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Spotlight

On Presidents’ Day, members of a grassroots group will line up along Poplar Avenue to protest the Bush administration’s plan to privatize Social Security.

Traffic Patterns: Members of Democracy for Memphis will stand in small groups at 17 major intersections along Poplar Avenue from Danny Thomas to Kirby Parkway February 21st. The groups will be drawing a symbolic “line in the sand” to show motorists “that the quality of life for American seniors is not for sale,” according to organizer Brad Watkins.

“Poplar is a street that runs through various neighborhoods that range from affluent to not-so-affluent, and we figured that a rally about an issue that affects us all should be on a street that connects us all,” said Watkins.

Buying Stocks and Making Bonds: President George W. Bush recently wrapped up a tour of major cities promoting private Social Security accounts. His plan would have younger workers placing some of their Social Security earnings into stocks and bonds.

Democracy for Memphis says that there’s no immediate crisis for Social Security and that Bush hasn’t explained how the new changes would be financed. They also say that while the mutual funds that Bush is touting as safe may have some protection from market fluctuations, they also have very low returns.

“There is a reason why the first rule of investing is the same as the first rule of walking into a casino, and that is: Never invest more than you can afford to lose,” said Watkins.

This will be the group’s first rally since its formation in December, and they’re hoping to combine their efforts with those of other local groups. Individuals or teams can sign up for their preferred intersection on the group’s Web site, DemocracyForMemphis.com.

Watkins says he hopes to make this protest as racially diverse as possible.

“One thing that really disturbs me … in this city is the racial divide,” said Watkins. “I don’t want to go to any more [demonstrations] where I’m the only African American. Since the civil rights movement, progressives have begun drifting to their own corners.”

Bringing It Back: Democracy for America was formed by Democratic national chairman Howard Dean shortly after he dropped out of the 2004 presidential race. The organization focuses on shifting the Democratic Party back to issues that affect people’s daily lives, rather than issues that extend too far to the left.

Said Watkins. “Presidential politics is very sexy. It makes people feel like they’re part of a larger-than-life struggle, but between elections is when the most work needs to be done.”

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Politics Politics Beat Blog

POLITICS (WEEKEND EDITION)

Guess what? Contrary to most news reports, 7th District congressman 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 non-candidacy. 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 on 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 which 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 Rep. 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 non-candidacy.

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 had been 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, we’ll just have to see.

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News The Fly-By

the Cheat Sheet

News you need to know

1. Senator John Ford blames the “white media” for what he considers negative stories about child-support payments, multiple families, legal-residency questions, and campaign funds. White media? Hmmm. Something tells us he’s not griping about the color of the paper it’s printed on.

2. Mayor Willie Herenton offers to resign and “go fishing” if the city and county governments consolidate. Judging from our letters to the editor, some people would be happy to have Memphis merge with Itta Bena, Mississippi, if the mayor would step down.

3. The Grammy Awards present a Lifetime Achievement Award — Grammy’s highest honor — to Jerry Lee Lewis. Other recipients include Led Zeppelin and the Staple Singers. Goodness gracious! The Killer is certainly in good company.

4. With apologies to Jerry Lee, an earthquake “shakes our nerves and rattles our brains.” We’d like to remind readers that it happened just one week after the Flyer published a cover story called “Earthquake.” Don’t mess with us, people.

5. Coors Brewery announces it will close its Memphis plant in two years. With all the drinkin’ we see around us, day in and day out (don’t make us name names), how on earth can the Bluff City lose a brewery?

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News The Fly-By

A Quickie with

With Memphians Craig Brewer (Hustle & Flow) and Ira Sachs (Forty Shades of Blue) making waves at the Sundance Film Festival, few locals are tracking the changing movie landscape of Memphis as closely as Les Edwards and Emily Trenholm. As coordinators of the annual IndieMemphis Film Festival — which is currently featured in two articles in the national MovieMaker magazine — the couple has handed out awards to Brewer and sponsored screenings of Sachs’ early films.

Flyer: No one could have expected a double-win for Memphis at Sundance. What was your reaction?

Edwards: We were excited just to learn that two Memphis films had been accepted. That alone was a cause for celebration. But for the two films to win those two big awards? Particularly with Craig [Brewer], it validates that the filmmaking community in Memphis is maturing, and I think that IndieMemphis has grown along with it.

Trenholm: We’re very proud of both of them. You won’t have this kind of success every year, but there’s an awful lot of talent here.

Given the attention that the Sundance success has brought to Memphis, has there been any discussion about how IndieMemphis can capitalize on that?

Edwards: We started a couple of years ago networking with other festivals throughout the region. These festivals are seeing the same press about Memphis that everyone else is, and they’re calling us looking for films and filmmakers that might participate in their festivals. So one thing the success of Sundance has accomplished is to allow Memphis’ role in that network to get stronger.

Trenholm: There are so many film festivals out there and filmmakers can only enter so many, I think the publicity may have [out-of-town] filmmakers looking harder at Memphis now. And that will certainly benefit [IndieMemphis], especially since we’ve shown the work of both Brewer and Sachs.

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News The Fly-By

F-stop

The Center for Earthquake Research and Information (CERI) was abuzz last week after a crush of media outlets descended on the Central Avenue office for the latest on the Thursday-morning earthquake.

“I had been warned before taking a job here that when [a quake] occurred the media attention would be pretty intense, but what we had last week was more than I could have ever imagined,” said one CERI seismologist.

Pretty cool, huh? Not really. “I’m used to conducting my research each day in relative anonymity, and I like that,” he said.

The quake, which registered 4.1 on the Richter scale, occurred seven miles from Caraway, Arkansas. The town is about 48 miles from Memphis, but some residents here felt the rumbling. Seismographs of CERI’s measurement station in Twist, Arkansas, documented the New Madrid seismic zone quake activity (shown here). To allay fears, scientists quickly denounced any suggestion that this quake was a precursor to “the big one.”

And until then, CERI scientists would like to remain anonymous.

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News The Fly-By

GLASS HOUSES

Last weekend, The Commercial Appeal‘s Daybreak section took WREG to task saying, “We were as flummoxed by local TV news as we’ve ever been [when] News Channel 3 reporter Andy Wise punctuated his interview with Claudine Marsh, Memphis Mayor Willie Herenton’s former girlfriend, with numerous references to Jesus Christ, religion and faith. Marsh granted him an interview because of their common ‘bond,’ Wise said a ‘belief in Jesus Christ’The newly pious preacher’s (oops, reporter’s) take was odd because typically, journalists aren’t required to share anyone’s beliefs, religious or otherwise. They’re just supposed to get the story and tell it fairly.” IRONY ALERT!!! On the very next day, CA columnist Wendi Thomas, in a holier-than-thou fit of wild presumption admits that while watching the Ford/Herenton freak show she’s forgotten to do something rather important. “What I didn’t do is pray [for Ford and Herenton],” she says. “Will I refrain from writing columns critical of elected officials? That’s not a promise I’ll make. Will I pray for them before my fingers touch the keyboard? That’s a promise I’ll keep.” Score one for King Willie! After all these years he’s finally brought the mainstream media to its knees.

Plante: How It Looks

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News News Feature

Jeff Gannon’s Secret Life

Last week, Republican activist Bobby Eberle, the man behind the now infamous conservative Web site Talon News, insisted that before hiring “Jeff Gannon” as his White House correspondent, he never looked into Gannon’s background. If true, Eberle probably wishes he had. And the same could be said for the White House officials who bent the rules to make way for Gannon in the press briefing room. There’s new evidence that the Talon reporter, who lobbed softball questions at Bush during press conferences on behalf of a dubious news operation, recently worked as a gay male escort.

Gannon, whose real name is James Guckert, made headlines last week when he resigned from Talon after days of intensive scrutiny from bloggers, who first raised questions about Guckert’s questionable journalistic methods and his lack of experience (he often cut and pasted White House press releases into his “news” stories), as well as Talon’s lack of independence from Eberle’s purely partisan GOPUSA Web site. Then questions arose about why the Guckert was given access to the White House press room after being turned down for Capitol Hill press credentials. The final straw for Guckert came when bloggers revealed associations that Guckert and his Delaware-based company had with a handful of gay-themed male escort services.

In an interview with Editor & Publisher magazine, Guckert claimed the sites “were done through a private company [Bedrock Corp.] I was involved with doing Web site development about five years ago. The sites were never hosted, and nothing was ever posted to the sites.”

But on Monday, John Aravosis posted on his site, AmericaBlog.org, detailed evidence indicating that not only was Guckert personally involved with the Web sites, he was also offering his own escort services for $200 an hour, or $1,200 a weekend.

Aravosis received on-the-record confirmation, complete with five invoices paid by Delaware’s Bedrock Corp., from the person Guckert hired to build the gay Web site USMCPT.com, which features X-rated photos. The Web designer also forwarded to Aravosis dozens of unused photos that Guckert sent him when the site was being built. “Each photo looks remarkably like Jeff Gannon,” Aravosis writes.

AmericaBlog also details scores of other gay escort sites featuring photos and personal profiles of Guckert. Guckert’s first site remained live until May 8, 2003, one month after he began covering the White House for Talon. According to Aravosis’ research, Guckert’s escort profile on WorkingBoys.net was still active as of Monday. Aravosis says he contacted Guckert for comment for the story but received none.

Addressing the question of why Guckert’s personal life matters, Aravosis wrote, “This is the conservative Republican Bush White House we’re talking about. It’s looking increasingly like they made a decision to allow a hooker to ask the President of the United States questions. They made a decision to give a man with an alias and no journalistic experience access to the West Wing of the White House on a ‘daily basis.'”

Revelations about Guckert’s past certainly do not square with Talon’s openly conservative approach. Talon has defended Bush on the issue of a gay-marriage ban and supported the notion of “ex-gays.” In an article last year, Guckert, as Gannon, wrote that Democratic senator John Kerry “might someday be known as ‘the first gay president.’ The Massachusetts liberal has enjoyed a 100 percent rating from the homosexual advocacy group, the Human Rights Campaign (HRC), since 1995 in recognition of his support for the pro-gay agenda.”

Guckert’s brand of openly partisan journalism was often suspect. Last February, he reported that a former Kerry intern had taped an interview with “one of the major television networks” to discuss her affair with the senator, an assertion that was completely false. The intern never appeared on television and never claimed to have had an affair with Kerry. (All of Gannon’s stories have been scrubbed from the Talon site.)

News of Guckert’s past, or at least how he was able to land a coveted White House press pass without submitting himself to a full-scale FBI background check, will likely be addressed at this week’s meeting between leaders of the White House Correspondents Association and White House press secretary Scott McClellan.

Most White House reporters obtain a permanent, or “hard,” press pass only after passing an FBI background check and only after first securing Capitol Hill credentials. Guckert was denied Capitol Hill credentials when the committee in charge of issuing them could not confirm Talon was a legitimate, independent news organization. Instead, Guckert, with the help of someone inside the White House press office, used a daily pass for nearly two years. Daily passes require only instant background checks, unlike the ones the FBI conducts for hard-pass applicants, which can take several months to complete.

According to Eberle, Guckert provided White House officials with his real name, which means they knew he was writing under a false one. White House officials refuse to discuss why they let Guckert in or what, if any, criteria they used to determine his qualifications. “We’re trying to get more details about how this was done,” says Mark Smith, vice president of the White House Correspondents Association.

Last week, Senator Frank Lautenberg (D-N.J.) requested from McClellan all documents related to Guckert’s press passes. “As you may know, Mr. Guckert/Gannon was denied a Congressional press pass because he could not show that he wrote for a valid news organization. Given the fact that he was denied Congressional credentials, I seek your explanation of how Mr. Guckert/Gannon passed muster for White House press credentials,” Lautenberg wrote. On Monday, House Democratic Whip Steny Hoyer noted, “This issue is important from an ethical as well as from a national security standpoint. It is hard to understand why a man with little real journalism experience was given a White House press corps credential.”

Writing for the right-wing advocacy group, Accuracy in Media, Cliff Kincaid dismissed the controversy as “laughable,” insisting Guckert’s only “crimes” were “that he was too pro-Republican, attended White House briefings, and asked questions unfair to Democrats.” And at Power Line, the conservative outpost that wrote relentlessly about CBS’s troubles with its Bush National Guard story last year, the site has confessed bewilderment about the Guckert controversy. “I can’t figure out what the story is,” wrote one of Power Line’s contributors.

Whether the fact that Guckert was able to go from posting his gay male escort services online to being ushered into the White House under a phony name on behalf of a fake news organization — and was never asked to pass an FBI background check — constitutes a real “story” among the Republican Party faithful, or the mainstream press corps, remains to be seen. n

This story is reprinted from Editor & Publisher.

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Music Music Features

Tunnel Vision

If you’re looking for a local comparison for Retrospect, a young quartet that was the highest-finishing rock band at the 2003 Mid-South Grammy Showcase (finishing third overall), you might have problems. In some ways, the band splits the difference between the easy-on-the-ears college-rock of Ingram Hill and the glistening pop-rock of Crash Into June, except that Retrospect boasts a stronger guitar sound and surer beat than either. In a city where the rock scene sometimes seems like a four-point compass heading into directions heavy, rootsy, garage-y, or jammy, Retrospect might be the best bet for a straight-up rock breakout.

Though they certainly know their way around the alt-rock version of a power-ballad, the band’s at their best when rocking out a little. On their eponymous full-length debut (Ardent; Grade: B+), moody songs such as “One in a Million” and the overly emotive “Fall Like a Star” don’t hold up as well as more guitar-driven gems such as “Where Have You Been Hiding,” which has a faint roots-rock gallop, and especially the pure-pop gem “Forgetting Evelyn.” With its chiming guitars and circular chorus (“Morning brings a yellow light that turns to blue and then fades into night “), “Forgetting Evelyn” is so undeniably catchy that it can firmly implant itself in your hum matrix after only a couple of listens. The relatively modest vocals on these songs work well for singer Drew Thomas, who boasts an attractive, grainy yelp between emo and modern-rock, sort of like Bright Eyes’ Conor Oberst aiming for AOR.

On the strength of this debut full-length, which was not only recorded at Midtown’s venerable Ardent Studios (where it was produced by Ross Rice and John Hampton) but released on the studio’s own imprint, Retrospect sounds like the kind of band that could score on a rock-radio lottery ticket and actually deserve it. You can catch the band this week on Saturday, February 19th, at the Skatepark of Memphis. Showtime is 7 p.m.

Local label Inside Sounds chimes in with a couple of wildly different compilations of local artists. Goin’ Down South: Blues Sampler Vol. 2 (Inside Sounds; Grade: A-), a sequel to a highly successful collection the label issued in 2001, and this sprawling, diverse follow-up is proof that the well is far from dry when it comes to contemporary Memphis blues.

Robert Belfour’s acoustic hill-country lament “Old Black Mattie” was recorded by local musicologist David Evans in 1994 but sounds timeless in both sound and content (“I work seven days a week/Still can’t make ends meet”). “Country Days” by Blind Mississippi Morris & Brad Webb tells the quintessential blues tale of urban migration with a slinky, slide-guitar wallop. Daddy Mack Orr’s stomping, electric “Goin’ Back to Memphis” testifies to the best of the modern Beale sound. “Chicken and Gravy,” a sweet generations-spanning duet between hill-country legend Jessie Mae Hemphill and young inheritor Richard Johnston, uncovers the gentler, sadly unmarketable side of the blues rarely remarked upon now. Onetime Muddy Waters acolyte Willie Foster pays tribute to his mentor with a live version of “Hoochie Coochie Man” recorded live at a Cleveland, Mississippi, juke. Elsewhere, blue-eyed blues such as the blues-rock of the McCarty-Hite Project’s “So Many Roads, So Many Trains,” Sid Selvidge’s folky “Mama You Don’t Mean Me No Good,” and the pure soul of Phil Durham’s “Steal Away” attest to other strands of a traditional music with almost too many tributaries to count.

That doesn’t mean good things last forever. Don McMinn’s “Junior’s Place” pays tribute to the late icon Junior Kimbrough and his namesake club, but it’s the splendid trio of closing cuts on Goin’ Down South Vol. 2 that combine joy with loss most compellingly. The late Mose Vinson’s barrelhouse piano “Rock ‘n’ Roll Blues” nails an immensely pleasurable pre-war style few get right anymore, while the late Big Lucky Carter’s album-closing “Swing Low, Sweet Chariot” is a patient hymn to a proud genre and culture that will likely never be as strong again. In between, Hemphill returns with “Lord, Help the Poor and Needy,” offering homemade percussion and one simple voice. Hemphill is still with us, of course, but in this context she sounds like a last link to a passing treasure.

Though it’s a pretty compelling listen the first time through, when you want to hear how the song/artist match-ups fare, Fried Glass Onions: Memphis Meets the Beatles (Inside Sounds; Grade: B) probably isn’t as durable a record as its straight-blues colleague. As the title implies, Fried Glass Onions is a collection of Beatles covers from a diverse array of local artists. What’s most interesting is that, instead of copying the Beatles style, most of the artists here make a conscious effort to infuse the songs with their own style and that of Memphis itself. The notion, as label chief Eddie Dattel explicates in the record’s interesting liner notes, is to bring out the latent Memphis influences in the Beatles music itself. The artists who do this most forcefully are perhaps the most interesting. There’s the Steve Cropper guitar that laces Bob Simon & Eddie Harrison’s take on Let It Be‘s “Two of Us,” the swampy blues treatment that Daddy Mack Orr gives to “Get Back,” the smooth Hi soul arrangement Bertram Brown works through on “You’re Gonna Lose That Girl,” and the Staple Singers bassline that the Memphis All-Stars add to “Drive My Car.” Other artists either play it straight or are more subtle in their Memphisms. Gospel singer Jackie Johnson takes Paul McCartney’s “Blackbird” to church a little, and listen for the wisps of organ and bass evoking Booker T. & the MGs near the end of John Kilzer’s “Across the Universe.”

E-mail: herrington@memphisflyer.com

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Music Music Features

Bluesthink

The first time Samuel Charters came to Memphis, it was in the fall of 1956. “I bought a car for a hundred and fifty bucks in New Orleans, and I drove back to New York via Memphis with a cardboard box full of tapes that Folkways Records was going to put out,” recalls the venerable musicologist and author, calling from his Connecticut home.

Charters, who is heading this away again for this week’s “Blues Today: A Living Blues Symposium” at the University of Mississippi, continues his story:

“I found a real cheap hotel south of Beale Street for five bucks a night and set out on a search for the Memphis Jug Band and Gus Cannon’s Jug Stompers,” he says. “Memphis was totally buttoned up in those days. The city had been taken over by the Christian right, and you could barely spit on the street. Certainly, none of those blues guys could sing. I got a lead at a barbershop on Beale, which led me to Howard Yancey, who was the booking agent for the musicians. He sent me around to see Will.”

Will was guitarist Will Shade, who recorded nearly 100 sides with his Memphis Jug Band between 1927 and 1934. In his prime, Shade was more popular than Elvis, but by the time Charters caught up with him, the musicians left with the Memphis Jug Band were relegated to the Christmas party circuit.

“I was stunned,” Charters says. “There he was with Gus Cannon and [mandolin player] Charlie Burse. On my next trip, I learned about Furry Lewis, who I recorded in ’61 for the Prestige label. A year later, I came back to make my movie, The Blues, with [bluesman] Memphis Willie Boerum. It was wonderful. I’d walk through the neighborhood south of Beale, and everybody would say, ‘We know what you’re here for!'”

Working with a variety of labels, Charters recorded and released dozens of albums of Memphis’ forgotten greats, spurring comebacks by Cannon, Lewis, Sleepy John Estes, and others. Already an established novelist and poet, he also wrote several books about the blues genre, including a biography of Robert Johnson and seminal titles such as The Country Blues and The Poetry of the Blues, before widening his focus to African and island music.

“My interest in the blues was intensely related to the black community. When they moved on, I moved on,” Charters explains. “Nineteen fifty-eight was the last time a blues record was on the charts. Since then, we’ve had Otis Redding, disco, and rap.

“Today, rap music has energized and focused the soul,” says Charters, now age 75. “Adding observations and rhythmic intensity created some of the most exciting music I’ve ever heard. It gives a whole social strength and objectivity to soul music which wasn’t [previously] present.” He names rapper Jay-Z and the Gospel Gangstaz as two of his current favorite acts and notes how many rap artists use traditional African musical hallmarks. “The call-and-response, the counter-rhythms are all there,” he says.

“Blueswise, there aren’t that many mysteries left for me,” Charters says. Nevertheless, Walking a Blues Road, a collection of his writings on the genre, was published just last month, and Charters will be the keynote speaker at the blues symposium in Oxford, February 16th-20th.

The event, now in its third year, is produced by the University of Mississippi’s Center for Southern Culture, which also publishes Living Blues magazine. A well-blended combination of academic study and musical entertainment, “Blues Today” is expected to draw nearly 200 scholars and blues aficionados from around the world, including musicologists Jim O’Neal, Paul Garon, Elijah Wald, and University of Memphis professor David Evans.

The weekend promises all kinds of fun: day trips to the Mississippi Delta, panel discussions, music jams, and a special edition of the Thacker Mountain Radio Show. Filmmakers Les Blank and Bob Stone will be on hand for screenings, while Precious Bryant, Honeyboy Edwards, Chick Willis, and Herbert Wiley and the Checkmates will perform at Oxford nightclubs.

Sacred Steel guitarists Chuck, Darick, and Phil Campbell, gospel musicians at the House of God Church in Rochester, New York, will also make a rare appearance at the event, participating in a panel discussion on Friday, February 18th, at 3 p.m. and performing at Oxford’s Second Baptist Church that night.

For a $100 registration fee, symposium attendees will get an all-access wristband, but several “Blues Today” events, including the Campbell Brothers’ performance and Charters’ address, are free. Tickets for other events, including the Blues on the Square performances, will be sold at the door. For more information and an event schedule, go to www.outreach.olemiss.edu/livingblues/bluestoday/Agenda.html. n

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We Recommend We Recommend

Sturm und Drang (Shang-a-Lang)

/H2>

In 1986, four years after its modest off-Broadway opening, Little Shop of Horrors — a campy, ’60s pop-inspired creepshow of a musical based on schlock filmmaker Roger Corman’s ultracheap film of the same name — was again transformed into a popular, expensive, and extraordinarily well-made bit of musical cinema starring such known commodities as Rick Moranis, Steve Martin, and Vincent Gardenia.

Set in a hopelessly broken urban landscape where “the hopheads flop in the snow,” the film flirted hard with the play’s original themes: addiction, sadistic relationships, greed, and mankind’s eminent corruptibility. But Hollywood wasn’t ready to bank on a zany comedy where all the characters are ultimately devoured by a flesh-eating plant bent on world conquest, so the ending was altered. In typical comic-book fashion, the boy got the girl, the monster got blown up, and all of the baddies got what was coming to them. And so the play’s greatest irony was rendered impotent.

Little Shop‘s chorus, three cool black chicks more Motown than Greek, provide the framework for this candy-coated, but politically savvy, morality tale. In an often-reprised number, they sing about “the meek,” who, according to the often-quoted (and perhaps misinterpreted) Bible verse, will someday inherit the earth:

They say the meek shall inherit — You know the book doesn’t lie

It’s not a question of merit; it’s not demand and supply

You know the meek are gonna get what’s coming to them by and by.

In the stage version of Little Shop, the meekest characters are used, abused, and ultimately eaten as they feed any number of beasts: the market, the media, the status quo, and eventually Audrey II, a blood-sucking, limb-chomping plant discovered by supergeek Seymour Krelbourn, a mild-mannered skid-row florist with a slim-to-no chance of ever pulling himself out of the gutter. Grim metaphors are piled up like syrup-drenched pancakes — an exhilarating, relatively low-budget antidote to the coked-up, trickle-down ’80s, an era famous for glorifying corporate ruthlessness and rampant consumerism.

From the end of the 1980s and throughout the 1990s, Little Shop was produced frequently by regional theaters across the country and at least five times in Memphis. A recent Broadway revival, criticized by some for its lack of intimacy, has pumped new life into a production well on its way to becoming an old warhorse. It has done so at a time when the conditions that made the play so prescient in the 1980s have returned, and in force.

The Broadway tour of Little Shop of Horrors opened at The Orpheum February 15th and runs through February 20th.