"Pronounced Cha-Ne" -- Yall Magazine

When I was living in Portland, Maine, I even saw some of his stickers there and wondered about them. I hope he'll break big someday. This was my first piece for Yall, when they said they wanted to write about interesting Southern people, without it looking like a Southern People magazine.

Across the South, the name Chane is becoming known. On the backs of car windows, in places of honor normally reserved for Oakley stickers, more often you will see an oval sticker emblazoned with the word, “Chane.”

Beside the ubiquitous oval logo, you might also see a black “Somå” or a sticker with “Swell Sk8” on it. These are all labels attached to Chane, a unique man from Jackson, Mississippi. Chane is sometimes incorrectly called a fashion designer. He prefers the term “lifestyle designer.”

“If I feel like I can be creative with it, I’m going to design it,” he says. So far, he has been creative with clothing, skateboards, furnishings, and furniture. He is a one-man industry in Jackson, with four different stores in the arts neighborhood of Fondren: Swell, Etheria, Somå, and Studio Chane. In September, he is planning to open a fifth store in the same neighborhood, Dwello @mosphere. This might be his most audacious idea yet. Dwello @mosphere will be a showroom in a loft, a place where customers can browse and see the furniture in use. Chane is making this possible by making the store his home.

“I could have the perfect scenario. You know, the most crisp, clean designed museum to live in, where I’d never get tired of my surroundings, because it’s constantly being sold.” To him, this is not just thinking outside the box. He refuses to get inside the box in the first place.

Cowboy Mouth -- Yall Magazine

This was my most contentious piece ever. The editor of Yall loved the idea. The band loved it (and the publicist loved it, of course). My photographer colleague, Tom Beck and I met them in New Orleans, I wrote it, and we submitted our work. The photo editor kept asking Tom for different shots - the editor had no idea what he wanted, and he apparently was still in college. The editor I was dealing with had left and the publisher was running things. He decided that he wanted a Southern People and bumped this story without notice for one issue. No big deal, except that, in doing so, the band released a live album in the interim and their publicist wanted that in there now. Further troubling things was that the publisher changed his deadline for work three times, finally calling me and saying he needed a rewrite and could I do it in 10 days? I told him I could. He called me 2 days later and asked where it was. I told him I still had 8 days. He said he meant 2 days, but said 10. I sent him a rewrite, which someone reedited, and they published it. This is the version I originally submitted.

November 28th, the night after Thanksgiving. A crowd approaching one thousand men and women have come in out of the cold and filled Howlin’ Wolf, a music club in the warehouse district of New Orleans. The patrons, who have been warmed up by local punk-pop band, Gang of Creeps, and by a three-song reunion gig by The Red Rockers, generate happy, anxious excitement. They crowd the stage, awaiting Cowboy Mouth, one of the South’s favorite bands.
When the band takes the stage, an eruption of cheers that would be more at home in a stadium greets them. With little ceremony, they launch into “Light it on Fire,” a barnburner guaranteed to create a roar. It does. By the time they tear into their second number, “Disconnected,” the crowd is moving as one organic unit, almost desperate to absorb the band’s energy and return it to them tenfold. In return, Cowboy Mouth does their level best to blow the audience out the front door.

Standing front and center, Fred LeBlanc, the Mouth’s lead singer and drummer, pounds the skins and exhorts the fans to cheer, to jump, to take part in the show. The front man and chief cheerleader, he builds energy both on and off the stage with his ferocious drum work, his vocals, and his interaction with the crowd. He brings them into the show, refusing to let them be passive witnesses to the performance. There are no passive witnesses.