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Film Features Film/TV

Wonder Woman

In 1949, classics professor Joseph Campbell published The Hero with a Thousand Faces. He compared hundreds of different stories and myths from all over the world — from Gilgamesh to Perseus, Beowulf to Odysseus, Jesus to Mohommad — identifying common elements and structures that seemed to serve some universal psychological need. The hero is introduced in his Ordinary World; he is Called to Adventure but Refuses the Call, only to change his mind after a Meeting with the Mentor. Then he Crosses the Threshold into an unfamiliar world, meets Allies and faces Tests, which ultimately lead to a journey into the underworld where he faces an Ordeal and gains a Reward. But the Road Back is fraught with danger (usually a big chase scene), often resolved by a Leap of Faith, leading to a Resurrection, when the hero comes back from the brink of (or, in the case of Jesus, actual) death, to Return home, where he assumes his place in society as a wise and strong leader.

George Lucas read Campbell’s work while a student at USC, and he applied Campbell’s ur-structure to Star Wars. By the mid-’80s, the secret was out, and everyone in Hollywood was creating self-conscious versions of what Campbell called the “monomyth.” In as much as the Hero’s Journey got filmmakers to pay attention to story structure, it has been a good thing. But its ubiquity and the belief that it was a magic formula for success has created a stultifying sameness in screenplays.

The other problem with the Hero’s Journey is that it’s always about a he. There are goddesses aplenty, but female mythological heroes, such as the Greek huntress Atalanta, are rare. What happens when you test the monomyth by setting a woman on the Hero’s Journey?

Wonder Woman is the third-oldest surviving comic book hero. She made her debut as a Nazi-punching feminist eight years before Campbell’s book. And yet, 40 years after Christopher Reeve donned the Superman tights and 28 years after Tim Burton brought Batman to the big screen, we are only now seeing a Wonder Woman feature film. Swamp Thing got a movie before Wonder Woman, but maybe we had to wait for the stars to align for Diana Prince to get a treatment as good as Patty Jenkins’ film.

Chris Pine (left) tries to keep up with Gal Gadot in Wonder Woman, the first feature film about the Amazing Amazon.

The only bright spot in the turgid Batman v Superman was Gal Gadot’s cameo as the Amazing Amazon. Now that she’s carried a $143 million production on her chiseled back, it’s clear Gadot is a movie star of the first water. Her jawline is more heroic than Ben Affleck, and her face is friendlier and more expressive than Henry Cavill. She’s just as great when she’s wrapping boy toy Steve Trevor (Chris Pine) in her magic lasso as when she’s storming across no man’s land in 1917 Belgium, but Gadot’s best scene is when the Amazon princess tries ice cream for the first time. Diana’s confident, determined gaze melts away for a moment, and we can see her think “maybe the World of Men isn’t so bad after all!”

Wonder Woman was formed from clay and given life by Zeus, but godlike perfection is boring, so Jenkins and writer Allan Heinberg use Diana’s naive wonder to endear her to the audience. Wonder Woman is a Hero’s Journey, but with its multiple flashbacks, it’s not a conventional one. Diana doesn’t Refuse the Call to heroism in the beginning — she waits until after she has seen the destruction of war and the corruption of men. For Diana’s Ordeal in the underworld, Jenkins and Heinberg turn to the Gospel of Matthew. Ares (David Thewlis) shows her the world and points out, correctly, that she’s not like these puny humans. If she wants to end suffering and impose order, she can do it by force and rule as the awesome queen she is.

Diana, like Jesus, rejects the temptation. Despite the fact that these humans — these men — don’t deserve her perfection, she’s got to do things the hard way. The difference between a tyrant and a hero is that a hero leads by example, and men — humans — follow willingly. That’s what it takes to bring about a paradigm shift, and that’s what the Hero’s Journey has always been about. Making the Hero with a Thousand Faces a woman proves the primal power of the oldest story by opening it up to half the world. After untold thousands of years, it still works. As we filed out of a packed matinee screening, I heard a teenage girl exclaim, “I’m ready to go kick some ass!”

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Film/TV Film/TV/Etc. Blog

My Cousin Rachel

Femmes fatales in film are regarded as misogynist for their kneejerk evil but feminist for lacking the doormat and sounding board qualities which define the majority of cinematic female characters. We don’t know whether the title character in the period suspense drama My Cousin Rachel is one, or just a woman subject to the whims of an obsessive suitor. Philip (Sam Claflin), our main character, treats her alternately as angel of light and an exotic figure of suspicion. First we hear about her in letters which imply she poisoned his cousin/adoptive father in Italy, after marrying him. When she arrives, she is gentle and charming, although with a penchant for serving people vats of specially made tea. An offscreen doctor says her husband died of a brain tumor which made him paranoid.

Rachel Weis and Sam Clafin in My Cousin Rachel.

Philip, who heretofore spent his scenes detailing the harm he will cause Rachel (Rachel Weisz), is immediately smitten. An orphan entering his mid-twenties, he notes he has “never seen a woman cry,” and his need for love overrides his caution. Weisz must play Rachel both as a widow getting over her loved one’s death by hanging out with someone who looks like him, and also as a figure of mysterious Italian letters, unexplained horse rides and inquiries about the will. The film’s only problem is Philip’s inexperience and gullibility which, while provoking suspense, are a little repetitive. The family attorney (Simon Russell Beale) and his godfather (Iain Glen, a.k.a. Jorah Mormont, in best unheeded counselor mode) warn him again and again, yet he seeks to woo Rachel with the wealth he will soon inherit. It’s hard to root for someone who only makes bad decisions to further the plot, which weights our sympathies with the possible murderer.

Notably for a period film, Philip’s servants are visible. Outnumbering him, they live lives unconcerned with his affairs, eating, cussing and getting paid all while knowing to steer clear of his drama. (They also find time to ominously sing the British folksong “The Three Ravens”, about birds discussing a knight’s corpse abandoned in a field. I would have preferred The Twa Corbies.)

Director Roger Michell (Changing Lanes, Notting Hill) and cinematographer Mike Eley start with what looks like most British period dramas, but as Philip loses focus, so do they, using objects blocking the frame, rack focuses and a handheld camera to mirror Philip’s mental state. The editing speeds up as things get more intense, and overall the film holds you in suspense. Based on a novel by Daphne du Maurier, it nevertheless is a bit old-fashioned. Du Maurier provided the basis for two Hitchcock films, but not for the one this film most resembles, Suspicion. Because the character of Rachel remains too elusive, the psychology is old hat. We never leave Philip’s viewpoint, and Rachel’s ambiguity is never big enough to let Weisz make a complete portrayal. She suggests a grieving woman constrained by her time and relationships, via half-sentences and shyness. The film is best as a haiku-like sketch of a widow in need of different social norms.

My Cousin Rachel

For a more vibrant period drama suspense thriller, I would recommend Chan-Wook Park’s The Handmaiden, which replaces that director’s appetite for violence with sex. Here Weisz’s “limitless appetite” is alluded to a few times as warning to Philip, but during the only sex in the film she stares at the sky and thinks of England. For a more adventurous movie with Weisz, I’d recommend Yorgos Lanthimos’ The Lobster, which segues from a meditation on socialized monogamy into a critique of how everything is socialized. My Cousin Rachel is enjoyable but not ambitious. Its sex is restrained, its deaths hidden. The tactfulness that just happens to beits style is also that of the endless wave of British period dramas that have washed on our shores every year since before I was born.

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News News Blog

Memphis to Launch Bike Sharing System

A bike-share system is coming to Memphis by spring 2018, as today non-profit Explore Bike Share, announced its partnership with the B-Cycle Dash System.

Currently operating 1,250 bike share stations with over 10,000 bikes across close to 50 communities, the B-Cycle Dash System will bring 600 bikes, equipped with high-tech amenities, like GPS systems with route recommendations and turn-by-turn directions, to the city early next year.


Explore Bike Share, whose mission is to provide an inclusive and accessible bike sharing system, is proposing that the 60 bike share stations coming to the city service high-demand areas like Midtown and Downtown, as well as Binghampton, Uptown, South Memphis, and Orange Mound. 

“From its inception, Explore Bike Share has vowed to prioritize neighborhood needs, utilizing the system to serve all of Memphis— not just where the city sees density on a map,” Explore Bike Share board member Roshun Austin said. “We are proud to execute equity-oriented strategies such as bike safety education, ambassador programs, and workforce development partnerships.”

By 2019, Explore Bike Share plans to have even more shareable bikes, as Congestion Mitigation Air Quality awarded the group a $2.2 million expansion grant, which will allow for an added 300 bikes at 30 additional stations.

In the meantime, Explore Bike Share will revisit the community’s suggested placement of bike stations near the South Memphis Farmer’s Market, BRIDGES, and the National Civil Rights Museum at open meetings in the coming weeks.

Categories
Food & Drink Hungry Memphis

Best Bets: Brisket

Michael Donahue

Barbecued brisket at Stanley Bar B Que

I watched David Scott Walker prepare a brisket at the recent Memphis in May World Championship
Barbecue Cooking Contest. I wasn’t able to return 13 hours later to taste the finished product, but Walker told me the preparation and the cooking process was about the same as the way it’s done at his restaurant, Stanley Bar B Que in Overton Square.



Well, the restaurant version brought back memories of that smoky-meaty aroma and all the fun on the banks of the Mississippi River about a month ago. Except this time, I could linger over my meal at one of the long wooden tables inside Walker’s air-conditioned restaurant.

His brisket is cooked in the “hill country” style, Walker said. Ninety percent of his family lives in Texas, so they visited several cities there on summer vacations when he was growing up. “For the most part it’s salt and pepper and then you rely on A – having real good meat. And B – having real good wood. Those are the two flavor components. You really don’t want to add too much in your rub. A little paprika, whatever, that’s fine. But it’s mainly salt and pepper. And you let the meat and the wood shine through. That’s what we do on the river.”

You almost could cut Walker’s brisket with a feather. I asked him how he cooked it.

“We do it the right way,” he said. “We’ll start off in the morning with a charcoal chimney and let the creosote of the charcoal burn off. And then the rest of the day it’s nothing but wood. Depending on what meats we’re cooking depends on what kind of wood we’re using.”


With brisket, they start with cherry wood, Walker said. “That helps get a good smoke ring around it. Then we move to a fruitwood. We love peach. We love apple. Really love pear, but pear’s tough to get. Then after a few hours of that we switch over to hickory.”



Final cooking stage is to wrap the meat in parchment and plastic wrap and let it cook for 12 to 16 hours depending on the size of the brisket.

Walker learned how to grill growing up in Raleigh-Bartlett. “It was a really close-knit neighborhood. We had block parties all the time. We’d do Fourth of July parties. All kinds of things. Fireworks. But we were always grilling, whether it be barbecue or just straight-up grill – hot dogs, hamburgers. We built a pool so we were the house that everyone came to. So, I think that’s where it all started.”

I asked how popular his brisket was at the restaurant. “The pork is, obviously, king of Memphis, but there are a lot of people who really do love brisket. And you can’t really find it in a lot of places. And if you do find it, hopefully, it’s done right.

“If you’ve never had really good smoked beef, I think you’re missing out. A lot of people – especially around this area – when they visit Texas they’ll diss the barbecue. It’s mainly because they’ll try some pork barbecue in Texas. Which is their first mistake. Get what they do right. Go to Texas. Try some beef barbecue. Get their beef ribs. Get their brisket. And I think you’ll be pleasantly surprised.”

Walker originally opened his restaurant as a German restaurant, Schweinehaus, but switched to the barbecue format last April. People constantly told him they wanted a barbecue restaurant in Overton Square, he said. “They missed the Public Eye. They missed that something they’re familiar with. This town loves barbecue and we grew up doing it. So, we said, ‘Let’s follow our passion.’”

And, he said, “My father passed away at Christmastime. And he was a big barbecue guy.”

His dad was the one who did most of that grilling when they were growing up. “His name was ‘Stanley.’ Hence the name. I hope he’s smiling down on us. I hope he’s proud.”

Stanley Bar B Que is at 2110 Madison in Overton Square; (901) 347-3060

Brisket – Walker style from Michael Donahue on Vimeo.

Best Bets: Brisket

Categories
Music Music Blog

SONG PREMIERE: John Paul Keith sings “Red Cadillac and a Black Moustache”

John Paul Keith

Knoxville native John Paul Keith is unique on the Memphis scene, a classicist who avoids nostalgia, a roots aficionado who writes his own material, a rock ‘n’ roller with one foot in old school soul. Don Bryant, the local R&B legend staging somewhat of a comeback, recently included  “One Ain’t Enough (And Two’s Too Many)”, written by Keith and Scott Bomar, on his latest release. As a songwriter, Keith knows a good tune when he hears one. Here’s his take on a choice cut originally recorded by Warren Smith, “Red Cadillac and a Black Moustache,” the lead track on Red Hot: A Memphis Celebration of Sun Records, to be released nationally June 16th on the Americana Music Society label.  All revenues from the release will benefit the St. Jude Children’s Research Hospital.

SONG PREMIERE: John Paul Keith sings ‘Red Cadillac and a Black Moustache’

The album’s house band consists of Luther Dickinson (guitar), Cody Dickinson (drums), Rick Steff (piano), Amy LaVere (bass), and Keith (guitar). This track also has a cameo from Jim Spake on baritone sax. (See the accompanying article below for more on this release). Keith’s voice, familiar to Memphians for a number of years, has taken on a more resonant quality of late, with hints of the young Roy Orbison, a change Keith attributes to one specific change of habit. “You know, I quit smoking a few years ago, and it really did make a difference. I smoked for twenty years and never did get a cool rasp. I just was short winded and couldn’t hit the high notes!”

As for this particular title, Keith notes, “That tune is really melodic. A lot of the Sun stuff is obviously rhythm-oriented and blues based. And I love that, but with ‘Red Cadillac’ it was more of a pop thing: a little lighter, and it had this swinging feel to it. And I love Warren Smith, I think he’s really underrated.”

It’s telling that this was the song Bob Dylan chose to interpret for 2001’s Good Rockin’ Tonight: The Legacy of Sun Records (with cover art by Memphis’ own Lamar Sorrento).

SONG PREMIERE: John Paul Keith sings ‘Red Cadillac and a Black Moustache’ (3)

And finally, here’s the original, performed by Louise, Mississippi’s own Warren Smith. Never released in Sun’s heyday, it surfaced later in retrospectives of the label’s history:

SONG PREMIERE: John Paul Keith sings ‘Red Cadillac and a Black Moustache’ (2)

Categories
News News Blog

City to Assist its Employees with Student Loans

City of Memphis employees will now be able to receive monthly contributions toward their student loans, as today the City announced the launching of its Student Loan Reduction Program.

Memphis will be the first city in the country to offer this type of benefit, which beginning July 1, will give eligible Memphis city workers a monthly contribution of $50 toward their principal loan repayments.

In 2016, student loan debt grew by a little more than 3 percent nationally, while in Memphis that number grew by nearly 5 percent.


City officials say that while the program is aimed at help city employees retire their debt faster, the City hopes to build and retain an engaged workforce.

“We are proud to be the first municipality in the country to offer this kind of student debt assistance to our workforce,” the City’s chief human resources officer, Alex Smith said. “We view this an important investment in our employees.”

Categories
Food & Wine Food & Drink

The Big S: A Very Memphis Bar

A couple weeks ago, we had a full-on Memphis meltdown after some nerd from Nashville began trolling us with a series of misspelled tweets and non-applicable GIFs (full disclosure: I am Nashville-born and mostly Nashville-raised, and this cretin offended even me). It was absolutely maddening, but here’s the deal: That guy doesn’t get it and never will, and that’s just fine with me because that means he stays the hell out of Memphis and the hell out of bars like the Big S Grill. The Big S is Memphis through and through and embodies all this city has to offer, and it does it all in a tiny, unassuming house next to the train tracks.

1179 Dunnavant is stuck in time. It doesn’t look like it has changed anything about itself since the ’60s except for the name (formerly it was known as the Hawkins Grill). Indeed, the telephone directory hanging by the front door looked older than I am.

The Big S has six barstools, five tables, and three booths, keeping it intimate. We sat at the bar, where there were holes worn in the fabric from years of boot toes pressing into the sides. The place was dim, lit only by a few red lights. My buddy and I looked at each other. The Big S Grill was a winner.

There are a handful of things that make a bar: the music, the people, and the drinks. A bar doesn’t require anything more than that, which is why it baffles the mind that so many bars are terrible. The Big S Grill scores a 10/10 in every category. The jukebox is packed with soul classics, and not one patron in there was under 60. But the drink of choice in the Big S is where the Memphis really comes through. We were served two 40-ounce bottles of beer with a chilled rocks glass and a napkin. A chilled rocks glass and a napkin! I dare you to find a better setup than that.

My friend and I were one of several people in there, but every other patron was an older gentleman. Just like with Ashton Kutcher, the headwear was evenly split between fedoras and trucker hats, but unlike Ashton Kutcher, none of these guys’ hats made them look like assholes. In fact, any one of those guys could’ve been my own grandfather, sitting there with a trucker hat perched on his head, barbecue sauce running down his arms as he ate his pulled pork sandwich at a gritty neighborhood bar. The Big S serves their barbecue from a smoker out front, and although we didn’t partake, we were the only ones in there not eating. It looked and smelled incredible.

Like many of these lesser-known dives, the Big S Grill allows folks to bring in their own liquor for a small fee. At a table nearby, three men were passing around a bottle of Svedka. The bartender had brought them beer mugs full of ice in which to make their mixed drinks. A whole beer mug for a vodka drink? Giddy up! My friend noticed one of them wearing a Memphis Tigers shirt and remarked, “I like your shirt.” The man replied, “You like the blue? You gotta like the blue if you’re in Memphis.” While the rest of us entitled jerks have been arguing about the Tigers since halfway through the Pastner era, the loyalty of the men of the Big S Grill has never even faltered.

We paid our tab, a beyond-reasonable $9 for two 40-ounce beers, and as we stood up to leave, the owner walked over and introduced himself. The Big S Grill has been run by the same folks, more or less, since the 1960s. This guy has surely seen the best and worst in people over the years, but greeted us as warmly as he would greet his own grandchildren. He called out, “Y’all come back now, you hear?” — just like in the movies — as we were walking out.

The next time we run across some Nashvillian — or any other city’s less-than-stellar example of a citizen — who wants to hurl racial slurs and lame jokes at Memphis, don’t let him win. Be glad that he’s off making some other city’s population dumber. Be happy that he doesn’t understand. Be thrilled that we’re taking the highest road, all while sitting in a low-ceilinged bar drinking beer with grandpas.

The Big S, 1179 Dunnavant (775-9127)

Categories
Music Music Features

Red Hot! A homegrown tribute to Sun Records

Sun Records’ legacy has been on the rise. Occasionally eclipsed by other luminaries of rock-and-roll, these days it would seem to be at high noon. The Country Music Hall of Fame recently hosted a special exhibit on Sam Phillips, Sun’s visionary founder. Meanwhile, Peter Guralnick recently published the definitive biography of Phillips. And then we have the CMT series, Sun Records, which was well-received despite not being renewed for a second season.

But the most telling sign of a rejuvenated Sun has been the revival of the studios that originally captured the music. Engineer/producer Matt Ross-Spang began his career at Sun Studio, helping to stock its recording facility with vintage gear, and more recently moved to Sam Phillips Recording, helping to renovate it. Fittingly, the first project done in the newly reorganized space was the tribute Feel Like Going Home: The Songs of Charlie Rich. Now, recorded jointly at Phillips and Sun, we have another tribute album about to drop nationally, Red Hot: A Memphis Celebration of Sun Records, with all sales revenue benefiting the St. Jude Children’s Research Hospital.

This album, already available in Memphis, is notable for relying only on local talent. Originating well before the television series, it leapt from the imaginations of Bryan Hayes and Steve Dunavant, of the local Americana Music Society. They contacted co-producer Tamara Saviano. “Steve and I first reached out to Tamara,” says Hayes. “She had done several of these tribute albums. She won a Grammy for Beautiful Dreamer: The songs of Stephen Foster. And when we reached out to her, she said she wanted to work with Luther [Dickinson].” As it turned out, Dickinson would become both co-producer and band leader. This was especially fitting given that his father, the late Jim Dickinson, cut the “Cadillac Man” single for Sun in 1966.

A crack team of Memphis players steeped in the Sun tradition was recruited: Luther Dickinson on guitar, his brother Cody on drums, John Paul Keith on guitar, Amy LaVere on bass, and Rick Steff on piano. This house band drew on the vocal talents of the players for some numbers. “We knew everybody was going to honor the original compositions and recordings, but we wanted to have a little bit of leeway for our players to put their stamp on it,” says Hayes.

John Paul Keith, whose voice (since he quit smoking) conjures up the young Roy Orbison, kicks things off, with a sax cameo from Jim Spake. Amy LaVere offers a smooth version of “Ten Cats Down” by the Miller Sisters. And Luther Dickinson offers a two-part workout of Howlin’ Wolf’s “Moanin’ at Midnight.” But the band also backs notable guest vocalists, including Jimbo Mathus, Alvin Youngblood Hart, Shawn Camp, and Bryan Hayes himself. The most vintage sounds blossom in Valerie June’s “Sure to Fall (In Love with You).” Chuck Mead, musical director for the CMT series, also leads several Sun Records cast members and the house band through an impromptu version of “Red Hot.”

I asked John Paul Keith if there were any rehearsals. “Oh no!” he said. “We just showed up. They didn’t rehearse when they made the records. Why should we? We even had the advantage of hearing it all our lives.” Simply being in the old studios put the band in the right frame of mind as they cut most of the album live. “In some cases, we were using the exact same microphones used in the original sessions,” notes Hayes. “Rick Steff was playing the same piano that Charlie Rich recorded on. The band would do a run-through, Matt would set the mics up, and we were rolling tape. There were a couple of them that were one-takers.”

Staying true to the spirit of Sun also informed the song selection. Keith notes, “I was really pleased when I saw the final track listing. There was some really well-known stuff, but there were some deep cuts as well.” The only deviation from this was the album’s one original song, “Tough Titty” by Bobby Rush. His contribution highlights Sun’s blues legacy, which is often overlooked. Says Keith, “You could argue that Sun was one of the most important blues labels ever.” In view of Phillips’ quest for the unique, Rush’s tune may conjure the label’s original spirit best of all. Though there was never a Sun version of the song, as Keith notes, “Bobby recorded it there, so there is one now.”

Categories
Letter From The Editor Opinion

Fake News Uses You

I haven’t been writing about President Trump lately. One reason I haven’t is that you can read all you want to read about Trump, anytime you want to. In fact, you could easily spend all your waking hours reading about Donald Trump. The other reason is that when I write about Trump on Tuesday afternoon, my column is often old news by Wednesday noon, especially if the president is watching morning television and tweeting, which appears to rival golf as his favorite activity.

This morning, for example, Trump tweeted: “Sorry folks, but if I would have relied on the Fake News of CNN, NBC, ABC, CBS, washpost or nytimes, I would have had ZERO chance winning WH.”

I suspect the only reason Trump didn’t add Reuters, AP, Wall Street Journal, Financial Times, USA Today, The Guardian, NPR, PBS, and other major news outlets to that list is that Twitter limits him to 140 characters.

In the face of increasing pressure from the multiple investigations into his campaign’s connections to the Russian hacking of the presidential election, and — quite naturally — the increasing number of stories on those investigations, Trump is left with one option: Convince the American people that every news outlet is “fake,” except the few who will support him, no matter what he does.

Part of this effort is the creation of his own fake news operation, which now includes 15 million fake Twitter followers, most of which are “bots” with no followers and no personal identification. But he also has many “followers” such as “Hispanics for Trump” and “Italian-Americans for Trump,” bogus accounts created by hackers who retweet Trump and defend him on comment sites and help spread false news stories.

I can’t recommend strongly enough that you read a post that circulated this week called “How the Trump-Russia Data Machine Games Google to Fool Americans.” It’s staggering how we’re being played. One example cited occurred on May 15th, when Trump met with Russian officials in the White House and leaked classified intel to them. The mainstream media ran story after story about the incident. Then, oddly enough, the next day, May 16th, on right-wing media sites, a flood of stories appeared about the time President Obama leaked classified intel about the bin Laden raid that “got people killed.” Don’t remember that? That’s because it didn’t happen. Yet, if you googled “Obama collusion bin Laden” on May 16th, six years after bin Laden was taken out, the first four pages of Google listed stories about the mythical incident.

That’s fake news, folks. And it’s a weapon being used by the Russians and by Trump’s newly reactivated “war room.” It’s why Trump suddenly has millions more “followers” than he had two weeks ago. They are cyber soldiers whose mission is to spread disinformation and confuse the American public — to provide ammunition for your (often unwitting) Trump-loving friends in the war for American hearts and minds.

None of this is normal. All of this should be terrifying. The very institutions our republic is based on — the free press, the judiciary, our intelligence and law enforcement services — are all under assault from this president. The mainstream press is “fake news.” The judicial system is full of biased, crackpot judges. The CIA, FBI, NSA, and other intelligence and law-enforcement organizations are now the “deep state,” whose only mission is to bring down our fearless and flawless leader.

People, this is not normal. This is not who we are. This administration has no coherent policies on the environment or trade or foreign relations or NATO or health-care or the budget. As hurricane season approaches, we have no FEMA director. Hundreds of posts in the state department, justice department, and other critical agencies have gone unfilled while the president blathers and lies and tweets and golfs. He is unstable. He has made us the laughingstock of the free world. He needs to go, and soon, before he takes the country down with him. He is falling apart in front of our eyes.

This week, former FBI director James Comey testifies before Congress. If his testimony, as is expected, provides further evidence of obstruction of justice, it will likely ratchet up the pressure on this president and begin a process that could lead to Trump’s impeachment. It can’t happen soon enough.

Categories
Cover Feature News

Russia: Riddles and Realities

It is a time, as we all know, when relations have become complicated again between the United States and Russia, formal allies during two 20th-century wars, deadly opponents during decades of the undeclared Cold War, and, at least, theoretically, friendly for some years until the relatively recent past.

It is a time when many American politicians are again declaring that a resurgent Russia — no longer Communist and deprived of peripheral portions of the old Soviet Union that are now formally independent — has become this nation’s most formidable adversary once again.

But not all American politicians: Our chief domestic drama now centers on the fact that the administration of our newly installed president, Donald Trump, a man of uncertain purpose despite his ad hoc Republican identity and his shrilly stated “America first” declarations, is under suspicion of ongoing collusion with the regime of Russian strongman Vladimir Putin, a former KGB official who is suspected of having arranged the cyber-hacking and sabotage of Trump’s 2016 presidential opponent, Hillary Clinton.

Hopefully, a number of investigations now under way will clear up this mystery. But, for most Americans, another mystery remains. No longer an Iron Curtain monolith per se, Russia today has a formally democratic structure, and Putin, now president of his nation and ensconced in a dominant leadership position for the entirety of the 21st Century, is subject to election.

But there remain strong suspicions about the validity of Russian democracy, and numerous students of the country insist that dissent, whether by political opponents or by journalistic inquiry, is dangerous and potentially fatal. Meanwhile, Russia’s interventions in Syria and neighboring Ukraine have aroused fears of a renewed imperialism.

Though much has undoubtedly changed about Russia, a statement made by the great British leader Winston Churchill at the conclusion of the Second World War still represents the American state of mind: Russia, said Churchil in a description suggestive of the famous Matryoshka dolls that incorporate layered images within images, “is a riddle wrapped inside an enigma inside a mystery.”

Marshal Zhukov, the conqueror of Berlin, in front of the Russian Historical Museum

All of which encouraged me, in a bucket-list mood, to get a glimpse of the Russian reality for myself. Assisted enormously by the office of 9th District Tennessee Congressman Steve Cohen, I got my visa (no easy thing) and boarded a flight in mid-May for a week in Moscow. I am under no delusion that so brief an exposure entitles me to speak with authority about the nature of that aforesaid riddle. But it certainly opened my eyes.

There came an afternoon, early in my visit, when, in the course of doing a little sightseeing, I disembarked from a tour bus in the general vicinity of the Kremlin, thinking I could fairly easily find my way “home” to the Best Western Plus Vega Hotel and Convention Center some 12 miles away in Moscow’s Izmailovo District.

The problem was that the Kremlin is not a single place; it is a district in itself, a walled-in former fortress of almost 70 acres, encompassing five palaces, four cathedrals, a plethora of monuments, and various official buildings, including both the seat of government and the residence of President Putin, the successor in power to the various czars, Soviet premiers, and Communist Party general secretaries who have ruled the vast Eurasian land mass that is Russia.

It is said that that Moscow is some 20 times the size of Washington, D.C., and, while that is misleading, in that the American capital’s teeming Maryland and Virginia suburbs expand its metropolitan reach enormously, it is still likely that the enclosed Kremlin area is large enough to incorporate most of the important public buildings of Washington, including most of the mall that stretches from the Capitol to the Lincoln Memorial.  

Which is a way of saying that the periphery of the walled-in Kremlin (the word means “citadel,” roughly) is too extensive to function as a single landmark. And, further, that the Metro station I entered — the one embedded in a glossy, American-style shopping mall with brand-name boutiques and a McDonald’s that teemed day and night with Russian patrons — did not lead as directly as I would have liked to the Metro’s blue line, the one leading to the Partizanskaya station in the Izmailovo district.

Advice to future American travelers to Moscow (of whom, I suspect, there will be an increasing number, revived Cold War or no revived Cold War): While learning enough of the complex Russian language to get by as a tourist, unaided, is a seriously daunting task, one should at least try to master the phonetic sounds of the cyrillic alphabet. That will help somewhat  to distinguish one unfamiliar name from another, though there has been a tendency in recent years to render significant public signs in Moscow in both Russian and English. Restaurant menus, directional indicators to various important public places, and, yes, subway signs get this treatment.

Statue in Partizanskaya station of an 18-year-old Russian partisan, killed in the Great Patriotic War (World War II)

The problem is that this bi-lingualism, so clearly meant as a convenience to tourists, seems too new to have affected the mass of ordinary Muscovites. Stop someone in a central area of Berlin or Paris or Rome to ask directions in English, and there is a fair chance that, with a minimum of trial and error, you’ll manage to get yourself a serviceable dialogue. Not so in Moscow, particularly so in the city’s Metro (subway) stations, where the helpful English subscripts are less than a year old.

What can and does happen is that you often find yourself trying to communicate by a means uncannily like a game of charades, with hand gestures, purposeful pointing, and exaggerated facial expressions. In six days in Moscow, I never encountered anything remotely suggestive of an animosity to Americans, though I did suspect that the proud Muscovites found it not worth the bother to digest a foreign language, particularly one emanating from a once-rival superpower.

So getting to the Metro system’s blue line on the afternoon in question was, for me, a downright Odyssean quandary, involving any number of wrong-way wanderings and thwarted dialogues. In my less frantic moments, I harbored the sardonic thought that I would have been better off if some of the darker warnings I’d had from people back home (before the trip and via texts during it) had been on target.

That is, if I’d been under surveillance, shadowed by agents of this presumed adversary regime, one or more of my surreptitious minders might have broken cover long enough to point me in the right direction. The fact is, as I’d assured all my solicitous advisers back in the States, I was neither important enough to be shadowed nor so dull that I wouldn’t notice it if it happened.

And, as far as incriminating videos involving playfully incontinent hookers in my hotel room, a la circumstances imputed by one intelligence source to an erstwhile Trump visit, you can be sure that wasn’t going to happen.

A little more about the denizens of the Moscow Metro — and the population at large — before dissertating somewhat on my Moscow hotel, a revelation in itself.

the bridge

As I said in one of my fairly frequent Facebook posts during my several days in Moscow, the typical Metro rider is a jeans-wearing millennial glued to a cell phone. Having not ventured beyond the capital city itself, I cannot vouch for the rest of Russia, but, the aforesaid linguistic issue notwithstanding, the inhabitants of Moscow are much more like you and me than they are different.

Many of us — even our own millennial population — were raised on Cold-War shibboleths depicting Russia as a “third-world” nation despite its naked power as an “evil empire,” a place where hot water was not available, public transportation unreliable, cars unavailable, and public conveniences non-existent. The Russian subject (“citizen” seemed too free and easy a term) was characterized as a robot-like serf with a brain washed so much and so often to be barely capable of real thought.

In several of my Facebook posts describing the flora and fauna that I encountered (well, the fauna, anyway; my late wife Linda was the botanist, not me) or in conversations upon my return, I reported such phenomena as the multiplicity of BMWs, Audis, and Mercedes on the heavily trafficked (and well-paved) thoroughfares of Moscow; the plethora of hip oases in the mode of Cooper-Young or Overton Square; the ubiquity of American rock-and-roll in bars, bistros, and on elevators; and the even more obvious omni-presence of familiar commercial brands: McDonald’s, Domino’s, Prada, Apple, Canon, Sony, Levi’s, Colgate, Coca-Cola, Avon, Black & Decker, Dolby, G.E., Mary Kay, Dior, etc., etc.   (Not to mention the ever-available Uber!)

A friend in Memphis, mid-trip, emailed me to suggest — whether facetiously or in earnest — that what I was seeing could be branded by the name “Potemkin.” That was a reference to one Grigory Potemkin, a seedy courtier and entrepreneur of the 18th century who, in order to impress the touring Empress Catherine II, constructed a series of make-believe villages along the Dnieper River, using false fronts which he assembled and re-assembled in advance of the movement downstream of Catherine’s traveling party.

But no, the all-too-evident modernities of Moscow and the abundant splashes everywhere of urban affluence are not cases of the Potemkin village, unless the proprietors of the brand names sampled above are in on the scam. Making allowances for conspicuous differences of a linguistic, architectural, and, undoubtedly, political nature, the Moscow of 2017 would seem to be both more prosperous and more contemporary in its ways — even in the would-be hipsters sporting “Fuck You” and “Meh” T-shirts — than most Americans would imagine.

Some of this is undoubtedly due to Russia’s burgeoning trade in its sizeable oil and gas resources; much of it, too, has to do with commercial relationships with the West that are by no means one-sided. I mentioned my hotel: Its very name, Best Western Plus Vega Hotel and Convention Center, advertises its pedigree. It is one of numerous plush hostelries in Moscow that speak to the fact of multinational corporate affluence.

at the entry to the Kremlin

Numerous such high-rise palaces, many clearly foreign-owned, dot the city’s landscape, catering to both an international clientele and what would seem to be an indigenous upstart population. The unmistakeable sound of Russian was the dominant language in overheard conversations at the Vega, as in the pricey clothing stores in Moscow’s several multi-story shopping malls, the oldest and best-known of which, the government-owned GUM, directly adjoins Red Square and the Kremlin.

It is hard to tell whether a significant middle class is developing in Moscow (which, in the years immediately following the fall of the Soviet Union in 1989-91, experienced a fair share of oligarchic despotism) or whether it is the present status of fluctuating international currencies that favors the current conspicuous consumerism on display.

As of May 2017, the Russian ruble was worth a shade less than 2 cents on the American dollar. A charge of $50 (the cost of an opportunistic cab driver’s assessment for a roundabout ride to the hotel from the Domodedovo Airport, 37 miles away) required a payment of 3,000 rubles. Not bad, but I was reliably informed later on that I could have bargained that way down; I did, on the way out of town later on.

Forget the third-world stories. Everything in the Best Western Vega was new and shiny and well maintained. Everything worked. Besides a posh 24-7 restaurant, there was a sizeable dining area featuring three lavish buffets, each offering an abundance of well-prepared indigenous and standard international fare for the equivalent of $12. And we’re talking cuisine, of the sort requiring the expertise of Susan Ellis and the rest of the Flyer’s food-reviewing stable. Housekeeping and amenities were superb.

For purposes of comparison, the two hotels nearest the Tennessee state Capitol in Nashville might ask a minimum of $350 a night, depending on season and availability. A sum considerably less than that amount purchased five nights at the Vega, more than comfortable but mid-range price-wise by the measure of an online search of available hotels.

Numerous night spots were in the immediate vicinity, including a karaoke joint wherein, my ears suggested, some would-be mezzo soprano was having a go at a Dionne Warwick oldie, and, charm of charms, a short walk from the hotel was the Disneyland-like Izmailovo complex, whose fairy-tale towers — newish and candy-colored, but built in the country’s long-gone medieval style — housed a mile or two of stalls selling all kinds of souvenirs, including artifacts of the Soviet era. And offering free shots of vodka to the browser. Now, that was indeed a Potemkin Village, and Empress Catherine would have been as delighted by it as I was.

Changing of the guard in Moscow’s Red Square

For at least half of my stay in Moscow (and the most productive half, by far), I had the good fortune of being shown around by a talented young tour guide named Ksenia Terenteva. Still in her mid-20s and of provincial origins, she had mastered several languages, including English, in which her proficiency, though fluid and idiomatic, ranks in her estimation as being only third-best, after her prowess in her native Russian and Spanish.

We took a sight-seeing boat trip down the Moscow River, the main backdrop of which was the same Kremlin vista which forms the recurrent prop for nightly cable reports on CNN, MSNBC, and Fox. In that context, it always appears other-worldly and menacing, like the fortress it originally was. It appears otherwise to one floating downstream in an excursion boat, seeing the vast complex in bas-relief against a gorgeous blue sky, its several cathedral spires competing for the eye’s attention, with the whole of it set off the rest of an eclectically designed Moscow skyline and underscored by the steady stream of commuter traffic on the riverside roadway at its base.

Seen that way, the Kremlin comes off as part monument, in the manner of the Houses of Parliament in London, and part tourist eye candy — especially as one sees it in the context of the apartment buildings, hotels, greenery, and other official buildings and historical structures of its immediate surroundings.

Essentially, Moscow boasts three dominant architectures: medieval structures, like the beautifully ornate onion-bulb churches (one of which, the Cathedral of Christ the Savior, was razed under Soviet dictator Joseph Stalin but restored in the last decade); monolithic block-sized Stalin-era apartment and office buildings as well as several huge baroque-style structures (called the Seven Sisters) commissioned by the dictator; and modern, even ultra-modern, skyscrapers that suggest Atlanta, Manhattan, or, in fact, Anywhere, U.S.A.

On our boat trip, Ksenia pointed out an enormous amount of scaffolding on the far bank, just to the east of the Kremlin, where, she said, an oversized new park is under construction — a showcase playground (“a big Central Park,” she called it) that will be divided into four parts, each of which will somehow simulate the climate and characteristics of a different season. This new waterfront wonder is due to be finished by 2018, when Moscow will host the World Cup in soccer. The new super-park will co-exist with the sprawling, grandly landscaped 300-acre Gorky Park downriver, in effect, book-ending the Kremlin and the rest of the central-city waterfront.

Numerous signs around town, as many in English as in Russian, advertise the imminence of the World Cup, and elsewhere along the Moscow riverfront, as in the city center, new grand hotels are being built and others renovated under the aegis of Hilton and Radisson and other marquee chains to house the expected minions who dote on the game and are sure to be flooding Moscow.

An inevitable aside: No one should be surprised if, by the time of the first game of the Cup, due to begin in June of next year in Luzhniki Stadium, it should be complemented by some new structure bearing the name Trump. And that would be an appropriate symbol of the latest permutation in the affairs of the city of Moscow and the nation it administers.

That necessarily returns one to the subject of politics, which I expect to cover in more depth in a projected follow-up article in Memphis magazine. Some nutshell moments, for now: To my disappointment, while the cable on my flat-screen hotel TV could yield up some vintage Nirvana and other cultural offerings (including serious ballet, like the superb version of Tchaikovsky’s Swan Lake I saw done bravura-style in an adjunct building of the Bolshoi Theatre), it lacked access to CNN, MSNBC, or Fox, the main conduits of news from America.

The nearest equivalent were several Russian news channels, a couple of which, including the well-known RT, broadcast in English, as did a Chinese channel. All of those, during my stay, focused on what was then the ongoing world tour of President Trump, and, while they seemed reliably credible on the details of his itinerary, they avoided mention of the ongoing collusion investigation in America.

There was one exception — a Russian-language channel which offered a summary of the situation one night. I have no idea what the Russian commentary was saying, but the montage of images — Trump, FBI director James Comey, and members of Congress, among others — were familiar and in proper chronological order.

Such conversations as I had about political matters, mainly with Ksenia, suggested that Russians have a sense of things that is basically a mirror image of what Americans believe. In their telling, it is not Russia which meddles in the affairs of other nations and has committed atrocities in Syria, but America. (As if to support this notion, American commandos and air units operating in Syria did, in fact, account for inadvertent civilian deaths in a raid on a presumed ISIS stronghold that week.)

Trump is hardly regarded as statesmanlike (Ksenia referred to him as an “ill-prepared showman”), but former opponent Hillary Clinton fares worse. She is spoken of as harshly as Putin is over here, and the first time I ever heard the name Seth Rich was from Ksenia, who had picked up from Russian media the notion, pushed in America by Sean Hannity of Fox News, that Rich, a former Democratic National Committee staffer killed in a burglary last July, had been the actual donor to Wikileaks of material embarrassing to Clinton’s presidential campaign and had paid for that transgression with his life.

I had hoped to have a conversation with one “Susie,” a member of the dissident Pirate Party of Russia, about the Russian political climate as it affected her, but — no other way to put it — she had second thoughts about talking to me. And I can only conjecture as to her reasons.

For more from Jackson’s trip, see the July issue of Memphis magazine.