Categories
Food & Wine Food & Drink

Inside-Out

I’m no stranger to pumpkin pie. When I owned and operated a small
pumpkin pie business after college, I experimented widely, trying
countless permutations on the basic theme, and tweaked my way to some
fantastic pie. I thought I knew most everything there is to know about
pumpkin pie. But walking around a night market in Bangkok, Thailand,
recently, I had an experience that turned my concept of pumpkin pie
inside-out.

Street food in Bangkok is a universe unto itself, a sweet and savory
maze of seemingly infinite culinary creativity. The high quality and
consistent freshness of the food seems out of place in a street
setting, but the Thais are extremely clean and detail-oriented, and
their street food is protected from urban grime by layers of stainless
steel and plastic. The treasures that await the street-walking
gastronaut include curries, noodles, soups, fried fish, and skewers, as
well as strange eats like fried bugs, steamed pig blood, and
half-formed eggs from the entrails of slaughtered ducks.

I was taking in the brightly colored jellies, tapioca balls, and
syrups of a dessert vendor when I noticed the inside-out pumpkin pie,
waiting patiently for me in a bowl next to some bags of steamed
bananas. It was a squash that was sliced to reveal its bright-white
custard filling. I bought a slice and was rewarded with a tasty
juxtaposition between the sweet and starchy squash flesh and the creamy
coconut custard. It had the flavors of a pumpkin pie, and similar
ingredients, but completely different texture and presentation.

When I say pumpkin pie, I’m referring to pies made from any type of
winter squash, of which pumpkin is the poster child, pie-wise. The
Thai-style custard-filled squash, called sangkaya, is typically made
with kabocha squash, which is dense and starchy. Most squashes,
including pumpkins, are too watery for sangkaya, but buttercup and
sunshine varieties will work. And while sangkaya is traditionally made
with a sweet custard filling, it can also be made with a savory
filling, like curry pork custard. I’ll explain how to make both.

Wash the outside of the squash and then cut a ring around the stem,
like you’re carving a jack-o-lantern. Remove the top and scoop out the
seeds and inner goop.

For a medium-sized squash (about 2 ½ pounds), heat a cup of
full-fat coconut milk and a half-cup of sugar. Palm sugar is most
authentic, if you can get it, but regular sugar or brown sugar will
work. Stir over low heat until the sugar has dissolved, and allow the
mixture to cool to room temperature. Separately, beat five eggs, but
don’t overbeat them, which will make the custard foamy.

Combine the eggs and coconut milk and add a pinch of salt and a
teaspoon of vanilla extract. Vanilla here is a common and perfectly
acceptable substitute for pandan leaf, which is traditionally used.
Pandan leaf has a subtle, exotic flavor and a sweet, comforting aroma.
If you can get it fresh, mince, blend, or crush it with a mortar and
pestle and squeeze a tablespoon of its green juice into the mixing bowl
instead of vanilla.

Pour this mixture into your hollowed-out squash, leaving about half
an inch of space below the cut-out rim. Don’t put the top back on.
Steam it 45 minutes to an hour in a basket steamer. You might want to
set the squash in a bowl for extra support as it steams, so it doesn’t
collapse when it gets soft.

After 45 minutes, open the lid and peak inside. Insert a knife deep
into the custard and see if it comes out clean and dry. If there’s
sliminess on the knife, steam another 15 minutes and check again. When
the knife comes out clean, remove the squash by removing the surface
it’s sitting on rather than picking up the squash itself. It may be
fragile.

Let it cool to room temperature, cut into wedges like a pie, and
serve. The juxtaposition of bright orange flesh and white custard is
striking, and if it weren’t for the flavors awaiting you, you might be
tempted to just look at it.

One thing that’s so special about winter squash is how well it lends
itself to both sweet and savory applications. Back in my days as a
pumpkin-pie tycoon, I dabbled in savory pies, adding meat, greens,
garlic, herbs, and other mixings to unsweetened pie filling. Old habits
die hard, because no sooner had I licked my plate after devouring my
first home-made custard-filled squash than I began scheming ways to
make a savory custard to fill my next squash. I decided on pork panang
curry custard.

Cut a pork chop into inch-cubes and pan-fry until they brown. Stir
in some chopped garlic and a teaspoon of fish sauce, stir-fry a minute,
and add a can of coconut milk, a quarter cup of panang curry paste (or
the curry paste of your choice), and half a cup of water. Simmer for
about 20 minutes until the mixture thickens, then remove from heat and
let it cool.

When the curry has cooled to room temperature, beat four eggs and
combine with the curry. Pour the mixture into the squash and steam as
before, for an hour.

The savory pork curry custard comes out light and rich and full of
spicy curry flavor, which mixes nicely with the earthy side of the
squash’s flavor profile.

With either one of these custard squash dishes, you will rule
Thanksgiving.

Categories
Music Music Features

Spin-Offs

Memphis has somewhat of a reputation for spawning a host of
musicians and bands who eventually become more revered outside of the
city limits than within. It’s time to add local art-punk mastermind
Mike Bibbs to that growing list.

“I was doing an interview for an Australian magazine, and the writer
asked me if I had ever received any press at home, saying he’d tried to
look up some local reviews and couldn’t find any,” Bibbs says. “Maybe I
haven’t pushed as hard locally, but it seems like anytime I go out of
town, I get write-ups.”

Getting out of Memphis definitely has been a key for Bibbs. Since
disbanding his previous band, the Antique Curtains, in February of this
year, Bibbs has spent much more time on the road — around 30
shows this year so far — with his new band, Modern Convenience.
Essentially a solo project (Bibbs plays all the instruments on
recordings and is backed by a rotating cast of side players live), the
project has given Bibbs the freedom to tour more than ever before. And
so far, the result has been a growing following.

“I actually had to say no to some shows this year,” Bibbs says.
“I’ve never been in this position before.”

The increased autonomy also has led to more songwriting and
recording. Modern Convenience’s debut CD, Porcelain Doll, was
released in August by Bibbs’ own O.K. Stars label, a follow-up EP on
the U.K.-based label Savoury Days is due in December, and another
full-length is tentatively scheduled for early 2010.

“I’ve kept it more or less a solo project for a reason,” Bibbs says.
“I got into recording late last year and wanted to be able to do
something with all the songs I was working on. My intention, at first,
was not to break up the Curtains, just to have an outlet for all these
songs. But then Tony [Lucchesi, Antique Curtains bassist] left town,
and it just felt like time to finally do something new.”

Another recent under-the-radar local release is the eponymous debut
of longtime Pawtuckets and John Paul Keith & the One Four Fives
bassist Mark Stuart’s new project, dubbed M. Edgar S. & the
Slightly Possessed. The project marks the long-awaited unveiling of a
collection of instrumental songs Stuart and One Four Fives drummer John
Argroves have been kicking around for quite some time.

“I had the riffs in my head, and sometimes at the end of a session
that John and I would be working on together, Kevin [Cubbins,
producer/engineer and One Four Fives guitarist] would press ‘Record’
and let us goof off a little bit with these ideas I had,” Stuart
says.

After taking the basic tracks (rhythm guitar and drums) to four
songs from these studio sessions, Stuart finished all overdubs and
tracked two additional songs at home on his four-track recorder. The
end result is a loose, fun assemblage of danceable rock songs, or
“butt-rock” as Stuart and Argroves call it.

“We call it ‘butt rock’ because it’s supposed to make your butt
wanna shake,” Stuart says. “We’re just entertaining ourselves, really
— having fun. It’s all done with a sense of humor.”

Categories
News The Fly-By

Fly on the Wall

Scary Headlines

Shelvia Dancy of Eyewitness News reports that “Drivers Turn
to Internet, Twitter to Avoid Traffic Jams.” Her report about the
Tennessee Department of Transportation’s website and Twitter account
didn’t include information about where drivers could turn when they
Twitter right through a stop light or into the path of a speeding
semi.

Ho! Ho! Bang!

The holidays are here, that wonderful time of year when the media
goes out of its way to barrage shoppers with incredibly obvious crime
prevention tips. This week’s tip comes to us courtesy of The
Commercial Appeal
, which warns: “Don’t Make Vehicles into Display
Windows for Criminals, Shoppers.” On a related note, Fly on the Wall
would like to remind holiday shoppers not to wear see-through
pants.

Madaus Files

Fox 13’s Scott Madaus says the darndest things. This week he opened
his report on the perils of social networking with this hardboiled, if
not entirely accurate, observation: “In the world of online
socialization, some call it a dark world of insecurity.” He was
paraphrasing Ellen Watson, a source he identified as “a big dog in the
world of information technology at the University of Memphis.” Watson
actually says social networking sites such as Twitter and Facebook are
risky because “there are too many opportunities out there for things to
go wrong.”

Crazy Good

Instead of disappearing after the special Memphis mayoral election,
@fakemongo, an often brilliant Prince Mongo impersonator, just kept on
Tweeting the funny. For those not in the loop, Fake Mongo (from the
present) is now in constant contact with Mayor Mongo (from the future),
and Mayor A C Wharton (from City Hall) may want to pay attention.

“Just appointed my new Time Travel Action Committee,” @fakemongo
writes. “Told them I need some fresh ideas on my desk by no later than
June 1973.”

Categories
We Recommend We Recommend

Accountable

Thirty years ago, Bob Collins was a fundamentalist Christian
studying at a seminary when things didn’t add up.

According to Collins, it was the “Thou Shalt Not Kill” commandment
in the Bible that brought him up short. Not killing was fine and all,
but the Bible was otherwise filled with God’s exhortations to do just
that. The contradiction led Collins to quit the seminary and to
ultimately become an atheist.

Collins is now a computer programmer in Birmingham, Alabama, and a
devotee of the Freethought movement. He’s currently working on his book
100 Bible Math Mistakes and will be discussing his findings
Sunday at an event hosted by the Memphis Freethought Alliance.

Collins says he’s found way more than 100 errors so far and that the
book will focus on the most egregious errors. One example: Jesus rising
from the dead in three days and three nights. Collins counts out Friday
and Saturday and notes that Sunday was when Jesus was resurrected and
that’s two nights max.

Collins isn’t trying to convert anybody. Instead, he says his work
is a sort of Consumer Reports for religion. “I help people be
better informed,” he says, “and not just take someone’s word as
fact.”

Categories
Film Features Film/TV

Foxy, Fantastic

A stop-motion animation adaptation of a somewhat lesser-known
children’s book by Charlie and the Chocolate Factory author
Roald Dahl, Fantastic Mr. Fox opens with a bit of text from the
book and a static shot of a worn library copy before revealing its
richly envisioned fictional world. But what follows suggests that
director and co-screenwriter Wes Anderson’s nostalgia might be more for
his own childhood experience of the book — the object
itself, the library where it was found, the impressionable kid who
found it, etc. — than for Dahl’s story, because Anderson,
the director of Rushmore and The Royal Tennenbaums, takes
the central conceit of Dahl’s slim volume, most of its characters, and
some of its situations and transforms it into a quintessential Wes
Anderson movie.

As in the book, Fantastic Mr. Fox concerns the title
character’s thievery from farmers Boggis, Bunce, and Bean, and the
blowback that it causes. But Anderson fleshes out the family life and
motivations of his protagonist (voiced by George Clooney). Here, Mr.
Fox is a charming rogue who promises to go straight after he and his
pregnant missus are captured — temporarily — in
the commission of raiding a chicken coop. Two years — 12 fox
years — later, Mr. Fox is working as a newspaper columnist
and living in a hole with Mrs. Fox (Meryl Streep) and son Ash (Anderson
regular Jason Schwartzman), but longs for more. This leads first to a
risky real estate venture and then to “one last bag job” that sets the
film’s siege and heist plots in motion.

Mr. Fox becomes a quintessential Anderson character, with echoes of
Royal Tennenbaum, Rushmore‘s Max Fisher, and, perhaps most of
all, Bottle Rocket’s Dignan. He’s a daydreamer and a schemer
whose primary motivation is simply to make life more interesting, and
Anderson gives him a yearning, aspirational spirit common to so many of
his characters. Anderson also builds a familiar but richer-than-ever
subplot between Mr. Fox and his only son, Ash (the book includes a
brood of small foxes, none with distinctive personalities), who aches
to please his father.

Also Andersonian is the erudite, playful dialogue, a quality not
un-common in Anderson’s indie-identified corner of the film world, but
with which Anderson’s characters are merely elegant exteriors designed
to cloak deeper feelings. And Fantastic Mr. Fox thrives on the
deadpan timing used in Anderson’s best work to set those emotional
undercurrents in motion.

If this doesn’t sound like much of a kid’s movie, well, it isn’t.
Kids may enjoy its fascinating visuals and zippy action, but the film’s
sly humor and emotional “subtext” (a word the film itself deploys) are
designed for an older audience. As is often said of good animated
films, it works on multiple levels, but not because of easy jokes
packed with pop-culture references. This union of Dahl and Anderson
sensibilities is otherwise self-contained.

And those visuals: Anderson breaks from the computer-dominated world
of American animated features with a tactile design scheme that sets
expressive models against handcrafted backdrops that evoke a precocious
kid’s art project. Anderson’s films have always been noted for their
detailed visual design, but this credit is limited too often to
acknowledging Anderson’s cleverness and intricacy, sometimes by way of
a backhanded compliment. What is missed is how much character and
emotional information is conveyed in Anderson’s mise-en-scene. So it is
here.

Recent Anderson films The Life Aquatic and The Darjeeling
Limited
were partial successes, and the filmmaker’s very specific
aesthetic seemed to be wearing a little thin, even among some of his
fans. No more. Fantastic Mr. Fox is a brilliant, snappy
reinvention of the Anderson style.

Categories
Letters To The Editor Opinion

Letters to the Editor

Joe Lieberman

I can’t say how happy I am to see someone come right out (The Rant,
November 19th issue) and call Joe Lieberman for what he is: a
mealymouthed, self-interested mamzer! When one wonders why, with
majorities in the House and Senate, the Democrats can’t get anything
done, all you have to do is look at Joe.

He is the manifestation of “soft” politics and cajoling. It is
pretty obvious that the Dems let Lieberman caucus with them because he
made some deals and, in return, gets to keep his committee
chairmanship. It shows the ineffectiveness of our system. 

Saying that he will filibuster any health- care-reform plan that
contains a public option should be seen as an outrage to the Democrats
and, most importantly, his constituents. The man really needs a
dose of reality, and, after the Senate vote — hopefully a
successful one for health reform — the Democrats should kick him
out of the caucus.

The Bush years were tough, but we can only wonder what eight years
of Vice President Lieberman would have been like.

Steve Levine

Memphis

The Gates Grant

The Bill and Melinda Gates Foundation made an incredibly important
decision to fund Memphis City Schools with nearly $100 million over
five years to improve teacher effectiveness. Now, Memphis is expected
to raise $50 million to continue the project.

The plan outlined by Superintendent Kriner Cash will use the money
to effectively train, recruit, and incentivize teachers who, in the
past, often preferred jobs in other districts. It is a good strategy
for improving MCS and the students it serves. I hope the plan is baked
enough to have an immediate effect on Memphis, a city where only 23.7
percent of the population has earned a college degree. Reportedly, an
increase in college degree attainment by 1 percent would raise the
local economy $1 billion annually.

Memphis now has an opportunity to upgrade its education system,
thanks in part to the Gates Foundation. Now, Memphis, let’s deliver,
because our students deserve it, and our economy needs it.

Jackie Jackson

Memphis

Food for Thought

Last week, a failed vice-presidential candidate claimed that animals
belong next to the mashed potatoes. This week, our president is
pardoning two turkeys. It’s food for thought.

Each of us has the presidential power to pardon a turkey this
Thanksgiving. It shows our compassion for an innocent animal, as well
as our concern for our family’s and our planet’s health. It’s a most
fitting way to give thanks for our own life, health, and happiness.

The 270 million turkeys abused and slaughtered in the U.S. each year
have nothing to give thanks for. They breathe toxic fumes in crowded
sheds. Their beaks and toes are severed. At the slaughter-house,
workers cut their throats and dump them into boiling water, sometimes
while still conscious.

Consumers too pay a heavy price. Turkey flesh is laced with
cholesterol and saturated fats that elevate the risk of heart disease,
stroke, and cancer. Careful adherence to government warning labels is
required to avoid food poisoning. Turkey excrement pollutes our water
supplies.

This Thanksgiving, I won’t be calling the Poultry Hot Line or
staying awake wondering how that turkey lived and died. I will be
joining millions of other Americans in observing this joyful family
holiday with nonviolent healthful products of the earth’s bounty:
vegetables, fruits, and grains.

Morris Furman

Memphis

Morals and Rhetoric

Rhetoric should have meaning. Language should have value. What then
is meant by the phrase we are now hearing from the politicos: “We have
a moral obligation to pass this legislation”?

Morals must be based on some standard. Frequent standards used as a
basis for moral values are Scripture, tradition, reason, and
experience. Most of our government officials have rejected Scripture
and traditional values. When scrutinized, the legislation they are
trying to pass does not hold up to sound reason. And experience teaches
that big government doesn’t produce anything good.

So, other than just being persuasive words, what value do these
so-called moral obligations have? Why is a government that has
propagated the educational system that teaches no moral absolutes
telling us that we absolutely have a moral obligation to do what they
are demanding?

My point is simple: Listening to our present leadership talk about
moral obligations is about as logical as listening to Larry Flynt and
Hugh Hefner talk about chastity!

Steve Casey

Stonewall, Louisiana

Categories
Opinion Viewpoint

Soul Mechanic

This is a story of thanks. Meant for a week during which being
thankful registers a little deeper. (Or at least we pay closer
attention to those for whom we’re grateful.) It’s a story of six old
teammates of mine: Gabby, Cheese, Frog, Tim, Mike, and Audie. Together
as Northfield Marauders, we played for Vermont’s 1985 Division III
state runner-up soccer team. And quite honestly, that’s where the
sports connection ends. Three months of a unified goal. (A time in
which each of us achieved a physical condition we can fantasize over
today.) But just as we survived an ass-kicking in that championship
game without much enduring pain, we’ve survived 24 years of comings,
goings, discoveries, and disappointments, and find ourselves on the
other side of 40 now. Friendships fully intact. And for that I’m
grateful.

Some background: Frog — we came up with nicknames that stuck
— is the superintendent of one of the finest golf courses in New
England. Cheese is a high-school teacher in Montpelier, and runs a
painting business on the side. Tim owns and manages an auto-repair shop
in our hometown of Northfield, Vermont. Mike is an airline pilot, and
Audie is a major in the Air Force, based in Guam. Gabby calls himself a
“lifestyle educator.” Best we can tell, he advises people with serious
health concerns — obesity, high blood pressure, diabetes —
on ways to achieve healthier lives before relying entirely on
pharmaceuticals to change their bodies’ chemistry. A noble enterprise
if you ask me.

With Cheesey motivating and Frog making arrangements near his
parents’ new home in Myrtle Beach, we put together — and actually
executed — a plan to gather for a weekend in October to
collectively celebrate turning 40 this year. No wives allowed, no
children. And no excuses … not even living on an island in the middle
of nowhere. While boys will be boys, and men should behave like men,
there are times in life — stages, I guess — when men acting
like boys is healthy. And for three days on the coast of South
Carolina, we acted like boys.

The combination of sunshine, golf, cold beer, and midget wrestling
will go a long way toward extending one’s life. Despite an ailing back
that limited me to “designated putter” duties at Indigo Creek Golf
Club, the steady, prolonged laughter of our gathering was unmatched in
my adult life. And I say that with as happy a marriage — and the
two most rewarding, delightful daughters — a man can claim. This
was just prolonged, steady laughter … of a different kind.

Our oldest friends, you see, serve as soul mechanics. (Tim will
appreciate this.) We tend to adjust priorities as we age, hopefully
intelligently. Influences — like, say, a wife and children
— enter our lives that make the days, weeks, and months less
about who we are or who we were, and more about how we can best
contribute to a larger cause. And this a good adjustment, a nice shift
of gears (again for you, Tim) in the human condition. But old friends
provide a realignment for the soul. In the right setting (a beach will
always do) and with enough time (a long weekend will suffice), friends
from our formative years remind us that we are, fundamentally, products
of our youth. Take yourself too seriously at age 40, and a friend from
your 17th year will quickly have you back on track. You may have 200
airmen under your command, but not one of them knows the difference
your van made in high school. We know, Audie.

Among the memories I’ll carry from Myrtle Beach — beyond the
tallest pair of boots I’ve ever seen — is the remarkable
consistency in happiness among seven men who have traveled in so many
different directions. Each of us is happily married, six of us the
parents of healthy children, with Gabby’s wife due in February. I’m not
sure what the odds are of such a confluence, particularly among a group
from a town so very small. I’ve lived near (and worked with) people for
much of the 22 years since I left Northfield for college who don’t know
me the way these six men do, distance be damned. We keep making
friends, if we’re lucky, throughout adulthood. But the older you get,
the harder it is to find a good soul mechanic.

I’m eternally grateful for mine.

Categories
Art Art Feature

Textbook Cases

In his half-century of creative output, Roy Lichtenstein produced
much more than the large-scale, comic-book inspired, eye-popping
paintings that brought him international fame in the 1960s. The nearly
70 drawings and collages that make up the Dixon Gallery & Gardens’
exhibition “Lichtenstein in Process” include ethereal Chinese
landscapes, fluid abstracts, and pop-art homages.

In Collage for Art Critic, Lichtenstein’s witty nod to
criticism as well as cubism, the critic stands with her nose pressed
against a painting and studies it from every angle. The features of her
face fracture into a Picasso-esque portrait in which her open mouth
moves to the side of her face, her left eye turns sideways, and her
other eye has moved to her forehead and pierces the frame of the
painting into which she peers.

Thousands of faint, nearly colorless Benday dots in Collage for
Landscape with Scholar’s Rock
are transformed into veils of mist
and banks of clouds that appear to move, dissolve, and reappear across
a 7-foot-wide panorama that fills our field of vision. Stand in front
of Scholar’s Rock and, like the art critic, you may feel the
planes of the earth shift and boundaries blur as you are encompassed by
the most monumental (and most effervescent) collage in the show.

In another particularly powerful work, Collage for the Sower,
Lichtenstein pays homage to Vincent van Gogh’s 1888 painting which, in
turn, paid homage to Millet’s 1850 masterwork. Van Gogh’s brushstrokes
make his entire painting — sky and earth as well as the figure
striding across the landscape — come alive with energy. In
Lichtenstein’s work, the earth roils, seeds crack open, yellow melons
swirl across the top of the work, and spring-green sap oozes beyond the
thick, quickly gestured outlines of the figure. Lichtenstein captures
the sweep of the sower’s arm, the social unrest rumbling toward
revolution as peasants starve, and the boundless energy of nature as
powerfully as van Gogh’s and Millet’s more realistic depictions.

Through January 17th   For each of the 10 photo
composites that make up Clough-Hanson’s current exhibition, “Riffs on
Real Time,” Leslie Hewitt places a snapshot — often faded and
decades-old — on top of a page torn from a textbook or on the
cover of the book itself. Hewitt then photographs the two items on the
wooden floor of her studio. What perhaps is most remarkable about this
understated show is Hewitt’s ability to evoke the whole fabric of life
with 10 artworks constructed from the simplest materials.

An out-of-focus snapshot of a shrub (so severely cropped it looks
more like a hat box than a plant) lies on top of bright-red book in
Riff 4. Riff 5 is the textbook image of row after row of
large, immaculately kept homes with perfectly manicured lawns. An
overexposed snapshot, laid on top of this image, looks like the living
room of one of the homes where family members watch television.

Hewitt mounts her most poignant and unsettling works in a small
room, a sort of inner sanctum, inside Clough-Hanson. The faded photo of
a young man in a cap and gown in Riff 2 is backdropped by
another textbook image of a city, but here, instead of suburban sprawl,
homes and businesses are blown apart and engulfed in flames. A man in a
suit in Riff 10 carries a briefcase and strides up the steps of
a beautiful concrete plaza of some large metropolis. In one of the
show’s most surreal touches, the man’s upper body is superimposed with
a snapshot of arid, undeveloped earth.

The images in Hewitt’s inner sanctum show us a world in flux.
Sometimes the change is slow but inexorable, like erosion. Sometimes
change is sudden and violent like the race riots depicted in Riff
2
. In an interview mounted on one of the gallery walls, Hewitt
explains that the work for this show was developed, in part, to help
her understand how the civil rights struggles of the 1960s inform her
current view of reality.

How apropos that Hewitt’s “Riffs on Real Time” are backdropped by
the scarred, stained, rich-hued, and deeply grained heart pine floor of
her studio. This New York-based artist takes us beyond the pruned and
the concretized into a richer, more textured space where we are
encouraged to explore texts we never quite found the time to read, to
look through family photos and replay memories, to enlarge our sense of
self and the world.

Categories
Music Music Features

Remembering Dennis Brooks

“Dennis was my teacher,” Heidi Knochenhauer says of Dennis
Brooks
, the tireless advocate of Memphis music and blues who died
from a heart attack last month at age 59.

Brooks was not a musician but carved a niche for himself through
enthusiasm and hustle as a key figure in the Memphis blues scene. That
scene will celebrate him Sunday, November 29th, with an afternoon and
night concert at Neil’s, the Midtown venue where Brooks promoted
concerts most often in recent years.

The concert — dubbed the Dennis Brooks Life Celebration
— was organized by Knochenhauer, a grant writer for the Arkansas
Blues and Heritage Festival who calls Brooks her “blues wingman” for
area festivals and blues events in recent years; former colleague
Chuck Porter, who hosts the “Blues Today” program on WEVL-FM
Friday mornings; and stalwart local blues musician Brad
Webb
.

Starting at 2 p.m. and running deep into the night, the concert will
feature many key names in the local blues/roots community, among them:
Webb, Blind Mississippi Morris, Billy Gibson, William Lee Ellis, Reba
Russell, and Eric Hughes. There are also out-of-town musicians coming
in to pay tribute, among them Alabama’s Microwave Dave and Portland’s
John-Alex Mason.

“He was what I call a spoke in the wheel,” Webb says. “It takes a
lot of spokes to make that wheel go round. And Dennis was always there,
from booking bands to being a friend to being a reporter/man on the
scene. He would call me on Sunday nights, going, ‘Man, I’m at Huey’s
and Microwave Dave’s here, and there ain’t but 11 heads at 9 p.m.
Where’s the support?'”

A founding member of the Beale Street Blues Society, Brooks
played a role in the careers of regional blues notables such as Webb
and Blind Mississippi Morris, Daniel “Slick” Ballinger, and Richard
Johnston.

“He booked Morris and me on the first trip to Norway, before Robert
Belfour, Bill Ellis, and Richard Johnston went,” Webb says. “And Dennis
never charged too much — 10 percent, which is about unheard of
for an agent. Dennis was kind of an old-school type of guy who wasn’t
real fancy. Dennis was a friend to me. It wasn’t a business
association.”

Many musicians shared a similar kinship with Brooks, something
reflected in the large and still-growing lineup for this weekend’s
concert.

“There was never a question. It was y’all tell me when to be there
and we’ll play,” Porter says. “Everybody thought the world of him.”

“We’re still getting calls from people who just found out he
passed,” Webb says.

“Musicians were always welcomed at his home when they came through,”
says Knochenhauer, who was most recently working with Brooks on the
nonprofit Arkansas Music Preservation and Education initiative, modeled
after the Mississippi Blues Trail markers. Brooks was a board member
and “our main researcher,” Knochenhauer says. “He knew everything. He
was our encyclopedia. It’s really a loss.”

Sunday’s celebration concert will be free — “Dennis
wouldn’t have had it any other way,” Knochenhauer says — but
donations will be accepted and a silent auction will be held to raise
proceeds for Brooks’ headstone as well as a potential music note on
Beale Street, with a wide range of music-related items in the auction
donated from the likes of photographer Dick Waterman and Alligator
Records’ Bruce Iglauer.

The tentative lineup for the concert:

2 p.m. – Bill Ellis, Tomi Lunsford, Sandy
Carroll

3 p.m. – Bobby Lawson Band, David Daniels, Stan
Street, Don Cook

4 p.m. – Wampus Cats, MT Leon, Elmo

5 p.m. – The Hitmen, Sterling Billingsly, John-Alex Mason

6 p.m. – Blind Mississippi Morris, Billy Lavender,
Microwave Dave, Phil Durham

7 p.m. – Steve Selvidge, Richard Johnston, Billy Gibson

8 p.m. – Don McMinn, Davis Coen

9 p.m. – Reba Russell Band, Valerie June

9:50 p.m. – Eric Hughes Band

10:15 p.m. – Jam Session

Categories
News The Fly-By

What They Said

About “Square Squabble” and the ongoing debate about Overton
Square development, by Chris Davis:

“The facade at the new Chick-Fil-A is what makes Midtown more cool
than the rest of city. As for Overton Square … the south side of
Madison definitely needs to be invested in, but invested in and razed
are two different things entirely.” — mad merc

About “Memphis Tigers 92, Tennessee Tech 59,” by Frank
Murtaugh:

“Could it be? That getting rid of Coach Cal was an UPGRADE? Hope
Kentucky goes 15-18, or thereabouts. No hard feelings, Cal. You just
deserve it!”

Tennessee Waltzer

About “Radical Gay Anarchist Group Denies Billboard Destruction,”
by Bianca Phillips:

“Reading that website was like drinking a week-old bottle of someone
else’s vomit. Please don’t ever link to anything like that ever again.”
autoegocrat

About “When Sports Is Better Than Sex,” by John Branston:

“Can you write about curling next? The 99.9999 percent of Memphians
who have never played it, or seen it played, are dying from
anticipation.” — 38103

Comment of the Week:

About “Chicago BBQ Better Than Memphis BBQ?” by Susan Ellis:

“Chicago!?! How incredibly bizarre. It’s like discovering Burl
Ives was an atheist.” — Phlo