The Labor Department's Hall of Honor recognizes men and women - like Cesar Chavez, Helen Keller and the Workers of the Memphis Sanitation Strike - who have made invaluable contributions to the welfare of American workers.
I'm completely absorbed by Peter Guralnick's definitive, two-part biography of Elvis Presley: 'Last Train To Memphis' and 'Careless Love.' Meticulously researched, this is a compelling mix of history, myth-busting, and, of course, some timeless music.
I hitchhiked, took trucks 'n' trains - anything that would pick me up. I stopped in Memphis for about six months and they found me and come got me. Stayed about a month an' split again.
The beginning of the shows are different. One time we'll say 'Hello, Denver'. Another time we'll say 'Hello, Memphis'. It's always different.
I'd been to Memphis before, but we stayed out of Memphis early on in the late 70s for obvious reasons. People were very sensitive about Elvis Presley, and my stage name obviously would be provocative to some people in that area at that time.
Before 'Memphis,' I had never considered working on a musical. But when Joe DiPietro sent me the script, I heard the entire score in my head.
I love Memphis, and just being there affects one's outlook.
The Faces do not, as some have recently alleged, play badly. They are more than competent, especially at creating a mid-Sixties Rolling Stones-styled groove, as their excellent version of 'Memphis' proves.
Throughout the '50s, tons of unknown locals came through Sun to record their demos. Elvis Presley, Johnny Cash, and Jerry Lee Lewis all made their first recordings at the former Memphis Recording Service.
After college, I went to Alley Theatre in Houston to work in their apprentice actor program. I thought I was gonna get discovered. It didn't happen. I moved back to Germantown, Tennessee, outside of Memphis, and taught at my old high school.
I love Memphis, I guess you could say, in the way that you love a brother even if he does sometimes puzzle and sadden and frustrate you. Say what you want about it, it's an authentic place. I was born and raised in Memphis, and no matter where I go, Memphis belongs to me, and I to it.
Memphis don't bluff. It's a tight knit community.
My own experience with trains dates to long-ago childhood trips with my family in Mississippi to see my grandmother off at the station in Jackson, bound for Memphis.
I grew up in the 1960s in Memphis, and my father was a member of the American Civil Liberties Union. I was born three years before Martin Luther King was killed, and I think that history of civil action was something that I had in my blood.
I think Jerry Lee is sad. As a musician, he was far more talented than Elvis Presley. Everybody down in Memphis knows that. Elvis became a movie star because he was beautiful. Not that Elvis wasn't talented, but Jerry Lee Lewis was incomprehensibly talented as a musician.
I grew up Southern Baptist, so my experience was fairly conservative. Not archly so, but I think Memphis - when you get to certain parts of Memphis - are more liberal for sure. But I grew up, until I was about 13 or 14, in a section called Whitehaven, and then we moved to a suburb called Germantown - which is a pretty conservative area.
The thing about Memphis is that it's pleasingly off-kilter. It's a great big whack job of a city. The anti-Atlanta. You go there, and you can't believe the things people will say, the way they think, the wobbling orbits of their lives. There's an essential otherness.
The friendship I had with Elvis began to take shape in 1968 when I was recording in Memphis. I'd record during the day, and Elvis would send one of his guys over to bring me to Graceland at night. Everything you've heard about Graceland during Elvis's glory days is true and then some.
For me, Memphis has always been a city that holds a great deal of meaning and also leads me to a lot of thinking. Besides Sun Studio, which helped put rock n' roll on the map all over the world, the legendary Stax Studio also called Memphis home.
I've made it clear for some time if somebody came up with the right offer, I'd consider selling the team. It wasn't a secret in Memphis or, really, around the country.
I could not see myself going back into the studio without Tommy Dowd, our beloved producer who passed away in 2002. Then in 2009, Michael Lehman, my manager, really pushed me to meet with T Bone Burnett. I ended up meeting with T Bone in Memphis, and we hit it off right away; I knew he was a guy I could work with.
I majored in Southern history in college, and much of my early work at my first job - as a staff writer at 'Memphis' magazine - focused on race relations.
When I went to Memphis and Mississippi and Nashville, I learnt the blues is a whole way of life. I don't really have the blues, but I can appreciate the honesty and the simplicity of it.