Do We Live in a Cottage, or a Diorama?

In Sunday's Commercial Appeal, David Williams' profile of Ardent Studios included the following paragraphs:

Consider that feat. Outside of, say, Three 6 Mafia and Justin Timberlake, Memphis' place in the world's music consciousness today is where it's probably been for a few decades now -- the memory banks. The music made here is undeniable, but so is this fact: Once an industry town, Memphis these days is a mostly a museum town.

But not at 2000 Madison Ave., the 11,000-square foot home of Ardent, with its gold and platinum record-lined walls and vibe-laden studios.

There's no doubt that John Fry and Ardent are as important as Williams and many others say they are; it's just unfortunate that Williams has to make that point by ignoring or devaluing the dynamic music ecosystem of Memphis today.

And I wonder: is that devaluation a part of the ancient stories told to reinforce hierarchy; or is it just a helpful way to make a point in an article and nothing more? And, even if it is a press release straight from the hierarchy -- who cares? Do In/Out, Up/Down, Known/Unknown really affect creative people? Maybe not, but I suspect they've affected the city for a long time.

It was probably a way to make a point.

It sure got me thinking though.

Just remember folks: inside The Gates of Memphis, the antonym of hierarchy isn't anarchy -- it's texture.