AUGUST 18–24, 2022 I VOLUME 41 I NUMBER 29 I NASHVILLESCENE.COM I FREE WALK A MILE: FOR HIS 32ND AND FINAL INSTALLMENT, J.R. LIND EXPLORES THE EDGE DAVIDSONOFCOUNTY PAGE 7 CITY LIMITS: COMMUNITY PRESENCEINCREASEDDEBATESPOLICEINMETROSCHOOLS PAGE 10
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nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 3 VOTE BONGO FOR NASHVILLE’S BEST COFFEEHOUSE IF WE DON’T WIN, IT WAS RIGGED! CITY7 LIMITS Walk a Mile: The Last Mile 7 For the 32nd installment of his column, J.R. Lind walks his final mile down Highway 100 to the edge of Davidson County BY J.R. LIND After Two Years, Why Is There No Deal on the Fairgrounds Speedway? ...................... 8 Seven questions answered about a proposed deal that would bring NASCAR back to Nashville BY STEVE CAVENDISH, NASHVILLE BANNER Cops in Schools 10 Community members debate increased police presence in Metro schools BY KELSEY BEYELER COVER12 STORY Fine Print The guild of letterpress artists visually defining Nashville BY ELI MOTYCKA CRITICS’21 PICKS Killer Nashville, Elise Davis, Kelly Chuning: What Is Respect?, Bianca Paige Day, Midnight Movies: Gummo, Songbirds and Crooners, Hooveriii, Devin the Dude and more FOOD26AND DRINK Ballpark Figures Local sports teams partner with budding beverage companies to help them get up to game speed BY CHRIS CHAMBERLAIN THEATER28 Of History, Friendship and Magic Summer Shakespeare festival returns with unique double billing BY AMY STUMPFL ART29 Dream Weavers Antioch comes to Wedgewood-Houston with Zeitgeist’s Keep Dreaming BY JOE NOLAN BOOKS30 Power in the Story Stories From the Tenants Downstairs explores a place that’s both hell and home BY KASHIF ANDREW GRAHAM AND CHAPTER 16 MUSIC32 City Kids ................................................... 32 Blondie keeps New York close to its heart BY P.J. KINZER The Full Menu 32 Master of beats KDSML marks his 40th birthday with a look to the future BY SEAN L. MALONEY The Better to Hear You With .................. 33 Guitarist extraordinaire Sean Thompson recasts himself as songwriter and bandleader BY CHARLIE ZAILLIAN The Spin 34 The Scene’s live-review column checks out Jasmin Kaset at That Ross Collier Sound Fest BY CHARLIE ZAILLIAN FILM35 Chest and the Best of the Fest 35 This year’s Defy Film Festival spotlights a local horror feature, plus lots of weird and short cinema BY JOE NOLAN The Filthiest People Alive ....................... 36 Celebrating the 50th anniversary of John Waters’ iconic Pink Flamingos BY JASON SHAWHAN 37 NEW YORK TIMES CROSSWORD MARKETPLACE38 CONTENTS AUGUST 18, 2022 THIS WEEK ON THE WEB: The Shindellas, Erin Rae, More Set for September Sundown Police Substation Slated for Garth Brooks Building I Dream of Weenie Plans to Move Bodies Bodies Bodies Lights the Fuse on Gen Z’s Emotional Powder Keg
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Natchez Trace Parkway PasquoRoad
For the past two-and-a-half years, once a month, reporter and resident historian J.R. Lind has picked an area in the city to examine while accompanied by a photographer. With his column Walk a Mile, he walked a one-mile stretch of that area, exploring the neighborhood’s history and character, its developments, its current homes and businesses, and what makes it a unique part of Nashville. This is his final installment.
T hirty-two months ago, we tried to find a beginning: “The charge — to rediscover the city one mile at a time — is a daunting one. At its genesis is an important question: Where to begin?” The charge remained daunting, and it ends with an equally important ques tion: Where is the final mile? Subtrapezoidal and bordering neither an ocean nor another state, Davidson County doesn’t lend itself to an easy answer to the question. Even its major river slices the county in half rather than serving as its border. Entering the county as Old Hickory Lake, the Cumberland weaves and bends, leaving us (technically, as Cheatham Lake) in a quiet and bucolic part of the county that’s home to little more than very impres sive riverside houses. Maybe the answer is in age. Though bor ders may seem as fixed as granite, county boundaries in Tennessee change every so often. Sometimes it’s practical. Years ago, residents of a new subdivision were shocked to receive truancy notices from Metro Nash ville Public Schools, because they thought they lived in Wilson County; one family found out the county line went right through their house, putting one child’s bedroom in Metro and the other in Wilson County. Surveyors are imperfect humans just like the rest of us. There have been cases where damming of the river left farms formerly easily connected to their county cut off and a long way from police and fire services. Mostly the changes happen for the ease of the taxpayer — someone’s back 40 is across the line, and they are tired of paying two property tax bills. Generally, of course, they ask to move all their property into the lower tax jurisdiction, which means Davidson County loses more than it gains. The last addition to Davidson County is the back few acres of a farm in Cane Ridge. Not an easy walk.Deciding the “end” of a place like David son County is more art than science, and well, your mileage may vary. But one an swer is the junction of State Route 100 (or as nearly everyone who isn’t a state transporta tion bureaucrat calls it, Highway 100, or for those of a certain age, “Hundred Highway”) and the Natchez Trace Parkway. Highway 100 was originally the Harding Pike, running from Cockrill Spring in what is now Centennial Park to the actual Natchez Trace. (The parkway generally follows the old Nashville-to-Natchez, Miss., road, but the original trace had many branches, par ticularly near its termini.) When the state got it together to build the first state route — the Memphis-Bristol Highway, now U.S. Highway 70 for most of its route — there was a local push to use the Harding Pike’s routing all the way from Nashville to Memphis. And indeed, part of it was taken over through western Davidson County (thus: 70 is Harding Pike through Belle Meade and West Nashville), but the state opted for a slightly different path west of town. Thus, the infamous 70/100 split be tween Belle Meade and Bellevue. The Natchez Trace — and its current De partment of the Interior-managed succes sor — is symbolic too. It was the first road people took out of Nashville when it was time for them to find new adventures in the West. (Granted, the West was “central Mis sissippi” at the time.) Highway 100 is busy in both directions on a sticky August morn ing; shockingly, though, the most famous business in these parts is not. It’s a light crowd for breakfast at The Loveless Cafe. In 1951, Lon and Anne Love less purchased the property — originally the Harpeth Valley Tea Room — built 14 motel rooms, renamed it the Loveless Motel and Cafe and served fried chicken on their front porch to pre-interstate travelers. Popularity came, and the Lovelesses converted their home into a proper restaurant and offered a broader menu (including, yes, those famed biscuits). The couple whose name is synony mous with the place owned it for only eight years, though in the ensuing decades, it has remained mostly a family-owned operation.
nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 7
THE ROUTE: From The Loveless Cafe, east on Highway 100, then right on Pasquo Road to the bridge marking the county line. CRANES: 1 ABANDONED SCOOTERS: 0
Walk a MilewithJ.R.Lind
CITY LIMITS THE LAST MILE For the 32nd installment of his column, J.R. Lind walks his final mile down Highway 100 to the edge of Davidson County BY J.R. LIND | PHOTOS BY ERIC ENGLAND
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BMS touts a “community benefits commitment” to six nonprofit organizations, including Conexión Améri cas and the Boys & Girls Clubs, a promise to match the wage floor at the soccer stadium and the creation of a Nashville chapter of Speedway Children’s Charities.
Following the Uvalde shooting, Gov. Bill Lee signed an executive order in June that emphasizes “accountability and transpar ency around existing school safety plan ning.” While the order highlights actions that parents and government agencies can take, it doesn’t mention guns, and Lee said when signing the bill that he isn’t consider ing gun laws in this context. Last year he passed a law eliminating handgun permit requirements despite opposition from state law enforcement agencies. Lee has also asked folks to report suspi cious activity on the SafeTN app, which is advertised as confidential despite a broad privacy policy stating, “We may share in formation we have collected about you in certain situations.” According to a spokes person for the Department of Safety and Homeland Security: “If necessary for an investigation, the department may attempt to obtain a name of the person who submit ted the report, which may be shared with other law enforcement agencies, courts, and other entities involved in any investigation or prosecution, subject to any protective or ders or laws regarding confidentiality.”
“One of the problems with the state in tervention is one-size-fits-all solutions don’t work for communities across the state,” says Matthews. “We have rural communities, we have suburban communities, we have urban communities. For a district like Nashville or Shelby County, we have to find better solu tions that are going to work with us.”
EMAIL EDITOR@NASHVILLESCENE.COM 2022 | nashvillescene.com
“Mayor Cooper’s chief priority throughout our con versations about the speedway’s future has been get ting the best deal for taxpayers and the surrounding neighborhood,” says Cooper spokesperson TJ Ducklo. “We’re excited to be working with the best operator in the industry to get our 118-year-old track back to a high level, and optimistic about the way forward as both sides take the time to get this unique partner ship right for Nashville.” “Working with Mayor Cooper, we are near comple tion of an agreement that achieves a shared vision for the future of the speedway and expect to bring a pro posal to the fair board and the council in the next few weeks,” says Jerry Caldwell, executive vice president of Bristol Motor Speedway. “This agreement fulfills every principle Mayor Cooper outlined in our letter of intent, including renovating the historic speedway, giving it an economically successful future and completing a full renovation of the fairgrounds. Given COVID and other city priorities, it’s taken a while and some patience by both the city and our company that will be worth it in this really strong long-term partnership.” EDITOR@NASHVILLESCENE.COM
WHAT IS THE PROCESS? If the parties sign an agreement, it would go to the fair board — with all members appointed by Cooper — for approval first, and then to the council, where a deal is expected to receive a harsher reception. Mul tiple councilmembers contacted by the Banner say Cooper has done little to no outreach. “It’s just bad governance, the lack of communica tion and transparency,” says Councilmember Tanaka Vercher, a former Budget Committee chair. “Regard less if the deal has been finalized or not, you can always provide preliminary information to the council and to the public.” Colby Sledge, whose District 17 contains the fairgrounds, was frustrated. “The last conversation I had with them was during the [budget process], in which I had to ask why they had upped the revenue bond amount from $50 million to $100 million and had not mentioned anything to me about it,” he says. “And they told me that it was because costs had been expanding. So I had a call with the administration and said, ‘I think there needs to be a better line of communication going forward on this.’ And I haven’t heard anything since.”
As of now, no. In the negotiations for the soccer stadium, Nashville SC entered into a CBA pushed by Stand Up Nashville that led to that project adding affordable housing, a child care center, an incubator for small businesses and a wage floor of $15.50 per hour for stadium employees. While some Metro Coun cil members have mentioned a CBA as being prefer able before they could support a deal, none was contained in versions of the deal up to this point.
Some are skeptical that the track can throw off enough revenue to cover the higher bond debt, how ever. Jason Bergeron, who was the chair of the fair board before he resigned earlier this year, is one. “Maybe there’s some concerts,” he says. “I don’t think the speedway is a good concert venue, especially next door to one that probably is a much better concert venue: the soccer stadium. [Former fair board chair and vice chair] Erin McAnally, whose husband is a long time musician, thought it was laughable that they think the speedway is going to be like a real concert venue. But supposedly, maybe some of the [Nashville Conven tion & Visitors Corp] days are concerts. I think when you start to have more than three or four of those, that’s a real impact on the community. Then there’s the cor porate events that feed that 5 percent revenue share column. When I sat down with Julie Bennett, the gen eral counsel for BMS in November, I just had her walk me through what those are and what she described that is like an event dinner, right, like a corporate dinner kind of thing. … But that’s a lot of event dinners to add up to that much revenue. And I don’t know if I buy [the revenue model].”
MNPS elementary school teacher Tanya Drossner is among those who feel comfort able with a heightened police presence. She says some of her colleagues feel safer with SROs while others don’t. Regardless, they’re reviewing details around how to react to potential school shootings, like how to let people into a locked classroom door without jeopardizing the class’s safety or what to do if they hear gunshots.
ENGLANDERICPHOTO: TANYA DROSSNER
10 NASHVILLE SCENE | AUGUST 18 – AUGUST 24,
After extracting guarantees for the debt on the soc cer stadium from John Ingram and Nashville SC, the Cooper administration declined to say whether Metro or BMS would be contractually obligated to cover the bond debt. WHY IS THERE NO DEAL YET? Multiple sources familiar with the negotiations say the deal has been “95 percent” completed for a year. A press release from Cooper in December 2020 anticipated NASCAR racing as soon as this year. In March 2021, Metro signed a letter of intent with BMS to reach a deal on the fairgrounds, and Cooper said, “I look forward to working with the fair board and the Metro Council in the months ahead” to complete an agreement “to bring back high-level racing at no cost to taxpayers.”Anannouncement was made at the 2021 NAS CAR Banquet in December that the two sides had agreed to a financial framework. “This administration has a case of the slows,” says one source. Another called it a “plodding, handwringing group.” Cooper supporters say it’s important to reach the right deal, not the fastest one. The delays in reaching a deal have had a measur able impact on the final price. After initially saying the deal would cost $50 million, the mayor’s office put a $100 million placeholder in the current Metro capital improvement budget in May, up from a January esti mate of $75 million. But after almost two years, both sides agree the Metro Council’s decision to quash a proposal to host the Republican National Convention means both the racetrack and Titans stadium deals need to be buttoned up before the state legislature returns in January. The state has passed $17 million and $500 million for those deals, respectively, and a Republican supermajority looking to exact a measure of retribu tion might take it back.
Community members debate increased police presence in Metro schools BY KELSEY BEYELER A s it has been in school districts across the nation, security has been top of mind for Metro Nashville Public Schools as students return to class for the year. The heightened at tention to safety follows the Uvalde, Texas, shooting at Robb Elementary School in May, in which 19 students and two teachers were killed — one of more than 400 mass shootings that have occurred across the country so far in 2022. What heightened school security should look like, however, varies depending on who you ask. Both MNPS and the Metro Nashville Police Department take responsibility for school safety. On Aug. 2, Director of Schools Adrienne Battle and MNPD Chief John Drake announced an increased police pres ence throughout the district for the 20222023 school year — “the highest levels ever,” saidTheDrake.planincludes enhanced police pres ence on elementary school campuses. While school resource officers — armed and uni formed officers who receive special training to work in schools — were already present in middle and high schools, on-duty police officers are now patrolling elementary cam puses as well. They will be “highly visible” as MNPS and MNPD work to establish “safety ambassador” roles in elementary schools, leaning on retired police officers to provide security that doesn’t include armed officers. Safety ambassadors will work with MNPS and the newly created School Safety Divi sion of MNPD. These measures — along with security vestibules, single points of entry, doors that lock from the inside, security cam eras and more — constitute MNPS’ defenses against potential threats. In the past, Battle pushed back against police officers in elementary schools. In an Aug. 2 email to parents, however, she said, “I think this approach strikes an appropriate balance between the desire for added safety and security and the need to avoid the crimi nalization of childhood behavior that could come from using a policing response to inci dents instead of a restorative approach.” Critics often cite studies that indicate stu dents of color and those with disabilities are negatively and disproportionately impacted, and in some cases abused, by SROs. They also refer to the school-to-prison pipeline, which the National Education Association describes as “the practice of pushing kids out of school and toward the juvenile and criminal justice systems.”
Another frequent recent criticism: The large police presence at Robb Elementary failed to protect chil dren in Nashville’sMay.
WHAT ARE THEY SAYING ON THE RECORD?
WILL THERE BE A COMMUNITY BENEFITS AGREEMENT AS PART OF THE DEAL?
Southern Movement Commit tee, an organization focused on facilitating solutions for racial justice, discussed stu dent safety at a town hall on Saturday. The event featured a panel of education stake holders and local leaders, including Juvenile Court Clerk Lonnell Matthews and school board member Christiane Buggs. They dis cussed not only the implications and racially disproportionate impact of police presence in schools, but also its systemic factors and what community members can do to sup port students moving forward — including providing access to free meals and creative outlets and facilitating community support, social and emotional learning, and restor ative justice practices. “Parents, teachers [and] students … need to know their rights, especially when it comes into contact with law enforcement,” says Jamel Campbell-Gooch, an organizer for the Southern Movement Committee.
CATEGORY people that bought [tickets]. That stuff will be coming here. The monster truck series will be coming here. And the goal is to operate the track [like that]. You take 365 days and you put the X’s in the boxes. There is untold concert potential.”
“We need to have policies that don’t make it so easy to acquire these guns in the first place,” says Drossner. “And we need action. We need it from state and federal legisla tors, and it’s important. We need it now. We don’t need to wait.”
COPS SCHOOLSIN
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LIBARARY OF TYPE AT HATCH SHOW PRINT
Detailed Hatch histories are everywhere, from Scene contributor Jennifer Justus’ 2017 ode to the analog way of doing things for The Bitter Southerner to a CNN travel piece the same year. Anchored by Sher raden’s historiography, Hatch has published books on shop history aided by the Country Music Hall of Fame and Museum, which absorbed Hatch, its presses and its archive a decade ago. Around that time, Scene arts editor Laura Hutson Hunter checked in with Nashville’s letterpress clique for a cover story. Many had strong connections to Hatch, but each also had a new branch complete with individual artistic identities constantly wrestling with the constraints of an infinitely technical medium. Artists credit Hatch as a master class in production. Employees see the process through from conception to printing, giving each designer a dose of artistic freedom within the Hatch mold. A core component of letterpress work is the mentor-apprentice relationship — and with it the implication that students will eventually outgrow in struction. This dynamic preserves strong relationships and debts within Nashville’s letterpress world, a vast web of printers that stretches back and forward in time and across the city, state and country. In many ways, Hatch is the perfect train ing ground for young artists. It became wildly popular in the 2000s and rekindled its working relationship with the Ryman, which reopened in the early ’90s. The logistical pressures of turnaround combined with an unrivaled collection of type shape artistic output. A library of prints means history and legacy. It can also mean 153 years of subtle expectations about the way things are done, constraints for young artists finding their style: lots of stars, bars, a few colors, a simple clear image, sunbursts, and big, clear
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“In late winter 1984 a Vanderbilt art teacher told me, ‘You have to see this dying old show-poster print shop before it goes out of business,’ ” says Sherraden. “I needed that shop as much as that shop needed me.”
woodblock type. Many cite formative hours on Hatch presses after 5 p.m., when shop work jobs give way to personal projects. “I was pushing against it and trying to stay at the same time,” remembers Baisden. “I probably would have worked there for ever, but I had outgrown something. It was eight years of some of the best training I could get. And I didn’t want to waste that.”
Three months after Baisden left Hatch, she made the Vandercook deal at Mickey’s and launched her print shop, Camp Never nice. She took her press to Knoxville in 2015, where a letterpress friend, Julie Belcher, agreed to house it and share her collection of type. She moved back to Nashville a cou
HATCH STOREPRINT’SHATCHSHOWPRINTEDPOSTERSCELENEMANAGERSHOPAUBRYBEINGATHATCHPRINTSHOWRETAIL JIM SHERRADEN ENGLANDERICPHOTOS:
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16 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com ple years later with a few drawers of type. Baisden is trained as an illustrator, and her work draws focus to colorful imagined scenes rather than text. Her intricate por traits of old cars and diving ducks represent show posters’ evolution from economical advertisements to artistic canvases. She sometimes relies on a three- or four-color re duction, a cumbersome process that gradu ally erases a linoleum block and guarantees a limited run. She prints enough to keep her shop open and works other jobs on the side. Business ebbs and flows with the seasons. Legends swirl about Kevin Bradley, who left Hatch in the mid-1990s to piece together his own trove of type. His seed money was the door charge from a show at 12th & Por ter — Lucinda Williams and Steve Earle, both of whom he’d done a lot of printing for while he was at Hatch. Bradley and Belcher, then partners, pulled from some of the big gest collections in the country, including for mer Hatch rival Southern Poster in Atlanta. The two operated presses and a robust in ternship program in Knoxville as Yee-Haw Industries until 2012. The partnership ended and they split their collection, with both moving on to new enterprises: Church of Type in California for Bradley and Pioneer House, a Knoxville vintage store with letter press service, for Belcher. “Every time you open a new thing, you want to give it a new name — that way you’re not constrained by the last thing,” Bradley tells the Scene. He credits Hatch for being his graduate school, equipping him with a printer’s skills and passion. But his approach, he says, is obsession with constant reinven tion, finding and pushing the boundaries of ink and blocks. He is Hatch in relief. Bradley recently moved his type and presses back to East Tennessee, where he’s printing as the Voodoo Rocket Institute of Advanced Typographic Research. Unlike the typical Hatch show print, with margin justification and a clear message, Bradley’s work is a kaleidoscope of colors and text. He prints images on top of each other, handstamps blocks and pulls huge canvases, ob serving only letterpress’s central constraint: Ink paints block, and block presses paper. A few blocks from the Country Music Hall of Fame, Bryce McCloud runs Isle of Printing, which designs and prints show posters but also everything else — like the cartoons that brand Barista Parlor and the wall of multicolored cans lining Pinewood Social’s bowling alley. Though the Scene has spoken with McCloud on many occasions, he couldn’t be reached for this story in time for publication — he’s in the Blue Ridge Mountains teaching at the Penland School of Craft, a century-old fine arts institution with its own storied history. After a few years at Hatch, Chris Cheney and Nieves Uhl started Sawtooth Press in an East Nashville backyard in 2012. Uhl had buckets of unsorted type recovered from a tornado near Dickson. While helping prominent Nashville sculptor Alan LeQuire at his sculpture studio, Cheney spotted a Vandercook collecting dust in a corner and proposed a trade. LeQuire had picked it up in the mid-1990s for $100. “I have a little print shop in the basement of my studio,” says LeQuire. “My old buddy Jim Sherraden let me know when there was a sale happening at an old print shop in East Nash ville. They were selling off their presses.” LeQuire still has a Vandercook in his shop, LAURA PRINTINGBAISDENAPOSTER ON HER PRESS UHLNIEVESARTWORK: PRINTHOUSESAWTOOTHARTWORK: “IT’S REALLY FUN TO SEE THEY’RETHEY’VETOWHATDOINGPEOPLEWHATAREKNOWINGTHEY’VEDONEATHATCH.SEEHOWGROWNANDSEEWHATDOINGONTHEIROWN.”—NIEVESUHL ENGLANDERICPHOTO:NEVERNICECAMPARTWORK:ENGLANDERICPHOTO:
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STEPHEN TRAGESER FRI. / 8.19
MUSIC [THE FULL MONTY] THE LOVE-IN EP RELEASE After a slow and steady trickle of singles over the past few months, multifaceted rock outfit The Love-In is ready to unleash its EP Spotlight Starlet in full. The band and singer-songwriter Laurel Sorenson have a knack for navigating the interstices of social interactions in blues- and funk-kissed rock songs. On the new EP, the focus is on being confident and comfortable with sexuality and relationships — note the hard-charging “Freedom of Sexpression” and the summer slow jam “Elio,” as well as the slinky grooving titular tune. As Sorenson explained to Music Mecca, “Spotlight Starlet” plays off the spotlight effect, a psychological concept concerning the feeling that everyone is paying attention to you; learning that they really aren’t is liberating. To celebrate, the band heads to the venerable Exit/In. Chile-born indie-pop ace Catalina — who’s currently crowdfunding a new EP project to follow up her 2019 album Multifacéta — and rock ’n’ pop champ Amanda Stone will join in. 8 p.m. at Exit/In, 2208 Elliston Place
Rock Eupora’s Clayton Waller has faced some serious struggles as he’s come to terms with being a queer person. Among other things, the intersections where that part of him meets his Christian faith and his identity as a Southerner — the name of the band isn’t a cheeky typo, it’s a reference to his hometown of Eupora, Miss. — are prone to massive pileups that can be extremely difficult to navigate. That makes the always effervescent, sometimes joyful energy of his new album Pick at the Scab even more satisfying. The record is Waller & Co.’s debut for much-loved Alabama indie Single Lock Records, and they make a superbly sour-sweet and whistle-worthy variety of power pop, with some sonic cues that nod to ’90s rock stalwarts. Pick at the Scab touches on difficult situations, but importantly, it focuses just as much on the support of friends and family that helped Waller become his most authentic self. It’s a big achievement, and there’s a whole weekend of events on the East Side to celebrate, starting with a short in-store at Grimey’s on Thursday and followed by a listening party at Vinyl Tap on Friday. Saturday night, Rock Eupora plays a full show at The East Room with The Prescriptions and Angela’s Headache. Performances 5 p.m. Aug. 18 at Grimey’s, 1060 E. Trinity Lane, & 8 p.m. Aug. 20 at The East Room, 2412 Gallatin Ave.; album listening party 7 p.m. Aug. 19 at Vinyl Tap, 2038 Greenwood Ave. STEPHEN TRAGESER
WEEKLY ROUNDUP OF
THURS. / 8.18 CONFERENCE [THE KILLS] KILLER NASHVILLE INTERNATIONAL WRITERS’ CONFERENCE I love a good mystery. Tana French, Louise Penny, Walter Mosley — there are myriad authors working today producing top-notch, edge-of-your-seat stories with compelling characters you get to know like old friends. Music City’s own Killer Nashville International Writers’ Conference is stacked with activities to engage and inspire this week. Breakout sessions will focus on the craft of writing and business of publishing; one session that looks particularly juicy is called How to Write True Crime — and Fiction That Reads True. Master classes with ace promoter Elysse Wagner, literary agent Steven Hutson and author Jaden Terrell will help participants navigate the publishing industry and craft successful stories. The panels cover an array of topics, like writing from the perspectives of investigators and law enforcement; writing about art crimes, organized crime and true crime; developing character, plot, setting and other fiction elements applicable to any genre; and, excitingly, writing cozy mysteries! There are also social hours, opportunities to meet editors and agents and, of course, opportunities to meet other writers and build community. Visit killernashville.com to learn more. Aug. 18-21 at Embassy Suites, 820 Crescent Centre Drive in Franklin ERICA CICCARONE MUSIC [BAND-AIDS] ROCK EUPORA ALBUM RELEASE WEEKEND
CRITICS’ PICKS
AUG. 18-20 AT GRIMEY’S, THE EAST ROOM & VINYL TAP ROCK EUPORA
MUSIC [FÜR ELISE] ELISE DAVIS W/STEPHANIE LAMBRING Two of the more interesting figures on the fringes of country music will share a bill at The 5 Spot on Thursday. Elise Davis, a singer-songwriter whose toughto-classify brand of country recalls Lera Lynn and Lucinda Williams, will headline an evening opened by Stephanie Lambring, a songwriter and solo artist whose 2020 solo debut Autonomy was released to great acclaim. Davis is a chameleonic artist, and her most recent album, Anxious. Happy. Chill., trades some of the brooding noir of its predecessors for somewhat lighter fare, while her string of stripped-down 2022 singles hints at a turn toward the confessional. The pairing is the evening’s early show, so you can catch a couple of hours of great music all before dinnertime. 6 p.m. at The 5 Spot, 1006 Forrest Ave. BRITTNEY MCKENNA
THEATER [TOO DIRTY TO CLEAN MY ACT UP] THE DIRTY SHOW WITH SKYLER GENTRY Polymath Skyler Gentry is taking the stage with a one-man cavalcade of music, comedy, psychic phenomena and dance, and straight folks are not ready. The creation of writer and performer Ben Zook, Gentry is a big gay whirlwind of libertine energy that blends every kind of interactive performance an audience could hope for, blending filth and flash in a way that will leave the audience weak and begging for more. Zook, along with co-creators Joe Dietl and Rick Copp, is responsible for the genial, fuzzy wonder of Where the Bears Are, a seven-season web series that broke ground with “mainstream” (read: straight) audiences after a smart edit that turned each season into a movie-length mysteryadventure, and then proliferated on several streaming services. Perfect with what the great philosopher “West Coast” Julie Brown called “a mental margarita,” that show is filled with rapturous gay joy and sass in abundance. The same can be said THINGS TO DO
MUSIC [LITERATE AND STYLISH] EMO NIGHT NASHVILLE Millennial nostalgia is an incredibly powerful phenomenon, and one that the folks behind Emo Night Nashville have tapped into with a great deal of success. In recent months, the promoters at Nashville Is the Reason have hosted Emo Night blowouts at The Dive Motel, Marathon Music Works and on the road, celebrating — as they put it — “all eras” of emo, hardcore and pop punk. That means angsty secondwave/Midwest emo by the likes of American Football, The Get Up Kids, Sunny Day Real Estate and The Promise Ring alongside pop punkers like Motion City Soundtrack and Alkaline Trio. It means swoopy-haired Aughts screamo ambassadors Thursday and Taking Back Sunday; it means hardcore legends Fugazi and crossover successes Jimmy Eat World and Weezer. On Saturday, Emo Night Nashville returns to Marathon Music Works with a stacked lineup that will feature covers from The Emo Band and DJ sets and performances from Youthyear, DJ Sheemo, Caroline Romano and more, not to mention special appearances from Say Anything’s Max Bemis, Relient K’s Matt Thiessen and others. Expect boatloads of studded belts, skinny jeans and guyliner for this celebration of all things confessional and melodramatic — just how nostalgic millennials like it. 8 p.m. at Marathon Music Works, 1402 Clinton St. D. PATRICK RODGERS ART [FIND OUT WHAT IT MEANS TO ME] KELLY CHUNING: WHAT IS RESPECT? Kelly Chuning is a textile-based artist whose pointedly political works are nuanced enough to demand attention while remaining interesting on purely visual terms. It’s a tricky line to straddle, and the biracial Latinx artist does it well. For this special one-week exhibition, Chuning and Red Arrow Gallery display a body of work that addresses the recent overruling of Roe v. Wade. From her artist’s statement: “The act of making has become a form of activism within my practice. … Through these vessels, I am reclaiming ownership of them and exploiting them, bringing back their agency for myself and the viewer.” Among the works in What Is Respect? are two new pieces Chuning made specifically for this show. One, “Counter Protest Remarks,” is a 70-by-49-inch work of needle-felted wool with an all-caps message that stings enough to stand on its own: “WHORES HAVE NO RIGHTS.” You won’t want to miss this incendiary show. Opening 6-9 p.m. Aug. 20. Through Aug. 27 at Red Arrow Gallery, 919 Gallatin Ave.
ERICA CICCARONE MUSIC [AIN’T NO DUMMY] DUMMY W/WOMBO & SNOOPER On its 2021 debut Mandatory Enjoyment, L.A. combo Dummy finds a groovy, MANOR
AMY STUMPFL MUSIC [STRAIGHT SHOOTER] MARY CHAPIN CARPENTER In moments when I’m trying to remember who I am, one version of myself that I often call to mind is from when I was about 7 years old: I’m wearing an oversized T-shirt nightgown and dancing to Mary Chapin Carpenter’s “Down at the Twist and Shout” in my Gramma’s living room. Carpenter’s music sounds like a barroom at times, and it was the epitome of fun to me as a kid. Of course, now that I’m a little older, the themes of songs like “I Feel Lucky” and “He Thinks He’ll Keep Her” are a little more complex than I realized, but they are still a ball to dance to in the living room. Carpenter, who will be playing at the Ryman this week, also showcases her songwriting chops with 2020’s The Dirt and the Stars. It’ll be lovely to see this all on display — every bit of the Ryman will feel like the middle of a big dance floor. Comedic singer-songwriter John Craigie is slated to open. 8 p.m. at the Ryman, 116 Rep. John Lewis Way N AMANDA HAGGARD SAT. / 8.20
MEGAN SELING
THEATER [A LESSON LEARNED] DON’T LOOK BLACK: A MORAL STORY Founded in 2018, Tennessee Playwrights Studio has already established itself as a true champion of new works, thanks to its ongoing playwright development lab and partnerships with two of the most prolific Black-owned theater companies in Nashville — Destiny Theatre Experience and SistaStyle Productions. This summer, TPS also stepped up as a full production company, offering an ambitious season of world premieres, and that season continues this weekend with Preston Crowder’s Don’t Look Black: A Moral Story. Developed during Crowder’s fellowship with TPS, the script received a workshop reading as part of the TPS Virtual Reading Festival in 2020. The story follows four white friends who get much more than they’ve bargained for when they decide to take part in an underground “Black immersion experience.” Directed by Alicia Haymer, the cast includes Gabe Atchley, Candace-Omnira, Dianne DeWald, Chantéa Kirkwood, Sawyer Latham, Leonard Ledford III, Taryn Pray, Elliott Winston Robinson, Chandra J. Walton and Gillión Welsh. Aug. 19-Sept. 3 at the Darkhorse Theater, 4610 Charlotte Ave.
JASON SHAWHAN MUSIC [MINDING MANORS] JOYCE MANOR
It takes only 17 minutes to get through Joyce Manor’s newest release, the cleverly titled 40 oz. to Fresno, but if you’ve followed the band over the course of their nearly 15-year career, the waves of nostalgia will be washing over you long after it’s over. The record — a collection of both new songs and freshly recorded unreleased or older material — encapsulates every iteration of the band’s previous efforts. There’s threechord jaded snark in “You’re Not Famous Anymore,” emotionally charged blasts of uncertainty in “NBTSA,” and rich and romantic guitar-driven power-pop anthems like “Dance With Me.” Their cover of Orchestral Manoeuvres in the Dark’s starryeyed New Wave favorite “Souvenir,” where Weezer-esque guitar wailing replaces the synthesizers, would sound right at home tucked between Blink-182’s “All the Small Things” and whatever boy band was hot on MTV’s Total Request Live circa 1999. The true test of 40 oz. to Fresno’s cathartic potential will come during the band’s famously hyper live show, where they churn through their catalog harder and faster to ensure maximum emotional fist-in-air/ heart-on-sleeve sing-alongs. Citizen, Prince Daddy & the Hyena and Phony will open. 7 p.m. at Eastside Bowl, 1508 Gallatin Pike S.
CRITICS’ PICKS JOYCE
KELLY CHUNING: WHAT IS RESPECT? CHUNINGKELLYGOSSIP,”“CHAPEL
22 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com for this new show — only with the bonus of actual margaritas. Zook’s work may not be for everybody (this event is called The Dirty Show and is strongly recommended for mature audiences), but damn if it’s not reassuring in the face of the tacky, tacky rage getting dumped on the queer community on a daily basis. 10:30 p.m. at Pecker’s, 237 Hermitage Ave.
COMMUNITY [CALLING MR. TAIL] BIANCA PAIGE DAY Drag queen Bianca Paige was a local icon in the ’90s and early Aughts. With an unmistakable throaty voice, cat eyes and a dirty mouth, Bianca lit up bars and clubs. When the wig came off, Bianca was Mark Middleton, a waiter who decided to take his HIV status onstage to educate his community about the virus and destigmatize it. Middleton raised $1 million for HIV/AIDS treatment and research before his death in 2010. Last year, the city honored his work by naming a street after his persona. Bianca Paige Way is located on the former Carney Street, behind the gay bar Trax. For more than a decade, locals have also honored Middleton with an annual Bianca Paige Day, and the festivities will go down this year at Trax. The celebration will include vendors, food trucks, a silent auction, drag entertainers and musical performances from country artists Billy Gilman and Brody Ray. Ron Sanford, who co-founded the Bianca Paige Awareness Network with Middleton to destigmatize HIV/ AIDS, told the Scene last year, “We have to keep the name out there and get people revitalized with it.” Here’s your chance to join him. 1 p.m. at Trax, 1501 Ensley Blvd.
LAURA HUTSON HUNTER
nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 23 UPCOMING EVENTSSATURDAY, AUGUST 20 10:30AM SATURDAY STORYTIME with PARNASSUS STAFF at PARNASSUS TUESDAY, AUGUST 23 3:00PM JULIAN BARNES on ZOOM Elizabeth Finch THURSDAY, AUGUST 25 6:30PM DAVID MARANISS with ANDREW MARANISS at PARNASSUS Path Lit by Lightning SATURDAY, AUGUST 27 4:00PM - 6:00PM FRIENDS OF METRO ANIMAL CARE & CONTROL SHOPPING NIGHT 10% of sales to Friends ofTHURSDAY,MACC SEPTEMBER 1 6:30PM MAJOR JACKSON with DESTINY O. BIRDSONG at PARNASSUS A Beat Beyond SATURDAY, SEPTEMBER 3 10:30AM SATURDAY STORYTIME with HEATHER & SHOP DOG MARLEE at PARNASSUS TUESDAY, SEPTEMBER 6 6:30PM TORI BOVALINO, HANNAH WHITTEN, & ERICA WATERS at PARNASSUS The Gathering Dark FOR TICKETS & UPDATES VISIT PARNASSUSBOOKS.NET/EVENT 3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net an independent bookstore for independent people @parnassusbooks1 @parnassusbooks @parnassusbooks1 Parnassus Books BACK TO SCHOOL Hit the books with our subscription box clubs! September selections sneak peak below! New signed YA first editions + commemorative postcards every month! New middle grade books each month with a letter from the author! New picture books each month shipped right to your door! SUBSCRIBE & LEARN MORE PARNASSUSBOOKS.NET/FIRST-EDITION-CLUBSAT July in... Thursday through Saturday 623 7TH AVE S. NASHVILLE, TENN. OPEN WEEKLY 8/18 thursday COMEDY NIGHT SEAN THOMPSON21+21+ 21+ 8/19 friday ALBUM RELEASE ALBUM RELEASE with CHLOE STILLWELL with ANNIE WILLIAMS 8/20 saturday WOMBO & DUMMY with CHLOE STILLWELL 8/22 monday HOOVERIII with SHADOW SHOW & PETITE AMIE 8/25 thursday MUSIC TRIVIA NIGHT with BEN BLACKWELL 8/26 friday JAZZ NIGHT with THE GREASY NEALE 8/27 saturday LIKE YOU MEAN IT RECORDS SHOWCASE 8/31 wednesday CREATURE FEATURE FILM NIGHT Legend of the Stardust Brothers Nashville’s ONLY vinyl record store with full bar and 24 seasonal craft beers on tap. 18 A Good Ol’ Time with DJ Poboy 19 Rock Eupora ‘Pick at the Scab’ Listening Party 20 The Medium ‘For Horses’ Listening Party 21 DJ Los / PM: LIVE: Kyle Joshua Cox 22 Vinyl Bingo: Get Lucky w/ DJ Cream Jeans 23 Friends of Mine: Hannah Delynn, Lydia Luce, Jordie Lane, and Full Mood 24 Spin Class: Ladies Only Vinyl DJSpinClassClass: vinyltapnashville.com
MUSIC [HIGH PLACES] DEVIN THE DUDE Devin the Dude and Snoop Dogg collaborated most famously on Dr. Dre’s “Fuck You,” a track from the 2001 sequel to Dre’s seminal The Chronic, and most recently on “420 (Blaze Up)” a smoker’s anthem off Snoop’s back-to-the-source 2017 LP Neva Left. It’s equal parts vivid storytelling, stoner humor and sage advice, and standout originals from the wordsmith born Devin Copeland — including “Anything,” “Do What You Wanna Do” and the all-timer “Doobie Ashtray” (which turns 20 this year) — take Space City’s codeinecough-syrup-fueled, chopped-and-screwed signature sound and add a welcome dose of levity. Soulful Distance, released in 2021, is Copeland’s latest. 8 p.m. at The Basement East, 917 Woodland St. CHARLIE ZAILLIAN HOOVERIII
24 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com CRITICS’ PICKS melodic Goldilocks zone between indie, funk, psych, krautrock and post-punk, putting optimistic new spins on worn-in sounds. Beyond the LP, Dummy takes a convincing stab at Cocteau Twins-style dream pop with “Pepsi Vacuum,” the B-side to its recent Sub Pop 7-inch, and on “Touch the Chimes” — the band’s eponymous 2020 EP’s eight-minute finale — shows an aptitude for ambient soundscapes. Which sonic approach the chameleonic band’s Nashville gig will call for remains to be seen, but shouldn’t be missed. Until then, check out Bandcamp Daily scribe Mariana Timony’s illuminating recent two-parter on the pleasures and pitfalls of DIY touring in the age of COVID, which uses Dummy as its test subject. Dummy shares the Blue Room stage on Saturday with Derby City trio Wombo and locals Snooper. 8 p.m. at The Blue Room at Third Man Records, 623 Seventh Ave. S. CHARLIE ZAILLIAN FILM [LIFE IS GREAT] MIDNIGHT MOVIES: GUMMO I still remember when Kids screenwriter Harmony Korine’s directorial debut came out in the fall of 1997. Although I kept seeing peculiar reviews for it (New York Press critic Matt Zoller Seitz began his take-it-or-leave-it review by mentioning the four walkouts he witnessed at his press screening), the film never made it to my neck of the woods. It seemed Korine’s rambling, grungy, avant-garde collection of scenes involving kids wasting their lives away in a rundown Ohio town (it was actually shot here in Korine’s native Nashville), often engaging in juvenile, straight-up sociopathic behavior (cat lovers, stay the hell away from this film!), was considered too niche for some arthouses. Of course, it would go on to gain a cult rep, getting shout-outs from Korine’s fellow creatively adventurous filmmakers. (Music video director Hype Williams memorably gave it some love in his only film Belly, in which it played on a TV during one scene.) Even the brand Supreme has joined the fan base — it dropped a line of Gummo clothing and skateboards earlier this year. Since it’s another one of those ’90s indie films that’s currently not streaming anywhere, you can check it out on the big screen this weekend — in glorious 35 mm! Midnight at the Belcourt, 2102 Belcourt Ave. CRAIG D. LINDSEY SUN . / 8.21
MUSIC [WE’RE GONNA HAVE A GOOD TIME] CHELEY TACKETT BIRTHDAY BASH FEAT. ASHLEY M c BRYDE & ERIN ENDERLIN Nashville-based singer-songwriter Cheley Tackett is celebrating a birthday, and she’s tapped a handful of her most talented friends to help liven things up. Tackett, an Americana artist whose most recent release is 2021’s The Last Live, will take over 3rd and Lindsley on Tuesday for a special show that’s sure to be full of collaboration and surprises. Artists joining Tackett include critically acclaimed country darling Ashley McBryde, in-demand pen-for-hire and solo artist Erin Enderlin, singer-songwriter and multi-instrumentalist Nicole Witt, up-andcomer Autumn Nicholas and more. Don’t miss your chance to catch this much talent on one stage. 7:30 p.m. at 3rd and Lindsley, 818 Third Ave. S. BRITTNEY MCKENNA
MUSIC [BRING IT ON HOME]
JACK SILVERMAN MON. / 8.22 FILM [L.A. LOOKS] MUSIC CITY MONDAYS: WATTSTAX Mel Stuart’s document of the benefit concert Wattstax, which occurred at the Los Angeles Memorial Coliseum in 1972, is one of my favorite concert films. This beautiful portrait of Black-and-proud badassery shows many of the heaviest hitters (Isaac Hayes, The Staple Singers, The Bar-Kays) from Stax Records — that down-and-dirty soul label from Memphis — entertaining the African-American people of Watts. Between the performances, we get Richard Pryor, a pre-Love Boat Ted Lange and other folks giving their own takes on being Black in Los Angeles (and America). The concert was a salute to Calibased men and women for still keeping it together, especially after the Watts uprising of 1965 almost burned the community to the ground. But it’s also a soulful celebration of Blackness in general. After all, it has — to quote the poster — 100,000 brothas and sistas turning on to being Black … telling it like it is! 8 p.m. at the Belcourt, 2102 Belcourt Ave. CRAIG D. LINDSEY
Fifteen years ago, I wrote in these pages about Get Something Started, the solo debut from Curt Perkins, a fixture of the music scene at the time and an in-demand sideman known for his work with Josh Rouse and others. It’s a delightful, sonically lush album that still holds up today, and it highlights Perkins’ vocals — as I put it at the time, “his knack for teetering along the edge of falsetto, whether to confess or seduce, at times recalls the greats of Motown, at others Jeff Buckley.” With a voice like that, it makes perfect sense that Perkins would put together Songbirds and Crooners, a night of classic songs from Louis Armstrong, Ella Fitzgerald, Peggy Lee, Nat King Cole, Sam Cooke and others. Perkins will share the mic with some other superb Nashville singers: Luella, Thea Danos and Chris Burke. And with a phenomenal backup band — drummer Martin Lynds, guitarist Joe McMahan, bassist James Haggerty, pianist John Pahmer, and Jim Hoke on more instruments than I have room to print here — it’s sure to be a special night. They’ll take the stage for the early show at The 5 Spot, and if you’re looking for the perfect date night, look no further. 6 p.m. at The 5 Spot, 1006 Forrest Ave
MUSIC [YOU SHOULD BE HERE] KEHLANI W/RICO NASTY Singer-songwriter Kehlani released blue water road, their third studio album, earlier this year, and it has received plenty of critical praise — Pitchfork called it Kehlani’s “most mature and thematically challenging album.” Blue water road is purely about being in love. The instrumentation is soft, and the lyrics are sweet. (One of my favorite lines is from the song “melt” — “Wish you could build me a cute apartment / One bedroom right where your heart is.”) The album’s dreamy vibe is enough to give you butterflies. Joining Kehlani is rapper Rico Nasty, who is known for her sharp, witty lyrics and punk aesthetic. Seeing both Kehlani and Rico Nasty in one night is a performance you can’t miss. 8 p.m. at FirstBank Amphitheater, 4525 Graystone Quarry Lane, Franklin CLAUDIA VILLEDA
MUSIC [THE BLOCK IS HOT] RED BULL NASHVILLE UNLOCKED BLOCK PARTY Rosemary & Beauty Queen has a lot going for it. From its perch overlooking East Nashville’s humming Five Points neighborhood, RBQ offers multiple bars (one of which has swings rather than barstools), a lovely courtyard, DJ nights, an increasingly great food menu and a solid cocktail list. This weekend, the bar will host a sort of summer block party — a takeover of the corner of 11th Street and Forrest Avenue featuring pop-ups from a slew of popular local bars and entertainment from some Scene faves. Partiers will be able to snag a drink from the folks behind RBQ, The Dive Motel, Lipstick Lounge, Play Dance Bar, Pearl Diver, White Limozeen and a number of other establishments, and can expect DJ sets and performances from Sparkle City Disco, Boom Bap, Whiskey Disco, Daisha McBride, A.B. Eastwood, Play’s PlayMates and more. Food — included with your $15 ticket — will be available from Martin’s BBQ, Burger & Co., Wild Cow and Daddy’s Dogs. Presented by promotional series Red Bull Unlocked, this one promises to be an outsized rager, so get there early to find your way in. 6-11 p.m. at Rosemary & Beauty Queen, 1102 Forrest Ave. D.
PATRICK RODGERS
MUSIC [HOOVE BEATS] HOOVERIII W/PETITE AMIE & MORE
The newest album by Southern California six-piece Hooveriii (it’s pronounced “Hoover 3”) marries its prog sensibilities with the sunshine-pop melodies of the band’s homeland. The result is an offkilter electric Kool-Aid summer groove that has just a hint of Daevid Allen’s Gong and Bowie’s time in Berlin. In addition to H-3, Mexico City phenoms Petite Amie will be gracing The Blue Room with their echoey ultra-chill hooks. The capricious rock of Nolan Potter Nightmare Band rounds out the bill, and they will likely tease tracks from their forthcoming record, due soon from Castle Face. 8 p.m. at The Blue Room at Third Man Records, 623 Seventh Ave. S. P.J. KINZER
MUSIC [FAYE KINGDOM] FAYE WEBSTER If the crooning renaissance has an anthem, it’s Faye Webster’s “Kingston,” a blend of slide and steel that vaulted the then-22-year-old into rarified air back in 2019. She followed 2019’s Atlanta Millionaire’s Club with I Know I’m Funny Haha, consolidating her country-pop identity in gauzy lo-fi just in time to be the wistful soundtrack to countless quarantines. She continues to walk an artist’s tightrope, expanding her repertoire while keeping the sonic hallmarks that won her a boatload of fans and national praise. As Brooklyn Bowl continues to corner the market on music’s best sophomores, Webster, a proud Atlantan, will travel the four hours up I-24 to bring her new-school sound cruelly close to the Ryman. 7 p.m. at Brooklyn Bowl, 925 Third Ave. N. ELI MOTYCKA TUES. / 8.23
FILM [DON’T MISS] THE GOOD, THE BAD AND THE UGLY The final 1966 chapter in Sergio Leone’s iconic Man With No Name Trilogy is that rarest of entertainments: a second sequel (it’s actually a prequel) that’s more popular — and, as some would say, better — than the two previous installments. For starters, it’s an antihero pileup. Not only do we have Clint Eastwood’s poncho-wearing, cigar-chewing bounty hunter, but we also have his For a Few Dollars More co-star Lee Van Cleef, this time playing a sadistic mercenary, and Eli Wallach, stealing every scene he’s in as a persistently shifty Mexican bandit. All three are searching for buried Confederate gold amid the chaos and carnage of the Civil War. (This is yet another reminder that the best movies about the Vietnam War were the Westerns that came out while the war was raging.) Filled with such Leone staples as extreme close-up shots, moments of sharp, dramatic tension, highly stylized gunfights and a killer Ennio Morricone score, it’s a horse opera in every sense of the term — and a must-see on the big screen. Visit belcourt.org for showtimes. Tuesday at the Belcourt, 2102 Belcourt Ave. CRAIG D. LINDSEY WED. / 8.24
SONGBIRDS AND CROONERS
Deciding to be the naming sponsor of one of the luxury clubs was not a cheap proposition, especially for a fledgling brand.
26 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com
Local sports teams partner with budding beverage companies to help them get up to game speed BY CHRIS CHAMBERLAIN F or generations, major sports sponsorship deals were almost exclusively the territory of huge beverage companies like Budweiser, Miller, Coors, Dia geo and the like. Sports ven ues, uniforms and race car paint schemes featured brands that were already part of the cultural zeitgeist, and local advertisers were relegated to outfield fences at minor league ballparks. But that situation has changed a bit in the past decade, with major sports league teams striking relationships and sponsorship deals with smaller local players. Nashville’s big four sports teams have been at the forefront of featuring Middle Tennessee-based beer, wine and spirits companies. Since craft beer is a beverage best enjoyed fresh and closest to its source of production, the Nashville Sounds, Tennessee Titans, Nashville Preda tors and Nashville SC all have relationships with multiple local breweries. As the newest pro franchise in town with a shiny new home at Geodis Park, Nashville SC has the opportunity to further change the old model of mega sponsorships with its first round of food and drink partners in the new soccer stadium. Dan Farrell, vice president of corporate partnerships for Nashville SC, shares the impetus behind the team’s philosophy: “We didn’t control the food and beverage for the first two years that we played at Nissan Stadium. With the opening of Geodis Park, we had the opportu nity to be very methodical about our choice of partners. We wanted to develop our ‘food story’ for the fan experience. From the very beginning, [team owner] John Ingram said, ‘We want the experience of Nashville SC and Geodis Park to be authentically Nashville,’ and our food story is a big part of that.”
FIGURESBALLPARK
“Lo Siento put all of their eggs in our basket,” says Farrell. “We worked together to figure out how to leverage our assets to drive a re lationship with the community. How do we take the Lo Siento/NSC rela tionship and drive it to Broadway?”
“There was obviously a risk launching into a market where we’re not native, but as a new brand, you have to be comfortable with a certain amount of risk,” Tierney says. “With an 8,000-square-foot club to design plus bars and cocktail carts, we started sprinting on both sides. Other brands had a year to prepare; we had two-and-a-half months.”
“Fat Bottom Brewing was the first team to come to us with the desire to put a flag in the ground,” Farrell says. “They were a big sup porter of the team and came with the desire to create an NSC-branded beer, so they came on board with Pitch Invasion Lager in 2019.” As the stadium neared completion, Nash ville SC continued to seek out new partners. “We were willing to gamble on new brands,” sharesThatFarrell.idearepresents a sea change from the tradition of huge franchises cutting deals with national brands, contracts negoti ated at the highest executive level based on decades of experience of teams working with beverage corporations. “Part of the opportunity is to introduce new products to market, but the risk with a new company is that their production will have to be able to back up the demand from our fans,” says Farrell.Oneof the new companies that debuted with the opening of Geodis Park was Spirited Hive, a ready-to-drink cocktail company created by Jack Espy, a New York City-based entrepreneur who spends about half of each month in Nashville visiting his father. Espy’s initial marketing efforts included buying a dozen billboards around town earlier this year. (“That was my dad’s idea,” says Espy. “I told him only refrigerator companies advertise on billboards.”) Both NSC and the Titans saw the billboards and reached out. “I knew I wanted to make Nashville the city where I launched Spirited Hive, and I was friends with someone on NSC’s brand partnership side,” he says. “We joked about a potential part nership, but I didn’t even have a product yet. A year later I sent a sample of my first batch to the team, they loved it, and the deal was signed, sealed and delivered.” Both sides knew the risks in volved. “No one has launched a canned cocktail new to the market in a new stadium,” says Espy. “My first day in the market was May 1, the day Geodis opened.” That’s when the production-capabilities risk Farrell mentions came into play. “I thought I’d sell 10 cases of each of my three flavors per game,” says Espy. “We ended up selling 180 cases before the first half was over! Fortunately, my distributor had loaded up with inventory, and we’re now consis tently selling 50 to 60 cases of each [item] perThosegame.”are exactly the sorts of results Farrell was hoping for. “We’ve been really diligent about keeping a ‘clean venue,’ with out too many different sponsors,” he says. “Nobody had heard of Spirited Hive when we opened up, but we like to emphasize sector exclusivity instead of dividing the pie up into too many slices. We have 50 total partners instead of the 150 to 200 at other venues. We’re not just out to make a dollar; the product has to be good and authentic to the experience. We’re not just, ‘Here’s the contract, now go execute it!’ We’re trying to deliver what the brand is all about, and we can be more strategic when we’re deal ing with the visionaries who started the companies.”AnotherNSC partner is Ryan Tierney, a former marketing exec with experience in adventure sports who also saw Nashville as a key market for his new tequila brand, Lo Siento. Actively seeking out office space for a new operation and tasting room in Nashville, Tierney visits the city from his California home several times a month, so he was familiar with the buzz around the impending opening of Geodis Park. “We were eyeing Nashville as what could be our biggest market,” he recalls. “We knew the stadium wasn’t finished yet, but we met with the team and decided if we were going to launch in a new city, it would be smart to do it with a great team and a new awesome stadium. It felt like special timing and a cool moment to be a part of.”
So far, it has worked well for both Tierney and Espy. “I’m extremely pleased with the mo mentum and case volume,” says Tierney. “It’s been our biggest investment as a company, but 100 percent worth it.”
“It’s so cool seeing people walk ing around the concourse with our cans in their hands or posting on social media,” says Espy. “Partner ing with Nashville SC has been the smartest idea we’ve had, and it’s really accelerated the growth of our company. It’s allowed us to punch way above our weight class and get out in front of the bigger brands. If you drive the right deal at the beginning, you can recoup your investment and get liquid to lips. That’s all we could ask for.” ARTS@NASHVILLESCENE.COM
FOOD AND DRINK
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Jackie Welch, who is taking on the cov eted role of Aunt Ester in Gem, agrees with that assessment, pointing to Gem’s compel ling themes and lyrical language. “I was familiar with the play, of course, but had never actually seen it,” says Welch, an accomplished actor, writer, director and improv performer. “So stepping inside that script for the first time was amazing. I had moments where I had to put it down be cause it made me teary to think of August Wilson being gone. When you look at the breadth of his work, his understanding of the craft, it’s almost overwhelming. And to find so much of this story, which is set in 1904, resonating with what we’re dealing with today — just amazing. It’s demanding on so many levels, but I’m re ally having a blast.”
EMAIL ARTS@NASHVILLESCENE.COM THEATER SUMMER SHAKESPEARE’S CYMBELINE (AUG. 18SEPT. 11) AND GEM OF THE OCEAN (AUG. 25-SEPT. 9) AT ONEC1TY; NASHVILLESHAKES.ORGARTSCOUNTY15-18PERFORMANCESENCORESEPT.ATATWILLIAMSONPERFORMINGCENTER GEM OF THE OCEAN GOMEZMICHAELPHOTO: Your Best Yoga L&L Market | 3820 Charlotte Ave. nashville.bendandzenhotyoga.com615.750.5067 Music Valley Village 2416 Music Valley Drive 615.712.7091 dashwoodtn.com Nashville’s largest selection of mid-century finds under one roof!BestAntiqueStore
As delighted as Welch is to be perform ing in Gem, she’s just as excited to see her friend Denice Hicks back in action. “Denice is such a creative powerhouse,” she says. “I love watching her step into any role. She goes in full body, full heart and mind. Her intellect is sort of soft and cuddly because she always leads with her heart, but she also knows how to navigate in a role. I have such respect for her as an actor, but I’m also grateful for her friendship.” It’s a friendship that goes back more than 30 years. Hicks and Welch were both original company members of the former Tennessee Repertory Theatre (now known as Nashville Repertory Theatre), and have worked together many times over the years — in everything from classic comedies and dramas to new musicals and television and films. The two appeared in the 1991 Jim Varney comedy Ernest Scared Stupid, and also were involved with the short-lived Sat urday morning children’s series Hey Vern, It’s Ernest! “That was such a great example of our local film community,” says Hicks, who remembers one particular episode in which she played a school nurse, trying to corral a bunch of students infected with “dance fever.” “It was just crazy fun, and it had
Nashville written all over it.”
Cymbe line and August Wil son’s powerful Gem of the Ocean The season kicks off Aug. 18 with Cymbe line — a wild ride of romance, intrigue and adventure that finds a wicked queen plotting to marry off her stepdaughter (the daring princess Imogen) to her own spoiled son. Meanwhile, Gem of the Ocean follows Aunt Ester — a 285-year-old wise woman and “soul cleanser,” who takes in a mysterious young man and guides him on a journey of spiritual awakening. Gem is set the earliest in Wilson’s landmark Pittsburgh Cycle — a collection of 10 plays that explore the African American experience in the 20th century — though it wasn’t produced until 2003. As the executive artistic director of NSF, Denice Hicks finds the pairing to be a natu ral fit, with both plays employing magical elements, while exploring themes of be trayal, forgiveness and reconciliation. “These two master playwrights under stood the complexity of the human heart,” says Hicks, who plays the evil Queen in Cymbeline. “They’re two of the best to ever walk the earth, and I love the way these plays complement each other. To see how poetic August Wilson is, and how relevant Shakespeare is — it really speaks to the power of theater and its ability to connect with contemporary audiences.”
The two also have fond memories of Some Sweet Day — an original musical pro duced in the early days of Tennessee Rep. “Some productions just have a way of revealing the heart of the people involved,” Welch says. “And that was surely one of them. Everyone was so connected to the work and to each other, and that was really a potent thing for me.” Such memories loom large as the two friends prepare to take the stage once more.“Ithink when you’ve been at it for so long, there’s always a sense of gratitude for those who were so important to our own development as artists, as well as to the development of our theater community,” Hicks says. “People like Mac Pirkle [who co-founded Tennessee Rep in 1985] and of course Barry Scott, who is so dearly missed. They’re still present in all of our work, I think. And I hope audiences feel that as they come out to the festival — the history, the friendship, the magic. Come out, spend an evening sitting under the sky with friends, really connecting. And as a bonus, you get to see these fabulous plays. What could be better?”
28 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com OF ANDFRIENDSHIPHISTORY,MAGIC Summer Shakespeare festival returns with unique double billing BY AMY STUMPFL A ncient Britain may seem to be a world apart from 1904 Pittsburgh. But two of Nash ville’s most respected actors are discovering plenty of common ground as Nash ville producedthespeareSummerforteamPlayhouseFestivalShakespeareandKennieTheatreuponceagainthe34thannualShake—featuringBard’srarely
Morales’ T-shirt designs combine printing, bleaching, spray-painting and tie-dyeing. Some of them feature elements like clouds or text, but they’re often abstract affairs that manage to make formalist fine art into something as chill as a comfy T-shirt.
If I were going to sum up the show with just one work, I might pick Abraham Lara’s “A Taste of Your Own Medicine.” This piece features a photocopied black-and-white im age of Marcel Duchamp’s 1917 readymade “Fountain” — a porcelain urinal the artist signed “R. Mutt.” Abraham Lara adds a cheeky drawing of Calvin of Calvin and Hobbes fame, dropping his drawers and taking a leak in the artwork. The piece em bodies the refreshing irreverence of the exhibition, but it also points to the fact that these seemingly spontaneous, car toon-crazed creators are also educated artists enjoying a very serious brand of fun. Abraham also has a selection of geometric abstract paintings in the show — Abraham’s lines look almost pixelated, and the compositions remind me of digi tal glitch art. They’re my favorite works in the Sebastianshow.
EMAIL ARTS@NASHVILLESCENE.COM ART KEEP DREAMING THROUGH AUG. 27 AT ZEITGEIST LARASEBASTIAN“APOCALYPSE,”LARAABRAHAMMEDICINE,”OWNYOUROFTASTE“A FT Live and Great Performances Sponsored by 615.538 2076 | FranklinTheatre com 419 Main St Franklin, TN 37064 EMILY WEST Sept. 3 BRIAN MONARCH & FRIENDS Sept. 2 AMY RAY BAND Sept. 23 ACADEMY OF ST. MARTIN IN THE FIELDS Oct. 21 JULIE FOWLIS Award-Winning Gaelic Singer Oct. 23 SOPHIE B. HAWKINS Oct. 9 SOUTHERN AVENUE Oct. 28
Sebastian’s drawings are connected to axles in handsome wooden boxes that have been mounted to the gallery wall. When visitors obey the text instructions to turn the cranks on the boxes, the draw ings start flipping to life as little nar rative cartoons. One of the animations features a woman with heart-shaped glasses and a creepy-big smile driving her car into the side of a house. Another features a panicking bald eagle flapping through a cloud of dust on an endless loop. I love the vintage cartoon aesthetics and the expressive worry on the bird’s face. The act of cranking these yourself is playful and delightful, and gallerygoers can also leaf through an issue of Sebastian’s art-filled newspaper, “Paperboy,” for another interac tiveLeviexperience.Morales’ contributions to the show include his action-figure-like sculptures and a rack of T-shirts featuring his Barbarian Studios brand designs. The little sculptures include a driver in a tiny race car, a body builder flexing his biceps, an airborne skate boarder, and a figure in a dress decorated with Morales’ signature “Barbarian” logo.
Keep Dreaming is a flashy display of overthe-top images, characters and clothes. It also reminds viewers that serious art can some times be a fun party for you and your friends.
nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 29
Lara’s interactive flipbook animations deliver some of the most sur prising and innovative thrills of the show.
WEAVERSDREAM Antioch comes to WedgewoodHouston with Zeitgeist’s Keep Dreaming BY JOE NOLAN O ver the years, lots of artist spaces in the city’s core have been sold out from under the creative renters who’ve actually made the locations happening and enoughNowadays,valuable.it’shardforaNashvilleartisttoaffordtherentonaplaceto live, let alone another one to make work in. And ever-rising home prices and prohibitive interest rates make the option of purchasing a house a no-go for many artists who aren’t otherwise flush with cash. A few decades ago, when populations began to migrate back into downtown centers in cities all over the country, I began to wonder if the suburbs were going to get super weird as creative populations were pushed to further reaches of boomtowns like Nashville. A new display of art and fashion from a creative collective based in South Antioch says the city is get ting outré in the outskirts. Keep Dreaming, on view through Aug. 27 at Zeitgeist, features Levi Morales, Abra ham Lara and Sebastian Lara. The display includes a variety of work, from paintings, posters, animation and sculptures to a whole rack of printed, dyed and painted T-shirts. The Keep Dreaming artists grew up to gether and sharpened their skills while they were students at Watkins. They’ve been showing their work at various house-party pop-ups, and one of the biggest questions about this show was whether the work would translate into a formal gallery setting. Zeit geist is one of the roomiest showcase spaces in the city, and its big white walls might have swallowed a show of cartoon-inspired art made mostly of upscaled materials and plain brown cardboard. But instead, the show reads as whimsical and inventive, and it brings an irreverent sense of humor to the often self-serious business of exhibiting. The group’s pop-ups remind me of under ground music’s house show strategy, and the artists’ collective practice shares the col laborative ebbs and flows musicians experi ence playing together as a band. The show at Zeitgeist feels of a piece mainly because of the reused materials and ubiquitous deploy ment of rainbow-rivaling palettes. That said, each of these artists has their own unique style, and Keep Dreaming’s biggest strength is the wide variety of work on display.
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The subject matter and structural style are reminiscent of Gloria Naylor’s 1982 novel The Women of Brewster Place. Both books function as novels conveyed through several short narratives, with characters making guest appearances in other characters’Forstories.example, “Rent Manual” is told from the perspective of Mimi, a hairdresser who lives in 14D. In relaying her tale, she recounts her experience with Dary, “the gay dude that live in 12H.” We are later offered his experience with Mimi and correlating backstory in a chapter titled “Camaraderie.”
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POWER
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It’s crucial to appreciate the breadth of voices represented. They vary in age, sexuality, gender and even class. While some chapter’s narrators have lived at Banneker Terrace for a few years, some have been there many, as is the case with Mr. Murray, who narrates “Federation for the LikeMinded.” He is, in his own words, an old man who has “been here from jump.” The narrators’ interconnectedness is defined by the fact that they see this building as both hell andFofana,home. who serves as editor-at-large for The Sewanee Review, writes with an ear tuned to Harlem’s local color — which in today’s gentrified ruin echoes more past than present. “The Young Entrepreneurs of Miss Bristol’s Front Porch” exemplifies Fofana’s adeptness at capturing the cadence and syntactical uniqueness of Black Harlem: “Bernita get quiet and everybody know who in charge again.” The omission of the “s” in “get” and “know” and the omission of the verb after “who” form a crisp Harlemite sentence. And if the reader is unsure of Fofana’s commitment to regional accuracy, his use of the word “lookeded” later in the story should remove any doubt. Even Fofana’s choice of names feels authentically Harlem; his protagonists are called Kandese, LaToya, Bernita and Narely. Fofana takes this commitment to Harlemite local color a step further in “lite feet.” In this coming-of-age story, Fofana skillfully employs phonetic spelling. This technique conjures up books like Sapphire’s Push, in which words are spelled as they sound, rather than according to standard English orthography. For instance, Najee, the protagonist in “lite feet,” spells circle as “cirkul.” Unlike the orthographical progression in Push, where Sapphire’s protagonist begins to correct her spelling with each subsequent chapter, Fofana’s Najee maintains his grammatical unorthodoxy throughout the story. Yet Najee does develop. His growth is instead demonstrated through a moral shift: “i’m ritin cuz i can’t sleep … i’m gonna rite til deres nothin lef in dis hole notebook.” This is language that sounds alien in the mouth of a 12-year-old, language that bursts the skin of customary teenage angst. Stories From the Tenants Downstairs aches with powerlessness against tides of gentrification and poverty. At the same time, its boisterous cast of characters seems to embody a new power — the power in telling one’s own story. Fofana pulls us into Harlem YMCA meeting rooms, subway stations, teachers’ lounges and living rooms. In each, we are invited to listen as the residents of Banneker Terrace answer that perennial question: Where are you going, and where have you been? For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM IN THE STORY From the Tenants Downstairs explores a place that’s both hell and home KASHIF ANDREW GRAHAM THE TENANTS DOWNSTAIRS SIDIK 224SCRIBNERFOFANAPAGES,$26
S idik Fofana’s Stories From the Tenants Downstairs, a debut collection of linked stories, emerges from a doomed high-rise in Harlem. Fofana, a public school teacher in New York City, acts as both storyteller brilliantlyanthropologist,andcapturing the scrapes, scents and spirit of this gentrifying neighborhood. The book presents eight self-contained short stories, each written from the perspective of a different tenant. The introduction, which is delivered as a poem with an AA/BB rhyme scheme (much like a rap), seems to be their collective voice: “Everybody got a story, everybody got a tale / Question is: is it despair or prevail?” The stories are written in first person so that we are launched into the particularities of each character’s life — all within the world of Banneker Terrace.
Stories
BOOKS STORIES FROM
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THE BETTER TO YOUHEARWITH Guitarist extraordinaire Sean Thompson recasts himself as songwriter and bandleader BY CHARLIE ZAILLIAN W hether or not you know Sean Thompson by name, you’ve likely seen and heard him in his element. Whether he’s reeling off heroic, high-flying solos or keeping things rolling with subtle rhythmguitar action, Thompson’s fretwork has be come a recurring feature of the music rising from Music City’s underground. A co-founder of much-missed countryschooled rockers Promised Land Sound, Thompson has also done stints in the studio or on the road with garage-punk greats Pu jol, pedal-steel phenom Spencer Cullum of Steelism fame, and folk-pop songsmith Erin Rae, among others. Electro-pop maven Eve Maret called Thompson in for the express purpose of firing off a ripping solo on “Im pressions,” the drawn-out centerpiece of her long-gestating 2020 LP Stars Aligned In the past few years, Thompson has released a handful of originals and covers, including the concept EP Time Has Grown a Raspberry. Friday, he makes his full-length debut with Sean Thompson’s Weird Ears, an 11-song LP issued by California-based Curation Records, a label with a connection to coastal country-psych greats Beachwood Sparks. The album is an apt summation of where the 31-year-old musician and his revolving-door cast of collaborators has been — and might be off to next. The LP opens with a rollicking one-two of “New Trailway Boogie,” propelled by its unfurling corkscrew riff, and “Saturday Drive,” which rides on a forward-leaning shuffle. In tandem, the tunes thrash and twang mischievously yet sweetly. Their melodies and solos stick around in your head after they’ve seen themselves out; you can say the same for the sentiments of the airtight verses, about seeking freedom from hectic daily life. On the flip side, “Curse the Conscience” serves up soaring indie rock, loose and clever in the spirit of ’90s legends Built to Spill. The intricate “Alley Scrapper,” meanwhile, is off-kilter Big Star-inspired power pop — more akin to 1978’s bizarroworld Third than to 1972’s genre-defining No. 1 Record. Ahead of Weird Ears’ release — to be com memorated with a party and show Friday at Third Man Records — Thompson and I sat down over coffee. When did you first conceive of doing a solo album? During the pandemic. Didn’t have a lot going on. [Laughs] Had the most time I’d really ever had to write, which was nice. Where did you draw inspiration from for this record? Was there a certain song you wrote that laid the groundwork for the rest? “New Trailway Boogie” for sure, which was just about being outside with my dog. There’s a “life’s simple pleasures” theme that runs through Weird Ears, for sure. Things were so tumultuous and uncertain in 2020. I became incredibly comforted by things like taking a walk, go ing on a hike or a day trip, just being outside. What music kept you going in 2020? Beach wood Sparks’ [2012 album] Tarnished Gold was a big one. I’d been diving deep into that record, and when I found out [singersongwriter Brent Rademaker] had a label, I sent my stuff their way. I went on a big Jerry Reed kick. I loved how he was able to be a side player — a guitar player — first, but who happened to also write interesting songs that were undeniably his. How did you slip into this role you’ve estab lished, playing with seemingly everybody? It took some time after Promised Land disbanded, but by the end of 2019 I’d started managing steadily stringing gigs together, hanging out, exchanging ideas. What is Weird Ears? People that are my friends, who I play music with. Whatever I’m working on, and whoever’s willing to join me. When I made this record I had no real ideas that anyone would put it out. I made it just because I felt like I had to make something. Have your California label people seen you live? Yeah, at the Grand Ole Echo Saturday mati nee show at The Echo [in Los Angeles]. I’ll play shows wherever I’m asked to, but initi ating is not my strong suit. [Laughs] There’s definitely a scarcity of resources right now. Being a freelance guitar player, it can be cost-prohibitive. Do you ever travel completely alone, touring? What’s that like? It’s dope. [Laughs] For those not from here, tell us about Nashville School of the Arts. A lot of us came out of there — Tyler Coburn [of Yautja], Chappy Hull [from Shell of a Shell], Asher Horton [of Sun Seeker]. We all hung out on the periphery of the early-2010s explosion of Nashville bands. Silver Jews were happening. Lambchop was thriving. Cool, pre-boom years. There wasn’t an academic angle at NSA. [Laughs] They left us to our own devices. I skipped many a class to just go play guitar, with permission. I was passionate — played guitar for like 10 hours a day. What’s next, what with the first Weird Ears LP out in the world? Got a new album’s worth of material ready that I’m sitting on. It’s pretty different. I really sought out to make an ac cessible record here — was laser-focused on writing as simply as I possibly could. Any hints at what’s guiding your direction going forward? Early Dead, Fairport Convention, Nick Drake, Can and Stereolab. EMAIL MUSIC@NASHVILLESCENE.COM
MUSIC a little bit harder.” His artistic evolution has been an amazing pro cess to watch, from the house-party era to headringing big-stage shows. It also reflects the ways that Music City has evolved since the Clinton era: the way Nashville has opened itself up, expanding the possibilities of what gets celebrated as “local music.” KDSML’s rapid-fire record scratches were startling, alien even, when I first saw him play a party in someone’s mother’s living room in Mur freesboro an eon ago. These days, his technical turntablism, old-school head-nodding grooves and future-bass sounds feel just like home. “I think that the key is staying true to yourself and learning more about yourself,” he says. “Taking great care of yourself — ’cause I know I’m taking much better care of myself than I ever have at this point. It’s coming out in my art and music and motivation.
KDSML had never canceled a gig prior to the April 4, 2020, show he’d booked — one of the many dominoes that fell as the music industry receded into a livestreamed cocoon during the COVID shutdown. In spring 2021, he played as part of Red Bull and Music Venue Alliance Nash ville’s joint venture, a cool pop-up event at Exit/ In featuring DJ sets and an indoor skate ramp booked for private sessions; the Omicron wave pushed the next installment of his KDSML Revue into spring 2022. Getting back to playing safe, fun shows has been a journey in itself. “Being able to get out there again and play, it’s a cool feeling, man,” says KDSML. “And I think that there’s just gonna be, you know, the begin ning of something great and new — or I’d like to think, you know. It’s always good to try and stay positive about it. This whole time not having gigs — I’m not gonna stop practicing. I’m not gonna stop, like, just DJing, ’cause I love it. So whether people are around or not, I would still be practic ing. I feel like I’ve kind of got a stockpile of sets I’ve worked out and tracks that go together and new material for these shows that I have. I feel like they’re a lot more potent.” The guest performers at KDSML and Friends shows aren’t just casual acquaintances. Friday’s party features Gates, who’s known for creating dope instrumental hip-hop and has been tagteaming with KDSML at home and on the road. Like just about all of KDSML’s events, this show will include live painting courtesy of longtime running partner Bryan “Rex 2” Deese, a graffiti and mural artist who’s been covering walls from the Rock Block to Five Points and beyond for more than 20 years. Dread Savage, aka drum ’n’ bass stalwart Dorian Williams, was the very first person to put KDSML on a club stage. “He put me on jungle and drum ’n’ bass stuff when we were playing together in my bedroom,” he says. “Just spinning records for hours on end practicing and all that in the early days.” KDSML has friends all over; while we’re on the phone, he makes it a point to plug the show happening across the street at Exit/In at the same time as KDSML and Friends. Featuring the proggy, heavy sounds of Look What I Did and Born Empty, it’s a gig marking the birthday of Jesse Baker, a talent buyer, sound engineer and bartender who’s been boosting local music for two decades. It’s the kind of cross-genre com munity-building, focused on making sure that all the homies get a little shine, that has been a hallmark of KDSML’s style since the early days — and it’s what’s kept him pushing his art forward. “Yeah, play it all. That’s definitely the vibe.” EMAIL MUSIC@NASHVILLESCENE.COM
… I think that the space away from everything has helped me hone in what I actually want to do as an artist. It’s a powerful thing.”
SEAN WEIRDTHOMPSON’SEARS OUT FRIDAY, AUG. 19, VIA CURATION RECORDS; PLAYING THIRD MAN RECORDS’ BLUE ROOM AUG. 19
nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 33
GET HAPPIER FRIDAYS: Eva Cassel, The Silver Seas, Zachary Scott Kline, Beau Burnette LAMB w/ David Borne (7pm) Matt Mann & The Shine Runners, Dirt Reynolds, The Untamed (9pm) The Sacred, Vern & Ducky Neptune slow teeth, belt, rafael green vinje, eli gable (7pm) john stork w/ the cabin boys (9pm) Grayson Jenkins, Zach Russell GET HAPPIER FRIDAYS: Friday Night Funk Band, A Tribe Of Horsman, DE3RA, Taco Mouth
you got gold: john prine tribute Echosmith w/ Phoebe Ryan and Band of Silver Brent Cobb & Hayes Carll Kevin Morby w/ Cassandra Jenkins Charlie Burg 917 Woodland Street Nashville, TN 37206 | thebasementnashville.combasementeastthebasementeast thebasementeast 1604 8th Ave S Nashville, TN 37203 | thebasementnashville.com sold out! free! free! sold out! 9/2 My So-Called Band The Ultimate 90s Experience! 8/29 Grunge night VII post grunge tribtue night devin the dude w/ j dolla on da track 8/24 The Josephinesw/BooRay 9/3 richie kotzenw/JohnCorabiUpcoming8/31 shows Upcoming shows thebasementnashthebasementnash thebasementnash Patzy, Coleman X, & Laney Esper 8/20 8/21 8/26 sicard hollow & dogs in a pile sold out! JacksoldBroadbentout! sold out! free! THE SPINDOMUSICYOU HEAR WHAT I HEAR? BY CHARLIE ZAILLIAN O n
EMAIL THESPIN@NASHVILLESCENE.COM JASMINKASETS:KASET
34 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com aug 18 aug 19 aug 20 aug 24 aug 26 aug 27 aug 29 aug augaugaugaugsepSepSepSepsepSep31123Sep46Sep78sep910sep11sep12sep131818aug192020aug21aug22aug24aug24Aug25aug25 aug 26 aug 27 aug 27 aug 28 aug 29 aug 31 aug sepsepsepSepsepsep311218sep1920sep21sep23sep24sep25sep2628sep2930oct3oct5oct6oct7oct8oct11oct12oct13oct14oct15oct17Brass Against ErraQDP w/ Alpha Wolf, Thornhill, Invent Animate Devin the Dude w/ J Dolla On Da Track Sicard Hollow & Dogs In A Pile the emo night tour grunge night VII: Post grunge Richie Kotzen w/ John Corabi Glass Cannon Live! my so-called band: ultimate 90s hits! The Josephines w/ boo ray doobie w/ caskey Crowbar w/ second spirit & purity among thievesEthelCain w/ Colyer Vista SarahKicksJarosz w/ Ric Robertson Tyler Bryant & The Shakedown w/ ga-20 & brandy Bear'szdanDen w/ izzy heltai Julia Jacklin w/ Kara Jackson Shine a light: Rolling stones tribute Yellow Ostrich, Bathtub Cig (7pm) Meltt w/ travollta (9pm) GET HAPPIER FRIDAYS: Sun Seeker, My Politic, Ben Goldsmith, Girl Tones Nick Connors, Alex Angelo, Garrison (7pm) Patzy, Coleman X, Laney Esper (9pm) Jack waltzerBroadbentw/molly martin & wolf twin Griffin Moyer & Andrew Goldring (7pm) Country Death, CDSM, Impediment (9pm) Mike Miz (7pm) The Shady Recruits (9pm)
Secret Walls Rare Hare Mild High Club w/ vicky farewell The King Khan & BBQ Show w/ miranda & the beat The Paper Kites w/ rosie carney TheMeltComet Is Coming lizzy mcalpine w/ carol ades Porridge Radio w/ sean henry Flamingosis & Blockhead w/ ehiorobo Noah JukeboxGundersentheGhost w/ corook glaive w/ aldn Caroline Rose w/ tōth Illiterate Light w/ haiva ru & wildermiss The Ballroom Thieves Novo Amor my way to That Ross Col lier Sound Fest Saturday afternoon at Fannie Mae Dees Park — aka Dragon Park for its 150-foot sea serpent mosaic — I got a text from photog Claire Steele describing the scene of local music-makers, friends, kids and pets gathered there as “popping off like you wouldn’t believe.” I’d already missed a great set by New York shoegazers Glenn Echo, Steele added, but if I got there soon, I’d still have a shot at meeting Bill, a giant tortoise belonging to Edgehill United Meth odist pastor John Feldhacker Such is the unique vibe and niche the 29-year-old Collier has built and continues to explore in left-of-center Nashville music, as a player and participant — and, once a year, concert impresario. In addition to his work aiding and abetting punk-folk faves Styrofoam Winos, as a touring sound engi neer for Allison Russell and as proprietor of Nashville Omnichord Supply, Collier has been throwing some variation of the Sound Fest most years since he came to town a decade ago to study audio production at Belmont. Prior to Saturday’s fest, playfully billed as the 40th annual event, Collier an nounced this would be the last one — for now, at least. He mentioned in a note to the Scene that he might change the format to make it a little more manageable among his other commitments, and possibly revisit the tongue-in-cheek “That Ross Collier Sound” moniker. This ostensibly final installment was the biggest Sound Fest yet, with a wideranging succession of performers moving the air with great-sounding sets, plus free food and coffee, giveaways of CDs and LPs from in-town labels and even a visit from progressive congressional hopeful Odessa Kelly. She spoke briefly about November’s election, in which she’s running for Tennes see’s 7th District seat in the U.S. House of Representatives, and introduced herself to every person in attendance before depart ing for her next campaign stop. Recalling the types of DIY affairs thrown as cheap or free alternatives to big-ticket summer fests — like Poorcastle in Louisville, Ky., or Bummershoot in Seattle — the music was eclectic, and the community vibe was strong. Performers set up shop alongside the ziggurat-like brick structure and its adjacent fort at the park’s center. In a chipper tone that served cool-camp-counselor energy, Collier joined forces with Glam Campbell — the baritonevoiced alter ego of the Winos’ Joe Kenkel — to handle emcee duties with banter that was equal parts sincere and nonsensical. Among the standout sets was a turn from power-pop tunesmith and Birdcloud co-founder Jasmin Kaset leading a band that included, among other familiar faces, Bing ham Barnes of Glossary on bass and Larissa Maestro on cello. JayVe Montgomery, alias Ab stract Black, offered up his always-engaging ambient saxophone meditations. On the heels of her latest LP Summer Angel, poet and songsmith Anne Malin performed songs at the head of a guitar trio, while singersongwriter Nick Woods played solo, accom panying himself on electric guitar. For the finale after sunset, the West Nashville Jazz En semble gave a stirring improv set, assisted by the loud buzzing of cicadas and the dis tant creaking of playground swingsets. As the music wound down, the tem perature dropped to a cool 77 degrees and the thinning crowd split up. Some headed homeward, but there were abundant op tions for those able to find a second wind. Up the street, the Belcourt was screening a new documentary on Leonard Cohen’s “Hallelujah,” while Third Man Records hosted the album release party for rising synth and guitar composer Rich Ruth’s I Survived, It’s Over, and West Side water ing hole Betty’s featured a Sound Fest after-party with folk stalwarts The Cherry Blossoms and others. It was as nice a night as any in recent memory to treasure the wealth and scope of noncommercial, non careerist sounds being made all the time — and the people making and facilitating them — right here in our own backyard.
STEELECLAIREPHOTO:FORGET
CHEST AND THE BEST OF THE FEST
FILM DEFY FILM FESTIVAL AUG. 19-20 AT STUDIO 615, 272 BROADMOOR DEFYFILMFESTIVAL.COMDRIVE CHEST
nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 35 8/18 8/19 8/20 8/21 8/24 8/23 8/22 5pm Writers @ the Water Open Mic 3pm Springwater Sit In Jam 9pm Ryan Knaack, Kristen Englenz, & Dylan Taylor 9pm 5RVLN5, Reptilian, Gallstones & Shrieking Violet 9pm Small Reactions, Moonlight Drowns, Can’t Relate & Shrieking Violet 9pm Safety Risk, Gonna Be Friends & Leon Majcen 9pm Cody James, David Arvisu, & Soultru 9pm A Shrewdness of Apes, Titans of Siren & Morbid Orchid 9pm Six Gun Romeo & The Royal Hounds nashvillescene.com/music/spin YOUR TICKET TO SHOWS... REVIEWED THE SPIN
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This year’s Defy Film Festival spotlights a local horror feature, plus lots of weird and short cinema BY JOE NOLAN T he Defy Film Festival will celebrate experimental cinema this weekend at Studio 615 in East Nashville. This is Defy’s seventh year in Nashville, having established itself as an important screening stop for global filmmakers interested in deconstructing, remaking or simply doing without the narrative conventions of mainstream filmmaking. Expect everything from cracked cartoons and mangled music videos to surreal dramas and an award-winning horror film by a first-time Nashville director making its hometown debut. Chest is a found-footage horror movie by local filmmaker Aaron Irons, who’s also known about town as a musician and audio engineer. Writer-director Irons grew up in East Tennessee, and his childhood was colored by the local legends and spooky stories his uncle would spin. One of “Uncle Shag’s” most memorable tales was about a pair of hunters who discovered a chest hidden in a cave behind a waterfall. The hunters hurried to fetch tools to cut the chest’s chains and break its locks, but when they returned the entire cave had disappeared. Irons and his neighborhood friends used to search for the cave — and the chest — while playing in the woods. And making a movie about the spooky stories from his childhood has been a longtime dream for Irons. Chest’s kayfabe insists that the movie is based on true stories, and the film is presented as found footage that represents the last images captured by a television crew working on an episode of Dark Appalachia Chest follows the crew as they prepare for their trip and arrive in the mountains to interview locals and search for the legendary chest. This is all played in talky ensemble scenes that quote Tarantino and fill in the blanks of the spooky story and the relationships among the crew. My favorite line in the film: “I don’t wanna get killed by some psycho mamaw!” But Chest is at its best when it indulgently delights in genre tropes: The film opens with a cannibal attack that reads like a punch line; the found footage features spot-on send-ups of paranormal television programming; and the show’s Australian host reminds me of Robert Downey Jr.’s shock-journalist character in Natural Born Killers. The best characters in the film are the suspicious and sly locals who are most familiar with the legend and the curse some say it casts. Chest’s found-footage conceits are really just a framework for what amounts to a Southern folk-horror film that fits right into one of my favorite trends in contemporary cinema. Movies like A Field in England, The Witch and Midsommar have reinvigorated the horror genre with the fetid and feral threats of wild spaces and remote populations with cultures deeply connected to land and legends. Chest has a lot of fun demonstrating how folk stories, speculative history and just plain nosy gossip all combine to weave local legends that come to seem as real as the trees and mountains that make up these natural spaces — settings and themes that can equally seduce and overwhelm in a film like this. Fans of woodsy horror flicks will find a lot to like about Chest, including a rampaging climax that reads like Southernfried Sam Raimi. Attendant is an abbreviated feature with a run time of just over an hour. It tells the story of a mild-mannered flight attendant named Aiofe who is stood up by a married pilot and finds herself exploring the dramatic sandy seascapes of Cape Cod’s protected National Seashore. The setting is one of the stars here, and this poetic journey of self-discovery manages tones that recall vintage Michelangelo Antonioni. Attendant was co-written, produced and edited by director Rome Petersson and cinematographer Alice Millar. Petersson is a veteran filmmaker, a wellknown New York-based gaffer and key grip. This is his first feature as director. One of my favorite aspects of the Defy Festival is its focus on short films. This year’s schedule includes lots of brief movie comedies, shockers, dramas and mindmelting experiments over its two-day run. English filmmaker Rob Ryan’s “Time Bus” makes its U.S. premiere at the fest this weekend. This meta film-within-a-film asks big questions about the indignities of the movie business and the possibilities of traveling to the past or the future. After all, “No one doesn’t not love time travel.”
Rick Groleau’s “Type Cast” is an animated antique-shop conversation that vintage typewriter aficionados will relish before it takes an unexpected dark turn. Writerdirector Sam Rudykoff’s “Cruise” turns the thankless job of cold-call telemarketing into a life-or-death workplace satire about the trust-eroding effects of capitalism. Local musician-actor-poet Clay Steakley’s “The Fire Cycle: A Reading From the Book of Regenesis” is a multimedia meditation on environmental patterns and natural rhythms. The short is making its debut at the fest. In addition to the fest’s theatrical screenings, Defy will also have two programs of movies on loop in their lounge and lobby theaters. These films are free to watch and include Claire Marshall’s contemporary dance film “Love Song,” Abbey Johnson and Nora Masters’ On the Road-inspired queer music video “Kerouac,” and “The Death of James Dean” — a meditation on mortality and fame set to a Clyde Stubblefield groove by yours truly.
36 NASHVILLE SCENE | AUGUST 18 – AUGUST 24, 2022 | nashvillescene.com
Celebrating the 50th anniversary of John Waters’ iconic Pink Flamingos BY JASON SHAWHAN G iven the landfill of perver sions that Pink Flamingos offers, the most shocking aspect of the five decades it has spent lurking in the subconscious and writer-directorUnitedbasementsrhetoricaloftheStatesisthatitfeelsmorelikeprophecythananassault.Nothingthatand national treasure John Waters and his cin ematic band of misfit toys the Dreamlanders dug up from the most unspeakable places in the domestic id is more than a click away these days. Flamingos’ central conflict — between notorious criminal Divine and her family and villainous power couple Raymond and Connie Marble to determine who, in fact, are the filthiest people alive — is exactly in line with the lower rungs of reality television and the uppermost reaches of “influencer culture.” If Here Comes Honey Boo Boo’s Mama June dating a convicted child mo lester doesn’t disqualify you from being on TV, then noth ing in this film would either. There is rightfully an aura of legend around Pink Fla mingos — time has in no way dulled its edges. It is solidly spoken of in the hushed tones devoted to the legends of frat-dare cinema — the Salòs, the Emanuelle in Americas, the Guinea Pigs, the August Underground’s Mordums, the Cannibal Ho locausts — but it occupies a unique, some would say sin gular, place in that pantheon because it is incredibly witty. Quotable, even. Waters and his work have always had a gift for florid characterization, and his magical ability to weave the invec tive and the incisive together into lacerat ingly funny diatribes is one of the reasons why this deliriously grotesque film is still part of the American conversation. Aside from industrial bands looking to load up their samplers, nobody’s pulling quotes out of the giants of extreme cinema. But even today, you could ask any medium- to largesize gathering of people what their favorite line from Pink Flamingos is, and you’d not only get a lot of responses — you’d get a staggering variety of lines chosen. There is gutter magic in this film. But the script is only part of what makes this such a compelling work. This is as close as humanity ever got to a complete Dreamland cast (minus the iconic Maelcum Soul), and everyone is firing on all cylinders. Though this film belongs to Divine — both the performer and the character — the ensemble is giving till it hurts. As the devi ant capitalist Marbles, David Lochary and Mink Stole bring shrimping and mercenary heterosexuality to the screen with Kool-Aidcolored hair as if to invite the wrath of God, even as their money and business operations insulate them from the public aspects of true filth. Novelist/raconteur Cookie Mueller (se riously, read her essential and life-changing book Walking Through Clear Water in a Pool Painted Black) makes quite the impression as an industrial spy, and as Divine’s polymor phously perverse son Crackers, Danny Mills is photographed with the rockabilly man child love and care that Russ Meyer would devote to bosoms. But the kind heart of the film (truth fully, the only kindness to be found within it, which is one of the reasons why Pink Flamingos has never not been relevant) is Mama Edie (Edith Massey), Divine’s playpen-dwelling mother who derives joy only from eggs — and the man who brings them to her. Before the film’s body count ramps up too high, Edie is granted a wheel barrow ride to ecstasy and a life filled with eggs, and it’s a graceful and sweet gesture in a film that instinctively understands that America is a no-holds-barred game show where every round is sudden death. Divine is, to paraphrase Lana Turner in Imitation of Life, “More. Everything. Maybe too much.” You can ask a dozen theorists what drag is, and you’ll get a dozen (or more) answers. But Divine, in Pink Flamingos, is drag as a warning — a bleach-blond wig with mayhem on her mind, a locomotive bound for fame and felonies, a hearty, colorful “Fuck You” being bellowed at every form of com placency. No matter how many times you’ve seen the film, or been warned, or heard tell of what awaits the viewer during this film, it’s never enough for the viewer to take anything for granted. The myriad horrors that Pink Flamingos offers are a catalog of atrocities played for triumph. It’s a lesson that the Jackass media empire learned well, and also an inspiration that’s always been an accurate assessment of what American exceptional ism truly represents. As that other great American icon Sally Bowles once said, “Ev erybody loves a winner.”
EMAIL ARTS@NASHVILLESCENE.COM FILM PINK FLAMINGOS NC-17, 93 MINUTES SHOWING FRIDAY, AUG. 19, AS THE BELCOURT’S MIDNIGHT MOVIE INTRODUCING A NEW GOURMET FOOD NASHVILLEFOODFAIRE.COMMARKETSEPT.17•ONEC1TY11AM-4PMFREETOAEND Shop from 50+ Music City-based food vendors and discover delicious foods and drinks, purchase thoughtful gifts and top-quality products from a lineup of artisans you won’t find gathered anywhere else! MEET OUR VENDORS! 615 Bitters BAE’S BUTTERS Birdie’s Frozen Drinks Bondi Bowls Carols Vibration Skin Care and GautierDryCatapanoHomesteadPastaCo.GuysPantrySupplyElle&JoTeaCoEVOriginalandSonsSeafoodGREY’SFineCheesesHiSeltzer Hot Sauce Nashville Jacko’s Pepper Jelly Jim’s Spaghetti Sauce MamaLivi’sKisserLunchboxYangandDaughterMama’sEarthNashDogsOatstrawTeaCompanyPinkDoorCookiesSarabha’sCreamerySouthernGristBrewingCo. Southenaire Market SUPRM Snax Suraj Spices & Teas Sweet Greek Treats The Mac Shack The Nashville Jam Co. The Salty Cubana The Wok WHISKUpstateUNITYBrosPierogiCo.CheesecakeShopWilla’sShortbread BENEFIPROUDLYING W ACCEPTING VENDOR APP CATIONS
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nashvillescene.com | AUGUST 18 – AUGUST 24, 2022 | NASHVILLE SCENE 37 ACROSS 1 It isn’t much 4 Elemental 9 Penguins and Sharks are found in it 13 The “U” in U.X. 15 Actress Alexander of “Living Single” 16 Phone target?tapping 17 Go, go, go 18 Seeking a dry Italian wine? 20 “Pick me! Pick me!” 22 Tankard filler 23 “Don’t reckon so” 24 Screen makeup 27 Taking care of business 29 Fervor over Senator Rubio? 33 Put on 36 Political columnist Peggy 37 Like many tracks 38 Graphic text? 40 ___ favor 41 Muse of memory 42 Year in Tuscany 43 Colorful woven shawl 45 Just released 46 Blazer worn next to a blaze? 49 Plenty 50 They might get busted at a rock concert 54 Road trip respite 56 Valuable diamond 58 Rip into 59 TV show about a group of whales? 63 “Good one!” 64 Concern for Cupid 65 Cafe order 66 Roger who wrote “A Season in the Sun” 67 Showroom display 68 Tough spot to get out 69 Fire fighter, familiarly … or a phonetic hint to this puzzle’s theme DOWN 1 Best-selling author of legal thrillers 2 Kirin alternative 3 Furnishings 4 Come to the rescue 5 Bit of yapping 6 ___ pretty 7 Retail giant founded in 1943 by a 17-year-old 8 It often comes in 60-, 72- and 84-month lengths 9 Carnival locale, briefly 10 [speechless!] 11 Stellar phenomenon 12 Had down 14 Take up again, in a way 19 What a representairplanepapermay 21 Saudi neighbor 25 Checked (out) 26 Roast target, e.g. 28 Aware of 30 One of a percussive pair 31 “Me too!” 32 Whole bunch 33 Like many signers 34 Prefix with bus or science 35 Like the results of loaded dice 39 Billy with a record 100+ performanceslifetime at Madison Square Garden 41 Gettysburg general 43 Light shows? 44 Best Actress Oscar winner BullockbetweenandStreep 47 Take off 48 Sedative, for short 51 Husband Bathshebaof 52 Double the speed of sound 53 Court recorder 54 Big Apple product 55 Home to Alaska’s oldest newspaper 57 Feat for a performer, in brief 60 No amateur 61 Victrola maker 62 Tuna variety 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: Crosswordsnytimes.com/wordplay.foryoung solvers: nytimes.com/ studentcrosswords. EDITED BY WILL SHORTZ CROSSWORD NO. 0714 ANSWER TO PREVIOUS PUZZLE PUZZLE BY ALAN ARBESFELD A B R A B A R B S O F F S B R O T I N U R E W R I T Y O U O N L Y L I V E L I V E S I G N A L E D E N V E T S L E E P Y E R A T O D E B T S S C O L D S A S P O A K S T R O U T B L I N D B L I N D S T U D Y L A S E R I T O O S E X E M C E E S S T O A T O R A T E F L I M S Y E L S M A T H U P T A K E G O O D Y S H O E S S H O E S G L U E I N U S E E R I E Y A R N S O R T S D I N S 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 9/29/22. 9/29/22. 9/29/22. 9/29/22.9/29/22. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. $ 59 99$ 59 99 $15 OFF$15 OFF $ 10 OFF$ 10 OFFFREEFREE $ 8 9 99$ 8 9 EXPEABS99RTS 1/4/2021. 1/4/2021. 1/4/2021. 1/4/2021.1/4/2021. Columbia 1006 Carmack Blvd Columbia TN 931-398-3350 25 White Bridge Rd., Nashville, TN 37205, 615-810-9625 www.MyPleasureStore.com *Offer Ends 10/25/2022. Cannot be combined with any other offer. Discount Code: NSSCHOOL25 INPRIVATESTUDIESSESSION PURCHASEENTIREWHENYOUSPEND$100 OR MORE 25% OFF PRB_NS_QuarterB_081522.indd 1 8/12/22 7:29 AM
Software Development Engineer in Test II (HCA Management Services LP, Nashville, TN): Reqs Bach (U.S./frgn equiv) in CS or rel; 2 yrs OOP exp w/ C#, Java, & Python; 2 yrs QA exp; exp w/ selenium; familiarity w/ GIT, TFS or subversion source code repositories; exp creating & executing complex SQL queries; exp testing API; exp w/ Integration testing; exp w/ ALM, Rally, & JIRA. Email resume e.com.Elaine.Healy@hcahealthcarto
Rooker, Clerk L. Chappell, Deputy Clerk Date: August 11, 2022 Sabrina Jacal NSCPlaintiff8/18, 8/25, 9/1, 9/8/2022
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Rooker, Clerk L. Chappell, Deputy Clerk Date: August 11, 2022 Sabrina Jacal NSCPlaintiff8/18, 8/25, 9/1, 9/8 2022
Consulting Application Engineer (HCA Management Services LP, Nashville, TN) Req: Bach (U.S./frgn equiv) in CS, CE, or rel; 7 yrs sw eng exp; strong exp w/Java, XML, JSON, HTML, CSS, OO JavaScript, jQuery, AJAX, & Spring framework; exp w/design & building REST Based Services, integrating multiple sys, & working in highly distributed & Modular apps; exp w/distributed caching, Messaging & Queue Sys, Azure DevOps & GitHub; familiarity w/build tools & JUnit frw. Email re.com.Elaine.Healy@HCAHealthcaresume
ordinary process of law cannot be served upon ALVARO JACAL ROSAS It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after September 8, 2022 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on October 10, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in RichardNashville.R.
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