Categories
Film/TV Film/TV/Etc. Blog

Indie Memphis Friday: In Green/Is/Gold, Weed is a Family Affair

Friday is when Indie Memphis gets crowded. The festival moves from the Halloran Centre Downtown to Overton Square, adding screens at Studio On The Square, The Circuit Playhouse, and the Hattiloo Theatre.

One standout among the Friday films is Green/Is/Gold, the first feature by director and actor Ryon Baxter. The film follows the story of Mason, played by the director’s actual younger brother Jimmy Baxter, a teenager who we meet moving in with Cameron, his older brother, after his father is sent to jail. But Cameron, as it turns out, is a marijuana farmer, and the two settle into a tense, but functional, relationship. Ryon says the story came from observing the dynamic in his home town. “I was born and raised in Northern California. Since 1996, there’s been this medical marijuana thing in California. It’s really influenced a lot of people’s lives who grew up in California. Everybody here knows somebody, or has a family member or friend, who has been directly or indirectly involved in that trade. I wanted to capture and portray that in an authentic way.””

Actor/director Ryon Baxter tends his crops in Green/Is/Gold.

Ryon’s background is as a stage actor, who studied in San Francisco at the American Conservatory Theater. “I had an interest in writing,” he says. “I wrote a feature screenplay when I was younger, and then I went to this little independent film school called Berkeley Digital Film Institute that was only around for like four years. It was a fully immersive program that taught you all the facets of the filmmaking process. All the instructors were working industry professionals. It was a really helpful program. [Green/Is/Gold] is the project I was working towards the whole time I was there. I wrote several drafts of the script while I was in school for that year and a half, and even shot a proof of concept short. I took out a couple of scenes and shot that, showed it at the school. It allowed me to get into the character and flesh it out a little more.”

Green/Is/Gold spends much of its early running time exploring the world of small-time pot farming through the curious eyes of Mason, so when the brothers are put into the peril of following in their father’s incarcerated footsteps, the tension creeps up slowly to a nail biting intensity. The easy chemistry between the two leads is made possible because they are brothers in real life. “I recognized Jimmy’s talent really early on, and he expressed a desire to act. In film school, I tried to include him in as many projects as possible. He got to get his feet wet on some short films some friends were making, some comedy stuff. I knew he had the talent to deliver something that had a little more depth to it.”

Green/Is/Gold screens at Studio on the Square on Friday, November 4 at 6 PM. Individual tickets and passes to Indie Memphis are available on the Indie Memphis website.

Categories
Fly On The Wall Blog Opinion

Makers of Austin’s STAX-logo Keychains Told to Cease and Desist

Your Pesky Fly has received news from sources close to the STAX logo. Turns out, use of said logo (owned by Concord Music) on souvenir keychains stamped “Austin,” and sold in the Texas capital’s airport, is, in fact, a copyright infringement. The company that makes the abominations (and stores selling said abominations) will receive a cease and desist letter.

You’re still cool Austin. But you’re not THAT cool.

Categories
News News Blog

Fund Invests in Memphis to Transform Recycling Program

Fund Invests in Memphis to Transform Recycling Program

In an attempt to increase recycling efforts across the city, the Closed Loop Fund has invested in the transition from dual-stream recycling to single-stream recycling in Memphis.

“Memphis is the first major municipality in the South we’ve invested in,” said Bridget Croke, the CLP’s external affairs coordinator. “It’s the largest city we’ve invested in so far.”

Pouring $3.25 million into Memphis at zero interest, the Fund, a collection of consumer product companies and retailers who aim to increase recycling across the United States, will allow the city to purchase 40 thousand single-stream recycling carts. Rather than residents parsing their recyclables into separate bins and carrying them to the curb, they’ll be able to fill a single 96-gallon cart and roll it to the sidewalk.
[pullquote-1]”We’re excited to watch Memphis become an example and create a case study that proves to other similar municipalities that recycling should be a priority and makes economic sense,” Croke said.

The new carts will hold five times more than the current bins. Projections estimate it will divert 17 thousand tons of trash from local landfills and reduce 48 thousand tons of Greenhouse Gas emissions across 110 thousand homes in the Mid-South.
Joshua Cannon

“This is a big benefit to us,” said Mayor Jim Strickland, noting that the carts will streamline an often neglected task. “My wife and I both work full time, and we have two kids. Sometimes it’s hard to remember to recycle. These carts make it so you don’t have to think. They will make a difference to busy people.”

The partnership also includes an education grant and resources to kickstart the initiative. In addition to the carts, 100 recycling containers will be placed around FedEx Forum beginning December 3rd when the Grizzlies take on the Los Angeles Lakers.

“We know just setting them out is half the battle,” said John Walker, the executive vice president of business operations for the Grizzlies. “Education is key to this initiative, so we will be running public service announcements through all Grizzlies games and through other events at FedEx Forum.”

The Grizzlies will also work with local organizations Clean Memphis and Memphis City Beautiful to create recycling incentives for kids at schools across the city. 
Joshua Cannon

“Recycling is nothing new in Memphis, we’ve had an active program for many years,” Strickland said. “But we think we can do better.”

Categories
Intermission Impossible Theater

The House That Will Not Stand: Great Writing on Display at the Hattiloo

Wow.
Wow.
Wow.

I could say it again, but I won’t. The Hattiloo Theatre’s production of The House That Will Not Stand isn’t perfect, but it’s good, sometimes very good, and occasionally better than that. But Marcus Gardley’s script — inspired by the Federico Garcia Lorca classic House of Bernarda Alba — is extraordinary. It’s a fitting tribute to the original, never standing in its shadow. The uncommonly strong writing carries the Hattiloo’s production through  rougher patches. When things click, it soars.

Before getting to the good stuff — and there’s so much good stuff to talk about — I want to make a worried  confession. This title gave me pause. It reminded me of something a friend in a band called The Lights once said about his group’s name. “I can see the headline if critics hate it,” he said — “Turn Off the Lights.” I’ve frequently complained that the Hattiloo undervalues technical theater, treating it as an afterthought. But since moving into the new space, it’s struggled with other aspects too. Quality’s swung pole to pole, show to show, from perfectly professional, to events that wouldn’t pass muster at area high schools. And, just as I’ve wondered about stagnation and the absence of creative strategies in our older institutions, I’ve similarly wondered how any new playhouse can sprout so fast, in so many directions, with so much programming, divided attention, and stretched resources, and not crack down the center. To that end, some titles are just scarier than others.

Sometimes, like Lorca, I like to go dark for contrast. Because this is a fairytale review, and the ending is happy. Yes, consistency remains a problem, but in spite of that, here I am, the constant skeptic, with nothing but a basket full of “Wows.” Sure, some of the casting in the The House That Will Not Stand seemed off, but some was spot on, and the production, which could have stood another run or six before opening night, was beautiful to look at, and —especially for fans of virtuoso writing — a joy top to bottom. While I still worry about the things I’ve mentioned previously, I also have to stand back and marvel. Before Hattiloo, it’s not impossible to imagine shows like Mr. Rickey Calls a Meeting, or The House That Will Not Stand making the cut at Circuit Playhouse, or maybe Theatre Memphis’ NextStage. More likely we’d see them at the University of Memphis, if at all. But there’s no way both would ever appear in the same theater in a single season. And we’d never see these two thoughtfully, and thoroughly rendered productions back to back. The former became a sell out show for Hattiloo, and rightly so. And The House That Will Not Stand is extra special. It’s something every theater lover in Memphis should make a point of checking out while it’s here. Writing of this potency is rare anywhere, and this still relatively new work has plenty of life ahead of it, with a New York production, and a film in the works. See it now, before everybody else is talking about it.

Set in New Orleans in 1813, a short decade after the Louisiana Purchase, House is, in part, about the Americanization of French Louisiana where communities of free blacks flourished. Men and women, once able to walk the streets without papers, could be stopped by authorities and enslaved. With this change in dynamics — all tragic contemporary resonances considered — came other changes to culture and tradition. The House That Will Not Stand touches on many things, but is essentially a twisted, sometimes terrible Cinderella story built around an old, decaying practice of French colonials taking black common-law wives. There is a (possibly) wicked mother, who only wants to protect her three girls from the new system, keep them out of the old system, mind her interests, and serve the occasional slice of pumpkin pie.

Beartrice (Jacki Muskin) is the Mother in question. Her white lover and keeper is dead when the play starts — choked on a chicken bone. Maybe. This means the nice house she lives in could be inherited by the man’s wife. Or it might go on the market and be purchased by an old rival (Patricia Smith). This potential murder mystery and a sub-thread about about the curse of being born darker than a paper bag drive the plot along, but the beating heart of this dark, delirious dramedy belongs to the slave Makeda, practicing to carry herself like the free woman she knows she’s going to be.

Makeda absorbs a number of classic African/African-American myths. She’s the cunning trickster, separating fools from their gold. She’s also the wise conjure woman, and magical in ways that might seem exploitive if the character was created to redeem a white master. She’s also a perfect Lorcan clown, responsible for heavy doses of truth and laughter. Maya Geri Robinson seems young in the role, but inhabits this character completely. I predict an Ostrander nomination, and have a hard time imaging who might even rise up to challenge this winning performance.

At first glance, Jimmy Humphries set design’s not nearly as gothic as it might be. That’s what makes it worth a second and third look. The gently raked and sparsely furnished stage gives this House a versatile, modern edge. With nothing but light the whole space shape shifts to be whatever it needs to be — drawing room or discotheque. (Oh, yeah).

Opening night had some shaky moments. Actors were reaching for the odd line or landing just outside their light. That’s the sort of stuff that fixes itself. Director Tony Horne has built his House like a master craftsman. All actors are aimed in the right direction, and this already fine show promises to grow into something fantastic.

I want to leave everybody with this image. Marcus Gardley was in the house for opening night, and before the show he had some things to say about his visit to Memphis, a city that sometime has trouble seeing itself — especially the best of itself. The playwright was overwhelmed by the Hattiloo, and the potential it represents. He didn’t completely assuage my worries, but confirmed all convictions when he described the theater — one of a very small handful of African-American playhouses — as one of most important in the world.

There’s still a long way to go, but finding and staging gems like The House That Will Not Stand — and doing them rightwill certainly help it get there.

Categories
Music Music Blog

Bully Live at the Hi-Tone

Bully plays the Hi-Tone tonight.

There must be something in the water at Middle Tennessee State University. Sharon Van Etten attended classes in Murfreesboro, as did Julien Baker and Bully’s Alicia Bognanno, who earned a degree in audio recording before getting an internship at Steve Albini’s Electrical Audio studios in Chicago.

After playing in Nasvhille’s King Arthur, Bognanno formed Bully and released a demo tape before gaining the attention of Columbia Records label Startime International. Check out music from Bully below, and get to the Hi-Tone by 8 p.m. tonight with $10 in your hand. Greys from Toronto open.

Bully Live at the Hi-Tone

Bully Live at the Hi-Tone (2)

Categories
Fly On The Wall Blog Opinion

The Best Stop Sign in Lakeland…

Can be observed on Old Brownsville Rd. between Highway 70 and Brunswick. 
Photos by Faith

The Best Stop Sign in Lakeland…

Categories
Sports Tiger Blue

AAC Picks: Week 10

LAST WEEK: 6-0
SEASON: 60-11

FRIDAY
Temple at UConn

SATURDAY
Memphis at SMU
Tulane at UCF
BYU at Cincinnati
East Carolina at Tulsa
Navy vs. Notre Dame

Categories
Film/TV Film/TV/Etc. Blog

Indie Memphis Thursday: Free In Deed

Indie Memphis Thursday commences with a premiere from one of Memphis’ favorite sons, Ira Sachs. You can read an interview I did with the Love Is Strange filmmaker about his new work Little Men in the October issue of Memphis magazine.

Then, at 8:30 PM, the Memphis premiere of Free In Deed by Jake Mahaffy. The director, a native of Ohio who is currently an Associate Professor of Film, TV, and Media at the University of Auckland in New Zealand, chose to shoot his film in Memphis in 2014 at the urging of producer Mike Ryan, who has been involved in several film projects in the Bluff City. The beautifully shot, subtly intense film follows the fateful meeting of Melva (Edwina Findley), the single mother of an autistic child, and Abe (David Harewood), a school janitor turned faith healer in a tiny, storefront church. Melva is losing control of her son’s increasingly violent outbursts, and the medical community (represented by Memphis actor Jon Sparks) is only interested in throwing sedatives at the problem. So she turns to the church, where Abe and the ministers try to drive the evil spirits out of the boy with prayer and exorcism.

David Harewood casting out evil spirits in Free In Deed

The film won the Orrizonti Award for Best Film when it premiered at the prestigious 2015 Venice Film Festival, and it’s easy to see why. I interviewed Mahaffy via email from his home in New Zealand about the making of Free In Deed in Memphis.

FLYER: Your story is “based on true events.” What was it that attracted you to this story? How did you balance the adaptation of the real life story with the needs of telling a film story?

MAHAFFY: A man was accused of crushing a child to death while trying to heal him during a religious prayer service in a small storefront church. The man had the best intentions but the dramatic irony of someone who set out to help and ends up accused of causing harm was something that interested me. I had been raised religious and then deconverted, so I felt I have both the familiarity and objectivity to represent this situation. The point is not to make a reenactment or docudrama but to take the emotional truth of the circumstance and recreate that for audiences. People who have never been to church or never been poor or never been to America should feel what it would be like rather than only know the facts and details of the news story.

FLYER: Did making this film change the way you view religion?

MAHAFFY: As a child, I was raised in a similar way with similar beliefs but my personal experiences have changed me significantly since then. Making this film didn’t affect my own understanding of religio,n but like any difficult experience, it did deepen my empathy and appreciation of other people.

FLYER: How did filming in Memphis come about? How was the experience of making a movie here? You had some of the best crew and actors in the city on this shoot. How did they compare with other crews you’ve worked with?

MAHAFFY: Producer Mike Ryan brought the film to Memphis. Early on, we were discussing possible locations for the project depending on weather and community connections. Once I understood more of the history and culture of Memphis. I agreed it should be the location for production. Mike and the Memphis Film Commission took it from there. Memphis is a unique city in the world—a source of profound soul and talent—and this film could not have been made anywhere else. I am so grateful to the people that agreed to participate. Because of them we were able to capture some of the spirit and intensity of the churches and characters. It is like a documentary in some cases; an archival recording of that unique world. There aren’t any other films like it.

Free In Deed is set in the world of tiny, storefront churches. It was shot in Memphis in 2014.

FLYER: You had some excellent actors, both from Memphis and elsewhere. David Harewood was amazing in what must have been a very difficult part. Where did you find him?

MAHAFFY: Mike first introduced David to me. We talked over Skype and hit it off. He was both daring and naïve enough to take on the project. This film was full of career-destroying risks, not least of which was a white guy trying to make a complex and authentic film about a real-life tragedy in a religious African-American community. I think being a Brit and never have been to a church before allowed David to remain oblivious to just how risky the film would be. David was totally committed and most importantly, he is humble in his work. After three days of shooting we had to recreate his character and change his backstory, mannerisms, accent, hairstyle, etc. But he did it with trust and a good nature. Edwina Findley also did truly great work in her role. I have the highest respect for people who take creative and professional risk on material like this.

FLYER: RayJay Chandler, who plays the young autistic boy, was also very impressive. How did you work with him to get the details of autistic behavior right?

MAHAFFY: RaJay is brilliant. What a talent. I gave a set of principles for RaJay to follow regarding certain stimuli that would affect him. Wherever the scene went, if someone slammed a door accidentally or tried to touch him, he would know the proper reaction so he wouldn’t be an automaton or a prop but a real person with authentic reactions. This was critical. And I would demonstrate certain behaviours and ask RaJay to mimic them. He was observant and technically perfect and completely committed. It was always a concern that this character be believable and the child actor be fully immersed in the part, not embarrassed or holding back. You would see the fakery in the child’s eyes if it wasn’t real. RaJay would switch on and off for the filmed takes. Scream and fight and then start laughing after ‘cut!’.

Edwina Findley as Melva in Free In Deed

FLYER: I’m so glad you gave Helen Bowman such a great part. She’s an absolute gem, beloved by the Memphis film community. How was working with her?

MAHAFFY: She is a sweetheart and the material we were able to use in the edit is priceless. She gave everything she could for the film.

FLYER: Are there any other Memphis actors you would like to single out for praise?

Preston Shannon and Prophetess Libra brought so much energy and power to the film. It would not exist without them. Kathy Smith was praying for real throughout the movie. Willie Tate is an amazing preacher. I feel like shooting his sermon was a document for the historical record. Nikki Newburger and Adam Hohenberg were the local fixers and doers. Look, there are so many people who worked on and appeared in the film, some of them absolutely invaluable to the project individually. I think it would be really great if you published the film credits in your paper as a ‘thank you’ and also because it demonstrates the community involvement in this film. That is the only way for films like this to get made. You never know if it’s going to work out but everybody took a risk.

FLYER: How has the movie been received since winning big at Venice? Does it play outside the United States differently than it plays here?

MAHAFFY: Wherever it plays, audiences are immersed in the story. People laugh and cry and are stunned and anxious or ecstatic or upset. People from all over the world, from different cultures and histories can still relate emotionally to the experiences depicted in the film. They experience genuine empathy for characters very much unlike themselves. It makes them curious and expands their understanding of a part of America they have never seen or even heard of.

Indie Memphis Thursday: Free In Deed

Indie Memphis 2016 continues through Monday, November 7.

Categories
Letter From The Editor Opinion

You’re Getting Warmer!

Halloween was spookier than usual this year in Memphis, with the temperature topping out at a record 87 degrees. It was so hot that one of my colleagues here at the Flyer posted a picture of himself diving into his backyard pool. Now that’s spooky.

It appears that October 2016 will likely be the hottest October ever recorded for this area. It follows September 2016, which was the second-hottest September ever recorded around here. It’s not just us. It’s the entire planet. NASA’s Goddard Institute for Space Studies (GISS) says September 2016 was the warmest September in 136 years of record-keeping. It gets even better: July and August of 2016 tied each other for the “warmest month ever recorded.” Ever.

In fact, according to GISS, 2016 will crush the previous record for the hottest year, set in 2015, which eclipsed the previous record for hottest year, set in 2014.  Do you sense a pattern here? Scientists do. It’s a three-year run that’s never happened before in 136 years. In addition to our streak of record heat, much of the South and Mid-South is experiencing “extreme” and “exceptional” drought. Good times!

The Flyer reported earlier this week that the U.S. Department of Housing and Urban Development (HUD) has awarded Shelby County $60 million as part of its National Disaster Resilience Competition. The county plans to use the money to restore wetlands and flood plain areas to help protect area homes from the kind of massive flooding that occurred in 2011. HUD’s grant is also intended to assist the Wolf River Conservancy with mitigating future flooding and preventing soil erosion that could have negative effects on the Memphis Sand Aquifer — the source of our drinking water.

Predictably, even this bit of apparent good news was greeted by the usual, tired rhetoric of local climate-deniers in the article’s comments section. Climate change is “right up there with Bigfoot, the Loch Ness Monster, Elvis sightings, and Yeti,” said one wag. “As always,” he added, “follow the money.”

Yes, there are still people who deny climate change because they think 98 percent of the world’s climate scientists are in on some plot to make millions. Bwa-hahah!

“It’s called ‘weather,'” wrote another local anonymous genius. The comments then disintegrated into attacks on Hillary Clinton’s email server and Al Gore, and so forth.

Everything is tied to politics now. You can cite all the studies by all the reputable scientific organizations around the world, and it makes no difference. Some folks will find an outlier “study” to claim the earth is flat. And they’ll find politicians who will agree with them. If you cite a fact-checking organization, the other side will say that fact-checking organization is biased, and cite their own.

It’s been said that “everyone is entitled to their own opinion, but not their own facts.” Wrong. We are now so polarized that we think we are entitled to our own facts. In fact, we can’t even agree what facts are.

But unless you don’t trust, you know, thermometers — or the scientists recording the temperature — you have to be an idiot to not at least acknowledge that the world has been getting warmer for decades. Denial is not a river in Egypt.

In fact, if we listen to the fools — and the politicians who cater to them — who urge us to ignore the findings of science, the Nile won’t even be a river in Egypt.

Categories
Cover Feature News

Hoop City!

David Fizdale: The Prince of Process

“I don’t really get caught up in pressure. I’ve got a job to do.”

David Fizdale sits in a folding chair off to the side of the Grizzlies’ practice court, engaged in our conversation, but also watching the players still in the gym putting up some after-practice shots. “I approach it to win it every time.” Is the Grizzlies’ new head coach more interested in process than results?

“When I was at Miami, whether we necessarily had a team that could win it or not, we went after it the same way. And so, that was bred into me. And that’s the thing I respect so much about the Spurs organization, and now Golden State’s organization is becoming that. Cleveland’s becoming that. They expect to be there, and they prepare to be there every year no matter who’s on the team. And so that’s the mentality I wanted to bring to the organization. Because only one winner will be standing at the end of the year, but I want to try to put our team in position to be that team every year.”

Talk to this guy for 10 minutes, and it’s easy to understand why he’s already an NBA head coach. Everything he says is in earnest. Marc Gasol, when asked what he likes most about his new coach, said “he does what he says.” (Knowing Gasol, this is almost certainly a comment on the Grizzlies’ previous head coach, even if it’s a subconscious one.)

Fizdale’s natural leadership ability comes across in conversation, and if one examines how much has changed with the Grizzlies — entering the sixth season of the “Core Four” era — it’s clear that his arrival at the beginning of the summer set off a sea change within a franchise in the middle of the most successful run in its history.

This isn’t how teams used to operate. In the past, you were good for a while, then your guys got old, and then you were bad for a while until you got some new guys. While the stars of a team were in their prime, management’s sole responsibility was to bring in the best players available to patch the holes, to fill in where the “core” of the roster was lacking.

Veteran point guard Mike Conley

As the Spurs rose to dominance and magically stayed there, teams started to smarten up: If a team brings along young talent before their best players age out of their primes, their run of success can be lengthened. The good teams started to become as interested in player development as the bad ones — and now, arguably, even more so than the bad ones.

Much like their on-court product had defied the times, relying on post scoring and stifling, non-switching defensive schemes, the Grizzlies had defied this organizational model, too, burning off draft picks like farmers torching their rice fields, bringing in and relying on “proven veterans” (read: guys in their mid-30s who’d been very good somewhere else first), doubling down on the foursome of Mike Conley, Marc Gasol, Zach Randolph, and Tony Allen, determined to (grit-and-) grind them to dust until there was nothing left to use.

It seems more likely that the Fizdale hire is a symptom of a change in mindset than a cause of it, but regardless, the days of bringing in the Keyon Doolings of the world while consigning rookies to the end of the bench forever (unless they’re Xavier Henry) seem to be over. As the basketball on the court has changed, so has the mentality of the organization. Fizdale’s emphasis on player development was radically apparent even in the first game of the season, when rookie Andrew Harrison started at shooting guard and played 38 extremely uneven minutes, including crunch time of a close game. These are things that don’t happen for the Memphis Grizzlies if David Fizdale isn’t on the scene.

But what about those bad habits from the previous near-decade of Lionel Hollins/Dave Joerger coaching lineage?

“I wouldn’t call them bad habits; I would just call them habits of the system that they played in. You know, they had some big-time coaches before me. You talk about Hubie Brown, Dave Joerger, Lionel Hollins — who is a mentor of mine — these guys are big-time coaches. So they built a system around what they had and what made them successful. My system is different, and that’s all it is, is different, not better, not worse, and I’m just trying to break the habits from the old system to get them acclimated to the new system.”

Rookie guard Wade Baldwin IV

And how much of what Fizdale has brought with him — the easier vibe, the quiet determination, the general getting-down-to-business that has happened on his watch, the commitment to doing something different, old dogs taking it upon themselves to invent new tricks — how much of that is Miami Heat culture, and how much of that is Fizdale culture?

“It’s definitely a bunch of Heat culture, but I had to be … I had to morph into my own personality. So that it’s real, and it doesn’t come off fake. I put a lot of thought into this over the course of my career with the Heat, as far as taking something and morphing it into my personality where I can be genuine in my delivery.”

That authenticity goes a long way toward explaining the connection Fizdale was able to make with the hardest-to-please stakeholders in his project: the players themselves. Knowing he was taking over a group who’d played together a long time, he took it upon himself to win them over. “I tried to get that part out of the way this summer, by going and visiting every guy, one by one, and spending time with them individually. I really wanted to spell out each guy’s role to him. Before we ever got into the season. I wanted to spell out expectations. So by the time we got to training camp, I’d kind of already dealt with the tough conversations so we could just get to work and start preparing for a successful year.”

One of the toughest conversations, no doubt, involved bringing Zach Randolph, “#50 for the City” himself, off the bench instead of using him in the starting lineup — a hard sell for a proud player who admittedly still thinks he can (Randolph always stops short of saying “should”) be a starter.

Unfortunately for Randolph and his battalion of ever-loyal supporters, the signs of Randolph’s age-related decline have been apparent for a couple of seasons now, even as he’s put up solid offensive numbers. He can’t defend the new crop of power forwards in the league — the young guys just as comfortable shooting 3-pointers as they are dunking from the foul line. His lack of foot speed — as if a man made out of granite and tussin should be expected to move quickly — has made him a liability defending the pick-and-roll, causing problems as far back as the Grizzlies’ elimination from the 2013 Western Conference Finals by the Spurs. He’s never been much of a jumper, but as a new crop of hyper-athletic seven-footers takes over center position around the league, his shot is getting blocked more. Starting Randolph, making him the centerpiece of a modernized NBA offense, just isn’t tenable, no matter what sentimentalities would have us want to see it continue.

Zach Randolph

It’s a bold move, taking one of the two hearts of this team, one of the players most responsible for shaping their reputation for winning by sheer force of will and tactically deployed violence, and moving him to a supporting role. But that’s what Fizdale sees: a versatile team, reliant on movement and trust and pace, rather than elbows and hips and wanton destruction of the bodies of other tall men. Randolph doesn’t fit that picture, so to the bench he goes.

If “Grit and Grind” is to continue — and I hope it doesn’t, because in a city this creative we should be able to come up with something new by now — it’s going to have to be abstracted away from the floor itself, from the sets being run, from the post-up isolation possessions.

Fizdale already knows what it’s going to take. “We’re forging ahead. This is what we do. The past is done. One of our core values is ‘growth mindset.’ Growth mindset means you cannot be fixed in the past. You gotta have an open mind and be willing to work toward what’s going to make us the most successful team we can be.”

Given that in two of Joerger’s three seasons, the team rebelled against the changes he tried to implement during training camp, whether “growth mindset” is really taking hold remains to be seen. It’s probably the biggest question facing the Grizzlies this year.

Which isn’t to say it’s the only question, or even the only major one left dangling unanswered as they plunge headlong into the regular season.

Gasol suffered a fractured navicular bone last season, an injury that has ended the careers of other big men. His recovery was remarkable, and he says he feels better than he’s felt in years, but does that mean his foot will hold up to the stress of the rest of his basketball career, or is it going to drag him back down into injury quicksand?

Mike Conley, whom the Grizzlies signed to a $153M, five-year contract this summer, the largest in NBA history, until someone signs one in Summer 2017 under an even higher salary cap, has not been healthy at the end of a season in years. He and Gasol have both played an extraordinary number of minutes for players their age, and with rookies Wade Baldwin (who looks promising, if unpolished) and Harrison (who looks both less promising and less polished) as the only backup point guard options heading into the season, is there any way he can get enough rest to make it to the end of this one?

New signee Chandler Parsons is on a four-year, $94 million deal, had a knee surgery last spring that was supposed to sideline him for six to eight weeks, and still hasn’t been cleared for full contact (at least not at the time this was written). If Parsons returns to his former glory, he’s an offensive weapon like the Grizzlies have never had before, a versatile forward who can shoot threes, yes, but also create offense everywhere on the floor, able to be deployed in just about every offensive scenario imaginable. If he doesn’t ever return to his former peak, the Grizzlies just sunk nearly $100 million into the NBA equivalent of a toxic asset of rolled-up, foreclosed-on subprime mortgages.

And what about all of these young guys? JaMychal Green turns 27 this season, so he’s not really that young in NBA time and unlikely to find some new developmental plateau not yet reached. The rest are all unproven: Deyonta Davis, a second-round pick who was projected to go in the lottery. Baldwin, a talented young guard who may have been a steal. Jarell Martin, another guy with a history of foot injuries, who may develop into an extremely athletic, versatile forward, or who may not crack the rotation.

Fizdale isn’t worried about this stuff, or if he is, he doesn’t seem fazed by it. I pointed out to him that when a team is usually 28th in the league in pace, even 20th will seem like a major improvement.

“You could be better. Right?” he said. “You could be better. And so, this is what we do. I’m pretty stubborn when it comes to that stuff. And I’m going to constantly keep my foot on the gas and keep pushing them to get out of their comfort zone.”

The Grizzlies are way out beyond their comfort zone, all of them, from the top of basketball operations to the guys at the end of the bench, but I’ve never seen everyone in the organization this committed to growth. Fizdale is their prophet of change, and like Jonah at Nineveh, his message seems to have been received at once. There are no solid answers about what lies in the future for the Grizzlies; there is only process. “The process is all I focus on,” he says. “And, you know, let the chips fall where they may at the end of it.” — Kevin Lipe

Tubby Smith: A New Era Begins

Transition years happen in college basketball. With the exception of the program in Durham, North Carolina, and maybe Syracuse, New York, coaches keep their bags packed, with a variety of tie colors in their closet. But what about a transition era?

With the departure of coach Josh Pastner (overdue, according to much of the local fan base) and the arrival of Tubby Smith (by more than a few measures, the opposite of Pastner), the Memphis Tigers seem to be entering a season that will be transformative beyond the 30 to 35 games we’ll see this winter. Tiger basketball will be redefined under Smith, for good or ill.

Will the program return to the national prominence it enjoyed late in John Calipari’s tenure as head coach, or might it resettle as a good-not-great basketball home for largely local recruits, the kind of team that might or might not play in the NCAA tournament? (You might remember those teams from late in Larry Finch’s tenure as coach.) Who are the Memphis Tigers? And what can Tubby Smith do to help answer that question?

Calipari’s arrival in 2000 was a big deal, but the U of M has never — ever — welcomed a new basketball coach with the credentials of Orlando Henry Smith. In 25 years as a head coach, Smith has won 557 games and led five different programs — Tulsa, Georgia, Kentucky, Minnesota, and Texas Tech — to the NCAA tournament. His 1997-98 Wildcats won the national championship, one of four times a Smith-coached team has reached the NCAA tournament’s Elite Eight. He has three SEC Coach of the Year trophies on his mantel and just last season earned the same honor from the Big 12, when he led Texas Tech to the Big Dance. Smith was on the staff of the gold-medal-winning 2000 U.S. Olympic team and won the Naismith Coach of the Year Award at Kentucky in 2003. At age 65, Smith will not be surprised by anything he sees on a basketball court. Having reached a career — and life — stage where he can choose when and where to work (he’s declined multiple job offers), Smith has chosen Memphis.

“They called me,” says a grinning Smith, when asked why he’s now head coach at the University of Memphis. “It’s a great opportunity to help this program. I love what I’m doing. I’m healthy. I feel good about what I’ve accomplished in my career. There’s tradition here. It gets me closer to the east coast, closer to home.” (Smith was born and raised in Maryland.)

Sophomore forward Dedric Lawson

As for the expectations — a 19-15 record (like last season’s) doesn’t fly here — Smith spent 10 years in Lexington, Kentucky, so bring them on. “I don’t have anything to hide,” he says. “I’ll do the things I’ve always done, and do it to the best of my ability. I’ve never felt pressure. My dad taught me that long ago: Don’t think of coaching as pressure. Pressure is trying to feed 17 kids, trying to keep a roof over your head. I love the fan base here. But every program has a fan base that cares. The media can blow it up, even the administration. They don’t know the intensity level the players play at or the coaches coach at. We have our priorities and our goals. They’re pretty high, but they’re realistic.”

In forward Dedric Lawson, Smith will have one certifiable star on a roster that will count no more than 11 scholarship players. As an 18-year-old freshman last season, Lawson averaged 15.8 points and 9.3 rebounds on his way to being named Rookie of the Year by the American Athletic Conference. It had been more than a decade since a Tiger posted such figures and 34 years since a Tiger freshman reached these statistical heights. (Keith Lee averaged 18.3 and 11.0 in 1981-82.) Lawson was named the AAC’s Co-Player of the Year (with Cincinnati’s Troy Caupain) in the preseason coaches poll.

“Dedric is a complete player,” says Smith. “He needs to continue to improve his defense, his footwork. As far as understanding the game, he has great instincts. He needs to be a facilitator when teams stack against him. He needs to be a screener, move without the ball. The screener is usually more open than the cutter. If you want to be a scorer — and a good team player — you need to be a good screener.”

Lawson has managed to gain weight (he’s up to 235 pounds) while lowering his body-fat percentage. The trick: cutting fried foods and, begrudgingly, cheese from his diet.

There are only three other members of the Tiger roster who could be considered rotation players from last season. Junior guard Markel Crawford started 25 games in 2015-16, but his numbers — 5.3 points and 3.2 rebounds — will need to improve this winter, even as Crawford defends an opponent’s top perimeter threat.

Junior Markel Crawford will be a defensive stopper for the Tigers.

Sophomore Jeremiah Martin will be in the mix at point guard. The Mitchell High alum played in 29 games as a freshman but averaged fewer than 15 minutes per game. At such a small sample size, what does Martin’s 34-18 assist-turnover ratio really tell us?

Then there’s Dedric’s older brother, K.J. Lawson. The swingman was limited to 10 games by a foot injury and will play this season as a redshirt freshman (creating the oddity of K.J. playing a class behind his younger brother). His height (6’7″) and versatility will be valuable to a generally undersized team. Senior Jake McDowell (5.4 minutes per game last season) and sophomore Craig Randall (8.0 minutes) are back and will get floor time when injuries or foul trouble squeeze the rotation.

Among the newcomers, expect immediate impact from graduate transfer Christian Kessee, a sharp-shooting guard who hit 88 three-pointers last winter and led Coppin State with 14.6 points per game. He should fill the void left by Avery Woodson, who transferred to Butler following his junior season. Freshman Keon Clergeot followed Smith to Memphis after initially signing to play at Texas Tech. He could see time at point guard, likely spelling Martin until a starting five is firmly established.

The Tigers are not a big team, which makes Baylor transfer Chad Rykhoek (RYE-cook) perhaps the most significant swing variable on the roster. At 6’11” and 230 pounds, the senior has the frame for post play. But he hasn’t been able to stay healthy, hip injuries keeping him on the sidelines for two years now. Lawson cannot pull down every rebound or block every shot. Rykhoek could be instrumental in these areas. “Chad brings rebounding,” emphasizes Smith. “We need size and length, and Chad brings that. He’s a very good athlete; we need to be more athletic. He’s been a pleasant surprise.”

Junior Jimario Rivers — a 6’8″ transfer from Southwest Tennessee Community College who Smith considers one of the team’s best defenders — will also be called upon for blue-collar work inside.

Thousands of empty seats at Tiger home games forced the current transition. Longtime followers of the Tiger program turned away from Pastner’s teams, most visibly at FedExForum on game nights when most of the upper deck would be empty. It’s their view of the Tiger program — those ticket-buying fans who chose to stay home — that reveals as much as any game analyst or coaching critic.

Jon Neal is a 1993 graduate of the U of M and a longtime booster. He also became a close friend of Pastner’s after his young son endured a cancer scare at St. Jude during Pastner’s tenure as head coach. While he has nothing but positive impressions — to this day — of Pastner, Neal feels a change was necessary, and Tubby Smith is the right successor.

“Like any human being,” says Neal, “when you’re bombarded with negative stuff, it takes a toll on you. I could see it [in Pastner]. He’s the finest human being I’ve ever met. The only thing that I feel bad about Josh is that whenever there was a glaring need for something, he was resistant to listening to other people for advice. He felt he had a way to fix things, and sometimes he surrounded himself with people who did not help him obtain goals he set out for the team.”

Like many followers of the program, Neal saw the sudden departure of star forward Austin Nichols (for Virginia during the summer of 2015) as the beginning of the end for Pastner. “Josh was submarined on that,” he says. “Decimated. Everything about last season was set up for Austin Nichols being here with Shaq Goodwin. Players transfer from every school. But something happened here the last few years, and players couldn’t get away fast enough. Why are players leaving so rapidly after they were dying to get here [to play for you]? Josh was a career recruiter, but he didn’t … cultivate relationships after players [arrived]. This may have been his undoing.”

Neal sees Tubby Smith as checking most every box Pastner did not, starting with a comfort level even amid criticism from a fan base or the media. “Coach Smith has been doing this for so long,” he says. “He’ll be a master organizational guy. All roles will be defined. Each player will be developed to benefit the overall goals of the team. He brings a success story that precedes him. And he’ll bring a side of accountability that we haven’t seen in some time. People will come to watch winning, but we have to learn to win first.”

Ken Moody played for Dana Kirk’s last Tiger team (1985-86) and Larry Finch’s first as head coach (1986-87). Now a special assistant to Memphis mayor Jim Strickland, Moody is reluctant to blame Pastner personally for the program’s recent decline, but like Neal, he sees Smith’s arrival as necessary, even critical.

“We have some of the most astute fans,” says Moody. “We should never insult their intelligence by portraying something other than the facts. Regardless of what our won-lost record has been the past couple of years, our program is a respectable one that will always generate national attention from high school players and media.

“Coach Smith’s honesty and integrity are his best virtues. At his initial press conference, he talked about loving every player he has coached. He’s respected by all of his peers because he’s always done it the right way. When parents give you the responsibility to help shape their sons, they want someone like Tubby Smith to be the example.”

To a man, the Tiger players are motivated by the preseason poll that placed them fifth in the AAC (behind Cincinnati, Connecticut, SMU, and Houston). Crawford in particular has relished what might now be called “Tubby time” in these parts. “It’s been a business approach,” says the former Melrose High School star. “He brings family love and discipline, things we stand upon. There’s a sense of urgency to get us better. We’ll be playing hard for 40 minutes; fans won’t be in doubt.”

Smith grew up the sixth of 17 children, a born leader (by necessity) under the guidance of his father, Guffrie Smith, and mother, Parthenia. Among the early lessons Smith took from his dad: Debt, if managed intelligently, is not a bad word. Whether borrowing money to purchase real estate or taking home groceries in advance of payment, Smith’s dad always paid his debts. As his son emphasizes today, there was honor involved. And a communal bond forged between hard-working parents and those who helped raise a large family.

Somewhere in this life fabric is the reason Tubby Smith is now in Memphis, in charge of a program that has lifted — sometimes maddened — its large following for several generations now. Is Smith in debt to Memphis? Quite the opposite. (Smith’s contract will pay him more than $15 million over five years.) No, if Smith owes anyone anything at this point in his career, it’s the game of college basketball itself. And what better way to pay such a debt than to help a family — a basketball community — in need?

“I can’t do enough,” says Smith. “I can’t pay back enough, for what this game has meant to me and my family from the day I decided to get into teaching and coaching. Donna and I got married, and she made sacrifices. I’ve always said, the greater the challenge, the bigger the reward. The more you give, the more you receive. My dad had nothing. But it doesn’t cost a thing to be polite or do a good deed. If we all believed that, the world would be such a great place. I’m happy I learned that lesson.” — Frank Murtaugh

The Tigers play CBU in an exhibition at FedExForum on November 7th. The regular season opens on November 14th when Texas-Rio Grande Valley comes to town.