Nashville Scene 7-11-24

VERONICA FRALEY

GRETCHEN WALSH

ALEX WALSH

WALKER ZIMMERMAN

LILY WILLIAMS

WITNESS HISTORY

This Tracy Chapman cassette tape opened up a world of music for Luke Combs almost thirty years ago. In his dad’s truck, Luke heard “Fast Car,” and it became his favorite song—the one he memorably sang with Chapman at this year’s Grammy Awards.

From the exhibit Luke Combs: The Man I Am

RESERVE TODAY

artifact photo: Bob Delevante

Remembering John Seigenthaler, Publishing Titan

The former Tennessean editor and political operative died 10 years ago this week BY BRUCE

DOBIE

Primary Splits Democrats Near the Davidson County Line

Shaundelle Brooks and Tyler Brasher face off in proxy party battle BY ELI

MOTYCKA

Digging Into Chancellor I’Ashea Myles’ Covenant Documents Ruling

Just before midnight on July 4, Myles ruled that the shooter’s documents could not be released BY BETSY

PHILLIPS

Pith in the Wind

This week on the Scene’s news and politics blog

COVER PACKAGE: OLYMPIC FEVER

Nashville’s Walsh Sisters Are on the Cusp of Olympic Stardom

The two young swimmers have gone from Harpeth Hall to the University of Virginia to the world stage BY LOGAN BUTTS

Nashvillians to Watch in Paris

From the Walsh sisters to Walker Zimmerman, here are six Paris Olympians with Nashville ties BY LOGAN BUTTS

Nashville’s Long History With the Olympic Games

In the century since the Olympics were last held in Paris, the American South — and Nashville specifically — has been a part of the Games BY J.R. LIND

Talking to Olympic Gymnastics

Alumna Shawn Johnson East

Catching up with the Nashvillian ahead of her trip to Paris BY HANNAH

HERNER

CRITICS’ PICKS

FOOD AND DRINK

Big Night

The Poli brothers earn their accolades at iggy’s in Wedgewood-Houston BY KAY WEST

ART

The Secret History

A Nashville-based woman’s side hustle as an artist’s model BY LAURA

HUTSON HUNTER

BOOKS

Explosive Findings

Scene contributor Betsy Phillips’ new book about Nashville’s three integration-era bombings is out July 16 BY

KIM BALDWIN

MUSIC

This Is Where We Live LadyCouch moves forward by having a helluva good time BY SEAN

L. MALONEY

Happy Returns

FILM

Let’s Get Physical

The latest in new and essential works of physical media, from Daniel Isn’t Real to Invasion of the Body Snatchers BY JASON SHAWHAN

NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD MARKETPLACE

ON THE COVER:

Alex Walsh photo by Mike Lewis/USA Swimming; Gretchen Walsh photo by Mike Lewis/USA Swimming; Veronica Fraley photo courtesy of USATF; Lily Williams photo by Casey Gibson; Walker Zimmerman photo by David Russell

Joe Pera, Marissa Nadler and Scout Gillett, Lake Street Dive, Bride of Frankenstein and more SUBSCRIBE NEWSLETTER: nashvillescene.com/site/forms/subscription_services PRINT: nashvillesceneshop.com CONTACT TO ADVERTISE: msmith@nashvillescene.com EDITOR: prodgers@nashvillescene.com

Cassadee Pope gets back to her pop-punk roots on Hereditary BY HANNAH CRON

iggy’s • PHOTO BY ERIC ENGLAND

Jazz Under the Stars

JULY 19 | 7 PM

The Dirty Dozen Brass Band with Ryan Middagh Jazz Orchestra

WHO WE ARE

EDITOR-IN-CHIEF D. Patrick Rodgers

MANAGING EDITOR Alejandro Ramirez

SENIOR EDITOR Dana Kopp Franklin

ARTS EDITOR Laura Hutson Hunter

MUSIC AND LISTINGS EDITOR Stephen Trageser

DIGITAL EDITOR Kim Baldwin

THROUGH OCTOBER 24 | 5:30 - 9 PM

An adventure awaits at this weekly concert on Cheekwood’s Arboretum Lawn. Thomas Dambo’s blockbuster exhibition TROLLS: Save the Humans adds an extra dose of magic.

JULY 18 | THE HI-JIVERS

JULY 25 | MARCEL RIESCO

AUGUST 1 | ST. OWSLEY: A MODERN TRIBUTE TO THE MUSIC OF JERRY GARCIA Spirits Sponsor

ASSOCIATE EDITOR Cole Villena

CONTRIBUTING EDITOR Jack Silverman

STAFF WRITERS Kelsey Beyeler, Logan Butts, John Glennon, Hannah Herner, Hamilton Matthew Masters, Eli Motycka, Nicolle Praino, William Williams

SENIOR FILM CRITIC Jason Shawhan

CONTRIBUTING WRITERS Sadaf Ahsan, Ken Arnold, Ben Arthur, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Rachel Cholst, Lance Conzett, Hannah Cron, Connor Daryani, Stephen Elliott, Steve Erickson, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Amanda Haggard, Steven Hale, Edd Hurt, Jennifer Justus, P.J. Kinzer, Janet Kurtz, Christine Kreyling, J.R. Lind, Craig D. Lindsey, Margaret Littman, Sean L. Maloney, Brittney McKenna, Addie Moore, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Andrea Williams, Nicole Williams, Ron Wynn, Charlie Zaillian

EDITORIAL INTERNS Aiden O’Neill, Joanna Walden

ART DIRECTOR Elizabeth Jones

PHOTOGRAPHERS Angelina Castillo, Eric England, Matt Masters

GRAPHIC DESIGNERS Sandi Harrison, Mary Louise Meadors, Tracey Starck

GRAPHIC DESIGN INTERN Jacob Lucas

PRODUCTION COORDINATOR Christie Passarello

FESTIVAL DIRECTOR Olivia Britton

MARKETING AND PROMOTIONS MANAGER Robin Fomusa

BRAND PARTNERSHIPS AND EVENTS MANAGER Alissa Wetzel

DIGITAL & MARKETING STRATEGY LEAD Isaac Norris

PUBLISHER Mike Smith

ASSOCIATE PUBLISHER Michael Jezewski

SENIOR ADVERTISING SOLUTIONS MANAGERS

Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Niki Tyree

ADVERTISING SOLUTIONS MANAGERS Teresa Birdsong, Maddy Fraiche, Kailey Idziak, Allie Muirhead

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IT DIRECTOR John Schaeffer

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FW PUBLISHING LLC

Owner Bill Freeman

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In memory of Jim Ridley, editor 2009-2016 Reserve tickets at cheekwood.org.

¡Printing the Revolution! explores how Chicano activist artists forged a remarkable and enduring legacy of politically engaged printmaking rooted in cultural expression and social justice movements. Drawn from the Smithsonian’s extensive collection of Chicano graphics, this exhibition features nearly 120 works by more than 70 artists and examines how graphic arts have been utilized to build community, engage the public around social concerns, and wrestle with shifting notions of the term Chicano.

THROUGH

SEPTEMBER 29

Downtown Nashville 919 Broadway, Nashville, TN 37203

FristArtMuseum.org

@FristArtMuseum #TheFrist

Spanish Translation and Program Sponsor

Supported in part by Sandra Schatten Foundation

The Frist Art Museum is supported in part by

¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now is organized by the Smithsonian American Art Museum with generous support from The Latino Initiatives Pool, administered by the Smithsonian Latino Center; Michael Abrams and Sandra Stewart; the Honorable Aida Alvarez; Joanne and Richard Brodie Exhibitions Endowment; James F. Dicke Family Endowment; Sheila Duignan and Mike Wilkins; Ford Foundation; Dorothy Tapper Goldman; HP; William R. Kenan Jr. Endowment Fund; Robert and Arlene Kogod Family Foundation; Lannan Foundation; and Henry R. Muñoz, III and Kyle Ferari-Muñoz.

Xavier Viramontes. Boycott Grapes, Support the United Farm Workers Union, 1973. Offset lithograph on paper; 21 3/4 x 16 in.

Smithsonian American Art Museum, Gift of Tomás Ybarra-Frausto, 1995.50.58. © 1973, Xavier Viramontes

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REMEMBERING JOHN SEIGENTHALER, PUBLISHING TITAN

The former Tennessean editor and political operative died 10 years ago this week

BY BRUCE DOBIE

NATIVE NASHVILLIAN John Seigenthaler was a titan of the publishing world. A U.S. Air Force veteran, Seigenthaler started his career as a cub reporter at The Tennessean before serving as an assistant to Robert F. Kennedy. He returned to The Tennessean in the 1960s, ultimately serving as the daily’s editor for many years, covering the civil rights movement and uncovering corruption in the city government. In 1991, he founded the First Amendment Center at Vanderbilt University. Nashville’s John Seigenthaler Pedestrian Bridge is named for him — it’s where, in the mid-1950s, Seigenthaler saved a man from the brink of suicide.

And all that’s just a drop in the bucket. Seigenthaler was an outsized figure, well respected not just in Nashville circles and in Tennessee politics, but in journalism at large. For the 10th anniversary of Seigenthaler’s death, founding Nashville Scene editor Bruce Dobie has a pair of remembrances he shared with us. Read them both below.

WAS SEIGENTHALER IN WATAUGA? WAS HE NOT IN WATAUGA? THE RULING CLASS HAD DIFFERENT OPINIONS.

Some stories that you think are going to be difficult to report turn out to be super easy. Other stories you think will be easy to report become super difficult.

For years I had wanted to write about Watauga, the super-secret club of powerful white men in Nashville who exerted tremendous influence on the city from the late 1960s through the mid-’80s. When I was a reporter at the Nashville Banner in the early ’80s, I would occasionally hear Watauga come up in conversation. One day in the newsroom I asked a business writer whom I respected, “Hey, what’s up with this Watauga thing?” He said, “It’s a big deal, but we’re prohibited from writing about it. So are reporters at The Tennessean and everywhere else. Just bury it.”

You read that right. Watauga had never been mentioned once in local media.

So while I was at the Scene, I was thinking, “Let’s dig up this Watauga gem of a story and report on it and do some serious Messing With the Establishment.”

I thought it was going to be hard. But it turned out to be a cinch. There was of course a wrinkle that involved Seigenthaler. That was unsurprising, because all hidden hallways of Nashville’s power structure, even the mostly Republican Watauga, ran right through his office. The reason the story was a cinch was because so many of the Watauga members were such decent people. They weren’t the Establishment Enemy. They were in fact super helpful. I first called Eddie Jones, the longtime head of Nashville’s Chamber. I said, “Eddie, what do

you know about Watauga?” And he said, “Well, I wasn’t a member, but I was its secretary. I kept the files. You want ’em?” And so I was generously handed over the minutes of the meetings, the lists of members over the years, all sorts of great stuff.

Two of the still-living members were Leadership Nashville founder Nelson Andrews and banker Ken Roberts. I knew Nelson fairly well, so I called him up. “Hey Nelson, I want to write a story about Watauga, like a history piece. Would you be willing to talk about Watauga and what you guys did?”

And he said, “Sure, how about breakfast tomorrow at the Vanderbilt Plaza? I’ll ask Ken Roberts to join. He was a member too.” I’ll never forget that breakfast. Ever the iconoclast, Nelson ate a cheeseburger and french fries, claiming it was part of a revolutionary new diet.

The story essentially wrote itself. Everyone I called spoke openly, with the exception of real estate pioneer Bobby Mathews. I said, “Bobby, Eddie Jones gave me all the member lists and you’re all over them.” He said, “One never talks about Watauga.” You gotta respect the guy.

There was one curious entry, though, in the Watauga meeting minutes. It needed to be fleshed out, because it sure looked like fun. In one of the member lists, John Seigenthaler was listed as a member. That would have been a clear violation of his paper’s independence if he were a member of a club, a largely pro-business one, that was trying to control the city’s levers of power. Back then in the media world, you did not serve on boards or anything of the kind. You were inde-

pendent so as to avoid conflicts of interest.

So I called Nelson. “Was Seig a member, Nelson?”

Nelson said, “Sure, he was a member. Absolutely John was a member. No question.”

I called John.

“No, I was never a member of Watauga. Pure and simple. I knew some of the members, but no, I absolutely and categorically deny I was a member.”

I called Ken Roberts to see what he thought. “I think they are both right,” Roberts said. “John was important enough that of course someone would likely include him as a member of Watauga because anything we came up with would almost certainly have to be run past him for his approval. So in that sense, Nelson is right to think he was a member. But John may be completely correct that he was not technically a member.”

Ultimately I turned this “he said, she said” into a nice little sidebar with the muckety-mucks disagreeing in stark terms with one another.

JOHN SEIGENTHALER: MAY HE REST IN PEACE

When John had cancer, a whole lot of people were keeping a close death watch. Phones were abuzz. You heard anything about Seigenthaler? Is he at home or at the hospital? I hear he’s better. I hear he’s worse. Locally, he was so revered. I was no longer at the Nashville Scene, but I was trying to keep tabs on the situation for this reason: I wanted the Scene to break the story of his passing before any other media, particularly The Tennessean, and I wanted it to be the best-writ-

ten obit on the man, as a tribute to him. I went to the Scene’s editor at the time, Jim Ridley, and I said, “We really need to beat the shit out of The Tennessean here, break the story first, make them feel awful, and then on top of that do a better job of writing about him and explaining his importance to the city.” Ridley was all in.

Seigenthaler’s death might have been weeks away, but Ridley and I wanted it all done early. So I started writing it. And when I finished it, Ridley — one of the most talented wordsmiths I’ve ever known — took it to supersonic levels. One day, as expected, a tipster let me know Seigenthaler had died. Of course, our story was all ready to go. Ridley threw it up on the Scene’s website, and we beat everybody.

This was the lede of the obit I wrote:

John Seigenthaler bought his ink by the barrel, and he goes to his grave having exercised more unrivaled power — and having carried a broader portfolio — than any other single figure in the past half-century of this city. After a long fight with cancer, the former Tennessean editor and publisher died today. He was 86.

It was a decent enough lead. Hardly anything special. Pretty rote, as I look back on it. But by the end of the obit, I thought we had managed to take it up a notch. I think John would have liked what we wrote. I think he would also have liked that we beat the competition and took pride in that. I think he would have liked that we cared.

These are the last two graphs of the obit I wrote and Ridley edited:

In his heyday, Seigenthaler played the print game at a time when comma by comma, and word by word, the papers told stories of the world we saw, and the world we dreamed of becoming. It was hard work — dirty work, actually. But as if by magic, the world appeared anew every morning, carried by the sentences and paragraphs and quotations and photographs and headlines that John Seigenthaler oversaw. He not only brought the city to us, but he brought us its benevolent interpretation, ever goading us to a better place.

In the process, John Seigenthaler very much became a story himself — one with a strong lede, a marvelous plot, heaps of delicious conflict and an ending that would honor any man. He is why newspapers mattered. He is why newspapers might remind themselves that they matter still.

Bruce Dobie was the founding editor of the Nashville Scene. ▼

PHOTO: JUDE FERRARA

JOHN SEIGENTHALER

PRIMARY SPLITS DEMOCRATS NEAR THE DAVIDSON COUNTY LINE

Shaundelle Brooks and Tyler Brasher face off in proxy party battle

BY ELI MOTYCKA

BEFORE PRIMARY VOTERS in Hermitage, Old Hickory or Donelson cast a single vote in the Aug. 1 primary elections, another kind of election has already reached a fever pitch in Tennessee’s House District 60. The seat — held for six terms by outgoing Democrat Rep. Darren Jernigan — has drawn two viable Democrats, Shaundelle Brooks and Tyler Brasher. Elected officials have lined up behind each in what has become a race projecting two distinct directions for a party desperate to find a winning formula in purple suburbs across the state.

The Tennessee Democratic Party can’t directly weigh in on a primary, where voters select candidates for the general election in November, but its most visible elected officials have split their support between Brooks and Brasher. While Jernigan has withheld his official endorsement — he currently holds a post in Mayor Freddie O’Connell’s administration as the mayor’s state House whisperer — Brasher won over his household, scoring an endorsement from Jernigan’s wife Michelle. Metro Councilmembers Jeff Gregg and Jordan Huffman, who together represent most of District 60 on the council, are also behind Brasher.

Brasher brought on Huffman as his campaign manager in early June. Last summer, Huffman ran his own successful campaign as a first-time candidate in Hermitage. The two share experience on the Donelson Hermitage Chamber of Commerce and the Donelson Hermitage Neighborhood Alliance, familiar local stepping stones to elected office. Brasher has made these relationships his campaign bedrock.

Shaundelle Brooks came to politics all of a sudden. Her son Akilah DaSilva, then 23, was among the four people killed when a man with schizophrenia opened fire at an Antioch Waffle House in 2018. The tragedy reordered her life around gun violence prevention.

ELECTED OFFICIALS HAVE LINED UP BEHIND EACH IN WHAT HAS BECOME A RACE PROJECTING TWO DISTINCT DIRECTIONS FOR A PARTY DESPERATE TO FIND A WINNING FORMULA IN PURPLE SUBURBS ACROSS THE STATE.

as an advocate against gun violence, Brooks rejects the single-issue label.

“Raising my kids as a single mom, having to pay rent and bills on one income, how can I be a single-issue person?” she says. “I’m trying to give my kids a decent life. Daily, I’m coming into contact with the school system, the health care system, insurance companies and gun violence. I stand up for people. I fight for people who don’t have a voice.”

Brooks raised four children, including DaSilva. Her youngest son joins us at Nectar Urban Cantina, a Mexican restaurant in Donelson. While we talk, a boy runs up to the big industrial fan blowing cool air across the patio, and Brooks winces. “He needs to be careful of his fingers,” she says to herself.

Early voting in the

take place July 12-27 at Davidson County’s 12 early-voting locations.

“I saw my son in the casket, and I said, right then, I would do everything in my power to make sure this doesn’t happen again,” Brooks tells the Scene after a morning of door-to-door canvassing. “It has to start with background checks — those are the foundation of stricter gun laws — to make sure people are mentally stable enough to carry.”

Brooks started the Akilah Dasilva Foundation and dyed her hair blue, her son’s favorite color. Around her neck, she wears a necklace with Akilah’s name on it. Regular advocacy at the state Capitol — “I went there and told my story, and they shut me down,” Brooks says of Republican lawmakers — quickly led to relationships with elected Democrats like Reps. Justin Jones and Gloria Johnson. Even though she has made her name

phone call) from local party operatives.

“After Tim dropped out, I put on my walking shoes and got going trying to generate community support,” Brasher tells the Scene. “It’s not the big cultural issues that get a lot of attention. More often than not, folks are asking for sidewalks, for better transit, for roads to be paved. Just basic infrastructure.”

To voters, Brasher decries extremism among Republicans, a party that has drifted so far to the right that they’ve forgotten the job of basic representation. Huffman, Brasher and Jernigan all talk about the district as cautiously Democratic. Jernigan flipped the seat from Republican Jim Gotto in 2012 by 0.4 percent — just 95 votes. From there, he slowly gained ground, winning by more than 20 percentage points in 2022. In office and back home in his district, Jernigan built a political reputation appealing to the center in a district that includes historically working-class white suburbs, new transplant families, a few majority-Black neighborhoods and whiter, more conservative spillover from Mt. Juliet. On paper, district demographics look a lot like areas near Murfreesboro and Clarksville, where Democrats hope to gain ground against the state’s Republican supermajority.

“We both have different backgrounds, and I think they’re both viable paths to the nomination,” says Brasher. “Ultimately, I don’t have a whole lot of really big disagreements with Shaundelle. We’re both Democrats, and we both want to see the seat held by a Democrat. We’ll see what voters think.” ▼

OPINION

Jones, briefly expelled from the House alongside Rep. Justin Pearson (D-Memphis) in April 2023 for leading gun violence protests, has seen his fierce advocacy inside the legislative chamber translate into fundraising dollars and a rising national profile. Johnson, who joined Pearson and Jones in protests after the Covenant School shooting, leads the Democratic primary for U.S. Senate and appears headed toward a showdown with Republican Sen. Marsha Blackburn in November.

Both Johnson and Jones encouraged Brooks to run for Jernigan’s soon-to-be vacant seat.

Both endorsed Brooks, as did the political arm of nonprofit group The Equity Alliance, several Metro councilmembers and nearly every Black elected official in the Tennessee state legislature.

Democratic state Sen. Heidi Campbell, whose meandering district includes a northern swath of House District 60, also got behind Brooks, as did former Councilmember Jeff Syracuse.

Six months ago, Syracuse was a leading name for the seat. Then it was Tim Jester, whose campaign started and ended in February when a professional conflict cut short his primary hopes. Brasher came next. To Brooks, the parade of middle-aged white men has come to represent institutional resistance; her entry into the race prompted skepticism (and at least one angry

DIGGING INTO CHANCELLOR I’ASHEA MYLES’ COVENANT DOCUMENTS RULING

Just before midnight on July 4, Myles ruled that the shooter’s documents could not be released

BY BETSY PHILLIPS

RIGHT BEFORE THE Fourth of July concluded, at 11:58 p.m., Davidson County Chancellor I’Ashea Myles released her 60-page ruling about whether the Covenant School shooting documents could be released.

Ultimately Judge Myles ruled that, because the shooter’s writings were copyrighted, and because the Metro Nashville Police Department says they’re still being investigated, they could not be released.

This is a very complicated situation with the tragic killing of six people at its heart, and I have a lot of mixed feelings. I think it was pretty brilliant of the shooter’s parents to transfer copyright to the Covenant trust and equally brilliant of the trust’s lawyers to make this about copyright infringement.

I think the Tennessee Star — the conservative

Aug. 1 primaries will

news outlet that has been publishing stories based on the killer’s writings and other documents from the investigation that they obtained from “a source close to the Covenant investigation” — made a grave misstep in their handling of these documents. They spent time releasing stories like “Covenant Killer Audrey Hale Drank Bud Light Prior to Social Media ‘Suicide Note’ Left for Friend, Journal Claims,” in which we learn that Hale’s journal contains “an entry that mentioned consuming alcohol less than two weeks before her devastating attack.” This is not news. It doesn’t tell us anything that has to do with anything. How are you going to stand in front of a judge and claim that this is the kind of thing the public needs to know?

But the Star actually did find important stuff in the journal. The story “Journal Lacks Evidence for Early Police Claim Audrey Hale Targeted Covenant over ‘Resentment’ for Time at School,” which came out two weeks after the Star’s “Ooh, scary, a trans person drank Bud Light at some point in the past” story, is important. We were told one thing initially by the MNPD chief — that there were rumors circulating about Hale resenting Covenant because of Hale’s time at the school — and then Tom Pappert at the Tennessee Star used the access he has to Hale’s writings about the planning of and thoughts about the attack to debunk that rumor. a prime example supporting the argument that these writings should be available to the public — so we can know whether what we’ve been told about the state of mind of the shooter matches what the shooter actually said about their own state of mind.

All this being said, I think Judge Myles got this wrong. On Page 38, Myles writes about whether federal copy right law holds more sway than applicable state law. So if state law says records from a police investigation need to be open to the public, and federal law says the copyright holder can prevent everyone in all cases from

making copies, which law do we follow? Judge Myles goes straight to the U.S. Constitution: The “Constitution, and the Laws of the United States which shall be made in Pursuance thereof … shall be the supreme Law of the Land; and the Judges in every State shall be bound thereby, any Thing in the Constitution or Laws of any State to the Contrary notwithstanding.” She then clarifies that “any law enacted by Congress [i.e., copyright law] may preempt an otherwise valid state law, rendering it without effect.”

Judge Myles, on Page 50, then says: “There are certain exclusive rights that federal law grants to copyright owners. Among those rights is the owners’ exclusive control over who gets to see her work and when.”

I don’t think this is true. If you hold a copyright, you get control over who gets to make copies of your work, and there are exclusions, such as fair use. You can’t con-

being told about the investigation is true. And that’s where the media should come in, and Judge Myles should let them. ▼

PITH IN THE WIND

NASHVILLESCENE.COM/NEWS/PITHINTHEWIND

A proposed city plan to increase bus coverage, update traffic signals, install roadway safety measures and expand sidewalks easily passed a second-round vote in the Metro Council last week. Building a comprehensive transit plan has become Mayor Freddie O’Connell’s top priority since he took office in the fall. November’s presidential ballot will include a referendum approving the plan’s funding, a 0.5 percent sales tax bump countywide, prompting a return to campaign mode for O’Connell. While the city still lives with the sting of former Mayor Megan Barry’s failed Let’s Move Nashville push in 2018, polling and surveys show transit as a top concern for residents, and councilmembers overwhelmingly support the mayor’s proposal.

Members of Patriot Front, a far-right hate group, marched in downtown Nashville on July 6 in matching khaki pants, boots and navy shirts. Nearly all obscured their appearances with face coverings and hats. Local councilmembers, Mayor Freddie O’Connell and state officials condemned the rally. State Rep. Aftyn Behn, who represents parts of East Nashville and Donelson, directly tied the march to

“xenophobic, anti-trans, and pro-carceral policies aggressively pushed by the Republican supermajority” in the Tennessee legislature. Patriot Front promotes white supremacy and an authoritarian government installed and maintained via fascism.

Police shot and killed Max Van Sickle, 25, in the early morning of June 27 in Bellevue. Van Sickle was shirtless and apparently experiencing a mental health crisis, according to a 911 call from his older brother. Police body-cam footage shows Van Sickle holding a knife and moving toward officers. Officer Jonathan Scull can be heard yelling, “Stop right now!” before shooting Van Sickle four times. Van Sickle was pronounced dead shortly thereafter. The MNPD response did not include mental health professionals from Partners in Care a recently expanded program inside the police department. Police say no PIC clinicians were on call at the time of the incident. All three officers who responded to the scene are on administrative leave while the shooting is investigated by the Tennessee Bureau of Investigation and the Davidson County District Attorney’s office.

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OLYMPIC FEVER

Profiling the Walsh sisters and others heading to Paris, chatting with past Olympian Shawn Johnson East and much more

The opening ceremony of the 2024 Summer Olympics will take place Friday, July 26, at the Jardins du Trocadéro in Paris, France — almost precisely 100 years after the closing ceremony of the Paris 1924 Olympics. More than 10,000 athletes are set to compete in more than 300 events over the course of two weeks. And though the Olympics are taking place 4,000 miles from Music City, Nashville is not without its connections to the Games. In this week’s issue we take a look at some of those connections. We profile some of the 2024 Olympians who have connections to Nashville — including sisters, swimming superstars and Harpeth Hall graduates Alex and Gretchen Walsh — and speak with former gymnast and gold medalist Shawn Johnson East, who calls Nashville home. We also examine Nashville’s many historical connections to the Games, including past medalists and our mid-1990s bid to host the Games.

A special shout-out to Logan Butts — Scene writer, Olympics superfan and associate editor of our sister publication The News — for his work guest editing this issue. ▼

Nashville’s Walsh Sisters Are on the Cusp of Olympic Stardom

The two young swimmers have gone from Harpeth Hall to the University of Virginia to the world stage

BY LOGAN BUTTS

WHEN IT COMES TO elite-level swimming in Nashville, you have to mention Harpeth Hall. The all-girls private school tucked away in Green Hills has long been home to the dominant swim program in the area.

The Honeybears — or the Bearacudas, as the school’s swim team is nicknamed — have won 15 state championships, two independent school national titles and back-to-back overall national championships in 2008 and 2009. At one point, the Bearacudas won 25 consecutive region crowns.

Harpeth Hall swimming first hit the international stage at the 1984 Summer Olympics in Los Angeles, when the legendary Tracy Caulkins took home three gold medals, becoming one of the preeminent stars of that year’s Games. But Caulkins represented Harpeth Hall in the pool in name only; she was really a product of the prestigious Nashville Aquatic Club. The Harpeth Hall swimming dynasty started in earnest with the arrival of coach Polly Linden, a math teacher and former collegiate swimmer from Massachusetts.

“At that time, if you swam for Harpeth Hall, you just kind of represented Harpeth Hall at the big meets, but they didn’t necessarily have a team outside of that,” Linden tells the Scene. She essentially had to start the program from scratch.

Linden has had at least one athlete swim at every U.S. Olympic trials since 2000. In 2021 (the Games were delayed a year due to COVID-19), one of Linden’s swimmers finally reached the Olympic podium: Nashville native Alex Walsh won the silver medal in the 200-meter individual medley, one of the same events Caulkins medaled in 37 years earlier.

“We were absolutely elated for Alex,” Linden says. “Just to see her dream come true. … I feel like when the Olympics come around, everybody gets Olympic fever, and every small kid wants to be an Olympian when they grow up. So to see it happen is amazing.”

PHOTO: MIKE LEWIS, USA SWIMMING

ALEX WALSH

Three years later, Walsh is returning to the hallowed Olympic grounds after making it through the cutthroat U.S. swimming trials in Indianapolis in June. But this time, Alex will have a special person by her side — her younger sister Gretchen, who qualified in record-breaking fashion.

“She pretty much shocked the entire world,” Alex said at a press conference after Gretchen broke the 100-meter butterfly world record during the trials’ semifinals. “Regardless of what happens at this meet for me, we’re both Olympians now. It feels really cool to just say that.”

Gretchen would go on to qualify in two more events: the 50-meter freestyle and the 4 x 100-meter relay, while Alex will once again be swimming in the 200-meter individual medley at the Olympics.

“I’m still in shock,” Gretchen said following the 100-meter butterfly final at the trials. “Making the team was the biggest goal, but getting a world record was absolute insanity.”

Making the Olympics was especially satisfying for Gretchen: not only because she was previously known more for her short-course abilities rather than the long-course events that take place at competitions like the Olympics, but also because she had to watch from

Nashvillians to Watch in Paris

the sidelines in Tokyo while Alex was able to live out her dream in the pool. Now, following a dominant stretch of collegiate seasons at the University of Virginia — which includes leading the Cavaliers to four straight team national titles and winning a combined 13 gold medals at the 2024 NCAA Swimming Championships — the Walsh sisters will be able to swim together on the biggest stage possible.

“Alex and Todd [DeSorbo, University of Virginia swimming coach] have been with me every step of the way since the last trials,” Gretchen said at a press conference following her Olympics-clinching performance. “This is a full-circle moment for me and for them. This whole journey has been full of ups and downs, but I’m really happy to be on such a high right now and have them alongside me.”

A pair of sisters in line to potentially win multiple medals for Team USA in one of the most popular Olympic sports? It’s a recipe for legit stardom, and companies have already come calling. Thanks to the NCAA’s relatively new name-imageand-likeness policy, the Walshes have already been able to capitalize on their stardom by inking several high-profile brand deals. Now they can advertise everything from swimwear to energy drinks without jeopardizing their amateur status.

From the Walsh sisters to Walker Zimmerman, here are six Paris Olympians with Nashville ties

BY LOGAN BUTTS

SWIMMER ALEX WALSH

When to watch: The 200-meter individual medley heats and semifinals will take place Aug. 2, with the final set for Aug. 3. One of two returning medalists with Nashville connections, Walsh will once again be taking on the 200-meter individual medley after her silver-winning performance in the event in Tokyo. Walsh will be among the favorites to reach the podium in an event she won by more than two full seconds at the 2024 NCAA Swimming Championships in March. She’ll be competing alongside fellow American and her former University of Virginia teammate Kate Douglass, who earned bronze in the 200-meter IM in Tokyo.

SWIMMER GRETCHEN WALSH

When to watch: The 100-meter butterfly heats and semifinals will take place July 27, with the final taking place July 28. The 4 x 100-meter freestyle heats and final will also take place July 27. The 50-meter freestyle heats and semifinals will take place Aug. 3, with the final on Aug. 4.

“It’s definitely a privilege,” Alex told SwimSwam earlier this month. “Obviously, it comes with the pressure to perform, but I think

100-meter butterfly and the 4 x 100-meter freestyle relay, the last of which the U.S. has medaled in at 23 of the 25 Olympics featuring the race. (No pressure!) Walsh set a new world record in the 100-meter butterfly semifinals at the U.S. Olympic trials, putting her in a good position to bring some hardware home from Paris.

CYCLIST LILY WILLIAMS

When to watch: The team pursuit competition will take place Aug. 6-7.

The other returning medalist with a connection to Nashville, Williams has had the most interesting journey to becoming an Olympian of anyone in this group. Following four years as a trackand-field competitor and cross-country runner at Vanderbilt University, Williams decided to try her hand at track cycling. Three years later she became not only the first female Vanderbilt graduate to compete at the Olympics, but she won a bronze medal in the team pursuit event in Tokyo. The Florida native will be competing in the same event in Paris.

DISCUS THROWER VERONICA FRALEY

Gretchen Walsh — Alex’s younger sister — has the potential to be one of Team USA’s stars of the pool for the 2024 Games. The first-time Olympian will be competing in three events: the 50-meter freestyle, the

When to watch: The discus qualification round will take place Aug. 2, and the final will be on Aug. 5.

Speaking of Vanderbilt women excelling, to call Veronica Fraley’s June memorable would be a major understatement. The graduate student began the month by becoming just the third student-athlete in Vanderbilt history to earn an individual NCAA championship and ended June by qualifying for the Paris Olym-

that we’ve handled that really well.”

Come August, you might even see these two on a Wheaties box. ▼

pics. Fraley qualified with a third-place finish in the discus throw at the U.S. Olympic trials. She’ll be competing in Paris against Valarie Allman, the reigning gold medalist in the event.

FOOTBALLER WALKER ZIMMERMAN

When to watch: The men’s soccer competition will take place July 24 through Aug. 9. Unlike the women’s competition, men’s soccer rosters at the Olympics are limited to players ages 23 and younger. However, countries are allotted up to three roster slots for over-age players, and the United States decided to bring Nashville SC defender Walker Zimmerman as one of its over-age representatives. The four-time MLS all-star’s inclusion can be attributed to two factors: He brings high-level international experience — Zimmerman played in all four of the USMNT’s matches at the 2022 World Cup, starting three — and plays a needed position for the young roster.

SPRINTER JOHN SHERMAN

When to watch: The 4 x 100-meter relay competition will take place Aug. 8-9.

Middle Tennessee State University freshman John Sherman is headed to Paris as part of the Liberian men’s 4 x 100-meter relay team. The former LaVergne High School star was part of the Liberian squad that set a national record in the event at the 2023 African Games, earning the group a spot in one of the marquee competitions of the track-and-field schedule.

GRETCHEN WALSH

PHOTO: MIKE LEWIS, USA SWIMMING

PHOTO COURTESY OF MTSU PHOTO COURTESY OF NASHVILLE SC

PHOTO:

Nashville’s Long History With the Olympic Games

In the century since the Olympics were last held in Paris, the American South — and Nashville specifically — has been a part of the Games

BY J.R. LIND

ON JULY 7, 1924, a team of a half-dozen Americans put up a score of 363 in the men’s trap-shooting team competition at the Paris Olympics. Among them: 36-year-old Nashville attorney John Hopkins Noel Sr.

That 363 was three points better than Canada and scored the U.S., including Noel, a gold.

It was the last gold medal awarded in the team trap competition, but it was the first gold medal awarded to a Tennessean. Noel, an accomplished sportsman and top-level shooter despite a severely injured left hand, spent the rest of his life managing his family’s trust and investing in real estate, including notably Nashville’s Noel Hotel.

Now, 100 years later, the Olympics return to Paris with more Nashvillians vying for gold. But in the century between the Games’ two visits to the City of Lights, the Music City has added its grace notes to the Olympic tune.

Many of those notes were played by ’Belles. In the legendary coaching tenure of Ed Temple, the TSU Tigerbelles won 23 Olympic medals between the 1952 Games in Helsinki and the 1992 Games in Barcelona.

What’s remarkable is that, in a segregated South before Title IX, Temple couldn’t even offer scholarships to his runners. Still, he coached legends like Wilma Rudolph, who was born the 20th of 22 children in Clarksville and overcame a childhood riddled with illnesses. Rudolph won her first medal, a bronze, anchoring the 4 x 100 meter relay at the 1956 Melbourne Games. She was just 16; the other three team members were Tigerbelles. She was the celebrity star of the 1960 Games in Rome, where she won the 100-meter and 200-meter and anchored the gold-medal-winning, all-Tigerbelle 4 x 100-meter relay, the finals of which were run in sweltering temperatures that Temple — who coached the 1960 and 1964 U.S. track teams — had anticipated: He had his Tigerbelles practice three times a day on the unforgiving cinders of the TSU track in the unrelenting Nashville heat of June and July.

“It’d get you ready,” he told the Scene in 2012. Even after another Tigerbelle-heavy winning performance in 1964 in Tokyo, Temple couldn’t get a raise at TSU — “We’d won more medals than 80 countries!” he exclaimed to the Scene — until Tennessean sportswriter David Halberstam

(yes, that one) set up a meeting between Temple and then-Gov. Frank Clement. Temple got his raise.

Temple never coached a U.S. team again — he said he’d done it, and watching on TV was a more enjoyable experience — but he was supposed to. He’d be named the coach for the 1980 Games in Moscow, but the U.S. and many of her allies stayed at home in boycott after the Soviet invasion of Afghanistan, creating a cohort of would-be Olympians who never got to show their mettle against the world’s best on the biggest stage in sports.

Among them: Franklin’s Joan Pennington, one of the country’s top swimmers, then competing at the University of Texas.

Four years later, when the Games came to Los Angeles, Nashville swimmer Tracy Caulkins became the most famous Middle Tennessee Olympian since Rudolph, winning three gold medals … two of them on the same day. Glitzed and glammed and spectacled through Hollywood magic and sparkled by Ronald Reagan’s “Morning in America” happy (cold) warrior muscle, the ’84 Olympics inspired not just athletes but local politicians to get in on the action — including Nashville Mayor Richard Fulton.

Fulton had ambitions of Nashville as a world-class city; in 1976, he brought the U.N. to Nashville for its first-ever meeting outside of New York, for example, and he openly lobbied for various pro sports leagues (established and upstart alike) to come to town. And the United States Olympic Committee’s ambition to bring the Games stateside in 1996 gave him another shot to propel the city onto the world stage. Of course, those Games ended up in Atlanta, but this wasn’t totally a case of Nashville’s constant late-20th-century desire to be Atlanta without being Atlanta. You can wrestle for yourself what exactly was meant by that, but there was an overwhelming opinion at the time of, “Why should Atlanta get this or that instead of Nashville?” existing simultaneously with the opinion, “We don’t want to turn into Atlanta.”

Nashville was one of four cities that submitted formal bids to the USOC — Atlanta, San Francisco and Minneapolis were the others — and it was considered a longshot. But so was Atlanta’s bid. San Francisco was the far-and-away favorite, tempered only by the hesitance that the last U.S.-based games were also in California. Fulton — and his successor, Bill Boner, who took over in 1988 — laid out a plan, with a price tag of $770 million (almost $2.1 billion today), that would have spread venues throughout the county.

Among the proposed locations for the Olympic stadium: the East Bank, where Nissan Stadium is. (Also considered: the fairgrounds, Bells Bend and “southeast Davidson County” — there truly is nothing new under the sun.) And where would the new arena be? At Fifth and Broadway, naturally. What’s clear is that while Fulton’s plan seems fruitless in hindsight, it certainly shaped — if not outright inspired — Nashville’s future stadium and, frankly, general planning strategy.

The Atlanta Games were the first not to be declared “the greatest” by the IOC chairman at the closing ceremony (the terror attack and various

logistical problems were to blame), but in retrospect, it’s seen as a seminal event in the highwater era of New South boosterism coinciding with the Clinton-Gore administration: proof that indeed the South was a full, contributing, even progressive member of society. There’s debate whether that’s true, of course, but the Olympics are often more about what we think they mean than what they actually mean, and the cities of the South proving their worth went a long way to scoring Nashville an expansion NHL franchise and wooing the NFL’s Oilers.

Interestingly, Nashville was among the two dozen or so cities the USOC asked in 2013 to submit bids to host the 2024 Games. And in a Butch Spyridon-era, “It City” universe overseen by Mayor Karl Dean — who, along with Phil Bredesen, fulfilled much of Fulton’s vision for the city (and more), for good or ill — it’s a little surprising the city didn’t give it a shot. But it’s not a far stretch to say the furtive footsy Fulton played with the USOC in the ’80s laid the groundwork for the city Nashville is today. ▼

WILMA RUDOLPH AND HER PARENTS IN A PARADE IN CLARKSVILLE, TENN., AFTER THE ROME OLYMPICS, OCT. 4, 1960

AN OIL PORTRAIT OF JOHN HOPKINS NOEL

Talking Olympicto Gymnastics Alumna Shawn Johnson East

Catching up with the Nashvillian ahead of her trip to Paris

BY HANNAH HERNER

LISTED IN THE nicknames section of Shawn Johnson East’s Wikipedia page is “America’s Sweetheart.” She secured that title as a 16-yearold competing in the 2008 Olympic Games in Beijing, where she took home a balance-beam gold medal, as well as silver medals in floor exercise, women’s artistic individual all-around and women’s artistic team all-around.

She’s spent much of the time since in Nashville, having moved to Music City nearly 13 years ago. Johnson East has also collected a slew of TV appearances, started a social media brand, married Vanderbilt football alum and former NFL player Andrew East and had three children — Drew (4), Jett (2) and Barrett (7 months).

This month, Johnson East and her family will be traveling to Paris so she can work for Yahoo Sports and watch another significant fivesome: the USA Olympic women’s gymnastics team. Johnson East says it’s an honor to witness the talents of Simone Biles, Suni Lee, Jordan Chiles, Jade Carey and Hezly Rivera — as well as Joscelyn Roberson and Leanne Wong, who were named as alternates.

She spoke with the Scene ahead of her trip to Paris.

What do you think of the team this year? I think it’s an incredibly strong team. For the first time in history, four girls are repeating from Tokyo. It’s a very, very strong team filled with expertise and wisdom.

The fifth spot was named to Hezly Rivera — she’s so strong and consistent. She’s just a baby; she just turned 16. I really think she’ll be a strong asset to the team. The two alternates, Joscelyn and Leanne, are also very, very strong. It was a very tight run for that fifth spot. I think it’s one of the strongest teams we’ve ever had.

Do you see yourself in any of these athletes? It’s a very small sisterhood in Olympic gymnastics. I see my experience in what they’re going through right now, but it’s also a complete new generation of athletes who are at a different skill set and level than we ever were. They’re evolving the sport to levels that I’ve never seen before, which is really, really cool.

What are your thoughts on that evolution? A lot

of it is the same, and a lot of it has evolved. The sport naturally evolves every four years, just like it does with marathon times or in football. Sports evolve and get more and more difficult. That’s the natural cadence. I do think Simone, single-handedly, has expedited that process exponentially because she’s so talented. It’s really cool to see how it’s shifting into a more difficult sport.

Was gymnastics something you loved, or more something you’re just very good at? I absolutely loved it. I fell in love with it from the first day I watched in the gym when I was 3 doing “mommy and me” classes, to the day that I retired. It was my passion. It started out as an extracurricular activity and became an obsession and became a career. It became way more than

just a hobby, and I truly loved it.

You’ve talked about how you started and finished your gymnastics career before you met your husband and had children. How will it feel to share the Olympics with them this year? Really special. I think there’s some sort of weird full-circle moment happening at the Olympics where I get to go back with my husband and my babies and be nothing more than a spectator and not have any inclination to want to be out there anymore. Back in the day, I gave everything to my sport. I don’t think I would have been capable of having a significant other at the same time. It’s been really special to be able to share bits and pieces of it with him.

Now that you’re a mother, what did you learn from

your parents about raising a talented child? My mom taught me from such an early age that it’s my life and my interest. I think a lot of times parents get confused by living vicariously through their kids instead of fostering what their kids are actually enjoying and good at. I think we have a duty now, my husband and I, as parents to find whatever passions our kids have and help foster those. It could be something I have no interest in or have no understanding of, and it’s still my job to help them figure it out.

We are trying absolutely everything. That’s what my parents did for me — put me in every sport and every hobby. Even though I showed that I loved gymnastics so much, they made sure I tried everything, and at the end of the day, gymnastics was the one that I wanted to stick with. ▼

SHAWN JOHNSON EAST

JULY 11

SPRINGER MOUNTAIN FARMS BLUEGRASS NIGHTS AT THE

DELLA MAE WITH ROB ICKES & TREY HENSLEY

JULY 12 & 13

THE DEAD SOUTH WITH THE BUILDERS AND THE BUTCHERS

JULY

OCTOBER 1

SAWYER BROWN WITH

DECEMBER 5

BRENT COBB WITH JOSHUA RAY WALKER WITH

DECEMBER 10

BIRBIGLIA

DECEMBER 12

Presented without the Nashville Symphony.

Presented without the Nashville Symphony.

JUL 28 | 2 PM

Presentation

Silent Movie Classics: THE RED BALLOON AND THE CAMERAMAN

Featuring Organist

Peter Krasinski

PresentedwithouttheNashvilleSymphony.

HARRY POTTER AND THE SORCERER’S STONE™IN CONCERT

Members of the Nashville Symphony Ron Spigelman, conductor

PresentedwithouttheNashvilleSymphony.

JULY 11-13

[SLOW AND STEADY]

COMEDY

JOE PERA

One of the best Joe Pera bits is that he posts pictures of tomatoes on social media. It’s quintessential Joe Pera comedy — you keep waiting for the gross part, or the part where he undercuts his wholesomeness, but it never comes. While you’re waiting for him to wink at the audience — because, my God, there’s no way he’s actually this decent and wholesome — you start to come around to him and his earnest, calming, measured way of seeing things. Either that, or you fall asleep. Either is a perfectly fine and reasonable way to enjoy the Joe Pera experience, which is coming to Zanies for five shows over three nights starting Thursday. The fact that his tour name, The Peras Tour, references Taylor Swift is just about the most youthful thing I’ve ever seen him do — he’s usually talking about rocks, going on fall drives or building bean arches in his garden. Tomatoes really are great, aren’t they? LAURA HUTSON HUNTER

JULY 11-13 AT ZANIES

2025 EIGHTH AVE. S.

THURSDAY / 7.11

THEATER

[SING OUT SISTER] THE SPARKLEY CLEAN FUNERAL SINGERS STAGED READING

Nashville native Lori Fischer has long been known within the local arts community — although she’s certainly racked up plenty of credits in New York, along with various regional theaters. An accomplished actor, writer and educator (she currently teaches at New York University and Lipscomb University), Fischer is known for her fresh storytelling, quirky characters and homespun humor — as evidenced in recent productions of Petie, Greener Pastures and the charming Barbara’s Blue Kitchen. Beginning Thursday, you can catch one of Fischer’s latest works as she presents a staged reading of The Sparkley Clean Funeral Singers

Featuring music and lyrics by Fischer and Don Chaffer, this offbeat musical comedy follows sisters Lashley and Junie, a down-on-their-luck country singing duo that hatches a plan to “sing funeral songs that are tailor-made for each dead person” as a way to jump-start their career. Leslie Marberry directs, and the cast includes

Fischer along with Lauren Braddock, Galen Fott and Dustin LaFleur. AMY STUMPFL

JULY 11-12 AT THE DARKHORSE THEATER 4610 CHARLOTTE AVE.

MUSIC

[TASTE THE FEELING] COLA W/DEVON WELSH & DEDRONS

Much like the delicious beverage that serves as the band’s namesake, Montreal’s Cola is simultaneously sweet, dark and effervescent. What began as a project between former members of the band Ought — Tim Darcy and Ben Stidworthy — collaborating with Torontobased drummer Evan Cartwright of U.S. Girls has resulted in a pair of really incredible albums. 2022’s Deep in the View set a tone of buoyant hooks and playful melodies, while follow-up The Gloss explores the same ideas more deeply. While the trio draws from the inspirational well of The Fall and the Flying Nun Records catalog, they never fall back on a copycat method. Instead, Cola uses their simplicity and sparse sound to expand into dreamlike grooves, buttressing the monotone chants of Darcy’s engaging lyrics. Their fellow Canadian, former Majical Cloudz frontman Devon Welsh, has a hypnotic approach that incorporates both

baroque string instruments and contemporary samplers to create music that doesn’t bother to be tied to a genre. Chicago’s Dendrons will get the show going with their choppy, polyrhythmic noise pop. P.J. KINZER

8 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS

623 SEVENTH AVE. S.

FRIDAY / 7.12

MUSIC

[LIFE, THE UNIVERSE AND EVERYTHING] SKYWAY MAN VINYL RELEASE

James Wallace, aka Skyway Man, is a great guide to places within ourselves and wherever it is we find ourselves. During the past quartercentury, it has become increasingly difficult to ignore how badly we’ve damaged the universe we live in, beautiful and wondrous as it can be. Wallace’s latest LP, Flight of the Long Distance Healer (released by Mama Bird in November), explores living through it — grounding yourself in the vital current, reaching out to others in need, not giving up despite a lack of satisfying answers. As has been the case across his work in the decade or so we’ve been following Wallace, there are parts of these latest songs that feel like tapping into building blocks of modern pop music, from folk and gospel to Crescent City R&B and ’70s mainstream pop, and parts that feel like dispatches from a distant future or maybe even another dimension. Wallace left Nashville a few years back, but he still often works with friends in town — for a fine example, Erin Rae and Spencer Cullum appear on Flight — and a visit from him is a special occasion. On Friday, he’ll land at East Side DIY arts spot Soft Junk for the release of Flight on vinyl. The show is a makeup after snow canceled the originally scheduled January date. Support comes from Nathan Bowles and Kotzur & Plunket. STEPHEN TRAGESER

8 P.M. AT SOFT JUNK

919 GALLATIN PIKE

FILM [IT’S ALIVE] BRIDE OF FRANKENSTEIN

Excuse me for going a bit off topic here, but when I heard that Bride of Frankenstein would be playing at Full Moon Cineplex this weekend, my mind didn’t go to the 1935 sci-fi/horror sequel in which Boris Karloff’s misunderstood dead-man-walking pressures Colin Clive’s godplaying scientist into creating his very own boo (Elsa Lanchester, rocking that legendary Mallen streak). I thought of August 1985, when movie audiences got not one but two Bride of Frankenstein-influenced films. There was The Bride, a skeevy-ass remake with Sting as Dr. Frankenstein and Flashdancer Jennifer Beals as the titular creation. A couple weeks before that, John Hughes dropped Weird Science, featuring horny teens Anthony Michael Hall and IlanMitchell Smith transforming a doll into ’80s Europrincess Kelly LeBrock. They get the idea from watching — you guessed it! — Bride of Frankenstein. (Clive’s famed “She’s alive!” line even appears in the Oingo Boingo-performed theme song.) It’s funny how James Whale’s classic tale of extreme, toxic patriarchy inspired

two very pervy popcorn flicks in the same damn month. Dinner-and-show tickets are also available at fullmooncineplex.com CRAIG D. LINDSEY

7 P.M. AT FULL MOON CINEPLEX

3455 LEBANON PIKE

DANCE

[WICKED DREAMS OF DANCE IN TENNESSEE] PINK PONY CLUB CHAPPELL ROAN

DANCE PARTY

The Brooklyn Bowl is about to get “Hot to Go!” with a Chappell Roan dance party, thanks to Club90s. If you’re not in the know, Club90s throws the kind of nightclub events that make you feel like you’ve stepped into a time machine set to the 1990s — think neon lights, crop tops and the best throwback jams. But this time, they’re mixing it up by throwing in some fresh beats from rising pop star Chappell Roan. Despite having only one album and an EP, the Midwest Princess’ spot in Club90s’ latest lineup proves her rise in the pop music scene has been nothing short of meteoric. It’s no surprise a series of album-themed dance parties has appeared in cities like L.A., New York, Dallas and now Nashville. If you’ve heard her latest hit “Good Luck, Babe!” you already know she’s got the talent to back up the hype. Get ready to dance like there’s no tomorrow, because you’d have to stop the world to stop this dance party.

JAYME FOLTZ

8 P.M. AT BROOKLYN BOWL

925 THIRD AVE. N.

SATURDAY / 7.13

THEATER

[THE BEST OF BROADWAY] KATE BALDWIN: SING PRETTY, DON’T FALL DOWN

Nashville may be a long way from the Big Apple, but thanks to Studio Tenn and TPAC’s acclaimed summer cabaret series, you can enjoy the very best of Broadway right here at home in Music City. The newly revamped series, now dubbed A Cabaret Experience, returns this weekend with two-time Tony Award nominee Kate Baldwin (Hello, Dolly!, Big Fish, Finian’s Rainbow). You can grab a cozy table — and perhaps a glass of bubbly — and enjoy an intimate evening of show tunes, standards, stories and more, as this versatile artist takes to the stage to share her delightful solo show Sing Pretty, Don’t Fall Down. Accompanied by Grammy and Emmy Award winner John McDaniel on piano, Baldwin is sure to deliver a great mix of musical theater favorites. Audiences can also look forward to seeing Pink Goes Good With Green on Aug. 3 (featuring Wicked’s Ginna Claire Mason and Teal Wicks), plus Broadway My Way on Aug. 17 (starring Alton Fitzgerald White, who has performed the role of Mufasa in Disney’s The Lion King a record-breaking 4,308 times).

AMY STUMPFL

7:30 P.M. AT TPAC’S JOHNSON THEATER

505 DEADERICK ST.

MUSIC

[GOOD TOGETHER] LAKE STREET DIVE

Indie folk-soul band Lake Street Dive returns

to Music City with vibrant new songs collected for the band’s summer 2024 LP, Good Together On the album, the band reunited with ace producer Mike Elizondo (Turnstile, Sheryl Crow) to capture songs of “joyous rebellion” in a world often smothered by anger and social divides. Or in the words of drummer Mike Calabrese, “In a way this album is our way of saying, ‘Take your joy very seriously.’” Listeners can get a taste of Lake Street Dive’s joyful groove on funky throwback single “Better Not Tell You,” the blues-drenched “Get Around” and soul-pop tune “Dance With a Stranger.” Those wanting to hear some of the new songs up close can catch Lake Street Dive at Grimey’s before the headlining gig downtown. The afternoon before playing Ascend Amphitheater, the band plans to sign albums and perform an in-store set for fans who ordered Good Together from the shop. More information on the in-site at grimeys.com; find information on the Ascend gig at lakestreetdive.com. MATTHEW LEIMKUEHLER

8 P.M. AT ASCEND AMPHITHEATER

310 FIRST AVE. S.

[SCOUT’S HONOR]

MUSIC

MARISSA NADLER AND SCOUT GILLETT

With her surgically finger-picked melodies and ethereal croon, Marissa Nadler has established herself as one of the unorthodox queens of contemporary folk music. Nadler possesses a

style all her own, and her incredible talents have drawn the attention of collaborators ranging from pop crooner Angel Olsen and Velvet Underground founder John Cage to harpist extraordinaire Mary Lattimore and ambient black metalist Xasthur. The New England native’s lush signature style of noir folk — celestial and ominous, while simultaneously velvety and inviting — has put Nadler at the forefront of the current freak-folk syndicate. Similarly, Scout Gillett has a handful of records released by Brooklyn label Captured Tracks — three EPs and a full-length — showcasing a similarly macabre tone in songwriting. Both blackened songbirds display a kind of bleak poetic storytelling, recalling Southern Gothic novels or Charlotte Perkins Gilman’s horror masterpiece “The Yellow Wallpaper.” If this all sounds familiar, the show is a mulligan gig, making up for the one Nadler had to cancel with Gillett, originally scheduled back in December.

P.J. KINZER

8 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS

623 SEVENTH AVE. S.

[SCOUT’S HONOR, PART 2]

FOOD & DRINK

GIRL SCOUT COOKIE AND BEER PAIRING

If you have a box of Tagalongs or Thin Mints stashed in your freezer for an emergency (What? Not everyone has cookie emergencies?), you probably already have your favorite Girl

PHOTO: NICK FANCHER

MARISSA NADLER

RON ARTIS II

Hailing from Haleiwa, HI This awardwinning artist brings a unique soulfulhonest-songwriting style to the stage. Performing all original music and energizing audiences all across the globe. You’ll be sure to leave the experience feeling loved, electrified, and pondering the lyrics His untamed guitar-playing style has caught the attention of players like Eric Gales,

and

PET OF THE WEEK!

Name: ELROY

Age: 2 months

Weight: 12 lbs.

Gender: Male

MEET ELROY!

Elroy spent some time in foster and here is what we’ve learned about this sweet pup. “He’s a sweet bundle of puppy energy and snuggles! He is very smart! A lot of the time you can watch him and see his little mind working. Too cute! My favorite thing is his “love/hate” relationship with the puppy in the mirror. It’s the best! I have mirrored closet doors, and he barks and marches back and forth with the “other” puppy inexplicably following.

Call 615.352.1010 or visit nashvillehumane.org

Located at 213 Oceola Ave., Nashville, TN 37209

Adopt. Bark. Meow. Microchip. Neuter. Spay.

Scout Cookie combos. On Saturday, Fat Bottom Brewing Co. will show off theirs at Mason Bar inside the Loews Nashville Hotel. The local craft brewery will have some limited-time brews on hand, pairing five different Girl Scout Cookies with five different beers. A $25 ticket will get you 8-ounce pours of five different brews paired with cookies chosen by Fat Bottom’s founder, Ben Bredesen, and director of brewery operations, Alex Barr. Despite the Girl Scouts moniker, this is a beer-tasting event at a bar, so it’s for those 21 and older. Tickets can be purchased at the bar.

MARGARET LITTMAN

1 P.M. AT THE LOEWS NASHVILLE HOTEL

2100 WEST END AVE.

MUSIC

[PIG

OUT]

PUNK ROCK PIG ROAST 5

Sponsors of Punk Rock Pig Roast 5 want us to appreciate two things in equal servings: their totally-not-square musical tastes and the savory flavor of Warrick’s smoked pork barbecue. A stacked lineup of regional punk bands establishes the former. Murfreesboro DIY scene pillars Dru the Drifter and the Back Alley Hookers play Nashville proper amid an ongoing multiyear run of a new album every month, and what’s a garage-punk cookout around these parts without Wesley and the Boys? Aside from those bands and other familiar faces, there’s a can’t-miss chance to catch a set by Archaeas, a Louisville trio that in 2020 scored the coveted seals of quality from labels Goner and Total Punk. Indeed, Violet Archaea and her bandmates’ familiar yet refreshingly different take on loud, fast and raw rock ’n’ roll should sway many weirdos’ late Saturday afternoon — and early dinner, if they eat pork — plans. ADDIE MOORE

3 P.M. AT THE VINYL LOUNGE 1414 THIRD AVE. S.

SUNDAY / 7.14

MUSIC

[DON’T HIDE YOUR LOVE AWAY] HERMAN’S HERMITS STARRING PETER NOONE

During the British Invasion of American pop culture in the mid-’60s, Herman’s Hermits — fronted by a clean-cut teen heartthrob named Peter Noone — became almost as commercially popular as The Beatles and The Rolling Stones. Particularly cheeky singles such as “Mrs. Brown, You’ve Got a Lovely Daughter,” “I’m Henry the VIII, I Am” and “I’m Into Something Good” rocketed to the top of the charts in America as well as across the pond, thus propelling the group into the upper echelon of screaming teenbeat stardom throughout the rest of the decade. Unlike some of their British contemporaries, however, the band’s music never truly matured past the peak of their commercial material, and their staying power faded with the next coming fad. Noone began performing as Herman’s Hermits Starring Peter Noone in the early ’80s and remains a consummate entertainer to this day. I met Noone in 2010 while leading a youth rock band that opened for the Hermits, and his genuine kindness and youthful exuberance were

infectious even then. Fans of all ages can catch Noone and company with tickets available for both a matinee and evening show. JASON VERSTEGEN

3 AND 8 P.M. AT THE FRANKLIN THEATRE

419 MAIN ST., FRANKLIN

MUSIC

[BELIEF STRUCTURES] EVE ESSEX W/EVE MARET & BODY ELECTRIC

The drones and woodwinds that composer Eve Essex favors on her new full-length The Fabulous Truth might register as the content of the album. Still, the Brooklyn singer writes tunes that question the nature of human exploration and dislocation. The Fabulous Truth strikes me as an update of the music the German avant-pop band Slapp Happy made in the 1970s, and Essex sings as convincingly as Slapp Happy vocalist Dagmar Krause. Essex doesn’t seem interested in pop, which means The Fabulous Truth works as program music that occasionally gives up something resembling a hook. The album’s “Virginia Reed” comes close to suggesting conventional song structure, while “The Lieutenant Nun” is a tall tale about the long reach of religious belief: “On the one hand I could hang for my deeds / Or go back to living as Ms. Catalina / In that same convent across the sea,” Essex sings. She’s currently doing

a residency at Memphis’ Crosstown Arts, which contains galleries, exhibition and installation spaces and live spaces for performance, but she’ll stop by Drkmttr on Sunday. Also playing will be Nashville electronica artist Eve Maret, who released the excellent 2023 album New Noise, and Nashville pop experimentalists Body Electric. EDD HURT

8 P.M. AT DRKMTTR

1111 DICKERSON PIKE

[EVER

MUSIC

SO SWEET] THE EARLY NOVEMBER

The Early November may be best remembered for producing a handful of earlyAughts emo-rock anthems that helped steer a generation of mall-dwelling teens through a handful of painfully awkward years (so, so guilty). But for the past decade-plus — since returning from a four-year hiatus in 2011 — the New Jersey band fronted by singer-songwriter Ace Enders has matured with its audience, producing a handful of refined, driven rock albums. The latest in the collection, titled The Early November, debuted last month via Nashville label Pure Noise Records. Expect to hear a few new songs at the upcoming Eastside Bowl show. Anthemic album track “About Me” would be a treat to experience live,

PHOTO: ALICE PLATI

EVE ESSEX

JULY

SEPTEMBER 8

COMING SOON

7/26

8/6

8/9

8/10

CORDOVAS AND FRIENDS

and the same goes for the attention-grabbing opening number “The Empress.” But also come prepared to belt out familiar favorites. After all, it wouldn’t be an Early November show without howling the nostalgically cathartic chorus of signature song “I Want to Hear You Sad.” (“For all of this, I’m better off without youuuuu!!”) Hit the Lights will play main support; Cliffdiver opens the show. MATTHEW LEIMKUEHLER

7:30 P.M. AT EASTSIDE BOWL

improviser, guitarist and Scene contributing editor — makes music that’s distinctly different but also rhymes with what Glass Key Trio does, especially on Prince of Shadows, the LP he recently released with his quartet. He’ll open the show with a solo set. STEPHEN TRAGESER

7 P.M. AT RANDOM SAMPLE

407 48TH AVE. N.

1508 GALLATIN PIKE S.

TUESDAY / 7.16

[ODD FUTURE]

MUSIC

ODDISEE AND GOOD COMPNY

FILM

[PATRON SAINT] QUEER QLASSICS: SAINT LAURENT

Hip-hop built around a full-band performance is a time-honored tradition; The Roots have been its best-known exponents for the past three decades, and a lot of Nashville MCs work extensively with live bands. Prolific Washington, D.C., rapper Oddisee and his band Good Compny are mind-blowingly good at it, and their work feels like they’re fingers on the same hand as they move effortlessly from jazzier settings to hard-rocking beats. Their latest release, May’s And Yet Still, takes a look at filtering out the noise in our chaotic, never-not-moving world and trying to figure out a peaceful path forward. Their message connects the challenges people face every day at an intimate level with the bigger picture, a message that’s bound to resonate in just about every culture. Oddisee and the group have been truly globetrotting through most of the late spring and early summer, with dates across Oceania, Asia, Africa, Europe and the U.K.; now that they’re back stateside, they’re playing a slew of City Winery locations, so you can take a seat and take it in when they hit Nashville on Tuesday. STEPHEN TRAGESER

7:30 P.M. AT CITY WINERY

609 LAFAYETTE ST.

WEDNESDAY / 7.17

[E PLURIBUS UNUM]

The first thing you need to know is that two Yves Saint Laurent biopics came out of France in 2014. There’s the formulaic one that bore his name (and was distributed over here by Harvey Weinstein). And then there’s Saint Laurent, which is this week’s Queer Qlassics selection at the Belcourt. Directed by Bertrand Bonello, whose latest films The Beast and Coma have recently played at the theater, this lengthy look at the life of the French fashion icon (the gone-too-soon Gaspard Ulliel) doesn’t play by the usual biopic rules. This time-bouncing, dreamlike, decadent scrapbook of a film covers nine peak years in the designer’s career, when he partied hard with beautiful people (including Lea Seydoux as a loyal accessories consultant); had a drug-fueled, doomed romance with a hedonistic dandy (Louis Garrel); and went through an inevitable downward spiral before making a climactic comeback. Queer Qlassics programmer and Scene senior film critic Jason Shawhan, who praised the film in these pages in 2015, will give an introduction. CRAIG D. LINDSEY 8 P.M. AT THE BELCOURT 2102 BELCOURT AVE.

MUSIC

[VINCEBUS ERUPTUM] SUPERSUCKERS W/LORDS OF ALTAMONT & RAVAGERS

MUSIC

GLASS KEY TRIO W/JACK SILVERMAN

LIVE MUSIC JULY

The thing about knowing rules in music is that you can then break them in creative and purposeful ways. That’s been key to Jeremy Bleich’s wide-ranging musical practice for decades. The New Mexico-residing educator, composer, improviser and multi-instrumentalist brings a ton of traditions to the table with Glass Key Trio, including Arabic, Balkan and American folk music, as well as contemporary art music and and the particular elegant strain of bluesschooled music that soundtracks film noir. Bleich plays guitar with the group, which also includes bassist Paul Brown and percussionist Milton Villarrubia III. The sounds are cool, but the group interaction, in and around the interstices of the compositional framework, is what really makes it come alive — the music is almost like a fourth player whom the other three are playing off of as they conjure it into being. Nashville’s own Jack Silverman — composer,

Do you love huge, nasty guitar riffs? Do you believe in the power of an amplifier turned up to 11? Is your record collection stacked with players like Jimi Hendrix, Johnny Thunders, Angus Young and Brother Wayne Kramer? Eastside Bowl has a rock ’n’ roll experience you don’t want to miss — a threesome of bands born in different eras that all have a relentless bloodthirst for monstrous, loud electric guitars. With an ever-rotating cast of supporting characters, Supersuckers bassist and frontman Eddie Spaghetti celebrated his 35th year of touring last year. Having long outlasted many of their fallen Seattle brethren, Spaghetti and company were blasting out Southwestern cowpunk blues licks when most of their flannelclad Sub Pop contemporaries were riding the crest of grunge. L.A.’s Lords of Altamont were one of the most criminally overlooked pieces from the post-2000 explosion of Stooges/Blue Cheer revivalism. Their wild guitars and sledgehammer drums are filled out by overdriven organ, riding the line between mesmerizing heavy psychedelia and fist-pumping proto-punk. Get there on time for the opener, because Baltimore punks Ravagers (who share members with RMBLR and Biters) are a snarling leather-clad rock machine you can’t skip. P.J. KINZER

7 P.M.

BurgEr Week

Here! $7 burger specials July 8-14

At the end of the week, vote for your favorite burgers by visiting sceneburgerweek.com and clicking VOTE. The winning restaurant will win a super cool plaque to hang on their wall, a VIP Experience at the 2024 World Food Championships, qualification into the 2025 World Food Championships in the Burger Category and BRAGGING RIGHTS! Voting ends Monday, July 15

Best Overall Burger

Vote in three categories:

Best Unique Toppings

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Browse participating locations, view drink specials, plot your route and win prizes just by downloading the free app!

BIG NIGHT

The Poli brothers earn their accolades at iggy’s in Wedgewood-Houston

BY KAY WEST

SHOULD YOU MISS the colorful mural painted on the wall below the patio of iggy’s, or the glass-enclosed room occupying an entire corner of valuable seating space in one of the two dining rooms, the succinct menu confirms that at this small Italian restaurant, it’s all about the pasta. Fresh pasta, to be clear.

The mural depicts ribbons of dough unfurling from tricolored rollers, and inside that room are a bright-red Arcobaleno pasta machine, woodtopped prep tables, tabletop machines and tools for rolling, cutting and crimping pasta. What you won’t see there during service hours are chef/co-owner Ryan Poli and his No. 1 pasta guy Josh Gonzalez. The pasta magic happens in the morning, making the dough and crafting the tortellini, spaghetti, rigatoni, fusilli, orecchiette, mafaldine, lumache, agnolotti … the possibilities are practically endless, as anyone who Googles “Italian pasta shapes” can attest.

The short videos of Gonzalez at work posted on iggy’s Instagram account (@iggys_nashville) are so entertaining that eventually Poli and his brother/partner/sommelier/director of operations Matthew Poli will move the show to

the front of the restaurant. That way passersby on this fully transformed block in WedgewoodHouston can watch Gonzalez operate.

At dinner, you can watch chefs and cooks at work in the open kitchen, fronted by a counter with seating that the Chicago brothers grew fond of in their three-year post at The Catbird Seat. That restaurant brought them to Nashville but didn’t keep them — both went on to travel and work in other locales.

The deeply held desire to have their own place and the availability of the vacant lower floor of a former industrial building lured them to consider this address. Luckily, their upstairs neighbor is Schumacher Nashville, a design center and showroom of furnishings, accessories, lighting and all things visual that reached out to the Polis and proposed their services. The result is a modern, minimalist bar/restaurant where Don Draper might hang out had Sterling Cooper Advertising Agency opened a satellite office in Rome.

A large double-arched divider acts as bar back in the front room and storage space for the rear. Streamlined tables and chairs are golden polished wood; the fabric-upholstered banquette

and bar stools provide texture and pops of color, and lighting is soft and warm. Polished concrete floors, high unfinished ceilings and a glass wall on the street side amplify the noise inherent to the fun and lively restaurant iggy’s unabashedly is. If noise is an issue for you, reserve on the early side — patio seating if weather permits, the front bar or on the banquette. The seats at the chef’s counter are in high demand, so plan accordingly.

In my experience, multipage wine lists divided by region or varietals with lofty tasting notes are not only intimidating but provide great job security for the sommelier. I’m all for the latter, but my appreciation for Matthew Poli’s (large font!) one-pager — divided into sections like “Light & Crisp,” “Round & Modest” and “Full & Rich” on the “White” side or “Light & Fruity,” “Medium & Plush” and “Bold & Robust” on the “Red” — knows no bounds. In each category (including a “Bubbles” and a “Blush”) are four to five choices with at least one by the modestly priced glass. Cocktails are on the other side of the same page, which also includes beer and cider, a quartet of nonalcoholic beverages and a recently added NA

beer. Cheers to you, Matthew Poli! Ironically, the most famous item on iggy’s menu is not a pasta dish, but the garlic bread — chronicled in that bible of aspirational Southern high life, Garden & Gun In the magazine’s “Anatomy of a Classic” section, the piece tells the origin story of Ryan Poli discovering a savory-sweet-salty and garlicky South Korean street snack built on white bread. He tucked it away until thinking out the menu for iggy’s and developed a recipe based on his memory of that snack. It leads the short section of non-pasta items. Iggy’s version begins with brioche buns made by Village Bakery’s resident bread genius Sam Tucker, split into six sections, piped with

iggy’s 609 Merritt Ave. iggysnashville.com

GARLIC BREAD

SWEET CORN AGNOLOTTI

PHOTOS: ERIC ENGLAND

sweet cream cheese, dunked in a bath of butter, eggs and garlic, sprinkled with parsley and Maldon salt, then put in the oven on a sheet pan until it’s crispy and the cream cheese oozes out of the soft interior.

It’s pretty damned spectacular, and it’s no wonder that by 8:30 p.m. or so, servers are often in the unenviable position of telling diners there are no more. Don’t shoot the messenger, particularly if it’s Landon Edwards — who performs a dual role as bartender, and patiently and informatively rolled through the menu for us.

With all that bread and pasta to come, dip into something green and crunchy; the lightly dressed Gem Lettuce salad with thinly sliced apple is a good bet. If “too much cheese” is not in your vocabulary, the toasted slice of Dozen Bakery’s sourdough slathered with burrata, sweet onion jam and crunchy sunflower seeds is a winner. Should bluefin tuna crudo be on the menu — as it was the night we visited, pink medallions on a plate with segments of pink grapefruit, bright-green shiso leaves and white flower buds — by all means pounce on it.

Ryan Poli has eaten and cooked all over the world, in multiple types of restaurants and cuisines, yet pasta powers his passion, incites his curiosity, and is the vessel for his creativity and the foundation for his menu. Typically, there are nine selections nightly, but with few exceptions — the classic, meaty Bolognese with beef and pork spooned atop a pile of rigatoni, and spaghetti aglio e olio — when it comes to Poli’s interpretations, expect the unexpected.

Cacio e pepe, for example, is almost always built with bucatini and can tend to dryness; on our trip to iggy’s it was ridged tubes of pepper-infused garganelli in a light broth, showered with more pepper and cheese. Ryan serves Ro-

man-style gnocchi, subbing potato for semolina, cooking and cutting it almost like polenta, then pan-frying the squares for a crisped exterior and creamy interior.

No need to dig through the lobster risotto seeking bits of the sweet meat — bite-sized, perfectly poached chunks perch atop the creamy rice, also chock-full of sugar snap peas, crunchy pods, pea shoots, brightened with lemon and mint. That was spring; summer has passed the peas to fennel. The star of the pastarama for me was the agnolotti — sheets of thinly rolled dough piped with sweet-corn puree, folded, cut with a pasta wheel into individual pieces, boiled to silken consistency, drained and settled into a bowl of rich chive-butter sauce strewn with slices of earthy morel mushrooms. Soft-serve ice cream is having a moment on dessert menus, and I’m all for it; I fought gold

spoon to gold spoon for the last bite of vanilla-lemon curd, drizzled with olive oil and set atop a bed of salty-sweet cookie crumbs.

Since its opening in July 2023, iggy’s has received kudos from national media, and placement on several best-of lists. That’s great, says Ryan Poli, but nothing compares to the joy of working with his brother at the restaurant they own. [Cue Campbell Scott and Stanley Tucci’s 1996 film Big Night.] “I’ve worked at incredible restaurants with amazing chefs all over the world, but nothing is better than walking into this restaurant every day and sitting down with my brother for coffee before we get to work,” says Ryan. “We’re two guys from the South Side of Chicago. This is not about awards or money, it’s about giving Nashville good food, wine, hospitality, ambiance and service. We did it. Nothing tops that.”

Sign

Because Nashville is so much more than honky-tonks and bachelorettes...

RIGATONI BOLOGNESE

IGGY’S

THE FIRST TIME Candace Mills pulled on the leopard mask it was supposed to be a joke, but she ended up having to wear it for months.

The cumbersome antique was designed to be worn in a circus performance, but Mills saw its red mouth and finger-length fangs — so clearly designed to communicate viciousness from afar — as a perfect foil to the skimpy bra and panties she had on. When her boss walked in and caught her wearing it, his reaction wasn’t what she hoped.

“He saw me and was like, ‘Well, that’s perfect. We’re gonna do that next.’”

Her boss was Philip Pearlstein, one of the most celebrated figurative artists of the 20th century. Mills, who now lives in Nashville and owns the cleaning company Team Clean, was living in New York at the time and working as an artist’s model. During her time as a live model, Mills has been in at least 30 paintings by some of the most important artists in contemporary art — from Alex Katz and Duncan Hannah to Inka Essenhigh and Nashville’s own Shannon Cartier Lucy — including three large Pearlstein paintings that feature her wearing one of those oversized carnival masks. Pearlstein’s “Two Models With Three Masks and Carousel Lion” is particularly interesting, because it shows the owl tattoo Mills has on her left shoulder. As an artist’s model, Mills has posed for some of the most important and influential figurative artists working, but Pearlstein was the only one who painted her tattoos.

When she was in her 20s, Mills sold her first cleaning business and moved to New York. “I had a little bit of a buffer, but I was looking for something to do,” she tells the Scene. A friend suggested she should be an artist’s model — Mills has exhibitionist tendencies and doesn’t mind being naked for stretches of time. “And it’s a subversive sort of left-of-center thing to do that won’t consume me like a job can, but it’s something I can take seriously,” she says. “If you know me, you know that I’ll try anything twice — that’s the running Mills joke.”

There’s an entire subculture of artists’ models, especially in New York, where the art market is woven into the fabric of the city. You could say Mills has a very particular set of skills that makes her particularly adept at being an artist’s model — mainly confidence, she says, but also a lack of ego.

“You don’t get paid a lot, so you’ve got to hustle,” she says. “You’ve also got to set your ego aside, because you’re really just hired as a prop.”

“Once I decided that I was going to try it, I took a studious approach to it and listed where I would go, and did it.” She started at the Art Students League, because that’s where photographer Lee Miller, one of her personal heroes, had studied.

Mills quickly realized she loved the work. Be-

THE SECRET HISTORY

A Nashville-based woman’s side hustle as an artist’s model

BY LAURA HUTSON HUNTER

“TWO

ing around artists at that level is energizing, and she seems to enjoy the contrast between studious and silly — some of her best stories involve both high- and low-brow details. There was the time she discussed avant-garde composer Iannis Xenakis with Alex Katz while Mills was topless, “in some sort of cheesecake pose.” Another time, she worked for a friend who was giving private drawing lessons to revered theater director and filmmaker André Gregory. During a drawing lesson, Gregory was discussing a recent article he’d read, and Mills joined in from her artist-model perch.

“I just joined the convo while I’m, like, draped over a ladder, naked,” she says with a laugh.

“And we just started talking about how charming The New York Review of Books classifieds are, and how we both like to read them.” She went on to model for him a few more times, and was able to compliment his performance as John the Baptist in The Last Temptation of Christ. “I won him over in that regard,” she says. Does Mills ever consider herself a muse? Not really.

“I was hired, they liked me, I was available,” she says matter-of-factly. She doesn’t think she ever

rose to the level of being anyone’s inspiration — she considers herself more of a hired hand who just happens to feel comfortable being naked in front of others for hours at a time.

“You know, I’m not a good dancer,” she says.

“I thought about trying to strip, just to try it. I can’t. I’m a goober. But I can, like, pull it off in a pose.

“Plus it’s just more interesting to hang out with artists.” ▼

PHOTOS OF CANDACE MILLS ON SET

MODELS WITH THREE MASKS AND CAROUSEL LION,” PHILIP PEARLSTEIN

EXPLOSIVE FINDINGS

Scene contributor Betsy Phillips’ new book about Nashville’s three integration-era bombings is out July 16 BY

KIM BALDWIN

LONGTIME NASHVILLE SCENE contributor

Betsy Phillips knows Nashville history. She also knows patience and perseverance. Back in 2017, Phillips wrote a story about the 1957 bombing of Hattie Cotton Elementary School that sent her down a research rabbit hole and eventually became a book — Dynamite Nashville: Unmasking the FBI, the KKK, and the Bombers Beyond Their Control, which will be released July 16 via Third Man Books. In 2017, Phillips requested the FBI case file on another civil rights-era act of terrorism — the bombing of NAACP leader, city council member and famed civil rights attorney Z. Alexander Looby’s home — and then again in 2020. Six years after the initial request, she received the file and finished her book.

Scene reached Phillips by phone while she was at the Nashville City Cemetery — one of her favorite spots. “I had a little time to burn before lunch, so I’m just hanging out with my dead friends,” Phillips says.

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UPCOMING EVENTS

6:30PM

PARNASSUSBOOKS.NET/EVENT FOR TICKETS & UPDATES

THURSDAY, JULY 11

JEFF ZENTNER & BRITTANY CAVALLARO at PARNASSUS Sunrise Nights

10:30AM

SATURDAY, JULY 13

SATURDAY STORYTIME with THE STORY LADY & THE DRUMMER at PARNASSUS

MONDAY, JULY 15

6:30PM CHUCK TINGLE at NASHVILLE PUBLIC LIBRARY Bury Your Gays

6:30PM

DANIEL SILVA

6:30PM

WEDNESDAY, JULY 17

with JEREMY FINLEY at NASHVILLE PUBLIC LIBRARY A Death in Cornwall

THURSDAY, JULY 18

ROBYN HITCHCOCK

with SEAN NELSON at PARNASSUS 1967: How I Got There and Why I Never Left SATURDAY, JULY 20

What is your book about? It is me trying to solve the three unsolved integration-era bombings here in Nashville: Hattie Cotton Elementary School in September 1957, the Jewish Community Center in March 1958 and Z. Alexander Looby’s home in April 1960.

Why Z. Alexander Looby? Why this bombing? It was understood that the bombing happened because Looby was one of the attorneys for the sit-in movement. But what I found is that racists in town had been targeting Looby by name since the early ’50s. He had been on their radar since the Columbia riots case in 1946. Looby, Thurgood Marshall and Maurice Weaver were the lawyers on that case. He embarrassed racists by winning in a very white-supremacist judicial system. So when schools started to desegregate in Nashville, the racists brought in the prosecutor on the Columbia case to face off against Looby, and it didn’t work again.

Who do you hope reads this book? I hope Nashville reads this book. That was my hope in writing it: that this would be a way to bring this complicated history to Nashville in a way that people find easy and accessible. That it would give them information about the town and how we’ve ended up here. Where the faultlines in our community are and why they’re there.

Do you mean a specific community within Nashville or anyone who lives here? I don’t think that any Black person who lived through this needs to read the book. Every older Black person I’ve talked to about this book has been like, “Yeah, that’s what I thought.” But for people who are new to the city, younger people, or white people who have lived here their whole lives. I’ve met people who went to Hattie Cotton Elementary School and never heard that there was a bombing at that school.

have a series of racist psychics in the South, who also knew to say that they were members of the Confederate Underground.

What did the Nashville community mean to you while writing this book? With the exception of the FBI, I felt so supported by literally everybody I encountered through this book. I felt like this was something Nashville wanted settled. They wanted to know what happened. Anybody I talked to was forthcoming and supportive. I was able to talk to people who have not talked to me about any other subject, and who went out of their way to say, “Let me look into this. Let me make some calls for you.” I got help from [Rep.] John Lewis and his people in Georgia. The Tennessee State Library and Archives was a tremendous resource.

Who needs to read this book? It sounds a little grandiose, but I would like the FBI to read the book and genuinely take to heart what’s in it, the role they played, and the fact that they’re still using these tactics to “keep us safe.”

3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net

6:30PM LEV GROSSMAN with HANNAH WHITTEN at PARNASSUS The Bright Sword parnassusbooks parnassusbooksnashville

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Does history repeat itself? If so, how do we stop it? One of the most interesting and distressing things about doing the research on this book is how aware the racists were, and are now, of this heritage — this tradition of racism in Tennessee. We tell ourselves that when these racial incidents pop up, they’re a one-off or they’re disconnected, but when you start digging in, you realize that we’re failing to see they have this legacy they’re participating in, and past events that they’re taking inspiration from. We think if we’re not hearing from them, and we arrest one guy who does this one thing, then that solves the problem. It’s an ongoing movement from at least the first Klan. This has been generations. In a way, we’ve gone from fighting an open Civil War to fighting a more covert civil war.

Not only did the FBI lie to me — they told me that there was no file left on the Looby bombing, and there was — but in the files that were available to me, I found that the FBI kept witnesses from the Nashville police. They kept confessions private. They were repeatedly asked by law enforcement in Southern states to help coordinate investigations, and they declined. They kept saying repeatedly that these crimes aren’t related. It’s amazing when you think about it, because a bombing would happen, then the bomber would call the newspaper or the police department and say, “This is the Confederate Underground. We’ve just blown up (thing they blew up).” If those bombings aren’t related, then we

So as traumatic as writing about this stuff was, sometimes even as scary as it was, I always felt like I had Nashville’s support. That made it easy for me to continue writing. People want to know this. They are tired of this being a longheld secret. That feels good about the place you live in — when everywhere you go, you say, “This is what I’m doing,” and people say, “OK, let’s help.” It’s really tremendous. ▼

Dynamite Nashville: Unmasking the FBI, the KKK, and the Bombers Beyond Their Control By Betsy Phillips

Available July 16 via Third Man Books 268 pages, $21.95

Phillips will discuss Dynamite Nashville with Dr. Learotha Williams 10:30 a.m. Saturday, July 13, at the Tennessee State Museum

nights jarrad k

sons of the east w/ ben goldsmith fiddlehead w/ gel, milly & gumm nico vega w/ finish ticket & hector tellez jr. jessica pratt w/ @

black light animals w/ julia cannon (7pm) studio

uncle bronco

emma ogier w/ olivia montgomery, dear andie & joy hotchkiss

matt sahadi w/ juniper

maya manuela w/ stacey kelleher

jason scott & the high heat w/ hannah juanita (7pm)

still moves w/ cody parson & the heavy change

& sidney mays (9pm)

SISTER HAZEL with CECILIA CASTLEMAN + MICHAEL HANEY

WMOT Roots Radio Presents Finally Friday featuring MAYA DE VITRY, MURIEL ANDERSON & HELENA HALLBERG ROB BAIRD with PARKER TWOMEY

Backstage Nashville! Daytime Hit Songwriters Show featuring DANNY MYRICK, JASON MATTHEWS, RAY STEPHENSON & MEGAN LINVILLE + TODD DAY WAIT

the smoking flowers & mikayla lewis (7pm) kevin daniel, maura streppa & aniston pate (9pm) rarish w/ blonde bones (7pm) previous industries w/ r.a.p. ferreira (9pm)

shane weisman w/ wily (7pm) the fbr w/ faith groves (7pm)

midtones w/ kj wild & adam schleicher (7pm)

EMMA ZINCK with BRIDGETTE TATUM, CAROLYN DAWN JOHNSON & STEPHONY SMITHS

JOSH WEATHERS with TREVER KEITH

BACKSTAGE AT 3RD: COMEDY ON 3RD featuring A SECRET LINEUP OF TOP LOCAL & TOURING COMEDIANS

WALKING MAN: A Night of the “MUSIC OF JAMES TAYLOR” featuring GENE MILLER & FRIENDS

THIS IS WHERE WE LIVE

LadyCouch moves forward by having a helluva good

time

BY SEAN L. MALONEY

MAKE NO MISTAKE: LadyCouch, the sprawling, posi-vibe-purveying Nashville groove collective — whose roster consists of up to 12 members at a time, and whose sources of inspiration include the Dead and The Band — is here to have a good time. That’s what makes their second album A Matter of Time, recorded with producer-engineer Dan Davis at Southern Ground Studios, such a fun listening experience: It documents a dozen incredibly talented humans enjoying the collective joy of listening to one another, making art that feels both carefree and deeply caring.

It’s easy to lose that magic in the churn of the Music City machine, but LadyCouch has held onto it since vocalists Keshia Bailey and Allen Thompson came together as a duo. With their full band, they’ve made a record that feels more like a vacation than a career move. The Scene caught up with the pair ahead of their release party Friday at The Vinyl Lounge, which comes amid a busy summer touring schedule. Our interview has been edited for length and clarity.

Has the way you collaborate changed since you made 2021’s The Future Looks Fine?

KB: It all just kind of depends on the tune. I mean, our first record … it’s in the middle of COVID pretty much, so there was lots of texting and voice memos back and forth [between Allen and me]. This go-round, folks brought some different tunes and styles of tunes, so it was a lot more — I won’t say individualized, but there was a lot more solo and smaller-group writing for this record.

AT: Yeah, the first record was definitely more collaborative between me and Keshia, but way less democratic when it came time for me and Keshia to present everything to everyone else. And in terms of production, Keshia and I knew

exactly what we needed. I led the rehearsals and the sessions [for The Future], and that was about it. With this, the writing would start more individually, but the arranging process and everything else was definitely a lot more collaborative.

I think that was also kind of to be expected with us being five years into it: We all kind of know how each other play, we know what each other’s strengths are and limitations are theorywise, and so we know what each other is trying to say. … So it’s weird — on paper, it seems like it was more of an individual type thing, but in reality it was 12 of us really working hard together to build [songs] from the ground up, as opposed to just two of us being like, “Here’s your tunes.”

KB: It’s always a reward to grow as writers and as a group. I think the biggest reward is seeing everyone’s talent individually a little differently than we did the last time.

AT: When Dan first approached us about wanting to produce, that was his main goal and his main sort of selling point to Keshia and I. He was like, “I want to try and get this as close to the experience I have at a LadyCouch show, but as a studio album.” I feel like that goal was achieved for sure.

With this much time under your collective belt, what’s the most rewarding thing about making records?

KB: Oh, that we’re still making them, 100 percent. [Laughs] It’s definitely the best part. I’m not sure that either of us would’ve thought that we would still be here five years in. But we have progressed in such a way that to stop five years in would be a disservice to us and everyone that’s listened.

AT: We just knew that it was something that the two of us really wanted to do, felt like we

HAPPY RETURNS

Cassadee Pope gets back to her pop-punk roots on Hereditary

BY HANNAH CRON

CASSADEE POPE HAS had the kind of career that means you probably know her from somewhere — but that somewhere could be different for every listener. The Florida-born singer-songwriter got her start fronting popular but short-lived pop-punk band Hey Monday in the mid-Aughts before pursuing a solo career. (By the way, Hey Monday is reuniting for October’s emo-tastic When We Were Young Festival in Las Vegas.) In 2012, Pope won Season 3 of NBC’s singing competition show The Voice. Mentored by Blake Shelton, she became the first woman to win, and she kick-started a fruitful country phase that included a move to Nashville.

needed to do together — and it sounded like a lot of fun. And I think we’ve been really lucky that it also seems to sound like fun to a lot of other people.

Sometimes it feels like there’s a shortage of musicians having fun — both onstage and in the studio.

AT: [If you’ve] lived in Nashville long enough, you know that it’s the unspoken [rule]: You’re not supposed to enjoy it. If you do, then you’re either not making money or you’re not taking things seriously enough. That’s just not something we could really subscribe to. [Both laugh.]

KB: When you get a band like Jack [Silverman Quartet, who’s opening Friday’s show] and us — and all of our family and husbands and wives and all the things — it’s impossible to not have a good time, for sure. I’m sure me and Allen will cry at least three times each at different points in the evening. … It’s just nice to gather everybody and to have a real reason to celebrate. And to have a tangible thing you can hold to celebrate, with people who have been watching you, embracing you, really, for so long. It’ll be magic, I imagine.

AT: We are definitely all a family. So to have the whole gang there to celebrate, that’s the main reason we do it in the first place. ▼

Over the next decade, Pope was nominated for a Grammy and took home a CMT Music Award, and her 2013 debut solo album Frame by Frame peaked at No. 1 on Billboard’s Top Country Albums chart. Two of her country singles (“Wasting All These Tears” and Chris Young duet “Think of You”) went platinum. In late 2022, Pope announced she’d be bidding country farewell — earlier this year in a Rolling Stone interview with sometime Scene contributor Marissa R. Moss, Pope elaborated on the roles racism and sexism play in that decision — and returning to her rock-based roots.

On Friday, Pope delivers on her promise with Hereditary, her first noncountry album since 2008. The record starts off strong with early single “People That I Love Leave,” released in June 2023. The track perfectly captures Pope’s commanding vocals, meshing the nostalgic pop-punk sound with a couple of extra decades of maturity. The next two tracks, “Eye Contact” and “Secret Master,” continue in stride, with angsty belting and catchy choruses primed for an Emo Nite sing-along.

As the record continues, things become a little less balanced. “Three of Us” is a particularly low point. The song’s sentiment about the effect of addiction on a relationship is important, but the delivery feels cheap. Being predictable isn’t a crime, but lyrics like “I wish I got you high / The way that you get high” and “It’s you and me / And the drugs make three” are closer to inducing cringe than the empathy the subject warrants.

Meanwhile, “Rom Coms” sounds like it’s straight from the soundtrack of, well, an early-2000s romantic comedy. Particularly nostalgic listeners may love it, A Matter of Time out Friday, July 12, via SSK Playing 8 p.m. July 12 at The

PHOTO: MICHAEL WEINTROB

though it feels tonally disjointed from the rest of the LP. But hey, even headbangers need a stretch break sometimes. “Capacity” brings some millennial therapy talk into the mix, and the theme continues on the title track. Feeling free to express herself in ways that weren’t possible in the mainstream country world is vital, but Pope doesn’t always hit the nail on the head in “Hereditary.” Some spots in the song, particularly its “la-la-la” outro, sound a bit like Pope is pulling a “How do you do, fellow kids” and trying to channel Olivia Rodrigo; still, Pope was here first. The lyric “You say I’m strange / Well, gee, thanks / Got it from my trauma” feels a little on-the-nose and melodramatic. But if we’re being honest, what else are emo and pop punk for if not letting out big feelings? After a shaky middle section that’s not without enjoyable moments — Daisha McBride’s feature on the hooky “I Died” is a treat — the record regains its footing for the finale. Hereditary’s penultimate song “Ever Since the World Ended” is a quintessential pop-punk slow jam, a romantic duet with Aaron Gillespie of Underoath fame. It’s a hard trick to land, but the angsty ballad holds its own, reminiscent of your favorite song to cry to while straightening your bangs — like Paramore’s “When It Rains,” if you will. “Wrong One” ends things right, with a look back at the mistakes of bygone youth and

infatuation. It shares some DNA with songs from Kelly Clarkson’s breakout era, and that’s as high a compliment as can be given.

If you’ve ever written song lyrics on a pair of Chuck Taylors or smeared on some black eyeliner before taking a selfie on your flip phone, Pope’s return to pop punk might be the perfect soundtrack for your summer road trip (or for some, a trip to the chiropractor). The fan base for whom this kind of music never stopped resonating is huge for a reason, and her new LP is a fine example of why. ▼

Thursday, July 11

SONGWRITER ROUND Luke Combs and Friends

2:30 pm · CMA THEATER SOLD OUT

Saturday, July 13

SONGWRITER SESSION Kim Richey NOON · FORD THEATER

Saturday, July 13

HATCH SHOW PRINT Block Party

9:30 am, NOON, and 2:30 pm HATCH SHOW PRINT SHOP LIMITED AVAILABILITY

Sunday, July 14

MUSICIAN SPOTLIGHT Brent Rader 1:00 pm · FORD THEATER

Hereditary out Friday, July 12, via Awake Opening for Marianas Trench Sept. 22 at Marathon Music Works

WITNESS HISTORY

Saturday, July 20

SONGWRITER SESSION Dave Gibson NOON · FORD THEATER

Saturday, July 20 CONCERT AND CONVERSATION Terry Allen (On Everything) 2:30 pm · FORD THEATER

Sunday, July 21

MUSICIAN SPOTLIGHT Maggie Baugh 1:00 pm · FORD THEATER

Saturday, July 27 HATCH SHOW PRINT Block Party

9:30 am, NOON, and 2:30 pm HATCH SHOW PRINT SHOP LIMITED AVAILABILITY

Local Kids Visit Free Plan a trip to the Country Music Hall of Fame and Museum this summer! Local youth 18 and under who are residents of Davidson and bordering counties are

LET’S GET PHYSICAL

The latest in new and essential works of physical media, from Daniel Isn’t Real to Invasion of the Body Snatchers

BY JASON SHAWHAN

WELCOME BACK TO our quarterly check-in with what’s happening in the realm of physical media.

There’s a legitimate question about film restoration and remastering, but it never gets bandied about regarding the perennial classics. Seven Samurai, Psycho, Casablanca — these are films with which we welcome each new refinement, each new leap forward in technology. But when it comes to films less reputable, less beloved, very often you’ll hear voices flittering around on the internet asking, “Does this film really merit this kind of presentation?”

Thankfully, the boutique labels and assorted

(there’s a slideshow presentation of Mortimer’s style and a visual guide for the script that is going to single-handedly guide a whole lot of the filmmakers of whatever future we have left), and it is a must for fans of Screaming Mad George or primal scream therapy.

As far as quality hooks go, a movie that kills an audience member every time it’s screened is a pretty great one. Giuliano Montaldo’s 1978 film Closed Circuit (Blu-ray from Severin), originally made for Italian TV, is a wild ride that manages to dip toes in horror, sci-fi, the Western and the police procedural. For years available only on a supremely shitty YouTube rip, this is everything for anyone who has suffered through a crappy version of something amazing just because it was doing something singular. Closed Circuit is now able to preside, like it always should have been able to.

And if you’ve been looking for some good and dishy summer reading, look no further than With Love, Mommie Dearest: The Making of an Unintentional Camp Classic by A. Ashley Hoff. Leaving no stone unturned and taking no prisoners, this look at the making of one of 1981’s most infamous offerings is fascinating, uproarious, sometimes melancholy and quite possibly one of the most democratic portrayals of how the collaborative nature of film can build bonds or sever them forever. Hoff does an impressive job keeping the Faye Dunaway drama in balance with the experiences of heaps of other cast and crew members, and if anything, the tonal balance he finds reflects perfectly the experience of watching Mommie Dearest with a crowd, humor and horror and slack-jawed amazement and visceral disgust all in perfect synthesis.

JULY 17 • 5-8PM

• Meet the MOB Beauty founders Alisha Gallagher & Vic Casale

• $200+ value makeup goodie bag

• MOB Beauty demos

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•

1 Apparatus used in CPR training, informally

6 Word that looks like an alternative to “tisn’t”?

10 Prep for a major renovation, say

13 Kind of acid

14 Beanpole material, often

15 Strike one!

16 Colorful grain

18 Dept. of Labor division

19 Services at a megachurch?

21 Wishful words

22 ___ Valley, “the garden of France”

23 Bug specialist, briefly

26 Resells on game day, say

28 List in a fancy witchcraft guide?

32 Lead-in to sphere

33 Liqueur whose name translates as “bitter” in Italian

34 Second sight, for short

37 What a tentative quarterback throws?

42 Historical setting sought in “Everything Is Illuminated”

43 “The most important architect of our age,” according to Vanity Fair

44 Fall in winter

45 One managing moguls

48 Long letters sent to the wrong person?

52 Cut and paste, e.g.

53 “The old me is gone” ... or what happened abetween the first and second parts of 19-, 28-, 37- and 48-Across?

56 Wine dregs

57 Cardinal point?

58 Very beginning

59 Acid

60 Slips

61 Name on a poster for 1942’s “The Magnificent Ambersons” DOWN

1 Fist bump

2 Bird with vestigial wings

3 Like some handshakes

4 Following the buddy system, say

5 Ballet company that premiered “Swan Lake”

6 Makeshift money

7 Art style associated with Henri Rousseau

8 Back then

9 Abound

10 Occasion to share dirt

11 Ballpark figures

12 Kid

15 Traditional Mexican stew

17 That, in Spanish

20 “Too bad!”

23 Cryophobe’s fear

24 Gala garb

25 Foretold

26 “Why not?!”

27 Sorghum, e.g.

29 Boundless

30 Expressionist painter Nolde

31 Cleveland hoopster, familiarly

35 Spanish 101 verb

36 College department that might pay students to be test subjects: Abbr.

38 Experiments seen in “Oppenheimer”

39 Org. seeking alien life

40 Way back when

41 Like a Zen garden vis-à-vis a zoo

42 Some sandals

44 “If you ___ what The Rock is cooking!” (old W.W.E. catchphrase)

45 Defame

46 Shoes, slangily

47 Sorta

49 Have good chemistry (with)

50 Sometime

51 Airman’s superiors: Abbr.

54 Something a barb can hurt

55 Oxford figure

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