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Letter From The Editor Opinion

Latchkey Kid

Like all homeroom teachers, managers, parents, and, yes, editors, I have a few axioms to which I return with regularity. One is that each issue of the Flyer needs to be a buffet. There should be something for everyone’s own particular tastes, and, ideally, we will tempt the news hounds with an arts column they might not usually seek out, feed the music lover some politics coverage.

So this week, I find myself not needing to comment on much of the larger stories making the rounds. It would be overkill, a buffet with three different kinds of Brussels sprouts. “At Large” columnist Bruce VanWyngarden covers the tragic shooting in Buffalo, and the way media echo chambers amplify the poisonous rhetoric of white supremacy. Jon W. Sparks looks at Ukraine in this issue’s excellent cover story, and film editor Chris McCoy does double duty by covering last weekend’s abortion rights protest. Toby Sells has the history and potential economic impact of the fabled third bridge over the Mississippi River on lockdown, and politics writer Jackson Baker unpacks the geographic intersections at the heart of the District Attorney race. And, in “The Last Word,” frequent Flyer freelancers Bryce W. Ashby and Michael J. LaRosa are absolutely on top of the situation with regard to immigration and education. To return to my buffet analogy, we have ourselves a healthy and comprehensive news diet this week.

So, with a deadline looming, I’m going to share an anecdote, something I had originally thought was Just for Me, an experience to be enjoyed but not recounted.

Last weekend, I took a walk. That’s not unusual. I take more walks than a retiree with new tennis shoes. This walk was something else, though. Almost a year after I moved back into my childhood neighborhood, I decided it was time to be hopelessly self-centered and walk past my childhood home while listening to the song I wrote about it. Was it needlessly sentimental? Without a doubt. Somewhat gauche, self-mythologizing to the point of egomania? You better believe it. But it’s not as if anyone would ever know about it, right? (Again, deadlines will make one do strange things — like confess to your entire print readership that you are a sad, sappy sucker.)

So, headphones on and music cranked, I walked past a particular house on Faxon. I thought about climbing a certain tree, watching for pill bugs in my dad’s flowers, about my sister’s old habit of eating my crayons. Do the new tenants still see orb-weaver spiders in the hedges, I asked myself. And I remembered my eighth birthday party, when I got a set of cheap toy walkie-talkies, and I wondered if kids still go wild for the things. In the age of smartphones, I imagine the shine has worn off.

The memories aren’t all centered on that house either. I walked past the Pham family’s house across the street and thought about Mailan and me chasing my fox terrier around the yard. Further down Faxon, I passed under the mulberry tree, the sidewalk stained in a Jackson Pollock spray of purple, where I used to pick berries with Aunt Sue, who wasn’t my actual aunt.

With fuzzed-out Fender guitars jogging my memory, I thought about baby albino raccoons walking in a line behind their mother, about being chased by a dog after school, about walking to Overton Park to catch tadpoles in Rainbow Lake. I remembered a one-legged cardinal splashing in a bird bath, season after season.

On the other end of the street, I passed the newly renovated house where Mr. Ben used to live. He was the man who first took my dad to donate blood, a tradition that my sister and I continue to this day. In a way, anyone who was ever helped by a pint of my O- is part of Ben’s legacy.

I got to experience something that was vanishing even then, though I was too young to realize how precious it was. I grew up knowing my neighbors, learning from them. I grew up, at least for about eight precious years, with a sense of community. I was within walking distance of public green space. I knew who in the neighborhood made the best cookies, who bought the fancy fireworks for July 4th.

There are places I could turn this column — the need for walkable neighborhoods; the way automobiles rewrote the built landscape; how “grind” culture and income inequality keep folks too tired and busy to enjoy that most wondrous of Southern pastimes, the leisurely porch conversation; that any demagogue who spreads fear and hate in a calculated attempt to fracture a community is the antithesis of all that’s good about humanity — but why bother?

If you can’t read between the lines, I don’t want to beat you over the head with those ideas. Besides, I’ve hit my word count, and once we get this paper off to press, I think I’ll have time for another long walk around the neighborhood.

Categories
Letter From The Editor Opinion

Listen to the Band

In this week’s cover story, Memphis Flyer music editor Alex Greene takes readers on a tour of producer Matt Ross-Spang’s soon-to-open recording studio, Southern Grooves. Since Ross-Spang is a student of local recording history, references to older, more storied studios abound. But don’t take my word for it — flip to page 12 and see for yourself.

Sentimental as I can be, this week’s story sent me on a trip down memory lane. Until recently (say March 2020 or thereabouts), I could often be found in one of Memphis’ recording studios or music venues. I never ascended to the ranks of the Memphis musical elite, but playing music was a big part of my life nonetheless. It gave me a creative outlet, a way to blow off steam, and a reason to get together with friends; it even made me a little money from time to time. Music never paid all my bills, but it sometimes took care of the Memphis Light, Gas & Water payment — or, like a snake eating its own tail, paid for more studio time.

I don’t think there’s any chance that I’ll ever get a star on Beale Street, but I’ve written and recorded a couple dozen songs — two of which I think are genuinely something to be proud of. It was a small contribution, but in my own way, I added a little thread to the tapestry of Memphis music. And when one of my bands played out-of-town gigs, we did our best to be admirable amateur ambassadors from the Bluff City.

Now it looks like those days are behind me. I’m sure I’ll continue to play and write, and there might be the odd performance or recording session. But I don’t really see myself using vacation time to tour the South in the sweltering summer in a van of questionable reliability. I don’t want to sleep on out-of-town friends’ floors or share a bed with all of my bandmates — and the dog of the house, too. Twelve-hour recording sessions seem more grueling these days. I’ll leave all that to the pros.

Still, I can’t imagine a feeling quite like surfing the wave of a close-knit rhythm section, plucking out a guitar solo before the band hits a half-beat pause together, then crashes into the crescendo in sync. Or switching from 4/4 time to compound measure all together. It’s euphoric, and studies have shown that this is more than just romanticized talk — musicians’ brain waves sync up mid-performance. But to be that together on stage in the moment demands a fair amount of rehearsal time in advance — at least for a musician of my middling caliber — and these days I think I’d rather make up silly songs with my nephew. We’re currently working on one about flying away, though I’m not certain of the destination or mode of flight. I can’t be entirely sure, but context clues and his general interests lead me to believe it’s about pterodactyls. He doesn’t get my Dinosaur Jr. references, but that’s okay. It keeps me humble.

What’s my point, you might ask. Namely, I think, that too much concern is placed these days on the tangible worth of a thing. Will I ever be counted among Memphis’ musical legends? Heck no! W.C. Handy changed the entire world when he notated the blues. Whether you credit Ike Turner’s “Rocket 88” or Elvis Presley’s take on “That’s Alright, Mama,” rock-and-roll has some of its earliest roots in Memphis soil. And from “Green Onions” to Al Green’s entire catalogue to Unapologetic artists getting songs placed in high-profile ads and Netflix shows, Memphis music is still out in the world in a big way. Not to mention Goner Records! I don’t have to hang with the greats, but, even as a Z-lister, I got to be a part of something. If I had worried about being profitable or the best — or any good at all — I would have missed out on so much.

More important, to me at least, is that I got to create something with other people. One of my close friends designed the cover for one of my EPs, and my band wrote and performed the score for another friend’s short film. Music gave me an excuse to make art (or at least noise) with people I admire, and those memories are nothing short of priceless.

So, to the folks who listened, thank you. To the musicians making a real go of it, I’ll see you out there. I can’t wait.

Categories
Music Music Blog

The Two Faces of Jesse Davis

Two musicians named “Jesse Davis” live in Memphis. They both have their own bands. They’re also DJs on separate radio stations. Only one Jesse Davis, though, is releasing a new single November 20th.

Jesse James Davis points to a framed portrait of Robert Ford, who shot and killed the outlaw Jesse James.

They have their own personas, both on social media and in real life. “Jesse James Davis,” 32, is in Yesse Yavis, Model Zero, and 1,000 Lights. “Jesse James is an outlaw,” he says.


“The Other Jesse Davis,” 33, who plays in Terry Prince & the Principles and The Conspiracy Theory, is a Memphis Flyer and Memphis magazine staff member. His middle name is “Aaron,” which, he points out, is Elvis’ middle name.

The Other Jesse Davis, via the most confusing Zoom interview of all time


One Jesse Davis is bearded and the other isn’t. “He’s me with the evil goatee,” Jesse James says.


“I would say I look like Jesse, but with exceptional hair,” Jesse Aaron says.


“And poor eyesight,” Jesse James says. They both wear glasses, but his are “special computer screen glasses,” Jesse James says. “He’s only wearing those because he thinks they make him look cool,” Jesse Aaron says. “My glasses were prescribed by a doctor.”


“These are prescribed,” Jesse James says.

Jesse James Davis shows off his stylish shades.


Discovering there were two “Jesse Davises,” Jesse Aaron says, “was kind of a dawning realization. I kept on being tagged on things online I had not done. Sometimes I would go into Memphis Pizza Cafe and order a pizza and they would say, ‘Oh, you’re Jesse Davis,’” Jesse Aaron continues. “But then they would say, ‘Wait. No. You don’t look like who I think you look like.’”

Michael Donahue


They met at a restaurant, Jesse James says. “A mutual friend introduced us: ‘Jesse Davis, meet Jesse Davis.’ It was much like meeting your doppelgänger in the Black Lodge on Twin Peaks,” Jesse James continues.


Or “like an episode of Star Trek where Spock is doubled,” Jesse Aaron adds.


They “hit it off,” says Jesse Aaron, meaning it was “hand-to-hand mortal combat.”


“I’ve been saying this for years: ‘This town isn’t big enough for both of us,’” Jesse James says.


Recalling when the Principles and Yesse Yavis played at his birthday party, Jesse Aaron says, “I was so excited. I was like, ‘We’re playing a show and Jesse Davis is playing it.’ I think people just thought that I was speaking about myself in the third person.”


“I work at the Memphis Flyer,” Jesse James says/lies. “I’m now the editor. I write about music and books.”


He also says he is a DJ on WEVL, which is where Jesse Aaron works. Jesse James is actually on WYXR.

The Other Jesse Davis, having an identity crisis


“Would you be friends with somebody who’s trying to steal your identity on the Dark Web?” Jesse Aaron asks.


Jesse James is coming out with an hour-long variety show, The Yesse Yavis Extravaganza Spectacular Record Release Show, on November 20th, which will stream online. “It’s got skits and interviews and goofs and on-the-street coverage. And the music, of course.”


His 7” single on Misspent Records that coincides with the show includes “Never Let My Love Fall Down” and “Deep Blue Sea.” The latter is about “being your true self and not making things up and being true to who you are.”


“Oh, my God,” Jesse Aaron interjects. “And Hitler’s new single is about peace, love, and understanding. I’m just flabbergasted right now.”


Asked what he was working on, Jesse Aaron says, “I’m working on controlling my temper mostly.”


“You really need to calm down,” Jesse James says. “This whole interview you’ve seemed to be on edge.”

The Other Jesse Davis

“I want to be friends,” Jesse Aaron says. “I can’t be friends with me. When he’s trying to be me, it hurts.”


“I don’t know what he’s talking about,” Jesse James says, deadpan.


Musically, the Principles are working on “a sci-fi time-travel song,” Jesse Aaron says. “It’s about a post-apocalyptic band, how they have to play on skulls and stones with sticks instead of drums.”

Jesse James Davis knows who he is.


For the record, Jesse James and Jesse Aaron aren’t the only two people in Memphis sharing the same name. “There’s another person named ‘Jessie Davis’ who works at a Mapco around here,” Jesse James says.


While buying beer at Mapco, he noticed the name tag and told the cashier they shared the same name. “She wasn’t amused.”