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News News Blog

New Ride-Share Service Headed to Memphis

Downtown Memphis Comission

Groove On-Demand will offer affordable ridesharing options to Memphians

The Memphis Area Transit Authority (MATA), Downtown Memphis Commission, and Memphis Medical District Collaborative have partnered to create a new transit service that will offer an alternative to Uber and Lyft in the city of Memphis. Called Groove On-Demand the dynamically routed public transit service will launch on the 10th of February.

The goal of the new service is to give to affordable, efficient, and convenient public transit for all riders in the greater Downtown Memphis area. In a statement, the partnership mentions Downtown Development and an increase in population as the basis for the creation of the program.

“Nearly three years ago, MATA was selected to receive free technical assistance to help develop mobility-on-demand projects such as this one,” said Gary Rosenfeld, chief executive officer at MATA. “The launch of Groove On-Demand is another opportunity for MATA to improve how people connect to their destinations using an on-demand-response service that transports riders directly from their doorstep to their destination. Another great benefit of this service is that it will greatly improve transit service to people who live in density-challenged neighborhoods.”

Groove On-Demand will work in a similar fashion to other ride-sharing services, with riders hailing a vehicle directly from their smartphone using the Groove On-Demand mobile app. Riders will be able to travel to any location within the service area from 7 a.m. to 8 p.m., Monday through Friday. Rides will be similar to that of a bus trip starting at $1.25 and going up to $0.75 for each additional passenger. Concessions for seniors, students, and riders with disabilities are $0.50 per ride.

“Our work to create a ‘Downtown for Everyone’ includes increasing mobility options across this geography. Working with MATA and MMDC to provide equitable transit options in Downtown just makes sense. Whether you are a commuter, resident, patient, or student the new Groove On-Demand provides a low-cost shared-transit opportunity,” said Lauren Crabtree, transportation program manager at Downtown Memphis Commission.

“Additionally, increasing mobility choice is a core function of Downtown’s new Transportation Management Association or TMA. Providing an on-demand transit service like this a great start.”

As a part of their pledge to ensure accessibility for all riders, Groove On-Demand will provide wheelchair-accessible vehicles and booking for those without a smartphone by calling them directly at (901) 763-8422. For more information about Groove On-Demand visit their website.

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News News Blog

Report: State Lawmakers May Have Extra $3B for Budget

State Capitol building

Tennessee lawmakers may have an extra $3 billion to budget this year, according to a new policy report from the Sycamore Institute.

State coffers declined less and rebounded faster than in other states, according to the nonpartisan think tank based in Nashville. Consumer spending fell dramatically in March 2020 (27 percent lower than in January 2020). But spending here returned to near pre-pandemic levels soon after Tennessee received billions of dollars in federal CARES Act funding.

Sycamore Institute

With this, tax revenue in Tennessee has “far exceeded expectations,” the report says. Last summer, policymakers projected dips (1.4 percent in 2020 and 2.8 percent for 2021) in Tennessee’s general fund. But the fund was up 3.7 percent at the end of the 2020 fiscal year. Five months into the new fiscal year, the fund has already beaten year-to-date estimates by $716 million. If the trend continues, the state’s general fund could end up 5 percent over the 2020 fiscal year.

Sycamore Institute

Here’s where the additional $3 billion will come from:

• $476 million (non-recurring) from the 2020 surplus.

• $1.1 billion (non-recurring) from projected 2021 collections above official budgeted estimates.

• $1.5 billion from the increased 2021 base plus projected 2022 growth.

Sycamore Institute

“Some of this money has already been appropriated, but most remains available for the governor and [Tennessee General Assembly] to allocate,” reads the report. “During the recent special legislative session on education, for example, lawmakers appropriated $110 million of non-recurring funds for the current fiscal year. That money will increase the state’s share of the school funding formula for teacher salaries and for other activities to mitigate pandemic-related learning loss.

“A portion of recurring funds will also be needed to offset decisions made in June to ensure the budget was balanced in the face of uncertain revenues. The June 2020 budget was balanced but used some non-recurring actions to offset a projected $1 billion recurring revenue shortfall.

“Policymakers will likely first apply re-estimated recurring revenues to bring recurring revenues and spending into balance.”

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Beyond the Arc Sports

Pacers Snap Grizzlies’ Seven-Game Win Streak

Indiana clearly wanted to put an end to the Grizzlies’ win streak. The Pacers were seething after a heartbreaking loss to the Philadelphia 76ers on Sunday. Memphis entered the night with the NBA’s longest active winning streak at seven in a row. 

Despite a strong outing by Dillon Brooks, the Grizzlies didn’t have it Tuesday night inside the Bankers Life Fieldhouse. A sluggish start in the first quarter really was the catalyst for the defeat. Indiana outscored the Grizzlies 37–27, and things went downhill from there. Memphis gave up a season-high 70 points in the first half. 

The Pacers shot an astounding 59.8 percent from the field and 55 percent from the 3-point line in a 134–116 victory and moved to 12–9 on the season.

The Grizzlies dropped to 9–7 on the season and wrapped their 3-game road trip going 2–1. Memphis is now 6–2 on the road. Sure, it was the second night of a back-to-back for Memphis, but the Pacers just wanted it more.

Speaking to the media after the loss, Grizzlies coach Taylor Jenkins said, “I thought we’ve been doing a really good job at competing; we just didn’t have it tonight. … I give the Pacers a lot off credit; they came on a mission, they set a tone, and we were able to respond. Our guys are positive and ready to rebound and get ready for Thursday.”

Grizzlies guard Ja Morant said after the loss that he has to play better. “I feel like tonight I was a no-show .  I can’t have that. As the point guard, I have to lead the charge at the start of the game.”

Fatigue was a factor in how Memphis played, but it wasn’t an excuse, Morant reiterated. Morant finished the night with 10 points and five assists while shooting 20 percent from the field. It was a rough night for the reigning NBA Rookie of the Year. 

“I feel like we weren’t here tonight,” Morant said. “But also, I felt like the shots that we were taking were the shots we normally take.”

The interior defense of Indiana was a problem for Memphis most of the night, but the consensus with the team is that they will be fine. Morant noted that he was proud of how positive the locker room was after the defeat and how they were looking to bounce back against the Rockets. 

Brooks led the charge for Memphis with 25 points off 55.6 shooting, adding three rebounds and three steals. As a reserve, Desmond Bane tied his career-high with 16 points and five assists, going 6 of 13 from the field and 3 of 6 from the 3-point stripe. It also was Bane’s first game as an NBA player in his native state of Indiana. 

Pacers Snap Grizzlies’ Seven-Game Win Streak

Domantas Sabonis led the way for the Pacers with a season-high 32 points and 13 rebounds, finishing 13 -of- 15 from the floor plus five assists and two steals. Miles Turner added 22 points, 11 rebounds, and a game-high five blocks. Malcolm Brogdon chipped in 23 points and seven assists.

On a Good Note
Former Grizzlies assistant Niele Ivey was in attendance to cheer on her former team.

Pacers Snap Grizzlies’ Seven-Game Win Streak (2)

Next Up
Memphis will host the new-look Houston Rockets on Thursday at 8:00 pm. 

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News News Blog

Active Virus Cases Continue Near-Daily Slide

COVID-19 Memphis
Infogram

Active Virus Cases Continue Near-Daily Slide

New virus case numbers rose by 254 over the last 24 hours. The new cases put the total of all positive cases in Shelby County since March at 83,489.

Total current active cases of the virus — the number of people known to have COVID-19 in the county — fell by 223 to 3,730, continuing what has become a daily slide in the figure. The number reached a record high of more than 8,000 four weeks ago. The figure had been as low as 1,299 in September and rose above 2,000 only in October. The new active case count represents 4.5 percent of all cases of the virus reported here since March.

In Shelby County, 1,983 COVID-19 vaccine doses were reported to be administered in the last 24 hours. So far, 64,430 COVID-19 vaccines have been given, according to the health department. As of Wednesday morning, 15,823 people had been given two doses for full vaccination, and 48,607 had been given a single dose.

The Shelby County Health Department reported that 2,087 tests have been given in the last 24 hours. Since March, 957,759 tests have been given here in total. This figure includes multiple tests given to some people.

As of Tuesday, acute care beds were 90 percent full in area hospitals, with 230 beds available. Of the 2,136 patients in acute care beds now, 234 of them were COVID-19-positive. Intensive Care Unit (ICU) beds were 94 percent full, with 26 beds available. Of the 381 patients in ICU beds now, 90 were COVID-19-positive.

The latest weekly positivity rate fell again for the third week in a row to 9.8 percent. That’s down from the record-high 17.5 percent in late December.

Seven new deaths were reported over the last 24 hours, though those deaths may not have all occurred within the last day. Reports come from many agencies and aren’t all reported on the day of the death. The total death toll now stands at 1,296.

The average age of those who have died in Shelby County is 74, according to the health department. The age of the youngest COVID-19 death was 13. The oldest person to die from the virus was 101.

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Letter From The Editor Opinion

Turn and Face the Change

It’s Saturday afternoon and my wife is making a pie crust, not a particularly regular occurrence, since she’s a busy professional lawyer-type person and I’m a work-at-home schlub who ends up doing most of the cooking these days. I am smart enough, however, not to offer advice on pie-crust-making.

As we chat, Tatine pulls a box of parchment paper out of the drawer where all the stuff in long, rectangular boxes goes: foil, plastic wrap, wax paper. You know. We all have one of those drawers.

“We’re almost out of parchment paper,” she says. “And it looks like we’re also really low on plastic freezer bags.”

Bruce VanWyngarden

“Okay.”

I pull out my phone and tap it a few times.

“It’ll get here Monday,” I say.

The transaction happens almost without thinking. A year ago, I would have added “freezer bags” and “parchment paper” to the standing grocery list on my phone. Five years ago, I would have added the items to a grocery list stuck on the fridge with a magnet. No more. After 11 months of COVID-19, I just order that crap instantly. I’ve got priorities, after all. I’m not gonna shower and put on hard pants and real shoes and mask up and get in my car and risk my life for a roll of parchment paper. No sir, buddy.

On Monday, a package will appear on my porch, and it’s likely I’ll have no idea what it is until I open it and discover — whee! — parchment paper and freezer bags! Or it might be fire starters for the fireplace or three new black T-shirts or a cool new meat thermometer that I convinced myself I needed late one night. Who knows? Santa comes all year now!

Sometimes change happens and it takes us awhile to realize it. Now, while we all jockey for position and wait and hope for a vaccine dose, it might be a good exercise to consider just how much the pandemic has changed us, and how much of that change might linger after COVID is just a bad memory that arises when you find a mask in a coat pocket a year from now.

I look forward to wandering through a bookstore, lingering in a coffee shop, sitting in a restaurant over a good meal, going to a concert, strolling through a museum, flying on an airplane, drinking a cold local brew at a bar where everybody knows my name. I might even miss going to the office. Sort of. Those things will come back into my life and I will welcome them.

But I think many of us, including me, will continue to order the mundane stuff we used to drive around and pick up. Not fun shopping, mind you, but yeah, parchment paper, plastic bags, vitamins — that stuff? Just drop it off on the porch, please. Thanks.

Have COVID and Amazon and Uber Eats and other delivery services transformed our urban way of shopping in a manner similar to how Walmart transformed rural America’s way of shopping? I don’t know. I read an essay this week called “Rural Doom,” by Evan Charles Wolf. I recommend it to you. It is the best analysis I’ve seen yet on the country’s now-massive rural/urban divide. Wolf acknowledges how Walmart (and globalization) deconstructed the economies of rural and small-town America, but takes it a step further, into the political ramifications.

As the factories left and small businesses died and the towns shrunk, our cities and suburbs absorbed more people — and gained more votes and more power. Joe Biden took the presidency handily in 2020 — in the popular vote and Electoral College — and yet won majorities in only 16 percent of the nation’s counties! Population density was the single most important factor in determining who won the election. The lesson: Win the cities and suburbs and you win the presidency. Walmart didn’t just transform a way of life; it transformed our electoral politics.

Will COVID leave a similar mark? Time will tell.

• Readers of the print edition of the Flyer will no doubt have noticed that the paper is a different shape — slightly wider and a bit shorter. That’s because the printer we’ve used for many years was recently shut down. We’ve found a new printer, but it was necessary to conform to a new shape. Same Flyer, same content, just a new package. We think it’s pretty snazzy.

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Film/TV TV Features

Life, Death, and Laughs: Buried by the Bernards Premieres on Netflix

Local commercials are a TV genre unto themselves; often low-budget to the point of almost being homemade, and produced without the benefit of ad consultants trying to make it more palatable to suburban masses, they can be cringeworthy and inadvertently hilarious. But they can also be just as memorable as a $1 million Super Bowl ad — and after all, isn’t that the goal? How many Memphians of a certain age remember Memphis preacher Dr. James Salton telling local TV audiences “You’ll never get nowhere smoking the pipe”? It’s the rare advertisement that created such a following that fans made T-shirts devoted to it.

Memphis’ Bernard Funeral Services scored a viral hit with a 2018 ad wherein the deceased is so shocked by their low prices, he sits up in the coffin and demands to be taken there.

The Bernards’ 2018 TV ad was their first claim to fame

The Bernards were, at the time, relative newcomers to the industry, says family matriarch Debbie Bernard. “My brother and I used to talk about the mortuary business, maybe 10, 15 years ago. We would just talk about it, but we never really did anything about it. As time progressed and we started doing other things, we put it on the back burner. Then we pulled it up to the front burner.”

Now they’re about to be on the Netflix front burner in a new reality series called Buried by the Bernards. Life comes at you fast.

Kevin and Debbie of the new Netflix show Buried by the Bernards

A close-knit family with roots in Memphis that go back generations, the Bernards all pitched in on the new business endeavor, says Debbie. “Everybody had something that they had to contribute. Ryan’s was the biggest, actually. He had to go to class, go to mortuary school, take the mortuary test and everything. My assignment was ‘research and development.’ Regan was gonna work on the website. So collectively we got all together and our Bernard Funeral Services was born.”

Ryan Bernard says his mortuary science training was “an eye-opening experience. You know about death. It’s natural to life. But to actually go to school and learn the ins and outs of it, it’s almost like going to doctor school. You have to learn everything about the body and the nervous system. It’s also like being a psychiatrist, a grief counselor. You have to deal with many aspects of death, and grieving families.”

What first attracted public attention was probably the building Debbie chose for the new business: a former Union Planters bank at Lamar and Pendleton in Orange Mound. The location was perfect, and the building had a drive-through window, so they decided to make the most of it and offer drive-through funeral services. Before the pandemic, comedians thought this was hilarious. Debbie heard all the jokes. “Can I have two orders of fries and a milkshake with that?”

Ryan was booked on national talk shows. “They had me on The Steve Harvey Show trying to make a joke about it. I had to go defend the operation and let them know what the real was. Now, fast-forward two years down the road, the drive-through has been helping us out, especially with COVID. And it’s been helping out families, too.”

The TV exposure started the phones ringing. “We were just coming out the gate. We were trying to focus on building our brand and building our business,” says Debbie. “The people who called, some of them were just saying ‘Ryan needs a wife. Can I speak to him?’ We ain’t got time for that lane.”

One of the people who called was reality show producer Warren D. Robinson. At first, Debbie didn’t take his pitch seriously. “We said the ‘D’ stood for ‘Don’t call here no more!'”

But Robinson persisted. Ryan says he didn’t think his jovial family would make for good reality show fodder. “People want to watch drama and stuff, you know? I was also thinking, how could we make a good reality show but then still maintain a professional, serious business? We don’t want people to take us as a joke. They told us it would be very family-oriented, and they could make it a comedy, and there wouldn’t be any drama, and it wouldn’t be anything that would jeopardize and take away from my profession. Obviously, my uncle Kevin and my mama, they can act a fool. They gonna do that anyway.”

Kevin Miller says the humor in Buried by the Bernards comes naturally to everyone involved. “They looked at us as characters, but that’s just us every day around the funeral home.”

The show was filmed from January to March 2020, wrapping right before the COVID pandemic hit. When it debuts on Netflix on Friday, February 12th, the Bernards will suddenly reach an international audience. “I’m shocked,” says Ryan. “This thing is going to be in 191 countries! It just doesn’t feel real to me.”

Buried by the Bernards premieres on Netflix Feb. 12.

Categories
Food & Wine Food & Drink

Papi’s Pepper Sauce: How a Collierville Couple Turned a Pepper Patch into a Business

When life gives you hot peppers, make pepper sauce. That’s what Joe and Kay Paul did.

“I was growing all these different peppers out back,” says Joe, 73. “And I got to wondering what I could do with them. So I started playing around with different hot sauces. I researched them on the internet.”

One day the couple came up with the perfect vinegar-based sauce: Papi Joe’s Tennessee Pepper Sauce. Made at their commercial kitchen in Rossville, Tennessee, it is now in eight states and 40 stores, including Whole Foods.

Kay and Joe Paul

“It’s a combination of a lot of different flavors,” Kay says. “That’s what makes it so special. Joe didn’t feel like it was really a hot sauce because it’s not so hot that you can’t enjoy it. It’s got more flavor.

“Every batch has 100 cloves of fresh garlic,” Kay adds. “We don’t use garlic powder or garlic salt in our sauce. And he insists that it has to be USA-grown.”

The couple took the sauce to Jungle Jim’s International Market Weekend of Fire in Fairfield, Ohio, where they got a good response. They competed the next year. Out of 3,500 people and 300 sauces, Papi Joe’s took first place. “We knew we had them when their eyes got great-big when they tasted it,” says Kay.

Their business started to grow after Joe took the sauce to gift shops in Collierville, where they live. “I just walked in and said, ‘Hey, do you want to taste something?'”

They then began thinking about making a Bloody Mary mix. “Every time we cooked the sauce, we had the drippings that were literally thrown down the drain,” Kay says. So they took the pepper sauce, tomatoes, and celery salt and came up with Papi’s Sassy Bloody Mary Mix, which now is in about 40 liquor stores, including Buster’s Liquors & Wines.

They then created Papi-Q Tart & Tangy BBQ Sauce. “It’s got plenty of pepper sauce in it, brown sugar, local sorghum molasses, no additives,” Joe says.

They also have Papi Joe’s Tennessee Whisky BBQ Sauce, which is made with George Dickel whiskey. It comes in a 12-ounce flask. And Papi Joe’s X-treme Pepper Sauce includes ghost peppers. “It will not hurt you, but it’s a lot hotter than the pepper sauce in our original recipe,” says Kay.

Joe and Kay’s son, Don Paul, is also part of the operation. “We have the original location in Rossville,” Joe says. “It’s a 100-year-old building. It used to be a general store. We rehabbed that to make our commercial kitchen.”

Their equipment includes a 40-gallon steam kettle and a grape press. “It’s bottled there, labeled there, and shipped from there. All by hand.”

Joe and Kay, who have been married 53 years, met in Lexington, Kentucky. “I was riding down the street backwards on my bicycle and she saw me and fell in love with me,” says Joe. “And a week later she asked me to marry her.”

That’s not exactly how it happened, Kay says: “We were neighbors.”

Joe got his Papi Joe nickname after his first grandchild was born. He wanted to be called Papi.

“I took that picture in the backyard that’s on the bottle,” Kay says. “Every bottle has a picture of Joe on it.”

Joe and Kay are considering pepper jelly, glazes, and rubs but aren’t planning for more products yet. Kay’s thought is, “Let’s just do really well at what we’re doing now and give ourselves a break. And then we’ll get onto something else.”

To buy online, go to papijoes.com.

Categories
Music Music Features

Stax Gospel: Reissue Reveals the Label’s Sacred Side

Wah-wah clavinet introduces the song, announcing that you are deep in the 1970s. “Talkin’ about a good time, we gonna have a time!” It’s one of the best party tracks you’ve never heard, though it’s possible you have, if you ever chanced upon the single by Jacqui Verdell in 1973, on a label under the umbrella of Stax Records: The Gospel Truth.

While music historians usually give a nod to the gospel roots of so much of the Stax soul sound, the actual gospel records released by the label are often overlooked. And yet, late in the Stax story, from 1972 to 1974, The Gospel Truth played a pivotal role in the genre. Some would even deem it a revolution, as the label championed gospel music with a funky, contemporary edge.

Craft Recordings, second to none in the business of reissues, and a longtime purveyor of classic Stax albums, has made that history easier to comprehend than ever, thanks to their new three-LP collection, The Gospel Truth: The Complete Singles Collection. If that’s not your medium of choice, the set’s also available as a digital release, but the grooves and textures of these tracks benefit immeasurably from their vinyl incarnation, cut to lacquer by Jeff Powell. It’s how the Good Lord meant for them to be heard.

Either way, you’ll get the in-depth essay by Jared Boyd, program manager at radio station WYXR and music columnist for The Daily Memphian. As he notes, “From its very launch, [the label] was formed around the strengths of the Rance Allen Group, a Michigan family band whose electrifying leader had a remarkable vocal range and an unabashed infusion of blues, soul, and rock-and-roll.”

Indeed, Rance Allen, who just passed away last October, was a force of nature. As Robert Gordon puts it in Respect Yourself: Stax Records and the Soul Explosion, “Stax liked them so much, they created a new imprint, The Gospel Truth, just so they could sign them.” Beyond Allen’s singing, they were pioneers of a fresher, funkier version of gospel than what was common in their day. Many secular fans got their first taste of the group at the 1972 Wattstax festival, where the raw funk of their “Lying on the Truth” sat nicely alongside the Bar-Kays.

It’s telling that the first track in this collection is Allen’s take on the Temptations’ “Just My Imagination,” subtitled “Just My Salvation.” Nor is it surprising that the group accounts for 10 of the 34 tracks here. But the label’s other featured artists stick with that same commercial sensibility.

“Ooh, I got the vibes you’re sending with your eyes,” sings Joshie Jo Armstead on “I Got the Vibes,” a 1973 track that anticipates the onset of disco so presciently that Joshie should get royalties from the Bee Gees. “If the Shoe Fits Wear It” and “Who’s Supposed to be Raising Who,” from the same year, mine similar ground, and the group that sang them, the 21st Century, would later have a bona fide disco hit with “Tailgate,” under the name 21st Creation.

And yet the repertoire here doesn’t represent a complete break with gospel tradition, either. Rev. Jesse Jackson’s People’s Choir of Operation Push, which arose out of the Civil Rights struggle, supplies plenty of the gigantic, singalong choruses typically associated with gospel, albeit with a rhythm section that could have been right out of a Stax pop record.

In truth, the regular Stax session players don’t make much of an appearance. With Clarence Smith being the only Memphian here, among many from Chicago or Detroit. Most of these bands had their own provenance. In fact, label head Dave Clark had a knack for buying up bands’ unreleased tracks, shelved by other labels, and readying them for release by having the Stax engineers brighten up the mixes a bit. The fact that these sound so cohesive is simply a sign that this was a whole movement of bands forging a new, modern form of gospel. And most of them loved the hits that had made Stax what it was.

Categories
Opinion The Last Word

Pipkin Parade: Roughing it in the Vaccination Line

You do feel the needle going in. Don’t let anybody tell you otherwise. And, depending on the day’s weather, it’s likely to be cold and drafty when you have to bare an upper arm to get your COVID vaccination shot.

Have an “appointment” to get a COVID vaccine, do you? Well, good luck. Things may have become more streamlined since early last week, when negative word-of-mouth and social media had famously attested to the delays and traffic snarls of the county’s vaccine rollout. You could count on spending hours of your life in bumper-to-bumper traffic, driving in seemingly endless loops across the whole of the Fairgrounds driving surface to reach one of the six improvised bays in the interior space in the Pipkin building. There, finally, assisted by some very helpful and, under the circumstances, preternaturally cheerful folks administering the shots on behalf of the Shelby County Health Department, you could begin your inoculation against the potentially deadly and certainly ominous virus and conclude Phase One of the requisite two.

Scaliger | Dreamstime.com

An ordeal? Yes. And worth it? Yes, and hail to the hard-working folks who were there laboring in the building’s six bays long before you get there and who will be there long after you leave. Like the besmocked lady wielding the needle when I pulled up: “Got to have some flesh,” she said, prompting me to temporarily shed coat, sweater, and shirt, and the assisting Sheriff’s Department deputy who had greeted me by saying, “Where you been? Been waiting on you for six hours!”

And that was no joke. It had been every minute of six hours since I had pulled my Kia Soul into the north entrance of the Fairgrounds, off Central Avenue onto Early Maxwell Drive. “Where’s the Pipkin Building?” I had naively asked the deputy who was parked there, his car’s revolving light flashing, to monitor new arrivals. “Get behind the red car,” he said, indicating a late-model Volvo. Upon complying, I noticed that I was thereby joining a queue of seemingly stalled vehicles that, via that previously indicated series of back-and-forth loops, spread far into the distance. Farther, indeed, than I could see. Hundreds of them, I would ultimately realize. The line would presently begin inching forward, and I mean “inching.” You know that old maxim about watching paint dry? Well, the queue’s progress was of that kind.

It was only later that I reflected on the obvious circumstance that all of these folks could surely not have been scheduled for 4 p.m., as I was, or 4:30, as my son Marcus, who was with me, was. Nor even 5 nor 5:30 nor 6, for that matter. A significant percentage of them had to be crashing (as in “gate crashing,” though, given the immensity of the jam-up, the literal form of the verb was always a possibility).

Note: I am trying not to be overly querulous here, nor judgmental. We all know that, going into January, neither the state nor federal sources had been models of advance preparation. Nobody knew exactly how much vaccine was on hand locally nor how long it would last. The first shots had been administered, without prior notice, in several days in late December and the first week of the New Year. They were earmarked for first responders and medical folk, but the grapevine had alerted a sizeable number of interlopers, and, in practice, those word-of-mouthers who were 75 or older had been permitted in the drive-throughs at Lindenwood Christian Church and the Health Department’s facilities on Sycamore View. For a week or so, the vaccination process was on hold, then opened up again on January 12th via a registration process.

Before the rolls closed on the month of January, I was able to grab a spot on grounds of age, and Marcus by dint of certifiable disabilities. Believe me, when the day came, it was beneficial to have a companion and an active radio, tuned mostly to SiriusXM news stations, from which I would learn, repetitiously and in detail that day, about both Representative Marjorie Taylor Greene and the Robin Hood caper on Wall Street. There wasn’t much we could do about the paucity of porta-potties — only three over the whole Fairgrounds expanse. And we hadn’t thought to pack water bottles or snacks.

I am no masochist, but, lookit, all of the hardship, culminating in that final bite of the needle, turned the whole day into something of an adventure. And, yes, I’ll be grateful for the chance to do it one more time.

Jackson Baker is a Flyer senior editor and politics editor.

Categories
Cover Feature News

Free at Last: The Story of FreeSol

FreeSol is a free soul again.

After getting his musical start as lead singer of the alternative soul band also known as FreeSol, which formed in 2003, “Free” moved back to Memphis two years ago after several years of ups and downs.

FreeSol was originally signed to Justin Timberlake’s production company, Tennman Records, in 2006. After then signing with Interscope Records, the band debuted its first single,”Fascinated,” on American Top 40 with Ryan Seacrest, and appeared on Late Night with David Letterman. The band was also presented the Memphis Sound Award at the Blues Ball in Memphis. The future looked bright.

Courtesy of FreeSol

FreeSol appeared on Late Night with David Letterman.

Then, in 2012, everything stopped.

“As soon as we got dropped from Interscope Records I bounced to California,” says Free, now 42. Trying to “re-find himself,” he worked in real estate and became involved with the legal marijuana industry. “I was on the verge of opening my own brand, Sweet Cali,” he says. “We’d been in business since 2014 and we were looking for investors. It’s a marijuana THC/CBD edible brand and street apparel brand.”

But in late 2019 Free decided to move back to Memphis. “I wanted to use some of my new hustle, and the things I learned about business and put that with music. I want to be an inspiration and a motivator for the city. I want to be a personality here. I had only been seen here in a dark, thuggish, rough, sexual light. I came to Memphis to get busy.”

Free, a native Memphian whose real name is Christopher Anderson, is now vice-president of Elite Home Flippers and wants to open a restaurant.

“I’m a hustler, man. I like food and I’m from Memphis. I have always felt I was going to come home and do something for Memphis. And one of those things needed to be Memphis food. Growing up, I loved good Southern food.”

There will be music along with the food, Free says. “If I’m going to be in the business, we’re going to have music there.”

Courtesy of FreeSol

Free

Free says he also will be bonding with young, local musicians. “I really want to connect myself to up-and-coming cats and do whatever I can. And do what I did with FreeSol, just trying to build a network — be connected and throw events and collaborations. If you remember the rise of FreeSol — how we played often at different events.”

Free says the late California rapper Nipsey Hussle was the inspiration for his moving back to Memphis and getting involved here. “He died in 2019. He was shot outside of his store. The cool thing about him was that he had rented out a store in this building and he sold T-shirts, sold suits, while he was building up his music. He ended up buying the whole building. Then he owned a restaurant. He became a local entrepreneur, but he also was a national rapper.

“As soon as he was murdered, it was like his spirit was released and a lot of people built up a Nipsey Hussle mindset. I knew I had to build up an empire, a business, and be an inspiration and motivation in my city. I see myself as a Nipsey Hussle. He made me want to come home, basically, to be here to be an entrepreneur while opening up a restaurant, putting on shows, eventually starting a record company. We can do it all and we can inspire and make friends. And do it all with a smile on our face.”

Free says art was his first creative outlet, but when he was 12, he began rewriting lyrics to the music of Boney James and the Yellowjackets in his mother’s record collection. He began writing his own rhymes when he was 14. “Fourteen was a big year for me. I started smoking weed, lost my virginity, and started rapping — all in the same summer.”

Courtesy of FreeSol

FreeSol was ahead of the curve in rapping over music by a live band.

He gave his first performance during an overnight lockdown at Bishop Byrne High School. His friend, a DJ, told him he was going to get him on stage. “I was so nervous. I’ll never forget. The crowd went crazy.”

Rap music was all he wanted to do after that, he says. “They talk about that ‘drug’ of being on stage. That addiction. That was it. I had 100 kids screaming, having a good time. After it was over it was like I just invented the cure for cancer.”

Free then started his first band, Sol Katz, with two other rappers. Their agent signed them to do talent shows in Atlanta and Texas. A little later, while going to school at Clark Atlanta University, he got a call from Beyoncé’s father, Mathew Knowles. “He heard about us and he called Orin Lumpkin at Elektra, who wanted to work out a deal. But it all fell through. When that didn’t work out, the band kind of broke up.”

FreeSol says he got his name when he was 21. He was teaching Bible class at his church when he came across Galatians 5 verse 1, which “talks about freedom. So that was the birth of me wanting to be called ‘Free.’ Never being held by the yoke of slavery. I lost all religion and became ‘Sol,’ son of light. It just came to me. It had to do with wanting to follow the light. From the darkness comes the light. To be the son of light, the son of goodness, is the highest form of energy.”

In 2001, Free got a $25,000 loan from his cousin and recorded his first solo record, FreeSol

“I got in my car and drove all over the country and sold that record.”

He then ran into drummer James “Kickman Teddy” Thomas at Applebee’s on Union. “He was drinking this big ass beer at 12 on a Monday,” he remembers. He offered his headphones to Thomas and asked him if he’d listen to his record. “He loved it.”

Bass player and keyboardist Daniel “Primo Danger” Dangerfield joined them that afternoon. “That Thursday we had our first rehearsal,” Free says. “Three to six months later we had our full band.”

Songwriter/co-producer Elliott Ives, longtime studio and touring guitarist with Timberlake, recalls how impressed he was with FreeSol when he saw the group perform at Automatic Slim’s. “There were not many rappers performing with bands,” he says. “And not just that, but also having auxiliary members of the bands singing hooks.”

When he joined the band, Ives says, “I pretty much sang every hook. You’ve got this white boy Memphis guitar player singing these hooks and this Memphis rapper with a live band. A few years later, people started doing that. Now you rarely see a hip-hop artist without a band.”

FreeSol “was just different,” Thomas says. “We were on a different vibe at the time. There weren’t too many bands doing what we were doing. We were breaking down so many boundaries and breaking down so many doors as far as being new, energetic. For me, it was special, man. From the day I met Free, there was something special about what he was bringing, what he was trying to do at the time. It was a brotherhood as well as being a band. It was fun times, man.”

Describing their music, Free says, “I don’t believe in race. I don’t believe in labeling music. I think we think too much about things and try to divide things and put things in boxes. I take a little bit of Islam, atheism, Christianity, Buddhism, and find truth in my own lane. I took rock, rap, hardcore rap, hardcore rock, jazz music, pop music, and never tried to label it. And in all our songs I put elements of what we love. We tried to create something new for everyone to fit into.

“Everyone came to our shows, from ‘hood, straight-up crack dealers to the silliest of the white girls. I had everybody included. We were able to wrap it up because we had pieces of everything people wanted and respected in music and art. The real strength we had was our versatility.”

FreeSol’s most popular songs included “Busy Watching Me,” “Don’t Give a Damn,” and “Crazy.”

Lightning struck when they met Timberlake at a private showcase and were subsequently signed to Tennman Records and then, Interscope Records. Between 2006 and 2011, the band released Role Model and Hoodies On, Hats Low. One of their songs “Fascinated,” was co-produced by Timberlake and featured Timbaland.

Timberlake, who also appeared in the video, produced an album with FreeSol for Interscope. But in January 2011, FreeSol was dropped by Interscope.

“The politics of the major label music business got in the way of the actual talent and the music, and had nothing to do with the success we were having or the success we were about to have,” Ives says. “It was pure politics.”

Everybody in the band “took it really hard,” Free says. “We had made it — and to have all it taken from us right then and there, everybody was heartbroken. We did everything we were supposed to do. We had a fan base. We had a work ethic. But things didn’t work out.” 

Courtesy of FreeSol

Christopher “Free” Anderson with his wife, Melissa Anderson

Free and his wife, Melissa, moved to California. They were married three years later. 

In California, Free says his “main bread and butter” was real estate, but that he was also “figuring out how to learn the game with [legal] marijuana and how to get your own brand, your own farm, your own store. My passions have been weed and music. I always cared about those two things a lot. I wanted to be involved.”

But he reached a point when he felt it was time to move back home.

Free says he continues to write music but his subject matter has changed. “A lot of songs in my past are about sex, women, being a player — a young, childish perspective on life. Now I’m an older man. My lyrics are more mature. I’m a prouder. I love a lot of the music I made, but I hadn’t seen anything, and that’s apparent. I was just pulling things out of my head and was trying to make them sound cool.

“Now, I can talk about life. I’m a business owner, a father of two, a husband. Everything I eat comes from my own hustle, my own inventions. I haven’t worked for anybody since I was 21 years old. I take care of myself and my family.”

One recent song is called, “Is It the Way?” It’s about “how I thought I’d never get married. How I met my wife. How it feels after losing the record deal with Interscope and taking that fall. A lot of people lost jobs, chased dreams, weren’t happy, or came up short. I know how you feel. You don’t know how it feels until you walk in those people’s shoes.”

Ives is producing two of Free’s recent songs — “Quit Playin'” and “Money Magnet” — at Ives’ Domination Station studio at Young Avenue Sound. 

Would FreeSol ever reunite? “Absolutely,” Free says. “We talk about it all the time.”

In addition to his music and business ventures, Free also hosts a podcast, Ice to Eskimos, with comedian Rob Love and artist Frances Barry Moreno.

“I’m an extremely happy man,” Free says. “I realized life is what you make it. Your thoughts, your perspective matters a lot. No one is in control of your happiness, your days. I’m where I need to be.”