Categories
Opinion Viewpoint

Time for the Knife

“The legislative power of the city shall be vested in the Council
which shall have all legislative powers heretofore exercised by the
Board of Commissioners, including but not limited to, the right to fix
the tax rate and to approve and adopt all budgets.” This authority over
the city’s purse strings, granted by the Memphis City Charter (Article
5, Section 16), is the most important power granted to the City
Council.

In fact, the council has line-item authority over the budget —
though this authority has rarely been used by past councils. The
current council has, however, broken with tradition on other issues and
hopefully will decide this month to flex its authority over the
proposed budget.

In Article 6, Section 40.1, the charter provides some details: “The
operations and capital fund budgets of the City … shall be prepared
and submitted by the mayor with the assistance of the directors, and
presented to the council, which shall approve or amend any and all
budgets prior to the adoption of a tax rate as now provided, and said
budgets as approved or as amended shall be the duly established
budgets. The comptroller shall under no circumstances make
disbursements not specifically provided for in any of the aforesaid
budgets as finally approved by the council.”

Again: The mayor may propose budgets, but it is the council
that approves — or has the right to approve — “the duly
established budgets.” Consistent with the council’s line-item
authority, the administration cannot change any appropriation after the
council establishes the budget. Traditionally, as we know, the council
has waived this authority.

It is no secret that the world is in a recession. Most governments,
businesses, and families in our country have less income than they did
two or three years ago.

Last year, FedEx reduced the salaries of its highest earners.
Earlier this year, it laid off thousands of workers. Last week,
Governor Bredesen proposed 1,051 state layoffs, and Metro Nashville
reduced the hours of its libraries and community centers.

By contrast, some two months ago, Mayor Herenton announced what he
described as a balanced budget with no layoffs and a 3 percent raise
for all city employees. In reality, this “balanced budget” ignored a
court ruling to provide additional funding to the city schools next
year up to $57 million.

Like the rest of the country, Memphis must make drastic reductions
in spending. Many of us on the council refuse to raise taxes; our
combined city and county property tax rate is already twice as high as
that of Nashville, which has the state’s second highest tax rate.

Besides the recent recession and the court’s order on school funding
(which has been appealed), Memphis is also challenged with a long-term
population decrease and an economy that, even pre-recession, was
static.

The City Council has been reviewing the mayor’s proposed budget for
six weeks and must make a decision by June 30th. The debate has ranged
from a couple of council members pushing for no spending reductions to
others, including me, trying to eliminate the raises and employment
positions added in the last three years.

The majority of the budget committee has consistently rejected the
notion of rolling back the raises. They argue that raises were withheld
several years ago when the city administration grossly overestimated
revenue, thereby creating a budgetary crisis.

Our current economic realities require drastic change. To date, the
budget committee has reviewed about two-thirds of the proposed budget
but has only reduced spending by about $6 million. We must do more.

Remembering that about 70 percent of the budget is personnel, we
must reduce administrative staff. Eliminating the 3 percent raise would
by itself save no less than $11 million. We can also eliminate most
“company cars” and even address the issue of employment benefits.

Perhaps some city services can stand to be altered, but —
importantly — no cuts must be made to public safety.

All we have to do to meet the challenges of this budget —
while maintaining essential city services and avoiding a tax increase
— is to make the kinds of tough decisions that most businesses
and families have already made.

Lawyer Jim Strickland is a first-term member of the Memphis City
Council
.

Categories
We Recommend We Recommend

Justice!

On Tuesday, June 9th, Theatre Memphis is putting on a very special
performance of Curtains, Kander & Ebb’s last musical. The
tuneful murder mystery also will serve as a fund-raiser for the
Community Legal Center, a nonprofit organization with a network of more
than 250 lawyers who provide free legal representation in civil matters
to those who can’t afford to pay for private counsel.

Curtains, which is both a typical backstage comedy and a
cleverly imagined whodunit, left a trail of actual bodies in its wake.
When Peter Stone, the book’s original author, died before the show was
completed, as did lyricist Fred Ebb, Ebb’s composer/partner John Kander
called in Rupert Holmes to help him finish the project. Holmes, author
of The Mystery of Edwin Drood (and also of “Escape,” the
infamous pina colada song), helped to turn Curtains into a big,
bright, and sometimes quite silly throwback to American musicals of the
1950s.

Although the play’s victim is a tragically untalented actress, the
surprise perp is a character so universally hated that not even the
most dedicated member of the Community Legal Center will want to take
up his cause. Sad but true.

In addition to the show, there will be a silent auction of gift
certificates to local businesses and restaurants and other
merchandise.

“Curtains” fund-raiser for the Community Legal Center at Theatre
Memphis, Tuesday, June 9th. Reception at 6 p.m.,

play starts at 7:30 p.m. Tickets are $40 general admission, $30 for
employees of nonprofits, and $25 for students. Call 543-3395 for
additional information.

Categories
We Recommend We Recommend

Loads of Fun(zzies)

On Monday, June 8th, at 12:15 p.m., there will be a ribbon-cutting
ceremony for the WatotoMemphis Youth Development Center on South Main.
The 2,400-square-foot space will serve as the first permanent home for
the Watoto de Afrika program, which was founded by Donald O’Conner 22
years ago and has trained an estimated 3,000 area school children, ages
8 to 17, in African-American dance, music, and drama.

Attending the ceremony will be New York folk musician, Disney
Channel star, and Watoto supporter Dan Zanes. Zanes, who has a show at
the Germantown Performing Arts Centre the day before, will introduce a
performance by the Funzzies, an offshoot of the Watoto group consisting
of 4- to 10-year-olds.

It was Watoto’s success that led to the creation of the Funzzies,
according to O’Conner. “The performance outshined the message,”
O’Conner explains. The new group was formed to bring the message back
to the forefront, tackling social issues in such songs as “It’s a Green
Thing,” “Love Everybody,” and “The Bicycle Song.”

Since October, O’Conner and the Funzzies have been filming
Welcome to Funzville, a television show debuting in August.

O’Conner is understandably proud of the program, saying it’s
improved both the academic and social development of the participants.
The curriculum, steeped in the traditions of artists such as Mahalia
Jackson and James Baldwin, strikes a powerful chord. “The kids get a
very rich sense of self,” O’Conner says.

WatotoMemphis Youth Development Center Ribbon-Cutting Ceremony,
Monday, June 8th, from 12:15 to 1 p.m. at 55 S. Main.

Categories
Music Music Features

Life’s Work

In the late 1980s, a teenage Will Oldham moved from Kentucky to Los
Angeles to start an acting career, and he landed a series of small
roles, most notably as a preacher in John Sayles’ Matewan and as
“Chip” in a television movie about Jessica McClure. After growing
disillusioned with the film industry, he eventually switched to music,
recording his first album as Palace Brothers in 1993. Since then, his
music — a liberal take on American traditions — has grown
more ambitious and refined, even as his screen names have changed
repeatedly. As if trying out new roles, he also has recorded under
iterations of the Palace name, then made a few releases under his own
name, and finally settled on Bonnie “Prince” Billy.

Yet, Oldham’s film aspirations have proved subtly crucial to his
songs, not because his music has any kind of cinematic sweep but
because he comes across as an actor deeply invested in the dramatic and
narrative potential of his songs. He sings in character, seemingly
avoiding overt autobiography in his lyrics, and that sense of
role-playing has prevented him from being fully embraced by the
alt-country crowd, which tends to prize identifiable authenticity.

 Today, Oldham continues to appear infrequently in films,
including Old Joy, Junebug, and, strangely enough, R. Kelly’s
Trapped in the Closet. And yet, if he is an actor musically,
Oldham is also an auteur possessed of a very specific narrative flair
and beholden to no particular scene or school. His tales of existential
woe and redemption, set against a musical backdrop that treats folk and
rock as avant-garde styles, take place in a world separated into
extremes of good and evil.

On his most celebrated album, 1999’s I See a Darkness, Oldham
details the lure of transgression and sin; 10 years later, he (or, more
correctly, his character) seems to have pulled himself out of that
despair on 2008’s hauntingly, cautiously joyful Lie Down in the
Light
, which celebrates the simple pleasures of kind-hearted women
and loyal friends. There are few gray areas or ambiguities in the world
Oldham has created, only the differences between ideals and
actions.

 As his themes have developed, so has Oldham’s music, which
advances a peculiar amalgam of Appalachian folk, old-time country, pop,
rock, jazz, and blues. Other artists have explored these genre
territories contemporaneously with Oldham, yet few have done so as
doggedly. Like Prince or Guided By Voices’ Robert Pollard, Oldham
doesn’t let industry trends hinder his prolific output: He puts out a
full-length every year or so, interspersed with a steady stream of EPs,
collaborations, and live releases.

These one-off excursions — the gleaming old Nashville sound of
Sings Greatest Palace Music, the murky reimaginings of his
covers album with Tortoise, the tortured duets with Matt Sweeney, the
avant-loneliness of his work with Scandinavian producer Valgeir
Sigurðsson — may seem like digressions, but each release
expands the scope of his music and each subsequent release considers
those lessons anew.

 In this regard, this year’s Beware — which is his
seventh album as Bonnie “Prince” Billy and his 12th overall —
sounds like both a musical and thematic sequel to Lie Down,
another installment in the implied ongoing narrative of his catalog.
After writing these songs as artist-in-residence at Marin Headlands
National Seashore, Oldham recorded Beware with the touring band
he formed for Lie Down.

They specialize in a shambling, folksy sound that is as rustic as a
kudzu-covered trestle, yet never quaint or nostalgic. Longtime cohort
Emmett Kelly’s guitar lends these songs a spiky texture, but it’s
Jennifer Hutt’s violin that stands out, slow-dancing through “I Won’t
Ask Again” and stepping a bit livelier on the rollicking “You Don’t
Love Me.” On the opening “Beware Your Only Friend” and “Life’s Work,”
she and Azita Youssefi sing backup like the voices in Oldham’s
head.

 Like Lie Down, Beware benefits from every avenue Oldham
has previously explored, and as a pair these albums use that expanded
palette to paint a more complex moral chiaroscuro. The extremes of
light and darkness don’t simply inform these songs but define them;
lying down in the light, his character still sees a darkness. As such,
every happy scene is threatened by some lurking danger. As Oldham sings
on “Death Final”: “Summer has me holding baby high in the air/Oblivious
the pack of dogs go running over there.” What begins as a casually
joyous event — playing with your child outdoors — becomes
fraught with peril and the need for rescue.

 “I take this load on,” Oldham sings on “Life’s Work,” over
scratchy guitar and a saxophone that rises zombie-like out of the mix.
“It is my life’s work to bring you into the light from out the
dark.”

There is no crossroads, no single moment when you make a choice to
live a good or a sinful life. In his world, it is a constant struggle,
which makes the character’s life particularly difficult but makes
Oldham’s long career particularly fascinating.

Bonnie “Prince” Billy

Minglewood Hall

Tuesday, June 9th

Doors open at 7 p.m.; tickets are $15 in advance,

$18 day of show

Categories
Music Music Features

In the Studio

Before leaving for France — where he’s awaiting the birth of
his son — local musician Harlan T. Bobo wrapped up another
production, his third album for Goner Records. Tentatively
titled Life Is Sweet, the album, which was recorded at
Easley-McCain, features some familiar conspirators, including
percussionist Tim Prudhomme, bassist Jeremy Scott,
drummer Paul Buchignani, and guitarists Jack Yarber and
Shawn Cripps, as well as Doug Easley on pedal steel,
violinist Roy Brewer, and vocals from Barbaras frontman
Bennett Foster.

“It’s a mishmash like the last record,” says Prudhomme, explaining
that some tracks were started at Bobo’s home in 2008 and finished in
the studio last month. “Harlan, Doug, and I have been going back and
forth about what sounds like shit and what sounds perfectly
wonderful.”

Bobo’s not the only $5 Cover featured performer with a
new release in the works: Lucero spent much of April holed up in
Ardent‘s Studio A with producer Ted Hutt. Before heading
out for a West Coast tour, the band was tracking its eighth album
— Lucero’s first for Universal Music Group’s Republic imprint
— slated for release this fall.

Earlier this spring, Two Way Radio entered Ardent with
Scott Bomar at the helm to record basic tracks for 15 songs
before moving to Bomar’s downtown studio, Electraphonic, for
overdubs and Young Avenue Sound for mixing. Last week, the band
returned to Ardent with the final product, which was mastered by
Larry Nix.

“It’s ready to go, but I’m not sure what we’re going to do with it,”
says Bomar, who served as a producer on Craig Brewer‘s MTV
series, $5 Cover.

“I’ve told the bands this myself,” Bomar continues. “If you think
[$5 Cover] alone is going to do work for you and you can sit
back and wait, you’re not going to accomplish anything. You have to use
this opportunity to open other doors. Being on MTV gives you a little
ammunition, but by itself, it’s not going to do anything. Fortunately,
as Hustle & Flow has proven, these things have a really long
lifespan. Hopefully, $5 Cover will be seen more and more via the
webisodes, and people will continue to discover these artists.”

In the meantime, Bomar’s kept busy, recording projects with Jay
Reatard
, Jeffrey Novak, and cellist Jonathan Kirkscey
and pushing The Safecracker, the debut album from retro
instrumental soul group the City Champs, which Bomar released on
his own label (also called Electraphonic) earlier this year. So far,
the band’s got worldwide distribution, and one song, “Poppin’,” has
gotten play on NPR. Up next on Electraphonic: “Work That Skirt,” a 45
rpm single from “Disco Lady” co-author Harvey Scales and Bomar’s
own group, The Bo-Keys.

“Putting out the single is the first step for me to put out a new
album by the Bo-Keys,” he says, noting that it’s been five years since
The Royal Sessions was released on Yellow Dog Records. “We’ve
been talking to labels, but it hasn’t worked out. The way the climate
is now, it’s harder than it’s ever been to get a record deal. There
aren’t as many labels with the money to take risks on bands. I feel
like I’ve got enough contacts to put it out myself and do almost as
much as a label can do.”

May also brought new releases from Memphis rappers Teflon Don
(God, The Government, The Game), Juicy J (Hustle Till
I Die
), and DJ Paul and Lord Infamous
(Scale-A-Ton), the long-awaited collaboration between
half-brothers Paul Beauregard and Ricky “Lord Infamous” Dunigan, which
debuted at #157 on the Billboard charts on May 5th.

“It was touching. It was good to see that people still look for Lord
Infamous,” says Dunigan, who co-founded Three 6 Mafia with DJ
Paul and Juicy J but split from the group long before 2006’s Academy
Award win for “It’s Hard Out Here for a Pimp.”

“Our mother, Juanita Beauregard, died on February 2nd after battling
diabetes for a long time,” Dunigan says. “Paul and I were always cool,
but we decided to put whatever differences we had behind us to do
something and dedicate it to her.”

Categories
Book Features Books

A Freed Man

A thirty-three-year-old son with massive debt, a felony conviction,
no job, no home, no spouse, two children, and accumulated assets that
fit into two cardboard boxes.”

That’s how Neil W. White III describes himself at one point in his
memoir In the Sanctuary of Outcasts (Morrow) — a bad state
to be in, sure. But on April 25, 1994, White wasn’t sad so much as
relieved — relieved that his sentence of 18 months in federal
prison had been reduced to just under a year due to a decision by
prison authorities.

Those authorities had been conducting an experiment: housing
minimum-security inmates (petty criminals; white-collar criminals) at
the Federal Medical Center in Carville, Louisiana, outside Baton Rouge.
The medical center had space to spare, but it was also the last
leprosarium in the continental United States — “leprosarium,” as
in a hospital for those afflicted with leprosy (or Hansen’s disease),
which, to this day, has no cure.

What was Neil White doing there? Time — for bank fraud, for
“kiting” checks, and for “factoring” invoices to keep his cash
flowing.

He’d also cost bankers a million dollars. He’d lost the money his
investors trusted him with, including his own mother’s money and trust.
Still, in April 1994, White was a released man. He was also a different
man.

Different from the man, age 24 and straight out of Ole Miss, who
launched (and lost) an alternative newspaper in Oxford, Mississippi, in
the ’80s But he went on to publish city, regional, and business
magazines in Mississippi and Louisiana, including Coast
Magazine
, Louisiana Life, and New Orleans
magazine.

Times then were good, and White was the husband of a lovely wife and
the father of two children. But finances remained shaky. And that’s
when the fed got wise to White’s “creative” banking practices. He was
exposed in the spring of 1992, and roughly a year later he entered
“Carville,” the site of a former sugar plantation and the setting for
White’s moving memoir.

It’s where White (and readers) meet a streetwise charmer named Link
and a master at medical fraud (and White’s cellmate), Victor “Doc”
Dombrowsky. It’s also where we meet Frank Ragano, Jimmy Hoffa’s lawyer,
and Dan Duchaine, a former bodybuilder who went on to outwit Oympic
authorities on the use and abuse of steroids.

And then there are those afflicted with Hansen’s disease. It’s a
population that the inmates at Carville socialize with, and it’s a
population that White, who’d always placed a premium on good
appearances, was initially horrified by.

It’s also a population that turned White around — around from
the notion that he was simply “undercover” at Carville, a reporter with
a job to do, and around to the notion that he was not only guilty, he
was ashamed, ashamed of what he’d done and ashamed of the high-priced
life he’d been leading.

As White told the Flyer, “I was surrounded by people who
could not hide their disfigurement, and all of a sudden I saw mine.”
All of a sudden, too, White was faced with the possible loss of his
children to divorce.

Good news, though: White has since remarried — to an Ole Miss
law professor. He lives in Oxford. He runs a publication company, but
the stakes are low-level, less risky. And he’s at peace with the work
he does — as a businessman, teacher, and active member of his
church and community.

More good news: White’s In the Sanctuary of Outcasts, which
he’s waited 15 years to write, is more than a memoir. It’s most
importantly a testament to the patients at Carville and the life
lessons they gave and White took.

Giving/taking: Proceeds from the sale of White’s book will go to
advocacy groups protecting the rights of people afflicted with Hansen’s
disease — a dread disease still. Readers will be, in the bargain,
taking an honest look at Neil W. White III, a freed man.

For the Flyer‘s Q&A with author Neil White, see
below.

Neil White signing and reading from In the Sanctuary of
Outcasts

Burke’s Book Store, Thursday, June 4th, 5:30 p.m.

Square Books, Oxford, Saturday, June 6th, 5 p.m.

Flyer: How does it feel — In the Sanctuary of
Outcasts
finally in stores, 15 years after your release from
prison?

Neil White: It’s been exciting, a little scary, and a long
time in the works. It’s been a healing but difficult birth.

I debated for years whether to write this book for my kids and
family or to publish it. I wavered.

The writing was therapeutic. But publishing the book was counter to
what I learned while I was in prison. You know: Don’t look for
applause. Do deeds quietly without concern for what people think. Keep
things simple. But I made the decision that it was important to tell
the story, to put myself at risk.

A story that’s not been widely reported.

Carville was unique — a convergence of cultures. And nobody
seemed to be paying attention to this experiment where leper patients
and federal convicts lived together.

It was prison and it was difficult, but it was an
amazingly rich time for me.

Do you wonder how you would have fared in a more dangerous
prison, one with tighter security? Would it have been as “amazingly
rich”?

I would have fared terribly. I wouldn’t have done well at all. The
black inmates at Carville made unmerciful fun of me for trying to be
polite: “Man, this is prison. What the hell are you doing?” Or,
“Man, you are lucky you are not in a real prison.”

There were no bars on the doors at Carville. We were free to move. I
didn’t have to worry much for my physical safety. I was able to focus
on what I needed to do. I could examine my own life.

People in places where the primary goal is survival don’t have that
luxury.

The scene in your book inside the chapel at Carville
the one where you finally come to grips with your full guilt. Care to
expand on that?

I tried to leave that scene out, because it’s a cliché, but
everybody hits rock bottom at a different place, whatever the problem
may be. The “undercover” scenario I’d invented for myself was clearly a
defense. But more than that, I was denying that I deserved to be in
prison at all, that I had done anything that would merit
incarceration.

I argued to myself: What does this mean, to be convicted of bank
fraud? I was kiting checks, yes. But the false bank balances I created
… the banks were selling them to the fed to make interest overnight
on them. We were in business, in “bed” together. And some third-party
comes along and charges me with “rape”? What’s this about?

I was in total denial all the way around.

And this is where you get into the issue of “personality.” What kind
of person becomes a Bernard Madoff? A white-collar criminal?

I think it’s the person, like me, who is so able to convince
themselves of their worth, their entitlement, their right to cut
corners — that what they’re doing is so great, so important
— rules can be bent.

When I thought, inside Carville’s chapel, that I was going to lose
my kids, though, it occurred to me I’d ruined lives, betrayed
loyalties, had not asked for help.

I’d lost my mother’s money. I’d lost an investor’s money, to the
point where she lost her home. It was embarrassing that it took
me so long to get “there.”

In that chapel, among those with leprosy, I was surrounded by people
who could not hide their disfigurement, and all of a sudden I saw
mine.

This is not a religious book by any means, but all religions …
before you move on, you’ve got to admit what you’ve done wrong, whether
you call it penance or not. I had not done that.

I’ll need to be open to making amends for probably as long as I
live.

You don’t cover this in detail in the book, but what has life been
like since you were released from Carville in 1994?

Most of the people I reached out to have been very forgiving.
Oxford, Mississippi, has been very forgiving.

After leaving prison, I was confined in New Orleans to a halfway
house for six weeks. I had restitution to pay each month, child support
each month, insurance premiums, plus everyday expenses. I didn’t have a
choice but to go back into business for myself. But I couldn’t afford
failure.

Now I’m working out of the house. I never take money upfront. I
deliver more than promised. I try to keep it small. City and regional
magazines again? I can’t risk it. I’m strictly doing custom publishing,
for colleges, hospitals, banks, student magazines; pro bono work for
theater groups, writers’ groups, start-up film festivals, for people
who can’t afford an ad agency or a large publishing company.

It’s not exciting work. It doesn’t win awards. But it pays the
bills. And I feel good about what I’m putting out in the world.

Tell me about your path to publication.

I knew the material was there, but I needed time to figure out what
it all meant, why it was important. I didn’t want flowery language to
interfere. I wanted to keep the story accessible, let the story be
impactful, not the writing. So I waited.

Five years ago, I was in a workshop for creative nonfiction led by
Lee Gutkind, who was supportive. He shepherded me along. That’s when I
made the decision to write this story for publication. Others in the
workshop said to me, “You can’t not write this.”

Then I was at a creative-writing conference and an agent, Jeff
Klein, said, “I hear you have a story.” I told him yes, but I’m not
ready. Well, he hounded me every three months for two years.

When I finally told him I’m ready, I’ll have a manuscript for you in
about a year. Jeff said, “For God’s sake, don’t write it! You’ll just
have to rewrite it. Let’s get a book proposal and an editor who’ll help
you work through this.”

I was kind of shocked. I had an agent hounding me. We went
with publisher William Morrow.

But here was the quandary: I knew the one-line hook for the book:
that they put federal convicts in a leper colony. When you said it,
people started asking question. So I knew there’d be interest, but I
didn’t want to sensationalize it. When people say they can’t believe
I’ve waited 15 years to write this book, I say I couldn’t have done it
any other way.

Do you have another book in mind?

This one took so long and so much out of me, I don’t want to jump
into another book right now. But I have adapted In the Sanctuary of
Outcasts
for the stage. I wrote it as a play in 1998 and called it
Lepers and Cons. I’ve workshopped it in Oxford.

And your parents: their reaction to the book?

My father: He loved it. My mother: She’s now a minister in Gulfport.
She’ll have a bank president sitting next to a homeless person, and
that’s the way it should be. She’s amazing. She loved the book. My
mother likes the spotlight regardless of the shade of light.

But I want to say my name is on this book. But it’s not my
book. So many shared their stories with me. It’s our book.

Categories
Food & Wine Food & Drink

Eating Memphis

Why can’t every morning start with a nice tall glass of Memphis
Mary, the wickedly delicious breakfast cocktail that combines
everything you love about a spicy Bloody Mary with the great taste of
barbecue sauce? When you combine that smoky, tangy concoction with a
modest, breakfast-sized portion of vodka, it reaches out and slaps your
tongue right in the kisser.

But if you start the morning with one Memphis Mary, you’ll probably
start it with three. And then you won’t accomplish anything until
you’ve slept it off. But that doesn’t mean you can’t say “good morning”
with a made-in-Memphis treat. In fact, if you stock your larder
properly, you can eat Memphis for breakfast, lunch, dinner, and then
some. Here are some examples.

Breakfast: A cranberry orange scone might not be the
healthiest way to kick off the morning, but it’s one of the sweetest
and most delicious. And the atypically moist, almost cake-y scones they
make at Ono Bakery on Front Street are like orangey sunshine baked into
a biscuit. They are especially good when washed down with a
steaming-hot cup of Miss Cordelia’s Rise & Shine coffee, a mellow
blend of beans with a big, bold, almost chocolate aroma that more than
lives up to its name. In fact, if you have too many cups of Rise &
Shine, you may need to address the caffeine jitters by brewing a
mid-morning pot of Ugly Mug chai tea. The milk fat and sugar stops the
shakes, and the soothing but stimulating blend of Middle Eastern spices
clears the sinuses and massages the brain. It’s liquid comfort food
that can pep you up and calm you down at the same time.

Lunch: You have to get up early in the morning — on
Saturday morning, at that — if you want to have a
Memphis-Meets-Milan patty melt for lunch. If you don’t make it to the
Farmers Market until noon, chances are good that the aromatic focaccia
from Cucina Bakery and the crispy, spicy, slightly bitter, and
brilliantly sweet baby mescaline greens from the Gracious Garden will
be long gone. To make the MMM melt, toss some of those colorful greens
in a little Yellow Fever sauce then plop them on the focaccia. Top that
with a grilled patty of Neola Farm’s ground Black Angus beef that’s
been rolled in Rendezvous barbecue seasoning. Unlike most Memphis rubs,
the Rendezvous’ rub contains whole mustard seeds and obvious flecks of
dried green herbs mixed in with the brick-red barbecue spices. It hints
of an earlier time when Memphis was a Central European melting pot. Add
to this a slice of provolone and a spectacular slice of Ananas Noire
tomato from Downing Hollow Farm, and you’ve got a museum-quality
sandwich. Serve it with a mound of spicy, homemade potato chips from
Central Barbecue. Sleep ’til dinner.

Dinner: John Willingham’s original, mild W’ham Seasoning rub
isn’t just good barbecue seasoning. It’s a savory, all-purpose spice
that’s as good on vegetables as it is on beef, pork, chicken, or right
off the floor where you spilled it. For our purposes here, let’s
imagine it on a grilled center-cut pork chop. And let’s imagine that
pork chop is served over a nice big blob of Delta Grind’s polenta.
Coarsely ground and full of flavor, DG’s polenta is Southern food at
its most European. Quickly stirred in warm, seasoned olive oil then
cooked in a hearty vegetable stock and thickened with a handful of
Romano cheese, these are the most kissable grits you’ll ever eat. Top
all of this with a stack of roasted Giant Marconi peppers from the
Sparkling River Pepper Company. To kick things up a notch, blanch the
peppers in pineapple juice. Serve it all with a frosty mug full of
Ghost River glacial pale ale, a crispy beverage from Boscos master
brewer Chuck Skypeck.

Late-Night Snack: If you’ve got a keg of Ghost River beer
lying around, friends will show up unannounced to “help” you get rid of
it. That’s why it’s also best to keep a couple of Corky’s barbecue
pizzas in the freezer to break out when everybody gets hungry. After
all, you don’t want your beery visitors to discover the leftover
portions of Valenza’s mixed seafood lasagna with béchamel sauce
that’s lurking in a remote corner of your fridge.

Later-Night Snack: Go ahead and have that Memphis Mary. And
have it with a nice big stalk of celery sprinkled with Sonny Salt, the
Memphis-made seasoning that brings hints of cumin and white pepper to
the already great taste of seasoning salt. Have three.

All produce, Neola beef, Delta Grind grits, and Cucina bread are
available at the Memphis Farmers Market. Kegs and ponies of Ghost River
can be bought off the dock at Ghost River Brewing (827 S. Main,
ghostriverbrewing.com).
Corky’s pizza and W’ham and Rendezvous seasonings sold at groceries all
over town. Yellow Fever and Memphis Mary available at Davis-Kidd
Booksellers, Tater Red’s, the Arcade, and other places.

Categories
Food & Wine Food & Drink

Extra Credit

Saturday shopping at the downtown Farmers Market now has a perfect
complement: a fresh seafood market at Sole Restaurant & Raw
Bar
, located inside the Westin hotel on Third Street.

The eatery’s raw bar now does double duty on Saturdays as a
neighborhood market, selling a changing selection of seafood that also
shows up on the restaurant’s menu.

“We switch our market selections based on what fish is available and
what we are getting into the restaurant,” says Ben Brock, Sole’s
managing partner. “Two weeks ago, we had halibut that FedEx flew in
that morning. It was beautiful.”

Last Saturday, the market offered Hawaiian blue prawns and wild
salmon from Scotland. “As we build up traffic, we will have more
options,” Brock says.

For now, market advertising also is low-key. About 5,000 e-mail
blasts are sent on Wednesday morning alerting customers to the upcoming
seafood options. To sign on, go to solememphis.com.

“We are big fans of the Farmers Market, and we wanted to do
something to take advantage of all the people coming downtown,” says
Brock, who also serves on the organization’s board of directors. “Once
they have their vegetables, they can come by and pick up fresh
fish.”

In addition to Sole’s seafood market, which opens at 6:30 a.m., the
restaurant also is serving brunch on Saturdays and Sundays from 10 a.m.
to 2 p.m. Entrées include buttermilk blueberry pancakes ($9),
eggs Benedict with smoked salmon or bacon ($14), and a traditional
two-egg breakfast with bacon, hash browns, toast, and fruit ($13). The
brunch menu also offers signature cocktails, martinis, and morning
drink specials, such as the five-dollar “Sole Mary” —
house-infused cucumber vodka with the chef’s special Mary blend
sauce.

Seafood market at Sole Restaurant & Raw Bar, 221 S.
Third, solememphis.com
(334-5950)

Bangkok Alley, a local chain of Thai restaurants in Cordova,
Collierville, and Southaven, is opening downtown with an updated tapas
menu of 14 small plates.

The restaurant’s standard-size entrées also are offered at
the new restaurant on Union, along with an expanded list of wines,
beers, and cocktails.

“We’ve completely remodeled the space, with new lighting, rosewood
floors, and a larger bar,” says Thara Burana, owner and operator
of the restaurants along with his wife, Dottie.

Burana plans a soft opening next week and a grand-opening
celebration toward the end of June. The restaurant is serving lunch and
dinner seven days a week, with extended hours Friday and Saturday. Only
tapas are on the menu after 10 p.m.

The restaurant’s new ambience and small plates — priced from
$5 to $10 — should appeal to after-work and late-night patrons
who like to sample and share food. “With Thai food, there are many
different choices, so it’s difficult to pick one,” Burana says.

Although he still is tweaking his tapas menu, here is a sampling of
what’s to come: sea bass with fresh ginger, soy, and sake; rice noodles
with chicken and green curry; and Thai sliders, of course.

“Our slider burgers are unique,” Burana promises. “We season them
with garlic pepper, soy sauce, and lemon grass, so they have a little
kick.”

Bangkok Alley, 121 Union

Local growers Keith and Jill Forrester are ready to party,
and everyone is invited.

The first annual Whitton Farms Feastival will be a day-long
affair with locally grown food prepared by leading Memphis chefs
(including a pig roast by Kelly English), music, hay rides, and a
pie-eating contest.

“We will set up tables in the pecan grove and give people maps of
the farm, so they can explore on their own,” Jill says.

The event is set for Sunday, July 12th, with proceeds benefiting the
Memphis Farmers Market and the Forresters’ farm.

“We want to show our appreciation to the Farmers Market, and we
desperately need a hay baler. Last year, we mulched everything by hand
using pitch forks,” Jill says, laughing. “It was an insane amount of
work.”

First Annual Whitton Farms Feastival, whittonfarms.com (870-815-9519)

Categories
Film Features Film/TV

Con Heir

The Brothers Bloom, a rambling lark about a pair of sibling
con artists, is a modest yard sale of uncut quirkiness worth visiting,
even if you don’t find anything you really want to buy. When he’s not
dithering about the connection between performance and reality, the
liberties writer-director Rian Johnson takes with genre conventions and
the good humor of his actors nearly compensate for the movie’s hollow
center.

The titular brothers are Steven (Mark Ruffalo), the mastermind, and
Bloom (Adrien Brody), the reluctant role-player. When Bloom (that’s
right, his name may be Bloom Bloom, but that mystery remains unsolved)
expresses his latent desire to escape the long con and live “an
unwritten life,” Steven finds him one last mark — a New Jersey
heiress whose combination of extravagant wealth and borderline-autistic
social awkwardness Bloom soon finds irresistible — and swears
he’ll never design another novelistic scam again. But what sucker would
ever believe a grifter’s oath?

The lead actresses’ performances in The Brothers Bloom best
exemplify its loose-limbed, fanciful spirit. The brothers’ “fifth
Beatle” is a silent Japanese woman named Bang Bang (Rinko Kikuchi), a
shadowy gal Friday with a knack for explosions who lurks in the back
corners of the frame like an anime femme fatale. And as the Jersey
heiress, Rachel Weisz is capable of some unpredictable fun; Johnson’s
comic montage of the absurd hobbies she’s mastered in her free time is
superior to most of his other twinkly foreground-background sight
gags.

Weisz looks and acts like what The Onion‘s film critics call
a “Manic Pixie Dream Girl” here, but she’s older, more sensitive, and
more damaged; her shocked whimpering and enthusiastic yelps after her
first kiss are joyful noises, but she’s even better during a long,
mysterious scene when she performs a series of card tricks while
telling Brody the revised version of her life story.

The men are less fun, although watching them at work is a
pleasurable diversion, like thumbing through a grocery-checkout
magazine starring nontraditional leading men. Their roles seem
switched, though: Brody plays the kind of handsome defeatist role
Ruffalo normally inhabits, while Ruffalo plays a laconic trickster
whose plots and counterplots seem a little out of his reach.

Johnson’s a talented filmmaker with a taste for both obvious and
obscure literary allusions. You may catch the Magritte reference, but
who could remember that little Montenegro, where Bloom does his
soul-searching after each con is over, is the country that awarded the
Great Gatsby a medal during World War I? The allusion to one of the
great fakes in American literature is appreciated, but stacking up
allusions doesn’t always produce a collage, and collages don’t always
breathe new life into familiar materials.

Perhaps it’s too much to ask Johnson to do the same trick twice. His
2005 debut, the high school film noir Brick, was and is an
exemplary act of cultural recycling. Yet, in spite of The Brothers
Bloom
‘s nods and winks to Dickens, Joyce, and Melville, I kept
waiting — vainly — for something further to follow from
this Masquerade.

The Brothers Bloom

Opens Friday, June 5th

Ridgeway

Categories
Film Features Film/TV

An Award-Winning Debut Screens at the Brooks

The winner of the Golden Camera (for best first film) at the 2008
Cannes Film Festival, McQueen’s film tells the true story of Bobby
Sands, an IRA activist held in Belfast’s Maze prison (circa 1981) who
died after a 66-day hunger strike in protest of his lack of status as a
political prisoner. Nine other prisoners followed Sands to their demise
before the British government made concessions that did not include the
political recognition Sands and his fellow strikers were seeking.

McQueen’s visual-arts background results in a debut of startling
confidence and control — beautifully framed shots, a provocative
use of sound and silence, purposeful rhyming imagery, absorbing long
shots, and an inventive structure.

Though the film is ostensibly about Sands and his hunger strike,
Sands (in a charismatic performance from Michael Fassbender) doesn’t
appear until a third of the way into the film, and his hunger strike
isn’t depicted until the final 20 minutes. McQueen first sets up the
film’s landscape with a series of linked protagonists leading to
Sands.

First is Raymond Lohan (Stuart Graham, a knockout, nearly wordless
performance), a Maze guard first seen eating breakfast at his home
before checking the undercarriage of his car for a bomb. Next is Davey
Gillen (Brian Milligan), a frightened new prisoner.

Through these two initial characters, McQueen depicts the normal
life of the prison, where everyone fits into social roles that
dehumanize both guard and prisoner. The inmates at Maze, who go naked
after refusing to where prison garb, are resourceful, using what little
they have at their disposal (feces, urine, food, insects, and their own
bodies) to pursue their needs (creativity, dissent, communication,
companionship).

Taut, pale, covered in facial hair, they might be cavemen, adorning
their stone walls in shit tableaux, at least until a “no-wash strike”
is ended by brutally mandated haircuts and baths, their cells
pressure-washed. McQueen juxtaposes the raging, roiling, bloody bathtub
waters where Sands — introduced here — has been
forcibly washed against the calm but also bloodied sink water when
Lohan soaks his bruised knuckles.

Following one particularly noisy protest, the inmates are subjected
to a body-cavity search backed up by beatings from imported riot
police, one of whom McQueen captures shrinking from his duty
— recoiling, weeping.

Hunger‘s depiction of suffering and degradation is
unflinchingly direct and can be hard to take, but never feels
gratuitous. The film manages to be at once gritty and ascetic, the
noisy violence and squalor of the early prison scenes and the quiet
agony of the later hunger-strike scenes broken up by a bravura
24-minute dialogue (including one nearly 17-minute unbroken shot) in
which Sands meets with his acerbic priest (Liam Cunningham) to announce
his decision — an argument for martyrdom the film witnesses
more than endorses. For a film in which dialogue (not sound, speech) is
otherwise irrelevant, this oasis of talk contextualizes what happens
before and after.

Hunger screens — only once — at the
Brooks Museum of Art as part of an ongoing and very fruitful
partnership between the Brooks and Indie Memphis.

Hunger

Brooks Museum of Art, Thursday, June 4th, 7:30 p.m., $7 or $5 for
Indie Memphis or Brooks members