Categories
News The Fly-By

Book Police

The Hollywood Branch Library closed its doors last week for renovation and expansion. It’s set to reopen next summer, and when it does, some new visitors will already be at home: officers from the Memphis Police Department (MPD).

An MPD mini-precinct has set up shop in the rear of the library on Hollywood Avenue, the first precinct to be installed in a local library. According to Rhonda Lee, MPD public affairs officer, the office is still without furniture, but it is up-and-running.

What was once the Hollywood-Douglass Co-Act Unit was split into two separate units. The library precinct is serving as the Hollywood unit. The same five officers who staff the unit will also be staffing the Douglass unit. Both units operate under the North Precinct.

“There was definitely a need in that area for a Co-Act unit,” said Lee. “It’s there as a resource for the people of that community. The officers in a Co-Act unit are trained to be more community-minded.”

The area of the library building occupied by the MPD was previously owned by the Shelby County Health Department. Although it is located inside the library, a separate entrance will be used to enter the precinct.

“The police precinct was the city’s idea, but we don’t think it’s a bad one,” said Bobby King, a spokesperson for the Memphis and Shelby County Public Library. “It’s not like they’ll have a desk right in the middle of the library.”

The library portion of the building is set to open next June, and according to King, the 6,250-square-foot branch will be expanded to 14,280 square feet. It will include new carpet, furniture, shelving, and several new computers. There won’t be much of an increase in new reading materials.

“They already have a pretty sizable collection, so they’re going to be taking better advantage of the space they have available,” said King. “The shelves will be spread out and there will be more room in the children’s area for public seating.”

The $1.5 million renovation is being funded by the city of Memphis. n

Categories
Editorial Opinion

EDITORIAL

Bill Clinton brought down the house with his Monday night speech at the Democratic National Convention in Boston. Even the right-leaning pundits on the Fox Network (with the exception of Ann Coulter, perhaps the looniest person ever to be taken seriously on network television) acknowledged that the former president had made a formidable case for his party. Former Clinton adviser, now official Fox Hillary-basher, Dick Morris, called the speech a “masterpiece.”

Clinton’s principal political gift has always been his ability to humanize and personalize grand-scale issues, to illustrate them in such a way that they resonate with average Americans. That gift was much in evidence Monday night, as Clinton contrasted the actions of President Bush and Vice President Cheney — and his own actions — during the Vietnam conflict with those of John Kerry.

“During the Vietnam War,” Clinton said, “many young men, including the current president, the vice president, and me, could have gone to Vietnam but didn’t.” Clinton wangled a student deferment. Bush used family connections to get into the Texas National Guard. And Cheney asked for and got five student deferments before he turned 26 and became ineligible for the draft. His explanation: “I had other priorities.”

John Kerry, Clinton went on to point out, also came from a privileged background, also was a student, and could have also easily avoided going to Vietnam. But, instead, he asked to go. The point was obvious: America, if you’re looking for a patriot, look no further. If you’re looking for someone who’s literally battle-tested, here he is.

Clinton also self-deprecatingly noted that for the first time in his life, he was wealthy enough to be a beneficiary of President Bush’s tax cuts. He went on to point out in a very concrete manner how the $5,000 tax cut granted to him and other millionaires forced budget cuts that led to a reduction in the number of cops on the street. I’d rather have more cops on the street, he said, than give millionaires a $5,000 tax cut. It would be hard to imagine many Americans disagreeing with him.

The 24-minute address was interrupted numerous times by ovations and shouts from the faithful, a testament to Clinton’s sustained popularity. Amazingly, despite the lingering residue from his impeachment and the Lewinsky affair, Clinton’s approval ratings with the American public are higher than those of Bush or Kerry.

Presidential polls show Kerry and Bush neck-and-neck in both the popular vote and in the electoral polls. But in the next 100 days so much could happen, so many events (some possibly horrific) could alter the course of this election, that current polls could bear very little resemblance to November’s cold reality.Democratic strategists believe Bush’s best chance at winning re-election is convincing voters that the Democratic ticket would be soft on terrorism. John Kerry will get his first real chance to dispel that notion before a national television audience this week. He needs to connect on a human level, not just as an intelligent wonk. It’s a lesson Al Gore never learned. He, too, could have done far worse than to take a cue — or three — from the man from Arkansas.

Categories
Art Art Feature

The Naturals

The titles of the two exhibits currently at David Lusk Gallery are particularly apropos. “Sight Unseen” by Huger Foote and “The Very Idea” by painter John Ryan accurately suggest how the show’s artists look deeply into the nature of things while maintaining playful attitudes.

Created within a six-month time frame and encompassing a 10-mile radius of inner-city Memphis, Foote’s 11 photographs are sweeping (42-by-60-inch) close-ups that combine the artist’s love of energetic lines with an Impressionist play of color and light. Full sunlight turns white clapboard phosphorescent in Untitled 6. Thousands of weed stalks and grass blades become green waves that eddy through a corridor of yellow gold in Untitled 11. Dead grasses and vines slice and curl around the monochromatic picture plane of Untitled 10. And the fading left bumper of an abandoned 1950s automobile appears as rounded and porcelain as the torso of a reclining Renoir nude in Untitled 7.

Untitled 7, one of the most powerful pieces in the show, is a jumble of decay, life, light, line, and color. An intense blue sky is refracted through the windshield of the old car and reflected back and forth between the front and side windows, creating a shifting mosaic of midnight blues. Vines growing through and inside the car record the persistence of nature — a struggle between the manufactured and the natural playing out as weeds slowly push open the car’s front door.

While Foote was exploring back streets and vacant lots in Memphis, Ryan was fishing off the coast of Florida and the inlets of the Mississippi River.

Ten masterfully rendered acrylic paintings on paper record the sensory impressions Ryan experiences while fishing: leaves floating onto the surface of a lake, startled birds turning sharply in mid-air, a nest fallen into the water, and ribbons of red and yellow surveyor’s tape flapping on beaver sticks, those pristine white branches with the bark gnawed away.

In a recent interview, Ryan said he hoped that, above all else, his paintings “remind others to notice, to be more aware of their surroundings.” The artist succeeds. With his personal iconography of memory and reflection, Ryan takes a nuanced look at both the natural world and human nature.

He takes us deep into his paintings with midnight-blue washes and subtle gradations of color. His ominous palette for birds ranges from pitch-black to nearly transparent gray ochre, and his translucent beaver sticks are shadowed with yellows, blues, and lavenders. Highly textured blue washes are tinted with ochres and greens and accented by shadows on the water’s surface.

Ryan distills experiences into images that create feelings and perceptual shifts in viewers. In Untitled 1, the soft brown contours of a bird nest become an eye surrounded by deeply furrowed animal hide. The eye’s gaze has been described as bold, unsettling, foreboding, instinctual, cryptic, straight-from-the-gut, frightening.

In other paintings, crows, those intelligent fishing-site scavengers, soothsayers, and savvy tricksters, appear to search their own natures as they bend their heads in flight, observing the reflections they cast on water (Untitled 7) and turning to face their own shadows (Untitled 4).

Ryan’s paintings are adeptly executed statements of color, design, and haunting metaphor. Once again, this artist’s icons of distilled memory and sensation entice viewers to take leaps of imagination and chase shadows of their own. n

“Sight Unseen” (dye coupler prints by Huger Foote) and “The Very Idea” (acrylic paintings by John Ryan) are on display at David Lusk Gallery through July 31st.

Categories
Music Music Features

Record Reviews

Mouse Rocket

Mouse Rocket

(Empty Records)

Future Touch EP

Lost Sounds

(In the Red)

A poppier, more straightforward sonic outlet than her band the Lost Sounds, Alicja Trout’s Mouse Rocket steps out of its “side project” vibe in a huge way with this proper album debut on Portland-based indie Empty Records.

Trout partners here with former Big Ass Truck singer-guitarist Robby Grant (taking a break from his own solo project, Vending Machine). The band also includes drummer Robert Barnett (also of Big Ass Truck), bass player Hemant Gupta, and cellist Jonathan Kirkscey.

Many of the tracks on Mouse Rocket, recorded between 2002 and this year, have seen the light of day before — on compilations (the Makeshift samplers), seven-inch singles, and self-released records — but taken together they stake Mouse Rocket’s claim as one of the city’s best bands.

The sneakily smart songwriting here sometimes deploys exploitation-movie imagery (zombies on “Waste of Breath,” a suspected murderer on “My Boyfriend’s a Killer”) to explicate the small agonies of everyday life. It’s another-Saturday-night anomie on “Waste of Breath,” where Trout surveys a bar full of the usual suspects and laments, “I see too many zombies.” Then she decimates the scene in a deadpan garage-rock rush: “I’d rather drink my beer/I’d rather sit and stare/You’re boring me to death/Talking is a waste of breath.”

This is followed by the comically defensive “My Boyfriend’s a Killer,” where a Hitchcockian plotline seems to be a metaphor for a familiar “my friends don’t like my new boyfriend” saga, Trout sighing, “You’ve got me biting my nails/He loves me more than anyone.”

And highlights abound: With ace covers of Love’s Forever Changes standout “Alone Again Or” and (especially) the Nuggets nugget “Little Black Egg,” Mouse Rocket conducts a mini-school of rock. Grant asserts himself with “Black Helicopters” and the bent-pop Zeppelin swagger of “I’m Just Blushing.” The aptly titled “Stomp Around” is co-written by Trout and former Clears colleague Shelby Bryant. “I’m Set On You” is a sunny rock-and-roll love song, albeit one in which the protagonist is pursuing someone off the market. And the dramatic “Missing Teeth” ends the album on an impressive note.

But Trout has been plenty busy with her other band too. The Lost Sounds will release their debut album for vaunted indie In the Red this fall, but they dip their toes in the water this month with Future Touch, a seven-song, 18-minute EP for the label.

The songs on Future Touch run together in a headlong rush. The opening title track begins with a bracing cello intro before giving way to a familiar synth assault, and the record never once lets up after that: driving beats, stun-gun guitars, demented carnival keyboards, shrieked or barked vocals — all the sound of the city’s most take-no-prisoners band at the top of its form. One difference: With the textured keyboard rhythms of “Future Touch,” the rousing yet sinister drum-and-synth interplay of “Rearview Mirror,” and the almost hip-hop-worthy beat that leads off “Sweet Knives,” this might be the most danceable record the band’s ever made. Can’t wait to hear the full-length in October.

Grades (both records): A-

The Replacements

The X-Camp

(Levels Records)

The self-proclaimed “underdogs of Memphis hip-hop,” the X-Camp make an impressive mark on a crowded local scene with The Replacements. An opening soundbite warns, “I know that you’re afraid/Afraid of us/Afraid of change.” And while one doubts that much of the local competition is trembling in fear, X-Camp does differentiate themselves from the horde of would-be Yo Gottis or Three 6 Mafias out there.

Though the group proudly reps “Blackhaven” on “Heart of the Haven” (“I live in the Haven and I’ll die in the Haven”), they boast a style that mixes local and national sounds. The album’s confident production, from Tragic and J-Dogg, owes as much to the East Coast and Virginia Beach as it does to the Dirty South and would sound more at home on a Roc-a-Fella release than on something from, say, Hypnotize Minds. (One wonders whether “Blazin'” might not be a tribute to producer Just Blaze.) The clear, deliberate flows of the group’s MCs are likewise more coastal than crunk.

The album’s highlights are generally more sonic than vocal or lyrical: the hypnotic, slamming car-truck beats of “What We Came To Do” and the handclap electro riddims of “You Can’t Deny Me.”

Content-wise, the group’s references to “hip-hop heads” and the fact that most of its violent imagery is couched as the metaphorical result of lyrical beatdowns are typical of a record that’s a little bit more thoughtful and a little less aggressive than most of its scene counterparts. But that doesn’t save the X-Camp from the tired, predictable misogyny of “For My Hoes.” (“And if these hoes talkin’ shit, we leavin’ them in the ditches.”)

At 16 tracks clocking in at over an hour, The Replacements can be a bit of a chore to get through in one sitting, but it certainly introduces a viable new addition to the local rap scene.

Grade: B

August in Grace

40 Watt Moon

(self-released)

On August in Grace, their self-released debut, 40 Watt Moon combine crisp guitars, soulful vocals, catchy hooks, and sharp, wistful lyrics for a modern-rock sound that is mainstream but never panders and is always smart, Ö la such current bands as Fountains of Wayne and the Old 97’s. (From the title track: “Another wish now/As the night is falling/The summer whispers/Can’t you hear it calling?/It’s moving so fast/Will it pass you by?/In this roman candle sky.”)

The sound is consistent but finds enough range to bounce from the Big Star-ish melodiousness of “Kisses and Pills” to the rave-up of “Crush.” The band’s true crush is Batman nemesis “Julie Newmar,” a worthy target whose charms they plumb in an album highlight.

Grade: B+

E-mail: herrington@memphisflyer.com

Categories
Politics Politics Beat Blog

Show Starters

BOSTON — So there is justice in the world, after all. Or something that Democrats, local as well as national, would be inclined to use that word for, anyhow. Consider:

n Al Gore, the former vice president who many people (including virtually all card-carrying Democrats) think actually won the 2000 presidential election, got an ovation befitting an incumbent Monday evening as he served as the first prime-time speaker of this year’s Democratic National Convention.

n John Tanner, the 8th District Democratic congressman from Union County, got his own standing ovation Tuesday for being — as Shelby County party chairman Kathryn Bowers put it at a luncheon of the Tennessee delegation — “the only congressman that would talk to Michael Moore.” (Tanner was one of the congressmen ambush-interviewed by filmmaker Moore in Fahrenheit 9/11.)

n A young Memphian named Michael Negron got to address the convention as the winner of a national youth essay contest sponsored by the DNC.

n Add one more: Massachusetts senator John Kerry, who is set up to become the party’s formal nominee later in the week, was given enough distance by the schedule-makers to avoid unfavorable comparisons with the first night’s show-stopper, former President Bill Clinton.

All in all, Kerry — who, according to some polls, had actually been losing ground of late to the Republicans’ main man, President Bush — remained the big question mark for a Democratic Party that convened in Boston with a palpable optimism, a heady sort that was scarcely affected by the city’s unprecedented security precautions.

Even getting to and from the Fleet Center, the right fancy (if somewhat small) arena where the convention is being held, is no piece of cake for the horde of delegates, alternates, journalists, and rubberneckers who have converged on Boston. Anyone entering the arena must pass through multiple checkpoints and deal with an abundance of pocket searches and scanning moments.

Although some civil libertarians were scandalized by the degree of close supervision by local, state, and federal authorities (there were uniformed personnel from every imaginable jurisdiction on every street corner, it seemed), there has been an obvious and even eerie appropriateness to some of it.

The first checkpoint for all entrants into the Fleet arena on Monday took them by a fenced-in pen where the Rev. Fred Phelps of Topeka, Kansas, a self-proclaimed prophet and gay-basher, held forth with his flock brandishing such signs as “God Hates Fags,” spewing venom at Kerry and running mate John Edwards, and singing “America” with such amended lyrics as “God show his wrath on thee.”

Hurling imprecations of various kinds nonstop from his de facto cage, Phelps also made it clear that the tragedy of 9/11 — the terrorist horror that was the proximate cause of the in-depth security — was just what “this evil nation” had coming to it.

Serious precautions were also observable at the preliminary event that many of the visitors regarded as on a scale with the convention itself: namely, the weekend Red Sox-Yankees series at Fenway Park, won by the Sox two out of three over their traditional rivals from New York, where the adversary GOP will conduct its nominating rites next month.

As if to prefigure the political combats to come, all three games — watched by a who’s who of Democratic office-holders — were closely contested slugfests that weren’t decided until the last out. The second of them, an 11-10 game won by Boston with a walk-off home run, featured a bench-clearing brawl.

Hard as tickets were to come by for these spectacles, Memphis state senator Steve Cohen (a Yankee fan, it should be said) was handed a freebie outside Fenway for Sunday’s finale. The reason? Cohen’s Kerry-Edwards pin, which happened to match the politics of a kindly scalper.

Another attendee at that game was businessman Pace Cooper, who, with fellow Memphian Jason Yarbro in tow, was not so lucky but was willing to fork over the premium rates demanded by most scalpers. “After all, we’re here, and this is going on, so why not?” was Cooper’s thinking.

If the show inside the Fleet Center turns out to be as good as the games were, Cooper, Cohen, and the several thousand other Democrats gathered here will get good value for their money, time, and inconvenience. Clinton’s Monday-night stem-winder which contained the memorable line, “Strength and wisdom are not opposing values,” was good theater and not bad as exhortation either.

Advance word had been that Monday night’s heavyweight Democratic speakers — Gore, former President Jimmy Carter, and Senator Hillary Clinton of New York, as well as her husband — had been advised to go light on the Bush-bashing, but criticism from all of them, especially concerning the president’s conduct of the war in Iraq, was reasonably stout.

Carter’s was perhaps the most stinging, all the more so for being uttered in the characteristically soft-spoken drawl of the former president, now almost 80. Said Carter, “The United States has alienated its allies, dismayed its friends and inadvertently gratified its enemies by proclaiming a confused and disturbing strategy of ‘preemptive’ war. With our allies disunited, the world resenting us, and the Middle East ablaze, we need John Kerry to restore life to the global war against terrorism.”

Arguably, the most poignant moment Monday night came when Gore asked rhetorically if those “third-party” (read Nader) voters who may have deserted Democratic ranks in 2000 still thought there had been “no difference” between the candidates and parties four years ago, when the election was so close between himself and Bush as to necessitate a month’s worth of chad-counting in the disputed state of Florida.

“Take it from me,” Gore said with evident irony, “every vote counts and let’s make sure that this time every vote is counted.”

Presumably that will be the case, and the course of events in Boston this week will have a decided impact on which way that count will go.

Meanwhile, the world goes on in its appointed orbit. U.S. representative Harold Ford Jr. of Memphis — 2000’s convention keynoter and a scheduled convention speaker for later in the week — had a well-attended party for delegates, while the congressman’s father, former U.S. representative Harold Ford Sr., was on hand also, along with son Jake, who was involved in a well-publicized wrestling episode two weeks ago in Memphis but smiled civilly and even beatifically Monday night, even during the most stirring rhetorical passages.

Jimmy Naifeh of Covington, speaker of the Tennessee House, meanwhile was keeping things in perspective. “It’s raining in Memphis,” Naifeh said happily Tuesday morning on the elevator at the Cambridge hotel where the Tennessee delegation is staying. That was good news for his plants, the speaker, a resident of Tipton County, noted with satisfaction.

The remainder of the week will determine whether John Kerry can be a rainmaker and scare up a storm for George W. Bush et al. to worry about. We’ll be there and will let you know in detail next week how it came out. n

(For more Democratic convention coverage, see our convention blog at MemphisFlyer.com.)

Categories
Cover Feature News

Brats

Carrie is 2 years old, with curly brown hair and Windex-blue eyes. In a still-life portrait, she would be adorable. In three dimensions, she’s a cross between a Gerber baby and the Tasmanian devil.

Bang. Bang, bang, bang, and bang and bang.

That’s the noise of the plastic water cup she is whacking against the ceramic-topped table of a neighborhood coffeehouse whose concrete floors function like an echo chamber. If she had a hammer she would have destroyed the table by now, and I’m pretty sure her parents would’ve let her. People look up from their lattes, squint at the diminutive figure making the big, ear-splitting noise, and try to continue with their newspapers or conversations. The banging goes on for a good 10 minutes. Normally, I would say something — I’m not shy about these things — but I’m curious to know just how long her parents, with whom I’m having coffee, will let this go. The answer: Indefinitely. They don’t even seem to notice. Maybe they’re just used to it?

On some primal level, Carrie must be offended that she’s not the center of attention. There is anger in her banging, along with what I read as malice. As she grows even more restive, her father lowers her to the floor. Still clutching the cup, Carrie crawls through the room, pounding on the concrete floor as she goes along, giving everyone an up-close earful of her drum solo.

A few weeks later, I’m at a party, mostly adults with a few kids sprinkled in, among them the volcanically unruly 5-year-old son of a friend. As I squat down to greet him, he responds by biting me in the arm, leaving teeth marks through a shirt and a sweater. I am just about to spank his little behind when I realize I’m in dangerous territory. People go to jail for that these days.

I release him so that his father doesn’t see I’m on the verge of administering what probably would be the kid’s first corporal punishment. The youngster begins kicking the floor-to-ceiling window, which fortunately is made of Plexiglas. His father finally intervenes, taking the child by the arm and pointing out some of the window’s unique features. “You shouldn’t kick this window because it’s a very special window,” he tells his son. “See how the frame …” And I’m thinking, Kid, you shouldn’t kick the window because in another universe your father would have some vague concept of parental authority.

A few weeks after that, I’m on a plane … Never mind, I’ll tell you later. [See sidebar, opposite page.] Everybody has a kid/airplane story. But mine is better than yours.

Child behavior is a vast subject, to be sure, but let’s focus on one aspect that affects everyone, parent or not: what children do in public places. And if you think they are getting away with a lot more than they used to, you’re right. Permissive parenting is one thing, but wimpy parents who let their kids run roughshod over them and other adults are quite another. And they’re rampant.

This apparently has not been lost on parents themselves, judging by the raft of books advocating firmer discipline. The question is, when will “No!” be reinstated into the dialogue between parent and child and to what extent must the rest of us suffer the whims of children who rule civil society as if they’re banana-republic dictators?

Educational psychologist Michele Borba, author of numerous books on child rearing, including No More Misbehavin’: 38 Difficult Behaviors and How To Stop Them and, most recently, Don’t Give Me That Attitude! 24 Rude, Selfish, Insensitive Things Kids Do and How To Stop Them, says wimpy parents are not merely an American thing. They are a global concern. “I was in Malaysia, and even there the biggest concern is selfish, self-indulgent children,” Borba says. “It’s a growing new breed. People aren’t taking ownership of their children’s behavior. I call it the NMK Syndrome — ‘Not My Kid! My kid is perfect!'”

“Community involvement has diminished in favor of child autonomy,” says Peter N. Stearns, provost and professor of history at George Mason University in Virginia and author of Anxious Parents: A History of Modern Childrearing in America. “With children, there’s a weaker boundary between home and public, and at the same time, we have more groups now [retirees, for example, and childless couples] that are really not used to children. So it’s not surprising to see it causing a good deal of friction.”

Bring up the subject of children in public places and you will find a number of recurring complaints. There is, for example, the all-too-familiar scenario described by Layla Revis of Hollywood, California: “I was watching Cold Mountain, and there was a couple sitting in the middle of the theater with a 3-year-old girl. Naturally, the kid flipped out during the first battle scene and cried for a half-hour. Then, finally, somebody yelled, ‘Take your kid outside,’ and the whole theater started applauding.”

There’s also an implicit assumption that everyone’s home is child-proofed. Just ask Donald John, a former literature professor at Oxford who’s currently writing a book on poet William Blake. John hosted a Memorial Day barbecue last year at his home. The party was underway when the sound of violin strings being plucked alerted him that something was amiss. Upon investigation, he found that the 6-year-old son of one of his guests had removed his grandfather’s antique Italian violin from its case. “It’s a mystery how he found it,” John says, “because we keep it at the entrance to the wine cellar.”

What ensued might be called performance art. The boy began darting through the house, swinging the violin by its scroll, clipping it against walls and furniture as he led a merry chase. The mother declared that only she could defuse the situation, but each time she squared off against her son, he scurried into another room. “It turned into a hostage negotiation, but it was all appeasement,” John says. “She would offer him ice cream, and his eyes would light up for a second before he ran off again.”

By the time the violin was retrieved, its bridge and neck were damaged. “The perplexing thing is that some of these parents seem amused when their children do this sort of thing,” says John, the parent of two grown daughters. To avoid unruly children, John, a nonsmoker, requests the smoking section when dining in restaurants because he finds secondhand smoke less irritating than the kids in nonsmoking sections. (It was a child skateboarding in a restaurant lounge who tipped him over the edge.)

Restaurants, perhaps next to planes, figure big in the case against overexuberant children, as Corey Saldana will tell you. The paralegal was dining at a Japanese restaurant in Pasadena, California, when his dinner companions unleashed their 3-year-old, who tore through the restaurant, toured the kitchen, and wound up lying on the dining room floor — “like she was in a meadow, staring up at the stars” — until finally the waitress tapped the mother’s shoulder and handed back her child.

Cotton Mather, in a 1685 sermon freighted with more than a little disapproval, said: “The Youth in this country are verie Sharp and early Ripe in their Capacities.” The Puritans indeed took a pretty hard line on child behavior. According to Mary Cable’s The Little Darlings: A History of Child Rearing in America, children in the New England colonies “could be — and sometimes were — sentenced to a public whipping. More often they were forced to make a public confession at a meeting, or made the specific target of a denunciatory sermon.” And if that didn’t keep them in line, well, as every American child of the 17th century was taught, the Protestant theologian John Calvin put forth that, “[T]he Lord commands all those who are disobedient to their parents to be put to death.” The colony of Connecticut regarded this language reasonable enough to put a law on the books that called for death to all disobedient young people over the age of 14, though there’s no evidence that this was actually carried out.

“What’s interesting is how far 19th-century manners for children — which was ‘to be seen and not heard’ — extended into the 20th,” says Stearns, the George Mason history professor. In the past, he says, parents operated on the assumption that teaching their children to sit still for extended periods of time was an important part of their socialization. “We no longer do that. We have somehow come to believe that our children are just going to misbehave in public.”

We have traveled a considerable distance from the days of the Puritans, when children were taught to regard themselves as burdens and admonished to feel fortunate that their parents bothered to clothe and feed such inferior little beings as themselves. Now if it is not quite the opposite, it is almost so. A woman I know who’s expecting her first child was struck by a remark her doctor made. “You know,” he told her, “we’re the first generation that feels we have to campaign for our children’s love.”

Much blame is laid to Benjamin Spock for cheerleading the rush to permissive parenting, but take away his spare-the-rod approach to child-rearing and one must still factor in how families have changed. “Guilt is a biggie,” says author Borba. “You’ve got moms and dads doing two or three jobs. They come home frazzled, and they’re feeling guilty because they know the children aren’t getting as much attention as they should. They don’t want to spoil the time when they feel they ought to be creating warm family memories by disciplining their kids and making a scene.”

Stearns agrees. “Particularly in the last 15 or 20 years, parents have definitely become more guilty about how they treat their kids, particularly when mothers work. They don’t think it’s right to deny them attention.”

The time crunch may have as much to do with contemporary children’s encroachment on adult space as anything. I was a child in the ’60s but not of them. My parents grew up in post-Depression America and embraced what now are fairly antique ideas about “boundaries,” a word they never used but a concept of which they had full command. When guests came over, kids were exiled to the basement. The stairs were the DMZ, and if we crossed into adult territory, somebody’s father was sure to bellow, “No kids in the living room!”

This is a far cry from the father who allowed his 8-year-old son to interrupt conversation by asking, “What makes the wind blow?” and then gave him a detailed explanation worthy of the Encyclopaedia Britannica, as I observed during a recent visit with some suburban friends. But then, my mother worked only intermittently, and when she did, it was at the family business, which was within walking distance from school and home. My parents didn’t have to schedule “quality time,” except for themselves.

But back, for a moment, to the subject of basements, or rather the lack of them or other rooms where kids were traditionally sent off to be, well, kids. “Since the mid-1980s, partly because it’s cheaper and they’re becoming smaller, more and more houses are designed to have a great room instead of a parlor and a den or a playroom, which might normally segregate children from adults,” says Calvin Morrill, professor and chair of the sociology department at the University of California-Irvine. This could be a subtle factor in further obliterating the barrier between children and adults, says Morrill, who co-edited a book due out in spring 2005 from University of California Press, which includes a chapter on how parents control children in public places.

Still, many professionals agree that today’s children are overindulged and suffering from a dearth of boundaries, which means adults suffer with them. As with most things, there is a way to blame it on the boomers. Permissiveness and indulgence is an overcorrection for the autocratic parenting styles to which many of those now raising their own children were subjected, says Michel Cohen, a New York pediatrician and author of The New Basics: A-to-Z Baby & Child Care for the Modern Parent, which advocates a sterner approach. “A lot of today’s parents come from a flower-power background where they think they have to talk and explain everything to their children,” he says. “Also, many of us came from a much more rigid background, so the reaction is to go the other way. And definitely, I think people are just too busy, so they take the path of least resistance.”

All of the explaining and negotiating, Cohen says, ultimately reinforces bad behavior. “Say a kid is banging on the television. The parent may give five or six inconsistent responses. All the child remembers is the attention he got from banging on the TV, so now he’s totally engulfed in testing his parents just to see how they’ll react because it’s different every time.”

“The whole concept of self-esteem over the past 10 years really got corrupted,” says Borba. “It’s become a marshmallow thing. Too many parents subscribe to the myth that if you discipline children, you’re going to break their spirit. Children thrive with nurturing but also with structure and consistency. ‘Overindulged’ doesn’t necessarily mean that the kid has every toy. It’s making him think that he can get away with what’s not good for him. The ‘Me Generation’ is raising the ‘Me-Me-Me Generation.'”

Martin Booe is a contributor to the Los Angeles Times, where this article first appeared.

Now, the airplane story

A companion and I were on a flight to Hawaii a couple of summers ago. Directly behind Maria was a woman, about 30, attractive and well-dressed. Riding in her lap was her daughter, about 2, and they had carried onboard roughly half the Toys “R” Us inventory in the child’s age category. Before takeoff, the child was restive. She thumped, bumped and wriggled. But we let it pass, saying to ourselves that kids usually settle down and are lulled to sleep once the plane lifts off.

It was not to be. As the plane reached cruising altitude, the child thrashed like a wild animal in a box. There were squeals, giggles, and laughter emanating from both child and parent, who kept her daughter goosed up with all the toys, raucously bouncing her in her lap, then propping her on the back of Maria’s seat so that her diapers were all but resting on Maria’s head. The man beside me grimaced in a gesture of solidarity. I resorted to deep breathing.

After an hour of this, I turned around, looked the woman in the eye, and said in a low voice: “Could you please control your child?”

The woman swelled with indignation. She looked as if I’d suggested the child be dumped off the plane. “This is a 2-year-old,” she shot back. “I can’t give orders to a 2-year-old. They don’t understand orders!”

Maria then turned to face the woman and said, without masking her anger, “You are the mother. It is your responsibility to control your child.”

All around us, passengers looked up from their magazines and paperbacks.

“You obviously don’t have children!” the woman said, her tone insinuating that she, having met her biological imperative, had transcended those of us who hadn’t. With a majestic flaring of her nostrils, she added, “Because if you had children, you’d understand that you can’t control a 2-year-old!”

By now the woman and Maria were yelling at each other, prompting the flight attendants to step in. They were taking this very seriously, and I sensed that we were likely to be greeted at the airport by a federal marshal. The woman held her child in the aisle while a volunteer was found to trade seats with Maria, who graciously took the fall for a fight I had provoked. The beatific mother, meanwhile, surreptitiously gave us the finger. Once the fracas ended, the entire plane divided into two camps. As Maria marched toward her new seat, faces rose to scrutinize her. Some gave her subtle nods of support; thank goodness someone had dared take a stand against impudence! Others, as might be expected, turned their heads away in a gesture of ostracism. Those who met her gaze did so with steely eyes that said, “Child hater!”

Among the latter was a woman in high middle age with a Malibu Barbie haircut and supple, collagen-enhanced cheeks. I pegged her as a soap-opera actress. With pointed self-righteousness worthy of Joan of Arc, she offered to hold the child for the mother, rescuing her from the child-hating cranks.

Later, when the plane tilted downward, an attendant presented my new seatmate and me with two bottles of wine for tolerating Maria, whom they didn’t realize was my companion and whose contempt for children they clearly saw as the root of the trouble. When we got to our hotel, Maria asked me where I’d gotten the wine. I thought she would enjoy the irony. “They didn’t realize we were together, so they gave it to me for having to sit next to a child hater,” I said.

As the bottle whistled across the room and grazed my ear, I realized I had seriously overestimated Maria’s sense of humor. n — MB

Categories
Music Music Features

Local Beat

my surrender. nights like These. The Keep. The Break-Ups. Even around Midtown, most of these bands are well-kept secrets. While clubs like the Hi-Tone Café and Young Avenue Deli are regular purveyors of alternative music, a subculture of venues like The Caravan and XY&Z exists on the fringes of the local scene.

“It’s imperative to have alternative venues in town,” says David Sparks, the sound man at the Caravan (1337 Madison Avenue, 278-4610). “Our facility is like a community center. We have a real laid-back atmosphere, where you can do whatever you want.”

With the exception of drinking alcohol, of course: The Caravan lacks a liquor license, although that’s just fine with Sparks and club owner David Renfro. “Everyone here is friends, mostly suburban kids who are under 18,” Sparks explains. “The Caravan gives them a place to escape and learn about themselves.”

Sparks’ band, My Surrender, and other local underground acts are fixtures at the Madison Avenue club. “Indie rock is pretty dead right now, but on average nights we draw between 50 and 80 people with hard-core and metal bands,” Sparks says.

When the Madison Avenue trolley line opened a few months ago, the Caravan’s landlord threatened to raise the rent, and Renfro planned to relocate the club to a new location. “Ultimately, it was better to stay where we were,” Sparks explains. “Our current landlord doesn’t care what we do, as long as we fix whatever gets broken at shows.

“For some reason, kids love to get up on the roof, which causes leaks in other buildings, and kids like to spray paint on things,” he says. “We’ve put a stop to that with a few heated debates. And since we decided to stay put, David has been making the club destruction-proof.

“Word has gotten out,” Sparks continues. “We get hundreds of e-mails a day from bands wanting to play here. Lately, we just book the bands we know the kids will come out for.”

The club depends on Sparks’ Web site, OurMemphis.net, to spread the word about shows. “Originally, we spent a lot of time doing flyers,” he says. “Now, OurMemphis.net is it.”

In spite of his involvement, Sparks refuses to take any credit for the Caravan’s recent success. “I’m not the only person who could do this,” he says. “I want everyone to feel involved. I’m 21, and I’m one of the old guys at these shows. Some of the kids on this scene might move on after a while, but there are kids who I look at and know: In a few years, they’ll be the ones replacing me.”

On Saturday, August 7th, My Surrender will play an all-ages show at the Caravan with Crippled Nation and Nights Like These. Doors open at 7 p.m.

Just a few blocks north of the Caravan, the scene at XY&Z (394 North Watkins, 722-8225) is decidedly more adult-oriented. “In Memphis, there are so many places that are either gay or straight or white or black, but nobody had a place where you could just go and have fun. That was my intent when I opened,” explains owner Matthew Gillispie, who opened the club last Halloween.

“During the daytime, we get a neighborhood crowd who come in and eat,” Gillispie says. “At night, we get younger people who want to hang out and talk. After midnight, when the music starts, people are running around like crazy.”

That’s right. At XY&Z, shows begin at the witching hour, or later. “We have the Electric Soul Patrol DJs on Friday nights. Then Matthew Melton came by and asked to book Saturdays. I’d like to start a jazz thing on Thursday nights too,” Gillispie says.

Melton, who booked his first gig with the Keep and his own band, the Break-Ups, last month, says he was attracted to XY&Z because of the late hours. “Before it opened, bars like Printer’s Alley and The Two-Way Inn were the only late-night options in Midtown,” Melton says. “Why not charge a $3 cover and have some dirty late-night rock-and-roll?”

Although Melton also works at the Young Avenue Deli, he doesn’t see XY&Z as competition for the popular Cooper-Young venue. “The late-night crowd is more diverse — a hilarious cross-section of Memphis, from Mexican construction workers to gays and lesbians to garage rockers. It’s total debauchery,” he says. “You can get away with murder — musically, that is.”

Basil Bayne, the Keep’s frontman, agrees. “We’re unofficially playing XY&Z on a weekly basis, and it’s a really interesting scene. It’s time for some things to change around here,” he says. “The current scene, with groups like Lucero and Snowglobe, has been going on for years. There are a lot more bands that would like an opportunity to play [at local clubs]. At XY&Z, we can develop our set and work on new songs. Hopefully, we’re part of something that’s gonna turn this town upside down.”

E-mail: localbeat@memphisflyer.com

Categories
Letters To The Editor Opinion

postscript

Charter Thanks

To the Editor:

Thanks to the Flyer for positively reporting the outcome of the curriculum change for Star Academy (City Reporter, July 22nd issue). I am very pleased with the decision and look forward to increased student achievement as a result of the full support (well, almost full support) from the MCS board of directors.

Dr. Kia L. Young, Principal

Star Academy, Memphis

Bush and War, Redux

To the Editor:

David Kay, the former Bush-appointed chief weapons inspector in Iraq, recently said that Bush “should have been able to tell before the war that the evidence did not exist” for an imminent threat from Iraqi WMD and that it “was not something that required a war.” Bush has been passing the buck to the CIA; Kay isn’t buying that.

Bush’s blunder in Iraq has cost 900 Americans their lives so far, with almost 6,000 Americans injured, according to the Pentagon. Our troops are willing to make the ultimate sacrifice for us, and all they ask in return is that we put their lives in harm’s way only when it is absolutely necessary.

Remember when starting a war was an extreme and immoral act? It still is.

Doug Long

Marion, Arkansas

To the Editor:

President Bush, given a copy of the 9/11 Commission’s report in a White House photo-op, thanked the commissioners for doing a “really good job” and said the panel made “very sound, solid recommendations.”

Let’s not forget, however, that Bush originally opposed the formation of the commission. He changed his mind only after relentless pressure from loved ones of 9/11 victims. Then he opposed the commission’s request for additional time to complete its final report. He opposed the public testimony of National Security Adviser Condoleezza Rice, but he flip-flopped and gave approval with the condition that no other adviser be allowed to testify.

Bush originally would agree to only one hour of his own testimony — and that only before the chairman and co-chairman of the commission. He flip-flopped when critics asked how he could spend several hours attending a NASCAR event but only one hour for important testimony on 9/11. Then Bush agreed to appear, but only in private, only with the vice president at his side, only if what he said was not under oath, only if there was no video or audio recording, and only if no notes were taken by commission members.

Bush’s actions sought to block this commission from seeking the truth at every point about what was known and done about terrorism leading up to

9/11. Yet now he praises their report.

It is unfortunately this president’s standard operating procedure: He says one thing in a public photo-op yet does the opposite when the cameras are turned off.

Alan L. Light

Iowa City, Iowa

To the Editor:

Last week, President Bush told an audience in Iowa that he wanted to be “the peace president.” Is this the same George W. Bush who has spent the last three years telling us he was “a war president”? And Bush has the nerve to accuse John Kerry of flip-flopping!

George B. Lewis

Memphis

To the Editor:

To all you Bush haters who still can’t get over the fact that Al Gore lost straight-up to Bush: Get a life! And while you’re at it, you might want to consider not voting for Democrats, who worship at the altar of the NEA, which is more interested in indoctrinating your kids and teaching them how to use condoms instead of how to read a butterfly ballot!

Scott Leath

Oakland, Tennessee

To the Editor:

John Kerry and John Edwards say they are protecting American workers from foreign competition. But The Washington Times recently reported that while Kerry was in Detroit attending the National Urban League Conference, he insulted that city’s American autoworkers by issuing a press passwitha Rolls-Royce 100EX emblazoned upon it.Prices for that car start at $324,000.

I assume the blue-collar auto-industry workers just loved that.

Joe Mercer

Memphis

Categories
Film Features Film/TV

Song & Dance

If a custom-tailored vet/asks me out for something wet/When the vet begins to pet — I cry, Hooray!/But I m always true to you, darlin , in my fashion./Yes, I m always true to you, darlin , in my way.?

These lyrics are from Cole Porter s triumphant 1948 musical Kiss Me Kate. They could serve as the thesis for De-Lovely, a biopic of Porter s life from his courtship of wife Linda to his death. Porter was always true to Linda — in his fashion. He had trysts and flings with men, but his heart belonged (primarily) to his wife.

They meet. He s the talk of the town, and she s a coveted socialite. She is drawn to his talent and charm, while he admires her style and poise. Played by Kevin Kline and Ashley Judd, they are a handsome couple. Even if they weren t, it would be easy to understand the attraction. But Porter s a bit more complicated than the average 1920s Joe: He has other interests. That s okay with Linda, who says early on, Let s just say you like men more than I do. So long as Cole always comes home to her, she s happy. And that s that. Or is it? Being a less-than-closeted homosexual, Cole enjoys more than just the physicality of his affairs. There is an entire subculture built around this particular adulterer and one that the wives aren t exactly invited to. Linda and Cole s relationship is built on a sharing and understanding that society couldn t fathom, so her exclusion from portions of Cole s life outside of the sexual turns out to be more daunting than either could expect.

Meanwhile, Cole goes from one musical to another, with parties and after-parties, Hollywood and Paris in between. But tragedy eventually strikes: Cole s legs are broken in a riding accident, and Linda develops emphysema. Their dedication to each other is tested yet again when they must become each other s caretaker. For Linda, this means securing a partner for Cole after she is gone. For Cole, losing Linda is like losing a muse.

Watching De-Lovely is not unlike standing in the wings and witnessing the inner workings of a musical unfold. Sometimes it makes sense and sometimes it doesn t, but we forgive the messy conceits because we love the form. Or we don t forgive because we don t love musicals.

Alas, De-Lovely doesn t have a very strong narrative or directorial push. In musicals, a director knows when to take a pause and when to keep things fast and funny. De-Lovely ambles along, sometimes singing and sometimes not, and the musical numbers have even less definition than were they onstage. Sometimes the world is a big musical, and everyone is a participant. Sometimes it s just Cole and Linda sitting at a piano with Cole crooning to his lady love. Amid it all is a peculiar framing device that has Jonathan Pryce appearing as a phantom producer beckoning Cole to tell his story and revisit old triumphs and hurts. I wish that the writer Jay Cocks and director Irwin Winkler had committed to the idea of making this a musical. Instead, it moves along like a long dress rehearsal, with some production numbers fully realized and others limping along.

Kline is rather wonderful as Porter. He makes no grand overtures toward likability, opting instead to depict Cole as the complicated and often difficult man that he was. Kline has also toned down his own singing abilities to better mimic Porter, who, while a musical genius, was not an accomplished vocalist. This makes his many serenades to Linda all the sweeter — labors of love instead of ease. Judd doesn t fare as well, and while I am not a big fan, I can credit her for at least rising to the material. The film seems content to state early on that the Porters have a unique understanding, but the film doesn t evolve much beyond their adoration and her occasionally looking the other way.

Those who hate musical theater typically do so because they can t understand what the fuss is all about. Nor can they invest in the conceit. This movie is not for them. Like a musical, Linda and Cole Porter are messy and, in their way, beautiful, and they don t always jibe. But they forgive and persist because of that same elusive quality that allows one to suspend disbelief and love the musical. n

Categories
News News Feature

CITY BEAT

TWO AMERICAS, TWO DOWNTOWNS


A model of the FedEx Forum

The FedExForum will be “substantially complete” by the end of July. As I drove around it Tuesday morning, workers were putting up the big letters “u” and “m” in the word “forum” on the building’s east side. Um. My thoughts exactly.

As nice as it looks, is this, um, what Memphis ought to be doing now?

Congratulations are in order for M.A. Mortenson construction, its employees, and the Public Building Authority (PBA), which got the job done on time and on budget– something the main library, convention center, and city schools could not do. But, um, might not some of those projects have been finished under budget too, if their budget had been $250 million?

On time is one thing. Timing is something else. Time will tell if this is the right time to celebrate the completion of the most expensive publicly funded building in Memphis history for the use of the most highly paid athletes in Memphis history. Yes, I know the University of Memphis will use it too, but this wasn’t their idea. A Memphis Grizzlies benchwarmer makes about $5 million a year. The salary structure of the NBA and other major-league sports is made possible, in part, by new publicly built facilities such as the FedExForum. Meanwhile, the Memphis and Shelby County school superintendents are in tears over the budget cuts they’re being forced to make, and every politician I’ve talked to believes there will be more cuts or a tax increase next year.

The streets around the FedExForum have been freshly paved and landscaped. How about the, um, streets and public parks in your neighborhood? We are told that the money that went into the FedExForum would not have gone into schools and parks. Well, it wouldn’t have gone into an arena either without special diversions from MLGW, downtown sales taxes, and hotel and motel taxes.

In Boston, Democrats are batting around the themes of “two Americas” and “the middle-class squeeze” at their national convention. In their view, one America reaps gains in the stock market. The other America works at Wal-Mart, which happens to be the largest corporate employer in Tennessee. But how can you get into the “corporate greed” theme when homegrown FedEx provides good-paying jobs, insurance, and retirement and education benefits for some 30,000 Memphians?

Whatever your view of the Democrats and their slogans, if you do not work or live downtown, you owe it to yourself to come and look at the FedExForum, Beale Street, Peabody Place, AutoZone Park , the riverfront, The Pyramid, Mud Island, Wonders, the convention center and Cannon Center for the Performing Arts, and the blighted sections too Ñ and there are still lots of them. The FedExForum’s neighbors include the long-abandoned Chisca Hotel to the west and public housing projects to the south. Come basketball season, the contrast could be a little jarring for fans unaccustomed to navigating downtown streets who stray too far in search of a parking place. Two Americas indeed.

Much of downtown has never looked better, thanks to all the public and private money invested in the last 20 years. The FedExForum flows seamlessly into Beale Street, which meshes nicely with Peabody Place, which is a short walk from AutoZone Park. All in the space of a few blocks, with another hotel likely to be added to the mix in a year or so.

The riverfront, from Martyr Park to Tom Lee Park to the Mississippi River Greenbelt on Mud Island, is a more or less continuous band of manicured grass, sidewalks, and flower beds. Mud Island River Park is now accessible by bicycle, and parking is free. You can ride a bike into the park, get on the elevator to the walkway over the monorail, and bike back to Front Street. Riverside Drive is a boulevard, giving pedestrians a fighting chance against the traffic if they take one of the new white stone stairways from the top of the bluff to Tom Lee Park. The Riverwalk in front of South Bluffs is lined with million-dollar homes and, to put it nicely, eclectic architecture. Mud Island now has a population of about 5,000 people.

When it comes to riverfront parks, Memphis has an embarrassment of riches, which is probably one reason why there is no urgency to do something about the Promenade.

But the Memphis landscape is also dotted with monuments to bad timing and big ideas whose time has past. The Pyramid is the most obvious example, facing a dim future 14 years after it was opened. Mud Island River Park and its outdoor amphitheater, monorail, and museum opened 22 years ago when Tom Lee Park was a third its current size and the Auction Street Bridge to Mud Island didn’t exist. The main library opened when the Internet was making libraries less important. Agricenter International is a 30-year-old idea. The Mid-South Fairgrounds is a garage sale of discarded, underused, and underfunded facilities.

Four years ago, Sports Illustrated and sportswriters such as Frank Deford were questioning whether the NBA could hold on to its audience and why anyone would pay $200 million for a team. There were predictions that the FedExForum would be one of the last, if not the last, publicly funded major-league facility in the country.

Now it’s here, on time and on budget, we hope. So come downtown and walk or drive around it even if you can’t go inside. You and our visitors are paying for it. And with city and county budgets tapped out, there probably won’t be another big public building project in Memphis for a while.