Boy, did I score some great junk the other day. The kind that makes you feel all warm inside. Makes you happy. Makes the world seem like a better place. NO, not that kind of junk. Yard sale and estate sale junk. My Saturday hobby. The thrill of the find. That elusive search for the $20 table that turns out to have been made by Pennsylvania Shakers in the 1800s and is worth far more than my house and other worldly goods put together. Havent run across that one yet, but this past weekends finds were a small but beautiful painting of the Madonna (not the singer), a hand-carved wooden cigarette box, and a certain kind of corkscrew. I figured between the three of those I might get some kind of relief when I wake up in the middle of every night in the midst of a full-blown panic attack. I did, however, pass on a giant painting of a ham. A ham. In the dining room of one of those beautiful mansions on Belvedere. Go figure. My other great find of the day was a headline in The Commercial Appeal that read: PUTIN SHAKES UP STAFF, PUSHES STALLED REFORM. Couldnt someone there please rerun that with a typo so it reads STALL REFORM? Is that asking too much? I think not. BUT the most wonderful find of the week came in the form of a tidbit of information passed along to me. It seems that the Memphis Airport Authority has contracted with a photographer to find the perfect away-from-their-desks settings to photograph each member of the Memphis City Council and Shelby County Commission for a display to be installed at Memphis International Airport. This is too good to be true. And such an easy one that I almost hate to take a potshot. I mean, cmon. Barbara Swearengen Holt posing in front of The Pyramid? Please. Maybe a photograph of her on the toilet (speaking of stall reform) at the City Council calling someone at The Pyramid from the bathrooms $800 telephone that you and I paid for. Or she could be calling to have Ricky Peete paged at Shoneys to tell him to put down the bread. And of course the exhibit must include County Commissioner Michael Hooks at home in the kitchen sweating over a hot stove. Sorry, couldnt help but make that crack (and neither could he, apparently). And what photo exhibit of our celebrated officials would be complete without a photograph of City Councilwoman Pat VanderSchaaf on a shopping spree at Marshalls in Raleigh? Oh, wait. There are already photos of that, arent there? Poor Pat. I still love her. Anyone who skips a council meeting because of a sick pet is A-okay in my book. At any rate, all remarks made in fun, as I am certainly not perfect myself. I wish only the best for the photo exhibit, for the City Council and County Commission members, and for everyone, because I am just that kind of guy.
Author: Chris Herrington
SEDUCED
In the Mood For Love lures American audiences to Asian films.
The world moves on a woman s hips, David Byrne sang with the Talking Heads, and so it is with director Wong Kar-wai s In the Mood For Love, which finds its central image in the delicate sway of actress Maggie Cheung s gait. In this laser-focused chamber piece, the image is appreciated for its pure formal beauty, but it s also a central image of longing in a film predicated more on ineffable desires than on direct actions.
Over the last decade, Kar-wai has emerged as one of the most exciting and most exalted filmmakers in the world, but In the Mood For Love will be the director s first film to grace a Memphis screen. Filmgoers who wish to see more global cinema shown locally should turn out in droves to assure that it won t be the last.
In the Mood For Love is a radically different film from the three great works that have earned Kar-wai his reputation in the U.S. the chaotic companion pieces Chungking Express and Fallen Angels and the farewell to Hong Kong colonial rule, Happy Together. In form it would seem to be the most accessible of his works, but with its slower pace and lack of giddy humor or action, it is probably a less likely candidate to find a major audience than his previous films.
For most film buffs familiar with Kar-wai, those three prior films embody the last decade s most definitive film style a universe of fluid, handheld camera; quick editing; loud pop music; and young, quirky characters who form a frenetically romantic New Wave vision of modern urban life. In the Mood For Love is as mannered and in its own way every bit as rapturous as those films, but it is marked by a different visual strategy. A period piece, In the Mood For Love recreates the Hong Kong of Kar-wai s early-Sixties childhood with a largely stationary camera, slow tracking shots, and deliberate editing. Though much of the film was improvised (as is standard with Kar-wai), it feels painstakingly designed, whereas films like Chungking Express and Fallen Angels feel completely off-the-cuff.
In the Mood For Love centers on Mr. Chow (Tony Leung) and Mrs. Chen (Cheung), who, along with their spouses, rent adjacent rooms in a crowded apartment building. The film s central location is the building s narrow hallway and staircase, in which Mr. Chow and Mrs. Chen are constantly meeting and, through decorum or simple shyness, taking great pains to avoid physical contact.
Mr. Chow and Mrs. Chen gradually figure out that their spouses (heard but never seen on screen) are having an affair. This draws the pair together in a romantically sublimated union, where they act out how their spouses may have begun their affair and rehearse confrontations that may never actually happen. Their relationship grows close but remains mostly unrequited and, as far as we know, unconsummated. The two protagonists hardly even touch, so the slightest mingling of fingers or clasp of hand to wrist break the tension with unbearable force.
The film s ending is a putting-things-in-perspective stylistic departure similar to the one Kar-wai deployed in Happy Together. It s a finale that s almost too mysterious and lovely, a bit of solemn, hushed closure that may throw off some viewers but it is no less monumental than this film deserves.
Kar-wai is the most fetishizing and romantic major director on the planet, and this minimalist film is where he winnows his obsessions down to their essence resulting in a tense pas de deux around the kind of unrepresentable desires all his films are infused with.
Crouching Tiger, Hidden Dragon which I adored exposed a lot of people to the gloriously fertile world of modern Asian cinema. With In the Mood For Love those same viewers will have a chance to sample a different kind of Asian film, one that may be less crowd-pleasing but no less moving or vital. Chris Herrington
thursday, march 22nd
Eighty-Katie and Cory Branan are two of my very favorite young
acts in town and both have debut albums due out any week. Eighty-Katie play
old-time rock-and-roll in the British Invasion/Cheap Trick vein with uncommon
spirit and not an ounce of retro posing. Branan can be an erratic live
performer, but a solo gig at the Hi-Tone CafÇ a few weeks back was the best
show I ve ever seen him give, so maybe that can carry over this week when
Branan and Eighty-Katie team up at the Hi-Tone tonight. — CHRIS
HERRINGTON
FEDEX TOSSES HAT INTO NBA RING
In a press conference yesterday afternoon at AutoZone Park, J.R. Pitt Hyde III, founder and former CEO of AutoZone revealed his long-time plans and involvement in wooing an NBA team to Memphis. I and a small group have been trying to secure this franchise for about a year now, Hyde said. We are extremely optimistic that we will be successful in our efforts.
Memphis has all the kind of attributes that make for a great NBA city, Hyde said. We have received very strong support from both our mayors in this city as well as the governor of Tennessee.
However, for all those attributes, Hyde says that the city lacks an NBA-quality arena, stating that an upgrade to the Pyramid would be far too costly (an estimated $190 million). We quickly came to the conclusion [that] it would be far better to build a new arena from scratch and we are looking at that possibility, he said.
The proposed new stadium will cost between $200 million and $250 million. The majority of the funding can come from state tax rebate [for major corporate sponsors] and incremental sales-tax rebate,” Hyde said. “With that combined with a similar package to what the state did for the Titans, we think we can come up with a program where the funding amounts in city and county will be at a very acceptable level.
In terms of location, Hyde says that the group was obviously looking at the downtown area. We have several very promising sites that the league as well as the franchise owners were very enthusiastic about. We feel like an NBA team and a new arena downtown would have a similar impact [as did AutoZone park] and just add to the momentum we have been able to create here in Memphis.
Yesterdays press-conference also revealed FedEx as a major player in the city’s efforts to land the NBA team.
While FedEx will certainly have no role in the ownership group, FedEx is prepared to step forward and make a commitment to the citys efforts to attract an NBA franchise by submitting a significant long-term proposal for the new arena and team naming rights, said FedEx executive vice president Mike Glenn.
Memphis is competing with Louisville, New Orleans, and Anaheim for the NBA team. There is also a Vancouver group that is attempting to buy the team and keep it in Canada. Louisville’s bid got a boost yesterday after Tricon Global Restaurants, the corporate entity that owns Kentucky Fried Chicken, Pizza Hut, and Taco Bell, reportedly offered $100 million to Heisley. Tricon officials will not confirm or deny that number.
According to Glenn, a new stadium can do much for the already strong growth downtown. First and foremost, its critical to move our city forward and I think that has to start with downtown economic development, he said. I point no further than to the Redbirds and what they have done for the community and the significant success FedEx has had in its partnership with the Redbirds.
However, Glenn also believes FedEx has much to gain from its involvement with a new stadium. Clearly, we look for a return on investments in every sports marketing opportunity we pursue. We expect the same from an investment we would be making in a new arena.
FedEx sponsors a number of sports endeavors including Memphis FedEx St. Jude Classic in golf, the FedEx Orange Bowl in college football, the FedEx Championship Series in Champ Car racing. The Memphis-based cargo company paid a record amount to the Washington Redskins for the naming rights to FedEx Field.
According to Glenn, a new team in Memphis will significantly impact FedExs employee recruiting efforts.
Attracting highly talented employees to our company and many other companies in the community is critical to our long-term success, Glenn said. In order to be successful here we have to attract talent to our community. Quality of life issues is first and foremost in the minds of young professionals as they consider where they want to further their careers.
A major question revolving around a new stadium involves its impact on the University of Memphis basketball program. Since FedEx has a major investment in that program, the question becomes even more relevant.
We began talking with R.C. Johnson about this some time ago because we were not going to be comfortable if the University of Memphis would not be comfortable about a new arena, said Al Graf, FedEx executive vice president and chief financial officer.
Memphis basketball coach John Calipari attended a meeting of key Memphis businessmen on Tuesday morning. “I’ve been in the loop for a while,” Calipari said after beating UTEP Tuesday night. “They’ve been terrific. FedEx has never done more for the university than what they are doing next year. This may be three times what they have ever done.”
Graf confirmed that FedEx will up its investment in the U of M. Next year, said Graf, we will substantially increase our support. Youll see a lot more FedEx signage, youll see a lot more ticket sales, and youll see more FedEx people involved.
The meeting also served as a rallying cry to get potential investors and ticket buyers in on the drive for the NBA team.
Our challenge today is to reach out to the rest of the community, Graf said. This is not going to be done simply with the FedEx corporation. Now is the time for everybody to step up to the plate and be involved both with the University of Memphis and with the potential new NBA team. According to Graf, the ownership group has already sold over 40 suites, more than any other city involved in the race for the Grizzlies.
Hyde said that there were two other Memphians who were partners with him in pursuing the NBA team. He refused to name them. He did say that there would be a significant local ownership group.
Though negotiations have not been finalized, we plan on a significant local ownership in this team if we are successful in our efforts,” Hyde said. “All the people currently involved in this effort as potential owners are all in it because they think it is the right thing for Memphis.
Senior point guard Shyrone Chatman had a double-double and the University of Memphis started the second half with a 16-2 run on its way to a 90-65 win over UTEP Tuesday night in the second round of the NIT. Chatman scored 12 points, had 10 assists, and no turnovers in leading the Tigers (19-14) to the win before 14,101 at The Pyramid. Memphis will host New Mexico Thursday in the quarterfinals. The winner goes to the NIT final four at Madison Square Garden.
This was a very good win for this program. I loved our intensity and our defense, coach John Calipari said after the game. The things I always try to get my teams to do is play their best basketball in March.
Earl Barron also logged a double-double with 10 points and 10 rebounds, as Memphis put five players in double figures. Senior Marcus Moody led all scorers with 17. Kelly Wise added 16 and freshman Scooter McFadgon had 13. Memphis shot 47 percent from the field, had 21 assists, and only 11 turnovers in the game. The Tigers led 42-29 at halftime.
That was a good team. They beat a lot of people; won a lot of ball games, Calipari said of the Miners, who were 23-8 entering the contest. We got after them. We took them out of a lot of things they wanted to do.
Moody broke Mingo Johnsons career three-point mark when he hit his 154th trey midway through the second half. Calipari did not know about it until informed by reporters after the game. Thats terrific. Im happy. It was one of his better efforts, the coach said.
Calipari thanked the crowd for their support. We had 14,000. The Commercial Appeal was probably at the gate counting each person as they came in, so its a legitimate count, Calipari said, taking a jab at the daily papers insistence on giving the turnstile attendance at every game instead of just reporting the number of tickets sold.
Junior John Grice saw his first action since being suspended in December.
This is not all about basketball why hes not playing, Calipari said. But I wanted to give him an opportunity because he has done some good things in the last two weeks.
With one more win the Tigers will hit the 20-win mark for the first time since 1996. They also will gain a trip to the Big Apple. The players and coaches have made the latter a goal in part because senior Shamel Jones is from Brooklyn.
Tickets go on sale Wednesday at 8 a.m. at the U of M’s athletic ticket office. The Tiger ticket office will be open until 6 p.m. Wednesday and will be open on Thursday from 8 a.m. to 2 p.m. Tickets go on sale Wednesday at 12 p.m. at The Pyramid.
The Lobos came from behind to beat Pepperdine 81-75 in front of 16,278. It was the second straight home game for New Mexico in the NIT.
THE CHANGING CITYSCAPE
With each passing year, the architecture of a city changes. Buildings come and go. Think about it. How has the built environment in the area surrounding your own neighborhood or workplace changed in the past few years? This month, as Memphis magazine continues to reflect on its 25-year history, we thought it appropriate to consider how the architecture of our city has changed during that period. What are the outstanding design achievements, whether new construction or a renovation, that have made an impact on the city? And who better to comment on this changing cityscape than some Memphis architects? We asked each of them to name some design achievements from the last quarter century. There wasn’t enough space to list all of their choices, but we’ve highlighted a few. Is your favorite among them?
J. Carson Looney, FAIA
Looney Ricks Kiss
“The renovation of The Peabody (1981, McFarland & Associates) marked the turning point for downtown, which, by the late ’70s, was headed to the pits.” says Looney. “Such a major commitment as The Peabody established a precedent in people’s minds. This turning point signaled that it was okay to give a shot at the rebirth of downtown. Smaller projects that might never have taken off did so, all because of The Peabody, the Belz family, and then-director of the Center City Commission, John Dudas. The Belzes brought The Peabody back with such energy and commitment that it could not help but spill over into other areas of downtown.
“The Peabody is of its time, the late 1920s. It was the benchmark for hospitality, not just in Memphis but throughout the Mid-South. The Belz family did an excellent job. They did not go into the project with the intention of making the space “modern.” Instead, their renovation plan drew from the beauty of the original structure-and more importantly, the beauty that was in the public’s mind, and the emotional attachment that people had toward the building.Ê
“A great piece of architecture and great interiors do not always make for a great place, a place people love. It’s how the hotel is operated-and The Peabody is a first-class hotel. But it’s not just a hotel – it has become what it was historically-a destination.”
Lee Askew, FAIA
Askew Nixon Ferguson Architects Inc.
Lee Askew had a theory about buildings. “Buildings that start out as aliens often become icons,” he says. He cites as an example I.M. Pei’s glass pyramid in front of the Louvre in Paris that at first outraged some Parisians but now has quickly become a revered part of the landscape. Askew describes The Pyramid (1991, Rosser Fabrap) as one of the more not-able structures in Memphis that he feels is destined to become another icon. “The Pyramid is significant because of its function and shape, and its siting on the north bluffs,” he says.Ê
Jack Tucker, FAIA
Jack R. Tucker Jr. & Associates Architects
Jack Tucker, a veteran of downtown renovations and restorations, nevertheless looked to East Memphis when naming one of his favorite architectural projects. The Crescent Center at Poplar and Ridgeway (1986, Nathan Evans Pounders Taylor), he says, is appealing because of its subtle curve, its materials, and the fact that the design “looks at itself.” He notes that while the interior architecture of many office buildings can be predictable – in that the use dictates the design of the interiors – The Crescent Center’s exterior exceeds expectations on a major scale.
James Williamson, AIA
Williamson Pounders Architects, PC
The impact of AutoZone Park (2000, Looney Ricks Kiss) on the growth of downtown cannot be overemphasized, says architect James Williamson. “The park has been a real shot in the arm to downtown from a social and cultural point of view,” he says. “Now people are coming down here for recreational purposes.” Williamson also praised the design of the ballpark that opens to the street so passersby “can get a real sense of what’s going on inside.” He describes the plaza in front as “a generous civic gesture.”Ê
Williamson also singled out the Auto-Zone headquarters building (1995, Looney Ricks Kiss), that faces Front Street on the east and the river on the west. “The scale of the east side complements the adjacent Cotton Row warehouses, while the curving glass wall on the west side speaks to the curving nature of the Mississippi.”
The Memphis Brooks Museum of Art’s addition (1989, Skidmore, Owings and Merrill; Askew, Nixon Ferguson and Wolfe), says Williamson, is “extremely successful in that the architects were able to create a new main entrance without covering up or insulting the original, which dates from 1916. The museum’s new rotunda has become, in effect, its new entrance.”
Greg Hnedak, FAIA
Hnedak Bobo Group
Greg Hnedak views the Harbor Town (1989, Looney Ricks Kiss) development as a remarkable achievement whose appeal extends beyond the architecture. “It provides a different lifestyle downtown than just high-rise living, and I hope it helps to bring people back to the city,” he says. The architect adds that the choice of neotraditional architecture for Harbor Town was a logical one, appealing to people who want such designs as porches and houses set close to the street – features that increase the sense of neighborhood.
The architect, who himself has lived in Harbor Town for several years, says he also enjoys the neighborhood feeling that is created by Harbor Town’s commercial district. “Having a store like Miss Cordelia’s where you can buy staples like milk, being able to walk to a cash machine, a dry cleaner, a coffee shop where you can read a newspaper or a book – that’s part of the appeal. There’s even a day spa where you can get a massage.”
“Also, part of the draw is the diversity of people who live in Harbor Town,” says Hnedak, “which is racial to some degree but also economic.” He points out that Harbor Town housing types range from apartment rentals to high-end residences. “This is one of Harbor Town’s strengths that makes it such an appealing place to live,” he says.
“If you had told me 25 years ago, that I would be able to walk from my home to nearby stores, that I would be living in a house downtown that rivals any house in East Memphis, I would think you were dreaming,” Hnedak says. “Now I can look out my living room window and have a view of a pond. If I had to leave, I don’t know where I would go to find anything to compare to Harbor Town.”
[This story originally appeared in Memphis magazine.]
SEEING CLEARLY NOW
If you wanted to get analytical about it, you could conclude that the rise of angry, adolescent-oriented hard rock over the last half-decade has something to do with the resentment Gen Y kids have for their boomer parents. The higher divorce rates and increase in latch-key childhoods over the last 20 years have changed the tone of teen anger: In the heavy-metal Eighties parents were just accused of spoiling a good time, of taking away your best porno mag, but kids who respond emotionally to Marilyn Manson and Eminem are coming from a deeper source of emptiness. That may be a conclusion that cultural gatekeepers like Bill Bennett and Lynne Cheney share about music they no doubt hate, but its also as undeniable as connecting the dots between economic good times, a second baby boom, and consumer-friendly mall-pop.
Crumbling families as a subject for art, much like the life experience itself, is commonplace these days. But good rock-and-roll that deals with it directly is rare, and what makes Everclears Art Alexakis so compelling right now is his ability to articulate that particular strain of anguish. As someone who went through it as a kid and has a daughter hes putting through it right now, Alexakis is able to convey the pain of broken-home childhoods from two angles. He takes the familial dysfunction that young hard-rock bands like Korn and Papa Roach traffic in and makes something of it — with insight and honesty but without whiny solipsism or a loss of good humor.
Alexakis journey from late-grunge fluke to the poet laureate of divorced-dad rock has not been a predictable one. Everclear arrived in 1993 with the forgettable grunge of the aptly titled World of Noise then made a commercial dent with the 1995 follow-up Sparkle and Fade. That record, which gave the band its first hit with Santa Monica, crystallized their muscular grunge into a more identifiable sound and reflected a more discernible personality at the musics core. But the band finally started to come into its own with 1997s So Much for the Afterglow. The title/lead song was a new peak for the band, the Beach Boys harmonies of the intro running into Who/Nirvana power chords and launching an ambitious song that said more about the surprising growth of the bands music than any critic could. This is a song about the everyday occurrences that make me feel like letting go, Alexakis asserted, and so it was. The album also included the hit single Father of Mine, a strong commentary on Alexakis own single-parent childhood and the first time he hit his great subject head-on.
After a three-year hiatus, Everclear released two albums in 2000, the dubiously connected Songs From an American Movie Vol. One: Learning How to Smile and Songs From an American Movie Vol. Two: Good Time For a Bad Attitude. The conceptual framework of this prestige move is ambiguous; I still havent figured out what that title means; and the hard-rockin Vol. Two is the bands worst record since their debut. But Vol. One is a shock.
On Learning How to Smile, Alexakis and company finally find their true voices as a great classic-rock band, referencing Jimmy Page and Brown-Eyed Girl, John Prine and the Otis Redding. In the most underappreciated pop coup of the year, the band came out of the guitar maelstrom of their previous work with a career album more likely to please fans of Tom Petty and Aerosmith than fans of Nirvana and Sonic Youth. This is their cornball pop move — sampling Public Enemy and Mr. Big Stuff, bringing in horns and background vocals and strings — and its the one that I adore.
But its also Alexakis D-I-V-O-R-C-E album, with an overture that contains the following central image: The only thing that ever made sense in my life/is the sound of my little girl laughing/through the window of a summer night/I sit alone in the backyard/wishing I could be inside. If youre wondering why he has to stay outside and only hear her through the window, the rest of the album provides enough context to fill in the gaps — hes simply there to deliver the child-support check.
Alexakis only comments on his daughter directly at the beginning and end of the album, but she informs all of the relationship songs in the middle of the record, a group of courtship-and-marriage memories that glow with the knowledge of whats been lost and the damage thats been wrought. The songs also charm with inspired details of the low-rent dating life that Everclears younger and more vague modern-rock competitors cant touch — such as the plastic welfare-office chair that Alexakis first spies his future bride in and this magic moment from Here We Go Again: There aint no place Id rather be/than watching dirty movies/in that happy room with you/sleeping on a mattress/in the corner/eating Chinese food.
Everclear isnt the worlds greatest rock-and-roll band — far from it. But on Friday night at The Pyramid, stuck between the pre-fab modern rock of Lifehouse and the bloated bellowing of Rob Thomas and Matchbox Twenty, they might sound like it.
If youve been seeing a lot of your pediatrician lately, youre not alone. Winter is the busiest time of the year in doctors offices, as colds, ear infections, and the flu get passed around like kids hand-me-downs. While no one enjoys having a sick child, treating those ailments often means an increased use — and potential misuse — of antibiotics.
Antibiotics are powerful medicines that are good for treating bacterial infections such as ear infections, pneumonia, and bacterial sinusitis. But viral infections — which can cause runny noses, colds, coughs, sore throats, ear infections, or upper respiratory infections — are never cured by antibiotics. The problem is, it is sometimes difficult for doctors to determine whether some illnesses are bacterial or viral in nature.
If you have a cold with nasal discharge, you shouldnt expect an antibiotic, because you dont need one, says Dr. Stephen Threlkeld, an infectious disease specialist with Infectious Disease Associates in Memphis. Whats more, the overprescription of antibiotics is leading to a growing community health risk.
Pneumococcus (streptococcus pneumoniae), is the single greatest bacterial cause of illness in children, according to Dr. Deborah Nelson, associate professor of pediatrics at the University of Tennessee Health Science Center. This common bacteria, which has 90 different strains, is carried by people in the back of the throat and generally doesnt make us sick. But certain strains of pneumococcus can cause serious infections, including otitis media (an infection of the middle ear), pneumonia, meningitis, and sinusitis.
The use of antibiotics to treat simpler infections has created resistant strains of the bacteria, which are becoming more and more difficult to treat. Since ear infections are common in young children, a lot of physicians overdiagnose this ailment, says Dr. Katharine Cox, an ER pediatrician with Baptist Memorial Hospital-East. Taking repeated doses of antibiotics increases the likelihood that a child will have an infection that cant be treated with front-line penicillins like Amoxicillin and Cephalosporins, says Cox. That means physicians must turn to other penicillins and prescribe higher doses to effectively treat patients.
The medical profession is extremely concerned about the rise of resistant strains of pneumococcal bacteria, says Nelson. In the 1940s when penicillin was first introduced, it killed everything. Now, its only effective for certain strains of bacteria. According to a 1998 article in the journal Pediatrics, the past several years have seen a rapid increase in the number of strains resistant to penicillin
Why should parents be alarmed? Children who attend day care centers are more apt to be exposed to resistant forms of the bacteria. Couple that with taking more than two or more courses of antibiotics a year and the American Academy of Pediatrics warns, The more antibiotics prescribed, the higher the chance that your child will be infected with an antibiotic-resistant bacteria. If infected with resistant bacteria, your child might need to be treated in the hospital, since resistant bacteria only respond to more powerful medicines.
So whats the answer? Doctors say both physicians and patients must break the cycle of antibiotic overuse.
Do I Need an Antibiotic?
Here are some helpful tips when seeing your pediatrician:
¥ Ask questions, such as Is the prescription of antibiotics necessary? Dont expect your child to be treated with antibiotics every time he gets sick. If a child is being seen for a fever or cough, ask your physician why shes prescribing an antibiotic, says Cox. Find out whether your child needs it.
¥ Make sure your child completes the medicine prescribed. Stopping when he show signs of improvement could increase bacterial resistance by killing the weaker bacteria only.
¥ Keep your child at home during recovery.
¥ Allow your child to recover more fully before sending him back.
¥ Teach your child to wash his hands regularly with soap and water. This helps stop the spread of infection.
[This story originally appeared in Memphis Parent.]
THIS MOVIE BLOWS
Written by the same screenwriter, Simon Beaufoy, who received an Oscar
nomination for penning The Full Monty, Blow Dry is likewise a
wacky, working-class comedy set in a small British city. Miramax is obviously
hoping lightning will strike twice, but that isn t about to happen here.
The Full Monty may have been a little cloying, but it had some real
laughs and true grit courtesy of star Robert Carlyle. Blow Dry is a
collection of laugh lines that doesn t land and sentimentality that just
clunks.
Set in the milieu of competitive hair-dressing if such a thing actually
exists, it s news to me Blow Dry is achingly formulaic. The film
opens with a bit of crosscutting between a hair-cutting demonstration at the
British Hair Institute (the room filled with over-the-top caricatures of the
garish and effeminate) and a poorly attended press conference in the
struggling town of Keighley, whose mayor announces that the next National
British Hairdressing Championships will be held there. You can pretty much
guess the rest: The colorful participants are introduced, old rivalries are
reignited, vanquished warriors return from the shadows, hair is cut, tears are
shed, laughter erupts.
The film boasts an engaging cast that includes stellar British actors
Alan Rickman, Natasha Richardson, and Rachel Griffiths (with pixieish Yank
Rachael Leigh Cook and hunky American Josh Hartnett thrown in to lure American
teenagers and their immense disposable income), but it doesn t give them much
to work with. The questionable dialogue is often delivered so awkwardly that
you aren t sure if it s supposed to be taken as camp or not stuff like,
This competition is going to change this town and I m not asking you to
speak, I m asking you to cut. This is the kind of flick filled with
expository dialogue about the characters past the kind of only-in-the-
(bad)-movies talk where two people have a conversation about their own past
but still repeat the details to each other.
Blow Dry is essentially the more straight-arrow step-sibling of
bizarre-competition films like the ballroom-dancing-centered Strictly
Ballroom and the pet-show mockumentary Best in Show. But it has
neither the full-on tackiness of the former nor the occasionally biting wit of
the latter. If I were feeling charitable, I d call Blow Dry a barely
adequate trifle. Otherwise I d just say it blows.
ASK VANCE
Secret on Stage Road
Dear Vance: Next to the empty Home Quarters hardware store on Stage Road is a patch of woods with a “For Sale” sign out front, and deep in those woods are many abandoned cottages. Most have caved in or burned. There are also stone walkways, one leading to a bridge by a pond, another leading to an outdoor fireplace surrounded by fancy concrete benches. Who once lived here, and when? It’s quite a mystery to my friends and me. – J.H., Memphis.
Dear J.H.: I stumbled upon this place by accident many years ago, when I noticed a long-abandoned concrete driveway leading into that patch of woods, and – nosy parker that I am – instructed my driver to steer the Daimler-Benz down it, while I huddled in the backseat for protection. There was indeed something spooky about these dark woods, and our car crept past a muck-covered pond, crumbling stone bridge, and finally pulled up at the tumble-down ruins of several stucco cottages. I didn’t tarry long. The whole place just seemed like it would be a-crawling with snakes and chiggers and other pesky creatures, and in fact a hive of bees swarmed around the entrance to what must have been the main house, pictured here.
At one time, though, this was a pastoral wonderland. I happen to know this, because a few years ago I chatted with well-known Memphis artist Burton Callicott, who actually helped build the place and told me quite a lot about it (thanks, Burton).
I’ve mentioned Mike Abt’s name in this column a few times, but never devoted much space to him, and that’s a shame, because he was an interesting fellow indeed. Born in Hungary, he came to the U.S. in 1913 and attended the Cleveland School of Art. In Ohio, that is, not on Cleveland Street here. During a sketching trip down the Mississippi, he happened to stop in Memphis and, being just about broke, landed a job here designing department store windows. Precisely which ones, I can’t recall. Anyway, within a few years, he had established himself so well that he became head of Tech High School’s art department and also began designing floats for Memphis’ Cot-ton Carnival and Christmas parades. Those are two separate events, understand.
But back to your query, J.H. In the 1920s, Abt purchased 11 acres of land along Stage Road, which was waaaaay out in the country then, and began transforming the wooded property into a personal fantasyland. He built a Mediterranean-style main house, studio, garage, greenhouse, and lots of other buildings. Over a period of 24 years, he added the fancy barbecue pit you saw, along with a goldfish pond, tennis court, and lots of other stuff, with stone walkways looping through the woods connecting everything.
Callicott, who just happens to be Abt’s stepson, lived there from 1925 to 1932. “Mike Abt just loved to build things,” he told me. “My brother and I helped him dig the cellar by hand. The barbecue pit by the road is reached by stone stairs. I did all that stone work, all the walkways, and most of the stucco on the house.”Ê
Abt died in 1952 at the age of 55. His wife lived there another 10 years, and when she died the family put the place up for sale. But it never sold, and over the years, an interesting assortment of people called the old Abt place home. Among them was puppet-master and Eads Gallery owner Jimmy Crosthwait, who lived there for 20 years.Ê
“I always felt blessed to be out there,” Crosthwait recalls. “It gave you the illusion of seclusion, even though you were between Raleigh and Bartlett. Sort of The Land That Time Forgot.”
In the early 1990s, developers built a Home Quarters and a Target right next to the property, and everyone moved off, thinking the bulldozers were on their way. But they never came, and the old place slowly crumbled into ruins, with considerable help from local vandals and the Memphis weather. “I haven’t been back there,” Callicott told me. “It’s just so depressing that I hate to go. It makes me sad, but we had lots of good times there.”
He’d certainly be sad to see it now. On my last visit to the place in December, bulldozers were knocking down the trees and clearing the land. All the houses are gone. Only the little stone bridge remained – and probably not for long.
Ohman hamburgers? Oh man!
Dear Vance: Many years ago, I remember some of the best hamburgers in town could be found at a place near Madison and Cleveland called the Ohman House. When I came back to Memphis recently, it had disappeared. What happened to the Ohman House? – J.R., Memphis.
Dear J.R.: It closed, and that’s that.
Hmmm – my editor told me that answer, though admirably concise, won’t quite fill up the rest of the column this month. Though I suggested that perhaps we could just run the photos really large, he thought it might be better if I tried to say just a bit more. Okay, then.
The first Ohman House opened at 1358 Madison, just east of Cleveland, in the late 1940s. The odd name suggests it was family-owned, and it was indeed – operated by a fellow named William L. Ohman.
The first restaurant was a rather plain little drive-in, but in 1948 the family opened something considerably more original, called the Ohman Ranch House (below). “An atmosphere of the Old West permeates the place,” said a newspaper announcing the opening, and they were right. You entered the Ranch House by pulling the trigger on an old six-shooter mounted on the front door, and once inside, patrons found themselves in a rustic saloon, complete with rough wood walls and kerosene lamps (actually, they were electric lights that just looked like lamps). Hungry diners chomped on barbecue sandwiches, hamburgers, and steaks. Outside, a gold neon wagon wheel “turned in the direction of Texas,” whatever that means – after all, if it’s spinning, how does it point to anything?Ê
I can’t say for sure if Ohman offered some of the best hamburgers in town, as you claimed, J.R. Even if I could, I won’t. Vance does not endorse, you see.
In the 1950s and 1960s, other Ohman Ranch Houses sprang up all over town. The fanciest one stood at 2439 Summer, near Hollywood. When it opened in 1952, the Memphis Press-Scimitar enthused about the “Spanish mission-style building with a courtyard walled in brick and cypress and planted with yucca and tiny palms.” Inside was the same rustic Western motif, with lots of cactus and rope designs, and again you yanked on a revolver to get inside. The distinctive red tile roof came from the Woman’s Building that had burned some years ago at the Fairgrounds, and the little cupola was surmounted by “a weather vane pointing to Texas.” A weather vane that points in only one direction isn’t much of a weather vane, if you ask me, and . . . oh, it doesn’t matter.
The grandest Ohman House of all didn’t serve hamburgers, though. “You can’t get back a $90,000 investment on 35-cent sandwiches,” Ohman told reporters. Well, you can if you sell – let’s see – more than 257,000 burgers, but I imagine that would take quite a while, so the Summer Avenue location offered considerably more upscale fare. In the early 1950s, in case you were wondering, you could enjoy a tasty T-bone for just $2.85 or a nice filet mignon for $2.15.
The Ohman Ranch Houses thrived during the 1950s and 1960s, but one by one they closed, and the company filed bankruptcy in 1970. The Ranch House site on Madison is today a parking lot. The big place on Summer, now painted a bright shade of orange that even UT fans would hate, today houses an antiques/junk store called the Trading Post.
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