Memphis Flyer 02.05.15

State of the City P6 | Wendi C. Thomas "Thanks, Obama" P11 | "I Thought I Might Find You Here" P30

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02.05.15 1354th Issue

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Movies & Memphis The 100-year rise of Malco Theatres traces the turbulent history of the film industry.

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OUR 1354th • ISSUE 02.05.15 COVER STORY P. 17

B RUCE V ANW YNGARDEN Editor

S USAN ELLIS

Managing Editor JACKSON BAKER, MICHAEL FINGER

Senior Editors

BIANCA PHILLIPS

Associate Editor CHRIS MCCOY

Film and TV Editor JOE BOONE

Music Editor

Art Gallery and Vintage Boutique

CHRIS DAVIS, LOUIS GOGGANS, TOBY SELLS,

Staff Writers

CHRIS SHAW

The Yellow House on Union

Music Writer Copy Editor JULIE RAY

Calendar Editor ALEXANDRA PUSATERI

Editorial Intern

CARRIE BEASLEY

Senior Art Director CHRISTOPHER MYERS

Advertising Art Director

1981 Union Ave., Memphis, TN 38104

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Maybe it’s last week’s passing of Wanda Wilson, the singular and much-loved proprietess of the P&H Cafe, a woman who created and curated a beer joint that once made Midtown feel like a village of like-minded souls. It was a harbor, a place of sanity (and insanity), conversation, friendship, and laughter for those of us of a certain age.

Maybe it’s the rain and the long cold spell and the winter hanging on, but there’s an inevitable sadness that comes when you ponder the passing of people and things.

Sometimes you just have to let it in.

Or maybe it was my discovery of Rob Jungklas’ “Everything That’s True,” a perfect and gorgeous song celebrating the temporal, inevitable human condition. Memphis singer Susan Marshall posted Jungklas’ song on her Facebook page and dedicated it to all the “beloved Memphians who have recently passed: Jimi Jamison, Jack Holder, John Hampton, John Fry, Sid Selvidge, Jim Dickinson, Di Anne Price, Mabon ‘Teenie’ Hodges, James Govan, and Wanda Wilson.”

Seeing that list in black and white was stunning. So many Memphis music and cultural icons gone in such a short time, so much light no longer reflected.

I found myself wanting to disconnect from the hive-mind of email and chatrooms and Twitter and Facebook for a while. I dug out some old books and hunkered down by my fireplace on Sunday, reading from Be Here Now, Zen Mind, Beginner’s Mind, and a battered Alan Watts tome — books that offer words and thoughts that lead one NEWS & OPINION back to the center, to this moment.

LETTERS - 4 Here. Now. All that we have.

THE FLY-BY - 6 And after thinking for a while, it came NEWS FEATURE - 10 to me that the hive itself, the incessant TRUTH BE TOLD - 11 connections we make with each other POLITICS - 12 these days, is itself a gift — a way of learnEDITORIAL - 14 ing more about the joys and pains of the VIEWPOINT - 15 human condition.

The village is larger Cover Story - “Only in the Movies and now; the beer joints are still there, but Memphis” by Chris McCoy - 17 there are other paths to empathy, to sharSTEPPIN’ OUT ing sorrows, celebrations, and memories, WE RECOMMEND - 20 to being connected to those we don’t see MUSIC - 22 oft en enough.

AFTER DARK - 26 The deepest valley of the human heart ART - 30 knows winter is always on the way, even CALENDAR OF EVENTS - 32 as spring approaches. It’s as certain as the FOOD - 36 throw of stars overhead on a February FILM - 39 night.

Th ere’s a sadness there, but it’s a THE RANT - by Tim Sampson - 47 good sadness.

And that, too, is a gift.

C L A S S I F I E D S - 43 Bruce VanWyngarden Featuring - The Times crossword puzzle. brucev@memphisflyer.com

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Darling, we are the light reflected Darling, we are the love we made Darling, nothing precious is protected We’re all trembling like a blossom With winter on the way. — Rob Jungklas

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What They Said...

Letters and comments from Flyer readers

greg cravens

Ballet Memphis

FEB. 13 | 2015 4:00-6:30 p.m.

To see audition requirements, go to MemphisFashionWeek.org/models.

February 5-11, 2015

Photo & Styling: Well Worn Co. | Hair: Pavo Salon | Model: Shelby Priest (AMAX) | Wardrobe: Maggie Louise Bridal | Jewelry: Brave Design (Spruce)

Valeria’s wings students and professional company showcase

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at buckman performing arts center 7:00 pm | february 12, 2015 60 perkins extd., memphis, tn | tickets $15.

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About Richard Alley’s cover story, “20<30” …

I laughed to myself when I picked up your latest issue and read the cover — on the eve of my 36th birthday and marveling at its “pushing 40” feel — my first thought was only a sardonic “guess none of my old friends will be on that list.”

These young people touched my heart. I’m a true optimist who grew up in Memphis, left for many years, then chose 901 five years ago with zero regrets. We absolutely love living here and raising our son in this wonderful city. And yet … one Commercial Appeal story or Action News 5 viewing too many can really get me down. I need reminders like these that there are so many special people — smarter, more talented, and more ambitious than me — who do more than sit around letting their emotions get manipulated by the daily news. They inspire me to do more and give me so much hope for the future of this amazing city that I love.

And I was wrong that I wouldn’t know anybody on the list. Bennett Foster, though he wouldn’t remember me, was a favorite sighting at my high school haunt Java Cabana when his 10:16 AM dad Tommy still owned it. I’m not surprised at what a big-hearted man he’s grown up to be.

Kat Justice Leache About Chris McCoy’s review of American Sniper ...

While I understand the points of Chris McCoy’s review of American Sniper, I take exception to his contention that the Best Years of Our Lives can be interpreted as questioning whether the war was all worth it.

In that film’s memorable soda fountain scene, it is the man who did

not serve in the war who tries to tell Homer, who lost his hands during the war, that his sacrifice was “for nothing.” Homer is outraged and even without his hands scuffles with the man. Fred, Homer’s friend and fellow veteran, does punch the man out. Fred, who is the soda jerk, loses his job, but says “the customer is always right. But this one wasn’t.”

The film was realistic in showing the challenges veterans have in readjusting to civilian life and in finding jobs. But none of the main characters, least of all Homer, questioned that the war was worth it.

Philip Williams About Toby Sells’ story, “Pinch Potential” ...

Your recent article was more timely than you may have known. As we speak, the Tennessee Historical Commission is considering delisting the Historic Pinch District from the National Register of Historic Places. The reason they cite is that there aren’t enough “historic resources” left in the district.

Another way of saying this is that too many important historic properties have been demolished. We at Memphis Heritage disagree, as does the Memphis Landmarks Commission, which voted unanimously not to support the delisting. We believe that the boundaries of the district can be redrawn to carve out the abandoned lots.

A few tragic things led to the potential delisting of the district. When the Pyramid was constructed, a few shortsighted property owners razed some significant historic properties for parking lots. We see how well that worked out. Another issue is our woefully lacking regulations governing the building permit process. Recently, a property owner in the Pinch razed a historic building without applying for a demolition permit. Her penalty? A $50 fine.

A listing on the national register makes it much easier for property owners and developers to apply for and receive Historic Tax Credits, which are a huge incentive to redevelopment that could help bring the district back. MEMFix events are fabulous and successful. A pop-up party in the Pinch will enlighten a lot of Memphians about a real gem of a neighborhood. Let’s just hope we’re not too late.

Joey Hagan, AIA Memphis Heritage President

5

news & opinion

m e m p h i s f l y e r. c o m

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@FlyerGrizBlog • memphisflyer.com/blogs/BeyondTheArc

Kevin Lipe on the Memphis Grizzlies before, during, and after the game.

MUST♥CATS SAT, FEB 14

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CheCk-fil-A Talk about a business model with legs … and thighs … and wings. Last week’s Board of Adjustment meeting found board members reviewing a variance request by what appears to be a payday loan establishment that offers customers a little something extra.

And by “a little something extra,” We mean, of course, chicken.

The aptly named Chicken & Checks is planned for Elvis Presley Boulevard. So you can cash your payday loan check and buy some chicken with it? Or do you get a wing plate and biscuit with every check cashed? No matter how you slice it, that’s Memphis to the bone. May God and Jack Pirtle have mercy on our souls. tAxkreig This tax preparation business leaflet caught your Pesky Fly’s eye because an unfortunately placed shadow makes the superhero mascot look like a cartoon Hitler in tights.

Questions, Answers + Attitude Edited by Bianca Phillips

Wharton’s Big Three

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C ity r e po rte r

By Toby Sells

Cops, minority business, and poverty top Mayor Wharton’s agenda for 2015.

“Sound and strong.” That’s the overall state of the city at the beginning of 2015, according to Memphis Mayor A C Wharton in his annual State of the City address last week.

Wharton looked back at 2014 during his speech last Thursday at the Hattiloo Theatre but also gave Memphians a glimpse of his plans for the coming year.

That year could be cut short for Wharton, of course, depending on the outcome of October’s mayoral election.

So far, Wharton’s front-running opponent in the race is Jim Strickland, a Memphis city councilmember.

Strickland formally rebutted Wharton’s speech after it concluded. He noted many here don’t feel safe in their communities and that, he said, “is the state of the city many of our residents are living through.”

Nevertheless, Wharton has time on the clock as mayor, and here are his big three ideas for his time remaining: 1. Fighting Crime — In his speech, Wharton said he will emphasize “old-fashioned community policing and new, cutting-edge technology.”

On the old-school side, Wharton said he’ll activate neighborhood leaders, especially in areas with high violent crime, to work at the “grassroots level” to reduce crime.

Homeless Census

{

On the high-tech side, he said the city will add police car dash cameras, automatic vehicle location technology, and body cameras for officers this year.

Also, new officers are on the way to move the Memphis Police Department ranks closer to the “optimal force of 2,500.”

“We have increased the budget for the Memphis Police Department by nearly $40 million. We have intensified our anti-gang programs. We have toughened sentences for violent crimes. We have targeted crimes in apartment complexes, and we are fighting gun crimes by young offenders,” Wharton said.

In Strickland’s speech, he said he would have a “100 percent commitment to Blue Crush,” work with state legislators to get higher penalties for violent criminals (and hold parents accountable for violent crimes committed by their children), and work with community leaders to help children “who are picking the wrong path.”

“Crime needs to be the absolute focal point for the future adminstration, and I will, like a laser beam, focus on that in continued on page 8

C ity r e po rte r

By Bianca Phillips

6

Just ghostbusted Memphis native and SNL cast member Leslie Jones has been tapped to star in the gender-flipped reboot of Ghostbusters. We can only hope her presence will bring shooting to Memphis, because no giant statue deserves to be brought to terrifying life half as much as the Statue of Liberation at World Overcomers Church, aka “Freedom Jesus.”

By Chris Davis. Email him at davis@memphisflyer.com.

It’s around 5:30 a.m. on a Friday morning, and the temperature is hovering in the high 30s. But it’s warmer inside the Memphis Area Transit Authority’s (MATA) North End Terminal, and that’s where a homeless man named Anthony has found respite from the cold.

Jane Hooks, who helps house the homeless through nonprofit Promise Development Corporation, is sitting on a bench next to Anthony, clipboard in hand, asking him a series of questions for the annual Community Alliance for the Homeless (CAFTH) Point In Time (POT) head count.

Over three days last week, more than a 100 volunteers combed every Memphis neighborhood by car and by foot in an effort to get an accurate head count of the city’s unsheltered population. It’s required biannually by the U.S. Department of Housing and Urban Development, but CAFTH performs the count each year.

The final count — of both sheltered (those in temporary housing or homeless shelters) and unsheltered (those who spent the previous night sleeping outside) — will be available on Thursday, when CAFTH will announce their participation in a new ambitious national campaign to house all chronically homeless people by 2016.

“Our goal is to have no homeless veterans by 2015 and no chronically homeless people by 2016,” said CAFTH Executive Director Chere Bradshaw.

Called Zero 2016, the campaign is a follow-up to a previous national homeless housing program that Memphis participated in. That campaign, 100K Homes, aimed to

Bianca PhilliPs

February 5-11, 2015

Ambitious new plan aims to house all city’s homeless.

Volunteer Jane Hooks surveys a homeless person at a MATA terminal.

get 100,000 homeless people into housing nationally, and Memphis volunteers set a goal of housing 100 people. The goals were reached, locally and nationally, this past July.

The POT count isn’t just for statistics’ sake. Volunteers interview each homeless person to determine whether they qualify for available housing, and that will help CAFTH toward its Zero 2016 goal.

“We ask questions, and we score them. And depending on how you score, you’re added to a list. And then those with the highest need get served first as housing becomes available,” Bradshaw said.

Back at the MATA terminal, Anthony, 48, tells Hooks that he was just released from prison the night before, after continued on page 8

Undocumented Lives

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state af fai r s

By Louis Goggans

Latino Memphis’ Mauricio Calvo speaks with immigrants.

Tennessee joins multi-state immigration lawsuit against President Obama.

federal government on something that’s a dead end. The president acted within his power, regardless of how they feel about this. We are wasting money on a lawsuit that makes no sense.”

m e m p h i s f l y e r. c o m

said. “As the attorney general put it, it’s not about immigration as much as it is about regulation and the illegality of extending regulations beyond what the law will allow.”

There are estimated to be more than 11 million undocumented immigrants in the nation, according to the Pew Research Center.

More than four million will be able to benefit from Obama’s new deportation relief programs if a judge doesn’t rule in the states’ favor to block the executive action.

“It’s a waste of resources,” Calvo said. “With all of the things that we have to do as a state, we’re allocating tax money to fight the

news & opinion

Latino Memphis Executive Director Mauricio Calvo came to Memphis from Mexico City two decades ago to attend Christian Brothers University. Since then, he’s witnessed close friends, who were in the U.S. without proper documentation, deported from Memphis back to their native countries.

“When [undocumented immigrants] say goodbye to their loved ones [in the morning], they don’t know if they’re going to come home that night,” Calvo said. “And that’s a real hard thing to live with.”

A coalition of 26 states, led by Texas, has filed a lawsuit against President Obama, alleging his recent executive actions on immigration are unconstitutional.

Tennessee was among the last states to join the multi-state coalition.

Last November, Obama introduced his “Immigration Accountability Executive Action” to provide relief to undocumented immigrants nationwide.

The executive action seeks to enable undocumented immigrants who have been in the U.S. for at least five years or are the parents of U.S. citizens and legal permanent residents to remain in the country temporarily. They would have to pass a criminal background check and pay back taxes. Those who qualify would be eligible to receive a three-year work permit.

Under the new policy, Obama would also expand the 2012 Deferred Action for Childhood Arrivals (DACA) program.

The program currently prohibits the deportation of people brought into the U.S. illegally as minors by their parents before June 15, 2007. The expansion would extend the cutoff date to January 1, 2010.

There’s a substantial number of immigrants in Tennessee, many of whom are undocumented. According to the Pew Research Center, around 300,000 Hispanic immigrants reside in the Volunteer State.

More than 130,000 are undocumented.

According to a statement provided

by Tennessee Attorney General Herbert Slater, Tennessee joined the lawsuit because “the executive directives issued by the White House and Homeland Security conflict with existing federal law. They replace prosecutorial discretion, normally determined on a case-by-case basis, with a unilateral non-enforcement policy protecting over four million people.”

In addition to Texas and Tennessee, other states in the lawsuit include Alabama, Arizona, Arkansas, Florida, Georgia, Idaho, Indiana, Kansas, and several others.

Senate Majority Leader Mark Norris (R-Collierville) supports Slater’s decision to join the lawsuit. He said Obama’s executive action is an abuse of regulations that’s contrary to the law.

“Somebody has got to stand up and push back against this madness,” Norris

7

Name Change

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s potli g ht

By Flyer Staff

Memphis Business Quarterly changes name to Inside Memphis Business.

Contemporary Media Inc., publisher of Memphis Magazine, The Memphis Flyer, and Memphis Parent, has announced that, beginning with the February/March 2015 issue, MBQ: Inside Memphis Business will carry a new, streamlined name — Inside Memphis Business.

The regional business-to-business publication, originally launched in 2006, has gone through an evolution over the past decade, beginning life as Memphis Business Quarterly before going to its current publication schedule of six times a year in 2012. The new name evokes a new outlook,” says Richard Alley, editor of Inside Memphis Business. “We’re looking to be more engaged with the business community of Memphis and to bring its leaders and experts in on the discussion. Conversely, we’ll be taking a closer look at those industries and their leaders, getting inside to tell their stories, spotlight best practices, and learn what it is that makes them tick.”

The magazine will also work more closely with area nonprofits and the world of philanthropy. Along with the name change and redesign of the layout in the February/ March issue, the magazine has unveiled its “Dig Deep for Memphis” campaign, working with local nonprofits and the companies that support them to raise awareness for both.

Wharton continued from page 6

February 5-11, 2015

the next four years,” Strickland said.

2. Minority Business — Wharton said it was “simply unacceptable” that only one percent of business receipts in Memphis are with minority businesses.

To increase that number, he proposed a new division of city government, what he called the Division of Minority Business Services. The agency would “manage all city agencies and services related to minority businesses” and create partnerships with groups like Memphis Light, Gas and Water, the Memphis Area Transit Authority, and other agencies that receive city grants.

“Our ultimate goal as a result is to put in place a process that is just as entrepreneurial as the entrepreneurs we hope to create and support,” Wharton said.

But Strickland said Wharton already has this authority, and minority contracts have actually fallen during his term.

“The mayor is the sole contracting authority for city government,” Strickland said. “That means he controls all contracts. They all have to come through city hall. Minority contracting with the City of Memphis has actually decreased over the last two years.”

3. Poverty — Wharton’s overall plan to fight poverty is to promote prosperity.

His “Blueprint for Prosperity” was revealed in May and came with one major goal: to reduce poverty in Memphis by 10 percentage points in the next 10 years.

The blueprint is a massive document designed by the Chicago-based Center for Neighborhood Technology. It is crammed with data and theory, but Wharton said last week that he will begin implementing the plan over the next six months.

Homeless continued from page 6

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Visit www.literacymidsouth.org to change a life today.

serving five months. He had nowhere to go, so he slept on a bench at the terminal.

He tells her he’d been homeless on two separate occasions prior to going to prison.

On that Friday, the volunteers in Hooks’ group only found three homeless people at the MATA terminal and no other homeless people on a walk through parts of downtown. Bradshaw said she had a similar experience with her volunteer group, which also surveyed downtown and the Lamar/Airways area.

She’s hopeful the overall count will be lower this year, as a result of the successful 100K Homes Campaign.

“I think there are less people,” Bradshaw said. “Court Square Park was empty, and we went down to St. Mary’s, but the people there had already been counted [by another volunteer group]. And I went to the Lamar/Airways area, where we found a lot of people in a 2012 count, but we didn’t see them this time. It makes me hopeful.”

TDZ Talk {

o n th e s c e n e

By Alexandra Pusateri

Concerned locals gather at an open forum to discuss the Fairgrounds redevelopment.

On a chilly Wednesday night, a diverse crowd of locals who share concern about the future state of the old Fairgrounds property gathered at the Circuit Playhouse for a public forum organized by local entrepreneur Taylor Berger and his organization Make Memphis.

The forum, moderated by political reporter Kyle Veazey of The Commercial Appeal, mostly focused on the Fairgrounds’ proposed $233 million redevelopment and the idea of turning that area of Midtown into a Tourism Development Zone (TDZ).

By designating the three-mile area as such, the city can use the excess sales tax that would come from a revitalized Fairgrounds — and its surrounding areas, including Overton Square and Cooper-Young — to pay off, over 30 years, the $176 million in public revenue bonds that would be required to fund its redevelopment.

a more neutral position.

“I’m here to support whatever it is you want to do,” Milton said. “If you don’t want to do this, that’s fine. If you do want to do it, that’s fine. I just don’t want us to be the ones to affect what you want out of this.”

Other county commissioners pledged to keep an eye on the project and listen to citizens speaking about the issue.

Non-elected officials also spoke at the forum, including Shawn Massey, who works with the Shopping Center Group.

“Midtown is under-retailed,” Massey said. “It’s a great

community. It’s got lots of density, but there’s a lot of leakage.

There are a lot of Midtowners shopping in other parts of Memphis and not shopping near their homes.”

Charles “Chooch” Pickard, an architect who is running for city council this year, asked if other ideas besides youth sports may be more viable for the old Fairgrounds.

“Wouldn’t a tourist destination based on music and sports history be a bigger draw?” Pickard asked. “I’d rather we base the TDZ on authentic Memphis history tourism, of which there are still a lot of untapped options.”

news & opinion

The current plans proposed for the old Fairgrounds would include an amateur sports complex, hotel, and retail space spanning more than 400,000 square feet. Getting approval from the State Building Commission is the next step for the city to move forward on the project, but the city’s Housing and Community Director Robert Lipscomb — who was absent from the forum — wanted to gather support before taking it to the commission.

It was mentioned multiple times throughout the night that members of city government had been invited, but only Memphis City Councilmember Wanda Halbert, who represents the area that includes the Fairgrounds, showed up. Shelby County commissioners, on the other hand, were plenty.

In his designated few minutes, Shelby County Commissioner Steve Basar mentioned that repaying the interest on the bond would take away $55 million from the city over the 30 years. “[$233 million] is not the total tax dollars going into the project,” Basar said.

“It doesn’t include the interest. So when you’re all done, you’re talking about a $300 million-plus project. You’re tying up this revenue stream for 30 years.”

Commissioner Reginald Milton took

m e m p h i s f l y e r. c o m

“Wouldn’t a tourist destination based on music and sports history be a bigger draw? I’d rather we base the TDZ on authentic Memphis history tourism.”

— “Chooch” Pickard

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arnita Atwater is passionate about many things: education, her museums, and her community among them. Her African American International Museum Foundation has already produced the Buffalo Soldier’s Museum, Black Memphian Collection, the Tuskegee Airmen Museum, the African American Hall of Fame, the Black Invention Museum, and the Blues Museum of Memphis among others.

Her latest exhibit is called “Sammy Davis Jr. — The Truth,” based on “Mister Show Business” himself. The exhibit is at the downtown Cossitt Branch library through February.

Why Davis? “When I first started researching Sammy Davis Jr., I have to admit I did not care for him,” Atwater says. “But through my research and through collecting artifacts from his estate, I have a new-found respect and love for this man. He was definitely a cutting-edge person.”

When the state of California put Davis’ estate up for auction in 2001, Atwater was one of the estimated 800 people in attendance. More than 500 Davis items sold including gold records, photographs, clothing, and personal documents. The auction brought in nearly $500,000, short of Davis’ $5.3 million debt. Atwater didn’t buy anything, but managed to get a word in with the man who collected the majority of the items for sale.

“Jokingly, I told him, ‘When you decide to sell his artifacts, make sure I’m the first person in line,’” she recalls. “He agreed.

So he called me after several years and asked if I still had an interest in buying the collection. Within 15 hours, I was flying out there to buy the artifacts.”

So why the title, “The Truth”? “If you

Carnita Atwater

study him, you’ll see he was more than just an entertainer or dancer,” she said.

“Sammy Davis Jr. is such an important person in our history. Not just AfricanAmerican history but internationally.

This man was known around the world.

I think people will be elated to see all the artifacts that are in this collection — his honorary degrees, his clothing, invitations to the White House, marriage certificates, photos from his marriages. I think visitors will see things they wouldn’t ever see, not even at the Smithsonian AfricanAmerican Museum.”

Atwater has big plans for 2015. The former North Memphis resident and Frayser High School graduate wants to revitalize the place she once called home, the New Chicago area. She has purchased land in the community and is ready to get going: “When my family moved to Memphis, my mom purchased a home in New Chicago, which was a prominent area during the heyday of the Firestone Tire Company. That’s something that’s close to my heart. I want to revitalize that area. First, building the African-American business district, having a cultural school, and possibly a community college.”

Her long-term vision also includes an African-American History Museum. “I think it’s imperative that we go beyond civil rights. I want to tell the story from a historical perspective of the AfricanAmerican and African experience,” she says. “I would pick up what the National Civil Rights Museum does not address.”

Atwater has managed to keep a low profile, which is by design: “This world is not about me; it’s about how I serve my community. I have always left my options open to whatever God has in store for me.”

“Sammy Davis Jr. — The Truth” at Cossitt Library, 33 S. Front, through February 28th

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Carnita Atwater brings Sammy Davis Jr. exhibit to Memphis.

t r u t h b e t o l d B y We n d i C . T h o m a s

Thanks, Obama! personal responsibility is a smokescreen, part of a nasty narrative that falsely insists those who accept government assistance or subsidies in any way are reckless ne’er do wells.

The Robert Wood Johnson Foundation estimates that expanding Medicaid would cost Tennessee $1.7 billion over 10 years, most of which would come after 2017, when the federal government’s contribution drops to 95 percent, then 94 percent in 2018, 93 percent in 2019, and 90 percent from 2020 on.

Under Insure Tennessee, state hospitals would cover that 10 percent gap. Not out of the goodness of their hearts, but because patients with insurance mean more money for hospitals.

But here’s something you should know.

According to a New York Times analysis, Tennessee spends at least $1.58 billion each year on incentives for businesses.

That’s right, Tennessee would spend far, far less on health care for the working poor than it does on tax incentives, sales tax refunds, and corporate income tax reductions to lure companies to the state.

If corporations are indeed people, then Haslam is the most compassionate man on the planet.

But if people are people — including the 918 lives that would have been saved in 2014 with Medicaid expansion — then the refusal to embrace Obamacare is cruel, mean-spirited, and immoral.

It is unconscionable that, just now, Haslam’s administration will give to Tennesseans the care and attention it’s been giving to businesses for years.

But with a Republican governor and a Republican-controlled state house and senate, Insure Tennessee is the best we will get — and it’s far from certain that the legislature’s Tea Party contingent, which is virulently anti-Obama anything, will support it.

Open enrollment for Obamacare continues through February 15th. If you don’t enroll by February 15th, you probably won’t be able to get insurance through the federal exchange this year, unless you get married, have a child, lose a job, or experience some other qualifying life event.

Go to getcoveredtenn.org to schedule an appointment with an enrollment counselor who can walk you through the process.

And once you’re enrolled, you know who to thank.

Wendi C. Thomas is a columnist, journalist, and founder of Common Ground: Conversations on Race, Communities in Action.

Her blog is wendicthomas.com; Twitter @wendi_c_thomas.

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Last week, I joined the ninemillion-plus Americans who have Obamacare.

My premiums are less than I paid with employersponsored health insurance, my deductible went from $2,800 to zero, and I can stick with the same primary care doctor.

Thanks, President Obama!

The opportunity to have affordable health insurance separate from a job allows me and many others to pursue more meaningful work. For the first time in my life, I can explore being not just an employee but an entrepreneur. (Or as Mitt Romney would say, a maker, not a taker.)

Nearly five years after the Affordable Care Act was signed into law and after months of dithering over whether to get on board, Governor Bill Haslam has come up with Insure Tennessee, his too-littletoo-late version of Obamacare.

Of course, Haslam would never call it that. But without Obamacare, it’s unlikely that the nation’s richest politician (net worth: $2 billion) would have devised a health insurance plan for the working poor.

Thanks again, Obama!

On Monday, Haslam convened a special session of the state legislature to consider Insure Tennessee. The two-year pilot of Insure Tennessee wouldn’t start until 2016. That means the state would forfeit even more than the $2.4 billion it’s passed up so far by refusing to accept federal dollars for Medicaid expansion, which was a key part of the Affordable Care Act. Insure Tennessee is aimed at those who earn less than 138 percent of the federal poverty level, or $16,242 for an individual. Haslam’s administration estimates that 200,000 Tennesseans would be eligible for Insure Tennessee.

Even if I stood to benefit, I wouldn’t be impressed.

Said Haslam when he announced his plan: “This plan leverages federal dollars to provide health-care coverage to more Tennesseans, to give people a choice in their coverage, and to address the cost of health care, better health outcomes, and personal responsibility.”

See that last part about personal responsibility? If you thought Haslam was motivated by any Christian obligation to be his brother’s (or sister’s) keeper, those two words should disabuse you of that notion. This right-wing blather about

news & opinion

Tennessee tackles health-care reform for the working poor. Finally.

11

politics By Jackson Baker

Sentiment Divided on Insure Tennessee Bipartisan support of Haslam’s Medicaid expansion plan is possible, but the governor still has work to do.

NASHVILLE — Like his 11-minute re-inauguration speech delivered two weeks ago, Governor Bill Haslam’s 15-minute opening address Monday night to this week’s special session on Insure Tennessee, his Medicaid expansion plan, was brief and to the point and couched in accommodationist rhetoric.

The previous speech had no particular mission in mind other than to hint at a more assertive second term: “[W]e haven’t had nearly high enough expectations of ourselves.

In many ways, we’ve settled and haven’t lived up to our full potential. So one thing I can guarantee you that we are not going to do in the next four years is coast to the finish line.”

But Monday night’s address was designed to spell out a key resolve that could be crucial to the success or failure of that race to the finish line.

The good news, from the governor’s point of view, was the prolonged standing ovation he received upon entering the chamber Monday night — a sign of the general good will that the General Assembly, on both sides of the political aisle, continues to extend to Haslam.

The bad news, from Haslam’s point of view, was that, by general agreement, he still has — in the words of state Representative Glen Casada (R-Franklin), who has been a

prominent opponent of the governor’s plan — “his work cut out for him.” Said Casada about House prospects: “He needs 50 out of 99, and right now he doesn’t have it.”

That outlook was echoed by state Representative Craig Fitzhugh (D-Ripley), the Democrats’ House leader and a firm supporter of Insure Tennessee. Fitzhugh said, “He answered the questions. The main questions my friends on the Republican side have had. … The Republican caucus needs to show they have a concern for ‘the least of these’.’”

The plan had “no downside,” said Fitzhugh, but, “I think he’s got a lot of work to do.”

State Senator Brian Kelsey (R-Germantown), chairman of the Senate Judiciary Committee and a foe, not just of the governor’s plan but of Medicaid expansion in general, said he thought opposition to Insure Tennessee was “mounting, the more we hear about it.”

Referencing a point Haslam had extemporized into his prepared remarks, to the effect that Republican governors had persistently expressed a wish to President Obama that Medicaid funding be presented to the states in the form of block grants, and that Insure Tennessee came close to that goal, Kelsey said, “My takeaway is this: The governor and I agree that we’d love to have a block grant in Tennessee, but that’s not what the president is offering.”

There were, however, signs that a bipartisan support coalition of Insure Tennessee from Republicans and Dem-

ocrats (a distinct minority in the legislature that Haslam, however, had made a point of courting) might be possible.

In the immediate aftermath of the governor’s speech, state Rep. Antonio Parkinson, a Memphis Democrat, and state Rep. Mark White, a Republican who represents East Memphis and the suburbs, agreed that Haslam had made enough distinctions between Insure Tennessee and the Affordable Care Act (Obamacare) to coax reluctant GOP members to support the plan.

White himself had been one of those GOP members who’d been biding his time but now expressed support.“I think that was important for him to distance himself from the president,” White said. “He also gave a personal side. It’s not all politics. … The more you weigh it on our measuring scale, it weighs out that we need to do something.”

Two Democrats differed on the role of their party in the debate over Insure Tennessee. State Senator Lee Harris, the former city council member who was elected by Senate Democrats (5 members out of 33) to be minority leader, said, “It’s not about the Democrats. It’s not newsworthy what the Democrats are doing. That’s irrelevant. It’s about the Republicans. They have control of both chambers. If you’ve got control, you’ve got responsibility.”

State Representative G.A. Hardaway, another Memphis Democrat, begged to differ. Of the 26 Democrats in the 99-member House of Representatives, Hardaway said,

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• In his Monday night address opening the week of special session, the governor — Haslam being Haslam, a man of soft persuasion rather than faustian and bombast — artfully pitched an appeal that was simultaneously above partisan politics and designed to address what have been the main sticking points among GOP legislators.

The governor dutifully paid lip service to Republican talking points, loosing his own shots at what he consistently called Obamacare but taking pains to distinguish his own plan from the superstructure of the Affordable Care Act. Haslam gave an explanation for why, in 2013, he had rejected the opportunity to expand Medicaid (TennCare in Tennessee) — an expansion that would have allowed the state to avail itself of about $1.5 billion annually, money which the state’s hospitals, charged with caring for indigent patients, contended they desperately needed.

He hadn’t accepted expansion then, the governor said, because “expanding a broken program doesn’t make sense. ... But I also didn’t think that flat-out saying no to accepting federal dollars that Tennesseans are paying for — that are going to other states, and that could cover more Tennesseans who truly need our help — I didn’t think that made much sense either.”

Accordingly, he said, he decided to provide his own example of how a governmental health-care plan should work, spending the time since that decision in 2013 to devise what he told the assembled legislators is a two-year pilot program that has incorporated free-market principles, both through an optional voucher component for use with private insurance plans and through requiring co-pays and modest premiums — “skin in the game” — of those new insurees who chose to go through TennCare.

Haslam pointed out that Insure Tennessee would add no new costs to the state budget, since the Tennessee Hospital Association (THA) had guaranteed to pay any additional costs incurred once the federal government, after two years, dropped its own subsidy from 100 to 90 percent.

If either the federal government or the THA proved unable to follow through as promised, or if the state in two years’ time decided Insure Tennessee wasn’t a good fit, the state had been assured by court decisions and the state attorney general’s advice that it could discontinue the plan.

(Pointedly, the governor, in giving the address, dropped this line from his prepared remarks: “I understand the concern, but I think it’s worthy of mention that the United States of America has never missed a scheduled Medicaid payment.”)

As for the professed concern of Insure Tennessee skeptics regarding the pain of having to discontinue coverage for new insurees after two years, Haslam said, “If

gine (EDGE), which guides industrial and business expansion and awards economic incentives toward that end.

Republican member Steve Basar, chair of the commission’s economic development committee and the commission’s ex officio member of the 11-member EDGE board, placed the discussion item. Basar said he heard “rumblings” of discontent about EDGE on the commission, including possible calls for the board’s abolition, and, as an EDGE supporter, wanted to address it.

Much of the discontent was an adverse reaction to the EDGE board’s recent decisions on PILOTs (payment-in-lieu-oftaxes), but Basar said only minor modifications were needed.

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Ultimately, said Haslam, the state simply had an obligation to the unfortunate and the indigent, one based in commonly held spiritual precepts. “My faith doesn’t allow me to walk on the other side of the road and ignore a need that can be met — particularly in this case, when the need is Tennesseans who have life-threatening situations without access to health care.”

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A “Good Faith” Issue As chronicled elsewhere in this issue (Politics, p. 12), Governor Bill Haslam began this week of legislative special session in Nashville with the challenge of persuading reluctant members of his Republican Party to suspend their aversion to what they call Obamacare and accept his home-grown version of Medicaid expansion called Insure Tennessee.

Prior discussions of the matter in the media have focused almost entirely on the mechanics of the plan or the political matters at stake or the financial incentives available to Tennessee (and its hardpressed hospitals) should the General Assembly opt to give its statutorily necessary approval to the proposal. Those financial stakes are large indeed, amounting to somewhere between $1 billion and $2 billion annually. But the political obstacles are large, as well: GOP talking points against Obamacare (the vernacular name for the Affordable Care Act) are so well established that the governor’s arguments for Insure Tennessee had to be couched in terms that drew the broadest possible distinctions between his Tennessee variant and the federal act.

Accordingly, Haslam made much of marketplace methodologies embedded in Insure Tennessee — including an alternative plan-within-the-plan for vouchers to pay for private insurance, as well as requirements for co-pays and modest premiums for those new insurees opting for coverage under TennCare (Tennessee’s version of Medicaid). And the governor catered to home-state Republican sensitivities by adding an anecdote to his prepared speech involving his past entreaties to President Obama, along with those of other Republican governors, to allow Medicare funding to be dispensed to the states via block grants for the states to dispense as they wished.

But much of the governor’s speech was

taken up, too, with appeals to the legislators’ hearts as well as to their heads. Opponents of Insure Tennessee have been shedding crocodile tears at the plan’s provision for discontinuing Insure Tennessee after two years if either the federal government or the Tennessee Hospital Association default on promised funding. That would drop thousands of new insurees from coverage, the critics say. To this, Haslam offered the common-sense rebuttal that two years of coverage are significantly better than no health-care coverage at all.

And he offered his listeners a realworld anecdote about a Tennessean whose stroke, resulting from his inability to afford health insurance, had “landed him in the hospital, followed by rehabilitation” and taken him out of the workforce. “He was a hard-working Tennessean who wasn’t able to get the care he needed on the front end and that has real consequences for him and his family. Having a stroke wasn’t only devastating to him and his family, it could have been prevented, and not preventing it is costly to all of us.”

The governor then, having argued facts and savings and marketplace models, laid the matter to rest on the bedrock issues of values and good will: “I think this is also an issue about who we are. My faith doesn’t allow me to walk on the other side of the road and ignore a need that can be met — particularly in this case, when the need is Tennesseans who have life-threatening situations without access to health care.”

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VIEWPOINT By Chris Davis

‘Night, Darlin’ Remembering former P&H Cafe owner Wanda Wilson.

Wanda Wilson was a real life honky-tonk angel, famous for her generosity and a love of lost souls.

“I love you for thinking of this, but I don’t need the money,” Wanda told the event organizers. “Let’s give it to Hands on Memphis.”

That’s who she was.

Wanda traveled to Hollywood when Craig Brewer’s P&H-inspired film, The Poor & Hungry, had its big moment at the Hollywood Film Festival. I will never forget the moment when she arrived on the Paramount lot, wearing a stunning black gown covered with tiny gold coins.

When someone asked about her outfit, she proudly announced, “A drag queen gimme this dress, darlin’.” Even in a city accustomed to seeing stars, this Memphis glamor girl could turn heads.

Losing Sue last year was hard, but I’m still having trouble imagining a world without Wanda Wilson. When I had no family in Memphis, Wanda and the P&H regulars stepped up. Now we’re orphans all over again.

Staff writer Chris Davis is the Flyer’s theater critic.

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told me to “jump behind the bar” and get my own beer. “Act like you belong here,” she scolded, unconcerned with any potential ABC violations.

“Act like you belong here” was something I’d hear her say to many other customers. It wasn’t just permission to self-serve; it was the golden rule, and the one thing you really had to do to become a part of the P&H family. Like she once told an old friend whom she’d thrown out for bad behavior (and invited back with open arms): “This isn’t a bar sweetie. It’s an orphanage for the misunderstood.”

Wanda was mugged one summer night in 1999 while leaving the bar with the evening’s bank deposit. The girls of Memphis Confidential Burlesque — more P&H orphans — concocted a plan to stage a pudding-wrestling event to recover the losses, and Jerry Lawler agreed to referee. Somehow I found myself in the middle of it all, in a kiddie pool filled with chocolate pudding, wearing a grass skirt and coconut boobs, wrestling three women, and feeling like I’d stumbled into some lost chapter of John Steinbeck’s Cannery Row. Hundreds of people paid cash money and lined up 20-deep to take in the gender-bending, fire-breathing, bodice-ripping show.

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The first person I met at the P&H Cafe wasn’t the beer joint’s famous proprietress, Wanda Wilson. It was Martha Sue Campbell from Florence, Alabama, a longtime beer-and-hash slinger who passed away last April. Sue frowned at me and squinted, which I later discovered was her way of smiling, and gave me the once-over twice. I was new in town, only 18 years old, and sure she was going to ask for an I.D. that I didn’t have.

Instead, she took my order and asked if I’d like to hear a joke.

“Do you know which two toes a woman’s most ticklish between?” Sue asked, frowning even harder, which meant she was about to bust a gut. Before I could reply she blurted out, “The big ’uns,” and we both frowned and frowned and laughed and laughed. I was a country kid, on my own for the first time in a city I didn’t know. But watching my funny new acquaintance waddle through a swirling curtain of cigarette smoke to fetch my cheeseburger and gazing for the first time at all those strange, nicotine-browned murals of famous (and infamous) locals like banker, politician, and mega-fraud Jake Butcher, and Dana Kirk, Memphis State’s ticket-scalping basketball coach, I knew I had somehow landed in safe harbor, right where I belonged.

Like so many other “poor and hungry” artists, musicians, actors, authors, journalists, roustabouts, and straight-up weirdos, I was immediately intrigued by Wanda Wilson. She always wore a big, curly, blonde wig, a feather boa, and a hat that she might have won from Mae West in a poker game. She chain-smoked cigarettes from a long, jeweled cigarette holder and called everybody “darlin’” in a husky Parsons, Tennessee, drawl that reminded me of home.

Wanda reminded many people of home, no matter where they came from.

Last Friday, Wanda Wilson shuffled off this mortal coil, leaving Memphis a poorer and hungrier place. She was Midtown’s muse, and many artists painted her portrait, though few captured her timelessness like Paul Penczner, whose impressionist works once hung in the bar. She was the patron saint of the local theater community, and a real life honky-tonk angel, famous for her generosity and a love of lost souls.

Chances are, if you were ever a regular at her beer joint and found yourself down on your luck, she’d offer to start a tab before you asked, buy your first round, offer a job if she could, and a place to stay until you were back on your feet.

One particularly busy night, Wanda

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Movies & Memphis The 100-year rise of Malco Theatres traces the turbulent history of the film industry.

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The Malco Theatre (now The Orpheum) in 1972; M.A. Lightman Sr. holding Stephen Lightman with M.A. Jr.

COVER STORY by

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Friday nights are a movie theater’s bread and butter, but on Friday, January 9, 2015, the Malco Ridgeway Cinema Grill theater was closed to the public. The lobby was still bustling, but on this night it was with a crowd of dressedup VIPs sipping champagne, munching on movie-themed hors d’oeuvres, and talking about the old days. Malco Theatres has been welcoming Friday-night moviegoers for 100 years, and it was time for celebration.

Naturally, Malco treated its extended family to a movie. There were four to choose from, tracing the century-long evolution of films that had brightened Malco’s screens and drawn patrons through the doors of dozens of theaters: from Hollywood’s miracle year, 1939, The Wizard of Oz; from the post-studio system 1960s, The Sound of Music; from the auteurist 1970s, The Godfather; and from the dawn of computer-generated imagery, 1994’s Forrest Gump. (For the record, The Godfather was the most popular choice among the partygoers.)

“We as a species are biologically driven to go to the movies,” says Jeff Kaufman, Malco’s senior vice president of film and marketing. “We spent 25,000 years living in caves, being told stories by firelight. That’s how our species evolved. You can see cave drawings all over the world that are thousands of years old. That communal experience that our forefathers had translates into what we do today in the movie theater.”

Experiments with moving pictures date back to the mid-19th century, soon after the invention of photography. In the 1880s, watching a movie was a personal

affair. You put a coin in a Kinetoscope machine and peered into the eyepiece to see short films of vaudeville acts or scantily clad women dancing. The first public exhibition of a projected film in America was in New York City in 1898.

The 1903 film The Great Train Robbery caused a sensation with a startling innovation: a plot. “The first theater in Memphis was opened in 1905 by Charles Dinstuhl, next to his candy store on the corner of Washington and Main. It was called the Theatorium Theatre,” says Vincent Astor, historian and author of the 2013 book Memphis Movie Theatres. “It was an actual nickelodeon with a large number of seats in front of a screen. It was a storefront, but it was the first storefront converted to show movies.”

Soon, theaters like the Optic and the Majestic dotted downtown. “Memphis has always been a big theater town,” says Astor. “There were a handful of [vaudeville] theaters in the 19th century. Several of them ended up being used for films when it was profitable to do that.”

Short subjects still ruled during the first decade of the 20th century, but films gradually became longer. The first to reach what we now consider feature length was the 1906 Australian crime epic The Story of the Kelly Gang.

European cinema led the way until the outbreak of World War I in 1914, which coincided with a flowering of film production in a formerly sleepy California town called Hollywood.

In 1915, Nashville native and Vanderbilt University graduate M.A. Lightman rented a storefront in Sheffield, Alabama, and opened a movie theater called the Liberty Theater. By then, the modern movie theater business was taking shape. First, theater owners from the informal vaudeville circuits banded together into multistate chains, then the movie studios themselves, like Warner Brothers and Paramount, got into the business in what’s called today a move toward vertical integration. But there was no shortage of independently owned movie theaters in America. “The theaters came and went. There were different circuits that owned different theaters, CONTINUED ON PAGE 18

cover story m e m p h i s f l y e r. c o m

Only in the

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CONTINUED FROM PAGE 17

February 5-11, 2015

and they changed names a lot,” says Astor.

Entrepreneurs like Lightman leveraged their successes into opening more theaters.

By 1919, his Sterling Amusement Company owned three theaters in Alabama. He soon sold those theaters and entered the Little Rock market. M.A. Lightman’s father, Joseph, was in construction, and in 1925, the two got together to build the Hillsboro Theatre in their native Nashville. That theater is still around today as the Bellcourt Theatre, an independent art house cinema.

The family arrangement was not unusual.

“There were a bunch of families, many of them Italian, who owned theaters everywhere,” says Astor.

Malco (M.A. Lightman Company) got its name in 1926. The Lightman family business spread across Arkansas, and then, in 1929, they crossed the river. “The Linden Circle was their first theater in Memphis,” says Astor.

At the same time, movies were undergoing the first of what would be many technological upheavals: the introduction of sound. “The Jazz Singer actually played at Ellis Auditorium,” says Astor. “One of the reasons for that was, at the end of the 1920s, when sound came in, it was just as profound a change as has been the change from film to digital. You had to do it. There were theaters like the Majestic where the owners closed the theater rather than spend the money to convert to sound.

Several of the really early sound pictures were at the auditorium, because it was easier to truck in the equipment and put it on the big stage and show the film and then truck it out again, because it was designed for that, and the size didn’t matter. It was cheaper to do that instead of converting another theater.”

During the Depression, the movie theater business was one of the few industries that thrived. Tickets were cheap, and people needed escapist entertainment. In 1935, Malco opened the Memphian Theater on Cooper. It would become a Mid-

18 18

In series has become a popular staple at Malco’s Summer Drive-In. “If there wasn’t enough sex and violence in the house, there was some at the drive-in.”

(Above) David Tashie, Stephen Lightman, Jimmy Tashie, Bob Levy; (Below) The 1962 marquee for the Summer Twin Drive-In in Memphis

town neighborhood icon and a favorite of Elvis Presley, who famously rented the entire theater for late-night screenings with his friends in the ’60s. Later, it became the first Playhouse on the Square; today, it's Circuit Playhouse, which still hosts films for the Indie Memphis film festival.

This was the age of the movie palaces, with ornate, 1,000-seat theaters like Lowe’s Palace, the Strand, and the Princess packing in people for first-run Hollywood fare.

In 1940, Malco bought a former vaudeville theater at the corner of Main and Beale Street called the Orpheum and transformed it into the growing chain’s flagship property. Malco would have its corporate offices there for many years.

THE ARRIVAL OF TELEVISION But change was again brewing in the theater industry. The major Hollywood studios had been under investigation by the Federal Trade Commission for years regarding their vertically integrated system of movie distribution. The market power that came from owning a huge number of the theaters that showed their films often forced the hands of independent owners like Malco. In 1948, the Supreme Court ruled in United States vs. Paramount Pictures that studio ownership of theaters constituted an unlawful monopoly. The ruling weakened the power of the Hollywood studios and consequently led to

fewer movies being produced.

In 1951, Malco opened the Crosstown, a state-of-the-art, 1,400-seat theater next to the Sears Building. The neon sign atop its marquee was 90-feet tall and employed more than a mile of neon tubing. It was the crown jewel of the 63-theater Malco empire that stretched from Kentucky to New Orleans. But it would be the last of the movie palaces built in Memphis. Hollywood, still reeling from the antitrust ruling, faced a challenger for the eyes and minds of America: television.

“Television scared them to death,” Stephen Lightman, grandson of M.A. Lightman and current president of Malco told what is now Inside Memphis Business (formerly Memphis Business Quarterly) last December. “They thought it was the end — people weren’t going to go out of the house; they were going to sit at home and be entertained.”

Hollywood responded by trying to create a film experience in the theater that was not possible in the living room. TVs were square, so widescreen became the standard for film. Stereophonic sound completely blew away the tinny din of the TV speaker, and early experiments in stereo vision led to the short-lived 3D fad, which produced a few classics like The Creature from the Black Lagoon. “The movie business has always been in flux,” says Astor. “Since the end of the second World War, they have always had to try and one-up something technological.”

The movies continued to be popular, but the margins in the theater business were shrinking. With their high overhead costs, the movie palaces went into slow decline. The late 1950s were the golden age of the drive-in, an innovation that had begun in the late 1930s but exploded in popularity with the newly mobile teenagers of the baby boom. With the drive-ins came a new wave of movies designed for cheap thrills that featured rock-and-roll, motorcycles, shabby monsters, and scantily clad babes. “That’s why movies became more exploitive — they had to figure out a way to get people out of the house,” says director Mike McCarthy, whose Time Warp Drive-

INTEGRATION AND THE BIRTH OF THE "MULTIPLEX" M.A. Lightman passed away in 1958, leaving the business to his two sons, M.A. Lightman Jr. and Richard Lightman. With the civil rights movement spreading across the South, the brothers would oversee the racial integration of their theaters. AfricanAmerica patrons had historically been confined to separate balconies, but one day in 1962, without fanfare, and after consulting with the Memphis Bi-Racial Committee, the Malco on Beale sold orchestra-level seats to a single African-American couple.

The next week, two couples were admitted, and within a month, the colored balcony had become a thing of the past.

Since before the antitrust ruling, films would be released first in prestigious movie palaces, where they’d play until returns started to diminish, then be shunted off to smaller, neighborhood theaters. But as the 1960s waned, the squeeze was on.

“Theater attendance had been going down for years, and the neighborhood theaters were among the first to go,” says Astor.

“They had become esoteric. They were not playing to a general audience. They were playing to a neighborhood, which was mostly staying home and watching television.”

The AMC theater chain pioneered the “multiplex” concept, opening a fourscreen theater in Kansas City in 1966.

Staggering movie start times across the screens allowed the same-sized crew to sell tickets and serve refreshments to four times as many patrons. The Highland Quartet, which opened in 1971, was the first Malco multiplex. It was the final nail in the coffin of the movie palaces. “It got to the point where the smaller theaters just weren’t making money,” says Astor. “In order to fill the big theaters, the Malco and Lowe’s Palace became black exploitation and kung fu theaters.”

The early 1970s also saw the evolution of the contemporary blockbuster mentality. Studios were cutting more prints of their biggest movies and sending them out everywhere at once. With multiplex screens proliferating around the country, that meant that everyone who wanted to see a movie could see it pretty much immediately. Instead of being spread out over the course of months, the financial returns for films was more front-loaded, and opening weekend became more important.

In June 1977, one month after Star Wars hit theaters, the Malco Ridgeway Quartet opened in East Memphis. Downtown was hollowing out, and Malco sold its namesake theater and moved its offices to the multiplex. Astor, who had gotten a job at the Malco after falling in love with its crumbling granduer during a screening of True Grit, recalls, “When it was sold to the Memphis Development Foundation, I was retained, the only Malco employee to stay,

because I knew where the fuses and the skeletons were. I had done a lot of research on the history of the theater, so they kept me.” The newly rechristened Orpheum returned to its live theater roots and remains a downtown landmark.

"Selling the experience" Over the years, Malco Theatres has survived multiple takeover attempts, but today, 100 years after M.A. Lightman’s Liberty Theater, it remains family owned, and is thriving. Every night, Malco opens the doors to 349 screens in 33 locations. “We’re sure happy we didn’t sell, because any investment we had made with the money would probably not have done as well as the movie business,” Stephen Lightman told Inside Memphis Business.

The movie business today is, as always, in a state of flux. “There aren’t too many businesses that have the responsibility to recapitalize themselves twice over the course of a business lifetime,” says Kaufman, Malco’s film and marketing SVP. “Theatrical exhibition went from slanted floors to stadium seating, so we had to recapitalize the insides of the auditoriums.

Then it went from 35mm to digital, so we had to recapitalize the [projection] booth.

It was a lot of money and a lot of effort.”

“Malco, as far as digital was concerned, went for it whole hog,” says Astor. “The most complicated digital installation you can do is at a drive-in, and Malco did it on four screens.”

But there’s another side to the digital

attract new patrons, the industry has deployed all of the tricks it has learned over its history. 3D technology made a quantum leap forward. New audio technologies, such as Dolby’s Atmos system, offer unprecedented sound quality. And the design of Malco’s multiplexes now echoes the movie palaces of old.

“Marcus Lowe, in the beginnings of his great success, said ‘We sell tickets to theaters, not movies.’ That’s really the case with Malco,” says Astor. “They’re selling the experience. All of their theaters might not be as beautiful as the Paradiso, but it’s still the whole experience. It’s the movies, the special effects, the food, everything.

And the presentation has always been their

strongest point.”

Kaufman says it’s Malco’s commitment to quality that has sustained them: “It’s not brain surgery, but it is attention to detail on a lot of different levels. Theaters these days are more akin to the kinds of theaters we grew up going to. They’re visually arresting, they’ve fun to go to. It’s not just a box with four screens like you saw in the 1960s and 1970s.”

Inside those theaters, the fare has become more varied. Digital projection has enabled live, high-definition streaming of events. Malco offers its theaters for use by film festivals such as Indie Memphis and has helped give Memphis’ independent film scene a home. And as an increasingly

educated filmgoing public wants to experience the classics with a big audience, Malco has partnered with McCarthy and Black Lodge Video for the popular Time Warp Drive-In series.

Larry Etter, Malco’s senior vice president of food services, says, “I’ve lived in Memphis since 1970, and I think Memphians are spoiled. Until you get outside of Memphis and watch movies in other facilities, you don’t realize the quality of the product that the Malco family, the Lightmans, the Tashies, the Levys have put together for their communities. They really think the quality of presentation is paramount. If you’re paying for it, you deserve the very best.”

WE’RE OPEN.

TO MORE OF THIS

revolution: High definition big screens and surround sound are not just found in theaters any more but in living rooms.

And beginning with VCRs in the 1980s, DVDs in the 1990s, Blu-Ray in the 2000s, and now Netflix and digital streaming in the 2010s, audiences have access to an unprecedented variety of motion-picture content. These trends have some pundits preparing obituaries for the theater industry.

But Malco has heard that rhetoric before. Despite the doomsayers, total domestic box office in 2014 topped $10 billion. Industry-wide, the number of theatrical tickets sold has remained pretty constant over the past 25 years. The average American sees four movies in the theater per year. “The MPAA [Motion Picture Association of America] says that about 10 percent of the people buy about half of the tickets,” says Kaufman.

To keep those folks coming back and

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cover story m e m p h i s f l y e r. c o m

the Malco paradiso theater in east Memphis

19

steppin’ out

We R e c o m m e n d : C u l t u r e , N e w s + R e v i e w s

Pride Rocks

Dancer Selena Moshell

By Chris Davis

Selena Moshell has just celebrated six years on the road touring with Disney’s The Lion King. “It’s special and different to be able to say you have roots in a touring show,” she says. “It’s oxymoronic.”

It is oxymoronic. It’s also impressive, considering how many Broadway shows have opened and closed since The Lion King took its already successful show on the road in 2002. The Tony-winning Memphis: The Musical, for example, only lasted three years on Broadway and its American tour only gave the show an additional 24-months. “I’m probably somewhere in middle,” Moshell says of her tenure with director Julie Taymor’s colorful, puppet-laden musical. “I still consider myself newish, although I’m more experienced than some.”

Moshell is a dancer. She plays a gazelle, a wildebeast, a plant, and a hyena. In real life, she also plays a new RV owner. She says she bought the rolling house so she and her boyfriend and their cat and dog could have a home of their own on the never-ending highway.

“We’ve been out here for so long. I know people who have gotten married on the road. People have had kids on the road. You know people always talk about the casts they are in and say, ‘Oh, you know, we’re like family.’ But in The Lion King, we really have families.”

Moshell is also The Lion King’s social media captain, empowered to take backstage pictures and blog about the cities she visits and life with Simba and friends. “Backstage life is its own show, and a lot of funny stories happen,” she says. “It’s the same onstage, every night, everywhere we go. But when you’re on tour, the backstage is always different. People get lost going to the dressing room or won’t know where a quick change is, because they may have never been to this theater before.”

The cast of The Lion King should have plenty of time to get used to the Orpheum. The popular family show opens in Memphis this week and is here through March 1st.

DISNEYÕS "THE LION KING" IS AT THE ORPHEUM FEBRUARY 5TH-MARCH 1ST, $34-$149. ORPHEUM-MEMPHIS.COM

“Slavery by Another Name ” film series at the Civil Rights Museum,

February 5-11, 2015

Calendar, p. 32

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THURSDAY February 5

FRIDAY February 6

intermediate Memphis Brooks Museum of Art, 7 p.m.

Experimental film with original videos, drawings, photographs, and texts with live accompaniment of trombone, percussion, crickets, and car keys.

“Granny Whitey” David Lusk Gallery, 6-8 p.m.

Opening reception for Tyler Hilderbrand’s exhibit revolving around the semi-fictional character Granny Whitey and focusing on the “grotesque elements of society.”

Also opening tonight is Mary Sims’ “Zuma and the Bible,” narrative paintings based on the Bible.

Hearts & Flowers The Shops of Saddle Creek, 5-9 p.m.

Artists market featuring valentines crafted from wood, glass, fiber, and more. The market is open through February 14th.

Cirque-tacular at the Buckman Saturday Calendar, p. 32

SATURDAY February 7 “Paradise Found” L Ross Gallery, 6-8 p.m.

Opening reception for this exhibit of botanical abstracts by Chuck Johnson.

Victorian Valentine Woodruff-Fontaine House, 6-9 p.m., $15 A Victorian-themed Valentine Day party featuring a spread of chocolates. There will also be an exhibit of Tom Shelton’s “Spy” prints on the third floor, where the newly redone men’s tower room will be unveiled.

Works of Heart Memphis College of Art, 7-10 p.m., $75 Annual auction of heart-shaped works created by local artists, benefiting the Memphis Child Advocacy Center.

Half Pints for Half Pints Memphis Made Brewing Co., 7-10 p.m., $50 per person, $75 per couple Fund-raiser for Peabody Elementary’s PTA, with funds going to build a computer lab. The evening will feature food from Central BBQ and Celtic Crossing, beer from Memphis Made, and a silent auction.

Mummenschanz

Who Are Mummenschanz?

By Chris Davis Physical theater becomes more commonplace all the time. Cirque du Soleil has become enormously successful, and groups like MOMIX and the Pilobolus dance company have toured the Memphis area. But before all of these groups were a twinkle in their founders’ eye, there was Mummenschanz.

In 1976, an unusual three-year-old Swiss performance company that had been touring America went on The Muppet Show, and without uttering a single word, introduced a generation of young viewers to experimental theater, mask play, and a strange new derivation of Commedia dell’arte.

In one memorable bit, two actors in black tights sat side by side, each of their faces covered in amorphous blobs of clay.

From his blobby nothingness, one performer sculpted a neat beard, then a nice mustache and some fluffy eyebrows. His less dexterous companion tried to copy the look, but without much success. As the face sculpting grew competitive, both actors morphed into terrifying bird monsters and flapped around, terrorizing one another until their faces collided and and stuck together, turning the two, into a single mess of sticky entanglement. It was silly, sublime, and unlike anything else you were likely to encounter on ’70s TV. The troupe’s unusual name is derived from the German word for “mummer,” a performer combining mime and mask play. But long before The Lion King or War Horse, Mummenschanz was also exploring the boundaries of puppet work.

The latest tour is a retrospective of highlight performances from the company’s 40-plus-year history.

MuMMenschanz at the GerMantown PerforMinG arts center saturday, february 7th at 8 P.M. GPacweb.coM

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sunday February 8 Cirque-tacular World Buckman Arts Center at St. Mary’s, 7 p.m., $28 Contemporary circus performance with aerialists, acrobats, jugglers, and more.

Cirque du CMOM Children’s Museum of Memphis, 7 p.m., $150 Annual fund-raiser for the Children’s Museum of Memphis.

This year’s theme is “Pop. Rock. and Roll,” paying tribute to Memphis’ place in music history.

Memphis Open 2015 Racquet Club of Memphis, 10 a.m., $15-$85 The Memphis Open tennis tournament begins today with qualifying rounds. Among this year’s players are Kei Nishikori, John Isner, Sam Querrey, Ivo Karlovic, and Alexandr Dolgopolov.

Continues through February 15th.

TEP Gumbo Contest Bridges, 4:30-7 p.m., $25 Annual gumbo contest benefiting the Tennessee Equality Project, with guests voting for their favorite gumbo.

Champagne Sunday Metal Museum, noon-5 p.m.

A valentines artists’ market featuring metalwork, housewares, jewelry, and more.

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arts & entertainment

A disappointing projection for Project Almanac Film, p. 39

m e m p h i s f l y e r. c o m

J. RODDY WALSTON & THE BUSINESS AND THE WEEKS

*ALL TIMES LISTED ARE DOOR TIMES

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M U S I C F E AT U R E B y C h r i s S h a w

Heavy Metal Family

Dawn Patrol live in Memphis

Local metal band Dawn Patrol formed in 2012 when brothers Kyle and Tommy Gonzales got bored with Guitar Hero and decided to pick up actual instruments. Kyle started on the guitar, but later put it down in favor of the drums. Since then, Tommy has gone on to get a professional guitar certification from Berklee College of Music, and Kyle secured a cymbal endorsement before getting the confirmation that he had been selected to study under Paul Bostaph from Slayer. Not bad for a 15 year old. With support from their family (their father manages the band and both parents chaperone on tour), Dawn Patrol seem to be rising up the ranks of the local metal scene. We sat down with Tommy to find out more about Dawn Patrol and their Police State EP, his time spent touring Europe, and what it’s like to be in a heavy metal band with your brother.

Flyer: When did Dawn Patrol form and what were you and your brother doing before the band got together?

Tommy Gonzales: My brother and I started jamming in 2009, but it wasn’t until about 2012 that we started doing shows with Dawn Patrol. I’m 19 and my brother is 15, so we didn’t really have time to play in any other bands before this one. My brother originally started out playing guitar, so it wasn’t until he picked up drums that we were able to jam together. Before the band started we were just practicing at our parent’s house in Atoka, just coming up with song ideas and stuff like that.

between high school and the demands of playing in a band?

We pretty much only play on weekends, and if he has a school break we will use that time to get out of town.

We use the time he has on summer break to really play a lot of shows and get out on tour. My parents go with us on tour. It’s pretty much just something for all of us to do.

Is there a history of people playing music in your family or did you guys just kind of pick it up?

No, not really. It just kind of came out of nowhere honestly. We got Guitar Hero as a present one year and beat the game in a night. After that my brother and I were like, ‘let’s just get real guitars’ and we ended up getting them for Christmas.

Last summer you went on tour playing guitar with Condition Critical, a metal band from New Jersey. How did that happen and what did you learn from that experience?

If you’re into thrash, that’s a band that you immediately recognize because they are up and coming. I almost brought them to Memphis for a show a few years back, and we’ve kept in contact since then. They needed a guitarist for a tour, so I hit them up and they flew me up for a tryout. They didn’t have anyone else offer so they pretty much just chose me.

MICHELLE PATTERSON

The family that shreds together, stays together.

countries off the top of my head but I know we covered all of Europe in the span of two months. We played two weeks of shows in Russia and played Italy, Austria, and Germany and a bunch of other countries before flying back.

Everything just happened really fast.

but we really liked the way our first EP came out with Alan recording it. We are going back to him to record our debut full length in March, and we hope to have it out by July. We are going to selfrelease it because we want it to come out in time for the tour we are going to go on this summer, and then we will probably shop it to labels after that.

So the first real tour you ever went on was in Europe? That had to have been a cool experience.

Yep, with Dawn Patrol we only do weekends and stuff like that right now.

The whole experience just came out of nowhere honestly. I had to learn all their songs in a month, and then go play them in places I’ve never been before.

It was really cool to see how different the metal scene is in Europe. People were so supportive. The metal and punk scene in Europe is much more divided, whereas here people will go see our shows even if they aren’t into metal. We incorporate elements of hardcore and metal into our music, but you don’t see a lot of crossover metal in Europe. They are very loyal to the metal scene.

Have any labels been interested in working with Dawn Patrol since Police State came out?

There have been some labels interested here and there. We’ve mostly been talking to distributors about selling our music online and stuff like that. We also do a lot of that type of stuff on our own.

We sell a lot of CDs and T-shirts online through our own website, but we might try to get a better distributor once the album is finished. We also sell our stuff locally through places like Goner and Shangri-La. What’s next for Dawn Patrol?

We are recording the album I mentioned in March, then we will do a two-week U.S. tour in the summer.

After that, we don’t have any plans.

Dawn Patrol play Sunday, February 8th, at the Hi-Tone, at 8 p.m., with Enabler, Call of the Void, and Vera.

Where did that tour take you?

First, I flew up to New Jersey for two weeks to jam out with them and learn the songs. I can’t remember all the

You guys recorded your first EP at Ardent Studios with Alan Burcham.

Do you plan on going back to Ardent for a full length?

We did our first demo with another guy,

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L O C A L B E AT B y J o e B o o n e

The Long View

Prosevere

to get stuck in a shitty deal. We’ve been able to do it DIY forever. There’s no sense in going out and losing money and having somebody own all of your stuff. I like to think that I am a student of the industry. I’ve kept up with this stuff forever. We won’t be able to chart through commercial radio. But there are so many other avenues that you can still be successful without it.”

It’s easy for musicians to get stuck in a myopia of Memphis-NashvilleNew York-L.A. But lots of work and opportunity go unnoticed by ignoring other audiences.

“Our biggest market [after Memphis] is Poplar Bluff, Missouri,” Segars says. “They’ve got a station up there called Z95 The Bone. It’s a mix between active rock and classic rock.

We’ve been a top-5 requested band up there for five years now. We’d go up and help headline their big radio festival every year. [Godsmack] played there and needed an opener. They called the radio station. That led to more dates.

That place really helped us out. That’s

kind of where independent bands like us [can] make your mark: places that bigger bands don’t go.”

After nine years, Prosevere has learned what works for them.

“We’re a long ways into this,” Segars says. “You can call it marriage basically.”

That marriage has just spawned its first full-length record, Hurts Like Hell.

Recorded in Nashville with producer J. Hall at Kent Wells’ studio. Wells has worked with the biggest country artists, notably Dolly Parton.

“You walk in and you see platinum record after platinum record,” Segars says.

“It’s crazy. Not a lot of it is rock. But if it sounds good, it sounds good. It opened us up to another dimension. Not that our stuff is country by any means. Sonically, it just makes us sound better. The room is just good. It’s got great vibes. Everything about it was awesome.”

Prosevere plays their longtime headquarters, the New Daisy Theater, on Saturday, February 7th. Hurts Like Hell will be on sale at the show and available for purchase on iTunes on February 9th.

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do it now. Everybody thinks, ‘We’ve got Facebook. Why would you go out?’

Handing somebody one of these, standing out after a concert and saying ‘Come see my band. Nice to meet you.’ It’s a much more personal connection. For us to build up an audience, it’s what I just handed you.

We ground and pound a lot. For example, at Minglewood, they have the V3 Fights.

There were over 800 cars around in that little area. We walked two-and-a-half miles [putting fliers on cars]. I track it on my phone. We draw 300 to 500 in town just because we’re relentless.”

The original lineup includes drummer Rocky Griggs, Eric Ashe on guitar, bassist Matt Riley, and Segars on vocals. The band started out heavy, drawing on influences like Lynyrd Skynyrd, Foo Fighters, Sevendust, and Candlebox. They did everything for themselves and got some fortuitous breaks along the way. Such luck comes from preparation, networking, and keeping an open mind.

“We’re so stubborn as far as the label thing goes,” Segars says. “You don’t want

arts & entertainment

Memphis radio-metal stalwarts Prosevere harbor few illusions after nine years of making music together with the same lineup. While they all have day jobs, their focus on making music has matured, not diminished.

“Everybody wants it,” singer Gary Segars says. “Everybody works hard to make sure that there are people at the shows, and that people know what is going on. Promotion is just a big a part as writing. If we didn’t care about people coming to see us, we could just sit in our rooms and write songs. The live show is not nearly as much fun if there are not 200, 300 people.”

When Segars walked in to Dan McGuinness to meet and talk about Prosevere’s new record, Hurts Like Hell, the first thing he did was place a flier in my hand. Despite the title of this rag, it’s been some time since I had seen a flier.

Nobody has left one at the desk during my tenure. It’s one of many old tools of the trade that have fallen out of practice.

“We promote like crazy,” Segars says. “There are not a lot of bands that

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Prosevere on fresh sounds and eternal verities.

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OUTDOORS INC OUTFITTING HUMAN POWERED RECREATION IN MEMPHIS SINCE 1974

WINTER CLEARANCE SALE

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MIDTOWN MEMPHIS · 1710 Union · 901-722-8988 JACKSON, TN · 405 Vann Drive · 731-512-1766

OUTDOORS INC Outlet Store · 3421 Summer Ave · 20%-70% OFF EVERYDAY

OutdoorsInc.com

Winter_Clearance_1-8H.indd 1

Valentine's Day Sale

2/3/15 12:42 PM

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Feb. 7th - Feb. 14th.

20% OFF

All Hand-Crafted Jewelry

TUESDAY-SATURDAY | 10:00 AM-6:00 PM

| www.thebeadcouture.com

OIL PAINT & MEDIUMS Gamblin Oil 37ml Tubes Gamblin Mediums Various Sizes Winsor & Newton Artist Oil 37ml Tubes

BRUSHES SETS & OPEN STOCK Princeton Brush Winsor & Newton

Rembrandt Oil 40ml Tubes

30% OFF 60% OFF ACRYLIC PAINT & MEDIUMS

STRETCHED CANVAS Art Alternatives

Golden Paint 2 oz. & 5 oz. Tubes Golden Mediums Various Sizes Liquitex Paint 2 oz. Tubes & Jars Liquitex Mediums Various Sizes

Economy Double-Packs Fredrix Red Label & Gallery Wrap Winsor & Newton Deep Canvas

1636 Union Ave Memphis, TN 38104

Open Daily 901-276-6321

www.ArtCenterMemphis.com Sale prices effective through February 24, 2015

February 3rd February 7th • 20% OFF all custom framing • 50% OFF all unframed prints • 30% - 70% OFF framed art • 30% OFF everything else We have thousands of frame & matte styles and colors to choose from!

2029 Union Avenue 901-274-1910

m e m p h i s f l y e r. c o m

30% OFF 50% OFF

It’s the right time to save during our Mid-Winter Sale! We invite you to compare us to the franchise shops.

You’ll find quality, selection, and great prices at 1910 Frame Works.

retail therapy

2487 BROAD AVE. | 901.323.9213 |

25

D EAD S O LD I E R S YO U N G AV E N U E D E L I SAT U R DAY, F E B R UARY 7 T H

M AR C E LL A & H E R LOV E R S BAR D K D C F R I DAY, F E B R UARY 6TH

After Dark: Live Music Schedule February 5 - 11 Blues City Cafe 138 BEALE - 526-3637

Alfred’s 197 BEALE - 525-3711

Karaoke Thursdays, 9 p.m.1 a.m., Sundays-Mondays, 10 p.m.-2 a.m., and TuesdaysWednesdays, 9 p.m.-1 a.m.; Jim Wilson Fridays, Saturdays, 6-9 p.m.; DJ J2 Fridays, Saturdays, 9:30 p.m.-5 a.m.; Kevin and Bethany Paige Fridays, Saturdays, 10 p.m.2 a.m.; Memphis Jazz Orchestra Sundays, 6-9 p.m.

B.B. King’s Blues Club 147 BEALE - 524-KING

B.B. King All Stars Thursdays, 7 p.m., Fridays-Saturdays, 9 p.m., and Mondays, 8 p.m.; The Will Tucker Band Fridays, Saturdays, 5-8:30 p.m.; Lisa G and Flic’s Pic’s Band Saturdays, 12:30 p.m. and Sundays, 2 p.m.; Preston Shannon Sundays, Wednesdays, 7 p.m.; King Beez Tuesdays, 7:30 p.m. and Monday, Feb. 9, 5:30 p.m.; Blake Ryan Trio Tuesdays, 5 p.m.

Blue Note Bar & Grill 341-345 BEALE - 577-1089

Flynn’s Restaurant and Bar 159 BEALE

Chris Gales noon-8 p.m.; Karaoke ongoing, 8:30 p.m.

Itta Bena 145 BEALE - 578-3031

Susan Marshall Fridays, Saturdays, 7-10 p.m.

Jerry Lee Lewis Cafe & Honky Tonk 310 BEALE - 654-5171

The Jason James Trio FridaysSundays, 7-11 p.m.; Rockin’ Joey Trites and the Memphis Flash Saturdays, 3-7 p.m. and Wednesdays, 7-11 p.m.

King’s Palace Cafe 162 BEALE - 521-1851

David Bowen Thursday, Feb. 5, 5:30-9:30 p.m., FridaysSaturdays, 6:30-10:30 p.m., Sunday, Feb. 8, 5:30-9:30 p.m., and Tuesday-Wednesday, Feb. 10-11, 5:30-9:30 p.m.

February 5-11, 2015

Queen Ann & the Memphis Blues Masters Fridays, Saturdays, 8 p.m.-midnight.

Brad Birkedahl Band Thursdays, Wednesdays, 8 p.m.; Hillbilly Casino Friday-Saturday, Feb. 6-7, 9 p.m.; The Memphis 3 Sunday, Feb. 8, 6 p.m. and Mondays, 7 p.m.; Earl “The Pearl” Banks Tuesdays, 7 p.m.

King’s Palace Cafe’s Tap Room 168 BEALE - 576-2220

Don Valentine Thursdays, Tuesdays, 8 p.m.-midnight; Delta Crush Friday, Feb. 6, 9 p.m.-1 a.m.; Delta Project Saturday, Feb. 7, 8 p.m.midnight; Sonny Mack and the Mack 2 Band Sundays, 8 p.m.-midnight; Cowboy Neil Mondays, 8 p.m.-midnight.

New Daisy Theatre 330 BEALE - 525-8981

Prosevere CD Release Show Saturday, Feb. 7, 6 p.m.midnight.

Rum Boogie Cafe

Silky O’Sullivan’s

Double J’s Smokehouse & Saloon

183 BEALE - 522-9596

Barbara Blue ThursdaysFridays, 7-9 p.m., Saturdays, 5-9 p.m., Sundays, 4-9 p.m., and Wednesdays, 7-9 p.m.; Dueling Pianos Thursdays, 9 p.m.-1 a.m., FridaysSaturdays, 9 p.m., Sundays, Tuesdays, 8 p.m.-midnight, and Wednesdays, 9 p.m.-1 a.m.

Wet Willie’s 209 BEALE - 578-5650

Live Bands Fridays, Saturdays, 7-11 p.m.; Blind Mississippi Morris Blues Band Saturday, Feb. 7, 7-11 p.m.; Roxi Love Sunday, Feb. 8, 7-11 p.m.

124 E. G.E. PATTERSON 335-0251

Rum Boogie Cafe’s Blues Hall 182 BEALE - 528-0150

Memphis Bluesmaster Thursdays, Sundays, 8 p.m.midnight; Plantation All Stars Fridays, Saturdays, 37 p.m.; Ghost Town Blues Band Friday-Saturday, Feb. 6-7, 8 p.m.-midnight; The Dr. “Feel Good” Potts Band Mondays, 8 p.m.-midnight; McDaniel Band Tuesdays, Wednesdays, 8 p.m.-midnight.

NO COVER THURSDAYS

Grawemeyer’s

The Plexx

520 S. MAIN - 526-6751

Evan Farris Fridays, 6-10 p.m., Saturdays, 11 a.m.-2:00 p.m. and 6-10 p.m. and Sundays, 11 a.m.-2:00 p.m.

380 E.H. CRUMP - 744-2225

Huey’s Downtown

140 LT. GEORGE W. LEE 577-1139

77 S. SECOND - 527-2700

Darren Jay and the Delta Souls Sunday, Feb. 8, 8:30 p.m.-12:30 a.m.

Kudzu’s 603 MONROE - 525-4924

414 South Main 414 S. MAIN

“The $1 Jump Off ” featuring live hip-hop and R&B Saturdays, 8 p.m.

Blind Bear Speakeasy 119 S. MAIN, PEMBROKE SQUARE - 417-8435

Cody Brooks Friday, Feb. 6; Java Trio Saturday, Feb. 7; Open Mic Mondays; Blues Jam Tuesdays; Michael Vincent Band Wednesday, Feb. 11.

Memphis Sounds Lounge 22 N. THIRD - 590-4049

Grown Folk’s Music 7:30 p.m.

Old School Blues & Jazz Fridays, Saturdays, 9 p.m.

Purple Haze Nightclub DJ Dance Music ongoing, 10 p.m.; Neo Soul Saturdays featuring Tamara Jones Monger, Carmen, Pat Register, and more First Saturday of every month, 7-10:30 p.m.

Rumba Room 303 S. MAIN - 523-0020

Dance and Salsa Night Fridays, 6:30-9:30 p.m.; Saturday Salsa Night Saturdays, 8:30 p.m.-3 a.m.

The Silly Goose

Live Music ThursdaysSaturdays, 10 p.m.

Mollie Fontaine Lounge

Brass Door Irish Pub 152 MADISON - 572-1813

Future-Everything Artist Showcase Saturday, Feb. 7, 10 p.m.

DJ Cody Fridays, Saturdays, 10 p.m.

Brinson’s

Onix Restaurant & Jazz Lounge

383 S. MAIN - 578-2767

679 ADAMS - 524-1886

Live Music Fridays.

341 MADISON - 524-0104

412 S. MAIN - 552-4609

Melting Pot: Artist Showcase Thursdays, 7-11 p.m.

Smooth R&B Thursdays, Fridays, 8:30 p.m.; Jazz Fridays, Saturdays, 8:30-11:30 p.m.

TONIGHT & SATURDAY:

Al Paris and the DJ Crumbz! Heartbreakers with Memphis’ favorite

Live pianist Thursdays, 5:308:30 p.m., Fridays-Saturdays, 5:30-9 p.m., Sundays, 11 a.m.-2 p.m., and MondaysWednesdays, 5:30-8 p.m.

Live Music Thursdays, 711 p.m., Fridays-Saturdays, 9 p.m.-1 a.m.

182 BEALE - 528-0150

Vince Johnson and The Boogie Blues Band ThursdaySaturday, Feb. 5-7, 8 p.m.midnight; Memphis Blues Society Jam Sundays, 711 p.m.; Brandon Santini Band Monday-Wednesday, Feb. 9-11, 7-11 p.m.

Paulette’s RIVER INN, 50 HARBOR TOWN SQUARE - 260-3300

100 PEABODY PLACE 435-6915

Spindini Jeff Crosslin Thursdays, 7-11 p.m.

$5 cover at 8pm Fri. & Sat. Ladies FREE until 10pm

with DJ Blu until 3am!

800.467.6182 • southlandpark.com Players must be 21 years of age or older to game and 18 years of age or older to bet at the racetrack. Player Rewards card and valid ID are required. Management reserves all rights. Non transferable. Not valid with any other offer.

Play responsibly; for help quitting call 800-522-4700.

26

CA 2/5/2015 • SOUTHL-47783

SOUTHL-47783 Flyer Club Nights Qtr pg 2.5.indd 1

Insta

1/22/15 4:48 PM

LOTUS BY BKEMP1984; MARCELLA & HER LOVERS BY DAN BALL; DEAD SOLDIERS BY JAMIE HARMON

LOTUS M I N G LE WO O D HALL T U E S DAY, F E B R UA RY 10TH

Marcella & Her Lovers Friday, Feb. 6; Thelma and the Sleaze Saturday, Feb. 7; Early show featuring Amy LaVere Wednesday, Feb. 11, 6-9 p.m.

Bhan Thai 1324 PEABODY - 272-1538

Two Peace Saturdays, 710:30 p.m.; Loveland Duren Sundays, 6-9 p.m.

1555 MADISON 866-609-1744

Jazz with Jeremy & Ed Thursdays, 9 p.m.; Big Barton Friday, Feb. 6, 10 p.m.; Martini Madness Saturdays, 5-8 p.m.; Jason and the Punknecks Saturday, Feb. 7, 10 p.m.; Open Jam Sundays, 6 p.m.; Open Mic with Justin White Mondays, 6-10 p.m.; Juke Joint Blues Jam Tuesday, Feb. 10, 8 p.m.-midnight; Karaoke Wednesdays, 9 p.m.

Dru’s Place 1474 MADISON - 275-8082

Karaoke Fridays-Sundays.

Blue Monkey 2012 MADISON - 272-BLUE

Karaoke Thursdays, 9 p.m.midnight; Duwayne Burnside Band Friday, Feb. 6, 10:30 p.m.; Carlos Ecos Band Saturday, Feb. 7, 10:30 p.m.

Boscos Squared 2120 MADISON - 432-2222

JOE BOONE

Sunday Brunch with Joyce Cobb Sundays, 11:30 a.m.-2:30 p.m.

The Buccaneer

JACK L. ALBERSON AND FRIENDS AT THE P&H There’s live music at the P&H this weekend. Anyone involved in Memphis’ creative culture over the past four decades has an emotional attachment to the place, thanks to Wanda Wilson. It’s the perfect-sized venue, warm and acoustically muted like Royal Studios. There is no sound system. I know the literary, theatrical, and plastic arts communities share in the sense of home at the P&H, but it’s hosted some of the best live music I’ve ever seen, all of it local. It’s an organic space, like an old-forest honky tonk. Here’s to Wanda and to the P&H. On Saturday, February 7th, Jack L. Alberson hosts a record release party for his single “Texas Can’t Have You Back” b/w “For My Favorite.” Tony Maynard and J.D. Reager round out the bill.

Alberson’s “Texas Can’t Have You Back” is a song that carries broken pieces of an Ernest Tubb song into the weird night of indie rock. Brushed drums and hints of Leon McAuliffe’s guitar lurk in the distance, but the dominant sensibility is darker, more modern, born by the droney, processed guitar and the bent harmonies. “For My Favorite” is decidedly in the ’80s-’90s British reverb lament camp.

Tony Maynard has a song called “Parts Unkown.” It’s a pedal-to-the-metalpaced take on the Mystery Train Fulsome Prison line. It’s about fast trouble and Maynard’s guitar can keep up. His “Tuscaloosa” is a road warrior’s declaration of loyalty to home. “We’re Rocking Tuscaloosa/The girls here are pretty, but I sure won’t kiss ’em.”

And J.D. Reager? That dude writes for this newspaper. He’s in the middle of everything: making records (It’s Dangerous To Go Alone! Take This), selling records (Shangri-La), and looking after friends in need (Bob Holmes).

— Joe Boone Jack L. Alberson, Tony Maynard, and J.D. Reager perform at the P&H on Saturday, February 7th, at 10 p.m.

1368 MONROE - 278-0909

Detective Bureau Thursday, Feb. 5, 10 p.m.; Hores, Devil’s Right Hand Friday, Feb. 6, 10 p.m.; Hazy Skies, Orion, and One Word Saturday, Feb. 7, 10 p.m.; Elizabeth Wise Sunday, Feb. 8, 10 p.m.; Devil Train Mondays, 8 p.m.; Richard James and Dave Cousar Tuesdays, 11 p.m.

Camy’s 3 S. BARKSDALE - 725-1667

Live Music Fridays.

Celtic Crossing 903 S. COOPER - 274-5151

Chris Johnson Thursdays, 10 p.m.; DJ Tree Fridays, 10 p.m.; DJ Eggroll Saturdays, 10 p.m.; The Reel McCoy Sundays, 11 a.m.; Jeremy Stanfill and Joshua Cosby Sundays, 5 p.m.; The Candy Company Wednesdays, 10 p.m.

Hi-Tone 412-414 N. CLEVELAND 278-TONE

Dan Montgomery, 3+2 Thursday, Feb. 5, 811:45 p.m.; Dank with Zigadoo Moneyclips Friday, Feb. 6, 8 p.m.; “Bob Marley and Peter Tosh Reggae Celebration show” featuring CCDE, Roots of a Rebellion, Ras Empress, Jo’shua Odine, and more Friday, Feb. 6, 9 p.m.; GoodPaper featuring Art Edmaiston Saturday, Feb. 7, 9 p.m.; Faith Ruch Saturday, Feb. 7, 10 p.m.; Enabler, Call of the Void, Vera, and Dawn Patrol Sunday, Feb. 8, 7:30 p.m.; Open Mic Comedy Night Tuesdays, 9 p.m.

Huey’s Midtown 1927 MADISON - 726-4372

The Blues Doctors Sunday, Feb. 8, 4-7 p.m.; The King Beez Sunday, Feb. 8, 8:30 p.m.-12:30 a.m.

Star & Micey, Magnolia Sons Friday, Feb. 6, 8 p.m.; Waka Winter Classic featuring CCDE, Charge the Atlantic, Agori Tribe, and more Saturday, Feb. 7, 8 p.m.; Kung Fu and Lotus Tuesday, Feb. 10, 9 p.m.

Otherlands Coffee Bar 641 S. COOPER - 278-4994

Torch Night: Valentines Foreplay, Candace Mache and The Davy Ray Trio Friday, Feb. 6, 8 p.m.; Short in the Sleeve w/ Justin Bloss Trio and Jeff Hulett Saturday, Feb. 7, 8-10:30 p.m.

P&H Cafe 1532 MADISON - 726-0906

Rock Starkaraoke Fridays; Jack Alberson Saturday, Feb. 7; Open Mic with Tiffany Harmon Mondays, 9 p.m.midnight.

The Phoenix 1015 S. COOPER - 338-5223

Bluezday Thurzday Thursdays, 8-11:45 p.m.; Cowboy Bob’s Roundup Mondays, 8-11:45 p.m.; Memphis Songwriters Association second Tuesday of every month, 6:30-9 p.m.

Rockhouse Live Midtown 2586 POPLAR

Karaoke with DJ Lil Egg Roll Wednesday, Feb. 11, 9 p.m.

The Salvation Army Kroc Center

Strano Sicilian Kitchen

800 E. PARKWAY S. - 729-8007

Davy Ray Bennett Wednesdays, Sundays, 6-9 p.m.

Youth Classical Concert Friday, Feb. 6, 7-8:15 p.m.

The Midtown Crossing Grill 394 WATKINS - 443-0502

Karaoke Thursdays, 8 p.m.; Sazerac first Friday of every month.

948 S. COOPER - 552-7122

Wild Bill’s 1580 VOLLINTINE - 207-3975

Soul Survivors FridaysSundays, 10 p.m.-3 a.m.; The Soul Connection Fridays, Saturdays, 11 p.m.-3 a.m.

Young Avenue Deli 2119 YOUNG - 278-0034

Dead Soldiers Saturday, Feb. 7, 10 p.m.

continued on page 28

LIVE MUSIC | DINING

FEB. 7

ATLAS ROAD CREW

2/4 REBA RUSSELL TRIO 7PM • 2/5 ERIC HUGHES BAND 9PM • 2/6 ORI NAFTALY BAND 10PM • 2/7 ATLAS ROAD CREW 10PM • 2/8 THE LOCAL SAINTS 7:30PM • 2/9 DEN OF STRINGS 7PM • 2/10 JOHN NEMETH BAND 7PM • 2/11 GRIZZLIES WATCH PARTY SPONSORED

BY BUDWEISER 6PM • 2/12 JASON D. WILLIAMS 9PM

2 1 1 9 M A D I S O N AV E N U E M E M P H I S , T N 3 8 1 0 4

F O R M O R E I N F O R M AT I O N V I S I T L A FAY E T T E S M U S I C R O O M . C O M

m e m p h i s f l y e r. c o m

964 S. COOPER - 272-0830

Minglewood Hall

arts & entertainment

Bar DKDC

The Cove 2559 BROAD - 730-0719

27

After DArk: Live Music scheDuLe februAry 5 - 11 continued from page 27

Oasis Hookah Lounge & Cafe 663 S. HigHland - 729-6960

Live DJ Saturdays, 9 p.m.-2 a.m.

Ubee’s

University of Memphis Juicy Jim’s Pizzeria 551 S. HigHland - 435-6243

L.G.B.T. Sunset Sundays Sundays, 9 p.m.-2 a.m.; “Toke Up Tuesdays” Open Mic & Hookah Nite Tuesdays, 8 p.m.-midnight; Wet Wednesdays Wednesdays, 9 p.m.-2 a.m.

East Memphis

Fox and Hound English Pub & Grill

Dan McGuinness Pub

Karaoke Tuesdays, 9 p.m.

4698 SpottSwood - 761-3711

Karaoke Wednesdays, 9 p.m.-2 a.m.

Open Mic Night with Frankie Hollie Thursdays, 8 p.m.-midnight; Acoustic with Charvey Tuesdays, 8:30 p.m.; Karaoke Wednesdays, 8 p.m.

University of Memphis Harris Concert Hall

2809 KiRby pKwy. - 759-0593

521 S. HigHland - 323-0900

inSide tHe Rudi e. ScHeidt ScHool of MuSic 678-5400

University of Memphis Wind Ensemble and Southern Comfort Jazz Orchestra Thursday, Feb. 5, 7 p.m.; Vocal Chamber Music Concert Friday, Feb. 6, 7:30 p.m.; Vocal Chamber Music Concert Friday, Feb. 6, 7:30-9 p.m.

El Toro Loco Karaoke and Dance Music with DJ Funn Mondays, 7-10 p.m.

5101 SandeRlin - 763-2013

Howard Vance Guitar Academy 978 ReddocH - 767-6940

First Friday at Five Coffee House Concert first Friday of every month, 8 p.m.

Huey’s Poplar 4872 poplaR - 682-7729

Soul Shockers Sunday, Feb. 8, 8:30 p.m.-12:30 a.m.

Folk’s Folly Prime Steak House

Mortimer’s

551 S. MendenHall - 762-8200

590 n. peRKinS - 761-9321

Intimate Piano Lounge featuring Charlotte Hurt Thursdays, Mondays-Wednesdays, 5-9:30 p.m.; Larry Cunningham Fridays, Saturdays, 6-10 p.m.

Van Duren Thursdays, 6:30-8:30 p.m.

T.J. Mulligan’s 1817 KiRby - 755-2481

Karaoke Tuesdays, 8 p.m.

The Windjammer Restaurant 786 e. bRooKHaven ciRcle - 683-9044

Karaoke ongoing.

Poplar/I-240 Neil’s Music Room 5727 Quince - 682-2300

The Thrill at Neil’s featuring Jack Rowell and Triplthret Thursdays, 8 p.m.-midnight; Eddie Smith Fridays, 8 p.m.; Midnite Train Saturday, Feb. 7, 8 p.m.; “A Blues Benefit 4 Joe” Powell featuring Eric Hughes, The Royal Blues Band, Wampus Cats, Reba Russell, and Don McMinn Sunday, Feb. 8, 2-6 p.m.; Eddie Harrison and Debbie Jamison Tuesdays, 6 p.m.; Elmo and The Shades Wednesdays, 8 p.m.-midnight.

Owen Brennan’s tHe Regalia, 6150 poplaR - 761-0990

Lannie McMillan Jazz Trio Sundays, 10 a.m.-2 p.m.

Summer/Berclair Maria’s Restaurant 6439 SuMMeR - 356-2324

Karaoke Fridays, 5-8 p.m.

The Other Place Bar & Grill 4148 waleS - 373-0155

Karaoke Saturdays, 9 p.m.-1 a.m. and Wednesdays, 8 p.m.-midnight.

South Memphis Stax Museum of American Soul Music 926 e. McleMoRe - 946-2535

February 5-11, 2015

“Live in Studio A” Tuesdays, 2-4 p.m.

Whitehaven/Airport BeRatus 1482 e. SHelby dR. - 922-8839

Laidback Mondays featuring Live Music and Karaoke Mondays, 7 p.m.

Club Superior 1459 elviS pReSley - 503-5544

Old School and Blues Fridays, 7 p.m.; Hottest Track Show with various artists Sundays, 6 p.m.

Hawaiian Isle Bar and Grill 1542 elviS pReSley - 569-3217

Happy hour with live DJ Thursdays, MondaysWednesdays, 4-6 p.m.

Marlowe’s Ribs & Restaurant 4381 elviS pReSley - 332-4159

Karaoke with DJ Stylez Thursdays, Sundays, 10 p.m.

28

After Dark: Live Music Schedule February 5 - 11 T.J. Mulligan’s 64

Huey’s Germantown

2821 n. houston levee 377-9997

7677 FarminGton - 318-3034

Karaoke Wednesdays, 10 p.m.

Jamie Baker and the VIPs Sunday, Feb. 8, 8-11:30 p.m.

Arlington/Eads/ Oakland

T.J. Mulligan’s Cordova

Ice Bar & Grill

8071 trinity - 756-4480

Rizzi’s/Paradiso Pub

The Lineup Tuesdays, 8 p.m.midnight.

4202 hacks cross 757-1423

Live Music Thursdays, Wednesdays, 7-10 p.m.; Karaoke and Dance Music with DJ Funn Fridays, 9 p.m.

1686 main, southaven, ms 662-470-6549

Live Music Thursdays, 7 p.m.; Karaoke Fridays, Saturdays, and Tuesdays, 7 p.m.

Fitz Casino & Hotel

Horseshoe Casino Tunica

711 lucky ln., tunica, ms 800-766-5825

38664 casino center, tunica, ms - 800-357-5600

Live Entertainment Thursdays-Sundays, Wednesdays, 6 p.m.

Huey’s Southaven

Unwind Wednesdays Wednesdays, 6 p.m.-midnight.

7090 malco, southaven, ms 662-349-7097

Sweet Tea Jubilee Sunday, Feb. 8, 8 p.m.-midnight.

Main Street Pizza 1800 main, southaven, ms 662-253-8451

Bartlett

Gary Wayne and The Mainstreet Band Saturdays, 9 p.m.-midnight.

Old Whitten Tavern 2800 Whitten - 379-1965

Live Music Fridays, 9 p.m.1 a.m.; Karaoke with Ricky Mack Mondays, 10 p.m.1 a.m.; Open Mic with Susie and Bob Salley Wednesdays, 8 p.m.

Mesquite Chop House 5960 GetWell, southaven, ms - 662-890-2467

Pam and Terry Thursdays, 7-10 p.m.

Tunica Roadhouse

RockHouse Live

1107 casino center Drive, tunica, ms - 662-363-4900

5709 raleiGh-laGranGe 386-7222

Live Music Fridays, Saturdays.

Karaoke with Ricky Mac Thursdays, 8 p.m.; Karaoke Thursdays, 8 p.m.-midnight; Live Bands Fridays, Saturdays, 8 p.m.; The Original Open Mic Jam Mondays, 8 p.m.; Open Mic Mondays Mondays, 8 p.m.-midnight; Live Music Tuesdays, Wednesdays, 8 p.m.midnight.

7729 BenjestoWn 876-5770

Wadford’s Grill & Bar 474 church, southaven, ms - 662-510-5861

662DJ, Karaoke/Open Mic Saturdays, 7-11 p.m.

30mpg city 42mpg hwy

2014 JETTA S…$14835!

Karaoke Fridays, Saturdays, 9 p.m.-1 a.m.

Precious Moments

Collierville

2794 coleman

Therapeutic Thursdays first Thursday of every month, 7 p.m.

Huey’s Collierville 2130 W. PoPlar - 854-4455

Cordova Cordova Community Center 1017 sanGa

West TN Youth Chorus/ West TN Children’s Chorus Sundays, Mondays.

Fox and Hound English Pub & Grill 847 exocet - 624-9060

Karaoke Tuesdays, 9 p.m.

Huey’s Cordova 1771 n. GermantoWn PkWy. 754-3885

Gary Escoe’s Atomic Dance Machine Sunday, Feb. 8, 8:30 p.m.-12:30 a.m.

Loose Goose Bar & Grill 8014 cluB center 343-0860

East Memphis Trio Every fourth Friday; DJ Tree Saturdays.

Mugs Pub 4396 raleiGh-laGranGe 372-3556

Tony Butler Fridays, 6-8 p.m.

Ghost Town Trio Sunday, Feb. 8, 4-7 p.m.; Eddie Harrison and the Short Kuts Sunday, Feb. 8, 8-11:30 p.m.

Raleigh

Stage Stop

GOSSETT VOLKSWAGEN GERMANTOWN 7420 WINCHESTER ROAD • 901.388.8989 • GOSSETTVWG.COM

EM321848-INCLUDES ALL INCENTIVES AND DEALER COUPON-EXCLUDES T,T&L,WAC, DEALER STOCK ONLY-PF $498.75-OFFER ENDS 2/28/2015

Frayser/Millington

Mesquite Chop House

Club Emotions 2.0

Haystack Bar & Grill

3165 Forest hill-irene 249-5661

143 Brickhouse Dr., slayDen, ms - 662-551-1522

6560 hWy 51 n. - 872-0567

Karaoke Nights at The Stack Thursdays-Fridays, Sundays, and Wednesdays, 7 p.m.-1 a.m.

Germantown Germantown Performing Arts Center

Pam and Terry Wednesdays, 7-10 p.m.

Russo’s New York Pizzeria & Wine Bar 9087 PoPlar - 755-0092

Live Music on the patio Thursdays-Saturdays, 710 p.m.; Half Step Down Fridays, 7-10 p.m.

1801 exeter - 751-7500

Jazz in the Box presents the Cyrille Aimee Quintet Friday, Feb. 6, 7 p.m.

North Mississippi/ Tunica

Huey’s Southwind

Backwoods Bar & Grill

7825 Winchester - 624-8911

25485 hWy. 315 east 662-487-2202

The Sensations Sunday, Feb. 8, 8:30 p.m.-12:30 a.m.

Trademark Friday, Feb. 6, 8 p.m.

DJ Ty Sundays, 10 p.m.-2 a.m.

The Crossing Bar & Grill 7281 hacks cross, olive Branch, ms - 662-893-6242

Karaoke with Buddha Thursdays, Tuesdays, 8 p.m.midnight; Graham Road Band Friday, Feb. 6, 8:30 p.m.12:30 a.m.; Acoustic Show Wednesdays, 7-11 p.m.

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Acoustic Music Tuesdays.

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Live Music Thursdays, 5 p.m.; Karaoke Tuesdays.

Ground Zero Zero Blues alley, clarksDale, ms 662-621-9009

Henry Swain Club Thursday, Feb. 5, 8 p.m.; Albert King Jr. and the Final Touch Band Friday, Feb. 6, 9 p.m.; Phil Vaught Saturday, Feb. 7, 9 p.m.

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Open Mic Blues Jam with Brad Webb Thursdays, 7-11 p.m.

West Memphis Southland Park Gaming & Racing 1550 n. inGram, West memPhis, ar - 800-467-6182

DJ Crumbz Thursdays, 8 p.m.; Club Night Fridays, Saturdays, 9 p.m.; Live Band Karaoke Sundays, 7:30 p.m.; Karaoke Tuesdays, 7 p.m.; Boot Scootin’ Wednesdays, 7 p.m.

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7144 Winchester Rd at Germantown Rd www.inlovememphis.com 901-417-8042

rian Pera’s sculptures about the suicide of his friend, Papatya Curtis, are not sentimental.

They are colorful and brave and wildly sad, but they use none of the available sentiment — words and shapes and colors all comfortably ordered around grief — to explain loss.

The pieces that make up Pera’s “I Thought I Might Find You Here,” at Rhodes Clough-Hanson Gallery, are yarn, fabric, and wood assemblages in matte orange-red, black-currant purple, patagonia yellow, or not-my-first-rodeo teal. They look vital.

Pera first met Curtis in his neighborhood, at her yarn store, where he attended a weekly knit night. After her death in 2012, the yarn from the store was given away, and much of it now forms the raw materials of Pera’s sculptures.

The five sculptures that comprise the visual center of the show are organized around a film and a slideshow. The film, screened in a small side-gallery but ambiently available throughout the main gallery, shows visuals Works from of knitting alongside Brian Pera’s audio interviews collection of Curtis’ friends, members of her knitting circle. The women talk about their late friend’s warmth, her bad luck in love, the day of her death, and how they each, individually and as a group, encountered what happened. In the slideshow, typed sentences broadcast in sheets of color against a back wall, Pera tells his version of the story. He describes Curtis and he describes his grief, but he disclaims both descriptions, saying it isn’t enough. “I won’t hold your attention,” he writes.

But he does hold our attention. The sculptures, the core of the show, have a progression. It is not clear if the emotional progression of the work matches the chronological order in which Pera built the pieces, but there is a definite spiritual chronology to the pieces — an invisible mountain, and Pera there climbing it. These are not memorials in the usual sense; they are the shapes grief makes in the body of someone grieving.

The first sculpture, your entry point,

is freestanding but tethered to the low ceiling with a couple of bright chains.

The body of the work is squarish, made of raw wood, some of the wood flecked with blue paint, some covered in orange muslin. There are spare knobs attached to odd sides of the work; a red belt; a line of hanging embroidery circles; a small wheel … elements strapped together in slightly organized chaos; details sans the thing they are detailing. In the belly of the sculpture there is a child-sized bundle of chicken wire wrapped in plastic and bright cloth, left exposed.

Behind the first sculpture, backed up against a wall, two posts from a deconstructed bed frame stand at an angle.

Between the posts is a waterfall-like sheet of yellow thread. Bound in the thread are about 50 doll-sized, porcelain arms. The arms were made by Pera’s friend and collaborator, Nikkila Carrol, whose creations are anti-anatomical, shoulderless and strange, each frozen in a different gesture of failed defense.

Next, there is a simple wooden chest attached to a hitch and mounted on wheels.

The chest is draped with a colorful shawl, and the shawl is in turn draped with orange plastic construction fencing.

This piece is compact but it has an implied motion. It asks to be taken somewhere.

That call is answered by the fourth sculpture, a tower-like structure made of scrap wood and adorned with teal chimes and a heavy pink yarn hanging. If the chest asks to be dragged up a mountain, this tower is located at the summit of that climb. All the elements of the piece seem meant to blow in the wind.

Finally, there is a compact, animal-like form made with blue and purple shag layered over a tight wrap of teal fabric. This last piece feels more born than made. If the rest of the sculptures can be read as a kind of frantic organization undertaken during the journey of grieving, this final work feels like what is allowed to stay on in the world after that process — something entirely new, created under circumstances of dangerous necessity.

“I Thought I Might Find You Here” at Clough-Hanson Gallery through February 14th

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CALEnDAR of EvEnTS:

February 5 - 11

L Ross Gallery

T h eaTe r

Opening reception for “Paradise Found,” exhibition of layered and luminous botanical abstractions, a combination of oil, wax, graphite, and china markers by Chuck Johnson. www.lrossgallery.com. Fri., Feb. 6, 6-8 p.m.

Amurica World Headquarters

Daddy Issues, Peter Aguero takes the audience through a raw and sympathetic look at his relationship with his father over the years tackling the universal plight of not being able to pick your family. (2896276), www.crosstownarts.org. $15. Fri., Feb. 6, 8-9:30 p.m.

5040 SANDERLIN (767-2200).

Shady Grove Presbyterian Church

Opening reception for “Next Thing’s Next,” exhibition of portraiture by Paul Miller. www.shadygrovepres.org. Fri., Feb. 6, 6-7 p.m.

410 CLEVELAND.

Bartlett Performing Arts and Conference Center

DinnerStage, dinner on stage featuring music by Deering & Down. www.bpacc.org. $40.

Fri., Feb. 6, 7 p.m.

5530 SHADY GROVE (683-7329).

oT h e r arT hap p e n i n g s

3663 APPLING (385-6440).

23rd Annual Works of Heart

Buckman Arts Center at St. Mary’s School

Cirque-tacular’s World, performance featuring aerialists, acrobats, and specialty performers. www.buckmanartscenter.com. $28. Sat., Feb. 7, 7-9 p.m.

60 N. PERKINS EXT. (537-1483).

Circuit Playhouse

Bad Jews, comedy about a “Real Jew” with an Israeli boyfriend. Her cousin Liam brings home his shiksa girlfriend and declares ownership of their grandfather’s Chai necklace. www.playhouseonthesquare.org. $22-$35.

Through Feb. 8.

51 S. COOPER (725-0776).

Germantown Community Theatre

Miss Firecracker Contest, watch out for flying batons, cans of Aqua Net, and loads of hair dye as the kooky characters take the stage in this Southern gothic masterpiece from Beth Henley. www.gctcomeplay.org. $21. Fri., Sat., 8 p.m., Sun., 2:30 p.m., and Thurs., 7:30 p.m. Through Feb. 8.

3037 FOREST HILL-IRENE (754-2680).

Harrell Performing Arts Theatre

If Dr. Martin Luther King Jr. Were Alive Today, soul-riveting one-man play that puts a modern perspective on the life of Dr. Martin Luther King Jr. and his dream. www.harrelltheatre.org. $20. Thurs.-Sun., 8-9 p.m. Through Feb. 8.

440 POWELL, (853-3228).

Hattiloo Theatre

Who Will Bell the Cat?, highlights the life of the late NAACP Executive Director Benjamin Hooks. $12.

Tuesdays-Fridays, 10 a.m.

Through Feb. 21.

Hoodoo Love, Toulou dreams of singing the blues. Laughed at by her lover, she hexes him with the assistance of Candy Lady. (Mature audiences only.) www.hattiloo.org. $28.

Through Feb. 15.

37 S. COOPER (502-3486).

The Orpheum

The Lion King, visually stunning, technically astounding with a musical score like no other. www.orpheummemphis.com. $34. Through March 1.

203 S. MAIN (525-3000).

Work by Tyler Hilderbrand at David Lusk Gallery Playhouse on the Square

The Rocky Horror Show, reality, fiction, and camp collide in this mash up of comics, rockand-roll, and late-night horror flicks. $24. Through Feb. 15.

66 S. COOPER (726-4656).

Theatre Memphis

Of Mice and Men, John Steinbeck’s classic story follows California migrant workers searching for a better life during the Great Depression.

Through Feb. 8.

630 PERKINS EXT. (682-8323).

TheatreWorks

Long Day’s Journey Into Night, www.3penny.org. $15 suggested admission. Fridays, Saturdays, 7-10:30 p.m., and Sundays, 2-5:30 p.m. Through Feb. 22.

The FreakEngine, variety show featuring improv comedy, performance art, dance, music, and torturous human experiments. www.memphisfreakengine.com.

First Friday of every month.

2085 MONROE (274-7139).

SEE IT IN 3D AT THE P!NK PALACE! M 3D OV IE

February 5-11, 2015

Send the date, time, place, cost, info, phone number, a brief description, and photos — two weeks in advance — to calendar@memphisflyer.com or P.O. Box 1738, Memphis, TN 38101.

Due TO SPace liMiTaTiONS, ONgOiNg weekly eveNTS will aPPear iN The Flyer’S ONliNe caleNDar ONly.

a r T i s T r e c e pT i o n s

Crosstown Arts Gallery

Opening reception for “Public/Art/ists: Part I,” exhibition of studio work of artists who have made contributions to Memphis’ urban landscape. www.crosstownarts.org. Fri., Feb. 6, 6-9 p.m.

422 N. CLEVELAND.

Crosstown Arts

“Nappi Head,” exhibition of sculpture by Charles Thomas. www.crosstownarts.org. Sat.Mon., Feb. 7-9.

430 N. CLEVELAND (507-8030).

David Lusk Gallery

Opening reception for “Granny Whitey,” exhibition of new paintings, drawings, and film work by Tyler Hilderbrand. www.davidluskgallery.com.

Fri., Feb. 6, 6-8 p.m.

4540 POPLAR (767-3800).

Jay Etkin Gallery

Opening reception for “Plot Lines,” exhibition of recent encaustic paintings and works on paper by Mary Long. Fri., Feb. 6, 6-9 p.m.

942 COOPER (550-0064).

Valentine art auction featuring emcee Joe Birch from WMC, benefiting Memphis Child Advocacy Center. $75. Sat., Feb. 7, 7-10 p.m.

MEMPHIS COLLEGE OF ART, 1930 POPLAR (888-4342), WWW.MEMPHISCAC.ORG.

“30 in 30”

Original paintings of shelter dogs — one a day for 30 days — will be posted for sale on www.samanthasherry. com. Proceeds will benefit the Tunica Humane Society.

Through Feb. 28.

VARIOUS LOCATIONS, SEE WEBSITE FOR MORE INFORMATION, WWW.SAMANTHASHERRY.COM.

Exhibition and programming series sharing the studio work of artists who have made contributions to Memphis’ urban landscape. Sat., Feb. 7, 2 p.m.

CROSSTOWN ARTS GALLERY, 422 N. CLEVELAND, WWW.CROSSTOWNARTS.ORG.

o n g o i n g arT

Art Museum at the University of Memphis (AMUM)

32nd Annual Juried Student Exhibition, www.amum.memphis.edu. Through Feb. 28.

“Africa: Art of a Continent,” permanent exhibition of African art from the Martha and Robert Fogelman collection.

Ongoing.

142 COMMUNICATION & FINE ARTS BUILDING (678-2224).

Buckman Arts Center at St. Mary’s School

“Earthbound Treasures,” exhibition of new works by Tiffany Myers Foss and pottery by Katie Dann. www.buckmanartscenter.com. Through Feb. 13.

60 N. PERKINS EXT. (537-1483).

Clough-Hanson Gallery

“I Thought I Might See You Here,” exhibition by Memphis filmmaker Brian Pera. www. rhodes.edu. Through Feb. 14.

RHODES COLLEGE, 2000 N. PARKWAY (843-3442).

Caleb Sweazy Works: The Show

Cossitt Library

CROSSTOWN ARTS, 430 N. CLEVELAND (507-8030), WWW.CROSSTOWNARTS.ORG.

33 S. FRONT (415-2766).

Walnut, maple, and vintage furniture display from Caleb Sweazy. Wed., Feb. 11, 68 p.m.

Memphis Magazine Fiction Awards Contest

For rules and further details, see website. $10 entry fee per story. Through Feb. 15.

VARIOUS LOCATIONS, SEE WEBSITE FOR MORE INFORMATION, WWW.MEMPHISMAGAZINE.COM.

“The Truth,” exhibition of photos, certificates, and personal artifacts depicting the life of Sammy Davis Jr. Mondays-Fridays, 10 a.m.5 p.m. Through Feb. 28.

Crosstown Arts Gallery

“Public/Art/ists: Part I,” exhibition and programming series sharing the studio work of artists who have made contributions to Memphis’ urban landscape. www.crosstownarts.org. Feb. 6-28.

422 N. CLEVELAND.

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THE

C a l e n da r: f e b r ua ry 5 - 1 1 David Lusk Gallery

Mary Sims, exhibition of monumental narrative paintings based on Bible stories.

Through March 13.

Tyler Hildebrand, exhibition of new paintings, drawings, and film work. www.davidluskgallery.com. Through March 14.

4540 POPLAR (767-3800).

The Dixon Gallery & Gardens

“Nothing Is For Ever Last,” exhibition of collage works by Lester Julian Merriweather.

Through March 29.

“Hail, Britannia! Six Centuries of British Art from the Berger Collection.” www. dixon.org. Through April 19.

4339 PARK (761-5250).

Fogelman Galleries of Contemporary Art, University of Memphis “Identity Cinema: Volume Four.” Through Feb. 6.

James Luna, exhibition of contemporary Native American art. www.memphis.edu.

Through March 6.

3715 CENTRAL.

Fratelli’s

“Collected Fragments,” exhibition of works by Rachel Grant. www.memphisbotanicgarden.com. Through Feb. 28.

750 CHERRY (766-9900).

LM Gallery 363

“Sideshow,” exhibition of work by Mickey Bond, Marc Rouillard, Jon Sparks, Johnny Taylor, Mary Long, and Brittany Vega. Through Feb. 23.

363 S. MAIN.

Gallery Ten Ninety One

“Memphis Through the Looking Glass,” exhibition featuring gouache on board works by Mollie Riggs, acrylic paintings by Carol Robison, and stained glass art by Cindy Sharpe of Carved Designs. www.wkno.org. Through Feb. 27.

WKNO STUDIO, 7151 CHERRY FARMS (458-2521).

Hyde Gallery

Art Education Thesis Exhibition, showcasing printmaking, painting, drawing, ceramics, photography, and animation work by 10 candidates for Master of Arts in Art Education and Master of Arts in Teaching. www.mca. edu. Through Feb. 14.

INSIDE THE MEMPHIS COLLEGE OF ART’S NESIN GRADUATE SCHOOL, 477 S. MAIN.

Inspiration Art Gallery (Wolfchase Galleria) “Memphis Soul,” exhibition of original oil paintings

by Emery Franklin. www. inspirationartgallery.com.

Through Feb. 28.

2760 N. GERMANTOWN PKWY., SUITE 112 (257-1212).

Jay Etkin Gallery

“Plot Lines,” exhibition of recent encaustic paintings and works on paper by Mary Long. Feb. 6-March 2.

942 COOPER (550-0064).

L Ross Gallery

“Paradise Found,” exhibition of layered and luminous botanical abstractions, a combination of oil, wax, graphite, and china markers by Chuck Johnson. www.lrossgallery. com. Through Feb. 28.

5040 SANDERLIN (767-2200).

MORRIS

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JEWISH Film Festival

FEB 18 – MARCH 1, 2015

AT THE

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Marshall Arts Gallery

“Two Smoking Barrels,” exhibition by Morgan Page and Dusty Mitchell exploring gun violence in the United States in work that addresses guns as anecdotal objects and historical devices. www. marshallartsmemphis.com.

Through Feb. 13.

THE GREEN PRINCE

WED, FEB 18 • 7:15PM OPENING RECEPTION • 7:45PM FILM $7 COMMUNITY/$5 MEMBER • AT MALCO RIDGEWAY FOUR

639 MARSHALL (679-6837).

Memphis Botanic Garden

Artists’ Link Exhibit, www. memphisbotanicgarden.com.

Feb. 5-March 26.

RUN BOY RUN

THU, FEB 19 • 7:30PM & SUN, FEB 22 • 3PM $7 COMMUNITY/$5 MEMBER • AT THE MJCC BELZ THEATER

750 CHERRY (636-4100).

Memphis Brooks Museum of Art

Mid-South Scholastic Art Awards, exhibition of winning art work by students in grades 7-12 from 500 schools in the Mid-South area.

HUNTING ELEPHANTS

SAT, FEB 21 • 7:30PM $7 COMMUNITY/$5 MEMBER • AT THE MJCC BELZ THEATER

continued on page 34

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SHORTFILMS

33

C a l e n da r: f e b r ua ry 5 - 1 1 continued from page 33 Through March 1, 10 a.m.5 p.m.

“Looking at Women,” exhibition of images of women appearing in a variety of roles: goddess, harlot, mother, or femme fatale. Through Feb. 22.

“Greetings of Love: Printed Valentines from the Late Victorian Era,” exhibition of rare examples with a particular focus on those with colorful chromolithographic printing and lacy die-cut details.

Through March 8.

“Discover Me: Exploring Identity Through Art Therapy,” exhibition of the creative exploration and self-discovery by participants in the art therapy access program at South Park Elementary School. Through March 15.

“Cats and Quotes,” exhibition featuring felines in paintings, sculptures, ceramics, and prints paired with famous quotes about felines from a variety of periods. www. brooksmuseum.org. Through Jan. 3, 2016.

1934 POPLAR (544-6209).

Memphis College of Art “Lost the Map,” exhibition of mixed-media works by Ben Utigard. www.mca.edu.

Through Feb. 7.

1930 POPLAR (272-5100).

Metal Museum

“All That Glitters,” exhibition reflecting the diversity

Wednesdays, Saturdays, 10 a.m.-3 p.m.

of the museum’s permanent collection divided into three sections showcasing pieces made of gold, silver, and copper. Through March 1.

“Tributaries: Susie Ganch,” exhibition of jewelry with suspended precious stones and enameled copper in intricate webs of silver and steel.

Through March 1.

“Iron and Gold,” exhibition of work by Karin Jones, Ben Dory, and Rob Jackson whose work combines the delicate and the sturdy. www.metalmuseum.org. Through April 19.

125 G.E. PATTERSON (409-7870).

TOPS Gallery

“Voice of the Turtle,” exhibition of work by Kenneth Lawrence Beaudoin, Peter Bowman, Jim Buchman, Guy Church, William Eggleston, John Fahey, John McIntire, Johnathan Payne, and Terri Phillips. www.topsgallery.com.

Through Feb. 8.

400 S. FRONT.

Vocal Chamber Music Concert

Painted Planet

Gallery Artists on View, exhibition by gallery artists.

(338-5223), Tuesdays-Saturdays, 11:45 a.m.-6 p.m.

1015 S. COOPER (725-0054).

“Episodes,” exhibition of paintings by Mike Coulson.

Through Feb. 28.

“One of a Kind,” exhibition of works by Lewis Feibelman.

Through March 1.

“Perdido,” exhibition of paintings and drawings by Wesley Ortiz. www.mca.edu. Through March 1.

Dale Anderson, exhibition of photography featuring a wide range of work from architecture to abstracts. www. playhouseonthesquare.org.

Through March 3.

66 S. COOPER (726-4656).

Ross Gallery

“Forge, Cast, Fabricate: Artists from the Metal Museum,” exhibition of works by Metal Museum apprentices and staff.

Through Feb. 12.

“A Tribute to Jan Singer, Glass Artist.” www.cbu.edu/gallery.

Through Feb. 12.

CHRISTIAN BROTHERS UNIVERSITY, PLOUGH LIBRARY, 650 E. PARKWAY S. (321-3000).

Shady Grove Presbyterian Church

“Next Thing’s Next,” exhibition of portraiture by Paul Miller. www.shadygrovepres.org.

Through Feb. 28.

5530 SHADY GROVE (683-7329).

Join both faculty and students for an evening of vocal chamber music. The program includes work by Bach, Schubert, and Barber. Free.

Fri., Feb. 6, 7:30-9 p.m.

Portraits by Paul Miller at Shady Grove Presbyterian

UNIVERSITY OF MEMPHIS, HARRIS CONCERT HALL, INSIDE THE RUDI E. SCHEIDT SCHOOL OF MUSIC (658-2413).

Dan c e

Stax Museum of American Soul Music

“Soul: Memphis’ Original Sound,” exhibition of photography by Thom Gilbert. www.soulsvillefoundation.org.

Through June 13.

926 E. MCLEMORE (946-2535).

Sue Layman Designs

“Conclusion of Delusion,” exhibition of original oil paintings by Sue Layman Lightman.

In the surreal, comic, and wordless universe common materials and everyday objects spring to life as fantastical characters. $27.50. Sat., Feb. 7, 8 p.m.

GERMANTOWN PERFORMING ARTS CENTER, 1801 EXETER (751-7500), GPACWEB.COM.

B O O ks i g n i n g s

Booksigning by Matt Kepnes

Author discusses and signs How to Travel the World on $50 a Day. Tues., Feb. 10, 6:30 p.m.

Opera

374 METAL MUSEUM DR. (774-6380).

Playhouse on the Square

MUMMENCHANZ

Youth Classical Concert Presented by Ballet On Wheels Dance Company and the Cordova High School Orchestra. Fri., Feb. 6, 78:15 p.m.

THE SALVATION ARMY KROC CENTER, 800 E. PARKWAY S. (870-4348), WWW.BALLETONWHEELS.ORG.

THE BOOKSELLERS AT LAURELWOOD, 387 PERKINS EXT. (683-9801), WWW.THEBOOKSELLERSATLAURELWOOD.COM.

s pO r ts/ F it n es s

Memphis Open

Top tennis players from around the world compete. $15-$85. Feb. 7-15.

RACQUET CLUB OF MEMPHIS, 5111 SANDERLIN (765-4400), WWW.MEMPHISOPEN.COM.

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The Ugly Duckling

Fri., Feb. 6, 7 p.m.

GERMANTOWN PERFORMING ARTS CENTER, 1801 EXETER (751-7500), WWW.GPACWEB.COM.

Sunday, February 8 at 11:00 a.m.

Loveall that and Jazz A service of live jazz and inspirational readings First Unitarian Church of Memphis churchoftheriver.org

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C a l e n da r: f e b r ua ry 5 - 1 1 S p e c ial eve n tS

The Boudoir Event II

Professionals prep participants for a private lingerie shoot with Crys Tucker Photography and an all female staff. $165. Sun., Feb. 8, 5:15 p.m.

GOLD STRIKE CASINO, 1010 CASINO CENTER, TUNICA, MS (303-4443).

Cirque du CMOM: Pop, Rock and Roll!

$150. Sat., Feb. 7, 7 p.m.

CHILDREN’S MUSEUM OF MEMPHIS, 2525 CENTRAL (320-3170), WWW.CMOM.COM.

“Spirit of Harriet Tubman & African Music & Spirituals”

Slave narratives, readings, poetry, spoken word, and guest writer Calentine Thompson. Call or email for more information. $10. Sat., Feb. 7.

Feb. 5, 6-8 p.m.

UGLY MUG COFFEE, 4610 POPLAR (365-7626), WWW.UGLYMUGCOFFEE.COM.

F i lm

Citizenfour

Documentary that is part real-life thriller, part sobering examination of 21st century civil liberties. $9. Sat., Feb. 7, 2 p.m.

MEMPHIS BROOKS MUSEUM OF ART, 1934 POPLAR (544-6209), WWW.BROOKSMUSEUM.ORG.

Created Equal: America’s Civil Rights Struggle

Scholar-led film viewing and panel discussion program. Feb. 5: Slavery by Another Name, National Civil Rights Museum, led by Dr. Earnestine Jenkins. Thursdays, 6-8 p.m. Through Feb. 26.

VARIOUS LOCATIONS, SEE WEBSITE FOR MORE INFORMATION, WWW.CIVILRIGHTSMUSEUM.ORG.

Intermediate

Experimental film with original videos, photographs, drawings, animations, and texts presented with a live accompaniment of trombone, percussion, crickets, and car keys. $9. Thurs., Feb. 5, 7 p.m.

MEMPHIS BROOKS MUSEUM OF ART, 1934 POPLAR (544-6209), WWW.BROOKSMUSEUM.ORG.

Oscar Shorts: Documentary

Opportunity to see the nominated short films prior to the 87th Academy Awards ceremony on Feb. 22. Tonight’s program features Oscar-nominated documentary shorts. $9. Sun., Feb. 8, 2 p.m.

Pilot Error

Journalist investigates a missing plane. Veteran pilot and screenwriter/producer will be onsite for a Q&A. $8-$10.50. Wed.-Thurs., Feb. 4-5, 510:30 p.m.

MALCO RIDGEWAY FOUR, 5853 RIDGEWAY CENTER PKWY., (761-3480), WWW.MALCO.COM.

Tournées French Film Festival

The Missing Picture: Feb. 10; closing reception featuring The Lovely Month of May: Feb. 11. Tues., Feb. 10, 7 p.m., and Wed., Feb. 11, 6:30 p.m.

RHODES COLLEGE, BLOUNT AUDITORIUM IN BUCKMAN HALL, 2000 N. PARKWAY (843-3470), WWW.RHODES.EDU.

MEMPHIS BROOKS MUSEUM OF ART, 1934 POPLAR (544-6209), WWW.BROOKSMUSEUM.ORG.

SLAVE HAVEN UNDERGROUND RAILROAD MUSEUM, 826 N. SECOND (527-3427).

Staxtacular

Annual fund-raiser featuring food, dancing, and an auction. $150. Sat., Feb. 7, 7 p.m.-midnight.

STAX MUSEUM OF AMERICAN SOUL MUSIC, 926 E. MCLEMORE (261-6338), WWW.STAXTACULAR.COM.

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“Paradise Found” exhibition by Chuck Johnson at L Ross Gallery TEP Gumbo Contest

Featuring gumbo from 16 teams, Tennessee craft beer, and live New Orleans jazz. $25.

Sun., Feb. 8, 4:30-7 p.m.

BRIDGES, 477 N. FIFTH ST. (301-3306), WWW.TEPGUMBOCONTEST.BLOGSPOT.COM.

H o l i day eve n tS

METAL MUSEUM, 374 METAL MUSEUM DR. (774-6380), WWW.METALMUSEUM.ORG.

Mother Daughter Valentine’s Tea

Create Valentine gifts for your sweetie. Reservations are required; call to confirm. $20. Sun., Feb. 8, 2-3:30 p.m.

MEMPHIS BOTANIC GARDEN, 750 CHERRY (636-4100), WWW.MEMPHISBOTANICGARDEN.COM.

Fo o d & d r i n k eve n tS

Half Pints for Half Pints

Drink Memphis beer. Eat Midtown food. Bid on cool stuff. Benefiting the Peabody Elementary PTA. $50. Sat., Feb. 7, 7-10 p.m.

MEMPHIS MADE BREWING COMPANY, 768 S. COOPER (207-5343), WWW.HALFPINTS.ORG.

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“A Table to Toast”

Luncheon featuring Susan Ferrier as keynote speaker, and booksigning for Art of the House benefiting Camp Love & Learn. $75. Fri., Feb. 6, 11 a.m.

MEMPHIS BOTANIC GARDEN, 750 CHERRY (568-8133).

Ugly Mug Coffee Open House and Grand Opening

Taste coffees and meet the head roaster, as well as the president of Ugly Mug. Free. Thurs.,

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Champagne Sunday

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Every man’s gotta cook his own steak.

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hen I arrive at Home Place Pastures, they’ve already started the butchery. On the table in front of me lies the steamship round: a 45-pound hunk of meat from below the hip joint on the steer’s hind leg. It’s big and primal, like something a caveman might eat, with a big, white femur bone that pokes out like a trailer hitch.

“That’s a pretty little roast right there,” says one of the men, poking at a bright-red seam of muscle with his wickedly sharp knife. “That’ll feed about 10 people.”

And I thought: What am I doing here?

Okay, back up. According to the USDA, Americans consume about 130 pounds of meat per person, per year. Interestingly, that’s down from a peak of 145 pounds in 2004.

(Were we stressed about the Iraq War? Or maybe the final episode of Friends?)

Still, that’s a lot of meat — as of 2012, more than any other country. And the fact remains that most of us have no idea where it comes from. I mean, sure, we know there’s a cow at one end and a hamburger at the other. But what happens in between?

That’s what I set out to find. Because, first, I eat a lot of meat. As a food writer, it’s kind of an occupational hazard. But also, I eat meat when I’m not even really thinking about it. I order bacon with my eggs and ground beef on my nachos. It’s kind of a knee jerk. It’s something I need to work on.

In any case, I figured I owed it to the cows. You know? To actually look one in the eye and watch what happens, start to finish. I wasn’t exactly trying to scare myself into going veg — but, the idea wasn’t completely off the table.

That’s how I ended up in a pickup truck with Miles McMath, bouncing down a gravel (Above) Executive Chef Miles McMath; (Below) A hunk of fresh meat being cut from Home Place Pastures.

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road in Hernando, Mississippi.

“You might wanna hold on,” says McMath, who in my opinion is driving faster than he needs to. “It’s gonna get a little bumpy.”

McMath is the executive chef at St. Jude. Seven years ago, he had the bright idea to start serving restaurant-quality, locally sourced food in a hospital cafeteria, and the whole thing took off. Recently, he was tapped by Southern Living as one of the 50 people who is changing the South in 2015.

He also happens to have a great hookup when it comes to local beef. McMath’s father-in-law keeps a herd of 30 Angus cattle on 60 acres in Hernando. When we drive up, we spot a mother and her newborn calf disappearing into the woods at the edge of the pasture.

“Check that out,” says McMath, pointing, “you can still see the blood on the ground where she gave birth.”

He’s right. The leaves are stained a dark red, and the calf — who hasn’t quite gotten the hang of walking — still has a bit of umbilical cord dangling between his legs.

Unfortunately, I never got to meet the steer we butchered. By the time I heard about him, he had already been hanging on a hook for two weeks. (“Dry-aged” meat is more flavorful and less messy to work with.)

To me, it doesn’t really make sense to say that an animal raised for slaughter is living a “natural” life. That said, these cows seem to have it pretty good. They get up when they want. They eat when they want. Although they are not given antibiotics or synthetic supplements, they do eat a bit of cornmeal for marbling.

“It’s like whisky,” says McMath “You can have a sip every now and then, and you’re not gonna get sick. But you can’t drink a whole fifth. It’s just not gonna work out.”

At the end of his life, our steer was given a bucket of feed. When he lowered his head to eat, McMath shot him between the eyes with a .243 caliber rifle. That may sound awful, but it’s actually calculated to be humane. Proponents say the cow loses consciousness before it can feel any pain.

Still, says McMath, it isn’t easy.

“With our kids,” he admits, absentmindedly patting a steer on the rump, “we got rules about which pigs and chickens you can give a name to. Once you start living with animals, it’s hard to say goodbye.”

Back at Home Place, they’ve nearly wrapped things up. A tidy pile of steaks — rib eye, porterhouse, the kinds of things you might actually find in a grocery store — sits on the table, ready to go. Although the process was a little overwhelming at first, I eventually found it fascinating, in a grim sort of way. The buzzing bandsaw. The enormous ribcage, like something from a dinosaur.

Now there’s just one thing left to do. Before I leave, McMath wraps a New York strip steak in butcher paper and hands it to me. He offers to cook it, but I say no. Because I know that if he does it, it’ll be perfect, and I don’t want it to be perfect.

I want to do this part myself.

Back home, I preheat a cast-iron skillet and rub my steak with kosher salt and cracked pepper. Then I throw it on the stove and let the magic happen. I nearly smoke out the kitchen — and believe it or not, that’s what you’re supposed to do. A very high surface temperature yields a yummy crust and a deep, rich flavor.

After about five minutes, I pull the steak and let it rest. I’ve heard a rumor that grass-fed beef is chewier than grain-fed, and that it has a sharp, astringent flavor. Fortunately, that turns out not to be true. My New York strip is delicate and buttery, as good as anything I’ve had in a restaurant.

I’ll say this: It was different. And not just because of the faint mineral notes I thought I detected in the meat. As I sat at my kitchen table, slowly slicing and chewing, I thought about the calf I’d seen in Hernando, the one who was learning to walk.

Why do we eat meat? Is it because we’ve always done it? How do we justify it — except to say that it tastes good, and we can? I’m not saying it’s wrong — I’m just saying it’s worth thinking about. In the end, every man’s gotta cook his own steak.

37

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film review By Chris McCoy

The cast of Project Almanac

Time Slip Project Almanac tries to combine found footage and time travel.

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simply not believable as a geek who can’t talk to girls.

It doesn’t help that the dialog is terrible. The film has such little faith in its audience that when the lights go out, someone announces: “The lights went out!”

But it is the horribly botched found footage aspects that doom Project Almanac. Blair Witch and Paranormal Activity work because the filmmakers commit to the conceit. The image quality in those films is intentionally, even artfully, shoddy. Project Almanac wants to have its cake and eat it too, with both iPhones and 10-year-old cameras shooting pristine, if incredibly shaky, high-definition video.

Even worse, in an attempt to simulate an old, oncamera microphone, the sound has been tweaked with compression that emphasizes the most excruciating high-end frequencies. The scratchy sound of hands fumbling over a microphone, familiar from a million poorly shot YouTube videos, was added to simulate the camerawoman hitting the start/stop button. And it happens between Every.

Single. Cut. Project Almanac has the worst sound mix I have ever heard in a Hollywood production, and it makes the film’s 106-minute running time practically unbearable.

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camera with the tape of his ill-fated 7th birthday party still inside. When he watches the tape, he finds something startling. In a few frames of the party video, there’s an image of a figure that appears to be 17-year-old David.

With his camera-toting little sister Christina (Virginia Gardner) in tow, David, Quinn, and Adam set out to solve the mystery. Their investigation leads them to a hidden compartment underneath the floor of the basement where they find a package, presumably hidden there by David’s father, containing some mysterious electronics and a set of blueprints for Project Almanac, a “temporal relocation” device.

David becomes obsessed with reassembling his father’s time machine to save him from the fateful car accident. On the night of a crucial test, he and his friends hijack the battery pack of a Prius belonging to a popular girl named Jessie (Sofia Black-D’Elia), on whom the bashful David is crushing. The experiment works, and the five friends embark on adventures in time, where they change their own present for the better in predicable ways, such as winning the lottery. But naturally, their temporal experiments start to unravel.

The sci-fi elements at the core of Project Almanac have been combined to make good time travel stories since the 1930s. But those underpinnings can’t redeem its slipshop execution that begins with the miscasting of the lead. The good looking Weston is

arts & entertainment

h, February. Hollywood’s dumping ground.

I don’t know when the tradition of throwing the dogs out in February started, but every year the month is a sad parade of film releases that studios have lost confidence in and just want to get off their spreadsheets. That seems to be the case with Project Almanac, which was filmed in 2013 and then had its release delayed repeatedly until hitting theaters last week. During its prolonged development hell, the film went through four different titles. This is another bad sign.

Not that a February release date or failed branding attempts automatically mean a movie is going to suck. Take Edge of Tomorrow, aka Live, Die, Repeat. It had a catchy, high-concept premise: Starship Troopers meets Groundhog Day. But that ill-fated sci-fi thriller was doomed by bad marketing despite being a tightly written, well-acted gem. It wasn’t bad, it was just misunderstood.

Project Almanac also has a catchy, high-concept premise. It’s a time-travel movie done found-footage style. Back to the Future meets The Blair Witch Project.

So far, so good.

We first meet high school senior David Raskin (Jonny Weston) in his video application to M.I.T. Helped by his friends Quinn (Sam Lerner) and Adam (Allen Evangelista), he’s testing out a homemade quadcopter drone. The test goes well before spinning out of control and crashing in a burst of foreshadowing. But it works: David gets into M.I.T. Unfortunately, David doesn’t get enough scholarship money to make it affordable for his single mom (Amy Landecker). David’s father (Gary Weeks) was an electrical engineer and genius basement tinkerer, but he was killed in a car accident on David’s 7th birthday. Frustrated and heartbroken, David goes through his father’s notebooks and half-completed gadgets looking for inspiration he can monetize.

Instead, he finds his father’s 2004 vintage video

39

tv review By Chris McCoy

Welcome To Nazi America Amazon’s The Man in the High Castle is a unique television experiment.

Put a bird on it.

CONDOM FASHION SHOW

Early numbers indicate that last weekend’s Super Bowl matchup between the New England Patriots and the Seattle Seahawks drew 114 million viewers,

making it, in terms of raw numbers of viewers, the most-watched TV show in history. Most of us viewed the game on NBC, either via their cable service or over-the-air broadcast. But for the first time, 1.4 million people watched the game streamed on the internet by YouTube. It was a move that the networks had been resisting for years, and an admission that the TV industry is in the early days of a profound revolution.

Another sign of change afoot could be seen at the Golden Globe awards, where Transparent won both Best Comedy or Musical Series and Best Performance for its lead actor Jeffrey Tambor. The unusual part is that Transparent was made by Amazon.com, and streamed exclusively on their Prime Instant Video service.

The show was a product of the

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The 2015 MeMphis Magazine 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c 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0 1 1 M e M p h i s M a g a z i n e F i c t i o n 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awards2011MeMphisMagazineFictionawards 2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards2011MeMphisMagaz i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n aw a r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n eFictionawards2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards MagazineFictionawards 2011MeMphisMagazineFictionawards 2011MeMp h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2 0 1 1 M e M p h i s M a g a z i n e F i c t i o n awa r d s 2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards2011MeMphisMagazineFictionawards

F i ct i o n

Ridgeway Cinema Grill

AwA r d s

2011memphisMagazineFictionAwArds

2011memphis

F i ct i o n

AwA r d s

2011memphisMagazineFictionAwArds

February 5-11, 2015

2011memphis

• $1,000 grand prize • Two $500 honorable Mention prizes* • entry Fee $10 per story

• Deadline: February 15th sponsored by:

Burke’s Book Store The Booksellers at Laurelwood Memphis magazine

40 40

• LUXURY SEATING

Jupiter Ascending PG13 A Most Violent Year R American Sniper R Inherent Vice R Birdman R

Cake R Foxcatcher R The Imitation Game PG13 Wild R

IMPORTED BEER & WINE • EXPANDED CONCESSIONS • LUXURY SEATING • ALL DIGITAL CINEMA •

Jupiter Ascending PG13 3-D Jupiter Ascending PG13 Seventh Son PG13 3-D Seventh Son PG13 Spongebob: Sponge Out of Water PG 3-D Spongebob: Sponge Out of Water PG Black or White PG13 Project Almanac PG13 The Loft R

For rules and further details, email sadler@memphismagazine.com or go to memphismagazine.com and click Fiction Contest. * honorable mention awarded only if quality of entries warrants.

FULL MENU • IMPORTED BEER & WINE LUXURY SEATING

Black Sea R The Boy Next Door R Strange Magic R American Sniper R The Wedding Ringer R Paddington PG Taken 3 PG13 Selma PG13 Into the Woods PG MALCO THEATRES CORPORATE EVENTS • MEETINGS CHURCH RENTALS • GROUP RATES EMAIL GROUPSALES@MALCO.COM

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tv review single swastika. The taut pacing and slowly building tension is reminiscent of Battlestar Galactica at its best. The characters, which also include an I Ching-obsessed Japanese embassy official played by Cary-Hiroyuki Tagawa, all show promise, even if the acting was a bit stiff in this pilot episode.

Ambitious and brainy, The Man in the High Castle is unlike anything else on television, and a good argument in favor of the Amazon way of doing things.

The Man in the High Castle Streaming on Amazon

m e m p h i s f l y e r. c o m

The Man in the High Castle

arts & entertainment

second Amazon Pilot Season, a unique experiment in TV production that has so far been bearing fruit for the internet giant. Usually, a TV network will take pitches from producers and then order pilot episodes of several different shows each year. Then the network brass will pick what they think are the best two or three shows and pay for entire series. It is a notoriously wasteful process that yields questionable results.

But once Amazon got into the contentproduction business, they decided to show all of the pilots they order, and then ask the audience which ones should become series. It highlights a couple of important differences between the business models of traditional TV channels and the upstart internet producers. NBC, CBS, ABC, and FOX make money by using their programming to sell advertising, so that means their real customers are the ad buyers, not the viewers. Amazon, Netflix, and HBO are in the business of selling subscriptions, which means their primary customers are the viewers themselves. Without the fear of alienating advertisers and without the constraints of a schedule, they are freer to develop productions the networks would deem too risky.

This year’s crop of Amazon pilots includes The Man in the High Castle, an adaptation of a classic science fiction novel by Philip K. Dick produced by Ridley Scott.

The premise of the 1962 Hugo Award winner is simple: What if the United States had lost World War II? In Dick’s alternate history version, the Greater Nazi Reich now rules the East Coast, while the Japanese Pacific States occupy the West Coast. Between them is a semi-lawless Neutral Zone, occupied by refugees deemed undesirable by the two Axis powers: Blacks, homosexuals, Jews, and other untermenschen.

The first of the series’ twin leads are Joe Blake (Luke Kleintank), a young New Yorker setting out cross country on his first mission for the beleaguered resistance. The second is Juliana Crain (Alexa Davalos), a San Franscisan first seen taking Aikido lessons and fending off the advances of her Japanese instructor.

Crain’s boyfriend, Frank Frink (Rupert Evans), works in a factory making fake antiques to sell to the Japanese. His coworker Ed McCarthy (Hustle and Flow’s DJ Qualls), is a gossipy source with the latest news from inside the Reich. It seems the now elderly Hitler is at the end of his life, and when he dies, his successor will most likely declare war on the Japanese and claim the entire continent.

Dick’s strongest suit was always his elaborate world-building, and the show’s impeccable production design is rich with detail. Supersonic Nazi rocket planes land in San Francisco at Hirohito International Airport. Newsreels depict happy white Americans working in Volkswagen factories in Detroit underneath a flag whose 50 stars have been replaced with a

41

is now

EVERY ISSUE WE’LL BE COVERING WHAT YOU NEED TO KNOW ABOUT DOING BUSINESS IN MEMPHIS.

Our city’s most comprehensive calendar, now in the palm of your hand!

February 5-11, 2015

We’ll cover in-depth the industries and the people that make up our business community. We’ll tell you how to recruit and maintain talent. We’ll continue your favorite features and columns and we’re adding some new sections we think you’ll enjoy...

Want a complimentary copy?

Give us a call at (901) 521-9000.

Inside Memphis Business can also be found for sale at Booksellers of Laurelwood and area Barnes & Noble locations.

42

I N S I D E M E M PH I S BUS I N ES S .CO M (901) 521-9000

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IMMEDIATE OPENINGS CDL Drivers, Tank Washers & Heavy Duty Mechanics in Memphis, Tn. Must have reliable Transportation, and pass drug and background Ck. Call Wade @ 800-341-9963

DOWNTOWN APARTMENTS

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KROGER - TRUCK DRIVERS Kroger is looking for highly motivated people for Driver Positions. These positions offer local regional work and do not require overnight stays.

We offer competitive pay and a comprehensive benefits package, including health, dental, vision & life insurance, as well as outstanding pension & 401k programs.Qualified Drivers:- Be over 21 years of age- Have a Class A CDL and 3 years of verifiable driving experience- Be able to work any shift- Have a clean MVR and be able to pass background check, drug screen, and physical requirementsIf you meet the above requirements, please apply online at kroger.com. At the bottom left hand side of the page, click on jobs/ careers. Next, select distribution then choose the Kroger Distribution Center on 5079 Bledsoe in Memphis. You can then begin the application process, selecting driver when it aks for the position for which you are applying.

NOW HIRING CDL-A Drivers in Memphis! BE HOME DAILY! MDS is looking for dry bulk drivers to join us in Memphis. Stable, steady work, home daily and you will have a solid benefits package. In order to be eligible drivers must have 1-year experience required and a good driving/work history. Don't pass up this great opportunity to work with a rewarding company. Call a recruiter today to learn more! 866-546-5157 or schillicorp.com

669 ADAMS-685 ADAMS

EDUCATION

GENERAL

AVIATION GRADS work with JetBlue, Boeing, NASA and others- start here with hands on training for FAA certification. Financial aid if qualified. Call Aviation Institute of Maintenance 800-725-1563 (AAN CAN)

COMMERCIAL ROOFERS NEEDED Now hiring Commercial Roofers and Laborers. Must have valid driver's license and experience. Holiday pay, vacation pay and health benefits.

Submit application to 1300 Lincoln Street, Memphis, TN Call 901-3464384 or fax resume to 901-346-4388.

ENGINEERING

CONCERT TICKET SALES Room for advancement. Dental, Life, Vision Insurance, Paid Holidays, Vacations and Sick Days. Free tickets to local events. Call (901) 324-4199 to set up interview.

SMITH & NEPHEW, INC. (Memphis, TN) seeks Project Director w/MS in Mech. Eng'g +6 yrs. exp. In sourcing in emerging markets. Must have exper. with each of the following: 1) Curtis Fitch system; 2 ) Emerging market supplier development; 3) Emerging market manufacturing product transfer for medical devices; 4) In depth knowledge of molding and machining processes for orthopedic and endoscopy instruments; 5) sourcing of raw materials used for medical device manufacture, including stainless steel, titanium and cobalt chrome; and 6) up to 50% international travel, primarily to China required. Apply online at smith-nephew.com. No calls. EOE.

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START YOUR Humanitarian career! Change the lives of others while creating a sustainable future. 1, 6, 9, 18 month programs available. Apply today!

OneWorldCenter.org 269-591-0518 info@oneworldcenter.org START-ON-LINE: Seeking seasonal worker.Computer literate, Multi lingual, English, Spanish, French. 901.315.9300, Mid Townarea.

COPELAND SERVICES, L.L.C. Hiring Armed State Licensed Officers/Unarmed Officers Three Shifts Available Same Day Interview 1661 International Place 901-2585872 or 901-818-3187 Interview in Professional Attire

HOSPITALITY/ RESTAURANT

OFFICE:

1033 Peabody Avenue #1

fpmemphis.com

STYLIST ASSISTANT Licensed cosmetologist, hard working, positive attitude, color tech/ assistant. East Memphis. FT avail.

Join our staff of truly awesome people. malloryupcity@gmail.com Help Wanted

5384 Poplar Ave., Suite 250, Memphis, TN 38119

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EXPERIENCED BREAKFAST & BBQ COOKS NEEDED Apply in person at Tastee BBQ, 1028 East Brooks Rd. Call 332-3133.

PROFESSIONAL/ MANAGEMENT U.S. CENSUS BUREAU Is in search of Field Leader/ Field Supervisors and Field Representatives in Memphis, TN in the following counties: Fayette, Shelby, and Tipton for the American Housing Survey.

Field Leader/Field Supervisor pay is $15.15 to $24.40 per hour and Field Representatives pay is $12.07 to $18.78 per hour. Please call (800) 563-6499 for more information and how to apply. The Census Bureau is an Equal Opportunity Employer and provides reasonable accommodations to applicants with disabilities.

SALES/MARKETING CONTEMPORARY MEDIA, INC. (CMi), the locally owned publisher of Memphis magazine, Memphis Flyer, Memphis Parent and MBQ is seeking a creative and talented Sales Executive. This is an integrated position, selling both print and digital solutions to a variety of businesses in the Memphis area.At CMi, we have created an environment where out-of-the-box thinking is honored and where hard work is rewarded.

We believe you should love coming to work every day. And we believe you should delight in finding solutions for your customers. The Sales Executive is accountable for prospecting for new business, assessing existing clients' ongoing print media, digital media, event and marketing needs and creating solutions to support these.CMi is looking for a strategic, resultsoriented, highly motivated self starter, who has the ability to develop relationships, create and deliver proposals and close business.Preferred Qualifications: Proven track record of generating new business, Outside sales experience, Initiate and foster new business relationships by networking, prospecting and coldcalling, Ability to nurture and grow existing client relationships, Goaloriented, assertive and very wellorganized, Excellent presentation skills, History of consistently exceeding sales goals, Experience participating in and coordinating Marketing initiatives and client events, Media/Publishing Sales a big +. Compensation: Base salary, commensurate with experience, plus commission. Please send resumes to: penelope@ memphisflyer.com No phone calls.

SPORTS TALK RADIO Advertising/Sponsorship Sales.

Excellent part-time income. Great Opportunity. Call 901-527-2460

Truck Drivers

Distribution Warehouse Order Selector

Kroger is looking for highly motivated people for Driver

4027 Chelsea Ext – 2BR/1BA, that meet thework following are preferred.

Positions. These positionsCandidates offer local regional andrequirements do not require • 1 or more year(s) of continuous employment C/H&A $575 overnight stays. We offer competitive pay and a comprehensive benefits • Experience with talk-man headset Experience with& electric pallet-jack as well as 1352 Isabelle – 3BR/1BA, package, including health, •dental, vision life insurance, Clayphil - 2BR/1BA, • Previous fast-paced 3589 production environment outstanding pension & 401k programs.

C/H&A $595 C/H&A $565 We offer Excellent Benefits with a Competitive Salary near Perkins & Willow Colonial Qualified Drivers: APARTMENTS Plus Production Incentive!

1852 Myrna – 3BR/2BA, Den • Be over 21 years of age Midtown -Mayflower Apts @ Please apply on line at www.kroger.com • Have a Class A CDL and 3Atyears of verifiable driving experience C/H&A 35click N.onMclean the bottom of the page, Careers. Next, select Distribution Center Jobs.

Then, select $865 Kroger Distribution Center, 5079 Bledsoe Road, Memphis, TN 38141.

• Be able to work any shift Cordova Spacious 1 & 2 BR, appl, • Have a clean MVR and be able to pass background check, drug radiator heat, window air, 742 Walnut Woods Cv – screen, and physical requirements HW floors, $625 - $725 + 3BR/2BA, appl, C/H&A, RUBS garage $1195 Winchester/Mendenhall If you meet the above requirements, please apply online at Fox Meadows www.kroger.com. At the bottom left hand side of the page, click on 3116 Domar – 3BR/2BA, Den, jobs/careers. Next, select distribution then choose the Kroger Distribution Center extra rm, C/H&A $875 on 5079 Bledsoe in Memphis. You can then begin the application process, selecting driver when it aks for the position for which you are applying.

Frayser 3529 Ladue – 3BR/1BA, C/ Heat $595 1997 Pamela – 3BR/1BA, C/ Heat $615 Alta Vista – 3BR/1.5BA, C/ Heat $685 Kirby /Raines 6536 Falling Mist – 3BR/2BA, fireplace, C/H&A, carpet, $850 OakHaven 5352 Cosmos– 3BR/1.5BA, Den, C/H&A, $765 U of M Area 585 Loeb – 2BR/2BA, Den, appl, C/H&A $875

Westwood 86 Otsego – 3BR/1BA, C/H&A $595 Whitehaven 3358 E. Rosita Circle – 3BR/1.5BA, C/H&A, $725 1590 Wilson – 3BR/1.5BA, C/H&A, Carpet & HW fl $745 880 Craigwood – 3BR/1BA, C/H&A, $775 DUPLEX Whitehaven 1742 Holmes – 3BR/1BA, C/H&A townhome $625/mo U of M 3589 Clayphil – 2BR/1BA, C/H&A $565

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Responsible for selecting, stacking andBerclair-Kingsbury wrapping large quantities of store products in an accurate, fast 3733 Fairoaks – 2BR/1BA, paced productive and safe manner. Ability to stand for 12+hours. Ability to consistently lift.C/H&A Candidates $565 must be able to work a flexible schedule within a 24/7 distribution center.

REAL ESTATE

KROGER

is looking for highly motivated people experienced with fast-paced production environments for Warehouse Order Selector HOUSES Positions.

3707 Macon Rd. • 272.9028 • lecorealty.com Visit us online, call, or office for free list.

43

help wanted • real estate

901-575-9400 classifieds@memphisflyer.com Business for sale RESTAURANT FOR SALE Fully equipped restaurant for saleExcellent business opportunity for investment or familyLocated in Cordova, TNFor more information or appointment call (423) 645-1809.

Homes for sale MOBILE HOME 16' x 80' . Good shape except needs carpet, kitchen floor vinyl. $6500/or best offer.

901-598-2149

Downtown apts 1400 SQ FT APT 2BR, W/D, Colorful, CH/A, off streetpking. 45 S. Orleans. $550/mo. Refs. req. 901-679-6837

Downtown loft/ ConDo THE WASHBURN Ideal Location. Stunning Spaces. One of a Kind. 60 S. Main St.Memphis TN. 901.527.0244thewashburn.com

east mempHis Homes for rent WHITESTATION Close to Park. 3BR/1BA, CH/A, fenced back yard. $800/mo.

901.417.9588

CENTRAL GARDENS 2BR/1BA, hdwd floors, ceiling fans, french doors, all appls incl. W/D, 9ft ceil, crown molding, off str pking. $720/mo. Also 1BR, $610/mo.

833-6483.

EVERGREEN HIST. DIST. 1BR Apt or 1BR Duplex $475$595, W/D, remodeled, hardwood floors, pets ok. Great neighbors. $25 cc fee. 452-3945

ALL AREAS ROOMMATES.COM Browse hundreds of online listing with photos and maps. Find your roommate with a click of the mouse! Visit: Roommates. com (AAN CAN) MIDTOWN ROOMS FOR RENT Central Heat/Air, utls included, furnished. 901.650.4400

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NICE ROOMS FOR RENT S. Pkwy & Wilson. Utilities and Cable included. Fridge in your room.

Cooking and free laundry privileges.

Some locations w/sec. sys. Starting at $435/mo. + dep. 901.922.9089 ROOMS FOR RENT $110/wk, cable, utls & W/D included.

I 40/ Whitten Rd. location. Owner/ Agent 901.461.4758

u of m Homes for rent 500 S. PRESCOTT 3BR/2BA, Appliances included. Great neighborhood. $950/mo. 525-2525/ wkends 753-3722

serviCes ARE YOU IN BIG trouble with the IRS? Stop wage & bank levies, liens & audits, unfiled tax returns, payroll issues, & resolve tax debt FAST. Call 844-753-1317 (AAN CAN)

SHARE 2BR APT Midtown, furnished, carpet, CH/A, clean. Must work. $85/wk. John 901.288.5035 or 303.526.8765.

MIDTOWN APARTMENTS For Rent: Close Walk To Medical District, Pets Allowed, Restrictions Apply. 2BR/1.5 BA, $780/Month + $400 Deposit. Call 901-2391332 rentmsh.com/property/129stonewall-st-6-memphis-tn-38104/ ENTERPRISE REALTORS INC. MIDTOWN APTS FOR RENT Large 1 Br. Midtown Apt. Off Overton Square. Water incl. $525. Huge 3Br. 2 Bth. Apt. Midtown area. 1 mile from Overton Park. Water/gas incl, gated, hardwood floors, CH/A, onsite laundry $695. 2Br. Apt. $525. Call 901-458-6648 MIDTOWN NICE APT LR/DR, 1BR/1BA. Also office/exer. rm. All appls incld in kitchen. W/D incld. CH/A. $575/mo. To view call 755-3344 THE MIDTOWNER On McLean: Floor to ceiling, wall to wall, every unit has been completely renovated & remodeled!! NEW Floors, new cabinets, new countertops & new baths. ALL new frig with ice, gas range, microwave. DW, tile splash back. $950/mo. MTC (901) 756-4469

General apt

APARTMENT FOR RENT • MIDTOWN•

Distribution Warehouse Positions Distribution Warehouse Order Selector

MAUREEN MANOR APTS 2BRS/1BA, $475/mo. $50 off for the first 3 mo. Gated community.

CH/A, on-site laundry, picnic areas.

323-8181

129 Stonewall St.

Close Walk To Medical District • Pets Allowed, Restrictions Apply 2BR/1.5 BA • $780 Per Month + $400 Deposit

General Homes for rent LECO REALTY, INC. FOR RENT - FREE LIST Houses, Duplexes & Apartments.

Please visit us on the web @ lecorealty.com or call 901-272-9028

sHareD HousinG

http://www.rentmsh.com/property/129-stonewall-st-6memphis-tn-38104/

KROGER is looking for highly motivated

Kroger is looking people experienced with fast-paced production Distribution Warehouse Order Selector for highly motivated people environments for Warehouse Order Selector

Call 901.239.1332 rentmsh.com

experienced in fast-paced production Positions. environments for

Fe b r u a r y 5 - 1 1 , 2 0 1 5

miDtown apt

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44

Responsible selecting, stacking and wrapping Warehouse for Order Selector Positions.

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We

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th e r ant By Tim Sampson

I know I’m no economics or business expert, but am I

the only person in Memphis who could care less about a Cheesecake Factory restaurant or IKEA furniture store coming to Memphis? I know that

m e m p h i s f l y e r. c o m

I’m probably wrong in my way of thinking, but I think the thing about Memphis that makes it so special is something people in the tourism industry refer to as “authentic assets.” I call it “cool shit you can find only in Memphis,” but that’s just me. One of the things that got me started thinking about all this was running across a story about the New York City-based Shake Shack restaurant business going public last Friday with an IPO. Shake Shack used to be a charming little one-of-a-kind food cart that caught on so well, because of its great hot dogs and burgers, that people in New York started standing in long lines to get lunch. Cool as can be. But now I read this from some financial publication: “Shake Shack was founded by Danny Myer, a restaurateur from St. Louis who made his name with high-end establishments like New Wanda Wilson York’s Union Square Café. Shake Shack started as a hot-dog cart in Madison Square Park in 2001 and became a brick-and-mortar fixture of New York City by 2004. Mr. Meyer’s 21-percent stake in the company was worth more than $340 million as of Friday afternoon. Shake Shack’s revenue grew 41 percent from a year earlier to $83.8 million in the 39 weeks through September 24th, while net income fell by a fifth to $3.5 million, as it opened 20 new restaurants in the period.”

I suppose it’s the American dream to want to get rich selling burgers, but it’s kind of depressing to me to think that a cool hot dog cart has turned into something being traded on the stock market. It would be like Earnestine & Hazel’s expanding all over the globe and selling their Soul Burgers to the masses and becoming something people could invest in. Gone would be the old griddle in the former brothel, where Steve cooks up those piles of sweated onions with Worcestershire sauce and flat burger patties and turns them into the most gooey, delicious cheeseburgers in the world. And it is the only place in the world you can get them. It’s an authentic asset. It’s cool shit you can find only in Memphis. And you certainly aren’t going to get them at a Cheesecake Factory.

To be perfectly fair, I have never been to a Cheesecake Factory restaurant, because I don’t like chain restaurants. Nothing personal against O’Charley’s, Denny’s, Chili’s, Applebee’s, or any of the other big chain restaurants (and forget about fast food, altogether, except, of course, for Krystal, which is exempt from all comparisons because it is food of the Gods, no matter what). Why would I want to go to a place like that when I could just as easily eat at a restaurant that is unique and owned by a local person and is interesting? There’s nothing interesting about those chain restaurants that I can see or feel or taste. So why all the fuss about a Cheesecake Factory coming to town? It’s kind of a hick-like response to me: “Aw, Memphis has finally made it. We got us a dang Cheesecake Factory. Now, ain’t we cool.”

People, Memphis is already cool. You just have to know where to go. Would you rather have tamales at Chili’s or would you rather go to Hattie’s Tamale House on Willie Mitchell Boulevard in South Memphis just across the street from Royal Studios, where Al Green recorded all his smash Hi Records hits and Bruno Mars just recorded some of the tracks to the new monster hit “Uptown Funk?” Would you rather have shrimp at a Captain D’s or would you rather go to Chef Gary Williams’ Déjà Vu on Florida Street, where exactly seven tables occupy a tiny brick building that formerly housed a storefront church and where the food is as good as any New Orleans’ restaurant?

And while we are on the topic of authentic Memphis and what sets us apart from cities like Dallas and Atlanta, I would be remiss if I didn’t acknowledge one woman and that one woman’s “beer joint of your dreams.” I’m talking about the recent passing of the legendary Wanda Wilson, founder of the famed P&H Café. This is another massive loss for Memphis, and one that comes on the heels of many other recent losses. Wanda was a true and genuine character, with her wigs and hats and outlandish outfits, but as many of us know, she was also a mother, sister, confidante, inspiration, and just plain wonderful friend to thousands of people in this city. There’s no other place on earth like the P&H Café, and there will never be another Wanda Wilson. Wanda, you helped make Memphis one of the coolest cities in the world, and we will miss you terribly.

I just hope Memphis can learn a lesson from you about being an original.

the rant

brandon dill

means jobs and all, but is that really what Memphis needs — another chain restaurant and a generic furniture store?

47

MURPHY’S

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