Month: July 2002

THE CASE FOR SO

From the St. Louis Arch to the gates of Graceland, a lot of Cardinal baseball fans must be scratching their heads these days over Memphis Redbird outfielder So Taguchi. The former Gold Glove outfielder with the Orix Blue Wave of Japan’s Pacific League was signed to a much-hyped three year contract last January that pays him $1 million a year.

With seven figures on his contract, Cardinal fans had to presume this was at least a baby-step in the same direction Seattle took when they lured all-world Ichiro Suzuki (a former teammate of Taguchi’s) to the Pacific northwest. While a million beans may be pocket change to Sammy and A-Rod, it’s not minor-league compensation.

Alas, four months into his first season in the western hemisphere, Taguchi has played all of four games for the Cardinals, with four at bats and nary a base hit. He’s been an everyday outfielder for our Redbirds, though his batting average has dipped below .250 for most of the season, he hasn’t shown much power, and hasn’t been on base enough to make his speed a real asset for Gaylen Pitts’ club. So Cardinal Nation is asking: What in the name of Sadaharu Oh did St. Louis brass see in this guy? And what about that million-dollar price tag?

First and foremost, Cardinal (and Redbird) fans need to cut the 32-year-old “rookie” some slack. The day he first put on a Memphis jersey, Taguchi had a pair of enormously high (and unfair) standards by which he’d be measured. The first is Ichiro, either the best or worst thing that has ever happened to Japanese professional baseball. In 2001, the cannon-armed speed demon became the first player in 26 years to earn both Rookie of the Year and MVP honors. To expect the same from a player whose career average over 10 years in Japan was .277 is irrational.

The second lofty standard is the Jackie Robinson effect. From Hank Greenberg, to Robinson himself, to Fernando Valenzuela, baseball fans have come to expect players in a particular cultural vanguard to exceed normal standards of achievement. As a measure of how unbalanced this perspective can be, the fact is Greenberg was not the first Jew to play major league baseball, nor Valenzuela the first Mexican. They were the first stars to carry their respective cultural flags into the national pastime, so history has placed them in the same category Robinson very much earned. Taguchi is the first Japanese player in 110 years of Cardinal baseball, which is meaningful in itself. But as with every “investment” in a professional athlete, there’s no performance guarantee.

As you’re disecting Taguchi’s disappointing offensive numbers, check the rest of the Memphis stat sheet. You’ll see players like Jon Nunnally,

Warren Morris, and Chad Meyers — each with a few big-league notches on his belt — haven’t exactly torn the cover off the ball in Pacific Coast League play. Despite his struggles, Taguchi has played a solid centerfield and, best of all, hustles out of the batter’s box regardless of what kind of contact he’s made. On top of that, he can actually be seen smiling now and then.

Which brings us to the reason So Taguchi remains worth rooting for, and remains a sound investment for the Cardinals. The easy approach for Taguchi would have been to add a clause to his contract that stipulated if he did not make the Cardinal roster by a certain date, the contract was void and he could return to Japan and pick up where he left off with the Blue Wave. (This was the clause that had Gerald Williams in and out

of Memphis quicker than spring.) Instead, Taguchi chose to fight the

good fight and try and earn a roster spot, just as countless other

ballplayers in 30 major league farm systems are doing this summer. He

asked no special favor, and has yet to display the kind of sulking all

but expected these days from players on the cusp of reaching The Show.

So Taguchi is no Ichiro. He’s certainly no Jackie Robinson. And despite

wearing number 6, he’s still not in the same baseball hemisphere as Stan

Musial. But he’s a fighter, and a noble one at that. And wearing a

baseball uniform. Perhaps a pioneer after all.

‘CRYSTAL’ CLEAR

What if I was to tell you that you could gaze upon some of the most stunning works of art in the MidSouth in one of the most tranquil and natural settings in the state? Ok, then what if I told you that these works were located not half a block from Poplar Avenue and I-240 in the middle of Memphis?

What if I then tell you that you should spend a day enjoying all of them in a cemetery? Bear with me. If the thought of spending an afternoon in a cemetery in East Memphis doesn’t quite appeal to you, you’re not the only one. Memorial Park, with its many points of interest, however is worth the effort. The public park is home to the Crystal Shrine Grotto, renowned as the only manmade crystal cave in the world. And once you step in, you won’t believe what you find.

I had heard about the grotto only a few months before and had become curious as to what everyone was talking about, so I decided to visit Memorial Park late one afternoon, only to find the grounds deserted and mine the only car in sight.

Driving through the mazes of tombstones, I finally came across a sign pointing me in the right direction. And convinced that I would see nothing more than some fairly unimpressive stalagmite, I stepped out of the car and made my way up some stone steps to the cool entrance of the cave. Dim figures and shadows met me at the door. Illuminated eyes of religious figures stared back at me.

I was so unprepared for such a sight, I must tell you, I nearly turned back. But once my eyes adjusted to the dark interior, I steeled myself and continued on. I was truly amazed at what I saw. I once traveled an hour by train outside of Prague to visit a church made completely of human bones and was never as awe-inspired as this.

Maybe it was my solitude, or maybe it could have had something to do with the twenty degree drop in temperature inside the cave compared to the 106 heat index outside. But I really think it was the shock of seeing something so beautiful, so hidden, right off of the busiest street in Memphis.

Built over the span of forty years, the crystal grotto was the creation of Memorial Park founder E.C. Hinds and Mexican folk artist Dionicio Rodriquez. Inspired by the Cacahuamilpa Caves of Mexico, Rodriquez imported five tons of Arkansas crystal in 1937 and began to create his shrine. He supervised the excavation of 60 feet into the natural hillside and carved concrete to look like stone for the walls.

Over the next ten years, he sculpted the backgrounds for ten scenes depicting the life of Christ, from his birth to his death and resurrection. Ceramic figures were imported from Italy for the cave’s “Nativity” scene and after Rodriquez’ death, other local artists were commissioned to complete the project with paintings and other sculptures. Marie Craig’s brilliantly detailed “Jesus in the Temple” and David Day’s more modern “The Raising of Jairus’ Daughter” and “Zaccheus Up a Tree” are some of the featured works.

There is also a painting of “The Good Samaritan” by Mary Rembrandt at the entrance and a plaque of “Christ and the Children” by Miriam Dalstrom. These impressive works are quite startling. The crystals produce an ethereal glow on the figures, while skylights introduce a prism of colors reflecting on the shadowy walls. Rodriquez’ vision has become one of the most famous shrines in the world and its natural setting is not only one of the most beautiful memorials but a puzzle for engineers as well.

Although the grotto is the most fascinating point of interest in Memorial Park, it is hardly the only one. If you can get over the fact that you’re in a cemetery, you can enjoy some of the best attractions in this part of the country.

Several more of Rodriquez’ works surround the shrine and represent other biblical events. At the entrance to the cave is the massive fifteen foot by nine feet wide “Abraham’s Oak”. Fashioned from concrete, the tree represents the entrance to the Cave of Machpelah, the burial site chosen by Abraham after Sarah died.

It was important to the cemetery’s theme because it was the first burial place mentioned in the Bible, Genesis 23. It looms over a pool, Rodriquez’ recreation of the Pool of Hebron, originally built by King Solomon as a water reservoir for his people. Behind the cave are a series of paths leading to a garden dedicated to Annie Laurie, a Scottish woman who in the eighteenth century was known for her religious fervor. According to legend, she prayed at an altar made of stones, which later were used to make a chair.

The chair, recreated in her memorial garden, is said to be blessed by fairies, so that anyone who sits in it can make a wish and have it come true. Across the way, lies Ponce de Leon’s Fountain of Youth, created to inspire hope for immortality, another fitting image in Hinds’ and Rodriquez’ vision of the burial park.

A short walk from these works, is the Memphis Memorial, a 3000 crypt mausoleum that was built much later in 1974. It was constructed inside another natural hillside and contains a gorgeous oak-paneled rotunda used as a chapel, as well as rich tapestries made by former Memphis College of Arts professor, Henry Easterwood. The tapestries represent the four basic elements, Earth, Wind, Fire, and Water and continue the theme of God’s creation and will.

As you walk through the park, you will come across several gardens that stretch for miles and bloom all year long. During the summer, roses are the featured flowers and are an impressive sight of their own.

Like I said, I know it’s a little strange to spend your day strolling around a cemetery, but I assure you, it is a fantastic way to take advantage of the natural terrain and history of Memphis.

Who knew such marvelous sights were literally right in the middle of town? Memorial Park is open everyday from 8:00 to dusk, but the Crystal Grotto closes at 4:00. Next time you’re driving down Poplar screaming at the car in front of you, take time out to visit the park. I promise it will be good for your soul and your sanity.