Categories
Politics Politics Feature

Herenton and Cohen: Still at It

Neither current Memphis Congressman Steve Cohen nor former Memphis Mayor Willie Herenton have any intention of hanging it up. 

Those two realities, each with significant bearing on the coming year and beyond, were made evident on the last day of calendar year 2016 when the two familiar public figures each addressed separate public prayer breakfasts. Both made some possible waves with their remarks.

Herenton was the guest key-noter at the first New Year’s prayer breakfast held by Memphis Mayor Jim Strickland at the Guest House at Graceland. Though his speech conformed in general to the theme of citizen volunteerism enunciated by Strickland at the event, the former mayor’s most widely noted statements had to do with what he saw as the imperative of the city’s African-American community to improve its circumstances, not by appealing for help from others but through action of its own.

Or, as Herenton, who served from 1992 to 2009 as the city’s first elected black chief executive, put it: “No one can help us if we don’t help ourselves. It’s up to us, to protect us from us.” That was his preamble to a series of statements about urban crime that were bound to be received either as a provocation or as a challenge, depending on the attitude of the listener.

With the fact of a dramatic rise in the Memphis homicide rate serving as the background of his remarks, Herenton made a point of focusing on “black male youth” and “black-on-black crime” and laid a major portion of the burden for addressing the problem on the affected population itself. 

“The people who are shooting, they aren’t riding deep in Germantown and Collierville,” he said. “They’re riding in Orange Mound. They are riding in Binghamton. They are riding in Frayser.”

The public entities normally charged with dealing with crime were “floundering,” said Herenton, who, without mentioning names, cited the offices of the sheriff and the Juvenile Court judge, as well as the Memphis/Shelby County Crime Commission. He went on: “I’ve had some people tell me the answer to this city’s problems would be if we had an African-American mayor. The critics used to say the same things about me. I was the first black mayor, and people would say we need a white mayor. I don’t care what color the mayor is. All I want is a good mayor.”

To the end of enabling Strickland to become just that, Herenton called for 10,000 African-American men to volunteer as mentors for black youth. “They need to help this mayor with blight, tutoring, after-school programs, the Boy Scouts — all kinds of things.” Herenton referred to such a collective effort as constituting a “new path,” a term he also uses to describe his ongoing proposal for model charter-school dormitories in Shelby County for youthful offenders.

• Cohen’s remarks, made some miles away at the Holiday Inn Select on Democrat Road, were the highlight of former City Councilman Myron Lowery‘s annual prayer breakfast.

An advance news release from the Congressman’s office had served as a teaser for the event, promising “a major announcement … regarding his future in the United States Congress.” 

That both addressed existing reports of Cohen’s possible exit from public life and gave them further fuel, but toward the end of his remarks at the breakfast, the Congressman decisively dismissed the prospect.

“There have been some rumors around that I was going to retire,” Cohen said. These, he said, waggishly, citing statesman/financier Bernard Baruch as the author of remarks normally attributed to Mark Twain, had been “greatly exaggerated.” 

Cohen declared categorically: “We’ll be here in 2018, and we’ll be here in 2020. I plan to run for reelection.” He declared he was a better Congressional server today than ever before and said, “I’ll do it as long as you want me to do it.”

The Congressman disclaimed yet another rumor, that he intended a future run for the Senate. “It’s cool to be in the United States Senate,” he said, “[but] this state is red.” Noting his first abortive race for Congress in 1996, when he was defeated by Harold Ford Jr., as well as one for Governor in 1994, Cohen said, “I’ve tilted at windmills before. … I’m not running for another office the rest of my life that I can’t win.”

Vowing always to “speak truth to power,” Cohen warned of imminent dangers to the Affordable Care Act, public education, and the environment resulting from the combination of a Donald Trump presidency and a GOP-dominated Congress.

Cohen said the forthcoming Trump administration has sold out to “Exxon and Russia,” a fact presumably signaled both by Trump’s choice of the giant oil company’s CEO Rex W. Tillerson as secretary of state and by the president-elect’s non-stop flattery of Russian leader Vladimir Putin. Noting the Russian government’s dependence on international oil sales, Cohen said, “All they want is to drill the Arctic.”

As for Trump, Cohen said he did not trust “this presidency not to use the IRS or the FBI” as tools against dissenting citizens, and he warned, “When an individual becomes the power and not the country — like Benito Mussolini — that’s fascism.”

In an apparent reference to Congressional Republicans’ intent to have the Constitution read aloud, Cohen said, “I hope when they read the impeachment clause, they understand it.”

Though most of his remarks concerned issues of domestic import, the Congressman made a point of stressing the importance of a “peaceful solution in the Middle East.” Referring to renewed controversy over Israeli settlements on the occupied West Bank, Cohen said, “What the Israelis are doing now is wrong. … We need peace there. Israel needs peace.”

Categories
Music Music Features

Mark Edgar Stuart Live at Loflin Yard

Loflin Yard brought live music to their sprawling grounds in the spring of last year, and the downtown bar/venue has just announced that they will be hosting a weekly songwriter night every Wednesday. First up in the weekly series is Mark Edgar Stuart, Nick Redmond of Star and Micey, and Jana Misener of the now-defunct Memphis Dawls.

Loflin Yard booker Kevin Cubbins said that the songwriter night was a result of local musicians hanging out at the relatively new bar.

“We have bands on the weekend, but we really just wanted to focus on songwriters for a weekly show,” Cubbins said.

Mark Edgar Stuart

“A lot of musicians hang out at Loflin Yard and were already discussing doing something like a songwriter night in the coach house.”

To headline the first songwriter series, Cubbins tapped Stuart, the local songwriter responsible for the stellar albums, Trinity My Dear, Blues for Lou, and, most recently, the single Don’t Blame Jesus — all released through local label Madjack Records.

“A lot of people don’t understand that music is a part of Loflin Yard,” Cubbins said.

“People tend to think of Loflin Yard as a bunch of guys hanging out in pink shirts and shorts, but there’s always been music here, and the barn on the property is an indoor music venue. It’s heated, and it sounds great in there.”

Songwriter night is free to attend, and with the abundance of local songwriters in Memphis, you can expect the event to grow, especially as the weather gets nicer.

Categories
Opinion The Last Word

Elvis at 82

An auspicious date on the musical calendar arrives January 8th. That’s when we celebrate Elvis’ 82nd birthday, otherwise known as Winter Elvis Week. In case you haven’t been paying attention, the Elvis business is bigger than ever. Forbes magazine said that Elvis earned $27 million in 2016, second only to his son-in-law, Michael Jackson, among deceased entertainers. His estate is estimated to be close to $400 million.

Graceland is gearing up for an influx of visitors with a menu of movies, concerts, and receptions, including one for fan club presidents at the new, posh resort/hotel, the Guest House at Graceland. I have yet to visit, but the photographs make it look luxurious and my musician friends are raving about the 464-seat theater and concert hall. Among other activities, the Memphis Symphony Orchestra plays the Cannon Center with celebrated Elvis impressionist Terry Mike Jeffrey. Also, there is an auction of Elvis stuff acquired from third-party collectors. Listen, if I can’t make it by, will somebody pick me up an authentic “TCB” necklace? I’m starting to think that Elvis is never going to give me one. But, then again, you never know.

It still amazes me that 40 years after Elvis’ death, the crowds just keep growing. Of course, there are still scores of fans who are convinced that Elvis faked his death for a multitude of reasons and that he is still with us today. In fact, he’s about to come out of the closet, or coffin, as the case may be.

According to the Portly Gazelle, it began with a mysterious fax sent from Graceland to Time magazine saying only, “It’s time.” But I suspect that’s one of those fake news sites we’ve been hearing so much about lately. A more credible source called Empire News reported that a homeless 80-year old man with a white beard was found deceased under an overpass in San Diego. The only thing anyone knew about him was his friends called him “Jesse.” So a curious coroner ran his DNA through a national data bank and came up with an exact match to the King. The episode received so much press attention that experts were quick to deem it a hoax, which only proves that Elvis is still out there somewhere.

He’s been sighted so many times in Ottawa, Canada, that a street has been renamed “Elvis Lives Lane.” He’s been spotted in Kalamazoo, Michigan, in a grocery store in Vicksburg, Mississippi, and fishing on the Salmon River in Idaho. He also made a quick cameo appearance in a Home Alone movie. The most probable explanation comes from the FBI, only it’s still classified. An unnamed agent claimed that Elvis lost $10 million in a property deal connected to the Mafia. Fearing for his life, Elvis gave secret grand-jury testimony against the mob and went into the Witness Protection Program in 1977, and now lives in South America on a farm.

Go ahead and scoff but there’s even an “Elvis Presley Is Alive” Facebook page with 14,000 followers. The administrator, who prefers anonymity, says they promise “one post per day” leading up to the proof that Elvis staged his own demise, and any person asserting otherwise will be banned from the page.

The most recent online frenzy was caused when someone posted a YouTube video of a groundskeeper at Graceland with long, white hair and a beard that was surreptitiously filmed and supposedly of Elvis at 80. The problem was he looked like a middle-aged man with a pony-tail and a beer gut, wearing a red “Elvis Week” T-Shirt, a crumpled, blue baseball cap, and baggy jeans with a wallet sagging from the back pocket. That was the dead giveaway. When was the last time Elvis needed to carry a wallet?  He was also doing groundskeeper-like things such as pulling weeds and watering. At one point, a bald man appeared in the scene. Maybe it was Carl Perkins. The Daily Express U.K. newspaper sent investigators to Memphis and discovered the man’s name is Bill Barmer, an employee of Elvis Presley Enterprises and current internet sensation.

The most bizarre YouTube video is called “Elvis Presley — I’m Alive,” posted by the Knights of the King’s Realm, in which they assert that recordings have emerged with Elvis singing songs from the ’90s. When the tapes were unearthed, a “Las Vegas TV special investigative unit” rushed out to run the new tunes through a computer voice-print analysis and found an “exact match” to one Elvis A. Presley. Naturally, the songs have been collected in an album you can purchase titled KINGTINUING, featuring the title tune, “I’m Alive.” The track list includes: “Tears in Heaven,” “La Vida Loca,” “Sweet Home Alabama,” “Have I Told You Lately,” (which I guess is a remake of his classic 1957 version, unless the King is covering Van Morrison), and “Candle in the Wind,” with both the original Marilyn Monroe version and the “Goodbye England’s Rose” version.

“E” had a thing for Princess Di in the 1990s, I guess. The singer sounds vaguely like the ’70s’ Elvis, backed by revolting, 1990s techno music. Possibly the worst of both worlds, but the video has 2 million views. You think this is going away? I’m not an Elvis impersonator, but I am an Elvis channeler, and being a conduit, the King has asked me to deliver a message regarding the “I’m Alive” phenomenon. Elvis sayeth thus, “Y’all cut that mess out before I have to come down there from sitting at the left-hand of the Lord and karate-kick some ass Kang Rhee-style.”

Randy Haspel writes the “Recycled Hippies” blog, where a version of this column first appeared.

Categories
Music Music Blog

Country Rockers, Fuck Get Notable Reissues

“Pretty… Slow,” Sounds Pretty Great on Vinyl
Vampire Blues reissues Fuck’s second record

Good news for Fuck lovers with a vinyl fetish. The band’s terrific early LP Pretty… Slow is available as a big round record with a hole in the center for the first time ever, thanks to Steve Shelley’s Vampire Blues label. To give you a better sense of who all these folks are, and what they get up to when they’re together, here’s a video with Fuck’s frontman Tim Prudhomme (a Memphis dweller), playing punch-balloon with fellow Fucker Kyle Statham singing/strumming, and Sonic Youth drummer Shelley, holding down all additional percussion in the parking lot at Shangri La Records.

But that’s another band and another story.

Fuck was born in the San Francisco Bay area, in 1992, just a few years after The Red House Painters

(later Sun Kil Moon) pioneered the genre nobody but music writers called Slow/Sadcore. Like the House Painters’ (whom Shelley sometimes drums alongside in SKM), Fuck was attracted to slower tempos, lower volumes, and all the dynamics that rock-and-roll forgot. But the F-band was odder, and artier than other slow/sadcore bands, and countrier too, in a Palace Brothers kind of way. They also had a name that turned every public bathroom into a crude advertisement, even if it couldn’t be printed in most mainstream publications or shouted out on radio. Fuck’s shattered, shimmery pop was sweet by nature and always more awkward than aggressive. In a world where band names made sense, they’d be Kiss, and Pretty… Slow, would be one to remember.

Things start off tense with “Wrongy Wrong,” a hurried two chord waltz that bristles with aggression, breaks into discord then fades into soft, sampled swing music from a long time ago. The narrator puts his headphones on and acts “like nothing’s wrong,” but that’s obviously not the case.

The three-count rolls along with an egg shaker hiss and organ drone in “I Am Your King,” a Lou Reedy monologue about a slow-talking idiot who’s “full of it” with a whole lot to say. “Make you laugh, make you look, make your life miserable,” is both a great lyric, and a reasonable thesis statement for a record that sneaks up on you sonically and emotionally.

The sparse, space age flamenco that introduces “Hide Face,” gives into confessional moaning and crashing, scratching Spanish guitars. “I hide my face like liars do,” Prudhomme grunts. Drama…fuzz… syncopation.

If there’s a perfect song on Pretty… Slow it’s “In the Corner,” a fuzzy, lo-fi country ballad that sounds like it was sung from the bottom of bucket in another room, in a neighboring state, and gets all the fumbling, cringe-worthy wonderfulness of a first meeting that turns into a sloppy make out session. “You look so sweet in your wrap-around dress. I watched from the corner… corner… corner. Oh, yeah.” Maybe those are horns lifting everything up, maybe guitars. Probably guitars.

Country Rockers, Fuck Get Notable Reissues

“From Heaven,” finds Fuck channeling the Velvet Underground on a song about Saturday night, wasting my time, and angels. Guitars shimmer and twinkle like piano keys.Then things get considerably more ominous with numbers like the poppy “One Eye Out the Door,” and the squalling, thundering, “Monkey Does His Thing,” which plays out like the subtext of a Jim Thompson novel set to an increasingly heavy, horrorshow groove. “She came home to run away… but when she got there the locks on the doors had been changed.” And so it goes.

“Pretty Pretty,” is a vibe-y little instrumental. Lasting just over a minute it’s like exotic doorbells, or an extended TV station identification theme circa 1969. It sets up “Shotgun (H)ours,” a ballad that searches for the place where anxiety and beauty fuse — like a nuclear sunset or a flying saucer invasion. “I look at the sky and don’t know what I’m looking for,” Prudhomme sings over ringing single string guitar leads that cry like the tortured ghost of real true Bluegrass.

Pretty… Slow concludes with post coital regret and the relentlessly walking, occasionally wandering bass line of “Beauty Remains,” another vividly deconstructed country song about strangers and change.

Some fucks are here and gone. Some fucks go on and on. This Fuck put out eight albums, a mess of singles and EPs, and is technically still active. As you might expect from a band with longevity that likes to play around, the catalog is all over the place, ranging from novelty and period pastiche to giddy, glorious indie-pop in the mold of bands like Pavement and The Grifters. Pretty… Slow has the kind of purity you only ever find on early records, married to a kind maturity you usually have to wait for. The pieces are all distinct, but fit together like a brief and tidy novel. It’s a great catch by Shelley who’s also reissuing Fuck’s third album Baby Loves a Funny Bunny.

The Country Rockers: Free Range Chicken
Weird Honky Tonkabilly, Straight out of Midtown

On January 6, Big Legal Mess will reissue an artifact from back in the days when Memphis’ glorious past was known to collide with its chaotic present in the most peculiar ways. The Country Rockers 13-song opus Free Range Chicken (Now with two more songs!) is available once again, with a super set of liner notes by longtime Memphis Flyer contributor, Andria Lisle.

One of the most distinctive memories from my early days in Midtown, is of regularly seeing Gaius Farnhm (AKA Ringo), pulling his grocery cart down Union Ave. following a visit to Seesel’s. Farnham was the octogenarian dwarf drummer for The Country Rockers, a well known area character, and the recipient of many honks and waves. If his giddy cover of “Wipe Out” didn’t drive like the Surfaris, it had an otherworldliness on par with the original “Telstar” or some of the crazy instrumental rock that blasted out of Sweden and Singapore in the 1960’s.

The “Keep Memphis Weird” contingency was strong in the 1980’s/90’s, and Farnham’s band, the Country Rockers, was a magnet.

Country Rockers, Fuck Get Notable Reissues (2)

Studio musician and Panther Burns alum Ron Easley caught his first Country Rockers set in 1986. The stuck-in-time band lived up to its name with a school bus driver up front, a female bassi

Ringo

st named “Miss Lillian,” and Ringo on drums. They were playing Eddie Bond covers and country classics at a cinderblock shack called Dennis’ Place on Lamar when Easley walked in on a whim. When Miss Lillian got religion and left the group, Easley joined, and introduced his new Lamar Ave. band to the punks at the Antenna Club on Madison., and eventually the punks at CBGB’s in New York. The band’s last gig was Stockholm’s Lollipop festival in 1996, where Easley, Sam Baird, and Farnham shared a bill with Bob Dylan, Beck, and the Wu-Tang Clan.

The two bonus tracks on the Big Legal Mess reissue — “Rock Around with Ollie Vee” and “Was Hab Ich Falsch Gemacht” find The Country Rockers straddling a gap between tradition and something from another dimension. But the straight honky tonk of, “Barrooms to Bedrooms,” and hopping covers of standards like, “Pistol Packing Mama,” and, “Drivin’ Nails in My Coffin,” are still the best tracks on a terrific document, with guest appearances by Alex Chilton, Jack and Amy Adcock, Roy Brewer, Jimmy Crosthwait, Sonny Williams, and more.

“Guitar Polka,” and, “See You Later Alligator,” are a lot of fun too.

Country Rockers, Fuck Get Notable Reissues (3)

Categories
News News Blog

Memphis Pets of the Week (Jan. 5-11)

Each week, the Flyer will feature adoptable dogs and cats from Memphis Animal Services. All photos are credited to Memphis Pets Alive. More pictures can be found on the Memphis Pets Alive Facebook page.

[slideshow-1]

Categories
Food & Drink Hungry Memphis

Wimpy’s Burgers & Fries Coming to Midtown

Southaven-based Wimpy’s Burgers & Fries, with its hand-pressed, griddle-cooked burgers and batter fries, is opening in Midtown sometime around mid-February/early March, according to owner Jacob Crafton.

This, the second Wimpy’s, will be on Poplar in the same center as the Home Depot.

Crafton’s first restaurant job was as a dishwasher at Outback Steakhouse in Cordova. He then went on to work at a number of chains before eventually becoming a corporate franchise consultant for Lenny’s.

One day, he joined his wife for lunch in Southaven at one of her favorite places for a burger: Wimpy’s. Crafton says the place was opened “on a whim” by two brothers with no restaurant experience but big plans. By the time they met up with Crafton, they were ready to move on.

Crafton took over the space three years ago, and among the changes: a swap in food vendors and a few tweaks to the menu. Both the turkey and black bean burgers have been greatly received. As for the mahi mahi burger, “we can’t hardly give it away,” says Crafton.

One big change was to the restaurant’s titular Wimpy, based on the old Popeye character, who said, “I’d gladly pay you Tuesday for a hamburger today.” (Crafton crafted his own tagline for the restaurant, “We’ll gladly accept payment today for a hamburger on Tuesday.”) The restaurant’s image of Wimpy was too close to the Popeye property for Crafton’s comfort, so he enlisted an artist to come up with a reimagined Wimpy — younger, trimmer, more millennial.

Crafton had originally wanted a second location in Whitehaven, but couldn’t find a place. A real estate agent hooked him up with the Poplar site. The space was once a clothing store, so it’s been gutted and a kitchen has been added to the back. It will seat 90 to 100 people.

Burgers at Wimpy’s are made to order. The sauces are house-made, the milkshakes hand-spun. The menu has choices but is not overwhelming. That’s a lesson learned, says Crafton, from Lenny’s Len Moore: keep it simple, stupid.

Categories
News News Blog

PODCAST: Mayor Strickland Looks Back On His First Year, Looks Ahead

Strickland

Jim Strickland has been the mayor of Memphis for more than a year now. He and a raft of new elected officials were sworn in New Year’s Day 2016.

He invited members of the media to his office at Memphis City Hall recently to talk about his first year and his plans for the coming years.

“I love this job,” Strickland said. “I love it every single day.”

He noted that the city’s record-breaking homicide rate has obscured other advances he and his team have made on crime. Also, he said the year has had other big successes, like ServiceMaster’s decision to move its headquarters Downtown and the big investments planned here by St. Jude Children’s Hospital and its fundraising arm, American Syrian Lebanese Associated Charities (ALSAC).

In this unscripted, unedited interview, Strickland talks cops (and why we need more and how he’ll get them), population loss, Memphis 3.0, why companies are choosing Memphis, and, of course, being “brilliant at the basics.”

He also delivers a killer line on why his new plan for the city will work and gets kind of hung up on the word “objectively” (and laughs about it).

Check it out.

PODCAST: Mayor Strickland Looks Back On His First Year, Looks Ahead

Categories
From My Seat Sports

Memphis Sports Resolutions for 2017

Let’s make 2017 the right kind of year. A few suggested goals for local sports figures:

• Dedric Lawson — Ten assists (or blocks) in a game.
In the long, rich history of Memphis Tiger basketball, exactly two players have achieved a triple double: Penny Hardaway (twice) and Antonio Anderson. The Tigers’ sophomore star has already come within three assists of the feat (on December 13th) and on another occasion, within two blocked shots (on December 10th). The points and rebounds will come in metronomic regularity. If Lawson can achieve the right kind of outburst in passing or blocking the basketball, he’ll turn an exclusive Memphis duo into a trio.

• Zach Randolph — Win the NBA’s Sixth Man Award.
Z-Bo graciously accepted his new role — off the Memphis Grizzlies’ bench — when new coach David Fizdale announced a significant rotation adjustment in the preseason. Why not turn the new supporting role into a major award? Through Monday, Randolph has averaged 13.3 points and 7.7 rebounds. When he missed seven games after his mother’s death in late November, the Griz went 4-3, each of the wins by less than five points, each of the losses by at least nine. The 35-year-old remains integral to the Grizzlies’ big-picture ambitions. A trophy presentation at FedExForum during the playoffs would be a career highlight.

• Anthony Miller — Make first-team All-America.
After catching 95 passes for 1,434 yards and 14 touchdowns in 2016 — all new Memphis records — the Tigers’ junior wide receiver didn’t so much as make first team all-conference. In the American Athletic Conference. It’s unlikely Miller would be taken in the first two rounds of this year’s NFL draft. So why not rejoin forces with quarterback Riley Ferguson, do to the Tiger pass-catching record book what DeAngelo Williams did to the rushing charts, and gain some overdue accolades?

• Stubby Clapp — Make Redbird fans stop talking about backflips.
When a fan favorite returns, the honeymoon becomes saturated with memories of a player’s achievements during his initial tenure. For the new Redbirds manager, this means countless photos and video clips of a second baseman going heels up as he takes the field. Assuming his first managerial gig above the Class A level, Clapp will be focusing more on replicating the achievements of his 2000 Redbirds team, a club that won the Pacific Coast League championship in AutoZone Park’s inaugural season. Winning baseball games — to say nothing of developing prospects — has little to do with pregame acrobatics. It will be fun to see a man called Stubby take baseball seriously (he always has) and assume a leadership role in the St. Louis farm system.

• Tubby Smith — Make it six for six.
Smith would become the first man to coach six teams to the NCAA tournament if he can guide Memphis to the Big Dance. Why not this year? The Tigers have three wins over teams from Power Five conferences (two more than they had, combined, the last two seasons), but must earn tournament consideration in league play. The guess here is that January and February will be the veteran coach’s wheelhouse, when player roles come into focus and the rhythm of a two-games-per-week campaign toward the postseason feels rather familiar. Who knows if Dedric Lawson will be back for a third college season? His coach should make the most of a prime asset.

• Mike Conley — Establish the Grizzlies’ 700 club.
The Grizzlies somehow won six straight games with their $30-million point guard sidelined by broken bones in his back. Don’t be fooled. Memphis needs Conley like Conley needs a healthy back. He’s 39 games from becoming the first Grizzly to play in 700 regular-season games. If he reaches the milestone this season, count on Memphis extending its playoff streak to seven years. And count one more reason no future Memphis player will wear the number 11.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2)

Dr. James Gholson leads Craig Brewer’s ‘Our Conductor – Artists Only Remix’

 Let’s do this.

10. Kphonix “When It’s Tasty”
Director: Mitch Martin

What goes with disco better than lasers? Nothing.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2)

9. Hormonal Imbalance “That Chick’s Boyfriend”
Director: Jamie Hall
Rising Fyre Productions gives Susan Mayfield and Ivy Miller’s gross-out punk the no-holds-barred video they deserve. Not safe for work. Or life.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (2)

8. “Our Conductor – Artists’ Only Remix”
Director: Craig Brewer
When the Memphis Grizzlies hired Craig Brewer to make a promotional video to help persuade Mike Connelly to stay, he gathered an A team of Memphis talent, including producers Morgan Jon Fox and Erin Freeman, cinematographer Ryan Earl Parker, assistant director Sarah Fleming, Brandon Bell, and Firefly Grip and Electric. Prolific composer Jonathan Kirkscey was tapped to write an inspiring score, which would be performed by musicians from the Stax Music Academy and members of local orchestras, and the Grizzline drummers. Dancers from Collage Dance Collective, joined jookers from the Grit N’ Grind Squad.

After a shoot at the FedEx Forum, Editor Edward Valibus cut together a b-roll bed to lay the interviews on. His rough cut turned out to be one of the best music videos of the year.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (3)


7. Brennan Villines “Crazy Train”
Director: Andrew Trent Fleming
This unexpectedly poignant Ozzy cover was the second music video Villines and Fleming collaborated on this year, after the stark “Free”. Where that one was simple, this one goes big.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (4)


6. Lisa Mac “Mr. Mystery”

Director: Melissa Anderson Sweazy
There’s no secret to making a great music video. Just take a great song, a great dancer, a great location, and some crackerjack editing. All the elements came together brilliantly for Sweazy’s second entry in the countdown.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (5)

5. Marco Pavé “Cake”
Director GB Shannon

Shannon used the WREC building as the main setting in his short film “Broke Dick Dog”, and he returns with a cadre of dancers and a stone cold banger from Pavé. Go get that cake.

Marco Pavé "Cake" Music Video from VIA on Vimeo.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (6)

4. Chackerine “Memphis Beach”
Director: Ben Siler

This three minute epic keeps switching gears as it accelerates to a Jurassic punchline. Its sense of chaotic fun took the prize at the revived Indie Memphis music video category.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (7)


3. Yo Gotti “Down In The DM”
Director: Yo Gotti

It was Yo Gotti’s year. The Memphis MC racked up a staggering 101 million views with this video, which features cameos from Cee-Lo Green, Machine Gun Kelley, YG, and DJ Khalid. The video must have worked, because the song peaked at number 13 on the Billboard Hot 100.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (8)

2. John Kilzer & Kirk Whalum “Until We’re All Free”
Dir: Laura Jean Hocking

Two things brought “Until We’re All Free” to the list’s penultimate slot. First, it’s a perfect example of synergy between music and image, where both elements elevate each other. Second is the subtle narrative arc; Amurica photobooth owner Jamie Harmon selling false freedom seems suddenly prophetic. The social justice anthem struck a chord with viewers when it ran with the trailers at some Malco theaters this spring. The parade of cute kids helped, too.

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (9)

1. Don Lifted “Harbor Hall”
Director Lawrence Matthew
s
Matthews is a multi-tasker, combining visual art with hip hop in his live performances and controlling his videos. His two videos from his album Alero feature his beaten up domestic sedan as a character. Its the total artistic unity that puts “Harbor Hall” at the pinnacle of 2016 videos. Because my rules limited each musical artist to one video, Matthews’ 11-minute collaboration with filmmaker Kevin Brooks “It’s Your World” doesn’t appear on the list. I chose “Harbor Hall” because of its concision, but “It’s Your World” would have probably topped the list, too.
Here it is, Memphis, your Best Music Video of 2016:

Music Video Monday: Top 20 Memphis Music Videos of 2016 (Part 2) (10)

Keep those videos coming, artists and filmmakers! Tip me off about your upcoming music video with an email to cmccoy@memphisflyer.com.

Categories
Opinion Viewpoint

It’s Memphis’ Water!

The Sierra Club was disappointed by the Shelby County Groundwater Quality Control Board’s recent denial of our appeal of the last two (out of five) permits that the Shelby County Health Department issued to the Tennessee Valley Authority (TVA) to place wells in the Memphis Sand Aquifer. The stated intent of these wells is to provide the 3.5 to 5 million gallons of cooling water that will be lost to evaporation every day in the operation of a new natural gas plant.

We don’t hold it against the board. They were only asked to rule on whether the Health Department followed the rules that the board promulgated nearly 30 years ago. The board did not rule on the merits of our argument — that TVA’s wells may pose a threat to the future quality of our drinking water by inducing the downward leakage of lower quality water from the surficial aquifer through breaches in the confining clay layer that protects the Memphis Sand.

We are pleased, however, that our arguments have resonated with the public, with elected officials, and with the professionals who manage the Health Department’s Division of Pollution Control. A broad consensus has developed that it is time to revisit the Well Permit Rules adopted in 1987.

That 1987 groundwater ordinance was progressive for its time, far surpassing state law. Commissioners rightly recognized the immense value that the high-quality water from the confined aquifers deep beneath Memphis — the Memphis Sand and Fort Pillow Sand — represented to our public health and local economy. They had the vision to implement policies to conserve this resource and protect it from pollution.

Our appeal of TVA’s permit did expose several deficiencies in the rules, and the Sierra Club is now working with Health Department and County Commissioners to address them:

1) There is no provision for public notice or participation in the permitting process. We believe that the Department should maintain a notification list and make permit applications available.

2) Subjective terms like “reasonable use” need to be further defined. The criteria and procedures by which justification of need or exceptions are determined require more clarity, and the process needs to be much more robust and subject to public comment.

3) The appeal process appears to have been meant for those who have been denied a permit, rather than those who disagree with permits that were granted contrary to the intent of the rules. The time gaps between notice of issuance, deadline to file an appeal, and the hearing of the appeal need to be lengthened to allow a fair hearing of appeals.   

4) At the recent hearing, the Sierra Club was not allowed to call experts from the University of Memphis Center for Applied Earth Science and Engineering Research (CAESER) or the United States Geological Survey (USGS) as witnesses, nor was the board allowed to ask them to answer any questions. The presence of such experts is essential if the board is to make science-based decisions.

5) TVA was allowed to act as a third party to the appeal, despite the fact that there is no provision for third-party intervention in the current ordinance. This allowed TVA undue influence over the rules of procedure and evidence.

6) As currently composed, the Shelby County Groundwater Quality Control Board does not adequately represent the public interest. The board should include more appointments from the public at large, specifically members who represent public health, conservation, and environmental justice interests.

7) There are several land use and/or facility siting decisions that may pose threats to our aquifers that should also be reviewed by the Groundwater Quality Control Board. These include zoning or permitting of sand and gravel mines, landfills, petroleum pipelines, and chemical or petroleum storage tanks.

The Sierra Club believes that the ideal permitting process would be similar to the Land Use Control Board’s procedure for planned developments. Well or other aquifer impacting permit applicants would file a permit. If more than 10,000 gallons per day, the public would be notified and would have 30 days to submit comments and request a public hearing.

At the permit hearing, the board would hear comments from the public and hear testimony from experts from the University of Memphis, U.S. Geological Society, and others. If contested, the board would vote and forward a recommendation to the Shelby County Commission for final decision. If the commission’s decision is appealed by either party, it would be heard by a court of competent jurisdiction.

It’s our water, and the water is our future.

Scott Banbury is conservation program coordinator for the Tennessee chapter of the Sierra Club.