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Sports Tiger Blue

#7 Cincinnati 49, Memphis 10

In a rematch of last year’s American Athletic Conference championship game, the Cincinnati Bearcats handed Memphis its worst loss in nine seasons to all but eliminate the Tigers from contention for a fourth consecutive appearance in the title game. Bearcat quarterback Desmond Ridder passed for three touchdowns and ran for a pair to help 7th-ranked Cincinnati improve to 5-0 (3-0 in the AAC) and end a five-game losing streak against Memphis. One of the top defenses in college football put the clamps on the Tiger attack, holding the U of M to just five yards rushing. The loss drops Memphis to 3-2 for the season (2-2 in the AAC). The Tigers were seeking the program’s first win over a top-10 opponent since beating Tennessee in 1996.
Jason Whitman/Memphis Athletics

Tahj Washington

Freshman receiver Tahj Washington took a short Brady White pass and broke loose for a 92-yard touchdown late in the first quarter to tie the score at 7-7, but it was the last true highlight for the Tiger offense. A 13-yard run by Ridder and a 6-yard pass from Ridder to Michael Young made the score 21-7 before Riley Patterson connected on a 42-yard field goal just before halftime.

The Tigers’ opening drive of the third quarter ended on a fourth-and-two play from the Cincinnati 10-yard line when a White pass to Sean Dykes in the end zone fell incomplete. It appeared Dykes was held by a Bearcat defender, but no flag was thrown, giving the Bearcats possession. Their ensuing drive ended with Ridder’s second touchdown jaunt, putting the game out of reach midway through the third quarter.

In passing for 316 yards, White became only the second Memphis quarterback (after Danny Wimprine) to top 9,000 yards for his career. Both Washington (104 yards) and Calvin Austin (121) topped 100 yards receiving.

The Tigers return to the Liberty Bowl next Saturday when USF (0-4) comes to town. The Tigers handled the Bulls last season in Florida by the same score (49-10) as today’s loss in southern Ohio.

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News News Blog

Tech Nonprofit CodeCrew Receives Major Donation

Courtesy of CodeCrew

Students practice computer coding with CodeCrew.

Memphis nonprofit CodeCrew was donated $50,000 by Verizon to help the tech startup continue to impact the city of Memphis. The donation also marked a partnership between Verizon and CodeCrew. Through the donation, Verizon has pledged to co-sponsor and fund CodeCrew’s after-school and summer programs at Lester Community Center and to establish four new after-school programs at local schools.

“We are proud to invest $50,000 into CodeCrew programs to further their impactful work in our most underserved communities,” said Sheleah Harris, local and state government affairs officer for Verizon. “With a hyper-local focus, Verizon will continue to cultivate relationships with grassroots organizations to actively address the digital divide in Memphis.”

CodeCrew was founded in 2015 as a summer camp program at Lester Community Center and, since then, has taught more than 2,000 thousand students across Memphis. Students in the CodeCrew program learn a wide variety of topics ranging from web and mobile app development to robotics and drone programming.

“CodeCrew is excited to partner with Verizon as they empower us to continue eradicating the digital divide through tech and computer science education,” said Meka Egwuekwe, CodeCrew’s Executive Director.

CodeCrew’s after-school program is geared around teaching kids in grades 5-12 how to use the entry-level coding language scratch, build Android apps, practice JavaScript coding, and work on entry-level game development. During their Hour of Code of events in December and May, students get the opportunity to show off their skills to friends and family. CodeCrew’s Summer Program functions in a similar light with students competing in an annual hackathon after the camp.

More information about the code crew program can be found here.

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News News Blog

Half of Tennessee Voters Voted Early

Tennessee Secretary of State

Half of Tennessee’s registered voters have already cast their ballots in this year’s presidential election.

Early voting ended Thursday, October 29th. Election Day is Tuesday, November 3rd.

Tennessee Secretary of State Tre Hargett said in the 14 days of early voting, 51 percent of registered voters here cast their ballots. In six counties — Cheatham, Davidson, Loudon, Rutherford, Williamson, and Wilson — early voting turnout surpassed all voting totals from the 2016 election.

“County election commissions across the state have worked diligently to administer a safe, sensible, and responsible election during early voting, and we will see the same thing on Election Day,” said Hargett.

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News News Blog

Average Virus Rate Climbs for Fourth Straight Week

COVID-19 Memphis
Infogram

Average Virus Rate Climbs for Fourth Straight Week

New virus case numbers rose by 288 over the last 24 hours, putting the total of all positive cases in Shelby County since March at 37,480. That figure topped 35,000 one week ago.

Total current active cases of the virus — the number people known to have COVID-19 in the county — rose from yesterday to 2,887. The figure peaked above 2,000 just last week. The figure had been as low as 1,299 last month.The new active case count represents 7.7 percent of all cases of the virus reported here since March.

The Shelby County Health Department reported that 3,169 tests were given in the last 24 hours. Tests here now total 550,303.

The latest weekly positivity rate surged more than 1 percent from the week before.The average rate of positive tests for the week of October 18th 8.7 percent. That’s up over the 7.2 percent rate recorded for the week of October 11th. The new weekly average rate is the highest since mid-August, just as cases began to fall from a mid-July spike that had a weekly average positive rate of 12.7 percent. The new weekly positive average marks the fourth straight week that the rate has climbed.

Total deaths rose by one in the last 24 hours and now stand at 571. The average age of those who have died here is 73, according to the health department. The age of the youngest COVID-19 death was 13. The oldest to die from the virus here was 100.

There are 7,922 contacts in quarantine.

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News News Blog

Watch Best of Memphis Party Tonight on WMCTV

The Flyer‘s famous (infamous?) Best of Memphis party is still rolling on tonight but it’s rolling on wheels. Car wheels. Because pandemic.

But it’ll still be a ton of fun thanks to our organizers and the Pink Palace Museum. They’ve worked together with us to make the best of a tough situation.

The event is a drive-through situation. Winners will drive themselves up to our party. There, we’ll have music by Amy LaVere (a longtime Best of Memphis favorite) and Will Sexton. The winners will get an exclusive Memphis Flyer gift bag of goodies and a cool (hopefully once-in-a-lifetime) photo op.

WMCTV Action News 5 will cover the event live with winner interviews and staff commentary. Watch it all right here from 3-5 p.m.

WMC aired a Best of Memphis piece last night with more details and a bit of history about the awards (Wayne’s World 2 was in theaters when we did the first Best of Memphis in 1994.) Check out that spot right here

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Film/TV Film/TV/Etc. Blog

Indie Memphis 2020: One Night In Miami, and An Awards Ceremony Like No Other

Michael Butler, Jr. accepting his award Best Hometowner Narrative Short award for ‘Empty’ at the 2020 Indie Memphis Virtual Award Ceremony.

In normal times, the Indie Memphis awards ceremony is a raucous gathering, full of self-deprecating gags and boozy cheers. This year, things were different.

Thanks to the coronavirus pandemic, the awards ceremony was virtual. The ceremony was broadcast from the auditorium at Playhouse on the Square, where it would usually occur, with about a hundred filmmakers calling in on Zoom. As befitting the times, it was a more somber affair, but it produced moments of unique magic.

Many more of the awards recipients were able to accept in person than in a normal year. Executive Order writers Lázaro Ramos & Lusa Silvestre accepted the Duncan Williams Screenwriting Award from their home in Brazil. I Blame Society director Gillian Hovart, at home in Los Angeles, introduced her cat, who co-starred in the film, when she accepted the Craig Brewer Emerging Filmmaker Award. And most remarkable of all, director Michael Butler, Jr. accepted his Best Hometowner Narrative Short award for “Empty” from Methodist Hospital, where he was on call, cheered on by his fellow nurses, who looked a little bewildered. It was a uniquely 2020 moment.

The Best Narrative Feature went to Emily Seligman’s coming-of-age comedy Shiva Baby, while Best Documentary Feature went to Cane Fire, director Anthony Banua-Simon’s story of colonial exploitation and labor struggle in Hawai’i. When Deni Cheng accepted her Best Narrative Short award for “Paradise,” the astonished first-time filmmaker revealed that she had not been accepted into any other festivals. Kyungwon Song won Best Documentary Short for “Jesa”.

The Hometowner Feature prize went to Lauren Ready for We Can’t Wait, her cinéma vérité portrait of Tami Sawyer’s 2019 mayoral campaign. Best Hometowner Documentary Short was awarded to “Road to Step” by Zaire Love, which documented a season of Black fraternity life at the University of Mississippi. Best Hometowner Music Video went to The Poet, Havi for “You’re My Jesus”.

The Indie Grant program, which awards production packages worth $13,000 to short film proposals from Memphis filmmakers, went to G.B Shannon for his documentary short “Here Be Dragons,” to Justin Malone for his narrative short “Beware of Goat.” The first ever proof-of-concept Indie Grant, intended to help a filmmaker produce a short film that could sell a feature film concept to potential investors, went to Daniel Farrell for “Beale Street Blues.”

The Festival Awards, selected by staff and board members, are enduring traditions at Indie Memphis. The Soul of Southern Film Award, which stretches back to the origin of the festival, went to Lawrence Matthews’ Memphis labor documentary “The Hub.” The Ron Tibbett Excellence in Filmmaking Award, which honors the festival’s DIY roots, went to “The Inheritance”  by Ephraim Asili. The Indie Award, which honors a Memphis-based crew member for outstanding service, went to Daniel Lynn, sound engineer at Music + Arts Studio. Lynn, who was mixing sound for the ceremony live stream, was one of the few people to actually accept their awards in person at Playhouse.

The most emotional moment of the night came courtesy of the Vision Awards. Kelly Chandler founded Indie Memphis in 1998 while she was a film student at the University of Memphis. Chandler no longer works in the film industry, and has lived abroad for decades. For years, journalists such as myself and Indie Memphis staff have tried to contact her to clear up details about the founding of the festival which have been lost to history. Finally, earlier this year, Indie Memphis staffer Joseph Carr, with the help of the U of M alumni office, tracked her to South Korea. Chandler gave a moving speech accepting the Vision Award in which she recounted the first night of the festival, which was held not in the Edge coffee shop as legend had it but instead in an empty Cooper-Young warehouse owned by the same people, and encouraging filmmakers to follow their dreams.

More winners from Indie Memphis 2020:

Best After Dark Short: “The Three Men You Meet at Night” by Beck Kitsis

Best Departures Feature: My Darling Supermarket by Tali Yankelevich

Best Departures Short : “The Return of Osiris” by Essa Grayeb

Best Sounds Feature: Born Balearic: Jon Sa Trinxa and the Spirit of Ibiza by Lily Renae

Best Animated Short: “Grab My Hand: A Letter to My Dad” by Camrus Johnson and Pedro
Piccinini

Best Music Video: “Colors” by Black Pumas, directed by Kristian Mercado

Best Poster Design: Pier Kids

Tonight, Indie Memphis 2020 concludes at the Malco Summer Drive-In with One Night in Miami. Regina King, who won the Best Supporting Actress Academy Award for If Beale Street Could Talk and recently took home an Emmy for her work on HBO’s Watchmen, makes her feature film directorial debut with this adaptation of Kemp Powers play about the night Cassius Clay (Eli Goree) celebrated winning the Heavyweight Championship with his friends Malcom X (Kingsely Ben-Adir), Jim Brown (Aldis Hodge), and Sam Cooke (Leslie Odom, Jr.).

Indie Memphis 2020: One Night In Miami, and An Awards Ceremony Like No Other

Then the festival closes with a little Halloween spirit. House is a legendary 1977 horror film from Japan’s fabled Toho studios. Directed by experimental filmmaker Nobuhiko Obayashi and featuring a cast of all-amateur actors and some truly eye-popping special effects, it has had huge influence on the horror comedy genre.

Indie Memphis 2020: One Night In Miami, and An Awards Ceremony Like No Other (2)

Categories
Music Music Blog

The Flow: Live-Streamed Music Events This Week, October 29-November 4

Photographs courtesy of Michael Graber

Michael Graber with son Leo and Graber Gryass

Live-streaming is cranking back up for the Halloween weekend! Though many venues are offering in person shows, the virtual game is also strong in the days to come. Tonight’s Beale & Peachtree event is especially intriguing: a celebration of the bonds between Memphis and Atlanta, with Black Cream playing live in Royal Studios. Other events abound! Check them out, stay safe, and be sure to tip your favorite performers.

REMINDER: The Memphis Flyer supports social distancing in these uncertain times. Please live-stream responsibly. We remind all players that even a small gathering could recklessly spread the coronavirus and endanger others. If you must gather as a band, please keep all players six feet apart, preferably outside, and remind viewers to do the same.

ALL TIMES CDT

Thursday, October 29
Noon
Live DJ – Downtown Memphis Virtual Carry Out Concert
Facebook

7 p.m.
Black CreamBeale & Peachtree: The Intersection of Soul, live from Royal Studios
DJ Devin Steel and Drumma Boy
YouTube

8 p.m.
Devil Train – at B-Side
Facebook

Friday, October 30
8 p.m.
Michael Graber & Late Bloom – album release live at B-Side
YouTube    Twitch TV

8 p.m.
The Spits
Goner TV

Saturday, October 31
10 a.m.
Richard Wilson
Facebook

5 p.m.
Tennessee Magi & Not Tight
Facebook

8 p.m.
Mudhole – live at Growlers
Facebook    Twitch TV    YouTube

8 p.m.
DJ Wes Wallace
Tickets    Twitch TV

8:30 p.m.
1000 Lights – live at Black Lodge Video
with the film HÄXAN, aka Witchcraft Through the Ages
Black Lodge

Sunday, November 1
3 p.m.
Dale Watson – Chicken $#!+ Bingo
YouTube

4 p.m.
Bill Shipper – For Kids (every Sunday)
Facebook

Monday, November 2
5:30 p.m.
Amy LaVere & Will Sexton
Facebook

8 p.m.
John Paul Keith (every Monday)
YouTube

Tuesday, November 3
7 p.m.
Bill Shipper (every Tuesday)
Facebook

8 p.m.
Mario Monterosso (every Tuesday)
Facebook

Wednesday, November 4
8 p.m.
Dale Watson – Hernando’s Hide-a-way
YouTube

8 p.m.
Richard Wilson (every Wednesday)
Facebook

Categories
News News Blog

New Virus Cases Rise by 188

COVID-19 Memphis
Infogram

New Virus Cases Rise by 188

New virus case numbers rose by 188 over the last 24 hours, putting the total of all positive cases in Shelby County since March at 37,129. That figure topped 35,000 one week ago.

Total current active cases of the virus — the number people known to have COVID-19 in the county — fells slightly from yesterday to 2,853. The figure rose above 2,000 just last week. The figure had been as low as 1,299 last month.The new active case count represents 7.9 percent of all cases of the virus reported here since March.

The Shelby County Health Department reported that 2,6914 tests were given in the last 24 hours. Tests here now total 547,134.

The latest weekly positivity rate surged more than 1 percent from the week before.The average rate of positive tests for the week of October 11th was 7.3 percent. That’s up over the 6 percent rate recorded for the week of October 4th. The new weekly average rate is the highest since mid-August, just as cases began to fall from a mid-July spike that had a weekly average positive rate of 12.7 percent.

Total deaths rose by one in the last 24 hours and now stand at 570. The average age of those who have died here is 73, according to the health department. The age of the youngest COVID-19 death was 13. The oldest to die from the virus here was 100.

There are 7,849 contacts in quarantine.

Categories
Film/TV Film/TV/Etc. Blog

Indie Memphis 2020: Q&A With Executive Director Ryan Watt

Ryan Watt, Executive Director of Indie Memphis

Tonight at Indie Memphis, Coming to Africa, the feature film by Anwar Jamison, which was rained out last Friday night, will screen at the Malco Summer Drive-In, along with the Hometowner Music Video Showcase, rain or shine. You can read about Jamison’s bi-continental production in my Indie Memphis cover story.

Last month, Ryan Watt, Indie Memphis’ executive director, announced he was leaving his post at the end of the year, setting off a national search for his replacement. Watt has presided over a major expansion of Indie Memphis from a cozy, fall festival into a national example for regional film organizations. While preparing my cover story about Indie Memphis 2020, I spoke at length with Watt, but I didn’t have room in that story to fit everything in. What follows is a Q&A with him taken from that interview, in which we spoke about the past, present, and future of the arts organization. Our conversation has been edited for length and clarity.

What can you say about your time at Indie Memphis?

I’ve loved working for a nonprofit. It’s not something I ever expected I would do. It just kind of happened. I joined the board of Indie Memphis in 2014, and then in 2015, we were looking for a new exec director, and I was asked to become the interim. I just kind of fell in love with the job during that time period. And so, over the last six years, I’ve just tried to keep building the organization one step at a time and grow new programs. Now, after six years, I feel like we’re in a really good place, and I think it’s time to find the next leader to take us forward.

What have you learned during the last five years?

I’ve learned there’s a huge amount of amazing creativity in Memphis and throughout the country. Our submissions and the work just keeps growing in number and quality every year. From my perspective, it’s no question that the Memphis film community, over the last six years that I’ve been watching every hometowner film, the quality just continues to get better. I feel really good about the work we’ve put in through our artist development programs, Indie Grants, and the youth program. Now a lot of these students are in college, and pretty soon some of the students who started in the youth program will be out of college. And so it’d be exciting to see what they create.

Why do you think artist development is an important part of Indie Memphis’ mission?

Perhaps in like a New York or Chicago or somewhere else, a film festival might be able to say that there’s plenty of other resources for filmmakers. In Memphis and other cities our size, I think there’s very few resources. That’s why we felt it was important to be proactive about finding support for filmmakers. We just keep growing it every year, but then you always feel like we wish we could do more. We always wish we could do more, or we wish we had more cash to give out as grants, and we had larger programs.

Especially when everyone’s been stuck in their homes, I think it’s clear that the arts are super important to our lives and well-being, and the enjoyment of our city and surroundings, and as communal experiences. But beyond that, if you want to look at it just from sort of an economic development perspective, you learn all these skills through filmmaking. It’s the most collaborative art there is. It involves a lot of teamwork, collaboration, and communication skills and meeting deadlines, and all of these things that translate into so many other jobs, whether you’re going into communications, to work for FedEx, or you’re working in media or all sorts of things.

One of the big accomplishments of your tenure has been a major push to diversify the festival, in terms of audience, filmmakers, and staff. How, and why, did you go about spearheading that? What have you learned from that experience?

I learned a lot. I can remember a few specific moments. I think it was the very first year when we did the narrative shorts screening, and I think there was only one Black filmmaker. A Black attendee raised his hand during the Q&A and asked, “Why is this mostly white filmmakers?” And my answer, which was technically true, was that these are the films that were submitted, you know? We were just picking the best of the films that were submitted. But what I learned over the years that I did not realize at all going into the job was that, even though I think Indie Memphis is very much like many other film festivals across the country that might try to put a spotlight on Black stories, Black communities, and Black artists, the audience and filmmakers in the city still saw essentially a white organization. There were filmmakers who didn’t even bother to submit because they didn’t think Indie Memphis was for them.

So that led to the hiring of Brandon Harris. who had a really strong programming vision to bring to the festival. That was how we wound up with The Invaders premiere and some other films my second year. But I continued to learn a lot, I’d say, over the years by having very blunt, frank conversations with Black artists in Memphis. There was one conversation in particular with The Collective when we reached out to partner with them. They really challenged me. They’ve spoken about this many times, that they had felt with some other white-led organizations that, especially during Black History Month and when MLK50 was going on, that they’re being asked to come in to fulfill this sudden need to make sure organizations are highlighting Black artists. Then they’re not feeling the partnership feels with these organizations at other times of the year.

And so, when I reached out to them, they thought of us in that same bucket. My immediate reaction was to be defensive. But I learned just so much from, I’ll just mention again, Victoria Jones and The Collective, and other people about what experiences they’ve had that they bring with them.

So, having said all of that, I think the biggest thing I’ve learned is just to put your defenses down and be willing to just sit back and listen and understand the needs of Black artists and the Black community. And then, bringing on Miriam Bale as artistic director and watching the Black Creators Forum get off the ground, I tried to just step away and allow other people to lead those initiatives. It’s been something I’m really glad we were able to put in place, and I think it has huge potential to keep growing in the future.

You’ve been in the unenviable position of trying to put together a film festival during a pandemic. How did that go?

We were lucky we were a fall festival. For the spring festivals like Oxford, I mean, the train had already left the station! The whole event was planned, and then they can’t do it. They had to, within weeks, throw together a virtual festival with no time to plan it. So we’re very lucky that was not the case. We had sort of the opposite, where we had all year to think about ideas. You can get to the point where there’s so many ideas that it’s hard to make the final decisions and narrow down what the event should be. Eventually, we keep saying online and outdoors. It’s just kind of the right balance of just enough stuff for Memphians to do, to get out of the house, to be outdoors in the hopefully nice October weather. Then also being online for anyone who understandably wants to stay at home. Also, there’s a huge opportunity now for people all over the country and all over the world to log in and be part of the festival.

Do you think these online innovations will last after the pandemic is over and we can have in-person festivals again?

I think there’s a great way those things can work together. It doesn’t have to be all one or the other. Clearly, the whole industry is going to shift a few steps in this direction, because now everyone’s had to put this whole format together. So I don’t think it all just gets thrown away and disappears overnight. Some of these virtual elements are going to remain even when the more traditional, in-person structure of the festival comes back.

What do you see as the future for Indie Memphis?

The important part is finding a new leader who also has a vision for what the future is, and that doesn’t need to be my vision. I feel like my vision has been for getting us to this point. And so now, I think finding the right leader who sees the path forward is what needs to happen.

What comes next for you?

In the near future, I’ll be announcing a business venture I’m going to be getting into. As I had mentioned in my announcement, I’m just returning to my entrepreneurial roots.

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We Recommend We Saw You

Jerry Schilling Honored by Memphis Catholic High School

Jerry Schilling’s 1960 graduation photo from Catholic High School.



Jerry Schilling, Catholic High School class of 1960, is a new inductee in Memphis Catholic High School’s Hall of Fame.

To borrow from his buddy, Elvis, Schilling is “all shook up” over the honor.

“It has really been a good experience,” he says.

A producer, manager, and author of Me and a Guy Named Elvis: My Lifelong Friendship with Elvis Presley, Schilling was initiated into the Beale Street Brass Note Walk of Fame in 2007. He has a replica of the note at his home in West Hollywood Hills.

As for Memphis Catholic High’s Hall of Fame, Schilling says, “I didn’t even know they had one. My understanding is it started 10 years ago. Actually, Billy Ray, my brother, was at church and he saw a thing on the bulletin board about Catholic High Hall of Fame. He called me and started putting it in motion.”

The ceremony was streamed online on October 24th.

Schilling, who videotaped his remarks, regarded his four years at Catholic High School as a great experience. “I was three years president of the class and my senior year I was vice president.”

Schilling also played football all four years. Last January, some of his fellow classmates presented him with a replica of his Catholic High football jersey at an 85th Elvis birthday celebration he was doing with Priscilla Presley at Graceland. “Now it is in an exhibit at Graceland.”

In his remarks, Schilling talked about the trophy his team won. “In junior high, when we tied for the championship, I played fullback. And that was the trophy I point out. It used to be in the lobby of Catholic High. They sent it to me about thee or four weeks ago.”

Elvis also gave Schilling a football jersey. That was when Schilling played football with the King in the mid 1950s at Sunday afternoon football games at Guthrie Park. “Football kind of runs through my whole life.”

He began playing football when he was in the fourth grade at Holy Names. “I made the team. I don’t know how because that’s a big age group when you’re that age. Everybody else there was four years older.”

Football brought him and Elvis together, Schilling says.  “I was basically kind of an orphan. My mother died when I was an infant.”

He was raised by his grandparents and an aunt and uncle. “I lived in North Memphis across the street from George Klein.”

Schilling was a fan of  Red, Hot & Blue, the radio show hosted by Dewey Phillips. He was listening the night Phillips played Elvis’s recording of “That’s All Right” for the first time. Phillips told his listeners Elvis went to Humes High School, which was in Schilling’s neighborhood. “Elvis sounded so good. He kind of stuttered. He reminded me of James Dean. So, being a good Catholic boy, I said a little prayer, ‘The neighborhood’s not that big. I’d like to meet this boy from Humes High.’”

Two days later, Schilling went to Dave Wells Community Center, where some guys were playing a pickup football game in Guthrie Park. He saw Red West, “who was a big Memphis football player at the time. All Memphis at Humes. I knew who Red was. And he knew Billy Ray. So, Red is the one who said, ‘Hey, Jerry. You want to play with us?’”

Schilling was thrilled. “A 12-year-old getting to play with 18-year-old Red West.”

He got in the game. “When we got in the huddle, me, Red, and Elvis against three other guys, nobody said anything. And I looked at my quarterback and I went, ‘Oh, that’s the boy from Humes High.’ The most important pass I ever caught was the first one he threw to me.”

Elvis, he says, “was nice, but not overly. He was playing it cool.”

Schilling was “trying to play it cool. I was eight years younger than everyone else. I was trying to be one of the big guys. But Elvis was not a warm-up guy immediately. You had to get his trust. He’s not the guy you see in most of his movies that walked around with a smile on his face singing a song all the time. Elvis was a great guy who could be kind of moody and then give you a little smile showing everything is OK. That’s how the football game was.”

Schilling had plenty of time to get to know Elvis. “We had a 23-year relationship to find out. I lived with him at Graceland for 10 years. But I think he remembered and he knew I thought he was really cool before it was popular.”

They played football every Sunday afternoon through 1956 at Guthrie Park. Within three weeks, everybody had heard Elvis’s record. “Everybody was coming on Sunday afternoon to Guthrie Park because Elvis Presley was playing football.”

The teams got bigger because more and more guys wanted to play. Elvis “started getting little jerseys to differentiate between the teams. And he looked over at me and he threw me a jersey.”

Unfortunately, Schilling didn’t get to keep the jersey as a souvenir because they used them each week. “He gave it to me, but then he took it back. He kept it.”

Elvis couldn’t afford to buy jerseys every week. “Elvis didn’t have a lot of money.”

His father and brother wanted him to go to Christian Brothers High School, where Billy Ray had gone, but Schilling wanted to go to Catholic High because his friends were going there. He ended up getting a scholarship to CBHS. “I reluctantly went there.”

He began football practice in August, but, he says, “I just wasn’t in it. I didn’t have any friends there. And let’s face it. CBHS was more exclusive than Catholic High. It was different and I really related to Catholic High. So, my brother told my father, ‘I think we made a mistake. Let him go where he wants.’”

Catholic High was the perfect fit. “We won the junior high championship. I was All Memphis.”

He also got a football scholarship to Arkansas State University.

Schilling admits he was a “popular guy” at Catholic High, but, he says, “I never really thought about it that much. I thought about it more recently. I was just trying to get through school. I had a rough time in grade school with my grades. But then in high school it all changed. I guess because of the support and encouragement I got at Catholic High.”

And, he says, “I was a long way from failing the first grade at Holy Names.”

In high school, Schilling looked and dressed the part as the other guys. “Hair-wise, it was pretty cool and different back then whether from ‘Blackboard Jungle,’ the movie, or Elvis. I tried to do it pretty much like the older guys and Elvis. The world hinged on Elvis, but he wasn’t the only guy with sideburns and ducktails. There was a whole group of guys at Humes and whatever. Elvis had to get it from somewhere.”

Schilling used hair dressings like Brylcreem on his hair. “A little bit. I didn’t over do it. I think Elvis used a little more than I did.”

When football season began, Schilling switched to a crewcut.

As for his clothing, Schilling dressed in traditional 1950’s garb. “I wore a lot of white T-shirts and Levis. And I wore black loafers and white socks.”

In grade school, he says, “I had nuns who actually sent me home because my Levis were too tight. I was probably in the sixth or seventh grade.”

And, he says, “Through grade school and the beginning of high school I was real shy. Obviously, I’ve made up for it.”

But, he says, “All through high school and even through college and when I went to work with Elvis I was, basically, very quiet. I think Priscilla said in her book the first two years I lived at Graceland I never spoke.”


In high school, Schilling kept his friendship with Elvis to himself. “Nobody at Catholic High knew about it. But I’m hanging out with Elvis at night and on weekends. Elvis liked me. He was the most famous guy in the world.

“I learned in grade school early on to keep my music to myself. There’s a part in my book where ‘Mrs. Doolittle’ — I changed the name because of the situation — who was the head of the PTA at Holy Names, would drive us to baseball practice and football practice. They invited me over to their house — they had two sons my age — for a weekend in North Memphis.”

Schilling, who took his records with him, began playing Sixty Minute Man by Billy Ward and his Dominoes, which attracted “Mrs. Doolittle’s” attention. “She came in when she heard that and was furious. She said, “Get that ’n’ music off.’ And she broke my record and told me to go home. So, I learned very early I didn’t want anybody to take Elvis from me after I met him. So, I didn’t say to anybody what I was doing.”

These days, Schilling and his wife, Cindy, have been staying close to home because of the pandemic. “I’ve had three dinners, three dentist appointments, one doctor’s appointment, and that’s it. I’ve been really locked down.”

Jerry Schilling and his wife, Cindy, when he was initiated into the Beale Street Brass Note Walk of Fame in 2007.

He still is in management with The Beach Boys. “Just last Friday I got a contract for another year as president and CEO of their management company, Brother Records Inc.”

He also has been keeping up with Elvis, the new movie being made by director Baz Luhrmann. “Col. Parker will be played by Tom Hanks. Elvis is played by Austin Butler, who had a huge part in Tarantino’s Once Upon a Time in Hollywood.”

And he says, “Luke Bracey will be playing Jerry Schilling.”

Bracey, whose movies include Monte Carlo and his TV work, Westside and Home and Away, is “a very good actor. He’s a nice-looking guy. I think he will be great. I’m not officially involved at this point, but I have spent some quality time wth Baz Luhrmann. I’ve had a long dinner in New York with him. I’ve had a long lunch. Four hours. We talked a lot.”

But, Schilling says, “Going back to the Hall of Fame Award, there are two things which are now the centerpiece of my living room on top of the entertainment center. And that’s the note on Beale Street, which is huge for me. And I have put my Hall of Fame Award next to to that.”

His years at Catholic High School were more formative than any of his other schooling, Schilling says. “Preparing me for what my life — that I didn’t have a clue — would be.”

Jerry Schilling