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We Recommend We Saw You

On Johnny Cash; plus Sparkling Nights. Clay Markley, Dreamgivers’ Gala and more

Michael McMullan

A darker-haired Michael Donahue ‘backstage’ at The Peabody in 1986 with Johnny Cash, Kris Kristofferson, Waylon Jennings and Mayor Bill Morris.

The excitement surrounding the statue of Johnny Cash sculpted by Mike McCarthy brought back memories of the two times I saw Cash in person. On one of those occasions I “interviewed” him – as in ask him a few questions for a story.

Cash and his wife, June Carter Cash, were in Memphis in 1986 as special guests at a dinner for a Jewish women’s organization, as I recall. I covered the event and wore a tuxedo. I remember Cash was friendly. My favorite souvenir from that night was a photo taken backstage by Michael McMullan. It’s sort of a bizarre gathering: Cash, Waylon Jennings, Kris Kristofferson, Mayor Bill Morris, and me. Everybody is turned in a different direction like we’re all cardboard cutouts. I’m talking to Kristofferson. That year, Cash, Jennings and Kristofferson – three members of the Highwaymen – starred in the movie, Stagecoach.

I also saw Cash in concert one year at the Mid-South Fair when the event still was in Memphis. Music was featured during intermission, if I remember correctly, during the rodeo. They wheeled a trailer/stage with Cash and his band onto the grounds. It was very cool.

Another memory of Cash is a recent one. During the Grand Auction, part of the Memphis Wine + Food Series at Memphis Brooks Museum of Art, I was impressed by a striking portrait of Cash that was included in the live auction.

The artist, Charlie Hanavich, and his wife, Helen, attended the event. I didn’t get to talk at length about the portrait at the time, so I recently called Atlanta-born Hanavich, who now lives in Miami, to find out more about his acrylic-on-canvas painting.

When someone with Brooks talked to him about doing a painting, Hanavich says he “immediately thought of Johnny Cash.”

Cash is “not originally from Memphis,” Hanavich says. “Outside of Memphis. Dyess, Arkansas. But people kind of relate Memphis to him.”

The man in black was a perfect subject, Hanavich says. “I love rock-and-roll characters who have lived. Keith Richard is a favorite subject. This raw, leather look. Johnny has a little bit of that about him, too.”

He describes Cash as a “badass subject. I think it’s his look. And people can relate to that. You can make of it what you want. What he’s pondering. Put yourself in his shoes.”

In the painting, Cash “has this trance about him. He’s in deep thought. And you can capture that all in his profile. His chin is resting on his hand. His cigarette has ash on it half an inch long. Who knows what he was thinking?”

Hanavich only has been painting full time for three years. “I’m self taught. I was in finance for 10 years and learned to paint on nights and weekends based on my pure passion of loving art.”

For 12 years, he said, he was “behind a cubicle 14 hours a day and just took the plunge: ‘Screw this. I’m going to start painting.’”

Hanavich was asked to do another portrait for next year’s Grand Auction, but he hasn’t decided who he’s going to paint. “I’m still thinking about it,” he says.

Charlie Hanavich, with his wife, Helen, and his Johnny Cash portrait at The Grand Auction.

………………

Michael Donahue

Clay Markley at his ‘Kill Me’ listening party

Michael Donahue

Diana Fryer, Ric Chetter and Clay Markley at Markley’s ‘Kill Me’ listening party

Clay Markley released his full-length music video to his song, “Kill Me,” Sept. 9 on Facebook and YouTube. It dropped “on all social media outlets,” Markley says.

He released his single, “Kill Me,” worldwide Aug. 18 at Radio Memphis.

“[It’s] a world-wide internet radio station,” Markley says. “Their mission is to broadcast Memphis music globally.”

Before the song was played Markley was interviewed by Radio Memphis’s Ric Chetter and Diana Fryer. Markley invited friends to the release, which turned into a party. “There’s food and drink and everything and all my favorite people. It’s really cool. It’s like a birthday.”

And, he says, “You put so much work into something for so long and that day you’re working toward is so far out of sight. And when that day finally comes and all your work is finally released, it’s such a rewarding feeling and a great sense of accomplishment.”

“Kill Me” is about “a guy who’s chasing after a girl that he can’t have. It’s about loving something you can’t have. Wanting something you can’t get.”

Markley wrote, recorded and produced the track in his home studio. Jason Gillespie edited, mixed, and mastered it. Markley also shot the video and did his own promotion.

“After all these years being in different bands and being on a label, he’s now “learning what not to do. It’s like throwing noodles at the wall. Just see what sticks.”

The song now can be heard on Spotify, Google Play, and iTunes.

“Now I’m going to start recording other people, too,” Markley says. “Start recording some really good music. Get other people involved and just releasing a ton of music and Memphis talent. The focus has been on me for so long. Now I’m going to start spreading it out and getting some other artists out there who are talented.”

He currently is working with Brittany Patriss on her “Memphis electronic dance music project,” he says. He will release “Crypto,” which he and Patriss wrote together.

Michael Donahue

Adam Hawk

Michael Donahue

Vincent Hale

Two popular Memphis bartenders – Adam Hawk and Vincent Hale – will be shaking it up in new locales, which aren’t bars.

Hawk, a longtime bartender at Slider Inn, moved to Milwaukee to teach at the University of Wisconsin at Milwaukee.

Hawk, who says he tended bar at Slider Inn since “day one,” was at Memphis College of Art for 10 years. He taught metal smithing, sculpture, digital and foundation classes.

He was known for his drink “The Grownup,” he says. “It was actually a drink I made up while working at The Cove – The Ginger,” he says. “And then when I moved over here I started making it.”

Hawk used to make drinks for the cooks after he got off work. He made The Ginger for a cook and “didn’t tell him the name. And he said, ‘Oh, this is a very grown-up-tasting drink.’”

The name “The Grownup” stuck. It’s made with Jameson Irish whiskey, ginger beer, bitters, and fresh lemons.

Award-winning bartender Hale retired at Bari Ristorante. He’s now a real estate agent at Crye-Leike Realtors in Quail Hollow.

Hale, who was at Bari Ristorante for four years, was in the restaurant industry for 17 years. He’s a former winner of the people’s choice award at Mix-Odyssey – the Volunteer Odyssey fund-raiser – and placed three times as Best Bartender in the Memphis Flyer’s Best of Memphis contest.

He enjoyed working in Dodici – Bari’s upstairs bar – where he had one-on-ones with customers so he could create just the right drink for them. “I came up with and I wrote around 100 cocktails in the four years I was with Bari and all are unique to me,” he says.

Hale, who said he’s a “very cautious person,” didn’t just jump into real estate. “I kind of rode around, went to the office, did some research, really dug into it and played the role of what my day would look like. And I loved it. I was surprised I loved it so much.”

As for bartending, he says, “You can’t beat the buzz you get working at relationships, getting to know people, having conversations.”

But, he says, he felt “time ticking. I didn’t have much longer in the industry before i would have to make a change. So, hesitantly and cautiously, I ended up making the change. So far, so good. I feel really good about it.”

Hale fans will get to see him behind the bar again at Bari. Sept. 21, to be exact. “I’m going back to work a Friday shift,” he says.

Another bartender asked Hale if he’d work for him and Hale agreed.

Michael Donahue

Adam Hawk fans dressed like he usually does at Hawk’s last night as a bartender at Slider Inn.

………

Michael Donahue

Andria Lisle and Emily Ballew Neff at Exposure

Memphis Brooks Museum of Art executive director Emily Ballew Neff stood by a sign that read, “What do YOU want your art museum to say about your city?”

Brooks was one of more than 150 local organizations and businesses that took part in Exposure, a free celebration of all things Memphis, which was held Aug. 31 at AutoZone Park.

Between 2,500 and 3,000 people attended the free event where representatives from the various groups welcomed visitors to their stations so they could tell them a thing or two about what they do.

Entertainment included the Beale Street Flippers who enthralled visitors with their leaps and bounds.

……….

Michael Donahue

Sparkling Nights

This year’s Shelby Residential and Vocational Services (SRVS) “Sparkling Nights” auction, food and wine tasting gala set a record for the total amount raised, which was $224,395, says SRVS director of public relations Anthony Hicks.

More than 700 attended the event, which was held Aug. 11 at the Hilton Memphis. “It was a stellar night of food, fun and entertainment on behalf of people with disabilities,” Hicks says.

“Sparkling Nights is SRVS’ largest fundraiser of the year. And since its inception in 1999, the event has raised more than $2 million to support SRVS programs, including children’s services, residential supports and employment. SRVS is the state’s largest provider of services for people with disabilities and provides services to more than 1,600 annually.”

Seventeen area restaurants provided food samples, 22 wineries and one brewery provided drinks and the live and silent auctions included 100 items.

Each year, an original painting by a local artist is in the auction. This year’s painting, Just Go to Your Mother, was by contemporary folk artist Chris Archer.

WMC-TV news anchor Joe Birch was emcee and WMC-TV chief meteorologist Ron Childers was auctioneer.

Music was from Tiger City Entertainment.

………..
Michael Donahue

Msgr. Peter Buchignani at Highland Hundred football kickoff party,

Michael Donahue

Mike Norvell at Highland Hundred football kickoff party,

Monsignor Peter Buchignani set the mood during his invocation before dinner at the Highland Hundred football kickoff party, which was held Aug. 17 at Memphis Botanic Garden.

“Now, Lord, it’s time to get practical,” he said. “Last year, our mighty Tigers began the season by facing the fearsome Bruin. The bear is a mighty beast yet returned home having been declawed.

“This year, the Tigers again begin the season having to battle a bear. But we are confident for we know that when this battle is over, these new bears will return home and change their name to ‘Cubs.’”

Tigers head football coach Mike Norvell was special guest at the event, which drew more than 300 people.

Michael Donahue

Paw Prints Party

Michael Donahue

Paw Prints Party

…….

Put those paws together and give a round of applause to The Humane Society of Memphis & Shelby County.

“We sold out this year’s Paw Prints Party with 350 guests and raised an estimated $140,000,” says Suzanne Ray, the society’s director of marketing and development. “This year’s gala was the largest and most successful one in over 10 years. With the help of Ron Childers as our host, an enthusiastic Board of Directors that gained seven new members this year and a host committee led by Kathy [Ferguson, Paw Prints event chair], we exceeded our expectations in raising funds for our mission of rescuing animals suffering from cruelty and neglect and of giving them a second chance at life.”


The party, held Aug. 18 at Memphis Botanic Garden, included live and silent auctions, an open bar, seated dinner and music for dancing by Twin Soul.

Michael Donahue

Veronica Hayes and Al Kapone at Tennessee State Museum reception

………..

Michael Donahue

Lawrence ‘Boo’ Mitchell at the Tennessee State Museum reception

Pat Kerr Tigrett entertained 150 guests at her Downtown penthouse at a party to honor the new Tennessee State Museum, which opens Oct. 4 in Nashville.

The event included Memphis music luminaries, including Lawrence “Boo” Mitchell, who entertained guests as he played Tigrett’s blue grand piano.

………….
Michael Donahue

Dr. Rice Drewry and his daughter, Lauren, at Dreamgivers’ Gala

Michael Donahue

Diane Hight at Dreamgivers’ Gala

Dr. Rice Drewry sang and performed his song, “When They Were Young,” at the Dreamgivers’ Gala, which was held Aug. 25 at the Hilton Memphis.

Asked how the song originated, Drewry says. “It came about in 2011,” Drewry says. “That was my introduction to Forever Young (Senior Veterans). They were having trips to take World War II vets back to Washington, D.C., for the World War II memorial.”

Drewry and his four sisters accompanied their dad, Bill Drewry, 92, on the trip. His dad was a B24 tail gunner over Europe. “It was really kind of a powerful moment when you saw all these guys walking around the World War II memorial.

“They had their own little ceremony at the World War II memorial where an active duty soldier came out and played ‘Taps’ as the sun was starting to go down. The song came out of that. You could see some of the wistfulness in their eyes as they were thinking about their fallen comrades and that kind of thing. That was one of those songs that almost wrote itself. It came out pretty quick.”

And, he says, “A lot of visiting folks from other countries would be out there. We had people from France and Belgium that were visiting. And they were hugging these guys’ necks and crying and thanking them for saving their country. It was really a powerful moment.”

Drewry and his wife, Theresa, an emergency room nurse at Le Bonheur Children’s Hospital, went on several Forever Young trips. “As the medical team,” he says. “We accompanied them to Normandy. These guys were treated as rock stars over there. They were signing autographs. Everywhere they went they were stopped and thanked.”

After that, Drewry took some photos from his previous trips and put together a slideshow. “And had the song recorded with my buddy Jack Holder. He put a nice little piano on it and recorded me with acoustic guitar. We kept it pretty simple.”

Forever Young Senior Veterans founder/president Diane Hight began playing a DVD of the slide show and the song on the screens of buses on trips. “It was very well received. A lot of veterans thanked me for the song. A couple said they wanted it played at their funeral. And I actually have played it for at least one passing veteran’s funeral.”

Drewry who plays with a band a couple of times a month will perform at 12:15 p.m. Sept. 15 on the main stage at the Cooper-Young Festival.

“Feel the Freedom” was the theme of this year’s Dreamgivers’ Gala. The event honored D-Day/Normandy veterans and raised funds to send them back for the 75th anniversary of 

Michael Donahue

Dreamgivers’ Gala

Normandy.

[slideshow-1]

Categories
News News Blog

Transportation Fee Could Yield $60M a Year


A new transportation utility fee could generate up to $60 million a year, an expert told Memphis City Council members Tuesday.

Council member Edmund Ford Jr. introduced the idea of such a fee during a meeting two weeks ago. The fees could generate revenue to be used to fund the underfunded Memphis Area Transit Authority (MATA) and road infrastructure projects, Ford said.


The transportation fee would be tacked on to utility bills and would be based on the number of trips on Memphis roads generated by individual properties. The rate would differ for commercial and residential properties.

When council members returned to the discussion Tuesday, they heard from Wayne Gaskin, a former city of Memphis engineer. He said there are many different ways to structure the rates, and said different options could produce revenues ranging from $30 to $60 million a year.

[pullquote-1] Based on the Institute of Transportation Engineers’ national standards, Gaskin said each month a large church could generate up to $6,300 in additional revenue, a sit-down restaurant up to $500, and a fast food restaurant anywhere from $125 to $1,000.

The council could opt to base the rates on types of commercial properties, as well as allow some residents to only pay a portion of the fee based on factors like income.

“There will be a lot of give and take when it comes to setting the rates,” Gaskin said. “I can’t emphasize that enough.”

Gaskin said the council, with community input, will have to hash out the specific details and amounts of the fees implemented in Memphis.

“It has to be something that is developed jointly,” he said.

Councilman Worth Morgan said he still has some “major questions” about the fee, such as how the funds will be dispersed. 

Ford said the council will continue the conversation at its meeting in two weeks.

Categories
News News Blog

Memphis Airport Modernization Kicks Off Tomorrow

Memphis International Airport

Renderings show an updated B Concourse.

On Wednesday, officials will kick off the three-year construction journey to modernize the Memphis International Airport (MEM).

The massive project will consolidate all airline, retail, and food and beverage businesses into the airport’s concourse B. It will bring wider corridors, moving walkways, larger boarding areas, higher ceilings, increased natural lighting, more concessions, and seismic upgrades.
Memphis International Airport

Renderings show an updated B Concourse.

All of that comes with a price tag of $245 million, according to August numbers from the Memphis and Shelby County Airport Authority (MSCAA).

Just last month, the airport board announced it had picked Flintco as the project’s primary contractor in a deal worth more than $122.5 million. The board also approved a $32-million contract with Aero Bridgeworks for new jet bridges, also part of the modernization project. (Flyers walk through jet bridges to get from the airport to the airplane. Thanks, Google Images.)

None of the funding for the project comes from any local tax coffers.

Why?

The re-design was necessary, airport officials say, because air service at MEM has shrunk. Three concourses and 80-plus gates made sense when Memphis was a Delta hub.

Now that it’s not, a single concourse will house enough gates for flights, and put passengers in close proximity to gates, food, shops, and bathrooms. It will also allow airplanes to move more easily in and out of gates, allowing for more-efficient air service.

Memphis International Airport

Renderings show an updated B Concourse.

When it opens, Concourse B will have 23 gates. Those gates can handle about 3 million emplacements (people getting on or off airplanes), which is about 50 percent more traffic than MEM has now.

If authority officials land more flights to and from MEM (as they do on the regular), B Concourse can handle 15 more gates that’ll be able to handle 5.5 million additional enplanements.

What to expect

Memphis Airport Modernization Kicks Off Tomorrow

When it opens, B Concourse its expected to look like modern airport concourses in other cities. High ceilings, glass, and wide corridors will create a modern, airy space for passengers. There will be new and better food and retail options.

Ticketing and check-in will continue in the A, B, and C terminals. Baggage claim for all airlines will be consolidated into the B baggage claim. Though, A,B, and C baggage claim will be open for entry and exit.

Security screening will be largely consolidated to the B concourse but the checkpoint at C will remain open for heavy traffic.

How it’ll evolve

Concourse B closed earlier this year. And, after tomorrow’s groundbreaking ceremony, Flintco workers will get to work (maybe they already are).

While that work is underway, everything — gates, food, shops, and all — will operate out of A and C Concourse. When the work is done, everything — gates, food, shops, and all — will move into the new and modern B Concourse.

Once that’s done, the south end of Concourse C will be demolished to make it easier for planes to move in and out of the airport.

Would it help to see this? Check out these graphics from the MSCAA:

  Memphis and Shelby County Airport Authority

Memphis and Shelby County Airport Authority

Memphis and Shelby County Airport Authority

Got more questions? Go here.

Categories
Film/TV Film/TV/Etc. Blog

Outflix Celebrates A Wild Weekend Of Queer Cinema

This weekend the queers were out in full force for the first days of the 21st Annual Outflix Film Festival, the local LGBTQ film fest organized by OUT Memphis. As a gigging queer myself, I sadly wasn’t able to attend the whole festival, but I managed to swing by Ridgeway Cinema for a few hours of queer cinematic experience.
Alanna Stewart

Malco Ridgeway Cinema Grill lit up with the LBGTQ rainbow for the Outflix Film Festival.

Opening weekend at Outflix included outsider narratives, including stories about artists, performers, and yes, filmmakers. Many of the films explored the intersection of art and sexuality, where either the queer person or the artist finds themselves set adrift from mainstream society and struggles to make a place for themselves. In the two biopics I saw this weekend, Wild Nights with Emily, directed by Madeleine Olnek, and Mapplethorpe, directed by Ondi Timoner, the narratives center around an eccentric queer artist (poet Emily Dickinson and photographer Robert Mapplethorpe, respectively) who, finding themselves ostracized by their communities, devote their lives entirely to their craft and into living as authentically as they can in a world stacked against them, even though doing that means sometimes having to hide their true identities.

Molly Shannon (left) as Emily Dickinson in Wild Nights With Emily

In these films, some well-meaning little voice always chimes in, “You’re ahead of your time. Nothing like this has ever been done before. The world isn’t ready for your work. You’ll be loved when you’re dead.” But Dickinson (Molly Shannon) and Mapplethorpe (Matt Smith) didn’t have time to listen to that obnoxious little voice, and pressed on with their work. They couldn’t wait for the world to change; rather they took a role in changing it.

Matt Smith in Mapplethorpe

Like these two artists, many queer filmmakers today are making movies specifically because they haven’t seen their stories told before. Director Laura Madalinski spoke at a Q & A after Saturday’s screening of her first feature film, Two In The Bush, saying that she made a romantic comedy about queer polyamory and sex work largely because there had never been one before. Madalinski and her partner/co-writer Kelly Haas wanted a movie that they could see themselves reflected in. Madalinski remembers deciding, “We’re gonna make it ourselves! And we did!”

The film, shot in 10 days with a budget of $45k, follows in the tradition of DIY queer filmmaking, in which the process itself is centered around community and mutual support. Folks help each other out because they are passionate about their stories, and because they recognize that the project is not simply a movie, but a contribution to the greater cause of queer liberation.

In the documentary Dykes, Camera, Action! pioneering lesbian filmmakers cite their activism as the source of their artistic endeavors. They realized that in order to change the world, they had to create a new one, and film was their tool. If their voices didn’t exist in media, mainstream cis-heteronormative culture could continue to pretend that they didn’t exist. Making films explicitly about their queer identities and bodies meant that they refused to be erased; they insisted on not only being seen, but being reckoned with.

These early lesbian films broke away from traditional narrative structure because, as Su Friedrich points out, queer lives do not follow the same trajectory as heterosexual lives, and conventional formats would not do justice to their stories. Queer filmmakers experimented with new techniques as they pursued ways to share their perspective with wider audiences. That idea affected my experience of watching Wild Nights With Emily, in which queer director Madeleine Olnek repositions Emily Dickinson in a queer context, compared to Mapplethorpe, with a well-known gay artist as its subject, but a formulaic biopic structure that feels distanced and stale. Despite its subject matter being over 100 years old, Wild Nights feels incredibly personal, emotional, and surprisingly modern. The film moves non-linearly, with flashbacks and flash-forwards, lyrical vignettes of Dickinson’s poetry, and moments in which Dickinson (Molly Shannon) breaks the fourth wall by addressing the audience, letting us know that the film is aware of its function.

Whether or not the straight normie world recognizes it, queer folks have always been here. We’re everywhere. And this week we’re at Outflix.

Outflix runs through Thursday, September 13. For a full schedule and more information, visit their website.

Categories
Food & Wine Food & Drink

Checking Out Sweet Grass

In restaurants, as in life, the younger sibling seems to get all the attention. That’s why you and your pals spend your happy hour drinking beer, eating the famous Badass Nachos, and watching Sportscenter highlights at Sweet Grass Next Door. You’ve forgotten the original. You’ve left it high and dry because you can’t watch Around the Horn on a non-existent TV, nor can you order a plate of nachos that feeds approximately 327 people at the original (and older) Sweet Grass. Sweet Grass came along in 2010 at 937 Cooper, a year and some months before Sweet Grass Next Door opened its doors, well, next door. It’s time for Sweet Grass to take back what is theirs, and Nick Lumpkin, the Cocktail Program Director of Sweet Grass and all its sister restaurants, is leading the charge.

Photographs by Justin Fox Burks

Nick had been employed by various other local restaurants when he landed a gig at Sweet Grass. Humbled before chef/owner Ryan Trimm and staff, he worked as the parking lot attendant. You know, that guy you cuss out because you don’t understand why you have to pay to park to go get sloshed at the Deli? It was a testament to his devotion to the Sweet Grass family, because he worked in the parking lot each weekend for a year. Eventually, just two and a half years ago, he began working bar shifts and there he has remained ever since. He curates a careful menu of cocktails, many under $10, which is becoming rare in the Midtown mixology scene. Competing with Next Door and its successes can’t be easy, though, so we went to pay a visit to the restaurant that started it all.

Get bartender Nick Lumpkin (opposite) to mix you something at the original Sweet Grass.

Sweet Grass is one of many restaurants that is on the fancier side but with a bar that is decidedly more relaxed. We arrived in the middle of a rainstorm and, though the dining room wasn’t busy yet, the bar was packed. Furthermore, it’s the type of bar where two drowned-rat-looking people coming in from a storm are welcomed. The Sweet Grass bar boasts a deal unlike any other in Memphis: Tuesday through Friday, oysters are 50 cents each from 5 to 7 p.m. The oysters are rotating; any given day they offer oysters from the East, West, and Gulf coasts. Think you can snag this deal at Next Door? Think again, buddy. It’s only available for patrons of Sweet Grass.

But that’s not all Sweet Grass offers! They have an incredible selection of whiskeys and bourbons; Nick thinks the number is close to 100. My friend and I asked Rachel, who was tending bar, what she felt like making (you’ll see that this is a running theme at the Sweet Grass bar) and she served us two whiskey cocktails that were delicious. We followed those up with one of Nick’s original creations, the Rye Time, made with Wild Turkey 101 Rye, honey gastrique, and thyme. Nick, and seemingly Rachel unless she just felt sorry for me because I looked like hell, says that he enjoys catering to people and going off-menu to craft a drink that he knows they’ll enjoy.

He also knows what the people want. On Sunday nights, he keeps the bar open until midnight, welcoming those from the service industry. He spins records and offers a cocktail menu with $6 drink specials. Shockingly, this is not a well-known thing. He’s been doing it for nearly four months, and all us restaurant and former restaurant folk, creatures of habit, flock to the same bars each night. Friends, we are missing out. A bartender who will make craft cocktails for $6 and play vinyl until midnight on Sundays? We don’t deserve Nick.

Ditch the little sister that is Sweet Grass Next Door and take your ass to Sweet Grass for once. You don’t need a reservation to slam some local beers and eat oysters at the bar. Hobnob with all the fancy people about to sit down to dinner while you and Nick recount his sordid parking lot past. While I was racing through the rain toward Sweet Grass that evening, Nick was stuck in that same rainstorm, only he was on a Bird scooter. Now that’s a guy I’d like to give money to.

Categories
Music Music Blog

Repercussions: Aftermath of Continuum Festival Continues To Inspire

Jamie Harmon

Like the audience, performers from the recent Continuum Music Festival at Crosstown Arts are still reeling from the power of the music they brought to life, and the promise of partnerships they were a part of. Not since the Memphis Symphony Orchestra’s legendary Opus One series, which featured MSO members backing rock bands, singer-songwriters, and rappers alike, has genre-hopping occurred on such a scale in the Bluff City.

Many of the festival’s performing artists are remarking on its game-changing nature. “Continuum was a beautiful platform to explore the boundaries of sound,” says Siphne Aaye of the duo Artistik Approach.

“I did some things I’ve never done before in my life and pushed my performance into a realm of cerebral art that was just as exhilarating as It was challenging,” commented rising producer IMAKEMADBEATS of the Unapologetic collective.

And Brandon Quarles of Chicago’s ~Nois Saxophone Quartet enthused that “The Continuum Music Festival was adventurously curated and offered intriguing and engaging events to audiences from all walks of life. Incredible things are happening in Memphis and Crosstown Arts is leading the charge with its one-of-a-kind facility and creative vision.”

Here we present indelible images by Jamie Harmon and Ben Rednour, capturing those two charmed evenings in the former Sears Tower, which was reverberating with many a novel vibration. Thanks to the tribute to avant garde composer John Cage, the sounds were on the unique side. Unless the Sears potted plant department once hosted an impromptu chamber concert, it was surely the first time cacti were listened to so intently; and though one can imagine multiple radios blaring in Electronics, Aisle 4, way back when, they surely were never coordinated as dynamically as when one ad hoc group performed Cage’s “Imaginary Landscape No. 4 for 12 Radios.”

Co-organizer Jenny Davis was especially delighted at the reception Cage’s music received.”Cage is regarded as one of the most influential of 20th century composers, especially in regards to experimental music, but also in the realms of dance, visual art, and poetry,” she says. “Though Continuum is a primarily a music festival, it also features collaborations between different artist disciplines and musical genres, so Cage seemed like a perfect composer to showcase. His philosophy that sounds of all kinds have value simply as they are is a welcome reminder to us all to be more open to our experiences, to put our preferences and biases aside, and consider the world around us with a new perspective.”

If you missed it, flip through these intriguing photos and imagine what was, and what might be in years to come.

[slideshow-1]

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Daz Rinko

It’s Monday. New week. Who dis?

MVM MVP Daz Rinko‘s got a new ride. The Memphis rapper directed this video for his new single “New Whip, Who Dis?”, the first from his upcoming album Black Boy Joy 2: The Bigger Picture. Shot and edited by 35Miles, with animation by Andrew McGinnis, this funky vibe is all about car trouble, and what it takes to get out of it. Take a look:

Music Video Monday: Daz Rinko

If you’d like to see your music video on Music Video Monday, email cmccoy@memphisflyer.com

Categories
News News Blog

Carvana to Bring Vending Machine to Memphis

Carvana

Carvana plans to build one of its signature car vending machines to Memphis.

A building permit pulled Friday shows the Phoenix company will build a $5 million facility at 7201 Appling Farms Parkway, close to the Great American Home Store. The facility includes an “18-tier vehicle storage/display structure,” which appears to be one of the company’s vending machines.

The machines are tall glass structures that store customers’ cars. Here’s the one in Charlotte:

Carvana to Bring Vending Machine to Memphis

Carvana is an online dealership. It opened a location in Nashville in 2016.
Carvana

Carvana in Nashville.

“By removing the traditional dealership infrastructure and replacing it with technology and exceptional customer service, Carvana offers consumers an intuitive and convenient online car buying and financing platform,” according to the company. “Carvana.com enables consumers to quickly and easily shop more than 10,000 vehicles, finance, trade-in or sell their current vehicle to Carvana, sign contracts, and schedule as-soon-as-next-day delivery or pickup at one of Carvana’s proprietary automated Car Vending Machines.”

Or, as the company says, “car buying shouldn’t suck.”

Wonder how it works? Check out this day-in-the-life video from Nashville:

Carvana to Bring Vending Machine to Memphis (2)

Wonder how they build them? Check out this time-lapse video:

Carvana to Bring Vending Machine to Memphis (3)

Categories
From My Seat Sports

Redbirds vs. Grizzlies for PCL Championship

Memphis will spend the next week rooting hard against the Grizzlies.

After a pair of heart-stopping comeback wins last weekend, the Memphis Redbirds advanced to the Pacific Coast League (PCL) championship series for a second straight season where they’ll defend their title against the Triple-A affiliate of the world champion Houston Astros, the Fresno Grizzlies. Battling Mother Nature in both Oklahoma City (where they split the first two games of the best-of-five semifinal series) and Memphis, the Redbirds beat a hot Dodger team in four games, the last two in walk-off fashion.

In Game 3 Friday night, Alex Mejia, Lane Thomas, and Max Schrock delivered consecutive RBI singles in the bottom of the ninth inning to erase a 4-2 Oklahoma City lead and give Memphis a 2-1 series advantage. But that comeback served merely as prelude to Sunday’s epic Game 4.

Courtesy Memphis Redbirds

The Redbirds tied Sunday’s game at a run apiece in the bottom of the seventh inning on a sacrifice fly by Tommy Edman. (The game had been scheduled for seven innings, as Game 5 would have followed had the Dodgers won.) Oklahoma City took a two-run lead in the top of the 10th inning on a home run by Henry Ramos. But the Redbirds rallied again, this time tying the score at 3 on a two-out, two-strike single by Alex Mejia. Then, things got a little weird.

Thomas reached second after drilling the ball off the Dodgers’ first baseman, putting Redbirds at second and third. Oklahoma City manager Bill Haselman then seemed to corner Redbirds manager Stubby Clapp by walking Schrock. Out of position players on his bench, Clapp was forced to let relief pitcher Giovanny Gallegos bat with the winning run 90 feet away. Gallegos had exactly one at-bat in his seven-year professional career.

Gallegos clubbed the baseball over the leftfielder’s head for a series-clinching walkoff victory. Such is Redbirds baseball in what can now be called the Stubby Clapp era. Pieces of a good team are removed. Others arrive, suit up, and impact victories.

The 2018 Redbirds, for a time, had the finest outfield in the minor leagues: Tyler O’Neill, Oscar Mercado, and Adolis Garcia. Mercado was traded in late July and O’Neill and Garcia are now helping the St. Louis Cardinals fight for a big-league playoff spot.

In April, Memphis had what appeared to be an electric rotation of starting pitchers: Jack Flaherty, Austin Gomber, John Gant, Daniel Poncedeleon, and Dakota Hudson. Hudson won 13 games for the Redbirds and earned PCL Pitcher of the Year honors. But all five men are now pitching for the Cardinals, leaving the likes of Jake Woodford, former Cardinal Tyler Lyons, and Kevin Herget to take turns in the PCL playoffs.

And take their turns they will, now three games from back-to-back championships for a man — already a back-to-back PCL Manager of the Year — who may be on to new ventures next spring. When the Toronto Blue Jays announced last week that manager John Gibbons will not return in 2019, Clapp’s name instantly became an offseason talking point. (Clapp is a native of Windsor, Ontario.) Would a major-league team hire a manager with no experience in such a role on the game’s highest level? Check out the managers’ offices at Yankee Stadium and Fenway Park as the Yankees and Red Sox prepare for this year’s postseason.

For at least three more games, though, Stubby Clapp will command the Memphis Redbirds. (The championship series opens Tuesday night in Fresno, with Games 3 through 5 scheduled for AutoZone Park, starting Friday night.) You can bet against the Redbirds at your wallet’s peril. Clapp has emphasized “never say die” for two seasons now as a Triple-A manager. When relief pitchers are drilling series-winning hits to the wall, perhaps it’s time we all believe in the mantra.

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Early Morning Shooting Comes After Club Allowed to Extend Hours

Purple Haze/Facebook

Four people were shot early Monday morning at the Purple Haze nightclub close to Beale Street, according to WREG, and the incident comes about two weeks after the club was legally allowed to stay open until 5 a.m.

The club and the area around it has been the site of numerous shootings, fights, and more, mostly in the early-morning hours. Monday’s shooters were able to sneak their guns through what Purple Haze owners called “strict security procedures.”

City officials and the Downtown Memphis Commission argued in court against the club being allowed to stay open until 5 a.m., like Beale Street clubs. They argued Purple Haze was not inside the Beale Street Historic District.

Club owners said they are “cooperating fully in the ongoing investigation into this unfortunate incident.”

“We offer our deepest sympathies and prayers for quick healing to those that were injured, including one of our very own security officers, in the altercation that happened at Purple Haze Nightclub early this morning.

“While measures were in place to detect the possession of firearms as patrons enter the club we are unsure at this time how those that discharged firearms were able to do so despite our strict security procedures.

“As the safety and security of our guests and employees are our utmost concern we are temporarily closing for two weeks to review operations.”