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News The Fly-By

Up a Tree

Naomi Van Tol thinks the Memphis Zoo is sending a clear message: Habitat conservation is more important in places like China than it is in its own backyard.

As part of the zoo’s master plan, it recently bulldozed a four-acre section of the Old Forest Arboretum in Overton Park to add a new Teton Trek exhibit featuring the landscape and wildlife of the Greater Yellowstone ecosystem.

Van Tol points out that the zoo has destroyed natural habitat so it can replace it with fake habitat.

“This hypocritical and needless waste of public parkland is an insult to the citizens of Memphis,” she says.

In the late ’80s, the Memphis Park Commission gave the zoo that land, including the area behind Rainbow Lake, to be used for expansion and development.

Don Richardson, a member of Park Friends who has done the only tree inventory of the Old Forest and who has led hikes through the area for the past 10 years, says that the zoo has underestimated public sentiment about the forest.

“The zoo was an important steward of a priceless natural resource,” Richardson says, “and they bungled it.”

The Old Forest contains some of the last untouched landscape in the Memphis area. It contains approximately 70 tree species.

Zoo spokesperson Brian Carter says the area was deemed qualified for development. The city/county office of planning and development approved the plan, as did arborists the zoo consulted.

“We did all we could to save trees in that area,” Carter says. According to him, the zoo removed 139 trees, a third of which were saplings, and 78 trees were preserved.

Carter says the zoo also plans to plant 574 trees in that area during development of the Teton Trek.

Park-services director Cynthia Buchanan says the city agreed that the zoo could construct an exhibit in that area, because it was neither a critical part of the forest nor was it pristine.

“In any park, you have to balance the needs of the users and uses versus leaving it in its natural state,” Buchanan says. “We tried to preserve the best parts of the forest while maintaining an outstanding zoo.”

Concerned citizens say there was no public input into the zoo’s plan, but Carter says the zoo’s master plan has always been a public document and open to comment. The master plan can now be viewed on the zoo’s website.

The zoo has developed 43 of its available 76 acres of land. Carter says the zoo is working on a new master plan, which will include renovating old exhibit space. Unofficial plans include a minimal-impact walking trail through the zoo’s portion of the Old Forest.

Richardson says he hopes that the public holds the zoo accountable and reminds them of their conservation ethic.

“I’d like to think that at some point we don’t have to keep fighting for the forest,” he says.

Categories
News The Fly-By

What They Said

About the commemorative
“Blues Notes” placed along Beale Street:

“Is there any explainable earthly reason why my name and those of Pat Kerr and John Tigrett’s should be placed alongside the true masters and heroes of American music: W.C. Handy, Otis Redding, B.B. King, Isaac Hayes, Jerry Lee Lewis, Sam and Dave, and Elvis Presley!?! This is a travesty to Memphis music and an insult to the great contribution of the men and women whose sweat, blood, and God-given talent made Memphis the epicenter of the world’s music culture!!!” — IsaacTigrett

“Tigrett’s letter is some angry throw down on his stepmother, Ms. Pat Kerr Tigrett. There seems to be some sort of nasty family feuding going on.” — Summerlib

About “Promoter Ericson Advances Pyramid Plan,” by Jackson Baker, discussing an alternative to Bass Pro Shops’ plans for The Pyramid:

“Would Ericson object to a proviso excluding casino use? ‘No, they’re illegal in the state of Tennessee,’ the entrepreneur answered. BAH, HUMBUG. Put a moat around it and call it a Chickasaw tribe barge on a Federal waterway — none of this ‘state of Tennessee’ business!” — Toast

Comment of the week:

About “Policing Panhandling,” the

Center City Commission’s proposal to fund a security force to fight downtown panhandlers, by Bianca Phillips:

“When the Center City Commission stops funding the security — like human cockroaches — the panhandlers will be back.” — The Box

To share your thoughts, comments, concerns, and — maybe — get published, visit memphisflyer.com.

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Cover Feature News

The Bottom Line?

On a recent Thursday night at the Gold Club, a topless, Caucasian woman with long, dark hair and an ample bosom snakes around a brass pole in the center of the stage. Occasionally, when the music’s intensity heightens, she jumps into the air and lands in an impressive full split on the floor.

One man, seated at the end of the stage, inserts a dollar bill into his mouth, and the woman approaches him slowly. She smiles as she pulls his head toward her breasts and holds it there for several seconds. Then, as she pulls away, she uses her hands to push her breasts together and grabs the dollar between them. The woman saunters away to finish her routine, leaving the man looking dazed, like a boy who’s seen his first nudie mag.

The diverse clientele — ranging from properous-looking businessmen to young, hip couples — looks little different from a Saturday-night dinner crowd at Huey’s. As they sip their beers and watch the dancers, other women, in G-strings and bikini tops, work their way through the audience. Some lounge on the laps of customers, who have undoubtedly paid handsomely for such a privilege.

Contact between dancers and customers is common in local strip clubs but perhaps not for long. A new ordinance passed by the Shelby County Commission last year went into effect on January 20th. It will be enforced beginning April 30th, the end of a 120-day grace period.

The new ordinance will prohibit dancers from coming within six feet of customers or other entertainers. It prohibits the sale or consumption of beer or liquor on club premises and requires dancers to wear opaque bottoms and cover their nipples. Club owners and dancers will be required to undergo complex licensing procedures, including a review of any criminal records.

Suffice it to say, if the county ordinance stands, a decades-long era of “anything-goes” Memphis strip clubs is over — and with it, a multimillion-dollar business model.

But, as you might expect with so much at stake, there’s a rub, and the clubs aren’t, um, going down without a fight. Seven businesses — Christie’s Cabaret, Platinum Rose, the Gold Club, New York, New York, the Pony, the Jet Strip, and Downtown Dolls — filed a lawsuit against the city and the county last month. The suit contends the new ordinance is “overbroad, vague, and … in violation of the First and Fourteenth Amendments.”

According to the suit, “the rule requiring entertainers to remain six feet from patrons and one another during performances and the rule prohibiting the sale of alcohol in adult-oriented establishments … will destroy the market for live adult entertainment in the City of Memphis.”

Rebecca Abell | dreamstime.com

“It’s ironic that, right now, the county has a shortfall of $5 million to $6 million, and they’ve cut off a tax-revenue source — the sale of beer,” says Rex Brasher, an attorney for Christie’s Cabaret.

The ordinance also would prohibit patrons from bringing their own liquor or wine into the clubs, a practice that was allowed under the old rules. The newly created Adult Entertainment Board can revoke, suspend, or annul the license of a club owner if any patron is caught consuming alcohol on the premises.

There’s also some confusion about how the county’s law would apply to local strip clubs, all of which are located within the city limits.

The lawsuit claims that since Memphis already has two ordinances regulating adult- oriented businesses, the county ordinance should not apply to clubs within the city limits.

“Though Memphis is in the county, it has its own government authority and its own boundaries,” Brasher says.

A city version of the ordinance, which would supersede the county’s, is now under discussion. It came near passage by the outgoing council after last year’s municipal elections, but that council heeded public discord on the matter and passed the buck to the newly elected council, sworn in, with nine new members, on January 1st.

Even as the regulatory board appointed by the County Commission sits down this week for its first meeting on the enacted county ordinance, the city could well make those deliberations moot.

Some of the differences between the proposed city ordinance and the one already approved by the County Commission seem minor. For example, terms of regulatory board members would be staggered rather than concurrent, as provided for in the county ordinance. Other provisions of the proposed city ordinance seem designed to appear stricter: Club operators whose licenses are revoked would be permanently barred from being relicensed, as compared to the county ordinance’s five-year exclusion from reapplication. Closing times for all sexually oriented businesses (S.O.B.’s) would be 3 a.m., as against the 5 a.m. closing time provided by the state law.

Travismanley | dreamstime.com

Key provisions in the proposed city ordinance suggest, however, that restrictions overall would be liberalized. Though dancers could not perform bottomless, topless dancing, sans pasties, would be permitted. And beer could be served to patrons.

Mike Ritz, who spearheaded the county ordinance on the County Commission, takes a dim view of the city alternative. Ritz, a Republican who represents an outlying suburban district, disapproves of the liberalized provisions, but his major objection to the city version is that he believes it to be a Trojan horse designed to encourage nonstop litigation and to prevent any regulation at all.

Ritz claims to have been told by a city official that club owners interceded directly in the drafting of the city version. “They essentially wrote that ordinance,” he says, maintaining that among the ordinance’s pitfalls are unspecified “illegal provisions” designed to invalidate the measure.”It was clearly written by the industry to put things in a multiyear holding pattern so the county can’t enforce things,” he says.

Litigation may indeed become the fate of the city ordinance, as it already is for the county ordinance it would supersede. Meanwhile, the pending city version was due for some spirited discussion in this week’s meeting of the City Council’s zoning committee and was scheduled for a second reading. The real showdown will probably come on March 18th, when a third and final reading of the approved ordinance is expected.

Even if no substantial changes are made in the ordinance as now proposed, a close vote is anticipated. Some members have expressed a preference for the county version. And at least one council member, newcomer Shea Flinn, has indicated he wants to do some serious revamping of the city’s alternative.

Flinn is a proponent of establishing what in layman’s terms is usually called a “red-light district” — a carefully circumscribed area in which various kinds of activity, outlawed in other parts of a jurisdiction, are permitted under strict regulation.

As part of the run-up to the council’s consideration of a possible topless-club measure of its own, zoning committee chairman Myron Lowery furnished council members with several detailed reports — one of which systematically analyzed the issue that assistant city attorney Thomas Pacello called “concentration [i.e., creation of a red-light district] versus dispersal.” Pacello’s analysis compared the results of Boston’s red-light district, established in 1974 under the somewhat whimsical name of “combat zone,” to those stemming from Detroit’s 1972 “anti-skid-row” ordinance that provided for dispersal of adult businesses via mandated distances between them.

Larry Kuzniewski

Shea Flinn

Pacello’s conclusion, based on crime reports and property-value statistics from the two cities, is that “a concentration of adult businesses may have a magnifying effect on the negative secondary effects already associated with each adult use.” His analysis suggests further: “The number of cities that are choosing to implement the dispersal approach suggests that this method is the most effective at minimizing the negative secondary effects of adult businesses.”

Flinn is unfazed. “I’m still researching the matter,” he says, arguing that the data on which Pacello’s analysis is based might be outmoded. “Concentrating sexually oriented businesses in a red-light district still seems to be a better strategy, so long as you have stiff enough penalties for infractions. That makes the clubs enforce themselves.”

A significant feaure of the penalties that Flinn (and, for that matter, the currently proposed city ordinance) would propose is that they are financial rather than the criminal ones established by the county ordinance, based as it is on state law.

Beyond all other distinctions and legal hair-splitting, however, Flinn concedes that a difference in philosophy plays a major role in his thinking. While he acknowledges that “the clubs do have a harmful patina, and we need to take common-sense measures to limit that,” he sees the county ordinance as one “designed to make it as difficult as possible to run a sexually oriented business,” and that he finds disturbing from a First Amendment point of view.

“The sound of ideas clashing is the sound of democracy,” he says, making the case for a broader degree of tolerance on the morals front.

Flinn’s thinking is shared to some degree by county commissioner Steve Mulroy, who was “very skeptical” when first apprised of the county resolution last year. “I thought it might have been overblown and reflected a puritanical mindset. And I thought we had more important priorities.”

But Mulroy says he developed confidence in the integrity of Eric Kelly, the consultant engaged by the commission to recommend an approach to sexually oriented businesses, and finally decided, after sifting through reams of reports on the adverse secondary effects of S.O.B.’s, that the model state legislation on which the county ordinance was based is “not all that restrictive.”

He had one important reservation, however: a feeling that the ordinance’s banning of beer sales went too far. Besides noting the outright loss of beverage tax revenues, estimated by opponents of the ordinance to be upwards of $100,000 per club per year, Mulroy says, “I didn’t see any compelling link between the adverse secondary effects and alcohol.”

Even so, he ended up voting for the county ordinance, which passed without opposition, believing, as he later said, that the City Council could, and probably should, amend the ordinance once the council took into account the welter of conflicting opinions and interest groups in the community.

Photowitch | dreamstime.com

Some of the strongest opposition to the strip clubs is coming from businesses around Memphis International Airport, where several S.O.B.’s operate along Brooks Road. The companies hope to turn the area into an “aerotropolis,” a term coined by John Kasarda for a futuristic urban business center. The Memphis Regional Chamber of Commerce and Memphis Tomorrow have bought into the idea. Medtronic, Smith & Nephew, Pinnacle Airlines, FedEx, and several trucking companies have lobbied the City Council to adopt the same policy as Shelby County regarding sexually oriented businesses.

“Business owners both large and small are taking an active interest in making this area a more desirable place to have a job and go to a restaurant,” says Jim McCullough, president of General Truck Sales and Service. “We’re not being moralists. We’re just pragmatic business people. We are kind of at a crossroads. If we don’t improve the area, then property values and the tax base could go down. Or we can redevelop and the tax base might go up.”

McCullough moved to Memphis in 1973 and has worked for General Truck since 1980. At that time, the Brooks Road area still boasted such popular restaurants as Fred Gang’s and the 91st Bomb Group. Ireland’s steak and biscuits restaurant occupied the space that is now occupied by Pure Passion.

There were strip clubs too, with Danny’s on Airways Boulevard the most notorious, but it was more contained, McCullough says.

William Griffin, senior vice president of global operations for Smith & Nephew Inc., came to Memphis six years ago from Dallas. On a recent driving tour of the neighborhood, he contrasted the company’s well-kept campus and manufacturing buildings with the three strip clubs on Brooks Road and cheap motels and X-rated bookstores. The company, Griffin said, “had to decide whether to follow the FedEx model and move out East or the Medtronic model and stay in this area and try to improve it.” He thinks the area is improving but has a long way to go.

“We bring in some 1,200 physicians and surgeons a year for training and consultation, and Brooks Road is always an eyesore,” Griffin says. “There are not good places to go out for lunch. You bring in a candidate for a job interview and immediately want to go to Southaven for lunch. It doesn’t have to be that way.”

Smith & Nephew produces medical devices and offers some of the best-paying manufacturing jobs and executive salaries in the Memphis area.

“How many ways can a human resources department spin the prostitute on the sidewalk to a Harvard graduate looking at our community for the first time?” Griffin asks. “These clubs are on the verge of destroying entire logistics, medical technology, and tourism industries that this city has survived on and is betting its future on.”

The strip clubs are both cause and symptom of the decline. The airport area does not have as many potent stakeholders as it did 10 to 15 years ago. FedEx still has an office presence but moved its executive offices to East Memphis. The airport used to border a residential neighborhood called Oakhaven, but it was bought out for airport expansion in the 1990s. One unintended consequence was a loss of homeowners who might have opposed neighborhood deterioration and expansion of the S.O.B.’s.

In what was hailed at the time as a landmark victory against strip clubs, the namesake and proprietor of Danny’s, Danny Owens, was convicted by federal prosecutors and sent to prison in 1995. But other clubs took its place. One of Owens’ successors was Ralph Lunati, owner of Platinum Plus and Tunica Cabaret. In 2006, FBI agents seized the two clubs and closed them after a two-year undercover operation by Memphis police, who observed drug sales and the notorious “two-girl” sex shows. Those shows were ultimately determined to be prostitution and got the clubs shut down.

In February, Lunati pleaded guilty in federal court, forfeited the clubs, and was sentenced to 18 months in prison. Slightly built and soft-spoken, Lunati, who has courtside seats at Memphis Grizzlies games, was described by U.S. district judge Samuel H. Mays as a “model husband and ex-husband” who had stayed out of trouble for the last 25 years.

That assessment reflects the nod-and-wink attitude of many in Memphis toward the strip clubs. It’s a conflict between Old South morality and a laissez-faire attitude common to other tourist cities. The Memphis clubs may not have achieved the acceptance of Printer’s Alley in Nashville or Bourbon Street in New Orleans, but the tax revenues and ancillary economic impact they generate are nothing to sneeze at.

Like most alternative newspapers, the Memphis Flyer was once an advertising vehicle for lucrative full-page strip-club ads. The Commercial Appeal still runs smaller strip-club ads. Fewer ads mean smaller newspapers, fewer billboards sold, fewer radio spots. And there is little doubt that conventioneers and other tourists often find their way to local strip joints.

Now the fate of local strip clubs has fallen — yes — into the lap of the Memphis City Council. Whether or not they’ll pay for the dance is yet to be decided.

Justin Fox Burks

Steve Mulroy

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We Recommend We Recommend

Get It Together

In the Swahili language, umoja kamaru means “a celebration of togetherness.” At Mississippi Boulevard Christian Church, it means just a little bit more. For the past nine years, MBCC has used Umoja to describe a series of original multimedia performances, which emphasize qualities like courage and faith as they recount various aspects of the African-American journey through dance and song. Though often described as a “Broadway-like” spectacle, Umoja features a giant cast of 400 actors, singers, dancers, and musicians, dwarfing even the biggest shows on the Great White Way.

Directed by actress and writer Florence Roach, Umoja 2008 will include new material inspired by the American civil rights movement and the life of Dr. Martin Luther King Jr.

Emmy-nominated dancer Howard PHeelgooD has choreographed Umoja. PHeelgooD is a native Memphian who began his career in show business doing a James Brown impersonation at Liberty Land. He has since worked with performers such as Diana Ross, Cher, Patti Labelle, Debbie Allen, Janet Jackson, and Mary J. Blige. PHeelgooD is also responsible for creating Menagerie: The Rhythms of Life, the first kids’ show to play the Las Vegas strip.

“Umoja” runs Friday-Sunday, March 7th-9th, at Mississippi Boulevard Christian Church. Tickets are $10 in advance, $15 on the day of the event. For additional information, call 729-6222.

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We Recommend We Recommend

Up for Down

On April 14, 1967, Stax Records released the first single by the Bar-Kays. It was an odd little track that began with a manic, Rufus Thomas-esque run through the nursery rhyme “Mary Had a Little Lamb” before bursting into an irresistibly easy groove, topped by screechy, vibrato-laden trumpet and party sounds created by neighborhood kids. Apart from the ambient banter in the background, the song’s only real lyrics consisted of the mysterious, naughty-sounding, shout-along chorus: “soul finger!”

On Friday, March 7th, the Bar-Kays (featuring the band’s original bass player James Alexander) will celebrate 40 years of “Soul Finger” at the Rose Theater on the University of Memphis campus. The concert, which is being called “Get Down for Down Syndrome,” is a benefit to help the Down Syndrome Association of Memphis & the Mid-South in their efforts to assist and empower families that have been affected by Down syndrome. Bar-Kay musician Larry Dodson is an association board member whose 36-year-old daughter, Precious, was born with Down syndrome.

“Get Down for Down Syndrome” at the University of Memphis Rose Theater, Friday, March 7th, at 7:30 p.m. Tickets are $25 and can be purchased from the Down Syndrome Association, 2893 S. Mendenhall. For additional information, call 547-7588.

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Music Music Features

Microphone Fiend

Back in the spring of 1981, Henry Lawrence Garfield was an impulsive, unhappy 20-year-old managing a Häagen-Dazs in Arlington, Virginia. Hardcore punk was ascendant, and, as singer for the marginal S.O.A. (the initials stood for “State of Alert”), Garfield was a cog in the local D.C./Arlington scene. So was his good buddy, Ian MacKaye, who fronted the far more visible Minor Threat.

Garfield’s favorite band was Black Flag, the Southern California institution headed by enigmatic guitarist Greg Ginn, who also had founded SST Records. Like Minor Threat, Black Flag defined early hardcore. Unlike Minor Threat, Black Flag had been around since 1977 (when they were called Panic) and was looking for its fourth singer by 1981. The band’s most recent singer, the charismatic Dez Cadena, had switched to rhythm guitar, a fortuitous move that would make Black Flag a sonic monster. Garfield, who had previously corresponded with the band, jumped the ice-cream ship, went to New York during the band’s East Coast tour, and ended up as a Black Flag roadie and vocal apprentice under Cadena. Legend has it that Garfield, who had rechristened himself “Henry Rollins,” was so nervous when offered the job that it took an encouraging word from MacKaye to seal the deal.

To say that Black Flag’s first full-length album, 1981’s Damaged, benefited from the new five-piece lineup is a gross understatement. Not only is the album the key touchstone of the hardcore genre, it’s arguably one of the greatest rock albums of all time — a point of departure that made the first-wave punk rock of the Clash, the Ramones, or the Sex Pistols sound like Dan Fogelberg by comparison. Rollins stayed with Black Flag until the band’s demise in 1986.

Rollins had been giving spoken-word performances and self-publishing his writings since 1983, but it was the decade following Black Flag’s break-up that Rollins’ career exploited a wider range of formats. Whether fronting the Rollins Band, releasing and touring behind spoken-word albums, or writing books, Rollins took no vacation days.

“I started splitting my time between my band and talking shows. I got extremely active, doing 150-plus shows a year when the band would go off the road to spend time with their warm-blooded friends,” Rollins explained in a recent phone interview in advance of his spoken-word performance this week at Beale Street’s New Daisy Theatre.

The Rollins Band enjoyed a period of success during the early-’90s alternative-rock boom. They appeared at the first Lollapalooza festival in ’91 and at Woodstock ’94 and charted with two albums (1992’s The End of Silence and 1994’s Weight). Rollins’ best-known book, Get in the Van, an engrossing and exhaustive account of his days in Black Flag, also was released in 1994. In terms of historical and anecdotal value, it stands as a fantastic piece of music-related nonfiction.

In the latter half of the ’90s, Rollins found extra exposure hosting shows for MTV, VH-1, and Comedy Central and making big-screen appearances in The Chase, Heat, and Lost Highway. The Rollins Band disbanded and reformed a couple of times during this decade, with one particularly notable release being 2003’s Rise Above: 24 Black Flag Songs To Benefit the West Memphis Three.

Spoken-word and television work have dominated Rollins’ time in the past few years as he developed a relationship with the Independent Film Channel. He hosted Henry’s Film Corner before settling into The Henry Rollins Show, a half-hour talk show that features a musical guest and one extended interview with a celebrity of Rollins’ liking (William Shatner, Ben Stiller, Bill Maher, etc). This year, the show will give way to IFC filming and airing several spoken-word performances around the globe. These are long-form specials based on the success of 2006’s Henry Rollins: Uncut from NYC and last year’s Henry Rollins: Uncut from Israel.

“I just came back from South Africa doing the first of several live and uncut shows we’re doing this year. The one from Israel went so well last year that they asked for more of those,” Rollins said.

Rollins also has done a handful of U.S.O. tours in the past five years, adopting a pro-troop/anti-war stance.

“U.S.O. tours are great. The war I don’t like. I don’t think anyone does. But the troops I like very much,” Rollins said. “It’s a chance to make them laugh, show them that they have support back in America. A lot of them have questions; they just want to hear about what’s going on. It’s a distraction that’s quite welcome over there. They see the same thing every day, then I pop up on the base. That’s why I’ve done U.S.O. whenever possible since they contacted me about five years ago.”

So, what can audiences expect when Rollins takes the stage at the New Daisy?

“There’s no theme,” Rollins said. “I’ll be talking about the traveling I’ve been doing — South Africa, Pakistan, Syria, and Iran. All these trips were very informative. It’s going to be a lot of stories from the road.”

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Music Music Features

SXSW Preview

Memphis musicians have been a growing presence at Austin’s annual South by Southwest Music Festival, but the Memphis presence at SXSW will be bigger than ever this month. In addition to the annual showcase from local label Goner Records as well as one-off showcases from Memphis acts such as punk-rock breakout star Jay Reatard and hip-hop acts Free Sol, Lord T & Eloise, and Tunnel Clones, this year’s festival will feature the biggest showcase of Memphis acts yet in the form of Six Degrees of Memphis, an all-day, all-night sampling of Memphis bands organized largely by local writer/blogger/Internet DJ Rachel Hurley and musician Jeff Schmidtke (guitarist for The Third Man).

This Six Degrees of Memphis showcase, which will present six bands at an unofficial day party Friday, March 14th, at Opal Divine’s Free House and six more (headlined by The North Mississippi Allstars, The Bo-Keys, and Amy LaVere) at an official SXSW showcase that night at the same venue, was born out of an unofficial day party Hurley organized at the event last year, itself an outgrowth of her 10 Degrees of Memphis show on the Internet radio station Breakthruradio.com.

Seeking to expand that event, Hurley, Schmidtke, and others decided to collaborate with as many local labels as possible and submit an official showcase application to the festival.

“We picked six different artists from six different labels and contacted Austin and said, okay, this is what we’re trying to do,” Schmidtke says. “When they heard that [the] North Mississippi [Allstars were] committed and the Bo-Keys and Amy LaVere [were in as well], they were all for it.” Snowglobe, The Tennessee Boltsmokers, and Schmidtke’s band the Third Man will round out the official showcase.

Schmidtke says it wasn’t at all difficult to get the hard-touring Allstars on board.

“I was very taken aback by how willing and enthusiastic they were to participate in this,” Schmidtke says of the band. “They got it very quickly what we were trying to do and were very excited to be a part of it and represent Memphis in Austin.”

Local fans can get a sneak preview of some of the Memphis acts representing the city in Austin as well as help out with some of the costs at a benefit show this weekend at downtown’s new Ground Zero Blues Club (located on the ground floor of the Westin Hotel across from FedExForum).

The showcase-style concert will feature six of the artists scheduled to make the trek to Austin: the Bo-Keys, the Tennessee Boltsmokers, the Third Man, Snowglobe’s Brad Postlethwaite, Jump Back Jake, and Two Way Radio. Doors open at Ground Zero at 8 p.m. Saturday, March 8th. Showtime is 9 p.m. The $15 cover includes an open bar.

— Chris Herrington

“Sometimes, if a house is on fire, in order to save somebody, you’ve got to shake them and shout, ‘THE HOUSE IS ON FIRE!'” says Ayele Akibulam of the rap duo Brotha’s Keepa. And that’s exactly what he and his partner Jmalo Torriel do on their latest CD, The Re-Education of the Negro, a collection of overtly political tracks referencing everything from the Jenna 6 and the disintegration of urban families to war profiteering by government-connected megacorporations.

“We like to put a little medicine in our applesauce,” says Torriel, who insists that music can bring about positive change in the world.

For seven years, Brotha’s Keepa has been matching torrents of words to grassroots action by feeding the homeless, raising awareness about what they call the “prison-industrial complex,” and organizing cultural programs for young people.

Originally inspired not only by contemporary hip-hop but also by the jarring, incendiary verse of civil-rights-era proto-rappers the Last Poets, Brotha’s Keepa doesn’t simply aim to describe the less savory aspects of the contemporary African-American experience. The group tries to inspire and to motivate their listeners into action.

“It’s always about bringing a message to the people,” says Torriel, who hopes music will inspire his detractors to research his words and try to prove them wrong.

“For me, a lot about the new CD was inspired by being a father,” Akibulam says. “So many problems in our community today are the result of fathers not being fathers. Our young men are being locked up at an astonishing rate, and the murder rate keeps going up. I strongly believe that this is related to a lack of fathers in the home, to men who’ve forgotten what it means to be men.”

The CD-release show for Re-Education of the Negro takes place Saturday, March 8th, in the theater at Southwest Tennessee Community College. Showtime is 8 p.m. The $15 admission charge includes a copy of the CD. Proceeds from the event will help fund the various projects undertaken by Brotha’s Keepa. — Chris Davis

Categories
Book Features Books

Acting Out

John Rechy was 12 years old, in 1945, when for the first and only time he laid eyes on Marisa Guzman, though he already knew of her. She was the infamous “kept woman” of one of the richest, most powerful politicos in Mexico, and her father in El Paso despised her for it — despised her for bringing such shame on the family; despised her because she was not ashamed.

But there she was on the day of Rechy’s sister’s wedding: a woman sitting alone on a threadbare couch in an empty room, elegantly dressed and inhaling on a cigarette. Rechy was transfixed by her beauty, her poise, her “sublime” aloofness, and her challenge to the conservative attitudes of Mexican-American culture.

Rechy knew that culture, because he was born into it. He was Juan Rechy, son of a pious Mexican mother, who took pride in what she called her “pure” Spanish blood, and a violent father of Scottish descent, who went from successful orchestra conductor in Mexico to occasional musical tutor after he moved the family to Texas, where they barely made ends meet — a fact Juan Rechy hid from the outside, Anglo world.

This much we know from the opening chapters of About My Life and the Kept Woman (Grove Press), Rechy’s new memoir.

This much we learn later — and it isn’t the fictionalized account in the novel that made Rechy famous in 1963 (City of Night) or the nonfictional account that made Rechy a notorious literary figure in 1977 (The Sexual Outlaw):

He was a fair-skinned child who was able to “pass” for Anglo, but, like Marisa Guzman, he was aloof — a “ghost boy,” in the words of a neighborhood boy. He was bright too and fond of literature and writing, which brought him to the attention of a high school English teacher. One afternoon, she invited Rechy to her apartment; the same afternoon, she seduced him into losing his virginity. Then she threw him out, and Rechy soon threw himself into college studies. Then he met the demands of army life, but he wasn’t shipped to fight in Korea. He was assigned in Germany, and on leave in Paris he discovered one night where the easy money was: hustling.

Rechy moved to New York — a guy who played it straight but earned his way cruising Times Square. He moved to Los Angeles — a guy who played it straight but earned his way cruising Pershing Square. In San Francisco, he got a taste of S&M. And in New Orleans, he had his fill of sex, drag queens, and drugs. But he lived to write about it in a piece that Rechy titled “Mardi Gras,” and he mailed it to Evergreen Review. That “letter,” expanded to book form, became City of Night, and it threw him into the company of Christopher Isherwood and Allen Ginsberg. But Rechy’s hustling days weren’t over.

He headed for the “field of sexual anarchy” known in Los Angeles as Griffith Park, where he recalls 27 (yes, 27) sexual encounters in a single day and where, one day, he and another man were arrested. The charge: “oral copulation,” a felony. The judge’s verdict: guilty as charged. The sentence: probation and a fine, not the usual jail time, because, in the words of Rechy’s lawyer outside the courtroom, “of who you are.”

Free to go, Rechy went back to work, but it wasn’t at his typewriter. It was inside Griffith Park, and for the first time, Rechy writes, he wasn’t there for the pay. He was there because of who he was: an object of desire acting, unashamed, on his own desire.

This, finally, put him in the same company as Marisa Guzman, and Rechy doubles back, during scenes of crisis, to that sight of her throughout this memoir. He’d already been in the company of Isabel Franklin, an object of his fascination in high school — the “American” high school in El Paso where the lighter your skin color, the better for you. Isabel had spied on Guzman too that wedding day. She was, in fact, Guzman’s niece; her real name, Rechy learns, was Alicia Gonzales; and she went on to further falsify her background and marry a prominent San Francisco newspaper columnist. She’d lied her way into that marriage, and it failed. Rechy had lied his way through an underworld, and he survived. But as he writes in About My Life and the Kept Woman, he “escaped the final dangers of that world only through the accident of talent.” The man’s lucky to be alive.

Categories
Food & Wine Food & Drink

Just Right

Not many wines are named after children’s nursery rhymes. In fact, I can think of only one: the Napa Valley winery 4 Bears.

“4 Bears Winery received its name after my daughter interrupted a tasting session with questions about what I was doing,” explains owner Sean Minor. “After a brief explanation of the tasting procedure, she equated the process of finding a wine that was ‘just right’ with her favorite bedtime story.”

While the Goldilocks story has three bears, Minor and his wife have four — including that inquisitive daughter and three sons. Family is an integral part of the business. His children’s initials adorn the label of each bottle, for example, and Minor bases many of his professional decisions from a personal point of view.

“We purchase grapes from a mix of small family growers and larger producers,” says Minor, “but I tend to gravitate toward smaller growers — with them it’s all about family. They are making choices that will ensure that vineyard is healthy enough to pass down to their children and grandchildren. These growers are also more apt to be practicing sustainable farming.”

Minor first began working in the wine industry 20 years ago after receiving a degree in finance. His interest sparked, he returned to school for a degree in enology and went on to work at several wineries, including King Estate in Oregon and Renwood in California.

4 Bears started out as a quest for quality wines at more affordable prices. “My wife and I would drink wine every day, but it began to get awfully expensive. We would find ourselves drinking these $30 to $40 wines. One day I said that I really felt I could produce wines of that same quality for half the price. My wife basically told me to put my money where my mouth was.”

While the Goldilocks story has three bears, wine maker Sean Minor and his wife have four.

4 Bears is able to offer their wines at affordable prices due to savings on brick-and-mortar costs. Minor produces his wines at a co-op facility that houses 10 other wineries. Everyone shares equipment, certain staff, and warehouse space. His startup capital went into sourcing the best-quality grapes he could find instead of building his own winery.

“We wanted to focus on Cabernet Sauvignon, Chardonnay, and Sauvignon Blanc, because those grapes are the most familiar to the consumer. When I was at King Estate, we had to focus not only on producing good wine but education as well,” he says.

“The market wasn’t comfortable with — much less understood — Pinot Gris and Pinot Noir from Oregon. Likewise, at Renwood, at the time, the consumer wasn’t as familiar with Amador County as a wine-growing region. With 4 Bears, we knew we wouldn’t be equipped to educate the market on a fringe region or grape varietal. I knew that I wanted to produce wines from well-known varietals that best express the nature of well-known appellations.”

Too many wine labels have come out focused solely on price and ignoring what is inside the bottle. This is a folly that Minor is wary of. “Yes, the wines are price-driven, but at any price you have to give people value for their money,” he says. “These wines are focused on the consumer for enjoyment and to be approachable.”

Recommended Wines

4 Bears Cabernet Sauvignon 2005, Napa Valley, $15.99

4 Bears Chardonnay 2005, Central Coast, $12.99

4 Bears Sauvignon Blanc 2005, Dry Creek Valley,

$12.99

Categories
Food & Wine Food & Drink

Talking Shop

For many of us, a trip to one of the international markets in Memphis is almost like visiting a foreign country — the food labels are written in a different language, there’s an array of produce we have never seen, and foreign smells and languages whir in the air. The newly opened Sara Supermercado on Park near Getwell is no exception in many ways, and yet it’s different. With all the things hanging from the ceiling at Sara — Superman piñatas in the main grocery section, for example — it feels a little like you’ve stepped into a rather unusual birthday party.

Sara is owned and operated by Nathan Hammab, who moved to Memphis from Chicago three years ago and quit the beauty-supply business in order to open the market. The business consists of two stores. One is the small market carrying mostly Hispanic foods; the other is a butcher shop (pictured below) with a counter that stretches the length of the shop.

In the butcher shop, strips of cured beef for making jerky hang to dry above the counter. On display in the glass cases are marinated pork, beef, and chicken, skewered chicken, pork chops, several yards of sausages, and fresh seafood, among many, many other meats.

Price and item descriptions are mostly in Spanish, displayed on bright orange tags strung from wall to wall. The butcher speaks very little English, but Hammab will help out if pointing to the desired item and hand signs don’t get you anywhere.

Store hours are Monday through Saturday 8 a.m. to 10 p.m. and 8 a.m. to 9 p.m. on Sunday.

Sara Supermercado, 3984 Park (562-5100)

The Peabody hotel, which recently received the Mobil four-star award, will partner with Jack Daniel’s for a Southern Dinner and Whiskey Tasting on Thursday, March 27th, at 6 p.m. The dinner is part of the 75th anniversary of the Peabody ducks, a tradition that started after a little too much whiskey.

Lynne Tolley, one of the distillery’s seven master tasters and owner of Miss Mary Bobo’s Boarding House Restaurant in Lynchburg will lead the whiskey tasting of Jack Daniel’s Old No. 7 Black Label, Gentleman Jack Rare Tennessee Whiskey, and Jack Daniel’s Single Barrel at Capriccio Grill. The tasting will be followed by a four-course dinner featuring recipes adapted from Tolley’s Cooking with Jack. On the menu: Tennessee-smoked trout spread; spinach and beet salad with bacon dressing; cornbread and muffin cup ham biscuits; glazed salmon; beef brisket; and bread pudding for dessert.

Cost for the dinner is $85 per person plus tax and gratuity. Reservations can be made by calling Capriccio Grill at 529-4183.

Capriccio Grill, The Peabody, 149 Union (529-4000)

On Saturday, March 29th, Memphis in May is holding a barbecue-judging seminar on the judging process and the rules of the World Championship Barbecue Cooking Contest.

Participants will learn about the official meat categories, the scoring process, and blind, on-site, and final judging, and, of course, sample barbecue during the simulated judging exercises. Attending the seminar, however, isn’t sufficient to becoming a certified judge. That badge is obtained after judging an official meat category at two Memphis In May-style barbecue contests as well as completing other requirements.

Cost for the seminar is $60 per person, and the registration deadline is March 21st. The event is being held from 8:30 a.m. to 4 p.m. at the Grand Ballroom of the Holiday Inn Select at 160 Union. For more info, e-mail cscott@memphisinmay.org or visit memphisinmay.org.

In addition to its free cooking demonstrations on Tuesdays, Thursdays, and Saturdays, Williams-Sonoma now offers one-hour technique classes on Sundays at 11 a.m.

The series will cover soufflés (March 9th), Easter eggs (March 16th), balsamic vinegar (March 30th), knife skills (April 6th), pasta from scratch (April 20th), breakfast for Mom (May 4th), and grilling 101 (May 18th).

Classes are free of charge, but registration is required.

Williams-Sonoma, 7615 West Farmington (737-9990)