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TWO GALLANTS, WEDNESDAY 11TH

The two guys in San Francisco’s Two Gallants wish they were born in a different era. Their hardscrabble gold-rush folk-blues is about doing time for shooting guys on county lines, not updating MySpace profiles with digital pics from last night’s party.
LANGHORNE SLIM, TRAINWRECK RIDERS The two guys in San Francisco’s Two Gallants wish they were born in a different era. Their hardscrabble gold-rush folk-blues is about doing time for shooting guys on county lines, not updating MySpace profiles with digital pics from last night’s party. The duo’s second album, What the Toll Tells, is their first for Saddle Creek, which should elevate their profile considerably. Bright Eyes fans will recognize much in the band’s scrappy, screamy desperation. Langhorne Slim, a willfully eccentric Brooklyn-based dude, has a new EP out winningly produced by Brian Deck, who supplies some of the same junkyard mojo he’s given records by Modest Mouse and Califone in the past. Trainwreck Riders, Bay Area buds of the Gallants’, make electric country-rock that regularly turns into jumpy power-pop. ( www.twogallants.com ; www.langhorneslim.com ; www.myspace.com/thetrainwreckriders ) The Basement —MIKAEL WOOD MUSIC THURSDAY, 5TH DOMESTIC VIOLENCE MONTH BENEFIT A diverse quartet of local talents converges to help raise funds for the Mary Parrish Center for Domestic Violence, a nonprofit providing services to victims of domestic abuse. Even without the good cause, this would be an interesting evening: Grammy-nominated Michael Peterson racked up ’90s country hits like “From Here to Eternity,” “Drink, Swear, Steal & Lie” and “Too Good to Be True”; pianist James Slater has written hits for Martina McBride (“In My Daughter’s Eyes”), Jessica Andrews (“There’s More to Me Than You”) and others; Joie Scott is the songwriter behind Shania Twain’s latest single, “Shoes,” and cuts by Collin Raye and Anne Murray; and Lucie Diamond is a promising British singer-songwriter looking to expand her European success to the States. ( www.maryparrish.org , luciediamond.com ) Douglas Corner —CHRIS NEAL FRIDAY, 6TH HEM, LEIGH NASH, JUDD AND MAGGIE Brooklyn’s Hem play dreamily arranged folk-pop with gorgeous orchestral touches that give the music a lovely theatre-music polish. Funnel Cloud, the ensemble’s latest, features some of their smartest material yet, including “Not California,” a tune about preferring the harsh reality of New York over the soft-focus luxury of the West Coast. It is, of course, a luxuriously soft-focused stunner. Leigh Nash used to front local Christian rockers turned mainstream pop stars Sixpence None the Richer; her tellingly titled solo debut, Blue on Blue, digs into slightly darker material than we heard in Sixpence’s sunshine-pop staple “Kiss Me.” Maryland duo Judd and Maggie subscribe to the appealing nerd-folk tradition once tended by Ida and Lisa Loeb. ( www.hemmusic.com ; www.leighnash.com ; www.myspace.com/juddandmaggie ) 3rd & Lindsley —MIKAEL WOOD NORMA JEAN, BETWEEN THE BURIED AND ME, FEAR BEFORE THE MARCH OF FLAMES The Christian-screamo kids in Atlanta’s Norma Jean sound like they’re trying to overturn the effects of a few decades’ worth of namby-pamby worship music: they grind and spew so noisily, you figure they must believe in Satan more deeply than the Slayer set (which they probably do). North Carolina’s Between the Buried and Me kick out super-complicated riff-metal jams, while Fear Before the March of Flames, from Colorado, allow for the occasional splash of minor-key melody. ( www.myspace.com/normajean ; www.myspace.com/betweentheburiedandme ; www.myspace.com/marchofflames ) Rcktwn —MIKAEL WOOD CURSIVE W/THE THERMALS & DETACHMENT KIT Omaha foursome Cursive are one of the better live bands currently trekking around the country, particularly because they aren’t content to replicate their albums in the live setting. Instead, the group add a touring trio of horn players and a cellist/keyboardist, layering nuance upon nuance onto their charging songs. Thundering melodies, cacophonous riffs and singer Tim Kasher’s unmatched howl define Cursive’s sensibilities, which have shifted over 10-plus years from their punk-rock roots to today’s guitar-driven, horn-laced melodies. Openers Detachment Kit are similarly striking onstage, with their jagged, jittery indie-rock and penchant for themed, costume-clad performances. See the story on The Thermals on p. 45. City Hall —EMILY ZEMLER SATURDAY, 7TH SOUL ASYLUM As the last band standing from the great mid-’80s Minneapolis scene, Soul Asylum had the good fortune of being swept up in the grunge moment of the mid-’90s. It was a short moment. Chart success and MTV stardom gave way to irrelevance within a couple of years, and after 1998’s Candy from a Stranger failed to elicit interest from the public or press, the band took a lengthy sabbatical. The Silver Lining is their first album in eight years, and it picks up, unfortunately, with the same tired radio-ready shtick they left off with, epitomized by the ESPN-endorsed, everyman-against-the-world leadoff track “Stand Up and Be Strong.” They were always a pretty kick-ass live band, though, and the recent lineup has resembled an all-star cast of Twin City rock royalty, with drumming god Michael Bland joined in the rhythm section by ex-Replacement Tommy Stinson, filling in on bass for the late Karl Mueller. So there’s reason for hope that beneath the studio gloss there still lurks a ragged garage-land heart. ( soulasylum.com ) Mercy Lounge —JASON BENNETT NINA NASTASIA Though she’s often saddled with the catch-all Americana tag, Nina Nastasia more accurately operates in her own private netherworld, creating dreamlike gothic folk with the understated sophistication of chamber music. Her new Fat Cat release, On Leaving, is the latest in a string of Steve Albini-recorded meditations on time, memory and faded romance. Spare piano and Jim White’s gently brushed drums provide dusky atmosphere, but the focal point is Nastasia’s wondrous voice, a quivering, ghostly instrument that has a touch of grit and intensity that renders the poetic imagery in her lyrics all the more powerful. Late great British DJ John Peel was a big fan, and that should be endorsement enough. ( www.myspace.com/ninanastasia ) Springwater —JASON BENNETT LINDSEY BUCKINGHAM Lindsey Buckingham is at once a driving force behind one of the most successful commercial enterprises in rock music and an idiosyncratic cult artist. As a singer, songwriter and producer in Fleetwood Mac for most of the last 32 years, he wrote classics like “Go Your Own Way” and “Second Hand News,” while helping to shape the songs of bandmates Stevie Nicks and Christine McVie into irresistible ear candy. But the eccentricity of his work on Mac albums like Tusk and Say You Will only hints at the singularity of vision heard on his first solo album in 14 years. On Under the Skin, Buckingham buttresses his reputation as a pop visionary by orchestrating very basic elements—mainly voice, acoustic guitar and percussion—to create a textured sonic picture unlike any he could have painted at his day job. Casual fans—i.e., you own Rumours but not Tusk—might want to wait this one out: Buckingham is planning a more rock-oriented album and tour next year, followed by a Fleetwood Mac road trip in 2008. ( www.lindseybuckingham.com ) Ryman Auditorium —CHRIS NEAL SUNDAY, 8TH SHERYL CROW There’s something robotic about Sheryl Crow, especially in the way she appears in practically every awards show known to man. And, yes, Michael Jackson’s former backup singer is now ensconced in the rarified air of tabloid celebrity (her breakup with Lance Armstrong and her battle with cancer put her back in the national spotlight), which is never good for your street cred. Despite that, Crow remains a compelling musical figure, not to mention a bona-fide hitmaker. Wildflower, her last album, was given the backhand by the majority of the music press, and while it’s no masterpiece, it’s the kind of solid, pleasurable, hook-happy record that’s easy to embrace. Crow, who co-writes almost all of her songs, keeps on rolling. Starwood Amphitheatre —WERNER TRIESCHMANN JOHN MAYER Once an artist makes the leap from obscurity to super-stardom, he or she is expected to maintain his or her exalted position by constantly repeating a winning formula, perhaps tweaking here and there to keep up with changing trends. Apparently John Mayer didn’t get the memo. The sensitive, acoustic-guitar-strumming singer-songwriter who went multi-platinum crooning coed panty-peelers like “Your Body Is a Wonderland” and existential young-adult anthems like “Why Georgia” has plugged in, cranked up and begun looking outward as well as inward. With a slick, soulful sound somewhere between the adult-alternative fare of his biggest hits and the bluesy blast of last year’s stripped-down live album Try!, the just-released Continuum addresses generational apathy and issues of faith and mortality as well as affairs of the heart (and still goes down easy enough to make Mayer a natural fit to open for Sheryl Crow at Starwood). ( www.johnmayer.com ) Starwood Amphitheatre —CHRIS NEAL MONDAY, 9TH CARBON LEAF “I’ll love you more than I’ll ever let on / That’s a fault of mine I’m working on,” sings Barry Privet in the engaging title track on Carbon Leaf’s sophomore release, Love, Loss, Hope, Repeat. The quintet from Virginia have a sneaky smoothness, with tight harmonies and sturdy melodies that don’t bloom until repeated exposure. Though their generally quiet songs often begin as acoustic numbers before being fully fleshed out, they could stand to toss out a few clever lines and add some salt to their otherwise steady production of sugar. But on the galloping “The Girl and Her Horse,” Carbon Leaf display the good sense not to get too upset over the bond between a woman and her four-legged friend. ( www.carbonleaf.com ) Exit/In —WERNER TRIESCHMANN TUESDAY, 10TH PHILLIP WALKER Although Walker isn’t related by blood to T-Bone Walker, his playing has a direct bond to the late blues great. Born in Louisiana, this 69-year-old veteran came into his own as a teen playing the same Texas circuit as such consummate entertainers as Clarence “Gatemouth” Brown, Lonnie Brooks and his mentor T-Bone. Moreover, his first big gig found him playing alongside Zydeco founder Clifton Chenier, who also knew something about lifting up a crowd. Today, Walker’s sweet, tasteful style stays tied to a more elegant and easy-going past, unperturbed by the rock flash of the last 40 years. He’s cited as an influence by Robert Cray, something instantly evident in Walker’s spare, ringing notes. He’s popular in Europe and along the West Coast, but he doesn’t come this way often, which makes this performance a rare treat. ( www.phillipwalker.com ) Bourbon Street Blues & Boogie Bar —MICHAEL McCALL WEDNESDAY, 11TH DAVID BAZAN Religion puts David Bazan in the most unlikely places. Essentially a rock songwriter who’s plowed through questions of his Christian faith on record for more than a decade, Bazan issued the first EP, Whole, from his band Pedro the Lion on Tooth & Nail, known best for its Christian metalcore, in 1997. Ostensibly, it was an uncomfortable fit, and Bazan ultimately shuffled between Suicide Squeeze, Jade Tree and former bandmate Damien Jurado’s Made in Mexico imprint. He’s played the Cornerstone Festival, a biennial gathering of several thousand Christian congregants, more than once, and several of his tracks—most noticeably “Penetration,” Bazan’s extended metaphor for corporate malfeasance and its destruction of the family unit, complete with lyrics about kids who “love the taste of corporate cum”—found play on satellite radio’s Christian stations. But now, the name David Bazan is in another unlikely place—atop marquees for a solo tour behind his first solo EP. Just as Pedro the Lion started to gather by-name notoriety, Bazan dissolved it, choosing to return to his home studio and record all the parts for his 10-track debut. As for that debut: real-to-life tragedies exhaustively detailed and delivered in a dead-stare monotone. Yeah, that’s Bazan, all right. Exit/In —GRAYSON CURRIN THEATER OVER THE RIVER AND THROUGH THE WOODS Joe DiPietro’s warm comedy concerns a young New York marketing executive who’s devoted to both sets of his grandparents, with dutiful Sunday dinners the ritual that solidifies the relationships. Then our hero gets a promotion and announces his impending move to Seattle, whereupon the seniors turn schemers to find a way to keep him close to home. Martha Wilkinson directs the new Chaffin’s Barn Dinner Theatre production, which co-stars Judy Jackson, Martha Manning, Gary Olson, Phil Perry and Sarah Fleming, with Nate Eppler in the lead as nice-guy Nick. The show opens Oct. 10 and runs through Nov. 11. Call 646-9977 for tickets. —MARTIN BRADY THE SHAKESPEARE STEALER Basking in the glow of its recently announced building and renovations project, Nashville Children’s Theatre gets down to the business of putting on a show. The opener for its 75th season is this intriguing blend of history and fiction written by Gary Blackwood, based on his award-winning novel for young adults. It’s London 1601, and 14-year-old Widge must carry out, against his will, a dastardly plan to steal William Shakespeare’s new play, Hamlet. The lad’s adventures at the great Globe Theatre bring him face-to-face with famous folk, such as Queen Elizabeth and the Bard himself. Scot Copeland directs the usual veteran cast, which includes Pete Vann, Rona Carter, Henry Haggard, Patrick Waller and Jenny Littleton. Copeland also designed the set. Performances run Oct. 10 through 28. For information, call 254-9103 or visit www.nashvillechildrenstheatre.org. —MARTIN BRADY WHY THE SEA IS BOILING HOT GroundWorks Theatre opens its 2006-7 season with this original play from the pen of company founder Robert A. O’Connell. A tribute to the emerging concept of “short-attention-span theater,” the show features more than 20 short, fast-paced scenes designed primarily to entertain and amuse. In this case, even the more venerable 10-minute play may be too long—we get in and out of at least one entry in four. There’s comedy here, of course, with O’Connell displaying a penchant for eavesdropping on people and situations that we might never dream of. Other topics are more serious: fundamentalist religion, capital punishment and marital infidelity. There’s a good cast on hand to help O’Connell (who also directs) bring off his great experiment, including Jack E. Chambers, Charles Howard, Melissa Landry, Cinda McCain and Stephanie Vickers. Performances are Oct. 6 through 14 at the Darkhorse Theater. For reservations, call 262-5485. —MARTIN BRADY ART “WITH STRINGS ATTACHED” Historically, stitch-working has not been considered high art, but instead a domestic activity with practical rather than aesthetic intentions. For this very reason it was an ideal technique for the Women’s Art movement of the 1970s to reclaim, and by now enough water has gone under the bridge that it is almost a foundation technique for trained artists, like drawing. Embroidery is central to the art of Leslie Kneisel, who had a solo show last year at Ruby Green. She stitches figures with ambiguous sexual overtones onto giddy, brightly colored fabrics. She has teamed up with Mery Lynn McCorkle, a painter from the West Coast, to curate a group show organized around the phrase “with strings attached.” It includes the work of nine artists from across the country (several from Southern California, two from New York), five of whom use thread in some way; the others explore the phrase from a purely thematic point of view. The show opens at Ruby Green with a reception on Saturday, Oct. 7 from 7 to 9 p.m. —DAVID MADDOX RANDY HAYES: “BABY DOLL HOUSE”/“NO PLACE: ARTISTS EXPLORE UTOPIA” Even though Elia Kazan’s 1956 film Baby Doll, which starred Carroll Baker and had a screenplay by Tennessee Williams, got nominated for several Oscars, its sensuality pushed the limits for the time and got it banned in, of all places, Sweden. The movie was filmed in a house in the Mississippi Delta town of Benoit. Years later, artist Randy Hayes, a native of the state, came across the house, which he photographed. Following a practice he has cultivated for many years, he arranged his photos of the place into a grid and painted over them. The photographic images remain visible under the painted image like a bunch of ghosts. The works are on display at Cheekwood’s Temporary Contemporary Gallery, which is also opening a new show of video by 13 artists from the U.S., Eastern Europe, Japan, Germany and Lebanon dealing with the idea of utopia, or non-places. The best-known contributor is film director Werner Herzog. Both shows open with a reception, 6 to 8 p.m. Friday, Oct. 6. “Baby Doll House” is on display through Dec. 31; “No Place” runs through April 8, 2007. —DAVID MADDOX DOWNTOWN BLOCK PARTY Anyone paying attention to the local art scene can’t help but notice the transformation taking place downtown on Fifth Avenue North. The whole shebang notches up again on Saturday, Oct. 7, when several downtown galleries team up for a combined event. TAG gallery will open a show of work by Kentucky painter James Pearson, San Francisco’s Tim Yankosky and Cleveland sculptor Jason Lascu. Pearson’s expressive abstracts are a TAG favorite and Lascu’s new work explores his inner-city life since leaving Nashville for Ohio earlier this year. Along with the good times at TAG, the new residents down the block will be holding “Art in the Arcade.” Nashville’s downtown destination for lunchtime eats is now a hot spot for art gawking, boasting eight galleries and studios. Twist gallery will be featuring work by John Watts and Dangenart will unveil its International 2006 Juried Exhibition. Chosen from over 500 entries, the Dangenart show features artists from Korea and Europe as well as a couple of locals: Ben Vitualla’s toy-soldier installations comment on American foreign policy, while Samantha Callahan’s floral paintings explore female sexuality and reproduction. All the art galleries and studios in the Arcade will host their own receptions. The fun runs from 6 to 9 p.m. Metered parking downtown is free on the weekend. —JOE NOLAN BOOKS A. E. STALLINGS The standard thumbnail sketch of Georgia-born A. E. Stallings’ work—award-winning formal poetry written by a classics scholar—conjures thoughts of grim, creaky verse weighed down by erudition. Thankfully, the reality is altogether different. The poems in her latest collection, Hapax (a Greek word meaning “once”), are accessible and lively. Stallings is erudite, it’s true; classical references are the backbone of much of her humor, and you may need to hop onto pantheon.org in order to make sure you get all her jokes and sly asides. She also uses classical figures to illuminate some of her more serious themes: the inseparable pairing of love with loss, and the constant intrusion of history upon the present. Much of Stallings’ poetry is set in modern Greece, where she now lives, so the invocation of that country’s myths in her thoroughly modern voice has a particular resonance, as if some ancient spirit were speaking to us in the language we know best. A. E. Stallings will read from her work in Room 101, Buttrick Hall at Vanderbilt University at 8 p.m. Oct. 9. Audio of her reading will be posted on VUCast ( http://www.vanderbilt.edu.news/ ). —MARIA BROWNING ROBERT HASS While he is also a renowned critic and translator, it is as a poet that Robert Hass earned his reputation. His four collections (Field Guide, Praise, Human Wishes and Sun Under Wood) have won him two National Book Critics’ Circle Awards, and the MacArthur Foundation’s “genius” fellowship, among other prizes. And few poets have done more than Hass to push poetry into the mainstream of American life. As poet laureate from 1995 to 1997, Hass logged thousands of miles to meet schoolchildren, civic associations and just about any organization that would have him. (He has joked that the only thing he didn’t do was go door-to-door.) Since then, Hass enlarged his mission to advocate for the environment and education, issues he feels are vital to sustaining the arts. In an interview in Mother Jones, Hass remarked: “I have a sewer map, and on it you can see the pipe from which congressional wastes empty into the river that then flows through the black neighborhoods of Washington, D.C. That is to say, if you’re imaginatively responsible to the place you live in, you understand the watershed. Once you figure out something about the watershed, you’ll find out where the schools are going to hell, and the kids aren’t learning.” Hass will read from his work on Oct. 4 at 8 p.m. in Austin Peay State University’s Gentry Auditorium. On Oct. 5 at 7:30 p.m., Hass participates in a panel discussion on environmental awareness; he will be joined by Jeff Barrie, who made the documentary film Kilowatt Ours, and Dave Pelton, executive director of Clean Cities of Middle Tennessee. A free reception and book signing will follow both events. —PABLO TANGUAY MICHAEL CONNELLY Hieronymus Bosch is back, and mystery lovers everywhere will know that Renaissance art is not involved. It’s “Harry” Bosch, the jazz-loving, tough-as-nails, fair-minded homicide detective, staring in his 12th outing under Michael Connelly’s sure-footed direction. In Echo Park, Harry duels with a serial killer who is already behind bars when the story begins. Raynard Waits was caught red-handed with bags of body parts in his van, but it’s what he claims to have done in the past that gets Harry, now serving on the cold-case squad, called in to help. Waits says he killed a girl whose murder Harry was never able to solve, a 13-year-old case he desperately wants to close. Of course, there is more to Waits than meets the eye, and Harry won’t rest until he knows the whole truth—wherever it takes him. There are stereotypes galore in Echo Park: the out-of-retirement detective haunted by his past, corrupt politicians who would rather get reelected than help the people, a lover who provides crucial help at the right moments. But none of that will matter to readers who crave fast-paced, well-written suspense stories with West Coast settings so perfectly portrayed that Los Angeles feels like a hometown even to someone who’s never been there. Michael Connelly will appear at Davis-Kidd Booksellers at 6 p.m. Oct. 10. —CHRIS SCOTT LECTURES JAMES ELKINS The Presidential Lectureship for Art and Art History at Lipscomb University makes an impressive debut on Monday, Oct. 9, with an appearance by James Elkins, the E.C. Chadbourne Chair in the Department of Art History, Theory and Criticism at the Art Institute of Chicago. One of the most respected art historians in the country, Elkins is a prolific author with 20 publications to his name. Books such as The Object Stares Back and How to Use Your Eyes speak to perception and art history with the knowledge of an academic, but are highly readable and accessible to the layperson. One should expect a tour de force lecture from Elkins, though not a presentation only a Ph.D. could appreciate. Elkins’ appearance is the first of three programs in this exciting new series from Lipscomb. The lecture is free; it begins at 7 p.m. at the university’s Shamblin Theatre. —JOE NOLAN FILM AMERICA: FREEDOM OR FASCISM Proof that the left hasn’t cornered the market on activist docs—see below—this jeremiad by Aaron Russo (best known as Bette Midler’s former manager and producer of films such as Trading Places) gives nothing but unhappy returns to the IRS. A grass-roots sensation, Russo’s film questions the government’s legal authority to tax its citizens, arguing that the 16th Amendment lays no guidelines for how such revenue is to be collected. That’s grabbin’ ’em by the short form! The movie starts a one-week run Friday at the Belcourt, which has been getting calls about the film from as far away as Alabama and North Carolina. —JIM RIDLEY IRAQ FOR SALE: THE WAR PROFITEERS Having taken on Wal-Mart, FOX News and the 2000 election debacle, progressive muckraker Robert Greenwald rips into another juicy subject: the private-sector corporations making big-time bucks off the Iraq War (Halliburton: $18.5 billion) while stranding their employees in harm’s way with inadequate training and protection. (At least the pay’s good: six figures for private “consultants” versus $3,000 a month for soldiers.) Want to see how to charge $100 for doing a load of laundry? Let Greenwald show you, in what one on-camera subject calls “a legal way of stealing.” The movie makes its big-screen Nashville premiere 7 p.m. Monday at the Belcourt, sponsored by Democracy for America and the DFA Film Club; a panel discussion will follow the screening. —JIM RIDLEY NASHVILLE To quote Haven Hamilton, we must be doing something right to last 200 years. So to prove Nashville can withstand anything, the Belcourt marks the bicentennial anniversary of the city’s incorporation with Robert Altman’s still controversial 1975 film—a kaleidoscopic view of Music City that remains among the most influential, divisive (and entertaining) American movies of the 1970s. For those too young to remember the fury that met its release, the shock will be that a movie this cool was ever filmed here. The cast includes Lily Tomlin, Keith Carradine, Henry Gibson, Karen Black, Ronee Blakley, Barbara Harris, a pre-stardom Jeff Goldblum and Scott Glenn; locations include the Exit/In, Berry Field, the Parthenon and priceless footage of rundown Lower Broadway. The movie screens 11:30 a.m. Friday, Saturday and Sunday: if you’ve never seen it on the big screen, go or have your residency revoked. —JIM RIDLEY THE LATE SHOW: THE BIG LEBOWSKI A shaggy-dog noir so ramshackle that even narrator Sam Elliott loses his train of thought, Joel and Ethan Coen’s goofball 1998 private-eye yarn makes a comic style out of its hazy convolutions: it’s like a bong MacGyvered out of somebody’s rental copy of The Long Goodbye. But it’s become a favorite of people who love bowling, hate nihilists and would never, ever dispute the sanctity of the Shabbos. If you missed the recent Lebowski Fest in Louisville, the whole durned human comedy will keep perpetuatin’ itself anyway: the Belcourt’s late show 11:30 Friday night (with a repeat the same time Saturday) will have specials on White Russians and other surprises. Until then, The Dude abides. To be projected from DVD. —JIM RIDLEY THE WILD BLUE YONDER Arguably, Werner Herzog has been making films about alien life as far back as 1971’s Fata Morgana. But this playful 2005 hybrid of futuristic fantasy and documentary is the director’s first outright science-fiction film, juxtaposing previously unseen zero-gravity footage shot by astronauts in 1989 with the musings of an Andromedan researcher (Brad Dourif) several hundred years from now. (To evoke Dourif’s home planet, musician Henry Kaiser provided undersea footage he shot beneath an Antarctic ice shelf.) In conjunction with Cheekwood’s new video installation “No Place: Artists Explore Utopia,” the film receives one screening 7:30 p.m. Sunday, Oct. 8, at the Belcourt. —JIM RIDLEY

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