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Opinion The Last Word

This Time It’s Personal

Yesterday, my wife and I took my infant son to his one-month pediatric checkup appointment. He got a glowing report from his wonderful doctor, but a month ago, that outcome was anything but certain.

Some 20 or so hours into my brave wife’s labor, the hospital staff realized that our son was having serious and potentially deadly fluctuations with his heart rate. They tried every intervention possible while I ran through the pain-coping techniques I had learned in our birthing classes.

Suddenly, there were at least half a dozen medical professionals in the room. They stopped explaining what they were doing, but their eyes told me everything I needed to know. My brave wife, whose birth plan had changed three times in a handful of hours, was rushed to an emergency “crash” C-section while a nurse took me to get into scrubs. The time apart from my best friend, my beautiful, caring, courageous wife was the most terrifying few minutes of my life. 

Soon, a nurse took me into the operating room and I was able to hold my wife’s hand during the procedure. I would swear that the surgery took hours, but our family, who were waiting outside, all said it was the fastest C-section they had ever waited on or heard of.

After 26 hours of labor, my son was born via crash C-section. He was (and is!) healthy, and he recovered from the difficult labor quickly. My wife was safe, too, for which I will never stop being thankful. After a few days, we were allowed to go home to begin our journey as a family.

One week after our son’s birth, my wife and I learned that we had lost our jobs thanks to President Donald J. Trump’s federal cuts. Though neither of us works for the government, we did work with federal agencies. My wife, who had been promoted based on merit mere months earlier, was recovering from major surgery, learning to be a mom, and suddenly needed to find a new job. She had worked for a lovely company doing work that I can describe only as “good.” She has helped scientists and researchers fight cancer, fight coastal erosion by saving native sea grass, and helped environmental and data scientists communicate with each other and with the Indigenous community. 

As for me, well, it was contract work. I had recently taken the plunge and begun my own copywriting, editing, and marketing company. Until I lost that one big client that helped make the dream possible. I’m not stressed about myself though. My family is healthy; I’ve found work before, and I will again. But I do worry about all of the workers at our national parks and the National Institutes of Health and the National Science Foundation who have dedicated their entire adult lives to the dream of making the U.S. a healthier, safer, greener place. 

It’s easy to think of Trump’s measures as affecting only a faceless horde of bureaucrats in Washington, D.C., but no human being is faceless. No one is without dreams, a history, a rich inner life. These are our countrymen, and they’re real people who will really suffer. 

The former federal workers who are doubtless scrambling to find employment and feed their families are, of course, only the tip of the iceberg. Immigrants, documented or otherwise, who are detained by ICE agents are people guilty only of being from somewhere else, of dreaming of a better life. They probably had more hope for the U.S. than I do, but that hasn’t helped them when plainclothes agents handcuff them, often without providing the necessary legal documentation. 

And then there is the trans community, specifically, and the LGBTQ community in general. Did I mention that the doula who taught our birth classes is trans? That they are easily the kindest, most generous human I have met in years? That they helped my wife feel safe before confronting the biggest and most frightening unknown a pregnant person can experience? Of course, they’re not the first trans person I’ve known, nor is their kindness the reason why that community has my support, but this column isn’t about sense and reasons. I’m desperately trying to humanize these issues, to put a face to the headlines. Again, these are people. Americans. Often brave people who work harder than I can imagine, who work to help others more vulnerable than themselves. To demonize them for political gain is nothing short of callous cruelty I’m not ashamed to call evil. 

During the Covid pandemic, the previous iteration of the Trump administration soft-launched eugenics, to little outcry from the American people. Collectively, we decided that we didn’t mind if the old and vulnerable paid the price for our weekend brunches, our vacation trips. Trump is back, emboldened by a so-called mandate from voters. The message is clear: As long as the economic wheels keep turning, no one in power cares if they’re greased with the blood of the vulnerable. 

I don’t want my son to grow up in a nation devoid of empathy, where might makes right. So I’m asking you — begging you — to care. 

Jesse Davis is a former Flyer staffer; he writes a monthly Books feature for Memphis Magazine. His opinions, such as they are, hope we can find some way out of this mess. 

Categories
Music Music Features

Wide Appeal for The Narrows

Not many bands can say audience members created a dance to one of their songs.

The Narrows can, thanks to their song, “The Wheel.”

“I think it’s still the crowd favorite,” says singer/rhythm guitarist Owen Traw, 23. “I think people like how it sounds. People know some of the lyrics.”

And, he says, there’s “a dance during that song.”

“It’s like a bunch of little hand movements that fit whatever the lyrics are saying,” says bass player Bella Frandsen, 22.

One of the lines is “Don’t fall asleep,” says Traw, who wrote the song. “People make a negatory motion with their hand, like wagging their finger. Then when I say, ‘Fall asleep,’ they fold their hands under their heads like they’re sleeping. ‘At the wheel,’ they make a driving motion.”

People teach other people the dance at their shows, Frandsen says. “There’s an ever-growing number of people doing this silly dance.”

There’s also an ever-growing number of people going to shows featuring The Narrows. The Memphis rock band also features Aidan Smith, 25, on vocals and guitar, and Chris Daniels, 20, on drums. The band will open for Juicy J on April 5th in the Bryan Campus Life Center at Rhodes College as part of the school’s Rites of Spring.

“The Wheel” was the band’s first single. “Our best song at that time,” Smith says. “The one that got the crowd going the most.”

“I wrote it when I was really sick,” Traw says. “I still have the voice memos of that moment when I was trying to make sure I didn’t forget it. “

He had a bad cold. “I was all hunkered up and all gross in my room. I had a chord change in my head.”

The lyrics originated from a drive Traw took to Nashville. It was bumper-to-bumper traffic, but people were speeding. “If anybody hit the brakes it would have been really bad. It’s basically just about the feeling that one’s decisions have really big impacts.”

It was Traw’s idea to form a band about a year ago. It became The Narrows. “I started the band basically because I really wanted to express myself artistically, but I didn’t know how,” he says. “I wasn’t a musician or anything.”

That changed after he saw Smith in One Strange Bird. “A band I formed with some friends from Rhodes a few years ago,” Smith says. “We were playing really shitty bars and stuff like that.”

“Aidan really blew me away,” says Traw, who thought, “Dang, he’s so good. I wish I knew how to play music.”

Traw already played some guitar. “I could play ‘cowboy chords,’ as they call them, on the guitar, but I couldn’t play barre chords or hold a pick.”

He was impressed with “the way Aidan played the guitar. It’s a really cool mix of rhythm and lead playing. The kind of stuff Jimmy Page does. Or Jimi Hendrix. Playing guitar and lead at the same time and it’s really melodic. Just really catchy and good, too. Tasteful.”

Traw originally met Smith when they were at Rhodes. “We met very, very briefly. We had one conversation, really, where I told him he looked like Kurt Cobain.”

He got Smith’s phone number, texted him, and asked him if he wanted to be in a band.

“He had a demo that was circulating through the friend group,” Smith says. “So I knew who he was. When he said, ‘Let’s jam,’ I was like, ‘Yeah. For sure.’”

As for Traw’s guitar ability back then, Smith says, “He’s being a little modest. He could play a little bit of guitar.

“I remember him playing four or five songs. I thought all of them were really pretty good.”

The songs “were all well constructed and sort of in a tradition I love from the ’60s and ’70s music. I saw the nuances and jumps from verses to choruses and back. And the way that the melodies would work with the chords when he was playing.

“That night I think we wrote a song together.’”

The song was “Waste,” Smith says “It was an idea that I had that we just fleshed out based on an experience with DMT, the psychedelic. A drug I had taken years before that. I really wanted to write a song about it. And Owen really helped me out with the lyrics.”

Recalling how he felt on the drug, Smith says, “It made me feel like all comfort and warmth was gone from the world. I was looking at the sunshine in my parents’ backyard and it was kind of frightening. It was a frightening and beautiful experience. I was doing a lot of it then. That was when I was 18 or 19.”

Traw eventually became comfortable playing guitar. “I definitely got to the point where I could play guitar a little bit better,” he says. “I almost learned through osmosis because Aidan is so good. The way he would move his right hand to strum and hold the pick. Or what he would do with his fingers on his left hand. I would basically just watch him and try to do that.”

He and Smith began playing together in public. “At that point Aidan and I were writing songs on acoustic guitars and playing open mic nights. We wanted a band, but we didn’t know who would be the drummer, who would play bass.”

They began auditioning drummers. Born in Memphis, Daniels began playing drums at age 5. “I was born in the church, so I always watched church musicians. My uncle [the late Bernard Wilson] played drums as well. He kind of got me into it.”

Daniels was in the jazz band at Ridgeway High School and Middle School. He’s currently in the jazz band at University of Memphis.

As for what makes The Narrows different, Daniels says, “You have your punk rock and stuff and all that jazz, [but] I think our music is different because we talk about real life events. And it’s basically like therapy, like you’re talking to a counselor or something like that.”

Traw was impressed when he learned Daniels played drums in jazz groups. “I played jazz drums but had long since quit. But I know jazz takes a lot of musicality, and it’s really difficult to play. And with Chris, you could tell he had serious chops.”

They then interviewed bass players. Frandsen, a Rhodes student from New York who already was a friend of Traw’s, felt confident when she auditioned for them. “I really just clicked. I got along with everyone and everything worked really well.”

Smith thought Frandsen was “super intuitive” when they were working on their song, “Ice About to Melt.” “I played off the bass line that she had dreamed up,” he says. “That became a main figure in the chorus of the song. I could tell she was really super musical and an overall musician instead of strictly a bassist.”

The band name came from the Tacoma Narrows Bridge, twin suspension bridges spanning Puget Sound’s Tacoma Narrows strait in Washington.

“I also think ‘The Narrows’ is pretty evocative even if you don’t know what the body of water is,” Traw says. “In my head, it made me imagine scrawny figures.”

The group, which has been touring, recently played shows with their friends in Smokies, a band from Jackson, Mississippi. They’re planning a “more serious tour this summer.”

The Narrows also completed its first EP, Sloth & Envy, which the group recorded at Easley McCain Recording and Young Avenue Sound.

Describing the EP’s cover he designed, Eli Schwartz says, “It evokes a feeling of being lost, helpless, and feeling like a stranger to yourself. Wondering who you are and coming up empty handed.” 

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We Recommend We Recommend

Danielle Sierra’s ‘Supernatural Telescope’

Danielle Sierra’s father used to look at her through his “supernatural telescope.” He would be back home in California, while she was in Memphis, sharing her artwork with him over the phone and the internet. “He would always tell me, ‘I’m looking through my supernatural telescope at all the marvels of you,’” Sierra says. He died this past May, but Sierra remains comforted, knowing that “he’s in heaven, with his supernatural telescope.”

With that in mind, her exhibit, now on display at Crosstown Arts, is titled “Supernatural Telescope” in his honor, her father Ernie being one of her greatest supporters in life and art. Even when she was little he taught her how to shade spheres and cubes; he later encouraged her to paint on wood instead of canvas, which would become a trademark of her style. “The funny thing is, he never told me he was an art major,” Danielle says. “He went to [California State University,] Northridge in California, but he had to leave to provide for his family. He only told me when I told him I was an art major.”

Even though he was talented in his own right, Danielle says, “He would never say he was like a capital-A artist.” Yet she’s found inspiration in his work, exhibiting it alongside her own as part of her thesis exhibition for University of Memphis’ MFA program in 2022. “It’s crazy that it was in this very gallery [at Crosstown Arts].”

For “Supernatural Telescope,” too, Ernie’s sketches and woodworking pieces are displayed. Danielle, for her part, has created responses to some of them. For one, Ernie had drawn a surrealist, Dali-inspired landscape of the Crucifixion, and Danielle has drawn her own in her own style, the two shown side by side, father like daughter. She’s also created pieces representing her memories of her father, with nods to quotes he’d say, to the hours they spent watching the Blue Angels in the sky, to the stories he’d tell about running away from home with only two peanut butter sandwiches.  

Though these memories are personal, Danielle has included universal imagery of flowers, angels, and stars throughout to capture a message of hope for all. In one piece, I Get by with a Little Help from My Friends, she’s asked her artist friends to paint wooden flowers she’s cut, the idea being to create “this little garden as a representation of my art community,” she says. “None of us gets here alone.

“Everybody should have a supernatural telescope,” Danielle continues, “and be able to look back through all the times that we’ve experienced love and memories that uplift us. … I hope that [viewers] feel loved in a way that the work speaks to them. A lot of my inspiration comes from the Bible and my love for God, and I just always try to translate that through maybe the shading of a color or a line, and just love being the dominant force behind my work in one way or another.” 

“Supernatural Telescope:” Danielle Sierra, Crosstown Arts, 1350 Concourse, through May 11th. 

Categories
We Recommend We Saw You

We Saw You

About 1,500 people turned out for this year’s Memphis Irish Society/Cooper-Young St. Patrick’s Day Parade, says Tamara Cook, executive director of the Cooper-Young Business Association.

Green was the preferred wardrobe color of the day.

As usual, the parade was held on March 17th.

“We had a ton of people,” Cook says. Part of the reason was the timing of the parade,
she says. It was held about 4 p.m. “We did it after school was out.”

Memphis Irish Society presented the parade in conjunction with Celtic Crossing. DJ Naylor opened up his Celtic Crossing Irish bar/restaurant for outdoor and indoor celebrating.

This year’s parade featured 21 entries. As is the custom, the parade included horses, dancers, bagpipers, and Inis Acla School of Irish Dance step dancers.

The parade was family-oriented. “We gear ours toward the family. We wanted kids here, and we got them. And dogs. And I even saw a cat on a leash. Everybody brought everybody, so that was good.”

Categories
Film Features Film/TV

Common Side Effects

The elevation of Robert F. Kennedy Jr. to the office of secretary of health and human services is a symptom of a deep problem in the United States: We hate our healthcare system. 

There are a lot of reasons to hate the horrifying and deadly kludge that passes for a healthcare “system” in this country. Even the newly installed CEO of UnitedHealthcare, Andrew Witty, admitted in a New York Times op-ed published in the wake of his predecessor’s murder by vigilante Luigi Mangione that no sane person would design a healthcare system like this. And yet, there Witty is, turning the crank on the peasant grinder and collecting the coins that come out the other side. UnitedHealth’s $14 billion in profits, and Witty’s personal $23 million pay, is a powerful motivator for him and his comrades to keep things as messed up (and expensive) as possible. Looking at the United States of 2025, there’s only one possible conclusion: The for-profit healthcare model delivers profits, but it cannot deliver healthcare.

Instead of blaming those who are actually at fault — pharmaceutical companies, hospital conglomerates, and the entire concept of health insurance — many people have been led to reject the things that the people actually practicing medicine do well, like vaccines. Robert F. Kennedy sells snake oil and vaccine skepticism so the public doesn’t turn on the people who are getting rich by making them poorer and sicker. 

The hero of the new Adult Swim animated show Common Side Effects knows exactly where to place the blame. Marshall Cuso (voiced by veteran comedy writer Dave King) has the look of someone who entered mycology because of his fondness for psilocybin. His Hawaiian shirt is always unbuttoned, his beard is scruffy, and he probably sleeps in his bucket hat. But despite his appearance, he is a serious scholar of mushrooms who studied with Hildy (Sue Rose), a respected academic who has since retired. 

Marshall’s mushroom obsession leads him to the jungles of Peru in search of a legendary mushroom known as the Blue Angel. The mushroom is said to have healing properties, but when Marshall finally does find a circle of them, it turns out to be much more potent than anyone imagined. Just a few bites of the little blue mushrooms will cure everything from a rash to a gunshot wound. 

The spot where Marshall finds the mushrooms is remote, but it’s hardly untouched. Just a little way upstream is a pharmaceutical factory run by the Reutical corporation, which is polluting the ground and water. Fearing that he might have found the last of the endangered mushrooms, Marshall picks a few samples and makes plans to return home. But before he can, he is attacked by unknown forces and barely escapes the country with his life. 

Back in the United States, and in a state of maximum paranoia, he turns to his former lab partner and college friend Frances (Emily Pendergast). She’s a kind soul who has leveraged her biology degree into a healthcare job, and Marshall thinks maybe she could help him bring this miracle drug to the masses, curing practically all diseases overnight. But little does Marshall know that Frances works for Reutical as an executive assistant to CEO Rick Kruger (Mike Judge). 

Marshall finds himself trapped with no one to trust but his turtle Socrates, and possibly his half-brother Zane (Alan Resnick). Meanwhile, the mysterious armed men who first found him in Peru are hot on his trail. Their boss, Swiss financier Jonas Backstein, views the mushrooms as a threat to the entire pharmaceutical industrial complex, and wants them and Marshall destroyed.  

The way series creators Joseph Bennett and Steve Hely draw both their protagonist Marshall and antagonist Rick reveals a lot about what makes Common Side Effects such compelling viewing. No one is perfect, and no one is purely hero or villain. Marshall sees the world clearly, but he’s also a wild-eyed idealist and something of a self-sabotaging bumbler. He takes everything seriously and carefully calculates his next move to the point of overthinking. Rick is a man of wealth and power, but he has no intention of using his position for anything but self-enrichment. He can barely check into a hotel without Frances’ help. 

Meanwhile, Frances must care for her mother Sonia (Lin Shaye), a late-stage Alzheimer’s patient whose insurance is about to kick her out of the nursing home. Rick is afraid the company’s recent disappointing earnings report is going to cost him his job, and he needs a new breakthrough medicine to satisfy the board of directors. Frances finds herself caught between loyalty to her friend and the needs of her job. Meanwhile, Marshall’s reappearance in her life has rekindled an old flame, and her current boyfriend Nick (Ben Feldman) is an oblivious oaf. 

Bennett was also a producer of Scavengers Reign, the excellent sci-fi animation that was canceled by Netflix after only one season. The animation style of Common Side Effects is a similar combination of naturalistic environments and somewhat stylized character designs. Adult Swim is famous for the absurdist style of animated comedy the network pioneered, but this show, while often funny, is their first foray into serialized thriller. The laughs come from the character’s foibles, like Rick’s inexplicable addiction to playing farming simulator games on his phone while he should be working. Don’t let the animation fool you into thinking this show isn’t a serious work of art. Common Side Effects is one of the best shows on television. 

The Common Side Effects season finale airs on Adult Swim on Sunday at 11:30 p.m. The entire series is available for streaming on Max. 

Categories
Theater Theater Feature

Seussical at Circuit Playhouse

Raising a child in the digital age can feel incredibly overwhelming. You can’t get through a day without a social media platform — operating under the guise of peacefully perfected progressive humility — gently telling you that you and every other 21st-century parent are doing everything wrong. The wealth of information available to us on parenting often feels more like an assault. One thing that stands out to me is that escaping the ephemeral tablet wonderland and having experiences rooted in the real world is fundamentally a good thing — hence live theater. (I say this without judgment. If your child is playing on an iPad right now, I get it.) Exposing young minds to the arts couldn’t be more important right now — hence Seussical

Circuit Playhouse’s Seussical is everything a grown-up theater kid loves but packaged for a young audience — the future theater kid, so to speak. If I had to sum it up in one word, I’d probably use “dazzling.” You’d expect any musical based on the works of Dr. Seuss to be a visual buffet, and in this you won’t be disappointed. Bright lights, catchy songs, and costumes like a veritable spring sensory bouquet — it’s all here. 

About 15 to 20 Dr. Seuss books are represented, by my guess, although the main stories we follow are Horton Hears a Who!, Gertrude McFuzz, and Horton Hatches the Egg. We mainly follow The Cat in the Hat, who acts as a kind of guide through the metaphorical representation of the imagination of young JoJo (a resident of Whoville, if you recall). 

One thing I appreciate about this show is that it’s the perfect way to teach children the magic of willfully suspending your disbelief. It’s an art I sometimes worry might be lost as we become more used to computer-generated effects, but it’s one that’s fundamental to enjoying live theater. What we see is just a person on stage holding a scarf, but if things come together just right, then kids (or anyone really) can gleefully buy into the idea that no, this is a real-live elephant. This is a case in which things came together just right. 

I’ve always thought children’s theater requires a specific energy from performers. Everything is a little more “up” in a way that’s difficult to articulate, and it can potentially tip a performance over into the realm of feeling disingenuous. Luckily this show achieves the delicate balance of feeling authentic yet being just over-the-top enough that it can hold a 5-year-old’s fickle attention. Director and choreographer Courtney Oliver staged this show perfectly, and I have to tip my hat to the casting decisions, as everyone fit their role like a hand to a glove. Annie Freres as the Sour Kangaroo was particularly inspired, as it provided an appropriate avenue for her powerhouse of a voice, which could so easily make everyone else suffer by comparison but instead elevated the calibre of the whole show. 

Much as I enjoyed this performance, I would be remiss if I didn’t voice some thoughts on the background of Seussical. A failure to comment on the backlash against the works of Theodor Geisel, aka Dr. Seuss, in recent years would feel, to me, dangerously close to erasure. In 2019, the NAACP called for the censorship of all of Geisel’s work from public schools, institutions, and public libraries, and as of 2021, six Dr. Seuss books will stop being published. In my opinion, the vital message here is this: Art is important. It has power, and talking about it — whether about how it can encourage people to learn and think critically or about the ever-increasingly relevant debate on just how much we should separate art from an artist — is important. The humanities are and always have been critical for our society. This musical can be interpreted in myriad ways, and perhaps it’s an opportunity to talk with our children (or family or friends) about how art can mean different things to different people. Perhaps this is an opportunity to stop and wonder why the line “Somebody’s thinkin’ different than us” is voiced by the villain of the show. 

Seussical runs at The Circuit Playhouse through April 12th.

Categories
Hungry Memphis

Food News Bites: New Outdoor Bar at The Lobbyist

The spacious patio on the south side of The Lobbyist restaurant was where the Donahues used to swim back in the 1960s. My parents were members of The Variety Club, which was housed at the old Chisca Hotel, where the restaurant is now located. Members could use the hotel pool.

The Lobbyist’s chef/owner Jimmy Gentry has now added an impressive-looking outdoor bar to that beautiful patio at The Chisca on Main. “It can seat eight at the bar, but it’s capable of handling that whole patio area,” Gentry says.

As for patio seating, he says, “Depending on configuration I can put almost 70 people out there.”

The Lobbyist patio (Credit: Michael Donahue)

Gentry says he built it so servers wouldn’t be “running cocktails from the main bar to the patio. You can have a bar outside and not worry about how long it takes or anything like that.”

The bar is slated to officially open probably in about two weeks, he says. “It has been open, but we haven’t necessarily officially opened the patio this season.”

Gentry showed me the bar when I ate at The Lobbyist last week. Red fish with greens, couscous, and pot liquor was my dinner choice. It was so delicious. I wish I had another one right now. And I can’t get enough of the yams Gentry serves.

Red fish at The Lobbyist (Credit: Michael Donahue)

But after eating at the restaurant many times, I never knew why the restaurant was called “The Lobbyist.” I thought it had something to do with politics. But, Gentry says, “That whole space used to lead into what was the lobby.” 

So, he did what he did with his former restaurant P. O. Press in Collierville. “I tried to tie the restaurant into the space like I did the P.O., which originally was the post office in Collierville and then turned into the newspaper, P. O. Press. Paying homage to the space itself.”

Hence, The Lobbyist. “Instead of calling it ‘The Lobby,’” he says, adding, “‘The Lobbyist’ makes you think twice about it.”

But Gentry says he still gets people coming in the restaurant thinking it’s the “lobby of the hotel.”

The Lobbyist is at 272 South Main, Suite 101, in The Chisca on Main

Categories
News News Blog News Feature

GOP Wants to Teach Students High School, Job, Marriage, and Kids Will Keep Them Out of Poverty

Graduate high school.

Get a job. Or, graduate college or a technical school. (Then, get a job.)

Get married. 

Have babies. 

This is a poverty-fighting equation Tennessee GOP lawmakers want to be taught to every single Tennessee student. 

The equation is called the “Success Sequence” and it’s nothing new. A version of this sequence has probably been taught to kids for decades. But the idea took formal form in a 2009 book by Brookings Institution researchers called “Creating An Opportunity Society.” Those researchers aimed to ”improve the prospects for our less-advantaged families and fellow citizens” and help bridge gaps in income and wealth.

Two Tennessee Republicans — Rep. Gino Bulso (R-Brentwood) and Sen. Janice Bowling (R-Tullahoma) — sponsor legislation before state lawmakers now that would require ”family life curriculum [to] include age-appropriate instruction and evidence regarding the positive personal and societal outcomes associated with the method.” 

“ ​Data shows that students who follow the sequence are more likely to excel in school and generally earn higher grade point averages than students who do not,” Bowling said when she introduced her legislation in a committee last week. “This program prepares students for a healthy, productive life.”

In very practical terms, if this bill is passed, it might mean that public school kids in Tennessee would hear this theory that following these steps will either lead you out of poverty or help keep you out of it. Also, in practical terms, a version of this bill died in committee in February before the Mississippi Legislature. 

So, how big of a deal is this idea of teaching the “Success Sequence,” really? Well, a strata of academics, think tanks, and policy advocacy groups think it’s a big one. 

Some will argue data say if you follow the sequence your chances of ending up in poverty are around 3 percent. Others have taken that further (answering critics) to say the equation works almost equally well for African Americans and Hispanics, even with the uphill climbs they may face in racist systems. 

”With the completion of each step of the success sequence, the racial gap narrows rapidly,” Melissa Byers Melissa, the Chief Marketing Officer at National Fatherhood Initiative, wrote in 2022. “For Millennials who followed all three steps, only 4 percent of [B]lacks and 3 percent of Hispanics are poor by their mid-30s. Stunningly, the racial gaps in poverty are almost closed.”

Maybe the biggest naysayer of the Success Sequence is Matt Bruenig, who studies and writes about class, labor, poverty, and welfare for the People’s Policy Project. He’s written posts headlined, “The Success Sequence Is About Cultural Beefs, Not Poverty,” and “The Success Sequence Continues To Be Complete Nonsense.” 

Bruenig argues, broadly, that full-time work alone will keep people out of poverty. The rest of the sequence, he said, is about pushing cultural agendas. Marriage, for example, won’t keep anyone out of poverty unless they marry another full-time worker, he said. Marriage could lead to poverty if someone marries someone with a disability or work limitation, he said. 

”Success Sequence writers, realizing that full-time workers are rarely in poverty, end up advocating that ‘full-time work plus their cultural preferences’ will get you out of poverty,” he wrote. “This is technically true, but only because full-time work plus anything will get you out of poverty.” 

Categories
News News Blog News Feature

Organizers Urge County Officials Be Held Accountable for xAI Project

While many residents have criticized Memphis Mayor Paul Young for the city’s role in Elon Musk’s xAI project, community organizers say Shelby County officials should not only be held responsible, they should intervene as well.

On Monday night, the group Black Voters Matter facilitated a virtual conversation called “Stop the xAI Shelby County Takeover” where KeShaun Pearson of Memphis Community Against Pollution said the Shelby County Health Department is responsible for regulating environmental concerns — which have been at the center of the xAI controversy.

To address this, Pearson met with Shelby County Mayor Lee Harris last week about the presence of xAI’s gas turbines — which many did not know had been operating for about a year.

In June 2024, Harris released a statement commending the Greater Memphis Chamber for “leading” the xAI project into fruition and called it a “monumental opportunity for Memphis and Shelby County.”

While Pearson addressed the “atrocity” of the situation, he said Harris is in support of a resolution that is headed to the Shelby County Board of Commissioners on Wednesday before the Commission’s Hospitals and Health Committee.

The resolution, sponsored by Commissioner Britney Thornton, urges the Shelby County Health Department to host a public meeting “prior to the approval or denial of the permit submitted by CTC Property LLC, an affiliate of xAI for the long-term operations of 15 methane gas turbines in South Memphis.”

Pearson said this resolution would suspend the air-permitting process as the permit is not for the “current pollution” but “more pollution,” as xAI intends to bring more turbines in.

“The damage here on a human level in an ecosystem that is trying to flourish, that is so beautiful — it’s so dangerous,” Pearson said. “It’s incumbent, and it’s a responsibility of the people who have signed the paperwork to say they ‘will be employed here and work for the people’ to show up and do that.”

Amber Sherman, local political strategist, said it’s important for people to know “who the power players are” and how these processes work. Sherman’s comments come after MCAP hosted “A Fireside Chat with Mayor Paul Young” on Saturday, March 22nd.

Pearson said the conversation was “representative of what people are feeling,” noting that many people felt “left out of the entire process.” He said he was glad citizens were able to challenge Young on his “positive position” regarding xAI.

Sherman noted that several people wondered why Young “wasn’t doing anything” and felt like Young should have emphasized how “the power works.”

“You’re not throwing someone under the bus to make sure people know who’s responsible,” Sherman said. “Saying that the Shelby County Health Department is the one who issues permits doesn’t throw them under the bus — it just points out the direct target who we should be talking to, so everyone isn’t pissed off at you all the time.”

Pearson noted that while Young may not have all the authority citizens expect him to, he isn’t “absolved” from working on the city’s end.

“What we can’t allow is for people to scapegoat other organizations,” Pearson said. “It is a bit of standing in your power and really using the authority that has been given to you in ways that exist, and not to perform this kind of learned helplessness that ‘we can’t do anything’ [or] ‘I can only do so much.’ Do everything and then get innovative on how to do more.”

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Police Identify Rappers Shot Downtown Saturday

The Memphis Police Department (MPD) identified the two rappers targeted in Saturday’s shooting Downtown.

MPD said Monday that Letorian Hunt, 27, was killed in the incident, which occurred at the Westin Hotel, one block west of FedExForum. Albert Mondane, 34, was transported to the hospital with non-critical injuries.

Hunt was a rapper performing under the stage name Sayso P. He was arrested in 2020 by Las Vegas police for pimping and pandering. Police there became suspicious of Hunt after numerous Instagram posts and seeing lyrics to one of his songs, according to the Las Vegas Review-Journal

Mondane performs under the stage name Sauce Walka. His father has told media outlets that the Houston-based rapper was shot in the thigh and is expected to make a full recovery. 

“We want to assure our community and visitors that Downtown Memphis is a safe place,” MPD tweeted when news of the shooting surfaced this weekend. “This was not a random act of violence. We understand the concern and reiterate that this was not random. MPD is committed to bringing those responsible to justice.”

MPD is still investigating the shooting and say they will provide updates on the investigation as they come in. Anyone with information is urged to contact Crime Stoppers at 901-528-CASH.