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Eyesores

Compiling a short list of the ugliest places in Memphis is no easy task in a city that is lucky enough to be bisected by such decidedly unscenic boulevards as Lamar, Summer, Winchester, and Germantown Parkway. Plus, large areas of our community are blighted by poverty and urban decay. Listing every eyesore in town would take up more paper than our printing company can provide.

So we decided to focus instead on bad things in good places — ugly buildings or structures that are actually located in nice parts of town, where lack of money isn’t the primary reason for their sheer ugliness. In other words, a list of eyesores without excuses.

Here’s our top 10, though there are many others that could have made the list.

1. Cossitt-Goodwyn Library

33 South Front Street

To fully appreciate the absolute ugliness of this building, you have to remember what it replaced. The original Cossitt Library, erected in 1893, was a stunning red sandstone castle, with a sweeping flight of steps that led up to a triple-arched entrance, and a round tower that provided visitors with magnificent views of the Mississippi River. A matching red sandstone wing was added in 1922. In 1958, in a flash of insanity, the city of Memphis, arguing that the old building had somehow become unstable, tore down the castle and replaced it with … this. The authors of Memphis: An Architectural Guide, have written, “The loss of no old building in Memphis is more regrettable than that of the Cossitt Library, an imposing Romanesque structure of great power and dignity.”

Some people might try to call the new building “International Style.” We call it a hideous blue box that doesn’t even attempt to match the sandstone addition. What’s worse, the building hasn’t been maintained over the years. A nice reflecting pool, once adorned with fine sculptures of scholars by Memphian Ted Rust, is empty and filled with trash, and the sculptures were beheaded so many times by vandals that Rust finally refused to repair them. (They were restored one final time and moved indoors to the main public library on Poplar.) But this whole corner is a disgrace. The original Cossitt Library was one of the most beautiful public buildings in Memphis; this is one of the ugliest.

2. The “Underground House”
646 South McLean

Mention Central Gardens and certain images come to mind: the imposing Cathedral of the Immaculate Conception, lovely Belvedere Street lined with flowering dogwoods, the grand houses along Carr and Harbert and other neighborhood streets — and that weird “underground” house at McLean and Cowden. At one time, a handsome bungalow stood on this corner. Sometime in the 1970s, that house was replaced with a more modern structure, which builder/architect Bill Fuller then covered with mounds of dirt and monkey grass. The whole thing was then surrounded with a wood-plank fence. The house wasn’t technically underground; everything was built above ground, but just covered up.

According to neighbors, the house has been empty for almost 10 years, though it’s hard to tell when the only thing visible (barely) was the front door. Two years ago, the house was sold, and the new owner scraped all that dirt off and announced plans to expand the house. Unfortunately, those plans didn’t meet the approval of the Memphis Landmarks Commission — this is Central Gardens, remember, a historic district with rather strict building codes — so now the house sits as you see it here — stripped of its exterior, windows shattered by vandals, and pretty much a big mess. On a recent visit, we did notice one small improvement: a “For Sale” sign in the front yard. We just hope the new owner has access to a bulldozer.

3. Sterick Building and Parking Garage

22 North Third Street

With AutoZone Park within walking distance and all sorts of high-end condos and new developments in the area, it’s hard to fathom why some properties remain neglected. This (below left) is one of the ugliest. Hard to believe, but in the 1960s, this was a Holiday Inn. The top four floors were occupied by the hotel, and the bottom levels served as a parking garage for guests and occupants of the Sterick Building next door.

We’re tempted to add the adjacent 1928 Sterick Building to our list of eyesores, but at least its owners, an out-of-town group called Sterick LLC, have given it a decent paint job, so the exterior still looks pretty grand. We can’t say the same for the garage, with its paint peeling off in strips. The Center City Commission is promoting the Sterick Building, once described as “the most fabulous building in Memphis,” as one of its top-10 most desirable downtown development projects. If that happens, the parking garage might be needed someday. In the meantime, it needs a facelift.

4. Chisca Hotel
262 South Main Street

Constructed in 1913, the Chisca was never considered one of this city’s finest hotels. It just wasn’t in the same league as The Peabody or the Gayoso. Instead, it was considered a “businessman’s” hotel — perfect for an overnight stay for traveling salesmen or others in need of comfortable, but not lavish, accommodations. Even the authors of Memphis: An Architectural Guide say it was “clearly built on the cheap; there is little here that is not strictly utilitarian.” That’s not to say it’s an ugly building; we think it’s rather handsome, in a solid, red-brick kind of way, and if you look closely, you can make out interesting details, and stained-glass windows, and other ornaments.

The Chisca died along with much of South Main in the late 1960s and early 1970s, and the building was purchased by the Church of God in Christ, which used some of the property for its headquarters. The main hotel structure, however, has not been maintained over the years, and quite a few windows have been left open for months at a time — not a good idea with Memphis’ rain and pigeon population. The good news is that COGIC has announced it will spend some $80 million to restore the old building and convert part of it into a Homewood Suites hotel. So far, we’re still waiting for that to happen.

5. Cannon Performing Arts Center sculpture

Poplar and Front

We’ve never known what to make of this. We don’t even know if it has a name. We do know that certain members of our staff — Philistines one and all, we admit — have referred to it as “the giant urinal.” Apparently, it is supposed to serve as some sort of pavilion for outdoor concerts — very small ones, we gather — though we have never actually seen it used in such a fashion. Perhaps we need to get out more.

But we have walked up to it, rested on the metal-mesh benches inside the larger of the two funnels, and discovered that, though the benches are rather comfortable, on a sunny day anyone wishing to sit here for any length of time will need sunglasses and sunblock with a factor of at least 45, because those mirror-polished stainless-steel panels tend to blind you. Don’t get us wrong: We’re all for outdoor art in Memphis. We just don’t know what this is.

6. Sears Crosstown
495 North Watkins

This massive — all of 1.4 million square feet — building falls into the same category as downtown’s Sterick Building. It’s completely empty, but is it truly an eyesore?

From a distance, it’s certainly impressive, and a closer view reveals fine workmanship and intricate carving on the stone ornamentation that covers the facade. It’s certainly not in the tumble-down class as the derelict Rhodes-Jennings Building downtown. But it may get that way soon. That same up-close look also reveals rusting doors, broken-out or boarded-up windows, and even plants growing out of cracks in the stone many stories above the pavement. Not a good sign.

Sears, Roebuck & Co. constructed this building — one of the largest in its nationwide chain — in 1927, and opening-day crowds supposedly exceeded 40,000. But the company phased out its catalog shopping in the 1980s and had no need of their giant warehouses. Rumors have persisted that the building was going to be converted into upscale housing, or downscale housing, or shops, or artists’ studios, or even a Home Depot. None of those plans came to fruition, though we would like to point out that everyone keeps whining that Midtown needs a Target if we only had enough space. With 1.4 million square feet and an adjacent parking garage and parking lot, we think this would not only hold a Target but a Home Depot to boot. Surely something can be done with it?

7. Rhodes-Jennings Building
66 North Main

Will anything ever happen to this ghost that haunts Main Street? This building has been on any “eyesore” or “ugly” or “big empty” list we have compiled since the Flyer began publication back in 1986. Looking at what’s left of the rusting cast-iron facade, it’s hard to believe that in the 1880s, this structure began life as home to B. Lowenstein and Company, one of our city’s finest department stores. In the 1960s, Lowenstein’s moved to a larger building across the street, and the Rhodes-Jennings Furniture Company moved in. Somewhere along the way — probably in the 1960s, since that’s when we lost all sense of taste — owners chopped big chunks out of the building’s ornate facade, creating the effect you see now. Rhodes-Jennings went out of business in the 1980s, and the building has been empty ever since, anchoring a rather prominent corner of downtown, just across Main Street from the Morgan Keegan Tower.

Over the years, Environmental Court judge Larry Potter has issued all sorts of injunctions against the property’s various out-of-town owners, to no effect. Finally, some good news. A group called CGI & Partners, headed by an architect from Czechoslovakia, recently purchased the Rhodes-Jennings Building along with the vacant 22-story Lincoln American Tower next door and announced plans to renovate both into apartments and commercial space. Initial plans were to have the project completed by the end of 2005. That deadline has come and gone, but the CCC assures us that financing is this close to being ready.

8. Linden Circle Theater
321 S. Somerville Street

In the mid-1920s, the Linden Circle opened as one of many handsome neighborhood theaters around town, joining the likes of the Rosemary on Jackson, the Park on — well — Park, the Memphian on South Cooper, and dozens more. These were also called “second-run” theaters, which didn’t mean they were second-class. That term just meant that when movies came to town, they would appear first at the big “first-run” movie palaces downtown, such as Loew’s, Warner, Malco, and others. A few weeks or, for some hits, months later, they would start showing at the smaller neighborhood theaters.

This one closed sometime in the 1960s. In 1997, film buff Kevin Lee announced plans to return the Linden Circle to its past glory by converting it into a fancy “art” theater, complete with fully restored interior and even uniformed ushers. Those plans fell through. The property is currently owned by the New Day Church International, an offshoot of the Church of God in Christ, and church officials plan to turn the building into a sanctuary.

9. Saint Mongo’s Planet
56-60 South Front Street

What else do we need to say? It’s one of Robert Hodges’ projects — perhaps better known as Prince (and sometime Saint) Mongo. And like all of his projects, he takes a perfectly fine building and turns it into a mess. Such as his former residence on Eastmoreland, with the toilet on the roof. Or his former residence on Colonial, with the junk in the front yard and paint spattered all over the house. Or “The Castle” at Lamar and Central, at one time a magnificent stone mansion, and now turned into — well, drive by there and see for yourself.

Saint Mongo’s Planet was originally a handsome commercial building constructed in 1875, part of Front Street’s historic Cotton Row. Hodges defied the Landmarks Commission by splashing on pink and turquoise paint and a neon sign and opened it as a bar, which had an unfortunate tendency to attract underage drinkers. After its beer permit was revoked at least a dozen times, the city finally shut him and his Planet down. It’s been vacant for several years. The Center City Commission has listed this as one of its top-10 redevelopment projects. The new owner will need to paint it first.

10. Sunshine Car Wash #9
1675 Union

We really don’t have any objection to automated car washes. Sure, the chauffeur normally does a better job, but sometimes he’s busy (or drunk), so we have to take the office limo to a car wash. And it’s fun to sit inside when the car is completely covered with suds and you can’t see out and then those big foam brushes start flapping and slapping or maybe you go to the kind where the brushes are mounted on giant wheels and as they slowly pass over the car you get that uncanny feeling that the car is somehow rolling forward and you jam your foot harder and harder on the brake pedal even though you know it’s not really rolling and … sorry, we got carried away there. The point is, car washes have their place in today’s car-loving society. Even car washes with big glass windows so that passersby, who apparently cannot conceive how such a marvelous process happens — the car goes in one end dirty and comes out the other end clean — can see the action.

But does the whole thing have to be encased in a bright red metal framework? Sunshine #9 wouldn’t look out of place on, say, Poplar. But this is Central Gardens and supposedly has — or had — covenants and ordinances and restrictions saying what you could build where. Okay, we know that Union is not exactly the prettiest street in town, but at one time it had some handsome buildings on this corner. On this very site stood Fortune’s, a beautiful stucco mission-style ice cream parlor. But then again, the Sunshine Car Wash is right next to a garish Shell station, and right in front of a quick-lube joint, so maybe it doesn’t matter anymore. Sometimes you just have to give up.

Categories
Film Features Film/TV

Visual spectacle

The team behind Mirrormask certainly possesses a sterling imaginative pedigree. Director/co-writer Dave McKean and co-writer Neil Gaiman are a long-standing team, responsible for the inspired comic book series Sandman. The film is also a product of Muppets creator Jim Henson’s production studio, prompting hopeful comparisons to that company’s mischievous children’s masterpiece, Labyrinth. The film shares its basic premise with the Henson work — be careful what you wish for — and draws heavily on the eerie visual sensibilities of McKean. But it lacks narrative conviction.

The film begins with family conflict, as the young heroine Helena (Stephanie Leonidas) tries bitterly to declare her independence from her parents’ dream of owning a circus. Helena tells her mom to drop dead, and when, shortly after, her mother succumbs to an unnamed illness, a wellspring of guilt opens, which sends Helena tripping toward a rabbit hole.

The dreamscape that constitutes the majority of the film is an intricately textured place, but it wraps itself around Helena and her traveling companion Valentine in a gauzy, insubstantial fashion. The film often relies on the boxy graphics the Discovery Channel might use to recreate a dinosaur, albeit with a much more playful edge.

There are moments where McKean’s imagination steps out of the background and grabs our attention, most memorably in a scene where beaked gorillas save Helena from a cloud of inky eyeball spiders. But it fails to maintain this visual interest.

The main problem is the fact that the film does not recognize a guiding principle for the “Wonderland” film genre — that the world in which the characters are living must be defined by its own whimsical logic. The film succeeds at this in an early scene, when Helena and Valentine escape a room by insulting a pair of books. The injured tomes decide to fly back to the library and our heroes get to hop a ride.

Sadly, Mirrormask very rarely allows invention to run its course. More often it forces the protagonists into an awkward no-man’s-land, where the rush of new and strange situations is dulled by uninspired riddles or flat coincidence.

This film feels most like a stocking stuffer for fans of the Gaiman/McKean aesthetic. So unless you’re a huge fan, don’t bother with this droll fantasyland.

Mirrormask

Opening Friday, November 4th

Ridgeway Four

Categories
Music Record Reviews

Listening Log

Sings Out
Noise Choir

(self-released)

I’ve never been much for instrumental rock music, but as an Afropop devotee, the variation on the form presented by this five-song, 13-minute debut is close to my ideal: rhythmic and percussive, with bracing guitar lines and no indulgent solos — groove music twisted askew. Play it as background noise, and it’ll sneak up on you. Members of this relatively new local band were in a group called Reginald a few years ago, and the music worked in much the same way. — CH

(“Muscular Pony,” “Joystick”)

Grade: B

Joecephus and the George Jonestown Massacre
Joecephus and the George Jonestown Massacre

(self-released)

Having long been an alt-country skeptic and mainstream-country defender (some friends might say apologist), this is the kind of record that gives me problems. However much alt-country types might want to claim someone like George Jones for themselves, the vocal quality that made Jones great is still a lot more prevalent in Nashville studios than in the pages of No Depression. In country music, as in R&B, singing is crucial, and the flat, earthbound vocals are what nearly sink this local alt-country band, who are otherwise adept at a trad-country sound and seem to have good taste in the music they love. The vocals are less of a detriment when the music turns from country to rock. — CH

(“No Turning Back”)

Grade: B-

Categories
Music Music Features

Two Worlds Collide

This is David Banner’s time. The Jackson, Mississippi-based rapper’s fourth album, Certified, debuted at number 6 on the Billboard charts, nestled between releases from Barbra Streisand and Earth, Wind & Fire. “Play,” the album’s lead track, broke onto the Hot 100’s Top 10 list, and Banner’s efforts for Hurricane Katrina victims landed a favorable notice in The New York Times. In October, Banner was particularly busy: He recorded a series of exclusive, crunk-based ringtones for the Urban World Wireless network, filmed scenes for his silver-screen debut (Banner’s portraying Tehronne, a character in Craig Brewer’s latest movie, Black Snake Moan), laid down a new version of “Play” for the NBA, and contributed a rap to an upcoming DJ Shadow project.

More mainstream-able than acts like Three 6 Mafia, more grounded than the party-all-the-time Ying Yang Twins, more serious than the always clowning Lil’ Jon, Banner — who possesses a business degree from Baton Rouge’s Southern University — is the perfect candidate to bring crunk music to the masses. For most Southerners, he represents the Dirty South’s great black hope.

“Memphis and Mississippi have never been cool enough,” Banner explains. “There are so many creative, intelligent people from Mississippi,” he says, citing homegrown heroes such as Oprah Winfrey, “but when they were getting hot, they didn’t talk about it. At the same time, you’ve got groups like Three 6, who helped birth the crunk genre but never got credit for it, because other people took off.”

Bay area hip-hop phenomenon Josh Davis (aka DJ Shadow) agrees: “I remember the first time I played crunk stuff, back in 2000 at Scratchcon, which was supposedly the highest echelon of turntablism. People were saying I don’t think you can play that here. The subtext was, you’re not allowed to step into other boxes.

“I’ve always hated that mentality,” says the freewheeling Davis, whose ’96 instrumental hip-hop masterpiece, Entroducing, was released to universal acclaim and re-released in an expanded version earlier this year. “I started off making tracks for a rapper named Paris, and all the early work I did was straight-ahead hip-hop. A lot of people who say they like my stuff aren’t as open-minded as they think they are, which is disappointing.

“David Banner has obviously been around for a minute,” says Davis, who explains that Banner’s work with Crooked Lettaz caught his attention several years ago. “What I like about [Banner’s 2003 solo release] Mississippi is that it starts off with really hard crunk stuff but mellows out into Southern soul. It’s got a politically conscious vibe, which attracted me beyond his voice and his hit singles. ‘Like a Pimp’ is banging, but the album is more multidimensional than that.”

Davis says that for his upcoming album, which is slated for May 2006, he decided to reach out to Banner and other Southern rappers, including Memphian Project Pat, who hasn’t yet committed to the project. “I definitely didn’t want to sit down and just do another instrumental hip-hop album,” Davis explains. “That’s not where my head is now. I wanted to collaborate with people outside of that realm.

“I first got together with David in November 2004,” he says. “I tried Mystikal and Project Pat but ended up coming back to Banner. Fortunately, I was able to be with him when he did the first verse in L.A., and when it came to the second verse, I knew he’d be able to pick up the thread.”

Banner chose to finish the track here in Memphis, at Scott Bomar’s Electraphonic Studio in Midtown. Twelve hours after he, Bomar, and rapper Al Kapone shared the stage for a Craig Brewer tribute during the Recording Academy Honors, held at the Cook Convention Center in late October, Banner arrived at the studio, asked for a blank sheet of paper, and scrawled the lyrics for “Seein’ Things.”

“I’m wondering if the feds broke the levee/Are they in with the devil to control the weather?” he muses on the song, which touches on national politics, the Katrina aftermath, and the African-American diaspora.

No sooner was that track finished than Banner pulled out a tape containing instrumental versions of “Play,” because he needed to cut a PG-rated, basketball-centric version of the song for the NBA. Within the hour, Banner was back on the road, headed to the airport and a European promotional tour.

“Last year, when I was getting this project happening, David was at a lull in his career,” Davis notes. “Now, I feel lucky that I was able to get involved.”

David-Banner.com

DJShadow.com

Categories
Music Record Reviews

Let Chilton Be Chilton:

Thirty years ago, Alex Chilton and Jody Stephens gathered at Midtown’s Ardent Studios to preside over what seemed to be the final days of their soon-to-be legendary band, Big Star. But three decades after the completion of the cult-classic Third/Sister Lovers, Chilton and Stephens were back at Ardent working on a follow-up, this time in concert with Big Star fans turned Big Star bandmates Jon Auer and Ken Stringfellow (of Seattle power-pop band the Posies).

The fruit of this unexpected labor, In Space, sometimes sounds like what you expect a Big Star album to sound like and sometimes it doesn’t. The mercurial Chilton opens the record in familiar Big Star form, his bracing guitar line and vocal on “Dony” evoking the band’s musical legacy. But after that, Chilton leaves it up to his bandmates to meet audience expectations.

Thankfully, they’re all up to it. Auer and Stringfellow first got into the band because of their fidelity to the Big Star sound. Here Auer’s “Lady Sweet” could be a #1 Record outtake, while Stringfellow’s “Turn My Back on the Sun” sounds like a blend of Radio City and the Beach Boys’ Pet Sounds. And Stephens proves more than adept at conjuring the melodic magic of his band’s past with standout tracks “Best Chance” and, especially, “February’s Quiet.”

As for Chilton, he fills the rest of the album with varied, compelling material that sounds a lot truer to his nomadic post-Big Star solo career. “A Whole New Thing” is a rootsy mix of soul, surf, and garage. “Love Revolution” is a sunny goof with a near disco-like groove. “Makeover” is decidedly heavier than anything that ever graced a Big Star record. Chilton’s still his own man, which is part of what made Big Star so refreshing to begin with. — Chris Herrington

Grade: B+

Categories
Music Music Features

Sweet Soul Music

On Friday, November 18th, author Peter Guralnick, who depicted the trials and travails of Stax in his book Sweet Soul Music before documenting the life of Elvis Presley in Last Train to Memphis and Careless Love, will be signing copies of his latest book, Dream Boogie: The Triumph of Sam Cooke, at the museum.

While Cooke never recorded at Stax, his singing style nevertheless made a tremendous impression on those who did — in particular Isaac Hayes, who recalls making a pilgrimage to a local hospital to get a glimpse of the Clarksdale, Mississippi-born pop star in the late 1950s.

“It was after he got into a car wreck in Arkansas,” Hayes says, “and we snuck up the fire escape to see him. He had a thermometer in his mouth, and when the nurse saw us, she told us to beat it. I was poor as dirt, singing with the Teen Tones, and that was the closest I’d ever gotten to someone who really made it as an entertainer.”

On Sunday, November 20th, a new exhibit of personal histories from the museum’s “Soulsville” neighborhood will open. The project will include personal histories and photographs documenting the rise, fall, and redevelopment of the South Memphis neighborhood that surrounds the former recording studio.

Groundwork began last August, when Free River Press director Robert Wolf conducted a four-day workshop at the museum. Participants wrote their life stories, shared their memories, and discussed their hopes for the future of the neighborhood. Histories of Boss Ugly Bob’s record shop, Jones’ Big Star grocery store, Sister’s Café, and nightspots like the House of Payne and the Blue Light anchor the exhibit; the essays will also be edited into a book scheduled to be published by Free River Press, museum publicist (and Flyer columnist) Tim Sampson says.

And on Monday, November 28th, blue-eyed soul singer Linda Lyndell — who belted out the unforgettable “What a Man” for Stax back in ’68 — will close out this year’s Last Mondays in Studio A concert series. Lyndell’s performance, billed as a tribute to labelmate Otis Redding, will include her renditions of “These Arms of Mine” and “Hard To Handle.” The reclusive Floridian, feted by author Rob Bowman as “The Woman Who Saved Stax” in the Oxford American a few years back, seldom performs.

The museum has also seen its share of administrative changes lately. In September, director Nashid Madyun left to open a branch of the Rock and Roll Hall of Fame at the Gibson Guitar Factory. Carol Drake, a former Graceland employee, is now in charge of exhibitions and education at the museum, while Robin Bender went from Pat O’Brien’s to manage Stax events and membership activities. Susan Green is now manager of operations, while Steve Walker has taken over the Stax gift shop.

Walker, a familiar face to anyone who’s ever shopped for CDs in Memphis, started out selling vinyl and cassettes at Record Bar and Tracks before moving to Cat’s Music in 1989. He managed the chain’s Midtown location for more than a decade, he says, explaining that “while Cat’s was really good to me, the opportunity at Stax is really neat, and I couldn’t turn it down.

“This is a chance to work with a label and a logo that I worship,” Walker says of his job switch. He doesn’t expect to make major changes to the inventory, although he is adding CDs and DVDs by other classic soul artists, including Ray Charles and, of course, Sam Cooke. “This is a great place to find cool, off-the-beaten-path gifts,” he notes. “Even when I was at Cat’s, I did a lot of Christmas shopping here.”

One product Walker will definitely be stocking is Can You Dig It?, a double-CD of the best of Isaac Hayes, released on Stax/Concord earlier this month. The collection covers Hayes’ output from 1969 to 1975, which ranges from the Oscar-winning “Theme from Shaft” to a duet with Dionne Warwick, as well as material culled from blaxploitation soundtracks and Operation PUSH performances. Also included: a bonus DVD which features Hayes’ show-stopping WattStax set, as well as an animated appearance from his role as “Chef” on Comedy Central’s South Park series.

Categories
Art Art Feature

Having Our Say

Another Voice: Political Illustration from The Progressive Magazine, 1981-1999,” currently showing at the Memphis College of Art, is combination art exhibit/comic strip/activism and a funny, horrible, hopeful look at the 20th century. It’s curated by former Progressive art director Patrick JB Flynn, who gathered 154 political illustrations by 50 of today’s best artists working in the genre.

Stephen Kroninger’s savagely funny collage, War Baby, he attaches the deformed face of a soldier in goggles and helmet to a diapered baby’s bottom. This man/baby is holding a nursing bottle emblazoned with the Coca-Cola logo. This image is set in a pitch-black background that suggests a void that is as empty as the logic of maiming infants and men’s psyches in order to make the world a safer place. But the Coke bottle serves as a cynical message that maiming is okay if it means a profit. In Holy Terror, a crucified Christ holds a recently fired high-powered rifle. Lying at the foot of the cross is a bloodied body, and behind the cross, a newspaper headline reads, “Sniper Kills Abortion Doctor in His Home.”

Many of the illustrations are paired with quotes — Noam Chomsky, Thomas Jefferson, and Frank Zappa all have their say. Roxanna Bikadoroff combines poet Marge Piercy’s proclamation “I will choose what enters me, what becomes flesh of my flesh” with Eve (gouache, 1992), which depicts a woman with a muscular body and chiseled profile who firmly grasps Adam’s rib in her right hand. Mark Fisher pairs Allen Ginsberg’s 1997 challenge to “Stand up against governments, against God” with Blather, a collage filled with synonyms for the world’s double-talk, such as tommy rot, twaddle, hogwash, yadda, and bunk.

The illustrations in this show are also timely. Refugee Status, Alain Pilon’s 1994 watercolor of a woman with a cardboard suitcase seated on the bare floor in front of a wall smeared with red, still speaks for the millions of refugees displaced by warring factions and recent natural catastrophes. In Hadley Hooper’s acrylic monoprint, The Poverty of Nationalism, the fist of an oppressor pushes the face of the oppressed against the ground. The two are chained together — brutality collapsing in on themselves, destroying the humanity of both the victim and perpetrator.

Particularly relevant are Sue Coe’s images of citizens as collateral damage. In War (Yugoslavia), Coe’s depictions of a burned-out city, a bludgeoned Earth, and mutilated bodies are graphic, but the central figure is a dove. This pure-white icon of hope flies above the slaughter and, as part of its truth-telling about war, carries a jagged piece of barbed wire in its claws.

Works by Frances Jetter and Lawrence Carroll provide scenarios for what may come. Jetter’s linoleum block print, Bombing the Innocent (formally titled End of the World), shows an apocalypse in which a pocked moon looks down with an expression of “shock and awe” on a planet deeply cratered not by meteors but by explosives. A single maimed body attests that this was once an Earth inhabited by humankind.

Carroll has two very different visions. In one image, USA Death Squads, nearly whited-out newspaper print backdrops an American flag and a decapitated head. In counterpoint is his graphite and acrylic photo collage, Martin Luther King Jr. “Watch this world, we only have one” is written in child’s script above King’s head. Across King’s black suit are words from one of his speeches: “I believe that unarmed truth and unconditional love will have the final word in reality.”

King’s beautiful words sum up “Another Voice.” These words, these works, underscore the importance of having our say and making our mark while we still can.

Another Voice: Political Illustration From The Progressive Magazine, 1981-1999

At the Memphis College of Art through November 11th.

rknowles@memphis.edu

Categories
Food & Wine Food & Drink

Groovy Chews

Back in 2002, when the now-defunct Butler St. Bazaar was about to open, Uele Siebert charged several of her friends with a task: Make something to sell. By bazaar time, she was the only one with a cool idea. Actually, it was more of a groovy idea.

She created Groovy Foods, a line of granola, herbal teas, infused oils and vinegars, and steamed breads, which are now sold at Square Foods, Precious Cargo Coffeehouse, Otherlands, and Mothersville.

Groovy Foods is yeast-free, wheat-free, animal-free. It’s only natural for Siebert — she has yeast, sugar, and wheat allergies, and she’s a vegetarian.

She’s currently focusing on her most popular item, Civil Granola. It’s the only item she makes in bulk to sell at local stores. Other items can be purchased in smaller portions or in bulk by special-order only.

Civil Granola is a salty-sweet mixture of oats and sunflower, pumpkin, sesame, and flax seeds that Siebert calls “seeds of civilization.”

“A friend’s aunt had come up with this seed mixture that she would wrap in nori rolls. I thought that was a profound way to eat seeds, so I integrated it into the granola,” says Siebert. “I’m trying to take information that I’ve been blessed with in my personal food journey and pass it along.”

Siebert says her granola provides a balance of protein and carbs, as well as heart-smart oats and omega-3 fatty acids for brain development.

“With a lot of common granolas, you get pure carbs and they’re heavily sweetened,” she says.

Siebert uses a small amount of cane juice, also known as turbinado, instead of white sugar. And she uses brown-rice syrup, a healthier alternative to maple syrup, to make the granola caramelized and crunchy. On special request, she makes chocolate Civil Granola by adding vegan chocolate chips into the mix.

Siebert says she never measures but instead eyeballs ingredients according to what feels right. It may sound unorthodox, but it’s working. She makes about 20 pounds of granola a month to distribute to area stores and more when selling at festivals and other special events.

Why “civil” granola?

“I thought this is one of the most peaceful offerings I can contribute to the South,” she says. “It infuses my own personal lifestyle with a genuine respect for the progress that’s been made here.”

There are three teas in the Groovy Foods line. The most popular is Oh My Goddess tea, a mixture of peppermint, rosebuds, chamomile, lavender, and candied ginger.

“I had a strange amalgamation of herbs in my cabinet one night while I was studying, and I thought, Why don’t I try this out?” she explains.

The Green Tara tea contains basil, rosemary, peppermint, nettles, and mugwort. “All of my teas are female-oriented and goddess-oriented,” Siebert says. “That doesn’t mean that men can’t drink them, but I try to focus on feminine energy in the teas.”

The steamed breads are made from brown-rice flour, lemon juice, brown-rice syrup, water, and ground walnuts. Fruit or other nuts are added by customer request.

Oils and vinegars are infused with herbs, but she says the oils have a shelf life of only a few weeks because she doesn’t have the equipment to put them through a sterilization process.

“I could have built the business in that direction, but I really wanted to keep it simple,” says Siebert. “When I started Groovy, I wanted something that, when I had children, they could participate in. If my daughter wants to join me in the kitchen when she’s a little older and develop her own trail mix or something, that would fit right in.”

In addition to operating Groovy Food, Siebert co-owns Mothersville, a Midtown maternity store. She also has a toddler daughter to tend to and says she’s happy to run the business from her kitchen for now.

That’s a good thing for customers because no order is too small. You can even call her for one item.

“The thing about Groovy Foods is that it really is groovy,” Siebert says. “You don’t have to have a gallon size that you’re committed to for life.”

Groovy Foods is available at Square Foods, Precious Cargo Coffeehouse, Otherlands, and Mothersville. Call 335-2469 for more information.

bphillips@memphisflyer.com

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Food & Wine Food & Drink

25 Years and Counting

Davis-Kidd Booksellers, founded by two social workers, Karen Davis and Thelma Kidd, 25 years ago, will celebrate with a Silver Anniversary Gala on Wednesday, November 9th, at 7 p.m. On hand for the special occasion will be Daisy Maria Martinez, an actress who appeared in Carlito’s Way and Scent of a Woman and is currently the host of the cooking show Daisy Cooks! which airs on PBS. Martinez will sign her new cookbook, Daisy Cooks!: Latin Flavors That Will Rock Your World, and serve up some samples of her zesty Latin cooking. In addition, Bill Smith, chef at Crook’s Corner in Chapel Hill, North Carolina, will be signing his cookbook, Seasoned in the South: Recipes from Crook’s Corner and from Home.

There also will be live music from vocalist Joyce Cobb as well as a silent auction, with proceeds benefiting WKNO-FM. Gala tickets are $25 and are on sale now at Davis-Kidd Booksellers, 387 Perkins Ext., or by calling WKNO-FM at 325-6560.

Bill Vest is back at Fox Ridge Pizza, the restaurant he opened in the Hickory Hill area more than 25 years ago.

He sold Fox Ridge seven years ago to devote himself to his other business, Portable Catering. Vest retained control of Fox Ridge after conditions of the sale were not met. (The Fox Ridge Pizza in Cordova is not owned by Vest.)

According to Vest, Fox Ridge Pizza wasn’t doing well because it lacked consistency. “Sometimes they would close at 7 p.m. or they would close from 3 to 5 p.m.,” Vest says. “That’s no way to make money.”

Vest arrives at the restaurant every morning at 9:30 a.m. to get ready for the lunch crowd. Throughout the day, he goes back and forth between his two businesses.

“My days went from 8 hours a day to 15 hours,” Vest says. “Since I’ve taken it back over, I got a lot of business back. The business is never going to do what it used to do, but we have people who have been coming in for 27 years and we have people who used to come here when they were kids and people who have moved to Olive Branch or farther east who still stop in on the way home.”

Fox Ridge Pizza, 5950 Knight Arnold Rd. Ext. (794-8876)

The Food Network Challenge is coming to Memphis to test the country’s best chefs on their pastry skills.

Host Scott Liebfried will be in The Peabody’s Grand Ballroom Tuesday, November 8th, from 8 a.m to 3 p.m. for the “Rock n’ Roll Pastry Challenge,” which requires the chefs, aka “pastry daredevils,” to create sugary concoctions demonstrating the two elements of rock-and-roll — both the music and the movement (rocking and rolling). On Thursday, November 10th, another contest will be held at the car museum at Graceland from 8 a.m. to 3 p.m. Contestants will bake and decorate a birthday cake fit for the King of Rock-and-Roll. Winners from each competition will receive a $10,000 cash prize.

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The Whole Thing

With healthcare costs on the rise and health-insurance benefits being slashed, it seems like a good time for an alternative to conventional medicine. Mary Ellen Smith of Cordova has just the thing.

On Saturday, November 5th, she’s hosting the Mid-South Wellness Expo for Mind, Body, and Spirit at the Agricenter International. The expo’s focus is on holistic medicine, a form of alternative healing that treats the mind, body, and spirit as a whole rather than concentrating on one specific area of the body.

Holistic healing takes many different forms, including acupuncture, herbalism, and whole-foods nutrition. The expo will feature a number of experts doling out advice on these subjects, as well as vendors selling products such as healing crystals, bath salts, hematite jewelry, books, and meditative music on CDs.

“In the past, at trade shows, I’ve felt like people were hesitant to talk with the people behind the booths because they felt pressured to buy something,” Smith says. “We want people to feel comfortable asking questions and being there to learn as much as to buy.”

Mid-South Wellness Expo for Mind, Body, & Spirit, 10 a.m.-6 p.m., Saturday, November 5th, at the Agricenter International, Entrance C (7777 Walnut Grove).