Categories
Editorial Opinion

Parade of the Elephants

Jimmy Carter, very much in the public eye, was president. Ted Kennedy was considered to be stalking him for the rights to be the Democratic nominee in 1980, and both of them, along with other party honchos, were on hand — giving speeches, press conferences, what-have-you. Those of us who are sufficiently long of tooth recall legendary House speaker Tip O’Neill coming down an escalator at the old Ellis Auditorium in company with another Irish-American, one Pat Halloran, then of the Memphis City Council and ambitious to rise in Democratic ranks. Halloran, who had his right arm draped around ol’ Tip’s shoulder as the two descended, seemed almost to have gotten there.

Fade to the present: It’s 2006, and Halloran is the impresario of The Orpheum, having forsaken one branch of American entertainment for another. Tip O’Neill is no longer with us, though Ted Kennedy and Jimmy Carter are still very much in the public eye.

What’s most different about 2006 is that this time it’s the national Republicans who will descend on our city for the biennial Southern Republican Leadership Conference at The Peabody. Though it’s a notch or two below the 1978 affair, protocol-wise, the star quality of it will be much the same. That means 2008 presidential wannabes John McCain, Mitt Romney, Arkansas governor Mike Huckabee, Tennessee’s own Bill Frist, and (as they say) more more more. There’ll be a straw vote poll for the record, and the big-time national media will be on hand to observe everything. And, among numerous congressional luminaries, House speaker Dennis Hastert will be around to do a reprise of the O’Neill part. After his fashion, of course.

 And, face it, the fashions are different this time around. There is one similarity: The Republicans this year are beginning to reel from the same sort of developing malaise that would overtake the Democrats within months of their leaving Memphis. Even as we speak, President George W. Bush — beset by the Dubai port crisis and, er, more more more — is rapidly descending into the kind of reputational limbo that would overtake Carter. It is a time when the GOP dignitaries and cadres will surely have to do some rethinking out loud, and they’ll be doing it as our guests.

Welcome, we say. And congratulations to Memphis’ John Ryder for making sure they came here instead of elsewhere. We promise to pay close attention.

Categories
Opinion Viewpoint

An Eye on the Pea

With the Bush administration, it’s important to have in mind the old carnival con game: Keep your eye on the shell with the pea under it.

Among the many curious aspects of the administration’s approval of the Dubai Ports World takeover of operations at six major ports (and as many as 21) is this exemption from normally routine restrictions: The agreement does not require DP World to keep copies of its business records on U.S. soil, which would place them within the jurisdiction of American courts. Nor does it require the company to designate an American citizen to accommodate requests by the government. So what’s that about?

It makes DP World harder to sue and less subject to American regulation. The lovely thing about the ports deal causing such a commotion is that it allows us to bring attention to this fairly obscure provision, which is, in fact, part of a wave of similar special exemptions that’s starting to turn into a flood.

Here’s an example of how it works: Just before Christmas last year, in a spectacular example of a straight power play, Senate majority leader Bill Frist and House speaker Dennis Hastert pulled off a backroom legislative deal to protect pharmaceutical companies from lawsuits. The language was slipped into a Defense Department appropriations bill at the last minute without the approval of members of the House-Senate conference committee meeting on the bill.

Lots of players were outraged at the short-circuiting of the legislative process. “It is a travesty,” said Thomas Mann of the Brookings Institution. Representative David Obey, who had specifically checked to make sure the language was not included, was enraged, calling Frist and Hastert “a couple of musclemen in Congress who think they have the right to tell everybody else that they have to do their bidding.” Representative Dan Burton said succinctly, “It sucks.”

The way this was done was outrageous, but so is what it did. Frist has received over $270,000 in contributions from the drug industry and has long advocated liability protection for vaccine makers. The provision allows the secretary of health and human services to issue a declaration of a public health emergency, or threat of an emergency, or declaration of “credible risk” of an emergency in the future, thereby protecting the industry against lawsuits involving the manufacture, testing, development, distribution, administration, or use of vaccines or other drugs.

In order to prove injury from a drug, a person would have to prove “willful misconduct,” not just actual harm.

But this putrid performance is part of a much larger pattern to protect corporations from the consequences of the damage they cause. The Los Angeles Times reports:

“The highway safety agency … is backing auto industry efforts to stop California and other states from regulating tailpipe emissions.”

“The Justice Department helped industry groups overturn a pollution-control rule in Southern California that would have required cleaner-running buses, garbage trucks, and other fleet vehicles.”

“The U.S. Office of the Comptroller of the Currency has repeatedly sided with national banks to fend off enforcement of consumer protection laws passed by California, New York, and other states.”

Because of repeated problems with roof-crush incidents that have crippled drivers in rollover accidents, the National Highway Traffic Safety Administration at last proposed a beefed-up safety standard for car roofs — but the proposal also provides legal protection for the manufacturers from future roof-crush lawsuits. So your car roof may be less liable to crush during a rollover, but if it does and leaves you paraplegic, you won’t be able to sue.

Sometimes I’m not sure what planet these people live on. Would a fine, upstanding American corporation actually make a product that would hurt someone? Knowingly? Would they ever lie to cover it up after they find out about the problem and continue manufacturing whatever it is until forced to stop? Well, would they do that if it was really, really profitable? Could that happen in our great nation?

The trouble with the people who write The Wall Street Journal‘s editorial page is that they never read their own newspaper, which still does the best job of business reporting anywhere. Business interests have done a splendid job of vilifying trial lawyers and pretending the only people hurt by limiting the right to sue are trial lawyers.

Look, the trial lawyer is not the one in a wheelchair after a roof-crush rollover leaves someone paraplegic. Do you drive a car?

Categories
Cover Feature News

Saving Libertyland

Libertyland, the amusement park that has operated in Memphis for 30 years, is officially closed. In November, the Mid-South Fair’s board of directors (which controls the park) voted to cease Libertyland’s operations, citing several years of financial losses. Libertyland’s equipment was to be sold, including two rides on the national register of historic places — the carousel and Elvis’ favorite roller coaster, the Zippin’ Pippin. A headline in the Memphis Daily News warned, “The Chopping Block Looms.”

But before the ax hit the chopping block along came a group of activists calling themselves Save Libertyland — a classic Memphis mix of quixotic idealism, persistence, and legal ingenuity. Due to their efforts, and to recent legal action by the city, Libertyland may have life in it yet.

The Wipeout

Libertyland sits on the Mid-South Fairgrounds, a piece of public property that the city is eager to revitalize and re-imagine. “It is really the nexus between East Memphis and what is going on downtown,” says Robert Lipscomb, Memphis director of housing and community development. “I think it’s underutilized and potentially has much greater value. Our job is maximizing that asset.”

Lipscomb organized the Mid-South Fairgrounds Re-Use Committee, which was assigned to study the area. On November 4, 2005, the committee viewed six scenarios drawn up by the architectural firm Looney Ricks Kiss. The scenarios were designed to provide integrated residential, commercial, and public space, with an eye to revitalizing the land while preserving some of its history.

The committee chose scenario number five, with its large green space, small-scale retail, and 40-plus acres for sports and recreation, as the “highest and best” use of the land. That scenario did not include Libertyland, the Mid-South Coliseum, or the Mid-South Fair. While the committee’s decision was not binding, it was intended to guide the City Council in making its final decision on the property. That same day, in a decision board members later said was unrelated, but which, due to issues of leasing, was inextricably linked, the Mid-South Fair board voted to close Libertyland and liquidate the rides and equipment.

“We did not have good luck with Libertyland, though we operated it for a good while,” says board president Eugene Smith.

Rick Winchester, a board member and former board president, elaborates: “We had been losing money for several years, but we still believed in what we were doing and in the value of Libertyland to the community. Sadly, it was no longer attracting the numbers of people we needed to make it work.”

Winchester says that it was something of a Catch-22 for the board: Revitalizing the park required investing in new rides. To invest in new rides, Libertyland needed a substantial loan, and to secure financing for such a loan, a park operator would need a long-term lease, something the city had been unwilling to grant.

Winchester told The Commercial Appeal that the “lack of support from the city had a lot to do with our recommendation to close.”

The Rebellion

Save Libertyland met for the first time on November 11th. In attendance among the half-dozen or so interested parties were Midtowner Denise Parkinson, local filmmaker Michael McCarthy, and University of Memphis law professor Steve Mulroy. They became the core trio that would energize and devise the group’s plan of action.

“We were thinking about different things,” says Mulroy. “We wondered if Libertyland could be viable with a long-term lease. We thought if the city won’t listen to reason, can we at least save the historic rides?”

The group began by organizing protests and benefits and collecting signatures for a petition to save the park. They joined forces with the rock group the Zippin’ Pippins, which staged benefit concerts in support of their namesake.

McCarthy was ubiquitous, from protests outside Libertyland to town-hall meetings and late-night rock shows, keeping his camera rolling and needling questions and comments at anyone who would listen. “This city is out to destroy its own history,” he says. “Maybe they should build a new ride at the park called the Land Developer, where the tracks disappear behind you.”

Save Libertyland also had help from Nick Davis, who runs the local interest Web site DetourMemphis.com. Davis kept a blog, with updates on the group’s progress and events. He also hosted the group’s online petition.

Soon, a few local politicians, including City Council members Carol Chumney and Dedrick Brittenum, expressed support for the group.

But despite Save Libertyland’s best efforts, the group was unable to get responses from the city or from the Mid-South Fair board. “With the Mid-South Fair, it was ups and downs and conflicting stories,” says Mulroy. “We eventually came to feel we didn’t want to rely on anyone. They told me the groundwork for the auction was being laid, and the situation began to look grim.”

The Revolution

Two events turned the tide for the Save Libertyland campaign. The first was when the group made contact with officials from two companies that specialize in turning around failing theme parks. The second was when they managed to stop the auction of Libertyland’s equipment.

Robert Barnard is chief operating officer of T-Rex Entertainment, which has reinvigorated two failing parks, one in Washington state and another in Detroit. (The other theme-park developer contacted by Save Libertyland is choosing to remain anonymous at this stage of negotiations.) Barnard says he contacted the city and the Mid-South Fair board to discuss a possible offer on the park. The first person he talked to was Pete Aviotti, special assistant to Mayor Herenton, and a member of the Fairgrounds Re-Use Committee. Barnard says Aviotti told him that the fair had a lease on Libertyland. This was later discovered to be incorrect.

Barnard says he then spoke to Ron Hardin, the fair’s former general manager, and to the fair board’s president, Smith. Both discouraged him, saying that the board had settled the issue in November. “I called Mid-South Fair and offered to lease the property for $10,000 a month with the option to purchase, while we looked for a new site if necessary,” recalls Barnard. “Dr. Smith said that was not an option, that they were getting out of the business and liquidating their assets.”

But Hardin was quoted in The Commercial Appeal in November as saying, “If someone wanted to hop in there with a bunch of money … and try and get Libertyland open, we would absolutely talk to them about leasing or purchasing the equipment.”

Smith may not have informed other board members about Barnard’s offer. When the Flyer asked fair-board vice president Belinda Anderson about potential investors, she said, “I haven’t heard about these offers. But I’m sure if someone came with a check and was ready to go, the board would at least be interested.”

The issue of who holds the lease was officially cleared up later that week. The fair’s 10-year lease had expired in 1996. According to Aviotti, Libertyland has been allowed to operate since then without a lease. Aviotti now says that the city will at least consider offers for a long-term lease. Both Barnard and the anonymous developer are preparing letters of intent for the city.

The second, and perhaps greater, accomplishment of Save Libertyland was stopping the equipment auction. In a piece of clever legal maneuvering, Mulroy asked whether the city might have a legal stake in the rides and equipment that were being put up for auction.

Soon after, the city announced that its legal department is looking into which rides are owned in part or in toto by the city. A city ordinance says it is illegal to sell park property without the express permission of the City Council.

“We’ve managed, at least for now, to gum up the works of those who are out to destroy Memphis history brick by brick,” says McCarthy.

The Future

The future of Libertyland is still far from certain, but the Save Libertyland campaign has stopped what seemed to be preordained dominos from falling. By attracting investors, the group was able to provide two of the prerequisites Rick Winchester said would be necessary for saving the park: an influx of funds and the possibility of a long-term lease from the city.

And by stalling the proposed auction, the assets of Libertyland will remain in place while the lengthy process of determining the fairgrounds’ future unwinds in the City Council. It is clear that the 140 acres of land under consideration will be hotly contested. Several significant proposals have already come along, most notably the KROC Center, funded by a $48 million grant.

But Save Libertyland has at least given the park another chance. And by attracting investors, the park embodies one of the Looney Ricks Kiss guiding principles (#20): that site features be self-financing.

Libertyland actually meets many of the LRK proposed Master Principles. It is a public amenity (#1) which broadens the scope of the fairgrounds (# 3). It helps to cultivate civic pride (#5) and maintains the historic character of the grounds (#7).

At a City Council meeting last week, Cato Johnson, chairman of the Fairgrounds Re-use Committee, spoke about Libertyland: “If there was a viable proposal, we would entertain that. Right now, we have nothing to evaluate, but it’s not outside the realm of possibility.”

Other developers are interested in the property, whether for mixed-used office space or student housing, but Johnson says they have received nothing definite. “No one has come and said we want to put this type of housing here,” he says.

Lipscomb and Robert Fouche, city parks services director, are expected to report on funding sources for potential developments on the fairgrounds in April.

“If people want to see Libertyland stay, now is the time to act,” says Mulroy. “Call the mayor. Call your councilperson. Let them know you think Libertyland is a vital piece of Memphis.”


Off To See the Wizard

Who are these people and how did they do it? by Mary Cashiola

Denise Parkinson, Michael McCarthy, and Steve Mulroy are as disparate as Dorothy, the Tin Man, and the Scarecrow in The Wizard of Oz.

A housewife, a filmmaker, and a law professor are the driving force behind Save Libertyland, founded after the Mid-South Fair voted to close the park in November.

“She’s the ringleader,” McCarthy says of Parkinson. “She started it all.”

Parkinson, an energetic activist, says she takes her kids to Libertyland every summer. “It’s so much fun,” she says. “It’s small enough that you don’t drop from exhaustion. … We have the best of both worlds here. We have a wonderful theme park that’s actually manageable for a family, economically and in every way.”

But Parkinson is also concerned about the overall effect of the closure on the community.

“I saw this happen in Little Rock, where they closed this little kiddie park. Then they started closing down all the summer jobs programs and the community centers, and so we had this gang-activity spike,” she says. “[When they closed Libertyland] I was like, here we go.”

McCarthy had been working on a documentary about the Zippin’ Pippins, an all-girl band named after Elvis’ favorite roller coaster. Then Libertyland closed and McCarthy found he had a new project.

“I was copied on an e-mail from [Parkinson’s sister] that said I was making a documentary on Libertyland. I always do what she asks, so the next thing I knew I was making a documentary about Libertyland,” he says.

The trio gelled at a meeting at McCarthy’s house.

“I saw an article in The Commercial Appeal about the attempt to save Libertyland,” says Mulroy. “My kids are big fans of it and I thought it was a worthwhile cause. My wife said, why don’t you offer to help? … I think after [Parkinson and McCarthy] found out what I did for a living, they started pushing me toward a more prominent role than I had originally anticipated.”

Since its inception, Save Libertyland has focused on the number of jobs — many held by teenagers and first-time employees — that will be lost. But at issue, they agree, is much more than that.

“It’s a quality-of-life issue,” says Mulroy, “because it’s a place for familes to go to do something unique. It’s part of Memphis’ history and culture. It’s affordable: Working-class families can go. And if we replace it with generic town-homes, Memphis becomes a little more generic and a little less family-friendly.”

“Totally,” says Parkinson, and laughs. “What he said. He’s our brain.”

Rick Winchester, former president of the Mid-South Fair board and current executive committee member, has said it would take three things to save Libertyland: an influx of capital, a long-term lease, and political support from the city and the county. Assuming that’s true, Save Libertyland has found some success and, perhaps unexpectedly, even seems to have a chance of saving the park.

Early on, Parkinson and her sister began e-mailing amusement-industry insiders and “anyone we could think of,” says Parkinson.

Because of their attempts, the group has met with T-Rex Entertainment, a theme-park company out of Kansas that is interested in the property, as well as another operator — still unnamed publicly — with 30 years in the business.

“I think the prospects are reasonable because there have been a couple of significant developments,” says Mulroy. “First, the two outside amusement-park companies have expressed interest, and both these companies have track records of saving ‘failing parks,’ what they call turn-arounds.”

Even before Libertyland closed, however, the issue of a long-term lease was a problem for its operators.

“There’s been a little movement on the city administration’s part because they’ve gone from an initial position of where they would only grant a one-year lease to where they’re willing to talk about a long-term lease,” says Mulroy.

Save Libertyland estimates a new company would need about eight years to recoup its investment in the park.

“We need a long-term commitment from the city to support this,” says Mulroy.

If Save Libertyland lacks anything, it may be political clout. Parkinson and McCarthy both have a radical streak, and Mulroy, though a candidate for a County Commission seat, is no political insider.

In fact, if Parkinson is Dorothy, Mayor Willie Herenton is the ever-elusive wizard.

“Robert Bernard of T-Rex Entertainment got in touch with us because he had — on his own — tried to contact the mayor,” says Parkinson. “The mayor never responded. The mayor still won’t address this issue.”

And because the mayor’s signature is the one on the lease, he’s the one Parkinson wants to talk to. “He is the leasing authority, so if he doesn’t want Libertyland fixed up, he can kill it,” she says.

And though Save Libertyland has gathered hundreds of signatures on paper and via Internet petitions, Libertyland’s actual land is very important to the city.

Last week, architects presented possible scenarios for the re-use of the 170 acres around the fairgrounds to a City Council committee. The property includes the Liberty Bowl, the Mid-South Coliseum, Fairview Junior High, and the area where Tim McCarver Stadium once stood. The only entity on the property that puts money into the city’s coffers is the monthly flea market. During the meeting, members of the Fairgrounds Re-Use Committee were careful to point out that Libertyland was still — at least, in theory — a viable option. But the land is important to the city’s master plan.

“This is the nexus of East Memphis and the western part of the city,” says Robert Lipscomb, city chief financial officer. “The Highland Strip is being redone in the U of M area. That area flows into the arts district, which flows into the medical center and downtown. This is a key part of the redevelopment of the core city and downtown.” Save Libertyland counters that the park is consistent with whatever happens to the fairgrounds.

“Libertyland is compatible with a recreation area. It’s compatible with mixed-use development,” says Mulroy. “There’s plenty of room for all of that, and you can still retain Libertyland.”

“We don’t want a scenario where the Mid-South Fair sees Libertyland as a cash cow,” says Mulroy. “The auction probably would have occurred already if we hadn’t slowed them down.”

The city attorney’s office is currently exploring who owns the rides and assets of Libertyland and is expected to present a legal opinion to the City Council within the next few weeks. Because the Zippin’ Pippin and the carousel existed on-site before Libertyland was created in 1976, it seems certain that the Mid-South Fair cannot claim ownership.

“So many people have almost an embarrassment about Libertyland. It’s just, ugh, it’s not good enough, or let’s get rid of it,” says Parkinson. “It was run by a nonprofit, so they didn’t have the mindset of let’s make this the best park in the world. We’ve found people who do have that mindset.”

“If you look at where we started and where we are now, it’s an incredible improvement,” says Mulroy.

Categories
We Recommend We Recommend

WEVL Turns 30

No radio station supports local music as much as community station WEVL-FM 89.9, and this weekend at the Hi-Tone Café, an enticing variety of local rockers and DJs are returning the favor at a benefit concert celebrating the station’s 30th anniversary. Recently reunited instrumental-rock faves Impala (pictured), who released an excellent career-spanning collection Night Full of Sirens in December, will show off their brew of surf guitar, drag-strip-ready rock, and slinky R&B. Singer-songwriter Harlan T. Bobo, creator of the instant cult classic Too Much Love, will break hearts. Inventive music makers Robby Grant (aka Vending Machine) and Snowglobe’s Brad Postlethwaite will bend guitar-based alt-pop into something new. And soul DJ Buck Wilders will pull it all together.

WEVL 30th Anniversary, 10 p.m. Saturday, March 4th, at the Hi-Tone Café, $10

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We Recommend We Recommend

I Love the Mo

Mo Rocca is probably best known as a contributor to VH1’s I Love the … series. Once, while commenting on the ZZ Top song “Legs,” for the 1983 installment of I Love the 80’s, he quipped, “I love the song ‘Legs’. It’s so nice when you meet an ambulatory woman.” The line was of questionable taste given the tragic back story about Glenna Gibbons, the mother of ZZ Top’s bearded ax-slinger Billy Gibbons, who contracted neuroambulatory amnesia, a rare disorder causing its victims to “forget” how to walk. Rocca’s lack of sensitivity is rivaled only by his total media whorishness. He’s a frequent contributor to NBC’s Tonight Show with Jay Leno, NPR’s Wait Wait … Don’t Tell Me!, Countdown with Keith Olbermann, Larry King Live, and even the Fox News Channel. He’ll visit Rhodes College this week for “Behind the Scenes with America’s Funniest News Reporter,” a snarky meta-talk about satire and/or how much the comic loved (but really hated) the music he listened to yesterday.

Mo Rocca, 7:30 p.m. Tuesday, March 7th, at Rhodes College’s Bryan Campus Life Center, $5-$10 (tickets, 843-3839)

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We Recommend We Recommend

We Recommend

thursday March 2

“Current Paintings by the Memphis 10”

Memphis Botanic Garden, 5-7 p.m.

Opening reception for an exhibit by the Memphis 10, a group of friends of 15 years who meet monthly to create works of art.

Casino: Gettin’ Paid By Any Means Necessary

The Orpheum, 8 p.m., $34-$49

Easy money? Not by a long shot in this comedy, featuring R&B performers Gerald Levert and Kelly Price, about two women who go to a casino to celebrate a birthday but end up getting involved in all kinds of (man and money) drama.

friday March 3

Opening of Northwest Passage

Memphis Zoo, 9 a.m.-6 p.m., $8-$13

The zoo unveils its new $23 million exhibit featuring polar bears, eagles, ravens, seals, black bears, and more.

Grand Opening of Memphis Cotton Museum

Memphis Cotton Exchange, 65 Union (531-7826), 10 a.m.-5 p.m., $3-$5

The Cotton Museum includes artifacts and historical videos focusing on the cotton industry.

“Red Grooms:

Selections from the

Graphic Work”

Art Museum of the University of

Memphis, 5-7:30 p.m.

Opening for a collection of prints spanning 40 years by graphic artist and Nashville native Red Grooms. Grooms, who created performance-art-like “happenings” in New York in the 1950s and ’60s as well as short films, is perhaps best known for his “sculpto-picto-

ramas,” mixed-media, three-dimensional works often depicting vibrant cityscapes populated by interesting characters.

Chinua Hawk

Bartlett Performing Arts and

Conference Center, 7 p.m., $30

R&B singer-songwriter Chinua Hawk, who has worked with Celine Dion and Wyclef Jean, performs in the cozy setting of BPACC’s Dinner Stage, which features a catered buffet dinner.

Third Day

FedExForum, 7 p.m., $23.50-$35.50

If you are a Gomer, then you are a true-blue fan of the Grammy-winning Christian rock band Third Day, which performs tonight with opening act the David Crowder Band.

saturday March 4

Magnificent Desolation:

Walking on the Moon

Pink Palace IMAX Theatre, $6.25-$8

The 12 astronauts who walked the moon tell what it was like in this IMAX film produced and narrated by Tom Hanks.

Dr. Seuss’ Birthday

Children’s Museum of Memphis, 2 p.m., $6-$7

Celebrate the 102nd birthday of the man who brought you The Cat in the Hat with cats from the Memphis Humane Society.

Kurt Elling and His Trio

University of Memphis, Rose Theatre, 7:30 p.m., $10

This cat can scat. Jazz vocalist Kurt Elling ends U of M’s Jazz Week 2006 with a performance that will feature the university’s 17-piece Southern Comfort Jazz Orchestra.

sunday March 5

Vesta Home Expo

Agricenter, 10 a.m.-6 p.m., $4-$8

Last day of the three-day expo presented by the Memphis Area Home Builders Association and featuring the home and garden companies that outfit the houses of the Vesta Home Show.

Oscar Night America 2006

Pink Palace, 6 p.m. $125 and up

Red carpet, black ties, and actor Steven Seagal at this Academy Awards ceremony-viewing party to benefit the Ronald McDonald House Charities of Memphis and the Pink Palace Family of Museums.

Categories
Book Features Books

Positively Fourth Street

It’s a recent Tuesday, late afternoon, and Gordon Osing, who just turned 69, is set to leave the next day for his mother’s funeral. He’s bought a new dress jacket, he’s got new dentures, and if, as he says by phone, “my voice comes out like I’ve got castanets in my mouth,” he apologizes.

But his voice is clear, no need to apologize to me, who’s here to listen in while Osing, on the line, tears through topics close to his heart and much on his mind: his home in north Mississippi and the nearby Delta; Memphis and the University of Memphis, where he’s taught creative writing and culture studies for more than 30 years; the poets Emily Dickinson and John Crowe Ransom; the writing life and the “fictive” life; departed parents and the surviving self.

Lofty topics, some of them, to be sure, but the occasion for the call is simple enough: the publication of Osing’s new book, Things That Never Happened: Fictions of Family Eros (published by Spuyten Duyvil press), a self-described memoir consisting of nine stories and one novella, all told in blank verse but don’t let that keep you. It’s verse, according to Osing, that easily accommodates “direct, ordinary, intimate speech,” and he effectively uses it (as his model, Peter Taylor, did in In the Miro District) to examine the life he lived on Fourth Street in Springfield, Illinois, as the son of an often absent Lutheran father, who worked as an “auditor” tracking railroad shipments. His formidable Irish Catholic mother, meanwhile, worked to raise (and sometimes put the fear into) her children. The book opens with Osing, in the 1940s, a child haunted by the sight of his mother catching flies and eating them; it closes with Osing, a man accusingly, lovingly in a hundred-page conversation with his ghost of a father.

Between those two poles, we follow the author to a Lutheran boarding school designed to turn boys into seminarians (and from which Osing was kicked out); to Osing in the mid-’50s on the carnival circuit (where he worked and watched as a guy named Mickey did everything but marry a gal named Beulah); to Osing in Memphis in ’73 in the erotically charged company of an art student named “Janet”; to Osing in Memphis in ’77, “forty and fat and free,” in the oddball company of a woman left unnamed; to Osing in ’97 on the phone with Walter, a theologically driven friend from school and a certified schizophrenic (or is he a genius?).

True or not, each and every detail, any or all of the above? Or true enough, according to poet Howard Nemerov, whose Journal of the Fictive Life inspired Osing to “narratize” the self, make of one’s life a fiction, put order to disorder, to arrive at a greater end: literature?

I don’t know. This I know: It took Gordon Osing 20 years to question and compose Things That Never Happened, and I leave it to him, in his closing pages, to do the math and reach a memorable, lasting solution:

“And all I will have to show someday/ will be these words in rows and taken/ together as leaving or adding up to/ everything. Some things more than/ happened. They remain, happening/ still. Only their sum is more than/ they add up to or a difference should leave./ That, in a word, is the trick I do./ For the sake of auditor me, auditor you.”

Gordon Osing will read from and sign copies of Things That Never Happened at Burkes Book Store on Friday, March 3rd, from 5 to 6:30 p.m. (reading at 6 p.m.).

In Chasing the Sea (2003), Tom Bissell wrote of the disappearing Aral Sea in Uzbekistan. In God Lives in St. Petersburg (2005), a collection of short stories, Bissell wrote of traveling Americans personally and culturally at sea in Central Asia. Author and expert critic Pankaj Mishra praised that book in The New York Times Book Review. Hear and see for yourself when Tom Bissell reads from his works (booksigning to follow) at Rhodes, inside Frazier Jelke, on Thursday, March 2nd, at 7:30 p.m.

The challenge: how to decorate a room by yourself in two days for next to no money. The possibilities: a shower curtain as window covering; a tutu as lamp shade; or a rug as headboard. For added ideas, go to $500 Room Makeovers (Clarkson Potter) by Lisa Quinn, a native Memphian (now living in Oakland) who went from waiting tables at Automatic Slim’s to hosting her own decorating segment on San Francisco TV, this after founding her own interior-design company during the 1990s and serving as a California set designer. On the small screen, Quinn’s acted as spokesperson for the furniture giant IKEA and Kelly-Moore Paints. Later this year, she hits the big time: the launch of a line of her own bedroom furnishings for Spiegel catalog. Welcome Quinn back to town when she signs $500 Room Makeovers at Borders on Saturday, March 4th, at 2 p.m.

Categories
Music Music Features

Rice Returns

Action hero turned guitar virtuoso Steven Seagal, rapper Insane Wayne, Arkansas rocker Chase Pagan, and indie band Chess Club: It’s a motley crew, but all four acts have been keeping the folks at Young Avenue Sound busy. In January, Segal completed a blues album (engineered by Jack Holder) in Studio A, while Insane Wayne and The Drum Squad brought in Project Posse‘s Nick Scarfo for various projects, including an upcoming Gangsta Boo album.

Chess Club’s debut, recorded by Jeff Powell, will be released this spring or early summer on Young Avenue Sound’s in-house label, Memphis Records, says studio manager Cameron Mann. Meanwhile, Kevin Cubbins is wrapping up sessions with Papa Top’s West Coast Turnaround.

What’s next? Major renovations of Young Avenue Sound’s Studio B. “When we first opened, Studio B was an afterthought,” Mann says. “We had extra gear and available space, so we built a really simple, digital room. Now we’re getting more business from bands who find Studio A too big, too intimidating, and too expensive, so we’ve decided to add character, build some acoustic panels, and ‘vibe out’ the room more.”

Mann hopes to recruit former Easley-McCain Recording co-owner Doug Easley to help with the project, which, he says, will be a “significant” overhaul of the space.

“We’re going to put in glass windows, enhance the acoustic quality, and just make the room feel better,” he explains. “We’d always hoped that B would be a place that indie bands would find comfortable and affordable. And now we’re working to create the environment they need.”

The studio is also pursuing a development deal with Augustine (Cubbins is currently in pre-production with the group, Mann reports) and finishing production on an upcoming EP by local rockers This Is Goodbye, produced by Ross Rice and engineered by Kevin Houston.

This week, Memphis Records is also releasing, Dwight, the long-in-coming follow-up to Rice’s 1997 release, Umpteen. Recorded with Steve Selvidge, Harry Peel, and Brad Jones at different studios over the course of the last 30 months, and eventually mixed at Young Avenue Sound, the album will finally see the light of day at Rice’s record-release party at Young Avenue Deli Saturday night.

The March 4th show is just one of many local appearances for Rice, who will also perform with FreeWorld at Blues City Café on Monday, March 6th, play at Two Stick in Oxford, Mississippi, on Tuesday, March 7th, and play a reunion gig with his former band, Human Radio, at The Blue Monkey on Saturday, March 11th.

Dwight is finally born after a lengthy gestation,” Rice says via a phone call from his current home of Rosendale, in upstate New York.

“We started it awhile ago and ran out of money, which isn’t unusual,” the former Memphian explains of the project. “I got back into the studio early last summer, and got [Young Avenue Sound owner] Don Mann to help me finish ’em and print ’em up.

“It’s pretty exciting,” he says. “There are new paradigms — things like MySpace, which has helped me network with people in a way I couldn’t have imagined five years ago. Umpteen was on E-Squared, Steve Earle‘s label, and we had distribution. I’m not sure how to do that now, so I’m playing things by ear.”

Rice says that he has modest goals for Dwight — the first of which, he says, is to finally get the CD out there.

“I’m in my early 40s, and my wife says I’m handsome, but I realize that part of the business isn’t open to me. That radar doesn’t exist for a lot of us,” he says of the mainstream music industry. “But I have several friends in groups that are signed to major labels, and, to a man, they’re miserable.”

In Rosendale, he explains, he works as “a musical odd-jobs guy,” playing in five different groups, producing at various studios, and gigging at assorted shows.

“I really do miss the cultural collision of Memphis,” Rice says, although he admits that, as a pop musician, saying he’s from Memphis hasn’t done him any favors. In fact, without a strong signature of traditional Memphis music in his sound, he often gets puzzled looks whenever he tells people that he’s from here.

But Rice maintains his work ethic is all Memphis: “From my experience in local studios, everyone blows in at about noon or one and grabs a cup of coffee or a smoke. They circle around the music for hours, and then, suddenly, they’ll pounce and record. It’s very different from Nashville or anyplace else, but it’s an environment I’m always trying to recreate.”

Categories
Music Record Reviews

Record Reviews

Country royalty mourns Johnny, June, and Vivian with an angry,

lively, personal testament.

Rosanne Cash’s recording career began back in 1979 and can be neatly divided into halves — fairly conventional, hit-making Nashville princess (1979 to 1989) giving way to literate, reclusive New York City singer-songwriter (1990 to the present). The bright dividing line of these two personas is Interiors, Cash’s widely praised 1990 album about the painful breakup of her marriage to Rodney Crowell. The constant throughout is Cash’s seductive, husky voice.

Interiors is still great, but Cash’s early country hits — “Seven Year Ache,” “I Don’t Know Why You Don’t Want Me,” and “Tennessee Flat Top Box” (a remake of her daddy’s hit) — have aged better than the songs on 1993’s The Wheel (which was the start of a 10-year layoff). All this is to say that the news that Cash’s new album, Black Cadillac, deals directly with the death of father Johnny Cash, stepmother June Carter Cash, and mother Vivian Liberto Cash Distin is welcome though perhaps tinged with trepidation. How sad and introspective is it going to be?

Well, Black Cadillac is sad and introspective but also angry, lively, and personal; you could easily read it as Cash’s attempt to wrestle her family’s memory from Walk the Line and opportunists looking to make a buck. The searing “The House on the Lake” pretty much says that her history isn’t for sale. The blues-rock beat of “Burn This Town” gives way to the sweet dulcimer and sweet sentiment of “God Is in the Roses.” The gorgeous, ethereal “Like a Wave” begins with “My memory is filling with smoke/It’s such a relief not to know” and grows more mysterious and powerful from there.

The album is bracketed by Johnny Cash gently prodding the young Rosanne to speak into a studio microphone. The Man in Black haunts this record, and it’s a testament to his daughter that she honors his spirit while at the same time making her grief, pain, and confusion compelling and vital listening. — Werner Trieschmann

Grade: A-

The Believer

Rhett Miller

(Verve Forecast)

For a half-dozen years from the mid-’90s to 2001’s career-best Satellite Rides, Old 97’s frontman Rhett Miller was one of the planet’s most underrated songwriters. But this marks the third record in a row, either solo or with band, that Miller hasn’t been able to find the crackle and focus of his best work. Miller’s more orchestrated in a solo setting, but this collection of literate love songs is still plenty hooky even if Miller cheats a little: He repeats “Question” from Satellite Rides (which fits) and unearths onetime Old 97’s bonus track “Singular Girl,” a great song that deserves more exposure. (“Singular Girl,” “My Valentine,” “Delicate”) — Chris Herrington

Grade: B

Standing in the Way of Control

The Gossip

(Kill Rock Stars)

What does an honest, political punk album sound like in the second year of a second Bush term? Less like revolution than reassurance. Not we shall overcome, but we shall stay alive. “You’ll find your place in the world, girl,” Beth Ditto promises. “Survive the only way that you know,” she urges. And with guitarist Brace and new drummer Hannah Blilie behind her, Ditto preaches to the choir with soulful, sincere, surging garage anthems; spare industrial funk that never stops pounding and popping; and the powerhouse pipes of a Dixie-fried Corin “Sleater-Kinney” Tucker. (“Fire, Fire,” “Your Mangled Heart,” “Keeping You Alive”) — CH

Grade: A-

Categories
Food & Wine Food & Drink

All About Aldi

I grew up with Aldi, a Germany-based discount grocery chain that has its origins in my hometown of Essen, and I never thought I’d find Aldi in any other part of the world. Aldi stores are part of Germany’s landscape like McDonald’s are part of America’s. And just as the McDonald’s experience is the same everywhere in the world, so too is the Aldi experience.

While all Aldi stores are alike, they are different from most other grocery stores. For one thing, they’re much smaller, taking up around 15,000 square feet compared to the 60,000 square feet of an average Kroger. In addition, Aldi sells hardly any name brands. Instead, it carries products such as Tandil liquid laundry detergent (200 oz. for $6.99), Shep dog food (20 lbs. for $4.49), Millville instant oatmeal (10 ct. for $1.49), and Bon Italia macaroni and cheese sauce with beef (15 oz. for 69 cents). It also runs specials on a small number of non-grocery items like digital cameras, computers, and portable CD players for a limited time — usually until they are sold out, which might take only a few hours.

When Karl and Theo Albrecht took over their mom’s sundry store in 1946, they founded Aldi, which is short for Albrecht Discount. The first Aldi, as we know it, opened in 1961. Karl and Theo, however, split up and consequently split the German market into Aldi Nord and Aldi Süd. Internationally, the brothers seem to have an agreement as well, since you don’t find both brothers expanding into the same foreign market. Aldi Nord, for example, operates stores in France and Spain, whereas Aldi Süd is in Australia and America.

Aldi might be rather mysterious to Memphians. While its flier comes in The Commercial Appeal every Sunday, there is no mention of store locations, and if you’re waiting for other ads, don’t bother. Aldi doesn’t advertise beyond that flier. When the Aldi brothers started the business, they sold highly in-demand items, such as butter, under the purchasing price. They made up for the loss by pricing other items a little more expensively. Karl Albrecht once said that Aldi’s low prices were all the advertisement it needed. The news about new store openings or special deals spread through word-of-mouth and that seems to be good enough for the company, which currently operates 7,000 stores worldwide.

The first thing you notice when you go to Aldi is the sign above the grocery carts, which reads, “How a quarter saves you dollars.” It costs a quarter to rent a cart. Once the cart is returned, you get your quarter back. This system adds up to one or two people Aldi doesn’t have to hire because there aren’t any shopping carts to gather from the parking lot.

Inside, you won’t find 10 brands of frozen pizza, potato chips, flour, orange juice, or cookies. There is one choice per item, maybe two. Aldi carries around 700 items per store compared to an average of 25,000 items in other chain grocery stores.

The goods at Aldi are sold pretty much straight out of the shipping box, which means even fewer employees because nobody needs to unpack and stock products. Pallets are lined up neatly next to each other, though some items are stacked on shelves. Everything is easily accessible, and the shelves or stacks aren’t very tall. This arrangement is an important part of Aldi’s concept. There may be only two people working in the store — the manager and a cashier. They need to be able to oversee the whole store from wherever they stand.

If you try calling an Aldi, you won’t have any luck. Store phone numbers are unlisted because, with only two employees working, there is no time to run to answer the phone. At the register, there’s nobody to bag your groceries. You have to bring your own bags or purchase a large (and I mean large) plastic bag for a dime or a paper bag for a nickel. To speed up the checkout process, the cashier returns your groceries to the cart, which you can then empty yourself in the bagging area or outside directly into your car. And when you pay up, be sure you either have cash or a debit card, because Aldi does not take credit cards and frowns on checks.

For Aldi shopper David Sienkiwicz, it’s like getting gas at a self-service station. Sienkiwicz used to shop at Aldi when he lived in St. Louis, and he doesn’t mind reusing his bags or bagging his own groceries. “It’s a good way to save money for a family that lives on a tight budget or a family with a lot of kids,” he says.