Categories
Film/TV Film/TV/Etc. Blog

Film Fatales Speaker Series Begins Monday

The Memphis chapter of Film Fatales, a national professional organization for women filmmakers, is hosting the first installment of its new quarterly speaker series at Crosstown Arts on Monday, Febuary 1. The inaugural speaker will be Deputy Film Commissioner Sharon Fox O’Guin of the Memphis and Shelby County Film and Television Commission.  

Sharon Fox O’Guin, Deputy Film Commissioner for Memphis and Shelby County

The Film Fatales describe themselves as “a global network of women filmmakers who meet regularly to mentor each other, share resources, collaborate on projects and build a supportive community in which to make their films.” The organization was started in 2013 by New York filmmaker Leah Meyheroff. The Memphis chapter started meeting last year, and currently boasts 10 members. The new speaker series is being developed in association with Indie Memphis and Crosstown Arts. 

O’Guin will address the resources available to independent filmmakers in Memphis, and will include the latest on the Tennessee tax incentives for film. The program, which is free and open to the public, begins at 6:30 with a meet and greet, with the workshop to begin at 7:00. 

Categories
Film/TV Film/TV/Etc. Blog

Memphis Named One Of 10 Best Places For Filmmakers

Movie Maker Magazine has one again put Memphis on its list of the Ten Best Places To Live And Work As A Filmmaker. 

Citing our affordable cost of living and DIY attitude, as well as the Malco theater chain’s willingness to screen independent work, Movie Maker placed Memphis at number ten on their list, right behind San Francisco, California. 

“Memphis was repped on the 2015 international circuit by the award-winning drama Free in Deed, set in the city’s storefront churches. Writer-director Jake Mahaffy was persuaded to move the project to Memphis in 2014 after original plans to shoot in Detroit, and the film ended up involving many from the small, tight-knit local indie scene.” the magazine wrote. 

You can read the entire article here on Movie Maker Magazine’s website. 

Categories
Fly On The Wall Blog Opinion

When “Whole Oats” Opened for Bowie in Memphis

There’s an old adage stating that the three hardest dates for a musician are, in order, “Christmas, Easter, and Memphis.” Few things illustrate the point like this review of David Bowie’s first Bluff City concert. Commercial Appeal reporter Joe M. Dove wasn’t merely unimpressed by the Spiders from Mars. He described Bowie’s 1972 concert at Ellis Auditorium’s North Hall as, “mostly noise.”

And get off my lawn!

“David Bowie probably could be a talented musician,” Dove wrote in a merciless review of the concert. “But his show is not selling music. He has substituted noise for music, freaky stage gimmicks for talent, and covers it all up with volume.” The writer had been led to believe The Spiders were, “a ballad group,” and was surprised to discover an artist capable of “out-freaking Alice Cooper on stage.” His harshest lines, however, were reserved for an opening act identified as Whole Oats:

At the least, Bowie’s show can objectively be called better than that of his warm-up group, “Whole Oats”, a country rock quartet.

Playing all of their eight numbers in a simple four-four time, the group could not even keep the attention of the crowd which spent much time milling up and down the aisles and tossing several plastic Frisbees.

One of “Whole Oats” final numbers was titled “I’m sorry.” It should have been dedicated to the audience.

So, whatever happened to this forgettable straight time-obsessed country rock quartet slammed by critics and ignored by frisbee crazed Memphians? Nothing happened to them. Because the quartet never existed. The detestable act was, in fact, Daryl Hall & John Oates who went on to become the most successful pop duo in history.

“Whole Oats” isn’t a typo. Dove didn’t get available facts wrong, exactly. Daryl & John were new on the scene and preparing to release their first Atlantic Records LP. 

When ‘Whole Oats’ Opened for Bowie in Memphis

“We’d like to dedicate this song to the audience,” said Daryl Hall never. 

Before the duo signed with Atlantic they’d also named their partnership “Whole Oats.” So, when the label released a promotional single for the forthcoming album,”Whole Oats” is the name the company went with. The group was identified as Daryl Hall & John Oates when their debut album Whole Oats was released in November, 1972, only two months after the Bowie concert. For the period between the promotional release and the official release, “Whole Oats” it was. 

Ladies and gentlemen, Whole Oats!

Memphis was apparently one of H&O’s first stops on the way up. Nobody noticed. Even Ron Hall’s fantastic concert history Memphis Rocks doesn’t clarify the listing, identifying Bowie’s opening act only as Whole Oats. 

Categories
Art Exhibit M

Peculiar Forms: Taiwanese Metalwork in Memphis

Visual Cues, Ms. Chen, Ting-Chun

This Sunday, December 13, from 2-5PM, the Metal Museum will host an opening ceremony for a new traveling exhibition, the 2015 Taiwan International Metal Crafts Competition. The exhibition, which will remain on view through March 13, 2016, features the best of Taiwanese metalwork as judged by the The Gold Museum of Taipei City. 

Soliloquy, Ms. Ou, Li-Ting

The artworks featured in the exhibition draw from both modern and more traditional tropes of metalwork, combining eastern and western craft sensibilities to create a selection both broad and masterful. Work by Li-Ting Ou and Ting-Chun Chen (both featured above) stands out. 

Flavour, Ms. Chen, Siou-Yi

The Metal Museum is one of few museums in the world devoted exclusively to fine metalwork. This will be the first exhibition from Taiwan that the Metal Museum has hosted. 

Categories
Art Exhibit M

Become a Design Genius at the Memphis Public Library for Free

When I was fresh out of college and in search of gainful employment, I applied to a bunch of jobs that required me to know Adobe Photoshop without my actually having any idea how to use Photoshop. I figured that it couldn’t really be that hard, since various tween-age members of my family seemed adept at it. I figured I’d fake it until I made it. 

But when I got my first assignment that required me to know how to lasso pixels (what is this, really?) I panicked. I had about 24 hours to figure out what I was doing or else look dumb. So I got a subscription to Lynda, a website that has tons of very useful tutorials that teach you how to use everything from architectural design software to Adobe products. It is an extremely useful tool for both beginning and veteran designers who want to keep up with fast-changing software (note: this is not being paid for by Lynda. It is a great website.) It isn’t design focused, either; there are tutorials on business and coding as well. The downside is that at $25 per month, the site is relatively expensive for people on a limited budget. 

Which is why it rules that the Memphis Public Library announced recently that it will provide Lynda to library cardholders for free, thanks to support from the Memphis Library Foundation. 

From the Library’s blog post about the new development: 

“Customers can customize their own curricula with more than 122,000 individual tutorial videos, covering a range of topics from desktop and office software to photography, web development, graphic arts, recording and audio engineering, marketing, technical skills, business strategies, creative techniques, career development and more. Customers interested in computer programming, coding, computer-aided drafting, IT management, web design, music, 3-D animation, and other related areas of study will find courses to match their interests as well. Certificates of completion are available for customers who want to measure progress or build their resumes.

… ‘The Library’s mission has always been about providing customers access to the information they need and want, in whatever format works best – books, audio, video, or online,’ noted Collection Development Manager Alan Stewart. ‘We’re delighted to be able to extend and enhance our mission by offering these high-quality e-learning resources from Lynda.com.'” 

Time to learn all the Adobe products on the cheap. Thanks, MPL! 

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Super Witch

This Music Video Monday promotes itself. 

Two summers ago, El Dorado Del Ray, Joey Killingsworth, and John Pickle asked me to play heavy metal with them in a band called Super Witch. I hadn’t had a band to play with in a while, and while I had played jangle pop, indie, punk, noise, and all kinds of guitar rock since I first took up the bass when I was 15 years old, I had never actually played heavy metal before. So I said yes, and I’ve been glad I did. I’ve learned a lot from these guys, made some new friends, and become a better bass player for it. We’ve been slowly recording an album with Dik LeDoux’s Au Poots studio and Rocket Science Audio’s Kyle Johnson, and now it’s finally ready for public consumption. Along the way, we also made some music videos. 

John Pickle is not just a great drummer, but he’s also a Memphis filmmaking pioneer. For years in the 1990s, he created the legendary public access TV show Pickle TV, which brought gonzo insanity to unsuspecting cable subscribers all over the land. He’s made two Super Witch music videos. The latest is “The Need”, in which he used some footage of us recording the song in the studio to demonstrate what a great editor he is. 

Music Video Monday: Super Witch (2)

The first Super Witch music video was “Army Of Werewolves”, where Pickle took the opportunity to create a video based on a simple concept he had been tossing around for a long time. All four members of the band shot our segments separately for this one, but one thing I can tell you is that if you detune your bass so the strings flop around enough to capture on camera, you’ll probably break your nut. Thanks to John Lobow for fixing it for me afterwards. 

Music Video Monday: Super Witch

And finally, here’s a Super Witch video I directed. Last year, we played an awesome show at Black Lodge Video that was captured on film by Christopher Woodsy Smith. Around the same time, the Maiden protests in Kiev, Ukraine were going on, and I noticed that some videos I was seeing from the street riots had a very similar color pallette as the Black Lodge footage. So my wife and editor Laura Jean Hocking and I cut together scenes from the two sources into this video for “House Of Warlocks”. I’m very proud of it, and I hope you like it, too. 

Music Video Monday: Super Witch (3)

You can download our album Super Witch Has Risen over at Bandcamp on a pay-what-you-can basis

Thank you for indulging my conflict of interest. If you would like to see your music video in this space next week, please email me at cmccoy@memphisflyer.com. 

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: Lucero

Today’s Music Video Monday features gratuitous automotive destruction. 

Back in 2012, hard-touring Memphians Lucero got a new van to replace their worn-out old one. They could have sold the old one for scrap, but instead they chose the rock and roll option: Trash the van, and make a music video out of it. Director Jonathan Pekar captured the celebratory destruction and created this raucous video for “Women & Work”. 

Music Video Monday: Lucero

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

Categories
Film/TV Film/TV/Etc. Blog

Free In Deed Wins Big At Venice Film Festival

A film with deep Memphis connections has won a major prize at the 72nd Venice Film Festival in Italy, which concluded last weekend. 

Free in Deed

Free In Deed, a joint US/New Zealand production helmed by Jake Mahaffy, won the prize for Best Film in the festival’s Orizzonti category, beating out 34 other films from all over the globe. 

The Orizzonti category is for “films that represent the latest aesthetic and expressive trends in international cinema.” The lead judge for the category was legendary filmmaker Jonathan Demme. 

Director Mahaffy opened his acceptance speech by thanking his Memphis crew: “This is a very collaborative kind of filmmaking. I can’t mention everything but I want to mention a couple of things – first of all the City of Memphis that had a profound soul and we did our best to capture some of that. I am grateful to the people who participated.”

Director Jake Mahaffy accepts the Orizzonti prize for Best Film at the 72nd Venice Film Festival in Italy.

Included in the large crew that shot the film here last year were Memphians Ryan Watt, Nicki Newberger and Adam Hohenberg, who served as associate producers. Acclaimed Memphis filmmakers Sarah Fleming and Morgan Jon Fox served as first assistant director and unit production manager, respectively, with Gloria Belz providing hair and makeup. Among the 51 Memphians with speaking parts in the film are RaJay Chandler, Prophetess Libra, and musician Preston Shannon. New York producer Mike Ryan, who has brought numerous films to the Bluff City over the past few years, served as one of three lead producers.

The film tells the story of a Pentecostal minister trying to save an ailing young boy through faith healing. 

Categories
Film/TV Film/TV/Etc. Blog

Time Warp Drive-In: Cartoon-A-Palooza

September sees two Time Warp Drive-Ins. The first, happening this Saturday at the Summer Drive-In, is the Cartoon-A-Palooza.

We are living in a golden age of animation. Once relegated to the kiddy pool, now animation is accepted as a fully adult medium Most of the great works of animation, such as Chuck Jones 1938-62 work for Warner Brothers, was aimed at both the juvenile and adult audiences, but it was taboo for a grown up to admit they liked cartoons. Nowadays, it’s cool for old and young alike to be Pixar fans, but if you had to point at the moment when the tide turned, it would be 1988’s Who Framed Roger Rabbit?

Time Warp Drive-In: Cartoon-A-Palooza

Between filming Back To The Future and its two sequels, director Robert Zemeckis loosely adapted a 1981 genre mashup novel called Who Censored Roger Rabbit? The amount of negotiation it took to put so many different company’s characters in one film is staggering to contemplate. Bugs Bunny and Mickey Mouse, to cite just one example, had to have exactly the same amount of screen time. But it was worth the hassle, because Who Framed Roger Rabbit? Has held up incredibly well. Its seamless blending of animation and live action has proven to be a blueprint for how special effects movies are made in the CGI era. But most importantly, it’s just plain fun for everyone.

Time Warp Drive-In: Cartoon-A-Palooza (2)

On the internet, Space Jam is remembered for its website, which has been online and unchanged for 19 years. It’s a family friendly marraige of live action and animation in the Roger Rabbit vein. It’s notable for being Michael Jordon’s only big screen acting role, and the highest-grossing basketball movie of all time.

Time Warp Drive-In: Cartoon-A-Palooza (3)

Like Space Jam, Heavy Metal was also the brainchild of producer Ivan Reitman. But that’s where the similarities end. Although it came out in 1981, it can be seen as the last gasp of 70s psychedelia. And it’s definitely not made for kids. The anthology of stories adapted from the British comic magazine whose name it shares are a unique blend of sci fi, fantasy, raunch, and drug humor. It’s a little uneven, because each segment was produced by different animators, and the years have applied a layer of cheeseiness. Bit it has survived as a cult classic, and I have to admit I’ll watch it every chance I get.

The final film of the evening is Fritz The Cat. The legendary counterculture film launched the career of Ralph Bashki, and raised the public profile of cartoonist R. Crumb, on whose work the film is based. It’s raucous and funny, and definitely of its time. One can’t help but think that the biggest reason it was so controversial was because it was ahead of its time in trying to create animation that was aimed at adults, not kids

Categories
News News Feature

Crime & Punishment

To the untrained ear, Memphis mayoral candidate Jim Strickland’s plan to reduce crime seems reasonable.

“We need to have zero tolerance for violent crime,” said the Memphis City Council member during a debate last month.

But when he elaborates, he stumbles and disappoints.

“And when I say that, I mean right now, if a juvenile commits a violent act on another human being, they are not automatically taken down to juvenile court,” he continued. “That’s not zero tolerance. That’s the exact opposite. They need to be taken down to juvenile court.”

With that statement, Strickland ignores the mountains of research about young minds and the yawning school-to-prison pipeline.

He brushes away this nation’s shameful history of policing black bodies and, worst of all, overlooks recent history at Shelby County Juvenile Court, which treats black children more harshly than white kids.

His rhetoric isn’t quite a dog whistle, but it’s pandering to our basest instincts.

In theory, a civilized society acknowledges that children and teens, their developing brains incapable of consistent impulse control, deserve more care and compassion than adults.

But in practice, the adult instinct to protect children crumbles under the weight of racial stereotypes. In fact, a 2014 study published by the American Psychological Association found that police officers surveyed saw black boys as 4.5 years older than they were and less innocent.

The most recent context for Strickland’s tough-on–crime stance is a handful of videotaped brawls of black “teen mobs,” as branded by local media. One cell phone video captured an attack at an East Memphis Kroger grocery store (read: supposed to be safe). Another video showed a fight at the once-highly regarded White Station High (read: where fights aren’t supposed to happen).

Through this lens, Strickland’s pleas to enforce the curfew laws sound like smart public policy.

But the relevant context takes a wider view of history, stretching back to Reconstruction and the birth of the nation’s Jim Crow curfew laws, designed to restrict the movement of formerly enslaved men and women.

Follow Strickland’s plan to its logical conclusion in a predominantly black city, and juvenile court will overflow with children whose chief mistake was knuckling up at school or in their neighborhoods.

Private schools, which house the overwhelming majority of the city’s white school-age children, can shield their students’ bad behavior from the public eye.

But for public school students, most of whom in Memphis are black, the hammer of indiscriminate zero tolerance policies falls hard.

According to a recently released report on school suspensions and expulsions in Southern states, researchers found that “[B]lacks were 23 percent of students in school districts across the state [of Tennessee], but comprised 58 percent of suspensions and 71 percent of expulsions.”

Factor in the local evidence, and Strickland’s crime-fighting strategy goes from ill-advised to indefensible.

In 2012, the U.S. Department of Justice (DOJ) determined that Shelby County Juvenile Court treats black children more harshly than white children.

“Black children are more likely to be detained pre-adjudication, less likely to receive warnings and lesser sanctions, and more likely to be transferred to criminal court,” wrote DOJ civil rights investigators in a scathing report.

Just this July, the federal monitor reported that the court has shown a “serious lack of progress” in reducing disproportionate minority contact. “Although the overall number of youth held in secure detention has decreased, a racial gap remains and, in fact, has increased, and race still matters once all other factors are considered,” the monitor wrote.

It gets worse: The Memphis metro area has the nation’s highest rate of “disconnected youth,” defined as people between the ages of 16 and 24 who aren’t in school or employed.

The burden of a criminal record makes residents virtually unemployable and ineligible for many college loans, decimating their chances to build wealth and, in doing so, gain true freedom.

Flawed criminal justice policies have disastrous results for communities of color. Strickland, the only white mayoral candidate with a chance to win, should know this.

He has time to amend his platform before the October election, although a more nuanced approach may alienate his Poplar-corridor base (read: mostly white and more affluent than the rest of the city).

But an informed, evidence-based crime-fighting plan is the responsible thing to do — for Memphis’ children and the city’s future.