Categories
Film Features Film/TV

The Sweet Thereafter

In honor of the 25th anniversary of the Memphis Flyer (our first quarter quell, as it were), I have chosen my personal favorite film from each year since the Flyer began publication. Then, for each of those films, I unearthed and have excerpted some quotes from the review we ran at the time. — Greg Akers

1989: #1
Mystery Train, Jim Jarmusch (#2 Do the Right Thing, Spike Lee)

“While all the scenes in Mystery Train are identifiable by anyone living west of Goodlett, their geographical relationship gets altered to a point where we start to trust Jarmusch more than our own memories.” — Jim Newcomb, March 8, 1990

“Filmed primarily at the downtown corner of South Main and Calhoun, Jarmusch does not use the Peabody Hotel, the Mississippi River, Graceland, or most of the other locations that the Chamber of Commerce would thrust before any visiting filmmaker. His domain concerns exactly that territory which is not regularly tread by the masses, and his treatment of Memphis is likely to open a few eyes.”
Robert Gordon, March 8, 1990

1990: #1 Goodfellas, Martin Scorsese (#2 Reversal of Fortune, Barbet Schroeder)

“This may not be De Niro’s best-ever performance, but he’s got that gangster thang down pat. His accent is flawless, his stature is perfect, and, boy, does he give Sansabelt slacks new meaning.”
The Cinema Sisters, September 27, 1990

1991: #1 Terminator 2: Judgment Day, James Cameron (#2 The Silence of the Lambs, Jonathan Demme)

Terminator 2 is an Alfa Romeo of a movie: pricey, sleek, fast, and loaded with horsepower. By comparison, the first Terminator was a Volkswagen. On the whole, I’d rather have a Volkswagen — they’re cheap and reliable. But, hey, Alfas can be fun too.” — Ed Weathers, July 11, 1993

1992: #1 Glengarry Glen Ross, James Foley (#2 The Last of the Mohicans, Michael Mann)

“Mamet’s brilliantly stylized look at the American Dream’s brutality as practiced by low-rent real estate salesmen who would put the screws to their mothers to keep their own tawdry jobs doesn’t relax its hard muscle for a moment. In the hands of this extraordinary cast, it is like a male chorus on amphetamines singing a desparate, feverish ode to capitalism and testosterone run amuck.”
Hadley Hury, October 15, 1992

1993: #1 Dazed and Confused, Richard Linklater (#2 Jurassic Park, Steven Spielberg)

Dazed and Confused is a brief trip down memory lane. The characters are not just protagonists and antagonists. They are clear representations of the folks we once knew, and their feelings are those we had years and years ago. Linklater doesn’t, however, urge us to get mushy. He is just asking us to remember.”
Susan Ellis, November 4, 1993

1994: #1 Pulp Fiction, Quentin Tarantino (#2 Ed Wood, Tim Burton)

“Even though Tarantino is known for his bratty insistence on being shocking by way of gratuitous violence and ethnic slurs, it’s the little things that mean so much in a Tarantino film — camera play, dialogue, performances, and music.”
Susan Ellis, October 20, 1994

1995: #1 Heat, Michael Mann
(#2
Toy Story, John Lasseter)

“I’m sick of lowlifes and I’m sick of being told to find them fascinating by writers and directors who get a perverse testosterone rush in exalting these lives to a larger-than-life heroism with slow-motion, lovingly lingered-over mayhem and death, expertly photographed and disturbingly dehumanizing.”
Hadley Hury, December 21, 1995

1996: #1 Lone Star, John Sayles
(#2
Fargo, Joel and Ethan Coen)

“Although Lone Star takes place in a dusty Texas border town, it comes into view like a welcome oasis on the landscape of dog-day action films … Chris Cooper and Sayles’ sensitive framing of the performance produce an arresting character who inhabits a world somewhere between Dostoevsky and Larry McMurtry.”
Hadley Hury, August 8, 1996

1997: #1 L.A. Confidential, Curtis Hanson (#2 The Apostle, Robert Duvall)

L.A. Confidential

L.A. Confidential takes us with it on a descent, and not one frame of this remarkable film tips its hand as to whether we’ll go to hell or, if we do, whether we’ll come back. We end up on the edge of our seat, yearning for two protagonists, both anti-heroes … to gun their way to a compromised moral victory, to make us believe again in at least the possibility of trust.”

Hadley Hury, October 2, 1997

1998: #1 Saving Private Ryan, Steven Spielberg (#2 The Big Lebowski, Joel and Ethan Coen)

“Spielberg is finishing the job he began with Schindler’s List. He’s already shown us why World War II was fought; now he shows us how. … Spielberg’s message is that war is horrifying yet sometimes necessary. And that may be true. But I still prefer the message gleaned from Peter Weir’s 1981 masterpiece, Gallipoli: War is stupid.” — Debbie Gilbert, July 30, 1998

1999: #1 Magnolia, Paul Thomas Anderson (#2 The End of the Affair, Neil Jordan)

Magnolia is a film in motion; there’s a cyclical nature where paths are set that will be taken. It’s about fate, not will, where the bad will hurt and good will be redeemed.”
Susan Ellis, January 13, 2000

2000: #1 Crouching Tiger, Hidden Dragon, Ang Lee (#2 You Can Count On Me, Kenneth Lonergan)

“Thrilling as art and entertainment, as simple movie pleasure, and as Oscar-baiting ‘prestige’ cinema. Early hype has the film being compared to Star Wars. … An even more apt comparison might be Singin’ in the Rain, a genre celebration that Crouching Tiger at least approaches in its lightness, joy, and the sheer kinetic wonder of its fight/dance set pieces.”
Chris Herrington, February 1, 2001

A.I. Artificial Intelligence

2001: #1 A.I. Artificial Intelligence, Steven Spielberg (#2 Amélie,
Jean-Pierre Jeunet)

“What happens when Eyes Wide Shut meets E.T.? What does the audience do? And who is the audience?”
Chris Herrington, June 28, 2001

2002: #1 City of God, Fernando Meirelles and Kátia Lund
(#2
Adaptation., Spike Jonze)

“The mise-en-scène of the film is neorealist, but the cinematography, editing, and effects are hyper-stylized, as if The Bicycle Thief had been reimagined through the post-CGI lens of Fight Club or The Matrix.”

Chris Herrington, April 3, 2003

Lost in Translation

2003: #1 Lost in Translation, Sofia
Coppola (#2
Mystic River, Clint Eastwood)

Lost in Translation is a film short on plot but rich with incident; nothing much happens, yet every frame is crammed with life and nuance and emotion. … What Coppola seems to be going for here is an ode to human connection that is bigger than (or perhaps just apart from) sex and romance.”
Chris Herrington, October 2, 2003

2004: #1 Eternal Sunshine of the Spotless Mind, Michel Gondry
(#2
Kill Bill, Quentin Tarantino)

“This is the best film I’ve seen this year and one of the best in recent memory. Funny, witty, charming, and wise, it runs the gamut from comedy to tragedy without falling into either farce or melodrama. Its insights into human loss and redemption are complicated and difficult, well thought out but with the illusion and feel of absolute spontaneity and authentic in its construction — and then deconstruction — of human feelings and memory.”
Bo List, March 25, 2004

2005: #1 Brokeback Mountain, Ang Lee (#2 Hustle & Flow, Craig Brewer)

“The film is a triumph because it creates characters of humanity and anguish, in a setup that could easily become a target for homophobic ridicule. Jack and Ennis are a brave challenge to the stereotyped image of homosexuals in mainstream films, their relations to their families and to each other are truthful and beautifully captured.” — Ben Popper, January 12, 2006

2006: #1 Children of Men,
Alfonso Cuarón (#2
The Proposition, John Hillcoat)

“As aggressively bleak as Children of Men is, it’s ultimately a movie about hope. It’s a nativity story of sort, complete with a manger. And from city to forest to war zone to a lone boat in the sea, it’s a journey you won’t want to miss.”
Chris Herrington, January 11, 2007

2007 #1 Zodiac, David Fincher
(#2
There Will Be Blood, Paul Thomas Anderson)

“[Zodiac is] termite art, too busy burrowing into its story and characters to bother with what you think.”
Chris Herrington, March 8, 2007

2008: #1 Frozen River, Courtney Hunt (#2 The Dark Knight, Christopher Nolan)

Frozen River is full of observations of those who are living less than paycheck to paycheck: digging through the couch for lunch money for the kids; buying exactly as much gas as you have change in your pocket; popcorn and Tang for dinner. The American Dream is sought after by the dispossessed, the repossessed, and the pissed off.”
Greg Akers, August 28, 2008

2009: #1 Where the Wild Things Are, Spike Jonze (#2 Julie & Julia, Nora Ephron)

“I know how ridiculous it is to say something like, ‘Where the Wild Things Are is one of the best kids’ movies in the 70 years since The Wizard of Oz.’ So I won’t. But I’m thinking it.”
Greg Akers, October 15, 2009

2010: #1 Inception, Christopher Nolan (#2 The Social Network,
David Fincher)

“Nolan has created a complex, challenging cinematic world but one that is thought through and whose rules are well-communicated. But the ingenuity of the film’s concept never supersedes an emotional underpinning that pays off mightily.”
Chris Herrington, July 15, 2010

2011: #1 The Tree of Life, Terrence Malick (#2 Tinker Tailor Soldier Spy, Tomas Alfredson)

The Tree of Life encompasses a level of artistic ambition increasingly rare in modern American movies — Paul Thomas Anderson’s There Will Be Blood might be the closest recent comparison, and I’m not sure it’s all that close. This is a massive achievement. An imperfect film, perhaps, but an utterly essential one.”
Chris Herrington, June 23, 2011

2012: #1 Zero Dark Thirty, Kathryn Bigelow (#2 Lincoln, Steven Spielberg)

Zero Dark Thirty is essentially an investigative procedural about an obsessive search for knowledge, not unlike such touchstones as Zodiac or All the President’s Men. And it has an impressive, immersive experiential heft, making much better use of its nearly three-hour running time than any competing award-season behemoth.”
Chris Herrington, January 10, 2013 

2013: #1 12 Years a Slave, Steve
McQueen (#2
Gravity, Alfonso Cuarón)

“Slavery bent human beings into grotesque shapes, on both sides of the whip. But 12 Years a Slave is more concerned with the end of it. McQueen and screenwriter John Ridley are black. It’s one of those things that shouldn’t be notable but is. If you consider 12 Years a Slave with The Butler and Fruitvale Station, you can see a by-God trend of black filmmakers making mainstream movies about the black experience, something else that shouldn’t be worth mentioning but is.”
Greg Akers, October 31, 2013

Categories
Cover Feature News

25 Who Shaped Memphis: 1989-2014

Picking 25 people who had a major impact on the life and times of Memphis over the past 25 years is easy. In fact, you can easily pick 50. Narrowing the list down to 25 is the hard part. We made our final choices keeping in mind several areas of influence: politics, government, entertainment, sports, etc. We tried to pick folks whose contributions have stood the test of time or were responsible for a major shifts in attitude or direction.

It is by no means a perfect list, as these things are by necessity subjective. But it’s our list — and it’s a good one. — BV

Laura Adams

Laura Adams

Adams lives and breathes Shelby Farms Park. She was appointed as the conservancy head in 2010, but long before that, Adams advocated for increased use of the city’s largest urban park through Friends of Shelby Farms Park. Since she’s been in the lead role of the nonprofit conservancy, Adams has overseen the addition of the seven-mile Shelby Farms Greenline, a new foot bridge over the Wolf River, the state-of-the-art Woodland Discovery Playground, and new festivals and attractions, and soon, work will begin on expanding Patriot Lake.

Craig Brewer

Over the past 25 years, Hollywood has come to Memphis to shoot several high-profile movies, including The Firm, 21 Grams, and Walk the Line. But there’s only one local filmmaker who took Memphis to Hollywood: Craig Brewer.

On the strength of his first film, 2000’s The Poor & Hungry, Brewer got Hollywood backing for the movie that put Memphis Indie filmmaking on the map: 2005’s Hustle & Flow. The flick won Sundance, got a major theatrical release, and was nominated for two Academy Awards, winning one for “It’s Hard Out Here for a Pimp” by Three 6 Mafia and Frayser Boy.

Brewer followed it up with another Memphis-made film, Black Snake Moan, and then his biggest yet, a remake of Footloose. Nowadays, Brewer divides his time between Memphis and L.A., but make no mistake: There is no bigger or more powerful advocate for the Bluff City film community.

John Calipari

John Calipari

Let’s get one thing straight: Before John Calipari, there was great Memphis Tigers basketball. He did not make the program — but he did make it relevant again when college basketball was no longer essential for players to make it in the NBA. Calipari arrived in Memphis in 2000, licking his wounds after a failed stint in the professional league. He was greeted by some here as a savior (U of M basketball was on the ropes following the Tic Price scandal) and by some as a slick operator (Calipari’s previous college employer, UMass, had to vacate a Final Four because of NCAA violations while he was in charge). But when Calipari’s teams began winning big here, the coach went from someone Memphians hated to love to someone we loved to love. And, when he left for a job at the University of Kentucky — taking some big-time recruits with him — he turned instant villain, someone we loved to hate. Even now, five years after he’s gone, not many a day goes by where his name isn’t uttered on local sports talk.

Karen Carrier

Karen Carrier

Anybody with taste buds in this town should be grateful that Karen Carrier is the restless type. In 1991, she opened Automatic Slim’s Tonga Club on Second Street across from the Peabody. When not a lot was happening in that area, this restaurant’s cool décor and innovative fare inspired by “sun-drenched” locales offered a chic downtown oasis. In 1996, Carrier proved pioneer again when she converted her own home in Victorian Village to pretty, white-tableclothed Cielo. Later, she dumped that concept and made the space into the fashionable Mollie Fontaine Lounge, and then there’s the Beauty Shop, Do, and Bar DKDC. Basically, Carrier is the pied piper of happening restaurants and one of Memphis’ true culinary pioneers.

Steve Cohen

Steve Cohen

The congressman from Memphis’ 9th Congressional District since his first election in 2006, Cohen is still goin,’ running for a fifth term in 2014. Though his first win was via a plurality against a dozen-plus opponents in the predominantly African-American district, Cohen has since won one-on-one contests against name primary challengers with margins ranging from 4-to-1 to 8-to-1.

Cohen’s political durability, first evinced during a 26-year run as a Tennessee state senator, owes much to hard work and tenacity, both in office and on the campaign trail. His most important legacy as a state legislator was his sponsorship of a state lottery and the Hope Scholarship program, which it funds. He’s a vigorous supporter of women’s rights and programs benefiting health care and the arts. Among his contributions in Congress, where he serves on the House Judiciary Committee, are his successful sponsorship of a resolution formally apologizing for the country’s history of slavery.

Margaret Craddock

Margaret Craddock

When Margaret Craddock took the helm of the Metropolitan Inner-Faith Association (MIFA), she not only held the organization on course but also led it into new waters.

Craddock began working at MIFA part-time in 1982 and then full-time in 1988. Spurred by her experiences there, she earned degrees in urban anthropology and law from the University of Memphis. Craddock was entrenched at MIFA and continued to rise to prominence there. 

As associate director, she was instrumental in developing one of MIFA’s most noted programs. The agency decided to build five three-bedroom homes for emergency housing in 1989. Now, that program, implemented in MIFA’s Estival Place communities — gives homeless families a place to live for two years while they take life-skills classes. 

In 1997, Craddock became the first woman to hold MIFA’s top job. At one time, she oversaw an $11 million budget, 160 employees, and more than 4,000 volunteers, and she actively worked to forge outside community partnerships.

Craddock focused MIFA’s mission, built on the agency’s inner-faith heritage by including more clergy on its board of directors, developed more community partners, and improved and modernized MIFA’s inner workings. Craddock retired in 2011.

DJ Paul & Juicy J

DJ Paul and Juicy J

DJ Paul and Juicy J collectively helped globalize the Memphis rap scene when they formed the label Hypnotize Minds in the early 1990s. Under the duo’s leadership, local acts, including Three 6 Mafia, Project Pat, and a magnitude of other artists were introduced to the world. Several Gold and Platinum records have been won by the label, and the first Memphis-based rap movie, Choices, was filmed under their auspices.

In 2006, they became the first hip-hop artists to win an Academy Award for Best Original Song, “It’s Hard Out Here for a Pimp,” and were showcased on the MTV reality sitcom “Adventures In Hollyhood.”

Although they’ve taken a hiatus as a collective, both artists continue to prosper. Juicy J is enjoying the spoils of a fruitful solo career while DJ Paul has reestablished Three 6 Mafia as Da Mafia 6ix.

John Elkington

John Elkington

To understand the impact John Elkington has had on downtown Memphis, consider Beale Street before he began to manage it in 1983: blocks of abandoned and boarded-up buildings, trash littering otherwise empty streets.

As the developer and manager of modern Beale Street, Elkington transformed it into Memphis’ premier entertainment district and one of the top tourist destinations in the U.S.

The relationship between Elkington and city government ended in 2010. Following the announcement, Memphis mayor A C Wharton said, “Pioneers always get bloodied. [Elkington] went in when others did not go in, and this community owes him a debt of gratitude.” 

Despite the public break-up, Elkington will leave one very important fingerprint on the future of the street he helped create. A 2011 study of Beale Street said thanks to Elkington “the district’s uniqueness and special personality have been largely protected and maintained.”

Harold Ford Sr. / Harold Ford Jr.

Harold Ford Sr. /Harold Ford Jr.

This father/son combination held the Memphis congressional district (first designated Tennessee’s 8th, later the 9th) from 1974 until 2006, beginning when Democrat Ford Sr., then a state representative, won in an upset over the Republican incumbent, becoming the state’s first elected black Congress member.

A member of an upwardly mobile black family invested in the funeral home business, Harold Ford Sr. became the patriarch of an extended-family political dynasty, which has consistently held positions in state and local government ever since. Wielder of the “Ford ballot,” an endorsement list of candidates in each successive election, Ford Sr. became influential in Congress as well but was ensnared in a Reagan-era Department of Justice prosecution for alleged bank fraud that, after one mistrial, would end with Ford’s exoneration in a 1993 retrial.

In 1996, the senior Ford stepped aside, backing his son Harold Ford Jr., who won election that year and four more times. Uninterested in the kind of local political organization overseen by his father, and more conservative politically, Ford Jr. directed his ambitions toward national power instead and was widely considered a prospect to become the nation’s first African-American major-party nominee for president. Beaten to the U.S. Senate by Illinois’ Barack Obama in 2004, Democrat Ford made his own try for the Senate in 2006, narrowly losing to Republican Bob Corker. He subsequently married and moved to New York, where he works on Wall Street. He is still considered to be a political prospect, with a rumored Senate run in the Empire State.

Larry Godwin

Larry Godwin

The former Memphis Police Department (MPD) chief spent 37 years tenured with the MPD. Beginning as an undercover narcotics officer in 1973, Godwin later was a homicide investigator and commander of the crime response/bomb unit before being named police director in 2004.

Godwin helped restructure the department’s method of operation, adding new crime prevention programs, such as Blue CRUSH; established a $3.5 million technology hub, Real Time Crime Center; and increased the number of police on the streets. Under his leadership, the percentage of violent crimes dropped significantly, and numerous undercover investigations targeting narcotics sales were successfully executed.

Following his retirement in 2011, Godwin became the deputy commissioner of the Tennessee Department of Safety and Homeland Security.

Pat Halloran

Pat Halloran

Halloran moved to the city in 1969 and was elected to the Memphis City Council within five years. With the Memphis Development Foundation (MDF), he saved the Orpheum from the wrecking ball. The theater reopened in 1984 and has set records for booking touring Broadway shows. Halloran has earned three Tony Awards, notably for the musical Memphis. In March 2014, the MDF began construction on the The Orpheum Centre for Performing Arts & Education, a 40,000-square-foot facility featuring theater space, classrooms, an audio-visuals arts lab, and event rental space. Without Halloran’s ongoing vision for the Orpheum through the years, Memphis would be an infinitely less interesting city.

Michael Heisley

Michael Heisley

For decades, Memphis had pursued an NFL team, but the city’s hopes were dashed in 1993, when the league opted against awarding Memphis a team. The NFL settled in Nashville, leaving a bitter taste in Memphians’ mouths. It seemed a pro sports team would never move here. That changed in 2001, when Michael Heisley, billionaire owner of the NBA’s Vancouver Grizzlies, decided to relocate his team to Memphis. It was a shocking move at the time and is still shocking in retrospect. Local power players were crucial in making the city attractive to Heisley, securing financing for FedExForum, but it was Heisley’s call. His decision radically affected downtown Memphis, the entertainment industry, sports business, sports talk, and even the city’s psyche.

The outspoken owner had his ups and downs in the public eye over the years, but he did right by Memphis. He eventually sold the team in 2012 and passed away earlier this year. Never forget: Before there was grit and grind, there was Michael Heisley.

Willie Herenton

Willie Herenton

Herenton was born to a single mother on Memphis’ south side. She lived to see her son become the city’s first African-American school superintendent and later witnessed his five separate inaugurations as Memphis’ mayor, after becoming the first black person ever elected to that position, in 1991.

A Booker T. Washington High School graduate, Herenton was an amateur boxing champion as a youth. Pursuing education as a career, he earned a Ph.D. and worked his way up rapidly in the Memphis City Schools system, becoming its superintendent in 1978. An educational innovator with magnet schools and other new options, he resigned reluctantly in the wake of negative publicity about a sexual liaison with a teacher and a modest administrative scandal.

He landed on his feet, becoming almost instantly a consensus black candidate for mayor in 1991. Considered a strong chief executive, he eventually lost interest in the job and resigned in 2009. He made an unsuccessful challenge to incumbent 9th District Congressman Steve Cohen in 2010 and has spent the time since attempting to develop a chain of local charter schools. He now runs a charter school program.

Benjamin L. Hooks

Rev. Benjamin L. Hooks

A native Memphian, Hooks was largely known as a seminal civil rights activist. A Baptist minister and attorney, he was the first African-American Criminal Court judge in the South since the Reconstruction Era, and the first African-American appointee for the Federal Communications Commission.

During the civil rights movement, Hooks helped orchestrate protests and sit-ins, and promoted the importance of education. He led the National Association for the Advancement of Colored People (NAACP) for 15 years.

Hooks was a strong advocate for racial, social, and economic justice. The civil rights icon died in 2010, but his legacy lives on through the Benjamin L. Hooks Institute for Social Change, Benjamin L. Hooks Central Library, and the Benjamin L. Hooks Job Corps Center.

Carissa Hussong

Carissa Hussong

That cool Greely Myatt piece you have on your wall, the one that looks like nails…that is art with a capital “A.” It does not match your couch. Other than family and friends, about half-a-million Memphians will never see that piece. But all of us can check out Myatt’s Quiltsurround, a metalwork quilt used to cover up City Hall’s air units. That work and nearly every piece of Memphis’ public art created in the past 17 years — from the murals in Soulsville and Binghampton to the menagerie of art at the Benjamin L. Hooks Central Library — traces its lineage to the UrbanArt Commission and its founding executive director, Carissa Hussong.

Hussong left the commission to become the executive director of the Metal Museum in 2008. Under her lead, the museum has introduced its “Tributaries” series, featuring the work of emerging metal artists.

J.R. “Pitt” Hyde

Hyde grew up watching his grandfather and father turn Malone & Hyde into one of the country’s largest food wholesalers.

“They took risks that many people considered unwise — and succeeded, despite the odds,” Hyde says. “I believe my exposure to this type of ‘pioneering’ mindset gave me the drive to try new, unproven ventures.”

Those ventures include being the founder of auto parts giant AutoZone, chair of biopharmaceutical startup GTx Inc., co-founder of the private equity firm MB Ventures, the impetus (along with his wife, Barbara) behind the $69 million Hyde Family Foundation, and scion of several other highly placed and deep-pocketed endeavors rooted in Memphis — most notably the National Civil Rights Museum and Ballet Memphis.

Hyde was instrumental in the founding of the Memphis Bioworks Foundation, Memphis Tomorrow, and the National Civil Rights Museum. He is a minority owner of the Memphis Grizzlies and helped bring the NBA team to Memphis.

Robert Lipscomb

Robert Lipscomb

For years, Lipscomb has been significantly involved in the restructuring of public housing in Memphis, as well as the redevelopment of its downtown and inner city communities. In 2009, he was appointed executive director of the Memphis Housing Authority and director of the city’s Division of Housing and Community Development.

Motivated by the desire to improve the city’s underprivileged living conditions, Lipscomb developed Memphis’ first strategic housing plan. Under his guidance, numerous run-down and crime-plagued housing projects have been replaced with modern developments.

Lipscomb is spearheading the $190 million project to redevelop The Pyramid into a Bass Pro Shops retail center. He’s also involved in the planned redevelopment of the Mid-South Fairgrounds.

A native Memphian, Lipscomb created the Down Payment Assistance Program, the Housing Trust Fund, the Housing Resource Center, and other housing initiatives.

Jackie Nichols

Jackie Nichols

Playhouse on the Square’s founding executive producer doesn’t just make theater. He makes community. And he makes sense. Loeb Properties may have ponied up the money to bring back Overton Square, but it was Jackie Nichols who literally set the stage for the area’s incredible turnaround. Nichols was still a teenage tap dancer when he realized that Memphis needed producers more than it needed performers.

In 1969, he launched Circuit Players. In 1975 he expanded, opening Playhouse on the Square on Madison Avenue. In 2010, Nichols, also instrumental in the founding of TheatreWorks, moved his operations from the old Memphian Theatre into a $12.5 million, custom-built performing arts facility at Cooper and Union. When Overton Square developer Robert Loeb asked Nichols what it would take to make Overton Square work as a theater district, Nichols answered, “More theaters,” paving the way for Ekundayo Bandele’s Hattiloo, which opens to the public in July.

The new Playhouse on the Square has allowed for collaborations with the Memphis Symphony Orchestra and created a Midtown home for arts institutions like Ballet Memphis and Opera Memphis. But Nichols’ legacy is best represented by Memphis’ thriving independent theater scene, made possible by the space, equipment, and support he’s created. His greatest contribution to the city may be in showing us that the arts really can be a sound investment.

David Pickler

David Pickler

Once considered the “president-for-life” of the old county-only Shelby County Schools (SCS) board, to which he was first elected in 1998 and led until that version of the board ceased to be with the SCS-Memphis City Schools (MCS) merger of 2011-13, Pickler continued to represent Germantown/Collierville on the first post-merger SCS board, pending the creation of new suburban school districts.

Many blame the surrender of the MCS charter and subsequent forced merger on Pickler’s decades-long vow to seek special-school-district status for the original SCS system, which was publicly renewed when a Republican majority — presumed to be suburb-friendly — took over the legislature in 2010. Pickler contends that then-MCS Board Chairman Martavius Jones, a prime mover in the charter surrender, already harbored merger plans.

In any case, Pickler, a lawyer who also operates Pickler Wealth Advisers, an investment/estate-management firm, continues his involvement with education matters as president of the National School Boards Association and is thought to harbor political ambitions.

Beverly Robertson

Beverly Robertson

Robertson has headed up the Civil Rights Museum since 1997, but perhaps her greatest achievement has been overseeing the museum’s recent $27.5 million renovation. The old Lorraine Motel, where Dr. Martin Luther King Jr. was shot in 1968, and the adjoining building have been remodeled with interactive touch-screen exhibits, a slave ship where visitors can crawl into the tiny space where slaves were held, and the recreated courtroom from Brown vs. Board of Education. Since Robertson took the helm, the museum has been identified as one of the nation’s top 10 attractions by National Geographic’s Young Explorers and as a “national treasure” by USA Today. Though she’s led the museum for 16 of its 22 years, Robertson has announced that she will retire next month.

Gayle Rose

Gayle S. Rose

We’ll bet that no other University of Northern Iowa (UNI) music student has ever been named by Business Tennessee magazine as one of our state’s “100 Most Powerful People.” But then, Gayle Rose isn’t like most people. After earning degrees in music and business from UNI, the accomplished clarinetist graduated from Harvard with a master’s in public administration. Rose spearheaded self-help guru Deepak Chopra’s international publishing and TV ventures.

She co-founded 10,000 Women for Herenton (later 10,000 Women for Change), co-founded the Women’s Foundation for a Greater Memphis, founded the Rose Family Foundation, and earned the national “Changing the Face of Philanthropy Award.” She also formed Max’s Team, a volunteer organization that honors the memory of her late son.

Rose is the principal owner and CEO of Electronic Vaulting Services (EVS) Corporation, a data protection company, headquartered in Memphis. Prior to joining EVS, Rose served as managing director of Heritage Capital Advisors, LLC, a private equity, corporate advisory, and asset firm with offices in Atlanta and Memphis.

Rose is perhaps best-known for leading the NBA “Pursuit Team,” which eventually attracted the Vancouver Grizzlies to Memphis in 2000.

Maxine Smith

Maxine Smith

In 1957, Memphis State University refused to admit Maxine Smith because she was black, and that inspired her to take on the South’s racist attitudes and fight for civil rights. Smith headed up the local NAACP and became one of few women leaders in the male-dominated local civil rights movement. She and her husband, Vasco Smith, protested segregation at the Memphis Zoo and the Memphis Public Library, and she fought to reorganize the city school board to allow black candidates a chance at winning city elections. Smith was elected to one of those school board seats in 1971, and afterward, she became a huge proponent for court-ordered busing, which she saw as a way to overcome city leaders’ attempts at only integrating a few schools for show. Smith sat on the board of the National Civil Rights Museum and received the museum’s National Freedom Award, along with former President Bill Clinton, in 2003.

Pat Kerr Tigrett

Pat Kerr Tigrett

This Memphis-based fashion designer got her start designing Vogue-worthy gowns for her paper dolls when she was just a kid living in Savannah, Tennessee. She later moved to Memphis for college, won Miss Tennessee Universe, and then bought the Tennessee Miss Universe franchise.

As a beauty queen, Kerr Tigrett got a taste of philanthropy with fashion charity shows. She went on to launch the Memphis Charitable Foundation, host of the annual Blues Ball, which, since 1994, has raised loads of money for Porter-Leath Children’s Center, St. Jude Children’s Research Hospital, Le Bonheur Children’s Medical Center, Madonna Learning Center, and other local nonprofits. Kerr Tigrett is the widow of entrepreneur John Tigrett.

Henry Turley

Henry Turley

Some developers leave behind a footprint on their community. Behind Henry Turley will be an entire Memphis landscape. Turley’s brilliance was in recognizing — and acting upon — what now seems obvious: The most valuable real estate in the world is next to water. With downtown Memphis perched alongside the mightiest stream in North America, a breathtaking neighborhood (or more) awaited birth.

With Jack Belz, Turley, developed the upscale Harbor Town residential and commercial center on Mud Island, the low-income and middle-income Uptown residential development north of St. Jude Children’s Research Hospital, and South Bluffs, where he lives.

Stroll through Harbor Town or South Bluffs today, and you’d think the mighty homes and river views have been there a century when, in fact, most are barely 20 years old, the realization of Turley’s vision for making downtown more than a business center.

Turley is a board member of Contemporary Media, the parent company of Memphis magazine and the Memphis Flyer. A native of Memphis and graduate of the University of Tennessee, Turley is known for his plainspoken good humor, creativity, and unfailing belief in downtown and the restoration of public spaces in older neighborhoods.

AC Wharton

A C Wharton

A native of Middle Tennessee who grew up on country music and both graduated from and taught at the Ole Miss Law School, Wharton is the epitome of crossover and conciliation, and either of those “c” words could be his non-existent middle name. (“A” doesn’t stand for a name either.)

Wharton’s major contribution was to restore calm and a sense of unified purpose to the city after the contentious last years of his mayoral predecessor Willie Herenton’s lengthy tenure. Hard-working, eloquent, and good-natured, Wharton was Shelby County’s Public Defender for many years, then easily won two four-year terms as county mayor before winning a special election to succeed Herenton, who had resigned, in 2009. Reelected in 2011, he has had to grapple with dwindling revenue, a never-ending budget crisis, and attendant crises in public services.

Sherman Willmott

Sherman Willmott

The irascible Willmott has worked like a Tahiti-shirted puppet-master, shaping a lot of cool and important Memphis stuff over the past 25 years. In 1988, he and Eric Freidl opened Shangri-La Records on Madison Avenue, which became a center for the burgeoning alt-music scene. Soon they were mixed up in independent record distribution and releasing records by the Grifters that earned national accolades and a big record deal. Willmott kept the Stax flame lit during the dark ages and was instrumental in curating the Stax Museum. His work with master archivist Ron Hall formed the basis for the acclaimed wrestling movie, Memphis Heat, which is a great film and a better document of how hilariously weird Memphis really is.

Categories
Cover Feature News

Cult King Mike McCarthy Celebrates 20 Years of Underground Movie-making

Midnight Movie

April 2014, Clarksdale, Mississippi — Filmmaker Mike McCarthy stands inside an old movie theater, shooting a scene he describes as “the death of cinema.” He has found a good location for it: The interior space is accented with moldering ceiling tiles, burlap walls, painted concrete, and frayed carpet runners. A crewmember, Jon Meyers, cranks up a fog machine. McCarthy and the rest of the crew — Jesse Davis, Kent Hamson, Kasey Dees, and Nathan Duff — are preparing a scene built around a casket near the screen at the bottom of the theater well. Inside the casket, the corpse — actor Anthony Gray — is wearing a hat. Looking on from above him are the scene’s mourners, actors Zach Paulsen, Kenneth Farmer, and Brandon Sams.

From 9 a.m. until midnight on a Saturday, the cast and crew have to capture everything they need for Midnight Movie, a lengthy trailer for a script McCarthy has written. Ideally, someone will see the finished trailer and help finance the making of the actual feature.

Dan Ball

Mike McCarthy

But all that is later. Right now, the production has to shoot about 15 scenes at four locations in one day. On the shoot, McCarthy is lively, funny, confident, and efficient. He improvises, but everything is well set up and prepared for, and he trusts the opinions of his crew. He knows what’s in his mind and knows what he sees; he only needs to know what’s in the camera lens.

“Guys, crank up the grieving,” he directs the actors. Paulsen plays Brandy/Randy, whom the script describes as “a small-town cross-dresser with big dreams … a ‘Frankenfurter’ inside a Tennessee Williams bun.” Paulsen is wearing the same coat that D’Lana Tunnell wore in McCarthy’s seminal 1995 film, Teenage Tupelo. Farmer plays Charlie, an homage to Jimmy Cliff in The Harder They Come. Sams is Eraserhead, with an appropriate hairstyle. A scene filming later in the night will feature Alex and Henry Greene as Jodorowsky’s El Topo and son.

“Make it be like the Cecil B. DeMille of this kind of thing,” McCarthy says. After a clock check, McCarthy puts his producer hat on and says, “We’re doing all right on time, but barely. Which is the way it always is.”

After the scene, the crew helps Gray (who plays murdered theater owner Ray Black) out of the personal-sized tomb. It’s an expensive-looking prop. McCarthy names a funeral home in Memphis he has worked with before. He’s a filmmaker who needs coffins sometimes.

Cult of personality

Robin Tucker

Mike McCarthy (center) directs a scene from Cigarette Girl with cinematographer Wheat Buckley (left) and star Cori Dials (right)

May 2014, Memphis — It looks as if Mike McCarthy’s brain has exploded all over the walls and ceiling of the attic of his Cooper-Young home, as if his mortal cranium can’t contain all of the immortal pop culture that resides within it. Every flat space of wall and ceiling angles features the images of Elvis Presley, David Bowie, Bettie Page, Frankenstein’s monster, Brigitte Bardot, Godzilla — and a score more — and is stuffed with the artistic output of Robert E. Howard, Edgar Rice Burroughs, Michael Moorcock, Camille Paglia, David F. Friedman, Marvel Comics, Famous Monsters, the Replacements, and, crucially, items related to McCarthy’s own work. Here, in the inner sanctum, he keeps scripts, props, art, comic books, a drum set, and the first magazine he was published in, and on and on.

“My psychosexual stuff is over there in that corner,” he says, pointing in the attic, though he could just as well be talking about a patch of real estate in his mind.

McCarthy has consumed, internalized, and analyzed American pop culture in the 20th century. What he has produced in turn is a filmography — including the features Damselvis, Daughter of Helvis (1994), Teenage Tupelo (1995), The Sore Losers (1997), Superstarlet A.D. (2000), and Cigarette Girl (2009) and the short films Elvis Meets the Beatles (2000) and Goddamn Godard (2012) — that interprets that pop cultural cosmos into a visionary underground art. Many filmmakers, Memphis obsessives from around the world, and other non-mainstream consumers revere him.

Among those influenced by him are the filmmakers Craig Brewer and Chris McCoy.

“I feel like I took a college course from Mike McCarthy,” Brewer says. “Since the time I started making films in Memphis, he has always served as my hero in everything in life. He’s passionate about making movies, and he is passionate about the region he lives in, and the history, and how to honor and preserve that history. I ran from home and the ideas that came from [my] surroundings, where Mike was embracing it and perhaps even exorcising demons through his work.”

Brewer helped edit Superstarlet A.D. so that he could learn how to edit his own film, The Poor & Hungry, and Brewer produced, shot, and edited Elvis Meets the Beatles, which he calls “one of the best experiences of my life.”

McCoy says, “In the early ’90s, I was involved with a group who were inspired by Robert Rodriguez and Steven Soderbergh to make an independent film. I co-wrote the script and we had about $20,000 pledged to the project. But this was before the days of digital, and just the film cost alone would have eaten up the entire budget, so we abandoned the project as undoable. And then, Mike McCarthy came along and proved that it could be done.”

Memphian Rick O’Brien has assisted McCarthy over the years with technical and production support. O’Brien says, “Step into the world of Mike McCarthy and you’ll experience a wild mash-up of 50 years of fringe-pop culture. Mike could be the bastard love child of Russ Meyer, John Waters, and Tempest Storm. Or maybe Elvis … only his mother knows.”

May is McCarthy month in Memphis (alliteration not intended.) Cigarette Girl is being released by Music+Arts, and McCarthy is screening many of his films at the May edition of the monthly Time Warp Drive-In at Malco’s Summer Avenue venue. His films are steeped in the traditions of exploitation cinema, including nudity and violence and rock-and-roll.

David Thompson

On the set of “Teenage Tupelo”

Watching them, you might think, where in the world did all this come from?

The man who fell to Memphis

1963-1993, Mississippi & Memphis — “Unless you can fixate on something, you don’t learn the true value of it,” McCarthy says. His own biography is something McCarthy is fixated on. Certain geniuses, such as James Ellroy or Alison Bechdel, possess a profound intellectual introspection. McCarthy fits in this category comfortably.

He was born in 1963. The way McCarthy’s mind sees things, there’s a numerology that glows in the structure of the universe. It’s personal and universal, and it can be observed if you sit still long enough. “I was born six months before JFK was assassinated, which was nine months before the Beatles got here,” McCarthy says. “So, 1963 was the last pure year of American pop culture and its influence around the world. The following year, the Beatles would arrive, and the European influence would follow, ironically based on Memphis music. I was conceived in the Lee County Drive-In in Tupelo, and I lived 14 years in the golden age of pop culture, before Elvis died.”

Much of McCarthy’s biography has been recounted in stories over the years, but, since the telling of it has evolved, it doesn’t hurt to set the record straight about exactly what happened and when. He was raised by John and Mildred McCarthy outside of Tupelo. His mother had been a Georgia Tann baby, one of the children who came out of the woman’s infamous Memphis black market adoption agency. His parents attended the famous 1956 Mississippi-Alabama Fair and Dairy Show, where Elvis performed. They can be seen at the top of the bleachers in Roger Marshutz’s famous photo of the concert.

McCarthy grew up at the end of a gravel road, raised on comic books, monster magazines, and other pop that managed to trickle down to him. “On a good night we might pick up Sivad,” he says, referring to Memphis’ monster movie TV host. McCarthy consumed the culture he “could pick up in an analog way, or what was in the grocery store in a spinner rack. Music, I knew nothing about, because corporations had already settled in on it. I didn’t know at the time that rockabilly had been created in my backyard.”

When he was 20, McCarthy learned on his own a staggering truth the consequences of which continue to reverberate: He was adopted. “There’s a certain amount of tragedy, but it’s kind of a cool tragedy, because I decided I would mythologize my gravel road. Instead of street cred, I’ve got gravel road cred.”

Charle Berlin

McCarthy meets cult filmmaker David F. Friedman

More bombshells: He was the second of four children his biological mother had. To this day, McCarthy doesn’t know who his biological father is. (His brothers do know who their dads are: “Another angst-ridden detail,” he says, laughing.) He did learn, however, that his biological mother also attended the Fair and Dairy Show, and, moreover, she also could be seen in the Marshutz photo — just a few feet away from the King’s outstretched hand.

When he was 21, McCarthy moved to Memphis. “The point where I should have looked into my past, I moved to Memphis and turned it into art,” he says. “It took me 10 years to focus my anger into an Elvis-oriented art plan.”

Eric Page

Distemper

He came to grad school at Memphis College of Art but dropped out and spent a few years playing in punk bands like Distemper and Rockroaches. He lived with his parents again to work on comic books, including material that would be produced by the renowned alternative publisher Fantagraphics.

He discovered the cult film subgenre. It changed everything. “I realized cult cinema was achievable on my own,” he says.

If those are the facts, the why of it all is left to McCarthy’s interpretation, both artistic and anecdotal, and is the basis for the mythology he has created in the film Teenage Tupelo and developed further over the years. He imagined that Elvis was his biological father: “All these things led to my breaking away from Mississippi, so that I could look back and mythologize with whatever details slowly came down to me from my adopted parents or my newfound brother at the time. So I reimagined the conversation my grandmother had with my mother when she was about to give birth to me. ‘You’ve already had one kid with this guy who left you, you’re certainly not going to keep this second kid.’ So I made my grandmother into a villain — who Wanda Wilson plays in Teenage Tupelo.”

Ground Zero

20th century, America — “Elvis is 21 at the Tupelo Fair and Dairy Show in 1956, halfway through the arc of his life,” McCarthy says. “That day he sings to both my mothers — and thousands of field hands and factory workers. He reaches the ascent of everything he will be. He conquers pop culture by 21, and then he just enjoys the downward slope. Sure, there are moments of greatness, but his life as art belongs on that day between Tupelo and his home on Audubon Drive in Memphis. So what does Tupelo do? They tear down the old Fairgrounds.”

Ground zero for American pop culture is the purity and naiveté of rock-and-roll at its inception, when the middle class consumed and supported uncorrupted artists. The era ended when rock-and-roll, a singularly racially integrated art form, became commodified by commercial interests and became the product called “rock.” American pop culture died to an extent when Elvis did. Punk was the last pure expression of rock-and-roll.

However, that isn’t to say that rock-and-roll is dead and buried, McCarthy argues, because the pure creations from decades ago are still relevant. Worshipping at the feet of this cultural deity is still a worthwhile endeavor — and don’t confuse it with nostalgia and sentimentality, he says, which “don’t apply to things that are still relevant.”

He sees the relevance of rock-and-roll, still lingering in the arifices of the past, and he fights to protect it. “Memphis should be a time capsule for that world, where blues music and country music combined to become rock-and-roll,” McCarthy says. “We don’t need to recreate it: It already happened. We can base an entire world on that model, if we would just stop tearing that world down.”

Creating a Monster

1994-2014, Memphis — As scarring as his biological drama was, McCarthy received considerable support and love from his adopted parents. One important attribute McCarthy would learn from his Greatest Generation parents was “a Depression-era ethic, so that I could deal with poverty when I came face to face with it later, when I decided to be an artist.” He would call upon that lesson time and again. His films were low budget; he didn’t make money off of them; and he struggled to make ends meet. Much of that was by design as part of an artistic austerity. “Being a filmmaker in America is the most narcissistic, self-centered thing you could be. It even approaches evil,” he says with a laugh.

“I always wondered why the circus is a metaphor for craziness,” McCarthy says. “If that were really true about the circus being ‘crazy,’ we would never take the kids because it would be too insane. In reality, the circus contains a big ol’ safety net. So the craziness is simulated, sort of like a film festival or video game. What happens when you remove the safety net? That’s the real circus. When you have no safety net, no guaranteed salary, no trust fund, no nonprofit — that’s the last 20 years of Guerrilla Monster.” Guerrilla Monster’s three rules were: Don’t ask permission; shoot until they make you stop; and deny everything.

Don’t call McCarthy’s films “indie.” He’s careful to draw a distinction between indie film and underground film: “The indie scene is basically mainstream filmmaking without money,” he says.

“I’ve been compared to Truffaut, Fellini, and Orson Welles, all by asking women to take their clothes off in the middle of the night in Mississippi with a camera.”

It’s now or never

Past, present, and future — Much of what occupies McCarthy’s brain is what is now gone. “I miss Memphis Comics. I miss Pat’s Pizza. I miss Ellis Auditorium. I already miss the Mid-South Coliseum. I identify with it. I miss me.”

McCarthy takes the time to note that he and the Coliseum were born in the same year, and suggests we drive over to appraise its current state of neglect. McCarthy was a founding member of Save Libertyland, active in preserving the WHBQ booth at the Chisca, worked at Sun Studio for a time, served as a tour guide in Memphis, and is a strong advocate for preservation. “These things will be important to smart people 100 years from now,” he says. “And they’ll blame us as a generation that created a serious criminal offense against the 20th century, the American century, by tearing down the rock-and-roll structures that were in place in Memphis at the time when all of this music was created, when all of this goodwill was created.”

Preservation probably isn’t exactly the right English word for it. McCarthy’s advocacy isn’t about stasis but about vitality. “The further you get away from the pulse of something, the closer you get to the death of it,” he says. “This bleeds into my dislike of historic markers, because we keep those people in business.” For a few years, he has been developing a documentary about it, Destroy Memphis (tagline: “See it while you can”).

“I wasn’t born in the ’50s, where I could take advantage of the thriving middle class that spit out rock-and-roll, great movies, and great comic books — so great they were outlawed by the government. I worship those things. Those things are greater than any dogmatic religious principles.”

His thoughts on the subject are similar to those about Guerrilla Monster, which, he announces, may have reached its end. The fact is, he can’t afford to keep his cinematic pursuit going without financial backing. He has a family to support. “Underground films are fascinating to watch because you see struggle. I’ve been through 20 years of good old-fashioned punk rock struggle. Deliver me from struggle.

“In the ’90s,” he continues, “I used to say the voice of a dead twin told me what to do. Now I’m not sure. Sometimes I feel like I’ve lost my way. I feel like I’m in the prime of my filmmaking life, but I can no longer make films ‘on the cheap’ where I keep asking people to do things for me for free. Guerrilla Monster has served its purpose. ‘Twas reality that killed the beast.”

If he has to, he will focus on comic books, which carry much less budgetary overhead. “I probably have another 20 years before my hand starts to shake. You’ve only got so much time to create.”

What he really wants to do, though, is to get his films financed. He has a script, Kid Anarchy, based on a comic book he created in the 1980s with his friend George Cole. McCarthy, Cole, and Memphis filmmaker G.B. Shannon have written the script. It’s much more accessible than his past films. He thinks it could be his shot.

“I always thought Mike would be fantastic working with a solid producer and a solid script,” Brewer says. “He’s very professional and he’s really prepared.”

“If I got a million bucks to make Kid Anarchy, it wouldn’t be a Guerrilla Monster movie, it would be an indie movie with punk rock principles, closer to Richard Linklater or Mary Harron,” McCarthy says. “It’s about a 15-year-old boy in 1984 who gets kicked out of Memphis for being a juvenile delinquent. So, he goes to live with his religious aunt and uncle in northeast Mississippi, like a true fish out of water. He has to attend a new school, to pray before dinner, and he can’t listen to the Dead Kennedys anymore. It’s akin to Breaking Away, or every S.E. Hinton novel; it’s a ‘let’s discover the next Matt Dillon’ movie. It’s all that. But I can’t make it for nothing.”

In other words, it’s the McCarthy story told in reverse. Is the happy ending at the beginning or at the end of the story?

Producer John Crye, former creative director for Newmarket Films (where he oversaw the acquisition, development, and distribution of Memento, The PrestigeWhale Rider, Monster, Donnie Darko, and The Passion of the Christ), is helping McCarthy package the film in terms of investment and talent. “In this economy, the safest investments in film are with those filmmakers who can produce a $1 million film that looks like a $10 million film,” Crye says. “McCarthy proved with Cigarette Girl that he can make tens of thousands of dollars look like hundreds of thousands. The time is right for him to come out of the underground, work with a better budget, and start creating more commercially viable movies. Kid Anarchy is that. It is to Cigarette Girl what Richard Linklater’s Dazed and Confused was to Slacker.”

“The blues wouldn’t have been created without oppression,” McCarthy says. “Jesus wouldn’t be worshipped without crucifixion. But without any of that you don’t get resurrection. I want resurrection, I want to make money.

“I want to make Kid Anarchy. So crucify me.”

The Mike McCarthy/Guerrilla

Monster Films calendar of events:

* May 16: Mike McCarthy on WKNO’s “Checking on the Arts” with Kacky Walton

* May 17 : Malco’s Studio on the Square screens Cigarette Girl at 10 p.m.

* May 20: Cigarette Girl out on DVD, archer-records.com/cigarette-girl

* May 23 : Release party at Black Lodge, 9:30 p.m. With appearances by

Cigarette Girl stars Cori Dials and Ivy McLemore and live music from

Hanna Star and Mouserocket

* May 24 : Summer Drive-In screens Guerrilla Monster Films, featuring

Elvis Meets the Beatles, Cigarette Girl, Teenage Tupelo, The Sore Losers,

Superstarlet A.D., and Midnight Movie

For more about Mike McCarthy, including streaming videos of his films, essays, and the script for Kid Anarchy, go to guerrillamonsterfilms.com.

Categories
Cover Feature News

Who’s Who in Memphis Twitter

It seems like only yesterday that Twitter was being disparaged as a silly social medium primarily used by self-obsessed people who needed to share what they were having for breakfast with everyone they knew. Oh wait, that was yesterday. And we get it. Twitter isn’t for everyone. (Talkin’ to you, Alec Baldwin, and maybe you, Steve Cohen.)

But Twitter’s not just for breakfast anymore, either. Sports figures, musicians, actors, politicians, and other celebrity types have thousands — sometimes hundreds of thousands — of followers. They see Twitter as a great way to connect with their fans and promote themselves.

But what about “normal” folks? Why should anyone follow the non-rich and non-famous here in Memphis? Well, for one thing, there’s not a newsperson, weatherman, or journalist in town worth their salt who doesn’t tweet. Twitter is where news breaks in 2013 — before it gets written or broadcast. Twitter is where you can find out about a wreck on your commute or get a tornado warning or learn the Grizzlies have signed Mike Miller, hours before it becomes “news.” Twitter is the stone tossed in the pond; it’s where the news ripples start.

And Twitter is fun. Watching a Grizzlies game or a presidential debate or, yes, Sharknado with Twitter is a communal snark-fest where you can trade quips and one-liners with the likes of Wendi Thomas or Chris Vernon or Shea Flinn or Jerry Lawler.

With that in mind, we present an admittedly subjective list of the Memphis Twitterati, each with a helpful 140-character (or so) descriptor. — @MemphisFlyer, 14,955 followers

Media (Go here to subscribe to all of the Twitter feeds on this list.)

Everybody in media tweets these days. Most of them stick to business, posting breaking news and weather, linking to stories they’ve written, and promoting upcoming newscasts. But some Memphis newsies let their personalities shine a little more. They understand that if you tweet nothing but promo, your followers will be few. Here are a few who get it.

Nikki Boertman @PhotoNikki, 13,827 followers: The CA‘s Grizzlies photographer; gives great in-game tweets. Also likes Memphis music, downtown, general news. 14,000 followers can’t be wrong.

Kerry Crawford @ilovememphis, 12,169 followers: Indefatigable tweeter and blogger has taken a paid CVB social media job and made it fun, with lots of links, Memphis boosterism, and humor.

Wendi Thomas @wendi_c_thomas, 6,344 followers: Twitter Wendi is generally funnier than columnist Wendi. Readily interacts with followers on national, local, and personal topics.

Joey Sulipeck @joeysulipeck, 6,190 followers: Fox 13 weatherman is smart, funny, irreverent, e.g., “To the couple running down Poplar in the right lane against traffic at 5 a.m. REALLY?!?”

Kontji Anthony @kontji, 5,819 followers: WMC newscaster tweets lots of straightforward news and pics but sometimes shows her funny side. She does work with Jason Miles, after all.

Carrie Brown-Smith @BrizzyC, 5,518 followers: U of M journalism professor loves good beer, Green Bay Packers, and running. Tweets breaking news links and other interesting updates.

Lauren Lee @laurenleefox13, 4,663 followers: Sassy Fox 13 newswoman (and new mother) who isn’t afraid to let her hair down, e.g., “Hello hangover. Welcome back, old friend.”

Jason Miles @JmilesWMC, 4,011 followers: The man, the myth, the legend. Channel 5’s Twitter ninja, known for over-the-top 140-character news synopses. Master of the graphic tease.

Melissa Moon @MMoonWREG3, 3,772 followers: With 48,000 tweets, this WREG reporter is one of the most prolific media tweeters in town. Lots of newsy links, many of them crime-related.

Andy Wise @AndyWise5, 3,323 followers: The chief consumer investigator for WMC-5 is on your side with news links, tips, a little humor, and a rooting interest in the Atlanta Braves.

Mike Matthews @bulldogonabc24, 1,803 followers: Typical tweet — “I wish I had ghetto booty. I’m a 59 year old man. My ass has been MIA since 1996.” This newsman’s inhibitions are few.

Mediaverse @Mediaverse, 1,642 followers: The nom du Twitter of former CA reporter Richard Thompson, who offers often insightful — if sometimes cranky — criticism of local media.

John Beifuss @JohnBeifuss, 956 followers: Movie nerds, unite. The CA‘s film critic tweets what’s playing around town, what’s opening this week, review links, trivia, and other filmy stuff.

— Bruce VanWyngarden @sylamore1, 3,604 followers

Sports/Sports Media (Go here to subscribe to all of the Twitter feeds on this list.)

What’s it like to be present at the dawn of greatness? Funny you ask. One night during Tony Allen’s debut season with the Grizzlies, I’m standing in the post-game locker room, near Darrell Arthur and Mike Conley. Over my shoulder, I hear Allen telling someone he’s just signed up for a Twitter account. I about-face, get the details (@aa000G9!?!), and rush to break the news — on Twitter, natch. The rest, as they say, is history: Live-tweets of fender-benders with middle-aged women. (“This lady called 1 of her goons!! Lol”) Channel-flipping commentary. (He loves Duck Dynasty.) Uncharted grammatical explorations. Sometimes, after a loss, even pain as deep as the ocean. If Tony Allen is our spirit animal, his tweets are our battle cry. Or something like that. Leggo!

Marc Gasol @MarcGasol, 550,113 followers: Towers over the local athletic landscape both in terms of physical size and Twitter following. Tweets in three languages and may give you paella tips.

John Hollinger @JohnHollinger, 128,243 followers: Tweets less often — and less freely — since his move from media to management, but the old snark still comes through in the Griz VP’s feed.

Tony Allen @aa000G9, 83,492 followers: Typical tweet (no, really): “S/o 2 the dude At cracker barrel : who keep calling me lebron! Smh,, paint ur face dude!! Like really!! Thas so not whas up!!”

Gary Parrish @GaryParrishCBS, 69,339 followers: A local host but a national columnist, as he’ll remind you. Feed has been all-business of late, which means he’s due for a late-night (tweet) bender.

Quincy Pondexter @QuincyPondexter, 44,431 followers: The Griz’s new man about town put the “social” in social media by securing a date with Miss Tennessee via Twitter.

Ed Davis @EdDavis32, 43,801 followers: Announced his presence with the local Twitter burn of the summer: “@CAGrizBlog yea I was asked by a coach who doesn’t have a job right now.”

DeAngelo Williams @DeAngeloRB, 34,299 followers: The former Tiger football great still reps his hood on his engaging feed and, like everyone back home, is hoop-crazed.

Chris Vernon @ChrisVernonShow, 22,483 followers: Radio-based Twitter raconteur. (Look it up, Verno) RTing wisenheimer. Betting-season philanthropist. @aa000G9’s hype man.

Geoff Calkins @Geoff_Calkins, 15,312 followers: For smart, wry, sometimes punning commentary that spans the local sports landscape. Doesn’t stick to sports (which usually just means pics of his dogs).

Kyle Veazey @KyleVeazey, 12,891 followers: The CA‘s sports-section jack-of-all-trades loves tennis, promoting his paper, and living in America’s Finest City. Not a fan of Nashville.

Jason Smith @TheCAJasonSmith, 8,843 followers: Your go-to source for Tiger hoops news and a friendly, reasonable voice of calm amid the Twittersphere’s rocky fan waters.

Robert Pera @RobertPera, 6,250 followers: The Griz owner doesn’t tweet much but makes them count. You missed his homemade Marc Gasol fan art? You missed out!

Rob Fischer @TheFishNation, 5,669 followers: A must-follow for game-day Griz news, home or road, along with sartorial twitpics.

Rick Trotter @RickTrotter, 4,379 followers: Hey, other NBA cities: Does your public address announcer tweet amid the action, talk a good cultural game, and take you to church on Sundays?

Katee Forbis @KateeForbis, 2,596 followers: Griz fan blogger “NBKay” is a genial, grounded obsessive who gives “superfans” a good name.

Kevin Cerrito @Cerrito, 1,672 followers: MemphiSport mag’s managing editor brings a dry humor and cultural bent that stands out on the local sports-twitter landscape.

Chris Herrington @ChrisHerrington, 3,642 followers; @FlyerGrizBlog, 6,813 followers

Politicians (Go here to subscribe to all of the Twitter feeds on this list.)

Politicians like to bloviate, and a rare few have learned how to do so within the 140-character tweet limit. A neat trick, but, by itself, that wouldn’t get them on this list. Everybody here can tweet with a personal edge, and for some (“Paging Reverend Whalum!”)

that’s their basic M.O. This cross-section is by no means exhaustive, but everybody here is also an elected official or a ranking political appointee or party functionary or something suchlike. Meaning, all of them have skin in the game. No mere bystanders or kibitzers.

Special emeritus honor to Mike Carpenter, now head of the Plough Foundation, who became famous (or notorious) for his all-too-candid tweets during county commission meetings (sample ripostes for the world to see: “Stop the name calling & debate the issue. Been called worse than RINO”; “we’re putting people to sleep”) and did much to foster the practice locally.

A C Wharton Jr. @MayorACWharton, 12,564 followers: There’s a ghost tweeter behind the resident glad-hander, but those stats are hard to ignore. Informative stuff, covers the urban waterfront.          

Steve Cohen @RepCohen, 8,000 followers: 411 from DC + “Felt slimed by wrongly being n Collins column. no sex scandal only family drama. unprofessional.” Cohen can’t, won’t duck a ruckus.

Kenneth T. Whalum Jr. @KWhalum, 3,604 followers: School board member mostly avoids the ALL CAPs of his emails, but same swagger. Slams biased media, fearful politicians, gives, takes no quarter.

Mark Norris @SenatorNorris, 3,298 followers: GOP majority leader’s tweets are usually sanguine reports of GOP wins but tweeted to communicate defeats for madcap Stacey Campfield.

Shea Flinn @FlinnShady, 3,135 followers: Saucy, nihilistic, funny, dead serious, tweets on everything. Busy last week defending colleague Fullilove from tweeters wanting her recall.

Senator Jim Kyle @JimKyle, 2,776 followers: Dem’s leader is funny. “Headline: ‘TN Gov. to sell the Smokies.’ Thought, ‘What else is new?’ Then realized they meant the baseball team.”

Bill Gibbons @TNSafetyGibbons, 1,917 followers: TN safety commissioner, ex-Shelby AG cautious in tone, but uses Nashville perch to dish on media, government, willing to cross party lines.

Harold Collins @HaroldBCollins, 1,025 followers: Up-front councilman tweets it like he sees it — e.g., to TV reporter: “Quit playing games and tell people the truth!” Can bark and bite.

Gale Jones Carson @GaleJonesCarson, 718 followers: DNC member, TN party official, does 411 for MLGW, aggregator like Gibbons. Tweets not yet fiery like her Facebook, emails; still hitting stride.

Antonio Parkinson @2_Shay, 615 followers & @TNRepParkingson, 1,007 followers: Ex-Marine, N. Memphis/Frayser stalwart. State representative is ambitious, hip to all things hi-tech, posts government skinny, lots of pics.

Steve Basar @SteveBasar, 461 followers: New commissioner is take-charge: “What’s with the SCS pre-registration?…got to be a better process!”; “Seriously does anyone fax anymore?”

Edmund Ford Jr. @EdmundFordJr, 380 followers: Straight-talking council chair: “Having nothing else to do at 1:36 am but to comment on something I said shows you have nothing else to do with yourself.”

David Reaves @hdreaves, 302 followers: Just starting up but on a roll. Unified SB member, commission hopeful. Tweets politics, cites Plato, and asks, “Why am I listening to Cher?”

A. Keith McDonald @MayorKMcDonald, 301 followers: Another newbie, Bartlett mayor is up-front on munis, will stay prominent in negotiations. Tweets school, political, media, personal matters.

— Jackson Baker @jbaker7973, 1,396 followers

Artists & Entertainers (Go here to subscribe to all of the Twitter feeds on this list.)

I was sitting high up in the nosebleed seats at the 2012 Republican National Convention in Tampa, when Clint Eastwood started to berate an empty chair. My first thought wasn’t, “I wonder what Jon Stewart will have to say about this?” I wanted to know if Eastwood’s speech was making anybody’s day back home in Memphis. So out came the iPhone, and suddenly I was no longer in a far-off arena packed with thousands of dismayed conservatives but in the more familiar company of the Memphis musicians, artists, actors, and comedians I follow on Twitter. I wondered what jokes or clever observations might be left by the time The Daily Show aired. Not surprisingly, the best lines had already been tweeted.

If you want to know what people will be talking about, follow reporters. If you want to laugh, cry, or think about the things everybody is talking about, follow artists and entertainers.

Juicy J @therealjuicyj, 1,120,867 followers: Juicy is live 24/7 in the club, in the studio, and even on vacation. Tweets what he eats and who he parties with: “Mane dat new drake song is fire!”

Jerry Lawler @JerryLawler, 751,843 followers: Memphis’ biggest kid tweets about wrestling, Twinkies, comic books, and being the King. Responsible for trending topic #prayforlawler.

Craig Brewer @MyBrewTube, 23,965 followers: The affable Hustle & Flow filmmaker engages fans & critics about movies, Memphis, & family life: “Any thoughts on maple bacon donuts?”

Alexis Grace: @RealAlexisGrace, 9,699 followers: American Idol contender, down-to-earth actress. Fans say, “You never know what she’ll post next.” She says, “I just passed gas?”

Lil Buck @LILBUCKDALEGEND, 3,193 followers: It’s fun to see the world through the eyes of Memphis’ most in-demand dancer. “Follow @tilerpeck… she can jook ON POINT!”

Chris Haley @theChrisHaley, 2,493 followers: Comic book artist. “Under the flickering fluorescent light they refuse to replace, I try to remember a time before I entered this post office.”

Brian Venable: @brianvenable, 1,671 followers: Lucero guitarist owns a hatchet: “this is what a fat screaming naked tattooed bearded man will be holding when he chases you out of his house.”

Morgan Jon Fox @MorganJonFox, 1,428 followers: Large-hearted filmmaker, hardcore Griz fan. Activist. “Best church sign ever: ‘Some people are gay. Get over it.'”

Katrina Coleman @KatrinaLColeman, 1,228 followers: Comedienne, roastmaster: “‘Baby, you make me ovulation horny even when I’m pre-menstrual.’ — most horrifying thing I have ever meant sincerely.”

Ned Canty @poilaparola, 1,068 followers: Not into opera? Opera Memphis’ general director also does puppets and posts to YouTube. “Is it weird that I hide during intermission?”

John Paul Keith @JohnPaulKeith, 1,202 followers: Guitar hero, music fan, wit: “First person in my Twitter feed who wishes Jerry Garcia a happy birthday gets waterboarded.”

Jason Harris @Jasondahater, 884 followers: Midtown MC tweets about BJ & the Bear reruns and gigs. “Da hater has a new EP … horrible music to add to your already horrific collection.”

Dave Cousar @DaveCousar, 233 followers: Tom Waits+Groucho = Memphis troubadour Dave Cousar: “Every relationship I ever had ended the same way. Fighting about where to have lunch.”

Sam Shoup @Samjamm, 63 followers: Arranges for orchestras, jams in bars, sees the future: “Within the next couple of years, every Memphis musician will have his own documentary.” — Chris Davis @peskyfly, 1,347 followers

Foodies (Go here to subscribe to all of the Twitter feeds on this list.)

On May 24th, Restaurant Iris owner/chef Kelly English (@kelly_english) responded to a question via Twitter: “@MemphisACP: Tony Parker tried to eat dinner @RestaurantIris and was denied service by @kelly_english. Can you confirm or deny?” His answer, “Confirmed,” a mere 13 characters, set off a Twitter storm.

Not surprising, considering that it was the evening before the Grizzlies were to take on the San Antonio Spurs in the Western Conference finals; the Twit pic of the chef with a forearm markered with “All Heart. Grit Grind”; and the terse “Confirmed, denied service.”

English clarified that the restaurant was already booked shortly after that first tweet, but the story had legs! Spurs fans squawked; English supporters rallied; journalists scrambled; TMZ took notice. Such is the nature of Twitter: Tweets rattling off fingertips like hoecakes flying off the griddle. Here are some of the fun folks in the Memphis food Twittersphere. (Note: We didn’t include chefs, because, well, they all tweet, and it’s easy to find your faves.)

Justin Fox Burks @chubbyveg, 3,513 followers: Veggie guru shares recipes: grilled figs and lemon with gorgonzola and honey, anyone? Occasional RTs of an adorable kitten in a mushroom costume.

Margot McNeeley @projgreenfork, 3,505 followers: Certifies sustainable restos, offers food tips: “If you think Memphis restaurants don’t offer enough vegetarian/vegan options, you ain’t asking.”

@MemFoodTruckers, 2,846 followers: Food truck tracker and one-stop shop for finding new mobile munchies; plus, helpful reminders on upcoming food truck rodeos.

Seth Agranov @BestMemBurger, 2,629 followers: Launched Memphis Best Burger fest; prolific: “So what happens when everyone in town raves about a burger and you thought it was meh at best?”

Thomas Robinson @eatlocalmemphis, 2,061 followers: Tweets local eats, links to blogposts on chef happenings and new restos, with frequent nods to his ladyfriend’s bake shop.

Melissa Petersen @ediblememphis, 1,122 followers: Retweeting queen and culinary ambassador for the city, tweeting farm-to-table tidbits and teasers from Edible Memphis magazine.

@fuzzybrew, 1,010 followers: Top-shelf tips on #freebeer tastings, info on events such as @memphisbeerweek, reviews and updates on local and craft beers, and homebrewing how-to.

Angela and Paul Knipple @PaulKnipple, 577 followers: Authors of Farm Fresh Tennessee and World in a Skillet. “Mustard seed beaten biscuits with sock sausage from the Hermitage Hotel. Yeah boy.”

Pam Denney @Memphis_Stew, 468 followers: Memphis magazine food writer, author of Food Lovers’ Guide to Memphis. “I picked up these persimmons from my neighbor’s tree. They taste like charcoal.” Mmm. —

Hannah Sayle @flyersayle, 289 followers; Susan Ellis @HungryFlyer, 1,452 followers

Keepin’It Real (Go here to subscribe to all of the Twitter feeds on this list.)

Most people mentioned elsewhere in this story are notable independent of Twitter. But the folks on the following list are famous by and large because of Twitter. These are regular Joes and Janes who, sure, sometimes Tweet pics of what they’re eating and drinking but who also, because of the humor and insight they bring their Twitter feeds, make you wish you were breaking bread and imbibing beer right there with them. Real Memphis Twitter is ridiculously deep and rich.

Jon Roser @Jon_Roser, 5,093 followers: The tweets of @chrisvernonshow’s sidekick prove he’s into more than just sports, including rap, TV, movies, and late-night shenanigans.

Roy Barnes @GatesofMemphis, 3,104 followers: Civic brain mixes it up w/pols, media, and non-profiteers: “When it comes to leadership in the built environment, we’re still home alone here.”

J.T. Dobbs @sloganeerist, 2,806 followers: Weird Twitter, 100 percent local, as funny as comedians with six-figure followers. “LEGO Citizen Kane”; “Oh, I can’t stay mad at you, pants.”

Will Askew @waskew, 2,775 followers: Radio-talker turned school teacher Tweets sports, city, politics, family, and ancient history, and RTs links to thoughtful material.

Stephanie Bennett @stephMEM, 2,237 followers: Prolific tweeter and the standard by which “Twitter famous” is measured in Memphis. Funny. Her life is a moveable feast. When does she sleep?

Paul Ryburn @Paulryburn, 1,699 followers: Downtown Mem maven whose “celebrity” preceded Twitter. “I wonder if there’s a PBR Hall of Fame, and if so why haven’t I been inducted yet?”

Beth Spencer @bethykins, 1,513 followers: Hilarious and engaging. “Facebook is also a useful guide for what not to do on Facebook.” “What ya’ll know about eating Krystal’s while sober?”

@gurleygurl, 1,465 followers: Griz, Lionel Hollins, and NY Giants fan. Doesn’t suffer fools. “LIONEL! HEY BOO HEY! I LOVE YOU!” HONK HONK!

@thebaseballjerk, 1,244 followers: High-volume (stream of conscious?) tweeter who, despite his name, covers a lot more ground than just sports and who, despite his name, ain’t a jerk.

@TacoMeat901_7, 1,189 followers: Hilarious, NSFW but mild personality and attentive to socioeconomic culture, pop. “As you all know this is Helen Mirren appreciation central.”

Fakes & Parodies (Go here to subscribe to all of the Twitter feeds on this list.)

@FantasyLapides, 2,406 followers: Originator of fake sports talk in Memphis mimics the catch-phrases and folkways of sports journalist George Lapides. Utterly nails it.

@fakemongo, 1,089 followers: Real Prince Mongo is weird. Fakemongo is weird, only funnier. “Life is too short to spend time trying to cross Union Avenue. Levitate, Spirits!”

@CAcommenter, 802 followers: The internet’s underbelly, the comments section of The Commercial Appeal — sexist, misogynistic, xenophobic — anthropomorphized to hilarious effect.

— Greg Akers @gregakers, 1,306 followers

Categories
Sing All Kinds We Recommend

Indie Memphis Thursday: Big Star, Craig Brewer, Sun Don’t Shine

Kentucker Audley on our cover this week.

  • Kentucker Audley on our cover this week.

The 15th Indie Memphis Film Festival kicks today with a limited slate before opening up with wall-to-wall action tomorrow.

You can check out my cover story in this week’s paper on Memphis-connected filmmakers Ira Sachs and Kentucker Audley, who are both involved with multiple films at this year’s festival, most notably new features — Sachs’ Keep the Lights On and Audley’s Open Five 2 — that are provocatively personal. I also touch on a quartet of selections rooted in Memphis cultural history, including the two highest-profile screenings tonight. Separately, colleagues Chris Davis and Greg Akers join me to highlight a handful of potentially overlooked festival selections.

The gala screening tonight of Big Star: Nothing Can Hurt Me (Playhouse on the Square, 6:30 p.m.), the fine new documentary portrait of the great Memphis ’70s band, is sold out, but there’s plenty more to choose from.

Categories
Film Features Film/TV

Film Clips

Morgan Jon Fox (pictured) and John Michael McCarthy are key crew members on Craig Brewer’s $5 Cover, but they are notable local filmmakers in their own right. Both have other projects on tap.

Fox has been particularly busy. His newest film, OMG/HaHaHa, premiered at NewFest, the New York LGBT film festival, June 14th, where, according to Fox, representatives from 12 distributors attended the screening.

“I went up there hustling. I brought 30 [electronic press kits] and screener copies and networked as much as possible. We got a couple of e-mails back from different distributors. One distributor, Water Bearer Films, which put out Mike Leigh’s earlier films and Pasolini’s earlier films, like Accatone … they loved the film and were really interested in it, so we started talking and reached a general agreement. I don’t know when they’re going to release it. It might be later this year. It might not be until next year.”

The deal with Water Bearer is for DVD, digital, and television rights, according to Fox. The film is likely to make its Memphis debut this fall at the Indie Memphis Film Festival.

Fox has also recently struck a cable deal with the Here! network to show Blue Citrus Hearts and secured funding to complete his documentary This Is What Love in Action Looks Like. In the meantime, he’s also producing the next feature from local filmmaker Kentucker Audley, whose Team Picture won at Indie Memphis last year.

“It’s been a good year for me to take the leap into trying to do this full time,” says Fox.

McCarthy has recently finished a script with Craig Brewer for a project called War Bride, which has both filmmakers excited. While Brewer tries to get his next feature project — likely the long-rumored Maggie Lynn — off the ground, McCarthy is working on turning the War Bride script into a graphic novel, with hopes of eventually bringing the concept to cinematic life.

In the meantime, McCarthy has been filming music videos, most recently one for Amy LaVere‘s “Pointless Drinking” and one for Seattle punk band The Cute Lepers, on Joan Jett‘s Blackheart Records label. Both music videos can be seen at McCarthy’s website, GuerrillaMonsterFilms.com.

Brewer isn’t the only local filmmaker working on a web-based project. Mark Jones (Eli Parker Is Getting Married?, Fraternity House Massacre at Hell Island) has begun production on a five-episode web-based series called On the Edge of Happiness. A serialized soap opera/murder mystery, Jones hopes to launch the series — with one episode debuting per week — in November.

Joann Self Selvidge‘s True Story Pictures will screen its latest local history documentary, Leveling the Playing Field: 20 Years of Bridge Builders, at Malco’s Studio on the Square Thursday, July 31st. The 42-minute documentary looks at the history and impact of Bridge Builders — a local youth leadership development program that brings together students of different ethnic and cultural backgrounds —  since its inception 20 years ago. The screening is at 7 p.m. Tickets are $10, or $15 with a DVD of the film. RSVP for the screening at True Story Pictures: 274-9092 or info@truestorypictures.com.

Categories
Cover Feature News

Memphis Plays Itself

DEF CON 4 at the Daisy

“So, you did that Black Snake movie, right? What else did you do?”

Filmmaker Craig Brewer may be one of Memphis’ greatest recent homegrown success stories, but 11-year-old Keller Lambert didn’t get the memo.

It’s a Friday night at the New Daisy Theatre on Beale Street, the first night of shooting on $5 Cover, Brewer’s new web-based MTV series about Memphis music. The filmmaker is eyeing the monitors as three cameramen shoot a scene onstage involving local rapper/marijuana spokesman Muck Sticky and actress Claire Grant. It’s 20 minutes before doors are set to open, and the line outside is already down the block, but Brewer and his crew need to get some takes done before the crowd swallows the room.

This is what Brewer labels a “DEF CON 4” shoot, unlike the more manageable conversation scenes he’ll direct at Midtown coffee shop Java Cabana and on the downtown trolley a few days later. And Brewer already has company.

A towheaded grade-schooler in an oversized Muck Sticky T-shirt and “Muck Family Tribe” laminate, Keller stands beside Brewer, studying the action on the monitors. They’re both enthusiastic about each take, bobbing their heads and rolling their shoulders in unison to the music, like they’ve been working on their routine. When Brewer starts waving his arms and shaking his hands as part of the choreography he’ll walk the crowd through later, Keller takes note and mimics the movements. Still, this kid’s not here for the filming. He’s down with the Muck. About his new friend, Craig, he isn’t so sure.

“I did Hustle & Flow and another movie a long time ago you probably didn’t see, called The Poor & Hungry,” Brewer says to Keller.

Onstage, cast and crew are scurrying to get ready for another take. Assistant director Morgan Jon Fox confers with script supervisor Mike McCarthy. Cameraman Brent Shrewsbury gets set. And Grant is keeping costume designer Meriwether Nichols busy. Grant is wearing Nichols’ most flamboyant $5 Cover design for this scene: a pink, gingham baby-doll dress rigged with Velcro to be removed in one, sudden motion, revealing a lace-and-leather/bra-and-panties dominatrix get-up.

Back behind the monitors, Brewer catches the kid eyeing the girl and tries to relate.

“When I was your age,” Brewer says, “HBO and Showtime were just getting started.”

“Don’t forgot Cinemax,” I say, standing behind Brewer and trying to keep out of the way.

Keller looks at us both and nods matter-of-factly.

“Skinemax,” he says. “If someone says they haven’t seen stuff like that, they’re lying.”

There have been a couple of problems on the set. One take was aborted when Grant lost timing with the song. On another, one of her props malfunctioned, but she soldiered through it. This last take was a keeper, though. Watching the monitors, Brewer jumps up and down like a kid whose favorite team just won the pennant. “Oh my God, did you see that?” he says about a particularly good angle captured by one camera.

“Cut! Excellent! So good. So fucking good,” Brewer shouts to everyone involved.

Keller is somewhat less impressed and is looking to fill out his new pal’s bio a little bit.

“Are you also the guy giving us all of this VitaminWater and stuff?” he asks Brewer.

Brewer smiles. “Naw, man. I wish I was. That guy’s kind of a pimp.”

Memphis belongs to us

Brewer and his all-local crew will shoot $5 Cover at locations across the city through August 22nd, then begin post-production on a project Brewer has to complete and deliver to MTV New Media on a relatively tight budget of $300,000 to $350,000. The series of 15 “webisodes” — roughly 8 minutes per — will each focus on a local musician playing a slightly fictionalized version of him or herself, and each episode will be built around one of the artist’s songs. In addition to Muck Sticky, performers slated to appear include rapper Al Kapone, roots star Amy LaVere, Lucero front man Ben Nichols, and garage-rock fixture Jack Yarber.

But, from a local perspective, the process is perhaps as interesting as the content.

“There are these stories that we’re telling,” Brewer says, “but there’s also this filmmaking story as well.”

by Justin Fox Burks

Craig Brewer

Brewer’s crew for $5 Cover is built on Memphis film-scene luminaries and longtime friends. There are no pros flying in from New York or Los Angeles for this shoot.

Brewer has been mulling over the $5 Cover concept — originally called Bluff City Chronicles — for years and attempted to do it last year before the Hollywood writers’ strike threw everything for a loop. Brewer put renewed emphasis on the project last fall while directing an episode of the FX television series The Shield. It started with Brewer’s wife, Jodi, and sister-in-law and longtime assistant, Erin Hagee, putting together a hard copy and digital pitch book for Brewer to use when shopping the concept around.

When Brewer finally struck a deal with MTV New Media to produce the project, he tabbed Hagee to take on a bigger role.

“The first person is Erin,” Brewer says of the crew he assembled. “She probably knows my mind better than anyone else. And, more so, she was very passionate about this project. It meant a lot to her because she also goes out and sees a lot of these musicians. So I told her if I’m really going to do this on this local level, that’s going to mean you being the hands-on line producer and production manager.

“It’s a very hard job,” Brewer says, “but Erin has been my assistant during these [feature-film] productions, and that doesn’t mean getting me a Diet Coke every once in a while. It’s serious work — up before I am and down after I am. Even knowing it’s something that she’d never done before, she said yes and said the first person we needed to get together with was Les Edwards.”

Edwards, an accountant by trade, had a relationship with Brewer and Hagee via his stewardship of the Indie Memphis Film Festival. With $5 Cover operating on a tight budget, he was brought in to help keep an eye on expenditures.

With regular Brewer collaborator Scott Bomar back on board as music supervisor, $5 Cover‘s bare-bones early team was completed this spring by bringing in Morgan Jon Fox, a local filmmaker perhaps best known for his Indie Memphis-winning feature Blue Citrus Hearts, to be assistant director.

“The important one for me was Morgan,” Brewer says. “We’d been talking about working together for a couple of years. I don’t think he anticipated me coming to him for help, but I did.”

That skeleton crew prepped the project — putting together a budget and a cast and working on a shooting schedule. Then, about a month ago, Brewer started filling in the rest of the crew. Nathan Black, of Unbreakable Productions, came on board as director of photography. Eileen Meyer, fresh off the A&E network series The First 48, was added as second assistant director, taking some of the scheduling duties and freeing Fox to get more involved with rehearsals. And longtime Brewer friend and collaborator Mike McCarthy — who helped launch the modern Memphis film scene with “exploitation” movies such as Teenage Tupelo and The Sore Losers — joined as script supervisor.

by Justin Fox Burks

Claire Grant and Muck Sticky at the New Daisy

“I feel that I’m somewhat a student of Michael McCarthy,” Brewer says, referencing how McCarthy’s films helped him discover both Memphis’ film and music scenes after moving to the city full time in the mid-’90s.

Fox remembers the first time he met Brewer and McCarthy as a 20-year-old aspiring filmmaker. It was the grand opening of Malco’s Midtown Studio on the Square theater, and Brewer was there handing out flyers for The Poor & Hungry, which was premiering at Ridgeway Four. McCarthy was with him.

“I walked up to introduce myself. I’d just made a short film or something,” Fox says. “They asked what I did, and I said that I was about to go to film school. Mike asked what I was spending, and I said about $7,000 a year. He said, ‘Give me that money. I’ll make 20 films with it.'”

Fox was never able to get together the money for film school and instead began to make his own way, as McCarthy and Brewer had.

“Ever since then, Craig has been a mentor — for a lot of people, really,” Fox says. “And he has the least reason to care about spending time nurturing people, in the sense that he could be in Los Angeles working. But he’s always been authentic in his generosity and interest.”

Once the $5 Cover project began, Fox says he and Hagee were so submerged in new challenges it wasn’t clear how job duties matched up with crew titles, but they got together to make it work.

“We started early on making contacts with all of the actors and working with some film production software to coordinate schedules, locations, actors, scenes, props — everything that goes into making the film,” Fox says. “It’s been a huge challenge, because we’re dealing with a lot of musicians who go on tour.”

Managing cast and crew members who are balancing film work with other jobs and pursuits is something Fox is used to doing on his own low-budget indie films.

“Compared to Craig’s last two projects, this is more of my type of filmmaking,” Fox says. “It’s more run and gun, get several scenes shot in a day. Handheld camera. Lots of improvisation. It blends the line between fiction and nonfiction, which is a style I really love. So I feel right at home. That’s probably one of the reasons Craig wanted me to be involved.”

by Justin Fox Burks

Mike McCarthy, director Craig Brewer, and Keller Lambert

“I’m probably more influenced by Morgan’s work than my own on this project,” Brewer acknowledges. “Part of his gift is to get a bunch of people working, get a bunch of people comfortable, and roll cameras and see what happens. I need that in this movie. I was in a very technically precise universe in the last two movies.”

For Brewer, working on $5 Cover has been somewhat of a return to his guerrilla filmmaking days of doing The Poor & Hungry on the cheap.

“I really would like to return, just for one summer, to a touch of what I had before this madness began,” he says. “Which was get a couple of guys with video cameras, get some friends, and you try to make something.”

You could see that spirit Friday at the New Daisy, where Edwards sat in the lobby with a laptop while Hagee bounced between Edwards and the shooting area at the front of the club. Earlier, Brewer was hands-on, taping down props. Later, he confers with Bomar stage left while Fox huddles with crew members backstage, preparing them for the shoot. McCarthy keeps a sharp eye on everything, taking time to laugh at his title as script supervisor. “I’m really more of an improv supervisor,” he says.

“The crew and myself went through a really extreme crash course that whole week,” Brewer says a couple of days later, back at his South Main production office, preparing for a rehearsal. “There was a tremendous amount of anxiety going into Friday night. The set’s being built. Contracts are being made. Everyone’s now doing things they’ve never done before — and we’re surviving.”

Expectation, Backlash, and
Music Sweet Music

The end product of $5 Cover, of course, won’t be as much about the local filmmakers behind the camera as the musicians in front of the camera and the music bursting from the soundtrack. In that way, the project is the culmination of a love affair with Memphis music culture that has animated most of Brewer’s work.

Brewer has built his storylines around both the songs being used and the real stories and background of his artists, hoping that the project’s fictional scenarios can illuminate truths about the artists and their music — Snowglobe’s Brad Postlethwaite juggling medical school with recording sessions; Al Kapone imparting hard-earned wisdom to his teenage son; Two Way Radio’s Kate Crowder working up the gumption to take her homemade pop public.

One of the biggest inspirations was Amy LaVere, who acted for Brewer in his last film, Black Snake Moan.

“She’s gotten some great success lately,” Brewer says. “But I knew Amy when she was living on top of what is now Last Chance Records. She was a tour guide at Sun, but I’d hear her talking about the album she was making. That’s the struggle I’m most moved by. That’s really what Hustle & Flow‘s about as well. I think there’s an intense nobility in musicians who are struggling.”

As Brewer and crew embark on the month-long shoot for $5 Cover, the filmmaker finds himself managing expectations and fending off the inevitable backlash.

“I think the most difficult thing for me to communicate to my cast and crew, and maybe to my audience, is expectations. I want this to be good. But we’re also doing something that’s for the web. This is not a major motion picture.”

There’s been talk of MTV exploiting local talent, but for an untested, web-based product about relatively little-known musicians, the network has no guarantee of recouping its investment. And, contrary to some assertions, people are getting paid. Brewer says the entire budget for the series is being spent locally. One crew member at the Daisy shoot had no complaints. “Yeah, as well as my other jobs,” he says, when asked if he’s been paid. “And [unlike other gigs], they’re prompt.”

“There are some algebraic certainties,” Brewer says of the experimental project. “There’s going to be a drop-off with the second episode. We know that full well, and we’re doing it anyway. And we don’t know yet how advertisers will respond. That’s one of the reasons I’m so glad MTV New Media is taking it out of their budget and rolling the dice on whether anyone is going to want to put an ad in front of this. That’s something that no one really talks about.”

Of complaints about the artists being used — or not used — on the project, Brewer can only shrug.

“I think there’s a certain burden that’s going to be placed on this project because it’s so local,” he says. “Once it was announced who was going to be cast and what songs were going to be used, there were a lot of comments, even to me personally, which I’ve always encouraged.

“A lot of people have come up and said there are so many more artists in Memphis. Why are you choosing these? And the reason why it’s these artists is because I do know them. Because I have worked with them, or, in some cases, I’m just a fan.”

Fox echoes this personal connection to Memphis music.

“The reason I’ve always used local musicians on my soundtrack — Snowglobe, Valerie June, a lot of people involved in this project — is not because I needed to have rights to music and I couldn’t get what I really wanted,” Fox says.

“That’s the music I listen to every day and that’s the music I love. It’s an honor that these are people in the artistic community here that I can call friends. It feels better that way. It’s authentic. I feel the same way about Craig. None of us feels like we have to do things for Memphis. It’s just about feeling connected and really appreciating this city. The soul of it. This is our home.”

For more news and notes on the local film scene, see the “Film Clips” round-up on page 49.

Categories
Film Features Film/TV

Craig Brewer Unveils $5 Cover, a Web-based Project Focused on Memphis Music

Director Craig Brewer went public yesterday with a long-gestating project rooted in the Midtown Memphis music scene: $5 Cover, which begins shooting July 18th with an all-local crew and cast and is being produced by Brewer in partnership with MTV New Media.

A planned series of 15 inter-linked short films (roughly eight minutes each) involving people and places in the Midtown Memphis music scene, $5 Cover will be seen online and via other new media outlets.

Brewer has been planning this project for years. The first time I talked to him about it was the fall of 2002 — prior to shooting on Hustle & Flow — when we met at Midtown coffee shop the Deliberate Literate to discuss his short film Natural Selection, then set to screen at that year’s Indie Memphis Film Festival. I included an aside about the concept, then called Bluff City Chronicles, in that year’s Flyer cover story on the festival:

Now, Brewer says he is determined to create a two-pronged career for himself, making larger-budget films for studios, which naturally entails compromise, and making locally shot digital films, à la The Poor & Hungry, basically for himself. Along these lines, Brewer is mulling over what he considers a “seasonal” series of films he’s calling Bluff City Chronicles, the first of which he hopes to shoot between now and the start of production on Hustle and Flow. Inspired by European art cinema, particularly the work of late master Krzysztof Kieslowski (The Decalogue, the “Three Colors” trilogy), Brewer says these new films will be a departure from the tight plotting that marks The Poor & Hungry and Hustle and Flow.

In the intervening years, Brewer’s concept of loosely plotted indie films has evolved in response to changing technology. Brewer now envisions an interactive, multimedia product that will help Memphis culture promote itself to the world.

The series of partly scripted, interconnected “webisodes” will each focus on a local musician playing a slightly fictionalized version of themselves, with each installment also built around a particular song by that artist.

The planned first episode, for instance, is called “A New Drummer,” and will star singer Amy LaVere in a romantic triangle with North Mississippi Allstars drummer Cody Dickinson and Memphis actress Claire Grant. When LaVere breaks up with Dickinson, she goes searching for a new drummer, with her song “Killing Him” at the center of the story.

Other local musicians slated to be featured in episodes include Lucero frontman Ben Nichols, rapper Al Kapone, Snowglobe’s Brad Postlethwaite, and River City TanlinesAlicja Trout, among others.

The 15 episodes will all occur within the same semi-fictional world, with characters overlapping and with a few non-musician local actors playing entirely fictional characters. For this duty, Brewer has dipped into his “company” of Memphis actors with Grant (from Natural Selection and Black Snake Moan) joining Jeff Pope and Claude Phillips (both of whom appeared in Hustle & Flow and Black Snake Moan).

With the Bo-KeysScott Bomar again collaborating on the music, Brewer’s crew will also be a who’s who of local filmmakers: Morgan Jon Fox as assistant director, Mike McCarthy as script supervisor, Nathan Black as director of photography, and Brent Shrewsbury as camera operator. Brewer’s longtime assistant Erin Hagee will serve as production manager for the project.

Shooting starts July 18th with a free concert (there’s no cover for $5 Cover) at the New Daisy Theatre featuring Al Kapone and Muck Sticky. Subsequent shooting will occur at local venues such as the Hi-Tone Café, Young Avenue Deli, and Java Cabana. Brewer hopes to have shooting finished by August 22nd and post-production rapped up by October, with a web launch of the series hopefully occurring soon thereafter.

Ultimately, Brewer sees the $5 Cover films as an entry point for a broader Memphis music/culture experience, with links, downloads, and an interactive city map. He also has hopes it could become a template for a new franchise — sort of a music-centered, online answer to the MTV staple The Real World — which could feature other filmmakers presiding over $5 Cover projects in their own cities, with Brewer as executive producer.

— Chris Herrington

Categories
News

Radar Names Craig Brewer “New Radical”

Local director Craig Brewer is among the nine named a “New Radical” in the December/January issue of Radar. The feature is the first in what is planned to be an annual salute to “exciting rogues, renegades, and rule-breakers of the year.”

Winners will be feted at a ceremony in New York on Tuesday and will receive a golden replica of Marcel Duchamp’s urinal.

Joining Brewer as a “New Radical” are actor/comedian Kathy Griffin, musician Spankrock, transexual actor Candis Cayne, and writer Shalom Auslander.

In his profile, Brewer is tagged as the “hirsute helmer of passionate, sweaty, soulful, booty-shakin’ Southern dramas” who “describes himself as the cinematic equivalent of a bat — ‘neither bird nor beast.'”

Categories
Film Features Film/TV

Black Snake Moan Available on DVD Tuesday

Being released today is the DVD of Craig Brewer’s Black Snake Moan. The nympho-chained-to-a-radiator feature, starring Christina Ricci and Samuel L. Jackson, underperformed at the box-office, making less than $10 million.

The film, a blues-soaked story about redemption, received mixed reviews. Read the Flyer‘s take here.

The DVD includes commentary by Brewer and deleted scenes as well as other features.