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News News Feature

HOW IT LOOKS

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We Recommend We Recommend

sunday, 30

This afternoon at David Lusk Gallery, there s both a Holiday Show featuring the work of 12 artists, and an opening reception for Pathetic Attempts at God-like Power, no, not a show work by George W. Bush, but by longtime Memphis artist Tim Crowder. And Di Anne Price & Her Boyfriends are at Huey s Downtown this afternoon, followed by rockabilly crazy men The Dempseys.

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News The Fly-By

FED EXTRAS

WREG-TV3 recently suggested that some of our esteemed state legislators are not the conscientious custodians of your tax dollars they profess to be well, at least not when it comes to using the state’s FedEx account. As it happens, state senator John “Stop or I’ll Shoot” Ford, the worst offender according to Channel 3, has been using the state’s FedEx account to conduct official business with such catalog stores as J. Crew and the notoriously extravagant Neiman Marcus. The station also claims that Ford has used the state’s FedEx account to keep in contact with many of his constituents who also happen to be named Ford. And Ford’s seemingly unstable ex-wife Tamara Mitchell Ford has also used the account to ship dozens of packages to out-of-state relatives as well as to officials in Alabama where she faced DUI charges. So Senator John Ford is a shady character not to be trusted with public money, huh? Yeah, right! And Michael Jackson is a homosexual pedophile. Oh, wait a minute …

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We Recommend We Recommend

saturday, 29

Tha Movement with Lynn Cardona & Chris Styles is at the newly revamped Isaac Hayes tonight. And at the Full Moon Club, it s The Greg Hisky Rhythm Method CD-Release Party.

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We Recommend We Recommend

friday, 28

First of all, I made a mistake last week and mentioned the opening of The Lion King on the wrong day. Pardon me for living. It actually opens tonight at The Orpheum. And the gospel musical When Love Goes Bad, starring Johnny Gill, opens tonight at the Cannon Center for the Performing Arts. It s the last Friday of the month, which means it s time again for the South Main Trolley Art Tour, with free trolley rides along S. Main and festivities at the district s galleries, shops, and restaurants. Opening receptions during the tour include Durden Gallery for work by Steve Griffith; Jay Etkin Gallery for work by Richard Knowles; Butler Street Bazaar for interficial superference, new work by Keith Rash; and there s a River Bluff Forge Sale of handcrafted metalwork at 493. S. Main. There s also an opening reception tonight at Midtown Artist Market Gallery for work by Lewis Feibelman. The Memphis Grizzlies take on Minnesota tonight at The Pyramid. Memphis-born sax great Andy Goodrich and The Andy Goodrich Quartet are having a CD-release party tonight at CafÇ Soul, playing tunes from his new CD Too Muckin Fuch. The North Mississippi Allstars are at Young Avenue Deli. And, as always, The Chris Scott Band is at Poplar Lounge.

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Cover Feature News

A New Day at the CA

In last Sunday’s Commercial Appeal, the front page was dominated by a picture of Memphis Tiger football players Jason Johnson and Darron White celebrating a touchdown against Cincinnati. With the picture, the CA literally put on a happy face. If you’re a regular CA reader, you may have noticed that happening a lot lately.

There are bigger pictures and more feature stories, a new columnist, a deluge of reader input, a daily story about a local zip code area, and coming soon: new reader-based community sections. And, as was announced earlier this month, eight newsroom employees will be leaving under a voluntary early-retirement offer.

All part of the plan.

“We can’t assume that doing the same thing we’ve been doing is going to build readership,” says editor Chris Peck. “We have to say to ourselves, ‘What can we do to put out a paper every day that reflects the interests and the hopes and the dreams and the concerns of the people we’re trying to reach?’ You’re going to see changes in the paper regularly that are addressing those concerns.”

Peck officially replaced Angus McEachran as the editor of The Commercial Appeal in January. When the gruff McEachran announced his retirement last year, a representative of E.W. Scripps Co., the CA‘s parent company, told the Flyer the company wanted an editor with a strong sense of community leadership and someone who would make the paper a vehicle to confront the city’s challenges. Scripps has apparently found such an editor in Peck.

His national reputation was as a community journalism advocate, someone who confronted racism while editor of The Spokesman-Review in Spokane, Washington, and who held public forums for citizens to talk about issues, even if that issue was how his newspaper had covered a particular topic.

After a stint in Dallas as the Belo Distinguished Chair of Journalism at Southern Methodist University, Peck came to Memphis as essentially a hot-shot hire, a man brought in to shake things up, starting with the paper’s core mission. Peck began by interviewing individual staff members and making a few superficial changes, but in recent months the paper has undergone a major change in attitude and focus: The CA wants to be your friend.

Along with CA managing editor Otis Sanford and assistant managing editor Leanne Kleinmann, Peck has spent the last few months developing what he calls “a blueprint for the 21st-century Commercial Appeal newsroom.” The plans include targeting new readers such as African Americans and Gen Y-ers, using separate front pages for suburban and city editions, and actively interacting with readers.

Peck, a tall man with a toothbrush mustache, agreed to an interview with the Flyer earlier this month and, citing the paper’s new team-based approach, asked Sanford and Kleinmann to join in.

“In 2000, the most comprehensive survey ever done about the concept related to community journalism was undertaken by the Pew Center … and they asked the editors what was the number-one most important thing you must do,” says Peck. “Without exception –large papers, small papers, urban papers — the answer was ‘become more engaged with the readers of the paper.’ Really that sense of engagement is what came out of the whole civic journalism movement.”

Civic journalism started more than 10 years ago and has been called many things: community journalism, citizen journalism, public journalism. The basic idea is that newspapers are in a unique position to inform and engage. Instead of simply reporting the news and the questions that may arise from it, a newspaper should help facilitate answers.

Leonard Witt is the president of the Public Journalism Network, an organization founded in January in anticipation of the closing of the Pew Center for Civic Journalism, a backer of many public journalism projects and studies.

“We see our audience as citizens and not as consumers,” says Witt. “We want to help citizens become better informed about political bodies and important issues. … The key goal is to have an informed citizenry. The more informed people are, the better the decisions they make.”

For Witt, one of the main benefits of public journalism is giving citizens more access to journalists on a continuous basis. “The experts have said, ‘Well, we can’t have that. We can’t have citizens dictating what we write about.’ We never said the readers would dictate; we just want the avenues open to provide citizens with information and allow them to help set the agenda,” says Witt. “I was a journalist for 25 years and my friends helped me set the agenda when they came up with story ideas. My wife helped me set the agenda. The fact that I was middle-class helped set the agenda. … Where does a single, poor mom help set the agenda?”

While the paper may have the power to launch a community-wide discussion, not everyone is sure that generates an ideal solution. Allan Wolper, in a column for Editor & Publisher magazine this spring, called the movement “reach-out-and-touch-someone programs that it calls good journalism.”

“What this approach often does is establish connections to those who want to retain their power, rather than to those who need to be empowered to improve their lives,” wrote Wolper.

And there are other detractors who say its methods and message don’t jibe with the core values of journalism. Slate.com’s Jack Shafer called it “do-gooder journalism” and said “it’s more a New Age exercise in ’empowerment’ than it is news-gathering; recasting reporters as mediators or public therapists guiding the citizenry on their happy path to storybook consensus and closure.”

Mustering an Army

The CA‘s thrust for community involvement has manifested itself in over-the-top enthusiasm for pandas, daily solicitations for readers’ input (including cute pet names and cute kid malaprops), and pictures the paper hopes people will hang on their refrigerators.

After Amber Cox-Cody died in a day-care van in late June, the CA started what it called “Amber’s Army.” The paper solicited public opinion and held a public forum (with its news partner, WREG-TV Channel 3) aimed at finding solutions. The paper then covered and reported on the forum. It may be the very definition of “do-gooder journalism,” but for Peck, something like Amber’s Army is the most important thing the paper can do.

“It’s not that we have an answer for everything; we don’t,” says Peck. “[The Commercial Appeal] reaches more households than any other media by far. So we have to say, ‘Okay, you have a place you can come and talk about and sort through the problems and issues that we have in Memphis. To me, it’s a very deeply felt sense of purpose.”

The CA now has a database of those people who want to get involved and is in the process of letting them know about volunteer opportunities and what they can do.

Not everybody agreed with the paper’s actions, however. Former U.S. attorney Veronica Coleman-Davis, in a viewpoint published by the CA in August, argued that the public should be the ones leading the charge for change, not the media.

“Something is amiss,” she wrote, “when you create the story, participate in it, report your deeds, and then congratulate yourself for being a team player. It is hard to report objectively on a team effort if you are part of the team.”

Coleman-Davis also argued that the newspaper’s power would make it difficult for anyone to challenge the paper if it took on a crusade that had a hidden agenda. Even for this story, in fact, people were wary of talking about the paper for fear of offending it.

Other issues also arise: After the day-care van monitor, van driver, and the assistant director of the Children’s Rainbow Learning Center were charged with first-degree murder in Amber’s death, there was speculation in legal circles that the severity of the charge was connected to the case’s media coverage.

Panda-monium

One of the biggest local news stories of the year was the long-awaited arrival of pandas Ya Ya and Le Le to the Memphis Zoo. The CA created congratulatory bumper stickers and Sunday paper bags with panda pictures and the words “Now this is news” printed on them. In conjunction with the marketing campaign, the CA ran almost 60 stories that mentioned Ya Ya and Le Le in April — 17,000 words about what the pandas meant for Memphis, what their lair was like, what they ate, how many people saw them the first day, how the zoo was going to study them, how FedEx was going to transport them, and how to get your tickets.

“We did that deliberately,” says Kleinmann. “Part of it is when you send reporters to China, you get better stories than if they were on the phone. … It was pretty clear to us — around the frenzy that was the pandas — that people, not just the zoo people, not just the intelligent people, not just the people with kids who dig pandas — care about the pandas.”

It was a legitimate coup for Memphis to get the animals from the Chinese government and certainly a major local story. But was the “frenzy” about the pandas driving the CA‘s coverage, or was the paper’s coverage driving the frenzy? Was the CA “part of the team” it was reporting on?

Every possible angle — with the exception of panda overkill — was covered and covered again. The paper did a story about a group of elementary school children that got the first preview of the pandas (“One of ’em ate and slept on a big rock,” a child was quoted as saying) and then ran a story the very next day about another group of school children seeing the pandas for the first time (“Wow” was a quote from that story).

Peck counters that the paper had a moderate number of reporters on the panda story and that the CA‘s coverage of other issues wasn’t affected. His reporters were working on stories about school cheating, surveying local teachers about high-stakes testing, and University of Memphis basketball. “I think pandas fell into the category that they’re a cool thing for Memphis and let’s do some reporting on it as part of a much larger perspective,” he says.

Won’t You Be My Neighbor?

In some ways, the CA doesn’t seem to want to influence the community as much as it wants the community to influence it. In February, the paper wanted to know if you were concerned about a local terrorist threat and if you agreed with its list of the top five NBA players. In March, it asked for your spam stories: how you’ve dealt with junk e-mails. Then came questions such as: “What keeps kids happy on the road?” “Tell us, pet owners, added any creature comforts?” And “Is your dream now a reality?” Most recently, the paper wanted to know what you’re thankful for and how your second marriage is working (or didn’t work) out.

The more personal questions — such as “Does a family member have you in a huff?” — are reminiscent of afternoon television talk shows (even that genre’s popular makeover episodes found a way into the paper on Mother’s and Father’s Day). The sports, news, and media-based questions sound like subjects for a radio talk show.

“It’s engaging the readers,” says managing editor Sanford, “and I can’t think of any better mechanism for a newspaper than to engage readers, whether we’re talking about sports, television, politics, or education. … We want readers to say, ‘That’s my newspaper. I have something to say.’ If it’s credible, it will be in the newspaper.”

The CA brain-trust team says the reader comments simply supplement what the in-house experts write. It’s a part of their “how many people do you know in the newspaper?” push, says Kleinmann.

“As long as we’re not losing [TV critic] Tom [Walter] and we’re not losing the expertise that he brings and his reporting to the paper, this is another dimension,” says Kleinmann. “Especially for people who don’t read the newspaper very closely or for people who care a whole bunch about these TV shows, it’s helpful to know that Joe Germantown has seen them.”

The zip code project and the new community sections (scheduled to be launched in January with a bulk of reader-submitted material)have a similar neighborly challenge. Ads for the new community sections tout: “It’s all about you.”

“For so long our idea was: Get the news and put it into the paper,” says Kleinmann. “The fact is, that doesn’t give you much of an idea of what you’re looking for. Some readers like that approach, but some readers want to know about their place.”

You’ll Catch More Flies with Honey

“Zip codes are an easy marker,” says Dr. Sandra Utt, an associate professor in the journalism department at the University of Memphis. “They’re a way for people to get involved. You know that when they do your zip code, you’re going to read it.”

Utt says she’s not sure local readers have noticed the changes but says she and others with journalism backgrounds see a huge difference in how stories are played. She cites a recent instance where a woman’s body was found near the Hernando DeSoto Bridge.

“I heard about it from colleagues here who had watched the 10 o’clock news, but it wasn’t on the front page. I’d think that would be a big deal if there were body parts on the bridge,” she says. “Instead it’s all about zip codes and touchy-feely things.”

“I think what’s happening is they’re trying to at least maintain their circulation, and this is one of the things they hear in focus groups: People say the news is always bad,” says Utt.

Mary Nesbitt is the managing director of the Readership Institute, which is affiliated with Northwestern University’s Media Management Center, begun as an initiative to determine if — and how — the 30-year decline in American newspaper readership could be reversed. It’s no longer a matter of “if you publish it, they will come,” she says, but adds that there are things papers can do to boost circulation.

“Today, just over half of the adult population reports that they read a newspaper yesterday. That number was closer to 80 percent 30 years ago,” says Nesbitt. “The challenge for newspapers is to offer their audience something that is unique and relevant to their interests and needs.”

In April 2001, the Readership Institute released a report, “The Power to Grow Readership,” which listed eight imperatives for gaining and expanding quality readership. These included better customer service, in-paper promotion, and an emphasis on certain content: intensely local, people-oriented news; lifestyle news; and global relations.

“If a reader spends more minutes with the newspaper or picks it up more often or reads more parts of it, he or she is better informed and more connected to the information source. There is a greater likelihood that she or he will be exposed to and act on advertising content,” reads the report.

Nesbitt expects the CA‘s upcoming Thursday and Sunday community sections to be focused on connecting with readers. “I imagine that the newspaper will be looking for a wide representation of ‘people I know’ and ‘people like me,’ because their approach in effect invites people to define their news rather than have professional journalists impose their standard of news,” she says.

Peck cites the CA‘s “How We Met” features, a series of stories on local couples, as a good example of getting new readers to the paper. “I think, if you’re young and you’re at that time in your life when you’re thinking about who am I going to meet and how am I going to fall in love, seeing that story would just give you one small reason to say, I saw something in The Commercial Appeal today that interested me,” says Peck. “And if I have that, if I have that hook where I can say there’s something that a young person might read, then I think there’s a much better chance that they’re going to turn the page.” His idea is to look for a hook — whether it’s a fun story that interests the reader or the name and face of someone they know — into the rest of the paper.

According to circulation figures from the Audit Bureau of Circulation, from October 2002 to March 31, 2003, the CA‘s total average paid circulation for Sunday was 239,709. That was up about 5,000 copies from April through September 2002. During that same period, home delivery of the Sunday paper increased by about 6,000 copies, while single sales dropped by about 2,500.

“Our resources need to be focused very much on our understanding of what’s going on in Greater Memphis, and we need to do that in a way where people do see themselves in the paper,” says Peck, “because that’s where newspapers have gotten off. Where they have gotten into trouble is where people pick up the paper and they say, Gee, well, you know, I don’t see people like me in the paper. I don’t see anybody here who understands the life that I’m living.”

A similar push is on at Gannett papers, where an initiative called “Real Life, Real News” has been developed on the theory that local news should be the newspaper’s franchise.

There are those who see the tactic as pandering for circulation numbers, but Nesbitt says, “Newspapers have always had to rely on an audience to exist. I’ve learned that it’s not scary to listen to readers and understand what they want and need. And in fact much of what they want, expect, or need from newspapers isn’t that far off what journalists value.”

What’s Next?

The changes are far from over. Earlier this month, the CA announced a voluntary early-retirement offer for eight newsroom employees to free up the resources needed to staff the new community sections. With those veteran employees gone (as well as former writers such as Susan Adler Thorp, Reed Branson, and Paula Wade, who have left in the last year or so) and new ones hired, the CA will truly be Peck’s paper.

Memphis Newspaper Guild president Mark Watson says that last year’s layoffs — done by a ranking system — were worse. “People are getting some money out of the deal and they have some choice in the matter, so that’s a good thing,” he says. “It’s better than it was last year, but there’s a considerable amount of nervousness about what’s going to happen in the future, particularly after the first of the year when we launch the community sections.”

After the community sections are launched in January, the CA itself will be redesigned. “Playbook,” the paper’s Friday entertainment supplement, will also be redesigned as the paper tries to make it more relevant for younger readers. “We have a big, long list of things we’re going to work on,” says Peck, “but there’s a purposeful way we’re going to try to go about it. We’re going to build around the idea of being more connected to our community.”

And for those who think this new community-oriented paper will be more scrapbook than required reading, Peck says that’s not so.

“The idea that you’re trying to connect with a community and explain what you do, that doesn’t mean you’re not still a journalist,” says Peck. “Every community needs a stable fixture to look into things that are unclear, to point out things that aren’t right, to find examples where people are confused, and we’re still doing that. We’re still doing that.

“But don’t confuse the fact that we’re trying to open up our project and engage our readers with the fact that we’re still journalists. Because that’s the heart of everything we do.” n

E-mail: cashiola@memphisflyer.com

In Their Own Words

Excerpts from the interview …

Flyer: Who do you see as your current and future readers?

Chris Peck: The core of our market is what we call Greater Memphis. The thing we’re doing is making sure we have our core constituency well-served. Beyond that, there are three areas we’ll try to develop: the suburban ring around Memphis from Bartlett all the way around I-240 to DeSoto; secondly, African Americans — especially African-American women, the largest demographic in the county — and then thirdly what we call Gen-Y readers, who were born after 1977 and who would probably be interested in the newspaper even though they don’t know much about it.

Flyer: One of the “building blocks for the 21st-century newsroom” is telling the story of Greater Memphis through the region’s “master narratives.” What are the master narratives?

Leanne Kleinmann: There’s a ton of news every day. It’s helpful, I think, for a bunch of reasons — if you’re a reporter, if you’re an editor, if you’re a manager — to have some sort of idea where the posts are to tie yourself to.

The master narratives are our ideas about the things that influence life in Memphis. What makes Memphis Memphis and not Dallas or Nashville or wherever. … It’s not like we’re making stuff up. What we’re trying to do is connect even more closely to the things that make it this place instead of somewhere else.

Flyer: Could you give me an example?

Kleinmann: One of them is “Race, Rhythm, and River.” … There are so many things about race and music and the Mississippi River that influence this place.

Otis Sanford: Another one is Educating Greater Memphis. That’s more than just covering schools. It’s what can we do as a newspaper. What are the stories that will help Greater Memphis, help our readers, understand the community they live in?

Flyer: One of the concerns with public journalism is the idea that the paper might support something that it says is good for the community but in actuality is not. How do you guard against that?

Sanford: I daresay that you won’t find any civic journalism that we’re going to be doing that will be promoting any particular organization or one particular cause and certainly not one particular person. … It’s a mechanism that we use to be more engaged with our readers and the community and have the community be more engaged with us. It’s for our own common goals and common purposes. Did we take a stand that we don’t think little kids should be killed in day-care vans? Why, yes, we did. But I don’t think anyone’s going to object to that.

Flyer: What’s going on with your bureaus?

Peck: Well, we have bureaus. We used to have a lot of bureaus and now we have fewer.

We’re opening two new bureaus in January. We’re having a Bartlett/Cordova bureau and a Germantown/Collierville bureau that are very much in the heart of Greater Memphis. We have a Nashville bureau; we’re going to continue to. We’re trying to figure out what to do with the Jackson [Mississippi] bureau. The most important part of our readership is DeSoto County. We have a bureau in DeSoto County … and I think what we’re trying to figure out is what’s the best way now to cover the larger political aspects of our region.

We Want Your Feedback!

Tell us what you think about the “new” CA. E-mail brucev@memphisflyer.com.

Categories
Music Music Features

Queer Eye for the Punk Guys

In an imaginary world where men can bear children and Joey Ramone is still alive and having an affair with Brian Wilson, the couple’s offspring would be something like New Hampshire-based surf punks the Queers.

Although the ensemble hails from New England, the only thing “East Coast” about their sound is their “Blitzkrieg Bop” peppiness. Upon hearing their latest release, Pleasant Screams, the uninformed listener might assume the band was a bunch of beach brats. Let’s just put it this way: If Gidget traveled through time and landed on the steps of Vince Lombardi High School (from the Ramones’ movie-musical Rock ‘n’ Roll High School), this is the kind of music that’d be playing in her headphones. The Queers are pop-punk at its finest, and after a few songs, it’s hard not to long for the lazy, booze-guzzling days of summer.

The band has been around in some fashion since 1982, and they’ve tried their damnedest to stay true to their punk credo by keeping a low profile and refusing to sell out to a major label. Signed to Berkeley-based Lookout! Records, they’ve seen a few former labelmates make it big — Green Day, Rancid, the Donnas — but they’ve managed to settle comfortably into indie-punk status.

Their early albums, like Love Songs for the Retarded and Beat Off (both released in 1993), had that raw, punk sound that comes from little rehearsal and lousy production highlighted by scene-setting anthems like “Granola Head” (“Whacked-out hippies’ brains are scrambled eggs/Ugly chicks with very hairy legs/I think I’d rather be at home/Listening to the Ramones/Or hanging out and getting drunk with a bunch of useless punks”).

The band released two full-length albums, a couple of EPs, and a compilation before temporarily abandoning Lookout!. In the late ’90s, drummer Hugh O’Neil began having complications from a brain tumor and bassist B-Face left the band to join Lookout!’s the Groovy Ghoulies. Joe King “Queer” told Rock ‘n’ Roll Juggernaut magazine that Lookout! wasn’t treating the band well during that time, so with a new bassist and drummer in tow, the band made a temporary move to another DIY punk label, Hopeless Records. Joe Queer & Co. released two original albums, a live CD, and a few EPs on Hopeless, but their merry, surf-inspired sound was laced with angst and bitterness.

But time heals all wounds, and in 2001, with another new lineup, they rejoined forces with Lookout! to produce Today, a five-song EP that includes a cover of the Beach Boys’ “Salt Lake City.”

The band’s latest full-length album, Pleasant Screams (released in April 2002), presents a slightly more polished version of the Queers. Gone are the cheap equipment and careless production (although the ’93 releases and Pleasant Screams were both produced by Screeching Weasel’s Ben Weasel), but their stuck-in-junior-high, curse-filled lyrics and classic three-chord guitar prove that they haven’t lost their touch. With the ever-present Joe Queer on guitar and vocals, Dangerous Dave on bass, and Matt Drastic on drums, Pleasant Screams is the quintessential “welcome back” album.

Any bitterness left over from the Hopeless Records days has been channeled into songs like “Get a Life and Live It” (“You think that you’re perfect/So lovable and cute/But you’re just so pathetic that it makes me wanna puke/You stupid little shit/Go suck your mommy’s tit”).

Most of the songs on Pleasant Screams have a similarly in-your-face theme, but it’s clear that it’s all in fun this time around. In “Generation of Swine,” the band attacks punk sell-outs (“Jock-ass punks are a bore/Those sell-out fucks are all whores”), and “See You Later Fuckface” is the comical ballad of a guy at a punk show who, after witnessing his friends getting beaten up, tries to retaliate by stage-diving on top of the culprits only to find himself face-down on the floor.

And, by the way, the Queers aren’t gay, but they’re often mistaken for a queercore band. In the CD booklet from A Day Late and a Dollar Short (the 1996 compilation of early songs recorded before signing with Lookout! Records), Joe Queer said they chose their name “to piss off the pathetic local art community.” And that’s what the Queers are all about: pissing people off and having fun doing it.

In the days of pretentious, manufactured pop-punk boy bands with names that consist of one-syllable words followed by a number (i.e., Blink-182, Sum-41), the Queers offer a refreshing brand of bubblegum punk that, despite its poppy beat, still manages to retain enough lewdness to qualify as real punk rock. With a penchant for cursing and pre-teen antics, they’re cruising past the mass-marketed bands with their middle fingers proudly raised.

The Queers

The Hi-Tone Cafe

Monday,

December, 1st

Categories
Music Record Reviews

Short Cuts

The Black Album

Jay-Z

(Roc-A-Fella)

Jay-Z is a different kind of great rapper: Unlike Rakim or his nemesis Nas, he doesn’t boast a dense, virtuosic, jazz-like flow. He’s more like his hero Notorious B.I.G. — a charismatic talker and storyteller whose honeyed voice and relaxed, spontaneous-sounding style make listening effortless –and perhaps never more so than on The Black Album.

The Black Album is billed as Jay-Z’s “retirement” record. No one who knows anything about hip-hop really believes that this is the last album Jay-Z will put out. (And he even subtly acknowledges this on “Encore”: “As fate would have it/Jay’s status appears to be at an all-time high/Perfect time to say goodbye/When I come back like Jordan, wearing the 4-5/It ain’t to play games with you/I’ll take aim at you.”) But the notion gives the album a conceptual framework that helps it cohere better than previous standouts like Vol. 3: The Life and Times of S. Carter and The Blueprint.

Where Jay-Z’s previous record, the double-disc The Blueprint 2.0, felt tossed off, The Black Album carries a palpable seriousness of purpose that comes directly from the idea that this is a final statement. It’s almost completely devoid of extraneous elements — the skits and guest appearances that clutter most major-label rap records — and has little topical variance outside of Jay’s own career and artistic status, which, luckily, is a bottomless topic.

This is the most likable Jay-Z’s ever been, a function of the introspection the album’s theme brings to the fore. Where, on previous records, Jay-Z made good on the Sinatra comparison he likes to play up with callow, Teflon-coated vocal finesse, here he lets us peek through the protective shell a little bit. Jay-Z’s music has always resided at the intersection of art and commerce, but The Black Album is the first time in his career where he lets that tension become a theme. Tracks like “Dirt Off Your Shoulder” and “Threat” are thrillingly standard-issue but are balanced by tracks like “Justify My Thug,” which does just what it says, acknowledging the limits of Jay’s usual lyrical content and then defending it (“Mr. President/There’s drugs in our residence/Tell me what you want me to do?”).

The Eminem-produced “Moment of Clarity” borrows not just a sound (even vocal, especially on the chorus) from Jay-Z’s only real king-of-rap competition but also the style of diary-entry confession, taking the listener on a riveting visit to his father’s funeral (“Pop died/Didn’t cry/Didn’t know him that well/Between him doing heroin/And me doing crack sales [Standing at] the church/Pretending to be hurt wouldn’t work/So a smirk was all on my face/Like, damn, that man’s face is just like my face”) and segueing into an acknowledgment of his critics and his own admiration for the “conscious” rappers that they praise over him (“I dumbed down for my audience and doubled my dollars/They criticize me for it, yet they all yell ‘Holla!’/If skills sold, truth be told/I’d probably be/Lyrically/Talib Kweli/Truthfully, I wanna rhyme like Common Sense”).

This tour de force is followed by the chaotic “99 Problems,” in which producer Rick Rubin rummages in his attic for some of the rap-metal production he pioneered with Run-DMC and the Beastie Boys nearly 20 years ago, the dirt and grime only adding to the ear-popping sound and inspiring perhaps the wildest and most playful vocal performance Jay-Z’s ever given, including a traffic-stop vignette in which the rapper plays both sides of the confrontation.

“This here is the victory lap,” Jay-Z raps at one point. It won’t be the last we hear of him, but if it were, The Black Album would be a pretty good way to go out. —Chris Herrington

Grade: A-

Want One

Rufus Wainwright

(DreamWorks)

Rufus Wainwright’s third album, Want One, is dressed to the nines: Every song is accessorized with soaring strings, booming brass, and shamelessly baroque production. “Oh What a World” shows up with a low-cut brass oom-pah rhythm, while “Go or Go Ahead” walks the red carpet with a bombast that borders on heavy-metal thunder. And “I Don’t Know What It Is” sports a revealing little number accentuated with full, grandiose orchestration.

In that song, Wainwright proclaims he’s “in love with beauty,” and his approach on Want One may be a little off-putting, especially when contrasted to the more straightforward production of his self-titled debut and its follow-up, Poses. The real problem, though, is that the music cannot match the wit and feeling in Wainwright’s lyrics and melodies, which, fortunately, carry on in the same style and standard he’s always shown.

“Men reading fashion magazines,” he sings on the lead-off track. “Oh what a world!” Want One is Wainwright’s account of his growing distance from that world, both musically and emotionally: “I tried to dance to Britney Spears/I guess I’m getting on in years,” he confesses on “Vibrate,” then sings the chorus — “My phone’s on vibrate for you” — like an old man both intrigued and intimidated by technology.

Want One is best during its less-is-more moments, when Wainwright’s voice and lyrics are front and center. “Pretty Things” is just him at his piano, and “Vicious World” sets an ethereal melody against programmed keyboards and an unobtrusive rhythm section to achieve a peculiarly theatrical intimacy.

Like an actor on stage, Want One projects to the rafters; Wainwright is playing not just to the individual listener but to an imagined audience of thousands. His lyrics are endlessly quotable and his voice is perfectly matched to put his songs over. The weak link on this production is its production: The music sets the stage well, but it can only distract from Wainwright’s naturally expressive voice. — Stephen Deusner

Grade: B+

Come Feel Me Tremble

Paul Westerberg

(Vagrant)

Known infamously as the often messed-up and irreverent frontman for classic ’80s rockers the Replacements, Paul Westerberg’s solo work since the band’s 1991 breakup has been decidedly patchy, but the past few years he seems to be getting closer to the mark.

Westerberg’s earlier solo work had its great moments but was often overproduced and way too sedate, while his 2002 Stereo/Mono alternated between incredible sloppiness and hints of genius. Like that album, Come Feel Me Tremble is also a glorious mess but one that has more stunning moments than not. Though the subject matter is similar — songs about drinking and death still predominate — almost every song here seems to have a whiff of that old Westerberg magic, whether it’s a ballad, a rocker, or a punk-fueled rampage.

As usual, the ever-evasive Minnesotan refuses to divulge other players on the CD, but there’s no mistaking his lazy but Stonesy guitar or his world-weary but compelling vocals. The faint aroma of Brit-pop, circa 1965, gives “What a Day (For a Night)” its punch, while two different versions of “Crackle and Drag,” a song originally debuted on the Stereo/Mono tour, are equally good, though one’s a near ballad while the next version is an indie stomper. Finally, after years of uneven releases, Westerberg seems to be inching toward a happy compromise between trying too hard and not trying at all. — Lisa Lumb

Grade: B+

E-mail: herrington@memphisflyer.com

Categories
Book Features Books

Hide and Seek

On the night of November 19th, Rev. John Sewell was doing his best to be fair and square, honest but understanding — the third Wednesday in a row he’d had to be before an audience inside the sanctuary of St. John’s Episcopal Church at Central and Greer. The crowd wasn’t the packed house of the previous two weeks. Still, it was a good showing, there to see some slides, hear Sewell answer them some questions:

Question: “Do you think Jesus had a wife and child?” Answer: “Being married is not a sin. But a child? Would she be a half-God or quarter-God? I don’t know.”

Q: “What do you think of the Catholic organization known as Opus Dei?” A: “I don’t think there are many things in life improved by secrecy.”

Q: “Has the Divine Feminine been suppressed by the church?” A: “Probably. The church has a lot to answer for — the way women have been treated. There’s no question.”

Q: “What if the novel is true?” A: “What difference would it make? Humanity has always hungered for redemption, some sense of what it means to be human. What’s important is that God in Christ has revealed the nature of God, shown us what being authentically human looks like.”

Q: “How has the Catholic Church responded to the novel?” A: “I don’t think they’ve paid attention to it one way or another.”

That’s twice now — “the novel.” The one that’s been at the top of bestseller lists for the past 34 weeks. The one about Mary Magdalene, the Holy Grail, the Vatican, the Knights Templar, the Priory of Sion, Leonardo Da Vinci, and Opus Dei, with some chase scenes, some narrow escapes, some bloodshed, some high-tech gadgetry, some mysticism, and some tricky problem-solving thrown in. The novel on the mind of everybody that night at St. John’s.

So, last week I read it: Dan Brown’s suspense thriller The Da Vinci Code (Doubleday). And I’m not getting into the religion of it. I don’t have the space or the faith. But believe what you will: that Jesus and Mary Magdalene maybe got married in a match made in heaven; that Mary Magdalene maybe got the shaft because church fathers couldn’t grant such power to a woman; that Mary Magdalene maybe is herself the Holy Grail of Western myth and symbol; that the Roman Catholic Church maybe knows it but doesn’t want you knowing it; and that the Vatican is and ever has been a pack of con men bent on hiding the truth to suit themselves and line their pockets, no maybe about it, judging from the response to this book.

Leave it, all of it. Let’s focus on Dan Brown, a writer who can write: “Everyone in the reception area gaped in wonderment at the half-naked albino offering forth a bleeding clergyman.” (“Wonderment”? How about horror?) Who can have a police captain “let out a guttural roar of rage” as he “heaved a bar of soap out into the turgid waters of the Seine.” (Turgid’s right.) Who can label a priest in Spain “a missionary.” (A case of coal to Newcastle?) Who can refer in passing to the “hundreds of lucrative Vatican commissions” undertaken by Leonard Da Vinci. (Hundreds? Where are they? Art historians would love to see them.) Who can needlessly let us in on the latest in fancy safe-deposit boxes: “[T]he [Depository Bank of Zurich] had expanded its services in recent years to offer anonymous computer source code escrow services and faceless digitized backup.” Who can write in French so basic even a numbskull can understand it. (“Capitaine, un agent du Départment de Cryptographie est arrivé.”) Who can put us in mind of his characters’ deepest thoughts: “The Vatican has gone mad.” (Author’s emphasis.) Who can write in the best Nancy Drew tradition: a cliff-hanger seemingly every other scene and literally every five pages. And who writes, publisher to protagonist: “You’re a Harvard historian, for God’s sake, not a pop schlockmeister looking for a quick buck.” (But maybe Dan Brown [Phillips Exeter; Amherst] is.)

“My friends, this library is a base camp for Grail seekers,” says a research librarian to the hero and heroine near the end of The Da Vinci Code. “I wish I had a shilling for every time I’d run searches for the Rose, Mary Magdalene, Sangreal, Merovingian, Priory of Sion, et cetera, et cetera. Everyone loves a conspiracy. … I need more information.”

So did that audience at St. John’s. So they should see Elaine Pagels’ newest book, Beyond Belief: The Secret Gospel of Thomas. She’s a Harvard historian for real.

E-mail: gill@memphisflyer.com

Categories
Sports Sports Feature

City Sports

Brave New World

Memo to long-suffering Tiger fans: The jinx is dead. Maybe.

SPORTS by KENNETH NEILL

It’s an ill wind that blows hot, I thought to myself while standing in the parking lot just south of the Liberty Bowl at high noon Saturday — a parking lot that the blue-clad U of M faithful had turned into a mini-Grove for the occasion. The football Tigers were about to attempt winning an eighth game for the first season in 30, and the mood was decidedly upbeat. But the wind was spooky, not the cold, biting kind you’d expect in November but something different — twisting, turning, swirling in all directions.

“Wait’ll you see how crazy it gets in the stadium,” said Drew Pairamore, standing beside me inside a particularly festive tent. Pairamore should know; he spent three seasons in the early 1990s as the Tiger punter, and he learned to be wary of days like this.

Sure enough, the tempest spiraled and gusted inside the Liberty Bowl like an invisible wooden spoon stirring the contents — which included two highly regarded junior quarterbacks, neither of whom would count this among their better days. The U of M’s Danny Wimprine fared far worse against the fickle winds than his Cincinnati counterpart, having perhaps the worst game of his Tiger career. But at a fateful moment midway through the fourth quarter, with the Bearcats nursing a 16-14 lead, Gino Guidugli launched his own aerial misfire, a pass that veered a good 10 yards off course and into the waiting arms of ecstatic Tiger safety Wesley Smith, who scampered down the sideline and inside the Cincinnati 10-yard line. The U of M punched it in three plays later, and the rest, as they say, is history.

Eight victories. Whodathunkit, especially after the disheartening loss to UAB back in early October? Certainly not those fans who have spent two decades in the football wilderness, fans who have known more heartbreak than a hundred cardiologists. The Tigers won ugly, to be sure, but the U of M has all too much experience with losing well, with style and grace, and with being the best bad football team in America.

Ah, but back to the ill wind. Such was the havoc it wreaked upon Wimprine’s passing that the Tigers came out after halftime with a revised game plan, one built around a simple premise: Give the ball to the Franchise. And give it to him they did, play after play. DeAngelo Williams racked up his usual mega-yardage (and his 10th consecutive 100-yard game) before fate intervened. Going to the well perhaps once too often, the Tiger coaching staff grimaced along with Williams when the running back’s knee popped at the one-yard line and his storybook 2003 season came to an abrupt conclusion.

The Franchise’s injury was eerily similar to the one that befell another franchise player in 1993, when, also in the next-to-last game of the season, Steve Matthews (to my mind still the best quarterback in U of M history — sorry, Danny, after Saturday, you still have some work to do) also dove into the middle of the line and ended his season instantly, breaking his leg in two places. Matthews was never the same and never had the NFL career he seemed destined for. Happily, Williams’ injury looks less severe, and it’s likely he’ll be back next year to build on his already certain reputation as the greatest running back in Tiger history.

Williams is truly a joy to watch. I can never make up my mind if he reminds me more of Gale Sayers or Tony Dorsett, but let’s just say he moves in pretty elite company. His misdirection skills are the best I’ve ever seen. If you haven’t been out to see him yet, make sure you do next year, for that may be the last chance you’ll get. Williams is the Penny Hardaway of Memphis football.

But that’ll be next year, more than likely, and this year still has two games to go now that a bowl bid is certain. Those contests promise to be a bit of a struggle offensively (although Derron Parquet acquitted himself well in Williams’ absence), but with Joe Lee Dunn’s defense hitting on all cylinders, South Florida and whomever the Tigers go bowling with will have their hands full. After five victories in a row, this team really does seem to have a rendezvous with destiny. And now that they’re mastering the concept of winning ugly, I wouldn’t bet against them.


Glory Days

For college hoops’ best talent, look no further than the Memphis bench and the guys dressed in suits.

SPORTS by CHRIS GADD

John Calipari is once again out of his seat, fist pumping under The Pyramid lights, leg stomping under a rehabbed hip. There is a stop in the action. Calipari does a sprint-hobble over to the scorer’s table.

The game resumes and the Memphis Tigers head coach limps off a pick and spots up in the right corner, where he takes a crisp, perfectly placed kick-out pass from Tiger assistant Ed Schilling. Calipari shoots. Swish.

Such a scenario is how Schilling envisions using Calipari for the early-season, unofficial number-one college coaching staff team.

“If Coach Cal could get his hip rehabbed, I think he would be able to chip in off the bench,” Schilling says.

“At one time, he was really good,” Schilling adds. “He could pass and he could really shoot. But I don’t know if he could crack the starting lineup with this squad.”

This squad of Tiger assistant coaches would easily run the table in Conference USA and likely roll through any field of 65 teams for the “Sideline Championship.” Schilling, who still holds single-game, season, and career records for assists at Miami of Ohio, would play point guard. Sharpshooter Ryan Miller, a former Division II All-American, and Derek Kellogg, a two-year starter under Calipari at U-Mass, would share time at shooting guard. At small forward, Louisville Dream Team member Milt Wagner, who also owns an NCAA and NBA championship, would be the leading scorer. Mike Babul, a three-time Atlantic 10 all-defensive player, and 6’6″ Tony Barbee, a two-time all Atlantic 10 pick and fourth all-time leading scorer at U-Mass, would play power forward and center, respectively.

“Our weakness would certainly be our inside game,” Schilling says. “Tony can play the post. He’s added a few pounds, but we still would be a little undersized.”

“I think that you could make a good argument for us being the best staff,” Wagner says.

And Schilling truly thinks Cal would willingly stay seated?

“Cal only thinks he can still play,” Schilling says. “His hip might be career-ending. He had the surgery, but he still limps around like a gunslinger in a western.”

• So you thought it was tough pulling an eight-hour shift of Tiger athletics Saturday?

Exciting, yes, attending a 21-16 Tiger football win over Cincinnati and a 94-64 Tiger hoops win over Fordham. But would there be time to go home between games? Should you wear shorts or jeans? What about a jacket? Long sleeves or short? What about the kids? And the babysitter?

And for Memphis students Chris Spencer and Brian Thompson, there was this: Tiger head or no Tiger head?

“I just wanted to support the team,” says Spencer, who wore one of the now-legendary “Obnoxious Tiger Fan” T-shirts over his Winnie-the-Pooh Tigger costume to both the football and basketball contests. “I liked having two games in one day.”

“It was an adrenaline rush,” says Thompson, who adds that the plan is to wear the costumes to every game. “We went from game to game, and it’s just go, go, go.”

I guess that’s what Tigers do best.

Spencer and Thompson were not alone in student turnout. Whether the result of a new trend or from spillover following the football Tigers’ win number eight, the student section at The Pyramid was filled to near-capacity and remained standing the entire game.

• Speaking of standing, you better not be if you are a coach, player, manager, or water boy for the Tiger opposition this basketball season. The Memphis Pep Band is showing early signs of much-needed nastiness (and cleverness) in verbally attacking sometimes at excruciatingly loud decibels the opposition: “Sit down, coach. Yeah, you heard me. Why do you need water? You haven’t done nothing on the court or the sidelines.”

Isaiah Rowser Jr., a drummer in the band, is among those who pulled double duty Saturday except his day, like the rest of the band, started at 9 a.m.

“It feels great when the football and the basketball teams win in the same day,” Rowser says. “It’s been a lot of hard work. We’re tired, but we still had fun.”

Tiger basketball and football again play a double-header Saturday, with football kickoff at 1 p.m. and hoops tip-off at 7 p.m.