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News News Blog

Flyer, CMI Win Big in Green Eyeshades Journalism Awards

The Green Eyeshade Awards (named for the visors worn by old-timey newspaper editors) salute the best journalism in an 11-state Southern region. The competition is administered by the Atlanta Chapter of the Society of Professional Journalists.

2018 GREEN EYESHADE AWARDS

PRINT / NON-DAILY DIVISION
First Place: Serious Commentary
Bruce VanWyngarden, “Waiting for the Test,” “Life Is a Beach,” and other serious examples of his “From the Editor” columns.

First Place: Politics Reporting
Jackson Baker, “Meatless Monday, “Up in Smoke,” “Nashville Gets Serious” and other examples of his political columns.

First Place: Travel Writing
Jackson Baker, “Russia: Riddles and Realities” and “A Trip to France Brings Greater Understanding.”

First Place: Criticism
Chris Davis: “Theatre Memphis Neuters Cat on a Hot Tin Roof,” “A Dark Tour of the American Trailer Park” and other examples of his theatre/drama criticism.

Second Place: Editorial Writing
Jackson Baker: “Monuments and Memories,” “Hear It Now,” and other examples of Flyer editorials.

Second Place: General News Reporting
Chris Davis, “Art of the Deal: What Happened at MCA?”

Second Place: Public Affairs Reporting
Toby Sells, “Down by the Riverside.”

Second Place: Humorous Commentary
Bruce VanWyngarden, “Staying the Course,” “Redbirds Trump Porn” and other humorous examples of his “From the Editor column.

PRINT / MAGAZINE DIVISION

First Place: General News Writing
Jon Sparks, Toby Sells, and Maya Smith: Inside Memphis Business “Downtown Rising” package.

First Place: Graphics
John Pickle and Vance Lauderdale, Memphis magazine, “Memphis: Then and Now” (The honor actually goes to Memphis art director Brian Groppe for his design.)

First Place: Feature Photography
Billy Morris, “On the Flip” (Memphis magazine story about Beale Street Flippers)

Second Place: Serious Commentary
Vance Lauderdale, various “Ask Vance” columns

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News News Blog

Event Hopes to Connect Shelby Residents with $109M in Unclaimed Property

Tennessee Department of Treasury

The Memphis Redbirds want to help you find missing money this weekend.

Well, kinda.

The Tennessee Unclaimed Property Division of the Tennessee Department of Treasury will help ‘Birds fans search for and possibly recover missing money during games on Friday and Saturday. The event is part of a traveling, statewide effort to help Tennesseans find unclaimed money.

How much money are we talking about here? Last year, the Unclaimed Property Division returned a record-breaking $48 million to 43,482 rightful-owning Tennesseans.

Any time a company owes a customer some money but can’t find them, the company has to remit the funds to the state. The money come from many sources, including refunds, insurance payouts, unpaid payroll or salary, college fees, utilities, and more.

More than $109.2 million is owed to 227,460 Shelby County residents right now, according to Treasury officials. Across Tennessee, there is about $819.7 million in unclaimed property.

Tennessee Department of Treasury

You can find Unclaimed Property officials at their booth on AutoZone Park’s main plaza starting at 6 p.m. Friday and 5 p.m. Saturday.

There, you can search the database for your name and those of your relatives. If officials do help you find some money, you can file a claim with them at at no charge.  
If you can’t make the games this weekend, search for missing money on your own at ClaimItTN.gov.

According to the state Unclaimed Property office, there is never a fee to claim unclaimed money and there is no time limit in which to make a claim: “It is held for the rightful owner or their legal beneficiaries until it is claimed.” 

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Film/TV Film/TV/Etc. Blog

This Week At The Cinema: Singing, Art, Poetry, Dance, and Gymnastics

Brown Ballerina

Toni Morrison, poet, Nobel laureate, and all-around advocate for empathy, curated an art show at the Louvre in 2006. The Foreigner’s Home is a documentary based on the exhibit and the conversations about “otherness” that sprung up around it. Indie Memphis will be presenting the film at 7 PM Tuesday, June 14, at the Malco Ridgeway.

The Foreigner's Home – Trailer from Rian Brown on Vimeo.

This Week At The Cinema: Singing, Art, Poetry, Dance, and Gymnastics

Wednesday, June 20th, Indie Memphis takes part in a special program with Collage Dance Collective. “Brown Ballerina” is a short film by director Chassidy Jade about one woman’s quest to dance at the highest levels of the art. Jade will be in attendance to discuss the film, and there will be performances by Shanna Wood and the Collage Dance Collective. Demand for this event has been high, so they’ve added a second screening.

Brown Ballerina Official Trailer from ChassidyJade :: CrownMeRoyalLabs on Vimeo.

This Week At The Cinema: Singing, Art, Poetry, Dance, and Gymnastics (2)

Wednesday night at Studio on the Square, Outflix is presenting their 2007 Jury Award Winner The Gymnast, a love story by Ned Farr starring famed arealist Dreya Weber.

This Week At The Cinema: Singing, Art, Poetry, Dance, and Gymnastics (3)

On Sunday at the Malco Paradiso, Turner Classic Movies presents West Side Story, the 1961 Best Picture winner which still holds the record for most Oscars claimed by a musical. Here’s Rita Mareno taking control of your screen with “America”. 

This Week At The Cinema: Singing, Art, Poetry, Dance, and Gymnastics (4)

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News News Blog

Flyer How To: Let’s Ride the Bird

Flyer How To: Let’s Ride the Bird

You’ve probably seen folks riding those Bird scooters by now. I rode one over the weekend. They are a total blast. And they could be a good transportation option, depending on where you’re headed.

I took a scooter out for a spin today at lunch to show you how they work. I got some side eye from motorists and pedestrians alike. But I definitely pumped up the eye-rolliness of the thing by shooting a GoPro on a selfie stick.

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News News Blog

U of M to Host First Women’s Hackathon in Memphis

Facebook- Tech901

The first-ever women-only hackathon is coming to Memphis on Friday, July 20th.

The University of Memphis’ FedEx Institute of Technology, in partnership with Memphis Women in Technology and other local tech organizations, will host ATHENAtechne, a two-

day hackathon designed to “cultivate a positive environment for women in technology.”

The event is free, and all females over the age of 10 who have an interest in technology are encouraged to attend. All skill levels are welcomed. In addition to programmers and web designers, graphic designers, artists, writers, and those in any other creative field are encouraged to attend.

Attendees will be immersed in tech culture and will create “interesting and innovative” hacks. Representatives from organizations like Black Girls Code, Tech901, and CodeCrew will be at the hackathon for education and networking.

“Part of the mission of the FedEx Institute of Technology is to build Memphis’ reputation as a national destination for emerging technologies innovators,” Cody Behles, assistant director of the FedEx Institute, said. “That mission necessitates a commitment to building the diversity of our technology community.

“Sometimes the best way to do that is to cultivate opportunities that encourage participation in unique ways. We look forward to seeing what the inaugural ATHENAtechne will produce.”

The hackathon is designed to encourage women to get more involved in the technology field, by “fostering spaces and places that create a strong community of empowered female technology professionals.”

Despite comprising 57 percent of university students nationally, studies show that only 20 percent of science, technology, math and engineering students are women. A recent survey found that about one in three employees at Google, Facebook and Apple is female.

“Over the last decade, we have seen growing opportunities for females to gain exposure to technology opportunities in school,” Sarah Holland, president and founder of Memphis Women in Technology, said. “Despite this, we see real challenges as these young women make the transition into professional environment. ATHENAtechne provides women in this region an opportunity to come together and show the amazing talent that this community has to offer.”

To register for the hackathon, visit the event’s website.


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Film/TV Film/TV/Etc. Blog

Incredibles 2

This is the fourth superhero movie review I will write this year. People have been asking me, are you sick of them? The answer is yes.

But I still get excited about a sequel to The Incredibles. The Brad Bird film is a top tier Pixar creation, one of the best superhero movies ever made, and, since it was released in 2004, clearly way ahead of the curve.

Mr. Incredible, Elastigirl, Dash, Violet, and Jack-Jack are back after a 14 year hiatus.

Incredibles 2 opens pretty much immediately after the events of the first film. Tony (Michael Bird), a classmate of Violet (Sarah Vowell), is recounting the events of the attack by the Underminer (John Ratzenberger) that served as the original’s coda. His audience is Rick Dicker (Jonathan Banks), a government operative whose job it is to keep secret the true identities of superheroes. Dicker dutifully erases the memory of moment when Tony saw Violet without her domino mask on, which has the unfortunate side effect of erasing all memory of her, including the fact that they had a date tomorrow night.

The battle against the Underminer provides the bravado opening action sequence any self-respecting superhero movie wants to have, and it immediately outdoes most all of them. The kinetic sections of The Incredibles, like the fight with the Omnidroid, were groundbreaking, and in the five-superhero-movie-a-year timeline we find ourselves in, frequently copied. Fourteen years worth of Pixar technological advances get splashed up on the screen in the first ten minutes, and it’s, well, incredible. A few jokes seem to be written just to show off the water modeling advances. The depth of the image in some shots is mind blowing, even in 2D. IMAX is definitely the preferred format for this one.

With the help of Frozone (Samuel L. Jackson), Mr. Incredible (Craig T. Nelson), Elastigirl (Holly Hunter), Violet, Dash (Huck Milner) and Jack-Jack stop the Underminer’s destructive rampage, but they still run afoul of the secret bane of every superhero—massive property damage liability. About to be cut off by their government benefactors, the heroes are contacted by Winston Deavor (Bob Odenkirk), a telecom tycoon who wants to mount a campaign to legalize superheroes once and for all. He and his sister Evelyn (Catherine Keener) have crunched the numbers, to discover that the least destructive super hero in existence is Elastigirl. They offer to back her with a generous salary, a new Mid Century Heroically Modern house, and most importantly, insurance.

Holly Hunter voices Elastigirl, who gets to go all Batman in this long-awaited sequel.

After a heartfelt talk, the Parrs decide to accept the offer, even though it means that Mr. Incredible will be a stay at home dad to three super kids of varying ages. From there, the film falls into what is now a familiar episodic pattern. Pixar’s studio mates Marvel have succeeded by emphasizing character over plot, and Incredibles 2 follows suit. Mr. Incredible’s parenting tribulations are put on a equal footing with Elastigirl’s increasingly perilous confrontation with Screenslaver. Incredibles 2 once again proves that the key to truly great superhero films is a strong villain with the timely Screenslaver, who uses smartphones and TV screens as tools of mass hypnosis.

Judging from the responses of opening night audience, Jack-Jack is the breakout star of the picture. Trying to keep tabs on a toddler is hard enough for Mr. Incredible, but Jack-Jack is exhibiting all kinds of new superpowers, like eye lasers and shape changing. His ability to travel through parallel dimensions provides a great opportunity for Bird to stage a Poltergeist callback with Nelson, who plays the beleaguered dad in both films.

Frozone (Samuel L. Jackson, center) is called to help Mr. Incredible (Craig T. Nelson) parent the super toddler Jack-Jack.

Bird, who returns to voice super-designer Edna, makes a major comeback after his last film, the disastrous Disney corporate branding assignment Tomorrowland. Incredibles 2 fires on all cylinders, but now that we’re all immersed in the expected beats of the superhero movie, it lacks the shock of the new felt in 2004. But it’s a genuine crowd pleaser that rewards viewing on the big screen, which is what a summer movie is all about.

Categories
Film/TV Film/TV/Etc. Blog

Music Video Monday: McKenna Bray

It’s a love song Music Video Monday.

Tomorrow, Tuesday, June 19, McKenna Bray releases her debut album Once In A Blue Moon on Madjack Records with a party at Lafayette’s Music Room. The first single “The Way I Loved You” is a heartfelt call to a lover above all others.

The video was produced and directed by Kim Bledsoe Lloyd and Susan Marshall, with production assistance by Sean Faust and Josh Beckemeyer. It features McKenna and dancers Megan McCusker and Shamar Rooks. Check it out:

Music Video Monday: McKenna Bray

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

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From My Seat Sports

Baseball’s Bruises

If you’ve read this column with any regularity over the last 16 weeks, let alone 16 years, you know I have an affection for baseball. The planet seems to spin more smoothly when there are box scores to check in the morning and a game (or dozen) to check out in the evening.

As the temperatures rise, though, I find myself hot under the collar over various issues related to cowhide, lumber, and the seventh-inning stretch. None of these are deal-breakers for my relationship with the greatest game we know. But each of them are threats to the game’s place atop life’s mountain of pleasures. Even Marilyn Monroe had make-up pros on set. Let’s touch up a few of baseball’s blemishes, starting now.


• Hitting against The Shift.
It’s time we start capitalizing this infernal tactic where teams place three infielders on the right side of second base against hitters apparently unable to hit to the opposite field. Stars who hit from the left side — the Cubs’ Anthony Rizzo is a prime example — stare at a virtually empty infield from third base to second, but continue to swing away. The belief, of course, is that you beat The Shift by hitting over The Shift.

Horse hockey. Why didn’t wise managers like Connie Mack, Casey Stengel, or Earl Weaver employ The Shift when they were winning championships on the way to the Hall of Fame? Because opposing hitters would attack a defense’s weakness . . . which includes a vacated position. I’ve seen the Cardinals’ Matt Carpenter ground out to short rightfield (when he’s not striking out) against The Shift enough to know percentages are no longer close to even when measuring defense-to-offense advantage. So what is a sport — desperate for action that doesn’t require the baseball clearing a fence — to do?

Bunt. Learn to push-bunt, Matt. You too, Anthony. Drop a few bunts down the third-base line with the third-baseman occupying shortstop space and you’ll find The Shift dying a slow death. Some team — some system — will start teaching what is now slandered as “small ball.” That team will win a lot of games, and with hitters less expensive than those stubbornly swinging against The Shift. A player who can both bunt and slam? He will be your next generation’s superstar.

• The eight-man bullpen. If you’re an American League club, playing virtually every game with the designated hitter, keep all the relief pitchers you like. If you belong to the National League, though, this over-stuffing of arms must come to an end. We’ve reached a point where a starting pitcher has essentially done his job (and then some!) if he lasts six innings. At the slightest sign of trouble — 80 pitches! tying run on deck! — managers begin what they consider a game of chess with their relievers, calling upon as many as seven — seven — pitchers to finish a nine-inning game. (One sad reliever is relegated to extra-inning duty, should a game be extended.)

An eight-man bullpen leaves a club with merely four reserves for the infield, outfield, and catcher (one of these four being, of course, a backup catcher). Which creates scenarios all too often where a manager has plenty of arms at his disposal, but not the right man to pinch hit or improve his team defensively. An eight-man bullpen may feel like a modern security blanket, but it’s slowing the game down, allowing minor-league pitchers on major-league mounds, and reducing the opportunity for “small ball” reserves (that qualifier again) to make a difference with a game on the line. MLB needs to establish a limit of 12 pitchers for a big-league roster.

• Mike Trout on the West Coast. In the name of Mickey Mantle, we must forsake the land of Mickey Mouse and get the Angels’ centerfielder on a team in the central or eastern time zone. Far too many fans — particularly young ones — are missing the sport’s greatest talent because he plays more than 100 of his games after they’ve gone to bed.

I’m old school when it comes to player-team loyalty, and I love the idea of a star like Trout playing his first and last games in the same uniform. But he’s simply too good for the West Coast. The two-time MVP turns 27 in August and has several jaw-dropping seasons ahead. MLB needs to find a way for him to play those seasons where more of us can see him live. (The Yankees and Red Sox, let it be known, are excluded from potential landing spots. I’m for improving the game, not making the filthy rich even filthier.)

• Cellar-dwellers deciding playoff races. There are some very good teams in the big leagues this year: the Yanks and Bosox, of course, but also the Mariners, Brewers, Braves (yes, they’re back), and the world champion Astros. There are also a few dreadful teams: the Reds, Marlins, Orioles, and Royals come to mind first. Teams that happen to be in the same division with baseball’s version of a “tanker” are able to fatten their records with 19 games against those teams. Meanwhile, teams in other divisions must push and pull against actual big-league competition.

I’m not sure how to fix this without dramatically altering the way a schedule is played. The case could be made that bottom-feeders should be removed from the slate of contending teams . . . a form of relegation familiar to international soccer fans. And I’m talking midseason relegation. If the Reds can’t compete with the Cubs or Brewers, send them to play Triple-A teams until their record improves. And replace them on the slate of big-league teams with a record-based redrawing of the schedule after the All-Star break. Among baseball’s flaws, severe competitive imbalance is the most dangerous, long-term.

Now back to the action. The next bunt-single you see, stand and applaud.

Categories
Music Music Blog

Harbert Ave. Porch Show Rides Again, With a New Label in the Making

Robert Jethro Wyatt and Moke O’Connor introduce Jack O & the Tennessee Tearjerkers, Sept 2012.

If this city has music coming out its ears, with pop-up shows, festivals, house shows, buskers, and impromptu jam sessions springing up in every corner, none of these is quite as Memphis as the Harbert Avenue Porch Show. Held at least once a year in the normally staid environs of Central Gardens, the porch show has become a tradition that brings together generations and neighbors from all walks of life.

Fans throng to see Snowglobe in 2017

The brainchild of Robert Jethro Wyatt, the porch show is a perfect expression of its host’s love of music. Indeed, one might not expect such levels of fandom from a Professor of Pediatrics at University of Tennessee Health Sciences Center, such a love of garage rock from a Pediatric Nephrologist at Le Bonheur Children’s Hospital. But Memphis is a city of iconoclasts and mold-breakers. A regular at many of the area’s hardest-rocking shows, Wyatt has given back to the rock ‘n’ roll community every year since 2012, on his very doorstep.

Jack Oblivian at the inaugural Harbert Avenue Porch Show.

This year’s show marks the return of Jack Oblivian, who played the inaugural performance six years ago. Keth Cooper, Frank McLallen, Graham Winchester, and Seth Moody, aka the Sheiks, continue to serve as his dream band.

When the tradition started, as Wyatt notes, “the event was attended by over 100 neighbors and friends. Since then we have held at least one porch show a year featuring musicians and bands from our region. Over 250 folks of all ages attended the 2017 Snowglobe show.”

Some  were documented and simulcast by the short-lived Rocket Science Audio project, taking the porch show to international audiences through the magic of the internet. 

This year also finds Wyatt on the cusp of an even deeper commitment to local rock, as he lays the groundwork for a new record label. “Black and Wyatt Records is me, Dennis Black and Mike McCarthy. Dennis is the Research Director at Le Bonheur – but he goes back to working at a radio station in Millington when he was younger – and keeps motel rooms booked in Tullahoma for Bonnaroo every year. One Monday about 10 years ago Dennis and I flew to San Francisco to see the New Pornographers at the Warfield.” Mike McCarthy, of course, is the punk film auteur, community activist, sculptor, comic artist, and underground film auteur behind Guerrillamonster, the catch-all enterprise for his many ventures. He and Ronnie Harris have designed the T-shirts for this year’s show, and he’ll be involved in curating the Black & Wyatt roster. The trio are brimming with enthusiasm for their new venture, although, as Wyatt says, “I’m just not ready to give out hundreds of handbills this soon.”

The Harbert Avenue Porch Show featuring Jack Oblivian is free; a donation to the band of $5 to $10 is suggested. Free beer and food in the driveway (while it lasts) including beer Memphis Made Brewing. The music starts at 6:00 PM. Eat at Eric’s Food Truck will be on the street.
Sponsors – Memphis Made Brewing, Memphis Sports Academy, Goner Records, Utopia Animal Hospital and Dennis Black.

Categories
Fly On The Wall Blog Opinion

The “T” Word: A Memphis Collective Looks at Black Masculinity, Nomenclature

In the time honored spirit of the answer song, the mixed-media art exhibition “Thug” was organized to converse with a past exhibit called “Fiber,”  a deep dive into black femininity. “Thug” organizers wanted to give black male artists from diverse backgrounds an opportunity explore the range and role of masculinity in black culture. Curator and photographer Ziggy Mack says The Collective’s exhibit showcases experience.

“It looks at black masculinity and how society views it,” Mack says. “And it also looks at sexuality within black masculinity.

“In black culture you see this kind of appropriation happen multiple times,” Mack says, setting up context for the show’s title. “Post-slavery as a people we’d taken the word boy and turned it on its head substituting the word man. Like, ‘Hey man! How you doing my man!’ That was a response to black men being called boy. And there’s the N-word, a more controversial word. But another word we appropriated like taking lemons and making lemonade.”

Thug, a similar appropriation, was re-appropriated in white culture where it’s become a deracialized stand in for less socially permissible slurs. 

“The collective and I used it because we thought it would make people ask, ‘What’s this about?” Mack says. “And we used it to turn it on its head again. To turn it into something else. To build a body of art around the word and black masculinity.”