When you watch a Les Blank film about food, you get hungry. When you watch a Les Blank film about music, you feel the rhythm slithering into your bones. Blank has been making documentaries now for more than four decades; he’s best known for Burden of Dreams, his harrowing study of Werner Herzog and the catastrophic filming of Fitzcarraldo. But his shorter works are a treasure trove of regional cuisines, subcultural obsessions and music vivid as lightning. Whether he’s capturing the exuberance of Polish-American polka dancers, the fervor of garlic fanatics, the soul of East Texas bluesmen or the heat of Cajun cooking, Blank watches with an enthusiast’s delight, not an ethnographer’s remove. The award-winning filmmaker appears Friday and Saturday at the Country Music Hall of Fame, as part of a two-night “Vision of Les Blank” retrospective that includes 1970’s A Well Spent Life, his radiant portrait of blues musician Mance Lipscomb, and 1976’s Chulas Fronteras, featuring norteño musicians Flaco Jimenez and Lydia Mendoza. A note to the event’s programmers: While Blank’s here, somebody please introduce him to Nashville’s pride: hot chicken. Admission is $5 to the public; for times and the complete lineup of films, see our Movie Guide on p. 62 or call 416-2096.

—J.R.

This week’s picks by Todd Anderson, Martin Brady, Chris Davis, Steve Erickson, Jonathan Flax, Paul Griffith, Heather Johnson, Mark Mays, Steve Morley, Noel Murray, Jim Ridley, Marcel Smith, Jon Weisberger, Angela Wibking and Roy Wynn.

Thursday, 20th

Roland White Band One of Nashville’s longest-tenured bluegrass veterans, White has been in some of the music’s key bands—Bill Monroe’s Blue Grass Boys, Lester Flatt’s Nashville Grass, The Nashville Bluegrass Band and, with his late brother Clarence, The Kentucky Colonels. Finally fronting his own group, the soft-spoken mandolinist scored a Grammy nomination for the quartet’s debut, Jelly on My Tofu. Though he’s a Station Inn regular, White’s last pre-awards show appearance there is likely to have an especially celebratory flavor.

—J.W.

Oh My God/Popular Genius This bill at The Boro gets points for originality. Forsaking guitars in favor of a Hammond organ, Chicago art-rockers Oh My God borrow from The Doors, Jimmy Smith and who knows what all. Local quintet Popular Genius mix brainy, Weezer-like pop-punk with flute, accordion, strings and horns.

—P.G.

Thursday, 20th-Friday, 21st

James House A solid writer and singer, House performs his sturdy country songs with compelling energy and an unforced, James Dean-like charisma. He shoulda been a contender, and you have two chances at the Wildhorse to hear why. Don’t let the venue fool you—if you’re curious, the low cover charge should cinch it.

—S.M.

Friday, 21st

Anthony Crawford w/Buzz Cason Sideman to stars like Steve Winwood and Neil Young, Crawford makes his own music too, a crossbreed of Austin and Liverpool ringing with unvarnished pop melodicism. For his latest CD, Radio Café, he collaborated with a first-order Music City veteran, Buzz Cason, who opens this 7 p.m. show at The Basement. Cason’s rare live appearance should make a sure bet even surer: Among his impressive co-writes is the Robert Knight/Carl Carlton oldie “Everlasting Love.” Crawford will also do an in-store Saturday at Borders in Cool Springs.

—S.M.

Rosie Flores & The Falcons Though she’s best known for her high-octane jump and rockabilly combos, Flores has been doing more solo acoustic shows and sidework of late. With a stripped-down live record in the can, however, she returns to Jim & Layla’s Bluegrass Inn to front her current band, The Falcons. Expect a honky-tonk rave-up with a little of Flores’ singer-songwriter material thrown in.

—P.G.

Sarah Popejoy Inspired by the grass-roots business model, if not the sound, of Ani DiFranco, Popejoy released Complete Exposure on her own Wide Eyed Babe label. The record’s capable, funk-inflected folk-rock is the sound of someone still searching for her voice, yet clearly enjoying herself along the way. Popejoy hosts an album release party at Borders on West End.

Saturday, 22nd

The Love Drums Ed Haggard leads his Love Drums ensemble through two sets of African-style drumming as part of a benefit for Nashville’s newly established Independent Media Center. Founded in 1999 to provide grass-roots coverage of the World Trade Organization Protests in Seattle, the IMC offers a forum for independent journalists and media organizations to post articles about global issues. The benefit, which takes place at Bean Central, will also feature IMC speakers, video clips and music and dancing from the gypsy band Labyrinthe.

—H.J.

Character/Forget Cassettes/Mercator/ Emery Reel Four smart, young local bands play a benefit for Amnesty International at Blue Sky Court. Character still seem like perennial new kids, even though they’ve been together for some time; perhaps it’s the anonymous nature of their smooth, droning instrumental rock that allows them to be so omnipresent yet so underground. On the other end of the instrumental spectrum, Mercator don’t pulse methodically so much as take names with their big rock hooks and catchy melodies. Similarly, Forget Cassettes turn from quiet verse to breathless riff on a dime; their post-riot-grrl punk is fraught with angst, and they’ve got the lungs to put it across. The brooding Emery Reel open.

—T.A.

Joe Bidewell Veteran sideman and singer-songwriter Bidewell long divided his time between New York City and Nashville, only recently giving up the room he kept at the Chelsea Hotel. The same solid, inventive keyboard player heard on John Cale’s 1979 Sabotage Live! LP is now the subtle center of two of the best (and least heralded) alt-country acts in town—Ole Mossy Face and Derek Wolf’s Sad Apartment. Bidewell straps on his guitar for two sets of his own material with support from members of Ole Mossy Face at Brown’s Diner.

—C.D.

Hayseed Dixie CD Release Whipping boys of the roots music crowd for their bluegrass versions of hard rock classics, Hayseed Dixie are celebrating the release of their third CD, Kiss My Grass, at the Exit/In. The heavy-handed goofing of their material can be hard to take, but there’s musical muscle behind the clowning, thanks largely to the presence of Dale and Don Wayne Reno, sons of bluegrass giant Don Reno. If you can handle the sometimes over-the-top jesting, there’s a handsome payoff in some of the finest picking around.

—J.W.

Silent Friction/Senryu Highlighting their three-minute girl-meets-boy/girl-dumps-boy tales with stomp-box choruses, Silent Friction lean heavily toward the rock side of the pop-rock equation. Knoxville’s Senryu offer a lighter shade of indie pop that sports groovier rhythms and more exotic percussion than the music of their peers. The two bands play The Muse.

—T.A.

Songs from the Musicals of Marcus Hummon This fundraiser for Actors Bridge Ensemble features selections from Francis of Guernica, American Duet and other Hummon theatrical vehicles. Hummon and guests perform 8 p.m. at the Baldwin Piano Showroom, 1102 Grundy Ave. (around the corner from 12th & Porter). Donations ($25 minimum) are accepted at the door. Phone 341-0300 for info.

—M.B.

Sunday, 23rd

Tori Amos/Jeffrey Gaines Gaines built a cult following with his passionate acoustic sets and raw, smoky vocals; imagine Otis Redding doing a Neil Young tribute record, and you get the idea. On his new album, Towards the Sun, Gaines works with producer Mitchell Froom, known for his work with The Latin Playboys, among others. The result is unpretentious folk-rock with a modern rock cast. Gaines opens this show for Tori Amos, whose new CD, Scarlet’s Walk, was inspired by the cross-country trip she made after 9/11. Amos brings her double piano attack and spine-chilling voice to the Ryman.

—M.M.

Monday, 24th

The Codetalkers feat. Col. Bruce Hampton/The Loft Hampton’s erstwhile Aquarium Rescue Unit surfaced in the ’90s as a missing link of sorts between The Allman Brothers and Phish. His latest venture, The Codetalkers, forge ahead on similar jam-band turf, with the Colonel sharing the reins with multi-instrumentalist Bobby Lee Rodgers. An alumnus of McCoy Tyner’s band, Rodgers broadens Hampton’s sonic palette with his reedy vocals, electric banjo and jazz chops. Kicking things off at Exit/In is The Loft, local funk-rockers whose punchy, cohesive music has been gaining a foothold on regional college radio. Wailing licks abound, while frontman John Banzhoff bluesifies the proceedings with the swagger of a less premeditated Steven Tyler.

—S.M.

Monday, 24th-Saturday, 29th

David Olney’s World Tour of Nashville Usually gimmick-free, Olney can be forgiven if this five-day tour of local joints smacks of promotion. Flying gracefully under the radar, he’s never made a move without the best interest of his stories in mind. His new record, The Wheel, is a collection of rants and ballads that explore life’s circularity. The tour begins at the Bluebird, then moves to the Western Beat show at the Exit/In the following night. After that, it’s The Sutler on Wednesday, Tower Records (West End) on Thursday, Bongo Java on Friday and Douglas Corner on Saturday. See the story on p. 27.

—P.G.

Tuesday, 25th

Susan Tedeschi Tedeschi shocked the music world three years ago when she got a Grammy nomination for Best New Artist with what was essentially a contemporary blues record. Now she’s done it again, earning a nomination for Best Female Rock Vocal Performance, for the single “Again.” A gripping, energetic vocalist, a fine guitarist and an underrated songwriter, Tedeschi keeps attracting fans who normally avoid anything associated with the blues. She headlines at the Belcourt.

—R.W.

The Forms Brooklyn’s The Forms play Indienet this week, but don’t expect the thrift store style of NYC’s most popular recent exports. They have more in common with bands on the Thrill Jockey and Quarterstick labels: a honed instrumental sense and steady, sweeping vocals. Recorded by Steve Albini, the band’s debut album amply captures the tightness and energy they convey onstage.

—T.A.

Tuesday, 25th-Wednesday, 26th

Mardi Gras feat. Delicious Blues Stew This local New Orleans-style contingent continue their extensive Mardi Gras dates at Bourbon Street with different special guests each night. Perennial area favorites Big Al & The Heavyweights bring their infectious brand of Louisiana blues, R&B and whatever else to the Tuesday show, while the mighty Chubby Carrier & His Bayou Swamp Band offer zydeco with strong tinges of R&B and soul on Wednesday.

—R.W.

Rich McCulley McCulley’s vocal chords sound like they’ve been marinating in a whiskey bath, with a three-pack-a-day habit added. Nevertheless, they suit his mix of late ’70s power pop and roots-rock (think Tom Petty mixed with early Wilco). He plays Billy Block’s Western Beat show at Exit/In Tuesday, then follows that up with a set at Slow Bar the same night; on Wednesday, he performs an in-store at Tower Records on West End.

—S.E.

Wednesday, 26th

Dirty Dozen Brass Band When saxophonist Roger Lewis, trumpeter Efram Towns and their comrades decided to create a modern New Orleans brass band, they were scorned by jazz purists who felt they were denigrating the traditions of Louis Armstrong and Kid Ory. Twenty-five years later, however, the Dirty Dozen Brass Band are a musical institution, proving that a classic style can be updated and extended without perverting its essence. Their latest album, Medicated Magic, includes guest shots by everyone from Dr. John to Norah Jones. They return to town for a show at The Mercy Lounge.

—R.W.

Asylum Street Spankers These virtuoso alt-country, hot jazz, ragtime and Americana genre-benders are hardly your average party band. Performing without amps or microphones, the Austin-based group animate their tongue-in-cheek live sets with provocative song titles, pro-pot anthems and sheer musicianship on guitars, mandolins, banjos and the occasional saw or kazoo. Washboard player/vocalist Wammo and singer Christina Marrs consistently lead the eight-piece group above the pranks toward something convincing, literate and subtle, particularly in the band’s covers of prewar country blues. They play at Cafe 123.

—J.F.

Russ Barenberg & Bryan Sutton An underrated pioneer of the flatpicked guitar, Barenberg boasts a résumé extending back to the early ’70s and the first wave of progressive bluegrass. Sutton is in the front ranks of a new generation of bluegrass-based guitarists, admired as much for his rhythm work as for his electrifying solos. Each has the stylistic range and depth to carry a show on his own, so this combination should make for an engrossing evening of instrumental soul. Things get under way 9 p.m. at The Station Inn.

—J.W.

Lemoncholy The piano-based pop of local band Ulysses has transformed into the more atmospheric synth-and-guitar-inflected rock of Lemoncholy (another Joyce-inspired moniker), but the hook-focused songwriting of co-leaders Ryan Murphey and Eric Quiram remains. Even as they push away from aggressively crowd-baiting ditties, the duo still sprinkle pretty melodies through airy, more abstract compositions. Lemoncholy take more chances than most local popsters, and they keep making gains. They play at The Basement.

—N.M.

Brandi Hale Hale is a young guitarist, piano player and songwriter from Kentucky who’s just beginning to gain local exposure. She sings literate, well-crafted, irony-laced songs in a strikingly honest voice after the fashion of Alanis Morissette. Keep an ear out for her signature tune, “Bumper Stickers,” when she appears at Bongo After Hours Theatre. Brian Garvey opens.

—M.B.

Classical

Belmont Camerata Musicale For this Monday’s performance, the Belmont Camerata Musicale sets up in Massey Concert Hall on the Belmont campus. On the bill is Conni Ellisor’s Concerto for Marimba, Latin Percussion and Strings; Chris Norton, who soloed in the piece when the Nashville Chamber Orchestra premiered it couple years ago, will do the marimba again. Also on the program are Mark Ford’s “Stubernic,” for three marimbists playing around on one instrument, David Baker’s bluesy “Deliver My Soul” for violin and piano, and Michael Daugherty’s “Lex” scored for bravura electric violin (played by Elisabeth Small) and percussion. The Boston Globe says this last piece “comes out of the world of Stravinsky’s Rite of Spring, but has a manic urgency and brashness that smacks of American pop.”

—M.S.

Film

Dark Blue A bad-ass LAPD cop (Kurt Russell) and a skeptical fellow officer (Ving Rhames) butt heads over a racially motivated homicide in the smoldering days leading up to the Rodney King verdict. Ron Shelton (Bull Durham) directed this seamy police drama, scripted by David Ayer (Training Day) from a story by ace crime novelist James Ellroy. It starts Friday.

—J.R.

Gods and Generals If you liked Gettysburg, the Ted Turner-produced Civil War epic that seemed to take place in real time, here comes its reinforcement. Stonewall Jackson (Stephen Lang) leads the troops in this adaptation of Jeff Shaara’s book; Jeff Daniels returns from the earlier film, although Robert Duvall replaces Martin Sheen as Robert E. Lee. The movie hunkers down Friday at area battlements.

—J.R.

Merci Pour le Chocolat Over the past five decades, Claude Chabrol has devised many an elegant, nastily diverting entertainment. His latest, based on a Charlotte Armstrong mystery, concerns a pianist’s wife (the marvelous Isabelle Huppert) whose blank face may mask sinister intentions toward those around her. The film opens Friday at the Belcourt; see the review on p. 32.

—J.R.

Seen but Not Heard Calogero Salvo’s documentary examines the impact of the World Trade Center terrorist strike on four Mexican women who lost their undocumented husbands in the attack. The film screens 7 p.m. Thursday at the Belcourt as part of the Latin American Cinema Series; for more information, call 582-3757.

—J.R.

Singin’ in the Rain You have one day left to catch this exhilarating musical, in what may be the most gorgeous print of a movie I’ve ever seen—something like gazing through a Technicolor window. If you’ve only seen the movie on TV, you’ve no more seen it than you’ve seen Paris from a magazine photo. It ends Thursday at the Belcourt.

—J.R.

Old School Three 30-ish schlubs (Luke Wilson, Vince Vaughn, Will Ferrell) secede from the adult world to form their own fraternity in this uneven and intermittently hilarious comedy from Road Trip director Todd Phillips. Rush Week begins Friday; see the review in our Movie Guide on p. 62.

—J.R.

The Life of David Gale A reporter (Kate Winslet) interviews an activist (Kevin Spacey) who has good reason to oppose capital punishment—he’s on death row for murder. Alan Parker (Pink Floyd—The Wall) directed this thriller, opening Friday.

—J.R.

Dance

Forces of Nature Dance Theatre Company This well-known New York City-based dance company makes a Nashville appearance as part of TPAC Education’s 2002-2003 Season for Young People. In a unique, first-time partnering between TPAC and a community organization, the net proceeds from the performance will benefit the Village Cultural Arts Center, a local nonprofit dedicated to teaching African cultural traditions. The program, entitled Rhythm Legacy, features choreography inspired by legends from Africa, South America and the Caribbean. The dancing commences at 7:30 p.m. Feb. 21 in TPAC’s Polk Theater.

—M.B.

Theater

contact Susan Stroman is the hottest choreographic force on Broadway, having won Tony, Drama Desk and Outer Critics Circle awards for her work in The Producers, Crazy for You and other shows. She’s also created ballets for the New York City Ballet and the Martha Graham Dance Company. Co-conceived with veteran writer John Weidman, contact (which garnered the 2000 Tony for Best Musical) offers Stroman’s exploration of human connectedness through three sensual stories performed to music that ranges from Stephane Grappelli to The Beach Boys to Tchaikovsky and Bizet. Stroman’s name is being mentioned these days in the same breath as Bob Fosse and Michael Bennett, and Nashville gets a firsthand look at her electrifying work when this road show enters TPAC’s Jackson Hall on Feb. 25 and embarks on eight performances through Mar. 2.

—M.B.

The Vagina Monologues For the third successive year, Vanderbilt University’s Cuninggim Women’s Center and Actors Bridge Ensemble have teamed up to present Eve Ensler’s thought-provoking series of monologues expressing the depth and breadth of gyno-centric experience. The production remains under the direction of Vali Forrister and features a diverse cast of passionate females representing all colors, creeds and ages. All proceeds benefit Magdalene House, a recovery home for women struggling with prostitution and substance dependence. Performances are 7:30 p.m. Feb. 26-27 at Langford Auditorium on the Vandy campus. Call 322-3774 for reservations.

—M.B.

Opera Clips As a prelude to the Feb. 27 opening of Nashville Opera Association’s production of Porgy and Bess, the company hosts this discussion featuring artistic director John Hoomes and musical excerpts from the beloved Gershwin opus. There will also be a presentation of the documentary Aida’s Brothers and Sisters: Black Voices in Opera. The free event begins at 2:15 p.m. on Feb. 23 at the Main Library. Phone 832-5242 for information.

—M.B.

Art

12th & Demonbreun Building You might call this exhibit “Zeitgeist Gallery Roadshow,” as the well-established gallery takes its art to The Gulch in the first installment of its “Art on the Edge” series. The exhibition places paintings by Michelle Anderson, Chris Scarborough and Lain York, sculpture by Terry Glispin and photographs by Beth Trabue in a renovated, 55,000-square-foot former storage building that anchors the redevelopment of The Gulch. According to the folks at Zeitgeist, the purpose of the new series is to promote a dialogue between the local fine art, architectural and design communities. Meet with the artists and start talking at the opening reception, 6-8 p.m. Feb. 21.

—A.W.

Frist Center for the Visual Arts If you think Nashville’s taste in art is a bit behind the times, we say: Get real. “Real Illusions: Contemporary Art From Nashville Collections,” opening Feb. 21, celebrates the quality and diversity of contemporary realist and narrative art in Music City with 64 works by such internationally known artists as John Baeder, Duane Hanson, Richard Estes, Philip Pearlstein and Alex Katz, as well as area favorites like Barry Buxkamper, Marilyn Murphy and Kit Reuther.

—A.W.

Watkins College of Art & Design By day, Watkins instructors teach others how to create art; by night, they make their own. At least, we’re guessing that’s when the faculty members exhibiting in this annual show find time to paint, sculpt, make films and shoot photos. Among the artists are such familiar names as Victoria Boone, Bob Durham, Terry Glispin, Franne Lee and Barbara Fontana Yontz. The show opens Feb. 24, with a reception 6-8 p.m. Mar. 13.

—A.W.

Natural Selection Nashville artist Marla Faith celebrates the goddess in all women and the woman in all goddesses in a series of oil paintings and pastels on view through next week at this Hillsboro Village shop. Join the artist for a closing reception, 5-7 p.m. Feb. 27.

—A.W.

Premier Art Decor Nashville painter Michael McBride explores an overlooked area of sports in a new series of African American jockeys. The artist is noted for his use of color in creating images that reflect positive themes, an approach he applies to his latest works. He’ll talk about the world of horse racing and black jockeys at 5 and 6 p.m. during the show’s opening reception, 4-7 p.m. Feb. 22. The show remains on view through Mar. 22 at this gallery near the Music Row Roundabout.

—A.W.

Reading & Writing

Dr. Raymond Winbush Academic/author Winbush didn’t mind ruffling feathers during his time at both Vanderbilt and Fisk. While at Fisk, he helped put the school’s then-dormant Race Relations Institute back on the map, spearheading several noteworthy conferences and seminars. Now director of the Institute for Urban Research at Morgan State University, Winbush has edited a comprehensive, prickly and invaluable book that thoroughly examines the unresolved issue of reparations for the descendants of slaves. Should America Pay: Slavery and the Raging Debate on Reparations gathers a host of scholars, politicians and activists on both sides and lets them present their arguments. While the book probably won’t change anyone’s mind, it offers ample ammunition for both proponents and opponents. Winbush will be signing copies and discussing the book, 6 p.m. Feb. 25 at Davis-Kidd Booksellers.

—R.W.

Bookman/Bookwoman Rare And Unusual Book Appraisal If you’ve been wondering what your first-edition copy of To Kill a Mockingbird is worth, experts Larry and Saralee Woods host this free appraisal the third Thursday of each month. The event is held at their Bookman/Bookwoman Rare & Used Bookstore in Hillsboro Village, which, like a miniature version of New York City’s famous Strand, crams as many volumes into its small space as possible. This month’s appraisal takes place 5-6 p.m. Feb. 20 at 1713 21st Ave. S. For info, call 383-6555.

—P.G.

Events

Jason Mewes The “Jay” half of the Jay and Silent Bob combo (as seen in Clerks, Jay and Silent Bob Strike Back, etc.) will be in Nashville over the next few weeks working on an independent feature. He’ll take time out for an autograph session 2 p.m. Saturday at Collector’s World, 2082 N. Gallatin Pike. There will be a $10 fee for signing items not purchased at the store. For more information, call 855-1500.

—J.R.