The Tennessee Bureau of Investigation (TBI) is proposing a $3 million pilot project to test sewage from Knoxville-area high schools, college dorms, and other locations for illicit drugs, Director David Rausch said Tuesday.
If the budget for the project is approved, testing will initially begin on wastewater from 12 public high schools and 16 college dorms. Another 120 Knoxville locations could be selected for wastewater testing at the TBI’s discretion, Rausch said. The pilot would run for 30 weeks.
The testing is intended to identify specific illicit drugs and the concentration of drug use in a particular location using a key surveillance tool deployed during the Covid pandemic to monitor disease prevalence.
Results of school and dorm-based wastewater testing, Rausch said, can help keep parents and school administrators informed about student drug use.
“That becomes a great piece for those administrators at the school to be able to educate parents and make them aware this is an issue,” Rausch said in presenting the proposal to Gov. Bill Lee as part of his agency’s overall request for a $21 million budget increase next year.
“It also then becomes an educational tool for us to be able to educate the community on these drugs that are being used there.”
The testing would also have law enforcement uses, said Rausch, noting the surveillance — which would be done by an outside contractor — can pinpoint the source of illicit drugs “as close as a block as (to) where that issues.”
“If we have an area with a lot of drug complaints, we can have them test the water in that area,” Rausch said. “They wouldn’t be able to tell me the exact house, but they could tell me a selection of four houses. And then our work on intel and observation, we would be able to tell where the house is.”
Testing sewage for illicit drug use is underway in 70 U.S. cities as part of a National Institute on Drug Abuse-funded program intended to help guide cities in where they need to focus resources in preventing overdose deaths.
Unlike the TBI proposal, the Institute-funded testing is done in conjunction with local public health departments, not law enforcement.
Tennessee Lookout is part of States Newsroom, a nonprofit news network supported by grants and a coalition of donors as a 501c(3) public charity. Tennessee Lookout maintains editorial independence. Contact Editor Holly McCall for questions: info@tennesseelookout.com. Follow Tennessee Lookout on Facebook and X.
In the week since the end of the 2024 presidential campaign, various experts, partisans, and pundits have been holding forth on the meaning of it all.
Well, with your indulgence, it’s my time for a little thumb-sucking. Really, I just wonder how this new order is supposed to work. The incoming Trump administration is pledged, as its first order of business, to expel somewhere between 2 and 20 million undocumented immigrants in what the president-elect has promised will be “the largest mass deportation in this nation’s history.”
Probably a majority of those being targeted are embedded to some degree in the fabric of society — as mothers and fathers and sons and daughters and students and toilers (significantly, in that last category, as taxpayers).
Those Haitians in Springfield, Ohio, who became the bane of Republican rhetoric during the campaign, were not here as scavengers of dogs and cats and geese, nor is there any reason to believe they performed as such. They were not border-jumpers, by the way, but nose-to-the-grindstone workers legally imported to do local infrastructure jobs that native-born sorts wouldn’t touch.
Remember all those new houses that went up during the building boom of the ’90s? To a substantial degree, the grunt work on them was done by Mexicans, most of them undocumented, to be sure.
After the deportation of all these willing hands, there is sure to be some serious attrition within a labor market that is arguably under-strength already.
And what about the sheer expense of such a massive operation, estimated to be as high as $315 billion, and the human costs of all this forced dislocation?
There are few parallels for mass deportations on such a formidable scale, most of them stained by controversy, disrepute, or worse — the Turkish expulsion of Armenians, the German boxcars of Jewish victims eastward to death camps in World War II (and the retributive exodus of that country’s own civilians, driven in the other direction by Russian tanks), the Nakba of Palestinians in 1948, the ethnic cleansings of Yugoslavia in 1992.
Hyperbole? Maybe. But that’s the name I myself would give to the whole imagined immigrant scare.
Compromise. Consensus. Those are indispensable qualities of the democratic process, indeed, of the human contract itself. And there is no sign of them as concepts of this plan — no indication even of a reliable means of distinguishing between the rank and file of the immigrant population and the relative few malefactors that may lurk within them. Nor of an inclination to apply such means.
No provision to earn future citizenship for the long-term residents whose worth as permanent members of the American body politic has already been demonstrated by their conduct and contributions to society. On top of it all is the expressed intent of the incoming administration to renounce that traditional birthright of citizenship that is automatically conferred on those born here.
And the most flagrant cheat of the whole thing? These all-too-disposable migrants are here by express invitation. Latinos in the main, they are — man, woman, and child — the blood brothers and sisters of all the upstart populations that have come to America before them — the Teutons and Anglo-Saxons and Jews and Italians and Slavs and Irish and Asians who, amid unimaginable hardship and life-and-death circumstance, answered the call of one Emma Lazarus, the poet whose words adorn the Statue of Liberty in the beckoning waters of New York harbor:
“… Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”
Keeping that lamp lit for others, not snuffing it out, should be the concern of those of us fortunate to find ourselves secure behind that door.
The mission of the Indie Memphis Film Festival is to bring films to the Bluff City which we could not see otherwise. Some Indie Memphis films return to the big screen the next year, like American Fiction, which screened at last year’s festival and went on to win an Academy Award for writer/director Cord Jefferson. For the last 27 years, it has been an invaluable resource for both beginning and established filmmakers in the Mid-South. Early on, the festival launched the career of Memphis-based director Craig Brewer, whose recent limited series Fight Nightwas a huge hit for the Peacock streaming service. Many others have followed.
This year’s festival brings changes from the norm. First of all, it takes place later than usual, with the opening night film, It Was All a Dream, bowing on Thursday, November 14th, and running through Sunday, November 17th. There will be encore presentations at Malco’s Paradiso on Monday, November 18th, and Tuesday, November 19th. “We are having encores because our biggest complaint is that we have too many films back to back that people want to see. So that was a direct response to our audience,” says Kimel Fryer, executive director of Indie Memphis.
Opening night film It Was All a Dream is a documentary by dream hampton, a longtime music writer and filmmaker (who prefers the lowercase) from Detroit, Michigan. Her 2019 film Surviving R. Kelly earned a Peabody Award and was one of the biggest hits in Netflix history.
“I’m really excited to see how everyone thinks of our opening night film,” says Fryer.
It Was All a Dream is a memoir, of sorts, collecting hampton’s experiences covering the golden era of the hip-hop world in the 1990s. “I really enjoyed watching it, especially seeing footage of Biggie Smalls, Prodigy from Mobb Deep, Method Man, and even Snoop Dogg before they became icons. They’re just hungry artists. Even Q-Tip is in it, and the other night, Q-tip was inducted into the Rock & Roll Hall of Fame. So I was thinking about that as I was watching the awards. He was such a baby in this field, he had no clue 20, 30 years from now he was going to be on this stage,” says Fryer.
The festival is moving in space as well as time. While the festival will return to its longtime venue Malco Studio on the Square, there will be no screenings at Playhouse on the Square this year. The 400-seat Crosstown Theater will screen the opening night film and continue screenings throughout the long weekend. On Saturday at 11 a.m., it will also be the home of the Youth Film Fest. “This is the first year we’re combining the Youth Film Fest with the annual festival,” says Fryer. “That’s really cool, being able to allow the youth filmmakers to still have their own dedicated time, but also to be able to interact and see other films that are outside of their festival. We do have some films that are a little bit more family-friendly than what we have had in the past.”
Flow
Among those family-friendly films are a great crop of animated features, including Flow by Latvian director Gints Zilbalodis. Flow is a near wordless adventure that follows a cat and other animals as they try to escape a catastrophic flood in a leaky boat. The film has garnered wide acclaim in Europe after debuting at the Cannes Film Festival, and will represent Latvia in the International category at the Academy Awards.
“I thought it was interesting because, of course, when Kayla Myers, our director of programming, selected these films, we had no idea some of the more recent impacts from the hurricanes and things of that nature would happen,” says Fryer.
Boys Go to Jupiter
Julian Glander’s Boys Go to Jupiter is a coming-of-age story about Billy 5000, a teenager in Florida who finds himself tasked with caring for an egg from outer space. First-time director Glander is a veteran animator who did the vast majority of the work on the film himself. The Pittsburgh-based auteur told Cartoon Brew that he and executive producer Peisin Yang Lazo “… did the jobs of 100 people. I have no complaints — it’s been a lot of work, but it feels really good to make a movie independently, to not have meetings about everything and really own every creative decision.”
Memoir of a Snail
The festival’s third animated film, Memoir of a Snailby Australian animator Adam Elliot, is the story of Grace (Sarah Snook), a young woman who escapes the tedium of her life in 1970s Melbourne by collecting snails. When her father dies, she is separated from her twin brother Gilbert (Kodi Smit-McPhee) and put into an abusive foster home. We follow Grace as she navigates a difficult life, full of twists and turns, with only her snails as a constant comfort. “Memoir of a Snail is an adult animated film,” says Fryer. “Bring the kids at your own risk.”
The spirit of independence is what puts the “indie” in Indie Memphis. The festival has always been devoted to unique visions which question the status quo. Nickel Boys, the centerpiece film which will screen on Sunday night at Crosstown Theater, is by director RaMell Ross. “I’m really excited about that film,” says Fryer. “But also, it uses film as a critique. It’s based on the novel from Colson Whitehead that won a Pulitzer Prize.”
Nickel Boys takes place in 1960s Florida, where a Black teenager, Elwood (Ethan Cole Sharp), is committed to a reform school after being falsely accused of attempted car theft. There, he meets Turner (Brandon Wilson), and the two become fast friends. The film is shot by Jomo Fray, who was the cinematographer behind All Dirt Roads Taste of Salt, which opened last year’s Indie Memphis festival. It is highly unusual for its first-person perspective, which shifts back and forth between the two protagonists, so that you are put in the perspective of the characters, who are battling to keep their humanity in a deeply inhumane environment.
Fryer says bringing radical artistic works like these to Mid-South audiences is central to the organization’s mission. “I think that’s honestly one reason why people like Indie Memphis. Don’t get me wrong, people do like to see the very well-known films, the more commercial films, the ones that get a lot of press. But I think the people who enjoy coming to Indie Memphis also enjoy seeing things outside of the box, seeing things that push the narrative. And it makes sense when you think about Memphis. Memphis is never going to be this cookie-cutter place, and people who live here love it because it’s not.”
Funeral Arrangements
This year’s festival has a strong local focus, with seven features in the Hometowner category. One of the locals is a 15th anniversary screening of Funeral Arrangements by Anwar Jamison. The writer/director is low-key one of the most successful Memphis filmmakers from recent years, having produced, directed, and starred in Coming to Africa and its sequel, which were both big hits in Ghana and other African countries. Funeral Arrangements was his debut feature.
Funeral Arrangements Anwar Jamison
“Man, talk about a passion project,” Jamison says. “I just think back to being in film school in the graduate program at the University of Memphis, and now, it’s a full-circle moment because I’m teaching at the University of Memphis, and I have grad students and I’m working on these projects. I look back like, ‘Wow! That was me!’ And now I understand why my professors were telling me no, and that I was crazy to try to do a feature film for my final project, when I only needed 15 minutes. But I’m like, ‘No, I have this script!’ We had a bunch of young, hungry crew members. No one had done a feature, whether it was the crew or the actors. We had a lot of theater students in it, and everybody was just like, ‘Wow, this would be cool!’ They all saw my vision. I had the script, being that I come from a writing background, and everybody really jumped on board to make it happen. I feel like it was the perfect storm of young creativity and energy, and it really showed in the final product. I’m proud of it!”
The idea for the film began with an incident at work. “Most of the things I’ve written start out as something that happened in real life, and then I take it and fictionalize it,” Jamison says. “It was based on an experience I had working a job that really was like that. I couldn’t be absent again, so I really lied to the supervisor and told him I had to go to a funeral. And he really said, ‘Bring me the death notice or the obituary.’ In real life, I didn’t do it, and he didn’t bother me. I ended up keeping my job. But as a writer, in my mind it was like, ‘Whoa, that would be funny. What if the guy really went to a funeral, and now he gets caught up in a situation?’ It just came from there.”
It was this idea that got Jamison’s talent noticed. “When I was an undergrad, actually in the very first screenwriting class that I took, my professor called the morning after we had the final project, which was to write the first act of a feature film. I’m like, ‘Why is this professor calling me?’ And she was like, ‘I really enjoyed the script. Could we use it as the example in class to read for the others?’ That let me know I was onto something.”
Jamison says he’s ready to celebrate the past and looking forward to the future. “I have the third Coming to Africa that I’m preparing for, and I hope to do in 2025, if all goes well, and wrap that up as a trilogy. But what I found, once you get there, there’s just so many stories that connect the diaspora and Ghana in so many ways. There’s so many natural stories to tell that I would love to keep telling them.”
Bluff City Chinese
“I actually got into filmmaking through fashion,” says Thandi Cai. “I was working in textile art for a while, and I was making a lot of costumes. A lot of the things that I was making didn’t really make sense in our reality right now, so I was starting to build stories around the costumes I was making. Then I wanted to create films out of those costumes and realized, ‘Oh, this is a potential career that I could follow!’ So then I started doing videography commercially, in addition to all these little small fashion films on the side. Film and video started becoming more of my storytelling practice, and a tool of how I could explain and share what I was learning with the world.”
Bluff City Chinese
They began work on their documentary feature debut Bluff City Chinese in 2020. “It originally started out as an oral history project. And because, like I said, I think film is such a powerful tool, I started recording oral histories visually. But then didn’t know what we were going to do with it.”
Several people suggested Cai apply for an Indie Grant. The Indie Memphis program, originated by Memphis filmmaker Mark Jones, awards two $15,000 grants each year, selected from dozens of applications by local filmmakers. Cai was awarded the grant in 2022. “I really didn’t have very high expectations of getting it, so I was just blown away and really grateful that we did.”
Indie Grants are nominally for short films, but Cai said their project grew to 45 minutes. “It was just a huge, huge help. I think it made a really big difference because prior to getting that money, the vision for the documentary was very DIY, really lo-fi. I was not expecting this to be a full-fledged film, really. It was like, let’s try to get these oral histories out there by whatever we need to do to get it out there. To be able to have that money to really just dive in and see how far we could take the actual production value was just enormous. And yeah, it’s much more beautiful than I ever thought we could make it, and I think that will just help us be able to share these stories with more people.”
Cai grew up in Memphis, but they say it wasn’t until later in their life that they were aware of the long legacy of Chinese immigrants who had made Memphis home. “That’s the crazy part! Growing up as a Chinese American in Memphis, I didn’t learn about any of this until 2020, and it was only because of all the things that were happening in the world, and especially to people who look like me. That’s why I’m pushing this film so hard because this isn’t something that a lot of us get to learn when we’re growing up. There haven’t been a lot of discussions or platforms that are sharing these stories. I consider a lot of the people that we talk about as my ancestors or my elders or my community members, but I didn’t meet a lot of them until very recently. I really hope that no matter how late someone is in their journey, that when they do find this connection to their roots, they feel like they can just jump in and embrace it.”
Marc Gasol: Memphis Made
Director Michael Blevins is the head of video post-production for the Memphis Grizzlies. “Basically, the way I describe it is anything that gets edited, it comes through me and my team,” he says. “So the intro video that gets played before the game, I will edit that, and commercial spots or behind-the-scenes stuff about the current team.”
Marc Gasol: Memphis Made
Before coming to Memphis in 2016, Blevins had previously been with the Chicago Bears, the Houston Astros (“I believe we had one of the worst records in baseball history,” he says), and the San Francisco 49ers. “Then I came here, and I overlapped with the subject of the documentary, Marc Gasol, for his last three seasons in Memphis. So I got to know him and Mike Conley really well.”
Blevins normally works on a very quick turnaround, but the world of documentary films is quite different. It requires patience and flexibility. “In a project like this, the scope becomes bigger. In terms of production, in terms of lining up interviews, shooting, all that stuff, we were able to spend seven months on it. But in the same time, you then have 50 interviews. You got to tell an hour-and-a-half story basically. So a month or two to edit something in a vacuum sounds great compared to the usually quick turnaround of a current NBA team. But then you want to tell a story perfect because it is telling his whole story of his professional basketball career. So it’s not like with current content, when there’s always another game coming up. This is it. It’s a little dramatic, and he has a sense of humor, so we laugh about it. But it’s like writing somebody’s obituary. You’re not going to get another chance to do it. It’s their basketball career.”
It was important to Blevins to go beyond the surface image of the star basketball player and uncover the emotions that drove him. “Marc is a super competitive guy, and the big thing was, as the people that knew him say — and a lot of people didn’t realize this from the outside — is that competitiveness would spill over a lot of times in terms of trying to deal with teammates. That’s one of my favorite segments in the film. It’s like 20 minutes about different stories people were telling about Marc being very competitive and looking back at everything through a different lens of today. And I think he looks at it very differently, where he felt like he could have been better. But he knows in his head, and different players say it in the film, they needed him to be like that. If that was a spillover of him chewing him out during the game and then after the time-out was over, he was going to give it all and make a play on defense to save that guy, or make a play on offense to set that guy up. It was going to be worth it. But I think athletes, and all of us in general, as we get older, sometimes if you reach success or you’re happy with what your career has done, you start to look back and think, ‘What was the cost of that?’”
Cubic Zirconia
Jackson, Tennessee, native Jaron Lockridge’s Cubic Zirconia is the only locally produced narrative feature in a field of thoughtful documentaries. “I’ve been filmmaking now since about 2016, and just self-producing feature films, and going that route now that technology makes it easier. I just decided to jump out there and don’t take no for an answer.”
Cubic Zirconia Jaron Lockridge
Lockridge, who began as a writer, produces, directs, lights, shoots, and edits his films. “When I found quickly that I couldn’t afford to hire people to produce my work, I just became that multi-tool to start producing my own work, and getting to this point now.”
Cubic Zirconia takes place in what Lockridge calls The Stix Universe, which is tied into his self-produced web series. “It’s a good old-fashioned crime mystery, I like to say. It’s similar to something like Prisoners or maybe even a touch of Se7en, for people who like those type of movies. It follows a missing family, and these detectives are trying to find some answers to what happened. When they locate the deceased mother of this missing family, then it’s just an all-out blitz to find the children and figure out the ‘why’ behind it all. You’ve kind of got to pay attention. But when it comes to the end and you realize what’s happened, I believe it’ll be a shocker to a lot of the audience members.”
Keith L. Johnson stars as the police detective on the case. “I’ve worked with him several times before. He’s one of my regulars, so we just have a great chemistry together to the point where I can just give him a script and give him very little direction. He just understands my work.”
Memphians Kate Mobley and Kenon Walker are also veterans of the Stix Universe. Terry Giles is a newcomer. “He was one that I haven’t worked with before, and he was a very pleasant surprise. He only has a small time on the movie, but when you see him, you notice him. He commands the screen, and he’s a talent that I’m looking forward to working with again. I’m very excited about the performances in this movie.”
Passes and individual screening tickets are on sale at imff24.indiememphis.org. There, you can also find a full schedule for this weekend’s screenings and events.
A multi-million-dollar glow up is underway at the University of Tennessee Health Sciences Center (UTHSC) campus in a plan that includes the $19.4 million demolition of a much-criticized, abandoned hotel on Madison.
The plan was laid before the UTHSC board in a meeting Friday by Executive Vice Chancellor and Chief Operating Officer Raaj Kurapati. The slate of projects underway at the Medical District school totals more than $100 million, Kurapati said.
While not the most expensive project on the list, Kurapati said there is one that “everybody gets excited about every time we speak about it.”
“That is the demolition of the eyesore of a building that comes on when we drive on to campus — that’s the Holiday Inn tower and the adjacent buildings,” he said. “We’ve been able to put together some funds to be able to finally say we’re going to move forward with that.”
The buildings are currently under review for hazardous materials. Demolition work is slated to proceed next month, according to a slide shown during the meeting. That work, however, will likely only include readying the site, including things like erecting a fence around its perimeter. The work is expected to be complete by June 2026 at a cost of about $19.4 million.
UTHSC bought the buildings from the Memphis Bioworks Foundation in 2015 for just around $1.5 million million. The parcels were eyed for purchase by the school as early as 2013, nearly a decade ago. A UTHSC board committee said at the time they were interested in the buildings for “for the control and future use of the land base as anticipated in the UTHSC” master plan.
The school’s 2020 master plan said UTHSC’s new College of Medicine building will be “located at the southwest corner of Pauline and Madison on the old hotel site.”
UTHSC officials sought a developer in 2015 to transform the existing 12-story building into a hotel and conference center, according to a story at the time from The Daily News. While the school earned the approval to do so, it was apparently unable to find a develop for the project.
The building has been vacant ever since. This has earned the building criticism for years.
“UT is forever planning on developing that site but I wouldn’t hold my breath,” wrote u/tristanape on Reddit two years ago in a discussion of the building. “My understanding is the cost to knock it down and clear out the asbestos is just too much.”
That is at least partly true, according to Kurapati’s update on the project Monday.
“The reason it took a while is because there’s a lot of remediation work that needed to be done, clearly because it’s a very old building,” he told committee members. “There’s some asbestos, and other building practices, and materials that were used that call for us to be very diligent about making sure that we bring it down in a very safe and responsible manner.”
The most expensive item on the list of upcoming capital projects at UTHSC is a new Gross Anatomy Lab. Renovation work is now underway for the $30 million project on about 35,000 square feet of the school’s General Education Building.
Gross anatomy is the study of the human body’s structure visible to the naked eye like bones, muscles, and organs.
Also, expect a new fencing project to commence around UTHSC soon. That project is set to showcase the school in the community and to provide better security for parking lots that have seen some break-ins recently.
Four Nigerians were sentenced here to years in federal prison recently for their parts in a years-long, international romance scam.
Reagan Fondren, Acting U.S. Attorney for the Western District of Tennessee, announced the sentences Tuesday. The group was indicted with conspiracy to commit fraud and money laundering in June 2023.
Those indicted were:
• Patrick Edah, 40, a Nigerian citizen residing in the Toronto, Canada area
• Efe Egbowawa, 41, a Nigerian citizen residing in the Atlanta area
• Igocha Mac-Okor, 40, a Nigerian citizen residing in the Atlanta area
• Kay Ozegbe, 44, a naturalized U.S. citizen residing in Atlanta
The group operated the conspiracy from 2017 to 2021. They assumed false identities on social media, gaming applications, dating websites, and other internet-based platforms to trick victims into entering friendships and romantic relationships. They then played various roles in exploiting those connections to convince individuals to send them money via wire, check, U.S. mail, and package delivery services.
Dozens of victims lost amounts ranging from several thousand dollars to several hundred thousand dollars. One victim in West Tennessee lost more than $400,000 to this scheme over the course of several months.
In the conspiracy, romance scammers or “handlers” posed as potential friends or romantic partners and entered online relationships with unwitting victims. The relationships usually developed quickly through social media contact, text messages, email, and phone calls.
Once the victim was clearly engaged in the scam, the scammer would begin to ask for emergency financial assistance. If the victim sent money, the scammer would ask for increasingly larger amounts of financial assistance.
Edah, Egbowawa, Mac-Okor, and Ozegbe functioned as “money mules” in the conspiracy. They worked in conjunction with other members of the conspiracy to move the financial proceeds of the scams through several layers of bank accounts and shell companies to hide the sources of the money and made it difficult to trace.
For their roles, Egbowawa was sentenced to 60 months in federal prison, Ozegbe was sentenced to 36 months, Edah and Mac-Okor were sentenced to 30 months and 50 months, respectively.
“These individuals used deception and fraud to prey on the vulnerable causing unmeasurable emotional damage and significant financial losses,” said Special Agent in Charge Joe Carrico of the FBI Nashville Field Office, Memphis Resident Agency.
The Memphis Tigers desperately need a rivalry game. With no regional SEC foe (Ole Miss, Mississippi State, Arkansas, Tennessee) on this year’s schedule, the closest we’ll see are UAB and Tulane, a pair of teams in green to wrap up the regular season. The Tigers host the Blazers Saturday night, then travel to New Orleans to face the Green Wave on Thanksgiving.
How can you identify a “rivalry game”? There’s buzz in the stadium before kickoff. Something no one saw, heard, or felt at Simmons Bank Liberty Stadium with the likes of North Texas, Charlotte, or Rice on the other sideline. Consider that Memphis has the chance to go undefeated (7-0) at home without seeing a crowd as large as 26,000. Can “The Battle for the Bones” fill the stadium? UAB is still a young program, so this will be just the 17th meeting between the teams (Memphis owns an 11-5 advantage). But that massive bronze rack of ribs is one of the coolest rivalry trophies in the sport. It would be memorable to see the likes of Seth Henigan or Chandler Martin try and lift it. Hey, Tennessee beat Alabama this season. It’s a chance for the Volunteer State to seize some bragging rights with emphasis.
• The Tigers’ next win will make Ryan Silverfield only the fifth head coach to win 40 games with the program. That’s a small number of men for a relatively small number of career wins. What does it say about Silverfield’s place in Memphis football history and, more importantly, the current state of the Tiger program? It feels like that proverbial glass is both half-empty and half-full. Memphis is bowl-eligible for an 11th consecutive season. Write that sentence as recently as 2010 and you’d be laughed out of the room. Silverfield is the only coach in Tiger history to win three bowl games. On the other hand, it’s been five years now since Memphis appeared in the American Athletic Conference championship game. All the yearning to be part of a “power conference,” and the Tigers can’t win their own second-tier league. And when you can’t sell out a 33,000-seat stadium in a city the size of Memphis, relevance is an issue.
I’ve been watching the program long enough to remember six consecutive losing seasons under the same coach (Rip Scherer). The Tigers’ current streak of 37 consecutive games with at least 20 points? Not that long ago (1994-96), Memphis went three seasons with only seven such games. There has been some truly bad football played in these parts even if we subtract two seasons of pure misery under coach Larry Porter. So I find it hard to tear down an 8-2 campaign (so far), a team with a chance for another 10-win season, and a coach who seems to care about his program’s place in Memphis (the city) as much as its place in the AAC standings. If you’re not among an elite dozen programs — you know them — it’s hard to win championships in college football. Staying competitive (game-to-game and year-to-year) should matter.
• With merely 30 passing yards this Saturday, Memphis quarterback Seth Henigan will move into 20th in FBS career passing yardage. (He’ll pass longtime San Diego Charger Philip Rivers.) And with 545 yards over his last three games, Henigan would become only the 15th quarterback to top 14,000 yards. For a dose of perspective, Peyton Manning passed for 11,201 yards in his four seasons at UT. Among those 15 signal-callers in the 14,000 club, only eight of them played just four seasons of college football (Hawaii’s Colt Brennan played only three). It’s a reminder of Henigan’s singular career in blue and gray. Oh, and with four more touchdown passes, he’ll be the first Tiger to reach 100.
This fall’s Crafts & Drafts will be inside the Crosstown Concourse. (Photo: Courtesy Willmott Events)
Pink Pony Club: Chappell Roan Night Growlers Friday, November 8, 10 p.m. I’m having wicked dreams of leaving Tennessee … for no particular reason … nothing big happened this week. Nope. I’m just singing Chappell Roan. I’m gonna keep on dancing at the Pink Pony Club, which is apparently Growlers this weekend, where boys and girls can all be queens every single day. The DJs will be spinning vibrant, eclectic dance hits all night long. Tickets ($15-$25) can be purchased here. 18+. (Also, something must be in the water at Growlers because they’re having a Shrek Rave on Saturday, so there’s that.)
Memphis Monster Con Pipkin Building Saturday, November 9, 9:30 a.m.-7 p.m. | Sunday, November 10, 9:30 a.m.-5 p.m. Horror seems to be the theme of the week, so why not continue it with Memphis’ first-ever horror con? The convention will have more than 15 celebrity guests, more than 100 vendors and artists, food trucks, cosplay and cosplay contests, panels, photo ops, and more. Find out more about it here. Tickets are $25/Saturday pass, $20/Sunday pass, $40/weekend pass, $40/weekend pass, and $100/VIP Weekend Pass.
Memphis Crafts & Drafts Holiday Market 2024 Crosstown Concourse Saturday, November 9, 10 a.m.-4 p.m. This festival crafted the perfect experience; no, this isn’t a rough draft. Crafts & Drafts showcases more than 85 local artists and makers for you to shop from for all your holiday gifting needs. This year it’s going to be inside ’cause of the weather — that means three floors of the best local artmakers. Not to mention cold tasty draft beers, Santa, and live music. (And if you’re really ready to shop till you drop, check out the Blue Suede Vintage Market across the street, where you can shop from 20-plus vintage vendors from across the MidSouth.) (And another parenthetical, Alex Paulus will be hosting an Artist Trading Cards event from 10 a.m. to 4 p.m. in the Crosstown Arts galleries, so check that out while you’re at the Concourse, too.)
Artist Market Metal Museum Saturday, November 9, 10 a.m.-4 p.m. We’re not the only artist market in town this weekend. The Metal Museum is hosting one, too, with a selection of art, jewelry, home decor, and more.
India Fest Agricenter International Saturday, November 9, 10 a.m.-8 p.m. Celebrate the culture of India at this extravaganza featuring Indian food, music, performances, vendors, and more. Tickets are $12/adults, $6/kids (12-18), and free/kids (11 and under).
Brass Note for Tina Turner Alfred’s on Beale Saturday, November 9, 3 p.m. What’s love got to do with it? Everything if you’re talking about love for Tina Turner, who’s getting a Brass Note on Beale this weekend. Sonia Outlaw-Clark, director of the Tina Tuner Museum in Brownsville, and Rev. Charles Hodges will speak at the ceremony, and Elevation Memphis will perform a 25-minute tribute set. (Michael Donahue wrote up a great piece on the band this week. Read it here.)
Downtown Dining Week Sunday, November 10 It’s Downtown Dining Week! Celebrate the Downtown restaurant scene by eating out on its final day, Sunday. Parking is made easy with special discounts on Sunday (and only Sunday this weekend). Use code 901DINE2 for up to two hours at $2, or 901DINE4 for up to for hours at $4 between 11 a.m. and 9 p.m. at these Premium Parking locations:
• Huling Lot: 395 S. Main St. • First Park Place Garage: 21 S. 2nd St. • Shoppers Garage: 85 N. Front St. • Gus Lot: 316 S. Front St. • Mobility Center: 60 Beale St.
These codes are valid exclusively on the Premium Parking Platform channels: Web, App, CameraPay, or TextPay.
There’s always something happening in Memphis. See a full calendar of events here.
This week on the Memphis Flyer Podcast, political columnist Jackson Baker and Chris McCoy talk about the election and try to come to grips with what just happened. Check it out on YouTube.
A new app, created by a Memphian, launches soon and will help gym goers (and those who maybe find the gym a daunting space) find workout pals.
Let’s Gym was created (and its company was founded) by Belal Kamara who discovered how hard it can be to find workout partners after he moved to Denver for a time. He beta-tested the app in different cities, gathered user feedback, and is now readying for a public launch in Memphis.
We caught up with Kamara to hear more about Let’s Gym. — Toby Sells
Memphis Flyer: So, you’re from Memphis?
Balal Kamara: Yes, I grew up here. I left in 2019 to go Denver. I moved back this past year.
How did you get started developing Let’s Gym?
I graduated from the University of Memphis in 2019 with a degree in management information systems. I worked Downtown at Regional One Health in the IT department. I moved to Denver because the tech scene there was kind of booming. I wanted to grow that skill set that I had.
That explains the tech side of the app. What about the gym side?
Me, working out with my friends, was the reason I was in the gym, actually in there for like and hour and a half to two hours. Me, working out by myself, I was like, “Yeah, let me just get this done under 45 minutes. So [working out with friends] was a big component that I missed just leaving Memphis.
About a year and a half ago, I thought that I could not be the only one having this problem. So I put out a little tester in Denver to see if other people are having the same issue. I ran a $20 ad on Instagram and asked if anyone in Denver was looking for someone to work out with.
After a week, we had over 300 people to sign up just because all I did was create a sign-up form. It was a lot more people than I originally thought.
Coming from a technical background, I just started coding the app. I coded a super-basic version of the app, launched it in Denver, and got some pretty good feedback. I closed down the beta and created a new app pretty much from scratch just based on the feedback I gathered.
I knew what people liked and didn’t like, developed it again, and launched it on iOS and Android, originally. So it was a lot easier for people to download it, get notifications, and things of that nature.
We were doing a city-to-city launch at the time. We launched in Denver, Chicago, and San Francisco near the end of the beta period. We had a pretty good amount of users in each city at the end of the beta. That period was about a year in those three cities.
After that, I gathered all the feedback and closed the app. I redeveloped the app based on that … and we were ready for a full-on launch.
So, what’s the next step?
I’m back in Memphis, where I grew up. I feel like Memphis could be the perfect opportunity for this to be the launching point. We’re trying to wrap it up and launch by the end of the month.
What did your users tell you about the app in the beta tests?
The first app I built was kind of like a dating app clone — swipe left and swipe right to match with gym partners. The feeling was that it was too much of a dating-app-type vibe.
We re-did it in a way where you change your filter and decide, maybe, I want someone who is strength-centric, or more of an intermediate-level workout partner, or someone who works out in the morning, like I do.
Once, they select that, it shows them everyone who matches their filter within a, say, 15-mile radius. Then, they’re able to quickly just chat with them and get something scheduled, instead of “swipe left, swipe right” and matching and all the jazz.
What about good feedback? Did your app help people?
I started the app originally for people who wanted to find someone to work out with, maybe, who need that extra push. When I was speaking to a lot of users, they said, “We’re first-time people at the gym” and they were matching with someone who already goes to the gym.
They said, “When I actually had the courage to go the gym, I didn’t really know how to do it. I was under the bar but didn’t know if my form was right. I didn’t know if 10 sets was too much.”
So they’d match with someone who could teach them a lot on, like, how to benchpress correctly or squat correctly. And now they’re not afraid to go the gym because [they have] someone to work out with and realize it’s not as daunting as it seems.
2024 Contemporary Arts Memphis Fellows (Photo: Courtesy CAM)
On October 24th, Contemporary Arts Memphis (CAM), a nonprofit dedicated to uplifting under-resourced student artists, opened its newly renovated home base at 652 Marshall Avenue in the Edge District.
Founded in 2022 by Memphis-born artist Derek Fordjour, CAM’s initial and primary mission was to offer a no-cost, four-week summer arts-intensive fellowship to Memphis-area high school juniors and seniors. Through this program, students spend three weeks in a sleepaway-style camp in North Memphis before spending another week in New York City. The students also receive college-level instruction, dual enrollment through the University of Memphis, and mentorship.
Photo: Courtesy CAM
This new space in the Edge District will expand on Fordjour’s mission by offering ongoing support and studio space year-round for even more students, removing the barrier to access, whether that’s to the space, the cost of art supplies, or art instruction.
“Contemporary Arts Memphis is a safe space, dedicated to the growth and development of young high school students from all schools in the county,” Fordjour said at CAM’s ribbon cutting ceremony. “Public, private, charter, whatever neighborhood you’re from, it doesn’t matter. What home you live in, doesn’t matter. What matters is that you share our passion for art, and that is our currency.”
The 4,700-square-foot space includes working studio spaces, a computer lab, and an art library with books donated from leading art museums. The walls are lined with student artwork and, currently, a piece by Fordjour, with plans to rotate these student pieces and include work by a Memphis artist, courtesy of Sheet Cake Gallery.
Already, CAM has launched its Teen Art Labs program for high school students to deepen their art skills through classes at no cost. From Monday through Fridays, 3:30 p.m. to 8 p.m., and every other Saturday, students in Art Lab, fellows, and CAM alumni will have full access to the studio, including art supplies and storage for their work. Local contemporary artists will serve as mentors and instructors.
Painting by CAM alum Avajayne Ortega, Central High School, August 2021, acrylic on canvas, 24 x 30, on display in CAM’s new building (Photo: Abigail Morici)
Deja Bowen, a CAM alum from the first cohort, looks forward to using this studio. “As an artist living in a house where I never had my own space to grow as a person, or an artist, a place like CAM could easily become a second home,” she said.
Now a student at the University of Memphis, she looked back on her days of completing her art assignments on her family kitchen table. “As you can imagine, I was turning my pieces into food stains, fingerprints, and all types of smears on the back and even the front.
“It didn’t help that my materials were usually cheap art supplies I would buy on Amazon or little things I brought home from school,” she continued. “Having my home be the center of all of my art making also sucked because I had no chance to talk with other artists or really seek advice that could benefit my artwork or artistic journey.
CAM’s new art library (Photo: Abigail Morici)
“But, with our new space, all of that will change. With this new building, I’m excited to have the opportunity to … be pushed into the art scene even more than I am now. As an alum, I look forward to watching the younger fellows flourish in our new space while growing as an arts community together.”
That’s what Fordjour imagined all along, he said, pointing out that his inspiration for CAM found its origin in his own fond memories of his high school art community. “[Bill Hicks], an art teacher at Central High School, essentially transformed his classroom into an incubator for artists,” he said. “We, his students, were abandoned misfits, the art kids who loved drawing and painting and making things. He opened his classroom for us to continue art making long after the last bell of the day. We pored over his extensive art book collection to study great works of art. He made it clear to us that we could never be competitive without putting in the extra hours outside of school.
Derek Fordjour (Photo: Courtesy CAM)
“So we organized small groups of figure drawing, painting sessions, and very soon we were winning prizes, all on par with the student athletes. He told me, and countless others, that we could make it as artists. And we believed him. Under his tutelage, we formed friendships that would last for decades. We went into the world with confidence in our skills and ourselves, and 35 years later, he is still with us.”
Fordjour, for his part, has become a world-renowned artist. Though he now resides in New York City, he said in an interview with Memphis Magazine, “I attribute my success to having grown up in Memphis.”
Registration for the fall semester of Teen Art Labs has closed. Students can apply for CAM’s Summer Fellowship 2025 here. Learn more about CAM here.
