The Tennessee Bureau of Investigation (TBI) is proposing a $3 million pilot project to test sewage from Knoxville-area high schools, college dorms, and other locations for illicit drugs, Director David Rausch said Tuesday.
If the budget for the project is approved, testing will initially begin on wastewater from 12 public high schools and 16 college dorms. Another 120 Knoxville locations could be selected for wastewater testing at the TBI’s discretion, Rausch said. The pilot would run for 30 weeks.
The testing is intended to identify specific illicit drugs and the concentration of drug use in a particular location using a key surveillance tool deployed during the Covid pandemic to monitor disease prevalence.
Results of school and dorm-based wastewater testing, Rausch said, can help keep parents and school administrators informed about student drug use.
“That becomes a great piece for those administrators at the school to be able to educate parents and make them aware this is an issue,” Rausch said in presenting the proposal to Gov. Bill Lee as part of his agency’s overall request for a $21 million budget increase next year.
“It also then becomes an educational tool for us to be able to educate the community on these drugs that are being used there.”
The testing would also have law enforcement uses, said Rausch, noting the surveillance — which would be done by an outside contractor — can pinpoint the source of illicit drugs “as close as a block as (to) where that issues.”
“If we have an area with a lot of drug complaints, we can have them test the water in that area,” Rausch said. “They wouldn’t be able to tell me the exact house, but they could tell me a selection of four houses. And then our work on intel and observation, we would be able to tell where the house is.”
Testing sewage for illicit drug use is underway in 70 U.S. cities as part of a National Institute on Drug Abuse-funded program intended to help guide cities in where they need to focus resources in preventing overdose deaths.
Unlike the TBI proposal, the Institute-funded testing is done in conjunction with local public health departments, not law enforcement.
Tennessee Lookout is part of States Newsroom, a nonprofit news network supported by grants and a coalition of donors as a 501c(3) public charity. Tennessee Lookout maintains editorial independence. Contact Editor Holly McCall for questions: info@tennesseelookout.com. Follow Tennessee Lookout on Facebook and X.
Reharvest is Project Green Fork’s largest fundraiser. (Photo: Courtesy Project Green Fork)
Any way you slice it or dice it, food is food, says Leann Edwards, Project Green Fork program director. “It’s meant to feed people. If it doesn’t feed people, then it has other purposes. It feeds animals; it feeds the soil to grow more food. And so seeing food as valuable, in all of its forms, is part of what we’re trying to do through Project Green Fork (PGF).”
This weekend’s fundraising event is one such example of that effort as some of the city’s most innovative chefs try their hand at creating hors d’oeuvres using surplus ingredients from the Mid-South Food Bank, Cordelia’s Market, and Alpha Omega Veteran Services. They’ll transform what could have gone to waste into beautiful and tasty dishes for guests to try. It’s a chance for these tatemakers to flex their creativity but also to showcase sustainability efforts.
“One thing that Project Green Fork does is, we work to rescue food surplus, generally prepared food from restaurants and special events catering,” Edwards says. “We take that rescued food through our network of rescue organizations and turn it into something beautiful for people who experience food insecurity in our city. And so Reharvest is a way for us to show people in the community that food that’s appropriate for donation is also food that’s appropriate for us to share and enjoy.”
The chefs participating in this year’s Reharvest are Dave Krog (formerly of Dory), Terrance Whitley (Inspire Community Cafe), Daishu McGriff (Shroomlicious Meals), Monique Williams (Biscuits & Jams), Josh Mutchnick (JEM Dining), and Kat Gordon (Muddy’s Bake Shop). All of the chefs are PGF-certified, meaning they have been trained in PGF’s sustainability practices.
In addition to the one-of-a-kind fare made by these chefs, attendees will receive complimentary beer, wine, a signature cocktail, and a mocktail. B. Sartain will also be doing live art, and that piece of art will be sold in a silent action. This is PGF’s largest fundraiser of the year, Edwards says.
“We have a goal of 50 percent reduction in food waste by 2030 and we’re not close,” she adds. “We’re working on it. But it can feel daunting. But then you remember, every bit of progress is progress, and every time someone makes the connection between saving their food and the community and saving money for themselves and saving the environment, it really feels like a win.”
That’s one of the goals of this event — to make that connection for people — and get just a little bit closer to that 50 percent reduction. Tickets can be purchased at tinyurl.com/2uu5jcy6.
Reharvest Memphis, Collage Dance Center, 505 Tillman Street, Thursday, November 14, 5:30-8:30 p.m., $79.57, 21+.
In the week since the end of the 2024 presidential campaign, various experts, partisans, and pundits have been holding forth on the meaning of it all.
Well, with your indulgence, it’s my time for a little thumb-sucking. Really, I just wonder how this new order is supposed to work. The incoming Trump administration is pledged, as its first order of business, to expel somewhere between 2 and 20 million undocumented immigrants in what the president-elect has promised will be “the largest mass deportation in this nation’s history.”
Probably a majority of those being targeted are embedded to some degree in the fabric of society — as mothers and fathers and sons and daughters and students and toilers (significantly, in that last category, as taxpayers).
Those Haitians in Springfield, Ohio, who became the bane of Republican rhetoric during the campaign, were not here as scavengers of dogs and cats and geese, nor is there any reason to believe they performed as such. They were not border-jumpers, by the way, but nose-to-the-grindstone workers legally imported to do local infrastructure jobs that native-born sorts wouldn’t touch.
Remember all those new houses that went up during the building boom of the ’90s? To a substantial degree, the grunt work on them was done by Mexicans, most of them undocumented, to be sure.
After the deportation of all these willing hands, there is sure to be some serious attrition within a labor market that is arguably under-strength already.
And what about the sheer expense of such a massive operation, estimated to be as high as $315 billion, and the human costs of all this forced dislocation?
There are few parallels for mass deportations on such a formidable scale, most of them stained by controversy, disrepute, or worse — the Turkish expulsion of Armenians, the German boxcars of Jewish victims eastward to death camps in World War II (and the retributive exodus of that country’s own civilians, driven in the other direction by Russian tanks), the Nakba of Palestinians in 1948, the ethnic cleansings of Yugoslavia in 1992.
Hyperbole? Maybe. But that’s the name I myself would give to the whole imagined immigrant scare.
Compromise. Consensus. Those are indispensable qualities of the democratic process, indeed, of the human contract itself. And there is no sign of them as concepts of this plan — no indication even of a reliable means of distinguishing between the rank and file of the immigrant population and the relative few malefactors that may lurk within them. Nor of an inclination to apply such means.
No provision to earn future citizenship for the long-term residents whose worth as permanent members of the American body politic has already been demonstrated by their conduct and contributions to society. On top of it all is the expressed intent of the incoming administration to renounce that traditional birthright of citizenship that is automatically conferred on those born here.
And the most flagrant cheat of the whole thing? These all-too-disposable migrants are here by express invitation. Latinos in the main, they are — man, woman, and child — the blood brothers and sisters of all the upstart populations that have come to America before them — the Teutons and Anglo-Saxons and Jews and Italians and Slavs and Irish and Asians who, amid unimaginable hardship and life-and-death circumstance, answered the call of one Emma Lazarus, the poet whose words adorn the Statue of Liberty in the beckoning waters of New York harbor:
“… Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”
Keeping that lamp lit for others, not snuffing it out, should be the concern of those of us fortunate to find ourselves secure behind that door.
The way we look to a distant constellation That’s dying in a corner of the sky These are the days of miracle and wonder And don’t cry, baby, don’t cry Don’t cry. — “The Boy in the Bubble,” Paul Simon
I heard that Paul Simon song on Sirius radio last Thursday. I think it was on the Classic Vinyl station. I turned it up loud and thoughts arose, mostly about the time I first heard the Graceland album on which the tune made its debut.
It was the 1980s and we were living in Pittsburgh. My family and I were at a state park in Ohio, where we’d met up with three other families — friends with similarly aged young children. We’d rented cabins for the weekend and planned to fish and hike and cook out and probably have a little too much wine after the kids went to bed.
I’d just bought the Graceland cassette and we adults wore it out on a big jam box over the weekend. It took a minute for us to get used to the album’s quirky African rhythms and instrumentation — it was the big-hair Eighties, after all — but when it sunk in, it stuck, hard. It’s funny how music attaches itself like a sticky note to moments in your life.
Last Thursday, I happened to be listening to music because the thought of turning the Sirius dial to CNN or MSNBC or NPR or, heaven forbid, “Progressive Talk” radio was just unthinkable.
I used to listen to music all the time in the car, but as “The Boy in the Bubble” reached its familiar refrain in the Fresh Market parking lot, I realized I hadn’t really done so in months. I’d become obsessed with politics and the presidential race and I’d been spending all my time while in the car listening to news and political analysis. Horse race radio, basically.
A month ago, for example, I drove to upstate New York — 17 hours over two days — and listened to nothing but news and commentary, mostly about the presidential race. Even the podcasts I listened to were about politics. I was hooked by my confirmation biases and, if I’m honest, by the progressive outrage I was stewing in for hours at a time.
I was a boy in a bubble, and I wasn’t alone. There were millions of us, most of whom had convinced themselves that the Democrats would win, buoyed by outraged, pro-choice women, a fresh wave of committed young people, and a massive get-out-the-vote ground game. Oops.
There was another bubble, of course, one that pushed storylines supporting the GOP candidates and stirred up several ignorant and hateful narratives. There were millions of people in that bubble. I knew it existed, but I never dipped my toe into it for very long. Honestly, what kind of idiots would believe people were eating cats and dogs? Millions of them, apparently.
Some votes are still being counted as I write this, but it appears the Republican candidate won the presidency with around 25 percent of the nation’s eligible voters, about the same number he had in 2020, when he lost. The Democratic candidate garnered around 24 percent this time around.
But here’s the sad truth: The largest party in the country isn’t the Democrats or the Republicans. It’s the Apathy Party, which makes up around 47 percent of America’s eligible voters — those who couldn’t work up the time or energy to cast a ballot. They hold the power, but apparently have no interest in using it.
Around 8,000,000 fewer Americans voted in 2024 than in 2020. That’s a dangerous trend for a democracy, and something we need to figure out how to fix. In the end, it certainly wasn’t a landslide, as some have claimed. It was more like a slow mudslide. We need to dig out of the mud and leave our bubbles, but keep the faith. Speak the truth. These are the days of miracle and wonder. Don’t cry, baby. Don’t cry.
The mission of the Indie Memphis Film Festival is to bring films to the Bluff City which we could not see otherwise. Some Indie Memphis films return to the big screen the next year, like American Fiction, which screened at last year’s festival and went on to win an Academy Award for writer/director Cord Jefferson. For the last 27 years, it has been an invaluable resource for both beginning and established filmmakers in the Mid-South. Early on, the festival launched the career of Memphis-based director Craig Brewer, whose recent limited series Fight Nightwas a huge hit for the Peacock streaming service. Many others have followed.
This year’s festival brings changes from the norm. First of all, it takes place later than usual, with the opening night film, It Was All a Dream, bowing on Thursday, November 14th, and running through Sunday, November 17th. There will be encore presentations at Malco’s Paradiso on Monday, November 18th, and Tuesday, November 19th. “We are having encores because our biggest complaint is that we have too many films back to back that people want to see. So that was a direct response to our audience,” says Kimel Fryer, executive director of Indie Memphis.
Opening night film It Was All a Dream is a documentary by dream hampton, a longtime music writer and filmmaker (who prefers the lowercase) from Detroit, Michigan. Her 2019 film Surviving R. Kelly earned a Peabody Award and was one of the biggest hits in Netflix history.
“I’m really excited to see how everyone thinks of our opening night film,” says Fryer.
It Was All a Dream is a memoir, of sorts, collecting hampton’s experiences covering the golden era of the hip-hop world in the 1990s. “I really enjoyed watching it, especially seeing footage of Biggie Smalls, Prodigy from Mobb Deep, Method Man, and even Snoop Dogg before they became icons. They’re just hungry artists. Even Q-Tip is in it, and the other night, Q-tip was inducted into the Rock & Roll Hall of Fame. So I was thinking about that as I was watching the awards. He was such a baby in this field, he had no clue 20, 30 years from now he was going to be on this stage,” says Fryer.
The festival is moving in space as well as time. While the festival will return to its longtime venue Malco Studio on the Square, there will be no screenings at Playhouse on the Square this year. The 400-seat Crosstown Theater will screen the opening night film and continue screenings throughout the long weekend. On Saturday at 11 a.m., it will also be the home of the Youth Film Fest. “This is the first year we’re combining the Youth Film Fest with the annual festival,” says Fryer. “That’s really cool, being able to allow the youth filmmakers to still have their own dedicated time, but also to be able to interact and see other films that are outside of their festival. We do have some films that are a little bit more family-friendly than what we have had in the past.”
Flow
Among those family-friendly films are a great crop of animated features, including Flow by Latvian director Gints Zilbalodis. Flow is a near wordless adventure that follows a cat and other animals as they try to escape a catastrophic flood in a leaky boat. The film has garnered wide acclaim in Europe after debuting at the Cannes Film Festival, and will represent Latvia in the International category at the Academy Awards.
“I thought it was interesting because, of course, when Kayla Myers, our director of programming, selected these films, we had no idea some of the more recent impacts from the hurricanes and things of that nature would happen,” says Fryer.
Boys Go to Jupiter
Julian Glander’s Boys Go to Jupiter is a coming-of-age story about Billy 5000, a teenager in Florida who finds himself tasked with caring for an egg from outer space. First-time director Glander is a veteran animator who did the vast majority of the work on the film himself. The Pittsburgh-based auteur told Cartoon Brew that he and executive producer Peisin Yang Lazo “… did the jobs of 100 people. I have no complaints — it’s been a lot of work, but it feels really good to make a movie independently, to not have meetings about everything and really own every creative decision.”
Memoir of a Snail
The festival’s third animated film, Memoir of a Snailby Australian animator Adam Elliot, is the story of Grace (Sarah Snook), a young woman who escapes the tedium of her life in 1970s Melbourne by collecting snails. When her father dies, she is separated from her twin brother Gilbert (Kodi Smit-McPhee) and put into an abusive foster home. We follow Grace as she navigates a difficult life, full of twists and turns, with only her snails as a constant comfort. “Memoir of a Snail is an adult animated film,” says Fryer. “Bring the kids at your own risk.”
The spirit of independence is what puts the “indie” in Indie Memphis. The festival has always been devoted to unique visions which question the status quo. Nickel Boys, the centerpiece film which will screen on Sunday night at Crosstown Theater, is by director RaMell Ross. “I’m really excited about that film,” says Fryer. “But also, it uses film as a critique. It’s based on the novel from Colson Whitehead that won a Pulitzer Prize.”
Nickel Boys takes place in 1960s Florida, where a Black teenager, Elwood (Ethan Cole Sharp), is committed to a reform school after being falsely accused of attempted car theft. There, he meets Turner (Brandon Wilson), and the two become fast friends. The film is shot by Jomo Fray, who was the cinematographer behind All Dirt Roads Taste of Salt, which opened last year’s Indie Memphis festival. It is highly unusual for its first-person perspective, which shifts back and forth between the two protagonists, so that you are put in the perspective of the characters, who are battling to keep their humanity in a deeply inhumane environment.
Fryer says bringing radical artistic works like these to Mid-South audiences is central to the organization’s mission. “I think that’s honestly one reason why people like Indie Memphis. Don’t get me wrong, people do like to see the very well-known films, the more commercial films, the ones that get a lot of press. But I think the people who enjoy coming to Indie Memphis also enjoy seeing things outside of the box, seeing things that push the narrative. And it makes sense when you think about Memphis. Memphis is never going to be this cookie-cutter place, and people who live here love it because it’s not.”
Funeral Arrangements
This year’s festival has a strong local focus, with seven features in the Hometowner category. One of the locals is a 15th anniversary screening of Funeral Arrangements by Anwar Jamison. The writer/director is low-key one of the most successful Memphis filmmakers from recent years, having produced, directed, and starred in Coming to Africa and its sequel, which were both big hits in Ghana and other African countries. Funeral Arrangements was his debut feature.
Funeral Arrangements Anwar Jamison
“Man, talk about a passion project,” Jamison says. “I just think back to being in film school in the graduate program at the University of Memphis, and now, it’s a full-circle moment because I’m teaching at the University of Memphis, and I have grad students and I’m working on these projects. I look back like, ‘Wow! That was me!’ And now I understand why my professors were telling me no, and that I was crazy to try to do a feature film for my final project, when I only needed 15 minutes. But I’m like, ‘No, I have this script!’ We had a bunch of young, hungry crew members. No one had done a feature, whether it was the crew or the actors. We had a lot of theater students in it, and everybody was just like, ‘Wow, this would be cool!’ They all saw my vision. I had the script, being that I come from a writing background, and everybody really jumped on board to make it happen. I feel like it was the perfect storm of young creativity and energy, and it really showed in the final product. I’m proud of it!”
The idea for the film began with an incident at work. “Most of the things I’ve written start out as something that happened in real life, and then I take it and fictionalize it,” Jamison says. “It was based on an experience I had working a job that really was like that. I couldn’t be absent again, so I really lied to the supervisor and told him I had to go to a funeral. And he really said, ‘Bring me the death notice or the obituary.’ In real life, I didn’t do it, and he didn’t bother me. I ended up keeping my job. But as a writer, in my mind it was like, ‘Whoa, that would be funny. What if the guy really went to a funeral, and now he gets caught up in a situation?’ It just came from there.”
It was this idea that got Jamison’s talent noticed. “When I was an undergrad, actually in the very first screenwriting class that I took, my professor called the morning after we had the final project, which was to write the first act of a feature film. I’m like, ‘Why is this professor calling me?’ And she was like, ‘I really enjoyed the script. Could we use it as the example in class to read for the others?’ That let me know I was onto something.”
Jamison says he’s ready to celebrate the past and looking forward to the future. “I have the third Coming to Africa that I’m preparing for, and I hope to do in 2025, if all goes well, and wrap that up as a trilogy. But what I found, once you get there, there’s just so many stories that connect the diaspora and Ghana in so many ways. There’s so many natural stories to tell that I would love to keep telling them.”
Bluff City Chinese
“I actually got into filmmaking through fashion,” says Thandi Cai. “I was working in textile art for a while, and I was making a lot of costumes. A lot of the things that I was making didn’t really make sense in our reality right now, so I was starting to build stories around the costumes I was making. Then I wanted to create films out of those costumes and realized, ‘Oh, this is a potential career that I could follow!’ So then I started doing videography commercially, in addition to all these little small fashion films on the side. Film and video started becoming more of my storytelling practice, and a tool of how I could explain and share what I was learning with the world.”
Bluff City Chinese
They began work on their documentary feature debut Bluff City Chinese in 2020. “It originally started out as an oral history project. And because, like I said, I think film is such a powerful tool, I started recording oral histories visually. But then didn’t know what we were going to do with it.”
Several people suggested Cai apply for an Indie Grant. The Indie Memphis program, originated by Memphis filmmaker Mark Jones, awards two $15,000 grants each year, selected from dozens of applications by local filmmakers. Cai was awarded the grant in 2022. “I really didn’t have very high expectations of getting it, so I was just blown away and really grateful that we did.”
Indie Grants are nominally for short films, but Cai said their project grew to 45 minutes. “It was just a huge, huge help. I think it made a really big difference because prior to getting that money, the vision for the documentary was very DIY, really lo-fi. I was not expecting this to be a full-fledged film, really. It was like, let’s try to get these oral histories out there by whatever we need to do to get it out there. To be able to have that money to really just dive in and see how far we could take the actual production value was just enormous. And yeah, it’s much more beautiful than I ever thought we could make it, and I think that will just help us be able to share these stories with more people.”
Cai grew up in Memphis, but they say it wasn’t until later in their life that they were aware of the long legacy of Chinese immigrants who had made Memphis home. “That’s the crazy part! Growing up as a Chinese American in Memphis, I didn’t learn about any of this until 2020, and it was only because of all the things that were happening in the world, and especially to people who look like me. That’s why I’m pushing this film so hard because this isn’t something that a lot of us get to learn when we’re growing up. There haven’t been a lot of discussions or platforms that are sharing these stories. I consider a lot of the people that we talk about as my ancestors or my elders or my community members, but I didn’t meet a lot of them until very recently. I really hope that no matter how late someone is in their journey, that when they do find this connection to their roots, they feel like they can just jump in and embrace it.”
Marc Gasol: Memphis Made
Director Michael Blevins is the head of video post-production for the Memphis Grizzlies. “Basically, the way I describe it is anything that gets edited, it comes through me and my team,” he says. “So the intro video that gets played before the game, I will edit that, and commercial spots or behind-the-scenes stuff about the current team.”
Marc Gasol: Memphis Made
Before coming to Memphis in 2016, Blevins had previously been with the Chicago Bears, the Houston Astros (“I believe we had one of the worst records in baseball history,” he says), and the San Francisco 49ers. “Then I came here, and I overlapped with the subject of the documentary, Marc Gasol, for his last three seasons in Memphis. So I got to know him and Mike Conley really well.”
Blevins normally works on a very quick turnaround, but the world of documentary films is quite different. It requires patience and flexibility. “In a project like this, the scope becomes bigger. In terms of production, in terms of lining up interviews, shooting, all that stuff, we were able to spend seven months on it. But in the same time, you then have 50 interviews. You got to tell an hour-and-a-half story basically. So a month or two to edit something in a vacuum sounds great compared to the usually quick turnaround of a current NBA team. But then you want to tell a story perfect because it is telling his whole story of his professional basketball career. So it’s not like with current content, when there’s always another game coming up. This is it. It’s a little dramatic, and he has a sense of humor, so we laugh about it. But it’s like writing somebody’s obituary. You’re not going to get another chance to do it. It’s their basketball career.”
It was important to Blevins to go beyond the surface image of the star basketball player and uncover the emotions that drove him. “Marc is a super competitive guy, and the big thing was, as the people that knew him say — and a lot of people didn’t realize this from the outside — is that competitiveness would spill over a lot of times in terms of trying to deal with teammates. That’s one of my favorite segments in the film. It’s like 20 minutes about different stories people were telling about Marc being very competitive and looking back at everything through a different lens of today. And I think he looks at it very differently, where he felt like he could have been better. But he knows in his head, and different players say it in the film, they needed him to be like that. If that was a spillover of him chewing him out during the game and then after the time-out was over, he was going to give it all and make a play on defense to save that guy, or make a play on offense to set that guy up. It was going to be worth it. But I think athletes, and all of us in general, as we get older, sometimes if you reach success or you’re happy with what your career has done, you start to look back and think, ‘What was the cost of that?’”
Cubic Zirconia
Jackson, Tennessee, native Jaron Lockridge’s Cubic Zirconia is the only locally produced narrative feature in a field of thoughtful documentaries. “I’ve been filmmaking now since about 2016, and just self-producing feature films, and going that route now that technology makes it easier. I just decided to jump out there and don’t take no for an answer.”
Cubic Zirconia Jaron Lockridge
Lockridge, who began as a writer, produces, directs, lights, shoots, and edits his films. “When I found quickly that I couldn’t afford to hire people to produce my work, I just became that multi-tool to start producing my own work, and getting to this point now.”
Cubic Zirconia takes place in what Lockridge calls The Stix Universe, which is tied into his self-produced web series. “It’s a good old-fashioned crime mystery, I like to say. It’s similar to something like Prisoners or maybe even a touch of Se7en, for people who like those type of movies. It follows a missing family, and these detectives are trying to find some answers to what happened. When they locate the deceased mother of this missing family, then it’s just an all-out blitz to find the children and figure out the ‘why’ behind it all. You’ve kind of got to pay attention. But when it comes to the end and you realize what’s happened, I believe it’ll be a shocker to a lot of the audience members.”
Keith L. Johnson stars as the police detective on the case. “I’ve worked with him several times before. He’s one of my regulars, so we just have a great chemistry together to the point where I can just give him a script and give him very little direction. He just understands my work.”
Memphians Kate Mobley and Kenon Walker are also veterans of the Stix Universe. Terry Giles is a newcomer. “He was one that I haven’t worked with before, and he was a very pleasant surprise. He only has a small time on the movie, but when you see him, you notice him. He commands the screen, and he’s a talent that I’m looking forward to working with again. I’m very excited about the performances in this movie.”
Passes and individual screening tickets are on sale at imff24.indiememphis.org. There, you can also find a full schedule for this weekend’s screenings and events.
Wouldn’t it be cool to drive around Memphis in a video game? That’s just what Cory Owens has been working to do. His MemphisMETAs project is a “Digital Twin” of the city. Driving and walking around the virtual model is just the beginning. Owens imagines users buying virtual properties, hosting virtual events, and more.
Redbirds Update
Posted to Facebook by Memphis Redbirds
Turns out the “something big” teased by the Memphis Redbirds on Facebook last week was, indeed, an exhibition match with the St. Louis Cardinals in March.
Moneybagg
Posted to YouTube by @saydattv
A new YouTube Short from @saydattv shows “Moneybagg Yo feeding the streets of Memphis.” Moneybagg played a sold-out show at FedExForum last weekend on Rod Wave’s Last Lap tour. The show included a surprise appearance by GloRilla.
The road to recovery from a major health condition can happen in stages. Confronting a disease when you’re in its grips, determined to keep moving forward, is one thing; putting yourself out in the world once the worst of it is over is another. Having gone through hell, you realize things about yourself — things you can’t forget.
That’s one way into WANDS, the new instrumental album by IMAKEMADBEATS, aka James Dukes, which arguably marks a new aesthetic high point in the producer’s career. That much will be evident on Saturday, November 16th, at the Pink Palace’s Sharpe Planetarium, when MAD (as he is known) will premiere the album live, in an extravaganza of light and projections that will likely be seen as a defining moment in Memphis’ Afrofuturist scene.
It should come as no surprise that the producer who named his dream studio Outerspace has been fascinated with the cosmos, or characters like the Mars-dwelling Watchmen character Doctor Manhattan, all his life. “The only field trip I cared about as a kid was to the planetarium. I didn’t care about nothing else!” he says, as we chat amid the glowing buttons and dials of Outerspace.
“I’ve always been attached to space and the unknown,” he explains. “In WANDS, the general idea is that I have to leave here to find out where home is. The very first song is about me leaving here. The second song is the soundtrack to me making my way through the Earth’s atmosphere. The third is about flying through stars. The fourth is about me running into an alien that is telling me where to go to find home. The fifth song is about me descending onto that planet where there are clouds of bubbles that sing to me. And so that song is called ‘Choir of Bubbles.’”
If such a tale captures the album’s epic sweep, that last title hints at the album’s sonic palette. While there are indeed mad beats throughout, sporting MAD’s trademark glitches and tweaks, there are also orchestral passages both ethereal and bombastic, at times sounding eerily like the ’70s synth-meister Tomita. It’s an interstellar trip in audio form, in which you’re never sure if you’re hearing a sample or an intricate new composition by MAD himself. The track “I’m Losing My Mind I’m OK” even features lyrics, hauntingly sung by Tiffany Harmon.
Another track, “James Michael,” features the producer — typically seen behind a console of sample triggers — playing a solo keyboard passage. And that, it turns out, is a clue to how the entire album came to be, starting with MAD’s decision to take videoconference music lessons (full disclosure, from me) during Covid’s early months of social distancing. As with the great Sun Ra himself, MAD’s latest voyage to outer space began through that trans-dimensional portal known as a “piano.”
“I wanted to be a jazz pianist since I was a teenager,” he says. “I just didn’t have any kind of keyboard. What I did have was access to old records and a sampler. So, you know, I had a professional career in music before I had an instrument. Then I bought this keyboard, the Korg SV-1, with the weighted keys on it, and it feels like a real piano. And I felt drawn to that, like, ‘Yo. This is my time to actually learn this.’”
But eventually there was an even more compelling reason to play. During his first forays into playing keyboards, “I was just messing around and having fun,” MAD says, “until I got sick.” Just as Covid emerged, the producer contracted a rare autoimmune condition which initially threatened his motor skills. “You know,” he reflects, “I spent my whole life making things with my hands, and suddenly I couldn’t use my hands, with any real accuracy, for a couple of months. That scared the shit out of me!” He points to our surroundings to underscore his point. “I mean, I’m literally surrounded by buttons and knobs.”
Nonetheless, he kept at it, often with Kid Maestro twiddling the dials under MAD’s direction, and eventually the material that became MAD Songs, Volume 1 and Volume 1.5 came together. Those albums stood as proof positive that he could soldier on artistically through the hardship of his illness. Yet after that came a recovery of sorts, and it was in that period that the seeds of WANDS were planted.
“A few months later, my hands came back and I started hitting you up.” MAD was a student of singular focus and determination. “One of the top things I remember in those lessons was how you would slide from one note to the next, and it would just add these, like, half step emotions. Which I am addicted to: half step movements in any chord progression I ever write.”
But beyond the raw knowledge of harmonies and melodies, or the basic physical therapy of strengthening his hands, playing the piano became a skeleton key, thanks to the infinite library of sounds available to any producer now, into the world of composing and arranging. (If this was a film, we would insert the heroic montage here.) Taking long sabbaticals of studying only piano, MAD began experimenting with the complex jazz harmonies that had always fascinated him. At that point, pairing music’s infinite plane of harmonics with his love of space was an easy leap to make. That in turn led him to an insight into his own condition.
“There’s no one else in my family with any sort of autoimmune disorder. So for me to have this is an extreme anomaly. And so it made me wonder, you know, maybe I’m an alien?” Which brings us back to the story of WANDS, soon to be premiered musically in the planetarium (on his birthday, no less), but later to be revealed narratively, a bit further down the road. Look for a second edition of the album early next year that includes voiceovers recounting the tale in all its world-building glory. In the meantime, just know that an alien walks among us, and he is MAD. “I literally was telling my mom a couple weeks ago,” he says. “I was like, ‘Mom, if you didn’t actually remember birthing me, I would swear I’m not from here. You are the sole evidence that I am from Planet Earth.”
As a newly married couple, you have many exciting life milestones to look forward to. You may buy a home, start a family, or travel the world — the possibilities are endless. However, in order to achieve your goals, it’s important to make sure your financial house is in order. Here are six financial planning tips for newly married couples.
1. Understand each other’s approach to finances. Have an open and honest conversation about your approach to money. Most people’s views on spending and saving are formed early in life, and it can be difficult to alter your mindset. Consider your earliest memories about money, any financial fears you have, what your savings priorities are, and how much debt you’re willing to take on. Find common ground and establish a strong foundation on which to build your financial lives.
2. Share financial histories. Gain an understanding of your starting point. This means sharing details about your past and current finances. Important topics to cover include:
• Income — What’s your gross and net income monthly? Do you receive bonuses? Do you have any contract income to consider for tax planning?
• Spending habits — Discuss monthly expenses and understand where discretionary income is spent. That can help plan for how you’d like to adjust your expectations and work toward a compromise early on.
• Savings amount — Identify how much is kept in savings on average and how much each partner saves regularly.
• Investments — Does your partner have a 401(k), IRA, Roth IRA, or investment account? Which are you saving toward regularly? The amounts you can save for each may change once you’re married.
• Debts — Understand debts your partner may have: credit cards, student loans, personal loans, mortgages, or even back taxes.
3. Establish shared financial goals. Work together to establish shared goals in the short term and the long term.
What do you envision for your financial future? What savings goals do you have? New home? Future children’s college expenses? Retire early? Travel the world? Start a business?
How do your goals differ from your spouse’s? It’s okay to have differing goals. The key is to communicate and come up with a financial strategy that allows you to pursue both your shared priorities as well as your individual objectives.
4. Create a budget. A budget provides insight into exactly where your money is going each month and can help identify spending issues.
Start by determining how much money you anticipate spending each month. Then divide your expenditures into nondiscretionary and discretionary expenses. Once you have a handle on your expenses, compare that amount to your income. Are you spending less than you earn? Are you saving enough to hit your targets? If not, find ways to reduce discretionary spending.
You may also want to combine some bills into shared plans. Bundling your auto or homeowners insurance will likely reduce your nondiscretionary expenses.
The key is to establish a budget that allows you to pay for nondiscretionary and certain discretionary expenses while progressing your financial goals. If you and your spouse have different spending habits, you may consider giving each other an agreed-upon monthly “allowance” that can be freely spent or saved without the other’s input. Establish separate accounts so that you both have complete freedom over this limited amount of money.
5. Cover your bases. After the difficult discussions, take time to restructure your income, expenses, insurance, and savings plan. Establish joint checking, savings, and investment accounts; update your income payouts into the appropriate bank account(s) for your overall goals; and review existing insurance policies and purchase/update any relevant policies.
6. Review beneficiaries and create an estate plan. If beneficiary designations are not updated and you’ve listed someone other than your spouse, when you pass they won’t have the ability to contest or receive those funds. Update designations on retirement or savings accounts and establish estate planning documents to ensure your spouse receives assets as you desire.
Gene Gard, CFA, CFP, CFT-I, is a Partner and Private Wealth Manager with Creative Planning. Creative Planning is one of the nation’s largest Registered Investment Advisory firms providing comprehensive wealth management services to ensure all elements of a client’s financial life are working together, including investments, taxes, estate planning, and risk management. For more information or to request a free, no-obligation consultation, visit creativeplanning.com.
Student volunteers were helping out with an archaeological dig in Eu, France, when one of them found a small glass bottle inside an earthenware pot, United Press International reported. Inside the bottle was a message, written in January 1825, from one “P.J. Feret, a native of Dieppe, member of various intellectual societies.” Feret was carrying out excavations at the same site and left the message for future explorers. “It was an absolutely magic moment,” said Guillaume Blondel, head of the town’s Regional Archaeology Service. Local records revealed that Feret was a well-known archaeologist of his time. Blondel said such finds are rare: “Most archaeologists prefer to think that there won’t be anyone coming after them because they’ve done all the work.” [UPI, 9/24/2024]
It’s Good To Have a Hobby
Joshua Kiser of Breinigsville, Pennsylvania, was looking for something to amuse himself during the Covid shutdown in 2020 when he came across an idea: “I stumbled upon a picture of the eccentric man posing with a gigantic top hat on his head,” Kiser said, referring to Odilon Ozare, who set the record for World’s Tallest Hat in 2018. Kiser thought it would be easy to surpass Ozare’s 15-foot, 9-inch hat, but it wasn’t until this year that he managed to engineer one, at 17 feet, 9.5 inches, that could withstand a walk of the required 32.8 feet while wearing it. United Press International reported that his final, winning design incorporated lightweight guttering and a Philadelphia Eagles trash can that “looked about the circumference of my noggin.” [UPI, 9/26/2024]
Freaky
A 27-foot-tall puppet in the shape of a seated baby was installed in the center of the town of Rochdale, England, the BBC reported on Sept. 25. The baby, named Lilly, with a mouth and eyes that open and shut, was part of a council project to encourage schoolchildren to talk about the importance of the environment. Ostensibly, the kids spoke to Lilly; their conversations were recorded and broadcast from the baby at an event on Oct. 24 at Hollingworth Lake Nature Park. But townsfolk weren’t warming up to Lilly, calling it “the ugliest baby I’ve ever seen.” One said, “It’s creepy with its eyes shut, never mind open.” No telling how school-aged kids reacted to it. [BBC, 9/25/2024]
Overreaction
A 58-year-old Simcoe, Ontario, Canada, woman, Wendy Washik, was taken into custody on Sept. 1 and charged with assault with a weapon, the CBC reported. The charges stemmed from an incident at a backyard party when Washik, who was playing with a child, accidentally shot a neighbor with a water gun while he mowed his lawn. Washik said she apologized repeatedly, but the “victim” “wouldn’t listen to me and … was screaming at me.” She said police “didn’t ask me a single question. They didn’t ask to see the water gun.” Washik was due in court on Sept. 24. [CBC, 9/13/2024]
Bright Idea
A Florida man (of course) was rescued late on Sept. 23 after he apparently attempted to swim across the Detroit River from Windsor, Canada, to Detroit, CBS News reported. The U.S. Mail Boat J.W. Westcott II was launched after hearing of the swimmer, who was using a life ring to help support himself. “There’s a very strong current, and the water temperature is about 73 degrees right now,” said Capt. Neil Schultheiss. “Even with the life ring, he was struggling.” The boat picked up the swimmer after about 10 minutes of searching. Crew members said he seemed disoriented and under the influence. “He just kind of kept pacing around the front deck, saying, ‘Is this boat U.S.? Are we going back to the U.S.?’” Schultheiss said. He was transferred to an EMS unit. [CBS News, 9/24/2024]
Send your weird news items with subject line WEIRD NEWS to WeirdNewsTips@amuniversal.com.
“Wow, that is one honking big sparrow,” my wife said, peering out our bedroom window and into the backyard. The bird in question — a mottled, dun-colored songbird — perched on one of our backyard bird feeders, occasionally munching on safflower seeds, and staring into the middle distance in a way that I’m sorely tempted to describe as “uncanny.” It dwarfed the little song sparrows and fox sparrows hopping amid the fallen seeds and shells beneath the feeder.
The next morning, there were more of the birds.
It wasn’t until the red-throated, black-and-white males of the species showed up that we realized we weren’t being invaded by massive sparrows, but were dealing with a different kind of creature altogether. So, after consulting our handy, dandy Birds of Tennessee Field Guide (Adventure Publications), we realized that our backyard had become a migratory pitstop for rose-breasted grosbeaks, on their way south and west from East Tennessee in early autumn.
Photo: Brian Kelly | Unsplash
By this time of year, now that our clocks have fallen back an hour, after the leaves aren’t just turning but falling, the grosbeaks have gone. They’re in Central and South America, far from any, ah, shall we say “North American concerns” that may be troubling the rest of us left behind in Memphis.
This time of year is truly one of change, when the world feels poised on the brink of something, hesitating before the charge into new seasons. Some of those changes are human-made — the grosbeaks, rose-breasted or otherwise, have no use for clocks and time zones and Daylight Saving Time. Their bodies tell them when to fly and where to stop. Elections, though they have far-reaching consequences on the natural world, won’t keep a blue jay or mourning dove up all night, stress-drinking, doom-scrolling, and refreshing a vote count. The raccoons who steal black-oil sunflower seed from my birdfeeders by the fistful are also blissfully ignorant of politics.
Lucky them, right?
There is also the headlong holiday rush from Halloween to New Year’s Eve, and though its onset always leaves me anxiously checking and rechecking my bank balance, it also brings the excitement of friend and family reunions, of kids’ surprised smiles. The Pink Palace Crafts Fair and the Corn Maze give way to the Enchanted Forest and Starry Nights. Zoo Boo precedes Zoo Lights.
Evening shadows lengthen and come sooner, as autumn sunsets yield to lengthening night earlier with each passing day. Fallen leaves crunch underfoot; squirrels scurry from tree to tree, increasingly frantic as winter’s onset draws near. Everything prepares to hunker down for the cold.
I thought about the grosbeaks — and our other seasonal visitors, in spring and autumn both — as I walked this week. The reminder of the natural world, with its reassuring certainty of cycles of warmth and cold, has been a source of comfort and inspiration both. Those polite birds have yet to overstay their welcome. I never worry about the peaceful transition of power from autumn to winter. (Though winter to spring often feels anything but certain when mid-February rolls around, but that’s a topic for another day.)
It seems telling to me that I have yet to reopen Facebook since November 5, 2024, but I feel called to walking trails, parks, and other public greenspaces. Some inner voice, quiet but persistent, is pushing me toward interactions that nourish the soul. In this time of uncertainty, change, and mind-numbing existential dread, I’m especially thankful for that inclination to step outside, instead of reaching for the junk food dopamine hit of social media. The smell of decomposing leaf litter on an urban forest trail is far more palatable to me right now.
If, like me, you have rushed toward natural rhythms as a source of comfort, then I can only say that soon we will have to return the favor for Mother Nature. Even the usually staid AP Times sounds downright alarmist on the impending second term of former President Donald Trump, with a new piece by Jennifer McDermott and Matthew Daly warning that the President-elect’s planned rollbacks could be a serious hurdle to green energy measures. So, to everyone else whose comfort place is Overton Park, I say now is our time to shine. We should look to our local leaders, especially those with environmental experience, like Rep. Justin J. Pearson, recently re-elected to District 86. Memphis Community Against Pollution, Protect Our Aquifer — these folks’ fight is about to get harder, and they need our help.
In the meantime, I’m going to take a walk, crunch some leaves, and touch some damn grass.
Jesse Davis is a former Flyer staffer; he writes a monthly Books feature for Memphis Magazine. His opinions, such as they are, are his own and not the fault of his overworked editor.
