Misti Rae directed and created all of the imagery in the music video, which was edited by Laura Jean Hocking (who, in the interest of full disclosure, is this columnist’s wife). “Creating my own music video from my art has always been a dream,” says Misti Rae. “Following my dream helped me to survive a nightmare: the pandemic. I hope the song and video help you along in your healing journey as creating and sharing it has helped me in mine.”
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
Here in Memphis, we’re accustomed to seeing groups of Elvis lookalikes around town. But imagine 300 variations of Santa Claus going up and down Beale Street. Yet that is exactly what happened on Sunday, April 28th, as attendees to the International Santa Celebration ended their convention with a jolly parade on Beale.
The event is held every two years with the primary host being IBRBS (the International Brotherhood of Real Bearded Santas). There were dozens of workshops at the Renasant Convention Center covering everything from marketing and using social media to working with special needs children to wardrobe tips to using American Sign Language to the technicalities of booking agreements, and much more.
Zendaya is Tashi Duncan, tennis phenom who catches the eye of childhood frenemies.
There’s an old saying in Hollywood: Men like movies where things explode, women like movies where relationships explode. Well, ladies, Challengers is here to bring the boom.
I know this is the 2020s, Hollywood has always been sexist, and things are not nearly as binary as they once seemed. But we can all, as moviegoers, agree that we like to watch beautiful people doing stuff. In the case of Challengers, “stuff” is tennis and sex.
The people involved are all beautiful to a point that challenges the anatomically possible. Take Josh O’Connor, who plays vowel-challenged tennis pro Patrick Zweig. The sizzling 33-year-old has done so many crunches, his six pack abs have evolved into an eight pack. I know this because I counted his quivering abdominal bulges during the extended nude scene with his frenemy Art Donaldson, played by the also-nude Mike Faist. When Patrick corners Art in the sauna to confront and/or make peace before the championship match which serves as Challengers framing device, Art greets him with “Put your dick away.” But this is not that kind of movie.
Art and Patrick have been friends since they were 12 years old, when they were roommates at an elite tennis academy. The doubles partners are so completely obsessed with making it in professional tennis, they ignore the simmering sexual tension between them. But one person who can see it is Tashi Duncan (Zendaya), the hot tennis phenom who catches Patrick’s eye, and also Art’s eye, as she demolishes an opponent on center court. When they approach her at the after-party, she gives an impromptu lesson on the art of the game. One can not truly play tennis at the highest level until one can fully know their opponent’s strengths and weaknesses. “Tennis is a relationship,” she says.
Being Zendaya, she’s naturally irresistible to Art and Patrick, who invite her back to their room without specifying who is expected to do what with whom. Tashi’s got an idea, best summed up as “Let’s you and him fuck.”
After the late night hotel scene devolves into ménage interruptus, Tashi declares that whoever wins the Junior Championship match between Art and Patrick gets her phone number.
When Art and Patrick next meet on the court, it’s not at the U.S. Open, but 13 years later at Phil’s Tire Town Challengers Tournament in New Rochelle, New York. It’s the bottom of the barrel in professional tennis, and that’s where Patrick lives now. More accurately, he lives in his Honda in the parking lot. Art is a major tennis champion on the comeback trail after shoulder surgery. He’s here to pad his win numbers by beating up on some chumps. That was Tashi’s idea. She’s his coach now, after suffering a gruesome, career-ending knee injury in college, as well as his wife and baby mama. Their three-way sexual obsession will come to a climax on the court.
That not-so-subtle pun is inspired by Luca Guadagnino. The Italian director never saw a phallic symbol he didn’t want to wave in your face, including rackets, strategically placed balls, and, in one homoerotic tour de force, churros. He’s banking on Zendaya’s star power to bring his film across the finish line (to mix my sports metaphors), and she’s perfect at playing a terminally competitive obsessive who gets turned off when her lovers don’t want to talk tennis in bed.
Challengers is visually stylish with a throbbing Reznor/Ross score. Its biggest problem is that all three of its main characters are irredeemable jerks, so it’s hard to root for anyone in this love triangle. If Guadagnino’s purpose is to show how a life focused solely on competition is an empty existence, punctuated by hot but ultimately unsatisfying sex, then he wins game, set, and match.
Patrick Carey cut his teeth in the storied Athens, Georgia, music scene. He and longtime collaborator Matt Stoessel form the core of Out on the Eaves. They recorded their first album as Out on the Eaves, The Ride Out at Memphis Magnetic Recording with Scott McEwen. “The album carries through it a clear sequence of timeless concepts,” says Carey. “A need for a home inside us and for peace within it. A place within us we can always come back to, yet how to find peace without it. A bargain we make to remain independent of fear. The boundaries we reshape for love.”
The Ride Out was released on Red Curtain Records. Carey says the single “Gardening Light” is “… a Southern Gothic scavenger hunt across chiming valleys and ghost strewn hillsides, with sweet maple steel and burnt honey harmonies calling you along to the heart of the horizon.” In the video, directed by Leanna and Patrick Carey and shot by Sean Clark, the singer walks through a lonely forest, looking for a lost keepsake.
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
A couple of premieres takes on all comers at the box office this weekend, including interesting holdovers and a couple of notable anniversary re-releases.
Challengers
Zendaya stars as Tashi Duncan, a teenage tennis whiz who must rebuild her life after she suffers a career-ending injury. She reinvents herself as a coach and marries Art (Mike Faist), a fellow tennis champion, and coaches him to success in the pros. But when Art’s career takes a turn for the worse, he must face off against his arch rival Patrick (Josh O’Connor), who just so happens to be Tashi’s ex. Fireworks, both personal and professional, ensue.
Boy Kills World
Bill Skarsgård, who you might remember as Pennywise from It, stars as Boy, who is actually a man. The Boy-man’s family is murdered by Famke Janssen, who was the best Jean Gray in any X-Men movie, but I digress. Rendered deaf and mute by the attack, Boy is rescued by a mysterious shaman (revered stuntman Yayan Ruhian) and taught the means for revenge. Bob’s Burgers’ H. Jon Benjamin provides the voice in Boy’s head.
Civil War
Alex Garland’s searing cautionary tale about an America at war with itself is an unexpected hit. Kirsten Dunst stars as Lee, a journalist on a mission to get from New York City to Washington, D.C., to interview the President (Nick Offerman) before the White House falls to the Western Forces. In this clip, Lee and her partner Joel (Wagner Moura) try to buy some gas in West Virginia.
Alien
Ridley Scott’s seminal sci fi horror film returns to theaters for a victory lap on its 45th anniversary. Sigourney Weaver’s star-making turn as Ripley set the standard for tough-girl protagonists for decades. The alien xenomorphs will be the most terrifying screen monster you’ll see this, or any other, year. Take a look at the original trailer from 1979, which causes 21st century horror trailers to hide behind the couch.
Little Baby Tendencies at Cooper-Young Porchfest ’24 (Photo: Chris McCoy)
Last Saturday, April 20, 2024, was the fourth annual Cooper-Young Porchfest. More than 100 bands played on porches, in driveways, and on lawns all over the neighborhood. The weather was cool, and it was a little cloudy, but the tunes were hot all over the Coop.
I was there with a camera trying to see as many sets as I could, which was just a tiny fraction of the talent on display. In the “Cooper-Young Porchfest Mixtape” you’ll see performances from Bluff City Vice, Cloudland Canyon, Dead Soldiers, Little Baby Tendencies, Above Jupiter, and the Walt Phelan Band, with a little bit at the end featuring Moth Moth Moth’s front lawn drag show. Settle in for some of the best music the Memphis scene has to offer.
Fallout works as well as on the TV screen as it does in the
computer monitor.
Everything’s been adapted into a movie. Since the time of the Lumière brothers and Edison, moving picture producers have frantically looked around for things to base their stories on. If these things come with a built-in fanbase, all the better. Short stories, novels, poems, Shakespeare, musical theater, folklore, urban legends, fairy tales, pulp science fiction, high fantasy, romance, board games both real and fictional, animated versions of live action films, live action versions of animated films — you name it, somebody’s made a movie of it.
But video games are one medium that filmmakers have persistently had trouble translating. Since even the most primitive games have to have a character to identify with and a modicum of story built in to help the action feel meaningful, you would think it would be easy to do. But all you have to do to disabuse yourself of that notion is look at a few minutes of 1993’s Super Mario Bros. The writing was on the wall long before The Angry Birds Movie took its place among history’s worst attempts at entertainment. Last year’s big hit The Super Mario Bros. Movie was, if not a masterpiece, at least a crowd-pleaser.
Future attempts to adapt video games (and you know they’re coming) should study Amazon’s Fallout. Based on the video game series that began in 1997, this Fallout is produced by Westworld’s Lisa Joy and Jonathan Nolan, who also directed the limited series’ first three episodes. The premise of the Fallout games begins with a global thermonuclear war in 2077.
You are usually someone who survived the initial conflagration in one of the several dozen self-sufficient underground vaults located around the ruins of the United States who emerge after a couple hundred years hiding from the radiation. The new world is full of recognizable bits and pieces of the old, remixed with fire and time to create a fantastical (and fantastically dangerous) landscape. The stories that unfold in the post-apocalyptic world are usually basic fetch-quests, but it’s the richness of the world-building, and the dark jokes that emerge when you look too hard at the details, that has made Fallout such an enduring title.
The showrunners wisely avoid a slavish retelling of one of the stories from the games, although elements of the classic stories, such as the broken water purifier which acts as the first game’s catalyst, do occasionally surface. The pilot begins on the day the first bombs fell. Affluent Los Angelenos of 2077 are obsessed with the trappings of 1950’s and ’60s America, right down to hiring TV cowboy Cooper Howard (Walton Goggins) as entertainment for a kid’s birthday party. He and his daughter Janey (Teagan Meredith) survive the initial bombings by riding away on horseback. When we next see Cooper, he has mutated into a red-faced undead ghoul whose nose long ago rotted off (or, as we come to learn, was perhaps harvested for spare parts by Snip Snip, a rogue medbot voiced by Matt Berry). The Ghoul is now a bounty hunter, roaming the Wasteland catching and killing humans, mutants, and other creatures in exchange for vials of drugs that keep him alive — or at least suspended between life and death.
In Vault 33, underneath what used to be suburban Los Angeles, Lucy MacLean (Ella Purnell) is ready to get married. Since she’s cousins with all the guys in her vault, she follows tradition and sends a telegram to Vault 32, asking for a breed-able male. Instead of marital bliss, 33 accidentally open their doors to raiders from the above world, led by Lee Moldaver (Sarita Choudhury). The vault dwellers barely survive the raid, and Lucy’s father Hank (Kyle MacLachlan) is kidnapped in the process. Lucy defies her vault’s ruling council, led by Betty (Leslie Uggams), and opens the door to the outside world to go looking for her father.
Meanwhile, Maximus (Aaron Moten) is not having fun. He’s a squire in the Brotherhood of Steel, a quasi-military, quasi-religious secret order who search out surviving pre-war technology to use for their own ends. The fascistic order ain’t easy if you’re on the bottom rung of the hierarchy, so Maximus is elated when he gets the nod to accompany Knight Titus (Michael Rapaport) on a mission into the wasteland to find Dr. Siggi Wilzig (Michael Emerson), a scientist who has escaped from the high-tech facility known as the Enclave with some sensitive technology whose function is a mystery. Once they’re on the ground, the cruel Titus is injured, Maximus lets him die, then takes his power armor to seek his own fortune.
These three characters’ lives and destinies intersect in strange ways out in the American Wasteland, where nothing is ever quite what it seems. The show mines the game’s long history mostly for vibes. Watching the Brotherhood’s iconic power armor lumber through the ruins is a big thrill. The whiplash mixture of extreme danger and black humor work on the TV screen as well as in the computer monitor. The game’s stories are kept pretty basic on purpose, so that your game play experience can fill in the emotional gaps — after all, those ghouls are shooting at you! The casting gives this adaptation a crucial edge. Purnell’s wide-eyed “okey dokey” and matter-of-fact approach to violence are perfect. Moten’s Maximus is a tightly-wound ball of trauma who you want to see do the right thing, but who often doesn’t. Goggins dominates the screen with ghoulish badassery, but then reveals a more complex side over time. Fallout’s popularity is heartening, as it shows an appetite in the audience for moral complexity to go with the game’s gonzo visuals.
Playing with Hulett in the Hand Me Downs are Leh Sammons, Ben Church, and Jonathan Schallert, and Jacob Church, who also engineered the new album Little Windows. The video for the first single, “See Her Again” was directed by Nicki Storey. It’s simple and sweet and, like the song, sincere. Take a listen.
If you would like to see your music video featured on Music Video Monday, email cmccoy@memphisflyer.com.
We have four theatrical premieres and a space-tastic IMAX offering in Memphis movie theaters this week.
Abigail
14-year-old Alisha Wier stars as the daughter of a gangster who is kidnapped by a group of criminals looking to ransom her for $50 million. But our anti-heroes are in for a rude shock, when they discover Abigail is a vampire. She’s not trapped in here with them, they’re trapped in here with her.
Sasquatch Sunset
Graceland owner Riley Keough and Jesse Eisenberg star as a pair of sasquatch mates trying to make it in work in this crazy world. Kumiko The Treasure Hunter’s David and Nathan Zellner direct this mostly wordless comedy about love and our relationship with nature.
The Ministry of Ungentlemanly Warfare
Action-comedy maestro Guy Ritchie returns with this semi-comedy about the Special Operations Executive, a rogue British unit in World War II who pioneered the art of sabotage. Henry Cavill stars as a Gus March-Phillipps, who sets out to find a German submarine base, and steal some cargo ships while they’re at it.
Deep Sky
See the latest scientific discoveries from the James Webb Space Telescope in stunning IMAX. This short (40 minutes) cosmic documentary will leave you speechless.
Spy x Family: Code White
The undercover anime family goes on a road trip that unexpectedly holds the fate of the world.
Monkey Man
Don’t sleep on Dev Patel’s supremely stylish beat-‘em-up. Patel directs and stars as The Kid, a down-on-his-luck dishwasher at a swanky New Dehli nightclub who is secretly an assassin out for revenge against the politicians and priests who destroyed his community. If you’d like to see the ruling class of India get its collective ass kicked, this is the film for you.
Ennio
On Thursday, April 25, Crosstown Arts presents Ennio, a documentary retrospective on the career of one of the greatest film scorers ever, Ennio Morricone.
Sarah Houston kayaks the Mississippi. (Photo: Courtesy Protect Our Aquifer)
Huge cypress trees rise from placid waters of the Wolf River, moss clinging to their trunks. This land where the Wolf’s channels widen and the flow slows in Fayette County is called the Ghost River. It is one of West Tennessee’s most beautiful natural wonders.
Jim Gafford knows the magic of the Ghost River. As recreation coordinator for the Wolf River Conservancy (WRC), he leads paddling trips on the first Saturday of every month along different sections of the 100-mile-long Wolf. “The water is a natural element to everybody. If you get on the water, it supports you, it relaxes you, it has a calming effect on you,” he says.
Jim Gafford (Photo: Courtesy Wolf River Conservancy)
Nowadays, the Ghost River is a Class I Scenic-Recreational State Natural Area. But it wasn’t always like that. It’s hard to believe that, as recently as 1995, the ancient wetland was almost destroyed. “The Conservancy was founded in ’86,” Gafford says. “In the mid-’90s, we found out that Peter Beasley had sold the Beasley Plantation to a development company. The development company actually published plans to go in and harvest all of the cypress and all the usable timber in the bottom land, and then sell off the land into what they called ‘farms’ — they were just narrow strips of land with river access that would have no restrictive covenants at all. So people could have purchased the land and done what they wanted to with it and just have a little access to the river. Our first conservation effort was to save that 4,000 acres from development. Fortunately, we were able to, and we’re still using it now. It’ll be here for thousands of years and allowed to evolve naturally.”
After that first victory almost 30 years ago, the WRC has continued their mission of protecting the waters of the Wolf and making sure they’re available to everyone. But not all wetlands have the Ghost River’s rizz. Most of Tennessee’s approximately 787,0000 acres of wetlands are swamps, bayous, and muddy creek beds, tucked away in neglected corners of farms or undeveloped land on the edges of suburbs. But that does not mean wetlands are not valuable, says Sarah Houston, executive director of Protect Our Aquifer. In flood-prone West Tennessee, wetlands act as a buffer against too much rain. Less wetland acreage means more and bigger floods.
Sarah Houston (Photo: Courtesy Protect Our Aquifer)
“Wetlands really do us a big favor in absorbing floodwater, holding on to it,” Houston says. “And that water is either going to be slowly released into surface water or it’s going to be slowly released into groundwater. … Housing developments get built in what used to be wetlands or downstream near floodplains, and then they see regular flooding. Those developments probably should have never been approved in those places because the water is gonna keep flowing. Now, it’s just flowing into your house.”
Wetlands also play an important role in mitigating climate change. The trees, plants, and mosses in swamps and bayous absorb carbon dioxide, the buildup of which causes global warming, from the atmosphere. In a regular forest, when the leaves fall and the trunks die, their decomposition can release methane, an even more potent greenhouse gas, into the air. Or they can burn, throwing soot and carbon dioxide high into the atmosphere. But in swampy areas, organic debris falls into the water and is buried in sediment, where it cannot contribute to global warming. Much of the coal and oil we burn today was formed from remains of wetlands buried during the Permian period 290 million years ago.
As wetlands are drained, developed, or paved, they lose the ability to sequester carbon, and some of the stored carbon dioxide and methane is re-released into the atmosphere. A 2016 paper by A.M. Nahlik and M. S. Fennessey, published in the journal Nature, found that “wetland soils contain some of the highest stores of soil carbon in the biosphere.” In some cases, up to 40 percent of wetland soil was carbon, compared to the 0.5 to 2.0 percent found in agricultural soils. The study found that freshwater wetlands were much more efficient at storing carbon than river deltas or saltwater estuaries. All told, the study estimated that the continental United States’ wetlands contain a whopping 11.52 gigatons of sequestered carbon.
Gafford says West Tennessee’s wetlands are valuable in another way. “In the Memphis, Shelby County, Fayette County, Tipton County area, the most important value of that swampy area is what percolates down and actually recharges our water supply. If you talk to any expert, they’ll tell you that Memphis has the best water in the world.”
Houston’s organization, Protect Our Aquifer, watches over that valuable resource. Memphis is built over an underground aquifer containing as much freshwater as one of the Great Lakes. “It is our sole source of drinking water in Memphis, Tennessee,” she says. “It’s also all the water that industry and farmers use, too. It is one of the purest sources of water in the country, and it just happens to be right below our feet, easily accessible. Because of the way it was formed, over millions of years back when this area was actually a shallow ocean, the Gulf of Mexico, and through a series of deposits of gneiss, quartz sand, and then thick clay layers, it created what we now call the Mississippi embayment. The majority of the water that’s actually below Memphis in the Memphis sand aquifer fell as rain 2,000 years ago, and has been infiltrating and filtering slowly over time to bring us that pure drinking water. And it is all out of sight, out of mind.”
Fresh water enters the Memphis aquifer through creek beds such as this one, where the Memphis sands are close to the surface (Photo: Courtesy Protect Our Aquifer)
What Is a Wetland?
The Environmental Protection Agency (EPA) defines wetlands as “areas where water covers the soil, or is present either at or near the surface of the soil all year, or for varying periods of time during the year.”
That’s a broad definition that has been more or less enforced since the passage of 1972 Clean Water Act. Federal protections for wetlands were expanded during the Obama administration, and then rolled back during the Trump administration. Then, in May 2023, a 5-4 Supreme Court ruling in the case of Sackett vs. EPA forced the agency to limit its jurisdiction to only wetlands that have “continuous surface connection to bodies that are Waters of the United States.”
“If you can get a boat on it, it’s a ‘Water of the United States,’” says Houston. “If you can’t, then that’s not a federal government issue. What changed was this whole definition of technically isolated wetlands, where they’re not directly next to a stream.”
The ruling removed approximately 63 percent of wetlands from federal protection, including most ephemeral wetlands. The rollback alarmed wetlands fans like Gafford. “The results of the EPA and the wetlands protection acts have been so effective, I don’t think that we need to do anything at all to loosen those restrictions,” he says. “Because of agriculture practices and building practices, we let the water get pretty bad, just from the runoff. It was deemed appropriate to put those protections in place, and I think we need to adhere to them because the results have been, in my mind, fantastic.”
The state of Tennessee has defined protected wetlands even more strictly than the federal government since the 1970s. “The Supreme Court justices actually noted that this should be a state-level regulation because states differ so much in their water resources and their landscapes,” says Houston.
After Sackett v. EPA, Rep. Kevin Vaughan (R-Collierville) introduced HB 1054, a bill which proposed to bring the state’s definition of a wetland in line with the new federal rules. According to a January, 2024 report by the Tennessee General Assembly Fiscal Review Committee, adoption of the bill would result in a 55 percent decrease in the amount of currently protected wetlands, or approximately 432.850 acres of the states’ 787,000 acres of wetlands.
Vaughan is a real estate broker and owner of Township Development Services, which offers site selection, land planning and management, and government relations services to developers. In February, he told a legislative committee, “It’s your property, but a third party is going to tell you if you can use it. And if you can’t use it, then you have to pay another party money for you to be able to use your property. That’s the origins of where this bill came from.”
Houston says, “The main argument was too much bureaucracy and red tape, and there is some validity to the concerns of the sponsor Chairman Vaughan. Sometimes, small wetlands that might have kind of sprung up require a permit, and it can add additional cost [to development] because with our wetlands regulations, you have to get a permit if you’re gonna damage them or remove them, and then you have to pay into a mitigation bank.”
The BlueOval Factor
Much of the wetland acreage which would lose protection under the bill is in West Tennessee. That includes Haywood County, where the new Ford BlueOval City is currently under construction. The $6 billion facility to produce electric vehicles and batteries is the largest single investment in Tennessee history. Houston calls the area “ground zero for this development pressure. … Haywood County is seeing tremendous growth. They’re getting permit application after permit application for these new developments. That is also the county that has the highest number of wetlands in the state. … Originally, the argument was, ‘These muddy tracts with some sprouts in them are being classified as wetlands, but they’re not and we need to get rid of them.’ Then it became more about the pressure for growth and the timeline that we’re on. Getting rid of these wetlands in big tracts, acres and acres at a time, would speed up the opportunity for development to occur right now, especially in West Tennessee.”
The potential impacts of wetland development would go farther than just BlueOval City. “We know that there are connections to the aquifer in that area,” says Houston. “The wells that have been drilled for the [BlueOval] megasite are in the unconfined part, so they’re in the recharge zone of the aquifer. And we know that band of the recharge zone extends into half of Haywood County and pretty much all of Fayette County.”
A big unknown is exactly how much of a role wetlands play in recharging the aquifer. It was long thought that water seeped through the soil in a relatively uniform manner, but recent studies in North Mississippi suggest that most of the recharging occurs in relatively small areas where the Memphis Sands are near the surface. The science remains uncertain, but as the POA puts it in a report distributed to legislators, “It’s not necessarily the type or size of wetlands, but the location that determines how valuable it is to recharge.”
Pushback
Once the stakes of HB 1054 became clear, environmental advocates mobilized against it. “To me, wetland preservation represents one of our state’s most vulnerable natural ecosystems at this moment. Wetlands provide a safe haven for our country’s wildlife and serve as a crucial space for aquifer recharge. The preservation of our wetlands serves as a litmus test for the well-being of our environment,” says Memphis Community Against Pollution President KeShaun Pearson.
The bill’s proponents were also mobilized. Adam Friedman of Tennessee Lookout recently reported on Build Tennessee, a political action committee formed in July 2022 by 18 owners and partners in real estate and construction companies, including Keith Grant, a Collierville developer and the former president of the West Tennessee Home Builders Association. In less than two years of existence, the PAC became the fourth-largest spender on lobbying in Tennessee and donated to 90 lawmakers of both parties.
Protect Our Aquifer led the charge against the bill. “We don’t do a lot at the state level,” says Houston. “So we were planning on playing a supportive role in this. But since the majority of the wetlands were in West Tennessee, our mission is all about protecting the drinking water supply that happens to be underneath all of West Tennessee, and the majority of the House subcommittee members represented West Tennessee, we kind of got shoved into the forefront.”
The activists found allies on Capitol Hill. “I think it’s an abhorrent bill that is bad for our state,” says Rep. Justin J. Pearson (D-Memphis). “It’s bad for our environment, and it is showing the influence of private corporations and entities and developers in our Tennessee legislature. It’s bad for democracy when elected leaders are literally carrying legislation for private companies and developers to the detriment of 7 million people’s environment. And as a person who cares deeply about environmental justice, I think this is a complete affront to the causes, the beliefs, the values that many of us share, Republicans and Democrats, people who are progressive and people who are conservative.”
Houston says they were open to revisiting Tennessee’s strict wetlands definitions. “Right now, any type of wetland is considered the same value. But in reality, there are some wetlands that are much higher quality. They’ve got no invasive species. They’re nice and healthy, and haven’t been trampled on by humans. A middle ground we want to find is, how do we categorize wetlands in the state based on low, moderate, and high values that could then determine how much mitigation credits are required, what really needs to be permitted, and what is okay with being removed.”
Houston says when the bill was first introduced in 2023, “it was put on hold because TDEC [Tennessee Department of Environment and Conservation] promised that there would be stakeholder meetings to draft a good bill that everyone could agree upon that would create new categories for wetlands and address some of this red tape bureaucracy issue. Well, those stakeholder meetings never really happened in earnest last year.”
A Temporary Victory
Houston and the POA testified in front of both Senate and House committees who were considering the bill. “Our information was really well received,” she says. “No matter where you live in West Tennessee, you have a pretty high regard for our aquifer and the drinking water supply.
“In early March, when the Senate committee heard the bill, the senators on that committee said, ‘Trying to categorize wetlands and create all these new definitions is a really complex process. We’re not gonna get it right this first try. So let’s move this to summer study and actually have the stakeholder meetings.’ Commissioner David Sellers, on record, promised to have the stakeholder meetings. So they, 6 to 2, voted it to summer study. We were like, ‘Holy smokes! We won! It’s dead!’ But then Chairman Vaughan in the House kept pushing the bill despite it being dead on the Senate side, which you don’t really see that.”
Pearson says, “Kevin [Vaughan]’s only aim is to open up more land for development with fewer regulations, especially around BlueOval, and over any potential objections from community members in majority-Black Haywood County or other areas that could be exploited by developers, with building happening that does not take into account environmental justice. … We know environmental justice and racial justice oftentimes coexist and you cannot have one without the other.”
As this legislative session winds down towards an expected late April adjournment, Pearson says he is wary. “It is not likely that this legislation will move forward this session. However, due to [Governor Bill Lee’s school] voucher bill also being sought to be passed by this General Assembly, it may become a bargaining chip for Kevin Vaughan and the Republicans to use to try and get it passed for his vote on the voucher bill. The reason I say that is, a number of Republicans have come out vehemently against the governor’s bill, and they’re operating on a very thin majority when it comes to the passage of that legislation, which is the governor’s signature legislation for this General Assembly. That’s why we must continue to pay attention and be engaged in this process because anything is still possible. I have seen how racism and white supremacy and capitalistic exploitation works here, and if you trust the process too much, then you will likely be duped by it because they don’t care too much about the process here.”
During the final week of committee meetings, HB 1054 was not reconsidered, much to the relief of activists like Houston. “Officially, the wetlands 2024 legislative session saga is over, and there will be a summer study this year to dig into the details and try to refine what our wetland protection laws can look like,” she says. “It’s good news. There’s still work to do, but there is good news.”
In the interest of transparency, we note that the Memphis Flyer is owned by Contemporary Media, Inc., whose board chairman, Ward Archer Jr., also founded Protect Our Aquifer. This reporting was conducted independently and relies on multiple sources.