Categories
Film Features Film/TV

Malignant

What is the appeal of a movie like Sharknado? It’s bad, everyone involved knows it’s bad, and the audience knows it’s bad. Nevertheless, the original 2013 Sharknado was one of the biggest hits in Syfy network history and spawned five sequels.

The cultural theorist in the corner pipes up to say, “It’s camp!” And that’s true enough. But I think it’s simpler than that. The title tells you what you’re going to get — a tornado full of sharks — but it also tells you that this movie doesn’t give a fuck. It’s not trash that’s going to pretend to not be trash. It rejects your notions of “intelligence” and “decency” in favor of the sheer, undeniable pleasure, represented by a tornado full of sharks eating people who thought they were safe on dry land.

Which brings me to Malignant. It’s a film that lacks a solid, Sharknado-style hook, but it does have director James Wan, the co-creator of torture-porn progenitor Saw and the guy who made the warmed-over Exorcist vibes of The Conjuring into a billion-dollar franchise. Kudos to him for trying something fresh, but what, exactly, is the hook for Malignant? Wan knows how this works; Saw is a trashy film about watching people saw their own limbs off. Turns out, looking for the hook is part of the hook! Checkmate, Sharknado!

Madison Lake (Annabelle Wallis) is a pregnant woman in an abusive relationship with her husband Derek (Jake Abel). She desperately wants to have a baby, but she’s had three miscarriages, for which Derek blames her. During one particularly terrible argument, Derek slams Madison’s head against the wall, and she locks herself in their bedroom. While he’s sleeping off his drunk on the couch, a killer appears and stabs him in the head. When Madison awakes, she sees her husband has gotten what he deserves and is then attacked by the mysterious, hirsute killer, who looks like Cousin Itt joined Ministry in the mid-’90s.

When Madison wakes in the ICU, her sister Sydney (Maddie Hasson) informs her that she has lost yet another baby. Enter the FBI (or the police or some other law enforcement body. Whatever. Malignant DGAF) in the persons of Shaw (George Young) and Moss (Michole Briana White). The investigative team has doubts about Madison’s explanation as to how her hubby got a chef’s knife in his cranium. Sydney sets out to prove Madison’s innocence.

I could go on about the plot, but it’s not going to help it make sense. There’s a mystery surrounded by red herrings — but is it really a red herring if the writer has no idea what’s supposed to be happening? Malignant seems like it’s pasted together from leftover scenes and gags cut from better movies. Sydney seems to be a refugee from a sitcom. Madison lives in a creepy old Victorian house in Seattle that really should be haunted but isn’t.

And yet, I kinda liked it because it doesn’t give a fuck. Sharknado rules are in effect. Wan knows what he’s trying to do — create some gonzo horror scenes — and he does it. When you stop rolling your eyes, the stuff on screen looks pretty badass. There’s something to be said for a movie that knows what it wants to be, and fully becomes itself — even if its true form is pretty stupid.

Categories
Politics Politics Feature

Slicing and Dicing Tennessee’s Political Districts

The most recent rumors coming out of Nashville, unsurprisingly, have to do with the matter of redistricting. The talk is mainly on the part of the state’s Republican officeholders, who for years have enjoyed control of every statewide office that counts, including a supermajority of the seats in both chambers of the legislature.

So hard and fast is GOP domination of the General Assembly, and so notable is the continuing population surge in the suburban “doughnut” counties surrounding the state capital of Nashville that the Republicans hope to gin up their numerical domination even further.

Corresponding with the rising population figures in areas of metropolitan Nashville already in Republican hands is the simultaneous population drain in districts still held up to this point by Democrats, especially in Shelby County, where the county seems certain to lose a seat apiece in state Senate and the state House.

Where the Republicans hope to show some real potentially game-changing ambition is in the area of congressional redistricting. For the last several years they have possessed seven of the state’s nine congressional districts, failing to gain only the urban areas of Memphis and Nashville, Districts 9 and 5, which have been represented by Democrats Steve Cohen and Jim Cooper, respectively.

Although redistricting efforts are technically proceeding under the aegis of a bipartisan commission of legislators, the group, like the legislature itself, is heavily dominated by Republicans, and the GOP’s word will hold corresponding greater sway.

Republicans involved with the process are said to be giving serious consideration to a slice-and-dice formula for Metro Davidson County’s District 5, the bulk of which, at present, consists of Nashville’s urban core and has been as dependably Democratic for Cooper as it was for his predecessor, Bob Clement, and had been for previous Democrats as far back as historical memory stretches.

Various GOP proposals currently being looked at reportedly involve splitting the Nashville urban core into several longitudinal slices, each of which could be paired with a generous portion of the surrounding and overwhelmingly Republican suburban “doughnut” areas, giving GOP contenders strong chances of prevailing in any or all of the newly configured districts.

The demographics and geography of Memphis and Shelby County make a similar reapportionment virtually impossible in this end of the state. Cohen is virtually assured of a Democratic voting base in any potential redistricting of the 9th, but the GOP strategy, if successfully implemented, could make him the sole Democrat representing any area of the state in Congress.

Democrats — and some Republicans — have cautioned that the slice-and-dice strategy could backfire and that several of the potential new hybrid districts to be carved out of pieces of Nashville could turn into politically competitive urban/suburban areas in the same way that so much of Atlanta’s adjacent suburbs did in the 2020 election — and in the same way that Tennessee House of Representatives District 96, spanning part of Memphis and Germantown, has done in the last two election cycles, electing Democrat Dwayne Thompson to what had been a dependably Republican seat.

Categories
Letter From The Editor Opinion

Riding the News Cycle Rollercoaster

As I type these words, it’s Tuesday morning, September 21st. I’ve made several false starts on this column, looking over what I’ve written and deciding to start over.

I had hoped to use this space to acknowledge some high points for Memphis over the past week or so. I’m sure we could all use a moment to celebrate, and I don’t want to become one of those people who spouts anger or doom-and-gloom on a weekly basis.

The three-day mission of Inspiration4 marked the first all-civilian flight to orbit the Earth, and one of the crew was Hayley Arceneaux, a former patient of St. Jude Children’s Research Hospital and current St. Jude physician assistant. The mission raised $210 million for St. Jude. If that’s not something to celebrate, I don’t know what is.

In other good news, the University of Memphis Tigers beat the Mississippi State Bulldogs at the Liberty Bowl last Saturday. I don’t know much about football, but people seem pretty excited about that turn of events. Go Tigers!

Also last weekend, I drove past the Luciann Theatre on Summer, its marquee lit up and glowing. The Luciann is the as-yet-undecided business making its home in the former site of the Paris theater, itself the former site of the former Luciann Theatre. Whatever confusion with names — or what the building’s eventual use will be — is, to me at least, secondary to the knowledge that a cool, old building in a too-little-celebrated part of town will be put to use instead of being torn down. William Townsend, the Luciann’s owner, discusses potential options for the space in a great Memphis Business Journal article, published last summer, by Jacob Steimer.

Memphian Carmeon Hamilton’s Reno My Rental premiered on discovery+ and HGTV on Saturday, September 18th, and seems to be getting a lot of well-deserved attention. I hope the show brings Hamilton all the support and success.

Finally, philanthropists Hugh and Margaret Jones Fraser and the Carrington Jones family of Memphis donated 144 acres to T.O. Fuller State Park.

So, yes, that’s all good news, and I think we should all take a moment to celebrate it.

But the news this morning is not so good, and I felt a little sick to my stomach trying to will the bad to the back of my mind in order to write more about the celebration-worthy successes I’ve mentioned above. Images have surfaced depicting U.S. Border Patrol agents chasing and apparently whipping Haitian migrants at the U.S.-Mexico border. They are not pretty pictures. Men mounted on horseback seem to snarl at the barefoot men and women they tower over. It is as clear an abuse of power as I’ve ever seen, not to mention that it’s, put simply, inhumane. Seeking asylum is legal. It’s a basic human right, and it’s a foundational principle of this country. Or at least, we like to say it is.

The Department of Homeland Security has vowed to investigate. Meanwhile, Senator Marsha Blackburn has made hay, tweeting about the crisis, the security of the border, and that old standby, “The solution to ensure this doesn’t happen is to build the wall.”

I know that it’s how the political game is played, but there is something incredibly cruel about labeling human beings with nothing more than the clothes on their backs as “threats.” These are people, human beings. I don’t claim to have a solution, but pointing fingers at the U.S. immigration system when it’s time to fundraise without ever attempting to make it work for those who need it is no solution at all.

In other distressing news, The Tennessean’s Brett Kelman reports that Tennessee state government is recommending that the monoclonal antibody treatment for Covid be denied to vaccinated patients with the disease. This will not apply to vaccinated Tennesseans who are immunocompromised or immunosuppressed, which is one small mercy at least.

On the one hand, unvaccinated people who contract Covid are more likely to need that highly effective treatment. Of course, the surest way to prevent being hospitalized with a severe case of the disease is to be vaccinated. It reminds me a little bit of an unvaccinated friend who is helping several Covid-positive members of her church. “Don’t worry,” she said. “We’re taking precautions. We’re taking supplements.” Doubtless, those supplements are not approved by the FDA, but she refuses to take the Pfizer vaccine, which does have FDA approval. It does not make sense.

This week’s column has been a bit of a roller coaster, I know, but so has the last week. I hope we can all take a moment to acknowledge the good — and that it gives us strength to keep doing the work to make sure the good news is not ever in short supply.
Jesse Davis

jesse@memphisflyer.com

Categories
Film Features Film/TV Film/TV/Etc. Blog

Indie Memphis Youth Fest Awards Budding Filmmakers

Thirty-seven student made films screened in person and online last weekend during the sixth annual Indie Memphis Youth Film Fest, September 18th-19th.

“We have always been fortunate to have great, up-and-coming filmmakers in our Youth Film Fest. But this year felt particularly special because of the obvious challenges that were presented to these students over the last year plus,’ said Indie Memphis’ Director of Artist Development and Youth Film Joseph Carr at the virtual awards ceremony on Sunday. “It’s already hard enough to make a good film, but for these filmmakers to overcome everything that the world has thrown at them and remain committed to their projects is so deeply inspiring. The future of Memphis filmmaking, and beyond, is in great hands.”

The jury for this year’s festival was Berlin-based filmmaker Jon-Carlos Evans, Executive Director of the Seattle-based National Film Festival for Talented Youth Dan Hudson, and Kiwi Lanier of the Sidewalk Film Center + Cinema in Birmingham, Alabama. They awarded the Grand Prize to Paul Coffield for “The Lantern Bearer.” The award comes with a $500 cash prize. Coffield also shared the Crew Up Mentorship Audience Award with Asher Crouch, Nyx Love, and mentor Joshua Cannon for the film “Navesmire.”

“Touch”

Another dual winner was a favorite of both audience and professionals. “Touch” by director Georgia Carls took home both the $300 Memphis Youth Audience Award and a Special Jury Award worth $250.

“Attention Deficit”

The Jury Award for the Crew Up category, which applies to films created under the Youth Fest’s mentorship program, went to Rachel Ellis, Sam McElroy, Jacobian Taylor, and mentor Robert Bear for “Attention Deficit.”

Graham Whitworth

Graham Whitworth’s proposed project “Burning Bridges” was awarded a $5,000 package from VIA Productions, which includes services and equipment from the Memphis-based film and television production house which will be used to complete the director’s short film.

“The Pen Pal”

Anaya Murray’s film “The Pen Pal” earned her the Rising Filmmaker Award. Ethan Torres’s “Crumbling Down” won the Indie Youth Spirit Award, and the National Youth Audience Award, which gave $300 to a non-Memphis filmmaker, was awarded to “Home” by Michelle Saguinsin.

Janay Kelley, a Youth Fest alum who won the 2018 Grand Jury Prize and the 2019 Production Package, said the festival had changed the way she sees herself.

“Receiving the production package award impacted how I saw myself as a creator and as a filmmaker. One thing that I would like to say to you all [youth filmmakers] is that every single last one of you is a filmmaker now. You don’t have to wait until you get a big expensive camera — many of you have shot on your phones — you are a filmmaker now.

“Regardless if you’ve won an award or know all the filmmaking jargon, you will become an even better filmmaker in the future. As you build towards your artistic future make sure that you are centering and nurturing yourself as a person. When I first started making my films I was trying to make things that I thought other people wanted to see and not the films that I wanted to make. So, make sure that every time you are making art, that you are essentially doing it for yourself and that you are putting out the stories that you want to put out. These are the things that you are giving the world so treat them as a gift because you all are a gift.”

Categories
Uncategorized We Saw You

We Saw You: Random Shots

I have a stockpile of people photos I’ve taken around and about town. This was the original premise of “We Saw You” back in the day before I worked at the Memphis Flyer. Just photos of people. So, I’m going to do the same thing from time to time in addition to featuring parties, events, and stories.

Meg Bolton and Jonathan Wilfong at Catherine & Mary’s (Credit: Michael Donahue)
Brett Shaggy Duffee and Karen Carrier at The Beauty Shop restaurant (Credit: Michael Donahue)
Jahlon Hughes, Kendarius Love, Trai Gabbana in Overton Park (Credit: Michael Donahue)
NIck Boyce at the Green Beetle (Credit: Michael Donahue)
Katrice Bullock at “Snow Cones for Snow Leopards” at the Memphis Zoo (Credit: Michael Donahue)
Madelyn Moore and Miguel Pilcher at Antiques Warehouse (Credit: Michael Donahue)
Tennison and Shea Gabrielleschi at “Snow Cones for Snow Leopards” (Credit: Michael Donahue)
Reggie Crenshaw at “Real Men Wear Pink of Memphis” at Old Dominick Distillery (Credit: Michael Donahue)
Nancy Kresko and Leslie Gudehus at “Snow Cones for Snow Leopards” (Credit: Michael Donahue)
Kurt Mullican and Jackie Mau at Greys Cheese & Entertaining (Credit: Michael Donahue)
Aaron Sisco at Gibson’s Donuts (Credit: Michael Donahue)
We Saw You
Categories
News Blog News Feature

Voting Begins for Tennessee’s New License Plate Design

Voting is now open for a new design of the Tennessee state license plate. 

Tennessee plates are updated and redesigned every eight years, if funds are approved for it by the Tennessee General Assembly. 

“As Tennessee celebrates 225 years of statehood, it’s a perfect time to redesign our license plate and feature the tri-star that represents each of our state’s unique grand divisions,” Tennessee Gov. Bill Lee said in a statement. “We welcome all Tennesseans to cast their vote and play a role in choosing this piece of our state’s history.”

State law requires each plate to carry the words “Tennessee,” “Volunteer State,” and “tnvacation.com.” State law also allows Tennesseans a plate option with the words “in god we trust.”

American Atheists, the Mississippi Humanist Association, and three nonreligious Mississippians sued state officials over license plates in June. New license plates issued there in 2019 carry the state’s new seal, which contains the words “in god we trust.”

Car owners in Mississippi can pay $32 for a license plate without the words “in god we trust.” The lawsuit by American Atheists says ”this amounts to a fine.”

Voting on Tennessee’s new license plate begins Monday (today) and ends on Monday, September 27th. The winning design will be announced this fall and available to the public in January 2022. 

Categories
News News Blog

CMI to Release Book by Bruce VanWyngarden

Contemporary Media, Inc., the parent company of the Memphis Flyer and Memphis magazine, announced today that it is publishing a collection of the writings of Bruce VanWyngarden, who was Flyer editor from 2001-2021. The book is titled Everything That’s True.

CMI CEO Anna Traverse Fogle: “Flyer readers may remember the time we announced that Bruce VanWyngarden planned to retire. We ended up keeping him in the editor’s chair for 14 months after that announcement. When you are lucky enough to publish a writer like Bruce, you don’t let him get away if you can help it. Bruce writes about Memphis and about humanity with a deftly calibrated wisdom; no one can blend grace, generosity, and acerbic wit better. When Bruce did (sort of) retire, earlier this year, he immediately went to work compiling Everything That’s True. I’m grateful that Contemporary Media had the chance to publish this remarkable collection, and more so that my fellow Memphians will be able to linger on Bruce’s words and wisdom.”

The book consists of selected columns and features from the Flyer and Memphis magazine, and is illustrated by noted Memphis artist John Ryan. The publishing date is officially October 22nd, but advance orders for signed and personalized copies are being taken now at Memphis magazine’s Shopify site.

Bruce VanWyngarden
Categories
Music Music Blog

Listen Up: Nathan Woloshin Goes Solo

Nathan Woloshin went solo for his new album, Natey Woloshin.

Woloshin, 29, lead singer/guitarist/synthesizer of the progressive jazz/rock band Sunweight, says this is his second solo album. His first one was released in 2018.

“On my first one I was doing a lot of production, a lot of beats and instrumentals for some rappers,” he says. “I was doing some side project stuff. And then I just didn’t want to rely on other people to do the writing, so I just just took matters into my own hand and started singing on beats I made myself — my own beats or beats rappers didn’t want to use — and started writing my own song lyrics.”

He began his latest album in 2020. “Sunweight had just gotten back from touring and the world was kind of shutting down. We took a little bit of a break, a two-to-three-month break. In that time I was really writing a bunch of songs and recording them at my house. And, eventually, it turned into this record.”

Natey Woloshin is “more of an introspective view of my personal life. The things I see and do and go through day to day versus the Sunweight stuff, which is more kind of concept writing, where I write about certain things that don’t pertain to me.”

And, he says, “This is actually the first record I’ve ever done where I wrote, recorded, and mixed everything by myself.”

He describes Natey Woloshin as indy. “I guess my version of an indy pop record. It’s elements of my style of music. So, it’s jazzy. It’s got some guitar rock work. And it’s got some hip-hop elements to it.”

As for the album name, Woloshin says, “That’s the name my mother and father have called me since I was a boy. Up until now it’s been more of a name that people close to me call me.”

Woloshin, who goes by “Nate” to his close friends, says the title reflects the album. “This record was really personal as far as song lyric content.”

Describing “Chicken Wire,” Woloshin says, “Chicken wire gets all tangled up and can be a mess. So, it’s likened to my personal feelings tied up on certain views, certain issues.”

And remember, he says, “I was writing all these songs while we were in the middle of the pandemic.”

“’Chicken Wire,’” he says, “was hard to make just because of all the instrumentation that was involved with it. I just did a lot of weird, different things with my piano and keyboard and things like that. I was running an electric piano through a fuzz pedal and a delay pedal and messing with my synthesizer through it all.”

“Whetherman,” the last song on the album, was the “easiest song” for him to write, Woloshin says. “That is about not believing everything you see kind of deal.

“It’s dealing with pandemic stuff. We’re stuck inside. We’re stuck with what we’re dealt. You have to deal with what you’re given.”

“Forbidden Tangerine” is “wanting something you can’t have or seeing it. It’s like being in this pandemic again. You want to go outside and do things and you can’t. People are saying you can’t do these things and you want do these things. One of the lyrics is ‘Tastes sweet to me, forbidden tangerine.’”

Other songs are more upbeat.

 “Hill Finder” is about a vacation that Woloshin and his fiancé, Meredith Potter, took to the mountains in Arkansas. “I guess it’s like a love song of sorts. It’s an upbeat kind of song. It’s got acoustic guitar in it, so it’s nice and mellow. And it’s got sort of hip-hop elements as well with the drums.”

“Tiger Walk” is about “living on the streets of Memphis, Tennessee my entire life. Me and my friend, Juice, walking in ditches, taking pictures of anything, getting rocks thrown at us by little kids while we were down there. These are everyday things I used to do and still do.”

Potter did the art work for the album and single covers to “Hill Finder” and “Tiger Walk.”  The album cover shows an angler fish. It fits perfectly with the record, Woloshin says. “From that cover, it almost looks like a rock album or a metal album.  And when you listen to it, it’s something completely different. It’s more artistic. More personal. I feel like the angler fish is a perfect depiction of that. An angler fish has the light on it ‘cause deep down in the ocean the light attracts prey. They think it’s food or something. It’s deceitful.

Woloshin shot and directed the “Chicken Wire” video. “Half of the video is a one camera angle shot of me getting my face painted by a person off camera. So, you can only see their arms. I used filming tricks and messed with the speed of the audio to get a fast forward effect. It looks like it’s fast forward, but my mouth is in sync with the lyrics.” 

And, he says, “The other half is is just continuing on with the introspective feel of the album.” He includes video filmed at “touring shows, hanging out with family. A bunch of video footage of stuff like that.”

Woloshin knew when he had enough songs for the album. “I was just done with it.”

It was time to move on. “We had really started going hard on the Sunweight record, so I didn’t have time to do that anymore. And we were coming back to work and things like that.”

The new Sunweight album will be “an epic that consists of five separate parts. A 26-minute song. The album is just one song. We love bands, especially bands like Yes and The Mars Volta and Frank Zappa. We want people to really embrace our music and sit down and listen to it and absorb it.”

Songs today “keep getting shorter,” Woloshin says. “I wanted to go against the grain. Make a really long song that was really intricate and meant a lot to us. And I honestly think it’s the best material we’ve ever written.”

Making another solo album isn’t out of the question, Woloshin says. “I love doing it. I probably will do it again depending on the time that I have and stuff like that. It’s therapeutic for me. I have to make music or I’ll go insane.”

To watch the “Chicken Wire” video, click here:

Categories
Film Features Film/TV Film/TV/Etc. Blog

Music Video Monday: “So Grateful” by Chinese Connection Dub Embassy

Chinese Connection Dub Embassy is back with a new song, and a new collaborator. Joseph Higgins takes the lead on the Memphis reggae powerhouse’s “So Grateful.” Ryan Peel, who has been behind the console for the band since the death of founder Omar Higgins, once again shows off his smooth production philosophy. This time around, the Connection is joined by TIAH, and the singer brings a blast of charisma with each verse.

The video, which will make you want to go on an island vacation, was shot and cut by David Yancy III. “So Grateful” is available on the Crew Vibes album, currently available for your grooving pleasure on Bandcamp.

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

Categories
Sports Tiger Blue

Tigers Salute Bruce, Beat Mississippi State

All it took was a 94-yard punt return, a 51-yard field goal, and a final defensive stop on a two-point conversion attempt. Such is Memphis Tiger football these days. Bring a team to the Liberty Bowl from the hallowed SEC — in Saturday’s case, the Mississippi State Bulldogs — and that team will find hostile surroundings and an opponent built on the premise that it has been, is now, and will always be the underdog. (Pardon the somewhat-pun.)

In beating the Bullies, 31-29, in front of 43,461 fans, Memphis improved to 3-0 on the season, extended its home winning streak to 17 games (fourth-longest current streak in the nation), and ended a 12-game losing streak (dating back to 1993) against its longtime regional rivals from Starkville. Bonus fun? The Tigers honored Isaac Bruce — the first Memphis alum to gain enshrinement into the Pro Football Hall of Fame — at halftime. Bruce, it should be noted, played for the last Memphis team to beat Mississippi State.

Football in this town hasn’t always been this exciting, this much fun. The last time Mississippi State took the field at the Liberty Bowl — almost precisely a decade ago — they had a lot of fun at the expense of the home team. Ranked 20th in the country, the Bullies obliterated the Tigers, 59-14. If you were to mark a historic low point for the Memphis program, it may not have been September 1, 2011, but let’s say that was another slip toward the low point, the 2011 season ending with a 2-10 record for the Tigers (3-21 in two years under coach Larry Porter).

The rise since 2011 has been epic. Three Top-25 teams, a pair of first-team All-Americans now playing in the NFL, an appearance in the Cotton Bowl. Seven straight 8-win seasons, going on eight. When the home team found itself down, 17-7, at halftime, the feeling was more “how will the Tigers come back?” than “here we go again.” As coach Ryan Silverfield emphasized after the game, “There’s no panic in this team.”

About that 94-yard punt return. I’ve watched hundreds of football games, and I’ve never seen anything like it. Midway through the fourth quarter (with Memphis up four points), a pair of Bulldog coverage men touched the football inside the Tiger 10-yard line . . . but neither downed the ball. No official blew a whistle to end the play. Calvin Austin III — the Tigers’ senior receiver from Harding Academy — picked up the ball (at the feet of the Bulldog defenders) and sprinted 94 yards down the right sideline to give Memphis a 28-17 lead. It was a very athletic play on the part of Austin, but it was also an extraordinarily smart play. More than 43,000 people considered that play over before it was. Calvin Austin turned it into a play none of those people will ever forget.

When kicker Joe Doyle split the uprights from 51 yards to extend the Tiger lead to eight points (31-23) near the game’s end, it felt like another signature victory, and the first for Silverfield. The Bulldogs followed with a touchdown that looked way too easy, but the Tigers held on that two-point attempt, making the day, indeed, one for the history books.

The Tiger program has grown by leaps and bounds over the last decade, but don’t confuse that with losing connections to a proud past. Bruce embodied that cross-generational pride when he walked to midfield at halftime with his yellow Hall of Fame jacket (not a drop of rain on this otherwise soggy Saturday). And consider linebacker J.J. Russell making a career-high 14 tackles on a day the Liberty Bowl crowd observed a moment of silence for the late Danton Barto (a man who tackled more foes than anyone else in U of M history). That’s the kind of magic — the kind of moments — Memphis football has come to deliver. Expect more. “We’re not satisfied,” emphasized Silverfield. “First thing we’ll talk about tomorrow is the work we need to do.”