Nashville Scene 6-20-24

EXPERTS REFLECT ON JAMES LAWSON’S LEGACY

>> PAGE 7

NEWS: RIDDIM N SPICE FACES UNCERTAIN FUTURE IN NORTH NASHVILLE

>> PAGE 10 THE SPIN: POST MALONE, BRITTANY HOWARD, CHAPPELL ROAN AND MORE DOMINATE AT BONNAROO

>> PAGE 38

Meeting this year’s Pride Parade grand marshals, highlighting the best of the Nashville Pride Festival and more

Street View: Donelson’s New Library

The longtime Nashville Public Library branch is expanding its digs and its staff BY

LENA MAZEL

Nashville Experts Reflect on James Lawson’s Lasting Legacy

The civil rights leader died June 9 at age 95 BY KELSEY BEYELER

Pith in the Wind

This week on the Scene’s news and politics blog

Riddim n Spice Faces Uncertain Future in North Nashville

Kamal and Rashean thought they had the right formula to succeed near Meharry. Instead they joined a city of struggling Black restaurant owners. BY ELI

MOTYCKA

COVER PACKAGE: PRIDE 2024

Gimme Five

From Tinashe to Angie K, here are five acts to see at this year’s Nashville Pride Festival BY BRITTNEY MCKENNA

Marshal On

Talking with two of this year’s Nashville Pride Parade grand marshals BY LAURA HUTSON HUNTER

Youth Outreach

How LGBTQ youth benefit from texting with services like Centerstone BY HANNAH HERNER

Stay: More Notes on [Jeremy] Camp

More Black, queer reflections on a Christian music icon and living in the South BY KASHIF ANDREW GRAHAM

CRITICS’ PICKS

WNXP’s Music Citizens Launch Party, Paper Making Workshop, Miss Pamela Des Barres and more

FOOD AND DRINK

Day in the Sun

Antigua Cocina Guatemalteca features unique street food, hearty stews and daily specials BY ALIJAH POINDEXTER

Veg Out: Buddha Bowl From Brooklyn Bowl Nashville

A hearty tofu-based bowl will start your night out right BY MARGARET LITTMAN

VODKA YONIC

Cicada Logic

How cicadas reflect my queer experience BY RIVER JAMES WITHEROW

Stay Gold

The Key Show at Zeitgeist celebrates the artists who built Nashville’s contemporary art scene BY JOE NOLAN

MUSIC

Current Events

Rich Ruth deploys dynamic creative strategies on Water Still Flows BY SEAN L. MALONEY

Pulling Strings

Violinist Peter Otto’s career comes full circle as

concertmaster of the Nashville Symphony BY JOHN PITCHER

The Spin

The Scene’s live-review column checks out Post Malone, T-Pain, Chappell Roan and many more at Bonnaroo BY KELSEY BEYELER, HANNAH CRON, JAYME FOLTZ AND STEPHEN TRAGESER

FILM

Outlaw Country

The Bikeriders rides smoothly thanks to a starry cast BY LOGAN BUTTS

For Never Was a Story of More Woe Ghostlight uses Shakespeare to help us understand our emotions BY KEN ARNOLD

NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD

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Bonnaroo 2024 • PHOTO BY STEVE CROSS

PET OF THE WEEK!

Name: SHRIMP

Age: 1 year

Weight: 5 lbs

Gender: Female

This enchanting kitty is a master of cozy cuddles and playful pounces. With a coat as dark as midnight, Shrimp loves exploring every nook and cranny, making each day an adventure. Whether she is munching on yummy shrimpflavored treats or lounging in a sunny spot, Shrimp adds a dash of charm and a sprinkle of joy to every moment. Do you notice something special about Shrimp? She’s polydactyl! Polydactyl cats are born with more than the normal amount of toes, so it looks like they have “mittens”. It’s always fun to have a “Hemingway Kitty here at NHA and we hope you decide to come meet her today. Shrimp might have an extra toe bean, but she also has extra love to spread to her furever family!

Call 615.352.1010 or visit nashvillehumane.org

Located at 213 Oceola Ave., Nashville, TN 37209

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

FROM BILL FREEMAN

EDITOR-IN-CHIEF D. Patrick Rodgers

MANAGING EDITOR Alejandro Ramirez

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ARTS EDITOR Laura Hutson Hunter

MUSIC AND LISTINGS EDITOR Stephen Trageser

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EDITORIAL INTERNS Aiden O’Neill, Joanna Walden

ART DIRECTOR Elizabeth Jones

The Three Presidents Event, held this spring at Radio City Music Hall in New York, was the biggest fundraiser in the history of the Democratic Party.

and Tom Loftis.

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Pictured, from left: Dwayne Tucker, former President Barack Obama, President Joe Biden, FW Publishing owner Bill Freeman, Bob Freeman, former President Bill Clinton

PHOTO: ANNIE LEBOWITZ

An adventure through food, drink, song and this year’s blockbuster exhibition TROLLS: Save the Humans makes for the perfect Thursday Night Out at Cheekwood. Upcoming performers include The Tiger Beats, Airshow, End of the Line: A Tribute to the Allman Brothers, and The Hi-Jivers. Reserve tickets at cheekwood.org Adv ure Awa s Through October 24 | 5:30 – 9 PM THURSDAY NIGHT OUT

Cheekwood is funded in part by Spirits Sponsor

DONELSON’S NEW LIBRARY

The longtime Nashville Public Library branch is expanding its digs and its sta

BY LENA MAZEL

Street Viewis a monthly column taking a close look at development-related issues affecting different neighborhoods throughout the city.

THE OLD DONELSON LIBRARY sits in a leafy, recessed little park between two churches and across from a Taco Bell. It’s an unassuming but beautiful building: small and full of light, with the same “easy and unpretentious elegance” that a Tennessean article from its 1966 opening described. Like every branch of the Nashville Public Library, the Donelson Branch Library is more than just a place to check out books. There are signs for ballet story time, professional headshots and the chance to check out useful objects from NPL’s Library of Things.

But at only 7,344 square feet, the old Donelson library can no longer accommodate the growing neighborhood surrounding it. So just down the road, a new library is underway.

The new Donelson library is set to officially open June 24. Located at 2714 Old Lebanon Pike, the new library covers more than 24,000 square feet and will house about 30,000 books and other materials. According to the library’s website, it took more than 1,655 cubic yards of concrete and 329 tons of steel to build the LEED-certified building. The space also features permanent installations by artists Scott Constable and Ene Osteraas-Constable (known as Wowhaus) and Amber Lelli.

The new library has dedicated programming spaces, six study rooms and a mobile kitchen for a variety of cooking classes. Patrons will also

be able to check out artwork through the Metro Arts Lending Library collection. There’s also easier accessibility for many patrons, including an adult changing room, a computer carrel designed for patrons with children, and multilingual signage in English, Spanish, French and Arabic.

The new library is part of a larger development plan in Donelson, which links back to a 2009 effort (and 2011 follow-up) from Metro to convert “Downtown Donelson” to an Urban Design Overlay district, with better walkability, mixed-use properties and easily accessible transit. More recently, there’s been a significant plan to revitalize Donelson Plaza — Holladay

There’s even a new “parklet” planned.

“That sort of Downtown Donelson vibe is really starting to come to fruition,” says Ryan Darrow, the Donelson Branch manager, mentioning the nearby FiftyForward, the Hip Donelson Farmers Market and other businesses. “Even if people are driving and not walking from their home to the library, if they’re driving to any one of those locations, they don’t have to drive from location to location within this core area here.”

Alongside the new building, the Donelson Branch is increasing its staff from six people to 17. Darrow says the additional staff means everyone has more time — especially for new programming and outreach.

For Chelsy Melvin, librarian in the young adult section, the new location has meant exciting new connections in the local community. Melvin transferred to the Donelson Branch from the Main Library in March — since then, she’s been growing connections with local middle schools, meeting school librarians and asking students what resources they need. “A lot of the answers were around art and tech,” Melvin says. Many students also wanted to learn cooking skills, leading library staff to plan programming that included cooking classes for all ages.

Melvin says she’s excited for the move, noting it has brought out the best in the Donelson staff, who have “so many great ideas and so much willingness to help out.”

“It’s also been really fun to see the community excitement,” she says. “Every time people came into [the old Donelson library], they were counting down with us.”

A few days before Darrow and Melvin speak with the Scene, movers had picked up the books from the old Donelson library and delivered them to the new location. Darrow and Melvin casually relayed that library staff had shelved the entire collection — thousands of books — in two days. When pressed to elaborate, Darrow simply points out that some books are still checked out. (NPL has had a no-late-fees policy since 2017, which it kept in place for Donelson patrons during the move.)

Properties added 104 housing units in a building called The Flats at Donelson Plaza in 2023, and refurbished facades and landscaping on the 1960s shopping center.

If you live in a Holladay properties unit, the area is walkable. The surrounding areas, however, often aren’t — there are still sidewalk gaps and busy streets. Still, the area does realize some of the 12-year-old plan to make the suburb more livable. There’s the WeGo Star line and Donelson Station just down the road, and the new library is next to a stop for the Lebanon Pike bus route. Alongside local favorites like Homegrown Taproom and The Game Cave, new businesses have moved in as Donelson Plaza changes and grows.

With books on the shelves, signage in place and the Donelson staff all together, the new library will be ready to go. Plans for the old building are still “up for discussion,” Darrow says. Nashville’s growth has meant losing many familiar haunts as the city makes way for rapid change. In Donelson, that means saying goodbye to the 1960s glass building behind the trees on Lebanon Pike. But in this case, change will help the community: The new library means access to a space that’ll be much more than just a bigger building with more books.

“It has to be said: Donelson loves their library,” says Darrow. “They love that old building. For a lot of folks in the community, there was a little bit of a grieving process about that old building because of those memories.

“But also, there’s such excitement for getting a space that essentially quadrupled the size,” he continues, “and all that means for the community.” ▼

RYAN DARROW, DONELSON BRANCH MANAGER

NASHVILLE EXPERTS REFLECT ON JAMES LAWSON’S LASTING LEGACY

The civil rights leader died June 9 at age 95

AMONG THE PHOTOS lining the Civil Rights Room in the Nashville Public Library downtown is one of a young James Lawson being arrested in 1960 outside the First Baptist Church. Lawson was arrested after co-coordinating nonviolent protests seeking to desegregate lunch counters in downtown Nashville. Despite vicious verbal and physical attacks from white hecklers, the protests were ultimately successful. The demonstrators remained nonviolent, and Nashville became one of the first major Southern cities to begin desegregating public spaces.

Those sit-ins, and the techniques protesters used, helped establish Lawson as a prominent civil rights leader. He died at age 95 on June 9 in Los Angeles. Just three months ago, Lawson filmed a video message that was shared during a Nashville event honoring fellow civil rights leader Diane Nash, who attended Lawson’s nonviolent training sessions many decades ago. Elliott Robinson — program specialist in the Special Collections Division at the Nashville Public Library — tells the Scene that Lawson visited the room in 2022 and shared his memories about the day those photos were taken.

The Rev. Lawson dedicated his life to nonviolence and social justice through his teachings as a college professor, his ministry as a Methodist pastor and his activism — including not only the Nashville sit-ins, but also the Freedom Rides, the 1968 Memphis sanitation workers’ strike (during which Dr. Martin Luther King Jr. was assassinated) and much more.

Lawson was studying theology at Oberlin College in Ohio when he met King, who encouraged him to immediately come to the South after learning about his dedication to nonviolent protest tactics — tactics that were impelled by Lawson’s mother and inspired by Mahatma Gandhi. Lawson answered the call, and enrolled in Vanderbilt University’s Divinity School in 1958. Around this time, he began teaching nonviolent direct action workshops to Nashville students from Black colleges and universities and helped form the Student Nonviolent Coordinating Committee. The workshops used intensive role-playing and preparation to prepare students to face intense racism, harassment and violence, using the tactic of nonviolent resistance.

“We used the movement as a training ground,” Lawson told fellow civil rights figure Bill Barnes in a 2003 interview provided to the Scene by Robinson. “We continued workshops, we continued mass meetings, we continued teaching about nonviolence. We encouraged our people to take their personal experience on the front lines and appropriate and understand them in terms of themselves, their own growth, and the nonviolent strategy. I think that this was a better preparation than even I had known, though I think that what I did was at least very, very good for the

BY KELSEY BEYELER

time. And the net result was that it persuaded a number of people that this was a work that they could do, and it must be done. So we produced a quality of leadership that no other movement had produced. And that’s the other thing that Nashville people ought to take some pride in, and that is that we — that for the next decade or more, so many people out of the Nashville scene became some of the vanguard people, in Birmingham, the Freedom Ride campaign in ’61.”

Among Lawson’s trainees were John Lewis, C.T. Vivian, Bernard Lafayette and James Bevel. But their activism came with a cost. Not only were protesters maliciously harassed and assaulted by white counterprotesters — many were also arrested, and Lawson was expelled from Vanderbilt, where students and Divinity School faculty protested the expulsion.

From 2006 until 2009, Lawson returned to Vanderbilt as a distinguished visiting professor. In 2022, the university launched the James Lawson Institute for the Research and Study of Nonviolent Movements. Included among the institute’s teaching are trainings that follow the same model Lawson used. Metro Nashville Public Schools’ new high school in Bellevue was also named after Lawson in 2023.

So much has changed since the Nashville sit-ins, yet so many of the same racial and socioeconomic struggles remain — and there are new challenges.

“In some ways, the methods don’t change,” says Phillis Isabella Sheppard, executive director of the James Lawson Institute. “But … because access to weapons of destruction and death are so accessible, it changes the questions in terms of preparing students to be engaged in nonviolent work.”

In May, a former Metro Nashville Police Department lieutenant filed an in-depth complaint alleging malfeasance and mismanagement within the department, prompting the announcement of an investigation led by former U.S. Attorney Ed Stanton. Several prominent Black leaders gathered at Jefferson Street Missionary Baptist Church last week to demand a stronger response from the city — particularly regarding the allegation that MNPD’s top brass lobbied state lawmakers on a bill passed last year to hamstring local police oversight boards. Also last week, a sworn declaration filed in the Davidson County Chancery Court case over the release of documents related to the 2023 Covenant School shooting claims the MNPD whistleblower — retired Lt. Garet Davidson — could be the person who leaked the Covenant documents.

The culture of youth activism remains strong in Nashville, and the proliferation of gun violence has been a huge driver of that — particularly in the wake of last year’s Covenant School shooting. Other youth-led demonstrations have included students protesting in support of Palestinians in Gaza, protests organized by a group of teens in 2020 after the murder of George Floyd, and young activists’ occupation of Legislative Plaza for 62 nights, demanding, in part, that a bust of a former Ku Klux Klan grand wizard be removed from the state Capitol.

Writing about Lawson in 2021, Scene contributor Betsy Phillips reminded us that, while we need to remember Lawson’s contributions, we also need to remember all the ordinary people who did the work before his time here. Likewise, Dean of Vanderbilt Divinity School Yolanda Pierce reminds us that dedicating a life to social change and justice doesn’t mean just going to protests, but also means taking all kinds of continuous action.

“We really honor his life by doing the work locally,” says Pierce. “For me, it starts right here, thinking about Vanderbilt, thinking about Nashville, thinking about the ways that justice and love and nonviolence and those ethics of compassion can really mean something for my neighbors right here in the city in which I live. And then it expands from there. But I hope that this is a moment that is a clarion call to the city of Nashville to say, ‘We honor him by being compassionate and just to our neighbors.’ And that means things like affordable housing and more public transit. The things that make for human dignity, because that is really what Lawson represented — human dignity.” ▼

Columnist Betsy Phillips writes, “These past couple of weeks have been quite a circus for the Metro Nashville Police Department,” going on to note that the latest stories bring up long-simmering questions about police accountability. “I don’t know how many stories we need to read before we’re convinced of a pattern,” she writes.

Gill Wright director of the Metro Public Health Department announced at a Thursday Board of Health meeting that he will not continue with the organization. Wright will leave the role at the end of August after serving one three-year contract. Wright oversaw the opioid abatement processes, contributed to pandemic guidelines and fielded a $10 million grant from the Centers for Disease Control and Prevention. Under Wright, the department has also seen resignations of senior staff, “reverse racism” claims, and the folding of the department’s Bureau of Health Equity.

PHOTO: STEPHEN ELLIOTT

PHOTO: DANIEL MEIGS

JAMES LAWSON AT FIRST BAPTIST CHURCH IN NASHVILLE, MARCH 1960

Shahpour Pouyan: Winter in Paradise poetically explores architectural symbols of power and the fragmentation and destruction of monuments and societies in war. The solo exhibition presents exquisite sculptures and drawings, plus the renowned artist’s first virtual reality installation. Set in a chilled room, the immersive new VR experience creates a deeply meaningful encounter with a beautiful medieval Persian mosque.

THROUGH AUGUST 25

Nashville 919 Broadway, Nashville, TN 37203 FristArtMuseum.org

Installation view of Shahpour Pouyan: Winter in Paradise at the Frist Art Museum

Organized by the Frist Art Museum Supported in part by The Ellsworth Kelly Award, made possible by The Ellsworth Kelly Foundation and the Foundation for Contemporary Arts

The Frist Art Museum is supported in part by Supporting Sponsors

Clay BlevinsGordon CAP Gallery Fund

RIDDIM N SPICE FACES UNCERTAIN FUTURE IN NORTH NASHVILLE

Kamal and Rashean thought they had the right formula to succeed near Meharry. Instead they joined a city of struggling Black restaurant owners.

BY ELI MOTYCKA

“IT DOESN’T MAKE any sense,” says Rashean Conaway. He’s sitting on a couch above Riddim n Spice, the North Nashville Jamaican restaurant and bar he co-owns with his brother, chef Kamal Kalokoh. It’s almost lunchtime.

There are two ways each brother could finish that sentence.

It doesn’t make sense to run a restaurant that doesn’t make money. That’s the current financial situation facing Riddim n Spice, which opened five years ago a block off Jefferson Street. Conaway says they’ve agreed on August as a make-or-break point. If business doesn’t pick up significantly, they’ll close. If he were a more sane person, Kalokoh says, they would have closed a long time ago.

Both brothers talk about the restaurant as a daily gamble. They bet on Caribbean food, excellent service and a supportive community hungry for a new, updated space with local Black ownership.

Their ingredients were promising. Kalokoh grew up in the kitchen learning from his mother, the chef-owner of longtime Nashville staple Jamaicaway. Summers with his grandparents in Jamaica helped refine his palate. As a young chef in 2011, he won over Drake with a plate of food when the rapper came to Nashville. He joined Drake and Rihanna for tours in the U.S. and Europe in 2011 and 2012. Around that time, Kalokoh brought on his brother, the more business-minded of the two with a knack for logistics, to help him handle the constant hotel hopping.

Kalokoh and Conaway started Riddim n Spice as a food truck in 2013 before eyeing a brick-andmortar location on Meharry Boulevard in 2017. They raised money, renovated and remodeled, and opened the restaurant in 2019. The bright, seafoam-green facade sticks out on a quiet residential block behind Meharry Medical School. They added an outdoor patio and built out the Rum Room, an upstairs bar. Conaway milled the hardwood tables from salvaged pecan and black walnut trees that fell in the neighborhood. Most new development around here, in the historic heart of Nashville’s Black community, comes in blocks of high-end condos replacing aging buildings or single-family homes.

“I feel like maybe because we’re Black-owned, people don’t want the food,” says Conaway, weighing the impact of new white residents who bring more money to the neighborhood. “Or don’t want to come in here because they don’t know what to expect. We are clean, we have a liquor license, we have excellent service, we are approachable, we are a block away — what other reason could there be? Do I need to put white people on the website for you to feel comfortable walking down your own street to

come to this restaurant?”

Conaway, who has a graduate degree in urban environmental planning and worked in affordable housing development before coming to the restaurant, saw the pieces of a neighborhood on the rise. He and his brother want to help push North Nashville upward after decades of economic decline without handing over property, power and money to white ownership.

“The funny thing is, amongst the Black community, everyone talks about how there’s nothing to do here for us,” says Kalokoh. “There’s no good Black soul food restaurants, or places you can dance, places where you won’t get shot up. But there actually are — you just don’t go. You’ve heard about it, but you go somewhere else in Germantown, Salemtown, the Gulch, anywhere else. What I’m hoping for is more Black people from other cities keep moving here and visiting these places, because that’s the only way for Black bars, Black nightlife, Black spots to survive.”

With Kalokoh’s top-flight culinary résumé and Conaway’s business sense, it doesn’t make sense to them why the restaurant isn’t full during the day and the bar isn’t packed on weekends. They survive on special events, a business bump during Black History Month, catering gigs and orders around Juneteenth. Beyoncé’s Cowboy Carter has led to a noticeable uptick in Black tourism, Kalokoh says, but the backbone of a restaurant — steady sales, a few dozen more customers at lunch, a patio that’s even half-full during happy hour — has failed to materialize. He’s heard the same dire stories from Black restaurant owners across the city, especially after the society-wide push to shop at Black-owned businesses peaked in 2021.

“Black Nashville, especially youth, they’re proud of being from here — I see it,” says Kalokoh. “But there’s a little bit of delusion, too. If you really want it to be dope, you have to come to these restaurants, go to these art showings — everything that’s Black, you got to be there. If not, it’s just over. Black extinction in Nashville.” ▼

PHOTO: ERIC ENGLAND

KAMAL KALOKOH

JUNE 20

SPRINGER MOUNTAIN FARMS BLUEGRASS NIGHTS AT THE RYMAN STEEP CANYON RANGERS WITH LINDSAY LOU

JUNE 27

SPRINGER MOUNTAIN FARMS BLUEGRASS NIGHTS AT THE RYMAN

THE EARLS OF LEICESTER

JUNE 28

JOEY FATONE & AJ MCLEAN OF *NSYNC OF BACKSTREET BOYS

AUGUST 31

SQUEEZE

ON SALE FRIDAY AT 10 AM

SEPTEMBER 14

FAYE WEBSTER WITH MIYA FOLICK ON SALE FRIDAY AT 10 AM

SEPTEMBER 22

DAYGLOW WITH SUN ROOM ON SALE FRIDAY AT 10 AM

OCTOBER 16

THEE SACRED SOULS

ON SALE FRIDAY AT 10 AM

PRESENTED BY

Meeting this year’s Pride Parade grand marshals, highlighting the best of the Nashville Pride Festival and more

Fifty-five years ago this month, police raids in New York City’s Greenwich Village resulted in the Stonewall riots. That historic occasion is marked every June by Pride celebrations all over the world, including right here in Nashville.

In this week’s issue, we talk to two of 2024’s Nashville Pride Parade grand marshals and highlight some of the best acts playing this weekend’s Pride Festival, including Tinashe, Angie K, Denitia and more. We also explore how LGBTQ youth — particularly in states like Tennessee, where legislation continues to target queer communities — benefit from texting crisis services. Contributor Kashif Andrew Graham offers reflections on being queer and Black in the South, and in our Vodka Yonic column, contributor River James Witherow explores how the Brood XIX cicadas have reflected their queer experience.

Read on, and happy Pride!

Gimme Five

From Tinashe to Angie K, here are five acts to see at this year’s Nashville Pride Festival

BY BRITTNEY M c KENNA

Nashville Pride Festival

June 22-23 at Bicentennial Capitol Mall State Park

See the full lineup at nashvillepride.org/entertainment; follow @nashvillepridefestival on Instagram for more

JUNE ALWAYS BRINGS the heat to Music City. This month boasts three weekends in a row jampacked with music festivals: first CMA Fest, then Bonnaroo, and now this weekend’s Nashville Pride Festival caps it off. As always, organizers have brought together a diverse array of talented national and local musicians as part of the festival entertainment — which also includes tons of fantastic drag, both on the Equality Main Stage and the all-drag Stonewall Stage — on June 22 and 23.

Country music will be well-represented — especially on the Rainbow Stage curated by RNBW, though plenty of non-country songsmiths and bands will play there. But this is a great opportunity to explore far outside the country realm too. Beyond stage and screen icon Billy Porter and pop sensations Icona Pop (performing Sunday on the Equality Main Stage at 6:15 and 4:45 p.m., respectively), we’ve rounded up five more can’t-miss musical acts performing at Nashville Pride this weekend. There’s much more for you to see as well, so check out the festival’s official schedule before you head down to Bicentennial Capitol Mall State Park.

Tinashe

R&B and pop artist Tinashe is one of the heaviest hitters on this year’s bill, bringing her deep catalog of moody, danceable bops to the festival’s main stage. The Lexington, Ky.-born star isn’t afraid to get weird, bringing a spacey vibe to last year’s BB/ANG3L, which pulls together woozy synths, slinky vocals and progressive, unorthodox production. In April, Tinashe announced plans to release Quantum Baby — billed as the second installment in a trilogy

— due later this year, so look for new tunes like viral hit “Nasty” mixed in with older favorites like “2 On” and “Needs.”

Tinashe performs 8 p.m. Saturday on the Equality Main Stage.

Denitia

Denitia is one of country music’s most exciting up-and-comers, already tapped for CMT’s Next Women of Country Class of 2024 and slated to make her Grand Ole Opry debut June 29. The Texas-born singer-songwriter pairs a traditional country sound with story-driven lyrics, like on standout single “All the Sweet Tea.” She’ll release her next album Sunset Drive on Sept. 6, and her set this weekend should be a great preview of what that record will bring — if you missed her at CMA Fest, don’t let this opportunity slip by.

Denitia performs 12:45 p.m. Saturday on the Equality Main Stage.

Angie K

Angie K has kept busy in June, performing at CMA Fest on the heels of her single “Red Dirt on Mars,” a gritty and clever ballad about heartbreak and small-town life. The bilingual singer-songwriter, who was born in El Salvador and grew up in Georgia, finds her own intersection between her Latin roots and no-frills country. She’s built a rabid — and growing — fan base through touring and word of mouth.

Angie K performs 2:20 p.m. Sunday on the Equality Main Stage.

Jimencio

Jimmy Martinez, better known by his stage name Jimencio, is part of an exciting, growing group of artists showcasing the many connection points between country and Mexican music. Born in Colorado, Jimencio first moved to Texas to pursue his country music dreams but now calls Nashville home. Born into a musical family, Jimencio has been singing and performing since he was 8 years old, and the exceptionally gifted singer — watch his clips of mariachi covers and try not to tear up — is someone you’d regret missing this weekend.

Jimencio performs 12:30 p.m. Sunday on the Rainbow Stage.

Together Breakfast

Power trio Together Breakfast balances out the Pride Fest equation with their playful take on instrumental “queer math rock.” Their name comes from a meal too good to eat alone in beloved animated series Steven Universe. Not unlike the show’s Gems, each member brings their own special power to the party: Drummer Ian Strobino works mainly in pop and soul, bassist Zach Goforth is mostly in country and Americana, and guitarist Marshall Biever is primarily in the folk singer-songwriter realm. They’re working on a new EP, Lunch With Your Friends, Dinner With Your Ancestors, so prepare yourself for some new material.

Together Breakfast performs 2:30 p.m. Sunday on the Rainbow Stage. ▼

Marshal On

Talking with two of this year’s Nashville Pride

Parade grand marshals

BY LAURA HUTSON HUNTER

Nashville Pride Parade

10 a.m. Saturday, June 22, at Broadway and Eighth Avenue

ONE OF THE MOST notable things about this year’s Nashville Pride Parade grand marshals is how good they are at hyping each other up.

“What’s really cool is that we’re all friends, because we’ve worked together in different circles,” Brian Sullivan, one of this year’s four marshals, tells the Scene. “To me, it’s the highest honor as an advocate, as an activist. It’s like the Super Bowl.”

When I speak with Sullivan, he’s quick to mention that his fellow marshal Dahron Johnson was the first openly trans person to speak on the floor of Tennessee’s House of Representatives.

When I speak with Johnson, she lists Dr. Marisa Richmond’s accomplishments as if she were giving a presentation on the power of LGBTQ visibility. Richmond, also a 2024 grand marshal, has been a professor at MTSU; she is a member of the Metro Historical Commission; she’s served on the Presidential Advisory Commission on Advancing Educational Excellence, Equity and Economic Opportunities for Black Americans.

This is a tight-knit but extraordinarily inclusive crew, and that’s just what Nashville Pride Parade needs. Taking place on Broadway between Eighth and Second avenues, Nashville’s event is the largest Pride parade in the state — more than 40,000 people are expected to line the streets. That’s a lot of visibility, but that’s part of why it’s important.

“The work of legislative advocacy is not a solitary pursuit,” Johnson explains, “but it’s something that’s done in committee rooms and on phone calls. So as I’ve had the opportunity to be part of these moments that have generated so much more visibility, I’ve reflected a lot

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TOGETHER BREAKFAST

on what visibility means. … Other trans folks, other gender-diverse folks, other folks that have any type of lived difference, when they’re able to see somebody of a similar lived difference, they can say, ‘Wow, somehow they got on a path that allowed them to get from where they were to where they are. Maybe that’s possible for me too.’”

As this year’s Pride grand marshals — rounded out by country musician Brooke Eden — lead the parade down Broadway, past the bars and honky-tonks, they will likely be thinking of all the other folks who are experiencing the Pride spotlight with them in spirit.

“I’m a survivor of conversion therapy, and I had a suicide attempt,” Sullivan says. “And just to think that I could have missed out on knowing this beautiful community, and knowing the hope that there is now — that’s kind of what keeps me going.

He continues: “Whenever I feel like, ‘God, I can’t, I can’t walk into the Capitol again, there’s just this heaviness,’ I think about some kid out in the middle-of-nowhere Tennessee, and how, if we fight for them, they can see us and think,

Youth Outreach

How LGBTQ youth benefit from texting with services like Centerstone

BY HANNAH HERNER

Users can dial 988 and press 3 or text the word PRIDE to 988 for services.

TODAY’S TEENS ARE more likely to text than call. And when LGBTQ teens around the country text 988, their messages could be routed to Centerstone in Nashville — one of four centers answering the texts nationally.

Kelly Bombardiere, vice president of 988 crisis services at nonprofit mental health network Centerstone, manages a staff of 25 people trained to answer the text line aimed at LGBTQ folks. Local staff manage an estimated 4,000 interactions per month, she tells the Scene. The National Suicide Hotline was launched in 2005, and added texting in 2020. It was changed to 988 in 2022, and has since seen an uptick in use.

“It didn’t used to exist on the scale that it does now,” Bombardiere says of the text line. “I think with social media and how present youth are online, having the ability to get the assistance that they need online has just vastly improved their quality of life. More people reach out now than they ever have before.”

Bombardiere’s staff is specially trained in inclusive language and a history of discriminatory laws. They have Human Rights Campaign and GLMA (previously known as the Gay and Lesbian Medical Association) websites at the ready to make sure they are giving texters accurate information based on the state they

are messaging from.

The line can connect people to an affirming family medicine provider, mental health therapy, community-based resources and support groups. However, in Tennessee, 988 operators can no longer pass along information about gender-affirming care. Hormone therapy and gender-affirming surgeries were banned in 2023, and the state is awaiting a U.S. Supreme Court ruling on the matter. Traveling out of state for gender-affirming care without parental permission was also banned this year by the Tennessee General Assembly.

At Oasis Center, a local nonprofit focused on crisis prevention for LGBTQ youth, director Joseph Clark noticed teens in their program benefited from the option of using a chat function and keeping some anonymity.

“[Texting and messaging] is easy to access in that moment, especially when they are in such an elevated state of crisis,” Clark says. “Maybe they don’t even know how to articulate what they’re experiencing or what they’re feeling. Being able to type it out may be a little bit easier than trying to find the words to speak it out to somebody on the receiving end.”

LGBTQ youth are more than four times as likely to attempt suicide as their peers, according to data collected by The Trevor Project. A 2023 survey by the nonprofit found that 41 percent of LGBTQ young people seriously considered attempting suicide in the preceding year, including roughly half of transgender and nonbinary youth. Clark points out that suicide rates and suicidal ideation are undercounted, and adds that being LGBTQ does not inherently make a person more likely to experience mental health struggles. Rather, it’s hostility encountered in their environment that increases this likelihood, and Tennessee has been an espe-

‘You know what, I do have a great purpose. And I can do this and I can live my life authentically and be happy.’ That’s what keeps me going.”

“The sense that there are people who can do this,” says Johnson, “that sends a signal to me that this might be possible for me too. That’s

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Also this year, Nashville Pride will recognize legendary female impersonator Tina Louise and, posthumously, the late Mr. Charlie Brown with Pride Trailblazer Awards. Emily April Allen will receive the Philanthropic Business Award, and Michelle Sciarappa will receive the Pride Community Award. ▼

cially threatening environment. More discriminatory legislation against LGBTQ youth is filed each year. This year, schools were given protection for misgendering students, while state officials unsuccessfully attempted to ban certain public drag shows in 2023.

“An LGBTQ identity is [not] synonymous with having a mental health illness and needing connection to therapy and mental health support,” Clark explains. “It is because of this facet of your identity in the environment that we’re finding ourselves in, with the anti-LGBTQ+ legislation, and the anti-LGBTQ+ headlines, and the bullying, ostracization and discrimination that LGBTQ+ young people face — that all impacts their mental health.”

The 988 line is not just for suicidal ideation, Bombardiere points out — it’s for supportive listening on a range of topics. For LGBTQ youth,

it can function as a practice conversation for coming out to the family.

“I refer to 988 as kind of like a catchall,” she says. “It’s for anything, because everyone’s definition of a crisis is different.”

Clark points out that parent affirmation has come a long way, and Gen Z is much more willing to reach out and seek community than previous generations. Switching to a three-digit number has made the suicide hotline more accessible too, Bombardiere adds.

Clark says adults need to trust young people to find the right words for their identity. Even if they don’t have the right words yet, they know what doesn’t fit.

“They know themselves best at the end of the day,” he says. “We have to rely on that young person to know they are the expert on what they’re sharing with us.” ▼

Pride at its core.”

BRIAN SULLIVAN DAHRON JOHNSON

WITNESS HISTORY

From the exhibit Sing Me Back Home: Folk Roots to the Present is Gretsch Streamliner 6120 was presented to Chet Atkins in 1954 as a prototype for the guitar that would bear his name, the Gretsch Chet Atkins Model 6120 Hollow Body. Mr. Guitar would be 100 years old this month—and the guitar bearing his name remains a agship model for the company.

ARTIFACTPHOTO: Bob Delevante

RESERVE TODAY

Stay: More Notes on [Jeremy] Camp

More Black, queer reflections on a Christian music icon and living in the South

BY KASHIF ANDREW GRAHAM

See also: The author’s 2023 Pride Essay, “Notes on [Jeremy] Camp.”

I.

It is April 3, 2024. The downtown Nashville traffic is finally clearing. I gun the Jeep, but my relief is broken by the activation of a pedestrian crossing. Red lights flash as a lone Nashlorette prances into the street. I sigh and my gaze falls to the opposite sidewalk. I first see the chestnut head of spikes. And then he comes into full view. Jeremy Camp is a little shorter than I imagined, flanked by his wife and kids. He pulls open a restaurant door, and he enters with his family. I’m going to lose him. I honk. His head whips to look up the street, but not at me. He’s gone — into the restaurant a moment later.

II.

Essa Noche’s final number at Brooklyn Pride ends with an Ice Spice wig and confetti. Through the raining pink squares, I talk to a guy from Alabama. Tennessee, I point to myself. His friends call out to him, against my silent wishes. He goes. I leave BK Pride listening to Jeremy’s

“This Man,” because it’s what I have always done.

III.

There are two songs titled “Stay” in my iTunes catalog. They are both songs for the leaving kind. The first is Camp’s “Stay,” the titular song from his debut album. Here, he takes on an intercessory role, pleading with the listener to remain in the light. The other is from Destiny’s Child’s 1999 album The Writing’s on the Wall. Here, the speaker wonders if finally granting her lover sexual gratification will ensure that he remains. In both songs, seemingly written from completely opposite vantages, there is that ache of uncertainty. Camp implores, “Come on now, won’t you stay?” Destiny’s Child asks, “Would you stay, stay?”

IV.

In a 2004 article for CCM Magazine, David Jenison describes Stay as a heartfelt tribute to Camp’s late wife, Melissa Henning. I find no evidence to corroborate this claim in the album’s liner notes. But if taken as true, Stay becomes a reflection on mortality. Stay — on this side of heaven.

V.

Baltimore is a great city for thinking. It is with a postcoital clarity in the midtown area that I plot my return to Nashville. I know that I am returning to parties full of red lights and white men. My stomach is a stone fruit as I buy tickets to several Pride parties. I have a feeling I will

cry at these events. But I hope that my friends’ love can be enough to overpower the feelings of romantic emptiness that Pride often brings.

VI.

There are two things I would have asked Jeremy that day. First: Had he read my first essay, “Notes on [Jeremy] Camp,” from last year’s Scene Pride issue? Second: What happened to his friendship with Trey Pearson? In a July 2020 Twitter post, Pearson writes of his coming-out experience: “Some of the big Christian rockstars that were super close friends of mine won’t even talk to me anymore (cough cough Jeremy Camp). So much Christian love.”

VII.

I have found only one article that refers to Camp as a contemporary Christian music heartthrob: a 2004 review on allmusic.com. In reflection, the mechanics of the Christian music heartthrob are similar to your average heartthrob, except you aren’t supposed to

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identify them as such. Beauty, muscles and whiteness still help sell albums. Women want to be with them. Men tell themselves that they want to be like them, or be liked by them. I write about the Christian music heartthrob because I belong to the latter category, and I am still bereft.

VIII.

There is something homoerotic about the men who take pictures with Camp, hand on his flexed bicep. At the very least, it is about spectacle. But the obsession with Camp’s arms finds its way to the online forum Tapatalk. In a thread titled “Young Meaty Christian Rock Star,” presumably gay men advise each other on which performances to watch for the best display of Camp’s physique. They confess to not knowing who he is but purchasing his album Carried Me after glimpsing his muscle-bound portrait on the cover. “Kaching$$ one extra sale due to muscle!” user SwoleBoi writes. I find their honesty refreshing, and I am envious.

IX.

I have wondered for some time now how long the South could keep me. It’s like I am the leaving lover, and the South is singing stay to me. And I am saying yes, but under certain conditions. Once, I looked for a Jeremy-like figure — I wanted to be the apple of his eye. No more. I will stay if I can find a place where the sunlight is like gold leaf on the surface of the water. I sit on a rock. I flex my toes. Beside me, a boy with golden-brown skin brings a burger to his mouth and makes the music of culinary approval. A few more of my friends come to sit, balancing charred offerings on Styrofoam plates. Someone snaps photos. A kite flies. Feet and hips follow each other in the way that they do when you are learning a new dance. A playful punch meets my shoulder. The girls are laughing at something sweet — “Chile, his head always in the clouds.” ▼

I have wondered for some time now how long the South could keep me. It’s like I am the leaving lover, and the South is singing stay to me.

KASHIF ANDREW GRAHAM

JUN 20 & 21 | 7:30 PM

SMOKEY ROBINSON

Nashville Symphony | Sarah Hicks, conductor

Pleasenotethatthefirstpartoftheconcertwillpresentorchestrawithout SmokeyRobinson.Followingintermission,theprogramwillfeature SmokeyRobinsonwithorchestra.

JUN 25 & 26 | 7:30 PM

Special Event

CYPRESS HILL PERFORMS

"BLACK SUNDAY"

Nashville Symphony | Jonathan Rush, conductor | DJ Jerry, opener

Lawn seats start at $37

COMING SOON

JUL 2 | 7:30 PM

Special Event

NATALIE MERCHANT:

KEEP YOUR COURAGE TOUR with the Nashville Symphony

Fundraising Event

BEN RECTOR & CODY FRY Live with the Nashville Symphony JUN 27 | 7:30 PM

SPIRITS OF SUMMER

“Symphonic Nights” Live Orchestra + Cra Cocktail Competition

JUL 5 & 6 | 7:30 PM

Special Event

pirates of the caribbean: dead man's chest in concert with the Nashville Symphony

JUN 28 | 8 PM

JUL 7 & 8 | 7:30 PM

THE

Presented without the Nashville Symphony.

Ascend Amphitheater THE MUSIC OF JOHN WILLIAMS with the Nashville Symphony

HCA Healthcare and Tristar Health Legends of Music

john legend: a night of songs and stories

PresentedwithouttheNashvilleSymphony.

JUN 30 | 7:30 PM

HCA Healthcare and Tristar Health Legends of Music

LITTLE RIVER BAND

PresentedwithouttheNashvilleSymphony.

JUL 12 | 7:30 PM

Presentation THE SWEET CAROLINE TOUR: A NEIL DIAMOND CONCERT CELEBRATION

PresentedwithouttheNashvilleSymphony.

SATURDAY, JUNE 22

MUSIC

[WHEN THE SHIT GOES DOWN] CYPRESS HILL & NASHVILLE SYMPHONY

The legendary hip-hop group Cypress Hill performing alongside the Nashville Symphony? It might seem like a strange musical pairing, but for fans of the long-running animated series The Simpsons, it all makes perfect sense. After all, it was the unforgettable Simpsons episode “Homerpalooza” that first predicted this marvelous mash-up, posing the all-important question: “Who is playing with the London Symphony Orchestra?” Nearly 30 years later, Cypress Hill is actually set to take the stage with the LSO at the Royal Albert Hall in July, performing orchestral arrangements of their most iconic songs. But first, fans can check out this Saturday’s performance with the Nashville Symphony, conducted by Jonathan Taylor Rush. To mark the 30th anniversary of the group’s multiplatinum album Black Sunday, audiences can look forward to revisiting hits like “Insane in the Brain,” “I Ain’t Goin’ Out Like That,” “Hits from the Bong” and more. Plus, Nashville’s own DJ Jerry will be on hand to get the celebration started in style. AMY STUMPFL

8 P.M. AT ASCEND AMPHITHEATER

310 FIRST AVE. S.

THURSDAY

/ 6.20

MUSIC

[MIRACLE MAN] SMOKEY ROBINSON WITH THE NASHVILLE SYMPHONY

Nothing eases the comedown of back-to-back mega-festival weekends (thanks, Bonnaroo and CMA Fest) quite like a night of soft, soul-stirring melodies, and we’ve got just the fix. Legendary singer Smokey Robinson returns this week to the Schermerhorn Symphony Center for a two-night performance accompanied by the Nashville Symphony. An 84-year-old performer who has unquestionably added layers to the fabric of America’s songbook, Robinson needs little introduction. Instead, turn on a record and enjoy his timeless Motown tunes — “You’ve Really Got a Hold on Me,” “Ooo Baby Baby,” “More Love,” “The Tears of a Clown” … the list goes on. The two-night engagement marks his first run of Schermerhorn gigs in nearly a decade. Robinson last played Nashville in late 2022, when he made his Ryman Auditorium debut. The concert will begin with a stand-alone symphony performance, according to the Schermerhorn website; Robinson plans to take the stage after

intermission. MATTHEW LEIMKUEHLER JUNE 20-21 AT THE SCHERMERHORN 1 SYMPHONY PLACE

ART [ARCADE ADDICTION]

ART BETWEEN THE AVENUES

The Arcade has an incredibly storied history, which makes sense given its proximity to downtown Nashville and everything that has happened since it was built in 1903. Especially significant is its importance as a hub for the city’s contemporary art scene in the early Aughts. Galleries like Twist, Open and Coop were both weird and ambitious — a perfect combination when you’re talking art exhibitions. The next iteration of the Arcade, which comes after years of planning, is set to keep those gallery fires burning, and Thursday’s Art Between the Avenues launch party wants to prove it to you. Functioning as a way to introduce the mission of Arcade Arts and its upcoming artist residency program, Art Between the Avenues is like a gallery takeover of the sparkling-new Arcade. Twelve galleries, from Elephant to Random Sample to CE Gallery, are participating. Personally, I’m most excited about Red Arrow’s second annual Nashville Hot

CYPRESS HILL

Summer show, which will include sexy work from faves LeXander Bryant and Karen Seapker. If you miss the launch party, or want a second look, the spaces will remain open from 1 until 6 p.m. on Fridays and Saturdays through the July 6 Art Crawl. Visit arcadearts.org for more details.

LAURA HUTSON HUNTER

5-8 P.M. AT THE ARCADE

223 FOURTH AVE. N.

FRIDAY / 6.21

COMEDY

[WHAT’S UP HOT DOG?] COMEDY

BANG! BANG! LIVE

Within the minds of every devoted Comedy Bang! Bang! fan exists a complicated, perpetually evolving directory of characters, catchphrases and bizarre turns of phrase. Over 15 years and nearly 900 episodes, the improvcomedy podcast and its host Scott Aukerman (a comedy writer behind Mr. Show, Between Two Ferns: The Movie and much more) have introduced listeners to scores of characters, most of whom arrive with their own lore. From children’s performer Big Chunky Bubbles and “Smooth Criminal” Al A. Peterson (both played by frequent guest Paul F. Tompkins) to cowboy poet/monster hunter Dalton Wilcox (Andy Daly), entrepreneur Entrée PeeE Neur (Saturday Night Live’s Ego Nwodim) and beyond, CBB has an extremely deep bench of lovable freaks with strange intersecting backstories. Performed on the fly by gifted improvisers who frequently take things off the rails, it’s the kind of podcast that will make your significant other say, “What the hell are you listening to in there?” until, eventually, they join you in your deranged fandom. On Friday, Aukerman, Tompkins and other “Comedy Bang! Bang! All-Stars” will bring the Bang! Bang! Into Your Mouth 2024 tour to Marathon Music Works. Expect a night of deranged, delightful lore. D. PATRICK RODGERS 7:30 P.M. AT MARATHON MUSIC WORKS 1402 CLINTON ST.

MUSIC

[THE PAST ISN’T EVEN PAST] WNXP’S MUSIC CITIZENS LAUNCH PARTY

Music Citizens, a new podcast series from

Nashville Public Radio’s music-discovery station WNXP, looks to shine a light on some of the many people who make Nashville’s conglomeration of music scenes work — whether you know them well or not. Its first subject will be Bruce Fitzpatrick, owner and operator of Elliston Place club The End. His episode is titled “The Lifer,” appropriate for someone who’s been a key part of Music City’s alternative music world since 1980. The club Fitzpatrick has run since the late 1990s will host a launch party for the podcast that will double as an 81st birthday celebration for him, featuring rockers who mark three very different generations of his tenure. Up first is Jason Ringenberg, known to the youngest of cowpunks as Farmer Jason and to some of the oldest as the fire-breathing frontman of 1980s legends Jason and the Scorchers. Following him is PUJOL, the too-long-dormant project of philosophically inclined songsmith Daniel Pujol, whose 2014 LP Kludge stands tall among the best Nashville rock releases of the 2010s. And rounding out the bill is rising champion Brennan Wedl, who has dropped a slew of fantastic roots-schooled rocking singles this year. She clearly has her own thing going on, but her drawl, gift for imagery and thoughtful choice of how to emphasize certain words put me in mind of Lucinda Williams; if you’re not hip yet, now’s the perfect time. STEPHEN TRAGESER 8 P.M. AT THE END

2219 ELLISTON PLACE

[GOOD LUCK, PACK-MAN!]

COMEDY

DAVID KOECHNER

Missouri native David Koechner was born in the town of Tipton, boasting nearly 3,000 citizens and a water tower painted like an eight ball. Like so many comics before him, Koechner left his hometown to take the distinguished Second City-SNL track to Hollywood success, carrying along the spirit of the everyman. Through iconic characters like hyper-masculine sportscaster Champ Kind in Anchorman, Cooter in the 2005 Dukes of Hazzard and one of Ricky Bobby’s trusted crew members in Talladega Nights, Koechner brings humanity to flyoverstate folks. Even while lampooning the sort of sexist ignorance of Middle America, Koechner

PHOTO: AARON FARRIER

DAVID KOECHNER

creates three-dimensional ignorant doofuses who seem like they have actual anima. While all three nights of his Zanies run will show off Koechner’s often-autobiographical stand-up work, he will appear as his character Todd Packer for a night of The Office trivia at 4 p.m. on Saturday, June 22. P.J. KINZER

JUNE 21-23 AT ZANIES 2025 EIGHTH AVE. S.

[BIRDS

AREN’T REAL]

MUSIC

QUASI W/MARNIE STERN

Nashville — he studied economics at Vanderbilt University — hit 30 years ago with a pair of major-label albums that sported production from guitarist Richard Bennett and support from Nashville stalwarts like Vince Gill, Bill Lloyd and Bennett himself. Ducas charted several songs in the ’90s, including his biggest hit, 1994’s “Lipstick Promises.” He’s also written tunes for Gary Allan and Sara Evans. Long Way From Home is as lively as genre-specific country gets, and Ducas shines on the album’s richest track, “Do What the Lonely Do,” a slice of formalist, Beatlesinfluenced country that former Anderson associate Dwight Yoakam would likely endorse. Ducas marks the release of Long Way Friday at Chief’s, Eric Church’s six-story venue on Broadway, which opened in April. EDD HURT 8 P.M. AT CHIEF’S

200 BROADWAY

SATURDAY / 6.22

[YEAH YEAH YEAH YEAH]

FILM

1999:

MAN ON THE MOON

The opening track of Featuring “Birds” — the landmark 1998 album by Portland duo Quasi — sounds like a warning about OpenAI or Amazon’s Alexa. “Once it was hard, now it’s just routine,” warns singer Sam Coomes in the first verse of the record, “and I can’t tell the difference between people and machine.” Released on Seattle label Up Records, Quasi’s third album expanded upon what Coomes and drummer Janet Weiss could accomplish in a studio. Featuring “Birds” paints a broad spectrum of sonic color from an imaginative palette of sounds and rhythms. The album includes work by Pacific Northwestern luminaries like Elliott Smith, noted indie recording engineer Joanna Bolme and TapeOp Magazine founder Larry Crane. Sometimes dissonant and crunchy, other times quaint and saccharine, the LP captures Quasi in their most important moment of creative expression. Now, a full 26 years after the release of “Birds,” Coomes and Weiss will perform the album in Third Man’s audiophilequality Blue Room. Show up on time, because you do not want to miss the virtuoso-level guitar noodling of Marnie Stern. The ax-shredding veteran’s newest album The Comeback Kid showcases her finger-tapped prog-noise, like the midpoint between Mahavishnu Orchestra, Deerhoof and Eddie Van Halen. P.J. KINZER

7 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.

MUSIC

[LONELY AVENUES]

GEORGE DUCAS

Pete Anderson’s post-Bakersfield approach to guitar playing and producing country music helps turn George Ducas’ new full-length Long Way From Home into a mainstream country record with a difference. Ducas, who grew up in Texas and California before moving to

For a film about unconventional anticomedian Andy Kaufman, Man on the Moon (not to be confused with the Reese Witherspoon coming-of-age picture Man in the Moon) is a rather conventional biopic. The film showed up in the final weeks of 1999 — trying to scare up Oscar nominations that never happened — and has Jim Carrey going into Method-acting overdrive as the late performer/prankster/ provocateur. (Watch the Netflix doc Jim and Andy: The Great Beyond to see how Carrey drove everyone on set insane by remaining both in character and insufferable.) Just as with their previous collaboration The People vs. Larry Flynt, director Miloš Forman and screenwriters Scott Alexander and Larry Karaszewski give us the CliffsNotes version of this wild man’s life story. (Courtney Love also shows up as a love interest.) You’d think a movie about a guy who made a living blurring the lines between performance and reality would be more unorthodox. Fortunately, the opening scene, where Carreyas-Kaufman-as-his Foreign Man character condemns the film and encourages the audience to leave — even playing a record to get the end credits rolling — is a nice bit of fourthwall-breaking zaniness that would’ve made that

GEORGE DUCAS

agent of chaos proud. It’s showing as part of the Belcourt’s ongoing 1999 series. CRAIG D. LINDSEY

JUNE 22 & 25 AT THE BELCOURT

2102 BELCOURT AVE.

SUNDAY / 6.23

FOOD & DRINK

[ON AN OPEN FIRE]

HERITAGE FIRE

Many beloved local chefs, including Edgar Victoria from Alebrije, Jordan Arcuri from Oak Steakhouse Nashville and Chris deJesus from Butcher & Bee, will bring the heat when the Heritage Fire tour comes to historic Stone Hall Mansion in Hermitage. The local installment of the live-fire, walk-around feast comes to town Sunday, and the local chefs will engage in friendly competition while cooking beef, lamb, duck, pork (including whole pigs), seafood and, yes, vegetables, over an open fire. Tickets include unlimited food, plus freeflowing cocktails and wine. Ticket holders get to vote for their favorite dishes, made from ingredients sourced from local farms. Live music and other entertainment will keep things jumping between bites. VIP access, which is $50 more, gets you in a little earlier (3:30 p.m. vs. 4:15 p.m.) and a welcome libation. The coals are hot, rain or shine. Purchase tickets online. General admission tickets are $125, and VIP tickets are $175. MARGARET LITTMAN

3:30-7 P.M. AT HISTORIC STONE HALL

1014 STONES RIVER ROAD, HERMITAGE

MUSIC

[YOU OUGHTA KNOW] ALANIS MORISSETTE

The year was 1995. I was 13. Five girlfriends and I were dropped off at Starwood Amphitheater with one contraband Camel to share between us. We were there to see Alanis Morissette’s Jagged Little Pill tour — and listening to that album today, it’s easy to understand why it was ’90s canon. The current crop of nostalgia tours feature artists who have staying power and know how to satisfy their fans. (I watched Madonna dance for four hours wearing a knee brace in a Miami arena last spring.) These women are eternal, and they live to perform. Going to see Alanis live in concert almost 30 years after the release of Jagged Little Pill is an easy way to tap into your inner teen. She’ll be joined by Joan Jett and the Blackhearts and Morgan Wade. Grab a ticket, or five, and treat yourself to a full pack of Camels. You’ve earned it, baby. TOBY ROSE

7 P.M. AT BRIDGESTONE ARENA

501 BROADWAY

[ROCK AND ROLLA AYATOLLAH] ISAAC ROTHER AND THE PHANTOMS W/THE SHITDELS & THE SERPENTEENS

MUSIC

For one wild night, rock ’n’ roll’s ghastly caped crusaders Isaac Rother and the Phantoms will perform undead and in the flesh at Betty’s Bar and Grill. Rother’s voodoo rhythm and blues plays like a monster mash-up of Screamin’ Jay Hawkins, Little Richard and The Cramps. His

most recent single “Like a Wolfman,” released just last month, epitomizes the Gainesville goth rocker’s trashy aesthetic. “I’m gonna make you howl / Like a Wolfman do / Ah-woo!” sings Rother over crunchy guitar riffs and a retro organ sound reminiscent of The Animals. Music City movers and shakers The Shitdels will join the bill as well. Their electrifying reverbdrenched live set is a sight to be seen and heard. Local scene stalwarts and alt-rock duo The Serpenteens are set to kick off the rock show. Don’t forget your dancing shoes. JASON VERSTEGEN

8 P.M. AT BETTY’S

2511 GALLATIN AVE.

ART [GIVE HER A HAND] PAPER MAKING WORKSHOP FEAT. NICOLE MARON

It’s virtually impossible to leave Random Sample without feeling inspired. The space and the art it hosts are always stellar. So are all the people who contribute to it. On Sunday, there’s a unique opportunity to interact with all the parts that make Random Sample special via a paper-making workshop hosted by multimedia artist Nicole Maron. The event will allow you to enjoy the space, connect with new people and, of course, make paper. While everyday paper and even fancy stationery are widely accessible, making your own paper is a fun, tactile and creative exercise that can transform old scraps into new greeting cards, craft materials and more. Think about how good it feels to receive a handwritten letter. Now think about how much cooler it would feel if that letter was written on paper made by a loved one. Maron can show you how to make that happen for someone. Supplies will be provided; just reserve a spot beforehand ($35) and come with an open mind.

KELSEY BEYELER

2 P.M. AT RANDOM SAMPLE

407 48TH AVE. N.

MONDAY / 6.24

FILM

[HISTORIA DE LA ORQUESTA] 1999 AND MUSIC CITY MONDAYS: BUENA VISTA SOCIAL CLUB

You know those social media posts that remind you not to give up on your dreams, then list a bunch of notable people who didn’t achieve success until their later years? The Oscarnominated 1999 documentary Buena Vista Social Club (aka this week’s Music City Mondays selection at the Belcourt, also showing as part of the 1999 series) is a feature-length version of that — but far more entertaining. German director Wim Wenders followed guitarist/film composer Ry Cooder (he scored Wenders’ Paris, Texas and The End of Violence) to Cuba, where Cooder produced an album full of Afro-Cuban awesomeness featuring aging Cuban talents who performed at the titular Havana club back in the day. In between the performance scenes, which often bounce back and forth from the recording studio to a live stage in Amsterdam, Wenders provides screen time for each bandmate, getting them to tell their story and show off their musical skills. Don’t be surprised if you end up rooting for/falling in love with these suave, hustling codgers, as they finally taste the sweet nectar of fame before they shuffle off this mortal coil. CRAIG D. LINDSEY 3:30 & 8 P.M. AT THE BELCOURT 2102 BELCOURT AVE.

TUESDAY

/ 6.25

MUSIC

[STRING THINGS] BEN RECTOR AND CODY FRY WITH THE NASHVILLE SYMPHONY

Dynamic duo Ben Rector and Cody Fry will hit the Schermerhorn’s stage this week. You may recognize Rector’s name thanks to his hit “Brand New,” which was featured in a number of

ALANIS MORISSETTE

of Seventeen. The song will be reimagined and performed with a full symphony orchestra along with some of his other greatest hits. Now, who is Cody Fry? If you were on TikTok at the height of the pandemic, you would know his song “I Hear a Symphony.” The track sparked a singing trend, and the lyrics are now permanently burned into many users’ brains. If you’re a fan of the wildly popular soundtrack of Bridgerton’s new season, which features contemporary pop songs remade with string arrangements to fit the era of the

CLASSES: LEARN A NEW SKILL!

6/20 Beginner’s Introduction to Knitting

6/20 Intro to TIG Welding

6/22 Intro to Wood Turning Workshop

6/22 Beginner’s Introduction to Machine Quilting

6/26 Intro to the Table Saw

6/29 Build Your Own Keepsake Box , Part 3

6/30Intro to Classical Drawing and Oil Painting

7/6Intro to MIG Welding

7/7 Sewing Club

first in his lead guitar wizardry; it’s always supporting songs that frequently send up or dress down people who take themselves way too seriously. On the majority of his many Quichenight albums — since 2011, there have been a dozen, give or take, depending on how you count two Christmas EPs and 2018’s Jasmin Kaset collab Tuxedo — he plays all the parts himself. But his first-rate rock ’n’ pop arrangement skills and mastery of four-track recording make it sound like he’s got a full band every time. Live dates like his Summer of Yow series at The 5 Spot are something special and fairly rare, and you’ve got one more chance to join in the final installment of the three-week residency on June 26. Fellow stellar songsmiths Ziona Riley and Lilly Hiatt will play sets of their own, followed by Quichenight. Club Destin rounds out the bill; as heard on their self-titled debut record, singer-guitarist Hunter Kuhlmann has enlisted members of longtime Nashville band Bear in the Campsite to bring his twangy blend of indie rock to life. STEPHEN TRAGESER

9 P.M. AT THE 5 SPOT

1006 FOREST AVE.

FILM

[TO LAUGH, TO CRY, TO KIDMAN] A CELEBRATION OF NICOLE KIDMAN

If you thought the Belcourt’s summer repertory lineup couldn’t get any better, think again! Following its exhaustive (in a good way) 1999 series, the beloved film center hosts a celebration of Nashville’s best actor, Nicole Kidman. (No shade to her Big Little Lies co-star Reese Witherspoon. Pick Flick!) In honor of Kidman receiving the AFI Life Achievement Award in April, the Belcourt has programmed nearly two weeks of films starring Kidman and chosen by the Australian native herself. The lineup runs the gamut from 1995 journalism satire To Die For through her performance in

the underseen 2010 psychological drama Rabbit , with milestone pit stops in between including the Jonathan Glazer freakout Eyes Wide Shut, , epic period , arthouse experiment and madcap jukebox musical Moulin The lineup features two of her five OscarRabbit Hole and The Hours, curiously. It’s hard to distill a career as iconic as Kidman’s down to eight films (justice for !), but this lineup is about

2102 BELCOURT AVE.

THEATER

[THE WORLD’S MOST FAMOUS GROUPIE] MISS PAMELA DES

BARRES

Miss Pamela Des Barres will bring her acclaimed one-woman show to Nashville for the first time Wednesday night with a performance at The Eighth Room. Often called “The World’s Most Famous Groupie,” Des Barres had backstage access to rock history and will be sharing her often outrageous firsthand experiences with a who’s who of classic rock, including Jimi Hendrix, The Rolling Stones, Led Zeppelin, The Who, The Byrds and The Doors. “I’m mad for Nashville,” Des Barres tells the Scene via email. “I love country, of course, but Nashville also rocks hard, and I think my show will titillate people with rock ’n’ roll in their hearts. I was smack dab in the middle of the musical revolution — Laurel Canyon during the day and the Sunset Strip at night when it really mattered, and I knew the music being played would live forever.” Probably best-known for her 1987 best-selling memoir I’m With the Band: Confessions of a Groupie, Des Barres has authored several other popular nonfiction books and for the past two decades has been conducting women’s writing workshops. In addition to her appearance at The Eighth Room, she’ll host a pair of workshops in Nashville on Monday and Tuesday, for which more information is available at pameladesbarresofficial.com.

DARYL SANDERS

8 P.M. AT THE EIGHTH ROOM

2106 EIGHTH AVE. S.

A Good Fit. A Great Future.

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Fall semester begins August 26.

DAY IN THE SUN

Antigua Cocina Guatemalteca features unique street food, hearty stews and daily specials

BY ALIJAH POINDEXTER

SOUTH NASHVILLE HAS great food. But it’s a driver’s nightmare, which makes getting there from other parts of town difficult. For one, the traffic is perpetually snarled. The potholes are deeper than hotel swimming pools and could destroy the suspension of a Sherman tank.

When traffic finally starts moving, you and your fellow drivers can’t help but shift into Mad Max mode, bobbing and weaving through vehicles in a mad dash toward spiritual freedom — and that’s not to mention how incredibly dangerous that part of town is for pedestrians.

cuisine. Think tamales, stews, Guatemalan-style hot dogs, pollo asado and garnachas — nifty little tortillas topped with ground beef and onion that are widely considered a staple street food. The list goes on, and it’s all quite good.

Antigua Cocina Guatemalteca (from here on we’ll refer to it just as “Antigua”) is tucked away in a fairly standard strip mall best described as unassuming — though in my experience, strip-mall surroundings usually indicate great food inside. But that isn’t to say Antigua is uninspiring on the inside — the dining room is colorful and spacious, with ample room to zone out, beer in hand, while watching whatever’s on the television. Service is quick and friendly, and servers are happy to dole out recommendations and information on the menu items. Which is helpful, considering the fact that the menu, while not huge, is incredibly dense. Everything looks good, and everything I’ve had is. But it’s probably best to approach this logically, so I’ll start with the starters.

Antigua Cocina Guatemalteca 1135 Bell Road, Suite 306 antiguacocinatn.com

I’m being only slightly overdramatic. But amid the chaos there is wonderful respite. For those daring enough to brave a journey to Antioch’s Bell Road (I tip my hat to those who are), there awaits at Antigua Cocina Guatemalteca all manner of delicious Guatemalan

Guatemalan cuisine is among Latin America’s best when it comes to street food, and it’s a centerpiece at Antigua. Spicy, starchy and porky, with plenty of flavor, is how they prefer to get down. There’s no shame in just grabbing some tacos and calling it a day. But you’d be missing out on some really fantastic stuff that can’t be found on every corner. Look for the chalkboard next to the host stand, where the restaurant lists the rotating specials not found on the menu. Keep an eye out for items like the shuco (which literally translates to dirty in Guatemalan Spanish), a hot dog with avocado and assorted toppings, or the tayuyos, which look and taste similar to the more famous Salvadoran pupusas. It’s a bad move to leave Antigua without trying a tamal. At last count, there are seven unique types of tamal on the menu, which is a feat — many places can barely scrounge together chicken and beef. If you want to keep it light, opt for the black-bean-stuffed chepes, which pack robust stick-to-your-ribs flavor with no meat necessary. Chuchitos, stuffed with meat in a savory tomato sauce, are probably the closest to the standard lunch-special tamal, but with a far cooler name. Special recognition goes to my personal favorite, the paches de cerdo, which use potatoes rather than masa to build the tamal. The technique was new to me. The dish’s red color hints at a fiery and savory flavor, backed up with serrano pepper and stewed pork shoulder. While not tender, the pork has a firm chew that brings texture to the lightly steamed potatoes.

It’s possible to make several trips to Antigua and still not try all they have on offer. For one thing, it’s not just tamales and hot dogs — the enchiladas guatemaltecas, for example, are so dainty and deceptively simple that they

wouldn’t be out of place at a fusion brunch spot in the Gulch. It’s a simple premise: A crispy tortilla is topped with beet-and-cabbage salad, ground beef, cheese and hard-boiled egg. I

FOOD & DRINK: VEG OUT

BUDDHA BOWL FROM BROOKLYN BOWL NASHVILLE

A hearty tofu-based bowl will start your night out right

BY MARGARET LITTMAN

typically cannot stand two of those five ingredients (feel free to guess which), but the success of this dish, with its vibrant colors and variety of textures, makes me excuse their presence.

WE’VE TALKED BEFORE about how important it is to eat (and drink) at music venues. That’s because many venues rely on our tabs to help the bottom line. (Proceeds from the tickets at the door don’t pay the rent.) Plus, don’t overlook the simplicity of staying at one venue without worrying about getting from dinner to the show on time — the convenience factor shouldn’t be overlooked. Still, I admit I often don’t instinctually think of eating at the venue. I have to be reminded.

Well, this is your reminder, and mine. If you’re headed to a show at Brooklyn Bowl Nashville, make time to grab a table at their restaurant first. The menu was recently designed to add more vegetarian options, and several of those are dishes that will become part of my regular rotation. I’m a big fan of the Buddha Bowl ($17), a hearty vegan and gluten-free mix with spicy (but not too spicy) tofu, butternut squash, mushrooms, scallions and rice. It is a substantial meal, but not heavy. Other meat-free winners include a mac-and-cheese with olives and artichokes ($17.50) and several cauliflower options, including roasted in tacos ($15) or battered Buffalo-style as an appetizer ($12).

While now I’m looking for shows to go see so that I have an excuse to eat at Brooklyn Bowl, I don’t have to. The restaurant is open even if you aren’t going to a concert or bowling — no reminder needed. ▼

It’s also relatively light, which is much needed before tucking into one of Antigua’s delectably sweat-inducing entrées.

Antigua’s entrées and mains are diverse,

running the gamut from carne asada and lengua en salsa to churrasco and caldo de mariscos. But the pepian is something I always have to try when venturing to a Guatemalan restaurant. Pepian is one of Guatemala’s bestknown culinary exports. A complex chicken and vegetable stew reflecting Guatemala’s rich heritage of Mayan and other Indigenous American cultures, pepian manages to stand out in a cuisine notable for its diversity of warming soups and stews. Jars of pepian paste line the Guatemalan section in local international grocery stores, and the dish is, much like mole at some Mexican restaurants, ubiquitous on on Guatemalan restaurant menus. Pinning down the taste of pepian is a difficult game: Gourd seeds are used to thicken the dish, similar to the way peanuts thicken many variants of mole, and the nutty aroma punctuates and grounds the dish. But around this floats flavors of scorched chiles and fragrant tomatoes, which meld together in every bite. A spoon is always good manners, but combining pepian sauce with one of Antigua’s homemade corn tortillas, fluffy and steaming from the kitchen, absolutely elevates the experience.

Antigua rewards return visits. The sizable menu, along with the daily specials and notbad-for-2024 prices, means Antigua is a very solid spot for weeknight dinners or late weekend lunches. Try one thing, try something else next time, and keep it diverse, as your curiosity will be rewarded.

And good luck with the traffic. ▼

PACHES

WEEKEND BRUNCH

Join us for an elevated brunch experience: Saturday and Sunday 9am-2pm

$32/person includes one Mimosa

Bottomless Mimosas $30 (max 2 hrs)

CICADA LOGIC

How cicadas reflect my queer experience

BY RIVER JAMES WITHEROW

UPCOMING EVENTS

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6:30PM

10:30AM

THURSDAY, JUNE 20

CATHERINE NEWMAN with MARY LAURA PHILPOTT at PARNASSUS Sandwich

SATURDAY, JUNE 22

SATURDAY STORYTIME with DR. TRIBA GARY at PARNASSUS S is for Sweetgrass

MONDAY, JUNE 24

6:30PM CLAIRE LOMBARDO with LINDSAY LYNCH at PARNASSUS Same as It Ever Was

6:30PM

JOSEPH KANON at PARNASSUS Shanghai

WEDNESDAY, JUNE 26

THURSDAY, JUNE 27

6:30PM JILL CIMENT with ANN PATCHETT at PARNASSUS Consent

10:30AM

SATURDAY, JUNE 29

SATURDAY STORYTIME with ALI

Vodka Yonic features a rotating cast of women, nonbinary and gender-diverse 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.

“THEY HAVE LETTERS on their wings.”

I don’t remember who first told me this fact about periodical cicadas, whether it was a sibling or a classmate or one of those anonymous children I met on the bleachers at my brothers’ tee-ball games. But upon scooping one of the squeaky bugs into my 7-year-old hands, I saw it was true. At the edge of many cicadas’ wings, the thin veins stand out like inked black letters. It’s pretty much just W’s and M’s, but I always searched for a K anyway. At the time, that was the first letter of my name. I had no idea that one day I’d have a different name, a different letter to search for.

Little me did know the 13-year cicada, Magicicada tredecim, was as magical as its taxonomy suggested. At 7, my favorite activities were playing Nintendo 64, catching bugs and pretending my bike could turn into a magical dolphin. It was, of course, 1998. Cicadas were ideal for afternoons of bug-catching. They weren’t as fast as grasshoppers or as delicate as butterflies. They didn’t bite or sting. And those secret messages on their wings made it feel like I was supposed to catch them. Every afternoon was like an Easter egg hunt, but weirder.

When the cicadas returned in 2011, I was in college studying art. I visited home, and the shells were so thick at the base of my grandmother’s trees that I could scoop them off the ground like a kid filling a bag with peach rings at Candy Craze. By this time, humanity had in-

vented high-speed internet and Wikipedia, and my cache of cicada facts grew exponentially. I learned that cicadas emerge en masse because their sole defense strategy is something called “predator satiation.” All the attributes that make them easy for a 7-year-old to catch also make them easy prey. Their only hope of survival is coming out in such massive numbers that the birds of the world can’t possibly eat them all. I learned that they spend more than a decade living underground, waiting for that one magical chance to emerge. Just imagine spending your whole life waiting, not knowing if you’re going to spread your wings and sing, or if someone’s goldendoodle will eat you just to throw you back up on the sidewalk.

I started drawing them for class, letting them swarm out of my pencils by the dozen, until they covered the walls of my studio the same way they’d covered the trees of my grandmother’s yard. In those days I had the overwhelming feeling that I’d also spent my life underground, that I was only now crawling out, but I had no idea what it was I was destined to morph into. I’d seen the 2011 cicadas newly emerged from their shells, their bodies still white and vulnerable, their still-drying wings as delicate as lace. Like me, their new wings were blank, their letters not yet revealed.

It’s now 2024, another lifetime removed from playgrounds and dorm rooms. Between the last emergence and this year’s, I came out as transgender. With that revelation also came the ultimate payoff for my lifetime of loving cicadas, because they’re an almost comically perfect metaphor for my queer experience.

Like many queer people, I felt like I’d spent the majority of my life hiding in the dark, buried alive. When it was finally time to emerge, to shed my shell and become myself, it was a strug-

gle. There were days it felt impossible to pull myself apart and put the pieces back in order. Nature has never pretended to be easy or fair, and not all molts are made equal. My fence is littered with the bodies of cicadas half-emerged from their shells — the ones that tried so hard to hatch, only to die before they were ever truly free. Many cicadas hatch with malformed wings, unable to fly. Some emerge in the wrong year — too early, too late — and find themselves alone.

Some days I look at myself in the mirror, cataloging my own imperfect metamorphosis. I think, If I’d only transitioned earlier, had puberty blockers, had a better surgeon. But even on my worst days, I still wouldn’t trade my transition for the world. Even a cicada without wings has seen a sun its younger self could only imagine. It’s a triumph just to survive in a body you’ve built for yourself.

Not everyone sees the beauty in these transformations. Many people are disgusted by the cicada emergence, by queer joy.

“They’re so gross.”

“They’re so loud, it’s annoying.”

“I just don’t want them near me.”

“God, they’re just everywhere all of a sudden.” Different teeth, same bite. There are always predators waiting to eat us alive. Fragments of sparkling amber wings littering the ground. Another newspaper headline every day. But they can’t eat all of us, no matter how hard they try. We are not as defenseless as M. tredecim, but we are just as tenacious.

This year I’m looking for R’s on the wings, the first letter of the name I gave myself. I am, scientifically, unlikely to find an R, but I didn’t make it this far by giving up on impossible things.

I don’t know who I will be the next time Brood XIX emerges, but I know whoever I am, I will welcome that next emergence with joy. ▼

PHOTO: RIVER JAMES

STAY GOLD

The Key Show at Zeitgeist celebrates the artists who built Nashville’s contemporary art scene

BY JOE NOLAN

THE FIRST ITERATION of The Key Show was co-curated by Zeitgeist director Lain York and Ground Floor Gallery + Studios founder Janet Decker Yanez at the Browsing Room Gallery in the fall. The title of the exhibition refers to its artists as former key-holders of the studio and gallery spaces at the Houston Station building and the former May Hosiery Mill. The September show included work by Greg Pond, Beth Gilmore, Michael McBride, Adrienne Outlaw and Dane Carder as well as Yanez and York. Underground institutions like the Fugitive Art Center and Seed Space were born in those buildings, and countless creatives passed through the affordable art studios that were once available in the reimagined industrial spaces.

The Wedgewood-Houston art scene sprang to life in the late 1990s when a diverse creative community was drawn to the new artist-run galleries and studios. A ragtag tribe of DIY creators — not commercial galleries or arts institutions — provided the proof of concept that Wedgewood-Houston could be transformed into a contemporary art hub. At around the same time, development began to push those artists out: Houston Station is now a destination for restaurants and retail; the old May Hosiery Mill is now home to Soho House Nashville, an exclusive members-only hotel and club. It’s the Bizarro World version of the casual cooperatives that fueled the creative community at the place that local artists simply called “the Chestnut Building.”

The latest version of The Key Show, which opened June 1, reads like a grown-up version of that original show in a comparatively sprawling display at Zeitgeist. The opening reception was brimming with veteran art scenesters, and the First Saturday fête felt like a class reunion for the studio community that made Wedgewood-Houston 1.0 a reality. Zeitgeist was one of the first commercial galleries to show and repre-

sent the emerging creators who cut their teeth as artists and curators at the Fugitive, and since the gallery relocated from Hillsboro Village to Wedgewood-Houston in 2013, it’s become emblematic of ascendancy of the 2.0 version of Wedgewood-Houston’s contemporary art scene. Twenty-five artists are included in this version of The Key Show, and while there are some eye-catching pieces, it’s really the roster that tells the story here.

Greg Pond’s “Guncotton Coordinates” is an abstract print from a digital motion capture of a dancer. Guncotton was a collaboration between Pond and New Dialect contemporary dance troupe founder Banning Bouldin between 2017 and 2018. Their interdisciplinary works spanned dance, video, sculpture and sound art, and the print reads like a cryptic logo, capturing a complex creative project in one single image. Pond is the co-founder — along with poet-artist Bryan Hunter — of the Fugitive Art Center, an art space and curatorial collective named for the literary movement formed at Vanderbilt University in the 1920s. The give hosted out-of-town and even international artists in its massive gallery space, and later curated locals in a hallway gallery at the building’s Houston Street entrance. Many artists had studio spaces at the Fugitive, and their opening-reception after-party dance marathons are the sweaty stuff of legend. It was actually a July 2004 Scene cover story about the art center that caught the attention of Nashville’s fire marshal, and an inspection determined that the Fugitive could no longer host public exhibitions. The studios lasted for a little while, and the curatorial collective shifted to touring new-media exhibitions, but the dream was over.

Nashville native Adrienne Outlaw made work in a studio at the Chestnut Building for years, and the artist’s long-lived Seed Space gallery got its start as a humble curatorial project in a corner of the artist’s workspace. Outlaw is now

based in St. Louis, and her sculpture made from recycled materials greets visitors as they enter The Key Show. “Reef” is a two-paneled tapestry made of bottle caps, zip ties and vinyl-coated hardware cloth. Its playful, rattling construction and ebullient color palette make it one of the most memorable works in the show.

Dane Carder’s “Lullaby” painting pictures a slain Civil War-era soldier through the cursive lines of a contemporaneous wallpaper design. Carder is a self-taught painter who developed the aesthetic of his Civil War works in his studio at the Chestnut Building before his paintings leaped into the Southern contemporary art conversation, championed by the late, great Nashville novelist Robert Hicks. Carder’s studio was also home to the Threesquared gallery, which was curated by local writer and artist Sara Estes.

Mike Calway-Fagen and Julian Rogers shared a studio across the hallway from Outlaw/Seed Space and Carder/Threesquared. Like that pair, Calway-Fagen and Rogers made work in their shared studio space, but also curated experimental exhibitions under the name Sooplex. Calway-Fagen’s addition to The Key Show is a short video titled “White Gold” — it features a mustachioed hipster huffing fumes from a spray can before turning it on himself and painting his face gold.

How does that poem from that movie go?

“So dawn goes down to day. Nothing gold can stay.”

Joe Nolan’s book Nowville: The Untold History of Nashville’s Contemporary Art Scene will be released in November via Vanderbilt University Press. ▼

The Key Show Through June 29 at Zeitgeist

“LULLABY, “ DANE CARDER

JON WOLFE with CATIE OFFERMAN

WMOT Roots Radio Presents Finally Friday featuring SOPHIE GAULT, JARED PETTEYS & THE HEADLINERS + NICK TAYLOR

THE LONG PLAYERS performing The Rolling Stones “IT’S ONLY ROCK AND ROLL”

Backstage Nashville! Daytime Hit Songwriters Show featuring SHAWN CAMP, DALLAS WILSON, RAY STEPHENSON with DAN SMALLEY with Special Guest Host BILL WHYTE

WORLD TURNING BAND “The Live Fleetwood Mac Experience” with SAM MULLENS

WILL OVERMAN + ABBY HAMILTON with GRAYSON JENKINS

6:00 7:30

Bluebird on 3rd featuring JENN BOSTIC, SARAH DARLING & JEFF TROTT with CLAIRE KELLEY & AUTUMN MARIE

A Preshias Night of Music - An Evening to Benefit PRESHIAS HARRIS featuring CHASITY BAILEY, JESSIE BRACKIN, BROOKE SPENCER and ANDREW VENDELIS, MACARTNEY REINHARDT, ZAC GRACE, SCOTT LINDSEY, BRADY SEALS, DAVE GIBSON, KEESY TIMMER, BRICE LONG, MARLA CANNONGOODMAN, ELVIE SHANE, GYTH RIGDON, MIKAYLA LANE, BRIDGETTE TATUM, GABE WALSH, DAWSON SLADE, PARKER LEBLANC, CHRIS SHUPE, GRADY JAMES, JUSTIN DUKES & BLAINE CRAFT THE TIME JUMPERS

BACKSTAGE AT 3rd: Hitmakers Show featuring TOMMY KARLAS + JOEL SHEWMAKE

Jedd Hughes

paris paloma w/ the army, the navy the taylor party: the ts dance party athena sweet tea tance: the official closing party of nashville pride up all night: a one direction party five iron frenzy w/ spoken in tongues & lo(u)ser hot in herre: 2000s dance party wyn starks w/ flight attendant & sarah peacock colton sturtz w/ jesse kramer, henry conlon & strange company nightrain: guns n' roses tribute experience pedro the lion w/ flock of dimes sarah sherman every avenue w/ makeout, rookie of the year & odd sweetheart allan rayman w/ michael lemmo the wilder blue sparkle city disco ok go w/ winona forever & mirthquake cardinal black w/ connor clark & blue rhythym revival new medicine

melody federer w/ reid zingale (7pm)

bullshark w/ omnipleasant & waspeater (9pm)

john mccauley (deer tick) (7pm)

bogues w/ drew erwin & chase huglin (9pm)

john mccauley (deer tick) (7pm)

bonnie stewart w/ karlee metzger (9pm)

hot girl sh*t ft. qwynn, savannah aspen, keyia leblanc, pistol pearl, vanessa lynn bird, nina

olivia lloyd & caitlin cannon (7pm)

trever keith w/ ethan luck (9pm)

ethan tasch w/ bridey costello (7pm)

moose miller w/ scioto breeze (9pm)

earleiene w/ ethan luck (7pm)

esther rose w/ corey parsons (9pm) anna graves (7pm) kiera loveless & cali wilson (7pm) the dreaded laramie w/ mel bryant & the mercy makers (9pm)

MUSIC

CURRENT EVENTS

Rich Ruth deploys dynamic creative strategies on Water Still Flows

BY SEAN L. MALONEY

ONE FITTING DESCRIPTOR for Water Still Flows, the third studio LP from Rich Ruth — the instrumental project of Nashville multi-instrumentalist Michael Ruth, who uses his middle name for this body of work — is “oceanic.” The album is expansive in both sound and vision, and it moves between its calm and tumultuous moments with the kind of grace you expect from something vast and ancient. Observed from a distance, it has a consistent heartbeat, but when you get close, it’s roiling and boiling. Comparisons to a river also work, since Ruth and his collaborators carve out paths in the sonic texture like the Colorado cutting through the sandstone slowly and deliberately to form the Grand Canyon.

We caught up with Ruth ahead of the Water Still Flows release on June 21 via Third Man and the release party the following night at The Blue Room. When not touring with his own band, Ruth has been on the road as a member of stellar Kentucky singer-songwriter S.G. Goodman’s band. With a hefty chunk of van time in front of him, he decided to take a deep dive into metal, both familiar and new to him. Ultimately, that shaped the palette of Water Still Flows, which has a much lower center of gravity than its predecessors Calming Signals and I Survived, It’s Over “I’d just be listening to Carcass and Obituary and Darkthrone and things like that,” Ruth tells the Scene. “And then also reexamining a lot of the doom- and drone-metal stuff that I’ve been into for years, like Earth and Boris and Sleep. And then as that was happening, I was kind of acquiring more and more weird vintage amps and a lot of fuzz pedals. And I finally figured out how to multitrack all these heavy, down-tuned

guitars, and then I just started combining that with weird samples and sequences and things like that.”

From there, Ruth sent out these heavier sounds to his cross-country collaborators — a roster including all-star psychedelic harpist Mikaela Davis, deep-listening drummer Reuben Gingrich, spirit-guiding saxophonist Sam Que, wide-ranging violinist Patrick M’gonigle and man of (pedal) steel Spencer Cullum — for an examination of the space between electrons. Each brought their unique tonal language to the affair, recorded at his Nashville home studio, and yet the group’s communication is fluent and fluid, creating a continuity of vibe.

“I’ve never gone into making a record with my own music having much of an idea beforehand of what it’s going to be or what it’s going to sound like,” explains Ruth. “It just kind of reveals itself as I find inspiration and go. And it’s just kind of like, when I have the time and energy and I’m home and can be in my studio, it’s just sort of a daily practice of just going in there and experimenting and just seeing what happens.

“Eventually those things add up, and I start bringing in other people to add their voices and see what happens. I never really tell ’em what to do or give them [many] parameters. It’s always exciting to just see what really talented musicians decide to do over something that’s fairly simple or ethereal or open-ended. And then that provides a new throughline path that I can follow. And then I do that 40 times with different things and then start narrowing all that down to something that feels cohesive as an album.”

The end result is a record that could have crash-landed from outer space, hitting half

Water Still Flows out Friday, June 21, via Third Man Records Playing June 22 at The Blue Room at Third Man Records

PULLING STRINGS

Violinist Peter Otto’s career comes full circle as concertmaster of the Nashville Symphony

BY JOHN PITCHER

VIOLINIST PETER OTTO Is no stranger to the Nashville Symphony. He made his debut as guest concertmaster 14 years ago in a performance of Mahler’s Symphony No. 5. Otto was deeply impressed with the orchestra and also liked the city, though he did notice one peculiarity.

“It sure seemed to rain a lot,” says Otto, recalling the torrential rain that pounded the windows of his downtown Nashville hotel room on the evening of May 1, 2010. Otto learned that, shortly after he boarded his plane back to Cleveland, water poured into the Schermerhorn Symphony Center basement, destroying two Steinway concert grand pianos and severely damaging a $2.5 million organ.

the section in the record store marked “For the Heads” on its descent. From the kosmische oscillations of album opener “Action at a Distance” to the evocative ambience of “God Won’t Speak,” from the gut-rumbling “Aspiring to the Sky” to the glacial saxophone synthesis of album closer “Somewhere in Time,” Ruth and company weave a soundscape that’s easy to lose yourself in. Even in its heaviest movements, Water Still Flows feels nebulous and ethereal. Each instrumental performance navigates deftly around expectations, never getting pulled into the eddies or beached on the shoreline.

“I’ve just been reverse-engineering these tracks to try to perform live, and then that becomes something completely different because there’s no point in trying to re-create this stuff verbatim — it’d be impossible,” Ruth says. “So now it’s become this sort of jam-band mentality, of just like, ‘Here’s the theme, let’s see what happens.’ And it’ll change every night.”

The approach opens up profound possibilities when brought to the stage; you can hear that for yourself on 2023’s Live at Third Man Records, recorded at the release party for I Survived, It’s Over. With so many styles and their social context woven into the music (Doom metal! Experimental electronic art music! Jam bands! Jazz!), it could be easy for the meta-ness of it all to overwhelm the music. Ruth doesn’t fall prey to that, in part by simply committing to the coolest possible sounds and giving his colleagues wide latitude to create in response to them.

“It’s just about finding a collective zone and inhabiting it as sensitively — and maybe aggressively — as possible. It just depends on what moment we’re in." ▼

Fortunately, 2010’s historic flood didn’t (ahem) dampen the violinist’s view of the city. Last year, he accepted an offer to become the symphony’s permanent concertmaster. And on Monday, June 24, he’ll make his solo recital debut, playing a dauntingly difficult program at the Schermerhorn that will include music by Brahms, Respighi, Penderecki and Salonen. When the NSO announced Otto’s appointment last summer, music director Giancarlo Guerrero was effusive in his praise. “Attracting someone like Peter speaks to the level of the Orchestra and our beautiful hall and shows that the Nashville Symphony can attract the highest caliber of artist,” Guerrero gushed in his news release.

In truth, securing Otto’s service wasn’t easy. Guerrero first met the Juilliard-trained violinist while guest conducting the Cleveland Orchestra during the 2007-08 season. Otto, who had just become the Cleveland Orchestra’s associate concertmaster, made a big impression. So when Guerrero became music director of the Nashville Symphony in 2009, he began eyeing Otto as a possible concertmaster. Guerrero had good reason to want Otto in that important chair. The concertmaster, after all, is arguably the second-most influential musician in the orchestra after the conductor. Sitting immediately to the left of the conductor onstage, the concertmaster tunes the orchestra at the beginning of the concert and plays the violin solos during the performance. Moreover, the concertmaster makes decisions on bowing and other technical details for the violin section, which can determine the quality of an orchestra’s string sound.

As one of the country’s so-called “Big Five” orchestras, the Cleveland Orchestra is widely admired for its polished perfection. Guerrero hoped Otto might bring this quality with him to Nashville. Otto, however, wasn’t ready to switch teams.

“I knew they wanted me to become their concertmaster, but I had to decline because of my job in Cleveland,” Otto tells the Scene “But I decided to come play anyway, just for fun. I had no idea what to expect from the Nashville Symphony and was completely blown away by the responsiveness and flexibility of this orchestra.”

So what ultimately changed Otto’s mind about Nashville? Apparently it was the grind in Cleveland.

As one of the world’s premier orchestras, Cleveland maintains a grueling classical concert schedule that includes frequent festivals and world tours. The practice and rehearsal time needed to perform this music is intense.

“I began to imagine a different life for myself, and then I found out about the concertmaster opening in Nashville,” says Otto.

The NSO may not be a Big Five orchestra; for reference, the other four ensembles are the New York Philharmonic, the Philadelphia Orchestra, the Boston Symphony Orchestra and the Chicago Symphony Orchestra. But it is a leading interpreter of contemporary American music, and next season Otto and the NSO will give the world premiere performance of American composer Kip Winger’s new violin concerto. The perfor-

MUSIC: THE SPIN

’ROO

NEEDS TO THINK WHEN YOUR FEET JUST GO?

BY KELSEY BEYELER, HANNAH CRON, JAYME FOLTZ AND STEPHEN TRAGESER

STROLLING BACK onto The Bonnaroo Farm each year always feels a little strange at first. But then you see a bunch of adults dressed as bananas or playing with The Parachute People’s parachute, and soon enough you’re in the festival rhythm. Our full reviews from all four days of the festival are online, but here’s a highlight reel of our visit.

Thursday afternoon, technical difficulties delayed indie-rocking songsmith Medium Build by about 25 minutes. But it didn’t dampen his spirit, and the payoff of heartfelt tunes from the project’s new LP Country was well worth it. Later, Pretty Lights — aka electronic artist Derek Vincent Smith and his fantastic Soundship Spacesystem band — fired up What Stage as the Thursday headliner, greeting the crowd with gusto and a new song written just for the occasion.

Shoutouts are due to Nashville’s own electro-

mance will be recorded for future release on the Naxos label.

Speaking of the coming year, Otto might have had a sense of déjà vu when he first glanced at the programming for the 2024-25 season. The Nashville Symphony will open its classical series in September with Mahler’s Symphony No. 5 — the same piece that Otto played with the symphony during that pre-diluvian concert in 2010.

“I’ve definitely come full circle in Nashville,” he says. ▼

Recital 7:30 p.m. Monday, June 24, at the Schermerhorn

pop-punks The Foxies for running a gauntlet of sound issues to play their proverbial asses off, and Dallas rapper BigXThaPlug for firing off bars like a mythical giant hurling boulders. Amid showers of stage blood from beheading their irksome hype man, the latest incarnation of irreverent, gore-spattered metal crew Gwar emerged to a heroes’ welcome. Topics they poked, prodded, skewered and eviscerated — in the grossest, most provocative ways possible, naturally — included celebrity social-media dis-

putes and Israel’s invasion of Gaza.

At Who Stage on Friday, Cookeville country-metal songsmith Dan Spencer showed off his skill at tapping into the feeling of being stuck in a place where you don’t fit; expect to see him on much bigger stages before long. Ahead of Memphis MC Key Glock, it felt like folks were

trying to hotbox the whole field around That Tent. We’re not complaining; the atmosphere was right, and a little weed smoke just made the lasers beaming from the eyes of the giant model of Glock’s head onstage look even cooler.

Following up his 2019 solo performance, Friday headliner Post Malone brought a full band and a string section, plus pyro and fireworks. There were some notable differences in the overall energy this time that seemed to reflect the extreme highs and lows Malone has experienced in the past few years, and if you were looking to get amped up for a night of partying, your mileage might have varied. Still, it was a rich and heartfelt performance (with a guest appearance from jam-grass-rocker Billy Strings), and Malone’s stage presence — genial, earnest and effusing delight and gratitude to his fans — was very much the same as ever.

As Bonnaroovians shifted into late-night mode, they clearly adored T-Pain. How could you not love a man who has brought us so many absolute party-starting bangers over the years, from “Bartender” to “I’m Sprung” to “I’m N Luv (Wit a Stripper),” not to mention the unbeatable hook on Flo Rida’s “Low”? A ’Roo frequent

PHOTO: CHRIS LEE

PHOTOS: HAMILTON MATTHEW MASTERS

KEY GLOCK

POST MALONE

GWAR

flyer, T-Pain expertly commanded the crowd and really made the audience part of the set by turning the mic to us — perhaps too often, if you were hoping to witness his prodigious vocal talent — for songs we knew by heart.

“I’m sick and tired of them telling us we should hate each other, that we should divide,” Brittany Howard said, addressing the sweat-soaked crowd assembled at Which Stage Saturday afternoon. “We are all brothers and sisters.” Howard’s solo albums — which draw inspiration from soul, funk, jazz fusion and even house music — share thoughtful perspectives about how to care for yourself and those closest to you, as groundwork for loving your neighbors better. She and her eight-piece band were unstoppable during their hourlong set, building grooves up and breaking them down and making it look easy.

“You wanna hear a love song?” Chris Carrabba asked the Bonnaroovians pouring out of This Tent. You betcha they did. Hundreds of fans scream-sang along with the Dashboard Confessional frontman and lots of guests to “Stolen,” “Screaming Infidelities” and heaps more non-Dashboard songs during the Once

Chappell Roan, fest organizers wisely moved her set to the Centeroo’s second-largest stage, Which Stage, likely taking into consideration the size of the crowds at recent fests. “I feel like some people here need mouth-to-mouth,” Roan said as she graced the stage in a latex nurse costume and her signature dramatic drag-inspired makeup. She launched into the sexy “Super Graphic Ultra Modern Girl” before cycling through more glitzy, glammy dancepop fan faves from her debut LP The Rise and Fall of a Midwest Princess. She taught the crowd the dance to “Hot to Go!” — something she has lots of practice with, having even schooled her grandparents on the moves — but one look around the crowd showed that Bonnaroovians had it down pat.

ear couldn’t help but miss Amanda Shires’ fiddling and sweet harmonies on the softer songs. Sunday headliner Fred Again..’s particular artistry seems like it would lend itself to situations where the crowd is in a more contemplative mood, or at a fest tailored to folks who get truly hype for dance music. His set Sunday was highly referential, incorporating samples from memes and pop culture. Sometimes, though, it came across like what you’d hear in an H&M at a suburban mall — pleasant, but maybe not the celebratory exclamation point you might hope for. A few songs, like “Places to Be,” his recent collaboration with Anderson .Paak, went over particularly well with dedicated fans, and plenty cut loose and let the beats flow through them.

More With Feeling(s) Emo Superjam. At the same time, Cage the Elephant made their triumphant return to the Farm, taking the main What Stage after playing just about every other stage at Bonnaroo over the past decade. The sing-alongs to catalog standouts like “Cigarette Daydreams” and “Come a Little Closer” rivaled those at the Superjam.

Veteran funk-punks Red Hot Chili Peppers kicked off their third go-round as Bonnaroo headliners with bass madman Flea, drummer Chad Smith and guitarist John Frusciante going for broke on an instrumental jam. The band seems to really find another gear when Frusciante is with them. Back in the fold since 2019, he’s now on his third tour of duty with the Peps, and was grinning a mile wide as he played his Stratocaster so hard it’s a wonder it’s still in one piece. Singer Anthony Kiedis bounded to the stage, and the set began in earnest with “Can’t Stop,” which could easily be the band’s mission statement. Legacy act they may be, but they haven’t lost their teenage sense of humor, and they play like every show is their last.

A few days before Sunday’s show from

Shortly after the Midwest Princess sashayed away, the reigning pop monarch ascended What Stage. Carly Rae Jepsen has been providing us earworms since her breakthrough hit “Call Me Maybe” back in 2012, and she’s only gotten better with time. Unfortunately, the show came to a screeching, darkly ironic halt mid-lyric in “Western Wind” when a lightning threat put the entire festival on pause. She was still able to continue about an hour later and “Cut to the Feeling” effortlessly.

The dark clouds cleared to reveal a fiery yellow-and-orange sky, the perfect backdrop for the Hot Girl herself, Megan Thee Stallion; the last sunset over Bonnaroo 2024 even matched her sparkly ombre bodysuit. Introducing “Freak Nasty,” Thee Stallion issued a command to the OG hotties in the crowd: “I better hear y’all singing this shit at the top of your lungs!” And that was just the master MC clearing her throat. After a quick costume change, she brought the feminist power and proclaimed it “self-love summer,” twerking to her Cardi B collab “WAP” and showing the crowd how important it is to love yourself with “Body.”

Which Stage closed out its 2024 run with local favorite rocking songwriter Jason Isbell and the 400 Unit. Classic 400 Unit staples like “If We Were Vampires” and “Cover Me Up” made appearances in the set, as well as songs from the band’s lauded 2023 album Weathervanes. The performance was steady and solid, but a careful

The rhythm of Bonnaroo lends itself to ending with a big bang, part of the reason that rock legends like Stevie Nicks and Foo Fighters have been such effective choices for main stage closers in recent years. DJs and electronic composer-producers do fare well at Bonnaroo, but generally at other times when Bonnaroovians haven’t been baking in the sun for days and need a distraction from the reality that their favorite weekend of the year is coming to a close. There’s always next year, though: Early-bird tickets are already on sale. ▼

PHOTOS: ANGELINA CASTILLO

RED HOT CHILI PEPPERS

CAGE THE ELEPHANT

CHAPPELL ROAN

MEGAN THEE STALLION

CARLY RAE JEPSEN

Saturday, June 22

HATCH SHOW PRINT

Block Party

9:30 AM, NOON, AND 2:30 PM HATCH SHOW PRINT SHOP LIMITED AVAILABILITY

Saturday, June 22

SONGWRITER SESSION

Brice Long

NOON · FORD THEATER

Sunday, June 23

MUSICIAN SPOTLIGHT

Andy May

1:00 PM · FORD THEATER

Monday, June 24 – Saturday, June 29 FAMILY PROGRAM

String City

Nashville’s Tradition of Music and Puppetry

10:00 AMAND 11:30 AM · FORD THEATER FREE

Saturday, July 6

SONGWRITER SESSION

Steve Dean and Bill Whyte NOON · FORD THEATER

Sunday, July 7

MUSICIAN SPOTLIGHT Tammy Rogers King

1:00 PM · FORD THEATER

Thursday, July 11

SONGWRITER ROUND Luke Combs and Friends

2:30 PM · FORD THEATER SOLD OUT

Saturday, July 13

SONGWRITER SESSION Kim Richey NOON

Kids Visit Free

THERE AREN’T MANY auteurs focused on chronicling the American South in film currently — at least not many who can command a studio-level budget. Major filmmakers will sometimes stop by for a one- or two-movie detour. Or they might get their start in the South before jetting off to New York or Los Angeles. (Unless their name is Richard Linklater.)

Arkansas native Jeff Nichols has proved it is possible to inch your way up the directorial ladder while continuing to tell stories set in the South. Just look at his filmography: Shotgun Stories and Mud were set in his home state; Midnight Special takes place in Texas; Loving was set in Virginia; even Take Shelter’s climax is set in South Carolina. But now, with his biggest budget and his most star-studded cast yet, Nichols finds himself telling the story of a Midwest biker gang. The Bikeriders, Nichols’ adaptation of Danny Lyon’s photo book of the same name, weaves a fictional tale inspired by images of the real-life Outlaws Motorcycle Club that Lyon captured during his time following the crew.

Originally set to release in winter 2023 — prime time for contention in the now-passed awards season — The Bikeriders was pushed to a summer 2024 release due to the 2023 SAG-AFTRA strike. The move makes sense; from a marketing perspective, the movie needs its cast on the red carpet. Like Challengers, another 2024 film initially scheduled for a 2023 debut, the main hook for The Bikeriders is its stars. And the stars deliver.

Similar to divisive 2013 hit American Hustle — another Goodfellas-inspired period crime piece

OUTLAW COUNTRY

The Bikeriders rides smoothly thanks to a starry cast BY

LOGAN BUTTS

inspired by true events — The Bikeriders features a number of famous people with accents and wigs turned up to 11. At times it can feel a bit like cosplay, but unlike Hustle, The Bikeriders does not lose points for a convoluted story.

Jodie Comer stars as Kathy — Bikeriders’ answer to Goodfellas’ Henry Hill. She functions as an audience surrogate during this decade-long tale of the gang’s evolution and proves once again that she’s deserving of movie-star-level roles. One day, she’ll break through with an Oscar nom. (Though it should have already happened thanks to her performance in the underseen Ridley Scott historical drama The Last Duel.)

Speaking of newly minted movie stars, Austin Butler and his hair shine as the impossibly suave

FOR NEVER WAS A STORY OF MORE WOE

Ghostlight uses Shakespeare to help us understand our emotions

BY KEN ARNOLD

A LOT OF PEOPLE struggle with their emotions. And that especially includes older men who were raised to believe that masculinity means not showing any sign of weakness, which can lead to fits of rage and emotional instability. But the arts can be a vehicle for these emotions — a way to process them in a safe environment where they don’t have to be a liability.

Construction worker Dan (Keith Kupferer) is stressed-out, and his daughter Daisy (played by Kupferer’s real-life daughter Katherine Mallen Kupferer) is facing possible expulsion from school. One day Dan loses his temper at his job and is invited by Rita (Dolly de Leon) to a community production of Romeo and Juliet — so he can be someone else for a while. Dan’s escapism doesn’t last, though, as the play forces him to confront the emotions he has been running from.

Ghostlight excels on many levels, from the way the story slowly peels back its many layers in a seamless fashion — without flashbacks or clumsy exposition — to its cast of fun and interesting supporting characters and the stellar chemistry of its leads, played by actors who are themselves related.

Benny, a stark departure from his psychotic, scene-stealing portrayal of Feyd-Rautha in Dune:

Part Two. It’s not quite an Elvis-level showcase for the former Disney star, but it shows he still has “traditional” leading man roles in his future.

Even with going for it pros like Mike Faist (on quite a streak this year following Challengers), Boyd Holbrook, Norman Reedus, Damon Herriman, Beau Knapp, Nichols muse Michael Shannon and others in the (testosterone-heavy) cast, no one is out-performing Tom Hardy in the Goofy Voice Olympics. As Johnny, Hardy carries the film’s themes of fragile masculinity, chosen families, and the weight of leadership on his back.

The Bikeriders is Nichols’ biggest commercial

swing yet, even outpacing his sci-fi Steven Spielberg homage Midnight Special in its ambitions. The budget is bigger, the scope is wider, and the cast is starrier. But Nichols doesn’t lose his focus on characters — the same focus that made his early, Southern-set work stick with us. It will be interesting to see how audiences respond. As we’ve seen over and over, every notable movie opening becomes a Referendum on the State of Movies — a statement on modern box office and the lack of a monoculture or media for adults. Hopefully The Bikeriders is allowed to just exist as it is — a familiar but immensely watchable adult drama that’s elevated by the presence of likable stars like Comer and Butler. ▼

come

to

a

a

The pieces

together

make for

movie that strikes

balance between charming and devastating; it’s both a crowd-pleaser and a tearjerker, with a tragedy that unfolds in a style similar to Kenneth Lonergan’s Manchester by the Sea — with a touch of Ryusuke Hamaguchi’s Drive My Car.

If you are looking for a film that explores grief in a hopeful manner and gives our emotions a place to express themselves, or if you want a reminder of the lasting power of the works of Shakespeare, Ghostlight delivers. Just don’t forget to bring some tissues. ▼

The Bikeriders R, 116 minutes Opening wide Friday, June 21

Ghostlight R, 110 minutes

Opening Friday, June 21, at the Belcourt

1 Seabird’s nesting spot, say

5 Musical lead-in to beat

9 Pounds, perhaps

14 Ostracize

15 Schreiber of “Asteroid City”

16 Word with secret or school

17 *Gone

19 How high rollers want to live

20 “Shirt Front and Fork” sculptor, 1922

21 Life lines, for short?

22 Like some peanuts and celebrities

24 *Stone tool

27 Scenarios to consider

28 Tailored item that can have tails

29 Lessens

33 Bit of a bluff

36 *Scoop received in a call

38 Back

40 Colorful variety of lettuce

42 They might be targeted

43 *Shall

45 With every detail perfect

47 Vegetable that’s a letter off from an Ivy

48 Notable Guinness

50 Aromatic welcome gift

52 *It gets the ball rolling

56 “Ah, yes …”

59 The Reds, on a scoreboard

60 Give the name of

62 Final points in scores?

63 When read forward and then backward, motto that suggests how to interpret this puzzle’s starred clues

66 Say “I dunno,” say

67 Where to find a very wet sponge

68 Actor Wilson

69 Biblical verb with “thou”

70 Whirl or swirl

71 Part of M.I.T.: Abbr. DOWN

1 Rae of “American Fiction”

2 Repetitive clicking sound?

3 Disappointing stocking stuffer

4 Dir. from Atlanta to Athens

5 Tylenol alternative

6 Some Guinness records

7 Title for Al Sharpton: Abbr.

8 How the fish in nigiri is served

9 The whole world in your hands?

10 Uninvited party guest

11 Stag

12 Competitive advantage

13 Unwelcome surprise in a glass of fresh-squeezed juice

18 Zero

23 Down more than

25 Neighbor of Leb.

26 Carpenter or mason

30 World-weary

31 Michael Jackson’s first concert tour after the Jackson 5

32 Texting format inits.

34 Craft measured in cubits

35 Italian dessert

37 Head of lettuce?

38 “I have to ___ …”

39 School fig.

41 Where more than 60% of Fortune 500 companies are incorporated

44 Goes over again

46 Athlete with two Grammynominated spoken-word albums

49 Participated in a spin class

51 Apple Music predecessor

53 It’s a start

54 Flash

55 Collaborator on 1980’s “Double Fantasy”

56 Coffee order specification

57 Stag

58 Falco of “The Sopranos”

61 Having a kink, maybe

64 Was ahead

65 Louis XIV, par exemple

Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/

nytimes.com/studentcrosswords.

1/4/2021.

FORECLOSURE SALE NOTICE

WHEREAS, JMM II, LLC and JMM III, LLC, Tennessee limited liability companies, executed a Deed of Trust, Assignment of Rents, and Security Agreement dated Septem-ber 29, 2015, of record at Instru-ment 20151002-0100643, Regis-ter’s Of ce for Davidson County, Tennessee, which was later modi- ed by that Modi cation Agreement dated October 29, 2015, of record at Instrument 20151109-011375, said Register’s Of ce, that Second Modi cation Agreement by Plaza Mariachi, LLC, dated January 15, 2016, of record at Instrument 20160128-0008248, said Register’s Of ce (collectively, the “Deed of Trust”) and conveyed to Jonathan R. Vinson, Trustee, the hereinafter described real property to secure the payment of certain indebtedness (“Indebtedness”) owed to Her-itage Bank USA, Inc., which Indebt-edness is now held and owned by First Financial Bank, N.A. (referred to as “Lender” and sometimes as “Bene ciary”); and WHEREAS, default in payment of the Indebtedness secured by the Deed of Trust has occurred; and WHEREAS, David M. Anthony (“Trustee”) has been appointed Substitute Trustee by Lender by that Appointment of Substitute Trustee of record at Instrument 202405230038624, Register’s Of- ce for Davidson County, Tennes-see, with authority to act alone or by a designated agent with the powers given the Trustee in the Deed of Trust and by applicable law; and WHEREAS, Lender, the owner and holder of said Indebtedness, has demanded that the real property be advertised and sold in satisfaction of said Indebtedness and the costs of the foreclosure, in accordance

with the terms and provisions of the loan documents and Deed of Trust. NOW, THEREFORE, notice is hereby given that the Trustee, pur-suant to the power, duty and author-ity vested in and imposed upon the Trustee under the Deed of Trust and applicable law, will on Tuesday, July 2, 2024, at 11:00 o’clock a.m., prevailing time, on the steps of the historic Davidson County Court-house, 1 Public Square, Nashville, Tennessee 37201, offer for sale to the highest and best bidder for cash and free from all rights and equity of redemption, statutory right of re-demption or otherwise, homestead, dower, elective share and all other rights and exemptions of every kind as waived in said Deed of Trust, certain real property situated in Da-vidson County, Tennessee, de-scribed as follows:

Legal Description: The real property is described in the Deed of Trust at Instrument 20151002-0100643, Register’s Of ce for Davidson County, Tennessee.

Tract I: Land in Davidson County, Tennes-see, being Lot No. 5, on the Plan of Revised Plat of the Elysian Plaza Lots 4 and 5, as shown on plat of record in Instrument No. 20030416-0050965, in the Register’s Of ce for Davidson County, Tennessee, and being more particularly described as follows:

COMMENCING at an iron pin set in the southwest right-of-way line of Nolensville Pike, said iron pin set being the Northeast corner of Lot 4 of The Plan of Resubdivision of Tract 4, Elysian Plaza, of record as Instrument No. 20010316- 0025374, Registers Of ce for D Da-vidson County, also being 394.26 feet from the South right-ofway line of Elysian Fields Road; thence with said right-of-way line as follows: South 40 degrees 53 minutes 23 seconds East a distance of 140.95 feet to a concrete right-of-way mon-ument found; thence on a curve turning to the right, said curve hav-ing an arc length of 82.65 feet, with a radius of 1977.14 feet,

of-way line with the Elysian Fields Shops, LLC Property (Rec-orded in Instrument No. 20010316-0025374) South 49 degrees 26 minutes 53 seconds West

in Instru-ment 20160128-0008246, Regis-ter’s

Of ce for Davidson County, Tennessee. Tract II: Land in Davidson County, Tennes-see, being Lot No. 4, on the Plan of Revised Plat of the Elysian Plaza Lots 4 and 5, as shown on plat of record in Instrument No. 20030416-0050965, in the Register’s Of ce for Davidson County, Tennessee, to which plat reference is made for a more particular description. INCLUDED IN THE ABOVE LE-GAL DESCRIPTION BUT EX-PRESSLY EXCLUDED FROM the Deed of Trust is that property more particularly described in a convey-ance by Elysian Fields Shops, LLC, a Tennessee limited liability com-pany to Kroger Limited Partnership I, an Ohio limited partnership of rec-ord in 20030417-0051599, Register’s Of ce for Davidson County, Tennessee. Being the same property conveyed to Plaza Mariachi, LLC by Quit Claim Deed dated January 27, 2016, from JMM III, LLC, in Instru-ment 20160128-0008247, Regis-ter’s Of ce for Davidson County, Tennessee.

Street Address: The street ad-dress of the property is believed to be 3955 Nolensville Road, Nash-ville, Tennessee 37211, but such address is not part of the legal de-scription of the property. In the event of any discrepancy, the legal description herein shall control.

Other interested parties: Mid-City Community Sub-CDE XVIII, LLC; PM Realty Nashville, LLC; Internal Revenue Service; Liberty HVAC & Energy Services, Inc.; Equipment Finders, Inc. of Tennessee; Inter-state AC Service, LLC (Attorney: Brandt McMillan); Charles W. Cook, III; Capital One, National Associa-tion; State of Tennessee, Depart-ment of Revenue; JMM, LLC; JMM II, LLC; JMM III, LLC.

THIS PROPERTY IS SOLD AS IS, WHERE IS AND WITH ALL FAULTS AND WITHOUT ANY REPRESENTATIONS OR WAR-RANTIES OF ANY KIND WHAT-SOEVER, WHETHER EX-PRESSED OR IMPLIED, AND SUBJECT TO ANY PRIOR LIENS OR ENCUMBRANCES, IF ANY. WITHOUT LIMITING THE GENER-ALITY OF THE FOREGOING, THE PROPERTY IS SOLD WITHOUT ANY REPRESENTATIONS OR WARRANTIES, EXPRESSED OR IMPLIED, RELATING TO TITLE, MARKETABILITY OF TITLE, POS-SESSION, QUIET ENJOINMENT OR THE LIKE AND WITHOUT ANY EXPRESSED OR IMPLIED WAR-RANTIES OF MERCHANTABIL-ITY, CONDITION, QUALITY OR FITNESS FOR A GENERAL OR PARTICULAR USE OR PURPOSE.

As to all or any part of the Property, the

right is reserved to (i) delay, continue or adjourn the sale to an-other time certain or to another day and time certain, without further publication and in accordance with law, upon announcement of said delay, continuance or adjournment on the day and time and place of sale set forth above or any subse-quent delayed, continued or ad-journed day and time and place of sale; (ii) sell at the time xed by this Notice or the date and time of the last delay, continuance or adjourn-ment or to give new notice of sale; (iii) sell in such lots, parcels, seg-ments, or separate estates as Trus-tee may choose; (iv) sell any part and delay, continue, adjourn, can-cel, or postpone the sale of any part of the Property; (v) sell in whole and then sell in parts and consummate the sale in whichever manner pro-duces the highest sale price; (vi) and/ or to sell to the next highest bid-der in the event any high bidder does not comply with the terms of the sale. Several Notice of Federal Tax Liens have been led by the Department of the Treasury, Internal Revenue Service, including: that instrument dated April 26, 2018, against PM Realty Nashville, LLC, of record at Instrument No. 20180504-0042557, Register’s Of ce for Davidson County; that instrument dated Au-gust 13, 2019, against PM Realty Nashville, LLC, of record at Instru-ment No. 20190822-0084435, Reg-ister’s Of ce for Davidson County; that instrument dated October 2, 2020, against PM Realty Nashville, LLC, of record at Instrument No. 20201013-0118534, Register’s Of- ce for Davidson County; that in-strument dated December 23, 2020, against PM Realty Nashville, LLC, of record at Instrument No. 20210105-0001263, Register’s Of- ce for Davidson County; that in-strument dated April 1, 2021, against PM Realty Nashville, LLC, of record at Instrument No. 20210409-0047680, Register’s Of- ce for Davidson County; and that instrument dated May 5, 2021, against PM Realty Nashville, LLC, of record at Instrument No. 20210514-0065231, Register’s Of- ce for Davidson County. Timely notice has been given by the Trustee to the Internal Revenue Service by certi ed mail, as required by 26 U.S.C. §7425(b). The sale of this property will be subject to the right of the United States to redeem said property pursuant to 26 U.S.C. §7425(d).

Several Notice of State Tax Liens have been led by the State of Ten-nessee Department of Revenue, in-cluding: that in-

against JMM II, LLC, of record at Instrument No. 20200901-0099044, Register’s Of- ce for Davidson County; that in-strument dated August 31, 2020, against PM Realty Nashville, LLC, of record at Instrument No. 20200911-0103897, Register’s Of- ce for Davidson County; and that instrument dated October 13, 2020, against Plaza Mariachi, LLC, of rec-ord at Instrument No. 20201028-0124437, Register’s Of ce for Da-vidson County. Timely notice has been given by the Substitute Trus-tee to the Department of Revenue, State of Tennessee, pursuant to Tenn. Code Ann. § 67-11433(b)(1). The sale of this prop-erty will be subject to the right of the Department of Revenue, State of Tennessee, to redeem said prop-erty under the provisions of Tenn. Code Ann. § 67-1-1433(c).

Substitute Trustee will make no covenant of seisin, marketability of title or warranty of title, express or implied, and will sell and convey the subject real property by Trustee’s Quitclaim Deed as Substitute Trus-tee only. This sale is subject to all matters shown on any applicable recorded Plat or Plan; any unpaid taxes and assessments (plus penalties, inter-est, and costs) which exist as a lien against said property; any restrictive covenants, easements or set-back lines that may be applicable; any rights of redemption, equity, statutory or otherwise, not other-wise waived in the Deed of Trust, in-cluding rights of redemption of any governmental agency, state or fed-eral;

SUCCESSOR TRUSTEE SALE

Default having been made in the payment of the debts and obligations secured to be paid by a certain Commercial Deed of Trust, made as of January 6, 2023 by Phillip W. Bradley, a married individual (“Borrower”) in favor of Carl Haynes, as Trustee, for the benefit of Lineage Bank (“Original Lender”), and of record as Instrument Number 23000943, in Book 9178, Page 420 (“Deed of Trust”) in the Office of the Register of Deeds for Williamson County, Tennessee (the “Records”), which Deed of Trust subsequently was assigned by Original Lender to Brentwood Funding, LLC (“Beneficiary”) pursuant to that certain Assignment of Deed of Trust, recorded on April 12, 2024, in Book R2366, Page 275 in the Records; and said Trustee having been replaced by the appointment of Joseph R. Prochaska as Successor Trustee by Appointment of Successor Trustee recorded on May 3, 2024 in Book 9470, page 97 in the Records (the “Trustee”), and the owner of the debt secured having requested the undersigned to advert ise and sell the property described in and conveyed by said Deed of Trust, all of the said indebtedness having become immediately due and payable by default in the payment of a part thereof, at the option of the owner, this is to give notice that the under signed will, commencing on July 12, 2024 at 3:30 p.m. at the main north door of the Williamson County Judicial Center, 135 4th Ave South, Franklin, Williamson County, Tennessee 37064 proceed to sell at public outcry to the highest and best bidder for cash, by Trustee's deed pursuant to the terms and conditions announced at such sale, all of Trustee’s right, title and interest in the following described property situated in Williamson County, State of Tennessee (“Real Estate”), to wit:

A tract of land in the 15th Civil District of Williamson County, Tennessee, and described at Book 9178, page 427, in the Williamson County Register’s Office, and BEING the same property conveyed to Phillip W. Bradley by Trustee’s Deed from Jack F. Stringham II, of record on May 29, 2014, at Book 6192, page 879, in the Williamson County Register’s Office. together with any and all other property, real and personal, which constitutes the Property as that term is defined in the Deed of Trust, but specifically excluding any cash, accounts, deposits, escrows, refunds reserves, impounds and other cash or cash equivalents.

Property Address: 124 Pewitt Drive, Brentwood, TN 37027

Map & Parcel No.: 11B-B-12.02

Interested Parties: B&C Hardware, Inc. Phillip Bradley Branch Banking and Trust Company BB&T Collateral Service Corporation, Trustee Grassland Financial Services, LLC David G. Mangum, Trustee

The Real Estate will be sold to the highest and best bidder for cash due immediately upon the conclusion of the sale (or for credit against the Obligations if Lender is the highest bidder). All bidders must register with the Trustee before 3:00pm CDT on July 11, 2024, by (a) providing a sworn statement under penalty of perjury that the bidder is not a sanctioned nonresident alien, sanctioned foreign business, sanctioned foreign government, or an agent, trustee, or fiduciary of any of the foregoing; (b) pr oviding sufficient information to the Trustee so that he may determine that the bidder is not on the list of sanctioned entities maintained by the Office of Foreign Assets Control of the U.S. Department of Treasury; (c) executing a bidding agreement; and (d) providing the Trustee with a bidder’s deposit of $400,000.00 by cashier’s or certified check, payable to the Trustee (except for the party secured by the Deed of Trust). The bidding agreement may be obtained in advance of the sale by request to the undersigned. The bidder’s deposit may be demonstrated prior to the sale by providing Trustee with a copy of the check, with the original check provided to the Trustee prior to the commencement of the sale. Additional terms may be announced

see, and described at Book 9178, page 427, in the Williamson County Register’s Office, and BEING the same property conveyed to Phillip W. Bradley by Trustee’s Deed from Jack F. Stringham II, of record on May 29, 2014, at Book 6192, page 879, in the Williamson County Register’s Office. together with any and all other property, real and personal, which constitutes the Property as that term is defined in the Deed of Trust, but specifically excluding any cash, accounts, deposits, escrows, refunds reserves, impounds and other cash or cash equivalents.

Property Address: 124 Pewitt Drive, Brentwood, TN 37027

Map & Parcel No.: 11B-B-12.02

Interested Parties: B&C Hardware, Inc.

Phillip Bradley Branch Banking and Trust Company BB&T Collateral Service Corporation, Trustee Grassland Financial Services, LLC

David G. Mangum, Trustee

The Real Estate will be sold to the highest and best bidder for cash due immediately upon the conclusion of the sale (or for credit against the Obligations if Lender is the highest bidder). All bidders must register with the Trustee before 3:00pm CDT on July 11, 2024, by (a) providing a sworn statement under penalty of perjury that the bidder is not a sanctioned nonresident alien, sanctioned foreign business, sanctioned foreign government, or an agent, trustee, or fiduciary of any of the foregoing; (b) pr oviding sufficient information to the Trustee so that he may determine that the bidder is not on the list of sanctioned entities maintained by the Office of Foreign Assets Control of the U.S. Department of Treasury; (c) executing a bidding agreement; and (d) providing the Trustee with a bidder’s deposit of $400,000.00 by cashier’s or certified check, payable to the Trustee (except for the party secured by the Deed of Trust). The bidding agreement may be obtained in advance of the sale by request to the undersigned. The bidder’s deposit may be demonstrated prior to the sale by providing Trustee with a copy of the check, with the original check provided to the Trustee prior to the commencement of the sale.

Additional terms may be announced at the sale. The right is hereby reserved to postpone or adjourn this sale, without further publication or notice, by public announcement at the time and place appointed for such sale or for such postponed or adjourned sale. All announcements

to the Trustee (except for the party secured by the Deed of Trust). The bidding agreement may be obtained in advance of the sale by request to the undersigned. The bidder’s deposit may be demonstrated prior to the sale by providing Trustee with a copy of the check, with the original check provided to the Trustee prior to the commencement of the sale. Additional terms may be announced at the sale. The right is hereby reserved to postpone or adjourn this sale, without further publication or notice, by public announcement at the time and place appointed for such sale or for such postponed or adjourned sale. All announcements made at the sale shall take precedence over the terms and conditions of this notice.

In said Deed of Trust, Borrower expressly waived the right of equity of redemption, the statutory right of redemption and all other rights and exemptions of any kind in the Real Estate. Title is believed to be good, but the undersigned will sell and convey only as Successor Trustee. Title is to be conveyed without any covenant or warranty, express or implied, and any matters having priority over the Deed of Trust and matters which may affect or encumber the Property following the sale, such as (by way of example and not limitation): visible and apparent easements; portion of the property within any roadway; any encroachment, encumbrance, violation, variation, or adverse circumstance affecting the title that would be disclosed by an accurate and complete land survey of the land; all matters shown on any applicable recorded plat; taxes or assessments that are not shown as existing liens by the records of any taxing authority that levies taxes or assessments on real property or by the public records; proceedings by a public agency that may result in taxes or assessments, or notices of such proceedings, whether or not shown by the records of such agency or by the public records; taxes assessed by correction pursuant to the provisions of T.C.A. §67-5-603, et seq.; prior liens, claims and encumbrances including, without limitation, leases and other agreements; assessments, building lines, easements, covenants, and restrictions that may exist; any lien or right to lien for services, labor or material imposed by law and not shown by the public records; and, statutory rights of redemption of any governmental agency including, but not limited to, the right of redemption of the Internal Revenue Service pursuant to 26 U.S.C. §7425(d)(1), of the State of Tennessee pursuant to T.C.A. §671-1433(c)(1), or of any other taxing authority.

Joseph R. Prochaska, as Successor Trustee

Reno & Cavanaugh, PLLC

424 Church Street, Suite 2910

Nashville, TN 37219

Telephone (629) 255-0208

NSC: 6/20, 6/27, 7/4/24

covenants, and restrictions that may exist; any lien or right to lien for services, labor or material imposed by law and not shown by the public records; and, statutory rights of redemption of any governmental agency including, but not limited to, the right of redemption of the Internal Revenue Service pursuant to 26 U.S.C. §7425(d)(1), of the State of Tennessee pursuant to T.C.A. §671-1433(c)(1), or of any other taxing authority.

Joseph R. Prochaska, as Successor Trustee

Reno & Cavanaugh, PLLC 424 Church Street, Suite 2910 Nashville, TN 37219

Telephone (629) 255-0208

NSC: 6/20, 6/27, 7/4/24

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