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Huge Lineup Of Memphis Musicians Come Together To Benefit Saxophone Legend Dr. Herman Green
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Octogenarian saxophone legend Dr. Herman Green is one of Memphis' most loved and respected musicians. Some recent health problems have left him in a bad spot, so his friends have organized a concert to help him out. And Dr. Green has a lot of friends.

This Saturday, November 10th, beginning at 3 p.m. and running until the wee hours of Sunday, Rum Boogie Cafe will be packed wall to wall with some prime Memphis talent, thanks to his friend and longtime bandmate in Freeworld, Richard Cushing, and Memphis Blues Society board member Mark E. Caldwell. Just check out this mind boggling, two-stage lineup: 

Blues Hall

3:00 – 3:25 p.m.: Southern Avenue
3:35 – 4:00 p.m.: Blind Mississippi Morris
4:10 – 4:35 p.m.: Brad Webb & Friends
4:45 – 5:10 p.m.: Papa Don McMinn’s Blues Babies
5:20 – 5:45 p.m.: Tlaxica & Pope
5:55 – 6:25 p.m.: Mojo Medicine Machine
6:35 – 7:00 p.m.: Eric Hughes Band (w/ Mick Kolassa)
7:10 – 7:35 p.m.: Booker Brown
7:45 – 8:10 p.m.: Outer Ring
8:20 – 8:50 p.m.: Mark “Muleman” Massey
9:00 – 9:30 p.m.: Vince Johnson & Plantation Allstars
9:40 – 10:05 p.m.: Lizzard Kings
10:15 – 11:00 p.m.: Chinese Connection Dub Embassy
11:15 – 1:00 a.m.: Sister Lucille

Rum Boogie Café

3:00 – 3:25 p.m.: Billy Gibson Duo
3:35 – 4:00 p.m.: Barbara Blue Band
4:10 – 4:35 p.m.: Mighty Souls Brass Band
4:45 – 5:10 p.m.: Robert Nighthawk & Wampus Cats
5:20 – 5:45 p.m.: Jack Rowell & Royal Blues Band
5:55 – 6:25 p.m.: Delta Project
6:35 – 7:00 p.m.: Ghost Town Blues Band
7:10 – 7:35 p.m.: Devil Train
7:45 – 8:10 p.m.: Earl “The Pearl” Banks
8:20 – 8:50 p.m.m: Ross Rice
9:00 – 9:30 p.m.: The Temprees
9:40 – 10:05 p.m.: FreeWorld (w/ Ms. Zeno & Al Corte)
10:15 – 11:00 p.m.: FreeWorld (w/ Ross Rice)
11:15 – 1:00 a.m.: FreeWorld (w/ Dr. Herman Green)

If you can't find something you like in there, I don't know if I can help you. If you can't make the show, but still want to help out the good doctor, you can contribute to the GoFundMe drive at this link.
The Death of Fear

The Death of Fear
Opening reception Friday, November 9
Beverly + Sam Ross Gallery
Christian Brothers University


The Death of Fear explores President Franklin D. Roosevelt’s 1941 concept of Freedom from Fear from the perspective of two artists, Nelson Gutierrez and Sisavanh Houghton who immigrated to the United States. Through methods of isolation, abstraction and collage, each artist explore states of flux, the disconnection from destructive places or politics, and the fearless pursuit for a better life.This exhibition is par of For Freedoms which is a platform for greater participation in the arts and in civil society. They produce exhibitions, installations, public programs, and billboard campaigns to advocate for inclusive civic participation. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech, freedom of worship, freedom from want, and freedom from fear— For Freedoms Federation uses art to encourage and deepen public explorations of freedom in the 21st century. Founded by Hank Willis Thomas and Eric Gottesman, For Freedoms Federation encourages new forms of critical discourse. Their mission is to use art as a vehicle to build greater participation in American Democracy.             
Julien Baker, Phoebe Bridges, and Lucy Dacus: boygenius
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Julien Baker, the Memphis-bred phenomenon behind 2015's Sprained Ankle and 2017's Turn Out the Lights, is touring in support of a new project with fellow indie-rock sensations Phoebe Bridgers and Lucy Dacus. Bridgers' Stranger in the Alps was released last year and features a duet with Bright Eyes' Conor Oberst as well as the enormously infectious "Motion Sickness," and Dacus has been carving out a place for herself in the indie-rock pantheon with a duo of lyrically resonant and grunge-guitar-laden albums, 2016's No Burden and this year's Historian. All three artists are relatively new on the scene, with Baker's Sprained Ankle having the oldest vintage of their solo releases, but their collaborative boygenius EP project feels, both lyrically and sonically, like something put together by artists wise beyond their years.

On the EP, the trio give the songs room to breathe, making their harmonies feel precious, like moments of connection in lives ruled by distance and grueling touring schedules. The collaboration, initially born of an email thread and shared demos, began to coalesce once the trio booked a tour together. Baker says she knew they would team up onstage somehow. "I like to find ways to make the live set special and different. It seemed obvious to all of us that we would collaborate in some way," Baker says. "If we're going to write one song, we might as well write as many songs as we can." So the trio blocked out a week and wrote and recorded their six-song boygenius EP at Sound City Studios in L.A. The EP is set to be released on Matador Records this Friday, November 9th.

The three entertainers differ somewhat in style and genre. Dacus' music feels more classically rock-and-roll, while Bridgers' is the most folk-tinged of the group; she's drawn comparisons to the late Elliott Smith. Their differences work to their credit on the boygenius EP. The songs, with all three vocalists taking turns on lead and harmony duties, feel like something universal accessed via different routes. Unlike so many collaborations, the songwriters behind boygenius are united by common experiences and shared friendship rather than a strict adherence to any genre or a crass cash grab. These are three friends letting down their guard with each other and writing about how it feels to be themselves, even as they discover who they want to be.

"Those are two people that, now looking back on it, are two of my earliest, closest friends from the quote, unquote 'music industry,'" Baker says. "I don't feel like I know the first thing about the music industry. Especially now, living in Nashville, there's such a world of cogs and mechanisms that I'm just not privy to."

Perhaps owing to the speed with which the project was put together, or maybe because no one in the group is really an industry insider, nothing feels calculated on the boygenius EP. "Writing with Phoebe and Lucy opened me up in a lot of ways," Baker says. "Now that I'm engaging with music constantly, I've become so much more meticulous about how I create music. And I wonder sometimes if the magic is in what's automatic. And getting to write with them, especially in this very limited time allotment, was really amazing. It challenged me to rely more on instincts.

"I think Lucy and I are used to making records very fast, just going into the studio and grinding for a week or two weeks, but Phoebe approaches records in the 'leave it alone' way. [Phoebe] will not rush a song."

There must be something to letting a composition breathe and relying on instinct, because the songs on boygenius sound like something infused with a little bit of magic. On "Ketchum, ID," an acoustic lament about youth spent on the road on tour, one can almost hear the buzzing of fluorescent lights and echoing hallways backstage. Baker and her band mates conjure a moment of respite — with harmonies enough to bridge their distances and keep dissonance at bay.

Call to Artists: Homeward Bound


Homeward Bound
December 14, 2018 - January 27, 2019
Crosstown Arts
West Gallery
1350 Concourse Avenue, Suite 280

Open call to all artists to address the complex theme of "home." All mediums encouraged - painting, photography, performance, sculpture, mixed media, video and sound. 

Submission deadline: Sunday Nov 18
Selection notices sent Monday Nov 29
Artwork drop off: Monday - Friday Dec 3-7

Opening event Friday Dec 14
Closing date Sunday Jan 27
Artwork pick up Monday - Wednesday Jan 28-30

The Dreamers’ Field Chronicles Hopeful Band, Premieres at Indie Memphis 2018
(image) Israeli band the Field People, a rock-and-roll three-piece made up of Aviv Lavi, Yogev Hiller and Evyatar Baumer, never got a break back home, so they moved to London to pursue a dream. It was as much about freedom as about music. Their name even pokes a bit of fun at their humble origins: “The Field People,” as in farm boys straight outta the kibbutz. The Field People found, if not fame, then at least a more welcoming reception in London, and a month after they landed, fellow Israeli artist and former classmate and then-film student Noam Stolerman joined the trio to record their progress. Whether they made it big or collapsed under the weight of their hopes and expectations, Stolerman would be there to get it all on tape. Stolerman’s chronicle of his friends’ shot at stardom became The Dreamers’ Field, screening Sunday, November 4th, and Thursday, November 8th at Indie Memphis Film Festival.

“In Israel, you get the feeling that everyone who doesn’t come from Tel Aviv comes from
a really small town,” Stolerman says. “The main reason I wanted to make this film is that these guys feel like they don’t belong. And everybody gets that feeling sometimes.” Stolerman says he felt simpatico with the Field People. He understood the desire to be bigger than one’s origins, to dream a way out of their current circumstances. But, unlike his musically inclined friends, Stolerman says he lacked the courage to pack it all up and just go. That is, until the Field People gave him a reason to throw caution to the wind. “I’m going to go with these guys and live their dream,” Stolerman says. If they succeeded, well, maybe that meant he could as well. If not, then at least he would be there to capture the experience.

“I know one of them from high school. He’s a really good friend,” Stolerman says of his
longtime friend and Field People drummer Aviv Lavi. Stolerman says he remembers Lavi talking rapturously about his band, almost the way a soon-to-be-betrothed man might talk about the woman of his dreams. Stolerman remembers Lavi saying, “This is it. This is the one. This could be my big break and my ticket out of the kibbutz and out of Israel.” And that sentiment may be the key to understanding both the Field People and The Dreamers’ Field. Both the band and the film about them are products of a desire for something more, a hope for escape from the everyday.

“This is not a film about music; this is a film about people,” Stolerman says, laughing as
he admits that even he falls into the trap of calling his character-driven documentary a
rockumentary. “They used music as a form of escape. [They’re like] lost souls. Sure, the music brought them together, but if it wasn’t music, it would have been something else.” Stolerman remembers feeling alienated, even while attending the Minshar Film School in Tel Aviv. The longing for something more, perhaps the most universal of feelings, propelled first the Field People and then Stolerman almost 5,000 miles from home. With challenges and uncertainty as their only guarantees, they took the leap. And there were certainly challenges.

“I had an incident with the police in London,” Stolerman says, laughing. The director was
filming without a permit in the London Underground when he was detained by the police. He describes being held for an uncomfortable amount of time, being questioned, and finally being released on the condition that he would never film in the Tube again. The director returned later that day to finish filming the scene. Stolerman shot almost the entire film himself, and did most of the editing. With almost no funding and only himself to rely on, every hour of footage was valuable. “It’s the most indie, guerrilla film making you can imagine,” Stolerman says, describing a ’70s punk ethos, where attitude and heart are valued over technical proficiency. That attitude is equally descriptive of both the film itself and the band. “I saw people say, ‘This is not that good. They’re not great musicians, but they have heart.’”

And speaking of heart: “The heart of the film lies in the second half,” Stolerman says.
“They’re starting to lose their way, and they’re having a really hard time living with it.”
Stolerman, who faced financial and legal challenges as well as the challenges inherent in being separated from his family for so long, remembers asking himself, “Why am I holding this camera? Who’s going to watch this?” But Stolerman’s fears were for naught. In addition to two showings at Indie Memphis 2018, The Dreamers’ Field was selected for a screening earlier this year at Solo Positivo Film Festival in Šibenik, Croatia. Stolerman, whose short film “Yehoshua” has also been shown in international film festivals, is building his own field of dreams — a little bit at a time and through sheer force of will.

The Dreamers’ Field screens as part of Indie Memphis Film Festival, with its U.S. premiere, with director Noam Stolerman in attendance, at Studio on the Square, Sunday, November 4th, with an encore presentation at Ridgeway Cinema Grill, Thursday, November 8th, at 6:30 p.m.
Body-ody-oddy
Rapture, Melissa Wilkinson

Body-ody-oddy
Work up through December 5
Clough Hanson Gallery
Rhodes College

Artists explore the body at, against, and beyond its boundaries, creating hybrids, amalgams, and excesses that illuminate the ways that politics and pleasures are made flesh. Featuring work by Katie Torn, Alex Paulus, Melissa Wilkinson, and Moth Moth Moth and the Haus of Phantosea.

Clough-Hanson Gallery is located in Clough Hall on the campus of Rhodes College. The gallery is open Tuesday - Saturday, 11-5. Admission is always free. 
Year One
Year One
Work by Jill Samuels
Opening reception Friday, November 9, 6-8pm
Eclectic Eye
242 South Cooper Street

Year One is a collection of mixed-media pieces that utilize acrylic, watercolor, maps and embroidery thread in their creation. These pieces carry distinct, feminine material references, while dealing with the human experiences of chance, intuition, balance and control. This collection of abstract pieces evokes nuanced responses that are clear, emotional and reflective. 

After teaching elementary school for more than a decade, Jill Samuels committed herself to developing an established studio practice. Upon completion of her Bachelor of Fine Arts from the School of the Museum of Fine Arts, Boston, she continued her education at the Fine Arts Work Center in Provincetown, Massachusetts, Rhode Island School of Design in Providence and Flicker Street Studio in Memphis, Tennessee. Jill currently works in her studio, in the historic South Main Arts District in Memphis, and has shown work locally at the Levy Gallery and Art Village Gallery.


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