Memphis Flyer 02.21.19

Celebrating

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OUR 1565TH ISSUE 02.21.2019

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DESHAUNE MCGHEE Classified Advertising Manager BRENDA FORD Classified Sales Administrator classifieds@memphisflyer.com ROBBIE FRENCH Warehouse and Delivery Manager JANICE GRISSOM ELLISON, KAREN MILAM, DON MYNATT, TAMMY NASH, RANDY ROTZ, LEWIS TAYLOR, WILLIAM WIDEMAN Distribution THE MEMPHIS FLYER is published weekly by Contemporary Media, Inc., 65 Union Avenue, Memphis, TN 38103 Phone: (901) 521-9000 Fax: (901) 521-0129 www.memphisflyer.com CONTEMPORARY MEDIA, INC. KENNETH NEILL Publisher JEFFREY GOLDBERG Director of Business Development BRUCE VANWYNGARDEN Editorial Director ASHLEY HAEGER Controller ANNA TRAVERSE Director of Strategic Initiatives JULIE RAY Distribution Manager MOLLY WILLMOTT Special Events Director JOSEPH CAREY IT Director CELESTE DIXON Accounting Assistant BRITT ERVIN Email Marketing Manager KALENA MCKINNEY Receptionist

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BEHOLD THE SECRETS OF A FORGOTTEN TIME Mysteries of China 3D captures one of the great archaeological events of the modern age, telling the story of ancient China, the First Emperor and the literal foundation of the China we know today.

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JUSTIN RUSHING Advertising Director CARRIE O’GUIN Advertising Operations Manager/ Distribution Manager JERRY D. SWIFT Advertising Director Emeritus KELLI DEWITT, CHIP GOOGE Senior Account Executives ROXY MATTHEWS Account Executive

901.636.2362 3050 Central Avenue Memphis, TN 38111

CONTENTS

CARRIE BEASLEY Senior Art Director CHRISTOPHER MYERS Advertising Art Director JEREMIAH MATTHEWS BRYAN ROLLINS Graphic Designers

M 3D OV IE

BRUCE VANWYNGARDEN Editor SUSAN ELLIS Managing Editor JACKSON BAKER, MICHAEL FINGER Senior Editors TOBY SELLS Associate Editor CHRIS MCCOY Film and TV Editor ALEX GREENE Music Editor CHRIS DAVIS, MICHAEL DONAHUE MAYA SMITH, JOSHUA CANNON Staff Writers JESSE DAVIS Copy Editor, Calendar Editor

OUR 1565TH ISSUE 02.21.19 I grew up a child of privilege. Not because my parents were rich — far from it — but because I faced so many fewer obstacles than young people today face. Life in my small Midwest town was pretty basic. Everybody — black, white, or brown, poor, middle-class, or rich — attended the same public schools. Everybody read the same newspaper and watched the same four basic television stations and cheered for the same teams. We all got along, at least, we seemed to, though I’m sure my black classmates certainly had experiences beyond what my clueless white teenage self could comprehend.

I found a bill the other day. My tuition at the University of Missouri in 1972 was $800 a semester for a full load of classes. Like many of my lower- and middle-class contemporaries, I was able to work my way through college doing various part-time jobs during the school year and full-time work during the summers. When I graduated — after leisurely cramming four years of college into six — I had no debt and no interest in a career. So I cruised around the country in an old GMC truck with a camper cover, settling for a time in New Mexico, and later in San Francisco for a couple of years. My girlfriend and I worked menial jobs and easily paid the rent on a decent Haight Street apartment in the mid-1970s.

It didn’t seem like it at the time, because I took it totally for granted — but, looking back, I realize it was the ultimate privilege: The freedom to spend years to figure out what direction you want your life to take, unsaddled by massive student loan debt or excessive rent. But that wave crested. That extraordinary level of freedom is now available only to the wealthy — a privilege for the already privileged.

Before I get too far into “You kids get off my lawn!” territory, let me say that I’ve done a lot of reading about the factors that have increased the cost of college.

They include the many federal and state programs that have “So how do we change the country’s made higher learning available direction?” to millions more high school graduates; the country-clubbing of college facilities and campuses; the increased salaries for professors and administrators; inflationary pressures, etc. But what’s often overlooked is the “fractionalization” of our society — the infinite multitude of news sources that puts us all into different information silos; the privatizing and “charterizing” of our education system to the detriment of public schools; a tax system that increasingly favors corporations and screws the middle- and working-class; the complete co-option of our political system by corporate money and influence.

George Washington said, “I cannot tell a lie.” Jimmy Carter said, “I will never lie to you.” President Donald Trump lies like he breathes, and one-third of Americans take it in like oxygen.

Our politics have become another reality show, a contest for power and influence, where the truth is as fluid as mercury, just another variable, useful at times, but mostly unnecessary. Your cable network of choice will provide you with outrage material all day long, while bots flood your social media with lies and misdirection tailored to reinforce your beliefs. “Flip-flopping” used to be an epithet that carried weight; now it’s just a strategy, another three-card monte game to swing the news cycle. Truth is so 24-hours-ago.

So how do we change the country’s direction if we can’t even agree on what the truth is? If we can’t even agree on what constitutes a bald-faced lie? If a bald-faced lie is okay, if it confirms your biases?

The Republican nomination process in 2016 was the perfect reflection of our fractured society. There were 17 candidates, none of whom could break through, except the man with the N E WS & O P I N I O N loudest voice and the simplest mesTHE FLY-BY - 4 sage: “I, alone, can fix this.”

NY TIMES CROSSWORD - 5 Now, the Democrats get their turn, POLITICS - 7 and it looks like a re-run, with as many as VIEWPOINT -8 “AMERIPOLITAN MUSIC FEST” 22 candidates making noises about getBY ALEX GREENE ting into the race. None of them, alone, & CHRIS DAVIS - 10 can fix this. It will take principled leaders SPORTS - 13 in both parties, working together, to lift WE RECOMMEND - 14 the country out of this turmoil — this inAFTER DARK - 20 cessant daily chaos being purveyed from CALENDAR - 22 the highest office in the land. Another six BAR REPORT - 26 FILM - 27 years of this madness, and America as we know it is done.

C L AS S I F I E D S - 29 Bruce VanWyngarden LAST WORD - 31 brucev@memphisflyer.com

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DAM M IT, GAN N ETT To expand on an idea put forward by the poet John Donne, every newspaper’s typos diminish me.

And yet it’s at least somewhat comforting to know that The Tennessean, the Nashville-based mothership of all Gannett-owned properties in the Volunteer State, can botch a headline just as badly as The Commercial Appeal. Check this beauty: “America has a hate and ingnorance problem.”

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On a somewhat-related note, all Gannett newspapers across the state of Tennessee have run remarkably similar editorials announcing that they “are listening” and developing new strategies for kinder, gentler opinion journalism.

The new plan includes less national political commentary and “more about solutions than takedowns of the people and organizations trying to do things,” whatever that means.

While presented as a modernization plan, with solid points about the unsigned editorial becoming a relic from the glory days when newspapers had weight to throw around, it’s never been journalistically wise to allow public interests to determine public interest.

The only people Gannett’s editorial boards are listening to right now are bean counters reminding them that print subscriptions and advertising are plummeting, and digital sales can’t grow fast enough to bridge the gap.

More solutions “than takedowns of the people and organizations trying to do things” has a sunny, boosterish tone, but since solutions don’t arise until problems are identified, we can predict with some certainty that the new approach wasn’t crafted with America’s “hate and ingnorance” problem in mind.

By Chris Davis. Email him at davis@memphisflyer.com.

Questions, Answers + Attitude Edited by Toby Sells

W E E K T H AT W A S

By Flyer staff

Gannett, FedEx, & XPO Turbulence at Gannett, a $34M incentive package, & XPO leaves.

A G AN N ETT TAK EOVE R? Gannett Co. leaders braced for a possible hostile takeover last week

by MNG Enterprises, which offered to buy Gannett in an unsolicited deal worth $1.8 billion.

During recent negotiations on the deal, Gannett leaders remained skeptical of MNG’s offer, which included few details on financing, antitrust concerns, and more. During those talks, MNG leaders said the company was preparing to load Gannett’s board Clockwise from top left: XPO, the Clipper, FedEx to move to former Gibson factory, with MNG officials, Gannett, Josh Spickler with Just City. a move that signals a possible hostile takeover.

Gannett told its shareholders that many of those MNG officials public with allegations of poor working conditions, sexual weren’t legally allowed to serve on its board. abuse, and pregnancy policies that employees said have led to miscarriages.

M LGW U R G ES R ATE I N C R EAS ES About 400 employees work at the warehouse. XPO said the Memphis Light, Gas & Water (MLGW) officials made their move to close it came after “an overall business model change case for rate increases to the public last week. In a series of town initiated and completed by our customer.” hall meetings, MLGW leaders said the city’s infrastructure was Some workers said last week the move was retaliation for old and that the money from the higher rates would be spent to exposing sexual harassment and pregnancy discrimination at fuel a five-year reliability improvement plan. the facility. Verizon said it will use new and existing partners to distribute its products out of other facilities and said “there is F E D E X G ETS $34M FO R D OWNTOWN H Q nothing unique about this transition.”

FedEx Logistics officials announced last week that they plan to move the company’s headquarters to Downtown’s soonM O R E C O PS, LES S C R I M E? to-be-vacant Gibson Guitar factory. The project is expected City leaders hope to reduce the city’s crime rate by hiring to cost about $47 million. The company won a mix of tax more police officers, but some here argue that only hiring breaks and grants from taxpayers worth more than $34 more officers won’t move the needle. million for the project.

Memphis Mayor Jim Strickland wants the Memphis The project would create 339 new jobs and bring 332 Police Department to have 2,300 commissioned officers by existing jobs to the site for a total of 671.

2020. The figure was about 1,900 in 2017.

For evidence that more cops equals lower crime, leaders TH E C LI P P E R P LAN N E D D OWNTOWN point to 2011. Then, the city had 2,400 officers and the Officials with Somera Road, Inc., the New York real estate lowest crime rate since 2006, when such data was collected. investment firm that owns the Gibson Guitar building, said Josh Spickler, executive director of Just City, said last they plan to build a new, eight-story office and hotel building week there’s no “magic number” of officers that reduces Downtown, just across the street from the Gibson plant. violent crime, and no empirical evidence that shows that The Clipper will include a restaurant, boutiques, office space more cops equals lower crime. to house 1,500 employees, and a 250-key hotel.

Spickler said it’s “disingenuous” for the city to use violent crime as the reasoning for hiring more officers, saying X PO G O ES he would rather hear department leaders say they have a XPO Logistics will close its Verizon warehouse here in personnel or staffing problem.

April, and some employees called it retaliation.

Visit the News Blog at memphisflyer.com for fuller versions of The company has been under fire after workers here went these stories and more local news.

For Release Monday, May 28, 2018

The New York Times Syndication Sales Corporation 620 Eighth Avenue, New York, N.Y. 10018 For Information Call: 1-800-972-3550 For Release Saturday, June 2, 2018

Edited by Will Shortz

Crossword

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E R R E D

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E T H I C A L D I L E M M A S

T R E P A N

H I N G A N C E R E A L A T T E T A K E O V I D P E R S E S E S L T R O O N T A N E C E S H R T E

Edited by Will Shortz

31 Legacy student’s relative, for short

45 Tony ___, early Macy’s Day Parade balloon designer 49 Piano piece

P A R E I P A A H

A V A N T I

S C A L I A T E B B L E L A D N E S S N T W E B B L I E E K E O V E R D I S M E S T O T I A N T O N E A N D Y

No. 0428

61 Play H-O-R-S-E, say 64 Michelangelo’s 33 Friendly “David,” for one 37 Nintendo game 65 German luxury console carmaker 38 Lead off … or a hint to the circled 66 Arctic people 67 Put the pedal to letters the metal 41 Aye’s opposite 68 Get over a 42 Makings of a sunburn, maybe castle at the 69 Green pasta beach sauce 44 Gyro wrap

50 State whose name means “snow-covered”: Abbr.

31 Ration 51 Byrnes of “77 32 Capital of Nigeria Sunset Strip” 35 ___ law, principle 54 Part of a fault stating that line? computer processing power 55 “This looks like the end for me!” doubles every 18 months 58 Ole Miss, with “the” 37 Comment that 60 Signal silently might follow “I used to be a 61 2016 Emmybanker until I lost winning lead interest” actor for “Mr. Robot” 40 Philosopher Weil who said “All sins 63 Skirt are attempts to 64 Common fossil fill voids” in Paleozoic 41 “Breaking Bad” rocks sidekick 65 Musical mark meaning “repeat” 42 “Explore beyond limits” sloganeer 66 Studmuffin 43 Kind of chop DOWN 1 Kitchen implement 2 Bony 3 Tosspot 4 Till compartment 5 Having no way to escape 6 More familiar name for Enrico Rizzo in an Oscar-winning film 7 Game whose direction of play can shift from clockwise to counterclockwise 8 The Grand Prix used to have one 9 Like Swiss vis-à-vis other cheeses

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31 Styles 33 Trendy hairstyle for men 34 Crooked 11 Rushes 36 Turn-___ 12 Sound, informally 37 “Good going!”

13 Didn’t fall in line 38 Lowest one in the 14 Stand-ins pack 21 Annual ESPN 39 TV opening? broadcast since 40 ___ Valley, setting 1995 for “Of Mice and 24 Certain pilgrim Men” 28 Fog, e.g.

44 Turns inside out 30 Pot 46 Aviator Earhart

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DOWN 1 Likewise 47 At any time 2 Sound of a watch Online subscriptions: Today’s puzzle and more than 7,000 past 49 Entries in the ($39.95 a year). puzzles, nytimes.com/crosswords 3 Diminishes, as Read about and comment on each puzzle: nytimes.com/wordplay. minus column patience 50 Passover no-no 4 Embassy staffer 55 Holder of unread 5 “Poppycock!” emails 6 Longtime senator 56 Savings plan for Thurmond old age, in short 7 Pulsate 57 Kudrow of 8 French water “Friends” 9 Big Bad Wolf’s 60 Cut and paste target text, e.g.

10 Steve who directed “12 ANSWER TO PREVIOUS PUZZLE Years a Slave” E R O T I C N O V E L B I C 11 The “Y” of Michael G E N E T H E R A P Y U N O Jackson’s “P.Y.T.” E S T A T E S A L E S B E E 12 The “T” of S T O R Y L I E I N B E D Michael T S P S N C I S S O L D Jackson’s “P.Y.T.” C O R S E T N E H I 13 “High” feelings O H S T O PMARCH I T H E A2T E D 18 Timeline periods R E HALLORAN H I R E S F E R R E L L CENTRE C L A R E T D E M O T A P E 22 J.F.K.’s predecessor A I D E S T I L E S 24 Age indicator in a PORPHEUM-MEMPHIS.COM O O R H O L D • (901) K I 525-3000 L T tree trunk L O W F I B E R L O S E R 25 Actress Linney in O R B G R E A T D I V I D E “Kinsey” G T O G A Y M A R R I A G E 26 Trees attacked by O S X S E E A T T A C H E D bark beetles R O C

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27 Cavernous openings 28 Home to 48 countries 31 Blazing 32 Blazing 34 Sneakily dangerous

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46 Sea snail with a mother-of-pearl shell

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50 Creditors’ claims on property 51 Ultimately become 52 Bear patiently

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29 City that inspired a palace in “Aladdin”

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NEWS & OPINION

Crossword ACROSS 1 Engaged in country-tocountry combat 6 Dance movement 10 Story about Zeus and Hera, e.g.

14 Be dishonest with 15 Language of Bangkok 16 Salmon variety ANSWER TO PREVIOUS PUZZLE 17 Small floor covering 19 Witticism 20 Gummy gumbo vegetable 21 “Winnie-thePooh” baby 22 Irene of old Hollywood 23 Standard breakfast order 27 Johnny who sang “Chances Are” 29 Toward shelter, at sea 30 White as a ghost ACROSS 1 Like a world in which objective facts are less important than appeals to emotion and personal belief 10 Tony-winning choreographer for “Movin’ Out” 15 Language in which plural adjectives end in -aj 16 Crude craft 17 Paleolith, e.g.

18 “That ’70s Show” role 19 Stiffens 20 Candy in a straw 22 Shot that determines who gets to break, in billiards 23 “What was I thinking?!”

25 Likes often feed it 26 Fu-___ (legendary Chinese sage) 27 Alt.

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Invites Parents, Educators, Healthcare Professionals and others interested in children’s well-being to attend our free program and dinner about the importance of pediatric vision and the resources available to our community.

February 28, 4-7 pm, SCO Campus

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Scan QR Code or visit memphisvision.org/infantsee-event to register email kbucko@sco.edu for more information

POLITICS By Jackson Baker

Russell Sugarmon Memphis loses a favorite son and pioneer of civil rights and diversity. in 1959 as a candidate for Public Works Commissioner under the old commission form of government, a system first imposed upon Memphis by Ed “Boss” Crump and still functioning as a tool of the local power structure in the years immediately following Crump’s death in 1954.

Sugarmon did not win, but he forced the whites in the field of candidates to anoint one of their own, and one only, to remain in the race, giving what was still a white majority in Memphis some assurance that the social order would remain, at least for the time being, inviolate. Though Sugarmon was modest of disposition and by no means a glory-hound, he would become the very symbol of local black aspiration for the next couple of decades and, in 1966, he would win election as a state representative, serving a single term in the Tennessee General Assembly and winning election later as a judge in General Sessions Court.

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Sugarmon’s 1968 defeat in the Democratic primary by another aspiring black politician, Alvin King, ironically underscored Sugarmon’s success, along with such other pioneers as H.T. Lockhart, A.W. Willis, and Ben Hooks, in kindling political passions — and competitiveness — among African Americans in Memphis.

None of the eminent and able African-American public servants who followed in his wake failed to see Sugarmon as the pathfinder who did so much to enable their own success. He belonged to all of us.

We — and the entire community — grieve along with his dedicated wife, Gina, and his children Tarik, Elena, Erika, Monique, Tina, and Carol — and extend them our most sincere condolences.

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m e m p h i s f l y e r. c o m

Russell Sugarmon

NEWS & OPINION

The past few years have seen the passing away of numerous giants whose imprint on Memphis history (and on human history, for that matter) has been huge, and only the inevitable likelihood of one of them being inadvertently overlooked prevents me from attempting to list them severally.

But Russell Sugarmon, who died Monday in hospice care at the age of 89, takes second place to none of them. At this writing, arrangements for his funeral had not been announced, although his son Tarik, a City Court judge and one of six Sugarmon offspring (several of them influenced by their father’s example to seek public careers) has indicated there will be public rites, probably next week, at Monumental Baptist Church.

Certainly there is no one more entitled to lie in state, and you can be certain that the high and mighty will be in attendance at his last rites, along with enormous numbers of plain folk, white and black, who know that they owe a debt of gratitude to Russell Sugarmon, who did as much as anybody (and earlier than most) to cast off the shackles of white supremacy from his society, thereby making it freer and more just for all.

Though he was first and foremost a hero and champion for his fellow African Americans, Sugarmon was not bashful about owning up to his own mixed ancestry — white, black, and a smattering of Asian as well — and, through all the back-and-forth swings of relations between the races during his lifetime, he was impeccably and absolutely loyal to the ideal of universal equality, as much without prejudice of any kind as it is possible to be.

His interests were accordingly diverse. He was an erudite man with the common touch, and the course of his education ran from Booker T. Washington High School through Morehouse College, Boston College, Rutgers University, and Harvard Law School. One of the fascinations in his late adulthood was the puzzle of Einsteinian relativity. The study of it occupied much of his spare time after he had settled into a kind of retirement.

But before that happened, he used himself as a battering ram on behalf of justice. He first ran for public office

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President Trump’s “national emergency” at the border with Mexico is a wholly manufactured crisis designed to please his base and divert attention away from recent political defeats.

The defeats have been carefully chronicled, but the outlandish lies require further analysis. Our top three would be: 1) We face an existential crisis, tantamount to an invasion at the border. 2) Drugs are pouring in from Mexico, and a wall will end that criminal trade. 3) Poor women and children traveling to America to escape unacceptable social conditions in Central America (and Mexico) represent a grave threat to America.

First, Trump’s claim that America faces an invasion from the south is belied by the data. As the Mexican birthrate continues to drop (Mexico’s population is about 120 million) and its economy improves, more Mexicans are returning home from the U.S. than arriving here. The number of Mexicans without documentation living in the U.S. has declined by one million persons since 2007, according to the respected Pew Hispanic Trust, and apprehensions of undocumented immigrants at the border are at their lowest point since 1971. In the year 2000, apprehensions at the southern border numbered 1.6 million. Today, that number is less than a quarter of that.

Trump’s next claim is one that he’s made since the first day of his campaign for president: A wall is necessary to stem the flow of drugs from Mexico. We learned some details about the movement of cocaine from the global south, through Mexico, and into the U.S. thanks to the recent trial and conviction of Joaquín “El Chapo” Guzmán. Guzmán had smuggled 200 tons of cocaine into the U.S. Most of this cocaine came in via trains, trucks, and automobiles through legal entry points.

A very small amount — maybe five percent — came across through open spaces between the U.S. and Mexico. Spending billions on a wall while 95 percent of illicit drugs pass through legal entry points illustrates the purely political nature of this “emergency” declaration.

Third, the one area we have seen an increase in migrant flow is from Central America — especially Hondurans, Salvadorans, Guatemalans, and, increasingly, Nicaraguans — arriving at our Mexican border. These people face desperate economic conditions at home, coupled with anemic leadership and de facto rule by violent gangs in some of those nations.

These are the protagonists of the “cara-

vans” seeking asylum in the U.S. who face hostile Trump administration policies at the border. Family separation and tear gas all too often have greeted these (mostly) poor women and children.

The border “crisis” is a manufactured political spectacle with human beings used as collateral. Trump discontinued the Obama-era Central American Minor (CAM) policy, designed to stem the flow of unaccompanied minors through Mexico by allowing minors to apply for refugee status in their home countries instead of at the border. Trump has also required asylum seekers to await adjudication of their claims in Mexico instead of passing into the United States. These policy changes have created an unnecessary build-up of people and tension at the border. A lawless and cruel administration in Washington has simply tried to create the appearance of an emergency.

Our real emergency involves the ease with which an administration can shift law and policy.

The Trump Administration invents statistics about the number of people heading to the U.S., and about their supposed intentions (criminal, negative, always hostile). The administration has also deceived the American public about the true nature of the drug trade and how trans-national shipments of narcotics actually operate. The Trump Wall, designed to seal the United States off from our southern neighbors, goes against the bedrock principles of this nation: open trade, collaboration with our neighbors, trust in our allies, and cooperation with one of our leading trading partners, Mexico.

Our real national emergency involves the ease with which an administration can shift law and policy without congressional approval, based on fabricated statistics and fantastical stories. The Latin American magical realists come to mind at a time like this. Gabriel García Márquez explained the alternative reality imposed by his all-powerful dictator in The Autumn of the Patriarch: “It doesn’t matter if it’s not true now,” said the Nobel Prize Laureate, “because sometime in the future it will be true. Sooner or later, people believe writers rather than the government.”

Bryce Ashby is a Memphis-based attorney and the Board Chair of Latino Memphis. Michael LaRosa teaches history at Rhodes College.

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NEWS & OPINION

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COVER STORY BY ALEX GREENE & CHRI S DAV I S

Ameripolitan Music Fest MEMPHIS’ ANNUAL ROOTS-MUSIC FESTIVAL IS BRINGING SOME LEGENDS TO TOWN.

L

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ately, you may have heard folks asking, “Are you going to that ‘Americana’ fest this weekend?”

But the festival and awards show about to hit our town isn’t Americana. It’s the Ameripolitan Music Awards, and its founder, Dale Watson, wants to make sure you know the difference.

“It’s original music with a prominent roots influence,” he says. “As opposed to Americana, which is original music with a prominent folk and rock influence. Ameripolitan starts with Jimmy Rodgers, then Hank Williams, Ernest Tubb, Loretta Lynn, Tammy Wynette, and so on, and then moves on to people like Merle Haggard. They’re a natural growth of the tree.

“In the late ’70s and early ’80s, greed went nuclear on country music, and made the tree morph into some unrecognizable monster, where Florida Georgia Line is considered on the same tree as Hank Williams, which it never should be. That’s some nuclear waste shit that happened to the roots. Americana, I think, starts with Woody Guthrie. And goes from him to people like Bob Dylan and Steve Earle. It goes along that tree.

Which is great music, I’m not knocking it, but it’s not my influence.”

When he was planning his first Ameripolitan Music Awards show in Austin in 2014, Watson says Nashville’s AmericanaFest organizers contacted him for a genre-policing pow wow.

“They said, ‘There’s no need for you to do this. The music you’re talking about is under our umbrella.’ I said, ‘Well, we’re getting wet. We’re not getting any kind of love whatsoever.’

“It all started with Blake Shelton.

He said, ‘Nobody likes this kind of music. Nobody wants to listen to your 10 granddad’s music.’ Blake Shelton is a multi-millionaire trying to buy his

ROSIE FLORES

Dale Watson

BRINGING IT ALL BACK HOME … AGAIN

way into being today’s country music standard. And by today’s country music standard, he probably is. But once you do country music with hip-hop in it, I think you’ve lost all credibility.”

If Watson is trying to celebrate genres now ignored by the mainstream, from classic and outlaw country to rockabilly and Western Swing, he emphasizes that Ameripolitan artists are not just milking the nostalgia circuit. “Like John Lennon said, ‘Originality comes from your inability to imitate your influences.’ And I think you can tell my influences. You can tell I’ve listened to Merle Haggard and Johnny Cash and Elvis and Bob Wills.

I wear my influences on my sleeve. But if people call it retro, I say, ‘No, these are new songs. Just because you build a house with a hammer — an old tool — doesn’t make it an old house.’ I’m just using an old tool, you know?”

Watson and thousands of music fans who love music created with old tools, will gather in Memphis clubs throughout the city this weekend and into next week, celebrating the best exemplars of their craft. All concerned would surely agree when Watson, quoting Kris Kristofferson, proudly states their home truth: “Good music doesn’t have an expiration date.”

— Alex Greene

Delving into the discography of Rosie Flores, the two-time Ameripolitan Award winner and self-proclaimed “Rockabilly Filly,” you could easily think she followed the time-honored path from conventional country to gradual experimentation with the edgier sounds of rockabilly and blues.

But you would think wrong.

Though her first records in the late ’80s and early ’90s were largely country affairs, they already marked a full-circle evolution of sorts for the songwriter and guitarist. As early as 1987, the L.A. Times was writing that “it has taken her more than a decade ‘to come full circle,’ from traditional country, to rockabilly, to something called cow-punk, and now back to traditional country.”

Indeed, Flores’ last band before going solo was the California cow-punk group the Screaming Sirens. But taking the ebb and flow of tradition(s) in stride was second nature to this musical omnivore.

“Before the Screaming Sirens, I was in a country rock band that was influenced by Gram [Parsons] and Emmylou [Harris], called Rosie and the Screamers,” she recalls. “That was in 1976. It was all country rock and steel guitars. Kind of between Fleetwood Mac and Gram and Emmylou. The guitarist was really into Peter Green, from the original Fleetwood Mac. And it was phenomenal, the instrumentals we would go into. I had been a budding

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COVER STORY m e m p h i s f l y e r. c o m

and then playing lead guitar parts to the blues. For many guitar players starting out, they first learn to play in the pentatonic scale, which is pretty easy to understand. And for a kid, that was a great way to start playing guitar at age 15. So I could start jamming.

One of the first songs I ever learned to play was a Rolling Stones cover of a Wilson Pickett song, called ‘If You Need Me.’ And I put that on the new record just to circle back where I started.”

Of course, the mainstay of Flores’ career since the mid-’90s has been rockabilly, which she delivers with panache. Perhaps that’s what earned her twin awards for Best Rockabilly Female and Best Honky Tonk Female at the first annual Ameripolitan Music Awards in 2014.

And since leaping into that genre, so full of swinging cat daddies, she’s also been a champion for women who played a pivotal role in the style’s ascendance. Her Rockabilly Filly album pairs her with many starlets of the sound’s earlier days, such as Wanda Jackson and Janis Martin.

So profound was the experience of working with the latter that Flores went on to coax Martin out of retirement for one last record, eventually released posthumously as The Blanco Sessions.

“I contacted her and said, ‘Can I produce the record?’ I just knew she deserved to have new recordings, and I knew so many great rockabilly players we could use. And then she said, ‘Well, I’m kind of tired of rockabilly. I’d like to do a blues record.’ And it is very bluesy, but it’s Janis, it’s who she became. From her little girl voice to her more mature voice. And I can relate, because I’m the age that she was when we made her record. And I can see that my voice has

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guitar player since Penelope’s Children, which was my first band when I was 16.

I was the one and only guitar player, so I had to play lead and do all the vocals.

And write all the songs.”

But don’t let that reference to her days as a “budding guitar player” mislead you. Flores has long been a powerhouse axe-master, so much so that she’s been featured in Premier Guitar Magazine, where she told interviewer Joe Charupakorn, “Make me sound like I’m a big, fat, sweaty guitar-player guy. Don’t think about my gender. I’ve said from the beginning, whatever you do, don’t think, ‘This is Rosie, I have to make her guitar sound sweet.’” Charupakorn wrote of “Flores’s kinetic double-stop bends and Bigsbybent trills,” and how she was “throwing down equally greasy mayhem with Motörhead’s Lemmy Kilmister and blues sensation Joe Bonamassa, as she duck-walked across the stage at the Rock and Roll Hall of Fame tribute to Chuck Berry.”

Her strength as a player is sometimes lost on fans because of her penchant for hiring top-notch band members, including guitar players.

“Fans ask, ‘Why do you have another guitar player?’” Flores says. “‘I came to hear you and you’re giving him all the solos.’ Well, I really love great guitar players. That’s why it was so perfect to have Kenny Vaughan, my favorite roots guitar player, on the new record.”

That record, Simple Case of the Blues, just dropped last week, and it’s another stylistic left turn, and yet another ‘full-circle’ return to her roots. “I am certainly circling back to the blues, because that’s the first guitar stuff I ever played, when I was learning,” she notes. “You know why?

Because I was a pretty big Rolling Stones and Beatles fan. I was playing chords to the pop music of the Beatles

11

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LARRY COLLINS

gotten a bit smoky and has a little dust around the edges.”

Flores’ acknowledgment of great women artists will continue at this year’s Ameripolitan Awards, when she THE MAN WHO HELPED joins several great women players to INSPIRE SURF AND pay tribute to songwriter Cindy Walker, PREFIGURED PUNK. composer of hits from the ’40s to the ’80s. “Songwriters know who she is,” says Flores. “Her big hit, ‘You Don’t Larry Collins has stories. In the 1950s, Know Me,’ was one of the most beautiful when he was a kid star gigging on TV songs I’d ever heard when I was growing in Hollywood, he was fully immersed up, and then I found out she wrote it, I in a world that brought him into was like, ‘I wanna be her!’ contact with everybody from cowboy “When you’re a musician, you star Gene Autry to film icon study everything,” Flores Robert Mitchum to Walt muses. “If you’re a true Disney’s Mouseketeers. musician, that’s what Elvis gave him the you’ll do. You’ll be nickname, “Little part of everything.

Cat.” Bob Wills, I’m hoping that leader of The will happen with Texas Playboys Cindy Walker’s (and the Elvis of music, and that Western Swing), younger people puked all over will study her his rhinestone songs and learn and fringe-laden from her. I’m 68 and Nudie suit.

Before he was I still do.” old enough for middle Flores will also be school, Collins had met and taking the stage for her own performed alongside some of the 20th set at Blues City Cafe on Saturday. century’s most popular musicians.

He Leading a trio, she’ll have plenty of sonic can spin tales about teen heartthrob space to show off her guitar chops. But Ricky Nelson and electric guitar it may be those moments after the show virtuoso Dick Dale, both of whom that she looks forward to most. “It’s dated his sister. But the better story is fabulous that I can still put records out Collins’ own unique, if understated, and have people show up. And Dale role in shaping the West Coast sound Watson and I have a similar pattern and high-octane honky tonk, from with our fans. We get out there and talk country boogie and surf to the hot-rod to them, get to know them and hang guitar rumble of early rock-and-roll. out. When we’re done with our show, If you don’t recognize Collins’ name, we don’t go hide behind our curtain. maybe “Delta Dawn,” the country We get out and see who’s there. I can tune he co-wrote with Alex Harvey, see the enjoyment in Dale’s eyes and personality. And I can relate to that.” continued on page 18 — AG

S P O R TS B y Fr a n k M u r t a u g h

Hoops & Hockey A trip to the Northeast proves instructive.

Miss.) Wesleyan’s top scorer, Walker Harris, scored his team’s last goal.

And Harris will eat in the same dining hall Sofia does, unrecognized by most students who aren’t his teammates. A student who happens to be an athlete, and a very good one. Imagine that.

• The Hoop Hall presents honorees in a dynamic but inefficient manner. A large black-and-white, photo of each Hall of Famer is backlit, and stares down from the domed roof of the facility. But there is little order to where you might find one Hall of Famer or another. They are not grouped by induction year. They’re not alphabetical.

And they don’t correspond to the information panel that rings the platform below where visitors can read about each basketball legend (by induction year). Furthermore, the photos need to be more carefully chosen, with players as they appeared in the prime of their careers. Larry Bird, for instance, doesn’t have a mustache in his Hall of Fame portrait, taken near the end of his days with the Celtics. At the very least, the induction year needs to be added to the Hall of Famer’s name, so a visitor can cross-reference the information panel below.

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• I hand-delivered a copy of the December issue of Memphis magazine to the Basketball Hall of Fame in Springfield, Massachusetts. The issue includes my case for Penny Hardaway’s induction. On the day I delivered the magazines, the Hall announced its finalists for the 2019 class, and Hardaway’s name is not on the list. The man Orlando traded to Golden State for Hardaway during the 1993 NBA draft (Chris Webber) did make the cut.

Number of first-team All-NBA selections: Hardaway 2, Webber 1.

Should you have any doubts about Hardaway’s credentials for enshrinement, consider the name of a 2018 inductee: Dino Radja. Debate over.

NEWS & OPINION

FRANK MURTAUGH

I

’ve come to believe the essence of team sports — its purest form at the highest level you can find it — can be experienced on Division 3 college campuses. No athletic scholarships in D-3. No TV contracts and very few sponsors.

Athletes with very little chance of making a career out of their game of choice.

And free admission to many events for the few hundred fans who might attend a “big” football game.

I spent much of last week in Connecticut, on the campus of Wesleyan University, where my daughter, Sofia, is studying (and competing for the Ultimate Frisbee club, Vicious Circles).

On Friday night, Sofia forfeited the latest screening in the campus film series (Oscar-nominated animated shorts) for a hockey game at the Freeman Athletic Center.

The 12th-ranked Cardinals hosted 11th-ranked Trinity College in a clash between the top two teams in the New England Small College Athletic Conference (NESCAC).

I’ve been to my share of hockey games, and this was the best I’ve ever attended.

Trinity scored first, but the Cardinals rallied with three unanswered goals and took a 3-2 lead into the third period. The Bantams scored two goals early in the third, but Wesleyan rallied with two of their own for a 5-4 lead that brought most of the crowd — all 300 of us — to our feet.

Alas, Trinity scored the game’s final two goals, the game-winner with just 1:33 left to play. Eleven goals and four lead changes. If such a game occurred in the Stanley Cup playoffs, it would be replayed ad nauseum on the NHL Network. Be glad you got to read about it here.

There was no advertising on the ice or boards. Sofia purchased a bag of candy for $2.50. We sat near center ice, with plenty of elbow room between us and the Trinity cheering section. (The school is in nearby Hartford. This was a D-3 hockey version of Memphis-Ole

13

steppin’ out

We Recommend: Culture, News + Reviews

Keeping Score

Get These Hands

By Chris Davis

MLK50 founder Wendi Thomas makes a confession: “Yeah, I like to play Spades,” she says. “But I grew up in a super Jesus-y house where we weren’t allowed to play cards. I learned how to play Spades and dominoes and all that stuff when I went away to college. And I remember coming home and getting money out of my daddy’s penny jar — you know that change jar every daddy has — and teaching my younger siblings to play cards. Man, my mama was hot.”

Thomas doesn’t hide her affinity for a good card game anymore. Past Tweets promoting Get These Hands — a card party and fund-raiser for MLK50 — have been loaded with smack talk and swagger. But that’s all just part of the game.

“I know I come off as very serious,” Thomas says, having some fun with her own firebrand reputation. “But who doesn’t like to get together and play cards and dominoes and just have a good time and be silly? You need that kind of recharging so you can go back and do the work.

“The party is an opportunity to come out of that super-serious, depressing-but-important space and recognize that we all need self care,” Thomas says.

Now in its second year, Thomas’ MLK50 project was recently invited into ProPublica’s Local Reporting Network and continues to do work at the crossroads of poverty, power, and public policy. “It’s distressing to see how many businesses, government agencies, and nonprofits are propped up by poverty,” says Thomas, who recently filed a lawsuit against the Memphis and Shelby County Crime Commission to make their records public.

Spades won’t be the only game. There will be tables for dominos and Taboo as well as Uno, whist, and other card games. Card party-inspired snacks will be available.

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Fe b r u a r y 2 1 - 2 7 , 2 0 1 9

Are more police officers the solution to the city’s crime problems?

The Last Word, p. 31

14

THURSDAY February 21

FRIDAY February 22

Soul Food Cooking Contest Hernando Public Library (370 W. Commons), 6-8 p.m.

Cooks put their best soul food dishes up in this contest. Sampling of said dishes follows the judging, and there will be a program on black history month.

Jazz in the Box Germantown Performing Arts Center, 7 p.m.

GPAC morphs into a swinging jazz club tonight with music from Kevin Bales.

Get Lit Book Club Ghost River Brewing, 7 p.m.

Drink beer and discuss books.

What’s not to like? This month’s book is Andrew Sean Greer’s comic novel, Less.

Sarah McLachlan The Orpheum, 8 p.m., $42.50 Best known for making folks sob over dogs, Sarah McLachlan brings her songs-and-storytelling tour to the Orpheum. With Vanessa Freebairn-Smith.

Goodness, gracious, great drinks on fire — a trip to Pontotoc Lounge Bar Report, p. 26 SATURDAY February 23 “Musical and Memphis Images” Edge Gallery, 6-9 p.m.

Opening reception for work by Wayne Russell.

Collage Dance Collective Germantown Performing Arts Center, 7:30 p.m.

Includes Kevin Thomas’ Rise ballet, Dying Swans, and In the Mirror of Her Mind.

George Clinton & Parliament Funkadelic Gold Strike Casino, 8 p.m., $44-$64 If you’ve ever asked yourself, “Why must I chase the cat?” then it’s time to get funky with George Clinton & Parliament Funkadelic.

Pulse Lafayette’s Music Room, 10 p.m.

A tribute to Pink Floyd, featuring songs from Dark Side of the Moon and The Wall.

Mavis Staples

Good Bets

By Chris Davis

In a 2008 interview, Mavis Staples looked back to the beginning of her career to describe how surprised she was by the enormous crowds that turned out to hear the Staples Singers perform their first big hit, “Uncloudy Day.” As it happens, the crowds were just as surprised as she was.

“They had bets,” she says, remembering doubts that were expressed by people in the crowds that so much sound could possibly come from such a small woman. “No one thought that such a great big voice could come out of me,” she said. But it did.

Today, as Staples tours her ample catalog of hits around the country with blues guitar virtuoso Buddy Guy in tow, similar bets might be taken as to whether or not a pair of headliners with 152 years of experience between them can still put on a show. But smart money knows not to ever bet against either one of these performers.

Mavis’ dad Roebuck “Pops” Staples launched his family gospel group in the 1950s. The influential group crossed over into pop with songs like their Stax recording “Respect Yourself.” The Staples became a major part of the civil rights era soundtrack.

By contrast, Buddy Guy didn’t have much luck as a young solo artist recording for Chicago’s Chess label. Guy was used primarily as a session player backing the label’s bread and butter artists like Muddy Waters and Howlin’ Wolf. Studio executives found Guy’s style too eccentric and abrasive for mass consumption, and he didn’t achieve real enduring fame until the blues revival of the 1980s, when he became a regular on the festival circuit. After that, no list ranking the world’s greatest guitar players was complete without Guy’s name appearing somewhere in the upper third.

The Blues is Alive and Well Tour, as the Mavis and Buddy Show is being called, arrives at the Horseshoe Casino in Tunica Friday, February 22nd. Smart money predicts a helluva show.

BUDDY GUY AND MAVIS STAPLES, THE BLUES IS ALIVE AND WELL TOUR AT HORSESHOE CASINO, FRIDAY, FEBRUARY 22ND, 8 P.M., $86.

The Plagues of Early Memphis Elmwood Cemetery, 1 p.m.

An indoor presentation of the plagues that at one time plagued us — yellow fever, malaria, dropsy, etc.

Booksigning by Mark Greaney Novel, 2 p.m.

Mark Greaney signs and discusses his latest novel, Mission Critical, part of his Gray Man series.

Funny as Ish Landers Center, 8 p.m., $52 An evening of comedy headlined

by Mike Epps with Lavell Crawford, Earthquake, Sommore, and DC Young Fly.

Memphis Garden Gala Apres Ski Dinner Memphis Zoo, 6 p.m., $125-$250 A fund-raiser for Big Green Memphis with food from Jose Gutierrez, Patrick Reilly, Will Byrd, Zach Thomason, and Konrad Spitzbart. Includes a silent disco and an auction.

Man in Black Tour Blues City Cafe, 1-3 p.m., $30 A tour of all the notable Johnny Cash spots around town.

Booksigning by Kay DiBianca Novel, 1 p.m.

Kay DiBianca signs and discusses her new novel, The Watch on the Fencepost, about a woman who finds a gold watch that may be linked to her parents’ deaths.

ARTS & ENTERTAINMENT

SUNDAY February 24

m e m p h i s f l y e r. c o m

Rosa Salazar (above) is Alita, the cybernetic hero of James Cameron and Robert Rodriguez’s Alita: Battle Angel.

Film, p. 27

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will ring a bell. But 13-year-old Tanya Tucker’s 1975 hit recording of that song came relatively late for this early starter — years after Larry (Lawrence) and his sister Lorrie (Lawrencine) regularly lit up TV screens all over Southern California as the Collins Kids. She was a luminous teenage songbird who wrote her own rockabilly songs and played guitar like one of the boys. He was a pint-sized Tasmanian Devil, straight out of the old Warner Bros. cartoons — a human tornado able to sing high harmonies while dancing in manic circles and trading licks with legendary pickers such as Joe Maphis and Merle Travis. Larry and Lorrie cut upbeat novelty singles like “Beetle Bug Bop” and the Bo Diddley-inspired rocker, “Hoy, Hoy, Hoy,” setting a high bar for innocent-yet-intense West Coast rock.

The Collins Kids became regulars on Tex Ritter’s Town Hall Party in 1954.

They signed a record contract with Columbia two years later and were marketed like a children’s act, in spite of records like, “Whistle Bait,” the turbocharged 1958 single that’s sometimes ahistorically identified as the first “punk” record. Larry’s lustful pre-teen vocals and raging proto-surf guitar don’t just point the way, they clear a path. “Whistle Bait” sounds every bit as weird and unhinged today as it must have when Eisenhower still occupied the Oval Office.

Collins doesn’t take a lot of credit for his work in co-writing the David Frizzell and Shelly West hit, “You’re the Reason God Made Oklahoma” for Clint Eastwood’s 1980 film Any Which Way You Can. But even if Collins didn’t pen all the lyrics, the song’s plaintive conversation measuring the emotional distance between Tulsa and Los Angeles, cuts right to the heart of his artistic journey.

“I’ll take credit for the name,” Collins says.

The show business opportunities that prompted Larry and Lorrie’s move from Oklahoma to Hollywood were nothing like the difficult, Depressionera migration Merle Haggard sang about in songs like “California Cottonfields.” But even for a couple of child prodigies, the stigma related to their own move lingered.

“We were definitely Okies, and we were called that a lot,” Collins says, looking back at when the O-word still had bite. “Mom didn’t like it.”

The Collins Kids may have learned to play their instruments in barns and honed their skills singing in church and at family gatherings, but there was nothing provincial about the sound.

As a 9-year-old, Larry was paired with Joe Maphis, the versatile player who wrote “Dim Lights, Thick Smoke, and Loud, Loud Music,” and who was nicknamed “king of the strings” due to his ability to play nearly any instrument he picked up.

“There were no rehearsals,” Collins says. “Whenever we’d do an instrumental, we’d go into a small room downstairs from the stage,” Collins recalls. “Joe would say, let’s play ‘Wildwood Flower,’ and he would kick off ‘Wildwood Flower’ just flying. I’d just listen. Nobody told me, ‘your finger goes here,’ or, ‘You hit a C first.’ I just played it. We’d run through things one time,” says Collins.

Collins learned from Maphis and Travis and others, but he describes his abilities as “a gift.” He says his licks were more inspired by sounds he heard listening to famous border DJ Wolfman Jack. That’s where he first heard Bo Diddley and where he fell in love with R&B horn sections. “A lot of the rockabilly riffs I got, I got from listening to the horns,” he says.

The Collins Kids started out as a pair of solo acts. Lorrie had already performed on the Louisiana Hayride on a bill with Hank Williams before Larry had even gotten his first Stella guitar for Christmas. But a family act made sense for live TV, and by the time the Collins Kids signed with Columbia in 1956, they were seasoned veterans of a notoriously wild and woolly medium.

To illustrate how crazy things could get behind the scenes, Collins tells the story of the night when Bob Wills got too drunk to play his fiddle and locked himself in a Cadillac Fleetwood. For some reason, the adults all thought it would be a good idea to send 12-yearold Larry to talk the pickled bandleader into making his gig. According to Collins, Wills only laughed and kept swigging on his bottle. Then he patted the boy on his knee, promised him he’d “understand everything” some day and proceeded to throw up.

When Collins returned, covered in vomit and bearing bad news, it was decided that the best thing to do to keep the crowd from rioting was to strip the kid out of his soiled clothes, dress him up like Bob Wills, send him out on stage, and hope the audience would think it was funny.

“Dead ass silence,” Collins says, describing the moment he stood on stage in a ridiculous, makeshift Bob Wills costume with an oversized cigar. Collins started playing Wills’ song “Maiden’s Prayer,” and the house erupted in applause.

“Live TV,” Collins says, laughing off the insanity.

The Ameripolitan Music Awards will honor Collins with its Keeper of the Key award this year, a lifetime achievement recognition for artists who have played a significant role sustaining Ameripolitan traditional root forms.

Past winners include country guitar wizard Junior Brown and psychobilly torchbearer Rev. Horton Heat.

— Chris Davis Editor’s note: See the Ameripolitan Fest ad on page 19 for a complete schedule of venues and performances.

19

ARTS & ENTERTAINMENT

m e m p h i s f l y e r. c o m

OBRUNI BY JAMIE HARMON

SARAH MCLACHLAN FRIDAY, FEBRUARY 22ND ORPHEUM THEATRE

OBRUNI DANCE BAND THURSDAY, FEBRUARY 21ST B-SIDE MEMPHIS

BUDDY GUY FRIDAY, FEBRUARY 22ND HORSESHOE CASINO

After Dark: Live Music Schedule February 21 - 27 and Flic’s Pic’s Band Saturdays, Sundays, 12:30 p.m.

Blue Note Bar & Grill Alfred’s 197 BEALE 525-3711

Gary Hardy & Memphis 2 Thursdays-Saturdays, 6-9 p.m.; Karaoke Thursdays, TuesdaysWednesdays, 9 p.m.-1 a.m. and Sundays-Mondays, 10 p.m.-2 a.m.; Mandi Thomas Fridays, Saturdays, 6-9 p.m.; The 901 Heavy Hitters Fridays, Saturdays, 10 p.m.-2 a.m.; Flyin’ Ryan Fridays, Saturdays, 2:30 a.m.; Memphis Jazz Orchestra Sundays, 6-9 p.m.

B.B. King’s Blues Club 143 BEALE 524-KING

The King Beez Thursdays, 5 p.m.; B.B. King’s All Stars Tuesdays, Thursdays, 8 p.m. and Fridays, Saturdays, 9 p.m.; Lisa G

341-345 BEALE 577-1089

Queen Ann and the Memphis Blues Masters Fridays, Saturdays, 8 p.m.-midnight.

Blues City Cafe

23, 8 p.m.-midnight; Blind Mississippi Morris Sunday, Feb. 24, 5-9 p.m.; FreeWorld Sundays, 9:30 p.m.; Earl “The Pearl” Banks Tuesdays, 7 p.m.; Brad Birkedahl Band Wednesdays, 7 p.m.

138 BEALE 526-3637

King’s Palace Cafe 162 BEALE 521-1851

The Amazing Rhythmatics Tuesdays, Thursdays-Sundays, 7 p.m.-1 a.m.

Itta Bena 145 BEALE 578-3031

Club 152

Nat “King” Kerr Fridays, Saturdays, 9-10 p.m.

152 BEALE 544-7011

Sean “Bad” Apple Thursday, Feb. 21, 4-7:30 p.m. and Monday, Feb. 25, 7-11 p.m.; Hillbilly Casino Thursday, Feb. 21, 8 p.m.-midnight and Friday, Feb. 22, 9:30 p.m.; Ameripolitan Awards Pre-Party feat: 3 Blue Tear Drops Friday, Feb. 22, 5-6:30 p.m.; The Go Getters Friday, Feb. 22, 7-9 p.m.; 3 Blue Tear Drops Saturday, Feb. 23, 4-7 p.m.; Ameripolitan Showcase feat. The Farmer & Adele, Casey James, and more Saturday, Feb.

Handy Bar 200 BEALE 527-2687

Sean Apple Thursdays, 5 p.m.; Blues Players Club Thursdays, Sundays, 8-10 p.m.; DJ Ron Fridays, Saturdays, 11 p.m.; DJ DNyce Saturdays, 11 p.m.; DJ Mad Efx Sundays, midnight; A.M. Whiskey Trio Mondays, Tuesdays, 6-10 p.m.

King Jerry Lawler’s Hall of Fame Bar & Grille 159 BEALE

Lunch on Beale with Chris Gales Wednesdays-Sundays, noon-4 p.m.; Eric Hughes solo/ acoustic Thursdays, 5-8 p.m.; Karaoke Mondays-Thursdays, Sundays, 8 p.m.; Live Bands Fridays, Saturdays, 8 p.m.

FedExForum 191 BEALE STREET

KISS Saturday, Feb. 23, 7 p.m.

David Bowen Thursdays, 5:309:30 p.m., Fridays, Saturdays, 6:30-10:30 p.m., and Sundays, 5:30-9:30 p.m.

King’s Palace Cafe Patio 162 BEALE 521-1851

Sonny Mack Mondays-Fridays, 2-6 p.m.; Cowboy Neil Mondays, Tuesdays, Thursdays, 7 p.m.midnight and Saturdays, Sundays, 2-6 p.m.; Fuzzy Wednesdays, Fridays, 7 p.m.-midnight; Baunie and Soul Sundays, 7 p.m.-midnight.

King’s Palace Cafe Tap Room 168 BEALE 576-2220

Big Don Valentine’s Three Piece Chicken and a Biscuit Blues Band Thursdays, Tuesdays, 8 p.m.-midnight.

2.24

The Music of Roy Hargrove

SPINS featuring Fùnké

Noir Adore: Celebrating Black Performance

Jazz tribute to American musician Roy Hargrove featuring The Knights of Jazz.

DJ Night. This month: Fùnké (Afro House, Deep House, Broken Beat). Cost: $5.

A panel discussion series in conjunction with Black History Month.

Time: 7-9pm Place: East Atrium at Crosstown Arts

Time: 9pm-1am Place: The Green Room at Crosstown Arts

Time: 4:30-5:30pm Place: Central Atrium

Rum Boogie Cafe Blues Hall 182 BEALE 528-0150

Memphis Blues Masters Mondays, Thursdays, 8 p.m.midnight; Cowboy Neil Band Sundays, 8 p.m.-midnight; Delta Project Tuesdays, 8 p.m.-midnight; Vince Johnson and the Plantation Allstars Wednesdays, 8 p.m.-midnight.

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182 BEALE 528-0150

Eric Hughes Band Wednesdays, Thursdays, 7-11 p.m.; Pam and Terry Friday, Feb. 22, 5:30-8:30 p.m. and Saturday, Feb. 23, 5:308:30 p.m.; FreeWorld Friday, Feb. 22, 9 p.m.-1 a.m. and Saturday, Feb. 23, 9 p.m.-1 a.m.; Memphis Blues Masters Sundays, 7-11 p.m.; Vince Johnson and Plantation Allstars Mondays, Tuesdays, 7-11 p.m.

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GRIZZLIES VS LAKERS MONDAY, FEBRUARY 25

WEEZER & THE PIXIES FRIDAY, MARCH 22

THE MILLENNIUM TOUR SUNDAY, MARCH 24

truTV IMPRACTICAL JOKERS THURSDAY, MARCH 28

Join us for Health Night presented by BlueCross BlueShield of Tennessee.

GRIZZLIES.COM · 901.888.HOOP

Bringing their highly anticipated North America arena tour to FedExForum.

Tickets available!

With B2K, Mario, Pretty Ricky, Lloyd, Ying Yang Twins & more.

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“The Cranjis McBasketball World Comedy Tour” starring The Tenderloins.

Tickets available!

Get tickets at FedExForum Box Office | Ticketmaster locations | 1.800.745.3000 | ticketmaster.com | fedexforum.com

After Dark: Live Music Schedule February 21 - 27 B-Side Memphis 1555 MADISON 347-6813

Cannon Center for the Performing Arts MEMPHIS COOK CONVENTION CENTER, 255 N. MAIN TICKETS, 525-1515

Keith Lockhart conducts Barber, Roumain, and Dvorak Saturday, Feb. 23, 7:30-9 p.m.

2559 BROAD 730-0719

Ed Finney & Neptune’s Army with Deb Swiney Thursday, Feb. 21, 8 p.m.; Wayde Peck Friday, Feb. 22, 6 p.m.; The Skitch Friday, Feb. 22, 9 p.m.; The Binghampsters Saturday, Feb. 23, 6-8 p.m.; Hope Clayburn & the Soul Scrimmage Saturday, Feb. 23, 9 p.m.; David Collins Frog Squad

P&H Cafe 1532 MADISON 726-0906

The Bugaboos Sunday, Feb. 24, 4-7 p.m.; Rockin’ Jake Sunday, Feb. 24, 8:30 p.m.-midnight.

Lafayette’s Music Room 2119 MADISON 207-5097

Cowboy Mouth Thursday, Feb. 21, 8 p.m.; The Amber McCain Band Friday, Feb. 22, 6:30 p.m.; “Almost” Elton John and the RocketMen Friday, Feb. 22, 10 p.m.; Emily Chambers Saturday, Feb. 23, 8 p.m.; Pulse – Tribute to Pink Floyd Saturday, Feb. 23,

Rockstar Karaoke Fridays; Rye Baby, Rodney Ryan, and Bigger Fish & Tennessee Screamers Saturday, Feb. 23; Open Mic Music Mondays, 9 p.m.-midnight; Top Nachos, Wine Witch Rosey Wednesday, Feb. 27.

Railgarten 2160 CENTRAL

Mike Farris Friday, Feb. 22, 9 p.m.; Frayser Boy with Special Guests Saturday, Feb. 23, 9 p.m.

855 KENTUCKY

3663 APPLING 385-6440

The High Kings Saturday, Feb. 23, 7:30 p.m.

Cordova

Huey’s Downtown

Huey’s Cordova

77 S. SECOND 527-2700

1771 N. GERMANTOWN PKWY. 318-3030

Memphis All Stars Sunday, Feb. 24, 8:30 p.m.-midnight.

Frankie Holly & the Noise Sunday, Feb. 24, 8:30 p.m.-midnight.

The Orpheum

Germantown

203 S. MAIN 525-3000

An Evening with Sarah McLachlan Friday, Feb. 22, 8 p.m.

Germantown Performing Arts Center 1801 EXETER 751-7500

Regina’s

Jazz in the Box featuring Kevin Bales Friday, Feb. 22, 7-8 and 8:30-9:30 p.m.; Keith Lockhart conducts Barber, Roumain, and Dvorak Sunday, Feb. 24, 2:30-3:30 p.m.

60 N. MAIN

Richard Wilson Saturdays, Sundays, 11 a.m.-2 p.m.; Open Mic Night Saturdays, 4-7 p.m.

Sleep Out Louie’s

North Mississippi/ Tunica

150 PEABODY PL SUITE 111 ENTRANCE ON, S 2ND ST

The Rusty Pieces Friday, Feb. 22, 6-9 p.m.; Brannon Heath Saturday, Feb. 23, 6-9 p.m.

Gold Strike Casino 1010 CASINO CENTER IN TUNICA, MS 1-888-245-7829

The Vault

George Clinton & Parliament Funk Saturday, Feb. 23, 8-9:30 p.m.

124 GE PATTERSON

Evan Farris and Friends Friday, Feb. 22, 8 p.m.; Jack Rowell Saturday, Feb. 23, 8 p.m.

Horseshoe Casino & Hotel

Medical Center

AT CASINO CENTER, NEAR TUNICA, MS 1-800-303-SHOE

Buddy Guy and Mavis Staples Friday, Feb. 22.

Sunrise 670 JEFFERSON

Spindini 383 S. MAIN 578-2767

Candace Mache Jazz Trio Friday, Feb. 22, 7-10 p.m. and Saturday, Feb. 23, 7-10 p.m.

Sunday, Feb. 24, 6 p.m.; Richard Wilson Tuesdays, 6-8 p.m.; Ben Minden-Birkenmaier Wednesday, Feb. 27, 5 p.m.; Karaoke Wednesdays, 8 p.m.

Crosstown Arts at The Concourse 1350 CONCOURSE AVE., SUITE 280

Crosstown Jazz Series Saturday, Feb. 23, 7 p.m.

Dru’s Place Bar DKDC 964 S. COOPER 272-0830

GONER THIRDSday Thursday, Feb. 21; Allison Kasper Tuesday, Feb. 26; Karen Meat Wednesday, Feb. 27.

Risky Whiskey Boys Thursday, Feb. 21, 8 p.m.-midnight; Eddie Smith Fridays, 8 p.m.; The Fast Mothers and Pangea Saturday, Feb. 23, 8 p.m.; Reba Russell Trio Sunday, Feb. 24, 5-9 p.m.; Debbie Jamison & Friends Tuesdays, 6-10 p.m.; Elmo and the Shades Wednesdays, 8 p.m.-midnight.

Bartlett Performing Arts and Conference Center

The Tinglers Thursday, Feb. 21, 8 p.m.; Brad Birkedahl Friday, Feb. 22, 9 p.m.; Chris Johnson Saturday, Feb. 23, 4 p.m.; Blackwater Trio Saturday, Feb. 23, 9 p.m.; Bobbie Stacks and Friends Wednesdays, 8-11 p.m.

South Main

Neil’s Music Room 5727 QUINCE 682-2300

Bartlett

Dirty Crow Inn

Ghost Town Blues Band Saturday, Feb. 23, 10 a.m.; Andrew Cabigao Sunday, Feb. 24, 10 a.m.

Poplar/I-240

1474 MADISON 275-8082

Karaoke Fridays-Sundays; Sass, Class, Jazz Sunday, Feb. 24, 5-10 p.m.

Growlers 1911 POPLAR 244-7904

Zach Bair Band Single Release Party Thursday, Feb. 21, 7 p.m.; Red Squad Record Release with Risky Whispers and Native

Suffocation, and Hate Doctrine Wednesday, Feb. 27, 7 p.m.

Hi-Tone 412-414 N. CLEVELAND 278-TONE

The Grits and Dukeakartj Thursday, Feb. 21, 7:30 p.m.; Negro Terror Presents: Black and Brutal Friday, Feb. 22, 7:30 p.m.; Elizabeth Cook, Chris Shiflett, Kendel Marvel Saturday, Feb. 23, 7 p.m.; Shockley Saturday, Feb. 23, 9 p.m.; Scorched, Mutilatred, Hollowed Idols, and Grave Lurker Sunday, Feb. 24, 7 p.m.; John Maus with General Labor Monday, Feb. 25, 8 p.m.; Deep State, Elf Rage, Wesley Wolffe Tuesday, Feb. 26, 8 p.m.; The Strapping Owls Wednesday, Feb. 27, 9 p.m.

Raleigh

10 p.m.; Joe Restivo 4 Sundays, 11 a.m.; Paul Thorn Sunday, Feb. 24, 7:45 p.m.; The Faculty Tuesday, Feb. 26, 7 p.m.; Breeze Cayolle & New Orleans Wednesday, Feb. 27, 5:30 p.m.

University of Memphis

Lindenwood Christian Church

539 HIGHLAND

Stage Stop 2951 CELA 382-1576

Newby’s

2400 UNION 458-8506

MUID Residency Fourth Tuesday of every month, 8-10 p.m.

Minglewood Hall

University of Memphis Rose Theater

Felix Hell Sunday, Feb. 24, 4 p.m.

1555 MADISON 866-609-1744

Bas with Young Soul Saturday, Feb. 23, 8 p.m.; Ameripolitian Awards showcase Sunday, Feb. 24, 7 p.m.; An Evening With Leftover Salmon Wednesday, Feb. 27, 7 p.m.

Otherlands Coffee Bar 641 S. COOPER 278-4994

Short in the Sleeve Saturday, Feb. 23, 8-10 p.m.

470 UNIVERSITY 678-2041

Stax Music Academy Black History Month Show Tuesday, Feb. 26, 7 p.m.

East Memphis

Open Mic Night Thursdays, 6 p.m.-midnight; Blues Jam hosted

by Brad Webb Thursdays, 7-11 p.m.

West Memphis/ Eastern Arkansas EACC Fine Arts Center Gallery EAST ARKANSAS COMMUNITY COLLEGE, 1700 NEWCASTLE, FORREST CITY, AR

The Platters, Original Cornell Gunter’s Coasters, and the Drifters Saturday, Feb. 23, 7:30 p.m.

m e m p h i s f l y e r. c o m

153 S. MAIN 576-0010

Hi-Jivers Thursdays, 8 p.m.

The Cove

Huey’s Midtown 1927 MADISON 726-4372

ARTS & ENTERTAINMENT

Blues City Pastry Shop & Coffee Bar

Obruni Dance Band Thursday, Feb. 21, 8-10:30 p.m.

Blood Friday, Feb. 22, 8 p.m.; Red Squad (album release show) with Native Blood and Risky Whispers Friday, Feb. 22, 9 p.m.; A Tribute to Paramore Saturday, Feb. 23, 7-11 p.m.; The Operation Broken Silence Benefit Concert Sunday, Feb. 24, 6 p.m.; Wilderun with Aether Realm, Evince Monday, Feb. 25, 7 p.m.; Verses with Folklore Tuesday, Feb. 26, 7 p.m.; Crockett Hall Tuesdays with the Midtown Rhythm Section Tuesdays, 9 p.m.; Infera Bruo with Epoch of Unlight, Process of

Art Body Soul Studio 1024 SOUTH YATES 207-4161

Vibration: A Creative Dance Experience Friday, Feb. 22, 7-9 p.m.

21

COME CELEBRATE

NATIONAL

MARGARITA

DAY AT

MOLLY’S

FRIDAY,

FEB 22ND

CALENDAR of EVENTS: FEB. 21 - 27 T H E AT E R

McCoy Theatre

I Love You, You’re Perfect, Now Change, hit musical with newly updated script charting the ups and downs of partnerships.

(843-3839), www.rhodes.edu/ events. Thurs.-Sat., 7:30 p.m., and Sun., Feb. 24, 2:30 p.m.

Through Feb. 23.

RHODES COLLEGE, 2000 N. PARKWAY (843-3000).

New Moon Theatre Company

Agnes of God, novice nun Sister Agnes is accused of strangling and then discarding her newborn child. A psychiatrist must get to the truth. (484-3467), Fri., Sat., 8-10 p.m., and Sun., 2-4 p.m. Through Feb. 24.

AT THEATREWORKS, 2085 MONROE (484-3467).

Theatre Memphis

Little Women, four sisters live with their mother in New England as their father is away serving as a chaplain in the Civil War. The family recently lost its fortune and struggles to support themselves as the girls grow and face their own personal moral challenges, guided by their religious faith.

(682-8323), www.theatrememphis.org. Through Feb. 24.

630 PERKINS EXT. (682-8323).

A R T I ST R E C E PT I O N S

430 Gallery

“Wanderland to Reality,” exhibition of work by Tierra Gibson. www.crosstownarts. org. Feb. 22-23, 6-10 p.m.

Fe b r u a r y 2 1 - 2 7 , 2 0 1 9

Speakers Martha R. Robinson and Julie Pierotti will discuss the works and the themes in an opening lecture for the exhibition, “Eye to Eye: A New Look at the Dixon Collection.” Open to the public and free for Dixon members. Sun., Feb. 24, 2 p.m.

THE DIXON GALLERY & GARDENS, 4339 PARK (761-5250), WWW.DIXON.ORG.

Jazz-A-Fire

Living Legends Series featuring Stax recording stars the Temprees. $20. Last Sunday of every month, 4-7 p.m.

BRINSON’S, 341 MADISON (5240104), WWW.MEMPHISBLACKARTSALLIANCE.ORG.

Leadership Memphis Exhibition

A monthly exhibit open to the public the last Friday of every month. Free. 6-8 p.m.

LEADERSHIP MEMPHIS, 365 S. MAIN ST. (523-2344), WWW.THEWITHERSCOLLECTION. COM/EXHIBITIONSEVENTS.

O N G O I N G ART

Art Museum at the University of Memphis (AMUM)

“Film2Fiber,” exhibition of new work by Judith Dierkes.

Through March 1, 3-6 p.m.

“Africa: Art of a Continent,” exhibition of African art from the Martha and Robert Fogelman collection. Ongoing.

Buckman Arts Center at St. Mary’s School

“Into the Shadows,” exhibition of new work by Chelsea Fly. www.buckmanartscenter.com.

Through Feb. 25.

60 N. PERKINS EXT. (537-1483).

Clough-Hanson Gallery

“Monument Lab: Prototypes/ Proposals,” exhibition of new works by Kara Crombie, Jamel Shabazz, Michelle Angela Ortiz, and Marisa Williamson. www.rhodes.edu/events.

Tuesdays-Saturdays. Through March 16.

RHODES COLLEGE, 2000 N. PARKWAY (843-3000).

Crosstown Arts at The Concourse

“Active Shooter,” exhibition of video art by Coriana Close. www.crosstownarts.org.

Through March 10.

“Every American Thing,” exhibition of new work by Lester Merriweather. www.crosstownarts.org. Through March 10.

Memphis artist Desmond Lewis and Kenturah Davis (an artist working between Los Angeles, New Haven, and Accra, Ghana) were selected

by Delta Axis and Locate Arts/ Seed Space to exhibit their work together based on their exploration of social and relational content. www. crosstownarts.org. Through March 10.

“Recent Acquisitions: Friends of the Brooks Museum of Art,” group exhibition curated by Lester Merriweather. Through March 10.

1350 CONCOURSE AVE., SUITE 280.

142 COMMUNICATION & FINE ARTS BUILDING (678-2224).

Edge Gallery

Art Village Gallery

continued on page 25

410 S. MAIN (521-0782).

“Hawkins Bolden” at Tops Gallery at Madison Avenue Park, through March 25th

509 S. MAIN (647-9242).

22

Artist Lecture: “Eye to Eye: A New Look at the Dixon Collection”

DUE TO SPACE LIMITATIONS, ONGOING WEEKLY EVENTS WILL APPEAR IN THE FLYER’S ONLINE CALENDAR ONLY.

430 N. CLEVELAND (507-8030).

Opening Reception for “Musical and Memphis Images,” exhibition of work by Wayne Russell. Fri., Feb. 22, 6-9 p.m.

MEXICAN RESTAURANT 2006 Madison Ave.•726-1873 Open Daily @ 11am

OT H E R A R T HAP P E N I N G S

Send the date, time, place, cost, info, phone number, a brief description, and photos — two weeks in advance — to calendar@ memphisflyer.com or P.O. Box 1738, Memphis, TN 38101.

“Out of Africa: Inhabitants of the Earth,” exhibition of work

by Nigerian artist Uchay Joel Chima. www.artvillagegallery. com. Ongoing.

DeltaARTS PresentsDeltaARTS Presents DeltaARTS Presents

! withSundays sSundays the Artswith the Arts join uSundays with the Arts DeltaARTS PresentsDeltaARTS Presents DeltaARTS Presents

Sundays withSundays the Artswith the Arts Sundays with the Arts

The Starry Road to Freedom The Starry Road to Freedom The Starry Road to Freedom Actor Phil Darius Wallaceplay performs his one-man play Actor Phil Darius Wallace performs his one-man about Frederick Douglass, man born into slavery, who Actor PhilFrederick Darius Wallace performs his one-man playa who about Douglass, a man born into slavery, an abolitionist, statesman, about Frederick Douglass, abecame man born into who became an abolitionist, statesman, andslavery, reformer, as well and reformer, as well a firm believer the equality of all people. became anasabolitionist, statesman, and reformer, asinwell a firm believer in theas equality of all people.

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This show explores Douglass’ life, from childhood to his career as a diplomat and statesman, told through This show explores Douglass’and life,statesman, from childhood to his career as a diplomat told through monologues, career as a diplomat and statesman, told through poetry, and song. monologues, poetry, and song. monologues, poetry, and song.

The Starry Road to Free The Starry Road to Freedom BUILD The Starry Road to Freedom

DOWN TOWN

Actor Phil Darius Wallaceplay performs his one-ma Actor Phil Darius Wallace performs his one-man about Frederick Douglass, man born into slave Actor PhilFrederick Darius Wallace performs his one-man playa who about Douglass, a man born into slavery, an abolitionist, statesman, about Frederick Douglass, abecame man born into who became an abolitionist, statesman, andslavery, reformer, as well and reforme a firm believer the equality of all peop The Downtown Memphis Master Plan became anasabolitionist, statesman, and reformer, asinwell a firm believer in theas equality of all people.

DeltaARTS Presents This show explores Douglass’ life, from childhoo as a firm believer in the equality of all people.

This show explores Douglass’ life, from childhood to his career as a diplomat and statesman, told thr This show explores Douglass’and life,statesman, from childhood to his career as a diplomat told through monologues, career as a diplomat and statesman, told through poetry, and song. monologues, poetry, and song. februarymonologues, 25 through march 1 poetry, and song.

design studio

Sundays with the Arts 100 Peabody Place Sunday, February pm Sunday, February Sunday, February 24th, 3:00 pm24th, 3:00 Sunday, February 24th, 3:00 pm24th, 3:0 The Starry Road to Freedom Th Sunday, February 24th, 3:00 pm Sunday, February 24th, 3:00 pm DeltaARTS Glenn P. Schoettle Arts Education Center, DeltaARTS Glenn P. Schoettle Arts Education (OLD LIFE IS GOOD SPACE ON THE MAIN STREET MALL)

DeltaARTS Glenn P. Schoettle Arts Education Center, DeltaARTS P. Schoettle Arts Education Center, OPEN PUBLICGlenn SESSIONS ALL WEEK performs his one-man play DeltaARTS Glenn P.S.Schoettle Center,West Memphis Actor Phil Darius Wallace DeltaARTS Glenn P.S.Schoettle Arts Center,West Memphis A 301 S. Rhodes, 301 S. Rhodes, 301 Rhodes, Arts WestEducation Memphis 301 Rhodes, WestEducation Memphis SEE WEBSITE FOR SCHEDULE! about Frederick Douglass, a man born into slavery, who ab 301 S. Rhodes, West Memphis 301 S. Rhodes, West Memphis became an abolitionist, statesman, and reformer, as well

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kickoff event 2/25 @ 5-7:30 pm

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monologues, poetry, and song.

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Sundays with the Arts career as a diplomat and statesman, told through

The Starry Road to Freedom The Starry Road to Free Sunday, February 24th, 3:00 pm Su

ARTS & ENTERTAINMENT

Actor Phil Darius Wallace performs his one-man play Glenn P. Schoettle Arts Education Center, Actor Phil Darius Wallace performs his one-m DeltaARTS De about Frederick Douglass, a man born into slavery, who 301 S. Rhodes, West Memphis about Frederick Douglass, a man born into slave became an abolitionist, statesman, and reformer, as well became an abolitionist, statesman, and reforme as a firm believer in the equality of all people. as a firm believer in the equality of all peo Madetopossible M This show explores Douglass’ life, from childhood his by a grant from the H.W. Durham Foundation This show explores Douglass’ life, from childhoo career as a diplomat and statesman, told through career as a diplomat and statesman, told thr monologues, poetry, and song. monologues, poetry, and song.

Sunday, February 24th, 3:00 pm

Sunday, February 24th, 3:0

DeltaARTS Glenn P. Schoettle Arts Education Center, 301 S. Rhodes, West Memphis

DeltaARTS Glenn P. Schoettle Arts Education 301 S. Rhodes, West Memphis

Made possible by a grant from the H.W. Durham Foundation

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23

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C A L E N DA R: F E B R UA RY 2 1 - 2 7 continued from page 22 The Dixon Gallery & Gardens

“Eye to Eye: A New Look at the Dixon Collection,” exhibition of select works from the Dixon’s collection, shown in a new light. www.dixon.org.

Through April 14.

4339 PARK (761-5250).

Edge Gallery

“Musical and Memphis Images,” exhibition of work

by Wayne Russell. Feb. 22-March 30.

7:30-8:30 p.m., and Sat., Feb. 23, 2:30-3:30 p.m.

TO U R S

GERMANTOWN PERFORMING ARTS CENTER, 1801 EXETER (751-7500), WWW.GPACWEB.COM.

Man in Black Tour

Spring Mix

Including Steven McMahon’s Flyway, Julia Adam’s water-themed Dew Point, and a new work from Rafael Ferreras. $25. Through Feb. 23, 8-10 p.m., and Sun., Feb. 24, 2-4 p.m.

BALLET MEMPHIS, 2144 MADISON (737-7322), WWW.BALLETMEMPHIS.ORG/SPRING-MIX.

509 S. MAIN (647-9242).

LECTU R E / S P E A K E R

Fogelman Galleries of Contemporary Art, University of Memphis

Congress on Your Corner

“Aggregate Optics of Make-A-Do,” exhibition of new work by Erin Harmon. www.memphis.edu/ fogelmangalleries/. Through March 8.

3715 CENTRAL.

Representative Steve Cohen speaks on the topic of dealing with federal agencies and issues. Free. Fri., Feb. 22, 11 a.m.-1 p.m.

RANDOLPH BRANCH LIBRARY, 3752 GIVEN AVENUE.

High-energy, live-music tribute tour that explores Johnny Cash’s years in Memphis. $30 per person.

Sun., Feb. 24, 1-3 p.m.

BACKBEAT TOURS, CORNER OF SECOND AND BEALE (INSIDE BLUES CITY CAFE) (527-9415), WWW.BACKBEATTOURS.COM/SPECIAL-EVENTS/.

Get These Hands: MLK50 Spades Tournament and Game Night

Join MLK50 for an evening of spades playing, smack talking, soul food eating, and liquor dranking. Cash bar. Proceeds benefit MLK50: Justice Through Journalism. $25. Sat., Feb. 23, 7 p.m.-midnight.

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St. Jude Barrel Jam Barrel Race

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Bowlin’ on the River Bowl-A-Thon

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Sat., Sun., 8 a.m.-5 p.m. Through Feb. 25.

A weekend jam-packed with family fun and barrel racing benefiting of St. Jude Children’s Research Hospital. For questions about the event, please email BarrelJamMemphis@gmail.com.

Feb. 22-24.

AGRICENTER INTERNATIONAL, SHOWPLACE ARENA, 105 S. GERMANTOWN.

BILLY HARDWICK ALLSTAR LANES, 1576 S. WHITE STATION (366-7800).

Gallery 1091

“Improv,” exhibition of new works by the Memphis Camera Club. www.memphiscameraclub.org.

Mon.-Fri. Through Feb. 21.

“For Art’s Sake: 2 for the Show at ’KNO,” exhibition of works by Don Meyers and David Tankersley. www.wkno.org/gallery1091.html. Feb. 25-March 29.

WKNO STUDIO, 7151 CHERRY FARMS (458-2521).

Germantown Performing Arts Center

NEW SLOTS ON THE FLOOR!

Visual Arts Exhibit: “See Me, Hear Me, I Am Human,” work by Lin Powell. (751-7500), www. gpacweb.com. Through March 3, 10 a.m.-5 p.m.

1801 EXETER (751-7500).

Jay Etkin Gallery

“Contemporary Influences of African Tribal Art,” exhibition of African art. (550-0064), jayetkingallery.com/. Through March 16.

942 COOPER (550-0064).

L Ross Gallery

“Grand Reopening,” exhibition of work

by Matthew Hasty, Lisa Jennings, Chuck Johnson, Jeanne Seagle, Niles Wallace, Lisa Weiss, Peter Wright, Laurel Lukaszewski, Erwin Timmers, and Nancy Weisser. www.lrossgallery.com. Through March 7.

5040 SANDERLIN (767-2200).

Memphis Botanic Garden

“Origami in the Garden,” exhibition of 24 museum-quality outdoor sculptures depicting origami-inspired works crafted by artists Kevin Box, Te Jui Fu, Beth Johnson, Michael G. LaFosse, and Robert Lang. Through March 24.

“Cosas Diversas/Diverse Things,” exhibition of nature, animal, and Memphis-area photography by Bruce McGee. Sundays. Through Feb. 28.

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750 CHERRY (636-4100).

Memphis College of Art

“Take Note: The Final Faculty Biennial Exhibition,” exhibition of work of current and former faculty and Professors Emeriti. (272-5100), mca.edu/. Feb. 22-March 17, 8:30 a.m.-5 p.m.

m e m p h i s f l y e r. c o m

1930 POPLAR (272-5100).

Ross Gallery

ARTS & ENTERTAINMENT

“Mi Casa es Your House,” exhibition of new work by Vanessa Gonzalez, exploring her Mexican-American identity, while celebrating and exploring her Mexican heritage. www.cbu.edu/ gallery. Fridays, 7:45 a.m.-4:30 p.m., Saturdays, 12-4 p.m., and Sundays, 1-11 p.m. Through April 7.

“Migration Now,” traveling exhibition of a limitededition portfolio of handmade prints that address migrant issues from the organizations Justseeds and CultureStrike. www.cbu.edu/gallery. Fridays, 7:45 a.m.-4:30 p.m., Saturdays, 12-4 p.m., Sundays, 1-11 p.m., and Mondays-Thursdays, 7:45 a.m.-11 p.m.

Through April 10.

CHRISTIAN BROTHERS UNIVERSITY, PLOUGH LIBRARY, 650 E. PARKWAY S. (321-3000).

Tops Gallery: Madison Avenue Park

“Hawkins Bolden,” exhibition of scarecrow pieces crafted with discarded materials. (340-0134), www. topsgallery.com. Through March 25.

151 MADISON (340-0134).

DAN C E

Collage Dance Collective

The program includes Kevin Thomas’ iconic Rise ballet alongside the premiere of In the Mirror of Her Mind choreographed by Christopher Huggins and audience favorites like Dying Swans. Fri., Feb. 22,

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BAR REPORT By Meghan Stuthard

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26

www.secondlinememphis.com • (901) 590-2829 2144 Monroe Ave, Memphis, TN 38104

T

he only reason that the Pontotoc Lounge wasn’t packed the night I went is that, presumably, not enough people know that there’s an actual bar that is equal parts the “Be Our Guest” set from Beauty and the Beast and a contemporary art funhouse. It’s luxurious and intimate, creative and dark. We went in the middle of the week and spent a few hours with Cady Smith, one half of the bartending duo who designs, names, and serves the drinks at Pontotoc Lounge. It didn’t have any cursed Prince Charmings, but if one spends enough time at this elaborate, mirrored bar, one could easily understand the appearance of dancing furniture.

Pontotoc Lounge has undergone a bit of an overhaul. Its former version was bright and airy with white walls. It was the kind of brightness and natural light that I don’t like to associate with drinking unless said drinking is being done on a patio. It also felt out of place in an arts district known for its devotion to darker, grubbier bars. Fortunately, owner Daniel Masters must have recognized this, because he went in the complete opposite direction with Pontotoc’s latest incarnation. The walls are now black, and the lights are low. Large, framed mirrors are hung everywhere, and in the dimness of the space, the mirrors make for a fun adventure for anyone navigating toward the restroom. This is made no easier by the incredible mural by Frances Berry that covers the whole hallway including the ceilings; Berry’s line work makes this a perfect location to be blindfolded and spun around before being made to walk a straight line. Masters also dropped “café” from the name and added the slinkier and sexier “lounge.”

Smith and her colleague, Jonathan Wade, have put together a hell of a drink menu that matches the new look. It’s unique without being over the top, featuring cocktails like the Mezcal Negroni (a combination that works way better than it should) and the Constant Sorrow, which is the perfect drink for the post-holiday Seasonal Affective Disorder that’s wrecking your life right now. For the more adventurous among us, the menu also has the Safe Word (gin-based with ginger and rosemary) and Love Your Mouth (inexplicable flavor combination of rum and egg white). They’ve incorporated local spirits from Old Dominick into their menu, which Smith says they try to change seasonally. She and Wade make most of their bitters, shrubs, and tinctures.

The Smokin’ Mary, made with Old Dominick bourbon, was a delicious concoction made even better by a rosemary tincture that is so concentrated it can be lit on fire. Anyone who lights drinks on fire can fully expect to see me back at their establishment. Pontotoc also serves their wine in large, voluminous glasses, which is an oft-ignored special something that all bars should do.

Perhaps the most grandiose display of luxury within the Pontotoc is the oversized, completely unnecessary chandelier. It’s hard to describe how large it is, as a piece half its size would still look massive in the narrow, dark space. Evoking the Beast’s mansion and frolicking décor, it’s cartoonish in the perfect way. I felt fancy sitting underneath it, so I can only imagine how girls on actual dates probably feel when they visit Pontotoc. It is the perfect centerpiece in a bar where interior decorating is already much celebrated and respected.

JUSTIN FOX BURKS

GIFT S CARD

n w o t d Mi Trivia s y a d s Tue

A visit to Pontotoc Lounge.

Cady Smith with a blazing cocktail

The Pontotoc Lounge is by no means a dive bar, but it does a bang-up job of fitting in with the dive bars, chandelier and all. It knows its South Main audience, because there are two TVs for those who like decadence but also need to keep up with Mike Conley and 624 new Grizzlies. It has a full menu with meat and cheese plates and chicken and dumplings among other delicious-sounding dishes.

They even serve brunch until 6 p.m. on Sundays (2 p.m. on Saturdays) for those patrons who find themselves allergic to sunlight, or, because they’re a monster from a Disney movie, don’t like going out in the daytime. Give this place a visit; I may just be there, too, clapping gleefully at things on fire.

FILM REVIEW By Chris McCoy

Body Mod Sumptuous visuals save Alita: Battle Angel.

T

to devote his directorial time to making Avatar a franchise, and he recruited Robert Rodriguez to helm Alita.

And now, two decades and an estimated $175 million later, Alita finally hit the IMAX screen.

I’ll have to admit, I had pretty low expectations going in. Cameron has made some unassailable classics, but Avatar always felt to me more like a technology demonstration reel for the 3D cinematography and motion capture systems he developed than a fully realized film. Rodriguez, likewise, is a first-wave indie hero who has done some great work (Spy Kids is fabulously underrated), but seems to have been coasting for the last decade or so (Sin City: A Dame to Kill For should have rotted in development hell). My expectations, I’m happy to say, were greatly exceeded.

Alita (Rosa Salazar) awakens in what looks like a teenaged girl’s room. She has no memory of who or where she is, but her body, while human-shaped, is robotic. She discovers she is the pet project of Dr. Dyson Ido (Christoph Waltz), a cyberneticist living in Iron City in 2563. Three hundred years ago, there was a terrible war that ended with The Fall, in which all of the Earth’s massive floating cities came crash-

Rosa Salazar (above) stars at the eponymous antimatter-powered hero in Alita: Battle Angel. ing to the ground, killing billions. The only one that survived was Zalem, which now hangs over Iron City like a storm cloud filled with rich fascists. Iron City is their heavily populated junkyard, which they rule from afar with a murderously heavy hand. The only sure-fire way to get from the slums to Zalem is by becoming the grand champion of motorball, a kind of combination of NASCAR and soccer played by cyborg gladiators on inline skates.

Alita’s initial quest to find her identity takes us through the war between the United Republic of Mars technocracy and Earth’s oppressive oligarchy. The flying cities built at the bottom of a broken space elevator, keeping the huddled masses in line with a fully privatized justice system where police have been replaced by bounty hunters, provides the class war metaphor.

In a conflict-scarred world where cybernetic implants

Don B

continued on page 28

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RESEARCH VOLUNTEERS NEEDED

oday’s useful Hollywood term is “development hell.” That’s the phase of production between ostensible green lighting and the start of actual filming. When all goes well, that’s called “pre-production.” But when it doesn’t go well, you go to development hell, and you can stay there for a really, really long time. Mad Max: Fury Road is an extreme recent example. George Miller was stuck in development hell for 18 years — with production sidelined by things like 9/11, Mel Gibson’s legal problems, and an unexpected rainy season in the Australian desert. The result was one of the greatest sci-fi action films of all time. But the more common outcome of a stint in development hell is either fatal bastardization or outright cancellation.

James Cameron first decided to adapt Yukito Kishiro’s Alita: Battle Angel in 1999, the year after Titanic put the director on the “top of the world.” For the next two decades, Alita was going to be Cameron’s “next project.” But there were detours along the way, to the alien planet Pandora for Avatar in 2009, and then to the bottom of the Mariana Trench, because he just wanted to go there. Eventually, Cameron decided

27

FILM REVIEW By Chris McCoy continued from page 27

MARCH 22 6-9pm OVERTON SQUARE PRESENTED BY

are ubiquitous, there’s a lively trade in stolen artificial body parts. This proves perilous for Alita, when it is revealed she is an advanced, antimatter-powered cyborg, and thus greatly in demand. It’s refreshing to see a new world, not based on a Marvel hero or Star Wars, that feels integrated and lived-in. The story, adapted from five years worth of manga and who knows how many script drafts in the last two decades, ends up feeling episodic as Alita explores the aspects of her fallen world.

Perhaps Alita would have felt more timely had it been made when originally planned, back when the kick-ass kawaii girl still felt Buffy fresh. Ghost in the Shell covered similar thematic territory, but Alita is superior in every way.

Salazar is a natural, and, thanks partly to a patiently paced first act, she really grows on you by the time the stakes are the highest. Rodriguez avoids grossly sexualizing his heroine, even while she navigates her tragic teenage love story.

What holds the whole project together is the incredible visuals, which push Cameron’s 3D IMAX tech to its limits.

Iron City has layers upon layers of architecture, built up as the centuries passed and technology advanced and retreated.

Flashbacks take us to a spectacular battle on the lunar surface. If world building is your thing, Alita is your movie.

Alita: Battle Angel Now playing Multiple locations

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transmission by using soaps/ germicides and keeps a sufficient supply of paper, cloth, and sanitary supplies for youth, staff and visitors. Prerequisites: • High school diploma or GED (preferred) watchers • Most positions require one year of experience • May be required to life 30-75 lbs. depending on position • Desire to help children and families succeed We offer: • A comprehensive benefits package • Tuition and Licensure reimbursement • 10 paid holidays and 10 days of vacation, plus 12 days of sick leave per year • Internal growth opportunities (promoting within) • Discounts to popular gyms, Weight-watchers® meetings and regular fitness challenges by our on-staff wellness coordinator.

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29

REAL ESTATE • SERVICES Shared Housing

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30

THE LAST WORD by Maya Smith

Changing the Narrative The Memphis Police Department wants to hire more officers in an effort to reduce the violent crime rate here, according to department and city of Memphis officials. But, will more officers on the street actually impact the crime rate? Or will it have unintentional adverse effects?

Having more officers on the force is not a problem in itself, but when officers begin to over-police and over-invade certain neighborhoods of the city, it becomes uncomfortable for those living there. Just the presence of more police officers in a neighborhood can make the residents feel anxious, targeted, and criminalized.

It’s all about trust, especially in communities of color, which comprise most of the city.

The ugly truth is that black and brown communities historically haven’t had much reason to put their trust in law-enforcement agencies and the system they serve. When you read the history books, it makes sense that in many cases people of color would have a legitimate fear of the men and women in blue.

While it might sound to some like the same old, tired song of victimhood, just a little more than 50 years ago, police officers were the enforcers of segregation and Jim Crow laws in the South. In some ways, they were the physical representatives of an unjust system. While fighting for the rights every person deserves, black people were beaten, sprayed with water hoses, and attacked by canines controlled by police officers. People of color were basically stripped of their humanity, along with their basic human rights. I think our collective unconscious has absorbed the trauma of past police brutality. We cannot not help but to be apprehensive about trusting agents of the law who a few decades ago were the symbol of inequality.

However, I strongly disagree with those who say we should be harboring anger and holding onto grudges from the past. We should forgive, but not forget.

We simply cannot heal and progress without first knowing where we came from.

In order to change the narrative for the future, we must acknowledge the narrative of the past, no matter how hard it might be. Nevertheless, we should look to move forward, doing what we can to change that narrative for our generation and those to come.

But as we move forward, we’re regularly reminded that the fight isn’t over. In recent years, we’ve seen numerous devastating videos of unarmed black folks shot dead by officers around the country. We see law-enforcement agencies tearing immigrant families apart, coupled with a militarized effort at the southern border to keep people of color out of the country.

We see walls that we thought were torn down simply morph into another shape. The problem hasn’t gone away; it just looks different.

I think there have to be intentional strides made by both law enforcement and communities of color in order to reconcile and eventually build a bridge where there have historically been walls. For starters, instead of riding around in the comfort of their police cruisers, officers could be out walking in the neighborhoods, interacting with residents, and getting to know the people they swore to serve and protect. A lot of the time, humans fear what they don’t know. People of color are viewed as a threat or as criminals because of preconceived notions that, in many cases, are propelled by the media. We see a black teen wearing a hoodie, and some people automatically assume he’s up to no good. In 17-year-old Trayvon Martin’s case, it was that assumption made by a neighborhood watcher that cost him his life in 2012.

What if people took the time to get to know the kid under the hood, instead of prejudging him as a thug or a gangbanger?

How then could the narrative change?

On the other side, the public does have the responsibility to respect officers of the law. If we want respect, we have to give respect. The best we can do is comply and hope officers respond accordingly. As people of color, we have to take back our dignity and help rehumanize ourselves. We cannot fulfill the expectations of the world. We can’t continue to allow our young folks to drop out of school or or grow up without fathers without fighting to change that process and the forces that cause it. We have to take some responsibility and initiative when it comes to changing the narrative. We need comprehensive policing reform in this country, and everyone has a part to play, if the narrative is to change.

Maya Smith is a Flyer staff writer.

m e m p h i s f l y e r. c o m

MPD blues

THE LAST WORD

Hiring more police officers won’t necessarily reduce crime.

31

MINGLEWOOD HALL

JUST ANNOUNCED: Tyler Childers [5/15] Badflower [4/30]

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Fri Feb 22: Mike Farris, 9p Sat Feb 23: Frayser Boy w/Skinny Pimp and special guests, 9p Sun Feb 24: Magic Brunch, 12p Fri Mar 1: Reverend Sekou w/The TN Mass Choir & Talibah Safiya, 6p Sat Mar 2: Mighty Souls Brass Band, 4p, Jared & The Mill, 8p Fri Mar 8: Forest Fire Gospel Choir, 9p Sat Mar 9: Love Light Orchestra, 9p

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