What the Dispatch Magazines staff is reading, watching and listening to this week

READING: “Rosanne Cash: The Bitter Southerner Interview” by Chuck Reece (The Bitter Southerner)

About halfway through her interview with The Bitter Southerner’s editor, Chuck Reece, Rosanne Cash says, “I don't know how much of this story you want.” Reece’s response: “I'll take as much as you want to share.” Those two lines sum up why this interview works so well. In this case, Reece is a fan first, an editor second. He has a love and respect for Cash’s music that goes back 37 years. His familiarity allows Cash to open up as she shares stories about her divorce, her politics and her complicated relationship with the South. This interview was personal and insightful with a sprinkling of light-hearted moments. At one point, Cash recounts her decision to leave her record label, and later, the South. “I called my dad not long after that and said, ‘Dad, I got to get out of here,” Cash says. “And he said, ‘Screw ’em. You belong in New York.’ ” —Brittany Moseley, Assistant Digital Editor

READING: “How 'Creed' Forever Changed the 'Rocky' Series by Adam Serwer (The Atlantic)

I grew up with the Rocky franchise. It’s one reason why I cry at sports movies. But being a white kid in America, I admit that I missed the backwards racial subtext of Rocky: that what America really needed was a white boxing legend. For example, I hadn’t realized that for the longest time Philadelphia had a statue of Rocky Balboa (a fictional, white boxer) and not one of Philly’s real-life boxing legend Smokin’ Joe Frazier. (That wrong was righted in 2015 when the city finally raised a statue to honor the heavyweight champ). This article by The Atlantic’s Adam Serwer made me think hard about the blockbuster franchise and how its spinoff Creed is transforming it in a positive way. —Erin Edwards, Digital Editor | Dining Editor, Columbus Monthly

WATCHING: “The Ballad of Buster Scruggs” (Netflix)

Despite its Netflix release and unusual structure (the film is composed of six short films), don’t think of “The Ballad of Buster Scruggs” as lesser Coen brothers. The shorts are alternately dark, funny, grisly and profound, and include great performances from both expected sources (Tim Blake Nelson is a national treasure) and others less-so (Bill Heck was a revelation in “The Girl Who Got Rattled”). Also, the final section, “The Mortal Remains,” is maybe the film’s simplest, but it presents a scenario that’ll have you revisiting everything that came before it. You could almost say that it ties the room together, much like a favored rug. —Andy Downing, Editor, Columbus Alive


The L.A. Times' podcast Dirty John aired its first episode more than one year ago. It's become relevant once again with Bravo's adaptation of the series into a one-season show by the same name. I can't speak for Connie Britton's portrayal of Debra Newell—a woman swindled by conman John, whom she falls in love with after meeting online—but the podcast is a compelling, paranoia-inducing listen. I have a date with the last installment tonight. —Lauren Reinhard, Marketing Manager


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