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News The Fly-By

Build Skate Repeat

For drivers who quickly pass the corner of Evelyn and Roland in the Rozelle neighborhood, it’s hard to tell the difference between the skate park known as Altown and any another abandoned lot in Midtown. But a further look reveals a skate park in a constant state of construction, complete with mini-ramps, skate boxes, and grind rails.

Zach Beerman, the unofficial leader of Altown, said that the name was inspired by a graffiti message on a park bench downtown.

“The name  ‘Altown’ was written on a bench by a homeless person named Al. The bench was his, so he called it Altown,” Beerman said. “It is kind of a weird name, but it just kind of stuck to the spot.”

Beerman says the police have shut down the park before, due to a noise complaint, but he sees Altown as a cornerstone in the neighborhood between the Cooper-Young District and Lamar.

“The neighbors are cool with us, and for the most part, they like what we’re doing,” Beerman said. “I can think of two neighbors who are down there almost every time we pour concrete, helping us out, and that’s pretty sick. These are people who have nothing to do with skateboarding. The whole thing is pretty positive when you think about it.”

Concrete is like gold to the group of skaters who work on Altown almost every Sunday, with supplies donated or purchased from local hardware stores. There have been a handful of Altown benefit concerts at small music venues around town, and most of the concrete and steel has been paid for by the skateboarders who frequent the spot. Some donations also roll in to Altown from a donation box at the Midtown Skate Shop on McLean, where a donation can be exchanged for an Altown t-shirt.

Although Altown is built by skateboarders, for skateboarders, Beerman said they also allow BMX riders and rollerbladers at the park, as long as they are willing to follow the rules. Those rules are pretty simple: Don’t do something that will ruin the place for everyone else.

In addition to providing a safe place to skate, Beerman said Altown is helping to keep neighborhood kids off the street.

“We want kids to get out of the house and exercise, get away from the Xbox and the TV. It’s good to get the neighborhood kids active and doing something positive,” Beerman said. “The area that Altown is in gets rougher as you keep walking, so we could be keeping these kids out of gangs by introducing them to skateboarding.”

Last month, Thrasher put Altown on the map when the popular skateboarding magazine chose Altown to host their “Skate Rock Tour,” a concert/skate demo party that brought numerous professional skaters and the editor of Thrasher to Memphis. But even after being recognized by national media, Beerman said he has no plans to change from the DIY ethic that has made Altown what it is.

“I like being able to tear stuff apart and make changes to ramps as we want to,” Beerman said. “That’s something that you definitely can’t do at any other skate park.”

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News The Fly-By

What They Said

About “Letter from the Editor” and ways to eliminate rats, which somehow evolved into comments about buying in bulk:

“We got a hell of a deal at Costco. 12,550 rolls of Charmin for $2,268.15. It takes up a whole bedroom but I don’t expect to run out in the next 60 years. You know the old saying, ‘You can never have enough toilet paper.'” — diogenes323

About “The Rant” and the “political slaughter” of President Obama:

“I hate Obama because he is Wall Street’s boy and has been for a really long time. And because he and Hillary effectively block out what little chance we have for actual progressive leadership. Otherwise his act and his family are perfect. Somebody deserves an Oscar for casting these last six years.” — CL Mullins

About “Haslam Disavows State Role in Local Car Inspection”:

“Silly, myopic people. When the last tree is cut down to build another cul-de-sac, and the air quality looks like Bejing, Mexico City, or Vapi, India, some will say it’s only because of Memphis. But hey, at least you won’t have to pay a fee/tax to ‘subsidize’ a public employee. At the rate this state is going we will be Texas, minus the highways.” — jrgolden

About “Griz Roster Prognosis: In Order of Probable Return”:

“The Griz brass is in a tough spot. The front office appears to prefer Joerger but feels obligated to hire Hollins. It’s kind of like, do you marry the girl (or guy) you are most passionate about and have many things in common with or do you marry the responsible, reliable one your friends and family like the best?” — Iggy

Comment of the Week:

About “Silky Sullivan Passes Away”:

“Silky is in heaven with his cigar, and John Willingham is cooking ribs. What a party.”

Jimmy Wagner

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News The Fly-By

Art History

Annexed in 1919, Binghampton was once an independent, racially integrated town on the outskirts of the city. Today, it remains racially diverse, but it’s a neighborhood divided in another more literal way — by the interstate and Sam Cooper Boulevard.

The story of how the interstate construction affected Binghampton, as well as its rich civil rights history are possible topics that could become the subject of four sculptures to be placed along the planned Overton-Broad greenline path.

Known as “art exploration stations,” the four proposed sculptures will be designed to share the community’s history in an interactive way. As people walk or bike along the Overton-Broad connector, they’ll be able to stop and play with hands-on public art installations.

The Historic Broad Business Association won a $65,000 grant from the National Endowment for the Arts to fund half of the cost of each $36,000 installation. IberiaBank has already stepped in to fund the other half of one sculpture, and donors are still being sought to complete funding for the other three.

“The art exploration stations are a perfect fit with our goals of supporting our Memphis community and helping to revitalize this unique and wonderful part of Memphis,” said Greg Smithers, president of IberiaBank.

Other cities have installed similar exploration stations, such as an interactive water pipe organ in Ontario, Canada, that honors that area’s musical heritage or a spinning-wheel sculpture in Asheville, North Carolina, that depicts various forms of transportation by playing sounds when the wheel is spun.

The sculptures will be placed in high-traffic areas along the Overton-Broad connector, a planned two-way bike path leading from Overton Park, down Broad Avenue, and along Tillman to meet up with the Shelby Farms Greenline.

“The plan is to have some neighborhood meetings so we can hear more about what is important to the community and uncover some of the history,” said Pat Brown, vice president of the Historic Broad Business Association.

The UrbanArt Commission will choose four artists in an open-call process. Brown said they’ll narrow the historical subjects down to 10 and allow the chosen artists to pick which one they’d like to create a sculpture for.

Brown believes construction of the connector path and art installations will have a profound impact on improving the Binghampton neighborhood.

“It’s going to be a world-class pedestrian and bicycle facility, but it’s the impact on economic and neighborhood revitalization that we think is where the return on investment occurs,” Brown said. “It creates a new traffic flow through the neighborhood. It’s tying together different parts of the city and bringing them through Binghampton.”

The Historic Broad Business Association also recently won a $350,000 grant from ArtPlace America to pay an artist to paint the iconic Broad Avenue water tower and to transform the warehouse loading dock under the tower into a live-music amphitheater.

The water tower design will be a competitive process, and a winning artist will be chosen at the next Crosstown Arts MemFEAST dinner (see page 10).

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News The Fly-By

School of Fish

Are there fish in Lick Creek?

That was the question on artist Jeannie Tomlinson Saltmarsh’s mind when she was inspired to design a school of fish for the V&E Greenline, a converted “rails to trails” path that runs from Watkins to Rhodes College in Midtown.

Saltmarsh’s fish sculptures won the popular vote at MemFEAST, a Crosstown Arts-sponsored dinner at which patrons vote on public art project proposals, on May 18th. She was awarded $5,000, collected from patrons’ MemFEAST ticket fees and corporate sponsorships, to install five to seven fish near the Lick Creek bridge.

“I was walking down the greenline and over the bridge one day. I looked into the creek and wondered if there are actually fish in there,” said Saltmarsh, who works in the metal foundry at the National Ornamental Metal Museum.

Saltmarsh did some research and learned that Lick Creek is home to all sorts of wildlife, but gambusia fish, also known as mosquito fish, are extremely prevalent. The mosquito-eating fish have been handed out by the county health department and other organizations over the years as a way to combat the West Nile virus.

She drew some renderings for a school of fish positioned on metal poles that stick 12 to 15 feet in the air. Saltmarsh’s idea was chosen as a finalist for MemFEAST, which stands for “Funding Emerging Artists with Sustainable Tactics,” and she presented her idea to patrons at the annual event, which was held on the V&E Greenline this year.

Her project beat out proposals by four other artists, including plans for a rainbow arch at the west entrance to the greenline, a plan for metal arches throughout the greenline, nature-themed wraps for MLGW’s well houses along the trail, and an interactive musical sculpture.

The fish will be made from a 14-gauge steel sheet sliced with a plasma cutter. The fins and tail will be textured, and the fish will be painted a natural color.

“They will be positioned on weather-vane mechanisms, similar to skateboard wheel bearings. The tails are big, and they’ll catch the wind. If the wind hits them all at the same time and with the same force, they will move together like a school of fish,” Saltmarsh said.

She’s hoping the sculptures will inspire people to take better care of Lick Creek. And Crosstown Arts co-founder Chris Miner said the project has already caused him to take a second look at the creek.

“Her project concept inspired me and my 3-and-a-half year old son to walk to the bridge and look for fish in Lick Creek, which we did not realize were there until we heard her pitch. There were tons of them under the bridge. I was as surprised and excited as my kid,” Miner said.

There’s no timeline yet for when the sculptures will be installed. Additionally, Saltmarsh has taken over repairs to the “Big Kids” sculptures on the western end of the V&E Greenline. The large, cartoon-like, blue sculptures were installed there by a Rhodes College public art class a couple of years ago, but they’ve suffered some weathering and vandalism. Saltmarsh expects to have that project complete by the end of June.

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Music Music Features

Meeting in the Middle

Down in Louisiana

Bobby Rush

(Deep Rush Records/Thirty Tigers)

Arguably the reigning king of the so-called Chitlin’ circuit, Bobby Rush has been playing around with his contemporary soul/blues sound — “folk-funk,” he calls it — more in recent years, most notably on 2007’s solo, acoustic Raw. Recorded at Ocean Soul Studios in Nashville with keyboardist/producer Paul Brown and mastered in Memphis by Kevin Nix, then released earlier this year, Down in Louisiana is another departure for the 72-year-old Mississippi institution.

“Way down in Louisiana/Down in Cajun land/Folks got something going on down there/That you might not understand,” Rush sings to open the lead/title song and then give his own blues-drenched tour of his birth state. While not as unadorned as Raw, this is still a relatively stripped-down work for Rush: guitar-bass-drum-organ with a little bit of harmonica and accordion at times; no horns.

Title song aside, the lyrical content here isn’t unusual. Rush wrote or co-wrote nine of the 12 songs, and the record showcases both his signatures and his versatility. There are Rush-ian double-entendres (“You just like a dresser/Somebody always in your drawers”) and dirty jokes (“Bowlegged Woman”). He growls his way through an insolent post-cheating reaction on “I Ain’t the One” (“I ain’t the one to trust your explanation/The cologne I smell there ain’t the kind I wear”) and offers lilting, classic-soul reassurance on the charming if perhaps overlong “Don’t You Cry.”

Rush sounds equally comfortable on the blues-bar ready “Boogie in the Dark,” which plays off the standard “Sweet Home Chicago” riff and refrain, as he does on the meaner, juke-joint-oriented “Raining in My Heart.” The instrumental party-blues vamp “Rock This House” is as convincing as the gospel-blues closer “Swing Low.” And he confronts what the good times keep at bay — concerns over “Tight Money” (“The cost of living y’all is going sky high/Cost too much to live and it cost too much to die”) and personal pain (“What Is the Blues”).

Musically, the Louisiana theme comes and goes. Some songs would sound at home on any Rush recording, but it’s swampy at times and deploys a relaxed Crescent City groove at others. Rush has been releasing worthy albums to a niche audience for decades now, often even under the radar of modern-blues specialists. But even more than most, Down in Louisiana is an album worthy of consideration beyond Rush’s core fan base.

Grade: B+

Bobby Rush plays the “Live on the Levee” concert series in Helena, Arkansas, on Saturday, June 8th, with Tyrannosaurus Chicken. Music starts at 7 p.m. Tickets are $30. See kingbiscuitfestival.com for more info.

Desperation

The Oblivians

(In the Red)

With the Oblivians’ ’90s heyday roughly coinciding with my far-from-Memphis college years, I had the misfortune of only seeing the band live once during their initial run, near the end, soon after the release of the band’s great apparent swan song, 1997’s … Play Nine Songs with Mr. Quintron. But I’ve seen most of the band’s local “reunion” gigs in recent years and none were better than this spring on the final night of the Poplar Avenue Hi-Tone Café, a no-frills performance heavy on then-unreleased new material that suggested a return to active status — with a new record on the horizon and plenty of recording and practices under their belt — had energized them.

For a week after that night I walked around humming and singing “Call the Police,” a song I’d heard for the one and only time that night and that felt like an instant classic.

“You better call your wife/Call your bossman/Cause we ain’t never goin’ home,” Cartwright sang that night. “Call the police/Call the police/Cause we’re gonna get our drink on,” he yelped as a sold-out crowd said goodbye to a beloved club and welcome back to a classic Memphis band.

The song, it turns out, is a cover. And not the usual ancient rock/soul chestnut or punk obscurity you might expect the band to unearth. It’s a zydeco line-dance song and relatively recent regional single from an artist named Stephanie Sanders (released under the name “Stephanie McDee”), who has apparently since gone gospel and disowned the song. The Oblivians rev it up and make it their own. What seemed classic on first live contact sounds just as much so on Desperation, the band’s first studio album in 16 years, which was recorded at Dan Auerbach’s Easy Eye Studio in Nashville and released on June 4th.

But “Call the Police” isn’t the only new Oblivians classic on the album. The band rivals it from the very outset with Cartwright’s “I’ll Be Gone,” which, as he told the Flyer‘s Chris Davis in last week’s cover profile on the band, was partly inspired by the 2010 death of 29-year-old one-time band protégé Jay Reatard. “Let’s rock-and-roll as we get old/We will before too long,” the band sings on what amounts to an urgent, honest manifesto that sets the tone for the rest of this terrific and rewardingly purposeful reunion.

Cartwright and bandmates Jack Yarber and Eric Friedl have all produced as much good work — on and off record — since the band’s initial breakup as they had before. Probably more. And Desperation is true to how each member’s persona and style has evolved while also honoring the band’s particular gestalt. Friedl (“Woke Up in a Police Car”) is the punk conscience. Yarber (“Run for Cover”) is the truest rock-and-roller. Cartwright (“Pinball King”) the classic pop savant.

Grade: A-

Categories
Film Features Film/TV

Young Woman’s Blues

Indie-film stalwart Greta Gerwig gets her fullest showcase as the title character in Frances Ha, a quick-stepping, black-and-white entry-to-adulthood comedy. Flipping the script on the Manic Pixie Dream Girl ideal, the awkwardly effervescent Gerwig may well be a muse for filmmaker/boyfriend Noah Baumbach (he directs, she stars, they co-wrote), whose own films (Greenberg, Margot at the Wedding, The Squid & the Whale) have lacked the spark and tenderness Gerwig inspires and provides. But her awkward character — deemed “undatable” by one male friend — is too busy with her own problems to rejuvenate any lost male soul on screen.

The film is set primarily in New York City, but quick trips to Sacramento, Paris, and Poughkeepsie, along with Frances’ own increasingly nomadic existence, give the film a bit of a road-movie vibe. Frances — “Ha” is not her last name, but the title is explained with a final grace-note flourish — is 27, five years into “postcollegiate” life and trending from “aspiring” to “failed” in ways she hasn’t quite accepted. A gangly creature who seems always on the verge of some kind of physical or verbal pratfall, she’s barely employed as an apprentice with a small dance company and has an unrequited love for the hard city that both feeds and crushes dreams.

More stable, or so she believes, is her close relationship with college pal and roommate Sophie (Mickey Sumner), whose relationship is likened to “the lesbian couple that no longer has sex.” This is dorm life, extended. But adulthood beckons, and Frances is less prepared for it than most of her compatriots. When Sophie moves to a Tribeca apartment share Frances can’t afford, the small moment is mammoth for Frances, bumping her from a comfortable if downbeat stasis into a more precarious place.

Filmed in black-and-white (on digital video, and I did yearn for real film at times) and following educated white people around Manhattan and Brooklyn, Frances Ha comes on like Woody Allen — particularly Manhattan — but the secret to why it’s so good is that it might be closer to Albert Brooks’ comedy of embarrassment. Allen and Brooks (Lost in America, Modern Romance) were East Coast/West Coast doppelgangers in the ’80s, starring in, writing, and directing comedies that were similar on the surface despite the continent that divided them.

In Allen’s films, the characters he played were neurotic, but despite his ostensibly self-effacing tics, the Allen figure really was supposed to be smarter and funnier and more cultured than anyone else on screen. With Brooks, the protagonists he played were self-involved but the filmmaking was not. This made the social critique sharper, the comedy deeper, and the pain much more real. And so it is with Frances Ha, which is, at times, a deeply painful comedy that taps into many truths about a certain strand of contemporary young adulthood (“You know I’m actually poor, right?” Frances asks of two parent-subsidized roommates) without idealizing its flawed protagonist.

The black-and-white helps, but Frances Ha suggests French new wave more than Gerwig-identified mumblecore in other ways. Frances and Sophie lolling around their flat evokes Rivette’s Celine & Julie Go Boating. Frances refers to her brief respite as a boarder with two male friends in sitcom terms, but it feels more like Truffaut’s Jules and Jim in contemporary miniature. And Gerwig’s exuberant jaunt across Manhattan streets, captured in a tracking shot, to the tune of David Bowie’s “Modern Love,” suggests the museum race from Godard’s Band of Outsiders. Like those films, and perhaps unlike the mumblecore stuff Gerwig graduated from, Frances Ha feels at once intensely contemporary and timeless.

Frances Ha

Opening Friday, June 7th

Ridgeway

Categories
Film Features Film/TV

Room 237 tests the limits of film-geekery.

The documentary Room 237 sounds like film-buff catnip, and it looks that way for a while. Subtitled “Being an inquiry into The Shining in 9 Parts,” this big film-festival hit from last year is a portrait of five elaborate fan theories about Stanley Kubrick’s 1980 horror classic.

I was excited to see it, but have watched it twice now and both times I’ve steadily lost interest. The theories range from relatively mundane to wild: It’s about the genocide of Native Americans. It’s about the Holocaust. It’s an interpretation of the Greek myth of Theseus. It’s an apologia from Kubrick for his role in faking the Apollo moon landing. (No, really.) If you play it forward and backward at the same time and super-impose the two images onto each other … like, wow, man. And they’re all sort of ridiculous in different ways: Notions spun off of overinterpreted wall portraits and the placement of background objects. Ideas rooted in preexisting obsessions. Every continuity error invested with authorial intent.

“Kubrick is thinking about the implications of everything that exists,” one subject enthuses. Another insists that the placement of a folder on a desk in one scene is meant to represent an erection when an actor stands up. “It’s a joke. But a very serious one,” he says.

Because the attempts at film criticism seem so half-baked, Room 237 is less about Kubrick’s film than about the urge to theorize, to analyze, to make sense of things. This is a worthy subject in of itself, but the ultimate failure of Room 237 is that director Rodney Ascher doesn’t seem quite up to the task of making this particular film.

Room 237 has the precise but playful look and loopy hook of an Errol Morris film, suggesting such oddball Morris portraits as Tabloid or Fast, Cheap, and Out of Control. Visually, it’s up to snuff: Ascher uses copious footage from Kubrick’s film as well as other Kubrick material (particularly from Eyes Wide Shut and Barry Lyndon), file footage, and subtle recreations. The only narration comes from his five subjects, who are otherwise kept off-camera. But the film is probably too deferential toward its subjects — too invested in their half-cocked ideas and not interested enough in them as subjects. As a result, instead of a thoughtful or even sardonic glimpse into what drives these kinds of fan theories, we’re mostly left with listening to them drone on, like being trapped in an endless session of pretentious bar talk.

But Room 237 does look great and may inspire you back to the source itself: To appreciate Kubrick’s precise images and structures rather than to test-drive these five theories. After an Indie Memphis-sponsored screening at Studio on the Square earlier this year, Room 237 gets a second stand-alone Memphis screening this week at the Brooks Museum of Art.

Room 237

Brooks Museum of Art

Sunday, June 9th

2 p.m., $8 or $6 for members

Categories
Politics Politics Feature

A Worldview of Sorts

The suburban conservatives on the Shelby County Commission do not quite have what the German academics of the 19th century called a “Weltanschauung” (loosely translated: a “worldview”), but they are on the way to developing one.

Midway through a lengthy debate Monday on the twin issues of a budget for fiscal 2013-14 and a county tax rate for that period, Commissioner Heidi Shafer, a District 1 Republican who represents areas of both Memphis and Shelby County but who aligns most of her views with those of her GOP colleagues from the outer-county District 4, made a startling proposal.

Rather than raising the tax rate from $4.02 to $4.38 ($4.42 for the suburbs — the difference representing a rural-school-bond levy in 2003 to pay for a new Arlington High School) and adding money to the budget to pay for public-school and other expenses, as called for by county mayor Mark Luttrell, Shafer moved that the commission instead pare Luttrell’s proposed budget by a full 15 percent.

Such a plan, objected county CAO Harvey Kennedy, Luttrell’s chief aide, would require the elimination of “about 870 funded and filled positions,” including many in “public safety and criminal justice,” and would “decimate county government.”

Said Kennedy: “I don’t think you’d recognize what was left.”

Unfazed, Shafer continued. What she had not heard, she said, was any consideration given to the idea of “spending less,” which would be a routine response for a private business in a financially straitened circumstance. “Breaking down some of the bureaucracy?” she said. “Absolutely! We keep feeding the beast.”

District 4 commissioner Wyatt Bunker, who seconded Shafer’s motion, then weighed in with a protestation that indeed such cuts could be made without compromising the necessities of government. Every year, he said, the proponents of a larger budget would conjure up a situation of “bare bones” requiring “desperate measures” — merely scare tactics, according to Bunker.

This was too much for District 2 commissioner Walter Bailey, the venerable African-American Democrat who has campaigned long and hard in the course of his several terms for the uses of government in easing the burden for society’s lesser favored.

Everything he had just heard was “empty rhetoric, conservative grandstanding,” he said. And he demanded: “What school of economy do these folks come from?”

Though somewhat taken aback, Shafer quickly supplied an answer. “Von Hegel,” she said.

Von Hegel? Puzzled, a reporter queried her by text. Did she mean Hegel, the 19th-century German historian?

Ultimately, Shafer corrected herself. She had meant to say “Hayek,” she said.

This would be Friedrich Hayek, sometimes “von Hayek,” an Austrian, later British, philosopher, whose book The Road to Serfdom had been a holy book of small-government conservatives in the mid-20th century, right up there with Barry Goldwater’s Conscience of a Conservative.

Shafer’s proposal for a 15 percent cut was rejected, as was a fallback proposal for a scaled-back version of the Luttrell budget that would substitute for his 36-cent tax increase a 6-cent increase that would have cut the mayor’s budget by some $9.6 million.

Shafer had one more card up her sleeve, however: Her proposal to cut a mere $15,000 from the budget, this being the amount spent on providing lunches for commission members, staffers, and county bailiffs on meeting days.

At the suggestion of District 5 commissioner Steve Mulroy, a Democrat, the amount was halved to $7,500, which would eliminate the lunches made available preceding and during the full commission’s biweekly Monday public meetings but leave untouched those prepared for the Wednesday committee sessions, which, as Mulroy noted, tended to stretch from early morning until mid- or late afternoon.

But the vote to cut even that amount failed to win a majority, with a 6-6 result — giving Shafer and her allies on the commission and in the auditorium a talking point for the rest of the meeting. As another District 4 commissioner, Terry Roland, would put it, those who voted for what he saw as a spendthrift budget injurious to taxpayers would “take food out of the public’s mouth, [but] not out of your own mouth.”

Finally, the Luttrell budget and tax-rate proposals were approved — minus only $300,000 which had been allocated for federal monitors of reforms mandated for Juvenile Court by the U.S. Department of Justice. Commissioner Henri Brooks, the inner-city Democrat who had called for the DOJ to investigate the court in the first place, moved to eliminate the monitors, essentially on grounds that the feds had appointed them without local input.

She had no trouble making that stick with a majority on a body which had been virtually unanimous in resenting being shut out of the negotiations on the ultimate agreement between the court and the DOJ.

Left intact, despite some recent proposals to prune them, were some $630,000 in grants to various nonprofit agencies, notably the Community Alliance for the Homeless, which had several advocates and commissioners speaking for it on Monday. Mulroy noted that the grants were instances of outsourcing, a practice generally favored by conservatives, and argued that the incidence of homelessness had been significantly diminished through efforts of the alliance.

Though on the losing side, Bunker had the last word.. With the grave air of a scientist announcing his findings — in this case regarding what he called “the vicious cycle of destruction” — Bunker said, “We have such a large population of poor people that they’ve elected people that have grown up through poverty situations and bureaucratic situations and are making decisions who have either benefited and/or never learned to manage money on their own and are now in charge of a budget of over a billion dollars.”

These are people, said the commissioner, who “have never been able to manage their personal business.”

Bunker’s view, frequently enunciated, is that social services need to be performed for those in need of help but should be done by faith-based organizations or volunteer charities or (perhaps) nonprofits.

Another version of the same philosophy was provided early in the debate Monday by Roland, who asserted that he’d be happy to pay for social-help programs himself, if he could, proclaiming, “I love people, but at the end of the day I have to do what’s best for the taxpayers.”

As for arguments by Bailey, Mulroy, and James Harvey on the need for government to see to the needs of all citizens, Roland scoffed, “Liberal, left-wing rhetoric, that’s all that is!”

Monday’s vote was the first of three required readings. The third and final will occur on July 8th.

• An article in Ohio’s Cleveland Plain Dealer this week cites new challenges to the bona fides of Memphis businessman/entrepreneur Brad Martin as leader of an investigation into alleged fraudulent dealing by the Pilot Corporation of Tennessee.

Martin is scheduled to become interim president of the University of Memphis on July 1st. Currently chairman of the RBM Venture Company, he is the former CEO of the Saks Corporation and is a board member of Pilot Flying J, an arm of Pilot Corporation. As such, he was recently named by Pilot CEO Jimmy Haslam to head an internal investigation into charges that Pilot kept millions of dollars in fuel rebates owed to trucking companies that were clients of the corporation. Haslam is the brother of Tennessee governor Bill Haslam.

The internal investigation parallels one initiated by the federal Securities and Exchange Commission.

In an article published on Monday, the Plain Dealer quotes several individuals acquainted with an earlier fraud investigation by the SEC — this one of Saks at a time when Martin was that corporation’s head.

From the Plain Dealer article: “‘At the very least there was a cloud over his tenure at Saks,’ said Christopher Ideker, a forensic accountant who has participated in many audit committee investigations for companies. ‘To me, you have a guy calling the shots on an investigation about stealing from customers who was investigated for stealing from vendors. That seems pretty straightforward.'”

Ultimately, Saks admitted no wrongdoing but settled claims resulting from the allegations for $60 million. Martin, who left his position at Saks within months of the settlement, was never charged. As the Plain Dealer noted, “His brother Brian Martin, Saks’ general counsel, as well as two other executives, were fired over the scandal, though also never charged.”

Martin was traveling abroad and could not be reached for comment at press time.

Categories
Editorial Opinion

Right Ways, Wrong Ways

T.S. Eliot had it wrong. April is not the “cruelest month,” as the renowned poet wrote in “The Waste Land.” For politicians, June is definitely crueler. That’s the month when members of local legislative bodies, under the gun of a July 1st deadline —

the beginning of a new fiscal year — have to look into the muzzle and bite the oncoming bullet.

Yes, that’s a painful metaphor, but the fact is, making ends meet in either city or county government is as painful as it gets these days. What members of the Memphis City Council and Shelby County Commission are having to do is figure out ways to do more with less. Way less. Property assessments are down, and, with them, so are the revenues that can be counted on to pay for basic services — the need for which has inconveniently stayed the same or, in most cases, risen.

Hence, the debates going on on both sides of the government plaza downtown. Things may be going a little smoother on the Shelby County side, where this week’s first vote on county mayor Mark Luttrell’s budget and proposed tax rate — both scheduled to increase — resulted in minimal changes. On first reading, at any rate. The outlook over in City Hall would seem to be somewhat more problematic. With a first vote scheduled for this week on Mayor A C Wharton’s budget and tax proposals — equally geared upward — council resistance seemed a good deal stouter and more generalized, less confined to specific political or ideological points of view than was the case with the county commission.

In view of the discord, council budget chairman Jim Strickland began the week with a proposal of a two-week moratorium on voting, during which time a flurry of last-minute budget-cutting proposals might be vetted. Simultaneously, Strickland, a potential mayoral candidate down the line, who has advocated leaner city budgets for some time, has put out a news release citing state comptroller Justin Wilson’s adverse report on Wharton’s past refinancing practices as “scoop and toss” actions, hiding debt by throwing it into the future. Strickland maintains that revenue mechanisms within the mayor’s current budget proposal are equally at fault.

That’s civil indeed compared to tactics being employed by budget critics on the county side, where county commissioner Terry Roland is attempting to disenfranchise two advocates of the Luttrell budget via legal appeals to supposed allies in the legislature and to state attorney general Robert Cooper. Roland accuses fellow commissioners Sidney Chism and Melvin Burgess of conflicts of interest that, he alleges, make them ineligible to vote on budgetary matters. Chism has an interest in a day-care center that avails itself of various county “wraparound” services; Burgess has been internal audit director for Memphis City Schools and is transitioning to a similar role with the new Unified School System.

Concerned about Roland’s charges, Chism has refrained from voting on the budget this week, though he did vote on the county tax rate. Burgess, the commission’s budget chairman, reacted differently, disclosing the fact of his employment in advance of every vote but casting every vote, meanwhile denouncing what he called “bullying” tactics. We find his choice of terms apt.

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A Trip to NYC

Editor Bruce VanWyngarden writes about his recent trip to New York City.