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local beat

Though a couple of years have passed since the release of his heralded debut, local singer-songwriter Cory Branan is back in the studio working on the follow-up to The Hell You Say with a host of local musicians. Branan began recording the new record a few weeks ago at Young Avenue Sound and Easley-McCain Recording with local producers Jeff Powell and Kevin Cubbins, respectively. Branan says the record will be more of a rock record than his debut, but it will mix full-band recordings with acoustic tracks. Among the myriad local musicians who’ve already contributed to sessions are drummer Robert Barnett, bassist Mark Stuart, Snowglobe‘s Tim Regan, Lucero‘s Ben Nichols and Roy Berry, and Big Star‘s Jody Stephens. Branan says he expects to finish recording in mid-September with a release slated on MADJACK Records for November or December. The record will likely feature new arrangements of familiar Branan live-show staples such as “Girl Named Go” and “Prettiest Waitress in Memphis.” But you don’t have to wait for the new record to catch up with Branan, who is featured in this month’s Memphis Acoustic Music Association concert Saturday, August 21st, at Otherlands Coffee Bar. Tickets for the event are $12 and are available at Otherlands and at Davis-Kidd. Branan will also play the Hi-Tone Café this week on Tuesday, August 24th.

Music news and notes: Branan isn’t the only prominent local artist in the studio this month. Onetime labelmates Lucero have been holed up with Jim Dickinson at the renowned producer’s north Mississippi studio working on the follow-up to their national breakthrough, That Much Further West. The band is also planning split-singles with former Memphis band Loggia (to be released on local punk label Soul is Cheap) and former tourmates Against Me!. In preparation for a fall tour, the band is holding a “mix tape” contest in which fans can make the band cassette or CD mixes to listen to on the road, with the band’s faves winning prizes. For more information on this, see Lucero’s Web site at Lucerofamily.net Saliva‘s third album for major-label Island Def Jam, Survival of the Sickest, hits stores on Tuesday. The metal band’s latest was partly recorded in Memphis at producer Paul Ebersold‘s 747 Studios. The band returns home next week to headline the 93XFest concert, sponsored by modern-rock radio station 93X, Saturday, August 28th, at Mud Island Amphitheater. Saliva will be joined by fellow Memphis-connected bands Skillet and Breaking Point, as well as out-of-towners Earshot and Shinedown. The show is part of a season-long national tour by Saliva to support the new record, which will also see them sharing the stage with Kid Rock and ZZ Top on other stops And speaking of Kid Rock, that ubiquitous genre-leaper makes an appearance on A Bothered Mind, the newest release from north Mississippi blues icon R.L. Burnside, which was released by the Fat Possum label this week. Also appearing on the album is California indie rapper Lyrics Born of the Quannum Projects collective Former Stax singer Mavis Staples also has a new release, Have a Little Faith, hitting stores this week, released by blues label Alligator Records Makeshift Music‘s flagship band, Snowglobe, release their second album, Doing the Distance, next Tuesday, August 24th. The band will celebrate the release with a show at the Hi-Tone Café Saturday, August 28th Also in stores August 24th is Grace: Legacy Edition, a re-release of the 1994 album by late Memphis-connected singer Jeff Buckley. This new version of Buckley’s most popular record will include a second disc of rarities, as well as a DVD of music videos and studio and live performances Listen for The Gamble Brothers Band this week on the locally produced, internationally syndicated radio show Beale Street Caravan. The Caravan will broadcast a performance by the band from the “Out of Doors” concert series at New York’s Lincoln Center. The program can be heard locally on WEVL-FM 89.9 at noon Tuesdays and on WUMR-FM 91.7 at 6 p.m. Wednesdays In other Archer Records news, the Gamble Brothers Band will be making its first appearance outside the United States next month at Canada’s Harvest Jazz and Blues Festival, while singer-songwriter (and Beale Street Caravan producer) Sid Selvidge will be following the Gambles with his own performance at the Lincoln Center series August 20th. Classical guitarist Lily Afshar returns to Memphis after a summer of international performances. Her first Memphis concert of the fall is scheduled for The Dixon Gallery and Gardens on Sunday, September 12th MemphisRap.com is hosting auditions through the end of the month for a planned urban-music showcase. For more information, go to showcase.MemphisRap.com The legendary 1973 Wattstax concert film, which was re-released in theaters last year, will make its national television debut Tuesday, September 7th, on PBS as part of the network’s P.O.V. documentary series. The broadcast will coincide with a DVD release of the film Cooper-Young’s Goner Records will host an art opening for Alabama-based folk artist Butch Anthony this month. The opening, set for 7 p.m., Friday, August 27th, will feature music from local bluesman Robert Belfour.

E-mail: localbeat@memphisflyer.com

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Letters To The Editor Opinion

LETTERS TO THE EDITOR

Herenton for Bush?

To the Editor:

I’m not so sure that voters will be sold on the idea of Democrats for Bush, certainly not if Mayor Herenton endorses him (Politics, August 12th issue). Herenton would be a liability on anyone’s list of supporters.

Now if the Shelby County Republican Party secured the endorsement of councilmember Carol Chumney, that would be a real plus for the ticket. I also read in that same column that GOP chairman Kemp Conrad is on a two-week junket to China.

It’s interesting that the trip is sponsored by the American Council of Young Political Leaders, which receives a generous grant from the Bureau of Educational and Cultural Affairs of the U.S. State Department.

Chas S. Peete Jr.

Memphis

Grownups in Charge

To the Editor:

Here’s a phrase we haven’t heard much recently: “Now the grownups are in charge.” We heard it a lot in the first days of the current administration, when the GOP gained control of the White House and both houses of Congress. It was intended to imply that we’d see a style of government that one would expect of an adult: mature, fair judgments based on calm consideration of the facts.

What behavior have we seen from these “adults” in the past three years? Picking fights with those countries or people who disagree with them; making promises to gain approval, but not carrying through on them, or even doing the opposite; sincere but inappropriate application of simplistic principles to complex situations; a general tendency toward what my grandfather used to call “thinking with your wisher.”

Looks to me like the behavior of a male teen-ager, feeling his oats and urges but unable to harness them with truly adult judgment.

Rich Olcott

Memphis

Cheesy?

To the Editor:

I am writing in response to R.F. Hine’s letter (August 12th issue), in which he noted that he and his 14-year-old daughter laughed when John Kerry saluted and said he was reporting for duty at the Democratic convention. Hine seems to have a problem with a man who fought for his country, then had the courage to say the war was a mistake.

Here is a history lesson for Hine and his daughter (who will not be laughing when she is working to pay off the debt President Bush is running up): The American people were told that if Vietnam fell, all Southeast Asia would fall to the communist Chinese. But what really happened when President Nixon finally pulled us out of Vietnam was that the Vietnamese and Chinese starting shooting at each other. The domino theory was a lie, just like the lie that Saddam and Osama are linked in the 9/11 attacks.

Hine’s support for Bush, who claims he was for the Vietnam war yet chose to use family connections to stay out of it and then failed to finish his last 18 months of National Guard duty, seems strange to me. Hine also fails to explain why the Navy and the men who served under John Kerry agree that he deserved his medals.

If Hine thinks serving on a swift boat in combat was no big deal, why doesn’t he sign up for duty in Iraq and then let us know what he thinks about having people shoot at him. By the way, please don’t head to Iraq via Alabama. We wouldn’t want to have you get lost, like our “war president” did.

Jack Bishop

Cordova

Retirement Plan

To the Editor:

Susan Adler Thorp has resigned as head of public affairs for the county mayor. Since she formerly was employed by The Commercial Appeal, do you think they might possibly reinstate her? She could work there for a few months and then retire and draw a pension!

Joe Mercer

Memphis

No Fear

To the Editor:

In “Unsound-bites” (Viewpoint, August 12th issue), Richard Cohen wrote: “Bush would not negotiate with North Korea. He did. Flip-flop.”

He did because he probably remembered these words from John F. Kennedy’s inaugural address: “Let us never negotiate out of fear. But let us never fear to negotiate.”

Arthur Prince

Memphis

NOT GuiltY

To the Editor:

I used to feel guilt, thinking that what I wore was tempting all the males (Fly On the Wall, August 5th issue). But I unlocked the lid on the Baptist fundamentalist box and jumped out. Thank God Almighty, I’m free at last!

Char Childers

Memphis

Categories
Cover Feature News

From Cheesy to Sleazy

Some cynic once said, “I wouldn’t want to live in a city where you couldn’t get a parking ticket fixed.”

Me neither. And I sure wouldn’t want to work in one. Gray areas and exceptions to the rule are the mother’s milk of journalism. Nothing would be more boring than a perfectly clean town where everything works like a clock. But as recent events involving Shelby County mayor A C Wharton, two former top aides — special assistant Bobby Lanier and public affairs spokesperson Susan Adler Thorp — and Tom Jones’ pension request show, there is no danger of that here.

The question, instead, is how anything gets done in Shelby County when a half-dozen bright people with a combined total of more than 100 years political experience as elected officials, appointed officials, advisers, lawyers, fixers, spinners, press spokesmen, and newspaper columnists exhibit the communication skills, curiosity, mutual trust, and common sense of a bottle of ketchup.

Rarely has so much news coverage been so far off the mark. This was not a Tom Jones story. It was a county government breakdown story. It was an A C Wharton and Bobby Lanier story. The man of action and the man of ideas; the mayor and his driver and lunch buddy. Bobby Lanier probably got more face time with A C Wharton than anyone in Memphis outside of the mayor’s wife. Yet Lanier never explained and Wharton never asked exactly what was up with old Tom, even though Jones had made it clear to both of them that he intended to come back to work for Shelby County government, if only for a day or two, despite his criminal conviction on embezzlement charges.

Politics and criminal justice are imperfect sciences. Deals, compromises, and half-solutions are the nature of the beast. Some criminals go free; some get out of prison too soon; some good people get shortchanged; some rogues prosper. As the mayorally appointed Shelby County public defender for more than 20 years and a criminal attorney in private practice to boot, Wharton accepted plea bargains, deals, and imperfect solutions in the court system. Now he acts shocked that they are part of county politics.

Jones, who reported to a federal prison Monday, is correct that this story has been overblown, at least if it is played as a Tom Jones story. The real story isn’t what was done but how it was done, leading to an extraordinary internal investigation and the forced resignations of Lanier and Thorp, a Wharton appointee.

A case can be made that Jones deserves an early-retirement pension of roughly $3,000 a month, which is what he could be drawing today, no questions asked, if he had lasted another eight months in county employment. He worked for Shelby County for 26 years. He was eight months short of his 55th birthday when he got suspended. A few months earlier, he was highly employable, with a fat file of contacts and options, in the wake of the successful opening of AutoZone Park and arrival of the Memphis Grizzlies, projects with which he was intimately involved.

Without another job waiting, nobody 54 years old with a family and the usual array of middle-age worries about health and home leaves a job eight months before his pension is going to double and pay him an additional $540,000 if he lives another 30 years.

Financial newspapers, magazines, and books are full of advice about how to max out your pension. Last week a story in The Wall Street Journal headlined “How the Fed’s Move Affects Your Pension” advised older employees to “consider moving up their retirement date.”

That’s what Jones did. He tried to move up his retirement date from age 65 to age 56. If going to prison, being jobless, turning 56, and family illness aren’t life-changing circumstances, then what is?

So he talked to his old colleagues, sent in his paperwork to a county official appointed by Wharton, and exercised his fallback rights. Fallback rights entitle civil-service employees to job protection. That may be a foreign concept to some people but not public employees. Jones did what many other county employees have done over the years, although in his case it was a stretch to go back 24 years when he had civil-service protection before he moved up to an appointed position. And Jones never reported to the phantom job and was not paid.

Susan Callison, attorney for the Shelby County Retirement Board, said she has not seen another case like the Tom Jones case in her nine years in that position.

“Just because someone is put back on the rolls, to me it does not necessarily make them a county employee,” she said. “Any employment lawyer you talk to will tell you that just because you say someone is an employee it doesn’t mean it is so.”

She conceded that, contrary to what she originally thought (and consistent with what Jones has stated), Jones did not put himself on the retirement board’s agenda in 2003 by applying for a deferred pension at age 65. Instead, he and other former employees were put on the agenda by administrators so that actuaries could calculate the future needs of the pension system.

“Many times an individual who is entitled to a deferred vested pension at 65 doesn’t even specifically apply for one,” she said. “In Tom’s case that was the case. Every employee who terminates has to be put on the list for the sake of the actuaries.”

Callison said an error was made in June by giving administrative approval to Jones for an early-retirement pension. The request should have come before the full board.

“Nobody gets a pension unless the board has approved it,” she said. “The names are read aloud, the type of pension is noted, and the approximate amount of the pension is read aloud before the board votes on it.”

She said the retirement office “is full of wonderful, straight-up people and they do an excellent job and jealously guard the assets.” She suspects office administrators were advised by others to take the actions they did in the Jones case.

And that’s where this stopped being a Tom Jones story and became a story about the idealistic Wharton, who, for all of his public visibility, can be confoundingly deliberate and difficult to corral for five minutes of undistracted face time, and his political godfather Bobby Lanier, who for three mayors was the ultimate “man to see” to get something done now.

Government is all about access. Access to boards that zone property and issue permits. Access to members of the City Council and the County Commission. And best of all, access to the city and county mayors. Lanier was Mr. Access to county mayors Bill Morris, Jim Rout, and Wharton, as well as other top county officials.

To everyone who knows him, he is just Bobby. When the modern form of county government was invented 30 years ago, that was one thing. Today it is something else. In a county with a population of more than 800,000 people, not everybody knows Bobby. So if you need to get something done pronto and know Bobby, everything is cool and you have a leg up. And if you live in the little world of county government or city government or the news business, you might think everybody knows Bobby, just like if you follow pro basketball you might think everybody knows K.G. or J-Will. But if you don’t live inside the little world of Memphis politics or follow the NBA, you probably don’t have a clue. In fact, all this cozy familiarity and nicknames can be downright offensive, like turning on Crossfire or the NFL Today and wondering what some bunch of screamers is so excited about.

Wharton finally had to admit that it isn’t fair. His voice nearly breaking, he said “there are no off days” for those who work on the eighth floor of the county building, where the offices of the mayor and his top aides are located. Everybody who lives in Shelby County and has business with the mayor’s office is supposed to get a fair shake. It’s called equal access. So Bobby Lanier and Susan Thorp, with their infinite institutional memory and hotline to the mayor and glowing reviews from Tom Jones, had to go.

It was understandable that Wharton would keep Lanier around a while. Lanier was so zealous about getting Wharton elected in 2002 that Rout had to warn him to back off the politics until his term was over. Until Lanier suffered a shoulder injury a couple of months ago, he and Wharton seemed to be inseparable, as the mayor seemingly relished the ceremonial duties of luncheon speeches and community meetings. But, we are to believe, they never talked turkey.

As for Thorp, if you’re the head of public affairs, you’re supposed to be in the know, particularly about hot topics. Like Lanier, Thorp’s strength was also a potential liability. You don’t write a newspaper column of inside scoop for The Commercial Appeal for 10 years and then make people believe you didn’t know what was going on with your old friend Tom Jones or talk to your boss, the mayor, about it.

Wharton and John Fowlkes, his chief administrative officer and a former federal prosecutor, seem determined to do better. They must. Voting is down to 12 percent in the last election. A citizen’s group is demanding a referendum on city pensions and making a general clamor for accountability in government. Wharton came to the mayor’s office vowing to clean up county government. Two years later he’s still at it. As a politician, he is liked by nearly everyone because he is seemingly all things to all people. Last week’s painful action was decisive and could indicate a new course and determination. Fowlke’s investigation of the Jones pension story was unprecedented. It named names, and Fowlkes said “the mayor is going to consider disciplinary action against others.”

Replacements must be found for both Lanier and assistant chief administrative officer Ernie Gunn, who is retiring for unrelated reasons. It will be telling to see exactly how Wharton defines Lanier’s old job. The best Fowlkes could come up with after he released his report was “adviser to the mayor,” but that evasion doesn’t begin to tell the story. n

How a Mayor Learns the Ropes

Other mayors know what A C Wharton is going through. Transitions invariably involve hard decisions about keeping or getting rid of key employees and, for the mayor, asserting a personal style. And there is often a crisis to deal with in the first year.

“Defining your personality and your style to thousands of employees is something that you don’t just sit down and say, ‘Here is what I’m going to do,'” said former Memphis mayor Dick Hackett. “That’s something those employees pretty well define about you. That is why every step you make in public and private life is so important. Your style and character are the soul of your administration.”

Hackett was 33 years old when he was elected in 1982 to finish the remaining 13 months of Wyeth Chandler’s unexpired term after Chandler was appointed to a judgeship.

“I had to define myself both within the administration and to the public,” Hackett said. “I had to make quick decisions and quick impressions. Fortunately, philosophically, Chandler and I had very few differences, but we certainly had different personalities and lifestyles that would affect the kind of people we work with.”

One of his first decisions was to replace a police director who was a political crony of Chandler with a professional cop. That proved important a year later when Hackett had to deal with the notorious Shannon Street incident in which a police officer was taken hostage and killed and police in turn killed seven hostage-takers.

“I probably reached a higher comfort level in my second administration, but I was always concerned that I would start to take things for granted and leave well enough alone and not rock the boat,” said Hackett. “I realize now more than ever you have to protect yourself from getting too comfortable with the status quo. Being there too long can bite you just as much as being brand-new because you let your guard down.”

Hackett was succeeded by Willie Herenton in 1992. Herenton came to the job with a dozen years of experience as superintendent of the Memphis City Schools. He declined to speak about the specifics of Wharton’s current situation, but he did offer some comparisons of their backgrounds.

“I had vast experience dealing with high-level government officials and about 15,000 employees and 18 unions,” said Herenton. “I was a highly visible media personality. The dynamics of politics and litigation are different. When I came into the mayor’s office, I was probably the most prepared individual of anybody to assume the mayor’s job. Now, when you contrast that to an individual who has been an attorney who walks into a multi-faceted county organization, he does not bring to the table the same prerequisites that I did. I often say to my good friend A C that there is a lot of difference in practicing law and being a mayor.”

Herenton said his own first term was difficult despite his experience.

“The biggest transition for me was coming into an organization and having to work with politicians on the City Council,” he said. “I had fired members of the Memphis Housing Authority board, and one of them was the son of a city councilman. I kept some very high-level officials from the Hackett administration because they were good and competent. I felt in time I could gain their loyalty, and that is what happened.”

As the first elected black mayor of Memphis, it took Herenton a while to find a “go-to guy” such as Lanier or former city chief administrative officer Rick Masson. His first two terms were marked by turnover in the office of chief administrative officer, police director, and city attorney.

“In my first term I started asking myself why I did this,” Herenton said. “That continued in my second term. The third term I thoroughly enjoyed. I saw a lot of my goals and visions coming closer to reality.” — JB

Categories
News The Fly-By

Midtown Food Co-op Closes

What once housed frozen veggie burgers, organic produce, and soy cheese will soon be home to age-old lamps and other antique decor. The Midtown Food Co-op, the city’s only health-food cooperative, closed its doors July 25th after three years. An antiques store will take its place at the 2158 Central Avenue location.

The Midtown Food Co-op, which was owned and operated by its members, specialized in natural foods and health products. Members paid $25 per year to shop there and receive membership discounts. At its closing, the store had 500 members.

“We just didn’t have enough money to keep it running because we didn’t have enough support,” said Casey Bryant, former manager of the co-op. “What’s confusing is if 500 members spent $10 a week at the co-op, we would have had way more money than we needed to keep it open. But members just weren’t shopping at the co-op.”

Bryant also blamed some of the co-op’s business practices. She said the store should have done more profit analysis and kept better track of inventory. She also suggested that they could have slightly raised prices and lowered the membership discount. These same suggestions were brought up by a board member two years ago but were quickly rejected by others on the board.

Bryant said the store was $80,000 in debt to various vendors and to the state for sales tax. Funds raised at a July 16th benefit for the co-op were used to pay off some of the debt. The benefit was intended to raise money to keep the store open.

Bryant and a few former members are planning on starting a buyer’s club, which she says is like a co-op without the storefront. Members place orders through catalogs of socially conscious food vendors.

“People like big, clean pretty Wal-Mart-style stores. They think bigger is better,” said Bryant. “People would always tell me they’d get better deals at Square Foods or Wild Oats, when their prices were really about the same as ours.”

E-mail: bphillips@memphisflyer.com

Categories
Music Music Features

Ladies’ Night

Leave the divas to VH1. Thanks to local label Inside Sounds, we’ve got the Memphis Belles.

“Sometimes, ideas just come to you,” says label head Eddie Dattel, who assembled 20 of the best female vocalists the city has to offer for the compilation The Memphis Belles: Past, Present & Future.

The album, which runs the gamut from country blues (Jessie Mae Hemphill) to Beale Street shouters (Ruby Wilson), jazz vocalists (Kelley Hurt and Joyce Cobb), soul superstars (Carla Thomas and Ann Peebles), and singer-songwriters (Carol Plunk and Nancy Apple) — and features a rockin’ granny (Cordell Jackson), an opera singer (Kallen Esperian), and a movie star (Cybill Shepherd) — was released two and a half years ago. The big celebration, however, will come this weekend, when seven of these local chanteuses perform at a Cannon Center benefit for the restoration of the Memphis Belle WWII bomber.

“The Memphis Belle Memorial Association called me three months ago and told me they’d gotten a copy of the CD,” Dattel explains. “They were wondering if we could help them with a fund-raiser, but before they could get the question out, I told them, well, I had this idea to do a show all along. I had it all sketched out in my head, and I was ready. It’s a perfect match.”

Cobb, Hemphill, Hurt, and Thomas will join blues dynamo Sandy Carroll, jazz singer Reni Simon, and rocker Gwin Spencer for the Saturday night concert, “An Evening With the Memphis Belles.”

“Some people might think of this in terms of a belated CD-release party, but this is a much bigger event,” Dattel says. “Ultimately, I’d like to see it on PBS. To have this kind of musicianship and diversity onstage in one night –it’s going to be incredible.”

Pausing for a chuckle, Dattel admits that, although all of the performers have checked their egos at the door, “juggling seven women can be difficult.”

Dattel has a right to sound slightly harried. He’s just wrapped up a quick rehearsal with the Memphis Jazz Orchestra, which will be backing performers for the first half of the show. In a few days, he’ll run through a practice session with a combo — “a house band, really” — which will anchor the second part of the evening.

“The Cannon Center has a great stage for a jazz orchestra,” Dattel enthuses. “But even though the room is so well tuned, I didn’t want to have a whole evening of big-band music. So we’ve got a night of jazz and R&B mixed in with elements of soul and rock. And although Cybill Shepherd can’t perform, she taped an introduction for us.

“I don’t know if Memphis has more female vocalists [than other cities] proportionally, but we do have blues and R&B for our musical background. Those genres allow for a lot of women singers,” Dattel says. “The first successful blues artists were female,” he continues, citing women like Ida Cox, Bessie Smith, and Alberta Hunter, who sang the blues on Beale Street in the 1920s. “The image people have of a man from the Mississippi Delta with a guitar in his hand actually came much later.

“Specifically in Memphis, you have to talk about the churches,” Dattel says, with a nod to Lucie Campbell, who was the musical director of the National Baptist Sunday School and also an English teacher at Booker T. Washington High School for more than 50 years. Soloist Queen C. Anderson, who sang during services at the East Trigg Baptist Church, was also a pivotal influence on the local music scene — particularly for a young Elvis Presley, who often attended services at the African-American church. “And Aretha Franklin was born in Memphis, when her father [Reverend C.L. Franklin] was preaching here,” he continues. “As far as I’m concerned, she could be a Memphis Belle!”

Dattel also raves about the women he worked with for this particular project. “A few of the songs we included on the CD were kind of unusual, like Kallen Esperian’s song, ‘Long Time Ago,'” he says. “But I ended up with a group of artists who really wanted to work on this. They were all so warm and respectful to each other, and it’s been wonderful to get [these seven] performers together for the concert.

“Many of the women involved here have been so receptive that I plan to make this the beginning of a series,” Dattel says, mentioning Di Anne Price and Susan Marshall among the artists he hopes to work with in the future. “Of course, the intent is to be profitable, but I also just want to capture the diversity of the local scene. Some things I do for marketability, but other times, I have to follow my heart.”

Tickets for the concert are $20 and $35 and are available at the Cannon Center box office and at all Ticketmaster locations. All proceeds go to the restoration of the famous WWII bomber.

Categories
Food & Wine Food & Drink

Grills on film

For the past year and a half, Memphis has been a bit of a Hollywood hot spot, hosting the cast and crew of such films as Walk the Line with Joaquin Phoenix and Reese Witherspoon, Elizabethtown with Orlando Bloom, Forty Shades of Blue with Rip Torn, 21 Grams with Sean Penn and Benicio Del Toro, and the John Singleton-backed film Hustle & Flow. Go back a few more years and add Cast Away, A Family Thing, The People vs. Larry Flynt, The Client, The Firm, The Rainmaker, Great Balls of Fire, and Mystery Train to the list.

Needless to say, more than one Hollywood location scout has come to town to find restaurants that look as good on film as any A-list star. As a result, owners like Robert Anderton of Anderton’s and Harry Zepatos of the Arcade have become old hands at show business.

“I wasn’t really surprised when [the Johnny Cash biopic] Walk the Line called and said they wanted to film here,” says Anderton. “21 Grams had filmed at the bar when they were in town, so it’s not like it was something new. But [Walk the Line] wanted me to close for lunch, and I wasn’t sure I could do that.”

Anderton already had closed Anderton’s during lunch for more than a month while he was undergoing radiation and chemotherapy treatments for colon cancer. He’d just reopened the restaurant when Hollywood came calling.

“I really thought I should turn them down because you don’t want your customers to come one day and you’re closed, then you’re open, then you’re closed again,” he says. “But they asked if they could come in one day after lunch and shoot into the evening. I said, ‘Okay, let’s do it.'”

The first Anderton’s opened in 1945 at 115 Madison downtown. In 1954, the restaurant was designed to be the very picture of 1950s cocktail cool. The same mid-century style was used for Anderton’s East, which opened in Midtown in 1956.

“People come in who haven’t been in Memphis for 25 years and tell me [the restaurant] hasn’t changed at all. That’s why Walk the Line wanted to shoot here. It’s for my decor. That period is a big part of Johnny Cash’s life.”

Anderton grew up working for his father but can’t recall any notable encounters with Cash. He remembers other Sun luminaries quite well.

“Sam and Knox Phillips have been regular customers for as long as I can remember,” he says. “And when Colonel Tom Parker was friends with my father back when he was still managing Eddie Arnold, [Parker] asked my father if he’d ever heard of Elvis Presley. My dad said he hadn’t, so he asked me if I’d ever heard of him. I told him that Elvis was a local singer and that everybody was crazy for his music. And that’s what my father told Colonel Parker.”

Would Anderton let a movie shoot at his restaurant again? “Absolutely,” he says. “Some of the nicest people I’ve ever worked with. I can’t sing their praises enough. And one of the best parts is when people come into the restaurant and say, ‘Hey, this looks like the bar in 21 Grams.’ I tell them it is the bar in 21 Grams, and that’s when they start looking at it differently. It’s like they’ve just seen a movie star.”

Like Anderton, Zepatos grew up in the business. Likewise, he never dreamed that the family restaurant would someday become the set of even one Hollywood movie. But there can be little doubt that the Arcade is the most frequently filmed restaurant in Memphis. Consequently, when something in the 86-year-old Arcade needs replacing, Zepatos makes sure the new addition doesn’t compromise the Arcade’s vintage feel.

“It’s a good thing, but I’m starting to wonder if it’s all too much,” Zepatos says of the attention. For instance, a Disney project had just completed filming in the restaurant the night before. “Not every film that comes to Memphis can film in the Arcade, can they?” he asks. And of course, not every film does. Walk the Line, for example, isn’t filming inside the Arcade, but they have filmed on South Main Street in front of the Arcade.

“I can’t imagine that we’re not going to make it into the picture,” Zepatos says.

Like Anderton, Zepatos’s greatest concern is the length of time his business will be closed for filming, especially for lunchtime diners who are creatures of habit.

Renting a restaurant for filming isn’t a big money maker, according to Zepatos. “You essentially make what you would have made if you’d been open,” he says. The reason he continues to do it is for the exposure and the stories.

“I remember when they were shooting Mystery Train,” he says. “Nobody knew who any of those guys were back then. The [back dining room] wasn’t open then, and [director Jim] Jarmusch turned the whole place into a lounge with rocking chairs and everything.”

When the Cameron Crowe-directed Elizabethtown shot a chili-eating sequence with Bloom at the Arcade earlier this month, one member of the crew bought a stack of Arcade T-shirts.

“They said they might film on the plane where everybody is wearing these T-shirts,” Zepatos says. “Maybe they will, maybe they won’t. But it would be great if they did. They hope the film will develop a cult following and people will want to do all of the things that Orlando Bloom does in the movie, like have a bowl of chili at the Arcade. Now that would be great.”

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Opinion Viewpoint

[City Beat] Faded Glory

Item from The Clarion-Ledger, the daily newspaper in Jackson, Mississippi: The “Dresden” exhibition could wind up with a $1 million deficit and spell the end of future projects.

What, you might ask, is the “Dresden” exhibition and what relevance does it have to Memphis?

The “Dresden” exhibition — the full name is “The Glory of Baroque Dresden” — is Jackson’s answer to the Wonders series at The Pyramid, now showing “Masters of Florence: Glory & Genius at the Court of the Medici,” which, as we shall see, is facing its own problems. The pride of Jackson includes jewels and cultural treasures from Dresden, Germany, and has nothing to do with the firebombing of that city during World War II.

Memphis was the inspiration for the Jackson exhibition and similar ones in other cities, having spawned both the general idea and the apostles to carry it forward 15 years ago.

The mother of all modern American cultural exhibitions was “The Treasures of King Tut.” In the late 1970s, a time of less media clutter, “King Tut” captured the imagination of the media and public in a big way. “King Tut” begat lots of children. In 1987, Memphis was early on the bandwagon, pulling together an Egyptian exhibit called “Ramesses the Great.” It was also a big hit. Four years later, the Wonders series of cultural exhibitions was formed and kicked off with “Catherine the Great,” followed by “Napoleon” and “Titanic,” among others.

Dick Hackett, the current director of Wonders, was mayor of Memphis when “Ramesses” and “Catherine” came to town. Two of his aides, Jim Broughton and Jack Kyle, noticed how “world-class culture” could bring some sizzle to tourist-hungry towns, and they took the idea to St. Petersburg, Florida, and Jackson. Kyle is now executive director of the Mississippi Commission for International Cultural Exchange in Jackson. He recently warned that “there’s no way we can sustain having these with lack of support from the Jackson metro area.”

If you haven’t seen “Dresden” or the “Medici,” go if you like, but spare yourself a guilt trip if you don’t.

High culture had a pretty good run, but now appears to be going the way of Toys R Us, the Harlem Globetrotters, Disney on Ice, the circus, Friends, Seinfeld, and — judging by all the empty seats — the Olympics. The grand idea has run its course, the public is getting bored, sponsors are getting soaked, and the appeal of the exhibitions is declining.

There is less of a “wow” factor and a scarcity of blockbusters. Next year’s Memphis offering in the Wonders series will be an exhibition of motorcycles. Cool, if you’re into motorcycles, but of limited appeal otherwise, and some bike buffs may already have seen it at the Guggenheim Museum in New York where it opened. One of the attributes of being a cosmopolitan city, after all, is that people get on airplanes and read out-of-town newspapers.

Hackett told me last week the “Medici” exhibition, which got good critical reviews in Birmingham and Little Rock, is about 75,000 visitors below projections, at $15 a ticket. He’s hoping attendance will improve when school groups come back next month. He says people aren’t traveling like they used to, but I wonder if they’re just traveling somewhere else.

The glories of this or that culture are fighting for attention in a crowded field. When “Ramesses” was king, there were no casinos in Tunica, no NBA team in Memphis, no FedExForum, no AutoZone Park, no Cannon Center for the Performing Arts, no suburban performing arts centers in Germantown, Bartlett, and DeSoto County. Now the greater Memphis area is crammed with entertainment venues, many of them starving for big crowds. It’s self-serving for promoters to blame locals for failing to support something that is on its fourth installment in eight years in Jackson — and pays the promoter’s salary. To their credit, the Wonders folks have not played the blame game.

Culture isn’t the only casualty. The same thing is happening in music and the blues in particular. Cities in the Mississippi Delta from Greenville to Leland to Clarksdale to Itta Bena to Helena now have a blues festival and museum. Memphis, of course, has at least five music museums or music-related attractions.

The Civil War fad, revived with the Ken Burns PBS documentary back in 1991, seems to be running out of gas as well. Last weekend, I visited the new $9 million Civil War Interpretive Center in Corinth, Mississippi. It’s a commendable multimedia attempt to get away from cannonballs and muskets under glass, but it’s a struggle. History as something that you can package and sell to visitors may itself be history. n

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Opinion

The Root of the Matter

The year was well, that’s not important. I was beginning my senior year of college. With only a few required classes remaining, I decided to take an elective physical-education class. The selections were varied: softball, jogging, golf. Instructors suggested swimming, but with my chemically processed hair, that was not an option.

Memphian Arnecye Baker has heard stories like this too many times: women trapped in what she calls “Miss America hair,” unable to enjoy many of the pleasures of life (like frequent swimming) because of their processed hair. A former perm-wearer herself, Baker has embarked on a mission to help women realize the freedom of natural hairstyles.

In her third annual “Natural Sistas Day Out” celebration, “Journey to Natural Hair Freedom,” Baker uses short stories to dramatize the history of women, especially African Americans, and hair maintenance. What started as a small gathering of six women in her apartment has grown by word of mouth into a daylong event at the Buckman Performing Arts Center, complete with styling demonstrations and spoken-word performances.

“The drama will be a live and up-close experience and will present the trials, triumphs, and truthful situations in dealing with our hair,” says Baker. “We are trying to get to a place where we can love our hair, whatever the [styling] preference.”

The show highlights the natural, or non-chemically processed hairstyles that have seen a surge in popularity within the last few years. Worn by women such as actress Alfre Woodard and singer Jill Scott and Memphians such as attorney and Shelby County mayor’s wife Ruby Wharton, the natural look is back.

Many of the natural styles, like Afros, braids, and knots, are replicas of those worn by African women. During the civil rights period, natural hairstyles were used by African Americans to make cultural and political statements. Perhaps the most famous Afro of the 20th-century was that worn by activist and Black Panther-turned-professor Angela Davis.

In an interview about the significance of her hairstyle, Davis once said, “I continue to find it ironic that the popularity of the afro is attributed to me, because, in actuality, I was emulating a whole host of women — both public figures and women I encountered in my daily life — when I began to wear my hair natural in the late Sixties. The Afro, even though it became a hairstyle, has a political history since the police were known in certain parts of the country to single out people who had Afros because of the political significance of that hairstyle.”

These days, people who wear the Afro and natural styles like it have developed their own hair communities, complete with style specialists, maintenance products, and demonstrations. In Memphis, natural hair care is big business. According to Baker, a growing number of stylists are meeting the new demands, but women still should do their own research. As with chemically treated hair, some natural styles are not conducive to every face shape or personality.

Baker, who wears her hair in traditional locks, began her personal hair journey at age 12 with her first perm. After years of processing, she experienced a hair epiphany in 1997 while on a business trip to Atlanta. There, the natural styles worn by many African-American women intrigued her so much she began her own research. “I was like a lot of women,” she says. “I like the styles, but I thought they wouldn’t look good on me, and I was concerned about what others would think. It was fine for Atlanta, but in Memphis, I didn’t think it would go over so well.”

In January 2002, Baker stopped perming her hair. “I noticed a sense of freedom and knowing that I was already beautiful,” she says.

But what about people who enjoy the sleek, manageable, bouncy feel that perms provide? That’s okay, says Baker. The upcoming celebration is not a perm-bash but a lesson in self-love:

“We’re not going to say things like, ‘Yes, I can swim with my natural hair now,’ because what we’re dealing with is more important than that. We’re talking about a foundation. There has always been a perception of good hair being permed or straight. But all hair is good hair and that is what we are wanting women to see. Natural hair is the root of who we are. Look at a baby picture. We weren’t permed. If one desires natural hair, it should not be an unheralded thought.” n

“National Sistas Day Out: Journey to Natural Hair Freedom” will be held Saturday, August 21st at the Buckman Performing Arts Center at St. Mary’s Episcopal School.

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News The Fly-By

No Child Left Home?

The Memphis City Schools turned their attention to student attendance this week after the state announced the schools on the 2004 No Child Left Behind (NCLB) list.

Of the 73 Memphis schools listed by the Tennessee Department of Education as not making adequate progress, roughly 23 percent were included solely because of poor student attendance. Sixteen of the schools were classified as “restructuring 2,” the category where they could conceivably be taken over by the state or restructured.

“Seven of the 16 schools that went into [restructuring 2] went there only because of attendance,” said Superintendent Carol Johnson. “We think we need to try some different strategies.”

To help improve attendance, Johnson presented an amendment to the board’s attendance policy Monday night that would forgo mandatory suspensions in lieu of family interventions at five of the schools. Under the current policy, students who are truant five, 10, and 15 days receive mandatory suspensions.

Under the pilot program, parents of students at Vance Middle, Fairview Jr. High, Georgian Hills Jr. High, Longview Middle, and Winchester Elementary would receive phone calls or home visits after their children have been absent three, five, and eight days. If, after several interventional steps, the absences still continue, the family would eventually be referred to the attorney general’s office. Last year, the district attorney’s office began advertising the fact that parents can be sent to jail for their child’s truancy.

“It never ever made sense to me that we suspend students who are truant,” said board member Sara Lewis after she heard the proposal. Commissioner Deni Hirsh asked that the superintendent encourage the entire staff to use suspensions minimally for absences.

The change comes just four days after the state’s Department of Education released this year’s list of schools that failed to make adequate yearly progress under the federal NCLB act. Eight schools on last year’s high-priority list were honored by the state for improving significantly and getting off the list. Last year, 148 of the district schools were listed. This year, that number has dropped to 73. But 37 of those schools missed benchmarks in just one category, and for 17 of those, that category was attendance.

At a press briefing last week, Johnson said that the data “signals to us that this is a shared responsibility. We think parents have to step up to the plate and take responsibility for their share of the work.”

MCS had six schools on this year’s target list, the designation for schools that will be considered high priority next year if they don’t improve. Those included Messick Adult Education Center and Shrine School, which serves severely physically disabled students. Of the other four, three were “targeted” because of, yes, attendance.

Bill White, the system’s executive director of research, evaluation, and assessment, said MCS plans to appeal the listing of Messick and Shrine, but he’s not sure they’ll both be removed.

Like other schools, Shrine is listed for attendance. But district officials say it’s hard to expect those students — simply because of medical reasons — to be able to meet the state’s 93 percent attendance rate.

“If they follow it to the letter of the law, there are no excuses,” said White. “It’s a common-sense appeal, but I just don’t know.”

White points out that every school has made improvements, but if there is one area they didn’t fix, the school stays listed.

“All schools are keenly aware that to get off the list, attendance is a huge factor,” said Johnson. Sometimes parents don’t know their student is absent. We’re going to have to be more aggressive in letting them know.” n

E-mail: cashiola@memphisflyer.com

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Opinion

Back at You

Pop culture has always been an amnesiac. Every up-and-coming band hyped as the next big thing turns out to be a blast from the past. Recently, Pat Benatar has been repackaged as Ashlee Simpson, while Read Yellow “channel” Fugazi, and the Ponys reinvent the CBGB’s scene, circa 1975.

But with the crop of original ’80s bands currently working on comebacks, these new kids on the block have some stiff competition: Devo and Blondie spent this summer on the road, while Duran Duran just put the finishing touches on a new album for EMI. Boxed retrospectives from Roxy Music and the Clash are about to hit record stores, and the Cure’s latest is already in the bins. Meanwhile, Berlin, Frankie Goes To Hollywood, the English Beat, and A Flock of Seagulls have all succumbed to host Aamer Haleem on VH1’s Bands Reunited. Now, the Psychedelic Furs are throwing their hat in the ring.

When bassist Tim Butler — brother of the Furs’ gravely voiced lead singer — calls, it’s just one day into the current leg of their tour. Already, more than a few things have gone wrong. The Furs missed their flight from New York to Tempe, Arizona, the day before. Guitarist John Ashton came down with a rash (poison ivy, Butler says helpfully). The weather in Tucson, where they’re scheduled to perform in an amphitheater along with Berlin and fellow ’80s alumni Missing Persons, is downright dismal. And it’s Friday the 13th. Butler, however, couldn’t be more upbeat.

“Hopefully, this will all be sorted out by the time we get to Memphis,” he says. “Tonight, we’re playing for 5,000 people — in Tucson, of all places! Our fans seem to come out of the woodwork!”

It feels like déjà vu for the Psychedelic Furs, who were at the top of their game in the middle of the Reagan decade. Back then, frontman Richard Butler’s sneering face loomed from the pages of the New Music Express nearly every week. In Memphis, new-wave kids had to trek to Tobacco Corner to score a copy, with “Love My Way” blasting from the cassette deck in mom’s car.

Sounding like a cross between the Velvet Underground and Public Image Ltd., the Furs’ intelligent lyrics and subtle musicianship was a delicious secret for young Brit-obsessed music fanatics until movie director John Hughes wrote a plot around their “Pretty In Pink” single, pushing the band to American stardom.

“If we’d just stuck in the direction we were going after Mirror Moves, we would’ve been fine,” Butler says, remembering the hype surrounding the band after Pretty In Pink, a 1986 release starring Brat Packers Molly Ringwald and Andrew McCarthy.

“We were under pressure from the record company to come up with a similar hit,” Butler admits. “We came out with Midnight To Midnight, which was such a glossy sounding album. We liked the success and the screaming fans, but halfway through that tour we thought, What are we doing? This is so fake! So we reexamined what we were all about, which wasn’t the big hair or all those things! We came out with Book of Days afterward in an attempt to get back to our roots.”

By 1992, the Psychedelic Furs were ready to call it a day. “Although we were tired of the whole tour/album/tour grind,” Butler confesses, “we just wanted to take some time off. We never said, ‘This is the final tour.’ We decided to play again when we could do it on our own terms.”

And, Butler adds, the band has a new CD in the works. “We’re taking our time with it,” he says. “Hopefully, we can lay it down at the end of the year. But we’re not gonna come out with an album that’s gonna topple Britney Spears or anything.”

Nevertheless, fans can expect to hear some of the fresh material live. “Of course, we play all the hits — ‘Pretty In Pink,’ ‘Love My Way,’ ‘Heartbreak Beat.’ Otherwise, people would complain,” Butler says good-naturedly. “We also try to make it interesting for us with some obscurities and new stuff.

“People always put down the ’80s, but there was a hell of a lotta good music made back then,” he continues. “Our albums could come out tomorrow, and they’d still sound relevant. It’s grown a bit stale now. Music isn’t clicking with younger people. There’s no Sex Pistols or Nirvana out there.

“It’s a strange thing,” he says. “Our crowd includes fans from 16 to 60. We get older people showing up with their children and kids. We even have people recording our shows with their cell phones. That’s something we didn’t see in the ’80s!

“We’re enjoying playing together again,” Butler concludes. “Onstage, we tend to look at each other and smile. We’ve been doing this for 25 years, and we’ve still got something.” n

The Psychedelic Furs perform at the New Daisy on Thursday, August 19th.