Words matter. These are the best Memphis Quotes from famous people such as Cybill Shepherd, Mac Davis, Elaine Chao, Kimbal Musk, Morgan Freeman, and they’re great for sharing with your friends.
No, I always hated modeling. I developed an early hatred of modeling just from having to do it; having won Miss Teenage Memphis, I had to model, and I hated it. It bored me.
I met the Colonel when Elvis was recording some song I’d written for one of his movies. Elvis was just having fun with the gang and all the Memphis boys and Colonel Parker was sitting over here in like a theater seat.
Nan Gorman was born in Memphis, Tenn., on St. Patrick’s Day. She moved to Hazard in 1929 when her father, James Hagan, a recent medical school graduate and aspiring surgeon, went to work there.
Memphis is a vibrant and diverse city that is on the verge of a Real Food renaissance. We are more than thrilled to be part of that movement by investing in the Crosstown and Shelby Farms Park developments.
My parents were working in a hospital in Memphis. But I didn’t live there for any length of time that I remember. The first thing I remember is the town in Mississippi that I live in now, Charleston.
What I most look forward to about traveling to MEMPHIS is the great food.
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 made it real clear I wanted to play in Orlando. Part of it was Shaq. But I also just liked Orlando. It’s not all glitzy and reminds me of Memphis.
I often thought that if I had been working with Mark James at American Studios, I would have had a pop hit before I ever moved out of Memphis. But that didn’t happen.
The University of Memphis didn’t have the flashy profile or the national exposure. It’s a great university. I love the offense. I love the atmosphere, the big city. They have everything I want. The only knock against them is they are not a great team.
In Memphis we don’t talk. We ball.
When I go back home, I feel like Michael Jackson in Memphis. They love me.
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 Memphis Grizzlies’ are always a great defensive team and defense is one of my strengths, so I think that’s one thing that I can bring to this team.
I have a tattoo that I got in Memphis, and another I got in Dayton.
I always liked making the ‘vibe music’ more ’cause I feel like you can get more creative on it. Memphis is for sure like the grimey. In my hype music, the Memphis comes out of me – but when I try to vibe, I feel the Caribbean culture come out.
Not really anything wrong with Memphis. New York is just more where I wanted to be.
‘Memphis’ lives in me, and I’m bringing it around the world.
My mom and dad are from the streets. My mom’s from Chicago. My dad’s from Memphis. My dad got out of school and got with my mom. They were hustlers. They were from the streets. They were doing their thing. The streets ain’t got no love for the streets. You can light up the streets, or be a victim of the streets.
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 grew up in Memphis, Tennessee. Big time blues and music city. It’s always been in my bloodline.
Anytime I was in Memphis with my dad and at the house, I was happy. That was, like, a given. It was what I lived for. And I still feel the same excitement and warmth.
You have pretty much the same fan base in Memphis, year over year the same group. We watched teenagers in the stands become parents. You’d see little kids become young men and women. Those relationships mean much more than just basketball.
I watched a lot of great players come through Memphis.
Real respects real, so if you can get Memphis to love you, you have to have something real there. Memphis doesn’t just support anybody.
I would have to honestly say that my biggest regret is even starting this sport. I think I would’ve lived a different life if I would’ve stayed home in Memphis and worked at the family business. I’d be closer to my family and growing old with them instead of living out at California.
I got a studio built in my house, so I was recording there in Memphis and Atlanta. Those two environments give me that street feel.
I can only speak for myself, but when I was growing up in Memphis – and having the Martin Luther King holiday and the moment of pause on April 4th – he was just a statue to me. I wanted to make him a little bit more real to me as a human being.
Initially I thought I’d get to Memphis and freak out, I thought I was going to feel so inadequate but I got there, and something grabbed hold of me and I just knew this was my arena.
I want to see the Memphis flags waving on the cars. I want to see the T-shirts going again, the hats going again like the old school days, and that’s what we want to take it back to.
I sang in church growing up. Memphis is the blues capital of the world, we like to say.
Memphis don’t bluff. It’s a tight knit community.
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.
Growing up in Memphis, I have always admired St. Jude’s for the magnificent work they do.
We won’t look at New Orleans, St. Louis or Memphis again without thinking about making ‘Mississippi Grind.’ We have a lot of memories.
I picked all the tunes before I went to Memphis, and the band was all set. Willie Mitchell is an arranger like I am, and he let me do what I had to do.
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.
People in Wynne told me I’d never win a game at Memphis and I’d never play in a bowl game. But I knew we’d turn it around.
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 love the Memphis sound. When I was 16-and-a-half, with my driver’s permit, I was playing New Jersey clubs in a 10-piece band; we had a horn section and would play great, great songs like ‘Hold On! I’m Comin” and ‘Knock on Wood’ and ‘Midnight Hour.’
I was in the ministry for some time. All my family is immersed in a black church in Memphis.
In order for me to get right, I had to go back to Memphis, I had to close myself in, get in the studio, lock in, and just think about everything before all the ice, before the money, before everything, and just vent.
Memphis is the place where rock was born and Martin Luther King, Jr., was killed. It’s full of contradictions, abject poverty, and riches that only music can provide.
In 1968, the sanitation workers of Memphis tried to form a union. The city resisted. The Rev. Martin Luther King, Jr. came to support them. That was where he lost his life.
I spent a few years here in Memphis, in the late ’70s and early ’80s, where I was studying a lot of country blues players and their styles. So it seems like every record I’ll do, I will appropriate these blues styles that I remember.
As far as Memphis being underrated, I feel like a lot of people have slept on Memphis music when it comes to breaking through into the mainstream.
My dad was a congressman, and he taught me at a very early age, ‘They voted for me, they view me as theirs, and I am.’ Our family’s phone in Memphis was always listed. It rang all day and all night.
I used to play – when I first started trying to be professional, I disk jockey from 1949 to 1955 in Memphis, Tennessee, and I was quite popular there as a disk jockey.
I used to be sick of the backroads of Minnesota. I had to drive 30 miles to get home every day, take the schoolbus for two hours. But to drive through America and see the backroads, from Nashville to Memphis, Lovick to New Mexico, was incredible. It was probably the greatest trip of my life.
I like to go back to Memphis, where I started it. I might sit in the hood for three days just putting myself back there.
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.
Talk about full circle, I never saw this coming. It wasn’t like I said, ‘Someday, I want to be the head coach at the University of Memphis.’
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 get advice from all the producers who have come out of Memphis. They just give me advice on the business side, because that’s most important besides the actual music. Just staying at a point I know I can’t mess myself up. I just got to be put up on game about it. Drumma Boy and Memphis Track Boy taught me a lot.