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News News Blog

Tennessee’s “Ag Gag” Bill Passes

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The Tennessee House voted in favor of a bill that would require anyone who shoots video or takes pictures of animal cruelty to submit those images to law enforcement within 48 hours. UPDATE: The Senate has now also passed the bill.

Known as the “Ag Gag” bill, it was one of many being considered by state governments across the country. Proponents of the bill, which was heavily favored by animal agriculture lobbyists, claim the requirement to turn over cruelty images protects animals.

But the bill’s critics, which includes the Humane Society of the United States and the Humane Tennessee Political Action Committee, claim the legislation is designed to prevent thorough investigations of animal cruelty. Many undercover cruelty investigations at factory farms can take several weeks of documenting footage, and such bills would prevent animal activists from carrying out those investigations.

The bill was one vote shy of being voted down.

East Tennessee’s Knoxville News Sentinel is taking a brave stance against the bill. In an opinion column written before the bill’s passage, the paper states, “If the Ag Gag bill happens to pass and the News Sentinel records images of animal cruelty, we will not consider ourselves bound to turn those images over to law enforcement. We will assume that the [state’s] shield law, and more importantly, the First Amendment, will pre-empt such a law. I’d recommend that anyone else who believes in freedom of expression take the same position, too.”

Flyer editor Bruce VanWyngarden has more on the First Amendment implications of “Ag Gag.”

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Intermission Impossible Theater

A Shaggy Dog: “Sylvia” is a funny play. Sometimes.

Bonnie, Tony, Sylvia

  • Theatre Memphis
  • Bonnie, Tony, Sylvia

As Greg, a man in the throes of a mid-life crisis, Randy Hartzog took the less-is-more approach and came out on top. Greg’s a man who loves his dog (and what’s wrong with that?). And he’s confused by an increasingly hermetic world that has disease-a-fied even the mildest imitation of passion.

Okay, that was a false start. But that’s what I wrote, more or less, in the year of our Lord nineteen hundred and-mumblemumblmumble, when I reviewed the second (I think) of director Ann Marie Hall‘s three productions of Sylvia. Flash forward (mumblemumble) years and Hartzog, who knows the piece intimately, is in the director’s chair at Theatre Memphis, staging one of the shaggy dog story’s best productions yet. The set: perfect. The cast: perfect. Lighting, costumes, sound design: Perfect, perfect, perfect.

So why did dead-half of a show I thought I (mostly) liked leave me colder than a polar bear’s dirty martini? I’ve been asking myself, and friends, the same question.

Sylvia is still the story of two New York empty-nesters and (of course) Sylvia, the stray dog that comes between them. It’s yet another A.R. Gurney sitcom, featuring a variety of WASPy dilemmas served on a bed of WASPy relationships, dusted with WASPy wit, and smothered in sentimentality. Scary? Very. Awful? By no means. It’s a real Scooby snack: a sweet that would rot your teeth in no time given a steady diet of the stuff. Delicious? Yes. Nutritious? Probably not, but it tastes so good, who cares?

That last paragraph, is also from a past review, mostly.

Aliza Moran‘s performance as the home-wrecking mutt might provide a bit of insight for theologians wrestling with the concept of a being both fully human, and fully divine. She’s one hundred percent human and completely canine. If all performances had this degree of specificity and commitment there would be no need for critics — it would all be good.

As Greg, a man in the throes of a mid-life crisis, Tony Isbell takes the less-is-more approach and comes out on top. He is a man who loves his dog (and what’s wrong with that?) and… wait, isn’t this where we came in?

Sylvia has moments of inspired, if lowbrow comedy. When a dog calls a cat a cocksucker, that’s just funny. But the show hasn’t aged especially well. The problem is Kate, Greg’s wife, a teacher re-entering the workforce after the last kid has gone off to college. She’s got a WASPY savior complex, and is driven to bring Shakespeare to inner city kids with their raps and rhymes. She is, at once, the only responsible adult in the show, and the villain of the piece. Most of the piece anyway.

When Greg brings a dog home Kate—strongly portrayed by Bonnie Daws Kourvelas— puts her foot down. Because dogs require a lot of work and something about her career and teaching Shakespeare to inner city kids. Her position never fluctuates. Until the play absolutely positively has to end.

She’s a straw wife, existing only to serve a few functional purposes. Our modern woman provides the show a modicum of conflict and social context but in the end she’ll compromise her dreams to allow for her husband’s mid-life indulgences. And they live happily ever after, more or less.

Sylva’s obviously not just a dog. She’s a stand in for many possibilities: A sports car, some extreme hobby, or a common affair. The dog is literally another woman, and jokes about her cute little ass are an end run around straight objectification.

But it’s funny, right?

When it’s funny, it’s very funny. Moran, a strong, physically changeable performer with a real knack for comedy gives as virtuoso a performance as you’re likely to see this season. Spencer Miller is superb as both a dog loving bro and a profoundly white woman.

But I don’t think I like this play very much. And when this Sylvia finally runs off, I hope she stays gone.

And she’s gone after this weekend.

Ticket information here.

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News

Memphis Spending: What’s the Right Path?

John Branston assesses two approaches to dealing with the city of Memphis’ budgetary issues.

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Beyond the Arc Sports

Deflections: Playoff Schedule, Game Recap, Final Attendance Numbers

For the record: Zach Randolph was clearly last nights Man of the Match

  • LARRY KUZNIEWSKI
  • For the record: Zach Randolph was clearly last night’s Man of the Match

The Grizzlies kept hope alive for a few hours last night with an 86-70 win over the Utah Jazz at FedExForum, but that hope for homecourt ended when the Los Angeles Clippers squeaked out a road victory on what could have been the last night of NBA basketball in Sacramento. Now, the first round playoff series rematch between the Grizzlies and Clippers will open Saturday night in Los Angeles before returning to Memphis for games three and four next Thursday and Saturday. The series schedule (all times central):

Game 1 — Saturday, April 20th — Los Angeles — 9:30 p.m.
Game 2 — Monday, April 22nd — Los Angeles — 9:30 p.m.
Game 3 — Thursday, April 25th — Memphis — 8:30 p.m.
Game 4 — Saturday, April 27th — Memphis — 3:30 p.m.
Game 5 — Tuesday, April 30th — Los Angeles — TBD
Game 6 — Friday, May 3rd — Memphis — TBD
Game 7 — Sunday, May 5th — Los Angeles — TBD

Game Recap: After trading baskets with the Jazz in the first half, the Grizzlies brought down the hammer defensively in the third quarter — something we’ve seen quite a bit this season — holding the Jazz to 13 points in the quarter and building a lead that was never seriously threatened. The best news came up front, where Zach Randolph had his best game in months, with 25 points on 10-20 shooting and 19 rebounds in only 32 minutes. Randolph didn’t face the most stout defenders in Utah’s Al Jefferson and Paul Millsap, but his energy and relentlessness were encouraging nonetheless. It was a nice, confidence-boosting performance to enter the playoffs on. Off the bench, both Ed Davis (nine rebounds and four blocks in 22 minutes) and Darrell Arthur (5-9 shooting in 16 minutes on a flurry of mid-range jumpers) did what they do best well, and both at the same time. We haven’t seen that occurrence enough in the regular season, but a repeat might win a playoff game.

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Opinion Viewpoint

Pennies from Haslam

Over the past three sessions, the Tennessee General Assembly, dominated by archconservatives from the Tea Party wing of the GOP, have brought us bill after bill expressing the fundamental convictions of their ideology: Keep the government out of business and cut benefits to the “unworthy.”

From a change to the workers’ compensation system to “tort reform” that caps damages to cuts to the Hall tax and to the eventual sunset of the inheritance tax (a levy which only affected 900 people a year at its peak), these changes to state law benefit a scant few Tennesseans.

Governor Haslam supported all of these bills.

A single piece of progressive legislation, the lowering of the sales tax on food by a quarter of 1 percent, was originally opposed by the administration before its passage in the final days of last year’s session. This year, an additional .25 percent cut in sales tax on food is a part of the governor’s legislative agenda and on track to pass.

So, while corporations and the wealthy saw their state taxes and potential liabilities drop by thousands of dollars a year, average Tennesseans saw a tax cut of a mere $3.65 annually — which will buy a burrito at your local Pilot Travel Center.

A recent Vanderbilt poll showed that Governor Haslam enjoys a 68 percent approval rating. That same poll also notes that 60 percent of Tennesseans think state government should place a priority on policies that help build the economy and create jobs. Haslam’s signature economic development bill was the aforementioned tort reform, passed in 2011. A study by the Economic Policy Institute shows that “reform” of this sort actually slows job growth.

Last year, the governor touted his “Tennessee Economic Miracle” to the chattering classes on cable TV. Since the beginning of Haslam’s term, poverty in Tennessee has increased to nearly 17 percent, wages have remained stagnant, and unemployment has tracked national averages. Some miracle.

None of the bills supported by the governor increases job creation or wages, nor do they extend the buying power of regular Tennesseans. Instead, all help wealthier people save money, which is an inefficient, if not downright chimerical, job-creation strategy.

Last year, the governor asked every agency of state government, other than education, to cut 5 percent from their budget. To cover the losses, state administrators trimmed staff and sought to erect barriers to eligibility. These changes don’t need legislative approval. They do, however, keep eligible people from receiving services.

According to a recent study authored by Cyril Chang of the University of Memphis, some 98,000 Tennesseans qualify for TennCare but are not in the system. Many of these working Tennesseans either don’t know they qualify or don’t have the time or resources to navigate the maze of requirements to meet eligibility. Many blame the federal government, but the state runs most federal social services through block grants. Block grants give the state authority to establish eligibility guidelines, within reason. The state has been pushing the edge of reason to the limit.

Through it all, Haslam’s policies further a system of government that focuses on helping those who don’t need it rather than those who do. It’s a policy agenda that fits nicely into a worldview that has dominated American politics for the past 30 years.

“Personal responsibility,” a longtime rallying cry of the GOP, holds that people who have access to quality health care, education, and capital accomplished this, because they chose to or worked hard for it — even if they were born into it.

On the other hand, people lacking such access don’t deserve help, because they made bad choices. If you’re not doing well, according to Republicans, it’s because of something you did or didn’t do, regardless of your circumstances.

While some may contest the strength of Haslam’s commitment to this brand of “personal responsibility,” it’s there, obscured behind his mushy language and overshadowed by the red-herring rhetoric of the General Assembly’s firebrands.

For the 2.6 million Tennesseans whose earnings are near or below poverty, and the 2.2 million more who are one financial disaster away from poverty, Haslam’s economic policies do absolutely nothing to provide relief.

In the end, the governor has shown he believes that if you aren’t making it, it’s not because of your circumstances, or bankers who tanked the financial system, or laws that actually slow job growth. It’s something you did to yourself.

The best average folks can expect are 365 pennies from Haslam, one a day — cold comfort for millions of Tennesseans struggling to get by.

Steve Ross is a former Democratic candidate for the Shelby County Commission, a member of the Shelby County Democratic Party Executive Committee, and a blogger about state and local politics at vibinc.com.

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Music Music Features

Monterey Jazz Festival on Tour at Germantown Performing Arts Centre

The Monterey Jazz Festival is the longest consecutively running jazz festival in the world, and to celebrate its 55th year, the fest has hit the road with a touring show of contemporary jazz stalwarts. The tour comes to the Germantown Performing Arts Centre this week, headlined by singer Dee Dee Bridgewater (pictured).

Bridgewater was born in Memphis in 1950 (her father taught at Manassas High School) but raised in Michigan before emerging as a major jazz figure in the 1970s. She’s a multi-Grammy winner and also won a Tony for performing in The Wiz in the mid-Seventies. Along the way, she’s played Billie Holiday onstage, recorded tributes to Ella Fitzgerald and Horace Silver, and been an ambassador for the genre via a syndicated NPR show.

At GPAC, Bridgewater will be joined by bassist Christian McBride, who was one of the biggest new jazz figures to emerge in the 1990s. Others performing are: bop pianist Benny Green, prolific drummer Lewis Nash, saxophonist Chris Potter, and trumpeter Ambrose Akinmusire.

The Monterey Jazz Festival on Tour is at the Germantown Performing Arts Centre on Sunday, April 21st. Showtime is 7 p.m. Tickets start at $25. See GPACweb.com for more info.

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Editorial Opinion

And All Have Won Prizes

Now that both houses of the Tennessee General assembly have passed legislation enabling new municipal districts to be created on a statewide basis, it would appear that Shelby County’s six suburban municipalities — Germantown, Collierville, Bartlett, Lakeland, Arlington, and Millington — will finally have the opportunity to pursue their vision of municipal school independence.

Beyond the certainties that Governor Bill Haslam will sign the municipal-schools bill into law and that the six suburban governments will set up and pass new referenda, there remain obstacles. U.S. district judge Hardy Mays may be asked to vet the bill just passed via new or existing litigation (though the bill’s statewide application appears to spare it the taint of special legislation that caused Mays to rule against last year’s version of municipal-schools legislation).

More problematically, the issue of whether new municipal districts in Shelby County will tend to foster resegregation is part of the Shelby County Commission’s standing litigation against the municipal-schools process, and Mays still has the option of holding trial on that point.

And there are practical matters — the question of school buildings being the most obvious one. Both the particulars of the new bill and the realities of the calendar make it impossible for new municipal school districts to come into being before the school year that begins in August 2014, and between now and then, the matter of how and at what cost the suburban municipalities will avail themselves of the buildings and other infrastructure now belonging to Shelby County must be resolved.

Still and all, it now seems a given that there will indeed be municipal school districts in suburban Shelby County, probably as soon as August of next year.

Even before all the smoke clears, it is possible to enumerate some of the things that have been accomplished during the two and a half years of conflict and maneuver and cross-purpose regarding the public schools of Memphis and Shelby County.

First, the anxieties regarding a possible loss of funding that prompted the Memphis City Schools board to dissolve itself are now disposed of. Until its charter surrender in December 2010, MCS was technically a special school district whose board majority feared that a Republican-dominated legislature would convert Shelby County Schools into another special district with no obligation to share its school tax levies with city schools. That danger has now passed. The old MCS has meanwhile morphed, through merger, into the official county district, which, by state law, can draw upon the education fund created by the whole county tax base. Back then, Memphis residents paid an extra tax to sustain their city schools. No more. Henceforth, it will be the residents of suburban schools who pay the extra school taxes.

And, even during the halcyon days of the old Shelby County Schools system, a few of the municipalities hankered to have more control over their schools. Now, they will.

City-county school unity has apparently proved to be a chimera. But, oddly enough, to adapt an old proverb, the ill wind of discord may have blown everybody some good.

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We Recommend We Recommend

Surrender Dorothy

If ever (oh ever) a wiz there was, the Wizard of Oz is one, because (times six) of the wonderful things he does. For example, 113 years after L. Frank Baum penned his great American fairy tale The Wonderful Wizard of Oz and nearly three-quarters of a century following the iconic MGM movie adaptation starring Judy Garland, the Wizard is still bringing patrons to the theater in droves. Last summer, the Orpheum’s summer film series screening of The Wizard of Oz attracted a capacity crowd, and as of now, Sam Rami’s Oz the Great and Powerful, a prequel to the original, is 2013’s reigning worldwide box-office champion. Ballet on Wheels opens The Wiz at the Cannon Center in May, and Wicked, a revisionist musical focusing on the witches of Oz, makes its return to the Orpheum in January 2014. This week, Ballet Memphis is reviving its grandly imagined retelling of young Dorothy Gale’s trip by cyclone from the Kansas plains to a technicolor land where a scarecrow dances and monkeys fly.

When Ballet Memphis’ young director Steven McMahon originally staged Wizard of Oz in 2007, he shunned American composers and looked across the Atlantic for sonic inspiration, choosing dynamic selections by Gustav Holst and Benjamin Britten. McMahon, last seen onstage tearing the head off of a teddy bear in George & Betty’s House at Playhouse on the Square, took an unabashedly modern approach to the well-known material, blending visual elements from the original film with his own, more expressionistic vision for Baum’s dark-edged classic.

Ballet Memphis presents Wizard of Oz at The Orpheum Saturday-Sunday, April 20th-21st, at 2 p.m. and 7:30 p.m. Tickets range from $5 to $72. Balletmemphis.org

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We Recommend We Recommend

Mr. Amurica

What will you see in Jamie Harmon’s epic “Obsessed Life Camera” photo exhibit, opening at Material this week?

“This show is all about people. It’s everybody I ever took a photograph of in my entire life,” Harmon says. “Well, obviously, it’s not everyone. That would be too many photos.”

Harmon, who ran the Memphis riverboat photo concession for years and is now best known for his “Amurica” photo booth, laughs at himself. Because in Mr. Amurica’s world, there’s no such thing as too many photos.

Hamlett Dobbins, Material’s owner/programmer, may not have fully understood what he was getting into when he approached Harmon about putting together a show. “He said he’d look through my Facebook page,” Harmon remembers. “And then I got this message from him saying, ‘You have 30,000 images in your Facebook albums. So I’m going to do my best.'”

Dobbins and Harmon sorted through the portraits, event photographs, live music photographs, crowd shots, and documents of everyday life at home with his family and friends. Eight hundred 6-by-9-inch prints were made.

“We wound up only being able to hang 500 of them because the space wasn’t big enough,” Harmon says. “We’re going to have another 200 to 300 in boxes for people to sift through like I did growing up, when, once a year, we pulled the bag of family photos out of the china cabinet and sat on the floor to look through them.”

Among the surprises: Harmon discovered a shot of Lucero’s Brian Venable as a 15-year-old checking out a hardcore show at the Antenna club.

“It’s kind of cool to have that next to a shot of him playing with Lucero,” Harmon says.

Obsessed Life Camera at Material, April 19th-27th. a reception for the exhibition will be held on Friday, April 19th, 5-9 p.m., in conjunction with the Spring Broad Avenue Art Walk.

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Letter From The Editor Opinion

Letter From the Editor: To Catch a Terrorist

The only way to stop a bad guy with a bomb is a good guy with a bomb, right? Probably not. How about good guys with guns? Yes, probably, at some point, near the endgame. But the most effective way to stop a bad guy with a bomb — or, at worst, catch him after he’s done his dirty work — is with good guys who have computers and surveillance data.

I recently saw the film Zero Dark Thirty, about the search for Osama bin Laden. While, in the end, it took good guys with guns — and high-tech night-vision goggles and helicopters and small explosives — to capture the Saudi mass murderer in his Pakistani lair, determining where he was took years of monitoring cell phone calls, satellite surveillance, and on-the-ground spy work by the CIA and military intelligence agencies.

By the time you read this, the FBI may have rounded up a solid suspect in the case of the Boston Marathon bombings. The Taliban have disavowed any involvement, which, whether true or not, has led to speculation that the bombings were the work of a domestic terrorist (or terrorists). And the fact that the bombings occurred on Patriots’ Day, widely seen by some American antigovernment activists as symbolic of federal oppression, heightened that speculation.

On Patriots’ Day in 1993, after a 52-day siege, federal ATF agents and the FBI attacked the Waco, Texas, headquarters of the Branch Davidians. Leader David Koresh and 82 others inside died, some as a result of the assault; most from a fire the Davidians set during the attack. Two years later, the bombing of the Oklahoma City federal building on Patriots’ Day was widely perceived as retribution for the Waco assault. Coincidentally or not, the Columbine school shooting in 1999 and the Virginia Tech massacre in 2007 also occurred on or around Patriots’ Day.

But given the recent history of American mass murders, we shouldn’t be surprised if it’s yet another mentally unstable young American male living out some warped fantasy or video-game-inspired violence. In fact, as was noted by several websites on Tuesday, a recent episode of the show Family Guy featured a character setting off two bombs at the Boston Marathon in order to win the race. Inspiration? Horrific coincidence? Who knows?

The sad truth is that nothing can stop all the bad guys bent on mass destruction. All we can do is try to make it more difficult for them to pull it off. Our thoughts and prayers go out to all those affected by this latest tragedy — and to those attempting to catch the bad guys. It appears to be a war with no endgame in sight.

Bruce VanWyngarden

brucev@memphisflyer.com