The To-Do List: Dixon shows Southern art; Memphis Made says bye for now
This week, Wilson, Arkansas-inspired art comes to Memphis, a Richard Linklater classic screens at Crosstown and the Goo Goo Dolls still won’t tell ’em your name.
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Chris Herrington has covered the Memphis Grizzlies, in one way or another, since the franchise’s second season in Memphis, while also writing about music, movies, food and civic life.
There are 2167 articles by Chris Herrington :
This week, Wilson, Arkansas-inspired art comes to Memphis, a Richard Linklater classic screens at Crosstown and the Goo Goo Dolls still won’t tell ’em your name.
In 2013, one of Memphis’ best bassists came out with a surprising solo album, his wry humor and welcoming warmth conveyed in a pinched but homey delivery. This month, he’ll release his fifth — and perhaps best — album since then.
Zach Edey made an instant impact in his Las Vegas debut, only to exit again after turning his right ankle in the second quarter.
This week, Memphis gets air time on “Down in the Valley,” Crosstown Arts residents open their studios and Asian Night Market goes even bigger.
The Miami Heat notched a 120-118 win over the Memphis Grizzlies in the championship game of the Las Vegas Summer League, an annual showcase of new draftees and other young hopefuls.
Observations on the seven roster players who suited up for the Grizzlies this summer.
The Grizzlies also waived center Trey Jemison to make room for Huff, who played his college basketball at Virginia.
This week, Old Dominick celebrates Christmas in July, Freedom Summer activists share stories and stand-up comedy meets beer at High Cotton Brewing.
An addition to the growing smashburger scene can be found at the Smash & Grab Burger Lab, where Kidd Martin is cooking up one of the city’s best burgers.
With the offseason now mostly concluded, fans didn’t get much splash. Memphis summers are humid; the Grizzlies’ summer was a dry heat.
A deeper look into the trade of Ziaire Williams and the signing of Luke Kennard and how they are connected.Related story:
The Memphis Grizzlies and shooting guard Luke Kennard have agreed to a one-year, $11 million contract.
This week, a film at Crosstown Arts could make you see the world differently. And Skinny’s birthday party at the Hi-Tone is guaranteed to give you Nickelback earworms.
It’s time for the second half of Chris Herrington’s annual Memphis Grizzlies Mid-Summer Mailbag. In this installment, he addresses rotation issues, trade deadline matters and more.
Given how much music the city has produced, it’s not much of a surprise that the home of the blues and the birthplace of rock ‘n’ roll punches well above its weight as a music subject.
It’s time for the first installment of Chris Herrington’s annual Memphis Grizzlies Mid-Summer Mailbag. Herrington answers readers’ questions, addressing Olympic issues, luxury tax matters and more.
Chris Herrington breaks down each home game with a four-star scale rating in his guide to the Memphis Grizzlies’ home schedule.
This week, I Love Memphis and Streetdog Foundation celebrate 15 years (but not together), and there will be swingin' and swayin' and DJs playing on Maggie H. Isabell Street.
A home-smoking pro tip from Patio Porkers, soul food ordering instructions and a Memphis arts meet-up in an unlikely place.
Here’s an overview to help Memphis filmgoers navigate what’s out there.
This week, runners finish the miles Eliza Fletcher could not, Matthew Sweet and MonoNeon are at the Shell and you can shop — without spending a dime — on Broad Avenue.
With three hit singles, two turf-grabbing country covers, definitive secular and religious anthems and some of the most tender pop music ever recorded, 1973's "Call Me" is Al Green's finest moment.
This 1969 album established Hayes’ sound and persona. It not only made him a star, but it made him a new kind of star.
Three decades ago, Hibbert brought his sound — and all of reggae’s — back to one of its sources with a 1988 album recorded at Midtown’s Ardent Studios that went on to a Grammy nomination.
In all, the album comprises the coolest version of the Elvis the public tended to adore and rock puritans resist, mixing great schlock with great art until you can’t quite tell the difference.