Nashville Scene 7-22-21

SPORTS: HARPETH HALL ALUMNA ALEX WALSH WILL REPRESENT THE U.S. AT THE TOKYO OLYMPICS

JULY 22–28, 2021 I VOLUME 40 I NUMBER 25 I NASHVILLESCENE.COM I FREE

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CITY LIMITS: STATE HEALTH DEPARTMENT SCANDAL LANDS AMID COVID SPIKE AND LOW VACCINE RATES PAGE 10

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

CONTENTS

JULY 22, 2021

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Nashville’s Daughter in the Water ............9

High Five .................................................. 26

CITY LIMITS

ART

Harpeth Hall alumna Alex Walsh will represent the U.S. at the Tokyo Olympics

Five things to know about Kara Walker on the occasion of her exhibit at the Frist

BY J.R. LIND

BY LAURA HUTSON HUNTER

Fiscus Fracas .......................................... 10

Serious Fun.............................................. 27

State health department scandal lands amid spike in COVID-19 cases and a stubbornly low vaccination rate

Contemporary Art History at Channel to Channel has the lowdown on high art

BY STEVEN HALE

38

This week on the Scene’s news and politics blog

Feeding the Need .................................... 12

Las Paletas Reopens as a Pop-Up

BOOKS

A Pretty Place to Die

The local organizations keeping students fed while classes are out

Chris Offutt’s The Killing Hills delivers a taut, gripping Kentucky noir thriller

BY KELSEY BEYELER

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BY ED TARKINGTON AND CHAPTER 16

33rd Annual You Are So Nashville If ...

MUSIC

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COVER STORY

Southern Festival of Books Announces Preliminary Roster of Authors ON THE COVER:

Illustration by Cole Roberts (coleswork.com)

All Ears ..................................................... 41

See all the winners, ‘weirdies’ and honorable mentions of our annual YASNI contest

Rodney Crowell lets the song tell him what it wants to be on Triage

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BY GEOFFREY HIMES

Nice to Come Home To ........................... 42

CRITICS’ PICKS Highway Gothic, States of Clay and Buchanan Arts open house, Mike Wolf and Lisa Donovan talk at-home cocktails, La Piscine, Tristen, CatVideoFest, A Love Supreme Electric, Music City Mondays: Sign ‘O’ the Times, Josh Black Presents: That’s What She Said, Country Fusion Dance Fitness and more

Nashville Jazz Workshop opens a new chapter on Buchanan Street

BY RON WYNN

Different Times ....................................... 42 After nearly 50 years, the members of Squeeze remain pop masters

BY EDD HURT

The Spin ................................................... 44 The Scene’s live-review column checks out Alanna Royale at Exit/In

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BY MEGAN SELING

FOOD AND DRINK

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Where Locals Don’t Eat — but Should ... 31 If you think these neighborhoods and restaurants are only for tourists, we suggest you reconsider

FILM

Primal Stream 61 ................................... 46 An instant sleepover classic, another Fear Street installment and more, now available to stream

BY MARGARET LITTMAN

Cheap Eats .............................................. 32 Find cheap ‘1980s Tacos’ and margaritas that pack a punch at this newish West Nashville bar

BY JASON SHAWHAN

BY EMMALEE MANES

The Belcourt screens Lizzie Borden’s radical 1986 film about sex work

What a Way to Make a Living ................ 47

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BY NADINE SMITH

VODKA YONIC My Pandemic 30

Why I stopped trying to lose weight, analyzed my internal fatphobia and let go of the pressure to lose it all for ‘hot girl summer’

BY ALEXIS OATMAN

Dara Tucker and Greg Bryant Head to Rudy’s Jazz Room Tennessee Republicans Would Rather Their Kids Risk Death Than Defy Them

BY JOE NOLAN

Pith in the Wind ...................................... 10

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FROM BILL FREEMAN IS GOV. BILL LEE RUNNING FOR PRESIDENT? You may not see his name on any of the potential-presidential-candidate listings, but multiple sources close to Gov. Bill Lee have told me it is a “100 percent certainty” that he will be making a run for the White House in 2024. Even if he doesn’t make it to the Oval Office, they say, he’d be interested in being vice president — but these are jobs that require the governor to increase his national recognition.

Perhaps this explains why Lee found it necessary to go to the Texas-Mexico border recently, despite the fact that Tennesseans do not really believe undocumented immigrants at the border are a problem for our state. The trip appeared to be another political stunt. As the Rev. Dr. Kevin Riggs of Franklin Community Church said in a statement: “Tennessee is not a border state, and [Lee] is using this visit to gain political points instead of helping struggling Tennesseans. … Many [Tennesseans] are suffering, unable to pay their bills or buy groceries, causing a true crisis at home.”

In contrast, Tennessee lawmakers like state House Speaker Cameron Sexton (R-Crossville) recently chaired and attended the 75th Southern Legislative Conference, which brought 1,500 lawmakers and legislative staffers from 15 Southern states to Nashville. The conference, designed for exchanging policy ideas, allowed members of the group to discuss everything from infrastructure to how the pandemic impacted schools and our communities.

Afterward, lawmakers packed 63,000 meals to donate to Second Harvest Food Bank of Middle Tennessee. Sexton talked about the “excitement of people who are working together regardless of what party they are in to help the community here in Nashville.”

It’s too bad the governor was busy at the Texas border instead of helping out in his own state. Maybe he thought it was good practice for his could-be presidency or vice presidency. If former President Donald Trump is the nominee, he will definitely avoid Mike Pence as his running mate, opening the door for Lee, who seems to be in union with Trump in many ways.

The governor’s decisions and behavior seem to be mimicking the characteristics of our former president. He ignored the first lady’s visit a few weeks ago, has shown minimal concern for the health or welfare of Tennesseans by minimizing the danger of COVID-19 and refusing to implement any mask mandates despite warnings from medical professionals, and kept it on the down-low when he himself was vaccinated, instead of using it to inspire others to get the shot. The state’s latest debacle — the firing of Tennessee’s top vaccination chief, Dr. Michelle Fiscus — is just another sad example.

After Fiscus received questions from medical providers asking about protocol if a minor requested a vaccine without a parent present, she responded with a memo outlining the Mature Minor Doctrine. This case law allows doctors to treat teenage patients without parental consent — but only under certain conditions. The document clearly states: “Tennessee county health departments follow Tennessee law and provide medical treatment and vaccinations to patients as young as 14

GOV. BILL LEE without parental consent if the individual provider determines that the patient meets the definition of a ‘mature minor’ in accordance with Tennessee law.” Clearly, Fiscus was only answering the questions with the information available to her.

Then she was fired … for following the law.

Tennessee has now abandoned all vaccine outreach to minors, and not just for COVID-19. Further, COVID-19 cases per day have more than doubled in the state, with the Delta variant spreading rapidly. This is not the time for the governor to step back from educating the public on vaccines, and not the time to fire someone for trying to educate us.

A group of Tennessee physicians known as Protect My Care is calling on the Department of Justice to investigate Lee and the way he seems to have mishandled the pandemic. Does this have a familiar ring? In their letter to the DOJ, the group accuses Lee of “reckless misconduct and abuse of his office,” and of “undermining public health officials,” which led to the “avoidable spread of COVID-19.” An excerpt from the letter says: “Bill Lee is further politicizing the health crisis and endangering Tennessean lives and jobs. …

Lee has suppressed public health guidance from the CDC and fired the state’s lead physician. … This extremist partisan attack on public health and safety must be investigated.”

If Lee is running for president in 2024, I would think he has some cleanup and fence-mending in Tennessee to do first. If a politician wants votes, his constituents have to see that he cares about them — that he cares about their health, their children’s education, their financial struggles, all that.

For quite a while now, Lee’s actions have been sending messages that show little care for people — unless you’re a tourist.

Bill Freeman

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

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Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues.

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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7/19/21 5:48 PM

Choose Any 3+ Concerts Now to Compose Your Own Season Tickets FEATURING YOUR NASHVILLE SYMPHONY BEETHOVEN UNDER THE STARS

Giancarlo Guerrero, conductor September 11, 2021 at Ascend Amphitheater

NAS

Enrico Lopez-Yañez, conductor September 12, 2021 at Ascend Amphitheater

Opening Weekend: Fanfare for Music City

Giancarlo Guerrero, conductor September 16 to 18, 2021 Latin Fire Enrico Lopez-Yañez, conductor September 30 & October 1, 2021 THE MUSIC OF PINK FLOYD Brent Havens, conductor October 8, 2021

Beethoven’s First Plus Winds and Organ Showcase

Giancarlo Guerrero, conductor Andrew Risinger, organ October 21 to 23, 2021

Music City Christmas Enrico Lopez-Yañez, conductor December 16 to 19, 2021

Dvořák & Mozart: Full Orchestra Reunited

Giancarlo Guerrero, conductor George Li, piano January 7 to 9, 2022 The Lawrence S. Levine Memorial Concert Revolution: The Music of the Beatles.

A Symphonic Experience.

Enrico Lopez-Yañez, conductor January 13 to 15, 2022 Symphony in Space!

Enrico Lopez-Yañez, conductor January 15, 2022

Tchaikovsky’s ‘Pathétique’ Plus Symphony Soloists on Mozart’s Concerto for Flute & Harp Giancarlo Guerrero, conductor Érik Gratton, flute Licia Jaskunas, harp January 20 to 22, 2022

THE PRINCESS BRIDE IN CONCERT

Nathan Aspinall, conductor October 29 & 30, 2021

FINAL FANTASY VII REMAKE Orchestra World Tour Arnie Roth, conductor January 28, 2022

Next Generation of Classical Musicians: Accelerando Alumni and Your Nashville Symphony

Disco Fever: Get Down Tonight Enrico Lopez-Yañez, conductor February 3 to 5, 2022

Giancarlo Guerrero, conductor Aalia Hanif, flute Bernard Ekwuazi, trombone November 4 to 6, 2021

Strings on Parade with Jun Iwasaki

Jun Iwasaki, leader and violin November 18 to 20, 2021 jennifer nettles broadway under the mistletoe Enrico Lopez-Yañez, conductor November 30 & December 1, 2021 The Muppet Christmas Carol In Concert Enrico Lopez-Yañez, conductor December 3 to 5, 2021

Carnival of the Animals Enrico Lopez-Yañez, conductor February 5, 2022

Brahms, Birds & ‘blue cathedral’

Giancarlo Guerrero, conductor Jun Iwasaki, violin Kevin Bate, cello February 11 & 12, 2022 Joyce Yang Plays Grieg Plus ‘Night on Bald Mountain’ & Shostakovich’s Fifth Giancarlo Guerrero, conductor Joyce Yang, piano February 24 to 26, 2022

Pops Spectacular: Orchestral Greatest Hits Giancarlo Guerrero, conductor March 3 to 6, 2022

Tchaikovsky, Ravel & Sibelius Nathan Aspinall, conductor Terrence Wilson, piano May 6 & 7, 2022

An Evening of Firsts: All-American Program featuring Winger and Warnaar World Premieres Giancarlo Guerrero, conductor José Sibaja, cornet March 17 to 19, 2022 Live Recording Weekend!

YOLANDA ADAMS Dr. Henry Panion III, conductor May 8, 2022

Stewart Copeland: Police Deranged Enrico Lopez-Yañez, conductor March 24 to 26, 2022 When Instruments Roamed the Earth Nathan Aspinall, conductor March 26, 2022

Harry Potter and the Half-Blood Prince ™ In Concert Justin Freer, conductor May 12 to 15, 2022 Ballet Extravaganza: Firebird and Billy the Kid with Nashville Ballet Giancarlo Guerrero, conductor Nashville Ballet Paul Vasterling, artistic director May 19 to 22, 2022 Prohibition with the Nashville Symphony Enrico Lopez-Yañez, conductor May 25, 2022

Judy Collins with the Nashville Symphony Nathan Aspinall, conductor March 29, 2022 Star Wars: The Force Awakens In Concert Nathan Aspinall, conductor April 1 to 3, 2022 Mendelssohn’s Violin Concerto and Debussy’s La Mer Thomas Wilkins, conductor Adele Anthony, violin April 8 to 10, 2022 Guerrero Conducts Messiah: An Easter Oratorio Giancarlo Guerrero, conductor Vocal Soloists Nashville Symphony Chorus Tucker Biddlecombe, director April 14 to 16, 2022 Nat King Cole at 100 Enrico Lopez-Yañez, conductor April 28 to 30, 2022 Gold Rush: An American Musical Adventure Enrico Lopez-Yañez, conductor April 30, 2022

Leslie Odom, Jr. Enrico Lopez-Yañez, conductor May 26 to 28, 2022 Beethoven’s Ninth: 75th Anniversary Celebration Giancarlo Guerrero, conductor Vocal Soloists Nashville Symphony Chorus Tucker Biddlecombe, director June 2 to 5, 2022 Back to the Future In Concert Enrico Lopez-Yañez, conductor June 17 to 19, 2022 BERNADETTE PETERS Marvin Laird, conductor Nathan Aspinall, conductor June 22, 2022 Ben Folds Enrico Lopez-Yañez, conductor June 30 to July 2, 2022 Toy Story In Concert Nathan Aspinall, conductor July 8 to 10, 2022

MORE GREAT CONCERTS WITHOUT THE NASHVILLE SYMPHONY Not Our First Goat Rodeo Yo-Yo Ma – Stuart Duncan Edgar Meyer – Chris Thile With guest Aoife O’Donovan August 11, 2021 at Ascend Amphitheater National Geographic Live TERRY VIRTS | VIEW FROM ABOVE September 26, 2021 THE HOT SARDINES October 24, 2021 1964 The Tribute November 7, 2021

easy ordering

Ballet Folklórico de México January 23, 2022

Kool & the Gang March 13, 2022

Tower of Power April 22, 2022

Pat Metheny Side-Eye with James Francies & Joe Dyson February 7, 2022

Voices of Spring Nashville Symphony Chorus Tucker Biddlecombe, director March 20, 2022

Sing-a-long-a Sound of Music July 17, 2022

CELTIC THUNDER: IRELAND February 27, 2022

Jazz at Lincoln Center Orchestra with Wynton Marsalis March 22, 2022

Little River Band August 26, 2022

Gregory Porter February 28, 2022

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nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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CITY LIMITS

PHOTO: MIKE LEWIS/USA SWIMMING

ALEX WALSH

NASHVILLE’S DAUGHTER IN THE WATER

Harpeth Hall alumna Alex Walsh will represent the U.S. at the Tokyo Olympics

BY J.R. LIND

N

o matter what happens in Tokyo, Nashvillian Alex Walsh is already part of history.

Swimming the 200-meter individual medley during swimming’s U.S. Olympics Trials in Omaha, Neb., in May, Walsh — member of Nashville Aquatic Club, a Harpeth Hall alumna and rising sophomore at the University of Virginia — was part of one of the closest finishes in Olympicsqualifying history. Walsh touched the wall at 2:09.30. Cavaliers teammate Katie Douglass was two-hundredths of a second behind her.

Both automatically qualified for this summer’s Olympics in Tokyo, so taken at face value, there’s not much drama there.

But spare a thought for Madisyn Cox, who finished third and thus doesn’t get an automatic bid. She was two-hundredths of a second behind Douglass. Between first and third, just four-hundredths of a second, an incomprehensibly small margin.

After a grueling race that encompasses all four of swimming’s racing strokes — the

exhaustion of butterfly, the exacting backstroke, the grace of breaststroke and the allout speed of freestyle — it came down to the edge of a fingernail.

And if there was a little extra push for Walsh, it’s because she had plenty of help.

In a post-race interview, she said she was happy she was alongside Douglass in the water, as the two are training partners. She’d gotten a boost of confidence from her father Robert before the semifinals.

“I was really nervous for semifinals, honestly more than I was for the finals, and I remember I was in my room and I was really upset and my dad came in,” Walsh told reporters at a press conference. “He was like, ‘This is your race, you do this all the time, you’re so good at this, just go out there and just leave it in the pool. It’s only semis, all you have to do is final.’ So that made me feel a lot more confident, and obviously yeah, I just wanted to put myself in a good position for the final. And so I think getting the best time, I was really happy with that, and then putting myself as the top seed made my con-

fidence go up a lot, and really my approach going into the finals was like, ‘I just have to go fast from the get-go and just leave it in the pool.’ And I think I did that. It hurt really badly at the end.”

Walsh “hurt really badly” because contrary to pretty much every other individualmedley swimmer on earth, her strategy was to go fast in butterfly, by and large swimming’s toughest stroke, cruelly placed by the swimming gods as the first leg of the I.M. If Walsh has a weak stroke — and anybody who is qualifying for the Olympics in the medley doesn’t really have one of those — it’s fly. The strategy paid off, with Walsh posting the third-best time in the world in 2021 in the event.

Maybe she ran the idea by her mom, Glynis, herself a successful college swimmer.

Or maybe she ran it by her sister, Gretchen, a recent Harpeth Hall graduate joining her sister in Charlottesville next year. Gretchen was in Omaha looking for an Olympics spot herself, though she missed the team.

Swimming is one of those sports that all but the most die-hard fans ignore between Olympics (when everyone becomes an expert). But for those hardcore followers in Tennessee, Alex is well-known. She started setting age-group records at 12, when she was already swimming better times than her mom ever swam. She was the state’s swimming MVP all four years as a Honey Bear. She’s cracked the top-three all-time best times at UVA in four events her freshman year and won NCAA titles in the 200 I.M. and as part of Virginia’s 800-meter freestyle relay as the Cavs took home the

overall title.

Given her recent performances, Walsh will hit the pool as Nashville’s best chance for an Olympic medal in swimming in nearly 40 years. Tracy Caulkins — herself an NAC swimmer and Harpeth Hall alumna — took home three golds (including in the 200 I.M.) at the 1984 Games in Los Angeles.

Alex got an extra boost from her family in Omaha. She can expect a bigger one in Tokyo with an entire city behind her.

EMAIL EDITOR@NASHVILLESCENE.COM

TENNESSEANS AT THE TOKYO OLYMPICS

Five Tennesseans qualified to represent the United States at this year’s Summer Olympics in Tokyo. This list does not include athletes who competed for Tennessee colleges but are from other states.

ALEX WALSH, Nashville; swimming (200-meter individual medley), July 26-28 ERIKA BROWN, Knoxville; swimming (100-meter freestyle), July 28-30 TENNYS SANDGREN, Gallatin; tennis, July 24Aug. 1 ALEX YOUNG, LaVergne; track and field (hammer throw), Aug. 2 & 4 WESLEY KITTS, Knoxville; weightlifting (109kg), Aug. 3

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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7/19/21 6:05 PM

CITY LIMITS

FISCUS FRACAS

State health department scandal lands amid spike in COVID-19 cases and a stubbornly low vaccination rate

BY STEVEN HALE

W

hen Gov. Bill Lee announced earlier this month that the state would be promoting Tennessee tourism by offering 10,000 airline vouchers, the travelers he had in mind almost certainly weren’t national television news crews. And yet over the past two weeks, as the fallout from the ouster of the state’s vaccine chief spread, Nashville has provided the setting for segments on the Today show and the CBS Evening News focused on the scandal at the Tennessee Department of Health and a spike in COVID-19 cases in a state with a stubbornly low vaccination rate.

Welcome to Tennessee.

The state’s vaccination efforts were already yielding disappointing results. Seven months after the first COVID-19 vaccination in Tennessee — as of July 18 — only 42.9 percent of the state’s residents have received at least one dose. Only 38.4 percent are fully jabbed up. Those numbers could change by the time you read this, but they won’t change much. Uptake on the vaccine has been painfully slow, landing Tennessee among the bottom 10 states in the country.

Then came two explosive developments, both first reported by The Tennessean, that put the state alone in the national spotlight.

On Monday, July 12, Dr. Michelle Fiscus, who’d led the state’s immunization program since early 2019, was fired. The following day came the revelation, via internal memos, that the health department was pulling back on vaccine outreach to teens, not just for COVID-19, but also for other diseases including the flu and HPV. All this followed Republican attacks on Fiscus and the department of health — including threats to eliminate the department — based on promotion of the COVID-19 vaccine to the state’s youth. Fiscus had been singled out in particular for a letter she sent to health providers in the state giving them guidance on Tennessee’s Mature Minor Doctrine,

THIS WEEK ON OUR NEWS AND POLITICS BLOG: Nashville Predators prospect Luke Prokop became the first player with an NHL contract in league history to announce he’s gay. Prokop, a 19-year-old defenseman taken by the Preds in the third round of the 2020 draft, wrote on Instagram that living authentically will help him achieve his dream of playing professional hockey. In statements from team CEO Sean Henry and general manager David Poile, the Predators announced their support. Prokop told ESPN the organization has been behind

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which allows doctors to vaccinate minors older than 14 without parental consent. The doctrine stems not from Fiscus’ personal advice, but from a 1987 Tennessee Supreme Court decision, and Fiscus has said since that her letter was approved by the state’s attorneys and the governor’s office.

After her firing, Fiscus immediately released a statement saying that she’d been fired for doing her job “because some of our politicians have bought into the antivaccine misinformation campaign rather than taking the time to speak with the medical experts.” Soon her face, her voice and her story were appearing via national news publications and cable news channels. Last week, her husband Brad Fiscus — who was handling the torrent of media requests suddenly coming the couple’s way — told a reporter with some frustration that a crew from CBS had shown up later than scheduled and taken over their home.

Fiscus said she’d been told by people in the upper levels of state government that her firing was a way for the governor and department of health commissioner Lisa Piercey to appease angry Republican lawmakers. She also revealed that she’d received a dog muzzle in the mail shortly before she was fired.

Although it was slow to respond with anything more than unconvincing dismissals of The Tennessean’s reporting, the health department eventually started churning out its own narrative. The department released records to the Scene’s sister publication, the Nashville Post, apparently meant to justify the firing. Among them was a memo from chief medical officer Tim Jones, a longtime Tennessee Department of Health epidemiologist, who said Fiscus had failed to maintain good working relationships, been an ineffective leader of the state’s VaccinePreventable Diseases and Immunization Program and sought to divert state funding to a nonprofit she founded. The memo also cited several complaints from Fiscus’ health

department colleagues.

What the department didn’t release was Fiscus’ recent performance reviews, signed by Piercey, which described her as “outstanding” and noted that she “exceeded expectations” as the leader of the state’s vaccine program. Fiscus released those reviews to reporters and also rebutted the claims in the memo recommending her firing with an eight-page letter. She said that Jones and others among the health department’s leadership had actually shown support for her internally.

Meanwhile, health department spokespeople insisted to reporters that reports the department was ending all childhood vaccination outreach were false and emphasized high vaccination rates among public school students. The department also posted a lengthy statement on Twitter, explaining that of course the department would still be vaccinating children and referred to “disinformation” being circulated about the program’s status.

“The Tennessee Department of Health assures families across Tennessee that information and access to vaccinations for children through state health departments continues and there has been no disruption to these services,” the statement reads.

An accompanying statement from Piercey said the department had merely “evaluated annual marketing efforts intended for parents.”

That gave Tennessee Republicans something to retweet with criticism of the media but failed to directly address the actual controversy — the department’s apparent retreat from proactive outreach to teens about vaccines for COVID-19 and other illnesses. In

any case, the state’s recent success in regard to getting children vaccinated came under Fiscus’ leadership. She’s gone now, but the task of getting more Tennesseans to show up for a COVID-19 vaccine remains — at least, if state officials actually see that as a goal.

Days after her firing, Fiscus told the Scene that the state did not have a vaccine access problem — “We have vaccine positioned in every nook and cranny of the state where we can get it,” she told us — but primarily one of communications. While acknowledging that there were some Tennesseans who might not be persuadable, for various reasons, she said there were also many who needed to hear accurate information from sources they trust. Their doctors, possibly, or their governor.

Fiscus noted Lee’s decision to receive the vaccine quietly himself rather than use it as an opportunity to promote vaccination to the rural, conservative residents who are most resistant. Communication from the health department was controlled by Lee’s office, she said, and the governor has opted to stay mum.

“What we have not had is anything in the way of pro-vaccine messaging around vaccine confidence,” Fiscus said. “We asked the governor’s office since last fall, long before we had vaccines available, to start working on pro-vaccine messaging that was in advance of the vaccine rollout, to start building vaccine confidence, to start sharing the message that, ‘Hey, this is what we’re gonna have to do to get back to the lives that we loved.’ And the governor’s office refused to do that.”

The governor’s office has consistently declined to comment on the matter.

EMAIL EDITOR@NASHVILLESCENE.COM

him “1,000 percent.” … More than a year out from the 2022 congressional primary, candidates in the Nashville-based 5th Congressional District are off to a hot start. Incumbent Rep. Jim Cooper, who was first elected to Congress in the 1980s, reported raising $580,226.87 in the quarter and spending just less than $60,000. He still has nearly $800,000 on hand. It’s a significant increase from the same period in 2019, when he raised $159,000 as he faced the prospect of multiple Democratic primary challengers. His challenger Odessa Kelly, executive director of the nonprofit Stand Up Nashville, reported raising $301,900.56 in her first quarter as a candidate. That’s about double what Cooper’s main 2020 challenger Keeda Haynes raised during her entire campaign, when she ultimately tallied nearly 40 percent of the vote in a losing effort. Kelly spent more than half of her haul ($161,476.67) during the quarter, leaving her with $140,423.89 on hand. … Metro Nashville Public Schools laid out its

COVID-19 abatement guidelines for the upcoming 2021-22 school year. Masks will not be required, though the unvaccinated will be “strongly encouraged” to wear them. As of now, children 12 and under are not eligible for vaccinations, meaning all elementary students and many middle schoolers will return to school without vaccination. Students will be encouraged also to maintain six feet of distance when possible, though the CDC says that when that is not feasible — as it often isn’t in a school building — three feet should be the minimum. Contact-tracing efforts are to be spearheaded by school nurses. … Contributor Betsy Phillips says Tennessee Republicans are risking creating a generation of children angry for being lied to. “Kids, if they tell you that you can’t read something, read it,” she writes. “If they tell you that it’s too dangerous for you to know about something, learn about it. If you have questions, ask them. At the least, watch Footloose and marvel at how it’s still relevant. What I wonder is what happens when kids

do figure this stuff out. Like, let’s say you’re 16 and you have a friend at school who gets COVID and ends up in the hospital. You get a firsthand look at how much your friend suffers. You watch the long-term effects. And you have to know that your parents wouldn’t take any steps to prevent that from happening to you. Or what happens when you read Ta-Nehisi Coates and you find he’s a really skilled writer who’s given you a lot to think about, but he didn’t make you immediately hate all white people? Don’t you feel annoyed that your parents and/or your school board thought you were too immature or stupid to handle that?” … Also, see photos by contributor Ray Di Pietro from Saturday’s Rep. John Lewis Way street dedication, which was attended by Lewis’ mentor, the Rev. James Lawson, as well as several state and local leaders.

DR. MICHELLE FISCUS

NASHVILLESCENE.COM/PITHINTHEWIND EMAIL: PITH@NASHVILLESCENE.COM TWEET: @PITHINTHEWIND

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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tudents can’t learn if they’re preoccupied with where their next meal will come from.

And according to national anti-hunger campaign No Kid Hungry, if students don’t have sufficient access to nutritious food during summer breaks, they’re more likely to forget what they’ve already learned, fall behind in the upcoming school year and develop lasting health issues.

Food insecurity is by no means a new problem, but it has been exacerbated by the COVID-19 pandemic. Nonprofit food-bank organization Feeding America reports that 14.2 percent of children in Davidson County were food insecure in 2019. Though concrete data is still limited regarding the effects the pandemic had on child hunger, that number has surely gone up.

Summer food programs have long existed to alleviate a burden that some families struggle with — providing summertime meals when kids are out of school. In Tennessee, the federal Summer Food Service Program enables organizations to distribute meals to children across the state. In order to establish a wider reach, parent organizations register with the SFSP and then sponsor other organizations to distribute food. Second Harvest Food Bank of Middle Tennessee is one facilitator of the SFSP and currently sponsors 21 sites. By sponsoring sites, Second Harvest can handle the complicated legalities of the SFSP requirements and enable organizations like churches, day camps and community centers to focus on getting meals to hungry kids.

The Metro Action Commission also sponsors summer meal sites throughout Nashville. Before the pandemic, the commission managed 110 food sites, but as summer camps and community centers closed for safety reasons, that number decreased.

Though there were fewer sites, there was also a decrease in regulations — meaning, for instance, students no longer have to eat meals on site and they can now take a few days’ worth of food at a time.

“Everyone deserves to eat every day — just bottom line,” says the Metro Action Commission’s Lisa McCrady. “And those of us who are responsible for ensuring that resources are flowing, and that they are flowing efficiently, we are still being good stewards of that, and we are very committed to making sure that that is always on our radar, that we’re always paying attention to it.”

Both Second Harvest and the Metro Action Commission utilize various food-distribution methods. Some meals are delivered via trucks in areas where residents have limited transportation, others are handed out at pickup locations, and some are distributed through community organizations that pair meal handouts with other activities to further engage students and remove the stigma of receiving free meals.

Second Harvest combats barriers to receiving food — barriers like awareness and lack of transportation — by providing a

SECOND HARVEST PICKUP LOCATION food finder directory on its website, where people can type in their ZIP code and learn about nearby food distribution sites, what kind of food is available and when. Families can also text FEEDS to 797979 for the same information.

Students enrolled in Metro Nashville Public Schools summer programs like Promising Scholars also receive free breakfast and lunches during programming. According to MNPS, students haven’t needed to qualify for free and reduced meals since September due to funding from the federal government. These no-cost meals will continue until at least June of next year.

Children of course aren’t the only students who face hunger, even if the SFSP only covers Tennesseans 18 and younger.

Whether they’re fresh out of high school or a bit older, college students frequently face food insecurity as well, and some have families to provide for. Recognizing this need, the Nashville State Community College Foundation has implemented a food program called Campus Cupboard, which enables students to access free food for themselves and their families.

“It would be lovely just to know that none of our students, while they’re attending classes here, are ever hungry,” says NSCC Foundation executive director Lauren Bell.

“Whether that’s just, ‘I’m hungry that day,’ or, ‘I’m going to be hungry all week.’ ” Wendy Rake, digital engagement specialist at Second Harvest, tells the Scene that, despite the returning sense of normalcy as the pandemic has subsided: “Normalcy for us was 1 in 6 people were food insecure. So while things may be going back to normal, it’s going to take some of the families who are heavily impacted by the pandemic, who were probably already at risk before, it can take them years to recover. And so organizations like Second Harvest and like the other agencies that we work with, you know we’re in this for the long haul, but we’re going to need some community buy-in, and community support to continue feeding — literally feeding — that need.

EMAIL EDITOR@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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33rd Annual

YOU ARE SO NASHVILLE IF ...

See all the winners, ‘weirdies’ and honorable mentions of our annual YASNI contest

A

s radically as Nashville has changed over the past decade or so, some things always remain the same.

You can always count on, for instance, WKRN anchor Bob Mueller to have the most lustrous mustache in the local-news game.

You can always bet that the Tennessee state legislature will make national headlines at least a time or two each session thanks to stunningly retrograde and embarrassing legislation. And you can always expect jokes about Dolly Parton and cowboy boots to show up in the Scene’s annual “You Are So Nashville If …” submissions.

This year, out of roughly 1,000 entries, Dolly showed up seven times, and boots six. Long lamented theme park Opryland — closed 24 years in December — was mentioned roughly the same amount of times, while four entries included a reference to personal injury lawyer and Music City mainstay Bart Durham. But plenty of New Nashville was in the mix as well. There were references to tall-and-skinnies, bachelorette parties and property tax increases, not to mention Kid Rock and — thanks to a deeply unfortunate incident at Rock’s Lower Broad establishment that made international headlines back in

May — colostomy bags. (We can safely say that this year we had more references to colostomy bags and the, uh, contents therein than ever before.)

Less present this year than last, however, were the references to COVID-19. While YASNI competitors made 128 COVID-19 references in 2020, this year only 22 mentioned the virus by name — and just 33 entries contained the word “mask.” There were a handful of references to this year’s flooding, and 15 to the Christmas Day bombing, not to mention a half-dozen digs at Christian finance guru Dave Ramsey and his various troubling and unhinged practices. As ever, plenty of folks talked about just how swell and neighborly a city Nashville can be, while others bemoaned the influx of those dastardly Californians.

But just as much as we saw locals bemoaning unfortunate changes like rampant development and out-of-control party culture, we saw something that’s as Nashvillian as Arnold’s or The Parthenon (not the Greek one): folks who are willing to have a laugh at themselves, to not take our city too seriously. So join us in having a chuckle, and see what made the cut for this year’s “You Are So Nashville If …” issue. —D. PATRICK RODGERS

This year’s You Are So Nashville If ... results presented by:

FIRST PLACE: You think Derrick Henry offseason workout vids should be flagged as erotica.

— CHASE STEJSKAL

ILLUSTRATION: COLE ROBERTS

ABOUT THE WINNER:

Derrick Henry is known to turn grown men into schoolgirls. Just ask accountant Chase Stejskal, winner of the Scene’s 33rd annual You Are So Nashville If … contest. His entry about the 6-foot-4 Titan running back’s workout videos is, honestly, something we’ve all been thinking.

Stejskal engages in a kind of ritual when a new video drops, and it involves Scene staff writer J.R. Lind, who once wrote that Henry looks like “some sort of sacred statue carved by angels.”

“Every time I see one of those videos,” says Stejskal, “one of us texts the other saying, ‘Looks exactly like my workout.’ We’re the people in the background just casually riding the stationary bikes.”

(YASNI entries are judged blind, by the way — no Scene staffers were aware of who wrote any of the submissions when we voted on them.)

Henry is one of only eight NFL players to rush for at least 2,000 yards in one season. He is one of only two NFL players with a 99yard touchdown run. He’s won the rushing Triple Crown the past two seasons. And for Stejskal, the Heisman Trophy awardee has transformed the Titans.

“It’s been cool to see his draft class turn things around,” says Stejskal. “That’s another reason I think a lot of fans are endeared to him, because he’s been a catalyst for their turnaround. A couple of years ago, they were one game away from the Super Bowl, and he was the real workhorse there. … He’s playing other professional athletes and tossing them around like rag dolls.”

Look, we’re not here to objectify the man, but have you seen his dead squats? His wrought-iron quads? His pecs glistening with sweat while he jumps rope? Find Henry’s NSFW workout vids on his Instagram account (@last_king_2) — keep an eye on his stories — and find more with a Google search. Chase, thank you. —ERICA CICCARONE

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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THIS YEAR’S #YASNI RESULTS PRESENTED BY:

SECOND PLACE: You can buy an assault rifle without a license but can’t use a public bathroom without showing your birth certificate.

ILLUSTRATION: COLE ROBERTS

—CURT G.

HONORABLE MENTIONS: You suddenly can’t remember where you bought your hats. —Andy Logan You’re thirsty for Dr. Alex Jahangir to start an OnlyFans. —Hunter Kelly You sold your Ring footage to TMZ. —Allison

Lund

The only mugshot your website refuses to publish is your own. —Nate Griffin Upon seeing Ben Shapiro take a selfie in a cowboy hat, you emailed your councilmember asking if something could be done about this. —Logan Elliott You left your garage open overnight and by morning had three rental offers. —Paul

Stansel

You’re still chuckling about WKRN anchor Bob Mueller’s COVID vaccine photo revealing that he has a tattoo ... of an anchor. —Stephen Yeargin Your idea of constitutional carry is a colostomy bag. —Allison Lund You never realized that Kid Rock’s Big Ass Honky Tonk would be THAT kind of swingers’ club. —Ben Legg

AND THE REST: Half your skyline went up while you were working from home. —Trenton Hanner

Your COVID bubble was lower Broadway.

You were so relieved that the cicadas weren’t coming here but you forgot about the Southern Baptist Convention. —Tara

You gutted it out through the emotional manipulation that was Marriage or Mortgage to see the Five Daughters doughnut wall get its 15 minutes of fame.

—Mark Naifeh

Aaron-Stelluto

You’re not sure where to take the kids for s’ketti anymore. —Jade Swafford You heard Old Spaghetti Factory wasn’t reopening and thought the end of the world was upon us. —Hilary Jones

—Justine Avila

You just moved here from California, bought three houses sight unseen, and are willing to pay someone to explain all these jokes to you. —Andy Gasparini You paid more property tax than Amazon.

You need to ask which disaster the #NashvilleStrong fundraising merch is for. —Sarah Brownell One of your neighbors received a full pardon the day before President Trump left office. —Ray Shelide No one told you about chiggers before you moved here and you found out the hard way. —Joe Scutella You know this is the year Ernest Saves Nashville. —Megan Minarich You wonder how many bro-country singers have to be canceled before herd immunity from shit is achieved. —Allison Lund You check @ScanNashville to see if that bachelorette party from your hometown is going to jail. —Miles Hutcherson

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You ask for comp tickets to a benefit concert. —Jacqueline Menish

—Hunter Bernstein Your property taxes went up … no, wait, they didn’t … oh, wait, they actually did.

—Clifton Kaiser Your school is banned from discussing the pink statue on I-65. —Nate Griffin

You still feel like you’re getting away with something by buying liquor on a Sunday.

—Matthew Rewinski You donated to the GoFundMe to save a place you haven’t been in 15 years. —Nate

Griffin

You’re against critical race theory in schools because you think kids should only be taught positive stuff about Dale Earnhardt. —Dan McNamara You meant to rate your HVAC repairman on Yelp but accidentally elected him for governor. —Curt G. You don’t mind a little bit of racism if you can still listen to your shitty music.

—Allison Lund Horoscopes are against your religion but the enneagram is taught at your women’s group. —Ashley H.

You went to hell and the dog got the money, the horse and some useless flags. —Tripp

Good news, the price of your house doubled over the past couple of years; bad news, the price of everyone else’s house doubled over the past couple of years. —Lindsay

You wonder if Miranda and Blake’s bars can get along. —Heather Burwell

You get more calls about buying your house than you do from your mom. —Jamie Yost

You associate Elmington Park with a melange of peaches, lobsters and medieval battle. —Trenton Hanner

B.C. doesn’t mean Before COVID, it means Before California. —Lightening de La Flame

Sullivan

In this past year, you’ve dined in fewer restaurants than Sean Brock opened.

Bergstrom

Garth Brooks appears at a fundraising benefit in your honor. —Kenneth Anchor

—Charlie Harris

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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THIS YEAR’S #YASNI RESULTS PRESENTED BY:

You just know for certain all the city’s problems would be resolved with the return of Opryland theme park. —Heather

Burwell

You pack hot chicken in your toddler’s bento box. —Chris Miksanek Bob Mueller has been on the air longer than you’ve been alive. —Hilary Jones You’ve ever looked at four parking spaces and thought, “Yeah, we can build a 40-story hotel there.” —Lindsay Bergstrom You get excited when you spot Stuffed Animal Car in the wild. —Andy Gasparini Your local real estate developer has more yards than Derrick Henry. —Alex W. ILLUSTRATION: COLE ROBERTS

You’ve been secretly plotting your Baby Ruth attack on the rolling hot tub bro barge. —Julia Martin You have a daily comedy routine where you run to hold onto the vase on the mantel (like in Mary Poppins) when the developer down the street blasts away.

—Anne Krueger

THIRD PLACE:

You’re happy that Lee Beaman got a worse deal on his divorce than you did on your Corolla. —Curt G.

You thought critical race theory was the debate about NASCAR returning to the fairgrounds.

Can we get an extension on this? —Trenton

Hanner

You sold more music through Zoom than Spotify. —Ken Lass

—ALLISON LUND

You have a goldfish named Bart Durham.

You’ve driven a piece of furniture through East Nashville. —Debbie Emory-Utzig Your mask is on your chin, because your party bus is about to begin. —Daniel Harris You put “for sale” signs on your yard just to fuck with people. —Tom Still Organizing a protest counts as your high school senior project. —Hilary Jones Your aesthetic has been personally attacked by @musicshitty. —Ashley H. Your anxiety goes through the roof thinking of a place to take your suburban in-laws to dinner. —Gwen Arney The local media landscape is so rough that reporters have turned to offering great deals on a PS5 on Twitter. —Stephen Yeargin You cried at Pekka’s last start, but still don’t fully understand icing. —Rob Graham The first time you saw a pedal tavern this year you said to yourself, “Nature is healing.” —Logan Elliott

You are confused when you see an actual fire truck that doesn’t have drunk people on it. —Jamie Yost

You posted one #ad about skin care and now qualify for the vaccine as a health care worker. —Ashley H.

You’re looking for a new hat dealer. —Jade

Your daily newspaper is so poorly read that nobody noticed the racist print ad warning of “Islam” detonating a bomb in the city until they published a second one.

Swafford

You expected live music at your vaccine venue. —Dr. Jenn Johnson Your favorite local musician is Tunnel Tuba Guy. —Andy Gasparini You created a hot chicken cryptocurrency during quarantine. —Corbin McGrath The spider picture you posted on Nextdoor has been verified by 89 people to be a brown recluse. —Clifton Kaiser Macaroni-and-cheese counts as a vegetable.

—Hilary Jones The first time you went to Trader Joe’s without a mask, you were afraid people would think you were from Williamson Co. —Ashley H. You’re glad Wilson County finally took that sad fair off our hands. —Trenton Hanner

You asked Soccer Moses to sign your Bible.

—Logan Elliott

18

—Stephen Yeargin

You remember when we used to remember the nun bun. —Charlie Harris You see more bachelorette parties than turn signals. —Emma Sacks You rode a party barge to work because it was cheaper than a Lyft. —Katie Wesolek

You’ve ever said, “Know where the Blockbuster used to be?” while giving directions in Green Hills. —Russell Ries Jr. You are the star of your own conspiracy theory. —Mark Shenkel You avoided COVID for a year but got an infection from strapping a dead catfish to your chest on your first night out. —Miles

Hutcherson

—Jamie Yost

You could finally claim it “feels like ’98” after attending a 15 percent capacity Predators game. —Ashley H. You call going to Bellevue One “taking a trip to the country.” —Tom Still J.R.’s columns kind of make you want to walk a mile with him. —Trenton Hanner

HONORABLE MENTION: It’s easier to tell your parents you got knocked up than it is your employer, Dave Ramsey.

—LOGAN ELLIOTT

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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YOU ARE

THIS YEAR’S #YASNI RESULTS PRESENTED BY:

THE WEIRDIES You wonder what happened to the Bang This twins and hope they are well.

You run into your son’s mohel while enjoying a Station Inn performance at Yazoo Brewing Co. You’re not good ’cause you’re old, you’re old ’cause you’re good.

You interrupt binge-watching Charlie’s Angels to call your doctor to report an erection lasting more than four hours.

You don’t know what belongs to the Spicy Boy. You wish the Friedman’s Army Surplus old Kroger door pads could have survived long enough to see the old Compton’s on the corner become another Kroger’s!

ILLUSTRATION: COLE ROBERTS

You wish Frazier was still on TV so they could do a season’s worth of shows of Frazier and Niles trying to find the perfect mask during COVID.

You’ve had to dust off your pre-pandemic excuses when your friend asks you to check out their band’s midweek gig or writers’ round performance. —Jason

HONORABLE MENTION:

Peterson

Why can’t EVERY Taco Bell serve alcohol?

At least that way, you would have an excuse to go to Taco Bell sober! —Hilary

Thanks to Kings of Hustler male revue, Steve Smith is no longer the biggest dick on Broadway.

Jones

You can tear down a building in the blink of an eye, but it takes months and a special commission vote to remove a racist statue. —Allison Lund

—ALLISON LUND

You worry your local bowl-game sponsor will be outlawed by the legislature. —Ken

Lass

You included your right kidney and firstborn in your home offer and still got outbid by someone from California. —Mike

Streit

You attended the Capitol insurrection. —Alise

Alicardi

You spent your first day as a junior senator being a little traitory. —Allison Lund

Every single one of your kindergarten students knows who Dolly Parton is.

You’re not a fan of the poop-throwing maniac, but you can kind of understand where he’s coming from. —Max Kingsley

You drop Dollyisms as sincerely as a psalm.

You change your mask policy after taking a colostomy bag to the face. —Allison Lund You support open carry but your bar now pats down for colostomy bags. —Allison

Lund

You spent a good bit of time Googling the names of local January 6 insurrectionists to see which side of the family tree they were on. —Stephen Yeargin

Colostomy bag contents actually improved your bar’s health department score. —

When U.S. Capitol-storming Zip Tie Guy was identified as a Nashville bartender, you already knew it was one of two places.

You crashed Jeni’s site trying to buy Dolly Parton ice cream. —Jade Swafford

—Andy Gasparini You stormed the Capitol because you were looking after your mom. —Allison Lund

Allison Lund

You ask your vaccine administrator, “Is this one of those Dolly shots?” —Hilary Jones

You want to say “Fuck Dave Ramsey,” but you’d have to marry him first. —Andy

—Elizabeth Henard

Gasparini

—Jade Swafford Everyone at the songwriters’ circle took off their masks to write a song about taking the pandemic seriously. —JJ Wright You still picked up a copy of the Scene, knowing you weren’t going anywhere.

—Dr. Jenn Johnson

Your COVID weight-loss support group was actually a cult. —Ashley H. You didn’t get tickets to Picasso. —Trenton

Hanner

You think your tall-and-skinny is more tasteful than the new one next door. —Ken

Lass

HONORABLE MENTION: Your cat inherits your Nathan Bedford Forrest memorabilia.

—JEFF BROUSAL

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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YOU’RE SO NASHVILLE IF... ...you bring your kids to Adventure Science Center when it’s raining!

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THIS YEAR’S #YASNI RESULTS PRESENTED BY:

ILLUSTRATION: COLE ROBERTS

PAST WINNERS: 1989:

You think our Parthenon is better because the other one fell apart.

— Susan Fenton

2007:

You saw Kenny Chesney in a Kroger reading Out & About.

— Michael Williams

1990:

Your mayor is married and engaged at the same time.

— Maralee Self

2008:

Your DUI arrest gets a five-star rating on YouTube. — Roy Moore

2009:

1991:

You say to the person behind the counter at the Hot Stop, “We really kicked y’all’s ass in that Desert Storm.” — Willie D. Sweet Jr.

Your local GOP makes the KKK look like the ACLU. — Jonathan Belcher

2010:

Your city flooded and all you got was a lousy T-shirt. — David Anthony

2011:

Gay gay gay, gay gay; gay gay gay gay gay. — Dana Delworth

2012:

You think Bart Durham should direct The Real Housewives of Nashville.

— Holly Matthews

2013:

You think the TV show should have been called Mount Juliette.

— Bill Hench

2014:

Your amp goes to 11, but not to Belle Meade. — Zack Bennett

2015:

You’re afraid Bob Mueller’s mustache will be torn down to build a high-rise apartment building.

— Zack Bennett

1992:

HONORABLE MENTION: You opened for Johnson & Johnson at Nissan Stadium.

1993:

—DREW MAYNARD

You call water Cumberland Punch. —Sedric

Walker

You can’t decide whether to watch greasedpig wrestling or the Metro Council meeting on TV. —Phillip George You love to complain about traffic but still figure anywhere you drive will take about 20 minutes. —Russell Ries Jr. You envy newcomers because they don’t have memories of TECHS. —Hilary Jones You seriously considered whether it would be cheaper to just buy Exit/In rather than buying a new house. —Page Forrest You can’t afford the neighborhood you live in anymore. —Rachel Karr

The only thing that got you through the pandemic was Nashville Humane’s Instagram. —Lindsay Bergstrom You deep-fry a sushi roll. —LA Cole

You’re desperately trying to remember how you coded your MySpace page so you can apply at Oracle. —Corbin McGrath Shelby Bottoms are the gay people living on Shelby Avenue in East Nashville. — Bil

Breyer

You were hoping your 34 percent property tax increase was going to go toward a defensive coordinator. —Andy Logan

You waited in line at Paula Deen’s Big Ass Honky Tonk and Chicken Fried Butter Skillet House. —Allison Lund

You think it would be more accurate to start calling ourselves Mixed-Use City. —Joey

After a year of isolation, the horniest thing in East Nashville was still that barge back in January. —Andy Gasparini

You sing along to Billy Ocean’s “Get Outta My Dreams, Get Into My Car” under your COVID mask at Kroger. —Matt North

Tempo the Coyote was literally the best thing to happen to you all year. —Hilary

You have memories of Polaris. AND you’re tired of explaining to newcomers what the UFO on top of the Sheraton is. —Hilary Jones

You’re wondering when Nashville SC will introduce a roadrunner secondary mascot. —Hilary Jones

You hope the construction at Centennial Park will be done in time to welcome your great-grandchildren. —Trenton Hanner

Fucking lizard people?! —Nate Griffin

Butler

—Jamie Yost EMAIL EDITOR@NASHVILLESCENE.COM

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You think that the H.O.V. lane is for people with AIDS. — Paul Allen

1995:

No winner

1996:

You never meant to stay here this long. — Robert Jetton

1997:

You’ve checked your flower bed for Janet March. — Terry Robertson

1998:

You’re the only one who doesn’t know you’re gay. — Diana Hecht

2016:

Your therapist doesn’t know you’re gay. — Russell Ries Jr.

1999:

You dig up your mom. — Rick Hagey

2017:

2000:

You want to vote Brad Schmitt off the island. — Chad Tribble

2001:

Your minister follows the Nine Commandments. — Ken Lass

In June, you were citing Rule No. 48.24-B that states a goal can be reviewed if an inadvertent whistle caused a stoppage in play. In January, you thought hockey was played with a ball. — Brian Bates

2002:

Towns you’ve never heard of are going to be hit by a tornado at 6:51, 6:53 and 7:01 p.m. — Rick Hagey

2018:

Nashville is canceled. Also, the TV show was not renewed.

— Charlie Harris

2003:

You returned a friendly Southern wave to Adam Dread as he veered across Franklin Pike. — Cindy Parrish

2019:

Your idea of “light rail” means doing just a little bit of coke.

— Katie Wesolek

2004:

You need a war to sell records.

— Joe Scutella

2020:

2005:

Your governor gives TennCare beneficiaries McDonald’s instead of health care coverage. — Ken Lass

Your idea of contact tracing is checking for hand stamps from Kid Rock’s Big Ass Honky Tonk & Rock ’N’ Roll Steakhouse.

— Megan Minarich

2006:

You were a gay cowboy before being a gay cowboy was cool.

— Michael Williams

Jones

You got a full cash offer, sight unseen, for this contest before it was even published.

Your church congregation is referred to as “the studio audience.”

— Sharon Kasserman

1994:

Your preferred gender pronouns are y’all and y’alls. —Curt G. You put shiplap and some succulents in your kids’ tree fort and now it’s booked for the next six months on Airbnb. —Katie Wesolek

You go to a Hank Williams Jr. concert at Starwood and pass out before Hank does. — Ted W. Davis III

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

MORE THRILLS

CRITICS’ PICKS W E E K L Y

R O U N D U P

O F

T H I N G S

T O

D O

[LIFE IS A HIGHWAY]

HIGHWAY GOTHIC

SELFIE THE MUSICAL JULY 22-AUG. 1

Riverside Revival

still available, tickets may also be purchased at the door for $18.) 7 p.m. ThursdaysSaturdays and 6 p.m. Sundays, July 22-Aug. 1, at Riverside Revival, 1600 Riverside Drive AMY STUMPFL

FRIDAY / 7.23

[TREAT YO’ SELF]

As much as I enjoy the fun and connection that social media offers, I will be forever grateful that I didn’t have to grow up with my whole life broadcast online. I honestly can’t imagine the constant pressure today’s teens face, having every awkward moment and terrible choice displayed in such a public — and often permanent — way. That’s the focus of The Theater Bug’s new production of Selfie the Musical, which opens Thursday at Riverside Revival. With book and lyrics by Theater Bug founder Cori Anne Laemmel and music by Laemmel and Eric Fritsch, Selfie follows a group of teens growing up in the age of social media. The story touches on everything from cyberbullying to body image and friendship, with an ultimate message of kindness. Laemmel directs a terrific all-youth cast, with music direction

by Laura Matula and choreography by Bakari Jamal King. The project — which marks the Bug’s first live, in-person production since February 2020 — also includes some really clever video elements courtesy of MA2LA. Tickets are $15, available at thetheaterbug.org. (If they’re

ART

SELFIE THE MUSICAL

[CLAY MATES]

STATES OF CLAY AND BUCHANAN ARTS OPEN HOUSE

Buchanan Arts is a brand-new nonprofit educational center in North Nashville. It’s the brainchild of Nashville-based artists

SCULPTURE: BENJIE HEU

THEATER

Nashville’s hip-hop community boasts a shedload of outstanding lyricists who have a lot to say and do so with grace and flair. Odd Moon, BEZ and Seene P., the three MCs teaming up under the name Highway Gothic for Thursday’s show, stand out for their special knack for rapping hard.

Odd Moon in particular has cultivated an intimidating growl to carry his thoughtful messages. Highway Gothic is a very, very new project, so I can’t tell you whether the trio leans into their collective heaviness or does something completely different. But if the members’ previous work is anything to go on, you’ll be well-served to just come by and check it out — a common theme in local hip-hop, in which there’s a vast amount of new music being made all the time. Definitely give a spin to BEZ’s hot-offthe-presses solo release The Altered States of America — a look at racism, economic inequality, social isolation and other deeprooted problems with wide-ranging effects — in which the MC’s hard-edged style is paired with grooving beats that pull from jazz, soul and more. Speaking of music you’ll want to know if you don’t already: Make plans to come back to The East Room on Saturday for another hip-hop show headlined by Heru Heru. The duo of Ah-Deli and Foundation blends bars with a socially conscious bent and beatmaster Konscience’s jazz-inflected boom-bap for a concoction that’ll have your head nodding before you know what hit you. 9 p.m. at The East Room, 2412 Gallatin Pike STEPHEN TRAGESER

STATES OF CLAY

John Donovan, Kristi Hargrove and Alex Lockwood, and it officially opens this weekend. The artists incorporate elements from their artistic and professional practices — like Lockwood’s successful run as owner of Elephant Gallery, as well as Donovan and Hargrove’s backgrounds in and transitions away from academia.

Buchanan Arts will function a bit like a gallery-school hybrid: In the fall, the center will offer after-school (fifth through 12th grades) and continuing education classes, with plans to eventually include courses on digital arts, photo, video and 3-D printing.

This is a big deal, and the exhibition States of Clay, hosted at the neighboring Elephant Gallery, reflects that scale and ambition. Eighteen artists — both local and international — will have work on display, including Rebecca Morgan, whose smutty ceramics were a highlight of Elephant’s Ugly Clay exhibit, and Nashville-based favorites Virginia Griswold and Rebecca Blevins. Stop by this weekend, and make a plan to check in often — there’s a lot to be excited about here. Opening reception 6-9 p.m. Friday at Elephant Gallery, 1411 Buchanan St.; open house 11 a.m.-3 p.m.

Saturday at Buchanan Arts, 1409 Buchanan St. LAURA HUTSON HUNTER FOOD & DRINK

MUSIC

THURSDAY / 7.22

about everything you need to know to make decent cocktails in your own kitchen. Lisa Donovan, author of Our Lady of Perpetual Hunger, will lead a remote conversation with Mike Wolf, author of the new Barantined: Recipes, Tips, and Stories to Enjoy at Home. Barantined is the 80-recipe update of Lost Spring, an ebook compilation Wolf pulled together last year to benefit hospitality workers. “Barantined has a lot of material related to the home-bar experience that wasn’t in Lost Spring, since it was thrown together so fast,” Wolf says.

The two will discuss making foundational cocktails like Old Fashioneds, Manhattans and margaritas, plus how to make your

[MIX IT UP]

MIKE WOLF AND LISA DONOVAN TALK AT-HOME COCKTAILS This Friday, two of the city’s favorite food and drink professionals — and favorite writers — will be chatting

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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CRITICS’ PICKS

[POOL PARTY]

LA PISCINE

REIGNING SOUND

FILM

I don’t know about y’all, but I think we really need to get a Romy Schneider revival going. Although the GermanFrench actress left us way too early back in 1982, dying of cardiac arrest at age

MUSIC

[SKIP A ROPE]

MARTY STUART AND HIS FABULOUS SUPERLATIVES W/THE COWPOKES

It’s difficult to find an aspect of country music that multi-instrumentalist, bandleader, archivist and televisionshow host Marty Stuart hasn’t mastered.

The last time I saw Stuart — at a 2018 Ryman Auditorium show marking the 50th anniversary of The Byrds’ classic album Sweetheart of the Rodeo — he tore it up on guitar. Lately, the Mississippiborn musician has been working on a forthcoming 20-song collection, Songs I Sing in the Dark, that shows off his

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Also on hand will be neo-country band The Cowpokes. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. EDD HURT

SATURDAY / 7.24 MUSIC

43, she did leave an impressive body of work. Distributors Kino Lorber and Film Movement got the ball rolling last year by rereleasing several films Schneider made with directors Claude Sautet and Andrzej Żuławski on Blu-ray and DVD. And now here comes The Criterion Collection, hitting us this week with a 4K restoration of Jacques Deray’s sensual, suspenseful bit of psychosexy from 1969, which will also show at the Belcourt this weekend. Schneider is scrumptious as hell — she’s mostly in a bikini or next to nothing — as a woman spending her summer days lounging by the pool, making out with her man (real-life former flame Alain Delon, another sweet piece of French ass). But their French Riviera Eden gets visited by temptation, in the form of an old friend (Maurice Ronet) and his beguiling young daughter (Jane Birkin). BTW, if this sounds familiar to you, you might’ve seen the remake Luca Guadagnino did in 2015, called A Bigger Splash. July 23-25 at the Belcourt , 2102 Belcourt Ave. CRAIG D. LINDSEY

[WITH YOUR FEELINGS]

TRISTEN W/THE MEDIUM, THE MANGO FURS & HEAVEN HONEY

For more than a decade, Tristen’s literate and melodious songs with their shapeshifting stylistic influences — sometimes from electronic pop, sometimes hewing closer to rocking folk-psych à la The Kinks’ Arthur — have been woven firmly into the fabric of local music.

Her sensitivity to the subtleties of complicated life situations gives her songs staying power, from her examination of codependence “Baby Drugs,” an early fan favorite, to “Athena,” an interrogation of the roles society offers to women that’s on her newly released fourth LP Aquatic Flowers.

Tristen and her band celebrated the album with a guest-filled June 11 livestream from The 5 Spot, and they’ll be taking the stage in person at Brooklyn Bowl on Saturday with a heap of other top local rockers.

The Medium, who put their own spin on mainstream pop of the ’60s and ’70s, will join in, alongside The Mango Furs, a group that leans toward the territory of contemporary psych staked out by Tame Impala. Rounding out the bill is singer-songwriter Jordan Victoria’s excellent project Heaven Honey, which brings thoughtful tunes that reflect a keen insight into human nature that rivals Tristen’s. 8 p.m. at Brooklyn Bowl Nashville, 925 Third Ave. N. STEPHEN TRAGESER

CATVIDEOFEST

Cat videos! Who among us hasn’t avoided a foul assignment or chore by surrendering to the internet’s most favored time suck. There’s a cat video for everyone.

Chonky cats, chittering cats, acrobatic cats, cats afraid of cucumbers, heroic cats and musical cats. The stars of mustachioed Hamilton the Hipster Cat and XXL Roku Roku are rising. And no talk of cat videos would be complete without a tribute to our dearly departed Lil Bub and Grumpy Cat. (Rest in peace, bbs.) For a great way to while away a summer afternoon in sweet, sweet air conditioning, check out CatVideoFest, a 70-minute compilation of cat vids curated by a team of cat lovers. The film gets screened around the country, and the turnout has been so good at the Belcourt in previous years that it will now have three showings.

The best part about CatVideoFest is that proceeds will benefit Nashville Cat Rescue, our excellent local nonprofit that works damn hard to help cats who have been abandoned, abused and on euthanasia lists at shelters. By relying on donations, grants and the work of an army of cat-loving foster parents, NCR has placed more than 11,000 cats into homes since 2005. You’ll be able to learn more about NCR and how to adopt a new friend at the fest. July 24, 25 & 27 at the Belcourt, 2102 Belcourt Ave. ERICA CICCARONE MUSIC

LA PISCINE

[MEWSIC CITY]

[CONCEPTUAL ART]

A LOVE SUPREME ELECTRIC

Serious music scholars have long argued about the origins of what’s called the concept album. Non-rock artists like Frank Sinatra and Nat King Cole produced early examples of long-playing records that worked thematically, but you could make a case for The Mothers of Invention’s 1966 opus Freak Out as the first rock concept record. Meanwhile, jazz saxophonist and composer John Coltrane released what’s perhaps his best-known album, A Love Supreme, in early 1965 — just weeks after The Beatles released For Sale, which contains some of the Fab Four’s first forays into experimental pop. A Love Supreme amounts to a concept album before the term gained general currency, and it also works as a statement of musical intent that avoids the interstellar excesses of Coltrane’s later work. Saturday at Rudy’s Jazz Room, a group of first-class improvising musicians will play Coltrane’s masterpiece. On board will be Knoxville guitarist Mike

Baggetta, who joins Mississippi-born multiinstrumentalist Clifton Hyde and Nashville pianist Matt Endahl. Also playing will be Music City bassist Jonathan Wires and another superb Nashville post-jazzer, reeds and woodwinds master JayVe Montgomery.

Rounding out the lineup is drummer John Hanrahan. In addition to A Love Supreme, the group will essay other Coltrane works.

6 p.m. at Rudy’s Jazz Room, 809 Gleaves St. EDD HURT

SUNDAY / 7.25 MUSIC

FILM

MARGARET LITTMAN

impeccable taste in cover versions and his prowess on mandolin and guitar. He’s released a few of the songs that will appear on the album, including Tom Petty and Mike Campbell’s “Fault Lines,” which he turns into a showcase for his instrumental talents. In addition, Songs I Sing will include his cover of Jack Moran and Glenn Douglas Tubb’s 1967 song “Skip a Rope.”

Originally cut by the underrated country singer Henson Cargill, it’s one of the most interesting examples of the Nashville message song. Songs I Sing looks great, with Stuart ranging from Allen Reynolds’ tune “Ready for the Times to Get Better” — a 1976 country chart-topper for Crystal Gayle — to songs by Waylon Jennings and Paul Kennerley. Stuart appears Friday at Brooklyn Bowl with His Fabulous Superlatives, who live up to their name.

[REIGNING ALL THE TIME]

REIGNING SOUND W/COUNTRY WESTERNS

Psych- and R&B-schooled rock ’n’ rollers Reigning Sound made an unlikely but welcome comeback this spring with A Little More Time With Reigning Sound. The Merge Records-issued collection is Ashevillebased, Memphis-raised songsmith and bandleader Greg Cartwright’s first under the Reigning Sound moniker since 2014. For the occasion, Cartwright — the onetime wild child who co-founded blues-punk innovators Oblivians in the 1990s — has brought back the original lineup from his second group’s early-Aughts nascency, a seasoned gang of players including multi-instrumentalist and Memphis Flyer music editor Alex Greene on keys and Jeremy Scott — whose other band Toy Trucks’ raucous 2019 debut Rockets, Bells & Poetry makes for a great companion to A Little More Time — on bass.

The result is a record more hopeful in spirit and streamlined in sound than before, but one that stays true to the band’s Bluff City bona fides, proving growing old(er) and mellowing out are not synonymous. Besides, Reigning Sound will headline its hometown Gonerfest in September, so a high-energy warm-up set is a certainty as the band rounds back into form. Scruffy, bighearted Nashville jangle-punks Country Westerns open the Sunday night gig — a perfect pairing. 9 p.m. at Mercy Lounge, 1 Cannery Row CHARLIE ZAILLIAN

MONDAY / 7.26 FILM

clear ice at home, and they’ll provide some creative inspiration for using all that stuff in your garden in a summer cocktail. The remote event will be both broadcast live and archived on Parnassus Books’ Facebook page. Wolf says a second book event, in conjunction with East Nashville’s Honeytree Meadery, is also in the works. Barantined, which features work by local photographer Brooke Dainty, was published on July 20. 6 p.m. via Parnassus Books’ Facebook page

[IT’S GONNA BE A BEAUTIFUL NIGHT]

MUSIC CITY MONDAYS: SIGN ‘O’ THE TIMES

For the longest time stuck in a limbo of paisley chiffon, occupying a liminal

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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CRITICS’ PICKS

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[LADIES’ NIGHT]

JOSH BLACK PRESENTS: THAT’S WHAT SHE SAID

Local comic Josh Black has been on his grind over the past several months. In addition to the consistently hilarious videos he posts riffing on all things Nashville culture, Black has also teamed up for events and collaborations with local institutions and media outlets including the Belcourt NASHVILLE Theatre, the First Art Museum and even the Nashville Scene. (If you haven’t watched our most recent collaboration with Black, which is all about Tennessee’s inept Republican leadership, check that out.)

Not content to soak up all the attention for himself, Black is turning the spotlight on folks who deserve a lot more notice than they tend to get: women comedians. For NASHVILLE his upcoming Zanies appearance, That’s What She Said, Black will hand the mic over to some of the ladies of the Nashville and Atlanta comedy scenes, because — as he puts it — “too many times in comedy women are under-represented or not represented at all.” The July 28 showcase will feature performances from Nashville comics KC Shornima (search “You Look Like Church Camp Drake” on YouTube to find a 2019 clip of Shornima annihilating another comic in a roast battle) and Jessica Carter, the latter of whom hosts the show Friday Night Drama on 103.7 FM, Radio Free Nashville.

Atlanta comics on the bill will include Lauré (@luhraydassit on Twitter and Instagram), Lauren Knight (co-host of the podcast Jokes on You), Randi Skye (a member of the comedy trio Whole Squad Funny, along

MUSIC

with Lauré) and Katherine Blanford (who co-hosts a “healing, hilarious” podcast about cheating called Cheaties). It’s a stacked bill, so get your tickets while you can and show up on time. 9:15 p.m. at Zanies, 2025 Eighth Ave. S. D. PATRICK RODGERS [PROG DREAMS]

KING CRIMSON

Because I’m old — I was born in 1958 — I think I’m allowed to say just how dated most prog rock sounds to me now. I loved albums like Yes’ 1971 Fragile and Genesis’ 1973 Selling England by the Pound when I was a teenager, and those records have their tricky merits. Meanwhile, another prog group, King Crimson, impressed me when I was 13. I can’t listen to Crimson albums like In the Court of the Crimson King and Lizard today without snickering at the band’s attempt to fuse late-period Beatles with jazz and classical music. Part of my problem was their lyrics, but rock ’n’ roll wasn’t meant to sound like European classical music any more than classical music was meant to sound like The 5 Royales. I saw the band a few years ago in Nashville and enjoyed it — leader Robert Fripp sure can play guitar.

The current lineup, which includes Fripp along with bassist Tony Levin and three drummers, hits the Ryman Wednesday with its current brand of improvisation. It’s also amusing that Fripp and his wife, actress and singer Toyah Willcox, have been releasing a series of videos that feature the duo covering the likes of Steppenwolf, Billy Idol and Heart. I mean, what did you expect — a cover of The 5 Royales’ “The Slummer the Slum”? Opening will be California Guitar Trio, who cover Bach and The Doors with equal facility. 7:30 p.m. at the Ryman, 116 Fifth Ave. N. EDD HURT

EVERGREEN: STUFF YOU CAN DO ANY TIME FITNESS

$6 Margaritas every Thursday

state wherein Erotic City comes alive but the end result gets stuck in the data bank, Sign “O” the Times is the odd man out of Prince’s quartet of films. A concert film hobbled by technical errors that required reconstructing the experience of a live European show on the soundstages of Paisley Park in Chanhassen, Minn., Sign ultimately allowed Prince and his postRevolution, pre-New Power Generation band to craft the ideal experience of the European tour for North American audiences who wouldn’t get a chance to see it. That preponderance of unusable footage could have derailed the whole endeavor in less imaginative hands; but in the shimmering peach-and-black chimera that slipped into theaters in 1988, we get superb live sound married with a detail-oriented visual experience that simply couldn’t be done in a traditional live document. Sign “O” the Times isn’t like any other concert movie, in the same way that 1987 Prince wasn’t like any other live performer out there, and it’s a tiny blessing that in the years since his death, enough legal wrangling has happened to allow this film to get back out there into the world. Dynamic and diverse (though focused on songs from the titular album), the set is sharp and illustrates the funky seductions that Prince could channel with a badass band and a sensual imagination.

Paisley Park is in our hearts, but the unspoken swoon of Sign “O” the Times is that within Paisley Park we could find any place. 7:30 p.m. at the Belcourt, 2102 Belcourt Ave. JASON SHAWHAN

[WORK IT OUT]

COUNTRY FUSION DANCE FITNESS

OK, I know: Country Fusion fitness dance classes in a Music Valley strip mall don’t sound like a thing a lot of locals would want to do. But hear me out. I’m not asking you to sit in a hot tub on a tractor bed that’s inching its way down Lower Broad. Elizabeth Mooney is a dancer, choreographer and off-Broadway (no, the other one) producer who has been teaching these classes for years in other studios, and has moved to Nashville to open her own studio. The idea at Country Fusion Dance Fitness is that you’ll get a workout like you would in a Zumba class, but also learn some line-dancing moves that you can use at the nearby Nashville Palace or wherever you want to dance. It’s a fun mix-in with your exercise routines (they also offer yoga and other classes). Mooney choreographs not just to country music, but also Latin, hip-hop and jazz, and brings a high-energy attitude to her work. The 50-minute classes are a decent cardio offering, so you can go for exercise (a five-class pack is $65 and a month unlimited membership is $99) wearing your regular workout gear. But it’s also fun for group activities like birthday parties and, yes, bachelorette parties (don’t @ me). 2416 Music Valley Drive, Suite 142 MARGARET LITTMAN

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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@parnassusbooks1 @parnassusbooks @parnassusbooks1

UPCOMING VIRTUAL EVENTS 6:00PM

THURSDAY, JULY 22

MEG FLEMING & LUCY RUTH CUMMINS Sounds Like School Spirit

FRIDAY, JULY 23 6:00PM

MIKE WOLF

in conversation with LISA DONOVAN Barantined

MONDAY, JULY 26 6:30PM In-Person event! Please RSVP at parnassusbooks.net

JEAN HANFF KORELITZ

in conversation with PAUL MULDOON The Plot

TUESDAY, JULY 27 6:00PM

ERICA WATERS

in conversation with WENDY HEARD The River Has Teeth

6:00PM

WEDNESDAY, JULY 28

NICKOLAS BUTLER

in conversation with JOHN LARISON Godspeed

6:00PM

MONDAY, AUGUST 2

GRADY HENDRIX

in conversation with ADRIENNE KING The Final Girl Support Group

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

FOOD AND DRINK

WHERE LOCALS DON’T EAT — BUT SHOULD If you think these neighborhoods and restaurants are only for tourists, we suggest you reconsider

BY MARGARET LITTMAN

Heading to the parking lot of a strip mall in Music Valley isn’t my regular jam. Or anyway, it didn’t used to be. People kept telling me that Semper Sliders, a restaurant in a bright-green shipping container, was legit.

Owner Zac Jenkins has appeared on Food Network’s The Great Food Truck Race and participated in the Scene’s Burger Week in the past, and he’s built a cool secret dining outpost. He serves a different selection of bigger-than-average sliders (brisket, portobello mushroom, pork and chicken) daily; you can choose to top them with an egg if that’s your thing. Everything is seared in house (or in shipping container, anyway) and served with homemade sauces and jams.

There are tons of sides, like tots topped with said jams, and I cannot emphasize this enough: Don’t skip the mac-and-cheese. This is a town with a lot of good mac-and-cheese, and Semper’s white cheddar sharpness and al dente pasta is now my favorite — even while eating it from a foam container in my car. You don’t have to eat in your car, though.

There’s a full “mess tent” with seating for eating “indoors” plus outdoor picnic tables.

DOWNTOWN

Next I headed to Broadway — both because of the T-shirt and the fact that many locals say they steer clear. First up, I met a friend for dinner at Merchants bistro, the first floor of the 30-year-old restaurant now owned by Nashville’s Strategic Hospitality.

When I was a Vanderbilt student, Merchants is where folks would go before a fraternity

formal or on parents’ weekend. Despite the fact that you are all up in the Broadway action on the first-floor bistro, soundproofing makes it so that you are watching the activity, but not really listening to it. (It isn’t quite as dramatic as the remarkable soundproofing up the street in the Downtown Sporting Club hotel rooms, but pretty close.) My party could have a conversation without any strain. The menu is Europeanbistro-inspired, with steak frites, salads and other standards, plus some Southern classics like fried green tomatoes. I once dated a guy who believed the best way to gauge a kitchen was to order the roast chicken, and by his standards, Merchants is a go.

The skin was crispy, the meat juicy, and the green beans had bite and zero mushiness.

The Merchants building was erected the same year as the Ryman, and in its life it has been a hotel, maybe a brothel, maybe a casino and a restaurant. It helps me remember that neighborhoods evolve, and even if locals don’t love all of the current iteration, it doesn’t mean the mojo is lost forever.

When I toured the Assembly Food Hall before it opened, my immediate reaction was that it was going to be a game changer for locals — an affordable place where folks can meet for a quick bite before heading to the Ryman for a show or strolling around at the First Saturday Art Crawl. I was excited to see so many local businesses, like my beloved Steamboys Chinese comfort food and Istanbul Shawarma, making my downtown eating better. Each time I’ve visited (which I’ve done with embarrassing frequency), most of the folks I’m chatting with in line are visitors. Locals, you’re missing out.

Lots of the bars with celebrity names on them can start to blur together in a haze of neon. If I’m out with friends who want to see the action and aren’t up for a honky-tonk,

MERCHANTS

PHOTO: ERIC ENGLAND

MUSIC VALLEY

SEMPER SLIDERS

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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PHOTO: ERIC ENGLAND

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here’s a T-shirt that keeps popping up in my social media feed. It reads, “So local I don’t go to Broadway.” It’s not the saddest or most annoying thing in my feed, but it gets under my skin anyway. Lower Broad is part of what made Nashville, Nashville. The honky-tonky back doors and the Ryman side door are inexorably linked. It was on a bar stool at Layla’s that I decided to move back to town after years away. I don’t like the idea of certain parts of town being ceded to tourists.

Of course, not everywhere and everything is for everyone. (Personally, I’m probably not getting in a hot tub on a truck bed anytime soon.) But I wondered what locals are missing out on by dismissing certain neighborhoods out of hand. More specifically, what food and drink are we missing out on? So I pulled on my eating pants (side note: it is a dress, not pants), grabbed some friends, and tasted my way through some places many locals say they never go.

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7/19/21 1:53 PM

FOOD AND DRINK

HOUSE OF CARDS from locals was, “I’ve never heard of it.”

I like the stylized pelicans on the light fixtures, the vegan gumbo and the connections they make on a board on the wall to show you where they are locally sourcing ingredients. For dessert you can go Louisiana-style with bananas Foster or an Abita root beer float or keep it local with HiFi cookies.

MELROSE

Housed in an old movie theater, projecting old movies on the wall, offering bathrooms that are Instagram catnip, boasting a healthy cocktail selection (more than 150 options) and having a setup that serves big groups well, Sinema has a reputation for being a party place. Maybe even a bachelorette-party place. The Bottomless Brunch — with free-flowing mimosas and a bloody mary bar — has cemented that reputation. But locals are allowed to have fun too, and Sinema is a place to do it. Menu items include fresh seasonal salads, meats from Porter Road Butcher and of course, cocktails with names that nod to the Golden Age of Cinema.

EMAIL ARTS@NASHVILLESCENE.COM

PHOTO: ERIC ENGLAND

I’m partial to Ole Red because they’ll serve me a real cocktail in a real (not plastic, not red Solo) glass. The menu includes decent mocktails, which — on a street that seems to have forgotten that some folks don’t drink — is a welcome respite. The menu at Jason Aldean’s Kitchen + Rooftop Bar doesn’t look that different from anyone else’s on Lower Broad (there is a lot of hot chicken and flatbread served on these blocks). But the kitchen staff knows what they’re doing. The waffle cornbread and Buffalo cauliflower, in particular, are standouts.

I’ll admit House of Cards is not an everyday dining experience. You’ll feast on a full dinner menu while catching live magic shows, there’s a dress code, and it is strictly 21 and up. But I love the fancy feel of the space — the fact that no photos are allowed gives me an excuse to just leave my phone in my bag and focus. A new menu includes some cool options such as a vegan surf-and-turf and cauliflower steaks as big as the slabs of meat the omnivores get.

Speaking of special-occasion places, Bourbon Steak atop the JW Marriott is not just for well-heeled travelers. Michael Mina’s steakhouse is the kind of refined experience where the servers know what you need before you know what you want. It’s hard to take your eyes off the views (both of the city and the celebs who dine here), but you should at least focus on the trio of fries and dipping sauces brought to your table while you await your steak. If Bourbon Steak is out of your budget, The Palm offers a similar kind of attentive service, perfectly cooked steaks, and the vibe that you are the only local in the place.

Good stuff, $10 or less Otto’s Bar — Taco Tuesday — $2 Tacos Find cheap ‘1980s Tacos’ and margaritas that pack a punch at this newish West Nashville bar

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THE GULCH

Tavern Restaurant Group, is our option for fish ’n’ chips like you’d get on the other side of the pond. The breading-to-fish ratio is right, and you can wash it down with your pick from a long list of beer, wine and cocktails.

Last month I wrote about Gumbo Bros, a small Cajun-food joint that opened in the Gulch in March. Most of the reaction I got

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SINEMA

PHOTO: DANIEL MEIGS

Lots of cities have British-style pubs. The Pub Nashville, which is owned by Cincinnati’s

ooking for a neighborhood bite and cocktail on a budget? James and Louisa Green, West Nashville residents and owners of cozy coffee shop Headquarters, have created a Charlotte Avenue oasis with Otto’s Bar, which opened late last year.

Otto’s makes its home in the space previously inhabited by Andy’s Auto Service and celebrates retro Nashville with bits and pieces from around the neighborhood — including the iconic orange booth from the old International Market, repurposed street OTTO’S BAR and mechanic signs reading “SERVICE DEPT” or “MAINTENANCE CENTER,” and a 4210 CHARLOTTE AVE. name that’s reminiscent of timeless neighborhood shops like Andy’s (or Betty’s, or 615-678-4086 Fran’s, etc.). With its giant palms, a vintage green settee, rattan chairs and mintgreen high-top tables, Otto’s has an eclectic utility-meets-glam style.

But it’s not too extravagant. You can get two tacos ($2 each) and a margarita ($6) on Tuesdays for just $11 total. Continuing with the old-school theme, Otto’s 1980s Tacos are a throwback to the “American style” hard-shell, shredded cheese, lettuce, beef tacos the Greens enjoy making at home. But here, the tacos are equipped with delicious upgrades such as a light but crispy shell, fresh pico, crema, zesty seasoned meat and cilantro. If you’re in a street-taco mood, Otto’s has those too — and they’re good. (I like chicken for their street tacos and beef for the 1980s, but it’s your call.) Vegetarians and vegans — they’ve got you covered with The BE-Hive’s vegan chorizo as well as vegan cheese for just 50 cents extra. Their margaritas pack a punch with fresh-squeezed lime for a sour but refreshing flavor.

Be sure to stop by for Otto’s other weekly specials: Happy hour Tuesday through Friday from 4 to 6 p.m. ($10 cheese boards, $5 house wine, $1 off drafts and well drinks) and Wine Wednesday ($5 house wine and $10 cheese boards). I know I will! EMMALEE MANES

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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

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hirty pounds. That’s how much weight I have gained.

Toward the beginning of the pandemic, I was like millions of Americans who decided to get fit. I started working out, ate all my leafy greens, yadda yadda, and that worked — for a while at least. But after several months, I hit a slump.

For most of my life, I’ve struggled with depression and anxiety. To cope in the past, I’ve used food, among a few other things. But it doesn’t take a rocket scientist to guess the implications of eating your feelings. I packed on the pounds. Day by day. Cookie by cookie.

Pizza slice by pizza slice. By fall, I was weighing myself every day, only adding to my body dysmorphia and depression.

I went to great lengths to avoid looking in the mirror. I almost treated it like a game.

How long could I go in the bathroom without having to look at my body? I got it down to maybe a few glances here and there. The day I hit 30 pounds of weight gain, I looked down at the scale, ashamed. Then, a heavy weight fell on my chest. I couldn’t breathe. I had a panic attack about gaining weight. But is gaining weight such a bad thing? And if so, why?

Maintaining your weight is expected, if not required, of you as a woman. And I was failing and failing hard.

“You’re gaining weight,” my grandmother told me.

News flash: People who are gaining weight know it’s happening. Some of us are in hell over it. If it’s not Granny reminding me, it’s the television. What would I be if I wasn’t thin? From Kim Kardashian and the army of flat-tummy-tea Instagram influencers to the constant barrage of thin, “ideal” body shapes gracing TV screens and magazine covers, women can’t catch a break — especially women of color.

For centuries, curvier women and body shapes were the standard. As Africa was colonized, Europeans noticed that many African women were also curvy. At that point, they decided that being thicker — being fat — wasn’t ideal for white European women anymore.

Sarah Baartman, a young Khoikhoi woman from what is now South Africa, became a walking NASHVI LLE, TNmuseum exhibit because of her body THERE’S shape. She was dubbed the “Hottentot Venus,” NOT NOT and her image swept through British popular BOOZE culture in the early 1800s. Considered a sexual IN HERE curiosity, Baartman became the object of racist scientific and medical research that formed European ideas about Black female sexuality, according to the Saartjie Baartman Centre for Women and Children.

Sabrina Strings, professor of sociology at

the University of California and author of Fearing the Black Body: The Racial Origins of Fat Phobia, tells NPR’s Short Wave that Europeans built a system of oppression around the idea of being thin to prove racial superiority — also known as fatphobia. Although the transAtlantic slave trade eventually ended, Strings notes that we are still absolutely living with these racist attitudes about body size. Like skin color, eating habits and body size became two of the characteristics used to suggest that people like me did not deserve freedom.

Ideas surrounding anti-fatness have led to marginalization on several different levels, including fat people being denied access to employment. In 2017, 49 states still allowed employers to discriminate based on weight.

Fat people also experience constant humiliation, only further pushing them down the social and dating hierarchy. This prejudice is especially prevalent in health care. BMI, or body mass index, wasn’t intended to measure the fatness of an individual, but rather for the purposes of statistics. But of course, doctors did and still do use it today. According to Strings, while the BMI is a measure of the ratio of a person’s weight to their height, it does not account for bone density, muscularity or any other type of genetic influence in weight like cultural and environmental influences.

Cross-racially, the BMI is not a useful tool. Its creator, Adolphe Quetelet, was not a physician, nor did he study any kind of medicine.

Even within race, there are vastly different experiences for individual bodies between their weight and health profiles. As studies have shown for decades, Black women in particular tend to be healthier at heavier weights than their white counterparts.

Since the system was already rigged against me, should I really care that I gained “all this weight”? I hated myself and my body because I had bought into an unrealistic ideal.

An ideal that caused me to hide my body under dark clothes and place my hand over my stomach in photos. After all, being fat would make me less than desirable.

So there it was — the truth. If I wanted to love myself honestly, then I would first have to stop weighing myself every day and criticizing myself for everything I ate. Soon the pressure began to fade. I didn’t need to weigh myself anymore. It was getting tiring anyway, waking up before the whole house to creep around just to see how “bad” I was the night before.

For the first time in my life, I feel free. My face is rounder. My stomach is wider, and so are my hips. Is that such a bad thing?

I let go of the clothes that no longer fit. I say affirmations every morning, like, “I am worthy beyond my physical appearance.”

Now I can embrace my rolls, laughing with each jiggle and sway. I’m not hiding myself or my body anymore. I don’t currently have a weight-loss plan, and if I lose weight, great.

If not, that’s great too. But right now, I’m doing what makes me feel good, and for the first time, I’m thankful I gained weight. Who would’ve thought?

EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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Museum admission or Museum membership required for program admittance unless otherwise noted.

Program passes required for select programs. See box office for details.

Museum programs are funded in part by the Metropolitan Nashville Arts Commission; National Endowment for the Arts; and the Tennessee Arts Commission.

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ART

HIGH FIVE

Five things to know about Kara Walker on the occasion of her exhibit at the Frist

BY LAURA HUTSON HUNTER

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“HARPER’S PICTORIAL HISTORY OF THE CIVIL WAR (ANNOTATED): EXODUS OF CONFEDERATES FROM ATLANTA,” KARA WALKER. COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION, 2005.339L.

ara Walker is among the most important artists in her generation, and her first solo exhibition in Nashville — the Frist Art Museum’s Kara Walker: Cut to the Quick — is KARA WALKER: CUT TO a big deal. That’s not THE QUICK only because Walker JULY 23-OCT. 10 AT is an exceptional THE FRIST ART MUSEUM talent, but also because her artistic point of view so deftly cuts through conversations about America’s past.

We need Kara Walker, now more than ever.

Here are five things to know about the artist before you check out the show.

1.

Walker wants to unsettle. She wants to provoke. Her best-known works unflinchingly depict the antebellum American South in cutout shadow figures that are both technically beautiful and conceptually gruesome. Rape, infanticide and racist caricatures are frequent themes. Her most recent works on paper use Barack Obama as subject matter — in one piece, he is cradling the decapitated head of Donald Trump.

2.

“AFRICAN/AMERICAN,” KARA WALKER. LINOCUT, 44 X 62 IN. COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION, 1998.53.

Walker has been a successful artist for decades. In 1997, at the age of 28, she became one of the youngest people ever to be given a MacArthur “Genius” Fellowship. In 2007, she was named one of Time’s 100 Most Influential People, and iconic artist Barbara Kruger wrote the accompanying bio. “Few have managed to capture the collision between past and present, between histories and horror stories, between sexuality and shame, between skin and meat, as powerfully and provocatively as Kara Walker,” Kruger wrote.

3.

Walker’s Victorian-inspired silhouettes tell big-picture narratives, but also contain small, sometimes subtle details. The more formally pleasant a work is, the more likely it is to have disturbing details. Among the most iconic images in the Frist’s exhibit is a 1998 work called “African/American,” which shows a single woman falling — upon inspection, her figure includes a breast loose around her armpit and a bushel of pubic hair between her legs. Look for grotesque details throughout her artwork, like additional sets of legs poking out from underneath women’s gowns, bloody scissors hidden behind backs, and used condoms dangling from hands and laps.

4.

Walker’s practice includes more than just cut-paper silhouettes. In addition to the videos, drawings and even pop-up books she’s made since early in her career, one of Walker’s most significant works is the sitespecific public art sculpture made from sugar and displayed at a historic Brooklyn

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sugar factory in 2014. “A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant” was 75 feet long by 35 feet high, and made from 80 tons of

sugar donated directly from Domino.

5.

Walker is far from universally beloved. Pioneering Black feminist artist Betye Saar has called her work “revolting and negative and a form of betrayal to the slaves.” Her art has been covered up and re-

moved from collections. As Walker told Essence the same year she was awarded the MacArthur grant, “To be successful as an African American artist, you have to spill your guts constantly to create a dialogue. It may not always be a pleasant one, but it’s a dialogue I would wish to have.”

EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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7/19/21 4:15 PM

ART

SERIOUS FUN

Contemporary Art History at Channel to Channel has the lowdown on high art

BY JOE NOLAN

the result is a small but scintillating display that feels complete and of a piece.

Edelhuber’s work makes up the bulk of the display in Contemporary Art History. The artist’s colorful paintings and sculptures are bookish investigations of contemporary art history, and the work will prove especially delicious to gallery-goers who might have something like an addiction to big, beautiful, inky-smelling coffee table art tomes. Both Edelhuber’s paintings and sculptures share similar structures, picturing a recognizable element from a well-known contemporary artist’s work that’s perched atop a stack of contemporary art books — the spines face the viewer so the titles, artists’, authors’ and publishers’ names can all be read. These aren’t exactly painstaking reproductions, but they’re all modeled on the designs of actual books.

Edelhuber refers to these book-centric

“KEITH HARING LIBRARY PAINTING,” JONATHAN EDELHUBER

works as “library” paintings and sculptures, and while they all repeat the same structure, their looks and their art-historical contexts are unique.

“Keith Haring Library Painting” pictures one of the 1980s street-artist-turned-gallerystar’s iconic dancing-dog images. The drawings inside the outline of the dog capture a dog riding on a man, a man being bitten on the foot by a dog, and even a dog walking a man on a leash. The dog is dancing on a stack of books about artists Sam Moyer, Richard Prince and Cy Twombly. Twombly’s use of text and textual gestures made an impact on both Haring and his pal Jean-Michel Basquiat. Haring even dedicated his 1988 painting of a yellow hand outlined in purple, “Untitled (For Cy Twombly),” to the painter.

Prince was one of Haring’s peers in the 1980s New York art scene, and along with artists like David Salle and Cindy Sherman,

“PORTRAIT IV,” JOSÉ LERMA

“PORTRAIT V,” JOSÉ LERMA art_7-22-21.indd 37

“PICASSO FIGURE LIBRARY PAINTING,” JONATHAN EDELHUBER

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n this postmodern age of art production, we see lots of art about art. Mountains of meta-minded paintings, videos and sculptures offer reflexive images, sounds and forms that point back at their own mediums, materials, styles and influences.

Like it or not, art about art is practically de rigueur in today’s gallery scene, where no matter the subject of the work, the “What’s it mean?” content — in one way or another — is often about art itself. Creating something CONTEMPORARY ART shiny and new in HISTORY such an overly satTHROUGH JULY 31 AT urated space can CHANNEL TO CHANNEL often mean finding a fresh approach, and for Contemporary Art History — currently on view at Channel to Channel — that includes injecting a much-needed dose of irreverence into content that’s all too often overly self-serious and painfully intellectualized.

Contemporary Art History manages to present an engaging, vibrant and playful display of art about art by simultaneously aiming high and diving low, and expressing its investigations of the art of our times in bold graphic styles, comic-book-inspired renderings and a popping palette of toystore tones. This two-person show includes paintings and sculpture from Nashvillebased artist Jonathan Edelhuber and José Lerma, who splits his time between Chicago and San Juan, Puerto Rico. Both of these artists revel in utilizing low popular culture to take the haughty hot air out of historical, high fine-art culture. They both bring their own takes and styles to these objectives, and

made up the so-called Pictures Generation, which brought representational imagery and mass-media references into the art aesthetics of the Reagan era. Haring died in 1990 when Moyer was only 7 years old. Her paintings incorporate materials like stone, marble and bronze to marry both painting and sculpture while also connecting her contemporary art to ancient history and archaeology. Haring’s energized doodles borrowed from ancient sources like European cave paintings and Egyptian hieroglyphics.

The puzzle-like art history lessons that Edelhuber’s works convey offer knowledgeable deep dives that pair perfectly against his works’ playful chromatic surfaces.

José Lerma’s suite of black-and-white portraits offers a complementary contrast to Edelhuber’s playful and colorful works.

Lerma works a lot with portraiture, subverting the traditional idea that a painted portrait is supposed to be a very serious work of art that celebrates and mythologizes a very important person. Lerma renders his anonymous subjects with thick black lines, pairing voluptuous forms with grid-like textures.

The multi-eyed and distorted faces nod to Cubism while also making a mockery of monstrous elites. There’s even something a little Haring-like in Lerma’s work that reads as simultaneously offhand and precise. There’s also a graphic print-like quality to the look of these portraits, which complements Edelhuber’s comic-bookinspired takes on iconic art works.

For better or worse, postmodernism has bridged the boundaries and flattened the playing field that once divided high and low art. The best contemporary artists understand how to combine various cultural expressions into displays that highlight the high points of high culture without letting it get too far up its own institutional orifices. We want smart art but not elitist, snobby art. We want entertaining art, but not merely amusing art. In the 21st century, we visit art galleries for serious fun, and this month, serious fun is at Channel to Channel.

EMAIL ARTS@NASHVILLESCENE.COM

7/19/21 4:16 PM

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AND MANY MORE TO COME!

ccording to Chris Offutt, the hill country of Eastern Kentucky is, among other things, “a pretty place to die.” This dry observation at the outset of The Killing Hills, Offutt’s latest literary thriller, marks the discovery of a local woman’s dead body by a curmudgeonly ginseng-root hunter — one of the novel’s many curious, suspicious and unforgettable characters.

The murder sets off an investigation by a reluctant impromptu private eye in a rural community with no heroes and the kind of murky code of justice typical of places that seem to have been forgotten by the rest of the world. No one knows this territory better than Offutt, who over the past three decades has established himself as a brilliant and unflinching chronicler of the hard, desperate people of his native ground.

Few writers today can boast of a body of work as wide-ranging and virtuosic as Offutt’s. His novels and short stories bend genres and upend expectations. His memoirs delve deep into the complicated psyche of Eastern Kentucky and his own troubled, eccentric family. His script work on prestige cable television series like True Blood, Weeds and Treme showcases his restless imagination and his gift for crafting appealing characters who live THE KILLING HILLS at the margins and

BY CHRIS OFFUTT GROVE PRESS dance close to the 240 PAGES, $26 edge of oblivion. In all of his work, Offutt combines literary artistry with narrative momentum. The Killing Hills is no exception.

A taut, gripping thriller, it also draws us deep into the lives of its troubled characters with wit, compassion and insight.

The reluctant private eye at the center of the story is Mick Hardin, an Army Criminal Investigation Division investigator (essentially a soldier-detective). Mick is drawn home from deployment in Germany to rural Eastern Kentucky when his sister Linda alerts him to the fact that his wife, Peggy, is in the late stages of pregnancy with a child that may not be his. Mick promptly decamps to his grandfather’s cabin with a case of whiskey to drown his sorrows. Linda, who also happens to be the county sheriff, enlists Mick to investigate the murder of Nonnie Johnson, partly because of her own political entanglements but mostly because she wants someone less conspicuous than herself to find the killer before Nonnie’s outlaw relations dispense their idea of justice on the wrong (or the right) man.

Mick conducts his investigation while pursued by a series of dubious and mysterious characters with ties to the meth and heroin trade ravaging rural Kentucky, as well as by the feds attempting to scoop him up for outstaying his leave and going AWOL. Meanwhile, the questionable paternity of his wife’s nascent child and its implications for the survival of his marriage loom, making Mick a man who seems at once to have nothing and everything to lose.

The same knack for propulsion, characterization and snappy dialogue that made Offutt a natural for Hollywood are on ample display in The Killing Hills. The sentences and chapters are crisp and crackling, the mood and tone dark and ominous but not devoid of humor. Put simply, the man knows how to keep the pages turning.

But The Killing Hills is no mere whodunit.

Indeed, by the final third of the novel, the resolution of the murder case is secondary to the question of what will become of Mick and Peggy and the unborn child. The simmering grievances of long-standing family conflicts come to a boil. Compassion for the murder victim is met and exceeded by empathy for basically good but flawed people reared in a bleak, isolated world, caught up in troubles that are both heartbreaking and familiar. The result is a novel that, like fine Kentucky bourbon, goes down easy and leaves a long, lingering burn.

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

EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

Benefiting Nashville Humane Association

MUSIC

ALL EARS

Rodney Crowell lets the song tell him what it wants to be on Triage

BY GEOFFREY HIMES

A

s one century turned into another, Rodney Crowell left behind his career as a country hitmaker and embarked on a second career as a literary singer-songwriter with his 2001 autobiographical album The Houston Kid. In this newer phase, he seems to work in two alternating modes: relationship songs and philosophical songs. The songs about his relationships with his parents and his lovers on the 2001 record, for example, were followed by songs pondering political, spiritual and aesthetic issues on his 2003 record Fate’s Right Hand.

Crowell’s newest album, being released Friday, is called Triage, and it’s perhaps his most philosophical yet. On it he wrestles with the growing peril of climate change and the core meaning of human existence — and whether that foundation should TRIAGE OUT FRIDAY, JULY 23, VIA RC1 RECORDS be called God, love, nature or something else. But as we sit in his home studio on his property south of Franklin on a recent June morning, the singer insists he started the album with no agenda in mind.

“I write better songs when I let them tell me what they want to be,” Crowell says from a black swivel chair, “when I let them teach me who I am, rather than imposing my will on them. I can talk about all these things — romantic love, monotheism, environmental catastrophe — and make a point or two. But it’s only when I write a song about these topics that I really learn something. I was just on the phone with my friend Joe Henry, and he said, ‘Some people say my songs are brave, and I pointed out that my songs may be brave, but I’m not.’

That resonated with me.”

Crowell is 70 now, but he still has the handsome looks of his stardom days, even if the curls framing his blue eyes and high cheekbones are gray and wispy. He stayed busy during the pandemic. He not only co-produced (with Dan Knobler) his own new album, but also produced Vincent Neil Emerson, a terrific eponymous showcase for the obscure 29-year-old Texas singersongwriter.

And from Aug. 5 through 9, Rodney Crowell’s Adventures in Song, a residential songwriting camp for beginners and pros, comes to Nashville’s Scarritt Bennett Center. Joining Crowell on the faculty will be fellow luminary songsmiths Peter Asher, Beth Nielsen Chapman, John Jorgenson, Shelby Lynne, Allison Moorer, Allen Shamblin and John Paul White.

“I can’t teach anyone how to write a song,” Crowell admits, “though I think people can learn something from me about how to make the most of the song they’ve written. But it’s hard to get across how a song starts. I’ve learned that if I’m patient, the song will tell me what it wants to be.

What happens, I think, is the subconscious gets involved and tells you things you’re

not aware of. Once you get it into the computer, you can start rewriting. Revision is the writer’s best friend, and I think I can help people with that.”

The new song “Transient Global Amnesia Blues” is named after a rare but real disease that struck Crowell in October. He was walking with his wife Claudia Church along the three-mile loop of their street. The ninth time Crowell asked her, “Have we circled the loop?” his wife got worried. She asked, “Should I call Joe?” “Who’s Joe?” Crowell replied. “The guy you’re meeting to work on the record.” “I make records?”

At that point, she was scared enough to drive him directly to the Williamson Medical Center in Franklin. The doctors there recognized the condition as transient global amnesia, something they see about twice a month. After four hours of not knowing who he was, Crowell gradually came out of it, and the docs told him that 98 percent of such cases never recur.

The next morning Crowell’s daughter Carrie texted him a photo of a sunflower growing out of an abandoned rowboat on the banks of the Thames River. The resilience of the plant not only echoed Crowell’s own recovery but also made the connection between his amnesia and humanity’s seeming amnesia about climate change. Crowell opens a black hardback notebook to show me the lyrics he scribbled down that morning.

“This is the song trying to tell me what it is,” he explains. “Fortunately, I sat down right here and recorded the song before too much time had passed since the first inspiration. It’s all there: the overall tone of the event and the feeling of writing the song.

I explained to my keyboardist Catherine Marx that it felt like swimming back up from the depths of nowhere, like I was surfacing, and she pulled that sound out of her

keys. When you try to capture your original inspiration in the studio, there are so many distractions that you can fail at it pretty regularly. So when you do get it, it’s pretty miraculous.”

It’s hard to write a song about a topic as slow-moving and amorphous as the environment. If you get too topical, Crowell acknowledges, the song quickly sounds dated.

The golden standard, he claims, is set by Woody Guthrie’s “This Land Is Your Land” and Bob Dylan’s “Blowin’ in the Wind.” The two songs never sound dated because they work as fables that can be applied to injustice in any decade. The song on Crowell’s new album that comes closest to that is “One Little Bird,” a conversation between the singer and a bird in his backyard.

“It was a Carolina wren, in that tree right there,” he says, turning to point out the window. “She was singing at me, and her message was, ‘Why can’t you see it’s almost over?’ ” On the song “Here Goes Nothing,” Crowell sings, “I’m a man in search of meaning.”

Several other songs on the album pursue that quest. On “I’m All About Love,” he declares, “I love Jesus, I love Allah,” but on the next line he adds, “I love ‘Claire de Lune’ and the hokey pokey.” For “Hymn #43,” Crowell wrote new lyrics to music composed by his old friend John Leventhal, who’s now married to Crowell’s ex-wife, Rosanne Cash; she sings harmony on the track. “I don’t know if I’ll ever find Jesus,” Crowell sings, “but I can’t say I won’t someday.” This is religious music not of certainty but of uncertainty.

“The reason I don’t have a religion,” Crowell admits, “is because I don’t know for sure. I have some sense of God, but I don’t derive a doctrine from it. Jesus’ teachings — ‘Don’t throw the first stone’ —

I’m all with that. But I’m not trying to tell you this is the definitive word.”

Early in the pandemic Crowell got a call from David Macias, co-founder of the record marketing, distribution and publishing firm Thirty Tigers, asking him to listen to some songs by Vincent Neil Emerson.

Crowell doesn’t do much outside producing anymore, but there was something about these demos that caught his ear.

“My first impression,” Crowell recalls, “was that he had schooled himself in the same writers who’d schooled me in my early days: Guy Clark, Townes Van Zandt, Billy Joe Shaver. But I also heard the shortcomings in what he was reaching for. I rang Vincent up and suggested some things he could do differently — things about word choice and bridges. He came back with changes that showed me that he didn’t think he knew it all. The fact that he had listened and caught on, that everything he sent me was way better than the last version let me know there was a record here to be made.”

Emerson usually performs with a country-rock band in Texas roadhouses; you can see him in person July 29 at The Basement. But Crowell recorded him with a stripped-down, drumless string band so the lyrics and melodies would shine through. The stories describe down-on-their-luck characters, deep in debt, haunted by family death, dumped by women, roaming from town to town in search of a firmer foundation. Through it all, though, is an optimism residing in the tunefulness and smart wordplay.

“There’s no pretentiousness in that boy,” Crowell observes. “He’s a great guy, a great writer, a great guitarist. I have a feeling he’ll be around for a while now.”

EMAIL MUSIC@NASHVILLESCENE.COM

nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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7/19/21 5:50 PM

MUSIC

DIFFERENT TIMES

After nearly 50 years, the members of Squeeze remain pop masters

BY EDD HURT

W

PHOTO: ERIC ENGLAND

ay back in the 1980s, the idea that large-scale pop could be intelligent animated a lot of New Wave music. In the United States during that era, a group as talented as The dB’s had trouble breaking through, despite their immense skill — or maybe it was because of that skill. The dB’s and other sophisticated pop bands made music that fell to one side of mass acceptance.

NICE TO COME HOME TO

Nashville Jazz Workshop opens a new chapter on Buchanan Street

BY RON WYNN

N

early two years after the Nashville Jazz Workshop announced it would move from its longtime home in the old Neuhoff Complex to 1012 Buchanan St. — a timeline extended, as in so many other cases, GRAND OPENING EVENTS AT 1012 BUCHANAN by the pandemic — ST. JULY 24-25; FREE the formal opening COMMUNITY CONCERT celebration of the WEDNESDAY, JULY 28 organization’s new headquarters is set for Saturday and Sunday.

NJW co-founders, bassist Roger Spencer and pianist Lori Mechem — a husband-and-wife team of performers and educators — acknowledge that this new facility represents something they never envisioned when they arrived in Music City in 1988.

“Things were, to be kind, sort of bleak back then,” says Spencer. He and Mechem are speaking with the Scene together by phone during a brief break from final preparations. “Other than a couple of restaurant gigs here and there, you didn’t see or hear a lot of live jazz being performed.”

The couple co-founded the Nashville Jazz Institute in 1998, which changed its name to Nashville Jazz Workshop and received federal nonprofit status in 2000. Their efforts over two decades have led to the organization becoming nationally recognized and admired for live jazz performance as well as education, instruction and advocacy.

Saturday’s events will begin with a ribbon-cutting ceremony at 10 a.m., fol-

42

lowed by a performance from Midtown Jazz Quartet. The local quartet’s members — two full-time musicians, a doctor and a lawyer — met in NJW classes, and have since become a working unit with regular gigs.

“It’s kind of emblematic of what we’re hoping for with our classes,” Mechem says.

“We want to encourage and attract both professionals and those who love the music, but aren’t involved in it on a full-time basis.”

Tours will be offered throughout the day until 2 p.m. on Saturday, and again on Sunday from 2 to 4 p.m. You can preregister for a tour via the NJW website. The celebration extends to a free community concert at 7 p.m. on Wednesday featuring the music of Stevie Wonder; however, pre-reservations have proven popular, and all the seats are taken.

Another important aspect of the move is NJW’s immersion in cultural and neighborhood events. The new home on Buchanan Street is right in the middle of an area with a growing number of culturally significant businesses sometimes called the Buchanan Arts District — a vital part of historically Black North Nashville.

“It feels good now to have this new building and to be part of the great things happening in North Nashville,” Spencer says.

“We definitely want to be good neighbors.

One of the things that we’re really pleased about with the new location is [that] before you had to know exactly where we were. We were isolated, off the main road. Now we’re having people come in off the street and ask about the facility, wanting to know what’s

happening here. We’ve got the people who do security and parking for Slim & Husky’s and other businesses on the street working with us. We’re attending the community meetings and really getting to know our neighbors.”

Spencer adds that the NJW hopes to soon establish some regular interaction with Monday Night Jazz, the weekly musical gathering that’s become a North Nashville staple. Meanwhile, the NJW’s in-person classes will resume in August. Live music in the new iteration of the Jazz Cave, the NJW’s in-house venue, is also coming back.

“We’re now calling the series In Concert at the Jazz Cave,” Spencer explains. “We can seat 82, but we’re going to start with 50 so we can be sure of having the social distancing protocols in place.” The series kicks off Aug. 14 with jazz vocal mainstay Paula Chavis. The show format is modified a bit for the new series, as well: The presentations will now be one long set rather than two smaller ones with an intermission, to more closely match the experience of commercial jazz venues.

The move is significant enough, but Spencer and Mechem and their team have further changes in mind. Among them: They’re hoping to ramp up their concert schedule and increase the number of educational sessions they program.

“We’ve got lots of jam sessions, and that’s great, but we want to have more things where if you’re playing a tune and something might not be working, you can stop and then we talk about how to make that work from a musical standpoint,” Spencer says. “But most importantly, we want the public to come in and feel welcome, hear great jazz and enjoy the experience.”

EMAIL MUSIC@NASHVILLESCENE.COM

In England, the London band Squeeze took up the mantle of the British Invasion, which had begun two decades earlier, and released PLAYING SUNDAY, AUG. 1, AT THE RYMAN some tunes that hit the charts. Like The Beatles and The Kinks in the 1960s, Squeeze in the early ’80s represented an idea of English cool to North American fans who also believed that pop might still be able, at that late date, to change the world.

Squeeze is still recording and playing, nearly 50 years after singers and songwriters Chris Difford and Glenn Tilbrook put the band together in 1974. They’ve broken up and reformed several times since their commercial heyday of 1981 — you might recall “Tempted,” which made it to No. 49 on Billboard’s Hot 100 chart that year.

“Tempted” is perhaps their best-known song on this side of the pond, though 1987’s “Hourglass” was their highest-charting single in the United States, thanks to exposure on MTV. The band played a version of power pop, but Squeeze had an even lighter touch than The dB’s themselves.

Squeeze starts off their latest tour at the Ryman on Aug. 1, which will give fans a chance to see a world-class band in action. The group has gone through many personnel changes since they first split in 1982, with the current band featuring Nashville bassist Owen Biddle among other superb players. Tilbrook’s post-Paul McCartney vocal chops remain in place, and the latest version of the group promises to breathe new life into their classics.

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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MUSIC

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KEEPING IT REGAL: ALANNA ROYALE

THE SPIN THE SOUL YOU SAVE

BY MEGAN SELING

H

alfway through her nearly 90-minute set at Exit/In Saturday night, soul singer Alanna Royale laughed before introducing yet another new song to the crowd. It was her first in-person show since an Exit/In gig in February 2020, and she had a slew of new tunes to debut.

“I’ve been sitting on a record for a long time,” she admitted. “This is like a recordrelease show with no record! But I’m doing it, I don’t give a fuck.”

The audience in the crowded-but-notpacked house cheered with approval. After opening with fan favorites “Cruel Cruel World” and “It’s Not Yours,” both from 2018’s So Bad You Can Taste It, Royale and her glove-tight band switched gears. Instead of easing their way back to the stage with the relative comfort of crowd-pleasers, they turned the evening into something like an episode of VH1 Storytellers. The new songs played a key role in sustaining her during the past 16 months, and she shared the stories of how they helped her get here.

Royale talked about how some of the final words Judy Garland spoke onstage, which she heard in a documentary about the legendary actress, inspired the crawling, midtempo R&B song “Forget Me.” She opened up about mental health and the weight of isolation in “Imagine,” which includes the relatable lines: “Something is killing me / A devil I can’t see / It’s just my imagination.” She also shared the good news that she got signed to Ohio soul label Colemine Records even during the “fucking pandemic” — seldom has an epithet been deployed more appropriately. The full-length should be out next year.

As much as the past several months have been professionally victorious for Royale, she also recognized that there are a lot of

PHOTOS: BRANDON DE LA CRUZ

Speaking via Zoom from London, where they’re getting ready for the tour, Difford and Tilbrook talk to me about their early music with a rightful sense of pride. Still, as Lou Reed used to sing, those were different times.

“We’re not in those days now,” Tilbrook says, referring to the long-gone New Wave era. “It’s really on a song-by-song basis.

Some of them we’ve reimagined, I think, as an alternative way they could have been — as something that’s more interesting for this lineup to play.”

Indeed, Difford and Tilbrook’s catalog is even deeper than that of Peter Holsapple and Chris Stamey, of the aforementioned dB’s. No piece on Squeeze could fail to mention the influence of John Lennon and Paul McCartney, of course. For Difford, who has been the lyricist in his songwriting partnership with Tilbrook since they began collaborating, the ’60s and ’70s were an inspirational time for a budding songwriter.

“I think there were so many writers around when I was growing up to sort of latch onto,” Difford says. “Much more than now — for me, anyway. You know, from Lou Reed to Donovan — there’s always something to be found in people like that.”

Setting aside much-loved and wellperforming singles like “Pulling Mussels (From the Shell)” and “Up the Junction,” the early Squeeze albums are packed with songs that have become standards, even if most of them weren’t hits. “Black Coffee in Bed,” a track from their 1982 album Sweets From a Stranger, remains a fan favorite.

Meanwhile, another 1982 track, “Annie Get Your Gun,” may be the apotheosis of their early work. The song seems to be about an actress, or maybe a pop star, who has “gone electric” — and a bit mad. Interestingly, it’s one of the original band’s most synthetic, non-rock-band tracks, as Tilbrook tells me.

“Basically, it was a Fairlight [synthesizer] and [producer] Alan Tarney who played on that record,” Tilbrook says. “He stuck to the demo pretty closely, actually.” Tilbrook says the backing track was completed by the time he and Difford arrived at the studio to sing on it, without the rest of the band. It went quickly, as Difford recalls: “I think we were in the pub by 12.”

Squeeze’s releases from the late ’70s and early ’80s help define the New Wave era. Still, their work later in the ’80s has its moments. For example, the track “Some Americans,” from 1987’s Babylon and On, betrays some of the production excesses of its time. For all that, it attempts to understand the American character, as they sing, “Some Americans are burger people / Some Americans say no to war.” It borders on cheap satire, like a late-period Kinks song, but that’s part of its charm.

The band’s most recent full-length, 2017’s The Knowledge, is the work of artists who feel their age but remain believers in the healing powers of pop. That record’s “Patchouli” is a beautiful meditation on Difford and Tilbrook’s adolescence in the early ’70s, with chord changes that call up a pop vocabulary that derives from the British Invasion. If you’re of a certain age, or if you still hope pop might change the world, you might feel a little bit lost when the song is over.

BLOWIN’ IT: BRASSVILLE things that remain Not OK in many ways.

Opening act Brassville was a fantastic party starter who promised and delivered “a whole lotta brass with class for your ass!”

The eight-piece brass band blared through uplifting songs about waving goodbye to your haters and “shaking your brass,” and a horny (ahem) rendition of OutKast’s “So Fresh, So Clean.” The crowd, about 90 percent white, loved it more by the minute, leaving Royale to wonder where we’ve all been for past Brassville shows.

“Brassville’s amazing, and I want you all to know something,” she said as her band quietly vamped on the intro to her next song.

“Last time I went to see Brassville, I was one of like three white people there. We’re gonna have a talk real quick, Nashville, because I’ve lived here almost a decade and the fucking segregation at shows across musical communities, that shit don’t stand with me. I’m fucking sick of that shit. I go to see Brassville, they’re playing a sold-out show at Acme and there’s [almost] no white people there. I’m sick of that shit. So everyone get their fucking phone out right now and follow Brassville on Instagram and follow five more people that they follow, and y’all get your white asses to see Brassville and support real Nashville music. There’s shit poppin’ off in this city all over the place and

I can’t tell you how much we’re all missing out on because we’re so fucking separate. I don’t want it to be like that, I’ve had it.”

The crowd roared, and one of Brassville’s players threw back the curtain at the back of the stage and cheered. I could see several folks in the audience open their phones, maybe to follow her instructions. Royale said the quiet part out loud. She made the show into more than a celebration of her personal achievements — it was a reminder to recognize and support local music across a wide spectrum.

“I love the Nashville music community with all my fucking heart,” she added. “And I want to see every single one of us out here killing it, you know what I’m saying?”

Brassville plays a weekly residency at 3rd and Lindsley that wraps up on July 28.

They’re also performing at the Jefferson Street Jazz and Blues Fest — which comes to the campus of Fisk University on Saturday, July 24 — alongside artists like the Fisk Jubilee Singers and Geo Cooper and Friends of Autumn. Go. Dance. Urbaanite’s Ashley Currie, who wrote about Brassville in her collaboration with the Scene For the Soul, is not wrong when she tells you Brassville has the talent and drive to “put this city on the brass-band map.”

EMAIL THESPIN@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 21 – JULY 27, 2016 | nashvillescene.com

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SAVED BY THE 90S // JUL 23

Walk The West & John Jackson and the Rhythm Rockers // Jul 31

BLACK PISTOL FIRE // AUG 1

SPAFFORD // AUG 3 & 4

kendall street company & the aquaducks w/ stoop kids// aug 5

SMALL BUSINESS!

Saved By The 90s All time low SOLD OUT! krs-one Tayls w/ Nordista Freese and Nadir Blade Walk The West & John Jackson and the Rhythm Rockers Aug 1 Black Pistol Fire w/ welles Aug 3 & 4 Spafford (PHISH AFTER PARTIES) Aug 5 Kendall Street Company & The Aquaducks w/ stoop kids Aug 6 Becca mancari w/ annie Dirusso Aug 7 Jerry Garcia 79th Birthday Celebration Aug 8 Gemini Syndrome w/ A Killer's Confession,

Nominate your favorite Nashville small business and they’ll be entered to win $2,500 courtesy of Nashville Scene and SumUp!

Aug 11 Aug 12 Aug 13 Aug 14 Aug 18 Aug 24 Aug 25 aug 27

Tell us why you think they deserve some small business love and how they add to the unique fabric of our community.

Nominations open July 22 and run through August 9

START NOMINATING

NASHVILLESCENE.COM/YASNISMALLBUSINESS2021

w/ welles

Upcoming shows Jul 23 Jul 26 Jul 29 Jul 30 Jul 31

Presented by

TAYLS // JUL 30

w/ nordista Freeze and Namir Blade

OVTLIER & Pushing Veronica

Blink 182 vs Weezer Tribute Leah Blevins Kody West Drivin N Cryin w/ LORE fancy hagood feat. sarah buxton John 5 w/ Jared James Nichols & Black Satelitte sarah darling w/ maggie baugh and colin elmore space capone

WHOA DAKOTA // JUL 22

Jul 26 Jul 27 Jul 26 Jul 28 Jul 28 Jul 29 Jul 29

hellzapoppin Brandon "Taz" Niederauer Kashena Sampson Sam Fischer The Foxies w/ Wild Love Nikki Lane w/ Joshua Hedley turnstile Summer Salt w/ Covey and Breakup Shoes Jordy Searcy w/ palmertrees Gary Numan w/ i speak machine Wild Rivers w/ jillian jacqueline Fozzy w/ Through Fire, Royal Bliss & Black Satellite Jukebox the Ghost Perpetual Groove the nude party The Emo Night Tour Mae & The Juliana Theory Songs of John Prine SOLD OUT! okey dokey Parker Millsap w/ molly parden Noga Erez w/ McKinley Dixon Madison Cunningham w/ S.G. Goodman

VINCENT NEIL EMERSON // JUL 29 & AUG 5

w/ creature comfort

Jul 22 Jul 22 Jul 23 Jul 24

aug 31 Sep 1 Sep 8 Sep 9 Sep 10 Sep 11 Sep 12 Sep 17 Sep 20 Sep 27 Sep 28 Sep 30 Oct 1 Oct 2 Oct 5 Oct 7 Oct 8 Oct 9 Oct 14 Oct 16 Oct 17 Oct 18

UPCOMING SHOWS

Whoa Dakota w/ Creature Comfort (7pm) feelrs w/ De3ra & The Dirty Delusions (9pm) get happier fridays free show! eric neumann w/ ron nobles, frank favia & josh lewis

nate fredrick & ryan nelson (7pm) the cabin boys residency (7pm) grocer w/ ceci and casters (9pm) tyler mccollum (7pm) the roads below, paige rose, mike dunbar (9pm) vincent neil emerson (7pm) mEld, mosey, cass hart (9pm)

Jul 30 Jul 31 Aug 2

get happier fridays free show!

The Rad Trads w/ S. Grant Parker elise davis, stephanie lambring, caroline spence, hailey whitters Aug 3 the cabin boys residency (7pm) Aug 4 jeff shepherd w/ karly driftwood & maggie baugh Aug 5 vincent neil emerson Aug 6 red shahan Aug 10 emily rose Aug 3 get happier fridays free show!

Aug 14 love montage & badculture (7pm) Aug 14 Samuel Herb w/ Bonner Black (9pm) Aug 20 & 21 Sierra Ferrell

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nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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FILM

FEAR STREET PART TWO: 1978

PRIMAL STREAM 61 An instant sleepover classic, another Fear Street installment and more, now available to stream

BY JASON SHAWHAN

W

aking up every morning lands somewhere on the continuum of a dialectical exercise.

Sometimes you wake up and you’ve got the butterfly of personal initiative barreling toward you, while from the other direction comes the hummingbird of psych meds.

Thankfully, you’ve got a shoulder for each where they can rest while you get your psyche in order. Other days every news headline is a different bumper car with something awful and lacerating tied to its prow, and they’re all headed at you from all around while you’re immobile from depression, despair and desperation. You’d think that the time spent in pandemic siege mode would have made this process a little easier to navigate — it has not.

Anyway, here are some audiovisual comfy chairs to rest in and ponder things in the context of. Thank you for reading, and thank you for watching things. Art does help, and it always has. As always, look back at past issues of the Scene for more recommendations on what to stream.

KANDISHA ON SHUDDER One of the glorious aspects of 1992’s Candyman (and the Clive Barker novella The Forbidden, which it derived from) is that there is no shortage of legends, mysteries and deeply specific furrows in the well-trod roads of history that cannot be explained rationally. The Moroccan folklore charac-

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ter Aicha Kandisha was no Candyman, or Bloody Mary, or Bell Witch — though if you know any of those stories you’ve got all the prep you need for this visceral and vibrant French-language shocker from Alexandre Bustillo and Julien Maury. (The duo made Inside/À l’Intérieur, which remains justifiably infamous even to this day. It even broke some poor souls at one of the Belcourt’s 12 Hours of Terror events.)

In Kandisha, three young women — each with a different cultural background — find themselves in an awful situation when one’s abusive ex ends up gruesomely dead after an attempted assault. But Amélie (Mathilde Lamusse) knows what happened, because she called upon the spirit of Aicha Kandisha — a 14th-century Moroccan woman who helped battle Portuguese soldiers, and who may be invoked to rain down retribution on the men around her. But the problem with a supernatural wish fulfillment of any kind (and this take on the Kandisha legend sees her as a chaotic, goat-legged djinn) is that it never stops where you’d like. And soon Amélie, Bintou and Morjana are in a race to save the lives of their fathers and brothers before Aicha kills them all in spectacularly gory ways.

There are some dangly threads that may annoy or distract some viewers, as well as a sweatiness around the mythology (which is to be expected, given the breadth of permutations of the Kandisha legend in Morocco and its diaspora). But this is just about the perfect thing to whet the appetite of anyone who’s into horror before Nia DaCosta’s take on Candyman comes out in August. The teenage-and-up cast is good, both in bringing energy to the material and in creating characters who are dealing with contemporary life as well as something ancient and chthonic. Kandisha feels like an instant sleepover classic, and one that will take up space in the parts of the brain where the deepest shadows lay, especially with one of the gutsiest endings you’ll see all year.

TEEN TITANS GO! SEE SPACE JAM ON HBO MAX AND CARTOON NETWORK If you’ve never seen 2017’s Teen Titans Go! To the Movies, then remedy that first thing. It’s the most innovative superhero film since Ang Lee’s Hulk, and it’s also incredibly witty and imaginative. It will reinforce the internal decision to explore what the Teen Titans Go! series has to offer, and it might make you a bit more likely to take a chance on their newest endeavor, a mercenary bit of studio cross-promotion (gearing up for the launch of the Space Jam sequel) wherein the Teen Titans hang out

with the Nerdlucks and watch Space Jam, riffing on it à la Mystery Science Theater 3000. Because this is a kids’ show, way too many punches get pulled. Space Jam is a fucking terrible movie (first thing: Bugs Bunny has never needed human help for anything), and it isn’t saying much that this version of it, with the occasional Teen Titan interruption and commentary, is by far the best way to experience Space Jam. It also may indirectly help kill your susceptibility to your own nostalgia, which is more often than not a good thing. Sadly, it isn’t quite enough. But for a thing that a studio did to increase awareness of an upcoming IP showcase, it could be much worse. And there is always Teen Titans Go! To The Movies, which is a stone classic for all ages.

And in case you’re wondering how they address that KellZodiac-shaped question mark, the entire original song score has been replaced by a generic collection of up-

tempo jock-jam-derived library tunes. So at least there’s that.

FEAR STREET PART TWO: 1978 ON NETFLIX Due to the unfortunate nature of deadlines, by the time you read last week’s take on Fear Street Part One: 1994, the final chapter in the trilogy, 1666, was already out there in streaming queues nationwide.

With the amping-up that happens in the second part, 1978, as well as that ending, you can bet I was watching it the second it was available. What’s fascinating about the Fear Street trilogy is that, while it hasn’t gone for a particularly innovative approach to its material, it understands the timeless things that horror audiences are intrigued by, as well as the tropes and iconography that aren’t quite so prevalent these days. 1978 tells the story of what happened at Camp Nightwing — another in the sad series of happenings in Shadyside, Ohio, that has left the whole town in emotional stasis. We’ve got squabbling sisters, symbolic retribution, a teen confrontation so harsh and shocking that the volleyball team from 1984’s Savage Streets would say “now hang on a minute,” and so many dead campers. That’s the most shocking thing about this film: Not even the younger campers are spared the ax, and it hits just as hard as the hazings, bug-related pranks and (eep) compound fractures. The filmmakers do a good job nesting the 1978 story among the aftermath of 1994, and I’m psyched to find out the real deal behind the curse of Sarah Fier like I would have been back in the early- to mid-’80s, when seemingly every actual Friday the 13th there was a new one of those movies on deck. If society still stands at the end of 1666, I welcome more Fear Street like I welcome new and experimental Oreo flavors even while lamenting how the quest for cheap palm oil has killed so much biodiversity and so many of our cutest climbing animals. Anyway, here’s hoping for less suffering for Shadyside and a bit of a spiritual reckoning.

EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 22 – JULY 28, 2021 | nashvillescene.com

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NG TH I K

WHAT A WAY TO MAKE A LIVING The Belcourt screens Lizzie Borden’s radical 1986 film about sex work

BY NADINE SMITH

T

hough the history of on-screen representation of sex work is complicated, problematic and often downright offensive, cinema is a medium uniquely suited to depict it. Both industries are fundaWORKING GIRLS mentally rooted in NR, 93 MINUTES performance: as an SHOWING JULY 28 AND actor or a sex worker, AUG. 1 AT THE BELCOURT you craft a persona and become someone slightly outside yourself in order to give the customer or audience member an experience that feels sincere.

Both lines of work bring fantasies to life for an exchange, but the person actually doing the work doesn’t get to reap the emotional rewards of illusion — what might be enthralling or euphoric for the client or viewer is often tedious for the worker. Like any job you do day in and out, making people feel for a living can wear you down.

Iconically named and consistently rebellious filmmaker Lizzie Borden is best known for 1983’s Born in Flames, a feminist landmark that’s half scuzzy speculative fiction in the form of a faux documentary and half searing manifesto. Borden’s career expands into greater focus with a new restoration of her 1986 feature Working Girls, a sociologically motivated study of a New York brothel that looks at sex work as strictly business.

Originally released by Miramax, Working Girls was held in limbo for many years after Harvey Weinstein made Borden out to be “difficult” and essentially blacklisted her.

Molly (Louise Smith) is a young artist in New York City without many options when it comes to making a viable living and still having some time for her creative work, a situation faced by so many women in the arts. Her frustrations are universal: The

money is solid, but the boss is demanding, the clients can be difficult and picky, the hours are dull, and the stress of work adds to the tensions she’s feeling with her partner.

Whenever Molly is on the clock but doesn’t have a client, she takes out a little notebook and writes down her earnings — one column for the money she owes her madam, one column for the money she can keep, almost as if more will appear if she stares at the numbers enough.

Born in Flames is a lo-fi transmission from an alternate timeline, where socialism has been enacted on the state level but old divisions of gender, sexuality and race are still entrenched — it’s the rare American film that’s truly revolutionary in both its politics and style. Though it was developed from a tremendous amount of research and time spent with sex workers, Working Girls does not present itself as a documentary like Born in Flames does. But at its core it is a tremendously real film, a sober look at an often sensationalized subject and a thoroughly material analysis of a workplace.

More than sex itself, we see the things around sex, all the maintenance and upkeep, the aesthetic and emotional labor, the nagging of a boss who might act like your friend but still keeps a short leash. Working Girls is a collage of tissues, wet wipes and dollar bills; the girls are constantly having to run little errands and fetch condoms or birth control, just as office workers might make a run for paper or ink. Aside from bookended scenes outside the job, the film rarely ever leaves the brothel, a slightly uncanny and off-kilter studio set: It’s comfortable, but a little stuffy, with a sense the walls are slowly closing in, in the way that any work space will eventually drive you crazy. Given the almost sitcom feeling of its primary location, Working Girls has an appropriately sly sense of humor, built off the kind of natural hijinks and rapport that comes from coworkers stuck in a room together.

While Born in Flames might be radical in the in-your-face, in-the-streets sense, Working Girls is a very different kind of radical film — one that gains its power by showing how sex work, despite the misunderstanding and whorephobic society around it, is so often just as mundane as any other line of work.

EMAIL ARTS@NASHVILLESCENE.COM

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SCENERY Arts and Culture News From the Nashville Scene

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Subscribe to Scenery, our weekly newsletter that covers visual art, theater, comedy, books, film and more.

Subscribe at nashvillescene.com/subscribe nashvillescene.com | JULY 22 – JULY 28, 2021 | NASHVILLE SCENE

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Burger Week Sure WaS JuIcY!

BurgEr  Week J ulY 12 -18

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With 11-Down, what each of this puzzle’s groups of circles represents Side order with curry Was in the red Xbox or PlayStation Group migration Relative of an adder One of las Islas Baleares Finishing touch on the first transcontinental railroad “Gotcha” Info on tax forms See 1-Down Crude content Vault Sticks in the water French for “bent” Guitarist Clapton “Frontal” or “lateral” speaking features White-barked tree Hoops Austere Home with a hole at the top Carne ___ Drink that might be served with a metal cup Vedic religious text ___ Jose

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“Your point being …?”

Regarding Part of a hog farm Trendy ingredient in a healthy smoothie Push forward Features of some leather jackets “Super” orgs.

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Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/ crosswords ($39.95 a year).

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Rental Scene

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Richard R. Rooker, Clerk L. Chappell, Deputy Clerk Date: June 30, 2021 Larry B. Hoover Attorney for Plaintiff NSC 7/8, 7/15, 7/22 & 7/29/2021 Non-Resident Notice Fourth Circuit Docket No. 21D780 TAMARA L. HOSSMAN vs.

STEVEN J. HOSSMAN In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon STEVEN J. HOSSMAN. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 30, 2021.

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

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: July 1, 2021 F. Michie Gibson, Jr. Attorney for Plaintiff NSC 7/8, 7/15, 7/22 & 7/29/2021

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NSC 7/8, 7/15, 7/22 & 7/29/2021 IN THE JUVENILE COURT FOR DICKSON COUNTY, TENNESSEE AT CHARLOTTE Docket No.: 06-21-079-DN IN RE: LEXI GWEN CUNNINGHAM, A minor child under the age of eighteen (18) years MATTHEW CUNNINGHAM, MEGAN JONES, Petitioners, v DANELLE MAI BARR, Mother, Respondent.

PAUL RYAN CUNNINGHAM, Father(Deceased).

SERVICE BY PUBLICATION TO: DANELLE MAI BARR Pursuant to an Order entered by Dickson County Juvenile Court Judge Michael Meise, it appearing from the Petition for Dependency and Neglect filed in this cause, which is sworn to, that you are a resident of the State of Tennessee so that ordinary summons cannot be served upon you and you are therefore commanded to serve on Kirk Vandivort with Reynolds, Potter, Ragan and Vandivort, PLC., whose address is 210 East College Street, Dickson, Tennessee 37055 an Answer or Response to the Petition filed against you in this cause within 30 days from the fourth publication of this notice as required by law; otherwise a judgment by default will be taken against you.

It required that this notice appear in the Nashville Scene for four consecutive weeks.

This the 23rd day of June, 2021.

NSC 7/1, 7/8, 7/15, 7/22, 2021

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Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: July 1, 2021 F. Michie Gibson, Jr. Attorney for Plaintiff

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Non-Resident Notice Fourth Circuit Docket No. 21D408 BERNADETTE DENISE BROWN vs.

WALTER MORRIS BROWN JR In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon WALTER MORRIS BROWN JR. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after August 12, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on September 13, 2021.

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

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: July 16, 2021 Nicholas D. Waite Attorney for Plaintiff NSC 7/22, 7/29, 8/5 & 8/12, 2021

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In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon HERSHEY BENARD BURNETTE. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 30, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon STEVEN J. HOSSMAN. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on August 30, 2021.

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

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