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Film/TV Film/TV/Etc. Blog

Indie Memphis Executive Director Ryan Watt Stepping Down After Six Years

Ryan Watt, Executive Director of Indie Memphis

Ryan Watt, the executive director of Indie Memphis, has announced his intent to resign after the 2020 edition of the film festival.

“I look forward to new personal challenges and opportunities as I return to my roots and as entrepreneur,” Watt said in a statement released on Twitter. “Indie Memphis is in a great position to bring in an executive director to lead the next phase of growth for the festival. We have an incredible staff, amazing film community, solid financials, growing audience, ad a devoted board of directors.”

Watt’s introduction into the world of independent film came as a producer for Daylight Fades, the 2010 vampire horror film directed by Memphian Brad Ellis and written by Allen C. Gardner.

“A few months prior to producing my first independent film, my journey with Indie Memphis began in 2008, when I bought a pass to the festival,” Watt said. “It was a total discovery. I couldn’t believe what a gem we had in our backyard, and I wanted more people to experience why it was so special.”

Since Watt took over from former director Erik Jambor in 2015, he has overseen a major expansion of the organization. Last year, the annual film festival, which was founded in 1998, attracted more than 12,000 attendees from all over the world.

Watt has emphasized the organization’s commitment to artist development, especially expanding access to the tools of filmmaking to people of color. According to Indie Memphis’ annual report, 114 Memphis filmmakers completed projects last year, 45 percent of whom were people of color.

Last weekend was the annual Indie Memphis Youth Festival, which began on his watch in 2016 and has grown significantly every year.

“My vision was to build the Indie Memphis profile, expand the scope of our programs, grow the pipeline between Memphis and the industry, develop filmmakers starting with youth, offer Memphis year-round arthouse cinema, and seek inclusion of the whole city in our mission,” Watt said.

A dedicated Indie Memphis cinema was scheduled to open in March at Malco’s Studio on the Square, but the debut has been delayed due to COVID-19. Because of the pandemic, this year’s festival is expected to be a hybrid virtual affair, combining limited in-person screenings with extensive online offerings in partnership with the Memphis-based cinema services company Eventive.

“A leader of Ryan’s effectiveness and vision will be deeply missed,” said Brett Robbs, president of the Indie Memphis board of directors. “But thanks to all he has helped us accomplish, Indie Memphis is well positioned to continue to grow and serve the needs of our entire community.”

Robbs will lead a national search for Watt’s replacement. Watt says he will stay on to ease the transition to new leadership. The 2020 Indie Memphis Film Festival is scheduled for October 21st-26th. 

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We Recommend We Saw You

Les Passees Stock Exchange Begins September 1st. But It’s Different This Year.

Michael Donahue

This was the scene at last year’s Les Passees Stock Exchange. This year, it won’t look like this. Stock Exchange will be online.



Les Passees Stock Exchange 2020 begins September 1st. 

But it’s going to be different.

This is the annual event, which runs about two months, where people bring items to be consigned for the public to buy. For 33 years, customers visited a location where they browsed among the items and purchased whatever they wanted.

Not this year.

This year, customers will do their shopping online. Just like they were buying something on Amazon. They’ll go to the website, search the various categories, look at the photos and descriptions, click on the consigned items they want, and then pay for them with their credit card.

The site will be open for buying beginning at midnight on September 1st. 

“Well, it’s like everything,” says Les Passees president Cindi Ledger. “We’re mainly an organization of older ladies. We’re called ‘Les Passees,’ not ‘Les Ingenues.’”

They’re concerned about the health and safety of their volunteers. And, she says, “We have to consider we have long-term consigners who have been consigning with us for more than 20 years. We can’t ask people to come in if they have heath issues.”

They sent out a survey to members last June to get feedback on this year’s Stock Exchange. “Our mission is to help children and families. We can’t do that without funds. We made the decision not to have the on sight shopping.”

Kids on the Block and the Harwood Center are the two main beneficiaries of Les Passees. “They still have needs. They don’t quit rolling just because of COVID.”

They got tremendous response from members willing to volunteer. “Not only did we poll our members about whether or not they would want to come in and work under what circumstances, but we called our top 100 consigners and asked if they’d be interested in selling online and bring their stuff in. They overwhelmingly said yes.”

Belz Enterprises let them use the same building at 888 South White Station Road that they used last year to house the consigned items.

Each consigner will be given a time to bring their items to the building between 10 a.m. and 4 p.m. Tuesdays through Saturdays. “We limited the number of items you can bring in one appointment to 25 in order to reduce face time. Everybody is wearing a mask.”

Lucite barriers are set up at the consigning areas, Ledger says. “We take their temperature when they come in. We make them sign something for contact tracing with their phone numbers. We ask them a series of safety questions they have to answer in order to come in and consign.”

Volunteers will measure the items, take front and side photographs, and catalogue them. “Like a warehouse. So we can easily pull them.”

They will post the items and descriptions here as soon as they get them, Ledger says. Those who want to buy the item will just click on a button and pay for the item with their credit card. “You put it in your shopping cart and pay like you would at Amazon. Pay for it online. It goes into our system as ‘sold’ and it comes off immediately.”

Buying something depends on “how fast you are,” Ledger says. “You can put it in your cart, but until you pay for it, anyone can buy it.”

Customers will be notified when the item will be ready for pickup. They will be a given a confirmation number. They then will pick up their items between 10 a.m. and 4 p.m. on Fridays and Saturdays at the White Station address. “They’ll call us when they get there. We’ve got a special phone number.”

Parking spaces are numbered, so when customers arrive, a volunteer or one of the “red shirts” – those who carry the bigger items like furniture – will bring their purchase to their vehicle.

This year, Les Passees only will be selling items $25 or above,  Ledger says. They won’t be taking some things, including draperies “because of the health risk and because we don’t have a way to photograph that where it doesn’t look unattractive.” They also will not be selling jewelry this year. “We really don’t think we can sell that without people coming in and trying it on.”

People can consign items September 1st through October 16th. Stock Exchange is slated to wrap up around the end of October.

Ledger expects “glitches” and things are subject to change, but, so far, they’re pleased with how things are going. “We may want to continue with consigning by appointment in the future, especially the larger consigners with furniture. It has really worked well. So, we’re learning things we’ve never learned before.”

For more information on Stock Exchange, go to the Les Passees website. “There will be a link they can click that will send them to the Stock Exchange address and also tell them how to consign.”

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Tori WhoDat

Today’s Music Video Monday celebrates our city.

Tori WhoDat‘s latest “Thru My City (ft. Miscellaneous)” is all about cruising through Memphis late at night. Director Isaiah Conyers of Iconick Films captures the feeling with some dreamy visuals to accompany the song, which was produced by Tori’s longtime musical collaborator, Chris3000. Even wounded and quarantined, the city feels alive with possibility.

Music Video Monday: Tori WhoDat

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

Categories
News News Blog

New Virus Count Rises by 120

COVID-19 Memphis
Infogram

New Virus Count Rises by 120

Shelby County added 120 new cases of COVID-19 on test results reported since Sunday morning.

The number is not the number of new cases on tests given yesterday. Tests results are not always returned within 24 hours. The new case count comes from numerous tests over numerous days from numerous laboratories.

The latest weekly data available shows 11.3 percent of all tests were positive for the week of August 16th. The figure is down slightly from the 11.6 percent rate recorded for the week of August 9th. It marked the fifth straight decline in the weekly positivity rate since mid-July.

The county’s overall average positive rate for COVID-19 was 10.8 percent on Monday. The number is the average of all positive tests from all test results reported since the virus arrived here in March.

The total number of COVID-19 cases here stands at 27,587. The death toll in Shelby County now stands at 382.

The total current number of COVID-19 cases diagnosed in Shelby County was 2,978. The number is 10.8 percent of all virus cases recorded in Shelby county since March. There were 10,378 contacts in quarantine as of Monday.

Categories
Intermission Impossible Theater

The Envelope Please: The Ostranders Must Go On

Carla McDonald

Crystal Brothers and Travis Bradley in the musical Cats at Theatre Memphis last year. Brothers won an Ostrander on Sunday for best featured performer and Bradley won along with Jordan Nichols for best choreography in a musical.


The annual celebration of Memphis theater was Indecent several times, had lots of Cats, savored Jelly’s Last Jam, and though it had no direct Shakespeare, it made much ado over the Book of Will.

The 37th Ostrander Awards Sunday evening was like no other. That’s not hype, it’s just fact, thanks to 2020 being, well, 2020. The annual event was virtual, with attendees watching on Facebook or YouTube. Theater people were not crowding into the Orpheum Sunday evening, not thrilling to one energetic musical production number after another, not casting admiring/envious glances at gasp-worthy fashions and not participating in multiple toasts. Presumably some of that went on anyway, but with much diminished clusters and, one prays, appropriate social distancing.

Furthermore, there was not the usual quantity of productions to judge since the coronovirus shut down all stages mid-March, truncating seasons everywhere that would usually have run into the summer.

But the shows that did go on gave much to applaud, and the Ostrander Award judges gave particular love to Cats from Theatre Memphis (TM) with six awards, Indecent from Circuit Playhouse (CP) with five, and Jelly’s Last Jam from Hattiloo with four. Playhouse on the Square (POTS) earned three each for Book of Will and the musical Memphis.

Also winning were TM’s Next Stage (Next) with two awards for A Few Good Men, Germantown Community Theatre’s (GCT) double for Next to Normal, Hattiloo’s two for Eclipse, and single awards for Mamma Mia! at TM and On Golden Pond at POTS.

In the Collegiate Division, seven awards went to Hissifit at the McCoy Theatre at Rhodes College (Rhodes), four plaques to Inherit the Wind at the University of Memphis (U of M), and four awards to Raisin in the Sun at Southwest Tennessee Community College (SWTCC).

Jon W. Sparks

Dennis Whitehead Darling won for best direction the second year in a row.

Dennis Whitehead Darling won the Ostrander for direction of a musical for 2019’s Jelly’s Last Jam, his third directing honor in two years. This time last year, he picked up two awards for directing, one in the community division, one in collegiate. 

Winning for best direction of a drama was Dave Landis for helming Indecent. Supplementing that was a special award given this year for Seamless Integration of Direction, Choreography, and Music Direction. That went to the trio of Dave Landis, Daniel Stuart Nelson, and Tammy Holt for Indecent at Circuit Playhouse. 

Ann Marie Hall, winner of the 2020 Eugart Yerian Lifetime Achievement Award

Ann Marie Hall was this year’s recipient of the Eugart Yerian Lifetime Achievement Award. Hall got her start in theater in grade school when she was a frequent visitor to the principal’s office for talking too much and doing impressions from TV shows. The solution came when she got into a play in the eighth grade. “I realized I could be really silly and people would laugh at me and I wouldn’t get in trouble,” she recently told Memphis magazine. Her devotion to the stage never stopped after that and she’s become, in her words, “the consummate community actor.”

Sunday’s event, despite being forced to be virtual, was pulled off with considerable energy as Elizabeth Perkins, Ostranders program director, determined several weeks ago that the show would go on, pandemic or no. Up until the end of June, the hope was to have it old style at the Orpheum, but when it became evident that was a no-go, it was decided to have it online and celebrate the truncated season with virtual gusto.


Here are the winners of the 2020 Ostrander Awards:

COMMUNITY DIVISION

  • Excellence in Set Design for a Drama: Tim McMath, On Golden Pond, POTS
  • Excellence in Set Design for a Musical: Jack Yates, Cats, TM
  • Excellence in Costume Design for a Drama: Lindsay Schmeling, Indecent, CP
  • Excellence in Costume Design for a Musical: Amie Eoff and André Bruce Ward, Cats, TM
  • Excellence in Hair, Wig, and Makeup Design for a Musical: Karen Reeves and Brooklyn Reeves, Cats, TM
  • Excellence in Props Design for a Drama: Eli Grant, Book of Will, POTS
  • Excellence in Props Design for a Musical: Eli Grant, Memphis, POTS
  • Excellence in Sound Design for a Drama: Carter McHann, Indecent, CP
  • Excellence in Sound Design for a Musical: Carter McHann, Memphis, POTS
  • Excellence in Lighting Design for a Drama: Mandy Kay Heath, A Few Good Men, Next
  • Excellence in Lighting Design for a Musical: Mandy Kay Heath, Mamma Mia!, TM
  • Excellence in Music Direction: Tammy Holt, Jelly’s Last Jam, Hattiloo
  • Excellence in Choreography for a Musical: Travis Bradley and Jordan Nichols, Cats, TM
  • Best Supporting Actress in a Drama: Raven Martin, Eclipsed, Hattiloo
  • Best Supporting Actress in a Musical: Katy Cotten, Next to Normal, GCT
  • Best Leading Actress in a Drama: Donita Johnson, Eclipsed, Hattiloo
  • Best Leading Actress in a Musical: Dawn Bradley, Memphis, POTS
  • Best Supporting Actor in a Drama: John Maness, Book of Will, POTS
  • Best Supporting Actor in a Musical: Willis Green, Jelly’s Last Jam, Hattiloo
  • Best Leading Actor in a Drama: Stephen Garrett, A Few Good Men, Next
  • Best Leading Actor in a Musical: Johann Robert Wood, Jelly’s Last Jam, Hattiloo
  • Best Featured Performer: Crystal Brothers, Cats, TM
  • Best Ensemble in a Drama: Indecent, CP
  • Best Ensemble in a Musical: Next to Normal, GCT
  • Best Production of a Drama: Book of Will, POTS
  • Best Production of a Musical: Cats, TM
  • Excellence in Direction of a Drama: Dave Landis, Indecent, CP
  • Excellence in Direction of a Musical: Dennis Whitehead Darling, Jelly’s Last Jam, Hattiloo
  • Best Original Script: When We Get Good Again, POTS@TheWorks
  • Special Award — Seamless Integration of Direction, Choreography, and Music Direction: Dave Landis, Daniel Stuart Nelson, and Tammy Holt, Indecent, CP
  • Best Original Script: When We Get Good Again, POTS@TheWorks
  • Otis Smith Legacy Dance Award: Jared Johnson
  • Larry Riley Rising Star Award: Jason Eschhofen
  • Behind the Scenes Award: Christina Hendricks
  • Eugart Yerian Lifetime Achievement Award: Ann Marie Hall


COLLEGIATE DIVISION

  • Excellence in Set Design: Brian Ruggaber, Inherit the Wind, U of M
  • Excellence in Costume Design: Bruce Bui, Hissifit, Rhodes
  • Excellence in Hair, Wig, and Makeup Design: Juliet Mace, Hissifit, Rhodes
  • Excellence in Sound Design: John Phillians, Inherit the Wind, U of M
  • Excellence in Lighting Design: Jameson Gresens, Inherit the Wind, U of M
  • Excellence in Music Direction: Eileen Kuo, Hissifit, Rhodes
  • Best Supporting Actress: Raina Williams, Hissifit, Rhodes
  • Best Leading Actress: Mary Ann Washington, A Raisin in the Sun, SWTCC
  • Best Supporting Actor: Joshua Payne, A Raisin in the Sun, SWTCC
  • Best Leading Actor: Toby Davis, Inherit the Wind, U of M
  • Best Featured Performer: Syndei Sutton, A Raisin in the Sun, SWTCC
  • Best Ensemble in a Musical: Hissifit, Rhodes
  • Best Ensemble in a Drama: A Raisin in the Sun, SWTCC
  • Best Production: Hissifit, Rhodes
  • Excellence in Direction: Joy Brooke Fairfield, Hissifit, Rhodes
Categories
Politics Politics Beat Blog

RNC 2020: The Masque of the Red Party

You have to give Donald Trump this: He has good taste in music to close out with. It’s hard to beat the Rolling Stones’ “You Can’t Always Get What You Want,” with which he ends his rallies. (Against the wishes of the Stones, it should be noted.) And singer Christopher Macchio’s renditions of Puccini’s “Nessun Dorma,” Leonard Cohen’s “Hallelujah,” and the traditional “Ave Maria” (delivered from the Truman Balcony at the White House) were certainly powerful codas to the President’s climactic address at the Republican National Convention Thursday night, outdoing even an extended round of fireworks that filled the sky over the nation’s Capital.

That the White House, historically known as “the People’s House,” was able to be employed as a backdrop to the events and festivities of the four-day RNC affair was a consequence, in a way, of the deadly coronavirus pandemic that had made planned arena extravaganzas in Charlotte, North Carolina, and, later, Jacksonville, Florida, impossible. Invoking the protocols of the Hatch Act, Democrats had complained about their rivals’ appropriation of national structures and symbology for such partisan purposes, but, as in so much else, Trump just does what he wants and gets away with it.

Give him this, too: Though the pandemic had caused the RNC to uproot and move its venue, twice, Trump remained intent on flaunting his so far successful penchant for gambling. He wanted crowds? He got crowds — upwards of 1,500, packed in tight on the south lawn of the White House to hear him speak. Masks? We don’t need no stinking masks! No social distancing, either. It was Tulsa writ smaller but grander, and, if the late GOP African-American eminence Herman Cain had been a casualty of that earlier wager, Trump’s own luck, and that of his family and entourage, seemed to be holding.

Masks? We don’t need no stinking masks!

Once again, the president had hurled a defy to the fates. No one — or no one so prominent — has so obviously and so consistently moved unprotected amid tight groups of people during the six months so far of medical emergency. And in his RNC address, he sort of laid it on the line to the country: “Joe wants to shut down, to surrender to the virus,” he declared of Democratic nominee Biden, who had spoken of intensified health-safety actions, including a national mask mandate. Trump’s own preference? “The states have to be opened up — back to work, back to school.” All Americans are involved in Trump’s parley — and its consequences.

“Let’s Pretend”
If the situation required a bit of rhetorical let’s-pretend, so be it. Speaker after speaker at the convention either ignored the pandemic or treated Trump like a triumphant Horatio at the gate. Early on, he had clearly minimized the threat and procrastinated in dealing with the virus, which has so far resulted in 6 million cases and 180,000 American lives, a full quarter of the world’s total. But this week in others’ telling, and in his own, he would seem — by the simple act of incomplete and temporary halts on traffic to and from China and Europe —to have stopped Covid-19 cold. On the convention’s second night, Trump’s economic adviser, Larry Kudlow, put the whole pandemic thing in the past tense. It’s over, folks.

In a convention only selectively attentive to realities, that was par for the course. On the convention’s first night, Andrew Pollack, whose daughter, sadly, had been among those slain in 2018 by a gunman at Stoneman Douglas High School in Parkland, Florida, took the stage to praise President Trump, whom he’d met with after the shooting, as a “great man and good listener” and blamed the massacre on the emphasis on “restorative justice” by “far left Democrats.” Guns themselves and their ready prevalence in the land remained unmentioned.

Two nights later, logger Scott Dane contended that “crazy environmentalists” had somehow been responsible for the sporadically raging forest fires on the west coast and praised President Trump for his idea (so far unelaborated on) of “managing the forests.” Throughout the convention, in fact, “environmental extremists” were the villains of disparaging testimonies, right up there with “radical socialists” and “looters.” Those latter two categories were conflated, to the extent possible.

The McCloskeys

The McCloskeys, a couple from the St. Louis area who had brandished weapons at protesters of George Floyd’s murder, warned that the suburbs themselves were under direct attack. And ongoing events in Kenosha served, in both spoken and unspoken ways, to reinforce the sense of peril for Trump’s base. Never mind that the only deaths in that Wisconsin city had been those of Jacob Blake, an unarmed black man shot by police, and two protesters gunned down by a right-wing vigilante.

In all fairness, though, there had been martyrs of out-of-control mobs, and several of these were spoken to — notably, retired St. Louis police captain David Dorn, shot and killed by looters of a pawn shop he was trying to provide security for during a post-Floyd disturbance. There was a telling bit of having-it-both-ways during the emotionally moving description of the tragedy by Dorn’s widow, a white woman. The portrait of the late captain on a mantel behind her, was out-of-focus in such a way as to make his fact of his race indeterminate. Black viewers could see — and grieve for — one of their own, while those whites who chose to do so could remain uncertain about the matter.

In any case, for the RNC-ers, Kenosha was the ill wind from which some benefit could be derived. The concept of the Democratic nominee as “Sleepy Joe” had seemingly been mined for all it’s worth — and, on the evidence of Biden’s performance at the DNC convention, debunked. Now Biden was being described, by Trump and the president’s surrogates, as a “Trojan Horse,” a hapless government time-server for 47 years (a span alluded to over and over) who was now in the clutches of sinister elements to the point that an early RNC speaker had professed to be “terrified of Joe Biden coming after everything we’re building.”

Pam Bondi, former Florida attorney general, made bold to reprise the discredited slander of “Biden family members” as Ukrainian grifters, but mainly focused on the Bidens in China, a country so repeatedly referred to in the RNC convention as a super-specter, the gravest menace to America. (Russia went unmentioned and, on the evidence of this convention, might have ceased to exist on maps of the planet.)

Ironies Abounding
It was a convention in which extremes, exaggerations, and ironies abounded — one in which Tennessee’s high-intensity junior Senator, Marsha Blackburn, mustering every word slowly and carefully, came off as a relative moderate, although she still could breathe some fire: “Democrats] close our churches, but keep the liquor stores and abortion clinics open. They say we can’t gather in community groups, but encourage protests, riots, and looting in the streets. If the Democrats had their way, they would keep you locked in your house until you become dependent on the government for everything.”

Senator Tom Cotton

Question: How is it possible that Kimberly Guilfoyle, now Donald Trump Jr.’s girlfriend, who had, in a memorably screechy address, proclaimed of Trump Sr., “He liberates you. He lifts you up,” could have earlier been married to the laid-back Gavin Newsom, California’s currently serving Democratic governor?

The gaunt and ultra-grim-looking Senator Tom Cotton of Arkansas, meanwhile accused Biden of “coddling communist dictators” and failed to mention the exchange of love letters, as they were characterized by the President himself, between Trump and Kim Jung Un of North Korea.

In his 70-minute finale of a teleprompter address, Trump would recap all of the calumnies directed at Biden, declaring outright that, if the Democrat were elected, “China would own our country.” He characterizes himself as “the People’s President,” and the claim reflects a reelection strategy based less on foreign issues than on day-to-day concerns in the population. In that sense, the threat from China is presented as primarily economic (though, just in case, Trump credits himself with rebuilding the nation’s military).

Democrats note correctly that the nation’s economic recovery from the 2007-8 crash began under the “Obama-Biden” presidency (as Republicans now choose to characterize it), but Trump’s argument that his administration accounted for the most robust economy in American history still has legs. The President notes the addition of “9 million new jobs” in the last three months, while Democrats counter with the fact that some 21 million were lost just previously, in the coronavirus shutdown.

The president’s taking point remains, and the outcome of the election depends at least partly on the continuing viability of it vis-a-vis the ever-looming threat of the virus. In the either/or of things, the two tickets are each emphasizing a different side of the dichotomy.

“Family Values”
Then there are domestic factors — matters of tranquility, racial fairness, gender equity among them — to be reckoned with. It was no accident that the Republican convention featured an unusual number of women and African Americans to serve as proponents of the president. As identity groups, blacks and women are being counted on by Democrats, with some degree of confidence, as anchors of the Biden-Harris ticket. Trump and the GOP nevertheless are seeking such inroads there as are possible.

Though the LGBTQ community is overwhemingly Democratic, there are clearly a certain number of its members who opt for the GOP, and Republicans are not so foolish as to entertain the strategy of gay-bashing.The one issue on which there is no likelihood whatsoever of the twain’s meeting amicably on the battlefield of this election is abortion. There would seem to be no middle ground between being anti-abortion and being pro-choice. The Democratic platform opts for the latter and the Republican platform, such as it is, for the former.

For all the vau

The Rev. Franklin Graham

nting during the convention of his family members (all of whom appear to have been on hand, save those who have denounced him publicly), Donald Trump is not, and will never be, a symbol of “family values.” Nevertheless, his brand encapsulates issues of that sort as well as spokespersons for them (cases in point being the Rev. Franklin Graham and various smaller fry), and social conservatism is one of the cards Republicans are certain to play.

The exact power of that constituency is hard to estimate, though, as a voting bloc, it is arguably more dependable than are those forces galvanized so strongly right now by Black Lives Matter and other movements to redress historic wrongs. Assessments of strength and staying power in such matters are notoriously difficult to assess in polls.

Que sera sera, and, as a friend of ours is so fond of saying, events are in the saddle. Covid-19, George Floyd, and Kenosha have all reminded us of that. In any event, the Democrats and the Republicans have each had their show now, and, a little more than two months from now, (Postmaster General DeJoy willing) the Nielsen ratings will come in — with dramatic consequences, either way.

Categories
Music Music Features

Rev. John Wilkins: Saving Us From Trouble

Zac Ives fondly remembers an evening some years ago, as he and his Goner Records colleagues were preparing for a show outside the late, great Buccaneer Lounge. “This big dude rolled up on his motorcycle,” Ives tells me, “helmet on, fringe leather jacket. We were like, ‘Whoa, who is this guy?'” They were taken aback by the answer. “He took his helmet off and it was the Reverend! He said, ‘Hey, what’s going on guys?’ We were going, ‘Oh my God!'”

“Oh my God” is an apt reaction to the magnetism and talent of the Rev. John Wilkins. “He’s this sort of iconic guy in town,” Ives adds, and he should know. Goner has booked the gospel blues performer (and pastor at Hunter’s Chapel in Como, Mississippi) for their annual Gonerfest at least three times, and he’s seen the response that the Reverend elicits from listeners. “In fact, one of my favorite Gonerfest memories ever was when he played the last set at sunset on a Saturday afternoon, six or seven years ago. It was one of those magical moments. We got a lot of punk rockers in leather jackets tearing up, watching this totally spiritual performance.”

Adam Smith

Rev. John Wilkins

So, while the Goner imprint is more typically associated with punk or alternative music, it’s not a far stretch to imagine the Reverend on the edgy Memphis label. With Trouble, the full-length album due out September 18th, that will become a reality. Amos Harvey, who manages and plays bass for Wilkins, thinks it’s a perfect fit. “We’re excited about being with Goner because they love Rev. Wilkins and it’s local, so they totally get it and respect all the different genres he’s mashing together to make this gospel blues.”

Harvey emphasizes the diversity of influences on Trouble. While Wilkins is most often associated with the country gospel blues that his father, Rev. Robert Wilkins, perfected in the mid-20th century (including “Prodigal Son,” covered by the Rolling Stones), his lifetime of playing on blues and soul records has brought many other flavors to the mix. Not the least of which are the voices of his daughters, Tangela Longstreet, Joyce Jones, and Tawana Cunningham.

“The record is very eclectic,” Harvey says. “He wanted to feature his daughters on this record. The first record was him and they sang backup on a few songs, but he wanted this to feature them more. And I think we did a good job with that. Not every song sounds the same. It’s almost like a compilation, in a way.”

The end result shows the influence of artists as diverse as Ray Charles, Junior Kimbrough, and Bill Withers, among others. In casting such a wide net, it didn’t hurt to have a crack band navigating the changes. “We recorded it with this amazing rhythm section. With Charles Hodges [on organ], Steve Potts [on drums], and Jimmy Kinnard on bass. They just locked in. And it was really sweet and fulfilling when each one of them separately said ‘We are enjoying this. This is music that we grew up on.’ I would play a demo like twice, and then they just had it. And of course, Rev. Hodges interpreted what was needed on organ beautifully. His ability to just feel it was amazing.”

The sessions, produced by Harvey and engineered by Boo Mitchell, took place in November of 2018, but couldn’t be more timely today. The lead single, “Trouble,” was released online three weeks ago and will be followed by “Walk With Me,” to be released this Thursday. Both seem particularly salutary in this year of disasters.

“He sings ‘Walk With Me’ with Tangela, his middle daughter,” says Harvey, “and he tells the story of how his dad would sing that on the front porch when he was young. And his mother would sing with them and beat a tambourine. It moves him just to think about it.”

And surely such memories have helped the good Reverend weather his own personal struggle this year, detailed in Chris McCoy’s July 29th Flyer cover story about COVID-19 survivors. Wilkins has survived his bout with the virus but remains in the hospital for regular post-COVID treatments. He’s seen trouble firsthand, but for all that, he knows how best to soldier on. And that can help us all. As Harvey notes, “You don’t have to be religious to enjoy this. Rev. Wilkins’ music is moving. He and his daughters make something happy, something that you’re not expecting.”

Categories
Music Music Blog

With Bravado Starts a Fire

Memphis rockers With Bravado just released a new single and music video, “Let’s Start a Fire.” The song is all energy and layered guitars and vocals, and it has already landed on a Spotify spotlight playlist. The music video, shot by Hotkey Studios, is rock-and-roll stripped down to its most basic elements — cranked amps, hair everywhere, and flashing lights. It’s bombastic and loud, and I spoke with With Bravado frontman Julian Stanz about the song, the video, and the band that made them.

With Bravado

MF: Can you tell me a little bit about the band?

JS: This main lineup really started about four years ago, right before we wrote and released our sophomore EP, Silent Film. The lineup consists of Jules (guitars and vocals), Kayla (bass and vocals), CJ (guitar), Tom (drums) and our newest member, Ryan (guitar, and vocals), who we played with years ago in a former band.


When we formed With Bravado, we knew we wanted strong vocal melodies, male and female harmonies, and bombastic music to layer it against. The music takes on characteristics of alternative rock, grunge, and even post-hardcore music. It occasionally fully pumps the brakes, entering the realm of slow, chilled-out dream pop. We also wanted the music to have a good bit of self-aware (and at times self-deprecating) satire woven into it. For example, just when you think a song is about to really kick down the door, Jules grabs a laser blaster, holds it up to his guitar and performs his now signature “laser blaster solo.” This is always good for a laugh live. The band is serious, but it doesn’t take itself so seriously that it can’t take a step back and laugh at the whole thing too.

Oddly enough, several of the members have been in bands together before, and are in each other’s bands now. For instance, Kayla, Ryan, and Jules were all in The Hostage, a local Memphis band circa 2009. Jules, Tom, and CJ are all in Sleeping Seasons, a pop-punk/emo band fronted by CJ. Finally, Jules, Kayla, and Tom are all in CJ’s Solo project: CJ Starnes. We kind of feel like family, so sticking together musically feels pretty natural. True story: It’s not uncommon for our members to show up to a venue and for someone to ask, “So which project is playing tonight.” Once, we were playing a show as CJ Starnes (CJ’s solo project) and someone from the crowd remarked, “Wait … that’s just with Bravado, but with CJ singing …” All joking aside, it’s truly an honor to be in each other’s bands, and we love that part of our dynamic.

MF: What’s “Let’s Start a Fire” about?

JS: “Let’s Start a Fire” is a song about introspection. It is purely coincidence that it is coming out at a time where actual fires are burning in cities. That was not intentional on our part. We wrote this song years ago. The song is about being willing to look inside to fix things that are wrong. The “fire” is a metaphor for purifying yourself. I believe that most meaningful change will happen when I change myself. I frankly can’t change you. But I can change me. That’s not natural, though. There is a natural resistance to introspection and self-critique. I think we are afraid of what we’ll find. I get it. The human heart can be a scary place to inspect.

Still, I think if we can muster the courage to look inside of ourselves, we might find things that we can improve. If we are willing to make those moves, I think we stand a good chance of offering the world a better version of ourselves. In this song I wanted to communicate the importance of looking inside yourself, and that you’re not alone if that scares you. We are in this together. We’re all just trying to improve. For some reason, that process can result in feeling pretty isolated, but we have to remember that we’re not alone. The song uses a lot of hyperbole, but the point is introspection, self-improvement, and the reassurance that you’re not on this path by yourself.

MF: You do a great job keeping the intensity up for the whole song without letting it become too much. Is that just natural, or do you plan it?

JS: Honestly, we haven’t been able to release music in a few years, so we had a bit of a quagmire on our hands. We weren’t sure if we should release such a bombastic single. It’s kind of a “full send” with Bravado song. We knew the half-life of such a gonzo song would naturally manifest in an abbreviated song. It also doesn’t have a traditional structure, so we knew that we had to make sure to keep the intensity high, but at the same time, make sure we didn’t let any of the riffs grow too old on the listeners’ ears. That’s a difficult call. It takes a degree of self-awareness to know how much is too much. Sometimes we get that right and sometimes we don’t. For Let’s Start a Fire, we hope we balanced the whole crazy song, proper length, good energy, and not too polarizing thing well. We always plan our songs meticulously, so it was very important to us that a song as crazy as Let’s Start a Fire didn’t go on for too long, especially if it was going to be a single.

MF: Can you talk a little bit about the layering in your band? You’ve got multiple guitars and vocalists going, along with other instruments. Is it an intricate thing working all that out?

JS: Oh, for sure. My favorite band is Smashing Pumpkins, so I have an unhealthy obsession with layers. We write tons of layers. We even record them. Then we tend to peel them away until we only have what the song needs. But yeah, having tons of guitars, as well as tons of vocals is a tough mess to sort out. It can be a nightmare to mix. We want to make sure that we carve out enough room for the vocals, but we also want to make sure that we have great supporting guitars. Figuring out how to do that has taken years, but at this point we have developed a bit of a feel for how much is too much. We also treat the song like it’s alive, and only do what it seems to be asking for. We don’t shove ideas into a song where they don’t fit. Everything we do is intentional, and serves the song. Even if that means I don’t get to play my guitar solo. Even if it means that the bass plays more straight for this part. Even if it means that the drums chill a bit here or there. We don’t even question it anymore. Whatever is best for the song happens. Heck, sometimes I have asked if Kayla would sing a song instead of me because my voice just wasn’t doing the job.

Nothing is off the table when we write music. We even have that philosophy about recording music. Whoever can play the lick the best records it. That might mean I record something, it might mean CJ does. There are things Kayla plays much better than the rest of us, so she records those parts. We just try to serve the song at every opportunity. At the end of a song, it’s not uncommon for me to have no idea who recorded what.

MF: When and where did you record the song?

JS: This song was recorded over about a year and a half at various studio locations, but was engineered, recorded, and produced by Cody Landers.

MF: What inspiration did you draw on for the music video?

JS: Honestly, when we do a music video, my goal is always “don’t ruin the song.” We’ve all heard a song we liked, and then watched the music video for it, only to discover that the video was so bad that it ruined the song for us. We just wanted a powerful performance video that captured the energy of the song. The song is short, so we knew the video could be pretty simple. My only stipulation was that I didn’t want the video to be very dark, and I didn’t want any fire in the video. I didn’t want to incorporate literal symbolism in the song.

MF: Who shot it?

JS: The video was shot by Hotkey Studios.

MF: Tell me a little bit about the visuals. I like the almost primal simplicity of just lights and amps and musicians.

JS: You’re so right. We really felt like the song was so nuts that it really gave us license to keep it simple. There is a simplicity to the theme of the song: the isolation one feels from looking inside yourself. That translated really well to the video. There are a lot of single shots of members. That was intentional. Those shots mimic the theme of isolation. The moments of triumph show the band as a whole, all cooperating as one. That’s very much a theme from the song as well. We really felt like the more we added to this video the more we would lose. We felt like there was an elegance to stripping away all extravagance, and exposing the members without frill or props. It seemed like the most honest way of portraying the music, the theme, and the message of the song. We wanted the music video to be simple but galvanizing.

MF: What’s it like releasing music in times like these?

JS: It’s frankly terribly expensive, and I’m not sure any of us fully know how to accommodate for such an unprecedented pandemic, but we refuse to let these times kill our band. From what I’ve been hearing, our situation isn’t unique. Like every other band in town, we’ve been forced to shift gears. Since we can’t play shows right now, we’ve packed up and moved into the studio. We will be releasing music as often as we can (and as often as I can afford). For now, we are having to do most of our promotion online. Thankfully, people have been very receptive to our music online. We know that we’re not exactly playing top 100 radio hits, so we appreciate every play, share, mention, comment, or kind message. We don’t take any of it for granted, and we appreciate it more than people know.

MF: Do you have any future plans for the band you’d like to talk about? Can we expect more new music soon?

JS: We do have plans to release songs as often as possible throughout the fall, and spring. We feel like this next gambit of music will be some of the “most with Bravado” with Bravado songs we’ve ever recorded, and we can’t wait for you to hear them.

MF: Is there anything else you’d like to add?

JS: Please follow us on Instagram, Facebook, Spotify, etc. Thanks!

With Bravado Starts a Fire

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Sports Sports Feature

901 FC Signs Midfielder Tommy McCabe

Coach Tim Mulqueen now has another arrow in his quiver when it comes to constructing a midfield.

Yesterday, 901 FC announced the signing of Tommy McCabe, on loan from MLS side FC Cincinnati. The midfielder will join up with the squad for the rest of the season, but Cincinnati retains the ability to recall the player at any point.

The 22-year-old South Florida native played collegiate soccer  courtesy Memphis 901 FC

for three season at University of Notre Dame before being selected 29th in the 2019 MLS SuperDraft by Cincinnati. He was initially sent on loan to North Carolina – where he played 10 matches and scored two goals – before getting called back to his host team. In MLS, he started two matches and made four more substitute appearances. He had yet to make an appearance for Cincinnati this season.

Mulqueen points to McCabe’s top-level experience and passing ability as major additions to the squad. “We are excited to bring him to Memphis, his ability to distribute the ball from midfield will help create chances,” the coach said in a press release. “His work ethic and his experience in the MLS will be beneficial to us on both sides of the ball.”

Last season, McCabe earned USL’s Week 4 Goal of the Week award for a left-footed, volleyed equalizer from outside the box against Charleston Battery.

901 FC travels to face North Carolina FC tomorrow, August 29th, at 6pm. Catch the game locally on CW30, or ESPN+.

Categories
News News Blog

Active Virus Case Count Continues Steady Decline

COVID-19 Memphis
Infogram

Active Virus Case Count Continues Steady Decline

Shelby County added 149 new cases of COVID-19 on test results reported since Thursday morning.

The number is not the number of new cases on tests given yesterday. Tests results are not always returned within 24 hours. The new case count comes from numerous tests over numerous days from numerous laboratories.

The latest weekly data available shows 11.3 percent of all tests were positive for the week of August 16th. The figure is down slightly from the 11.6 percent rate recorded for the week of August 9th. It marked the fifth straight decline in the weekly positivity rate since mid-July.

The county’s overall average positive rate for COVID-19 was 10.8 percent on Friday morning. The number is the average of all positive tests from all test results reported since the virus arrived here in March.

The total number of COVID-19 cases here stands at 27,052. Five new deaths were reported since Wednesday morning. The death toll in Shelby County now stands at 375.

The total of known COVID-19 cases diagnosed in Shelby County was 2,889, the latest in a number of declines for the figure this week. The number is 10.7 percent of all virus cases recorded in Shelby County since March. There were 10,357 contacts in quarantine as of Friday, the same number as Thursday and Wednesday.