Six years after an internal audit found the Dallas Police Department needed a better way to track off-duty hours worked by officers, the city plans to pay for a new system to manage and track the jobs.
The Dallas City Council on Wednesday unanimously approved a three-year, more than $815,000 contract with RollKall Technologies, a management scheduling software company that caters to law enforcement agencies. The Dallas Police Department getting a new automated system to track off-duty employment was one of the top recommendations of a 2018 city audit that criticized the agency’s lack of oversight of the program and found some officers were working extra jobs for more hours than their police work.
Off-duty jobs can include security work at large events, concerts, private businesses, parades and other events.
Kristin Lowman, a DPD spokeswoman, said the new third-party system is expected to streamline and simplify how off-duty job assignments are managed for officers, vendors and businesses.
“This includes job announcements, scheduling, invoicing and payment, compliance with department policies, and easy audibility of jobs,” Lowman told The Dallas Morning News on Wednesday. “The department is now planning the rollout of the platform, along with education and training for officers, vendors, and the public on the new technology.”
The police department estimated that officers work more than 135,000 secondary jobs outside of their normal police duties every year. The agency said that equals roughly more than 714,000 of extra work hours.
According to the 2018 audit, the benefits of an off-duty employment program include helping deter crime, supplementing police officers’ pay, and allowing for some reimbursement for the police department if assignments require the use of police uniforms, equipment or vehicles.
But the auditor’s office found the department didn’t follow its own rules when it came to overseeing requests and approval and tracking of off-duty jobs. The department couldn’t tell whether or not officers were working more hours than allowed, working at approved times and locations, or violating any other DPD regulations, the audit said. The police department at the time limited officers’ total work hours to 16 hours a day and 112 hours per week. The daily cap hasn’t changed since then, but the weekly limit is now 80 hours per week, according to the department’s general orders.
The audit also found that DPD’s automated system, called the Intelligent Workforce Management System, doesn’t include the actual off-duty hours officers worked, tell supervisors when work requests are pending approval, or allow supervisors to confirm whether officers aren’t working too many hours.
“It is virtually impossible to do accurate accounting and controls with the current IWM software that is utilized by the department until new software can be purchased and integrated,” said an October 2018 letter to the auditor’s office signed by then-acting police chief David Hughes and then-assistant city manager Jon Fortune agreeing to more than a dozen recommendations for improvements.
The department still uses the Intelligent Workforce Management System for requests and approval for off-duty police jobs, Lowman said.
The Memphis Grizzlies are hoping to bounce back as they take Cooper Flagg and the Dallas Mavericks.
To learn more about Flagg and the Mavs, we spoke with Dallas Mavericks On SI contributor Austin Veazey.
He’s been… fine? Jason Kidd tried rolling him out at point guard to start the season, which was leading to poor results for the entire offense, but specifically Flagg. He just isn’t a point guard. He may have good playmaking instincts, but he’s best as a secondary playmaker. It’s no surprise that he then turned in arguably his best performance on Wednesday night against the New Orleans Pelicans, because Kidd didn’t start him at point guard.
The question isn’t how much they miss Kyrie Irving, it’s how much do they miss Luka Doncic. And it’s a lot. Even Kyrie Irving has been at his best in his career when he has a better playmaker on the roster, and he can do what he does best: score. Even if Irving were here, there’s no guarantee this would even be a league-average offense, because the offense has no spacing as it’s designed right now.
I kind of doubt it, unless they were to move Irving as well. Doncic and Irving worked so well together because Doncic was a bigger body and could guard other teams’ power forwards. A backcourt of Morant and Irving probably wouldn’t work well, but that wouldn’t stop Nico Harrison from trying something crazy.
Maybe not being the worst offense in the NBA? Just an idea. But how they go about doing that is beyond me. This team just lacks the natural playmakers and shooters to survive in this era of the NBA.
The vibes around both of these teams are horrendous right now. Between the Ja Morant suspension, Anthony Davis’ calf strain, and the Mavs losing to teams such as the Pelicans and Wizards, I think most Mavs fans want a close loss with Cooper Flagg developing so it gets one step closer to firing Nico Harrison.
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In the hands of Chris Wolston, even the most ordinary object — a chair, lamp or credenza — becomes something more whimsical, playful and quirky.
The artist has built a stellar reputation in the design world for his anthropomorphic rattan chairs (complete with bums and feet). Yet the array of pieces on display in his first solo museum show at Dallas Contemporary reveals there’s much more to his oeuvre.
Displayed across four catwalks, reminiscent of a fashion show or drag ball, are sculpted chairs in terra-cotta adorned with metal insects, a bronze coffee table cast from leaves found in the artist’s garden and chairs inspired by the gestural limbs of supermodels. Handwoven carpets from Morocco on the walls are interspersed with video works highlighting Wolston’s process filmed by his husband, the filmmaker David Sierra. Together, they recall a fantasy world of objects both functional and sculptural.
“I always find that through humor, there’s an interesting entry point for people — it breaks down a barrier,” says artist Chris Wolston. “And I was always drawn to furniture as a medium because it’s accessible, it’s egalitarian.” Dallas Contemporary
Wolston has been walking the tightrope between craft and art with a humorous twist since he made his first terra-cotta chairs in 2014. Drawn to the relationship between materiality and everyday life, he naturally embraced furniture as his medium.
“I started working with the (contemporary design gallery) The Future Perfect, and then we started doing these body chairs for a chair show,” he says. “I always find that through humor, there’s an interesting entry point for people — it breaks down a barrier. And I was always drawn to furniture as a medium because it’s accessible, it’s egalitarian.”
Having initially studied glassmaking at the Rhode Island School of Design, Wolston earned a Fulbright to study pre-Columbian ceramics in Colombia, prompting him to settle his studio in the city of Medellín. He found his entry point into raw ingredients by working with natural terra-cotta clay found in the mountains surrounding the city, and has since cycled through bronze, rattan, anodized aluminum and shearling.
Curated by Glenn Adamson, former director of the Museum of Arts and Design in New York, Profile in Ecstasy highlights a decade-plus of work that led Wolston to discover the throughlines behind his various collections, whether they be nods to fashion and nature, Spanish modernism or subtle surrealism.
“These themes that exist in an artist’s practice emerge when a new collection emerges,” Wolston says. “It’s interesting to see how collections made at different times with totally different materials and thought processes at play resonate with one another.”
Chris Wolston: Profile in Ecstasy is on view at Dallas Contemporary from Nov. 7 through Feb. 1, 2026.
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