Categories
Sports Sports Feature

A Look Back at the Memphis Tams

This Sunday, the Memphis Grizzlies will don throw-back Memphis Tams uniforms for a home game against the Utah Jazz. Memphis writer Sherman Willmott sent us this story about Memphis’ ABA franchise and we thought we’d share it with Flyer readers.

On January 26, 2012, the Memphis Grizzlies debuted their throwback ABA Memphis Tams uniforms on the road. The basketball and fashion worlds have not stopped talking about them yet. And not in a good way. How could the Tams uniforms have been so ugly? Retrowear, nostalgia, and old-school uniforms have become an extremely popular fashion industry – especially when it comes to NBA uniforms and the free-ballin’ ’70s of the ABA -usually for a good reason. People want to relive that wild, over-the-top look. Unfortunately, the Tams never had that. Their predecessors the Pros and their next of kin the Sounds both had a much better look and design.

In 1972, Charles O. Finley was on top of the baseball world with his Oakland Athletics. In December, after winning the World Series with the A’s that fall, he won Sporting News Man of the Year Award.

Charley Finley wearing a Tams Tam.

In the summer of 1972, the Memphis Pros were insolvent and gasping for air. After two financially unsuccessful seasons in the ABA, a deal for Langdon “Zip” Viracola to buy the Pros fell through. A phone call was placed to the eccentric, irascible, and unpredictable Mr. Finley. On June 17, 1972, Finley told a friend, “Yeah, I think I’ll buy a team tomorrow.”

Memphis Pros chairman of the board Buddy Leake said Finley was the last person they called. Finley came up with $110,000 to cover the Pro’s debt to the league and approximately another $100,000 to buy them from the thousands of Memphis Pros stockholders, most of whom were Memphians who had ponied up anywhere from five dollars to a few thousand dollars. In exchange for selling their stock to Finley, they only received the opportunity to buy their tickets at a discounted price. Upon buying the Pros, Finley said, “The ABA has the right idea-this ball, the zesty uniforms, and the colorful shoes.” He then immediately threatened to move the team to Minneapolis and proceeded to forget all about the zesty uniforms and the colorful shoes. An Oakland radio announcer asked him why he bought the Pros and Finley replied, “I don’t know. I don’t know. I don’t know.”

Finley, famous for such A’s promotions as Hot Pants Night (6,000 sexy ladies in the house!) and Mustache Night (where he paid his baseball players $300 each to grow mustaches), did not like the Pros name and began a name-the-team contest for the fans to come up with a new name. Finley offered what certainly was the bulk of his marketing budget as a prize to the winner, a relative king’s ransom of $2,500. Thousands of fans sent in their ideas.

The Pro’s uniforms were destined to be changed regardless of the name of the team. As far as the team’s color scheme, the die was already cast. Kelly green and gold were the only colors Finley liked. Besides the A’s, Finley also owned the NHL’s California Golden Seals. Finley had been obsessed with the color scheme years before that. Explaining why the green and gold was inevitable for his ABA team: “My baseball team wears kelly green and gold, my hockey team wears kelly green and gold, and I wouldn’t want my basketball team to feel bad, so they’ll be in kelly green and gold too.” In the 1960s, even before Finley moved the Athletics from Kansas City to Oakland, he considered moving them to Louisville and began touting the colors as Fort Knox Gold and Kelly Green. When he moved the Athletics to Oakland, he changed the pitch to “California Gold and Kelly Green.”

Finley told The Commercial Appeal his obsession with kelly green and gold began with his children: “Our two daughters are red-headed with brown eyes, and my wife would always dress them in green and gold. I saw so much green and gold when those kids were babies that I cultivated a love for those colors. I just think it’s the most beautiful color combination of them all.” While the color scheme had been criticized through the years, Finley was not one to truck with aspersions. Speaking about the A’s uniforms: “I don’t care what these writers think about my uniforms. I could care less. The main thing is my wife and I designed the uniforms, and we like the uniforms and we own the team, and my players love the uniforms, and what do I care whether anybody else likes them or not?”

In July 1972, Finley declared William Barrett of North Mississippi the winner of the name-the-team contest (including the $2,500 bounty) for coming up with one of the worst names in sports franchise history – the TAMS. Considering the runners-up for the contest: Cottoneers, Mockingbirds, Balers, Tenns, and Pharoahs, which later became the name of the indoor arena football team in 1995, the TAMS was not so bad. The explanation for the name was an acronym for Tennessee-Arkansas-Mississippi, an appeal to the team’s regional fan base. While this might have worked as a Chamber of Commerce slogan, it failed miserably as a professional sports league name and logo.

The other, far more relatively interesting if not hard to fathom, thesis for the TAMS name offered by Barrett was that Tam o’ Shanter was a character in a Robert Burns poem and a Tam was a woolen cap of Scottish origin. The rationale for this extremely tentative connection to Memphis was that many early Memphis settlers were of Scottish origin. Finally, Barrett opined that a Tam was in fact on top (of the head), which of course the TAMS never managed to be in their two years of existence. Nevertheless, the Tam, to this day, is one of the most farcical promotional aspects of the wild and wooly ABA, where truly almost any promotion occurred. Finley must have been thinking positively of the fashion royalties about to come through the cash registers when he told The Commercial Appeal, “People can’t walk wildcats down the street. But Tams- there’s something. We’ll want everyone wearing one.”(On February 12th at FedExForum, at least 5,000 people will be.)

As long as Finley owned the Tams, the focus was less on the team’s play and more on the unorthodox manner in which he ran the team and how much longer the team would continue to exist. Instead of signing star center Wendell Ladner when he was holding out for a $17,000 raise, Finley rescinded his $5,000 raise offer and let him stay at home as one of the longest holdouts in the history of the ABA. Notoriously cheap, Finley would not bid up for college talent, did not pay salaries in the off-season, and only had one person on salary a week before exhibition season began – trainer Don Sparks. In their second season, Finley finally hired coach Bill Van Breda Koff four days before the first exhibition game. The Tams defined a “seat of your pants” operations. From one season to the next, no one knew if the Tams would return.

Memphis Tams Coach Bill van Breda Koff can’t believe the color scheme his team had to wear.

Considering Finley’s marketing budget (or lack thereof) and unwillingness to focus on details like hiring employees or hiring a uniform designer, it is not a stretch to assume that when it came time to suit up the players, Finley had his trainer run out to Dowdle Sporting Goods the day before the season began and had them affix “M E M P H I S” to the front of the jerseys. That was pretty much the extent of the TAMS uniforms. Compared to the Pros’ and the Sounds’ relatively stylish outfits, the Tams uniforms were nondescript and would have been acceptable in any church-league game in Memphis.

Come game time, Finley had all of his Mid-south Coliseum employees Tam-med up! The cheerleaders wore tams. The ushers wore tams. The band wore tams. In a deal only a frugal owner like Finley could love, the Tams hired the Hillcrest High Norsemen to be the official live band for the games, mainly because their green school colors meant they already owned green blazers and Finley would not have to pay for them!

This Sunday, after the Grizzlies’ game, the Memphis streets will no doubt be teeming with kelly-green-and-gold Tams and Charlie Finley’s dream will finally come true — 40 years later.

Categories
Opinion Viewpoint

COMMENTARY: That’s the Blues






New Page 1

SHAME, SHAME, SHAME*

*(sung to the tune of Aretha Franklin’s “Chain, Chain, Chain”)

“Our objective is to make sure we are always concerned with the music,
history and culture of what made Beale Street and Memphis special.” —
Performa chief executive John Elkington.

“I think the King Biscuit name resonates well with the
blues and the roots music of this region.  I think a festival in the fall would
be a welcome addition to the landscape of the community and the King Biscuit
name certainly has a ‘cool’ factor to it.” — Kevin Kane, Memphis
Convention and Visitor’s Bureau

(Quotes from The Commercial Appeal)

 

Shame on John Elkington and shame on Kevin Kane.  Both are
grown men who have extensive experience in the marketing of regional music and
culture.  Both should know better than taking the good name and goodwill that
Helena, Arkansas’ Sonny Boy Blues Society has built up for the name King Biscuit
with their blues festival over the last twenty years and using it to promote a
Memphis music festival.  By taking the name (through a lawsuit) and using it for
a café and music festival on Beale St. in Memphis, Performa and their partners
have committed a serious marketing blunder as well as played regional dirty
pool.  The name “resonates well in the region” because the folks down river from
us in Arkansas have spent over twenty years promoting the name with arguably the
best (free) blues festival in the world. 

There are a many reasons why taking the name is wrong. 
First of all, King Biscuit has no history — real or imagined — in Memphis nor on
Beale Street.  It was a product sponsoring a radio station broadcasting from
Helena, Arkansas, and then, more recently, a music festival promoting our
neighbors just West and down the river.  Second of all, it is stealing someone
else’s culture — namely Helena, Arkansas. 

Not too long ago there was a great little marketing
campaign in Memphis that said, “Start Something Great in Memphis.”  The folks at
Performa have nuanced it to “Steal something great that has nothing to do with
Beale St. from our neighbors across the river and pretend it is a piece of
Memphis history.”  Third, Memphis can  promote its own music festival with many
great historical options to choose names from:  B.B. King, Rufus Thomas (and
Bones!), Tuff Green, Nat D. Williams, Willie Mitchell, Al Green, Memphis Blues,
Memphis Soul, Memphis Gospel, Beale St. Ramble (or Rumble!), Stax, Hi, or, if
you rally want to name your festival after a product that sponsored blues radio
shows in the fifties, the Peptikon Festival.  If you cannot be creative, hire
someone who can.

Music fans
throughout the world know the rightful owner of this King Biscuit name even if
these business leaders in Memphis do not.  There is legally right and there is
wrong.  

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Categories
Music Music Features

COMMENTARY: Memphis on the Erie

Some of Memphis’ finest players recently got hand-picked by
music author Peter Guralnick to support the giants of music at a Sam Cooke
Tribute at the Rock and Roll Hall of Fame’s American Masters series in
Cleveland. 

A week later, we interviewed the principals by phone about their experiences. Memphis sax
aficionado Jim Spake put together what he calls “the Usual Suspects” as the
house band to back up such luminaries as Otis Clay, Elvis Costello, Solomon
Burke, and Aretha Franklin last weekend.  The Suspects included Steve Potts on
drums; Michael Toles on guitar; Jimmy Kinard on bass; Kirk Smothers on baritone;
Scott Thompson on trumpet; Jack Hall on trombone; and Jim Spake on saxophone as
well as Lester Snell doing the arranging.  Forget the Grammys; being chosen by
America’s foremost music author to act as house band some of the giants of music
history is the ultimate musician’s award!

How did Spake and the band handle it? “Not only did the
guys do a great job, but they were also wowed by the experience,” Spake raved. 
And what would be the highlight of playing with the Dixie Hummingbirds, Lou
Rawls, Taj Mahal, and Cissy Houston as well as the above listed masters and
mistresses? “I’m a big Elvis Costello fan.  He involved himself so much with the
band, talking about what he would like.  He was so focused on what he wanted. 
Everyone was great.  Taj was cool!  William Bell sang “Having a Party” and “You
Send Me,” and everyone came out and played for that.”

Not a bad gig for one of Memphis’ most
take-it-all-in-stride musicians.  Spake has been playing saxophone for over 30
years in Memphis (“Most of my life”).  Asked what his most memorable or best gig
has been, Spake said, “Maybe this one since it is my most recent.”  Certainly it
would be better than his first professional gig, playing with his high school
band, Framus, at a high school dance.  You can currently catch Spake at one of
his regular gigs at Fresh Slices with Jim Duckworth on Tuesdays or with Eddie
Floyd Friday nights at the Pyramid.

The Sam Cooke Tribute in Cleveland was a part of the
release program of the long-anticipated book written by Guralnick, who will be
signing copies of Dream Boogie:  The Triumph of Sam Cooke at the Stax
Museum Friday, November 18 from 7-9 p.m.

 

 

 

 

Categories
Opinion Viewpoint

COMMENTARY: My Musical Best List

It’s been a middling year for Memphis music locally—several
good shows and a decent flow of Memphis bands playing with a few records
released.  Nationally, it’s been a banner year:  a year ago Craig Brewer had not
even finished editing his just filmed Hustle and Flow.  Since then, he
has won awards with H&F, picked up national distribution through MTV
Paramount, and filmed another one with Memphis area music inextricably linked
throughout the movie.  There’s even a modicum of a buzz around the Memphis film
world, primarily due to Brewer’s insistence on filming in Memphis.  Those films
are the most exciting and impacting on the future of Memphis music

 

Here are the best things to happen to Memphis Music in the
last year:

1) Memphis Music in the Movies

Current Memphis music playing on film soundtracks is
undeniably the best thing to happen to Memphis music this year.  Memphis music
is in the films, on the film’s tv commercials and websites, on MTV, and being
played outside of Memphis.  Hustle and Flow was a grand slam and Ira
Sachs’ understated Forty Shades of Blue, to a lesser extent, take the
Memphis music out of town and into the ears of people all over the world.  Next
week’s Walk the Line should continue the emphasis on Memphis
music–albeit Joaquin Phoenix’ version of Johnny Cash is…well, don’t ask me why
they would use margarine when they already had pure cream butter.

 

2) Diversity of Live Music and the Use of Multiple Live
Music Sites

Every available live space in town has been used for every
kind of music imaginable.  Music is constantly flowing here…from Autozone Park
with Willie Nelson to Mud Island to the Hi Tone as well as the suburban
performing arts theaters.  Even Fedex Forum has chilled out on its non-compete
clause, cleaned house, and brought in the Rolling Stones & Elton John (does
anyone attend things like “Trans-Siberian Orchestra”?).  Handy Park and its
overdone Pepsi sign pavilion was finally used for music of prominence during the
Voodoo Fest.  And word is that the Shell will eventually be back in action,
ready for the Elvis of the future.

 

3) WEVL is Back Online

If a Memphis record falls in the forest, who hears it? 
WEVL is easily Memphis’ finest radio station supporting local music.  Having the
signal stop at the city line has been a disservice to the fans of Memphis music
all over the world and prevents the spread of new Memphis music.  WEVL’s return
to internet broadcasting is a welcome relief and a boost for the Memphis
musicians working hard to get their music heard beyond Memphis.

 

4) Cleveland Throws in the Towel

Although, as Yogi said, it ain’t over ‘til it’s over with
Gibson Guitars, the Rock ‘N Roll Hall of Fame’s announcement that they would be
opening a “satellite” exhibit in Memphis should be the final word on the mistake
by the lake.  It is a sad understatement, to say the least, that Cleveland was
the wrong place to build the Rock ‘N Roll Hall of Fame. (Give them their props,
though…while Mayor Hackett was getting rid of Mid-Town hookers, Cleveland put
together a very nice incentive package.)  It is a small reward that Cleveland
has decided to share their museum’s exhibits with the real rock ‘n roll hall of
fame — Memphis, Tennessee.  As Memphis already has the music traveler wrapped
up with Sun Studio, Beale St., Stax Museum, Rock n Soul Museum, and Graceland,
this obviously means more for the Rock Hall than it does for Memphis, but we
will take the compliment anyway we can get it.  Even from Cleveland.

 

5) Folk Alliance World Headquarters Settles in on South
Main

Until this summer, the words Folk Alliance previously meant
only one thing to Memphians:  big bucks and registers ringing when their
convention came to town in 1998.  However, this August, the Folk Alliance set up
shop in the South Main Arts District.  Along with the Blues Foundation, Beale
St. Caravan, and LivefromMemphis.com, the Folk Alliance is the kind of
genre-specific, grassroots music business that continue to take Memphis to a
higher profile in the national industry as well as bringing future music events
to town.  Welcome, Folksters!  We look forward to your conventioneers coming to
town in 2007!

 

6) Goner Records Saves the World

This teeny-tiny establishment in Cooper-Young (& its more
influential web site) raised over $14,000 through its various customers and
users donations for New Orleans hurricane survivors.  That’s incredible!

 

7) Memphis’ Soul Still on Fire

Memphix djs have been the centrifugal force for a new
generation of Memphis soul fans, and their soul nights at the Hi Tone over the
last few years have been inspirational and an exciting way to celebrate Memphis’
music roots.  Next top-shelf action is November 26 at the Hi Tone.

 

 

Categories
Music Music Features

COMMENTARY: Mo’ Better Boogie

The first documented instance of a recording company
moseying on down south to Memphis to record the Memphis Sound occurred when
Victor Records came to cut the Memphis Jug Band almost 80 years ago at the Ellis
Auditorium in February, 1927.  (That’s according to blues historian and
University of Memphis music professor Dr. David Evans.)  Since then, Memphis as
a city has had one of the strongest recording careers in the whole industry of
recorded music. 

Sam Phillips’ success really inspired others to come to Memphis
to record, including:  Los Angeles’ Bihari brothers, who opened up Meteor
Records on Chelsea in the early ’50s; Jerry Wexler and his crew of Atlantic
clients who first recorded at Stax Records in the early ’60s and then at
American after Stax refused his business; and Larry Uttal, whose Bell Records
cut dozens of pop and soul hits at American in the ’60s and early ’70s.  Today,
Memphis studios continue to have national and international recording stars come
to guzzle the heady stuff in our vineyard.

One of the most surprising
clients of recent note comes straight outta The O.C. Peter
Gallagher, he of the beetle brows.  Gallagher, long a Broadway star and more
recently the father on the wildly  popular The O.C., came to
Memphis this past June to soak up the Memphis Sound at Ardent Records. He hung
with Stax vets Steve Cropper and arranger Lester Snell, along with 3rd-generation
soul stars of Joss Stone’s band.  Another testimonial to the great musicians and
studios that Memphis continues to have.

 

How did this session come about?  Apparently Gallagher sang
Solomon Burke’s “Don’t Give Up on Me” on The O.C. last fall and an
enterprising producer, Mike Mangini (also Joss Stone’s producer), came up with
the idea of cutting Gallagher doing a whole record of soul covers and classics. 
Mangini brought Stone’s band to town and partnered them up with a couple of
Memphis soul legends, producing what will soon be out as a dual disc (a disc
with video on one side; music on the other) as well as a CD.  The CD  is
7 Days in Memphis
.  The dual disc features video of Gallagher cruising
around Memphis musing on his career, as well as on Solomon Burke, on Memphis
soul, and why he is singing soul music.

 

The music itself is solid Memphis soul — with  input
from Betty Wright as well as some of Memphis’ finest players.  While many
critics will dismiss the idea of an actor having a singing career (even though
Gallagher has sung on stage for years), the bigger point of all this, for
Memphis at least, is that the big shots know where to come to get the authentic
soul sounds:  Memphis studios with Memphis musicians (Another film star, Steven
Seagal,  is also one who knows a good thing in Memphis when he hears it —
having announced last week that he is doing a blues record in Memphis). 

Astonishingly,  the Memphis Sound will probably be featured some time this
fall on one of TV’s hottest teenie-bopper show — more proof of  the
staying power of Memphis soul.  Surely, the idea of having a hit record promoted
by a hit TV show crossed Mangini’s mind when booking the sessions; it’s
something any major record label would die for in these difficult days of record
sales.  The O.C. has been breaking indie rock bands like Modest Mouse and
Death Cab for Cutie.  Will they be able to sell soul music to this group of
kids?  7 Days in Memphis comes out next week on Epic. It’s not easy
getting Steve Cropper back to Memphis for a recording session.  Let’s hope there
are more to come.

 

Secret Stuff:
Did one of the members of the White Stripes cut music for a commercial in a
Memphis studio for an unnamed product in an unnamed country this summer?  Is
there a major positive announcement forthcoming for an historical outdoor
mid-town Memphis amphitheater?

 

 

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Categories
Music Music Features

COMMENTARY: Rey Flemings Gets Lucky


New Orleans’ misfortune may have served as Rey Flemings’ Christmas present. Because of hurricane Katrina, the Voodoo Festival of New Orleans needed an emergency location for their festival at the end of October and chose Memphis out of convenience and necessity.

And Flemings needed an emergency fix for his unimpressive two-and-a-half year run, first as head of the Memphis Music Commission and now as the head of the new Memphis Music Foundation funded by Memphis Tomorrow. Regardless of how Flemings has performed, the hurricane may have saved his job.

Much in the way that Flemings took public credit last July for the filming of an MTV Memphis Block Party episode about Hustle and Flow (he seemed not to know that MTV financed the now celebrated film and was putting all of its marketing muscle into ensuring its success – to the point of filming a promotional hip-hop show locally!), Flemings will no doubt be parading the Voodoo Festival as the plum the music commission and foundation have desperately been seeking for years with their public funds. For its part, the foundation may be tempted to see this one-time event as proof of Flemings’ stellar work, as a reason to keep him around for at least another year or two.

Of course, the foundation was seemingly enamored of Flemings even before New Orleans, or else they would surely not have selected him to spearhead their end-around of the Music Commission. Before this festival, Flemings had failed to accomplish much on behalf of Memphis music. He struck out on his two major initiatives — getting MTV to host its video awards in Memphis and staging a major concert in Memphis so as to celebrate fifty years of rock ‘n roll in the city. The only major coup Flemings has achieved has been in leapfrogging from the moribund Music Commission to the less accountable and more Byzantine structure of the Memphis Music Foundation

Almost a year ago, Flemings, who was originally touted as a technology whiz, told me the Music Commission’s Web site would be operating by January, 2005. Today, the site remains unchanged, and in the same uninformative and useless state it has been in for almost four years. The site’s one and only page informs us boldly: “We’re re-establishing Memphis’ Music Industry” Yes, and apparently in the same manner and with the same pace that Bush and Brownie have been saving Katrina victims. Does the Memphis Music Commission, in any real sense, still exist?.

New Orleans’ Voodoo Festival had to land somewhere. Much as was the case with the Grizzlies’ stay at the Pyramid, the financial rewards for the city could be modest at best, given the city’s historical largesse in comping security, rent, and various other amenities for out-of-town corporations. There will probably be a few production jobs that week for locals, and a few Memphis acts will be added on the venue, but the long-term Memphis music impact of this festival will be negligible. Its real long-term impact on the Memphis music world could be that Rey Flemings gets a new lease on life locally.

Unless and until Flemings can get a true Web site going, develop an indigenous Memphis music festival on a par with the Voodoo Festival, or build some other equally needed quality music platform for Memphis, then he should count himself lucky that he is still employed. What Memphis music really needs, though, is a person who can block and tackle — not merely dream up high-sounding schemes that never quite come to fruition.

After two and a half years of minimal results (added on to the previous ineptitude of former Music Commission head Jerry Schilling), Memphis musicians, music businesses, and taxpayers deserve better. As they say, it’s better to be lucky than good – and surely better to be lucky than unlucky.

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Categories
News News Feature

COMMENTARY: How Lowebow Can You Go?

Lowe with some of his bows.

There’s a mad genius cooking up a storm on Central Avenue, in Midtown’s Cooper-Young neighborhood. Johnny Lowe has become a one man wrecking crew, creating some of the most unique guitar-like instruments — made out of cigar boxes, no less. Since 1998, Lowe has made and sold more than 200 of the instruments he calls “Lowebow Hill Harps.”

This unique endeavor began in 1998 with a stray comment from one of Lowe’s customers at his guitar store , Xanadu Music & Books. The customer, Jay Kirgis, an art student whose specialty was making cigar-box guitars as art pieces, happened to remark that no one seemed to be interested in outfitting cigar boxes with a one-string pick-up.

Lowe told him, “Come back next week,” and made him one. The rest, as they say, is history. Lowe continued, “He left me one of his, and I started using one to feedback my amps. I like the sound it made. Then I started performing with a one-string. In 2002, I accompanied Lane Wilkins at the Clarksdale Blues Festival and (it) evolved into a two-string.”

Lowe started making these creations in earnest, and they quickly caught on with the more venturesome species of musicians. Lowe lists some of the players who currently own or play the Lowebow: “Jim Dickinson was one of my first customers. He bought one for [son] Luther.” Other takers: Harry Manx (blues/Indian fusionist); Microwave Dave (blues cat and DJ); Bo Ramsey (Lucinda Williams’ band); Greg Brown (folksinger). “Someone gave one to Lyle Lovett. Richard Johnston encouraged me to design a three-string, and he won the Handy International Blues Challenge in 2001 with it.” Johnston now plays the Lowebow (as he proudly dubbed it) at festivals all over the world, further increasing sales of his instrument. (Lowebows are featured in the documentary about frequent Memphis performer Johnston called Hill Country Troubadour; this can be sampled at www.maxshores.com/johnston/trailer ).

As in any other cult or subgenre, there is a fanatical following for lovers of cigar-box guitars on the internet, based at www.cigarboxguitars.com, which began in Huntsville, Alabama. Lowe was understandably upset when he found out that others were using his ideas to create their own cigar-box guitars. “I used to get mad and cuss ‘em out, but now they hire me for their festivals and tell everyone about me!” Lowe refers to the movement as a “blog culture center,” one that he says has more than a thousand members. Matt Crunk even started a cigar-box guitar festival in Huntsville, Alabama, where Lowe has played and sold his inventions.

While Lowe has several Lowebows on display at his shop, most of the ones he builds now are custom instruments built to spec and sold over the internet. More than 50 percent of his business is online, but Lowe, ever the iconoclast, says he is too lazy to build his own website. When asked why, he replies, “People make ‘em for me!” Indeed, there are at least two websites not affiliated with Lowe that promote Lowebows. Lowe does make a small concession to commercialism by having a toll-free phone number (888- 838-9885).

Gibson Guitars offered Lowe a job in Nashville, but he turned them down. Peavey Guitars had a “conference” with Lowe and Johnston, but they quickly realized they could not mass-produce the Lowebows. Recently, Lowe has spent time making the Lowebows, playing in festivals where he sells the Lowebows and promotes the instruments, and coming up with new music items. “It’s the cornerstone of my business now. It did kind of save my business.” Among his regular festival venues: the Shell, the Clarksdale-at-Cathead Folk Art, the Helena Blues Festival, “Othar Turner’s picnic,” and Huntsville, Alabama. His newest invention is the tambourine-like “Shake, Shake, Shakers” (named after the Jessie Mae Hemphill line) which he makes with leftover cigar-box parts.

Lowe’s one-strings start at $125, and his four-strings cost over $400. With his recent manufacturing and touring successes, don’t expect Lowe’s noisy one-man band to show up playing on Beale any time soon. “Beale Street threw me off for two years after playing there — complaining about excessive noise. Now they don’t let anyone play after 8:00 p.m., and they hire Richard (Johnston) to play inside the clubs. They’re gonna haveta beg me to come now! The last time I played was out front of the New Daisy for Queens of the Stone Age line outside. The Beale St. merchants wouldn’t let me plug in.”

As for the original Lowebow cigar-box guitar, surely now it is a priceless rarity? “I sat on it on my couch and broke it,” he says ruefully. Oh, well. There are plenty more original custom Lowebows from where that one came. Sam Phillips would be proud.

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Categories
Opinion Viewpoint

COMMENTARY: HUSTLE & FLOW FOLLOW-THROUGH

Memphis is in a continued love affair with itself. The hottest topic in Memphis this summer was whether Hustle and Flow was good or bad for the city. The negative side said that pimpin’ and hoin’ added up to a negative image for Memphis to project or portray in a film. Well, having read dozens of articles nationally about the film, I came to realize the only people who cared where the movie was set were Memphians. People outside of Memphis saw the story of the film and the performances; people inside Memphis are far more focused on the locale.

I would venture to say that most people complaining about the image projected in the film did not see it and just like to hate a player. I would say that if you don’t like the image portrayed in Hustle and Flow, don’t shoot the messenger: i.e., the film-maker. My corollary to this point is: if you don’t like the pimpin’ & hoin’ lifestyle presented in the film: A) it wasn’t a documentary; B) do something about it. Memphis is a high-crime, low-education city that needs a lot of fixing. Memphis has many similarities to the poverty problems currently exposed in New Orleans–especially in the neighborhoods Hustle and Flow filmed. If people want to better the city—or at minimum the projected image of this city—they should work with Habitat for Humanity, Memphis Food Bank, Streets Ministries, Bridges, Yo! Memphis, or many of the other fine services out there bettering Memphians’ lives.

Final thoughts on Hustle & Flow:

*The movie itself was far better than I expected. Didn’t even have a happy, sappy Hollywood ending.

*Jay Leno loved this movie. He had 4 (!) guests from Hustle & Flow, including just about everyone but the director. DJ Qualls, Terrence Howard, and Ludacris. After the movie came out, Anthony Anderson made a rare late-night post-release visit.

*David Letterman was too busy creaming over Wedding Crashers to notice the film when it came out and missed the boat. Someone must have just hipped him to it recently as he had Terrence Howard on this week–seven weeks after the film came out and while it is showing in only 122 theaters. Letterman told Howard that he hopes Howard wins the Oscar! It is very rare for Letterman to bring on a star this long after a movie comes out.

*Hustle & Flow has taken in 22$ million in its run so far. I expected it do that much the first weekend, but it is still very successful by anyone’s standards for a movie that cost 3 million to shoot.

*The much-ballyhooed (uh, mainly by me) soundtrack featuring the Bo-Keys actually only briefly featured the Bo-Keys — less than a couple of minutes of screen time. However, the overall sound of the film was rock-solid Memphis: I heard Al Green, great Jason Freeman folk/country, down-in-the-church gospel, and above average hip hop. I also found it extremely ironic that the main song in the film, when Lexus was hitting her parts, “Hard Out Here for a Pimp,” was much more of a soul song—esp. lyrically–than hip hop.

*I have lived in Memphis since 1974. I have never heard a song take over the city and its car stereos like “Whoop dat Trick” has.

*Brewer might have a much more difficult time pimpin’ his next flick, set in North Mississippi about an unemployed blues man and a sexaholic white girl chained to a car, without hip hop stars and hip hop soundtracks. Brewer wisely hedged his bet with aces-in-the-hole Samuel Jackson (who has already gone on Conan, Jay Leno, and the Daily Show just this week giving away hats and promoting the as yet unfilmed movie!) and boy-band superstar Justin Timberlake.

*As far as government cheese goes, I would much rather Memphis government support local artists like Brewer (free rent in the Pyramid for a couple months) than huge international corporations like International Paper ($15 million in tax breaks for 15 years for about one hundred jobs), but did anyone really believe Brewer was going to film a movie set in North Mississippi in Georgia? Please! The Hustle continues!!!

*Let’s hope the music in Black Snake Moan is as exciting and diverse a representation of the body of Memphis music that Hustle & Flow included.

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COMMENTARY: ON THE ROAD AGAIN — AND AGAIN

LUCERO’S ROY BERRY HAS A POSSE

You want your band to make it in the music biz? Tour. Tour constantly. In light of today’s (lack of) radio play, touring is the answer. If you have a good band and you can get past the first 4 or 5 completely awful tours, then you have a decent chance of making it on the road. The odds are against you, but you can square up the odds when you take the plunge over and over again.

Two of the most successful bands from Memphis in the last 5 years have been the North Mississippi All-Stars and Lucero. Why? Incessant, constant, and ad nauseum touring. Both bands have committed to sleeping in stinky vans, sharing fan’s floors or shabby hotel rooms, and playing, playing, playing. Neither band would have reached the level of popularity that they now have without such a strong touring ethic. It is what separates each of those two bands from “local” bands who do not make the commitment to the road.

Constant touring has unforeseen and unpredictable consequences that can help propel a band to new levels of fans. Touring helps bands make their own breaks. One never knows what dj, film director, blogger, or music biz folk are in a crowd when a band takes the stage. More playing increases the odds that more good things can happen to a band. Certainly bands on the road today benefit from increased promotional tools of the internet including web sites touting their tour dates, streaming music, and fan chat rooms. Pictures (or recordings) from a live show can be quickly or even simultaneously posted on the internet, enhancing the chances that new fans can be reached efficiently on the internet. With websites, fans can become fulcrums to propel bands to new levels of notoriety quickly and cheaply.

Lucero’s drummer Roy Berry is currently a recipient of a promotional fan(atic)’s viral campaign. The campaign has been created by a Lucero fan with the name “Royninja” on the Lucero chat board. The campaign promoting the “Roy Berry Army” will soon be taking the awareness of Roy Berry (and Lucero) to a whole new level in a hilarious viral marketing campaign.

The “Roy Berry Army,” “Roy Berry is Your Hero,” or “Royninja” campaign is not dissimilar to the one that revived the long dead image of Andre the Giant in the mid-to-late ‘90s. The “Andre the Giant has a Posse” sticker campaign, created by skaters in Rhode Island who had access to some silk screen and sticker equipment, quickly took over the U.S. first and then spread to Europe and the rest of the world. Their program quickly disseminated stickers and spray-painted images of Andre the Giant in clubs, on street poles and sidewalks, on subways, and everywhere else. Incredibly this image campaign around Andre the Giant was one of the most cost effective and successful worldwide marketing campaigns of all time, even inspiring copycat stickers and several lampoons.

The RBA campaign differs slightly in that the medium of the message has Roy Berry Army members taking pictures while wearing an oversized mask of their hero, cut-out and worn over their face. They then upload the picture, which was ideally taken in a high profile location—the more high profile, the better. The RBA will be very hard to stop as this catches fire. Royninja currently sends the masks he makes to other Lucero fans, but he has no monopoly on the process: he lays out instructions on his website on how other fans can create their own Roy Berry masks.

Berry, who has been a monster drummer in Memphis for over a decade in bands like Royfood, Bobslead Hyena, and the Simple Ones and produced many of the early Grifters tracks, is enjoying some of his biggest success with Lucero these days, recently playing to almost 400 people in Lubboch, Texas on a Tuesday night. It could be the army that’s propelling Lucero to a Japanese tour in September. Who knows what Japan will think of the burgeoning Roy Berry Army?

Images of the Roy Berry Army can be seen here.

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COMMENTARY: ON THE PASSING OF LEGENDS

DEATH BE NOT PROUD

It’s true. I am officially getting old. People I am acquainted with are dropping like flies. This is not a fun experience. Memphis has lost too many geniuses of music in the last ten years. Little Milton is one of those subtle giants who did not get a lot of press but just kept chugging along cutting hits for an amazing fifty year career. He cut on the biggest labels of all time: Sun, Stax, and Chess as well as lesser, yet important, labels Malaco & Delmark! He is already missed.

While musicians are the turbines of the Memphis music engine, there are many other folks who are the grease. Dan Zarnstorff was a very greasy man. Zarnstorff ran one of Memphis’ most wildly eclectic “clubs” in the late ‘80s: the Loose End, which was set in the Pinch District when nobody wanted to be there (A tattoo parlor now occupies the space formerly housing the Loose End). Zarnstorff, a long-time Memphis hippie and photographer, ran the Loose End–how shall I say this—well, loosely. The bar was one-third the size of the Buccaneer and twenty people more than filled the place up. Bands like the Country Rockers, the Marilyns, 611, the Gibson Bros. (Monsieur Jeffrey Evans’ early rockin’ Memphis appearances!), A Band Called Bud, and even Memphis great Alex Chilton packed ‘em in for the club’s short but fun-filled existence. Of course, if the club occasionally had maintained a bartender, it might have remained open longer, but Zarnstorff was so into the music that he would disappear for the lion’s share of the evening. The bar would end up becoming self-serve or no serve, most likely curtailing the evening’s beverage sales and receipts. Many great Memphis bands received an early push at the Loose End at a time in Memphis club scene when no one else would book or promote them.

Times changed and The Pyramid came to town. Real estate speculators forced small businesses like the Loose End–which had evolved into the Epicenter after Dr. Quackenbush’s dire (yet, as of 15 years later, unfulfilled) earthquake predictionns of the early ‘90s–into oblivion. Real growth in the Pinch did not begin until this year, after the Pyramid has been all but shuttered. The city should have given Zarnstorff the $60 million that they spent on the Tomb of Domb instead of Sidney Slinker, and everyone, including the Pinch, would be much better off. Zarnstorff will be remembered by his great Memphis musician photos and prints as well as the beautiful, multi-colored paintings he created on the back of the Overton Park Shell. Thank you, Dan, for the great times in the Loose End!

Finally, I would be remiss not to mention the death of Robert Freeland of Oxford, Mississippi. Mr. Freeland was yet another music enabler who first took me (and many others) to Junior Kimbrough’s juke joint in Holly Springs. “You wanna go to a juke joint?” he asked a group of us one Sunday in 1991. Does a chicken have lips? Of course; who wouldn’t? We didn’t even know juke joints still existed. Upon arriving at Junior Kimbrough’s, we discovered his juke joint was an otherworldly, psychedelic soul source in the middle of the farmlands of Holly Springs. We had truly expected nothing from this shack held together by blues, Budweiser cans, tin, a light bulb, and Good Times paintings. Actually, it was in fact the epicenter of American music in the middle of those fields. (Junior to Charlie Feathers to Elvis for starters then Junior to Iggy Pop to the Beastie Boys and Spiritualized by the end of the ‘90s…) In a word Junior’s was the most magical, timeliest place I have ever been in. Very rarely does one find oneself in the eye of the hurricane at the perfect moment and live to tell about it, and that is exactly what being at Junior’s was like on a good night. I will be forever in debt to Robert Freeland for giving me that once in a lifetime experience. “Junior, I love you…”

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