Categories
Music Music Features

local beat

Stuart McMillin, aka Sound-boy, has high hopes for his

“Old School vs. New School DJ

Battle” Friday, June 27th, at

Neil’s, he just doesn’t expect to crown a winner. “This competition

isn’t your average DJ battle,” he explains.

“I want people to come showcase their skills in a positive environment.”

“Memphis has so much untapped talent,” McMillin enthuses, “but so

many of my friends are [so] discouraged by the drama that they forget about the

music. There are so many different cliques, [the overall DJ scene] gets divided. I’m

not appealing to one clique. I just want to get the people who like the music.”

Many of the promoters and players on the Memphis scene are people you

may not have heard of. While the Memphix collective and such people as

Jason Sims, Brad “Stylus”

Johnson, and Graflin are familiar names around town, folks

like Merlin, Double-O Dave, and Mary

Jane remain virtually unknown outside the insular DJ community.

“Mary Jane Smith is one of the most respected figures around town,”

McMillin explains. “She’s been spinning for 10

years, and she’s one of the most recognized names in the Memphis underground. She

knows her business,” he says, noting that

Smith ran Millennium Records for years. “Mary Jane has really nurtured the

scene,” McMillin adds. “She’s starting up her

own record service, Elektrik Soul Patrol. She’s a real connoisseur. Her DJ style is very

versatile, but she’s best known for techno and trance breaks.”

According to McMillin, Smith will be one of the old-school DJs on hand to

judge Friday’s battle. “She’ll be there, along

with Brad Stylus, Jason Nix, Graflin, and

DJ Armis,” he says. “We’ve also got

Jacob Braden, Brian Clark,

Analog, Merlin, and G. Dellous representing the old

school, while the new school includes Indo,

DJ Josh, and Fresh Bake. I’m hoping

these judges can give some pointers to the kids who are spinning now, just get people

focused on their music and make something happen in Memphis.”

As Soundboy, McMillin has been involved on the local DJ scene for

more than a decade. “I was a spectator on the rave scene for the first five years,” he

says. “There was so much drama associated with that scene that I went

underground. I moved out to the country —

Fisherville — and got my own equipment and learned how to play.” He threw his

first party, “One City under a

Groove, at the Last Place on

Earth in 1999.

“Since then, I’ve done about 25 one-off parties at 10 different

clubs,” McMillin says. He lists the Shell

Entertainment Complex and Fantasia as

two of his favorite venues. “It was a

reunion,” he says of one party held at Fantasia,

the beleaguered former hotspot near Madison and McLean in Midtown. “I

brought out the DJs who spun there when it was Red Square. All the heads came out,

folks who hadn’t been going out for years,”

he fondly recalls. “Any club scene is gonna

be wild,” he says, when I ask him about the potential problems that go with the

territory. “All my parties have been 18 and

up, and all my venues have been legal venues.”

“Today, the Memphis scene is divided by promoters,” McMillin claims.

“They only book DJs who are working for them, which keeps Memphis from blowing

up. There are so many extremely talented DJs here, people want to see who is the

best, not necessarily who your best friend

is.” Nevertheless, McMillin is full of praise

for several local organizations, including

Soundshock, Circuit Playground

Productions, Tha Movement, and Memphix.

He cites local promoter Treefish as his

main model. “They threw parties that were

cheap — not just a thing for teenagers to get out of the house,” he says. “People who

worked for a living could get in for $5 or $10.”

Ironically, the house music and hip-hop that McMillin spins is on CD, not

vinyl. “I’ve spun 12-inches at raves, but I like

CDs better,” he says. “I’ve gotten most of

my music from Tower Records or off the Internet, but I’ll dig anywhere that

sells CDs.” His big picks include sides from

the Quannum collective (DJ Shadow, Lyrics Born, and Blackalicious’ Chief Xcel),

Mark Farina, Basement Jaxx, and “anything”

on the After Hours label. “At the party, I’ll

be playing my own original music,” he says, “including a house mix of Missy

Elliott’s ‘Work It’ that’s pretty funky.”

“Whether someone is curious about the music or they’re already into it,

they can come have a good time,” McMillin says. “Expect 20 DJs at their best,

playing all different styles of music from house to hip-hop, drum-and-bass,

and techno. There’s gonna be a positive vibe and probably a lot of people who

haven’t been seen at these DJ events before. Old-school house heads, people from

Red Square, Fantasia, Club Visions — folks from the old Memphis rave scene.”

His number-one goal for the event? “Leaving aside the drama and focusing

on what we do best, which is playing music and dancing. We have tons of good

DJs who are just sitting in their bedrooms, getting better and better,” McMillin

says. While he’s already filled the slots for this competition, he wants to urge anyone

who’s interested in the local DJ scene to get in touch with him. “Look for

Old School Productions‘ on

MidSouthRaves.org, or come to the party Friday,” McMillin

says. “It’s gonna be standing room only.”

“Old School vs. New School DJ

Battle,” Friday June 27th, at Neil’s, from 8:30

p.m. until 4:30 a.m. Admission is $7 or free with four canned goods for the Memphis

Food Bank.

Categories
Editorial Opinion

Editorial

Split Decision

There is a convenient rhetorical means by which politicians and, yes, editorial

writers often manage to embrace opposite sides of an issue simultaneously. The

device involves liberal use of the bracketing phrases, “On the one hand … ” followed

closely by “On the other hand … .” We are put in mind of that method of evasion by the

U.S. Supreme Court’s pair of rulings Monday on differing aspects of the

affirmative-action controversy, both involving the University of Michigan.

Race may be considered a factor in determining a candidate’s admission to

the university’s law school, said the court, but racial quotas may not be used in

setting admission standards for the school’s undergraduate programs. Huh? It’s a good

thing the court comprises only nine members, not 12, or we’d likely be forced — quite

literally — to deal with that other notorious equivocating phrase: “Six of one,

half-a-dozen of the other.”

Granted, there are distinctions to be made between the policy that was

approved and the one that was struck down — and not necessarily hair-splitting ones. But

the court still will be perceived as vacillating on both the philosophical and the

constitutional issues involved. And the split decision does almost nothing to clarify the

issue for future legal challenges. The precedents are clearly so mixed that the question

will probably return to the court at some point for further adjudication.

What makes the ambiguity of the two decisions all the more unsettling is that

the underlying issue of affirmative action — in education and, for that matter, in the rest

of society — is one on which conscientious people can and do disagree. The

controversy escapes the usual narrow “liberal/conservative” dichotomy.

The silver lining (here comes our own equivocation) is that the twin rulings

probably accurately reflect the degree of doubt in the minds of the well-intentioned,

and the continued existence of an unresolved gray area might well encourage disputants

to conduct fruitful negotiations rather than automatically resort to litigation.

Which is to say, we take our comforts where we find them. On the other hand …

Keeter?

We do not endorse candidates for local office and we do not intend to start

here, but we can’t help but take note of the fact that former

Commercial Appeal political reporter Terry Keeter is now advertising a forthcoming race for the Memphis

City Council. Lest his future opponents start taking umbrage, let us take note that

neither we nor Keeter know just yet what seat he might be seeking; so we aren’t playing

favorites by dropping his name.

We do find his ambitions gratifying, however, for a couple of reasons: First,

having both covered local political affairs and groused about them for a number of

years, he might even know what he’s talking about here and there. (Depending on

the race he chooses, that could even make him unique.) The other and more

basic reason, though, is that Keeter, an emphysema victim, has only just recovered

from what seems to have been a serious bout with the Reaper. For many months, this

— how to say it? — less-than-bashful personality could not even speak. Now

that he’s found his voice again, we rejoice in any occasion that encourages him to

express himself. We warn you, however; this fellow is what you would call a

curmudgeon. Maybe you should hide your ears.

Categories
Book Features Books

Going for Broke

Good Faith

By Jane Smiley

Knopf, 417 pp., $26

f it’s a little late to be reviewing Good

Faith — a novel released this spring — it isn’t too late to be

recommending it this summer. You can file it under “beach read”: smart, funny,

sexy, and terrifically observant, a page-turner despite its 400-plus pages but with a

head on its shoulders to set you thinking on the way we lived then to maybe

explain the way we live now.

That’s “we” so long as you’re a

member of the mid- to upper middle class in all-white, totally whitebread

America. That’s “then” as in 1982, days when

day trading was the latest thing, S&Ls weren’t belly-up, real estate values were ready

to sky-rocket, and a 40-year-old, divorced man with no children could live the

very good life on $72,000 a year.

Welcome, then, to the infant world of junk bonds and T-bill futures, faux

finishes and “teardowns,” risotto,

gnocchi, and bruschetta on the menu of what was your neighborhood Italian

restaurant, and a U.S. market for bottled water

just waiting to be tapped.

Meet Jane Smiley’s Joe Stratford, real estate agent in an unnamed state

not unlike New Jersey. He’s shrewd but not unfair. Nor is he unnice. He’s just a

guy who likes “selling old houses to decent people …

and then watching as individual lives developed in those houses”; a guy who

understands the art of the deal but a guy equally “good at shifting the balance when

things go sour” (everybody happy?); a guy

good at doing business for and with his partner Gordon Baldwin (who’s in

“sales”: houses, land, cows, antique

doorknobs, you name it), good at keeping Gottfried Nuelle (a demanding, high-quality

home builder) halfway satisfied (some of the time), and good at keeping

Baldwin’s daughter Felicity Ornquist for a few months very happy (in

and out of bed and unbeknownst to Felicity’s husband).

Stratford’s a good son too to his aging parents,

parents who are “the perfect example of the idea that

you can live up to your ideals every single day of

your life, absolutely follow the book, and still get

the wrong child.”

Wrong child? Well, Stratford’s no saint

(adulterer, healthy drinker, no stranger to making some big bucks), and

he doesn’t claim to be a saint (though he’s straight-up honest

all way ’round). But those strict (yet ungloomy) parents of his …

Yes, they follow the book, the Good Book, to the letter as members of some

unnamed Protestant sect and live out their latter

days reading the Bible aloud, praying together aloud, discussing salvation “along with

the price of tomatoes and chicken,” and

supporting some missionaries oversees. Secure in

the belief that the Lord’s path is a “source of

perennial joy,” they’ve got one thing to fear

and it isn’t those dreadful Roman Catholics. It’s the wages of sin.

“People do tend to spoil things,

don’t they,” Stratford’s mother one day

announces cheerfully. To which Stratford’s father

adds, “We can’t live in paradise, because man

is fallen. He felled himself with his own hand. Redemption doesn’t take place in

this world, Scripture says, so whatever looks like paradise can’t be, and so it isn’t. If

we look for it to be, then we are deceived, and Satan is at work.”

At work, then: Marcus Burns and his plan for “paradise”: Salt Key Farm,

a wealthy family’s former country spread (mansion, stables, gardens, the

works), which Stratford gets his hands on to divvy up as lots (middle- to

upper-middle-income homes) but Burns has his eye on to divvy

up as high-end megahouses, a golf course, a clubhouse, a set of chi-chi shops, an

elementary school — upscale all of it and never

mind the unobtained county permits and never mind that this quiet landscape of

rolling farmland and unpretentious villages ain’t seen nothing like it. But it’s what the

weekenders from New York City are in the market for, so it’s what Burns is in the

business of trying to build. His method of

financing? Stratford ain’t seen nothing like it: shady

but legal from the looks of it, the very latest in creative fund-raising and loan transfers.

And because Burns is a former IRS agent, he knows the rules you can break and the

rules you can’t, knows how and how not to look on paper, how to bring in the banks, how

to bring in the investors, and how to promise anybody

anything so long as what he’s promised happens to be what those anybodies

think they want — in short, the standard ropes, the new ropes (according to the

gospel of Reagan, according to the rules of deregulation), and then some.

Stratford’s no dummy. He falls in with Burns, but Burns falls short of the

promised windfall. In fact, he’s a thief. And his sister Jane’s an even better thief.

(And Felicity? Read and see.) So Stratford loses his shirt. And this will come as

anybody’s surprise?

The real surprise is this novel’s managing to make all this entertaining,

believable, accurate to the smallest detail and, in a real triumph of

characterization, make the worst of the book’s

“sinners” not wholly unlikable. (Burns

the irredeemable, for one, is no easy man to root for, so why do we, sort of,

sometimes?) But Joe Stratford … We’re to believe he shows not one ounce of

ill-will throughout these pages and especially not in the closing pages, when he’s very

nearly wiped out, living back home with his parents, being precisely the “right

child” after all? That he comes to no other

conclusion, after all he’s been through, except to say, in summary, that

there’s “grace in the material world” as he

follows the figure of Felicity 10 years later down a ski slope?

Good Faith is a quick read but maybe too compressed in its

closing scenes, too lacking in climactic punch to balance its lengthily laid-out

rising action. For its bedroom scenes alone, though, healthier examples of

full-on, adult, unneurotic sexuality you couldn’t have found this spring or

won’t find this summer.

Categories
News News Feature

CITY BEAT

THE VISION THING — AGAIN

The most studied piece of real estate in the county is about to get it again.

But the committee appointed this week by the county commission to study the future of Shelby Farms is a much more diverse and political group than the one proposed by former mayor Jim Rout and businessman Ron Terry a little more than a year ago.

The Rout-Terry proposal, which was shot down by the commission, was built for consensus, speed, and fund-raising ability. It would have taken control of Shelby Farms out of public hands and turned it over to a nonprofit conservancy with a privately funded $20 million endowment. The new 21-member advisory committee has more elected officials, more administration input, more women, more blacks, more developer-friendly types, and more people, period, than its would-be predecessor.

One thing it doesn’t have, for now at least, is private money, which was one of the big hooks in last year’s proposal. But that could change. Walter Bailey, chairman of the commission and the key opponent of the Rout-Terry plan, says he personally favors a Central Park model for management of 4,500-acre Shelby Farms. The Central Park Conservancy has managed 843-acre Central Park since 1998 under a contract with New York City. The conservancy has raised nearly $300 million for park operations and improvements. It has 60 board members.

What rubbed Bailey the wrong way last year was what he saw as an end-run around the commission by the former administration and a hurry-up mandate to approve what was essentially a done deal for the next 50 years. The new committee, he says, will take its time and hold meetings and hearings for a year or more.

“We don’t want people with preconceived ideas,” he said.

Members from the political side include commissioners Michael Hooks, Julian Bolton, Marilyn Loeffel, Tom Moss, and Bruce Thompson as well as state Rep. Henri Brooks, the city and county chief administrative officers, and Public Works director Ted Fox. From the business side, there are, among others, Union Planters Bank executive Ken Plunk, attorneys Charlie Newman and Charles Carpenter, Steve Epple from Friends of Shelby Farms, former commissioner Bridgette Chisholm, and Dawn Kinard. The chairman is Gene Pearson, director of the graduate program in city and regional planning at the University of Memphis.

Thompson was elected last year, partly on a promise to oppose commercial development of Shelby Farms. Kinard is the daughter of suburban developer Jackie Welch, the most outspoken proponent of developing part of it.

“At the corner of Germantown Parkway and Walnut Grove there needs to be a hotel,” Welch said this week.

He plans to offer to pay for a rendering of what the eastern edge of Shelby Farms would look like if the Shelby Showplace Arena, an existing restaurant, and the farmers market were replaced by a new grand entrance off Germantown Parkway, two or three hotel sites, a 50-acre lake, and other commercial sites leased by the county.

Reminded that such ideas have generally been considered political heresy in the past, he said, “The tighter the budget, the friendlier they’re going to be to it.”

Bailey said the advisory committee was created with the blessing of Mayor AC Wharton, who is on record opposing the sale and, presumably, lease of public lands to raise money for government operations. The broad makeup of the committee and its lack of a financial benefactor and driving force such as Terry could insure that Shelby Farms stays pretty much as it is for a while. The park has been under more or less continuous study since the Sixties. The private conservancy is one of many aborted ideas. A plan for a major new road and intersection in the park that was several years in the making has also been scrapped by the new administration.

Quiet controversies underlie several of the park’s bucolic and seemingly mind-your-own-business uses. On a languid summer morning the day after the commission meeting, four men were training their dogs in a pasture in the northeast corner of the park at sunrise. When told about the new committee, one of the dog trainers, Lanier Fogg, perked up like a retriever watching a shot duck.

What could possibly be controversial about dog training?

Well, trainers haul their dogs and gear in trucks, and the trucks go off the dirt roads and drive on paths through the pasture. So do horse trailers. To get to the paths they go through gates, which can be open or locked depending on park policy. If dog trainers and horsemen can drive off road, what about fishermen? Or four-wheelers? Or anybody having a picnic or looking for some privacy? And how does that impact compare with the impact of the series of eight outdoor music concerts in the park this summer and their attendant stages, light poles, and set-up crews?

In short, Fogg was very interested to know how the new committee was going to relate to the current park board chaired by Ron Terry and the current park superintendent Steve Satterfield, whose predecessor was fired by the last county mayor.

The answer, right now, is that nobody knows.

Categories
Opinion

The Vision Thing — Again

The most studied piece of real estate in the county is about to get it again.

But the committee appointed this week by the county commission to

study the future of Shelby Farms is a much more

diverse and political group than the one proposed by

former mayor Jim Rout and businessman Ron Terry a

little more than a year ago.

The Rout-Terry proposal, which was shot

down by the commission, was built for consensus,

speed, and fund-raising ability. It would have taken

control of Shelby Farms out of public hands and turned

it over to a nonprofit conservancy with a

privately funded $20 million endowment. The new

21-member advisory committee has more elected

officials, more administration input, more women,

more blacks, more developer-friendly types, and

more people, period, than its would-be predecessor.

One thing it doesn’t have, for now at least, is

private money, which was one of the big hooks in

last year’s proposal. But that could change. Walter

Bailey, chairman of the commission and the key

opponent of the Rout-Terry plan, says he personally favors

a Central Park model for management of 4,500-acre Shelby Farms. The Central Park Conservancy

has managed 843-acre Central Park since 1998 under

a contract with New York City. The conservancy has raised nearly $300 million.

What rubbed Bailey the wrong way last year

was what he saw as an end-run around the commission

by the former administration and a hurry-up mandate

to approve what was essentially a done deal for the next

50 years. The new committee, he says, will take its

time and hold meetings and hearings for a year or

more.

“We don’t want people with preconceived ideas,” he said.

Members from the political side include

commissioners Michael Hooks, Julian Bolton,

Marilyn Loeffel, Tom Moss, and Bruce Thompson as well

as state Rep. Henri Brooks, the city and county chief

administrative officers, and Public Works director Ted

Fox. From the business side, there are, among others,

Union Planters Bank executive Ken Plunk, attorneys

Charlie Newman and Charles Carpenter, Steve Epple

from Friends of Shelby Farms, former commissioner

Bridget Chisholm, and Dawn Kinard. The chairman is

Gene Pearson, director of the graduate program in city

and regional planning at the University of Memphis.

Thompson was elected last year partly on a

promise to oppose commercial development of Shelby Farms. Kinard is the daughter of suburban

developer Jackie Welch, the most outspoken proponent of

developing part of it.

“At the corner of Germantown Parkway and

Walnut Grove there needs to be a hotel,” Welch said this week.

He plans to offer to pay for a rendering of what

the eastern edge of Shelby Farms would look like if the

Shelby Showplace Arena, an existing restaurant, and the

farmers market were replaced by a new grand entrance

off Germantown Parkway, two or three hotel sites, a

50-acre lake, and other commercial sites leased by the county.

“The tighter the budget, the friendlier they’re

going to be to it,” he said.

Bailey said the advisory committee was created

with the blessing of Mayor A C Wharton, who is on

record opposing the sale and, presumably, lease of

public lands to raise money for government operations.

The broad makeup of the committee and its lack of a

financial benefactor and driving force such as Terry

could ensure that Shelby Farms stays pretty much as it is for

a while. The park has been under more or less continuous

study since the ’60s. The private conservancy is one of many

aborted ideas. A plan for a major new road and intersection in the park

that was several years in the making has also been scrapped by the

new administration.

Quiet controversies underlie several of the park’s bucolic

and seemingly mind-your-own-business uses. On a summer

morning the day after the commission meeting, four men were training

their dogs in a pasture. When told about the new committee, one of

the dog trainers, Lanier Fogg, perked up like a retriever watching

a shot duck.What could possibly be controversial about dog training?

Well, trainers haul their dogs and gear in trucks, and

the trucks go off the dirt roads and drive on paths through

the pasture. So do horse trailers. To get to the paths they

go through gates, which can be open or locked

depending on park policy. If dog trainers and horsemen can

drive off-road, what about fishermen? Or four-wheelers? Or

anybody having a picnic or looking for some privacy? And

how does that impact compare with the impact of the series

of eight outdoor music concerts in the park this summer

and their attendant stages, light poles, and set-up crews?

In short, Fogg was very interested to know how the

new committee was going to relate to the park board chaired

by Ron Terry and the park superintendent Steve

Satterfield, whose predecessor was fired by the last county

mayor.

The answer, right now, is that nobody knows.

Categories
Cover Feature News

The Mystery of the Old Hospital

photo by Justin Fox Burks

It’s late, one or two in the morning. Ben and

Sebastian pull into a side street off Lamar Ave. and park between two

trucks from a nearby business. They cut the lights and pull out what Ben calls

their “nerd gear”: LED flashlights,

rubber gloves, mace. At one time, they would have taped the bottom of their shoes.

They go into stealth mode, heading toward a break in the fence, climbing through

and then running for cover. They dart behind trees and dumpsters as they sweep

the perimeter, looking for guards, vagrants, anyone who’s not supposed to be

there. And at 1025 E.H. Crump Boulevard, that’s pretty much everyone …

including them. There are few doors or windows

left on the building, and once they’ve ascertained they’re alone, they easily enter the old hospital.

“Once you’re over the fence,” says Ben, “it’s pretty

easy to get into any abandoned building.”

If the city is a concrete jungle, Ben and Sebastian,*

both in their 20s, are its unflinching explorers. In their

cut-off fatigues, hand-patched with slogans, they are equal

parts artists and adventurers. They never break but they

always enter and, under a cloak of darkness, safari through

buildings like this hospital or the Coach and Four Hotel on Lamar.

Despite the trespassing, the roommates share a

deep-seated sense of morality and social

consciousness. Like most independent thinkers, they have a healthy

distrust of authority. If you’re with them long enough, you

can see they would fight for what they think is

right.

Ben and Sebastian compare their urban targets to

caves and themselves to spelunkers. They try not to take

anything. They try not to leave anything.

“The first building we did was the old pie factory

[in Cooper-Young],” says Sebastian. “One night, it was

just, Do you want to go somewhere?”

“I just wanted to check it out,” says Ben. “I’d been in

it before, for punk-rock functions. It had been a gallery

and they partitioned parts of it off. We just wanted to check

it out. We didn’t have any ulterior motives.”

They probably visited the building three or four

times more after that. The first time at any old building, they

say, you never stay long. “You kind of advance each time.

You do a sweep the first time, search for signs of vagrants.

It’s usually a quick trip, and it’s always been scoped out

ahead of time,” says Ben.

Why go in at all?

Ben shrugs. He mentions other extreme sports —

mountain biking, fighting — that he can’t do any more because

of injuries. He says he’s an adrenaline junkie: Go hard or

go home. But he also seems to have come down with a case

of good old-fashioned curiosity.

“When I was 17, I was with a bunch of people after

a punk show and we jumped a construction fence

downtown,” he says. They climbed up the fire escape and into an

open window and found themselves in a building that was

being renovated for office space. “We went and sat on this

ledge over Court Square. You could see how it was laid

out geometrically,” says Ben. “After the

first time you do it, you kind of lose your fear.”

Inside the pie factory, the explorers

found a room of old jukeboxes and video games. At the Coach and Four,

they found a lot of standing water.

Their hobby probably would have remained in the dark, so

to speak, if they hadn’t gone to the hospital. But

once there, what they found was so disturbing that

they couldn’t keep it to themselves.

“We were driving around one night and we ended up on

Lamar,” says Ben. “We didn’t have any of our

gear together. I just showed him the hospital and said I had always wanted to go in. I thought

it used to be a sanitarium. … Coming from an artistic

and photographic background, there was so much I could see

in the building.”

FROM V.A. TO ABANDONED

“We have a tough time keeping

people out,” says Louis W. “Tripp” Thornton

III, the current owner of the building. Thornton bought the approximately

9-acre property for $10 — the cost of the filing fee, he thinks — last fall. “Inside,

it looks like a war zone,” he adds. “It

has probably been abandoned since 1997. Basically, it was the neighborhood

crack house, for lack of a better word. There were a lot of homeless in there —

there still are.”

Even in bright daylight, the

hospital’s main building conjures up horror movies and old-time ghost stories.

Weedy overgrowth skims the chain-link fence but doesn’t quite reach the barbed

wire wrapped at the top. At one corner, a green “Baptist” sign

is just visible through the brush.

The main building is both imposing and sad, like

a former champion put out to pasture. The hospital’s

hollow brick shell, devoid of doors and window panes, gives a

view of silver vents suspended in midair, snarled

mini-blinds swinging in the breeze, and hanging ceiling tiles. A

building in back seems paused mid-demolition, its roof

half-on, half-off, as if the tarred top is slowly spilling to the

ground. All that’s missing are buxom young actresses running

for their lives.

In 1890, wealthy Memphian W.B. Mallory built a stately home at the

site. Twenty-four years later, the property was purchased for the

Methodist Hospital of Memphis, a joint effort by groups in Memphis, north

Mississippi, and north Arkansas. After construction was completed in

the fall of 1921, the building was run as Methodist for only a scant six

months before the national Veterans Administration bought it and dubbed it

Veterans Hospital No. 88. The Mallory home, though later torn down, was used as the nurses’ residence.

According to a November 1996 issue of the Baptist

Hospital publication BaptiScope, V.A. No. 88 closed in

1940 and remained unoccupied for the next 19 years:

“Baptist then purchased the facility and, after an extensive

renovation, opened what was called the Lamar Unit in 1962 as

a chronic-disease hospital.” In the late 1960s, the

hospital became geared toward rehabilitation.

Some current staffers at Baptist still call the building

“the Lamar Unit.”

Rehabilitation nurse and case manager Ruth Reyes,

now at Baptist Rehab-Germantown, remembers coming to

the Lamar Unit as a young nursing student and falling in

love with rehab. When she graduated nursing school in

1966, she got a job at the facility and stayed until it closed

its inpatient rehab facility in 1992.

“I helped shut the doors,” says Reyes. “It was done in

a very orderly fashion. We thought it would be

complete chaos. I helped take out all the files and equipment:

the mats and weights, the hot-pack machines. I helped

move all the charts and the patients. If I recall correctly, we did

it all over a weekend.”

Because Reyes had a neighbor who had worked at

the building when it was still run as a veterans hospital, she

was always cognizant of its history.

“The back elevators were the old kind,” she says.

“You know, the ones that have a gate door and you would have

to open the elevator door yourself. The ones at the front

were modernized, but the back ones, for the staff, were the

old style.”

She says that during her 20 years there, the regional

rehabilitation center was a thriving hospital. Because the

facility was originally arranged as wards, the private

rooms were very large. Even the group rooms, which housed

four patients, were fairly big.

“The patients had those large windows in their

rooms with gorgeous views of the trees and the grounds,” says

Reyes. “It was a beautiful facility. That’s what I remember.”

But, she says, by the time Baptist moved out, it was

time to go. The air conditioner, which had been renovated

20 years before, had started to go out. And modern

medical thinking was for patients to begin rehab sooner, instead

of waiting six weeks or more after an injury to begin therapy.

“Because we were getting them sooner, they were

more critical. We were also getting stroke patients earlier.

By moving to the Medical Center, we would be closer to

other facilities so we could care for our critical patients better,”

says Reyes. “It was sad leaving the big trees and the nice

grounds, but it was a move forward. We were excited about it.”

When Baptist closed its outpatient rehab center at

the Lamar Unit in 1996, the hospital administration tried

to donate the facility to the city. But the city could not

afford the renovation costs, so Baptist gave it to Mission

Corps International to use as a homeless shelter. It seems

they couldn’t afford the renovation costs either.

“I drove by it one day and I remembered it

from when I was a kid,” says Thornton of the property. “The gates were

open and all the windows were busted out. There were two or three people

outside when I drove up, but they ran back inside. I called a friend

at Baptist and said, ‘What have you done to this property?’

He said, ‘We donated it to someone and they let it go to wreck

and ruin but we can’t find them now.'”

Mission Corps International is as ghostlike in

Memphis as the building it used to own. The phone numbers are

long disconnected; the headquarters closed.

“I said, ‘Anybody can find someone if they really want

to find them.’ Four months later, I found them and

called them,” says Thornton. “Basically, they locked it up,

walked away, and never looked back. I said, ‘If you’re not going

to do anything with it, let me do something with it.'”

By the time Thornton got it, the property was

already tied up in environmental court. Gary Kirk, a supervisor

in the Memphis Fire Department’s anti-neglect division,

said the building has been cited for being in violation of

the city’s commercial anti-neglect ordinance.

Thornton is currently under a court order to bring

the building into compliance by removing all the trash and

debris, asbestos, and buried fuel tanks from the site.

Previous reports said Thornton was hoping to use

the property to care for the elderly, but he says his role is

simply to clean up the site and sell it. He currently plans to

demolish all the buildings but says he’s been in touch with an

out-of-state nonprofit that’s interested in a feasibility study

on saving the largest building.

“They like the campus setting,” says Thornton. “It’s

a pretty, old building, and there’s plenty of room out

back. [They] liked the big building, but not any of the

others. Structurally, it’s in great shape, but it would probably

need to be rewired and the plumbing redone.”

A MODERN-DAY MONSTER

“[The hospital] is like the house in

Rose Red. Have you seen that movie?” asks Ben. “It changes itself behind

you. All the windows are gone so the wind blows the doors

shut. We’ve been in there so much, we know our way

around, but you have to find a reference point.”

Ben and Sebastian say that once you are inside an

abandoned building, you’re pretty much safe. No one is able

to see you from the road and the buildings are so quiet,

no one will be able to sneak up on you. They’ve been

surprised — once by a cat, eyes aglow in the dark — but they’ve never been caught.

“It’s almost unbelievable,” says Ben. “Security came up on us one night and

just waved at us. We were gloving up in the car, and we said, okay, play it cool, but he

just waved at us and drove by.”

At night, the hospital is so dark you can only see where the outside light hits.

There’s graffiti near some of the entrances, and the wall is spray-painted with markings

where asbestos lurks. The sinks and toilets have been ripped out and light fixtures hang

from wires, but paper flowers and inspirational Snoopy posters still grace the walls.

“You walk by doors that still have the name of the patient who was there — like

it’ll say: 208, Miss Clemons,” says Ben. “The place is alive in its own right. All the

bathrooms have holes where someone has taken a sledgehammer to them. The

doorknobs are missing. There’s no grace about it.”

But it wasn’t the building’s disrepair that really startled them. It was what had

been left behind. Old dialysis equipment. A medieval-looking spa.

Tissue samples. “On the first floor is where we found our first box of files,” says Ben. “There was just one

box sitting there. The files included personal information, psychiatric profiles,

anything you’d want to know.”

The discovery gave him chills. He only read through enough of the material

to discern what it was and then closed it all up, convinced it was none of his

business, but it wasn’t anybody else’s either. On the one hand, he imagined someone

looking through the files and laughing at the doctors’ comments or the patients’

problems. On the other hand, he figured these people (or their families) might need the

information.

The files pulled them back to the hospital like a Siren’s song. After seeing

the medical files, Sebastian says it was like, “I wonder what else they left behind.”

But their consciences also bothered them. They felt something had to be done with

the files.

Ben says that his first thought was to take the

box home with him. “Sebastian said, ‘Do you really want

to try and find all those people?’ I wanted someone to

do something about it. I felt the information needed to be

returned to those people.”

When they found a larger stash, maybe 15

more boxes, that’s when they really freaked out.

Under new privacy guidelines established by

the 1996 Health Insurance Portability and

Accountability Act (HIPAA), hospitals and health-care

providers are under a greater burden to keep patients’

information private. Developed by the U.S. Department

of Health and Human Services, it’s the first law of

its kind and gives patients greater control over

their medical information. Hospitals must ask patients

if they want their room number given out. Even flower arrangements waiting to go to patients’ rooms must

be turned so that passersby can’t see the name on the card. Violations can mean

stiff financial penalties.

When contacted, Baptist spokesperson Ayoka Pond said that Baptist had

removed all the organization’s files and belongings when it was donated to

Mission Corps. The hospital is now investigating the situation in more detail, but Pond

says she’s been assured there are no files there.

A spokesperson at Methodist said the records probably would not be in violation

of HIPAA because they predate the law. She also noted that medical providers need

only keep records for 10 years but added that the location does not seem very secure.

Owner Thornton says he hasn’t seen any medical files in the building. “Our

first priority was to take everything out that could burn,” says Thornton. He says he

threw away about 500 mattresses and got rid of everything flammable in an effort to

keep vagrants from burning down the building. “We had stuff stacked up 15 feet high in

the back before we got the dumpsters. In the basement, there’s quite a bit of stuff. It was

all wet and it wasn’t going to burn, so we didn’t touch it,” says Thornton.

He hopes to have the site pristine within the next 12 months, weather

permitting, and says he’s not sure yet if his $10 was a good investment or not. “We’ll see. There’s

a lot of work to be done, but it’s a beautiful nine and a half acres. There are probably

50 oak trees on the property, all about 100 years old.”

As for Ben and Sebastian, they’re still out there, planning where to go next.

Categories
News The Fly-By

City Reporter

Buckle Down

Memphis prepares for new child safety-seat law.

By Janel Davis

Bouncing up and down in the back seat, poking their little heads out of

the car window, and stretching out in the back for a nap will be “remember whens” next

week when Tennessee’s new child safety-seat law

goes into effect. Child-safety advocates and seat

providers are preparing for the change.

The law becomes effective July 1st, with

the most notable rules requiring children ages 4 through 8 and less than five feet tall to ride

in a booster seat supported by a seat belt in the back seat of a vehicle.

The law also requires children under age 1 and weighing 20 pounds or less to ride in

rear-facing child seats. Children ages 1 through 3 and weighing more than 20 pounds must

ride in a forward-facing child seat. Both age

groups must be placed in the vehicle’s rear seat.

“The law is a good thing,” said Babies

‘R’ Us marketing and safety coordinator Nicole Braden. “We had training with a safety

organization and found that 48 percent of unintentional child deaths are the result of children

improperly restrained in vehicles.”

Babies ‘R’ Us sells seats for older

children and offers parents assistance on proper

installation. Braden admits that some seats can be

bulky and difficult to install in smaller cars, and

prices can be expensive for some families. Some

seats cost more than $100; even the cheaper models are priced at $50. But those obstacles do

not change her support of the law. “I think

there needs to be more education,” she said. “A lot

of misuse comes from miseducation and affordability.”

The Shelby County Health Department has long been an advocate of child-seat safety

and has assisted low-income families by providing reduced-price seats for about 20 years.

The health department offers infant seats for $5

and toddler seats for $10. They receive no state

or federal money for the program but are funded by revenues from citations given by police

for drivers violating seat-belt laws.

“So far this year we’ve gotten $150,000

and have given out 3,500 seats,” said program

supervisor Nellie Campbell. This is down from about 4,200 seats distributed by the same

time last year. While the health department does

not offer seats for older children, the program

provides them to safety instructors with the Memphis Police Department (MPD) for distribution.

Cheryl Pollich, who instructs child-safety classes at the health department for parents,

said most of their clients are aware of the new

law, but many are not happy. “Once a child gets older, say 7 or 8 years

old, sitting in that seat is not what they want to do, and they are not

happy. Because the children are not happy, the parents aren’t happy.”

A child’s unhappiness about safety seats does not concern most

law-enforcement officers. With accidents involving children on the

rise, safety is their primary concern. Ruth Hawkins, a child

passenger-safety instructor with the MPD, is in charge of distributing seats for

older children to low-income families for free. As a police officer she

will also be charged with enforcing the new law. Hawkins said

enforcement will not be any more difficult. “It’s usually obvious to tell if a seat

belt properly fits a child or if that child needs to be in a [booser or

infant] seat,” she said. “Ninety-nine percent of parents want their kids

safe, but you have some that will only go by the minimum

requirements and nothing more.”

“With day-cares and anyone who transports children, it is a

big problem because [the operators] know that booster seats are safer

for children, but since the law didn’t previously require it, they didn’t

do it,” she continued. “This new law will make parents and drivers

put their kids in seats.”

Earlier this month, an accident involved a van transporting

children from the Tree of Knowledge child-care center. One child who

was inappropriately sharing a seat belt with another child was

thrown through the windshield.

Warnings for violating the new law will be issued to drivers

for the first year, with fines beginning July 2004. Of the $50 fine,

$10 will go to the state general fund and the remaining $40 to

child-safety funds.

Glenview Defenders

Homeowners take issue with vinyl-sided “plastic houses.”

By Mary Cashiola

“Vinyl siding is a no-no in a historic district,” said Rubye Coffman, president of

the Glenview Landmarks Committee. “Maybe you can put it on the back, but not on the front.”

Coffman is a spitfire of a woman who won’t tell her age, because, she said, she doesn’t

look it. She’s lived in Glenview, a beautiful

community of wide streets and lush trees tucked between Lamar

and South Parkway, since 1964.

But Coffman and the Glenview Landmarks

Committee suffered a blow last week when a Memphis City

Council committee approved an appeal — for a house with vinyl

siding — that is out of compliance with design guidelines of

the Glenview Edgewood Manor Historic Preservation District.

And now the committee is gearing up for a fight.

After a neighborhood has been zoned for

historic preservation, exterior changes must be approved by the Memphis Landmarks

Commission (MLC) and a Certificate of Appropriateness (COA) issued. At the MLC’s May

28th meeting, the owner of 1171 Kyle requested a retroactive COA for some vinyl siding she

was having installed.

According to the minutes from that meeting, the owner didn’t

know the siding was forbidden in the neighborhood or that she had to get

a COA for any exterior changes. The MLC was sympathetic but

unanimously denied her application and gave her 90 days to remove the siding.

But now the siding is going up, not down.

The owner appealed to the City Council’s landmarks

committee last Tuesday and the committee approved her appeal. And as much

as Coffman and company dislike the way the house looks, their real

issue is with the council.

“They kept saying she was over 80 years old and had already

spent $10,000 on it,” said an indignant Coffman. “Since when do age

and money give you the right to circumvent the law? The council is

not supporting what it’s legislating.”

Coffman, who points out she’s no spring chicken herself, doesn’t

see this as an argument over one house but a battle for the

neighborhood. “We’re not going to let our neighborhood go down,” she said.

“It’s widely rumored that there are some people who want to see our

neighborhood go downhill because it’s in a prime location.”

The neighborhood’s houses — the city’s first predominantly

black historic district — represent a variety of distinct architectural

styles: Tudor Revival, Spanish Eclectic, Craftsman Bungalow.

Coffman said she talks to code enforcement “whenever I can

catch them. … When we see something wrong, we report it,” she said.

“We’re all retired, but none of us are

retired. We put the energy we used for working into this neighborhood.”

Several houses in the neighborhood already have vinyl siding.

In fact, Glenview Landmarks Committee member Janice Pettis says

hers is one of them, but that those homes have been grandfathered in.

“It’s the procedure and the process that I’m worried about rather

than an indictment of one person. This establishes a precedent,” said

Pettis. “The city is trying to promote neighborhoods on the one hand, but

that’s what we’re trying to do and we’re not getting the support we need.”

The group is currently considering legal remedies. In other

Tennessee cities with historic zoning boards, appeals go to Chancery

Court rather than the City Council.

And though this issue is not currently on the agenda for the

next meeting, if a council member wanted to hear it in full council, it

could be brought up there.

“We don’t want our neighborhood reduced to a community of

plastic houses,” said Coffman.

Bye Bye, Beach

Maywood closes after 70 years.

By Bianca Phillips

Historic Maywood Beach, a one-and-a-half-acre lake near

Olive Branch, Mississippi, is scheduled to close on June 30th, just four

days shy of its 72nd anniversary.

The lake, which opened to the public on July 4, 1931,

featured white beaches complete with sand shipped from Florida, diving

towers, slides, and plenty of picnic space. Originally conceived by

M.E. Woodson, Maywood was developed as a supplement to a housing

division in hopes of attracting buyers. His plan worked, and the area

soon became a family favorite for three-quarters of a century.

Current owner Hugh Armistead, a lawyer who has owned the

property since 1987, said he can’t secure liability insurance coverage

anymore and is thus forced to shut down the operation. However, he said

Maywood has an excellent safety record.

“We’ve been trying to arrange a continuation of our liability

coverage, but we’re just unable to do it. I guess it’s the same problem the

doctors have been having with insurance in the state of Mississippi. The

insurance companies are pulling out of the large jury awards,” he said.

Armistead plans on turning the area into a subdivision and says

he will start work right away.

“I’m very disappointed. I grew up there, and I’ve worked there since

I was 13, so it’s special to me,” said Armistead. “It’s very painful,

but nothing lasts forever. We got 70-something years out of it. We’ll

definitely miss it. There’s a lot of fond memories.”

Categories
News

Auschwitz in Winter

The Grey Zone is a film that tells the story of the 12th Sondercommandos (special unit) at Auschwitz-Birkenau camp in 1944, just a few months before its liberation. It opened in Memphis last November but, as with most films of this type, played only a week. You should go rent it immediately.

The Sondercommandos were Jewish prisoners who volunteered for the dirty work in the camps. They removed the gassed bodies, washed out the chambers, put the bodies in the ovens. For this, they were given food and liquor and the right to live an extra four months — after that they were executed and a new unit took their place.

The reason I mention this is because I am recently back from a visit to Cracow, Poland. Appropriately, it began to snow the day I visited. My driver, Andrew, was the type of European much favored by our current administration. He met me dressed in cowboy boots and vest that he said he bought in the U.S. in the ’80s. Crossed flags of the U.S. and Poland were pinned on his shirt. He applauded that day’s decision by the Poles and seven other “new” European states to support President Bush’s initiative on Iraq. (Bush visited Cracow and Auschwitz in late May, and a recent poll confirmed that Polish favorable opinion of the U.S. far outdistances most other European nations.)

Andrew’s uncle, a Polish officer, perished in the camp in 1942. He showed me the death certificate citing the cause of death as a heart attack. He later discovered his uncle had been one of nearly 200 officers shot in the camp.

Auschwitz I is a rather small camp built before the “final solution” became policy. Constructed in 1940 for Polish political prisoners, it would eventually house an increasing number of Jews and averaged about 15,000 prisoners. After the German defeat of the Poles, the area was incorporated into the Third Reich.

Above the gate where the slave laborers passed each day is the now-famous inscription “Arbeit Macht Frei.” Nazi humor, no doubt: It translates to “Work Brings Freedom.” The buildings each contain an exhibit from a nation affected by the camp. The most compelling in the Jewish exhibit shows confiscated belongings of prisoners and massive piles of hair intended for use in German factories.

A few kilometers away is Auschwitz-Birkenau, the mother of all konzentrationslagers. Auschwitz II at one time housed 100,000 prisoners from all over Europe, mostly Jews. It covered over 400 acres with separate sections for women, who were housed in brick buildings that still stand, and men, held in wooden structures of which only 22 have survived. It was designed to implement the final solution. Since roughly 75 percent of the arriving Jews were sent directly to the gas chambers with no registration, it is impossible to determine how many were executed. The general estimate is 1.5 million. The figure included Soviet prisoners (the first to be gassed), Poles, Gypsies, homosexuals, Jehovah’s Witnesses, and political dissidents.

The SS men destroyed the camp’s four gas chambers and crematorium in January 1945 in an attempt to cover up their work. The destruction remains as it was when they fled. Just a few meters away stands the Monument to the Glory of the Victims, perected in 1967.

Cracow was spared WWII devastation and remains today a city unknown and unvisited by most Americans. It was entered on the UNESCO list of World Cultural Heritage cities and three years ago was given the honorary title of a European City of Culture. Along with nearby Auschwitz, it should be a must on any European tour. Meanwhile, rent The Grey Zone.

Categories
News News Feature

JOHN FERGUS RYAN: 1930-2003

This being a space where people are normally used to reading about politics, I’ll start with a true story concerning politics and the late John Fergus Ryan. In 1954, the 23-year-old Ryan, an Army vet with a wife and baby, decided to have a go at what he might have called, in that peculiar Runyonesque Southern vernacular of his, the “politics game.”

A scion of North Little Rock, Arkansas, Ryan became the all-purpose factotum for an obscure no-name candidate for governor of his native state. He set up shop one day in a rented room at the old Marion Hotel, a venerable Little Rock establishment which was, and had been for decades, the center of Arkansas politics.. (It was later razed to make way for the Excelsior, a more modern hostelry where a politician name of Bill Clinton would get in trouble with one Paula Jones.)

Ryan — known to his family as Jackie and to his wife Carla, then as now a looker, as Jack — went to work. He put out word on the street that would-be office-holders should stop by the rented room at the Marion, make their campaign contributions and sign up then and there for the state job they could expect to get when Ryan’s man was elected. It was a methodology which cut out all the frills and differed from the actual patronage policies then in place only by being unvarnished and direct.

Naturally, the main state newspaper, the old Arkansas Gazette, got wind of the scheme and sent a reporter over to pose as a job-seeker. The ringer would write up an account that made the paper’s front page the next day and ended Jack Ryan’s career as a political mover and shaker.. Anybody looking at the old yellowed clip decades later would be forced to conclude two things: that John Fergus Ryan, the author, could have written it better; and that the details of the story were the sort that belonged to Ryan’s own patented genre of the down-home Gothic.

The latter point is key: John Fergus Ryan, one of those writers unique enough to have invented a style, was in his own way a realist. He wrote some non-fiction, too, mainly for Esquire, but he was at heart a fiction-writer, and his outlandish plots and cartoonish characters reflected his sense of the way things really were.

HE WAS A PRO. There was method and exactness in the way he worked — in a cramped and windowless converted pantry space smack dab in the middle of his modest Midtown house, hard by the campus of Rhodes College.. Back in the Ô70s, when I used to teach creative writing at Memphis State University, I used as one of my basic texts a weighty compilation of materials — donated by Ryan — that started as a series of random notes: the kind of isolated quotes, details, and plot sketches that originate in a writer’s notebook as elements in search of a story.

Another set of pages showed those notes as they went through a process of development, embellishment, and elaboration into the first draft of a story. Then a second draft. A third and even a fourth, all Xeroxed and replete with marginal notes and handwritten line changes.

Then the final product — the story, entitled “The Bazemore Gala,” as published in The Evergreen Review, a leading periodical of the time.

Over and over, that series of progressions from beginning to middle to end did the trick and actually got student writers to tackle what might otherwise have seemed the implausible task of translating random thoughts and apercus into fiction. It was a kind of how-to manual for them, and if you ask, say, Arthur Flowers, the distinguished African-American author of several novels by now, how he got started, he would probably cite that student exercise of 30 years ago as key to his development.

Hell, I know he would. Flowers is one of several actually flourishing writers out there in the world that I was lucky enough to help incubate, and he is on record in several interviews as naming that class as his literary point of origin. He started keeping a notebook there, and I well remember his first complete effort, a Ryanesque effort that freely combined the comic, the grotesque, and the nitty-gritty into a neo-Faustian saga of other-worldly muckers called “The Devil’s Hell of a Plan.” His literary model would have been — in fact, was — pleased.

ONCE HE CROSSED THE RIVER into Memphis, where he earned his daily bread as, first, a social worker and later as a probation officer, Jack Ryan (who had also been a Pinkerton man) became simply John Ryan, the name he was known by to most of his friends. (It is also these days well known as the name of his son, namesake, and kindred spirit, the Memphis artist John Ryan, whose two siblings, Carla and Andy, round out what is a remarkably good-natured and bright-edged clan.) The “Fergus” part, though his by birth and certainly suggestive of the pagan Gaelic elements of his psyche, was added on for literary purposes because the classic American authors he had studied in school all had three names and he meant, at some point, to join their company. He very well may.

By the time of his death last week, of long-term complications from diabetes and Parkinson’s Disease, the ailments that had made his once Falstaffian physique unwontedly frail, John Ryan had compiled a body of work that had been published and read and admired on virtually all the continents of Planet Earth. And perhaps that “virtually” is an unneeded qualifier.. Even before he attracted the attention of American critics and readers, he had been taken up by the British periodical press, where his affinities with writers like the poet A.E. Housman and the belles-lettrist P.G. Wodehouse did not go unnoticed..

A spate of published stories would be followed in the last couple of decades by three well-received novels — The Redneck Bride, Little Brothers of St. Mortimer, and Watching. Ryan also did a play or two (one I remember concerned a patient at a mental hospital who ended up taking over the institution and running it — as good a metaphor as any for the circumstances to be observed during Ryan’s life and times). And there were screenplays by others. Billy Bob Thornton, the celebrated actor/writer/director from Ryan’s native Arkansas announced plans to produce a version of The Redneck Bride, and another entrepreneur actually did make a movie in 1999 based on Little Brothers. Called The White River Kid, it starred the likes of Bob Hoskins, Antonio Banderas, and Randy Travis, and, though for various reasons it never got released in theatres, it is available as a DVD online.

THAT JOHN RYAN HAD GIFTS as an artist and that he leaves behind a legacy of literary achievement are both givens. Those who knew him, though, will most remember him not primarily for his tropes but for his friendship. It is ironic that Ryan liked to see himself characterized by his wry and often quoted aphorism, “People are no damn good.” The fact is, as a person he was damn good. Let me count some of the ways.

He was the kind of guy who, when he heard you were moving house, would come over to lend a hand. He did so for me when, as a Gazette reporter and newlywed, I settled into a Little Rock apartment in 1967. He was there moving furniture and yanking doors off their hinges to create the illusion — and, in the fact, the reality — of more space. (It is no accident that so many people remember him as having been a “bear” of a man.) He was the friend who lent me his typewriter when I rushed back to home-town Memphis after hearing the news of Dr. Martin Luther King’s death in 1968 and discovered I’d left my own machine behind.

It was that vintage instument — the same one, or so I reckoned, that produced at least a portion of his own oeuvres — on which I wrote an account that, illustrated with classic photographs from another master, the great Ernest Withers, would appear 25 years later in a special King commemorative issue of Memphis Magazine. Never did I feel myself so honored by multiple associations.

I WENT TO THE VERY MOVING memorial service at the Church on the River in the company of several members of my immediate family Monday and heard number of graceful tributes, including one that made bold to describe Ryan — a cynic and hard-boiled religious skeptic, to say the least — as having been akin, in the warmth of his heart and in the nature of his own special ministry, to Jesus himself. To that I could say amen.

With me Monday was my oldest son Marcus, who almost three decades ago was in a Memphis hospital undergoing exploratory surgery that turned up a dreadful diagnosis and an even more dreadful — and immediate — prognosis. Keeping the vigil along with me in a waiting room had been John Ryan, and he was there when Marcus’ mother and I got the news, helping to cushion the shock. He was always available in the months that followed, in which treatment and convalescence were followed by a wholly unexpected recovery for which the term “grace of God” is the only proper signifier, and I could not help reflecting this week that Ryan’s good will had been among the elements that accompanied that miracle

I also could not help reflecting that Ryan, who had been consigned to years of unaccustomed frailty by his own illnesses, was deserving of his own miracle. What he had instead was the next best thing, an attitude that — born of his own incorrigible hustler’s optimism — was literally one of never-say-die.

As he lay on his deathbed, semi-comatose, he was still thinking ahead, according to his family, still trying to figure the angles and asking about the mail, still waiting for a publisher or filmmaker here or abroad to nibble at one of his overtures, still hoping to get news that he had received one of those whopping “genius” grants from the MacArthur Foundation that he thought, not without reason, he was entitled to.

And he was still able to stay in touch with things and to keep his hand in, even very late in the game. Once, last week or so, lying abed and seemingly unconscious, he heard family members and friends grouped around him trying to recall the punchline to a joke. Struggling to lift his head, he supplied the missing phrase:

“What’s time to a pig?” he said.

Next question: What’s time to a legend?

Categories
Music Record Reviews

Short Cuts

Ego War

Audio Bullys

(Astralwerks)

Fire

Electric Six

(XL Recordings)

A little less than a decade ago — if you believed the hype — all the

myriad subgenres spun off from disco and techno and united under the rubric

“electronica” were poised to take over the

pop-music world, tossing guitar-based songcraft

forever into the dustbin of history. This never happened, of course, especially on this

side of the Atlantic, but, like hip-hop, electronic dance music has made an

impact not just as a form unto itself but through its influence on other forms. Two

recent cases in point are Ego War, from

British DJ and MC duo Audio Bullys, and

Fire, from Detroit garage-rockers Electric

Six. You may have to look for these albums in different sections at your local music

store, but in both sound and hedonistic spirit, they’re dance records.

In terms of other recent British club-culture crossovers,

Ego War is something of a combination of the Streets’

Original Pirate Material and Basement Jaxx’s

Rooty, if not nearly as grand a statement as

either. In other words, it’s British hip-hop with its heart on the dance floor.

MC Simon Franks doesn’t convey the literary depth or waves of detail that make

the Streets’ Mike Skinner so special, but he captures a subcultural vibe with a sure

flow and a flair for ear-catching soundbites. As a rapper, he’s no Jay-Z, but he sure

beats the guy from Linkin Park. DJ Tom Dinsdale can’t yet match the

eclectic, Prince-like funk of Basement Jaxx, but club-ready tracks such as “100

Million” (which features parent-child

give-and-take worthy of “Yakety Yak” or

“Summertime Blues”) and “Way Too Long” snap

hard enough to get even the most committed wallflowers on the move.

Musically, Dinsdale cuts his techno beats and disco rhythms with

hip-hop turntable scratches and scene-setting sound effects (an aerosol can

spraying, dice being rolled, a woman approaching orgasm). Franks’ rapped verses give

way to awkward but endearing Happy Mondays-style sing-song choruses.

Thematically, Ego War is a

slackers’ tour of the casually lawless side of

club culture, Franks shouting-out to his 24-hour party people: DJs, graffiti

artists, drug sellers. The centerpiece is the

single “We Don’t Care,” a sneering anthem

that aims to be a hip-hop/techno update of “Anarchy in the U.K.” and is pretty

and vacant enough to almost pull it off.

Where Audio Bullys represent a culture, Electric Six comes across as a

total put-on, a culture entirely unto themselves.

Fire is a collection of totally lunatic

dance anthems from a band as cheesy as Steppenwolf. But it’s novelty music in

the best possible sense — with backbeats and bass lines that make the band’s high

concept a physical reality. Lead singer Dick Valentine is self-appointed “Dance

Commander,” the only garage-rock frontman in the known universe to vocalize his

desire to “program beats.” He’s backed by

a bassist named “Disco” and a guitarist named “the Rock-and-Roll Indian.”

Song titles are more than enough to convey the mood: “Nuclear War (on the

Dance Floor),” “Getting Into the Jam,”

“Improper Dancing” (” out in the street”).

If you think all this sounds too silly and forced to be worthwhile, I can

sympathize, but you obviously haven’t heard the band’s single (originally released

in 2001 when they were called the Wildbunch but finally a hit this

year), “Danger! High Voltage,” perhaps the

most inexplicably giddy, irresistibly stoopid record of the year and the band’s

one moment of true brilliance. It’s a song that suggests Electric Six might be the

first band whose music is an extension of the mash-up phenomenon, because

“Danger! High Voltage” is nothing if not an

inspired assemblage of the good parts of other records, a Frankenstein’s monster of a

rock song whose genetic code I’d map something like this: Start with an ’80s

AOR song that people take for corny but that actually sounds really good,

something like Foreigner’s “Urgent.” Give it a

Chic-like disco remix that pushes its fluid bass lines and danceable beats to the fore.

Replace the arena-rock vocals with snotty, enthusiastic, amateurish

punk-rock screeches (inviting the White Stripes’

Jack White to pitch in). Finally, for the victory lap, cap the record with some

skronky saxophone, possibly cribbed from the Stooges’

Fun House or X-Ray Spex’s Germ-free

Adolescents. Play the result enough and soon your pets will tire of hearing you

ask if they wanna know how you keep starting fires.

If nothing else on Fire comes close

to that, it’s not for lack of effort: Some nifty surf-guitar leads to a plea to start a

nuclear war at a “Gay Bar,” and “Improper

Dancing” and “I’m the Bomb” boast the

best discofied guitar anyone’s heard in 20 years. But my vote for runner-up is

“Synthesizer,” a utopian tribute to electronic dance

music that comes off as the only heartfelt moment on the record.

Fire may be a goof, but when it comes to their love of

dance music, Electric Six are very much like the equally aloof Audio Bullys: They mean

it, man. — Chris Herrington

Grades (both records): A-

A Woman Alone with

the Blues Remembering

Peggy Lee

Maria Muldaur

(Telarc)

Tribute albums are a tricky proposition at best, especially when one

artist exclusively covers another. Either you come away feeling it’s blasphemous

to even touch these classics or you get slavish, not very original interpretations.

So it’s a great relief to find that A Woman

Alone with the Blues is an excellent release. Muldaur’s talent for jazz singing,

which she’s never fully explored before, really

surfaces here.

Muldaur delivers an earthiness and direct sensuality to the songs which

Lee, with some of her pop-inspired arrangements, could only hint at. Though

Lee’s subtle delivery and ice-queen intimations of sex are classic, Muldaur lets

it rip on this material. She does a few of the better-known Lee songs, like

the ubiquitous “Fever,” in a sizzling

arrangement, but she also takes pains to cover lesser-known songs that Lee made

her own. Once again, by mining her roots and interpreting the music that

originally inspired her, Muldaur has come up with another winner. — Lisa Lumb

Grade: B+