Categories
Food & Wine Food & Drink

FOOD NEWS

Round 1 is a sports bar with a twist.

The concept was to combine sports with upscale dining, says partner Orlando Steward. The result is a contemporary-casual dÇcor with plasma televisions, so patrons can catch the game while enjoying grilled salmon or lobster tail. Also on the menu are fried gator bites.

“There’s a story to the gator bites,” says Chef Damien Ward. “I used to own an alligator, and it bit the tip of my finger off, so now I take any chance I get to cook an alligator tail.”

Although Ward was born in Memphis, he traveled extensively while his father was in the military and later during his own military stint. Ward learned to cook in restaurants all over the world.

“I took a chef’s apprenticeship in what was then Yorktown, Yugoslavia. I took jobs everywhere just to learn, not for money, because food is my passion, and to fulfill your passion you have to go to the source,” Ward says.

For Ward, cooking is a family thing. Two of his brothers are also professional chefs, and his uncle was on the culinary staff at the White House during the Johnson administration.

“For me, a black man coming up in the 1960s, it was a big deal to know that your uncle worked in the White House,” he says.

Ward says that the most important aspect of the Round 1 menu is that every item is an original recipe he created.

The restaurant opened February 4th at 6642 Winchester. The hours are 11 a.m. to midnight throughout the week and until 2 a.m. on Friday and Saturday, with a limited menu after midnight.


After a long day shopping in Hernando’s Historic Town Square, take a seat in the Silver Chair, which opened February 10th. Will Rives, the former manager of the Daily Grind in downtown Memphis, decided to venture on his own with this deli-style cafÇ and coffee shop.

Rives named his restaurant for the sixth book in the Chronicles of Narnia series, written by C.S. Lewis. “In the book the main character is under the spell of a witch, except for one hour a night when he is himself. But the witch straps him to a silver chair during those times, so the only time he can be himself is in the silver chair,” Rives explains.

Rives, 25, moved to Hernando two years ago to get married. His wife, Whitley, is his business partner as well as the announcer and public-relations representative for the Memphis RiverKings. Together, the couple spent two months renovating the new restaurant. Modern accents of blues and greens and orange and yellows offset 100-year-old brick columns to give the cafÇ a fresh and chic feel.

Rives, with the help of manager and friend Melissa Hill, operates the gourmet coffee bar and serves up breakfast, lunch, and dinner. The menu features hot and cold sandwiches on an assortment of breads, pitas with hummus, soups, and salads.

Rives says that he plans to offer deliveries very soon and would like to open additional locations in DeSoto County. The cafÇ is located at 2476 Memphis Street and is open Monday through Friday from 7 a.m. to 2:30 p.m. and 5 to 8 p.m. and on Saturday from 10 a.m. to 2 p.m.


Want to prepare 12 gourmet entrEes each month without having to shop, chop, or even clean up — all in less than two hours? That’s the concept behind Super Suppers, a Dallas-based franchise that opened February 15th at 4730 Poplar, #3 (763-1993).

Super Suppers was developed by Judie Byrd, founder of the Culinary School of Fort Worth. The idea is that with the hectic pace of today’s families, it is difficult to find time to prepare a complete meal. So Super Suppers does all of the meal planning, shopping, and prep work. For a $195 fee, customers come to the store, where 12 stations are set up with all the ingredients needed to make an entrÇe. Customers then rotate through all the stations, making meals such as barbecue meatballs, four-cheese manicotti, and apricot-glazed ham. Then they take the meals home and freeze them until it’s time to pop them in the oven for a away-from-home-cooked meal.

“You can get four to six servings out of each entrÇe,” says co-owner Bill Cunningham. “For single people or empty-nesters, you can prepare six entrÇes or 12 smaller entrÇes for $103, less than the average trip to a grocery store.”

Cunningham heard about Super Suppers from a former colleague in Texas. Says Cunningham, “We’ve already sold 50 franchises in the last five months, and we’re on target to be the fastest growing franchise with 100 locations this year.”

Categories
Editorial Opinion

EDITORIAL

F. Scott Fitzgerald was wrong. Not only are there second acts in American lives, sometimes those second acts are infinitely more significant than the first.

On the Shelby County political scene, the first act consisted of last month’s embarrassing disclosures concerning the extracurricular foibles of two prominent local political figures. One was Memphis mayor Willie Herenton, who was revealed to have fathered a child out of wedlock; the other was state senator John Ford, who became a national laughingstock when he testified in child-support hearings that he was living in two separate households and giving financial support to children in both. The hearing itself was being conducted to consider additional support for yet a third household.

We don’t know what further complications will appear in Herenton’s immediate future and won’t hazard a guess. But we have a good idea about those confronting Ford, and we can say this much: Nobody’s laughing now, least of all the senator himself. Word from almost everybody conversant with the facts — Ford’s friends and foes, as well as officials whose interest is politically neutral — is that the Memphis senator may, at long last, be on the way out.

It isn’t Ford’s morals that are at question here. Those are, in every sense, hardly worth talking about. And they figured in the outcome only insofar as Ford’s testimony concerning his surprisingly high income led to investigation about its sources. And that, in turn, led to his current predicament. What we have learned constitutes reason for believing that the senator has violated both the spirit and the letter of public service. For starters, Senator Ford appears to have received substantial income from a firm providing dental services through TennCare — this while he simultaneously sat on the legislative TennCare oversight committee and, as chairman of the Senate General Welfare, Health and Human Resources Committee, directly oversaw legislation relating to TennCare.

Worse, Ford failed to disclose this information on state financial disclosure forms that required it (though he did include it on his filings with the Internal Revenue Service). And he apparently used his legislative know-how last year in a parliamentary delaying procedure that prevented passage of a bill that would have imposed even more stringent disclosure requirements.

In response to these and other recent revelations about Ford, notably the high likelihood that he has not maintained a residence in the district he represents for some time, the state Senate Ethics Committee has been moved by popular pressure to subpoena a variety of records — including those from the child-custody hearings that include his IRS filings.

Clearly, Ford is in trouble not only with his fellow senators, who normally are loath to move against a colleague, but, depending on where the various trails of investigation lead, potentially with law enforcement authorities as well.

We do not wish the senator ill, though we too have wondered why his constituents haven’t tired of his antics. We credit Ford with being responsible for several good legislative turns — on behalf, say, of the state’s mental health community. But he must be held responsible for any misconduct on his part.

Simultaneous with the developments concerning Ford has been the act of the state Election Registry in enforcing the letter of the law against prospective state Senate candidates Joe Towns and Michael Hooks, who were disqualified after being adjudged to have violated either financial-disclosure regulations or residence requirements or, in Hooks’ case, both. At press time, Hooks was involved in a judicial appeal. He has charged state representative Kathryn Bowers, his leading opponent, with using her legislative muscle to see that the law was enforced.

Under the circumstances, with so much evidence that our lawmakers are using their position to circumvent the law, we can hardly object to that.

Categories
Letters To The Editor Opinion

LETTERS TO THE EDITOR

Hot for Posey

To the Editor:

The Flyer made my week with the “Hotties” article (February 10th issue). My favorite hottie, James Posey, was featured, and I was ecstatic to learn more about him. I have watched him since he joined the Memphis Grizzlies, and I love his demeanor on the court. He is a team player, and I’ve never seen him display cockiness, arrogance, or greed for the limelight. My co-workers, friends, and family laugh at me because I call him “my man.”

I am hoping that one day our paths will cross, so that I can tell him how much I admire his attitude on and off the court. The article increased my admiration for him, and I wish him all the best as his foot heals and he returns to the court.

Shaune Waller

Memphis

The OC

To the Editor:

John Branston’s take on the O.C. Smith case (City Beat, February 17th issue) was outstanding — funny and cynical, yet insightful. Tell him to keep it up.

Jeremy Sorensen

Memphis

Bumper Sticker Wars

To the Editor:

Regarding David Dean’s letter to the editor about his run-in with someone who didn’t like his “W” sticker (February 17th issue): Maybe if a lot more people drove “one of those little vegan-powered hybrid things,” U.S. soldiers and Iraqi civilians wouldn’t be dying in the fight for oil, er, “freedom” in Iraq. North Korea has a dictator and WMD, but we’re not fighting there. Is it because Bush and his cronies are only interested in spreading freedom in countries where there is lots of oil — and weak armies?

If the U.S. had spent all the money that’s gone toward the war in Iraq on research and development of alternative fuel sources, we might not even be fighting and dying there.

John Klettner

Memphis

To the Editor:

“W: Still The President.” So says one of the newer versions of the “W” stickers appearing on automobile bumpers hereabouts. Well, it’s true that Mr. Bush is still the president, but many Americans don’t find this to be a reason for celebration. For me, it ranks in the “sad but true” category, like “Poverty: Still With Us” or “Limbaugh: Still a Blowhard.”

I must assume the folks who proudly display these “W” stickers are tickled pink by their man’s performance in office, so I challenge them to be a little more forthcoming about why they love the guy. Why isn’t there a Dubya bumper sticker with an LED display that automatically updates the number of Americans (more than 1,400) and Iraqis (probably more than 100,000) killed in an immoral war or tabulates the amount of U.S. taxpayers’ money poured down that drain (already more than $150 billion)?

How about a bumper sticker that acknowledges the administration’s wonderful human rights record: “Torture: The American Way” or “Abu Ghraib: No Worse Than a Fraternity Prank”?

Bush may well be the worst president in our history. If you’re happy to have him around for another term anyway, don’t be shy about telling us why!

B. Keith English

Memphis

Tort Reform

To the Editor:

I am distressed that Tennessee legislators are once again considering tort reform.

Last week, I went to Washington, D.C., for a rally against tort reform sponsored by the Center for Justice and Democracy. During a forum, I listened as victims of medical malpractice and parents of victims of medical malpractice told their stories.

I wish that every Tennessee legislator could have heard what I heard. No one with a conscience could deny those victims and other victims of medical malpractice the wherewithal to make the best of a terrible situation.

A cap on pain and suffering would be devastating for the elderly, for children, and for parents who stay at home to care for their children. Who will provide for the most vulnerable among us who are victims of medical malpractice?

“Frivolous lawsuits” is a catch phrase popularized by President Bush. I can assure Tennessee legislators that what happened to the people I met last week was not frivolous.

Earlene Burney

Clarksville

Categories
Film Features Film/TV

Picture This

This Saturday afternoon as a companion event with the Stax Museum of American Soul Music’s ongoing exhibit of blaxploitation film posters, the Brooks Museum of Art offers Funky Film Fest, an introductory course of sorts on the short-lived, controversial film genre, which put black faces on the screen (and behind the scenes) in record numbers in the early 1970s.

The selection showing at the Brooks — Shaft, Cleopatra Jones, and Foxy Brown –is like the blaxploitation equivalent of Oscar bait, the borderline-respectable face of a genre that couldn’t get sillier and more flamboyant (The Mack, Blacula), more artistically substantial (Across 110th Street, The Harder They Come), and seedier. (Just check out some of the sketchy obscurities in the Stax exhibit!)

Released in 1971, the same year as Melvin Van Peebles’ avant-garde, proto-blaxploitation Sweet Sweetback’s Baadasssss Song, Shaft served to the mainstream the then-outré energy of Sweetback. Richard Roundtree’s debonair Harlem detective John Shaft is a sexually confident black man who takes no guff from white authority, much like Van Peebles’ Sweetback. But by sprinkling in at least one sympathetic white character and using the familiar narrative structure of the Sam Spade/Philip Marlowe detective story, director Gordon Parks fashioned a film that tapped into the post-civil-rights-movement without alienating audiences who just wanted to have a good time at the movies.

Of perhaps more interest now, for both similar and divergent reasons, are Cleopatra Jones and Foxy Brown. Both Jones‘ Tamara Dobson and Brown‘s Pam Grier are miracles of nature who own the screen: Jones with her sleek, Amazonian luxuriousness and Grier with a Marilyn Monroe-like voluptuousness.

Cleopatra Jones, which opens in a Turkish poppy field before jetting over to the streets of Watts, is more James Bond than Sam Spade. Dobson’s Jones is a government agent who has come home to take on drug kingpin “Mommy,” played by a (literally) hysterical Shelley Winters. With its abundant kung-fu action and with blaxploitation regular Antonio Fargis on hand as dealer-on-the-rise Doodlebug, Cleopatra Jones is the campiest of the three films but still nails the overall point of the genre with one character’s exasperated reaction to the LAPD: “To protect and to serve? Shit.

With Foxy Brown, released three years after Shaft and on the outer edge of a short-lived explosion, you can feel the self-awareness creeping in, especially with the movie’s far-out opening credits. But the film also cuts deeper than Shaft or Cleopatra Jones, trafficking in more volatile, more historically painful imagery. And, message-wise, this revenge tale spouts dialogue that often feels like a remix of counter-culture’s greatest hits, putting a twist on notions from Allen Ginsberg (“Jail is where some of the finest people I know are these days”) to Stokely Carmichael (“Vigilante justice is as American as apple pie”).

But if blaxploitation survives today as a mix of cultural history and camp, you can experience black cinema as living art this weekend as well. The Memphis Film Forum screens four Spike Lee films — She’s Gotta Have It, Do the Right Thing, Crooklyn, and Malcolm X — over three days at Malco’s Ridgeway Four.

The pairing of these two film series is pure coincidence. But if it weren’t, you could have a healthy debate about whether the Lee films serve as complementary or counter programming.

The selection of films looks random at first, and may be. Lee’s 1989 masterpiece Do the Right Thing is a given. After that, his filmography is so scattered and contentious that it defies consensus. But, taken together, the four films screening this weekend neatly convey the diverse scope of Lee’s own work and of the potential for black cinema generally.

Malcolm X is Lee’s biggest production by far, yet might be his most impersonal film. The autobiographical family film Crooklyn is a conscious attempt to shrink his scope and probably his most personal film. Do the Right Thing is, so far at least, his apotheosis, while the romantic comedy She’s Gotta Have It is his debut (and a key film in the growth of the American indie scene).

These screenings are a continuation of a series the Film Forum started last fall with David Lynch and promises to continue into the spring with Krzysztof Kieslowski and Jim Jarmusch. But even with that to consider, it’s hard to imagine a more accomplished and more vital film than Do the Right Thing getting a big-screen showing in Memphis this year. n

The Funky Film Fest schedule is at brooksmuseum.org; Spike Lee Director’s Series schedule is at memphisfilmforum.org.

Categories
News The Fly-By

Spotlight

About 100 Memphis police captains contest the

city budget reduction that abolishes their rank.

Ultimate Ultimatum: At a press conference last August, Memphis mayor Willie Herenton said local police officers were not the director’s men, but “the mayor’s men.”

Those familial feelings were torn asunder last week when 92 of the mayor’s men were given an ultimatum: take a demotion or resign.

Those affected are the 30-year captains, officers who received the rank under a 1927 city charter guideline which automatically promotes personnel after 30 years of service. Giving the captains an ultimatum was police director Larry Godwin’s way of reducing the police budget by $1.3 million, a move necessitated by the city’s $6.4 million budget shortfall. After last Friday’s announcement, officers were given a week to notify Godwin of their intentions.

Protect and Served: “I think it’s a cheap way of using the city’s budget woes to get rid of 30-year captains, which have never been popular with MPD management,” said Memphis Police Association (MPA) president Tommy Turner.

Most of the captains have signed affidavits to be included in litigation against the city. The MPA was granted a temporary restraining order Tuesday, which freezes the positions until a March 7th hearing. The injunction also intervenes in the February 25th notification deadline required by Godwin.

“It’s not a rank that we need,” said Godwin. “The rank is given at the tick of a clock upon [reaching] 30 years, not a process in which we test skills. I think you should achieve it by merit.”

Badge of Honor? At the core of this protest by 30-year captains is what Turner and the MPA see as a violation of city charter. Under that original code, police and fire personnel received the captain distinction in recognition of their service during the yellow fever epidemics in the late 1800s, according to department administrators. Upon receiving the promotion, officers then retired with the pension of a captain.

Many of the 30-year captains received their promotions at ages well below retirement age and remained on the job, drawing salaries that in some cases doubled their previous wages.

“I feel like I’ve been rode hard and put up wet,” said officer Jim Johnston, 57. After his captain’s promotion in September, the former sergeant reorganized his family budget based on his new salary. With college tuition to pay, Johnston’s options are limited. “Mr. Herenton is not running me off this job. If that means having to stay here and work at a lower pay, I’ll have to work a lot of overtime and make it up. I’m here until I fulfill my obligation.”

Categories
Politics Politics Beat Blog

In or Out?

Guess what? Contrary to most news reports, 7th District congresswoman Marsha Blackburn has not renounced the idea of running for the U.S. Senate in 2006. Nor did the statement she released back on February 11th say so.

Moreover, Blackburn — interviewed in Memphis Saturday night at the annual Lincoln Day Dinner of the Shelby County Republican Party — declined, when pressed on the issue, to make a categorical statement of noncandidacy. What she said instead: “Well, we’ll just have to see.”

The kernel of her February 11th statement, headed “Blackburn Announces Senate Decision in a Letter to the People of Tennessee,” was to be found in the last two paragraphs of that lengthy document. They read as follows:

“I will remain in the House and serve the 7th Congressional District for the next two years as we fight to promote a culture of life, protect family values, and reduce government spending. I have been touched and honored by all those across the state who have asked me to consider a run for the U.S. Senate, but now is the time for my focused work in the U.S. House of Representatives.

“Tennessee and the Republican Party are fortunate to have an emerging field of talented and dedicated individuals willing to serve the state. I wish them well. And, I want to assure all those who support our ideals that, as in the past, I will be there to lend my voice and my energy to electing a strong conservative Republican senator in 2006.”

It was pointed out to Rep. Blackburn Saturday night that the first of those paragraphs can be interpreted as meaning no more than that she will serve out the two-year term she won in her successful reelection campaign last year — a fact which would not preclude a Senate campaign in 2006. She smiled and chose not to rebut such an interpretation. Instead, she said only that the statement reads “exactly the way I wanted it to.”

It was also pointed out to Blackburn that the promise in the concluding paragraph of her statement to “lend my voice and my energy to electing a strong conservative Republican senator in 2006” was not inconsistent with the possibility of herself being that “strong conservative” candidate. Again, she affirmed only that the statement, as written, reflected her sentiments and declined to make a more categorical statement of noncandidacy.

Was it possible that future events could still result in her becoming a Senate candidate, after all? “Well, we’ll just have to see,” she repeated.

The three Republican Senate candidates declared so far — former 7th District congressman Ed Bryant, Chattanooga mayor Bob Corker, and state representative Beth Harwell — were on hand for the Shelby County Lincoln Day dinner, as was former 4th District congressman Van Hilleary, whose announcement of candidacy is imminently expected (“I’ll have something to say probably within the next 10 days,” he said Saturday night). All four were present too at Thursday night’s Williamson County Lincoln Day Dinner, where they each spoke briefly. They did not speak at the Memphis event, which was addressed by U.S. Housing and Urban Development Secretary Alphonso Jackson, though Blackburn made some brief remarks.

Will she be asked for further clarification of her February 11th statement, or will the media and the field of declared Senate hopefuls just let it be? Well, that’s something we’ll just have to see too.

n Saturday night’s GOP dinner was the swan song for outgoing Shelby County chairman Kemp Conrad. He will be succeeded at next Sunday’s biennial Republican convention at White Station High School by Bill Giannini, who is unopposed.

During his term, Conrad made a point of stressing minority outreach, and Jackson’s appearance Saturday night capped those efforts, in a sense. For his part, the HUD secretary, an African American, extolled what he said were the civil rights contributions of such deceased Republican luminaries as Illinois senator Everett Dirksen and President Dwight Eisenhower. Jackson also criticized two late Democratic senators — J. William Fulbright of Arkansas (accurately) and Albert Gore Sr. of Tennessee (perhaps inaccurately) for obstructing civil rights legislation. He further said the Ku Klux Klan had originated as a “extension of the Democrats.”

n Ironically, the race for the state Senate seat in predominantly Democratic District 33, vacated last month by Shelby County mayoral aide Roscoe Dixon, now has more GOP candidates than Democrats. Republicans running are Mary Lynn Flood, Jason Hernandez, Mary Ann McNeil, and Barry Sterling. Democrats remaining, pending the result of an appeal by Shelby County Commission chairman Michael Hooks, are state representative Kathryn Bowers and James Harvey. Hooks was disqualified by the state Election Registry for failure to file financial disclosures, while state representative Joe Towns withdrew after being ruled ineligible for failure to pay previous fines assessed by the registry for incomplete or absent disclosures.

Categories
Opinion

Out of the Woods

Has any musical subgenre underachieved more of late than neo-soul?

It’s understandable that a sizable portion of R&B’s target audience would turn against the cartoonish limitations of that music’s recent perpetual-after-party vibe and instead seek a worldview that is more rounded and grounded, that reflects the diversity of experience in the listeners’ daily lives. But to reject the mainstream’s sleek post-disco grooves and state-of-the-art hip-hop-bred beats along with its lyrical content might be to confuse baby with bathwater.

It didn’t have to be this way. Neo-soul’s first and last masterpiece, D’Angelo’s 2000 opus Voodoo, may not have been music to get drunk (or crunk) to, but it was built on a separate-but-equal sonic foundation, a headphone-funk classic nearly on a par with the classics of the form — Sly & the Family Stone’s There’s a Riot Goin’ On, Prince’s Sign O’ the Times, and Tricky’s Maxinquaye.

But in the five long, silent years we’ve waited for a follow-up to Voodoo, the neo-soul genre has devolved musically, preferring draggy jazz-lite tempos and unobtrusive beats to music that might actually compete with the sometimes avant-garde-ish productions that make up the mainstream, um, alternative.

So, if neo-soul’s relaxed, organic music (think: in the coffee shop with an herbal tea rather than in the club with a bottle full of bub) struggles to be heard amid the beat-mad clamor of its more mainstream counterpart, lyrical content should give it an edge, right? At its best, yes, as witnessed by the success of the witty/weird Erykah Badu and the now very-crossed-over Anthony Hamilton. But these have been exceptions. All too often, neo-soul’s lyrical love paeans are as indistinct as Usher’s club-bound come-ons. And in the absence of a compelling songwriting voice, who really wants to hear atmospheric health food such as Bilal or Musiq when R.Kelly’s Smokey Robinson-worthy vocal melodies and Usher’s Lil Jon beats are probably on the radio right now?

But in 2005, with D’Angelo still on indefinite hiatus and Badu drifting into the wilderness, neo-soul has a new standard-bearer, and it could do a lot worse than Jill Scott.

Scott’s still held back by the genre’s self-imposed musical limitations. Rarely on the late-2004 Beautifully Human — see the stand-up-and-be-noticed beat of “Bedda at Home” — does the music break free from its tasteful lite-jazz format. But it would be your loss if that kept you from attending to Scott, who is a total charmer — a deft vocalist, light and lovely enough for straight jazz, and simply the best, most subtle songwriter in her little corner of the musical world.

Scott’s verbal skills were apparent on her debut, Who Is Jill Scott?, where the spoken-word-over-jazz-accompaniment “Exclusively” was so economical, unpredictable, and precise that it might have qualified for Best Short Stories of 2000. But Scott’s writing really flowers on Beautifully Human, which is also, happily, a more vocally and musically confident record.

On “The Fact Is (I Need You),” the catalog of domestic tasks she doesn’t need your help with ranges from the knowing, charming cliché (“kill the spider above my bed”) to the surely unspoken in love-song history (“I can even stain and polyurethane”). The sneaky “My Petition” starts out as a relationship metaphor only to gradually reveal a more literal intent. And the foolproof “Family Reunion” (see Kanye West’s “Family Business”) is a series of finely observed details skipping into the next until family tensions heat up so much that only a little Frankie Beverly on the stereo can cool things down.

But, though Scott’s pen knows no limitations, her greatest subject might be the same primary subject of most other modern soul singers: S-E-X. You might argue that the surest path to heavy rotation for a young female singer these days is the sex instructional and assume that a neo-soul singer would try to combat this. (Of course, you might also point back through 40-something years of pop to “The Loco-Motion” and contend this is nothing new.)

But there’s something righteous about Scott’s refusal to cede this territory to MTV-approved lap dancers. The physics may not be as porn-star impressive as “Dip It Low,” but Scott’s “a poignant rocking back and forth alright” sure sounds like sex in the beautifully human real world.

Scott takes Topic A to compelling places (which Top 40 radio knows nothing of) all across Beautifully Human: The post-coital bliss of “Whatever” is as weird and real as anything Prince ever came up with, Scott’s delirious declaration of appreciation (“You represented in the fashion of the truly gifted”) yielding to comically desperate attempts to keep her partner from leaving. (“Do you want some money, baby?/How about some chicken wings?”) The high-stepping lustiness of “Bedda at Home” is equally Prince-ly: “Your sexiness and vivacity makes me want to cook my favorite recipe/And place it on your table . . . Baby!” But the breathlessly scatting, coyly erotic “Cross My Mind” is all Scott’s own: “How amazing/How amazing/When you spread my limbs across continents/Bump our bed/Way over that mountain’s edge/Kiss this and this and this and this and this and this and this and this and this and that/Show each other where the climax is at.”

Musically, it may not be cutting-edge, but Scott boasts a mixture of pleasure and personality plenty strong enough to lead neo-soul out of the woods. n

Listening Log

Push the Button — Chemical Brothers (Astralwerks): Onetime-would-be revolutionaries transformed into genre codgers (and lead-track guest vocalist Q-Tip knows just how they feel). In techno terms, call them the Beastie Boys to Basement Jaxx’s Eminem — more comfortable and reliable than bold and exciting but still pretty much getting it done. Bids for relevancy abound: Bush/Saddam connection here, Eastern riddim there. Best contemporary reference: the subtle Strokes riff weaving through the album-closing “Surface to Air.” (“Believe,” “Hold Tight London,” “Marvo Ging”)

Grade: B+

The Documentary — The Game (Aftermath/G Unit/Interscope): West Coast gangsta rap, this year’s model. A fiercer MC than mumble-mouthed mentor 50 Cent but with an equally rote worldview and lack of wit. Unintentionally revealing lyric: “I look down on ho’s and up to Dre.” (“Hate It or Love It,” “Like Father, Like Son”)

Grade: B-

Crunk Juice –Lil Jon & The East Side Boyz (TVT): After giving Usher and Petey Pablo his crossover tracks, the hottest producer of the moment decides to keep some for himself, resulting in a record at least slightly more accessible to crunk novices than the previous Kings of Crunk. But the most memorable moments here are still among the most outré. There’s nothing as overwhelming as “Get Low,” Kings of Crunk‘s megaton bomb of rhythm and noise (I know, there’s little in the history of recorded sound that matches the steam-rolling rhythmic complexity of “Get Low”), but the album is better overall. And even though there are more than a few heinous lyrics beneath these chaotic productions, there’s also a self-implicating cartoonishness that takes the edge off crunk’s belligerent misogyny. With Chris Rock and David Chappelle soundbites underscoring the intentional self-parody at the core, the result is kind of like a Redd Foxx album with body-rocking beats. (“Stop F***in Wit Me,” “In Da Club,” “Stick Dat Thang Out”)

Grade: B+

Totally Country Vol. 4 — Various Artists (Sony/BMG): For years now, most music fans have sniffed at mainstream country, the plasticity and downright hokiness of the genre as much a given as the soundalike, cookie-cutter quality of the Nashville studio machine. This brand of cultural superiority has always been ill-informed but never so much as over the last couple of years. The genre has emerged into a pop scene as interesting and diverse as anything you can find across your radio dial. Just check out volume four of this ongoing singles comp. It’s essentially the country equivalent of the Top 40 Now series: redneck-rock meets calypso-and-western meets pedal-steel-fueled singalong meets Hallmark condescension meets unbearable yellow-ribbon weepie meets perfect pop-country meets perfectly awful easy-listening country meets Big & Rich’s better-than-Beck multigenre crash derby. All together in an ever-expanding big-tent view of country music that you ignore at your own loss. (“Redneck Woman” — Gretchen Wilson, “Save a Horse” — Big & Rich, “Perfect” –Sara Evans) n —

Grade: B+

Categories
Theater Theater Feature

To Bee or Not To Bee

Pretentious is a word I tend to avoid because, ironically enough, its meaning has been lost through indiscriminate usage. But there is really no other way to accurately describe Humble Boy, showing through this weekend at Playhouse on the Square. The play, by Charlotte Jones, wants to be many things but is, in reality, a farcical melodrama about a less-than-functional family coming to grips with the loss of its humble patriarch.

Humble Boy pretends to be a contemporary reworking of Hamlet, though rip-off might be a more apt description as it takes the bard’s plot points at face value without adding anything new or interesting. It’s most obviously a nod to Tom Stoppard (Rosencrantz & Guildenstern Are Dead), who has built a career deconstructing the classics and turning stock forms and characters inside out hoping to find new light streaming through old windows. The dark sexual farce at play in Humble Boy is reminiscent of Alan Ayckbourn’s Norman Conquests.

But to muddy the waters even further, Jones borrows again from Stoppard and the like-minded Michael Frayn (Copenhagen), two authors known for inserting dense bits of history and science into their plays, creating metaphors that stretch back to the beginning of time and on into infinity. In Jones’ case, these metaphors (beekeeping and string theory) seem tacked on — a painful reminder of nothing more than a self-consciously well-read playwright. Fortunately for Playhouse, the actors — though misguided at times — show genuine affection and sympathy for their characters, making what could have been a painful evening of theater reasonably pleasant. Well, at least for the first two hours.

Humble Boy tells the story of Felix Humble (John Hemphill), an aspiring astrophysicist studying string theory, which is generalized to the point of nonsense as “the theory of everything.” Fat, loveless, and riddled with self-doubt, the young scientist returns home after his father’s mysterious death. His exceptionally vain, sharp-tongued, and Ab-Fab-derived mother (Irene Crist at her icy best) never felt that his beekeeping daddy was good enough for her and is romping unashamedly in the hay with a smarmy, drunken, trash-mouthed bastard (Kelly King), who would be entirely unsympathetic were it not for an artificial dramatic device or three. The conflicted Felix must also confront an old flame (Mary Buchignani) he abandoned for his new mistress, the cosmos, and the heartbreaking possibility that her 7-year-old child is his own. Unlike Hamlet, who couches his suicidal tendencies in a ferocious battle against existential dragons, Felix merely frets and pines away for his father’s beloved bees, which Mummy has banished.

Buchignani, a potent character actress, is at her absolute best here, tempering sexual aggressiveness with wounded pride and a vulnerability that belies her tough exterior. Hemphill also manages some fine moments but is regularly tripped up by the play’s extraneous flights of metaphorical fancy and a story line that keeps him whining when he should be railing against the fates. King, who came on strong in Playhouse’s production of Lanford Wilson’s Book of Days, gives a thoroughly convincing performance as a total asswipe but is ultimately ruined by an overt impersonation of Cary Grant. The play’s best moments, however, go to Jo Lynne Palmer, a character with hysterical tendencies who seems to be plucked directly from the pages of a Jane Austen novel. Her comic bit involving the dearly departed’s ashes and a bowl of gazpacho nearly brought the opening-night audience to their feet mid-show.

Of course, as this is a reworking of Hamlet, there is a ghost, but I’ll not get into that here. But woe the poor actor who attempts this part. No matter his prowess, he is doomed by the playwright to failure.

Director Anastasia Herin left Humble Boy a week before the show opened. Michael Detroit and Dave Landis scrambled to finish the job, and the presence of many hands at work is obvious in the actors’ inconsistent approaches to their characters. There are moments (and horrid ones at that) when the play’s farcical elements are played broadly. But there are also moments when the cast settles in, plays things straight, and mines Jones’ bloated script for good humor and genuine emotion. Sadly, what begins pretentiously ends incoherently, with just enough solid acting in between to keep the production afloat.

Through Feb. 27th

Categories
News The Fly-By

A Quickie with

“The Gates” project has festooned New York’s Central Park with saffron banners and brought an estimated $80 million to the city.

We caught up with Hussong, on her way to New York, to find out about our chances of wrapping The Pyramid.

Flyer: Could we ever do a project like “The Gates”?

Hussong: Memphis has the potential to do things on a smaller scale. You could do a very, very significant temporary project for $100,000 that would receive national and international attention that people would come to see.

A lot of people here still think it’s a huge amount of money to invest in a temporary piece of art, but they’re not thinking about it in the same way they would think about the Beale Street Music Festival and its economic impact. How many people are coming downtown and spending money they wouldn’t have otherwise spent?

There’s a potential in spring and in fall to do outdoor installations. It could be up for a fair amount of time, and the weather wouldn’t be too hot or too cold. It could show Memphis in a better light instead of people always thinking of it being so hot. But it will take somebody stepping up and having the vision.

What if we wanted to wrap The Pyramid?

Most of the time, an artist calls and says, “I have this vision to do this” and … they have no idea what it takes to build it, construct it, install it, insure it, convince people that it’s structurally sound. You have to do your homework because it’s not just about wrapping a building or putting an installation somewhere. There’s a lot of practical and legal issues.

Categories
Food & Wine Food & Drink

Driven

“Hurry hurry hurry,” Camy Archer says. “Let’s get ourselves ready for the first order.”

Archer, owner of the delivery restaurant Camy’s, is watching her day manager Shawn Eads as he works on four pizzas. This is the first order of the day in what will be a 14-hour shift for Archer. The remaining 10 hours, Archer will be on call.

It’s this vigilance that led Archer to open Camy’s and to keep it open. For the past 12 years, Camy’s has delivered food throughout Midtown and downtown. It’s not fast food but sturdy American staples — lasagna, steak dinners, sub sandwiches, pizzas, salads, and desserts.

Archer grew up in Holly Grove, Arkansas, where her father owned a gas station. She and her brother and sister “got to play ball and play with our friends,” she says, “but we all had a 20-minute chore.” Hers was counting the money from the register and the vending machines. She fondly remembers the value of customers to her parents and the give-and-take of owning a business in a small town. It was the sort of place where the doors were left unlocked so the grocery delivery boy could place perishables in the refrigerator after hours.

In 1970, after her junior year in high school, Archer moved to Memphis to pursue a career as a musician. She played guitar and sang both Top 40 and country in different venues throughout the Mid-South. But the travel got old, and in 1987, she started driving for Domino’s Pizza, “deciding what I was going to do,” she says. She eventually began working in Domino’s marketing department, drumming up new business in the Memphis area.

“Do you know a place that delivers anything besides pizza?” she often heard. She took note and then took off on her own.

In November 1992, at age 40, she opened Camy’s. Domino’s was her only competition, but six months later, Pizza Hut began delivering, followed by Papa John’s and Steak Out. She was overwhelmed by the customer response. On day one, she had three employees; the next day, five. Currently, there are 26.

Many of Archer’s employees are students cooking or driving their way on to unrelated futures. Older drivers are earning supplemental incomes.

Working at Camy’s does mean long hours. The business is closed only on Thanksgiving, Christmas Eve, and Christmas Day, and after the July 2003 wind storm closed Camy’s for a few days, employees used the downtime to paint the store. But, she says, someone once told her, “If you are in a bad mood when you are making that food, it will come out in that food,” so she tries to take it easy on her employees. Managers work no more than 45 hours per week, and if someone is having a bad day, she will let them go home. When the roads are icy, she would rather close than put her drivers in danger. She also tells drivers not to deliver if they are in a situation where they do not feel safe.

Nor will Archer put her drivers in a situation where they’ll not be on time. Students at Rhodes College, University of Tennessee-Memphis, and Christian Brothers University are a great source of business, but she resists the temptation to expand to the much larger University of Memphis campus. Timeliness of delivery would suffer and so would Camy’s reputation.

As for the future, Archer is looking east. The growth areas of Bartlett, Germantown, Collierville, and Cordova are too far from her Midtown location for delivery, so she is considering selling franchises. She also did a survey among her customers to see what they’d like on the menu.

The survey results have provided Archer with something new to be vigilant about: hot wings, which were the most requested menu addition.

“We are trying to find the finest hot wings in the world,” she says. n

Camy’s, 3 S. Barksdale, 725-1667

PHOTO BY DEVIN GREANEY

FOOD NEWS

by Sonia Alexander Hill

Round 1 is a sports bar with a twist.

The concept was to combine sports with upscale dining, says partner Orlando Steward. The result is a contemporary-casual décor with plasma televisions, so patrons can catch the game while enjoying grilled salmon or lobster tail. Also on the menu are fried gator bites.

“There’s a story to the gator bites,” says Chef Damien Ward. “I used to own an alligator, and it bit the tip of my finger off, so now I take any chance I get to cook an alligator tail.”

Although Ward was born in Memphis, he traveled extensively while his father was in the military and later during his own military stint. Ward learned to cook in restaurants all over the world.

“I took a chef’s apprenticeship in what was then Yorktown, Yugoslavia. I took jobs everywhere just to learn, not for money, because food is my passion, and to fulfill your passion you have to go to the source,” Ward says.

For Ward, cooking is a family thing. Two of his brothers are also professional chefs, and his uncle was on the culinary staff at the White House during the Johnson administration.

“For me, a black man coming up in the 1960s, it was a big deal to know that your uncle worked in the White House,” he says.

Ward says that the most important aspect of the Round 1 menu is that every item is an original recipe he created.

The restaurant opened February 4th at 6642 Winchester. The hours are 11 a.m. to midnight throughout the week and until 2 a.m. on Friday and Saturday, with a limited menu after midnight.

After a long day shopping in Hernando’s Historic Town Square, take a seat in the Silver Chair, which opened February 10th. Will Rives, the former manager of the Daily Grind in downtown Memphis, decided to venture on his own with this deli-style café and coffee shop.

Rives named his restaurant for the sixth book in the Chronicles of Narnia series, written by C.S. Lewis. “In the book the main character is under the spell of a witch, except for one hour a night when he is himself. But the witch straps him to a silver chair during those times, so the only time he can be himself is in the silver chair,” Rives explains.

Rives, 25, moved to Hernando two years ago to get married. His wife, Whitley, is his business partner as well as the announcer and public-relations representative for the Memphis RiverKings. Together, the couple spent two months renovating the new restaurant. Modern accents of blues and greens and orange and yellows offset 100-year-old brick columns to give the café a fresh and chic feel.

Rives, with the help of manager and friend Melissa Hill, operates the gourmet coffee bar and serves up breakfast, lunch, and dinner. The menu features hot and cold sandwiches on an assortment of breads, pitas with hummus, soups, and salads.

Rives says that he plans to offer deliveries very soon and would like to open additional locations in DeSoto County. The café is located at 2476 Memphis Street and is open Monday through Friday from 7 a.m. to 2:30 p.m. and 5 to 8 p.m. and on Saturday from 10 a.m. to 2 p.m.

Want to prepare 12 gourmet entrEes each month without having to shop, chop, or even clean up — all in less than two hours? That’s the concept behind Super Suppers, a Dallas-based franchise that opened February 15th at 4730 Poplar, #3 (763-1993).

Super Suppers was developed by Judie Byrd, founder of the Culinary School of Fort Worth. The idea is that with the hectic pace of today’s families, it is difficult to find time to prepare a complete meal. So Super Suppers does all of the

“Hurry hurry hurry,” Camy Archer says. “Let’s get ourselves ready for the first order.”

Archer, owner of the delivery restaurant Camy’s, is watching her day manager Shawn Eads as he works on four pizzas. This is the first order of the day in what will be a 14-hour shift for Archer. The remaining 10 hours, Archer will be on call.

It’s this vigilance that led Archer to open Camy’s and to keep it open. For the past 12 years, Camy’s has delivered food throughout Midtown and downtown. It’s not fast food but sturdy American staples — lasagna, steak dinners, sub sandwiches, pizzas, salads, and desserts.

Archer grew up in Holly Grove, Arkansas, where her father owned a gas station. She and her brother and sister “got to play ball and play with our friends,” she says, “but we all had a 20-minute chore.” Hers was counting the money from the register and the vending machines. She fondly remembers the value of customers to her parents and the give-and-take of owning a business in a small town. It was the sort of place where the doors were left unlocked so the grocery delivery boy could place perishables in the refrigerator after hours.

In 1970, after her junior year in high school, Archer moved to Memphis to pursue a career as a musician. She played guitar and sang both Top 40 and country in different venues throughout the Mid-South. But the travel got old, and in 1987, she started driving for Domino’s Pizza, “deciding what I was going to do,” she says. She eventually began working in Domino’s marketing department, drumming up new business in the Memphis area.

“Do you know a place that delivers anything besides pizza?” she often heard. She took note and then took off on her own.

In November 1992, at age 40, she opened Camy’s. Domino’s was her only competition, but six months later, Pizza Hut began delivering, followed by Papa John’s and Steak Out. She was overwhelmed by the customer response. On day one, she had three employees; the next day, five. Currently, there are 26.

Many of Archer’s employees are students cooking or driving their way on to unrelated futures. Older drivers are earning supplemental incomes.

Working at Camy’s does mean long hours. The business is closed only on Thanksgiving, Christmas Eve, and Christmas Day, and after the July 2003 wind storm closed Camy’s for a few days, employees used the downtime to paint the store. But, she says, someone once told her, “If you are in a bad mood when you are making that food, it will come out in that food,” so she tries to take it easy on her employees. Managers work no more than 45 hours per week, and if someone is having a bad day, she will let them go home. When the roads are icy, she would rather close than put her drivers in danger. She also tells drivers not to deliver if they are in a situation where they do not feel safe.

Nor will Archer put her drivers in a situation where they’ll not be on time. Students at Rhodes College, University of Tennessee-Memphis, and Christian Brothers University are a great source of business, but she resists the temptation to expand to the much larger University of Memphis campus. Timeliness of delivery would suffer and so would Camy’s reputation.

As for the future, Archer is looking east. The growth areas of Bartlett, Germantown, Collierville, and Cordova are too far from her Midtown location for delivery, so she is considering selling franchises. She also did a survey among her customers to see what they’d like on the menu.

The survey results have provided Archer with something new to be vigilant about: hot wings, which were the most requested menu addition.

“We are trying to find the finest hot wings in the world,” she says.

Camy’s, 3 S. Barksdale, 725-1667