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Folk City

Memphis gets a little more musical than usual each February, when Folk Alliance International, an organization dedicated to the preservation and proliferation of traditional music and dance, brings more than 2,000 musicians, vendors, and music industry professionals to downtown’s Cook Convention Center for a long, sleepless weekend of intimate concert showcases, workshops, and ’round-the-clock jam sessions.

But FAI’s five-year contract with the downtown Marriott, a venue it appears to have outgrown, ends in 2012, and representatives from Louisville, Kentucky, and Kansas City, Missouri, have made presentations to FAI’s board. Memphis Convention and Visitors Bureau president Kevin Kane says the possibility of losing a top-five music industry event to a rival city shouldn’t be music to anybody’s ears.

“We figure that every visitor spends an average of $280 per day on hotel rooms and eating in restaurants,” Kane says. “So when you bring in a couple of thousand people, it can add up pretty fast.”

The annual estimated economic impact of the FAI has been pegged at $5 million by the CVB, and the February conference is especially meaningful to area businesses during the wintertime lull in tourism.

“Historically, February is not a busy tourism month in Memphis, so an increase in business is impossible to miss and easily attributed to the music [conference],” says Sun Studio owner John Schorr, who recorded the Ohio group Over the Rhine prior to the group’s highly anticipated appearance at FAI. Schorr also videotaped Over the Rhine for an episode of Sessions, a Sun Studio-based TV show that airs on 70 percent of PBS stations.

This is what Folk Alliance International executive director Louis Meyers (a co-founder of the South by Southwest festival in Austin, Texas) had to say about his organization’s steady growth and why it ultimately may be forced to leave Memphis:

Memphis Flyer: How would you describe this year’s Folk Alliance Conference?

Louis Meyers: Musically speaking, I think it may have been our best year ever.

What made this year’s conference better than others?

The art of discovery came back. It’s taken so many years for that to happen because of the way the record companies and the industry in general has gone.

What do you mean when you say “the art of discovery”?

Finally, this year, I heard so many people say, “Wow, man, I discovered so many new acts.” The modern world makes having that kind of experience hard, because there’s so much stuff out there. And who’s jurying it? This is what my whole career has been about.

 

The diversity you attract is more impressive every year.

We’ve created the ultimate alt-folk world, where the disciples of Woody Guthrie can be at home with [punk-inspired] Mark Rubin.  

 

Or you can catch a close-up acoustic performance by somebody like Gary Morris, the first person to put “Wind Beneath My Wings” on the charts. What are veteran artists like Morris looking for when they come to the conference?

We’ve always focused some of our attention on career re-enhancement. There are so many artists who fall out of the spotlight, and after you’re out of the spotlight for a couple of years, it’s not always easy to get back in. Gary knows there’s a whole generation who don’t know who he is. He’s looking to be relevant again and for all of the things that go with that: bookings, recording opportunities.

 

The Alliance keeps expanding. Revenue and membership have grown every year for the past four years. Where is the new membership coming from?

It’s coming from youth development. That’s where the majority of growth is coming from. Our average age has probably dropped by 20 years in five years’ time. I’m very proud of that.

 

The time you’ve spent in Memphis has been fruitful. Do you think you’ll be leaving for good when your contractual obligation to hold the conference here ends in 2012?

We’re going to announce a decision in May. That’s a board decision, not a staff decision, so I’ve got no idea what’s going to happen. We’ve done our due diligence, and the Convention and Visitors Bureau has made a very generous offer.

You say you’re running out of room there, but you use so little of the Convention Center.

That space was made for boat shows. It doesn’t work for what we do. We used it the first year, and it was a disaster. There’s no warmth and fuzziness, and the air walls won’t block sound, so you can’t have bands playing next to each other.

 

There were other problems this year too. It was unseasonably warm, and the air conditioning was broken — or at least not cooling — on the private showcase floors. It got pretty hot up there when it was crowded.

It was never really fixed.

 

A hotel worker wanted to watch some sports and turned up the volume on a television in the middle of Keith Sykes’ set.

That kind of thing has happened before. At another conference, somebody turned the volume up on a TV in the middle of a live radio broadcast. Cost us one of our biggest sponsors.

 

What can you do next year to relieve some of the growing pains?

I’m probably going to try to use the city more. It’s become almost impossible to produce quality shows in these rooms, so I’m considering taking the International Blues Challenge model. I could take the showcases to the clubs on Beale, then at 9 or 10 p.m., everybody could go back to the hotel for the private showcases.

The idea would be to be off of Beale by 10:30, so we’re not putting anybody who makes their living playing in the clubs out of business. I haven’t spoken to anybody about this yet, so it’s just thinking out loud. But it’s something we could do.

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Music Music Features

Local Beat: Going Preauxx

Twenty-year-old emerging rapper Chris “Preauxx” Dansby grew up in New Orleans, moving to Memphis at age 10, where he ended up graduating from Bolton High School.

New Orleans, via the No Limit and Cash Money crews, and Memphis, via the Three 6 Mafia family, both boast distinctive hardcore rap sounds that thrived during Dansby’s formative years. But Dansby, who appeared on a Live From Memphis “60 Seconds” video last year clad in a Tribe Called Quest T-shirt, says his favorite rappers were Jay-Z and Kanye West.

This interest in hip-hop history and penchant to find influence via records and media rather than from physical environment connects Preauxx (who celebrates the release of his second mixtape, Love Jones, at the Hi-Tone Café this weekend) to an emerging new generation of somewhat like-minded but still diverse local rappers who includes promising artists such as Skewby, Cities Aviv, Taktix, Royal’ T, and Knowledge Nick.

In fact, Preauxx recently collaborated with Cities Aviv and Royal’ T on a one-off song, “Fame x Money.”

“We’ve done so many shows together,” Preauxx says of the collaboration. “We just decided to go to the studio and make a song together.

“Different is good,” Preauxx says of his connection to local artists. “I found my own lane. I feel like Memphis is welcoming to different styles.”

Currently a junior marketing major at the University of Memphis, Preauxx says he always wanted to get involved in music — not just hip-hop — and was influenced to write by the poetic talents of an older sister.

“I used to write poems in class to try to get the girls,” Preauxx says. “But I loved hip-hop so much, that I started writing to a beat.”

Preauxx got serious about recording and performing and trying to find his niche in the local scene when he started college and draws on his penchant for romantic themes on Love Jones.

Love Jones is a mixtape about my trials and tribulations in life and love,” he says. “I didn’t want to do a mixtape that was a hip-hop vibe, a lot of nod your head stuff. I know I can do that.”

Preauxx’s engaging charisma comes through on the video for the Love Jones song “Going In For the Night,” directed by fellow U of M student Steven Simpson, which depicts Preauxx lugging his backpack around the U of M campus on a sunny autumn day. It was also on display at a hip-hop show at the Young Avenue Deli last month, where Preauxx welcomed MC Dutchess onstage to give himself a female focus for one of his romantic songs.

If Preauxx’s style stands in contrast to regional expectations, there is one area where his Louisiana upbringing is apparent: his chosen moniker.

“I started out as ‘Pro,'” he says, “but that just seemed so bland. And around that time the [New Orleans] Saints won the Super Bowl, and I saw fans holding signs that said ‘Geaux Saints.’ I thought that was cool, so I decided to spice up my name a little bit.”

Preauxx will be joined at his mixtape-release show by DJ Homework (aka Josh Metzger), who is helping him produce and release Love Jones via Homework’s newish Westham label. Homework introduced the label last year with “Pushin’ Buttons,” a terrific Internet single featuring Cities Aviv and Taktix along with singer Ify. He’s also been working with Taktix on a debut album.

Also on the bill for the show, which is Sunday, February 27th, at the Hi-Tone Café, are new local rapper Tres, scene stalwart Jason Da Hater, and DJ Redeye Jedi. Admission is $5, which also gets you a physical copy of the Love Jones mixtape. Doors open at 9 p.m.

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Music Music Features

The Road South

New York native Richard James’ journey from the Big Apple to the Bluff City was a long one, but ultimately it has led to his emergence as a viable force in the local punk/garage-rock community.

James’ awakening as a musician occurred during the late 1960s in the New York City borough of Queens, where as a kid he discovered rock-and-roll.

“Two records really affected me,” James says. “The first was Led Zeppelin IV, the other was Bill Haley’s ‘Rock Around the Clock.’ It was right there with those two that I caught the sickness of loving rock music.”

At the age of 18, James enlisted in the army and relocated to Fort Campbell, Kentucky. And then in 1985, after three years of service, he migrated to Nashville and developed an affinity for Southern hospitality and live performance.

“New York was a very jaded place at that time,” he says. “It was not a place to explore one’s self or experiment musically. It was just way too competitive. There was a certain sense that you had to be weirder than weird, which is not me.

“One night in Nashville I was at a bar watching a touring band play, and they had a meltdown on stage,” James recalls. “The guitar player threw his guitar down in the middle of the set and walked off. I had had a few drinks and jumped up on stage and started playing guitar with them, even though I didn’t really know how. It was an epiphany for me.”

From that point on, James committed himself fully to playing guitar and writing songs, honing in on a sound equally influenced by classic punk rock and American roots music. Along the way, he also moved back to New York for a time, met and married fellow musician and songwriter Anne Schorr (the pair played around the New York area in the early to mid-’90s as the Broken Chains), and eventually resettled in Tennessee once and for all in 1997.

His current project, Richard James & the Special Riders, was formed in Nashville in 2004 and from the onset featured contributions from a rotating cast of backing musicians, including Schorr, onetime Memphian Marty Linville (Pisshorse), Jason Frazier, and former Tin Machine guitarist Reeves Gabrels. While in Nashville, the group produced several recordings, including the excellent debut LP Music for People Who Been Wrong(ed).

By 2006, however, James and Schorr had grown weary of the Nashville music scene and decided to roll the dice and take up shop in Memphis.

“I just found Nashville to be too sterile,” James says. “People in Memphis are more engaged in the local music scene and seem to like music more generally. It’s messed up, in a good way, and community-oriented — like New York was in the ’70s.”

Since coming to town, James has collaborated with several of the scene’s most noteworthy musicians, including Ross Johnson (Panther Burns, Alex Chilton), Jake and Toby Vest (The Third Man, The Bulletproof Vests), Patrick Glass (Noise Choir), and Marcus Battle, among others, as the Special Riders. At any given show, the group is composed of various combinations of local players behind James and (most of the time) Schorr.

“Richard has such a strong musical identity, other people just naturally fall in line,” Schorr says. “Despite the changes in lineup, the sound has become more consistent over the years.”

Late last year, James and company began laying down tracks at the Vest brothers’ local studio facility, Hi/Lo Recording, for what would become the group’s newest effort, The Hi, The Lo, The Night Life. As with previous efforts by Richard James & the Special Riders, the record explores familiar roots-punk territory but with a slightly more laid-back and twangy edge, largely thanks to the nimble lead guitar work of Jake Vest.

“Jake’s a great guitar player, because he doesn’t just impose his will on a song. He really listens,” James says. “All of the guys I play with now have that trait. They play for the music. They put their asses on the line and do what’s best for the song.”

This Friday night, Richard James & the Special Riders will celebrate the release of The Hi, The Lo, The Night Life with a special show at Murphy’s featuring an expanded lineup.

“We’ll have three guitars, maybe a couple of different drummers,” James says. “It’s going to be a fun show.”

http://www.myspace.com/rjames6

Richard James & the Special Riders Record Release Show, with Chinamen, Dream Team, and Allen Morrison

Murphy’s

Friday, February 25th

10 p.m.; $5

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News The Fly-By

Arrested Development

A Cooper-Young Development Corporation (CYDC) project to revive a deteriorating stretch of Seattle Street has led to the deterioration of the organization itself.

The 20-year-old CYDC’s board has agreed to allow its president, Reb Haizlip, to manage the organization out of existence after the failure of the Seattle Street project and a recent Regions Bank lawsuit to recoup money borrowed for the group’s operating expenses.

“When we tie up our loose ends, we’ll seek a vote of dissolution from the board. We’ll present that to the secretary of state and that will be the end,” Haizlip said.

Over the years, the group has developed more than 60 properties in the Cooper-Young neighborhood. Some of those developments were new homes, and others were renovated homes or commercial businesses. When the development corporation was founded in 1991, the Midtown neighborhood was just beginning to bounce back from its reputation as a crime-ridden area.

“Twenty years ago, Cooper-Young was considered somewhat on the other side of safe,” Haizlip said.

The group was successful in reviving the neighborhood by growing home ownership and increasing the area’s housing stock. In 2006, the CYDC launched the Seattle Street project with funding support from the city and state.

The group purchased 10 properties on Seattle Street, a rundown neighborhood off McLean and just west of the Cooper-Young neighborhood. They built six new homes, but once constructed, they couldn’t sell them.

“Our timing could not have been worse. The homes came online just about the time that the real estate market went into its spiraling decline,” Haizlip said. “That made it impossible for us to sell. We could not lease them or rent them. It was a tragedy for our organization.”

Today, the new homes on Seattle remain empty and boarded. Some of the homes were foreclosed.

“We spoke with our lending institutions and informed them that foreclosure was our only course because we couldn’t sell them,” Haizlip said. “We thought it’d be better if the homes were back in their hands instead of ours.”

Additionally, the group was recently hit with a lawsuit from Regions Bank, which is attempting to recoup money borrowed more than 10 years ago for the group’s operating expenses.

For years, the CYDC paid small amounts to satisfy the interest on the uncollateralized loan, and eventually the board created a fund to retire its debt.

“When the real estate market got to the point where we couldn’t sustain our operations, we began tapping into that fund which we created to buy back the debt,” Haizlip said. “In the end, they sued us for the money, and the board elected the suit to be won. That election effectively terminated our ability to operate.”

The CYDC recently sold its old office building on Cooper Street to the Cooper-Young Community Association.

Despite the group’s post-recession financial woes, Haizlip hopes residents will remember the good things the group did to rehab the Cooper-Young Historic District.

“This was the first group of developers in the neighborhood. These were pioneers. These were the people who bought really derelict homes and brought sweat equity and money into them,” Haizlip said. “These are the people who brought the neighborhood back, and I think the organization deserves a lot of credit.

Categories
News The Fly-By

Money Pit

If the Mallory-Neely mansion in Victorian Village were a woman, she’d look darn good for her age. But even this grand dame of Memphis’ past isn’t immune to time.

Built in 1852, the 25-room structure at 652 Adams is in dire need of a new roof and restoration work to about a third of its 70 windows, said Wesley Creel, administrator of programs for the Pink Palace Family of Museums.

The carriage house/visitor’s center, situated behind the main house, is also out of compliance with the Americans with Disabilities Act (ADA). The Mallory-Neely mansion will remain closed to the public until the repairs and ADA-upgrades are complete.

“I’m hoping that we will have a new roof by Christmastime,” Creel said. “That’s usually how long it takes for all the processes to work. But we still can’t open until we’re ADA compliant.”

Though Creel hesitated to set a date, he said the ADA upgrades might not be completed until spring 2012.

For years, the city-owned Mallory-Neely mansion was open to the public as a museum of Victorian culture, but it was shuttered in 2005 because of city budget cuts. That same year, the city of Memphis and the U.S. Department of Justice agreed that all city-owned facilities would have to become ADA compliant.

As far as Creel is concerned, the roof takes top priority this fiscal year. It isn’t leaking yet but has “major potential for some damage.” About $268,000 is available to replace the roof, but Creel is hoping prospective contractors will bid the job for less.

That would allow for at least some of the windows to be repaired and weatherized — a custom restoration that could cost about $4,000 per window. To put that figure into perspective, Creel said some windows in the house are seven and eight feet tall.

Meanwhile, the city’s capital improvement budget for 2012 allocates $36,000 for architectural engineering fees and $150,000 for construction, renovation, and repairs at Mallory-Neely. Those amounts could go a long way toward shoring up more damaged window casings and funding the ADA requirements, which include producing audio/visual tours for people with mobility impairments and improving the area outside the carriage house to make it wheelchair-accessible.

But first, a cash-strapped Memphis City Council must approve those amounts. Right now, the city anticipates a $70 million budget shortfall in fiscal year 2012 that could lead to layoffs and other sweeping austerity measures.

Cynthia Buchanan, the city’s director of Parks Services, appeared last week before a city council committee to submit a preliminary design schematic for the work. It was approved, so the next step involves a full council review on March 1st. After that, a bid package can be issued to contractors.

“We intended to open [Mallory-Neely] this year, but when we realized how massive the improvements were going to be, we didn’t want to bring in the public when we might have to be doing things that were dangerous,” Buchanan said.

Although frustrated by Mallory-Neely’s dormancy, Scott Blake, executive director of Victorian Village Inc., looks forward to the day when the mansion finally reopens for tours.

“Our little area needs that kinetic energy [that will be created] when the Mallory-Neely House is open,” Blake said.

Right now, amenities in the area, which lies between the downtown core and medical district, are limited. The Woodruff-Fontaine House at 680 Adams is the only continuously open museum in Victorian Village. The Goyer-Lee House sits empty and in need of extensive restoration work.

Blake is hoping a private developer will buy the Goyer-Lee House, which is for sale, and repurpose it as a bed-and-breakfast or some other tourist attraction. Whatever it becomes, the Goyer-Lee House, like Mallory-Neely, will have to be repositioned within historical guidelines.

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We Recommend We Recommend

Pour Thing

On Thursday, February 24th, the debate that has split a nation and pit brother against brother will finally be resolved. End of story and amen.

Yes, folks, it’s the Beer Vs. Wine Dinner, to be held at the Brushmark at the Memphis Brooks Museum of Art. Each of the five courses will be paired with one wine and one beer. Diners will vote on their favorites, and the winner will be announced at the meal’s conclusion.

While the Brooks hosts the biggest wine event of the year — the multi-affair Memphis Wine & Food Series (formerly the Art of Good Taste) — the Brushmark has recently been paying more attention to beer. According to Andrew Adams, the Brushmark’s chef de cuisine, “Beer has been the tiny, fine print on the menu. We wanted to bring it out front.” To help revamp the restaurant’s beer list, a tasting was held, led by Southwestern Distributing’s Steve Barzizza. It was Barzizza who suggested the competitive dinner.

Barzizza’s son Mike (Tennessee’s only “cicerone”) will take the beer side, while it’s Jason Doble of Trinchero Family Estates for wine. Steve Barzizza will serve as the referee, promising, “There will be no betting. There will be no fighting.”

Among the courses: a soy-roasted grouper to be paired with a Barbar Honey Ale and Joel Gott Riesling and Colorado lamb with a Gulden Draak and the Show Malbec. For dessert, there will be chocolate bombes and almond crumbles served with Young’s Double Chocolate Stout and Terra d’Oro Port.

The Brushmark’s new attitude toward beer has meant learning about what beer goes in what glass and serving it at just the right temperature (no frosty mugs!). And now the beer bottle is left on the table. “We showcase the beer the same as wine,” Adams says.

As for Adams’ own beer vs. wine preference? “It depends on the day.”

 

Beer Vs. Wine Dinner at the Memphis Brooks Museum of Art, Thursday, February 24th, 7 p.m. $60. Reservations: 544-6225.

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We Recommend We Recommend

Divine Beings Dancing

This Saturday, Shen Yun Performing Arts performs at the Orpheum. Based on a repository of Chinese history and culture that date back millennia, Shen Yun presents luminous costumes, graceful dancers, strikingly scaled backdrops, and rich live music that bridges East and West. Chinese civilization is steeped in the idea that humanity and the divine are intertwined. In context, Shen Yun translates as “the beauty of divine beings dancing.” We asked Jason Wang — coordinator of New Times Culture and Education Center, which is hosting the Shen Yun performance — to tell us more.

Flyer: How is classical and folk and ethnic Chinese dancing different from Western dance?

Jason Wang: Classical Chinese dance has a vast training system and is a dance form still mostly new to the West. It carries the essence of Chinese cultural expression in its movements, postures, and aesthetics. In its early years, it was passed down primarily in the imperial court and as part of ancient theater.

In past years, you’ve examined themes of justice, ethnic identity, and spiritual belief under Communist rule in China. What can the Memphis audience expect to see?

In a collection of short pieces, audiences may travel from the Himalayas to tropical lake-filled regions; sit in on a school of mischievous monks; or follow a journey of the Monkey King. The theme of each show is the revival of traditional Chinese culture by portraying, through classical dance, the history of what China once was with all its beauty, diversity, spirit, and color and what it has become. Shen Yun artists immerse themselves in both worlds in order to portray each story as authentically and realistically as they can.

Shen Yun Performing Arts at the Orpheum, Saturday, February 26th, 2 and 8 p.m. $70-$150. Go to ShenYunPerformingArts.org for more information.

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News The Fly-By

Share the Road

A new proposal to add bicycle lanes along Madison Avenue from Cleveland to Cooper is bringing back bad memories for some business owners along the Midtown strip.

In 2003, the Memphis Area Transit Authority ripped up the avenue west of Cleveland to install the Madison trolley line. Construction took longer than expected, and some business owners blamed the project for a drop in patronage. Now some are worried that proposed bike lanes could have the same effect.

“We have hundreds and hundreds of jobs through here, and when you take away traffic flow, sales drop and jobs go away,” said Mike Cooper, owner of the dry cleaning business Mercury Valet Service Inc. on Madison. “Once they started [construction of] the trolley line west of me, we went from 17,000 cars a day to 12,000.”

Cooper spoke against adding bike lanes along Madison at a public meeting hosted by the city engineer’s office last week. Madison Avenue is scheduled for repaving this year, and the city plans to add some form of bike path.

The city is considering three options. One would add signage along Madison encouraging drivers to share the road with bicyclists. Another would add signage plus painted arrows to show cyclists the safest route.

But the bicycle advocacy community favors the third option, which would take away one lane of traffic in each direction, add a turn lane, and create designated bicycle lanes along both sides of the street.

Anthony Siracusa, founder of Revolutions Community Bicycle Shop, said the bike lane plan also should create additional on-street parking. He said repaving will not require the city to close the street, as was the case during trolley construction.

“The trolley was implemented on a stretch of Madison, which is not the section in question now. But that impact alone on business owners who aren’t even a part of this debate has led to a lot of fear,” Siracusa said.

Some business owners, like Cooper, also have expressed concern about the possibility of reduced traffic flow along Madison. Others, like Jared McStay, owner of Shangri-La Records, believe reducing traffic lanes might cause cars to slow down.

“I don’t think bicycle lanes will take traffic away, but it may slow traffic down. That’s a good thing,” McStay said.

City bike/pedestrian coordinator Kyle Wagenschutz said the turning lane would counteract any slowing of traffic.

“Adding that turning lane is key to all of this. If we went from four lanes to two lanes without a turn lane, we’d see a dramatic negative effect on traffic flow,” Wagenschutz said. “But having the turn lane keeps traffic flowing at much the same rate it does today.”

Siracusa said business owners who oppose bike lanes are probably afraid of change.

“We’re emerging from the bowels of the Great Recession of 2008,” Siracusa said. “If you’re operating a business at a 3 or 4 percent margin, you’re concerned about what a change may mean. But business districts around the country have implemented bicycle lanes, and it improves the revenue for businesses in and around the area where the lanes were added.”

Wagenschutz said the city would determine which option to move forward with based on the input gathered at last week’s meeting. The repaving project should begin in the spring or summer. Although some business owners object to the project, others fully support the addition of bike lanes.

“The trolley was a bad experience for people at the other end of the street, but this won’t be like that,” said Chuck Skypeck, co-founder of Boscos Squared on Madison. “Bicycle lanes make for a more livable neighborhood. In the long term, this is great stuff.”

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Film Features Film/TV

The Contender

Memphis conquered Sundance a few years ago, but this week the city’s film scene looks to make a splash in a different cinematic subculture: the growing world of Christian-themed and Christian–targeted feature films.

The local entry in this field is The Grace Card, a locally shot feature conceived, directed, and co-produced by David G. Evans and “sponsored” by the Calvary Church of the Nazarene in Cordova. The Grace Card made its local public debut last fall at the Indie Memphis Film Festival but goes national this week via Sony’s Affirm Films, which had success with the similarly church-sponsored Fireproof as well as other niche-marketed Christian films such as Facing the Giants and the crossover-oriented Not Easily Broken.

The film, which was shot at a variety of Memphis locations in 2009, uses local talent on both sides of the camera, most notably cinematographer John Paul Clark, who makes the film look professional after doing even better work on Daylight Fades.

The film focuses on the new, uneasy partnership between two beat cops, a younger, more optimistic African-American (Michael Higgenbottom) and a surlier, resentful white veteran (Michael Joiner).

The black cop/white cop dynamic is a well-worn film cliché at this point, one that’s become the grist for mockery lately. But it’s probably a good — and so-far unused — conceit for exploring civic issues in Memphis. And in making the younger cop an aspiring minister, The Grace Card is able to rope three crucial Memphis topics — race, religion, and crime — into one tidy premise.

With the more open-minded young black cop trying to negotiate the latent racism of his older white partner, The Grace Card has the skeleton of a good Memphis movie. In addition to the promising premise, it adds a solid visual depiction of the city that doesn’t lean too much on tourist touchstones. It’s also maybe the only local film to take note of the city’s shifting racial and ethnic demographics.

While the film, which features a cast heavy with local nonprofessionals, can be forgiven for inconsistent acting — especially since newbie Higgenbottom is such a strong, engaging presence at the center of the action — it ultimately undercuts its early authenticity with a trio of preposterous — yet somehow predictable — second-half plot twists.

More troubling than these aesthetic limitations is a self-congratulatory take on “racial reconciliation” that the film seems to think is beyond criticism because of its Christian perspective but is instead highly problematic. In this film’s worldview, “racial reconciliation” means putting the onus on black forgiveness while glossing over exactly why forgiveness might be needed. This culminates in a final scene in which a black minister — speaking in the words of a white screenwriter — admonishes a mostly black congregation not to “play the race card.”

The Grace Card does offer a passing visual acknowledgement of the violent white resistance to the civil rights movement, but it builds a key scene — and, indeed, its very title concept — around the story, handed down from an elderly black man to his grandson, about a kindly slave owner. The details of this set piece feel designed to assuage any potentially uncomfortable introspection — much less guilt — in a core audience (upper-middle-class white conservatives) that needs to be challenged more boldly in any film serious about addressing racial problems.

The Grace Card further reveals a hermetically suburban civic perspective in likening the current state of the city to the powder keg of 1968 (cue younger city-dwellers furrowing their brows in confusion) and in a consistently rancid, dismissive attitude about public education that, if nothing else, feels more telling now in the wake of the current school-district controversies.

Opening Friday, February 25th

Multiple locations

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News The Fly-By

Of Carrots and Cookies

When health expert and author Chet Sisk volunteered at a homeless shelter in Denver, he said he saw people donate food “he wouldn’t feed his dog.”

“Ding Dongs, Ho Hos, chicken-on-a-stick, and pastries. Basically things that would’ve been better off being buried in a local landfill,” Sisk said.

Sisk, founder of Quality Foods for Everyone, a program that provides organic, all-natural foods to homeless shelters nationwide, was at the University of Memphis last week speaking on the topic “Food Fight: How To Bridge the Food Divide Before Things Get Really Ugly.”

Sisk said bakeries often donate day-old sweets to homeless shelters and feeding programs. This practice holds true in cities across the country, and Memphis is no exception.

Jason Smith is the group coordinator for the Memphis chapter of Food Not Bombs, an organization that provides the homeless with healthy, vegetarian meals every Saturday. Smith said stores are more likely to donate baked goods than healthy foods.

“Baked goods are thrown out every day, but fresh produce is harder to come by,” Smith said.

Smith said Food Not Bombs wants to change the way Memphis’ homeless population eats.

“A lot of churches and shelters serve fried chicken, hamburgers, and hot dogs. We’re trying to provide an alternative to that,” Smith said.

Homeless people often have compromised immune systems, and unhealthy foods aren’t helping.

“Many are recovering addicts or are still suffering from addiction or alcoholism. Many don’t know when or where their next meal is coming from or where they’re going to sleep, so their health has already been ravaged,” Sisk said.

Brad Watkins, organizing coordinator of the Mid-South Peace & Justice Center, said it’s challenging for local shelters to provide nutritious food when they’re relying on donations, but he said healthier food for the homeless would cut down on medical costs.

Most local shelters do the best with what they have. Sister Maureen Griner, executive director of the Dorothy Day House of Hospitality, said volunteers bring meals to the transitional house on Poplar every Monday night. Past meals have included pork tenderloin, pizza, tacos, and chili. Volunteers are encouraged to bring healthy meals, but Griner said, unfortunately, this isn’t always the case.

Steve Carpenter, director of development at downtown’s Memphis Union Mission, said they normally serve some form of meat, vegetables, a starch, and bread at their free daily breakfasts, lunches, and dinners.

“We try to keep it as balanced as possible,” Carpenter said.

A volunteer at the St. Vincent de Paul Food Mission on North Cleveland said they serve bag lunches that include “sandwiches, something sweet, and something salty.”

“The plan is to provide guests with something nutritious,” said the volunteer, who asked to have his name withheld. “We normally serve bologna or peanut butter sandwiches, chips, and donuts or cookies.”