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Intermission Impossible Theater

Tennessee Shakespeare Company Purchases Former Ballet Memphis Property

It didn’t take long to fill Ballet Memphis’ old Trinity Road home. Better news, the spot’s being taken over by another growing Mid-South arts organization. After years of partnering, renting and space-sharing the ambitious, Tennessee Shakespeare Company announced it would evolve its site-specific tradition and occupy the 18,000 + square-foot space left vacant by Ballet Memphis.

From the announcement.

“With this acquisition, Tennessee Shakespeare Company is preparing to create the first and only permanent, year-round home for professional Shakespeare performance, education, and training in the state of Tennessee.

TSC purchased the 18,484 square foot facility outright from Ballet Memphis for $1,900,000. There is no mortgage.

TSC, now beginning its tenth anniversary season, expects to begin interior renovation this Fall and to be completed in Spring 2018.”

With this acquisition, Tennessee Shakespeare Company is preparing to create the first and only permanent, year-round home for professional Shakespeare performance, education, and training in the state of Tennessee.

TSC plans to open its new facility next Spring.

“[TSC founder] Dan McCleary launched the silent phase of TSC’s New Home Capital Campaign in June, and within seven weeks the full sale price for the property was raised from the company’s first Legacy Donors. These donors, many of whom remain anonymous until the facility is officially opened in 2018, reserve naming rights in the new home. “

Dan McCleary

“We now get to create a Southern center for creative collaboration, inquiry, inclusiveness, arts education, compassion, exalting language, for stories of healing, and for tremendous entertainment founded on Shakespeare’s and other classical works,” McCleary stated in the sale announcement. “Memphis will soon have a permanent, professional theatre that produces the world’s greatest plays with America’s finest classical actors.”

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Film/TV Film/TV/Etc. Blog

Indie Memphis Announces Opening Night Film, Special MLK50 Programming For 2017 Festival

The Indie Memphis Film Festival will take place November 1-6, 2017. This will be the twentieth year the festival has brought films produced independently of the Hollywood studio system to the Mid-South, and organizers say they intend to pull out all the stops.

The opening night film will be Thom Pain, the film adaptation of a 2004, one-man play called Thom Paine (based on nothing) by English playwright Will Eno that won the first ever Fringe Award at the prestigious Edinburgh Festival. The star of—and presumably only actor in—the film, Rainn Wilson, will be on hand for the gala screening, which will be the film’s world premiere. Wilson made his film debut in 1999’s Galaxy Quest, appeared for five seasons on HBO’s Six Feet Under, and achieved international notoriety with his portrayal of Dwight on the American version of The Office.

The festival is partnering with the National Civil Rights Museum for a series of films to commemorate April’s 50th anniversary of the assassination of Martin Luther King, Jr. These will include Up Tight, a rarely seen, 1968 independent film by Jules Dassin starring Ruby Dee that includes footage taken at King’s funeral, and the 1970 documentary King: A Filmed Legacy From Montgomery To Memphis by Sidney Lumet.

The work of American indie auteur Abel Ferrera will be celebrated with two screenings: Bad Lieutenant, a 1992 film starring Harvey Keitel as a corrupt cop who cracks up while investigating the rape and murder of a nun, and The Blackout, a 1997 comedy starring Dennis Hopper and Matthew Modine as a director and movie star who get themselves into trouble while drinking in Miami Beach. Ferrera will appear at both screenings, along with his cinematographer Ken Kelsch and editor Anthony Redman.

For its twentieth anniversary, the festival will have a three day block party in Overton Square that will block off Cooper between Union and Monroe. The party will feature the Memphis premiere of Thank You Friends: Big Star Live…and More, a concert film of Big Star’s Third album performed live by an all star band that includes members of R.E.M. and Wilco, and Robyn Hitchcock, among others, with the sole surviving original Big Star member Jody Stephens on drums. “The Indie Memphis team went all out this year to celebrate our 20th anniversary,” says Indie Memphis Executive Director Ryan Watt. “The addition of the block party and more venues will make this our largest and most eclectic festival to date. I’m most excited to see our audience and filmmakers, local and traveling, come together as a community to discuss what they’ve seen after each credits roll.”

The festival’s competition lineup will be revealed at a party at the Rec Room on September 26. Organizers have had a record number of entries this year and expect to screen at least 200 documentary, narrative, experimental, and animated features and shorts during the festival’s weeklong run. Festival passes are on sale now at the Indie Memphis website.

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We Recommend We Saw You

Ballet Memphis, Urban League, Pillars of Excellence and more!

Michael Donahue

Grand opening of new Ballet Memphis headquarters.

Crystal Brothers. who danced in the “Sa Voix” number, was the first dancer to set foot on the new stage at the mini-performance Aug. 26 to celebrate the grand opening of Ballet Memphis’s new headquarters at 2144 Madison.

That was just a coincidence, not symbolic, said Ballet Memphis CEO/founding artistic director Dorothy Gunther Pugh. “Crystal has been here over 20 years now,” she said. “So many of those dancers had their first jobs with us and they’ve loved it so much they’ve grown with us. They’ve reached a stature of excellence that’s understood by people across the country who really know what professional ballet is.”

Associate director Seven McMahon is another veteran. McMahon, who was born in Glasgow, Scotland, used “y’all” in his opening remarks to the audience. “I’ve been in Memphis 14 years,” he said. “I think I can say that.”

Ballet Memphis’s new headquarters officially opened Aug. 24. “Everything from start to finish starting with the ribbon cutting on Thursday afternoon was magical,” Pugh said. “And the magic never stopped. All day Saturday that place was full with excited and over-awed people.”

Guests were “mostly kind of mesmerized by how amazing the place is.”

And, she said, “The building did what it was meant to do: be open to sharing joyful experiences with people in the community.”

The 38,000 square foot, $21-million Ballet Memphis headquarters houses five studios, including a large glass-walled studio with limited, retractable seating, and a costume shop, which is visible from the street.

“This has been a dream for many years and now it’s a reality,” McMahon told the audience.

Mama Gaia restaurant also is housed in the new headquarters. The restaurant, which also has a location in the Crosstown Concourse, held the grand opening for the new location Aug. 24 at Ballet Memphis.

Following the ballet performance, dancers joined guests to kick up their heels in the Flying Hall in the Ballet Memphis headquarters. D. J. Waht kept the music going, but it was Stax instead of Stravinsky. He played Top 40s and rhythm and blues. Toe shoes were not required.

…….

Michael Donahue

Marvin Ballin and Sam Fargotstein at Pillars of Excellence.

Members of the legal profession were placed on pedestals Aug. 26 at Pillars of Excellence at Hilton Memphis.

Honored this year were former University of Memphis president Shirley Raines, judges Julia Gibbons and James Todd and attorneys Homer Branan, John Houseal Jr., Jim Raines and Jim Warner.

Pillars of Excellence is a fundraising event for scholarships to the University of Memphis law school, said Marina Carrier, U of M alumni association event coordinator. “To do that, we’re honoring individuals in the legal community who have practiced for a minimum of 40 years.”

A total of $75,000 was raised at this year’s event, which is the eighth Pillars of Excellence, Carrier said.

U of M alumni law chapter president Richard Glassman was emcee.

…………

Michael Donahue

Tonya Sesley-Baymon and Congressman Steve Cohen at Memphis Urban League Empowerment Luncheon.

Ron Harris, a former reporter for the now defunct Memphis Press-Scimitar, was the speaker at the Memphis Urban League Empowerment Luncheon, held Aug. 24 at the Holiday Inn at the University of Memphis.

The award-winning Harris, now adjunct journalism professor at the Cathy Hughes School of Communications at Howard University, also is the managing editor of the Howard University News Service.

He also worked at EBONY magazine, the Los Angeles Times and the St. Louis Post-Dispatch.

Asked why Harris was selected to speak, Memphis Urban League president/CEO Tonja Sesley-Baymon said, “He’s a Memphian – one – and an award-winning journalist. So, when I discovered what the National Urban League’s theme was for 2017 – ‘Protect Our Progress’ and ‘Put People First’ – I thought he would be a great person to talk about protecting the progress of African-Americans. And talk about the strides we’ve made as a people. And the next step: to move forward.”

……

Michael Donahue

Impala at Tiki Night at Railgarten.

Impala performed on stage near a movie screen showing surfers riding big waves at Tiki Night Aug. 24 at Railgarten. A group of guys played beach volleyball nearby.

But Impala really isn’t a surf band, said guitarist John Stivers. “We certainly have those elements,” he said. “It’s easy to lump an instrumental band that plays that style of music into that. And I don’t mind somebody calling us that. For lack of a better term, that’s what we are. But we span genres.”

They’ve also been called “crime jazz,” he said. “Just think about James Bond themes. That kind of stuff. Guitar heavy. Staccato-type picking. But a lot of times it will have horns.”

He also has heard their songs described as “creepy noir” – “dark, creepy music that would accompany an old movie.”

Surf music “all revolves around a certain type of beat. There’s a thing called ‘surf beat.’ It would typically have more classic rock and roll licks to it, but all the guitars drenched in reverb. It has a little more rock and roll feel to it.”

Surf music “might have been what got us started,” he said. “We listened to the Ventures and Dick Dale and all that stuff. But we also listened to Booker T and the MGs. And John Barry, who did all the James Bond themes – the earlier ones with all the guitar sounds. And spaghetti westerns. We strived to mix all that down together.”

As for the Railgarten stage, Stivers said, “I like that venue. I’d like to play there again. It’s a fun place to play, that’s for sure.”

And Stivers did NOT use the word “gnarly.”

………

Michael Donahue

John Halford, Anna-Lise Halford, Jose Velazquez and Jennifer Velazquez at Next Door.

Guests were introduced to the Baja burger (Home Place Pastures ground beef, guacamole, cilantro slaw, roasted Jalapenos and lime crema), wild caught Alaskan Salmon bowl (pan roasted with Tuscan kale, beets, quinoa and lemon) and curry chicken salad sandwich (green apple, golden raisins, celery and lettuce) at the soft opening of Next Door American Eatery Aug. 24 in the Crosstown Complex.

The menu groaned with more salads, bowls, sandwiches, burgers and soups.

“We’re a scratch kitchen,” said Next Door assistant general manager Scott Lawrence. “We try to source everything as local as we can. As sustainable as we can. Everything is made in the kitchen for the most part that day.”

…………..

Michael Donahue

Paula Anderson and Anthony Hicks at PRSA Memphis networking event at Jack Robinson Gallery.

PRSA Memphis celebrated PRSA DIversity Month with a networking event Aug. 22 at the Jack Robinson Gallery.

“At the beginning of this year the national organization said PRSA was going to make a more concerted effort to promote diversity and inclusion from a national level and throughout our local chapters,” said James Dowd, president of the Memphis chapter of the Public Relations Society of America.

Their chapter previously held mixers, but this was the first one devoted to promoting diversity and inclusion, Dowd said. “This is something we will actively promote throughout our programming day to day month to month moving forward. This is the first in a series to situate Memphis PRSA as a leader in diversity and inclusion among our peers and throughout the country. To bring everyone together to have these conversations. Where are we doing a good job promoting diversity and inclusion and where do we need to get better?”

University of Memphis’s Prizm Chamber Music Ensemble members Noel Medford, Joseph Miller and Dylan Willis performed music to network by.

About 150 people attended the event, Dowd said.

[slideshow-1]

Categories
Film/TV Film/TV/Etc. Blog

Outflix Gala Kicks Off Twentieth Year Of LBGT Films

Outflix, Memphis’ film festival devoted to LBGT programming, is celebrating its twentieth edition tonight with a party at Evergreen Theatre.

The opening gala will feature highlights from past festivals and a preview of this year’s fest, which promises to be bigger and better than ever. The party will also feature a screening of The Untold Tales of Amisted Maupin, a new film tracing the life of the beloved novelist and storyteller from his conservative Southern roots to his status as an LBGT literary icon.

Outflix Gala Kicks Off Twentieth Year Of LBGT Films

The Outflix Film Festival will run from Sept. 8 to 14 at the Malco Ridgeway Cinema. The Memphis Flyer will have full coverage of the festival in print and online.

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Food & Drink Hungry Memphis

Next Door, 2nd Mama Gaia Now Open

Crosstown Concourse


Next Door American Eatery
in the Crosstown Concourse officially opened its doors on Tuesday.

The restaurant, a Kimbal Musk joint, is a more casual offshoot of the The Kitchen, located in Shelby Farms.

Next Door had a soft opening last week with the goal of ironing out the kinks while raising money for The Kitchen Community’s Learning Gardens. (No money was charged for the meal, and lieu of tips, donations were suggested.) Ninety-two of these “outdoor classrooms” have been in established in area schools so far. The goal is hit 100 by November.

The menu is designed around a clean-eating ethos using locally sourced goods — eggs and chickens from Marmilu Farms, pork chops from Home Place Pastures, for example.  

The dishes we sampled were the grilled broccolini with spicy sesame aioli and sunflower seeds; the Next Door Roasted Veggie bowl; and the veggie tacos. Other dishes include a beet (!) burger, Cuban and BBQ pork sandwiches, soups, and Calamari Fritto Misto. There are daily specials as well.

All the dishes were good, but that veggie bowl was standout — with broccolini, mushrooms, cauliflower, peppers on red quinoa topped in a tahini dressing. So tasty and satisfying. A comfort food that won’t hit you like a ton of bricks later.

The restaurant seats 126 inside with additional seating for 50 more on the patio. They are open daily, starting at 11 a.m., and a full bar will be in operation soon.

Mama Gaia, the organic vegetarian restaurant, opened its second location in the new Ballet Memphis building on Madison last week.

The space designed by archimania, which recently won an award for the Mama Gaia restaurant design in the Crosstown Concourse, fits well the Mama Gaia aesthetic. The Mama Gaia menu lets the ingredients do most of the talking, with small but expertly done flourishes. The space is open with a collection of small tables lining floor-to-ceiling windows surrounding most of it. One side has small bar for sitting and eating, and there is a bar for drinks at another.

Note this bar for drinks — new to the Mama Gaia brand. At the preview we sampled the Crosstown Cooler (360 brand organic vodka, fresh-pressed organic cucumber juice, fresh organic lime juice, organic agave, and locally grown organic mint) and the Allegro (organic 360 vodka and organic OJ, lemon juice, berry puree, and agave).

The menu should be much the same as the first restaurant’s, though the Ballet Memphis site does have Copia Pizza and an Asian Bowl, plus new Quinoa Dippers. 

Categories
News News Blog

Memphis In May Brought $111.9M Impact This Year

Memphis in May

Memphis in May (MIM) had a much bigger impact on the Memphis economy this year than it did last year and brought in more than 94,000 out-of-town visitors to 44 events during the month-long celebration.

The festival had an overall economic impact of more than $111.9 million this year, according to economic analysis from Younger Associates. That figure shattered last year’s $88 million impact by 22 percent. This year’s festival is expected to bring in $3 million to the city tax coffers.

“It is widely recognized that the Memphis in May International Festival plays an important part in the culture of our city, but this study is a reminder of the significant positive economic impact it has on the hospitality and tourism industries, and on the tax coffers of Memphis and the surrounding areas,” said Kristen Wright, 2018 Memphis in May board chair and senior vice president and general counsel of AutoZone.

Here’s a breakdown of the biggest events:

Beale Street Music Festival:
Attendance: 88,898
Visitors outside Shelby County: 55,917
Total visitor spending: $30.7 million
Economic impact: $55.7 million
Jobs supported: 533
Tax revenue: $1.7 million

World Championship Barbecue Cooking Contest:
Attendance: 63,721
Visitors outside Shelby County: 35,556
Total visitor spending: $20.77 million
Economic impact: $37.7 million
Jobs supported: 361
Tax revenue: $1.2 million

901 Fest:
Attendance: 7,333
Visitors outside Shelby County: 1,657
Total visitor spending: $95,062
Economic impact: $172,709
Jobs supported: 2
Tax revenues: $5,072

Great American River Run:
Attendance: 3,730
Visitors outside Shelby County: 1,278
Total visitor spending: $101,725
Economic impact: $184,814
Jobs supported: 2
Tax revenues: $5,610

The MIM organization spent a little more than $9.7 million to put on the month’s events. It brought in just under $10 million. All told, the organization made $278,655 form the event this year. That’s a great improvement over the $329,689 loss from the 2016 MIM festival.

Categories
Intermission Impossible Theater

The Light: “The Flick” Rewards patient audiences at Circuit Playhouse

“I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. … The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius.” — Sam Shepard.

Estragon: We always find something, eh Didi, to give us the impression we exist?

Vladimir: Yes, yes, we’re magicians.
Waiting for Godot, Samuel Beckett

Talk about your liminal spaces, wow. Is there any other point in the universe where the membrane separating soul-eroding minimum-wage reality and vast multiversal fantasy, is so very thin as it is in a cinema when the movie’s over and the crowd’s gone home; When the crew comes in to scrape gum, sweep up popcorn and other human waste? This is context for The Flick, a Pulitzer winner and theatrical endurance test rewarding audience patience with some extraordinary acting and a story considerably greater than its parts. Set during the digital revolution, in a movie theater still projecting film, Annie Baker’s slow-burning comedy of awkwardness, is only tangentially about movies. It’s more about seeing (or not seeing) the light amid desperation, depression, generational angst, and dead ends in an America where jobs can be scarce and unfulfilling. It’s all wrapped in a potent, subtly developed object lesson about the true nature of a thing we vastly misunderstand — white supremacy.

Avery’s the newest and most vulnerable member of The Flick staff. He’s a young, African-American film nerd with encyclopedic knowledge and a firm belief that, “Nothing projected digitally can truly be called a film.” Avery’s hipster hobbyhorse creates a kind of converse: Can a show about watching people work, and work, and work truly be called a play? Because so much of The Flick is about watching the cast sweep popcorn up and down the aisles, silently managing the weight of their problems, hopes, fears, and fantasies as they mop up puddles of spilled coke and other unidentifiable substances. The action is redundant, and mind-numbing at first. But just when you think you can’t take anymore of this shit, the weight and force of Baker’s painstakingly real journey into the absurd hits like a Summer blockbuster.  

It’s hard to know what’s going to happen to Sam. He’s an angry white 30-(40?)-something who feels stuck, unappreciated, and overlooked — harmless, but still a pressure-cooker. Now he’s breaking out in a mysterious rash too. And he lives at home with his mother who’s swimming in credit card debt. The girl he’s crushing on got promoted to projectionist over him. Now she’s teaching Avery — the guy he trained (to sweep up popcorn) how to run the projector — and maybe she’s teaching him more than that, too. Even Sam’s younger “retarded” brother has found love and marriage, and something like happiness. To pass the time Avery asks Sam, “What do you want to be when you grow up?”

“I am grown up,” Sam answers. Doesn’t sound like much, but I’m hard pressed to name a time when any brief exchange in any play has felt so colossal. Maybe in Godot when Estragon says, “I can’t go on like this,” and Vladimir answers, “That’s what you think.”

In the projection booth, high above Sam and Avery’s labors, Rose splices together the previews of coming attractions, and loads reels onto the projectors. You can see her framed in her little window, like the spidery star of her own silent film. She’s the object of Sam’s desire — disaffected and damaged, but bright. Her attempt to seduce Avery while screening Sam Peckinpah’s The Wild Bunch is like a vaudeville routine turned inside out — a crushing joke, painfully and perfectly rendered.

These are The Flick‘s primary characters. We get to know them pretty well over three-and-a-quarter hours. But there are other characters too — a patron who sleeps through the end of the credits, a young new-hire who’s into his smart phone and already knows how to sweep popcorn. And then there’s the theater’s Baby-Boomer owner, angling to sell the old movie house and retire. The owner never actually appears on stage but his watch (or lack thereof) impacts lives at The Flick. He’s a faintly metaphysical construct, particularly for GenXer Sam, trapped between the famously enormous generation that got to all the good jobs first, and the fresh-faced millennials who’ll replace them in a world made evermore impersonal by the invisible hand of the market.

Scenes are divided by blackouts — a projector’s blinding beam cutting through the darkness. It flickers with life until the digital conversion happens. Then it’s just flat light with no pulse at all.

The Light: ‘The Flick’ Rewards patient audiences at Circuit Playhouse

Sam and Rose take part in a minor league ticket-money-skimming scam Flick employees have been pulling forever. It’s called “dinner money” and it nets everybody an extra $10 or so a night to augment their $8.24/hour pay. Avery is coerced into participating against his better judgement. For all of his nerdiness, education, and all around middle-classness, he knows he’s still black and the rules are different. And, of course, they are.

Director Jordan Nichols has pulled together a first rate ensemble: Brooke Papritz (Rose), John Maness (Sam), Roman Kalei Kyle (Avery) and Oliver J. Pierce (Skylar/The Dreaming Man). Finely-tuned performances might be described as theatrical mumblecore, but it sure wouldn’t hurt for Papritz to project just a little more. She was often hard to hear from the middle of the theater, but not so hard to understand.

I never did write a tribute to Sam Shepard when he passed. It took the wind from my sails. He was my favorite living American playwright and I’m not really sure if I have one of those anymore. But with plays like The Flick, Baker may be in the running. As this production slouched toward its curtain call-free terminus, I was reminded of something Shepard once said about the shape of good drama. “I hate endings. Just detest them,” he said. “Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. … The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius.” That’s about right, and the right way to wrap this review. Except for one more thing…

We can put a man on the moon but can’t make a theater seat that doesn’t turn into an instrument of torture after an hour and a half. That’s just barely scratching the first act of this famously crawling show. My advice — bring a pillow. This one’s not going to suit everybody, probably and I suspect some folks will pick up and leave at intermission, even if they don’t hate the show. I can only encourage folks to stick it out. You’ll be glad you did. 

In The Flick the set watches you.

The Light: ‘The Flick’ Rewards patient audiences at Circuit Playhouse (2)

Categories
Cover Feature News

Smoke on the Water: How Will Arkansas’ Medical Marijuana Impact Memphis?

Dr. Tammy wants you to call it cannabis. 

Not weed. Not pot. Not dope. She doesn’t even want you to call it marijuana, really. 

She, and a growing number of others nationwide, want you to call it cannabis, like everyone in America did before the 1910 Mexican Revolution. She wants doctors to take weed (sorry) back from Cheech and Chong and dorm-room walls. She wants to put it in the medicine cabinet, where she says it belongs. 

When Dr. Tammy Post (aka “Dr. Tammy” or even “The Naked Doctor”) took the stage at a cannabis symposium two weeks ago, she looked every bit the part of a cannabis-prescribing West Coast physician — blonde hair, gleaming white smile, standing trim and fashionable in a skirt and heels. 

But Dr. Tammy practices in Rogers, Arkansas, which could be considered, maybe, the west coast of Beaver Lake.   

“I thought it fitting I got to speak at 4:20 [p.m] today,” Post said, rising a laugh and a few hoots from an audience at the Medical Cannabis Patient Health Fair and Symposium in Fayetteville. 

But that glimpse of cannabis humor was the only one she really gave in an earnest 20-minute talk in which she focused on the cultural stigma surrounding cannabis, a no-no so engrained that patients won’t ask for it and doctors won’t talk about it, she said.

“When I was growing up, [marijuana] was bad,” Post said. “How many of y’all have heard about Reefer Madness? How many of y’all are conditioned to believe that it’s a gateway drug, that it was the devil, and that if you smoked it, you were going to hell?”

Her questions raised a chorus of agreement, even from a crowd gathered at a cannabis symposium. But the fact that there was a crowd, a stage, a speaker, and even a cannabis event in Arkansas at all showed how far that state and its people had come from the “devil’s-weed” stigma of cannabis’ complicated past. 

Next year, patients in Arkansas will be able to drive to dispensaries, hand over their prescriptions, and walk away with a bag or a bottle of legal, medical cannabis. It’ll be the culmination of a process nearly six years in the making — and a cultural watershed moment for the Bible Belt.

Right now, patients, growers, and dispensary owners are lining up to make it all happen. Applications to participate in any of the three facets of the cannabis market are due to state officials next month. It’s expected that about 30,000 to 40,000 Arkansas patients will sign up to get legal cannabis. 

In Tennessee, a task force is set to explore medical cannabis on the equally red state to the east of the Mississippi River. Republican lawmakers pulled a medical cannabis proposal during the Tennessee General Assembly session earlier this year, but the legislators agreed to form the task force, which will soon travel the state to introduce the idea and hear from Tennesseans. 

In the meantime, many here — and around the country —will be watching the Arkansas experiment to see if it could be a proving ground for other holy rollin’ Southern states to green light the green stuff.

How Did it Happen in the Natural State?

Initially, few thought medical marijuana legislation had a shot in hell in Arknasas. For one thing, the Natural State loves Jesus: 77 percent of Arkansans believe in God, and 79 percent of those are Christians, according to a recent survey by the Pew Research Center.   

So, it was no surprise that social conservative groups took a strong negative stand when medical cannabis was first on the ballot in Arkansas in 2012. The Family Council, a conservative think tank based in Little Rock, launched a multi-pronged attack against the measure, calling it a “backdoor effort to legalize marijuana across the state of Arkansas.”

Groups fought the 2012 measure all the way to the Arkansas Supreme Court, which ruled in September (just before the November vote) that the marijuana measure could be placed on the ballot. The 2012 measure failed at the ballot box, but only by a slim 49 percent-51 percent margin, which gave hope to cannabis proponents.

The cannabis question simmered in the state for four years. Then, in 2016, a flurry of lawsuits, two competing ballot initiatives, think pieces, op-eds, court rulings, political wrangling, and a lot of general hand-wringing produced an initiative that went on Arkansas’ November ballot, the same one in which voters pulled the lever for either Hillary Clinton or Donald Trump for president.   

Arkansas Governor Asa Hutchinson, who led the federal Drug Enforcement Agency under President George W. Bush, opposed any cannabis-legalizing legislation in his state. He said it was “not best for patients” and that the U.S. Food & Drug Administration — not Arkansas voters — should decide. “We don’t vote on cancer cures, and we should not set a new pattern of determining what is good medicine at the ballot box,” Hutchinson said at the time. 

Still, there was plenty of support for medical cannabis. The Arkansas Medical Marijuana Association (AMMA) was established to organize legislative efforts. Patient groups, such as Arkansans for Passionate Care, provided patient stories to extoll the virtues of cannabis in pain management and as an effective alternative to opioids. 

In the end, voters approved the Arkansas Medical Marijuana Amendment of 2016 by another narrow margin: 53 percent approved it; 47 percent were opposed. The margin was wider in Crittenden County, right across the river in West Memphis, where 61 percent of voters approved the measure and about 39 percent opposed it. 

Natural Healing Begins

The Arkansas Medical Marijuana Amendment was added to the state’s Constitution on November 9, 2016. That seemingly simple change meant a lot of work needed to be done prior to any Arkansan taking their first legal dose of cannabis. 

The Arkansas Medical Marijuana Commission (AMMC) was established — a board that includes politician-appointed doctors, pharmacists, lawyers, and others. The board worked to establish and refine the rules of the state’s medical cannabis program. 

In July, the board opened applications for the program to patients, growers, and prospective dispensary owners. 

Arkansas law will allow five cultivation facilities (cannabis grow operations) in the state. The commission is accepting applications for 32 dispensaries across the state. The commission created eight zones statewide, with each zone getting four dispensaries. The zone closest to Memphis stretches from the Missouri boot heel to Crittenden County.

Arkansans will get their cannabis registration cards as soon as dispensaries are approved, established, and ready to sell. State officials said that could be early 2018. Some cities, such as Hot Springs and Siloam Springs, have opted out of the dispensary program.

Cannabis sales in Arkansas could grow from $3.1 million in 2019 to more than $67 million in 2025, according to recent research from Washington, D.C.-based New Frontier Data. Early tax revenue projections found the program would likely generate around $2.5 million in state tax revenues, though that number got a boost recently, as lawmakers levied a new, 4-percent privilege tax on growers and dispensary owners. 

Rollin’ Across the River

Memphis police aren’t worried that legal cannabis will soon be available just across the Mississippi. Here’s the curt, single-sentence statement from the Memphis Police Department: 

“We do not anticipate any effects in Memphis related to Arkansas’ medical marijuana program,” Sgt. Karen Rudolph, MPD’s public information officer, said, in an email. 

The Shelby County Sheriff’s Office concurs with MPD’s assessment. 

“Arkansas is going to be tremendously different than in Colorado, where you can have two pounds of [cannabis] for recreational use,” said Earle Farrell, SCSO’s public information officer.

“It will be for medicinal uses only,” Farrell added. “People who do get it have to have prescriptions. It’ll be small, controlled amounts and won’t be in suckers, and brownies, and ice cream, and soups, and nasal sprays, and all the rest of things people are putting [cannabis] into.”

Cannabis is illegal in Shelby County and in Tennessee. Farrell said if someone is caught here with cannabis they bought legally in Arkansas, they will be arrested. If you get cannabis legally in Arkansas or Colorado or any other cannabis-friendly state, Farrell said, don’t bring it home. 

SCSO officers have flown to Colorado, Farrell said, to get a first-hand look at that state’s cannabis program and the legal and illegal cannabis that fuels it. Some of that cannabis has shown up here, Farrell said, and it’s the Colorado’s recreational-use laws that make its borders leakier than states that have medical-cannabis-only laws.

But medical cannabis programs can have positive effects on bordering areas without legal marijuana laws, according to a recent study by researchers with Norwegian School of Economics and the Pennsylvania State University Department of Sociology and Criminology. 

That study, published in The Economic Journal, found that cannabis reforms in U.S. states that border Mexico have reduced violent crime. Further, “we find that [medical marijuana laws] in inland states lead to a reduction in crime in the nearest border state.”

For their findings, researchers used crime-tracking data from the FBI’s Uniform Crime Reporting Program.  

John Marek, founder and former president of the Memphis chapter of the National Organization for the Reformation of Marijuana Laws (NORML), said Arkansas will have a rigid seed-to-sale tracking system in place to keep its legal cannabis out of the black market. 

“That being said, it would be impossible to guarantee that a limited number of patients would not illegally transport their medicine to other states,” Marek said. “We strongly encourage people not to break the law. Our goal is to change the law, not to break the laws in place.”

Cannabis in Tennessee

Ninth District Congressman Steve Cohen sponsored medical marijuana legislation in Tennessee while he was a state senator in the 1990s. Back then, his was a lonely voice in a dark wood. But now new voices — even some conservative voices — have picked up the song and proposed cannabis legislation is finding its way to the holy floors of Tennessee’s state house on a nearly annual basis. 

In 2014, Democratic lawmakers brought the Koozer-Kuhn Medical Cannabis Act to Nashville. It failed, but not before Toni Corbin and her adult son, Wallace, appeared before a House subcommittee. In archived video of the testimony, Wallace sat mute and motionless in a wheelchair, a Tennessee Titans scarf wrapped under his bearded face, and a Florida Gators blanket covering his body. 

“Wally wants me to tell you two things,” his mother, Toni, began. “He just wants to feel human again. And he wants you to know that he’s a Christian. He wants you to think about this when you go to bed tonight, when you tuck in your children, and kiss your wife. 

“If God made this cannabis plant, and God made us with cannabis receptors in our body, naturally, then, maybe, God has a plan. Who are we to question and interfere with God’s plan?” 

The door cracked slightly open on medical cannabis in 2015, when lawmakers legalized the use of cannabis oil, mainly for seizures and epilepsy, and only with the permission of a doctor. It scared the bejesus out of many social conservatives who proclaimed that full-on medical cannabis was next and that recreational cannabis would inevitably follow. 

Republican Governor Bill Haslam tempered those fears, noting he didn’t see a “big chance” for medical cannabis legislation to ever pass. Then-Lieutenant Governor Ron Ramsey (R-Blountville) said legislation would have “tough sledding” in the legislature. The comments came after Tennessee Department of Health Commissioner John Dreyzehner said medical cannabis would do more harm than good in the state.

Even so, Republican leaders rolled out medical cannabis legislation the very next session, but it was immediately criticized by cannabis advocates. That 2016 bill put up high financial barriers on anyone wanting to get involved in medical cannabis in Tennessee. In addition, cannabis patients would have had to give up their driver’s license while under cannabis treatment. If they were discovered operating a vehicle, their cannabis card could be revoked. 

In the 2017 session, state lawmakers took a tougher stance on cannabis, passing bills that nullified city ordinances passed by the Memphis City Council and the Nashville Metro Council that lowered penalties on certain kinds of cannabis possession. 

Memphis council members said lowering the penalties would alleviate pressure in the city’s criminal justice system and resultant financial burdens on African Americans, who are busted for cannabis in Memphis more often than whites. State lawmakers argued that state law trumps city law.

“This is not about one city, one county, or one district,” said Representative William Lamberth, (R-Cottontown), the nullification bill’s House sponsor. “This is about making sure it is consistent statewide.”

The nullification measures easily passed both chambers. Haslam signed the bills, which could have passed without his signatures. Asked why he signed them, a spokesman in his office at the time suggested Haslam simply followed the will of the legislature.

While that anti-cannabis issue roiled, two pro-medical cannabis bills were working their way through the capitol. One, called the Medical Cannabis Access Act, was sponsored by Democratic lawmakers, Representative Sherry Jones of Nashville and Senator Sara Kyle of Memphis. It quickly died.

Another was sponsored by Republican lawmakers Representative Jeremy Faison of Cosby and Senator Steve Dickerson of Nashville. It was put out to “summer study,” which is usually General Assembly code for “we’re not going to pass this legislation this year and we hope no one brings it up ever again.”

However, Dickerson and Faison pushed for a real summer study and convinced their colleagues to form a task force on the medical cannabis issue in Tennessee. So far, task force meetings have been loosely scheduled for stops in Nashville in September, Knoxville in October, and Memphis in November. Faison said the meetings should be open to the public as a means of hearing from constituents. 

Faison was more or less the face of medical cannabis in the state house this year. “Often, when I’m at home at the grocery store, I’ll get the questions: ‘Jeremy, aren’t you a Christian? Aren’t you the worship leader at your church?'” Faison said during a March meeting of the House Criminal Justice Subcommittee.

Faison told House members that “civilized groups of people” have used the cannabis plant for “almost 4,000 years.” Military veterans, “who have given the best of their physical health and their mental health for your freedom and for my freedom,” are using large amounts of opiates and other drugs, but some are choosing to move to “cannabis-friendly” states. 

Faison said there was a “mountain of evidence” showing that cannabis can help very sick children: “Children that modern medicine has failed are finding life with the medical use of this plant.” Constituents across Tennessee, he said, want to get off opioid prescription drugs for fear of addiction and, with cannabis, are “either breaking the law right now, or they really want to break the law.”

When it came to the THC, the chemical compound in cannabis responsible for euphoric highs, Faison said “that’s what God allowed in the plant.”

Speaking of God, Christian singer/songwriter Gary Chapman added some heavenly star power (which probably goes a long way with the Tennessee legislative set) to the medical cannabis issues this year. Standing at a news conference with Dickerson and Faison, Chapman tried to dispel the idea that “you’re in the music business, right? So, everybody’s smoking weed.”

“Don’t get lost in the fight about [marijuana as] a gateway drug and all that crap,” Chapman said. “That’s just not what this is about. This is about helping people. If you can help someone who is needlessly suffering and you don’t do it, it’s wrong. Plain and simple.”

Chapman also announced on Facebook in July that his son was involved with a business called TenneCBD, which makes “fine hemp products,” cannabis oils.

Will medical cannabis ever come to Tennessee? That’s unknown. But those pushing for it point to poll numbers from Middle Tennessee State University that said about 70 percent of Tennesseans polled believed cannabis should be either legalized totally or, at least, for medical use. A Vanderbilt University poll found about 75 percent of Tennesseans were ready for some sort of legalization. 

“Tennesseans are ready, if you poll them,” Faison said. “But the General Assembly is not there yet.”

Marginalizing “Marijuana”

Recreational cannabis has been legal in Oregon since 2015. Portlanders talk about it like they do fine wine or craft beer. And they call it cannabis. They’ve moved ahead in cannabis culture and that culture has largely moved away from the word “marijuana.”

Cannabis more scientifically describes the plant, they say. And the word “marijuana” has a dark past. 

The dominating origin story concerns Mexican refugees fleeing to the U.S. during the Mexican Revolution in 1910. They brought cannabis and the word “marijuana” with them. 

Many Americans feared and disliked these refugees. Sound familiar? To marginalize the group, locals targeted their foreign-sounding drug, “marijuana.” Bans on the drug began popping up in border states. The word had a foreign sound to it, and it was used as an us-against-them wedge for law enforcement. Harry Anslinger, the first commissioner of the Federal Bureau of Narcotics, called the drug “as hellish as heroin” and played the racism wedge hard.

“Reefer makes darkies think they’re as good as white men,” Anslinger said, according to a 1998 book by Mike Gray called Drug Crazy. “The primary reason to outlaw marijuana is its effects on the degenerate races … most are Negroes, Hispanics, Filipinos, and entertainers. Their Satanic music, jazz and swing, result from marijuana use. This marijuana causes white women to seek sexual relations with Negroes, entertainers, and any others.”

Thus, “cannabis” is the preferred terminology, thank you.

That’s, in part, why Dr. Tammy Post doesn’t want you to call it marijuana. She’s woke to “cannabis.” She wishes lawmakers were, too, even though they chose to call it the Arkansas Medical Marijuana Commission. But she’s willing to be patient.

“I do believe over time [‘cannabis’] is going to become more widespread as more people acknowledge cannabis as medication,” Post said. “People will understand as the stigma goes down that this plant has literally hundreds of different medicines in it.”

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Letter From The Editor Opinion

The Circular Firing Squad

It’s really hard to believe that the mayor of Memphis would denounce “outside agitators” and make a stand against activists wanting to take down the city’s confederate statues. I mean, how tone-deaf can you be?

I’m speaking, of course, of former Mayor Willie Herenton, who, in 2005, used that epithet to describe the Rev. Al Sharpton, who’d come to Memphis to support local activists who wanted to remove the Nathan Bedford Forrest and Jefferson Davis statues and rename the city parks where they stood.

Sharpton’s response to Herenton: “You need outside agitators when you don’t have enough inside agitators. Don’t get mad at us for doing your job.”

I think it’s safe to say Memphis now has a sufficiency of “inside agitators.” The persistent and vocal push to remove the Forrest and Davis statues has reached critical mass, having gained support from current Mayor Jim Strickland, the Memphis City Council, and even Governor Bill Haslam.

It’s been a long time coming. I did a little casual research on the Flyer website and noted that the paper has been reporting on and editorializing about this issue since at least the mid-1990s, when we first began putting our content online.

There have always been those who took a stand against the statues, but for years their voices were buried by bureaucracy and stymied by local politics and well-organized and well-funded opposition from confederate supporters. No more.

It seems inevitable now: The statues will come down in Memphis, as they are coming down all over the country. The devil is in the details and the timing.

We would not have gotten to this point if not for people willing to take a stand; people willing to make other people uncomfortable; people willing to confront the status quo. Through their persistence and courage — and the inadvertant “help” of those using confederate symbols in conjunction with acts of terrorism and murder — more and more people are coming to realize that too often it’s not “heritage” that’s being served by these symbols and monuments — it’s racism and tacit veneration of white supremacy and slavery. And more people are supporting the idea that decisions about such symbols should be made by local municipalities, and not subject to the whims of rural state legislators whose values are not those of most Memphians.

I think it’s important at this juncture that the disparate forces moving to make the statues come down do all they can to avoid the “circular firing squad.” The goal has been agreed to. The agenda is no longer in question. How and when we get there is what is still in dispute. But those with a mutual goal should avoid demonizing each other. That just muddies the water, weakens the process, and strengthens the opposition.

The mayor and the administration seem bent on taking the battle to court, challenging the Tennessee Historical Commission’s 2016 ruling against the city. Activists want more immediate measures taken — ceding the park land to private conservancies, for example, or just removing the statues and dealing with the legal consequences afterward.

It would help if, instead of attacking each other and creating more divisiveness between folks who have a common stated goal, the various contingents could work together to find mutual ground, say, agree upon a date by which the statues must come down, one way or another. A good target, in my opinion, would be March, 2018, at the latest — prior to the 50th anniversary of Dr. Martin Luther King Jr.’s assassination in our city.

Let’s all agitate in the same direction. We’ll get there faster.

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We Recommend We Recommend

Judy Peiser’s Beale Street Note

The brass notes on Beale are like puddles on the sidewalk reflecting the names of artists long ago written in the stars. As father of the blues, W.C. Handy is there, but so are Elvis Presley, Robert Johnson, Ma Rainey, B.B. King, and Justin Timberlake. The notes also honor authors like Peter Guralnick, politicians like Lamar Alexander, and other notables like civil rights photographer Ernest Withers. A new note will be unveiled Sunday, September 3rd, during the final day of the Center for Southern Folklore’s Memphis Music and Heritage Festival. This note commemorates the life and work of Judy Peiser, the Center for Southern Folklore co-founder and driving force behind Memphis’ most musically significant Labor Day weekend party for 30 years and counting.

Although the Center is located in Peabody Place on Main, its roots are on Beale, having begun life in the Old Daisy Theater where visitors could watch a slide show about regional music and culture.

“We were in four different places on Beale,” Peiser says, unable to list them all because visitors keep dropping into the Center, and they all have questions.

Judy Peiser

Peiser’s note will be installed on the stretch of sidewalk in front of Silky O’Sullivan’s, which was, in another life, a former home to the Center.

Peiser says she doesn’t have words to describe how she feels about the note. She just says she’s been honored to tell the stories of everybody from bluesmen to Holocaust survivors, and to build the archives of art, photography, film, and interviews related to life in the South. “To humanize,” Peiser says. “I guess that’s what we do.”

Every Labor Day weekend, the Memphis Music and Heritage Festival fills a stretch of Main just north of Beale with live music, dancers, storytellers, cooking demonstrations, and more. This year’s festival runs from Saturday, September 2nd through Sunday, September 3rd and features music by Earl “the Pearl,” Los Cantadores, Kate Campbell, the Last Chance Jug Band, Marcella Semien, Joyce Cobb, Luther Dickinson, the Rising Star Fife & Drum Band, and dozens more. Still free, though donations are encouraged.