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Film Features Film/TV

First-time director scores, modestly.

Early in ATL, the first feature film from director Chris Robinson, a stylized montage of Southern life gives a sense of the film’s intentions and limitations. A Confederate flag flaps, a barbecue grill smokes, cotton, churches, and archived footage of Martin Luther King are all intercut with the grill of a cruising El Camino driven by rapper and first-time actor T.I. Harris. This is a movie about growing up poor and black, the challenges and decisions one is presented with, and the way friends, family, and community intertwine.

Robinson gets two fine performances from that risky asset, the rapper-turned-actor. T.I., whose 2003 album Trap Muzik explored similar territory, plays the brooding older brother Rashad, who has taken on the responsibility of caring for his younger brother Ant (Evan Ross Naess) after their parents die in a car crash. Antwon Patton, aka Big Boi of Outkast, sparkles as the local drug lord, a character whose eccentricities — rims, pastels, pit bulls, and punchlines — are really no stretch for Patton’s musical persona.

ATL has a convincing ease to it. The dialogue and interactions between friends and lovers are all natural. But Robinson, perhaps succumbing to first-time jitters, uses voiceovers, subtitles, and interludes to guide the viewer through exposition that could have been handled with the camera alone.

What the film lacks is a spark. There is fine chemistry between the four friends who make up T.I.’s rollerskate crew but not a lot of excitement. Robinson does a poor job filming the action of the skate teams, keeping the rink in a natural shadow that downplays the sense of magic to which a voiceover keeps alluding. The best skating comes from a scene late in the film, when Rashad and his love interest stop in to watch some old pros who finally get the camera’s attention.

Essentially, the film replays territory covered by last year’s You Got Served: the struggle to escape the poverty of the inner city, the trust between friends and lovers, the lure of drug dealing, and a shooting that comes as a final wake-up call. The acting and direction of ATL are superior, but then again, there are none of the earlier film’s kinetic thrills.

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Music Music Features

Street scenes and buzz bands highlight a first-time festival experience.

The South By Southwest Music Festival is a music fan’s wet dream, but as they say, the best laid plans of mice and music critics. During my two days and three nights in Austin, I saw some anticipated acts flop and some unknown groups make the biggest impact on me of all.

On Wednesday, the opening night of the festival, I caught a capacity crowd for Belle & Sebastian at Stubb’s, a beautiful outdoor shell on the north end of Red River.

On Thursday, I had more time to prep and planned an ambitious evening: Catch Spoon at the Town Lake stage across the river from downtown, bounce over to Beerland for the Goner showcase, then back to Stubb’s for Fiery Furnaces before rushing back down to 6th Street for the band that defines buzz, New York’s Clap Your Hands Say Yeah.

But Spoon was late to come on, and their sound was a bit lost at the large open-air venue of Town Lake. The Fiery Furnaces did a better job filling the air at Stubbs. Lead singer Eleanor Friedberger looked confident and in control of the group, which says something about the progress of this band, famous for the onstage antagonism of its sibling founders.

It was on my way back from Stubbs that I ran into what would stand out as the high point of the trip. Playing to a crowd of nearly 200 people was a New Orleans street band who identified themselves only as The Hot 8. They were in full second-line swing, with a six-piece brass section anchored by bass and snare drummers.

In contrast to some other acts that played on the street outside crowded venues, the Hot 8 were set up on a nondescript corner. Half a dozen cameras were filming the event, and a small circle of fans formed right in front of the band to dance.

The music was so infectious that people were leaving the long line to see Flaming Lips/Clap Your Hands to see what all the fervor was about. By the time I left to get in line, the group had the whole crowd singing along in a Creole patois that only a scant few probably understood.

From there it was back to the original plan. The Flaming Lips were billed at SXSW as a “special guest,” but they packed them in at Eternal. Frontman Wayne Coyne had spent the earlier part of the evening rolling around 6th Street in his human-sized hamster ball and conducting a sing-along.

Clap Your Hands Say Yeah finished off the evening at Eternal. This Brooklyn-based quintet made the jump to indie stardom before being signed, capitalizing on Internet buzz to sell records. Their rich, organic sound is a powerful platform for lead singer Alec Ounsworth, who sounds like David Byrne but wastes less time, ripping into the audience and the scene with witty, self-deprecating lyricism.

But as good as Wednesday and Thursday were, my final night at SXSW was a bit of a flop. I made it into one of the hardest tickets in town, a triple bill of Dungen, Elefant, and The Sword. Sadly, Dungen took its sweet Swedish time tuning up, then played a set that sounded half-way to Jamville.

There is a strict rule at SXSW that all clubs close at 2 a.m. So despite the fact that the Sword was only warming up to a salivating crowd, they were only able to play for about 15 minutes before they had to leave. Dungen, whose long delay had wasted the time intended for Sword, was visibly nervous as an angry crowd turned to heckle them before exiting.

So there it is, a whirlwind three days, packed with disappointment, surprise, and satisfaction. Still, exhausting as it was, the SXSW experience is one I am eager to repeat. Maybe my veteran status will help me plan better next time, or maybe I’ll just have to get lucky again.

Categories
News The Fly-By

The Light Fantastic

There are a lot of reasons why Memphis is a good fit for James Clar, the first Lantana Artist-in-Residence at the FedEx Institute of Technology. Since arriving in the Bluff City two months ago, he has discovered a love of barbecue and adapted quickly to the pace of Memphis.

More than anything else, though, Clar is an artist who works with light, which means he’s right at home in the neon-saturated environs of Memphis.

“I like that one on Poplar,” he says of the Joe’s Liquor sign at Belvedere. “It looks like the Sputnik.”

Lantana Projects is a nonprofit residency program that brings international artists to Memphis and encourages a relationship between the city and these artists.

Clar began college as a business major at New York University but quickly realized that wasn’t the right path for him. He switched to film studies yet soon became dissatisfied with that as well.

“From there, I went into animation because film had too many variables. In animation, everything is on the screen because I put it there. A lot of it was about control — I needed the output of my idea to be as close as possible to what I imagined,” he says.

Clar’s desire for complete control forced him to think about every inch of his work. “I delved into lighting because I was doing all screen-based work. The monitor itself is a light-emitting device … I began to think, can’t I just develop my own visual system?”

Clar’s attempt to design his own system for displaying visual information resulted in his thesis project at NYU, a system he dubbed the 3D Display Cube, which won him the 2004 Design Distinction award from I.D. magazine.

Since then Clar has continued to work with light in various installations. 3D Cube has been shown in New York art galleries, Japanese festivals, and at the Wired Next technology expo, where Clar met his current sponsors, Lantana and FedEx. (To see the cube: www.jamesclar.com/product/2005/3dcubewhite/mov3.html.)

As part of the artist-in-residency program, Clar’s upcoming show at the Broad Avenue Material gallery — opening March 17th — displays his tenet that all his work be grounded in his own abilities.

“I don’t run something from a TV or VCR,” he says. “I make my own circuit boards, solder my own wires, and program my own code.”

Clar’s second exhibit will open downtown April 27th at a location yet to be announced. But he’s not stopping there.

“I’m going to build an installation that will run along the trolley line. It will sample the activity inside buildings and translate that to light shown on rooftop monitors.”

Which means that when downtowners ride the South Main trolley at the end of April, they’ll see the work of James Clar, turning Memphis inside out.

Categories
Film Features Film/TV

Gonzo horror import Night Watch is must-watch.

Any cultural phenomenon has its progeny, and The Matrix is no exception. That trilogy mixed science fiction, kung fu, and water-cooler philosophy into an intoxicating blend spiked with the latest in computer graphics. Fans were hooked, and even as the films tapered off toward dismal, they kept coming. Recently, a rash of movies have come out with clear ancestral links to The Matrix, some of which we could have done without and others, like the recent Russian import Night Watch, we should all be very grateful for.

Night Watch was adapted from a trilogy of novels by Sergei Lukyanenko, who also co-wrote the screenplay. It opened in Russia in the summer of 2004 and went on to become the highest-grossing film in post-Soviet history, earning over $15 million at the box office.

The film actually bears more resemblance to the ongoing Underworld series than to The Matrix, more neu-school horror film than science fiction. Both series are also plotted around a war, one that has raged for millennia, in which neither side is necessarily good or evil. This is deep stuff, people!

Night Watch opens looking sort of like a Capitol One commercial — a lot of armor and smashing amid whirling cameras — but it quickly displays wonderful wit and innovative special effects, which are doubly astonishing when you consider the film was done on a $5 million budget by director Timur Bekmambetov. What stands out is the way Bekmambetov mixes low-key interior cinematography with playful and imaginative FX, even turning the subtitles into part of the mise-en-scene.

The plot? Okay, there are these “Others,” which is a catchall for any magical being, from seer to vampire to shape-shifting bear. When you find out you’re one of them, you get to choose between Dark and Light, basically high-stakes kickball with the future of the world. Our hero Anton (Konstantin Khabensky) makes a big mistake early on in the film, which leads to his discovering he is an Other, and while he decides to side with the Light, it quickly becomes clear he is still expected to do dirty work.

While Anton struggles to get his act together, we are introduced to a series of larger-than-life prophecies, but the film always manages to stay in the moment. It has humor and a host of excellent supporting characters, especially the nefarious Zavulon, leader of the Dark Others, who spends his time at home endlessly replaying the film’s final scene on his PlayStation until he gets it right.

Toward the end of the film, there is moment when Night Watch‘s central plot is suddenly and anti-climatically resolved. This momentary letdown is a ruse, however, a reminder that the film knows both scope and attention to detail. Like those nifty Russian dolls, it opens up even as it comes to a close. The sequel, Day Watch, opened in Russia in January and is due in America later, but this movie is so good that I’m hoping to use the magic of eBay to shorten that wait.

Categories
News The Fly-By

Killed by Silence

Joyce Anderson has been the principal at Klondike Elementary for only two years, but she has already been saddled with some tough challenges. When she came to Klondike last year, it wasn’t meeting national standards set by the No Child Left Behind (NCLB) act. This year, Klondike was moved to the high-priority category.

The designation makes Klondike students eligible for free tutoring through an NCLB mandate, Supplementary Education Services (SES). But according to Anderson, the program has been less than a success.

“I could have had tutors in this school three weeks after school started,” she says. But none of the state-accredited providers contacted her until recently.

“You have 250 children who are just dangling out there, waiting for help,” she says. “It’s now five weeks before TCAP [the statewide standardized test]. Sure, one provider says we can tutor after the TCAP, but I need the bang on the buck on the front end.”

Anderson and her students are not alone. In Memphis, SES received between 5 and 15 percent of the NCLB’s Title 1 budget each year, approximately $5 million. But according to Aubrey Bond, the local director of NCLB, the program rarely uses its full budget. In Memphis, only about 10 percent of children eligible for free tutoring enroll. Nationally, that number is 12 percent.

Part of the problem, according to both Bond and Anderson, is the restrictions on interaction between schools and the outside tutoring providers as stipulated by NCLB guidelines. School employees are not allowed to approach outside providers or recommend providers to parents unless expressly asked by the parent. School employees must wait on state-approved providers and hope parents will make the effort to select the right provider for their child.

“NCLB has to send out letters,” says Anderson. “Some [parents] respond and some do not.”

According to Bond, employees who interact with outside providers could be liable under law. “If a teacher or principal was at liberty to recommend someone,” says Bond, “can you foresee the hanky-panky going on between providers and staff?”

But it is these restrictions, says Anderson, that are harming her school and her students. “If I could just say to these parents, we have a tutoring program and your kid needs to be in it, those parents would get their kids here,” she says. “You have a wonderful opportunity for children to receive services, but you are handcuffed. You sit there drained, because you can’t break the law.”

The last study released by NCLB shows that in school districts where the systems were providers and SES funds were moved in-house, student attendance at tutoring programs was significantly higher.

Bond says SES is a mandate that could be rethought. He and Anderson both hope to see a change from external providers to in-house tutoring with SES funds. In the meantime, Anderson has hired three of her own teachers — with funds from her school’s regular budget — and recruited volunteers for an after-school tutoring program.

“I am very frustrated and so are my teachers,” she says. “We have just been killed by silence.”

Categories
Cover Feature News

Saving Libertyland

Libertyland, the amusement park that has operated in Memphis for 30 years, is officially closed. In November, the Mid-South Fair’s board of directors (which controls the park) voted to cease Libertyland’s operations, citing several years of financial losses. Libertyland’s equipment was to be sold, including two rides on the national register of historic places — the carousel and Elvis’ favorite roller coaster, the Zippin’ Pippin. A headline in the Memphis Daily News warned, “The Chopping Block Looms.”

But before the ax hit the chopping block along came a group of activists calling themselves Save Libertyland — a classic Memphis mix of quixotic idealism, persistence, and legal ingenuity. Due to their efforts, and to recent legal action by the city, Libertyland may have life in it yet.

The Wipeout

Libertyland sits on the Mid-South Fairgrounds, a piece of public property that the city is eager to revitalize and re-imagine. “It is really the nexus between East Memphis and what is going on downtown,” says Robert Lipscomb, Memphis director of housing and community development. “I think it’s underutilized and potentially has much greater value. Our job is maximizing that asset.”

Lipscomb organized the Mid-South Fairgrounds Re-Use Committee, which was assigned to study the area. On November 4, 2005, the committee viewed six scenarios drawn up by the architectural firm Looney Ricks Kiss. The scenarios were designed to provide integrated residential, commercial, and public space, with an eye to revitalizing the land while preserving some of its history.

The committee chose scenario number five, with its large green space, small-scale retail, and 40-plus acres for sports and recreation, as the “highest and best” use of the land. That scenario did not include Libertyland, the Mid-South Coliseum, or the Mid-South Fair. While the committee’s decision was not binding, it was intended to guide the City Council in making its final decision on the property. That same day, in a decision board members later said was unrelated, but which, due to issues of leasing, was inextricably linked, the Mid-South Fair board voted to close Libertyland and liquidate the rides and equipment.

“We did not have good luck with Libertyland, though we operated it for a good while,” says board president Eugene Smith.

Rick Winchester, a board member and former board president, elaborates: “We had been losing money for several years, but we still believed in what we were doing and in the value of Libertyland to the community. Sadly, it was no longer attracting the numbers of people we needed to make it work.”

Winchester says that it was something of a Catch-22 for the board: Revitalizing the park required investing in new rides. To invest in new rides, Libertyland needed a substantial loan, and to secure financing for such a loan, a park operator would need a long-term lease, something the city had been unwilling to grant.

Winchester told The Commercial Appeal that the “lack of support from the city had a lot to do with our recommendation to close.”

The Rebellion

Save Libertyland met for the first time on November 11th. In attendance among the half-dozen or so interested parties were Midtowner Denise Parkinson, local filmmaker Michael McCarthy, and University of Memphis law professor Steve Mulroy. They became the core trio that would energize and devise the group’s plan of action.

“We were thinking about different things,” says Mulroy. “We wondered if Libertyland could be viable with a long-term lease. We thought if the city won’t listen to reason, can we at least save the historic rides?”

The group began by organizing protests and benefits and collecting signatures for a petition to save the park. They joined forces with the rock group the Zippin’ Pippins, which staged benefit concerts in support of their namesake.

McCarthy was ubiquitous, from protests outside Libertyland to town-hall meetings and late-night rock shows, keeping his camera rolling and needling questions and comments at anyone who would listen. “This city is out to destroy its own history,” he says. “Maybe they should build a new ride at the park called the Land Developer, where the tracks disappear behind you.”

Save Libertyland also had help from Nick Davis, who runs the local interest Web site DetourMemphis.com. Davis kept a blog, with updates on the group’s progress and events. He also hosted the group’s online petition.

Soon, a few local politicians, including City Council members Carol Chumney and Dedrick Brittenum, expressed support for the group.

But despite Save Libertyland’s best efforts, the group was unable to get responses from the city or from the Mid-South Fair board. “With the Mid-South Fair, it was ups and downs and conflicting stories,” says Mulroy. “We eventually came to feel we didn’t want to rely on anyone. They told me the groundwork for the auction was being laid, and the situation began to look grim.”

The Revolution

Two events turned the tide for the Save Libertyland campaign. The first was when the group made contact with officials from two companies that specialize in turning around failing theme parks. The second was when they managed to stop the auction of Libertyland’s equipment.

Robert Barnard is chief operating officer of T-Rex Entertainment, which has reinvigorated two failing parks, one in Washington state and another in Detroit. (The other theme-park developer contacted by Save Libertyland is choosing to remain anonymous at this stage of negotiations.) Barnard says he contacted the city and the Mid-South Fair board to discuss a possible offer on the park. The first person he talked to was Pete Aviotti, special assistant to Mayor Herenton, and a member of the Fairgrounds Re-Use Committee. Barnard says Aviotti told him that the fair had a lease on Libertyland. This was later discovered to be incorrect.

Barnard says he then spoke to Ron Hardin, the fair’s former general manager, and to the fair board’s president, Smith. Both discouraged him, saying that the board had settled the issue in November. “I called Mid-South Fair and offered to lease the property for $10,000 a month with the option to purchase, while we looked for a new site if necessary,” recalls Barnard. “Dr. Smith said that was not an option, that they were getting out of the business and liquidating their assets.”

But Hardin was quoted in The Commercial Appeal in November as saying, “If someone wanted to hop in there with a bunch of money … and try and get Libertyland open, we would absolutely talk to them about leasing or purchasing the equipment.”

Smith may not have informed other board members about Barnard’s offer. When the Flyer asked fair-board vice president Belinda Anderson about potential investors, she said, “I haven’t heard about these offers. But I’m sure if someone came with a check and was ready to go, the board would at least be interested.”

The issue of who holds the lease was officially cleared up later that week. The fair’s 10-year lease had expired in 1996. According to Aviotti, Libertyland has been allowed to operate since then without a lease. Aviotti now says that the city will at least consider offers for a long-term lease. Both Barnard and the anonymous developer are preparing letters of intent for the city.

The second, and perhaps greater, accomplishment of Save Libertyland was stopping the equipment auction. In a piece of clever legal maneuvering, Mulroy asked whether the city might have a legal stake in the rides and equipment that were being put up for auction.

Soon after, the city announced that its legal department is looking into which rides are owned in part or in toto by the city. A city ordinance says it is illegal to sell park property without the express permission of the City Council.

“We’ve managed, at least for now, to gum up the works of those who are out to destroy Memphis history brick by brick,” says McCarthy.

The Future

The future of Libertyland is still far from certain, but the Save Libertyland campaign has stopped what seemed to be preordained dominos from falling. By attracting investors, the group was able to provide two of the prerequisites Rick Winchester said would be necessary for saving the park: an influx of funds and the possibility of a long-term lease from the city.

And by stalling the proposed auction, the assets of Libertyland will remain in place while the lengthy process of determining the fairgrounds’ future unwinds in the City Council. It is clear that the 140 acres of land under consideration will be hotly contested. Several significant proposals have already come along, most notably the KROC Center, funded by a $48 million grant.

But Save Libertyland has at least given the park another chance. And by attracting investors, the park embodies one of the Looney Ricks Kiss guiding principles (#20): that site features be self-financing.

Libertyland actually meets many of the LRK proposed Master Principles. It is a public amenity (#1) which broadens the scope of the fairgrounds (# 3). It helps to cultivate civic pride (#5) and maintains the historic character of the grounds (#7).

At a City Council meeting last week, Cato Johnson, chairman of the Fairgrounds Re-use Committee, spoke about Libertyland: “If there was a viable proposal, we would entertain that. Right now, we have nothing to evaluate, but it’s not outside the realm of possibility.”

Other developers are interested in the property, whether for mixed-used office space or student housing, but Johnson says they have received nothing definite. “No one has come and said we want to put this type of housing here,” he says.

Lipscomb and Robert Fouche, city parks services director, are expected to report on funding sources for potential developments on the fairgrounds in April.

“If people want to see Libertyland stay, now is the time to act,” says Mulroy. “Call the mayor. Call your councilperson. Let them know you think Libertyland is a vital piece of Memphis.”


Off To See the Wizard

Who are these people and how did they do it? by Mary Cashiola

Denise Parkinson, Michael McCarthy, and Steve Mulroy are as disparate as Dorothy, the Tin Man, and the Scarecrow in The Wizard of Oz.

A housewife, a filmmaker, and a law professor are the driving force behind Save Libertyland, founded after the Mid-South Fair voted to close the park in November.

“She’s the ringleader,” McCarthy says of Parkinson. “She started it all.”

Parkinson, an energetic activist, says she takes her kids to Libertyland every summer. “It’s so much fun,” she says. “It’s small enough that you don’t drop from exhaustion. … We have the best of both worlds here. We have a wonderful theme park that’s actually manageable for a family, economically and in every way.”

But Parkinson is also concerned about the overall effect of the closure on the community.

“I saw this happen in Little Rock, where they closed this little kiddie park. Then they started closing down all the summer jobs programs and the community centers, and so we had this gang-activity spike,” she says. “[When they closed Libertyland] I was like, here we go.”

McCarthy had been working on a documentary about the Zippin’ Pippins, an all-girl band named after Elvis’ favorite roller coaster. Then Libertyland closed and McCarthy found he had a new project.

“I was copied on an e-mail from [Parkinson’s sister] that said I was making a documentary on Libertyland. I always do what she asks, so the next thing I knew I was making a documentary about Libertyland,” he says.

The trio gelled at a meeting at McCarthy’s house.

“I saw an article in The Commercial Appeal about the attempt to save Libertyland,” says Mulroy. “My kids are big fans of it and I thought it was a worthwhile cause. My wife said, why don’t you offer to help? … I think after [Parkinson and McCarthy] found out what I did for a living, they started pushing me toward a more prominent role than I had originally anticipated.”

Since its inception, Save Libertyland has focused on the number of jobs — many held by teenagers and first-time employees — that will be lost. But at issue, they agree, is much more than that.

“It’s a quality-of-life issue,” says Mulroy, “because it’s a place for familes to go to do something unique. It’s part of Memphis’ history and culture. It’s affordable: Working-class families can go. And if we replace it with generic town-homes, Memphis becomes a little more generic and a little less family-friendly.”

“Totally,” says Parkinson, and laughs. “What he said. He’s our brain.”

Rick Winchester, former president of the Mid-South Fair board and current executive committee member, has said it would take three things to save Libertyland: an influx of capital, a long-term lease, and political support from the city and the county. Assuming that’s true, Save Libertyland has found some success and, perhaps unexpectedly, even seems to have a chance of saving the park.

Early on, Parkinson and her sister began e-mailing amusement-industry insiders and “anyone we could think of,” says Parkinson.

Because of their attempts, the group has met with T-Rex Entertainment, a theme-park company out of Kansas that is interested in the property, as well as another operator — still unnamed publicly — with 30 years in the business.

“I think the prospects are reasonable because there have been a couple of significant developments,” says Mulroy. “First, the two outside amusement-park companies have expressed interest, and both these companies have track records of saving ‘failing parks,’ what they call turn-arounds.”

Even before Libertyland closed, however, the issue of a long-term lease was a problem for its operators.

“There’s been a little movement on the city administration’s part because they’ve gone from an initial position of where they would only grant a one-year lease to where they’re willing to talk about a long-term lease,” says Mulroy.

Save Libertyland estimates a new company would need about eight years to recoup its investment in the park.

“We need a long-term commitment from the city to support this,” says Mulroy.

If Save Libertyland lacks anything, it may be political clout. Parkinson and McCarthy both have a radical streak, and Mulroy, though a candidate for a County Commission seat, is no political insider.

In fact, if Parkinson is Dorothy, Mayor Willie Herenton is the ever-elusive wizard.

“Robert Bernard of T-Rex Entertainment got in touch with us because he had — on his own — tried to contact the mayor,” says Parkinson. “The mayor never responded. The mayor still won’t address this issue.”

And because the mayor’s signature is the one on the lease, he’s the one Parkinson wants to talk to. “He is the leasing authority, so if he doesn’t want Libertyland fixed up, he can kill it,” she says.

And though Save Libertyland has gathered hundreds of signatures on paper and via Internet petitions, Libertyland’s actual land is very important to the city.

Last week, architects presented possible scenarios for the re-use of the 170 acres around the fairgrounds to a City Council committee. The property includes the Liberty Bowl, the Mid-South Coliseum, Fairview Junior High, and the area where Tim McCarver Stadium once stood. The only entity on the property that puts money into the city’s coffers is the monthly flea market. During the meeting, members of the Fairgrounds Re-Use Committee were careful to point out that Libertyland was still — at least, in theory — a viable option. But the land is important to the city’s master plan.

“This is the nexus of East Memphis and the western part of the city,” says Robert Lipscomb, city chief financial officer. “The Highland Strip is being redone in the U of M area. That area flows into the arts district, which flows into the medical center and downtown. This is a key part of the redevelopment of the core city and downtown.” Save Libertyland counters that the park is consistent with whatever happens to the fairgrounds.

“Libertyland is compatible with a recreation area. It’s compatible with mixed-use development,” says Mulroy. “There’s plenty of room for all of that, and you can still retain Libertyland.”

“We don’t want a scenario where the Mid-South Fair sees Libertyland as a cash cow,” says Mulroy. “The auction probably would have occurred already if we hadn’t slowed them down.”

The city attorney’s office is currently exploring who owns the rides and assets of Libertyland and is expected to present a legal opinion to the City Council within the next few weeks. Because the Zippin’ Pippin and the carousel existed on-site before Libertyland was created in 1976, it seems certain that the Mid-South Fair cannot claim ownership.

“So many people have almost an embarrassment about Libertyland. It’s just, ugh, it’s not good enough, or let’s get rid of it,” says Parkinson. “It was run by a nonprofit, so they didn’t have the mindset of let’s make this the best park in the world. We’ve found people who do have that mindset.”

“If you look at where we started and where we are now, it’s an incredible improvement,” says Mulroy.

Categories
News The Fly-By

A Fair Deal?

There are a number of issues which Eugene Smith, the president of the board for the Mid-South Fair, is not entirely clear on. For example, whether he is actually president of the board.

When asked as much by the Flyer, he said, “Not that I know of. I may be and I don’t know it.”

Smith also said he had no knowledge of any outside investors interested in Libertyland, the local amusement park he and the board voted to liquidate last November.

But two weeks ago, T-REX Entertainment, a company based in Kansas, offered to lease Libertyland for $10,000 a month.

“The decision has been made to close Libertyland and sell the assets,” Smith said, later acknowledging both the offer and his presidency. “I just want what is best for the [Mid-South] Fair and what is best for the city. I don’t want anything else.”

According to Rick Winchester, former president of the board and a member of the executive committee, Libertyland could be saved if three things were accomplished.

“You need a long-term lease. You would need an immediate influx of substantial funds. And you would need the support of the city and the county,” Winchester said.

Steve Mulroy, co-founder of the advocacy group Save Libertyland, said these three criteria can be realized. “We have a substantial investor interested and the city now says it would be willing to talk about the possibility of granting Libertyland a long-term lease with a serious investor,” Mulroy said.

Pete Aviotti, assistant to Mayor Willie Herenton, concurred. “If someone was interested, they would have to approach the city,” Aviotti said.

Mulroy said two companies are interested: T-REX Entertainment, a development company that has rehabilitated theme parks in Detroit and Seattle, and another investor who wishes to remain anonymous for now.

Not all board members agree with Smith’s position on the fate of Libertyland. Belinda Anderson, vice president of the board, said, “If someone had a check, I’m sure the board would be interested.”

Winchester also believes Libertyland is worth saving. “I view it as an important institution in Memphis,” he said. “It’s a clean, safe, fun place to go, and for an awful lot of young people, a place to earn their first paycheck.”

Yet neither Anderson nor Winchester had heard anything about the offer Robert Barnard, chief operating officer of T-REX Entertainment, presented to Smith last week. In fact, of the five executive committee members who spoke with the Flyer, only Smith had heard anything about the proposed deal.

According to Aviotti, the city’s legal department is currently investigating whether they have partial ownership of any of Libertyland’s rides or equipment before those items are sold at auction.

“We’ve got to move,” Smith said. “We’ve got assets tied up [in Libertyland] and we need the revenue. We have plans to use that land for the Mid-South Fair.”

Categories
Film Features Film/TV

Tristram Shandy

I first learned about Laurence Sterne’s novel Tristram Shandy as a senior in college. It was a book that carried a strange aura, not the awe-inspiring reverence of the canon but more of a “wait and see” wink to the prospective reader. I did read the novel, all 600 pages of it, and it was indeed a singular experience. Tristram Shandy is a book about digression, the tangential, and the final impossibility of coherence. It tries to follow the life of young Tristram but keeps getting lost along the way — simply put, not the kind of book that would make for a good adaptation to film.

Yet Michael Winterbottom, director of 24-Hour Party People and 9 Songs, has done a tremendous job adapting not the content but the spirit of Sterne’s tremendously experimental and frankly postmodern novel into Tristram Shandy: A Cock and Bull Story. Winterbottom has made a film about making a film, not an original conceit these days but one that perfectly suits the self-reflexive nature of the novel. Winterbottom not only weaves back and forth between the characters and the actors who play them, he manages to overlay some of the novel onto the “real world,” brilliantly intertwining two plots.

Tristram Shandy concerns a young lord and his pregnant wife, who is carrying the hero of our story, Tristram. In the film, Steve Coogan plays Tristram’s father, Lord Shandy, Tristram the narrator/author, and himself as a self-absorbed actor and new father. This alone should give you some sense of the multiple levels that Winterbottom is playing with here, both by following Sterne and by extending him.

Yet the film, unlike the novel, hardly ever drags. The period scenes are bawdy, almost farcical pieces, and behind the scenes, the story sparkles with the chemistry between Coogan and Rob Brydon, who plays Lord Shandy’s overly sensitive brother Uncle Toby.

Don’t go to this film expecting to get anywhere. There is, like any good cock and bull story, no resolution and precious little progress. But there are a lot of laughs, some wonderful performances, and even a bit of emotional resonance, provided mostly by Coogan, who learns a thing or two from the whole experience about what it means to be a father, a son, and a friend. Winterbottom’s experiment pays off, and, with any luck, it will encourage a few moviegoers to try Tristram Shandy (the book) for themselves.

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News The Fly-By

Planning Ahead

The schedule for last week’s meeting about the city schools’ new master plan included three speeches and a question and answer session. When it came time for the Q&A, however, some of the parents in attendance were not impressed.

“I thought this was supposed to be a question and answer session,” one mother said. “How come there are no answers?”

About 150 concerned parents, students, and teachers attended the town hall meeting at White Station High School to air their concerns over the Memphis City Schools’ proposed 5 Year Master Plan. The plan, which includes proposals to close several schools, build others, and rezone almost every existing facility, would dramatically alter the district. Some citizens held signs protesting their school closings. Others came armed with pointed questions. But district representatives chose not to respond to comments directly, saying that they wanted to hear as many different concerns as possible and that answers would be forthcoming.

“I was very impressed with how much the parents already knew coming in to the meeting,” said Tom Marshall, the city councilman and architect who heads up the firm that assembled the plan. “Nevertheless, I think there are definite adjustments that need to be made, not only to the educational experience but to the culture, and this adjustment is going to take some time to set in.”

According to Marshall, the district has hard data to answer most of the parents’ questions.

“It was unfortunate that we didn’t have time to both hear and answer the questions, because we have answers to the questions, and it made it look like we didn’t,” said Marshall.

Victoria Noblett, a parent and teacher from Treadwell High School, contested the master plan’s logic. Under the plan, Treadwell becomes a middle school.

“I thought the purpose of this plan was to help schools become the focus of the community,” she said. “Well, right now, this school is the nucleus of this community, so why are you taking it away?”

Marshall, responding to the Flyer, said this question is a perfect example in which the district’s motivation is not immediately obvious. “I especially feel for the children who have already attended that school and have a vested interest,” he said. “But we believe that the long-term benefit will outweigh that. In Treadwell’s case, studies show you are twice as likely to drop out of high school if you attend a 7-12 rather than a 9-12.

“Even if the children have to suffer through a one-time adjustment, the long-term benefits are overwhelming.”

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News The Fly-By

Love in Court

Last October, DJ Butler ran away from home. His father tracked him down and, instead of taking him home to Georgia, deposited him at Love In Action (LIA), a faith-based program for adolescents struggling with promiscuity or homosexuality.

“The people at LIA saw me get out of the car in handcuffs,” Butler said at a press conference Friday. “My counselor at LIA said if you leave I’ll call the cops, and they’ll come pick you up and take you to a juvenile delinquent center.”

While in residence at the program, Butler’s father obtained Prozac for him, yet he insists he never saw a doctor. “The counselors kept telling me I needed some kind of pick-me-up,” said the 17-year-old. On occasion, Butler says, staff from LIA administered the medication.

It was these types of actions — dispensing medication and requiring clients to stay on-site — that ultimately brought LIA to federal court last week.

The program gained national notoriety last summer after a Tennessee teenager posted his fears about the program on his weblog. The media attention in turn incited the state to take a closer look at LIA. “It was a media complaint which drew us to their Web site,” said Pamela Hayden Wood from the state attorney general’s office, which represented the state at the court appearance.

In late 2005, the Tennessee Department of Mental Health and Developmental Disabilities (DMHDD) decreed that LIA was a “supportive living facility,” and, as such, was dispensing medication and requiring clients to stay on the premises without a proper license. After the state ordered LIA to stop offering these services, the ministry sued, stating that a non-profit, faith-based ministry did not fall under the jurisdiction of DMHDD.

In court last week, however, the state was unwilling to pursue further actions against LIA. “This case is closed. The state does not intend to pursue any action,” said Hayden Wood.

Nathan Kellum, LIA’s attorney, argued that the state is satisfied because LIA has stopped treating mentally ill patients. However, he argued that by interfering with the faith-based organization, the state had violated LIA’s First Amendment rights, as well as due process of law.

“Recently, we had a woman approach LIA,” he said. “She wanted to check herself in, but because she was on Prozac, she fell under the auspices of mentally ill, and we could not admit her.”

According to Kellum, the number of clients at LIA has fallen drastically. Without a legal or declaratory promise from the state, Kellum argues that LIA cannot carry out full operations.

Judge Bernice Donald, presiding over the hearing, pressed for the state to define its position also, but Hayden Wood remained noncommital, insisting that the case was closed but leaving open the possibility of further action. Donald was unimpressed.

“The state cannot hang the sword of Damocles over their heads,” said Donald. “Is there a threat of legal action?”

The judge also refused to issue an injunction preventing the state from taking action against LIA. Speaking on the case’s merits, however, she said that it seemed the law was on the side of LIA: “Mr. Kellum argues that LIA is foregoing its fundamental rights to avoid criminal sanctions, and that is not a tolerable situation.”