“Come have brunch, meet new people and fill your brain with knowledge.” That’s how Research Club sells itself. In the words of "Big Edie" Beale, how can you resist it?
Organized by scientist/artist/Scene contributor Perrin Ireland and Tennessean/New York Times journalist Bobby Allyn, Research Club is essentially an extension of the Portland, Ore., club of the same name, and they’re using Brick Factory as their clubhouse. It's still in its infancy — this is only their third meeting — so it's a great time to get involved.
This weekend’s lineup includes former Country Life artist of the month Christine Rogers, Slow Money proponent Scott Weiss and biologist John Niedzwiecki. More information from the group’s Facebook page after the jump.
By now, you've probably heard about Beasts of the Southern Wild. You may have even been lucky enough to see it. It's gotten rave reviews, stoked a few embers of controversy, and, at the screening I went to, had half the theater in tears, patting their chests like a hard-beating heart.
In one of the reviews from this week's issue, it's described as "an American live-action Hayao Miyazaki film." That's a spot-on analogy in my book. But we're digging even deeper with this one: We've got not one but two reviews, a slideshow of on-set photos, and an interview with the film's co-producer Matthew Parker.
Read up, then go see. Beasts of the Southern Wild opens tonight at The Belcourt, and Parker and Dwight Henry, who plays "Wink", will be on hand to discuss the film after it screens.
This weekend's feature in the Cult Fiction Underground screening room at Logue's Black Raven Emporium on Gallatin Road: The Grapes of Death, the 1978 splatter movie by French cult hero Jean Rollin. (Is this the first showing of a Rollin film in Nashville?) This from the DVD Drive-In site:
Even if you're not a fan of Jean Rollin's sexy surreal vampire flicks, you might like this gory but atmospheric zombie tale from the French director. Obviously owing a bit to NIGHT OF THE LIVING DEAD, these zombies actually don't eat human flesh — they're an infected breed that are gradually decomposing and driven to violent madness. Believe it or not, I always wondered if Rollin saw David Durston's I DRINK YOUR BLOOD, since several scenes are similar to ones in that rabid funfest.
The shocks commence when two young ladies, Elizabeth (Marie-Georges Pascal) and her friend are traveling on a seemingly deserted train. Elizabeth is left alone in a car, and in walks a strange man. Each time the camera cuts back to him, his face is in a more severe state of decomposition, until he's left with a huge, bleeding blister on his face. Elizabeth is horrified and runs out of the car as the man proceeds to chase her. Discovering that he murdered her friend, Elizabeth jumps off the train and heads into the French countryside. ...
It'll show 8 p.m. Friday and Saturday night. Admission is $5.
The Parthenon has a long and historically relevant history that I probably have stored in the recesses of my memory from a seventh grade day trip I took back in the ’90s. But this post isn't about that. It's about how weird and strange and otherworldly the whole idea of a Nashville-based Parthenon is, and how crazy that gilded, saucer-eyed Athena statue is.
Brent Stewart, possibly inspired by the ancient Greek and Etruscan art he's been studying, suggested the Parthenon as our field trip destination when I was at his studio a few weeks back. We both agreed that it was one of those hidden-in-plain-sight novelties that permanent residents often overlook as a point of meeting. I've taken yoga classes in the park and been to parties on the grounds, but nobody in my circle of friends ever brings up the ol' Parthenon as a place to meet up, hang out, appreciate culture and look at gold statues. And it's a shame! It's a strange oasis of clashing cultures that is right on point for people who were born post-Postmodernism.
One of the perks of working at an alt-weekly — hell, it certainly ain't the pay! — is getting to interview musicians, artists and comedians you admire. But of all the interviews I've conducted, none was more thrilling than my sit-down with Jerry Lewis a couple of weeks ago, in preparation for this week's cover story, "Nutty in Nashville."
The story examines the evolution of the stage musical of Lewis' crowning achievement, the 1963 film The Nutty Professor, currently playing at TPAC under the direction of Le Jer, who is now a sprightly 86 years old. I'd like to pretend that I'm a jaded, world-weary journalist who could care less about celebrity, but I've been a huge fan since I was about 10 years old — and frankly, I was over the moon to have the opportunity.
After the jump, some of the highlights from the interview that didn't make it into the story ... interspersed with some of my favorite Jerry Lewis clips:
At tonight's sold-out Sugar Rush event, we'll be crowning Nashville's Sweetheart from a list of contenders including Goo Goo Cluster, Jeni's Splendid Ice Cream, Fox's Donut Den, Olive & Sinclair Chocolate and reigning champs The Cupcake Collection.
In honor of tonight's sugar-fueled competition, I gathered my favorite candy-inspired looks from some of my favorite artists. Because what's better than candy and music?
Katy Perry definitely takes the crown in this department, as evidenced by her dedication to clothing that looks good enough to eat. (Snoop gets extra points for the cupcake ensemble.)
But if books and visiting authors are more your speed, you can waste the workday just as effectively at the Chapter16.org site. At Humanities Tennessee's mothership for all things literary from Memphis to Bristol, editor Margaret Renkl has new reviews, previews and author profiles going up every day as the countdown to the Southern Festival of Books begins. Among the articles posted recently:
• Lyda Phillips on Sarah McCoy's World War II novel The Baker's Daughter: "[It] opens with a provocative image: 'In the kitchen, bundled dough mounds as white and round as babies lined the countertop and filled the space with the smell of milk and honey and promises of a full tomorrow.' ”
• Ed Tarkington interviews revered author Bobbie Ann Mason: “ 'I don't always decide what to work on next,' Bobbie Ann Mason says of the writing process. 'Something may come along and I am into it before I realize it. It has to come to me, unbidden.' ”
• Todd Dills reviews John F. Baker Jr.'s The Washingtons of Wessyngton Plantation: "Baker brings alive both antebellum and post-bellum life on a quintessentially Middle Tennessee plantation, tightly weaving throughout the quality of urgency that has characterized his life's pursuit."
All three authors will appear at October's festival. Watch Chapter16.org each day for new content.
In this week's upcoming issue of the Scene, the entire film section is devoted to one of the most striking and original movies we've seen this year, Benh Zeitlin's Sundance prize-winner Beasts of the Southern Wild. One of the people most gratified by the movie's success is co-producer Matt Parker, a former Nashvillian who's visited the Nashville Film Festival over the years with some of his other films.
When the movie opens this weekend at The Belcourt, there'll be an extra treat for viewers: Parker will be joined at the 7:45 p.m. screenings Friday and Saturday by Dwight Henry, whose central role as the defiant father of a 6-year-old girl facing possible global catastrophe in the Louisiana bayous is all the more impressive for being his acting debut.
Himself a native Nashvillian, Henry runs the Buttermilk Drop Bakery in New Orleans' Treme neighborhood across the street from the movie's casting office. According to Parker, the filmmakers talked him into the role after visiting him repeatedly on his late-night baking shifts. His appearance this weekend with Parker is something you won't want to miss — and neither is the movie.
Check out the full exhibition schedule below. I’ve included the Frist’s information, and also added a few links where they might be useful.
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