Categories
Food & Wine Food & Drink

Sweet Magnolia Gelato Co. Coming to Crosstown Concourse

Hugh Balthrop is opening a new Sweet Magnolia Gelato Co. location in April in Crosstown Concourse.

“I’m taking the space that was Area 51 [Ice Cream] next to French Truck Coffee,” Balthrop says.

He’s also working on a children’s book about gelato. Adults might want to read it, too. “When I first got into this business [I had to] and to this day, I still explain to people what gelato is.”

Gelato is “just ice cream; but it’s denser because it has less air/overrun than traditional American ice cream.”

When he decided to open a business in Clarksdale, Mississippi, Balthrop didn’t want to get into an oversaturated market like coffee or breweries. He wanted to take “the road less traveled.”

Balthrop, who now lives in Oxford, Mississippi, features more than 500 Sweet Magnolia Gelato Co. flavors. He currently is offering an old favorite, Lotus, which is based on the gelato served at the old Justine’s restaurant. He discovered it years ago in a newspaper article. “My relationship with Memphis — it’s my other home … I started talking to some folks, particularly older folks that are familiar with Justine’s. They thought it was a great idea, so I recreated it.”

Lotus, which is only available in Memphis at South Point Grocery, is “lemon-based with a little lemon zest. And toasted almonds. It has almond essence as well. It’s a unique taste.”

Balthrop originally owned First World Gallery, which he opened in 1995 in Washington, D.C. “It was art from the African diaspora.” He closed his gallery, and he and his wife, Dr. Erica Balthrop, moved to Chicago, where she could finish her residency. They then moved to Clarksdale, where his wife, as a child, spent summers with her grandparents.

Balthrop became a “stay-at-home dad” and did the cooking for their three children. “My tradition was to wake them up with mango, pineapple — tropical fruit. They liked it.”

Around 2011, Balthrop, who “always had this entrepreneurial spirit,” enrolled in the annual Penn State Ice Cream Short Course, where he studied ice cream and the science of ice cream. He also studied under a gelato master at The French Pastry School in Chicago.

Balthrop opened his first gelato business in a 2,000-square-foot industrial building in Clarksdale. He got the idea for his business name while holding hands with his daughter on a walk. “It was a breezy day. We had a bunch of magnolia trees, and at some point I just got a whiff of the magnolia flower.” Everything came together. “It hit me like a ton of bricks.”

Balthrop began creating flavors. He wanted “something Southern, either banana pudding or watermelon or blueberry.” He used “local ingredients from local farmers. Anything I could get my hands on … honey, sorghum, pecans.”

Balthrop then began selling. “Initially, what I did was start knocking on restaurant doors. I was like, ‘Take these samples, just give me an honest opinion. That’s all I require.’” If they didn’t like a flavor, Balthrop “went back to the drawing board. That’s what we did and what we do to this day.”

When the Clarksdale building was sold, Balthrop and his family moved to Oxford, where the manufacturing business and his other retail store are now located.

Karen Carrier, whose restaurants include The Beauty Shop Restaurant, recently sent Balthrop an order for 20 gelatos. She came up with most of the flavors, including Cinnamon Mexican Chocolate Chili Chunk and Jamaican Rum and Mango Vanilla. He got the order on a Monday and he delivered the gelato, some of which he’d never made before, on Friday.

Balthrop’s gelato is also available for shipping, and as for more retail stores, he says, “We might have another Downtown presence.”

And Balthrop does have a nickname. “The Gelato Man,” he says, with a laugh.

Sweet Magnolia Gelato Co. is at 1350 Concourse; (662) 313-6551.

Categories
Music Music Blog

Bob Dylan’s Haunted Songs at the Orpheum

Bob Dylan’s appearance at the Orpheum Theatre on Saturday felt momentous even before we arrived. Something about the confluence of our tentative return to public life, his own dogged determination, and the historic upheavals we’re all experiencing lent his appearance a greater significance than ever.

Perhaps that’s why the full house spontaneously rose to a standing ovation as soon as Dylan and his band took the stage. And though Dylan has never varied from a fixed setlist on recent tours, opening with the blues shuffle of “Watching the River Flow” was especially appropriate for a gathering in a classic theater at the foot of Beale Street, just a stone’s throw from the Mississippi.

It was especially moving if one paused to reflect that the Orpheum is still standing because of the efforts of musical auteur Jim Dickinson and other activists, who’s efforts prevented the destruction of the theater in the ’70s. Years later, when Dylan’s Time Out of Mind won a Grammy, he would name check the native Memphian in his acceptance speech. “This is for my brother, Jim Dickinson. He lives in Mississippi.”

Their common roots were highlighted with an opening tune dating back to the early ’70s, and the prominence of piano (Dickinson’s instrument of choice) in Saturday’s performance. Dylan hasn’t touched a guitar onstage for some time now, but hearing him play only piano was a first for this listener. (The last time I saw him was at Mud Island in the ’90s). It seemed entirely appropriate that Dylan’s instrument was neither some digital keyboard nor a grand piano, but a barrelhouse console piano with its back to the audience. Dylan spent the night standing at it with only his head and shoulders visible. But, given that he would occasionally step out stoically from behind it to accept applause, that was enough.

The band, with drummer Charlie Drayton, guitarists Doug Lancio and Bob Britt, multi-instrumentalist Donnie Herron, and longtime bassist Tony Garnier, would often noodle about in the key of each upcoming song, especially on the slower numbers. This sometimes made the quieter pieces seem to emerge from a cloud of notes, as if coalescing out of stardust. It also emphasized the living spontaneity of the performances.

While most of the set was drawn from his 2020 album, Rough and Rowdy Ways, the second song, “Most Likely You Go Your Way and I’ll Go Mine,” also harked back to Dylan’s far past, with a far more ethereal approach, the band tentatively easing into a quieter treatment that was no less powerful for it.

They took quite the opposite approach a few songs in, when Dylan launched another classic track, “When I Paint My Masterpiece,” with a deft blues harp boogie. That, too, benefited from the new arrangement, and suited the proximity of Beale Street to a T.

The songs from his latest album were no less enthusiastically received. The steadfast blues shuffle/march of “False Prophet” was so powerful that the crowd rose to its second standing ovation as the music drew to a close, with Dylan stepping out to receive the adulation. His grim demeanor only served to highlight the gravitas of the lyrics. This singer was clearly in the zone.

“Black Rider,” while not as spare as the album version, showcased the band’s more subtle side, sans drums. And when they kicked off the next tune with a groovy boogie riff, many did not realize it was the 1967 gem, “I’ll Be Your Baby Tonight.” The strong riffs underpinning “Gotta Serve Somebody” were similarly disorienting, but once you realized what was happening, the old songs took on added power, and, in the latter case, led to yet another standing ovation.

The one glimmer of joy in Dylan’s demeanor came during the lilting waltz, “I’ve Made Up My Mind to Give Myself to You.” The tender, reflective tune had a dramatic silence at one point, promptly filled by a fan yelling, as if on cue, “We love you, Bob!” As Dylan resumed singing, he let out an irrepressible laugh.

The songwriter’s Frank Sinatra fascination bubbled to the surface in the form of “Melancholy Mood,” a revelation of sorts in the loose but focused energy brought by the band. And then he brought it close to the heart of Memphis with the quiet “Mother of Muses.” Applause and a shiver of recognition rippled through the crowd as Dylan sang:

Sing of Zhukov and Patton and the battles they fought
Who cleared the path for Presley to sing
Who carved out the path for Martin Luther King
Who did what they did and then went on their way
Man, I could tell their stories all day

After “Goodbye Jimmy Reed,” Dylan introduced the band, name checking Sam Phillips along the way, and then drew the night to a close with the magnificent “Every Grain of Sand.” The crowd tried to rally for an encore, but most knew that the evening was complete. Dylan was done, and so were we, satisfied to have seen one of the 20th Century’s greatest visionaries make his work, both old and new, spark with fresh relevance today.

Setlist from April 9, 2022:
Watching the River Flow
Most Likely You Go Your Way and I’ll Go Mine
I Contain Multitudes
False Prophet
When I Paint My Masterpiece
Black Rider
I’ll Be Your Baby Tonight
My Own Version of You
Crossing the Rubicon
To Be Alone With You
Key West (Philosopher Pirate)
Gotta Serve Somebody
I’ve Made Up My Mind to Give Myself to You
Melancholy Mood (Frank Sinatra cover)
Mother of Muses
Goodbye Jimmy Reed (followed by band introductions)
Every Grain of Sand

Categories
Fashion Fashion Feature

Reno Warmath’s Unaesthetic Designs

Though he now resides in Los Angeles, California, Memphis-born musician and designer Reno Warmath says his hometown was an influence on his creative life. Like many of the Bluff City’s creative types, he is not content to confine himself to only one art form. He is a designer, a musician, and an entrepreneur, and his newest work — Renaissance art-inspired fashion — is available at unaestheticlosangeles.com.

I spoke with Warmath to find out about his fashion company Unaesthetic’s inaugural release, the “Fake Friends” collection. 

Memphis Flyer: Tell me a little bit about yourself. Are you from Memphis?

Reno Warmath: Yes, born and raised! My name is Reno Warmath and I’m a graduate of Christian Brothers High School and the University of Memphis Music Business program. I left Memphis after graduating college and ended up in Los Angeles pursuing a career in the entertainment industry. Since coming to L.A., I’ve had the opportunity to work on shows like For All Mankind (season 1, Apple TV) and Raised by Wolves (seasons 1 and 2, HBO Max) as well as starting a few projects of my own, one of which being Unaesthetic. 

We’ll get to Unaesthetic in a bit, but first, have you always been interested in fashion? 

The idea of being involved in the fashion world didn’t really come on my radar until my 20s. I was always interested in graphic design and creating visual media, but I never thought these skills would translate over to fashion. It was really when I started becoming aware of what Virgil Abloh was doing with OFF WHITE and seeing what other brands like Born and Raised or Palace were creating that I realized this space was for me. In my eyes, it’s more about creating compelling media to accompany the clothing. Designing clothes is just the first step — how can I use my brand to tell a story, maybe through photos, cinematically, or even live events? We live in a time where anyone can get into the fashion game. It just takes the courage to put your ideas on the table and see what you can create.

I know you’re also a drummer. Has making music influenced your art-making and fashion ethos? 

Believe it or not, I’ve been playing drums since the age of 1. Drumming has just become a part of who I am and it definitely has an effect on everything I do creatively. I think the main thing I’ve learned from playing drums all those years is that you only get out what you put in, and I’ve applied that mindset to my brand and all of my creative ventures. Drumming also gives me an outlet to free my mind and just reset my thinking. I’m definitely the most creative designer after a few hours of playing the drums.

The “Fake Friends” limited release is inspired by the Kiss of Judas by Giotto di Bondone. (Credit: Reno Warmath)

Can you talk a little bit about what beauty and aestheticism means to you? 

Fashion and beauty have been, for such a long time, synonymous with one another, but I think traditional beauty is not what it was a decade ago. Beauty today is not a standard, it is more about individualism and the idea that every person has their own unique beauty or style. This concept has given birth to so many new streetwear brands that all have their own identity and are being taken seriously in the fashion world. Streetwear brands have runway shows now, it’s wild. 

How did you get linked up with Unaesthetic? 

The idea to create Unaesthetic came to me when reading a book called Philosophies of Art & Beauty: Selected Readings in Aesthetics from Pluto to Heidegger. The word “unaesthetic” got stuck in my head. I knew immediately I wanted to create a brand around this concept. I had already been toying around with repurposing Renaissance art works into modern designs but I had no real outlet for the creations. It took about a year and a half of research into the manufacturing side of creating a clothing brand and actually developing a visual identity for the brand before I decided to launch. 

Can you tell me a little bit about the “Fake Friends” collection?

The “Fake Friends” collection is Unaesthetic’s inaugural release with the main goal of establishing the brand’s concept. Modernized Renaissance street wear. I had a hard drive full of design ideas to choose from, but I felt the Kiss of Judas design really conveyed everything the brand was about. It was a play on the Renaissance period, religion being a major undertone, and presented the brand’s visual style being the very cryptic, Greek/Roman re-revival feel, so to speak. The rest of the collection consists of staple pieces featuring the brand’s Angel Logo. While the staple pieces will be revisited in future collections, the design-centric pieces will not be reproduced. 

Why did you gravitate toward the Kiss of Judas

My design workflow usually starts with me sifting through tons of Renaissance artwork and setting aside the ones that visually stand out to me. I try to look for pieces that I know I can extract a lot of various elements from. I then try to find some ironic meaning behind the moral of the work. For the Kiss of Judas, the concept of “Fake Friends” really jumped out and I thought that would be an interesting take. The painting by Giotto [di Bondone] alone tells such an interesting story. The subjects, Jesus and Judas, feel almost isolated while the chaos is circling around them. Giotto uses simulated motion and the bunching up of characters to make this scene feel very claustrophobic and chaotic. I loved the idea of isolating the central characters and placing them in a more serene environment as if they are floating in time and space. It’s a juxtaposition that you would only get by connecting my design to the original artwork.

What made you want to utilize Renaissance art in the collection?

I’ve always been drawn to the artwork of the Renaissance era. The work that came out of that specific area at that specific time is really just culturally fascinating. Every time I approach a painting to begin work I always dive deep into the historical context of that work and look for ways to tie it into my redesign. There is so much backstory to every piece of art from this era and I’m constantly learning new things when working on these designs. I really encourage people to take a look at artsandculture.google.com — it’s amazing the amount of data that has been digitally immortalized from this period. 

Where would you like to see your fashion go in the future?

Fashion is just the beginning. Unaesthetic is a cluster of ideas all centered around a theme. It’s not just a clothing brand, but a vessel for creativity that happens to start with clothing. The end goal, who knows. I’m currently working on narrative-driven cinematics for the brand as well making a push in the live event space. At the end of the day, I want to see how far I can push this thing. The more boundaries I can break, the better.

Is there anything else you would like to mention?

I would love to give a big shout out to Bad Timing (549 S. Highland Street, Memphis). Those guys are really cultivating the streetwear scene in Memphis and it’s awesome to see. If you’re in Memphis that shop is a must stop. I’m also working with another L.A.-based brand, 1-off Amore, founded by a fellow Memphian, AD. We are planning a one-of-a-kind runway show this summer here in Los Angeles. More information will be released via Instagram @unaestheticlosangeles.

(Credit: Reno Warmath)
Categories
Film Features Film/TV

Music Video Monday (on Tuesday): Frog Squad Live

Technical difficulties delayed this week’s Music Video Monday until Tuesday, but we’ve got a special treat for you today. Memphis jazz ensemble Frog Squad recently played the Crosstown Arts Green Room. The group, which consists of saxophonists Chad Fowler, Hope Clayburn, Franko Coleman, and Aaron Phillips, keyboardist Cedrick Taylor, bassist Khari Wynn, drummer Jon Harrison, and the bandleader, guitarist David Collins, loves to reset the music of composers from across the ages to their psychedelic free jazz mood. For this performance, it was eccentric French composer Erik Satie. Memphis Flyer Music Editor Alex Greene said, “One might compare it to the finer instrumental work of Frank Zappa, or perhaps the wilder, latter day efforts by Gil Evans, but ultimately it was its own sound. There were even lighthearted moments, as when the horn section’s oom-pah-pah dynamics were amplified by all the players doing knee bends in time to their parts. And an intriguing bit of futurism was added by effects pedals that Clayburn and Phillips played through, not to mention some fine synth renderings by Taylor.”

Justin Thompson filmed the performance for Crosstown Arts, with music mix provided by engineer Daniel Lynn and mixer Shelby Edwards. You can see the entire performance here, or if you just want a beautiful 7-minute jazz respite from the world, you can watch “Gnossienne No. 3” below. Frog Squad are currently crowdfunding their first full-length studio album Special Noise, so if you like what you hear, drop a few coins in their Indiegogo.

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

Categories
News News Blog News Feature

Transgender Athlete Bill Heads to Governor’s Desk

Tennessee moved a step closer Monday to pulling state funding from K-12 public schools if they allow transgender youth to participate in girls sports.

A bill that cleared the state Senate by a vote of 26-5 attaches financial penalties to a 2021 law that prohibited trans athletes from competing on middle and high school teams based on their gender identity. The legislation passed the House last month.

Republican Gov. Bill Lee, who called last year’s law a step “to preserve women’s athletics and ensure fair competition,” is expected to sign the funding measure into law.

Several civil rights groups have since challenged the 2021 ban in court in a case that is tentatively set for trial next year.

A similar bill that would ban transgender athletes at the college level from participating in women’s sports in Tennessee also cleared the Senate on Monday. That measure is awaiting action before a House finance subcommittee.

Rules governing transgender athletes returned to the spotlight this year when University of Pennsylvania swimmer Lia Thomas, a trans woman, began smashing records.

In January, in line with the U.S. and international Olympic committees, the NCAA adopted a sport-by-sport approach for determining participation by transgender athletes.

Sponsors of both bills in Tennessee’s GOP-controlled legislature argued transgender females — because their assigned sex at birth was male — are naturally stronger, faster, and bigger than those assigned female at birth, giving them an unfair advantage in sports.

“This legislation is all about setting a level playing field for all of our female athletes so they have fair competition,” said Sen. Joey Hensley, a Hohenwald Republican who co-sponsored the K-12 bill with Rep. John Ragan, a Republican from Oak Ridge.

Opponents said the legislation is about discrimination, not fairness, and is unnecessary and even dangerous.

“There’s no indication this is a problem in Tennessee schools, but … there are kids who feel targeted by this legislature,” said Senate Minority Leader Jeff Yarbro, a Democrat from Nashville. “And these are oftentimes kids who are struggling with a lot that most of us don’t understand and oftentimes are more likely to be at risk of committing suicide than anybody else.”

According to an analysis by The Associated Press, Tennessee passed more laws last year aimed at transgender people than any other state in the nation. One law, for instance, puts public schools at risk of losing lawsuits if they let transgender students or employees use multiperson bathrooms or locker rooms that do not reflect their assigned sex at birth.

Marta W. Aldrich is a senior correspondent and covers the statehouse for Chalkbeat Tennessee. Contact her at maldrich@chalkbeat.org.

Chalkbeat is a nonprofit news site covering educational change in public schools.

Categories
News News Blog News Feature

DOJ Sues Methodist, West Clinic on Kickback Allegations

Methodist Le Bonheur Healthcare (MLH) paid for unlawful kickbacks from the West Clinic for patient referrals, according to a lawsuit filed Tuesday by the U.S. Department of Justice (DOJ), but the Memphis companies say the allegations “mischaracterize” the relationship.  

The DOJ began investigating the claims in 2017, after Jeffrey H. Liebman, the former president of Methodist University Hospital, came forward as a whistleblower. He was joined in the whistleblower suit in 2019 by Dr. David M. Stern, M.D., who served in leadership roles at Methodist, West Clinic, and the University of Tennessee Health Science Center (UTHSC).

In 2012, Methodist announced a “partnership” between the healthcare system and West Clinic. At the time, Methodist lacked a comprehensive cancer treatment service. The deal would allow West’s patients to get treatment at Methodist-owned facilities.  

The news release issued at the time said it was not a “sale” but a “novel partnership.” The two were “joining forces with Methodist to create a comprehensive, fully integrated cancer service for the benefit of Mid-South residents.” But, the DOJ said, Methodist “purchased substantially all of [West’s] outpatient locations.” This deal allowed Methodist to get more Medicare reimbursements, or more payments from the federal government for caring for Medicare patients. 

At the same time, Methodist made a $7 million investment in ACORN Research, a business in which West and its medical director, Dr. Lee Schwartzberg, had a personal financial interest, the DOJ said. This gave the parties involved the mechanism to move the kickback funds during the seven years of the agreement. The payments were “expressly” for services that were supposed to be — but were not — provided in the agreement. 

The DOJ said the entire “sophisticated business integration” helped to disguise the “unlawful kickbacks.”  The department said, “Methodist knowingly agreed to pay West millions of dollars in kickbacks for the revenues Methodist expected to, and ultimately did, realize from West’s referrals.”

The agreement lasted from January 1st, 2012 through December 31st, 2018 and continued even after Methodist knew the allegations were being investigated by federal agencies.     

“Methodist knowingly agreed to pay West millions of dollars in kickbacks for the revenues Methodist expected to, and ultimately did, realize from West’s referrals.”

U.S. Department of Justice

“As a result of the transaction, Methodist, which prior to the deal had no outpatient cancer treatment, was able to establish a new stream of income in the reimbursements for outpatient treatment that previously went to West,” the DOJ said in a news release issued Tuesday. “Methodist also realized a huge increase in referrals for inpatient services from West, which previously referred the bulk of its patients to Methodist’s competitors, including Baptist Memorial Hospital.

“By purchasing West’s outpatient locations, Methodist was able to bill Medicare not only for the facility and professional components of outpatient treatment but also for the chemotherapy and other drugs provided, for which Methodist could recoup a staggering discount in costs through the 340B Discount Drug Program, resulting in $50 million in profits to Methodist in one year alone.”

But Methodist officials rebutted the allegations Tuesday. the deal structure was created by “respected outside experts” who said the agreement reflected fair market value for the services. It will fight the government’s “allegations in detail in the appropriate legal forum.”

A statement from Methodist said, “Our payments were appropriate, and MLH received the services due under affiliation agreements. The government’s belated decision to intervene in the suit two years after it declined to do so has changed nothing about the case.

“We are proud that our partnership with West succeeded in creating an integrated cancer diagnosis treatment and surgical service that not only improved cancer care, but provided care where it was needed most, reduced health disparities and led to better patient outcomes for the Memphis and Mid-South communities.”

The matter is being investigated by the U.S. Department of Health and Human Services, Office of Inspector General.

Categories
News News Blog News Feature

Official: No ‘Skullduggery’ In School Board Race

Longtime Memphis-Shelby County Schools board member Billy Orgel has chosen not to seek reelection for his District 8 seat, a last-minute announcement that prompted Shelby County’s top election official to seek legal advice on whether to invoke an election reform law called the Anti-Skullduggery Act

The law, sponsored by U.S. Rep. Steve Cohen when he was a state legislator, says the deadline for candidates to qualify for an election must be extended if an incumbent withdraws from the race too close to the filing deadline. The law is meant to keep incumbents who are not interested in reelection from entering a race and then withdrawing, using their influence to discourage other candidates from competing.

Linda Phillips, the administrator of elections for the Shelby County Election Commission, said she consulted with four or five lawyers who “were unanimous in their beliefs” that the Anti-Skullduggery Act did not apply. Although Orgel requested a petition to run, he never submitted it, Phillips told Chalkbeat Thursday evening.

“Since no petition was filed, he was not a candidate; therefore, that law does not kick in,” she said, and the commission did not vote on extending the deadline.

Skullduggery, meaning dishonest or dishonorable behavior, is a term used in Tennessee politics to describe unethical election procedures.  In recent years, the law was invoked to question the process in a county commission race in Sumner County

Orgel said he pulled a petition to be a candidate in February, filled it out and had it in his car to turn in this week. But when he saw at least one other candidate had filed a petition for his seat, he said, he decided not to run for re-election. Orgel said it’s been an honor representing District 8 in East Memphis for 11 years, but he felt it was “just time” to resign.

“I think we made some great strides and we’ve done some wonderful things, from Superintendent [John] Aitkin, to [Dorsey] Hopson, and now Dr. [Joris] Ray, and I’ve enjoyed serving with them,” Orgel said Thursday. “None of these jobs are forever.”

Orgel, a Memphis native and East Memphis businessman, has served on the board since 2011 and currently chairs the board’s capital needs and facilities committee. 

Last year, the University of Memphis announced that it was naming its affiliated middle and high school for Orgel and his wife, Robin Orgel, who donated to the project. Last year’s vote approving the opening of the new University of Memphis high school was one of the most contentious votes in recent months with some board members voicing concern that the proposal had been fast-tracked, bypassing typical procedures.

With Orgel’s decision not to proceed, Amber Huett-Garcia is the only candidate running for District 8. Huett-Garcia requested a petition for candidacy on Tuesday and returned it Wednesday with enough signatures to qualify. 

Huett-Garcia is the senior director of student and family support for comprehensive planning at the Tennessee Department of Education.

An Illinois native, Huett-Garcia started her career working in Illinois’ state government and state Senate, then moved to Memphis in 2011 to teach at Ross Elementary, her personal website says. She previously served as director of corporate and foundation fundraising at Teach for America, and has served on the boards of several nonprofit education organizations in Memphis, including First 8 Memphis and the Higher Learning Project, according to her LinkedIn profile.

On Thursday, Orgel called Huett-Garcia “a great choice for the voters.”

“I think that my job’s done. There’s somebody else that’s interested in doing it and they’re passionate about education and Shelby County and students,” Orgel said. “I would welcome having that new person in District 8 and taking my place on the school board.” 

In addition to Huett-Garcia, 11 Memphians are competing for four open seats on the board in the August election.

As of the Shelby County Election Commission’s filing deadline on Thursday, 12 of the 15 petitions pulled for the Aug. 4 school board contest had been approved. One candidate who filed for District 9 did not receive enough signatures, according to commission documents. Orgel and another school board hopeful in District 6 ultimately never submitted a petition.

Among the candidates vying to represent school board districts 1, 6, 8, and 9 are two incumbents; a temporary school board member appointed by the County Commission after member Shante Avant’s resignation; and several others who applied for the spot.

Here is a full list of approved school board contenders as of Thursday’s filing deadline, in alphabetical order, sorted by district. Incumbents and the recent appointee are shown in bold.

District 1 (Downtown and Midtown):

  • Christopher Caldwell
  • Michelle McKissack
  • Rachael G. Spriggs

District 6 (South Memphis, Riverside, Westwood, and Whitehaven):

  • Charles Everett
  • Timothy Green
  • Kenneth Lee
  • David Page, Jr.
  • Tiffani Perry
  • Keith Williams

District 8 (East Memphis): 

  • Amber Huett-Garcia

District 9 (Southeast Memphis):

  • Joyce Dorse-Coleman
  • Rebecca J. Edwards

Bureau Chief Cathryn Stout, Ph.D. oversees Chalkbeat Tennessee’s coverage. Contact Cathryn at cstout@chalkbeat.org. Samantha West is a reporter for Chalkbeat Tennessee, where she covers K-12 education in Memphis. Connect with Samantha at swest@chalkbeat.org.

Chalkbeat is a nonprofit news site covering educational change in public schools.

Categories
Beyond the Arc Sports

Grizzlies “Looked Damn Good” in Ja Morant’s Return

Grizzlies superstar guard Ja Morant returned to action Saturday, and he didn’t disappoint as his team walloped the New Orleans Pelicans 141-114. 

A sore right knee has kept him out of action since March 18th, but he returned to the court on Saturday to get some work in before the postseason starts. 

Grizzlies presumptive playoff starters Morant, Desmond Bane, Dillon Brooks, Jaren Jackson Jr., and Steven Adams started together only nine times this season.

In his first game back after an eight-game absence, Morant tallied 21 points, nine assists and four rebounds in 26 minutes. Plus a magnificent block against Larry Nance Jr. 

Morant said “That block was tough, I felt like Jaren [Jackson Jr.]. They might have to put me on the defensive team after that.” Jackson Jr. leads the league in blocks shot with 177 after recording four blocks on Saturday night.

Morant was ecstatic to be back on the court with his brothers. “Being back out there with my team — I’ve been waiting on since March 19th, I got hurt on the 18th,” the 22-year old said. “I finally was able to lock in on my rehab recovery each and every day, doing all type of stuff. Shout out to Eric, my trainer, for getting me back on the floor but, just excited to be out there.”

 “I’ve had a lot of fun just preparing for this stretch we’re about to go on and its playoff,” Morant added. “I felt like I needed a game or two to get my legs back under me, to get the game type feel. Obviously, nothing compares to a game whether it’s practice or whatever. I just wanted to be ready to go and obviously I’ve been in and out of the lineup, my teammates were playing a lot of basketball without me, so just going out there to adapt and to make sure everybody, gets a feel playing with each other now that we’re kind of healthy.” 

The All-Star guard acknowledged things the team needed clean-up before the postseason begins. “Obviously some stuff we still have to correct,” Morant said. “Early on in the game, we were all like Ja [Morant] is back — even me. I actually had a time in the game where I told my teammates, look man, ‘I’ve watching a lot of film on y’all, and when I’ve been out, I’ve seen how y’all have been playing.’ And my job just coming in is not trying to change that. Passing is my favorite thing to do. So, if teams want to double, pack the paint to force me to pass and I’ve got shooters all over the floor that are making you pay for it. That was my message to them.”

Morant continued, “Early on in that first half, I was struggling, I’m used to going and seeing one man at the rim — I’m going finish that and then in the second half I changed that to making the pass to the man and I feel like that’s what led to that 55-point quarter. My teammates seeing me share the ball and they started doing the same thing and we were getting wide open shots. And that fueled a big quarter for us. And once we get going, we’re a tough team to stop on offense, and I feel like it fuels our defense and once our defense locked in, it’s rebounding the ball and back to scoring on the other end. It’s a good thing to see. I know you know, we’re all proud of you know how we played tonight but we still got some things to correct and four turnovers for me is unacceptable. I get jealous of Tyus [Jones] a lot.”

Grizzlies head coach Taylor Jenkins had no worries about Morant’s return. He said after the win, “As we said before the game, we wanted Ja to be full throttle. I thought he was doing that. Just didn’t get the ball to bounce his way, or just a couple moves here or there, but then just started spreading the ball around.” 

Jenkins added, “Great job moving at nine assists. And then, obviously, in the second half, I thought he did a great job. Continued to play full throttle, finishes, shooting it with great confidence from the 3-point line, getting to the free throw line a number of times throughout the game. I thought he played great, and then obviously he capped it off with that huge block at the end. I thought his defensive intensity was really good too.”

Brooks was delighted with Morant’s return. “It went great, said Brooks after the game. “You got to see everything you need to see. Double teams in the screen-and-roll, getting downhill and making his plays, and finally I get to see a wide-open, spot-up shot, which I’ve been missing. I feel like it was great.” 

Brooks was the game’s leading scorer with 23 points, five assists and three rebounds in 23 minutes of action. 

Brandon Clarke led the bench with 20 points off a perfect 10-of-10 shooting along with five rebounds and three assists. As the only other player in franchise history to score 20 points on a perfect shooting night, Clarke joins Tony Allen, Vince Carter, JaMychal Green, Stromile Swift, and Lorenzen Wright on that list.

After Allen, the Gonzaga alum is the only other player to accomplish this feat while making at least 10 field goals.

Records are meant to be broken

With 55 points in the third quarter, the Grizzlies blew the game wide open and set a franchise record for points in a single period. 

Memphis also set a single-quarter record for field goals made and assists with 20-of-26 (.769) and 16 assists in the third quarter. They also tied a franchise record with 41 assists for the game.

The Grizzlies matched their 2012-2013 record of 56 wins in a season with this victory. 

Also it was the team’s 14th win with a margin of 25 points or more this season. 

Memphis will have the opportunity to break a franchise record when it plays the Boston Celtics in its last regular season game of the season inside FedExForum. Tip off at 6 p.m. CT. 

Morant cited the team’s performance in the third quarter as proof that the team “looked damn good.” And indeed they did. 

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Beyond the Arc Sports

Are the Grizzlies Better Without Ja Morant?

The answer to that question is no, but it’s complicated.

There has been a lot of chatter recently about the Grizzlies’ winning record without Ja Morant, which has led to the question of whether the team is better without its star player. Even in jest, the idea is ridiculous. It’s the popular “gotcha” statement of the moment, and while there are some statistical reasons being pointed to, they rely heavily on a purely surface-level examination of this team. 

Yes, it is a wild statistic that the Grizzlies have such a winning record during the stretches without Ja this season, and that has garnered a lot of attention. But correlation does not equal causation.  

What we are seeing is a perfect storm of good coaching, roster development, and a healthy dose of spurious correlation. 

Let’s talk about it.  

The Memphis Grizzlies are currently 20-4 in games without Morant this season. That moves to 10-4 in this most recent stretch without Morant. But that does not mean that the Grizzlies are a better team without him. In fact, they also have a winning record when he does play. Morant has played in 56 games this season, and the Grizzlies are 35-21 in those games.

There is not a team in the league that would not be made better if they added Morant to their roster. Full stop.  

Still, attributing their success this season solely to Morant misses all the ways in which the team has also improved that have nothing to do with their star point guard. 

It overlooks all the other legitimate talent on the team , and how they have created a chemistry on the court that is conducive to being successful, that is conducive to winning. The improvements across the board that have happened in the past three seasons are being downplayed, and coach Taylor Jenkins deserves a lot more credit than he is being given. 

The Grizzlies’ style of play has changed drastically during Jenkins’ tenure. Their pace has increased, as has their shooting percentages and the number of shots taken per game.

Memphis has increased its average shot attempts per game by a considerable margin over the past few seasons. In the 2021-2022 season, the Grizzlies lead the league in field goal attempts per game (94.3). In 2020-2021 they were ranked second in the league in field goal attempts per game (91.8). In 2019-2020 they were ranked sixth in field goal attempts per game (90.9). Compare that to 2018-2019, J.B. Bickerstaff’s last season where they were ranked dead last in field goal attempts per game (84.4). 

Field goal attempts are far from the only area in which the team has improved over the past few seasons. I have compared several categories in which the Grizzlies have improved, year over year.

Comparing the past five seasons shows a clear pattern of improvement. Stats courtesy of basketball-reference.com.

Taylor Jenkins assumed head coaching duties starting with the 2019-2020 season. Seeing it all laid out shows the progression of improvement that has taken place during that time.

There is a lot of unselfish basketball being played, in part because everyone believes in everyone else. Instead of next man up, it is every man up and guys are playing in ways that help make their teammates better.

For this Grizzlies team — winning is their business, and business is good.

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News News Blog News Feature

Gov. Lee Blasts Pro-LGBTQ Protest “Mob” at Yale As “Shameful”

Tennessee Governor Bill Lee said a pro-LGBTQ protest at Yale University was “shameful” and said the groups targeted there — including an anti-LGBTQ group — were “welcome in Tennessee anytime.” 

Protesters interrupted a Federalist Society event on campus earlier this month that featured Kristen Waggoner, an anti-LGBTQ speaker, according to Yale Daily News. Waggoner is general counsel for Alliance Defending Freedom, an organization that has been designated a hate group by the Southern Poverty Law Center. The group has supported the re-criminalization of sexual acts between consenting LGBTQ adults in the U.S., has defended state-sanctioned sterilization of trans people abroad, and more, according to the SPLC. 

The event also featured Monica Miller, an associate at the American Humanist Association. That group says it “advocates progressive values and equality for humanists, atheists, freethinkers, and the non-religious across the country.”

Lee said Thursday he signed a letter against the protest organized by the drafters of the Philadelphia Statement, a free-speech statement against “social media mobs, cancel culture, campus speech policing,” and more.

Lee’s link to the Yale letter shows no signatories, only “The Undersigned.” However, The Washington Free Beacon, the conservative news site, said the letter had been signed by “Sens. Ted Cruz (R-Texas) and Mike Lee (R-Utah), nine members of the House of Representatives, and the governors of Tennessee, Oklahoma, Nebraska, Mississippi, and Idaho.”   

The letter blasts the ”the deeply disturbing incident” saying the speakers at the event were met with “a vitriolic mob of Yale Law students intent on silencing them.” The letter says “instead of engaging with the panelists, a shocking number of Yale Law students hurled constant insults and obscenities at them and tried to prevent them from speaking and being heard.” The “shameful conduct” also included stopping, shouting, banging on walls, all “making it difficult to hear the panel.” 

Lee said he signed the letter to urge Yale leaders to act. In a pivot, though, he took the opportunity to promote his idea for a new state school he said would be an “antidote to the cynical, un-American behavior we are seeing at far too many universities.”

Here’s Lee’s statement in full:

“I signed a letter to Yale Law School urging administrators to address a student mob that violently disrupted a bipartisan event about free speech and political discourse. The behavior is shameful but it speaks to a growing trend in higher-education where First Amendment freedom is taken for granted and often held in contempt. 

“We are endeavoring to establish the University of Tennessee Institute for American Civics to be the antidote to the cynical, un-American behavior we are seeing at far too many universities. The Institute for American Civics will be a flagship for the nation — a beacon celebrating intellectual diversity at our universities and teaching how a responsible, civic-minded people strengthens our country and our communities. 

“Representatives from Alliance Defending Freedom and the American Humanist Association, who had such a terrible experience at Yale, are invited to join us in Tennessee anytime.”