Nashville Scene 7-9-20 by FW Publishing

JULY 9–15, 2020 I VOLUME 39 I NUMBER 23 I NASHVILLESCENE.COM I FREE

CITY LIMITS: NASHVILLE AND CORECIVIC VEER TOWARD NASTY SPLIT PAGE 6

FOOD & DRINK: WORLD CENTRAL KITCHEN EMPLOYS HOSPITALITY WORKERS, FEEDS THE HUNGRY

It Runs Only One Way

PAGE 16

MARGO PRICE FOCUSES ON WHAT’S MOST IMPORTANT — IN HER LIFE AND ON HER NEW LP THAT’S HOW RUMORS GET STARTED BY MARISSA R. MOSS

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MUSIC CONNECTS US

NASHVILLE SCENE | JULY 9 â&#x20AC;&#x201C; JULY 15, 2020 | nashvillescene.com

CONTENTS

JULY 9, 2020

Nashville and CoreCivic Veer Toward Nasty Split ..................................................6

The Sun at Your Back ............................. 22

CITY LIMITS

After anti-privatization efforts from Metro councilmembers, the infamous for-profit prison company threatens to bolt BY STEVEN HALE

Thousands March for Black Lives in July Fourth Protest ............................................6 Teens for Equality-led march was peaceful, though arrests followed at state Capitol

MUSIC

Gone West cultivates a unique and personal country sound on debut LP Canyons BY ANDREA WILLIAMS

Bobby Braddock explores country’s mythology in Country Music’s Greatest Lines BY EDD HURT

The Spin ................................................... 24 The Scene’s live-review column checks out livestreams by Bully and Country Westerns

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

BY MEGAN SELING AND CHARLIE ZAILLIAN

This week on the Scene’s news and politics blog

25 FILM

COVER STORY

Primal Stream XVI

It Runs Only One Way Margo Price focuses on what’s most important — in her life and on her new LP That’s How Rumors Get Started

Conceptual horror, all of the Jaws films and more, now available to stream

Otaku Ramen Announces Summer Series Menu And Another Thing: NewsRadio and Northern Exposure — Peak ’90s Comedy

ON THE COVER:

Margo Price Hair by Tarryn Feldman Photo by Daniel Meigs

Spawn of the Dead We Are Little Zombies is inventive and fun, but overstuffed with ideas

BY NATHAN SMITH

Build your own streaming Steve McQueen (the director) film fest, listen to the new Hum album, eat a burger for Burger Week, catch up on hip-hop podcasts, make a playlist of new music from 2020 and more

Nashville DA’s Office Will No Longer Prosecute Simple Marijuana Possession

BY JASON SHAWHAN

BY MARISSA R. MOSS

CRITICS’ PICKS

Stream the Final Show at Lucy’s Record Shop

Through Line............................................ 23

BY ALEJANDRO RAMIREZ

THIS WEEK ON THE WEB:

NEW YORK TIMES CROSSWORD

MARKETPLACE

FOOD AND DRINK Central Standard

World Central Kitchen keeps hospitality workers employed while feeding the hungry in Nashville BY MARGARET LITTMAN

BOOKS

Conspiracies of Silence Say Nothing weaves the unsolved case of a disappeared Belfast mother into a history of the Troubles BY KIM GREEN AND CHAPTER 16

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FROM BILL FREEMAN THE STATE CAPITOL’S NATHAN BEDFORD FORREST BUST MUST GO Confederate symbols and statues throughout the South have been coming down in recent weeks — but the bronze bust of Nathan Bedford Forrest remains protected inside the Tennessee State Capitol. No desire to preserve these statues and monuments as artifacts should trump our desire to respect the rights and honor of all Tennesseans. We should each understand that it is not right to ask Black citizens to accept the presence of the Forrest bust when they come to our Capitol, or to pass a Confederate monument erected during the Jim Crow era as they register to vote, appear in court or serve as jurors. We debase ourselves when who we honor is not aligned with what we stand for. On June 9, Tennessee state lawmakers voted against a resolution to remove the Nathan Bedford Forrest bust. But on July 1, Gov. Bill Lee called a meeting of the State Capitol Commission to decide if the bust can go. A decision is expected July 9. I am heartened by the governor’s actions and hope his advocacy causes a change. There should be no debate over what the “right thing” is regarding these monuments. We cannot change our history by simply eliminating the monuments. But what we can change is our view as it relates to the statues and symbols we’ve been displaying in places of honor. In his recent interview with The Tennessean, Sen. Lamar Alexander said, “It’s always appropriate to review the statues that we have and the places that we named — to see if in the context of today’s times, something would be more appropriate.” He mentioned too that there have been “plenty of wars and plenty of generals since the Civil War, including MacArthur, Patton and Eisenhower,” and perhaps a memorial to one of those men could replace Forrest. I agree. We will not “erase” our history if we remove or destroy historical monuments or symbols. The removal of any one object, or multiple objects, cannot erase the people who existed or the events that took place. For a certainty, we cannot erase our history from the minds of those whose ancestors still cry out to them for justice. But we can remove the reminders of historical injustice from our cities and marketplaces and courthouses and capitol buildings. We can also do a better job of teaching our history in schools and universities. Author and civil rights activist Maya Angelou is frequently credited with saying, “You can’t really know where you are going until you know where you have been.” Knowing where we have been and how to change that which no longer works is as crucial as learning reading, writing and arithmetic. Spanish-American philosopher and poet George Santayana once said, “Those who cannot remember the past are condemned to repeat it.” As a nation, we’ve repeatedly made the mistake of not acknowledging what our Black families and friends go through — and in some cases, when we have acknowledged them, we may have assumed things weren’t as bad as they truly were. When George Floyd was killed in May,

PHOTO: MICHAEL W. BUNCH

PET OF THE WEEK!

it again demonstrated the severe element of discrimination that Black Americans endure — which cannot be denied. Though many of us believe we are not prejudiced and have love for our neighbors without regard to their color, race or ethnicity, there are still many who don’t share our respect. Racism resides in the hearts of far too many, and all too often it still takes precedence over kindness and goodwill. Oprah Winfrey recently said that “America is at a tipping point,” and she’s right. If we don’t address the pain of the situation right now — if we don’t honor our Black citizens by removing symbols that are reminders of a devastating past — then we are tacitly saying some kinds of dishonor are acceptable. President Barack Obama recently mentioned that he sees the current social and racial awakening as an opportunity. Now is the time to cut through the pretense and take the side of what is right. One step we can take is removing historic monuments and symbols that are offensive not only to our Black citizens and friends, but also to those of us who love and call them friends. Frankly, it should’ve been done long before now. At the onset of the COVID-19 pandemic, President Donald Trump said it was “no big deal.” Because he set a poor example, many followed suit. If we continue to act like these monuments and symbols of Confederacy are “no big deal,” then many will continue to believe that it’s OK to be insensitive to the pain of our Black residents — those we consider family, friends and neighbors. We need to take these monuments down. It’s the right and fair thing to do.

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 Editors Jack Silverman, Abby White Staff Writers Stephen Elliott, Nancy Floyd, Steven Hale, Kara Hartnett, J.R. Lind, William Williams Contributing Writers Sadaf Ahsan, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Lance Conzett, Steve Erickson, Randy Fox, Adam Gold, Seth Graves, Kim Green, Steve Haruch, Geoffrey Himes, Edd Hurt, Jennifer Justus, Christine Kreyling, Katy Lindenmuth, Craig D. Lindsey, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Chris Parton, Betsy Phillips, John Pitcher, Margaret Renkl, Megan Seling, Jason Shawhan, Michael Sicinski, Ashley Spurgeon, Amy Stumpfl, Kay West, Cy Winstanley, Ron Wynn, Charlie Zaillian Editorial Intern Bronte Lebo Art Director Elizabeth Jones Photographers Eric England, Daniel Meigs Graphic Designers Mary Louise Meadors, Tracey Starck Production Coordinator Christie Passarello Events and Marketing Director Olivia Moye Publisher Mike Smith Senior Account Executives Maggie Bond, Debbie Deboer, Sue Falls, Michael Jezewski, Carla Mathis, Heather Cantrell Mullins, Stevan Steinhart, Jennifer Trsinar, Keith Wright Account Executive William Shutes Sales Operations Manager Chelon Hill Hasty Account Managers Emma Benjamin, Gary Minnis Special Projects Coordinator Susan Torregrossa President Frank Daniels III Chief Financial Officer Todd Patton Creative Director Heather Pierce IT Director John Schaeffer For advertising info please contact: Daniel Williams at 615-744-3397 FW PUBLISHING LLC Owner Bill Freeman VOICE MEDIA GROUP National Advertising 1-888-278-9866 vmgadvertising.com

Copyright©2020, Nashville Scene. 210 12th Ave. S., Ste. 100, Nashville, TN 37203. Phone: 615-244-7989. Classified: 816-218-6732. The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. 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 $99 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.

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Bill Freeman Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and Home Page Media Group in Williamson County.

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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CITY LIMITS

NASHVILLE AND CORECIVIC VEER TOWARD NASTY SPLIT After anti-privatization efforts from Metro councilmembers, the infamous for-profit prison company threatens to bolt BY STEVEN HALE

he letter Metro Councilmember Freddie O’Connell received from Sheriff Daron Hall last week was written in the official language of government correspondence, but the upshot was clear: Nashville can feasibly end its nearly 30-year relationship with CoreCivic. The infamous for-profit prison company has operated the Metro Detention Facility since 1992 and has long been a target of activists. The corporation, which was founded in Nashville in 1983 and headquartered in Green Hills until 2018, runs seven prison facilities throughout the state. Over the years, several have been plagued by understaffing, poor conditions and rampant violence. At a press conference last week, O’Connell and Councilmember Emily Benedict announced a plan that would see Nashville extend its contract with CoreCivic until the Davidson County Sheriff’s Office could take over the MDF in July 2022. The sheriff had emphasized in his letter that his department could run the facility if it had the money to operate it effectively and enough time to transition. But on July 6, CoreCivic CEO Damon

Hininger sent a long letter of his own to the sheriff and other Metro officials. The message, essentially: You can’t kick us out, we’re leaving. “While we acknowledge that it is Metro’s prerogative to take steps toward ending our contract, we cannot allow our company, more importantly our employees, to be used as a punching bag by political opportunists who do not value the services we provide,” Hininger wrote. He said the company would provide a 90-day transition plan beginning immediately and ending on Oct. 4. After consistent calls and protests from activists, discussions about getting Nashville out of business with CoreCivic started in earnest at the Metro Council in 2017. O’Connell passed an ordinance in 2017 requiring more transparency about the city’s contract with the company, and he asked Hall to conduct a study to assess the feasibility of the sheriff’s office taking over control of the MDF. The answer, in short, was that it wasn’t feasible, because it would cost Metro tens of millions of dollars. But O’Connell said Nashvillians still had to “weigh the moral costs of continued operation of MDF against the fiscal cost of public operation.” Benedict made the

same argument, highlighting the moral cost of participating in prison profiteering. A bill of hers that would have cut ties with CoreCivic was deferred after it passed on first reading, in large part because of the costs highlighted by the sheriff’s feasibility study. But those costs were largely due to the high daily rate CoreCivic receives from the state for each prisoner it detains. The recent breakthrough came after Hall informed O’Connell that the state had agreed to pay the DCSO the same amount. “I am confident the budget impact to Metro government is minimal aside from a $5 million start-up cost,” Hall said in his letter to O’Connell. In a separate statement, Hall said: “It’s important to point out this change would be a philosophical one, not performance based. We have monitored this contract for more than 25 years and CoreCivic has consistently met contractual requirements.” Indeed, it is the philosophy of private prison operation — the basic notion of a corporation profiting from mass incarceration and selling shares on the New York Stock Exchange — that many find so appalling. “Their profits are based on imprisoning as many people as possible at the lowest possible cost because that is how they make money for themselves and their shareholders,” the councilmembers said in a joint press release last week. “The motivation of their business is profit, not people. Their business model is dependent on laws that cause more people to be jailed, and stay jailed.” CoreCivic’s letter is not likely to change many views on the efficacy or ethics of private prison operation. But it could blow a hole in the careful logistical vision laid out

SHERIFF DARON HALL by the sheriff. Hall’s assessment of the viability of Metro operation of the Metro Detention Facility came before CoreCivic declared its intent to walk away from the contract in 90 days. At press time, the Metro Council was set to consider an amended version of Benedict’s bill on second reading Tuesday night. Before CoreCivic’s letter came along, the bill’s chance of passage looked good. In tweets responding to the letter Monday night, Benedict and O’Connell did not soften the rhetoric that has Hinninger wanting to pull the company out of the city where it was founded. “Seems to me that if a company had concern for the safety of inmates and work security for employees then they would allow enough time for a safe and deliberate transition,” Benedict wrote in a tweet. “Once again, they are showing us what they value.” O’Connell echoed that sentiment in a tweet of his own: “They’re just here for the easy money.” EMAIL EDITOR@NASHVILLESCENE.COM

THOUSANDS MARCH FOR BLACK LIVES IN JULY FOURTH PROTEST Teens for Equality-led march was peaceful, though arrests followed at state Capitol

ashville’s Teens for Equality organized another massive Black Lives Matter march through downtown on July Fourth, attracting thousands of protesters in the followup to the group’s historic June rally. The protest began in Bicentennial Capitol Mall State Park with speeches and poems, and traveled through the city before making its way to the state Capitol building. “We’re protesting for freedom, not for statues to be taken down,” said one teen organizer at the beginning of the rally. The organizers, six local teens, called attention to a number of issues facing marginalized communities in Nashville and around the country. In addition to paying tribute to Black people who have been killed by police, they called for defunding the police, abolishing ICE and ending the so-called Muslim ban

THE MOTHERS OF JOCQUES CLEMMONS AND DANIEL HAMBRICK JOIN PROTESTERS ON JULY 4

that restricts travel into the U.S. from Muslim-majority countries. They also condemned racist attacks made against Asians and Asian Americans during the COVID-19 pandemic — including insults made by President Trump. Teens for Equality also voiced support for Indigenous people and the LGBTQ community, and highlighted the abuse suffered by Black trans women. The march made its way from Bicentennial Capitol Mall State Park through the city, past Public Square Park to the state Capitol. At the steps at

Sixth Avenue North leading up to Legislative Plaza, protesters stopped to hold a memorial for people of color slain by police across the country. Portraits of Breonna Taylor, Elijah McClain and others were placed on the sidewalk along with candles, flowers and stuffed animals, and Teens for Equality organizers gave emotional speeches about each victim. Also in attendance were the mothers of Daniel Hambrick and Jocques Clemmons, two Nashville men who were killed by Metro police officers in separate incidents. Vickie Hambrick and Sheila

PHOTO: MATT MASTERS

BY ALEJANDRO RAMIREZ

Clemmons Lee, wearing matching shirts depicting the faces of Black victims of police violence, embraced in front of the marchers. Clemmons Lee lost her son in 2017, and reached out to Hambrick after the shooting of her son in 2018 — the two have grown close since. “I made it a point to go and find her and let her know she wasn’t alone,” Clemmons Lee told the Scene. “We don’t consider ourselves two separate families anymore — we consider ourselves one family fighting this fight together.”

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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PHOTO: MATT MASTERS

CITY LIMITS

PHOTO: MATT MASTERS

TEENS FOR EQUALITY MARCH ORGANIZERS ADDRESS THE CROWD

DEMONSTRATORS ARE ARRESTED AT THE STEPS OF THE STATE CAPITOL AFTER THE JULY 4 MARCH

Most marchers returned to Bicentennial after a moment of silence in the plaza, walking by the Capitol building and wrapping up the event with some final speeches and shout-outs to organizations like Free Hearts and Showing Up for Racial Justice. Other marchers stayed behind to join members of the People’s Plaza protesters, a group of demonstrators who have

been occupying a space across the street from the state Capitol for more than 22 days. Some protesters reportedly moved barricades that were placed along the sidewalk of Dr. MLK Jr. Boulevard at the steps of the Capitol. Protesters then marched up the steps, gathering in the area where the Edward W. Carmack statue stood until it was brought down by

Moving Tennessee

FORWARD

protesters on May 30. State troopers say they told the crowd the Capitol was closed — and at least one digital sign stated that the Capitol grounds were closed for the duration of the holiday weekend. There were a few minutes of protests and chants, after which state troopers began arresting people, carrying away several protesters as the crowd shouted. According to a spokesperson with the Tennessee Highway Patrol, state troopers arrested 55 people for criminal trespassing on Saturday evening. That number includes one juvenile who was released to his parents. Troopers eventually forced the crowd back down the steps and onto the sidewalk. As the sun set, protesters posted up along the sidewalk across the street, chanting and making music. When Metro police ordered protesters to stay out of the street, several began to march and dance back and forth across the crosswalk. By nightfall, it was yet another standoff between protesters and state troopers — a sight that has grown common since the People’s Plaza protesters first attempted to camp on the Capitol steps more than three weeks ago. A video later posted to the People’s Plaza Twitter and Instagram accounts showed protesters outside the Davidson County Sheriff’s Office at 6 a.m. waiting for people to be released. The protesters described being held for nearly 12 hours and being denied food and water. Some also described officers pepper-spraying a mentally ill man in a holding cell. “They ended up spraying some pepper spray in his cell, and then it leaked out into the entire floor,” Jama Mohamed, one of the arrested protesters, told the Scene. “Now everybody is coughing. Staff is coughing. People are throwing up.” Mohamed said the conditions in the jail were unsanitary, that many of the officers weren’t wearing masks, and that they were slow to provide masks to detainees. Other posts on Instagram and Facebook describe a similar incident. Protesters also said they were never read their rights. The Scene reached out to the sheriff’s office for comment; a representative said the office was looking into the accusations. State troopers have arrested many protesters at the Capitol and in the plaza in recent weeks — and protesters have accused troopers of using unnecessary force when arresting demonstrators on at least one occasion. Despite the arrests, protesters have continued to return and set up shop in the plaza. D. Patrick Rodgers contributed to this story.

THIS WEEK ON OUR NEWS AND POLITICS BLOG: After a record-setting number of positive tests for COVID-19 (a record that has since been broken again and again), Nashville took a step back in its reopening plan, reverting to phase two with certain modifications. Linking the increased diagnoses to crowds gathering at bars and restaurants — as well as a significant amount of “household spread” — Metro shut down bars (at least those that don’t do enough trafficking in food to qualify as restaurants) and limited capacity once again. Masks are now mandated in all public spaces as well. Mayor John Cooper said he expects Nashville to remain in this phase for “several weeks” as the virus surges across the city and elsewhere nationwide, particularly in the South and West. … Davidson County District Attorney General Glenn Funk says his office will no longer prosecute individuals for possession of half an ounce or less of marijuana, essentially decriminalizing small amounts of weed, an increasingly popular movement among Funk’s fellow prosecutors nationwide. In a written statement on the policy, the district attorney’s office says minor marijuana charges “do little to promote public health, and even less to promote public safety.” The statement also cited the disproportionate number of arrests for minor possession among minority communities and the time and cost of taking people to court and holding them in jail for tiny amounts of weed. Funk says the time and money are better spent “supporting victims and prosecuting violent crime.”

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PHOTO: DANIEL MEIGS; HAIR BY TARRYN FELDMAN

NASHVILLE SCENE | JULY 9 â&#x20AC;&#x201C; JULY 15, 2020 | nashvillescene.com

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It Runs Only One Way

THAT’S HOW RUMORS GET STARTED OUT JULY 10 VIA LOMA VISTA RECORDINGS

MARGO PRICE FOCUSES ON WHAT’S MOST IMPORTANT — IN HER LIFE AND ON HER NEW LP THAT’S HOW RUMORS GET STARTED BY MARISSA R. MOSS

PHOTO: DANIEL MEIGS; HAIR BY TARRYN FELDMAN

f I were a gambler, I would have bet that the sky was going to clear. How could it not? Everything inside the Sound Emporium — at an early private listening party on March 2 for Margo Price’s new album That’s How Rumors Get Started — felt too kinetic, too alive to be driven to a halt so quickly. It was only dusting rain when I left the studio, little droplets on the windshield, a sticky mist on the drive back over the river. I felt like I could see the sun on the horizon. Price and Jeremy Ivey — her husband and primary creative collaborator, as well as a lauded solo artist — had played a short acoustic set of songs from the new record for the small crowd, communicating with their eyes before they started strumming. The pair had good jokes, great patterns on their clothes and a bottle of tequila in case anyone wanted to do shots. (Spoiler alert: They did.) The tracks on the record, which Price co-produced with Sturgill Simpson and David R. Ferguson, are rock ’n’ roll; the lyrics are evocative, poetic and biting; the path is Price’s alone. After two critically acclaimed albums, a Grammy nomination for Best New Artist and now a label deal with Loma Vista Recordings, Price has shown zero signs that success has changed her internal compass. This new album was further proof. “Ready?” Price asked Ivey quietly, her weathered Gibson in hand. They were. She was. Packed tightly into the studio (remember being shoulder-to-shoulder or thigh-tothigh?) we sat and listened. When I returned to my car parked out on Belmont Avenue, I quickly scrawled down a lyric I didn’t want to let go of: “You

can’t turn money back to time.” It’s a line from “Gone to Stay,” a road-weary ode to all that we leave behind when we’re at the office or on tour or doing the night shift at a drive-thru — the sacrifices we make chasing dreams, the dreams we let go of while being chased by reality. Price has always been stellar at lobbing one-liners that just casually kick you in the gut and make you rethink your daily choices, and this one had me biting the insides of my cheeks so I didn’t cry in front of friends and strangers. I wanted to remember that advice, and it made me race back home faster to get in those few hours with my children before bedtime. The sky was clear; we could play outside. Time is currency, and when it’s gone, it’s gone to stay. The sky didn’t stay clear, of course. Later that night, a devastating tornado hit our city shortly after Price and Ivey left a friendly celebration at 3 Crow Bar, and everything changed. That wasn’t the last time that month that life as we knew it would shift dramatically. Later in the week, Price’s plans to launch the album at SXSW were scrapped when the festival was canceled. Not long after, Ivey and the couple’s young baby, Ramona, started to feel ill. Soon they’d find out Ivey had contracted COVID-19. As the pandemic progressed, touring ground to a halt as venues shut down. In April, Price and Ivey’s friend and mentor John Prine would lose his life to complications from the virus, a heartbreaking blow to the family. “It was two-and-a-half months of complete misery that I wouldn’t wish on an enemy,”

Price tells me. She’s sitting by the pool at her home outside Nashville, wearing a Bob Dylan T-shirt and talking to me via FaceTime. We’ve gone from being packed inside of recording studios to seeing each other safely on screens. “And I have a lot of enemies.” If you do things your own way, it’s easy to have enemies, if you want to call them that. Price knows that “making enemies” — severing ties, breaking friendships — is what sometimes happens when you stick to your own true north, especially in Nashville, a town where you’re supposed to greet any newfound fame with open arms and a malleable brand. But as Price went from beloved local indie musician to celebrated star, she turned down more than she was offered and spoke her mind more than ever, even when she found herself with a Grammy nomination in the same category as Luke Combs. For other artists, this could have been a crossroads into crossing over — to take the money and run to big corporate sponsors and splashy media opportunities. Instead, Price doubled down. She produced albums — a forthcoming one from outlaw legend Jessi Colter, as well as last year’s excellent solo debut from Ivey, The Dream and the Dreamer. She launched a weed strain for Willie Nelson’s brand. She wrote rock songs instead of country songs. “It’s always been about making choices only artistically,” she says. “Not what’s going to make me famous quicker. It can be grueling, but at the end of the day, I guess I know what I signed up for. I didn’t get into this to sell toothpaste. I wanted to sing.” That story of a girl from Aledo, Ill., who wanted to sing — Price’s story — is now

quickly becoming Nashville lore: How she sold her car and ring to fund her debut solo album, Midwest Farmer’s Daughter. How she was rejected from record labels before signing with Jack White’s Third Man Records. How she ended up on Saturday Night Live, which friends back home watched at The Five Spot and backstage at Third Man. And how she used her stardom to speak her mind about social justice, gender equality and antiracism, unafraid of whether or not she would ever carve out room in the “sexist, ageist and racist” Nashville establishment. “I went into a couple meetings on Music Row, and I didn’t like what I heard one bit,” Price says of the time when she was shopping for a new deal, post-Third Man and the success of her follow-up album, All American Made. “I looked around at the people who were up on the walls, and I could not be bullshit into that. They said, ‘So, what are you willing to change about what you have been doing so far?’ Well, nothing. What you see is what you get with me. It would have been a lot of money, but I’m not going to give you a piece of my soul unless you are the devil.” And after 17 years in Nashville — from early days carless and broke, to Saturday Night Live and the Grammys, to now, hanging out by the pool at the house bought from her own sweat and tears — Price has held her local community close. In many ways, she’s done what every major label country bro pledges they do in their songs: keep connected to their hometown. It’s not uncommon to see her slinging beers behind the bar at Dee’s in Madison, hanging at coffee shops in East Nashville (before they were closed down by the tornado, the pandemic

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“It can be grueling, but at the end of the day, I guess I know what I signed up for. I didn’t get into this to sell toothpaste. I wanted to sing.”

PHOTO: DANIEL MEIGS; HAIR BY TARRYN FELDMAN

or both) or playing drums for a friend. When she sold out three nights at the Ryman in 2018, she brought along Erin Rae, Tristen, Caitlin Rose and other buddies to sing with her, and gave a shout-out to Mark Fredson before introducing a song he wrote that she recorded, “How the Mighty Have Fallen.” At the end of her two-LP deal, she left Third Man amicably for Loma Vista, home to artists like St. Vincent and Soccer Mommy. “If Ben Swank ever needs a kidney, I am his girl,” Price says of the TMR co-owner, noting that Loma Vista pressed the vinyl edition of That’s How Rumors Get Started at Third Man’s pressing plant in Detroit. “It’s been very inspiring and enlightening to see Margo’s career expand and develop,” says Rae. “She has always been herself, and she also held a torch for her friends as she went along. I looked to her as an example of someone being themselves and carving out their spot in the music scene — as an example of what’s possible. It seems like with each record she keeps clarifying the vision, which is the mark of a true artist, in my opinion. Each record is very ‘her,’ and that doesn’t go away as she grows. It gets stronger.”

That’s How Rumors Get Started is Price in exactly that sweet spot, created on her own terms. When she decided to delay the release originally set for May, that was on her terms too. “Once Jeremy started feeling really sick and Ramona wasn’t feeling great either — at that point, so much more became important to me,” she says, her eyes welling up a bit. “That’s my whole life. There’s no me if there is no Jeremy. And if I lost another child, I don’t think I could pick up the pieces again.” Price and Ivey also have a son, Judah, whose twin brother died as an infant. It’s a devastating story that she told in “Hands of Time,” the song that opens Midwest Farmer’s Daughter. Price has never retreated from writing about life’s harshest turns, and she’s navigated the pandemic by confronting those brutal realities, not shying away from them. “We go on living these lives as if it’s not going to end,” she says. “Everyone has had to really re-examine their mortality and become a little more comfortable with death.” And become more willing, she thinks, to understand how our choices impact each other. “I don’t have a side to take,” she sings in “I’d Die for You,” the epic closer of That’s How Rumors Get Started. “And I can’t live for them, it’s true, but honey I would die for you.” With help from Rae, Price played that

song live at To Nashville With Love, a massive and star-studded fundraiser for tornado victims back in March. She wrote the lyrics to reflect her mourning for the gentrifying of Nashville and the ruin it’s causing Black neighborhoods. Talking about the “old Nashville” makes Price tear up, and she has to remind herself, “It’s OK, it’s just a city.” In our new reality, ravaged by the pandemic, the song extends to our social responsibility to stay home and stay safe, in the name of keeping each other alive. “That song has become the most important song on the album to me,” she says. Maybe some of that prophetic, empathetic concern came from making the album while in the process of creating life herself. Price was pregnant with Ramona when she headed to Los Angeles’ EastWest Studios, where The Beach Boys recorded Pet Sounds. Price was with Sturgill Simpson, an old friend who is equally steadfast when it comes to sticking to his own artistic convictions. “I really could not have had a better experience in the studio with him,” Price says. “I worried since we are both so stubborn that there might be arguments, but we see eye to eye, and I love that he doesn’t sugarcoat anything. I know exactly what he’s thinking because he says what’s on his mind. It’s a good friendship, because it’s honest.” That honesty led to sonic synchronicity and an extremely adventurous album. The songs, which often meditate on the various ways we relate to each other — in love, in parenthood, in social responsibility, in friendship — are honest, too. It’s also honestly rock ’n’ roll, made with a band that knows a lot about that: guitarist Matt Sweeney, bassist Pino Palladino, drummer James Gadson and keyboardist Benmont Tench of Tom Petty and the Heartbreakers. There are also vocals from the Nashville Friends Gospel Choir, who give songs like “Hey Child” an incredible Stones-at-the-Shoals vibe. When she can tour again, she plans to continue relying on her dynamite band The Pricetags, who played on both of her previous albums. “People will try to find fancy words,” she says. “Nope, I made a rock ’n’ roll record. Half will say I am selling out. Half will still call it country. A few perceptive people will say, ‘This is different.’ ” Simpson described it as “a landscape” when they were in the studio. It’s a concise one, composed of 10 songs that also look at the lure and harsh realities of fame. There’s “Twinkle Twinkle,” based on a backstage conversation with Marty Stuart that’s as deliciously dirty as the dive bars she’s sing-

ing about, and “Prisoner of the Highway,” a meditation on the price we pay to succeed, or just to stay alive. Price wrote the latter song on an airplane, pregnant with Ramona, and has multiple verses that didn’t make the final cut. She reads me two of them from her notebook, and they’re just as compelling as what’s on the album. “Time to face the jury or you will have to walk away,” she reads. “Another hitcher on the run, prisoner of the highway.” Then there’s “Gone to Stay,” the one that shook me back in March. “I wrote it as a song that’s relatable to a lot of parents,” Price says of “Gone to Stay.” “I had a lot of guilt after things took off, about how much time I spent missing birthdays or school events, and feeling like I wasn’t being a good mom — but also being a breadwinner and paying the mortgage. It felt like a sacrifice I had to make. I wanted to write my children a song that said even though I am not here, I love you.” The one silver lining of the pandemic for Price has been all this time at home with her kids and Ivey, an unusual occurrence for an artist who has spent the better part of a decade on the road. They’ve been enjoying walks together and swims in the pool now that Ivey is feeling better, and hosting some friends for socially distanced hangs by the fire. She and Ivey wrote a children’s book about the pandemic, and she also recently finished a memoir. She got drunk on FaceTime with Caitlin Rose, and she’s been filming plenty of livestreams, some of which don’t always work out as planned. “I had some technical difficulties recently,” she says, laughing, “and I could hear someone on the other end eating food.” Staying involved politically and socially has been at the center of her life at home. Proceeds from her live album, Perfectly Imperfect at the Ryman, are being donated to MusiCares’ COVID-19 Relief Fund. A tie-dye shirt in her merch store with

the phrase “Sex Is Cool but Have You Ever Fucked the System?” printed across the chest benefits national nonprofit The Bail Project. On the Fourth of July, she joined in the Black Lives Matter march downtown organized by Teens for Equality. Throughout June, which is both Black Music Month and Pride Month, Price devoted her streaming radio show Runaway Horses to amplifying the voices of Black and queer artists, hosting guests like Adia Victoria. “This white corporate feminism bullshit is not going to cut it,” Price says. “We need to stand by our Black brothers and sisters. You don’t want to capitalize off of someone else’s pain, but there are songs to be written. I am trying to elevate the voices of Black women more. I have a lot of regrets, but I am all-in at this point.” “Witnessing Margo’s rise in an industry and a town that silences voices of dissent is proof that the spirit of grit, grace, honesty and empathy can prevail,” Victoria says. “The music business is an industry steeped in the fear of stepping out of line, so watching Margo speak out against sexism, white supremacy and the good old boys’ club on Music Row has been thrilling for me to behold as a woman and fellow artist. She’s put the right folks on watch. She’s challenging the old guard in ways that are so completely and exhaustively overdue and remains an absolute badass while doing so.” Price didn’t expect to be doing all of this from home right now. The days have suddenly become abundant, even though there’s no guarantee about what they’ll bring, and she’s focusing on the music and the difference she can make. Time, like she sings in “Gone to Stay,” flows like a river that runs only one way, and when it’s gone, it’s gone to stay. But some things do linger. “I’m still a musician, and still an artist,” she says. “And all that really matters is what you leave behind.” EMAIL EDITOR@NASHVILLESCENE.COM

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CRITICS’ PICKS [BORN ON THE NINTH OF JULY]

CELEBRATE JACK WHITE AND ISAAC BROCK’S 45TH BIRTHDAYS

For us 30-somethings, The White Stripes’ “Seven Nation Army” and Modest Mouse’s “Float On” are as ingrained as AC/DC’s “You Shook Me All Night Long” or The Who’s “Baba O’Riley” are to our parents. But did you know the writers of those two inescapable Aughts jams were born on the very same day — July 9, 1975? Beyond their twin hits, Jack White’s and Isaac Brock’s discographies offer fans many options for observing the enigmatic rockers’ 45th birthdays. Though it’s been five years since the most recent Modest Mouse output, you can always revisit Brock & Co.’s masterful big-label leap The Moon and Antarctica, which turned 20 last month. Or teleport to the Pacific Northwestern trailer parks, truck stops and dead malls that inspired their ’97 indie classic The Lonesome Crowded West via director R.J. Bentler’s 2013 documentary on the album. White’s massive catalog with the Stripes, The Dead Weather and The Raconteurs — not to mention his solo output — makes his birthday celebration more of a listener’s-choice situation. Alternatively, you could catch up on what’s new at Third Man Records: two reissued ’90s gems from L.A. punk-pop greats Redd Kross, a new hourlong episode of the TMR Public Access project the label launched on YouTube when quarantine began — and in the pipeline, a never-before-heard 1973 Johnny Cash live album on vinyl, and a deluxe reissue of Prince’s Sign o’ the Times, sanctioned by the Purple One’s estate, to look forward to.

[DOIN’ WHAT COMES NATUR’LLY]

STREAM BERNADETTE PETERS: A SPECIAL CONCERT

Bernadette Peters has been wowing audiences for more than 50 years. The

E D I T I O N

SHAME

with a Criterion Channel subscription Tony Award-winning legend — beloved and for $4 via Amazon Prime) for her work in shows like Mack and 2011’s Shame (also $4 via and Mabel, Sunday in the Prime). Though radically Park With George, Into the EDITOR’S NOTE: AS A RESPONSE TO THE different in content, both Woods, Annie Get Your Gun ONGOING COVID-19 PANDEMIC, are exceedingly dark and Gypsy, among others WE’VE CHANGED THE FOCUS OF THE films starring Michael — most recently appeared CRITICS’ PICKS SECTION TO INCLUDE Fassbender. The former is on Broadway in the title ACTIVITIES YOU CAN PARTAKE IN WHILE YOU’RE AT HOME based on the 1981 hunger role of the Tony-winning PRACTICING SOCIAL DISTANCE. strike by Irish republican revival of Hello, Dolly! But prisoners in Northern Ireland, this weekend, fans can tune in while the latter follows a to Bernadette Peters: A Special bachelor whose sex addiction leads Concert, which will stream on him to increasingly depraved acts and a July 10 to benefit Broadway Cares/Equity deep well of shame. Cheery, right? Up next Fights AIDS. The concert event, which was is 2013’s absolutely essential 12 Years a Slave originally filmed in 2009 at Broadway’s ($4 on Prime), which follows the true story Minskoff Theatre, features a celebration of of Solomon Northup, a free-born Black man favorite show tunes and standards, along who was kidnapped and enslaved in the with a conversation with Tony nominee 1840s and ’50s. That film landed McQueen a Michael Urie looking back at Peters’ Best Picture Oscar, and features a stunning remarkable career. The free concert will be performance from Lupita Nyong’o — it was available at 7 p.m. Central Time on July 10, her first feature film performance, and it via playbill.com and broadwaycares.org. 7 earned her the Academy Award for Best p.m. Friday, July 10 AMY STUMPFL Supporting Actress. Bring your McQueen fest home with 2018’s heist thriller Widows [IGNORANCE IS THE NEW NORMAL] BUILD YOUR OWN STREAMING STEVE — that one’s a little pricier than the rest, McQUEEN (THE DIRECTOR) FILM FEST available for $15 on Prime or free with a Cinemax subscription. But it’s also Here we are in our 17th straight week of delightful and engaging, a killer date-night recommending filmmakers around whom watch with an ensemble cast that includes to build your own stay-at-home streaming Viola Davis, Cynthia Erivo, Colin Farrell, film fests. Up this week: Steve McQueen Daniel Kaluuya, Robert Duvall and Liam (the British director, not the American Neeson, among many others. It’s too bad actor … though perhaps we’ll get to the there’s not much McQueen work to choose latter at some point on down the line). While from just yet, but the good news is he’s got McQueen’s catalog of feature-length films is a five-part anthology series about London’s still relatively small, it’s also exceptionally West Indian community coming to Amazon good, with an arc that lends itself well Prime at some point in the coming months. I to chronological viewing. Start out by for one cannot wait. D. PATRICK RODGERS choosing between 2008’s Hunger (available

[CHAMPAIGN SUPERNOVA]

LISTEN TO THE NEW HUM ALBUM

The morning of June 23, my phone was blowing up with messages from friends: “Have you heard it?” “It’s so good!” “It’s perfect.” “It” is Hum’s Inlet, the biggest surprise album-drop in indie rock since My Bloody Valentine’s m b v in 2013, and the first new material from the Champaign, Ill., space-rockers since 1998’s Downward Is Heavenward. Reunion albums from ’90s bands can be dicey propositions — for every Slowdive, there are a dozen more Indie Cindys — but Inlet is a masterpiece. The sonic hallmarks that made Hum’s “Stars” an alt-rock classic in ’95 are all there — monumental walls of down-tuned guitars, drums that hit hard yet swing gracefully — but Inlet also shows how they’ve evolved. (Twenty-two years is a long time to accumulate new knowledge and gear, after all.) The hourlong, eightsong odyssey is best experienced in one

FILM

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CHARLIE ZAILLIAN

D I S T A N C I N G

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CRITICS’ PICKS

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[FUN ON A BUN]

EAT A BURGER FOR BURGER WEEK

The Nashville Scene’s annual Burger Week is once again a sizzling event, with 20 or more participating restaurants each offering a specialty burger for just $7 during the seven days of celebration. Burger Week — presented by Beefitarian — runs July 13-19 and is once again an interactive event. The week’s most popular burger will be crowned via online voting, and diners can also enter the official Burger Week Photo Contest. Just take a pic of each Burger Week burger you sample, post it on Instagram and/or Twitter, check in or tag the restaurant in your post and tag @nashvillescene — and don’t forget to use #SceneBurgerWeek20. Every photo entered increases your chances to win swag from Beefitarian and restaurant gift cards. Since beef prices have risen, the burgers now cost a couple dollars more than last year — but $7 is still a good deal for a creative specialty burger. And you’re supporting local restaurants! For more details and the most up-to-date list of restaurants, visit the event site at sceneburgerweek.com. July 13-19 at various restaurant locations

show The Golden Girls. Now this irreverent ensemble is back with its first online production — The Golden Girls: The Lost Episodes, Vol. 4, LOCKDOWN! This latest installment finds the geriatric gal-pals at each other’s throats while quarantined at home, after Blanche is exposed to Legionnaires’ disease. Penned by Handbag’s artistic director David Cerda and directed by Spenser Davis, it features a cast that includes Cerda as Dorothy, Grant Drager as Blanche, Ed Jones as Rose and Ryan Oates as Sophia. The show will be available online until Aug. 15, and tickets are just $20. AMY STUMPFL

BOOKS

Everything you always wanted to know about Judaism in three easy lessons . . . with Rabbi Rami Shapiro

sitting — and played as loudly as possible — but the tunes stand on their own, too. The explosive opener “Waves” makes it instantly clear that our heroes have returned, while “Desert Rambler” and “Shapeshifter” are epic, meditative headbangers to get lost in. Then there’s “Step Into You,” the catchiest song Hum has ever committed to tape, and a perfect jumping-off point for first-time listeners of any age. Rock records this substantial are rarely made these days, so Inlet feels like manna from heaven right now. When Hum came through Nashville on an August 2015 reunion run, I wrote a love letter to them in the Scene declaring them my favorite band. My drop-D heart has never beat louder than it’s beating now. Hum’s Inlet can be streamed on Spotify and Bandcamp, and is available on LP and CD via Polyvinyl Records. CHARLIE ZAILLIAN FOOD & DRINK

A TASTE OF JUDAISM

BURGER WEEK

[STILL LIFES]

MAKE A READING LIST OF VISUAL ARTISTS’ MEMOIRS

Being a good visual artist does not necessarily translate to being a good writer, but the occasional exceptions to that rule are all but essential. Here’s a list of some must-read memoirs by visual artists — all of which are currently available in print or e-book form via the Nashville Public Library. First up is the iconic Popism: The

DANA KOPP FRANKLIN

THEATER

THE ENTIRE COMMUNITY IS INVITED WITHOUT CHARGE TO . . .

[THANK YOU FOR BEING A FRIEND!]

STREAM HELL IN A HANDBAG’S DRAG PARODY OF THE GOLDEN GIRLS

Established in 2002, Chicago’s Hell in a Handbag Productions is well known for its campy theatrical parodies, including a terrific drag version of the hit television

Warhol Sixties. It’s a quick, gossip-filled read that was published at the height of Warhol’s fame in 1980. A natural segue from Warhol’s New York is Patti Smith’s Just Kids, which charts her own takeover of the downtown

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CRITICS’ PICKS A Division of The Heritage Foundation of Williamson County

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[DON’T STOP]

CATCH UP ON HIP-HOP PODCASTS

For all you hip-hop heads who would like to listen to a hip-hop podcast that doesn’t have the words “Joe” or “Budden” in the title, there are a couple of shows worthy of your time. Swatches and Boomboxes is a funny one — and for good reason. On a weekly basis, comedians Neil Charles and Jim Search spend an episode breaking down a classic hip-hop album, usually with a guest. Basically, the show is like having two friends dip into your record collection and dish, debate and discuss the finer merits of everything from Jay-Z’s The Blueprint to OutKast’s ATLiens. Speaking of the Dirty South, fans of Southern-based hip-hop — particularly hip-hop from Texas — should check out The Donnie Houston Podcast. Coming out of H-Town every week, producer/ DJ Houston gets his Combat Jack on and interviews local legends like Willie D, Slim Thug and the various members of the late DJ Screw’s Screwed Up Click. You can find Swatches and Boomboxes on Apple, Stitcher and iHeartRadio, and The Donnie Houston Podcast on Apple and PlayerFM.

FILM

CRAIG D. LINDSEY [VIRTUALLY FRIENDS]

STREAM HONG SANG-SOO FILM FEST VIA FILM AT LINCOLN CENTER

hosting a digital “mini-retrospective” of the work of South Korean filmmaker Hong Sang-soo in their virtual screening room. Hill of Freedom (2014) and Yourself and Yours (2016), neither of which has ever been theatrically released in the United States, are currently available for rental, along with a remastered edition of Woman on the Beach (2006). Hong films are like variations on a theme: acquaintances from past lives crossing paths for the first time in years, middle-aged artists adrift in their personal lives, wayward travelers conversing in languages that aren’t their native tongues. Though his films are simple on the surface, Hong makes deceptively complex movies, with encounters and events regularly recontextualized, reinterpreted and reimagined from multiple points of view. Sitting down with a Hong joint is like catching up with an old friend — what starts innocently enough soon unfolds into a long, complicated night of booze, tobacco and emotional discourse. NATHAN SMITH MUSIC

PODCAST

art scene alongside photographer Robert Mapplethorpe, and it’s leagues more poetic and personal than Warhol’s narrative. The culmination of the edgy downtown that Warhol and Smith recount is the bloated, wonderfully hedonistic 1980s art world, and painter Eric Fischl’s Bad Boy: My Life On and Off the Canvas is the best account of it you could hope for. Bad Boy is at times jarringly honest about the highs and lows of being a famous artist — a welcome respite in a scene famous for its artifice. Kim Gordon is of course known as a musician, but her memoir, Girl in a Band, tracks her journey as a rebellious visual artist who got sidetracked by a profoundly successful musical career. If you read all these, and you should, you might be sick of New York — the perfect time to visit acclaimed Southern photographer Sally Mann’s Hold Still: A Memoir With Photographs. Perhaps even more than Just Kids, Hold Still shows off the artist’s command over language, and will likely surprise you with its unflinching realism. LAURA HUTSON HUNTER

SAT, JULY 25 | 8 PM

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Support Local. Save the dishwashing for later. Visit nashvillescene.com for our daily takeout picks.

[LIST ME]

MAKE A PLAYLIST OF NEW MUSIC FROM 2020

Yes, the first half of 2020 has been a suckfest in nearly all respects. But it’s actually been a pretty solid year for new albums so far, from zeitgeist-capturing works from Fiona Apple and Run the Jewels to strong new Bob Dylan and Neil Young outings and stellar efforts from locals like Luke Schneider, Soccer Mommy and Country Westerns. Take a break from the news and go listen to some! Logging onto Metacritic and sorting by highest average critic score is one place to start, but I also recommend going on the new-release database albumoftheyear.org and picking out albums with artwork that catches your eye, looking them up on your streaming service of choice, plugging them into a playlist, building up that playlist, putting it on shuffle and seeing what jumps out. I’m constantly amazed by how hard it is to stump Spotify, but I also miss the thrill of discovery, and this method feels like a slight return to my old pastime of scouring dollar-CD bins for hidden treasures. You may swing and miss sometimes, but the artists you like are the ones you can support on the next Bandcamp Friday — Aug. 7. CHARLIE ZAILLIAN

Film at Lincoln Center is currently

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FOOD AND DRINK

CENTRAL STANDARD

PREPARING MEALS AT BISCUIT LOVE

World Central Kitchen keeps hospitality workers employed while feeding the hungry in Nashville BY MARGARET LITTMAN

Uber Eats.” That’s how James Garrido remembers the early days of the coronavirus pandemic, before World Central Kitchen came to town. Garrido is general manager for restaurants and bars at the Kimpton Aertson Hotel in Midtown, which includes Henley, the hotel’s adjacent restaurant and bar. It remained open for takeout and hotel guests, even as other restaurants were shuttered. Garrido and the hotel ownership group wanted to do something to keep folks on their team employed and engaged. They also wanted to help as they saw issues of food insecurity becoming more acute with unemployment rates skyrocketing. Garrido and Henley had worked with the Nashville Food Project before, so he reached out and asked how they could help. When the pandemic started, nonprofits — like everyone else — had to rethink their business models. Before COVID-19, the Nashville Food Project would have had 15 to 20 volunteers in each of its two kitchens making food for its partner organizations. But then the nonprofit had to limit people inside the building. Of course, need didn’t go away when Metro Nashville’s stay-at-home order went into effect. So Henley essentially became a satellite kitchen for NFP, making from 700 to 1,000 meals per week. As NFP was able to reopen its kitchens but Henley was still limited and looking for a way to continue that momentum, NFP connected Garrido to World Central Kitchen — the nonprofit founded by celebrity chef José Andrés. WCK is described on its website “as a small NGO [that] can change the world through the power of food.” Through donations, WCK pays restaurants a price per each meal made. The restaurant uses that to budget however they like, and in the pandemic it has been useful to keep buying produce and other ingredients from suppliers who were also hit by shutdowns, as well as for hiring staff. Garrido says costs are covered so the effort is a break-even for Henley, as well as a way to help the community and keep people employed. Nashvillian Whitney Pastorek was laid off from her music-industry job in April, and in May she started as Nashville’s project lead with WCK. “I have been in awe of what they are trying to do — not just helping to fight food insecurity but helping restaurants and restaurant workers,” Pastorek says. “The brilliance of using restaurants is that they

PHOTO: DANIEL MEIGS

“W

e were just sitting around waiting for the phone to ring for

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PHOTO: DANIEL MEIGS

FOOD AND DRINK

already know how to get supplies and make food and package it.” Pastorek had previous experience in political organizing and was connected with the local organizations that help people in need — including NFP, Catholic Charities, Preston Taylor Ministries and Second Harvest Food Bank. So she was able to connect those organizations to restaurants with capacity that wanted to hire and pay staff and vendors, and aid organizations that help those in need. Since pandemic efforts began, through its Restaurants for the People program, World Central Kitchen has helped deliver more than 17 million meals in 355 cities and 34 states and territories, plus 36 towns and cities in Spain.

In total, WCK works with more than 2,300 restaurants, and as of mid-June, the organization had disbursed $55.5 million directly to restaurant partners, exceeding an internal goal of $50 million in pandemic aid. The emphasis is on small, independent and communityfocused restaurants. WCK had been in town before, for a short period of time in March after the tornadoes. But that was a different model. “It felt like the world’s craziest episode of Chopped,” says James Handy, director of training at Biscuit Love. That’s how he describes his first night making more than 1,000 meals for those in need. Biscuit Love and other participating restaurants were given a shipping container of donated food,

funded by WCK. Handy and others went through that container, finding chicken, vegetables, chili and other ingredients, and figuring out what they could make to feed those who were displaced and in need after the storms. “We joke that it is like our fifth restaurant,” says Handy of the volume of the 300 meals per day Biscuit Love is now making for kids in day care (primarily the children of essential workers) at the YMCA of Middle Tennessee. The meals are designed so that if kids don’t eat the whole thing at the Y they are able to take portions home for later or to share with family members. Each meal is about 1.5 pounds of food. In addition to feeding hungry kids, Handy

says the WCK experience has been transformative for the staff. “It is really cool to see the team here working together eight hours a day. It is cool to see them getting good at anticipating each other’s needs.” Legacy Mission Village, which was founded by refugees to aid Burmese and Central African refugees, is one of the nonprofits receiving the meals made by WCK-participating restaurants. Many of the families Legacy Mission serves have specific preferences, such as no cheese or fried foods, and director of operations Tim Mwizerwa appreciates that the meals from Henley are not just sustenance, but made so that the person who receives it will enjoy it. “We’re not just feeding kids packaged sandwiches,” Pastorek says. In addition to Henley and Biscuit Love, Maneet Chauhan’s Tànsuǒ is also cooking donated meals through WCK. Some have staff do drop-offs; others rely on the partner organizations to deliver the meals. WCK is in Nashville through at least July 17, and it isn’t supplanting the local organizations that are here fighting hunger and poverty on a daily basis. “We look to World Central Kitchens as experts in work that is different from what we do,” says Teri Sloan, development director for the Nashville Food Project. “We have gotten to see how their work functions. They are focused on high volume in very acute need. Our work is more focused on long-term, sustainable solutions from the ground up.” Legacy Mission typically offers educational programming, but pivoted when need for food was acute, providing meals to 90 families at the peak of the pandemic. Mwizerwa is seeing demand for the meals decrease as people go back to work. But because some have family members who work in factories — areas that have been hot spots of the virus — Mwizerwa says that number may again increase. The number of organizations currently in need of charitable gifts is not small. But Pastorek hopes that additional gifts now will extend WCK’s time in Nashville past July 17, allowing them to feed more families. If you are able to help, click the “donate” button on the WCK site. Where it says, “Leave a Comment,” indicate that your gift should be used in Nashville, and Pastorek assures that it will be put toward local need. EMAIL ARTS@NASHVILLESCENE.COM

nashvillescene.com | JULY 9 – JULY 15, 2020 | NASHVILLE SCENE

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Say Nothing weaves the unsolved case of a disappeared Belfast mother into a history of the Troubles BY KIM GREEN

atrick Radden Keefe’s Say Nothing: A True Story of Murder and Memory in Northern Ireland introduces the mystery at its core in two key scenes: A 38-year-old widowed mother of 10 named Jean McConville is abducted by a masked gang from her Belfast flat in 1972, at the height of the sectarian conflict known as the Troubles; and in 2013, 15 years after the Good Friday Agreement largely ended the violence, two detectives from the Police Service of Northern Ireland collect secret recordings from a Boston College archive of oral histories dubbed The Belfast Project. These two threads entwine as Keefe pieces together confessional testimonies of ex-combatants with his own prodigious reporting to put forth a credible theory about who was responsible for McConville’s disappearance and death. But the larger story of conflict in Northern Ireland is one of collective responsibility. The book’s title comes from a phrase — “Whatever

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you say, say nothing” — featured in an Irish Republican Army propaganda poster warning potential informers. The phrase is also mentioned in a 1975 poem by the Irish Nobel laureate Seamus Heaney about the “tight gag of place” and the “subtle discrimination by address” that defined the strife. That tribal culture of silence sometimes abetted atrocities. A telling detail about McConville’s abduction, as recalled by her children, was the housing block’s uncanny emptiness, “almost as if the area had been cleared.” A crueler detail was the neighbors’ seeming indifference, even hostility, to McConville’s orphaned children, left on their own to scrounge for food before being farmed out to dour institutions. Rumor had it that McConville, a born Protestant who married a Catholic, was herself an informer — a stigma that stained even her children. In Northern Ireland at that time, it seemed there was no greater crime than treachery. “We believed that informers were the lowest form of human life,” a former IRA member named Dolours Price told a journalist. Price and her sister Marian hailed from a family of battle-scarred Irish republicans and achieved a kind of outlaw stardom for taking part in a 1973 London car bombing and staging a prison hunger strike that nearly killed them both. Keefe focuses on the Price sisters in part because their lives would eventually intersect with the woven mysteries of the

Boston College secret archive and the McConville kidnapping, but also because their life stories mirror the history of the Troubles — from youthful ideals to violence, self-delusion and finally disillusionment and regret. Keefe doesn’t try to pin down the origins of the conflict itself. “It almost didn’t matter where you started the story: it was always there,” he writes. Instead, he zooms in to the combatants’ stories to illustrate how, in a place contorted by generations of discrimination and bloodshed, ordinary people can come to believe that violence is a moral imperative — an idea reinforced by ritual and pageantry. The Price sisters grew up against a backdrop of IRA propaganda murals, tricolor republican flags and lilies furtively worn to commemorate the failed 1916 Easter Rising. “When Dolours Price was a little girl,” Keefe writes, “her favorite saints were martyrs.” Of course, few revolutionary ideals survive the realities of revolution. By the time the Good Friday Agreement was signed in 1998, Dolours Price had renounced violence and fallen out with many of her former comrades-in-arms, especially her erstwhile commanding officer Gerry Adams. Adams had miraculously transformed himself from IRA strategist to tweedy Sinn Fein statesman, becoming a key figure in the republican shift from violence to voting as a means to power. Throughout his political rise, he insisted he had never joined the IRA — a claim that few actually believed but offered the deniability London needed to negotiate a peace deal with him. To ex-IRA stalwarts like Price, Adams had betrayed the cause by consenting to anything less than a united Ireland. “Is this what we killed for? she would ask herself,” writes Keefe. “Is this what we died for?” But by masterfully performing the old IRA “say nothing” credo, while repudiating some of the republican movement’s more extreme methods and compromising on its stated goal, the slick shapeshifter Adams helped end the conflict and keep the fragile peace. As Keefe points out, the Troubles ended in a “queasy sense of irresolution.” Although the paramilitaries had ceased hostilities, even by 2015 tricolor or Union Jack flags still flew in Catholic and Protestant neighborhoods separated by “peace walls,” and most students still attended elementary schools that were segregated by religion. Keefe quotes anthropologist Claude Levi-Strauss, who noted that for most humans throughout history, “the idea that humanity includes every human being on the face of the earth does not exist at all. The designation stops at the border of each tribe.” It’s impossible not to hear a warning in those words about the extremes of tribalism and where they might lead. To read an extended version of this review — and more local book coverage — please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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Now more than ever will help support some of Nashville’s best restaurants and their teams that work their buns off, during Burger Week and beyond!

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It’s the juiciest week of the year. Head to these restaurants for $7 burgers all week long. No tickets are required, just show up and eat your heart out! Strategize your week below! 1

Athen’s Family Restaurant

CarrY-out

Spartan Burger

1/2 lb of seasoned ground chuck with lettuce, tomato and onion straws plus a side of Greek pimento cheese.

Boswell’s Harley Davidson

CarrY-out

Sportster Custom

1/2lb. 100% Pure Beef Hamburger with cheese, tomato, lettuce, onions and pickles.

Burger & Company

CarrY-out

Fried Pickle Burger

Handmade fried pickles on top a juicy beef patty with havarti cheese and our homemade BC slaw served on a toasted brioche bun.

Burger Joint

House blend beef, runny fried egg, American cheese, kimchi, crispy bacon, gochujang mayo, toasted brioche bun.

burger republic

Blend of Certified Angus Beef and Italian Sausage, Pepperoni, Garlic Cheese Curds, Marinara and Sautéed Peppers on a Freshly Baked Buttered Brioche Bun.

BurgerFi Brentwood

CarrY-out

Southwest BBQ Ranch Burger

2 fresh angus patties seasoned with Cajun seasoning, A-1 sauce. Topped with white cheddar cheese, thick cut bacon, lettuce, pickles and tomato. Drizzled with ranch dressing and bbq sauce on a branded potato bun.

Chago’s

Nashville Scene Burger Week Winner 2 years in a row! 2 Smashed patties, American cheese, steamed onions, gringo sauce, spicy pickles on a locally made sesame top bun.

Cumberland Bar (JW Marriott)

CarrY-out

Stomp Burger

This burger is stacked high with juicy prime USDA Angus beef and Nueske’s smoked bacon, dripping with cheese fondue and finished with a whiskey onion marmalade. Sandwiched between two hamburger buns created and baked in-house daily.

Double Dogs Hillsboro Village Bo Burger

A fresh, never frozen patty with mozzarella cheese, smoked tomato, aged balsamic glaze, red onion, iceberg and pesto mayo on a warm butter-toasted bun.

farm burger

Fleet Street Pub

Germantown Pub

CarrY-out

Sliderhouse

Cheddar and Swiss Cheese on a 6-oz patty, topped with sautéed onions, house-made spicy ketchup, mustard and house-made ancho-ranch sauce.

Hoss’ Loaded Burger Shop

A short rib, brisket, hamburger patty, peppered bacon, spicy American cheese, homemade red eye BBQ sauce, lettuce, tomato and sweet grilled onions.

Smokin’ Thighs

CarrY-out

A hand pattied 1/3lb. ground chicken burger topped with provolone, pineapple, kickin slaw, tomatoes and teriyaki sauce on Texas Toast!

South Side Kitchen & Pub

CarrY-out

West Coast Burger

Double smash patties, aged white cheddar, onion bacon jam, avocado spread & lettuce served on a Bobby John Henry Bakery bun.

CarrY-out

The Classic Burger

CarrY-out

1/3lb of Porter Road Butcher ground beef stuffed with colby-jack cheese and topped with cajun spices, mayo, lettuce, and Benton’s bacon.

Jack Browns Beer and Burger Joint Germantown CarrY-out

The Classic Jack

100% American Wagyu Beef patty topped with carmelized vidalia onions, American cheese, sliced pickles, and our housemade Jack Brown’s sauce!.

Jack Browns Beer and Burger Joint Edgehill CarrY-out

The Classic Jack

2 beef patties, caramelized onions, goat cheese, local lettuce, and strawberry jalapeno jam.

The Flying Hawaiin

CarrY-out

Like all our food, we make our burger from scratch. We grill our hand-made, all-beef patty to perfection, then top it off with lettuce, onion, tomato, and our special roasted garlic aioli. It’s served with hand-cut fries, and garnished with a pickle.

CarrY-out

The Kaiser Soze

CarrY-out

Tennessee Grass Fed Farm grassfed beef with noble springs goat cheese, grilled georgia peaches, arugula, pickled beets, chimichurri.

phat bites

The 4/20 Burger

Caprese Burger

CarrY-out

Made with fresh meat, homemade buns, fresh vegetables from a local farm, homemade sauce and dressing and a mix of fresh toasted and grounded spices. A combination of north African, middle eastern, Mediterranean and NY Flavor.

Drake’s

The Blackbird

The Cheese Burger

A single Black Angus beef patty topped with our special sauce, grilled onions, tomatoes, lettuce, pickles and melted American Cheese. Served with your choice of French Fries, Green Beans or Slaw.

King Tut’s Food Truck

The Lamburgini

Bo Burger

CarrY-out

Baker Street Burger

Hanover Street Burger

Double Dogs Sylvan Heights

The Spanish Pipedream

CarrY-out

The Kimchi Burger

100% American Wagyu Beef patty topped with carmelized vidalia onions, American cheese, sliced pickles, and our housemade Jack Brown’s sauce!

Sportsman’s Grille

CarrY-out

Sportsman’s Style Buffalo Burger

Blackened burger, home made hot sauce, red onion, lettuce and tomato and is topped off with a fried jalapeno!

The Lost Paddy

CarrY-out

The Lost Paddy Burger

The signature and most popular burger here at the pub. Made with Shweid & Sons ground chuck brisket, beef, short rib patty, 3 ounces of cured hard smoked Griddle Masters applewood bacon, hand selected Crimini mushrooms and summers crop of sweet yellow onions, sauteed in fresh Thyme and House Seasoning, Havarti, Truffle Horseradish Aioli, Hilltop Hearth’s butter toasted yellow brioche bun. “On Top” Shwartz hot crinkle cut pickle.

tower deli

CarrY-out

The Tower Burger

Freshly made to order come with 6oz Tennessee Hereford beef, lettuce, tomato, red onion, pickles and mayo on a brioche bun.

A single Black Angus beef patty topped with our special sauce, grilled onions, tomatoes, lettuce, pickles and melted American Cheese. Served with your choice of French Fries, Green Beans or Slaw.

Don’t forget to vote for your favorite burg of the week and help crown the Best Burger in town! nashvillescene.com | JULY 9 – JULY 15, 2020 | NASHVILLE SCENE

MUSIC

THE SUN AT YOUR BACK

Gone West cultivates a unique and personal country sound on debut LP Canyons BY ANDREA WILLIAMS

o understand the country band Gone West, you must understand its members. This is true with any group, certainly, but it’s especially applicable in this case, with this merging of four equally geCANYONS OUT NOW VIA nius — and already TRIPLE TIGERS established — musical minds. There is Justin Kawika Young, a native Hawaiian and a self-professed ’90s R&B aficionado who, as a solo artist, topped the radio singles charts in his home state 11 times with his own brand of island soul. And there’s Nelly Joy, a native Texan who moved to Music City right out of college and wrote her way to country music success. Her songs have been cut by Kelly Clarkson, Big & Rich, and The JaneDear Girls, the duo she formed with Susie Brown that scored a Top 20 hit on the Hot Country Songs chart with 2010’s “Wildflower.” Joy’s husband, Iowa-born Jason Reeves, is equally adept with his pen. The Grammynominated singer-songwriter has written for or with Demi Lovato, Kenny Rogers, Louis Tomlinson of One Direction and, of course, Gone West’s fourth member, Colbie Caillat. Caillat soared to pop stardom on the Reeves co-write “Bubbly,” a breezy, acoustic jam that’s both the sonic embodiment of her Malibu roots and the lead single from her 2007 debut album Coco. Caillat has since gone on to sell some 6 million albums worldwide (Coco alone was certified double Platinum for more than 2 million U.S. sales) while pocketing two Grammy Awards, including one for Album of the Year, courtesy of her collaboration with Taylor Swift on Fearless. Collectively, the now-resident Nashvillians are Gone West. They are the personification of the term “supergroup,” and after three years of writing, producing and recording, they’ve woven the seemingly disparate musical styles and sensibilities gathered and refined over 15-plus years into their first full-length project, Canyons, released in June. “When I listen to the record, it really is a true collaboration,” Young says. “I hear Nelly’s pop and country hooks, and the little tasty things that she adds. I hear Jason’s poetry and his guitar licks. Colbie’s been the true north, making sure that we stayed on track on the sound that we initially wanted to go for, and you can hear my Hawaiian influence on some of the songs. I think it’s really cool to be able to hear all of the different things in a song, but have it come together in a cohesive way.” This cohesion isn’t just apparent in the music — in the crisp vocal harmonies or the seamless blending of their instrumentation. It is who they are, these longtime friends who were partners in life before they ever united in music.

But, of course, there was always music. The first time I met the members of Gone West, nearly two years before I spoke to them for this piece, it was at an impromptu hang at Colbie and Justin’s Brentwood home. There were around 20 of us there, eating and drinking and laughing until the platters of grilled chicken and veggie burgers were pushed aside and the guitars pulled out. Everyone took their places: Young on keys, Caillat on the mic, Joy and Reeves on guitar. They drafted a rhythm section from their group of talented friends — one picked up the bass and another volunteered on cajon — then they rocked into the wee hours, cycling through some 112, some Bob Marley and some original songs, too. Joy had her twangy lilt and Young had his delicious runs, and all the while they seemed to be creating their own genre of sorts, this amalgam of pop and R&B, country and reggae. Reeves shares the history of these jazzstyle jam sessions and their prominent role in Gone West’s musical foundation: “The whole way we started doing this, together, as

friends, was at house parties in California, just casually making music for love. That’s the spirit that we really want to keep central to what we’re doing.” I didn’t know it at that gathering two years ago, but the group had already written its first official Gone West song. “It’s all been very natural and organic, where each step kind of led to the next,” says Young. “Even in our first session, it was like, ‘Let’s just put a session on the books and see what happens.’ Then it was like, ‘Let’s do one more and see what happens.’ It’s been nice to just be in the moment and let the experience lead us to where we should go, instead of trying to predetermine a destination.” That first session resulted in “When to Say Goodbye,” a sultry but bittersweet ballad about a relationship that’s run its course. “Not only do I really love how the song turned out,” Reeves says, “but it’s really rare that a first attempt works out that well, and it really inspired us to write more songs. I also think that it’s cool when we all come in and are singing four-part harmony. It showed us what our band could sound like.” If “When to Say Goodbye” is the hope of what was to come with Gone West, “Tides,” the final track on Canyons, is that hope’s brazen manifestation. “It’s about riding the ups and downs without resisting,” Young explains. “So the meaning of it is important and central to the record, and the sound of it just feels very much like who we are.” The harmonies on “Tides” are as perfect as they are elsewhere on the project, but the song is particularly meaningful in how it showcases each member of Gone West. Every voice has a chance to stand alone and shine before blending again in stellar background arrangements set atop soulful guitar riffs. And the give-and-go is easy here — too easy, it seems, for a band with

this kind of individual fire power. Still, says Caillat, it’s genuine. “All of us in the band never usually ask to sing, we’re always forced to by the others,” she says. “We’re not like other bands that fight for the spotlight.” There’s another reason that “Tides” is a noteworthy addition to this album, released in this genre — a genre that has, for far too long, presented itself as the domain of mostly white artists. The outro, featuring a melodic chant in native Hawaiian by Young, is a reminder that country music is America’s music — of, by and for all Americans. Writing and recording Canyons in Nashville, with Nashville songwriters, musicians and producers, has naturally imbued the project with traditional country elements. The banjo, the steel guitar and the rich storytelling are all there. Indeed, Gone West’s invitation to play the Grand Ole Opry last summer is validation of the band’s country core. Yet in the crafting of this project, Young, Joy, Reeves and Caillat never felt any pressure to diminish their uniqueness in an effort to fit in some Nashville box. In fact, Joy, the Gone West member most firmly rooted in country tradition, believes that each of their experiences has perfectly positioned them for this place, in this space. “The first time I heard ‘Bubbly’ was actually on CMT,” she says, “and I think country listeners loved it because it’s kinda genre-less. It’s just great, timeless, acoustic music. And if you go back and listen to Justin’s older Hawaiian records, they literally sound like old-school country in all the right, good ways. We tried to pull as much as we can from those influences, and we made an album that we love. We honestly didn’t put it into a box or call it anything, in particular, other than music that we love.” EMAIL MUSIC@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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MUSIC

THROUGH LINE

Bobby Braddock explores country’s mythology in Country Music’s Greatest Lines

n his new book Country Music’s Greatest Lines: Lyrics, Stories & Sketches From American Classics, the great Nashville songwriter Bobby Braddock tells colorful tales about the creation of some of those classics. A much-honored tunesmith who has already published two memoirs that follow him from his native Florida to Nashville — where he would pen indelible hits for George Jones, Tammy Wynette and many others — Braddock knows country songwriting from the inside. In the new book, his sometimes-bawdy reports from the songwriting wars are augmented by a series of arresting quasi-pop-art drawings by artist Carmen Beecher. Country Music’s Greatest Lines is an attractive, well-written book that honors the eccentricity of a great American art form. For Country Music’s Greatest Lines, Braddock picked songs written from 1949 to 2015. The latter year is when Eric Church’s “Kill a Word” — the last of the 81 songs Braddock and Beecher illuminate COUNTRY MUSIC’S GREATEST LINES: LYRICS, in the book — hit the STORIES & SKETCHES charts. For BradFROM AMERICAN dock, whose career CLASSICS began in the late BY BOBBY BRADDOCK, ’50s and has continILLUSTRATIONS BY CARMEN BEECHER ued well into this ARCADIA PUBLISHING century, choosing AND THE HISTORY PRESS songs from all eras 192 PAGES, $21.99 of country creates a through line in a genre that has become increasingly fractured. “A lot of older country-music fans talk about how they don’t like the country music today,” Braddock tells me via phone from his home in Nashville. He’s lived in the city since 1964, when he rented a house in Crieve Hall, a mile down the street from rockabilly star Benny Joy, himself a key player in Braddock’s early career. “I remind them that that music they don’t like, a lot of the younger people like it,” he continues. “It’s the music of their life — the songs they’re falling in love to. And certainly, in the ’40s and ’50s, the majority of songs were solo-written. A year or two ago, I looked at the charts to see how many songs were written by one person. One of them was ‘Millionaire,’ that Chris Stapleton had out, and my friend Kevin Welch wrote it.” Country’s Greatest Lines makes its case for the combination of linguistic sleightof-hand and unruly directness that makes country songs tick. Braddock’s song descriptions are brief and paired with Beecher’s illustrations, which appear on the facing pages. In a few instances, Braddock imagines the stories behind the songs, as in his piece on Charlie and Ira Louvin’s “I Take the Chance,” a 1956 hit for The Browns. Meanwhile, Beecher’s black-and-white illustrations display a sly, antic sense of humor. The Florida artist creates a subtly disturbing portrait of Roger Miller — represented here by “King of the Road” and “Walkin’, Talkin’, Cryin’, Barely Beatin’

Broken Heart” — as a hobo capering on train tracks, somewhere in the hinterlands of America. Braddock’s vast knowledge of songwriting transpires in each entry in Country’s Greatest Lines. At times, as in his piece on Don Rollins’ 1965 song “The Other Woman,” he connects the emotion in the song to the life of the songwriter. Rollins, who also wrote songs for Tony Booth and George Jones, committed suicide after a long bout with alcoholism. Similarly, he provides fresh information about another lesser-known songwriter, Tony Moon, in his entry on Moon’s “Sorrow on the Rocks,” a 1964 Porter Wagoner hit. One of the lessons you learn from Country’s Greatest Lines is that seemingly forgotten songwriters, like Moon and Rollins, have profoundly influenced the culture. For example, Moon co-wrote a pop standard, 1962’s “Soldier of Love,” with Nashville’s Buzz Cason, that has been cut by luminaries like Arthur Alexander and The Beatles. Braddock gives space to the heavies of country — Hank Williams, Hank Cochran, Taylor Swift and Roger Miller — but he’s at his best when he writes about undeservedly obscure songwriters. Braddock was born in Auburndale, Fla., in 1940, and came to Nashville after a stint in Orlando, about 60 miles from that town. He’d been playing keyboards in a local band, Big John’s Untouchables, and aspired to write country songs. He landed a spot in country superstar Marty Robbins’ road band, breaking through in 1965, when Robbins cut his song “While You’re Dancing.” By 1968 Braddock had written hits for Ferlin Husky and The Statler Brothers, and he and co-writer Curly Putman helped change the course of country history with “D-I-V-O-R-C-E,” recorded by Tammy Wynette and producer Billy Sherrill in March of that year. Braddock goes into detail about the genesis of “D-I-V-O-R-C-E” in his 2015 book Bobby Braddock: A Life on Nashville’s Music Row, the second of his memoirs. As he does in 2007’s Down in Orburndale: A Songwriter’s Youth in Florida, Braddock writes frankly about his own excesses, but his insights into the making of some of the greatest country records reveal a very sharp — and original — mind at work. As he told me in 2018, when I caught up with him in person at a Music Row office, he was initially pegged as a modern novelty artist — a newfangled Roger Miller. And indeed, Braddock songs like “Nothing Ever Hurt Me (Half as Bad as Losing You)” and “Her Name Is” — both recorded by George Jones — are a highly developed species of novelty country. “To me, ‘Her Name Is’ is a serious song,” Braddock told me. “It’s about my second wife, about Sparky, about us running around.” Braddock’s work transcends the noveltysong label. Writing for Jones in the ’70s and ’80s, Braddock helped invent the rubbery personality Sherrill wanted to project on

PHOTO: DENNIS CARNEY

BY EDD HURT

BOBBY BRADDOCK Jones’ records. Amid similarly antic mid’70s Possum classics like Sammy Lyons’ “Old King Kong” and Hank Cochran and Glenn Martin’s “Billy Ray Wrote a Song,” Braddock’s songs combine narrative and

outrageous humor. After the massive success of Jones and Sherrill’s February 1980 version of Braddock and Putman’s “He Stopped Loving Her Today,” Braddock continued to write. He produced some of Blake Shelton’s early records, and his co-write with Troy Jones, “People Are Crazy,” made No. 1 on Billboard’s country chart in 2009. Country’s Greatest Lines works as an insider’s take on the business of country, and it also sent me to a dozen records I wanted to hear immediately. Braddock and Beecher evoke the mythology of country without sentimentalizing the music or its creators. It’s a remarkable achievement. I asked Braddock about songs that didn’t make the book — songs that he believes have affected the world in positive ways. “I think ‘Blowin’ in the Wind’ is one of the few songs that had an impact on society, and what was going on in the world. I have written some political songs, but you just haven’t heard them. They haven’t been recorded.” EMAIL MUSIC@NASHVILLESCENE.COM

nashvillescene.com | JULY 9 – JULY 15, 2020 | NASHVILLE SCENE

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MUSIC

THE SPIN

TOUCHING FROM A DISTANCE

BY MEGAN SELING AND CHARLIE ZAILLIAN ust a few minutes after 7 p.m. on June 30, Alicia Bognanno took a seat next to her control panel and welcomed the audience to the new Bully space station. The set, looking like something out of Spaceballs, was adorned with silver streamers and spinning colored lights. After her dogs Mezzi and Papa — “the goon squad,” she called them — popped in for a quick hello, Bognanno got down to business, ripping through solo versions of songs from Bully’s third LP Sugaregg, set to be released Aug. 21 via Sub Pop. The show, streamed via the Noonchorus platform, sounded fantastic. Bognanno admitted she was nervous about having to rework the songs for a solo presentation with the COVID-19 lockdown still in effect. Though she was alone in her space station, she managed to make each tune feel like its own little universe with only a bass, a guitar and a stash of effects pedals. Her production talents took center stage, and the first batch of songs — “Every Tradition,” “You” and “Prism,” the last of which is a dreamy, ethereal jam with lyrics about ghosts and pain fading with time — sounded rich and dynamic. Bognanno took a minute to assure the audience that Sugaregg “definitely sounds like a full rock band on the record.” That much is clear from what has been released so far: Dig the fat, buzzy bass on the album’s first single “Where to Start”! Throughout the show, various pedals offered layers of distortion and echoing vocals. Occasionally, Bognanno switched from guitar to bass, sometimes even layering the two. In the chat panel, the audience gushed about her tone, appearing as impressed with her technical skill as with the songs themselves. “I’ll go over all my pedal stuff later this week,” Bognanno said, “because people have been asking about it and I have so much going on.” Case in point: About a week before the show, she did a rundown of her pedal-board setup for “Where to Start” on Instagram, which has been viewed more than 10,000 times. Key elements of her sound included distortion from a Greer Amps Little Samson (“It’s really chunk and beefy”) and an EarthQuaker Devices Westwood, as well as EarthQuaker’s Ghost Echo reverb pedal and Greer’s Black Tiger delay. She uses the Black Tiger to get some feedback and “give the song some noise.” You could hear all of that and then some throughout the show. A well-placed looper pedal came into play for “Hours and Hours,” the last song of the hourlong set. Bognanno laid down a melodic bass line, then played distorted guitar over it, resulting in another wistful, almost dreamy vibe. The whole performance — especially songs like “What I Wanted” and “Come Down” — showcased a noticeable shift from Bully’s last release, 2017’s Losing. On Losing, Bognanno was pissed. It was a record written and recorded just as the country first started falling into chaos — Trump became president, the #MeToo move-

ment hit the mainstream and, on a personal level, Bognanno was coping with the restlessness that comes with having to rediscover her place at home after spending months on the road. But on Sugaregg, it seems, Bognanno has settled into a more peaceful, secure place. As “Hours and Hours” wound down, she sang as gently as we’ve heard her sing before, insisting, “I’m not angry anymore, I’m not holding on to that.”

BOTH KINDS OF MUSIC: COUNTRY WESTERNS Aug. 21 can’t come soon enough. The world-weary punk-pop of Country Westerns’ self-titled debut conveys instant nostalgia for pre-pandemic dive-bar shows and house parties. As mildly frustrating as it was for the band to troubleshoot technical issues that pushed their June 30 performance for the Scene’s No-Contact Shows series back an hour, it felt like a good-naturedly tipsy get-together running on punk time. Friends of the band like Soft Junk owner-curator Nic Schurman, Jonathon Childers of the late, great Blank Range and Duke’s co-owner/Kings of the Fucking Sea bassist Sara Nelson were among the 30 or so viewers cheering them on in the chat box — enough to make a place like Soft Junk feel full — before things finally got underway. That informal vibe carried into the set’s opener, “Gentle Soul,” which bassist Sabrina Rush was inaudible for three-fourths of, then came crashing in loudly at the end. (“When you came in, it made it big,” singer-guitarist Joey Plunket quipped.) With levels solidified and the virtual crowd having stuck around, Rush, Plunket and drummer Brian Kotzur reeled off seven of the LP’s 11 songs, plus one cover for good measure, at a loose, unhurried pace that brought their musical dynamic into focus. Rush is the glue in Country Westerns, guiding the material with bass lines that are melodious, steady and stylish. Kotzur is a conductor of sorts, his conversational playing style full of high-wire fills and dramatic, sudden tempo shifts that ensure the energy in the room never flags. The rhythm section’s proficiency and flair frees up Plunket and his sweet-sounding electric 12-string to rock out in a way that prioritizes passion over perfection, encouraging go-for-broke solos and leads that the late Bob Stinson of The Replacements would’ve appreciated. (It didn’t make it into last week’s Scene feature on Country Westerns, but in our interview Plunket told the Scene an early formative music experience involved stealing his uncle’s cassette copy of the ’Mats classic Let It Be at age 11.) The band honored another of its touchstones with a cover of “A Miss of You” by Dead Moon, the Portland, Ore., trio that practically wrote the book on unpolished punk from the heart. Then they signed off with “Anytime,” the anthemic first track from Country Westerns — a slab of vinyl well worth owning to tide yourself over until we meet again for beers in the basement. EMAIL THESPIN@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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FILM

PRIMAL STREAM XVI Conceptual horror, all of the Jaws films and more, now available to stream BY JASON SHAWHAN

ear a mask. That tiny effort can make all the difference in the world. If you insist on not wearing one, how about you insist on staying away from other people? We are at a scary point, and it is very hard to give anyone the benefit of the doubt anymore about much of anything. Letterkenny has been helping. And Chromeo’s Quarantine Casanova EP has definitely distilled a surprisingly large percentage of COVID-based anxiety into some tasty grooves. But wear masks, please. It’s the least you can do. Below is this week’s batch of recommended streaming titles. Look back at the 15 past issues of the Scene for more recommendations.

THE BEACH HOUSE ON SHUDDER A quaint romantic getaway/relationship progress report for Emily and Randall is left in stasis by an error in timing (which could be the setup to a farce in another film), and then by a cosmic upheaval. Firstly, the family beach house is currently occupied by unexpected friends of the parents. That’s weatherable, as Mitch and Jane are kindhearted and charming, and they’re actually fun to spend some time with. Nobody’s out to murder or harvest organs from anyone — just good meals and maybe some board games and this lovely scenery. But there’s something gathering, spreading, swarming. In the skies. In the ocean. In organic bodies. There’s a little bit of Annihilation to The Beach House, and some Lovecraftian spice, and an honest reckoning with the cruelties of fate. But there’s no previous hangout movie that successfully becomes a surreal apocalyptic nightmare to fully compare this to, and as such The Beach House is low-

budget genre cinema done beautifully and viscerally. There’s beauty in the cellular brutality, and Liana Liberato as Emily is an inspiring and resourceful heroine.

THE JAWS QUARTET ON HBO MAX Can we talk about Jaws? It’s recently been on the collective digital mind of folks, judging from the internet memes equating the film’s Mayor Vaughn with countless real-life figures on the federal, state and local level. And that’s certainly a visceral enough way into the story, because you can’t get past the shortsighted foolishness of throwing the public into the breach — hearing people’s derisive reactions to that character’s dialogue during a recent drivein screening of the first film was a teeny little triumph amid the ongoing dejected and fatalistic sigh of the past few months ... because yeah, fuck that guy. There need to be better options than staying open in the face of needless death. So while we’re trying to figure out something better than capitalist oligarchy, this quartet of shark narratives is a good way to explore studio economics and the law of diminishing returns in an afternoon. Jaws (1975) is a classic that defined the modern Summer Movie Blockbuster as we know it. It still plays like gangbusters and will make you deeply nervous around water. Jaws 2 (1978) is a superb slasher movie — it doesn’t have as much on its mind as the progenitor, but there are set pieces in here (shark-versus-teen-boaters is a personal fave) to rival the greats of ’70s horror, and it does the Psycho II trick of being so much better than it has any right to be. Jaws 3-D (1983) is fine, using 3D (if you have this film on Blu-ray, you already have the 3D version as an option should you have the right AV setup) and its location (SeaWorld, which is

WOODSHOCK

just as problematic as you want from a place whose clientele is going to get eaten with relish, figuratively and probably literally) beautifully. It’s got Louis Gossett Jr. and Dennis Quaid to add some respectability to the proceedings. Jaws: The Revenge (1987) has that amazing Percy Rodrigues-narrated trailer (“This time ... it’s personal”) and a sadly excised voodoo subplot, but it’s also an attempt to give Lorraine Gary something to do after 12 years and too many folk lost. Also, Michael Caine.

GOTHIC ON TUBI Ken Russell, at the peak of his ’80s genius excess, tells us the story of that fateful weekend in 1816 at the Villa Diodati on Lake Geneva in Switzerland, where Mary Godwin (the late, truly great Natasha Richardson), Lord Byron (Gabriel Byrne at his haughtiest), Percy Shelley (Julian Sands, splitting the difference between his Merchant Ivory collaborations and the Warlock series), Dr. John Polidori (Timothy Spall, snivelicious) and Claire Clairmont (Myriam Cyr) gathered for debauchery and storytelling. Take a cast like that, an electrical brilliance like Russell’s, add hallucinogens and deep-seated regret, and stir! Gothic is the story of how we as a culture were given Frankenstein and his monster by Mary, as well as the modern conception of the vampire myth from Polidori, as well as further decadent work from Shelley and Byron. It’s a fortuitous gathering of creative minds, expressed via Russell’s vision (and Thomas Dolby’s gloriously anachronistic score) as a fever dream, a séance, a nightmare, a seduction and an exorcism — and it is glorious. Russell’s subsequent film, The Lair of the White Worm, is also essential viewing for anyone who delights in the obliteration of the division between classy and trashy.

WOODSHOCK ON NETFLIX

JAWS

You might have missed this hypnotic dreamscape when it played upstairs at the Belcourt for a couple of days in the long, long ago of 2017. Crafted out of brainwaves and weed fumes as well as West Coast forest secrets and refracted high-end glitz, Woodshock sees the fashion-designer Mulleavy sisters building something different from their Rodarte line, and exorcising anxiety in a visually and tonally distinctive fashion

as co-directors. Their work has always gathered seeds of inspiration from genre culture, and you can feel that sense of protean “anything unspeakable can happen” seeping out of every frame. Kirsten Dunst as dispensary tech/folk physician Theresa creates a bookend for her 2011 Cannes Best Actress Award-winning performance in Melancholia, here focusing on a worldaltering trauma that emanates from within rather than without, metabolizing grief and guilt and the very act of keeping your shit together when nothing makes sense and tragedy is the engine that drives the universe. This one isn’t for everybody, but if you want something that understands the psychological mechanics of “living” when it feels like everything is underwater (or suffused with some other, thicker humor) — or if you’re interested in seeing the vision of two incredibly gifted artists who are not concerned with explosions or patriarchal successions — this is exactly what you need. If you’ve just baked some cookies and have a box of wine stashed somewhere, you are ready for this distinctive and druggy work of overwhelming beauty. EMAIL ARTS@NASHVILLESCENE.COM

SPAWN OF THE DEAD

We Are Little Zombies is inventive and fun, but overstuffed with ideas BY NATHAN SMITH

ifferent types of art are usually considered separate from one another: paintings and sculptures are displayed in galleries; movies are projected onto screens; theater unfolds on a stage. But every medium impacts and influences the others. Cinema wouldn’t exist in the way it does without theatrical conventions to draw from, literature to adapt, painting to inform framing and composition, or music to serve as a score — and all those other creative modes have been altered by their creators’ encounters

nashvillescene.com | JULY 9 – JULY 15, 2020 | NASHVILLE SCENE

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FILM

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with the movies. Whether you consider them art or not, video games have left a similar impression on motion pictures since their genesis several decades ago. Of course, there are your obvious examples: movies based on or very directly about video games, your Sonic the Hedgehogs and your Wreck-It Ralphs. But there are also films — like Makoto Nagahisa’s We Are Little Zombies, available in the Belcourt’s virtual screening room starting this week — with a more complicated relationship to gaming, that carry its aesthetic influence in their very DNA. Our avatar in Zombies is Hikari, the most selfhating little boy in Japanese cinema since Shinji of Neon Genesis Evangelion. Hikari informs us through voice-over narration that his well-off parents, who purchased him every retro game console his heart desired, have died in a bus accident, and now he has no friends in this world save for a stack of dusty old cartridges. At the crematorium, as he waits for his parents to turn to ash, Hikari meets three other teenage orphans, there for the same reason: Ishi, whose parents died in a cooking fire; Takemura, whose parents killed themselves; and Ikuko, the only girl of the bunch, whose parents were murdered by a lecherous man trying to impress her. This motley crew of kids, forced into hardened cynicism by the tragic circumstances of their lives, bond not just over their mutual orphanhood, but also over the lack of emotion they each have about their parents’ deaths. They nickname themselves “Little Zombies,” after a game Hikari plays about four zombies who meet in a graveyard and befriend each other — each one of them feels emotionally undead inside. The Little Zombies eventually evolve from a friend group into a massively successful novelty rock band with a ravenous online fan base, after the four discover their skill at playing a kind of psychedelic pop punk that blends rock rhythms with the electronic medleys you’d hear in early Nintendo games. Beyond the chiptune compositions on the soundtrack (which were written and recorded by director Nagahisa, much as noted gamer/filmmaker/ electronic artist John Carpenter is known to do), We Are Little Zombies draws much of its visual language from video games. Certain sequences are shot topdown from a precise bird’s-eye view, casting the film’s characters as the avatars of a vintage adventure WE ARE LITTLE ZOMBIES NR, 120 MINUTES; IN JAPANESE WITH ENGLISH SUBTITLES AVAILABLE FRIDAY, JULY 10, VIA BELCOURT.ORG

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game. In other moments, the camera’s perspective flips into first-person. Electric neons, enhanced pastels and animated goldfish waft across the screen, providing an ironic visual counterpoint to the Little Zombies’ emotional numbness. But it’s not just that We Are Little Zombies often looks like a game; it takes up gaming as a central metaphor for how its protagonist interacts with the world. The film — and Hikari’s internal experience as he works through the deaths of his parents — is structured as a series of missions and levels, the process of grieving rendered as an elusive puzzle only the most skilled players can beat. The film’s frenetic creative energy, endless sense of visual novelty and use of gameplay as a metaphor for teenage trauma often recall Scott Pilgrim vs. the World, though We Are Little Zombies feels grounded in a more drab and morbid reality than Edgar Wright’s cult phenomenon. The end result is somewhere between the anarchic visual antics of filmmaker Sion Sono and the punkish, potty-humor-heavy creations of game designer Suda51. (Before their first concert, the Little Zombies joke about how a green room’s commode looks like it could be a “save point” in a game; in Suda51’s No More Heroes, you literally save the game by sitting down on a toilet to take a dump.) Children are known for their imagination and inventiveness, less so for their cohesiveness and organization; like the mind of a child, We Are Little Zombies is overstuffed with original ideas, but only a few truly come together. Though it’s essentially a movie about a group of kids who start a rock band, the band only becomes a part of the plot when the movie is already halfway over. At that point, Little Zombies mutates from a meditation on how young people cope with loss into a frenetic reflection on viral celebrity and meme-generated stardom, and begins to lose touch with its most interesting thematic threads. If you’ve ever finished a video game, you know that sometimes what’s most challenging about gaming isn’t the actual difficulty of a level or a puzzle — it’s staying interested enough to even get to the end of the game. Though it’s often dazzling in its creativity, the sheer magnitude of Nagahisa’s visual inventiveness can start to weigh you down after two hours of almost nonstop gags, gimmicks and tangential cartoon sequences. We Are Little Zombies picks up on the most interesting aesthetic features of video games, but unfortunately, some of the bugs are present too. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JULY 9 – JULY 15, 2020 | nashvillescene.com

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Trust be advertised and sold in satisfaction of said debt and the cost of the foreclosure, in accordance with the terms and provisions of said note and Deed of Trust;

CROSSWORD EDITED BY WILL SHORTZ ACROSS 1

Where the first velociraptor fossil was discovered (1923) Take a chance

___ Drago, foe of Rocky Balboa

“Schitt’s Creek” actress Catherine

Not loving anymore

The unhappy drill press operator ...

Increases in intensity

“I Am the Walrus” and “Revolution,” for two

23 24 29

Cottage cheese morsel Beginner’s trumpet sound

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RR station info

Polish, in a way

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60 PUZZLE BY BARBARA LIN

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On the straight and narrow now

Book after Joel

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Broadcasting aids

Cute calendar subject

To whom the Parthenon is dedicated

Title woman of a 1965 Beach Boys hit

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Part of a Mickey Mouse costume

Seafood server

Torah holder

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Casually try

President who also served as provisional governor of Cuba Frederick Douglass, for one

Foils

The unhappy orthopedic surgeon …

Art Deco artist

First name on the Supreme Court

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JUVENILE COURT FOR DAVIDSON COUNTY, TN Docket No. 251074

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FORECLOSURE SALE NOTICE

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WHEREAS, Vinod T. Zaver and wife, Manglaben V. Zaver, by a Deed of Trust, dated July 27, 2005, of record in Book 1129, Page 1562 and Modification of record in Book 1473, Page 2407, Register’s Office for Wilson County, Tennessee AND of record in Instrument No. 20050803-0090649 and Modification of record in Instrument No. 20111205-0094622, Register’s Office for Davidson County, Tennessee, conveyed to Randall Clemons, Trustee, the hereinafter described real property to secure payment of a promissory note as described in said Deed of Trust; and

B E S T F O U P H H O U V H O

S I R A B C S

Vanessa Saenz Attorney for Plaintiff

ANSWER TO PREVIOUS PUZZLE R A N G E

This cause came to be heard on the 4th day of October 2019, before the Honorable Mike O’Nea;, Judge of the Juvenile Court of Davidson County, Tennessee upon a status hearing. Counsel for Mother made an oral motion for Service of Process by Publication filed. In this cause it is appearing to the satisfaction of the Court that the ordinary process of law cannot be served upon Larry Davis, it is ordered that said Defendant be served by publication and enter his appearance herrin within thirty (30) days from the last day of publication of this notice, and defend or default will be taken against him. The hearing to be held at 100 Woodland St., Nashville, TN 37213. It is therefore ordered that a copy of this Order be published for four (4) weeks. It is further ordered that said four (4) week succession publication will constitute service upon Larry Davis in the above-captioned case.

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

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The notice required by 26 U.S.C. Section 7425(b) to the United States has been timely given, that the sale of the land thus advertised will be subject to the right of the United States to redeem the land as provided for in 26 U.S.C. Section 7425 (d) (1). WHEREAS, Robert Evans Lee having been appointed Substitute Trustee by Wilson Bank & Trust, the owner and holder of said note by an instrument of record in Book 1600, Page 153, Register’s Office for Wilson County, Tennessee AND in Instrument No. 20140714-0061742, Register’s Office for Davidson County, Tennessee, with authority to act alone with the powers given the Trustee; and WHEREAS, default having occurred with respect to the note secured by the Deed of Trust, and the full balance owing having been accelerated; and WHEREAS, Wilson Bank & Trust, as the owner and holder of said note, has demanded that the real property covered by the Deed of Trust be advertised and sold in satisfaction of said debt and the cost of the foreclosure, in accordance with the terms and provisions of said note and Deed of Trust; NOW, THEREFORE, notice is hereby given that I, Robert Evans Lee, Substitute Trustee, pursuant to the power, duty and authority vested in and imposed upon me in said Deed of Trust, will on July 31, 2020 at 10:30 A.M., Central Time, at the front door of the Courthouse in Lebanon, Wilson County, Tennessee as to the 5 acres on Sparta Pike, Lebanon, Wilson Co. property AND at 12:00 P.M., Central Time at the front door of the Courthouse located at 1 Public Square, Nashville, Davidson County, Tennessee as to the 1.74 acres on Billingsgate Road, Antioch, Davidson Co. property, offer for sale to the highest and best bidder for cash and free from all rights and equity of redemption, statutory or otherwise, homestead, dower and all

NOW, THEREFORE, notice is hereby given that I, Robert Evans Lee, Substitute Trustee, pursuant to the power, duty and authority vested in and imposed upon me in said Deed of Trust, will on July 31, 2020 at 10:30 A.M., Central Time, at the front door of the Courthouse in Lebanon, Wilson County, Tennessee as to the 5 acres on Sparta Pike, Lebanon, Wilson Co. property AND at 12:00 P.M., Central Time at the front door of the Courthouse located at 1 Public Square, Nashville, Davidson County, Tennessee as to the 1.74 acres on Billingsgate Road, Antioch, Davidson Co. property, offer for sale to the highest and best bidder for cash and free from all rights and equity of redemption, statutory or otherwise, homestead, dower and all other rights and exemptions of every kind as provided in said Deed of Trust, certain real property situated in Wilson and Davidson County, Tennessee, described as follows: MAP 104 GROUP PARCEL 023.00 PARCEL I A parcel of land situated in the 19th Civil District of Wilson County, Tennessee, and more particularly described as follows: Being a tract or parcel of land situated and lying on the northerly side of Sparta Pike and bounded generally on the north by Forbes and Spring Creek, East by lands of Smith and South by Sparta Pike, the same being a triangular tract running to a point at the westerly end, containing by estimation five (5) acres, more or less. Being the same property conveyed to Vinodkumar T. Zaver and wife, Manglaben V. Zaver by deed to create tenancy by the entirety, dated 8/13/04, of record in Book 1067, Page 2192, with further reference at Book 1065, Page 2103, in the Register’s Office for Wilson County, Tennessee. Subject property is unimproved property and has the address of Sparta Pike, Lebanon, Wilson County, TN 37087

MAP 149 GROUP 340.00 PARCEL 2

PARCEL

Land lying and being situated in the Second Civil District of Davidson County, Tennessee, described according to a survey made by James L. Terry and Associates, dated June 12, 1985, described as follows, to-wit: Beginning a point living on the westerly line of the Pebble Creek Apartments at the southeast corner of the Ervin Entrekin, Trustee property as of record in Book 4940, Page 721, Register’s Office of Davidson County, Tennessee; thence running with the said line of Pebble Creek Apartments South 2 degrees, 53 minutes, 47 seconds West a distance of 375.21 feet to a point lying on the northerly line of Terragon Trails, Section I, as of record in Book 4860, Page 61, Register’s Office of Davidson County, Tennessee; thence leaving the said line of Pebble Creek Apartments and running thence with the said northerly line of Terragon Trails North 43 degrees, 57 minutes, 06 seconds West a distance of 555.18 feet to a point lying on the southerly line of the Ervin Entrekin, Trustee, property; thence leaving the said Terragon Trails and running with the Entrekin Property south 86 degrees, 28 minutes, 03 seconds East a distance of 405.05 feet to the point of beginning, containing 1.74 acres, more or less. Being the same property conveyed to Vinod T. Zaver and Manglaben V. Zaver, by Final Decree Confirming Sale from Clerk and Master, recorded on February 26, 2004 and filed for record in Instrument 20040226-0021868, said Register’s Office for Davidson County, Tennessee. Vinod T. Zaver and Vinodkumar T. Zaver is one and the same person. Subject property is unimproved and has the address of Billingsgate Road, Antioch, Davidson Co., TN 37013

Vinod T. Zaver and Vinodkumar T. Zaver is one and the same person. Subject property is unimproved and has the address of Billingsgate Road, Antioch, Davidson Co., TN 37013 The right is reserved to adjourn the day of sale to another day and time certain, without further publication and in accordance with law, upon announcement of said adjournment on the day and time and place of sale set forth above, and/or to sell to the second highest bidder in the event the highest bidder does not comply with the terms of the sale. Substitute Trustee will make no covenant of seisin or warranty of title, express or implied, and will sell and convey the subject real property by Successor Trustee’s Deed, as Substitute Trustee only. THIS sale is subject to all matters shown on any applicable recorded Plat or Plan; any unpaid taxes which exist as a lien against said property, including without limitation city and county property taxes; any restrictive covenants, easements or setback lines that may be applicable; any statutory rights of redemption not otherwise waived in the Deed of Trust, including rights of redemption of any governmental agency, state or federal; and any prior liens or encumbrances that may exist against the property. This sale is also subject to any matter that an accurate survey of the premises might disclose. INTERESTED PARTIES are Mary Caraker; Dept of the Treasury - Internal Revenue Service; Community First Bank & Trust; and Bone McAllester Norton PLLC THIS IS AN ATTEMPT TO COLLECT A DEBT, AND ANY INFORMATION OBTAINED WILL BE USED FOR THIS PURPOSE.

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THIS 25th day of June 2020

Metro Makes a Difference Notice of Application The Metropolitan Government of Nashville and Davidson County is accepting applications for non-profit agencies to participate in the Metro Makes a Difference Campaign. Application may be obtained from: M e t r o M a k e s a D i ff e r e n c e website: https://www.nashville.gov/ Default.aspx?tabid=222 Completed applications can be sent to email address Alex.Norsworthy@unitedwaygn.org or by mail to Metro Makes a Difference Application Attention: Alex Norsworthy, 250 Venture Circle Nashville TN 37228. Deadline for submission: July 31, 2020. The Metropolitan Government of Nashville and Davidson County does not discriminate on the basis of age, race, sex, color, national origin, religion or disability in admission to, access to, or operations of its programs, services, or activities. Inquiries concerning application process should be forwarded to the above email addressor. Department of Human Resources, 404 James Robertson Parkway, Suite 1000 Nashville, TN 37219, Phone (615) 862-6640.

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nashvillescene.com | JULY 9 -JULY 15, 2020 | NASHVILLE SCENE

The right is reserved to adjourn the day of sale to another day and time certain, without further publication and in accordance with law, upon announcement of said adjournment on the day and time and place of sale set forth above, and/or to sell to the second highest bidder in the event the highest bidder does not

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NowWe Serving Regret That We Need to Featuring

monellstn.com

Close Our 3 Nashville SATURDAYS: Southern Country Locations At This Time. Midnight to 3 Breakfast We Look Forward To Serving A.M. BREAKFAST 7 Days a Week!

You Again Very (Germantown Location Only)

Soon!

MUSIC CITY

BOTH LOCATIONS OPEN DAILY 11-8 FOR TAKE-OUT YOUR FAVORITE MEXICAN FOOD & ‘RITA, TOO!

thank you

to our nurses, doctors, medical personnel and support staff on the front lines helping keep us safe!

2330 8th AVE. SOUTH 615-988-0404 ille Nashv ! e Fuer t

PSYCHIC

EAST/Five Points: 972 Main St. (615) 434-6000

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Nashv ill stron e g!

615-915-0515 284 White Bridge Rd

HOME. AUTO. LIFE. BIZ.

HERE’S TO 25 YEARS OF SERVING NASHVILLE! Have we helped you yet?

TAKE-OUT SPECIALS

BIG BOY BREAKFAST SANDWICH* $6.99 CHICKEN or BEEF KEBAB* $6.99

*”House-Cut” Fries Included Athens Family Restaurant 2526 Franklin Rd. Melrose 615-383-2848

Thetford Insurance Services, Inc.

615-297-2200

Open Since 2004

WE ! ER DELIV

OUR LARGE & SPACIOUS DINING ROOM IS NOW OPEN! WRITERS’ R: CH NE

AUTHENTIC ASIAN CUISINE

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SICHUAN & CANTONESE

OPEN DAILY FOR LUNCH & DINNER: SUN. THRU THURS. 11-9 | FRI./SAT. 11-10 28

NASHVILLE SCENE | JULY 9 -JULY 15, 2020 | nashvillescene.com

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facebook/Luckybamboonash | B.Y.O.B. No Corking Fee! | ORDER ONLINE: luckybamboochinabistro.com 5855 Charlotte Pike | 760-5930 | 1/2 Mile West of White Bridge Rd. (“Up The Ramp on Left”)

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