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Film/TV Film/TV/Etc. Blog

Music Video Monday: Alyssa Moore

Music Video Monday misses live shows.

No industry has been hit harder by the coronavirus pandemic than music. The small venues which serve as a breeding ground for the superstars of tomorrow have always had a marginal existence, but the COVID shutdown has pushed many beyond the brink. The Save Our Stages initiative seeks to enlist government help to preserve these valuable cultural institutions. It has attracted the support of many lawmakers, including Memphis’ Congressman Steve Cohen.

The shutdown has been hardest on the musicians, both the weekend warriors with day jobs and the road warriors who eke out a living playing all over the country. Alyssa Moore is emblematic of both sides of the story. She’s emerged from a tragic history to thrive as a solo artist, producer, and live sound engineer at the Hi Tone and other Memphis venues. But since March, she’s been stuck at home, spending her time making solo records and also bringing a little comedy to the situation. Made under her country persona Big Jim, “Woman of the Night” is a lament to lost nights on stage and behind the soundboard. The video, which she made at home with her roommates/bandmates Mitchell Manley and Jason Pulley, is comedy gold. What to do when there’s no place to play? Take to the streets.

Music Video Monday: Alyssa Moore

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

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Music Music Features

From “Big Jim” to The Farmer’s Revenge, Alyssa Moore Finds Relief in Creation

I’ve been a musician for quite a while now,” says Alyssa Moore, with characteristic understatement. She’s lived and breathed music for as long as she can remember, and to this day it helps her process any upheaval in her life. As many of us have gone into semi-hibernation during the era of social distancing, the multi-instrumentalist has done just the opposite, creating art-pop and grunge-metal masterpieces into the wee hours with gear from her Move the Air recording studio.

“I put my studio on hiatus because I was about to move locations, almost at the exact same time that everything got locked down,” she tells me. “A CrossFit gym had just moved in next door, and all day long, I could hear them throwing weights against the wall. It was awful.” Accordingly, Moore was relying on her live sound work more than ever when shelter-in-place rules went into effect. “I remember my last show. We didn’t know if we could shake hands or how close to stand to each other. Every minute, another band would call to cancel a show. Things got really dire really quickly.”

Courtesy Alyssa Moore

Alyssa Moore

And yet, if anyone can handle dire circumstances, it’s Alyssa Moore. Three years ago, her former boyfriend, suffering from severe mental health issues, immolated himself outside of Murphy’s, and attempted to take the bar down with him, while she was running sound there. That was more than dire, but Moore’s natural response was to work through the trauma musically. That led to her finest work to date, a pair of closely related albums titled The Girl Became a Farmer (2017) and The Farmer’s Revenge (2019).

“It’s no secret that I was in a pretty violent relationship,” she reflects. “All my life, the way for me to express myself has always been through music. So it just made sense for me to write an entire album about what happened. I figured, ‘Maybe somebody else will relate to it, and feel better.’

“So, when I say, ‘The girl became a farmer,’ my idea was, ‘Okay, here’s this person who’s been put into a situation where they have to grow because there’s nothing else that you can do.’ I like the idea of farmers growing things and this girl being forced to grow from this situation. With the next album title, The Farmer’s Revenge, the farmer has now grown, and now she is a full, able person. And when I look back at my abuser, I do feel it’s a bit of a revenge just to be able to keep writing and recording songs and putting them out and expressing myself. Especially expressing myself — because in abusive relationships that’s one thing that’s really taken away from you.”

Meanwhile, she’s perfected another kind of revenge via a character she created last year, complete with mustache, who has the music community in stitches. “Big Jim” is the ultimate male explainer-in-chief. In Moore’s video vignettes, Big Jim takes it upon himself to enlighten his female audio engineer interlocutor. “I guess your boyfriend left his tool bag in here,” he says as he goes through the studio gear. Fervently holding a package of guitar strings, Big Jim exclaims, “You’ve gotta look at your guitar strings under a microscope, or else you’re gonna ruin the fretboard!”

“As a teenager, I wanted to be either a documentary maker or make ridiculous, dorky cartoons,” says Moore. “So I feel like Big Jim is both of those, in a way. I’m a woman in a field where only about, like, 3 percent of audio engineers are women. So it’s very easy for me to come up with material, just based on how I’m treated sometimes.”

Meanwhile, her home studio and one-woman band are always on call, until live sound becomes a thing once more. Her video and song, “The World is Listening,” written in response to a Donald Trump press conference early in quarantine, captures our sense of dislocation in driving ’80s New Wave rhythms. Look for an album of related material from Moore in the near future. “I want to do something, but I have to wait until I can figure out what our world looks like in a year. Usually when I do something, inspiration hits, and within a day, I’ve got to either do it or give up. ‘Cause I know that inspiration doesn’t stick around very long.”

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Film/TV Film/TV/Etc. Blog

Music Video Week: Alyssa Moore

Today on Music Video Week, a quarantine project by one of Memphis’ most talented musical auteurs.

Alyssa Moore made her debut on the Memphis scene with Strengths, and has come to be known as a talented producer and trusted sound engineer. She’s also an amazing songwriter, and since there have been no shows to mix, she’s been keeping busy creating new tunes. With “The World Is Listening,” she tries to take in the moment.

“This song and video were created in the weeks of the beginning of the national lockdown,” says Moore. “I was inspired to create something hopeful yet cautious — listening to the press conferences was depressing, yet moving. The first verse is a bit sarcastic; I poke fun at Donald Trump, threaten him with the possibility of being ‘taken’ from ‘his land.’ It’s easy to imagine that our lives are in his hands, as the president, because he is supposed to do his best to keep us safe. However, the tables are turned, and the public seems to be far more aware of how to handle the virus than he does. His life — meaning his power — is now in our hands. Inversely, the public’s lives are in the hand of experts. The phrase can be interpreted ominously when applied to corruption, but positively when imagining a benevolent scientist doing her best to persuade the public to take caution.”

Music Video Week: Alyssa Moore

Stay tuned for more Memphis artists on Music Video Week. 

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Music Music Features

Review: Fresh Releases from Memphis Artists

Model Zero

Model Zero (Slovenly Recordings)

There’s something different going on in Model Zero, the self-titled debut album from members of the Sheiks, Yesse Yavis, and several other Bluff City bands. Model Zero is Keith Cooper (bass, synth, drum machines), Frank McLallen (vocals, guitar), Linton Holliday (guitar, vocals), Jesse James Davis (drums, synthesizer, background vocals) — a supergroup, of sorts, made up of members of bands who usually specialize in punk, garage rock, and roots rock. So where do the pulsing drum machines and swirling, psychedelic synthesizers fit in?

“We were in the lab for a long time,” Cooper says of working out the dynamics of playing the songs live. Part of the danger was the exploration of new musical motifs and temperamental equipment.

“Anything could go wrong because we’re using a lot of old equipment and analogue equipment,” Davis says. “I think it adds to the energy.” And there is an undeniable energy to the album. The band’s cover of Buffalo Springfield’s “Mr. Soul” pulses insistently; “This Modern Life” is frantic with guitars, percussion, and the refrain repeated like a chant.

“Our first major performance was playing at Quintron and Miss Pussycat’s Lundi Gras at Sailor Jack’s in New Orleans,” McLallen says. “It was the first time the drum machines went through a huge P.A., and there were guys and girls in costumes coming out on the floor and dancing with this sexy verve.” Holliday chimes in: “That’s the secret. We’re a dance band.”

Model Zero’s album release concert at DKDC Friday, June 28th, at 10:30 p.m.

Alyssa Moore

The Farmer’s Revenge (Self-released)

This is what it sounds like when a talented multi-instrumentalist and audio engineer exorcises her demons — and has fun doing it. With her third solo effort, The Farmer’s Revenge, Alyssa Moore confronts new horizons, the joys of independence, and life after trauma.

“It’s a sequel to The Girl Became a Farmer,” says Moore, solo artist, bassist for math-rock outfit Strengths, and owner and operator of indie recording studio Move the Air. “The lyrics and songs were more about getting up and going forward [this time],” she says, explaining a shift on the new record. “The last [album] was put out as a way to release some emotions about the event that happened,” Moore says, referring to a violent public assault by her ex-boyfriend in 2017. With The Farmer’s Revenge, however, Moore explores new territory; most of the work, she says, fit the motifs of freedom and independence.

Alyssa Moore

“I just locked myself up here and recorded it all,” Moore says. “Everything on the album was written, recorded, and played by me. When I hear the term ‘solo artist’ or ‘solo album,’ I think of a single person doing the work.”

Moore makes no bones about sticking to any one style with her new release. On “Here Comes the Thunder” she alternates whispers and screams during the refrain. With “Cat’s Cradle,” cut-time drums and a bed of acoustic guitar share sonic space with swaggering squalls of electric guitar. The result is as dynamic as the person who crafted it, at times joyous, sometimes dark, and overflowing with personality.

Alyssa Moore performs at Midtown Crossing, Thursday, June 27th, 10:30 p.m.

Hash Redactor

Drecksound (Goner)

After a heavy touring schedule in 2018, Hash Redactor released their debut album, Drecksound, in April via Goner Records. The pairing is hardly surprising, as the band is pure Goner. Fronted by guitarist Alec McIntyre of Ex-Cult and with Meredith Lones (bass) and Charlotte Watson (drums) of Nots laying down rhythm, the band is a Goner supergroup. George Williford on guitar rounds out the lineup.

It’s not just Hash Redactor’s c.v. that screams “Goner.” The songs come in fast and hard, propelled by booming bass and tight drums. Watson and Lones share an easy comfort playing together; their confidence oozes from every song. McIntyre sneers the vocals, an antihero decrying humanity’s self-destructive tendencies and looking cool while doing so. The guitars alone are worth the price of admission.

Hash Redactor performs at Bar DKDC, Saturday, July 13th, 10 p.m.

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Film/TV Film/TV/Etc. Blog

Top 20 Memphis Music Videos of 2017: 20-11

We featured 50 Memphis music videos in 2017 for our regular Music Video Monday blog post. Now it’s time to recognize some greatness! We scored videos from 1-5 in three categories: Concept, Execution, and Song, then tweaked the order to resolve ties, of which there were several. The results give you a broad look at Memphis music in 2017. Here we go with part one of our countdown!

20. Me & Leah — “Moving So Fast”
The Midtown folkie duo of Leah Keys and Jeff Hulett scored with this melancholy montage of home movies, featuring Jeff’s father at a formative age.

Top 20 Memphis Music Videos of 2017: 20-11 (10)

19. Porcelan — “Real Thing Don’t Change”
Memphis soulstress and David Porter protege Procelan got real with love story set to her powerful piano ballad.

Top 20 Memphis Music Videos of 2017: 20-11 (8)

18. Namazu – “Bactine”
Put on your sailor duds and crank up the amps to go mini golfing with Namazu! Bonus: Bumper boats!

Top 20 Memphis Music Videos of 2017: 20-11 (11)

17. Alan Scoop – “Sweet Love”
Katori Hall directed this homecoming story starring Memphis stunner Rosalyn Ross.

Top 20 Memphis Music Videos of 2017: 20-11

16. Aquarian Blood –  “Parasite Inside”
Ben Rednour created a NSFW psychedelic snack cake for the trippy Goner band.

Top 20 Memphis Music Videos of 2017: 20-11 (3)

15. Alyssa Moore – “Not Of This Earth”
Director (and drummer) John Pickle went minimal for the pummeller from Midtown metal It girl Alyssa Moore.

Top 20 Memphis Music Videos of 2017: 20-11 (2)

14. Infinity Stairs – “Alternative Facts”
2017 was the year of lies, and Infinity Stairs created the retro synth anthem the lying clowns deserve.

Top 20 Memphis Music Videos of 2017: 20-11 (4)

13. Epps – “Steps”
Director Vivian Grey won the Indie Memphis Youth Film Festival competition with this black and white thriller.

Top 20 Memphis Music Videos of 2017: 20-11 (7)

12. Valerie June – “Got Soul”
2017 was the year Valerie June broke big, touring the world in support of her album The Order Of Time, which closes with this barn burner.

Top 20 Memphis Music Videos of 2017: 20-11 (6)

11. The Band Camino – “Who Says We’re Through”
The University of Memphis rockers go Western in this excellently produced video.

Top 20 Memphis Music Videos of 2017: 20-11 (9)

Tune in on New Year’s Day for the rest of the list!

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Music Music Blog

Gonerfest 14: Friday

Gonerfest Friday went all day and night.

Thunderroads take the Gonerfest leap.

For a second day, the weather gods smiled on the afternoon show. This one, at Memphis Made Brewery, featured a truly international cast, with Magic Factory from New Zealand being the farthest afield.

The Memphis band Model Zero made something of a debut with a groovy, hybrid drum machine and live drummer setup.

Model Zero

The atmosphere was friendly, with some kids running around and old friends reconnecting. Allison Green, a New Orleans photographer, has been covering Gonerfest for four years. “It’s my friend’s bachelorette party, so I’m taking it a little easy. I love shooting candids at the day shows more than anything.”

She says Gonerfest has been one of her favorite events to photograph. “Visually, Ty Segall’s set he did a couple of years ago was brilliant. He knows how to put on a show.” she recalled. “Hank Wood and the Hammerheads blew me away. They had two different drummers, and it was the best I’ve ever seen that done. There were tribal undertones, with traditional drums on top, and it was amazing.”

The highlight of her Gonerfest so far was Thursday night’s Sweet Knives performance. “I love Alicja Trout. I was a huge fan of the Lost Sounds. My buddy Rob and I were working in the darkroom—we went to college together—and he said, ‘You need to come to this show with me!’ That was my introduction to the Memphis scene in Chicago. It was 2004, probably? That’s when I saw the Lost Sounds. Alicja’s just the nicest human being in the world. I adore her. It’s very nostalgic for me.”

Kyle Johnson and Alyssa Moore keep Gonerfest sounding good.

Memphis bassist Jeremy Scott said it’s important to pace yourself during these long day/night show combos. “I love the outdoor shows at Murphy’s. Blood Bags, out of New Zealand, played last night, but they first played last year, and I saw people in the room with their jaws dropped. They were just that freakin’ good. Heavy, no bullshit, straightforward rock.”

He has played Gonerfest four times, but last year’s Reigning Sound reunion was his favorite. I don’t think we knew we were going to do it ever again, so to have that go off as well as it did was a lot of fun.”

I didn’t get pictures of anyone I talked to, so here are a couple of random guys.

Thunderroads, a Japanese band, closed out the after with a spectacularly athletic set that ended with  Masahuru, brother of Seiji from Gonerfest favorites Guitar Wolf, leaping from the landscaping.

Masahuru of Thunderroads

Friday night at the Hi Tone started off with Frantic Stuffs from Osaka, Japan playing a charming, English-challenged set. Outside, Goner Records founder Eric Friedl was happy with the way things were going. “The first band is killing it, and it’s as full as it was last night already.”

Finding bands to fill out the weekend is a year-round job, he says. “There are a range of bands you would like to get. Then some people approach us and say, we’ll build a tour to get there, or we’re going to be on tour, it would be great if we could play. Then other people we ask. It’s kind of a random mix. We don’t have enough money to say, ‘We want you. We’re going to fly you in and put you up.’ So it has to be a collaboration between the bands and us. That’s why it works, I think. People really want to be here. People like Mudhoney, Cosmic Psychos—these bands could make more money other places, but they want to be here.”

In the crowded Hi Tone, San Fransciso’s Peacers delivered noisy power pop seeped in Big Star harmonies and Husker Du noise meltdowns.

Gonerfest 14: Friday (3)

Foster Care from New York City blew the roof off with rude, old school hardcore. When the crowd started to throw beer cans onto the stage (a sign that things are going well at Gonerfest) Foster Care’s bassist upped the ante by emptying out the contents of a trash can onto the audience, then wearing the trash can while he played.

Foster Care, with trash can.

The set ended with a punk puppy pile.

Foster Care gets intimate with the fans.

Lindsey, a Memphian attending her fourth Gonerfest, was there for one band. “Nots are my favorite!”

Gonerfest 14: Friday

Nots had their coming out party at Gonerfest a few years ago, and now they’re a staple of the festival. This year, fresh off the road, they did not disappoint, putting forward some new, synthesizer heavy songs, mixed with guitar-led screamers.

Gonerfest 14: Friday (2)

Tyvek, another veteran Gonerfest band, rose to the challenge the Nots laid down. pushed and swayed.

Tyvek

Sydney, Australia punks feedtime’s drummer was rejected for his visa, so the band played their headlining set with Anthony from San Francisco’s Leather Uppers sitting in. At that point, the Hi Tone main room was so packed I couldn’t make it in the door. I paused for a moment to talk to Elise from Salt Lake City, Utah. “I’ve been to Memphis, but this is my first Gonerfest,” she said. “It’s fucking awesome. I like everything about Memphis—the culture, the people, the music.”

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Cover Feature News

Alyssa Moore: Survivor

“Jared McLemore is live on Facebook.” Those who clicked immediately saw a dark street scene with trees in the background. Then, McLemore, shirtless, rushes into the frame and sits crosslegged, his expression strangely blank. He pours gasoline over his body from a red can. Voices come from offscreen as he fumbles with matches. A second body rushes in, tackling him, but it’s too late. The frame is filled with flames. Fully engulfed, but eerily calm, McLemore runs off screen. The screaming begins.

***

Rock-and-roll came naturally to Alyssa Moore. Her parents were punk rockers in the Antenna scene of the 1980s. She picked up the guitar and wrote her first song at age 8. At 13, she played her first gig — a kid’s birthday party. Music became her passion, her escape from reality. “I’ve had family problems my whole life,” she says. “When I turned 14, 15, it was the worst it had ever gotten. They were fighting constantly. … My dad was gone. My mom was so depressed that she would just come home every day and go to sleep.”

Up until the ninth grade, she had been an A student. After the divorce, her grades faltered. Two months into her junior year, Moore dropped out. “I got my own apartment and started living as an adult. I’ve been living in Midtown since then.”

She met Will Forrest when she was 15. “I remember hearing her music on her MySpace at the time,” he says, “and thinking she was a pretty rad musician. We wound up both frequenting the open mic at Java Cabana and started playing music together.”

The two started dating. They recorded their first album with engineer Kyle Johnson at Rocket Science Audio. “I always wanted to be a rock star,” she says. “Every night I would go to bed, put on my headset, and listen to whatever female musician I wanted to be at the time: Courtney Love, Chrissie Hynde, whoever. Being a rock star is awesome. But I wanted to be able to do what Kyle did.”

Johnson became her mentor. “He just trusted me so much and had so much confidence in me,” she says. “Instead of teaching me everything, he said ‘Here’s the keys. Go play. The only way you’re going to figure this out is if you do it a million times.'”

After about five years, Moore and Forrest’s romantic relationship cooled, but their musical collaboration remained strong. Their new band was called Strengths. Their music was a mix of punk, metal, and math rock, with savage guitars and sudden time changes. It was smart and complex. Then, in November 2014, she met McLemore.

“He introduced himself after a Strengths show,” recalls Forrest. “He’s an excessive personality, talks a mile a minute. He was really funny. He wanted to dominate the conversation and be the center of attention.”

The day after the show, he sent Moore a Facebook friend request. “He was working at Ardent; I had started doing sound at Murphy’s. I was a studio rat at that point. It just made sense for us to get together.

“When we started dating, he asked a lot of questions. He was very intelligent. He had an imagination that I was drawn to. Because I was so fascinated with music and with recording, and he was as well, that was essentially our relationship for the first eight months.”

McLemore told Moore that he had been diagnosed with rapid-cycling bipolar disorder. “His mental illness didn’t scare me,” Moore says. “I knew what depression felt like, and I knew that it causes you to do and say things that you wouldn’t otherwise do. I watched my mother, in my childhood, be super depressed, and I saw when she came out of it, she blossomed. This is a guy who has had shitty luck his entire life, I thought. He’ll be okay, I just have to prove to him that somebody can love him with a mental illness.”

Mitchell Manley met McLemore when they were 17 years old. “When I was living in Milan and was playing in bands with him, I knew he had a lot of personal trauma.”

McLemore was married while in Jackson. But after about seven years, his wife left him in the middle of the night. “None of his friends ever saw her again,” says Manley. “Shortly after his wife divorced him, he attempted suicide. He tried to shoot himself, but the gun jammed. They airlifted him to Memphis and immediately put him into mental health treatment. Then he tried to start a better life.”

Moore says she did her best to help McLemore. “As he opened up to me about his illness and the things he had done about his illness, I was like, ‘You need to be on medicine. Don’t be ashamed.'”

Moore says that while they were together, they smoked marijuana but didn’t take any other drugs. With her family’s painful history of alcoholism, Moore didn’t drink, and for a while, McLemore didn’t either. “He admitted to me that he had an Adderall addiction from the ages of 22 to 28. He was prescribed Adderall, because doctors thought he had ADHD instead of bipolar disorder. That was a big mistake. They gave speed to a psychopath.”

After five months, the couple moved into a Midtown guest house. “If something went wrong, he would say ‘I’m going to kill myself.’ He would break down and cry a lot, and I would hold him and console him.”

Strengths was one of the tightest bands in Memphis, but McLemore convinced Moore and Forrest that something was wrong. Forrest says McLemore suggested starting a new band. “He offered the solution that he would play drums, and we could be super tight. But it wound up being a way less-functional band, and it fell apart.”

The new band played one show. “After that show, Jared said, ‘Look, I’ve tried to be friends with Will. I just can’t do it.’ So, we talked to his therapist about it, and even his therapist sided with him. He said it was strange for me to be in a band with my boyfriend from high school. She convinced both of us that me being friends with Will was a bad idea. … Looking back, [Jared’s] motive was to isolate me from my friends.”

“This trajectory is very common,” says Dr. J. Gayle Beck, professor of psychology at the University of Memphis. “This pattern almost ensures that she has less social support and few places to turn when stressed.”

***

In February 2016, Moore and McLemore were working together in the studio. “I don’t remember what caused the argument, but he stood up, grabbed my wrist, pulled me up, dragged me to the bathroom, closed the door and locked it behind us. He pushed me to the corner, and pushed me down on the ground. He held my hands back, and said ‘Okay, this is it. Now you’re going to die.'”

Trapped against the wall in the bathroom, Moore talked McLemore down from murder. “I scraped my hand against the wall. I remember looking at it and thinking, ‘Well, I’m bleeding because of my boyfriend. But it’s so tiny. Surely this means nothing. He just had a bipolar episode.'”

Moore told no one of the incident. “It is shameful to say, ‘Hey, the man I love locked me in the bathroom and tried to kill me.’ You feel like an idiot.”

Terror and threats became regular occurrences. “He was very smart about not leaving bruises in obvious places,” she says. “To the day he died, he would say, ‘I never beat you up,’ but I would say that he did, because that’s what it felt like.”

Beck says there is a broad range of abusive behaviors beyond beatings. “There is a common belief that Intimate Partner Violence [IPV] is only abuse if it entails hitting and punching. IPV subsumes physical, emotional, and sexual abuse. Sometimes abusers will threaten to kill the victim and later say, ‘I was just angry — I’d never do that.’  Being threatened with a weapon is abuse.”

“People ask, ‘Why did you stay with him?'” says Moore. “I beg that they look at their own relationship and imagine their partner turning on them and wondering how long it would take for them to be like, ‘Okay, I gotta get out.'”

***

The first week of August 2016, Moore got a rare moment away from McLemore. She used the opportunity to contact the National Domestic Violence Hotline. “At that point, when you have somebody else validate you like that, you kind of freak out a little bit. I wasn’t quite prepared to make a plan to leave at that point. But having someone else tell me, ‘Yes, you’re being abused. You need to leave’ is so powerful.”

Two weeks later, McLemore accused Moore of flirting. “He said that I’d been slut dancing to this band. My denial of it sent him over the edge. I was making dinner when he decided to attack me.”

Alyssa Moore

The kitchen in the Midtown guest house Moore shared with McLemore became the scene of an attack.

At knife point, he forced her into the bedroom. “He said, ‘Take your clothes off. Now.’ I just kind of looked at him, because he had never done that before. He said, ‘You know what’s going to happen. Do it.’ And he has the knife in his hand. So, I get naked, because I have to. He comes over to me and gets on top of me. He doesn’t rape me, other than what he’s already done by making me get naked. He grabs my neck and holds my face down. He chokes me. Then he stops, lets go for a minute, and watches me. Then he does it again a second time. Beyond that, my memory blacks out. I disassociated a little bit. I know at some point he ran, but he didn’t take my phone with him, so I called 911.”

The police took the report and told her to find another place to stay. Moore went to her mother’s apartment. “I had to tell her everything.”

Moore informed her friends that McLemore was on the run from police. Two days later, musician Josh Stevens saw McLemore walking on Madison. “At this point, he had either given up and he authentically wanted help, or he just couldn’t run any more and wanted somewhere to recharge. We took him back to the house. He was very docile.”

The next day, Stevens’ girlfriend and McLemore’s cousin took him to the Memphis Mental Health Institute. Instead of checking himself in to the hospital, McLemore bolted. Stevens rushed to Moore’s side. They called the police. “Then we saw Jared.”

McLemore started running towards Moore. “He was literally going to kill her,” says Stevens. “I saw it in his eyes. …The last thing I remember my friend Jared saying to me — and I say this because he wasn’t my friend after this — was ‘I should have killed you and your girlfriend last night when I had the chance.’ We tussled. I got him down, but he got away.”

McLemore stole Moore’s car. As he was driving away, Moore’s father Mike was arriving. He recognized McLemore and followed him. McLemore stopped, got out of the car, and the two fought. Again, McLemore got away. Meanwhile, the police had arrived. Moore says they were less than helpful. “I told them what had happened the night before, and they just kept hushing me. They didn’t look up at all. No eye contact or anything. They didn’t tell me what to expect, where he was going, nothing.”

McLemore returned to the house and gave himself up to police. He was committed to the Western State Mental Health Institute in Bolivar.

“I think that we expect too much from law enforcement in this domain,” says Beck. “It takes a woman [on average] six or seven attempts to successfully leave an abusive/violent romantic relationship. The implication of this is that the police will be called multiple times to her address. If they ask him [or her] to leave and the couple reunites, they have done all that is within their power to do. We cannot rely on the police to ‘solve’ the DV [domestic violence] in Memphis.”

After he was released from the hospital, McLemore was taken to jail. His mother bailed him out, and he was put on diversion. He went to live with her in Milan, Tennessee. He was forbidden to contact Moore and fitted with a GPS ankle bracelet.

In early September, Moore decided to make her story public, inspired by other women in Midtown who had called out their abusers on Facebook. “They were not saying these things to villainize their abusers and rapists. They were saying things to give courage to people who had had these things happen to them. Tell them, this happened to me, too. … In retrospect, I did it exactly wrong. I should have posted every picture I had, every screenshot that I had. I shouldn’t have given him any benefit of the doubt. Some people who are raping, abusing, hitting, being violent — sociopathic people — they cannot change their behaviors. Why should we not call them out?”

Moore’s Facebook post detailing her abuse at McLemore’s hands was widely seen and shared in the Midtown music community. One of the women who saw it was Jessie Honoré, a domestic abuse survivor who had become an advocate for women in similar trouble. “I had friended [Alyssa] because she is so great. I reached out to her. She’s younger than me. I’m a mom of two. I felt like I could offer her some advice.”

Honoré invited Moore to an online support group for Memphis women who have been victims of intimate partner violence. “Abusive relationships make you question your own judgment and your own gut instincts,” Moore says. “So, having a group to nurture you while you’re coming out of that fog is invaluable.”

The months that followed were free of abuse, but Moore faced new complications. She was stuck paying for rent at both the studio and her home. Moore had been advised to buy a gun, but she wasn’t comfortable with firearms. Instead, she got a knife for protection.

For a while, McLemore seemed to be getting better. He expressed regret publicly and privately. But it didn’t last. He moved back to Memphis, and the threats resumed. “He was sending and posting pictures of himself with a gun in his mouth,” says Moore.

Jared McLemore’s messages.

After being contacted by multiple concerned people, Moore eventually texted McLemore. “I sent a message that said, ‘Don’t talk to me. Get your shit together. Stop circulating these pictures. Don’t kill yourself. Things aren’t going to be awful forever.’ He sent a bunch of apologies. I said ‘Thanks, I don’t want to hear any more from you.'”

The contact turned out to be a mistake. “Throughout March and April, he would contact me. It was suicidal stuff, so I would call the police. I was not dealing with him any more.”

On the evening of May 9, 2017, Moore was washing dishes in her apartment. She looked up to see McLemore staring at her through the window. McLemore scraped the screen with something metallic. It was her knife. “He had obviously broken into my house or my car to get it, because those were the only places I ever kept it. He told me he had a gun. He said ‘I ought to kill you.’ That’s when I ran into the bathroom and called 911 again.”

When police arrived an hour later, McLemore was gone. “I told them many times that he was on probation, that he sent me pictures of the gun in his hand.” The police seemed skeptical of the situation. They told Moore that the Domestic Violence unit would call her the next day. The call never came. “I was afraid to go outside,” says Moore. “I didn’t think he had any reason not to kill me at this point.”

Desperate, she made another Facebook post detailing McLemore’s threats. “My intention up until the day he died was to get him into a hospital. I kept thinking, ‘he only wants to kill me because he’s depressed.'”

On Thursday, May 11th, Moore went to the Family Safety Center to file a restraining order against McLemore. She was told it took two hours to process, and the center was closing in an hour. That night, Moore got a message from McLemore’s roommate. “The police had shown up, searched the house, but they couldn’t find the gun,” she says. “Jared was acting sane and normal, so they didn’t take him anywhere. This was after the Facebook post, after hundreds of people had called the police. They showed up to his house, searched the place, and left. They didn’t take it seriously, at all.”

The next morning, Moore returned to the Family Safety Center. “Through them, I was able to get a warrant for his arrest,” she says. “Eventually, I went to work. I figured the police were coming.”

***

Friday, May 12th, at Murphy’s was a triple bill. Paul Garner had contracted with Moore to record his band, Aktion Kat. “We booked the show about a month prior. We respected Alyssa as a recording artist, and we knew she would do a great job.”

Garner, an activist at the Mid-South Peace and Justice Center, learned about McLemore from the Facebook post. “This was a person who had done everything a victim is told to do and was essentially shrugged off.”

Moore had asked Forrest to come to the club. “There had been so many times when he would threaten to show up,” he says. “I would go up there a lot of nights and hang out. I was really exhausted, so I said I would go next door and lay down for a minute. I kind of dozed off.”

Murphy’s staff was aware of the situation, so Moore says she felt safe. “I thought surely the police were going to come and arrest him. But about 10:30, I got a message from him: ‘I have a warrant out for my arrest. I didn’t assault anybody. I must die.’ Then about an hour later he showed up.”

Aktion Kat was setting up when McLemore walked in and made a beeline for Moore. “He was shirtless, and he was already covered in gasoline. He grabbed my arm and rubbed it down a time or two and nodded. He had told me, ‘I’m going to cover myself in gasoline and set myself on fire. That’s how I’m going to die.’ He said goodbye, and he kissed me. Then he went outside.”

Garner chased McLemore out the door, followed by Moore and other people. No one knew he was broadcasting his suicide live on Facebook. “By the time I got outside, he was on the other side of the street, assuming the crosslegged position and pouring the stuff over his head. I had a couple of seconds to try to prevent him from doing what it was obvious he was about to do.” He charged McLemore and tried to kick the matches from his hands. “As soon as I made contact, I felt the heat.”

Moore was at the door. “The flames shot up 10 feet high. At this point, I don’t see Paul. All I see is Jared on fire.”

McLemore silently stood up and ran toward Moore. Garner was on fire too. “I saw the little grassy field next to the P&H and thought, maybe that grass is wet. I was rolling around over there until my friend Scott Prather ran across the street and jumped on me and put me out.” Moore waited until two other people ran in before she closed the door. “There was a moment when I was on one side of the door, and Jared was on the other side of the door. I was staring him in the fucking face while he was on fire. I was trying to lock the door, but the heat was so intense.”

Moore fled into the bar. McLemore burst through the door. “I saw Steve [Wacaster] coming out with the fire extinguisher,” she says. McLemore crumpled to the ground as Steve sprayed him with the fire extinguisher. “People were pouring water and beer, trying to put him out. It was nauseating.”

Forrest was awakened by a call from Moore and ran into Murphy’s. “Jared was laying there, half melted. He saw me. I could kind of hear an eagerness in his voice when he saw me. He said, ‘Will, help me. Will, help me.’ The smell of him. … I will never forget that.”

Outside, Moore was in shock. “Some woman — I don’t even know who it was — grabbed me and hugged me and said, ‘You don’t have to be afraid any more. I’m not letting go of you.’ It was exactly what I needed right then. I wish I knew who it was.”

***

The horrific video quickly went viral. Within hours, it had spread to England, where The Sun tabloid published it on their website.

Garner was taken to the hospital with second and third degree burns on his calves and hands. He was briefly kept in the same room as McLemore, who died about eight hours after the fire.

“I really wanted to highlight that I don’t like the whole hero individual narrative that they were trying to hit me with,” he says. “I wanted more to be focused on, why did this happen? This person had been reported multiple times. He had been active on Facebook, and when people were tagging police and asking why they didn’t do anything, he was commenting on those threads. As someone who has experienced police surveillance in recent years, I know they have social media tools like Geofeedia that they are using to track us and where we are having protests. I wish that same kind of energy would go into a legal investigation into someone who has been reported as a threat by other folks.”

That night, Jessie Honoré started a GoFundMe campaign for Moore. “She was very insistent on the details being correct, and very insistent on not asking for a single penny more than she would need. We broke it down. What if we were able to raise enough money so you didn’t have to go to work for 30 days? What is six months of trauma therapy? I reached out to a local therapist and asked what she would charge Alyssa for therapy.”

The goal Honoré settled on was $6,300. More than $25,000 rolled in the first day. “That was just Midtowners,” says Honoré. “Then it went viral across the country the next day.” When the GoFundMe was finally closed after a month, more than $42,000 had been raised. A benefit concert at Memphis Made Brewery raised an additional $3,000. “It changed her life,” says Honoré. “That’s an awesome thing that came out of this. People give a damn.”

***

“After the fact, it’s an easy conclusion to state that Jared’s mental health was a factor. I would not draw this conclusion,” says Beck.

Three American women are killed by their intimate partners every day. A 2006 study by the Violence Policy Center estimated 1,000-1,500 murder-suicides happen annually, the vast majority of which involve men killing their intimate partners. A 2015 study by Everytown for Gun Safety found that 57 percent of mass murderers have a history of domestic violence. If Moore had not made the community aware of her plight, and if people like Garner and the staff of Murphy’s had not been ready to respond so quickly, many others could have died.

At the University of Memphis, Gayle Beck runs the Athena Project, a mental health research clinic for victims of IPV. “The emotional aftermath of IPV varies by the individual, and so there is not a one-size-fits-all approach that we can advocate for every woman,” she says. Common psychological scars from IPV include Post-traumatic Stress Disorder (PTSD), depression, and anxiety. “The Athena Project offers cognitive-behavioral treatment for PTSD stemming from IPV. All of the services are free and completely confidential. If a reader wants to learn more, they can phone me at (901) 678-3973.”

“After making my Facebook post, I had so many people privately message me with their own stories. They didn’t want to go public with them. They just wanted to share their stories with someone.” says Moore. “Abuse comes in so many forms. … It’s not always beating. It’s not always this spectacular, but I guarantee that every other person who has been abused feels as crappy as I do about it.”

Categories
News News Blog

Fiery Suicide Galvanizes Midtown Music Community

Everyone knew something was up with Alyssa Moore last Friday, according to Kim Koehler. Koehler was playing at Murphy’s that night, and as they spoke, Moore, who runs sound at the bar, was constantly interrupted with texts. “I think some of the texts were from him,” said Koehler. “He was letting her know something was going to happen.”  Alyssa Moore

By now, most of us have heard or seen the horrific events that took place at Murphy’s that night. Jared McLemore, local audio engineer and musician, committed suicide by self-immolation, attempting to harm and terrorize others as he did so. His troubled psyche was not a secret to most of the community in recent months.

Moore, his estranged girlfriend, had reported him to the Memphis Police Department multiple times, starting when he first threatened to kill her last September. She had a restraining order placed on him. After that, he was institutionalized for a time, only to gain release and make his way back to Memphis. Only days before, he sent Moore an image of himself with a gun to his head, then broke into her home and threatened her again. He was clearly more disturbed than ever. A concerned roommate called the Memphis Police Department well before the incident at Murphy’s, but to no avail. Moore, who also engineers and manages the rechristened Move the Air Studio next door, was at her usual job at the Murphy’s mixing board that night.

The best account of what happened next comes from the GoFundMe site (www.gofundme.com/alyssa-moores-recovery-fund) where Jessie Anäis Honoré initiated a campaign to raise money in support of her friend:

“[McLemore] walked through the crowded bar, making his presence known to all of the patrons. He crossed the street, and when he saw Alyssa had walked outside, he quickly doused his body with more kerosene and lit himself on fire, streaming on Facebook Live, in full view of onlookers concerned for Alyssa’s safety.

Murphy’s patron Paul Garner tried to stop Jared and ended up hospitalized with second degree burns. Jared ran for Alyssa, in his final attempt to take what he was supposedly denied, by trying to catch her on fire too. Jared underestimated Alyssa though, because she didn’t freeze in fear. She held the door to Murphy’s open for everyone running from him inside to safety. When Jared finally reached the door, Alyssa held it closed trying to lock it to keep him from her and anyone else. He pushed his body against the door and the heat from the flames finally became too much for Alyssa to stand. She made a fast decision and screamed at everyone to ‘RUN!’ and then she ran too.”

To some, this highlights how determined, resourceful, and strong a woman must be in the face of terror, even if she has done everything right. Koehler faced a similar situation in Knoxville over a decade ago, yet could not get the local mental health professionals to respond. It too culminated with her ex trying to burn her alive – she was saved by a thunderstorm – and then killing himself. The memories were overwhelming as Koehler joined other patrons’ efforts to extinguish McLemore.

Like Koehler, Moore had been compassionate in the months leading up to the incident. As her family wrote, “We want to make clear that this happened because of a perfect storm of domestic abuse, the stigma around it, and the visceral reality of mental illness. Alyssa tried to help Jared, and she also had to keep herself safe from him.”

Garner feels the incident could have been avoided if the police had responded more quickly. Some point to the under-staffing of the MPD as the problem. Therapeutic care has also received short shrift since Ronald Reagan slashed federal funding of mental health programs in the 1980s. While progress has been made in recognizing domestic violence and its links to mental health, last weekend’s events underscore how far we have to go.

“Many situations like this just fester in darkness,” says Koehler. “There are still men and women out there who are suffering silently and alone and who have done all the right things, and are still having the person come and mess with them. And now were are left to deal with the effects. But this violent act does not need to define us, or defile us. We are beyond what the perpetrator did. ”

Those needing support for domestic violence issues or mental health assistance can contact the Memphis Family Shelter at 901-278-2728.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Alyssa Moore

Today’s Music Video Monday brings you a message from space.

This is the world premiere of “Not Of This Earth”, the solo debut from former Strengths frontwoman Alyssa Moore, who wrote, recorded and produced the chewy chunk of space prog. She was joined by Strengths shredder Will Forrest. Legendary Memphis underground filmmaker John PIckle played drums on the track and directed this mind-pounding video. Call it Close Encounters of the Metal Kind.

Music Video Monday: Alyssa Moore

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