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Politics Politics Beat Blog

EARLY REACTION TO TASK-FORCE PLAN POSITIVE

Attending state House of Representatives Speaker Jimmy Naifeh’s annual ‘Coon Supper’ at Covington Country Club Thursday, Shelby County school board member Ann Edmiston and Board president David Pickler were still in a celebratory mood about a special task force’s proposal for reorganizing the relationship between city and county school systems.

The plan would allow for the creation of a special school district in Shelby County, single-source funding for both the county and city systems and the abandonment of the average-daily-attendance formula (much deplored by county commission candidates in suburban districts this year) that mandates three dollars to the city schools for every dollar spent in the county on school construction.

Under the proposal, city schools would get new funding for “at-risk” students and a lower property-tax rate (the county’s would rise)

The proposal by the task force, organized by Memphis Mayor Willie Herenton with membership from both the private and public sectors, is regarded as preparing the way for a possible general consolidation of city and county governments later on.

The plan received guarded statements of approval Thursday night from candidates for county mayor at a forum at the Jewish Community Center.

Categories
Sports Sports Feature

MEMPHIS SPORTS SCENE

XPLORING A NEW SEASON

The Memphis/Mid-South Xplorers have started their season with back-to-back wins and feature talent such as former Memphis Tiger receiver and NFLer Russell Copeland. The Memphis Flyer caught up with head coach Danton Barto (also of UM Tiger fame) to talk about his squad.

Flyer: Talk about the two wins.

Barto: “The first win against Louisville was a great victory for us to get on the board, and to get a win on the road. Louisville played pretty tough, but we were able to score 60 sports which let the people know that we have a good offensive team. And then, going into Peoria, Head Coach [Bruce] Cowdrey was 18-0 at home, and we won in overtime. We decided to go for two, to go for the win, and we converted the play and won the game. It was a really hostile environment, a tough place to play, so for us to win was huge.”

Flyer: The Xplorers struggled to find wins last season. What’s the difference now?

Barto: “I think it’s a combination of new coaches, new attitude, and a new system combing for the wins. The guys believe in the talent we have and the system we’re running. And that’s what it takes, for guys to believe they’re going to win. That’s what we have been able to accomplish the past two games.”

Flyer: Talk about the connection between quarterback Tim Lester and receiver Russell Copeland.

Barto: “It’s phenomenal. Russell and Tim have been on the same page since day one of camp. Tim has a good feeling for where Russell is going to be on the field, and Russell has a good understanding where Tim will put the ball. So they’ve been clicking on all cylinders. The scary point is that we can get better with those two. They’re still making mistakes. Tim under threw a ball to Russell last week that should have been a touchdown. Russell dropped a ball he should have caught.”

Flyer: So they’re not in mid-season form just yet.

Barto: No, not at all.

Flyer: Has Russell developed into a leader for this team?

Barto: “Russell has been for us a true professional and leader for us on and off the field. He calms us down when we need to calm down. He tells us that it’s not a big deal. They kicked a field-goal, Peoria did in the second game, and that sent us to overtime. He said, ÔHey, it’s no big deal, we’re going to score anyway.’ He’s great for our team. He’s been there, he’s done it. He’s been in the biggest game of the world in the Super Bowl, so it’s nothing new to him.”

Flyer: After a good start, some coaches start to feel the pressure to keep winning. What about you?

Barto: “We just talk about this game. We take it one game at a time. This is a division game, and so it’s the biggest game of the year for us. Last week, Peoria was the biggest game for us. A lot of people say there’s a pressure to keep winning, but I say the pressure is on the other team because you know now that you can win, and it’s like a big ball rolling down the hill. It gets bigger and bigger.”

Flyer: Your first home game is this Saturday, April 20, against the Bossier City Battle Wings. Talk about the importance of winning at home.

Barto: “I know, for this area, it’s huge. To say nothing bad about the fans here, but they want winners. I think that we’ve done a good job of winning two on the road, and we’ve created a little excitement. Now we have to get these fans, and let them jump on our backs and ride us. The only way to do that is to win.”

Flyer: So was having the first two games on the road a blessing, or a curse?

Barto: “It was kind of a blessing. We got on the road and we thought we would be a good team and it showed us that we were a good team. And there’s a lot less distractions on the road, believe it or not, because you are away from your family, and that sort of thing.”

(Care to respond? Write mailonthefly@aol.com.)

Categories
Opinion Viewpoint

Over There

There is a story about a Jewish man who is shipwrecked on a tropical island. After a handful of years, he is finally rescued. But before leaving the island for good, the rescue officers request a tour of the structures he has built. They pass living quarters, a laundry, a kitchen, a gym, and even a little synagogue.

At the end of the complex, they come to another building that looks identical to the house of worship they just passed. So one officer asks the man about the building. He explains with a smile: “Oh, that’s the synagogue I don’t attend.”

This story speaks a great deal to the relationship of American Jews to Israel. For most, it is someplace they could live if they wanted to. But they choose not to — and yet still feel the need to preserve the choice.

In 1967, the Six Day War marked Israel’s stunning military victory over a number of its hostile Arab neighbors. While the Holocaust was still a fresh memory to the world, the victory was a remarkable public-relations coup. Israel would endure. Jerusalem was reunified. The new borders were deemed to be more defensible. Tourism and immigration boomed.

Young people would watch the film Exodus and tap into the idealism that would lead to making aliyah, or pilgrimage. Who can ever forget the final burial scene as the freedom fighters jump onto trucks and head toward battle? Perhaps, to one degree or another, every young American Jew has fantasized about volunteering in the Israeli army.

A Jew who opts to experience Israel finds an unparalleled sense of perspective about the role he or she might play in the continuation of a very lengthy saga.

As a college graduate in the mid-1970s, I made my way to Israel. I volunteered on a kibbutz in the Judean Hills. I once delivered a candy shipment to a massive military base, passing through a maze of beige uniforms and Quonset huts. It was my golden opportunity to “see if the shoe fits.” In my case, the truth is, it did not.

I had to come to grips with how much harder life was there compared to the material comforts back home. I also was made acutely aware by other international visitors how little love there is for America in the rest of the world. Curiously enough, my travels abroad actually galvanized my identity as an American.

Twenty years later, in 1994, before the intifada began, I returned to Israel for two weeks with my new bride. We found time amid our touring to visit the kibbutz. The factory had been closed after being sold to a food conglomerate. They turned the facilities into an adult daycare for the aging pioneers who had fled Europe from the Nazis. My sponsor from decades ago was recovering from a stroke there. Menachem’s memory was still sharp. While the video camera was running, I had the chutzpah to ask him if his life had turned out the way he thought it would.

In our society, there is a stigma attached to conflict and especially prolonged conflict without a visible end. Our daughter has entered her school years. We realize that there is a chance that she will never experience Israel in relatively peaceful times, as we did.

I still hear of local young Jewish adults flirting with the idea of service to Israel, but the times have clearly changed. What parents can encourage putting their child in harm’s way when other alternatives exist? Yet, because of ideological diversity within the Jewish community here, local responses to the current crisis will vary dramatically.

After the lessons of 9/11, we should be able to all agree on one thing — the haunting realization that it is pure folly to relegate these unrelenting conflicts to something that is merely happening “over there.”

Bill Steinberg is a certified financial planner at Kelman-Lazarov. His writing frequently appears in the Flyer.

Categories
News

Golf Heaven

I rolled into Edinburgh years ago after a seriously hellish day of travel. I had started in Dublin, took a train from there to Belfast, rode in an armored bus through military checkpoints across town, took another train to the coast, rode a ferry to Scotland, rode a train to Glasgow, then had to walk a half-mile through a spring rain to catch a train to Edinburgh. And when I got there, the youth hostel was full.

At that point my life’s aspirations were two words: bed and, at some point in the future, breakfast. But life threw me a pleasant curve that night.

I had mentioned that I was headed to Saint Andrews the next day, and as I was preparing for my high, arcing dive into bed, the proprietor of the B&B said, “So, will you be golfing, then?” Right, I thought. It was like I was going to the Vatican and he had told me to say howdy to the pope or like I was going to Alaska and he had asked me to pick up something he had dropped at the top of Denali. His tone was that casual, his proposal that patently absurd.

“You don’t just go to Saint Andrews and play golf,” I said, in a typically arrogant American outburst. I was speaking, you might recall, to a man who lived within a couple hours’ drive of Saint Andrews. But, I mean, Saint Andrews is where golf was invented. There are records of the game being played there in the 15th century. They’ve played 26 British Opens there. Jack Nicklaus. Arnold Palmer. Tiger Woods. Me? No.

“Sure you do,” the man said. “They can rent you clubs if you haven’t any.”

So, in one of those exquisite moments of spontaneity which occur to the traveler, the next day I was on the train to Saint Andrews. When I got there, I made my way over to the Royal & Ancient Golf Club and asked a man if I could actually play golf there. A sly grin passed over his face as he relished the moment then said, “I dunno — can ye?” Still chuckling a long minute later, he pointed me toward a shed where he said I could rent clubs. Then he showed me the starter’s booth.

It was, in some respects, like showing up at Galloway for an after-work nine, except that I was looking at the Royal & Ancient clubhouse, probably the most famous building in the golf world. The R&A was founded a few decades before the American Revolution “by 22 noblemen and gentlemen of the country of Fife to enjoy the sport and the conviviality which always followed.” Today, it governs the rules of golf for the whole world outside the U.S. To my left was the 18th green of the Old Course, which is the oldest surviving golf course in the world. Beyond the green was the little bridge so many golfers have crossed. If you’re a golfer, you probably know the bridge I mean, and if you aren’t, don’t worry about it.

The starter informed me that I would have to play the New Course, because the Old Course was booked. (I asked how “new” the New Course was, and he said it opened in 1895. That’s like yesterday in Scotland.) There are five 18-hole courses at Saint Andrews, plus a nine-holer for kids and beginners, a practice facility, and two clubhouses for the public. Tee times at all five courses can be booked way ahead of time. I was there in March, when it’s feasible to just show up and play.

Over the last 10 years, Saint Andrews has joined the modern world a bit, for better or worse. The two new clubhouses look nothing like the rest of the place. Sitting in the middle of a town founded in the 12th century, a gift shop and snack bar just don’t seem right. And the practice center is floodlit when it seems it should be lit by gas lanterns, if anything. When I was there in the late 1980s, none of that stuff existed. So, while I can claim to have been there before the place went “all modern,” it’s also the case that I got my clubs from what amounted to a barn and, when the round was over, had nowhere to go for “the conviviality which always followed.”

At any rate, such conviviality would have to wait. For now I stood on the verge of actually playing golf at Saint Andrews. A dream, or perhaps a nightmare, was about to come true.

Categories
Theater Theater Feature

Lost In the Funhouse

A Brief Review

Claire has a special problem. Every night when she goes to sleep, she loses her memory. Her loving second husband, a recovered drug fiend who met and married her in the hospital, spends his days helping her cope with her disability and protecting her from the painful memories that led to her predicament. Add to the boiling pot Claire’s lisping, deformed, and once-violent ex-hubby who’s escaped from the hoosegow with his buddy Millet, Millet’s alter ego, a potty-mouthed sock puppet named Hinky Pinky, and a love-smitten prison cook who’s dressed up like a cop, bad attitude and all. Thicken the pot with a kidnapping — the historically challenged Claire is secreted away to her grandmother’s house by the escaped cons. Granny is sharp as a tack and quite the talker, but a stroke has turned her words into gibberish. This is where Fuddy Meers, David Lindsey-Abaire’s comic exploration of classic suspense, really begins to take off.

All but stealing elements from plays by Craig Lucas (Breathless), Christopher Durang (The Marriage of Bette and Boo), and Sam Shepard (A Lie of the Mind), with shout out to Stephen King just for good measure, the playwright has created in Fuddy Meers a lightning-paced Frankenstein’s monster of a play, the ultimate success of which depends on getting EVERY-dang-THANG pitch-perfect. And while Theatre Memphis’ production, under the attentive direction of Tony Isbell, misses in a few crucial areas, it still manages to be some viciously good fun.

The downside of this Fuddy Meers is that the production focuses on the script’s abundant comic elements, while the tropes of classic suspense are left to swing in the breeze. Had the production gone in the opposite direction, the comedy would have taken care of itself. But here I am complaining, as I am prone to do, because an already good thing wasn’t much, much better.

The ensemble cast appears to be having a blast working together, and the fun is infectious. Tracie Hansom’s Claire is as sweetly tragic as Joey Watson’s hand (the angry Hinky Pinky) is upsetting. And after his extended stay in Louisiana, it’s just good to see the always-solid Brian Mott back on a Memphis stage and in top form.

And a Long Rant

As Executive Director Ted Strickland noted shortly after taking the helm at Theatre Memphis, the well-appointed playhouse is no longer located in the beating heart of a trendy East Memphis, as it most certainly was when the facility opened in the ’70s. A gem of community theater, which, astonishingly enough, fell on hard times during the ’90s boom, has found itself in a sort of semibucolic netherworld, just a wrong turn away from the upscale shops and food-chain paradise where Poplar converges with Perkins. A resurrected downtown, with its marketing cannons aimed solidly at a younger, hipper set of disposable incomes, has no doubt taken another terrible toll on theater attendance. Factor in the siren song of Tunica, and it should come as no big surprise that Fuddy Meers, a funny, offbeat play, would open in TM’s Little Theatre to an all but empty house.

Even more tragically, it seems very possible that everyone in attendance on opening night was in some way directly connected to the show: TM board members, friends who had donated props, and volunteers who had come to set up for the traditional opening-night party. There have been much larger groups gathered to see the works of completely unknown playwrights at TheatreWorks and various low-tech storefront spaces of late, so it can’t be said that the audience for this sort of event does not exist. To complicate matters, it can be assumed that Fuddy Meers has little appeal for TM’s main subscription base, a great gray goose known to get skittish around anything too progressive. Even mild profanity can result in significant walkouts.

The idea of creating a private entrance to TM’s Little Theatre, allowing for more frequent productions and a completely different kind of theatergoing experience, has been batted around by some members of the TM board in recent years. That would certainly allow the space to develop and market an identity separate from the stodgy parent organization and could be beneficial in building a younger, more daring audience.

Still, location being what it is, my advice would be: “Get thee a satellite.” There’s lots of empty shopfronts downtown, and there are people there on the weekends watching movies, getting their daiquiri goggles on, and having a gay ol’ time. And there must be at least one building owner who’d stand to benefit from Uncle Sam while improving their property and helping an established not-for-profit get a little something going in the central business district. Oh, sure, the Little Theatre is a fine space — one of the best in town, though the sound system bites and any number of improvements could be made. But for gosh sakes, if the ragtag Hungry Gorilla Productions can pack the (admittedly tiny) basement of the Map Room for a midnight showcase of student monologues, surely something as unique and funny as Fuddy Meers can find its niche.

Through April 28th.

Categories
Sports Sports Feature

Q & A With Stubby

Now in his fourth season WITH the Redbirds, Stubby Clapp has grown about as popular as the Peabody Ducks or a Memphis sunset. But how well do we really know our backflipping second-sacker? We threw a few questions his way to try and discover the real Stubby Clapp.

Barbecue ribs … dry or wet?

Dry. In Canada, I’ve only had wet. When I got here and had the Rendezvous ribs, they were outstanding. I’ll always prefer dry now.

Elvis or Jerry Lee?

Elvis. He’s the King.

Hanging curveball or straight fastball?

Straight fastball. They go farther.

Grizzlies or Tigers?

I’d have to go with the Tigers. More exciting for me. The Tigers are younger, they’ve got stuff to strive for, and they play harder.

Ozzie Smith or Ozzy Osbourne?

Oh, you can’t do that to me! Can I say both on that? I come out [to bat] to Ozzy Osbourne’s “Crazy Train.”

Bull Durham or The Natural?

The Natural. It gets the heart going more as a baseball player. Man, you want to be that guy.

Tobacco or chewing gum?

Bubble gum, definitely.

Mike Tyson or Lennox Lewis?

Lennox Lewis. I can’t stand Tyson. He’s just a farce. There are some guys [on the team] trying to get some tickets. But you know what? I’m not a boxing fan and I’m not a Tyson fan, so if I went that would kind of make me a hypocrite, right? I’m not going to support Tyson in any kind of way.

Game-winning homer or suicide squeeze?

I’ll take the home run. Why not?

Backflip partner: Nadia Comaneci or Mary Lou Retton?

I’ll go Mary Lou. She’s old-school.

FedEx or AutoZone?

AutoZone.

That’s a straight fastball, right?

Mm-hmm.

Isaac Hayes’ or B.B. King’s?

I don’t know. I went to Isaac Hayes’ the other night and thought it was a real classy establishment, and I’ve been to B.B. King’s several times. I’m going to have to go with B.B. King’s.

If you were to listen to one?

B.B. King.

Rockey or Fredbird?

I’ll go Rockey.

Bigger stud: Mark McGwire or Albert Pujols?

Mark McGwire, still one of the best professionals that I’ve ever come across. Not taking anything away from Pujols, but he’s just getting started. McGwire lifted [St. Louis] up. He brought baseball back to the game it was. Even when he was going through his struggles last year, he was still a professional about his life and the way he handled the media. I sat between him and Mike Matheny last September. What more could I want?

Cybill Shepherd or Kathy Bates?

Cybill Shepherd.

Baseball fight or hockey fight?

Oh, a hockey fight, definitely. There’s nothing better. That takes talent. A baseball fight is just a brawl, just a big mess.

Memphis summer or Canadian winter?

Canadian winter. Snowboarding, tobogganing, hot chocolate, skating on the pond. Anytime.

Union or Poplar?

Poplar. There’s more stuff I go to on Poplar. Petco’s on Poplar. I’ve got two ferrets.

Friends or Seinfeld?

Friends. Better scenery.

Overton Square or Peabody Place?

Peabody Place. It’s brand-new, got a good look to it. It’s revived downtown.

Barbecue nachos or hot dog?

Barbecue nachos, definitely. Hot dogs? That’s just old scrap-meat.

Big-league bench or Triple-A stardom?

Big-league bench, because there’s always the potential to be a big-league star if you’re there.


Final Exam

RiverKings coach Doug Shedden says his team’s ready to win a championship.

By Chris Przybyszewski

To do: Take out trash, do laundry, get the Memphis RiverKings to second finals berth in 10-year franchise history, win Central Hockey League’s President Cup … Welcome to the world of ‘Kings coach Doug Shedden, who, at least, is in familiar territory. “This is my sixth one,” he says, before a nonmandatory ‘Kings practice. “I enjoy them. As a coach, this is what you prepare for from the start of the year — to get to the finals.”

Shedden prepares well. In his seven years as head coach of three teams (the others being the Flint Generals of the United Hockey League and the Wichita Thunder in the CHL), Shedden has compiled three championships. His teams have never failed to reach the playoffs. “Playoffs are playoffs,” he says. “It’s always going to be difficult. That’s what it’s all about. It’s never going to be easy.”

The ‘Kings haven’t had an easy time either. Their opening-round series with Fort Worth went four games in a best-of-five. In the second round, the ‘Kings had to face three-time defending champs the Bossier-Shreveport Mudbugs. That series went to seven games, with the ‘Kings beating the Mudbugs 4-2 in last Saturday’s final at the Desoto Civic Center. “It certainly was an exciting game the other night,” Shedden says. “A great series. It’s well-documented what kind of team they are and what they have done in the last couple of years. Game seven: For true hockey fans, it doesn’t get any better.”

Any trip to the finals requires overcoming adversity, but the ‘Kings are playing without two starters. Center Jonathan Gagnon and right-winger Robb Palahnuk were each called up to higher echelons of minor-league hockey. “You lose Gagnon, who has scored 40 goals for us,” Shedden says. “Then you lose Palahnuk, who scored seven goals for us in the playoffs. Obviously, your depth chart gets real low. That’s why getting past this series was so important to us, because possibly we’ll get those guys back for the finals.”

If Gagnon and Palahnuk do not return, Shedden has to figure out a way to win without them. “You have to hopefully make [the players] understand that we can win without those guys, but it’s hard,” Shedden says. “It takes more of a herculean effort from everybody. It’s more ice time, and we’re short-handed.”

Most minor-league sports are geared toward getting the players to the next level of play, but Shedden says that the finals are different. “I think in this round you use the [motivation] that you don’t get to the finals often as a player,” he says. “Don’t miss this challenge of getting there. You’ll enjoy it; it’s the number-one stage. We just tried to drill that into their heads.”

Shedden’s job got tougher on Monday night as the Austin Ice Bats beat the El Paso Buzzards in the CHL’s Southern Conference finals. The Ice Bats have a better regular-season record, so the ‘Kings lose home ice for the finals, something the team has held in the first two rounds.

“Home ice got us that seventh game, so that’s very important,” Shedden acknowledges, but that doesn’t change his perspective. “It’s going to be business as usual,” he says. “If you’re in the finals, hopefully, you have to take home ice and throw it out the window, because every game is so big. We know we have to win one in their building and then win all our games at home.”

No big deal. Just add that to the list of to-dos.

The RiverKings face the Ice Bats at home Thursday-Friday, April 25th-26th, and Sunday, April 28th (if necessary), at the Desoto Civic Center.


The Score

NOTABLE:

Memphis rookie forward Pau Gasol has broken the Grizzlies franchise record for offensive rebounds. He has 233 offensive boards on the year, with two games left to play. Gasol also holds the franchise record for most blocks in a season with his current tally of 167.

Another season record for the Grizzlies: 287 man-games lost to injury.

ESPN.com has given retired Grizzlies center Bryant Reeves the title of “most overpaid NBA player.” Reeves is still collecting on a six-year, $65 million deal.

The Grizzlies ended their home schedule with a loss, but 15 of their 23 wins have been home games. Overall, the Grizzlies are currently 5-5 over their last 10 games.

QUOTABLE:

“It’s been a bumpy road, but no one expected it to be that smooth. I am sure that in the next two years, we will be playing in the best arena in the NBA.”

— Grizzlies majority owner Michael Heisley, speaking to the crowd before the team’s last home game of the season.

Categories
We Recommend We Recommend

Disco Stew

Richard Blake has some mighty big platform shoes to fill. Not since Marlon Brando’s Stanley called out for Stella in A Streetcar Named Desire has an actor become so inextricably associated with a role as John Travolta has with Tony Manero, the overly macho disco machine in the 1977 megahit Saturday Night Fever. Only the king of rock-and-roll, Elvis Presley, who was mercifully expiring even as the truly tacky disco craze took hold, could ever claim ownership of a more famous white suit than the one in which Travolta strutted his now legendary stuff.

“My work is cut out for me having to put that white suit on every single night,” says Blake of his performance as the jive-talkin’ Manero in the live musical version of Saturday Night Fever, which opened on Broadway to mixed reviews a few years back. “That suit itself is iconic. There is a lot of pressure. But at the same time, it’s a blast.”

For Blake, who was never a fan of ’70s dance music, the role is a bit of a dream come true. “I didn’t really like disco,” he says, “but I loved the film. For a young kid and a dancer, it’s just a GREAT film. Here’s this guy, Tony, who’s a dancer, who is cool, yet the chicks like him, yet he can fight. What more could you ask for in a hero if you are a dancer? Now I GET to put on that white suit, and for two-and-a-half hours every night I’m the coolest kid on the block. As soon as you walk out in that suit, you can almost hear the crowd gasp.”

A lot of people ask Blake if he studied the film before auditioning for the role. The answer is no. There was no need. He had grown up with it, and it was etched on his consciousness. He also knew instinctively that when people go to see Saturday Night Fever live they are expecting to see Travolta — or at least someone very much like Travolta — in the leading role.

“I feel that there is a bit of Travolta in my performance,” he says. “That’s expected. I mean, he made the role famous, and that role shot him to stardom. But I don’t think you can actually do an imitation. There is definitely a Travolta flair. You have to do that, especially at the beginning of the show. That’s what people expect, because that’s what they know. But you have to make it your own, and you have to stay truthful to the role. Otherwise, I’d be doing an injustice to the character, Travolta, myself, and the show as a whole.”

The fact that the script follows the original screenplay so closely doesn’t necessarily help an actor distance himself from the role’s famous originator. “The musical is almost exactly the same as the film,” Blake notes. “And that makes it difficult [to avoid a Travolta imitation]. At the same time [and unlike the film], we are actually singing the Bee Gees’ songs. And that makes a difference.”

A huge difference, in fact. The stage version packs in many more dance numbers than the already-dance-laden film. And, to be honest, it’s far tamer. Big commercial musicals have been exploring dark subjects in more and more graphic detail at least since the rape of Aldonza in Man of La Mancha. And the form has opened up considerably with the overwhelming success of grittier shows like Rent and Hedwig and the Angry Inch. Still, a production like Saturday Night Fever, an endeavor clearly intended to ride the youthful wave of a now-diminished ’70s-retro craze, can’t be too shocking. What would the children think?

“I did Rent on Broadway for a year and a half, and this is a little bit grittier,” Blake says of Saturday Night Fever. He admits, though, that harsher elements of the original have either been eliminated or toned down. “We’ve had to change some things and clean some other things up because it is a live theatrical show and you have kids coming,” he explains. “We’ve taken out a lot of the language and toned down a lot of the violence and the sexism and the racism. It’s all still there, though. For us as actors, we wish it was there more than it is. In New York, it was [darker]. But we had to cut a lot of it for the tour because you are going to Middle America, through the Bible Belt, and into places where you would get torn apart. In New York, you can get away with swearing a lot more and calling out racial slurs. People there understand that it’s a play and that you are telling a story. But some places, you have to be careful because you have a lot more children coming to the show and you have a lot more people who get offended. I hope I’m not saying anything bad here, but when people come to New York, they feel like it’s okay, it’s expected. But ‘Hey, don’t bring it to my town.'”

Through April 24th.

Categories
Music Music Features

Sound Advice

The new-look Hi-Tone CAFE boasts a couple of compelling roots-music shows this week. Austin bluesman W.C. Clark will lay down some soul and blues at the club on Friday, April 19th. Clark’s recent album, From Austin with Soul, lives up to its title, mixing modern blues with old-school soul in a manner that might remind some blues dabblers of Robert Cray. Clark opens the record with a rousing version of the Clarence Carter rump-shaker “Snatching It Back” and duets with Austin compatriot Marcia Ball on the Oliver Sain-penned “Don’t Mess Up a Good Thing.” On originals like “Let it Rain” and “I’m Gonna Disappear,” Clark clings closer to the blues, showcasing some sharp, Cray-like (though Clark predates his younger colleague) guitar leads.

Then, on Saturday, April 20th, the Hi-Tone will welcome accomplished Iowa singer-songwriter David Zollo, whose new album, The Big Night, presents a bluesy, boozy, roots-rock style that evokes the Stones, the Band, and Lynyrd Skynyrd, with his leeringly slurred vocals battling for space with raunchy guitar riffs and — despite his geographic roots — some decidedly south-of-the-Mason-Dixon piano. As classic-rock roots moves go (generally a dubious proposition), this sure beats the Black Crowes in my book. Zollo has served as a session player and sideman for a host of like-minded and similarly marginal performers, including Bo Ramsey, Greg Brown, and the Memphis-connected Todd Snider, but The Big Night is a tastier musical treat than anything I’ve heard from those guys, so it’s nice to see him on his own.

And on Monday, April 22nd, at Precious Cargo downtown, hip-hop fans looking for local signs of life outside of the Three 6 Mafia style might want to check out a big show that will include Arizona-based group Drunken Immortals with three local acts, DJ CMORE, MC Fathom 9 (formerly of the Genesis Experiment), and rap crew M.O.S.Chris Herrington

Are you one of those Tom Waits fans who has given up hope that you’ll ever get to see the elusive, gravel-voiced troubadour live? Are you a closet fan of the equally elusive Waits cohort Chuck E. Weiss? Do you love Jesus? If you have answered yes to any or all of these questions, you won’t want to miss the right Reverend Vince Anderson when he plays the P&H Café on Saturday, April 20th. Anderson, a raspy-throated seminary dropout, sings what he calls “the dirty gospel.” This is not to say that Anderson’s spiritual songsmithing is perverse, à la country satirist/sex kitten Tammy Faye Starlight. Quite the contrary. There is a true reverence that pervades Anderson’s music as he sings about a working man’s messiah, a drinking man’s messiah, and a godhead that even the most dissolute sinner might actually be able to hang out with, know, understand, and even love. Still, it’s not the sort of thing Adrian Rodgers would approve of. The last time Anderson played the P&H, he turned in a glory hallelujah of a set that had fans rolling in Pentecostal ecstasy on the floor and singing their ears out. This is a “don’t miss” show, and I hope for your sake, and your soul’s, that you don’t. — Chris Davis

Categories
Politics Politics Beat Blog

“No Compromise!”

A revealing exchange took place Monday night during a forum for Republican county commission candidates in Southeast Memphis.

District 4 commissioner Clair VanderSchaaf, who was already taking flak from GOP primary opponent Joyce Avery, began getting some, too, from attendees at the monthly meeting of the Southeast Shelby Republican Club at Fox Ridge Pizza.

“Now, let’s all go back to some Republican principles,” VanderSchaaf kept trying to say.

“No, let’s go back to your being an employee of mine and not doing something when I say, ‘No!'” interrupted a persistent heckler.

The issue was the still controversial (and still unresolved) one of the proposed NBA arena, scheduled to be paid for at least partly by public funds. VanderSchaaf’s position was that his ultimate vote for the arena last year was contingent upon ad valorem (i.e., property) taxes having been taken out of the funding mix, thanks in some measure to his own insistence when the project was being voted on by the commission.

His position was being treated, however, as little more than a quibble to cover what Avery and other arena opponents regard as a trade-off that enabled private interests (the Grizzlies, local investors, the umbrella organization HOOPS, et al.) to aggrandize themselves at public expense.

What they wanted was at the very least a referendum on the public component of arena financing, and, when VanderSchaaf finally overcame the interruptions to get his point across about what “Republican principles” were, he tried to distinguish between representative government — i.e., the machinery created by the Founding Fathers that, in effect, established layers of deputies at the local, state, and federal levels of government — and direct democratic action, whereby “we have a referendum on everything that comes along and we ignore the people we elect.”

Time was — say, back during the Power-to-the-People movements of the 1960s — when the civics-book concept of government advanced by VanderSchaaf was the stuff of conservative rhetoric. The war cry was “We are a republic, not a democracy,” and one would hear from the right side of the aisle fervent denunciations of the various demonstrations and other mass outpourings that were going down back then as a means of influencing national policy.

The fact is that the wheel has turned 180 degrees since then, as was recognized during the last year by no less a personage than state Senator Marsha Blackburn, the archconservative legislator from the archconservative Nashville suburb of Williamson County. It was Blackburn who fired off the e-mails from the Senate floor last summer that sparked the climactic anti-tax protests of July 12th at the Capitol in Nashville.

And it was Blackburn who, as a guest of the Shelby County Libertarians here last August, corrected one of her hosts who was quoting from the old “republic-not-a-democracy” gospel, informing him in as mild-mannered a way as possible that such talk had gone the way of eight-track tapes, that it was now the self-appointed guardians of liberty — right-wing populists, as others might call them — who had the duty and the mission to oppose channeled public policy by means of mass defiance and direct action.

In matters of state government, that took the form of the horn-honking cavalcades and picketers who surrounded the Capitol whenever a state income tax (or “tax reform,” as those who favor it have learned to say, somewhat over-daintily) happened to be under consideration. The riotous circumstances of last July 12th whetted by radio talk-show hosts whom Blackburn had alerted, were the ultimate manifestation of this anti-tax intifada.

Windows were broken, legislators entering the Capitol were roughed up (ironically, the affected lawmakers, seemingly selected at random, tended to be Republicans opposed to the income tax), doors were battered, and constant shouting drowned out attempts to deliberate policy. Though there were face-saving explanations later on about how legislative negotiations to produce a compromise bill had broken down on their own, no one who was inside the state Senate chamber at the time can truthfully say that they had a fair chance of succeeding under such circumstances.

For the record, state Senator Mark Norris of Collierville would call the protesters a “mob” and would contend that they had, ironically, panicked the senate into voting more in the way of stopgap, one-time-only funding than he, as a conservative, felt was wonted. (Norris, incidentally, is now one of three Shelby Countians seeking the Republican nomination for the 7th District congressional seat vacated by U.S. Senate candidate Ed Bryant; Blackburn, less encumbered by rivals from her part of the elongated district, is also running for the seat.)

Though last year’s county commission deliberations on the NBA arena and, later, on school funding attracted some overt protesters of the Nashville sort (who were, here as in Nashville, summoned to some degree by talk radio), much of the local antigovernment protest has been internalized within the election process.

This year’s commission election has brought to the fore several exponents of the theory — not uncommon these days — that the best way to shut down government (or to keep it under control) is to run for a position in it and become a part of it. Fox running for the hen house, you might say, although candidates of this sort would tend to reverse the terms of the metaphor and say that the predators are the ones already inside.

A specimen is former Marine and Secret Service agent Mundy Quinn, a candidate for another District 4 position, who, at the same meeting where VanderSchaaf was taking his lumps, implied that his two primary opponents — David Lillard and David Shirley — were not to be trusted because one of them (Lillard) was a lawyer and the other (Shirley) was an ex-legislator. “Lawyers and doctors” were a class already over-represented on the commission and in government at large, said Quinn, who suggested that prior government experience was more a hindrance than a help in that it seemed to water down principle.

“No compromise!” thundered Quinn (who, in private conversation, is amiable and a good, apparently evenhanded listener). Both he and members of the audience at Fox Ridge expressed disgust at the way in which, they believed, “conservative” incumbents had learned to conceal their tacit collaboration with big-spending colleagues through trade-offs and misleading votes for the record.

(Even so impeccably credentialed a conservative as Commissioner Marilyn Loeffel of Cordova was hoist on this petard at a recent forum, where she came under hostile questioning for her vote on behalf of the latest pay raise for commissioners. Somewhat awkwardly, she tried to explain how her vote was linked to commission Democrats’ approval of a reapportionment formula favored by Republicans. “It was a ‘deal,’ pure and simple,” one of her colleagues would later say.)

As Quinn himself marveled out loud Monday night, he, a political newcomer, is finding his voice and may be finding an audience at large (although most observers still see the race for the position he seeks as being essentially between the better-known — and better-financed — Lillard and Shirley).

Quinn even improvised a de facto endorsement of other candidates whom he saw as pursuing the same purist mission as himself — Avery, former Lakeland mayor Jim Bomprezzi (seeking to unseat Tom Moss, whom Bomprezzi accuses of cutting a deal with the Democrats whereby Moss was appointed to a commission vacancy and voted with them to appoint then-Commissioner Shep Wilbun to the position of Juvenile Court clerk) and Karla Templeton, who opposes incumbent Linda Rendtorff for a District 1 position.

He probably also would approve of Templeton’s father, John Willingham, who filed against incumbent Morris Fair for another District 1 position the day after having a pacemaker implanted in his chest and whose condemnation at a recent forum of “taxes we don’t want, development we don’t want, an arena we don’t want, and a fight we don’t want” (the latter a reference to the pending Tyson-Lewis combat at The Pyramid) synopsized in its own way the nature of the present rebellion.

(The fight’s increasing inclusion in the boo-boo lists of candidates may in some cases, however, arise from pro forma causes, rather than deeply held conviction. A recent forum of District 5 commission hopefuls saw all the candidates — Democratic, Republican, and independent, all save would-be fight promoter Joe Cooper — denounce the iniquities of Mike Tyson with such fervent uniformity as to make the occasion resemble a prayer meeting in Pilgrim times.)

Developers, wheelers, dealers, spenders, sports, and politicians — these are all variants of the common enemy, an Establishment that acts on its own tack without regard to the folks out there on the (generally suburban) homestead. Increasingly, such disaffected candidates — and their constituents — are estranged from the idea of a common weal, one uniting city and county.

Theirs is a settler’s perspective. Consolidation is anathema to these Republican rebels, since separation from the main is — notwithstanding John Donne’s admonition that “No Man Is an Island” — precisely what they seek, and they are as distrustful of government as any of King George’s minions ever were. (Even their own erstwhile leaders, Governor Don Sundquist and, increasingly, Shelby County mayor Jim Rout, are regarded as “moderates” and, therefore, apostates. “The trouble with Don,” mused a seasoned GOP political handler recently, is that he” — the governor, mind you — “has started to believe in government.”)

The new breed of rebel never quite believes that the officials of government have made a genuine effort to squeeze waste out of the system. They tend to believe that people inside the citadel are merely trying to maintain their own positions, and all analyses that argue for “tax reform” are seen as new excuses to shake spare change out of taxpayers’ pockets. They are oblivious to arguments that, just as inflation raises the cost of things elsewhere, revenue levels must be raised to pay for government services too.

A heroine of the moment — whose decision not to seek office herself disappointed many in the burgeoning new movement — is Heidi Shafer, the Memphis homemaker who did her best last year to organize public sentiment for the unrealized referendum on funding the NBA arena. This year, she has released a “Pick List,” much in the manner of the old Ford Ballots put out by former congressman and power broker Harold Ford Sr. Her endorsements are in all commission races, and they cross party lines. In addition to several of the aforementioned candidates, Democrat Walter Bailey makes the list (District 2, Position 1), as does independent Claiborne Ferguson (District 2, Position 3). The usual determinant is listed as “Correct stance on Arena Issue” (or “Right vote on Arena” if an incumbent).

The extent to which Shafer’s influence has grown — along with that of the still not quite defined movement to which she plays Joan of Arc — may be gathered from the fact that, when her list was first disseminated, several of the people omitted from it — ranging from the Green Party’s Scott Banbury to the well-established Republican John Ryder — petitioned for inclusion on it. (Ryder, who thereby joined opponent Jerry Cobb on the list, saw his wish granted; Banbury so far has not been similarly favored.)

Where all this is going is hard to foresee, but one is put in mind of the late Arnold Toynbee’s pronouncement at the time of Woodstock in 1969. Fear not, said Lord Toynbee of those in society who professed alarm: “If this is of God, it cannot be resisted; if it is not of God, it will perish of itself.”

Categories
Music Record Reviews

Short Cuts

“Meet the Curlews!”

Curlew

(Cuneiform)

You say you’re feeling sleepy very sleepy? Well, you must have been listening to “Meet the Curlews!”, the newest from Mississippi-born avant-garde saxophonist George Cartwright’s dynamic outfit Curlew.

And that’s not meant to be derogatory (the fact that the album, at times, could possibly induce you to kick back and nearly nap), it’s just that this is a new Curlew. And Curlew, though its lineup and sound have constantly changed since it was founded in 1979, isn’t known for making music exactly like this: alternately ragged, saloon-sublime, melancholy, star-gazing, and quietly tricky. But, really, Curlew is Cartwright and vice versa. He’s the only one on every album, he’s the leader, and he’s the founder. The evolution evident in every new release is simply a reflection of Cartwright’s own growth and ambition, and the musicians with which he surrounds himself seem to also be the influences he’s digging at the time, the inspiration for the ideas germinating beneath his bald pate.

Sometime Memphis scenester Cartwright and guitarist Davey Williams, the closest thing to a group constant (he’s on six of eight albums), are all that remain of the configuration that gave us 1998’s Fabulous Drop, a sort of electric-funk exploding telegram in which you can almost hear the laughter. Curlew’s new, less fusion-focused lineup includes Memphis’ own Chris Parker (formerly of Big Ass Truck) on piano and Wurlitzer, Bruce Golden on drums, and Fred Chalenor (who has worked with Seattle’s the Walkabouts) on bass. Listening to this latest, only occasionally frenzied Curlew offering may cause periodic drowsiness for the uninitiated dabbler or the tired old fan, but, given a close, patient listen or two, an ominous scrambling of free-form, funk, and chamber-jazz styles reveals itself — imagine the protean John Coltrane, circa 1965’s The Major Works of …, with a couple of Quaaludes dissolving under his tongue.

A product of the Knitting Factory-based punk-jazz scene of ’70s and ’80s Manhattan, Cartwright is uncharacteristically less the mad, modal Coltrane disciple on this album, owing more to Coleman Hawkins’ powerful, slow-burn method. Strangely, the voodoo’d piano of Parker, whose “Cold Ride” is the wildest composition of the bunch, seems to be the gravity pulling the rest of the band down to earth and more formal jazz territory.

This is an album full of passages reminiscent of progressive rock, and its slowly expository tunes literally break under their own weight — in a good, postmodern way. On Chalenor’s “Space Flight Cat,” Golden’s almost military drums accelerate beside Williams’ eerie electric guitar, allowing Cartwright a little up-tempo blowing before switching to the breathy, autumnal approach of his own “Late December,” a seven-minute browse through the halls of the dead. “Meet the Curlews” strikes a vein of bass to begin with, romps about a bit, then fractures its own melody, for good measure, with Williams’ and Parker’s respective solo forays. Monty Norman’s “James Bond Theme” seems to have influenced the initial section of “Lemon Bitter,” one of the out-and-out coolest tunes on the album with its equal, rollicking participation from all the band.

The daring complexity of the 11 tunes on “Meet the Curlews!” assures us that, though Cartwright’s sax is less dominant on this recording, he’s still the man behind the curtain, and the show he puts on demands our attention. — Jeremy Spencer

Grade: B+

C’Mon, C’Mon

Sheryl Crow

(Interscope/A&M)

At her worst, Sheryl Crow reminds me of my all-time least-favorite band, the Eagles, except she’s a she, and in that case it makes all the difference in the world. An El Lay soft-rock chick at the bottom of her Kennett, Missouri, heart, when Crow regurgitates all those familiar romanticized road images and peaceful, easy feelings and wallows in the same kind of backstage, in-crowd vibe (guest appearances here from the likes of Lenny Kravitz, Stevie Nicks, and Gwyneth Paltrow!), at least she strips it all of the male chauvinism and casual misogyny that infect the Eagles’ music. She lays the “Desperado” shtick on thick on the opening “Steve McQueen” (and, no, this is not the Drive-by Truckers’ “Steve McQueen,” for all five of you who are wondering), describing herself as an “all-American rebel” and a “freebird” and complaining, “All my heroes hit the highway,” but the lyrics thankfully become more generic and less obtrusive after that.

When I’m able to ignore that her main pop function is to provide comfort food for classic-rock clingers who refuse to come to grips with the pop eruptions of the late ’70s and who prefer the good old days before punk and disco and hip hop made everything so messy, I like Sheryl Crow. She’s the kind of modest, down-to-earth gal who could sing a quintessential bit of Eagles post-hippie hedonism, Me-decade crap like “Lighten up while you still can/Don’t even try to understand/Find a place to make your stand/And take it easy” and make me sing along rather than gag. And that’s basically what she does on C’Mon, C’Mon‘s lead single, “Soak Up the Sun.”

“Soak Up the Sun” is the most El Lay anthem in years, so laid back it makes Train sound as agitated as the Dead Kennedys. It’s also the loveliest thing on the album, helped along by Special Guest Star Liz Phair, who only sings backup but whose sharp, understated style still dominates the song, inspiring dry vocals and crisp guitar lines the way the devil incarnate, Don Henley, encourages Crow to oversing shamelessly on the duet “It’s So Easy” (Crow made the over-the-top vocals work on “If It Makes You Happy,” but Henley pulls her toward Diane Warren/Celine Dion schmaltz here).

Elsewhere, Crow’s best moments come when she forgoes the celeb backup, like on the title song, in which the novel 12-string acoustic lead makes it sound like an outtake from Rod Stewart’s Every Picture Tells a Story (post-hippie roots rock of the gods), or the future radio hit “Hole in My Pocket,” which updates Crow’s sound all the way to, say, 1987. —Chris Herrington

Grade: B

Under Cold Blue Stars

Josh Rouse

(Rykodisc)

Josh Rouse’s musical leanings have always centered around geography: His ’98 debut, Dressed Up Like Nebraska, provided a vibrant flip side to Bruce Springsteen’s depressing ode to the prairie state; 2000’s Home centered on Rouse’s adopted hometown of Nashville. Rouse’s newest release is called Under Cold Blue Stars, and it’s his most expansive album to date. With the title track, he unwinds his life story, replete with tales of wanderlust and guitars — typical fodder for an alt-country album. Yet, despite the subject matter, Rouse is hardly constrained by the genre. Sure, he plays guitar-fueled power pop. But the music’s deeper than that — tape loops, horn sections, strings, and funky beats all contribute to the mix. Think sunnier Lambchop or countrified Yo La Tengo — Rouse has links to both bands, and he effectively combines the off-the-wall beatific vibes of both groups with effortlessly soaring pop hooks. Don’t miss the bright fuzz of “Feeling No Pain” — in a perfect world, this radio-friendly number would take Rouse straight to the top of the charts. n — Andria Lisle

Grade: B+