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JUSTIN RUSHING Advertising Director CARRIE O’GUIN HOFFMAN Advertising Operations Manager JERRY D. SWIFT Advertising Director Emeritus KELLI DEWITT, CHIP GOOGE Senior Account Executives ALEX KENNER Account Executive ROXY MATTHEWS Sales Assistant DESHAUNE MCGHEE Classified Advertising Manager BRENDA FORD Classified Sales Administrator classifieds@memphisflyer.com LYNN SPARAGOWSKI Distribution Manager ROBBIE FRENCH Warehouse and Delivery Manager BRANDY BROWN, JANICE GRISSOM ELLISON, ZACH JOHNSON, KAREN MILAM, RANDY ROTZ, LEWIS TAYLOR, WILLIAM WIDEMAN Distribution THE MEMPHIS FLYER is published weekly by Contemporary Media, Inc., 460 Tennessee Street, Memphis, TN 38103 Phone: (901) 521-9000 Fax: (901) 521-0129 letters@memphisflyer.com www.memphisflyer.com CONTEMPORARY MEDIA, INC. KENNETH NEILL Chief Executive Officer MOLLY WILLMOTT Chief Operating Officer JEFFREY GOLDBERG Director of Business Development BRUCE VANWYNGARDEN Editorial Director KEVIN LIPE Digital Manager LYNN SPARAGOWSKI Distribution Manager MATTHEW PRESTON Social Media Manager BRITT ERVIN Email Marketing Manager ASHLEY HAEGER Controller CELESTE DIXON Accounting Assistant JOSEPH CAREY IT Director KALENA MCKINNEY Receptionist

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

J U LY 2 8

CONTENTS

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 JULIE RAY Calendar Editor

On June 20th, a few hundred people gathered at Bruce Elementary School to discuss strategies for taking down Memphis’ monuments to Confederate war heroes — specifically, the Jefferson Davis statue downtown and the Nathan Bedford Forrest statue near the University of Tennessee Memphis. The Memphis City Council has voted to remove the statues, but they have been stymied by a quickly enacted Tennessee law that forbids the removal of “war memorials” without state permission.

Forrest — the first grand wizard of the Ku Klux Klan — and his wife were disinterred from Elmwood Cemetery and re-buried under an equestrian statue in center-city Memphis in the early 20th century. The Jefferson Davis statue was put up by the United Daughters of the Confederacy in 1964, after an eight-year fund drive which netted $17,483 — the cost of erecting the statue.

I learned this information from a 2013 column by former Flyer columnist John Branston, whose report also contained this excerpt from the Memphis Press-Scimitar: “This is a matter of pride for Memphis,” said Mrs. Harry Allen, leader of the fund drive.

“Memphis is the only major city in the South that does not have a statue of this great man.”

That’s no longer the case. New Orleans recently took down its Confederate monuments.

St. Louis is deconstructing its principal Confederate monument; it will be rebuilt and placed on private land. Arizona is considering removing its Civil War monuments from public land. All of that state’s several monuments were erected between 1943 and 2001.

Why does Arizona — which had a nominal connection to the Civil War — have a bunch of Confederate monuments? You tell me. I suspect it’s for the same reason you see Confederate flags flying in rural Pennsylvania and northern Missouri and central Idaho. Heritage.

Right.

Proponents for keeping the statues often say something along the lines of, “With all the problems the city of Memphis has, why are you people obsessed with taking down these statues?”

To which I say, “With all of the problems the South has, why are you people so worried about keeping a few statues?”

The fact is, the South needs to rise again.

The former states of the Confederacy lead the nation in divorce rates, teen pregnancy, opioid and meth addiction, poverty, sexually transmitted disease, suicide, and illiteracy.

We suck up more federal funds than we contribute in taxes. In the face of these daunting problems, our state legislators spend their days obsessing over sex, gender, guns, tax breaks for their corporate benefactors and the wealthy, and instituting their neanderthal version of Christianity as the state religion.

So yes, we all have bigger issues than statues. But as relatively recent history has shown, putting up (and taking down) statues has more to do with the politics of the day than preserving heritage. Statues come and go based on the wishes of the majority and the vicissitudes of contemporary values. If the majority wants a statue taken down or put up, it will happen, eventually.

The biggest divide we’re dealing with in Tennessee is not over the Civil War. It’s rural interests and values versus urban issues and values. Nashville, Knoxville, Chattanooga, and Memphis are pushing for more progressive policies in the areas of labor and wages, immigration, gender and racial discrimination, education, and gun control. The legislature, which is controlled by a rural Republican majority, is pushing back at every turn, taking away powers that should rightfully belong to the cities — including, but not limited to, deciding what kind of statues the majority of its citizens might want in their parks.

That battle will be difficult. In the meantime, we should take a cue from the folks in Cooper-Young who raised N E WS & O P I N I O N money earlier this month to put up a NY TIMES CROSSWORD - 4 statue of Johnny Cash. The state can’t stop THE FLY-BY - 5 the citizens of Memphis from erecting POLITICS - 8 statues, at least, not yet. So interested EDITORIAL - 10 VIEWPOINT - 11 groups should do as the United Daughters COVER — “HERMAN GREEN” of the Confederacy did: Start popping

BY ALEX GREENE - 12 up statues congruent with our mostly STE P P I N’ O UT non-commemorated heritage — Harriet WE RECOMMEND - 16 Tubman, Maxine Smith, Benjamin Hooks.

MUSIC - 18 Lots of possibilities.

AFTER DARK - 20 In the meantime, until they come down, CALENDAR OF EVENTS - 22 I say we should just build walls around THEATER - 28 the Nathan B. Forrest and Jefferson Davis FOOD - 30 statues and charge admission, with the SPIRITS - 33 funds designated to the National Civil FILM - 34 Rights Museum.

C L AS S I F I E D S - 36 Bruce VanWyngarden LAST WORD - 39 brucev@memphisflyer.com

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For Release

The New York Times Syndication Sales Corporation 620 Eighth Avenue, New York, N.Y. 10018 For Information Call: 1-800-972-3550 For Release Wednesday, February 22, 2017

Crossword

Crossword ACROSS 1 One of the Great Lakes 5 Menacing cloud 10 Sony offering 14 Saint’s home, for short 15 Place for a barbecue 16 Rich finish?

17 “Don’t give up” 19 Rather powerful ANSWER TO PREVIOUS PUZZLE engine 20 Brown 21 Some plants 23 Value 25 Spooky quality 28 Smoothie fruit 29 Popular cookie 31 Taking things for granted on April Fools’ Day and others 32 “Time ___ …”

33 Track, in a sense 34 Not wait for Mr. Right, say 35 Huuuuuuuuge ACROSS 1 Scanned bars, for short 4 Roundup targets 9 Cries from bleachers 13 Word in Brazilian city names 14 “Game time!”

15 Not suitable 17 Platform sandal feature 19 “Next year in Jerusalem” meal 20 Blast from the past 21 Jon with the 1992 hit “Just Another Day” 22 Forever and a day 23 Boyfriend after a breakup, perhaps 27 Classic Jaguar 28 Bert who played the Cowardly Lion 29 Klutz’s utterance 30 Render a verdict

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35 Bard of Gaelic legend 36 ___ Chihuahua (tiny dog) 40 Novelty shop buy 44 High point 47 Soho send-off 48 Actress Arthur of “Maude” 49 Space Invaders and Asteroids, for two 52 Airport rental 53 Neil Patrick ___ of “How I Met Your Mother” 54 One-eighty 56 Dance around, as an issue 57 Dynamic basketball sequence represented by the starts of 17-, 23-, 30-, 40and 49-Across 61 Find new tenants for 62 “Ran” director Kurosawa

B O A R A L D A H E L P A I D O N B U B O E T A Y O N L S O D O R I N C E S A Y O B I M E N I R E

I D L C R U M E O B A P E N S N A R U S O M Y H O P I P O F F S L E I E T S M O T H A L L E P E E R

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No. 0118

37 Loose, now DOWN 40 Powerful D.C. 1 Vase style lobby 2 Compatriot o 41 Raiser of Mao awareness, for short 3 Noted fatherson singer 44 Not accidental 4 Ancient New 45 In opposition Mexican 46 Guru, maybe 5 Part of a crib 47 Straightens 6 Living ___ 49 Firm parts: Abbr.

50 Hockey team, 7 Major Asian e.g. carrier 51 Words on a 8 Attire jacket 9 Like melanch 53 Risked a ticket musical keys Online subscriptions: Today’s puzzle and more than 7,000 past 55 Construction puzzles, nytimes.com/crosswords ($39.95 a year).

10 The poor staples … onoreach puzzle: nytimes.com/wordplay.

Read about and comment Crosswords for young solvers: nytimes.com/studentcrosswords. a hint to this 11 Not go along puzzle’s theme 12 Prefix with la 59 Famous Amos 13 Bedevil 60 Rocker Steve 18 Girl’s name t 61 “Don’t go!,” e.g. may precede 62 Obnoxious one 63 Subject of some 22 One may be starting in sp codes 23 What’s shake 64 Scandinavian when you say capital “Shake!”

63 Texter’s “Didn’t need to know that” 64 Abysmal score

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11 Tried one’s luck

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16 Cafeteria stack

34 Like rarer blood types: Abbr.

18 Components of some I.R.A.s

37 Song-and-dance shows

21 ___ du Québec (police force)

38 POTUS in Twitter’s @ POTUS, e.g.

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39 Exam with a max 50 Connect with score of 1520 51 Kama ___ 41 “Ka-POW!” 52 Ill-tempered mutt 42 A/C measure 55 Rope tow 43 Place for a alternative grandchild, maybe 57 Website’s help section, briefly 44 One of the 12 tribes of Israel 58 Rap sheet letters 45 Labor organizer 59 Gather dust Cesar 46 A pep talk may boost it

60 Cereal made with a “puffing gun”

24 Ancient times, in ancient times 25 Do a job at the checkout aisle

26 Resistance unit

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P O E M B R O W S E T A P E S H R E W S A T I T C Y C L I C S S H U S A L M A B O O Z E S I M P HiTone • Crosstown Concourse P U D D I N G N E A S I Z E S Q U O T E D U Z Z I Q U I X O T E N Z O B EG NU EI FD I OT I N G A F F A I R E B F F A F U Z Z Y W Y L E O S G . Eo rSg rRo Ec kBf o r Cl oAv e R K S T O M A T O E S T O P T W O P E N C E A R Y E L M T R E E S

August 18 &19 rock for

24 Big letters in electronics

25 Ones moving from home

26 Fifth in a gro of eight

27 Saginaw-to-F dir.

29 Bit of beachw 30 ___ way

33 It may be add to alcohol 34 Pitiful

35 Hit the gas p hard

BENEFITING CHURCH HEALTH

THE

fly-by

Questions, Answers + Attitude Edited by Toby Sells

f ly on the wall

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D R EAD F U L N EWS

Greensward, Statues, & Gannett

W E E K T H AT W A S

By Flyer staff

Greensward work begins, some want Confederate statues removed, & Gannett pays & sells.

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

SCHOOL INVESTIGATION LAUNCHED An independent investigation into allegations of misconduct in the Shelby County Schools (SCS) system is being led by the former U.S. Attorney for the Western District of Tennessee Edward Stanton III. Stanton is now a partner at Butler Snow law firm. He, along with former FBI agent Scott Newton and lawyer Paul Adams, was granted full authority to investigate the allegations that were raised by a former SCS principal of manipulating transcripts, practicing intimidation, and other misconduct among the school system’s leaders.

GANNETT PAYS, WILL SELL BUILDING Gannett Co. reached a settlement agreement with the Memphis

ART PLANNED STALLED Despite calling the UrbanArt Commission (UAC) a “failed organization,” city council chairman Berlin Boyd agreed to hold a plan that would end the city’s involvement with the group. Council members criticized UAC, saying it did not spend enough money with local and minority artists. Boyd hoped to move the public art process into the mayor’s office for closer council oversight.

MAYOR “DISRESPECTED” COUNCIL Council members said Memphis Mayor Jim Strickland disrespected their authority by allowing the Beale Street Bucks program to continue at the $10 level after they had set it to $5. Strickland said holding the higher fee for one weekend after the council vote was a public safety measure.

He lowered the fee the following weekend but said he could raise it again if necessary.

Council members wondered how the mayor could “override our approvals,” as council member Jamita Swearengen said, “if so, then, there’s no need for the Memphis City Council.”

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

N EVE R E N D I N G E LVI S Sun Records may have been denied a second season, but one of the more colorful characters represented on the Memphis-shot series is getting his own biopic. According to a report in Variety, The Colonel puts Elvis’ infamous manager Tom Parker in the spotlight. The film about Parker, who was also an ex-carney, secret immigrant, and serial fabulist, is based on author Alanna Nash’s book The Colonel. It’s slated for production in 2018.

#TAKEEMDOWN901 Close to 250 people from across the city showed their support for removing Confederate statues in Memphis during a meeting last week. Dozens spoke their minds saying things like “the monuments don’t teach, they humiliate” or the statues are “unfair and symbolize oppression.” One man, speaking directly to nonpresent government officials said, “If you don’t take them down, we will.”

But all of those people are “losers,” according to the Memphis Brigade of the Sons of Confederate Veterans (MBCSV) Facebook page, and the group warned that if they illegally take down any statues, they can spend years in prison with a “swarthy convict.”

Newspaper Guild last week and eligible, laid-off employees will receive severance pay and short-term health insurance after a months-long standoff on the issue.

Gannett announced, too, that it will sell The Commercial Appeal office building at 495 Union. The move is intended to better match the newspaper’s physical space to its staff, which was about 1,300 when the paper moved into the building in 1975 and is now fewer than 200.

NEWS & OPINION

A distinct, penny-dreadful approach to framing the news appears to have taken hold at WREG. Last week Fly on the Wall highlighted a story by Channel 3’s Luke Jones who introduced his segment about a sword-wielding mugger on Summer by flicking open a wickedlooking little knife.

This week, we’d like to advance our theory of WREG’s emerging pulp style by sampling the opening of a report headlined “Man Attacked With Vaporizer at Troubled Downtown Nightclub”: “A dark cloud hovers over some businesses, now casting more shadows than Sunday’s already dreary weather.”

Okay, so maybe the story of a man assaulted with smoking paraphernalia at a place called Purple Haze lends itself to some purple prose, especially if you’re getting quotes from some guy in a colorful umbrella hat. But then the meteorologist caps things off by weatherTweeting, “It was a dark and stormy night.” Or something like that.

GREENSWARD WORK TO BEGIN Design work on a new parking lot for the Memphis Zoo may have officially begun last week as the Memphis City Council quietly accepted funds for the project from the Overton Park Conservancy (OPC).

Design work could have started more than two months ago, but Memphis Zoo officials said OPC did not have the money for construction and threatened to pull out of the entire agreement.

The council refused to take OPC’s money for design work and gave the group two months to raise $1 million. It did and the council accepted its funds Tuesday. The project is promised to end parking on the park’s Greensward.

5

Gateway to Frayser

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CITY REPORTER

By Maya Smith

New development promises economic boost to North Memphis.

Once the site of a department store, a near-20-acre lot on Hollywood has sat vacant and blighted for over two decades. Now, Frayser Gateway, a grocery-anchored shopping center — the area’s first project of its kind in the past 30 years — is in the works to transform the space.

In addition to a proposed 35,000-square-foot grocery store, Frayser Gateway will host other retail establishments, restaurants, and a hotel.

Total investment in the shopping center would equal a little over $16 million, with construction set to begin in 2018 and wrapping up sometime in 2020.

Known for his work on the retail side of the new Crosstown Concourse and the Binghampton Gateway development, Shawn Massey with the Shopping Center Group is working in collaboration with G2 Ventures, the group that currently owns the property, to develop the 97,000-square-foot space.

Massey says one of the goals of the project is to eliminate the huge source of blight that the abandoned lot, now used as a dumping ground and illegal parking lot for 18-wheelers, has created.

“It sets a bad example for what the Frayser community is perceived as and not really what exists in the community today,” Massey said.

Another goal of the development is to address long-term poverty in Frayser by bringing economic development to the area, while providing access to food and jobs to the surrounding residents.

Introducing a grocery store to the area would

provide relief to neighborhoods near the proposed project, which are certified USDA food deserts, with transportation-challenged residents lacking access to healthy foods.

Additionally, Frayser Gateway is expected to bring the equivalent of 136 part-time jobs with an average annual wage of $24,294 to South Frayser, which currently has unemployment rates between 15 and 30 percent.

Leaders in the Frayser community welcome the new shopping center, acknowledging the neighborhood’s need for more businesses and avenues of revenue.

“The Frayser Gateway project would be a much needed shot in the arm for the community,” said Steve Lockwood, executive director of the Frayser Community Development

Goodbye, food desert; hello, Frayser Gateway.

Corporation. “I believe it could spur other developments in Frayser, particularly in the nearby Watkins gateway area.”

The Frayser Gateway project is made possible by a 15-year Community Builder pay-in-lieu-of-taxes (PILOT) incentive awarded to the group by the Economic Development Growth Engine for Memphis and Shelby County (EDGE) last week.

EDGE board chairman Al Bright Jr. said the shopping center will prove to bring economic growth to Frayser and put money back into the community, as the Frayser Gateway group is expected to produce a little over $100,000 in taxes during the PILOT and over $400,000 post-PILOT. The incentive gives the group a temporary abatement of taxes in return for spending $3.2 million of construction-related costs with city or county-certified minority or women-owned enterprises (MWBE).

Previously, terms of the PILOT required contracting only with locally owned small businesses, but after the EDGE board voted to amend its local participation policy last week, PILOT recipients must spend 25 percent of spending to contract with MWBE.

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June 29-July 5, 2017

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Magazine Launch Party

Friday, July 7 6 -10 pm

Hattiloo Theatre 37 S. Cooper St.

One of the finest selections of loose diamonds in the Mid-South.

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6

THE INTERESTING & INFLUENTIAL 100

Memphis • 61 South McLean • 901.725.4200

The inaugural cocktail reception and launch for The ii100 publication.

For tickets visit: theii100.eventbrite.com 901.504.6611 www.theii100.com

The Volunteer Memphis Awards, a community-wide volunteer recognition event, is a celebration of volunteerism and an opportunity to say “thank you” to volunteers that make Memphis a better place. The Volunteer Memphis Awards recognizes individuals, non-profits and companies who represent excellence in volunteerism on June 29, 2017 from 6:00pm to 8:00pm at the Memphis Botanic Gardens. Congratulations to all of the nominees and finalists listed below!

L I FETI M E SER VI CE AWA RD

M I L L E N N I A L V OLU NT EER AWA R D

Gene Bryan

Danielle Chandler

Stacie Feldmayer

Andrew Goff

Sam Goff

Corey Smith

R I SI N G STA R

V O L U N T E E R O F T HE Y EA R AWA R D

Jose Ayala

John Lewis

Kennedy Brown

Thurston Smith

Xinyi Tan

Madison Snipes

N O N -PR O FI T SM AL L < $ 1 M I L L I O N

CO RP O RAT E S M A L L < 100 EMPLO Y EES

Clean Memphis

Allworld Project Management, LLC.

Collierville Literacy Council Refugee Empowerment Program

Hickory Hill Community Redevelopment Corporation

NO N -PR O FI T M EDI UM = $ 1 M I L L I O N - $ 5 M I L L I O N

CO RP O RAT E M E D I U M = 100 – 500 EMPLO Y EES

Boys & Girls Clubs of Greater Memphis

Buckman

Moore Tech

Fox 13

The Women’s Foundation for a Greater Memphis

Triumph Bank

N O N -PR O FI T L AR G E > $ 5 M I L L I O N

CO RP O RAT E L A RGE > 500 EMPLO Y EES

Christ Community Health Services

BlueCross BlueShield of Tennessee

Christian Brothers University

International Paper

University of Memphis

ServiceMaster

News Channel 3, Tactical Magic, First Tennessee Foundation, Huey’s, Volunteer Tennessee, The Memphis Flyer, Sissy’s Log Cabin and BlueCross BlueShield of Tennessee COMMUNITY

PARTNERS

Alliance for Nonprofit Excellence, cityCurrent, DOVIA (Directors of Volunteers in Agencies), University of Memphis Student Leadership & Involvement, Women’s Foundation for a Greater Memphis V O L U N T E E R M E M P H I S I S A N A C T I O N I N I T I AT I V E O F

NEWS & OPINION

SPONSORS

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

Vaco Memphis

7

POLITICS By Jackson Baker

Triple Whammy!

June 29-July 5, 2017

County Mayor Luttrell’s composure wears thin after commission action (and inaction) on a triad of issues.

8

Give Shelby County Mayor Mark Luttrell points for coming front and center to account for an effort by himself and two other county officials to ask the U.S. Department of Justice to discontinue its oversight of Juvenile Court operations.

Give Luttrell an Excedrin or a flak jacket (pick one) as a remedy for the consequences of that candor. Double his dose or his armament for the triple whammy he incurred during Monday’s regular meeting of the Shelby County Commission, a legislative body that has been carrying on guerrilla warfare against the mayor’s authority for at least two years.

The commission ramped up its assault on Monday with action on three different fronts.

First, after a run-through of a commission agenda that ultimately bypassed the matter of the county’s 2017-18 budget, the commission voted in favor of an add-on resolution, sponsored by Democrat Walter Bailey, that directly opposed the request

by Luttrell, Sheriff Bill Oldham, and Juvenile Court Judge Dan Michael (all Republicans) that was expressed in their recently publicized letter to U.S. Attorney General Jeff Sessions seeking to end DOJ oversight of the court.

That vote was unanimous after a fashion, with seven members — six Democrats and Republican David Reaves — voting aye and four, all Republicans, abstaining.

Clearly, the abstention by the four nonconcurring (but also non-objecting) GOP members — Terry Roland, Steve Basar, George Chism, and Heidi Shafer — was based less on aversion to the action of Luttrell, Oldham, and Michael than on a wish to be discreet on a racially charged matter that numerous audience members, all opposing the officials’ action, had spoken to on the meeting’s front end.

The DOJ’s Memorandum of Understanding with the county, dating from 2012, was based on a department investigation of what it ultimately proclaimed to be administrative problems and racial bias on the court’s part.

Saying, “You may not get what you’re asking for,” Roland, in fact, made the point that a Department of Justice under Sessions undoubtedly had a different attitude toward the Juvenile Court matter than the department, led by Eric Holder, that imposed oversight in the 2012 MOU — a point countered by resolution supporter Van Turner, who insisted that “local

monitors” were and would continue to be the actual overseers and that the court’s irregularities had not been sufficiently addressed, as Luttrell suggested they had.

An obviously angry mayor then said the commission majority’s action was “much ado about nothing,” said that it would be ignored in Washington, and that, in any case, he would veto it, so that “it won’t have the county seal.”

The second whammy was presented to the mayor in a resolution, sponsored

by Turner, asking the administration to submit any change in county security operations to the commission for its approval.

Luttrell’s CAO, Harvey Kennedy, lambasted that one as yet another incursion on executive prerogatives, and the resolution failed by a 3-4 vote — a result that was probably inevitable, inasmuch as a commission majority had approved the changeover in question — from the security management of Allied Universal, a corporation based outside Shelby County, to that of Clarion Security, a local operation headed by a woman, Kim Heathcott, in conjunction with four local majorityblack companies.

An uncharacteristically fuming Luttrell called the delay “frustrating,” and, on that matter, he was echoed by Steve Basar.

The changeover satisfied the commission’s recently adopted guidelines requiring an increase in county contracts with locally owned small businesses (LOSBs) and business enterprises owned by racial minorities or women (MWBEs).

And the final provocation to the mayor’s usual calm demeanor — the third whammy, as it were — came from the commission’s decision, by a 6-4 vote, to postpone approval of Luttrell’s proposed 2017-18 operating budget because of unresolved amendment requests, all made relatively recently and including some which, as Luttrell noted, had only been presented to him on Monday. An uncharacteristically fuming Luttrell called the delay “frustrating,” and, on that matter, he was echoed by commission budget chairman Steve Basar, who pronounced himself “disgusted” and

by Commissioner David Reaves, who vented his displeasure by voting no on an otherwise unanimous continuing-budget resolution, leaving current expenditure requirements in place pending some forthcoming late agreement on a new budget, technically due to be in place by July 1st.

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

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NEWS & OPINION

August 12 September 2 September 8 September 15

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Making Waves Changes in national government always cause adjustments on the part of local governments, in the same way that dropping a pebble on the surface of a settled body of water prompts ripples outward.

MEMPHIS, TN

KellyLang.net

E D ITO R IAL

But the most recent change from the Democratic presidency of Obama to the Republican administration of Trump has generated more than the usual uncertainties in Memphis and Shelby County. The impact is more like that of a boulder being thrown into a bathtub.

One obvious case in point has been the continuing brouhaha over the effort by three local officials — Shelby County Mayor Mark Luttrell, Sheriff Bill Oldham, and Juvenile Court Judge Dan Michael — to get the court out from under the direct supervision of the U.S. Department of Justice, as imposed by a 2012 Memorandum of Understanding between the DOJ and Shelby County government.

Most or all of these officials had a chance three weeks ago to buttonhole the current boss of the DOJ, Trumpappointed Attorney General Jeff Sessions, about ending his department’s hands-on monitoring of Juvenile Court, and a now-famous letter by the three to Sessions followed up on the matter. Predictably, there was great opposition to the request, which has dominated various local proceedings, including last week’s kickoff in Memphis of a statewide listening tour by the legislative Black Caucus.

The essential argument of those opposed to the Justice Department’s potential withdrawal of direct oversight is that sufficient remedies have not been provided to correct the irregularities pinpointed by a prior DOJ investigation of the court, including what the investigators saw as outright racial bias in processing of juvenile offenders.

As indicated in Politics (p. 8), the matter

spilled over into this week’s meeting of the Shelby County Commission, which saw all six African-American Democrats and one supportive white Republican formally adopt a resolution opposing the withdrawal request — all this in the county mayor’s presence. Four of the commission’s Republicans demurred, but not by voting no; even they, reading the aroused reaction against the initiative on the part of several audience members, saw abstention from voting to be the better part of valor.

One of them, however, Millington Commissioner Terry Roland, cautioned, in essence, that the political views of Sessions, a conservative Republican, were liable to be significantly different from those of former Obama-era Attorney General Eric Holder, the Democrat under whose tenure the MOU was authorized.

It is hard to imagine Luttrell et al. venturing to petition whatever attorney general might have been appointed by Clinton for a lifting of the MOU. The root fact is that, in the absence of verifiable concrete data, Sessions is indeed likely to base his decision on subjective — which is to say political — interpretation of the evidence.

Whatever the attorney general does will make waves in the chambers of local government — just as Sessions’ promise of federal help to the understaffed Memphis Police Department has complicated the thinking of both city and county officials about how to remedy the MPD’s problems.

We imagine Sessions sees it all as a welcome break from the turmoil of the ongoing Russia investigations in Washington.

C O M M E N TA R Y b y G r e g C r a v e n s

VIEWPOINT By David Roberson

Town of Collierville

32 ndAnnual

Defending JLL Deal State official makes the case for outsourcing of public building maintenance jobs.

The right answer for Tennessee and its taxpayers is to outsource services when it makes good business sense.

Tennessee’s own experience with outsourcing facilities management on about 10 percent of state buildings has been excellent: In the first three years, it has saved taxpayers more than $26 million, while customer satisfaction of building occupants is consistently above 95 percent.

No one in state government is claiming that outsourcing of services is a panacea or that it’s always the right answer. The state has experimented with outsourcing some functions, such as capital projects management, and has then decided that the work can be done more efficiently or cost-effectively by state employees, so the operation was brought back in-house.

Also, the specialized nature of some state buildings might mean that they are not good candidates for outsourced facilities management.

The right answer for Tennessee and its taxpayers is to outsource services when it makes good business sense. Available evidence from the private sector, from higher education institutions across the U.S., and from Tennessee itself indicates that outsourcing facilities management is a tool that will reduce administrative costs while improving customer service. That’s a good thing for our state, and Tennessee should use that tool when it is appropriate.

David Roberson is director of communications for the Tennessee Department of General Services.

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

the article is devoted to attacking outsourcing without providing your readers any context for understanding why outsourcing facilities management might provide significant benefits for Tennessee and the taxpayers who pay the bills.

Maintaining buildings is not — nor should it be — a core competency of the state, which should instead focus on providing education, health care, safety, and other services needed by all our citizens.

The idea of having professional facilities management is well established in the private sector, where it is understood that companies do better by focusing on their main business while allowing third parties to handle ancillary tasks.

Most Fortune 500 companies and most major companies in Tennessee — including Nissan, Volkswagen, General Motors, and Coca Cola — employ vendors to handle their facilities management.

NEWS & OPINION

I was dismayed by the story “Outsourcing Tennessee” in the Flyer’s June 1st issue, for two reasons. The first reason was the number of incorrect statements in the article, which I detailed in an email to the author and to the editor, and which I summarize here: 1) “… [T]he state quietly sent out feelers …” This Request for Information (RFI) was posted on the state website, exactly the same way we put out hundreds of RFIs, Requests for Qualifications, and Requests for Proposals each year, and in the same place that our vendors know to look for them. We want maximum response to these requests, so there is no reason we would issue them quietly. We didn’t.

2) “No state has attempted to auction off swaths of campus workers’ jobs.” The contracting process cannot with any accuracy be called an auction, since cost is only one of several elements considered.

Also, contracting with external vendors for work formerly done by campus employees is widely practiced in Tennessee and elsewhere. Many universities in Tennessee already contract out their food service and custodial work, and some contract out their groundskeeping — all of which are jobs formerly held by state employees.

The business case for this new procurement, posted on the CFG website for many months now, specifically cites the experience of Texas A&M University in contracting out its facilities management.

The National Association of College and University Business Officers even held a conference on outsourcing in 2015. Saying that no state has done this before is not remotely accurate.

3) “JLL … is about to rake in billions in profits.” The estimated maximum cost within this contract is $1.9 billion, and the majority of that amount represents costs that the state would be paying anyway, regardless of who managed the state’s buildings. JLL will simply pass those costs on to the state without markup. Specific details of JLL’s cost proposal are spelled out in Attachment F3 of the contract.

4) A paragraph describing the history of JLL’s contracts with the state contains several errors. The first contract JLL signed was for a facilities assessment, and it was followed by a second competitively awarded contract for facilities management for properties operated by the Department of General Services. An amendment to that contract required JLL to act as a lease broker for the state. That amendment expired in 2016 and was not renewed. The original contract for facilities management was for five years and is still in effect.

The second reason for my dismay is that

11

LIVING LEGEND

June 29-July 5, 2017

Herman Green has shared stages with a century’s worth of jazz greats. And he’s still playing.

I

magine being born into the Great Depression, growing up in South Memphis. You’re a part of the household of the Reverend Tigner Green. You’re not terribly wealthy, but you’re better off than many and not without some dignity in the racist order that prevails in the 1920s South.

Your life is filled with music. Your biological father, Herman Washington — murdered when you were only two — once played in W.C. Handy’s legendary band. You bear his name, and they call you Junior. Your grandmother was a pianist of some talent in St. Louis, and as you mature, 12 you develop skills in piano and guitar.

Under your stepfather’s guidance at the

Church of God in Christ, you play guitar alongside a blind pianist, Lindell Woodson, marveling at a dexterity rivaling that of the great Art Tatum, with songs bringing congregations to their feet, clapping and shouting.

Every day hinges on three simple tasks: You kill a chicken; you chop wood; and you practice your music lessons.

“That,” says Herman Green, the man recalling all this, “is one part of the beginning of yours truly.”

Dr. Herman Green, who would come to carry the genius of post-war blues, soul, and jazz into the 21st century, halts this idyllic tale of youth as he confronts a

defining moment: high school marching band. “They didn’t have marching band in elementary school,” remembers Green. “So I got in high school, and I told my mom, ‘I gotta get me a horn. I can’t march down the street with a guitar; they won’t even let me!’

She said, ‘Okay, we’ll get down there and get you a horn. What kind do you wanna play?’”

Though trumpet looked easy enough, its demands on his lips were baffling, so Green settled on alto saxophone. The rest is history, thanks in no small part to his mother, Alice Lee, and the stepfather whose surname he would ultimately take as his own.

Life at Booker T. Washington High

COVER STORY BY ALEX GREENE PHOTOS BY JUSTIN FOX BURKS School would bring with it more than just a change of instrument. It was there that Green met a man who seemingly presided over every period of Memphis musical innovation. One wouldn’t be far off imagining some demi-god descending to usher young Herman into the world of secular music — a demi-god doing the funky chicken.

“There were pageants we used to do at the end of the school season at Booker T. Washington, and Rufus Thomas was the one that put it together. So we did that, I did that for four years while I was in high school, with him. Plus, I played gigs with him.”

By the age of 15, Green was in the orchestra backing talent shows that Rufus Thomas and his colleague “Bones” compèred on Beale Street. Over the next couple years, the music he played became more worldly, culminating in the arrival of another pivotal figure. “B.B. King came to Memphis from Mississippi, so Rufus said, ‘I got a saxophone player you need. His name is Herman Green.’ So we got to playing like Covington, Dyersburg, West Memphis; we played the Harlem Club, which was a black club. They was over there rolling the dice while we was over in the corner playing.

“So we did that for about a year, and I said, ‘B., you think you ready to move?

What you wanna do, you wanna stick around here, or you wanna go further?’ He said, ‘Well, I think we need to move. We goin’ to Kansas City. I heard they love the blues there.’ So we went up there, me and B., to look it over. And there was a lot of jazz musicians there in Kansas City. I said, ‘Okay, B., I don't hear nobody blowin’ no blues. Let me get on the bandstand,’ ’cause I could play some jazz myself then. I mean, I was taught early. And guess who it was I jumped on the bandstand on top of — Charlie Parker! Now, you know I had to be a fool to get on the bandstand with Charlie Parker there. But at that time I hadn’t seen Charlie Parker in my life, man! So Charlie said, ‘Hey, you play good for a kid.’”

Green and King returned to Memphis as planned, but other temptations awaited.

At the Memphis Cotton Carnival, a touring troupe offered work. “They had a show with girls running out there with their shorts and dancing. They called it a ‘bally’ stage. Pay your money, come inside. I did 22 shows in 8 hours. They were paying $5 — that’s what a musician was making in those days. And the bally troupe wanted me to go with them with the show. So I left a note to tell my folks I was going to leave, and I’ll let you know where I’m going and I’ll be in touch, and blah, blah, blah. … I was ready to leave, because they were headed to Canada, all the way up the east coast.

“Man, I’m up there playing my butt off,

and all of a sudden … Well, my mom was a church mother, and she wasn’t supposed to be seen in those kind of places, you know. But she came through them curtains, man, and she stood there like this with her arms crossed. And she waited till the end of the show. She was a classy lady. Then she said, ‘Junior, I got your note. I didn’t come up here to scold you. I didn’t come up here to hurt you. I came up here to keep you here, because you’ve got a little more schooling to do. You need to know a little more about life. Now come on. Your daddy’s downstairs waiting on ya.’

“That was my stepfather. He was in the car. And preachers then, you know, had them big, long limousines. And I just said ‘Well, there’s no use arguing here. I just might as well go.’ So I did, I went home and stayed a whole year. And I lost a brand new pair of suede shoes that I bought at Florsheim. Thirty dollar shoes! I left ’em on the bus, man. But they really were concerned about me getting an education.

They wanted me to go to college.

“So I went one year. Then next time that bally troupe came back, I played a gig with ’em, and I said, ‘What time y’all planning on leaving town?’” With his mother’s bless-

ing, this time, Green left Memphis.

“I went all the way up to Toronto, Canada, man, and come on back down, and when they headed back down to Virginia, I got off in Washington, D.C., and I went back to New York, and that’s when I got in touch with Sonny Stitt and Gene Ammons and John Coltrane. I was like 21; they at that time were 27 or 28 I think.”

It was Stitt who first helped Green navigate the competitive bop scene of New York; after one stern lecture, admonishing him for being presumptuous, Stitt told him, “Now, let’s get back up there and play, ’cause you can play.”

It so often came down to that simple fact for Herman Green: He had chops. That skill served him well wherever he landed, including the heady New York bop scene of 1950.

Back in Memphis, he played on Rufus Thomas’ first sessions at Sun Studio — “Why Did Ya Dee-Gee?” and “Bearcat” — released on Chess Records and Sun Records. He was drafted into front line service continued on page 14

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

(left) Dave Gonsalves, Herman Green, John Coltrane, and Arthur Hoyle; (below) Herman Green, Stevie Wonder, and Joyce Cobb; (bottom) B.B. King, Herman Green, and Melvin Lee in 1955

13

JULY FREEWORLD July 1st July 14th & 15th July 28th & 29th

PRESTON SHANNON July 7th & 8th July 21st & 22nd

KEEPING THE BLUES ALIVE

7 DAYS A WEEK FOR 32 YEARS

June 29-July 5, 2017

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14

continued from page 13 for the Korean War, only to be reassigned to the Army band when officers heard him practicing his horn. Upon his return to the States, a layover in San Francisco turned into a two-year stint: “I loved that city,” he remembers. There he played Bop City and led the house band at the Blackhawk, a pivotal club where he played with pioneers of the West Coast Sound like Dave Brubeck, as well as his New York cohorts: Miles Davis, Thelonius Monk, Dizzy Gillespie, and John Coltrane. Occasionally, he’d even see his old Memphis friend Phineas Newborn Jr. when he passed through.

Finally, Green moved on, landing a steady gig with Lionel Hampton and His Orchestra, which he stuck with for 10 years. It was Hampton, Green says, who had the biggest impact on his playing, but it was at this time, during a three month residency at the Riviera in Las Vegas, that he had a brush with another demi-god who’d impacted all of jazz itself.

“They had an after-hours breakfast jazz jam place, and I was over there playing on the stand, and I used to play with my eyes closed ’cause I didn’t wanna get disturbed, especially when I was playing something different. And then I heard this deep voice say ‘Keep on playing, boy!’ And I looked around, and there was Louis Armstrong standing next to me! Ooh, Lord have mercy, I almost put my horn down, man!

“He said, ‘Don’t you dare put that down, the way that you playing.’”

It was Green’s mother, who had given her blessing when he left Memphis, who brought him back. During a session for Atlantic Records in New York, he got a call that his mother wanted him home. She was dying of tuberculosis. He left the session immediately, getting home in time to see her just before she passed. Soon, he was settled again in his hometown. It was 1967, and Stax Records was in full swing. Green, who had played with his younger cousin Al Jackson Jr. on Beale Street, soon fell into recording sessions there. For a while, as the Memphis scene fired on all cylinders, there was plenty of work to be had. In the early 1970s, he married Rose Jackson (who has since passed away), and by mid-decade, he had taken a teaching position at LemoyneOwen College. All the while, he played his horn, often with fellow Booker T. Washington alum Calvin Newborn on guitar, mentoring young jazz talents like James Williams along the way.

Even as Beale Street withered after the 1960s, traditional jazz thrived in Memphis for a time. Green and his band, the Green Machine, became a fixture on the scene, and he fondly recalls the rebirth of Beale Street in the 1980s, marked for him personally by the night Stevie Wonder sat in with his band after playing Memphis in May. In 1986, he befriended a young bass player, Richard Cushing, who saw great possibilities in the jam-based approach of the Grateful Dead. The next year, their friendship bore fruit with FreeWorld, now

perhaps the longest-running Memphis band of this generation. The group has consistently brewed an unpredictable blend of funk, New Orleans street music, soul, and jam rock — a gumbo of influences that has led them to carve out a reliable niche on Beale. Even as local audiences for bopinformed, swinging jazz lose the plot, such bands with a backbone of funk keep the spirit of improvisation alive and well. FreeWorld has kept Green spry on the stage, and they were there backing him when he was awarded an honorary doctorate by the Memphis College of Art. Seeing FreeWorld play Beale Street recently, I was struck by how crucial the simple act of dancing has been to Memphis music, bridging the many disparate paths Green has taken over decades. Dance weaves like a golden thread from the strut of Rufus Thomas, through the years with Lionel Hampton, the Stax years, and into the present. All the while, Green has mined the more complex territory of harmony and melody embodied in his first chance meeting with Charlie Parker.

Seeing him take the microphone last Sunday, singing a blues song resonating with echoes of old Beale Street, all of his 87 years seemed to be summed up in a few elegant lines, dipping and crosscutting to the rhythm, as he sang into the sky, eyes wide open, “She’s waiting for me, she’s waiting for me.”

RECENT RECORD ROUNDUP Marco Pavé Welcome to Grc Lnd (Radio Rahim Music) Marco Pavé’s Welcome To Grc Lnd makes the party political from its opening moment, when Jamey Hatley intones the album’s name, sarcasm dripping from her voice like the devil’s honey.

She’s not the only strong female voice chiming in. Duchess spits fire on “Hood Obit.” Soul singer Big Baby takes it to church on “Let Me Go.” Later, Artistik Approach wraps thoughts on the intersection of capitalism and racism in layers of angelic harmony.

Pavé is a charismatic frontman, equally at home flowing about the school-to-prison pipeline or barking his shins while getting out of bed. But his greatest talent may be in choosing collaborators and bringing out great performances. Overall, this is one of the most meticulously constructed, finely paced albums to come out of Memphis in recent memory. — Chris McCoy ★★★★★ Various Artists Fruition (Culture Power 45) This new vinyl-only hip-hop imprint has an Arizona mailing address, but much of the label’s talent comes from the Memphop scene. Of 19 tracks, eight have local con-

★★★★★ Shannon McNally Black Irish (Compass Records) What distinguishes Oxfordbased Shannon McNally from the pack of Bonnie Raittinfluenced roots rockers is her commitment to the beat.

McNally could have gone the rhythmless route on “Prayer in Open D,” the emotional and temporal center of Black Irish, when she is unaccompanied by her band. But even as she sings about “the river of darkness in my blood,” she keeps the beat bouncy. Album opener “You Made Me Feel for You” reworks “Baby Please Don’t Go” to good effect — the first of many times McNally and co-writer Rodney Crowell lean on the traditional hillcountry blues structure. On “Banshee Moan,” McNally is clearly having a blast going full “Tusk,” complete with pounding toms and breathy, Stevie Nicks vocal flourishes. — CM ★★★ Don Bryant Don’t Give Up on Love (Fat Possum Records) Memphis native Don Bryant has been a fixture of the local soul scene since the early 1960s. Though he is primarily known as a songwriter — he has penned cuts for Al Green, Albert King, his wife, Ann Peebles — he’s also a talented singer and performer. His 1969 album for Hi Records, Precious Soul, is regarded by many as an underground soul/R&B classic. And while Don’t Give Up on Love is only the second “secular” offering of Bryant’s career, it radiates confidence and old-school Memphis swagger. This is the real deal. Highlights include “I Got to Know” and a fierce cover

of O.V. Wright’s “A Nickel and a Nail.” — J.D. Reager ★★★★ Cory Branan Adios (Bloodshot Records) Adios is Memphis-by-way-of-Southaven singer/songwriter Cory Branan’s fifth studio album — his third for the large indie label Bloodshot, and his first since moving back to Memphis from Nashville earlier this year. And though it might not be his sunniest offering to date (Adios is touted as Branan’s “death record” in promotional materials), it definitely shows Branan’s deft touch with a catchy pop hook and clever turn of phrase is undiminished by personal tragedy. From the opening earworm “I Only Know” (which features scorching backing vocals from Against Me!’s Laura Jane Grace) to the 1980s Springsteen synth-pads of “The Vow” to the barroomish closer, “My Father Was an Accordian Player,” the journey definitely has its emotional ups and downs. But as with most of his catalog, Branan’s wit and skill with the craft make the journey worthwhile.

— JDR

THURSDAY, JUNE 29:

PATRIOTIC POPS

S P O N S O R E D B Y:

FRIDAY, JUNE 30:

DON BRYANT

TH O M A S B O G G S M E M P H I S M U S I C S E R I E S

SATURDAY, JULY 1 / 4PM - 9PM:

WRBO’S ULTIMATE FAMILY REUNION

S TA R R I N G K LY M A X X , W ITH S P E C I A L G U E S T S M E C H E LLE J O H N S O N , C A N DY F OX A N D FA LI S A JA N AY E !

SUNDAY, JULY 2:

KELSEY WALDON LEVITTSHELL .ORG

CONCERTS BEGIN 7:30PM UN LESS OTH ERWISE NOTED

★★★★ Charles Lloyd Passin’ Through (Blue Note Records) This Memphis native is a point of pride for Mannassas High School, which has spawned so many legendary players. It was 50 years ago that Lloyd was first named Jazz Artist of the Year by Downbeat, and he may deserve that moniker still. This album finds him taking a virtual tour of jazz since then. Opening with the Coltrane-esque sonic washes and free flourishes of “Dream Weaver,” the quartet reveals its mastery of mood and style in this live setting. The next track ranges from Miles Smiles-type delicacy and out-ness to classic swinging moments with walking bass. “Nu Blues” opens up its titular genre with unique tonal colors and an abrupt, punctuated arrangement.

“Tagore on the Delta” is a classic ’60s boogaloo groover that breaks down into a butt-simple half-time section, featuring Lloyd’s flute chops. And it’s all grounded

by Lloyd’s glorious tone, epitomized by the finale, which decelerates from more sonic upheaval into the long, moody closing note. — Alex Greene ★★★★★

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

nections, including Empee’s gritty “Never CMO,” two memorable instrumentals from MaxPtah, and Jason Da Hater’s piledriving wrestling ode “Black Randy,” also produced by Empee.

It’s a stretch to call Chicago-born, Philadelphia-based Fatnice local, but he has roots here — and his “Time U Miss” is biographical brilliance. That track and Infinito 2017’s “War Against Commercialism” transcend era and geography, a rare feat in contemporary hip-hop. The latter’s hook (“I’ll never cross over”) rings with the assurance of an artist who is accustomed to DIY — Infinito 2017 is one of the “10 black men” behind the label which, so far, has released six lathecut limited-edition 45s in addition to this vinyl-only full-length.

— Andria Lisle

15

steppin’ out

We Recommend: Culture, News + Reviews

Wu Way

Wu Fei

By Chris Davis

Wu Fei’s not the easiest artist to describe. On one hand, she’s a traditionalist — a master of the guzheng, the plucked Chinese instrument with a history going back thousands of years. But the Beijing-born, San Francisco-educated, and Nashville-based composer isn’t constrained by tradition. If you’ve only heard her work with John Zorn or watched the video where she improvises with a speeding train, you might identify her with edgy jazz. If you’ve caught her jamming with folk singer and banjo picker Abigail Washburn, she sounds like the future of bluegrass. Of course, she’s both and neither and so much more. She’s also performing an intimate concert at Crosstown Arts this week, talking about her instrument and all the nifty things you can do with 21 bendable strings and a big hollow body.

Fei’s trip down I-40 is courtesy of Sonosphere, an eclectic and detail-minded music podcast out of Memphis. The concert has been in the works since the show’s hosts Christopher Williams and Amy Schaftlein were both mesmerized by Fei’s approach to the guzheng while attending Knoxville’s Big Ears music festival.

“Big Ears was kinda our first venture out to collect interviews and build content,” Williams says. “And Wu Fei was so personable. The whole time I was thinking there has to be a way to bring her to Memphis.” Schaftlein was impressed by the show’s interactivity, and when Crosstown Arts approached the podcasters to talk programming, Fei seemed like a perfect fit.

“We thought maybe we can curate a performance,” Schaftlein says.

The guzheng, or Chinese zither, is a versatile instrument that’s plucked, scraped, hammered, and played with any number of tools to create beautiful melodies, pounding rhythms, and wild textures. The infectiously enthusiastic and unconventional Fei has been known to incorporate everything from bottleneck slides to rubber balls.

June 29-July 5, 2017

AN EVENING WITH WU FEI AT CROSSTOWN ARTS FRIDAY, JUNE 30TH, 7:30 P.M. $15

Food for thought.

The Last Word, p. 39

Beehives and Bangkok Salad — the Beauty Shop celebrates 15 years.

Food, p. 30

THURSDAY June 29

FRIDAY June 30

Ladies Night Out Be Free Revolution (771 Brookhaven), 6-8 p.m., $40 Supporting causes that empower women. Event includes jewelrymaking and a wine pull.

Patriotic Pops Levitt Shell, 7:30 p.m.

Favorite patriotic songs from the Memphis Symphony Orchestra and the Chancel Choir. Concert is topped off with fireworks.

Booksigning by Earnest E. Lacey South Main Book Juggler, 6-9 p.m.

Earnest E. Lacey signs his book Hilton Street: From Memphis to Chicago, which traces the history of his family.

Hired Gun Malco Paradiso, 7:30 p.m.

Documentary about hired musicians who tour with the biggest acts.

Peabody Rooftop Party Peabody Hotel, 6-10 p.m., $10 Tonight, Snowglobe performs, and on the menu are a jalapeno popper dip (!) and grilled chicken legs. The Flyer will be on site as well with special drinks.

Cameo and Morris Day & the Time Horseshoe Tunica, 8 p.m., $34-$44 An evening filled with funky jams.

Yo Gotti Birthday Bash FedExForum, 7 p.m., $57 Rapper celebrates his birthday with the help of Lil Wayne and others.

16

Dirty Harry The Orpheum, 6 p.m., $8 Do you feel lucky? Well, do you?

Classic Clint Eastwood film screens tonight.

Clanky’s Nub Blue Monkey, 10 p.m.

The band’s only performance of the year!

Journey

Journey to Boston

By Chris Davis

Wait, wait, hold the phone. So rockin’ Mike Huckabee’s not in Boston anymore and won’t be playing the Botanic Garden this Saturday? Mind blown. It’s so hard to imagine big hits like “Foreplay,” “Peace of Mind,” and “Amanda” without the former Arkansas governor and presidential also-ran playing his conservative bass.

Just kidding! Huckabee never was in the band Boston. He tried to make “More Than a Feeling” his theme song, and he played it on the campaign trail with some guy who played with Boston for a couple of years, till Tom Scholz, the technology wizard, musical polymath, and Obama supporter behind all things Boston, finally told ol’ Huck to cease and desist. For Scholz, who wrote “More Than a Feeling,” played all the guitar parts, and invented the gear that made his guitars sound unlike anything else on the radio in 1976, it all boiled down to identity. “I think I’ve been ripped off, dude,” he wrote in a sternly worded letter. Scholz’ message was clear. He is Boston. And if Neal Schon’s still running his guitar through Scholzbuilt Rockman equipment, he’s at least a little piece of the Journey sound too. Both Journey and Boston — certifiable monsters of the monsters-of-rock era — are in town this week, to compare and contrast.

Steve Perry was Journey’s face in the ’80s during a run of MTV-era hits like “Open Arms,” “Any Way You Want It,” and “Who’s Cryin’ Now.” He’s the eternally warbling voice of the band’s inescapable megahit, “Don’t Stop Believing.” But Perry didn’t show up till album number four and when he went solo in the mid-’80s, the prog-pop band soldiered on without him. Schon and company, always tech-forward, found Arnel Pineda, Journey’s current lead singer on YouTube. They’re playing the hits at the BankPlus Amphitheater at Snowden Grove Wednesday, July 5th. Mike Huckabee won’t be there either. Probably. Unless he’s somehow landed a gig in the current lineup of Asia, who open the show.

BOSTON PLAYS LIVE AT THE GARDEN, SATURDAY, JULY 1ST. GATES AT 6:30 P.M., SHOW AT 8:30 P.M. JOURNEY PLAYS THE BANKPLUS AMPHITHEATER AT SNOWDEN GROVE WEDNESDAY, JULY 5TH, 7:30 P.M.

4th Annual Red, White, and Brew Tour Corner of Second and Beale, 6 p.m.

Tour led by Backbeat of High Cotton and Ghost River, ending at Aldo’s.

Features a sing-along on the bus.

Beer Dinner Aldo’s Downtown, 6-9 p.m.

Four course dinner with specialty pies and homemade dessert paired with beers from Wiseacre.

TUESDAY July 4 A Night of Legends Minglewood Hall, 8 p.m.

Featuring Too Short, Playa Fly, and Gansta Black.

Extremely Low-budget Fireworks Display and Maybe Live Music Hi-Tone, 8 p.m.

At least they’re honest.

Star-Spangled Celebration Shelby Farms, noon-10 p.m., $10 Huge event with water games, a laser show, and loads of music.

4th of July on the Island Mud Island, 3 p.m.

Family-friendly fun with live music, kiddie rides and games, food, and more.

Fireworks Viewing Peabody Rooftop, 10 p.m.

One of the best sites in town for catching downtown fireworks.

ARTS & ENTERTAINMENT

SATURDAY July 1

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

We’re hopeful that night has finally fallen on Michael Bay’s giant robot franchise in Transformers: The Last Knight.

Film, p. 34

17

M U S I C F E AT U R E B y C h r i s M c C o y

Hardcore Survivors

In the age of Trump, Pezz is the only Memphis band that matters.

Book by

Directed & Choreigraphed by Mark

Alan Davis

Linda Woolverton, Robert Falls, and David Henry Hwang Musical Direction by Dennis Whitehead Darling Music by Elton John / Lyrics by Tim Rice JAMIE HARMON

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Memphis Center for Reproductive Health

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hat is Pezz fighting for? In the liner notes of their new album More Than You Can Give Us, they tell you: “Honor, dignity, justice, fair play, equal treatment, the benefit of the doubt, a leg up.”

Since their first all-ages gig at the Antenna Club on June 19, 1990, Pezz have been the quintessential Memphis hardcore band. In a few short years, they were touring incessantly and packing the New Daisy Theatre with scruffy kids. Last month, they returned to the renovated New Daisy for Memphis Punk Fest. “It sounded awesome.

It looks like somebody cares,” says Pezz founding member Ceylon Mooney.

Unlike the English variety, the first wave of American punk was apolitical.

Birthed in the Reagan ’80s, hardcore changed that. The music inspired the members of Pezz not only to write political songs, but also to live lives of social consciousness and political activism. Mooney acknowledges the similarities between today and the Reagan era, but from his point of view, Trump is just a symptom of a diseased system. “You have a cartoonish villain, but these institutions of power operate by design, regardless of whose face is in front of them.”

Ceylon Mooney (left) and Marvin Stockwell of Pezz The cover of Pezz’ More Than You Can Give Us pairs images of striking Memphis sanitation workers from 1968 and last year’s I-40 bridge protest. The band started tracking for the album in 2012, says Pezz singer/guitarist Marvin Stockwell. “We’re purists in the sense that we like to record to tape, but ProTools has been a helpful thing. It’s a help and a hindrance. The good news is, you can mess with it forever. The bad news is, you can mess with it forever.”

Originally, the band wanted to use an image of the Ferguson Black Lives Matter protest for the cover, until they were inspired by the bridge shutdown.

“I’m glad it didn’t work out with the Ferguson photos,” says Stockwell. “It allowed us to have, as bookends, two Memphis events. The reason we juxtaposed them is because they represent different moments in our city’s history where regular Memphians stood up and said, ‘The status quo will not stand.

We’re going to take radical action!’”

Pezz’ music has always been fast and hard, with a melodic streak that endeared them to pop-punk fans. For this album, the band sounds heavier than ever. Mooney stepped out from behind the drums, where he was replaced by

HARDCORE SURVIVORS Recoil drummer Graham Burks, and returned to the front line with a guitar, joining Stockwell, guitarist Shawn Apple, and bassist Christian Walker.

“This is a three-guitar record with a lot going on,” says Stockwell.

The lineup is uncommon for punk; Stockwell says they were inspired more by classic Chicago hardcore band Articles of Faith than Lynyrd Skynyrd.

“When we first started to do it, it seemed like it was too much. But your mind spreads out and hears differently.

We had been in a two-guitar dynamic for so long.”

Mooney compares the complex new arrangements to a conversation, as on the album closer “Guilty,” where Walker’s bass takes the lead while Mooney fills in a bass line before all four guitars join in unison for the album’s finale.

“You can’t have everybody yelling all at the same time.”

But there’s still plenty of yelling on More Than You Can Give Us. On “Welcome to Palestine,” a song Mooney originally recorded in 2006 with his solo project Akasha, the singer delivers a full-throated tirade against “Occupation, subjugation of the land and its oppressed nation.”

ARTS & ENTERTAINMENT

“Unfortunately, that one is still relevant,” he says. “Sometimes I think, ‘We’re still talking about this shit?’ It’s like ‘Live Another Day.’ When people we love stop offing themselves, I guess we’ll stop talking about it.”

Pezz will play their record release show on June 30th at Growlers. Stockwell says he hopes the group’s fifth album (or tenth, if you count split LPs and cassette-only releases) inspires in others the same sense of urgency old school hardcore inspired in him. The vinyl insert contains both a list of local organizations working for change and the record’s mission statement, a call for people to “demand … their birthright as members of the human family.”

“I wrote that before Trump won the election, but if you read that with Trump in mind, it’s not hard to make it fit,” says Stockwell. “We are very fortunate in this band to be able to do the things we’ve done and to use our collective voice to demand change and to express ourselves. We realize not everyone has that opportunity.”

Pezz’ More Than You Can Give Us record release show is June 30th at Growlers.

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

Pezz’ music has always been fast and hard with a melodic streak. For this album, the band sounds heavier than ever.

19

SPIRAL STAIRS BY PETER ELLENBY

A NIGHT OF LEGENDS: TOO $HORT MINGLEWOOD HALL SATURDAY, JULY 1ST

SPIRAL STAIRS GROWLERS SATURDAY, JULY 1ST

CAMEO HORSESHOE CASINO’S BLUESVILLE FRIDAY, JUNE 30TH

After Dark: Live Music Schedule June 29 - July 5 and Mondays, 7 p.m.; FreeWorld Sundays, 9:30 p.m.

Club 152 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, 5:30 p.m.; B.B. King’s All Stars Thursdays, Fridays, 8 p.m.; Will Tucker Band Fridays, Saturdays, 5 p.m.; Lisa G and Flic’s Pic’s Band Saturdays, Sundays, 12:30 p.m.; Blind Mississippi Morris Sundays, 5 p.m.; Memphis Jones Sundays, Wednesdays 5:30 p.m.; Doc Fangaz and the Remedy Tuesdays, 5:30 p.m.

Blue Note Bar & Grill 341-345 BEALE 577-1089

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

Blues City Cafe 138 BEALE 526-3637

FedExForum 191 BEALE STREET

Yo Gotti and Friends Thursday, June 29, 7 p.m.

Handy Bar 200 BEALE 527-2687

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

162 BEALE 521-1851

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, Thursdays, 7-11 p.m., and Saturdays, Sundays, 2-6 p.m.; Sensation Band Tuesdays, Fridays, 7-11 p.m.; Fuzzy and the Kings of Memphis Saturdays, 7-11 p.m.; Chic Jones and the Blues Express Sundays, 711 p.m.; North and South Band Wednesdays, 7-11 p.m.

Hard Rock Cafe

King’s Palace Cafe Tap Room

126 BEALE 529-0007

168 BEALE 576-2220

The Rusty Pieces Saturday, July 1, 8-11 p.m.; The Skitch Sunday, July 2, 8-11 p.m.

Itta Bena 145 BEALE 578-3031

Nat “King” Kerr Fridays, Saturdays, 9-10 p.m.; Susan Marshall Thursday, 6-9 p.m.; Gerald Stephens Friday, 6-9 p.m.; David Cousar Saturday, 6-9 p.m.; Kayla Walker Wednesday, 6-8 p.m.

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

Chris Gales Solo Acoustic Show Mondays-Saturdays, noon4 p.m.; Eric Hughes Thursdays, 5-8 p.m.; Karaoke MondaysThursdays, Sundays, 8 p.m.; Live Bands Fridays, Saturdays, 8 p.m.

182 BEALE 528-0150

Young Petty Thieves Thursdays, 8 p.m.-midnight; Pam and Terry Saturday, July 1, 5:30-8:30 p.m.; FreeWorld Saturday, July 1, 9 p.m.-1 a.m.; Sensation Band Sunday, July 2, 8 p.m.-midnight; Eric Hughes Band Mondays, 8 p.m.-midnight; Plantation Allstars Wednesdays, 8 p.m.midnight, and Tuesday, July 4, 8 p.m.-midnight; Gracie Curran Tuesdays, 8 p.m.-midnight.

Flying Saucer Draught Emporium

182 BEALE 528-0150

130 PEABODY PLACE 523-8536

Memphis Bluesmasters Thursdays, Sundays, 8 p.m.-midnight; Vince Johnson and the Plantation Allstars Fridays, Saturdays, 4-8 p.m., and Sundays, 3-7 p.m.; Nick Hern Saturday, July 1, 9 p.m.-1 a.m.; Brian Hawkins Blues Party Mondays, 8 p.m.midnight; Chris McDaniel Tuesdays, Wednesdays, 8 p.m.midnight.

Silky O’Sullivan’s 183 BEALE 522-9596

Dueling Pianos Thursdays, Wednesdays, 9 p.m.-1 a.m., Fridays, Saturdays, 9 p.m.-3 a.m., and Sundays, Tuesdays, 8 p.m.midnight.

Big Don Valentine’s Three Piece Chicken and a Biscuit Blues Band Thursdays, Tuesdays, 8 p.m.-midnight; Juke Joint Allstars Saturday, July 1, 9 p.m.-1 a.m.

Rum Boogie Cafe

Rum Boogie Cafe Blues Hall

Belle Tavern 117 BARBORO ALLEY 249-6580

Songwriters with Roland and Friends Mondays, 7-10 p.m.

Huey’s Downtown 77 S. SECOND 527-2700

Scott Thompson’s Doghorse Rescue Animal Sunday, July 2, 8:30 p.m.-midnight.

South Main Sounds 550 S. MAIN 494-6543

Mandy and Sturgis Nikides, Danny Green, Claire Radel and Levi Smith Friday, June 30, 7-9 p.m.

679 ADAMS 524-1886

Dim the Lights featuring live music and DJs First Saturday of every month, 10 p.m.

Paulette’s RIVER INN, 50 HARBOR TOWN SQUARE 260-3300

Live Pianist Thursdays, 5:308:30 p.m., Fridays and Saturdays, 5:30-9 p.m., Sundays, 11 a.m.2 p.m., and Mondays-Wednesdays, 5:30-8 p.m.

The Peabody Hotel 149 UNION 529-4000

Snowglobe Thursday, June 29, 6-11 p.m.

Dirty Crow Inn

South Main

855 KENTUCKY

831 Cooper 831 COOPER

CD Release Party for Tony Manard’s “Know Why” Album Friday, June 30, 8-11 p.m.

Bar DKDC 964 S. COOPER 272-0830

The Subtractions Friday, June 30; NOTS Saturday, July 1; Some Sons of Mudboy Wednesday, July 5.

Blue Monkey 2012 MADISON 272-BLUE

Karaoke Thursdays, 9 p.m.midnight; Clankys Nub Friday, June 30, 10 p.m.-3 a.m.

Ghost River Brewing

Boscos

827 S. MAIN 278-0087

2120 MADISON 432-2222

Loveland Duren Saturday, July 1, 6-8 p.m.

Earnestine & Hazel’s

Loflin Yard

531 S. MAIN 523-9754

Amber Rae Dunn Hosts: Earnestine & Hazel’s Open Mic Wednesdays, 8-11 p.m.

Live Music on the Patio Thursdays, 6-8 p.m.

Mollie Fontaine Lounge

The Rusty Pieces Sunday, July 2, 6-9 p.m.

Nancy Apple Thursdays, 8 p.m.; Savannah Long Friday, June 30; Bobbie & Tasha Wednesdays, 8-11 p.m.

LYFE Kitchen 272 S. MAIN 526-0254

7 W. CAROLINA

Electric Church Sundays, 2-4 p.m.

Sunday Brunch with Joyce Cobb Sundays, 11:30 a.m.2:30 p.m.

Canvas 1737 MADISON 443-5232

Karaoke Thursdays, 9:30 p.m.; Kyle Pruzina Live Mondays, 10 p.m.-midnight.

June 29-July 5, 2017

Blind Mississippi Morris Fridays, 5 p.m., and Saturdays, 5:30 p.m.; Brad Birkedahl Band Thursdays, Wednesdays, 8 p.m.; Earl “The Pearl” Banks Saturdays, 12:30 p.m., and Tuesdays, 7 p.m.; Brandon Cunning Trio Sundays, 6 p.m.,

152 BEALE 544-7011

Live Music WednesdaysSundays, 7-11 p.m.; Live DJ Wednesdays-Sundays, 11 p.m.; Third Floor: DJ Tubbz Fridays, Saturdays, 10 p.m.

King’s Palace Cafe

20

YO GOTTI & FRIENDS THURSDAY, JUNE 29

ELVIS, THE WONDER OF YOU WEDNESDAY, AUGUST 16

R. KELLY SUNDAY, AUGUST 27

FOO FIGHTERS TUESDAY, OCTOBER 24

Memphis born rap and hip-hop artist will host his Birthday Bash 5 at FedExForum for the first time.

Tickets available!

The critically-acclaimed concert event celebrating the life and music of Elvis Presley during the 40th anniversary. Tickets available!

R. Kelly with special guests Tyrese and Monica return to FedExForum for a night of R&B. Tickets on sale Friday, June 30 at 10am!

Eleven-time Grammy Award winning rock band is bringing the Concrete and Gold Tour to FedExForum.

Tickets on sale Thursday, June 29 at 10AM!

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

After Dark: Live Music Schedule June 29 - July 5 Celtic Crossing

Midtown Crossing Grill

Railgarten

903 S. COOPER 274-5151

394 N. WATKINS 443-0502

2166 CENTRAL

2559 BROAD 730-0719

Ed Finney and the U of M Jazz Quartet Thursdays, 8 p.m.; Mobias Pieces Friday, June 30, 9 p.m.; Blackwater Trio Saturday, July 1, 9 p.m.; Don and Wayde Tuesdays, 7-10 p.m.

East Tapas and Drinks

“The Happening” Open Songwriter Showcase Tuesdays, 6:30-9:30 p.m.

Grand Re-opening Friday, June 30-Tuesday, July 4.

All Saints Episcopal Church 1508 S WHITE STATION 685-7333

Minglewood Hall

The Tower Courtyard at Overton Square 2092 TRIMBLE PLACE

1555 MADISON 866-609-1744

Perpetual Groove Thursday, June 29, 8 p.m.; A Night of Legends: Too Short, Playa Fly, Gangsta Blac Saturday, July 1, 8 p.m.

Acoustic Courtyard Last Thursday of every month, 6:30-9:30 p.m.

6069 PARK 767-6002

All Saints’ 4th of July Concert Tuesday, July 4, 3-4 p.m.

Eddie Harris Thursdays, Fridays, 6:30-9:30 p.m.; Elizabeth Wise Tuesdays, 7-9 p.m.; Van Duren Solo Tuesdays, 7-9 p.m.

Folk’s Folly Prime Steak House

5727 QUINCE 682-2300

551 S. MENDENHALL 762-8200

Intimate Piano Lounge featuring Charlotte Hurt Mondays-

Neil’s Music Room Jack Rowell’s Celebrity Jam Thursdays, 8 p.m.; On the Patio: The Rants Friday, June 30, 7-11 p.m.; Eddie Smith Fridays, 8

2779 WHITTEN 266-5006

The Brian Johnson Band Friday, June 30, 9 p.m.; The Hadley’s All Stars Sunday, July 2, 5:30 p.m.; Mizfitz Wednesday, July 5, 8 p.m.

Side Car Cafe 2194 WHITTEN 388-0285

Brian Johnson Band Wednesday, July 5, 7-11 p.m.

Collierville

Hi-Tone

Huey’s Collierville

412-414 N. CLEVELAND 278-TONE

Huey’s Midtown The Chaulkies Sunday, July 2, 4-7 p.m.; Jared Goldweber and The Frank Bros Sunday, July 2, 8:30 p.m.-midnight.

Lafayette’s Music Room 2119 MADISON 207-5097

Jeremy Stanfill & Joshua Cosby Thursday, June 29, 6 p.m.; No More Drama Thursday, June 29, 9 p.m.; Brennan Villines Trio Friday, June 30, 6:30 p.m.; Jason Miller Band Friday, June 30, 10 p.m.; Susan Marshall & Friends Saturday, July 1, 11:30 a.m.; Brandon McGovern Saturday, July 1, 3 p.m.; Ryan Peel Saturday, July 1, 6:30 p.m.; Aquanet Saturday, July 1, 10 p.m.; Joe Restivo 4 Sunday, July 2, 11 a.m.; Jeffrey & The Pacemakers Sunday, July 2, 4 p.m.; Loveland Duren Sunday, July 2, 8 p.m.; Spank! Tuesday, July 4, 8 p.m.; River Bluff Clan Monday, July 3, 6 p.m., Chris Johnson Tuesday, July 4, 5:30 p.m.; McKenna Bray Wednesday, July 5, 8 p.m.

Levitt Shell OVERTON PARK 272-2722

Don Bryant Friday, June 30, 7:30-9 p.m.; Ultimate Family Reunion Saturday, July 1, 210 p.m.; Kelsey Waldon Sunday, July 2, 7:30-9 p.m.

Live in Studio A at the Stax Museum Tuesdays, 2-4 p.m.; Gee Whiz! Wednesday Workshops Wednesday, July 5, 10 a.m.-noon.

Hadley’s Pub

1911 POPLAR 244-7904

Dr. Brown Thursday, June 29; Pezz EP Release with Hardaway & Banned Anthem Friday, June 30; Spiral Stairs with Boink Saturday, July 1; Lee Bains and the Glory Fires Album Release Sunday, July 2; Crockett Hall Tuesdays with the Midtown Rhythm Section Tuesdays, 9 p.m.; Open Mic with DJ Cashmere & Moth Wednesday, July 5.

1927 MADISON 726-4372

926 E. MCLEMORE 946-2535

Bartlett

Growlers

Morbid Saint, Dawn Patrol, Reserving Dirtnaps, Act of Impalement Thursday, June 29, 7 p.m.; Tender Cavalry, Felix Martin Thursday, June 29, 8 p.m.; Fair City Fire Friday, June 30, 9 p.m.; The Candy Company Friday, June 30, 9 p.m.; SmithSeven Pants Tour Saturday, July 1, 7 p.m.; Tom Skeemask Birthday Bash Saturday, July 1, 8:30 p.m.; These Streets, Bruise, Carnivora, Fissure Autolith Monday, July 3, 8 p.m.; Extremely low budget fireworks display and maybe live music Tuesday, July 4, 8 p.m.

Stax Museum of American Soul Music

$13988

$154 or

mo

GOSSETT FIAT 1901 COVINGTON PIKE • 388.8989 • FIATUSAOFMEMPHIS.COM

HT659190-MSRP 16240-DISCOUNT 1252-REBATE 1000-3500 CASH DOWN-72 MO. 3.25 APR-EXCLUDES T, T& L-WAC INCLUDES ALL REBATES & INCENTIVES-PF $498.75-OFFER VALID THROUGH END OF MONTH.

Mulan Asian Bistro 2149 YOUNG AVE 347-3965

Chris Gales Sunday Brunch First Sunday of every month, 12-3 p.m.

Wild Bill’s 1580 VOLLINTINE 207-3975

The Wild Bill’s Band Fridays, Saturdays, 11 p.m.-3 a.m.

Murphy’s

P&H Cafe 1532 MADISON 726-0906

Rock Starkaraoke Fridays; Bad Idols, Hardaway Saturday, July 1; Open Mic Music with Tiffany Harmon Mondays, 9 p.m.-midnight; Bip Nite Tuesday, July 4.

Huey’s Poplar 4872 POPLAR 682-7729

Bluff City Soul Collective Sunday, July 2, 8:30 p.m.-midnight.

1589 MADISON 726-4193

Bryan Conklin Thursday, June 29; The Margins with Los Psychosis Friday, June 30; The Fast Mothers Bar Spangled Celebration Tuesday, July 4, 8 p.m.-midnight.

Thursdays, 5-9:30 p.m.; Larry Cunningham Fridays, Saturdays, 6-10 p.m.

University of Memphis

Memphis Botanic Garden

The Bluff

Boston Saturday, July 1, 6 p.m.

535 S. HIGHLAND

DJ Ben Murray Thursdays, 10 p.m.; DJ JJ Wilson Friday, June 30, 10 p.m.; Dude Called Rob Saturday, July 1, 10 p.m.; Bluegrass Brunch with the River Bluff Clan Sundays, 11 a.m.

750 CHERRY 636-4100

Memphis Nites Club 3297 KIRBY 797-8599

Chick Rogers Sundays, 5 p.m.-3 a.m.

Mortimer’s 590 N. PERKINS 761-9321

Van Duren Solo Thursdays, 6:30-8:30 p.m.

p.m.; No Hit Wonder Saturday, July 1, 8 p.m.; Bar Misfits Sunday, July 2, 6-10 p.m.; Eddie Harrison Mondays, 6-10 p.m.; Debbie Jamison & Friends Tuesdays, 6-10 p.m.; Elmo and the Shades Wednesdays, 8 p.m.-midnight.

Summer/Berclair Cheffie’s Cafe 483 HIGH POINT TERRACE 202-4157

Songwriter Night hosted by Leigh Ann Wilmot and Dave “The Rave” Saturdays, 5-8 p.m.

2130 W. POPLAR 854-4455

Delta Rain Sunday, July 2, 8:3011:30 p.m.

Cordova Huey’s Cordova 1771 N. GERMANTOWN PKWY. 754-3885

Soul Shockers Sunday, July 2, 8:30 p.m.-midnight.

Frayser/Millington Huey’s Millington 8570 US 51 NORTH

Sweat Tea Jubilee Sunday, July 2, 8:30 p.m.-midnight.

Germantown Huey’s Germantown 7677 FARMINGTON 318-3034

Vintage Sunday, July 2, 8-11:30 p.m.

North Mississippi/ Tunica BankPlus Amphitheater at Snowden Grove 6285 SNOWDEN, SOUTHAVEN, MS (662) 892-2660

Journey Wednesday, July 5, 7:30 p.m.

Horseshoe Casino & Hotel AT CASINO CENTER, NEAR TUNICA, MS 1-800-303-SHOE

Cameo and Morris Day and the Time Friday, June 30.

Raleigh Stage Stop 2951 CELA 382-1576

Blues Jam hosted by Brad Webb Thursdays, 7-11 p.m.; Nick Hearn Friday, June 30, 9:30 p.m.-1:30 a.m.; Dean West Band Saturday, July 1, 9:30 p.m.-1:30 a.m.; Open Mic Night and Steak Night Tuesdays, 6 p.m.midnight.

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

The Cove

Poplar/I-240

ARTS & ENTERTAINMENT

Celtic Crossing Patio Sessions: Jeffery Jordan of the Band Camino Friday, June 30, 69 p.m.; Jeremy Stanfill and Joshua Cosby Sundays, 6-9 p.m.; Candy Company Mondays.

East Memphis

21

CALENDAR of EVENTS: JUNE 29 - JULY 5

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.

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

Memphis College of Art

T H EAT E R

“Disappointed,” exhibition of photography and digital collage by Joshua Strydom. www. mca.edu. Through July 30.

The Evergreen Theatre

Upright Position, two women, one a senior and homeless, the other middle-aged and pregnant, engage in a conversation at the airport that leads to each taking a trip, but not necessarily on a plane. By Natalie ParkerLawrence. (930-7737), www. womenstheatrefestivalofmemphis.org. $18. Fri., June 30, 7:30-9:45 p.m., Sat., July 1, 7:30-9:45 p.m., and Sun., July 2, 3-4:45 p.m.

1705 POPLAR (274-7139).

Germantown Community Theatre All Children’s Theatre: You Can’t Take It With You, www. gctcomeplay.org. $13. Sun., 2:30 p.m., and Fri., Sat., 8 p.m.

Through July 2.

3037 FOREST HILL-IRENE (453-7447).

Hattiloo Theatre

Aida. www.hattiloo.org. $30.

Sun., 3 p.m., Sat., 2 & 7:30 p.m., and Thurs., Fri., 7:30 p.m. Through July 2.

37 S. COOPER (502-3486).

Playhouse on the Square

Priscilla, Queen of the Desert. www.playhouseonthesquare.org. $25-$45. Thursdays-Saturdays, 8 p.m., and Sundays, 2 p.m.

Through July 9.

66 S. COOPER (726-4656).

1930 POPLAR (272-5100).

Memphis Zoo ONGOI NG ART

Belz Museum of Asian and Judaic Art

“Chinese Symbols in Art,” ancient Chinese pottery and bronze. www.belzmuseum. org. Ongoing.

119 S. MAIN, IN THE PEMBROKE SQUARE BUILDING (523-ARTS).

Bingham and Broad

“My Kin Is Not Like Yours,” exhibition of works by Debra Edge. Ongoing.

2563 BROAD (323-3008).

The Calliope

“Transmissions,” exhibition of new abstract works

by Amy Hutcheson. www. amyhutcheson.com. Through Aug. 26.

456 TENNESSEE ST.

The Caritas Village

“BrainStormArts,” exhibition of collage, acrylics, and silk screens by Amelia Lovel benefiting those with brain trauma injuries. Through July 14.

2509 HARVARD (324-5246).

OT H E R ART HAP P E N I N G S

Art Trolley Tour

Tour the local galleries and shops on South Main. Last Friday of every month, 6-9 p.m.

SOUTH MAIN HISTORIC ARTS DISTRICT, DOWNTOWN.

An Evening with Wu Fei

Wu Fei performs and will share stories discussing the history of her ancient Chinese instrument. $15. Fri., June 30, 8 p.m.

June 29-July 5, 2017

CROSSTOWN ARTS, 430 N. CLEVELAND (507-8030), WWW. CROSSTOWNARTS.ORG.

22

David Lusk Gallery

“This Land: An American Portrait,” exhibition of photographs by Jack Spencer. Also featuring book of photographs, This Land. www.davidluskgallery.com.

Through July 1.

“The Retirement Party,” exhibition of graphic, large-scaled mixed-media works by Tyler Hildebrand. www.davidluskgallery.com. July 5-29.

97 TILLMAN (767-3800).

The Dixon Gallery & Gardens

“Scent and Symbolism: Perfumed Objects and Images,” exhibition considering the

“About Face” exhibition in the Education Gallery at the Brooks Museum role of scent in the history of art through a collection of 140 scented bottles. www. dixon.org. Regular admission.

Through July 2.

“Jason Miller: objets de mémoire,” exhibition of photographs using everyday objects that have meaning and memories in the artist’s life. www.dixon.org. Through July 23.

“Made in Dixon,” exhibition showcasing the colorful and joy-filled artwork created by artists of all ages in the Dixon’s educational programs. www. dixon.org. Ongoing.

4339 PARK (761-5250).

Eclectic Eye

“Destination Memphis,” exhibition of a visual journey of Memphis music by Ron Olson. www.eclectic-eye.com.

Through July 26.

242 S. COOPER (276-3937).

FireHouse Community Arts Center

Mosal Morszart, exhibition of works by Black Arts Alliance artist. www.memphisblackartsalliance.org. Ongoing.

985 S. BELLEVUE (948-9522).

Fratelli’s

Glenda Brown Summer Show, exhibition of paintings representing recent works of Brown and her students. Call for more information about Glenda Brown’s classes. www. memphisbotanicgarden.com.

Through June 29.

“Memphis Series,” exhibition of pen and ink works by David Tankersley. www.memphisbotanicgarden.com. July 2-Aug. 28.

750 CHERRY (766-9900).

Marshall Arts Gallery

“Love of Art” and “Memphis,” exhibition of work by Nikki Gardner and Debra Edge by appointment only. (647-9242), Ongoing.

639 MARSHALL (679-6837).

Jurassic Journeys on Land, Sea, and Air at the Pink Palace Museum

Memphis Botanic Garden

“Artists’ Link Garden Friends,” www.memphisbotanicgarden. com. Through June 29.

“Magic,” exhibition of works

by Michael Moffit. www. memphisbotanicgaren.com.

July 1-31.

750 CHERRY (636-4100).

Memphis Brooks Museum of Art

“A Feast for the Eyes: 200 Years of American Still-Life Painting from the Hevrdejs Collection,” exhibition of rarely seen still-life paintings by major American artists including James Peale, John F. Peto, Thomas Hart Benton, Georgia O’Keeffe, and Andrew Wyeth. www.brooksmuseum.org. Through July 30.

Rotunda Projects: Nnenna Okore, exhibition of works with burlap to fashion abstract objects inspired by textures, colors, and landscapes. www.brooksmuseum.org. Through Sept. 10.

“Unwrapped! 100 Gifts for 100 Years,” exhibition of more than 100 works of art gifted to the museum ranging from ancient coins to contemporary glass and paintings to quilts. Through Aug. 27.

“About Face,” exhibition located in the Education Gallery highlighting the different ways artists interpret the connection between emotion and expression. www.brooksmuseum.org.

Ongoing.

“Drawing Memory: Essence of Memphis,” exhibition of works inspired by nsibidi, a sacred means of communication among male secret societies in southeastern Nigeria by Victor Ekpuk. www.brooksmuseum. org. Ongoing.

1934 POPLAR (544-6209).

“Nature Connects: Art with LEGO Bricks,” exhibition of 15 LEGO brick sculptures. www. memphiszoo.org. Through July 9.

2000 PRENTISS PLACE IN OVERTON PARK (333-6500).

Metal Museum

“Metal in Motion,” exhibition and group show of work involving moving parts including hand operated or run on a motor inviting the viewer to interact with the art. www.metalmuseum.org.

Through Aug. 27.

“F.I.R.E. James Wade Jr.,” exhibition of cast metal works and drawings by James Wade Jr. that investigate the meaning of place by referencing industrial, agrarian, and vernacular landscapes. www.metalmusuem.org. Through July 16.

“Implements of Grandeur,” exhibition of handmade tools by metalsmiths throughout the United States including Jack Brubaker, David Court, Dennis Dusek, Jeffrey Funk, Seth Gould, Tom Latané, Timothy Miller, and others. www.metalmuseum.org.

Through July 30.

374 METAL MUSEUM DR. (774-6380).

Playhouse on the Square “Home > House,” exhibition of works by Kevin Mitchell. www. mca.edu. Through July 30.

66 S. COOPER (726-4656).

Slavehaven Underground Railroad Museum “Images of Africa Before & After the Middle Passage,” exhibition of photography

by Jeff and Shaakira Edison.

Ongoing.

826 N. SECOND (527-3427).

continued on page 24

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23

C A L E N D A R : J U N E 2 9 - J U LY 5

e s s e J

en M c i s u M e h & t from Orlando, FL

• Open for weddings, corporate events, parties, etc. in Memphis and Nashville

• Taking booking for July 14th and beyond.

• Calendar will fill up fast so act now.

Special discounts for veterans.

• 4 piece band • Song list on website.

MORE INFORMATION INCLUDING SONG LISTS AND BOOKING INFORMATION AT

WWW.RICK.BUSINESS or call 407-608-8015 Playing The American Legion Post One’s 98th Anniversary Saturday, July 8th from 11a-1p Marion Hale Community Center at 4791 Willow Road, Memphis

THE BAND WILL BE RECORDING THAT WEEKEND AT HISTORIC SUN STUDIOS. SOUTHERN AVENUE CHARTER SCHOOL Visit and Enroll now!

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ATION

9th July 2 2PM 9AM-1

continued from page 22 St. George’s Episcopal Church

“Sun, Fun, and the Arts,” exhibition of work in oils, acrylic, watercolor, and photography by Artists Group of Memphis. (754-7282), www. stgeorgesgermantown.org.

Free. July 1-30.

2425 SOUTH GERMANTOWN (754-7282).

Talbot Heirs

Debra Edge Art. Ongoing.

99 S. SECOND (527-9772).

TOPS Gallery

“Cease to Exist, Give in to Good Vibes,” exhibition of six new paintings by Dale McNeil. www.topsgallery. com. Through July 25.

“Drawings and Song,” exhibition of drawings on paper by Henry Speller, a drawing on board by Coy Love, and limited lathe cut record documenting a 1978 home performance by Love, Speller, and his wife Georgie Speller. www.topsgallery.com.

Through July 22.

400 S. FRONT.

Village Frame & Art

Gallery Artists, exhibition of work by Charlie Ivey, Virginia Schoenster, Lou Ann Dattilo, and Matthew Hasty. Ongoing.

540 S. MENDENHALL (767-8882).

June 29-July 5, 2017

WKNO Studio

Elementary School of Academic Excellence & Creative Arts 901-743-7335

SACS

“Becky Zee’s 366 Days,” exhibition of 366 clay creatures, one for each day of the 2016 leap year, by Becky Zee. www. wkno.org. July 3-28.

7151 CHERRY FARMS (458-2521).

B O O KS I G N I N G S

Booksigning by Earnest E. Lacey

Southern Avenue Charter School’s mission is to educate the whole child. All Author signs Hilton Street: From Memphis to Chicago. students are challenged academically on their level, whether it’s regular Fri., June 30, 6-9 p.m. academics, gifted, or special education. The famous “Hyde Library” is SOUTH MAIN BOOK JUGGLER, 548 technology based with more than 99,000 volumes of books and computers for S. MAIN (249-5370). student use. Computer labs and computers in the classrooms are available.

At Southern Avenue Charter School all elementary students take Spanish.

S PO R TS / F IT N E S S All students are required to participate in one of the following Creative Arts Mid-South Wrestling Programs (Kaleidoscope): STEM, Chorus, Dramatic Arts, Digital Music, Group Revolution Piano, Photography, Ballet, Dance, Taekwondo, or a variety of sports, such Wrestling events and VIP as, Soccer, Basketball, and Track.

Many support programs are available for At Southern Avenue Charter School’s Creative Arts Program, students are required to participate in meet and greet benefiting parents and students: Before and school care; free breakfast, lunch, fresh two of theafter following Kaleidoscope Horn Lake Parks. $10. Sat., fruit/vegetables, snack and supper; free uniforms for new students; etc.

(Creative Arts) Classes: Foreign Language; July 1, 4-9 p.m.

Chorus; Suzuki Piano; Group Piano or Violin; Ballet; Art; Soccer; Basketball; Dramatic Arts; and / or LATIMER LAKE PARK, 5633 TULANE Taekwondo.

Southern Avenue SchoolRoad of Academic Excellence and Creative Arts 901.743.7335 • 2221Charter Democrat Memphis, TN 38132 (483-3926).

24

www.southernavecharterschools.org

Aircraft Carrier Guardians of the Sea at CTI 3D Giant Theatre in the Pink Palace Museum KIDS

Gee Whiz! Wednesday Workshops

Gee Whiz! Wednesday Workshops at the Stax Museum provide youth and young children the opportunity to express themselves through structured activities. Drop-in programs feature music, arts, and hands-on fun. Go to www.staxmuseum.com for more details. Free for participants. Wed., July 5, 10 a.m.-noon.

STAX MUSEUM OF AMERICAN SOUL MUSIC, 926 E. MCLEMORE (942-7685).

Jurassic Journeys on Land, Sea, and Air

Featuring animated dinosaurs and other animals from Kokoro. Featuring some new and old friends. Through Sept. 10.

MEMPHIS PINK PALACE MUSEUM, 3050 CENTRAL (636-2362), WWW. MEMPHISMUSEUMS.ORG.

S P EC IA L EVE NTS

Ladies Night Out

Support causes that uplift and empower other women, including the Community Legal Center. Make and take home a custom piece of jewelry. Food and adult beverages provided. Participate in wine pull. $40. Thurs., June 29, 6-8 p.m.

BE FREE REVOLUTION, 771 BROOKHAVEN CIRCLE (834-7200).

Peabody Rooftop Party

Meet on the roof for music and fun. $10-$15. Thursdays, 6-10 p.m. Through Aug. 17.

THE PEABODY HOTEL, 149 UNION (529-4000), WWW.PEABODYHOTEL. COM.

H O LI DAY EVE NTS

2017 Independence Day Fireworks Spectacular

Grab your blanket, picnic basket, and lawn chairs for a day of family fun. Fireworks after dark. Tues., July 4,

3 p.m.

MUD ISLAND RIVER PARK, 125 N. FRONT (576-7241), WWW.MUDISLAND.COM/.

4th Annual Red, White, and Brew Tour

Ride the Mojo bus, sing along with a local musician, and enjoy tours and tastings at High Cotton and Ghost River breweries. End the night with pizza from Aldo’s. 21+ only. $39. Sat., July 1, 6-8:30 p.m.

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

8th Annual Fireworks Spectacular Mon., July 3, 9 p.m.

THE FITZ, 711 LUCKY LANE (1-800766-LUCK).

Bartlett Fireworks Extravaganza

Annual celebration including fireworks, live music, and recognition of veterans and officials. Mon., July 3, 6 p.m.

BOBBY K. FLAHERTY MUNICIPAL CENTER, HIGHWAY 79 AND APPLING RD.

Central Gardens 4th of July Parade

Free refreshments, children’s and pets’ patriotic costume competitions, music, and more. For more information, visit website. Tues., July 4, 9 a.m.

CENTRAL GARDENS, ALONG CARR AVE., WWW.CENTRALGARDENS. ORG.

Collierville Independence Day Celebration

Annual Independence Day celebration with fireworks, live music, and food vendors.

Mon., July 3, 6-10 p.m.

H.W. COX PARK, 350 W. POWELL.

Cooper-Young Community Association Independence Day Parade

Dress up in your best patriotic wear, decorate your bikes and wagons, and meet up at the Peabody Elementary School parking lot for this community tradition. Tues., July 4, 10 a.m.

COOPER-YOUNG HISTORIC DISTRICT, WWW.COOPERYOUNGFESTIVAL.COM.

continued on page 27

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C A L E N D A R : J U N E 2 9 - J U LY 5 continued from page 24 Flag City Freedom Celebration Mon., July 3, 4 p.m.

USA STADIUM COMPLEX, 4351 BABE HOWARD BLVD. IN MILLINGTON (872-8326).

Germantown Fireworks Extravaganza

Featuring moon bounces, games, crafts, and food for sale, with the fireworks starting later. Tues., July 4, 5 p.m.

GERMANTOWN MUNICIPAL PARK, 1900 S. GERMANTOWN.

Independence Celebration at Overton Square

Patriotic concert and fun. For more information, visit website. Sun., July 2, 7-9 p.m.

OVERTON SQUARE, MIDTOWN, WWW.OVERTONSQUARE.COM.

Welcome to the Neighborhood: Old Dominick Distillery

highly skilled sea and air personnel, in the midst of a giant war simulation. See website for more information including show times.

Through Nov. 17.

OLD DOMINICK DISTILLERY, 305 S. FRONT.

CTI 3D GIANT THEATER, IN THE MEMPHIS PINK PALACE MUSEUM, 3050 CENTRAL (636-2362), WWW.MEMPHISMUSEUMS.ORG.

F I LM

Carriage Crossing Movie Mania: The Jungle Book

Featuring live music, special offerings, and prizes.

Thurs., June 29, 6-8 p.m.

THE ORPHEUM, 203 S. MAIN (525-3000), WWW.ORPHEUM-MEMPHIS.COM.

Hired Gun

Thurs., June 29, 7:30 p.m.

MALCO PARADISO CINEMA, 584 S. MENDENHALL (682-1754), WWW.MALCO.COM.

Monty Python and the Holy Grail

Embark on a low-budget search for the Grail with King Arthur and his Knights, encountering many, very silly obstacles. $8. Thurs., June 29, 6 p.m.

Free. Fri., June 30, 6:30-10 p.m.

The 15 Film Series

Films in the series will engage with three themes: Memphis history, art, and spatial justice. Free.

Thursdays, 6 p.m. Through Sept. 30.

CLAYBORN TEMPLE, 294 HERNANDO, WWW.ONLOCATIONMEMPHIS.ORG.

Aircraft Carrier Guardians of the Sea Find yourself aboard a carrier alongside 6,000

CENTRAL PARK IN CARRIAGE CROSSING, 4674 MERCHANT’S PARK CIRCLE, SUITE 432 (854-8240), WWW.SHOPCARRIAGECROSSING.COM.

THE ORPHEUM, 203 S. MAIN (525-3000), WWW.ORPHEUM-MEMPHIS.COM.

Dirty Harry

When a madman calling himself “the Scorpio Killer” menaces the city, Harry Callahan is assigned to track down and ferret out the crazed psychopath. $8. Fri., June 30, 6 p.m.

Memphis Redbirds’ Independence Day Celebration Featuring fireworks, food, and baseball. Mon., July 3, 5 p.m.

AUTOZONE PARK, THIRD AND UNION (721-6000), WWW. MEMPHISREDBIRDS.COM.

Olive Branch Independence Day Celebration

Picnic-friendly party with fireworks at 9 p.m, plus food, vendors, and a Kids Zone. Tues., July 4, 6 p.m.

OLIVE BRANCH CITY PARK, 8267 GOODMAN.

Patriotic Pops

Include favorite patriotic tunes presented by members of the Memphis Symphony Orchestra and the 2PC Chancel Choir. Concludes with fireworks display. Free. Thurs., June 29, 7:30-10 p.m.

LEVITT SHELL, OVERTON PARK (454-0034).

Peabody Rooftop Fireworks Viewing

Southaven July 4th Celebration

Featuring entertainment (picnics and coolers are welcome) and fireworks starting about 9 p.m.

Tues., July 4, 6:30 p.m.

BANKPLUS AMPHITHEATER AT SNOWDEN GROVE, 6285 SNOWDEN, SOUTHAVEN, MS ((662) 892-2660).

Star-Spangled Celebration

Fun-filled day of music, food, and fun, ending with a laser light spectacular at Hyde Lake benefiting Shelby Farms Park Conservancy. $10 members, $12 nonmembers. Sat., July 1, noon-10 p.m.

SHELBY FARMS, 500 N. PINE LAKE (767-PARK), WWW. SHELBYFARMSPARK.ORG.

Stars and Stripes 5K

Live music and food benefiting the American Red Cross. $30. Mon., July 3, 7 p.m.

MEMPHIS BOTANIC GARDEN, 750 CHERRY (636-4100), WWW.MEMPHISBOTANICGARDEN.COM.

FO O D & D R I N K EVE N TS

Aldo’s Pizza Pies Beer Dinner with Wiseacre Brewing

F R E E F I R E WO R K S S H OW AT 9 P M Watch a spectacular fireworks showcase light up the night sky on the Fitz front lawn.

Bring your friends, family, lawn chairs and blankets as you enjoy live entertainment starting at 6pm and the biggest FREE fireworks show in the mid-south.

LIVE CONCERT • BBQ • BEER GARDEN • PARTY FAVORS • FREE, CONVENIENT PARKING

CASINO PROMOTIONS

POLARIS SLINGSHOT + PROMO CASH GIVEAWAY SATURDAY, JULY 1 • 2pm - 10pm

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Four-course dinner featuring specialty pies, fresh pasta, and home-made dessert paired with some of the best craft brew in Memphis. $35. Sat., July 1, 6-9 p.m.

,000 $10 GOING ALL IN

ALDO’S PIZZA PIES, 100 S. MAIN (577-7743), WWW. ALDOSPIZZAPIES.COM.

National Pro BBQ Tour Regional Championship Sat., July 1, 10 a.m.-3 p.m.

SAM’S CLUB, 6260 HWY 64 (384-9997).

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WEDNESDAY, JULY 5 & WEDNESDAY, JULY 19 • 3PM Earn only 50 points or earn 100 points and play twice!

Cash and Promo Chips Giveaway Sunday, July 2 • 9:30pm

Receive entries with winning hands now through July 1 while playing Blackjack, 3-Card Poker, Roulette, Mississippi Stud and Craps.

Puppy Up and Chow Down

Each week, a dog that has been touched by cancer is highlighted. Treats for dogs provided by Hollywood Feed. Human menu changes slightly each week. Benefits Puppy Up Foundation to create awareness of canine cancer, its similarities to human cancer, and education that benefits both pets and people. Sundays, 4-8 p.m.

THE COVE, 2559 BROAD (730-0719), WWW.PUPPYUP.ORG.

Saturday, July 15, 8pm.

Tickets start at only $40. Purchase tickets at the Fitz Gift Shop or call Ticketmaster at 800-745-3000 or visit ticketmaster.com

FitzgeraldsTunica.com • 1-662-363-LUCK (5825) • Must be 21 and a Key Rewards member. See Cashier*Players Club for rules. Tax and resort fee not included in listed price. Advance hotel reservations required and subject to availability. $50 credit or debit card is required upon hotel check-in. Arrivals after 6pm must be guaranteed with a credit card. Management reserves the right to cancel, change and modify the event or promotion. Gaming restricted patrons prohibited. Gambling Problem? Call 1-800-522-4700.

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

THE PEABODY HOTEL, 149 UNION (529-4000).

MONDAY, JULY 3

ARTS & ENTERTAINMENT

Watch the downtown Memphis 4th of July fireworks from the rooftop of the historic Peabody Hotel. Snacks and drinks available for purchase.

Family-friendly. Tues., July 4, 5-10 p.m.

27

T H E AT E R B y C h r i s D a v i s

True Colors

June 29-July 5, 2017

D

28

irector Dave Landis doesn’t think Pride Month had anything to do with dropping Priscilla, Queen of the Desert into this season’s summer musical slot at Playhouse on the Square. June may have found Big River Crossing lit up like the bridge from Oz, but, as Landis noted, “Memphis always has its parade [later].” Still, for those who fancy a light comedy with swell design, infectious songs, and choreography that makes you want to join in on the fun, there’s a lot of pride-worthy stuff going down at the corner of Cooper and Union.

Though seldom deeper than a Hallmark card, Priscilla’s a big, heart-shaped box of brightly colored jukebox candy.

With an unavoidable dependence on sequins and spectacle, a top-40 sing-along soundtrack, and a script lifting plot and dialogue from the popular ’90s-era film of the same name, Priscilla threatens to melt into so much sentimental kitsch — a Mamma Mia! for the last generations raised on the radio. But Landis and his able-bodied ensemble keep things campy or real, depending on what’s called for, while aiming their big pink bus for the glitter-kissed soul of a buddy/road story celebrating quirk, werk, and mere survival.

Tick, who’s sometimes known as Mitzi, has a secret that might just cause his friends to faint. He was married once, and he’s got a tween son he’s never met. Tick’s amiable ex aims to rectify all that when she hires her baby-daddy to bring a big-city drag show to the small town casino she books. To fill out his chorus line, Tick turns to his younger friend Adam/Felicia and his older friend Bernadette, and the three pals set out on a fabulous journey fraught with danger, self-discovery, insane costumes, and (of course) engine problems in the middle of nowhere.

Have you ever wondered what it might be like to watch Playhouse regular David Foster (as Bernadette) lip sync while his fellow musical-theater heavy-hitter Claire Kohlheim belts out “I Will Survive”? It’s a glorious thing, as is Bernadette’s master class in the history and nuances of real fake singing.

Daniel Gonzalez delivers a solid performance as Tick, and Bruce Huffman owns the stage — and some of the show’s wilder costuming — as the occasionally

caustic, always over-the-top Felicia. But it’s Foster who carries this show’s disco-ball heart across the finish line, unshattered.

Priscilla marks a welcome return to the stage by character actor Mark Pergolizzi, who plays Bob, an effortlessly hip, rural mechanic who takes a shine to Bernadette and volunteers his services to make sure the performers make their big show on time.

In the early 1990s, Australian cinema gained a reputation for quirkiness with films like Muriel’s Wedding and Strictly Ballroom. Priscilla’s story of two drag performers and a trans woman from Sydney traveling across the desert to perform a show fits the profile perfectly.

A drive to press glam to the limits on a limited budget forced Priscilla’s original costume designers to make some wild choices, fashioning elaborate headgear out of chicken wire and fancy frocks from cheap flip-flop sandals purchased at a discount from Target. By most accounts, the movie’s actors wearing these outfits suffered and sometimes even bled for their art. Taking its profile cues from the movie, then taking everything up a notch, Playhouse’s designers Kathleen Kovarik (costumes), Ryan Howell (sets), and John Horan (lights), have all outdone themselves, filling an essentially empty space with white fur, gold lamé, mirrored surfaces, and millions of sequins, then flooding the stage with enough saturated color to make the proudest rainbow blush.

In many regards, Priscilla aims low.

None of its creators ever fretted that audiences might not leave the theater humming, “Girls Just Want to Have Fun” or “MacArthur Park” or John Denver’s “Thank God I’m a Country Boy.” The music’s already embedded in our pop consciousness, some of it (maybe most of it) nearly ruined by aggressive commercial use. To that end, what might have been easy appropriation starts to look like something of a restoration.

Though they share a similar sparkly aesthetic, Priscilla is ultimately as working class and real as Playhouse’s season opener, Mamma Mia!, was a fantasy of free spirited privilege. Common themes of children reuniting with lost parents make these populist singalongs uncommonly complementary bookends.

Priscilla, Queen of the Desert at Playhouse on the Square through July 9th

CARLA MCDONALD

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29

FOOD By Michael Donahue

Looking Good The Beauty Shop at 15.

JUSTIN FOX BURKS

S

ome folks still think Beauty Shop restaurant is a beauty salon.

“People call and ask if they can get an appointment,” says owner/chef Karen Carrier. “I say, ‘Do you want a reservation?’ And they go, ‘No. An appointment.’ And I go, ‘No, this isn’t a beauty shop.’ We should start calling our reservations ‘appointments.’”

Beauty Shop (with its slogan “Look Good/Eat Good”) at 966 Cooper will celebrate its 15th anniversary July 14th and 15th. For those two days, the dinner menu will be the same as the one when the restaurant opened in 2002. The Wild Magnolias from New Orleans will perform at 9:45 p.m. July 15th, following a second line from Beauty Shop down Cooper and back.

Carrier, who also owns Mollie Fontaine Lounge, Bar DKDC, and Another Roadside Attraction caterers, didn’t have a beauty shop theme in mind when she began looking for a space for a new restaurant. At the time, she owned Automatic Slim’s (which she sold in 2008) downtown and Cielo (which later became Mollie Fontaine) in Victorian Village. “I wanted to be in a neighborhood,” she says. “I wanted to get out of the touristy part of downtown. I’d done it for so long.”

And she says, “I get bored every six to seven years and re-invent myself.”

While looking at another spot in Cooper-Young, Carrier discovered a “For Rent” sign on the space that once was the old Atkins Beauty and Barber Shop.

She “flipped out” when she walked inside and saw the big cone-shaped hair dryers, the mirrors, and the avocado green sinks in the old hair-styling areas that were separated from each other by glass bricks. “Everything was here,” she says. “And I was like, ‘Oh, my God.’” Carrier went back to her phone and called the owner. “Her father had started Atkins Beauty Salon back in 1942.”

Karen Carrier’s Beauty Shop is celebrating 15 years in business.

Carrier put down $1,000 as earnest money. “And that was it.”

She knew she could make a restaurant out of a beauty shop. “I can just walk into a place and have this weird feel if it will work or not.”

She visualized how it would look. Booths would be installed in the hair-styling areas.

The green sinks would be moved behind the bar. “I saw the hair dryers becoming chairs where you can sit.”

Carrier removed the old drop ceiling to add more height. She had a double kitchen built.

“Up front, we took that wall out and opened the whole bar up. I hung the curtains.”

Sculptor Wayne Edge made the bar and the wormwood tables. “He built a banquette, and I covered it with an old Turkish rug.”

She also rented the space next to the old beauty salon. “We had the ‘Beauty Shop General Store.’ We sold old Vespas. We sold refurbished bikes. We sold Dinstuhl’s chocolates. All continued on page 32

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kinds of cheeses. We sold prepared foods to-go from Roadside. We sold men’s and women’s Giraudon shoes from Italy, my favorite shoe shop in New York.”

Food at Beauty Shop was Americana Caribbean. “I love that spice, but not that heat.

I like that flavor. The big, bold flavors. It’s very much influenced by that sun-drenched cuisine: Mexico, Jamaica, Israel, Louisiana.”

In keeping with the 1960s theme, Beauty Shop servers wore beehive wigs. “My friend, who was doing hair in the ’60s, had a place down on Perkins. So, she created 10 beehives in 10 different colors. The servers got to pick them and put them on their heads. It was hilarious.”

Beauty Shop’s opening night was a hit. “This place went nuts. It was just mobbed from the time we opened at lunch through the end of the night.”

Servers in beehives prepared guacamole tableside, Carrier says.

“Everybody wanted to sit in the booths. They wanted to sit under the dryers. I said, ‘Don’t pull it down!’ ’Cause we had rigged lights in them so they would light up pink.”

Over the years, customers from Atkins Beauty and Barber Shop dined at Beauty Shop restaurant. “Do you know how many people have come in here and said, ‘I used to have my hair done here back in the ’50s’?”

Priscilla Presley was one of them. “She’d come here to get her beehive, her big hairdos, done at Atkins in the first booth. She came in one day, and she goes, ‘You know, that’s the booth where I used to get my hair done.’”

Changes have taken place over the years. Beauty Shop General Store closed and became Do Sushi. It’s now Bar DKDC (Don’t Know Don’t Care), a restaurant/bar/music venue featuring street food from around the world.

Menu items changed at Beauty Shop, but customers celebrating the restaurant’s anniversary can dine on original menu items, including Ying/Yang Carpaccio of Red and White Tuna, Tuna Pizzette, Bangkok Salad, and Crispy Salt and Szechuan Pepper Scrimps.

Servers stopped wearing beehives years ago. “The waitresses started bitching, ‘This is hot.’”

But they’ll wear beehives during the anniversary weekend, Carrier says.

And maybe longer. “I don’t know. That might stick. We might not let that go again.”

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S P I R ITS By Richard Murff

Writer’s Bock

very good. It is the sort of beer someone who spends the depths of winter plowing through Scottish ales would love to hoist in the summer.

My next beer was a Longfin Lager

by Ballast Point. And this was where I stumbled on a really great summer beer: very light and crisp, without tasting watered down. It’s the craft beer that Mrs. M, a Bud Light girl, and I would likely agree on. And that’s the sort of compromise that makes for a happy marriage.

Where Ballast Point lost me was on the final stop: Mango Even Keel IPA. I like IPA, and I like Mangos. But similarly, I like chocolate, and I like olives, but not chocolate-covered olives. If I were inclined to throw some mango into something I was drinking, that something would be rum.

My dominant thought while drinking it was, “Can’t we just leave IPAs alone?” These waves of innovation are teetering on the edge of what the Brits would call “Too clever by half,” and they invented the stuff. It’s like trying to put a modern spin on your grandmother’s fried chicken when you ought to just admit the old gal got it right the first time. And I say your grandmother because neither of mine could boil an egg.

The great thing about Hammer & Ale, though, is its mix of new and traditional beers. Experiments, even failed ones, can be fun. So even if I was offended by mango in my IPA (this is a pretty popular selection, so try it yourself), I could contemplate the ordeal with a pint of one of my go-tos, like Founders All Day IPA — which lives up to its name with enough hops to know it’s there, but not so overpowering to get bitter in the heat.

It’s the sort of beer your grandfather might have had. Again, not my grandfathers, they were from Clarksdale. Mrs. M’s grandfather, on the other hand, was a Brit. I don’t think he could boil an egg either.

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uffering from writer’s block, I went over to see David Smith at Hammer & Ale in Cooper-Young, because the guy knows an awful lot about local beer. Standing before the constellation of 24 revolving local and regional (if you include Iceland) beers, he pointed out the very popular Yazoo Summer Seasonal Gose.

“It’s a light ale, citrusy sour with coriander and sea salt.”

He wasn’t talking about a new salad on the menu, but one of those continental sour beers that started showing up about two summers ago, claiming to be the next IPA. “That sounds dreadful,” I said.

David has spent a lot of his adult life in the art world — operating on taste rather than utility — and was kind enough not to call me a Neanderthal. “Well,” he said, “we are going through a lot of it.” Knowing what I know about the good people at Yazoo Brewing, this was probably one of the better examples of a traditional Gose.

It may not be to your tastes, but they don’t get it wrong very often.

I’m a professional, so I ordered a flight of four, including the offending sour. It wasn’t as powerful as those Lambics that make you want to suck your tongue, but four ounces was enough for me to know I’d had enough.

It was very tart. In Yazoo’s defense, these sour beers are not for me. A couple of people in this city have tried to change my mind about them but, evidently, I just don’t like the style. To be fair, it wasn’t dreadful, and if a lot of people are drinking it, there’s got to be a reason.

Next on the flight was a limited Lagunator Lager — a bock-style lager by Lagunitas, another brewery not known for getting it wrong. It had that heavier bock finish, but it wasn’t anything you’d call a heavy. It was light enough and

with over

ARTS & ENTERTAINMENT

From tangy to mango: four summer beers worth a taste.

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33

FILM REVIEW By Chris McCoy

Are You Okay, Michael Bay? Transformers: The Last Knight is a $200 million cry for help.

A

h yes, we meet again, Michael Bay, my old nemesis. My Nemesis Prime, you might say. That’s what hero truck-bot Optimus Prime changes his name to when he turns evil in Bay’s latest bit of deviltry, The Last Knight. …

*sigh* Okay look, y’all. I gotta be honest. My heart’s not really in this. I know, I love writing a good Michael Bay takedown as much as you like reading them — probably more, if I’m being honest. I’ve been doing them for years.

Back in the day, Chris Herrington, the Flyer’s former film editor, would assign me to do the Michael Bay movies, because he knew I hated them. I’ve had a Michael Bay-

sized chip on my shoulder since 1998’s Armageddon.

How do you mess up a movie about heroic astronauts trying to save the earth from an asteroid? There were so many ways. Then there was Pearl Harbor. How do you mess that up? This is the film where Ben Affleck gets on a train to go from New York to London, neither of which is anywhere NEAR Pearl Harbor.

I include that tidbit in every Michael Bay review, because I still haven’t gotten over it.

And now, another Transformers movie. The fifth one. Giant Robots Go to England. At least they don’t take a train.

I don’t think Michael Bay’s heart is in it any more, either. Back when he had Will Smith and Martin Lawrence demolishing Haitian neighborhoods in Bad Boys 2, at least he seemed like he was having fun with it. In the nonsensical opening scene — in which it is revealed that the secret to King Arthur’s success turns out to be, you guessed it, transformers — Merlin (Stanley Tucci) takes a big swig of whiskey before staggering into a crashed alien spaceship to forge an alliance with a giant robot. It had the feeling of a confessional moment for Bay: Oh boy.

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Bay’s been watching Game of Thrones and obviously missing the point. You like flawed characters caught in impossible situations making hard choices? How about a bored looking Markey Mark just kind of floating through the frame while animated piles of scrap metal scrape together in the background? To say Mark Wahlberg is phoning it in overstates his engagement. Wahlberg is leaving a voicemail for the audience. He was hoping you wouldn’t pick up.

As a longtime Bay watcher, he’s always been indifferent to the audience’s suffering, but in last year’s 13 Hours: The Secret Soldiers of Benghazi, I detected something new: a seething resentment of the audience. The Transformers Reaction Force, a special forces group led by Santos (Santiago Cabrera), who can’t seem to decide what side he’s on, seems imported from that movie. It’s like Bay’s sneering

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“It’s just big, dumb fun!” might be a valid defense against my half-hearted critical barbs, except for one thing: No one is having any fun, least of all Michael Bay. It’s not even fun to hate-watch Transformers: The Last Knight. At this point, even writing this review feels like enabling bad behavior. As a three-headed robot dragon swoops in, breathing fire, King Arthur screams, “This is what the end looks like!”

And I can only say I hope so.

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misogyny, evident in his treatment of Vivian Wembley (Laura Haddock), the Oxford English Lit professor who can’t seem to speak in complete sentences, has been extended to the entire world. Our alleged hero Cade speaks in Trumpian word salad, insulting any and everyone he comes into contact with. For Bay, there’s only one use for words: busting chops.

Expressing dominance.

There’s a general shoddiness to the whole endeavor. A Goonies-like group of kids is introduced early, only to just wander off without explanation. Bay has always had a knack for explaining things that didn’t need explaining and not explaining big things like, “Where did those five kids go? Did they die in the robot apocalypse along with the tens of millions others alluded to but never seen?”

The same stock footage of fighter planes

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TH E LAST WO R D by Susan Wilson

A Very Memphis Meal I had one of those Very Memphis Moments last week. First of all, it was hot, and it was raining. It was that kind of wet, hot mess we get here this time of year. It’s like when you take a towel out of the dryer, only it really needs about 10 more minutes.

That’s what it felt like we were walking into. We were going with some friends to a relatively famous barbecue place that’s known more for its really good food than for being famous.

We settled in to do some people watching. One of the things I dearly love about Memphis is people watching, especially in a good restaurant. I think the better the restaurant, the better the people watching, because good food will generally bring in a diverse group of people.

The family next to us was young and hip. Hip in that way of being hip that would look homeless if one’s jeans weren’t a brand that can only be bought in boutiques that swath one’s purchases in tissue paper and matte black shopping bags. The child was, I believe, named either Carol or Chlamydia. I couldn’t tell. Either is a possibility, as one is ironic and one is just stupid. Anyway, I held out a soft spot for them because they were sucking back pork ribs like their name was Flintstone, and had I seen them on the street, I’d have pegged them as the parents of the kid who doesn’t get invited to birthday parties anymore because there is literally nothing she can eat but kale and lentil non-dairy ice cream.

They were discussing the best place to get a hamburger. The consensus was they liked old-school diner burgers rather than anything containing the words “Angus” or “jam” in the description. I get it. I recently chose a hotel specifically because there was a Whataburger across the street. I’ve also been known to suck back a Tennessee Grass Fed farms burger with Bonnie Blue Farm goat cheese and pickled green Ripley tomato jam on a brioche bun. The point was that when you want a burger, you want a burger. Not an experience. They named several places in town they liked, talked about some that weren’t what they used to be, and all agreed that stuffed burgers always promise and never deliver.

There was a party of about 10 on the other side. The table was multi-generational, with the youngest not yet walking and the oldest not still walking. It was hard to catch up with what was being said because there were several conversations going on. I kept my eye on the lady who I’d put money down was called Nona. She didn’t talk. I don’t think she was hard of hearing or disinterested. I think she was just amazingly focused on her ribs. Although, now I think on it, maybe she was deaf because there was some discussion about tomato gravy in which she did not participate, and I’ve not known any grandmother not to put her two cents in about a tomato gravy.

As we were served our food, a middle-aged couple came in.

They were clearly tourists. The first clue was they wore those matching sandals I think are like German comfort shoes. The second was the lady wanted white wine, but was good natured when told such a beast did not exist. The waitress walked them through the menu, pointing out the difference between pulled and chopped meat and the pros and cons of dry vs. wet rub. I watched the couple excitedly tuck into their meals, request boxes for leftovers, and have another discussion about how they’d found out about the place from a Food Network show. They were in and gone before we’d ordered our third round of drafts.

That was when I realized that every conversation in that room was about food — including ours. Not just what we were eating that night or what we almost ordered. It was about how a waitress told us the other day she loved that my husband and I shared our plates with each other. It was about charcoal or hickory. It was about the best gas station meal in town. It was about a certain restaurant we love that recently redecorated and painted over Guy Fieri’s signature on its wall from when he’d done a segment there. We had a very involved conversation with our waitress about the best ways to season cast iron skillets and if you should bake biscuits close together or two inches apart. It was one of those Memphis nights that made me remember why after 16 years here, I still choose it every day.

I hope when people ask that couple how Memphis was, they say they loved it, but geez! All they do is talk about food.

Susan Wilson also writes for yeahandanotherthing.com and likethedew.com. She and her husband Chuck have lived here long enough to know that Midtown does not start at Highland.

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

Plate of people watchin’

THE RANT

CATHERINE LAURIN | DREAMSTIME.COM

Sometimes dining out is more about the conversation about food than the food.

39

MINGLEWOOD HALL

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