Categories
News The Fly-By

Student Discount

Brad Martin

Although about 20 University of Memphis employees are being laid off due to a $20 million budget gap, the institution has proposed to cut nearly $10,000 off the price of tuition for out-of-state students living in a 250-mile radius of Memphis.

The U of M recently issued a proposal to the Tennessee Board of Regents (TBR) requesting reduced fees for all out-of-state students. Those within a 250-mile radius of the city, such as residents of Little Rock, St. Louis, Birmingham, and Jackson, Mississippi, would benefit the most.

Those students would pay $12,403 instead of the current annual tuition rate of $21,768. All other out-of-state students outside of the 250-mile radius would have the opportunity to save thousands in tuition as well.

Brad Martin, U of M interim president, said the administration has been discussing the proposal since he assumed leadership at the university in 2013.

“It reflects our belief that we have a lot to offer to prospective students beyond our borders and that they can make a wonderful contribution to the university and the community,” Martin said. “We want to expand our reach. We want the University of Memphis to grow. We have the capacity to serve more students. This is another stake in the ground for us to demonstrate our commitment to growth.”

According to U of M data, in fall 2013, around 600 undergraduate students and nearly 350 graduate students were classified as out-of-state students.

The proposals would apply to continuing students and students who are already admitted to the university or who meet incoming admissions requirements. If the proposals are approved at the TBR board meeting in June, the reductions would take effect this fall.

U of M freshman Jerrica James hails from Little Rock. Thanks to scholarships, she’s able to attend the university. If the proposal is passed, she said it would benefit many of her peers who also aspire to attend the U of M but can’t afford the tuition.

“I have friends from my high school who I was trying to help get here, but unfortunately, because of the cost of out-of-state [tuition], they will not be able to attend,” said James, a journalism major. “I think that the initiative is a great idea, because I feel like we’re missing out on a lot of students who live really close, but they have to pay out-of-state tuition and it hinders them from coming to the university.”

A $20 million gap in the U of M’s operating budget led to the dismissal of around 20 administrative employees. But the university’s student population has decreased by 1,300 students since 2011, according to U of M data. And the U of M has requested for tuition to not be increased for the 2014-15 school year.

“There are a lot of issues associated with getting the organizational structure correct at the University of Memphis, and in the course of doing that, we did have some reductions of positions,” Martin said. “These will be paying students who otherwise would not come to the University of Memphis. It’s a very good financial proposition.”

The reduced fee proposals would eliminate $1.7 million of the tuition funding the university receives from out-of-state students. The university anticipates counterbalancing the reduction through enrollment growth, organizational realignment, and cost savings.

More than 50 percent of out-of-state students attending the U of M remain in the region after graduation, according to the university.

“I think [the reduced fees] will help attract more qualified students who can succeed and who are likely to work and stay and contribute to this community upon their graduation,” Martin said.

Categories
Theater Theater Feature

Swampland in Florida

Steve, the violent, disillusioned businessman at the heart of Craig Wright’s Grace, doesn’t put much faith in knowledge. “I’m not a knower; I’m a believer,” he says, compulsively witnessing to a potential business partner, praising the Lord with only the slightest hint of moral superiority. Unfortunately for Steve, who’s played with searing intensity by Christopher Joel Onken, the business deal goes south. But Wright’s play about faith, real estate fraud, and multiple homicides couldn’t have been better.

Steve’s a character we all know a little too well. He’s the kind of God-drunk know-nothing we encounter all the time in real-life media reports about needlessly controversial things like climate science or Planned Parenthood. He’s the guy quoting scripture in newspaper articles about Creationists vs. Cosmos. He’s also a stand in for every true-believing conservative Christian politician who’s ever been caught in bed with a live boy or a dead girl. But, thankfully, he’s not just that.

Zealots are an easy target, and putting a prayer in Steve’s mouth and a gun in his hand would be too easy for an author as inventive as Wright. And there aren’t many easy choices made in Grace, a time- and space-bending noir that challenges audience expectations at every turn. It’s a 90-minute nail-biter, and director Teddy Eck’s no-nonsense production at Circuit Playhouse is worth getting excited about.

Grace tells the story of Steve and Sara, a young evangelical couple from Minnesota who met in a Bible study group and who end up playing a key role in the murder of Sam, a disabled NASA scientist, and Karl, an elderly exterminator who knows many stories, all of them sad. Steve and Sara are prayer warriors, sincere in their belief that capitalism and Christianity are basically the same thing and that God has brought them together because he wants them to be both happy and rich. Although they are broke, the couple relocates to sunny Florida, the state most famously associated with swampland scams and gullibility, to pursue Steve’s dream of opening a chain of Christian-themed hotels with the help of a mysterious foreign investor who never makes good on his promises.

It’s no spoiler to say that nothing works out as planned. Grace is an extremely theatrical experiment in suspense that’s virtually spoiler-proof. The play begins at the story’s tragic ending with the lights fading up on a corpse-littered stage. Then it comes to life like a film played backward with dead characters rising up from the ground at the sound of a gunshot to say a few ineffectual last words to the gunman before retreating pathetically backward into lives that are already over. The play, in other words, is as transparent as Andrew Mannion’s scenic design, where two discrete apartments are represented by the same floorplan.

John Maness proves once again that he’s one of Memphis’ most reliable character actors. This time around, Maness takes on the part of Sam, a NASA scientist who was horribly disfigured in the car wreck that killed his wife. Sam is a natural skeptic, but he’s also a broken man who needs something to believe in. Over time, he comes to believe in Sara, the woman who turned to him innocently enough for companionship as her husband sank deeper and deeper into debt and delusion.

Morgan Howard is heartbreaking as Sara, a woman who is slowly coming to terms with the fact that she’s trapped in a loveless marriage and treated more like a servant than a partner.

Unfortunately, we will never know what stage veteran Jim Palmer might have done with the role of Karl, an exterminator who lost his faith as a child following an unpleasant encounter with Nazis near the end of WWII. Palmer took a bad fall prior to opening and was replaced by the always excellent Michael Gravois whose commitment to detail quickly makes us forget he’s too young for the part.

Grace is the word we use to describe God’s unmerited love. It’s the name we give to thanksgiving prayers and the period in business before fines are levied against those who have failed to make timely payments. Aesthetically speaking, it’s the word we use to describe forms and functions that are as effortless as they are refined. It’s hard to imagine that the playwright didn’t have each of these definitions in mind when he named his work. The Circuit Playhouse cast certainly gives each one a real workout.

Through May 4th.

Categories
Cover Feature News

Untapped!

Years ago, some anonymous graffiti artist adorned a piece of plywood nailed onto the long-abandoned Tennessee Brewery building with a painting of a snaggle-toothed green monster in a fedora. A thought bubble beside his head reads, “Inve$t in Good Time$!”

Justin Fox Burks

Doug Carpenter

The monster has become weathered over the years, with plywood cracks showing through his paint. But a group of enterprising Memphis movers and shakers have taken his message to heart. In an effort to both save the historic Tennessee Brewery from demolition and have a good time in the process, the group is investing their own money and time to put on an event dubbed “Tennessee Brewery Untapped.”

Every Thursday through Sunday from April 24th through June 1st, the courtyard and two inside rooms of the brewery will be converted into a beer garden with local craft brews, food trucks, pop-up retail, live music, and more.

Justin Fox Burks

Taylor Berger

Restaurateur Taylor Berger, attorney Michael Tauer, commercial real estate executive Andy Cates, and communications specialist Doug Carpenter are pouring money into this last-ditch effort to save the endangered brewery.

Mayor’s Innovation Delivery Team project managers Tommy Pacello and Abby Miller, who have organized similar pop-up events through the mayor’s office, have been consulting with the team. And Doug Carpenter & Associates public relations specialist Kerry Hayes has contributed ideas and promotion for the event.

Kevin Norman, who owns the brewery under the name Tennessee Brewery LLC, bought the building in an effort to save it back in 1997. But after years of failed deals with potential buyers, Norman has plans to demolish the building by the end of July if no one steps forward to purchase it before then.

“They have a termination clause available for the first six months, and they know they can sell the land after that. There are ongoing expenses with holding this type of building,” says the building’s leasing agent James Rasberry. “That six months has already started, and come the end of July, we will be seeing a demolition crew working on that building. The clock is ticking, no question.”

Enter “Tennessee Brewery Untapped.” The idea behind the free, open-to-the-public pop-up event is to showcase the brewery in a new light and, perhaps, demonstrate the building’s untapped potential. It’s a form of pre-vitalization, a new urbanist tactic exhibiting ways the building could be revitalized before any revitalization efforts are in place.

By holding the event in just the courtyard and two bottom-floor rooms, the event’s sponsors are hoping to show potential investors that revitalizing the building doesn’t have to be a multi-million dollar project.

“Finish the courtyard and the two rooms we’re using, put in some bathrooms, and have some weddings there for a year or two,” says Tauer. “Build up some capital and take on another room, and then we don’t have to lose that beautiful building at the end of the summer.”

Justin Fox Burks

helped do layout drawings for the set up of Tennessee Brewery Untapped; Larry Bloch a former owner of the Tennessee Brewery building surveys the progress with James Raspberry

From Brewery to Beer Garden

Up to 250,000 barrels of beer, including the Tennessee Brewing Company’s iconic Goldcrest 51, were brewed at 495 Tennessee Street in the brewery’s heyday at the turn of the 20th century. And beginning Thursday, April 24th, beer will again flow at the old brewery.

In the past couple years, four craft breweries have popped up in Memphis, and all four — Ghost River, Wiseacre, High Cotton, and Memphis Made — will be serving their beers in the beer garden. Twelve taps will feature mostly local beers with a couple of regional offerings.

The beer garden will be open Thursday through Sunday until June 1st. Hours will be from 11 a.m. to 9 p.m. Thursdays and Sundays, with hours extended until 11 p.m. on Fridays and Saturdays.

Each Sunday from noon to 6 p.m., Untapped will host “Beer Garden with Benefits,” and $1 from each beer sale will be refunded back to customers in the form of a token. Those tokens can be placed in one of several buckets representing area nonprofits, such as Project Green Fork, Habitat for Humanity, and Church Health Center, among others. The event’s sponsors will match the nonprofit receiving the most tokens at the end of each Sunday.

Food trucks from Fuel, Stick ‘Em, Rock ‘n’ Dough, and others, will rotate throughout each weekend. Berger and Tauer, partners in the soon-to-open Truck Stop food truck court/restaurant at Cooper and Central, have parked their official Truck Stop truck in the brewery’s courtyard.

Justin Fox Burks

Andy Cates, Tommy Pacello, and Michael Tauer

“That will become the kitchen of the Truck Stop when it opens, but for [Untapped], we’re thinking about bringing in some different chefs and trying different types of cuisine,” Tauer says.

There will be pop-up retail from various local vendors, including designer T-shirt shop Sache, which created three shirts promoting the Untapped event, including one that features the aforementioned green monster.

Live music will be limited to acoustic acts, due to requests from residents of the surrounding South Bluffs neighborhood to keep the noise level low. Opening weekend will feature Caleb Sweazy on Friday, April 25th, and Apollo Mighty with Josh Crosby and Jeremy Stanfill of Star & Micey on Saturday, April, 26th, at 8 p.m.

The sponsors are penciling in entertainment schedules from week to week, rather than planning the entire line-up from the start to allow for a more free-flowing organic event.

“We don’t really know what will happen [from week to week], and oddly enough, I find that to be sort of liberating,” says Carpenter.

Neighborhood Concerns

When news first surfaced of the Untapped event about a month ago, a few South Bluffs residents raised concerns about having live music and beer in their usually quiet neighborhood, hence the booking of only acoustic acts.

“The neighbors helped us set the vibe,” says Cates, executive vice-president of brokerage services for Colliers International. “We don’t want people being mad at us for playing drums until 10 p.m.”

Don Hutson, a 20-year South Bluffs resident and the president of the South Bluffs Neighborhood Association, says he believes most residents are now supporting the event.

“We had a few people who were concerned that it would be noisy or there would be problems with them serving food and creating some kind of event we’re not used to,” Hutson says. “But apparently, it’s going to be well-done. And they promised us the music wouldn’t be too loud.”

Deni Reilly, who owns downtown’s Majestic Grille with her husband Patrick, is a South Bluffs resident, and she fully supports the event.

“It’s great that the event is family-friendly so we can wheel our baby over for the acoustic shows,” Reilly says. “We live in the shadow of the brewery, and we’d like to be able to call that beautiful building a neighbor for many years to come.”

South Bluffs neighbors were also initially concerned about parking, especially during the already congested Memphis In May weekends. The sponsors plan to use the grassy lot next to the building for parking on non-Memphis In May days, but since the lot is small, they are encouraging people to bike or trolley to the event.

Much work has been done to convert the littered brewery courtyard into an attractive event space. For four weekends prior to the event, the core group and volunteers from the neighborhood have been cleaning up the courtyard, building tables and a stage from repurposed palettes and reclaimed wood, and creating planters out of old tires to hold plants donated by the Memphis Botanic Garden.

“It’s been affirming that this is an idea people get behind, and it’s also yet another example of what makes this such a great town,” Tauer says. “We put a call out to see who would help us dig out years of dirt and broken glass. They worked their asses off.”

Vintage brewing labels from Tennessee Brewing Co.

Finest Beer You’ve Ever Tasted

Those years of dirt and broken glass tell the story of a time when Memphis was still a young city and apparently home to lots of beer lovers.

On June 2, 1877, the Memphis Brewing Company, at that time run by S. Luehrmann, P. Wahl, and H. Leisse, served the first beer created at what is now known as the Tennessee Brewery, a mammoth Romanesque revival-style building at the corner of Tennessee Street and Butler Avenue.

Vintage brewing labels from Tennessee Brewing Co.

In 1885, a group of German immigrants purchased the brewery for $18,000. Those three — John Wolfang Schorr, Caspar Koehler, and Peter Saussenthaler created the successful Goldcrest 51 beer.

Schorr was born in Bavaria and immigrated to the U.S. with his family at age 11. His father was in the brewing business, and he followed in his footsteps.

Schorr and company created lager beer in the Bavarian German style. Their pilsener (spelled “pilsner” today) was widely loved by Memphis beer drinkers in the late 1800s, so they expanded their operation and created other styles of beer. By 1903, the brewery was the largest in the South. In 1906, they introduced their flagship beer: Goldcrest (the “51” was added later for the 51st anniversary of the brewery).

Vintage brewing labels from Tennessee Brewing Co.

Beer memorabilia collector Kenn Flemmons acquired many of the brewery’s original records, which he used to write a book called Finest Beer You’ve Ever Tasted, a history of the brewery. He found the original recipe for Goldcrest beer in those records, and with the help of some micro-brewing friends, Flemmons pared the recipe down and brewed it.

“It was perfectly good directions on how to make 250 barrels of Goldcrest 51 beer. We had to do some research to find the type of hops they used, and we never did find the exact strain of yeast,” says Flemmons, who will be speaking at the Untapped event and signing copies of his book on Saturday, April 26th, at 12:30 and 3:30 p.m. “But it tastes like a typical American lager from the early 1950s.”

Vintage brewing labels from Tennessee Brewing Co.

Throughout its history, Tennessee Brewing suffered some hard times, especially when Congress passed the 18th Amendment in 1917. The company even went out of business for a time when national Prohibition was the law of the land. Schorr and company attempted to keep the brewery afloat by making a non-alcoholic drink called Nib. But sales plummeted, and the brewery closed in the late 1920s.

Schorr died in 1932, but when Prohibition was repealed in 1933, Schorr’s son Jacob brought the brewery back to life. Business boomed, and the brewery even survived World War II when hops were difficult to come by and other ingredients, such as rice, corn, and yeast, were rationed.

In the end, it was increased competition from big-time beer companies, such as Budweiser and Papst, that eventually killed the Tennessee Brewing Company in 1954.

The brewery’s main building was sold to A. Karchmer and Sons Scrap Metal in 1955, and they occupied the building until 1981. The Tennessee Brewery has remained shuttered ever since.

Sobering Reality

Norman and his family purchased the property in 1999 for $350,000 in an effort to save the neglected building. He poured money into new roofing and stabilized the structure, saving it from demolition.

Since then, plenty of potential buyers have contacted Rasberry, and there have been 14 feasibility studies on potential uses for the building — from condos to a museum to another brewery.

“The [brewery] building is interesting, sexy, and cool, and people are seduced by it initially,” Rasberry says. “That’s been a problem in the past, with regard to actually getting it sold. We have had it under contract numerous times, but it’s very difficult to make the numbers work.”

Rasberry says he’s shown the building at least 500 times to potential buyers.

“I’ve kissed a ton of frogs looking for that princess, and we’re still looking,” he says.

The Tennessee Brewery, circa 1895

But if that princess isn’t found soon, the 130-year-old building may disappear from the Memphis landscape.

Many Memphians have a story about breaking into the building at one point or another. And though most have simply been curiosity-seekers, vandals have done plenty of damage to the aging structure, which makes the cost of renovation even higher.

“People are constantly breaking in, and just replacing a window will cost you $250 to $500. Not to mention that they’ve taken chairs on the new roof and punched holes in the roofing we spent $500,000 on,” Rasberry says.

The building is listed for $1.75 million. But Rasberry says the amount of money a buyer would have to invest to renovate the building and get it up to code is astronomical. If a buyer wanted to renovate the entire building, it would need new elevators for handicap accessibility to all six floors.

The wrought-iron stair railings, often the subject of artsy photographs, would need to be restored or replaced. Rasberry says that might run $200 to $300 a foot. Massive windows on the south side would prove costly to replace.

“There are windows that probably cost $3,000 to $5,000 each. The numbers just go crazy when you calculate what just the glass portion of that building would cost. Those are things that make you go, ‘Wow, how do we make this work?'” Rasberry says.

The Attic

The answer to Rasberry’s question might lie in a “less is more” approach to renovating the building, say the sponsors of Untapped.

While the group organizing the event is sure most Memphians who stop by the event over the next month will be there for “good times,” they’re hoping a few potential buyers might stop in as well. But they’re not specifically targeting uber-wealthy developers with funds to renovate the entire building all at once.

Instead, they’re using Untapped to push what they’re calling “the attic” concept.

“Let’s stop thinking about how you boil the ocean and develop this whole thing at once,” says Hayes of Doug Carpenter & Associates. “Can we see if there are smaller pieces that we can bite off one at a time? Get some people and money flowing and then move on to new pieces. Whether the whole thing gets renovated is kind of irrelevant. This is a new way of thinking about buildings of this size and in this condition.”

They’re hoping a potential buyer will see value in renovating only part of the ground floor — perhaps the courtyard and a few rooms — to use as event space, food truck parking, or some other use that wouldn’t require the entire building rather than the costly renovation that would be required for, say, condos or apartments.

“Those 14 feasibility studies, even when condo prices downtown were going for $200 a foot, weren’t penciling out. If you build out this whole thing, what do you do about parking? That’s a huge cost because you have to build structure parking,” Pacello says. “But if you shrink this thing down and think of it as just a ground floor, you take the need for an elevator out. And that’s a huge cost.”

It’s an idea Rasberry has gotten behind.

“We’ve been discussing just doing the bottom two floors and land-banking the remaining portion, thinking of it more like a two-story house with a large attic. You could use the upper floors for storage space,” Rasberry says.

Since they’re investing their own funds into the Untapped event, Tauer says they’re hoping to turn a bit of a profit. And he hopes that can inspire someone with a vision for a permanent use.

“Preservation doesn’t work unless there’s business rationale. The charitable model of historical preservation isn’t sustainable,” Tauer says. “[We’re hoping] this type of project shows someone out there who can invest significant resources that you don’t have to think of this as a $10 million project. If you can throw a couple hundred thousand dollars into it, think of what you can do based on what we’ve done.”

If Untapped is successful, Cates believes it can be a model for saving other endangered historic properties in Memphis.

“As long as Memphis doesn’t run out of abandoned buildings, you can take this concept somewhere else,” Cates says. “There are so many different things you can do. It doesn’t always have to be a beer garden.”

Memphis Heritage executive director June West agrees. After the news of the brewery’s impending demolition broke a few months ago, Memphis Heritage called a meeting, and this “attic” idea was floated.

“Use what you can and make it work. And that doesn’t mean some marvelous thing won’t happen [with the rest of the building] later,” West says. “There may come a day when you can go past the second floor. I think that’s a really important step for looking at a lot of buildings in Memphis.”

This idea of previtalization isn’t new to Memphis, though it may be the first time its been tried in a single building. The Mayor’s Innovation Delivery Team’s MemFIX events — neighborhood festivals with pop-up shops in unused and abandoned spaces in Crosstown and South Memphis — have already helped to enliven those neighborhoods.

The long-empty row of Crosstown Shoppes on Cleveland served as pop-up shops during the first MemFIX event in November 2012, and today, all of those formerly empty spaces have been filled with art studios, galleries, a hula-hooping studio, and the Hi-Tone music club. With Untapped, the organizers are transferring that idea to a single building.

Whether or not Untapped is the saving grace for the Tennessee Brewery, its organizers are at least glad they’re trying.

Carpenter says, “Our perspective is, if they’re going to tear it down, let’s enjoy it while it’s still here.”

Categories
Letters To The Editor Opinion

What They Said…

About Bryce Ashby and Michael LaRosa’s Viewpoint on requiring state legislators to take remedial civics classes …

I entirely agree with the Bryce Ashby and Michael LaRosa that our state legislators should be required to pass a civics test in order to hold office. That would certainly reduce the laughing-stock potential of Tennessee nationally.

But why stop there? Equally important to the functioning of our representative republic is an informed electorate. Let’s require a simple civics test at the polls on each election day. (My parents had to do this back in the 1950s, along with a $1 poll tax. Both measures have since been declared unconstitutional.)

But just think about it: If voters even had to come up with one correct answer regarding the fundamentals of our government, there would never be a Democrat elected in Tennessee again!

Bill Busler

About Bruce VanWyngarden’s column on Obamacare …

The Affordable Care Act was drafted in a Senate committee chaired by Max Baucus of Montana. Years ago, I considered moving to Montana, so I took the Billings Gazette for a long time. I followed the career of Baucus from the state legislature to Congress to the Senate. He was a Democrat in a Republican-leaning state.

His Senate committee quickly discarded the single-payer system, like Medicare, when it met resistance. They switched to a plan that originated in a conservative think tank and was the basis of the Massachusetts health-care plan. Baucus took nearly 200 suggestions from Republicans to be bipartisan. It got no Republican votes, and Republicans have zealously tried to impede and repeal it, yet they have no replacement plan for the 7.5 million now signed up.

Why is Governor Haslam afraid of Tenncare being defunded after expansion? If he’s really concerned about the state’s finances, he wouldn’t have let more than $100 million in money already taxed and collected go to other states. No one has seen the alternative to Tenncare that the governor is supposedly proposing to Health and Human Services. There is a kicker in a provision in the law called the “shared responsibility tax” on employees that could run as high as $72 million. What will they do if the the governor and the legislature don’t act?

Greg Cravens

Raymond Skinner

About Jackson Baker’s post, “Whalum Slams Joe Brown’s Pretensions to Party Leadership” …

TRUTH !!!!!! “How in the world, how on God’s green earth, can a person be literally gone from Memphis and Shelby County for 20 years and come back and claim to be the Democratic boss?”

Tom Guleff

About Bianca Phillips’ post, “House Resolution Seeks to Defend Tennessee Marriage Amendment” …

Soon Joe Carr and his sorry ilk will be in the trash heap of history along with the segregationists of yesteryear. Meanwhile, they will waste our tax money passing useless resolutions and defending discriminatory laws that will soon be void. Marriage equality is winning!

Chris in Midtown

About a post titled “What’s Wrong With Zach Randolph’s Defense?” …

He’s slow and can’t jump. I’m prone to brevity.

38103

About a Toby Sells News Blog item, “Halbert: State is to Blame for Untested Rape Kits in Memphis” …

We can thank the Tennessee Republicans for not funding the testing of rape kits. And they call themselves “Christians” … only if Charles Manson is the Pope. Let us not forget it was these same Republicans who tried to pass a bill that would have redefined rape to make it legal. Vote Republican and you vote to support rape of women and children.

Sam Cardinal

Categories
Letter From The Editor Opinion

Letter from the Editor: Song of Myself

I celebrate myself, and sing myself,

And what I assume you shall assume,

For every atom belonging to me as good belongs to you.

— Walt Whitman, Song of Myself

Did Walt Whitman predict Facebook? Given the uncanny descriptive accuracy of the opening lines to Song of Myself, it certainly appears so.

Scrolling through my Facebook “newsfeed,” it occurs to me that it is almost entirely a catalogue of my friends and acquaintances “singing” themselves. It’s the ultimate in branding, only we are both the ad agency and the product. We’re marketing ourselves, consciously or not, creating a self-portrait that we want others to see — our triumphs, our beautiful children, our vacations, funny goofs, moments of pride and joy, even times of pain and loss.

In a closet in my house are boxes and boxes of photos, stacked on shelves and on the floor, almost all of them taken before 2007 — before smartphones, before all our photos were on our computers or mobile devices or sent to the “cloud,” wherever the hell that is. (That cloud must be getting heavy, is all I can say. Our trip to France last year had to have added several zillion gigabytes.)

I remember when you’d go to someone’s house for dinner and after dessert, the host would say what were at that time the most dreaded words in the English language: “Would you like to see the slides of our vacation?”

“No, we wouldn’t,” we thought. But “yes, of course, we would,” we said. Then, lights dimmed, we’d sit staring at photos of sunsets, seaside dinners, cathedrals, hotel pools, that crazy waiter that spilled the Pinot Grigio on Merle, etc. What fun.

Now, if you want to see someone’s vacation photos, well, you can just go to their Facebook page and click through them — and, most important, you can stop any time.

And I feel sure Facebook is responsible for the death of those interminable “our family’s year in review” letters you used to get from friends at Christmas. For that alone, we owe Mark Zuckerberg large thanks. We already have everyone’s year in review at our fingertips, if we choose to look.

You can learn a lot from looking at your Facebook friends’ profiles: their favorite movies, books, albums, their relationship status, their family members. And, more interesting, at least to me, you learn what they value and how they want to be perceived by the world. Foodies post lots of food pictures. Political junkies post political stuff. Music people post music and videos. Young parents post baby pictures. There are sports people, funny socks people, pet people, travel people, religious/inspirational people, funny meme people, and people who update their profile picture three times a week. You are what you post.

“I celebrate myself, and sing myself,” wrote Whitman. And it was never more true, never more universal. Though, today, he’d probably post his masterpiece online and call it, “Song of My Selfie.”

Bruce VanWyngarden

brucev@memphyer.com

Categories
News The Fly-By

Public Goes Private

Residents around Overton Square may soon get a special permit that would allow them to park in public, on-street parking spaces designated just for them.

The revitalization of the Square has brought thousands of new people and their cars to the area in the past year. Many of those new visitors are parking their cars on the streets around the entertainment district, despite the October opening of the new $16 million parking garage.

This has riled residents around Overton Square who have reported visitors’ cars blocking their driveways and alleyways and some even parked in their yards.  

Toby Sells

“At all times of day and in the evenings, residents are surrounded with people,” said Memphis City Council member Jim Strickland. “Some residents only have access to their [houses] through an alley, and they’ll be blocked. Sometimes it’s in their yards. It’s just a free-for-all.”

Strickland and council member Shea Flinn have been meeting with residents and business owners in the neighborhood to solve the parking problem. Those talks have included the need for crosswalks, better signage for the parking garage, and better lighting in the area overall.

But much of the conversation has centered around establishing a parking permit district for residents around Overton Square.

If approved by the city council, the district would designate some on-street parking spaces just for residents. Residents would have to display special permits to park on certain parts of the streets in the district. Each household could get two permits for residents and up to four permits for visitors. Anyone parking illegally in the district would be ticketed and then towed.  

The permits and special parking zones would be a test case, Strickland said, and would only be for a limited time and for a limited area. Petitions will go out to Overton Square residents in the coming months to determine the boundaries of the district.

The city law establishing the parking district will take at least six weeks to move through the city council’s legislative process.

Chef Kelly English said a crosswalk leading from the parking garage across Cooper to his restaurants, Iris and Second Line, is needed before the parking district is established. Without one, he says he won’t have an “artery to business.” 

“[Customers] are not going to cross that street at 8 o’ clock,” English said. “That’s not going to happen.”

City officials are also looking closely at improvements needed for the area’s sidewalks, said Memphis city engineer John Cameron, especially between the parking garage and Cooper.

“We’re trying to make that corridor more pedestrian-friendly so folks would be more likely to walk from the garage to the businesses over there,” Cameron said. 

Strickland is expected to bring the proposal to the city council next week.

Categories
Opinion The Last Word

The Rant

Sbukley | Dreamstime.com

Cher

First of all, allow me to be totally self-serving and talk up the big “Stax to the Max” festival happening Saturday, April 26th, from 11 a.m. until 7 p.m. at the Stax Museum of American Soul Music (my real job). There’s free admission, food trucks, vendors selling all sorts of things, and all-day live music by the likes of Singa Bromfield, the Stax Music Academy Junior Academy (I guarantee they will be the big surprise of the day), the Daddy Mack Blues Band, the Bo-Keys featuring John Nemeth and Percy Wiggins, Swingtime Explosion, Toni Green (be still my beating heart), and Stax legends William Bell, the Mad Lads, the Temprees, and none other than Sam Moore of the most soulful duo ever, Sam & Dave.

Sam will perform as the Stax Music Academy’s special guest. Saturday is also the grand opening of the new Memphis Slim Collaboratory at the original site of bluesman Memphis Slim’s house next door to the Stax Museum (yes, the one where the sign with the message “Renovations Coming Soon” has been posted for about the past 10 years). It is way cool and open for tours that day. So I want everyone who reads this or uses it to line the litter box to come out for this festival. It’s a trip.

And do you know why they let me get away with writing this kind of self-promotional article? It’s because I’ve been writing for this paper for more than 25 years now. For a long time, as its founding editor, it was every week. So let’s say for the first 15 years, I wrote somewhere in the range of 780 columns for the Flyer. And let’s say for the past 10, at every other week, that’s somewhere in the range of 260. No one ever accused me of being a mathematician, but I think that comes to 1,040 columns in 25 years. That is absolutely frightening.

We were here for the fall of the Berlin Wall and the fall of John Wayne Bobbitt’s penis, when his wife Lorena chopped it off with a kitchen knife, put it in her purse, drove off, and tossed it into a field. The penis was found and reattached, and she was found not guilty by reason of insanity and ordered to spend 45 days in a mental institution. He subsequently tried to make money in a couple of porn films but ended up delivering pizzas and doing other odd jobs.

We were here for the first George Bush presidency with his sidekick Vice President Dan Quayle. Then we were here for the eight Clinton years, the eight George W. Bush years, and now going-on-six Barack Obama years. If you had told me 25 years ago that the United States would have an African-American president, one who got reelected to a second term, I would have been more than a little skeptical that Amurika would have the wherewithal to do that.

We were here for all of Cher’s final concert tours. We were here for wars in Kuwait, Bosnia, Iraq, and Afghanistan. (There were probably others I can’t remember.) We were here for the deaths of Lucille Ball, Jackie Onassis, Audrey Hepburn, Kurt Cobain, and a slew of others that we covered in one way or another. We were here for Lobster Boy trying to kill his wife by rolling across the room as fast as he could and repeatedly head-butting her. We were here for the construction of the Pyramid, FedExForum, National Civil Rights Museum, and aforementioned Stax Museum, along with its Stax Music Academy and the Soulsville Charter School. Heck, the Flyer was around for the demolition of the original Stax studios building. Who would have thought that at the original site of Stax Records, there would be an academic college prep school whose every senior has not only graduated but has gone to college with some kind of scholarship or grant.

Funny, the Flyer has had just three editors in its quarter-of-a-century lifetime: yours truly, the late and much-loved Dennis Freeland, and its current editor, some guy named Bruce VanWyngarden. The staff is much larger than the two and a half of us who originally put out the paper by carving the copy into a concrete pad and running ink over it, and the paper is all the better for it.

No, we didn’t have the internet, or even email in the very beginning. Nor did we have cell phones or iPads or iPods or much of anything in the way of being able to mass-communicate anything. No Facebook, Twitter, Instagram, texting, sexting, or Google Glass. But we could smoke at our desks during work, and there’s something very, very valuable about that. So there.

Come to “Stax to the Max” Saturday, April 26th, and tweet, text, Facebook, and Instagram ’til your heart’s are content. Just don’t forget to listen to the music and get a hot dog.

Categories
Editorial Opinion

Waiting for a Cure

Taking stock of his governmental realm in a luncheon address to members of the Memphis Rotary Club on Tuesday, Shelby County Mayor Mark Luttrell listed several areas of public life that he was especially concerned with — most of them expected: education, public safety, and economic development prominent among them.

Mark Luttrell

An additional one that he laid special emphasis on was public health — an issue which, as he acknowledged, he had little familiarity with in his previous roles as a prisons administrator and as Shelby County Sheriff. It had come to loom large in this thinking, though — notably the problem of the county’s soaring rates of infant mortality, which have attained crisis proportions.

What, he was asked, would be the impact of a decision by the state — even at this late stage — to accept funds for Medicaid expansion under the Affordable Care Act? What has been the impact of the Haslam administration’s inclination so far not to accept the funds? And what was his attitude toward it all?

As diplomatically as possible (given that Luttrell is a member in good standing of the state’s reigning Republican Party), the mayor explained that the impact of not having the expansion funds has been serious, even critical, since a major portion of federal funding to The Med had been discontinued on the expectation that substitute funding to it and other hospitals administering indigent care would be administered through Medicaid expansion.

Luttrell took note of Haslam’s frequent reiterations of his hopes that he will be able to obtain a waiver from the Obama administration that would allow the state to secure the add-on Medicaid funding to be administered through private insurance sources. The mayor said he had hopes that Tennessee might obtain such a waiver at some point.

The reality is not so hopeful. Arkansas is the major (and perhaps the only) other state to get such a waiver, and our neighboring state began floating a more or less complete version of its plan well over a year ago. As anyone knows who has paid close attention to the workings of Tennessee state government — and especially to the actions of the last two legislative sessions — Governor Haslam has owned up to not having a developed waiver plan and is in the position of asking that one be presented to him by the U.S. Department of Health and Human Services.

Moreover, while Haslam is thought to be sincere in his wish to find some contrivance that would allow the state to make use of Medicaid funding, the fact is that the GOP majority in the General Assembly is ill-disposed toward the idea and has basically tied the governor’s hands with legislation in the session just ended. Any plan that the governor might come up with, or that he and HHS might agree on, must be approved by both chambers of the legislature.

So, like Luttrell, we Tennesseans can still hope for a cure; we just shouldn’t count on one. 

Categories
Film Features Film/TV

Old Times

Memphis filmmaker and University of Memphis professor Steven John Ross says that all movies, once you finish them, become home movies. “Once you get past the initial phase of looking at them critically, every time you screen them all you do is think about what happened while you were making it,” he says. In 1984, Ross made quite an impressive home movie when he adapted and shot a version of the novelistic short story The Old Forest by Peter Taylor, the critically acclaimed author who’d grown up in Memphis, where the story was set. The film is screening Saturday, April 26th, at 5 p.m., at Malco’s Studio on the Square as part of On Location: Memphis International Film & Music Fest. (See Greg Akers’ review.) The Memphis Flyer talked to Ross about the film.

Memphis Flyer: Today, independent filmmaking is so common in Memphis it’s probably more unusual to not know someone who’s involved with some kind of film project. But in the 1980s what you were doing was pretty unusual. Would you reflect on what it was like to make an independent film in Memphis then compared to now?

Steven John Ross: It’s really thrilling to see what’s happened because so many of those people you see out there in the community making movies have come through our film and video program here at the U of M. It’s great to see them fostering the film community here. Obviously, Craig Brewer had a lot to do with all of that when he made The Poor & Hungry, and I still think [the Brewer-created MTV series] $5 Cover doesn’t get the credit it deserves for continuing to foster that film community.

But what about making The Old Forest in 1984, without any real precedent?

There are more than three dozen locations in that film. There are three dozen speaking roles. It was an absurdly ambitious thing for us to undertake. For starters, you were shooting on film, and film was much less light-sensitive than digital media is today. Today, when my students shoot their small narrative projects they basically use lighting to model. When we were shooting on film we had to get a base light to set the image and then start taking light away a little at a time create an expressive image with expressive lighting. To do this, we had to have a licensed electrician at the main power lines outside of our locations, otherwise we would’ve blown the circuits in every house and caused a lot of fires. It was a whole different kind of way of making a film, but somehow we managed to pull it off.

Most of your actors were locals. Was that by design?

We held a few auditions here but also went to Nashville. I don’t think we cast anybody from there. We cast the film almost completely out of Memphis and were happy with the results. I’ll tell you who’s had a really good career: Shannon Cochran. She played one of who Peter Taylor called the “city girls.” She’s been on Scandal, L.A. Law, and NYPD Blue and was in the movie The Ring. She can’t come to the screening because she’s playing lead role in Strindberg’s Dance of Death in Chicago. She’s not a household name, but as a working actress she’s had a good solid career.

A lot of young actors and cinema artists cut their teeth on this film. Any special memories?

Larry McConkey came down to shoot [the film], and while he was here he lived with me, which is an unusual situation for a director and a cinematographer. Larry’s a great cinematographer — with us working and living together it was amazing we didn’t kill each other. Of course, he’s the greatest steadicam operator there is. He’s the go-to guy for Scorsese and Tarantino. He worked on Django Unchained. And you know that famous steadicam shot from Goodfellas at the Copacabana? That was him.

What attracted you to the story, and what it was like working with Peter Taylor?

It’s a great story about that whole kind of paternalistic system that was endemic in Memphis for so long. And it’s about how in the 1930s, working women started breaking away from that system. I only thought it was very Chekhovian because there’s this upper class and they’re the ones who were most trapped by this whole thing. The working girls are the ones breaking away. I worked very closely with Peter on different drafts of the screenplay. As I wrote them I would take changes to him in Charlottesville, and he would give me his comments. We were talking about the older [upper class] Nat is looking back on, and Taylor said to me, “Well, you know, Nat may be liberated when he’s remembering all of this. But he ain’t that liberated. He understands things about himself, but he hasn’t really been able to extricate himself from the way in which he was brought up.”

There are a lot of things happening in the film socially. It’s set in the Great Depression, so the very rich are contrasted against everybody else. The aristocracy is attended by black servants. And then you have women breaking away from their prescribed roles. How did you choose which threads to highlight?

I think all of that was so endemic in the story if I could just find a way to dramatize it and be faithful to the material that was going to come through.

What were the big challenges?

The biggest problem was finding places that would look appropriate for 1937 Memphis. But one time I was on the phone with Peter Taylor telling him about some of the locations we’d found. There was one scene in the story where Nat’s talking to police on a loading dock, and Peter goes into detail describing the late December light. Well, I was driving around with David Appleby, who was a producer with me, and we were looking for the right loading dock, when we found one on Tennessee Street right by the Tennessee Brewery. And it was already November and the light was perfect. So I started telling Peter about it and he asked, “Does that loading dock say Orgill Bros?” and I said “yeah,” and he said, “Well that’s what I had in mind when I wrote the scene.” I said, “You know, you could’ve told me that there were specific places I could go looking.”

How is the life of an independent film made today different than in the ’80s?

Yeah, so we have this film, and it’s finished. And, as far as the rest of the world was concerned, who cares? The immediate goal was trying to get it on public television. The second biggest was to get in the festivals. Everything was on a film print back then, and we paid a lot for each print. Ours was two 30-minute reels, and we had six prints to ship out. So we had to pick our festivals carefully because they could keep the prints for a couple of months before they even got around to viewing them. And then if they liked your film they kept it until the festival. So by submitting you tied up a print for a long time. It isn’t like today where you can sometimes just submit a digital file.

So The Old Forest went on to have a pretty good life. What’s next for it?

Remember when A&E really was the “Arts and Entertainment” network? When it actually lived up to its name? In the ’80s, it was the basic cable cultural network, and they bought it and screened it a dozen times over several years. So yeah, the film did have very good life. It was first rented by many colleges and libraries, and then once videotape came in, they bought copies of it. I showed it in many universities and literary festivals. Often, Peter came as well and we had our dog and pony act. But by the new century, the film just didn’t look as good. It had been transferred from videotape to videotape. Even the DVDs the company was selling were made from VHS copies. People have contacted me wanting to know how can they get their hands on a copy, and I was embarrassed by the way it looked. So last year I did a digital transfer. We couldn’t go back to the original negative, but it looks so much better than it’s looked in 20 years, and now we can get it out again. So this screening is an anniversary, a reunion, and a resurrection.

The Old Forest

Saturday, April 26th

Studio on the Square

Categories
News The Fly-By

Broad Outlook

Power Tel’s warehouse loading dock on Broad has doubled as a music stage during Broad Avenue art walks for years. But this spring, its conversion to an amphitheater will be complete, and by fall, the iconic water tower that looms over the stage will see an artistic upgrade as well.

The staircase for the Water Tower Pavilion is currently under construction.

Last year, the Historic Broad Business Association won a $350,000 grant from ArtPlace America for its Water Tower Pavilion project, which is set to open May 10th. That includes the conversion of the loading dock into a shared-space amphitheater that will host music and dance performances at night and on weekends and continue to serve as a loading dock for Power Tel by the weekdays.

That money is also funding the construction of a wide staircase that helps visitors more easily access the stage area, which is 16 feet below the street’s grade.

“There’s a large observation platform on the stairs, and [artist] Elijah Gold is doing that section out of old bicycle parts to pull in the Hampline,” said Historic Broad Business Association vice-president Pat Brown, referencing the two-way bicycle path that will connect Overton Park to the Shelby Farms Greenline via Broad Avenue. Once complete, that path will run past the Water Tower Pavilion. “He’s also doing a sculpture at the top of the stairs, also made from old bicycle parts. We are calling it the bike dancer.”

Additionally, New York artist Suikang Zhao, who last week won a public contest to redesign the Broad Avenue water tower, will use $65,000 of that grant to install his sculpture on the tower.

Zhao’s design for the water tower

Zhao was one of three finalists in a national call to artists organized by the UrbanArt Commission. He and two others presented their ideas for the tower, which ranged from murals to sculpture, at the annual Crosstown Arts MemFEAST event last week. Participants voted on their favorite design, and Zhao’s plan to install LED lighting and a perforated metal ribbon around the tower won the most votes.

Zhao said he wants to involve the Broad Avenue community by asking them to suggest words that he can perforate into the metal. Those words will cast shadows onto the tower. He also wants Memphis artists to help him physically construct the sculpture.

“By the finish, they will be able to say, ‘I did that.’ I think that is the most important thing. It becomes their work, not just my work,” Zhao said.

Brown says she hopes Zhao is done with the water tower installation in time for the fall art walk, but the rest of the depot work will be complete in time for “Dance on Broad,” seven consecutive Saturdays of dance performances and dance classes on the pavilion stage, from May 10th through June 28th.

The western end of the Hampline, which begins with the new Overton Park bike gate, is under construction now, and Brown says the on-road portion of the bike path project will likely begin in the fall. The Overton Park bike gate, which sculptor Tylur French created using old bike parts, was officially unveiled last weekend.

“Every time you come back to Broad, hopefully something new will be unveiled,” Brown said.