Truth, properly understood, has a primary focus. A proposition and its denial cannot both be equally true. In other words, there may be only one fully intended meaning to a passage of Scripture.

The problem comes when we associate our interpretation with the correct interpretation of a passage. No conscientious believer would knowingly and willingly espouse heresy. But because of our fallen condition we can never assume that we have full and final understanding of the truth. This does not mean we should be silent but rather that we should be humble — realizing that we are capable of being wrong and misunderstand the meaning or intent of a passage of Scripture.

From an historic Baptist perspective, the various creeds and confessions of the larger Christian community (and even various Baptist confessions of faith) are valuable not as an end in themselves but as continuing witness to the Church’s understanding of what the core of the “faith once for all delivered unto the saints” really is.

Creeds and confession are imperfect and fallible documents and therefore should never be given final authority over conscience or belief. These documents are “approximations” of spiritual truth. They are culturally and historically conditioned. “God has much truth and light yet to shine forth from his word.” according to Baptist forefather John Hewlys.

It is because we are not able to know with absolute certainty that our interpretation of biblical doctrine is in every detail fully in conformity with the mind and will of God that we are cautious in clamming too much for our confessions of faith. Baptists would rather hold imperfectly to the final truth and authority of the Bible than to hold perfectly to an imperfect human summary of Divine truth.

Those who want every thing in black and white with easy answers to all questions will not be comfortable with this. A pastor friend told me that we couldn’t just depend on the Bible as our standard because there are so many different interpretations of the Bible out there. So the BFM keeps us from the myriad of interpretative voices and removes the wiggle room from our doctrinal expression.

Unfortunately it also removes the mystery. Biblical interpretation is messy. The Bible is a dangerous word. It doesn’t always comfort. Nor does it readily conform to our agendas, needs and selfish interpretations. The question is not do we have the message of the Bible, the question is does the biblical message have us.

The Bible must be allowed to be a living word that will confront, challenge, provoke and change us. When we think we’ve got it down in a simple confessional statement we are deceiving ourselves. Baptists have historically had too much appreciation for the Bible to allow any human confession or creed to come between us and the Word of God. The temptation to do so is a danger in Baptist life and polity we should avoid.

(Dr. L. Joseph Rojas is pastor of Union Avenue Baptist Church.This article has been abridged for the lay reader.)

Categories
Music Music Features

After the Gold Rush

I fell in love with Ryan Adams the moment I first heard his voice. It was in the early fall of ’97 and I was driving down Highway 61, 50 miles south of Memphis. I popped in a mix tape someone had mailed me, and Adams’ voice suddenly filled my car: “I try not to think/’Cause if I sit and drink/Then I’ll go crazy.” I cranked up the volume, wanting more: “In the daytime I’m lonesome/In the nighttime I’m sad.”

Pulling off the highway, I scanned the homemade tape cover — the song was called “Desperate Ain’t Lonely,” and the name of the band was Whiskeytown. I listened, rewound the tape, listened again. And when I quit crying enough that I could see the road through my windshield, I headed to the nearest liquor store.

Two musician friends of mine had died that summer, and I was alone, drifting from my many friends who couldn’t possibly — in my mind — comprehend what I had lost. This band, and the boy who led it, Ryan Adams, a man-child really — he was 20 when he cut Whiskeytown’s Faithless Street, which included “Desperate Ain’t Lonely” — knew what I felt. They knew it and he sang it, for me and for all the brokenhearted souls.

When I sobered up, I did some research on Whiskeytown. They had two albums out, Faithless Street and the brooding Stranger’s Almanac, both refreshing additions to the then-burgeoning alt-country scene. Ryan Adams — who alleged that Whiskeytown was his second choice for a band name; he preferred Sin City — was the frontman and the group’s centrifugal force. World-weary beyond his years, Adams’ lyrics, sung in an achingly tender drawl, brought admirers by the truckload. Meanwhile, his offstage antics — many of which included a whiskey bottle and provided fodder for new material — drove his bandmates away.

I have a soft spot for self-medicated, despairing guitar players. My record collection boasts albums by the best of them — Townes Van Zandt, Alex Chilton, Gram Parsons. But I’d never heard someone so young who could reach me so easily. Adams’ voice was a lifesaver tossed from a raft just as I thought I was going under. He rescued me.

So I stayed in Memphis and wrote and drank and listened to music, and Adams eventually quit Whiskeytown (the band’s final album, Pneumonia, was recorded in 1999 but wasn’t released until this year) and embarked on a very successful solo career. He left his native North Carolina for Nashville, then New York, then Los Angeles, a series of travails beautifully documented on Heartbreaker, his 2000 solo debut. “I miss my family,” he sings on “Oh My Sweet Carolina,” “All the sweetest winds/They blow across the South.” Pop songs and power ballads have replaced the alt-country twang as Adams has matured, yet he remembers what it’s like to be young and alone — songs like “To Be Young (Is to Be Sad, Is to Be High)” and “To Be the One” make it painstakingly clear.

Despite being recorded in Nashville with a bevy of special guests — Gillian Welch and Emmylou Harris among them — Heartbreaker is known as “the New York album” because it deals with a love lost on the streets of that city. Gold, Adams’ latest release, is called “the Los Angeles album,” the title a reference to “what the buildings and streets look like in L.A. when the sun goes down.”

Lyrically, most things haven’t changed. Adams is still putting his heart on the line — and oftentimes getting it busted in the process. The eloquent “La Cienega Just Smiled” conjures up a lovelorn boy who awakens when the sun goes down, only to spend his nights in a bar nursing his broken heart. “Feels so good but damn it makes me hurt,” a familiar refrain in a foreign landscape: Musically, Adams has gone Hollywood.

Heartbreaker laid the path for Gold, so it’s hardly a surprise when the first notes of ’70s-inspired pop come blasting through the speakers. Adams’ ebullience is infectious, particularly on tunes like “Firecracker,” where he moans, “I just wanna burn up hard and bright/I just wanna be your firecracker/And maybe be your baby tonight.” But his style changes as often as the fashions on Rodeo Drive — and his influences are a little too obvious.

On “Answering Bell,” Adams is, well, a dead ringer for Van Morrison, while shades of Elton John, the Rolling Stones, and Neil Young shine through on Gold as well. With Gold, he’s gotten complete freedom, including a major-label deal where he calls the shots. It’s like giving a child a key to the candy store — Adams is so busy tasting everything that he can’t focus on any one variety. Nevertheless, he has the talent — and tenacity — to pull it off, and he will probably even gain fans. There is something for everyone on Gold.

All that aside, Gold is an ambitious and passionate record. And with the album’s closer, “Goodnight Hollywood Blvd.,” Adams ultimately redeems himself. On paper, the lyrics don’t add up to much. But his contemptuous delivery, sparsely backed with piano and strings, evokes a cynicism that belies his fascination with the City of Angels.

According to Adams, the 16 tracks that eventually became Gold display his newfound self-acceptance. “The songs aren’t self-loathing or self-destructive. This record is about making amends with things and really facing them. And it’s more upbeat because I think I’m giving myself some air to breathe,” he revealed in a New York Times interview. “I do think the process of forgiving myself is really evident on this one.”

Adams and I have each traveled a lot of physical — and spiritual — miles since 1997. We’ve both become more comfortable in our respective skins, and our hangovers are fewer and less desperate. Life is good. Oh, I still listen to Townes and Gram — and Whiskeytown, too. But I’ve made amends as well — and like Ryan Adams, I plan to stay Gold.

You can contact Andria Lisle at letters@memphisflyer.com.

Ryan Adams

Young Avenue Deli

Wednesday, November 7th

Categories
News The Fly-By

LIFE IMITATES SPRINGER

According to The Dallas Morning News, the Texas metropolis is
experiencing a tremendous rise in teenage prostitution. The story focused on a
number of young runaways, including Tina, a 14-year-old Dallas girl who fell
into the hands of some rather industrious pimps. The News reported that
Tina’s pimps trafficked her to a number of cities around the country,
including Atlanta, New York,Las Vegas, Seattle, Nashville, and Memphis. “I
like to travel,” Tina was quoted as saying. “That’s not the way I wanted to
go, but I like traveling.”

Categories
Music Music Features

Sound Advice

In the ’80s, when European music rags began to lovingly refer to the Dead Kennedys as the long-delayed American answer to the Sex Pistols, the group’s outspoken frontman Jello Biafra responded in a fairly predictable manner. He called it bullshit. Noting that the Sex Pistols were leaders in the first wave of Brit Punk, Biafra played it humble and merely claimed discipleship. Singling out earlier West Coast punks like Penelope Houston and the Avengers and the Dils as well as Detroit’s the MC5 and their sidekicks the Stooges as influences, Biafra accepted his place at the forefront of punk’s third generation. But he shouldn’t have been so quick to knock the Sex Pistols comparison. After Elvis, Sinatra, and Sid Vicious, no one could cover “My Way” and have it ring true like Biafra. From the beginning he did things his way. To avoid corporate interference and almost certain censorship, he formed the successful and enduring Alternative Tentacles label in the early ’80s. And like the Sex Pistols, the Dead Kennedys (doubtless the progenitors of hardcore) were able to shock parents like few pre-gangsta-rap groups could ever hope to do. They remain the only American rock group in history to be brought up on criminal obscenity charges for album content.

Upon beating that rap to the tune of 100K in legal fees, Biafra parlayed his newfound status as a First Amendment activist into a second career as both a politician and a spoken-word artist. In those loathsome fields, he stands head and shoulders above the pack. Biafra, unlike his pumped-up peer Henry Rollins, shies away from the poesy, choosing instead to just “tell it like it is.” Taking stances so radically leftist he was even booed by the audience on an episode of Politically Incorrect, the witty and wily Biafra continues to pursue an agenda which includes instituting a maximum wage and the total elimination of the armed forces. And while there’s something very attractive about Biafra’s furiously Utopian vision, it’s also a wee bit frustrating, because the Dead Kennedys were so good at describing everything that was wrong with American culture in shredding, two-minute soundbites. The Frankenchrist album was perfect front to back, and no song has ever summed up how shallow and misdirected college life is like “Terminal Preppy,” the standout track from Plastic Surgery Disasters. The spoken-word material is cumbersome by comparison. But it’s still funny in its own way and even in extremis it can be thought-provoking. Check it out when Biafra comes to the New Daisy Theatre on Thursday, November 1st. — Chris Davis

Categories
Book Features Books

Rejected By Jesus

It took a while,” Michael Schiefelbein says about his novel Vampire Vow and about the two years it took him to find a publisher. Key word he heard over the course of those two years: “but.” As in:

“My agent told me he really liked it, but he also told me from the outset it was going to be a hard sell. But I got some great rejection letters from publishers! Really nice ones. Like, ‘I like your writing, but …’ Or, ‘You’ve done something different with the vampire genre, but I can’t touch it. It’s too controversial.’ Or, ‘We do gay literature, but this isn’t exactly gay lit. This is popular writing, but it’s gay. It’s somewhere in between.’ Pigeon-holing for some was a problem.”

Forget the book business of pigeon-holing. The book’s set-up alone could be a problem for more than some, and check out Vampire Vow from page one for starters.

A Roman officer named Victor Decimus (whose job in Judaea under Pontius Pilate is to “bark orders and look good”) has it for a 23-year-old, unmarried “Jew boy” and “boy prophet” named Joshua, aka Jesus, aka Christ. Joshua joins Victor in activities that will be news to a lot of people — skinny-dipping by day, “hot and drunk on the Mount of Olives” on Joshua’s “homemade” wine by night — but he keeps Victor off his back because of “religious qualms.” This drives Victor’s lust into overdrive and into the arms of a dark sorceress named Tiresia, who promises Victor eternal life and mastery over all, all but that circumcised Joshua guy, whom even the grave can’t master. The downside to all this? Victor will have to leave “the world of the living” and enter “the league of the night” on his way to eternal life in the Kingdom of Darkness alongside his “consort,” if and when he can finally find a boyfriend man enough to stand up to Victor’s brand of really rough trade.

Not a bad offer, however, on Tiresia’s part, except for the vampire part, which sends Victor, in revenge over Joshua’s rejection, on a raping, killing spree across the centuries and in and out of Europe’s juiciest monasteries (“the harems of Joshua’s god”), until he ends up stateside a bloodthirsty sex fiend and Christ-hating monk among monks outside Knoxville, Tennessee. An early conquest, young Brother Luke, is a sex-starved pushover, so a no-go in the “marriage” department. It’s hunky, weight-lifting, soul-lifted consort-of-choice Brother Michael who forces Brother Victor — who suffers from a “skin condition” that puts sunlight (the Son’s light?) out of the question — into a feeding frenzy and totally bonkers. Bonkers too: readers easily offended by the sexually explicit, the graphically violent, and the patently blasphemous.

Not all readers, though. Vampire Vow is into its second printing. The publisher, Alyson Books, has featured it in ads in Out and The Advocate. A Memphis booksigning last August was a hit. Recent booksignings in Washington, New Orleans, and Topeka (the author’s hometown): ditto. Next stops, Chicago and New York: more than likely, ditto on the ditto. But how’s the book doing among Schiefelbein’s colleagues at Christian Brothers University, where he teaches literature and specializes in the Victorian novel?

“I’ve been kind of surprised,” the author admits. “People in the English department don’t seem scandalized at all. A nun in the theology department called me up and said, ‘I read Vampire Vow.’ I said, ‘Yeah?’ And she said, ‘I think your portrait of Jesus is very orthodox.'”

(Huh?)

“Victor’s attracted to Jesus, he’s attracted to someone who’s good,” Schiefelbein explains. “And vampires are essentially sympathetic in some ways. They’re lonely. But I also agree with a lot of Victor’s criticisms of organized religion. That makes him sympathetic to me. At the signing in Topeka, though, someone did ask me about the controversial elements, whether I’d got angry responses, and I really haven’t. The worst response came from a couple who told me they hated Victor, that he was despicable. They didn’t see any redeeming qualities.”

That couple needs to get a grip. For “redeeming qualities,” we do indeed see Brother Victor suffering from isolation, suffering the “silence of Joshua,” suffering the “detestable life of feedings and tombs and flights from those who hunted [him].” We just don’t see him (forever unredeemed?) exactly at his best. (We will see him, however, again. A sequel, planned for fall 2003, is already in the works, again for Alyson.)

But what is an ex-seminarian and ex-Catholic (turned First Congregationalist), a teacher at a Catholic university in Memphis, Tennessee, doing writing such a book? Schiefelbein’s other new title, The Lure of Babylon (Mercer University Press), is a study of anti-Catholic sentiment among 19th-century British novelists, and at first glance the two titles make an odd combo. Not according to this author:

“In Lure it’s all about the mystique of Catholicism. Catholicism identified with superstition, with unenlightened thinking, backwardness, idolatry in terms of statues and icons and even the pope. But so many of the monks in the novels that I discuss in Lure are kind of vampire figures or at least ghoulish, unnatural characters who fall into the ‘outsider’ category.

“Plus, I’d just taught Paradise Lost and was thinking about the Satan figure, the most interesting figure in Milton’s poem. Thinking about the kind of person who challenges God, Christianity. And then I thought it’d be interesting to write about a vampire, and the first line of Vow came to me — “I wanted Jesus.” Once it did, the book really wrote itself because I had to explain how it was that someone would fall in love with Jesus, who that someone was, what happens because he does fall in love. That got the story going.”

Anne Rice was an obvious model?

“Anne Rice, no. I was thinking of a generic, confessional kind of writing where someone is pouring out his soul. The secrets, the dark secrets particularly. A lot of Victorian fiction is like that. My own adult, seminary experience … I drew from it to create the atmosphere, the dynamics inside a monastery.

“But before that, when I was 14, at a high school seminary in Kansas City, I was really idealistic. I wanted to be a saint. My friend Kevin and I wanted to be saints together. We had this whole regimen of prayer and fasting. We’d eat one meal a day. We’d sleep without a pillow. We said the rosary on our knees on the floor. We even incorporated cross-country running. The idea of sainthood was a way to perfection, of becoming one with God. So I think there, in that relationship with Kevin, were seeds for the novel. For me, with Kevin, I had a real emotional attraction and probably a physical attraction too. But I can’t say I was very conscious of it. The dynamics of the spiritual and the sexual became intertwined.

“Catholicism, though, it’s always going to be part of me. It shaped me. It shaped my spirituality. It’s my foundation. I don’t feel somehow now I have to reject everything it’s about.”

This is good. It means Michael Schiefelbein, who may have known versions of Brother Michael, who may have even known less drastic versions of Brother Victor, knows a good foundation when he sees it.

On the outrageous goings-on inside the pages of Vampire Vow … it’s only a book, for God’s sake, and, to go with this year’s Day of the Dead, sexy as hell. No “buts” (that’s with one “t”) about it.

Leonard Gill

Why Did I Ever

By Mary Robison

Counterpoint, 200 pp., $23

The book: Mary Robison’s newest novel, Why Did I Ever. The gripe, at length: In a fictional world constructed of words, narrative continuity is essential to understanding. Complete artistic enjoyment is impossible without this continuity, which, when well executed, creates in the average or expert reader an empathetic consciousness careful to follow and relish the story no matter what contortions of logic or unexpected nonsense and craziness occur. This consciousness, like any focused attempt at comprehension, is attained through the acquisition of information flowing in an orderly, constant manner, with point in time made manifest. To masquerade any kind of guessing-game narrative as authorial license in rendering the psychological state of the narrator is to craft for oneself nothing but an artistic crutch and ruinously reveal a story for what it is: inchoate.

All this may sound redundant, but this crucial narrative flow — present even in something so famously opaque as Ulysses — is what’s missing from Why Did I Ever, which might truthfully be described as a haphazard, fragmented, journal-like work of disconnected schizophrenia narrated by a woman who, it seems, has Attention Deficit Disorder, two troubled kids, three ex-husbands, and a perpetual Ritalin jones, among other woes both explicit and unidentifiable in origin.

The recipient of a Guggenheim Fellowship and a graduate of Johns Hopkins University who studied under John Barth, Robison is a writer much associated with the Minimalists who triggered the short-story revolution — and subsequent glut of “writers’ workshops” — of thse ’70s and ’80s and whose unlikely hero was that heavily edited but wonderful author of striking, stinking drunk fiction, Raymond Carver.

Unlike Carver, Robison has eschewed formal storytelling for the irritating bit-by-bit method of slow expository writing meant to sear with its emotional resonance. It does not ring true. This choppy style of paragraphs separated by pregnant pauses, vaguely allusive titles, or dubious numbering is better left to authors like David Markson. In such works as This Is Not A Novel, Markson employs this fragmentary style in a manner consistent with his aim. The inclusion of stabbing anecdotes and frightfully brilliant observations serves as an end unto itself while Markson fleshes out a very simple, very harrowing personal narrative. This narrative, constructed at intervals, is supported by and eclipses the accumulated minutiae that make up the greater portion of the work.

Why Did I Ever, in its attempt to portray what may be a woman’s descent into schizophrenia, falls prey to confusion and cleverness. — Jeremy Spencer

Mary Robison will be signing and reading from Why Did I Ever at Burke’s Book Store from 5 to 6:30 p.m. Monday, November 5th.

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We Recommend We Recommend

tuesday, 30

Monthly Wine Dinner at Cafe Society. Call for reservations.