Categories
Editorial Opinion

Quakes “R” Us

Last September, long before the weird, unpredictable weather that has beset us so far in 2010, well in advance of the shattering quakes that have laid waste to Haiti and Chile, a conference was held in London on the theme of “Climate Forcing of Geological and Geomorphological Hazards.”

The upshot of that meeting: As the conference organizer, Bill McGuire of University College London, put it, “You don’t need huge changes to trigger responses from the crust. The changes can be tiny.”

Localized translation: If your community happens to be located on the apex of the New Madrid fault, as Memphis and Shelby County notoriously are, maybe it’s time to take a long vacation. Better yet, stick to your stations and, calmly but carefully, be a good citizen by helping the likes of fellow Tennessean Al Gore raise consciousness concerning the reality of climate change and the not-so-farfetched peril that comes with it.

In an op-ed last week for The New York Times, Gore noted, “January was seen as unusually cold in much of the United States. Yet from a global perspective, it was the second-hottest January since surface temperatures were first measured 130 years ago.” Further, “[S]cientists confirmed last month that the last 10 years were the hottest decade since modern records have been kept.”

Gore further notes the scientific consensus that even the unprecedented snowfalls of the last month probably stem from the increased presence of moisture in the atmosphere, due to heat-induced evaporation from ocean surfaces.

All of which, hopefully, is enough to shake us out of our skepticism and our lethargy. If we’re both responsive and lucky, maybe that will be the only shake-up we need experience.

Who Knew?

Thanks to Gene Dattel, a locally raised historian, it is possible to get perhaps a truer sense of what the Civil War was and why it was fought than ever before. Dattel, a former managing partner of Salomon Brothers and Morgan Stanley, is the author of a well-received new book, Cotton and Race in the Making of America: The Human Costs of Economic Power.

His volume goes beyond the old arguments of slavery versus “states’ rights” as the proximate cause of the carnage that raged from 1861 to 1865. And it also goes beyond issues of morality by demonstrating that some of the leading abolitionists of the time were as opposed to black equality — and to black emigration to the North — as they were to slavery.

Speaking to the Memphis Rotary Club on Tuesday, Dattel spoke to these facts and then delivered the clincher for his thesis: The day before Abraham Lincoln signed the Emancipation Proclamation, he drew up a bill to finance the expulsion of freed slaves to Haiti and Liberia.

So what then was the Civil War about? Not slavery and not cotton but “slave-produced cotton,” which, so long as it lasted, gave the South a chance at economic monopoly of the Union or, in the case of secession, economic hegemony over the North American continent. Only by separating cotton — the dominant American export from 1803 to 1937 — from Southern slaveholders could Northern interests, which largely took over the trade after the war, prevail economically.

A downer in the history-book sense, but an eye-opener all the same.

Categories
Opinion Viewpoint

The Crazy Factor

A question relating to Iran’s suspected nuclear weapons program: Is Iranian president Mahmoud Ahmadinejad crazy like Adolf Hitler or is he crazy like, of all people, Richard Nixon?

Nixon had a term for his own sort of craziness: “I call it the Madman Theory, Bob,” he said to his aide H.R. “Bob” Haldeman during the 1968 presidential campaign. Nixon was talking about how he would deal with the Vietnam War. “I want the North Vietnamese to believe I’ve reached the point where I might do anything to stop the war. We’ll just slip the word to them that, ‘For God’s sake, you know Nixon is obsessed about communism. We can’t restrain him when he’s angry — and he has his hand on the nuclear button.'” The strategy, while cunning, didn’t work on the North Vietnamese. Maybe they were crazier than Nixon.

Ahmadinejad is some version of crazy, too. His denial of the Holocaust is either proof of a drooling sort of insanity or a kind of Nixonian craziness designed to keep enemies and adversaries off balance: What will this guy do next?

In tandem with his Holocaust denial, Ahmadinejad has repeatedly urged the destruction of Israel. While some experts differ on the precise translations of his words, his general goal is clear. What’s not clear, though, is whether he is expressing a wish or making a vow: “The Zionist regime will be wiped out.” “The Zionist regime is on its way out.” “This regime’s days are numbered.” “Thanks to God, your wish will soon be realized, and this germ of corruption will be wiped off the face of the world.” I could go on and on as, in fact, Ahmadinejad has.

On the face of it, these statements could be nothing more than the ranting of a demagogue intent on appeasing the mob. After all, Ahmadinejad has to know that any attempt to convert his rhetoric into action would be met by force. Israel is a nuclear power, and it will not go down without a fight. The Iranians cannot be that crazy. They are, in a Nixonian way, merely trying to impress. Maybe.

But the belief that the world operates rationally is itself irrational. The example of Hitler both instructs and warns. The Nazi leader was not just an anti-Semite who actually believed his insane theories; he also made decisions that were in themselves crazy. For example, why did he declare war on the United States after the Japanese attacked Pearl Harbor? Why did he invade the Soviet Union before he had defeated Britain? In both cases, he had his reasons. And in both cases, his reasons were crazy.

Israel, of all countries, has little faith in the rationality of mankind. It simply knows better. So the question of whether Ahmadinejad is playing the madman or really is a madman is not an academic exercise. It has a real and frightening immediacy that too often, in too many precincts, gets belittled as a form of paranoia. For instance, when Israeli leaders warn that they might take preemptive action against Iran — say, an attempt to bomb its nuclear facilities as they did in Iraq in 1981 — it is dismissed as irresponsible saber-rattling. Former national security adviser Zbigniew Brzezinski even suggested that if Israel tried such a thing, the United States might have to back it down with force. The Brzezinski Doctrine is refreshing in its perverse boldness: We shoot our friends to defend our enemies.

An Iranian bomb is not a matter that concerns only Israel. It would upend the balance of power throughout the Middle East and encourage radical/terrorist organizations such as Hezbollah and Hamas to ratchet up their war against Israel. Other Middle Eastern nations, not content to rely on an American nuclear umbrella, would seek their own bombs. An unstable region would go nuclear. (It speaks volumes about Middle Eastern reality and hypocrisy that Egypt serenely lives with an Israeli bomb but breaks out in diplomatic hives at the prospect of an Iranian one.) Have a good night’s sleep.

I have no idea whether Ahmadinejad merely acts crazy or is crazy. I do know, though, that Iran seems intent on getting nuclear weapons and the missiles to deliver them. I also know that nothing the United States and its allies have done has dissuaded Ahmadinejad (or the mullahs or the Revolutionary Guard Corps) from his goal. It may be time for Barack Obama, ever the soul of moderation, to borrow a tactic from Richard Nixon and fight crazy with crazy. The way things are going, it would be crazy not to.

Richard Cohen writes for the Washington Post Writers Group.

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We Recommend We Recommend

Building Blocks

A Jet magazine article from 1957 noted that architect Paul Revere Williams, the first documented African-American member of the American Institute of Architects, had agreed to a pro bono partnership with entertainer Danny Thomas to build a hospital for “destitute Negroes.” After visiting several Southern cities, Memphis was chosen as the location for the hospital, and Williams, who had come to be known as the “architect to the stars” because of his work on the mansions of Tyrone Power, Lucille Ball, and Frank Sinatra, went to work assembling the plans for what would become St. Jude Children’s Research Hospital, a facility that would treat all races regardless of a parent’s ability to pay.

In 2007, the University of Memphis joined forces with the Memphis chapters of the American Institute of Architects and the National Organization of Minority Architects to create the Paul Revere Williams Project to raise awareness of this prominent designer, who, in spite of his work on Los Angeles International Airport, Saks Fifth Avenue, and the Beverly Hills Hotel, had fallen into near obscurity. He died in 1980, and a 1992 fire destroyed many of his personal records.

The multifaceted project includes a website, a traveling exhibit, and a continuing-education component designed to show K-12 art teachers how to introduce elements of architecture and design into their curriculum, using Williams as an example.

“The number of black architects always has been small relative to the population,” says Leslie Luebbers, the director of the Art Museum of the University of Memphis (AMUM). “It’s important that minority students see someone like Williams, and we want to give the teachers who work with these students a battery of key tools — [like] vocabulary and lesson plans — to teach architecture and design.”

The website is online now, and the exhibit opens in September at AMUM. Continuing-education class gets under way in June. “This is the second time we’ve offered the class,” Luebbers says. “We learned a lot the first time and think this year things will be even more focused and useful.”

paulrwilliamsproject.org

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We Recommend We Recommend

Dream Deferred

Darius Wallace moved to Memphis to get away from the theater. But thankfully for Mid-South audiences, the full-time professional playwright and performer failed in his mission and has turned in numerous memorable roles, including Lincoln in Topdog/Underdog and Snug the Joiner in the Tennessee Shakespeare Company’s recent production of A Midsummer Night’s Dream. On top of his work on a variety of Memphis stages, Wallace is constantly touring his solo performances based on historical characters such as Malcolm X and Martin Luther King. His most recent creation, Hold Fast, a semi-autobiographical piece, uses the story of a hard-working actor as a means of approaching King, Malcolm X, and the everyday people who inhabit the writings of Harlem Renaissance poet Langston Hughes.

“At some point I realized the only thing I was qualified to do was be a security guard,” Wallace says. That’s why he started acting again in a city where it can be very difficult to make a living as a performing artist. “Or maybe I could go to work for FedEx handling boxes. I didn’t want to do that. I’m from Flint, Michigan,” he adds as an explanation for what he describes as a hustling, “blue collar” approach to making art and taking it on the road. Wallace says he began to rethink his approach to plays about historical characters while struggling with a ridiculous wig he bought while playing Frederick Douglass. “I never become Langston Hughes in this show,” he says. “I only play myself and characters from his poems.”

Categories
Music Music Features

On the Road Again

Bluesman T-Model Ford is loose. So loose that he blows B.B. King and Honeyboy Edwards — the only other practitioners of his craft who are near his age, which he estimates as 90 this year — out of the water.

While Edwards, now 94, lacks oomph, and where King, 84, comes across as somewhat pampered and predictable, Ford sounds as liberated, ragged, and raw as he did at the relatively young age of 77, when he recorded his debut album, Pee-Wee Get My Gun.

Born James Lewis Carter Ford sometime around June 1920, Ford’s public persona reads more like some mythical bluesman of the early 20th century than a musician who is actively performing today. During a stint at a saw mill camp, he was sentenced to 10 years on a chain gang after murdering a co-worker; allegedly, he served just two years before release. He cannot read or write, he has a well-documented propensity for Jack Daniel’s whiskey, and he didn’t pick up a guitar until well after his 50th birthday.

Although he was slow to start performing, Ford hasn’t stopped since Pee-Wee was released on Fat Possum Records in 1997, touring and recording with a bevy of musical partners, including the Greenville, Mississippi-based drummer Spam, the legendary Sam Carr, and Ford’s 11-year-old grandson, Stud. He met his current drummer, Marty Reinsel, a member of the Seattle blues trio Gravel Road, on one of Reinsel’s first trips to the Delta nearly a decade ago.

“Stud’s bad with the drums. I love that ol’ big-headed boy. Marty, he’s a fine little fella. I like ’em all,” Ford proclaims.

Ford’s been collaborating with Reinsel since 2008, when Gravel Road was asked to back him at Minneapolis’ Deep Blues Festival. That date was one stop on a two-week tour that ended in Wichita, Kansas, where Ford cut The Ladies Man, his seventh full-length (and his first for California-based Alive Records). Although The Ladies Man was recorded in a bona fide studio, the sessions are so relaxed they could’ve been cut in Ford’s living room.

Fans accustomed to Ford’s hypnotically droning electric guitar riffs might be surprised to find him playing an acoustic instrument throughout The Ladies Man. But the extended vamps are still there — five of the album’s 11 tracks clock in at over six minutes, with the last song, “Hip Shaking Woman,” running 10-and-a-half minutes.

A natural raconteur, Ford peppers songs like “My Babe” and “Two Trains” with extended soliloquies, such as “I Was Born in a Swamp” and “I’m Coming To Kick Yer Asses,” which make it clear he belongs not in a museum or casino but in the corner of a smoky, crowded juke joint.

The release of the album was somewhat delayed when, in late 2008, Ford went into the hospital with heart trouble.

“They put in a pacemaker, and he was on the phone with us from the hospital saying, ‘I’m ready to get back on the road,'” Reinsel explains. “We’ve been doing a tour every three months ever since. We even went to Europe last fall, and T-Model seems happy and healthy and strong.”

“Thank the Lord I’m living and able to go,” Ford says. “I’m picking up a little more speed now. I’ve got transportation, so I’m not sitting and worrying about nothing.”

Their current tour, which started in Boston last month and ends in Albuquerque on March 28th, includes a date at the Hi-Tone Café Friday night.

“Hanging out with T is easy,” says Reinsel, who adds that in his “alternate life,” he works as a clinical educator with a specialty in crisis response.

Ford, Reinsel says, is “completely independent. What he relies on me for is getting him from A to B and making sure he doesn’t get ripped off. I use a system of checks and balances — reporting the numbers at the end of the tour to T-Model and [his wife] Stella, to Randy Magee of the Highway 61 Blues Museum, and Roger Stolle at Cathead in Clarksdale. Otherwise, T-Model completely takes care of himself.

“The things I’m learning from T are life lessons,” Reinsel continues.

“We move so fast in the world these days, and T-Model moves slow. He reminds me to go slower, to be more patient. He helps slow me down, and when I’m with him, I find myself being a little more thoughtful and a little less selfish.”

Then Ford chimes in. “You’ve got to use yourself in happiness,” he says. “I’m happy with my life, like I’m living. The ladies treat me nice, and the men treat me nice, too. Nobody wants to fight, so I’m happy with it.”

Categories
Music Music Features

WEVL’s Spring Concert

Memphis’ community-supported radio station, WEVL-FM 89.9, will host its annual spring concert Saturday, March 6th, at the Hi-Tone Café, featuring three of the scene’s most interesting indie bands. Headlining will be Jack O & the Tearjerkers, Jack “Oblivian” Yarber’s vehicle for all manner of garage-/roots-connected styles, weaving Stones-y classic rock, punk-fueled garage rock, Dylan-esque folk-rock, and R&B and early rock-and-roll influences all into a clearly personal style. Also on the bill are Mouserocket, where Alicja Trout (the hard-rockin’ River City Tanlines) and Robby Grant (the bedroom-pop Vending Machine) find fruitful middle ground, and The New Mary Jane, where a couple of local-scene legends — Grifters cohorts Dave Shouse and Scott Taylor — have reunited. All that for only $10, with all admission proceeds going to support WEVL. Showtime is 10 p.m. See WEVL.org. for more information.

The New Mary Jane won’t be the only blast from the Memphis rock past taking the stage March 6th. At Minglewood Hall, Tora Tora will be playing. One of the leading bands on the city’s fertile metal scene in the late ’80s and early ’90s, Tora Tora made waves locally before being signed by major label A&M, with whom they released two albums, 1989’s Surprise! Attack (which reached #47 on the Billboard album charts) and 1992’s Wild America. By that time the music business was moving away from the straight rock/metal sound that had dominated the ’80s and more toward alternative/grunge after the breakthrough of bands like Nirvana and Pearl Jam, so perhaps Tora Tora was a couple of years too late. But in 2008, the original lineup of the band reunited and has played a series of live shows. The concert at Minglewood is being recorded for a live release. Showtime is 8 p.m., with Chosen View and Blackberry Wednesday opening. Tickets are $15 in advance and $17 the day of the show.

The Blues Foundation has announced its 2010 Blues Hall of Fame inductees, with a strong Memphis/Mid-South component: Mississippi-born, Memphis-bred harmonica master Charlie Musselwhite and classic early Memphis artists W.C. Handy and Gus Cannon and his Cannon’s Jug Stompers are among the inductees, along with Chicago bluesman Lonnie Brooks, blues-rock superstar Bonnie Raitt, and late R&B performer/songwriter Amos Milburn.

Non-performers honored this year are roots chronicler Peter Guralnick (author of several Memphis-connected books, including the two-part Elvis bio Last Train to Memphis and Careless Love and the Stax-centric history Sweet Soul Music) and Helena, Arkansas radio host Sonny Payne, of the classic King Biscuit Time program. There are eight recordings being inducted in the Blues Foundation’s hall of fame this year, among them Little Willie John’s “Fever,” “Blind Lemon Jefferson’s “Match Box Blues,” and Robert Cray’s Strong Persuader. The induction ceremony will be held Wednesday, May 5th, at the Memphis Marriott Downtown, the night before the 31st Blues Music Awards.

Goner Records celebrated its sixth birthday last week and the local record store/label isn’t slowing down. After its biggest release slate ever in 2009, Goner is off to a busy start this year: In February, the band released City of Rotten Eyes, the studio debut of longtime Jackson, Mississippi garage-punk band The Overnight Lows. On March 16th, Goner releases Rush to Relax, from Australian post-punk band Eddy Current Suppression Ring, whose 2008 Goner debut, Primary Colours, was one of the label’s best and most successful releases. This spring schedule culminates with the April 13th release of the long-awaited (and if ever that liberally used rock-crit phrase applied to a local release, this is it) third album from Harlan T. Bobo, Sucker.

Music Notes: Congrats to singer-songwriter Nancy Apple, whose new album, Shine, debuted at #33 on the Americana Music Association’s national airplay chart on February 22nd. Shine was released nationally this week … Memphis rapper Mr. Del has been nominated for a Dove Award from the Gospel Music Association. Mr. Del’s album Thrilla was nominated for Rap/Hip-Hop Album of the Year. Another artist with the Memphis-based Dedicated Music Group, Mali Music, was nominated for Urban Song of the Year for “Avaylable.” The 41st annual GMA Dove Awards take place April 21st in Nashville and will be broadcast April 25th on the Gospel Music Channel.

Categories
Book Features Books

A Lover’s Guide

You all right today?”

That’s the question a man in a straw hat seated at the counter of a diner in downtown Memphis puts to the woman waiting on him.

“It was customary in Memphis to put it like this,” we’re told of the question the man asks. “[I]t was a rough equivalent to ‘how are you?’ except that it was also infused with a friendly concern quite absent from the other expression. She [that waitress] had always loved it. You didn’t encounter it anywhere else … except Memphis. ‘You all right today?’ As though the questioner and the person being asked were in an ongoing conversation about something through which both were struggling. It was part of the charm of where she lived.”

And yes, Elaine Woodson, that waitress, is doing all right — today. She’s made a single life for herself after her divorce from an unfaithful man, a man with a drug habit, a man people wondered what Elaine was doing married to in the first place. So, what is Elaine doing calling that man in the straw hat from her mother’s house in Arkansas? Is she ready to engage in an ongoing conversation about something through which she’s struggling? And what are the characters in any of the 11 stories (five of them set in Memphis) doing in Something Is Out There (Knopf), the eighth and latest volume of short stories by Richard Bausch, holder of the Moss Chair of Excellence in the writers’ workshop of the University of Memphis?

In the book’s opening story, “The Harp Department in Love,” Josephine Stanislowski is trying to make sense of the announcement from her husband, professor emeritus at the Memphis School of the Arts, that their marriage is through — and trying, over the course of one afternoon, to put off the advances of her married friend and neighbor, Andrew. (Andrew’s wife, Ruthie, to Josephine, over the phone: “You all right?”)

In the book’s longest and best story, “Blood,” a man, Walker Clayfield, who’s fallen in love with his brother’s wife, Jenny, gets drunk on one too many beers at the bar of the Beauty Shop in Cooper-Young and attacks the man he’s convinced Jenny’s having an affair with. After Max, Walker’s brother, lays into Walker once he drunkenly delivers the news of Jenny’s supposed infidelity, Max comes to with the question: “Is everyone all right?”

The answer is they are not in “Blood,” or in the case of the unfaithful wife in “Reverend Thornhill’s Wife,” or the 27-year-old slacker who retreats under his bed in the house of his unhappy parents (after a drug deal gone very wrong) in “Son and Heir,” or the woman waiting for something possibly terrible to happen to her and her children inside her snow-covered house in the book’s title story, or the warring couples at a Toronto cafe in “One Hour in the History of Love,” or the doubting priest in “Sixty-five Million Years,” or the young wife in “Immigration,” who asks herself, “Oh, how did people do it? … [F]ind some way to be happy?”

Perhaps you’ve read Robert Stone’s Damascus Gate. “Perhaps you know Malraux’s Anti-memoirs,” Stone writes in that novel, and Bausch lifts that quote from Stone as an epigraph to Something Is Out There. The quote continues: “His priest tells us that people are much more unhappy than one might think … and that there is no such thing as a grownup.”

But there is such a thing as pitch-perfect hearing. Josephine Stanislowski has it for music. The same can be said of Richard Bausch’s way with dialogue, whether it’s displaying the disconnect between men and women, the sad note to a relationship between one man and another (in “Byron the Lyron”), or the subsurface tension between two men during a golf game (in “Trophy”).

And what of the aged characters in these stories? Some — divorced; widowed — have made their peace; some, still married, are still squabbling; and more than a few are as wanting as their adult children in the happiness department. More reason to repeat, Stone quoting Malraux, in the guiding quote to Something Is Out There. A grownup: “[T]here is no such thing.”

Categories
Art Art Feature

To the Heart of Things

“Metal in Memphis” on display in the Dixon Gallery & Gardens’ Mallory and Wurtzburger Galleries features work by six sculptors, all of whom are also artists-in-residence at the National Ornamental Metal Museum: Jacob Brown, Kevin Burge, Andrew Dohner, Mary Catherine Floyd, Jim Masterson, and Jeannie Tomlinson-Saltmarsh.

From the sleek sterling-silver perfection of Burge’s art deco Cake Knife to the curled lip, misshapen throat, and pitted, pear-shaped body of Brown’s Rock Vase, a forged-steel homage to life’s imperfect beauty, assistant curator Julie Pierotti has gathered together artworks by sculptors who push their materials to the limit.

Floyd’s mastery of mild steel borders on alchemy as she convincingly simulates leathery sheaths in Cocoon, dark brocade in Vaughan Design Wallpaper Study II, and what could be the cratered surface of a moon in Vessel II. By fraying the top edge of this crescent-shaped work, Floyd also conjures up an ancient boat covered in animal hides and a bamboo basket in-the-making.

Tomlinson-Saltmarsh pushes meaning as well as metal to the limit in the cast-aluminum installation “Escaping the Net.” Using the heads of rubber baby dolls as molds, she creates what look like three torn pieces of tapestry. Viscerally compelling as well as metaphorically complex, we both see and feel the innocents’ attempts to disentangle or push their way through the metal netting. By adding tiny trolls, jack ‘o’ lanterns, clowns, and disembodied hands and feet to the tapestry, Tomlinson Saltmarsh takes us from whimsy to kitsch to horror. 

At the Dixon Gallery & Gardens through March 18th

Mike Coulson’s abstract landscapes in “Recent Paintings,” on display at Askew Nixon Ferguson Architects, evoke the world’s constant flux and passages of rare beauty. Layer after layer of what look like translucent skin, sky, and swaths of fabric in Stepping Out suggest deeply tanned beachcombers au naturel and back-dropped by piercingly blue sea and sky. They move in and out of the light beneath beach umbrellas with crisp-edged stripes that fade to gray to black, then lighten to near transparency as their colors bleach in the sun.

Coulson’s works — acrylic on canvas and inkjet prints — contain exuberant calligraphy and complex crosshatchings backed by seemingly endless variations of color and topped off with saturate stripes. Remarkably, they never look overworked or confused or muddy. 

As titles like Awakening, Through the Middle, Peeling an Onion, Heart of My Heart, and Eye of the Needle suggest, Coulson attempts to get to the physical, emotional, and psychological heart of things. In Sanctuary, he creates a safe haven that brings to mind sunlight and breezes moving through the Venetian blinds of an open window and across the walls of a room in which we nap. Depending on how deeply we doze and each wall’s proximity to the light, Coulson’s subtly modulated color fields, brick-red, burnt-orange, raw sienna, and umber bleed into one another. Luminous orange threads (cords to the Venetian blinds, perhaps, or fleeting dream images) wafting across the surface of the painting make Sanctuary one of the most evocative works in this or any other current show.

At Askew Nixon Ferguson through March 12th

Categories
Food & Wine Food & Drink

Brewhaha

This year marks the first of two annual celebrations of beer-brewing: The River City Brewers Festival will take place on March 13th at Handy Park in downtown Memphis and benefits St. Jude Children’s Research Hospital. The Memphis Brewfest will take place on April 24th at AutoZone Park and benefits Parent Project Muscular Dystrophy.

The River City festival will feature two sessions: session A from noon to 4 p.m. and session B from 6 to 10 p.m. Each session will offer samples of 75 different beers, seminars on the history and craft of beer, and an opportunity to meet with brewers (not just sales representatives) from breweries all over the country. There will be live music at 12:30 p.m. from the Mighty Electric St. Jude Band, a group made up of St. Jude doctors and employees, and at 6:30 p.m., Mudflap King will take the stage.

Why the sudden interest in brewing?

“We saw a significant increase in the demand for microbrews and craft beers in our bars, clubs, and restaurants,” says Christina Ramsey of River City Management Group, which is hosting the event. “So, we’ll have several types and flavors that aren’t normally available in the Memphis market. It will be a showcase of those beers.”

In addition to all that beer, the artist who designed the Blue Moon label will do a painting to be auctioned off. And the brewmaster from New Belgium will debut the company’s new line of seasonal beers at the festival. There also will be merchandise for sale, and all ticket holders will receive a souvenir mug.

Tickets are $30 per session. Go to the website rivercitybrewersfestival.com, or call 268-6439.

The Memphis Brewfest will offer beer lovers a second opportunity to taste-test and talk beer — this time with a focus on international beers. Martin Daniels, the event’s coordinator, is a longtime beer lover (he’s been to beer festivals from Denver, Colorado, to Athens, Georgia), and he is the father of a child with muscular dystrophy. So, starting a beer festival was an obvious choice to benefit Parent Project Muscular Dystrophy. He went to the Memphis Redbirds Foundation with his idea, and they decided to sponsor the event.

The festival will take place from 4 to 8 p.m. at AutoZone Park, with a performance by Patrick Dodd and Evolution and more than 95 kinds of beer from all over the world. The usual suspects will be there — Germany, Ireland, the Czech Republic — but expect to also see brews from Vietnam, Australia, and Japan. If you like to drink local, don’t worry: The Bluff City Brewers, the Homebrewer’s Association of Middle Mississippi, and local breweries such as Ghost River will offer samples. In addition, representatives from Anheuser-Busch will stage brewing demonstrations.

To help balance out a liquid dinner, stadium concessions also will be open for the festival. For future Brewfests, Daniels hopes to offer international foods to accompany the international beers.

Tickets are $32 before April 15th, $35 after April 15th, and $40 at the door. Contact memphisbrewfest.com.

A different kind of brew is percolating in Harbor Town. Café Eclectic has opened its second location in the downtown neighborhood.

Like the Vollintine-Evergreen location, the new Café Eclectic has illy brand coffee brewing all day and offers freshly baked treats made from scratch (delivered each day from the Midtown location). Plus, the free Wi-Fi and comfy seats are begging for students and walk-in traffic.

Rachel Boulden, daughter of Café Eclectic’s owner Cathy Boulden, is currently the manager of the Harbor Town location. According to Rachel, “We’re more of a coffee bar than a coffee shop.”

Which is to say the café doesn’t have a full kitchen, and you won’t find the extensive lunch and dinner menu of the Midtown location. But the baked goods are a strong pull — homemade donuts, cookies, pies, fresh breads, bagels, and paninis. The sign reads “More Coming Soon,” but considering the café opened only recently, the spread is impressive. Plus, they’ve already extended their hours. The café is open 6:30 a.m. to 9 p.m. Monday through Saturday and 7 a.m. to 3 p.m. on Sunday.

Categories
Film Features Film/TV

Roots of Repression

Set in a Protestant feudal village in Northern Germany in the year prior to the start of World War I, Austrian director Michael Haneke’s The White Ribbon won the top prize, the Palme d’Or, at the Cannes Film Festival last summer and arrives in town boasting two Oscar nominations, one expected — Best Foreign Language Film — and one not — Best Cinematography.

The cinematography nod is richly deserved. With director of photography Christian Berger, Haneke uses sharp black-and-white and a calculatingly classical shooting style — exactingly framed static medium shots and elegant, subtle, nearly invisible tracking shots — to help establish period. The White Ribbon is not only set early in the last century but looks like it could have been made many decades ago as well, perhaps intentionally evoking such early-to-mid-century European art-film masters as Ingmar Bergman and, especially, Carl Dreyer.

Though narrated, many decades later, by the village’s young schoolteacher, the protagonist is the community, or, more specifically, its children (the original title contained an addition: “A German Children’s Story”). The village in The White Ribbon is dominated by five central households, the patriarch of each recognized by title rather than name — the Baron, the Steward, the Pastor, the Doctor, the Farmer — with each presiding over multiple children.

The now-elderly narrator introduces the film as a story of “the strange events that occurred in our village,” justifying the telling by asserting that “they could perhaps clarify some things that happened in this county.”

These strange events begin with the village doctor thrown from his horse, tripped by a mysterious, nearly invisible wire strung between two trees. Later, the wife of a peasant farmer dies in an accident at a sawmill owned by the baron. Later still, unsolved acts of violence are visited upon some of the children: The baron’s son is found hung upside down at the mill, stripped and beaten. The developmentally disabled child of the village midwife is found tied to a tree, beaten and bloodied, with a hand-scrawled note containing lines from the Lutheran Bible about a vengeful God.

But other acts of violence are portrayed as mundane: children beaten by their parents for staying out too late; a boy tied to his bed at night to combat the nocturnal temptation of masturbation. And still other, even more sordid acts happen under mild cover.

Haneke presents this ostensibly peaceful society as an arena of economic oppression, incest, spiritual and physical violence, and hypocrisy. Or, as one character protests toward the end, a place filled with “malice, envy, apathy, and brutality.”

Most of the violence in the film happens off-screen, and the pace of this already long film is slow, deliberate. The style is as severe and withholding as the village, and the result is that The White Ribbon builds considerable tension and unease among viewers it doesn’t alienate entirely.

If there’s clarity here, as the narrator promises, Haneke doesn’t hold the viewer’s hand in pursuit of it. The film’s ostensible subject — nothing less than the roots of German fascism — is never made explicit. The children here, roughly ages 8 to 15, are the generation that will rise to power as National Socialism takes root a couple of decades later, and Haneke purports to show the ingrained cause of that national psychosis, with repressive, stern, violent ideals hardening into ideology. (The film’s title refers to the article the pastor ties around the wrists or hair of his children to remind them of “innocence and purity.”)

There’s a whiff of the genre pic here — reviewers have referenced The Village of the Damned (or, more dismissively, Children of the Corn). But Haneke isn’t interested in genre mechanics or payoff. The White Ribbon is to atmospheric horror as Haneke’s earlier (and, to my mind, slightly better) Caché was to the Hitchockian thriller. He uses the bare bones of the style toward his own political and aesthetic ends, while denying the genre’s inherent catharsis or resolution. It’s an impressive film — especially visually — but a difficult one.