Category Archives: Hot Topics
By Lon Maxwell, Reference Department
I and most people in their thirties and forties grew up in an interesting time when it comes to robots and Machine intelligence. Robots are the automated devices that build our manufactured goods, the programmed tools that weld, test, and gauge everything we use. They may even for a few lucky ones have been something we got to play with as kids in school robotics labs, programming multi jointed limbs and pincer grips to move small objects from one side of the table to the other. For me, they were the first peek into Machine language. This was not, however the only way I saw robots. They were also the shining metal sidekicks, the implacable companions, and often the comic relief of some of my favorite books, movies and television shows. I could go from watching a sci-fi film on Friday to playing with an old Unimate PUMA at the local community college’s Saturday kids program the next morning. I almost didn’t see them as even similar versions of the same thing. Now that I’m an adult however I can look back and see my old Saturday morning friend was the Homo Habilis to today’s Homo Erectus. We are still in the early days of robotic evolution, but the pace is quickening and the robot who wants to be a “real boy” could be just around the corner.
You can’t take a look forward and appreciate the amount of journey ahead without knowing how far you’ve come. True electronic computers go back to the old vacuum tube run models that took up the same space as an entire gymnasium and were programmed with punch cards. Then came central mainframes with dumb terminals, mini systems and finally the personal computer we know and love still. In that time we migrated through magnetic tape and cartridges, through the innumerable floppy discs and hard discs to the thumb and hard drives of today. The robots have changed a bit as well. Aside from the science fiction progression we’ve seen from the Lost in Space robot to…well…um… the Lost in Space robot (1965 and 2018 respectively) there has been a huge swing from the early mechanical arms to the more modern, and yet still 18-year-old, Asimo.
The future of robots is heading down two main tracks, Humaniform and non-traditional robots. The Humaniform robots are learning (more on that in bit) to respond to human emotion. In some cases they are working on mimicking facial expressions with plastic and servos. It is among this variety of robot that scientists are working on human like movement. The non-traditional types are just as surprising. Military vehicle=s and drones are where the largest strides are coming from. Self-guided autonomous devices are delivering supplies and personnel. Dangerous missions are being performed with pinpoint accuracy by computers that are learning to modify their tactics. They might not look like C3P0 but the military machines are where we see science fiction meeting reality. Let’s just hope it’s more Bicentennial Man and less Skynet.
Artificial, or machine, intelligence is a different story. Until today the general maxim for working with computers is that they do not make mistakes. They do only what we have programmed them to do. Any errors are really the fault of the programmer. Going into the future we may see computers that are capable of extrapolating their own options and acting outside of initial human programming. This artificial cognition has a lot of people excited, good excited and bad excited. Advances in computing ability are allowing for computer scientists to attack the problem of A.I. in many different ways. They are approaching the problem from the angles of symbolic learning and human brain simulation among several others. They are also using the latest tools, networks to simulate neural pathways and statistical models to build decision making. One big question in artificial intelligence is the ability of man to create a moral structure for the A.I. brain to exist within. Many do not believe we can safely create a friendly A.I. with the level of knowledge we currently possess. That might explain why fiction has a lot more HAL 9000 clones than Commander Data.
The real future that many of us hope for is one that brings these two things, artificial intelligence and robotics, together to make a robotic being that will help us forward. Like many of the advances we have seen our imaginations are directed by the stories we hear and see and read. Advances in both fields will lead to the point where a breakthrough occurs, and it will be sooner rather than later. The only questions left to ask are will it be a benevolent discovery and are we worried about if we can rather than focusing on if we should.
 The terms humaniform and non-traditional are ones that I have chosen. Humaniform is a term I have lifted directly from the work of Isaac Asimov.
Further Reading (and since it’s Friday the 13th, have 13 books):
- I, Robot by Isaac Asimov (F ASIMOV)
- Do Androids Dream of Electric Sheep by Philip K. Dick (LP F DIC)
- Saturn’s Children by Charles Stross (eBook)
- The Alchemy of Stone by Ekaterina Sedia (eBook)
- Neuromancer by William Gibson (F GIB)
- Robopocalypse by Daniel H. Wilson (F WIL)
- “Silently and Very Fast” by Catherynne M. Valente (808.838762 MOR)
- The Automatic Detective by A. Lee Martinez (F MAR)
- The Windup Girl by Paolo Bacigalupi (F BAC)
- Hyperion by Dan Simmons (F SIM)
- The Moon is a Harsh Mistress by Robert A. Heinlein (F HEI)
- Otherland by Tad Williams (F WIL)
- Ancillary Justice by Ann Leckie (F LECKIE)
By Lon Maxwell, Reference Department
My boys, ages 9 and 13 love to sit down on a rainy day and watch Help!. The goofy antics of the four Liverpudlian lads have an entertainment value that transcends the decades. It’s not odd that people like the Beatles today, but it is an interesting change in the mindset of Americans. Most people do not listen to, let alone become avid fans of, the music of their grandparents. While I do enjoy big band and swing music, I would consider myself more exception than rule, even with the millennium era revival of Swing. My parents’ generation certainly did not listen to ragtime. So why do my kids, and many other of today’s children still love the Beatles? The answer is simply because they suffer from the epidemic that was called is Beatlemania.
The Fab Four started out as a fab five: John, Paul, George, Pete and Stuart, and were originally known as the Quarrymen, then Johnny and the Moondogs before moving through several variations of the name we all know and love, before settling on just The Beatles. They got their start in Liverpool, but played in Hamburg, Germany for a time before they all had to leave for one reason or another (Harrison was an unaccompanied minor, Best and McCartney were deported over an arson charge, and Lennon left of his own accord.)They played Liverpool and acted as a backing band and even returned to Hamburg before returning to England and starting to record their own music. Stuart Sutcliffe returned to his art, and the other three replaced Best with a drummer named Richard Starkey, Ringo. The rest of the story is known to music and pop culture fans the world over. They took England by storm in 1962 and 63, then America later that year followed by their first visit in 1964. It was the spark of the British Invasion, and the moving of a phenomenon from Europe to American shores. Beatlemania had made its beach head in the United States.
The outpouring of affection and devotion dedicated to the Beatles took the world by surprise. It was never observed before and really has not been repeated since. Many bands have been called the next Beatles, from the Bee Gees to Oasis to One Direction, but no one has ever lived up to the name. No one had or ever has caused wholesale hysteria among fans like the Fab Four, although Elvis had come the closest. The best explanation that anyone can seem to come up with is that the Beatles tapped into a confluence of factors that hasn’t occurred before or since. The large number of potential fans brought about by the baby boom, the safe appearance (despite the scruffy band stories we all hear their androgynous haircuts, suits, and simple movements while playing meant they were far less threatening than the overtly masculine and sexual Elvis), and the unsure world brought about by the height of the Cold War and death of President Kennedy, made teens everywhere ready to latch on to something. They fell to that with a will. Screaming, fainting, panicking and occasional rioting were more than just a trope from the beginning of A Hard Day’s Night, they were the reality of day to day life for the guys.
The lasting effect of the Beatles, in my opinion, is not the pop culture phenomenon. It is what they brought to music and more importantly musicians. Many people make fun of the Monkees as a manufactured Beatles rip off, but what many people don’t realize is that many bands were structured in the same manner. Even the Beatles were told they were going to play certain songs and not others. Rock and Roll was very much like today’s country music where songwriters made the songs that would sell and musicians played what they were told to. The Beatles began playing songs that were commercially viable. This meant basic formulaic songs and covers. As they increased in popularity, they gained more bargaining power so that by the time Help! (the album) came out, they only had one cover and were able to add more experimental songs like “I Need You”, “You’ve Got to Hide Your Love Away”, and “Yesterday”. The greater their popularity, the more control they had, and it’s evident as you go through Rubber Soul, Revolver, and Sgt. Pepper’s Lonely Hearts Club Band. The experimentalism of The Beatles (more often known as “The White Album”) shows the power they had been able to amass. They were the first major band to tell a big label that they would play what they liked and make it stick. This changed the way rock and roll worked from that day on. That’s not to say that the manufactured band had ended, but it meant that a band with good songwriting chops and a strong following was more important than record executives market analysis, and bands have used this to innovate ever since.
I really think that the best testament to the power of Beatlemania is that the 55 years of fanaticism it caused is only based on seven years of collaborative work. Four Generations have grown up with the Beatles’ music and they are loved by members of all of them. Bands like the Rolling Stones, Pink Floyd, and U2 have been playing together for a much longer time and released a great many more albums, but have not reached the iconic stature of the Beatles. They have changed the state of modern music for their era, but still had less impact than the Beatles. Their fans and their impact stem from the inroads made by the Beatles and, while their impact is not cheapened, it is diminished by the fact that the Beatles had already planted their flag in those lofty heights first.
- Dreaming the Beatles: A Love Story of one Band and the Whole World by Rob Sheffield 782.4216 SHE
- The Beatles: All These Years by Mark Lewisohn 782.42166 LEW
- Meet the Beatles: A Cultural History of the Band That Shook Youth, Gender, and the World by Steven D. Stark 782.42166 STA
- Beatles ’66 The Revolutionary Year by Steve Turner LP 782.42166 TUR
- How the Beatles Changed the World by Martin W. Sandler J 782.421660922 SAN
- The Beatles Were Fab (and They Were Funny) by Kathleen Krull J 782.42166092
By Lindsay Roseberry, Reference Department
Did you grown up singing along with the cast recording of Broadway musicals? If you are of a certain age, perhaps you did. My mother had many of them, and I enjoyed singing along, whenever I knew the words. Home was so very far away from New York in those days, so the cast albums (I’m talking old 78s and 33 1/3s) were the closest you could get to the plays themselves. This was before the internet, when many areas of the country only got three television channels. This was before cable. Yes, I am old. But I always remember how much fun I had listening to the musicals. And I know I am not alone.
So what musicals have been the most popular through the years, popular enough to keep bringing them back, that is?
1. Porgy and Bess (music by George Gershwin, book and lyrics by Ira Gershwin , based on the book by Dubose Heyward)**
Porgy and Bess premiered in 1935 on Broadway, and has been brought back to Broadway seven times! Part of the popularity is the story and part, possibly the larger part, is the music by George and Ira Gershwin. And it is the most revived musical on Broadway.
2. The Threepenny Opera (music by Kurt Weil, book and lyrics by Bertolt Brecht)
The Threepenny Opera premiered in 1933; it has been revived six times. This play was adapted from the book The Beggar’s Opera written in 1728. This musical may qualify as being from the oldest extant source!
3. Show Boat (music by Jerome Kern, book and lyrics by Oscar Hammerstein II)
Before Hammerstein teamed up with Richard Rodgers he was famous in his own right. He just became more so in the famous partnership. This musical has also been revived six times. “Ol’ Man River” and “Can’t Help Lovin’ Dat Man” are always show stoppers.
4. Peter Pan (music by Mark Charlap and Jule Stine; book and lyrics by Carolyn Leigh)
Peter Pan is the fourth most restaged musical. I’m sure you thought it would be on the list somewhere! It’s a perennial favorite for all ages, and those of us old enough will remember that Mary Martin starred as Peter in the first show in 1954. She was the mother of Larry Hagman who became a star in I Dream of Jeannie, and became a megastar in Dallas.
5. Guys and Dolls (music and lyrics by Frank Loesser and book by Abe Burrows)
This musical premiered in 1950. Some from younger generations may be surprised that Marlon Brando starred in the film adaptation, singing and dancing. Nathan Lane starred in the 1992 revival. I’m sure that was a good one.
6. Fiddler on the Roof (music by Jerry Bock, lyrics by Sheldon Harnick and book by Joseph Stein)
Next is one you probably thought should have been higher up on the list. The book was based on the stories of Sholom Aleichem, telling the story of the Jews living in the Soviet Union and how they lived there. It first premiered in 1964 and was an immediate hit. The movie was wonderful, too.
7. Carousel (music by Richard Rodgers, and book and lyrics by Oscar Hammerstein II)
Now we come to the famous pairing of Rodgers and Hammerstein. This was the second play in their partnership. Oklahoma was the first, and it changed the way musicals were written and performed. Carousel only cemented their fame, and they were even nominated for a Tony award.
8. West Side Story (music by Leonard Bernstein, lyrics by Stephen Sondheim and book by Arthur Laurents)
West Side Story is the eighth most popular revival. I’m surprised it’s not higher on the list. But perhaps because it was based on one of Shakespeare’s most famous plays was what made it so popular (aka Romeo and Juliet). You can’t go wrong with Shakespeare… It premiered in 1957, and was so popular it came back to Broadway three years later.
9. Pal Joey (music by Richard Rodgers; book and lyrics by Lorenz Hart, based on the book by John O’Hara)
The character and stories from this musical were based on short stories by John O’Hara that appeared in the New Yorker; he later published these stories as a novel. The play received mixed reviews from the critics, but ran for ten months, so it was popular. Not smash hits like with Rodgers and Hammerstein…
10. Oklahoma (music by Richard Rodgers, and book and lyrics by Oscar Hammerstein II)
Speaking of Rodgers and Hammerstein, Oklahoma is the next most revised musical. This one was the first by the duo. This musical broke the mold. The singing was part of the dialogue, not just song and dance numbers interspersed in between dialogue.
Some people in the business aren’t sure all of the old favorites should be revived. Some of the shows continue stereotypes, while others deal with abuse or misogyny. And what about the revivals taking away room for new musicals to come to town; others have concerns about this possibility too.
In a November New York times article, Georgia Stitt, a composer, lyricist and musician, posted this on social media last fall as the 2017 season was being announced:
“With respect to the creatives who will be employed by these projects, I will say I’m concerned about a Broadway season that includes PRETTY WOMAN, CAROUSEL and MY FAIR LADY all at the same time. In 2017 is the correct message really “women are there to be rescued? It’s frustrating that the material people seem to want to throw their energy into is old properties where women have no agency, and then there is the real scarcity of women on the creative teams.”
–Georgia Stitt (@georgiastitt) November 22, 2017
Creative teams have sought to rework problematic classic musicals, either by changing wording (only possible with permission from the writers’ representatives), or by rethinking staging.
Critiques of My Fair Lady have focused not only on the show’s final exchange, but on the Pygmalion narrative itself. “Oh gosh, it is very, very sexist,” Julie Andrews, who originated the role of Eliza on Broadway in 1956, told an interviewer last year. “Young women in particular will and should find it hard.”
Pretty Woman, which will be staged for the fall 2018 season, faces different challenges, as a new musical with no pre-existing book or score. It will have a production in Chicago this spring and is then scheduled to open on Broadway in August.
Some artists think that there are a few musicals that need to be revived. What about Funny Girl, 1776, Titanic or A Funny thing Happened on the Way to the Forum? Grand Hotel, anyone??
A few final words about musicals: This year Love Never Dies will be shown in North America for the first time. The sequel is set in New York, ten years after the ending of the Phantom of the Opera ends. It started in Detroit and now is coming to TPAC. And yes the music and lyrics are by Andrew Lloyd Webber.
** So what exactly do these musical terms mean? The music itself, often called the score, is often written by a different person than the person who writes the lyrics, (a.k.a. the words in the songs). Think of Rodgers and Hammerstein. Then think of Andrew Lloyd Webber or Stephen Sondheim. Both of these men often wrote the words and music for their productions. The book is the words, the actual story of the musical, sometimes based on a book, as in Phantom of the Opera.
- The 23 Most-Revived Musicals in Broadway History Since 1927
- 10 Musicals Due for a Broadway Revival
- The Problem With Broadway Revivals: They Revive Gender Stereotypes, Too
- Do Revivals Inhibit New Broadway Musicals?
By Chelsea Bennett, Reference Department
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When confronted with a thriller, I used to think, “Here’s a novel that features guns, bombs, and lies. Probably some politics, too.” And while those elements might feature in some bestselling books, I now know how narrow my perception was. For I have probed past the whims of pop culture, and discovered some of the fascinating premises to be found within the realm of suspense, thriller, and crime novels. While this genre may not be new to you, I hope you’ll follow along with this two-part post, and perhaps leave your best recommendations at the end.
“Crime pays,” says journalist Anita Singh, writing for The Telegraph: “thrillers and detective novels now outsell all other fiction.”  It’s a broad category: these novels might be packed with fast-paced action (the Jason Bourne series), psychological drama (Gone Girl), or military intrigue (The Hunt for Red October). With high stakes and life-or-death outcomes, thrillers often become the basis for hit movies. And while supernatural or dystopian tales may have had a surge in popularity over recent years, thrillers continue to enthrall us because they could happen. Grounded in reality, often set in present-day, they let us imagine what life would be like if we got on the wrong side of a corrupt government – or a jealous lover.
But why would anyone want to do that? The late novelist and critic Mary McCarthy explained it this way: “We all live in suspense, from day to day, from hour to hour….” And, as writer Lisa Gardner adds, “…one of the appeals of suspense is [that we can] safely explore our innermost fears.”  In other words, we all live with a high degree of uncertainty in our lives. The more nervous, fragile, lonely, pessimistic, or uninformed we feel, the more we fear that uncertainty. When fiction addresses that primal fear, it allows us to take a breath, say to ourselves, “OK. What if?” and confront those worst-case scenarios. Fear often shrinks under scrutiny. And if we vicariously reach a satisfying solution through the deeds of our literary avatars, so much the better.
Today, we’ll start with the heavy hitters: the names that even I recognized! Then we’ll look at the classic works of literature that paved the way for those authors. Next week, we’ll scrounge up a few “deep cuts” – lesser-known works of suspense by authors who usually fit into a different genre. And we’ll highlight some of the women authors who are shaking things up in the realm of suspense.
- Ian Fleming, author of the James Bond Casino Royale is a classic. Fleming said, “While thrillers may not be Literature with a capital L, it is possible to write what I can best describe as ‘thrillers designed to be read as literature’.” 
- Robert Ludlum, creator of the character Jason Bourne. Ludlum died in 2001, but the wildly popular Bourne series continues, thanks to a collective of authors who carry his torch.
- Stieg Larsson’s Millennium series also continues posthumously, following the success of Larsson’s first three novels, beginning with The Girl with the Dragon Tattoo.
- Tom Clancy created the Jack Ryan character in The Hunt for Red October. There are now more than 20 novels in the series.
- John le Carré introduced British intelligence officer George Smiley in Call for the Dead, and he appears in nine other novels, perhaps most famously in Tinker Tailor Soldier Spy.
- The Secret Agent: A Simple Tale by Joseph Conrad. A tale of terrorism, anarchy, and political intrigue, set in 1880s London.
- Rebecca by Daphne du Maurier. Although many modern reprints give this gothic work the appearance of a romance novel, it’s a psychological work that led to a rather faithful film adaptation by that master of suspense, Sir Alfred Hitchcock.
- A Study in Scarlet by Sir Arthur Conan Doyle. This is the first appearance of Sherlock Holmes, star of four novels and many short stories by Doyle. Fans of the BBC series Sherlock may find the differences – and similarities – amusing.
- “The Murders in the Rue Morgue” by Edgar Allan Poe. Before there was Sherlock Holmes, there was C. Auguste Dupin, Poe’s amateur detective with uncanny skills of deduction. Dupin appears in two more of Poe’s stories.
- A Coffin for Dimitrios by Eric Ambler (also titled The Mask of Dimitrios). Charles Latimer is a mystery novelist becomes intrigued by a dead man’s past, which leads to dangerous consequences. The story is described as a hybrid of “spy thriller” and “detective noir.”  There is a sequel, The Intercom Conspiracy.
- The Mysteries of Udolpho by Ann Radcliffe. This is a “quintessential Gothic romance,” with a young heroine in both physical and psychological danger. Austen, Poe, and others were heavily influenced by Radcliffe. 
- The Woman in White by Wilkie Collins. “Pursuing questions of identity and insanity along the paths and corridors of English country houses and the madhouse, [it] is the first and most influential of the Victorian genre that combined Gothic horror with psychological realism.” 
That’s all for this week. Check back next week as I do my best to turn up some unexpected finds, and explore the success of women authors in this genre. Don’t forget to share your favorites (especially classics) in the comments below!
* A line you will recognize from either The Importance of Being Earnest or Willy Wonka & the Chocolate Factory, depending on your tastes.
By Lindsay Roseberry, Reference Department
We all know that Nashville is called “Music City” with all the concerts and venues that take place all over Nashville and Davidson County, covering so much more than country music these days, too. But, Williamson County is catching up and has quite a few venues that may interest you. From the annual Pilgrimage Festival to summer concerts to weekly and daily music venues, Franklin and Williamson County have much to offer!
If you want to relax and have a meal while listening to music, try out these restaurants in the area:
The Bunganut Pig does have a strange name but it has good food. It’s been in Franklin for over twenty years; there’s a sign out front that boasts the “best burger in town.” It is a laid back place to eat, with a varied menu. There is live music on the patio in the summer, and dance bands perform on the weekends.
Puckett’s Grocery and Restaurant started in Leiper’s Fork as a small restaurant in the 1950s; word spread and now there are six area restaurants. The original one is still in in Leiper’s Fork, and next Franklin, then spreading out to Nashville, Columbia and Murfreesboro. Franklin also boasts Puckett’s Boat House, which is actually in a refurbished boat house. All of the locations have live music most days of the week.
Puckett’s Grocery & Restaurant in Leiper’s Fork, Tennessee, is more than just a place to enjoy a good meal. It’s a popular destination for locals and tourists alike. With mismatched tables and chairs and an eclectic clientele of tourists, farmers, songwriters, and country music stars, it’s a restaurant serving up a dining experience unlike any other. It is even on the National Register of Historic Places in America! Founded by the Puckett family in the 1950s, Puckett’s served as a country store to several communities in Williamson County. From fresh groceries and a good southern meal, to a tank of gas and a place to catch up with friends, Puckett’s has become a staple in the Leiper’s Fork community.
Puckett’s in Franklin is focused on providing friends new and old with great food and Southern hospitality. They built a name on hosting live, local musical acts and serving Southern staples. They offer live music Tuesday through Saturday.
Puckett’s Boat House is in Franklin’s old Boat Locker at 94 E. Main Street; they offer by-the-shore dishes that are reminiscent of the Gulf coast and the Big Easy, plus Southern staples. They also offer an oyster bar and a wine bar. Every Tuesday through Saturday they offer live music.
Kimbro’s opened in 2005 as a pickin’ parlor by songwriter Ron Kimbro. In 2007 Will Jordan became a partner and changed it to a music venue. In 2014, Jordan became the sole owner. In 2013, Kimbro’s won second place behind The Ryman Auditorium for “Best Live Music Venue” in The Tennessean’s 2013 reader’s pole and second place behind The Bluebird for “Best Open Mic” in The Nashville Scene’s reader’s pole. In addition to incredible music, Kimbro’s also offers a fantastic menu of homemade foods from specialty salads to gourmet burgers, delicious sandwiches and fantastic sides. It also features more than 30 different varieties of imported and domestic beer and draft options are all made by local brewers; they also have a complete wine selection, mimosas, sangria and ciders.
The Whiskey Room at King’s Bowl at the Galleria is a relative newcomer to the area. Kings Bowl was founded in 2002 as a mission to create a new dining and entertainment experience that revitalizes the charm and nostalgia of bowling and other social games that have faded in America since their heydays. Not your average bowling alley, Kings Dining & Entertainment takes a restaurant-first approach with amazing scratch dishes from its chef-driven, award-winning kitchen in a classic retro environment. At King’s Dining & Entertainment, you can dine in one of three premium bars, on a 60-seat patio with fire pit and beer garden, or right at your bowling lane.
The Whiskey Room LIVE, part of the King’s Bowl complex, is a 120-seat entertainment stage with state-of-the-art audio and lighting. “Music is part of our DNA,” the owner said, and the Nashville area just seemed like an ideal location to introduce our first Whiskey Room and music venue.”
Mellow Mushroom Pizza Bakers was established in 1974 in Atlanta, Georgia as a single pizzeria; the headquarters are still there. This downtown restaurant has live music in the summer on the square. Sixty-Four, a Beatles cover band, will be playing every second Saturday!
The Gray Drug Co. was a landmark pharmacy here for nearly a century. In 2013, after careful restoration, the three-story Gray’s on Main was unveiled, honoring Tennessee’s cultural heritage through fresh spirits, flavors and sounds. The menu reflects the best of the South in food, with a focus on locally and regionally sourced ingredients. The second floor bar and music hall features live performances from the best musicians in the area.
The Pond is a local neighborhood bar with music; they also offer happy hour daily from to 7 p.m. The bar is for 21+ and they do allow smoking. And for those who like late nights, they are open until 3:00 a.m.
Arrington Vineyards opened its doors July 1, 2007. Since then, we have been providing a “wine country experience” of award winning wines set among the picturesque rolling hills of middle Tennessee. Arrington Vineyards hosts Music in the Vines every year from April through October every Saturday and Sunday. To view the entire schedule, check the event calendar. They offer two live music locations on the property; they host live jazz groups in the courtyard and live bluegrass bands by the Grand Barn. Both music events are free!
The Franklin Theatre was established in 1937, but time caught up with the theatre and in 2007 it closed. Thanks to a community wide effort, headed by the Heritage Foundation, the theatre was restored. It now shows standard movies, recorded music and now also has live music. Featuring well known groups and singers, the theatre has reclaimed its place in downtown.
Music City Roots, Live From The Factory is a weekly, radio show and webcast that revives the historic legacy of live musical radio production in Nashville. Broadcast on Wednesday nights from 7pm to about 9:30 pm, CST, Music City Roots showcases Nashville’s astonishing music scene, from country and Americana to more progressive interpreters of tradition — a “roots and branches” format that brings together fans of different tastes and generations. The show is broadcast live over WMOT/Roots Radio 89.5 FM from Middle Tennessee State University and webcast in Livestream.
Graystone Quarry in Thompson Station is just beginning to be an outdoor music venue and there will be outdoor music concerts coming soon!
And we can’t leave out the big annual music festival at Harlinsdale Farm! The Pilgrimage Music and Cultural Festival is become a well-known outdoor music concert. 2018 will be the 3rd year, and it continues to grow and have popular musicians.
by Chelsea Bennett, Reference Department
Are you unusually overwhelmed at work? Do you fear that – contrary to your character – you are one careless comment away from smacking a coworker in the face, or bursting into tears in the break room? Can you no longer distinguish your personal life from your work life? If you’re otherwise healthy, but feeling out of sorts and out of control, maybe it’s time to take a mental health day.
A mental health day (MHD) is just like a sick day. Instead of staying home because of a sore throat or a twisted ankle, however, an employee takes this day off work for a legitimate wellness concern that may not present physically. Sometimes the need stems from a clinically diagnosed illness (i.e., Major Depressive Disorder), but not always. Depression, anxiety, grief, stress, and emotional trauma are some possible reasons to take a mental health day.
“That sounds like playing hooky,” you might say, skeptically. Indeed, our culture pressures us to put career first, ahead of family and sanity. You may know someone who missed a child’s birthday party, rescheduled an anniversary dinner, or cancelled a vacation due to being “on call” at a job that has nothing to do with life and death.
And there’s still a cultural stigma against mental illnesses. They often go ignored or misunderstood, and aren’t given the same consideration as a visible sickness or injury. People with depression, for example, are instructed to “buck up.” This places the demand for a cure back on the sick individual, rather than encouraging them to seek help. (Imagine telling someone with a broken leg to “walk it off!”)
I’m not suggesting we all abandon our jobs and start living like Thoreau in the woods. (Although that is my own personal plan for early retirement.) But I am suggesting we start to value mental health as a vital element of wellness. It’s irresponsible to show up to work if you’ve got a fever. It’s equally unwise to wait until you’re in psychological crisis mode before you take some time off work. When you see your emotional distress flare, consider scheduling a mental health day (people who know you well can help you spot the warning signs, too.)
Be sure the day is productive in some way. You’re not skiving off work; you’re taking care of yourself. Evaluate the reasons you are staying home from work, and decide what you need most. Is it sleep? Quality time with a loved one? An afternoon full of play? If a Netflix marathon usually leaves you sluggish and empty, skip it. This is a day to fill yourself up. Here are some elements you might incorporate into your MHD:
- Drink lots of water all day long, and eat healthy food. (Dehydration and poor nutrition amplify the effects of emotional stress.)
- Schedule an appointment with your therapist, counselor, or mentor; or catch up with a friend who will listen with compassion.
- Attend to personal issues that have been causing stress, such as a long to-do list or a wilting relationship.
- Get out in nature.
- Sleep in, or take a restorative nap during the day. Go to bed earlier than usual.
- Exercise, to get your mind and body back in sync. It should be something you enjoy, not a chore: yoga, swimming, shooting hoops, golfing, climbing rock walls, …
- Book a therapeutic massage.
- Drive a few towns over for a change of scenery.
- Put your phone on Do Not Disturb. This will help block out social media, e-mails, and marketing calls. (Most phones let you customize this option, so you can still get important calls from select contacts.)
- Do something creative and meditative, such as painting, writing, cooking, or gardening.
- Laugh – and cry! Both work wonders for stress relief. Watch a movie, listen to a podcast, or read a book that you know will engage your emotions.
During your mental health day, you may come up against a few lies, so be sure to equip yourself with the truth: Time spent resting is NOT time wasted. It is NOT weak to ask for help or to express your needs. You ARE worth taking care of! And self-care is NOT selfish!
If taking a paid day off isn’t an option at your job, you can still dedicate a day to your mental health. The same goes for those of you who work from home, or stay home as a caregiver to family members. You’ll have to be intentional with your scheduled days off. You may have to ask for more help and be firm with your boundaries. But you CAN do it, and it IS worth it.
None of these activities will cure a mental illness or replace a long-term management plan, of course. You may need to incorporate lifestyle changes, or find a counselor or medical professional whose job is to equip you to navigate life’s challenges. (Check the links at the end of this post for a starting point to that search.) But taking time to care for yourself in meaningful ways can help maintain a sense of balance, self-worth, and perspective. As the rallying cry goes, “Mental health is health!”
When you are ready to go back to work, I hope you notice that you’re feeling refreshed and in control. A healthy person can give more, and joyfully so, to all around them: at home, at work, and everywhere else.
A few links to help you search for a mental health care professional:
By Chelsea Bennett, Reference Department
Being a lover of memoir and “the classics” (think, “books you were forced to read in high school”), I’ve felt comfortable referring to those categories in previous blog posts. But when I saw the colorful genre bookmarks we have at the library – check them out on your next visit!–, I felt inspired to explore some authors I’ve never read before.
One genre I’m pretty unfamiliar with is Urban Fantasy, so I thought I’d start there, and every research trip begins with a visit to Wikipedia, doesn’t it (just don’t tell your teachers)? From there, I gathered these elements of the Urban Fantasy subgenre (1):
- A primarily real-world, urban setting, in the past, present or future
- Earthbound mythological creatures (sometimes)
- Coexistence / conflict between humans and paranormal beings (some other times)
- Often explores how city life changes after the discovery of magic
- Does not rely primarily on a romantic plot (as distinct from Paranormal Romance subgenre)
This sounds like many of the bestsellers and blockbusters in the past couple of decades! So who are the storytellers behind this enduring pop culture phenomenon?
Even I, in my ignorance, recognize the name Neil Gaiman halfway down the list on the bright yellow bookmark before me. His novel, American Gods, is a prime example of the genre. In it, Gaiman posits that “gods and mythological creatures exist because people believe in them.” (2) Therefore, in modern America, new gods – representing media, the internet, and the stock market, among others – have more authority than the old gods brought over by immigrants; and fantastical creatures hold commonplace occupations. But a mysterious man wishes to shake things up, and he needs the help of ex-con Shadow to rouse ancient powers. A strange, epic journey, with elements of horror, fantasy, and magical realism, this award-winning novel has an international fan base.
Neil Gaiman, and indeed the genre of Urban Fantasy, would not be where they are today without Terri Windling. She created the Bordertown universe, tales of which have been written by a multitude of authors. Bordertown is “a dystopian metropolis that lies along the border between “the Elflands” and “The World”.” (3) The tagline on some of the book covers reads, “Where Magic Meets Rock ‘n’ Roll,” which I find charming. As one reader puts it, “the aesthetic of Celtic punk rock, elf/human gang warfare, and glamorous urban decay absolutely succeeds. You can understand why this series inspired its own new wave/nerd subculture back in the eighties.” (4)
Interestingly, 57% of writers in this genre are women. (1) Another such writer who caught my eye was Patricia Briggs, with her Mercy Thompson series. Mercy is a shapeshifting mechanic who was raised by werewolves. She interacts with vampires, gremlins, and other creatures of the night. Ignore the sexy artwork on the book covers: this is not a steamy series, but rather one with compelling dialogue and a strong, sensitive female lead. There are plenty of books in this series, starting with Moon Called.
I’d like to leave you with some more author recommendations, which is a hard thing to do as I haven’t actually read any of them. But thank goodness for those bookmarks, and for Goodreads.com, a great resource for book lists and reader reviews. Searching Goodreads by genre, I found that there are some Urban Fantasy authors whose books have been reviewed by community members hundreds of thousands of times! (Side note: If you find a reviewer whose taste matches your own, you can follow him/her on the site. It’s like having your own personal book critic who delivers tailored book recommendations.)
- Charlaine Harris – Sookie Stackhouse series (AKA the Southern Vampire Mysteries). These books are the source material for HBO’s True Blood.
- Jim Butcher – The Dresden Files Harry Dresden is Chicago’s first and only wizard P.I. This series is the Urban Fantasy high standard for many reviewers.
- Kelley Armstrong – Darkest Powers A genetically-engineered teenage necromancer’s powers are out of control: she raises the dead without even trying. On the run from her creators, she’s accompanied by a sorcerer, a werewolf, and a witch.
- Seanan McGuire – Wayward Children Children who have gone through magical portals – like Wonderland’s rabbit hole, or Narnia’s wardrobe – find it hard to adjust to normal life once they return. Luckily, there’s a home just for them.
- Kevin Hearne – The Iron Druid Chronicles. The last of the druids runs a bookshop in Arizona, but that won’t throw an angry god off the trail of his magic sword. Celtic mythology meets vampires, werewolves, and Thor. Yes, this series definitely has a silly edge to it, but reviewers say it’s a lot of fun!
- Holly Black – The Poison Eaters and Other Stories. Elves, werewolves, vampires, faeries: whatever your creature obsession, there’s a short story for you in this YA/adult collection from the author of popular middle-grade series The Spiderwick Chronicles.
- Terry Brooks – Word & Void There’s been a long strike in a steel town, and it’s the hottest Fourth of July on record. Into this volatile atmosphere come a knight of the Word and a demonic servant of the Void, whose opposing goals are mysteriously linked by a teenage girl. The fate of humanity is to be decided amidst the fireworks that celebrate freedom.
- Ilona Andrews – Kate Daniels Magic feeds on technology, creating a chaotic backdrop for tales of a mercenary who lives in Atlanta, cleaning up paranormal problems.
I plan to broaden my literary horizons by adding a couple of these to my reading list. If I abandon my classics and only ever write about Urban Fantasy from now on, you’ll know what triggered it!
- Neil Gaiman’s American Gods Fan Art by DeviantArt user AnamikaB, https://anamikab.deviantart.com/art/Neil-Gaiman-s-American-Gods-Fan-Art-346033119
- The Dresden Files by DeviantArt user Mika-Blackfield, https://mika-blackfield.deviantart.com/art/The-Dresden-Files-575902031
By Allan Cross, Reference Department
Poetry isn’t the simplest thing to appreciate. At a passing glance, it may not have the same immediacy of film, music, and visual art. When placed alongside other forms of literature, a book of poems can struggle to match our latest bestsellers in accessibility. For all these reasons, some of us might dismiss poetry as a medium for high-minded wordsmiths, rather than a readership of less heady taste. But exceptional poetry has endured for millennia, and verse as a creative avenue stretches onward still. Why, then, do so many others read and derive worth from it today?
The convenient answer nowadays might be to quote Dead Poets Society. Mr. Keating, an English teacher played by the late Robin Williams, inspires his students (and unceasing scores of audiences) with his speech about why people read and write poetry. One of the film’s great strengths lies, of course, in its poetry readings. These, combined with well-chosen samples, bring forth the emotional meaning that fuels successful verse. The film serves as a great access point to poetry, emphasizing the importance of reading it aloud. When we readers encounter a given poem, we can better involve ourselves by audibly speaking the work. By doing so, we should enhance the piece with our individual voices, each one conducive in its own distinct way.
Testing this in light of three widely known poems seems a good place to begin. The trio we have selected consists of Robert Frost’s “The Road Not Taken,” Rudyard Kipling’s “If–,” and Shel Silverstein’s verse children’s book The Giving Tree.
In the third stanza of “The Road Not Taken,” Frost writes:
And both that morning equally lay/
In leaves no step had trodden black./
Oh, I kept the first for another day!/
Yet knowing how way leads on to way,/
I doubted if I should ever come back.
Andrew Spacey, a commentator for Owlcation, points out that Frost’s work reflects on the many choices we make in life, and how we tend to regret those decisions after committing to them. It is also commonly read as a statement in support of individualism, and the promotion of opinions that contrast with majority views.
Below is an excerpt from Kipling’s “If—”:
If you can dream—and not make dreams your master;/
If you can think—and not make thoughts your aim;/
If you can meet with Triumph and Disaster/
And treat those two imposters just the same;/
If you can bear to hear the truth you’ve spoken/
Twisted by knaves to make a trap for fools/
Or watch the things you gave your life to, broken,/
And stoop and build them up with worn out tools:
The theme of Kipling’s work, which regards the importance of thought, but not to the point where it impedes action, seems like a stirring antidote to Frost. It acknowledges the significance and moral need for regret, but urges the reader not to allow past mistakes to obstruct the path to future growth.
The Giving Tree addresses similar concerns, as shown in some of its final lines:
“I am sorry,” sighed the tree./
I wish that I could give you something…/
But I have nothing left./
I am just an old stump./
I am sorry….”/
I don’t need very much now,” said the boy./
“just a quiet place to sit and rest.”/
I am very tired.”
Rivka Galchen, in her 2014 review for The New York Times, argues that there is an unavoidable dilemma in The Giving Tree, it being whether we read it as a statement on thoughtless acquisition or unreserved giving. The two characters, the boy and the tree, do what is most fundamental to their natures. It’s up to the reader to then decide how to feel about the situation, including the conclusion about whether it turns out morally right.
The takeaway from all of this, in spite of all the people who attempt to influence our points-of-view, is that we allow ourselves to read and study works on our unique terms. As mentioned earlier, it may prove worthwhile to read these pieces and others to ourselves (at the risk of seeming foolish), in order to bring out their inherent humanity. We should remember that reading can be, in its way, a roomy type of interpretation. There’s a mysterious element of poetry, one we cannot entirely rationalize and so must trail behind. Rather than strain for full understanding, this is the process we might instead come to accept.
- Weir, Peter, director. Dead Poets Society. Touchstone Home Entertainment, 1989.
- Wikimedia Commons
By Lon Maxwell, Reference Department
Easter is a holiday that everyone knows is Christian, right? Or is it another pagan festival corrupted to fit the recruitment needs of the early church? Just like a paraphrase of the old Reese’s commercial, you got your pagan in my Christianity or vice versa.
Easter as the celebration of the resurrection of Jesus and the salvation of man is undeniably Christian. It’s not misplaced in the year like Christmas, to help offset the yule festivities, or made up to cover an existing harvest festival like Halloween, All-Saints Day, and All Souls Day. It does have the distinction of being part of the collection of last great moveable feasts along with its associated days of Lent (and for that matter, Mardi Gras). However, it is most certainly a Christian celebration of a Christian concept. There’s no pagan influence in how we celebrate Easter, right? The answer is not so cut and dry as we would like to think. There are three elements of the traditional American Easter celebrations that strike many people as odd. The profusion of rabbits, ducks and chickens is the big one. The inclusion of decorated eggs is another. Finally we have the name. The amazing inundation of pastel colors might be a fourth reason for some of us, but I’m afraid that is an unsolvable mystery.
There are a number of theories you will see on the internet or hear from people about the claim that the word Easter is a corruption of the name of the goddess Ishtar, a Mesopotamian goddess of love fertility and war. You’ll hear how there were eggs full of blood smashed on her alter, rabbits regarded as her sacred animals, and how the whole thing was a sacred ceremony celebrating her aspect of the goddess of spring fertility. Almost all of this is bunk. The animal that was most often associated with her is the lion and the only real time we find that big cat in Easter mythology is as a bit of a joke in a certain English candy companies commercials. While she did have a ceremony in the spring, it had little to nothing to do with eggs and mostly involved the equinox and a concept of sacred marriage which may have been anything from a ritual conjoining of the king and the high priestess to a city-state wide activity that resulted in a lot of births nine months later.
There may actually be a goddess who gave her name to Easter. Eostre is an Anglo Saxon goddess of fertility who has cognates with remarkably similar names throughout the Germanic pagan world. Most languages use their version of the word Pesach (פֶּסַח) which means Passover. Not surprisingly, the languages that use something similar to Easter are all in the Germanic family. In fact she may have been a version of the Norse goddess Freya.
The Easter Bunny may come by way of Eostre as well. What little we know of her and her various incarnations from around Europe tells us that the fecund little rabbit was one of her symbols. The version we have today probably stems from the Osterhase, an egg laying rabbit native to German vernal traditions dating back to the 1500s. According to the New Braunfels Herald-Zeitung,
“A legend holds that a poor woman living in Germany decorated colorful eggs for her children to find in the garden. As soon as the hidden eggs were found by the children, a large hare was seen hopping away. The children thought the hare (Hase) left the eggs.”
There is no doubt that the legendary reproductive powers of the rabbits and hares have been linked to the fertility of spring, but I’m fairly certain the eggs came from somewhere else.
The egg association may have something stemming back to a pagan root. They can’t help but give one ideas about birth and renewal. However the practice of the Easter egg as we know it relates to the fact that for many years, eggs were on the list of foods forbidden to Lenten penitents. People would celebrate the return of eggs to their diet by giving them to each other as gifts. Decorating them began to become popular as well growing in to the modern dyed egg as well as the ornate Ukrainian eggs and even the priceless Faberge eggs.
It really doesn’t matter where the symbols come from. Many people will argue back and forth for centuries to come over the origins of every little word in every liturgy in every faith the world over if you let them. The important thing is to enjoy these festivities in the manner that pleases you best!
- The Encyclopedia of Easter, Carnival & Lent by Tanya Gulevich R 349.2667 Gul