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The Battle for Midtown

Editor’s note: Citywide planning, land use discussions, zoning, and the potential economics of it all are far too broad and dense to ever be covered in a single news story. (So are other considerations about income, race, and population loss.) Please consider this piece the beginning of our coverage on Memphis 3.0.

For this one, we’ll take you inside one of MidtownMemphis.org’s information meetings and share a Q&A rebuttal about it all from John Zeanah, director of the Memphis and Shelby County Division of Planning and Development (DPD).

Memphis 3.0 will “sell out” Midtown neighborhoods to investors and businesses looking to cash in on (but maybe never really care about) the attractive communities residents in those places have built over decades.

That’s a very basic expression of the argument voiced for months now from MidtownMemphis.org. The volunteer group is fighting the plan with a series of information meetings, an online information hub, and yard signs — sure signs that a Midtown fight has gotten real.

Passed in 2019 and devised by former Memphis Mayor Jim Strickland’s administration, Memphis 3.0 is a document guiding the growth of Memphis. It’s up for its first-ever five-year renewal. A major strategy for sustainability in the plan has been to support some of the city’s anchors like Crosstown Concourse, Overton Square, and commercial areas around Cooper Street.

However, MidtownMemphis.org argues the locations for these anchors and the planned density that could surround them aren’t fair. For example, group members say a lot of density is planned for Midtown but very little for East Memphis.

Also, adding density to certain places around Midtown means multifamily homes, the group says, instead of single-family, owner-occupied homes. They fear profit-minded landlords will use 3.0 to work around zoning laws to create duplexes or quadplexes, won’t upkeep these properties, create transient tenants, and make neighborhoods less attractive for potential buyers. They say this could slowly destabilize neighborhoods into ghosts of their current selves.     

“What we’re against — and we have history on our side — is destabilizing the neighborhood to support Crosstown,” said MidtownMemphis.org volunteer Robert Gordon, who has spearheaded the battle against 3.0. “[The plan] is going to wreck Crosstown, wreck the neighborhood, and, consequently, wreck the city. And if you don’t believe me, go back to Midtown in 1969. Go back to Midtown in 1974. Go back to Midtown when it was zoned like the [Memphis 3.0] future land use planning map envisions zoning.”

All of it, they say, could lead to a showdown at Memphis City Hall next year as council members review the changes for a vote.

However, John Zeanah, director of the Memphis and Shelby County Division of Planning and Development, said the 3.0 plan won’t do what MidtownMemphis.org fears it will do.

“The goal is to make sure that our community has healthy, stable anchors that are supported by healthy, stable neighborhoods,” Zeanah said. “The suggestions that we would take extreme actions to destabilize neighborhoods is really puzzling. It doesn’t come from anything that we’re saying as a part of our meetings. It doesn’t come from anything the plan is saying.”

Nearly 60 people gathered for a MidtownMemphis.org Memphis 3.0 meeting earlier this month. (Photo: Toby Sells)

Inside a MidtownMemphis.org 3.0 meeting

A dreary, cold, wet February night was not enough to stop a crowd from sloshing through puddles to hear about how the Memphis 3.0 plan could “sell out our neighborhood,” as the signs say. Nearly 60 people gathered for a MidtownMemphis.org 3.0 meeting earlier this month at Friends For All.

MidtownMemphis.org has been holding meetings like these since September. Other info sessions — six in total — have been organized at Otherlands Coffee Bar, the Cooper-Young Community Association building, and the Benjamin L. Hooks Central Library. Gordon said it was in January that planing officials stopped working with MidtownMemphis.org on the 3.0 issue.

At the latest February meeting, Gordon took the stage before a slideshow projected on a screen behind him. He described MidtownMemphis.org as a “sort of neighborhood association for neighborhood associations,” meaning his group meets monthly with Midtown neighborhood groups from Central Gardens, Cooper-Young, and more. MidtownMemphis.org also plants trees around Midtown and oversees the community garden next to Huey’s Midtown.

Gordon told the crowd he entered public planning discussions as a NIMBY (not in my backyard), concerned that the Poplar Art Lofts plan in 2019 would push noise and exhaust onto those enjoying Overton Park. This led him to the MidtownMemphis.org organization and he’s been a volunteer with the group ever since.

Gordon described the 3.0 plan as a “city guide” and a “North Star” for Memphis-area planning efforts. The plan’s motto, he said, reverses the sprawl strategies of years past and embraces the idea to “build up, not out.” While the motto is the essence of the plan, Gordon called it “quite misleading.”

One critical foundation of the Memphis 3.0 plan is where that growth inside the city’s footprint should happen. The plan says that growth should happen around anchors. These anchors, picked with the help of residents, are usually commercial areas like Overton Square, Crosstown Concourse, Cooper-Young, and others.

To Gordon, city planners dropped a compass point on these anchors and drew a circle around them. Inside those circles is where the 3.0 plan wants to grow, he said. This is a critical foundation of MidtownMemphis.org’s argument against the 3.0 plan, with Gordon saying, “I’m not alone in thinking that’s a bad way to make plans.”

“So, you may have bought your home in a single-family neighborhood, but the future land use planning map sees in the future … a change to a more dense kind of neighborhood,” Gordon told the crowd. “One of our big issues with [3.0] is right here at the core of it: the anchors. We don’t agree that an anchor necessarily warrants this kind of density. Nor do we agree with what are called ‘anchors.’ For example, let’s just point out, Overton Park is not an anchor.”

The anchor model and the density projections that come with it are brush strokes too broad to paint the intricacies of planning something as complex as Midtown neighborhoods, Gordon said. This is seen at a macro level in the plan as the city is divvied up into 14 planing zones. In this, Midtown, the Medical Center, and Downtown are merged into one zone called “Core City.”

“I think that is a mistake because Midtown is residential housing, and Downtown and the Medical Center are not,” Gordon says. “So, let’s start by saying those should be separated.”

But Gordon easily shifts into the micro: the dense, complex, nitty-gritty of 3.0 that could allow single-family neighborhoods to legally be chopped into quadplexes, new units built where they can’t be now and, he says, destabilize Midtown neighborhoods.

The density models from anchor planning in 3.0 are the easiest way for a developer to create multifamily in a single-family zone, he said. They’ll pay “professional convincers,” basically development lobbyists at Memphis City Hall, to speak to planning boards like the Land Use Control Board or the Board of Adjustment and ask for a special zoning change on property from single family to multifamily.   

“This professional convincer is going to go in there armed with information from Memphis 3.0 and say, ‘This is what the city wants,’” he said. “So, in short order, your single-family neighborhood is going to begin to show multifamily buildings. And people who are looking for houses to buy are going to go, ‘Wait a minute. I remember this as a single-family neighborhood. What’s that four-plex doing there?’”

While the process may move slowly, he said, it could be a deciding factor for potential Midtown homeowners who might not want to gamble their biggest investment “on a neighborhood that’s in flux.”

A neighborhood could get multifamily zoning even if it’s not in one of those anchor density zones, Gordon said. The Memphis 3.0 plan designates some entire streets for higher density, regardless of where they lie, he said. So, even if your neighborhood passes all the other tests, a developer could use the street designation as an argument for, say, a four-plex on a street. Later, another developer could come in wanting the same thing nearby because there’s already one across the street.

A third way Gordon told crowd members a neighborhood could get density through 3.0 is from degree of change. He joked it was the “dreaded degree of change” because it was harder to explain. The term, he said, basically means how money gets into a neighborhood. The 3.0 plan outlines three categories, he said. In it, the city works alone or with developers to fuel projects in certain neighborhoods, based on the need, and that could mean high-density housing.

“If you’re in a ‘nurture’ neighborhood, the city’s going to throw a lot of money at you,” Gordon said. “If you’re in an ‘accelerate’ neighborhood, the city’s going to throw some money at you but they’re going to try and get private investment to come in.

“If you’re in a ‘sustain’ neighborhood, then the city’s is going to say that private investors are going to take care of that.”

Memphis 3.0’s future land use planning map envisions denser neighborhoods. (Photo: Courtesy Memphis and Shelby County DPD)

A contentious question of motivation

The Q&A portion of the meeting found a raw spot in discussions around Memphis 3.0 and the density topic in general. The basic question: Are single-family housing proponents seeking to bar low-income people from their neighborhoods?

Abby Sheridan raised the point gently at the MidtownMemphis.org meeting. The reason she and her family moved close to Crosstown, she said, was to be within walking distance of the Concourse, for the density. She went to the meeting to see what the opposition to 3.0 was about, she said.

“Don’t be afraid of density,” she told the crowd. “Just because we allow for different types of housing doesn’t mean it’s an automatic guarantee.

“I’ve lived in multi-unit neighborhoods for most of my adult life. They are thriving, vibrant communities.

“If we, as Evergreen [residents], believe that diversity is our strength, y’all are really showing your colors tonight.”

The comment sucked the air from the room that was quickly filled with side chatter, sighs, and low gasps. Emily Bishop, a MidtownMemphis.org volunteer, responded, saying owner-occupied homes stabilized Cooper-Young in the late ’80s when she bought her home (once a duplex, she said) there. 

“The businesses were nonexistent in Cooper-Young,” Bishop said. “There was one Indochina restaurant. [The neighborhood] was light industrial at best.

“There was no zoning change that brought density back. What makes a neighborhood thrive are owner-occupied homes with people who get involved, who do the code enforcement work, who get rid of slumlords, and who support the local businesses.”

In all, Bishop said Memphis doesn’t have a housing shortage; it has an affordable housing shortage.

“And there again,” Sheridan said, “what I’m hearing you say is … ‘not in our neighborhood.’”

Gordon jumped in to cool off the topic by saying that MidtownMemphis.org really is simply in favor of doing smaller plans for distinct neighborhoods.

Joe Ozment spoke plainly.

“I’ve been doing criminal defense in this city for 33 years and I’ve seen what’s happened in areas like Hickory Hill and Cordova when you add density,” he said. “We don’t want that in Midtown.”

Jerred Price, president of the Downtown Neighborhood Association, and his board attended the meeting to “support the neighbors.” He and the board agreed that Downtown should be a separate planning bloc from Midtown. He said the anchor-and-compass method “shouldn’t be a strategy for development.”

Dropping “one of those special, little circle-drawing thingamajiggers” at St. Jude Children’s Research Hospital would mean high density for the single-family neighborhoods like Uptown, he said. But higher density could be welcomed on the other side of the interstate there because it’s in the Downtown core.

“So, even for us, those circles don’t make any sense of our communities,” Price said. “We stand with you on that.”

Asked about the timeline of the Memphis 3.0 proposal, Gordon said public meetings will continue through this year. Revised plans with that public input would then be published. Then, the Memphis City Council would vote on them, likely in 2026.

“If the future land use planning map hasn’t changed,” he said, “we will continue to marshal forces and the idea will be a showdown at city council.

“We would bring many citizens up there to protest a map that is not properly planned and does not look at what is stable in Midtown, is determined to destabilize Midtown for the benefit of commercial anchors, and is giving a free pass to other parts of town.” 


Q&A with John Zeanah

John Zeanah is the director of the Memphis and Shelby County Division of Planning and Development. He said overarching city plans like Memphis 3.0 are nothing new; they’re even mandated for cities in certain states. 

Among those plans, Memphis 3.0 stands out, Zeanah said. It has won awards from the American Planning Association and the Congress for the New Urbanism. Memphis 3.0 is the city’s first comprehensive plan since 1981.

We asked him to respond to the movement against the 3.0 plan, which was authored by his office. — Toby Sells

Memphis Flyer: What do you make of the arguments about 3.0 from MidtownMemphis.org?
John Zeanah: Memphis 3.0 was adopted six years ago. So, when is it going to do those things [that MidtownMemphis.org argues] if it hasn’t already?

They’re saying the plan is up for a five-year review.
We’re undergoing our first five-year plan update now. One of the things that we’re doing as a part of the five-year plan update … is conducting a comprehensive look at the zoning map and understanding how well our zoning works with [Memphis 3.0].

I think part of the misunderstanding is the claim that we would necessarily rezone areas, according to the plan, to the most intense use or the most intense zoning district that could be conceived. And that’s not the case.

First of all, [Memphis 3.0] is general in nature. It — and the future land use map that they are so worried about — is meant to be general, with a generalized land use map. 

I think there’s some misunderstanding about whether the future land use map is calling for all these new things to happen. It’s an expression of what’s existing today. In some cases, it’s a mix of both.

Suffice to say, as we are going through the five-year plan update and we’re thinking about how zoning is a tool to implement the plan, our orientation is not to just apply the most-intense zoning district. There are changes to zoning that may not always be in residential areas. In fact, I’d say most of the zoning changes that will end up being recommended are in some of our commercial areas and commercial corridors.

The goal is to make sure that our community has healthy, stable anchors that are supported by healthy, stable neighborhoods. The suggestions that we would take extreme actions to destabilize neighborhoods are really puzzling. It doesn’t come from anything that we’re saying as a part of our meetings. It doesn’t come from anything the plan is saying.

They’ve said developers could use the future land use planning map as another arrow in their quiver. They could argue that while multi-family homes may not be allowed in a zone now, they could point to the suggestion in Memphis 3.0 and make a case for their project at city hall.
One cannot simply point to a generalized land use map and say, “Well, because this area around an anchor is a mixed-use type, I should be entitled to do the most intense thing that is part of this mix.” That’s no. 1. And no. 2: The plan does not have the authority to entitle that. That’s the role of zoning.

So, if you live in a neighborhood that is predominantly single-family and your zoning is single-family detached, and it is a stable neighborhood, there is no reason for the city to propose changing the zoning for the neighborhood. You are the healthy, stable neighborhood that is helping to support the anchor nearby. That is a good thing. That’s what we want to help preserve. 

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Public Seeks Answers Surrounding Events at Crosstown Concourse

Questions remain after several social media users reported an incident at Global Cafe in Crosstown Concourse Tuesday.

Memphis Police Department (MPD) officers were called to the site. The large police presence and flashing police lights attracted attention.

This left many wondering what — in general — was going on. Videos taken at the scene leave more questions for some who say MPD unnecessarily escalated the situation. Others say the people on the scene yelling at police escalated the situation.

The situation started when an employee at Global Cafe asked Rachael Spriggs to leave. When she refused, the employee called police and alerted Crosstown security. The scene spilled out into the street in front of Crosstown where a crowd shouted at police and filmed them. The situation got physical, pepper spray was released, and people went to jail.

Neither Crosstown Concourse nor Global Cafe immediately responded for comment.

The Equity Alliance, a Tennessee-based nonprofit organization, posted they were aware of the situation involving Spriggs, the agency’s Director of Powerbuilding.

“We are actively gathering details and will provide updates as we learn more. Stay tuned for more information,” the post said.

Equity Alliance via Facebook

Spriggs went live on Facebook Tuesday in a video captioned “Global Cafe in Crosstown is a good idea in theory but they are racist as sh*t!”

In the video, Spriggs and an employee were having a verbal altercation. As Spriggs speaks to the camera the employee tells her she needs to leave or he would call the cops.

“Call the cops, call the cops – I’m fine with you calling the cops,” Spriggs said. “I’m fine with that.”

The employee then said Spriggs was not welcome there, to which Spriggs said he had no power. Another person can be heard saying that Spriggs was escalating the situation, to which she said she wanted him to call the police so she could “bring attention to his racist behavior.”

Spriggs then told viewers that the police had been called. Minutes later Spriggs showed the police showing up, who asked her to come outside. She then said that the officers informed her that “they wanted to bar her from Crosstown.”

A Crosstown officer told her she was being barred for “being disruptive” after “refusing to leave the establishment.” The officer said the employee had the right since Global Cafe is a private business.

As Spriggs continued to speak on her live, she said ‘aye don’t touch me, mane,’ as an MPD officer pulled on her jacket. The phone was dropped, and picked up by police officers. Before the live was ended, Spriggs asked why she couldn’t have her phone to which an officer told her she was being detained.

According to a post made by Spriggs Wednesday, as she was being detained “more officers arrived on the scene and completely escalated the situation.” She said officers “slammed [her] legs in the door and yanked [her] from the car.”

The post also said that officers threw her “disabled friend onto her back.” The woman has been identified as community organizer Shahidah Jones.

Facebook user Brittney King posted a live video where you can see a crowd form around Spriggs, who was in MPD custody.

An officer then touches Jones’ arm to which onlookers tell the officer to get their hands off her. A woman tries to intervene to which an officer shoves her, pushing both her and Jones to the ground. 

The woman recording the video repeatedly yells that Jones is disabled.

“Why would you jump on this disabled woman? Why would you do that?” she yells. “What the hell?”

UPDATE:

Spriggs went on to post early Wednesday morning saying that she had not patronized the business in months, yet “did not want to make a statement because of my support for their mission.” She also said this treatment was “not consistent among the other employees.”

The Official Black Lives Matter Memphis Chapter is raising funds for those arrested. A post from user Allyn Smith said that bail had been set at $4,000 for community members who were “wrongfully and arrested and publicly vilified.”

Amber Sherman, a local political strategist, posted a video on Instagram saying that police are trying to charge those involved with assaulting an officer. The caption said four local organizers were arrested including General Sessions Court Clerk Tami Sawyer.

“You can clearly see the situation was escalated by police grabbing on people, pushing people – things they do not have to do,” Sherman said. “Our demand is for all the charges to be dismissed against everyone who was arrested. Two, boycott Global Cafe and boycott Crosstown Concourse.”

Sherman asked that people call the restaurant to let them know they’re boycotting because they’re “anti-Black” and “call police on people and help escalate situations that end in violence for Black people.”

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Music Music Features

Why Aren’t Big-Time Acts Coming to Memphis?

If you live in Memphis, you’ve likely heard phrases like “home of the blues,” “heart of soul music,” and “birthplace of rock-and-roll.” Ask anybody; even Google AI insists (so it must be true). Yet Memphians have also seen their favorite artist skip over FedExForum for a tour stop in Little Rock. Despite the rich musical talent and history, Memphis is not a popular destination for national tours. Last-minute cancellations are not uncommon either, as seen just a few years ago with Drake and Moneybagg Yo. Still, locals pride themselves on a vibrant and historical music scene, which is undeniably true. Stax Records, Royal Studios, the Memphis Drum Shop, Easley McCain Recording, Sun Studio — the list goes on. Online lists of the nation’s distinguished music cities frequently rank Memphis in the top 10. But, over the past couple of decades, Memphis has resembled a black hole in the major touring circuit. If asked why, artists would likely say it’s not personal, just business. 

Simply put, ticket sales here are unpredictable. Memphis has a reputation as a “walk-up” city, meaning tickets are typically bought as a last-ditch effort instead of far in advance. This could be related to Memphis’ relatively low socioeconomic level. This is not to say Memphis has no appetite for live music. Just look around: Music is everywhere. There are roughly 60 locations within Memphis city limits that provide live music and entertainment, and these locations would not be paying musicians without their ability to attract an audience. 

Last December, a partnership between national entertainment agency Live Nation and Crosstown Concourse spawned the construction of a new Memphis venue. Sitting right next to the Concourse, the 1,500-seat venue is expected to host roughly 100 events a year, ranging from comedy to corporate meetings to concerts. Similar types of events can be seen at The Green Room at Crosstown Arts or The Crosstown Theater, albeit with smaller crowds. According to a press release, the new venue is projected to bring more than 150 music industry jobs to Memphis, with base starting salaries of $20/hour, (theoretically) filling a Nashville-sized hole in Memphis’ professional music market. The press release steers clear of this comparison; rather, their plan is to “honor Memphis’ rich musical heritage while filling a key gap in the market, providing a platform for artists eager to perform in the city.” Here, in this almost-mission statement, lies the mysterious “black hole” of live music in Memphis. 

By filling a market gap, Live Nation means providing a more “legitimate” venue for big artists to schedule shows. But what about all the other larger venues in Memphis? There’s Minglewood Hall, Memphis Botanic Garden’s Radian Amphitheater, FedExForum, and even smaller locations like Lafayette’s Music Room that have boasted plenty of national acts. Is this “gap” due to a lack of venues, or is it a lack of artists’ interest? The latter seems more likely. But Live Nation’s massive list of nationwide artists likely bolsters their confidence to “fill the gap.” This is what Sherman Willmott, founder of Shangri-La Projects and local music expert, feels the public should be focusing on.

“I think the lede here … is not the venue; it’s Live Nation booking. They’re filling a big empty hole that started with the death of Bob Kelley. Over that time period of the last 25 to 30 years, there’s been no … full-service promotion in town,” Willmott says. Bob Kelley, booker and promoter of Mid-South Concerts, died in 1998. The booking world since then has become “monopolistic. … There’s very few providers.” Memphis especially is not known for large booking agencies/promoters or music business infrastructure, hence the potential impact of Live Nation booking on the Memphis music scene. Memphians will have access to hundreds more artists in pop, indie, electronic, hip-hop, country, and more. Even if the venue starts out slow, Live Nation will likely be able to keep it afloat long enough to catch on. “There’s no one with deeper pockets,” says Willmott.

The introduction of Live Nation to Memphis could point the city in a new direction regarding industry jobs, but 150 of them is a lot to promise. Willmott says he does not “see them hiring that number of people,” drawing on comparisons between the Orpheum Theatre and The Green Room, each of which has a smaller staff. But if the new venue does hire that many, it’s possible for a larger music business market to open up in Memphis. 

Naturally, there are some fears and questions about a nationwide corporation like Live Nation (recently involved in an antitrust lawsuit) digging their claws into the Memphis music community. But Willmott points out the role of Crosstown Concourse in the new venue’s booking process: “Bookings at Crosstown are … between 70 and 90 percent local artists.” After all, Crosstown was designed to uplift the community arts, and events at The Green Room or Crosstown Theater do just that. Further, the vertical village supports education (Crosstown High School) and healthcare (Church Health). It is hard to imagine Crosstown wavering from this community-focused vision, even when working with a corporate giant like Live Nation.

Sure enough, things are changing around Memphis. RiverBeat Music Festival is back for its second year in a row, boasting an even bigger lineup of global artists as well as a surefire program of lively and talented local artists like Jombi and Lina Beach. Grind City Brewing Company and Barbian Entertainment just announced a new venue, Grind City Amp, boasting a max capacity of 4,500 and a deep backdrop of Downtown Memphis. The outdoor venue is set to open in the spring of 2026. Although Live Nation and Crosstown have not specified their venue’s opening date, there seems to be a new era of shows coming to Memphis. Let’s hope our favorite artists start showing up on the bills. 

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Season of Delight at Crosstown Concourse

You might be a bit of a Scrooge if you didn’t get a little thrilled when all those lights turned on at Season of Delight at Crosstown Concourse, which was held December 6th.

“Seeing the entire building come alive with people of all ages and backgrounds — gathered under one roof, enjoying everything from a 20-person gospel choir to a 40-piece orchestra, and counting down to the moment the lights filled the atrium — was unlike anything I’ve experienced before,” says Adrian Perez, Crosstown Concourse communications manager.

More than 3,000 people attended Season of Delight. They spread out “across every floor and activated space. Choose901 hosted a holiday market on the fourth floor, Crosstown Arts had open studios and a film screening in the theater, and The End of All Art pop-up bookstore filled the East Atrium. And outside? The ice skating rink, games, and a DJ.”

All these attractions and more were featured. “The coalescence of these different audiences and experiences truly embodies the Crosstown Concourse ethos of ‘Better Together,’” says Crosstown Arts executive director Stacy Wright. 

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Music Music Features

WYXR Vibrations

Raised By Sound Fest, the music festival and fundraiser staged by community radio station WYXR and Mempho Presents, is once again in the offing, scheduled to have the Crosstown Concourse bursting with sound this Saturday, December 7th, and, as with the event’s previous iterations, the mix of performers is intriguingly eclectic. 

Through its short history, Raised By Sound has earned a reputation for drawing top-tier artists for its main concert event, always held in the Crosstown Theater, and this year is no different. In 2022, when Jody Stephens’ reconstituted Big Star quintet planned only a few shows in honor of #1 Record, the Raised By Sound Fest was a pivotal performance for them. And last year, Cat Power made Memphis one of their first stops when they began touring their Dylan tribute album, The 1966 Royal Albert Hall Concert.

This year, WYXR has outdone itself once again for Raised By Sound’s main concert, presenting a live score to the William Eggleston film, Stranded in Canton, performed by J Spaceman and John Coxon of Spiritualized. “We just heard they had a really incredible show in London,” says the station’s executive director Robby Grant, “and in the U.S., Memphis is the only city they’re doing it in, outside of New York and L.A.” 

As Grant notes, these marquee events all came together by way of the station’s openness and centrality as a meeting place for creatives of all kinds. “We keep our antenna up,” he says. “We have a huge window. We’re very welcoming. We’re very transparent. There’s a lot of benefit to that and making these connections.” The Spiritualized event is a case in point, as WYXR DJ David Swider, owner of Oxford’s The End of All Music record store, told Grant that the group’s live score was slated to be released on the Fat Possum label; the next day, Winston Eggleston (son of the photographer/filmmaker) mentioned that the group had reached out to him about permission to use the film. Things simply clicked by virtue of the station’s network. 

Tommy Wright III (Photo: Courtesy WYXR)

Yet that capstone event, now sold out, is only one of many musical experiences that Raised By Sound will offer. Throughout the day, many other performances will echo in the columns of the Central Atrium, and that will only heat up once the final credits roll for Stranded in Canton, as the ticketed after-party kicks off in the East Atrium at the top of the red staircase, with a DJ set by Dan Auerbach and Patrick Carney of the Black Keys and performances by hip-hop legends Tommy Wright III and Lil Noid. 

The free music begins at 1 p.m., when artists from the University of Memphis’ Blue T.O.M. Records will perform, including Meaghan Christina, Ozioma, and Canale. “It means a lot to us to be able to give [Blue T.O.M. artists] that level of exposure,” says WYXR’s program manager Jared Boyd, “and we’re also promoting an educational component, partnering with Grammy U, Stax Music Academy, and Crosstown High School. It creates a level ground for them to be on the same bill as the Black Keys and Spiritualized. It’s bringing it all under one house.”

That revue will be followed by Fosterfalls, a solo performer also based in Memphis. “They’re a really interesting solo artist,” says Grant. “They’re kind of acoustic, very ethereal, with a lot of loopy-type stuff, and they’re a great example of a local artist who’s getting out there and working really hard and just doing it.” Also in the hard-working vein is the blues-rock HeartBreak Hill Trio, fronted by Matt Hill, a longtime presence on the Memphis scene, known for his axe work with wife Nikki Hill. Once the trio has livened things up, Brooklynite Max Clarke, aka Cut Worms, will take the stage. His 2019 album Nobody Lives Here Anymore was produced by Matt Ross-Spang. And finally, the afternoon will close out with a solo show by Hurray for the Riff Raff’s Alynda Segarra, who has close ties to New Orleans despite being from the Bronx. 

Indeed, all of the artists happen to have ties to Memphis. Celebrated Memphis-born photographer Tommy Kha, for example, has worked closely with Hurray for the Riff Raff. Yet the festival organizers are not strict about that as a criterion for inclusion. As Boyd notes, “We wanted to be able to present homegrown artists as well as artists who have some sort of significant Memphis or regional influence. Some are from elsewhere, but were called to Memphis because of music.”

“You don’t have to be a Memphis-connected artist to be booked for Raised By Sound Fest,” adds Grant, “but we found that every artist we booked has some connection. Like, no matter who we book, because Memphis is such a music city, there’s some connection.” That even goes for the performers from Spiritualized, who first debuted their live score for Eggleston’s film a decade ago at the Barbican Gallery in London, as part of Doug Aitken’s Station to Station festival. Now, a recording of that has been released by the local heroes at Fat Possum.

The after-party, too, will have strong Memphis roots. The Black Keys, based in Nashville, are not only steeped in the North Mississippi blues via that same record label, but have worked closely with Memphis’ Greg Cartwright. And, of course, Tommy Wright III and Lil Noid were on the ground floor of the local hip-hop revolution that gave rise to superstars like Three 6 Mafia. Wright is arguably the better known of the two, his music having been embraced by the skateboard scene. As Boyd notes, “There’s even a skateboard hardware company in L.A. called Shake Junt, and their entire brand image is an homage to Memphis rap culture!” But Lil Noid’s profile is also rising, and, tying it all together, he’s even featured on a new Black Keys track, “Candy and Her Friends.”

All told, the Raised By Sound Festival will provide a compelling glimpse and staggering diversity of music in Memphis, but other dimensions of the city will be represented as well. Community groups like Music Export Memphis, Memphis Music Initiative, and CHOICES will have tables, and visual artists like Sara Moseley, Darlene Newman, and Toonky Berry will have works either on display or being created as the music plays on. It’s all part of a concentrated celebration of what Memphis brings to the world. As Boyd says, “We have an embarrassment of riches when it comes to talent. And if you grew up in it, you may not always realize that most places are not like this.” 

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WE SAW YOU: Crafts & Drafts

About 4,000 to 5,000 people attended this year’s Crafts & Drafts, which was held November 9th at Crosstown Concourse and hosted by the Memphis Flyer and Crosstown Arts.

And, this year, the event was held completely inside, instead of half outside and half in.

“First time we’ve ever done it completely indoors because of the weather,” says event manager Molly Willmott. “It was a roaring success.”

About 85 curated artists, makers, and crafters took part in the event.

As for the drafts, Willmott says, “We partner with Eagle Distributing. They give us a list of the most interesting and creative beers on tap at this moment. They do this for each of these events.”

The brews include some local and some regional, Willmott says.

“The whole point of the event is to showcase the best local and Mid-South artists and makers and give them a venue to promote themselves and showcase their wares. And still stay true to the Memphis Flyer’s mission, which is to make Memphis a better place to live. Elevating and sharing people doing great things.” 

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Black Lodge to Close

Black Lodge owners have announced they will close the venue, citing “exorbitant rent” and “crippling debt” as reasons for the move. 

Black Lodge opened on Cleveland in the Crosstown area in 2019. That move came after it closed its original location in Cooper-Young in 2014. That location opened in 2000. 

The original location was, primarily, a video-rental store, housing a collection of more than 30,000 VHS tapes, DVDs, and more, according to a post on the Crosstown Concourse website. The new location rented movies but it was also a restaurant, bar, and a venue for live music, and events. 

The owners announced the move to close in a Facebook post Tuesday evening.

Here’s the post in full:

”Dear Black Lodge Community,

“With heavy hearts, we must announce that Black Lodge is closing its doors after five unforgettable years. Your unwavering support, especially through the challenges of a global pandemic, has made this journey more magical than we ever could have imagined. Together, we created something truly special — a place where friends, art, music, and memories were made.

“Despite our modest financial backing, we poured our blood, sweat, and tears into building a venue that stood out in this city. 

“Unfortunately, the weight of exorbitant rent and the crippling debt we incurred during Covid-19 have made it impossible to continue. 

“We’ve fought hard, but the reality of a struggling economy means that nights out have become a luxury that many can no longer afford.

“For those still interested in Lodge’s movie library and rentals, the video store will be moving to a new location.  We’ll be announcing about its new home soon. 

“As we close this chapter on the venue, we hope that the memories you’ve made at Black Lodge will live on. Thank you for being part of our story. We will be open this weekend, so if you’d like to come say goodbye and party one last time, come on by! 

“If you have any amazing photos or videos of your experiences at Black Lodge please post them in the comments.

“With love and gratitude,  

Black Lodge”

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Music Music Blog

Evan Williams: Composer Embraces an Iconic Memphis Space

New Music composer Evan Williams is no stranger to Memphis, having lived and taught here from 2018-22. And, as he noted in his remarks in the Crosstown Concourse East Atrium last night, his time as a assistant professor of music and director of instrumental activities at Rhodes College made an indelible impression on him. Indeed, Wednesday evening’s premiere of his new work, Crosstown Counterpoint, was a deep rumination on that iconic space and its place in the city’s history.

But that multi-movement suite was book-ended and contextualized by other pieces that helped situate Crosstown in time and space. Williams began with a trombone solo titled Amber Waves, in honor of the semi-rural Chicago suburb where he grew up. His use of delay effects only added to the natural reverberation of the towering atrium, with its echoing brass tones reminiscent of Sean Murphy’s Sketches of Crosstown from 10 years ago, featuring tuba and saxophone in the abandoned Sears Tower, pre-renovation.

A more activist and avant garde note was struck by the evening’s second piece, Bodies Upon the Gears, a celebration of public protest and engagement via the words Mario Savio spoke on the University of California-Berkeley campus in 1964:

There’s a time when the operation of the machine becomes so odious, it makes you so sick at heart that you can’t take part! You can’t even passively take part! And you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus — and you’ve got to make it stop!

Historical recordings of Savio’s words were woven into a duet for flute and cello, and, echoing through the cavernous space of Crosstown, the combination served to remind listeners of the political and aesthetic dimensions of such a public commons, and the citizens’ duty to make good on any promise that such a space implies.

And then came the centerpiece of the evening, taking place within the very space it celebrated. Subtitled “for two antiphonal string quartets and audio playback,” Crosstown Counterpoint and Memphis’ own Blueshift Ensemble made use of the concourse’s multiple levels, with one quartet on the ground floor and another on the mezzanine above. The sound of stereo strings responding to each others’ hypnotic patterns evoked the origins of Sears, Roebuck and Company’s founder, Richard Warren Sears, in the railroad business; and as recordings of voices were heard on the P.A., the effect was reminiscent of Steve Reich’s Different Trains. But the voices’ stories were closer to home.

Those voices, originally recorded for the Crosstown Concourse Breaking Ground Oral Histories Project, were provided to Williams by Crosstown Arts, and recounted decades of history, from the original Sears department store to its demise and abandonment, and finally its rebirth. In one moving passage, a Memphian observes, “The building has a personality,” then adds, “and layers of history,” a phrase which repeated as the strings played on, the words echoing through the very walls being remembered.

Throughout the proceedings, it was as if the atrium itself was an instrument, its reverberations throwing the composer’s sounds back at us in real time. When Crosstown Counterpoint concluded, Williams then led an expanded ensemble through a classic of the modern classical canon, Terry Riley’s In C.

Evan Williams leads scattered musicians through Terry Riley’s In C (Credit: Alex Greene)

This piece was also well-suited to the space, full of cascading, contrasting patterns played by various musicians scattered strategically throughout the atrium, on multiple levels. The slightly out of sync parts would ebb and flow, harmonizing with each other in unpredictable ways. Though considered groundbreaking when it premiered in 1964, the piece is not often heard in Memphis, though Williams noted that he led a group through the piece during his time at Rhodes.

In this case, the ever-shifting piece held the crowd’s attention for nearly a half hour, as audience members wandered through the atrium, sampling the sounds from different niches of the concourse. It was met with a standing ovation and raucous cheering as the evening came to end, the reborn vertical village of Crosstown still resonating with its own history.

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Red Bull Dance Your Style Memphis

This Saturday, March 25th, 16 street dancers will dance their way into the hearts of the crowd at Crosstown Concourse in hopes to earn a spot to compete in the Red Bull Dance Your Style Chicago National Final in May.

The Saturday event, in which dancers will compete one-on-one in a single-elimination bracket, serves as the first qualifier of eight for that final battle in Chicago. The dancers won’t know their music beforehand, so they won’t have any choreography planned. Instead, they’ll have to rely on their freestyle instincts and musicality skills. Without a panel of judges, their progression through the competition depends on the crowd vote.

The dancers set to compete in Memphis are from all around — from New Orleans to Detroit. But three competitors have a home-field advantage: defending Red Bull Dance Your Style Memphis champion Jadyn Smooth and jookin’ specialists Gangsta E and Trent Jeray. And those are the three for whom host Ladia Yates will be rooting.

A dancer in Memphis herself, Yates, also the founder of L.Y.E Academy, understands what sets Memphis jookin’ apart from other street-dance styles that’ll be on display at the qualifier. “It’s not like one of those ‘I watched a music video or something and I copied some moves,’” she says. “It has a rich culture behind it. It has a certain swag. It consists mainly of cool footwork — dope footwork — and it has, like, a ballet technique to it. … It stands out.”

Jookin’ won’t be the only Memphis representation at the event: Memphis hip-hop legends Duke Deuce and NLE Choppa will also perform. “It’s like a concert-slash-dance battle,” Yates says, “and they’ll be giving out free Red Bulls all night.”

The event, Yates adds, is family-friendly. “So you might have a 5-year-old who comes and has never seen [this style of dance] before and sees it and may find interest in the whole culture,” she says. “And it can be life-changing. Dance is an outlet. It gives us direction, a positive direction. It keeps us out of trouble. These days you can make money from it, from social media, posting your content. If your video goes viral or the right person sees it, it can change your life. You can get major opportunities such as doing things with Red Bull and stuff like that.”

In all, Yates hopes audience members of all ages will leave inspired. “This is a big brand that’s pouring into Memphis in a lot of positive ways and opportunities — that’s not really the norm,” she says. “We would love for the city to come out and support and enjoy a good show.”

Tickets cost $5 and can be purchased here.

Red Bull Dance Your Style Memphis, Crosstown Concourse, Saturday, March 25, 6:30-9:30 p.m., $5.

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Literature Is Liberating Festival

This Saturday, Crosstown Concourse and Cafe Noir will present Memphis’ first-ever Literature Is Liberating Festival, a free, communitywide festival celebrating Black voices in literature. The event, which is open to all ages, will feature vendors, author discussions, panels, and activities and readings for kids.

“The mission,” Jasmine Settles, owner of Cafe Noir, explains, “is to enrich the community through literature by uplifting the mind, nourishing the body, and liberating the spirit.” And that same mission carries within her cafe/bookstore, set to open this summer, which will focus on books by BIPOC and LGBTQIA+ authors. “The main goal is to highlight marginalized voices, … to kind of give folks the space to be able to explore these authors and explore marginalized voices because oftentimes the content that’s presented to us in school leads us to be kind of bored and uninterested [without diverse voices to capture imaginations and reflect different backgrounds].”

As such, Settles, who rediscovered the importance of diverse storytelling while pursuing her master’s degree at the University of Memphis, wants to spark this interest in the community. “Memphis has one of the lowest literacy rates in Tennessee. I wanna get folks more involved with reading literature and ways that we can improve our community through doing so.”

The festival on Saturday will feature a spoken word performance by local poet Nubia Yasin, reading from her recently released collection of poetry The Blood and Body. “It’s a self-portrait,” Yasin says of her collection. “It’s about love and all its shadows, and how I learned that from my family. … It deals a lot with the theme of home and what that means and what that looks like, who are the players in like this thing called home.” This will be the first time Yasin will be able to speak publicly about her book, and she will be accompanied by musician Desire during the performance.

Also, on the festival’s schedule, is a performance by Hattiloo Theatre and a panel on African-American literature, presented by professors Jacqueline Trimble, Shelby Crosby, and Terrence Tucker. Plus, Michelle Duster, great-granddaughter of Ida B. Wells, will discuss her writings on Wells in conjunction with an Indie Memphis screening of the documentary Facing Down Storms: Memphis and the Making of Ida B. Wells. Indie Memphis will also screen 1970’s Meeting the Man: James Baldwin in Paris, a portrait of the writer during his time abroad.

Meanwhile, young writers and readers can take part in a reading and a writing workshop with Ali Manning, a food scientist whose first book Can I Play with My Food? was published in early 2022. Librarians from Memphis Public Libraries will also make an appearance for readings, and a free craft-making station will be open throughout the day in the Central Atrium. For more information and a full schedule, visit crosstownconcourse.com/events.

Literature is Liberating Festival, Saturday, February 4, 11 a.m.-5 p.m., free.