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Inside the MPD

In the wake of the killing of Tyre Nichols by members of the Memphis Police Department’s SCORPION Unit in January 2023, the Department of Justice (DOJ) initiated an investigation of the MPD to determine if officers regularly violated citizens’ rights. After 18 months of reviewing case files and video, interviewing Memphians, riding along with officers, and observing the inner workings of the MPD, the DOJ released its findings on December 4th. The 70-page report concludes, “After an extensive investigation, the Department of Justice has reasonable cause to believe that the MPD and the city engage in a pattern or practice of conduct that deprives people of their rights under the Constitution and federal law.”

“Don’t Kill Me!” 

The DOJ investigators highlighted four key findings: 1. MPD uses excessive force. 2. MPD conducts unlawful stops, searches, and arrests. 3. MPD unlawfully discriminates against Black people in its enforcement activities. 4. The city and MPD unlawfully discriminate in their response to people with behavioral health disabilities. To support these findings, investigators cited numerous instances of violence by MPD officers against the citizens of Memphis. “Excessive force is routine in MPD,” DOJ investigators write. “Officers use force as a first resort, demand unquestioning obedience, and exact punishment if they do not receive it.”

Nine police cars and 12 officers responded to a call where a mentally ill man stole a $2 soft drink from a convenience store. After he put his hands up to surrender, he was beaten. He screamed, “Don’t kill me!” and tried to run away. He was subdued and repeatedly tased while face-down on the ground, then served two days in jail for disorderly conduct and theft. 

In another case, three officers tackled a man who had littered in a public park. “The man had done nothing wrong, but was ‘talking all this shit,’ according to one officer, and would not tell the officers his name. When the man dropped his drink while leaving the park, four officers surrounded him. … While handcuffed in the patrol car later, the man told a lieutenant that he was trying to follow the officers’ directions, but they had already decided to charge him: ‘I even offered to pick the can up.’”

The DOJ report finds fatal flaws in the MPD’s frontline strategy. “Memphis has relied on traffic stops to address violent crime. The police department has encouraged officers in specialized units, task forces, and patrol to prioritize street enforcement. Officers and community members have described this approach as ‘saturation,’ or flooding neighborhoods with traffic stops. This strategy involves frequent contact with the public and gives wide discretion to officers, which requires close supervision and clear rules to direct officers’ activity. But MPD does not ensure that officers conduct themselves in a lawful manner.” 

In two instances cited in the report, officers followed drivers to their destinations and confronted them for traffic violations. One woman was standing on the porch of a relative’s house. After she didn’t produce ID and told the police they were “not welcome on the property,” officers cuffed her, roughed her up, and threatened to pepper spray her. The report states, “After locking her in a police car, one officer asked, ‘So what did we see her do?’ When an officer suggested the woman’s car had improperly tinted windows, another officer responded, ‘All this for a tint?’ The officer shook his head and gestured with his hand that the woman talked too much.”

In another incident, officers forced their way into the home of a woman accused of driving with expired tags and failing to stop at a stop sign. “No exigent circumstances demanded they enter the woman’s home, and the officers had no justification to use force to push their way inside for a nonviolent traffic infraction,” reads the report. After arresting the woman in front of her crying child, “… one officer reflected, ‘In the grand scheme of things, this does not seem like it was worth it.’” 

Officers frequently use potentially deadly neck restraints, similar to the one Minneapolis Police Department members applied fatally to George Floyd when he was killed in 2020. In Memphis, an intoxicated man was repeatedly choked into submission until he urinated on himself. “He was not charged with any crime.” 

After offering a ride home to a man suffering a mental health crisis, the police uncovered an outstanding warrant for theft. The officer pulled the man from the police car, saying, “You’re fixing to get your ass whupped.” When the man tried to flee, the officer beat him and put him in a neck restraint. 

Officers were frequently observed beating, tasing, and pepper spraying people who were already restrained and posed no threat. “One officer hit a handcuffed man in the face and torso with a baton eight times.” 

In addition, “Officers repeatedly permitted police dogs to bite or continue to bite people, including children, who were nonresistant and attempting to surrender.” 

In one incident, an officer investigating a stolen vehicle report “fired at a car at least eight times at a fast food drive-thru in the middle of the day, jeopardizing other officers and bystanders. … MPD’s investigation improperly found that this use of deadly force was justified.” 

In a sidebar titled “Sick of his fucking mouth,” the DOJ investigators write, “MPD officers escalate incidents involving minor offensives by responding to perceived insults, disrespect, or ‘verbal resistance’ with unconstitutional force. … Some MPD officers seem to believe that questioning their authority justifies force — as one supervisor told us, ‘If someone says, “I ain’t under arrest,” that’s resisting arrest right there.’” 

Children were not spared the MPD’s methods. When one 16-year-old girl called police to report that she had been assaulted, she ended up in handcuffs. “After three hours, officers removed the handcuffs to reposition them. As she complained that her hands were hurt and swollen and tried to move her wrists, the officers grabbed her and pushed her face down onto the ground to handcuff her again. The girl was then arrested and charged with disorderly conduct.”

When officers were dispersing a crowd after a fight at a high school football game, one officer singled out a “relatively small-statured teen girl trying to leave the premises, yelling ‘Bye! Bye!’ at her. The officer’s taunts provoked the girl, who talked back. In response, the officer shoved the girl, yelling, ‘Get out this motherfuckin’ lot.’ The girl pushed back, and two other officers approached the girl from behind and threw her on the ground. The officers then lifted the girl in the air and slammed her face down into the pavement. The officer who started the altercation told her to ‘Get your dumb ass up,’ and called her a ‘stupid bitch’ as the girl was led away in handcuffs.”

When officers chased two Black boys, aged 15 and 16, who were suspected of a curfew violation, one officer, who had dropped his mobile phone in the chase, said, “I am fucking these little kids up, man. … I am fucking you all up. I just wanted to let y’all know that.” 

In another incident, “One officer shot a teenager, and then another officer hit the teenager three times in the head with the butt of his handgun and at least 12 times with a closed fist. The teen was disarmed, seriously injured, and posed no threat at the time. Prosecutors later sent a letter to MPD stating that they ‘seriously considered recommending criminal charges’ against the officer because of the ‘more than one dozen closed fist punches to the face’ that the officer delivered. The prosecutors wrote, ‘We trust that you will handle this as an internal matter and leave it to your sound discretion.’ We saw no evidence that any further investigation took place or that any discipline was imposed. The officer remains employed at MPD.”

The report concludes, “Supervisors do not address these recurrent practices, and some at MPD defend these practices. As one field training officer told us, ‘We’re not excessive enough with these criminals. We baby them.’” 

Officers use force as a first resort; MPD treats Black people more harshly. (Photo: Department of Justice)

Black People Bear the Brunt

On page 37 of the report, DOJ investigators write, “MPD’s own data show that across a range of different law enforcement actions, MPD treats Black people more harshly than white people when they engage in similar conduct.” 

While 64 percent of Memphians are Black, 81 percent of the MPD’s traffic violations are issued to Black people. Officers issued 33.2 percent more moving violations in predominately Black neighborhoods than they did in predominately white neighborhoods. Black drivers were cited for equipment violations at 4.5 times the rate of white drivers; for improperly tinted windows, the rate was 9.8 times. Public health data indicates that both Black and white people use cannabis at the same rate, but MPD arrested Black people for marijuana possession at more than five times the rate of white people. 

The report found that the MPD stopped and cited one Black man 30 times in three years. In another case, “MPD stopped a Black man outside a dollar store ‘due to multiple robberies of dollar stores in the area,’ according to the police report. The officers had no reason to suspect that this particular man took part in the robberies, and the man told them he was just waiting for a friend. When he didn’t leave or produce ID, police handcuffed him, beat him with a baton, and pepper sprayed him. The officers had no reason to believe that the man engaged in criminal activity and lacked reasonable suspicion to stop him. But they arrested him anyway, and he spent a night in jail. Prosecutors declined to pursue any charges stemming from the incident. After the incident, the man noted, ‘They had no reason to do this. And they’re out here doing this to people every day.’”

Mental Health Crisis

In 1988, after the MPD killed a mentally ill man who was cutting himself, the city founded the Crisis Intervention Team (CIT). Composed of officers who have specialized training in dealing with behavioral health issues, the CIT became a model other city’s police departments emulated. But the DOJ found “serious problems with the CIT program,” and that “officers often escalate behavioral encounters and use combative tactics almost immediately after arriving to behavioral health calls. … We observed CIT officers in Memphis belittle and mock people with behavioral health disabilities. In one incident, a CIT officer hit a man in the head and threatened him with a Taser while officers called him a ‘motherfucker,’ ‘bitch,’ and a ‘dumbass.’” One CIT officer earned the nickname “Taser Face.”

One 8-year-old Black boy with four behavioral health diagnoses encountered the MPD nine times between December 2021 and August 2023. He was threatened with tasing, handcuffed, and repeatedly thrown onto a couch. In one incident, when the boy stuck out his tongue, the CIT officer responded by bending his arm back and screaming, “I can break your arm with the snap of my wrist.” 

The report says that while 75 percent of 911 calls involving people with mental illness are nonviolent, “MPD’s training on behavioral health primes officers to approach people with behavioral health disabilities with force and aggression, and our review revealed they often do. For instance, a training given to all new officers erroneously teaches that people with bipolar disorder do not feel pain.” 

The City Responds

At a press conference on December 5, 2024, Mayor Paul Young responded to the DOJ’s findings — while repeatedly emphasizing that he had not read the report. “I believe that even one incident of mistreatment by the police is one too many. … The report the DOJ released last night is going to be difficult to read. Some of the incidents the DOJ report described are simply not acceptable, and our hearts go out to every person who has been impacted by those actions.”

In cities such as Seattle, New Orleans, and Chicago which have previously been the subject of DOJ investigations, city governments entered into consent decrees, negotiated with the DOJ, that outline the steps police departments must take to improve. At the press conference, Young ruled out signing such a decree. “We believe adjustments we’ve already begun making must continue, and that they must expand. It’s my job as mayor to fight for the best interests of our entire community. Every member. After carefully considering the information we received from DOJ, we didn’t believe that entering into any agreement in principle or consent decree right now, before even thoroughly reading the DOJ report, would be in the best interest of our community. It’s crucial that the city has the time to do a thorough review and respond to the findings before agreeing to anything that could become a long-term financial burden to our residents, and could, in fact, actually slow down our ongoing efforts to continuously improve our police department.” 

Young cited recent statistics which show a 13 percent drop in crime overall, and a 19 percent drop in violent crimes. Police Chief C.J. Davis echoed the mayor’s position that the department is on the right track. “In some of the areas that have been outlined in the report, we have made significant changes aligned with the Department of Justice, getting their support with some of the training that has been ongoing, not just this year, but in previous years.” 

In response to the sections of the report regarding the MPD’s treatment of children, Davis said, “We spend a lot of time with our children in our community. We graduated over a thousand children from our D.A.R.E./G.R.E.A.T. program, and work consistently to try to improve those relationships. We’re going to look through the report to ensure that we’re not missing anything.”

Shelby County District Attorney Steve Mulroy has studied the full report. “I think it’s very concerning and shouldn’t be dismissed. I still think the vast majority of folks on the force are people of good faith. They have a hard job, having to make quick decisions in stressful, sometimes dangerous situations. But that doesn’t mean there can’t be systemic issues of culture, training, and supervision that cry out for reform.”

When Shahidah Jones of the Official Black Lives Matter Memphis Chapter read the report, she recalls thinking, “Not to be cynical, but it was just like, ‘Duh.’ We didn’t choose to target police because we didn’t have anything else to do or we were looking at these one-off instances. A very large part of organizing is for us to learn history and do our political study. … This is not something new. This is the way police have been taught to operate.” 

Josh Spickler, executive director of criminal justice-reform nonprofit Just City, agrees. “I’m not particularly surprised by the report. I recognize some of these stories, some of the examples from media reports. Many of these things are well-documented and well-known incidents. And the findings are bad and awful, and as even Mayor Young said, hard to read, but they are not surprising.”

For Amber Sherman, who lobbied the city council for reform in the wake of the Tyre Nichols killing, the report felt like vindication. “My immediate action really was that it just corroborated everything that, you know, we as organizers here in Memphis have been saying for so long, especially with Decarcerate Memphis, where we’ve been really pressing the issue about pretextual stops and how dangerous they are.”

Decarcerate Memphis’ Alex Hensley, who drafted the reform ordinances which were passed by the city council in reduced forms after the Tyre Nichols killing, says she, too, feels vindicated by the report. “Activists and organizers have been saying all of these things for years on end, and then to have the DOJ — which is a policing entity, by the way — to say that, yeah, we need to not prioritize these low-level violations.” 

DA Mulroy says, “We need to rethink about using specialized units for routine enforcement. And distinguish between traffic stops that actually affect safety or real crime, like moving violations and drive-out tag fraud violations, which make sense. But some of these minor equipment violations, the data shows the hit rate on those is very low — you’re talking like 2 to 3 percent of the time do you find weapons or drugs or somebody that’s wanted on a serious charge. But the data also show those are precisely the types of offenses that are associated with racial profiling. You really have to think about what kind of a bang you’re getting for your buck. You’re potentially alienating the community that you most want to cooperate with law enforcement because they’re the ones who see the crime.” 

City council member Dr. Jeff Warren said he had not yet read the report. “If you remember, around the time that Black Lives Matter occurred after the George Floyd killing, the council began a process where we were involved with the police department, trying to initiate reforms. Some of the reforms that we actually initiated were negated by the state legislature. … I think we’ve been in the process of reform since this current police chief came on board; we’re doing that right now. That’s one of the reasons I don’t really think that the city needs to be entering into a consent decree that will cost taxpayers multiple millions of dollars, when it’s something we’re already trying to do.”

When asked about the DOJ’s finding that MPD recruits are taught that people with bipolar disorder cannot feel pain, Warren, a family physician, responded, “I don’t know where they got that from. Just because it’s written in a report doesn’t mean that’s the truth.”

The treatment of what the MPD calls “mental consumers” is one issue where there may be consensus on reform. The DOJ report cites multiple high-ranking MPD officers, as well as Memphis Fire Department officials and 911 call-takers, who believe that a new department specializing in mental health situations is needed to shift the burden from the MPD. 

“We should listen to them on that,” says Hensley. “If this city is so pro-police, listen to them on this subject. Clearly, there are a lot of mental health calls and a lot of mental health issues within our community that I think tie back to these issues of poverty, lack of housing, lack of investments in basic necessities. We have to come up with something different.” 

Spickler says, “There’s data that shows that most interactions with people in mental health crises are not violent. There are ways of responding that wouldn’t lead you to have to tell people falsely that people with bipolar don’t feel pain. One of the great suggestions of this report is that we don’t have to send an armed person to some of the things that we send them to, like a stranded motorist, traffic accidents, and mental health calls. These are all things that can be handled with someone who has safety and resolution as their mission and not what we have in this police department — and most police departments, frankly — and that is a warrior mentality. There’s an arrogance to it, and there’s an offensiveness to it. 

“There’s nothing about policing that should be offensive. It’s ‘to protect and serve,’ right? Many police departments across America have tried to shift to a guardian model, which is how policing, I think, is most effective. But throughout that report, you see very clear evidence that that is not the case at the Memphis Police Department. There is no guardian mentality. It’s not taught; it’s not modeled. It’s really not expected. What is expected is that you get what you want by whatever means necessary.” 

Will Anything Change?

The election of Donald Trump, who has promised a “brutal approach” to law enforcement, has brought the next steps into question. Whether a future DOJ would sue to impose a settlement with the city is an open question.

“I’m not gonna speculate about their motivations, but I think it’s obvious to anybody that there’s a very good chance that a lot of this will be dropped or, at a minimum, they’ll be less aggressive about enforcing it with the new administration,” says DA Mulroy. “We’ve seen that before with the prior Trump administration. That could be anyone’s calculus in dealing with the aftermath of November 5th.”

At his press conference, Mayor Young said, “We would have the same position regardless of the outcome of the presidential election.” 

A consent decree with the DOJ would result in federal monitors being assigned to the MPD in order to ensure that they do not violate citizens’ constitutional rights. In his regular Friday email on December 6th, Young wrote, “Instead of a broad and potentially prolonged federal oversight via a consent decree — which could impose millions in costs on our residents — we believe by taking a holistic, community-focused approach we can move further and faster toward the change we need with less cost to our community.”

These costs must be weighed against the costs of not acting, says Hensley. “I think they’re going to pay for it one way or another. First of all, they’re bloating the costs. We’ve looked at other cities, some of them have been high, but it’s spread out over time. There are just all these other elements that are being left out to make it seem like we’re going to go bankrupt next year. That’s disingenuous. Tyre Nichols’ family is suing them for $500 million — and that’s just one person. I’m not their chief financial officer, but you can look at that clearly and see the costs are going to be far worse if they don’t sign the consent decree, or if they don’t do these reforms.” 

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Business Unusual at MATA

When we spoke to the Memphis Area Transit Authority’s interim CEO Bacarra Mauldin in August, she called the state of affairs at MATA “business unusual.”

This summer, Mauldin and her team were in the process of finalizing the budget for Fiscal Year 2025 (F25). They had promised their board they would present a balanced financial plan after it was announced that the agency was in a $60 million deficit. The balanced budget, with plans for bus route suspensions and more than 200 layoffs, was unanimously passed, and would only further affirm Mauldin’s confidence in her own assessment of the current climate as “business unusual.”

“It’s not everyday that you have your whole board replaced at once,” Mauldin says now, reflecting on the most recent move made by Memphis Mayor Paul Young.“I trust Mayor Young, we’ve partnered, and he has a vision for how he wants this to go. He sent a clear message that he wants things to change — and we intend for them to change — and I support his vision,” Mauldin says.

Young made the move to replace the entire MATA Board of Commissioners in October, following a draft report from transportation consulting firm TransPro. The 117-page recommendation — which one city council member called “scathing” — summarizes recommendations for the agency and analyzes bus usage, ridership, and on-time performance, among other things. Its purpose was to highlight the pressing challenges the agency faced and call for urgent action.

TransPro conducted its analysis from August 19th to October 11th — during which time the board passed the budget without questions. This proved to be a point of concern for TransPro when evaluating MATA. “Existing MATA board fails to provide reasonable oversight,” the report said. “Just a month ago the MATA board unanimously adopted a budget with no questions … for a fiscal year that started more than 100 days prior.”

The consulting firm found only 26 percent of the community believed in the agency’s ability to efficiently handle public funds. In order to gain the public’s trust regarding management of funds, they recommended the entire board be replaced.

“The MATA board as currently constituted should be replaced with new members who will take seriously their responsibility to act as the policy and oversight entity of the agency,” the report said. “New board members should be trained on expectations and responsibilities.”

Mayor Young’s decision exemplified his intentions to start a “clean slate” at the transit authority, which had been at the center of controversy and public discourse for months.

The new MATA board members pose for a group picture following their Oath of Office ceremony at City Hall on November 15, 2024. 

In the Interim

In February, Mauldin was named interim CEO following the retirement of former MATA CEO Gary Rosenfeld. Her appointment came a few months after the agency opted to nix their controversial 2023 proposed winter service changes.

These changes were proposed as a way to enhance the agency’s on-time performance and efficiency. This included stopping service after 7 p.m. as well as suspension of numerous routes. After hearing from the public at both board and public meetings, as well as from state leaders such as Justin J. Pearson, the board of commissioners opted to keep service as usual.

MATA touted these adjustments as a way to give the public more reliable
service, by addressing their shortage of mechanics and bus repair backlog. At the time, officials said they were missing 20 percent of all of their scheduled trips.

Mauldin took over as interim CEO in the aftermath, and one of the first things she did in her official capacity was retain the services of an external CFO, Hamish Davidson of J.S. Held LLC. According to Mauldin, MATA had not previously had a CFO — a crucial position in stabilizing the organization’s financials.

Shortly after publicly announcing that the agency had been operating in a deficit, officials presented their budget proposal to the Memphis City Council, who has historically been the agency’s primary source of operating funds. The council allocated more $30 million to the agency for FY25. During this time, they also said they would be more involved in MATA’s budget moving forward. Officials instantly began their process of refining the budget. Mauldin said their largest expense was wages and fringe benefits.

In the summer, Mauldin admitted that if they were still operating in the way they had been previously, they would require a budget of $85 million; instead, she proposed a draft budget of $67 million. With this draft proposal, Mauldin acknowledged there would be cuts that would impact routes, staff, and other factors. She added that these changes would “hurt,” yet they would provide the agency with a “solid sustainable foundation” to thrive.

The interim CEO said they had not been able to identify funding for their current operating system, which has caused them to make the proposed cuts. According to MATA, they would also be streamlining staffing and vendor costs, as they prepared to submit the final budget for approval. 

Days before the agency presented their balanced financials, officials announced they would be suspending trolley services, after discovering a brake issue which resulted in a “costly recommendation” from Tennessee Department of Transportation (TDOT). MATA opted to “temporarily suspend the service as opposed to making that spend” at the time. Eighteen employees were laid off as a result. The new budget was approved by the former MATA board at a meeting that same week, which included a plan to lay off more than 200 employees and suspend several ridership routes.

While the new board of commissioners voted to delay the proposed changes until February 2025, several problems have been left unanswered.

In analyzing these problems, many commentators note that these aren’t the result of one administration. Bennett Foster, executive director of Memphis For All, says most of these problems come as a result of previous leadership and people who “lack imagination.”

“Frankly, these white men who have been running MATA and running our city for the past eight years, they not only lack imagination for what MATA could be, but they also lack political will to do anything about it because of who MATA serves,” Foster says. “Black, working-class Memphians are not getting the services they need because of the people in charge and the people those leaders were serving.”

Foster says Mauldin has the “imagination and power to bring in people — both federally and statewide — to help progress the agency forward and bring in revenue.” But barriers remain in getting past these issues. 

“Nobody wants to take blame for what happened, and politicians want to point the finger at management and management can’t really respond because [Mauldin] doesn’t know where they kept the receipts — it’s not her fault,” Foster says. “Of course as soon as a Black woman takes over it’s like, ‘Okay, now we need to hold you accountable.’”

Bacarra Mauldin hugs a MATA rider moments before a February 2024 event honoring the late MATA leader, William Hudson.

A Two-Fold Discussion

Conversations about MATA seem to fall in two different categories — evaluation of leadership and funding solutions — with many of the conversations intersecting. Groups such as the Memphis Bus Riders Union and Citizens for Better Service say these cuts sent the wrong message to riders and drivers, and that the changes sent a message that “[the board] was in favor of service cuts and layoffs.” Sammie Hunter, co-chair of the Memphis Bus Riders Union, was quoted as saying the budget was enough of a reason for Mayor Paul Young to “clean house.”

Further criticism of the administration and the board stemmed from a September city council presentation by the agency. Councilwoman Yolanda Cooper-Sutton said Mauldin had been “gifted an issue from her predecessors” and condemned the agency for not asking for help in their budget crisis.

Officials reported they had been operating in an unrestricted budget deficit for the last 10 years, which also caused Cooper-Sutton to call out the board of commissioners, saying they should “share in accountability for the agency’s financial burdens.” Mauldin said the board did not know the state of affairs, and when she was given full visibility over their finances, she shared the information with the board.

“I know that it’s unbelievable,” Mauldin said. “I know that it’s unacceptable, but we have done everything in our power to bring this in-line so that we could provide the service this city needs and deserves.”

But there’s another side — funding — and that doesn’t solely rest on the shoulders of the agency. Much of the public discourse about MATA sheds light on the turbulence, but people like Foster say this doesn’t help procure additional funding.

“The people who are going to be impacted by these conversations are people that actually ride the bus,” Foster says. “It’s being used as an excuse to not take action and protect MATA from crumbling. Protect these riders — it should be talked about as a service, not [to talk about] these people who are in charge. Are we going to save MATA? People are thinking about the management — no, think about the riders. Are you willing to do what it takes to make sure they don’t experience an end to their bus routes?”

L. Rochelle Hubbard depends on MATA’s services for her day-to-day activities,with no part of her life that isn’t impacted by reliance on transit. Hubbard says she doesn’t feel like ridership is a priority in decision-making.

“It comes across that we’re at the bottom when decisions are made,” Hubbard says. 

She adds that she’s thankful for advocacy groups such as Better Transit for a Better Memphis who have helped amplify their voices, but she can’t help but feel that, although the agency hears their riders, “very little is done.” Still, Hubbard hopes that the new board, who she says has members that represent the voices of riders, will bring new change.

“Keep the riders at the forefront of this fight to establish a better transit for better Memphis,” Hubbard says.

Cardell Orrin, executive director of Stand for Children, says, in his advocacy work, public transit has consistently been among the top issues people have talked about, by both community members and elected officials.

“We’ve had studies that show how things could be better for people to access jobs, healthcare, food, education, workforce development — almost anything you can think of could get better if we had a better transit system,” Orrin says. “We’ve created a transit system of necessity. Only people who have to ride transit for the most part ride it, even though a lot of people we hear from would like to ride public transit, whether it be for convenience or the environment … but we can’t rely on an ill-functioning and an ill-funded system.”

Ridership has plummeted as a result of Covid-19, playing a major factor in the state of transit, Mauldin said in a previous conversation. Agencies are also in the aftermath of Covid-19 relief funds running out.“That really propelled the state of financial instability for transit agencies across the country, large and small,” Mauldin said.

Mauldin says the agency’s debt has been growing due to the increased cost of doing business, decreased ridership, and flat funding. Officials say funding also impacts on-time performance.

With the city being the agency’s primary funding source, many people such as Foster say the city shares in the responsibility to maintain transit service. Foster says the agency seems to have not been a priority in current and previous administrations.

Fuel to Move Faster

These months of turmoil reached a climax when Memphis Mayor Paul Young said he was looking to start a “clean slate” by replacing all members of MATA’s board of commissioners following the release of a draft report from TransPro.

The analysis indicated that public transportation has its share of financial challenges — which MATA officials have continuously noted, citing lack of funding contributing to their budget woes. However, TransPro said MATAs challenges “are further amplified by a lack of focus on the daily needs of customers, poor financial management and oversight, and the pursuit of major projects that are straining the limited staff and fiscal resources of the authority.”

While many people have applauded the report — as it led to a change in board leadership — it isn’t without flaws. Orrin, for example, says people have problems with public transit and where the money is going. But, he says, the report fails to provide context for how public transit is funded locally as opposed to other cities. 

“I affirm that people are concerned about having adequate public transit. I think working back from that, the cause is not necessarily what they relate there about whether [it’s funding] being put toward these bigger projects, because the challenge of making that kind of connection is that the bigger projects they list are supposed to make transit better.”

One example Orrin refers to is MATA’s Memphis Innovation Corridor, the first bus rapid transit (BRT) system in Memphis. BRT is commended as representing the future of public transit, as a bus route that operates like a rail line with 31 stops along the way. 

Mauldin says they have not made any decisions to scale back from the project at this time, as they also value the contributions from federal partners such as Congressman Steve Cohen and the Federal Transit Administration.

“The BRT project is the core of the mobility system,” Mauldin explains. “We’re continuing to work with Mayor Young and his administration to see that project through at this point.”

She adds that the report also indicates making a new operation system a priority, a recommendation they are following.

“Overall, the report didn’t reveal anything we didn’t already know,” Mauldin says. “Things were already underway, so it’s good to have that report to validate some of that. We’re using that report as fuel to move us a little faster in that direction that we were going. We’re well aware of some of the problems that existed, but again, those problems didn’t start on February 1st when I became the interim. We definitely are working very hard — from the moment I took over — to try to rectify as many of those as necessary, but the fundamental issue for all of that is a lack of funding. We just don’t have the dedicated funding.”

What’s Next?

Mauldin’s recent appointment as interim CEO comes after being at the agency for three and a half years. Though this year has had its share of controversy and setbacks, Mauldin views it as a valuable step forward in elevating public conversations around transit.

“Public transportation is more of a conversation today than it was when I first got here,” Mauldin says. “People are truly giving it the time and attention that it’s really needed for quite a long time. The fact that we’re talking about it means we’re on the right path to truly fixing it because we all know this community really needs and deserves quality transit.”

Currently, MATA is working on a financial plan to bring the trolleys back, with Mauldin saying they expect to bring something to the board “very soon.” 

In evaluating the TransPro report, Mauldin says they are taking a “hard look” and working with Young on solutions, but there are a lot of things the report showed that they already knew.

Moving forward, MATA is looking to work with city, state, and federal partners to get more funding while also working with community groups and riders. And Mauldin says they’re not running from accountability.

“We’re not happy about the state of the transit authority right now and the service we provide,” she says. “We’re working every day, all day, half of the night even, trying to make service better, and I’m actually very proud of our team and what we’ve been able to accomplish so far along the journey.”

In the midst of chaos and discourse, Mauldin says she doesn’t want the work of the operators to get overlooked. While there is work to be done, she says the resilience and commitment of her team is important to address.

“The story of MATA is going to be a story of resilience,” Mauldin says. “We’re going to be the comeback kids. I believe that with all of the attention, all of the interest and development of our system, we’re going to be better on the other side because of this.”

Foster says they’re hopeful about Mauldin and her administration, saying they agree with who should take priority in decisions — the riders.

“I like her. I like the new board,” Foster says. “That’s promising, that’s giving me hope, and I do think what we saw in Nashville with the transit referendum is kind of sending a signal that people want public transit. People want that service, so I think we should prepare for something similar. We can put that on the ballot in 2026 and try to get some dedicated revenue.” 

Categories
Cover Feature News

Ballroom Rebirth

On a late-June night, Caleb Armstrong stood in front of an intimate crowd at Black Lodge. It was among the venue’s final events before closing last month, which made this night — and the images captured — all the more special. Armstrong was readying to emcee an event he held close to his heart. 

Donning a chic all-black ensemble and a pair of stiletto boots — playing with both masculine and feminine undertones — he grabbed the mic. The audience looked on, excited to be a part of the birth, or rebirth, of ballroom here in Memphis. Some posed and vogued in their seats. Outfits enhanced the ambiance — with people dressed in one-of-a-kind pieces that fit the night’s various performance categories.

Like a quiet storm, one participant commanded the room in a smart black suit and a hat ornately decorated with small crystals. As they flicked their fan, they had both the accessory and the audience in the palm of their hand. A sultry vixen would dramatically ditch her trench coat, leaving little to the imagination as she faced a shirtless competitor in the “sex siren” category. Rounds later, a woman sported what could be described as “model basics” — a simple black top and relaxed jeans. She would later reveal her secret weapon— a face card that scored 10s in the “face” category. Others wore fits ranging from streetwear to full-on drag. Regardless of garb, this would be a night to remember — with the promise of more to come. 

Tito Giuseppe (left) and Caleb Armstrong (right)

A New Era

“Ballroom is back!” Armstrong exclaimed from stage, pulling power from his high heels. The 28-year-old fitness instructor and longtime ballroom aficionado was seeing the end product of a long-sought dream and a much-anticipated revival.  

This was one of those pinch-me moments for Armstrong. And he’s experienced those more frequently in the past few years. (Read on to hear about his brush with Beyoncé.)

This night was about ballroom, which may not be what you associate with “ballroom,” and doesn’t involve celebrities competing to revive their careers. Still largely underground, ballroom can be thought of as the ultimate face-off, with the collateral being pride, ferocity, and the ability to “serve.”

Participants come dressed in their best representation of the competition’s categories, mixed with the theme of the function. In a “sneaker vs. sneaker” face-off, one may choose to break out a sought-after pair of Jordans to go head-to-head with Comme des Garçons Converse, with the defining element being how the contestant sells the look to the audience and judges. Those in the “body” category may rely solely on their weekend Pilates classes and physiques to flex their goodies.

Outfits and presentation are only part of what the judges score. To receive 10s across the board, the contestant must command the room — marking every corner with their uniqueness and fierceness — thus garnering snaps, fan flicks, and audience applause.

If the judges like what they see, they’ll use their hands to display all 10 fingers to signify a vote of confidence. Those who compete in a category either receive “10s across the board” or are “chopped.”

Historian Tito Giuseppe’s presence at Black Lodge that summer night was notable. With his wealth of knowledge and experience, some might say he is ballroom history. He’s also the founder of the House of Giuseppe (more on “houses” later). 

“Shout out to Black Lodge! Can we give it up for Black Lodge, y’all?” Giuseppe said as he joined Armstrong on stage and took the mic. “You all right now are a part of ballroom history. You people here tonight are really a part of an evolving culture that has been around for 53 years — and it’s making a resurgence here in your backyard.”

It was a night that was years in the making, one that encapsulated lifelong passions, a history spanning decades, and the desire to revive a sacred space for community in Memphis. Giuseppe called the night — the first ballroom event in Memphis in a long time — “groundbreaking,” and those who were lucky enough to witness it would agree.

Lessons in Serving

Giuseppe, who grew up in the North but now lives in Memphis, dates his entry into ballroom back to 1989 when he was a student at Howard University in Washington, D.C. Back then, there wasn’t representation of ballroom on TV or in the media. He says when he coaches and talks to the new guard, he wants them to understand the foundation upon which they’re building. While he believes there are upsides to increased exposure in popular media — including the iconic documentary Paris Is Burning, Ryan Murphy’s Pose, the ballroom competition show Legendary, and Beyoncé’s album Renaissance — understanding the culture’s origins before such exposure is crucial to its longevity and respect.

“Everything still stems back from 1971, when they started,” Giuseppe says. “[Things like] how you’re being judged, 10s and a chop [which essentially denotes a win and a loss] — those things stem from 53 years ago in its inception.” 

As someone who lived in the movement during its golden era, Giuseppe today considers himself both a mentor and educator in the South, encompassing Texas, Louisiana, Arkansas, Oklahoma, Tennessee, and Mississippi. He says he is often approached by different houses in these areas to help cultivate and grow the culture.

“This is a teaching moment because we want you to understand. We don’t want you to say, ‘Oh my gosh, I’ve seen this on YouTube and now I get to see it in person,’” Giuseppe told the audience. “No. I want you to walk away with a knowledge of what this is. Not only do you educate yourself, but you get to talk about it with your girlfriends.” 

Giuseppe says ballroom is known to have started in 1971 by Crystal LaBeija and Pepper LaBeija as a way to rebel against the prejudiced practices in drag pageants. The two African-American people of trans experience would enter events similar to drag pageants (also known as drag balls). While the LaBeijas were “really, really good,” they would never find themselves past first-runner up in a mostly Caucasian-dominated culture.

The LaBeijas’ original ballroom functions aimed to address the inequities in the drag space in that era, and, over time, Giuseppe says, they evolved. Today, people of all races, cisgender folks, and heterosexual women have dominated in the performance
categories.

“It’s an underground culture that allows those of us who are participants in the culture to compete in different categories like ‘face,’ ‘realness,’ ‘runway,’ ‘body,’” Giuseppe says. “Think of it as the Olympics, so to speak.” 

And “houses” are an integral part of ballroom culture. They serve as teams for participants — who aim to bring honor to said teams with trophy wins. They’re also considered chosen family. The houses are often named after luxury designers and fashion brands, such as Hervé Léger, Thierry Mugler, or Balenciaga, Giuseppe says, and “the house itself operates under a name, and those members are all considered ‘house members,’ but they operate like a family.”

The founders of these houses are considered founding mothers and fathers. Giuseppe, for example, is the founding father of the House of Giuseppe. There are then a set of “overall parents,” who, although they did not start the house, operate them on a “day-to-day basis from a wide standpoint,” he says.

“All of the chapters from the various cities, states, and countries answer to those two overall parents,” he says. “Then you have state parents, like a Texas mother and father, a Tennessee mother and father, and then it breaks down into cities. … They compete in those regions as the house itself.”

The idea of a chosen family is appealing to many, which is why people like Armstrong turn to ballroom for a sense of community. After coming out publicly “five or six years ago,” he sought to figure out his identity beyond sexuality. And that’s precisely how he “stumbled into the ballroom world.”

“I really admire the framework of the chosen family relationships that ballroom is founded on,” Armstrong says. “I think that’s kind of the heart of ballroom. I really spent years looking for genuine friends, and cultivating those friendships and relationships.”

A Revival With Purpose

The summer ball at Black Lodge was the brainchild of Armstrong and his closest friends — with the help of Giuseppe. During the event, one of those friends, Octavia Jones, commonly referred to as DJ Space Age, or Space Age, kept the runway booming and the vibes copacetic. In June of 2022 Jones launched Queer Memphis, an organization dedicated to curating networking and social events in hopes of creating more spaces and events for the local queer community. In her 15 years as a DJ, Jones has been able to see “what isn’t happening and things people wanted to see.”

Jones has attended ballroom events, but they’re “few and far between” in the city, happening once or twice a year, she says. Recognizing that dearth evolved into collaborating with Armstrong and others to put on their first ballroom event this June, with the hope of establishing consistency.

“I haven’t seen anything that’s been consistent, I think, ever in the city of Memphis,” Jones says. “I know myself and especially Caleb have attended balls outside of Memphis, in New York, Nashville, and Atlanta. We kind of ended up talking about just pressing the reset button and activating something in Memphis.”

The culture and history are the major draws for Jones, who feels ballroom serves as a way for the LGBTQ community to take a multifaceted approach to self-expression. And she wanted to have a hand in giving people more outlets to express themselves beyond the local drag scene, producing events such as the one at Black Lodge.

Cheri Lie Maid, a Memphis drag performer and ballroom enthusiast, served as one of three judges at the event, alongside Mariah Da’Goat Kelly and Juan Martinez. Cheri says their affinity for makeup and LGBTQ
culture led them to discovering ballroom, which served as an entry point into drag.

“I came across ballroom on YouTube and the first thing I was watching was a butch queen up in drag — a man who is in makeup, or in hair and heels, performing ballroom voguing but in a different element, basically,” Cheri says, “which means it’s feminine and not like old-wave or new-wave.”

There are some drag elements in ballroom, as it was birthed from that art form, Cheri says. But there are also elements of ballroom in drag. And while ballroom was Cheri’s first love, drag serves as a way for them to marry that interest with a love of makeup.

“Ballroom is very much a masculine field and a feminine field,” Cheri says. “We understand that those two are very humanly categorized, so we tend to think those are the only two categories we can go through, that it’s either/or. Some people like to play with both.”

This is part of what Cheri appreciates about ballroom though — it’s made to encompass and welcome as many queer people as possible.

“That’s what it means to be a part of the LGBTQ community,” Cheri says, “because you know what you are and you know what you present, but it’s better for you to be among your people who want to bring you up and see you as a better person.” 

Armstrong echoes these sentiments, as he drew inspiration from the iconic OTA (open to all) Balls in New York. He wanted to incorporate these themes not only into his events but also into the community he hoped to create out of them. He knew ballroom had more to give than just an experience.

“When I was looking for friends, I was looking for friends who had that special light but needed a platform to showcase that,” Armstrong says. “A lot of my friends are drag queens. We are in the club bucking it, twirling it every weekend, giving a look — being those girls. I think a piece of that goes back to representation and visibility. I try to be the person I wanted my inner child to see growing up.”

Mariah Da’Goat Kelly performs before sitting at the judge’s table.

This Is What I Wanna See

For Armstrong, things have come full circle. He remembers watching a “nasty” Vogue Femme Final ballroom battle between Lasseindra and Ida “Inxi” Holmlund on YouTube in 2015 and being captivated by the subculture for the first time. Fast-forward to being featured in a project praised for its contributions to both pop culture and queer iconography.

In one of the biggest flexes of the 21st century, Armstrong was able to add the credit “Featured in Renaissance: A Film By Beyoncé” to his Instagram bio.

“My friends will tell you they are sick of me,” Armstrong says with a laugh. “I’ll be like, ‘Do y’all know that Beyoncé knows me?’ I’ve loved her for so long, and to be featured and recognized by not only Beyoncé but that project specifically holds such a special place in my heart. Renaissance obviously did something for the Black queer culture that can’t be undone, and it represents us so well.”

That project was the 2023 musical documentary that was the culmination of Beyoncé’s summer tour celebrating her seventh studio album, a blend of Black dance music, disco, and house, with samples from Donna Summer, Teena Marie, Moi Renee, Big Freedia, and more.

Armstrong remembers getting into Club Renaissance and being thrust into a full-on vogue-off prior to Beyoncé taking the stage. Not only did his infectious energy catch the attention of Beyoncé’s team, his bold, fringed, silver two-piece outfit in the tour’s TV-test screen set (ingeniously modeled after the Progress Pride flag) truly defined being “the visual.”

“For her to see me, that was my most joyous, my most authentic [self]. … I was feeling opulent, I was feeling ova [high], I was feeling the fantasy,” Armstrong says. “For me to be my complete, extra, over-abundant self and for her to see me and amplify it even more … it was the biggest love letter.” 

Representation is an important part of an individual’s path to authenticity, and, like many things in queer culture, it is not monolithic. While people are familiar with some of what Memphis LGBTQ life has to offer, they’ve only gotten a taste. In the absence of consistent ballroom culture here, many travel to other cities. Giuseppe encourages people to experience it. Cheri does too, and believes no one should have to travel for it, as it has the ability to touch and change lives — like it did theirs.

This ballroom revival gives Memphis a chance to be a part of history while adding the city’s own signature. Cheri, Jones, and Armstrong have seen the way culture builds on top of itself, through people like Giuseppe, and through visiting places where the scene originated. They’re respecting tradition while building on that foundation. Their dreams are as big as the groundwork laid before them, and they know the legacy they’re stepping into. 

“We have our own style, our own culture here,” Armstrong says. “Why don’t we cultivate that? Let’s put Memphis on the map. I feel like Memphis, no shade, we’re a Southern city, so we’re very ‘banjee’ [have swagger]. We’re very gritty, very raw. … Once we continue with the balls, our style will create its own signature and [people will be able to] say, ‘Oh, that’s a Memphis girl. … Oh, we see Memphis is in the house, we see how she’s bucking it.” 

Ready for more Memphis ballroom? Prepare to mash at Atomic Rose’s Monster Ball on October 25th. Visit @QueerMemphis on Instagram for updates.

Categories
Film Features Film/TV

The Supremes at Earl’s All-You-Can-Eat

One of the most difficult tasks filmmakers have is catching the complex dynamics of female friendships. From revenge-seeking first wives to teenagers sharing a magical pair of pants, writers have tried to discover how to frame such stories.

It’s not uncommon for these movies to convey the idea that these relationships are essential to tackling adversity, portraying femininity as a bond that can transcend both time and the nature of their unique situations. But these themes are not monolithic; they are dependent on setting, societal norms, and race.

These themes can be more challenging when directors try capturing the magic of Black female friendships — specifically those that have stood the test of time. Director Tina Mabry decides to take on this narrative with no inhibition in Hulu’s The Supremes at Earl’s All-You-Can-Eat, based on a 2013 novel of the same name written by Edward Kelsey Moore.

The film follows a trio whose friendship has withstood 30 years of laughter, transformation, and tragedy. Aunjanue Ellis-Taylor narrates the story as Odette, the gutsy, outspoken woman whose fearlessness would not only usher in the group’s bond but also prove to be an inspiring theme throughout the movie. Odette’s power is supplemented across the screen by Clarice (Uzo Aduba, of Orange Is the New Black fame), whose grace and desire to save face can sometimes be detrimental. The friendship is completed when Odette and Clarice decide to welcome introverted Barbara Jean (Sanaa Lathan) into their fold after intervening in her abusive home life.

Known lovingly as “The Supremes” at their local diner (Earl’s All-You-Can-Eat) due to their inherent glow and beauty, the ladies navigate their complex lives, often pulling strength from each other. With a friendship birthed in the 1960s, the film follows a “now-and-then” structure, told through both flashback and present-day perspectives.

As a Black woman, I was a bit trepidatious, thanks to my former experiences with Black-female focused films. The word “strong” is often used to describe a Black woman’s life experience both on and off the screen. While this term can be used to positively evaluate tenacity, it can also be scary when filmmakers express their characters’ strengths through trauma. I identify with many of the young women in my generation who are still traumatized by Lee Daniels’ Precious, which, it turned out, was not a hopeful story about a teenage girl. Many films and shows seem to compete to find out “How much can we put a Black woman through on screen?”

It’s not to say that we wish for a euphemistic model of storytelling. The beauty of life is enhanced by how we emerge from life’s troubles. Director Mabry, a native of Tupelo, Mississippi, doesn’t shy away from this challenge. Odette says, of Barbara Jean’s trials, that God “is always picking on her,” given everything she’s been through from losing her mother who suffered from alcohol abuse to losing her son to racist violence and hate. She’s faced with the decision either to become a victim of her circumstances, as her mother did, or to grapple with her destiny by intervening on her own behalf.

Part of the beauty in Mabry’s story is that we see the cards these characters are dealt. At times, their fates seem unavoidable. But Mabry’s storytelling is realistic and balanced with joy. These Black women are not solely characterized by hardship.

The director makes aging and growing look appealing, even rewarding. It’s refreshing to see these Black women growing older in a way where they can enjoy life. Odette is set to grapple with the likelihood of having a future, with her inclination to tackle destiny on her own terms, pausing occasionally to touch grass. Clarice learns that it’s never too late to break our own habits, no matter how much we’ve sacrificed. In the end, the movie is a remarkable take on perspective, as life doesn’t necessarily have to happen to us; it grants us the opportunity to take charge. 

Mabry has left me hopeful that a new era of more complex storytelling for Black women is upon us, where we are defined by more than just our strength. 

The Supremes at Earl’s All-You-Can-Eat is streaming on Hulu.

Categories
Film Features Film/TV

Bad Boys: Ride or Die

For the past few years it’s seemed as if Hollywood had been infected by a plague, and legacy media were the most susceptible. Movie screens and streaming libraries have been filled with reboots and continuations to stories that were either major successes in their heyday, or built cult followings which capitalists sought to seize. Every so often a new trailer or press junket would drop, teasing a new installment of some saga that would leave the audience wondering, “They still make that?” or “Did we ask for that?”

This phenomenon becomes even more of an enigma when certain franchises return after hitting the screens decades ago, since it can potentially alienate audiences who don’t fully understand the lore. However, Bad Boys: Ride Or Die is an exception, leaving the viewer either satiated as a longtime fan or eager to start from the beginning. 

The movie serves as the fourth installment of the series. Like the last film, the pandemic-era Bad Boys for Life, original director Michael Bay is replaced by Belgian directors Adil El Arbi and Bilall Fallah, with a story by Chris Bremner, Aquaman scribe Will Beall, and George Gallo. Reprising roles they originated in 1995 are stars Will Smith and Martin Lawrence, along with supporting actors Paola Nüñez and Jacob Muntaz Scipio, with Eric Dane. New to the franchise are Better Call Saul standout Rhea Seehorn and Ioan Gruffudd.

The film opens with the titular pair Mike Lowrey (Smith) and Marcus Burnett (Lawrence) in another one of their iconic car chases. Both men appear dapper and on a time crunch as their latest mission —Mike’s wedding to his former physical therapist Christine (Melanie Liburd) — brings a new sense of urgency. But en route to the nuptials, Marcus asks to stop at the gas station for a ginger ale, much to Mike’s dismay. Marcus’ junk food addiction gets the best of him, and as he piles his order onto the counter, he finds himself at gunpoint in a gas station robbery.

Within seconds, the pair annihilate the assailant, and Mike makes it to the church on time. As the couple is pronounced husband and wife, we see the wedding party joined with a memorial photo of Captain Conrad Howard, who died in Bad Boys for Life while trying to take down a Miami drug cartel. 

At the reception are Rita Secada (Núñez), as well as Howard’s daughter Judy (Seehorn) and granddaughter Callie (Quinn Hemphill). But the celebration is cut short as Marcus’ diet of sweet garbage finally catches up with him, and he suffers a heart attack. As he’s rushed to the ER, Marcus hallucinates Howard’s ghost, who informs him that it’s not his time to go. Marcus awakens with a new lease on life.

That ghost seems to be busy. As Marcus is recovering, city officials are notified that Howard is seemingly committing fraud from beyond the grave. Mike and Marcus, forever indebted to Howard, take on the mission to clear their late captain’s name.

Their first stop is the prison where Mike’s son Armando (Scipio) is being held, as he’s been convicted of Howard’s murder. Armando believes he can identify the real perpetrator, but as word spreads through the prison, he finds himself the target of a deadly attack in the yard. With his safety at risk, he’s moved to Miami. But his transfer helicopter becomes a target for the cartels, and our heroes miss death by an inch in the ensuing crash. Mike, Marcus, and Armando continue their mission as fugitives.

With the help of Advanced Miami Metro Operations agents Dorn (Alexander Ludwig) and Kelly (Vanessa Hudgens), they not only uncover the mastermind of the hoax, but follow the trail of deception and forbidden alliances. 

While it may be a part of the series, and the conclusion of a story Adil and Bilall began in the last film, first-time viewers needn’t worry about being confused. Longtime fans will be reminded as to why this pair works so well together in the buddy-cop genre. Thousands of slap-happy think pieces and unsolicited marriage tidbits later, Smith is still refreshing, and we’re reminded of why the camera loves him. Lawrence’s comedic legacy precedes him, and his impeccable delivery doesn’t disappoint. Both actors manage to balance out the comedic and action elements without doing too much.

The film ends on an open note, with the plot wrapped up, but no major cliffhangers. If there’s going to be a reboot, why not give Gilmore Girls and The Marvelous Mrs. Maisel creator Amy Sherman-Palladino a shot? Bad Girls, anyone? 

Bad Boys: Ride or Die
Now playing
Multiple locations

Categories
Cover Feature News

LOC: The Source

LeMoyne-Owen College (LOC) is “The Source” of all things. The source of Black culture, pride, excellence, and, of course — magic.

This is the newest tagline for the school now in the midst of a brand change that claims its own narrative and marks its own way forward. The new effort is led by interim president Christopher Davis, inspired by new heights he believes the school can reach. The school has already been a source, having given so much to Black thought, civil rights, and political action. Davis thinks LOC — as The Source — has a lot more to give from a wealth of untapped potential.

Davis’ involvement with LOC goes beyond his tenure as interim president, dating back to 1999 when he served as senior pastor of St. Paul Baptist Church, which has been a “longtime financial supporter” of LOC. He has served in a number of representative capacities for the school and was appointed interim president in 2023, following the resignation of then-president Vernell Bennett-Fairs.

Christopher Davis (Photo: KQ Communications)

At its core, the school has been a source of educational enrichment, fulfillment, and opportunity — staying true to its original vision. But, Davis says, the school gets lost in larger conversations about historically Black colleges and universities (HBCUs) as a whole. “Our new tagline is this idea of being ‘The Source,’” Davis says. “As I looked at that, I really began to think about what that means given the fact that we’re the fifth oldest HBCU in the nation.”

The college is the only HBCU in Memphis, with its history dating back to 1862 when Lucinda Humphrey opened an elementary school, which became known as Lincoln Chapel, at Tennessee’s Camp Shiloh for “freedmen and runaway slaves” during the Civil War. The school was destroyed in 1866 due to fire in race riots three years after being relocated to Memphis.

“The school was rebuilt and reopened in 1867 with 150 students and six teachers,” say school officials. “In 1914, the school was moved to its present site on Walker Avenue, and the first building, Steele Hall, was erected on the new LeMoyne campus. LeMoyne became a junior college in 1924 and a four-year college in 1930.”

Owen College, founded in 1947 after the Tennessee Baptist Missionary Educational Convention, built a junior college on Vance Avenue. It opened its doors officially in 1954, and was then known as S.A. Owen Junior College. Students at Owen College became known for their tenacity and involvement in the Civil Rights Movement, including sit-ins in 1960 to desegregate city facilities. But the school began to face a number of financial challenges and losses, and entered a merger with LeMoyne college in 1968.

With such historical richness of the school, Davis began to wonder, “How is it that we don’t have the same public profile as some of the other HBCUs that you hear about all the time?” He explains that when more prominent HBCUs such as Morehouse, Spelman, and Hampton “were still a hope in somebody’s heart,” LeMoyne-Owen’s doors were already open — and the school had been reactive as opposed to proactive in terms of “shaking the narrative.”

“We’re going to take control of the narrative,” Davis says. “No longer are we going to react to what people say about LeMoyne-Owen, but we’re going to introduce them to [the] LeMoyne-Owen that we know, love, and support.”

Memphis Mayor Paul Young serves on the LOC board of trustees. He says the college impacts not only the city, but HBCU culture in general. “The importance of our only HBCU in the country’s largest minority-majority city cannot be overlooked,” Young says. “The institution offers a supportive community that fosters meaningful real-world connections and success. So many successful Memphians graduated from LOC, including my dad. It is a pillar in our city, and I believe it will be a catalyst for growth in the South Memphis community for years to come.”

(Photo: KQ Communications)

Stick and Stay

The school that so many revere has withstood a number of challenges, a testament to the persistence and doggedness ingrained in its foundation. Countless students have entered LOC’s doors and left as proud Magicians.

Everyone plays a role in shaping LeMoyne’s reputation, Davis explains. Both past and current students. “If you’re concerned about the long-term trajectory of Memphis, how do you invest in any place other than LeMoyne-Owen since we’ve demonstrated that our students stick and stay?”

Alumni play a pivotal role in the lasting impact of the school. LOC “can’t make it without their alumni,” Davis says. “We need more than just their check. We need their presence on campus. I need them walking around saying to students, ‘I was where you were, and this is what LeMoyne-Owen was able to do for me.’”

June Chinn-Jointer is a 1979 graduate of LeMoyne-Owen who’s known lovingly around campus and in the LOC community as a devoted alumna.

“[I was] a regular college student, had all the fun that any other college student would have,” Chinn-Jointer says. “You talk about having fun? I had a ball — I really did.”

Chinn-Jointer majored in social work and originally worked in the field after graduating, but a return to higher education kept beckoning. In October of 1980, she was hired as an alumni senior counselor in the career service center at LeMoyne-Owen, where she helped graduating seniors prepare to enter the job force. After displaying a vested interest in the lives of students, Chinn-Jointer was urged by mentors and school officials to move toward recruitment.

“That’s how I got into higher ed, and I’ve basically been here ever since,” she says. “I’ve had some good times here. I’ve worked at other higher-ed institutions, but I would always come back home. They would call and ask me to come back and I always came back — happily — to help my students at LeMoyne-Owen College.”

Chinn-Jointer has “worn many hats” at LOC. She has previously served as the dean of enrollment, dean of retention, and more. She currently serves as the director of alumni affairs, and as she talks about her time at the school, both as a student and in her career, it’s clear that she’s moved not only by her love for her alma mater but for the students as well.

She recalls how her own experience as a student was made better by previous alumni and mentors. As she lists the names of some who helped her along the way, she notes that their dedication wasn’t solely based on encouraging academic achievement. “Not only were they dads and moms, they kept us in line. They knew we were going to be traditional college students — playing cards, partying, and all that kind of good stuff — but they also made sure we stayed focused while we were here.”

A genuine interest in student retention and success is something that keeps many Magicians returning to the school long after they graduate, Chinn-Jointer explains. But she also speaks of a magic essence — one that is made stronger by the students who bring the campus to life, both on and off the school’s grounds.

Take, for example, the involvement of LOC students in the Civil Rights Movement. Their passionate engagement resounded through later generations of students as the need for more marches and activism opportunities grew. Chinn-Jointer explains it is a demonstration of the university’s lasting commitment to “dignity and respect.”

“Your experience as a student here is a lasting, fulfilling relationship that you have. You don’t ever lose it,” Chinn-Jointer says. “We always talk about the magic and the LeMoyne-Owen mystique — it’s wearing those LeMoyne-Owen colors, the purple and the gold, very proudly. Holding your head up, shoulders back when you walk into a room with anybody — you can stand toe-to-toe with them. That’s being a LeMoyne-Owen graduate.”

(Photo: KQ Communications)

There’s No Place Like LeMoyne

As president, Davis emphasizes the impact of alumni in helping the school reach new heights, but he also calls on current students to help tell LOC’s story. A crucial part of this, he says, is stressing that their decision to enroll there is one of intention. “You didn’t come to LeMoyne because you couldn’t go somewhere else. You came to LeMoyne because you were convinced there was no place better. We want to give them the tools and resources to, number one, live into their authentic selves, but most importantly, be positioned to be successful in life.”

For Danielle Jathan, attending LOC has been the coming-true of a seemingly unattainable dream. Jathan made LOC a home away from home as an international student hailing from an inner-city community in Jamaica called Waterhouse. “[In Waterhouse] there’s a lot of crime and violence, teenage pregnancy, gun violence — I actually never thought I would come out of that,” says Jathan. “The system makes it so hard to rise above it from a lower class.”

The idea of rising above wasn’t germane to her situation at home though. Jathan is the 2023-2024 Student Government Association (SGA) president, a peer tutor mentor, and a member of Collegiate 100 and the Rotary club, to name a few.

Jathan was also chosen to represent LOC at the White House as a 2023 White House Initiative HBCU scholar. There, she says, very few had heard of the college, so she embraced the opportunity to speak “more and more” about LeMoyne-Owen.

“It was nice for me to actually get the school’s name out there,” Jathan says. “We have this saying in Jamaica [that fits], ‘Wi likkle but wi tallawah,’ meaning people think we’re this small, private school and we don’t have much talent, but really we’re so rich with talent and prosperity.”

While Jathan plays a prominent role on campus, leadership is relatively new to her. Back at home she was known to lead from behind, she says, staying to herself and letting others take the reins. But this all changed when she came to LOC, where opportunities to lead appeared at every turn. “People kept calling me to things, saying, ‘Danielle can do this. Danielle can do that,’” says Jathan. “I realized students looked to me, and I realized I was actually good with [building] relationships with them.”

Jathan’s work is demonstrative not only of the Magician spirit, but of her devotion to motivate her fellow students to succeed. While Jathan’s involvement is marked by encouraging others, she is also able to pinpoint the ways that LOC has poured into her.

“[LOC] has equipped me with all of the leadership skills I need,” she says. “It actually brought out the leadership qualities that I already had that I didn’t know I had.”

This is a crucial element, especially for students who venture from their hometowns to study at LOC. Honesty Campbell and Kevin Bland are two out-of-state students, studying business management and special education, respectively, who both agree that the essence and life of the campus made their decision to enroll easy.

“From the moment I stepped on the campus, I felt a vibe,” Bland says. “It was a little different. Everyone seemed to operate on family time. I didn’t want to go to U of M — thought it was too big. I decided to sit down somewhere where the environment is small and where I get to learn everybody that I can.”

The more intimate setting of 463 students invokes a tight-knit bond that students adore. Campbell didn’t visit the college prior to enrolling, but through relationship-building with her peers she now knows she made the right decision.

“We are surrounded and based off family,” says Campbell. “This becomes your family.”

Community impacts every aspect of the student experience, Bland says. It’s as if the school is tailored to match the needs of each student individually, as he’s found he’s never quite alone through anything he’s faced.

“There’s someone always around who’s attended the school, that knows about the school,” Bland says. “When you meet that person for the first time, there’s already a connection there.”

(Photo: KQ Communications)

Magic at Work

A bulk of the magic of LeMoyne comes from alumni and current students keeping the legacy alive, but Davis says in order to continue this momentum, they have to give back to the community that helped them to become who they are today.

“One of the things I like to boast and brag about is that, regardless of where our students come from, 98 percent of our graduates stick and stay in Memphis when they graduate,” Davis says. “We have a direct impact on the economy, culture, and direction of this city.”

The school’s curriculum is constantly evolving to adapt to not only the needs of the workforce, but the city’s workforce specifically, Davis says, adding that the major markets in Memphis are education, healthcare, supply-chain logistics, and IT — and the school is responsible for supplying the needs of these markets.

For example, the school has a new partnership with MSCS as a pipeline for teachers. “We’re looking to be ‘The Source’ of teachers for Memphis-Shelby County Schools,” says Davis. “Not just any teachers, but teachers who have been trained and developed and nurtured to serve in urban school districts — specifically Memphis-Shelby County Schools.”

It’s important for students to not only stay in Memphis, but for them to be employed in the city as well. Davis hopes employers consider LOC graduates when vetting candidates for various jobs in the city, as the school has had the needs of Memphis in mind when preparing students.

“Not only do we want our students to stay here — we are training and upscaling our students so they can be employed here,” he says.

As the school continues to explore the source of what makes the school unique, it can’t be narrowed down to just one thing. The magic lives in its campus, its students, its alumni, and the legacy that has permeated the city of Memphis and beyond.

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Film Features Film/TV

Mean Girls

Twenty years ago, we were transported to a mini-skirt-clad world where pink was worn on Wednesdays and everyone had been personally victimized by Regina George. In 2004, comedian and writer Tina Fey brought the world of the Plastics to life in Mean Girls.

Defined by catty comebacks and irreverent humor, the mean girls in Fey’s world weren’t as dark as the ones at Westerburg High, nor did they cover up a murder-by-jawbreaker. Instead, they skillfully mastered a new level of manipulation and backstabbing, leaving behind a cult classic.

The 2004 movie holds a special place in pop culture, and now inspires a whiff of millennial nostalgia. Attempts were made to make fetch happen again with the made-for-TV film Mean Girls 2, but it paled in comparison to the original. Fey went back to high school for Mean Girls: The Musical, which opened on Broadway in 2018 and ran until Covid shut New York’s theaters down in March 2020. 

The Broadway play ushered in a new generation of fans, but the original fan base was still around and kicking, which means that when the trailer for the film adaptation of the musical adaptation was released with the tagline “Not your mother’s Mean Girls,” it was going to alienate somebody. 

Turns out, there was nothing to worry about. The 2024 adaptation of Mean Girls: The Musical serves as a nice entry point to the fandom for newer audiences, while embracing the elements that contributed to the phenomenon. 

Staying faithful to the Broadway source material, the film opens with narration by Janis Imi’ike (Auli’i Cravalho) and Damian Hubbard (Jaquel Spivey), who preface the story with the song “A Cautionary Tale” delivered in the portrait style of a vlog, which will become a recurring visual element of the film.

Similar to a Broadway stage change, we’re whisked to Kenya where Cady Heron (Angourie Rice) sits alone pondering if there is more to life than current circumstances (“What Ifs”). Her mother (Jenna Fischer) informs her that they will be moving from Africa to Illinois, thus presenting an opportunity for Cady, who had always been homeschooled, to find her footing.

Principal Duvall (reprised by Tim Meadows) introduces Cady (or Caddy)  to the less-than-welcoming Northshore community, including her homeroom teacher Ms. Norbury (reprised by Tina Fey). The hothouse world of high school throws Cady for a loop, and the infamous cafeteria scene only adds to her disorientation. 

As she settles into her canonical bathroom stall for lunch, Janis and Damian bring Cady under their wings to help her find her ideal clique. But first, Damian and Janis warn Cady, beware of The Plastics—notorious gossiper Gretchen Wieners (Bebe Wood), ditzy Karen Shetty (Avantika), and the queen bee, Regina George (Reneé Rapp reprising her acclaimed role in the 2019 Broadway production).

The chokehold that Regina has on the student body is displayed in the song “Meet The Plastics,” and it’s evident that Cady secretly yearns to be accepted by Regina and her friends. After being invited to sit with the Plastics for the remainder of the week, Cady goes to math class, where she meets Aaron Samuels (Christopher Briney).

Cady falls hard for Aaron, and sings “Stupid With Love,” but she’s warned by Gretchen to not pursue him any further, as Aaron is Regina’s ex. Oblivious to the deep politics of the situation, Aaron invites Cady to his Halloween party. Regina, who is now aware of Cady’s crush, plots to spite Cady by getting back together with Aaron, setting Cady on a path to revenge with a scheme to ruin Regina’s life with guidance from Janis and Damian.

The film is filled with blink-and-you’ll-miss-it references to the original movie, and fun cameos. Lindsay Lohan, who rode the original film to superstardom in 2004, plays the math competition moderator. But as is always the case with Broadway adaptations, some elements that made the original film so iconic are either toned down, or get lost in the theatrics.

Take, for instance, “Revenge Party,” which introduces Janis, Damian, and Cady’s plan to ruin Regina’s life. While it’s a fun number which translates to the screen beautifully, it sacrifices the cold-blooded sabotage our anti-heroic trio originally displayed. Sure, it’s a colorful sequence, accompanied by a skillful montage. But it lacks the queasy emotional impact of Regina’s fall from grace and Cady’s meteoritic, Machiavellian rise to popularity.

Still, the Plastics are back with a fresh set of faces to invite audiences to “write it all down.” They may have lost a bit of their edge, but gained some catchy songs, and a new generation of fans. 

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Film Features Film/TV

The Color Purple

Alice Walker’s 1982 novel The Color Purple is a revered novel that has inspired several adaptations. Written as a series of letters to God by an African-American woman named Celie, Walker’s novel spares no details of trauma and tragedy as Celie reaches for hope and self-empowerment.

The novel was an instant hit, and in 1985, it was adapted into a movie directed by Steven Spielberg with a score by Quincy Jones. The film not only marks Whoopi Goldberg’s breakthrough role, but stars Oprah Winfrey as Sofia, Danny Glover as Albert “Mister” Johnson, and Margaret Avery as Shug Avery.

The film was a huge success in 1985, but since then, most critiques stemmed from the decision to have a white director at the center of a story with such heavy themes of Blackness, as well as the source material’s overall use of explicit language and sexual details. The effectiveness of Walker’s and Spielberg’s works are not solely measured by their ability to withstand the test of time, but how the story resonates through the years.

In 2005, a Broadway musical version of The Color Purple used both the novel and film as inspiration. The original production garnered 11 Tony Awards, with a revival winning two more in 2016. Given the musical’s popularity, it was primed to be perfect source material for a silver screen adaptation.

Director Blitz Bazawule’s new film tells Celie’s story of tragedy to triumph in a softer, more condensed way. The film opens on the Georgia coast in the year 1909, where we meet the young versions of sisters Celie (Phylicia Pearl Mpasi) and Nettie (Halle Bailey) singing “Huckleberry Pie” while playing a hand-clapping game. The innocent scene is soon shattered, when we learn that Celie is pregnant by the man she knows as her father, Alfonso (Deon Cole).

We are then transported into a powerful gospel number, “Mysterious Ways,” sung by First Lady (Tamela Mann), Reverend Samuel Avery (David Alan Grier), and the congregation. Nettie’s infectious love for life shines through in the way she joins the congregation in praise and dance. Meanwhile, Celie sits quietly and observes.

When Celie gives birth to her son (with a Whoopi Goldberg cameo as the midwife) the miracle of childbirth is cut short. Alfonso takes Celie’s baby away, telling her the child is gone. This isn’t the first time this has happened, as Celie birthed another child, Olivia, who was also taken away. It’s obvious that Celie’s view on life is impacted greatly by this; however, she finds love and comfort in Nettie who brings her lessons and stories from school.

Nettie has caught the eye of an older widower known as Albert “Mister” Johnson (Colman Domingo). Moved by this infatuation, Mister asks Alfonso for Nettie’s hand in marriage, which Alfonso refuses, and instead offers him Celie. Mister is a cruel and abusive man, who repeatedly takes his anger out on Celie, while lamenting over his mistress, Shug Avery (Taraji P. Henson).

Tired of Alfonso’s sexual advances towards her, Nettie runs away and seeks refuge with Celie and Mister. However, this reunion is proved short-lived. When Nettie fights off Mister’s advances, he throws her out, too. The sisters endure another heartbreaking separation. Nettie promises to write every day. Years pass, and Celie (played as an adult by Fantasia Barrino) has yet to hear from Nettie, resulting in her questioning the goodness of God, and whether love exists for her in this world. As she continues to endure the hardships of life, primarily caused by Mister, she meets Sofia (Danielle Brooks), whose strong-mindedness and assertiveness are a bold contradiction to Celie’s demeanor. She also comes face to face with Shug Avery, who teaches her to observe the beauty of life, while learning the difference between suffering induced by God and man.

Bazawule’s iteration retains the crux of the story at its core. Most of the film’s power comes from the songs, while some significant story elements from previous versions have been omitted or toned down. We still sympathize with Celie for her hardships, but we’re not buried under the same avalanche of tragedies as we have seen in previous adaptations. Bazawule carefully works with the musical score, so as not to make a mockery of the story with song and dance numbers. Relying on the music could have potentially weakened the film, but the strength and commitment of the performers carry the day.

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Cover Feature News

Street Style

This September, Rough Feathers Clothing Co.’s designer Antonio Jones said Memphis was on the cusp of a fashion revolution.

The city has taken hold over the country’s music and entertainment scene at large, and another takeover appears imminent, given the robust talent coming from Bluff City designers. This revolution coincides with a reevaluation of the fashion industry itself.

While 2020 will forever be synonymous with the Covid-19 pandemic, the year also centered many conversations around social justice. As civil unrest brewed around the nation, talk about inequities in law enforcement broadened to encompass various industries.

Fashion, too, has had its share of controversies surrounding diversity and inclusion efforts. And while fashion houses sought to bring more opportunities to designers of color, many designers opted to prepare their own seat at the table.

This shift not only caused more people to support independent designers and brands, but to focus on the talent of locals in their community as well.

The Flyer talked to designers from five Black-owned brands about their respective journeys — and how the city has influenced their style.

ODDS Atelier

Matthew “Matt” Roumain and Cornelius “Kidd” Martin have always been into fashion. The “mid-30”-year-olds have a friendship that has spanned almost two decades and decided when the time was right, they’d either come out with a clothing line together or open up a sneaker store.

Matt Roumain (Photo: Bryce Landen)

The right time fell in 2020.

Martin notes while they started the build-out of their business, ODDS Atelier, during the pandemic, they didn’t have the opportunity to open “until the pandemic tapered off. … Two weeks into signing the lease, and the world shuts down.”

Like many, the pandemic called for the pair to launch into “scramble mode,” or “the road less traveled,” as they recall. For them, it meant they would have to be more hands-on with their project than expected, but it also led to more innovation and creativity.

Before even starting their business, Roumain and Martin knew intentionality was essential to their “why.” Roumain recalls conversations during their brainstorming process where they said, “If it’s not going to be art, then why even waste our time?”

“Being unique is one thing, but being intentional is another,” says Martin.

Cornelius “Kidd” Martin (Photo: Bryce Landen)

Each piece in ODDS has a bit of the pair’s personality in it, they say. With fashion being such a personal creative outlet, it’s hard not to find an imprint of the designer in the pieces they create. A bulk of their work is influenced by travels and memories.

“I think both of us are very well-read, spiritual, and philosophical,” says Roumain. “When you get into those schools of thoughts, intentions are transferable. The energy you put into something is what’s going to resonate or reverberate. We’re very intentional about using high-quality materials. Attention to detail — having a reason as to why we actually created something. Not just because it’s trendy or in vogue.”

The decision to go atelier style is reflective of this attention to detail. Atelier translates to “workshop” in French, Roumain explains, which is why they opt for a more “industrial” aesthetic in the brick-and-mortar store. “Lots of metals, raw materials, glasses, concrete … they kind of just exist in this cohesive manner that’s infused with art. We just wanted to, you know … tell the story.”

These sentiments are apparent in every component of ODDS, from the copper chandelier made in hopes of bringing good energy to the shop itself, to the decision to call their items “pieces” as opposed to “merch” or “apparel.”

“There’s a space for that,” says Martin. “This just so happened not to be that space. These are pieces. Timeless pieces is what we’re going for.”

ODDS Atelier will release a collaboration with the Memphis Grizzlies’ 191 Collabs on November 24th. For more info, visit oddsatelier.com.

Miles Thomas aka “Hippy”

When Miles Thomas spoke with the Flyer, he described himself as “somebody who is still learning everything to be the best designer I can.”

“I don’t take any of the success that I’ve had so far for granted,” he says. “I think it’s a blessing to be where I’m at, but there’s more that I want, for sure.”

Miles “Hippy” Thomas (Photo: McKenzii Webster)

Thomas’ second collection, “In Due Time,” was released in collaboration with the Memphis Grizzlies on October 27th. He released his first collaboration with the team in February of this year.

Aside from “Hippy,” Thomas also touts the nickname “The Hustler,” given by those close in his circle. And with good reason: Most of his opportunities have come from cold calls and emails. That dogged determination paid off with the Memphis Grizzlies, after he’d emailed hoping for a chance to work with them.

Through “the grace of God” and after “months of being in their face,” his moment came. An opportunity to work alongside the team through the 191 Collabs program arose. According to the NBA, the program is in partnership with Hennessy “to celebrate Memphis designers and showcase our city’s unique voice and vibe through hyper-local Grizz garments with double the designers and double the gear.”

In his first collaboration, the 23-year-old knew he wanted to pay homage to the relationship he has with his father, and the role the Grizzlies have played in it. But with his most recent collection, Thomas wanted to tell the story of his trajectory as a designer and what his next steps will be.

“That’s where the name ‘In Due Time’ comes from,” says Thomas. “Due to everybody that told me to ‘just stay down. Your moment will come as long as you keep working.’ If you keep doing the things that you’re doing, in due time, everything will come to pass.”

For his work, Thomas draws inspiration from memories and experiences — being born and raised in Memphis, and interacting with “essentially every part of the city.”

“I went to church in Orange Mound, school in Collierville. I lived in Cordova and would spend time with my dad in East Memphis,” Thomas says. “While Memphis is very connected, each part of the city has its own flavor. I think I’ve been able to take in the flavor from everywhere, and that’s kind of influenced my designs.”

While being from Memphis gives Thomas a special advantage in the design space, so does being Black. Being Black means there are stories that can only be told by those who live and experience them, he says.

“There are certain things that Black people get that maybe other cultures don’t get, and that’s the dope part.”

Take for instance his limited-edition Bayou Barbie shirts, inspired by LSU women’s basketball player Angel Reese. The shirts were made after he saw the backlash from the “outside world” regarding Reese’s mannerisms and court behavior.

“Sometimes we feel like we have to be so inclusive with the story and break it down so everybody understands it. I don’t necessarily think that’s the case for us,” Thomas says. “I think sometimes we can just tell the story and let people interpret it and let people do what they do with it. But we have to continue to be us, and let our culture be our culture.”

For more info, visit hippyisgood.com.

Samilia Colar

Samilia Colar remembers growing up watching her mother sew. But she didn’t really see “what this sewing business was all about” until she enrolled in Memphis College of Art.

The 39-year-old’s first foray into sewing began when she started making bags out of the Ankara fabric she had at the house. She says she was always drawn to the vibrant colors and patterns, which have since become synonymous with her brand.

As a designer and creator, Colar is aware that what she puts out evokes emotion. Her designs have a direct impact on the customer’s mood and sense of self, so she wants people to feel good about them.

“There’s so much in the world that can bring you down, day to day, so I think it’s important to keep your spirits lifted, to keep your emotions in a positive place,” Colar says. “That’s what I want people to feel when they’re wearing any of my pieces. To feel good about themselves, to feel confident, to feel balanced, to feel joyful.”

Samilia Colar’s envelope clutch (Photo: Casa Creative)

Colar started out solely making handbags. But little by little, she expanded her brand to encompass other pieces of fashion.

“I really started with handbags, and then apparel, making things for myself and my kids, and anytime I would have something, people would say, ‘Can you make me one?’ or ‘Can you make me an outfit?’ And that’s how that came about,” she says.

Colar’s work is filled with duality. While the fabrics pay homage to her African heritage, they also encapsulate the vibrancy she’s always been drawn to. Her most recent line of streetwear-inspired looks combines repurposed denim and Ankara fabric.

“I always loved duality,” Colar says. “I like combining the vibrant fabric with something toned-down or neutral or something refined. Combining that with something a little distressed — I just love that juxtaposition. I think it brings interest to whatever you’re wearing.”

The decision to pair repurposed denim with her beloved fabrics not only demonstrates her versatility as a designer but exemplifies the responsibility she holds as a designer. She seeks to be a part of sustainable change, and part of that requires her to ensure her pieces are a reflection of that.

“It’s important for me to consider sustainability in my practice because I do a lot with younger generations,” Colar says. “I teach workshops all throughout the year. I’m teaching all ages, from youth on up to adults, but with the youth that I have in my workshops, since they are the next generation, I want to be able to instill [in them] and practice what I preach with sustainability. If we’re not teaching it, then where is it going to go when we’re not in the field anymore?”

And she recognizes these decisions not only impact the people in her community, but the industry as a whole.

“You never know who’s watching you, who’s looking at your post, who might engage with you, and what years they have,” Colar says. “It’s just a great way to change how things are, if it’s not working, and to have impact.”

For more info, visit texstylebags.com.

Brezerk

Breana Mitchell describes herself as an artist. Art is personal, and it affects her life in many ways.

“I put my hands in a lot of things dealing with creativity,” Mitchell says.

Known around the city as Brezay, Mitchell is a pop star, excelling in singing, songwriting, and dancing. And it’s no surprise a pop star would have a hand in crafting their own look and image. But Mitchell knew she wanted to be a part of fashion, and not just someone who rocked it.

Breana Mitchell (Photo: Francois Visuals)

The 23-year-old launched her clothing brand, Brezerk, while enrolled in college at Jackson State University. The brand’s name, one might notice, is a fusion of the designer’s own name and the word “berserk.”

“The original vocab for that means ‘go crazy, insane,’ something like that,” Mitchell says. “Every time I would put on some clothes, the first thing people would say is, ‘Oh, your clothes go crazy. Where’d you get that from?’ So I was like, ‘Let me put my initials into berserk,’ and I ended up coming up with Brezerk.”

As a self-imposed trendsetter, Mitchell says hopping on trends begins and ends with dance challenges, not her clothing. She prides herself on deviating from the norm when it comes to fashion and “not copying anybody.” Her style is reflective of her inclination to stand out, and so are the pieces from Brezerk.

“I’m not really a trendy person,” Mitchell admits. “I really like to create stuff that is different and starts the trend. I base my clothes off of trying to be different.”

At times, though, that can be difficult, Mitchell adds. “I want to be different, but I still want it to look good and make sense.”

Mitchell draws from her personal experiences, as well as the city that raised her, when creating pieces. Her brand’s “Homemade” shirts remain a local crowd favorite.

“A lot of people from Memphis really love that shirt,” she says. “Memphis is how a person is.

“If you’re raised in Memphis, you’re a certain way when you go out of town. I’m homemade. I’m original. I came from Memphis. I based that off the city.”

For more info, visit brezerk.com or find @brezerkclothing on Instagram.

Juss Vibe

Scrolling Juss Vibe’s Instagram (@jussvibez_), you’ll find an infinite feed of Memphians who “put that sh*t on.”

Both the page and the clothing brand of the same name are all about community — and were born out of the spirit of collaboration. The brand is the brainchild of five friends — Torrey Washington (23), Antonio Webster (21), Gregory Webster (24), Kameron Jackson (24), and Demarcus Williams (22) — who “shared a dream of creating something that transcended their individual selves.”

Torrey Washington, Antonio Webster (back), Gregory Webster, Kameron Jackson (back), and Demarcus Williams (Photo: Jadarius Lawson)

“If I was to describe Juss Vibe to someone who doesn’t know nothing about it or ever even heard the word, I’ll just say it’s a cool little clothing brand,” Washington says. “Just promoting vibes. Promoting good clothes — just going about life.”

The brand is the product of people who sought to make something of themselves while also creating affordable and accessible clothing for their peers and community. The name speaks to their mission, which is more a way of life, they say.

“Positive vibes. Just putting out good energy,” Gregory says.

You’ll find the signature saying on a number of the brand’s pieces, such as their breast cancer awareness collection and their bucket hats and tees. They even put their own spin on University of Memphis game-day apparel, not only to celebrate their school but also to “represent their community as a whole.”

The group has found a way to master the art of virality, making it work for their online presence and brand in tandem. With the brand’s inception, they hadn’t set out to make clothes that appealed to the masses. But their signature duffle bags and hoodie quickly fell among the hottest pieces of streetwear. Soon after, their page was flooded with requests from people wanting to be featured sporting the brand’s newest apparel.

While having an impressive following proved to be integral to their brand visibility, its popularity can be traced to its mission to “empower individuals to embrace their unique vibes.”

For more info, visit jussvibe.com.

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We Recommend We Recommend

World Afro Day Art Exhibition

When the CROWN Act, prohibiting companies from discrimination based on an employee’s hairstyle, was passed in Tennessee back in 2022, it marked a victory for Black women in the workplace. Black women finally felt seen in their battle with corporate America. Many had long struggled with perfecting a hairstyle that seemed “appropriate” for the workplace without sacrificing their sense of identity, and the passage of this law called for celebration.

After all, only a few years prior in 2017, a United States federal court ruled that companies could discriminate against potential employees for having dreadlocks, inciting London-based Michelle De Leon to found World Afro Day that year.

Memphis native Phiandrea Pruitt originally discovered the holiday through a casual scroll session on X (formerly known as Twitter). When she found out there was a holiday that celebrated Black women, and “Afro hair” as De Leon refers to it, she realized she wanted to bring the holiday to the South.

Pruitt began by hosting an annual event at her undergraduate institution, Delta State University in Cleveland, Mississippi; however, after graduating, she knew that she wanted to bring the event to her hometown.

This year, Pruitt is hosting a World Afro Day Art Exhibition at Orijennal Art on September 15th. The event is $22, and tickets can be purchased through Orijennal Art’s website at orijennalart.com.

Jennifer Elaine, owner of Orijennal Art, explains that this exhibition served as a perfect opportunity for collaboration since her own art showcases natural hair and empowers Black women to love themselves. Her work, she says, is meant to “display Black women in a positive light.” “Embracing all of their kinks and curls,” she adds.

The event will serve as the ultimate “natural hair kickback” with the intention of celebrating and hosting meaningful discussions about natural hair. Elaine explains the artwork on display will “illustrate the beauty of our natural Afro kinks and curls on canvas by several talented Black artists.”

Attendees will also be able to enjoy wine and catered cuisine, and are even invited to paint their own “Afro art.” As a special treat, DJ Crystal Mercedes will be on the “ones and twos.”

This event also marks a special moment for one of Memphis’ natural hair pioneers, Takeisha Berry Brooks, founder and owner of A Natural Affair beauty salon, with locations in Cordova and Memphis. Brooks, who also founded De•Fine Natural Hair, a Black-owned hair care brand, alongside her husband, will be the guest speaker for the event.

“This is empowerment for me because I remember when the movement started, and it was just a trickle of people. Now it’s everywhere,” Brooks says.

World Afro Day Art Exhibition, Orijennal Art, Friday, September 15, 6-9 p.m., $22.