Nashville Scene 4-1-21

APRIL 1–7, 2021 I VOLUME 40 I NUMBER 9 I NASHVILLESCENE.COM I FREE

Orrall History Robert Ellis Orrall leaves Nashville’s art scene after one last visit in his collaborative The Kitchen BY JOE NOLAN

CITY LIMITS: POT-RELATED BILLS FACE LONG ODDS IN THE LEGISLATURE PAGE 6 ART: FIVE HIGHLIGHTS FROM THE FRIST’S SURVEY OF PICASSO’S FIGURATIVE WORK PAGE 22 cover_4-1-21.indd 1

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NASHVILLE SCENE | APRIL 1 – APRIL 7, 2020 | nashvillescene.com

CONTENTS

APRIL 1, 2021

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21

Up in Smoke ...............................................6

Life, Breath and Death

CITY LIMITS

BOOKS

Medical cannabis and decriminalization efforts face long odds in the legislature

Michael Eric Dyson’s Long Time Coming is an elegy and a call to action

BY STEPHEN ELLIOTT

BY KASHIF ANDREW GRAHAM AND CHAPTER 16

The Rains Came .........................................6 Nashville’s recent flooding highlights the vulnerability of our city’s unhoused citizens

BY ALEJANDRO RAMIREZ AND STEVEN HALE

Diaper Activity ............................................7

22 ART

Five Easy Pieces...................................... 22

Nashville Diaper Connection meets a huge community need

Five highlights from the Frist’s extensive survey of Picasso’s figurative work

BY HANNAH HERNER

BY LAURA HUTSON HUNTER

Pith in the Wind .........................................7

Crawl Space: April 2021......................... 23

This week on the Scene’s news and politics blog

Creative flags, atmospheric oil paintings and the return of in-person showings prove April’s First Saturday art events ain’t foolin’

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BY JOE NOLAN

COVER STORY Orrall History

Robert Ellis Orrall leaves Nashville’s art scene after one last visit in his collaborative The Kitchen

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THIS WEEK ON THE WEB: Exit/In Transforms Into Pop-Up Skate Park to Benefit Independent Venues With Weekend Flooding, Nashville Takes Another Hit Daddy’s Dogs Releases Spring Beer Box Anthea Butler Speaks With Prophetic Candor in White Evangelical Racism

ON THE COVER:

Artists clockwise from top right: Jessi Zazu, Robert Ellis Orrall, Bongang, Amanda Leadman, Dyl Moss, Harry Underwood, Alison Rhea, Elizabeth Williams, Ian Bush

MUSIC

The Dolourous Return............................. 24 Dolour’s Shane Tutmarc talks about his new album Televangelist and resurrecting the pop band he ghosted a lifetime ago

BY JOE NOLAN

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BY MEGAN SELING

CRITICS’ PICKS

Company Man ......................................... 24

Watch Minari and attend the Living Room Film Club, watch Woofstock at the Winery feat. Emmylou Harris and Steve Earle, stream Chrome Pony’s set from The 5 Spot, check out new educational productions from Nashville Shakes, subscribe to the kweliTV streaming service, build your own streaming Paul Thomas Anderson film festival and more

Leslie Jordan hosts an old-fashioned gospel sing on Company’s Comin’

BY BRITTNEY McKENNA

Taking Control ......................................... 25 Chile-born powerhouse Catalina discusses carrying Latin traditions forward in her own way

BY DIANA LEYVA

The Spin ................................................... 26

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The Scene’s live-review column checks out Brandi Carlile at the Ryman and Julien Baker at Analog at Hutton Hotel

FOOD AND DRINK

Sugar Shock: Holy Cacao

BY CHARLIE ZAILLIAN AND MEGAN SELING

The Gulch’s Blue Stripes Urban Cacao is both the devil and the angel on your shoulder

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BY MEGAN SELING

FILM

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Primal Stream 48 French Exit and the Snyder Cut, now available to stream

VODKA YONIC

Escape to Escape to the Country

BY JASON SHAWHAN

On the soothing effect of British reality television

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BY CHRISTY LYNCH

NEW YORK TIMES CROSSWORD

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MARKETPLACE

Walk a

Mile

with J.R. Lind

With feet on the street, we discover Nashville’s own unique beat – one mile at a time

Call for take-out!

Authentic Mexican Cuisine & Bakery...Side by Side!

615-669-8144 PanaderiayPasteleriaLopez

615-865-2646 TacosyMariscosLindoMexico

917A Gallatin Pike S, Madison, TN nashvillescene.com | APRIL 1 – APRIL 7, 2021 | NASHVILLE SCENE

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GOV. LEE’S RESPONSE TO MASS SHOOTINGS? NO PERMIT NEEDED TO CARRY A PISTOL IN TENNESSEE. We do not live in a lawless frontier, but you can’t tell that from the actions of Gov. Bill Lee or the Tennessee General Assembly.

Gov. Lee is pushing legislation, which has already passed in the Senate and will have likely passed in the House by the time you read this, that would allow anyone over 21 to pack a pistol, anywhere, anytime. Senate Bill 765/House Bill 786 allows permitless carrying of handguns for anyone over age 21, and for military personnel between 18 and 20.

According to police and some local officials across Tennessee, this is a bad idea.

The Tennessee Bureau of Investigation is opposed to the legislation. TBI senior policy adviser Jimmy Musice testified to the Senate Judiciary Committee that 63,000 Tennesseans are considered “mentally defective,” and that nearly 5,500 people were excluded from permits or had their permits revoked in 2020. Musice testified that the TBI has no issue with allowing people who are legally permitted to carry a firearm. “We think … the permit process allows us to actually do that by knowing if that person is lawful,” Musice said.

The current permit process enables law enforcement officials to screen applicants for dangerous individuals, undocumented immigrants, felons or people with mental health issues.

The Tennessee Sheriffs’ Association and the Tennessee Association of Chiefs of Police also oppose the bill. As reported

by WZTV, law enforcement has come out against the bill in part because the permitting system helps them track a firearm if it is stolen and used in a crime.

Further, the bill does not require any hands-on training on how to handle a firearm, which the current law does require.

Brant Williams — the founder of gun store Frontier Firearms — said that while he supports the legislation, “It’s frightening how many [people are] coming here with a total misconception about how they can safely use a firearm, legally use a firearm in self-defense.”

Unsurprisingly, there are concerns over who might own a gun, and with no training required, how an owner may use it. A recent

report from The New York Times notes the following: • Gun violence kills roughly 40,000 Americans a year.

• America has a greater problem with gun violence than other countries because of our “unique gun availability.” “It’s not just that every other high-income country in the world has many fewer guns and many fewer gun deaths,” reports the Times.

“It’s also that U.S. states with fewer guns — like California, Illinois, Iowa and much of the Northeast — have fewer gun deaths. And when state or local governments have restricted gun access, deaths have often declined.”

• More than half of gun deaths are suicides, and about one of every 400 gun deaths results from a mass shooting. Policies like requiring licensing and background checks would likely affect both.

• “Public opinion is complicated,” but “an overwhelming majority of Americans support many gun-regulation proposals — like background checks — that congressional Republicans have blocked. And, yes, the campaign donations of the National Rifle Association influence the debate.”

The Times article also states that the “main reason members of Congress feel comfortable blocking gun control is that most Americans don’t feel strongly enough about the issue to change their votes because of it.” I don’t know about that. I believe Americans want safe neighborhoods, safe households, a change for the better. But “safe” depends greatly on the laws we pass.

Think of the families who just lost their loved ones in mass shootings in Atlanta and Colorado. I wonder what those family members think of when they read about permitless gun carrying. Do they wonder why any state or governor would want more guns in the hands of people whose mental well-being and criminal history are unknown? Or a law that severely limits tracking a weapon’s use in a crime? Last week, Memphis Police Director Mike Rallings said: “Our state representatives are, to me, on a very scary road to pass permitless carry. I’m just very alarmed that our state legislature is poised to pass permitless carry and our governor is waving around like there’s a victory lap to be taken and I think it’s actually catastrophic.”

“Catastrophic.” I agree.

As reported by New Scientist and others, people who carry guns are far more likely to be shot than people who are unarmed. If this legislation is signed into law, more people will likely carry a gun — and the results could be catastrophic.

This is extremely bad legislation.

Editor-in-Chief D. Patrick Rodgers Senior Editor Dana Kopp Franklin Associate Editor Alejandro Ramirez Arts Editor Laura Hutson Hunter Culture Editor Erica Ciccarone Music and Listings Editor Stephen Trageser Contributing Editor Jack Silverman Staff Writers Stephen Elliott, Nancy Floyd, Steven Hale, Kara Hartnett, J.R. Lind, William Williams Contributing Writers Sadaf Ahsan, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Lance Conzett, Marcus K. Dowling, Steve Erickson, Randy Fox, Adam Gold, Seth Graves, Kim Green, Steve Haruch, Geoffrey Himes, Edd Hurt, Jennifer Justus, Christine Kreyling, Katy Lindenmuth, Craig D. Lindsey, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Chris Parton, Betsy Phillips, John Pitcher, Margaret Renkl, Megan Seling, Jason Shawhan, Michael Sicinski, Ashley Spurgeon, Amy Stumpfl, Kay West, Abby White, Andrea Williams, Cy Winstanley, Ron Wynn, Charlie Zaillian Editorial Intern Diana Leyva Art Director Elizabeth Jones Photographers Eric England, Matt Masters, Daniel Meigs Graphic Designers Mary Louise Meadors, Tracey Starck Production Coordinator Christie Passarello Events and Marketing Director Olivia Britton Promotions Coordinator Caroline Poole Publisher Mike Smith Senior Advertising Solutions Managers Maggie Bond, Sue Falls, Michael Jezewski, Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Keith Wright Advertising Solutions Manager Jeremy Aparicio, Olivia Bellon, William Shutes, Niki Tyree Sales Operations Manager Chelon Hill Hasty Advertising Solutions Associates Aya Robinson, Price Waltman Special Projects Coordinator Susan Torregrossa President Frank Daniels III Chief Financial Officer Todd Patton Corporate Production Director Elizabeth Jones Vice President of Marketing Mike Smith IT Director John Schaeffer Circulation and Distribution Director Gary Minnis For advertising information please contact: Mike Smith, msmith@nashvillescene.com or 615-844-9238 FW PUBLISHING LLC Owner Bill Freeman VOICE MEDIA GROUP National Advertising 1-888-278-9866 vmgadvertising.com

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NASHVILLE SCENE | APRIL 1 – APRIL 7, 2021 | nashvillescene.com

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Picasso. Figures features approximately 75 paintings, works on paper, and sculptures by one of the most celebrated figures in modern art. The exhibition offers an in-depth look at Pablo Picasso’s careerlong fascination with the human figure as a means of expressing a range of subjects and emotions. The Frist Art Museum is the only U.S. venue to host this incredible collection of his work.

Advance timed tickets are required and can be reserved at FristArtMuseum.org/tickets.

FEBRUARY 5–MAY 2

Downtown Nashville, 919 Broadway, Nashville, TN 37203 · FristArtMuseum.org · @FristArtMuseum · #TheFrist · #FristPicasso

Exhibition organized in partnership with Musée national Picasso-Paris.

Supported in part by our Frist Patrons and

FC003128_Mrr_Picasso_NashScene_10.75x12.5.indd 1

Platinum sponsor

Gold sponsors

Bronze sponsor

Hospitality sponsor

Education and community engagement supporter

Lynn, Ken, and Lauren Melkus

Portrait of Dora Maar, 1937. Oil on canvas. Musée National Picasso-Paris, Gift of Pablo Picasso, 1979. MP166. Photo © RMN-Grand Palais (Musée National Picasso-Paris) / Mathieu Rabeau. © 2021 Estate of Pablo Picasso / Artists Rights Society (ARS), New York nashvillescene.com | APRIL 1 – APRIL 7, 2021 | NASHVILLE SCENE 5

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CITY LIMITS

Medical cannabis and decriminalization efforts face long odds in the legislature

BY STEPHEN ELLIOTT

F

or a group of scofflaws who regularly file bills thumbing their noses at federal law, the Tennessee General Assembly’s anti-pot crowd sure cares a lot about the federal classification

of cannabis.

As usual, the legislature is considering dozens of cannabis bills this session, ranging from the establishment of a commission to study the drug’s potential medical uses all the way up to full-blown recreational legalization. The common thread: They’re mostly going nowhere.

Opposed lawmakers cite, among other things, the federal designation of cannabis as a Schedule 1 drug, or one with no medical use. But the U.S. Department of Justice does not meddle with the 40 states and territories that already offer some form of medical marijuana, and a diverse group of Tennessee lawmakers is still trying to make the state the latest to join the group.

“We know that patients are going to the illicit, recreational market to find relief,” says Rep. Bryan Terry (R-Murfreesboro), a doctor and the chair of the House Health Committee.

“We are looking at ways to decriminalize patients and help them find relief.”

But it hasn’t been so simple. Even small

THE RAINS CAME

Nashville’s recent flooding highlights the vulnerability of our city’s unhoused citizens

BY ALEJANDRO RAMIREZ AND STEVEN HALE

F

red Richards was 64, a veteran known for a funny, wild spirit and a resilience that had gotten him through many tough years.

He was also unhoused. When Saturday night’s historic rainfall turned to flash flooding, the encampment Richards had been living in with a community of people near Seven Mile Creek in South Nashville was swept away. Richards, who could often be seen in his wheelchair on a corner on Nolensville Road, was taken with it. He and a woman who had also been camping nearby were found dead Sunday morning.

They are among five people who lost their lives in the weekend flooding. As of this writing, police have yet to identify the unhoused woman as they attempt to locate and notify her family. Police also identified two older Nashville men as drowning victims. Douglas Hammond, 65, was swept away by flood waters when trying to exit his stuck vehicle near Nashboro Golf Club. Garry Cole, 70, died when his vehicle was submerged near the Walmart on Nolensville Pike. The fifth victim was found in Ashland City; authorities say he was swept away by water after driving through barricades on a flooded-out road.

The weekend’s seven inches of rain accounted for the second-highest amount of two-day rainfall in the city’s recorded history, topped only by the storms that

6

efforts at progress have been stymied.

Terry and a fellow doctor, Sen. Richard Briggs (R-Knoxville), carried a bill that would slightly raise THC limits for state employee drug tests. The goal was to prevent users of legal CBD products from losing their jobs if tiny amounts of THC show up in their urine tests — CBD being a legal, nonpsychoactive cannabis byproduct sold legally in Tennessee and used for therapeutic purposes. But the bill failed in the Senate Judiciary Committee earlier this month. Briggs blamed the failure in part on misinformation from prosecutors, who he said should have had nothing to do with the employment-related legislation.

“It was very frustrating,” Briggs says.

Another bill would allow veterans with quadriplegia from injuries sustained during military service to use liquid extract cannabis. That one isn’t dead yet, but it’s been slowwalked in both the House and Senate.

“At some point, Tennessee is going to have to deal with this issue,” Democratic Rep. John Mark Windle, a National Guard officer and one of the sponsors of the legislation, told the House committee. “It’s going to be sooner or later, but the public will demand it from each of you.”

More aggressive attempts at loosening

caused the massive 2010 flood — which caused more than $2 billion in damage, displaced 10,000 people and claimed the lives of 11 Nashvillians. During this weather event, the Nashville Fire Department reported rescuing 130 people from Saturday night into Sunday morning.

Outreach workers who serve the city’s unhoused community spent Sunday helping people sift for belongings and search for people and animals. Among the responding organizations was Open Table NashA PARK ADJACENT TO THE ENCAMPMENT ville, which formed in the wake of the WHERE TWO VICTIMS OF THE 2010 flood’s destruction, helping unWEEKEND’S FLOODS REGULARLY STAYED housed people who were displaced by the catastrophe.

Among the residents of the encampment mourning “We can’t help but think today of the 2010 flood Richards’ loss was his daughter. Chunaco says she was where we saw so much displacement and vowed to also living there when the camp was flooded out. journey with our friends through the crisis,” reads a Both Open Table Nashville and People Loving Facebook post by the nonprofit on Sunday. “We’re Nashville put out calls for donations to resupply the feeling so much of that today as we drive to flooded displaced communities. camps, assess the damage, sit with our friends and “They lost everything, so basic stuff from tents, distribute supplies.” sleeping bags, blankets, clothes to more nuanced Andreos Chunaco, an outreach worker with People individualized things,” Chunaco says. “But then also Loving Nashville, says advocates tried to comfort trying to get them shelter for the night because their the people they’ve come to know as friends. He had shelters were completely gone. A lot of them were known Richards for years and had been through a lot so traumatized and retraumatized, because this has with him recently. At the beginning of the pandemic, happened in the past, that they didn’t really want to knowing that Richards was particularly vulnerable, go back to the encampment.”

Chunaco went searching for him. He found his old Chunaco says outreach workers contacted the friend in a tent with flu-like symptoms and no energy Red Cross for help sheltering the former residents of to get himself out. Chunaco called 911, and parathe encampment but were told that the organization medics brought Richards to the hospital. doesn’t provide shelter to unhoused people. He also “He’s been through a lot, and for it to have been says that some recently unhoused people who had a flood is really heartbreaking, especially because I found temporary housing at a nearby hotel were disbelieve my friends deserve housing,” Chunaco says.

AFTER INITIALLY BALKING AT THE CONCEPT OF LEGALIZED MEDICAL MARIJUANA, BOWLING WAS CONVERTED, SHE SAID, BY STORIES OF FAMILIES WITH SICK CHILDREN DESPERATE FOR RELIEF AND

BY READING INTERNATIONAL RESEARCH ON THE DRUG. ing for relief. The genie is out of the bottle, and it’s not going back in.”

In addition to the push for medical cannabis, some members are trying to decrease punishments for possession and use of the drug, especially in small amounts. Democrats are sponsoring several decriminalization efforts, though they have largely failed to gain traction this year.

Asked if the bills that are still alive have a chance of passing, House Democratic Caucus Chair Vincent Dixie was succinct.

“I’m always hopeful, but being realistic, no,” he said.

EMAIL EDITOR@NASHVILLESCENE.COM

placed when the hotel also experienced flooding.

“Both of these populations are people who are and were recently [homeless], and it feels like the response to them is neglect,” Chunaco says.

Sherri McKinney, the regional director of communications for the Red Cross, tells the Scene that the organization did provide 50 tents, 50 duffel bags and 50 sleeping bags to unhoused people who were displaced by the flooding, but they’re not equipped to shelter people.

“Red Cross has never been in the business of homeless sheltering,” McKinney says, noting that the organization works with several agencies who do serve unhoused people. “Our sole goal with the Red Cross is to make sure we provide people with what they need to get started on to recovery to get them back to their homes, and in this case their home’s a tent.”

McKinney also says that displaced people were offered the option of sheltering at the Fairgrounds Nashville, but that many declined to go there because of rules that wouldn’t have allowed them to stay with their pet or spouse.

Lindsey Krinks of Open Table Nashville tells the Scene that more than 30 unhoused people were looking for shelter on Sunday night, but that many had dispersed by the time Open Table and People Loving Nashville were able to work with City Road Chapel UMC in Madison to provide one. The church was able to shelter 11 people and five dogs.

The rain has stopped, but threats still remain. Krinks says that with nighttime temperatures potentially dropping below freezing later this week, advocates are talking to Metro about opening an overflow shelter.

PHOTO: ELIZABETH JONES

UP IN SMOKE

the state’s marijuana laws have also faced pushback. A Republican-backed medical cannabis bill failed in the Senate Judiciary Committee last week, meaning it’s dead for the year. A small cohort of Republicans in the supermajority has joined Democrats in pushing for a medical cannabis framework in Tennessee for years, with no success.

The issue has produced some of the strangest coalitions at the legislature, with right-wing members in some cases joining superminority Democrats to push for weed reform.

Sen. Janice Bowling, a Baptist Republican from Tullahoma, had tears in her eyes as she urged her colleagues to back the medical cannabis bill. After initially balking at the concept of legalized medical marijuana, Bowling was converted, she said, by stories of families with sick children desperate for relief and by reading international research on the drug. Bowling also cited the potential to reduce Tennesseans’ use of addictive opioids.

“Please consider what I’m asking,” she told the Senate Judiciary Committee, which ultimately voted the bill down.

Bowling said a vote against the bill, which established a regulatory framework for medical cannabis, was “not only shortsighted, it’s ill-informed and it’s a danger to every one of us in the state of Tennessee.”

She was joined by one perhaps-surprising committee member, conservative Republican Sen. Kerry Roberts of Springfield.

“I’ve gotten to the point where I realize how many people I actually know are driving to Illinois,” Roberts said. “They’re look-

EMAIL EDITOR@NASHVILLESCENE.COM

NASHVILLE SCENE | APRIL 1 – APRIL 7, 2021 | nashvillescene.com

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PHOTO: DANIEL MEIGS

CITY LIMITS

DOUG ADAIR

DIAPER ACTIVITY

Nashville Diaper Connection meets a huge community need

BY HANNAH HERNER

I

f you’re a parent who received free diapers in the past year, there’s a very good chance they came from Nashville Diaper Connection. In 2020, the organization — whose website features the slogan “No Child Wet Behind” — provided a total of 2 million diapers to local families, up from 860,000 in 2019. Close to 66,000 of those were given out in the first four days following the March 3 tornado.

According to the National Diaper Bank Network, as many as one in three families reports experiencing diaper need. Diapers cost an average of $70 to $80 a month per child, nearly $1,000 a year. Nashville Diaper Connection, Nashville’s only diaper bank, provides a stock of diapers for 57 distribution partners across the city. And in 2020, the need widened.

“We’ve always targeted our partner agencies in areas of high need,” says founder Doug Adair. “Specifically, we target ZIP codes and census tracts with over a 25 percent poverty rate. Well, all that got blown out last year. We had people [needing diapers] that had had good jobs and were making good money in the hotel business, or in the event business.”

In order to reach more of these families, Nashville Diaper Connection jumped from supplying six to supplying 37 resource centers through Metro Nashville Public Schools, giving out diapers as part of the district’s meal distributions. Over the course of the year, the diaper banks struggled to keep their stock up at times. Adair says because of increased need, they blew through what they thought would be a four-month inventory in less than two months, beginning in March 2020. They had to scramble to find alternatives.

“Diapers were like toilet paper last year,” says Adair. “People started hoarding, and it

really screwed up the supply chain.”

Nashville Diaper Connection’s largest distribution partner is Legacy Mission Village, a nonprofit that serves refugees and immigrants in Nashville. In 2020, the group gave out 22,000 diapers on the first Wednesday of every month, and sometimes had people lining up as early as 4 a.m. just to get an emergency supply of 50 diapers per child.

“You can imagine if you didn’t have notice, and you didn’t have a savings account, diapers get really expensive,” says Ellisha Williams, Legacy Mission Village’s director of programs. “Folks that didn’t need diapers before suddenly did need diapers. And I think food-stamp applications took at least one to two months to get approved. But even with food stamps, you can’t buy diapers. So the need was just tremendous this summer.”

According to Nashville Diaper Connection reps, the only reason the group has sev-

NASHVILLE DIAPER CONNECTION VOLUNTEERS

ered a partnership is if a partner is putting up too many barriers to receiving diapers.

“Our job is to put diapers on butts, right?” says Adair. “Not to create hoops for moms to jump through. One of the things that I’ve learned in the last couple of years is, the one thing that a poor mom or a struggling mom has less of than money is time. If a mama needs diapers, she gets diapers.”

Families who receive support from the federal government’s Supplemental Nutrition Assistance Program or the Special Supplemental Nutrition Program for Women, Infants and Children — or even those who have health savings accounts through their jobs — cannot use those benefits to buy diapers. Adair recently lobbied for the passage of U.S. Senate Bill 304, the End Diaper Need Act of 2021, which would appropriate funding to support diaper distribution programs nationwide. The bill also defines diapers as “medically necessary” so that families can purchase them through health savings accounts.

The bill cites the adverse health effects on children and families who don’t have the diapers they need, as well as the limited child care options available to those families. The stress of sitting too long in a wet diaper is enough to affect a baby’s development, and can even qualify as what the Centers for Disease Control and Prevention calls an Adverse Childhood Experience and a form of neglect. Most day care centers also require parents to supply diapers for their child.

The goal for the diaper bank was always to hit 5 percent of the need — that is, to provide for 5 percent of low-income families with young children in Nashville. Nashville Diaper Connection estimates that it is serving 8 percent of the need now, though the need has always greatly outpaced the supply.

Nashville Diaper Connection was the recipient of tornado relief funds, COVID-19 relief funds, and grants to help cover the boosted supply given out in the past year.

“I don’t know what we are going to do to replace the CARES Act funding that we got,” Adair says. “We’ll come up with something, because babies are still peeing.”

To learn more about Nashville Diaper Connection, or to sign up to volunteer with the organization, visit nashvillediaperconnection.org.

EMAIL EDITOR@NASHVILLESCENE.COM

THIS WEEK ON OUR NEWS AND POLITICS BLOG: How bad was 2020? So bad that its vomitus has spewed into 2021. In 13 months, Nashville has faced a devastating tornado, a stubborn and deadly pandemic, a downtown bombing, an ice storm and, most recently, the worst flooding since 2010. Saturday, March 27, was the rainiest March day in the city’s history and the fourth-rainiest overall with 5.75 inches of precipitation officially (more than 7 inches fell in total over the weekend), according to the National Weather Service. Many areas, particularly south of downtown, saw much more than that. At least five people died. Contributor Betsy Phillips writes that it’s important to help even if you’re burnt out from [waves hands] all this — even though so many of our neighbors are refusing to do even the bare minimum of wearing a mask in the Dollar General. “Do the ritual,” she writes. “Even if we’re burned out and pissed, and even if we feel betrayed by a lot of our neighbors, even if we feel like chumps for helping, help anyway. Help not because you’re feeling it, but because this is what we do in times like this. Help because one of the most important things about Nashville is that we help, and even with everything else that’s changed in the city, we don’t have to be changed into the kinds of people who don’t help.” … Tennessee House Speaker Cameron Sexton abruptly and without explanation stripped Rep. Bruce Griffey (R-Paris) of all his committee assignments, saying that there are “certain expectations” of members, including “maintaining decorum and professionalism” and respecting “our long-standing committee process.” Though specifics weren’t given, Griffey had been involved in a testy exchange with Republican leaders and the House parliamentarian over his efforts to bring a bill that had been voted down in a subcommittee straight to the floor for a vote. … Griffey, coincidentally, was the only Republican co-sponsor of an effort to waive the state’s 4 percent sales tax on food between May and October, using Tennessee’s robust rainy-day fund to make up the difference. The House version of the bill was placed “behind the budget,” Capitol Hill jargon indicating a measure won’t be taken up until the annual spending plan is passed, essentially dooming any measure that involves money. In the Senate, the finance subcommittee shuffled the bill along with what our own Stephen Elliott describes as a “non-binding though ominous negative recommendation.” … According to contributor and MTSU associate professor of political science Dr. Sekou Franklin, the Metro Nashville Police Department is still opposed to change. “After years of protests and multiple police shootings, no serious grassroots organizer working in heavily policed communities believes that MNPD can build the kind of trust Mayor Cooper referenced in his announcement of the Policing Policy Commission,” writes Dr. Franklin.

“To do so requires transparency, accountability and most importantly, the recognition that racism and toxic masculinity are in the bloodstream of MNPD’s culture.”

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nashvillescene.com | APRIL 1 – APRIL 7, 2021 | NASHVILLE SCENE

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Odyssey at the Park, a 75-unit STR-only community, offers 1- and 2-bedroom condos in a variety of modern floorplans. Nestled next to Nashville’s Centennial Park and major thoroughfares, Odyssey at the Park will provide guests with easy access to all of the city’s most sought-after attractions.

A convenient gem in Northwest Nashville, Ashland Place offers new construction townhomes 10-15 minutes to Downtown, Germantown, the Nations and the Charlotte retail corridor. Get in today to select your finishes.

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ROBERT ELLIS ORRALL IN HIS ART SHACK STUDIO

Orrall History

PHOTO: MARK PETERSON/REDUX

Robert Ellis Orrall leaves Nashville’s art scene after one last visit in his collaborative The Kitchen BY JOE NOLAN

M

usic Row’s long history of commercial country hits is synonymous with many icons recognizable by just their first names — Dolly, Patsy, Johnny, Hank. But thrice-named singer, songwriter, producer, label owner and painter Robert Ellis Orrall is emblematic of the irreverent, eccentric spirit that has helped forge Nashville’s contemporary independent music scene.

After coming of age in his native Massachusetts’ rock scene, Orrall signed with RCA records in 1980. He and Carlene Carter both scored their first Billboard Top 40 appearance with their 1983 duet “I Couldn’t Say No.” In the video for the song, Orrall has a shaggy haircut and wears a skinny tie, singing at a piano like a postpunk Billy Joel. Carter — the daughter of June Carter Cash and her first husband, singer Carl Smith — is country music royalty, but when her intense vocals splash into a wave of 1980s rock reverb, she’s more Pat Benatar than Patsy Cline.

Orrall’s early successes blossomed into a career of searching out

the connecting points between country, rock, punk and avant-garde music. At their best, all those genres are partly characterized by their lack of artifice. The colorful domestic narratives in Orrall’s painted canvases also lack artifice. Some of them are hilarious, and the best include texts of personal ROBERT ELLIS ORRALL’S stories and observations that can make the disarmingly THE KITCHEN simple images surprisingly potent.

OPENING RECEPTION “I started painting in 1998,” Orrall tells the Scene NOON-8 P.M. SATURDAY, APRIL 3, AT JULIA MARTIN GALLERY by phone. “I started seeing a therapist, and it was (444 HUMPHREYS ST.) the first time I’d done therapy, and I fell in love with it. That’s what got me into all my childhood stuff. My sixth-grade teacher said I wasn’t a good artist and never would be. I kept painting things about childhood because I was investigating childhood. I was writing my album Gravity about my childhood, and I knew I could paint those childhood stories because I was still the same artist as I was then. My sixth-grade art teacher taught me to be afraid of art. I’ve painted that scene 13 or 14 times because people really like that one.”

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Orrall painted an image of an ordinarylooking kitchen space while working in his Art Shack studio outside of Fort Houston back in 2015. Before he finished the piece, he photographed the plain painting of an empty kitchen and asked himself what other artists might put in his kitchen. Orrall had the photograph printed on canvases of various sizes and shapes, distributing them to his art-scene peers to finish in their own styles. Orrall and his collaborators — more than 30 of them — open The Kitchen at Julia Martin Gallery on Saturday, and the show’s roster reads like a wild cross-section of Nashville’s visual-art community: Richard Feaster, Brett Douglas Hunter, Harry Underwood, Bryce McCloud, Juliana Horner, Bongang, Jen Uman, gallery owner Julia Martin and more. The show is a testament to the impact that Orrall, his family and their indie record label Infinity Cat have had on the city’s visual art scene. It’s also the artist’s farewell to a place where he and his family have thrived for three decades.

AFTER HIS RUN OF ROCK RECORDS for RCA, Orrall moved to Nashville with an eye on songwriting and producing. He crafted hits for other artists, including Shenandoah’s infectious Billboard Hot Country Songs No. 1 “Next to You, Next to Me” with Chris Wright. The pair released their own selftitled album as Orrall & Wright for Giant Records in 1994. The act was nominated for Duo of the Year by the Country Music Association, but Orrall focused on developing new musical talent and working on his own chops as a painter.

Flash-forward a couple decades. Orrall finishes his original painting of the kitchen by pasting a tiny reproduction of a photograph to the inside of a door and adding a portrait of himself in a flattop haircut and blue jeans, standing on a checkerboard tile floor. The image on the door is of 1970s model and actress Twiggy, her face framed by a fur collar. Orrall adds her name to the photo and paints the iconic red-and-white Life magazine logo in the upper-left corner of the image. Orrall also adds a larger text section over the cupboards and floors on the opposite side of his kitchen scene: “If I die without kissing you how will I ever know I lived?”

Painting might seem like an odd pursuit in the middle of a busy music career, but at the turning of the millennium, Orrall’s creative path went decidedly indie.

“I started out just wanting to be a songwriter,” says Orrall. “I was 38 when I moved to Nashville, and that was old for a country music artist or any other music artist. Later on I started painting, and then my kids started making music. I became more interested in the way they were making their music, which was bizarre and I didn’t understand it. One weekend they

were talking and said, ‘Dad let’s make a record label.’ ” Infinity Cat, the Orrall family business, thrived on both the DIY spirit of indie music making and the homespun aesthetics frequently produced by creative practices outside the mainstream. Orrall and his sons, Jake and Jamin, formed Infinity Cat Recordings in 2002, and the label eventually established itself with releases by the Orrall brothers’ band, JEFF the Brotherhood, as well as punk and indie-rock groups like Be Your Own Pet, Diarrhea Planet, Daddy Issues and others. The label pulled in a cult following, and in 2011, Billboard named Infinity Cat one of its 50 best indie labels in America. Orrall was firing on all cylinders: developing new artists for the label; cowriting songs for Lindsay Lohan (2003’s Freaky Friday opens with her performance of “Ultimate”); and having his paintings represented by the dearly departed downtown gallery, Estel.

“The first person to show my art was Janice Zeitlin at Zeitgeist,” says Orrall.

“Then [The Mavericks’ keyboardist] Jerry Dale McFadden put me in a bunch of shows at his gallery, TAG. I think that’s how I connected with Cynthia Bullinger at Estel.

When I was in junior high school I never finished a science fair. At Estel I did a show of 12 science fair projects, and they started to have school kids come in to tour it. For me, sometimes art is a way to crack myself up.”

The Kitchen features collaborations with some of the artists who were on the scene during the early years of the First Saturday Art Crawl, when Estel was helping establish downtown Nashville as a gallery destination. In his collab, Richard Feaster uses stencils and spray paint to flatten Orrall’s kitchen into a colorful geometric abstract painting. Lain York adds cut vinyl elements to his version, and his subjects make the work feel like a Colorforms playset. York adds a kid in sunglasses skateboarding on the tile kitchen’s floor, kicking up an ollie with a nose grab. There’s a cat sitting on the skater’s head while another watches the antics, perched on a small kitchen step ladder.

The Kitchen also includes collaborators who made their mark in Nashville’s art scene during the time that Infinity Cat and their neighbors established a new First Saturday tradition with the Arts & Music at Wedgewood-Houston events. Anna Zeitlin’s patchwork pillow offers a fabric take on Orrall’s kitchen, reinterpreting the simple painted elements as a composition of rectangular swatches featuring various designs. Another 3-D take on Orrall’s kitchen is Brett Douglas Hunter’s wearable mask sculpture, complete with weird horns sticking out of the top, plus holes for two eyes and a mouth. The eyes are outlined in turquoise squiggles and the mouth is circled

FROM TOP: ROBERT ELLIS ORRALL, ANNA ZEITLIN, RICHARD FEASTER

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— Tanya Tucker On the breadth of her musical tastes during a 2014 interview with the Museum

Tanya Tucker's introduction to the limelight came at age thirteen, with 1972's Delta Dawn. Six years later— already a country star—Tucker released the notorious, rock-infused TNT, with new takes on songs recorded

by Chuck Berry, Elvis Presley, and others.

TNT became Tucker's first Gold record, though it certainly didn't portend a split from her roots. Learn more about Tanya Tucker and other country artists who've eschewed conventions and expectations in the exhibition Outlaws & Armadillos: Country’s Roaring ’70s, open now.

DOWNTOWN NASHVILLE Visit CountryMusicHallofFame.org to buy tickets. photo:

Raeanne Rubenstein

from the raeanne rubenstein collection from the country music hall of fame and museum

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in red and surrounded by a disturbing display of tiny white teeth. The rest of the mask is simply plastered over with Orrall’s kitchen painting. It looks like the two artists smashed their aesthetics together with no effort to make them blend. Luckily, it’s a perfect fit — Orrall and Hunter are both thoroughly irreverent creators. The result is the most compelling collaboration in the show. Another vibrant contribution is from muralist Bongang, whose interpretation swirls with the kinds of abstract shapes and bright, cheerful colors frequently seen in his street art. Also included is a collaboration with beloved Nashvillian Jessi Zazu, who offered her contribution before her death from cancer in 2017.

Orrall and his wife found themselves stuck in their Florida home when the pandemic came to the States a year ago.

Infection rates in the Sunshine State were spiking by spring, and the pair escaped to Orrall’s home state of Massachusetts.

The quiet of quarantine life and time away from Infinity Cat’s 467 Humphreys St. headquarters put the Orralls in a pensive mood. And when Orrall and his wife found a house for sale in Manchester-by-the-Sea, they bought it.

“Before the pandemic, there were a lot of things I wanted to do but didn’t feel I had time to do,” says Orrall. “COVID made those things the things I did. I finally finished an album I made with my old band from Boston back in the 1980s. But I’m 65. I wanted to slow this all down. We found this house in Massachusetts, in Manchester-by-the-Sea, where we’d lived 40 years ago when we first got married. This little house came up. We just fell in love with it. We just felt like we were home.”

Infinity Cat is set to issue its final release — its 125th, a 7-inch from JEFF the Brotherhood — later this year. Soon the Orrall clan will all leave town, seeking new paths in new cities around the country. After a year of limited gallery-going and live music, the loss of Infinity Cat is probably not the only change we’ll see as the Arts & Music at Wedgewood-Houston events crawl back to life this spring. Change is the norm in Nashville’s ever-evolving visual arts scene — artists and art spaces inevitably come and go, and some are missed more than others.

One thing that separates artists from non-artists is that artists know when a work is completed — they put down the brush, they unplug the guitar. Artist Harry Underwood sums up the greater meaning of the exhibition best, painting his kitchen wall like a blackboard covered in chalky aphorisms and random notes. One line reads, “My assignment is done.”

EMAIL EDITOR@NASHVILLESCENE.COM

CLOCKWISE FROM TOP LEFT: JESSICA McFARLAND HARRY UNDERWOOD, BRYCE McCLOUD, JULIA MARTIN, JEN UMAN, ELSA NAUMANN, JULIANA HORNER, BRETT DOUGLAS HUNTER

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songsmith Steve Earle, who released his 20th LP Ghosts of West Virginia in May, followed in January by J.T., a tribute to his late son Justin Townes Earle. Woofstock shows tend to sell out quickly, and both of Saturday’s gigs are long sold-out for limited, pandemic-adjusted audiences. The late show, however, will be streamed — a true livestream with no replay option, so plan to set up and settle in before the 8 p.m. start time. Tickets are already on sale for the next Woofstock show, an April 26 performance with Matraca Berg and Jeff Hamilton. 8 p.m. Saturday, April 3, via City Winery STEPHEN TRAGESER

FILM

MINARI [TALES OF THE WEST]

WATCH MINARI AND ATTEND THE LIVING ROOM FILM CLUB

Motivated by the need to have his young children see him succeed and prove their move to the West was the right choice, Minari’s Jacob (Steven Yeun) spends most waking moments building a farm where he can grow Korean produce — a taste of home. As his wife, Monica (Yeri Han), worries his efforts are all for naught, he tells her: “Even if I fail, I have to finish what I started.” That kind of remarkable resilience — something many immigrants carry with them across borders — isn’t easy to depict. But with Minari, KoreanAmerican writer-director Lee Isaac Chung does so with mastery, weaving the tale of his own roots in Arkansas and his memories as a 6-year-old with great emotional nuance.

This is what the American Dream looks like for so many, and it’s one we rarely see in Western cinema. Now nominated for six Oscars — including Best Picture — Chung’s film is hopefully only the beginning. You can stream Minari right now via the Belcourt’s virtual cinema. Chase your screening with the Scene’s own Living Room Film Club — our latest installment in partnership with the Belcourt is all about Chung’s Oscarnominated film. We’ll be joined by We Jung Yi, assistant professor of Asian studies at Vanderbilt University, whose work focuses on modern Korean literature and culture, as well as Steve Haruch, a Scene contributor whose work has also appeared in The New York Times and The Atlantic.

Register for the discussion via belcourt.org.

8 p.m. Thursday, April 1, via the Belcourt

from the country-Americana legend and equally phenomenal friends. They’re often held in intimate venues, and they benefit two organizations that help animals (and people too). One is Bonaparte’s Retreat, a nonprofit Harris founded to provide foster homes for shelter dogs with special needs.

The other is Crossroads Campus, which helps connect young people with pets that need loving homes, focusing on the healing and educational aspects of the relationship.

For Saturday’s early and late shows at City Winery, Harris will be joined by revered

[GIVE ME ATTITUDE]

STREAM THE NASHVILLE BALLET’S ATTITUDE PART II

Set to Max Richter’s recomposition of Antonio Vivaldi’s masterpiece The Four Seasons, this beautiful work looks well beyond obvious references to nature and the passage of time, digging deeper into themes of joy and melancholy, identity and human connection. Attitude Part II will be available to view any time between 7 p.m. on Friday, April 2, and 11 p.m. on Sunday, April 4. Tickets are $20. To learn more about this and other upcoming performances, visit nashvilleballet.com. April 2-4 via the Nashville Ballet AMY STUMPFL MUSIC

W E E K L Y

[HORSE OF A DIFFERENT COLOR]

STREAM CHROME PONY’S SET FROM THE 5 SPOT

Over the past several years, the dominance of garage-, psych- and punk-schooled bands in Nashville’s Spring is in the air, and the underground music scene has Nashville Ballet is ready to EDITOR’S NOTE: diminished a fair bit. And it’s usher in the season with style.

AS A RESPONSE TO THE not an entirely bad thing — Following the successful ONGOING COVID-19 PANDEMIC, WE’VE CHANGED THE FOCUS OF before the pandemic began to virtual premiere of the THE CRITICS’ PICKS SECTION TO shut down live entertainment acclaimed contemporary INCLUDE ACTIVITIES YOU CAN as a whole, as exhibited at series Attitude in early March, PARTAKE IN WHILE YOU’RE events like Spewfest V, the the ballet returns this weekend AT HOME. scene had only gotten more with a much-anticipated second diverse and more exciting. But performance. Attitude Part II that doesn’t mean bands toward the showcases artistic director Paul Nuggets-y end of the spectrum aren’t Vasterling’s evocative Seasons, which first doing good work, too. Chrome Pony, aka debuted in 1997. Vasterling has expanded brothers Tyler and Kyle Davis, released and reimagined the work specifically for their inaugural hard-charging EP Illegal this digital presentation — that means even Smiles back in 2011. They slowed the roll a more dancers and gorgeous costumes.

STREAM ATTITUDE PART II APRIL 2-4

nashvilleballet.com

MUSIC

SADAF AHSAN [GET ON THE BAND-WAGGIN’]

WATCH WOOFSTOCK AT THE WINERY FEAT. EMMYLOU HARRIS AND STEVE EARLE

You probably don’t need much incentive to catch one of Emmylou Harris’ Woofstock benefit shows, which feature performances

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CRITICS’ PICKS

“FIELD WORK,” TWIGZ (FEAT. J. REGGAERICA)

[SHAKESPEARE FOR ALL]

CHECK OUT NEW EDUCATIONAL PRODUCTIONS FROM NASHVILLE SHAKES

More than 400 years after his death, William Shakespeare still has much to teach us. And Nashville Shakespeare Festival’s education team is dedicated to sharing those lessons with students of all ages. NSF recently released a great pair of filmed productions in place of its annual Winter Shakespeare and regular in-person touring programs. First up, there’s a sleek fiveactor rendition of Romeo and Juliet, edited and directed by executive artistic director Denice Hicks. The cast includes Elyse Dawson, Abbey Rhyne, Meggan Utech, Gerold Oliver and DéYonté Jenkins, plus

N2020: COMMUNITY REFLECTIONS

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MUSIC

LISTEN TO SAVE THE MOUNTAIN ON ITS 40TH ANNIVERSARY

Nashvillians don’t need any lessons about the plague of aggressive real estate development — most of us can just look out our window to see how greed is transforming our city before our eyes. But 40 years ago — long before the phenomenon was a frequent topic of discussion — a group of environmental activists got together to fight Marriott’s intentions to build a hotel/ condo/golf course complex on the site of a defunct hotel overlooking bucolic Lake Minnewaska, near New York’s Catskill Mountains. Longtime Nashville singersongwriter Julie Grower, a New York native, lived in the area at the time, and she banded together with several other musicianactivists to record Save the Mountain, which helped raise awareness and money for the cause — which, after many years of legal battles, was ultimately successful, resulting in the Minnewaska State Park Preserve.

At 8 p.m. on Monday, April 5 — the 40th anniversary of the album’s release concert — tune in to WDST at radiowoodstock.com to hear Save the Mountain in its entirety, including Grower’s soul-stirring a cappella rendition of Holly Near’s “Mountain Song/ Kentucky Woman.” 8 p.m. Monday, April 5, via Radio Woodstock JACK SILVERMAN [CROWNING GLORY]

LISTEN TO DRY CLEANING’S DEBUT ALBUM NEW LONG LEG

South London foursome Dry Cleaning hits a bullseye on the first try with its 2019 EP Sweet Princess, which features a half-dozen deadpan exercises in Sisterera Sonic Youth worship with a classic post-punk gait. (Lead singer Florence Shaw has cited L.A. art-popsters Eels’ 1996 debut Beautiful Freak and Pet Shop Boys’ ’80s karaoke classic “West End Girls” as influencing her half-sung, half-spoken vocals.) Just before everything ground to a halt in 2020, I’d been fiendishly reloading Dry Cleaning’s site as I listened to the tape on repeat in hopes of seeing U.S. tour dates appear. Those obviously never materialized, but with the royal family all over the news last month, Sweet Princess standout “Magic of Meghan” — Shaw’s tribute to the dreamy duchess — re-entered my consciousness, coinciding with the April release of New Long Leg, the band’s first LP for the legendary 4AD Records.

CHARLIE ZAILLIAN

STREAMING

Jay Jenkins — aka Woke3 — kicked off Norf Wall Fest in 2015, and the momentum of that event solidified an artistic movement that is grounded in community and fellowship.

As a founder of Norf Art Collective, Woke3 has marked the city with his paintbrush, executing public artworks around town and in galleries — including at the Frist Art Museum in 2019. In his latest project, N2020: Community Reflections, Woke3 has again partnered with the Frist to process all that has happened since last March in an online exhibition. N2020 uses videos, music and photographs to showcase creative expressions by an array of Nashville artists in response to the historic events and challenges of 2020. “The N in the title represents several ideas,” explains

ERICA CICCARONE

[THE GOOD FIGHT]

Taking a smashing debut mini-album and translating that lightning-in-a-bottle energy to a full-length can be challenging for any band. Dry Cleaning tries a moodier, funkier, weirder tack on New Long Leg, written mid-pandemic and produced by John Parish, whose credits include PJ Harvey, Sparklehorse, and Shaw’s beloved Eels. The frontwoman’s free-associative, tough-toparse lyrics carry over from the EP, but the music is less punchy and more psychedelic, with an emphasis on rhythm and negative space. It’s an onion of an album — worth taking the time to peel back — keeping Dry Cleaning near the top of the list of newer bands I hope to see once live music returns.

[AFRO-FUTURE]

SUBSCRIBE TO THE KWELITV STREAMING SERVICE

Last week, we told you about a new YouTube game show, Do You Know Black?, in which Black contestants answer Black questions in order to snag some Black-as-hell prizes. One of those prizes we took a particular interest in: a subscription to streaming service kweliTV. Launched in 2016, this is the latest video platform to offer Black-and-proud programming.

(There’s also Brown Sugar, best known for providing various Blaxploitation movies from the ’70s.) KweliTV is more global and Afrocentric, offering 400-plus independent films, documentaries and TV shows that focus on Black stories from around the world. One of my favorite features is a channel curated by comedian Lil Rel Howery, who was named the service’s head of comedy last fall. People have been picking up on kweliTV ever since the BLM protests last year — subscriptions have more than doubled since last April. Even if you don’t have a darker complexion, test it out for a while. It’s only $5.99 a month, and can be viewed on Roku, Apple TV and other streaming devices. CRAIG D. LINDSEY PODCAST

EXPLORE N2020: COMMUNITY REFLECTIONS VIA THE FRIST

there’s an original score from Rollie Mains.

Education director Katie Bruno has edited and directed a whimsical two-actor take on A Midsummer Night’s Dream, featuring Bruno and Jarvis Bynum. These virtual programs were introduced to area schools in mid-March, and are now available to the general public. You can tune in for the virtual premiere and live watch party of Romeo and Juliet at 7 p.m., April 2 (available to stream any time after 8 p.m., with 48hour access after first view). A Midsummer Night’s Dream’s premiere and live watch party is set for 10 a.m., April 3 (available to stream after 11 a.m., with 48-hour access).

Closed captioning in English and Spanish is also available. To learn more, visit nashvilleshakes.org. April 2-3 via Nashville Shakespeare Festival AMY STUMPFL

MUSIC

[STILL PROCESSING]

Woke3 on the Frist’s website. “N for North Nashville, Nashville, the nation, the end of 2020, and also ‘in,’ like going within yourself, as we’ve all been doing during the pandemic.” The images and videos show scenes from North Nashville after the tornado swept through, racial justice demonstrations and empty grocery store shelves — but they also show glimmers of hope. People paint a sign to be planted in a community garden, and dozens of smiling North Nashvillians pose for a photo at a Juneteenth community bike ride. The spoken-word performance by Karimah is especially worth your time.

Featured photographers include Woke3’s fellow Norf Art Collective member Keep3, LeXander Bryant and Lesa Dowdy. The Conscious Collective’s music video “VOTE” includes notable Black Nashvillians like poet Stephanie Pruitt Gaines, producer and songwriter Desirée Holiday and Meharry Medical College president and CEO Dr. James Hildreth. The photo that brought tears to my eyes was one I’ve seen before — of the late activist and civil rights leader Kwame Lillard raising his fist in solidarity. It’s comforting to know that a new generation of North Nashvillians has taken up his mantle, affirming through powerful artwork and words that Black lives most definitely do matter. As always, the work of artists and poets will see us through.

Through Aug. 1 via fristartmuseum.org

THEATER

ART

bit and loosened things up when Jota Ese, a crafter of psychedelic hip-hop audiovisual productions, joined on bass. Between many, many tour dates (some opening for Cage the Elephant overseas), the group worked on track after track without ever quite coming up with something they felt great about as an album. Last summer, they released Seeds of Doubt Vol. 1, a collection of recordings made between 2014 and 2018 that they’d initially marked as subpar. “At this point, after distance and time, we found ourselves pleasantly surprised with what we had created,” reads a note the band published on Facebook. “These songs never got shared because of doubt and a need to present the perfect ‘product.’ After much examination we’ve come to the conclusion there is no perfect anything — only honest attempts.”

The tunes are as subtly sophisticated and groovy as anything they’ve put out. You could say the same for “Where Do You Go,” the catchy, hip-shaking single the band released March 15. It previews their decadein-the-making full-length, titled Always Back to Lorraine, set tentatively for a 2021 release. Saturday evening, you’ll have a chance to get up to speed with Chrome Pony when they stream a high-def performance from the cozy stage of Five Points bar/venue The 5 Spot. 8 p.m. Saturday, April 3, via The 5 Spot STEPHEN TRAGESER

[FROM THE SOURCE]

LISTEN TO SUAVE PODCAST

This new podcast from Futuro Media and PRX explores the life of David Luis “Suave” Gonzalez, a prisoner who was sentenced to life for murder as a juvenile, and later became an inside source for legendary journalist Maria Hinojosa for 30 years. After the Supreme Court ruled that juveniles who received mandatory life sentences could seek new hearings, Suave gets a chance at freedom for the first time in decades. The show dives into Suave’s life before, during and after prison, from his

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CRITICS’ PICKS collaborator Robert Elswit) — or 2012’s Hoffman/Joaquin Phoenix team-up The Master ($4 via Prime, et al.). Some folks will tell you to skip 2014’s vibrant, psychedelic Thomas Pynchon adaptation Inherent Vice ($3 on all those handy platforms), but those people would be wrong. Bring your PTA streaming fest home with 2017’s gorgeous Phantom Thread (now available on HBO Max), a film that features Day-Lewis in what he has said will be his final role (let’s hope not), and that I once called in these pages a “seething cauldron of tension” (dramatic but true!).

: Winners’ Reader poll

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[I THINK YOU KNOW WHAT I’M SAYING, OLD-TIMER]

BUILD YOUR OWN STREAMING PAUL THOMAS ANDERSON FILM FESTIVAL

Maybe — just maybe — in the coming months, we’ll begin to see the reopening of multiplexes and arthouses nationwide as vaccination numbers continue to go up and COVID-19 cases continue to go down. In the meantime, we’re still going to churn out these build-your-own-streaming-fest Critics’ Picks, hopefully inspiring you to queue up some fine flicks from the comfort of your own couch. For this, our 36th installment, let’s talk about the work of one of my favorites — 50-year-old L.A. native Paul Thomas Anderson (not to be confused with the also-great Paul W.S. Anderson, who we just might get to a streaming fest on one of these days). Start with Anderson’s feature debut, 1996’s underrated and understated Vegas-set Hard Eight ($4 on Amazon Prime Video, YouTube and iTunes), which features a delightful cameo from a young Philip Seymour Hoffman as a shit-talking crapstable goofball. Totally essential is the director’s breakthrough second feature, the Altman-esque porn-land romp Boogie Nights (available with a Hulu subscription), which Anderson made as a 20-something and features another killer turn from the late, great Hoffman. Much as Kubrick did with Eyes Wide Shut the very same year, PTA used Tom Cruise’s star power to elicit something very weird and special in 1999’s Magnolia ($3 via Prime, iTunes and YouTube), which the director has said is “for better or worse, the best movie I’ll ever make.”

Not as essential but still wonderful is 2002’s Adam Sandler-starring Punch-Drunk Love ($4 via those aforementioned platforms), which you can follow with 2007’s masterful There Will Be Blood (available on Netflix) — the first PTA film to win any Oscars (Best Actor to the legendary Daniel Day-Lewis, Best Cinematography to regular Anderson

BOOKS

D. PATRICK RODGERS

tough upbringing in the 1980s South Bronx to his struggles to navigate life on parole.

Hosted by Maggie Freleng, the podcast also examines the deepening bond between Hinojosa and Suave, a dynamic that blurs the line between the typical journalistsource relationship and friendship, but also makes a compelling case for compassion in reporting. The seven-episode series isn’t another run-of-the-mill true-crime tale. This is a story about societal failures, trauma, journalism, criminal justice and new beginnings, all masterfully told. You can listen on futuromediagroup.org/suave, Spotify, Apple Podcasts and other podcast services. ALEJANDRO RAMIREZ

[BOOK IT]

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For all the great improvisation the Nashville Public Library has done during the pandemic, there’s one thing curbside service and e-books simply can’t replicate: the sensory experience of a library. First, the smell — an olfactory symphony of leather and well-thumbed paper, of newsprint and whatever it is that books that aren’t leather-bound are made of. There’s the percussion of footfall on tile and the rhythm of reshelving. Once, it was punctuated by the stamping of due dates. But alas, that music is electronic now, though the beeping of the scanner is a nice reminder that the tradition of libraries has persisted into the modern age — as essential and vibrant as ever, one of the most truly democratic institutions in society. A place where all can come and, as Jerry Seinfeld said, take out any book you want and they just give it to you. Libraries are a beautiful thing, physically and metaphysically, and for those of us who have missed our pilgrimages to the temples of knowledge, there is good news: NPL is reopening the main library and two branches — Madison and Southeast — for limited capacity March 31. (Curbside pickup will remain in place as before, except at the main library.) All the standard protocols — masks and six feet and all that — will be in place, and computer usage will be by reservation. But you can again roam the stacks, thumb the pages, seek the next book by intuition like a dowser out for a session of water-witching.

The librarians do ask that patrons depart promptly once their business is complete, and alas, it doesn’t seem that mere flânerie qualifies as business enough to justify an hours-long saunter through the stacks.

But signs are, that glorious day is coming.

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FOOD AND DRINK

HOLY CACAO

The Gulch’s Blue Stripes Urban Cacao is both the devil and the angel on your shoulder SUGAR SHOCK

I

BY MEGAN SELING

t feels like a massive tear forms in the space-time continuum the moment you walk through the glass door of Blue Stripes Urban Cacao.

A devil pops up on one shoulder, an angel on the other. Suddenly you’re being BLUE STRIPES torn between URBAN CACAO indulgence and 335 11TH AVE. S. restraint, hunBLUESTRIPES.COM ger and health, chocolate and PRALINE FINGERS, $8 GIANT ROCHER, $11.75 cacao.

BEAUTIFUL FRUITS BOWL, $7.50 Blue Stripes CACAO SHELL FLOUR BREAD opened in FebMIX, $15 ruary in the Three Thirty Three building. The Gulch cafe is the latest from Oded Brenner, cofounder of the worldwide chocolate cafe chain Max Brenner. Blue Stripes, which also has a New York location in Union Square that has been closed during the pandemic, is where “wellness meets indulgence.” It’s

also where Brenner employs the whole cacao pod — fruit, beans, shell, even its juice — to make everything from sugar-packed, luxurious desserts to keto-friendly postworkout energy snacks.

At the front of the shop sits the pastry counter, where a Willy Wonka-worthy assortment of chocolate creations awaits made-to-order finishing touches.

Above a pile of golden croissants, on a silver pastry filler, hangs a sign reading “Nutella injected croissants.” The machine’s hopper is filled with several cups of the thick chocolate-hazelnut spread.

Inches away, plump, salt-speckled soft pretzels hang from wooden dowels, waiting to be dipped into the buckets of warm dark and milk chocolate that have been built into the counter.

There’s a tray of oversized cinnamon rolls soon to be glazed with coffee icing, as well as plates of brownies and puffy chocolate chip cookies that’ll get a drizzle of

to learn about all the functional benefits that are hiding in the ‘unknown parts’ of the plant and felt that as a true cacao storyteller, this would be the second chapter of my cacao book.”

The Cacao Shell Flour Bread Mix — a blend of rice and potato flour, various seeds and cacao shell flour — claims to be a “superfood boost for gluten-free bread,” with the front of the packaging listing all the ways in which it benefits the blood, immune and digestive systems, as well as muscle function.

Such claims are not posted on the doughnut-hole fondue.

Cacao Fruit Sugar — not cheap at $35 for an 8-ounce bag — is freeze-dried and ground cacao fruit to be used in “energy shakes, granola bowls, baking and parfaits.”

Nine times more antioxidants than blueberries per serving, apparently!

Bags of cacao chocolate chips promise to improve your mood and focus, and boxes of keto-friendly cacao-and-almond-butter energy bars proudly read “0g SUGAR,” all but giving the finger to the chocolate- and syrup-covered Belgian waffles displayed a few feet away.

Like the shop itself, the food menu is divided. Next to the listings for chocolate pizza and Cake & Shake (your choice of shake served with a miniature Black Forest cake) are items like the Power Bowl, a gluten-free scrambled-egg bowl loaded with

CHOCOLATE CLOUD

PHOTOS: DANIEL MEIGS

MY FAMOUS CHOCOLATE PIZZA

melted chocolate upon order. There’s also a tower of what Blue Stripes calls Giant Rochers, baseball-size chocolate-covered confections that have a Rice Krispiestreat-and-hazelnut-cream center. They’re wrapped in gold foil, just like the iconic candy they’re modeled after, and they are phenomenal.

There’s even more hiding behind the scenes on the plated dessert menu. The Perfect Chocolate Slice comes with toffee bananas, crunchy peanuts and vanilla-bean whip. A wedge of White Chocolate Strawberry Cheesecake is served with lemon curd, pistachios and toffee. And then there’s the My Famous Chocolate Pizza, available with your choice of chocolate, and by the slice ($7) or as a whole pie ($27).

Oh, and there’s also soft-serve ice cream.

Have I mentioned the soft-serve ice cream?

You can have it served in a waffle cone, a churro cone or as a sundae along with a brownie or fresh berries and an array of toppings — crispy chocolate pearls, candied hazelnuts and feuilletine flakes.

It’s the epitome of decadence — it’s borderline hedonistic. There is no moderation.

Just a few steps beyond, though — past the espresso bar and drinkable chocolate mousse on tap (yes, you read that right) — there are shelves lined with dozens of Blue Stripes’ retail items, a line of wellness products that Brenner launched last year.

As he told Forbes at the time, “I was excited

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BEAUTIFUL FRUITS BOWL

feta cheese and veggies, and the Protein Bowl, a poached egg with prosciutto and barely a carb in sight.

It’s one thing to offer options, and it’s another thing entirely to present conflict. But Blue Stripes balances the dichotomy well.

Nowhere — save for the little scale icons on some of the retail packaging, I suppose — does it feel as though Blue Stripes is shaming one side or the other.

There’s no calorie-in/calorie-out nonsense, no talk of, “You must eat this to cancel out eating that.” The shop, as well as Brenner’s messaging, seems to lean into the idea that human beings want‚ and more importantly, deserve — both. The high-calorie, the low-calorie, the high-fiber, the fiberless filled instead with fat and sugar.

After I finished my Beautiful Fruits bowl — a hearty serving of fresh and dried fruit (kiwi, figs, strawberries, bananas, apricots and blueberries) sprinkled with

cacao nibs and chopped pistachios — I shamelessly tucked into a before-noon order of Praline Fingers. They were perfectly sized, about as big as a person’s ring finger, and they boasted a deep, dark chocolate flavor balanced with a good punch of saltiness and a delicate, crisp texture thanks to the addition of feuilletine flakes.

No one blinked when I grabbed a chocolate chip cookie to go, too — “Do you want the cookie drizzled with milk or dark chocolate?” was the only question asked.

Eat that Nutella-stuffed croissant. Grab a Giant Rocher while you’re at it. Then wash it all down with a 10.5-ounce bottle of vegan, gluten-free, paleo, no-addedsugar cacao water flavored with chili, lime and cardamom for $4. Humans are complicated creatures, and at Blue Strips Urban Cacao, there’s no shame in having the best of both worlds.

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Vodka Yonic features a rotating cast of women and nonbinary writers from around the world sharing stories that are alternately humorous, sobering, intellectual, erotic, religious or painfully personal. You never know what you’ll find in this column, but we hope this potent mix of stories encourages conversation.

N

othing soothes my anxiety like British reality television — the trilled R’s, the low stakes, the presence of doilies. So when the novel coronavirus reached the United States more than a year ago, my first defense was The Great British Baking Show. This reliable comfort had pacified me through plenty of regional and national crises. But as the weeks dragged on and COVID cases rose on every continent, the joy of a well-executed tarte Tatin proved too subtle for catastrophes of a global scale.

By May, I needed something more powerfully tranquilizing. I tried out Secrets of Great British Castles on Netflix, but the host’s leather jacket was too reminiscent of a time before all-day pajamas. Another strong contender was Big Dreams Small Spaces, in which professional plant man Monty Don helps families transform their small backyards into terraced rose gardens and tomatostuffed green houses — but there was only one season available. I tried The World’s Most Extraordinary Homes (too many rich people), The Repair Shop (too many adults crying about teddy bears) and Grand Designs (too much talk about joists), but nothing could quite rise above the din that swelled every time I left my thoughts unsupervised.

Until a friend texted me. “I found a program where couples search for English countryside cottages.” She sent a couple episodes of Escape to the Country from YouTube, and I let the algorithm carry me away on a tide of the gentlest show yet.

In each episode, British people who have grown too tender for the big city travel to the U.K.’s rolling countryside to tour chocolatebox houses with thatched roofs and inglenook fireplaces. Tom from Bristol has just retired from his accounting firm and hopes to buy land in Oxfordshire to raise alpacas. Kathy from Birmingham is using her divorce as an opportunity to learn about cheese making in Somerset. Will property No. 2’s outbuildings be enough for Marty and Amir to launch their cider business? Will Ramesh and Leila be charmed by today’s mystery property, which used to be a lighthouse?

The fantasy Escape to the Country promotes is soothing to the point of sedative: When reality becomes too busy, or troubling, or loud, you can simply trade in your twobedroom condo above a juice bar in midtown for a converted pig barn in the Cotswolds that is so remote, looks so idyllic, and has so many exposed beams, you won’t even care

“I WANT THAT,” I’D THINK, SWADDLED IN A BLANKET ON MY COUCH FOR THE 14TH NIGHT IN A ROW. “I WANT A LIFE WHERE THERE’S NOTHING TO DO BUT SIT INSIDE BY THE FIRE AND TAKE EVENING STROLLS ALONG A MISTY THICKET.” that the nearest grocer’s is an hour away.

This show was exactly my shit — the precise intersection of my childhood obsession with hobbit culture and the adult fixation that hatched, fully formed, on my 30th birthday: real estate. I watched episode after episode, overcome by the feeling I used to get when I visited a new place — that my life would be better if I lived there. “I want that,” I’d think, swaddled in a blanket on my couch for the 14th night in a row. “I want a life where there’s nothing to do but sit inside by the fire and take evening strolls along a misty thicket.”

It took months for the irony to dawn on me: These fantasies are essentially my life since COVID slowed society to a halt. I’ve been working from home since March of last year, and during that time I’ve built fires, watered plants, done puzzles, baked scones. If I leave my house, it’s often to hike through a meadow or get eggs from a guy down the street. I get by without movie theaters, restaurants or malls. I live in isolation.

But unlike the homespun hopefuls of Escape to the Country, I am still depressed. The difference, I’ve realized, is that when you’re isolated because you’ve been cornered by a deadly virus, and not because you’ve chosen to open an animal sanctuary in western Scotland, it sucks ass. I’ve enjoyed certain aspects of the slowed-down rhythms of pastoral living this year — the country walks, the yeasted rolls — but I didn’t choose this. And as it turns out, when you start an herb garden to cope with the failures of institutions responsible for your survival, it doesn’t have the same sparkle as starting an herb garden because you live on a sheep farm and never have enough thyme.

March has passed again, and I’m in my 11th month of watching Escape to the Country. It still eases my anxiety, but the fantasy it offers is different now that I’ve lived this way for a year. “I want that,” I’ll think, watching two retired veterinarians discuss their plans for a summer vegetable patch in Bedfordshire. “I want to stay home because I prefer to. I want to feel like there’s nowhere else I’d rather be.”

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BOOKS

LIFE, BREATH AND DEATH

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Michael Eric Dyson’s Long Time Coming is an elegy and a call to action

BY KASHIF ANDREW GRAHAM

“I

can’t breathe.” Michael Eric Dyson’s Long Time Coming: Reckoning With Race in America focuses on life, breath and death, particularly regarding Black bodies. The book centers LONG TIME COMING: RECKONING WITH RACE IN on those recently AMERICA departed — George

BY MICHAEL ERIC DYSON Floyd, Elijah McST. MARTIN’S PRESS Clain, Breonna Tay240 PAGES, $25.99 lor, Ahmaud Arbery and Tony McDade — as well as others now in line for Black sainthood: Sandra Bland, Eric Garner, Clementa Pinckney, Michael Brown.

The question then remains — who will beatify them?

Dyson takes up the task in chapters that serve as both elegies and letters to the slain: “Dear Elijah McClain, I write to you out of profound grief.” And the beatification begins.

The letters also illustrate, perhaps to the dismay of readers, that not much has changed. In the first chapter, Dyson writes to Emmett Till — a 14-year-old boy lynched in 1950s Mississippi — telling him of the slayings of Medgar Evers and, more recently, Floyd. With compassionate and paternal language, Dyson brings us back to Till’s grave. He addresses Till as “a beautiful boy” and highlights the way he was robbed not only of his life, but of Black boyhood — an all-too-common occurrence.

Dyson also adeptly uses Till as copreacher. He and Till together turn to white readers with the demystifying statement: “There is a great deal more heartbreak and tumult that you haven’t seen behind what you are now finally beginning to see.” In this way, Dyson enjoins those newly “woke” to approach social justice work with humility.

Dyson’s prowess as a skilled public theologian is especially evident in the second chapter, “Blue Plague.”

Here he writes to Garner, recounting both Garner’s 2014 death at the hands of police and that of Floyd. Dyson analyzes Floyd’s killing through the lens of automortology, a narration of one’s own death. Considering, forensically, Floyd’s final words, Dyson boldly draws comparison to those of Jesus Christ; he likens Floyd’s “You can ask him, they know me” to Christ’s “They know not what they do.” And the parallel narrows: Floyd cries out, “God, man … why is this going on like this?” while Jesus wails, “My God, my God, why hast thou forsaken me?”

And finally, Dyson concludes, they both give up the ghost: “I’m through, I’m through” is reminiscent of “It is finished.”

Each chapter is also named for various facets of Black, and thus American, oppression. For instance, the third chapter, “White

Theft,” is formulated as a letter to Breonna Taylor. Dyson interweaves the history of American slavery, highlighting the manner in which the vestiges of this institution continue to oppress African Americans economically and to subjugate their bodies. But this recounting does not go without the joy note — Dyson also tells of Black resistance to slavery and Jim Crow through rebellion, protest and the court system.

Dyson, who joined the faculty of Vanderbilt University this year, is an ordained minister and writes with sermonic elan, but Long Time Coming avoids religious dogma.

The knowledge of America’s original sin remains before the reader from prelude to postlude, but not without the awareness that Dyson is laboring toward the necessary reform. Beyond this, the language is accessible to a wide audience and offers a healthy

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launch pad for newcomers to the world of social justice. Pithy epitaphs from literary and historical figures head each of the seven chapters and serve to prime the reader for the eloquence to come.

Activists, acolytes and academics alike will draw strength and clarity from Long Time Coming, but so will the laity. This book is for those who are just beginning to see; for those who are seeking to reignite the fire, following the protests of 2020; for those who seek historical context for their passion; and for those who are coming, as is said in the Black church, from a mighty long way.

For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee.

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ART

BY LAURA HUTSON HUNTER

J

onathan Richman had it wrong: Pablo Picasso was an asshole, and people talk about it all the time.

The curatorial statement for the Frist’s Picasso. Figures. exhibition begins with a question — “Was Pablo Picasso a PICASSO. FIGURES. misogynist?” — and THROUGH MAY 2 AT THE quickly answers FRIST ART MUSEUM with a resounding affirmative. It’s refreshing to see this level of honesty when the flawed master is so often treated with reverence.

The reckoning between great art and the sexist, sometimes-abusive men who create it is complicated, and even an exhibition as thorough as the Frist’s doesn’t leave enough space to unpack all those ideas. What it does manage, though, is to create space enough to consider those questions. The exhibition features a film of Picasso painting on glass that’s projected at life size, as well as portraits he painted at ages 13 and 90. Suffice to say, if you haven’t been to the Frist to see the show yet: Do it. If you’ve been already: Go back. This is an exhibition that rewards multiple visits. Here are some of our favorites parts — all of which need to be seen in person to be fully appreciated.

“L’ACROBATE (THE ACROBAT),” 1930

At 162 by 130 centimeters, this painting is large enough to make its subject seem monumental. Picasso’s treatment of the body as a complex instrument is no accident — he loved the circus and was likely inspired by the contortionist acts he saw

“FIGURE: HOMME EN FIL DE FER (MALE FIGURE),” 1931

Because Picasso made so much work in his lifetime, and because that work was often so well-known, it’s difficult to find a piece by him that’s surprising. That’s why this tiny wire fellow with a huge erection is so special. It almost feels like a cast-off item that’s been sneaked into a museum show — it’s like the grown-up version of the macaroni art you probably made in kindergarten.

The slight spiral of a knee gives it the illusion of movement, and his outstretched arms and curved back convey an abundance of pride. Picasso gave this little guy to his lover and muse Dora Maar, who kept it until her death in 1997 — recent enough to remind us how close we are to overlapping with Picasso’s timeline.

“BAIGNEUSES REGARDANT UN AVION (BATHERS WATCHING A PLANE),” 1920 Bathers are a favorite subject for Picasso — I counted at least 13 examples of them in this show alone. What makes this particular painting exciting is the object of the bathers’ attention — a flick of paint that is almost completely obscured by the glare on the glass that frames it, and signifies an airplane flying overhead. The bathers, with their full breasts and plaited hair, seem of an ancient time, like primitive women or various iterations of the biblical Eve. The airplane grounds the work in a modern reality, even as the figure on the right, all thick limbs and contrapposto angles, rests her foot on a boulder like a warrior god. The

IMAGE COURTESY OF FRIST ART MUSEUM; PHOTO: JOHN SCHWEIKERT

“L’ACROBATE (THE ACROBAT)” INSTALLATION VIEW

IMAGE COURTESY OF FRIST ART MUSEUM; PHOTO: JOHN SCHWEIKERT

Five highlights from the Frist’s extensive survey of Picasso’s figurative work

there. But there’s no uneasy Exorcist spider walk here: The figure’s slender limbs and crescent-moon eye suggest serenity, even as its body pulls itself into various angles. The flat treatment of space leaves unexpectedly rich brushstrokes, and the marks that stand for the spaces between fingers and toes are like calligraphy. There’s also a smudge on the inside crevice (A shoulder? An armpit?) that makes the painting seem vulnerable, and even more precious.

“FIGURE: HOMME EN FIL DE FER (MALE FIGURE)” faraway woman up to her shoulders in water has a peaceful expression of wonderment that’s made from a few simple dots and a sliver of smile. It’s a New Yorker cartoon of a painting.

“LE BAISER (THE KISS),” 1931

One of the tricks to deciphering Picasso’s faces is to look at the mouths. Teeth are usually a bad sign. His sadistic portrayals of women as beasts often include pointy monster fangs, whereas in a work that includes a face in profile — like “L’Acrobate,” for example — a closed-mouth expression signals a demure person. But in “Le Baiser,” the inclusion of teeth is much less conclusive.

The kissing men have wind-up-toy teeth, denture-commercial teeth, teeth that look more comical than threatening. And while

homoerotic artwork isn’t entirely unfamiliar territory for Picasso, the ambiguity of his treatment makes this one particularly resonant. You can see its influence in the paintings of Picasso’s successors, from Philip Guston to George Condo.

“TÊTE D’HOMME BARBU (HEAD OF A BEARDED MAN),” 1938

The same blank white background of “Le Baiser’’ is repeated in this portrait of a pointy-eared satyr, but where that background unsettles, this one gives depth. The one-point perspective was perhaps an inspiration for Francis Bacon, who would paint similarly puckish portraits just a few years later. The bridge of the bearded man’s nose is merely suggested, but his nostrils are retraced four or five times, painted purple, then green, then blue. Picasso painted like the Pixies wrote songs — first loud, then quiet, then loud again. The movement from focused detail to symbol and shorthand is a hallmark of Picasso’s post-Cubist work, and in this painting he seems to revel in it. No doubt the satyr’s stance mimics that aforementioned dancing wire figure, his mythic phallus just below the frame.

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“TÊTE D’HOMME BARBU (HEAD OF A BEARDED MAN)”

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IMAGE COURTESY OF FRIST ART MUSEUM; PHOTO: JOHN SCHWEIKERT

FIVE EASY PIECES

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ART

CRAWL SPACE: APRIL 2021 Creative flags, atmospheric oil paintings and the return of in-person showings prove April’s First Saturday art events ain’t foolin’

BY JOE NOLAN WEDGEWOOD-HOUSTON

This weekend, Unrequited Leisure opens

Josephine Lee: Practice Until You Feel the Language Inside You. Guest curator Tanya Gayer is creatively preoccupied with

the storytelling history she uncovers in archives, databases and the bureaucratic categorizing of citizens. Lee’s life has been divided between the U.S., Canada and South Korea. The artist’s sculptures, installations and performances explore the intersections of nationality, geography and the immigrant experience through conceptual works that attempt to convey the notion — and more importantly, the feeling — of home.

The gallery will also be unveiling a new exhibition space outside of its Packing Plant gallery. AIRSpace Projects is a pair of flagpoles intended to display the work of artists who specialize in — or want to explore — flying flags as creative expression. AIRSpace’s inaugural artist, Jack Michael, will run “Flag for National Days of Rest” up the flagpole on Saturday night.

The flag features a horizontal stripe of teal above a stripe of tomato red — gorgeous colors. The center of the flag features an emblem of a sleepy eye rendered as a black oval over a saffron iris. Next month, the flag will wave goodbye to Nashville before traveling to AIRSpace Projects’ Florida outpost. Opening reception is this Saturday from 11 a.m. to 6 p.m.

Heather Hartman’s dreamy, atmospheric oil paintings are deceptively sculptural: The artist achieves her gauzy, glowing painted surfaces by piling layers of cut paper and Tyvek underneath transparent polyester, which she then paints on. The effect is a more labor-intensive version of the traditional painting technique of applying layers of see-through colored glazes that blend and interact. Hartman’s

Kudzu Season — a title that references the invasive plant once promoted as a cure for farmland depleted by tobacco and cotton monocultures — speaks to the complexities of Southern seasonality. The show opens at Channel to Channel on Saturday from 11 a.m. until 6 p.m.

Also this weekend, Julia Martin Gallery will open Robert Ellis Orrall’s The Kitchen, which features collaborations between Orrall and dozens of other Nashville artists. The opening reception will take place from noon until 8 p.m. on Saturday. Read much more about The Kitchen — Orrall’s official farewell to Music City — in this week’s cover story.

Open Gallery will pivot to artist-in-residence programming in May — that’s one step closer to hosting in-person gallerygoing in their very cozy digs at The Packing Plant.

In the meantime, Open has more virtual happenings scheduled for April. Sydney Whitten is a local writer and photographer. Her Here in Jacksonville photo essay was recently published in Number, and her thesis exhibition To Shake, To Shatter just made a brief run at the Watkins Art Gallery in The Packing Plant. Follow @opengallerynashville on Instagram for an upcoming talk with the artist, and go to sydneywhitten.com for more images from Whitten’s Here in Jacksonville photo essay, as well as a series of rephotographed pictures.

The latest shows at David Lusk Gallery opened on St. Patrick’s Day, and will continue through April 17. Rana Rochat’s paintings present abstract elements that sometimes resemble planters, cups or even cans of paint alongside occasional text, vigorous mark-making and geometric designs. All of these float in front of backgrounds of orange or blue or green or gray. These are mostly

EAST NASHVILLE

The press release for Duncan McDaniel’s

Rooted exhibition at The Red Arrow Gallery contains language comparing the gestural meanderings in his new works to the rhythms of domestic life during the pandemic lockdown. But it’s more compelling to consider these new pieces on their formal qualities alone. McDaniel’s vibrant paintings feature successions of chromatic squiggles marching up and down and across their movement-filled surfaces. As each jittery gesture traces the imperfections of the one that came before it, every bulge, curve and swoop is amplified in exaggerated echoes that become increasingly voluptuous and expressive.

It’s a simple technique that generates unexpected compositions, which should appeal to painting snobs as well as folks who just like to look at pretty pictures. Opening reception this Saturday from 6 until 9 p.m.

DOWNTOWN

Chauvet Arts will host a reception for Afterimage: Sensations of Color this Saturday from 4 until 7 p.m. This large group show opened last month, and it presents a wide variety of vibrantly colored works in an exploration of how various hues and tones convey different feelings and ideas to their viewers. The exhibition includes work by Gina Julian, Corinne Cascioppo, Michael Soltis, Nicole Dikon, Tom White, Brother Mel, Brenna Therese and Carlos Gamez de Francisco, who will be giving a live painting demonstration at the reception.

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AFTERIMAGE: SENSATIONS OF COLOR

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“YOU GOT ME FEELING BRAND NEW,” BRENNA THERESE

JOSEPHINE LEE: PRACTICE UNTIL YOU FEEL THE LANGUAGE INSIDE YOU

monochromatic affairs, but the artist plays a lot with values, so one overall brown piece features swatches of dusty khaki and dark chocolate. Rochat eschews the flat picture planes celebrated by most abstract painters.

The sense of depth has a calming effect, and makes even the smallest gestures or bursts of color stand out. Rochat’s New Work hangs alongside Mary Sims’ Still Lives 1985-1995. This exhibition of fruits, flowers, potted plants — even a pair of monkeys — is relentlessly colorful and decidedly stylized.

Sims’ brush is meticulous, but her works are full of imagination and upset expectations of realistic still-life painting with flat picture planes and over-the-top palettes.

California-based artist Joe DeVera is a former Marine combat veteran whose multimedia practice ranges from intense abstract paintings to sculptural works incorporating repurposed military equipment, household items and construction materials salvaged from sites near his home. DeVera’s experiences as a Filipino immigrant — and during two combat tours in Iraq — inform these works, which comment on the absurdities of mass human conflict while asking bigger questions about the devouring machinations of empire. DeVera’s Anymouse opens at Coop on Thursday, April 15, and the gallery will host a reception on Saturday, April 17, from 3 until 6 p.m.

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MUSIC

THE DOLOUROUS RETURN Dolour’s Shane Tutmarc talks about his new album Televangelist and resurrecting the pop band he ghosted a lifetime ago

BY MEGAN SELING

J

ust seconds into my phone call with Shane Tutmarc, I tell him I’ll do my best to not inundate him with questions about Seattle. We both lived in the city in the early 2000s. I covered music at the popular alt-weekly The Stranger, and he had TELEVANGELIST OUT just started to play FRIDAY, APRIL 2, VIA INVERNESS RECORDINGS; baroque-pop music LIVESTREAM CHAT APRIL 2 around town under VIA @DOLOUROFFICIAL ON the moniker Dolour.

INSTAGRAM Now that we’re meeting again, several years after we separately and coincidentally moved to Nashville, it feels impossible to not at least dip a toe into the pool of Pacific Northwest nostalgia.

“You wrote the ‘Shane is leaving Seattle for Nashville’ article for The Stranger,” he reminds me. “Which is crazy!”

“Did I?” I ask. “I think I did!”

I can barely remember what I wrote last week let alone more than a decade ago.

Though the article seems to have vanished from the web, he’s probably right. I spent years writing about all things Dolour because the group was ubiquitous in Seattle’s music scene. The band released four full-lengths between 2001 and 2007, all of which were praised by local critics and heavily featured on the influential independent radio station KEXP. Tutmarc and his rotating cast of musician friends played out constantly, sharing bills with some of the region’s most popular acts at the time, including Death Cab for Cutie, Damien Jurado, The Posies, Rocky Votolato and Minus the Bear.

Dolour was a breath of fresh air, unapologetic and uncomplicated pop dropped in the middle of a city seething with rage over a George W. Bush presidency and the unshakable “grunge” reputation. Then, after releasing Dolour’s fourth full-length The Years in the Wilderness (a compilation of shorter releases Storm & Stress and Hell or Highwater) on Japan’s Quince Records in 2007, Dolour just kind of disappeared.

Tutmarc shifted focus to his alt-country project Shane Tutmarc & The Traveling Mercies, and it was while on tour with them that Tutmarc visited Nashville and fell in love with the city. He moved to town in 2010 and has stayed busy playing shows with his band Solar Twin, touring with the likes of Elizabeth Cook and Kate Tucker and befriending Wanda Jackson. He’s also produced albums for Sean Nelson (formerly of Harvey Danger, he’s another Nashvilleresiding expat from Seattle in the Aughts), Black Moon Mother, The Explorers Club and his wife Tanya Montana Coe.

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SHANE TUTMARC “I was pretty quiet about Dolour ending,” Tutmarc says. “There was no big final show or final tour — I kind of feel like I ghosted Dolour. Some of this return is sort of giving myself some closure in a way.”

This return of Dolour started last year when the pandemic forced the music industry to hit the pause button. Tutmarc, like so many of us, found himself with a lot of time on his hands, and the ghost of his former band came knocking.

“I had left a pile of songs when I abandoned that ship,” he says. “There were songs that had been haunting me for years. Those are some of my favorite Dolour songs, but no one ever heard them. I finally had a spare moment where I was like, ‘You know what?

I’m just gonna do these for myself and see if anyone cares.’ ” Tutmarc released Dolour’s The Royal We in June. The response was so positive — thanks in part to reaching new fans in a fervent power-pop network that spans across Brazil, Japan, the Netherlands and beyond — that Tutmarc immediately got back to work in his home studio. On Friday, he’ll release Dolour’s sixth full-length, Televangelist.

On Televangelist, Tutmarc continues his resurrection of that lush, sunny Dolour sound that won so many fans over years ago. On “It Would Be a Delight,” a bright chamber-pop daydream about running away with the one you love, Tutmarc layers his vocals to create rich harmonies that recall bands like The Beach Boys and The Byrds.

Over a bed of chimes that hit like raindrops, he throws Seattle a little love on “Summer Rain” as he sings: “When the sun refuses to shine / And everybody hides themselves away / When I am alone at night / The summer rain takes me to Seattle / And I don’t even have to travel.”

In many ways, Televangelist picks up right where Dolour left off, delivering unabashed pop. But it simultaneously showcases a wiser side of Tutmarc. That journey is best represented in the song “I’m Not Mad Anymore,” in which he explains he’s addressing some of the jealousy that maybe got the best of him in the past.

Dolour, at its height, was something of a launching pad for other musicians. Robin Pecknold toured with Dolour the year before he started a little band you might know called Fleet Foxes. Eric Howk, who played lead and rhythm guitar on Dolour’s 2004 release New Old Friends, is now a member of Portugal. The Man, with whom he’s won a Grammy.

“I had so many different people that were in and out of Dolour who ended up doing really big, great things,” says Tutmarc, referring to “I’m Not Mad Anymore” and what inspired it. “Even moving to Nashville, a lot of great friends like Margo Price [started] blowing up. That song is about making peace with my place in the universe and not worrying about, you know, who’s doing better, or where I’m at in that mix. That one’s probably my favorite song on the record.”

It’s pure pop released in turbulent times — just like way back when. Dolour has lured Tutmarc back to the lighter side yet again.

“I feel like my whole life I’ve had this Lennon/McCartney fight in my head, and I would always side with John,” he says, laughing. “This is the first record I let Paul win. I feel like [it has] the spirit of Paul and Ram, and the early solo records of his. Even ending the album with a light lullaby ditty felt very Paul. [On Televangelist, you’ll hear me] getting old and realizing maybe McCartney might’ve been right all along.”

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COMPANY MAN

Leslie Jordan hosts an old-fashioned gospel sing on Company’s Comin’

BY BRITTNEY McKENNA

O

ne of the surprising joys of an otherwise bleak 2020 was the resurgence of Leslie Jordan, an already acclaimed actor and comedian who became a household name through candid, often hilarious Instagram videos. Quarantining in his hometown of Chattanooga, Jordan delighted celebrities and everyday folk alike with his clips, which included charming COMPANY’S COMIN’ OUT FRIDAY, APRIL 2, VIA anecdotes, humorous PLATOON attempts at home fitness and the now-famous catchphrase, “Well, shit, how y’all doin’?”

On Friday, Jordan will delight us once more with the release of his first gospel album, Company’s Comin’. The album, which includes gospel favorites as well as a handful of new, original faith-based songs, features a truly stacked roster of guest musicians, including the likes of Dolly Parton, Tanya Tucker, Brandi Carlile and Eddie Vedder.

Jordan recorded Company’s Comin’ alongside Travis Howard and Danny Myrick, two Music Row veterans with stacked CVs of their own. Howard, a longtime friend of Jordan’s, is a songwriter and producer who’s worked with major artists like Miranda Lambert, Dierks Bentley and Keith Urban. Myrick cut his teeth in gospel and faith-based music before writing for a broader swath of artists, including Tim McGraw and Jason Aldean.

Company’s Comin’ came to fruition after Jordan approached Howard about potentially writing music for a musical “where he would play this traveling

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MUSIC evangelist, with big, poofy hair,” as Howard describes it. “I immediately called Danny, because we’ve been friends for a long time, and asked if he wanted to split this with me,” Howard adds. “We got a lot of this great music together for the musical, but nothing’s happened with it yet. When the idea of a record came up, I knew Danny knew that language, and Leslie knows it, so that was the team.”

The trio began crafting a potential track list, pulling together their favorite gospel songs and envisioning dream collaborations. Howard and Myrick also contributed original material, each featuring on a track with Jordan — Myrick on “In All Things” and Howard on “The Longest Day.” “Leslie saying, ‘You guys each do a song,’ was incredibly generous,” Myrick says. “ ‘In All Things’ was the last gospel song I’d written. It’s been a long time.

That one, I think, really hits home. His voice is great on those songs, too. He has a sweet sincerity that’s really awesome.”

In addition to being impressed with Jordan’s generosity, both Howard and Myrick were also taken with the longtime actor’s natural singing ability, especially given his lack of professional musical experience. And indeed, Jordan’s vocal performances add heart and depth to the project, as well as healthy doses of humor — particularly in the skit-like interludes between tracks.

“Once we got him doing this, there was this tone in his voice, and I’m not trying to conjure the idea of Little Jimmy Dickens, but it’s an older man’s Southern voice, that does sound like Little Jimmy Dickens, or someone in the choir from back home,” Howard says.

“It’s just so comforting for me.”

Jordan and his collaborators found recruiting artists for the project to be a surprisingly easy task, with most agreeing to participate through direct messaging on Instagram. Some, like Vedder and Tucker, were already acquaintances of Jordan’s, and signed

TAKING CONTROL

Chile-born powerhouse Catalina discusses carrying Latin traditions forward in her own way

BY DIANA LEYVA

N

ashville has a reputation as a destination for country music and gaggles of bachelorettes on pedal taverns.

But among the vast sea of country musicians, there are also various Latin READ THE FULL Q&A AT artists trying to NASHVILLESCENE.COM/MUSIC bring their roots and heritage to Music City. Catalina is one of those artists. Born in Chile, the Nashvillebased singer-songwriter’s music is a blend of Latin influence and indie pop, sending messages of strength, hope, empowerment and vulnerability. In a video call with the Scene ahead of the release of her new single “Control,” Catalina discussed how she came to incorporate her Latin identity into her work, her hopes for her artistic future and more.

You record songs in both English and Spanish, and there’s also a very strong Latin influence in your music. How important is it for you to incorporate your culture and your Latinidad into your work? It’s super important, and I didn’t realize how important it was until three years ago. I came, in all honesty and transparency,

on without hesitation when asked. Others, like Carlile, had become fans of Jordan’s Instagram videos.

“Leslie DM’d Tanya and was like, ‘Um, if I did a record, would you sing with me?’ ” Howard explains.

“She was like, ‘Hell yes!’ Emboldened by the ‘hell yes’ from Tanya, we were like, ‘I wonder if Brandi Carlile would be into it.’ So [Jordan] DM’d her on Instagram.

And she was so enthusiastic. … After that, it was just an avalanche of DMs.” If lining up artists felt easy, securing funding for the album — which they admit, with public-domain hymns like “Sweet By and By,” would not be a “cash cow” — was a cakewalk, too. The trio recorded seven ringtones based on some of Jordan’s most popular sayings, like the aforementioned “Well, shit,” and funded the entire Company’s Comin’ project with proceeds from the short clips, which topped iTunes’ ringtone charts.

“Selling a three-second clip of ‘Well, shit, how are y’all doing,’ paid for the entire budget of the record,” Howard says. “None of us had to do anything to get advances. It was like, ‘Bam! There’s our budget.’ …

There’s no expectation from some executive, or things we had to change to please a company. For me, it was the most freeing thing I’ve ever done. At some point you just get tired of chasing that top 15 song on the radio, like, ‘I can’t write another truck song.’ ” Company’s Comin’ is just one of many items on Jordan’s overflowing plate. On April 29, he will release a new book, called How Y’all Doin’. He and Howard host an Apple Music Country show called Hunker Down Radio With Leslie Jordan, which airs every Sunday afternoon. Plus, the first season of Call Me Kat, on which Jordan stars alongside Mayim Bialik, just concluded, with Jordan and Howard making a special musical appearance together on the season finale.

EMAIL MUSIC@NASHVILLESCENE.COM

to the U.S. because I wanted to be a big pop star. The music industry in Chile for indie artists just wasn’t there. So I was like, “Oh, all the artists that I love are making it in the U.S. That’s where I got to be.” And I wanted to be this humongous pop diva and make all the records as they do. I actually released

an album back in 2015. … It shows just how much I’ve changed when I listen back to it.

That year, the 2015 version of me, was so in that mindset of, “I need to be like everybody else.” I was trying to mold into something that I really was not, and you can hear it in my voice and my songwriting. It really

didn’t hit me until 2018, a sense of nostalgia really took over me. I’ve been in the U.S. for nine years, and it’s financially hard to travel back to Chile to see family and just be within the places and everything that raised me.

That nostalgia just prompted me to include a little bit more of my Latinidad, my culture and heritage in my music.

It happened almost organically — in the past I had never written in Spanish because I felt super corny writing it, and it just didn’t feel natural. But I would always try and force it. … But then I think I was naturally yearning for that connection so much that it just started happening, little by little. The song “Multifacética” that I released in 2019 broke that spell for me. It came from the heart, it revealed so much of myself and of that disconnect that I had felt for the longest time.

That also prompted me to dive into my heritage and do it a little bit more proudly. I’ve always been proud of it, but it just didn’t reflect in the music because I was trying to adjust to everybody else’s standards of what popular music should be. I also have a lot to attribute to the huge boom of Latin music, of all genres that we’ve seen. With urban you see J Balvin and Bad Bunny, but you also see Natalia Lafourcade, Rosalía, Mon Laferte … that in the last three years helped me a lot to have that confidence of, “I can do it in Spanish and I can do it in English. I can be a crossover and people are going to like it.” I think I was fearing that people would not receive it well here in the U.S., especially in the South.

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MUSIC

Can you tell me more about “Control” and what inspired it? So “Control” is a very special song. You can pronounce it control, or control — that’s a little bit of the beauty of it. People won’t know if it’s in English or in Spanish when they read the title, but it is a song in Spanish. I wrote the song for my mom. My mom is a huge inspiration in my life. My mom and other moms out there have gone through so much in their lives.

And my mom has been a true resilient fighter. Throughout it all, she’s had a lot of great highs, but she’s also had a lot of lows, like I know that a lot of people have had in their lives. But also in this last year, it felt fitting to come out with an anthem.

It’s a really vulnerable song, so it will meet people in perhaps a very dark space, or a very vulnerable beginning. You can hear some of the pain, hesitation and vulnerability in the music and the lyrics, but the song progressively grows to a triumphant return. The message is all about losing control and regaining, it’s all very cyclical. I have seen my mom and other people in my life lose control of situations, perhaps lose control of themselves and feel lost, but you’re always going to find your North again, your why, and that’s going to keep you moving forward. I am hoping that this song really resonates with people. … The line in the chorus is “Dale pa’ delante hoy.” I want people to keep going, cry, let it all out, just stand up and make your triumphant return. You will make a comeback, whether it be for the people around you to see or whether it is for yourself.

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THE SPIN TUNED IN

BY CHARLIE ZAILLIAN AND MEGAN SELING

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ith their minimal yet potent ingredients — voice, piano and Telecaster through an armada of effects pedals — Julien Baker’s 2015 debut Sprained Ankle and 2017 follow-up Turn Out the Lights offered comfort food for troubled souls. Her third, Little Oblivions, does too, but more colorfully. On the album, released in late February, the Memphis-raised, Nashville-based songsmith — off the road for the first time in her young career and feeling listless, lonely and self-destructive — confronts her sorrow with full-band arrangements, a grittier sonic palette and a wider range of dynamics in both directions, quiet and loud.

In lieu of a proper in-person release show, Baker brought the album to life with a kinetic, cathartic full-length performance taped last month at Nashville’s Analog at Hutton Hotel and broadcast Thursday night via Audiotree. At the top of the set, Baker referred to the show as the release gig for her new album, then corrected herself to highlight bassist and co-producer Calvin Lauber’s contribution, and introduce the rest of her crackerjack band: guitarist Mariah Schneider, keyboard player Noah Forbes and longtime drummer Matthew Gilliam.

The silver cross pendant around Baker’s neck nodded to her Christian faith, which is part and parcel to her artistic identity.

But as a queer Southerner, her relationship with religion is admittedly fraught, a work in progress manifested in her music. Like her emo-core forebears Pedro the Lion and Sunny Day Real Estate, she sings of spirituality but never in absolutist ways, tying it in with more universal struggles: falling in and out of love, feeling out of step with the world, resisting, or caving to, vices.

Those bands and their iconic frontmen (Pedro the Lion’s David Bazan, SDRE’s Jeremy Enigk) also act as reference points for Baker’s band’s potent live sound. Onstage at the Hutton, the quintet rallied around Baker’s tumult-filled vocals — known to shift on a dime from a low whisper to an anguished, lovesick howl — with careful buildups, breakdowns

PHOTO: AUSTIN ISAAC PETERS

convey in that song? To be completely honest, I couldn’t even tell you what I began writing it about, because the meaning of it has changed to become exactly what you just said. It’s a message of power, of confidence, of being a woman. But I think it also applies to everyone else. After playing it night after night, the message that I was imparting to everybody when they came to see the shows was, “After you listen to this song and after you leave this room tonight, I want you to live as freely and as unapologetically and as multifacética-ly as possible.” Because you’re going to grow, you’re going to go through so many stages, you’re going to like things and then dislike them. You will change friends, places of work. You will move, maybe you’ll stay, and none of that change is bad.

Sometimes people are afraid of change because they’re like, “Oh my God, it’s going to turn my world upside-down, or I will become a different person. People won’t recognize me.” You can be all those things.

Just because you’re changing into someone new doesn’t mean you have to completely scrap what’s in the past. I think that message revealed itself once I listened back to the song weeks after writing, recording it and putting it out. When I was first writing it, it just came from the heart.

I wanted to write about the dualities of life, and how you can go through different facets of your life. … I’m glad that it became such an empowering anthem, because I never meant it to be — that was just the magical thing of how people interpreted it and how I ended up interpreting it.

ROYAL TREATMENT: JULIEN BAKER

and textural reinforcements. From Schneider’s subtle vocal harmonizing and twinkling six-string interplay with Forbes’ keys, to Lauber’s melodic high-register bass lines and Gilliam’s finessed fills and cymbal swells, the song-serving arrangements freed Baker to toggle between lead and rhythm, her trusty Tele and an electric-acoustic.

The 50-minute set consisted of 10 songs from Little Oblivions, plus Turn Out the Lights’ title tune and, for the die-hards, “Tokyo,” from a 2019 Sub Pop single. The sequencing felt thoughtfully considered, with a natural push-and-pull between musically sparse, lyrically self-lacerating valleys (“Ringside,” the solo-piano “Song in E”) and ecstatic peaks (“Highlight Reel,” “Hardline,” “Ziptie”) where the band thrashed about in unison, Explosions in the Sky-style.

Baker is a leading voice in an emotionally tuned-in generation, and the pathos of her music occasionally verges on overwhelming on record. Given the full-band treatment in a live setting, however, it took on a new multidimensionality. Both sonically and lyrically, it articulated not wallowing, but fighting onward.

AFTER PLAYING A DOZEN songs at the Ryman Sunday night, Brandi Carlile grinned and approached the mic. “I put so many songs on this set list, y’all. I hope you don’t have anywhere to be.”

The crowd at the Mother Church — socially distanced, masked and at about 25 percent capacity — roared as much as a socially distanced, masked and 25-percent-capacity crowd could. Even watching from home, you could feel that everyone in that room needed to be right there. Indeed, they had been selected at random from a group of fully vaccinated fans who entered a ticket lottery. The weight of the moment was not lost on Carlile.

She opened the show with a staggering cover of Leonard Cohen’s “Hallelujah,” which is a classic for a reason. It can tell you something about loss, love, forgiveness, a higher power or maybe all of the above, depending on who’s listening. With just an acoustic guitar, Carlile delivered the soaring choruses like the gospel. As for who or what the song may have been commemorating — well, we could all take our pick.

The night before the concert, there was extensive flooding throughout the Nashville area. In December, a bombing desecrated one of the most historic blocks in the city.

BRANDI CARLILE We’ve survived a tornado, severe wind and ice storms, and some of the worst COVID-19 transmission rates in the world. Carlile made it clear she was here to exorcise the demons that have clung to us for the past 13 months.

Throughout the evening, Carlile & Co. pulled out old favorites like “Turpentine,” “The Story” and “Cannonball.” They stirred up the electric charge of newer songs like “The Mother,” “Party of One” and “Fulton County Jane Doe,” and reeled off a string of covers including Joni Mitchell’s “A Case of You” and a life-affirming performance of Elton John’s nearly nine-minute Tumbleweed Connection version of “Madman Across the Water.” Carlile channeled the past year of pent-up fear, grief and fragile hope to deliver a performance that no one who watched is likely to forget anytime soon.

As a benefit for Fanny’s School of Music (the forthcoming project of instrument and vintage clothing shop Fanny’s House of Music), Rissi Palmer’s Color Me Country Artist Grant Fund and The Rainey Day Fund, the show was also a celebration of the community that has been challenged and strengthened by these unprecedented times. From the stage, Carlile announced that not only would a portion of all ticket sales be going to the three organizations, but CMT, Fiona Prine and Carlile herself would match the donations. As she hollered: “This is gonna be a shitload of money!”

Carlile gave a nod to her Highwomen bandmates with Tanya Tucker’s “The Wheels of Laredo,” a song she, Natalie Hemby, Maren Morris and Amanda Shires included on their self-titled 2019 album. During Sunday’s show, Carlile segued it beautifully into The Highwomen’s original “Crowded Table,” which was made more stirring and soulful as a duet with none other than Monica. Yes, that’s “The Boy Is Mine” Monica.

“You’re gonna be hearing a little bit more from me and Monica,” Carlile teased. “We’re doing some things together.”

Another special guest appeared for the finale. Lydia Rogers of The Secret Sisters (whose 2020 LP Saturn Return Carlile produced) joined Carlile and her longtime collaborators Tim and Phil Hanseroth for an a cappella version of “Amazing Grace.” With the harmonies still reverberating in the air, the cameras panned back to give a full view of the stage from the Ryman’s balcony, and Carlile could be heard saying, “For everyone in the room, we’re shutting down the cameras and …”

Fade to black. Roll credits.

What happened next was only for the lucky vaccinated folks in the room. For the rest of us, Carlile’s words hung like a cliffhanger for the next season — one that hopefully will be lush with live music, real hugs and our full and complete lives.

EMAIL THESPIN@NASHVILLESCENE.COM

NASHVILLE SCENE | APRIL 1 – APRIL 7, 2021 | nashvillescene.com

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FILM

PRIMAL STREAM 48

French Exit and the Snyder Cut, now available to stream

BY JASON SHAWHAN

FRENCH EXIT

I

t’s officially been a year of the Primal Stream, my little glimpse around at what all is available to view and experience until going back to the movies safely is an option available to everyone out there. It’s a wild and weird milestone, and I’m happy to do so even as I deeply miss the experience of seeing a movie with a crowd who is feeling it. Stay sane, stay safe, and keep your head above water, emotionally.

Vaccines are becoming more and more available. The drive-ins extend their nurturing, funnel-cake-smelling arms. Take care of yourself and others.

Below are a couple of streaming recommendations. As always, visit past issues of the Scene for many more titles.

FRENCH EXIT IN THEATERS AND VIA VIDEO ON DEMAND

A magical-realist swoon into an impeccably overstuffed couch, French Exit is a film about empathy and kindness for the extremely wealthy, and as such your mileage may vary. At its center and as its foundation is an exceptional Michelle Pfeiffer performance — she is Frances Price, facing down insolvency after a life lived with money as a set of bowling alley bumpers for all occasions. Now, fleeing New York society with her manchild son Malcolm (Lucas Hedges), she’s trying to start anew with a kindhearted friend (Valerie Mahaffey, who almost steals the whole film away) and a petulant cat with a secret. It’s not as scathing as Molière or as weird as Buñuel, but it is suffused with a genial kindness and clever turns of phrase — this film could soothe a troubled soul or stir up revolutionary fervor. And ultimately, it is about leaving privilege, nonsense and insularity behind and finding the kindness of the collective. Respect, as always, to Danielle Macdonald, who turns a threescene character into a low-key triumph.

the film he walked away from after studio battles and personal tragedy — allows the country to confront the horrors committed in our name during the Trump administration. The official record, a cobbled-together monstrosity of shifting tone and ideology, is subsumed by a sadder, more sincere truth, buried and brutalized, that was always there, just hidden behind contractually mandated smiles and jokes.

No wonder Ray Fisher was so pissed.

The 2017 Justice League — a Frankenstein’s monster created by the now-disgraced Joss Whedon and a gang of Warner Bros. execs — was, like far too many films that traffic in comic book IP, a bunch of CGI mush that occasionally came alive with a smart line or a striking image. Far too often, it just looked and felt like everything else. So know that this reconstruction/ restoration/resurrection doesn’t look quite like anything else right now, using vertical tableaux (why not let cinema redefine the Academy ratio, especially since TV has stolen the wider cinemascope ratios for itself?) to tell its story with a mythic

resonance that feels visually correct. If this were to get a screening at the Opry Mills IMAX, filling that whole 1.4:1 screen, I would absolutely buy a ticket. And all the people making videos online about how to “fix” the intended aspect ratio of someone whose vision they’ve been clamoring for these past four years are absolutely missing the point.

At his best (everything with Russell Crowe in Man of Steel, much of Watchmen, the Dawn of the Dead remake), Snyder has a grand style that lends itself to big emotions and kinesis. At his worst (300, a film I actually booed in the theater), he crafts edgelord screensaver collisions between Maxfield Parrish and Tom of Finland. So of course there’s a Fountainhead joke buried in the opening chapter. (There are six chapters, as well as an epilogue that almost kills the tremendous amount of goodwill and sincere awe that the rest of the fourhour epic inspires.) And though one of the many enduring lessons taught to us by Dirty Dancing (don’t trust objectivists) remains absolutely correct, Snyder works with a kinder, bruised emotional palette that really does the work of trying to repair what is fractured — not timelines or prophesy, but interpersonal relationships.

During the big final action scene, one of the characters manifests a new power set (nothing new to fans of the comics or TV show, but I was stunned), and it’s suitably awesome in all senses of the word. But it’s also making peace with and paying tribute to the Richard Donner Superman films, which is what every comic-book adaptation has been trying to do in the intervening 40-plus years. So much time is spent on building character (you know, what serialized art and literature excels at). After Victor Stone was reduced to a glorified cameo in the 2017 version, it’s deeply affecting to see what a journey the character goes through. We know who Cyborg is in this version of the film, because we’ve gone through so much of it. And while it’s been said again and again, let’s repeat it: Trying to make a film breezier and more accessible by eliminating the vast majority of its Black characters’ screen time is really gross.

It is impossible to overstate how much of an improvement the Snyder Cut is over the 2017 version. There are issues, as with any film: Immediate big bad/middlemanagement destructor Steppenwolf’s new render looks like an unfortunate mix of Eiko Ishioka’s sublime body armor from Bram Stoker’s Dracula and the overwrought articulated metal frippery of Michael Bay-style Transformers; the whole anti-life equation seemed particularly sweaty (though that is apparently true to the comics); “Song to the Siren” belongs squarely to David Lynch’s Lost Highway; the action scenes might make your attention drift, because they feel like every other previsualized computer fight in every other movie like this. But the final section of the epilogue is a nightmare, both literally and figuratively. After four hours steeping in this story, to end on a setup for something that will never be made but also negates every hard-won victory we’ve seen is a terrible miscalculation. It’s a dream sequence — OK, fine. But it throws the emotional spell the film has been weaving into fucking disarray, and it’s an unfortunate choice. And Jared Leto needs to be stopped.

If people are willing to embrace a singular vision that gets as strange with it as Zack Snyder’s Justice League does, I invite everyone to revisit Ang Lee’s Hulk, which is even weirder and more artistically stylized and even further committed to working out father-son trauma on a grand canvas. (Recall the fifth-act sequence where the Hulk and his father start out in a Sam Shepard-style black-box play and end up devouring energy from power lines and literally battle it out as their conflict imprints itself upon the sky?) But with the exception of the gonzo “Hooked on Classics” montage in It’s A Sin, nothing else I’ve seen this year has said so much with sound and vision as Jason Momoa’s Aquaman returning to the sea, a chorus of Icelandic women giving voice to the quotidian majesty of this aquatic god — this dirtbag drunk who saves lives and smiles upon their isolated village and thinks nothing of his many sweaters, holy relics for the adoring.

EMAIL ARTS@NASHVILLESCENE.COM

ZACK SNYDER’S JUSTICE LEAGUE

ZACK SNYDER’S JUSTICE LEAGUE VIA HBO MAX

There’s a metaphor lurking at the center of this four-hour behemoth, wherein Zack Snyder — being able to finally complete

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nashvillescene.com | APRIL 1 – APRIL 7, 2021 | NASHVILLE SCENE

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Rental Scene

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East End Village Townhomes 307 E Village Lane Nashville, TN 37216

1700-1820 sq ft plus 400 sq ft attached garage $1950-$2400LEGAL NOTICE 4 floor plans

Howard C. Gentry, Jr., Criminal Court Clerk

To: Calvin Eugen Dalton,

It is my privilege as your

Greetings:

vidson County, that relative to grand jury proceedings, it is the duty of your grand jurors to investigate any public offense which they know or have reason to believe has been committed and which is triable or indictable in Davidson County. In addition to cases presented to the grand jury by your District Attorney, any citizen may petition the foreperson (foreman) of the grand jury for permission to testify concerning any offense in Davidson County. This is subject to provisions set forth in Tennessee Code Annotated 40-12-105. Pursuant to Tennessee Code Annotated 4012-104 and 40-12-105, the application to testify by any citizen must be accompanied by a sworn affidavit stating the facts or summarizing the proof which forms the basis of allegations contained in that application.

Your grand jury foreperson is Larry Stephenson. His address is 222 Second Avenue North, Washington Square Building, Suite 510, Nashville, Tennessee 37201. The grand jury will meet at 8:00 A.M. on Mondays, Tuesdays and Fridays for three (3) months. Submission of an affidavit which the applicant knows to be false in material regard shall be punishable as perjury.

Any citizen testifying before the grand jury as to any material fact known to that citizen to be false shall be punishable as perjury. For a request for accommodation, please contact 862-4260.

NSC 4/01/21

elected Criminal Court Clerk Respondent eastendvillageapartmentsnashville.com | 629.205.9131 to notify all citizens of DaNOTICE

have been sued. You Fairfax FlatsYou 206 Fairfax Ave Nashville, TN 37212 may employ an attorney. If you or your attorney do not file a written answer with the clerk who issued this citation by 10:00 a.m. on the Monday next following the expiration of 20 days after you were served this citation and petition, a default judgment may be taken against you.

1 bed / 1 bath

$1200 to $1375 634 sq ft

IN THE JUVENILE COURT FOR DICKSON COUNTY, TENNESSEE No. 05-20-043-DN MICKIE FURLONG SMITH GUARDIAN AD LITEM

1 floor plan

EVELYN RENOLDS Petitioners.

V. Non-Resident Notice Fourth Circuit Docket No. 20D1226

AND MATTHEW GRAY Whereabouts Unknown

vs.

InjuRy Auto ACCIdEnts

Crystal Etue Attorney for Plaintiff NSC 3/18, 3/25, 4/1 & 4/8/2021 Non-Resident Notice Third Circuit Docket No. 18D1629

WRongFul dEAth dAngERous And dEFECtIvE dRugs

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www.rockylawfirm.com LEGALS Non-Resident Notice Fourth Circuit Docket No. 20D1226

IRASEMA ESPARZA HERNANDEZ vs.

JOSE DOMINGO ECHEVARRIA FUENTES In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon JOSE DOMINGO ECHEVARRIA FUENTES. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 10, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: March 11, 2021

LAKESHA MICHELLE DORSEY Vs. TONY MAURICE DORSEY In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon Tony Maurice Dorsey.

It is ordered that said Defendant enter his appearance herein with thirty (30) days after April 1, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 3, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Richard R. Rooker, Clerk W. North, Deputy Clerk Date: March 􀀗􀀗, 2021 David Kozlowski Attorney for Plaintiff NSC 3/11, 3/18, 3/25 & 4/1/2021

Non-Resident Notice Third Circuit Docket No. 20D1887 TRISA SOSA vs.

ORLIN GARMENDIA In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ORLIN GARMENDIA. It is ordered that said Defendant enter his appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court

TRISA SOSA vs.

ORLIN GARMENDIA In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ORLIN GARMENDIA. It is ordered that said Defendant enter his appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 10, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Richard R. Rooker, Clerk W. North, Deputy Clerk Date: March11, 2021 Jesse P. Lords Plaintiff NSC 3/18, 3/25, 4/1 & 4/8/2021 IN THE JUVENILE COURT FOR DICKSON COUNTY, TENNESSEE No. 05-20-043-DN MICKIE FURLONG SMITH GUARDIAN AD LITEM EVELYN RENOLDS Petitioners.

V.

tition for Dependency and Neglect and Custody that the whereabouts of the Respondent, Matthew Gray, is unknown and cannot be ascertained with reasonable diligence, it is, therefore, ORDERED that Respondent be served by publication of the following notice for four (4) consecutive weeks in the Nashville Scene, a newspaper of general circulation published in Davidson County, Tennessee.

It is further ORDERED that if Respondents do not enter an appearance or otherwise answer the petition, further personal service or service by further publication shall be dispensed with and service of any future notices, motions, orders or other legal documents in this matter may be made upon Respondent by filing the same with the Clerk of the Juvenile Court of Dickson County, Tennessee.

served upon ORLIN GARMENDIA. It is ordered that said Defendant enter his appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 10, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

It appearing to the Court from the sworn allegations of the Pro Se Petition for Dependency and Neglect and Custody that the whereabouts of the Respondent, Matthew Gray, is unknown and cannot be ascertained with reasonable diligence, it is, therefore, ORDERED that Respondent be served by publication of the following notice for four (4) consecutive weeks in the Nashville Scene, a newspaper of general circulation published in Davidson County, Tennessee.

It is further ORDERED that if Respondents do not enter an appearance or otherwise answer the petition, further personal service or service by further publication shall be dispensed with and service of any future notices, motions, orders or other legal documents in this matter may be made upon Respondent by

The Court has authority in this suit to enter any judgment or decree dissolving the marriage and providing for the division of property which will be binding on you. The officer executing this writ shall promptly serve the same according to the requirement of law, and the mandates hereof, and make due return as the law directs.

1 Bed / 1 Bath 700 sq ft $1825 - $1975 12 floor plans

Petition is requested by: Lezlie D. Olibas, 32 Briercroft Office Park, Lubbock, TX. 79412, (806) 368-9327.

Issue and given under my hand in the seal of said Court of Lubbock, TX, this is March 26, 2021.

Richard R. Rooker, Clerk W. North, Deputy Clerk Date: March11, 2021

Barbara Sucsy, District Clerk 99th Judicial District Court 904 Broadway, Room 105 Lubbock County, Texas 79401-3420

LEGAL NOTICE

NSC 3/18, 3/25, 4/1 & 4/8/2021

Howard C. Gentry, Jr., Criminal Court Clerk

NOTICE MATTHEW GRAY

To: Calvin Eugen Dalton, Respondent

Evelyn Reynolds, has filed a petition seeking custody of Emily Gray.

You are hereby ORDERED to appear for trial on that petition on April 20, 2021, at 1:00 PM, at Dickson County Juvenile Court, 500 Spring St., Charlotte, 37036, phone number 615-789-0250, or to otherwise enter an appearance in this matter.

If you fail to do so, an order may be entered against you for the relief requested in the petition. You may view and obtain a copy of the petition and any other subsequently filed legal documents in the Juvenile Court Clerk’s Office at the address shown above.

ENTER this the 22nd day of October, 2021.

Judge: Honorable Michael Meise

Greetings:

It is my privilege as your elected Criminal Court Clerk to notify all citizens of Davidson County, that relative to grand jury proceedings, it is the duty of your grand jurors to investigate any public offense which they know or have reason to believe has been committed and which is triable or indictable in Davidson County. In addition to cases presented to the grand jury by your District Attorney, any citizen may petition the foreperson (foreman) of the grand jury for permission to testify concerning any offense in Davidson County. This is subject to provisions set forth in Tennessee Code Annotated 40-12-105. Pursuant to Tennessee Code Annotated 4012-104 and 40-12-105, the application to testify by any citizen must be accompanied by a sworn affidavit stating the facts or summarizing the proof which forms the basis of allegations contained in that application.

Your grand jury foreperson is Larry Stephenson. His address is 222 Second Avenue North, Washington Square Building, Suite 510, Nashville, Tennessee 37201. The grand jury will meet at 8:00 A.M. on Mondays, Tuesdays and Fridays for three (3) months. Submission of an affidavit which the applicant knows to be false in material regard shall be punishable as perjury.

Any citizen testifying before the grand jury as to any material fact known to that citizen to be false shall be punishable as perjury. For a request for accommodation, please contact 862-4260.

NSC 4/01/21

NSC 3/18, 3/25, 4/1 & 4/8/21 Non-Resident Notice Third Circuit Docket No. 20D1887 TRISA SOSA vs.

ORLIN GARMENDIA In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ORLIN GARMENDIA. It is ordered that said Defendant enter his appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 10, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Richard R. Rooker, Clerk W. North, Deputy Clerk Date: March11, 2021 Jesse P. Lords

2 Bed / 2 Bath 1036-1215 sq ft $2400 - $2800

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Jesse P. Lords Plaintiff

AND

Respondents.

IN THE MATTER OF: Emily Gray, DOB: 3/9/2017 A Child Under Eighteen (18) Years of Age

vs.

Studio / GARMENDIA 1 Bath ORLIN In this cause it appearing to the 517 sq offtthe Court that the satisfaction defendant is a non-resident of the State-of$1625 Tennessee, therefore the It appearing to the Court from the $1600 ordinary process of law cannot be sworn allegations of the Pro Se Pe-

JESSICA SPROUSE Whereabouts Unknown

MATTHEW GRAY Whereabouts Unknown

TRISA SOSA

NOTICE You have been sued. You may employ an attorney. If you or your attorney do not file a written answer with the clerk who issued this citation by 10:00 a.m. on the Monday next following the expiration of 20 days after you were served this citation and petition, a default judgment may be taken against you.

The petition of Elizabeth Ann Blair Dalton, Petitioner, was filed in the 99th Judicial District Court of Lubbock County, Texas, on December 9, 2020, against Calvin Eugene Dalton, Respondent, numbered 2020-542,380, entitled: In the Matter of the Marriage of Elizabeth Ann Blair Dalton and Calvin Eugene Dalton. The suit requested: Original Petition for Divorce.

The Court has authority in this suit to enter any judgment or decree dissolving the marriage and providing for the division of property which will be binding on you. The officer executing this writ shall promptly serve the same according to the requirement of law, and the mandates hereof, and make due return as the law directs.

Petition is requested by: Lezlie D. Olibas, 32 Briercroft Office Park, Lubbock, TX. 79412, (806) 368-9327.

Issue and given under my hand in the seal of said Court of Lubbock, TX, this is March 26, 2021.

Barbara Sucsy, District Clerk 99th Judicial District Court 904 Broadway, Room 105 Lubbock County, Texas 79401-3420

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Non-Resident Notice Third Circuit Docket No. 20D1887

Non-Resident Notice Third Circuit Docket No. 20D1887

2100 Acklen Flats 2104 Acklen Avenue, Nashville, TN 37212

Respondents.

IN THE MATTER OF: Emily Gray, DOB: 3/9/2017 A Child Under Eighteen (18) Years of Age

JOSE DOMINGO ECHEVARRIA FUENTES In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon JOSE DOMINGO ECHEVARRIA FUENTES. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after April 8, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on May 10, 2021.

It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: March 11, 2021

fairfaxflats.com | 629.702.2840

JESSICA SPROUSE Whereabouts Unknown

IRASEMA ESPARZA HERNANDEZ

The petition of Elizabeth Ann Blair Dalton, Petitioner, was filed in the 99th Judicial District Court of Lubbock County, Texas, on December 9, 2020, against Calvin Eugene Dalton, Respondent, numbered 2020-542,380, entitled: In the Matter of the Marriage of Elizabeth Ann Blair Dalton and Calvin Eugene Dalton. The suit requested: Original Petition for Divorce.

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