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News News Blog

Three Charged in Trenary Murder

Memphis Police Department

Richardson, right. Wright, left.

Three have been charged for the murder of Phil Trenary, the once president and CEO of the Greater Memphis Chamber.

Late Saturday, Memphis Police Department (MPD) officials announced they charged McKinney Wright Jr., 22; Quandarius Richardson, 18; and Racanisha Wright, 16.

They were all charged with first-degree murder in perpetration of criminal attempt robbery and criminal attempt especially aggravated robbery.

Richardson was one of two teens charged Saturday for stealing a truck believed to be connected to Trenary’s murder. Shymontre Reed was charged in that crime was apparently not charged in the murder. 

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News News Blog

Trenary Killing: Teens Charged After Police Chase

Memphis Police Department

Two teens were charged Saturday for the theft of a truck that police said matched the vehicle connected with the murder of Phil Trenary, the once president and CEO of the Greater Memphis Chamber.

Memphis Police Department said on Twitter Saturday that Shymontre Reed and Quandarius Richardson were charged with the theft of a white Ford truck, like the one allegedly driven by the man who shot and killed Trenary Downtown on Thursday.

Trenary Killing: Teens Charged After Police Chase

The teens led police in a high-speed chase Friday that led to an accident at Mississippi and McLemore.

Police did not say whether or not the two teens were connected with the murder.

Both were charged theft or property between $10,000-$60,000, auto theft, and evading arrest. Richardson was also charged with reckless driving, reckless endangerment, and driving without a license.

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Music Music Blog

Gonerfest 15: Friday

Day two of Gonerfest 15, the annual celebration of punk, garage, and other off-kilter forms of rock, took place in two locations: at Memphis Made Brewing, during the afternoon hours, and Hi Tone on Cleveland late into the night. The daylong festivities featured a songwriter session from Harlan T. Bobo, psych-blues-punk from Chicken Snake, the dark and deranged disco extravaganza of Cobra Man, and a breakout performance from indie-pop band En Attendant Anna. 

Gonerbraü by Memphis Made

Memphis Made produced a limited cream ale, the Gonerbraü, to commemorate this year’s festival. The light, fizzy beer seems like the best bet to help get into the Gonerfest spirit, so, Gonerbraü in hand, I weave my way through the crowd to the small stage on the back patio of the Cooper-Young-area brewery and catch Harlan T. Bobo’s acoustic set.

“I wonder if there are many people who get engaged at Gonerfest,” Bobo muses. “Or get divorced at Gonerfest — or at least because of Gonerfest.” The crowd laughs, and Bobo begins playing “I’m Your Man,” a love song from his 2007 album of the same name. Gone is the demented showman who, backed up by a full band, closed out the festivities sometime after 2 a.m. the night before, and in his place is an indulgent father, a humorist, and a day-drinking, guitar-wielding teller of truths.

Bobo jokingly tries to calm a crying child hiding beneath the wooden stairs, tossing a rolled-up T-shirt down to the kid in an attempt to distract him. Then he brings guitarist Jeff “Bunny” Dutton onstage to add commentary to a song Bobo wrote about Dutton, who so ably backed him up on lead guitar the night before. “He don’t drink water and he don’t eat. He lives off alcohol and nicotine,” Bobo sings as Bunny smiles and nods, unable to contest his bandleader’s claims. The crowd laughs, and the kid beneath the stairs is busying himself dragging a plastic chain around. Later, the same little boy will run haphazardly up and down the loading ramp in front of the venue, narrowly avoiding spilling my Gonerbraü.

Out front, New Orleans-based Chicken Snake take the stage, ripping into a swampy, blues-inspired punk set. The drummer sports a goth-glam mane as she attacks the drums with a frenzy. Sneering, strutting guitar licks call to mind the pioneering work of The Sonics or Roky Erickson. “Baby, don’t you give me them walkin’ blues,” the singer implores.

Jesse Davis

Cobra Man

Later, back at the Hi Tone, L.A. synth duo Cobra Man blends seemingly disparate elements of punk and disco, crafting a spooky dance atmosphere. Their sequined jackets flash in the green lights. During the rising energy of the repeated line, “I want it all,” audience members begin crowd surfing. By the time the singer begins chanting, “I’ve been living in hell with you,” Goner fans are taking turns clambering aboard a large wooden plank and riding it like a surf board across the waves of outstretched hands. The lights change to red, and the rhythm shifts into cut time. The Goner fans dance, revelers in a disco of the damned. Cobra Man’s set is wild and dramatic, and I hope the next band can top it.

French indie-rockers En Attendant Ana follow the depraved rave that is Cobra Man, and far from being overshadowed by the L.A. disco duo, the Parisian quintet make their set look easy. Their Gonerfest performance marks the end of a two-and-half-week U.S. tour in support of the band’s debut album Lost and Found, out on Trouble in Mind. Their tour has taken them through Cleveland, Chicago, Milwaukee, and Boston, landing them on the main stage at the Hi Tone. They begin, and a wave of jangly guitars and trumpet blasts washes over the crowd, prompting an immediate reaction, as the collected bodies begin to move to the beat. The young indie-rockers ride the wave, all clean guitars, synths, and breathy, urgent vocals, before crashing to a halt.  

Jesse Davis

Margaux Bouchaudon of En Attendant Ana

A smile tugs at the corners of singer and guitarist Margoux Bouchaudon’s lips as the crowd cheers their support. Grinning, she ducks her head as lead guitarist Romain Meaulard introduces the next tune in a thick French accent. En Attendant Ana’s music sounds like euphoria feels. It’s bright and optimistic, like the ideal soundtrack to kick off a road trip. The clean guitars, trumpet, and dreamy rhythms call to mind Belle & Sebastian or Camera Obscura, but there’s a punk urgency that adds an edge the Scottish indie-pop legends lack. The Parisian quintet’s set seems to pass in an instant of pop nirvana. “This could be the end, oh, this could be the end,” Bouchadon sings on “This Could Be,” backed up by Meaulard and by vocalist/guitarist/trumpet player Camille Fréchou. The song is insistent and anthemic, and I don’t want the lyrics to be true. I hate for the set to end.

I catch three or four songs by New York-based Surfbort, a pure punk explosion, all alcohol-sweat and frantic guitar wrapped in a revealing bodysuit. They’re Gonerfest gold, but I can’t get En Attendant Ana out of my head, so I make tracks toward the merchandise room to find the band and ask them about their tour. I find Fréchou and Bouchadon, who are game for a quick interview.

“We’ve been [in Memphis] for six or seven hours, but tomorrow we stay all day long,” Bouchaudon says. She’s wearing a flowing red coat she bought on tour, and she and Fréchou lean close and speak into my recorder. “This will be the first town in which we can relax and visit. We want to go to Sun Records,” Bouchaudon says. “I would like to go to Graceland,” Camille Fréchou adds, “But I don’t think we are going to.” “Non,” Bouchaudon interjects emphatically. “I will go to Graceland, and you will come with me.” The nearly three-weeks-long tour marks the band’s first time in the U.S. “Every day was like, ‘I’m going to move here,’” says Fréchou, who assures me that Americans have been “really friendly.”

Jesse Davis

En Attendant Ana

En Attendant Ana recorded an EP to tape two years ago, releasing a limited run on cassette, which caught the attention of Canadian label Nominal Records. “[They] asked us if we were okay to release the EP on vinyl, and we said ‘Yes!’” Bouchaudon says, emphasizing the affirmative. The group then recorded their full-length debut, Lost and Found, which they released on Trouble in Mind. After a successful tour with label-mates (and fellow Gonerfest 15 performers) Ethers and a day and a night spent being “the best tourists ever,” Bouchaudon says the band will “go back to France, [and] go back to work.” She says they will spend some time playing in the West of France before getting down to the business of a follow up to Lost and Found. “And then we’ll have some time to make new songs,” she says. “And a new record. And another, and another,” Fréchou chimes in. Personally, I hope Fréchou is right. After only one concert and a brief conversation in the alley behind the Hi Tone, I’m already looking forward to the band’s next release and U.S. tour. Gonerfest 16, maybe? We can only hope.

Jesse Davis

Oblivians

I make it back inside in time to catch The Oblivians, Gonerfest royalty, who deliver their raunchy garage-rock excellence to a packed mass of sweaty music fans. After two days of nearly nonstop music, I settle in to enjoy the show. The rhythm section is tight and powerful. The guitar tones are crunchy and snarling, as befits a late-night set helmed by Jack Oblivian, star of Memphis filmmaker Mike McCarthy’s psychedelic punk odyssey, The Sore Losers, screening Sunday afternoon at Studio on the Square. With two days of Gonerfest memories fresh in my mind, I relax, thankful for the 15-year-old festival that brings so many diverse and distant musical experimenters to the Bluff City.

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Sports Tiger Blue

Tulane 40, Tigers 24

The notion of Memphis returning to the American Athletic Conference championship game this year was summarily rejected Friday night at Yulman Stadium in New Orleans. The Tulane Green Wave scored touchdowns on three consecutive possessions in the second half, turning what had been a tight game into a rout. The victory is Tulane’s first over Memphis since the 2000 season, a span of 12 games for the regional rivals.

Darius Bradwell ran for 142 yards and scored two touchdowns to lead the upset, with Corey Dauphine rushing for 87 yards on 12 carries and another pair of touchdowns. The Tulane defense held Memphis to 277 yards and sacked Tiger quarterback Brady White seven times. Tulane dominated possession time, holding the ball almost 40 minutes.

Reserve quarterback Justin McMillan — an LSU transfer — entered the game for the final play of the third quarter and completed a 51-yard pass-and-run to Darnell Mooney for a touchdown that gave Tulane a 24-14 lead entering the fourth quarter. After the next Memphis possession resulted in a safety (on a White fumble in the end zone), Tulane tailback Corey Dauphine struck with a winding, 46-yard touchdown run that made the Tiger defense look both slow and tired. It was the third score covering at least 46 yards for the Green Wave.

Among the only Memphis highlights were a pair of lengthy touchdowns by junior tailback Darrell Henderson. On their first offensive snap of the game, Henderson dashed through the right side of his line for a 47-yard touchdown. Early in the third quarter, he caught a pass from White and sprinted into the end zone to complete a 43-yard touchdown. The scores give Henderson 11 touchdowns for the season (matching his 2017 total) and 31 for his career, the fourth-most in Memphis history. Beyond his two long-distance touchdowns, Henderson was ineffective, gaining a total of 51 rushing yards (on seven carries) and 47 receiving (two catches).

White completed 14 of 30 passes for 246 yards and two touchdowns without an interception.

The loss drops Memphis to 0-2 in AAC play for the first time since the league’s inaugural season of 2013. (The Tigers are 3-2 overall.) Tulane improves to 2-3 and 1-0 in the AAC. Memphis returns to the Liberty Bowl for its next two games, Connecticut visiting on October 6th and UCF on October 13th.

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Food & Drink Hungry Memphis

Breakfast Biscuit Roundup

We barely made in time for National Biscuit Month, but make it we did. What we’ve got here is a roundup of notable Breakfast biscuits in Memphis.

Biscuits can be tricky. I’ve made ’em straight off the box of Bisquick, and they’ve turned out dry and crumbly — like special effect out of The Mummy. I’ve made ’em with buttermilk (a specialty item if there ever was one) from a recipe off the internet, and they were just okay. I’ve never really mastered it.

But these folks have mastered the breakfast biscuit and knocked it straight out of the park.

Without further ado and in no particular order …

Bryant’s

Bryant’s is the mothership when it comes to Memphis breakfast biscuits. They’ve been slanging biscuits for 50 years. You can get your biscuit with pork tenderloin, city ham, smoked sausage, country ham, bologna, bacon, or steak.

But I went with classic egg and cheese. Mmmmmmmmm. This is one buttery, perfectly done biscuit, with egg, and melty American cheese. Super good.

Bryant’s was included in a round-up in Food & Wine by local reporter Andy Meek, which pretty much sums it up:

Among the things Memphis has in abundance are breakfast options that do simple extraordinarily well. Bryant’s Breakfast is one of those places. It’s not much to look at inside — your basic dive with somewhat spartan accommodations — but the biscuits are addictive. Get here early, by the way, if you plan to visit. The line of hungry diners stacks up quick.

Curb Market

Justin Allen of Curb Market used to be the private chef for Curb owner Peter Schutt. “He liked my biscuits so much, he offered me a job at Curb,” he says.

He says the secret to this biscuit is in its shape — square. With round biscuits, the cut-off cast-off dough is reincorporated into more biscuits, which can make them tough. There’s none of that with the square biscuit. Allen says this approach is what makes his biscuit light and fluffy — soft on the inside and crispy on the outside.

Curb’s take on the egg, too, is different. Instead of slapping a slice of cheese on top, grated, sharp cheddar cheese is added to the soft scrambled eggs. Great care is taken with the meat as well. They know the pigs from which their sausages are made. The hams are brined for seven days, the sausage is cooked sous vide and ground in-house.

This one is a beast of a biscuit. Hearty as hell. A favorite.

Edge Alley

While the menu has since expanded and will change again in a week or so, Edge Alley‘s opening menu was built around the biscuit. But it’s not the biscuit you know.

“Our biscuit’s a little different,” says Timothy Barker.

They go at their biscuits with a breadmaking method. It makes this biscuit something that can be easily picked up and eaten without falling apart.

Barker says that when they first opened they may have been a little bit too fancy with their biscuits, adding herbs and peppercorns. He quickly discovered that folks like their biscuits recognizably biscuit-y.

The egg is done over-easy, which you don’t see every day with a breakfast biscuit. What this means is a delicious runny yolk, with the biscuit made for sopping. It’s one of life’s great pleasures.

Barker knows this. “We try to keep it as simple as we can.”

This one is both dense and fluffy. A real delight.

Elwood’s Shack

“Elwood’s Country Biscuit” is the first breakfast biscuit I tried at Elwood’s Shack.

This delicious mixture of sausage, applewood bacon, ham or, if you’d like, an egg and/or cheese, could be a lunch or dinner biscuit. These are big biscuits. You could make a meal out of them.

My next Elwood’s biscuit was something completely different: a breakfast biscuit with homemade pimento cheese and a vine-ripened tomato. I’d never thought about pimento cheese for breakfast, but it works.

“A customer just suggested it and I said, ‘Sure,’” says Elwood’s owner Tim Bednarski. “It went on the menu not long afterward.”

They already had their pimento cheese sandwich made from Bednarski’s pimento cheese recipe, so a pimento cheese breakfast biscuit was a no-brainer.

But what about those biscuits?

“That’s my grandmother’s biscuit,” Bednarski says. “Our biscuits are made with butter, sour cream, 7-up and no lard.”

He calls the 7-up his “extra leavening agent.”

There are two kinds of baking powder – single and double acting. Bednarski uses double acting baking powder. The 7-up gives an “extra rise” to the flour and it makes the rolls “super flaky.”

Since he doesn’t use lard, Bednarski uses a high-gluten flour to keep the biscuits from falling apart when you eat them.

“I call it a ‘cat head biscuit,’” Bednarski says. “It’s the size of a cat’s head. It’s a big biscuit. It’s a Tennessee staple.”

Note: Bednarski’s ribs and corned beef will be featured on chef “Burgers, Brew and ‘Que” at 8 p.m. Oct. 9 on the Food Network.

Three Little Pigs Bar-B-Q

I loved the classic sausage-and-egg biscuit on a great-tasting biscuit at Three LIttle Pigs Bar-B-Q.

They use a commercial biscuit – Rich’s – for their breakfast biscuits, which include all the combinations of bacon, sausage and egg, says manager John DeMarco.

But, he says. “Sausage biscuit is our best seller.”

Asked what people like about their sausage biscuits, DeMarco says, “The good taste. Not too spicy. They like the texture.”

Has anyone requested a barbecue breakfast biscuit? “It’s been rare. In the 10, 12 years I’ve been here, maybe three or four times. It’s extremely rare, but it has happened.”

Customers are welcome to ask for a barbecue biscuit, DeMarco says. “If they want one ounce, two ounces of barbecue on it, if they want sauce on it, we can do that.”

Sunrise Memphis

Eating one of Sunrise Memphis’s biscuits is a great accompaniment to actually watching the sun rise (the restaurant opens at 6 a.m.) or even watching the sun when it’s high in the sky (the restaurant closes at 3 p.m.)

I asked chef/owner Ryan Trimm which of their biscuits was the most popular.

The Rooster, he says. Trimm wanted to include a chicken biscuit on the menu, so he came up with fried chicken on a biscuit He added honey because he likes honey on fried chicken.

He also likes it spicy, so he uses tabasco honey on his chicken and biscuit.

If you order the “Mother and Child Reunion” you get egg with the fried chicken and honey, Trimm says.

I also tried the “P-Love” – a smoked bologna with egg and cheese. “That’s my favorite,” Trimm says. “A buddy of mine cooked it for me at his hunting camp. It’s his favorite thing to go to. He just does bologna, egg and cheese. We smoke the bologna. It gives it a better flavor.”

Their handmade biscuits are made with flour, buttermilk, butter, salt and baking powder. “I like our technique – hand kneading the butter in and slowly folding it together to get pockets of butter. When butter melts it steams. It’s actually air pockets inside the biscuit.

So, that makes it light and fluffy.”

Pancake House

I’m a big fan of Pancake House, but I seem to get everything else except the breakfast biscuits.

I recently tried one of their bacon and egg biscuits. It was terrific. Very flavorful. Everything a breakfast biscuit should be, as far as I’m concerned.

They have other types, but my server, Michelle Gerlach, suggested I try the bacon biscuit.

Those are popular, says owner Juli Druien. “Or the chicken biscuit. We use a fairly good size chicken tender that we put on our biscuit.”

As for the bacon one, she said, “We use a thick Wright’s bacon.”

And you can have breakfast biscuits for lunch and dinner at Pancake House.

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Music Music Blog

Gonerfest 15: Thursday

A week ago, the man in the chainmail and shimmering cape would have been broiling in the Memphis heat, but rain swept in on cooler winds, and the first night of Gonerfest 15 is just cool enough for the assembled punks, rockers, and music fans to break out their denim jackets — or, in some cases, chainmail.

The emcee takes the Hi-Tone stage just after 9 p.m., wearing sunglasses and leather, and says a few kind words about Chris Beck, Goner’s “Muddy Spear,” who recently passed away from brain cancer. Members of the crowd shouted that they wished Beck could be there, displaying a communal spirit central to the festival.

Music fans come from the world over for Gonerfest, and there always seems to be a happy reunion happening in the parking lot or by the bathrooms. Then the emcee kicks off the night’s festivities, introducing the “King of the Gras,” who “tours in a cage on wheels … just take it  — Bênní!” Then the man in the chainmail hood smiles and steps onstage and up to a stack of keyboards and synthesizers. And he conjures magic.

Allison Green

BÊNNÍ, master of analog synths

Bênní’s set is dark and hypnotic, but there’s a touch of humor in his deadpan stage patter delivery as he sets up each synthesized swirl of sound. He speaks (and sings) into a talk box, explaining that the diamond man character was a vision that haunted him until he put it in a song: “This is who I am — a diamond man.”

The New Orleans-based musician plays an instrumental song in 6/8 time. It sounds at once sinister and rising, like an old-school video game theme played on a church organ at the bottom of a well. “I haven’t played that one in a while,” Bênní says casually. His delivery is wry, as if to nudge the audience and say, “You know we’re just getting started, right?”

Between sets, the garage-rock true believers slip outside to smoke cigarettes or scarf down barbecue from a smoker pulled behind an RV. Cincinnati-based Bummer’s Eve take the stage after a quick turnover, summoning the crowds with violently strummed guitar. The band is raucous and bopping, fuzzed-out punk. They crash into a noise breakdown, a wall of feedback and distortion, before plunging seamlessly back into the rhythm of the song. Where Bênní’s set pulsed, Bummer’s Eve shakes and rattles. Their set seemed to end far too soon.

The Hi Tone, already crowded for opening sets on a Thursday night, swells with the addition of late arrivals. There is a constant sense of rising energy throughout the night, a shared knowledge that this is only the first night of the festival. Conversations buzz and grow louder as the ever-growing mounds of beer cans in the trash continue to rise, and people fight to be heard over each other and the ringing in their ears. People dance and bop, and Memphis-based Aquarian Blood and Tampa party-rockers Gino & the Goons continue to escalate the energy. Aquarian Blood wails, frenetically running chromatic scales up their fret boards, urging the party to a wilder pitch.

Aquarian Blood

Aquarian Blood build a bomb, and Gino & the Goons light the fuse. They’re party punk, solid songs punctuated by grunts of “ooh!” and “uh!” The Florida-based band plays on as the singer shouts from onstage, “You’re not dancing, we’re not stopping!” Then the rhythm changes, and the singer rips into a chorus of “hip-hip-hypnotic” before everything crashes to a stop with a squall of feedback. Lydia Lunch Retrovirus is up next.

Lydia Lunch, backed by a band so tight they seem telepathic, is the penultimate performer on the opening night of Gonerfest. Dressed in black and laughing, she warns the crowd of her band’s “nasty,” “raunchy” ways. Her guitarist strikes a deft balance between crunchy, palm-muted riffs and wild, dissonant squeals of noise. The rhythm section is locked in, propelling the performance forward through moments of angry, brittle complexity and explosive breakdowns. Red and green lights seem to drip from the Hi Tone sign above the stage. Lunch’s voice floats above it all, singing, screaming, and crooning. Local singer and multi-instrumentalist Luke White leans in to shout in my ear, “She’s pretty badass” before admiring the guitar and bass tones.

Jasmine Hirst

Lydia Lunch

White is waiting to go onstage with Harlan T. Bobo, who is closing out night one of the festival. Lunch’s vocals rise, casting a dark spell, while the band pulses with barely restrained energy and she chants, “There’s something witchy in the air.” The music rises to a final crescendo, and Lunch, a master performer, relinquishes the stage with a shouted, “Start the disco!”

Harlan T. Bobo’s set is magnetic, hypnotic. He looks like a man possessed, his eyes going wide as he sings, his smile like Conrad Veidt’s in The Man Who Laughs. He has the strangely compelling charisma of someone who hears holy voices.

His band crafts a dark atmosphere, making them a perfect bookend to Bênní’s darkly filmic opening set, a complement to the eclectic lineup. Frank McLallen’s bass lines are expert, a framework on which to hang the keyboard swells and whine of a slide guitar.

Bobo’s second song is “Human,” the simmering opening track from his new A History of Violence. The song builds to an electric instrumental ending, setting a fevered energy level that the band maintains for several songs, before Bobo pulls out a harmonica and eases up on the gas slightly, giving the captive audience a moment to catch its breath.

It’s the briefest of moments, though, before Bobo starts up a swinging, country-inflected song. It’s an inspired performance, and a fitting end to the opening day of the festival.

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News News Blog

Agricenter Looks to to the Future of Organics

Agricenter/Facebook

Agricenter International has kicked off a five-year study on a newly minted organic farm to help local farmers get a leg up and, hopefully, cash in on the consumer hunger for naturally grown foods.

Scientists at Agricenter have conducted crop research at the 1,000-acre farm across the street from Shelby Farms Park since 1984. The center has mainly done this by conducting trials for outside companies.

But Dr. Bruce Kirksey, Agricenter’s director of research, said the center is trying to do more of its own research. They wanted to focus on organics because “this is not a fad. This is going to happen,” according to Agricenter president, John Butler.

“So, do we want to capture that value here for our producers [farmers],” said Butler. “Or, do we allow somebody else to ship it in from Mexico, Canada, or Turkey?”

The short answer, no.

So, what Butler and Kirskey want to do is to make all the mistakes a farmer would have to go through to get fields certified organic by the USDA, select the right crops for the Midsouth climate, and plant and raise them correctly. And the two readily admit they’ve made mistakes along the way.

Agricenter now has 218 acres certified organic by the USDA, a process that took three years. Ten of those acres are devoted to research. They planted corn on the plot this year and recently harvested it. But Kirskey said next year will be the farm’s big year for organic field trials. They’ll focus on corn and soybeans but will also conduct research on tomatoes, onion, beans, peas, and more.

Agricenter

Lankford

The center hired Chris Lankford late last year as the farm’s manager. He’s managed his family farm in Ripley for 27 years, supplying Memphis-area Kroger stores with tomatoes for more than 30 years. Before his new job at Agricenter, Lankford was the farm manager at PictSweet where he grew sweet corn, edamame, turnip greens, collard greens, green peas, black eyed peas, and kale.

The state of Colorado now has about 500,000 acres of organic farmland, Butler said. Tennessee has about 1,500.

“If more and more [organic farming] will continue to migrate into the Delta — and we think it will — the opportunity is going to be greater and greater,” Butler said. So, we want to be ahead of that trend. If producers decide they want to move into that area, we will have three or four years of research already complied.

We want to understand the cost analysis and what the transition [to organic farming] looks like. We’ve been through it. And I’d say we’ve learned a lot.”

Categories
Food & Drink Hungry Memphis

The Work of Calvin Farrar

Farrar paints Penny for a mural on Parking Can Be Fun

You most certainly know the work of Calvin Farrar. It’s the Tigers and Grizzlies and Redbirds and snowmen, etc., that decorate the windows of Huey’s and the Bar-B-Q Shop and various other businesses around town.

He’s a Memphis native, who grew up in the New Chicago area. “I grew up painting — watercolors, cartoons,” he says.

His first gig was about 25 years ago for the old White Way Drugs on Cleveland. His second job was for the Bar-B-Q Shop. Then Huey’s picked him up and it went on from there.

He says he’s got about 80 clients all over the city, and it pays pretty well.

His clientele includes Margarita’s, Pancho’s, Cash Saver, Superlo, and Silky’s.

His method is pretty straightforward. He paints the window white, makes an outline, and then gets to work. It takes him a couple hours to complete a work.

A lot of his work is seasonal. He does different seasons and holidays, from Easter to Christmas.

At home, he works in oils. Currently, he’s been working on landscapes. He’d like to put together a show.

With his adorable tigers and grizzly bears, Farrar’s is not the type of work to court controversy. Though one time, he had to rework a mural, which had a grizzly pointing to a sign. It looked like the grizzly was giving the finger.

Farrar says he never has to pitch his work. “Most people are calling me,” he says.

Categories
Music Record Reviews

Stax ’68 Compilation to Drop Soon: World Premiere of “Going Back to Memphis”

1968 was an epochal year for Memphis, for America, and for the world. Flip through the book 1968: Marching Through the Streets, by Tariq Ali and Susan Watkins, and you’ll see listed, for every month of the year, hot spots of protest and government clampdowns by the dozens across the globe. America was deep in the Vietnam War, and resistance was rising to a fever pitch. Like today, it must have been easy to imagine that civilization itself was coming apart at the seams.

For Memphis, and its music industry leader, Stax Records, these existential threats were compounded by local circumstances. Sanitation workers, arguably the lowest on the rungs of the South’s caste system, were on strike, protesting low pay and two of their cohort being crushed to death by obsolete equipment. Naturally, the untended garbage, like the city’s decadent rot of racial baggage, began to stink. Inside the Stax offices, they were still reeling from the double bombshells of late ’67: the loss of Otis Redding and many of the Bar-Kays in a horrific plane crash; and the label’s break with Atlantic Records, who claimed not only their star performers, Sam & Dave, but Stax’s entire back catalog.

2018 has been rife with memorials to that year, chiefly in remembrance of Dr. Martin Luther King, Jr., who’s  assassination came during his support of those striking workers. But this past February, Al Bell, Dr. Zandria Robinson, and Marco Pavé joined in a panel discussion of the year 1968 more generally, and how it compares to our present world. Of course, Dr. King figured heavily in the conversation, but so did Stax’s need to compensate for lost recordings and artists that year, and the way such a project resonated with Dr. King’s message of black entrepreneurial empowerment and independence.

It was all too clear, as Bell described it, that Stax had to fight for its life by immediately creating a whole new catalog. And half a century later, that catalog lives on.

Now, packaged together for the first time, comes a retrospective of all the rich and varied music Stax created as it shifted into overdrive that year. It was a singles-oriented label, of course, and that’s reflected here. Stax ’68: A Memphis Story (Craft Recordings) showcases  the A- and B-sides of every single released over those twelve pivotal months. While most of the tracks have been released digitally in either The Complete Stax/Volt Singles, 1959-1968 – Volume 1 or Stax Singles 4: Rarities & The Best Of The Rest, there is something powerful in hearing these tracks all in one place.

And for the true completist, there are even two tracks that have not appeared on any previous digital compilations: “Used to Be Love” by Lindell Hill and “Going Back To Memphis” by Billy Lee Riley.  The Memphis Flyer is honored to premiere the latter here today.

Stax ’68 Compilation to Drop Soon: World Premiere of ‘Going Back to Memphis’

Riley was one of Sun Records’ rockabilly stars in the previous decade, scoring hits like “Flyin’ Saucers Rock & Roll” and “Red Hot.” This track for Stax, however, is pounding blue-eyed soul, more like Tony Joe White with the Memphis Horns. And this is representative of what Stax was reaching for in 1968, as they sought to diversify. Earlier subsidiary labels like Volt and Hip were given new attention, and others, such as Enterprise, were created. Riley’s release on Hip marked his return after perhaps the longest and most fortuitous AWOL in music history. In 1962, Riley’s first session for the label fizzled out when the artist inexplicably disappeared. The rhythm section made the most of it anyway, and the B-side they cut that day, “Green Onions,” helped put Stax on the map.

Six years later, Riley was part of the Stax family’s wider reach, which also included an Arkansas boy who would later score hits with George Harrison and Eric Clapton: Bobby Whitlock. He had risen up through the garage and frat band scenes, and Stax was his ticket to wider recognition. The Memphis Nomads, aka the Poor Little Rich Kids, are another group to sprout from that scene. And then there were the white artists who were so immersed in classic soul that they brought there own convincing variations on it to the label, as with  Linda Lyndell, whose “What a Man” was later lifted by Salt n’ Pepa. 

Other diverse sounds are showcased here as well, including jazz, as in the Eddie Henderson Quintet’s transformation of “Georgy Girl,” or Isaac Hayes’ groovy “Precious Precious.” But ultimately, such diversity is overshadowed by the raw soul that was Stax’s specialty, and there’s plenty of that here. In retrospect, it’s stunning that a single year, begun in desperation, brought us Otis Redding’s “(Sittin’ On) The Dock of the Bay,” Sam and Dave’s “I Thank You,” Eddie Floyd’s “I’ve Never Found a Girl (To Love Me Like You Do),” Booker T. and the MGs’ “Soul Limbo,” or Johnny Taylor’s “Who’s Making Love.”

And, as with Stax Singles 4: Rarities & The Best Of The Rest, the B-sides offer up plenty of gems as well, from Otis Redding’s “Sweet Lorene,” a personal favorite, to the girl group sound of the Goodees’ “Condition Red.” And, this being 1968, the turmoil of the era’s topical issues is echoed in everything from William Bell’s Otis memorial, “Tribute to a King,” to the Staple Singers’ classic “Long March to D.C.” The political content is further raised by historically informed liner notes from Andria Lisle, Robert Gordon, and Steve Greenberg.

Parallel with this release, we in Memphis also reap the benefits of two exhibits that help us journey back to those troubled times. The Stax Museum of American Soul Music currently features The Sound of ’68, with photographs and mementos that document life inside Studio A at Stax Records as seen by Don Nix, an early member of the Stax family who later became a songwriter, producer, and solo artists for the label, and Alan Copeland, the drummer for the Poor Little Rich Kids.
Alan Copeland

Jim Stewart with members of the band Poor Little Rich Kids

And be sure to also see Give a Damn! Music + Activism at Stax Records, the foundation’s exhibit now installed at Crosstown Arts. It presents artifacts of the label’s increasingly political content, culminating in the desk and work space of Black Moses himself, Isaac Hayes.
Ronnie Booze

Isaac Hayes’ epic desk

Still, all activism aside, and returning to the music at hand, the chief topic echoing through Stax ’68: A Memphis Story continues to be love and it’s many permutations, from feel-good stompers like “Lovey Dovey,” by Otis Redding and Carla Thomas, to William Bell’s classic “I Forgot to Be Your Lover.” For all the crises of 1968, Stax soldiered on with its trademark celebratory vibes. And that may be what still helps us the most through these dark days, fifty years on.

Note that pre-ordering the set, which is released on October 19, will give you access to several gratis tracks: “Long Walk to D.C.” by The Staple Singers, “Used to Be Love” by Lindell Hill, “Send Peace and Harmony Home” by Shirley Walton, and today’s premiere track, “Going Back to Memphis” by Billy Lee Riley, which will be available outside of the Flyer‘s site on October 12th.

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Music Music Features

Robyn Hitchcock and Lydia Lunch Highlight Gonerfest 15

As the always unpredictable Gonerfest has grown over the past 15 years, it has cast its nets ever further afield, spotlighting bands that one doesn’t see at other festivals. Though we’ll hear plenty of that trademark Goner slam-and-bash (as with Aquarian Blood, NOTS, Negro Terror, the Carbonas, the Neckbones, Ten High, the Oblivians, and others), there’s a true smorgasbord of other styles and sounds (including many beyond category). Landing two major artists as different as Robyn Hitchcock and Lydia Lunch is a major coup for this most DIY of festivals, and yet the contrast between them can’t obscure their shared quality of bucking trends, even punk, since the ’70s. One of them does it through a tenacious and ever-inventive historical stubbornness; the other through a kind of “musical schizophrenia.”

Robyn Hitchcock

Robyn Hitchcock

The ascent of Robyn Hitchcock and the Egyptians in the 1980s, with such albums as Element of Light, marked the ascent of his previous work as well, as college radio junkies went digging through bins to find LPs by his first real group, the Soft Boys, and the solo albums that followed. While the former were full of slashing and chiming guitars, and the latter were more intimate affairs, all his work had the common thread of harking back to the perfect marriage of guitar jangle, harmonies, and songwriting that first peaked in the late ’60s. The genius was in the way Hitchcock’s songs subverted classic rock cliches by embracing surrealism and weirdly pointed lyrics.

Memphis Flyer: When you were starting with the Soft Boys in Cambridge, did it already seem like the ’60s were antique? In hindsight, Syd Barrett and Pink Floyd had only started 10 years earlier.

Robyn Hitchcock: It seemed like that kind of music was not there, or accessible. But that was the vein I wanted to work in. I wanted to play 1966-67 music, whatever that was. It wasn’t exactly psychedelic. It’s a bit of a misnomer. I suppose it’s more accurate than saying I was a punk or something industrial. But there was never an exact definition for what it was, and there still isn’t. You could say “It is that which was played by people in 1966-67” — it was when pop became rock. And like all movements, it was unstable. It existed in transition. It existed really in motion.

If you come see me at Gonerfest, I’ve got three Nashville guys backing me up. It will have that sort of sound, the spangling guitars and the harmonies, which we had in the Soft Boys. The Soft Boys had more intricate arrangements than my more recent material, but all of it is now absolutely vintage. It’s like an old car, and it has some of the beautiful qualities that old cars have. It may not be that reliable and you can’t travel that far in it, but it should make it to Memphis. And you’ve got the old street cars there, so I’m kind of a complement to that, really. I’m the equivalent of a vintage street car.

Do you feel like an anachronism, being an English psychedelic folk-rocker living in Nashville?

No, it’s very appropriate, because Americana itself is a throwback. Americana is basically white music before punk happened. Punk is never gonna happen. It’s always 1974. People are playing “Cortez the Killer,” you know? Gram Parsons is still touring. That’s what East Nashville is. I was even touted as an Americana artist last year, which you would think is a misnomer, but 10 years ago, Americana was alt-country, and 10 years before that it was alternative. As I used to say, if the Beatles had come out in 2004, they’d have been an alt-country act.

Still, the Beatles’ songs may last a long time, because they were so good. Through some freak of nature, they just happened to have three great songwriters, and they made each other greater through competition. It was sort of like an egg with three embryos in it. But sooner or later, there will be no Paul McCartney or Bob Dylan or Rolling Stones. That generation that were born in the early ’40s will be gone. People like me will be the seniors about to go over the waterfall.

I’m not really, technically rock anymore. Essentially, I’m a folkie. It’s all music that’s written without a click track. But no definition really covers me very much. So you could say, well, he’s a psychedelic folk singer, but what does that mean exactly? And I think it’s hard to sell things if you can’t define them. Is that a banana or an apple? What are these fruits you’re selling me? Do you eat it with a skin, do you cook this, or where does it go? And I think I’m one of those unidentified fruits, you know?

Jasmine Hirst

Lydia Lunch

Lydia Lunch

This multi-media subversive has been on music fans’ radars at least since the 1978 Brian Eno-curated collection, No New York, which featured Lunch’s band Teenage Jesus & the Jerks. Not long after that, though, she took a stylistic left turn with her jazzy debut LP, Queen of Siam, and ever since she’s followed unexpected muses, while always keeping a taste of the downtown New York performance art scene, and its radical politics, that first nurtured her. Memphis Flyer: Who were your greatest inspirations when you started playing in the 1970s?

Lydia Lunch: They were all writers. They weren’t musicians necessarily, but writers like Henry Miller and Hubert Selby. The Marquis de Sade, more for his philosophy. His outlandishness was just painting a picture of what goes on behind closed doors in parliament, for instance, or the White House.

You played dissonant noise in the No Wave days, but your debut solo album was very jazzy. What inspired the change?

Well, as a musical schizophrenic, I was always trying to contradict what came before it. There are many sides to express. Actually, half of the album is big band jazz, the other is nursery rhymes. I was listening to a lot of cartoon music at the time, and just wanted to do something that was just totally in a different vein. Something kind of noir and sassy. And then, bringing Robert Quine into the mix was just a highlight of my life. My favorite guitar player. He played with Richard Hell and Lou Reed and produced some of Teenage Jesus.

Then you quickly moved beyond that big band sound …

But I’m actually back in it now. I came back around to it with an album called Smoke and the Shadows. And I’ve just finished recording an album with Sylvia Black, who is a very diverse musical schizophrenic herself, out of L.A. We’ve almost completed a totally jazz noir album that’ll come out sometime at the end of the year. It’s like swamp rock; I come in and out of it. And jazz noir as well. And also psycho ambient.

And at Gonerfest, you’ll be upping the rock noise quotient again, playing your Retrovirus material.

I’m constantly flipping the script. What’s interesting about Retrovirus is that it’s chaotic, but somehow there’s a cohesion when you hear it all together. The band somehow unites the mania into a different beast altogether. That’s what I’ve been focusing on the last few years. Working with Weasel Walter is great. It’s a fun, maniacal musical mayhem.

Gonerfest 15 runs from Thursday, September 27th to Sunday, September 30th. See www.goner-records.com for the full schedule.