Nashville Scene 6-30-22 by FW Publishing

JUNE 30–JULY 6, 2022 I VOLUME 41 I NUMBER 22 I NASHVILLESCENE.COM I FREE

CITY LIMITS: PROPOSED FEDERAL LEGISLATION COULD PROTECT TENNESSEE’S THREATENED SPECIES PAGE 6

MUSIC: TEDDY AND THE ROUGH RIDERS GET STREAMLINED ON THEIR MARGO PRICEPRODUCED LP PAGE 33

An influx of wealth and an exodus of historically Black congregations have remade 12South

CHURCHES GO LAST BY ELI MOTYCKA

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CONTENTS

JUNE 30, 2022

The Lay of the Land ...................................6

Crawl Space: July 2022

CITY LIMITS

The national Recovering America’s Wildlife Act could offer protections for Tennessee’s threatened species

ART

July’s First Saturday events will feature extended exhibitions worth a second look

THIS WEEK ON THE WEB: Courtney Jaye: The Cream Q&A

BY JOE NOLAN

BY J.R. LIND

Pith in the Wind .........................................6 This week on the Scene’s news and politics blog

Hundreds Protest Reversal of Roe v. Wade in Downtown Nashville ..............................7

BOOKS

Abortion-rights advocates marched from Legislative Plaza to the Metro Courthouse on Friday

A Man and His Mandolin

BY SCENE STAFF

BY DAVID WESLEY WILLIAMS AND CHAPTER 16

Churches Go Last

Another Look ........................................... 31

COVER STORY

Bluegrass legend Roland White always put the music first

MUSIC

An influx of wealth and an exodus of historically Black congregations have remade 12South

The Scene’s music writers recommend recent releases from Namir Blade, Soccer Mommy, $avvy and more

BY ELI MOTYCKA

Better Off Ted .......................................... 33

Roe’s Reversal Is the Latest Setback in Our Long Struggle Toward Liberty for All Bagelshop and Henrietta Red Plan Pop-Up Brunch Ashanté Kindle’s Paintings Detail the Jubilation of Black Hair

ON THE COVER:

Hills Tabernacle Primitive Baptist Church Photo by Hamilton Matthew Masters

Teddy and the Rough Riders get streamlined on their eponymous new Margo Price-produced LP

BY CHARLIE ZAILLIAN

CRITICS’ PICKS

The Spin ................................................... 34

Sean Thompson’s Weird Ears, The Hiding Place, Rabbi Rami Shapiro, Bluegrass Under the Stars, Music City Hot Chicken Festival, Let Freedom Sing!, Red, White & Boom, Queer Qlassics: Bound and more

The Scene’s live-review column checks out Tanya Tucker, Bully and more at Nashville Pride Festival BY STEPHEN TRAGESER

FILM

FOOD AND DRINK

No Flux Given

Southern Grounded

Rebecca Wood’s The Studio Mama Cookbook conjures a spirit of community

The sublime and peculiar Flux Gourmet is a full meal BY JASON SHAWHAN

Splices

BY JENNIFER JUSTUS

Elvis, Gru, Beba and cats, this week at the movies

BY D. PATRICK RODGERS

VODKA YONIC My Two Moms

Getting to know my birth mother, and finding there’s always enough love to go around

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METRO COUNCIL CUTS FUNDING TO NASHVILLE AREA CHAMBER OF COMMERCE — MAYBE THE CHAMBER REALLY ‘BIT THE HAND THAT FEEDS THEM’ On June 21, the Metro Council voted to pass Nashville’s 2023 budget. The budget came in at a whopping $2.9 billion and will allow for a 4 percent cost-of-living increase for Metro Nashville Public Schools employees and additional raises for support staff. It will cover cost-of-living raises for Civil Service Commission staff and merit raises for Metro employees. It will add an $18 per hour minimum wage for full-time Metro positions and $20 million for affordable housing. Hundreds of new positions across Metro departments will be funded. The budget, though 12 percent larger than last year, featured one line item of particular interest to onlooking reporters — a deep cut once again into Metro’s annual contract with the Nashville Area Chamber of Commerce. Significant to me is that while listing the benefits of the overall 2023 budget, many headlines focused on the chamber’s portion of the budget being cut (again), this time by $98,700. That will shrink the chamber’s already all-time-low contract of $175,000 to a paltry $76,300 — by far the lowest amount on record for its annual contract with the city. Originally standing at $350,000, the chamber’s budget was halved by Mayor John Cooper back in 2020. Though some took that as a move made due to COVID-19 and its impact, others found it indicative of the chamber’s performance under the leadership of president and CEO Ralph Schulz. The chamber’s membership had already been dwindling, the organization’s office space had been downsized, and the relationship between the chamber and the city was, as Councilmember At-Large Bob Mendes put it, “likely at a 50-year low.” Adding insult to injury, and in a lessthan-wise move in April, the chamber pushed legislation that would have eliminated power from the MNPS board, handing control over to the mayor. The less-than-wise part wasn’t simply pushing that legislation, but also doing so without discussing any of the plan with the mayor or councilmembers. Some members of the Metro Council were so annoyed that they vowed to defund the chamber and put the money into other areas of need. And they did. The money pulled from the chamber will be used for staffing Nashville’s

housing division. As one Tennessean headline read, “They bit the hand that feeds them” — a quote from Councilmember Russ Bradford, who said the chamber went “behind the backs” of the council and Cooper’s administration. Schulz says, “While perspectives differ at times, working together to advance the region’s economic prosperity is our top priority.” But seriously, did Schulz think the outcome would be any different than what it was? To pursue a matter like this without the mayor’s consent was just plain unwise and clearly lacked forethought. The Nashville Business Journal reported that when it comes to the contract between city and chamber, the “significance is more about what the contracts have demonstrated to executives … that the city and the chamber are aligned and share a vision for growth.” Angelos Angelou, a site selector based in Austin, Texas, said he has seen what happens when a city and a chamber of commerce aren’t “on the same page.” “That relationship needs to be put back on track, and grow it. Otherwise, everybody loses.” Mayor Cooper, for one, does not want Nashville to lose anything. He personally attended and spoke at the chamber’s recent board meeting to share his thoughts on all that’s been happening. He realizes the relationship between the city and the chamber has received “heightened attention” not only from members of the business community but from “siteselector consultants who lead corporate relocations and expansions.” The mayor reminded the chamber’s board members that he “takes a long-term view of their role in economic development” and believes continuing a collaborative relationship is in the best interest of Nashvillians. The Metro Council should be praised for handling the ins and outs of another budget — it is not an easy task. I also applaud Mayor Cooper, who is bandaging “the bite” the chamber has taken from the hand that feeds it — in the interest of Nashvillians.

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

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

The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.

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nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

CITY LIMITS

THE LAY OF THE LAND The national Recovering America’s Wildlife Act could offer protections for Tennessee’s threatened species

PHOTO COURTESY OF NASHVILLE ZOO

BY J.R. LIND

HELLBENDER

ix years after a blue-ribbon panel first proposed the idea, the $1.4 billion Recovering America’s Wildlife Act passed the United States House of Representatives June 14 on a largely partisan vote. Both of Tennessee’s Democratic representatives voted for the bill; none of the state’s seven Republicans were among the 16 GOP members who crossed the aisle. The bill is lauded by conservation groups as the most substantial investment in species protection in decades. Collin O’Mara, president and CEO of the National Wildlife Federation, called RAWA “the most important wildlife conservation legislation in half a century.” While the United States’ more than 1,600 endangered species are protected under the Endangered Species Act, states and tribal wildlife agencies have identified nearly seven times that many that are “threatened” — a designation below “endangered” — or that meet a state standard for endangered. While a 1937 law allows states to tax hunting supplies — including guns and ammunition — for wildlife and habitat protection, that law does little to address dwindling nongame species. The bill has three dozen Senate co-sponsors, from both parties, including Tennessee’s Sen. Bill Hagerty. But supporters are worried that without a dedicated funding mechanism — as written, the House version relies on deficit spending — it may not be filibuster-proof. The Tennessee Wildlife Federation says that under the version of RAWA passed by the House, Tennessee stands to receive more than $25 million annually to implement the state’s Wildlife Action Plan. State WAPs are produced every 10 years — Tennessee’s last review was 2015 — and approved by the United States Fish and Wildlife Service. WAPs are state- and triballevel comprehensive plans that serve as the

foundation for the United States’ strategy for protecting non-game species. Tennessee’s 2015 report identifies 1,499 species of “greatest conservation need,” including, for the first time, 568 plant species. Plants, the report notes, are particularly susceptible to climate change and developmental pressures because the rare species so often thrive in highly specific soil conditions. The limestone glades — commonly called “cedar glades,” though the predominant species is red juniper rather than the similar cedar — of Tennessee’s Central Basin are particularly notable for flora that occur in tiny stretches of forest. Tennessee’s GCN list also includes a significant number of subterranean animal species, including bats and various cave-dwelling amphibians, because the state’s karst topography lends itself to extensive cave development. It’s also worth noting that Tennnessee’s Grand Divisions are like three wholly different states, in terms of geography and biological diversity. The report features a dizzying amount of biodiversity and an appendix of imperiled species that reads like mysterious medieval bestiary. Neither the sterility inherent in spreadsheets nor the staid woodenness of bureaucracy can detract from the sheer delight of learning there is a fish darting about with the name “frecklebelly madtom,” or that some country byway provides the right soil conditions for “Linda’s roadside skipper,” or that somewhere a “Southern fatmucket” is in a stream bed doing whatever it is Southern fatmuckets do to pass the day. Of course, what’s good for the rockpile liptooth isn’t always what’s good for the Alabama mantleslug. In other words, targeting the preservation of a specific species may not have a knock-on benefit for its confreres and, at worst, could be detrimental. There are certain keystone species that can serve as indicators for the overall health of a habitat. The perfectly named hellbender — essentially a giant cousin of

the salamander — requires pristine, freeflowing streams with water temperatures in a tight range. The amphibian is also a skinbreather (yes, the skin-breathing hellbender is a real thing and not a creature from the latest season of Stranger Things), so that clean water also needs to be action-packed with oxygen. As development and agriculture have led to more pollutants entering the state’s streams, and as climate change has shoved those water temperatures higher, the hellbender — once common in most of Middle and East Tennessee — has dwindled. In the Midstate, there’s just one relict population — a genetically distinct group in the Buffalo River. Biologists monitor the hellbenders not just for their own sake, but because clean, cool, oxygen-rich water is also exactly what other species on the GCN list need (a shocking number of mussels and crayfish, for example). All this makes habitat protection and restoration a key focus of the WAP, but it’s challenging. Tennessee, like most eastern states, has a relatively small percentage of public land. Roughly 90 percent of the state’s land is privately owned; contrast that with western states where the federal government is often the dominant land owner. That means the TWRA and other state agencies have to partner with private landowners whose primary desire for their property may not be species preservation. Urging, say, a farmer to restore a riparian environment or to manage his fertilizer runoff in a different way is often more carrot than stick. Still, there have been successes in the seven years since the latest WAP hit the streets. Dam removal projects mean streams and rivers are flowing more naturally. The state has incentivized owners of woodlands to more naturally manage their forests — and yes, sometimes that means letting them burn. There have even been successes using old-fashioned population restoration methods, where a species is simply reintroduced to its old habitat and nature takes its course. The reintroduction of elk to East Tennessee is the most visible of these successes. The population is doing so well now that the state issues hunting permits for the creature (an extremely limited number aimed at maintaining a healthy population). The lake sturgeon — a large freshwater fish that can live to be 150 years old — was once all but extirpated from the state’s waterways, but decades of stocking projects have brought them back to stability. For now, it’s a waiting game. The bill’s prospects in the Senate look good on paper — the 16 Republicans who have signed on as co-sponsors provide more than enough cover to beat back a filibuster — but as ever, the devil is in the details. A funding fix may be available via a separate bill that would close a loophole allowing tax deductions to be claimed for conservation easements that are then turned around and sold for profit. The IRS estimates that more than $36 billion such deductions were made by bad actors between 2010 and 2018. Analysts estimate tightening enforcement procedures and tweaking the law would provide the $14.1 billion RAWA is expected to cost over the next 10 years. EMAIL EDITOR@NASHVILLESCENE.COM

THIS WEEK ON OUR NEWS AND POLITICS BLOG: For sale: The 3.59-acre Crieve Hall property once home of the hideous statue of odious traitor Nathan Bedford Forrest atop a horse who didn’t deserve to be cast with his rider. The sculpture, which ended its stupid tenure covered in bright-pink paint, came down after the death of former landowner Bill Dorris, who commissioned fellow Lost Cause weirdo Jack Kershaw to create the equestrian monstrosity, which overlooked Interstate 65 between Brentwood and Nashville for years. Presumably the now hacked-apart statue is included as personal property in the sale; a photo of it languishing ignobly in one of the two on-site warehouses was included with the listing. All this can be yours for the low, low price of $1.85 millon. … A former employee of Barista Parlor’s Golden Sound location says she was fired after attempting to organize workers to petition for higher wages, sparking a protest outside the Gulch cafe last week. Xóchitl CruzLópez said she and her fellow employees had talked about unionizing, but that they didn’t have the chance to pursue it before her termination. Federal law protects employees engaging in labor organizing activities. Barista Parlor, in a statement, rejected Cruz-López’s version of events. … Vanderbilt University Medical Center began offering COVID-19 vaccinations for kids as young as 6 months old after the CDC authorized the use of the Pfizer and Moderna vaccines for younger children. Metro Public Health said it would begin offering the vaccines once doses arrived. Meanwhile, Rep. Jason Zachary (R-Knoxville) penned a letter to Gov. Bill Lee asking him to direct the Tennessee Department of Health to halt distribution of the vaccine to children under 5. House Republican leaders including Speaker Cameron Sexton and Majority Leader William Lamberth signed on to the letter. … After more than two years, the COVID-19 testing and vaccination site at the former Kmart on Murfreesboro Pike is closing June 30. The site, operated by Meharry Medical College, is the longest-operating drive-thru testing and vaccination site in Nashville, according to a press release. Since its inception, the site has provided more than 100,000 combined tests and vaccinations. … Despite the heat wave, Metro did not open its cooling shelters, even as temperatures hit triple digits. The Office of Emergency Management says the cooling centers open only with “prolonged periods” with a heat index of 110 or greater. … After the usual shifting and shrinking and growing, the Metro Council approved the budget. All told, new spending added by the council to Mayor John Cooper’s budget totaled about $15 million in a budget of nearly $3 billion. As our very own local-government wonk @startleseasily notes, most of that spending came out of the fund balance, so the council didn’t actually make tough decisions requiring them to short one department in favor of another. NASHVILLESCENE.COM/PITHINTHEWIND EMAIL: PITH@NASHVILLESCENE.COM TWEET: @PITHINTHEWIND

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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CITY LIMITS

HUNDREDS PROTEST REVERSAL OF ROE V. WADE IN DOWNTOWN NASHVILLE Abortion-rights advocates marched from Legislative Plaza to the Metro Courthouse on Friday BY SCENE STAFF; PHOTOS BY HAMILTON MATTHEW MASTERS

Host Your Event Here Event Gatherings Conferences Private Tastings Networking events

n Friday, hundreds gathered in downtown Nashville to protest the Supreme Court’s decision to overturn Roe v. Wade, a ruling that will pave the way for a near total ban on abortions in states including Tennessee. Protesters marched from Legislative Plaza to the Metro Courthouse, and photographer Hamilton Matthew Masters was on the scene. As of press time, the state’s trigger law is set to go into effect 30 days after the end of Roe v. Wade. Tennessee Attorney General Herbert Slatery said Friday that he is working to notify the Code Commission to identify the official starting date of the trigger law. His office also asked a federal court to reconsider its injunction on another Tennessee anti-abortion law, possibly setting up new restrictions sooner than the 30-day trigger.

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The state’s Human Life Protection Act, which passed in 2019, allows only the risk of death or major irreversible impairment of the mother as a defense for getting an abortion. To learn more about the law, look back at our June 16 cover package (“The Right to Choose in Tennessee”), and to see more photos from last week’s protests, visit nashvillescene.com. EMAIL EDITOR@NASHVILLESCENE.COM

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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12TH AVENUE SOUTH AND WEST GROVE AVENUE

CHURCHES GO LAST An influx of wealth and an exodus of historically Black congregations have remade 12South BY ELI MOTYCKA

TODAY’S YOUNG, WEALTHY, WHITE 12SOUTH is a snapshot of New Nashville. Regional and national chains offer paleo pastries and $60 spun-cotton T-shirts to passersby. Artist Adrien Saporiti’s riff on the Tennessee flag is one of Nashville’s most popular Instagram photo ops, his uplifting tagline “I Believe in Nashville” inspiring merch and copycat murals throughout the city. From Metro, 12South got a new school, a new community center and a torrent of improvements from the parks and public works departments. The city has doted on Sevier Park, a 20-acre green space surrounding the antebellum mansion Sunnyside. Sevier has hosted a popular farmers market since 2011 and an annual music festival since

2014. Millions in infrastructure and transportation improvements have made the area a premier destination for high-end shopping and hungover bachelorettes — not to mention young families pushing strollers, prepared to pay in the low seven figures for single-family homes with yards in both the front and back. 12South’s changes have kept pace with Nashville’s “It City” decade — marked by tourism, wealth and in-migration — perhaps more than any other neighborhood. Longtime residents live at the mercy of a real estate gold rush that tears apart and restitches neighborhood fabric. Sixty years ago, Black families moved to 12South for the same reason white families do now: affordability, community, quality

of life. In the mid-20th century, integration and white flight blurred the sharp boundaries that had previously separated Black and white neighborhoods. Segregated Black Nashville skirted downtown and flowed into North Nashville, a social and commercial hub. Black South Nashville was bound by South Street to the north, 16th Avenue to the west and Eighth Avenue to the east. “If you went past Eighth Avenue, white kids were waiting to throw stones at you,” remembers Thomas Pillow. He grew up going to John Wesley United Methodist Church on Benton Avenue and made the trek from public housing in Edgehill to Cameron High School in the late 1950s and

early 1960s. “Older Black adults would get as many of us in their cars to get us past Fourth Avenue South.” Through the 1950s and ’60s, the southern border of segregated South Nashville shifted gradually — Wade to Wedgewood, then to Acklen. Black families bought homes from white families leaving for the suburbs or moving farther west — bigger, sturdy brick bungalows and stately Victorians with breezy porches and big backyards. They had been parceled out from large estates and built up in the early 20th century, serviced by Nashville’s streetcar system that ran from 1889 to 1941. Historically Black Edgehill had been solidly redlined, according to Home Own-

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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ers’ Loan Corp. maps from the midcentury. Wedgewood to Green Hills, today one of the most expensive pockets of real estate in the county, was yellow-lined, tagged as “definitely declining” as white families left and Black families started to build neighborhoods there. It was a natural spot for younger Black families in their 20s and 30s, buying their first homes and moving down from the long-established Black community in Edgehill. As racial demographics shifted, so did commerce along the 12th Avenue South arterial. Black-owned businesses opened in the 1960s and ’70s along today’s familiar stretch of 12th from Linden Avenue to Kirkwood. Some white businesses closed, while others, like Becker’s Bakery, blended with the transitioning neighborhood. Churches followed. Many of the congregations around 12th Avenue South are at least a century old. They moved to the area in the 1950s and ’60s, sometimes building their own church buildings, a long-term commitment to the neighborhood. Many of these structures are now being gutted or replaced to make room for more housing, retail or, in the case of Greater Christ Temple on 10th Avenue, a private preschool. A decade ago, nine churches with majority Black congregations held services

in the square mile between Eighth, 12th, Wedgewood and I-440. Tabernacle Baptist, founded in 1893, moved onto 12th Avenue in 1967 from South Street, the northern boundary of Edgehill. “All of our churches were neighborhood churches,” says Tabernacle pastor Darin Freeman. “Although we’re sad to leave the 12th South area — that’s where a lot of our members grew up, got married — it’s no longer their neighborhood.” Tabernacle sold six parcels to Manhattanbased Turnbridge Equities for $10 million in May of this year. Would-be buyers had become a regular occurrence for Freeman, at times even following him to the parking

lot after a Sunday service. “We witnessed people walking their dogs by Tabernacle on a Sunday morning, allowing their dogs to do their business on the church lawn,” says Freeman. “Many times. People started moving out of the neighborhood, and the people that were moving in weren’t going to come to Tabernacle.” He estimates that 85 percent of Tabernacle congregants who once lived in the neighborhood have since moved out. “People only gentrify areas that look like me,” Freeman tells the Scene. “Instead of coming in and helping the neighborhood, people would rather buy your property and build on it. A lot of that is due to the

economic imbalance afforded to AfricanAmericans in this country.” Tabernacle’s new location on Charlotte Pike provides the church with space and opportunity to better meet its congregation’s needs, according to Freeman. “I want to stress that Tabernacle is doing just fine,” he says. “We have prospered. We decided to take the money and build a more modern campus, a more modern sanctuary, that would fit the needs of today’s churchgoers, and that’s what we did.” Mt. Gilead Baptist, founded in 1880, built a church at the intersection of Acklen and Elliott avenues in 1975. “Back then, Blacks were only allowed

PHOTOS: HAMILTON MATTHEW MASTERS

GREATER CHRIST TEMPLE CHURCH

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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THE SUN SETS ON THE NOW-EMPTY GREATER CHRIST TEMPLE CHURCH

—Darin Freeman to live in a certain area,” says a volunteer secretary at Mt. Gilead named Quincy about growing up in segregated South Nashville. “You lived together, you went to school together, and you went to church together. Everybody lived in the same neighborhood. When we moved, and built that church, it was a big deal.” Quincy grew up on Second Avenue and has been a member of Mt. Gilead since she was 9, when it was over on Hart Street in South Nashville. She’s now in her 70s. In April, Mt. Gilead sold its corner lot to Brent-

THOMAS AND GLORIA PILLOW AT JOHN WESLEY UNITED METHODIST

PHOTO: HAMILTON MATTHEW MASTERS

“Instead of coming in and helping the neighborhood, people would rather buy your property and build on it.”

PHOTO: ERIC ENGLAND

PASTOR DARIN FREEMAN

THE NOW-ABANDONED TABERNACLE BAPTIST CHURCH wood Baptist, a white megachurch based in Williamson County, for $5 million. Pilgrim Emanuel Baptist on Douglas Avenue sold in 2017 for $3.6 million to developers with a Gulch address. It has since been divided into townhomes, currently under construction. Greater Christ Temple on 10th Avenue sold in February for $4.5 million and now meets near American Baptist College north of the river. Hills Tabernacle Baptist purchased its church on Caruthers in 1967. The property hasn’t changed hands according to city records, but the parking lot is

chained off and spiders live in the mailbox. Hills was founded in 1916 — a sign in the front yard commemorates the church’s 100year anniversary.

THREE MAJORITY-BLACK CONGREGATIONS still meet regularly in the 12South neighborhood. The first, Lawrence Avenue Church of Christ, restricted its in-church services to only Sunday mornings as a COVID-19 precaution. Hicks Tabernacle Missionary Baptist on Sweetbriar holds hybrid services,

which are broadcast on their Facebook page. I met Gloria and Thomas Pillow in their pew on a Sunday in June at John Wesley United Methodist. Founded in 1898, the congregation built its church on Benton Avenue in 1963. Gloria and Thomas grew up in South Nashville during the 1950s; Gloria on Villa Place and Thomas in public housing — Napier, then Edgehill. Gloria is writing a book about the last generation of segregated Black students at Cameron High School, now a charter school at Lafayette and First. Her husband grew up at John Wesley.

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“Everyone you saw in the choir, save one or two, their parents went to John Wesley too,” Thomas tells me after church service as we drive his old paper route. He threw copies of the Nashville Banner and The Tennessean, which sold for a nickel apiece — his pay was 2 cents of each sale. Pillow points out the old boundaries that separated white and Black, recounting Black families’ slow move down toward 12th Avenue after integration. “Back then, Blacks were leery of moving into these neighborhoods. They were dangerous.” There are conflicting accounts of the decades between white flight and white return. As the Black population grew near 12th Avenue, so did the perception among white people that the neighborhood was dangerous or undesirable — psychological redlining that depressed property values and fueled racist myths. White families had retreated to the suburbs with a significant portion of the city’s wealth. The interstates of the late 1960s, built for the white suburban commuter, cordoned off the neighborhood. In the mid-1970s, the city closed Waverly-Belmont, the neighborhood’s public school on 10th Avenue South. Sevier Park remained a popular site for after-church picnics and social gatherings, but its grounds deteriorated, neglected by the parks department. Perhaps no individual was more vital to the planning and execution of the next phase of 12South than Mark Deutschmann, a Realtor who moved to Nashville in the 1980s and started practicing real estate in 1986. Deutschmann courted the investment and attention that had long eluded the neighborhood. He bought, sold or developed a significant portion of the area’s commercial real estate, starting with an office building at 12th and Paris, and bought several nearby homes, speculative investments that paid off. Early Scene classifieds are bursting with Deutschmann listings — including the house I grew up in, a stucco Tudor on Cedar Lane. “We focused on transitioning neighborhoods that had been affected by urban flight and on introducing Nashville to this next iteration of older neighborhoods,” Deutschmann writes in One Mile Radius, a self-published retelling of his real estate career that is equal parts memoir and oral history. “I knew the key to bringing people back to the city was in creating a vibrancy

that facilitated new business in order to inspire residential growth.” Read Deutschmann’s book and it’s easy to forget that people lived in 12South before he became enamored by the neighborhood’s history, location and potential for development. Black homeowners were getting older, and some were getting offers to sell their homes. Based on today’s congregations, Black residents chose Davidson County’s more suburban neighborhoods that were still affordable a decade ago — areas like Hermitage, Madison, Antioch and Bellevue. Hard data on the racial demographics of this shift are difficult to pin down, but by the early 2000s, 12South was starting to flip. A city-planning document from 2008 estimates the area’s Black population at around 40 percent. That number had fallen to 11 percent by the 2020 Census, a loss of more than 600 people. A perception still exists, especially among newer residents, that 12th Avenue or Sevier Park used to be dangerous or hostile. It’s hard to get detailed historic crime data, separate that from institutional bias during a notoriously racist era in Nashville’s policing history, and come up with a truly scientific way to debunk that perception. But based on interviews, it’s a racist myth that is far more pervasive among white people than Black families who have lived in the neighborhood for decades. “The only crime I ever worried about was the Green Hills rapist,” says Cheree Northern. In the 1980s, John Peltier Jr., a white

PHOTO: ERIC ENGLAND

MARK DEUTSCHMANN

man, terrorized the affluent white suburb. In 1989, he was convicted of raping and stalking eight women. Like so many young Black families of their generation, Northern’s grandparents moved from Edgehill to Primrose in the 1960s. She moved into their house as a child in 1974 and has lived there since. “We never went to church near 12th Avenue but my grandparents would go to church in Edgehill,” Northern says. “I got a cake at Becker’s Bakery every year for my birthday. I miss the car wash next to it, too.” My family moved across the alleyway from the Northerns and Peacocks in 1996, when my sister and I were toddlers. The first time I ever spoke with Northern was for this story. The Wyatts across the street bought their house in 1967 for $12,500. It’s still in the family. The Peacocks, next door, bought theirs in 1972 for $17,250. In 2019 they sold to an Austin-based developer, who flipped their house two years later for a $310,000 profit. Northern and her two aunts intend to sell the family home in the next six months. Her grandparents passed away a few years ago, and she says it’s too big for them, too much work to maintain. Maintenance and land use were important motivators for Deutschmann and others in the 1990s. By his count, nearly half of the neighborhood’s commercial center was vacant — the same lots are traded for millions between national real estate brokers today. He recalls storefronts with boarded-up windows and finding syringes on the ground of a newly acquired property. Ideas about what makes a good neighborhood — a coffeehouse on the corner, murals instead of graffiti — guided Deutschmann in those early years, as did the narrative that 12South had been abandoned, lost and forgotten. He reserved particular criticism for singlefamily lots that had been “dissected into rental duplexes, triplexes, and quads,” and lamented absentee landlords who let houses fall into disrepair. Deutschmann set out with a blueprint for 12South based on a new demographic of residents, whom he termed “urban pioneers.” So public agencies and private stakeholders turned 12th Avenue South into 12South.

“THAT NAME, 12SOUTH, was coined by a committee of persons who wanted to change the name because they thought it was perceived as a rough area,” remembers Sandra Moore.

A city-planning document from 2008 estimates the area’s Black population at around 40 percent. That number had fallen to 11 percent by the 2020 Census, a loss of more than 600 people.

Deutschmann takes credit for this bit of branding in his book. Moore, who is Black, represented the area on the Metro Council from 2007 to 2015. Her parents moved to Benton Avenue, a few houses down from John Wesley United Methodist, in the 1960s. She started attending in the 2000s because she wanted a church she could walk to. The Metropolitan Development and Housing Agency, Metro’s planning and parks departments, and Councilmember Mansfield Douglas, who served nine terms in South Nashville from 1963 to 1999, all played a part moving along budget items, improvements and projects. This launched a new phase in the late 1990s and 2000s, attracting a slew of independent businesses that have since disappeared. Burgeoning designer Katy Kattelman moved down from New York and opened Katy K’s Ranch Dressing, written up by The New York Times in 2005. Mother Africa sold art from the African continent, a more explicit nod to the shared racial identity of the neighborhood’s customer base. Tye Dye Mary, still very active at arts fairs and markets, sold colorful clothing on the second floor of an old house across from Sevier Park. Homemade popsicles from Las Paletas became a destination for the neighborhood’s growing population of young families with kids. Parents left their children with Belmont babysitters for a date night at Rumours Wine Bar. The Islamic Center of Nashville purchased the lot at 12th Avenue and Sweetbrier with a donation from Yusuf Islam (formerly Cat Stevens) in 1979. Corner Music and Fork’s Drum Closet held down the music economy, just down the street from Dolly Parton’s high-walled adobe recording studio on Elmwood. The Creative Fitness Center, a visual arts studio in a big brick cottage on Linden, brought neighbors in for workshops and summer camps. Becker’s Bakery, elegized by Kay West in the Scene upon its closure in 2004, was an institution on Montrose and 12th until it vacated the neighborhood, unable to weather another shift in real estate. Becker’s had sold cookies, cakes and bread from its corner bakery since 1925. The multiracial, cross-class, intergenerational neighborhood that could support burgeoning artists, young families and seniors on fixed incomes may have existed for a few fleeting years. But markets have ways of finding good deals, and prices kept going up. By the early 2010s, that initial wave of independent businesses yielded to bigger players. A few independent businesses have stuck it out, like MAFIAoZA’s Pizzeria and Minor Jewelry. Imogene + Willie sells custom denim out of an old gas station. Edley’s Bar-B-Que and Frothy Monkey coffee moved in, each an empire with outposts across the city. Madewell and Marine Layer, national chains that sell high-end casual wear, replaced Corner Music. Athleisure darling Outdoor Voices, another national chain, remodeled a bungalow near Taqueria Del Sol, an Americanized Mexican restaurant that earned a cult following in Atlanta with its fried-chicken tacos. Across the street is one of Nashville’s seven Jeni’s Splendid Ice Creams locations. Nearly every store is part of a chain with locations elsewhere, while the few independent businesses sell niche goods at high prices. It’s a lucrative area for short-term rentals. While

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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CONSTRUCTION LINES THE 12SOUTH STRIP 12South has become an expensive place to live, it’s hard to say whether it has become a good neighborhood.

ON A WALK DOWN from Paris Avenue to Linden Avenue, Mark Deutschmann tells the Scene how the street has become something beyond even what he could have imagined. “A lot of times you could tout affordability,” says Deutschmann. “The neighborhood was interested in having it come back and rejuvenate. I didn’t think it would become a tourist destination.” He sold his last property in 12South, the building that houses Taqueria Del Sol, in May. “Over the last 10 years it flicked a switch,” he says. “We’ve been done with our work here for a long time. When Corner Music sold, I realized it was starting to shift into something different.” Deutschmann also clarifies his book’s remarks about multifamily housing, which he thinks the city desperately needs amid a debilitating housing shortage. Few areas in Nashville compare to the material prosperity of the 12South real estate market, which has produced a massive amount of wealth for property owners. Home values in the area have increased more than 1,000 percent since 2000, based on current listings. Many Black homeowners have taken the deal. So have some Black churches, like Mt. Gilead and Tabernacle Baptist, converting their assets into bigger campuses and better facilities elsewhere for their congregations. The Metro planning department locked in an extensive vision for the 12th Avenue South corridor in 2008, well into the neighborhood’s meteoric rise. Waverly-Belmont Elementary came back in 2013 after intense lobbying by new parents — confused why they couldn’t send their young children to the shuttered public school down the street — and by Will Pinkston, then a school board member. Pinkston delivered the inaugural remarks at the airy 1930s elementary school, all brick and hardwood. It had been converted into administrative offices when white families left the area. “It could have happened a decade earlier,” Pinkston tells the Scene about opening the school nine years ago. “It’s just hard to get those things done. You have to be loud and persistent. You have to make them hear you.” Sevier got its makeover in 2014, and the

city’s master plan laid out new walking trails and playgrounds, complementing a new community center. A few years later, Metro started planning a complete restoration of Sunnyside mansion, funded in 2018 and set for later this year. Churches, following their congregants, are the trailing indicator of this predictable and well-documented social and economic makeover. Never explicitly racist, making a neighborhood prohibitively expensive is the same as making it whiter in a country with a $10 trillion racial wealth gap. Now most neighborhoods want the same basic improvements delivered in the early days of 12South — lighting, pedestrian infrastructure, investment — particularly where residents are older, Black or lower income, and infrastructure comes late or not at all. The city has historically been stingy and confused in delivering these basic services. Projects like the Jefferson Street Cap and Participatory Budgeting in North Nashville create slow or mismatched responses to community needs. The cap — a construction project proposed in the fall to cover I-40 in North Nashville, possibly with green space or affordable housing — would have cost the city tens of millions of dollars. It has since stalled amid community pushback, with residents questioning why that level of investment came only in the form of a massive urban planning project rather than basic, comprehensive services. The well-intentioned participatory budgeting process in 2021 became a bureaucratic slog that produced embarrassingly obvious improvements, like air conditioning at the Looby Community Center, new playgrounds and bathrooms at Hartman Park. The congregations that once depended on the neighborhood have adapted. Many have survived, and some are thriving. No longer the idyllic neighborhood churches of the ’70s and ’80s, they’ve charted their own paths forward. Mt. Gilead and Tabernacle have turned valuable real estate into opportunities for a next chapter elsewhere in the city. John Wesley United Methodist has no plans to leave, betting on intergenerational bonds that will continue to support a small but tight-knit church. Aging congregations and economic segregation are the latest challenges in a centurylong story of adaptation. EMAIL EDITOR@NASHVILLESCENE.COM

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Few guitarists can hold a candle to Dan Tyminski. The beloved bluegrass and roots multihyphenate can sing with the best of them too, making Tyminski — whose unusual résumé includes collaborations with Avicii (“Hey Brother”) and the starmaking O Brother, Where Art Thou? tune “Man of Constant Sorrow” — one of the more interesting, dynamic figures in the genre. Tyminski’s excellent band, joining him at the Ryman on Thursday, can hold their own just fine too, so look for some fun interplay between the pickers. Local string band Hawktail — the project of ace players Brittany Haas, Paul Kowert, Dominick Leslie and Jordan Tice — will open. 7:30 p.m. at the Ryman, 116 Rep. John Lewis Way N. BRITTNEY MCKENNA [CAPABLE OF ANYTHING]

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With a genre-defying career that spans four decades, it’s no wonder Ben Folds is such a Music City favorite. And beginning Thursday, you can catch the multitalented artist and longtime Nashvillian as he joins the Nashville Symphony and principal pops conductor Enrico Lopez-Yañez for a threenight engagement at the Schermerhorn. Audiences can look forward to familiar hits such as “Landed,” “Capable of Anything,” “Still Fighting It,” “The Luckiest” and more. But you can bet that Folds — a dedicated arts advocate, who currently serves as the

first-ever artistic adviser to the National Symphony Orchestra at the Kennedy Center — will serve up some unique arrangements that showcase the incredible artistry of the Nashville Symphony’s musicians. Fans may recall Folds’ sold-out 2014 performance, in which he debuted his Piano Concerto with the orchestra. And with this week’s return engagement — presented as part of the FirstBank Pops Series — he becomes the only artist to have appeared with the symphony in both its classical and its pops series. June 30-July 2 at the Schermerhorn, 1 Symphony Place AMY STUMPFL MUSIC

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Over the past decade, guitarist Sean Thompson has proven himself an invaluable bandmate again and again. He’s added melodies and harmonies to the work of artists like Skyway Man, Lilly Hiatt and Erin Rae — parts that are totally suited to the rootsy orientation of their material while also serving as magic dust that helps make them sound just a little weird. In 2018, he began to release recordings of his own — some solo, some with a band — under the name Sean Thompson’s Weird Ears. The sound is rooted in rock with strong country and folk influences and an organic tinge of psychedelia. We recognized his tidy, choogling concept EP Time Has Grown a Raspberry as Best Quick Trip to the ’70s in our 2019 Best of Nashville issue. Besides his guitar skills, Thompson has a knack for weaving a deeprooted kindness into his work as he writes about coping with gentrification and the intense pressures of contemporary life. On a rare break from touring, he’s bringing drummer Nick Swafford, bassman Alec O’Connell and keymaster Micah Hulscher to Third Man Records’ Blue Room. Get there for a good hang and a preview of the new record Thompson has coming in a few months. 8 p.m. at The Blue Room at Third Man Records, 623 Seventh Ave. S.

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5 Seconds of Summer recently opened a new chapter in their career. The Australian pop-rock band’s single “Complete Mess,” released in March, was its first to be entirely written and produced by the band. Since then, they dropped “Take My Hand” in April and “Me Myself & I” in May, and the sugar-sweet pop outfit is set to release its fifth album, 5SOS5, in September. With three No. 1 albums and a catalog of hits including “Youngblood” and “She Looks So Perfect,” 5SOS will likely fill their set with a little something for everyone. They’ll be joined by English indie-rock band Pale Waves for a night of great vibes and outdoor live music. 7 p.m. at Ascend Amphitheater, 310 First Ave. S. CLAUDIA VILLEDA

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Arms and armory is just cool, there’s no way around it. The unimaginability of living — and fighting! — in medieval and Renaissance-era Europe only gets more vivid when you take a look at the extreme intricacies of suits of armor. For the Frist’s summer-long Knights in Armor exhibit, more than 100 objects — full suits of armor, mounted equestrian figures, helmets, swords and more — from the renowned collection of the Museo Stibbert in Florence, Italy, will be on display. There’s one particular piece from the early 17th century that’s steel, leather and velvet, and it reminds me of dragon’s scales with a filigreed face pushing through the torso. I see 1980s Aquaman figurines, Dolce & Gabbana and Game of Thrones — it’s as if pop culture has been taking notes. The exhibition opens on Friday, but on Thursday evening the exhibition’s curator, Riccardo Franci, will give a talk about the aesthetics of the knight’s armor. That event begins at 6:30 p.m. and is free with museum admission. July 1-Oct. 10 at the Frist Art Museum, 919 Broadway LAURA HUTSON HUNTER MUSIC

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weekend, with back-to-back nights of live music on Friday and Saturday. Bluegrass legend Rhonda Vincent performs Friday, bringing with her a multi-decade catalog and a pedigree that includes several Grammy nominations and membership in the Grand Ole Opry. Local duo O’Connor Lee kicks things off before Vincent takes the stage. Saturday evening belongs to The Grascals, local favorites who have hit it big outside of town with their singular blend of progressive bluegrass and country music. Fiddler and singer-songwriter Carley Arrowood will open. 7 p.m. July 1-2 at Cheekwood, 1200 Forrest Park Drive

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July in... ALBUM RELEASE SHOW Teddy & The Rough Riders with CAITLIN ROSE

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Jack Silverman Quartet

7/15 – friday

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Blue MARKET Room

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INDIE JAMZ with DJ LOVELESS & DJ SHUG disko cowboy Josh Halper’s

Bossa Nova Band 7/28 – thursday

AMANDA SHIRES

Album Release Show

JERRY PAPER with MAMALARKY 8pm

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7/21 – thursday

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KARAOKE NIGHT with JEMINA PEARL

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7/22 – friday

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7/25 – monday

BODEGA SUPER CITY & TOTAL WIFE

7/29 – friday

Lockeland Strings

ENTERING HEAVEN ALIVE Listening Party 7/27 – wednesday

creature feature Film Night

7/30 – saturday

MATMOS with JEFF CAREY & EVE MARET

Announcing events for July 14 th & 23 rd soon! OPEN WEEKLY Thursday through Saturday 623 7TH AVE S. NASHVILLE, TENN. 20

had some tough acts to follow — like genre pioneer James Brown and the wildly inventive and prolific Parliament/ Funkadelic collective who dominated in the ’70s — but they did it with a post-disco flair all their own. Some of the finest practitioners from the period are appearing together Saturday night at Bridgestone Arena. Topping the lineup is Morris Day, who worked closely with Prince for years and, in character as a dandy, served as the perfect foil to His Purpleness in Purple Rain. Zapp lost their inventive and charismatic leader Roger Troutman — who popularized the talkbox synthesizer sound that is such a huge influence on G-funk, and who even performed the hook on “California Love” — in 1999, but the remaining members of the Dayton, Ohio, band will be at the ’Stone as well. They’ll be joined by a veritable congress of funk, including current incarnations of their fellow Daytonians Lakeside (as The Original Lakeside), New York-rooted Cameo, Atlanta-founded The S.O.S. Band, Rick James’ L.A. protégés The Mary Jane Girls (as The Original Mary Jane Girls), Midnight Star out of Frankfort, Ky., and The

beforehand, as picking conditions and berry availability can vary throughout the season. After you’ve got your bushel of berries, you can “berry” yourself (lol sorry) in mountains of blueberry cheesecake and blackberry crumble. Or leave the oven off — it’s hot! — and whip up Dana Cree’s blueberry-basil milkshake. Cree is the pastry chef and ice cream wizard behind Chicago’s Pretty Cool Ice Cream shop, and this milkshake — made with ice cream and buttermilk — is a flavorful and easy way to elevate one of the summer’s best fruits. MEGAN SELING

MUSIC

7/01 – friday

[BUDDHA MONK’S IN YOUR TRUNK]

VILLEMATIC FEAT. VIRGHOST, BEHOWARD, NEAUXLAH GODDESS & TREES

Hopefully by now you’ve heard from lots of sources (including the Scene) that it’s a great time to be a hip-hop fan in Nashville, with the momentum building up in a local underground that’s full of outstanding rappers, producers and more. Villematic, a regional hip-hop showcase series hosted by Memphis-born rapper Virghost, has been a long-running supporter of the scene, and it’s

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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6/27/22 3:14 PM

criticspi

CRITICS’ PICKS

GUITAR LESSONS

with former Musicians Institute and Austin Guitar School instructor

MARK BISH.

MUSIC CITY HOT CHICKEN FESTIVAL

[MAKE THIS LOOK GOOD]

FATHOM EVENTS: MEN IN BLACK 25TH ANNIVERSARY

Let’s go back to a simpler time. Back when the global economy wasn’t a shitshow, MTV still aired music videos, and Will Smith was known as a promising young rapper and sitcom star who would never go off and smack the shit out of somebody at a live event. After the 1996 blockbuster Independence Day made him a movie star, Smith followed it up the next summer with another alien-invasion flick. In Men in Black, he and Tommy Lee Jones are supersecret agents tasked with keeping the planet safe from intergalactic riff-raff. Barry Sonnenfeld’s screwball sci-fi adaptation of Lowell Cunningham’s cult comic book was a global smash. Sure, it spawned two less-than-stellar sequels, not to mention that legacy-quel with Chris Hemsworth and Tessa Thompson that nobody wants to bring up. But watching the original on the big screen will definitely take you back to a time when nobody wondered what the fuck is going on with the Fresh Prince. Fathom Events will present MIB over the holiday weekend at select AMC and Regal locations. Visit fathomevents.com for tickets and showtimes. July 3-4 at AMC and Regal Theaters CRAIG D. LINDSEY

FOOD & DRINK

MONDAY / 7.04 [BIRD IS BOND]

MUSIC CITY HOT CHICKEN FESTIVAL

Any longtime Nashvillian worth their salt knows the possibly apocryphal story of Thornton Prince III stumbling across

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markbishmusic@gmail.com

D. PATRICK RODGERS

MUSIC

FILM

SUNDAY / 7.03

the recipe for hot chicken thanks to being served the fiery fowl as a revenge dish by an angry girlfriend. Of course, there are an awful lot of New Nashvillians in our ranks these days, so perhaps it bears repeating — Prince and his great-niece, current Prince’s Hot Chicken Shack owner Andre Prince Jeffries, are widely considered the originators of the now-international dish. Something else the oldheads are hip to but newcomers may not yet know about? The annual Music City Hot Chicken Festival, now set for its 16th year. The free event will go down this Fourth of July at East Park on Woodland Street, and attendees can expect the usual suspects to be represented — Bolton’s, Hattie B’s, Slow Burn, Party Fowl, the aforementioned Prince’s and several more. Yazoo and Pied Piper Creamery will be there with cold beer and ice cream, respectively, to soothe your scorched gullet, plus attendees can expect live music and more vendors. The whole thing kicks off with the traditional Fire Truck Parade at 10:30 a.m. Proceeds will benefit the Friends of Shelby Park and Bottoms, and you can visit hot-chicken.com for more details. 11 a.m.-4 p.m. at East Park, 700 Woodland St.

[FREEDOM ’22]

LET FREEDOM SING!

It doesn’t get more Nashville than the city’s annual riverfront throwdown on lower Lower Broadway, tag-teamed this year by Gramps Morgan, Cassadee Pope and Levi Hummon. In addition to the undercard (Hummon has built a substantial TikTok following), the Nashville Convention & Visitors Corp also booked multiple ACM and CMA Award winners Old Dominion as headliners. Organizers advertise the biggest fireworks show in Nashville history along with a Family Fun Zone. Come for the bro-country heartthrobs, stay for the allAmerican pyrotechnics. Or the other way around. Presented by Dr Pepper. 5 p.m. at Riverfront Park, 100 First Ave. N. ELI MOTYCKA COMMUNITY

been on hiatus since before the pandemic swooped in. Virghost himself hasn’t been sleeping during the off-season, of course: He released the full-length Ghost Tape 2 in the fall, he’s been on the grind with his #RedRaps series of self-shot vids on Instagram, and he’s got a new EP called On the Way There hitting streaming platforms July 1. The next night, he’ll bring Villematic back to life with help from stellar MCs BeHoward, Neauxlah Goddess and Trees, and there will be a beat battle between KingPin Da’ Composer and Sosa YG to round out the night. 8 p.m. at 2524 Heiman St. STEPHEN TRAGESER

Jazz, Rock, Blues, Country, Fusion, Funk, Flamenco, etc. Technique, theory, songwriting. Programs available. 40 years exp.

[ROCKETS’ RED GLARE]

RED, WHITE & BOOM

There are plenty of reasons you might not want to wedge yourself into the crowd headed downtown for the Let Freedom Sing! concert on the Fourth. If you’d still like a prime viewing spot for Nashville’s massive fireworks display, it’s hard to find a better one than the Adventure Science Center, just below Fort Negley on

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

3:14 PM

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6/27/22 12:32 PM

Walk a

Mile

with J.R. Lind

L & L M a r k e t | 3 8 2 0 C h a r l o t t e Av e n u e 615-942-5583 | daphnehome.com

CRITICS’ PICKS

RED, WHITE & BOOM St. Cloud Hill. Tickets include special afterhours access to the museum, and there’s also a slate of special kid-friendly scientific demonstrations intended to enhance the experience of watching fireworks: Learn, for example, what gives fireworks their vivid colors. Food trucks from Daddy’s Dogs, Ben and Jerry’s and Grilled Cheeserie will be parked outside, though you can bring your own picnic; there’ll be live music and lawn games as well. You can also check out Stranger Things- and Beatles-themed laser shows in the Sudekum Planetarium (each show is ticketed separately). Then, about 9:30 p.m., you’ll be able to kick back in the chair you brought and watch the whistling, booming, crackling display over the Cumberland — and, as an added bonus, you won’t have to brave downtown traffic to get home. See the Adventure Science Center website for all ticketing details. 6:30 to 10 p.m. at the Adventure Science Center, 800 Fort Negley Blvd. STEPHEN TRAGESER

MUSIC

TUESDAY / 7.05 [FOX POPULI]

FOXING W/GREET DEATH & HOME IS WHERE

Foxing is the most prog-minded of the slew of bands to emerge from America’s suburbs a decade ago under the “emo revival” umbrella. The St. Louis-based ensemble’s records are nuanced and patient (Dealer, from 2015, is the consensus favorite; last year’s Draw Down the Moon is the band’s latest), but their live sets throw down. Michiganders Greet Death are back for their third Nashville show in eight months, following a support gig at Mercy Lounge and a headlining slot at Springwater. With each set, the foursome ratchets up anticipation for the follow-up to 2019’s cerebrally heavy New Hell. Sonic Youth-style dual guitars and quiet-loud dynamics take center stage on “Same but Different Now,” Greet Death’s current set closer of choice and an instant fan favorite. Look it up on YouTube. Florida four-piece Home Is Where completes the bill. 8 p.m. at The Basement East, 917 Woodland Ave. CHARLIE ZAILLIAN

FILM

WEDNESDAY / 7.06 [BECAUSE I WANT TO]

QUEER QLASSICS: BOUND

Over the two decades since its release, The Matrix has been reconsidered and recontextualized, shifting from a mythic

nerd classic to an essential text on identity and gender. But before they blew minds and shattered binaries with that iconic trilogy, the Wachowski sisters were already making deeply queer films. 1996’s Bound, which screens at the Belcourt as part of its Queer Qlassics series, was one of the many lowbudget crime films that rode the wave of Tarantino’s acclaim in the mid-1990s. But where so many films of the neo-noir-ish genre are almost toxically masculine, Bound centers its thickened plot on the oozing sexual tension between a never-hotter Gina Gershon and Jennifer Tilly, playing two conniving and kinky women caught up in a classic pulp-fiction scheme. Though the scale is considerably more suffocated than the grand imaginations the Wachowskis would become known for, the emotion and eroticism are outsized and overflowing. 8 p.m. at the Belcourt, 2102 Belcourt Ave. NADINE SMITH

MUSIC

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

[SUBLIME VOCALIST]

DIANE MARINO

Whether it’s show tunes, swing-era standards or the blues, Diane Marino sings them with soul and conviction. She has headlined shows and recorded with a host of jazz giants, among them Houston Person, Joe Henderson, Rickey Woodard and Ralph Lalama, while also cutting seven albums as a leader. In recent years she’s incorporated Afro-Latin and Brazilian fare into the menu, and she’s also an excellent pianist. At Rudy’s, Marino will be heading a quartet whose members boast equally impressive credentials. They begin with bassist (and husband) Frank Marino, who’s founder of both M&M Records and the Piano Den Recording Studio, and has produced all his wife’s albums — as well as recording and touring with an equally impressive array of jazz greats. Besides obtaining national recognition for Vanderbilt’s Blair School in his role as director of Jazz Studies, Ryan Middagh is a topflight saxophonist, bandleader and composer whose music has been featured at both national and international jazz symposiums. Drummer Neil Tufano has enjoyed a prolific career freelancing with many major artists, and has had extensive stints with Monty Alexander, Dave Liebman, Joe Lovano and Dizzy Gillespie among others. Marino’s music has been featured on such nationally syndicated shows as Jazz After Hours and Real Jazz on Sirius XM, and the quartet will be a most worthy early-evening attraction at Rudy’s. 6 p.m. at Rudy’s Jazz Club, 809 Gleaves St. RON WYNN

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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NASHVILLE CATS

Sunday, July 10

Kenny Lovelace

MUSICIAN SPOTLIGHT

2:30 pm · FORD THEATER

Ethan Ballinger

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1:00 pm · FORD THEATER

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Tuesday, July 12

Steve Hinson

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FOOD AND DRINK

SOUTHERN GROUNDED Rebecca Wood’s The Studio Mama Cookbook conjures a spirit of community BY JENNIFER JUSTUS

n a recent Tuesday at Grimey’s New and PreLoved Music, a crowd stands between the stacks of records eating deviled eggs and listening to Rebecca Wood. She’s speaking about THE STUDIO MAMA COOKBOOK: A COLLECTION snapping peas with OF CHERISHED SOUTHERN her grandparents RECIPES, REAL-LIFE and picking warm STORIES, AND STARcucumbers off the STUDDED MENUS FROM THE MUSIC CITY, BY vine from their REBECCA WOOD garden. HEARTSINTHEMIX.COM While it might sound like a slightly unusual topic for a place that sells records by everyone from Margo Price, Kendrick Lamar and Sturgill Simpson to Gordon Lightfoot, The Kinks and The Human League, the occasion couldn’t feel more at home. Wood is in discussing her new book The Studio Mama Cookbook: A Collection of Cherished Southern Recipes, Real-Life Stories, and Star-Studded Menus From the Music City with music writer and occasional Scene contributor Craig Havighurst. While people often try to explain the connection between music and food, Rebecca Wood simply embodies it. Growing up with a drummer father and gardening grandparents, and now married to guitarist Oliver Wood of The Wood Brothers, she’s had experiences with music and food that blend together and flow like the spicy honey she drizzles on roasted vegetables and cornbread. It all just goes together, with each component adding a story or a memory and making the other better. For example, Wood once made an impression on Zac Brown with a slice of carrot cake. She was attending a potluck with her husband at Brown’s house when the country-rock heavyweight was angling to work with The Wood Brothers. Brown came over to talk with them, raving about the cake. “Have you tried this?” he asked. “Yeah,” she told him, “because I made it.” Wood had been running a baking subscription, setting up shop with a farmer friend out of her local YMCA — she called it Heart’s in the Mix. Fast-forward several years. The Woods had relocated from Atlanta to Nashville, and she needed a job. As part of her search, she reached out to Brown about administrative work at his newly opened studio Southern Ground Nashville in the former Monument Records space. She got the job. Then, when The Wood Brothers recorded in the studio early on, she cooked a meal for the band that prompted the studio team to ask if she might expand her responsibilities — “Can you do that for everybody?” Brown gave Wood the “Studio Mama” title based on her ability to make people feel

at home. She decorated the place, booked studio time, handled a lot of the bookkeeping and invoicing. And as she writes in the intro to The Studio Mama Cookbook, she “had the pleasure of roasting pastured chickens, simmering rich vegetable stews, tossing hearty salads, and baking sweet treats for the artists who recorded in the main room. As I prepared meals, aromas would waft into the tracking room, mixing smells with sound, and something alchemical was born.” After nearly eight years of preparing menus and cooking at Southern Ground, Wood put her experiences into her book, which she released earlier this month. “People were always asking me for recipes, and I kept good notes,” she says. “So when the studio closed [in 2020], it made good sense. I went through my notes and made a spreadsheet of my menus and realized all of my recipes that I had completed already. It seemed like it wasn’t starting from scratch.” In addition to excellent recipes, Wood’s book is packed with insider stories and kitchen tips from the times she needed to cook on the fly or make do with what she had prepared and put up in the freezer — her stocks, salsas, sauces and black beans. She also tells of times she needed to stretch ingredients for larger groups. Sometimes an entourage — with staff, band and crew — included up to 40 people. Wood offers a peek into how she cooks, and we all would be better for it to follow her lead. For instance, she tells of the time she needed to whip up lunch in 30 minutes for Chris Stapleton. She pulled some of her salsa from the freezer, thawed it and then poached fish in the smokyspiced tomatoes. Meanwhile, she cooked some polenta in stock, mashed in some goat cheese and added some rainbow chard to a skillet with olive oil. The studio seemed to make a cozy home for these meals, with history and music in its bones. Built in the late 19th century, the building originally served as a Sunday school building for a church. But over its lifespan as a studio, it hosted the likes of Roger Miller, Kris Kristofferson, the Allman Brothers, Hank Williams Jr., Boots Randolph, Willie Nelson, Dolly Parton, Emmylou Harris, Neil Young, Taj Mahal, Shel Silverstein and countless others.

Wood’s story about her Kitchen-Sink Chicken Stew tells of a visit by Fred Foster, Monument Records’ founder and a producer for Dolly Parton, Kris Kristofferson and others. He came in for a video session during downtime in the studio, when the Southern Ground folks hosted and filmed talks with previous owners. While they hoped Foster might spend an hour, he was still telling stories eight hours later, Wood writes. When she noticed Foster seemed to have a head cold, she slipped into the kitchen to make some soup — a rich stock loaded with on-hand vegetables and herbs, like rosemary and thyme, field peas, corn, potatoes and winter squash. Many of these recipes conjure the spirit of a community cookbook — dishes are concocted from various inspirations and passed from one kitchen to another. There are, for example, a tofu “Meatless Loaf” for a vegetarian drummer and enchiladas inspired by the wife of a bass player. The recipes — from turnip greens to sweet potato biscuits and that famous carrot cake — come alongside stories that make the world feel smaller too, like the time Megadeth’s Dave Mustaine was in the studio at the same time as the bluegrass band IIIrd Tyme Out. Over lunch, they connected about the uncle of a bluegrass player who had been Mustaine’s bus driver. “It was beautiful,” Wood says of the bookwriting process. “It was really fun.” Only one recipe made her cry. When friends used to ask her for her family’s pound cake recipe, Wood would offer to bake them one instead. But at the urging of her editor, she included the instructions for the cake in the book. Handed down from Annie Gwendolyn, a cousin who Wood says feels more like an aunt, it’s one she knows by heart and has adapted for serving with berries or smoked with mocha or dripping with ganache. Sometimes recipes, like this one, feel like a special gift and invitation into another person’s world. “It’s a tradition,” she writes, “that weaves through generations and across all the webbed extensions of relatedness.” EMAIL ARTS@NASHVILLESCENE.COM

The Studio Mama Cookbook A Collection of Cherished Southern Recipes, Real-Life Stories, and Star-Studded Menus from the Music City

By Rebecca Wood

Brown purchased the studio in March 2012, eventually welcoming the Foo Fighters, Leon Bridges, Cheap Trick, Shawn Mendes, Carrie Underwood, Dierks Bentley, Kacey Musgraves and others. Wood includes menus from those sessions and stories that give the dishes depth and character. For example, her recipe for Smoky Stuffed Dates (dates with cream cheese, smoked almonds and cinnamon or cayenne) comes with a story about the time she served them for the studio’s first open house in December 2012. Scotty Moore — who played guitar with Elvis and in the 1970s owned the studio space, from which he operated his Independent Producers Corporation — talked with her about the pecky cypress wood on the walls. The wood adds to the aroma, vibe, “aesthetic and acoustics of the main tracking room,” she writes. “This variety of wood was harvested from the swamps of Louisiana. Its bugeaten, spongy crevices and alternating smooth, hard surfaces create a distinctive warm resonance and natural reverb in the room.” The textures she describes in the room work naturally alongside the textures and tastes in the recipes.

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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6/27/22 12:34 PM

VODKA YONIC

MY TWO MOMS

Getting to know my birth mother, and finding there’s always enough love to go around

Vodka Yonic

BY JANET KURTZ

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

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1016 Woodland Street

s usual, in May, I waited until just shy of the last minute to find the perfect symbol of affection to celebrate Mother’s Day. I compared the cornucopia of traditional brightly colored bouquets online. And as usual, the writer’s block that only plagues me when I have to write a card reared its ugly head. But this Mother’s Day was different — it was the first time I could embrace the abundant richness of having two mothers and sending flowers to them both. One has received some token of Mother’s Day greetings from me for nearly half a century. For the other, this would be the first time she received that sentiment from me. I was born in July 1976, three days shy of being a bona fide bicentennial baby. My adoption was predetermined, but my mom — the one who raised me — was worried that if I were born on July 4, my birth mother would change her mind. Her worry wasn’t unfounded. With the hype surrounding the bicentennial, a birth on July 4 could sway a young woman who was on the fence about her decision. And my mom had lived almost a decade of disappointment. My birth was finally the opportunity she had waited so long for, to fulfill her dream of becoming a mother. Changing her mind was not in the cards for my birth mother. She was young — a freshman in college — when she realized she was pregnant. Having dated through high school, my birth mother and father were very much in love, but too young for a baby. With guidance from her parents, my birth mother made a decision that, while difficult, was made out of love. Four days after I was born, on her 19th birthday, she signed the papers to release me to the couple who would raise me. I’ve always known I was adopted, just like I’ve known I have elbows and hair. I believe it was the best decision for all involved. It gave my birth mother a chance to live her life and me a life full of infinite possibility. From day one, my world was filled with the opportunity to be anything I wanted. Dancing, gymnastics, 4H, Girl Scouts, synchronized swimming — my parents signed me and my adopted sister up for every activity. My mom would go on to be a trendsetter in her family as, one by one, many of her cousins and relations adopted children of their own. I made the decision early on that should

WITH GUIDANCE FROM HER PARENTS, MY BIRTH MOTHER MADE A DECISION THAT, WHILE DIFFICULT, WAS MADE OUT OF LOVE. I learn who my birth mother was, I would give her space. However, my adoption was closed, meaning that all records were sealed and any information about health risks was unavailable. Learning of a friend’s cancer diagnosis was the catalyst for finally reaching out to my birth mother. Most adoptees know this can be tricky water to navigate. You need a good support system and the knowledge that not every reunion is a fairy tale. By talking to friends and relatives of adoptees and those who chose to release children for adoption, I found there to be a Technicolor array of stories. Some of the journeys to adoption include young love, while others include instances of rape and abuse. These reunions can bring relief and end curiosity just as easily as they can cause heartbreak. I was nervous as I dialed her number. The phone rang a few times, and then, she answered. I went through a practiced speech: “Hi, my name is Janet Kurtz, and I was born in July 1976.” “I know,” she said cheerfully, “I was there.” I laughed. It was a good line and something I would say. That afternoon I learned about her high school sweetheart. I told her about how growing up, we celebrated my birthday and always held space to quietly and thoughtfully celebrate the day my parents brought me home — her birthday. Over the three hours that we spoke, I could not help thinking about how much this conversation felt like I was talking to another version of myself — that I was speaking to the personification of the better part of my nature. Since then, we have shared stories, she has answered countless questions, and we’ve exchanged photos through texts. I learned that I have a half-sister who also lives in Nashville, and even more surprisingly, I already knew her. The three of us share a love of reading and cooking. My mom was thrilled for me to reach out to my birth mom. She believes there is always enough love to go around. She is so thankful every day to my birth parents — two strangers who were so in love. Though she hasn’t met my birth mom yet, she relays book recommendations, family questions and good wishes. Through this connection, the beauty of our unique family is blended, and Mother’s Day will never be the same for us. EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

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6/27/22 12:33 PM

ART

CRAWL SPACE: JULY 2022

July’s First Saturday events will feature extended exhibitions worth a second look BY JOE NOLAN

“ANOTHER BIRTHDAY ALONE,” MARY SIMS

t the very beginning of the pandemic, Nashville’s gallery community showed some smart organizing, and the art crawl videos that streamed on the Nashville Gallery Association’s YouTube channel back in the summer and fall of 2020 represent the high-water mark for gallery cooperation and planning during the pandemic era. Since then, it’s felt more like an everygallery-for-itself affair. Every creative venue in the city has different challenges with space, ventilation and staffing, and every month when I write this column it’s a challenge to parse fluctuating hours, and to determine whether they are having a special event, a talk or reception, or having nighttime hours at all. In July 2022, the Fourth of July holiday weekend finds Nashville’s gallery community split in half: This Saturday the downtown galleries, David Lusk Gallery and Zeitgeist Gallery will all be participating in some form of First Saturday shenanigans. However, The Packing Plant’s creative spaces and The Free Nashville Poetry Library’s Show & Sell Maker’s Bazaar in Wedgewood-Houston and The Red Arrow Gallery in East Nashville will be taking the holiday weekend off. They’ll be holding their receptions and sales on Saturday, July 9.

DOWNTOWN

Philip Holsinger’s We Are Nashville: Act One is a multimedia portrait of our city that includes text, video, audio and the photography that makes up the centerpiece of the show. Holsinger captures Kurdish holiday celebrations, battling boxers and Nashville’s spicy-bird connoisseurs at Prince’s Hot Chicken Shack. The show opened at Chauvet Arts at the end of May and will continue through July. It’s a big display, spanning two of the gallery’s generous rooms, and the extra-long run is fitting for a sprawling exhibition featuring so much to read, watch, listen to and look at. If you can’t get enough of Holsinger’s portraits, be sure to check out his dramatic, colorful documenting of traditional Mexican bullfighting. The photojournalist’s Matador series is as colorful, dramatic and intense as its subjects, and prints are available through the gallery. Chauvet is open 10 a.m. to 8 p.m. this Saturday. Tinney Contemporary will be sticking with its June show through July 9. I reviewed Amber Robles-Gordon’s Sovereignty exhibition for the Scene — it’s a prime example of how artists can incorporate political and social content into a body of work while also making art that’s formally striking. We’ve seen lots of messaging about social and political issues in the contemporary art of the 21st century. However, much of that work will never be

SUMMER STORIES AT DAVID LUSK GALLERY remembered or reconsidered — timely art is rarely timeless. Robles-Gordon’s work is visually successful irrespective of its critiques of the U.S. policy toward — and governance of — its populated territories and the District of Columbia. I’ve seen powerful political art and dim political art, and I often question whether visual art is an effective medium for political messages. But the work in Sovereignty is formally distinctive. Tinney Contemporary will be open this Saturday from 2 to 8 p.m.

WEDGEWOOD-HOUSTON

Zeitgeist’s Shipmates exhibition continues in July after an energized opening night during June’s First Saturday events. Painter Daniel Reidy, sculptor Greg Pond and musical collaborator César Leal’s multimedia installation offers a spatial and structural retelling of Herman Melville’s maritime epic Moby Dick. Reidy’s large canvases deconstruct Melville’s tome alongside the history of Western painting, Leal creates whale songs with his trumpet, and one of Pond’s more musical sculptures features a one-string bass guitar neck that’s fretted to

play “Smoke on the Water.” The show is actually an ambitious visual distillation of the book — a sprawling display anchored by big works. It captures Melville’s vast seascapes and soulscapes, but — like the story — it’s also jammed with myriad weird details that have me already planning a third visit to this show. Here’s hoping this July run will also include a few new sculptures that are currently delayed at a manufacturer. I definitely want to see this display at full sail. Zeitgeist will be open from noon to 6 p.m. this Saturday. The new show at David Lusk Gallery is inspired by summer reading lists, beach-read faves and all things literary in the warmweather months. Summer Stories pairs a baker’s dozen of Nashville art professionals — including the Scene’s own Laura Hutson Hunter — with works from artists represented by David Lusk Gallery, Red Arrow Gallery and Zeitgeist. Each curator, designer, writer or architect responded to a particular work of art with a book recommendation. It’s a show that points to traditions and nostalgia, old friends and sun-dappled memories that smell like coconut and chlorine. The collabo-

ration constitutes a literary extension of the plastic arts, and it serves as a bookend — it’s a pun — to the Zeitgeist show, which provides a plastic extension of literature. My research says that summer reading lists date back as far as the 1890s, but I think they skipped the Catholic classrooms of Generation X. Summer wasn’t a reading time for me until I was becoming an adult reader in high school. As a kid, summer was a season of outdoor anarchy in our neighborhood in Detroit. Bike ramps were built, firecrackers cracked, fences climbed. A Kool-Aid mustache was a sign of good taste, and we made up a variety of baseball games that, instead of batting, featured bouncing a tennis ball off of a street curb to the opposing team on the other side of the road. We called it “curb ball” and had to call “Time out!” every time a car drove by. In my memory, everyone is playing “Le Freak” with the windows rolled down. I wonder if there is a book about that? A painting? The exhibition includes work by Mary Sims, Alicia Henry, Caroline Allison, Huger Foote, Ted Faiers, Marcus Maddox and others. The gallery will be First Saturday-ing from noon to 6 p.m. EMAIL ARTS@NASHVILLESCENE.COM

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

BOOKS

A MAN AND HIS MANDOLIN Bluegrass legend Roland White always put the music first BY DAVID WESLEY WILLIAMS

ith Mandolin Man: The Bluegrass Life of Roland White, author and banjo player Bob Black gives us a book about a musician in which the music rings out — and is never drowned out. That’s because White seems to have been one of those rare legends who always put the music first, who treated his fellow musicians (including young ones in need of a mentor) with respect, and never cared much for fame or fortune. “He lived to play the music,” Black writes. “It was his passion. Recognition didn’t matter; his ego MANDOLIN MAN: THE BLUEGRASS LIFE OF ROLAND WHITE BY BOB BLACK UNIVERSITY OF ILLINOIS PRESS 280 PAGES, $19.95 could handle that.” But make no mistake, White was a legend — a player of uncommon ability and feel who embraced traditional bluegrass, with Bill Monroe’s Blue Grass Boys and Lester Flatt’s Nashville Grass, and also took the music to new and adventurous places with The Kentucky Colonels, Country Gazette, The Nashville Bluegrass Band and his own band. He was beloved, especially by those he befriended at the beginning of their careers, like Marty Stuart and Jim Lauderdale. He was profoundly influential, even if the average music fan didn’t know his name. Consider: When White died April 1 at age 83, The New York Times’ 1,100-word obituary lauded him as “a mandolin player and singer who helped shape major developments in bluegrass and country-rock over a sevendecade career.” Credit Black, a former member of Monroe’s Blue Grass Boys who also has performed with Ricky Skaggs and Ralph Stanley, for recognizing White as worthy of a full-length biography. He’s done a thorough job of capturing this song-filled life. If you’re weary of music bios where the art gets lost amid the egos, feuds, drugs and other fame trappings, this one’s for you. Roland White’s your man. At age 6, he was attempting to play chords on the family guitar, accompanying his fiddle-playing father, Eric. Young Roland also tried the fiddle — it “squeaked and squawked,” Black tells us, but his father encouraged him to keep trying. Then, one day his dad showed up with a new instrument: Roland asked his dad, “How did you learn to play it so fast?” “Well, it’s tuned like my fiddle,” replied his dad. “It has frets and you play it with a guitar pick.” He played another tune, and

LIVE MUSIC | URBAN WINERY | RESTAURANT | BAR | PRIVATE EVENTS then he said, “Here, it’s yours,” handing the mandolin to Roland before walking away. At 8, White was helping his mother, Mildred, in the kitchen, listening to country music on the radio and telling her that’s what he wanted to do someday — sing on the radio. Just as his dad encouraged him through that youthful squeaking and squawking, so did his mom. Practice hard, she told her son, and you’ll get there. Those early scenes — portraits of the picker as a young tyke — show how determined White already was to achieve his dream. A family band formed, playing for free at Grange Hall functions and other gatherings. “Before long,” Black writes, “Roland started insisting on having band rehearsals every day.” A child’s dreams can be as fleeting as they are frivolous. But not White’s. By 16, with the family having moved from Maine to California, he was playing in a band called Three Little Country Boys with his brothers Clarence and Eric Jr. He had also joined the musician’s union — and opened a savings account at the Bank of America. There were band outfits to buy and travel expenses, after all. It wasn’t long before Roland and his brothers met Bill Monroe, who was touring the West Coast, and invited him home for dinner. More visits followed; Monroe especially liked the banana bread for dessert, we’re told. And after dinner came the real main course — they played music. Black chronicles it all with care and detail, as the kid with the dream — and the drive to make it happen — developed the chops to join his heroes in the professional ranks. What a career White had — from playing in The Kentucky Colonels with brother Clarence (a guitar icon and future member of The Byrds who would die at 29, struck by a drunk driver), to serving as a sideman first for Monroe (on guitar) and then Flatt, to making his own music with solo albums like the much-loved I Wasn’t Born to Rock ‘n Roll. It’s a shame White didn’t live to see the publication of this fine biography. But it wasn’t acclaim he was ever after. It was always about the music, from that day in the kitchen with his mom, listening to the radio and daring to dream, to playing stages all around the world. You may not know the name. But as a musician, a mentor to others and a role model for anyone who dreams of playing professionally, Roland White played second fiddle — or mandolin, as it were — to no one. To read an extended version of this review — and more local book coverage — please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM

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Gaby Moreno with Karina Daza

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Soul Asylum

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Acoustic Duo

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Early and Late Shows

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WAYMORE’S OUTLAWS FEATURING TOMMY TOWNSEND

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WMOT PRESENTS: JOSH ROUSE IN THE LOUNGE

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CHASTITY BROWN & LILLI LEWIS IN THE LOUNGE

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ROCKABILLY BRUNCH FEATURING GOOD ROCKIN’ TONIGHT

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MIKE DAWES WITH TREVOR GORDON HALL IN THE LOUNGE

7.26

AN EVENING WITH ADRIAN BELEW

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HANNAH BETHEL IN THE LOUNGE

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THE ARISTOCRATS

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90’S BRUNCH FEATURING SMOKIN’ PEAS

7.28

WMOT PRESENTS: AMY SPEACE “TUCSON” ALBUM RELEASE SHOW WITH SPECIAL GUEST ROBBY HECHT

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ROREY CAROLL & TAYLOR MARTIN

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SYLEENA JOHNSON

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Upcoming shows jun 30 Sam Johnston w/ A.G. Sully & Arts Fishing Club jul 1 Marisa Maino, Sam Varga, YOUTHYEAR, Knox, Winona Fighter, & Emo Night Nashville jul 2 soapbox Jul 5 Foxing w/ Greet Death & Home Is Where Jul 6 GOLDEN CHILD jul 8 savannah conley w/ secondhand sound jul 9 Sundy Best w/ Highway Natives jul 10 Ronnie James Dio Tribute jul 11 dry cleaning w/ weak signal jul 13 Lost Dog Street Band w/ Willi Carlisle jul 14 the deslondes w/ banditos jul 16 the wrecks w/ girlhouse & mothe sold out! jul 17 the summer set jul 20 Drugdog & Stoop Kids & Juke of June jul 22 somo jul 23 ian noe w/ kimberly kelly jul 24 queerfest jul 25 grayscale & guardian w/ bearings & the ivy jul 27 icon for hire w/ sumo cyco jul 29 corey kent

jul 30 broncho w/ tchotchke jul 31 cobra man aug 3 memphis may fire w/ from ashes to new, rain city drive, & wolves at the gate

aug 4 Stephen Sanchez aug 5 Be Our Guest aug 6 Jerry Garcia Tribute ft. members of Los Colognes, Futurebirds, and more!

aug 8 Black Pistol Fire w/ Lillie Mae and Shooks aug 9 The Dear Hunter w/ The World Is A Beautiful Place & I Am No Longer Afraid to Die, & Tanner Merritt of O’Brother

aug 10 Municipal Waste w/ Midnight & Savage Master aug 13 aug 14 aug 17 aug 18 aug 20 aug 27 aug 28 aug 31 Sep 1

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NASHVILLE SCENE | JUNE 30 – JULY 6, 2022 | nashvillescene.com

Nick Boyd w/ Erin Grand (7pm) Suzie Chism w/ The Untamed & Josh Rennie-Hynes (9PM) Ned Henry (7pm) Oweda w/ Battery House (9pm) Wild Love w/ Oceanic, A N X Hippies & Cowboys & The Garden Of Eden Matthew Fowler (7pm) Liliac w/ Day Drive & Crocodyle (9pm) The Altons (6pm) goodnight, texas (7PM) Vansire w/ Yot Club (9PM) Hadley Kennary w/ Michael Conley

jul 10 jul 11 jul 13 jul 13 jul 14 jul 15 jul 16 jul 17 jul 18 jul 20 jul 21

Chloe Kimes w/ Liv Greene & Drumming Bird Pindrop Songwriter Series Joshua Ray Walker (6PM) Ben Chapman (9pm) Mel Bryant & The Mercy Makers w/ Talker The Local Honeys Neighbor Lady Boulevards w/ Love Montage David Adams & Rochelle Riser & Mike Dunbar Deathcruiser & Margolnick Dead Runes & Silent Monolith & Electric Python

MUSIC

ANOTHER LOOK

The Scene’s music writers recommend recent releases from Namir Blade, Soccer Mommy, $avvy and more BY LANCE CONZETT, ALEJANDRO RAMIREZ, DARYL SANDERS, KAHWIT TELA, STEPHEN TRAGESER, RON WYNN AND CHARLIE ZAILLIAN

f the intense heat Music City has experienced during the first little bit of summer is anything to go on, you’re going to want lots of options for stuff to do inside where it’s cool. Good news, then, that a ton of Nashvillians have released FIND LINKS TO STREAM AND BUY THESE RECORDS AT great records NASHVILLESCENE.COM/MUSIC in the recent months. The Scene’s music writers have eight new recommendations for you — add ’em to your streaming queue or pick them up from your favorite local record store. Though the next Bandcamp Friday promotion (in which the platform waives its cut of sales for a 24-hour period) isn’t set to come back until Sept. 2, most of our picks are available to buy directly from the artists on Bandcamp, too.

Rosenberg reconnected with the Northern Virginia-residing Hayton and, with an assist from Jeremy Ferguson at local recording studio Battle Tapes, revived seven Jasons tunes lost to time. “Dollhouses” and “Green Grow the Rashes” stand out; they sound, respectively, like the best songs Yo La Tengo and Teenage Fanclub never wrote. But the entire 23-minute set testifies to this music’s staying power. They’ll play it live July 22 at The 5 Spot, with support from left-of-center tunesmiths par excellence Trevor Nikrant (from Styrofoam Winos), Ziona Riley (Heinous Orca), Emma Swift and Ricki.

CHARLIE ZAILLIAN

Nashville since he arrived in 2013. And he didn’t let COVID slow him down. Dawson has completed three projects since the start of the pandemic, the first of which is Gone, Long Gone. The album showcases his witty, pungent and wry reflections and observations, as well as his crisp vocals, idiomatic flexibility and outstanding guitar work. The record incorporates everything from folk and country stylings to horn arrangements on “Dimes” that echo the best of the soul era, plus contributions from several of Nashville’s finest studio musicians. The poignant title tune, explosive and expressive instrumental “Kulaniapia Waltz” and stirring tribute piece “King Benny Had His Shit Together,” which honors the magical Hawaiian street performer King Bennie Nawahi, are just some of the album’s highlights. There’s also fine harmony vocal support from Dawson’s daughter Casey, as well as from Allison Russell — most notably on the concluding “Time Has Made a Fool Out of Me.” RON WYNN

NAMIR BLADE, METROPOLIS (MELLO MUSIC GROUP) Namir Blade’s newest effort conjures up futuristic imagery — fitting, as it’s inspired by 1927 sci-fi classic Metropolis and its anime remake from 2001 — but it’s more of a top-down look at the world he’s built around him, and where he goes next. Like the films that inspired it, Metropolis looks at life behind the scenes of a glimmering city, and Blade is open about the physical and emotional challenges he’s faced. Some of the beats, all produced by Blade, show some electronic influences, and they coexist with more traditional rap beats like the one on his easygoing ode to hoopties, “Ride.” He makes his influences clear — “Monday Michiru,” featuring The Adoni, certainly sounds like a track from the acid-jazz pioneer, and “Shounen,” with Jordan Webb and Cashmere Crool, has the hard-hitting energy of a Dragonball Z fight — but he expands on those concepts, rather than letting them limit him. ALEJANDRO RAMIREZ

AN ARMY OF JASONS, ON THIS BEND (LAMB SPEED RECORDS) Between 1999 and 2003, before Brett Rosenberg found his niche as the prolific pop savant Nashville knows and loves as Quichenight, the upstate New Yorker and his pal Geoff Hayton played beautifully bittersweet indie rock under the moniker An Army of Jasons. Details of On This Bend and why it’s coming out now are a bit hazy — two-decade-old memories tend to be — but at some point during lockdown,

bounce and groove with the best of them, but are lyrically wrought with Qualls pulling on the strings of his persona to let an authentic self shine through. Until We Meet Again is a rewarding listen — not just as a showcase for Qualls’ thoughtful, easy flow but as a complete thought that’s meant to be listened to from “Inhale” to “Exhale.” LANCE CONZETT

THE MANGO FURS, BRAIN DRAIN (EYE OF THE EYE) If the heat wave has you down, The Mango Furs’ recent EP Brain Drain is the kaleidoscopic auditory popsicle you need to lift you back up. Throughout the record, the band offers an immersive blend of psych rock, shoegaze and a little surf rock — with plenty of shimmering reverb throughout its delightfully trippy package. At 10 minutes long, the three-song EP is short and sweet, a perfect bite-size summertime confection.

KAHWIT TELA

SOCCER MOMMY, SOMETIMES, FOREVER (LOMA VISTA) On her just-released Sometimes, Forever, Sophie Allison, aka Soccer Mommy, follows her acclaimed 2020 gem Color Theory with 11 tracks that further establish her as a rising songwriting star. Allison takes a raw, unfiltered look at her life on the record, from the trials of her sudden rise to indie-rock fame to the highs and lows of young love and relationships posing as love. Producer/synth wizard Daniel Lopatin, aka Oneohtrix Point Never, helmed the production, and the result is a record that is both sonically broader and more adventurous than Soccer Mommy’s previous releases. The album is full of memorable melodies that range from catchy to haunting, and the arrangements crafted by Lopatin and Allison are heavily informed by British psychedelic rock, from late-’60s and early-’70s recordings by artists like The Beatles and David Bowie to the ’90s trip-hop sounds of Portishead, Tricky and others. DARYL SANDERS

STEVE DAWSON, GONE, LONG GONE (FACTOR) Canada-born singer-songwriter, versatile instrumentalist and podcaster Steve Dawson has been a formidable figure in

$AVVY, POOR (DADABASE) Rising rapper and singer $avvy had a pretty outstanding 2021 — his EP Boys Wear Pearls was one of the most exciting releases of the year — and he’s been working to make 2022 even bigger and better. He launched a clothing line called Poor and started an online radio show called Poor Radio, and in April, he released Poor, a tidy LP with lots of layers and nuances that reward repeat listens. The presentation is fresh, the beats are inventive, and the lyrics continue $avvy’s trend of being highly skilled at picking apart the layers of social interactions. On Boys Wear Pearls, the focus was on dating and sex, and while those are still concerns on Poor, class and other factors play a part as well. STEPHEN TRAGESER

QUALLS, UNTIL WE MEET AGAIN (SELF-RELEASED) Chattanooga-born rapper Qualls has spent the past year working on himself, pulling apart his shortcomings as an artist and a person and stitching them back together into something new and improved. Until We Meet Again, Qualls’ debut LP and his first new music since 2020, manages to be heavy yet breezy. Songs like “Count Up” and the J Dilla-influenced “Ryan Montgomery”

ANNE MALIN, SUMMER ANGEL (DEAR LIFE) If you didn’t know Anne Malin was also a poet, her folk-rooted songs would clue you in. In service of emotional and sensory communication that consistently feels like it’s touching another plane of existence, the lyrics on her latest LP Summer Angel often break out of traditional song form and rhyme schemes. That’s not to say the album isn’t musical: Anne Malin and her partner Will Ringwalt-Johnson gathered a group of finely tuned musicians like multiinstrumentalist Trevor Nikrant and reed master JayVe Montgomery at local studio The Bomb Shelter to put it all together. Ace producer-engineer Andrija Tokic has experience aiding in the translation of complex expressions like these onto records, and the crew knocks it out of the park here. STEPHEN TRAGESER EMAIL MUSIC@NASHVILLESCENE.COM

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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MUSIC

BETTER OFF TED

Teddy and the Rough Riders get streamlined on their eponymous new Margo Price-produced LP BY CHARLIE ZAILLIAN

he eponymous second LP from Nashville combo Teddy and the Rough Riders, which hits shelves Friday via Loney Hutchins’ Appalachia Record Company, could just as well have been made in 1972. No thematic or sonic telltale sign identifies the 12-song collection as something contemporary — and that’s how the band’s co-founders Ryan Jennings (bass and vocals) and Jack Quiggins (vocals and guitar) prefer it. Reached via phone after wrapping up a Tuesday night shift at newish West Nashville nightspot Otto’s, Jennings walks the Scene through his and Quiggins’ working relationship. “We grew up here together, and are 30 now,” he explains. A decade ago, they played in The Paperhead — a lysergic meeting-of-the-minds with Walker Mimms keeping the beat and Promised Land Sound’s Peter Stringer-Hye on vocals. That group enjoyed a fruitful run lasting through the mid-2010s, and its catalog includes records on the late, great indie Infinity Cat as well as Chicago’s Trouble In Mind. One of the first results when you google The Paperhead is a 2011 story from Grateful Web declaring them “teenage psych wonders.” Eventually, though, the time felt right for Jennings and Quiggins to plot their next move. They envisioned a “a weird countrygarage-rock thing” — Flying Burrito Brothers served as a creative North Star — and proof of concept came while the two briefly attended UT-Knoxville together. Jennings remembers this period for one thing and one thing only: “Woodshedding, woodshedding, woodshedding. Our neighbors didn’t mind it, thankfully.” The band is named for the motley crew of ranchers, students and other young military volunteers who served under Teddy Roosevelt in the Spanish-American War circa 1898. This Music City collection of Rough Riders — rounded out by drummer Nick Swafford and, until recently, pedal-steel player Luke Schneider — are dyed-in-thewool music appreciators whose enthusiasm for everything analog appears to be matched only by their love of their hometown (its older establishments, in particular) and excitement about the next gig. A while back, Teddy and the Rough Riders took promo photos in the overgrown ruins of the since-demolished Greer Stadium, disused since the minor league Nashville Sounds moved to their new park in Germantown for the 2015 season. Most Sundays, you can count on seeing Jennings & Co. holding it down as members of Santa’s Ice Cold Pickers, who play almost exclusively at South Side karaoke mecca Santa’s Pub. The Rough Riders just completed their longest tour yet, supporting Sub Pop Records’ preeminent masked romantic Orville Peck. They capped the seven-week cross-

TEDDY AND THE ROUGH RIDERS OUT FRIDAY, JULY 1; PLAYING THIRD MAN RECORDS’ BLUE ROOM JULY 1

continental jaunt by knocking a show at the Ryman off their bucket list. Making sure requisite friends and family were taken care of was a far bigger to-do than the actual set — that, Jennings says with a laugh, “was about as stressful as playing a gig at Brown’s Diner.” Having cleared the debut-album hurdle with 2019’s The Congress of Teddy and the Rough Riders, the group enlisted friend, colleague and retro-country maven Margo Price to produce the follow-up. The band will celebrate its release Friday at Third

Man Records’ Blue Room, with Price making a guest appearance and Caitlin Rose opening; tickets are only $10. The new LP is an eclectic, colorful collection of songs, more streamlined than previous efforts, that encompasses classic-rock six-string excursions, outlaw country stylings, barroom-piano boogie and beyond. The gently loping and horn-kissed “Livin in the Woods” looks at different varieties of heartache — the romantic kind and the kind that comes when your city doesn’t feel quite like home anymore. The elegiac groove of “Hey

Richard” — which reflects on the final years of Little Richard, some of which he spent in Nashville, reportedly in the Hilton Hotel on Fourth Avenue South off Lower Broadway — wouldn’t seem out of place on Invisible Pictures, the recent LP Price produced for her husband Jeremy Ivey. “I’m pretty solely influenced by older music, and playing what we play has always felt natural,” Jennings says. “But we’re hoping that this time, it comes out in a somewhat more modern kind of way.” EMAIL MUSIC@NASHVILLESCENE.COM

nashvillescene.com | JUNE 30 – JULY 6, 2022 | NASHVILLE SCENE

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MUSIC

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songwriter and sole constant member of the group, mentioned that it was a bucket-list achievement to play Nashville Pride. “It feels good to be in a safe space after yesterday,” Bognanno noted. “We got to look out for each other because we’re all we got. The Supreme Court sure as hell isn’t.” Sunday afternoon, the heat was back as relative Nashville newcomer Jaime Wyatt and her band took the main stage. They offered up a right-in-the-pocket set of rocking country tunes focusing on Wyatt’s most recent release, 2020’s Shooter Jennings-produced Neon Cross. Wyatt pointed out that the opportunity to play a Pride event meant a lot to her, as she came out during the pandemic. She also noted the importance of Tanya Tucker, the revered country legend who would be playing the fest’s closing set, making it a

he weekend after the Supreme Court voted to overturn Roe v. Wade was not a time to be alone amid a rising tide of frustration and unease. Faced with anger about the decision itself (which effectively ends half-century-old protections for a woman’s right to get an abortion) and concern about other decisions that the nation’s highest court could reverse (like Obergefell v. Hodges, which forms the legal basis for same-sex marriage) many folks badly needed a reminder that hurtTHAT FLOWER YOU ful, backward-ass policy choices aren’t HAVE ON: universally accepted or condoned. TANYA TUCKER Saturday and Sunday, an earlysummer heatwave made the pavement around town feel like a flattop griddle. But thousands of LGBTQ Nashvillians and allies gathered for the Nashville Pride Festival, creating an overpowering atmosphere of inclusivity and support. Following the annual Pride Parade on Saturday, revelers in colorful gear streamed into Bicentennial Capitol Mall State Park. point to perform at the fest when Toddlers frolicked, queer ALSO READ OUR REVIEW others might actively speak out teen couples awkwardly OF BON IVER’S SHOW AT ASCEND AMPHITHEATER AT against LGBTQ rights or stay silent held hands and older NASHVILLESCENE.COM/MUSIC about their support to avoid ruffling couples strolled in the feathers. “That’s the move we need shade wearing shirts with — we need more of that, that’s allythe slogan “Protect Trans ship,” Wyatt said. Kids.” The crowd seemed When at last it was Tucker’s turn to apeven more racially diverse than pear, she brought a lot of things with her. the one at Bonnaroo the week before. There was her phenomenal band, and a At one end of the park near Jefferson video introduction from queen of queens Street, the Rainbow Stage curated by NashRuPaul. There were five decades of incredville LGBTQ music org RNBW featured ible songs, from the tender and resilient a host of queer singer-songwriters. The Brandi Carlile co-write “While I’m Livin’,” schedule got a little chaotic, exacerbated by from Tucker’s 2020 album of the same name, pandemic-related last-minute changes to to 1992’s rollicking “It’s a Little Too Late.” the lineup. But the RNBW crew rolled with There were drag performers aplenty, and it, drawing on a vast network of outstanding Tucker sang the first three songs with a glitperformers to keep up a continuous flow tering rhomboid peacock tail at least twice through the weekend. There were short her height strapped to her back. She brought sets from country and folk songsmiths, like up her dog Stella Quaid, and her daughter Breann Young who played on Saturday and Jett Layla Tucker, who sang her version of Merle Holden (who I just missed despite a timely tip from photog H.N. James) on Sunday. Haggard’s “The Way I Am.” Also appearing were multifaceted vocalists But maybe most importantly, Tucker like Rosemary Joaquin and her band, pianobrought a warm, welcoming demeanor that was reminiscent of a favorite grandma. Her popster Charlie Brennan and dance-pop singer banter included thanking everyone from her Gia Woods. new accountant to Dolly and Reba, who’d On Saturday, the main Equality Stage, sent notes of encouragement. She signed as at the other end of the park’s quad with its many LPs, hats, guitars and “Tanya Mother back facing James Robertson Parkway, Tucker” T-shirts as fans could pass over the featured a triumphant set by Music City security barrier. The country icon stretched rockers Bully. They drew the crowd out of her one-hour set to about 90 minutes, makthe shade to pogo along to songs like “Where ing clear just how much it meant for her to to Start” from 2020’s Sugaregg and a heartbe there with the crowd at Pride — some felt cover of Prince’s “Nothing Compares of whom might not have heard kind words 2 U.” During others’ sets, the LED wall at from a mom, a grandma, or an aunt in a long the back of the stage scrolled graphics with time. The fest finally wrapped up with an authe artist’s name, or some video clips. Bully dience-assisted rendition of “Delta Dawn,” made a different choice: “Our band name which was Tucker’s first hit, released when could be here,” read the screen, “but instead she was just 14 years old in 1972. It would here are some crucial resources. If you have been special at any show, but here it know anybody who needs help seeking an was thoroughly transcendent. abortion, call 1-800-230-7526 or visit aborEMAIL THESPIN@NASHVILLESCENE.COM tionfinder.org.” Alicia Bognanno, the singer,

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FILM

NO FLUX GIVEN

The sublime and peculiar Flux Gourmet is a full meal BY JASON SHAWHAN

he kind of film that if nothing else will help you understand your friends who were in noise bands just a little better, Flux Gourmet is a sensual masterpiece that would cause a riot in most legislative bodies. It’s FLUX GOURMET NR, 111 MINUTES a singular expresPLAYING JUNE 30-JULY 2 sion of unspeakable AT THE BELCOURT corners of the human condition, and the kind of film that, if it were a person, you’d want to take out and make your friends … concerned. Back in my festival-programmer days, the perennial operating procedure was this: Any film that made me laugh or scream at a volume or intensity that got the neighbors texting, calling or knocking at the door in concern was automatically accepted. Flux Gourmet elicited a fit of laughter that set off the neighbor’s dogs across the yard, which is an unprecedented phenomenon. But writer-director Peter Strickland’s films are nothing if not singular provocations. 2012’s Berberian Sound Studio detailed the mental fractalization of a Foley artist going mad, 2014’s The Duke of Burgundy was an exquisite feminist tale of BDSM with a credited “fragrance consultant,” and 2018’s In Fabric was a masterpiece of lowbrow and highbrow getting all torn up and making something amazing. Strickland delights in all the senses, even the ones typically ignored by cinema. This is a film that literally takes the phrase “artsyfartsy” and explores it from both angles, giving the artistry and the fartistry equal footing in the insane world it unfolds in. In this film, performance artists working in the milieu of “sonic catering” (musical cooking) have taken up a three-week residence at the behest of Jan Stevens (Gwendoline Christie). Perfectly attired, Stevens is equal parts patroness, minister of culture, festival programmer, arts doyenne, execu-

tive director and velvet-clad fist of iron when it comes to the world of avant-garde art. Kohl-rimmed eyes and constructively expressive hats are but part of this woman’s arsenal, and the trio she has brought to her country manse are indeed a wild bunch of spiky freaks. Sometimes, you see, one of the greatest gifts one can give an artist is to tell them no. Elle (Fatma Mohamed) is the creative force — Diamanda Galás and Karen Finley at the same time. Her jewelry and accessory game are impeccable, and her fingerless cat-burglar gloves are never not funny — up there with Bellini’s double-towel reveal in the new season of The Kids in the Hall. Mohamed gave one of the best performances of 2018 in In Fabric, and here she flourishes, tearing into this film like a bird of prey. “Wouldn’t it be easier to compromise,” the writer-documentarian Stones asks her. “No,” she replies, cigarette smoke wafting behind her, puffy sleeves punching through a diffident world. And Stones (Makis Papadimitriou), an adorable bean-bag chair of a man, is betrayed by his own digestive system to the extent that he lives in fear of being exposed for his near-continuous stream of flatulence. His stasis is pitched in opposition to Elle’s

SPLICES

Elvis, Gru, Beba and cats, this week at the movies BY D. PATRICK RODGERS

t’s extremely hot, and we’re all being bombarded with incessant bad news. But the refreshing environs of the movie theater are here for us all. Peel yourself off the couch and get to the nearest arthouse or cineplex — here’s what’s playing at the moment. Baz Luhrmann’s wildly divisive Presley biopic Elvis is still in theaters everywhere, as are Top Gun: Maverick (which just surpassed $1 billion at the box office), Pixar’s roundly unnecessary Lightyear and Scott Derrickson’s latest horror effort The Black Phone. Everything Everywhere All at Once — easily one of

BEBA

the year’s best and most creative features so far — is still playing at both the megaplexes and the Belcourt. Because, y’know, everywhere all at once. There’s also a pair of brand-new features opening at the Belcourt this weekend. Director Rebeca “Beba” Huntt’s “coming-of-age documentary/cinematic memoir” Beba opens July 1 at the arthouse, as does directors Mariano Cohn and Gastón Duprat’s Spanish-language Official Competition. The former is, according to Indiewire’s Robert Daniels, “a complicated and bold self-portrait, exploring identity, internalized

full-speed-ahead mood swings, establishing the continuum the film’s characters will be conducting themselves on. There’s also Billy (Asa Butterfield), styled like he’s the cover model for Sullen Teen magazine, and Lamina (Ariane Labed as Kristen Stewart, crafting the only character to inspire both empathy and the outright coveting of outfits), the technicians Elle depends on and devours (metaphorically) to bring her visions to life. Over the course of three weeks, as artists are wont to do, boundaries will be transgressed, grants will be accessed, and formal dining will never be the same again. “Misunderstandings between us,” Billy confesses, “are the key to our sound.” The film explores compulsive farting and the collective’s response to it as a metaphor for the way that contemporary art and culture metabolize and exploit trauma and pain, and that’s not going to appeal to everyone. Or even most people. But Strickland and his cast understand the labyrinthine world of endowment funding and patronage that prop up what little investment in the arts is available these days, and in its fantastic burlesques and dips into the truly grotesque (the influence of The Kipper Kids is never completely beyond us as a culture) they find some stark truth that more ac-

cessible cinema would only tiptoe around. This is a film in which The Mangrove Snacks — a collective Jan Stevens rejected for residence — periodically emerges to wage terrapin-based terrorist attacks against the institution. (“They don’t even do transgression well,” Jan deadpans.) Every performance concludes with “audience tributes,” which are basically exquisitely photographed, Radley Metzger-style orgies between artist and audience. There’s a moment, fairly early on, when Elle gives her after-dinner speech, deconstructing the idea of the manufactured housewife. She says, “Time spent cooking is time in which you can dream about the things you want out of life, even if they might not be possible,” and it hits you in the solar plexus like a fire extinguisher. Every gesture in this film means something more than just what it depicts, a feast of nested possibilities that resonate even after Flux Gourmet ends. One of the highest compliments a film can receive is that just by watching and listening to it, you learn all sorts of things you never even thought about exploring. If a film is a meal, Flux Gourmet is Noma and El Bulli territory, the earthy drive of hunger fulfilled in the realm of the sublime. EMAIL ARTS@NASHVILLESCENE.COM

anti-Blackness, and generational trauma,” while the latter is a “sharp observational comedy” featuring Penélope Cruz and Antonio Banderas. The latest installment of the ever-popular CatVideoFest — precisely what it sounds like — will land at the Belcourt on July 2 & 5, while the theater’s monthlong Queer Qlassics series will kick off July 6 with the Wachowski sisters’ dangerously horny 1996 noir Bound (more in our Critics’ Picks on p. 17). Other impending repertory screenings at the beloved Hillsboro Village cinema include Once Upon a Time in the West (July 2, 3 & 7), The Wizard of Oz (July 2 & 5) and Pee-wee’s Big Adventure (July 3 & 6). The Belcourt will also kick off a run of David Lynch’s powerfully weird 1997 feature Lost Highway on July 8 — more on that in next week’s issue. Of course, the big corporate chains can do repertory too, sort of. Fathom Events will host 25th-anniversary screenings of Men in Black on July 3 & 4 (more on

that in our Picks section as well). Meanwhile, Full Moon Cineplex in Hermitage will host weekend screenings of 1998’s Halloween H20: 20 Years Later July 1 & 2. Hitting megaplexes everywhere on Friday is Universal Pictures’ Minions: The Rise of Gru. The fifth installment in the Despicable Me series finally, thank God, delves deeply into the backstory of the titular Gru, and features voice performances from the likes of Michelle Yeoh, Jean-Claude Van Damme, RZA and Julie Andrews. More big-budget popcorn flicks are coming later in July. Thor: Love and Thunder — the 29th film in the Marvel Cinematic Universe — will absolutely overtake screens on July 7, while Jordan Peele’s third feature, Nope, will land on July 22. Expect anticipated titles like Marcel the Shell With Shoes On and Claire Denis’ Both Sides of the Blade (featuring Juliette Binoche!) to hit the Belcourt mid-month. EMAIL ARTS@NASHVILLESCENE.COM

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JEFFREY PHILLIPS ANDREWS vs. ASHLEY GAIL ANDREWS In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ASHLEY GAIL ANDREWS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 7, 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 August 8, 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 Nashville.

isfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ASHLEY GAIL ANDREWS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 7, 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 August 8, 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 Nashville. Richard R. Rooker, Clerk L. Chappell, Deputy Clerk Date: June 9, 2022 Trudy Bloodworth Attorney for Plaintiff NSC 6/16, 6/23, 6/30, 7/7/2022

NOTICE OF SUCCESSOR TRUSTEE’S SALE WHEREAS, Ryan Paige (“Grantor”), by that certain Deed of Trust dated December 29, 2021, of record as Instrument No. 20220112-0004512, in the Register’s Office for Davidson County, Tennessee (the “Deed of Trust”), conveyed to Steven P. Disser, as Trustee, certain interests in the Property (as hereinafter defined) to secure the payment of certain indebtedness described in the Deed of Trust (the “Indebtedness”); WHEREAS, default has occurred by Grantor’s failure to comply with the terms and conditions of the Deed of Trust, and the Indebtedness has been declared due and payable as provided in the Deed of Trust, and the Indebtedness has not been paid; WHEREAS, Lender has demanded that the Property be advertised and sold in satisfaction of the Indebtedness and the costs of foreclosure in accordance with the terms of the Deed of Trust; and WHEREAS, the undersigned, Joshua D. Hankins, or my agent, has been dulyappointed as Successor Trustee in the place and stead of Steven P. Disser, said appointment being of record as Instrument No. 20220523-0059570, said Register’s Office. NOW, THEREFORE, notice is hereby given that I, Joshua D. Hankins, or my agent, as Successor Trustee, pursuant to the power, duty and authority vested in and imposed upon me in the Deed of Trust, will on Friday, July 8, 2022, at 10:00 a.m., prevailing Central Time, outside the south entrance to the Da-

vidson County Historic Courthouse, located at 1 Public Square, Nashville, Davidson County, Tennessee 37201, offer for sale to the highest and best bidder for immediately available funds, free from all rights which Grantor waived in the Deed of Trust, my interests in the real property situated in Davidson County, Tennessee, described as follows, together with my interests in any and all improvements, tenements, hereditaments and appurtenances, my interests in all easements serving or benefiting the property, and my interests in any or all fixtures and improvements now or hereafter attached to the property (the “Property”): A certain tract or parcel of land located in Davidson County, State of Tennessee, described as follows, to wit: Being part of Lot Nos. 1, 2 and 33 on the Plan of Kenmore Place of record in Plat Book 332, Page 32 and 33, in the Register’s Office for Davidson County, Tennessee, and being more particularly described according to a survey by John Kohl and Company, dated June 24, 1983, as follows: Beginning at a point on the northerly margin of McGavock Pike at the southwest corner of a lot conveyed to H.E. Waller and wife, by deed of record in Book 609, Page 126, said Register’s Office; thence with the said Waller’s westerly line and in a northerly direction 106.3 feet to an iron pin; thence in a westerly direction 37 feet to an iron pin; thence in a southerly direction 109.05 feet to the northerly margin of McGavock Pike in an easterly direction 39.6 feet to the point of beginning. Being the same property conveyed to Ryan Paige, a married man, by Warranty Deed from Brian L. Cox and Almeatricee J. Cox, husband and wife, of record in Instrument No. 201602010009310, Register’s Office for Davidson County, Tennessee, dated January 29, 2016 and recorded on February 01, 2016. The Property is improved property known as 1109 McGavock Pike, Nashville, Tennessee 37216. The full legal description of the Property can be found in the Deed of Trust. The Map and Parcel number assigned to the Property is believed to be 072-06-0246.00, but such number is not part of the legal description. In the event of any discrepancy, the legal description in the Deed of Trust shall control. A review of the records at said Register’s Office disclosed that the Property may be subject to certain matters set

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forth below and that the persons named below may be interested parties, along with the persons named in the first paragraph of this Notice: 1. Any and all unpaid ad valorem taxes payable to Davidson County, Tennessee (plus penalty and interest, if any) that may be a lien against the Property. 2. All plats, easements and restrictions of record in said Register’s Office. 3. Rights and claims of parties in possession, if any. The foregoing matters may or may not take priority over the Deed of Trust. To the extent such matters do take priority over the Deed of Trust under applicable law, the sale will be subject to them, and to the extent such matters do not take priority over the Deed of Trust under applicable law, the Property will not remain subject to them after the sale. The sale will be subject to any and all unpaid ad valorem taxes (plus penalty and interest, if any) that may be a lien against the Property and subject to any and all liens, defects, encumbrances, conveyances, adverse claims and other matters which take priority over the Deed of Trust upon which this foreclosure sale is had, and subject to any statutory rights of redemption not otherwise waived in the Deed of Trust, including the rights of redemption of any governmental agency, state or federal, which have not been waived by such governmental agency, and matters that take priority over the Deed of Trust which an accurate survey of the Property might disclose. The Property is to be sold AS IS WHERE IS, without representations or warranties of any kind whatsoever, whether express or implied. Without limiting the foregoing, THE PROPERTY IS TO BE SOLD WITHOUT ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR USE OR PURPOSE. Successor Trustee will make no covenant of seisin or warranty of title, express or implied, and will sell and convey his interest in the Property by Successor Trustee’s Deed as Successor Trustee only. The right is reserved to adjourn the day of sale to another day and time certain, without further publication and in accordance with law, upon announcement of said adjournment on the day and time and place of sale set forth above, to sell the Property with or without division if the Prop-

erty consists of more than one tract or parcel, and to sell to the second highest bidder in the event the highest bidder does not comply with the terms of the sale. Joshua D. Hankins, Esq. Aaron R. Winters, Esq. HANKINS LAW 117 Saundersville Road, Suite 205 Hendersonville, Tennessee 37075 (615) 246-2544 NSC 6/16/2022, 6/23/22, 6/30/22

EMPLOYMENT HealthStream, Inc. seeks a Database Administrator in Nashville, TN to provide database support. Reqs. BS+18 months exp. 100% telecommuting role. Will report to HQ in Nashville, TN. Can work remotely or telecommute. To apply mail resume to HealthStream, Inc., Attn: Whitney Drucker, 500 11th Ave N, Ste 1000, Nashville, TN 37023. Must reference Job Title & Job Code: 000048. Sr. Developers, IT Mobile POS. Build and design an engaging mobile experience for store team members for a major retailer. Employer: Tractor Supply Company. Location: Brentwood, TN. May telecommute from any location in the U.S. Multiple openings. To apply, mail resume (no calls/e-mails) to P. Hatcher, 5401 Virginia Way, Brentwood, TN 37027 and reference job code 200276. IS Security Specialist. Lead the integration of a major hospital corporation’s Identity Management solution with applications. Employer: CHSPSC, LLC. Location: Franklin, TN. May telecommute from the metro Nashville, TN area. To apply, mail resume (no calls/emails) to Leanne Reeves, 4000 Meridian Blvd., Franklin, TN 37067.

hospital corporation’s Identity Management solution with applications. Employer: CHSPSC, LLC. Location: Franklin, TN. May telecommute from the metro Nashville, TN area. To apply, mail resume (no calls/emails) to Leanne Reeves, 4000 Meridian Blvd., Franklin, TN 37067.

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Richard R. Rooker, Clerk L. Chappell, Deputy Clerk Date: June 9, 2022 Trudy Bloodworth Attorney for Plaintiff NSC 6/16, 6/23, 6/30, 7/7/2022

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Nearby places you can enjoy the outdoors: · Percy Priest Lake · Long Hunter’s State Park Best place near by to see a show: · Ascend Amphitheater

Favorite local neighborhood bar: · Larry’s Karaoke lounge List of amenities from your community: · Indoor swimming pool and hot tub · Outdoor swimming pool · Ping pong table · Fitness center · Gated community

Call the Rental Scene property you’re interested in and mention this ad to find out about a special promotion for Scene Readers

500 BrooksBoro Terrace, Nashville, TN 37217 | www.brightonvalley.net | 615.366.5552 38

DISH TV $64.99 For 190 Channels + $14.95 High Speed Internet.

NASHVILLE SCENE | JUNE 30 - JULY 6, 2022 | nashvillescene.com

Southaven at Commonwealth 100 John Green Place, Spring Hill, TN 37174

The Harper 2 Beds / 2 bath 1265 sq ft from $1700

The Hudson 3 Bed / 2 bath 1429 sq ft from $1950

3 floor plans southavenatcommonwealth.com | 629.777.8333 Colony House 1510 Huntington Drive Nashville, TN 37130 The James

The Washington

The Franklin

The Lincoln

1 bed / 1 bath

2 bed / 1.5 bath

2 bed / 2 bath

3 bed / 2.5 bath

708 sq. ft

1029 sq. ft.

908-1019 sq. ft.

1408-1458 sq. ft.

from $1360-2026

from $1500-2202

from $1505-2258

from $1719-2557

Rental Scene

The Jackson 1 Bed / 1 bath 958 sq ft from $1400

4 floor plans

liveatcolonyhouse.com | 615.488.4720

Gazebo Apartments 141 Neese Drive Nashville TN 37211 1 Bed / 1 Bath 756 sq ft from $1,119 +

2 Bed / 1.5 Bath - 2 Bath 1,047 – 1,098 sq ft from $1,299 +

3 Bed / 2 Bath 1201 sq ft from $1,399 +

5 floor plans

gazeboapts.com | 615.551.3832 Cottages at Drakes Creek 204 Safe Harbor Drive Goodlettsville, TN 37072

2 floor plans

cottagesatdrakescreek.com | 615.606.2422 2100 Acklen Flats 2100 Acklen Ave, Nashville, TN 37212

Studio / 1 bath

1 bed / 1 bath

2 bed / 2 bath

517 sq ft

700 sq ft

1036 - 1215 sq ft

starting at $1742

starting at $1914

starting at $2008

12 floor plans

2100acklenflats.com | 615.499.5979 Brighton Valley 500 BrooksBoro Terrace, Nashville, TN 37217 1 Bedroom/1 bath 800 sq feet from $1360

2 Bedrooms/ 2 baths 1100 sq feet from $1490

3 Bedrooms/ 2 baths 1350 sq feet from $1900

To advertise your property available for lease, contact Keith Wright at 615-557-4788 or kwright@fwpublishing.com

2 bed / 1 bath 864 sq ft. $1,324-1,347

1 bed / 1 bath 576 sq ft $1,096-1,115

3 floor plans

brightonvalley.net | 615.366.5552 nashvillescene.com | JUNE 30 - JULY 6, 2022 | NASHVILLE SCENE

S U H P I TC

Nashville is a diverse city, and we want a pool of freelance contributors who reflect that diversity. We’re looking for new freelancers, and we particularly want to encourage writers of color & LGBTQ writers to pitch us.

Read more at our new pitch guide: nashvillescene.com/pitchguide

CAROL’S HOMESTEAD

• Hemp & Herb Infused Culinary Class •

THE

VINYL RESTORATION PROJECT

Protect and Preserve your legacy vinyl today! More than 15 years of experience revitalizing legacy vinyl with a studio sound

Do you want to learn how to cook with HEMP? Sample, taste & smoke your way through the lessons! July & August Call 615-485-4548 for an appointment

CAROLSHOMESTEAD.ORG

Professional studio specializing in cleaning and digital preservation Call or text Jeff: 615.812.0950 Email: jeff@thevrparchives.com

www.thevrparchives.com

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Email Mike at msmith@nashvillescene.com to get started planning for a BIG 2022!

NASHVILLE SCENE | JUNE 30 - JULY 6, 2022 | nashvillescene.com

GOOD NEWS TO THE PEOPLE OF AMERICA WORLD RENOWNED PSYCHIC