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" Director moves on to Gibson. "
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By Norm Shaw
When David Less is asked to name his biggest accomplishment after three years as head of the Blues Foundation, you expect him to pause and consider his answer carefully. After all, under his leadership the foundation has: Increased its budget from $65,000 a year to more than $700,000. Grown from a single staff member to six members. Introduced a weekly radio show. Increased the number of special events, and seen the W.C. Handy Awards grow in size and stature. But Less doesn't hesitate at all. His greatest accomplishment is obvious, he says. "I'm proud I get to replace myself," he says with a laugh. "I wasn't always sure I'd get to do that." Less came to the Blues Foundation in 1993 as the first paid executive director. The foundation had been marred by internal struggles, financial woes and a general lack of organization. What Less brought with him was a strong background in promotion, entertainment and music. The 44-year-old Less began his career in record stores, including five years at Pop Tunes, and writing for various music publications. At the same time, he was working on a master's degree from the University of Memphis in African-American music, with a special emphasis on Memphis music. He received a grant from the National Endowment for Humanities to study Memphis music from 1930-'55. "I was sorting down the road to academia, and then anticipated video music. It seemed like a logical thing that was going to happen, so I went to work for a TV station, WKNO, in 1979 to learn about TV," he says. "Then in 1980 I went to work for a company called International Video Music Channel in Austin, Texas, which went on the air with a 24-video music format before MTV. We launched in April, and they went on in August." Less returned to Memphis to start a new music-video production company. Ironically, he says, their show was more like what MTV is now. On in 65 markets, the show was produced in one-hour blocks. The project lasted three years, but "it was going to take more money than it was worth. We we're competing with national organizations and sponsors out of our little mom-and-pop shop." Less then went to work for the Belz family at the Peabody, putting on special events such as rooftop series. In 1988, Less went to Mud Island as general manager and was there when the transition to the Schlenker Cos. took place. He went to work for Schlenker for a year, but left to return to consulting. He then joined the Blues Foundation. "I came because I knew Pitt Hyde was making a commitment to the organization, and I know what he brings to the table, not just financially but when he gets interested and serious about something and you have his support, that's worth more than all the bad reviews," Less says. "At that time, if I could come into the office and answer the phone, I was doing a pretty good job. "It was really in a state of dishevel and transition. They were already doing things like they had new by-laws, and the board had been decimated to the point that there were 30 board seats and only 14 board members. So I knew there was an opportunity to get a new board. I didn't feel like I could miss." Less said he spent the first three months of his new job listening to people from all over the world yell at him about something the Blues Foundation did wrong. Less says with a laugh, "I said listen, I didn't do this." "I'd say, 'Look, you just have ask yourself one question. If there was not a Blues Foundation, we'd just have to invent one, right? So let's fix it. Let's forget about the problems of the past and move forward.' Most people got that. They just needed to yell at somebody." What Less has helped mastermind in three years is major growth for the foundation. The foundation oversees the various Blues Societies around the world. It has grown to more than 50 societies, with members in 12 countries. The budget has grown from $65,000 to more than $700,000. The Handy Awards, once in danger of dying as we know them, are now a model event. Through it all, though, there is still a lack of respect or knowledge about what the foundation does. And the worst recognition may come right here in Memphis. Less calls it the "Rodney Dangerfield I get no respect" syndrome, but after years of battling it, the third-generation Memphian has come to terms with the city's apparent lack of interest in its heritage. Outside Memphis, the support continues to grow. Less cited his new employer, Gibson Guitars, as a key backer. Most of the funding comes from out of town, from record labels. Less cites Hyde and Graceland for their continuing support. "We had to come to an awareness that we are based in Memphis, but we are a national organization, or you say I am a Memphis organization. It's very important that you understand who you are and continue to proceed with that. Because if you are Memphis organization, you go to the FedEx's and Promus and Harrah's and you say, 'I'm this, this is what I do for the city.' Then you ask for support. "And there are a lot of really worthwhile organizations like that. The ballet is one of them, that is here and is an amenity of the city. We're based in Memphis, but we're a national and international organization. We promote the city and we're proud of the city. That's why we call the radio program 'Beale Street Caravan.' But with the exception of a few really outstanding citizens, our support level is not that great." It is possible the radio program can help change that. "Beale Street Caravan" will be on the air in more than 170 markets (in Memphis, it is on WKNO FM-91.1 at 11 p.m. on Saturdays). The show is hosted by the Memphis Horns - Wayne Jackson and Andrew Love - and features live recordings and special-guest segments. "Beale Street Caravan" is Less' parting project at the Blues Foundation. He is leaving to join Gibson Musical Instrument Co. to work on special events. Gibson is building a new manufacturing plant off of Beale Street, but Less won't be involved with the day-to-day operations at the plant. He said it is too early to completely define his role, but he is excited about the change. "When you do a job like this, you bring good ideas and hope you can make positive changes," he says. "Now it's time for someone to give it a fresh look. It should not be my organization. It is an entity unto itself. I didn't found this thing." No, he didn't found the Blues Foundation. But he may well have saved it. And for that, Less will always have a special place in the foundation's history.
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