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News News Feature

COMMENTARY: READING THE FUTURE IN YOUR PALM

I notice that Miffy the Rabbit is on the way to the Central Library to promote literacy with his “interactive exhibit” and this fills me with mixed emotions. On the one hand, it’s nice that an author and illustrator will take the time for an event like this, but what a shame it is that we feel the need to pump up a skill and a practice as intrinsically valuable and fulfilling as reading.

The fall in regard for this experience has been a painless and gradual one but I begin to see an end to it — a leveling, a grand experiment in mediocrity. I see a future where everyone in the public at large can read at a seventh grade level (and I grant you, that would be a giant leap forward for some) but it is a purely utilitarian practice of absorbing memoranda or instructions for the use of some electronic device with maybe some comic books thrown in, but where anything approaching real literature is relegated to the eggheads on college campuses or quirky Luddite freaks who dig the smell of ink on paper.

Even if you think of yourself as particularly literate or at least respectful of the written word, your opinion and your skills have already been affected negatively by the time in which you have lived. You’re almost certainly like me, a comparative illiterate whose entire education occurred in the last century. The later in our era your education was delivered, the more questionable it was. Almost from the beginning, the 20th century and its attendant technology have been a devastating, if somewhat languorous attack on literacy.

Picture yourself as a high school student at the turn of that century. You’re tired from long hours of studying Thackeray and Dickens and the third person subjunctive. You want excitement but you just finished some very physically demanding chores and don’t have the energy to play any of the new athletic pastimes, like basketball or golf. What do you do in those leisure moments?

Well, you put the Reed-Kellogg grammar book back on the shelf between the untranslated Aeneid and the excerpted speeches of Cato and Pliny the Elder and you pick up (drum roll, please)É a book. Fiction. Probably Mark Twain or Robert Louis Stevenson. You do that because of your growing reverence for the intricacies of the English Language and the subtle beauty of its written word. Also because there is absolutely nothing else — of a sedentary nature – to do in this whole wide turn-of-the-century world.

Just a few years later you might instead have chosen to fiddle with the crystal radio set your uncle gave you for Christmas and try to tune in some scratchy ragtime music or a speech by President Taft. A decade beyond that the tiny crystal would have become a Philco console that looked for all the world like a four foot tall cathedral. But as the darkness gathers on this October evening you huddle next to the fire and try to save coal oil by turning your lamp downÉas you read.

If you are a geezer like myself, you were born almost coincident with commercial television which begat cable, which begat satellite, all of which converged into computers and I-Pods and the internet and cell phones with cameras and Palm Pilots with cell phones and remote controls for all of them. I swear! A remote control for a portable CD player that weighs less than a ham sandwich! How lazy is that!

Reading was always a window for folks like me to places we were destined never to see and adventures we would never really have — except in our imaginations. But over time the flickering window of the cathode ray tube has intruded deeper and deeper into that territory. If you slide the last few yards down that slippery slope you will begin to play some of the stunning new breed of video games and then you will know it is over. The computer has so subsumed us in this incarnation that it is becoming a simulation of ourselves — our better, or at least more buff and more capable selves – and if we allow it, we are reduced to a macabre mix of electronic simulacra and fleshy voyeurs in our own lives.

Some, a minority of them to be sure but still an appalling number, have surrendered their sense of well-being and personal achievement to events as ephemeral as the momentary glow of a matrix of colorful phosphor and a ribcage thrumming explosion in 5.1 surround sound. If you think I exaggerate this effect; if you think this is just an eccentric little fad and are not a little frightened by this, hang around the office water cooler until you hear a conversation between two twenty-x year old ‘gamers’.

They did not have the advantage I had of being born in the pre-Dumont Broadcasting era when sometimes you could turn on your grainy little twelve inch screen and get a screenshot of an Indian with crosshairs and lines and circles – or nothing at all. Don’t get me wrong when I say this, because I love reading and truly revere this greatest of all languages. But I was just a kid not so different from the kids today and if I had had a choice between reading the fantasies of Jules Verne or watching — no, experiencing an extremely realistic electronic simulation of what my life would be like as an NBA superstar or the pilot of a jet fighter, which would I have chosen? As Bart Simpson would say — Duh!

Technology apologists — and they are many — will make the point that all these advances are still based in literature. Even the video games have scripts and dialogue and movies are just drama freed from the restrictions of the traditional proscenium, right? Sure. There are obvious exceptions but for the MTV trained film editor, a four second shot equates to a lingering visual caress of contemplative depth and lighting is determined by how much TNT was used in the scene. Dialogue and story, the writing — the literature of the medium — is the victim, and so are we. That’s why we need to Miffy the Rabbit to promote a skill which is not only essential to our modern lives, but a complete and utter joy when subject matter and interest are joined in the mind of an avid reader, if there are any of you left out there.

So go home tonight and read something longer than an essay by a whiny curmudgeon or a bunch of pre-digested opinions masquerading as news. Don’t read the latest blockbuster because you think it will be the topic of conversation next week. Don’t read something to study for your next witty rejoinder or to enhance your chances of advancement at work, or even to broaden your mind.

Do it just for the sheer pleasure of it because yours may be the last generation that can understand that. If you are a real reader, you probably have a book or two in mind that are like old friends you revisit from time to time. You know exactly what I mean. If you don’t, you just proved my point. Just turn up the volume and have a nicely simulated evening.

(Dan John is a director of computing services for Exel Transportation Services, Inc.)

Categories
Politics Politics Beat Blog

CHAIRS IN TRANSIT

As of the weekend, the Shelby County chairpersons of the two major political parties were both on the move: Democratic chair Kathryn Bowers opened up the headquarters of her campaign for the state Senate on Saturday; and new Republican chair Bill Giannini got himself elected and installed on Sunday at the biennial Shelby County Republican convention.

Both Bowers and Giannini served notice as to the shape of their priorities.

State Rep. Bowers, speaking to supporters at her Elvis Presley Boulevard headquarters, promised to do everything in her power to forestall the TennCare cuts (323,000 from the current rolls) announced recently by Governor Bredesen but so far held up by judicial review. Two other candidates — Shelby County Commissioner Michael Hooks and James Harvey –are competing in the forthcoming Democratic primary for the seat recently vacated by Roscoe Dixon, now an aide to county mayor A C Wharton. Four Republicans also seek the seat.

Giannini, elected by acclamation at White Station High School, looked ahead to the 2006 countywide elections and even further — lamenting the upward curve of latest property reassessment and thereby targeting county assessor Rita Clark, a Democrat reelected only last year and not up again until 2008.


Bowers on the stump
at her Elvis Presley Blvd. headquarters.


New GOP chair Bill Giannini with extended family
at White Station High School Sunday.

Categories
Politics Politics Beat Blog

FROM MY SEAT

ANTHONY’S DAY

Too much ink is spilled on the worldÕs miscreants. This applies to sports, and it certainly applies to this yearÕs embattled University of Memphis menÕs basketball team. Lost in the ugly headlines, sadly, are the jewels of the program like Anthony Rice.

This Saturday at FedExForum, the U of M will say goodbye to its current senior class: Rice, Duane Erwin, and Arthur Barclay. Erwin grew into a vital member of the 2004-05 squad, representing the most consistent inside threat — both offensively and defensively — for a team relatively undersized. He was the TigersÕ finest player the night they beat DePaul in January, hitting five of seven shots and pulling down nine rebounds. As for Barclay, heÕll leave with mixed reviews. He was part of a Òpackage deal,Ó cynics will argue, that brought the electrifying Dajuan Wagner (a high-school chum of BarclayÕs) to Memphis. He made news this season as much for his fists as his play, drilling teammate Sean Banks after the Texas game, then drawing a one-game suspension for throwing a punch in the first TCU contest. IÕd like to remember the guy who overcame the stigma of being a partial academic qualifier and some nagging knee injuries, a player who had one of the most unique stat lines IÕve ever seen: 10 rebounds without a field-goal attempt in the win at South Florida in January.

Say what you will about Erwin and Barclay, though, Saturday should be for Rice. The Atlanta native — on schedule to graduate with a degree in art gallery management — is the poster child for what a Division I college basketball player can be. Few Tiger fans will remember that Rice played 20 minutes in his college debut (November 13, 2001), the same night Wagner himself took center stage at The Pyramid. Over the course of his four seasons in Memphis, Rice has yet to miss a game. (He should wind up among the programÕs alltime top 10 in games played.) No Tiger has made more three-pointers than RiceÕs 214 through SaturdayÕs game against Louisville. And heÕs been as consistent as a metronome: 266 points scored as a freshman, 264 as a sophomore, 270 as a junior, 272 this season. (RiceÕs career average: 8.7 points per game.)

RiceÕs value on the floor can be divided into three equal parts:

Defense. He has consistently matched up with an opponentÕs top scoring threat, be it MarquetteÕs Travis Diener, TCUÕs Corey Santee, or HoustonÕs Andre Owens.

Shooting. IÕve said it all season long: these Tigers go as far as their shooters take them. Rice was a combined 7 for 12 from beyond the arc in wins over Marquette and Louisville. He made only 2 of 11 in losses to Charlotte and the Cardinals last week.

Ball-handling. Rice has essentially been coach John CalipariÕs backup point guard for three seasons, first b ehind Antonio Burks, this season behind Darius Washington. A more natural shooting guard, Rice has predictably adapted when called upon to run the show.

CalipariÕs postgame comments tend to center around the play of freshman point guard Darius Washington or the teamÕs scoring leader, Rodney Carney. But when asked about Rice, the plaudits are delivered en masse. ÒHeÕs the best,Ó says Calipari. ÒI have to talk to him about once every three weeks to tell him I appreciate him. He guards every day, he does what heÕs supposed to do, he doesnÕt try and do things he canÕt do. Every practice, every game, he gives you everything he has, which is what makes him unique.

ÒYou forget about him. He played great against Houston [a Tiger loss on February 5th]. He was the only guy that played. He held their best player [Owens] to two-for-nine from the floor, and made shots. No one else played. ThatÕs because he plays every day.Ó

As thoroughly unglamorous as RiceÕs college career has been, he will ironically serve as a recruiting prototype for Calipari. ÒHeÕs a four-year starter,Ó stresses the coach. ÒHereÕs a kid who wasnÕt highly recruited, and heÕs going to get a college degree. If you work hard and play hard, thereÕs a spot for you on this team.Ó

There have been grumblings all winter long in Tiger Nation, plenty of turn-your-head-away headlines that make you wonder about the kind of student-athlete hitting the hardwood these days for the U of M. And the criticism, frankly, has been deserved. Which makes this weekendÕs Senior Day so very necessary. For a young man like Anthony Rice, how fitting that he takes center stage just as he says goodbye.

Categories
News The Fly-By

GAY, GAY, GAY, GAY, GAY, GAY…

Commenting on a faith-based constitutional amendment to ban same-sex marriage in Tennessee, Melissa Snarr, a professor of society and ethics at Vanderbilt University, told the press, “There are only a handful of biblical references on human sexuality, but there are hundreds of references on economic injustice … but you don’t see anybody rallying for a constitutional ban on poverty.” That’s because the poor, who scrub our toilets, dig our ditches, and provide our armed services with expendable cannon fodder, are a necessary evil. — Chris Davis

Plante: How It Looks

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We Recommend We Recommend

monday, 28

Tonight’s Last Mondays In Studio A concert at the Stax Museum of American Soul Music features The Bo-Keys, with veteran Stax session players Skip Pitts (wah-wah guitarist on “Theme from Shaft“), Ronnie Williams (the Bar-Kays, David Porter), Willie Hall (the Bar-Kays, the Blues Brothers), and garage-band prodigy Scott Bomar (Impala). And if you haven’t been to Dish yet (formerly MÇlange), by all means make it there. It’s a whole new vibe. — Tim Sampson

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We Recommend We Recommend

sunday, 27

Tonight’s Fabulous February Concert at the New Daisy is the big annual fund-raiser for Friends for Life and honors Cole Porter with music by the incredible Memphis Jazz Orchestra. The Susan Marshall Band is at the Blue Monkey Midtown. And if you want to get in on some film action, head to Rum Boogie from 8 p.m. to midnight for The Billy Gibson Band Video Shoot. — Tim Sampson

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We Recommend We Recommend

saturday, 26

Black History Month is celebrated again with an all-day “Blaxploitation Film Fest” hosted by the Stax Museum of American Soul Music and Memphis Brooks Museum of Art. Three films will be shown in the Brooks Museum’s Dorothy K. Hohenberg Auditorium: Shaft (10:30 a.m.), Foxy Brown (1:30 p.m.), and Cleopatra Jones (3:15 p.m.). And while you’re there, if you haven’t yet seen the new exhibit, “The Quilts of Gee’s Bend,” you are in for a rare treat. I would wager to say it’s the most fabulous thing the Brooks has done in a decade. And speaking of fabulous, this evening’s Contemporary Realist Academy Show at David Lusk Gallery is a benefit for the academy, and the work is some of the best you’ll ever see in Memphis or anywhere else, for that matter. Today’s “All That’s Clay” Pottery Show/Sale at The Dixon Gallery and Gardens features of wide variety of clayworks by regional potters. The Cultural Development Foundation of Memphis brings the junior company of the Alvin Ailey American Dance Theater, Ailey II, to The Orpheum. The Smothers Brothers are tonight’s featured guests at the GPAC Comedy Series. Tonight’s show at Kudzu’s is a Twang-a-Dang Doodle with Nancy Apple, Byron Hayes, Chris Jones, & Myrna Smith. Back at the Hi-Tone, it’s Alvin Youngblood Hart’s Muscle Theory. And The Gamble Brothers are at Young Avenue Deli. — Tim Sampson

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News The Fly-By

HANGING OUT?

.

While buzzing about the Pink Palace, the Pesky Fly noticed this set of instructions near the museum’s rear entrance. We assume they mean cigarettes.

Plante: How It Looks

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We Recommend We Recommend

The Quilted Word

If you want to take a picture of my hands you need to get this side,” says Mary Lee Bendolph, offering her palms for inspection.

Bendolph is one of 30 celebrated quilters from rural southwest Alabama who came to Memphis last week for the opening of “The Quilts of Gee’s Bend” at the Brooks Museum of Art. Bendolph proudly shows her pinprick scars and the places where six decades of pushing needles through fabric have turned her skin into something like leather.

“I wanted to know what all this fuss was about too,” she says, shrugging modestly. “People had told me these quilts were art, but I didn’t know anything about that. I didn’t know anything about them being art until the first time I saw them hanging in a museum in Houston, Texas. That’s when I knew.”

It took far less time to make a believer out of New York Times art critic Michael Kimmelman. When the Gee’s Bend exhibit opened in New York City at the Whitney Museum in 2002, Kimmelman gushed and called these quilts, which were produced by four generations of “Benders” from the 1920s through the 1990s, “some of the most miraculous works of modern art America has produced.” In an attempt to describe the massive body of work he dropped the names of modern masters like Paul Klee and Henri Matisse on his way to declaring, when “not rearing children, chopping wood, hauling water, and plowing fields, [the quilters of Gee’s Bend] splic[ed] scraps of old cloth to make robust objects so eye-poppingly gorgeous that it’s hard to know how to begin to account for them.” And how could contemporary art historians account for such a lush and cohesive tradition of modern design coming not from New York or Paris but from rural Alabama? And not only from rural Alabama, but from the isolation of Gee’s Bend. Even the artists continue to be amazed by all the fuss.

“I still don’t know about art. I just sit down to make a quilt,” Bendolph says, slyly setting up her joke. “If I make it level, it won’t be art, it’ll just be a quilt. When one side’s longer than the other side, that’s what makes it art.”

While Klee was busy seeking transcendence through disavowing European art history, the women of Gee’s Bend found God in harmony singing, in ecstatic, spontaneous prayer, and in quilting. As Matisse wrestled with primitive forms, Benders struggled to make the earth produce. They struggled with exploitation, isolation, and often with unimaginable poverty.

“Almost everything I make, somebody done worn the pants, the skirts, the shirt, or the dress first,” Bendolph says. Quilter Annie Mae Young agrees, adding, “We couldn’t throw nothing away. We had to use everything we had. Every bit of cloth, every bit of food, every bit of everything.”

Located on a twisted inland peninsula, surrounded on three sides by the Alabama River, there is only one road leading in and out of Gee’s Bend. The isolation became even more severe in the mid-1960s when a ferry between Gee’s Bend and the neighboring city of Camden was removed after a number of Benders crossed the river to march with Martin Luther King Jr. By 1970, a full year after America put a man on the moon, the residents of Gee’s Bend still had to travel 15 miles to use a telephone. Electricity and indoor bathrooms were considered luxuries. A plantation culture had existed in the Bend well into the Depression years, and even among fellow blacks, the Benders were considered outcasts — slaves who never left the fields, the exotic residents of a tiny Africa in Alabama.

“We didn’t have TV or [electric] lights. And you’d sew until the kerosene in the light ran out,” Bendolph recalls. “And that was it for the lights until somebody could go to the store and buy more kerosene. I learned to talk around the quilts. I learned to sing around the quilts, and I learned to pray around the quilts. Everything I ever learned to do I learned around the quilts.”

It’s neither fair nor correct to say that ever-deepening abstraction robbed modern painting of its narrative properties. Rather than functioning as easily read pictograms, paintings of the modern period became visual essays: coded messages sent from one artist to another. To that end, the Gee’s Bend quilters have a tremendous popular advantage over the moderns. Their work is practical, casually emotional, and born out of the simple need to keep a family warm during the winter months.

Without access to diversion, oral histories were kept alive around the quilts. Diasporan epics dating back before the Civil War were told. The spirit of God was invoked around the quilts through prayers of deliverance and dreams were interpreted. The products to emerge from these lively quilting sessions are at once abstract and narrative. Faded denim and sweat-stained cotton tell a generations-old story of hard labor and hard life, while vibrant patterns call to mind the work of painters like Kandinsky, Rothko, and Johns.

“Right before my father died, he went out to pick sweet potatoes,” says quilter Arlonzia Pettway, addressing the phenomenon of memory as applied to the quilt. “And so he’s been down on his knees because you have to get down on your knees to get the sweet potatoes. And the knees of his jeans had gotten all muddy. After he died my mother wanted to make a quilt out of all of his things. And I can remember her taking those jeans and washing the mud out before she made the quilt.” Of course, the narrative doesn’t end when the last piece of a quilt is sewn. “When you have something that belongs to your family, you don’t want it to get away from you,” Bendolph says, remembering all the quilts she sold for $5 or $10 because she needed the money to get by. “It’s something you cherish.” n

“The Quilts of Gee’s Bend” at the Memphis Brooks Museum of Art through May 8th

Categories
Music Music Features

local beat

We all know what Isaac HAYES has been doing lately — hanging out with Lucky the Pig, shilling for the sexy, sultry Tennessee lottery — but what about his former songwriting partner and fellow Stax alumnus, David Porter? The Soul Man — better known these days as the entrepreneur behind ‘Da Blues, a restaurant inside Memphis International Airport — is back in the music biz, thanks to smooth-jazz guitarist Garry Goin.

“I met Garry back in the late ’80s, when he was playing at Captain Bilbo’s with Wendy Moten and MVP,” Porter remembers. “I was impressed, and I told him that I was interested in developing him as a writer. We’ve been together now for 15 years.”

The two have collaborated on dozens of commercial ventures, including theme songs for the “Big Dig” groundbreaking for the Pyramid Arena and the opening of the Redbirds’ AutoZone Park, material for Kirk Whalum‘s 2003 release Into My Soul, and more. Over the years, Porter says, “Garry has been an unbelievable friend and cohort. He’s been extremely loyal, and I wanted to give something back to him. I knew he had the potential to be an artist in his own right.”

So Porter co-produced Goin’s first solo album, Goin’ Places, available now on Compendia Records. The album, which consists of 11 melodic, uplifting instrumentals — including an ebullient, soulful take on Bill Withers’ “Ain’t No Sunshine” — was partially recorded at Young Avenue Sound and at Blind Alley Recording Studio, with additional work done in Nashville. Goin and Porter collaborated on the majority of the tracks, including the funky “Blue House” and the jazzy “Will You Marry Me.”

How hard was it to collaborate with a genius of Porter’s scale, someone who’s written and produced more than 140 chart singles? “Well,” Goin says with a laugh, “if I focused on how great David is, it would be hard for me to work. I knew his history from day one, but, luckily, he plays that down so things can get done.”

Nationally, Goin’ Places is getting plenty of play. It’s gotten exposure in 30 markets, and SmoothJazz.com has ranked the album’s first single, “Don’t Ask My Neighbors,” in its Top 50 chart. “But in Memphis, it’s an uphill situation,” laments Porter. “We had a great jazz station — 98.9 FM — go off the air recently. We had a tremendous amount of momentum, and now the station is gone, which is a bummer.”

Nevertheless, Goin, an Ohio native, says, “I’m honored to be considered a part of Memphis’ musical legacy. We have some incredible jazz musicians in this city now, and David is an incredible person and an incredible talent. Through him, I’ve learned that Memphis is something to carry with respect.”

The guitarist has a national tour scheduled for later this spring, but for now, he and Porter are hooking up with an old friend: Every Saturday this March, Goin will be performing at Isaac Hayes Reloaded. Showtime is 8 p.m.

As luck would have it, Goin’ Places isn’t the only Stax-related smooth-jazz album to drop this month: The South Soul Rhythm Section is celebrating the release of its debut, M-Town, at Isaac Hayes Reloaded this Friday, February 25th. These musicians are hardly industry veterans like Goin and Porter. In fact, hardly any of the South Soul-sters are old enough to drink.

While guitarist Matt Isbell is 24 and pianist Tontrell Houston is 21, the rest of the band weighs in well below the legal age limit: Bassist Dywane Thomas Jr. is just 14 years old, while saxophonist Devon Britton and arranger Garrion Brown are each 19. Keyboardist Brenae Davis is 18, percussionist Reginald Shaw is 17, and drummer Kennith Shepherd is 16.

Manager Tony Nichelson recruited several of these musicians from the Stax Music Academy, where he worked as a program manager. “They’re very gifted, they like each other, and there’s great chemistry, musically,” says Nichelson, who left Stax two years ago to work with the band full-time.

M-Town was recorded at Young Avenue Sound last spring. Propulsive horn blasts and a funky bass riff anchor original tracks such as “Black Cadillac” and the melancholy “Who’s Curtis,” while Davis leads the group on the joyful, percussive title track.

“Right now, we’re focusing on getting more premium dates, using M-Town as our calling card,” Nichelson says, citing another high-profile appearance for the group, The Pink Palace Museum’s Oscar Night America party this Sunday, February 27th. “We’ll have another album — featuring 10 new songs — out this fall.”

Finally, the Stax Museum of American Soul Music‘s “Last Mondays” concert series will continue on February 28th, when The Bo-Keys set up inside the replica of the legendary recording space. It should seem like a homecoming for guitarist Skip Pitts and drummer Willie Hall, who laid down hundreds of hours in the original Studio A. Expect cabaret-style seating for the show, which begins at 7 p.m. General admission is $20, and free to Stax Museum members.

E-mail: localbeat@memphisflyer.com