Categories
Opinion Viewpoint

In Their Shoes

Some time ago I interviewed a professor at Howard University who recalled his boyhood in the South and the kindness of a shoestore owner who let him try on shoes. Mostly, blacks were not permitted to try on shoes before buying them — a feature of Jim Crow racism that took some creativity to come up with.

To be poor and stuck with shoes that don’t fit tells you a lot about racism in America. You and I would not want to walk in those shoes.

The Senate approved a resolution last week apologizing for never enacting an anti-lynching law. You can scoff at the Senate’s action and ask, What good will it do? The victims of lynchings are dead. It’s a bit late to apologize. The same can be said for the other institutions that lately have been owning up to their somewhat shameful pasts. Some of them have been forced into contrition by local laws demanding an accounting. Wachovia Corporation, for example.

After Chicago insisted that any company doing business with the city had to reveal any past connection with slavery, the huge bank dug and dug and came up with a connection: Two predecessor banks held slaves as collateral for loans. Most of the loans were paid off, but some weren’t. The slaves, I assume, were repossessed — like a car from a deadbeat owner.

J.P. Morgan Chase has also apologized for the way its predecessor institutions made their money. Some owned slaves outright; some took possession upon default of loans. The numbers of slaves were not small. In all, J.P. Morgan’s antecedents owned more than 1,250 men and women. The bank apologized and established a $5 million scholarship fund for black students from Louisiana to attend college in their home state — the state where the predecessor banks were located.

I count myself pretty knowledgeable about our own history, yet I did not know that slaves were used as collateral. Why this never occurred to me, I cannot explain. It just didn’t.

When Bill Clinton, on a presidential visit to Africa, offered an apology for the enslavement of black Africans by white Americans, he was criticized for it in the usual circles. But what Clinton said that day in Uganda was right on the money: “Going back to the time before we were even a nation, European Americans received the fruits of the slave trade, and we were wrong in that.”

Wrong to have done it, wrong to have benefited, and right to have apologized — an appropriate expression of regret, I wrote at the time. An apology from the person who did not do the injury to the person who was not directly injured is in a special category. But in the sense that an apology is an acknowledgment, it not only makes sense, it is long overdue. It says, among other things, not merely that we are sorry — ashamed would be more like it — but we know something about what we have done.

It’s not some abstraction called slavery that was wrong; it was the wrecking of individual lives, one after another. Little by little we learn. We were not always — and maybe not even yet — such wonderful people. We could be bad. We could be evil. We could be human. It is always good to keep that in mind.

The shoe story sticks with me because it is not about being denied the vote or the right to attend a certain school or drink from a particular water fountain. It is about walking, putting one foot in front of another — the pain we all know when the shoe does not fit. It is not in the same category as lynchings or beatings or the ordinary terror of being black in a world of white racism.

It’s a little thing. Slip it on. If you are white, it will fit.

Richard Cohen is a member of the Washington Post Writers Group.

Categories
Politics Politics Beat Blog

D-Days

At Thursday noon of this week, the Election Commission’s door was scheduled to shut to those wanting to file for the now-open state Senate District 29 and state House District 87. At Thursday noon of next week, another door will close with the passing of the withdrawal deadline for the forthcoming special elections called by Governor Phil Bredesen.

Primary date for both races will be August 4th, followed by a general election on September 15th.

The Senate seat came open after the recent resignation of longtime state senator John Ford, perhaps the best-known target of the FBI’s Tennessee Waltz sting, while the District 87 seat was vacated by Kathryn Bowers, who ran for and won the state Senate District 33 seat held by Roscoe Dixon before he became an aide to Shelby County mayor A C Wharton.

Ironically, both Bowers and Dixon (who is now unemployed), were arrested and charged in the sting as well.

Although the list was sure to proliferate, those who had filed as of press time were:

State Senate District 29: Henri Brooks and Barbara Cooper (both now state representatives), LauraDavis, and Ophelia Ford (sister of former Senator Ford), Democrats; and John Farmer and Terry Roland, Republicans.

State House District 87: Omari Faulkner and Alonzo Grant, Democrats; (no Republicans as of yet).

n The other looming political choice is that of a Democratic chairman to replace Bowers. Democrats will caucus this Saturday at the University of Memphis to select delegates who will in turn gather at the same location on July 23rd to elect a new chairman and a new executive committee.

Candidates for the chairmanship so far include David Cocke, Cherry Davis, Joe Young, and (possibly) Talut Al-Amin, the current vice chair and acting chairman.

Cocke’s candidacy — reportedly made at the urging of 9th District U.S. representative Harold Ford Jr., now a U.S. Senate candidate — has drawn the ire of Sidney Chism, a political broker who recently served as interim state senator for District 33 and is, like Cocke, a former party chairman.

“They’ve got a lot of nerve trying to shove David Cocke on us, when there are three other candidates, all African Americans, ready and willing to serve,” said Chism last week. “David Cocke will never be chairman. I guarantee it! If it comes down to it, I’ll put myself in the running rather than let him be elected.”

That promptly drew criticism from party activist David Upton, a Cocke supporter, who accused Chism of “playing the race card” and of having run a poor chairmanship during his 1994-95 term.

n Okay, so Thaddeus Matthews can’t spell, doesn’t know what a paragraph is, and lets his pet conspiracy theories cloud his mind on occasion. But the former radio talk-show host is a damn good political gossip, though sometimes what he has to say on his blog, thaddeusmatthews.com, is old fish in new wrappers — as when he suggests this week that Sheriff Mark Luttrell is mulling over a race for county mayor.

Luttrell’s interest in such a race has been well known, assuming that a vacancy opens up. Matthews goes on to suggest that indeed it will, and that incumbent mayor Wharton is thinking of running for the 9th District congressional seat that Ford will be vacating. Other congressional possibilities mentioned by Matthews are the Rev. Ralph White and Joseph Kyles.

n Now that she would seem to be term-limited out of another term on the county commission, Marilyn Loeffel will have to decide whether she wants to confront Debbie Stamson in next year’s Republican primary for county clerk.

If so, Loeffel will have her work cut out for her. Stamson, whose husband is Juvenile Court clerk Steve Stamson, was the beneficiary of a massive fund-raiser last week at the Germantown home of her brother, Wayne Mashburn. The several hundred attendees included a virtual Who’s Who of local Republicans and a generous smattering of Democrats and independents as well.

“She was invited to come,” said Debbie Stamson of potential opponent Loeffel, a no-show at the fund-raiser.

Not only is Debbie Stamson an employee of current clerk Jayne Creson, who is retiring and has endorsed her, she is the daughter of the late, longtime clerk, Richard C. “Sonny” Mashburn.

That would seem to give her an edge, but Democratic activist Upton cautioned not to sell Loeffel short, noting that an “army” of supporters had helped elect the former president of FLARE, a social-conservative activist group, to the commission. “And they’ll be at her disposal again,” said Upton.

n U.S. senator Lamar Alexander hasn’t yet satisfied a variety of critics for his failure to co-sponsor a recent Senate resolution apologizing for filibusters in the ’30s and ’40s that obstructed anti-lynching legislation. (See Viewpoint, page 13, for more on that measure.)

Basically, the senator has said that he supports instead another Senate resolution that would “condemn” the practice of lynching along with other aspects of racism. 



Terry Harris on the Big Dance

Such is the level of public interest in the federal Tennessee Waltz sting that the very term has become a catchall. At Monday’s meeting of the Shelby County Commission, county jailer Warren Cole, one of several opponents of privatizing the county’s correction system, approached the dock toward the end of the meeting to address the commission, as is his wont.

After his usual anti-privatization speech, Cole weighed in on budgetary matters too — targeting the expense of “private contracts” as a leading cause of the county’s current fiscal woes. Then he uttered what seemed to be something of a non sequitur — one, however, that was not only received well in the commission auditorium but would travel elsewhere by word of mouth.

“The Tennessee Waltz was something else,” Cole said. “The Shelby County Shuffle’s going to be …” And the rest of what he had in mind to say was drowned out by enthusiastic audience response.

Incomplete and cryptic as the statement was, it would be publicly cited at least twice later on Monday. First, Memphis school board member Patrice Robinson would reference it at the board auditorium during a discussion of maintenance contracts. And Shelby County commissioner John Willingham brought it up at a meeting of the Southeast Shelby Republican Club that was being addressed by U.S. attorney Terry Harris. Harris responded that he had nothing to say concerning any additional sting arrests that might focus on Shelby County government.

After his fashion, Harris did have something to say about the Tennessee Waltz, however.

After establishing that, in order to ensure a “fair trial” for the several defendants caught in the sting, he would have to defer most comment, Harris offered a word about allegations, circulating on weblogs and elsewhere, that political motives were responsible for the fact that most of the defendants netted in the sting were Democrats.

“I can assure all the citizens of West Tennessee that political party affiliation was not and is not relevant to anything that has to do with the Tennessee Waltz, the indictments, or the investigation,” Harris said.

Harris was asked why the Western District of Tennessee, his own jurisdiction, had become the venue for prosecuting East Tennesseans like state senator Ward Crutchfield and alleged “bagman” Charles Love, both Chattanoogans who were arraigned in federal court here last week.

He responded that he couldn’t give specifics but noted that legal venue has to be relevant to the cause. “There has to be a connection to the crimes that were committed in the district where the case is brought,” Harris said, adding, “I have no reason to believe that we can’t have a fair trial in this district.”

Harris also offered his endorsement of the Patriot Act, the controversial post-9/11 measure that afforded more latitude to law-enforcement agencies in apprehending terror suspects and, some alleged, curbed citizens’ rights. “Where’s the victim?” he asked. “We don’t have one. The Patriot Act doesn’t harm anybody’s rights.” It’s subject, he maintained, to the Fourth Amendment, which already prohibits unlawful search and seizure. Some of the criticism of the measure was politically motivated, he said, coming “from some of those who opposed the president.”

Recalling his unsuccessful 1998 race for a Criminal Court judgeship against Joe Brown, who went on to become a syndicated television “judge,” Harris said, “I think I have the better job. I have no complaints about how things have worked out. I would rather be doing this job than the one I ran for.” He allowed as how he was not a fan of Brown’s TV show.

Asked if he intended to run for a position next year, when most judgeships will come open again, Harris smiled and said no. n

Categories
Music Music Features

Sound Advice

Sometimes you get mad. Real mad, like your-ex-stole-your-car-and-smashed-it-into-a-tree kinda mad. You’re so filled with rage, all you can think about is bustin’ some heads. But there’s no need to get violent with random strangers to release your inner turmoil. Just go to the Corrosion of Conformity show at the New Daisy on Tuesday, June 28th.

As they start playing, your body will begin convulsing. You’ll be grinding your teeth uncontrollably, and before you know it, you and about 20 other sweaty guys will be slam-dancing shirtless in the mosh pit. When it’s over, you’ll feel like you took a Xanax, only there’ll be no hangover in the morning, just a couple of bruised shins.

The New Orleans-based metal quartet has been playing together since 1982, and when you hear their sound, it’s obvious these guys were raised on ’70s glam-metal like Black Sabbath and Judas Priest. Their only major flaw is the heavily produced sound on their albums, but that shouldn’t be a problem in a live show at the Daisy.

Opening for Corrosion are truck-stop rockers Alabama Thunderpussy. Do a Google search for “beer AND weed,” and their site is one of the first to appear. (Seriously, try it.) That should give you a hint about what these guys are all about. It’s heavy metal but not the dark and scary kind. It’s more like if your plastic Satan bobblehead doll came to life and formed a metal band.

Speaking of dark and scary, there’s another goth/industrial night in town. Every Saturday night at the Dungeon (the basement of 6-1-6), freaky kids in black come out in droves for Ritual Goth Night. Veteran goth DJSamael and his understudy Romantique spin goth, industrial, EBM, and haunting retro music. Belly dancers dot the corners of the dance floor, and drinks have names like “Vampire’s Kiss.” Painted red-and-black flames climb the walls from the floor, which is a welcome change from the old Day-Glo graffiti paint job from the club’s rave days.

Samael recently broke off ties with the Memphis Industrial Goth Project, which has been hosting a very successful weekly goth night at the Full Moon Club on Wednesdays for months. Still in its infancy, Samael says future Ritual Goth Night events could include magicians and stilt walkers.

You can catch some good, old-fashioned garage punk at the Buccaneer as The Angel Sluts join FUT and Thunderlip on Wednesday, June 29th.

Pop-punk fans should also check out The Holiday at the Skate Park of Memphis on Saturday, June 25th. These barely-out-of-high-school rockers are just adorable. Their music is crisp like Blink-182, and not long into their set, you’ll be bopping. It doesn’t hurt that these guys are so wholesome. While they don’t consider themselves a Christian band, all the members are Christian. There’s just something about punk-rock good boys that makes you feel all warm and fuzzy inside, like the feeling you get after hugging Grandma.  — Bianca Phillips

Categories
Film Features Film/TV

The Upstart

p>In 1989, Tim Burton astonished and excited a new generation of comic-book fans (and the moviegoing public in general) with his stylish and striking reinvention of the character of Batman. His was a dark and intense hero, played with equal parts restraint and aplomb by typically comedic Michael Keaton. Batman Returns elaborated on Burton’s dark visions with more fun and more thrills. Those were good Bat-days. But then Joel Schumacher came along to malign the next two films, Batman Forever and Batman & Robin, and by 1997, the franchise looked dead in the water.

Enter the 21st century. Accordingly, we need a hero for the times, which, if you haven’t been reading the paper, are dark and uncertain. Our government has not been this untrustworthy since Nixon, and there are “evildoers” hiding behind every foreign corner.

As Batman Begins er, begins, we are introduced to young Bruce Wayne, son and heir to Gotham City’s humanitarian billionaire Thomas Wayne. We see Bruce endure two childhood traumas: first, a fall into a well that becomes a harrowing bat attack, and then the murder of his parents at the hands of a mugger (just the kind of impoverished soul that the good Thomas Wayne was devoting his money toward helping).

Fast forward a few years. Bruce has grown up to be played by steely Christian Bale and is a prisoner in an unnamed Asian country’s torture camp. He is there by choice, to learn the limits of human fear and the extent to which darkness will rule a man’s heart. While there, he is mentored by a league of mercenaries, led by Henri Ducard (Liam Neeson), and is taught the ways of combat and discipline. When he refuses to kill an enemy of the league, they turn on him. He escapes — but not without the warning that his compassion will one day undo him.

When Bruce returns to Gotham, he assumes his rightful place as the unofficial prince of the city — a playboy billionaire with the world as his oyster. By day, that is. By night, he studies the slimy workings of the corrupt city and devises a means by which he can continue his father’s work to better its people. He must be more than a man; he must be a symbol. A symbol of fear — his fear. A bat.

That’s the film’s thrilling first half. What follows is a slightly muted, slightly anticlimactic, slightly lessened second half. Wayne becomes Batman and works to stop the city-conquering plans of mob boss Carmine Falcone (Tom Wilkinson) and the evil psychiatrist-turned-villain, the Scarecrow (erotically dire Cillian Murphy). We are introduced, along with the villains, to the elements by which we recognize and appreciate Batman and his legend: the cape, the cowl, the gadgets, the Bat Signal, the Batmobile. Each element is familiar and, when tweaked, made more real than in previous incarnations. This is not your older brother’s Batman. This is new.

Once the introductions are made, the film devolves a bit. The thrilling hand-to-hand combats of Bruce’s prison training water down when transferred to the streets of Gotham. The Scarecrow is fascinating when brought into the story yet somehow fades away without resolution. Likewise Falcone. Likewise the nefarious plot (to turn all of Gotham mad). Likewise Ducard’s revenge and comeuppance. The latter takes place on a speeding monorail, and like all of the previously mentioned details, made me long for that character’s earlier moments. There was an attention to detail in that first half that seems taken for granted in the second.

Did I mention that there’s no sex? I hear there’s an R-rated version (this one is PG-13) out there with some Christian Bale/Katie Holmes (she plays assistant D.A. and childhood pal Rachel Dawes) sex in it, but it was not released so that the younger market would be tapped. Alas. And alas, Katie Holmes looks 12 when trying to posture as a high-powered city attorney. At least Michael Caine (as butler Alfred) and Morgan Freeman (Lucius Fox) are on hand to lend some class and weight.

Did I mention that the first half was great? That the second half does not match or improve upon the first does not diminish this film as an accomplishment: a resurrection of a fallen film franchise and an anti-hero for the 21st century. At this film’s end, another Batman nemesis is alluded to, and I imagine that by the time the Bale Batman encounters his Joker, this series will have ironed any wrinkles from the cape.

REVIEW by Bo list

Categories
Cover Feature News

Extra! Extra!

Last Thursday, at the IBEW hall on Madison Avenue, Mark Watson, president of the Newspaper Guild of Memphis, had grim news for the small group of Commercial Appeal employees gathered in the borrowed union building.

But it could have been worse.

“There will be no more than five layoffs,” he said. “If some workers accept early retirement, the number might be further reduced. The CA isn’t offering buyouts [to early retirees]. Just early retirement.”

The guild’s 371 members include advertising sales reps, writers, artists, and custodians. They represent the collective skills and services necessary for the production of a major daily newspaper. Guild contracts expired on January 11, 2004. On August 9, 2004, the CA’snoted union-busting attorney, Michael Zinser, filed a federal declaratory-action suit against the guild in an effort to unbind the newspaper from an “evergreen” clause that extends terms of an expiring contract until it’s replaced by a new agreement. Guild-covered employees received their last wage increase in January 2003.

“Layoffs will be mostly in the editorial department,” Watson told his somber audience. He further suggested that the ax would strike hardest at the newspaper’s copy desk, the department where Watson works. Watson doesn’t imply that he’s being targeted for dismissal, but guild literature alleges that its officials “have been harassed.” In April 2004, Michael Burrell, the guild’s sector representative and lead negotiator, was banned from TheCommercial Appeal building. When layoffs began last November, eight members of the guild’s bargaining team lost their jobs. Two were members of the executive committee. One had recently received the second-highest employee evaluation in his department.

“Mark was moved to the copy desk as part of a ‘progressive discipline,'” says Shannon Duffy, an AFL-CIO organizer who has been working with the guild since March 2004. “The incident that caused this ‘progressive discipline’ was related to union activity. … Union members tell me that they support the bargaining team, but that they would be much more active if they weren’t afraid that when layoffs come around they will be at the top of the list.”

Last August, CA negotiators said the paper would no longer offer across-the-board pay increases; all raises would be based on merit. Then negotiations ground to a halt in February.

Assistant to the publisher Henry Stokes, speaking on behalf of CA publisher John Wilcox, describes the break in negotiations as a kind of cooling-off period.

“At one point, the guild president [Watson] slammed his fist down on the table and said the guild would accept the [merit-based pay plan] ‘over [his] dead body,'” Stokes says. “Well, we don’t want to kill anybody. … We suspended talks because we weren’t getting anywhere. Maybe it helped.”

In March, Burrell urged the CA to return to the negotiating table. On May 5th, Zinser responded, saying that the CA’s position hadn’t changed, and that without “substantial movement” toward the company’s positions there was little point in re-engagement.

Meetings did resume in June, with newspaper negotiators proposing a one-time merit-based wage increase representing 2.75 percent of total payroll expenditures. Only employees in specific areas who had already reached their top minimum scale would qualify for the raises, however, and the guild has not yet accepted the proposal.

“It’s been a couple of years since the guild people have gotten raises,” Stokes says. “[The Commercial Appeal] has put an interim raise on the table. The guild’s objections to merit pay have been based on fears that it will be arbitrary or capricious. We’re trying to offer them a freebie so they can see how we would administer [merit pay]. Most [qualifying members] would get some money, and we think that’s better than nobody [getting money].”

Duffy says the merit-pay offer is just another part of Zinser’s “patented divide-and-conquer” strategy. He cites other newspapers represented by the Nashville-based attorney where similar deals were placed on the table to create confusion and division in union ranks.

“There’s only one reason a newspaper would hire Michael Zinser, and that’s to bust the union,” Duffy says. “[He uses] the oldest tricks in the book. He’s going to drag this negotiation out as long as he possibly can. And he’s going to try to turn guild members against each other. If it goes on long enough, somebody is going to file a petition to decertify [the union]. There will be pressure, and somebody will circulate a petition to decertify.”

Duffy describes the offer of a one-time limited pay increase as “a canny move” by Zinser. “He’s a sonofabitch,” Duffy says, “but he’s a smart sonofabitch.” Both Duffy and Burrell think that an outright rejection of the pay proposal makes the guild vulnerable to criticism should negotiations drag on.

“This could go on for a long time. And after a while [the CA] can tell employees, ‘We tried to give you some money but your union said no,'” Burrell says. Although the interim pay increase only affects a limited number of employees, he also fears that accepting any increase will make it more difficult to negotiate for across-the-board retroactive pay and that those who miss out on this merit-based pay raise will never be compensated for wages lost while working without a contract.

“Will [negotiations] take a while?” Stokes asks rhetorically. “It’s all about what two parties are willing to do together. Sometimes these things move slowly, but when you get on the path to settlement you’d be surprised how fast things can move.”

At a meeting last week attended by approximately 25 percent of the guild’s membership, a counter-proposal for a 4 percent across-the-board raise received unanimous support. The proposal included retroactive pay for everyone represented by the guild. Before the vote was taken, a guild member compared the newspaper’s merit pay offer to “free cigarettes.” “It sounds like a sweetheart deal,” he said, “but in the end it just kills you faster.”

“Nothing has changed [since negotiations first stopped in February],” Burrell says. He shrugs, acknowledging that the CA has finally backed away from archaic policies that make dating a fellow employee cause for immediate termination. “But they kept that issue on the table for 18 months,” he says. The company also softened contractual language that made employment outside the Memphis Publishing Company a fireable offense.

“Like I said, nothing of significance has changed,” Burrell insists. “This is all a part of [The Commercial Appeal’s] strategy.”

The guild has three major issues with the CA‘s proposed contract: The merit pay system, portions of a management-rights proposal, and employment policies regarding non-negotiable causes for immediate discharge.

According to the CA’s proposed contract, “just cause” for termination includes terms such as disloyalty, insubordination, and dishonesty.

“These are all subjective terms,” Watson says. “Disloyalty? What does that mean? Am I being disloyal right now because I’m complaining to [The Memphis Flyer]?”

Duffy agrees with Watson’s assessment and says TheCommercial Appeal is being dishonest. “All over America, management makes dumb-ass decisions,” he says. “The workers don’t make those decisions, but when it comes time to cut costs, they get penalized for them.”

An internal CA memo leaked to the Flyer earlier this year provides grist for Duffy’s comments. The memo, from CA editor Chris Peck, describes efforts to “re-plate” the newspaper to create slightly different editions targeted for urban blacks, suburbanites, and DeSoto Countians. According to the memo, those efforts had become financially untenable. The process had disrupted circulation, resulting in delayed deliveries.

It’s not fair to suggest a direct relationship between zoning the newspaper to different demographics and impending layoffs, but costly managerial mistakes have been admitted and staff reduction is a reality.

According to the trade publication Editor & Publisher, E.W. Scripps, The Commercial Appeal’s parent company, reported posted circulation declines for its newspapers of 4.5 percent daily and 5 percent for Sunday in the most recent reporting period. However, the company’s total newspaper revenue increased by 2.8 percent in May 2005 compared with the same period in 2004. Newspaper advertising revenue company-wide grew 3.8 percent. Local advertising was up 2.7 percent, national advertising increased 3.7 percent, and classified revenues grew 1.1 percent. Circulation numbers for the chain’s newspapers were less encouraging, however.

Merit Pay vs. Scale

The Commercial Appeal is a good place to work. If you’re male and you’re white, it’s even better.” So begins an executive summary of a payroll data study executed by the Newspaper Guild with assistance from the Labor Bureau Inc., a Washington, D.C.-based consulting firm specializing in labor/management issues. The survey of current employees shows that male workers are twice as likely to receive merit-based pay or “any pay beyond the traditional cost-of-living adjustment.” According to the report, “African Americans comprise slightly less than 30 percent of the newspaper’s 371-member bargaining unit,” but “as few as 8 percent of employees with merit pay are black.”

“I’ve got three problems with the merit pay policy,” Watson says. “It’s too stale, too pale, and too male.”

Stokes has seen the guild’s study, and he says it’s flawed because it only polls current employees and lacks historical perspective. In his opinion, the study reflects “payment above scale,” which can’t be compared to actual merit-based pay. “Departments are budgetarily limited,” he says. “When a department has had the money to dole out for outstanding work, a limited number of people have gotten raises.”

“I wouldn’t say that the Labor Bureau’s study reflects racism or sexism in company policy,” Watson says. “It’s a matter of practice. [Managing editor] Otis Sanford is a black man. [Assistant managing editor] Leanne Kleinmann is a woman. I doubt if they ever intended to discriminate against blacks or females. But merit-based raises have been going mostly to white males. The merit process is a lottery. One company manager might be excellent at rating employees on things like ‘overall attitude’ or ‘flexibility.’ But that manager’s replacement may be the world’s worst.

“Under a merit-only system, everything is subjective and all pay increases are determined by these kinds of [subjective] managerial decisions,” Watson continues. “There’s no promise that even employees with good reviews will necessarily receive a pay increase.”

Stokes disagrees. “[The Commercial Appeal] proposes [eliminating] old-fashioned industrial-age [pay scale] brackets,” he says. “We think [merit pay] is better and more practical. People can better control their own destiny. [Guild negotiators] haven’t really wanted to discuss this with us.”

Deliverance

It’s Saturday afternoon in a Commercial Appeal-owned warehouse behind the Teacher’s Credit Union near the corner of Chelsea and Willett. CA delivery drivers and haulers are here to stuff inserts into the Sunday paper. It’s hot, and the bay doors are open. Box-fans hum and workers sweat and swat at mosquitoes while lethargically pushing shopping carts full of coupons and classified ads across the concrete floor.

The drivers’ contract specifically states that no “employer/employee” or “master/servant” relationship exists between them and The Commercial Appeal. But the part-time employees who once stuffed inserts into the paper were let go a year ago, and drivers were told that stuffing inserts was now part of their job responsibilities.

“We weren’t given a choice,” one driver says. “We’re supposed to be independent contractors and we’re supposed to be able to negotiate these things, but we weren’t given a choice.”

Entire families are gathered around tables stuffing papers. “Mama treats me like her slave,” one of the kids says.

“You don’t know anything about a slave,” the mother answers.

The delivery drivers are self-employed and responsible for their own cars, fuel, and insurance. They are paid eight cents per paper during the week and 15 cents per paper on Sunday. They are responsible for contracting and compensating any additional help. So if the paper is being prepared for delivery with the help of unpaid child labor, it’s not TheCommercial Appeal’s fault.

A handful of drivers come forward to talk. They say the newspaper is trying to have it both ways by treating them like employees without providing the accompanying benefits and protections. One driver shows a sign that had been posted in the warehouse stating that drivers will be charged back on complaints for wet, missing, and late papers: 75 cents for weekday papers; $1.75 for Sunday editions. They wonder aloud about how complaints are verified and what they can possibly do — short of putting papers directly into the hands of every subscriber — to ensure error-free delivery.

Drivers can quote passages from their contract, but they often have difficulty explaining what those passages mean. Nobody, for example, can explain the difference between an “employer/employee” relationship and their own existing relationship with the CA.

Although no efforts are under way to organize CA drivers and haulers, a recent court decision against the St. Joseph (Missouri) News-Press sets a precedent for unionizing. A judge ruled that News-Press drivers and haulers don’t operate independent businesses but “devote virtually all of their time, labor, and equipment to providing the essential functions of the [newspaper’s] business.” The losing attorney for the News-Press was none other than Michael Zinser.

On this hot afternoon in the CA warehouse, one kid — no older than 8 — becomes bored with stuffing papers and goes outside to throw rocks, resulting in a broken car window. Only a small number of individuals working in the warehouse are actually “employed” by the CA and protected by EEOC rules. No matter how many windows he breaks, the kid isn’t one of them.

Outsourcing the News

Unlike the CA‘s drivers, members of the Newspaper Guild are considered fulltime employees. But they can perhaps be forgiven for fearing that CA management might have a similar “employer/employee” arrangement in mind for their jobs. In fact, one of their biggest concerns with the company’s management-rights policy proposals is the flexibility it provides the company to outsource labor.

“The paper could outsource every position but one in every department,” Watson says. “I’m not saying that they have proposed this, but they could do it. You might have one person here in Memphis compiling data for classified advertising and the rest would be in India or Estonia or Arlington, Texas.”

Even the idea of outsourcing editorial content isn’t entirely farfetched. Watson points out that Reuters, a multimedia news agency, has been outsourcing some of its business news. Wall Street is now being covered from India. Reuters also plans to move its photo-editing desks in Canada and Washington, D.C., to Singapore. And according to Global Journalist magazine, 10 percent of Reuters’ workforce will be located in Bangalore by mid-2006.

Stokes’ response to guild concerns about outsourcing is that the previous contract also provided “pretty extensive rights to outsource. Flexibility is important to management,” he says. “Flexibility to reward employees and flexibility to break down walls between [traditional] classifications.”

Watson is encouraged by the solidarity his union is showing, but he’s not entirely confident about the future. “Eventually the union will cave and then there won’t be a bargaining team. ? I’ve been reading the biography of Mother Jones and thinking about Michael Zinser. He’s not a gunslinger like the [lawyers] hired by Rockefeller or other robber barons. He’s a lot subtler and much more effective, I think. If you want to defeat a union, all you have to do is wait.”


The Other Union

A FEW WORDS with Randy Peeler, nightside union chairman FOR THE CA PRESSMEN

The Newspaper Guild hasn’t got anything on the CA’s Teamster-affiliated Pressmen’s Union. The 35-man department hasn’t had a wage increase in five years. They haven’t had a contract for four years.

Flyer: Why have contract negotiations gone so slowly for the pressmen?

Peeler: The bottom line: The company doesn’t negotiate. They make demands. They have demanded major concessions from our side concerning some sticky subjects that are hard to work around.

What are some examples?
Well, the drug policy, for one. The company wants to enforce Department of Transportation standards even though none of us drive company vehicles.”We’ve been advised by our attorney not to accept the policy, because if someone received a DWI off the clock, they could be terminated. Also, the company wants to take work from pressmen and give it to people outside the shop. They want to hire ‘assistants.’ They want to hire cheaper labor they can bring in on a part-time basis.”

What do pressmen do?
Primarily, members of the Pressmen’s Union operate and maintain the presses. Right now we’re short of people. It’s hard to schedule days off because work fluctuates so much, and you have to have leeway.


The Lawyer…

The Commercial Appeal‘s labor negotiator, Michael Zinser, has become the Newspaper Guild’s biggest bogeyman. He’s the poster boy for union-busting, and defaced pictures of Zinser wearing devil horns are tucked away in cubicles all over the newspaper’s building. On his Web site, ZinserLaw.com, Zinser cites his “significant victories,” which include a “nationally precedent-setting case” defeating an EEOC attempt to enforce an “administrative subpoena in a sexual harassment case”; a 1997 ruling “for the employer in a racial harassment case”; a 1995 ruling “dismissing allegations of pregnancy discrimination”; and a ruling “dismissing employee claims of disability discrimination, [and] workers’ compensation retaliation.”

… and The Organizer

“Sometimes my job is being the skunk at the picnic,” says AFL-CIO labor organizer Shannon Duffy. Lately that description has been particularly apt. Duffy and a small cadre of guild members have been dressing up like evergreen trees and picketing and hand-billing at Commercial Appeal-sponsored events. They protested during the grand opening of the Desoto Appeal offices and distributed literature at a recent CA-sponsored job fair and zoo event. The police have been called on to intervene but always deferred to the protesters’ First Amendment rights.

“Do I think mobilization is working?” Duffy asks himself. “Yes, I do. We’ve been working with the faith community. We collected and sent 50 postcards from people in the community and sent them to John Wilcox this week. Two of the issues we’ve hit the hardest when we hand-bill have been the right to date a co-worker and the anti-moonlighting language. People respond to these things; they can’t believe they are true. And I don’t think it’s an accident that those issues that we hit the hardest came off the bargaining table this week.”

Categories
News The Fly-By

On the Scene with Ben Popper at the Someone To Call My Clone

At the Memphis Media Co-op on a recent Saturday afternoon, it was the moment of truth.

A talkative crowd sat in the screening room, nervously awaiting the delivery of the final cut of Someone To Call My Clone. Though the Media Co-op often screens small, independent films, this picture was unique.

Someone To Call My Clone was written, performed, filmed, and edited by eight members of a small class studying theMeisner technique, an approach to acting which focuses on complete and personal truth in the moment.

Sanford Meisner was one of the founding members of the group that brought method acting to prominence in America. Meisner, however, grew dissatisfied with the method.

The core of the Meisner technique is repetition. One student will say to another, “You have brown hair.” The other will respond, “I have brown hair.” The actors will continue to say the lines, trying to be as truthful and unaffected as possible.

It may be a bit Zen-like for some people, but local participants found the class fulfilling on both a creative and personal level. Kim Hooss, one of the stars of the film, said, “Taking the class allowed me to become more expressive, both physically and verbally. I’ve learned to connect more comfortably with others.”

Orlando-native Amber Nicholson teaches the Meisner class and says that stripping away complications in acting can teach students to strip unnecessary complications from everyday life as well.

“Once you stop suppressing your creativity, it flows to all areas of your life,” she says.


Finally, Clone author and Commercial Appeal reporter Jon Sparks entered the room. In his hand was a single DVD, the final result of eight weeks of intense training.

The basic four-week class, which has become popular among actors in the local indie-film scene, is billed as “Meisner for the Creative” and is followed by anoptional four-week intensive.

Someone To Call My Clone, the result of the four week intensive, isa futuristic adaptation of Romeo and Juliet and depicts the star- crossed lovers as a human-clone couple. The film takes on science, romance, and reality TV, all through the lens of Shakespeare.

Anyone interested in the technique can attend a free workshop June 28th from 7:30 to 9 p.m., in the Media Co-Op at 1000 South Cooper. 

Categories
News The Fly-By

Full Grill

Tennessee Senate Majority Leader Ron Ramsey, the chairman of the state Senate Ethics Committee, recently expressed doubt about a bumpercrop of ethics complaints filed against legislators in the wake of the Tennessee Waltz scandal. He’s questioned the need for the special ethics-session proposed by Governor Phil Bredesen and poo-pooed an independent commission to monitor and enforce campaign finance and lobbying laws. “[In the fight against corruption] I’m finding that, in theory, we may have all the teeth we need,” Ramsey told the media.

The theoretical choppers may be hanging out on the nightstand in a glass full of Efferdent, but apparently, there are plenty of them. The chairman continued, saying, ““I think the talk about an independent commission is all well and good. At the same time, I think the buck needs to stop with elected officials,” which is, of course, the whole problem. — Chris Davis

Categories
Music Music Features

Soul Serenade

Break out your satin sheets and call the baby sitter. Memphis will be getting a double scoop of sexy when Brian McKnight and New Edition play The Orpheum on Thursday, June 23rd. Both acts are known primarily for their smooth R&B sounds and sensual soul ballads. McKnight sometimes strays into even smoother territory, playing jazzier compositions. New Edition, often credited as the originators of that early fusion of R&B and hip-hop known as new-jack swing, will give audiences more of a chance to shake their butts.

McKnight, who recently left his longtime label, Motown, came to music through the church. He started writing music while he was still a teenager and at the age of 21 found himself signed to a major label, Mercury. His first single, “The Way We Love,” went to number 11 on the R&B charts. His next hit, “Love Is,” a duet with Vanessa Williams, didn’t register so well with R&B fans. Instead, it went to number three on the pop charts, situating Mc-Knight as a musician with serious crossover potential.

Since then, McKnight has consistently released successful albums, including his latest, Gemini, mixing his heart-rending ballads with up-tempo love songs and hip-hop guest stars such as Juvenile and Talib Kweli.

McKnight speaks fondly of Memphis and its musical legacy: “When you think of Memphis, you think of Elvis. You don’t realize the incredible history of black music here. I went to the Stax Museum the last time I was here, and I really have a lot of respect for those artists.”

McKnight is also excited to be playing in Memphis because of the city’s size. “When you play a big town like New York or L.A.,” he says, “there are a lot of people in the front who don’t know you at all. They’re just there for an experience. When you play a small city like Memphis, the crowd comes to see you. I really appreciate that.”

New Edition is a group whose achievements are often obscured by roster changes and side projects. The group began performing as a trio in Boston during the late ’70s. The three original members were Ricky Bell, Michael Bivins, and Bobby Brown. The boys were still in elementary school and started singing for pocket money. They began winning local talent shows and added Ralph Tresvant and Ronnie Devoe to the group.

They eventually caught the eye of impresario Maurice Starr, who saw his chance to form a Jackson 5 for the ’80s. With Starr, New Edition released their debut hit, “Candy Girl.” A few songs later, MCA offered the boys a deal. With the release of their eponymous MCA debut, New Edition became full-fledged pop stars. As they grew, their sound become less popcorn. “All for Me” (1985) was funkier and more mature. In 1986, Brown left the group to pursue a solo career and was replaced by Johnny Gill.

Heart Break, released in 1989, was the first New Edition album produced by Jimmy Jam and Terry Lewis. The two men refined the New Edition sound, giving it the harder hip-hop edges that came to define new-jack swing in such New Edition spin-off hits as Bell-Biv-Devoe’s “Poison” and Brown’s “My Prerogative.”

Brown returned to the group briefly in 1996 for Home Again. It was a successful project, but the group drifted apart again. They began to tour in the early years of the new millennium and caught the attention of P. Diddy. He signed New Edition, sans the troubled Brown, to his Bad Boy label, and the group released a new album, One Love in 2004.

New Edition and McKnight are soul veterans, and Mc-Knight, for one, is enjoying his time on the road: “This is one of the best tours I’ve ever been on. Of course, with this many guys, there have been some shenanigans.” 

Categories
Music Music Features

Music

Laughter’s Fifth

Love as Laughter

(SubPop)

The O.C. has become the Oprah’s Book Club for indie rock. Whenever Seth Cohen namedrops a band like Death Cab for Cutie or the Shins, their sales spike, even if only a little. The show’s latest find is Love as Laughter, a Seattle-based group with four albums under their belt. Their fifth is titled, appropriately, Laughter’s Fifth, a cheeky reference to both Beethoven and Jack Daniel’s.

The O.C. pick is “Dirty Lives,” a catchy indie-pop number with all the requisite grinding guitars, wiseacre lyrics, and buoyant melodies. The rest of Laughter’s Fifth follows in a similar vein, with a penchant for sardonic wordplay and loose guitar grooves. “Canal Street” is a shuffling singalong about buying Louis Vuitton ripoffs, and “Corona Extra” is a bizarro-world Jimmy Buffett ballad about being dumped on vacation: “I put you on a milk crate, baby/There’s a file at the Miami P.D.,” Sam Jayne sings. “I would cry tears of joy if they said you’d be back to me.”

For all its cleverness, though, Laughter’s Fifth possesses a surprising bitterness that adds a skewed depth to these tongue-in-cheek songs. The uncertain promises of “I Won’t Hurt You” and the mock epic “Makeshift Heart,” during which Jayne exhorts us to “open up your curtains and step outside,” find the silver lining in the dark cloud blocking the California sun.

Stephen Deusner

Grade: B+

The Fallen Leaf Pages

Radar Bros.

(Merge Records)

Not sure what this says about my ears, but the Radar Bros.’ blatant lifting of Pink Floyd circa ’70-’72 sounds scads fresher than the cribbing of vintage Gang of Four or Wire that’s become so de rigeur, which is to say I can do without the next Bloc Party and have a habit of muting Volkswagen, Target, and bank commercials. Apples and oranges, you say, but I’m just taking our contemporary musical climate, from the underground to what bumps its nose against the mainstream, into account here.

Far from following trends, the Radar Bros. have never deviated from the formula they established at their late-’90s outset: slothlike, though livelier than your average Low song. Be comforted, the band’s sound has nothing to do with what some were calling “slo-core” in another century. It is not Ida.

The opening mention of pre-’73 breakout Pink Floyd, specifically the albums Meddle and Obscured by Clouds, is not a reach. If you hold Floyd’s minor hit “Fearless” or Obscured by Clouds‘ “The Gold It’s in the … ” or “Free Four” in high regard as slightly “off” pop constructions (and you should), the Radar Bros.’ knack for making that sound contemporary, and their continued ability to pull good songwriting out of the template, is just what you need. — Andrew Earles

Grade: B+

Haughty Melodic

Mike Doughty

(ATO Records)

Mike Doughty has come a long way with a terrible singing voice. Over three albums with Soul Coughing, his nasal pitch, which limits his range and force, added another level of eccentricity to his boho white-boy hip-hop lyrics, and his first solo album, Skittish, sounded all the more earnest and intimate for all the imperfections in his vocals.

On Haughty Melodic, his major-label debut and his first solo album with a full backing band, his vocal limitations become just that — limitations. His voice sounds weak and thin, lost amid the bustle of instruments.

It doesn’t help that the music itself is so anonymous. Doughty’s band, which includes former N.E.R.D. drummer Eric Fawcett, churns out run-of-the-mill jam-band half-grooves, burnishing away all of Doughty’s rhythmic and lyrical idiosyncrasies. Furthermore, producer Dan Wilson (formerly of Semisonic) pushes most of the out-of-the-ordinary instruments — the banjo and saxophones on “Busting Up a Starbucks,” for instance — so low in the mix they’re nearly inaudible. As a result, Haughty Melodic is Doughty’s first-ever completely unmemorable album, which is saying a lot for an artist who has made so much of his peculiarities and shortcomings.  — SD

Grade: C

Categories
Sports Sports Feature

Forum Fisticuffs

Andre Ward was full of surprises: In the ring the middleweight hopeful and former Olympic gold medalist had stopped opponent Ben Aragon cold with what looked like a hard jab, one so stout that the referee stopped the fight with Aragon still standing and looking puzzled as to his whereabouts. Said Ward on a later visit to press row: “I hit him with a lot of those just to keep him from head-butting me.” What is it they say about the best defense being a good offense?
But the real jolt came in a throwaway line from Ward about his preparation for the fight. “I was doing low-carb and high-protein,” the boxer confided. An astonishing fact (since carb-loaders are the rule in high-intensity endurance sports like boxing), but surely an encouraging one for all us ordinary mortals who keep climbing on and off the Atkins wagon.
That was one post-fight moment from Saturday night’s fight card at Fed-ExForum. Another came after the evening’s penultimate event, a warm-up featuring name middleweights Verno Phillips and Ike Quartey, the latter a Ghanan and veteran of some famously hard and close fights with premier fighters Fernando Vargas and Oscar de la Hoya.
Phillips staggered Quartey in rounds one and two, and he had the onetime media star on the canvas in round nine and on the ropes in round 10. Quartey totally dominated the middle rounds, though, and since he was able to hold on and finish strong, the judges’ various arithmetics had Quartey the winner by an aggregate of a point.
That was too much for Arthur Pelullo, the American’s promoter, who crossed over into press row to complain that a second ninth-round knockdown of Quartey — ruled a slip by the referee — should have made the fight a draw.
Soon Lou DiBella, Quartey’s promoter, materialized to contest that interpetation. “He didn’t do enough in the middle rounds, Artie.”
“He knocked him down twice, Louie,” repeated Pelullo.
This dispute went back and forth, in a close approximation of the fight itself, and finally DiBella said, “Okay, so it was close. That’s good for us. It makes it easier to get Vargas and de la Hoya!”
Prizefighting (stress on both syllables) is, after all, about paydays, and Saturday night’s main event, for the undisputed light-heavyweight championship, should result in at least one more well-deserved run to the bank by both winner Antonio Tarver and loser Glen Johnson.
Both were journeymen fighters, cast in the mold of ’30s heavyweight champ James “Cinderalla Man” Braddock, who labored in obscurity before putting together the streak of impressive if unexpected wins that made him a titleholder and an inspiration to working stiffs of his time (as well as to movie-makers in ours).
Both now 36, the fighters had similar so-so resumés before each happened to fight — and knock out — the celebrated Roy Jones, often called “the best fighter pound-for-pound in the world.” (Johnson’s victory here last year was the event that inaugurated the FedExForum.) Dressed in a tux, an appreciative Jones was safely at ringside to help call Saturday night’s televised and heavily billed “megafight” for HBO.
The two superb light-heavies had tangled in Los Angeles last December, with Johnson taking what was then Tarver’s title in a split decision. Saturday night’s fight, a 12-round slugfest, was equally close, with the rangy Tarver outpointing the shorter Johnson, who landed fewer, but harder, shots.
“We need to do this again,” said a happy Joe DeGuardia, Tarver’s promoter. That was promptly seconded by Johnson’s main man, Dan Goosen, and by the two fighters themselves.
At a pre-fight press conference last week, the loquacious Tarver had done most of the talking, with Johnson commenting, “I don’t do talking. I do boxing.”
Actually, they both do both, and a third “conversation,” to settle the argument for good, is very much in order. Hopefully right here in River City.