Author: Kyle Hayes

  • “Hunger Without End: On Gluttony, Illusion, and the Ache Beneath Our Shine”

    “Hunger Without End: On Gluttony, Illusion, and the Ache Beneath Our Shine”

    We were taught to consume.

    Not just food, but image.

    Not just goods, but symbols.

    And when the goods were kept from us, when the symbols were gated behind color lines and zip codes and unspoken rules, we carved our hunger into a religion.

    We baptized our children in a name-brand.

    We anointed ourselves in oil and gold—some real, some not.

    And somewhere in the soft blur between lack and longing, between what we were told we could never have and what we dreamed we could hold, we lost the ability to tell the difference between wealth and its costume.

    This is gluttony—not of appetite, but of aching.

    A consuming of things to quiet the absence.

    And the Black body, especially the Foundational one, has been trained to perform this pageant of possession for survival and pride alike.

    I’ve seen the gleam of a gold chain reflect the face of a boy who hasn’t eaten.

    I’ve watched a girl unzip a thousand-dollar purse in a home where the lights flicker.

    I’ve heard engines roar from cars bought with back-breaking hours, only to idle outside crumbling apartments owned by people who never stepped foot on the block.

    This is not mockery. This is mourning.

    Because none of it is accidental.

    They built us a hunger.

    They stole land, language, family, and future, leaving behind hunger.

    They gutted neighborhoods through redlining, zoning, and predatory loans.

    They made it illegal for us to buy homes in the same cities we built.

    They passed down violence through policy and called it economics.

    And when we looked around at what little we had, we did what any scarred people do: we reached for shine.

    If they wouldn’t let us live in their luxury, we’d bring the illusion of it into our closets.

    We’d wear it like armor.

    We’d measure ourselves not by equity or ownership, but by how much we could afford to spend in a weekend.

    The bag on the table became the dream deferred.

    The belt buckle became the new birthright.

    The car became the crown.

    Even if the lease costs more than the rent.

    Even if the address was still subsidized.

    Even if the neighborhood fell apart as we sped through it.

    But it’s not just economics. It’s spiritual.

    Gluttony—absolute gluttony—isn’t about food or fashion.

    It’s about a soul that no longer believes in enough.

    It’s a bottomless wanting.

    A kind of despair that arises because it cannot be built.

    That consumes because it cannot heal.

    That hoard because it cannot rest.

    In our community, this manifests in patterns that appear to be pride but are actually rooted in pain.

    We spend on the visible because the invisible feels like failure.

    We reject home ownership because we’ve been evicted from history itself.

    We distrust banks, land, and institutions because they’ve burned us for centuries.

    So we trust what we can carry.

    What we can wear?

    What they can see.

    And yet, the question remains:

    Who are we feeding with all this performance?

    What hunger are we really trying to satisfy?

    Is it the hunger for love we never got?

    For dignity we were denied?

    For recognition, power, presence?

    Gluttony, unchecked, eats through the village.

    It turns neighbors into competitors.

    It replaces mutual aid with envy.

    It leaves no room for wisdom, only impulse.

    And when the high wears off—when the car note’s late and the purse is out of season—we are left again with that same ache. That same emptiness. That same stillness where self-worth should have been planted.

    But this isn’t where the story ends.

    We are still the descendants of builders.

    Still, the children of people who knew how to sew dignity into rags.

    Still, the bloodline of men and women who understood that legacy is not found in what you wear, but in who you lift.

    The solution is not shame.

    It’s not judgment.

    It’s remembering.

    Remembering that wealth is not a symbol—it is a tool.

    That a home passed down is worth more than a car driven alone.

    That the quiet power of ownership outlives every designer label.

    A neighborhood invested in is worth more than a vacation post.

    And that healing will never be sold in stores.

    Healing is slow. It is communal. It is spiritual.

    We do not lack style. We lack the space to grieve.

    And so we dress up the grief.

    We perform it with leather seats and champagne flutes.

    But beneath it all—beneath the chrome and the chain and the tag—there is still a child, still a people, still a history asking:

    What if enough was never what they told us it was?

    What if enough of us remember who we really are?

    By Kyle J. Hayes

    kylehayesblog.com

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  • Should We Forget, Remember, or Just Move Forward? On Grief, Ozzy Osbourne, and the Ghosts We Keep

    Should We Forget, Remember, or Just Move Forward? On Grief, Ozzy Osbourne, and the Ghosts We Keep

    Some weeks feel heavier than others. Not because the calendar says so. Not because tragedy itself is rare—death moves through every week like fog. But because sometimes loss has a shape, a face, a voice you didn’t realize had been echoing in the corners of your life until the silence arrives.

    This week, we lost two.

    One was known more for music. The other, for acting.

    Both architects of something bigger than entertainment culture.

    And one of them was Ozzy.

    Ozzy Osbourne.

    Lead singer of Black Sabbath.

    Rock god.

    Sabbath’s frontman.

    The man who growled verses that sounded like scripture torn from a post-apocalyptic Bible.

    The soft-speaking Brit whose singing voice sounded clearer than his speech.

    The one who turned chaos into chorus.

    I wasn’t a disciple. I didn’t wear the T-shirts or memorize the track lists.

    But I knew Ozzy.

    That’s the thing about culture—you don’t have to invite it in for it to sit down in your house.

    You could’ve never bought an album and still know the riffs of “Iron Man.”

    You could’ve avoided MTV and still felt the Osbournes crawling across the pop landscape.

    You didn’t have to watch the show to be caught in the blast radius of what it pioneered: celebrity confession as spectacle. The camera lens as altar.

    Ozzy was always there, somewhere between myth and meme.

    Slurred sentences, eyeliner, doves, bats, and blurred subtitles.

    A walking contradiction—strange, chaotic, fragile, funny, wild, legendary.

    And now he’s gone.

    And I find myself asking the question that grief always drags behind it:

    What do we do now?

    Do we forget?

    Do we remember?

    Or do we simply move forward?

    The Gen X in me tends to lean toward forgetting. We were built to press forward, to walk away from burning buildings and collapsing ideas.

    We buried our childhoods in cassette tapes and camcorder memories.

    We watched the world grow louder, faster, and messier, and we learned to keep moving.

    Because that’s what survival looked like.

    But forgetting has a cost.

    And sometimes that cost is ourselves.

    So I try to remember.

    Not just the famous bits—the hair, the stage presence, the controversy.

    But what did his existence mean to a culture that was always looking for an edge?

    Ozzy didn’t just perform chaos.

    He was the chaos.

    And somehow, he turned that chaos into art.

    That, to me, is the lesson.

    He didn’t tidy up his pain for mass consumption.

    He screamed it.

    He played it at maximum volume.

    He lived it—and maybe stumbled through it—but he offered it to us without polish or apology.

    And that makes me think about grief in a different way.

    The point isn’t to forget, or even to remember perfectly.

    Maybe it’s simply to hold space—however messy, however incomplete.

    We remember not because it makes us better archivists, but because remembrance is resistance to the idea that people disappear completely when they die.

    We carry them forward—not in perfection, but in pieces.

    A lyric.

    A laugh.

    A guitar riff that rides the back of your throat when the room goes too quiet.

    A moment in the car when the radio plays something old and loud and reckless and suddenly you’re sixteen again, unsure of everything but the volume.

    So what now?

    Now, we grieve.

    Now, we say Rest in Power to the legends and the lost.

    Now, we play the songs we half-remember and let them soundtrack the ache.

    And then, yes—we move forward.

    But we move forward with ghosts.

    We let them walk beside us.

    We let them interrupt the silence with memory.

    We let them whisper in the spaces where culture once gave them a stage.

    Because in the end, grief is not a detour.

    It’s not the opposite of progress.

    It’s part of the road.

    And we don’t heal by forgetting.

    We heal by carrying well.

    Rest in peace, Ozzy.

    You howled your way into the marrow of a generation.

    We heard you.

    And in our own way—we won’t forget.

    By Kyle J. Hayes

    kylehayesblog.com

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  • The Notes Between the Lines: Malcolm-Jamal Warner, Miles Long, and Never Knowing

    The Notes Between the Lines: Malcolm-Jamal Warner, Miles Long, and Never Knowing

    I found out he passed the way we find out everything now—fast, impersonal,

    And I froze.

    Not because I was surprised that death comes—it always comes. Not even because of what I remembered of him as Theo—the boyish laugh, the missteps, the way he made failing seem soft enough to try again.

    I froze because I didn’t know I would miss him.

    I knew the actor. The icon. The cultural marker that helped redefine what it meant to be young, Black, and trying to find your place in a home that wasn’t perfect, but at least pretended to be.

    But I didn’t know the man.

    Not really.

    After the shock wore off, I did what so many of us do now when we grieve—I searched. Not through photo albums or eulogies, but online.

    That led me to Apple Music.

    I typed his name.

    And that’s when I found it.

    Miles Long.

    I didn’t know what to think at first. But no—it was him. His name. His band. His voice.

    Miles Long. A play on his full name. A double entendre wrapped in legacy and intention.

    I started at the beginning: The Miles Long Mixtape. Pressed play.

    And something strange happened.

    It wasn’t like discovering a new artist. It was like recovering a part of myself I didn’t know I had lost.

    The music pulled me into the 90s, yes—but not the polished nostalgia of playlist rewinds or streaming service suggestions. This was a lived-in sound. The kind of R&B and early Neo Soul that knew about heartbreak and healing in the same breath. You could hear the weight of lessons that never made it into scripts. You could feel the poetry of someone who had been quietly documenting what wasn’t televised.

    Basslines that whispered.

    Grooves that curled like smoke around memory.

    Lyrics that didn’t beg for attention—they just stayed.

    Like grief.

    Like wisdom.

    And I couldn’t help but ask: How did I not know this?

    How did I live under the illusion that he stopped at Acting?

    What does it mean that even in my admiration, I had still reduced him?

    We talk so much about giving people their flowers, but we rarely ask if we ever truly saw the full garden they were planting—quietly, consistently, in the cracks where cameras don’t go.

    Malcolm wasn’t chasing fame. He was chasing truth.

    And the music proves it.

    He wasn’t sampling culture. He was documenting it.

    In bass. In breath. In bars of spoken word so raw they sound like prayers.

    I listen now not as a fan, but as a student.

    As someone ashamed that it took death to open the album.

    As someone mourning not just the man, but the years I could’ve been learning from him and didn’t.

    There is a unique ache in discovering the depths of a person after they’re gone.

    It feels like theft.

    Not by them, but by time.

    By distraction.

    By the illusion that we know people just because we remember who they were on our screens.

    I didn’t know him.

    But I know something now.

    I know that he created art without seeking applause.

    I know that he raised a generation onscreen and then tried to heal that same generation with poems, melodies, and grooves that felt like balm.

    I know that Miles Long was more than a name—it was a statement.

    About the journey. About pace. About the distance between how we’re seen and who we really are.

    Tonight, I’ll play the mixtape again.

    Not because I’m trying to hold onto something, but because I finally showed up.

    And it is the most devastating beauty—to arrive late and still be welcomed by the work.

    I don’t know how to explain this grief.

    It’s not celebrity worship. It’s not nostalgia.

    It’s the sorrow of realizing you almost missed someone you should’ve known intimately.

    It’s the ache of belated recognition.

    It’s love, delayed—but no less real.

    Rest well, Malcolm.

    By Kyle J. Hayes

    kylehayesblog.com

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  • Theo, Memory, and the Echo of Us:

    Theo, Memory, and the Echo of Us:

    A Reflection on the Life of Malcolm-Jamal Warner

    I was born somewhere between the echoes of soul and the static of the evening news. Gen-X, they call us—the in-between generation. Raised in the analog hush before the digital howl. We were the kids who watched the world through wood-framed Zenith televisions and learned the rhythm of our lives by what shows came on and when.

    For me, Thursday nights in the ’80s were sacred.

    I didn’t know it then, but I was being handed a blueprint—not perfect, not without fault, but something close to a possibility. The Cosby Show wasn’t just a sitcom; it was a cultural phenomenon. It was a seismic shift. A reimagining. A refusal.

    And right there, in the middle of it, was Malcolm-Jamal Warner. Theodore Aloysius Huxtable “Theo”.

    He was the older brother that many people didn’t have. The one who made mistakes but got up again. The one who was cool but also flawed. And most importantly, the one who was allowed to grow. To cry. To fail. To be seen.

    He was not a trope. He was a thread in the tapestry of our adolescence. In a world that rarely afforded young Black men emotional complexity, Theo existed as something softer than stereotype, something more human than punchline.

    Today, I heard that tragedy struck.

    And something inside me stopped. Not just for the man himself, but for what his presence meant. For what it awakened in me.

    I didn’t know Malcolm-Jamal Warner personally. But like many of us, I felt like I knew him. Because we watched him grow. From the 14-year-old kid with the sideways smile and nervous charm, to the man who—quietly, steadily—kept showing up for the culture, even when the cameras weren’t rolling.

    He wasn’t just Theo.

    He was Alex Reed in Reed Between the Lines, trying to reimagine Black fatherhood again—this time as a present, emotionally available, professional Black man navigating love, children, and the complexities of a blended family.

    He was Dr. AJ Austin on The Resident, standing in hospital scrubs, saving lives on-screen while continuing the legacy of representing us in spaces we are often denied in real life.

    He directed. He produced. He narrated. He spoke. And always—always—with that same centered, grounded presence. A voice that calmed. A gaze that carried weight.

    Off-screen, Malcolm gave just as profoundly.

    He spoke out on Black mental health before it was trendy, before the hashtags and the mental health awareness months. He lent his voice to poetry, to jazz, to Black men’s healing circles. He didn’t just want to be seen—he wanted to help others see themselves.

    He supported literacy programs, youth mentorship, and countless initiatives for young Black creatives—always with an emphasis on empowerment through self-awareness and discipline. Not flashy. Not for headlines. Just because it was right.

    When people discuss legacy, they often refer to its impact in an abstract sense. But for me, Malcolm-Jamal Warner’s legacy is personal. It’s quiet. It’s the way I felt seen, even when I didn’t know I was invisible.

    That we could joke without becoming jokes. That we could learn without being reduced to lessons.

    He reminded us that being cool didn’t mean being cold. That we could love our families and still carve our own paths. That we were enough.

    As I sit with the weight of this loss, I think about the strange intimacy of mourning someone you never met. It’s not celebrity worship. It’s not nostalgia.

    It’s something more profound.

    It’s about the ghosts we carry in our cultural memory. The people who shaped us when we didn’t yet have the language to understand how. The ones who offered their craft like a mirror. And dared us to look.

    So tonight, I light a candle for the boy I was. And for the man who helped him feel like maybe—just maybe—he could be more.

    To Malcolm-Jamal Warner: thank you for your grace. For your growth. For choosing to live in alignment with something bigger than applause.

    You were art. And anchor. And example.

    May your family find peace in the love you gave so generously.

    May your work echo long after the credits roll.

    May your name be spoken with the reverence it deserves.

    Please send Prayers for his family.

    —

    Kyle J. Hayes

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  • “Smoke and Silence: A Juneteenth Reflection”

    “Smoke and Silence: A Juneteenth Reflection”

    They said we were free. They said June 19, 1865, was the day we finally heard it out loud—that we were no longer property, no longer counted like cattle or taxed like tobacco. Two years late, but freedom, they said. They say.

    But what they don’t say—what’s often left in the silence between fireworks and food trucks—is that Juneteenth wasn’t just a date on the calendar. It was a memory passed like tongs over hot coals, shared in backyards, in neighborhoods carved from red lines and resilience. It was a whisper of freedom held between ribs and potato salad before there was ever a hashtag or a plastic cup with red, black, and green printed on the side, “Made in China.”

    Before it was named a federal holiday, Juneteenth was ours. Foundational Black Americans. The descendants of those who labored resisted and died without so much as a headstone to mark their names. It was celebrated not with grandeur but with soul. Small parades down streets we paved but never owned. Sunday choirs echoing freedom songs older than the Constitution. Fathers firing up grills, uncles telling stories that turned mythic over time, and grandmothers seasoning more than just food—seasoning identity, memory, grief, and joy into every bite.

    We didn’t need permission to celebrate. We needed remembrance.

    But now? Now, the world has discovered Juneteenth like a new flavor of soda—for a limited time only, available at your nearest big-box retailer. There’s a profit in our pain. A market for our memory. You can buy a Juneteenth T-shirt from the same store that called the cops on us last month. You can eat a “Freedom Day Cupcake” sold by hands that never once lifted a tray at a family reunion.

    Even in celebration, they find a way to own it.

    Federal recognition was supposed to be acknowledgment. But somewhere in the process, it started to feel like appropriation. As soon as it was made official, they also made it theirs—to monetize, to control, to parade around with branding guides and Instagram filters.

    They charge us for permits on our own blocks. They raise vendor fees at parks we once filled for free. They line the streets with booths and banners but ask none of the elders to speak. No stories. No truth. Just commerce.

    What once felt sacred now feels staged.

    And so I offer this:

    Celebrate quietly. Celebrate deeply. Celebrate honestly.

    Not with mall sales and glittered slogans, but with memory. With reverence. With fire and flesh and laughter and smoke curling upward like a prayer.

    Light a grill in your backyard. Share a story with your child. Tell them about the General who rode into Galveston with two years of truth in his mouth. Tell them about the cotton and the blood. About the chains. About how some of us never made it to June 19 but dreamed of it in our final breath.

    Gather your family close—not for spectacle, but for sanctuary.

    Reclaim the sound of laughter in the yard. The creak of old lawn chairs. The gospel hum of freedom echoing off brick walls. Let the smell of ribs and spice be our resistance. Let the rhythm of our joy be the sermon.

    Because Juneteenth isn’t for sale.

    It never was.

    And if they ask where the parade is, tell them it’s right here—

    in the circle of Family and friends , under the tree, where freedom still sings low and slow.

    By Kyle Hayes

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  • “The Weight Beneath the Mask: On Patience, Rage, and the Quiet War for Empathy”

    “The Weight Beneath the Mask: On Patience, Rage, and the Quiet War for Empathy”

    Every morning, before the sun gets up and the world begins to call itself civilized again, I sit with myself. I try to be better than I was the day before. That’s the promise I’ve made, not to the world, but to the little boy I used to be—the one who deserved more tenderness than he received. The one who saw too much too early and still had the nerve to keep dreaming.

    I learn patience.

    I try to learn empathy.

    And most days, it feels like trying to catch rain in a sieve.

    Being a Foundational Black American in this country is to walk a tightrope stretched across a minefield. You must smile with your teeth clenched, laugh without humor, and nod when what you really want to do is roar.

    I try to treat everyone equally.

    That’s the goal, isn’t it? That’s the thing we’re taught to believe in. Equality. Fairness. The golden rule and the silver-tongued lies that follow it. But some days, it feels like I’m trying to hug a fist. Some days, the evidence of this country’s contempt for my existence is not anecdotal—it’s algorithmic. Baked into news cycles, comment sections, and the careful silence of the people who walk past injustice without blinking.

    You hear it. You feel it.

    There is discomfort in their voice when you speak with authority.

    The glance at your hands when you’re simply reaching for your ID.

    The way your masculinity is questioned when you don’t perform it on their terms, and criminalized when you do.

    Empathy feels dangerous some days.

    Softness feels like an invitation to be taken advantage of. And still, I reach for it. Not because I believe I’ll be met with it in return, but because I know what happens when you let anger do all the talking. You lose the part of yourself that still believes in healing.

    But let me say this plainly, because it needs to be said:

    Empathy is not weakness.

    It is resistance in its most refined form. It is the choice to keep your humanity intact when the world insists on stripping it from you.

    Still, I struggle.

    I struggle not to let the bitterness set in.

    I struggle to hold my tongue when my dignity is disregarded.

    I struggle not to internalize the weight of microaggressions—those paper cuts that don’t bleed but never quite heal either.

    And underneath it all is a rage most people don’t want to acknowledge.

    Not because it isn’t real. But if they acknowledged it, they’d have to admit they helped cause it.

    What would they think, these coworkers and strangers and casual acquaintances,

    if they knew what it takes for me to walk through the world as calmly as I do?

    What would they feel if they could feel the heat I have to suppress just to make them comfortable?

    What if they knew that beneath this patience is a warrior holding his sword with the blade facing inward?

    We are not angry without reason.

    We are angry because we are still here, and still treated like ghosts.

    We are angry because we know what our fathers swallowed.

    Because we watched our mothers turn crumbs into miracles.

    Because we are still expected to smile while being slowly erased.

    And yet…

    We rise early. We go to work. We raise children. We love.

    We choose empathy when anger would be easier.

    We wear the mask, not because we are afraid, but because we know the cost of taking it off.

    Some mornings I fail.

    I lose my temper. I withdraw. I despair.

    But most mornings, I try again.

    Because the work isn’t just surviving.

    The work is staying human in a world that profits off your dehumanization.

    And so, I practice patience.

    Not because the world deserves it.

    But because I do.

    By Kyle Hayes

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  • When the Earth Trembles and the Sky Weeps

    When the Earth Trembles and the Sky Weeps

    There are moments in a man’s life when his words feel like a betrayal.

    This is one of them.

    Because anything I write will not do justice to the raw wound stretching across Texas and New Mexico. No sentence—no matter how well-shaped—can describe the homes washed away, or the destruction left by Floodwaters. This is not simply weather. This is a humanitarian crisis, quiet in the way only American suffering can be—because it often happens without proper cameras or compassion.

    I’ve kept them all in my prayers.

    Both Texas and New Mexico were battered by floods.

    People fleeing rising water, families praying for missing loved ones, whole communities reduced to rubble or memory.

    I’ve also held someone closer in prayer—a dear friend in Houston, a healer by trade and by nature. I believe she and others—doctors, nurses, caregivers—are already mobilizing. They are the ones who step forward before anyone asks. The ones who show up while the nation debates. They pack their scrubs, their gauze, their quiet courage, and go. Not for politics. Not for applause. But for the people.

    I often think about how place shapes perception.

    In the Quad Cities—my home—we know natural disasters like we know the back of our hands. Tornado sirens were the lullabies of summer nights. Flooded streets were rituals, almost seasonal. You learned early to measure trauma in feet and inches of water. But even familiarity doesn’t dull devastation—it only makes it expected.

    But for many in New Mexico, in regions where floods aren’t expected to reach their porches, the pain strikes differently. It’s not just loss—it’s betrayal. It’s learning, in one cruel stroke, what it means to live at the mercy of something larger and more indifferent than government. It is learning, quickly and violently, that Mother Nature is not a metaphor.

    She does not negotiate. She does not plead. She comes as she is—rage wrapped in water.

    So, no—I will not speak of politics. Not today. I won’t debate climate policy, relief budgets, or federal negligence. Not now. Because the water is still rising. And people are still missing.

    This moment belongs not to partisanship but to compassion.

    To the man who lost his house in the flood.

    To the families who have lost loved ones in Ruidoso.

    To the nurse flying into Houston, not knowing if there will be enough beds or time.

    To the child who will never again see their bedroom, their bike, their favorite tree.

    And perhaps to you, reading this, holding grief for strangers you’ve never met.

    If this country is worth anything, it’s worth the way we show up for each other when the ground gives out and the sky collapses. Not with slogans. Not with red or blue hats. But with hands, and hearts, and quiet, necessary acts of grace.

    Because when disaster comes, it doesn’t check party affiliation. It doesn’t care about borderlines or building codes. It comes for the breathing, the working, the praying—the living.

    And when the winds still and the waters drain, all that will remain is the memory of who showed up. And who didn’t?

    May we all, in whatever way we can, show up.

    With our money.

    With our time.

    With our healing.

    With our humanity.

    Because that’s the only thing strong enough to rebuild what’s been broken.

    By Kyle Hayes

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  • “The Disappearance and the Dreamers: A Return to Small Town America”

    “The Disappearance and the Dreamers: A Return to Small Town America”

    I could start this in a few ways.

    I could tell you about the beauty of small-town America—how it smells like earth after rain, how it feels like old denim, soft at the edges and worn in all the right places. I could paint a picture of local parades, gas stations where they know your name, and corner stores that sold glass-bottle soda as if they were dealing in gold. I could start there.

    Or I could tell you about the slow death.

    About how it creeps in not with a scream, but with silence. A corner shop goes dark. The comic book store fades into memory. That one spot that always had a single cook and a single delivery guy—hollowed out by time, or worse, by convenience. We didn’t even get to say goodbye. One day it was there, and the next… it was nowhere to be found.

    That’s how I found it, this town that raised me. A shell and a fight. Graying at the temples but still kicking. Still trying.

    I returned home with a chip on my shoulder and an axe to grind. My past visits had been disappointments—full of quiet judgment and half-empty shelves. I began to see the town as Lucy holding the football. I, the fool, forever falling for a nostalgia that never delivered.

    But then I noticed it.

    Not a rebirth exactly. More like resistance. Quiet. Stubborn. And beautiful.

    A locally brewed beer sitting proudly on a shelf next to Budweiser, daring you to taste something made here. A sushi place—yes, sushi—in a town where raw fish used to be called bait with a laugh. A barista pulling espresso in a repurposed mechanic shop, poetry on the walls, and indie jazz in the air. It didn’t look like the town I left, but it was trying to feel like the one I loved.

    The resistance is no longer being led by factory foremen or overtime heroes. It’s the dreamers.

    The artists. The comics shop rebels. The coffee shop philosophers. The chefs, brewers, and boutique owners who aren’t just surviving small-town America—they’re redefining it.

    I keep thinking about that comic book store.

    The one where I spent more time than I did money, though God knows I wanted to spend more. That store helped shape the person I am. Not because of what I bought, but because of what I learned.

    Inside those walls, you weren’t just reading stories—you were being trained in how to dream.

    You met other kids who knew backstories you didn’t, who taught you how a single issue could reframe an entire arc. You learned how to imagine better. To think in color. To expect the impossible and call it plot development.

    Sure, comics still exist. There are still conventions. Online communities. But they don’t replace the bike ride to the store on release day.

    They don’t replace the smell of fresh ink. The thrill of a new issue in your hands. Or seeing the store owner, and knowing him, not as an employee, but as a keeper of stories.

    That’s what we’re losing.

    Not just the stores.

    But there is humanity in the transaction.

    I was prepared to write a eulogy.

    To mourn the death of small-town America.

    But what I found instead… was a kind of defiance.

    Maybe it’s not dying. It could be changing. Perhaps the overgrown trees and cracked sidewalks aren’t signs of decay, but rather Mother Nature is taking her seat at the town hall meeting. Maybe she’s in on the plan.

    And maybe—just maybe—the artists are saving it.

    Not by keeping it the same, but by daring to imagine it differently.

    In this era, I don’t need to fly to the Quad Cities for a box of Lagomarcino’s. It’s a click away. That’s the gift and the curse. Accessibility without presence.

    However, some places still require in-person visits.

    Not for the product, but for the chance. Because on one of those visits, you might notice something new. A new mural. A new flavor. A new owner with an old soul and a dream too stubborn to die.

    So go. Walk the street you used to know.

    The one who forgot your name and then remembered it.

    The one still fighting, in ways you didn’t expect.

    The death of small-town America may still be in progress.

    But so is its reinvention.

    And I’d bet everything on the dreamers.

    By Kyle Hayes

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  • “Fireworks, Smoke, and Silence: Reflections on the Fourth of July”

    “Fireworks, Smoke, and Silence: Reflections on the Fourth of July”

    I remember the Fourth of July not as a lesson in civics, but as smoke thick in the backyard, children running with sparklers and paper plates bending under ribs and deviled eggs. I remember laughter louder than the cheap boom of fireworks we lit off in the alley. We didn’t talk about the Declaration or Jefferson—we talked about who made which potato salad. About the music. About the person who brought store-bought chicken and tried to pass it off as homemade.

    We were celebrating something, though. Maybe not independence. But togetherness. Perhaps not the country. But the neighborhood. The people who showed up. The people who still knew your middle name.

    As I grew older, the smoke remained the same, but the fire changed. Firecrackers instead of sparklers. Bottle rockets fired off in the street like we were challenging the sky. Then it became more refined—city festivals, parades, sanctioned firework displays. You’d drive out to the river or a stadium or the edge of town and watch lights bloom over the landscape like temporary stars. And for a moment, we all looked up. Together. That was something.

    Now? Now I watch the fireworks on TV.

    I sit in the quiet of a home I pay for with work that doesn’t rest. I flip past news coverage, see red, white, and blue glossed over a nation that feels exhausted by its own reflection. The fireworks crackle through speakers. But there’s no smoke. No laughter. Just the echo of something I used to understand.

    Small Town America still gets it, in a way.

    There’s a rawness to how they celebrate. The Fourth feels like a living thing there—felt in parades with tractors draped in bunting, kids waving flags the size of dish towels. It’s in the grill smoke curling behind churches and VFWs. It’s in the fire department pulling double duty—hosing kids down for fun in the morning, standing ready for emergencies by nightfall.

    In these towns, the holiday doesn’t ask for an explanation. It just is. A ritual passed down like recipes and stories told on porches. Patriotism feels personal—tied to the land, the local, and the lineage.

    But drive two hours into the nearest city and it’s different.

    You feel the tension. The mix of celebration and scrutiny. Fireworks punctuate protests. Red, white, and blue merchandise is sold alongside T-shirts that read “No Justice, No Peace.” The holiday is no longer a question of tradition, but of interpretation. Who gets to feel free? Who was never meant to?

    Region matters, too.

    In the South, it’s often steeped in performative pride. The flags wave bigger, but the air feels heavier. History isn’t just remembered—it’s reenacted. For Black folks, it has always been a complicated celebration. Independence was declared in 1776, but our freedom didn’t come until almost a century later—and even then, it was on paper, not in practice.

    In the Northeast, there are more ceremonial historic towns holding colonial parades, bell ringings, and readings of old speeches. It’s a curated memory. A museum brought to life. Patriotic, yes, but distant.

    Out West, the holiday is looser, more abstract. Backyard cookouts in canyon shadows. Fireworks flaring over desert skies. The patriotism is quieter, more tied to the land and the idea of independence—something rugged, something wild.

    The Midwest—my home—straddles it all. Here, it’s a mix of deep-rooted ritual and growing skepticism. It’s the county fair and the protest. It’s the American flag hanging next to a Juneteenth banner. A place that still wants to believe in something, but is no longer sure what that something is.

    And that brings me to now.

    To this country.

    To this moment.

    Divided doesn’t feel like a strong enough word. We’re not just on different pages—we’re reading different books. For some, the Fourth is still sacred. For others, it’s hollow. Some wave flags with pride. Others burn them. Some pray for peace, others brace for chaos. Will we celebrate with barbecues or barricades this year? Will the fireworks light up the sky—or drown out the sirens?

    I’m no longer sure what the Fourth of July means anymore.

    I’m not sure if I ever truly did.

    But I know what I miss.

    The simplicity of smoke.

    The smell of burnt meat and the smoke of firecrackers.

    Family laughing. Adults yelling, ” Don’t blow your fingers off.” The way we all stopped for a moment to look up, not at a country, but at the light. Together.

    That’s what I try to hold on to now.

    Not the promise of America. But the possibility.

    Not the history. But the humanity.

    Because if there’s anything left to celebrate, it could be the small things. The gathered ones. The moments are too ordinary to lie about. The fireworks we make just by showing up.

    By Kyle Hayes

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  • “Sugar, Memory & Mercy at Largomarcino’s”

    “Sugar, Memory & Mercy at Largomarcino’s”

    A man who’s tasted disappointment in the places that once defined him learns to guard his nostalgia like a brittle heirloom. After Happy Joe’s went corporate cold, I flew home to Albuquerque, full of disappointment and regret. But the Quad Cities still keeps a few sanctuaries, and chief among them is Largomarcino’s—the century-old candy counter where sugar still gets its hands dirty.

    Walk through the front door, and you feel the floorboards remember you, even if the staff doesn’t. The glass cases shimmer with rows of turtles, truffles, and creams—each one lined up like choirboys who secretly spike the hymn wine after service. Behind the marble counter, brass soda taps glint under amber pendant lamps that refuse to be updated. The air smells like vanilla bean and sweet cream spiked with a quiet note of fryer oil drifting in from the lunch nook in the back. It is, mercifully, the same as it ever was.

    I once brought a girl here on a first date, sure that the scent of caramelizing sugar and the soft clink of long-handled soda spoons would say things my teenage vocabulary couldn’t. We shared a sundae, so overloaded it listed starboard. She laughed; I tried to look like the kind of man who casually knows about old-school candy parlors. Truth? I just needed to show her a place that felt like honesty in a world already hustling counterfeit cool. Largomarcino’s obliged. That date briefly made me king of a realm where chocolate crowns are handed out freely, and the only recession is the one your dentist warns you about later.

    On this recent visit, I half-expected the specter that haunts old favorites: the new logo, the laminated menu, the weary cashier whose corporate smile never quite reaches the eyes. Instead, I found the latest generation Largos still behind the counter, still calling regulars by name, still Loading chocolate into various little boxes. The soda fountain stools squeaked the same protest when I sat down, the way old friends groan but scoot over to make room.

    Lunch was a club sandwich—no reinvention, no aioli, just Midwestern humility between slices of white bread—followed by Diet Coke (Yes, I see the irony). I picked handfuls of candy bars and orange-covered chocolate for the friends back in Albuquerque who have heard me sing this place’s praises like late-night gospel. I bought a bag of Bourbon caramel bites for myself, just in case hunger struck early and I regretted it later.

    Is it worth the eventual dental bill? Absolutely. Is it worth the added miles on the treadmill? Hell yes. But more than that, Largomarcino’s is worth the faith it restores—that somewhere, beyond the safe neon glow of fast-casual chains, flavor, and family can still stubbornly share a roof.

    I carried my haul out into the Midwest humidity, sugar sweat already forming on my brow, and realized something simple: places like this don’t just sell candy. They sell mercy. A soft reprieve from processed sameness, a reminder that craft and care can outlast the quarterly report. You taste it in the snap of a dark chocolate almond bark and in the carbonic tickle of a handmade phosphate. You taste the persistence of people who keep stirring copper kettles because machines can temper chocolate, but they can’t temper the soul.

    I will keep coming back as long as there is a back to go to. And suppose the world ever swallows Largomarcino’s the way it swallowed Happy Joe’s. In that case, I’ll tuck the bourbon bites in my pocket, let them melt down to sticky echoes, and remember how good it felt to stand in a room where sugar, memory, and mercy still mingled, still mattered, and still refused to sell out.

    By Kyle Hayes

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