Categories
Editorial Opinion

On Partisan Primaries …

As noted this week in our Politics column, key members of the Shelby
County Republican Party are actively rethinking the viability of
partisan primaries for local countywide offices. Ironically, it was the
local GOP which took the initiative in instigating such primaries back in 1992, and they
quickly became institutionalized, when the local Democrats, to keep
pace, followed suit.

Primaries for local office — county mayor, sheriff, various
clerkships, and seats on the Shelby County Commission — were a
bad idea then, and they are a bad idea now. We commend current
Republican chairman Lang Wiseman for lending his authority to what he
calls “a conversation we need to be having” in talking about getting
rid of the primaries now. And we agree with his immediate predecessor
as chairman, Bill Giannini, now chairman of the Shelby County Election
Commission, for saying “Shame on us,” for having proposed partisan
primaries in the first place.

It is a matter of fact that partisan primaries were opposed by
virtually all county officeholders back in the early 1990s, including
then commissioner Jim Rout, who would go on to become the first county
mayor with a party label by his name (Republican, in his case). Rout
and other officeholders would make their peace with the process, once
it was under way. But numerous party-label candidates were known to
lament privately the wall that had grown up between one set of campaign
supporters and another, now forced to campaign for rivals on the other
side of the party line or to sit out active politics altogether.

Partisanship, as we have observed often in the past year, has caused
needless rifts on the county commission — yet another reason to
ditch the process.

The primaries were adopted in the first place only because the
demographic numbers seemed to favor Republicans. Now they don’t, and
the GOP would be well advised to drop their local primaries. And we
hope the Democrats would follow suit in this as well.

… And Push Polls

A local physician friend of ours reports having recently received a
phone call from a pollster who began asking him about various
Democratic candidates for governor. All seemed on the square until the
pollster began asking a series of leading questions regarding one
candidate in particular, Jackson businessman Mike McWherter.

The questions all took some such form as “Would you tend to look
favorably on Mike McWherter, knowing he is … ” The son of a former
governor. Someone who knows business and how the banking system works.
A pioneer in the field of green technology. Etc., etc., etc.

In short, the good doctor had been on the receiving end of a “push
poll,” one designed more to influence answers than to solicit them. And
candidate McWherter will not be the first nor the last to employ such
polls in the 2010 election cycle.

McWherter may indeed be all of the fine things indicated by his
pollster’s questions. But have your salt shaker ready to pour out a few
grains when his or anybody else’s home-grown poll results are
published.

Categories
Opinion Viewpoint

Enforce the TVCA!

In 2008, an overwhelming bipartisan majority in Nashville passed the
Tennessee Voter Confidence Act (TVCA), joining the growing national
trend of 26 other states requiring voter-verifiable paper ballots and
“optical scan” machines to read them for all Tennessee
elections.  

At last, Tennessee voters would have a “paper trail,” a concrete
record to check the accuracy of a vote count in case of computer
glitches, recounts, and allegations of fraud. 

Since then, a few election officials have done their best to
stonewall this reform, refusing to implement it, calling for its
repeal, and using misleading information as
ammunition. Flyer readers saw this last week in the
guest Viewpoint of Shelby County election administrator Rich
Holden
.

With the help of local lawyers like Shelby County commissioner and
University of Memphis law professor Steve Mulroy, we’re going to court
on behalf of Common Cause Tennessee to try to force these officials to
obey the law.

Holden uses inflated figures — estimating Shelby County’s
paper ballot costs at $400,000 per election. But Hamilton County
has been using paper ballots for years at a cost of less than 25 cents
a ballot and uses estimates of likely voter turnout to determine the
number of ballots to print. Using those parameters, the
highest-turnout race in Shelby County’s election cycle would cost less
than $100,000 and most elections far less.   The estimate
provided is inflated by well over a factor of four.

Holden also argues that federal dollars will only pay for one
machine per precinct, so Shelby County will have to pony up for extra
machines. But in counties where optiscan is used, you don’t need
more than one machine per precinct.

Critics further complain of costs for storage and handling of the
paper ballots.  But the reality is that where counties
switched from touch-screen to optiscan they’ve saved money,
because there are far fewer machines to store and maintain, the
machines themselves are cheaper and easier to maintain, and the
machines need to be replaced less frequently.

Most incredibly, Holden complains that optiscan will be a slower
process because of the need for “ballot on demand” machines to print
out ballots. In fact, though, optiscan dramatically reduces wait time
for voters. 

Right now, a touchscreen voter toggling through screen after screen
of a lengthy Shelby County ballot can take as long as 15 minutes to
vote, while long lines of waiting voters stream out the door. You
can only let from one to three voters vote at a time, depending on
how many expensive touch-screen machines you can afford at a given
polling location. 

With optiscan, 15 voters at 15 privacy carrels can pencil in their
choices at their leisure, causing no delay. When they’re done,
they feed their ballots into the optical reader in literally less than
a second. No wait.

Ultimately, it shouldn’t matter what election officials
think: The law says they have to implement optiscan by November
2010. 

But election officials have gotten clever, arguing that the law’s
text allows only machines federally certified to 2005 standards, and no
such machines exist. 

This would be an effective argument if that’s what the law really
said, but it’s not. Nowhere in the TVCA’s text does it say “2005
standards.” It uses the phrase “applicable voluntary voting system
guidelines,” a technical term that both the federal certifying agency
and the federal statute which created it make clear can refer either to
the 2005 standards or to 2002 standards, for which plenty of certified
machines exist.

State election officials have gone out of their way to interpret the
TVCA to make  it impossible to implement. This flies in
the face of the basic principle of statutory construction that a law
should be interpreted to resolve internal contradictions and make it
enforceable. 

We can’t explain why the current Republican leadership of the
Tennessee General Assembly and its appointed election bureaucrats, who
only last year embraced “paper trail” reform, are now so determined to
kill it. We can only hope the court will tell them to obey the
law.

In the meantime, Flyer readers deserve the facts about “paper
trail” reform, not self-serving distortions. 

Categories
Cover Feature News

Young and Invincible?

In July 8, 2007, Grant Frank spent 36 hours at the Med. It cost him
$28,417.54.

At 4 a.m., he woke up to what he describes as “the worst pain of my
life.” He fumbled for his phone and called his father. “I’ve got to go
to the hospital,” he said. Soon, he was doubled over in the stark
waiting room of the Med, signing a form in which he verified his lack
of health insurance and agreed to pay off any medical bills to the best
of his ability.

After five hours in the waiting room, with the pain in his abdomen
getting worse, Frank was called to an examination room. He was
diagnosed with a gallstone, and because of the high toxicity of bile
stored in the gallbladder and the risk of rupture, doctors opted to
remove his gallbladder immediately. When he came out of surgery a few
hours later, Frank was given a brief convalescence in a semi-private
hospital room and was discharged by the end of that night.

“We got the bill a month later,” Frank said. “It said to pay as soon
as possible and that I could set up a plan, but all their plans were
things that I couldn’t do — like $400 a month. At that point, I
was making about $800 a month. My rent was $350, and my car insurance
was $125. With food and living expenses, it didn’t leave me much to pay
them.”

Frank is not alone in his experience. In 2008, 27 percent of
Americans age 18 to 34 were without health insurance, according to the
U.S. Census Bureau. That’s compared to 18 percent of those age 35 to
50. The highest concentration of uninsured adults are those age 20 to
25, a group typically undergoing the pivotal transition from parental
or university-based coverage to employment-based or private
insurance.

Jessamyn Bradley, 24, finished graduate school at the University of
Memphis in May 2009, but she hasn’t had insurance since well before
that.

“When I graduated from Middle Tennessee State University with my
bachelor’s, I was dropped from my parents’ insurance because I was over
18 and no longer a student,” Bradley said. “I guess that’s been about
three years, and it’s terrible, terrible, terrible. I haven’t had my
teeth checked in over two years, and whenever it’s time for an eye
exam, my mother foots the bill. And heaven forbid when it’s time for my
annual pap smear.”

Besides the risk of sudden illness, young adults have the highest
rate of injury-related emergency department visits. When an accident
happens or serious illness strikes, the uninsured and underinsured
(those who have some health coverage but are not protected from high
health costs) are left with medical bills they cannot pay. A 2007 study
by the American Journal of Medicine reported 62 percent of all
bankruptcy cases were medical-related. Even more startling, three
quarters of those debtors had some kind of health insurance.

Justin Fox Burks

Burt Waller

Where the System Breaks Down

The status quo is bleak for patients and costly for providers. At
the Med, the Mid-South’s safety-net hospital, uninsured or underinsured
cases are far from unusual. The Med treats patients regardless of
coverage or ability to pay, not only patients from Memphis but from
throughout a five-state region. According to Judy Briggs, executive
director of revenue cycle, uninsured or “self-pay” patient visits made
up 31.8 percent of the hospital’s potential revenue for the 2009 fiscal
year. The hospital must absorb whatever portion of that revenue goes
unpaid.

When uninsured or underinsured patients receive treatment at the
Med, the hospital handles the billing process in a variety of ways. An
in-hospital representative from MedAssist checks to see if the patient
qualifies for Medicaid or Social Security. If the patient is the victim
of a crime, he or she could receive up to $30,000 in assistance from
the Crime Victim Fund. If the patient is below the poverty line, the
case could be considered “charity care.” If the patient does not fall
into one of these categories, he or she is responsible for setting up a
payment plan, like the one Frank was offered. As a last resort, a court
can garnish a patient’s wages after the provider sues the patient for
the bill.

According to Frank, the payment plans offered by the Med were
unrealistic, and the collection agencies were unrelenting. His mom
agreed to pay off the separate $2,375 bill for doctors’ fees, but the
bulk of Frank’s medical debt remained. A court decision was made to
garnish his wages, then after just one paycheck, the garnishments
stopped. Now, Frank said he’s waiting for the hospital to make its next
move. In the meantime, his credit report bears the stain of his
exorbitant medical debt.

Government-aid eligibility requirements, which are based on age,
income level, and/or disability, leave a pocket of people exposed to
the risk of medical debt. Many young people, like Frank and Bradley,
who are new to the job market, fall above the poverty line — and
therefore above the cutoff for government aid — but below the
income level necessary to survive a serious financial blow. In many
cases, jobs available to entry-level workers don’t provide health
insurance, and individual policies are prohibitively expensive.

Bradley works full-time at a chiropractic clinic but is paid hourly
and receives no health insurance from her employer. “I have a gym
membership through work,” she said. “But I have to pay for private
insurance.” 

Many uninsured young adults utilize nonprofit health clinics, like
Memphis’ Church Health Center and Christ Community Health Services.
These organizations provide basic health care for uninsured Memphians.
Fifteen percent of all uninsured patients who rely on the Church Health
Center for health care are between 18 and 34, many of them uninsured
after they “age out” of TennCare eligibility. Unfortunately, because
walk-in visits are first-come, first-served, the clinics aren’t able to
handle every patient who seeks help.

“We have to turn people away every day,” said Burt Waller, executive
director at Christ Community Health Services. It’s a situation
compounded by the increase in uninsured young Memphians seeking
treatment at the clinic. The number of young adults age 19 to 34 who
were treated jumped 10 percent from 2007 to 2008, a “significant
increase” according to Waller.

The socioeconomic makeup of the patients is shifting as well. “We
have seen an increase in the number of middle-class people coming to
our clinic, because so many people are losing their jobs and,
subsequently, their health insurance,” said Marvin Stockwell of the
Church Health Center.

Waller suggests that the local increase is part of a larger economic
trend. “Companies are using a lot more contract and part-time
employees,” he said. “People change jobs more often, especially in
today’s recessionary economy, and fewer companies are offering full
benefits.” In fact, 46 percent of people age 18 to 34 are not covered
by employment-based insurance, according to the Census Bureau.

Waller said the system starts to break down when patients seek more
complicated treatment for serious illnesses. The Christ Community
clinic and other health centers in Memphis accept walk-ins, but for
specialty surgeries or procedures, treatment can be costly and
appointments hard to make. People put off seeking care until they
absolutely have to, then when they come in, their problem has often
already reached a more severe — and more expensive —
level.

If Frank had possessed some form of private insurance, the financial
blow would have been less severe. Insurance plans such as HumanaOne’s
Monogram, offer a low-premium, high-deductible “catastrophe” insurance.
The company’s marketing of the plan focuses on young, generally healthy
consumers and is advertised as “ideal for recent college graduates or
graduate students.”

So why wouldn’t young people sign up for these plans?

“Affordability,” Frank said.

For many young adults, even the minimal coverage for basic health
care does not always seem worth the premium. Monogram, which does not
include dental insurance or cover lab work, X-rays, and emergency room
visits until the deductible is paid, has an average premium of $40 a
month, or $480 a year.

In addition, subscribers must pay for all prescriptions up to $1,000
and hospitalizations up to $7,500. The plan covers a routine annual
physical, immunization and pap smear, but all other doctor visits are
on the patient’s tab. Many young people don’t see the point of paying a
monthly premium if basic doctor visits are out of pocket anyway.

Heidi Park, 29, works for the University of Memphis as a contracted
researcher and has no health insurance coverage. She has opted to pay
for her own medical costs.

“Some health concerns earlier in the year led me to visit the doctor
for the first time in many years,” Park said. “I paid out of pocket,
and it was not pretty.”

Justin Fox Burks

Jessamyn Bradley

The “Young Invincibles”

A national organization called Young Invincibles (younginvincibles.org) has co-opted
the pejorative title often used to dismiss the young and uninsured. The
group is working to dispel the myth that young people consider
themselves invincible and is trying to educate and galvanize uninsured
young adults.

Armed with startling statistics about their demographic — more
than half of all young adults between the ages of 20 and 29 are
overweight or obese; the highest prevalence of human papilloma virus is
among women age 20 to 24; and one-third of all HIV diagnoses are made
among young adults — the organization hopes to turn the public
perception that young adults don’t need or want health care.

According to a recent survey conducted by the Department of Health
and Human Services, 28 percent of uninsured young adult men and 40
percent of uninsured young adult women reported not receiving at least
one needed health-related service in the prior 12 months, because they
could not afford it.

“At that age, you don’t think about health insurance, because you’re
mostly well and you don’t have that much money to lose,” 9th District
congressman Steve Cohen said. “You don’t think about getting sick when
you’re young. You think about raising hell.”

Cohen is an outspoken proponent of a health-care reform bill that
would give everyone, even young adults, regular, affordable access to
doctors. He sees it as the first step to curbing high medical
costs.

“You have to have a more holistic approach toward the patient to see
that they stay healthy,” Cohen said. “Beyond that, I think you need a
public plan to keep the health-care companies’ prices from continuing
to rise.”

Cohen remains optimistic about a plan that controls costs via a
“public option.” “I think we’re going to have a bill,” he said. “That’s
what President Obama desires and what the majority of the Democratic
caucus desires.”

Recent polling suggests it’s what the majority of the public wants
as well. But even if a bill passes, it will take time to phase in
fully. What should young uninsured Memphians do for now?

“We focus on prevention to keep people healthy before they get
sick,” Stockwell said.

Cohen’s advice is practical but not too reassuring in the
short-term: “Buckle your seatbelt,” he said. “Don’t talk on your cell
phone when you’re driving. Try to live a healthy lifestyle. Don’t drink
and drive.”

Forty-four years after President Lyndon Johnson signed Medicare into
law in an effort to spare elderly Americans from “the terrible darkness
of despairing poverty” caused by rising medical costs, we are now faced
with a generation of young people who may be consigned to bankruptcy or
years of paying off hospital bills because of an unexpected injury or
illness. It is no less frightful a prospect for the next generation of
Americans to face crippling debt at the outset of their adult
lives.

Categories
We Recommend We Recommend

Thespian Society

Scott Weichert | Dreamstime.com

Whether you’re a patron of the arts or you just like to eat, drink,
and be merry, there’s a lot going on this weekend. Memphis’ biggest
playhouses — Theatre Memphis and Playhouse on the Square —
are staging two of the biggest shindigs of the season.

On Friday, November 6th, Theatre Memphis is throwing a “90 Years
Young” party with an open bar, hors d’oeuvres, dancing, and a piano
concert by Richard Glazier showcasing a century of songs from the
American musical theater. It’s been a good run for a theater that was,
quite literally, born in a stable before moving to the east wing of the
Pink Palace, where a stage was constructed over Piggly Wiggly founder
Clarence Saunders’ indoor pool. Theatre Memphis moved to its current
location at Perkins and Southern in 1975, and last year its magnificent
sculpture garden was named a public-art “Heritage Site” by the UrbanArt
Commission.

Theatre Memphis also will host a kids’ celebration with a
performance at 2 p.m. of Rikki Tikki Tavi by ShoWagon on
Saturday, November 7th, along with crafts, scavenger hunt, and birthday
cake. Tickets to the kids’ event are $5 per person, but a family pack
of six tickets can be purchased for $20. Tickets to “90 Years Young”
are $90. Call 682-8323 for reservations.

Meanwhile, back in Midtown, Playhouse on the Square is hosting its
annual “Curtain Up: Taste of Playhouse” party on Saturday, November
7th. That means a sumptuous three-course meal, three musical acts, and
dancing on stage until the cows come home — or 11 p.m., whichever
comes first. Tickets are $100. Call 726-4656 for reservations.

Categories
We Recommend We Recommend

Here and Now

Tami Lynn

On Friday, November 6th, the Stax Museum of American Soul Music is
hosting an opening reception for “Still Life in Soul,” an exhibition of
photographs of soul-music performers by Jacob Blickenstaff.

Blickenstaff, who’s based in New York and began the project four
years ago, was taking portraits and performance shots — artists
of soul’s ’60s and ’70s hey day, including Tami Lynn, Bettye LaVette,
Otis Clay, and Eddie Floyd — at events such as the Ponderosa
Stomp. Initially, Blickenstaff saw it as documenting music history but
realized that wasn’t quite accurate when it came to these performers.
“They’re still in the here and now,” he says. “They like to perform.
They’re great at performing.”

Blickenstaff says that the subtext to the show is about the record
labels, such as the revived Stax, and the festivals, including the
Ponderosa Stomp and the Brooklyn Soul Festival, which continue to
support these artists. “They’re making it possible,” he says. “They’re
providing a bridge between generations, creating a small but growing
environment for people to appreciate this music.”

Categories
Music Music Features

Reloaded

One of the most interesting Memphis music stories of the past couple
of years has been the union — half a country away — of
a couple of expatriate Memphians separated by a generation.

Folk-era vet Bob Frank and younger alt-country survivor John Murry
came together in the California Bay Area a few years ago, releasing the
album World Without End, a collection of murder ballads that
became a cult hit and took Frank and Murry on a European tour.

The pair followed up World Without End earlier this year with
Brinkley, Ark. (And Other Assorted Love Songs), another
thematic, if less tightly knit, collection that pushed from folk
ballads into blue-eyed country soul. With a third duo album as well as
solo albums on the horizon, Frank and Murry will return to Memphis this
weekend for a rare local gig.

Murry, who has been splitting time between Oakland and his native
Tupelo since this summer, says the Memphis show was booked around other
business he and Frank are conducting in the area.

“It’s the byproduct of a couple of shows we’re doing in Nashville, a
couple of showcases we’re doing the weekend after [the Memphis show],”
Murry says.

The Nashville shows were booked around a planned drop-in at
folk/roots label Vanguard Records, for whom Frank released a celebrated
but long out-of-print solo album in the early ’70s.

“We’re going to go to Vanguard and ask them for the master tapes
back, with someone filming the whole thing,” Murry says. “They’re going
to say they don’t know where they are. People have been asking for
years for [Bob] to re-release it, and we’re trying to find a way to do
it where no one can get sued.”

In Memphis, Murry will deliver a collection of material for an
upcoming — and long-awaited in some quarters — solo
album to local producer Kevin Cubbins.

“I’ve been working on it for over two years now,” Murry says. “I
have a hard drive full of songs in their basic form, so I’m giving them
to Kevin, and he’s gonna finish it. He’ll mix it. Kevin has a deeper
understanding. There’s far less pretense and more depth to him than a
lot of [more well-known producers].”

While here, Frank and Murry also will go into the studio with
Cubbins to record a single provoked by an unusual request.

A couple of years ago, Frank received an e-mail from Dylan
Hartsfeld, an American soldier then serving in Iraq. Hartsfeld had
found Frank and Murry’s website and knew Frank because Hartsfeld’s
father had been a fan of Frank’s Vanguard album and had played it for
his son. The son ordered all of Frank and Murry’s records and had them
sent to his father.

“Later, Bob got a call from the dad telling him his son had been
killed,” Murry says. “He had been hit by an IED in Iraq, and his
shoulder was pretty much destroyed. So he’d been transferred to Walter
Reade and put on some heavy-duty pain medications.”

After his discharge, Hartsfeld moved to Kentucky to live with his
father. Then last September, he fell down some basement stairs. Fearing
his son had reinjured his shoulder, his father called 911.

What happened next in what has become a controversial case is murky,
but Hartsfeld was shot and killed by a local deputy, who claimed
Hartsfeld had threatened him with a machete. Other witnesses, however,
said Hartsfeld was carrying a broken hockey stick.

“The dad called Bob and said, ‘I know you did this record of murder
ballads. Could you do a record about my son?'” Murry says.

Murry and Frank have granted the wish by writing a song called
simply “Dylan Hartsfeld,” which they’ll record with Cubbins this
weekend and release online and as a vinyl single.

In addition to Murry’s upcoming solo album (which he expects to be
released sometime next season) and Frank’s upcoming follow-up to his
2008 Memphis International Records solo album, Red Neck, Blue
Collar
, Murry and Frank have begun work on their next duo
album.

It will be partially in the style of World Without End
— story songs rooted in real events — but
divorced from the “murder ballads” concept.

“It didn’t have the effect it was intended to have,” Murry says of
World Without End. “The people who really liked that record were
the people who buy every Nick Cave record. That [kind of
sensationalism] wasn’t the point. The [new songs] are not that dark and
aren’t as folkie.”

In the meantime, Murry says he expects to play more Memphis shows
when he returns to Tupelo in January. Why decamp to Tupelo and not
Memphis? Murry says it’s not for family reasons.

“I don’t want to be in Memphis,” he says. “I felt like if I stayed
in Memphis, I’d either be forced to do something or forced to talk to
myself about why I’m not doing something. I don’t do much [in Tupelo].
I fish a lot. Nobody in Tupelo does much of anything. They’re just a
bunch of rednecks, really.”

Categories
Music Record Reviews

Record Review

Revolution, Miranda Lambert (Sony)

Miranda Lambert is one of the most compelling and curious pop-music
figures to emerge over the past decade. A pin-up-worthy blonde from
Lindale, Texas, Lambert got her big break as the third-place finisher
on the short-lived Nashville Star, a third-rate knock-off of
American Idol. This may not sound like the resumé you’d
expect for mainstream country’s most authentic artist, but here we
are.

After three albums in five years, Lambert finds herself occupying
the lonely place within the country cosmos that the pre-cataclysm Dixie
Chicks once enjoyed, straddling the alt/mainstream divide.

Lambert is heavy rotation on CMT and performs at all the big
industry events, but she doesn’t seem quite part of the club. You don’t
see her joking around at the awards shows, and you can’t imagine she’d
get an invite to a slumber party with Carrie (Underwood), Taylor
(Swift), and Kellie (Pickler).

Lambert’s been halfway embraced by the country establishment, and
she’s halfway embraced them back. Her brand of country frequently
strays into rock sans the usual air quotes, and though she writes or
co-writes most of the songs across her three albums, when she goes
looking for outside material, it’s much more likely to be from
indie/alt artists such as John Prine, Gillian Welch, Fred Eaglesmith,
and Patty Griffin than from any Music Row pro.

Lambert’s debut, Kerosene, was keyed to its title track, a
blazing break-up song disguised as class-rage anthem that rather
cheekily borrowed from Steve Earle’s “I Feel Alright” (all the way down
to the “Ha!” vocal interjection in the same spot). But “Kerosene”
obscured a raft of sharp, personal songs from a young performer with
one foot in her hometown and another on the road out.

The follow-up, 2007’s Crazy Ex-Girlfriend, was a sneaky
formal triumph, its spitfire early singles playing up the
rough-and-tumble good-girl-gone-bad imagery Gretchen Wilson had taken
to the bank. But what distinguished Lambert’s outlaw bid was a depth
that pushed beyond Wilson’s fetching cartoon.

Across all three albums, Lambert’s written enough heartfelt songs
about an affair with a married man and other sticky romantic travails
that it’s hard to believe she’s just playing with a trope. And Crazy
Ex-Girlfriend
blooms on the backstretch with less showy songs
(“Guilty in Here,” “More Like Her,” the latter as complicated a
break-up ballad as you’ll ever hear) that are piercingly ambivalent
about the emotional risks of walking on the wild side.

Crazy Ex-Girlfriend is hard to follow up, but Lambert nails
it with the new Revolution, and the journey from rollicking
girlishness to outlaw-country breakthrough to Revolution‘s
expansive self-assuredness feels perfect. The new album is Lambert’s
longest — 15 songs in over 50 minutes — and
perhaps her most relaxed.

Most impressive is that the album’s ambition isn’t built on bloated
or grandiose individual songs. The longest track here (lead single
“Dead Flowers”) is four minutes even, and many of the best songs clock
in at under three minutes, with Lambert hitting her target and moving
on: the clever, sexy metaphor of “Me & Your Cigarettes,” which
finds a novel use in familiar imagery (“Gives you something you can do
with your hands/Makes you look cool and feel like a man”); the
Christian-on-her-own-terms “Heart Like Mine,” which opens confessional
— “I ain’t the kind you take home to Mama/I ain’t the kind
to wear no ring/Somehow I always get stronger when I’m on my second
drink” — before citing a father’s tears over a new tattoo
visible on the album cover and declaring that she and Jesus would make
good drinking buddies; the ramblin’ woman daydream “Airstream Song,”
which nods to Kerosene in its conflicting attraction to both
home and road.

And because Lambert confounds country’s still-typical
singles-and-filler approach, her albums grow and yield new pleasures
many listens in, a quality I suspect will be even more true of
Revolution than her previous albums.

Grade: A-

Miranda Lambert plays the Millennium Theatre at Gold Strike Casino
Saturday, November 7th. Showtime is 8 p.m. Tickets are $39.95.

Categories
Book Features Books

Blues Brother

A college professor once told William Ferris that Ferris had “more
degrees than a thermometer.” And to prove the point, consider Ferris’
schooling at Davidson College, Northwestern University, Trinity College
(Dublin), and the University of Pennsylvania.

Now factor in Ferris’ teaching career — at Jackson State
University, Yale University, the University of Mississippi, and the
University of North Carolina, where he’s today a professor of history
and senior associate director of the Center for the Study of the
American South.

In addition, Ferris was founding director of the Center for the
Study of Southern Culture at Ole Miss, once chaired the National
Endowment for the Humanities, and co-founded (with Judy Peiser)
Memphis’ Center for Southern Folklore. He also hosted a weekly blues
program on Mississippi Public Radio for nearly a decade. And as for
publishing, he co-edited the mammoth Encyclopedia of Southern
Culture
and wrote the study Blues from the Delta.

Rolling Stone named Ferris one of the Top 10 professors in
the United State. But Ferris’ late brother Grey had a teasing way of
summarizing Ferris’ accomplishments: “I never knew anyone who went
further on less than my brother.”

Grey Ferris should know. He taught his brother how to use a camera
and to develop the pictures Ferris took on the family farm outside
Vicksburg, which led Ferris to photograph and tape-record the secular
and sacred sights and sounds around Vicksburg, the Delta, and
beyond.

Thus was Ferris the folklorist born, and the music of black
Mississipians was his passion. And now, Give My Poor Heart Ease:
Voices of the Mississippi Blues
(The University of North Carolina
Press) is here: an autobiographical account and, more importantly, a
transcription of the recollections, which Ferris recorded in the 1960s
and ’70s, by blues and gospel musicians, preachers and Parchman
inmates, radio disc jockeys and, in the case of Robert Shaw, a salesman
for Lansky’s on Beale.

And it’s not only a written document. The book comes with a set of
Ferris’ original field recordings on CD: songs by the individuals
featured in the book — from Ferris’ childhood housekeeper, Mary
Gordon, to Otha Turner.

There’s more: The book also comes with a DVD that collects the
documentary films Ferris shot in the ’60s and ’70s — films that
include a scene inside a rousing church service, the work chants of
prisoners, a rollicking house party in Clarksdale, B.B. King in concert
at Yale, and the verbal dexterity of Shaw, that salesman from Lansky’s.
Leave it to Shaw to explain:

“This talk is what you call ‘born with it.’ You must be born with it
before you can get with it. And once you’re born with it, you’re
already down to the beat, the beat in the street. Understand, it’s
down, hip, what they call hip. Understand?”

Thanks to Professor Ferris, yeah, we do.

William Ferris will be in Memphis for two events on Saturday,
November 7th. He’ll be signing and discussing
Give My Poor Heart
Ease at Davis-Kidd Booksellers at 2 p.m. and at the Center for
Southern Folklore at 7 p.m.

Memphis:

A Case Study

“Charlotte? Charlotte doesn’t have the characteristics of place that
Memphis has,” says Wanda Rushing, who grew up outside Charlotte and who
today serves as an associate professor of sociology at the University
of Memphis. “I knew that from the time I interviewed at the University
of Memphis in 1998. I knew then that Memphis is where I wanted to
be.”

It’s also a city she knew she wanted to write about, and she does in
Memphis and the Paradox of Place (The University of North
Carolina Press). And she does the city proud — as a site of
entrepreneurship and cultural innovation and as a city that can hold
its own globally. How so? By reworking its local products into a
worldwide identity. Rushing calls that process the “production of
locality.” Readers will recognize it as, more simply, Memphis’ unique
sense of place. “An important place,” Rushing would add.

Categories
Theater Theater Feature

Brains

Look Away: A Civil War Zombie Tragedy gets off to a powerful
start as Lijah, a runaway slave, addresses the audience and describes
an impending catastrophe. “The pale rider is coming,” he says with a
mounting combination of terror, urgency, and frustration that his
warnings aren’t being received with the gravity they deserve. The
lights go black. Smoke fills the theater. A rag-tag group makes its way
from stage left to stage right, firing their guns at the
blood-spattered zombie horde that pursues them.

“Lijah [played by Bernard Rule Jr.] is very in tune with what is
going on and why it’s happening,” says Gene Elliott, the subtle,
no-nonsense director who also helmed New Moon’s delightful production
of Rosencrantz and Guildenstern Are Dead last season.
Elliott says he is particularly attracted to Lijah’s character, and his
affinity for that portion of the story shows throughout the
production.

“[Lijah’s] nature drives him to try and help this family out of
their situation, but because of who he is, they won’t listen to him,”
Elliott explains. “No matter how many times he tries to reach out and
help them, they reject his help because he is an ignorant slave. I find
that aspect of human nature fascinating. We can put blinders on and
ignore the truth that is being rubbed in our face and totally justify
that raw ignorance afterward.”

Only in this case there’s not much time to justify anything as every
act of raw ignorance is swiftly rewarded by death and dismemberment by
the hungry, lumbering undead. Still, it’s clear that Elliott is drawn
more to the play’s underlying social commentary than to its gore.

As zombie stories go, Look Away, an original script by
Memphis playwrights Zac Cunningham and Stephen Briner, feels a little
canned. Since indie filmmaker George Romero almost single-handedly
invented the zombie genre 41-years ago with the iconic Night of the
Living Dead
, we’ve seen this same setup time and time again: A
contentious group is locked in a house (or mall or pub, etc.) while
mindless decaying corpses batter away at the doors and windows. As a
Civil War story, Look Away feels equally canned since there is
no shortage of stories about Southern families torn apart over issues
of pride, slavery, and who will inherit the family farm. But when you
mix these two, something interesting happens, or almost happens, as the
script could be tightened and tensions increased. But all in all,
Look Away functions well enough as both a morality tale and a
work of speculative science fiction.

Look Away is populated by stock characters from the canon of
Southern literature. Each of the main characters could have been lifted
from some lost Lillian Hellman drama. Aaron James plays John, a capable
man whose vast potential has been destroyed by his love of whiskey.
Stephen Tate is Simon, a crippled young scion with entitlement issues
and a driving need to prove his worth. Amy Van Doren, once a staple of
Sleeping Cat Studio productions, takes on Sarah, a cat on a hot tin
roof who’s becoming increasingly frustrated with Hank (Tyler Johnson),
her abolitionist husband. And so it goes. Of all these easily
recognizable characters, however, the most interesting and the least
developed is Dusty Walsh’s Rose, a Southern matriarch whose creeping
dementia is masked by her Christian charity. It’s no surprise that she
eventually gives herself over to the zombies, quoting the Bible on the
way down: “Take. Eat. This is my body.”

Although this New Moon production can be redundant and a bit
amateurish around the edges, it’s got heart. And it’s got guts, and
livers, and brains, and just enough blood to keep the horror fans
happy. It’s also a winning example of how important a role our small
theater companies play within the community. As first plays go, Look
Away
isn’t bad, and, according to Cunningham, there are more
collaborations with Briner in the works.

“Stephen and I have talked a lot about co-writing another play,” he
says. “Two on the drawing board right now are a politically incorrect
romantic comedy about two hobos falling in love called Jack of
Hearts
. Another is an as-of-yet unnamed Western centering on
gunslingers, gamblers, and other frontier rapscallions.”

Categories
Food & Wine Food & Drink

Let’s Do Lunch

Downtown businessmen Ed Bell and Jonathan Byrd were
frustrated with their lunch options, so they opened a restaurant two
weeks ago across the street from their office.

Their restaurant, called Market Café, features a
changing selection of seasonal food in a cheerful, casual setting. It
serves lunch only, Monday through Friday from 11 a.m. to 3 p.m.

“It’s everything we wanted in a lunch place,” Bell says. “The food
is high-quality, fresh, and reasonably priced.”

The cafe is located on the south side of Madison between Second and
Third streets in the storefront formerly occupied by Smitty’s Place
Restaurant. Kjeld Petersen is the café’s culinary
consultant, and D.J. Pitts, formerly of Interim, is the
chef.

“We don’t know anything about running a kitchen, but we know what we
like to eat,” Byrd says, crediting Petersen’s expertise in developing
the menu. “We also want to support other local businesses and be
sensitive to the environment.”

To accomplish both goals, the restaurant is becoming Project Green
Fork-certified and buying local when possible. A chalkboard near the
front door lists daily soup specials (last Wednesday: mushroom barley)
along with the restaurant’s regionally sourced foods.

The menu’s salads, plate lunches, and sandwiches are simple but
sophisticated. Try an apple salad with petite greens, sweet onion,
bacon, cheddar, and grit cake for $8; sweet-potato ravioli with sage
cream sauce and toasted pumpkin-seed garnish, also $8; or a
mushroom-stuffed chicken breast with prosciutto, roasted potatoes, and
brioche toasts for $9. Sandwiches (chickpea fritter, chicken-curry
salad, pot roast and cheddar, and smoked chicken and brie) range in
price from $7.50 to $8.50.

On the way out, don’t miss the baked goods by the register. I went
for a marshmallow-topped brownie. Think granola bar meets s’mores, but
don’t think about sharing. You’ll want every bite for yourself.

Market Café, 149 Madison (577-0086) memphismarketcafe.com

Last summer, when Jeff Corrigan and Les Carloss
relocated Bluff City Bayou from the Medical Center to Midtown,
they swore off lunch.

“We only wanted to serve dinner,” Corrigan remembers, laughing. “But
we underestimated how many of our customers would keep clamoring for
lunch.”

In early October, Corrigan and Carloss finally relented to customers
and added lunch to their New Orleans-centric eatery. “It’s been busy
and fun, and it gets me out of bed in the morning,” Corrigan says.

The lunch menu, available from 11 a.m. to 2 p.m., duplicates dinner
fare, except for entrée and appetizer specials, offered only in
the evening. Po-boy and muffuletta sandwiches, along with seafood soup
du jour and gumbos, are popular at lunchtime, says Corrigan, especially
during wet and cool weather.

“Every week or two for lunch, we also rotate in
étouffée,” Corrigan says, which is served with rice, like
gumbo, but made with a lighter roux. Bluff City Bayou, 2117 Peabody
(274-8100)

Click on downtowndiningweek.com, and the
number of three-course dinners, all priced at $20.09, is a little
overwhelming. How about this from Felicia Suzanne’s: crispy Louisiana
oysters in barbecue sauce, wild Gulf shrimp and andouille sausage
sautéed in Creole sauce, and white chocolate and coconut bread
pudding for dessert? Or maybe you’d prefer these yummy courses from
McEwen’s on Monroe: soup of the day, grilled pork loin with apple
brandy sauce, and chocolate brownie with vanilla ice cream and caramel
rum drizzle?

In all, 20 downtown eateries are offering two fixed-priced dinners
for the Downtown Dining Week promotion. In addition to Felicia
Suzanne’s and McEwen’s, participants include Bangkok Alley, Kooky
Canuck, Automatic Slim’s, Circa, Sole, the Pig on Beale, Wang’s,
Rendezvous, the Majestic Grille, Bluefin, Tug’s, Bardog, South of
Beale, Mesquite Chop House, Spindini, and Itta Bena.

The dinner specials only last a week, from November 8th through
November 14th, and the $20 price tag does not include beverage, tax, or
gratuity.