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Film Features Film/TV

S#!t: Bad Words ain’t bad, ain’t good.

Jason Bateman stars in and directs Bad Words.

First-time director and star Jason Bateman’s new film Bad Words shows promise; most rookie features with a distinctive look and a cast full of capable pros do. But it isn’t very funny. Once you roll up your sleeves, reach in, and try to figure out which pulleys and levers in its comic mechanism work and which ones don’t, though, the problem of comic analysis spreads out and expands. Trying to explain why something isn’t funny is as tough as trying to explain why something is funny.

Bad Words is weird enough from stem to stern that it could have been something. Bateman plays Guy Trilby, a sharp-tongued 40-year-old who has suddenly made it his life’s mission to win the Golden Quill National Spelling Bee. The bee (which is meant for middle-school kids) is presided over by Dr. Bowman (Philip Baker Hall) and Dr. Deagan (Allison Janney), a pair of stodgy, hateful authoritarians who more than justify most Americans’ mistrust and hatred of intellectuals who aren’t inventors, private detectives, or serial killers. As Trilby clashes with parents, humiliates his prepubescent competition, and wends his way to the nationally televised Golden Quill finals, he repeatedly crosses paths with Chaitanya Chopra (Rohan Chand), an overly friendly Indian preteen who decides they’re going to be best friends no matter how many Slumdog Millionaire jokes Trilby throws his way.

Bad Words treats both the pasty, glabrous spelling bee contestants and their pushy, monomaniacal moms and dads with disdain and contempt. The film’s baggy, meandering structure leaves plenty of space for scenes where Trilby wages crude psychological warfare on everyone he sees. But none of his victims ever have a sporting chance; each encounter is as unfair and exhausting as watching a parent stand near his kid’s TotSports Easy Score Basketball Set all day, swatting away shot after shot.

Unfettered, id-driven cruelty is Bad Words’ currency, and it is reinforced by the film’s unusually mannered visual scheme. Trilby’s quest is set in a greyish-brown and grungy-looking dystopia where everything seems tainted with mud and despair; it’s as if Bateman taped together dozens of grainy, decaying ends of film stock from the 1970s and then cleaned them up by dunking them in a creek before shooting.

But the visuals are in some ways the strongest, surest sign of Bateman’s talent. Unlike most live-action filmmakers, he knows how to set up a sight gag. There’s an exuberant slow-motion passage with Trilby, Chopra, and a lobster, and there’s a moment of synchronized door-slamming in long shot that belongs in a zombie movie directed by Jacques Tati.

And Bad Words pulls off something I haven’t seen in a comedy for a long time: It saves its funniest scene for last. As far as big-game switcheroos go, the final round of the Golden Quill tournament is not as memorably counter-intuitive as the finale of last fall’s Rush or 1996’s underrated golf saga Tin Cup. It ain’t bad, though, and it leaves a mark.

Bad Words

Opens Friday, March 28th

Multiple locations

Categories
News The Fly-By

Not Up in Smoke?

After University District residents delivered a stern message of “not lovin’ it” to McDonald’s regarding the fast-food chain’s plans to build a restaurant at Southern and Highland, they seem to have pulled their plans to purchase that property.

Now, a man who told the Flyer he simply goes by Mr. Z and owns the Highland Z Market and other convenience stores around the city, is attempting to purchase the property at Southern and Highland. And he says, if the deal closes, the building’s current tenants will be allowed to stay.

“It’s going to be remodeled, and if someone wants to stay, they can stay,” Mr. Z said.

Whatever smoke shop owner Gary Geiser says he plans to stay in the building where his store has been since 1971. He even held a celebration sale last week, but he says he won’t know for certain if he can stay until Mr. Z closes on the property.

“The problem is we don’t know what is going to happen with this,” Geiser said.

Southern Meat Market owner Randy Stockard isn’t so sure he’ll stick around no matter what happens with the building. Both men have been renting other storefronts for months just in case they have to move, and Stockard is considering moving to a new location on Park Avenue near Pete & Sam’s, where he’s been paying rent since January.

“I’m already paying rent on Park, but it would take me another month or two to get out of here. I started thinking about staying, but I don’t know. I’d probably do better on Park because of visibility,” Stockard said.

Geiser has a back-up plan too. He’s been paying $3,000 a month in rent for a location at 555-557 S. Highland, the old Double Deuce Dance Hall, since November 2012.

“We first heard about [McDonald’s trying to purchase the building] in September 2012, and we heard we only had two months to move. So like idiots, we rented space on the Highland strip,” Geiser said.

Geiser said, if they are allowed to stay put, they’ll turn the space on the Highland strip into office/warehouse space and another retail store of some kind. He said they’re also planning to open another smoke shop in town soon.

After hearing of the McDonald’s plan, the owners of the Super Submarine Sandwich Shop (better known as the “Chinese sub shop”), which was located next door to Whatever, quickly relocated into an old Captain D’s on Summer Avenue. Safeway Wholesale and Supply relocated a block away. Now their former locations are boarded up.

“I wish the sub shop lady hadn’t left,” Geiser said.

Business owners said they first learned of the potential McDonald’s sale in 2012 through rumors, and only after numerous calls to their property manager, Palmer Brothers Inc., did they learn they’d have to move. It sounded like a done deal.

But after University District residents petitioned against McDonald’s plans for a loop-around drive-thru that didn’t comply with the University District Overlay, an official set of standards that regulates all construction in the area, and the Office of Planning and Development rejected the site plan, McDonald’s withdrew its request for approval by the Land Use Control Board.

Calls to Palmer Brothers for comment were not returned by press time.

Categories
News The Fly-By

Vapin’

By now you’ve probably seen someone taking deep drags from a long, straight, electronic pipe and then blowing out billowing clouds of white smoke. But it’s not smoke technically. It’s water vapor (and lots of other stuff).

Electronic cigarettes, or vaporizers, have burst onto the Memphis market in the past year. Many cigarette smokers have eagerly adopted the devices believing vaporizers are less harmful than traditional cigarettes and that they can help them stop smoking altogether.

Eager consumers equal big business, and the vaporizer trade is booming here. Hundreds of stores, from gas stations to big-box chains, carry the devices. Nearly a dozen stores in the Memphis area specialize in vaporizers, and many of them deal in them exclusively.

Fred Bahhur brought his VaporWize chain to Memphis in July. When his newest store opens on Houston Levee in the next few months, it will be his fifth store in the area. He said vaporizers are a “booming trend” and a “very popular business right now” and that the product he sells “really helps people out.”

He couched that last statement with a caveat. He is not a medical professional, and he knows the products have not yet been approved for use by the Food & Drug Administration (FDA). But he said he thinks vaporizers help people quit smoking cigarettes.

“As a user and a supplier, I have to believe that [vaporizing] is the lesser of the two evils,” Bahhur said.

But no one knows yet if vaporizers are safer than cigarettes or if they’re harmful. The fact that smoking traditional cigarettes is harmful comes from years of research, but little data exists on the use of vaporizers because they are a newer product. The sole FDA study on vaporizers found nicotine and many cancer-causing agents in both the vaporized “smoke” inhaled and exhaled by users.

“When people think they’re ‘vaping’ and that it’s just water vapor – oh no, it’s not and it smells,” said Teresa Cook, a clinical psychologist and the health behavior coordinator at the Memphis Veterans Administration (VA) Medical Center.

Cook said vaporizers are showing up more and more on the Memphis VA campus. As the “facility tobacco cessation champion,” she is rewriting hospital rules on vaporizing to classify them as a tobacco product and limit their use only to designated smoking areas of the campus.

State laws do not yet regulate where Tennesseans can vaporize. The Tennessee Department of Health followed the FDA with a public health advisory in February that urged consumer caution in using the products until more is known about them.

But a bill before the Tennessee General Assembly would begin to define vaporizer use here. That bill, sponsored by Rep. Steve McDaniel (R-Parkers Crossroads) and Sen. Doug Overby (R-Maryville), would specify that vaporizers are not tobacco products and that using them is not considered smoking. This would specifically allow users to vaporize in state-owned buildings and vehicles, University of Tennessee dorms, and tattoo-working areas. The bill would also remove taxes applied to tobacco products from vaporizers and their accessories.

Categories
Theater Theater Feature

I Don’t Know How to Love It

My 11-year-old daughter and I sang the title song from Jesus Christ Superstar (JCS) in the car all the way home from Theatre Memphis. Usually this would be a good sign for the show, but in this case we were both in full-on parody mode: “Jesus Christ, cargo shorts, what do you use all those pockets for?”

We imagined what Jesus might keep in his cargo shorts. Loaves? Fish? Water? Wine? Blood packs for all the simulated torture to come?

Theatre Memphis’ typically lavish musical production is a mixed bag, and ultimately it’s the show’s lavishness that does the mixing. On the plus side, the Andrew Lloyd Webber/Tim Rice passion play is louder than bombs. From the pit, Davy Ray Bennett lays down some nasty-good guitar and choreographer Pam Hurley’s highly individualized Hair-meets-A Charlie Brown Christmas approach to the dance numbers is a refreshing counterpoint to the flashy precision-tap sequences that are practically a prerequisite for admission to the Lohrey stage. Although the vocals are inconsistently mixed, the resulting arena concert feel is right on target. In terms of staging, however, this JCS is more old-school opera than any school of rock, with lots of people standing in place singing emphatically at one another. And did I mention that the messiah wore CARGO SHORTS? Because that happened.

Okay, okay. Anachronisms are customary in JCS, and I should probably lay off the damn pants. And I probably would if they didn’t make such a useful metaphor for a sincerely imagined show that grasps for currency while trying not to offend. Thing is, Superstar was conceived at the tail end of the 1960s and born on Broadway in 1971. It told the Lord’s story using the Devil’s music and is supposed to be at least a little bit transgressive. And from my perspective — and a purely dramatic standpoint — it’s hard to experience either the danger or the divinity of Gap Jesus.

Jesus was a rebel, wasn’t he? And Cargo shorts are half-off at the Money Changer near you.

Director Kell Christie is a smart interpreter of dramatic material with a playful spirit and an inclination to paint on a big canvases. The environment for her production of Amadeus at Theatre Memphis was so grand, it dwarfed a group of players who know how to go large. JCS‘s split-level space is built to a more human scale and perfect for people-stacking, but its implied volume and literalness can similarly overwhelm the action. All the singing, dancing, betraying, whipping, and crucifying takes place in the wreckage of a ruined cathedral that immediately calls to mind the epic destruction of the Blitzkrieg and the under-construction England into which both the musical’s authors were born. The absence of a resurrection scene — a sticking point among Christians who like to feel persecuted — is atoned for by the opportunity to “rebuild the temple,” and thereby fulfill the previously unfulfilled prophecies with a visually stunning metaphor.

Vocal showboating was a little much at times, but JCS still boasts some strong performances, especially by Stephen Garrett as Jesus and Lee Hudson Gilliland as the conflicted Judas. It’s hard to know, given how much this loosely told story relies on theatrical convention, how things might have gone if the emphasis was on actors instead of scenic design and on action instead of activity.

Jesus Christ Superstar is at Theatre Memphis through March 30th.

When Black Pearl Sings closes in April, the Hattiloo Theatre will go dark for a time. When it reopens, it will be in its new custom-built playhouse in the Overton Square theater district.

Like Jesus Christ Superstar, Black Pearl is a mixed bag. The script is clunky, rambling, and repetitive. If you take a drink every time the play’s lone white character says “how dare you,” or “don’t you dare” you can probably catch a buzz by intermission. Staged on a set that most Memphis high schools would find unacceptable and with a lighting design best described as “on or off,” it’s not much to look at either. Thankfully the somewhat true story — a gender-flipped retelling of how pioneering ethnomusicologist John Lomax discovered Leadbelly in a Texas prison — boasts some interesting ideas, and a pair of top notch actors who interpret the script’s musical passages beautifully.

Claire Hayner plays Susannah, who was named for the song “Oh Susannah” and who has devoted her life to collecting old melodies and folk traditions. She’s the perfect foil for Patricia Smith’s Pearl, so named because of her ability to irritate and to endure.

Black Pearl Sings is at Hattiloo Theatre through April 6th.

Categories
Cover Feature News

The “Stunt-Baby” Grows Older

“He’s on a learning curve, no doubt about it. He’s still going through a learning curve, but that’s natural. He’s a sharp young man. If there’s anything wrong, he’s overenthusiastic about things once in a while, and you just have to rein him in. That’s youthful exuberance, and that’s the kind of stuff you want in people.”

— Lieutenant Governor Ron Ramsey, speaker of the Tennessee State Senate, March 20th

In the spring of 2005, newly elected state Representative Brian Kelsey, a 26-year-old Germantown Republican who had been in office a mere few weeks, decided to summon the Capitol Hill’s press corps to a press conference. This was a surprise to the denizens of Legislative Plaza, who had the same expectations of legislative newbies as did the veteran members of the Tennessee legislature themselves.

“Wait your turn.” “Bide your time.” “Respect the protocol.” Even some version of the old childhood standard, “Be seen and not heard.” All these were an understood part of the ritual for the newcomer in a body as dependent on established hierarchies as the General Assembly, particularly as it was constituted in spring 2005, when majority Democrats had the same solid grip on the levers of power that they had possessed since Reconstruction.

Lauren Rae Holtermann

Senator Brian Kelsey

All the aforesaid admonitions and one more crucial one — “Don’t make waves or rock the boat” — would have made perfect sense to the then recently retired Joe Kent, the genial ex-policeman who, for 26 years before Kelsey, had held the District 83 seat encasing portions of Southeast Memphis and Germantown. A moderate’s moderate, Kent had moved easily in a chamber long dominated by House Speaker Jimmy Naifeh, the Covington Democrat whose word was law and whose wielding of the gavel brooked no appeal.

So it was a double jolt for the Capitol Hill reporters when they assembled in a hearing room that day in early 2005 and realized that the tousle-haired, button-downed rookie legislator before them, who could easily have been taken for an intern, was there to lambaste the venerable speaker for abuse of power, in general, and in particular, for a procedural ruling that, as Kelsey saw it, skewed the results of a voice vote so as to interpret a clear chorus of nays as so many ayes.

But the surprise of the press gang was nothing compared to the astonishment of Naifeh himself, who later that week boarded a Capitol elevator in the company of then state Representative Paul Stanley, also a Germantown Republican, but a more senior one who at the time held one of his party’s leadership posts.

“Who is this whippersnapper?” might be a polite and somewhat Bowdlerized version of the question Naifeh asked Stanley, who executed some version of a shoulder shrug to indicate that he himself had no answer.

“And he [Naifeh] didn’t speak to me after that for three years, which made it dfficult,” Kelsey says now, with the kind of self-effacing grin that is part sheepish and part proud of himself. And the freshman member would get disapproving vibes from both sides of the aisle. “You don’t send press releases blasting the speaker? I must say I wasn’t aware of the protocol. But am I glad I was standing up for the people? Yes.” In the next few years, Kelsey would keep on vexing the then ruling Democrats — and assorted members of his own Republican Party, as well. There was the occasion in 2007, when state government, so often used to being straitened, approached the end of its legislative year with a budget surplus, for a change. The Democratic leaders of both chambers hit upon the expedient of offering Assembly members a portion of the overrun to use in their districts for projects of their choice.

In the House, this came to $100,000 per district, and most members of both parties had little issue with accepting the funds, which were being called “community enhancement grants.”

Not Kelsey, who preferred to use the term “pet pork projects” for the ad hoc grants. “This is the worst spending proposal I have heard in my time in the legislature,” Kelsey, midway through his second term, said at the time. “The idea of having members march around their districts like Santa Claus handing out checks reeks of incumbency protection and of buying votes.”

Kelsey with the brass at the wine bill signing

Accordingly, he filled an envelope with bacon and made a show on the floor of the House by handing it back to an annoyed Speaker Naifeh as a token of his refusal to participate.

That outraged several members, among them Kelsey’s fellow Shelby County Republican, Curry Todd of Collierville, who had what he considered good uses for the money in his district. Todd angrily approached Kelsey, whom — in what may have seemed an understatement at the time — he accused of being a “grandstander.”

For a while, Kelsey was referred to by colleagues as “Baby Bacon,” which quickly yielded to a blogger’s coinage, “the Stunt-Baby of Germantown,” a moniker that held for some time and still turns up in published criticism of Kelsey.

Acknowledging his aberrant ways of that period, Kelsey notes today that he was in the minority party in the House back then — the Senate had already gone Republican and elected the first GOP speaker, Ron Ramsey; the House didn’t turn over for another two years. And he offers this explanation for his antics:

“When you’re in the minority and you’re faced with the other party’s egregiously bad conduct, all you can do is scream and yell; the only shot you’ve got is to create a spotlight.”

Those are the sentiments, too, of Lieutenant Governor and Speaker Ramsey, who made a point in 2013 of replacing maverick Tea Party Senator Mae Beavers of Mt. Juliet as Senate Judiciary chairman with the more reliable Kelsey, who was elected to his body in 2009 (ironically, in a special election to replace Stanley, whose involvement with an intern had led to a scandal and a forced departure).

“I think those were more minority stunts in the House, and he has matured a lot since then,” Ramsey told the Flyer. “So now, when you’re one of 33 [senators], and you’re in a majority with responsibilities, those aren’t the kind of things you do. And I think he understands that.”

Senator Kelsey with U.S. Rep. Steve Cohen

Back then, however, the “spotlight” Kelsey spoke of would turn awkwardly on the young representative himself. In 2009, the Republicans fully expected to elect their own speaker to replace Naifeh. They had just eked out a one-vote majority in the House in the 2008 election cycle, and an East Tennessee Republican, Jason Mumpower, previously the House minority leader, considered himself sure to be the next speaker. He had already written his acceptance address.

The Democrats had other ideas, however, and they bargained with a friendly Republican, Kent Williams of Carter County, to accept the Speakership by adding his vote to theirs. In the uproar that followed this coup, no one professed more outrage than Kelsey, who lodged an ethics complaint against Williams for allegedly propositioning a female Republican member with the line “I will give a week’s pay just to see you naked.”

But Kelsey’s moral indignation took a setback when Williams made public a simultaneous email dispatched by Kelsey, who was a House Judiciary Committee member and hankered to be the committee chairman. The email, to one of Williams’ staffers, read, “Tell Kent I’m willing to talk about reconciliation if he’s willing to talk about chairman of the full committee.”

Kelsey’s explanation today: “I attempted to reach out to the new speaker, knowing full well it [the request for the committee chairmanship] would be rejected, and it was rejected. This was before the committee assignments were made. I thought I should make an effort to reach out to him.”

The leaked email incident was not the only embarrassment for the upwardly mobile young legislator.

On two occasions in 2009, his last year in the House, he was called out in news accounts for claiming undue credit for legislative acts — once in the case of a bill to expand charter schools in Tennessee, another time in the case of the Memphis City Council’s easing of residency requirements for police officers.

In the latter case, though, Kelsey had introduced a bill that would have caused Memphis to forfeit revenue from property confiscations unless its residency requirements were eased, and at least one councilmember, Shea Flinn, thought the representative’s action might indeed have influenced the council’s actions.

In any case, skepticism by others often attended the actions of Representative Brian Kelsey. (It still can: Wags in the press corps raised eyebrows at Kelsey’s unexpected presence on a stage for the recent wine-in-grocery-stores bill signing.)

Senator Kelsey with House Speaker Beth Harwell

As a result of what would see some sort of legislative alchemy, however, his elevation to the Senate in late 2009 has profoundly altered the gravitas and influence claimed by Senator Brian Kelsey.

   

AS OF SPRING 2014, Kelsey, now 36 and a fixture in the GOP’s legislative super-majority, can claim a plethora of legislative accomplishments that are either celebrated or deplored, depending on one’s politics, but that have to be acknowledged in any case.

*Two of the three constitutional amendments on the statewide ballot this November were authored by Kelsey and nudged through the General Assembly by his perseverance.

One would abolish for all time the possibility of a state income tax of the sort that preoccupied and convulsed state government in the early years of this century.

Another, called by Kelsey the “Founding Father-Plus” amendment, would require the appointment of state appellate judges to be made by the governor and ratified by both chambers of the General Assembly. The amendment would eliminate all variants of the current judicial nominating commission.

*Kelsey has been the moving force behind efforts to prevent the statewide expansion of Medicaid (TennCare is Tennessee’s version), which is one of the linchpins of the Affordable Care Act (Obamacare) and which the state’s Hospital Association and Chamber of Commerce, among other institutions, have considered vital.

Kelsey sees Medicaid expansion as both a federal intrusion and ultimately as a financial burden the state cannot afford, although the federal government would pay the full expense of expansion for the first three years and would commit to paying 90 percent of costs thereafter. (Kelsey, like other conservative opponents of expansion, professes to doubt that commitment.)

*As the author of a bill for what he calls “opportunity scholarships,” Kelsey has been one of the prime forces behind a state voucher program for use in private schools. Though the senator insists that he favors vouchers only for low-income students in certifiably failing schools, critics fear that such a program would ultimately lead to the dissolution of borders between public and private, and between church and state, and would adulterate public education.

Kelsey’s insistence on a more ambitious voucher program than the one proposed by Governor Bill Haslam in the legislative session of 2013 ultimately forced the governor to withdraw the core bill he had offered. But, as Kelsey notes, a compromise measure that is due to be acted on before the end of the current session has already doubled the number of start-up vouchers from Haslam’s original 5,000 to 10,000.

*Kelsey is the sponsor or co-sponsor of numerous other measures that are part and parcel of Tennessee government’s new orientation toward conservative Republicanism.

Senator Kelsey taking on Medicaid expansion

They include: a resolution putting Tennessee government on record as seeking a constitutional convention to impose a balanced budget; bills to rein in or eliminate various traditional forms of taxation, ranging from the Hall income tax on dividends to the gift tax to the inheritance tax to the state beer tax; bills to transform public pensions into 401k “planned contribution” systems; bills to shift workers’ compensation cases from the courts into a state administrative structure and to cap awards in personal injury cases; and bills to prohibit minimum-wage and living-wage legislation at local governmental levels that might clash with such mandates as are imposed by state law.

Kelsey proclaims himself an unabashed supporter of the state’s authority over local government on a host of issues, including pending legislation to allow charter school applicants to leap-frog over local school boards and be authorized directly by the state board of education.

And on the morning after the former Memphis City Schools (MCS) board voted to surrender its charter in December 2010, thereby forcing merger with Shelby County Schools, Kelsey put a bill in the legislative hopper that would have transferred to state authority the schools of the MCS — all the old MCS schools — if, as would happen, Memphis voters approved the surrender.   

The Norris-Todd bill that would eventually enable breakaway municipal school districts in the suburbs superseded that bill.

“To the extent that local governments are infringing on the rights of citizens, it is absolutely the duty of the state to protect freedom,” Kelsey insists. “Cities and counties did not fend off the British. It was the states that banded together under the Constitution.” In Kelsey’s view, cities and counties are mere subdivisions of the state and “can be created and abolished and legislated over” as the state decides.            

KELSEY, A PROBATE LAWYER in civil life, is a scion of two of the most prominent families in Collierville history, the Kelseys and the Carringtons. The fact that his mother was a public-school teacher enabled him, as he remembers it, to attend Memphis University School on scholarship via a cooperative inter-school arrangement not unlike what he wants to arrange statewide via his voucher legislation.

He graduated from the University of North Carolina and went to law school at Georgetown University, a haven, as he sees it now, for legal liberalism. He was somewhat shocked to be schooled by professors who acknowledged their Marxist roots, but he says he enjoyed the intellectual stimulation that came with such exposure.

Starting while he was still in law school, he went to work for a succession of Tennessee Republican eminences — Senator Fred Thompson, Congressman Ed Bryant (he and Bryant exited the Capitol together on the day of the 9/11 attacks), and Senator Bill Frist.

Kelsey left Frist’s office to work for a year in the White House of President George W. Bush as an intern (“mainly doing grunt work”) and was soon back in the Memphis area running for Representative Kent’s vacated position in 2004. “I was probably too young, but that seat had been held for 26 years, and I didn’t want to wait another 26 years for a crack at it.”

Through law school, his early governmental stints, and while in office, Kelsey has left himself little time for a personal life. His motto, one he repeats often in conversation, is: “Always be the most prepared person in the room.” He acknowledges there have been costs to that.

“While I was ahead in many ways in my professional career, I was behind in many ways in my personal life.” For one thing, he remains a bachelor. “I’ve never been engaged, never been close to being married. I thought being in Nashville would double my chances for finding the right person, but somehow it has cut my chances in half.”

But Kelsey soldiers on, attempting to stay the most prepared person in any room he’s in and seeing himself as a defender of the Constitution above all. He likes to cite his differences with the Tea Party wing of his party, embodied in his notable rebuttals, as Senate Judiciary chairman, of his predecessor in that position, Mae Beavers, who persists in introducing measures calling for nullification of federal law.

It had to be something of a personal setback, then, for Kelsey to see a bill of his own, which would have banned picketing in certain labor disputes, declared unconstitutional as an infringement on free speech just two weeks ago by state Attorney General Robert Cooper. (Kelsey’s personal website declares, among his desiderata, “I look forward to continuing to reform the judiciary … starting with how we pick the attorney general.”)

Another aborted effort was Kelsey’s sponsorship of SB2566, which was widely characterized as the “Turn Away the Gays” bill and which Kelsey withdrew after, as he puts it, “listening to my constituents.”

Though he says the bill was aimed only “to help pastors and rabbis and others to not be sued for not wanting to participate in a same-sex ceremony,” the bill was likened by critics to “model” legislation prepared by the right-wing American Legislative Exchange Council (ALEC) that would sanction the denial to gays of a wide array of commercial services.

Kelsey acknowledges that “discussions” at ALEC events have often been the inspiration for bills he has introduced, but contends that he gets most of his legislative ideas from the aforesaid “listening” to constituents

He regards himself primarily as a fiscal conservative and not a social conservative in the mold of Senate colleague Stacey Campfield (R-Knoxville). Hence, perhaps, a certain sensitivity that he evinces on the issue of the discarded SB2566.

But, lest anyone should get the idea that the erstwhile “stunt-baby” has transmogrified entirely into a stiff upper lip, Kelsey allows himself an occasional throwback moment. There was, for example, the occasion last fall when Health and Human Services Secretary Kathleen Sebelius came to Memphis on behalf of Obamacare, the online site for which was then experiencing start-up difficulties. She was accosted by Kelsey, who presented her with a copy of “Websites for Dummies.”

Kelsey says his intent was to generate support for his anti-Medicaid expansion bill. “It was a light-hearted moment, but it had a very serious point.”

Be assured: Whatever else he is, Brian Kelsey is, in every conceivable meaning of the term, very serious.

Categories
Film Features Film/TV

Enemy

Jake Gyllenhaal stars with Jake Gyllenhaal in Enemy.

Attention, Negative Nellies of the world: Have I got a film for you (and Positive Pauls should probably look for kicks elsewhere). Enemy is a creepy flick, and I can’t stop thinking about it. It’s also quite terrific, or at the least, terrifically effective.

Enemy stars Jake Gyllenhaal as Adam Bell, a history teacher in Toronto who leads a fairly monotonous life floating through life: at school, driving home, and domesticity with his girlfriend, Mary (Mélanie Laurent). A normal question from a colleague shakes his routine: Do you ever watch movies? Adam’s perturbed response makes the question seem more sinister that it ostensibly is.

Upon his teacher colleague’s recommendation, Adam watches a cheerful-seeming, locally made film. It all takes a turn, though, when Adam realizes an actor in a small part looks exactly like him. It freaks him out and fascinates him. A little bit of Internet sleuthing and craftily playing off the fact that he’s trying to find a man who’s his spitting image, Adam tracks down the actor, Anthony St. Claire (Jake Gyllenhaal, too) and talks to Anthony’s wife, Helen (Sarah Gadon). Adam and Anthony meet, and, pretty quickly, Adam decides this was all a very bad idea.

Enemy does a lot with a little. There’s not much narrative meat on the bone, and even clocking in at a scant 90 minutes, the film progresses slowly. It’s a deliberate choice, though, and the director (Denis Villeneuve), writer (Javier Gullón, adapting the novel The Double by José Saramago), editor (Matthew Hannam), and cinematographer (Nicolas Bolduc) opt for atmospherics over happenings.

The film opens with a series of moody sequences set to a dread score by Danny Bensi and Saunder Jurriaans: a yellow skyline, a nude pregnant woman, men in a dark room watching a woman have an orgasm, and a tarantula on a gold platter. These are evocative images enhanced by the unknown of how they fit together, underlined by the film’s opening tag: “Chaos is order yet undeciphered.”

The film is designed as a riddle, with the motifs of bizarre reveries punctuating the progress of the plot. Everything might be a crucial clue to solving the mystery. Offering tantalizing hints are Adam’s lectures on oppressive regimes where control is the only concern and the individual is snuffed out; about patterns and the Marxist thought that history repeats itself, “first as tragedy, second as farce.” Other clues: A body scar, a windshield cracked just so, a net of trolley wires, a key, graffiti, and lyrics to a songs by Faine Jade and the Walker Brothers. Or: maybe none of them matter.

Villeneuve (who also made Prisoners) is in control of this material. Like fellow Canadian David Cronenberg (who once made a movie about madness called Spider, I recall), Villeneuve creates such a feeling of dread and paranoia in his films that it encroaches on even the mundane. He gives the story space to breath and the audience time to get their bearings on the emotional map and to identify all of the relationship vectors in play. Sinister ideas are born and grow to massive size.

Gyllenhaal is roundly excellent. He finds little ways to express the ways Adam and Anthony are different and the ways they are inseparable, but not so much that you’d really notice or detract from the film’s flow. Overall, he forms a notion of dominance and submissiveness in the connection between the pair, as if they’re alleles of a gene. Adam carries his tortured weight as a physical toll on his body. Anthony is more menacing and secretive.

Enemy is a perfect film to see with a group and debate just exactly what happened over drinks or coffee. Theories can run lots of ways: Is it all psychosexual madness in the mindscape of one person, Adam, with a split personality, Anthony? Is it all Adam’s life, but told non-chronologically? Is it a tale of twin brothers, Adam and Anthony, unknown to one another, that examines the emotional ramifications of their meeting? There is a rack of monsters in the film: Are they metaphors for Adam/Anthony’s guilt or anger, lust or horror, repression or oppression? Or, most disturbing of all, can everything in Enemy be taken literally? (I can’t shake this theory.) The only thing certain is, the ending is … unforgettable.

Puzzles lose their power once they are solved, and since I haven’t yet demystified the film, Enemy retains its hold over me.

Enemy

Opens Friday, March 28th

Studio on the Square

Categories
News The Fly-By

Life in the Green Lane

Memphis is rolling forward with its bike-focused efforts as green lane projects have been announced throughout the city and two new cycling campaigns are underway.

Green lanes, named for their green paint rather than environmental impact, is the term for the types of protected bicycle lanes where there is a buffer between moving bikes and moving cars.

“That buffer area can take different forms,” said Kyle Wagenschutz, the bicycle/pedestrian coordinator for the city. “It could be that you paint the buffer area in the roadway. It could be that you use parked cars as the buffer area, so instead of having the parked cars against the curb, they would be a little off the curb, and the [bike lanes] would be against the curb. That wall of parked cars creates the buffer.”

The city’s first green lane was striped last year on Overton Park Avenue between Cleveland and Bellevue, the same year Mayor A C Wharton committed to building 15 additional miles of bike lanes. The city is in the process of exceeding that goal — 22 miles of lanes have been identified and funded. Eighty percent of the total project costs will be funded through federal grants, with the city having to match the remaining 20 percent.

Bianca Phillips

Since 2010, the city has already constructed 71 miles of bike lanes and paths, but most of the lanes on city streets are not buffered from traffic.

Perception of safety is important to get more people riding bikes, Wagenschutz said, and green lanes help soothe concerns. According to the city, the number of people cycling has doubled over the past three years, and the number of accidents has decreased 32 percent. With those statistics, the highest-used bicycling facilities in the city are ones that are separated from moving cars like the Shelby Farms Greenline and the Wolf River Greenway.

“The Wolf River Greenway, on a weekend, will see 2,000 people a day. On that same gorgeous, beautiful day, we’re unlikely to see that same usage on Madison Avenue,” Wagenschutz said. “It’s because the Wolf River Greenway, in addition to being aesthetically pleasing, provides a level of comfort.”

Ideas for the green lanes and bicycle-centric designs come from countries in Northern and Western Europe such as Denmark and the Netherlands — both of which have large cycling populations.

“We’re taking inspiration from how they designed their roadways in those countries and importing it back to America, adapting it for the culture and the design that’s prevalent here in the U.S.,” Wagenschutz said. “They have mastered the art of design for roadways in such a way that it’s created these kinds of spaces for bicyclists and cars to operate independently of one another.”

The city has also launched the “Get There Together” campaign to put the focus on people, rather than choice of transit, to try and change the mindsets of how people travel within Memphis.

“This new way of thinking embraces the mutual obligation we each have to each other to make sure we’re attentive, conscientious, and respectful to one another, regardless of how we have chosen to get around,” reads the Get There Together blog.

Wagenschutz has also been working on a month-long project for the city called the 30-Day Car-Free Challenge, where for the month of April, Memphians can commit to change their mode of transportation, even for a day, and be entered into contests for prizes. More information about both campaigns is available at

http://bikepedmemphis.com.

Categories
Music Music Features

Headed for the (Tip) Top

Trying to keep track of a musician like Frank McLallen can be difficult. When he’s not working shifts at the Memphis Pizza Café, chances are he’s on a stage somewhere in town with one of his 10 bands. And if he’s not playing live, he’s probably recording at his makeshift studio the Burgundy Ballroom, where local acts of all genres have taken refuge to crank out demos as well as full albums. Despite his chaotic schedule, we caught up with McLallen to discuss his take on the Memphis music scene and get more information on his band the Sheiks, who have a new record coming out next month on their own Ballroom Record Label.

Flyer: First off, let’s get a run-down of all the different bands you play in.

McLallen: I play in the Sheiks, the Maître D’s, Skip Town, Tennessee Screamers, Loose Diamonds, Jack Oblivian and the Tennessee Tearjerkers, Clay Otis and the Dream Sheiks, I play bass with Devil Train a lot as a fill in, I play with Minivan Blues Band, and I also play with a church band at Saint Mary’s Church down in Nesbit, Mississippi, when I can. I also have this new project with Chopper Girl called The Curse.

Tell me about Skip Town. What’s that project like?

That’s a band I do with Johnny Ciaramitaro and Rockin’ Rick. It’s like peyote western music. I like to call it psychedelic highway rock. We do covers and original tunes, but it’s basically like boogie music and psychedelic country. That band can play all night if someone wants us to. I also have this band called the Prom Kings that only plays a couple times a year. We play the Madonna Learning Center Prom and we dress up in ’50s Back to the Future prom outfits and we play Chuck Berry covers and “Earth Angel” and stuff like that. It’s pretty much the Sheiks plus my friend Daniel Brown.

In an average week, how many shows do you think you play?

On a good week, two or three gigs. I used to pick up a lot more. I used to play with Marcella Simien and that was good work. I even played in this casino band that was so shitty, but I needed the money at the time. I got a trio together and played at Horseshoe Casino in Tunica. We played Garth Brooks songs and Journey songs, and it was really embarrassing, but it paid well. I used to hustle a lot more gigs, but now I just try to do the things I like and the things I want to be a part of. I have to keep a calendar to keep all this shit in order. I just got a new planner and I’m basically booked every weekend from now until June. I’d like to keep it that way for the rest of the year.

Why do you think it’s so common for Memphis musicians to be in multiple bands?

Because there are so many great musicians around and so many creative people who are basically all in this together. I look at it like all of us are in this brotherhood or sisterhood of playing music. In my experience, egos don’t really play into the scene like they do in other towns. Everybody gets along for the most part, so it’s easy to share creative ideas with people. I mean, it’s a lot of fun to play music in Memphis, it’s a way of life.

Even though you have all of these different projects, it seems like the Sheiks are your main focus. Tell me more about the “Tip Top” single that’s coming out next month.

It’s actually an EP with two songs on each side. The A-Side has “Keep Me in Mind” and “Tip Top” on it, and the B-Side has “And She Said All These Things” and “Are You Still With Me” on it. The song “Tip Top” is basically about making a trip to the liquor store on Madison Avenue. All those songs are new, and it was recorded at Jack Oblivian’s house and finished up at Doug Easley’s studio. The EP is going to be released on Ballroom Records, which is a new label we started. It will be the first release on that label.

Tell me more about your practice space/recording studio/venue/house, the Burgundy Ballroom.

Sadly it’s coming to an end, but we had a really great three-year run. We put on a bunch of awesome house shows, and had an awesome annual Halloween show. I think we had about seven shows total in there, complete with a full bar and bartender. Keith [Cooper, guitarist for the Sheiks] has a lot of vintage recording equipment, and he’s recorded a lot of local bands at our house, from Moving Finger to Gopes Busters. [Local band] Time just recorded their record at our house, and it came out great. And of course everything the Sheiks have ever done was recorded at the Burgundy Ballroom with the exception of our latest single, which was mainly worked on at Doug Easley’s studio.

What are the Sheiks’ plans for the rest of the year?

Right now we are working on another full-length record. We went down to Austin this past November and got with [former Memphian] Andrew McCalla to record at his house. We recorded all our basic live tracks there and then we went to Doug’s [Easley] studio a couple weeks ago to start working on that. I think we will probably put out another 7″ as well. If we get some money together, I would like to start releasing more bands through the Ballroom record label. Touring wise, we are going to do an East Coast run at the end of May and then go back down to Louisiana and Texas. In the fall we are going to go to Europe with Jack Oblivian. We are hoping to bring Harlan T. Bobo along as well. We will be playing as the Sheiks and as Jack’s backing band, two sets a night for a month. In the meantime, we are just trying to book dates, record more, and hopefully make it out to the West Coast.

Categories
Music Music Features

Misti Rae Holton at Otherlands

Misti Rae Holton performs this Saturday, March 29th, at Otherlands as part of an evolving bill. Holton (nee Warren) has performed in Memphis for years with an array of top-shelf musicians. One of Memphis’ creative wonders, she is as comfortable working the plastic arts as she is in music. Given the demands placed on the caliber of musician that makes up her band, she has expanded into design to compliment her music.

“This is going to be a four-piece,” Holton said. “I play guitar and ukulele. Jimmy Arnold is my lead guitar player. C.J. Manning plays upright bass. Jesse Dakota plays drums. I’m going to holler at a horn player. All of them are busy. It’s hard to book with any of the guys in my band. Booking rehearsals is unbelievably hard. And recording time?”

Holton has adapted. Her experience with Rae Ray, a collaboration with Davy Ray Bennett, covered an eclectic mix of tunes that keeps her looking to new songs and set ups.

“It varies. I’ll take gigs, anything from a solo gig, up to a seven-piece with horns and stuff. I do a lot of private events and public stuff, where we’re throwing parties. We’ll do some of my more up-tempo original songs, but it’s mostly fun jazz songs and stuff from the ’50s. It’s hard to explain what I do. You really have to listen. You can’t sum it up in one sentence.”

She wants to record but has found her art and design to be a more manageable way to connect to her audience. See her work at facebook.com/mistiraeband.

“I’ve got to have something to leave my fans with. I still don’t have any recording that I’m proud of. But it’s really frustrating to do these gigs where the songs are just evaporating into space. If you weren’t there, you don’t even get to hear my music. I’ve always done visual art. I did visual art before I picked up a guitar.”

Misti Rae Holton and others, at Otherlands. Saturday, March 29th, from 8-11 p.m.

Categories
Music Music Features

Country Counterpoint

In the rock-and-roll game, artist collaborations can be tricky business and have historically yielded mixed results – just ask Paul McCartney and Michael Jackson, or David Bowie and Mick Jagger.

However, the Memphis music scene, long known for its incestuousness, has tended to have a higher success rate in this regard. From Otis Redding and Carla Thomas, to more recent team-ups like the Wandering, the South Memphis String Band, and Motel Mirrors, local musicians have seemingly always worked and played together well. Never has this been more true than in the case of the River City’s latest artist mash-up, Dead Dawls.

Joey Miller

Dead Dawls is a local supergroup of sorts, combining the members – all eight of them – of the well-known local alt-country acts the Memphis Dawls and Dead Soldiers. The two groups have dabbled with more informal forms of collaboration in the past, with members of each band sitting in with the other at various shows around town. They also share the common members of drummer Paul Gilliam and violinist/multi-instrumentalist Krista Wroten-Combest. But with the release of their first combined effort, a two-song 7″ vinyl record/digital download for the songs “Suburban Woman” and “Slow Motion,” the two bands dove headfirst into the collaborative pool.

“Everyone really embraced the idea that this was kind of an experiment from the beginning, which is probably one of the reasons it worked,” says singer/guitarist and Dead Soldiers member Michael Jasud. And so in January of this year, the bands began rehearsing together in earnest. In less than a month, they had produced two new songs.

“The songs came together quicker than any of us could have expected,” says singer/guitarist Ben Aviotti, also a Dead Soldiers member. “We all collaborated on lyrics and arrangement.”

“Suburban Woman” is an Alabama-esque, ’80s pop-country masterpiece, featuring a strong hook and stacked vocal harmonies. Given the right connections and circumstances, it might legitimately have a shot on commercial radio. And the B-side, “Slow Motion,” is a deeply affecting ballad, offering a nice emotional counterpoint.

Dead Dawls booked time at Toby Vest’s High/Low Recording, tracking and mixing both tracks for the new single in only three days. The single was then mastered and cut to vinyl by local recording engineers Leo Goff and Jeff Powell, respectively.

“The recording process was both amazing and exhausting,” says Aviotti. “It’s without question one of my favorite things I’ve ever recorded in my life.”

The record captures the distilled essence of both groups. Distinct elements of the more soulful and romantic Memphis Dawls and the more rambunctiously intimate Dead Soldiers are readily apparent and compliment each other perfectly.

“The most obvious themes in both bands include vocal harmonies and an undercurrent of southern gothic songwriting,” says singer/guitarist Holly Cole, a member of the Memphis Dawls. “One has a more feminine style, and the other representing a more masculine style. The two do create sort of a yin and yang.”

Dead Dawls will embark on a three-week tour to support the record in April. But first, the band will celebrate the new release this Friday, March 28th, with a performance at the Hi-Tone. “I’m really excited to take off its training wheels, kick it out there, and see how people absorb it,” says Cole. “There is no doubt that it’s like nothing any of us have done before. I, for one, am delightfully surprised by the product that has come out of this collaboration.”

Moving forward, both bands have plans to release full-length albums in the near future and to continue touring separately. But they are also open to the possibility of working together in the future.

“While both bands have tons of great stuff on the horizon, we’ve all agreed that this needs to be a regularly occurring project,” Aviotti said. “Maybe a single a year; maybe a full-length down the road, who knows?”

“I really like the idea of plugging albums that haven’t been recorded yet,” Jasud says. “Rappers are really smart about this. So having said that, look for the Dead Dawls record to drop in 2015.”

“We’ve also got a couple of mix tapes we’re gonna do before that.”

deaddawls.bandcamp.com

The Dead Dawls record release show with special guests the Shine Brothers is at the Hi-Tone Friday, March 28th, at 9 p.m. $10.