Categories
Food & Wine Food & Drink

Flocking Fabulous! Wine Merchant Offers Three New Vintages

The fruits of Michaela Dockery’s labors are now on sale at Whole Foods Market in Germantown.

Dockery, co-owner with her husband, Dee Dockery, of the upcoming Hen House Wine Bar, introduced Memphis to three wines: Flocking Fabulous rosé, sauvignon blanc, and red blend. And she had a hand — and feet — in their creation.

“I had kept it under wraps, but I collaborated last year in Los Olivos with a winemaker and his partners, who I met totally by chance,” Dockery says.

Michaela Dockery’s new wines are just Flocking Fabulous.

Making wine “is their love. This is their life, and that’s where I really learned the right way to do wine. It’s a non-pretentious way.”

Winemaker John Wright, owner of Standing Sun Wines in Buellton, California, is partners with Tim Tighe and Jeremy Fraser, who are owners of The Hideaway tasting room in Los Olivos. “The whole town is wine, this tiny little town. A lot of celebrities go there on the weekend, just to get away.”

Dockery, who originally is from California, was introduced to the winemaker and his partners last year on a visit to Los Olivos. “I met these guys through my girlfriend who lives there. We’re all sitting in their tasting room, and they bring out some of the wine. They bring out a bottle and it’s this amazing label. One of the partners is a photographer, so they actually are licensed to make their own label.”

The wine, which was a rosé, had flamingos on the label, says Dockery, who is a fan of the bird. One of the rooms at Hen House is devoted to flamingo decor.

“I said, ‘How did you shoot this picture?’ And Jeremy goes, ‘Oh, I was in Memphis at the Memphis Zoo.’ And I just about fell over because they didn’t know who I was. And I said, ‘Okay. Well, I’m not leaving until you guys agree to do business with me.’ And that’s exactly what happened.”

Dockery was in Los Olivos for the first gathering of the grapes in September 2019. “The process was just magical. To be able to be there for all these incredible steps in the winemaking process. I’ll never forget. We all piled in a minivan about four o’clock in the morning in about 35 degrees to go to the wine harvest.”

And, she says, “I’ll never forget walking up that hill and seeing the crew there when they started picking.”

They were back at the winery about 8 a.m. waiting for the fruit to arrive. “One of the boys said, ‘Are you ready to stomp your grapes?’ So I jumped in and probably got the best leg workout of my life.”

Dockery returned to California once a month for testing and racking of the wine. “Everything was ready April 1st. And so we’re sitting here, ‘Oh, we’re in the middle of a pandemic and we have all this wine.’ Jeremy said, ‘We’re either going to sell it all or drink it all.’ Thankfully, the wines came out just wonderful and the sales have been great. This week, for the first time, the wine hit the shelf at Whole Foods in Germantown.”

Describing Flocking Fabulous rosé, Dockery says, “Rosé has become extremely popular and something you can drink every day during the year. And there are a lot of different types. My favorite is a rosé that is very bright. Something that has a lot of effervescence with it. Something that’s not too sweet, but just something that’s very refreshing. And that’s exactly how this rosé turned out. The color is absolutely beautiful.”

The sauvignon also is effervescent. “It’s light, but not too light.” Instead of the traditional wine bottle, all three Flocking Fabulous wines are in a bourbon bottle. “You’ve got this feminine label on the front of the bottle, which is more masculine, so it’s a really cool balance.”

Dockery will include Flocking Fabulous wine at Hen House Wine Bar, which is slated to open later this month at 679 South Mendenhall Road.

Whole Foods Market is at 2825 US-72 in Germantown; (901) 896-3245

Categories
Music Music Features

Optic Sink

Natalie Hoffmann is on unfamiliar terrain, and that’s just where she likes it. It’s a gray, treacherous landscape where the boundaries between human and machine are not so clear. And that tension between the heart and the gears, between our souls and the clockworks in which we’re caught, makes for music that’s both thought-provoking and, somehow, fun.

This is not a new project by NOTS, the group she’s better-known for, but Optic Sink, her duo with Ben Bauermeister (Magic Kids, Toxie, A55 Conducta), where she sets aside her guitar in favor of stark electronic minimalism, mixing both sequenced and freestyle synthesizer lines with clean, cold drum machine beats and a touch of percussion. In an age where we’re all at the mercy of algorithms and hidden networks of power, their new self-titled debut on Goner Records captures the zeitgeist beautifully.

Courtesy Optic Sink

Optic Sink: Ben Bauermeister and Natalie Hoffmann

Memphis Flyer: The feeling of this alienated voice struggling to be human while caught in the gears seems especially appropriate during this election season. It seems you take that subject head-on with “Personified,” where you sing, “plain hate/personified/under your heavy wheels/are we alone?”

Natalie Hoffmann: I was trying to express this idea of how things ripple throughout the country and affect people’s way of thinking and actions. So if hate is on display at the magnitude that it is with Trump, then of course that’s going to embolden more hate in our country from his supporters. The trickle-down effect is on display. And then you see things like Fox News, and it’s like a wheel. That’s where the “heavy wheel” part of that song comes from.

Your voice on this record is like a deadened character in an automated landscape.

I really like the tension of a more human voice that is sounding pretty machine-like, but mixed with these actual machines. And I like the tension between a sequencer [playing automated patterns of notes] with stuff that I play completely by hand. And Ben has that going on, too, with his drum machine parts mixed with his live percussion overdubs.

In the song “Girls in Gray,” it’s like you’re both protesting the machine and being assimilated into it.

“Girls in Gray” is about women in power who use that power against other women. Unfortunately, we’re seeing that on display right now, too. “They laugh at all other pain,” which could mean being bullied at school, and of course that’s what’s happening on a larger scale, when women who come into power think it’s their job to tell other women what to do with their bodies or how they should live.

How did Optic Sink get started?

I always give Chris Williams and Amy Schaftlein a shout-out, and their Sonosphere podcast. They’re really the ones who got me to play a show. When I started writing these songs, I didn’t know what to do with a sequencer, but it was exciting to learn it. Just learning the process had a huge influence on this record. We recorded onto tape with Andrew McCalla at Bunker Audio. Andrew usually does really guitar-driven music. So having him doing this cold electronic thing, but through his setup, added a whole other layer to our theme of the human/machine.

There’s a more intimate, personal side to the album, too, like the closing track, “Set Roulette.”

That song is pretty heavy with the tension between wanting to feel hopeful and feeling stuck. Whether it’s grief or a mental health condition, or whatever cycle you find yourself stuck in. It could be a more political cycle, of being depressed by the state of things right now. It applies to all of that at once. I wanted those lyrics to contrast with the synth. It’s a sequenced pattern, but I manipulate it and give it a more human tension. Going from playing guitar, which is a more visceral thing, affects how I play synth, because I always want to mess with it [laughs].

Categories
Art Art Feature

The Peace Project Brings Meditative Music to the Mississippi

Until 2017, Fourth Bluff Park in Downtown Memphis hosted a Confederate monument. After the removal of the statue’s last remnants, as over 30 trees were planted and connective pathways were installed, the space began to transform. That transformation has only been gaining steam, as evidenced by “The Peace Project,” a new sound installation produced with Memphis River Parks Partnership with actor, producer, and Deep Water Media CEO Bertram Williams and genre-bending songwriter and performer Talibah Safiya.

Readers may recognize Williams as Woddy from the Katori Hall-helmed drama P-Valley. He’s a native Memphian with experience working with community development, arts, and nonprofits. “I’ve produced, with my team, several concerts and tours,” Williams says. “I’m turning a corner in this exploration of sound healing. I say now that I’m a producer and I am dead set on exploring sounds and experiences that help people feel better.”

Bertram Williams

Williams’ partner, Safiya, is a Memphis-born singer, songwriter, and performer. “The Peace Project” is far from her first collaboration with Williams, though it may be their most ambitious work to date. “Last year, we did a 10-city tour,” she says. “This partnership with Memphis River Parks is a continuation of that work we started last year.”

The work of the most recent project was no small task. It required partnerships and communications across mediums and between different organizations. The work itself is a microcosm of what Williams and Safiya want the park to be — a meeting place for Memphians from all walks of life. “We’re told about the dark stories of our past and our city’s history of racism,” Safiya says. “We haven’t been given very much instruction on how to move forward, what it would look like to get healthier as a city. So the opportunity to have some form of guidance to be in the park that once had a Confederate statue, this is laying the foundation of what we expect to be for the future of Memphis. It’s really beautiful to be a part of.”

Safiya and a team of musicians recorded new music for the project at Memphis Magnetic Recording Co. with Scott McEwan. “I was able to sit in on some of the recording sessions,” Williams says, “watching her guide this group of musicians, some of whom had never worked together, to tap into a specific energy, one that is aligned with healing. Listening to the final product, I find myself feeling all the feelings but also nodding my head ’cause it’s good freakin’ music.”

Williams explains that Safiya maestroed an energy-guiding session with the musicians before they began recording. “We wrote some new ‘I Ams’ and ‘We Ares’ to create an experience of inspiration in the park,” Safiya remembers. “We also collaborated with some other writers in the city — some poets and storytellers — and made new content for this project.”

The team is trying to strike a balance between the sense of bliss music can convey and a healing force for introspection. “We’ve been joking throughout the process that we’re putting the medicine in the Kool-Aid,” Williams laughs. He explains that accessibility is important. Hence the public park setting.

“We spent a lot of time [in the park], even before the project,” Williams continues. “We know that space is frequented by our unhoused population. In this endeavor, too, we’ve been thinking about how to create something that would be a support to them.”

The speakers installed for “The Peace Project” are permanent additions to the park. They expect the individual recorded programs to have roughly three-month-long “seasons,” then to be cycled out, hopefully with new music from Safiya as well as new submissions from other local artists. “We imagine this being like a living organism,” Williams says.

“We need, now more than ever, to be able to gather, and to be able to do it safely. So if we can add an additional layer of love and healing, I think we’re on the right track.”

Categories
We Recommend We Recommend

Resin Ability

Mathew Joseph Zachariah was told as a child that he had an allergy to plastic. As an adult, Zachariah learned his mom was allergic to plastic. Wanting to spare her son the adverse allergic reaction she experienced, an overabundance of caution was exercised. Zachariah is not allergic to plastic.

“How ironic that now I own a plastics recycling company and create art with post-industrial plastics,” he says.

Zachariah is a scientist who one day took notice of the colors in his product. After 28 years in the recycling business, for the first time, he saw the processed orange safety cones, red auto tail lights, green city trash bins, and clear blue water cooler bottles in the form of shavings, pellets, and re-grinds as a tool and not a product. Maybe it was the result of moving from Flint, Michigan, to Memphis and living among creatives in Crosstown Concourse for the past two years.

Courtesy of Mathew Joseph Zachariah

Mathew J. Zachariah’s plastics become art.

However it happened, Zachariah has been creating mosaics with his product. He talks about his art in industrial terms — HTPE and nylon 66. Then, he suddenly stops.

“I’ve realized that art is emotional,” concedes Zachariah, who says he’s learned to speak differently about his art. “And not just for the observer. It’s therapeutic for me. My hand has been on every piece, placed with love on the canvas giving my product a second life.”

Meet Zachariah online or in person for an artist talk on Friday. Be sure to ask about the hidden images in his art.

Artist talk for Mathew Joseph Zachariah, Jay Etkin Gallery, 942 Cooper, and online from Jay Etkin Gallery Facebook Live, Friday, November 6, 5-7 p.m.

Categories
News The Fly-By

MEMernet

#YouCanBeABCs

The internet blew up last week on an Instagram post by Memphis cool kid @samuelw3. He and his dad grooved through the alphabet, naming a profession that you can be for every letter.

The original post had more than 570,000 views as of press time. But it’s gone around the country with even a Facebook share from former First Lady Michelle Obama.

COVID-Ween

Memphis streets were spookily empty last Saturday in a largely COVID-canceled Halloween. But it didn’t stop some Memphis neighbors from stoking the spirit of the holiday.

Idlewild resident Regina Newman planted individual bags of candy in her yard.

Posted to Nextdoor by Regina Newman

Over in Highpoint Terrace, Tony Milam slid treats through a 14-foot candy luge.

Posted to Nextdoor by Tony Milam

Then, there was this awesome bicycle built for two.

Posted to Reddit by u/Fart_Summoner

Categories
News The Fly-By

Best of Memphis

It was a party (kind of) on wheels (kind of) but there was no doubt all in attendance were the best of Memphis.

The results of the Memphis Flyer’s annual Best of Memphis survey hit newsstands last week. A hallmark of the awards (along with the annual arguments about the results themselves) is our Best of Memphis party.

The normal party is an annual, one-of-a-kind, exclusive celebration of all things Memphis with the best food, the best booze, and the best crowd comprising in equal parts of cutting-edge scenesters and top-level movers and shakers in business and politics.

Toby Sells

Amy LaVere and Will Sexton (with Shawn Zorn on drums) perform

In the past, this party has pumped life into venues that were barely venues (or anything else) at the time. One Best of Memphis party rocked on the then-dead bones of the Tennessee Brewery. Another party found folks on the garage rooftop of the then-dim Sears Crosstown building (now Crosstown Concourse). Another retrofitted the then-shuttered Imperial Bowling Lanes into a party complex with bands and a burlesque show. It’s a Planet Fitness now.

The party pivoted this year on concerns of COVID-19, of course. Instead of the throngs gathering under one roof to eat, drink, dance, and schmooze together, our winners drove their cars through the party at the Pink Palace Museum but with plenty to still celebrate.

They arrived at assigned hours to ensure small crowds and safe distancing. Winners received a Memphis Flyer goodie box at one station. They drove through to another for a Best of Memphis photo op. Some paused to give live interviews with WMCTV anchor/reporter Joyce Peterson and meteorologist Ron Childers.

After that, winners wound around the back of the museum to a west-side parking lot. There, they were treated with cocktail pouches, Beale Street Brewing beer, and barbecue popcorn from the Rendezvous. For about an hour, they could hang in their cars or in distanced groups to listen to a performance by Memphis artists Amy LaVere and Will Sexton.

In the cocktail line, Paula Raiford, owner of Paula & Raiford’s Disco, wore her trademark glasses, smile, and a T-shirt featuring her father, Robert Raiford. This year the club won best nightclub, an honor Raiford said it’s won for the last 11 years.

“I look forward to people voting for me, people thinking about me, and for people not forgetting about me,” Raiford said. “Slowly but surely, you can get immune to it, but everyone’s still keeping that little bright light on for me and I truly appreciate it.”

Back at the goodie-box station, WMCTV sports reporter Jarvis Greer smoothed his tie and put his car in park. He’s won the best sportscaster category every year since 1994.

“I’m just so proud and pleased that the folks in Memphis think that what we do is really good,” Greer said.

Eric Vernon, owner of The Bar-B-Q Shop, adjusted his mask after a brief interview at the WMCTV tent. He said he didn’t ask anyone — employees or customers — to vote for the restaurant.

“It feels good because I know we got here because of the work,” Vernon said.

Categories
Cover Feature News

Too Close to Call!

From the very beginning, it was obvious that calling the 2020 presidential election would take a while. Joe Biden was doing well enough in the nation’s suburbs to raise Democratic hopes, but Donald Trump’s re-election campaign was performing tenaciously enough to suggest that his 2016 victory was more than a fluke. Both parties were gaining in areas where they trailed four years ago, and leads were being swapped back and forth in several key states.

Democrats seemed likely to prevail in some key Senate races, though it was uncertain whether they could close the gap with the GOP in the upper chamber.

The outlook was complicated by the fact that the president is certain to follow through on his frequently voiced threats to litigate in areas where the outcome of the vote did not turn out to his satisfaction. All in all, the main thing demonstrated by the unprecedented outpouring of votes from both halves of the American electorate was that the United States of America remains profoundly disunited.

REUTERS | Mike Segar

(left) Donald J. Trump and (right) Joe Biden

Never before in an American national election had questions of turnout loomed so large. Both sides strained to get every one of their identifiable supporters to the polls, and not a day had gone by without President Donald Trump or his surrogates expressing over-hyped concerns about the prospect of unprecedented numbers of voters — especially via the medium of mail-in ballots, a mode of voting that was liberalized in virtually every state as a result of the COVID-19 pandemic.

There had been big-time anxiety on both sides of the mail-in issue, as on the election results themselves. On the one hand were Trump’s daily accusations, totally without evidence, of inevitable ballot fraud and his stated refusal — as in 2016 — to accept the possibility of an unfavorable verdict by the voters; on the other hand were the fears of the Democratic opposition that Trump would stop at nothing to obstruct such a verdict. The new director of the U.S. Postal Service, a billionaire Trump donor with the Dickensian name of DeJoy, seemed determined to do his bit by decimating pre-election postal services, reducing employee overtime, uprooting mailboxes, and destroying mail-sorting machines.

Closer to home, Tennessee state government, overwhelmingly dominated by the president’s GOP party, hunkered down in an attempted last-ditch defiance of judicial mandates that had relaxed the state’s restrictions on absentee voting. Tre Hargett, Tennessee’s secretary of state, insisted to a congressional investigating committee that state law did not countenance fear of COVID-19 as a reason to vote absentee. “Pitiful,” responded Senator Angus King of Maine, an Independent. And reflecting both concern about the intractable virus and, as polls would indicate, a zeal for change, the applicants for mail-in ballots multiplied everywhere, as, for that matter, did the number of early voters.

WhiteHouse.gov

Donald J. Trump

So, for better or for worse, did the crowds that continued to flock to the site of mass rallies conducted by the barnstorming Donald Trump: For better, in that the president continued to be the source of legitimate mass enthusiasm on the part of his sizable hard-core base and thereby reinforced the importance of populist energies; for worse, in the sense that each one of Trump’s showy and largely maskless assemblies threatened to be a super-spreader event to the detriment of the general health and welfare.

Among the other rolls of escalating numbers was the one that could only be called a national casualty list: On election eve, the number of COVID-19 cases in the United States had risen past 9 million, the number of deaths was more than 230,000 at a national rate of nearly 1,000 new fatalities a day, and there was as yet no light at the end of this tunnel. The president himself, of course, had come down with the ailment; so had First Lady Melania Trump and numerous other denizens of the White House, including several members of the staff of the president and of Vice President Mike Pence.

With first-rate state-of-the-art medical facilities at their immediate disposal to facilitate recovery, they were still the lucky ones. For the rank and file of Americans, the outlook was more ominous. The Trump administration largely eschewed a national anti-virus policy, leaving it to the individual states to devise strategies of their own insofar as they had means or inclination to do so. Bizarrely and tragically, attitudes toward the coronavirus pandemic began to bifurcate according to the nation’s political divisions, with “red” or Republican states largely following the president’s exhortations to open things up — business, schools, whatever — and “blue” Democratic states attempting in various measures to keep the clamps on overtly public activity.

For all practical purposes, the nation resembled (and still does) an isolation ward. No plays, movies, or other dramatic entertainments save those that were streamed online; meetings, too, conducted via computer; workforces operating from home; athletic events taking place without their audiences and in locations other than the cities that teams supposedly represented. Everything was down the rabbit hole or through the looking glass.

Suddenly that non-word inadvertently coined by Warren G. Harding in the presidential campaign of 1920 has come into its own: “normalcy.” Harding was speaking in the context of a just-concluded world war of then-unprecedented savagery and, not incidentally, of a marauding virus, the Spanish influenza bug of 1917-18 that killed an estimated 100 million people worldwide.

REUTERS | Brian Snyder

Joe Biden

If there is any quality that Democratic nominee Joe Biden demonstrated during his run for the presidency, it was that of being normal — not dull-normal, as Trump’s preternaturally stolid vice president, Mike Pence, often seemed to be, but normal in the sense of having recognizable neighborly qualities. Biden lacks Trump’s capacity for theater, as he also lacks the charismatic personality of his former governmental partner, Barack Obama. But his ability to be convincing with a vernacular (or normal) phrase like “C’mon, man!” is unparalleled.

During the Democratic presidential primaries of the winter and spring, most of the score or so of Democratic presidential aspirants declared themselves on the cutting-edge side of public issues. Biden was singular in his hewing to the center. It held him back in every primary contest but the deciding one, South Carolina, when the race had narrowed down from the field at large to one of Biden versus the party progressives’ main man, Bernie Sanders.

In that context, it was both ironic and appropriate that Biden’s eventual choice of a running mate came down to Kamala Harris, the liberal California senator who had chided him in an early debate for being too willing to work across the aisle with the other side.

There was a time, back in the summer, when domestic disturbances arising from the killing of George Floyd by police in Minneapolis and the ever-simmering fact of racial inequities seemed to give an electoral opportunity to Trump and the advocates of the social status quo. And there was arguable hypocrisy on the part of those participating in the demonstrations or defending them while turning a blind eye to the violence and potential super-spreader aspects of them. But if polls are correct, the specter of looters has proved as irrelevant to the case of Joe Biden as has the imputation to him of socialism.

Still, there was no denying that an air of crisis accrued to the presidential election of 2020. Conservatives did sense the onset of long-pending social and demographic changes that frighten them. Liberals did abhor the continued power and influence of a monolithic monied economic class and its attendant rampant income inequality. And Americans at large could not fail but take alarm at such existential threats as the nonstop environmental disasters — fires, hurricanes, floods — that have afflicted the country’s coasts and its heartland alike. Trump may be the most important skeptic in public life regarding the reality of climate reform.

And so it went, up until Election Day. Pulses racing in anticipation, hearts pounding in dread. This was not like the World Series or the Super Bowl. There is no “life goes on” sense in case of a loss. It was not even like the nomination (and subsequent rushed Senate confirmation) of the conservative Amy Coney Barrett, a Rhodes College graduate, to the Supreme Court. For all the fear and trembling Democrats endured over that, some pundits were divining in it — the possibility of post-election judicial interventions notwithstanding — a silver lining: The more-than-likely nullification of the Affordable Care Act (Obamacare) would create both the opportunity and the incentive for a Biden administration to consider Medicare for All, and what the Court might take away from Roe v. Wade, either the states or Washington itself would presumably have a chance to restore — or improve. A Democratic Congress and Senate would surely attempt to legislate a return to the status ante quo. Meanwhile, looking forward, there might be more Democratic votes in the heartland for voters estranged from the party for a generation on social grounds.

But Trump has been Trump for four years. Millions of Americans, and not only progressives, counted it as a miracle that the country’s social fabric had held together at all during this era of persistent turmoil and raging divisiveness, amid a tweet-driven cult-of-personality presidency that seemed more like a TV reality show gone amok than a process of government. None of this is to gainsay what many, and not only Republicans, will acknowledge to have been the country’s pre-pandemic economic successes — though the long tough slough back from the fiscal crash of 2007-08 was begun during the presidency of Barack Obama, Trump’s Democratic predecessor.

And Trump’s stock-market numbers, boosted by his huge corporate tax cut in late 2017, arguably signified a widening wealth gap between haves and have-nots at least as much as it did a sense of general prosperity. Whatever the case, Trump could, and did, trumpet a win in the declining numbers of Black and Hispanic unemployment, as he also did (through draconian means) a measurable decrease in both legal and illegal immigration into the country. He could not, however, keep out another more powerful immigrant, a strain of highly contagious coronavirus that came to be known as COVID-19.

History may ultimately judge the Trump administration to have been snake-bit, though the bad luck (or karma) implied by that term may have been the natural consequence of the president’s penchant for snake-handling — i.e., his eccentric or risky or downright dangerous deviations from the hitherto accepted (here’s that concept again) norms of American government. All things considered, his four years to date seem in retrospect to have been favored by the indulgence of the gods.

As significant as the presidential race has been, the consequences of the 2020 election transcend what will have happened in it. The reality is that, even as you read this and possibly for weeks afterward, we may not know for sure what direction American government will be taking henceforth. There were 11 or so Senate races that, going into the election, were regarded as being competitive. Given the near certainty  that litigation of the election results will occur, it will be difficult for a time to assay the prospects for legislation or to tell who actually is in charge, or to what extent.

And, no matter who commands the technical majority, there is likely to remain some vestige of the impasse between parties that has in recent years turned self-government into something like a Cold War of the civil variety. Though it caused him some grief, initially, as he began his primary run, Biden’s belief in reconciliation as an aim in itself would become a major selling point to the nation at large and especially to independents and Never-Trumper crossovers from the Republicans. And, though Trump had offered little but scorn to the leaders of the political opposition, his very demagogic success in appealing to working-class remnants of a onetime Democratic consensus had suggested something of a pathway across the divide.

In a true sense, factionalism — or as it is now being called, tribalism — may have run its course. As had been the case at other turning points in the nation’s history, the twain would have to meet — or else.

Categories
Music Music Blog

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends

Rance Allen (left) & the Rance Allen Group

Last week was a dark one in the history of Memphis music, as two of its legends passed away. The deaths of Stan Kesler on October 26 and Rance Allen on October 31 were noted around the world, as each of them, in their own way, had made profound marks on the musical achievements of Memphis for many decades.

In honor of their memories, we present a few of the masterpieces of the recording arts that they made possible, too often neglected in the standard top 100 lists of hit records from this city.

Rance Allen, known as the “Father of Contemporary Gospel Music” and ultimately attaining the position of Bishop in the Church of God in Christ for the Michigan Northwestern Harvest Jurisdiction, grew up in Michigan and formed The Rance Allen Group with brothers Thomas and Steve in his early twenties. In 1972, Stax Records signed the group to newly formed subsidiary label The Gospel Truth, and the combination of their vocal and instrumental talents with Stax created an unforgettably funky version of gospel that is still hard to beat.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (6)

Here they are performing that same year at the historical Wattstax festival in Los Angeles.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (2)

They went from success to success over the coming decades, eventually scoring their first gospel #1 in 1991. In 2007, the Rance Allen Group brought the house down at Stax’s 50th Anniversary celebration at the Orpheum Theatre.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (3)

Stan Kesler was born in Mississippi but moved to Memphis in 1950 and was soon playing with the Snearly Ranch Boys, who ultimately gravitated to Sam Phillips’ Memphis Recording Service and Sun Records. Here’s one unforgettable track they cut there in 1955, co-written by Kesler, released on Sun offshoot label Flip Records. He went on to write many songs, including “I’m Left, You’re Right, She’s Gone” and “I Forgot to Remember to Forget,” both recorded by Elvis Presley.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (9)

A multi-instrumentalist, he played bass on Jerry Lee Lewis’ “Great Balls of Fire,” among others. He also picked up his chops as a recording engineer at Sun, which he would make use of throughout his career. Growing into a producer in his own right, he developed an ear for artists and bands with character in their sound, helping to develop their distinct identities. Sam the Sham and the Pharaohs was the ultimate expression of his production style, and tunes like “Wooly Bully” and “Little Red Riding Hood” have entered the pantheon of pop achievements from that era.  Here are two other deep cuts, not heard often enough, from that same brilliant band.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (4)

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (5)

Later, at Quintin Claunch’s Goldwax label, he worked primarily as an engineer, but it was Kesler who assembled the crack backing band for soul artist James Carr: guitarist Reggie Young, drummer Gene Chrisman, keyboardist Bobby Emmons, and bassist Tommy Cogbill. These players were later recruited by American Sound Studio and became known for all time as The Memphis Boys. Here they are on two of Carr’s masterpieces, while still working for Goldwax.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (8)

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends (7)

Through the 80s, he joined a group of former Sun session musicians who traveled the world as Sun Rhythm Section, then retired from music. Looking back on his career in a 2014 profile in The Bartlett Express, he deemed “If I’m A Fool (For Loving You),” recorded by Presley at American Sound Studio in 1969,  as his finest achievement as a songwriter.

RIP Rance Allen & Stan Kesler: Deep Cuts from the Lives of Two Lost Legends

Categories
Film/TV Film/TV/Etc. Blog

Indie Memphis Announces 2020 Audience Award Winners

Coming to Africa

It’s election day in America, so get out there and vote! While you’re waiting for those results, the Indie Memphis Film Festival has announced the results of their own polls for the best films of the 2020 festival. Everyone who purchased a pass or ticket for the online and outdoor screenings was given a ballot to rate the films on a scale of 1-5.

The big winners were director Emma Seligman’s comedy Shiva Baby, which took home the Audience Award for Best Narrative Feature, and director Tali Yankelevich’s experimental film My Darling Supermarket, which took home the Audience Award for Best Departures Feature. Both Shiva Baby and My Darling Supermarket had previously won the Jury Awards in their respective categories at the awards ceremony last Wednesday night. Camrus Johnson and Pedro Piccinini’s animated short “Grab My Hand: A Letter To My Dad” also won both Jury and Audience awards in its category. Director Zaire Love scored a rare split two-fer by winning the Audience Award for Best Hometowner Documentary Short for “The Black Men I Know” after winning the Jury Award for Best Hometowner Short for her film “Road To Step.”

The Audience Award for Best Hometowner Feature went to Anwar Jamison’s bi-continental romantic comedy Coming to Africa. Jamison’s film prevailed despite having its original premiere screening, which was scheduled for the riverfront, postponed due to stormy weather.

The audience ballots chose What Do You Have To Lose? for Best Documentary Feature, directed by Dr. Trimiko Melancon. What Do You Have to Lose? is the Rhodes College professor’s first feature film.

The Audience Award for Best Hometowner Narrative Short went to the “The Little Death,” a personal drama about miscarriage written and directed by husband and wife team Justin and Ariel Harrison. 

For the Best Sounds Feature, awarded for the always-crowded category of music films, the audience chose Andy Black’s documentary Shoe: A Memphis Musical Legacy.

The Audience Award for Best Documentary Short went to “Still Processing,” a moving experimental documentary by Sophy Romvari in which she filmed her real-time reaction to finding lost pictures of her two brothers, who had recently passed away. The voters awarded Best Departures Short to Amin Mahe’s “Letter To My Mother.”

For the music video categories, Lewis Del Mar’s song “The Ceiling,” directed by rubberband, won the National Audience award. The Hometowner Audience Award went to Louise Page’s “Paw In The Honey,” directed by Laura Jean Hocking.

The audience voters chose Hisonni Johnson’s “Take Out Girl” for Best Poster Design.

The winners were informed of their awards via a surprise Zoom call. You can watch their reactions, which range from the funny to the tearful, in this video.
 

Indie Memphis Announces 2020 Audience Award Winners

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Total Virus Cases Top 38,000 in Shelby County

COVID-19 Memphis
Infogram

Total Virus Cases Top 38,000 in Shelby County

New virus case numbers rose by 399 over the last 24 hours, putting the total of all positive cases in Shelby County since March at 38,352. That figure topped 35,000 only two weeks ago.

Total current active cases of the virus — the number people known to have COVID-19 in the county — rose over the last 24 hours to 2,962. The figure peaked above 2,000 two weeks ago. The figure had been as low as 1,299 in September. The new active case count represents 7.7 percent of all cases of the virus reported here since March.

The Shelby County Health Department reported that 6,726 tests were given in the last 24 hours. Tests here now total 562,963.

The latest weekly positivity rate surged more than 1 percent from the week before.The average rate of positive tests for the week of October 18th 8.7 percent. That’s up over the 7.2 percent rate recorded for the week of October 11th. The new weekly average rate is the highest since mid-August, just as cases began to fall from a mid-July spike that had a weekly average positive rate of 12.7 percent. The new weekly positive average marks the fourth straight week that the rate has climbed.

Total deaths rose by one in the last 24 hours and now stand at 574. The average age of those who have died here is 73, according to the health department. The age of the youngest COVID-19 death was 13. The oldest to die from the virus here was 100.

There are 8,129 contacts in quarantine.