Categories
News News Blog

MATA Proposes to End Ikea Route, Alter Others


The Memphis Area Transit Authority (MATA) will be accepting public feedback on its new proposed route changes through midnight on Friday, Oct. 20.

At a public meeting on Thursday, MATA officials presented 16 route alterations, along with the elimination of 44 Goodlett Ikea Way which serves the Ikea store in Cordova.

Proposed route changes include extending the 45 Appling Farms route from Stage to Dexter on Germantown in both directions in order to take over areas once served by Goodlett Ikea Way.

MATA officials also propose to temporarily suspend a route that serves Shelby Farms until the spring, while eliminating one evening trip and adding two additional ones to the 34 Walnut Grove route.

Justin Davis of the Memphis Bus Riders’ Union said MATA officials should reconsider the sustainability of prioritizing new routes that go further east. He adds that the priority should be shifted to increasing services in low-income and majority-African American areas.

“As the city is preparing a comprehensive plan for transit in the future, we want to be sure that people are talking about these systematic issues,” Davis said, referencing the joint effort of the city, Innovate Memphis, and MATA to create the Memphis 3.0 transit vision plan, slated to be drafted by early 2018.

The remaining 14 routes will have modified trip times to improve on-time performance and connectivity. Some of those routes to be adjusted include the 64 Airport Shuttle, 42 Crosstown, and 56 Lamar.

None of the proposed changes will affect bus fare.

The MATA Board of Commissioners is set to vote on the proposed changes at their next meeting on Tuesday, Oct. 31.

If approved, the changes will take effect on Sunday, Dec. 10.



Categories
Film/TV Film/TV/Etc. Blog

Documentary 1948: Creation and Catastrophe Explores the Roots of the Israeli-Palestinian Conflict

The documentary 1948: Creation and Catastrophe will screen at Rhodes College tonight, Friday, October 20 at 6:30 PM.

The film is co-directed by Andy Trimlett, an Emmy-winning producer who has worked for PBS, and Dr. Ahlam Muhtaseb, Professor of Communication Studies at California State University. Timlett and Muhtaseb conducted more than 90 interviews and poured over archives around the world for ten years to tell the story of the post-Holocaust creation of the modern state of Israel and the Palestinians displaced in the process. These events set in motion much of today’s conflict in the Middle East, and the seemingly intractable Palestinian refugee crises in the West Bank and Gaza Strip.

The screening is something of a homecoming for Muhaseb, who earned her PhD at the University of Memphis, where she came as a Fullbright Scholar from her native Hebron. The film is presented by Amnesty International and the Rhodes College Muslim Student Association.

Documentary 1948: Creation and Catastrophe Explores the Roots of the Israeli-Palestinian Conflict

Categories
News News Blog

Small Business Owners to Turn Shipping Containers into Pop-up Shops

Shab Chic Marketplace


Shipping containers will double as pop-up shops in a lot near Monroe and Marshall across from the newly-opened Edge Alley beginning in late November.

In partnership with the Memphis Medical District Collaborative, Shab Chic Marketplace at The Edge will provide rentable retail space to start-up and small business owners to open boutiques, art studios, and more to create a “creative market and social hub.”

Interested business owners can apply for a retail space through Friday, Oct. 27.

Shab Chic Marketplace

The concept is centered on “the belief of inspiring innovation and creativity, promoting music, art, and above all, the businesses that comprise the marketplace,” according to the vendor application.

The aim is to be an “outlet for small businesses to try their hand at running a small business shop in a nontraditional way.”


Ideal vendors are “hip, unique, and trendy” business owners.

Vendors will be selected by Nov. 1 and the shops will open to the public on Nov. 18.



Categories
Beyond the Arc Sports

Beyond the Arc Podcast #84: The Dillon Brooks Era

This week on the show, Kevin and Phil talk about:

  • The dawning of the Dillon Brooks era
  • Chandler Parsons’ new life as the Grizzlies’ backup power forward
  • The injury to JaMychal Green, and whether Jarell Martin is ready to step into his role immediately
  • The void left by Tony Allen’s departure and the emotional tribute during Wednesday night’s game
  • The development of Andrew Harrison
  • The Grizzlies two big upcoming games against the Warriors and Rockets

The Beyond the Arc podcast is available on iTunes, so you can subscribe there! It’d be great if you could rate and review the show while you’re there. You can also find and listen to the show on Stitcher and on PlayerFM.

You can call our Google Voice number and leave us a voicemail, and we might talk about your question on the next show: 234-738-3394

You can download the show here or listen below:


Categories
Sports Tiger Blue

#25 Memphis 42, Houston 38

We need to be careful about over-using the word epic in describing victories. But in erasing a 17-point deficit at league-rival Houston for their second win in six days, the Memphis Tigers may indeed have secured just such a win Thursday night. Tiger quarterback Riley Ferguson connected with sophomore tight end Sean Dykes — a native of Houston, Texas — for a 21-yard touchdown pass with 1:33 left in the game to give Memphis a sweep of its season’s toughest two-game test. Now with a record of 6-1 overall and 3-1 in the American Athletic Conference, Memphis has a path to the AAC West Division championship, having beaten both Navy and Houston.

The first half was as ugly as the second was epic for the Tigers, with six punts and a pair of turnovers allowing the Cougars to take command on the scoreboard. A rare Anthony Miller fumble and a Ferguson interception in Houston territory led to 10 of Houston’s 17 first-half points. The Tigers’ freshman kicker, Riley Patterson, missed a 52-yard field-goal attempt after Houston coach Major Applewhite used three consecutive timeouts at the end of the half, the first time in 64 games Memphis played 30 minutes of football without scoring.

Riley Ferguson, Anthony MIller

Gamesmanship can backfire, though, and the Tigers played like a motivated bunch after halftime. They scored touchdowns on six consecutive possessions, four on runs by Patrick Taylor and another on Tony Pollard‘s third kickoff return for a touchdown this season (and the fifth of his two-year career). Pollard’s 93-yard return came with 6:11 left to play in the third quarter, immediately after the Cougars had taken a 24-7 lead on a one-yard run by Duke Catalon.

A fumble by Houston quarterback Kyle Postma early in the fourth quarter was the defensive stop Memphis needed to tighten the margin. (Junior cornerback Tito Windham stripped the ball, which was recovered by freshman nose tackle John Tate.) Taylor’s third touchdown (after an apparent Houston interception in the end zone was ruled incomplete upon review) brought Memphis within 31-28 with 11:15 left in the game.

Postma found Steven Dunbar for an 8-yard score on Houston’s next possession to extend the lead back to 10 points. But the Tigers’ again answered, this time with a drive keyed by a bomb to Miller, who finished the game with 10 catches for 178 yards. Taylor’s fourth touchdown made the score 38-35 with 5:32 to play.

The Memphis defense finally managed to force a Houston punt, giving Patterson and friends the ball with 3:17 to play at their own 20-yard line. Ferguson completed passes to Pollard, Miller, Taylor, and freshman Damonte Coxie to set up the game-winner to Dykes.

Mike Norvell

Houston had two more possessions, but each ended with turnovers, the latter on freshman cornerback T.J. Carter‘s fourth interception of the season. With the loss, the Cougars fall to 4-3 (2-2).

Ferguson finished the game with 471 yards passing, completing 33 of his 53 throws. In addition to his kickoff-return heroics, Pollard caught nine passes for 91 yards. Memphis gained 501 yards in total offense (and allowed the Houston offense 554).

Memphis now has seven full days to prepare for Tulane. The Green Wave (3-3 and facing USF Saturday) visits the Liberty Bowl on Friday, October 27th. Three of the Tigers’ four remaining regular-season games will be at home.

Categories
Music Music Blog

Butthole Surfers and Bad Seeds Salute the Man in Black

Here’s Johnny…

If “leave ’em wanting more,” is still sound advice in show business this 4-track Johnny Cash tribute CD 5-Minutes to Live is the new gold standard, uniting old punks like Buzz Osborne of the Melvins and Warren Ellis of Nick Cave and the Bad Seeds with original Tennessee Three drummer W.S. Holland.

Tribute records can go a lot of different ways. This is a loving take on  some well-worn, and more obscure material that cleaves harder than you might expect to tradition with lazy, sawing fiddles, bright rhythm guitars and crisp clean Luther Perkins-inspired leads that ring out over Holland’s steady mid-tempo shuffles. It’s just good country music at the edge of rock-and-roll with Josephus and the George Jonestown Massacre standing in as house band.

Butthole Surfer JD Pinkus kicks things off with a lean, mean completely satisfying run through “The Losing Kind” and Nick Cave collaborator Mick Harvey follows up with a similarly convincing performance of the title track.  These are all appetizers in advance of Bad Seed Warren Ellis who dusts off the hard honky tonk-ing tale of obsessive love gone wrong, “The Sound of Laughter.”

Then things start to get a little weird.

It’s heresy, I know, but I’ve always been partial to Lefty Frizzll’s take on “Long Black Veil.” It’s so lonely — so much more haunting than the also great Cash version. Both may be at least temporarily supplanted by the 5-Minutes to Live version featuring both Ellis and Osborne. Its primitive, traditional core is given just enough noise and spooky drone to make it perfect Halloween season listening.

This project was brought together by GJM’s Joey Killingsworth who also spearheaded the considerably more ambitious, and seriously fun Mutants of the Monster, a tribute to Black Oak Arkansas with performances by a variety of go-your-own-way artists including Eddie Spaghetti and Jello Biafra. Taken together, 5-Minutes to Live is a textbook example of less is more.

5-Minutes to Live is released nationally Friday, October 20 on Saustex Records. Joecephus & The George Jonestown Massacre are playing a CD release show at RockHouse Live (Midtown) with Old Coldbloods and Luke John.  100% of the door goes to FSH Society for FSH Muscular Dystrophy Research. $5 Cover

More show details here.

Categories
Music Music Blog

Soulsville USA Festival Lights Up McLemore Ave.

If you’re like me, you’ll jump at any chance to see the Stax Museum of American Soul Music, especially if it’s free. This past Monday, after punk rocker Jon Langford and the Four Lost Souls played a free show there, he and the band waxed enthusiastic about their first visit to the museum. Legendary session bassist Norbert Putnam, who produced the Four Lost Souls’ debut record and joined the band for the show, reminisced about recording with Elvis Presley for five days in 1973, the highlight being when the King joined Norbert on the drum riser to eat his burger and fries during a midnight lunch break. But even a veteran like Putnam was awestruck during his return to Stax after 44 years. “All those records on the wall!” he enthused to the crowd. “They were working nonstop!”

This Saturday, Stax will celebrate its place in the city’s (and the nation’s) past, present, and future with a day long festival. The Soulsville USA Festival will be happening at the corner of McLemore and College from 11:00 am to 6:00 pm. Three stages will offer a diverse array of music (click here to see the full line up). Naturally, one of the featured acts will be students from the Stax Music Academy, some of whom toured England this summer, joining Stax legends Mavis Staples and William Bell onstage there.

Candice Ivory

Another performer of note that afternoon will be Candice Ivory, a composer and singer who cut her teeth playing around Memphis before heading east to study jazz at the New School in New York. Now based in St. Louis, Ivory is a purveyor of what she calls “avant soul,” an intriguing blend of jazz and electronic experimentation, with a large dollop of her soulful vocals.

The festival will not only celebrate Stax itself, but other musically significant residents of the neighborhood. In addition to the “Stax 60 Stage,” there will be a “Royal 60 Stage,” in honor of Royal Studios, who, like Stax, are celebrating six decades of history this year. And the “Memphis Slim Stage” will be set up next door to Stax, outside the Memphis Slim Collaboratory, a cutting-edge space for community music education that also supports local musicians. Named after the blues piano legend who was born and raised in the same building, it offers spaces for rehearsing, recording, and performing. One notable program provides funding for artists to record and release their material. Their first success story, Eric Hughes, will be celebrating his band’s debut CD Saturday evening at 7:00 at The Warehouse.

Other highlights of the festival will be: a) free museum entry and educational activities; b) the ARTent with demos from an array of visual artists; c) Knowledge Quest Kids Zone with games, face-painting, caricature drawings, and other activities; d) interactive ballet, contemporary, jookin/b-boy, and stepping dance demos on the dance stage. And on top of all that, there will be crafts vendors & food trucks.

Categories
We Recommend We Saw You

Emo and you

Michael Donahue

An evening of emo at the Hi-Tone.

How do you define “emo” music?

“Think ‘punk,’ but more whining,” said Ben Beninati.

Scotty Theunissen described it as “Emotionally nostalgic.”

Will King, vocalist for “Indeed, We Digress,” said emo music is “darker in tone and the musician puts a lot of emotion and passion into the music.” And, he said, “Usually the songs are dark thematically.”

King came up with the idea of throwing an emo night in Memphis, which was held Oct. 14 at the Hi-Tone. “I always love bands like My Chemical Romance and Senses Fail and stuff like that,” he said. “I had seen that they were doing similar things in other cities like LA and New York and Chicago. And I thought, ‘What’s to stop us from doing that here?’ I posted a Facebook stat asking Facebook friends who’d show up for something like that. And i got a great response. I was like, ‘Screw it. I guess I’m doing this thing.’”

He asked Theunissen to help. “He was super into it. And we just went from there and it became this huge thing. It had a way bigger turnout than I possibly could have hoped for. A little less than 100 paid, which means about 100 people got in.”

King and Theunissen had a “meeting of the minds” with Hi-Tone owner Brian “Skinny” McCabe, who said he’d put their list of specially-named drinks with the regular list and feature happy hour prices all night.

The emo drinks included “Sunny D Real Estate,” a screwdriver; “I Write Gins not Tonics,” the gin and tonics; and “Coke Without the E,” which were the whiskey and Cokes.

“We came up with the idea of the eyeliner booth,” Theunissen said. “We called it the ‘Cry Liner’ booth.”

Erica Grant applied eyeliner to guests during the evening. “Because emo is all about being very sad or emotional,” he said. “And the scene used to focus on heavy eyeliner and dark clothing and dark hair covering your face. We felt people might like to relive that and have fun with it.”

They also featured “black volley balls to throw around. To give it a party atmosphere. It was fun. We had mesh gloves available for people to wear. They were big in the early 2000s for people to wear in the emo scene.”

Wes “ DJ My Chemical Remix” Carter; and Alyssa “DJ Honestly?” Moore played the appropriate music for the occasion.

Said King: “The thing about ours that set ours apart from everyone else’s is a lot of other cities were taking it way too seriously. I still love the music. Love the bands. But the culture around emo and the way we dressed back then was funny. Not serious. We made a few jokes about it and didn’t take it too seriously. That way people who were embarrassed that they like music like that showed up.”

King, 23, was 14 when he got into emo. He loved emo bands, but he didn’t really dress emo. “I wore tight jeans. Jeans that were way too tight. Aside from that, not too much. My hair was in my eyes.”

Theunissen, who is 28, remembered listening to emo bands Taking Back Sunday, Thursday and My Chemical Romance, when he was 14.

He didn’t really dress emo, he said. “I wore like extremely tight girl pants. Made for women. I had long, curly hair and wore bandanas all the time. Tight T-shirts. And a bandana around my head.”

Back then he dressed “just like I do now. Only now I wear man pants.”

[slideshow-1]

Categories
Intermission Impossible Theater

Let GCT’s Honky Tonk Angels Sing for You

“It wasn’t God who made Honky Tonk Angels.”
— Kitty Wells

“REO Speedwagon can kiss my ass.”
— Chris Davis

Far be it from me to suggest that there’s no place in country music for “jazz hands,” but if you’re going for verisimilitude, it’s probably a look you want to avoid. Jazz was always a major component of music created by artists like Hank Thompson, Hank Penny, Bob Wills, Ray Price and Willie Nelson, but jazz-hands belong almost exclusively to the Fosse-esque end of the musical theater spectrum. Between the hand choreography, the show-tuney arrangements, and a paper-thin script full of wince-worthy lines, the country jukebox musical Honky Tonk Angels currently on stage at Germantown Community Theatre, belongs on a cruise ship where it can entertain boozy audiences nostalgic for smoky ol’ poolrooms they never hung out in in the first place.

Of course there’s something intrinsically nostalgic about Honky Tonk, which, has always been city music for country people. It’s the electrified steel-guitar-laden sound of rural people chasing economic opportunity in the aftermath of WWII. Cities were booming, and many a country boy and girl picked up stakes and moved to town looking for jobs and a better life. Those who landed on the street with a guitar slung over their shoulder wrote plaintive songs about displacement, temptation, loss and longing for a simpler life. In spite of its contemporary setting Honky Tonk Angels tells the story of two women from hardscrabble rural environments, and one working for a Weinsteinian character in L.A., who’ve left all that behind to become country stars in Nashville. They meet on a Greyhound Bus pulling out of Memphis, share origin stories, sing some country and gospel classics, and agree to join forces and start a band called Honky Tonk Angels.
[pullquote-1] What GCT’s production has going for it is a strong cast that approaches the material from such an honest, loving place they almost make the pandering material work. Tamara Wright plays Sue Ellen, whose backstory is loosely rooted in the song “9 to 5.” She brings the sass and sizzle on tunes like Parton’s pink-collar anthem and Pam Tillis’ uptempo novelty, “Cleopatra (Queen of Denial).” Songs like Loretta Lynn’s “Don’t Come Home a Drinkin,” and “The Pill,” sound awfully authentic tumbling from Ashely Whitten-Kopera’s mouth. Her character Angela (get it?) narrates. Her backstory revolves around life in a double-wide with an inattentive husband named Bubba and a bunch of kids. Angela’s written from an “outside the trailer park looking in” perspective, but Kopera finds just the right amount of good-ol-gal zest to make it all believable. .

From her simple but effective acoustic guitar accompaniment to her strong voice and wholesome girl-next-door approach, Courtney Church-Tucker is something of a miracle worker in the role of Darlene. Her history is inspired by an odd interpretation of Bobbie Gentry’s hit “Ode to Billy Joe,” and her backstory’s told in strained one-sided dialogue that, to her credit, Church-Tucker very nearly pulls off.

You know what else doesn’t really belong in a show about country music? Songs by REO Speedwagon. While the inclusion of Lee Hazelwood’s “These Boots Are Made for Walking” might be forgiven because it’s at least about boots, I can’t be as generous with any selection from You Can Tune a Piano but You Can’t Tuna Fish. It’s a particularly frustrating inclusion in a show that allegedly celebrates female country artists but omits singers and songwriters like Norma Jean, Jeanne Shepherd, Wanda Jackson, Billie Jo Spears etc.  

Though it may sound cliche, I’ve got to acknowledge that the premise of Honky Tonk Angels is built on truth. People still arrive in Nashville every day with a guitar on their back, and a sack full of dreams. I’ve been down that road a time or two myself, and spent one delightful train ride from Chicago to Nashville picking out old country songs with a cowboy hat/boot-wearing former costumer for Actors Theatre Louisville who was on his way to Music City USA to make it big. But for all of its core truth, almost every element of this show rings false. The one element that doesn’t is the cast.  As a huge fan of old country songs, this trio could sing me to sleep every night with zero complaint.

It’s also worth noting that GCT and director Leigh Ann Evans seem to have anticipated the challenges this show presents and confronted them head on. During a time of economic difficulty for the theater, someone wisely decided to forego finished sets and extravagant costuming in favor of hiring a full complement of musicians including a fiddle player, a steel player, bass player, piano, drums, electric and acoustic guitar — all the things you need for a proper hoedown throw-down. Unless you’re Miss Drag USA, there’s no way to make lines like, “Without further hairdo,” work, but Evans and company make an honest go of of a show that may not be worthy of their collective time and talents. Still, if you love the genre, the rest may be endured. Yes, even the jazz hands.

Even REO Speedwagon.

Categories
Politics Politics Beat Blog

Fincher Ready to Take on “Career Politician” Blackburn in GOP Senate Primary

JB

Former Rep. and likely Senate candidate Stephen Fincher

LIke the Governor’s race, the race for U.S. Senator in Tennessee is shaping up to be a real donneybrook in 2018, at least on the Republican side.

Stephen Fincher, the former 8th District congressman from Crockett County, was in Memphis this week as part of his statewide “listening tour,” and, during a stop by the Flyer office, he left little doubt that he’d long since heard enough to get him into the GOP primary for the Senate seat being vacated by Republican incumbent Bob Corker.

First elected to Congress in 2010, with a convincing win over Democrat Roy Herron, Fisher surprised most people with an abrupt announcement in 2016 that he wouldn’t be running for reelection that year. His 8th District seat was eventually captured by Memphis Republican David Kustoff, and it may have appeared that Fincher, a farmer and gospel singer from ultra-rural Frog Jump, was done for good with elective politics.

In fact, as he explained during his sit-down on Tuesday, he had left office because the brother who was then operating the family’s substantial farming enterprise had suffered a broken back, and, Fincher says, “I had to make the decision to stay in Congress or help on the farm. I couldn’t do both.”

The brother has made a full “100 percent” recovery, according to Fincher, and that fact frees him to return to Washington. “I love farming and the outdoors, and we’ve got a duck season coming up,” says Fincher, “but we also understood how important it is that Tennesseans have a good, solid conservative to represent them.”

His major GOP primary opponent, already declared for the Senate, is his onetime Congressional colleague Marsha Blackburn, who represents the adjacent 7th District in middle and West Tennessee and flies political colors at least as conservative, if not more so, than his own. What then would be the difference?

Fincher’s answer is multi-fold. He cites the four bills he managed to pass during his six years in Congress, and says, “Marsha and I are both very conservative, but our governing is very different.” And there are issue differences, one very glaring these days, in the wake of last weekend’s 60 Minutes citing of Blackburn as a major factor in the passage of a drug measure that, as the CBS program pointed out, contained loopholes providing scope for unscrupulous drug merchandisers to inflate the nation’s growing opioid-addiction problem.

Fincher says the opioid issue has loomed large on his listening tour, which started last week in Mountain City, on the state’s border with North Carolina, and has progressed through numerous towns, cities, and rural areas on his way westward into Memphis.

“Every mayor every sheriff has mentioned it. It’s the number one problem by a factor of 99.9 percent everywhere we’ve been,” Fincher says. “What we saw in the 60 Minutes piece is really troubling. People’s lives are being broken. How can anybody in our state not see what’s going on around us?”

In case that isn’t clear enough, Fincher reformulates: “How can you be a representative and not be able to recognize it?”

In her defense, Rep. Blackburn has pointed out that the ill-fated drug bill passed Congress by a unanimous-consent vote, and she maintains that Fincher, too, would have gone on the record for it had he been in Washington last year when it was passed.

Not so, says Fincher, whose absence from Congress at the time had been dictated by the same medical emergency involving his brother that would cause him not to run for reelection in 2016. “I would have voted against the bill,” he insists, emphatically.

He goes on: “People want somebody to represent us and not fall into the trap of status quo politics, caring only about the next rung up on the ladder. Marsha’s a career politician, a career candidate, used to being on Fox News every night. I’m just a farmer from Frog Jump, but I’m confident we will have the tools to win.”

Fincher says that he intends to be a “jobs guy” if successful in the Senate race. “My M.O. is to fix people’s problems. I want to make sure that West Tennessee and Memphis are growing. I want to make sure that we have jobs in Johnson City and Chattanooga and Jackson”

And, vows Fincher, “I intend to support President Trump. I think his policies are 100 percent spot-on.”

He was asked about the likelihood that he could end up running against potential general election opponent Phil Bredesen, a former Governor and conservative-leaning Democrat. Fincher shrugged: “The Democrats in Congress are an obstructionist party, and Bredesen, as a Democrat wou ld be llined up with them. He’d be going up there to work with Chuck Schumer and Nancy Pelosi.”

On foreign-policy issues, Fincher sees his views as consistent with those of both Trump and outgoing Senator Corker in favoring military strength and in a disinclination to kowtow to foreign adversaries.

“People in Tennessee just want good solid honest people to go up there, and we have a history of sending good people to the Senate.” Though he hasn’t formally committed to a race yet, Fincher allows as how he’s “close” and leaves little doubt that he; wants to be in that number as well.