Categories
Film Features Film/TV

Music Video Monday: “Electric Truck” by JD Graffam

The Ford BlueOval City manufacturing complex in Haywood County is the storied car company’s biggest capital investment in recent memory. Its first mission is to turn out the F-150 Lightning as quickly as corporately possible. The electric vehilcle is the hottest ticket on the American road right now, and songwriter JD Graffam is experiencing acute truck envy. “I’m asked quite often if ‘Electric Truck’ is supposed to be fun or serious, so I want to answer that question directly,” he says. “It’s very serious — I’ve always been a pickup man, and as much as I love fast cars, I can’t wait to buy me an electric truck.”

In the tradition of automotive odes like “My Little GTO,” “Electric Truck” is about hitting the road in a hopped-up ride. “One of the most rewarding aspects of songwriting is collaboration,” says Graffam. “Bringing this song to life collaboratively has given me the chance not just to share in the end result, but to learn and grow as an artist. Working with Josh Threlkeld was inspiring. He’s not just a talented musician but a good friend I’ve made through music. And he helped make this song better. When it came time to create a music video for “Electric Truck,” I again leaned on this community and ultimately reconnected with my old friends, Sarah Fleming and Christopher Reyes. They are talented; their vision for the arts in Memphis is what’s inspiring about them. It is always wonderful to work with smart people to bring a vision to life.”

This video has everything from backyard barbecues to a street gang of cute kids in their own electric vehicles. Let’s go!

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

Categories
Film Features Film/TV

Music Video Monday: “Stir Crazy” by Muck Sticky & Boots Electric

Music Video Monday gotta get out!

Everybody’s ready for this pandemic to be over, but nobody is more ready than musicians. Memphis’ most blunted rapper Muck Sticky just wants to hit the road again — and that’s exactly what he’ll be doing with Eagles of Death Metal. The two very different acts are currently planning a joint (see what I did there) tour. To celebrate, the Sticky Muck joined EoDM frontman Jesse Hughes, aka Boots Electric, for “Stir Crazy,” which is all about being sick of your surroundings.

The music video was directed by Christopher Reyes, and is dedicated to all the hardworking live music production staff who have been without jobs since the novel coronavirus cancelled all shows last March. Enjoy!

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

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Muck Sticky

Music Video Monday goes into the Multiverse!

Baron Von Opperbean’s Exploratorium of Magic Science and the Multiverse is an epic interactive art installation that has enthralled pandemic-weary Memphians. You can read more about it in my Memphis Flyer cover story from September. It closed at the end of November, but if you missed it, here’s your chance to get a look inside, courtesy of stoner rap god Muck Sticky.

The Sticky Muck is joined by by Reyes himself as the Baron, taking our colorfully clad hero on a tour of the spectacular worlds he explored. It was produced by Linda Kaye Lowery and Ricky Greenway, with camera work by Nick Dianni and Jack Simon. Muck not only wrote and performed “Living Thing”, but also directed and edited the video. Get ready for a trip. 

Music Video Monday: Muck Sticky

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

Categories
Cover Feature News

Into the Multiverse: How Christopher Reyes Created an Alternate World

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The moto crawler has crashed on a moon in an obscure corner of the multiverse. Its pilot and creator, Baron Von Opperbean, is missing. A towering volcano spews smoke and dribbles lava. Mysterious caves beckon you to enter. Maybe the Baron went this way. But then you remember the warning from Louise, the helpful A.I. who guided you here — “Don’t go near the anomaly.”

It sounds like a scene from a sci-fi blockbuster or a role-playing game. But it’s not. Walk into Off The Walls gallery, a warehouse space near Downtown, and you’re in Baron Von Opperbean’s Exploratorium of Magic, Science, and the Multiverse, a 2,000-square-foot art installation that is the brainchild of multimedia artist Christopher Reyes.

Christopher Reyes

Ahead of His Time

Reyes was born in Northern California. His grandfather helped found a martial arts discipline known as Kajukenbo. “It started in the 1940s in Hawaii, so technically it’s the first mixed martial art in the country, but it’s not well-recognized,” Reyes says.

Growing up, Reyes learned Kajukenbo with his father, Grandmaster Alan Reyes. “I still train almost every morning, just for a bit, to wake up and get the flow going.”

After his parents’ divorce, he moved to Memphis in 1986, where his mother, Vernie Kuglin, was based as a pilot for FedEx. Reyes’ artistic skills got him accepted into Memphis College of Art, on the cusp of the digital age. He discovered a new passion in the college’s tiny computer lab and began to use digital tools in his graphic design work. “I was the only one using the computers,” he says.

He got a job at Ardent Studios exploring the fledgling world of interactive entertainment. “We were working on enhanced CDs and CD ROMs. They weren’t called that yet because no one had a name for them. That’s where I cut my teeth. I had access to computers and video editors. We had one of the first Avids in the city, I’m sure. That’s where I learned how to video edit.”

His nights were spent in Memphis’ electronic music scene. “I don’t know if I’d call myself a musician,” he says, “but I can sequence the hell out of some electronic music.”

It was around this time, in the early 1990s, that he approached Downtown real estate mogul Henry Turley about buying an empty warehouse space at 1 S. Main. At the time, Downtown Memphis was nearly abandoned. An artist with a well-paying tech job was the ideal person to revitalize the space. But Reyes couldn’t get a loan to cover the entire building, so Turley proposed a solution: He would create a condominium association for 1 S. Main and sell Reyes the cavernous upper story of the building, while retaining control of the ground floor, which was rented to a small restaurant.

Accessible only through a rickety metal staircase in an alley, the artist’s loft became Reyes’ home. For years, Reyes had to go downstairs to use the bathroom. But as the ’90s wore on, he paid off the first mortgage and took out a second one to finance renovations. Eventually, he built a second floor in the loft, expanding from 4,000 to 6,000 square feet, with two bathrooms and plenty of space for offices and the kind of big art projects he favored.

In 1999, with the internet spreading rapidly, Reyes realized he was surrounded by great music that no one outside Memphis was privy to. “The idea was to stream music because Memphis musicians were so isolated,” he says. “With no record labels here, no distribution at that time, no infrastructure, no industry at all, they just had no outlets.” By 2001, he had taught himself enough web design to create a website to host his recordings. It was called Live From Memphis, and it quickly grew in scope and ambition. Before Facebook, or even Myspace, Reyes created the first online directory of Memphis musicians. “It was weird because I thought I knew a lot about Memphis music. Then when I did that project, I realized, I didn’t know Jack about it. There were all these silos of different types of music all over the city.”

Soon, other types of artists had their own listings on Live From Memphis — LFM for short. “I was trying to provide resources to them, and I figured, here’s a graphic designer, here’s a filmmaker. I had two directories going and I was like, ‘This is stupid. I need to just put these directories together, and they’ll find each other.'”

The LFM creatives directory eventually had more than 5,000 entries. It became the premiere tool for creative networking in the Bluff City.

Reyes was also tied into the Memphis film scene, creating animation and music videos. LFM sponsored the first music video showcases at Indie Memphis and eventually spun the program off as a music video festival. LFM fielded camera crews to document Gonerfest for a decade, producing two DVD concert films. (Note: I worked with LFM as a co-creator from 2009-2013.)

Reyes experimented with streaming video, but it wasn’t until YouTube came on the scene in 2005 that it became practical to put LFM’s video creations on the web. “Flipside” was a series of short documentaries on Memphis artists that accompanied Craig Brewer’s pioneering webseries $5 Cover. “Get Down” was produced with the Downtown Memphis Commission to promote the newly flourishing neighborhoods around 1 S. Main.

Live From Memphis was ahead of its time, but the world caught up. Reyes never sold advertising, and eventually grants and donations dried up. Facebook’s global spread made the directory redundant. LFM shut down in January 2013.

“I see people over and over trying to do a music directory or a music thing that’s gonna change Memphis music. It always ends up petering out because what they’re thinking about is just music,” Reyes says. “You need an ecosystem.”

Fish and Foul

“For a couple of years, I was just kind of floundering,” Reyes recalls. “It was really hard to get out and shake that off because Live From Memphis was my identity. It was how I saw myself, and when I didn’t have that anymore, I was like, who the hell am I? What am I doing?”

Reyes became fascinated with projection mapping, a new technology that allowed precise control of projected digital images that can make surfaces appear to come alive. “VR [virtual reality] is cool, but when you can bring the weird stuff into your world, that’s cooler. You’re actually in something, and it’s happening around you.”

Meanwhile, Reyes and his longtime girlfriend and business partner, Sarah Fleming, had two children together. In 2016, he and Fleming and filmmaker Laura Jean Hocking collaborated on a breakthrough project called Fish. “They wanted to do a film, Laura Jean and Sarah, and I said, ‘Well, why don’t we do it like you’re inside the film?'”

Fish combined video, some of which was shot at the Memphis Zoo aquarium, with murals and projection mapping to create an immersive underwater world. It was the first big exhibition at Crosstown Arts. Mounted before the opening of the Crosstown Concourse, it legitimized the fledgling arts organization in the minds of Memphis. “Fish is the most magical thing I have seen in Memphis probably ever,” wrote Commercial Appeal art critic Fredric Koeppel.

But the triumph would be short-lived. In the early 2000s, Turley sold his interest in 1 S. Main to the owners of the Madison Hotel. In 2016, Aparium Hotel Group bought the Madison, and a share of 1 S. Main with it. The building had been under a PILOT (payment in lieu of taxes) program since before Reyes bought his condo. When the PILOT expired in 2016, the new owners exploited a loophole in the program:

Technically, any building under a PILOT is owned by the Downtown Memphis Commission; the “beneficial owners” only lease it, with an option to buy at the end of the term. When the PILOT expired on 1 S. Main, Aparium claimed the building’s title and sued Reyes to take control of his condo. A bruising court battle ensued. Reyes and Fleming appealed for help to the Downtown Memphis Commission, whom they had worked with for years branding Downtown, but were rebuffed. The artistic community Live From Memphis had nurtured rallied around Reyes and Fleming, organizing street protests outside city hall. Broke, and fearing for the future of his children, Reyes was eventually pressured to settle with Aparium. Stung by the negative publicity, Aparium changed the name of the Madison Hotel to the un-Googleable Hu. The terms of the settlement are secret. When asked about 1 S. Main, Reyes declined to comment.

Making A World

Reyes was adrift. To make matters worse, his father passed away in 2019. “I was going into my own world.” Reyes says. “I needed to do something. I was talking about this idea I had about Baron Von Opperbean a lot. Then my partner [Fleming] and I split up. It was really difficult because it was breaking up the family. I immersed myself in my project. Fortunately, Yvonne Bobo had just bought this building from the state and was fixing it up. She was really excited about it and wanted me to come look at it and said, ‘Hey, let’s do this project together.'”

Baron Von Opperbean’s Exploratorium of Magic, Science, and the Multiverse is the culmination of all of Reyes’ skills. It combines sculpture, murals, projection mapping, sound design, and music to create an immersive experience. “I’m making a world. I just need to make all these elements that make my world exist.”

Reyes’ creation is an example of what he calls experiential art. While researching the project, he visited the City Museum in St. Louis and Meow Wolf in Santa Fe. “When I saw my kids running around experiencing that joy at City Museum, I was like, that’s it. Whatever I make has to give people joy. It has to give them the sense that they’ve walked away from their problems, their troubles, and the reality of the world, and give them a new reality.”

Reyes started work on the project in 2019, with the goal of opening in March 2020. “I had no money and no materials when I started. All I had was this space that Off The Walls had given me. So I just put it out there to the community. The money came in slow, but the materials came in pretty fast.”

The maze-like installation is made almost entirely of creatively reused materials — including a bundle of old Memphis Flyers transformed into a papier-mâché landscape. The University of Memphis supplied projectors for the ever-changing videos that combine with murals and sculpture to create an immersive environment. Donated sound systems provide each area with a unique soundscape. School children helped create alien flowers out of plastic bottles.

Reyes worked feverishly to finish the massive project, set to open on March 28, 2020. “I was doing 24-hour sessions to get it done, and then COVID hit. I was just like, ah, man, it’s over. I just can’t do it anymore. Then I was like, well, actually I could make the videos better. I could make the sound better.” Reyes finished the project largely by himself, with final help from filmmaker John Pickle. The results are stunning — mysterious and immersive.

A Portal

The premise: Baron Von Opperbean is a scientist/magician who travels space and time collecting technology and artifacts that catch his fancy. But the Baron has gone missing, and it’s up to visitors to solve the mystery of his disappearance by following his trail through a series of portals to different worlds. Or, you can just enjoy the ride, Reyes says. “We tried to pack as much as I could into this space. It’s multilayered to make it feel like you don’t know which direction you are going. I don’t want to explain it to people. I just want them to experience it.”

Before the pandemic, Reyes had wanted the Multiverse to be a communal experience, but for now, it’s open on an appointment-only basis. Groups of up to 16 can book trips. “They have to be people you’re comfortable being around. I didn’t want strangers bumping into each other because in a portal, you’d be in a tight space. I’m losing money with only two people in there, but I don’t care.”

Reyes says the reactions have been “overwhelming.” At first, kids are reluctant to explore, but once they get comfortable, they start to ramble all over the maze-like space. “It was really fun. Lots of crawling,” says Mike Pleasants, who recently visited with his wife, Virginia, and daughter, Vera. “There were so many little details. It was really cool how many parts are all coherently pulled together.”

Reyes says this version is a prototype. He hopes to eventually create a permanent attraction on the scale of City Museum, which attracts a million visitors per year. “I’d like to put a giant multiverse in the Coliseum,” he says. “Hopefully there’ll be people who recognize the potential that exists with immersive spaces. People want it, and with COVID even more so because they’ve been cooped up, and this makes them stop thinking about all the bad stuff in their lives.”

Categories
News News Blog

1 S. Main Eviction Case Evokes Protest, New Legal Controversy

Laura Jean Hocking

About 100 people rallied outside City Hall on Monday, April 9th, to protest the pending eviction of artists and filmmakers Christopher Reyes and Sarah Fleming from their home at 1 S. Main.

“This rally was organized because we could not stand by silently as our friends and fellow artists were so ruthlessly mistreated by the new owners of the Madison, Aparium Hotel Group,” said Joann Self Selvidge of Memphis Women in Film, who organized the rally.

Self Selvidge said Fleming was a founding member of Memphis Women in Film and “vital to the Memphis film community. … Her list of awards and accolades is too long to cover here. But unless you know her personally, you might not realize the full extent of who she is outside of her career.

“So, I want you all to stop and think for just a moment what they are going through right now, as a family. As a mom, Sarah is struggling to explain to her 3-year-old daughter why mommy and daddy are packing up all of their belongings into big boxes in the middle of their living room floor.

In this past week since the court decision was made, her 9-month-old daughter, whom she’s still nursing, got baby measles, a virus that gave her a bumpy red rash all over her body. The entire family is suffering from the stress of an eminent forcible eviction from their home, their home that they have owned for 25 years.”

Chris McCoy

Musicians Will Sexton and Amy LaVere

Citing the examples of Austin and Nashville, musician John Paul Keith said “More and more, you’re going to see groups like Aparium coming into Memphis to try to make money off of the culture we create every day.

“If you look at Aparium’s website, it’s got a bunch of stuff about how they like to partner with local creatives. Well, we see what they really do to local creatives, and their actions speak louder than words.

“We need to speak with our actions as artists and be unified. We need to make sure we don’t give them the benefit of our labor. We need to make sure they realize what they have done, and how seriously we take it.

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“And I’ll tell you who else needs to understand that — City Hall and the county commission, the mayor’s office, and the Downtown Memphis Commission (DMC), who gave these people a $100,000 grant.

“Not only did Aparium get a $100,000 grant to do what they did to Christopher and Sarah, a Shelby County judge awarded them $102,000 in damages, adding incredible insult to injury.

“As far as I’m concerned, this is an absolute outrage and a crime. Like Woody Guthrie says, some people rob you with a fountain pen. That’s what happened to those guys — they were robbed.”

Reyes and his mother, Vernice Kuglin, who bought the property from Henry Turley in 1993, have filed an appeal of the March 27th to vacate their home and pay Aparium Hotel Group $102,000 in damages. Kuglin, Reyes, and Fleming declined to be interviewed for this article, citing the appeal and ongoing negotiations.

The ruling hinged on the interpretation of documents related to the Payment In Lieu Of Taxes (PILOT) program, which is administered by the DMC.

Article II, Section 28 of the Tennessee Constitution states that “all property, real, personal, or mixed, shall be subject to taxation,” except in the cases of property “held by the state, by counties, cities, or towns and used exclusively for public or corporation purposes.”

So, in order for governments to give tax breaks to developers looking to rebuild their city centers, the owners of the properties must surrender their titles to the DMC’s finance arm, which then leases it back to them.

Instead of paying taxes, the property owners technically pay rent to the Center City Finance Corporation (CCFC), a tax exempt entity. These PILOT leases contain a clause that gives the owners of the properties, who are technically called beneficial owners, an option to repurchase the properties from the DMC for a nominal amount. Then, the property is re-assessed and taxed at the normal rate.

“During the PILOT term, our CCRFC board is the technical owner of the property,” said Jennifer Oswalt, DMC president. “There is a $1,000 termination fee at the end of the PILOT period. This fee covers costs associated with the legal transfer of the property title. Our attorneys and the PILOT holder, or his/her attorney, monitor and execute this transaction.”

Paul Morris served on the board of directors of the DMC from 2003-2010, and then as president of the organization from 2010-2015.

“Chris Reyes and Sarah Fleming were very helpful to the Downtown Memphis Commission during my tenure there,” Morris said. “They were consultants to us as well as producers of many of the communication and marketing tools that we used to attract Downtown businesses. I got to know them as Downtown neighbors and folks that make the neighborhood better.”

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Morris is a lawyer who has reviewed all of the documents in 1 S. Main case, but he emphasizes that he does not speak on behalf of the DMC.

The PILOT program’s purpose, he says, “is to incentivize development of property and make it more valuable. The idea is, in certain cases, a property owner doing that would drive up their taxes so much that they would lose money on the deal.

“So, they wouldn’t do it in the first place. To incentivize them to improve their property, we don’t let them pay less in taxes, but we freeze their tax assessment at the pre-development level for a number of years.”

Current DMC head Oswalt says, “We have 107 active PILOTs, with an average remaining term of seven years. We cannot know the full value of the properties until they return to the tax rolls but these projects garnered over $1.3 billion in investment so far.”

Developer Henry Turley said the PILOT program has been vital to the redevelopment of downtown Memphis.

“We couldn’t have done virtually any of our products, save for the opportunities to do them with PILOTs,” Turley said. “When I added up 31 PILOT projects that I had done, including Mud Island, South Bluffs, the Cotton Exchange, Shrine Building, Paperworks … the total city and county taxes that were being paid pre-redevelopment was $190,000. The year I measured it, the taxes were over $7 million. It’s the best tool the city and county have to cause the redevelopment of the city.”

Turley first acquired the 1 S. Main property in 1986. In 1993, Reyes, then a freshly minted Memphis College of Art (MCA) graduate, and Kuglin, a pilot for FedEx, approached Turley about buying the building. But they could not secure enough financing, so Turley offered to sell them the second floor for $55,000.

“We created a condominium in the building for the purpose of selling — of conveying is maybe a more proper word,” said Turley. “I remember the lawyer [S. Joshua Kahane] shouted me down for using the term ‘sell’ — for conveying our beneficial interest in unit two of the condominium to Vernice and Chris, because we wanted to see it used as an art space and as a living space.

“When we conveyed it to them, it was totally unfinished, just exterior walls, floor, roof, and windows. We wanted to see it animated and used for the purpose it is being used for. We created a condominium for that purpose and sold our interest to them for their use and benefit.”

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After 30 years of redevelopment, such arrangements are now common Downtown.

“The Cotton Exchange Building, where I’m sitting right now, is a two-unit condominium, exactly like 1. S. Main,” said Turley. “They’re all like that.”

Under the terms of the PILOT lease, the sale — or, conveyance of the beneficial interest — was handled with a sub-lease which gave Reyes and Kuglin the option to buy the property for $1 when the PILOT lease expired, just like any PILOT beneficial owner.

At the time of the 1993 sale (or conveyance), the PILOT lease was set to expire in December 2001.

But in the late 1990s, then-DMC president Ed Armentrout spearheaded a 15-year extension of PILOT leases, with the funds earmarked for the construction of Downtown public amenities.

In 2001, when 1 S. Main’s PILOT lease was set to expire, it was instead extended. Critically, the original sublease with Kuglin and Reyes was not changed.

In 2007, Turley sold — or, conveyed his remaining beneficial interest in — the first floor of the building to the owners of the Madison Hotel, which is next door to 1 S. Main.

“We made it utterly clear to Muhommoud [Hakimian, Madison Hotel owner] that we were conveying to him our interest in the property, less that which we had conveyed to Vernie [Kuglin],” Turley said. “And we made it utterly clear to him in the public recording and discussions that Vernie had a right to buy her part of the condominium for $1 at the end of the PILOT lease.”

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Morris says that, before the current lawsuit, the question of ownership of the 1 S. Main condo was clear.

“There was no doubt in the minds of Chris or his mom [Kuglin] or Sarah or the person who sold it to them, who was Henry Turley,” Morris said. “And there was no doubt in the minds of the current owners of the Madison Hotel who, on May 3, 2016 wrote a letter to the Center City Finance Corporation in which they acknowledged that the property they were acquiring did not include the condo that Chris and Sarah occupy.”

The Aparium Hotel Group purchased — or, were conveyed beneficial interest in — the Madison Hotel and the 1 S. Main building in June 2016. In December, 2016, the PILOT extension expired, triggering the new owner’s option to get the title from the Center City Finance Corporation.1 S. Main LLC, the company Aparium Hotel Group created to administer the building, exercised its option on June 14, 2017.

Morris says that in his experience, “It’s very typical in these PILOT leases for the beneficial owner — who is technically the lessee under the PILOT lease — once the PILOT term has expired, to take many months, if not over a year to exercise their option to gain title.

“It was routine for the title holder — in those cases being the Center City Finance Corporation — to execute quit-claim deeds in favor of the beneficial owner long after the PILOT term ended.”

Oswalt said, “In this specific case, there was a sublease which included a purchase option at the end of the PILOT. It is common for PILOT holders to enter into subleases during the PILOT term.

“Such subleases are legally ‘attached’ to the PILOT lease; however the, Center City Finance Corporation/DMC are not involved in such subleases in any way. Practically and legally, these agreements are between the PILOT holder and the sublease tenants.”

On July 25, 2017, Aparium Group filed a lawsuit in General Sessions court claiming that Kuglin and Reyes were in violation of their sublease agreement and seeking to evict them.

“It struck me as unfortunately being in the wrong court,” says Turley. “It seems to be a question of title. It’s an extraordinary case to be in General Sessions court, which is typically a landlord-tenant court.”

Morris says, “What’s interesting to me about that is, this major corporation with accountants and lawyers, took six months after their lease ended to exercise their option to acquire title.

“After filing for the forcible eviction, without giving Chris any notice on July 25, 2017, on Dec. 19, 2017, they filed an application for an incentive [grant] with the Center City Development Corporation in which they represented that there were no civil proceedings pending by them. That is false. They submitted an application that contained a false statement.”

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The 1 S. Main LLC was awarded a $100,000 grant to improve the facade of the building.

“We understand the legal action was taken after the application was received by the DMC,” says Oswalt. “The grant was approved but has not been paid, as it is a reimbursable grant paid upon proof of completion in accordance with all requirements.

“The DMC’ s exterior improvement grant program is designed to incentivize property owners to improve their building facades. The Madison Hotel owners applied for and met all of the eligibility requirements for this program, which must be administered fairly and without bias by the DMC. The DMC supports positive facade improvements and we welcome investment into Downtown Memphis.”

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In court on March 27, 2018, Aparium Hotel Group’s lawyers argued that the facade improvements covered by the grant applied only to the downstairs of the property, and not to Reyes’ condo.

When the eviction ruling was handed down on March 27th, the news sent shock waves through not only the film and arts community, but also the legal community and Downtown property holders.

[pullquote-7]

“What a dreadful miscarriage of equitable justice,” says Turley.

“This is the first time I’ve seen a beneficial owner under a lease like this be divested of their title,” says Morris. “I have never seen a situation where someone who held the beneficial ownership of a property Downtown, via PILOT lease or PILOT sublease, which this is, where it is questioned whether they are ultimately the ones to regain title.

“As far as I know, no one has ever questioned that — and I don’t want to name names of other major property owners downtown who don’t own title to their properties, but everyone assumes … not just assumes, knows that they’re the beneficial owners.”

[pullquote-8]

Part of Aparium Group’s winning argument was that the sublease Kuglin and Reyes had under the PILOT lease expired in 2001, when the PILOT was renewed, and that they failed at that time to exercise their option to purchase, and thus their option had expired.

But Morris says there is no time limit to exercise the option specified in the sublease or in any other agreements.

“Looking just at the terms of the sublease in isolation, one could conclude that Kuglin had an option to gain title for a dollar as of Dec. 30, 2001,” Morris said. “But as a matter of fact, it would have been impossible for her to exercise her option at that time, because the party with whom she had executed the sublease didn’t have title.

“Title was still with the Center City Revenue Finance Corp., and pursuant to the PILOT lease extension, would remain with the Center City Finance Corp. until Dec. 15, 2016 at least.

“As we saw in this case, it stayed with the Center City Finance Corp. until June 14, 2017. What that means is, the first moment that Kuglin or Chris Reyes could have possibly gained title under the sublease, pursuant to their $1 option, was June 14, 2017.

“That was a publicly filed document, but no one gave them notice that 1 S. Main LLC had acquired the title on June 14, 2017. About a month later, they got sued. They never got a real chance to exercise their option.”

[pullquote-9]

Could this ruling set a precedent with ominous implications for other downtown property owners?

“I don’t know,” Morris said. “I think given the opportunity to present all of the facts in evidence, a judge on appeal will likely find the other way. … The implications beyond private agreements are limited.

“It’s important to note, because some people think that this was a PILOT lease, or that the DMC could have stepped in legally and done something, and that’s just not the case.

I think this is a purely private legal dispute, but it does have public implications because of the fact that the nature of the PILOT program, which is what’s involved with this as a master lease, does make the situation more complicated, and led to the confusion here.”

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Speaking at the protest in front of Memphis City Hall on April 9, Pat Mitchell of the Beale Street Caravan radio show said, “This is a watershed moment. We have a crucial choice in front of us: Do we stand by the side of artists and creatives, or do we stand with those who want to harm artists and creatives?

“This is a simple choice. If creatives are a key part of our strategy to attract businesses and investment to Memphis, we need to value creatives and who they are first. We need to keep them in their homes, keep them contributing to their city.”

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday Special Edition: Live From Memphis

Today we bring you a very special episode of Music Video Monday featuring the work of Christopher Reyes and Live From Memphis.

For eleven years, from 2002-2013, Live From Memphis shone a light on the endless creativity of Memphis’ music, art, and film communities. At once a website, a media outlet, and a community organization, LFM was run out of Christopher Reyes’ loft at 1 S. Main, which became a meeting place and hub for Bluff City creatives. Reyes was a pioneer of web video production, and Live From Memphis’ YouTube channel features thousands of videos spanning a decade of Memphis art.

One of Reyes’ highest visibility projects was recording Gonerfest every year. His videos, often shot under less than ideal circumstances, helped raise the music festival’s profile into national prominence. Here’s a clip of Memphis garage lords The Oblivians reuniting at Gonerfest 9.

Music Video Monday Special Edition: Live From Memphis (3)

One of LFM’s most popular features were the pop up art festivals the organization ran in Downtown and Midtown. The Ink Off pitted two artists against each other to create different halves of one canvas.

Music Video Monday Special Edition: Live From Memphis (2)

Another long running LFM feature was 60 Seconds, where Memphians were given one minute on video to do whatever they would like. This web video series was eventually copied first by music review site Pitchfork, then by NPR’s Tiny Desk Concerts. Here’s Memphis reggae stalwarts Chinese Connection Dub Embassy laying down a fat, one-minute groove.

Music Video Monday Special Edition: Live From Memphis (5)

Reyes is also a bicycle enthusiast who builds his own bikes. One of his creations was the Mobile Music Machine, which he used to pedal musicians around town for moving concerts. Here’s Memphis’ own Valerie June on the MMM:

Music Video Monday Special Edition: Live From Memphis (4)

And here’s Paul Taylor’s experimental electronic act Interrobang cruising around a pre-revitalization Crosstown Sears Building.

Music Video Monday Special Edition: Live From Memphis

And finally, and most relevant to Music Video Monday, Live From Memphis produced the Music Video Showcase, a music video competition that was first associated with Indie Memphis, then became an independent festival that attracted video creators from all over the world. Here is a music video for Lord T. and Eloise directed by Reyes and featuring Memphian photographer Tommy Kha.

Music Video Monday Special Edition: Live From Memphis (6)

Today, Reyes, his partner Sarah Fleming, and their two small children are threatened with eviction from 1 S. Main by Aparium Hotel Group, a Chicago hotel company who recently bought the Madison Hotel. There will be a rally today in Civic Center Plaza protesting the eviction and the treatment of the artists who have been working for years to improve Memphis’ image.

If you would like to see your music video featured on Music Video Monday, thank Christopher Reyes for his tireless work, and send an email to cmccoy@memphisflyer.com

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News News Blog

DMC President Hopes for ‘Solution’ on Artist Eviction

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Downtown Memphis Commission (DMC) president Jennifer Oswalt said in a Tuesday statement that she hopes to “find a solution that works for all” on the recent eviction of Downtown artists from their home of 25 years.

While Chris Reyes and Sarah Fleming have begun packing up their belongings from their longtime home at 1 S. Main, Tuesday’s statement from Oswalt shows further relief on the situation could be ahead.

Here’s Oswalt’s full statement posted to the DMC Facebook page on Tuesday: DMC

Oswalt

“Some of our online community may be aware of the conflict regarding Downtown residents Chris Reyes and Sarah Fleming.

Christopher Reyes and Sarah Fleming are an integral part of what makes Downtown Memphis what it is: interesting, colorful, engaging. Their creativity and dedication to this city and Downtown Memphis deserve to be heralded.

The Downtown Memphis Commission has a long history of collaborating with Chris and Sarah on multiple projects and supporting their work in Downtown. We believe their contributions have made Downtown better.

The investors who purchased the Madison Hotel were no doubt attracted to the neighborhood in part because of its authentic Memphis vibe, a vibe that Chris and Sarah helped create.

We believe in a Downtown Memphis that includes Chris and Sarah. And we have never stopped looking for ways to help make that happen. We are a community of creatives, artists, musicians, and makers. This creative heritage is what gives Memphis its very soul and authenticity. And we work every day to preserve it.
[pullquote-1] We have expressed our concerns to the stakeholders of 1 S. Main LLC and hope that our appeal and those from other community leaders will help them to want to find a solution that works for all.

The Downtown Memphis Commission was created to develop Downtown for the betterment of the entire region and is tasked with increasing population and property values in our core city.

It isn’t always an easy or straight-forward job, but we work every day to preserve what is good and great in our city and to nurture what can be even better.

—Jennifer Oswalt, Downtown Memphis Commission”

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News News Blog

Court Orders Eviction of Memphis Family

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On Tuesday, General Session Court ordered Christopher Reyes, Sarah Fleming, and their two children to vacate the property at 1 S. Main that the family has has occupied for more than 25 years.

In addition, the judge ordered Vernice Kuglin, Reyes’ mother, to pay $102,397 to 1 S. Main LLC, a company created by Aparium Hotel Group, the owners of the Madison Hotel, to administer the property.

The case stems from a 1992 agreement between Memphis real estate developer Henry Turley and Kuglin, then a pilot for FedEx. Turley had owned the property, which, like much of Downtown during that time period, was vacant and in disrepair.

Long before the contemporary downtown renaissance, Kuglin and her son, Reyes, expressed interest in buying the entire building on the corner of Main and Madison and renovating it.

But financing for the full amount was not available, so Turley and Kuglin struck a deal that would create a condominium arrangement for the then-vacant second floor.

“We liked the idea of artist loft living”, Turley said on the witness stand as the trial commenced last Wednesday.

Kuglin and Reyes took out a $55,000 mortgage against the property and paid Turley. That mortgage has since been paid off.

But at the time, the property was under the auspices of a Payment In Lieu Of Taxes (PILOT) program, so the deed to the property was ultimately held by the Center City Finance Corporation, a board affiliate of the Center City Commission, (now called the Downtown Memphis Commission) with Turley listed as lessee and Kuglin’s interests covered under a sub-lease.

Under the agreement struck at that time, Kuglin and Reyes would have the option to buy the property outright for $1 once the PILOT program expired in December 2001.

“We went through all sorts of machinations to inform the city of our intentions,” Turley testified.

Reyes moved in and performed extensive renovations to the property, building an entire second floor and expanding the available square footage from 4,000 to more than 6,400 square feet.

He both lived and ran his businesses out of the condominium, which included computer consulting, filmmaking, digital art and sculpture, karate lessons, and, for eleven years, Live From Memphis, an arts organization that ran a website devoted to city’s “music, art, film, and culture”.

Before the PILOT expired in 2001, the term was extended for 15 years. In 2006, Turley sold the building to 79 Madison LLC, owners of the then-new Madison Hotel.

Reyes and Kuglin claimed that, in their initial meeting with Madison hotel owner Mohammad Hakim, he expressed interest in buying their share in the building. In the meantime, Hakim stopped billing them for the annual property tax assessment and handed maintenance of the 1 S. Main condo over to Reyes.

Meanwhile, Reyes and his long term partner Sarah Fleming had two children and continued to live and operate their businesses out of 1 S. Main. The property is currently assessed at $250,000, but based on the going rates of improved Downtown properties it could be worth upwards of $800,000.

In June 2016, the Madison Hotel was sold to new owners, a Chicago conglomerate called Aparium Hotel Group and G4, a New York equity firm. Kuglin was informed that the 1 S. Main property, along with the Madison Hotel, had been sold to while still under the PILOT agreement.

When the PILOT expired on December 15, the property was transferred from the Memphis Center City Finance Corp. to 1 S. Main LLC., which the new owners had formed to administer the building.

“We thought the PILOT expired at the end of the month, but actually it expired on the 15th,” Fleming said. “No one informed us when the PILOT expired. We got served a (Forcible Entry and Detainer) eviction notice on December 29.”

The company claimed that Kuglin and Reyes were in breach of their lease and sued to evict the family in General Sessions Court Tuesday.

The company also demanded operating costs, monetary defaults, building improvements, and lawyer fees totalling $102,397. Kuglin and Reyes countersued for breach of contract and emotional distress.

Kuglin and Reyes were represented by Newton Anderson, while 1 S. Main LLC was represented by S. Joshua Kahane, of Memphis law firm Glankler Brown. As the trial began on Wednesday, Judge Lonnie Thompson commented on the complexity of the case, saying “We could be litigating this until I’m off the bench.”

But Kahane seemed determined to simplify the proceedings by objecting to virtually every bit of evidence entered by Anderson, as well as every question asked by Anderson of any witness.

Kahane’s behavior drew occasional gasps and giggles from the observers in the courtroom. Kahane was successful at convincing the judge to rule inadmissable many pieces of evidence introduced by the defense and many statements by their witnesses.

Company attorney Michael Kitchen testified that, since 1 S. Main LLC had bought the building, and the only right Kuglin and Reyes had to occupy the building was a sub-lease with the previous owner, they were within their rights to evict Reyes and his family and take full possession of the entire building.

Tensions between the attorneys rose as the trial entered its second day on Tuesday.

When Anderson attempted to call Kitchen back to the stand as a hostile witness, it prompted a lengthy and contentious exchange between the attorneys.

“They are trying to steal this property, your honor,” Anderson said, “The actions of this Chicago company are outrageous.”

Eventually, Judge Thompson allowed Anderson to call Kitchen back to the stand as a hostile witness.

“I want everyone to feel like they’ve gotten a fair shake,” Thompson said.

Anderson used the opportunity to introduce an application for a $100,000 Exterior Improvement Grant 1 S. Main LLC had submitted to the Center City Commission, in which they had claimed that there was no pending litigation that would affect the property, despite the fact that 1 S. Main LLC had already sued Kuglin and Reyes at the time.

Kahane continued to object repeatedly to defense stataments, until Anderson reached a breaking point, citing what he called Kahane’s “harassment objections.” He snapped at Kahane during the cross examination of Christopher Reyes.

The judge called both attorneys into his chamber. When the trial resumed, Kahane was marginally more respectful.

Kahane eventually said that Kuglin had the right to buy the property for $1, but that since she had not exercised that option when the PILOT expired, they were now under the jurisdiction of laws governing the landlord-tenant relationship.

Anderson countered that the documents conferring the option did not specify an expiration date, and thus Kuglin and Reyes could exercise their purchase option at any time after the expiration of the PILOT.

The final witness was Kuglin, who testified over Kahane’s objections that she and Reyes had “made a commitment to Mr. Turley to create something that the city could be proud of.”

When asked how she felt when she was sued, she said “I felt betrayed.”

After both sides questioned Kuglin, the judge directly asked her questions about the events of the last 25 years.

During his closing arguments, Kahane said “I wish to apologize publicly and on the record to Mr. Anderson,” for his behavior in court.

With his ruling, Judge Thompson first dismissed the countersuit and then found for 1 S. Main LLC on every claim, including the $102,397 in damages they sought. Included in those damages are more than $50,000 in funds marked for future improvements to the building.

Fleming said after the trial, “I want to make it clear that not only have they stolen our home, but they have included in the damages money to make it better in the future.”

Kitchen and his legal team left the courtroom pursued by reporters, but declined to answer questions. “We appreciate your interest in this case,” Kahane said.

Reyes left the courtroom in tears, and was advised by his counsel to not answer questions.

“We’re obviously very disappointed in the outcome, and are assessing our options at this point,” said Anderson.

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Film/TV Film/TV/Etc. Blog

Indie Memphis’ Greatest Hits 3: Cannibals, Pies, and Love In Action

The polls are closed, and our list of Indie Memphis classics is coming at you. Here’s part 1 and part 2 if you need to catch up.

Bunnyland (2008)

Bret Hannover was doing investigative documentary thrillers long before Gone Girl and the “Serial” podcast made them fashionable. Bunnyland foreshadowed many of the now-familiar tricks of the genre with a slightly less serious subject: An East Tennessee man with a pocket full of grudges and a loose relationship with the truth.

“The film is such an interesting portrait of a complex man who MAY HAVE murdered hundreds of bunny rabbits at the golf course he was fired from days earlier. A man who MAY HAVE caused a fire that left a tenant dead on his teepee-graced land. A man who claimed to hold the largest pre-historic rock collection in the world. A man who claimed to be “the last Indian on the trail of tears.” In classic Brett Hanover fashion, the film is composed of strange angles and is filled with pragmatic figures who readily spout elusive prevarications that Brett just allows to talk, and talk.” -Morgan Jon Fox

“And He Just Comes Around And Dances With You?” (2008)

Towards the end of the 00s, a new subgenre of indie film emerged when a group of Chicago filmmakers made a big splash at South by Southwest. It was (unfortunately) called “mumblecore”, for the quiet, thoughtful, sometimes improvised dialog in the films. But Memphis filmmakers had been doing the same thing since the turn of the century. Kentucker Audley emerged from the Memphis scene in 2008 with a pair of short films: “Bright Sunny South” and “And He Just Comes Around and Dances With You?” The latter is a slow burn story of fiercely controlled emotion. The audience gets half of a phone conversation between a rootless young man and his girlfriend, who has met a new guy while on vacation. It’s a front row seat to the dissolution of a relationship, and you can see it at this link.

“This was an Andrew Nenninger film, before he became Kentucker Audley. Going thru the years of programs I realized how many of his early films have been big influences on me. I think about this one a lot.” -Laura Jean Hocking

“Bohater Pies” (2009)

Corduroy Wednesday, a film collective consisting of Edward Valibus, Ben Rednour, and Erik Morrison, made their Indie Memphis debut in 2006 with Grim Sweeper, a comedy about guys who clean up murder scenes for a living. “Bohater Pies” is a fan favorite of the raft of comedy shorts they produced in the 00s on the buildup to their magnum opus The Conversion. This five minutes of cinematic chaos takes no prisoners as it takes you back to an inscrutable Cold War Eastern European setting. Look for not only the usual Wednesdays, but also cameos by experimental auteur Ben Siler and comedian Jessica “Juice” Morgan. YOU MUST OBEY.

“I’m thinking there are a lot of people who saw this and thought, “WTF are these guys (Corduroy Wednesday) smoking?”; I saw it and thought, “Oh cool! WTF are these guys smoking?” -Laura Jean Hocking

Bohater Pies from Corduroy Wednesday on Vimeo.

Indie Memphis’ Greatest Hits 3: Cannibals, Pies, and Love In Action (2)

Open Five (2010) and Open Five Two (2012)

Kentucker Audley’s second and third features took the mumblecore genre on an extended road trip to and from Memphis. It’s an unfailingly intimate peek into the desperate but free the lives of young millennials trying to make sense out of the world. Both films won Best Hometowner Feature at Indie Memphis and kickstarted Audley’s career as an actor and director.

“Even though we often butted heads back in the day, Kentucker Audley and I also always bonded over one thing…many people (ok, maybe only about 5?) loved to accuse us both of somehow rigging Indie Memphis. Our films both sucked, we both didn’t deserve awards, and jurors gave us accolades because it would benefit them! Ok. I’ll never forget the first time I saw Team Picture. I was both in awe, and sorta jealous, and I sorta hated it. I was in awe because I knew I was witnessing something cool, I was jealous because I knew now I would have someone else who would also be able to rig the juries!!!! But mostly, I just liked knowing another prolific filmmaker who I knew was about to take off and connect with a world outside of Memphis, as he is currently doing. Love that guy.” -Morgan Jon Fox

It was just nice to see Memphis in a mumblecore film. -Anonymous

“There was a moment when I was watching [Open Five Two], the scene in the van at night, that I thought, ‘Damn, he looks like a movie star.'” -Laura Jean Hocking

Indie Memphis’ Greatest Hits 3: Cannibals, Pies, and Love In Action (3)

“Cannibal Records” (2010)

John Pickle started making short comedy films in the 1990s, when he became a legend for his out of control cable access show Pickle TV. Former Indie Memphis executive director Les Edwards once described Indie Memphis’s 1999 lineup as “mostly John Pickle movies.” He starred in the 2006 feature The Importance of Being Russell as the titular redneck character he created for his cable access show who travels back in time. “Cannibal Records” was the short film he created for Indie Memphis 2010, which he not only wrote and directed, but also wrote and performed all of the music. Think Little Shop Of Horrors meets Reanimator, and you get a sense of where this genius comedy short is coming from. Pickle is still active as a musician, animator, and music video director. This year, he breaks a long Indie Memphis hiatus with “Return of the Flesh Eating Film Reels”.

Indie Memphis’ Greatest Hits 3: Cannibals, Pies, and Love In Action

This Is What Love In Action Looks Like (2011)

In June, 2005, Collierville teenager Zach Stark came out to his parents as gay. They forced him to enroll in a gay reparative therapy facility called Love In Action. The night before he left home, he posted a long, tearful message about his plight on the early social media network MySpace. A grassroots protest movement sprang up in response to the injustice, and director Morgan Jon Fox was there with his camera. At Indie Memphis 2005, he screened a rough cut of the documentary that was as moving as it was raw and angry. “The movie evolved over time. I’m not used to spending so much time on a film, so I put out a prelim cut of it that was a whole ‘nother feature film on its own that doesn’t even exist any more. I literally do not have a cut of it. it’s gone. It’s just an entry in a program now,” says Fox.

That could have been the end of it, but Fox continued to work on the project on and off for the next five years. By the time the final documentary was ready for Indie Memphis 2011, Love In Action had closed and its director John Smid had come out as gay and reputed his former actions. The film transformed from a vitriolic tirade into a testament to the power of compassion and acceptance. “That protest embodied that. I felt like the process of making a film for six years, it’s easy to get lost and angry and upset. But once I finally got to edit it, with the help of Live From Memphis—Sarah Fleming and Christopher Reyes were such huge elements in bringing that film over the finish line. I just wanted to embody what made the protests so successful: We love you for who you are. To quote Natural Born Killers, only love kills the demon.”

This Is What Love In Action Looks Likes is a landmark in LBGT cinema and helped kick off a national movement against so-called “ex-gay” treatments. In a world where political protests are regularly organized via social media, it’s more prophetic and relevant than ever. “I think documentary get people involved. It’s an uplifting story that touches on something that is still very current. It was my favorite Indie Memphis premiere of one of my films, because I got engaged. I was nervous as hell, because I had a secret. I was going to propose to my now-husband, Declan Michael Dealy Fox. Looking up at the totally sold out audience at Playhouse On The Square was an incredible way to premiere a film that was six years in the making.”

Indie Memphis’ Greatest Hits 3: Cannibals, Pies, and Love In Action (4)

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We Recommend We Recommend

“FISH” at Crosstown Arts

“FISH,” opening at Crosstown Arts on Friday, is a collaboration between Christopher Reyes, Sarah Fleming, and Laura Jean Hocking (Chris McCoy, the Flyer’s film editor is Hocking’s husband). Originally conceived as an experimental film project, the show morphed into a multi-media immersive installation.

Guests enter a cool, dark, shimmering space, much like an aquarium. On the north wall is a mural by Reyes with seahorses and gumball machines and martini glasses and cats and fish that bounce on the surface. On the opposite wall are portholes with films by Hocking of fish, Jacques Cousteau, coral reefs, and floating astronauts. The east wall shows more films of fish; these by Fleming are more subtle, less frenetic, she says. A soundscape completes the under-the-sea mood.

“FISH”

“There’s so much stress and uncertainty in the world,” Hocking says. “This show doesn’t have an agenda except beauty and joy.”

Blue drinks with Swedish fish, sushi, and Goldfish crackers will be served during the opening.

A gallery talk is set for August 5th, 5:30 p.m.