Categories
News The Fly-By

A Quickie with

Last week, WREG’s Andy Wise began a five-day suspension from work after a series of unfortunate events in which the tenacious news breaker became an eyebrow-raising news maker. It began with Wise’s Christian sermonizing during an “exclusive” interview with Claudine Marsh, the mother of Mayor Willie Herenton’s new baby. Shortly thereafter, Wise was manhandled out of besieged state senator John Ford’s office after a failed ambush interview. But the biggest buzz broke after an e-mail from Wise, explaining his behavior during the Marsh interview, was posted at blog.dnphillips.com, a personal weblog maintained by WMC-TV reporter Darrell Phillips.

An excerpt from Wise’s e-mail reads, “[It] became clear to me that … [Marsh] felt moved by God to use her mistake, which she clearly took responsibility for, to encourage other young couples to abstain from sex until marriage. … I have been taught that we are supposed to be bold in our faith. Because it was clear to me that God had arranged this meeting with Claudine for a bigger purpose, I felt compelled to give him the glory on television. And I was prepared to share my faith in the context of Claudine’s story no matter what kind of persecution I would receive from my employer, my colleagues, my friends, the television industry or my viewers. I simply obeyed God.”

Here’s what Phillips has to say about Wise’s e-mail, ambush journalism in general, and his dual role as a professional journalist and part-time blogger.

Flyer: First, Andy Wise said he was “On Your Side.” Then he appeared to be on God’s side. Now he’s been sidelined. Are you on anybody’s side? Should the media take sides?

Phillips: No. No, of course not. In our business, credibility is everything, and viewers tend to remember strong statements.

After you received Andy’s e-mail, and his blessing to print it, did you think, “He’s digging himself deeper?”

Andycontacted me and forwarded me the e-mail. We had a very short but very friendly series of exchanges about his coverage of the Claudine Marsh story, and it became clear that he wanted other people to understand his perspective.I was, frankly, surprised by his determination.But he’s a smart guy and a great reporter, and I still believe he knew what he was doing.

In one season, Ford and Herenton, two local officials who don’t want the media in their business, have become the alleged victims of ambush reporters. Is there anything to be gained by harassing an official?

Persistence is important, andthere’s no doubtthat persistent reporters develop and break stories that would have otherwise remained untold. But there is a fine line between assertion and discretion.

Ultimately, if someone doesn’t want to answer a question, they’re not going to answer the question. But the dog-and-pony show we all produce that typically features a reporter chasing down an elected official does serve a purpose.It demonstrates exactly how determined the official is to avoid the question.Officials who are open and accessible to the media are almost never featured running from a camera.

You blog and you report. How do you decide what goes online and what goes on the air?

In my case, nearly everything that goes on my blog has been dispatched to the newsroom first.My Web site has turned into an opportunity for me to supplement my reporting with the little bits and peripheral developments that don’t necessarily warrant full coverage, and I really like it.

The blog also lends depth to my approach as a reporter.I’m quotable andhave, at times,been criticized for being anti-this person or anti-that person.In truth, the only things I write extensively and critically about are media-access issues. Most importantly ifI report something on my Web site that is not true, I have to write a correction and I have to do it humbly.n

Categories
Film Features Film/TV

Scream

So, Mom says to me, “Bo, I bet it’s hard sometimes to write those reviews of yours. I imagine some movies just don’t have much to write about in them.” I’m thinking about that as the deadline looms for my Cursed review and also just having watched the Academy Awards. Now, for the most part, those movies were easy to write about. But poop like Cursed and the other nine-ish horror movies that have come out in the last few weeks? I must compel myself to say some things about Cursed — a half-baked horror film with few discernible virtues or even distinctions.

It’s got Christina Ricci in it, which is good, because she’s all kinds of spooky already. (“Scram, makeup lady! This one’s a natural!”) She was sullen and weird in the Addams Family movies, and scarier than that was the film industry’s strange attempts to promote her as a child sex symbol in the 1990s. Anyway, in Cursed, she plays Ellie, who seems to be starting a job with Craig Kilborn’s late-night talk show. (He appears as himself.) She and brother Jimmy (Jesse Eisenberg) get bit by a werewolf while trying to help an injured motorist, and hilarity — oops, I mean terror — ensues when they start to show signs of lycanthropy (that’s werewolf-ism, y’all!). Jimmy, I intuit, is intended to be nerdy-cute in a 21st-century kind of way: smart, awkward, lean, not bad to look at, and cracking wise at every opportunity.

Jimmy immediately identifies their symptoms as the onset of becoming, themselves, lupine night stalkers and reveals with the help of books (literacy!) that the only way to cure themselves is to kill the head werewolf. But Ellie can’t be bothered — not with a very important Kilborn interview to line up: Scott Baio! Scott Baio was Chachi on TV’s Happy Days and the subsequent spinoff Joanie Loves Chachi, and his most distinguished foray into film was the “sexy” teen comedy Zapped! back in 1982. Ellie also has a moody boyfriend who’s opening a hot new movies-inspired club called Tinsel. Think Planet Hollywood meets Studio 54 but without the decadent sex and drugs of either. (I have not been to L.A., but it seems like the last thing L.A. would want or need is another gathering place with movie memorabilia. But the youngsters in Cursed seem to like it, so I’ll shut up.) An additional, competing werewolf also seems to be lurking. Moody Boyfriend is played by Joshua Jackson, late of Dawson’s Creek. It’s obvious that he’s hiding something from the moment we meet him, and while I’m not about to reveal who the other werewolf is, I’ll give you a hint: It’s not Chachi.

Cursed seemed cursed from the start. Apparently, there were production snags that held up the release, as well as some omitted appearances by Omar Epps and Skeet Ulrich and reduced roles for Baio and ‘N Sync’s Lance Bass, who appear as themselves in cameos. Wes Craven directed this two-bit Scream knockoff, which is sad, because he directed Scream in the first place. Scream was a great franchise and proved that horror can be funny and scary and in tune with popular culture. Cursed isn’t even in tune with Planet Hollywood, and Planet Hollywood sucks. So trust me: Cursed is worse. — B/

Categories
Opinion

London Calling

Say you’re traveling about town the first week of May, and you come across an offer on the street for a free CD. No strings attached. It’s yours for the taking. You could even be in on the making, because the CD will be part of a public-art project by Anita McKeown and she’s asking right now for inspiration.

The idea is this: Memphis, Tennessee, in sonic form. Not its well-documented music, but its “found sounds,” the everyday, overheard, and overlooked noises, major and minor, that generate the city’s rhythms. It could be the sound inside a laundromat. It could be the sound of a bus stopping and starting. And, as a contributor, you could be anybody — a doctor, a construction worker, a lawyer, a musician or artist even. Send your sound ideas, along with information on where to find them, to anita@memphis45s.com. The mailbox is open. She’s ready to read.

Then she’ll be recording, sampling, manipulating, and producing 3,000 limited-edition audio CDs that she’s planning to make available in time for the Beale Street Music Festival and throughout Memphis In May, which this year is saluting Ireland, which also happens to be McKeown’s native country.

“I’m interested in the idiosyncratic, day-to-day sounds in your life, the sounds you hardly notice,” the artist said recently by phone from London, where she makes her home. “And maybe, in the process, people will begin to think, God, I never really gave it any thought.

“This is my motivation: to provoke, in a nice way, something new, even if it’s just a thought, and something different, especially in a city that’s already culturally loaded in relation to music. It’s all about reconsidering the mundane. How even the everyday can be a rich source of material and ideas.

“What is the sonic landscape of Memphis today? It can’t be only blues, soul, and rock-and-roll. No city is that non-multidimensional. The answer is going to be different for different people, and I want there to be a potential for dialogue — that’s what I’m interested in. Of course, it’s going to be mediated by me, by what’s happening inside my own, for want of a better word, psyche.

“The CD — seven three-minute versions in all [inspired by the three-minute classic 45 pop single] and available at seven “listening posts” [locations to be determined] — may be quite abstract. It may even be quite uncomfortable to listen to. But it’s an artwork. And it’s a giveaway.”

It will also be just one element in a multipart project McKeown is calling “Memphis 45s”: a site-specific DVD in May to be projected in a public space (yet to be determined); a Web page with all source material freely available, including an ongoing virtual gallery; and future plans to expand the project. A Bravo Award by First Tennessee Bank is funding the project.

How McKeown, an artist with a major interest in public art and community participation, found herself in Memphis in the fall of last year is a story in itself. She’d traveled the United States before but never the South. So when the UrbanArt Commission and the Memphis College of Art agreed to a research residency in 2004, McKeown booked her flight. Without a car but with eyes and ears open, McKeown fell for the city in ways that came as a surprise, a pleasant surprise. (Added surprise: The artist grew up a few miles from the ancestral home of Andrew Jackson, one of the city’s founders.)

“I felt at home in Memphis,” McKeown said. “More at home than I’ve ever felt in the 15 years I’ve lived in London. I mean, the way people in Memphis interacted, the open, friendly atmosphere. I’d walk down the street, and people actually said hello! I thought, It’s easy for me here.”

It wasn’t necessarily easy for the Irish in 19th-century Memphis, however, a history McKeown wants to continue to explore. Nor for race relations in Memphis then or necessarily now, an issue she’s particularly attuned to having grown up in a divided Ireland. Even her London neighborhood is in some ways a mirror image of Memphis: Deptford, in South London, is near the Thames and has a history of river trade. According to McKeown, it’s also one of the most ethnically diverse areas of Europe, the site of some 15 spoken languages, which may have Memphis beat, given Deptford’s compact size. As for the “soundscape,” does Memphis compare?

Anita McKeown is listening. In May, we shall see — and hear.

Categories
Editorial Opinion

EDITORIAL

Representative Jim Kolbe of Arizona, Representative David Dreier of California, Representative Ed Shrock of Virginia, Representative Bob Bauman of Maryland, Representative Jon Hinson of Mississippi. These names constitute an honor roll of sorts, the tip of what could be a considerable-sized iceberg, indeed. Who are they? Current or former Republican members of the House of Representatives. Not just that: They all have served as paragons of the everlasting struggle of American values against moral debauchery — especially the kind designated by the term “gay rights,” which each of these worthies has voted consistently to oppose. And not just that: Each of these past and present congressmen has been reliably identified as homosexual.

The tip of an iceberg, we say, because we are leaving out a veritable host of other nationally prominent Republican gays — fund-raisers, spokespersons, ideologists, what-have-you — because most of them have not been as directly involved in antihomosexual initiatives as the aforementioned congressmen, whose votes to restrict or deny gay rights are on the record. One unavoidable exception: We have to note that the bogus “newsman” James Guckert (aka Jeff Gannon), who has been serving as a paid shill for GOP and conservative causes at presidential press conferences for the last two years, was also fronting fully for explicit male-hustler Web sites.

We do not mean to suggest that homosexuality in politics is disproportionately Republican, but the facts are that, questions of hypocrisy aside, the homosexual orientation of politicians, male or female, is A) none of our business and B) distributed fairly evenly across racial, ethnic, and political boundaries.

But you would never guess so from the kind of publicity tactics pursued by spokespersons for the conservative right — most recently in a notorious ad from USANEXT, an advocacy group that is pushing President Bush’s controversial plan to privatize Social Security. The ad targets the American Association of Retired Persons, a famously stolid group that backed Bush’s costly prescription-drugs legislation two years ago but has so far demurred on the president’s Social Security plans. For that offense, USANEXT launched a $10 million campaign against AARP with an ad juxtaposing a picture of American soldiers, marked through with a big red X next to a shot of two men in tuxedoes kissing. Never mind the inappropriateness. You get the message.

Gay-baiting of another kind figured closer to home this week, as the Tennessee legislature moved quickly and overwhelmingly to vote for a ballot initiative that would amend the state constitution to prohibit not only gay marriage but the honoring of marital or civil-union prerogatives accorded gay partners in the laws of other states.

Let it not be said that the beleaguered John Ford is without honor. Ford was one of only three state senators who dared vote against the resolution in a hurriedly called session Monday night. The others were Ford’s Memphis colleague Steve Cohen and Senator Joe Haynes of Nashville. As Haynes quite sensibly said, “This is overkill. We already ban same-sex marriage in the statute. I respect our constitution too much to vote for this.”

Senator Cohen made a valiant 11th-hour effort to amend the resolution so that it at least recognized certain contractual rights and benefits of same-sex unions deemed valid elsewhere. His motion was tabled. Comparing Monday night’s rush to judgment to the hothouse legislation passed during the time of segregation, Cohen said, “It’s the same warped logic that’s feeding this frenzy today.”

Yep. In the old, pre-sexual meaning of the term, this is pretty queer stuff.

Categories
Food & Wine Food & Drink

For Keeps

When I was a kid, my mother spent days in the late summer turning our garden’s fresh fruit into preserves. I remember a pantry that held mismatched glass jars filled with strawberry, blackberry, and raspberry preserves. Mom never bought any canning equipment or containers. Instead, she re-used empty pickle and mayonnaise jars, which she decorated with little square labels listing the content and date.

Modern-day home canners would surely shake their heads over Mom’s methods, which she applies to this day. For them, part of the success of preserving foods lies in the jar, in particular the mason jar. The mason jar is sturdier than most commercial jars and is better suited for preserving safely.

The mason jar was invented out of necessity. There were no refrigerators, no quick-stop corner stores. Food had to keep through long winters. It was preserved by pickling, drying, and smoking. For storage, early families used earthenware jugs sealed with corks, plugs, or parchment and tin containers that had to be soldered for sealing.

It was war that eventually led to the discovery of a new way to preserve food. Napoleon offered 10,000 francs to the person who could deliver nourishing food to his soldiers. Nicholas Appert, a French chef, won Napoleon’s challenge by preserving food hermetically using jars sealed with pitch.

Then a small revolution in home canning took place in the mid-1850s, when John L. Mason, a 26-year-old tinsmith from New York City, filed a patent for a reusable glass jar — the mason jar. What was special about Mason’s jar was its seal. The neck of the glass container was threaded so the top could screw on. The screw-on top plus a zinc lid with a rubber ring provided a tight seal.

Others had tried to improve seal mechanisms before Mason. A wax-sealed tin can eliminated soldering but didn’t do much to improve the food’s quality. (The acids in the foods tended to react with the metal and made the food inedible.) In addition, it did not make preserving foods more affordable because the cans were limited to one-time use. Things changed once glass jars, which were first sealed with a tin lid and wax, became common. Those jars, called the all-glass wax sealer cement jar (wax was commonly referred to as cement) or “standard” fruit jar, remained popular even after Mason’s invention.

Mason sold several of his early patents to Lewis Boyd and his Sheet Metal Screw Company. Boyd, who is most famous for inventing a white “milk glass insert” for zinc screw lids which reduced the risk of food and metal reacting in a non-tasty way, produced the mason jar for many decades, even after Mason’s patent had expired.

Mason’s jar made life during his time much easier. A family’s survival depended on the availability of food. Reusable glass jars made preserving food affordable and the tight-sealing lid was one step to guarantee that food could be eaten even months after it was preserved.

Today, old canning jars are collectors items. (eBay lists close to 1,000 items under the term “mason jar,” which cost from a penny to $700.) Grocery-store aisles are packed with commercially preserved foods, and home canning has become a hobby. Mason jar is now a generic term for any home-canning glass jar, some of which still use the basic sealing mechanism patented by Mason on November 30, 1858.

Categories
Food & Wine Food & Drink

FOOD NEWS

Back in 1999, when Aimer Shtaya was preparing to open his restaurant on Echles Street near the University of Memphis (now the site of Azalea Grill), he chose a name, the Morocco Cafe. The name reflected the restaurant’s Mediterranean/Middle Eastern cuisine — falafel, hummus, roasted meats — plus, Morocco was that year’s Memphis in May honored country. But just before he was scheduled to open, Shtaya saw the Humphrey Bogart/Ingrid Bergman classic, Casablanca, and he changed his mind. Forget Morocco Cafe. His place would be called Casablanca. But it was too late. The restaurant’s sign reading “Morocco Cafe” was being made, as were the menus and banners and everything else. So that was that.

But now that is this: Casablanca, Shtaya’s new restaurant located at 2156 Young (725-8558) behind Dish at the Cooper-Young intersection. The menu’s the same as it was at Morocco Cafe, but the decor more closely reflects the movie that inspired Shtaya. The colors are deeper, and there are stills from the film on the walls.

After the Morocco Cafe closed in 2003, Shtaya traveled and took care of some personal business. He became restless, however, and he missed his customers. He picked the Cooper-Young location because of the other restaurants in the area, such as Do, Dish, Blue Fish, etc., and because most of Morocco Cafe’s customers came from Midtown.

Shtaya has put tremendous work into the restaurant. He had to build his own parking lot behind the building in order to get a business license. He also built the kitchen from scratch.

Casablanca is due to open sometime this week. The hours will be from 11 a.m. to 9:30 p.m. on weekdays and until 10:30 p.m. on weekends.

Speaking of renovating, the folks with Dan McGuinness Pub are busily turning what used to be Patrick’s (in the East Memphis shopping center on Spottswood off Perkins Extended) into an Irish-style pub. The goal is to be open before St. Patrick’s Day.

Dan McGuinness is once again using Guinness’ “Irish Pub Concept” to help them create a turn-of-the-century pub. Guinness developed the concept as a way to guide bar owners through the process of converting a bar into an Irish pub, from staffing and stock to decor.

This will be the third Dan McGuinness location. The original is in Peabody Place, and the second is in Nashville.

Remember the crepe craze? Remember the rounded pans and how carefully you had to manipulate the batter just so and then how the crepe tore anyway and you just got so frustrated that you sold your crepe pan at a yard sale, along with your macramé plant hanger?

This flashback comes courtesy of Le Creperie, located at 6641 Poplar, Suite 101 (752-4546). Le Creperie opened about three weeks ago and serves breakfast, lunch, and dinner. Crepes include the “Peabody,” filled with chicken, Swiss cheese, broccoli, onions, mushrooms, and topped with Parmesan cheese, and the “Memphis Belle,” filled with chicken and spinach in a béchamel sauce and topped with cheddar cheese. There are a number of filling options for the dessert crepes, including pineapple, strawberry, pear, and blueberry. The “Klondike” is an ice-cream bar wrapped in a crepe and topped with whipped cream and chocolate syrup. The most popular crepe so far is the “Bananas Foster,” bananas in a rum sauce with vanilla custard.

Le Creperie is open from 6 a.m. to 9 p.m. Monday-Thursday, 6 a.m. to 11 p.m. Friday, 7 a.m. to 11 p.m Saturday, and 7 a.m. to 9 p.m. Sunday.

Leadership Memphis is holding its annual auction and dinner. The dinner is being catered by Wendell Price of the World Beat Grill, and several food-related items are up for bid, including a wine-tasting for 24 and “Lunch with a Leader,” a chance to break bread with community leaders such as Shelby County mayor A C Wharton and Germantown mayor Sharon Goldsworthy. Kelley Hurt will perform.

The event is being held at the Pink Palace Museum on Saturday, March 5th. Tickets are $50. For more information, call 278-0016.

On Thursday, March 3rd, at 7 p.m., Glass-House 383 will host an “Around the World Wine Tasting,” with wines from such countries as Argentina and Chile paired with gourmet cheeses. The cost is $15 per person, and there will be reserved seating. To make a reservation, call 527-0055. GlassHouse 383 is located downtown at 383 S. Main. n

Categories
Opinion

Ridiculous & Beyond

Can a hung jury ever be the best outcome in a criminal trial?

The answer could be “yes” in the trial of former Shelby County Medical Examiner Dr. O. C. Smith. After deliberating for almost three days, the jury remained deadlocked Tuesday and U.S. District Judge Bernice Donald declared a mistrial. Prosecutors now must decide whether to retry the case.

To Smith, the benefits of a hung jury are obvious. If the government elects not to retry him — with the same evidence in a case already three years old — he goes free.

But not unscathed. Smith has endured the ordeal of indictment, trial by jury, unfavorable publicity, and the considerable cost of defending himself.

Federal prosecutors can only claim a tie, but they will get credit for having the courage to take on a respected member of the Memphis law enforcement community without fear or favor. There was always a possibility that the Smith case would simply go away after no attacker was found in the first few months and the publicity died down. Investigators and prosecutors could have simply rolled over and pointed out that it took more than 15 years to catch the Unabomber.

A conviction could have opened the door to appeals of other cases in which Smith gave critical testimony. Convicted cop killer Philip Workman, for example, probably gets a lifetime reprieve because of doubts that Smith’s case has raised. Smith gave important testimony against Workman in a clemency hearing.

If Smith had been acquitted, would a task force have been reconvened to look for the attacker? Would finding him be U.S. attorney Terry Harris’ “number-one priority,” as he declared on June 3, 2002, the day after Smith’s alleged attack?

Would Smith, who resigned under pressure, have gotten his old job back?

And what of the attacker? Would Smith have again been assigned round-the-clock police protection because the mad bomber is still out there, madder and more motivated than ever because of the trial and all the publicity? Does the bomber take it up a notch?

A mistrial lets both Smith and federal prosecutors save face. The bomber goes into the file with Nicole Simpson’s killer. People who think Smith did it will continue to think that. People who think Smith was attacked will continue to think that. With luck, we will hear no more of the bizarre bombing at the morgue.

“As far as a federal crime goes, it’s such a ridiculous point we’ve gotten to,” said U.S. attorney Pat Harris, special prosecutor from Arkansas in the Smith case, in the 2003 videotaped interview. Amen.

TO HARRIS AND CO-COUNSEL BUD Cummins, also from Little Rock, the Smith trial was the culmination of a two-year investigation by 17 law enforcement agencies following up 112 leads. To defense attorney Gerald Easter, it was “the ATF [Bureau of Alcohol Tobacco Firearms and Explosives] and the boys from Little Rock up here persecutin’ O.C. Smith.”

Both sides were exaggerating.

The 17 agencies included the likes of the IRS, the Germantown Police Department, and the Secret Service. The heavy lifting was done by the ATF, federal prosecutors, the Tennessee Bureau of Investigation, the Memphis Police Department, the Shelby County Sheriff’s Office, and the FBI. The Shelby County District Attorney General’s Office was conspicuously absent.

Easter’s folksy suggestion that federal cowpokes from across the river were on a vendetta is absurd — which is not to say it didn’t score points with the jury. As Cummins pointed out, federal prosecutors have broad powers to get assistance from other agencies. His Memphis colleague, Terry Harris, testified that Smith has been his personal friend and professional colleague for more than 14 years and is known as “our doc” to local cops. The poignant words of Harris made it clear that no one relished prosecuting “our doc.”

As the trial unfolded, it became clear that “the boys from Little Rock” were not getting unanimous cooperation from local law enforcement. A total of 23 witnesses came from various law enforcement agencies — 14 of them from the ATF or the Memphis Police Department — and four of them were called by the defense.

Lt. Richard Borgers of the MPD was the first cop on the scene.

“He [Smith] appeared scared to death and looked like he was about to pass out,” he testified. “No, I don’t believe he could have done it to himself.”

Lt. Marcus Worthy of the MPD was the first crime-scene investigator on the scene. He testified erroneously about the position of Smith’s hands on the window grate and erroneously again about whether Smith’s truck had been impounded and processed after a bomb-sniffing dog hit on it. The truck was never processed, apparently because Smith, according to MPD detective Connie Maness, was “upset” by the suggestion.

As one of the boys, Smith got special consideration from Memphis police. After spending a few hours in the hospital after the attack, he was allowed to return to the crime scene for much of the day.

“I was pretty upset that he had come back to the scene,” testified ATF agent Mike Rowland, who feared that the attacker might still be lurking nearby.

Rosemary Andrews, a prosecution witness who works as an attorney for the Shelby County district attorney general, gave more comfort to Smith than prosecutors.

“He looked like he had been in a fistfight,” she testified about her visit to Smith the day he was attacked to help him write his statement.

Mike Willis, the former commander of the MPD bomb squad who removed the bomb from Smith’s neck, testified, “Our job is to render safe, not to investigate.” He and two other bomb squad officers who testified offered no opinion about the attack.

Lt. Steve Scott of the University of Tennessee police force was the person who discovered Smith bound in the stairwell outside the morgue. Scott, who was friends with Smith and shared an interest in weapons, remained bravely at Smith’s side until he was rescued. His testimony reduced Smith to tears.

Sheriff’s deputies Dirk Beasley and Gary Hood testified about a possible suspect they encountered three days earlier, but it turned out the man was in jail the day of the attack.

Unlike Easter, prosecutors Harris and Cummins did not directly ask their witnesses the crucial question, “Do you think Dr. Smith could have done this to himself?”

Which, of course, was the only question jurors had to ask themselves.

Smith did not testify in his own defense. Before sending them off to deliberate, Judge Donald instructed jurors, “The fact that Dr. Smith did not testify cannot be used by you. Do not even discuss it in your deliberations.”

Schooled in combat, Smith employed a strategy of passive resistance from the moment he was “attacked” to the appearance of the last defense witness, his wife Marge, who five times refused to directly answer Cummins’ questions about whether her husband regularly carried a gun, as several witnesses testified.

“He was authorized to carry a gun,” she said repeatedly.

The brains-over-brawn strategy served Smith well. In his account, the attacker splashed an acid solution in his face two times and sucker-punched him in the gut. From that point on, Smith offered only token resistance because he was unsure if the attacker had a knife or gun. A Marine commander called as a defense witness said such a response would not be inappropriate in the circumstances.

While he did not testify, Smith played an active part in his defense. Under his tutelage, defense attorney Jim Garts, a self-described C student in chemistry, hammered for hours at the “12 percent solution of sodium hydroxide” the government said was in the bottle splashed in Smith’s face. His point seemed to be that there was such a small residue left in the bottle that nobody could tell for sure what percentage of acid was in the bottle.

What effect this had on the jury is not yet known. If chemistry is inherently confusing to laymen, then confusion could equal doubt in some minds.

Back in 2003, Harris confronted Smith in the interview, and Smith went into an explanation of sodium hydroxide. Harris quickly steered the interview in another direction.

“You’ll beat me on science,” Harris said.

Categories
Art Art Feature

Child’s Play

When Tom Lee was young, he drew cartoons to vent his anger and to express ideas that were outside the mindset of his Southern Baptist preacher father. The adult Lee is still venting through cartooning — in this case, all over the gallery walls of Second Floor Contemporary for his exhibit “What’s This?”

In the exhibit, he’s challenging assumptions and asking a lot of questions — about black-and-white morality, about polarized political thinking, about sacrifice — that are delivered via a children’s marching song, lovable killer aircraft, torn-raw canvases, and relentlessly turning circular saws.

Charcoaled directly onto the walls are Lee’s version of the children’s song “This Old Man” and his cartoon squadron of plump killer jets. With weapons of destruction loaded under their wings and the sign of the cross on their tail fins, these eager little crusaders blast out of their hangars spewing rockets to the accompaniment of “This old man/he play/won/he play” (untitled wall panels 1, 2, 3, and 4).

In cartoon panel number five, one of the little jets falls from the sky into the overlapping blades of circular saws. Smoke from the wreckage billows into the sky, and the words “knick knack” written across the smoke complete the shape of a large cross.

Frame six finds the determined little jet rising back up as its nose breaks out of the waves created by the teeth of the turning blades. In frame seven, the word “son” hovers in blank space above an ocean filled with circular saws.

Lee’s lyrics tell the story of an old man who demands a son’s complete obedience so that he can triumph (“this old man/he play/won/he play/knick knack/on a/son”). The song and cartoons bring to mind myriad and complex dynamics — the Son of God crucified and risen, parental expectations, political patriarchy hungry for conquest, and doctrines that require blind sacrifice. The saws engulfing and resurrecting the little plane contain elements of many ideologies’ hopes for life after death — the kamikaze pilot, the Islamic soldier killed in battle, Shiva the dancing Hindu deity (who forever turns as he/she creates/destroys/creates/destroys), and the phoenix, another fearless flyer that rises out of the ashes.

No cartoon characters come miraculously back to life in Lee’s last three wall panels. Instead of charcoal characters, the artist uses torn canvas and bleached bones to depict a more vulnerable state. In panel eight, a crime-scene victim is outlined with embroidery. Lee has written “knick” next to the man whose right leg has been amputated at the knee. The word “knack” and a homemade bomb are placed on the victim’s other side close to where his left forearm was ripped from the canvas.

Wars are equal-opportunity victimizers and in the next frame, “Patty’s whack” is administered by an eight-foot circular saw that juts from the wall and cuts a large piece of raw canvas nearly in two. The vertical slit, roughly sutured with red thread, creates a disconcertingly powerful image of a woman “whacked” by war.

The far back wall of the gallery contains the conclusion to Lee’s song, “gives him back a bone.” In a chillingly minimal and unglorified depiction of sacrifice, the artist completes his cycle of 10 panels using stark white bones hanging against a stark white wall.

“What’s This?” projects a sense of urgency. Before you exit the gallery, look back down the hall to the back wall and that blade ripping through the canvas. It’s pointing directly at you. Though the edges around the torn canvas have been crudely stitched, the rift is still there, just like the one in our country and our world split by ideologies.

In his artist’s statement and in conversation, Lee speaks of breaking down barriers, avoiding categorization, questioning rather than concluding, and reasoning from multiple points of view. This exhibit challenges us to do the same. n

“What’s This?” at Second Floor Contemporary through March 11th

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News News Feature

FIRE AT EASLEY-MCCAIN STUDIO


The aftermath
photo by Sherman Willmott

BY Andria Lisle

On the afternoon of Wednesday, March 2, 2005, a fire broke out at the the Easley-McCain Recording Studio in Memphis, located on Deaderick Ave., near Lamar and Airways.

Luckily, no one was injured in the blaze, which began with a suspected power surge. While the studio’s main room was undamaged, the lobby was gutted and much of the downstairs was decimated with fire, smoke, and water damage.

The echo chambers and the master tapes stored at this facility appear intact, but studio owners Doug Easley and Davis McCain won’t know the full extent of damage until after an insurance inspection later this week.

Hundreds of acts have recorded at the studio, including the White Stripes (White Blood Cells), Pavement (Wowee Zowee), Sonic Youth (Washing Machine), Jon Spencer Blues Explosion (Extra Width), Guided By Voices, Modest Mouse, Cat Power, Rocket From the Crypt, Iggy Pop, Young Fresh Fellows, Mr. Airplane Man, and Sparklehorse.

Jeff Buckley, Charlie Feathers, and Townes Van Zandt recorded their last sessions here, while Memphis legends such as Alex Chilton, the Grifters, the Oblivians, Reigning Sound, the Tearjerkers, Tav Falco’s Panther Burns, Impala, Big Ass Truck, Monsieur Jeffrey Evans & ’68 Comeback, and many, many more, cut pivotal releases at the studio.

Most recently, Jack White and Loretta Lynn mixed the Grammy-winning Van Lear Rose at Easley-McCain.

ADDITIONAL INFO from Chris Davis

Easley was originally designed for Chips Moman, the “Dark End of the Street,” co-songwriter who produced some LARGE hits: Dusty Springfield’s “Dusty in Memphis; a little tune called “Suspicious Minds.” It was the first recording studio in Memphis that was actually built to be a recording studio. After Chips, it served as the Bar-Kays main joint for a while.

Even a short list of the artists and recordings that have come through after Doug Easley and Davis McCain took over will give you some idea of just how vital it’s remained.

Sonic Youth, The White Stripes, John Spencer Blues Explosion, Guided By Voices, Pavement, Alex Chilton, The Grifters, The Gories, Cat Power, Wilco, Tav Falco, Silver Jews, Reigning Sound, American Death Ray, The Spinanes, Oblivians, Jeff Evans, Jeff Buckley ….. and on and on and on. I haven’t even scratched the surface.

Loretta Lynn’s Grammy Winning Van Lear Rose, produced by Jack White, was mixed at Easley. Jack and Loretta autographed the microwave oven.

Apparently no one was injured, and the studio’s soundproof door stopped the flames — but the devastation reportedly included considerable damage to the control room and consoles. .

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wednesday, 2

Tonight’s Memphis Brooks Museum of Art First Wednesdays is another great chance to see those wonderful quilts, along with dinner at the Brushmark, music by the Dime Store Outfit, and Southern-inspired cuisine by Chef Penny McCraw. Chris Scott is at the Buccaneer tonight. And now I’ve got to make haste. Do whatever you like this week and just have a good time. But go see those quilts. — Tim Sampson