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Opinion Viewpoint

ICE on Fire: The Immigration Mess

Immigration and Customs Enforcement (ICE) has earned the condemnation of many Americans for aggressively capturing and detaining people in our country.

The administration’s overreach on immigration has resulted in images many of us have been trying to unsee: kids in cages, squalid, crowded conditions at detention facilities, some facilities operating at 10 times beyond capacity (in San Diego, for example), kids (six this fiscal year alone) dying in detention, and now the possibility of indefinite detention. ICE, to add to human misery, is now determined to go after immigrant children receiving life-saving medical attention at premier medical facilities in the U.S. — treatments that are not necessarily available in their home nations. How did all this happen?

We’ve spent the past two and a half years focused on the Ionesco-inspired Theater of the Absurd that is the Trump Administration. The show is endlessly distracting, but the behind-the-scenes story involves a potent power grab by a nativist far right, which has found an enemy in immigrants who have no real political power and barely any political representation. Undocumented folks and green card holders don’t vote. In theory, these individuals have rights, but in practice, the onslaught against them has been unrelenting.

Congress won’t act; they don’t have to. So we, the people, must act. But how do we manifest resistance to such inhumanity when it comes from our own federal government?

The vote in 2020 is the most obvious starting point. In the face of what we are seeing at our border, there can be no excuse for rational, decent people not engaging in the next election.

On a local level, the Mariposa Collective here in Memphis has offered a hand in the form of food, clothing, and kindness to migrants, asylum-seekers, and refugees, who pass through our city on buses from detention centers. This work continues and still needs committed volunteers and supporters.

Advocates and attorneys at organizations like Latino Memphis, the Community Legal Center, and the Tennessee Immigrant and Refugee Rights Coalition are on the frontlines battling to preserve basic rights and the futures of those under siege. Their work is not free, and they deserve our financial support so they can continue and expand their efforts.

We cannot rely on the work of others to fix these problems. Every resident of Memphis needs to understand the full ramifications of what this administration has done and plans to do. Churches, book clubs, and community associations should be educating and informing “the average citizen” about our immigration laws and the rights that all of us have — yes, even those here without documentation. We need good old-fashioned 1960s-style “teach ins” so we all understand that Trump’s efforts to attack our immigration system don’t end at the border, but have real effects on our friends and neighbors here.

We need to continually ask whether our local government is doing enough to protect our fellow residents. Our public officials need to be questioned, continuously, about any collaboration between ICE and our local police force. The City, the Memphis Police Department (MPD), and the Shelby County Sheriff have all gone on record as opposing such collaboration, yet the MPD, Shelby County Sheriff, and the Shelby County District Attorney’s Office are all participants in the so-called West Tennessee Multi-Agency Gang Unit or MGU.

Included among MGU’s participant agencies is at least one Immigration and Customs Enforcement (ICE) officer. MPD officers such as those working in MPD’s Homeland Security operations communicate with ICE and share arrest reports with ICE officers. The full extent of this relationship is unclear.

Thus, we wonder whether the walls of separation between federal law enforcement and the local police are as firm as the local agencies have previously declared. This dividing line is critical. If people in our city refuse to report crimes to the police out of fear for their own safety/possible detention and deportation, it threatens the safety of our community as a whole. We should demand that our local officials obtain the clarity we deserve as Memphians as to the extent of ICE’s participation with the MGU.

Just when you think the theater is over, a new act begins. The only way to tune out this sorry, surreal production is to take action, collectively and individually, because a nation that allows all of this to occur — including indefinite detention of fellow humans — has taken the turn from the theater of absurd to tragedy.

Categories
News News Feature

CannaBeat: New Arkansas Law Struck Down, Invest in Cannabis

The Little Rock Board of Directors (similar to the Memphis City Council) narrowly voted down a measure this month that would have made marijuana arrests the lowest possible police priority.

The new law would have effectively reduced marijuana possession to a citation. Advocates of the measure would have saved court and law enforcement resources while “not needlessly punishing adults with jail time,” according to the Marijuana Policy Project.

The Little Rock proposal is similar to one approved by the council here in 2016, which would have reduced possession penalties to $50 or community service. The measure was struck down by state lawmakers.

Arkansas Marijuana Industry Association

Queen Mother Goji is now available to Arkansas patients from Bold Cultivators.

Little Rock’s proposal was only defeated on a 4-5 vote, a better margin than the 6-2 vote that defeated a similar measure there last year. Director Ken Richardson said he’s not giving up on the proposal.

• Arkansas state officials said recently they expect around 25 medical cannabis dispensaries to open in the state in the next two months. Licenses for the shops were issued in February, but only seven have opened so far.

Since May, those dispensaries have sold more than 800 pounds of medical cannabis, totaling more than $6 million in sales.

Brace for Impact

Wanna make some money? Buy some weed.

Nielsen, the company that monitors consumer markets and television viewership, said that while cannabis products are still illegal under federal law, sales will quintuple in the next seven years.

In a report called “Brace for Impact,” Nielsen estimated proceeds from sales of legalized cannabis products this year will be $8 billion. By 2025, cannabis sales are expected to be $41 billion. In 2014, 166 marijuana brands existed in two legalized states. There are now more than 2,600 brands operating in four legalized states.

For savvy investors, Nielsen suggests hopping on the cannabis train early.

“In just four years, the face of legalized recreational marijuana has changed dynamically. We forecast much of the same in the hemp-derived CBD sector, which is now invading mainstream retail and grabbing headlines along the way,” reads the report. “Be among those who leap ahead of the next shifts, rather than fall behind, by understanding these rapidly changing trends in cannabis.”

Further, Nielsen predicts you’ll find many of these products in a place you might not expect — the grocery store. Expect cannabis products to show up soon in the cosmetics aisle, the pet-care section, and, of course, across the food and beverage space, Nielsen said.

Categories
Film/TV TV Features

Chernobyl

Proving that everything’s coming up ’80s in 2019, the most relevant show on television right now is HBO’s Chernobyl. The number four reactor at the Vladimir Ilyich Lenin nuclear power plant exploded on April 26, 1986, releasing as much radiation as a smallish nuclear war. The environmental catastrophe that followed killed thousands and rendered roughly 1,000 square miles uninhabitable by humans for the foreseeable future. But it was almost much, much worse.

Created by writer/producer Craig Mazin, Chernobyl tells the story of the epic disaster in five episodes. Mazin combed through the official Soviet histories for the big-picture details, but many of the individual incidents depicted came from Voices from Chernobyl by Nobel Prize-winning author Svetlana Alexievich.

The first episode, “1:23:45,” begins with the suicide of Dr. Valery Legasov (Jared Harris), the nuclear physicist in charge of first containing and then investigating the accident. Before he hangs himself, he leaves behind a suicide note that states in no uncertain terms who was at fault for the accident.

One of the reasons Chernobyl is so successful is its intricate structure. Legasov’s final act sets the tone for the rest of the show, where the act of telling vital truths is punished again and again. The story of the worst nuclear disaster in the history of humankind is a huge, sprawling tale involving tens of thousands of people, each with their own motives, biases, responsibilities, and handicaps. This is the sort of story the early Soviet filmmakers, such as Sergei Eisenstein, excelled in telling; there’s more than a little bit of Battleship Potemkin‘s DNA in Mazin’s scripts.

When Mazin and director Johan Renck flash back, it’s not to the very beginning, but instead to the big bang. The interior of the nuclear power plant’s control room shakes violently, and everyone wonders what happened. Anatoly Dyatlov (Paul Ritter), the director on duty of the night shift, doesn’t panic so much as get annoyed. It’s clear that his chief concern is not assessing the situation and containing the damage, but how he’s going to explain this screw-up to the higher-ups. All he can think of to do is just throw some more water on the reactor while recriminations fly among the staff. He refuses to accept that the pumps he needs to move the water have ceased to exist. The most affecting scene in the show’s early going is when Dyatlov orders control room engineer Sitnikov (Jamie Sives) to check the state of the reactor “with your own eyes” long after it’s clear to everyone in the room that it has exploded and is currently on fire. He proceeds across the blasted catwalk at gunpoint like a man forced to walk the plank. The next episode, we see the skin sloughing off his face.

People being catastrophically unable to fit what they see with their own eyes into their blinkered worldview is another recurring theme in Chernobyl. The reactor wasn’t supposed to be able to explode, so when it clearly did explode, no one could comprehend it, so crucial time was lost, and people got killed. The most tragic story of this series, which is nothing but a collection of tragic stories, belongs to firefighter Vasily Ignatenko (Adam Negaitis). The dashing young man is among the first responders on the scene, where he sees his comrades drop like flies under the intense radiation bombardment. His young wife Lyudmilla (Jessie Buckley) moves heaven and earth to be by his side, only to find her actions have doomed their unborn child. (Alexievich, who uncovered this story in her book, described Lyudmilla’s testimony as “Shakespearean.”)

Renck’s recreation of the decaying Soviet state is a stunningly realistic mural of decaying infrastructure and bad haircuts. The cliffhanger that bridges episode 2, “Please Remain Calm,” and episode 3, “Open Wide, O Earth,” where the entire fate of eastern Eurasia depends on whether or not three doomed volunteers crawling under the blazing reactor can unclog a drain, outdoes any of the year’s horror movies in terms of sheer tension. After that, the series turns into a whodunit, and we learn the series of errors that transpired before the story started.

Ultimately, the reason Chernobyl has hit a nerve in 2019 America is the creeping sense of dread it evokes. Though unmistakably set in the totalitarian communist environment of the Soviet Union, the parallels to our late-stage capitalist moment are obvious: those in power looking past looming environmental disaster because acting to prevent it might threaten their social status; scientists and educated experts ignored in favor of political expediency; and, most dangerous of all, a political culture that prefers leader-flattering lies over hard truths. Like those who lost Chernobyl, we have the knowledge and means to prevent catastrophe but lack the political will.

Chernobyl
Available to stream on HBO

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We Recommend We Recommend

Have a Good Thyme at Art on the Rocks

For more than 40 years, Dixon Gallery and Gardens has been a mecca for art, showcasing horticulture and visual arts with lush botanical gardens and a gallery that displays a range of classic and contemporary arts.

Now, the museum fuses the arts of herbology and mixology at its second annual Art on the Rocks tasting event, featuring cocktails inspired by herbs from their gardens. Basil, sage, thyme, and lavender are just a few of the herbs that will be used as ingredients in uniquely crafted cocktails mixed by A Catered Affair.

Dixon Gallery and Gardens

“My favorite one is a play on a spicy lemon cocktail. It has Fever Tree ginger beer, jalapeño juice, mint, and vodka,” says Kristen Rambo, digital communications associate at Dixon Gallery and Gardens. “Another drink, which is kind of on-trend right now, uses Truly hard seltzer with lime juice, ginger, rum, and rosemary.”

Other signature drinks served will include frozé (a frozen rosé slushie) and Have a Good Thyme, an Old Dominick vodka drink with fresh thyme, ginger beer, Aperol, and lime juice.

Art on the Rocks, which evolved from the former beer tasting event Art on Tap, will also offer craft beers and mocktails; and several local restaurants, including Amerigo, Cheffie’s Café, and Grecian Gourmet, will be present offering food samples. The PRVLG and Josh Threlkeld will provide musical entertainment.

Art on the Rocks is the first of a series of events hosted by the Dixon this season.

“Art on the Rocks is kind of a kick-off event for us in the fall,” Rambo says. “And as we move into October, we’ll get more into the food tastings like with our Art on Fire event.”

Art on the Rocks, Dixon Gallery and Gardens, Friday, September 6th, 6-9 p.m., $40 for members, $50 for non-members and day-of tickets.

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We Recommend We Recommend

Was the Moon Landing Faked? Memphis Astronomical Society Has Answers

July 20, 1969, became an important day in history when, after days of orbiting the earth on the Apollo 11 spacecraft, Neil Armstrong and Buzz Aldrin landed their lunar module, Eagle, onto new territory and became the first men ever to step foot on the moon.

This year marks the 50th anniversary of this prolific moonwalk, but through the years, several conspiracy theories have developed, claiming that this and other moon landing missions were faked.

“As many as 20 percent of Americans think that the moon landings were false, which creates a lot of doubt in the minds of the public,” says Jeremy Veldman, president of Memphis Astronomical Society. “The moon landings are a critical piece of American history. Not only was it one of the greatest achievements in the history of science, but also in the history of our democracy. It’s been 50 years since the first moon landing, and we’ve got a generation of people coming up who didn’t witness it. And they think, well, if it didn’t happen in my lifetime, then maybe it is impossible that it happened.”

Jeremy Veldman, MAS

See you on the dark side of the moon.

Veldman will lead a meeting this Friday at Christian Brothers University to address a few of the many conspiracy theories that have been generated over the years and debunk them with supporting evidence.

Memphis Astronomical Society leads meetings once a month discussing a range of topics that, in the past, have included stellar evolution, dark matter and dark energy, and taking a picture of an exoplanet.

The Apollo Hoax and Late Lunar Landings, Science Auditorium of Assisi Hall at Christian Brothers University, Friday, September 6th, 8 p.m., free.

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Cover Feature News

Bridging the Gap

Dreams of Kamp Kiwani get Kailey Hilton through the school year.  The camp is about 75 miles east of Memphis on a massive 1,250-acre site in Middleton, Tennessee. But in her mind, Hilton is swimming or rowing in Lake Okalowa, running the obstacle course, loosing arrows on the archery field, eating in the Thunderbird Dining Hall, or playing Ga Ga Ball with her friends.

And she certainly thinks about the horses.

“We get to ride them [around] camp and see parts of it we’re not used to seeing,” Hilton says. “We get to learn more about them, too. We get to see how they react and how to handle them if they get stuck in the brush or something.”

Hilton has been going to Kamp Kiwani since she was in the third grade, through her Girl Scouts troop with Heart of the South. Next year, she’ll be a Wrangler in Training, a sort of camp counselor. But even now, she likes seeing the younger kids — the Daisy Girl Scouts — and watching them grow up at camp just as she did. For Hilton, all of these hopes and fond memories go back to Kamp Kiwani. 

Justin Fox Burks

Community Foundation of Greater Memphis CEO Bob Fockler and Executive Vice President Sutton Mora Hayes

“That’s what gets me through the school year,” she says. “I know I get to go to camp and have that sense of community there.”

Many of these magical camp moments and memories would not be possible without Theodora Trezevant Neely. You won’t find her name etched on any building in Memphis, but Neely’s name rings loud in the laughter and learning of inner-city kids at out-of-the-city summer camps. 

For more than 40 years, Neely has annually sent 200 Memphis kids to camp. She grew up in Memphis but lived most of her adult life elsewhere. She didn’t have children and didn’t even really know who ran camps around here. It’s not perfectly clear why Trezevant Neely chose Memphis kids and summer camps as her mission, but she did, and Neely’s choice has sent more than 8,000 Memphis kids to summer camp.

“I heard that she had a passion for getting kids off the mean streets and onto someplace green in the summer,” says Bob Fockler, CEO of the Community Foundation of Greater Memphis (CFGM). “She left a significant portion of her estate — that has ended up here at the Community Foundation — to send kids from urban Memphis to places where they can dig in the dirt.”         

Largest in Tennessee

This has been the work of the Community Foundation for the last 50 years. It’s not always kids and camp. Over the last 10 years, the foundation has focused on education. But it also works to improve the health of Memphis through community development grants, and the health of Memphians with grants to improve health care. (Think Church Health, MIFA, and the Mid-South Food Bank.) The foundation also invests in support for the arts, the environment, religion, and more. 

If you’ve ever walked across Big River Crossing or watched a show at Playhouse on the Square or taken a selfie at the I (Heart) Soulsville mural, you’ve reaped the benefits of the Community Foundation’s work. If you’ve ever been thankful for the work of Just City, MLK50, or the Mid-South Peace & Justice Center, thank the Community Foundation. 

Over the last 50 years, the foundation has touched nearly every sector and social class of Memphis (and has done work in Mississippi and Arkansas, too).

It is the largest grant-making organization in Tennessee and one of the largest in the Southeast. The Community Foundation has invested around $1.5 billion into the Mid-South since the organization was founded in 1969. In its most recent fiscal year, the foundation granted $147.6 million to nonprofit organizations — 6,733 grants to 1,864 organizations — from 618 funds that the foundation manages.

The foundation is a conduit between donors and nonprofit organizations. Many donors know they want to help but might not know how. The foundation is plugged into the Memphis nonprofit community and can help donors find the right spot to contribute their support.

“Community foundations are important because they centralize donor funds while keeping a pulse on community needs,” says Kevin Dean, CEO of Momentum Nonprofit Partners in Memphis. “They also ensure that donors’ investments are actually reaching the community. We live in an age where many foundations’ credibility is called into question, as we’ve seen in the Trump Foundation debacle. Community foundations are a way for donors to feel confident that their money is being properly and ethically utilized.”

In the Beginning

The CFGM works on some of Memphis’ toughest issues, which is appropriate, since its beginnings sprung from one of the city’s toughest times — the 1968 Sanitation Workers Strike and the assassination of Dr. Martin Luther King Jr. in that tumultuous year. Memphis had been a battleground for weeks — National Guard tanks literally rolled on Beale Street. When the dust settled, the city was ravaged. It needed help to rebuild. Enter an organization called Future Memphis. 

The group was a collective of company leaders from across the city that had formed in 1961 to advocate for their vision of Memphis’ future. That vision included pushing for the annexation of huge parts of what is now modern Memphis (Cordova, Whitehaven, and more), liquor by the drink in Tennessee, running I-40 through Overton Park, consolidating the city and county government, and creating what is now the Memphis and Shelby County Airport Authority. 

But more broadly, the group’s incorporation papers said they wanted to “provide a source of backing for worthy projects” and “coordinate and support the efforts of other organizations.” To help rebuild Memphis after the events of 1968, Future Memphis established what was then simply called The Community Foundation, funded with an initial $1 million grant from pharmaceutical magnate, Abe Plough.

“It was a group of people coming together — some wealthy, some not so wealthy — who cared about making Memphis a better place,” Fockler says. “They started with fixing the city, but I think pretty soon they just started pushing for the things they cared about.”

Ed Williams was Future Memphis’ last executive director. He talked with Memphis public library historian Barbara Flannery in 1996, when Future Memphis was winding itself down. Williams said the group had, basically, been successful enough to put itself out of business, an oft-stated goal of many nonprofits.

“If you jump 34 years into the future from 1961 and think of all the nonprofits that exist today — and I mean that in a positive sense — we literally have a nonprofit organization to deal with almost every conceivable problem,” Williams said in 1996. 

He called the Community Foundation one of the “real backbones of charitable giving in the city of Memphis.” Future Memphis and the foundation operated quietly and behind the scenes, Williams said, but touched many parts of Memphis life — from the Memphis Zoo to schools, from economic development to city planning.

“Probably the average citizen would have no idea of these accomplishments,” Williams said. “That’s why we felt it was important that you, here in the history department, have access to all of [our papers] because it’s going to be important in years to come. People will look back and say, ‘Well, how did this happen?'” 

Steady Growth

Assets for CFGM have grown steadily over the years. It had about $90 million in 1996 when Williams spoke to historian Flannery. Its assets hit $100 million in 1997, the same year it moved into its current Union Avenue location, formerly the Hinds-Smythe Cosmopolitan Funeral Home. 

In 1997, Carol and Jim Prentiss made the then-largest-ever grant in Memphis — $5 million to the Memphis Zoo — through their fund at the Community Foundation. (Statues of the Prentisses can still be found by the wading pool close to the zoo’s entrance.) 

In 2000, Herman Morris was elected as the foundation board’s first African-American chairman. By 2001, foundation assets were at $200 million with 800 funds. In 2003, Fockler was named the organization’s third CEO. (His father, John Fockler, was the first.) In 2007, assets reached $300 million with more than 900 funds. 

In 2009, the foundation was the county’s fiscal agent in purchasing the Shelby Farms Greenline. In 2010, the Community Foundation launched Give 365, a dollar-a-day giving program. In 2012, the foundation was the fiscal agent for the Harahan Bridge Trail Project, which became Big River Crossing.

Paul Morris was project director for Big River Crossing and says the foundation was “instrumental” in making it happen. “We worked with donors who chose the Community Foundation as their vehicle for giving to the project,” Morris says. “That’s what CFGM does — it facilitates a connection between generous donors and important community projects. So many great things have happened in Memphis because of these connections forged by CFGM.”

In 2014, the foundation worked with the city to establish the Sexual Assault Resource Fund. Private donors to that fund helped the Memphis Police Department clear its backlog of 12,374 untested rape cases.

In 2015, assets reached $500 million with more than 1,000 funds. Last year, the foundation launched MLK50: The Next Step Forward, building on Dr. Martin Luther King Jr.’s platform of effecting real and systemic change. 

This year is the Community Foundation’s 50th anniversary. But instead of resting on its past successes, foundation leaders are changing how they approach future problems. 

Moving Ahead 

The Community Foundation still works quietly and behind the scenes. Much of that work is done at the behest and direction of the nearly 800 families with funds invested. But in the 1990s, the foundation began listening to voices in the community. A group of volunteers began helming a committee to decide where to give funds collected from donors in the Community Partnership Fund. That volunteer committee — comprised of people from all walks of Memphis life — had the final say on how to give nearly $1 million to nonprofits last year.

As a part of a new strategic plan approved in December, the community’s influence will be increased through the newly created Forever Fund, an endowment funded by private donors but with investments directed by members of the community. 

“We need a community-based voice for grant-making because we know that the priorities of the average person on the street may be different than those of the great, private foundations,” Fockler says. “So, our board of governors said we really need to secure and grow our own grant-making voice.”

Sutton Mora Hayes, CFGM’s executive vice president, says that allowing those committee members to pick what they fund sets the Community Foundation apart from the other private foundations in Memphis. 

“There are times when our committees make grants, and [Fockler] and I are both like, well, this may not work out,” Mora Hayes says. “That’s another part of our grant-making. We are responding to what we’re hearing from the community and what our community volunteers are saying they want to fund.”

The Community Foundation is poised for another shift, due to its new strategic plan. The foundation has long been a favorite of government entities thanks to its neutral stance, “because we don’t have our own agenda,” Fockler says. But that stance is shifting.

“It’s a shift from not having an opinion to having an opinion based on what we’re hearing from our partners in the community,” Mora Hayes says. That opinion is based on feedback from the foundation’s board, its leaders, its community partners, and its volunteer committee members. A blend of those opinions will inform how the foundation’s money is spent.

For example, Mora Hayes says the foundation did a grant round last year for the MLK50 event. However, the National Civil Rights Museum wanted the community to look beyond the 50th commemoration of King’s assassination and use it as a springboard to make lasting changes. “We asked applicants of that round questions we’d never outright asked before — questions around diversity of staff, the diversity of your board, the diversity of who you are serving,” Mora Hayes says. “And that’s the shift. Instead of never asking, we asked. It’s important to have that conversation because in this city we need to be having a real conversation around diversity, equity, and inclusion.”    

The foundation will also change how it measures success. In the past, it was enough to know that the organization was injecting $150 million into the community every year and putting it where its 800 funding donors wanted.

Fockler says the foundation is not moving away from supporting its donors or their collective impact, but it is moving toward “a greater responsibility for our community impact.”

The Forever Fund will help accomplish part of this mission, he says. But the foundation will take that move toward community responsiveness a step further this fall with a series of community meetings and working with Innovate Memphis and BLDG Memphis. Thoughts from the community at those meetings will inform the future of the foundation’s philosophy and mission, Fockler says. 

“It gets down to moving the needles on the city’s problems. Did the foundation’s grant really improve poverty or health disparities? Were those grants successful? What even are the needles of success that we need to be measuring? … Then we’ll be in a space where we can say, for example, here are the indicators in 2020,” Mora Hayes says. “We’re going to look at them again in 2025 and see what’s moving, what’s not, and what needs to change.” 

Planning for Plough’s Exit

In 1960, another Memphis-based foundation began making grants. Abe Plough, the same man who invested early in the Community Foundation, started the Plough Foundation. 

Since then, the Plough Foundation has made more than $300 million in grants to local nonprofits, according to information it released two weeks ago. The Plough Foundation helped create the Memphis and Shelby County Crime Commission and build the “I Am a Man Plaza” Downtown, among many other projects. Plough — along with the CFGM, the Assisi Foundation, Pyramid Peak Foundation, Hyde Foundation, and Poplar Foundation — is one of the largest foundations in town. But two weeks ago, Plough officials announced the foundation would close within four years. 

Mora Hayes says the news has the Memphis philanthropic community considering how it will fill the gap. “We’re not going to unplug the remnants of that one billionaire, find another billionaire, and plug it in there,” Hayes says. “How does the community come together and figure out how to balance the loss of the Plough Foundation?”

Mora Hayes says it’s an excellent time for the Community Foundation to talk about its community-based funds and its Give 365 program. While those programs may not be invested with Plough-level money, they foster a sense of community. 

Fockler says it is up to the Community Foundation to answer how the community deals with the loss of the Plough Foundation, adding that they aren’t “waiting for that next billionaire to show up.” The foundation is working hard to groom the next generation of philanthropists in Memphis.

“The answer isn’t plug-and-play billionaires, but it’s a lot of regular Memphians who care about the city, represented by those 800 families, and we’re trying to expand that,” Fockler says. “It’s the dozens and hundreds of families of Memphis who are going to make a difference and step into the shoes of the Ploughs.”

Poor and Generous

Memphis was the poorest big city in America in 2016. The U.S. Census Bureau hasn’t updated its data for 2019, but it’s probably safe to say the city is still close to the top of that list. 

So there’s a real irony in the fact that Memphis was the most generous big city in America in 2017 and 2018. The Chronicle of Philanthropy hasn’t updated its data for 2019, but it’s probably safe to say the city is still close to the top of that list.

Much of the city’s generosity in recent years was spurred by matching grants made for education by the Bill and Melinda Gates Foundation. The Community Foundation facilitated much of that giving. Fockler says education will continue to be a big category for the foundation’s donors, but much of the Gates Foundation money has been spent on programs for which it was intended. 

“Other cities in similar situations, in terms of how their city is made up and their poverty levels, don’t have that same kind of response,” Mora Hayes says. “Our city is very interesting, in that our donors have consistently stepped up and tried to make things better, even though we’re not the richest of cities.”

When Theodora Trezevant Neely died in 1961, she never could have guessed that because of her generosity, she’s be sending Memphis kids to camp for the next 58 years. But Neely left a legacy that makes Memphis a better place. And for 50 years, that’s been the Community Foundation’s stock in trade.

Categories
News The Fly-By

Q&A: Paul Garner Mid-South Peace & Justice Center

It’s been nearly a year since a federal judge ruled that Memphis violated a 1978 consent decree meant to deter police surveillance on activists.

U.S. District Judge Jon McCalla ruled that the Memphis Police Department (MPD) violated several areas of the decree, including intercepting electronic communications, using a fake Facebook profile of “Bob Smith” to learn of activists’ activities, and failing to properly inform officers of the parameters of the 1978 ruling.

Memphis United/ Facebook

McCalla’s ruling also mandated the creation of a court-appointed monitoring team to track MPD’s progress and adherence to the decree. Last week, that team testified before McCalla at a 90-day update hearing.

Paul Garner, organizing director for Mid-South Peace & Justice Center, is one of the activists who was surveilled by MPD. He said some of MPD’s activities are still “questionable.” — Maya Smith

Memphis Flyer: What are your takeaways from the hearing?

Paul Garner: The hearing was a bit of a mixed bag. I’m glad that there was an acknowledgement of some of the shortcomings that we saw at that community meeting. Having had the opportunity to meet with the monitoring team, I was glad that they have taken a lot of our input into consideration. Hopefully, we will be able to see that tangibly moving forward.

MF: What are your concerns about the monitoring team’s work?

PG: One of my concerns and of the community is that just because MPD isn’t using very specific tools that they were using to conduct online surveillance, there are still some activities that are questionable as to whether they are continuing to practice covert-like monitoring that isn’t easily detected by the monitoring team. There are some offline practices we hope the team will take a look at as well.

MF: What policy changes are you hoping for?

PG: I’m looking for satisfactory policies that reassure the chilling effect will stop. It’s hard on a lot of us. We look over our shoulders when we head to a meeting or a protest, and it shouldn’t be that way. Ultimately, we’d like to see some strong policies and checks and balances. And I’d like to see some form of monitoring continuing to be active for many years.

MF: What do you hope the outcome of this entire process will be?

PG: It would be nice to know that MPD isn’t engaging in retaliatory and deceptive practices. It’s hard to believe that when we’ve seen repeated incidents of harassment. This stuff is super important in these increasingly tense political times when we need our First and Fourth Amendment rights more than ever. People have to be able to speak up without fear of being spied on or their families and friends being put under a microscope simply because they are practicing their First Amendment rights.

We will continue to do this work anyway because it’s important to us, but I think I’ll always have a little piece of concern in the back of my head for as long as I do this work in Memphis.

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News The Fly-By

MEMernet: Aerial Porta-Potty and Reddit Meta

A round-up of Memphis on the World Wide Web.

Half-Mile High Club

Roof work on the FedExForum continued hilariously last week as a crane hoisted the porta-potty from the top.

Posted to Instagram by tobysells.

Red-handed meta

We’ve been caught!

A keen-eyed Reddit user noted that someone here at Flyer HQ has been mining the Memphis subreddit for tasty MEMernet morsels.

Memphis Flyer definitely has a Redditor on staff,” read a post last week from u/productiveslacker73. “Kudos for giving the OPs credit.”

Keep up the good work, r/Memphis!

More meta

Last week’s Flyer cover story (“By Air and by Land!”) was the 50th written by our very own sports writer, Frank Murtaugh. 50!

Here’s to 50 more, Frank!

Posted to Facebook by Anna Traverse

Categories
Politics Politics Feature

Council Switch; New House Speaker; Legislative Alteration

A decision by the presiding officials of the local AFL-CIO on Sunday to prohibit speeches by political candidates at their annual picnic at AFSCME headquarters downtown — even by those whom the union has chosen to endorse — has stirred some disquiet. Jackson Baker

Charley Burch (l) with K.C. and Jeff Warren

It has also prompted some action on the city-council-candidate front. Charley Burch reacted to the unprecedented acton by arranging a press conference for Monday afternoon involving himself, state Representative G.A. Hardaway, and fellow council candidate Jeff Warren. The purpose of the press conference?

Said Burch: “It’s to make the point that couldn’t get made at the picnic because we didn’t have the opportunity to say it — that those of us friendly to labor have to bond together in support of common goals.”

In Burch’s case, those common goals would be served by his using the Monday press conference to endorse Warren, who, along with Burch, Cody Fletcher, and Tyrone Romeo Franklin, is on the ballot for Position 3 in Council Super District 9. Presumably Burch would have availed himself on this option on Sunday if allowed to.

Eighth District Congressman David Kustoff addressed a National Federation of Small Business group at Regions Bank on Poplar last week and, as he has in the past, made a point of backing as many of President Trump’s initiatives as possible, including one that has been somewhat overlooked in the crescendo of recent political developments.

Said Kustoff: “An issue that I’m going to continue to fight on is the U.S., Mexico, Canada Agreement (CAFTA), which will replace the old NAFTA. The president renegotiated NAFTA, I think, to the betterment of the United States. Mexico’s ratified it. Canada’s ratified it. So we need Speaker [Nancy] Pelosi to put it on the floor. And the challenge that I see right now — should we go back on September 9th in Washington — is that we’ve got 41 legislative days or something like that.

“You’ve  got some Democrats who say they want to do it. But some who don’t, who say it’d be a win for Donald Trump. It’d be a win for the United States of America.  But that’s the mentality. That’s the mindset. And I’m concerned that with the presidential election, which is already in gear, that the longer she waits, the tougher it’s going to be to to get it to get it done.”

At the same NFIB meeting, state Representatives Ron Gant (R-Rossville) and Tom Leatherwood (R-Arlington) both attested to their belief that Representative Cameron Sexton (R-Crossville), newly nominated by the majority Republican caucus to be speaker of the state House of Representatives, will be a positive antidote to the confusion and mistrust that accompanied the one year-reign as speaker of Glen Casada (R-Franklin), who lost a vote of confidence in his caucus to remain in that position of leadership.

Gant told an affecting story about how Casada called him to the front of the assembled House in the last session and tried unsuccessfully to get him to change his No vote on the issue of private-school vouchers. Eventually, the then-speaker did manage to get another representative to change his vote, breaking the tie and allowing the voucher measure to progress.

As it happens, new Speaker Sexton was a No voter on the issue and has expressed a desire to postpone implementation of the new voucher law, which, as written, applies only to Shelby and Davidson counties. Gant allowed as how he thought some “tweaking” on the law might occur in the 2020 legislative session, which begins in January.

Categories
Music Music Blog

Where’s Joe? That’s A Question for Detective Bureau

Joe Restivo’s new debut album on Blue Barrel Records asks the musical question, Where’s Joe? But a better question might be, where is he not? The seasoned guitarist and native Memphian keeps busy with a cornucopia of projects, notably the Love Light Orchestra, the Bo-Keys, the City Champs, and more, but since the album dropped a month ago, his own group, the Joe Restivo 4, has been revving into high gear. 

And yet there’s another project with the Restivo stamp on it that, while not having released any product, has been turning the heads of jazz aficionados in this town for years. Detective Bureau may not play as often as some of the aforementioned groups, but the level of the players is such that the group guarantees a fascinating and danceable performance.

This weekend will witness an even more rare event than a mere Detective Bureau gig. This Friday at the Green Room at Crosstown Arts, they’ll be accompanying the very Japanese gangster film that inspired the band’s name in the first place. I gave Joe a shout between woodshedding sessions to hear the details on his venture into the world of live film soundtracking, and more. 

The Memphis Flyer: Seijun Suzuki’s Detective Bureau 2-3: Go to Hell Bastards!, aka (探偵事務所23 くたばれ悪党ども, must be dear to your heart, as the namesake of this band. Out of all of Suzuki’s B-movie ‘yakuza’ films, what’s the significance of this particular one?

Joe Restivo: I think it’s Suzuki’s first film with Joe Shishido, the chipmunk-like lead.They went on to make films together that culminated in Branded to Kill, which was his existentialist crime drama, where the studio was like, “What? No, this is not what we wanted you to make. You’re fired.”  They wanted him to make campy B movies. I don’t know, what do you call that kind of movie? 

This one we’re doing has elements of James Bond. The first time you meet him, he’s at a poker table. And they have a shot coming at him from behind, and you expect him to turn around and order a martini. He’s kind of goofy. He’s also a bit of Phillip Marlowe. There’s no narrator, but he’s a detective. A wacky private eye who goes to the local hard nosed police chief to tell him he’s the only one who can infiltrate this yakuza clan. There’s a yakuza war going on, and he can straighten this all out. Using his wit and his savvy and his chipmunk cheeks… he had plastic surgery, the actor. That’s why he looks like that. To look more leading-man-esque, I guess.

Anyway, I fell in love with these movies years ago, even back when we were doing a lot of City Champs stuff. I actually wrote a piece of music on our second record, “Shishido Joe,” after the great actor. We’re gonna use some of that music in the score on Friday.

I talked to Crosstown Arts about doing a live score, and asked about a couple films. I actually was thinking about doing Branded to Kill. And that wasn’t available, so we did this one. And that’s cool, ‘cos it’s the first Suzuki film with Joe Shishido, and hopefully one of the first of these that we do, with more to come. 

Aside from digging the film generally, were you inspired by its original soundtrack?

The original score is jazzy, and pretty sparse. There’s a lot of flute, baritone saxophone, organ. We are using a couple of elements from the original score, including the main theme; and there’s a love interest, and we’re gonna use her theme.But there’s actually not a lot of music in the movie.

We’re not doing a silent film, and you can’t really separate the score from the rest of the audio; you can’t have stems, in other words. So we’re gonna be playing 90 minutes of continuous music while the film is shown with the subtitles. It’s a live score, but it’s almost like we’re playing a Detective Bureau show with a visual element. We’re playing continuously through the whole film. Marc Franklin and I developed cues from our book of music ,and it seems to be working. A lot of it was original music that me and Marc have written. Because a lot of the vibe of the band has been influenced by great B film composers like Morricone, Piero Piccioni , who’s a big hero, Lalo Schifrin, and Henry Mancini, of course.

Elmer Bernstein?

I’m a huge fan, but I wouldn’t say we’ve pulled a lot from him. Maybe some of his later stuff. We tend toward some of the campier movies.

And there’s a huge Cuban influence in this genre and your sound as well.

Yeah, we have a great conguero [conga player], Felix Hernandez, in the band. And the band is a band. We’ve played live and done a lot of music from the CTI Label, Creed Taylor’s label, which has a lot of Brazilian and Afro-Cuban influences. Some of the boogaloo artists. Willie Bobo is a big influence on the band. And Felix is the heart and soul of the band. He’s a real, sanctified Puerto Rican conguero. And we absolutely learn from him. We were at rehearsal the other day and he was giving us a lesson on the samba. ‘Cos he knows the Brazilian stuff and the Cuban stuff. He’s just a master of rhythm.

He’ll say, “This is what the rhythm feels like. This is what it is, and this is how it should be interpreted.” ‘Cos it’s one thing to analytically diagram what a samba rhythm is, but there’s a whole other element to how these things are supposed to feel. That’s why it’s cool to have him in the band. His pocket, his feel is incredible. Especially in Memphis, where we have our own pocket and feel.

And he knows that stuff too, he’s been here so long. I was in a band with him for years called A440. We played every Friday night. I sat next to him. We were playing R&B. He brings this incredible rhythmic knowledge and experience to any group I’ve been in with him. He’s all over the score for Craig Brewer’s new film, Dolemite Is My Name. I was there the day he cut his parts and everybody was going crazy, ‘cos he’s so good and adds so much flavor to a project. So we’re really lucky to have him.

Who else is in the group?

Our regular drummer is on tour so we’re having George Sluppick. Our regular drummer is Clifford “Peewee” Jackson. He’s fantastic, but couldn’t make it. Nearly everyone knows George. He was my partner in City Champs. Landon Moore is on bass, who’s in a million projects and an incredible first call bass player here in town. Pat Fusco, a great keyboard player who’s been in the band from day one, plays all the analog keys: Rhodes, organ, etc. And of course Marc Franklin, who’s our trumpet player and resident arranger. We sat and sussed out the score together and he actually arranged it into a written score. So he’s our resident professor. And then we have a special guest, a guy named John Lux. He was at the University of Memphis in the early 80s. He’s an incredible doubler, playing baritone saxophone, alto, and flute. So we’re excited to have his skills.

And Landon brings such a creative energy to anything. He has a producer brain. For instance, I’m in this group the MD’s, and we’re doing this Beatles thing, “The MD’s perform The Beatles’ Revolver,” that he totally conceived of and arranged. He’s always got something to offer creatively, besides getting the right sound and feel. He just gets it immediately. 
Michael Donahue

Art Edmiston, Mark Franklin and Joe Restivo at Rhythm on the River.

It’s a busy weekend for you. You’ll also be playing the River Series at Harbor Town Amphitheater on Sunday afternoon.

Yeah, that will be the other group that made my record. Tom Lonardo, Tim Goodwin and Art Edmaiston. We’re honored to play this series. It’s a really cool outdoor space. We’re excited. If anybody didn’t go to the release party, this will give you another chance to see the group in a really cool setting. We’ll play all the music from the album. It’s been getting a really great response, and the band is tighter than ever. We always have a lot of fun. We’ve been playing a residency in Oxford, at Proud Larry’s, and on September 19th we’ll be on Thacker Mountain Radio down there, followed by an after show at Proud Larry’s. So we’re reaching to our Mississippi brethren. 

This is the same band you appear with every Sunday afternoon at Lafayette’s, isn’t it?

Yeah, the Joe Restivo 4. We’ve been together for five years this week, playing every Sunday. Now, sometimes I’m on tour and the great Dave Cousar has filled in admirably. Sometimes the other guys can’t make it and we’ll have others as guests. But we’ve held that gig down for five years. It’s crazy to think about. It’s been really great, and an opportunity to develop a sound. Because I don’t think you can really develop a band’s sound unless you play a lot of gigs. You have to hash it out on the bandstand and find your group dynamic and group sound. That’s what I wanted this thing to be and that’s what it turned out to be. And when we got to the point of saying, “This is our sound,” that’s when we recorded. So my philosophy is: have a band, play a bunch of gigs, find your sound, and then document it. That seems to be a good process, you know? 

Where’s Joe? That’s A Question for Detective Bureau

That’s why it’s great to go right into a recording studio after a tour.

Exactly, yeah. I heard an interview about Chess Records the other day, I think it was Buddy Guy. And they would record at 5:00, 6:00, 7:00 in the morning, after the gigs. ‘Cos Leonard Chess wanted that energy from the live shows on the records.

And speaking of documenting a band sound, Detective Bureau’s got future plans. I’m in talks with a local label, so hopefully we’re gonna be releasing a 45 by next year. We have the compositions, and they’re gonna be very film score-oriented. One piece of music is “Apollonia’s Sunday Drive.”  Apollonia’s from The Godfather, Michael Corleone’s love interest in Sicily, who one day got in the car, and shouldn’t have gotten in the car. I wrote a theme for her, and I think we’re gonna record it. So we’ll have that 45, something to show for ourselves as a group.

You do have a knack for starting and picking cool projects.

Well, I’m lucky. Just to play with the really fantastic musicians we have here. I’ve been really lucky to work with Marc Franklin. He’s an incredible figure in the scene here. His arranging and organizational skills are fantastic. He brings a really creative and focusing energy to a project. He’s been huge for this band.

Detective Bureau’s Live Score to Seijun Suzuki’s Detective Bureau 2-3: Go to Hell Bastards! happens Friday, September 6, 7:30 PM at the Green Room at Crosstown, $10.