Hi-Tone stages have hosted innumerable local record-release shows and been at least a partial home for signature Memphis events.

Recorded at Midtown’s Ardent Studios in late 1986 and early 1987, the Replacements’ “Pleased to Meet Me” is a fusion of the Minneapolis’ band’s ramshackle, often poetic post-punk with soul-honed Memphis studio sensibilities. 

David Lusk Gallery is celebrating its 25th anniversary this month with a show of work by seven artists who were in the gallery’s 1995 opening show and remain there today.

Daily Memphian CEO Eric Barnes talks with musician and the executive director of WYXR about music, his career and the new radio station in The Extra podcast.

“The Negro Motorist Green Book,” a new exhibit from the Smithsonian Institution Traveling Exhibition Services, begins its public life at the Lorraine Motel, which is one of a shrinking number of “Green Book” locales still in existence. 

The vision for the new era of the radio station is to truly, purely and honestly represent Memphis and its surrounding area. 

Reyes’ collaborated with more than 20 other Memphis artists to create the astounding “BVOE Quadrant 360” on the edges of Downtown Memphis. The multimedia artist launched and operated the late, lamented “Live From Memphis.”

Craft beer naming is an art, or at least an, um, craft, and one that the growing number of Memphis breweries take with proper seriousness. In honor of the Virtual Memphis Beer Festival, we take a spin through local brewery websites to ponder beer names present and past. 

Memphis director Morreco Coleman’s “1st Forgotten Champions,” about the life of legendary LOC coach Jerry C. Johnson and his Division III national title team, is part of the International Black Film Festival, available for online viewing Oct. 1. 

The animated series creator talks about how she came to work with OWN and what it was like directing voice actors by Zoom. 

Parts one and two debuted on Tuesday.

“Forty Shades of Blue” hit theaters 15 years ago today, and it is now among the many examples of films not currently available on any streaming platform. But if you’re lucky enough to find a way to see it, you’ll encounter a very good move.

The Indie Memphis Film Festival offers a scaled-back and scattered outdoors pandemic edition this year. 

Memphis doesn’t loom quite as large on this list as it does in pop music history writ-large, or larger. 

GonerFest, the internationally known purveyor of one of Memphis’ most famous exports, rock music, takes a step beyond livestreaming to replicate the intangibles that make each year’s event feel like a meeting place.

As a fan at a virtual concert, you always have the best seat in the house, the bathrooms are clean and close, and the drinks are strong and really cheap.

Though initially regarded as the second-tier of talent in a stable of gospel acts led by record producer and DJ Juan Shipp, acts of the JCR Records label are enjoying a revival with the help of a new vinyl reissue.

Iris plans to resume its traditional format of a solo artist performing alongside the orchestra in the spring.

A celebratory grand reveal of the design concept had been scheduled for March 25. The pandemic and social distancing put that event in long-term limbo, but the design work has continued.

Among Iris Orchestra’s latest class of artist fellows is a native Memphian, a first for the young program.

Memphis soul singer Wendy Moten’s 1990s pop career left a lasting impression in Japan, where American commodities are often given a new context.

From King’s WDIA debut in 1949 to his departure from Memphis only a few years later, he recorded a handful of early sides in the city. 

In Memphis and throughout the Mid-South, Chinese immigrants, now U.S. citizens, have left their mark.