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Opinion Viewpoint

Take No Prisoners

Recently, the Justice Department announced that the federal prison system would distance itself from privately owned prisons. The gradual implementation will take five years and instructs officials to not renew contracts or to limit the power of private companies in these “contract prisons.” This tangled relationship began at the federal level in 1997. But in many ways, the privatization of prisons is homegrown Tennessee politics.

Tennessee-based Corrections Corporation of America (CCA), the first and largest private prison company in the U.S., felt the aftershock of the news with a 35 percent drop in stock prices.

The Justice Department determined that private prisons were neither more cost-effective nor safer than government-run facilities. In an eight-category analysis, inspectors found that contract prisons lagged behind their publicly run counterparts. This included a higher rate of assaults directed at prisoners and staff. The Justice Department decided that contract prisons are a poorer option than government-run prisons.

This wasn’t the message touted by government in the 1980s. CCA first emerged in Nashville. Its cofounder, Tom Beasley, began his career under Tennessee politician Lamar Alexander. Within two years of its founding, many Republicans and Democrats at the state level owned stock in the upstart company that was generating substantial profits from the incarceration business.

The company also capitalized on growing discontent and legal qualms about state prisons. A series of riots in 1985 shook Tennessee politics. Lawsuits had already snaked their way through the courts, and an investigation found prisoner living conditions “shocking” and “unsafe.” The investigation cited recently enacted tough-on-crime measures as the major factor in a massive prison population boom. In the late 1970s, Alexander ran on a tough-on-crime platform that put people in prison and kept them there for longer.

Prisoners had begun airing their grievances to local newspapers. Prisoners at four locations burned facilities, took hostages, demanded a live press conference, caused more than $11 million in damages, and attracted national attention. The state’s leaders decided Tennessee needed to unload its prison problems.

Enter CCA. The governor’s wife, Honey Alexander, and Speaker of the House Ned McWherter quickly dumped their CCA stock to avoid any appearance of conflict of interest. Then, in a swiftly called special session, Governor Alexander endorsed a full buyout of Tennessee prisons by the private company, calling this new alternative “cheaper and better.”

Other politicians and legislators questioned the legality of the deal but paid no mind to the implications of turning the prison system into a for-profit business. After revisions, the state legislature struck down the buyout proposal.

Although the full buyout never happened, the slow encroachment of private companies into prisons soon became a reality as the legislature approved the takeover of several state facilities. Republican members of the state legislature supported the move. Democrats largely accepted it and provided no viable alternative. Although prisoners and state prison workers protested privatization, politicians in Tennessee remained silent.

Those opposed to private prisons have gained important allies in recent months. For the first time, a presidential hopeful from a major party has made a serious call to do away with contract prisons. And although Bernie Sanders’ run for president is over, there is a political opportunity for Democrats to fight prison privatization, especially in light of the Justice Department’s decision.

The move to end the relationship between federal prisons and private companies is an important step, but it’s not where privatization began, nor is it where it should end. More than 30 years ago, the Democratic Party’s silence on the issue in Tennessee allowed prison privatization to take hold. The Justice Department’s decision affects only a fraction of prisoners living in private prisons. Most prisoners are still held at state-level prisons, where CCA began and is still a dominant force.

The same criticisms that the Justice Department acknowledged regarding privately run federal prisons hold true for their state counterparts. Ending the for-profit business model of incarceration at the state level is a battle that must be fought in state legislatures around the country.

Andrea L. Ringer is a PhD candidate in the history department at the University of Memphis.

Categories
Music Music Features

The 30th Annual Memphis Music and Heritage Festival

The Center for Southern Folklore will turn two blocks of Main Street into a street festival this Labor Day Weekend, complete with live music, arts and crafts, dancers, and chefs from around the city.

Founded in 1972, the Center for Southern Folklore is a nonprofit that documents and presents the music, culture, arts, and rhythms of the South. Center for Southern Folklore Executive Producer Judy Peiser said the Memphis region is what makes the festival so special.

“This year marks our 30th festival. The first was produced in 1982 on Mud Island. From 1988 to the present, we used Court Square, Beale Street, and Main Street as the festival backdrop,” Peiser said.

“The Festival reaffirms the abundance of musical talent and this region’s love of music.”

The two-day festival will feature four outside stages in addition to two indoor stages at the Center for Southern Folklore. While the complete lineup has yet to be announced, festival highlights include Joyce Cobb, Elmo and the Shades, Domingo Montes, the Bell Singers, and Lonnie Harris.

The festival will also honor those who have passed on but where integral to the Center for Southern Folklore, including board member Deanna Lubin and quilt maker and storyteller Hattie Childress. Yvonne Sunshine Pascal, the founder and director of the Millennium Madness Drill Team and Drum Squad, will also be honored. All events at the Memphis Music and Heritage Festival happen between Union and Peabody Place, and all are free to attend. Over 100 performers, chefs, craftspeople, and dancers are scheduled to appear over the 48-hour shindig. For a complete list of bands and activities, visit www.southernfolklore.com.

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We Recommend We Recommend

Memphis Music & Heritage Festival this weekend

Of course, there will be music. There’s always music at the Center for Southern Folklore’s Memphis Music & Heritage Festival, often more than 100 performers in all. But where there’s music, there are also memories, and this year’s festival honors the life and legacy of Hattie Childress, a perpetually youthful storyteller, artisan, and cook whose wonderful quilts were only surpassed by her fantastic chow-chow. Childress, a festival mainstay who’s been showing work and selling canned goods through the center since the 1980s, passed earlier this year at the age of 92.

Childress was the daughter of sharecroppers. She grew up working in the kitchen with her mother and grandmother and watching the two women sit close together in the wintertime making quilts. As a young woman, she came to Memphis to escape domestic abuse. In 2006, her quilts were exhibited at the Brooks Museum in a show called “Blocks and Pieces.” Childress will be remembered at this year’s Music and Heritage Festival with a display of her quilts.

Hattie Childress

The downtown festival has become a Labor Day tradition and celebration of all things regional, from art and dance to music and cuisine. Every genre of music has been welcomed including blues, soul, gospel, and country, with plenty of rock, bluegrass, some jazz, and even a touch of pure Memphis weirdness. Over the years, it has showcased artists ranging from big-panty provocateur Bobby Rush to garage-rock heroes the Oblivians, to Stax legend Carla Thomas.

Memphis’ reputation as a music town is such that a complete lineup is seldom announced or marketed in advance, but some artists scheduled to appear at this year’s event include Joyce Cobb, Elmo and the Shades, Domingo Montes, and the Bell Singers.

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We Recommend We Recommend

WLOK/Brooks Museum Black Film Festival

After 42 years and three locations, WLOK’s annual Stone Soul Picnic has settled into Overton Park and is steadily evolving into a Stone Soul weekend. In addition to Saturday’s picnic and a musical lineup featuring 24 gospel artists performing onstage at the newly renovated Levitt Shell, WLOK has partnered with the Brooks Museum to create the WLOK/Brooks Museum Black Film Festival.

The inaugural festival is modest in scope, showcasing two comedies, a concert film, and a stone cold classic. The first WLOK/Brooks Museum Black Film Festival kicks off Friday, September 2nd at 3 p.m. with a screening of Spike Lee’s 1988 musical comedy School Daze. The social satire stars Larry Fishburne as “Dap” Dunlap, a politically active student at a traditionally black college, and Lee as Dap’s diminutive cousin “Half-Pint,” a Gamma Phi Gamma Pledge. School Daze is followed by an even more musical offering: Wattstax. In 1972 Memphis’ Stax records took its whole roster of recording artists to L.A. to play a day-long benefit concert at the Los Angeles Memorial Coliseum. Performers included Rufus and Carla Thomas, Isaac Hayes, the Staples Singers, and many more. The resulting film is one of the all-time great concert documentaries.

School Daze

Saturday’s film offerings are Life and Imitation of Life. The first is a 1999 dramedy set in the 1930s. It stars Eddie Murphy and Martin Lawrence as a pair of New Yorkers who find themselves working hard labor in a Mississippi prison. The festival concludes with Imitation of Life, Douglas Sirk’s romantic drama about mothers, daughters, and many shades of inequality. Though dismissed by critics as common melodrama during its original theatrical release, Imitation of Life‘s treatment of American life in the 1950s earned it a second look and a place in the National Film Registry as a work of cultural and historical importance.

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News The Fly-By

Fly on the Wall 1436

Verbatim

“If you are buying ALCOHOLE [sic] please have a picture ID ready. You will not be able to purchase any alcohol products if you don’t have a valid ID to show. You have to show your ID every time your [sic] buying alcohol even if you come here 20 times a day you will be asked to show an ID.” — Excerpt from a note posted at a convenience store on Winchester near Perkins. For being such a short message, there’s an awful lot to unpack here. But the big takeaways are, it’s conceivable somebody might attempt to buy booze 20 times in 24 hours. Also, “alcohole” is probably the greatest misspelling in the history of spelling. We’ve all known an alcohole at some point in our lives. Many of us have even been one.

REEFER MADNESS!!!

“Why give someone the opportunity to sell drugs from their automobiles, because that’s what they’re going to do? This resolution is dealing with the devil.” — Memphis’ always succinct, always on point City Councilman Joe Brown objects to decriminalizing small amounts of marijuana, because to do so would open a terrifying floodgate of car-based pot peddling and, even worse, — dope trucks! Or something like that. Also, the devil is scary.

Memphis Too

Whenever you’re feeling down about the Bluff City, think of this and take comfort in knowing that, for all of our many problems, we’re not that Memphis. According to a newspaper report “Dollar General Opens to Much Fanfare in Memphis, [Michigan].”

“It’s beautiful,” an actual townsperson was quoted as saying.

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News The Fly-By

Downtown Delivery Trucks Block City Streets

A Memphis business owner once said you could get away with murder downtown as long as you turn on your flashers.

Deliveries to restaurants and office buildings often bring big trucks to a halt on major thoroughfares like Front or Union during peak drive times. The truck drivers will brake, turn on their flashers (or hazard lights), hop out of the cab, open the cargo door, and unload their haul for as long as it takes — all the while blocking a lane of traffic.

“I work downtown, run into it every day, and can’t stand it,” said Memphian Ryan Jones. “There’s got to be an alternative.”

It’s not murder, of course, but Memphis Police Department (MPD) officers are, indeed, instructed to look the other way when it comes to delivery trucks stopped downtown. MPD Major Keith Watson said Memphis is an old city, its streets aren’t as wide as others, and his department has to help facilitate commerce downtown.

“We have to keep the city and the downtown area thriving because that’s what it takes,” Watson said.

Truck drivers know the police won’t ticket them for on-street parking, Watson said. However, MPD will take action if a truck is completely blocking traffic, threatens traffic safety, has been abandoned, or does not have its hazard lights flashing.

Watson said civilian drivers just have to be careful. If a truck is blocking a lane of traffic, drivers should pull around them and “if they’re able to drive on paved streets without going off the pavement, then it’s a win-win situation for everyone.”

Toby Sells

“I would advise the citizenry or those individuals who may experience this to just have a little patience and allow commerce and trade to occur,” Watson said. “If they partake in any of these businesses or companies that are recipients of these deliveries, it’s needed. We have to allow it to occur.”

Almost anyone who has driven in downtown Memphis has come across a truck blocking traffic. But Terence Patterson, president and CEO of the Downtown Memphis Commission (DMC), said he hasn’t heard any complaints about it.

“It’s urban living, and there are certain things that have to take place,” Patterson said. “But, no, I haven’t heard any complaints about [delivery trucks] stopping traffic or there being any safety concerns about it.”

Patterson is willing to help, though, and said anyone with concerns about idled delivery trucks should contact his office.

Memphis is certainly not the only city dealing with downtown deliveries. The Federal Highway Administration said trucks delivering in downtown areas across the country cause 947,000 hours of vehicle delay annually.

Many cities have issued special guidelines for downtown delivery trucks drivers. In Columbia, Missouri, for example, smaller trucks are urged to use public alleys for loading and unloading.

But New York City and Pensacola, Florida, are taking it a step further. Last year, the U.S. Department of Transportation (DOT) gave the cities $200,000 for pilot programs testing an off-hours delivery program. The funds will help businesses there to re-tool their operations to make and receive deliveries at night when traffic counts are low.

DOT officials said if the program is successful, it could be launched in other cities, like Memphis.

“Moreover, it can become part of the solution to the larger congestion problem, bringing relief to people tired of spending hours stuck in traffic every day,” DOT said in a blog post.

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News The Fly-By

President Jimmy Carter Talks Habitat, Politics, and Memphis

Last August, former President Jimmy Carter announced that he had stage IV metastatic melanoma — a type of skin cancer — that had spread to his liver and brain. In November, despite his poor health, Carter traveled to Memphis to announce that he’d be back this summer for Habitat for Humanity’s 33rd annual Jimmy & Rosalynn Carter Work Project.

“I told the news reporters I’d be back next year. I didn’t know if I was going to come back or not,” said Carter last week from the Memphis worksite. He’s cancer-free now, thanks to a new cancer drug called Keytruda.

Carter, his wife Rosalynn, and country stars Garth Brooks and Trisha Yearwood spent all of last week in Memphis helping more than 1,500 volunteers for Habitat for Humanity of Greater Memphis build 19 new homes in Bearwater Park, just north of Uptown. They also worked on 10 neighborhood beautification projects in Uptown and six “aging in place” projects.

Last Thursday, after wrapping up a day’s work in the Memphis heat, Carter took a few minutes to talk with the Flyer about cancer, his work with Habitat, his Sunday school classes, and the current presidential election season. — Bianca Phillips

Habitat for Humanity of Greater Memphis

Jimmy Carter

Flyer: What’s it like getting back to good health after such a scare?

Jimmy Carter: I feel like I have a second chance at life. A year ago in August, I thought I had two or three weeks to live. It’d already moved to part of my liver, and I’ve had four different cancers in my brain. I was prescribed some new medicine, and it worked on me, thank goodness. But I’m still checking my cancer status pretty regularly. So far, I’ve been very lucky.

You’ve been doing these annual Habitat projects since 1984. How did you get started with Habitat?

We had worked on Habitat projects in our local town for a couple of years. Then, [Habitat] had a very serious problem in New York City, and we thought we’d get maybe six people to go with us. But we got 42 people to go up with us, and it’s grown from there. We went back to New York the second year and Chicago the third year. Then we started going overseas every other year, so we’ve been to 14 foreign countries, some of them several times. The largest we had was 14,000 volunteers at one time, and we built 293 houses in five days. That was in the Philippines.

Are there any Habitat homeowners whose stories have stuck with you?

I met one [future Bearwater Park Habitat homeowner] here Monday morning, and he told me that seven years ago, he was living under a bridge. He was addicted to drugs, and he decided to turn his life around. He got a job at a fast food place, and now he’s in charge of Chick-fil-A’s kitchen. He told me about all the different sandwiches that Chick-fil-A makes.

What construction skills are you best at?

The detail work. I’m a furniture maker. I make beds and chairs. So I like the detail work at the end of a project. Today, I’ve been putting on siding, and the first day, I got make the walls. I can do the whole thing.

You teach Sunday school at Maranatha Baptist Church in Plains, Georgia. Are you there most Sundays?

We try to be in Plains on most Sundays. When I’m not there on Sunday, the town kind of dries up. Nobody’s going to the local restaurants. But when I’m there, we have anywhere from 200 to 850 visitors coming to Plains. We only have 650 residents to start with, so we double the size of the town when I teach Sunday school.

What do you make of this presidential campaign season?

It’s been an unprecedented campaign season. The standards of campaigning and criticizing your opponents have never been this bad. There’s been a massive infusion of money into campaigns from very wealthy people, so the [wealthy] have a lot more influence now. Once the campaign is over and the candidate goes into office, no matter which party they represent, they’ll have very rich people who helped them get into office, and now they’ll have access to them and their lobbyists. The average family doesn’t have lobbyists to take care of them. That’s been the cause of a growing disparity in income between the richest people and the poorest people.

Who are you voting for?

Well, I’m a Democrat, and I’ve always been a Democrat.

Have you had any time to explore Memphis?

We’ve been to Beale Street. We went to Central BBQ. We had a visit to the Bass Pro Shops Pyramid, and we went up to the top. It’s one of the most remarkable stores in the world, and it’s right here in Memphis. It’s a wonderful tourist attraction y’all have. I’m an outdoorsman — a hunter and a fisherman. [We’re staying] on the 18th floor of a hotel, and when we got to the top of the Pyramid, we could look down on our hotel room. And it’s a wonderful view of the Mississippi River.

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News The Fly-By

MATA Proposes New Routes

As rain beat against the windows of the Airways Transit Center last Thursday, Memphis Area Transit Authority (MATA) officials provided details and received feedback on a series of service adjustments that could begin by December.

The changes, affecting fixed-route bus service, will include eight new bus routes, 11 routes with timing adjustments, 10 routes with increased frequencies and span of service, 14 routes with routing adjustments, and one discontinued route that will have service replaced by others.

The adjustments represent about $500,000 in added service grants from the Congestion Mitigation and Air Quality Improvement Program.

MATA officials say the proposed changes will improve service by simplifying routing and increasing productivity, but riders who attended the meeting expressed exhaustion and confusion over the adjustments. That puzzlement appeared at times to be a miscommunication between officials and bus riders. At other points, though, the frazzle felt as though it was brought on by how complicated the city’s bus system can be — even without the changes.

“All these changes being made might be great for someone, but I don’t know who is benefiting,” said Leonard Ewing, a member of the Memphis Bus Riders Union (MBRU). Ewing was concerned that a change to the 57 Park route eliminating service to a portion of Lamar at Bellevue would affect him. “It might be rain-storming like it is today, and I’ll have to jump off this bus and take another bus and then hop on another bus — rain, shine, sleet, or snow — if I want to get to work.”

MATA’s Planning Manager John Lancaster, the session’s mediator, said a newly adjusted Route 56 to Lamar will pass by Bellevue and add service on Sundays.

A lack of Sunday service, particularly along Route 19 Vollintine, leaves residents who are dependent on the transit system stuck in their neighborhoods, said MBRU co-chair Cynthia Bailey.

“I’ve had a lot of riders in the community come to me that want to go to church or go visit family on Sundays,” Bailey said. “It’s almost like you can’t get out. If you have business, there’s the number 8 and route 52. But you’ve got elderly people who can’t walk that far. I’m hearing about the new 45 Appling Farm route … but it’s not benefitting the community.”

The Memphis Bus Riders Union has also created a petition to bring back the 31 Crosstown route, which was cut in 2013. Members say it was instrumental in connecting two high-poverty neighborhoods, New Chicago and Riverside, with the rest of the city.

“Those neighborhoods have seen a lot of decline,” said Justin Davis, secretary of the MBRU. “There are eight new routes … a lot of those are out East and in the southeast. Our concern is if we’re taking all of this energy to put all of these routes in the east and southeast, are we putting the same effort into North and South Memphis? New Chicago, transit-wise, is almost entirely isolated. If you don’t have a car, you pretty much can’t leave.”

Lancaster said it took $3.5 million dollars to service the 31 Crosstown route before it was eliminated.

“To bring it back as it was, we would need $3.5 million dollars of new funding,” Lancaster said. “However, with the way things have been restructured, it would be a challenge. But we may be able to add some additional service to complement what used to exist.”

MATA will accept feedback on December’s proposed adjustments until September 7th. Additionally, the MBRU will host a demonstration calling on MATA to restore the 31 Crosstown Route on Saturday, Sept. 17th from 11 a.m. to 2 pm. at the New Chicago Community Development Corporation.

Categories
Film Features Film/TV

Don’t Breathe

Judging from this year’s crop of horror films, Americans must be longing for escape from something. I would say three films is officially a trend, and the three best horror movies of 2016 are all about being trapped in a claustrophobic space with someone — perhaps several someones — up to no good. First we were locked in a bomb shelter with John Goodman in 10 Cloverfield Lane, then neo-Nazi Captain Picard wanted to burn down our punk rock party in Green Room, and now we’re trapped in a house with a psychotic blind man in Don’t Breathe.

To be fair, the three “heroes” in Fede Alvarez’s new horror film pretty much deserve what’s coming to them. Rocky (Jane Levy), Money (Daniel Zovatto), and Alex (Dylan Minnette) are a trio of burglars, kind of like a Detroit version of The Bling Ring, enabled by Alex’s access to keys and info from his father’s security service. Alvarez, an Uruguayan filmmaker whose last project was a remake of Sam Raimi’s classic Evil Dead, concentrates on building sympathy for Rocky, who lives in an abusive situation with her alcoholic mother and longs to buy her and her little sister passage to California. After a less-than-successful job, they learn of a sure thing: the last inhabited house in a dying neighborhood, where a blind Gulf War veteran (nameless, but played by Stephen Lang) is believed to be sitting on a huge stash of cash from an insurance settlement. After a little persuading, Alex agrees to help with one last job.

Dylan Minnette (left) and Stephen Lang in Fede Alvarez’s Don’t Breathe

From the slavering Rottweiler guarding the house to the four locks on every door, the signs are that there’s something worth guarding in this home, a relic of Detroit’s better days. Once they’re inside, our sneak thieves discover that the Blind Man is hiding more than just a stack of bills.

Alvarez’s greatest strength lies in his eye for moody photography. He uses strategically placed light sources to paint Rocky and the Blind Man in chiaroscuro tones. When Alex and Rocky are trapped in a darkened basement, Alvarez uses the opportunity to crank the image contrast down as low as it will go, evoking claustrophobic feelings with only vague, moving gray shapes. He is also a master of timing, getting a lot of mileage out of opening doors at the perfect moment.

Don’t Breathe can best be described as a series of steadily escalating variations on a theme. From being trapped in a ventilation duct with a rabid dog to slowly inching across broken glass, Alvarez is evoking the feeling of wanting to flee, but seeing your options for escape slowly dwindling. The effect is chilling enough to overcome a late-film flurry of false endings and the occasional disbelief-killing logical stretch. You may find the feeling of getting squeezed strikes an unexpectedly familiar chord.

Categories
Film/TV TV Features

The Get Down

As I watched The Get Down, I felt the slow realization that I don’t think Baz Luhrmann understands how narrative works.

Over the course of his 26-year film career, from the slick exploitation of Strictly Ballroom to his wildly overblown take on The Great Gatsby, he’s certainly proven he knows how to create spectacle. The Get Down is a vision of the birth of hip-hop as Olympian myth. Empowered by a free-spending Netflix, Luhrmann seems to have been encouraged to go more fully Luhrmann-esque than ever before. In his hands, the Brooklyn of 1977 is a hallucinatory war zone populated by characters of operatic breadth. The cast are all relative newcomers, led by Justice Smith as Zeke, a young poet whom we meet on the edge of becoming a proto-MC. His love interest is a singer named Mylene (Herizen F. Guardiola), and his mentor is a mysterious DJ named Shaolin Fantastic (Shameik Moore), and together they set out to conquer the world through tight flow and sick beats.

Justice Smith (left) dips Herizen F. Guardiola in The Get Down.

Or something like that. It’s really hard to fathom what is going on, plot-wise, at any given moment. Luhrmann seems incapable of concentrating on a storyline for more than three or four shots — and that’s only if there’s some kind of interesting movement taking place that he can track in some outrageous Dutch angle. He treats emotion the same way he treats color, splashing it across the screen for garish effect. Take his use of the great Giancarlo Esposito as Mylene’s father, the puritanical Pastor Ramon. Here’s an actor with superhuman control to spin a tapestry of conflicting emotion on his face, but Luhrmann sets him on one speed — “righteous rage.”

Lurhmann’s not using his actors to their full potential, but the same can’t be said of his production designer and cinematographers. The Get Down is one great frame after another, stuffed with detail, and connected by more whip pans and smash cuts than the 1966 Batman. It’s this manic inventiveness that’s always been the attraction to the director’s fans, and it’s here in spades. It might not be so much that the director doesn’t understand how to construct a narrative as he just doesn’t care. There’s no recognizable human psychology, but often The Get Down reads like one of the best long-form music video projects since Thriller. Letting the beautiful dancing people, the bumping soundtrack, and the hot-shot construction wash over is a pretty pleasant use of an hour or so, even if its lack of clear story renders it emotionally flat.