Categories
Politics Politics Feature

Post-Mortem, Pre-Birth

A week and more since the election, the dust has settled, as they say, and the earth on which it rests looks, superficially, amazingly the same as it was before.

The landscape of Tennessee is still red-tinted, as it has been since the statewide elections of 2010 and 2014 and the post-census reapportionment of legislative seats, in-between. The state’s two Senate seats belong to the Republicans, as does the governorship, and a GOP supermajority will still be reigning in Nashville when the General Assembly reconvenes.  

But there are clear and obvious signs of change.

Politically speaking, there are two Nashvilles. The capital city’s name, used as a synecdoche for state government, or, alternatively, for the oft retrograde doings of the legislature, connotes all kinds of red-hued things. The actual city of Nashville, based on the voting habits of its electorate and the official acts of its public figures, is the most consistently blue spot in Tennessee; indeed, it is probably the last refuge on Planet Earth of the once-upon-a-time Solid Democratic South.

Laura Jean Hocking

Scene from Weekend Rally at Civic Center Plaza

Nashville is where not just blacks, who amount to 27 percent of the population, but politically ambitious whites find it worth their while to run as Democrats. Nashville’s legislators are still predominantly Democratic; the Congressman representing the city, Jim Cooper, is a Democrat, and so are its mayors; former Mayors Karl Dean, this year’s Democratic nominee for Governor and Phil Bredesen, the two-term Governor who carried the party’s banner in the 2018 U.S. Senate race being cases in point.

The cautious Micawber-like conservatism of Bredesen was on full display in the Senate race, as it had been during his gubernatorial tenure, and it was a source of continuing annoyance to a good many Democratic activists, who bridled at their nominee’s implicit and sometimes overt affinities for Trumpism, as when Bredesen, post-Senate hearings, embraced the Supreme Court candidacy of Brett Kavanaugh, or when, in a TV commercial, he seemed to relish the idea of working in tandem with the president (“a skilled negotiator”) to get pharmaceutical prices down.  

While these overtures might have seemed ill-considered cave-ins to many of Bredesen’s Democratic supporters, they might very well have represented the candidate’s actual views. Bredesen is, after all, the governor who drastically pruned the rolls of TennCare and, in his first year in office in 2003, imposed across-the-board budget cuts of 9 percent in state spending. (By comparison, his victorious ultra-right-wing Republican opponent in 2018, Marsha Blackburn, had only demanded an 8 percent omnibus cut back then, as a state senator.)

The root fact may be that Bredesen, an import from the Northeast who made a fortune in Nashville as a health-care entrepreneur, is, politically, the exception who proves the rule about Nashville — someone who, upon entering politics, branded himself a Democrat because that was the “right” label for someone running for office in Nashville.

Whatever the case, Bredesen got 71 percent of the votes this year in Nashville as compared to 66 percent in Memphis. The rest of the state went for Blackburn by a 70 to 30 ratio, percentage-wise.

It is difficult to imagine James Mackler, the youngish Nashville lawyer and Iraq War vet who was talked into bowing out of the race to accommodate Bredesen’s race, doing much worse, statewide. And the progressive ideas Mackler unfolded during his brief candidacy might well have proved as rousing as Beto O’Rourke’s similar approach did in Texas, making the Lone Star congressman’s race there a close-run thing and elevating him into national prominence. We’ll never know. It was assumed, probably correctly, that only Bredesen could raise the requisite amount of cash for a competitive statewide race in Tennessee.

Similar reasoning underlay the nice-try but no-cigar race by Karl Dean against the GOP’s new-look gubernatorial winner, Bill Lee.

The state Democratic Party, incidentally, did what it could financially to augment several of the legislative races in play on last week’s ballot, including races mounted in Shelby County’s most suburban corners against long-term Republicans thought to have an unbreakable hold on power.

There was Gabby Salinas, the Bolivian-born cancer survivor and research scientist who, running as a Democrat, pleaded the cause of Medicaid expansion against its chief antagonist, the supposedly entrenched Republican state senator and state Senate Judiciary Chairman Brian Kelsey, in District 31, a sprawling land mass extending from Midtown and East Memphis into the suburban hinterland of Bartlett, Germantown, and Collierville. Gabby, as she was everywhere known, came within 2 percent of ousting Kelsey, who squeaked out a win of 40,313 to 38,793.

Democrat Danielle Schonbaum made things look relatively close in her contest with the veteran Mark White in House District 83, another East Memphis-Germantown-Collierville amalgam where she polled 11,336 votes to White’s 15,129. Even closer was fellow Democratic newcomer Allan Creasy, who won 10,073 votes against incumbent Jim Coley‘s 12,298 in District 97, a somewhat gerrymandered slice of Bartlett and Eads.

And, of course, there was District 96 (Cordova, Germantown), where Democrat Dwayne Thompson, who managed to upset Republican incumbent Steve McManus in the Trump year of 2016, expanded his margin of victory from 14,710 to 10,493 over Republican warhorse Scott McCormick in a reelection bid.

If those outcomes on the suburban rim look familiar, they are the contemporary Democratic equivalents of the kinds of gains Republicans made in the period of the GOP’s ascendancy, beginning in the late 1960s. Just as the GOP did in its rise to power, the refurbished Democratic Party, led by Corey Strong, made a point of challenging every available position, an effort that Republicans could not or would not match.

Unmistakably, Shelby County’s Democratic totals were swelled enormously by the African-American voters who are the essence of the party’s base here. But this year the effort made by white Democrats, focused in the Germantown Democratic Party, whose president Dave Cambron doubled as the party’s chief recruiter of candidates, and by millennial-dominated groups like Indivisible and Future 90 and new leaders, like Emily Fulmer, was intensified to a point of fever pitch.

Fulmer and others were galvanized into action again on Saturday, in a rally on Civic Center Plaza of hundreds who braved cold weather to protest the prospect of a post-election move against the Robert Mueller investigation by President Trump.

Unmistakably, Democratic sentiment in Memphis and Shelby County is again on the rise, after a decade or two of slumber.

Categories
Music Music Features

Zuider Zee

As I speak with the songwriter on the other end of the phone, it’s a bit difficult to believe that he’s from Lafayette, Louisiana: His accent is colored with the rounded tones of the English midlands. “I bounce back and forth between the U.S. and the U.K., as you can hear in my voice,” explains Richard Orange, chief guitarist and songwriter of the long lost Memphis band Zuider Zee. Though he now lives in Orange County, California, to these ears, it’s proof positive that he is an artist committed to growth and change, just as he was in the early 1970s, when his group was poised to take the world by storm.

Memphis is already familiar with one tale of unsung power pop masters who cut marvelous tracks here in the early 1970s, only to languish in obscurity. So iconic is the Big Star story that it’s a shock to learn, with this year’s release of Zuider Zee’s Zeenith (Light in the Attic Records), that there was an even more obscure band woodshedding and recording in Memphis at the same time. Like Big Star, Zuider Zee (it rhymes with cider tea) was creating highly original music that holds up remarkably well today, but that is where all Big Star comparisons must end.

Gary Simon Bertrand

Zuider Zee (l-r, Richard Orange, Gary Simon Bertrand, John Bonar, Kim Foreman)

The greater adventurism in the songs, sounds, and arrangements of Zeenith are what make Zuider Zee unique, somehow redefining both power pop and prog rock simultaneously. Certainly, the band was drawing inspiration from the Beatles’ example of constant evolution, not to mention other sounds coming from across the pond. “What I liked at the time was mostly from England. I just adored King Crimson,” says Orange. Like those icons of prog, Zuider Zee was actively seeking novel sounds, textures, and harmonies (including a greater use of keyboards). But, unlike most prog, all innovations were in the service of concise songs that eschewed long flights of virtuosity.

Hearing the adventurism of Zuider Zee’s production and songcraft, it’s astounding that all of the tracks on Zeenith were previously unreleased, having been cut as demos at Memphis’ Trans Maximus International (TMI) studios. Those demos arose from still earlier demos the band cut in Louisiana under the name Thomas Edisun’s Electric Light Bulb Band [sic]. When Mississippi-based promoter and manager Leland Russell heard those, “he came and hunted me down in high school,” says Orange. Ultimately, Russell convinced them all to join him in a move to Memphis, where he set them up in a band house across from his new home on Raleigh LaGrange Road.

Once there, they relentlessly honed their material. “One thing I can say about that band is, I made them rehearse a lot,” recalls Orange. “We were very well rehearsed before we would go in and cut. So we could do a lot of those arrangements in real time.” The blend of turn-on-a-dime performances and imaginative production bells and whistles adds up to a kind of loose perfectionism in the tracks. While Orange’s voice has echoes of Paul McCartney or Freddie Mercury, things never get too glossy: The foibles give the record an earthy humanity that is sometimes missing from power pop.

Ultimately, Zuider Zee did get their big break with a major label, but that was years after these demos, and it was too little, too late. “The material on Zeenith wasn’t really an album. We just put that together for this release. Zuider Zee on Columbia Records in 1975 was a big deal. But they just completely dropped the ball. Probably no one’s heard of it because they never released a single. And in those days, radio wouldn’t play you unless you told them what to play.”

As if to refute the fickle logic of major labels like Columbia, the once-forgotten demos pre-dating Zuider Zee’s big break now add up to one of the best releases of 2018, or any year: a strange, inventive hybrid made by Louisiana boys stuck in the Bluff City, casting their eyes to England for a bit of transcendence.

Categories
Food & Drink Hungry Memphis

The Nine Now Open

The Nine, in the old Bangkok Alley space at 121 Union Downtown, opened November 1st. Owner Chalee Timrattana says the Burana family, Bangkok Alley owners, helped him by providing the space free of charge and have been nothing but supportive.

Timrattana worked for Bangkok Alley for 16 years and has served as kitchen manager for all the locations.

The nine of the Nine refers to the king of Thailand, who recently passed away. Timrattana is using it as a lucky number.

Construction and the upgrade took longer than expected. The inside looks much like it did before, with a bar at front with some seating and banquet seating along the walls.

Also similar is the menu with such Thai favorites as Pad Thai and Drunken noodle.

Timrattana says he doesn’t have a specialty, per se. “I can do it all good,” he says.

Drunken noodle with tofu

Categories
Fly On The Wall Blog Opinion

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis?

Kevin McDonald

If Monty Python are the Beatles of TV sketch comedy, The Kids in the Hall are Duran Duran. I borrowed that line from Kids co-founder Kevin McDonald, who’s been known to use it in his standup routine. It’s a great gag because it’s a terrible metaphor. If we’re being honest, The Kids are more like The Zit Remedy of comedy. Or maybe the Triumph of comedy. The point is, they were Canadian. Like Loverboy. They were also smart, savage, and over-the-top.

If the first season of SNL is the Citizen Kane of sketch comedy, Kids in the Hall is American Psycho (but Canadian); full of dark fantasy, cutting satire, satirical cutting. Etc.

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis?

Critics were mean to Brain Candy, but the Kids only feature film looks pretty good in hindsight. What’s not to appreciate about an evil Pharma company’s mad, mad, (mad, mad, mad) rush to commodify health, market an untested happy pill, and warehouse a nation? It’s a dark, borderline cynical fable of success and corruption that, for being implausibly white, pairs beautifully with Boots Riley’s surreal romp, Sorry to Bother You. Both are comic book-style journeys to the dark heart of the Winning class — A tour through the gilded rooms where the real party (inside the party) never stops and things are always weirder, dumber, and way more evil than you’d ever expect. But mostly dumber.

Local comedy fans have good reason to be excited. McDonald is on his way to town to lead a pair of workshops and perform an intimate program of comedy three ways: Standup, sketch, and an improv jam with Memphis’ own Bluff City Liars. Here’s what McDonald told The Flyer about being a Kid, teaching comedy to people who are terrible at comedy, and whether or not super dreamy TV host Darcy Pennell ever got to roll with The Hell Riders. (Spoiler alert: SHE DID!!!)

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis? (2)

Memphis Flyer: Okay, I’ve been waiting 25-years at least to ask this question.

Kevin McDonald: Okay.

MF: Darcy Pennell. Did she ever finally get to roll with The Hell Riders?

KM: Sure. It’s my imagination, sure she did. She did a story. It was supposed to be a story for one weekend but she fell in love with Ace, the second in command which was frustrating because his name was Ace, so you’d think he’d be in command. But he was second in command. And she fell in love with him and they stayed together a year and then he broke her heart and she went back to the TV business. There, I made that up.

MF: Fantastic. Good for Darcy.

KM: Darcy Pennell was based on a local Toronto host of a TV talk show named Dini Petty.

MF: I didn’t know the character was inspired by one person. I’d assumed it was an amalgamation.

KM: Well, the name was. She sort of acted kind of forceful and strong. I can never do impressions, so I took this one aspect of her show that I really found interesting and I put it in Darcy Pennell.

MF: Nice. Can you tell me a little about the thing you’re doing in Memphis with Bluff City Liars? They said you’d reached out and found them. Is this a thing you do regularly? Find regional improv groups and then do workshops and a show with area comics?

KM: Yeah. I’ve been going around North America and doing that for the past four or five years. I spend weekends and I go to theaters with improv troupes and I teach them the Kids in the Hall method during the day. When I’m not doing cartoons or shooting stuff or doing my big podcast Kevin McDonald’s Kevin McDonald Show — I’ve got one coming out with Weird Al Yankovic and Tim and Eric.

MF: Oh, cool. I just saw he’s on tour and coming to The Orpheum in Memphis. Weird Al. Not Tim or Eric.

KM: He won’t be there this weekend will he?

MF: No, I don’t think. I think that’s a 2019 date. I just saw the announcement.

KM: It would be amazing if he was. He’s the nicest guy in the world. He sorta looks like he’d be the nicest guy in the world, and he is the nicest guy in the world. Anyway, I spend my weekends teaching and performing like I will Sunday night.

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis? (3)

MF: It’s a cool thing. Gives comics and writers access to your process. To a Kids in the Hall experience. And also we get a chance to see you perform. What’s the origin story for this project.

KM: Well, I moved to Winnipeg. And I thought I wouldn’t get as much TV and film work as I’d been getting. I still get a lot, but I have to fly to places. So I had to think of something else. So, I have these boring theories about sketch comedy that I’ve been bring people for years with at cocktail parties. And I was performing at Toronto Comedy Fest with Scott Thompson of Kids in the Hall, and they asked if I could teach. And I said I could throw something together. And I kinda liked it. And then I developed this thing. I guess it’s been six years, actually.

MF: I remember one time hearing you talk about the writing process with Kids in the Hall. About how you really thought the writing was the strong suit. Is that a focus of the workshops?

KM: Yeah. I think writing was sort of our strength. I think we’re all really good performers, so that gets into the writing. I teach the students writing through improv. So writing and performing are the same thing. But it all starts with the idea. And I think we were all very good with the idea. Then we learned how to go from an idea to a whole sketch through improv. Then when we got the TV show we had to actually write them down. Then we became like writer-writers. And we had to be performer-performers.

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis? (5)


MF: I don’t want to say dark, that’s kind of an attitude, but there was a tone. I was watching some old sketches today and thought they were funnier than I did the first go-round. And prescient.

KM: Funny you say that. There are some things about the show that if I watch today by accident I’ll be like, “Oh, why was I complaining about that scene? That’s a really good scene?”

MF: Funny that way. And the film Brain Candy, looking back from 2018 it’s like you were looking into a crystal ball. I know you were just responding to the advent of Prozac and drug marketing…

KM: Yeah, exactly, it was. It was Prozac, but that was like the beginning of all of it, wasn’t it?

MF: There’s that line after your character has been invited to the secret VIP party inside the VIP party and wakes up with two women in bed. They’re called over to sign legal waiver saying the night never happened.

KM: It’s nice of you to say that. I don’t know if it’s a fluke or…

MF: It’s anachronistic, I know…

KM: But I’m very proud of the movie. It’s not just a good comedy movie, it’s sort of a good movie movie. It is sketchy, but we wanted to do a movie that was a whole movie but had great parts because we were a sketch troupe. And by whole I mean W-H-O-L-E not H-O-L-E.

MF: Yeah, that would be awkward.

KM: Bad plan.

MF: When you go out and work with troupes are the ideas they bring in already kind of Kids in the Hally?

KM: I don’t think so. Maybe I’m to close to it. Sometimes it’s an idea that reminds me of an old idea of ours and they don’t know it. But a lot of times it’s more Saturday Night Live or Key and Peele. And a lot of times it’s just bad because a lot of them are just starting out on sketches and I know my first hundred were probably horrible.

MF: That’s the learning curve. But what do you do with that, just rip the Band Aid: “You’re horrible, let’s work on that.”

KM: At first I didn’t know what to do, but now I know how to work with lots of things. What we do is, on the first day I break everybody up into groups and we improvise. Then that afternoon we work on turning those improvs into sketches. But then they get homework. The have to bring in a comedy premise on Sunday. I pick my five favorites and we work on that all day. Sometimes there’s a lot of good ones.

What’s Kids in the Hall Co-Founder Kevin McDonald Doing in Memphis? (4)

Categories
Letter From The Editor Opinion

Shut Up, Phil.

So I’m sitting quietly at my neighborhood bar, nursing a beer, chatting with some of the regulars, when a new guy walks in.

“What’ll you have, pal?” says Ray, the bartender.

“What a stupid question,” the guy says. “But then, you ask a lot of stupid questions. Gimme a Diet Coke.”

“Okay, comin’ right up, sir,” says Ray, thinking to himself, “what an asshole.”

But Ray’s a congenial guy. He likes to keep the peace. So he slides a Diet Coke across the bar and tries to make conversation. Pointing to the TV, he says to the newcomer, “Helluva thing, those wildfires out in California, eh? Dozens of people killed, whole towns burned to the ground. Schools, houses, cars, everything. It’s pretty bad.”

“Nah, they got what they deserved,” says the new guy, loudly. “It’s just bad forest management. They ought to cut off federal funding to those people. Sad!”

At this point, the other customers in the bar are beginning to notice. There’s an awkward silence in the room, until a perky dishwater blonde at the right end of the bar speaks up.

“You know, I actually think you’re right,” she says. “The only way to stop a bad forest with a fire is a good forest with a fire.”

“That makes a lot of sense, Marsha,” says another customer. “In fact, that’s just the sort of creative bipartisan thinking I could work with, if I were given a chance.”

“Shut up, Phil,” says Marsha. “You’re boring the crap out of everybody. Nobody wants to hear it any more.”

“Yes, ma’am, I suspect you’re right,” says Phil. “I’m just trying to point how easy-going and inoffensive I am.”

“Yeah, shut up, Phil,” says the new guy. “I just met you, and even I can see you’re a loser. Think I’ll call you Flounderin’ Phil.”

“Hey, you don’t need to talk to Phil that way,” says Mario, another regular. “He’s totally harmless.”

The new guy turns to look at Mario. “You look kinda brown, Pedro,” he says. “You some kinda gang member? You come up here in a caravan? You MS-13?”

“No, I was born in Puerto Rico. I’m an American. I live here. What’s wrong with you, anyway?”

“Puerto Rico, eh?” says the new guy. “That was some really bad hurricane management you people had down there. All those fake death reports. Ridiculous. You ought to be ashamed of yourselves. Sad!”

“Wait a minute,” says Mario. “You think you can just come in here and start insulting everybody and get away with it?”

“Sure, I can. I’m a very stable genius. I have the best words. I could take you out and shoot you in the middle of Union Avenue and people would still love me.”

“Why, you son of …”

“You know,” says Phil, cordially interrupting, “you’re probably right, sir. And that’s just the kind of strong leadership I could work with, if given a chance …”

“Shut up, Phil!” says Mario.

“Yeah, shut up, Flounderin’ Phil,” says Marsha.

The new guy takes a sip of his Diet Coke and looks in the mirror behind the bar. “Looks like I’m having a bad hair day,” he says. “I’ll be right back. And you,” he says, pointing a tiny forefinger at Marsha, “I’ll need two cans of L’Oreal Ultra Freeze hairspray, stat. Follow me. And don’t make me grab you.”

“Yes, sir!” says Marsha, beaming, obviously smitten by the manly newcomer.

As they head to the men’s room,
Mario turns to Ray and says, “What could she possibly see in that guy?”

“What could anybody see in that guy?” says Ray. “He’s a total jerk.”

“I don’t know,” says Phil, cautiously. “He has the kind of hair I could work with, given the chance …”

“SHUT UP, PHIL,” says everyone.

Categories
Opinion Viewpoint

Trump’s GOP

On midterm election night, I looked into the camera and told President Trump — who watches a lot of Fox News — that his success in keeping a Republican Senate majority was the dagger that destroyed the old Republican Party. He is now the sole proprietor of what I call the Trump Party.

Juan Williams

Brit Hume, my conservative colleague, disagreed. He said Trump is fulfilling longstanding GOP priorities by nominating right-wing judges, lessening government regulation on business, opposing abortion, opposing gun control, and more.

But the GOP before Trump stood for free trade, not tariffs. They supported legal immigration. They fought high deficits. They backed NATO allies and opposed Russian aggression. And they did not embrace the politics of put-downs — including lying, nasty comments about women — while emboldening racists and anti-Semites.

It is hard for me to believe that so many people who once called themselves Republicans, specifically in Indiana, Missouri, and Florida, decided to vote for Trump’s candidates, despite the president’s daily words and actions debasing honest political debate. Those voters had no problem with a political ad so racist that Fox, NBC, and Facebook eventually pulled it. They had no issue with his fear-mongering over a caravan of desperate immigrants. They saw nothing wrong with him demonizing Democrats who stand up to him as a “mob.”

It is hard to understand how close to 40 percent of the country and 90 percent of Republicans approve of this man.

To choke off dissent from the old GOP, the day after the midterms Trump dumped on Republicans who did not embrace him. He named candidates who lost to shame them. He cut down proud Republican lawmakers including Representatives Peter Roskam of Illinois, Barbara Comstock of Virginia, and Mia Love of Utah.

As retiring Representative Ryan Costello (R-Pa.) tweeted, it is tough enough that so many House Republicans lost their seats but then to “have him piss on [you] — angers me to my core.”

In fact, of the 75 candidates endorsed by Trump, only 21 won. That is 28 percent, a losing record. Even in the Senate, where Republicans retained their majority, the party saw Democrats win the popular vote by more than 9 million votes. Somehow, Trump described those results as “very close to complete victory.”

He must be talking about the party of Trump, because the election results in the House, in governors’ races, and state legislature races were good news for Democrats.

But Trump was sending a message to Republicans. Like a mob boss, he demands absolute loyalty and will turn his back on any Republican who fails to fall in line. With Trump critics in the GOP like Ohio Governor John Kasich, Senator Jeff Flake, and Senator Bob Corker now leaving office, there will be few Republicans left to challenge Trump, further consolidating his rebranding of the GOP as his personal vehicle.

When the House GOP conference chooses its leaders next week, it will be a contest among zealous Trump acolytes. Freedom Caucus member Jim Jordan announced his bid for Minority Leader last week, saying it is House Republicans’ job to defend the president from Democratic investigation. He is challenging an incumbent, Kevin McCarthy, who is a longtime Trump apologist who brags about his personal relationship with the president. Forget House Republicans. 

The Republican resistance — such as it is — could find new voices among kinder, moderate GOP governors in blue states who eschewed the Trump brand of politics. Massachusetts Governor Charlie Baker was reelected with 67 percent of the vote. Maryland Governor Larry Hogan was reelected with 56 percent of the vote. Neither man has shown an appetite to take the fight directly to Trump. Mitt Romney, who once stood with the anti-Trump resistance, just won a Senate seat in Utah. But in 2018 Romney praised Trump, saying his policies are “pretty effective.” Trump then endorsed Romney.

Sticking with Trump cost Republicans the House majority and over 300 state legislative seats this time around. How many more seats in Congress and statehouses across the country are they willing to sacrifice on the altar of Trumpism? Will any Republicans step forward to try to reclaim the soul of their party before Trump further corrupts it? 

Juan Williams is an author and a political analyst for Fox News Channel.

Categories
Cover Feature News

Riverfront Reboot: New leaders and New Plans for Memphis’ Waterfront

Take yourself to the river. 

“Land Down Under” plays softly over the Front Street Deli sandwich board that implores passersby to “Rise & Shine!” with a biscuit, croissant, or toast. Just down the bluff, a retirement-home bus idles in front of the Memphis Tourism office on Union, its driver chatting with a Blue Suede Brigade member. 

Through the shadows of the bluff and its buildings, the Wolf River Harbor spreads brightly — a brown and sky-blue expanse punctuated with the gleaming whites and reds of river boats and their big paddle wheels. Cars, rigs, and vans slide silently in the background across the Hernando DeSoto Bridge. 

Shirtless runners pad across Riverside at the stoplight, passing a group of bundled-up guys on Birds. An older couple uses their hands as visors against the glare to read historic markers and take in the whole scene — from the shiny point of Bass Pro Shops at the Pyramid to the north to the tiny Harahan Bridge at the south.

Then there’s the Mississippi River, flat and wide, churning slowly to the sea, seeming to simmer more than it flows. 

Mighty and muddy, the Mississippi River made Memphis. But what will Memphis make of the river has been a long-unanswered question. It’s one we’ve studied a lot. Lordy, how we’ve studied. 

Plans have come and gone since 1924, at least a dozen in the last 25 years. Elected officials, business leaders, and civic-minded citizens have all tried. Some have had some success. The $63 million Mud Island River Park opened in 1982. The $43 million (and much-criticized) Beale Street Landing opened in 2014. All have had challenges, many of which still remain.

But there’s a new energy in the air. The Riverfront Development Corp. (RDC) hired Studio Gang, an internationally known design firm, to form a plan in 2016. In 2017, Memphis Mayor Jim Strickland formed a task force to focus on riverfront change. Last year, Studio Gang delivered its ambitious Memphis Riverfront Concept Plan, which imagined a waterfront connected with parks, markets, museums, and more.  

Then, earlier this year, a new group took the riverfront’s reins. The Memphis River Parks Partnership (MRPP) took over for the Riverfront Development Corporation (RDC), which had managed the riverfront for more than a decade. With the concept plan in hand and MRPP at the helm, the buzz about the river got loud. Its new leader, Kresge Foundation fellow Carol Coletta, had big ideas and the connections, motivation, and know-how to push them forward. 

Within months, things were changing. Look no further than the brand new River Garden park and River Line trail system that opened on Friday.

We talked with a few folks with front seats to riverfront activity. Portions of those interviews are below.

Photographs by Justin Fox Burks

(Studio Gang), and Jeanne Gang (Studio Gang), [from left to right], usher in an ambitious new look for the Memphis riverfront.

Memphis Flyer: Memphis has been planning for its riverfront for a long time.

Carol Coletta: The first riverfront plan that Memphis did was in 1924. You can say, gosh, Memphians have had a vision for their riverfront for almost 100 years. I mean almost 100 years ago, Memphians thought, I have a great riverfront.

While we’ve done bits and pieces along the way, I think no one would say, we have one of the world’s great riverfronts. I think we would say, we have one of the world’s great rivers but not riverfront. So, now I think the community has come together in a way that will — I believe — allow us to make good on that promise that people saw almost 100 years ago. 

How so?

This year, we’ve made a series of important steps to realize that ambition. The city granted us a 13-year management agreement to manage the 250 acres of riverfront that are owned by the citizens of Memphis, a 13-year agreement with a 10-year extension. That was important. 

We completed the concept plan in 2017. But instead of a plan that sits on a shelf, which is what everyone fusses about, and rightly so, we’ve taken a very quick start on the [capital funding] thanks to national funders, including the Kresge Foundation and the JPB Foundation. We were able to start and complete River Garden on what is now called Mississippi River Park. It’s a beautiful river garden. In fact, everyone we’ve shown it to in a sneak-peek situation said, I can’t believe this is what our riverfront looks like. Also, the city is committed to getting the cobblestones underway — a restoration of those five blocks of cobblestones — in January. 

We’re doing a very quick start on design for Tom Lee Park, from the bluff to the water, from Carolina Street all the way to Beale. If all goes well, we can raise the money that we need, start construction in June, and our estimated schedule calls for completion in December 2020. 

If you put River Garden, cobblestones, and Tom Lee Park together, we have a chance — I think unparalleled in the U.S., maybe in the world — to remake the heart of Downtown and the narrative for our city by doing those projects on our riverfront. 

We need to make sure this time that we joined it up north to south, that we join it east to west and west to east, that’s our challenge. Make great places to be on the riverfront but also make sure it’s all joined up.

Why was the change needed from the RDC to the MRPP?

One was [former RDC leader] Benny Lendermon’s retirement. He’d been here, I think, 17 years and … if you look at the riverfront today you would have to credit Benny with a number of [projects], like the Bluff Walk, the cobblestone walkway, and even the city’s foresight … in creating this big Tom Lee Park.

There were important moves that had been made over the 17 years and certainly maintaining the parks is no easy feat. But I think there was, with a completion of the Riverfront Concept, excessive excitement and possibility. I think the board wanted to put the organization in high gear. 

Memphians want and deserve a great riverfront, and we’re missing this great opportunity that goes way beyond the riverfront, way beyond Downtown. 

It extends to the city and even the region in terms of the narrative: how Memphis is viewed by the people coming into the city, going out of the city, investors, and prospects, and just Memphians. We don’t need to settle for a second-class riverfront.

Adding to the riverfront — the just-completed River Garden infuses new life to the recently rebranded Mississippi River Park.

A statement from your organization earlier this year mentioned a new business model for MRPP.

We re-thought pricing. We re-thought relationships. We started with the belief that we manage this organization with and for the people of Memphis to trigger the transformative power of the river. 

We always try to start with the belief that we’re stewards of these parks for the people of Memphis, who own these parks. Making this riverfront all it should be, can be, and Memphians want it to be, is really a great act of democracy. It’s also in philanthropy, and generous corporations, and individuals who will help us get there.

Let’s talk about the new, $70-million capital campaign. Where did you start? Where are we now?

We are in the phase of calling on prospective donors. But early on, the city proposed to the state that the riverfront would be a focus of some of the [Tourism Development Zone] funds. They felt like development on the river would generate sales taxes that would fund the TDZ. So, we were fortunate to get some early money to get design underway.

But we’re going to have some major announcements on funders coming up very shortly. The Hyde Family Foundation has made a $5.2 million commitment. We’re just thrilled to have that foundation’s support and we’ve got some more commitments to be announced soon.

You invited consultants here over the summer to have a look at Mud Island. Did we ever hear back from them?

Yes, we did. I can’t talk about the plans for Mud Island yet. But I can tell you that we’ve got some really exciting things cooking that come directly from that visit. We know that Memphians are uneasy about Mud Island. It’s sitting out there. … But what should it be? There are all those legitimate questions. We think we have a way forward on Mud Island that will activate it, animate it in a way that Memphians will kind of fall in love with.

Any idea when we might hear something?

I think it could very much be a next-season kind-of-thing. We’re working on it.

Talk about River Line and the connections it’ll make.

One of the beautiful things about Memphis in the last few years is that we really have begun to understand the power of connection. Connection was one of the major themes, major valued things, of the Riverfront Concept. It’s a critical missing piece of our trail system that we’ve invested in. This will make Wolf River Greenway Trail that much more valuable. It will make Big River Crossing and Big River Trail that much more valuable. 

River Line connects Downtown from the north end to the south end. That’s never been done with any sort of decent pedestrian [walkways], and certainly not with biking trails. Then to think about connecting it all to South Memphis where South Memphians now have an easy safe way to get from their neighborhood up to Big River Crossing and into Downtown. It will have a spectacular impact. 

Path to New Orleans

Imagine riding a bike from Germantown to New Orleans. If planners have their way, you’ll be able to do it in the future. Wolf River Conservancy and city leaders are pushing to complete the nearly 26-mile Wolf River Greenway Trail (stretching from Germantown to the River Line Downtown) by 2021. Across the river, leaders in West Memphis have completed bike trails that connect to Big River Crossing and are working to do more. 

Big River Trail will now take you south to Marianna, Arkansas. But those leading the project want cyclists to one day be able to ride Mississippi levee trail all the way to the Gulf of Mexico. We spoke with Keith Cole, executive director of the Wolf River Conservancy, and Paul Luker, director of planning and development for West Memphis. 

What do you make of River Line and the Wolf River Greenway Trail?

Keith Cole: It’s going to be a game-changer for the city. All of these projects are designed to connect people and communities. As we do that, we’ll provide new access and provide potentially new economic activity that people might not have thought about or done before without these access points. 

How does the connectivity with River Line and Downtown affect the Greenway?

The more connectivity and the more access you can have, it should provide more users. Let’s say you live in the South Main district of Downtown. Before the opening of the River Line, you could — if you knew what you were doing — ride from South End and go all the way to Harbor Town. Certain areas were a little rocky and not safe. But now, that’s improved. So, you create these new avenues and new connectivities from these different projects … more accessibility should create more users. 

How will River Line affect West Memphis?

Paul Luker: I think they’re complementary. River Line will make it easier for the larger population concentration of Memphis to easily access what we’re calling our River Park. 

Right now, it’s just some trails with the idea that we’re going to keep working on it. We’ll be adding trails but, also, with some land acquisition, it’ll allow us to have some larger events and stage some things and offer more variety to go beyond biking and trail walking.

What else are you doing in this area?

We want to continue to play off of Big River Crossing. It’s a catalytic project. The city of West Memphis has always looked at the Mississippi River and tried to think of how they could take advantage of that asset. The thing that has always come to mind is having a park there. 

Well, Arkansas State Parks already has a lot of parks. We were never really able to sell them on the idea of another state park there. But when Big River Crossing came around, that reignited the enthusiasm for trying to develop something park-like on the river. 

How has Big River Crossing affected West Memphis?

It’s still in its infancy as to what it’ll give to West Memphis. But right now it’s given us recognition that we have something on this side of the river, that we have an attraction. Pancho’s restaurant, which is at the trailhead of Big River Crossing, they’ve seen a big uptick in their business related to bike traffic. That’s one tangible impact. 

It’s like a lot of projects — you have to prove that it’s really going to get used before people will risk their money. We’re still waiting for the full impact of what can be seen from Big River Crossing as far as how it’s affecting West Memphis. It’s at least changed the conversation when you bring up West Memphis/Crittenden County. 

Tom Lee’s Potential

With River Line and River Garden opened last week, MRPP set its sights on Tom Lee Park. To transform the flat, wide-open park (best known as a festival grounds for Memphis in May), MRPP picked Studio Gang and SCAPE, a New York City-based landscape architecture and urban design studio. Gia Biagi, principal of Urbanism and Civic Impact for Studio Gang, told us her team wants to help the park “reach its full civic potential.” 

What are the broad opportunities and challenges with Tom Lee Park?

Gia Biagi: We are energized [by] the potential of Tom Lee Park to strengthen the relationship between Memphians and their Mississippi River waterfront. 

We are excited to help Tom Lee Park reach its full civic potential … by delivering a revitalized park that is inviting, inspiring, and helping to better connect Memphians to the riverfront and to each other.

We’ve heard a lot about transforming the park with outdoor “rooms.” What can we expect at the park?

Our goal for the urban design of the park is to create a variety of experiential spaces that will transform what is now a flat surface into a diverse landscape that is more accessible, welcoming, and can be active 365 days a year. We are working with our partner, landscape architect SCAPE Studio, to develop a landscape of micro-forests and large clearings to come together with architectural structures, outdoor learning spaces, and activity courts.

How have the discussions with Memphis in May gone? What can festival-goers expect in a re-designed Tom Lee Park?

Over the last two years, we have collaboratively worked with Memphis in May to explore ways that the park design can also benefit festival-goers.  We have worked closely with Memphis in May and other key stakeholders to arrive at a design for the park that will also improve the logistics of large events. 

We have been discussing how areas of hardscape and other structures can be used as stages, food tents, access, and loading. We’re working toward improvements that make for a vibrant, signature civic space that can accommodate all kinds of events and even reduce overhead and operating costs for both the Memphis River Parks Partnership and Memphis in May. 

How will the redesign better connect Tom Lee Park with the rest of Downtown?

We’re working on gateways and crossings that make it safe, easy, and enjoyable for walkers, bikers — even scooter-riders — to get to the park from Downtown and nearby neighborhoods, as well as connections to transportation nodes for people visiting from further away. 

Categories
News The Fly-By

Makers’ Space

When I walked into Crosstown Arts’ new Shared Art-Making Facility, I was met first by a few eclectically styled mannequins and then a bearded man who was screen-printing an image of a deer onto a tote bag.

Jamie Harmon, the manager of the space, was just finishing up what to me looked like a complex process involving a dark room, ink, and a large machine, but for him was just another day at the office.

Harmon said the membership-based workspace has been open for about three weeks, but they haven’t done much by way of marketing yet. There are 10 members so far, which Harmon said have served, in part, as “guinea pigs.”

Maya Smith

Kiia Wilson works in the woodshop.

“Right now, it’s kind of slow, but we’re also new,” Harmon said. “So we’re welcoming a slow pace to work through the process of the rules, safety, basics like what works and what doesn’t work when five people want to use a machine, and other things like that.”

The space is like a gym, but instead of stacks of dumbbells and rows of treadmills, the space houses long work tables, iMacs, large printers, and other tools for artists including musicians, designers, filmmakers, and woodworkers.

Although the facility is available for artists of all abilities and there are techs on hand to train members to use the equipment, Harmon said the staff isn’t there to “teach you how to make the stuff you want to make.”

“We can’t teach you how to use Illustrator because we could sit with you for five hours and you still may not know,” Harmon said. “So we have to manage the expectations of members.”

However, he said once membership grows, members will be able to teach classes, as well as tutor other members in a one-on-one setting.

The setup is for anyone who wants to use equipment that they can’t afford or don’t have room for, Harmon said. He adds that the membership fee — $80 a month — is “low” considering that members have access to “hundreds of thousands of dollars worth of equipment easily.”

“Once a place like this is introduced to you, then the ideas of the things you could make change,” Harmon said. “You don’t even know you want this, but if you’re a person who makes things, then this opens up the doors.”

The facility will host an open house on Friday, November 30th, which Harmon said “will hopefully be our big reveal.”

Meanwhile, Crosstown Arts’ space has already helped one member expand her business, Jungle Faire. When I visited the space’s woodshop, the business’ owner Kiia Wilson was in the middle of making three more Yoni Steam Chairs (used for aromatherapy) to add to her stock.

Never having built anything in the past, Wilson said she saw a need for this kind of chair, and with help the of a few Google searches and the staff at the art-making space, decided to try her hand.

Categories
News The Fly-By

Fly on the Wall 1551

Verbatim

Mississippi Senator and suspected lynching enthusiast Cindy Hyde-Smith is grabbing big national headlines for comments she made at a recent campaign stop.

“If he invited me to a public hanging, I’d be on the front row,” she said in response to praise by an area rancher.

President Donald Trump supports Hyde-Smith in a November 27th runoff with Democratic challenger Mike Espy.

Related News

Regional One Health terminated the employment of a nurse and former Memphis police officer who became an internet star after wearing a T-shirt with a Confederate flag, a noose, and the words “Mississippi Justice” to vote.

Neverending Elvis

So dizzy. Feelings of “It’s about time” are interrupted by twinges of “Why now?” followed by questions like, “Is it because they both have a thing for gold-plated potties?”

Donald J. Trump will honor Memphis’ own Elvis Aaron Presley with The Presidential Medal of Freedom, the highest honor the president can bestow on a civilian. Presley’s contribution to American culture is being recognized in a class of seven including baseball legend Babe Ruth, conservative Supreme Court Justice Antonin Scalia, and GOP mega-donor Miriam Adelson.

It’s the potties, isn’t it?

Neverending Dammit

Gannett Co. shared its Q3 earnings, and the report contains some good news for The Commercial Appeal‘s parent company. Digital revenue is up by $3.3 million over last year. But digital gains couldn’t keep pace with the $5.5 million in revenue lost from declining circulation. Publishing revenue is down, and advertising and marketing also took a hit. The report was released a week after Gannett announced that results of hotly contested midterm elections wouldn’t be included in the next morning’s newspaper.

Categories
Film Features Film/TV

Wildlife

The central motif of Wildlife, the brilliant new film by actor-turned-director Paul Dano, is an all-consuming wildfire. Released on the weekend when unreal images of burning Malibu and Paradise, California, flocked into our collective field of vision, the film has acquired an unexpected timeliness.

Or maybe it wasn’t so unexpected. As the Earth warms and rainfall becomes heavier but more sporadic, wildfire is becoming more common and more severe. This is a case of Dano and his partner, co-writer, and producer Zoe Kazan, making their own luck via deft choice of material — an adaptation of a 1990 novel by Jackson, Mississippi, native Richard Ford.

It’s 1960, and 14-year-old Joe (Ed Oxenbould) is trying to fit in and make friends at his new high school in Great Falls, Montana. His father Jerry (Jake Gyllenhaal) is a golf pro, popular with the old rich guys at the country club. His mother Jeanette (Carey Mulligan) stays at home to keep the house like a good little wife.

Carey Mulligan, Ed Oxenbould, and Jake Gyllenhaal (left to right) star in Paul Dano’s tightly composed new drama,Wildlife.

Dano’s been acting since he was 10, and he’s been spectacular in films like Love & Mercy, where he nailed a difficult part as young Beach Boy Brian Wilson. So it’s natural that he would be an actor’s director. Wildlife is told from Joe’s point of view, but Dano pays equal attention and care to each of his lead trio of actors. In the beginning, it feels like Jerry’s story. Gyllenhaal’s epic, thrusting jawline embodies Eisenhower-era masculinity. He yucks it up with the privileged class on the links, even hustling them out of a few bucks here and there. But tellingly, he’s introduced cleaning the golf cleats of a cigarette-smoking banker, hunched over subserviently before capital.

When a bet comes back to bite him and he loses his job, Jerry starts to spiral into depression. A man without a job in America ought to be ashamed, even if it’s not his fault. Gyllenhaal’s performance is finely modulated — his mood in each brief scene is directly connected to what happened in the previous scene. Each rejection saps his will to go on just a little more.

As Jerry flounders, Jeanette starts to flourish. She gets a job teaching swimming lessons at the YMCA and enjoys getting out of the house and helping people be more self-sufficient. Even Joe gets a job before Jerry. He becomes a photographer’s assistant, and the portraits of weddings, graduations, and happy families become a poignant counterpoint to his own increasingly bleak home life.

The pressure of his own perceived failure becomes too much for Jerry, so it’s a relief to him when he finally lands a job on a firefighting crew that will require him to be in the Montana mountains until the winter snows put the fires out. The story’s focus shifts to Jeanette, who feels abandoned and betrayed by her husband leaving her to alone to raise a child, and the rest of the film belongs to Carey Mulligan. Joe watches his mother fall into a deep depression, then raise herself out of it by pursuing an affair with a rich man she met at the Y, played by a frighteningly greasy Bill Kamp.

Mulligan lets Jeanette’s self control slip away bit by bit. She is torn by financial worry, heartbreak, and social stigma, but also invigorated by the freedom of her bad behavior and the realization that she can be whomever she wants to be. Mulligan’s face gives you glimpses of the pitched battle inside her mind.

Dano not only has a deft hand with his actors, but also a great collaboration with cinematographer Diego García. As Joe’s formerly normal world closes in on him, García’s focal length narrows, leaving the character literally hemmed in by blurry uncertainty on the screen. The low light and muted palates give it a vintage 8mm home movie feel — assuming your old home movies were shot by Roger Deakins. Wyoming’s wide plains give way to soaring mountains in the distance, while in the foreground, desperate poor people huddle in desolate brick ranch houses. Wildlife is the inside story of a family burning down, but it is also a tale of toxic masculinity and capitalism’s spiritual toll. It’s a work that bridges the intimate and expansive with deceptive ease.