Categories
Film Features Film/TV

First-time director scores, modestly.

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

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

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

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

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

Categories
Food & Wine Food & Drink

Square Foods Moving

The times they are a-changing at Overton Square. According to a recent article in the Daily News, the entertainment and commercial district that which enjoyed a heyday in the 1970s and ’80 is “trying to generate new interest with some fresh tenants.” That means Jeanice Blancett’s Square Foods Natural Market will be moving to a smaller but decidedly hipper hotspot — Cooper-Young.

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Music Music Features

Psychedelic Reaction

A year ago, at Austin’s South by Southwest Music Festival, Gris Gris frontman Greg Ashley passed on a great opportunity. The musician, a master of modern psych, squandered the chance to meet one of his heroes, fellow Texan Roky Erickson of Thirteenth Floor Elevators fame.

“It was at Threadgill’s, at Roky’s annual ice cream social,” Ashley recalls in a soft drawl. “After we played, they gave us these passes to go on the tour bus and meet Roky. I thought he wouldn’t know who I was, and I didn’t want to bother him, so I never went onboard. A few months later, I saw someone who ate dinner with him, just a casual thing, and he mentioned that Roky was actually talking about the Gris Gris.

“This year,” Ashley adds, “Roky’s brother invited us to play the ice cream social again, but I didn’t read his e-mail until the day after it happened.”

The heir apparent to Texas’ ’60s psychedelic rock tradition, which was launched by godheads like Erickson, Mayo Thompson of the Red Krayola, and Doug Sahm of the Sir Douglas Quintet, Ashley is refreshingly unassuming.

He readily admits that he was heavily into Nirvana and Beck when he began taking guitar lessons as a teenager. He didn’t stumble across the Thirteenth Floor Elevators’ garage-meets-psych epic, “You’re Gonna Miss Me,” until he purchased a ’60s compilation album from a record-store clerk in Houston a few years ago. His introduction to the Red Krayola came even later.

“I really like that stuff,” he says, before candidly adding that “maybe me being from [Texas] makes it an easy selling point.”

Whether or not the connection is deliberate, Ashley, bassist Oscar Michel, and drummer Joe Haener intuitively distill snippets of drone rock, nonsensical Syd Barrett-esque lyrics, galloping drumbeats, and acoustic guitar chords into a heady, musical frenzy. Think the sonic equivalent of a Terry Southern story — say, “Red Dirt Marijuana” or “The Blood of a Wig” — read while on psilocybin: The individual words might not make sense, but strung together in complete sentences, they tell a helluva yarn, cosmically speaking.

“Raygun,” the opening track on the Gris Gris’ eponymous debut album, released on Birdman Records in 2004, starts off so softly that you’ll strain your ears trying to pick out the opening notes. Over a carefully structured layer of guitar, tom tom, and bass, Ashley’s voice floats as if in an alternate reality, before (a la the Velvet Underground’s dissonant masterpiece “Sister Ray”) swirling feedback causes the dam to break and utter pandemonium sets in. It’s barely controlled anarchy, fueled by twiddled amplifier knobs, tambourine shakes, and the lyrical question, “How is my skin?”

For the group’s second album, For the Season, the Gris Gris, along with their new keyboard player, Lars Kullberg, convened at Ashley’s family’s ranch in Kosse, which is located a few hours northeast of Austin. After setting up a Tascam eight-track recorder in an empty cabin, Ashley put out note cards — “So everybody would know what instrument to pick up when,” he says — and recorded the first three songs, “Ecks Em Eye,” “Peregrine Downstream,” and “Cuerpos Haran Amor Extrano,” in a single take.

“I had all these half-ideas for songs, and I didn’t know what to do with them, so we sat around for a few months before we realized we needed to get off our lazy asses,” Ashley explains somewhat disingenuously. “Eventually, we had the idea to string them together in a big lump of shit, like we were trying to do Dark Side of the Moon.

“I was listening to some country records and a lot of free jazz, and I imagined the first side of the album as one continuous piece of music,” he continues. “The B-side was more songs we’d been playing for a while, like ‘Year Zero,’ or things we’d already recorded, like ‘Medication #4.'”

Released last October, For the Season is a study in darkness and light, like Altamont-era Rolling Stones intertwined with conjunto field recordings and copied, cut, and pasted until the songs’ original intents are hopelessly blurred into a perfect, glorious mess.

Although they’re not quite garage rock, and, as Ashley emphatically states, they’re not part of the neo-folk movement, the Gris Gris has garnered attention from fans of both genres.

“I don’t believe in horoscopes or any of that hippie bullshit,” he claims, dismissing neo-folk.

“Hopefully,” he says, his voice in earnest, “we don’t fit in anywhere.”

Categories
News News Feature

Terrorist Marriage Scam

Federal prosecutors have bolstered their terrorism case against defendants in a Memphis marriage scam with a new indictment unsealed Tuesday.

The indictment ties Memphis defendants Chandra Netters Lofton Taylor and Karim Ramzi to Brooklyn bookseller Abdulrahman Farhane, who is under indictment in New York for allegedly financing terrorism. Ramzi has been held without bond in Memphis since being indicted last April. Prosecutors in at least two states have been trying to unravel a tangled web of suspects and sinister-sounding connections since then, making a few details public in a series of bond hearings and court appearances.

The gist of their still developing case is that the immigration scam had terroristic overtones and the key defendants will stay locked up until the FBI gets to the bottom of things.

Farhane owns a bookstore called the House of Knowledge. He was born in Morocco but is a U.S. citizen married to Malika Farhane. The Memphis indictment unsealed this week by U.S. district judge Daniel Breen supersedes the indictment last year of Ramzi and Lofton Taylor, who are reindicted along with the Farhanes. Karim Ramzi is Malika Farhane’s brother.

The marriage-scam story broke one year ago when members of the FBI Joint Terrorism Task Force arrested Syrian-American Rafat Mawlawi and found illegal weapons, terrorist videos, photographs, and more than $30,000 in cash in his home near Craigmont High School in Raleigh. Mawlawi, the alleged mastermind of the scheme to bring Moroccan men into the United States illegally via sham marriages and engagements to Memphis women, has been held without bond for a year.

At bond hearings last year, prosecutors linked Mawlawi to Osama bin Laden, but the evidence was sketchy and dated back to 1997 when Mawlawi was in Bosnia. However, it was enough to keep him locked up, although relatives said he served honorably in the U.S. Navy, conducted Muslim services at the Shelby County Penal Farm, and worked as a translator with immigration services in the Federal Building. In January, Mawlawi pleaded guilty to immigration violations and weapons charges, and his sentencing was set for April 27th.

Meanwhile, investigators in New York and Memphis were uncovering more information about the Memphis marriage scam. The new indictment alleges that Farhane, on three occasions in 2002 and 2003, sent a total of $6,200 to Mawlawi to advance the immigration scam. Lofton Taylor went to Morocco in 2002 to enter into a sham engagement with Ramzi so that he could enter and live in the U.S., which he did in 2003.

Farhane, who is 52, was described in a New York Times story in February as “the central figure” in a pending New York case against four Muslim men including a martial arts instructor, a Florida doctor, and a Washington, D.C., paramedic. The thrust of the case is that after the September 11th terrorist attacks, they plotted to help Islamic fighters against U.S. forces in Afghanistan. The help ranged from money for weapons to training al-Qaeda fighters in martial arts, the government said. Based on fresh government testimony linking him to terrorists, Farhane, who had been free on bail, was jailed in February.

Assistant U.S. attorney Fred Godwin would not comment about the new Memphis indictments. Godwin is also the prosecutor in Mawlawi’s case.

The Memphis “brides” were recruited by Janet Netters Austin, a local singer. Chandra Netters Lofton Taylor is the daughter of former Memphis city councilman and MLGW board member the Rev. James Netters. Janet Netters Austin is his former daughter-in-law. The women they recruited had hard-luck stories and needed cash and were apparently not aware of what their Moroccan “husbands” were up to.

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We Recommend We Recommend

We Recommend

thursday March 30

Great Conversations

University of Memphis Holiday Inn, 5:30 p.m., $75

Fifth annual fund-raising dinner put on by the College of Arts and Sciences at the University of Memphis. Designed to introduce the public to the brainpower at U of M, you’ll get to break bread with one of 30 experts who have ties to the school. Among the many fascinating topics are “Ask an Egyptologist,” “The Ingeniousness of Jokes and Other Twists of Language,” and “How Minds Work: Human Minds, Animal Minds, Artificial Minds.” Registration is required. Call 678-1332 or e-mail lellis2@memphis.edu.

friday March 31

Brooks Museum League and Artists Showcase 2006

Agricenter International, $10, 10 a.m.-5 p.m.

Juried show featuring art, furniture, jewelry, and accessories by the region’s top designers and artists. At 10:30 a.m., architectural historian and University of Memphis professor Jim Lutz will give a talk about the homes designed by Frank Lloyd Wright. Cost of the lecture is $35.

Art Trolley Tour

South Main Arts Distric, 6-9 p.m.

Art openings galore tonight, including one for “Turn 2,” prints by Sheri Fleck Rieth at Memphis College of Art “On the Street” Gallery.

Ubu Roi

Rhodes College McCoy Theatre,

7:30 p.m., $2-$7

This ought to be interesting: Alfred Jarry’s absurdist drama that satirizes the foibles of the ruling class. Directed by Rhodes alum and Flyer staff writer Chris Davis.

Alison Brown Quartet

Bartlett Performing Arts and Conference Center, 8 p.m., $20

Innovative banjoist Alison Brown and her quartet bring their bluegrass/jazz hybrid to Bartlett. In addition to her own extensive recording and touring, Brown has been a member of Alison Kraus’ Union Station and the band leader for Michelle Shocked.

saturday April 1

Mid-South Cat Fanciers Show

Agricenter International,

10 a.m.-4 p.m., $4-$6

All sorts of cats will be at this 14th annual cat show and championship. In honor of its 100th anniversary, the Cat Fanciers Association has established its Centennial Celebration Challenge, in which regional show winners earn points toward competing in a national online event to choose the best cat in the world. The show ends Sunday.

“mFAC 001”

Medicine Factory, 85 W. Virginia, 6-9 p.m.

One-night-only show in this new downtown artspace near South Main. The exhibition features multimedia work by 15 local artists — David Dieckhoff, Anastasia Laurenzi, Erin Harmon, and Greely Myatt, among them. The works were created to be site-specific in a space that originally served as a medicine factory.

Rigoletto

The Orpheum, 8 p.m., $30-$73

Verdi opera about a court jester named Rigoletto, who gets a horrible taste of his own medicine after he helps a lascivious duke seduce women.

sunday April 2

Operation Art Relief

Dr. Bob’s Studio, 12 S. Main, 2-6 p.m.

Volunteer event for teens, during which they’ll create artworks under the supervision of recently relocated New Orleans artist Dr. Bob. The art will be displayed at the Benjamin L. Hooks Central Library and then auctioned off during Memphis In May. Proceeds go to New Orleans schools. Participants are asked to bring canned goods or nonperishable items and to wear clothes they don’t mind getting messy.

weDnesday April 5

Booksigning by Elizabeth Dewberry

Burke’s Book Store, 5-6:30 p.m.

Elizabeth Dewberry’s latest novel, His Lovely Wife, revolves around a woman named Ellen who is in Paris with her physicist husband. Ellen is mistaken for Princess Diana. Then Di dies and spiritually sets up house in Ellen’s body.

Categories
News The Fly-By

Q and A: Glen Fenter

West Memphis was in high spirits during last week’s dedication of Mid-South Community College’s Workforce Technology Center. The new $7 million center, part of a four-school consortium that includes Mid-South, Arkansas Northeastern College, East Arkansas Community College, and Phillips Community College, includes multimedia classrooms, automotive manufacturing training areas, and diesel maintenance technology equipment. The schools have joined forces to stimulate large-scale growth in Arkansas’ manufacturing sector, as well as the more immediate goal of training workers for the Hino Motors plant in Marion. We asked Mid-South president Glen Fenter why the group, known as ADTEC (Arkansas Delta Training and Education Consortium), is so important.

By Ben Popper

Flyer: How did this consortium of colleges begin?

Fenter: Necessity is the mother of invention. When we started having conversations locally with the Hino Motors officials, we came to understand very rapidly that in order to maximize the opportunities of Hino and other foreign investors, one community college would not be enough to provide the wealth of workforce programs we would need for the region. So we began to communicate with our other members as to the rationale of commingling our efforts. The formalization of that effort really was a large part of the Department of Labor’s recent decision to give us a $5.9 million grant. Automotive manufacturing represents a huge opportunity for growth in our region, and we want to make sure we’re prepared for that.

At the dedication, Mike Beebe, the attorney general of Arkansas, spoke about adapting the curriculum to the needs of industry. Does tailoring yourself to one company limit your ability to grow in the future?

As we develop our school, we are allowing dozens of different kinds of industry to have input, not just automotive. The end result of this curriculum is to be prepared for all manufacturing areas.

What is the central goal of your facility?

To be successful in creating a workforce. That is our only true goal. This isn’t about growing enrollment; our goal is to make eastern Arkansas the absolute best location for industry to choose in North America. The equation that we use is “world-class geography plus world-class infrastructure plus world-class education equals world-class economy.” We have the interstates, airports, and intermodal facilities. We have the river, flat, cheap land, and are located in the center of the country. We have a population that, when educated, could meet any workforce demand.

What does your student body look like?

There are several populations. The first is the unemployed, and we have everything from literacy to adult education and work-based learning for those who may have missed some of their educational background. Then you start targeting the underemployed, those who want better jobs, so we will have night and weekend programs. The group missing from that is our kids. How do we capture and excite them? We are going to aggressively add programs to the public schools here to encourage our kids to consider this opportunity.

When and how did you make connections with industry in Japan?

The first model we had for creating this training consortium was based on distribution, warehousing, and logistics. We knew that was a big part of our economy and all those geographic variables are important to us. When a Hino location appeared here, we knew we would be shifting our focus from distribution and logistics into the manufacturing arena. We went to Japan in September of 2005 and began to establish relations with the Hino training models so we would be able to make as much progress as possible in terms of making them comfortable. While there, we saw the Hino High School, which is a great opportunity to see how they handle education. We saw their factories and the level of technological intensity there. A lot of what we saw in Japan reinforced what we already had in play.

Has there been any formal study of the center’s economic impact on the region?

There have been a number of projections. We’ve seen some estimates for the initial hiring at the new plants. The cumulative estimates are 1,000 new jobs, and that’s conservative. More aggressive estimates look to see that number grow many times over if these companies are as successful as we want to make them.

At one point, the Japanese auto industry was considered a threat to American jobs. Was there any negative reaction to foreign investors in Arkansas?

I think people are happy to see great education, job opportunity, and economy. It is something our citizens have longed for. I don’t think it matters to them who the company is. If they are willing to invest, we want to support them and grow them, as long as they are putting people in eastern Arkansas to work. We are offering classes today and have been training workers for the Hino plant for months.

Categories
News The Fly-By

Paint the Town Red

Once crumbling and forgotten, the South Main Arts District has come a long way in recent years.

Art galleries, shops, and restaurants now dominate the area, and in keeping with the district’s overall improvement, the South Main Association (SMA) is hosting a series of neighborhood cleanups this spring. To start, four volunteers painted the railroad trestle near Front and Butler streets red last week.

“We’re painting the bridge to add to the artsy quality of the neighborhood,” said Becky Beaton, a member of the SMA. “A group of artists had a meeting, and red was the color they chose.”

But red entered into the project another way too. Beaton says the association feared there would be too much red tape if they asked for the city’s permission to paint the bridge.

“We thought it’d be best to do it first and apologize later,” she said.

Last year, the trestle over G.E. Patterson was painted red, and on April 29th, the trestle on Butler near South Main will be painted as well.

The April 29th event will also be a neighborhood-wide cleanup and planting in conjunction with the Hands On Memphis Servathon.

Three weeks ago, Memphis City Beautiful helped the South Main Association organize an event to pick up litter.

“We cleaned up some eyesores [and trash] that businesses had accumulated in their alleys,” said Beaton. “We cut down tall weeds, trimmed some trees, and picked up some garbage. We just want the neighborhood to have an overall cared-for feeling.”

The association is also organizing an effort to have artists paint their work on parking meters along South Main.

“When I used to come down here in 1996 for the Blues Music Awards, this area was a ghost town,” said SMA member Priscilla Hernandez as she painted. “With all the galleries and residential construction, the neighborhood’s made a phenomenal change for the better.”

Categories
News

“Murderer’s Bathtub” Fetches $7,600 on eBay

A year’s delay while eBay pondered whether selling the old flophouse bathtub where James Earl Ray stood when he shot Dr. Martin Luther King Jr. cost Memphis judge D’Army Bailey almost $145,000.

In 2004, Bailey – one of the founders of the National Civil Rights Museum — put the battered tub up for auction on eBay, with proceeds going to benefit the Boys and Girls Clubs of Memphis. Bidding reached $152,000 before eBay stopped the auction, while it pondered its policy about selling “offensive” items on the online auction. Ebay finally decided the tub was a “historical artifact,” though too late to sell it to the original bidders.

Last week, Bailey listed the tub again, and this time the final bid was only $7,600. The winner was an online auction called the Golden Palace Casino, which has purchased other unusual “historical” items, such as a group of four toilets supposedly used by Grateful Dead leader Jerry Garcia.

It’s not clear how the casino plans to make use of its latest purchase, but Bailey has told reporters he is confident the new owners will treat the tub “with sensitivity for its historic significance.” We’re not sure how they treated Jerry’s toilets.

For more information, go here.

Categories
Film Features Film/TV

Inside Job

Prior to last week’s opening of their latest film, Inside Man director Spike Lee and star Denzel Washington conducted a joint television interview on BET, a lively discussion of their experiences making films together. On the surface, Lee and Washington’s current collaboration — a big-budget Hollywood genre movie — would seem to be the most impersonal film in the director’s filmography, but like so many great studio movies in the past, Lee has used an ostensibly standard genre flick to explore more personal concerns, a strategy Lee and Washington’s interview underscored.

Inside Man is essentially a heist movie, though the bank job at the center of the film is much more than a simple robbery. There are hostages and there is the charismatic hostage negotiator (Washington), a man with a tarnished (noirish) reputation looking for redemption. Washington revels in a part that exchanges the angst he’s typically saddled with for attitude and one-liners.

At $50 million, this is Lee’s biggest budget and most commercial plot. Yet the film still pumps with the lifeblood of New York, which for Lee has always owed to the city’s wonderful diversity. In his televised conversation with Washington, Lee discussed the moment when he decided to become a filmmaker. Home from Morehouse College for the infamous “Summer of Sam,” Lee recalled how he spent his break letting his new Super 8 camera capture the tension and release of the city.

And this feel for the city, this attention to detail and character, enlivens the movie’s procedural staples — the bank takeover, police preparation, etc. In Inside Man, unlike most contemporary studio thrillers, the cops aren’t just cops. They’re identifiable New York cops — racist, dedicated, yet ultimately lovable. When it comes time to translate the cryptic recording of the robbers inside the bank, the police don’t use the Albanian consulate. They just get the ex-wife of the construction worker from around the corner.

Inside Man works for several reasons. The script is wonderful, both for plot and dialogue, and stands out not only for its quality but also its confidence. Lee is in command of the camera, the action is always clear, and there are several nontraditional shots that work wonderfully. Washington’s gift of gab is on full display.

In the end, though, the real success of the film is in its latent message. This robbery is about the circles of power that surround any institution and the wages of sin that you pay to enter. The film, after all, might be Lee’s metaphor for Hollywood. Forget a robbery that isn’t all it seems. What about a major motion picture that ends with ambiguity?

“I want to become a gatekeeper,” Lee told Washington during their talk, bemoaning the fact that even as a major director, he lacked any real studio clout.

Inside Man succeeds as a bid for major-league status, and the movie as a product stays true to the message of the film: To succeed you have to get your hands dirty, but that doesn’t mean you have to compromise.

Categories
News The Fly-By

Bridging the Gap

Talk about a war of the sexes.

A recent proposal to protect women’s rights to equal pay in Tennessee has divided legislators between those protecting the interests of women and those protecting the interests of business. And so far, outspoken combatants on both sides have been female.

“I was in the government operations committee the other day, and one of the young Republican women just picked the bill to pieces,” says Representative Beverly Marrero from Memphis. “She seemed to be more concerned with how it might affect business and whether they were going to be happy with it. I guess that’s why I’m a Democrat and she’s a Republican.”

The bill was introduced by state senator Kim McMillan and is opposed by the Tennessee Chamber of Commerce and Industry, headed by President Deb Wooley. Both women acknowledge the existence of a wage gap — women earn about 75 cents on the dollar in the same job as men — but are split over the effects of the new bill.

The law currently protects against wage differences based on factors other than education, training, and experience. A 2004 law dictates that employers found to have knowingly violated equal pay statutes must make up the difference to their employee. The second time, employers must pay double; the third time, triple. But the proposed legislation would allow women to sue for punitive damages beyond the wage difference.

“The current legislation, in my opinion, doesn’t have this kind of teeth in it,” McMillan says. “I think this bill will encourage individuals who feel they have been the victims of wage discrimination to seek redress.”

For Tennessee chamber president Wooley, the bill’s punitive damages are part of the problem.

“This bill creates a new cause for class-action lawsuits,” says Wooley. “At the same time, we’re really trying to get court reform under control because we recognize that it is not good for the economy. While it sounds good in an election year to talk about doing something for gender equality, it’s a disguise for what this bill will really do. What it will end up doing is being counterproductive.”

McMillan argues that the bill does more than increase the punishment for wage discrimination. “The bill deals with the issue of retaliation,” she says. “You want people to be able to find out if they are being discriminated against without worrying that they might be fired.”

She says the bill also discourages litigation by creating an amnesty program for companies.

“We have a part of the bill which gives companies the chance to step up voluntarily and say audit my business and make sure I’m not doing anything wrong, intentionally or otherwise. If they do that, they cannot be held liable, so long as they volunteer for the audit and make the requisite changes.”

But Wooley contends that the current legislation, if employed forcefully, is enough. “I think the bill would dramatically expand and alter the government’s power in terms of defining the market. I don’t want to sound like I’m ignoring it [the wage gap], but it takes time,” says Wooley.

Marrero sees things differently.

“This is kind of the carrot and the stick approach.” And as for waiting for the wage gap to close naturally, she says, “It’s 2006. I’m 67 years old. And I’ve been waiting my whole lifetime to get fair and equal treatment. I just hope it happens before I die.”

The bill still has to go through several legislative committees. The final vote is expected within four or five weeks.