Nashville Scene 1-6-22

JANUARY 6–12, 2022 I VOLUME 40 I NUMBER 48 I NASHVILLESCENE.COM I FREE

CITY LIMITS: HOW COVID HAS AFFECTED PRISON EDUCATION PROGRAMS

FOOD & DRINK: WALK EAT NASHVILLE TOURS ARE HITTING THE PAVEMENT AGAIN PAGE 20

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NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

CONTENTS

JANUARY 6, 2022

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On the Inside

RB Morris w/Bark, Mike Hicks, Movies We Missed: Passing, Lore w/The Untamed & The Mango Furs, Shakespeare/Kurosawa x3, Walk Hard: The Dewey Cox Story, Wale and more

CITY LIMITS

CRITICS’ PICKS

How COVID-19 has affected prison education programs

BY KELSEY BEYELER

Pith in the Wind This week on the Scene’s news and politics blog

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FOOD AND DRINK Walk This Way

COVER STORY Stories to Watch 2022

Omicron and On and On ............................8 With a new variant surging but the state no longer under a designated emergency period, Nashvillians will continue to reckon with COVID-19

BY KARA HARTNETT

Awaiting a Verdict ......................................9

With a new owner and post-tornado rejuvenation, the Walk Eat Nashville tours are hitting the pavement again

BY MARGARET LITTMAN

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BY STEVEN HALE

BY JOE NOLAN

BY STEVE CAVENDISH

Think of the Children .................................9 With the legislature returning this month, will state leaders pass a successful new education funding formula?

BY KELSEY BEYELER

Filip the Bold .......................................... 10 With star player Filip Forsberg’s contract running out after this season, how will the Nashville Predators move forward?

BY J.R. LIND

Venues We Could Lose ........................... 10 Looking at the potential impact of changes in Music City’s midsize-venue ecosystem

BY STEPHEN TRAGESER

Housing the Unhoused ........................... 12 New directors, new initiatives and maybe even a new department will affect how Nashville addresses housing and homelessness over the next year

New Marker Honors Black Soldiers in the Battle of Nashville. Finally.

Mangia Nashville Closes After Final New Year’s Eve Service

Crawl Space: January 2022 January’s First Saturday events come a week late, but right on time for a big winter art season

More than a year-and-a-half before the 2023 election, here’s a look at some of Mayor John Cooper’s potential challengers

Help Jefferson Street Sound Museum Keep Telling Its Vital Stories

Josh Black On: 2021

ART

Will Nashville reelect its incumbent district attorney or choose someone new to be the city’s top prosecutor?

Mayoral Chatter .........................................9

THIS WEEK ON THE WEB:

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BOOKS

An Unlikely Cast of Heroines Women prevail in Gwen E. Kirby’s inventive debut story collection

BY LAUREN TURNER AND CHAPTER 16

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MUSIC

Another Look The Scene’s music writers recommend recent releases from Mike Floss, Quez Cantrell, Bea Troxel and more

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NEW YORK TIMES CROSSWORD

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MARKETPLACE

BY ALEJANDRO RAMIREZ

Break of Day ............................................ 12 At 10 years old, Poverty and the Arts rebrands and looks ahead

BY ERICA CICCARONE

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nashvillescene.com nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

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PET OF THE WEEK!

FROM BILL FREEMAN

COCO is 8 months old, weighs 46 pounds and lives up to his name: He is sweet! He is also an outgoing, energetic, and full of life kind of guy! A home with an active owner would be the best for Coco.

Daily walks, jogs or hikes would be so much fun (and beneficial) because he seems to always be ready for outside adventures. Just as much as he’s outgoing and energetic, he is equally sweet, snuggly, and affectionate. All he asks is for a home with lots of tennis balls. Yup. If he could, he would play fetch 24/7.

Playing fetch is such a fun way to help him exercise his puppy-like energy off. Coco is truly a dog that will pretty much do well in any type of home he moves to. So super friendly! Please visit today at NHA! Call 615.352.1010 or visit nashvillehumane.org Located at 213 Oceola Ave., Nashville, TN 37209

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For years, Californians looking to move have chosen Texas, Arizona and Nevada, often due to the Golden State’s steep housing costs. Ten years ago, Austin was the landing place for those seeking relief from high-priced living. Now Middle Tennessee is a destination of choice, and many multinational businesses — some previously located on the West Coast — have also relocated their U.S. headquarters to Nashville. As a result, Nashville and the surrounding counties’ economies have benefited tremendously.

We know Nashville is a great place to live and work. We offer comparatively affordable housing, museums, a world-class symphony hall, highly rated universities and an incredible number of choices for those seeking a new career path. In the past few years we’ve seen Amazon, Oracle, Ford and others move their operations here to Middle Tennessee. The San Francisco Chronicle reports that at least 25 companies moved their headquarters from California to Tennessee between January 2018 and June 2021.

In 2016, Silicon Valley-based HST Pathways chose Nashville over Austin, Atlanta and Denver for its new satellite office. This, according to CEO Tom Hui, was due to the company being “starved and hungry for talent.” Nashville has a concentration of health care companies, and its status as a hub of innovation in that industry was a great fit for the software platform created for surgery centers.

GraphiteRx, a pharmacy marketplace platform, also relocated to Nashville from the Bay Area. Founder David Zilberman was not able to pay talent what they could make at larger companies like Google or Facebook. After visiting Nashville a few times, Zilberman saw a growing tech community and expansive health care industry. When he heard Amazon and Oracle were moving here, he decided to follow suit.

The construction boom in our area has also added to the need for experts in that industry — electricians, plumbers, engineers and more.

According to the Nashville Business Journal, the Nashville region had a 270.9

percent increase in six-figure jobs from 2015 to 2020 — the largest percentage increase among the country’s large metros.

We were also ranked first in growth of high-paying jobs — 5.6% of area jobs paid $100,000 or more in 2020. Nashville should be commended on its efforts to keep the economy going and growing, especially amid years of a pandemic.

Middle Tennessee is not the only area experiencing growth and financial betterment. Things are improving across the nation, due in part at least to President Joe Biden and his administration. According to Newsweek, the U.S. economy has grown faster during Biden’s first year in office than in any president’s first year since Jimmy Carter, who took office in January 1977. Stock markets have also performed well. The S&P 500 had 70 closing highs in 2021. On Dec. 30, notes Newsweek, “the S&P 500 was up more than 27 percent … the Nasdaq had gained around 22 percent, and the Dow was up nearly 10 percent.” The unemployment rate was at a 21-month low, and new jobless claims were their lowest in more than 50 years.

The new year will have its challenges, in part because COVID-19 still remains. There may also still be challenges with supply chains and inflation. But as former U.S. Treasurer Rosie Rios recently told CNBC, inflation isn’t always a bad thing. “Inflation is also a sign that the labor market is tight [and] wages are good,” Rios said. “The fundamentals in general are looking good for 2022.”

Count me among those who are feeling optimistic about this year. I think Nashville and Middle Tennessee will continue to see growth and an improved economy. The trend of Californians and others moving here is not soon going to slow down.

Although none of us know what the future holds, signs point to a better year in 2022. I am looking forward to it!

Editor-in-Chief D. Patrick Rodgers Senior Editor Dana Kopp Franklin Associate Editor Alejandro Ramirez Arts Editor Laura Hutson Hunter Culture Editor Erica Ciccarone Music and Listings Editor Stephen Trageser Contributing Editor Jack Silverman Staff Writers Kelsey Beyeler, Stephen Elliott, Nancy Floyd, Steven Hale, Kara Hartnett, J.R. Lind, Kathryn Rickmeyer, William Williams Contributing Writers Sadaf Ahsan, Radley Balko, Ashley Brantley, Maria Browning, Steve Cavendish, Chris Chamberlain, Lance Conzett, Marcus K. Dowling, Steve Erickson, Randy Fox, Adam Gold, Seth Graves, Kim Green, Steve Haruch, Edd Hurt, Jennifer Justus, Christine Kreyling, Katy Lindenmuth, Craig D. Lindsey, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Megan Seling, Jason Shawhan, Michael Sicinski, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Abby White, Andrea Williams, Ron Wynn, Charlie Zaillian Art Director Elizabeth Jones Photographers Eric England, Matt Masters, Daniel Meigs Graphic Designers Mary Louise Meadors, Tracey Starck Production Coordinator Christie Passarello Events and Marketing Director Olivia Britton Marketing and Promotions Manager Robin Fomusa Publisher Mike Smith Senior Advertising Solutions Managers Maggie Bond, Sue Falls, Michael Jezewski, Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Keith Wright Advertising Solutions Managers William Shutes, Niki Tyree Sales Operations Manager Chelon Hill Hasty Advertising Solutions Associates Jada Goggins, Caroline Poole, Alissa Wetzel Special Projects Coordinator Susan Torregrossa President Frank Daniels III Chief Financial Officer Todd Patton Corporate Production Director Elizabeth Jones Vice President of Marketing Mike Smith IT Director John Schaeffer Circulation and Distribution Director Gary Minnis For advertising information please contact: Mike Smith, msmith@nashvillescene.com or 615-844-9238 FW PUBLISHING LLC Owner Bill Freeman VOICE MEDIA GROUP National Advertising 1-888-278-9866 vmgadvertising.com

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Bill Freeman Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and Home Page Media Group in Williamson County.

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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12/17/21 3:40 PM

CITY LIMITS

ON THE INSIDE

How COVID-19 has affected prison education programs

PHOTO: KRISTI JONES, LIPSCOMB UNIVERSITY

BY KELSEY BEYELER

LIPSCOMB’S LIFE INITIATIVE

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f all the institutions that COVID-19 disrupted, education has been among the most significant and complicated to sort out. From universities navigating quarantine guidelines to conflict over mask mandates in public schools, students of all ages have been, and continue to be, affected by the pandemic. A group of learners who have been affected but not widely discussed is those who are incarcerated.

Each year, thousands of incarcerated people throughout Tennessee rely on prison education programs to gain learning opportunities and job qualifications. The Tennessee Department of Correction offers three different pathways for education — adult basic education, career technical education and post-secondary education. Residents of some Tennessee prisons can also use programs created by organizations like the Tennessee Higher Education in Prison Initiative.

But like so many other fields, educational programming had to manage the initial implications of COVID-19. In prisons, this was an especially hard task, as access to technology and other resources is significantly limited. As prisons were gauging the extent of the pandemic’s effects in those early months, education programs had to adjust, and some had to pause momentarily — though when and for how long varied across different prisons and programs. Sixty incarcerated people died from COVID-19 in Tennessee prisons in 2021, along with another seven Tennessee Department of Correction staff members.

“Just like in the community where school was moved to an alternate solution, so were the programs in our facilities,” says Tennessee Department of Correction spokesperson Sarah Gallagher. “It made it a little bit more challenging because, while the public is able to switch to virtual, our offenders have limited access to the internet, so that made it really difficult. But the educators got really creative, and they printed off work and they provided

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textbooks, and the offenders really stepped up and continued their education as well.”

One formerly incarcerated woman, who wishes to remain anonymous, stuck through the challenges of the pandemic and earned a graduate degree that she started in prison through the Lipscomb Initiative for Education program. Since 2007, Lipscomb has been offering college degrees to residents of the Nashville women’s prison Debra K. Johnson Rehabilitation Center; the program was later extended to residents of the Riverbend Maximum Security Institution. The program offers Associate of Arts and Bachelor of Professional Studies degrees and, starting in 2018, a Master of Arts in Christian Ministry degree. This woman was in the first cohort of students seeking the LIFE program’s graduate degree. While her former classmates are still working toward graduation, she was able to receive her degree earlier because she was released and finished her final semesters on Lipscomb’s campus.

“It was extremely difficult, but you did what you had to do,” she tells the Scene of taking her classes in prison. “Like, if you were determined to get it done, then you just did it. But it was hard. I mean, if you were a person that needed the professor there or needed to ask a lot of questions, it was really hard.”

Earning a degree in prison looks very different from earning one on campus. A semester is stretched out much longer since Lipscomb’s students “on the inside” — as LIFE representatives sometimes put it — can take only a single two-hour class each week. LIFE consultant Kate Watkins says it can take up to 14 years to earn a bachelor’s degree via Lipscomb’s program. Earning an associate degree takes up to seven years, and the master’s program takes around four.

On top of that, incarcerated students don’t have access to the resources of traditional students, such as internet or office hours with instructors. Our source, who tells the Scene she resided in the Johnson Rehabilitation Center’s transition facility in the final years of her sentence, had to cross the street

LIFE CONSULTANT KATE WATKINS SAYS IT CAN TAKE UP TO 14 YEARS TO EARN A BACHELOR’S DEGREE VIA LIPSCOMB’S PROGRAM. and go through multiple levels of security to get to and from her classes in the main facility. If she needed a book for an assignment, she had to request it from the main facility, which could take days.

When the pandemic arrived, it set Lipsomb’s students back, but the LIFE program continued to facilitate classes by dropping off and picking up homework packets.

Though classes had to be paused in the 2020 summer semester, the LIFE program facilitated a kind of book club in which students read a book and engaged the faculty about it via correspondence. Watkins says those early months were a bit “messy.”

“It wasn’t perfect, but what we learned was, for the inside students who had no volunteers coming in, we remained a connection to the outside.” says Watkins.

In-person visitation and volunteer services paused for months in Tennessee’s prisons, limiting connections with family members and others. By the fall 2020 semester, which began in August of that year, Lipscomb’s students were able to resume their studies with Zoom classes — a teacher spoke by video screen to a room of incarcerated students who were spread six feet apart. Anyone who had a question would walk up to a screen to ask the instructor. No extra class time was given to students to make up for the COVID-19-related adjustments, though Watkins notes that TDOC did help the LIFE program facilitate Zoom classes. Sometimes, however, classes would be canceled at both Johnson and Riverbend because of COVID-19 outbreaks. In-person classes were able to pick up again in summer 2021 for LIFE students. If they have to transition back to Zoom classes again, Watkins says they will be better prepared than the first go-around.

Despite the setbacks, and like education institutions at all levels, students and educators made do the best they could given the circumstances. Though the LIFE students were set back a semester, students maintained a connection to the outside and academic engagement through the program. The formerly incarcerated source whom the Scene spoke to was able to complete her graduate degree on Lipscomb’s campus through a scholarship, and she says that Lipscomb was “a huge part” of her reentry into society.

“Now that I have my [master’s] degree I plan to just continue to work with men and women and advocate as well as I can so that those that come out will be able to basically reintegrate into society as best as possible,” she says. “Because you don’t know the things that you need until you need them.”

EMAIL EDITOR@NASHVILLESCENE.COM

THIS WEEK ON OUR NEWS AND POLITICS BLOG: The Metro Nashville Police Department reports that a gun was stolen from a car once every seven hours on average in 2021. That’s 1,287 firearms stolen out of cars, representing more than 70 percent of all guns stolen in Metro in 2021. … Tennessee Department of Correction records show that 186 incarcerated people died in Tennessee prisons in 2021. Among them were 11 suicides and five homicides. There were also 39 people whose deaths were recorded as “accidental,” and a TDOC spokesperson confirms most of those were drug-related deaths. The cause of death for the remainder are either “natural illness” or still pending. A number of those people, of course, will have died from COVID-19. A total of 60 incarcerated people, and seven TDOC staff members, have died from the illness since the pandemic began. … The Lower Broadway building home to Downtown Sporting Club sold for $47.9 million — about $20 million more than it went for when the ownership changed hands four years ago. With the transaction, Downtown Sporting Club has closed, effective immediately, according to owner Strategic Hospitality.

The 42,394-square-foot building sits on a 0.25-acre site, making the deal the equivalent of $191.6 million per acre and $1,129 per foot — the latter of which ranks among the highest Nashville has seen. … A permanent supportive housing project that has languished for three years, frustrating Metro councilmembers and advocates for the unhoused, is headed to design review a month after its originally scheduled completion date. The project, at 600 Second Ave. N., will include 90 housing units and 3,500 square feet of office space, scaled down from its original 112 units. Bell & Associates is now expected to break ground in the summer, much to the chagrin of councilmembers like District 19’s Freddie O’Connell, who says development has been “dramatically decelerated.” “The mayor reportedly did not like the design of the building and got personally involved in building design, site re-selection and adding a park,” O’Connell told the Scene.

“These are fine elements to include, but given that we just memorialized more unhoused Nashvillians than ever before in a single year, I would’ve preferred to move dozens of people into housing this winter.” … Brentwood fitness guru and anti-vaxxer Marc Lobliner has taken to calling vaccine mandates “Nazilike” and compared, of all things, the Illinois Holocaust Museum and the Auschwitz museum to Nazis. Lobliner says he is qualified to make such comparisons because his grandfather escaped from Auschwitz. … Late last year — a few weeks before the 157th anniversary of the Battle of Nashville in December — the contributions of the United States Colored Troops in the battle were memorialized with a historical marker on Polk Avenue in South Nashville, near where the road intersects with the rail line.

NASHVILLESCENE.COM/PITHINTHEWIND EMAIL: PITH@NASHVILLESCENE.COM TWEET: @PITHINTHEWIND

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

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DAILY NEW COVID-19 CASES 15,050 09/10/21

16,000

12,858 14,000 12/29/21

11,188 12/30/20

12,000

10,000

8000

4000

2000

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SOURCE: COVID19.TN.GOV

6000

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partment will continue to support COVID-19 vaccine distribution in every county in the state as a normal operational function.

Jahangir says the Metro Public Health Department will likely begin to slim down its COVID response to the entity’s more traditional functions in the next year or so.

“Metro Public Health Department over many decades has not been a primary health care entity,” he says. “If you have a cold, you don’t go to the Metro Public Health Department to get fixed up. Over the past two years, we have taken a public health role in helping with the pandemic and offload testing and vaccines. But at what point does that no longer become viable? With contact tracing, at what point does that become less needed in the response to this pandemic?”

“As we further transition and COVID becomes more endemic, which it will probably be, our role will probably be to give vaccines and provide testing, but not treatment. That will be on the health systems.” ▼

TENNESSEE COVID-19 HISTORY

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ENTERING YEAR THREE of the COVID-19 pandemic, a lot has become normalized. The nation is facing another surge of a variant that was first identified in a country 8,000 miles away. Hospitalizations are rising, testing centers are being inundated, and masks are flying off the shelves — it’s the same dance we’ve been doing since March 2020.

But this time, Tennessee is testing the waters: Can we battle the virus outside of an emergency period?

In the past two years alone, the state of Tennessee has accumulated so many cases of COVID-19 that even Microsoft Excel spreadsheets have met their capacity limit. And with large swaths of the population — especially globally — still without immunity, new variants will continue to circulate without seasonality.

The Centers for Disease Control and Prevention estimates the Omicron variant went from less than 1 percent of new infections in the South to approximately 80 percent in a matter of three weeks, putting the population’s immunity and new therapies to test.

This wave is notably different from past ones. Not only is Tennessee facing the new and highly contagious Omicron variant, but at the time of this writing, it will be the state’s first significant surge not under an officially designated emergency period — in the past,

less virulent each time, and we have these treatment modalities, I think what you are going to see is this become more in the background like other coronaviruses. Maybe it becomes like a flu.”

A major contributor to the pandemic becoming more manageable is greater access to a wider range of tools that can mitigate infection and illness. Highly effective vaccinations, antiviral pills, at-home testing, masks and other emerging therapeutics are shifting the responsibility to slow the spread and reduce hospitalizations to the individual, weaning off emergency-era governmentsponsored services like drive-thru testing sites and mask mandates.

The Tennessee Department of Health announced in December that it would begin integrating its COVID-19 response into normal operations, which include preventative health services, routine immunizations, substance use and drug overdose monitoring and family health and wellness. The health de-

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BY KARA HARTNETT

that designation provided flexibility and extra resources for hospitals to care for an influx of patients.

By the time you read this, hospitals may again be overwhelmed with patients. That’s not because Omicron necessarily causes more extreme illness than other variants, but rather because its rapid rate of infection among vaccinated and unvaccinated individuals alike will widen the pool of people who could potentially become sick enough to require hospitalization. That could add a layer of demand on top of the typical wintertime prevalence of other infectious diseases.

When hospitals faced record-high hospitalizations in the summer, the state health department and major health systems banded together to operate a transfer center in Middle Tennessee, coordinating across the region’s health facilities. Without the emergency status, our hospitals are now at a sizable disadvantage. The uncertainty has health care players bracing for impact, and area hospitals have already begun suspending scheduled procedures to preserve staffing and supplies for a potential surge in patients.

“Hospitals were able to [handle larger volumes of patients] during the Delta surge because the governor’s emergency order gave some cover to be able to do some things like they did,” says Dr. Alex Jahangir, head of the Metro Nashville Coronavirus Task Force.

“The third wave now, I don’t know yet the stress it’s going to put on hospitals because, again, less people are hospitalized, but more staff are going out — and we may not have available to us now the ability to coordinate together like we did during the last surge.”

But on the other side of this next wave, says Jahangir, the pandemic in 2022 almost seems manageable. He notes that more treatment modalities coming out will keep people out of the hospital.

“I do think this becomes more endemic as time moves on,” Jahangir says. “It is true that Omicron is less virulent than Delta was, and mutations continue as such. And it could also very well not. But assuming that it becomes

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the state no longer under a designated emergency period, Nashvillians will continue to reckon with COVID-19

From the DA’s race and possible mayoral challengers to reckoning with COVID variants and more, here are eight stories to keep an eye on in the coming year

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OMICRON AND ON AND ON With a new variant surging but

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NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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AWAITING A VERDICT Will Nashville reelect its

THINK OF THE CHILDREN With the legislature returning

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incumbent district attorney or choose someone new to be the city’s top prosecutor?

this month, will state leaders pass a successful new education funding formula?

BY STEVEN HALE IN 2014, NASHVILLE VOTERS chose a new district attorney for the first time in nearly half a century. Tom Shriver took the job in 1966 and held it for two decades before Torry Johnson was appointed to succeed him. Johnson went on to serve three eight-year terms. Now, Glenn Funk — who won the 2014 race in commanding fashion — has been the city’s top prosecutor for nearly eight years.

He’s seeking reelection in a contested race this fall. His opponents: former federal prosecutor Sara Beth Myers and former assistant district attorney Danielle Nellis.

Funk, a longtime defense attorney before becoming DA, has implemented reforms like the office’s highly active Conviction Review Unit and a policy of not prosecuting possession of small amounts of marijuana. He tells the Scene that the office’s achievements have been “significant.”

“We’ve seen local incarceration rates cut by over half,” says Funk, “while at the same time we’ve maintained well over a 90 percent conviction rate on violent crimes like murder, aggravated robbery, rape and gun charges.”

Myers, who launched her campaign last month, told the Scene then that her experience as a local, state and federal prosecutor made her “the best-qualified person in this moment for the city.” She cast Funk as a leader who has been focused on “making headlines instead of change.” Those headlines came when Funk announced his marijuana policy and later declared that his office would not enforce new laws from the legislature aimed at abortion rights, transgender people or COVID restrictions. Myers criticized his tactics, warning that such public stances could draw the ire of the legislature. For his part, Funk tells the Scene that his office’s resources will be focused on violent crime and that “it is important for public

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MAYORAL CHATTER More than a year-

and-a-half before the 2023 election, here’s a look at some of Mayor John Cooper’s potential challengers

BY STEVE CAVENDISH

AMONG MUNICIPAL political types, there is one name that strikes fear into the heart of any mayor: Bilandic.

Michael Bilandic was a popular South Side alderman who succeeded Richard Daley as Chicago’s mayor in the mid-1970s. But months before his reelection, almost three feet of snow buried the city, and the Bilandic administration’s response was so bad — plows didn’t run, elevated trains were forced to skip stops — that it cost him the Democratic primary against Jane Byrne. The lesson is clear: Take care of services, or they will take care of you.

Nashville isn’t in danger of getting three inches of snow, much less three feet, but there is one issue that could still bury the city.

Garbage collection in Nashville is mostly outsourced to Red River, a company with staffing and performance problems going back years. Metro councilmembers have complained loudly about the trash company’s issues, and constituents have let them know their frustrations. Red River filed for bankruptcy protection in October, so while the courts are sorting out the contract situation, Mayor John Cooper has redeployed Metro recycling trucks to pick up the slack on trash. The result? Curbside recycling has been suspended until late January or early February.

It’s one thing to enact one of the largest property tax hikes in the city’s history, something Cooper will likely have to spend a fair amount of time explaining in his upcoming reelection campaign.

It’s another thing for a city flush with cash to not be able to pick up

FROM LEFT: GLENN FUNK, SARA BETH MYERS, DANIELLE NELLIS officials to insert common sense into the public discourse regarding issues that affect criminal justice.”

Myers said her energy as DA would be more focused on strategies to prevent crime than reforming how the system responds to it.

She envisions breaking up the DA’s office into precincts, much like the police department, and holding listening sessions throughout the community. She also touted her experience getting a jury to convict law enforcement officers for misconduct, contrasting it with Funk’s decision to agree to a plea deal with former Metro Police Officer Andrew Delke for the fatal 2018 shooting of Daniel Hambrick.

“I’ve done it multiple times,” she said. “And that is because nobody is above the law, and I am not afraid of a jury trial.”

Nellis, who worked as a prosecutor under Funk from 2014 to 2018, says, “Our current system is bad for all people.”

“There’s little to no effort right now to address the root causes, systemic failures of the system, in order to break the cycle of people just coming in and out of the criminal justice system, of coming into contact with it,” Nellis says.

One of her ideas? Expanding restorative justice programs beyond youth, in part through the creation of neighborhood courts where people who commit nonviolent misdemeanors can be diverted — and receive sentences not of incarceration but of work to repair the harm done and address the reasons they committed the crime. Nellis’ campaign materials emphasize the “crisis” of violent crime in the city and the need to focus on prevention strategies. ▼

garbage and recycling. Ardent recyclers — including the one in my home — seethed at the news that the bins full of holiday paper and packaging would have to be pulled out, sorted and hauled to collection sites around town. If you made a Venn diagram of these people and the registered voter rolls, it might just show a complete overlap.

With more than a year-and-a-half between now and the 2023 election, there isn’t a shortage of people kicking the tires on a potential run against Cooper. Former Thistle Farms CEO Hal Cato was one of the first to acknowledge his interest in the job. He’s stepping down as head of the nonprofit and has said he will announce his decision within a couple of months.

But Cato and his spouse, entrepreneur Michael Burcham, have the financial means to offset Cooper’s own private wealth. MDHA chief strategy officer Matt Wiltshire is another person who has quietly been making the rounds. The head of economic development under Mayors Dean and Barry, Wiltshire is a rare lifelong Nashvillian and product of Metro public schools. Councilmember At-Large Sharon Hurt is also being talked about. With deep ties to North Nashville and a countywide election under her belt, she could be a tough candidate — although one who would likely need help with fundraising.

Several councilmembers have increased their stature in recent years and would make interesting candidates. Bob Mendes has been Cooper’s biggest critic on the council — playing a role Cooper successfully used against David Briley — while Freddie O’Connell has been in the middle of almost every major issue for the past four years. Tanaka Vercher would be an interesting candidate as well, bringing support from the fastest-growing part of the county. Other elected officials have been whispered about as well, including Nashville’s state Rep. Bob Freeman — son of Scene owner Bill Freeman — and state Sen. Jeff Yarbro. Axios has even mentioned that Odessa Kelly, who is currently challenging longtime U.S. Rep. Jim Cooper for his House seat, could pivot if that race were unsuccessful.

That’s a lot of potential interest in running against a mayor who won with 70 percent of the vote in the last election. But every day that trash service remains screwed-up and recyclables go uncollected, blame gets affixed to Cooper. And the ghost of Michael Bilandic haunts another mayor. ▼

BY KELSEY BEYELER SINCE GOV. BILL LEE announced his plan to overhaul Tennessee’s current education funding formula in October, parents, politicians, education leaders and even students have joined the conversation to voice their feedback. Folks in Nashville have asked for more pay for teachers and support staff, more psychologists and counselors, and more funding for public schools in general, among other requests.

In the coming legislative session — which is scheduled to convene on Jan. 11 — we’ll be able to see if Tennessee’s politicians are actually going to listen.

Since Lee’s announcement, the Tennessee Department of Education has encouraged people to communicate their priorities on how the state should fund its schools. These comments are then siphoned to subcommittees that will prioritize them and make recommendations to a steering committee, led by Lee, education commissioner Penny Schwinn, finance commissioner Butch Eley and nine other Republicans. This steering committee will then make recommendations that inform legislation and could affect education in Tennessee for decades to come.

The current Basic Education Program funding formula is roughly 30 years old, and districts throughout the state have been asking for a new one for years.

Eighty-nine districts are teamed together in a 6-year-old lawsuit against the state arguing that the state does not adequately fund schools. The lawsuit has been pushed back from February to October to allow time for the General Assembly to pass legislation leading to a new formula.

The lawsuit moving forward depends on whether legislation is passed, and whether the suing districts — Shelby and Davidson counties among them — think the legislation adequately invests in Tennessee’s future workforce.

Gini Pupo-Walker represents District 8 on the Metro Nashville Public Schools board and has also led conversations about education funding through her role as the state director of the Education Trust in Tennessee. “It’s really now a question of what the legislature decides to do, what kind of bill is proposed, what it contains and how it will evolve over time,” says Pupo-Walker. She says the Education Trust will share a weekly newsletter to help folks keep up with the process.

Also worth watching, Pupo-Walker says, will be how a new formula prioritizes students who need more resources to educate — such as those from low-income backgrounds or those with disabilities. Lawmakers will ultimately decide what weighted funds for those kids could look like.

A point that many parents and experts have spoken to: not simply how the >> P. 10

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ing as a down-payment on a multiyear plan to fix a system that’s woefully underfunded. … The more likely scenario: They cobble together a patchwork plan that they try to pass off as adequate, but that falls well short of meaningful new investments.”

Though the public-feedback period is coming to a close, concerned Tennesseans can send comments to the Tennessee Department of Education until Jan. 14 at TNEdu.Funding@tn.gov. You can also reach out to your state representatives and members of the education and finance committees. ▼

FILIP THE BOLD With star player Filip Forsberg’s

No. 9 a stickier wicket for Poile.

Certainly, Forsberg deserves a massive deal — something to the tune of eight years and at least $8 million per season. That would take him beyond his 35th birthday, and assuming he plays out the deal at Fifth & Broad, he’d end at the top of plenty of alltime Predators leaderboards and with his number in the rafters.

It’s still a balancing act, even if it seems like a no-brainer. Both Poile and Forsberg indicated they’d not negotiate a deal once the puck dropped on the season. But of course, David Poile has said a lot of things over the years, and one doesn’t become the NHL’s all-time winningest general manager without excellent command of leverage — and without knowing when it’s time to stretch the truth. For his part, Forsberg, like all of us, wants to maximize his value in his prime years, but like all hockey players, he wants to win a Stanley Cup too. And that prize is one that has eluded Poile as well.

Forsberg would command a haul in the trade market, where 30-goal men don’t generally become available, but he’d be a rental for whoever acquires him. If Poile were really interested in getting as much as he could for his star, he would have swapped him in the summer, given that talks seemingly stalled and Poile could read the predictions that had Nashville finishing seventh in an eight-team division, just like everyone else. Given those factors, it would have made a ton of sense to acknowledge that a rebuild is underway and to do so with a dramatic, franchise-changing trade.

If the Predators continue to shock the hockey world in the back half of the season, Poile’s hands are basically tied. He has to let Forsberg finish out the year in a gold sweater and work his damnedest to sign him between the end of the season and the start of free agency — because letting him walk away for nothing, as happened with Ryan Suter a decade ago, would be a painful pill to swallow. ▼

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contract running out after this season, how will the Nashville Predators move forward?

BY J.R. LIND

PHOTO: CASEY GOWER

TRADING SUPERSTAR forward Filip Forsberg was never going to be easy for Nashville Predators general manager David Poile. The 27-year-old Swede, in the last year of his contract, has a shot to pass David Legwand as the team’s all-time leading goal scorer this season, and despite missing nine games with an injury, he’s battling Matt Duchene for the team scoring lead this season. He’s in the pantheon of all-time greats in Nashville’s relatively short history as a hockey market, and he’s forever part of NHL lore — where Erat-for-Forsberg is the on-ice version of Brock-for-Broglio as a trade that ended up laughably lopsided.

That said, if the Preds were — as most pundits predicted — scraping the bottom of the Central Division and staring hopelessly at a playoff spot, flipping Forsberg for prospects and picks would be pragmatic and defensible, heartbreaking as it would be.

But what now? Sparked by Forsberg’s typically great play, Mikael Granlund’s offensive wizardry, rejuvenated efforts from Duchene and Ryan Johansen, and plenty of secondary scoring from the likes of Yakov Trenin and Tanner Jeannot — and, oh yeah, a Vezina-worthy year from Juuse Saros — the Predators are in the thick of the Central Division race, all alone in second place when the NHL combined its annual Christmas break with a COVID pause.

That makes the matter of what to do with

FILIP FORSBERG

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funds are divided among districts and their students, but the fact that there aren’t enough funds to begin with. According to the Education Law Center, Tennessee is 43rd in the nation in per-pupil funding. It won’t matter how equitably a formula distributes money if there isn’t enough to go around in the first place. And if the state does inject more money into the education budget, will it be sustainable in the coming years?

According to former Metro school board member Will Pinkston: “Best-case scenario, they actually find a way to invest hundreds of millions of dollars in new recurring fund-

MERCY LOUNGE

VENUES WE COULD LOSE Looking at the potential impact of changes in Music City’s midsize-venue ecosystem

BY STEPHEN TRAGESER OVER THE PAST 15 or so years, Nashville’s ecosystem of music venues has provided a variety of robust paths for an artist to hone their skills and build up their fan base. After you sold out a crowd of 150 to 300 a time or two at Springwater, The End, The Basement or The 5 Spot (or a little later, The High Watt or The East Room), the folks at venues with capacities of 500 to 800 — like Exit/In or 3rd and Lindsley — might start taking a chance on booking you.

Later, you’d move up to 1,000-plus rooms like Marathon Music Works or Cannery Ballroom. The heavy-psych band All Them Witches, who I first saw at The High Watt in 2012, played most of those venues on its way to becoming an international touring sensation. Among other achievements, the band sold out the Ryman — which has space for exactly 2,362 fans — on Halloween 2021.

But as this interminable and infernal pandemic continues, those paths are becoming less clear and secure, and potentially less plentiful. The continuing upward trend in Nashville real estate prices has precipitated some nerve-wracking consequences for independent venues. The property home to Exit/In sold; proprietors Chris and Telisha Cobb continue their fundraising campaign to bolster a potential bid to buy out new owners AJ Capital Partners. Meanwhile, the operators of the three-venue complex on Cannery Row — which consists of The High Watt, Mercy Lounge and Cannery Ballroom — announced that they aren’t signing a new lease with their new landlord and will be closing up shop in May, with hopes of reopening elsewhere.

These potential shifts leave more room for major players like international ticketing and touring giant Live Nation to influence our club scene of small and midsize venues. The Beverly Hills-based company had established some inroads by the end of

2019 through various partnerships. Though they went into the same uncomfortable limbo as the rest of the live-music economy in March 2020, Live Nation co-owns the new 1,200-capacity Brooklyn Bowl and has an exclusive booking contract with 500-cap The Basement East.

Exit/In’s Chris Cobb also heads an independent concert promotions firm called Bonafide Live and is president of the 15-member indie-club trade group Music Venue Alliance Nashville. Reached by email, he points out that venues like his have to consider things a bit differently than major players.

“Smaller local venues are different from an arena, right?” Cobb says. “Not just in size, but in the way you feel about them, which is indicative of their role. They are an active member of your community, reflecting important aspects of life in your town and scene. Who performs on those stages must be decided locally, with the wants and needs of the community top of mind. This is required to nurture the young artists and musicians who will be the next arenasized acts, the next artists to perform at the Super Bowl. … Some dude in Dallas starts deciding who’s playing at Exit/In, and guess what: The next great band to come out of East Nashville has one less chance to make it. It’s fragile — our music can’t afford one less chance, or worse yet, two to three less chances, which is what’s likely to happen here in Music City U.S.A. in the next 18 months.”

Fully independent midsize venues that don’t appear to be undergoing big changes anytime soon have many fine qualities, but there are caveats. Eastside Bowl is out in Madison, far from the center of town, and 3rd and Lindsley’s sit-down setup isn’t ideal for all kinds of shows. Likewise, the aforementioned Brooklyn Bowl and The Basement East are genuinely great venues that aren’t unfriendly to Nashville-residing artists. Still, it’s more likely that the locals you’ll see at either spot are making a stop at home during a national tour.

None of the possible changes on the venue landscape are imminent, but depending on what happens in the year to come, the picture may be very different. One thing that for sure hasn’t changed in the past two years: It would be a shame to lose the cultural and economic engine that we’ve built, which is part of why people come to visit and move here in the first place. ▼

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HOUSING THE UNHOUSED New directors, new initiatives and maybe even a new department will affect how Nashville addresses housing and homelessness over the next year

BY ALEJANDRO RAMIREZ AFTER HOMELESS CAMPS became a big story in 2021 — especially the camp in Brookmeade Park, the presence of which riled up West Nashville residents — the work being done by public officials to house people has received more attention from the media and the public.

The sudden resignation of Metro Homeless Impact Division director Judy Tackett in October was a seismic event for the local community of homelessness service providers and outreach workers. It also signaled more internal issues with the John Cooper administration — Tackett’s assistant director Abigail Dowell had resigned weeks earlier, and several other staffers have left the mayor’s office since. Speaking to the Metro Council in November, Tackett said the “leadership structure” made it hard to execute the vision she had in mind.

Now it’s time to see how well city leadership performs after her departure.

Jay Servais of the Office of Emergency Management was tapped as the interim director of the Homeless Impact Division.

Servais has previously played a role in setting up emergency shelters, including facilities for people with COVID-19 during the start of the pandemic. Servais doesn’t have many vocal detractors, though some councilmembers have called for the mayor to speed up the process of permanently appointing someone with more homelessness outreach experience. Servais has said in public that Tackett set up a great staff and framework, and wrote in a Tennessean oped that Nashville is working on a long-term plan. The details of that plan, and how much will actually get off the ground, remain to be seen.

To be sure, some big moves are already underway. New mobile housing navigation centers opened in August, allowing small groups of people experiencing homelessness to stay in places like churches while outreach workers help get them housing and resources. Based on a popular program that started in San Francisco, the Nashville model will feature centers in different parts of the city where they’re most needed — that’s why they’re called “mobile” — and away from downtown Nashville’s concentration of services. The center in Bellevue helped 14 people between October and November, according to a spokesperson from Cooper’s office. The biggest hurdle to the centers’ long-term success will be housing. While the city is proud of assisting hundreds of people in 2021 through rapid rehousing, Metro is still struggling to find landlords willing to accept vouchers like Section 8.

12

JAY SERVAIS Speaking of housing, construction on a delayed permanent supportive housing project is scheduled to begin this spring.

The 90-unit building — scaled back from 112 units — was supposed to have been completed by the end of 2021; the mayor’s office previously told the Scene the reason for the delay stemmed from a decision to improve the units and the building.

There will also be plenty of discussion about whether the city needs a new and independent Office of Housing and Homelessness. Councilmember Freddie O’Connell introduced a bill to create the department back in October, but it is now on hold until April while the city conducts an audit of the current structure. The Cooper administration has previously defended the existing structure — which sees the Homeless Impact Division nested in Metro Social Services — but has seemed to grow more amenable to the pitch. When April comes around, expect a lot of discussion about how much agencies like Metro Social Services and the Metro Development and Housing Agency are able or unable to accomplish.

The mayor also appointed a new housing director, Angela Hubbard, to work with a team that includes a data analyst and staff from the Barnes Housing Trust Fund. Hubbard says she wants to pick up the great work that was started by the city’s Affordable Housing Task Force, which in 2021 reported that Nashville was facing a severe housing crisis and listed recommended strategies to tackle it. Expect news on how Hubbard follows up on their findings.

The good news for affordable housing advocates is that there’s been a big boost in funds. During its last meeting of 2021, the Metro Council approved $20 million for the Barnes fund and another $20 million for a catalyst fund to help preserve existing units of affordable housing. That’s promising, and a welcome development for housing advocates. It’s also a good trend considering the Barnes fund endured a setback in December 2019, when the city controversially impounded $5 million from its funds, citing a need to plug a budget gap.

(It was restored in March 2021.)

What’s next: seeing what projects get that funding, and if support for affordable housing goes beyond this one-time boost, which was made possible thanks to federal American Rescue Plan dollars. ▼

A.M. HASSAN

BREAK OF DAY At 10 years old, Poverty and the Arts rebrands and looks ahead

BY ERICA CICCARONE NOW WRAPPING UP its 10th year, Daybreak Arts — formerly known as Poverty and the Arts — creates artistic and economic opportunities for people currently and formerly experiencing homelessness and housing insecurity. The nonprofit’s Artist Collective Program provides a professional art studio, supplies, workshops, exhibition space and representation for 17 artists, allowing them the opportunity to not only create work but also sell it.

Their work is diverse in media, subject matter and style. Some artists are selftaught, while others have received training and hold art degrees. Founder and director Nicole Minyard tells the Scene that another goal of the organization is to create different ways in which the Nashville community can interact with people experiencing homelessness.

“So often your only interaction is [when they’re] on the streets in survival mode,” says Minyard. “And so one of the things that we are trying really hard to do is provide a context in which you’re coming in and seeing people’s creative talent. … What they’re able to contribute is highlighted more so than what they need.”

A.M. HASSAN is a member of the Artist Collective Program, and you can find her watercolor paintings in Daybreak’s online shop. She came to the organization in 2016, after decades of feeling stalled in her artmaking due to parenting responsibilities, economic restraints and pursuing higher education. “It’s wonderful,” says HASSAN. “It’s like a family atmosphere, everybody respects everybody else. We all help each other. We get stuck on what color to use or what technique, [and we] ask everybody, ‘How does this look?’ Everybody puts their two cents in and there’s nothing malicious.

Everybody really wants to help the other person.”

With Daybreak’s financial support, HASSAN attended the Arts and Business Council’s creative entrepreneurship course Periscope. She’s working toward fulfilling

her personal vision — opening an art gallery to showcase her own work and that of diverse local artists.

With the pandemic, Minyard’s team had to regroup. They packaged supplies for artists, put classes on hold, and moved sales to an online platform. With events canceled, it also became a good time to consider rebranding.

“I felt like ‘Poverty and the Arts’ might be potentially alienating some really talented artists on the streets who didn’t want to join our organization with ‘poverty’ front and center,” says Minyard. The artists were enthusiastic about rebranding and quickly became part of the process. Some felt that the original name further marginalized artists who are already profiled and labeled due to their housing status.

HASSAN acts as an adviser to the board, and she likes the message in the new name.

It comes from the Maya Angelou poem “Still I Rise,” which is a testament to the strength and grace required to transcend barriers.

The logo was inspired by a 2015 piece by Kateri, the program’s first artist member, and Daybreak compensated her for that inspiration.

In the year ahead, Daybreak will be revamping its courses for artists and making them more accessible via video. Classes will cover principles of art and design, color theory, drawing and other skills, as well as the business side of being an artist — understanding a grant contract and budgeting, pricing artwork and finding buyers. Minyard hopes the curriculum can be a model that the organization uses to expand to different states and regions.

Locally, the organization will continue to help Nashvillians build relationships with people outside their communities — for housed Nashvillians to meet unhoused residents not just by serving them a meal in a church or shelter, but by getting to know them personally through their artistic contributions.

“By building relationships with them, it’s really hard to then negate them and to deny that they exist,” says Minyard. ▼ LEARN MORE AT DAYBREAKARTS.ORG

EMAIL EDITOR@NSAHVILLESCENE.COM

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Knoxville band led by Susan Bauer Lee and her husband Tim Lee. Their 2019 full-length Terminal Everything is modified early-1980s rock that sounds a little bit like X. It’s dark stuff that skillfully reworks rock ’n’ roll basics. 6 p.m. at The 5 Spot, 1006 Forrest Ave. EDD HURT [GIMME THE KEYS]

MIKE HICKS

Over the past decade-and-a-half, Mike Hicks has made a name for himself as an in-demand keyboard player and a vital member of Music City’s R&B community. Among his other commitments, he’s released relatively little of his own music, but his 2021 EP I Am Who We Are is an excellent introduction. Within the driving funk and lush R&B soundscapes, he illustrates the pride he derives from sharing in a community of Black artists and being part of a loving and dynamic Black family. He’s generous with gratitude on the record, giving flowers (musically, at least) to many of the folks who have had an impact on him and his identity. And on Thursday, he’ll celebrate that expression in a big way: His performance at Analog, the intimate venue inside the Hutton Hotel on West End Avenue, features a 17-piece band. Singer-songwriter and bassist Scott Mulvahill (whom you may remember from his recent tribute to Paul Simon’s Graceland

at Brooklyn Bowl) is the evening’s featured guest. 7 p.m. at Analog at the Hutton Hotel, 1808 West End Ave. STEPHEN TRAGESER

FRIDAY / 1.07 MUSIC

I hear the music of Knoxville singer, songwriter and poet RB Morris as a variant on the Texas-centric offerings of Guy Clark, Jerry Jeff Walker and Townes Van Zandt. There’s the same mixture of sentimentality and hardheaded analysis, and the same intelligent take on simple musical ideas. On his 2020 album Going Back to the Sky, Morris sometimes sounds like a less abrasive Tom Waits, which means he uses blues as a template. Going Back to the Sky leans heavily on tropes about the romance of the road and the deep significance of rain, and at its best — the smugly funny tune “Me and My Wife Ruth” — the album transcends its clichés. Morris writes in a literate vernacular that doesn’t hit you like the efforts of a person who believes poetry is superior to songwriting.

Morris has a deep song bag, and it could be that his greatest song is the superb “That’s How Every Empire Falls,” which has been covered by Tim O’Brien, John Prine and Marianne Faithfull. Opening will be Bark, a

[FUTURE GRASS]

BÉLA FLECK

The longevity of bluegrass has always

struck me as one of the more interesting elements of modern music history. In an era when the meaning of country music is being debated, and jazz speaks to a tiny minority of listeners, bluegrass stands as an example of pure music that carries no particular message. One of the most important figures in modern bluegrass is banjo player Béla Fleck, who has legitimized the banjo as a high-art instrument. Talking to Glide

BÉLA FLECK

nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

criticspicks_1-6-22.indd 15

PHOTO: DEEN VAN MEER.

[REFUGE OF THE ROAD]

MUSIC

MUSIC

TPAC is ringing in the new year with an old favorite — a multiweek return engagement of Disney’s The Lion King. Based on the hit animated feature film by the same name, Julie Taymor’s groundbreaking stage production first debuted on Broadway in 1997, and went on to earn six Tony Awards, including Best Musical. The songs featuring music by Elton John and lyrics by Tim Rice are some of Disney’s most beloved — including “Circle of Life,” “I Just Can’t Wait to Be King,” “Hakuna Matata” and “Can You Feel the Love Tonight.” Plus, there’s additional music from renowned South African artist Lebo M. Bringing together striking visuals and a heartfelt tale of hope and courage, this remarkable stage phenomenon has been viewed by more than 100 million people worldwide. See it again, or for the first time, at TPAC this month. Jan. 6-23 at TPAC’s Jackson Hall, 505 Deaderick St. AMY STUMPFL

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1/3/22 3:25 PM

CRITICS’ PICKS ERIC SLICK

PASSING

The profundity of Passing comes, at least in part, from its writer and director. Actor Rebecca Hall (The Prestige, The Town) is from a family where “passing” — that is, a term describing when a lightskinned Black person is perceived by others as white — was once a norm, and she channels that experience into her directorial debut. Though the film has been streaming on Netflix since October, it’s well worth seeing in a theater. Hall’s adaptation of Nella Larsen’s 1929 novel of the same name captures the tumult two women must endure as they rekindle an old friendship while both trying to pass as white in 1920s New York. Eduard Grau’s black-and-white cinematography adds such a complexity to the story, and Passing is the most affecting film of 2021 to utilize that format. It screens as part of the Belcourt’s ongoing Movies We Missed series, and Ruth Negga’s searing performance is worth the price of admission alone. Passing is one of the year’s more contemplative dramas, one that painfully depicts just how difficult it has long been for people of color to receive basic decency.

Jan. 7-8 at the Belcourt, 2102 Belcourt Ave. CORY WOODROOF

ART

SATURDAY / 1.08 [FEELING CRAFTY?]

CRAFT A NEW YEAR RUG-HOOKING WORKSHOP

The Tennessee State Museum and Tennessee Craft are teaming up to present a new beginners’ workshop series called

16

[SUNNY DAYS]

LORE W/THE UNTAMED & THE MANGO FURS

Here’s a bill featuring three Nashville bands that specialize in music that harks back to the early 1970s. Laura Reed, singer in the hard-rock duo Lore, makes like a blues-rock shouter on the tracks she’s cut with guitarist Laur Joamets. Lore sounds something like Led Zeppelin — if that well-known British blues-rock band had regrouped and taken the work of the Red Hot Chili Peppers to heart. Joamets has played with Sturgill Simpson and has held down the lead-guitar chair in Drivin N Cryin since 2017, and he’s an ace picker.

Meanwhile, The Untamed might remind you of Delaney & Bonnie or Janis Joplin, because their singer, Callista Lange, favors a style of soulful emoting that is straight out of 1970. I don’t mind the overstatement — The Untamed does a nice cover of Ike & Tina Turner’s 1973 hit “Nutbush City Limits.” Rounding out the bill is The Mango Furs, who have been described as psychedelic. I don’t hear anything too psych about them, but they do have a handle on the kind of AM-friendly bubblegum pop you hear in the work of late-’60s and early’70s bands like Mercy and The Buoys. In fact, they could pull off a cover of The Buoys’ 1971 tune “Sunny Days.” 7:30 p.m. at Brooklyn Bowl, 925 Third Ave. N. EDD HURT [CHRONICLE OF A DEATH RETOLD]

SHAKESPEARE/KUROSAWA X3

When discussing the merits of films that are adapted from books and plays, we often run the risk of valuing the fidelity to text above all else. This is folly, for any

PHOTO: JASON TRAVIS

interpretation is subjective — and limiting the possibilities of the visual medium seems antithetical to the art of filmmaking. Amid the scores of Shakespeare adaptations that have made it to the screen, the Belcourt has chosen three to accompany the screening of Joel Coen’s new The Tragedy of Macbeth, which opened at the theater last week.

Shakespeare/Kurosawa x3 kicks off at 11 a.m. Saturday with a seminar delivered

by Pavneet Aulakh, a senior lecturer in the English department at Vanderbilt University. Titled “Re(el)-locating Shakespeare — Or the Untimely Bard of Cinema,” the seminar will explore the dynamics of translating the Bard’s plays from the page to the screen. It will be followed by the first in the ’Court’s series, Throne of Blood (Jan. 8 and 9 at noon), Akira Kurosawa’s 1957 retelling of Macbeth that stars his most prominent collaborator, Toshirô Mifune, as a samurai who is waylaid by a prophesying spirit while en route to his lord’s castle. Isuzu Yamada play’s the film’s “Lady Macbeth” to startling effect.

The visually striking, full-color Ran (Jan. 15 and 16 at 12:30 p.m.) displaces King Lear in feudal Japan. Noted as Kurosawa’s latelife masterpiece, Ran — which translates to “chaos” — exposes the folly of war and devastating effects of greed. The Bad Sleep Well (Jan. 22 and 23 at 2:10 p.m.) is a noirish variation on Hamlet set in the modern-day (at the time, 1960) business world of Japan with corporate maleficence aplenty. Here, we see Mifune as a young man carrying the burden of vengeance. He blames the corporation that employs him — which is run by his father-in-law — for his father’s death. Critic Bilge Ebiri wrote for the Scene in 2010 that Kurosawa’s great theme

is “that of characters who have to face the complicated and irresolvable nature of the world around them.” Some things never change. 11 a.m. at the Belcourt, 2120 Belcourt Ave. ERICA CICCARONE MUSIC

MOVIES WE MISSED: PASSING

MUSIC

[PIERCING DUALITY]

Craft a New Year. Each class in the series offers a one-day, six-hour course designed to get you started in one of Tennessee’s favorite craft traditions. The series opens this Saturday with a rug-hooking class hosted by Cass Gannaway. Gannaway is one of the state’s most respected rug-hooking artists, and she’ll provide a quick history of the art form and an overview of techniques, then lead the class to create a unique decorative piece designed especially for this program. Upcoming classes will cover jewelry making with Nancie Roark on Jan. 15 and printmaking with Ashley Seay on Jan. 22. The class fee is $110, and includes all materials. To learn more, visit tnmuseum.org/craft-a-new-year. 10 a.m.4 p.m. at the Tennessee State Museum, 1000 Rosa Parks Blvd. AMY STUMPFL

FILM

FILM

Magazine writer Dave Goodwich last year about his new album My Bluegrass Heart, Fleck said, “I felt like I had brought the banjo outside of the bluegrass world in such a way that people understood what I was going after.” What Fleck was going after was, in effect, the condition of jazz and rock — both of which synthesized whatever music was at hand in the service of creating something new. Fleck is an amazing player, and My Bluegrass Heart is highly entertaining and, you know, fast — like the jazz fusioneers of the past, these folks can play. Friday at the Ryman, Fleck joins a crew of fellow pickers that includes mandolinists Sam Bush and Sierra Hull and guitarists Molly Tuttle and Bryan Sutton, who will show off their chops. 8 p.m. at the Ryman, 116 Rep. John Lewis Way N. EDD HURT

[SWEET SAD OLD SONG]

ERIC SLICK W/JENNY BESETZT

As vaccines rolled out and pandemic restrictions eased up in 2021, Eric Slick had a busy time helping Dr. Dog transition to a new phase. The Philly rock institution, for whom Slick has played drums for about a decade, hasn’t broken up but did go on an extensive tour last year that they’ve said will be their last, at least for now. That didn’t leave Nashville-residing Slick a ton of time to play out following the release of his own great 2020 album Wiseacre. The record offers his own forward-thinking and philosophical spin on ’70s pop — it makes perfect sense that he released a cover of Todd Rundgren’s wistful 1978 gem “Can We Still Be Friends,” noting that he listened to it often while he was making Wiseacre.

Slick is back in the saddle on adoptedhometown turf Friday night, headlining at the original Basement. Supporting is Jenny Besetzt, an outstanding post-punk outfit from Raleigh, N.C. It’s hard to improve on Bandcamp Daily’s description of the group’s most recent LP, 2016’s Tender Madness, when they ranked it No. 6 among the year’s best releases. “What starts out as a dark questioning of existence ends up in a much lighter place by the end of the album,” wrote Ally-Jane Grossan, “almost mimicking the evolution of Joy Division into New Order.”

9 p.m. at The Basement, 1604 Eighth Ave. S. STEPHEN TRAGESER

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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1/3/22 3:25 PM

MON 1.10  ALLEN STONE

TUE 1.18  MATT LOVELL: "NOBODY CRIES TODAY" VINYL RELEASE SHOW

CANNERY BALLROOM

WED 1.12  ALMOST FAMOUS THE HIGH WAT

FRI 1.14  AN EVENING WITH E L E Y KINGSTON HYTHE

THE HIGH WAT

FRI 1.14  THE EAST SIDE GAMBLERS THE GREAT AFFAIRS

MERCY LOUNGE

THE HIGH WAT

WED 1.19  ALMOST FAMOUS THE HIGH WAT

T HU 1.20  SHANNON LAUREN CALLIHAN & FRIENDS THE HIGH WAT

FRI 1.21  THE GHOST OF PAUL REVERE EARLY JAMES

SAT 1.15  LOST DOG STREET BAND MATT HECKLER

CANNERY BALLROOM

THE HIGH WAT

WED 1.26  BOY HARSHER · SOLD OUT HIRO KONE HI

THE HIGH WAT

S AT 1.15  SPORTS

OKEY DOKEY & LITTLE BIRD

FRI 1.28  HOTEL FICTION

MERCY LOUNGE

HAPPY LANDING & BEDON

SAT 1.15  NORTH BY NORTH / THE INFA-

MOUS HER / BASIC PRINTER / GLAMPER THE HIGH WAT

MON 1.17  GUS JOHNSON: HERE I COME

THE HIGH WATT

FRI 1.28  MELD: 30TH GOLDEN BIRTHDAY CELEBRATION

AMANDA BROADWAY BAND & LAURA REED

MERCY LOUNGE

CANNERY BALLROOM

an independent bookstore

FRI. 1/14

FRI. 1/14

An Evening with E L E Y

East Side Gamblers

THE HIGH WATT · Kingston Hythe

The Great Affairs · MERCY LOUNGE

for independent people

UPCOMING EVENTS LEARN MORE AT PARNASSUSBOOKS.NET/EVENT

SAT. 1/15

SAT. 1/15

Lost Dog Street Band

Sports

CANNERY BALLROOM · Matt Heckler

Okey Dokey & Little Bird · MERCY LOUNGE

TUESDAY, JANUARY 11 6:30PM

GWEN E. KIRBY at PARNASSUS with KEVIN WILSON Shit Cassandra Saw 6:30PM

WEDNEDAY, JANUARY 12

DONALD MILLER at PARNASSUS Hero on a Mission: A Path to a Meaningful Life 6:00PM

THURSDAY, JANUARY 13

ASHLEY HERRING BLAKE & REBECCA PODOS Fools in Love

1/7 YANCEY

with Taxiway, The SS-SR (venue)

1/8 Crooked Pointer with The Bluesdog (venue)

1/9 Sideline Heroes

with Lakeside, Luke Bodine (venue)

1/10 Cumberland Heights for bluegrass mondays (front)

1/13 Flyin’ Hot Saucer

with Hybrid Sol, Violet Moons (venue)

WWW.COBRANASHVILLE.COM

2:00PM - 3:00 PM

Remo Drive

Hotel Fiction

Jackie Hayes & Boyish · MERCY LOUNGE

The high watt · Happy Landing & Bedon

1.28  MELD: 30TH GOLDEN BIRTHDAY CELEBRATION MERCY LOUNGE

2.2  RED: THE ACOUSTIC TOUR MERCY LOUNGE

2.23  STOP LIGHT OBSERVATIONS

2.10  CORDAE CANNERY BALLROOM

3.10  HEART ATTACK MAN THE HIGH WATT

3.27  THE DANGEROUS SUMMER THE HIGH WATT

THE HIGH WATT

SATURDAY, JANUARY 15

SIGNING with KATHLYN J. KIRKWOOD at PARNASSUS Ain’t Gonna Let Nobody Turn Me ‘Round 6:30PM

SUN. 1/30

FRI. 1/28

MONDAY, JANUARY 24

PEGGY O’NEAL PEDEN at PARNASSUS Gone Missin’ 3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net

SUN 1.30  REMO DRIVE

SUN 2.6  IAN SWEET

JACKIE HAYES & BOYISH

BNNY

MERCY LOUNGE

THE HIGH WATT

THU 2.3  BROTHER MOSES

MON 2.7  THE WOMBATS

THE HIGH WATT

CANNERY BALLROOM

SAT 2.5  YOU NEED TO CALM DOWN: A TAYLOR SWIFT DANCE PARTY

CANNERY BALLROOM

· SOLD OUT

SAT 2.5  DANIEL NUNNELEE · SOLD OUT THE HIGH WATT

TUES 2.8  RED WANTING BLUE BRETT NEWSKI & CARLY BURRUSS

MERCY LOUNGE

TUES 2.8  MAYDAY PARADE

REAL FRIENDS & MAGNOLIA PARK

CANNERY BALLROOM

@parnassusbooks1 @parnassusbooks @parnassusbooks1

nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

17

CRITICS’ PICKS

THURSDAY, CURSIVE, JEREMY ENIGK & THE APPLESEED CAST

Former bookish, introspective, gloomy teens who are now of a certain age: Gird yourselves. The artists who made it easier to argue that emo was a vital genre rather than just endless quartets of screaming sad boys are coming to Brooklyn Bowl. Included on the bill is a man who has as good a claim as anyone to be the progenitor of emo: Jeremy Enigk, the frontman of Sunny Day Real Estate and its various spinouts. And there’s a straight-ish line between SDRE and the other three bands set to perform.

The Appleseed Cast was an essential member of the Midwest emo movement, though their second album, Mare Vitalis, stretched the limits of the genre into postrock, particularly with its sprawling sevenminute centerpiece “Storms.” Cursive was one of the more critically beloved members of the oft-derided genre, especially after 2003’s concept album The Ugly Organ, which featured unusual instrumentation for the idiom (a cello, a trombone) and plenty of backing help from Jenny Lewis. Top of the bill is Thursday, who has never left the consciousness of those aforementioned gloomy teens — especially as long as they’ve still got 2001’s Full Collapse digitally, since the album’s opener “A0001” will invariably play any time Apple Music opens due to its inevitable position as the first track alphabetically (or so I’ve heard). Often as atmospheric as the rest of the bands on the bill, Thursday’s Geoff Rickly could still scream it out with the best of them. 7 p.m. at Brooklyn Bowl, 925 Third Ave. N. J.R. LIND

FILM

[EMO BOYS]

MONDAY / 1.10 [I’LL WALK AS DAMN HARD AS I PLEASE]

MUSIC CITY MONDAYS: WALK HARD: THE DEWEY COX STORY

I know I’m not the only one who wonders why Hollywood still hits us with rock-icon biopics, especially after this dead-on 2007 parody obliterated the whole genre. Critic Alan Scherstuhl once wrote for Rolling Stone that Walk Hard: The Dewey Cox Story “structures each scene to expose something false, cloying and/or ridiculous about movies that attempt to boil the life and art of prickly, complex musicians down into clean three-act narratives.” It’s no wonder recent biopics Get On Up and Rocketman tried to spice things up with offbeat trickery like fourth-wall breaks and surreal sequences.

Using the Oscar-winning, Flawed-but-GreatMan epics Ray and Walk the Line as their primary ridicule fodder, co-writer/director Jake Kasdan and co-writer/producer Judd Apatow created the fake yet amazing life and times of rock star Dewey Cox (John C. Reilly). When he’s not instantly making classic music, dude goes through it all: childhood trauma, drugs, orgies, jail, rehab, band breakups, marriage breakups, owning a monkey, etc. One viewing of this and you’ll never be able to watch Bohemian Rhapsody without giggling uncontrollably.

7:45 p.m. at the Belcourt, 2102 Belcourt Ave.

STUFF YOU CAN DO ANY TIME [INTERRUPTING COWS]

GO COW HUGGING AT THE GENTLE BARN

Do you need a hug? Maybe you had to socially distance yourself from those you love during the holiday season.

Maybe you just need a little extra love and support. Well, The Gentle Barn, a nonprofit animal rescue and sanctuary, suggests the therapeutic experience of cow hugging.

Yep, that’s hugging cows. Every Sunday, you can head to bucolic Christiana (it’s about an hour south of Nashville on I-24) and give Maybelle, Destiny, Eclipse or one of the other animals on the farm a big ol’ hug.

The Gentle Barn rescues and rehabilitates abused animals, and its owners believe that barnyard therapy can reduce your blood

[HOLY GROUND]

ART

SEE MARCUS MADDOX’S FIGURES OF COLOR: RADICALLY BLACK AT OZ ARTS In his review of Marcus Maddox’s exhibition, Kashif Andrew Graham called the exhibition space at Red Arrow Gallery “holy ground.” The full review is well worth another read, and Maddox’s photos, which are now on view at OZ Arts, are available to visit once more. Think of it as a second pilgrimage to some of the most striking figurative photography Nashville has housed in recent memory — monumental figures presented with grace and vulnerability, with a color palette of strong blacks and dreamy pastels. It’s also evidence of a quality of noncompetitive collaboration that Nashville’s art scene gets just right — OZ Arts is housing the work through a partnership with Red Arrow, where Maddox is represented. You can buy the works through Red Arrow after seeing them at OZ — that spirit of community is one of the Nashville art scene’s greatest strengths, and it’s well worth your support. The work is on view during in-person performances, but you can also make an appointment to view the work outside of performance times. Visit ozartsnashville.org for details. Through Feb. 15 at OZ Arts, 6172 Cockrill Bend Circle LAURA HUTSON HUNTER

WEDNESDAY / 1.12 [IN THE MIX]

WALE

D.C.-area rapper Wale is kicking off 2022 with a tour, and he’s launching it

WALK HARD: THE DEWEY COX STORY

18

EVERGREEN:

pressure and give you a boost of endorphins.

You must book a ticket in advance ($20 adults, $10 kids, free for those under 2), and you can show up any time between 10 a.m. and 2 p.m. on the Sunday you select. Private group sessions and parties are available during the week. If you find the process of hugging a bovine meditative, you can nab a season pass for $60. MARGARET LITTMAN

CRAIG D. LINDSEY

MUSIC

MUSIC

SUNDAY / 1.09

COMMUNITY

THURSDAY

here in Nashville. Like many rappers, Wale sharpened his skills on mixtapes — which, as he told the Scene in a 2020 interview, represented “total control” — and they’re still very much a part of the versatile artist’s arsenal. In 2020 he dropped Folarin II, a follow-up to his 2012 mixtape, with guest spots from J.Cole, Rick Ross, Maxo Kream and more. There’s plenty of go-go influence and the sound is pretty polished, which is fitting, since Wale is one of many rappers who has blurred the line between mixtape as a collection of freestyles and free albums.

Wale’s got a diverse catalog of tracks (not just anyone could break down topics like race and relationships on projects themed around Seinfeld), and he has plenty to offer in a live show. 9 p.m. at Marathon Music Works, 1402 Clinton St. ALEJANDRO RAMIREZ

WALE

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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1/3/22 3:24 PM

thebasementeast basementeast thebasementeast

917 Woodland Street Nashville, TN 37206 thebasementnashville.com

new

w

sho

THE SHADOWBOXERS // JAN 7

GRUNGE NIGHT VI // JAN 12

QUEEN TRIBUTE // JAN 15 A NIGHT AT THE MIPS

SAM FISCHER // JAN 18

NITA STRAUSS // JAN 19

THE VEGABONDS // GRADY SPENCER & THE WORK

FEAT. INTO THE FLOOD & TINY MUSIC

JAN 22

W/ BLACK SATELLITE & ABBY K

Upcoming shows jan 6 jan 7 jan 8 jan 12

DOWNTOWN

Saturday, January 8

Saturday, January 29

SONGWRITER SESSION

SONGWRITER SESSION

Frank Ray

Jim Collins

NOON – 12:45 pm

NOON – 12:45 pm

•

FORD THEATER

•

FORD THEATER

Saturday, January 15

Saturday, February 5

SONGWRITER SESSION

SONGWRITER SESSION

Nicolle Galyon

Marc Beeson

NOON – 12:45 pm

NOON – 12:45 pm

•

FORD THEATER

•

FORD THEATER

Friday, January 21

Sunday, February 6

LIVE IN CONCERT

INTERVIEW AND PERFORMANCE

Big Band of Brothers

A Jazz Celebration of the Allman Brothers Band 8:O0 pm • CMA THEATER

Florida Georgia Line

jan15 jan18 jan19 jan 20 jan 22 jan 23 jan 27 Jan 29 Jan 30

paramore vs. avril lavigne tribute the shadowboxers the emo night tour Grunge night VI: a tribute to Alice in chains & Stone temple pilots A Night at the MipS: A Tribute to Queen sam fischer nita strauss w/black satellite & abby K jake scott w/josie dunne sold out! the vegabonds & Grady spencer jive talk w/ future crib & cort tenille townes w/alex hall Genesis Owusu w/blake ruby Fit For an autopsy w/enterprise earth,

Feb 2 Feb 3 Feb 4 Feb 5

Current Joys w/dark tea nile w/incantation, sanguisugabogg, and I am The Weather Station w/cassandra jenkins powerslave: iron maiden tribute

Feb 10 Feb 11

w/symptom of the universe: black sabbath tribute Muna w/ Allison Ponthier sold out! rumours w/ nomenclature

ingested, signs of the swarm, and great american ghost

Feb 12 Feb 16 feb 17 feb 19 feb 20 feb 21 feb 22 feb 24 feb 25 feb 26 feb 27 mar 1 Mar 2 mar 3 mar 4 Mar 5 Mar 6 mar 7 mar 8 mar 9 mar 10 mar 12

K.Flay w/g.flip & corook Bendigo fletcher w/abby hamilton john moreland w/will johnson emily king obscura w/abysmal dawn, vale of pnath, & interloper gracie abrams w/ alix page sold out! valley sold out! samia w/ annie dirusso neal francis w/ Emily Wolfe brett dennen w/the heavy hours zachary williams drama Iceage w/ sloppy jane chap0 trap house podcast sold out! half•alive Inhaler w/junior mesa sold out! soulfly w/ 200 stab wounds & more tba gary numan w/ i speak machine mipso w/ bella white goth babe kat von d w/prayers cults

Tyler Hubbard and Brian Kelley 2:00 – 3:15 pm • CMA THEATER

Saturday, February 12 SONGWRITER SESSION

Saturday, January 22 SONGWRITER SESSION

Leah Turner NOON – 12:45 pm

•

Josh Jenkins NOON – 12:45 pm

•

FORD THEATER

FORD THEATER

Friday, February 25

BRANDY ZDAN & ROSE HOTEL // JAN 8

LIVE IN CONCERT

Colbie Caillat 8:00 pm

•

CMA THEATER

Check our calendar for a full schedule of upcoming programs and events.

CountryMusicHallofFame.org/Calendar

Museum Membership Museum members receive unlimited Museum admission, ticket pre-sale opportunities, and much more.

JOIN TODAY: CountryMusicHallofFame.org/Membership

NATASHA BLAINE // JAN 12 W/ DORIAN LACKEY (7PM)

UPCOMING SHOWS

jan 7 jan 7 jan 8 jan 9

alex rahal w/ brad sample (7pm) eric slick w/jenny besetzt (9pm) brandy zdan & rose hotel Kat Brock & Vaughn Walters

jan 10 jan 12 jan 12 jan 13 jan 13 jan 14 jan 14 jan 15

mike frazier w/caitlin webster & tara dante natasha blaine w/ Dorian Lackey (7pm) ben chapman (9pm) will overman (7pm) nolan taylor w/TheJenkinsTwins,LaurelLewis (9pm) loving sons w/juke of june (7pm) step sisters w/heinous orca & crave on (9pm) brandy zdan & molly martin (7pm)

w/Kristin Andreassen & Ziona Riley

jan 15 jan 19 jan 20 jan 20 jan 22 jan 23 jan 27

the kernal & friends (9pm) wilby, girlhouse caleb lee hutchinson w/gavin powell (7pm) pip the pansy (9:30pm) brandy zdan & megan mccormick hew g w/ 2'Live Bre & Special Guests arkensauce & armchair boogie

jan 28 jan 29 Feb 4 feb 6 feb 9

savannah rae brandy zdan & ruby boots palm palm husbands ben chapman (9pm)

w/east nash grass

1604 8th Ave S Nashville, TN 37203 thebasementnash

thebasementnash

thebasementnash

nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

19

FOOD AND DRINK

WALK THIS WAY

With a new owner and posttornado rejuvenation, the Walk Eat Nashville tours are hitting the pavement again

BY MARGARET LITTMAN

20

PHOTOS: ERIC ENGLAND

L

ike many of us, Shannon Largen was facing a professional crossroads in 2020. She had worked for the Nashville Convention & Visitors Corp for 16 years, training folks and also starting and running the Music City Greeter program.

“I love Nashville, love hospitality and telling people about my favorite city,” Largen says. She assumed she would return to her job at the NCVC, having been laid off in 2020 when tourism dipped. But the longer the pandemic continued, the more Largen started thinking about what she wanted to do next.

She called Karen-Lee Ryan, founder and then-owner of food-tour company Walk Eat Nashville, about becoming a tour guide. Largen had taken three Walk Eat tours over the years and knew Ryan from their hospitality work. They had similar philosophies about showing both visitors and locals a more wellrounded Nashville than some more touristcentric offerings. Both love food, chefs and telling the story of how Nashville’s food scene has blossomed in recent years.

At the time, Walk Eat Nashville was on hiatus. The combination of the March 2020 tornado — which shuttered several participating restaurants on the East Nashville tour route — and the pandemic put things on pause for more than a year-and-a-half. Largen also learned that Ryan was considering selling the company. Though she remains one of Nashville’s biggest cheerleaders and still visits regularly to support her favorite chefs, Ryan had moved to Tulsa, Okla. Largen and Ryan’s phone call turned into an opportunity.

Largen is now owner and CEO (i.e., chief eating officer) of Walk Eat Nashville, the company Ryan launched in 2014. (Fun fact: The Scene was on the scene when Ryan led her first tour more than seven years ago.)

Each walking tour takes about three hours, with five tasting stops lasting about 20 minutes per stop. They are designed as small group experiences, with no more than 12 people in a group and the average being around six. Each tour is led by a hospitality professional or a journalist, and they are unscripted. While each tour has certain highlights and themes to include, each guide brings their own experience and interests to their guests. (Full disclosure, many Scene writers have led tours for Walk Eat Nashville in past years, including Chris Chamberlain, Jennifer Justus and me.)

Largen, who was raised by a single mother on a budget, credits her grandfather for igniting her passion in food. “He took us to nice restaurants and out on vacation,” she says. At one point as an adult, she had a job that required her to travel 45 weeks a year, which further opened her eyes to the world

SHANNON LARGEN LEADS A WALK EAT NASHVILLE TOUR of eating out. Later she married into a family of restaurateurs.

She’s relaunching the homegrown food tours, building on Ryan’s foundation of focusing on locally owned kitchens, and giving tour-goers the opportunity to meet the people behind the dishes. You won’t find a hot chicken stop on any of the tour lineups — Largen feels that folks already know about the dish and are likely to seek it out on their own. Many guides do tell the story of hot chicken, however, when talking about Nashville’s culinary history.

At The Farm House, which has been on the downtown food route for years, tourgoers come by during lunch, before the dinner-only restaurant is officially open.

That gives Trey Cioccia, The Farm House’s chef and owner, a chance to talk at length to diners, telling them about his food and his hometown. He estimates about 90 percent come back for a full meal at the restaurant after being introduced on a tour.

“One of my goals with the CVC was to introduce people to the neighborhoods,” Largen says. “Nashville has so much to offer. Broadway is part of that, but we want them to explore all of what we have.” Tours cost $85, plus tax and fees, and walk through all sorts of weather (although not through dangerous conditions).

Historically the tours have attracted both locals and visitors. For locals in particular, it can be a good way to learn about all the new restaurants and changes that have taken place over the past two years. “As locals, too, we often do not play in our own backyards,” Largen says.

Bryan Lee Weaver, executive chef and partner at Butcher & Bee, has been surprised by the number of locals who have been introduced to the restaurant while on a Walk Eat Nashville tour. In the early days of the restaurant, he says, it was helpful having a full, engaged table of tour-goers visible in the window at lunch. Diners sample the mezze part of the Butcher & Bee menu — and yes, that includes the popular

whipped feta.

While Largen has largely stuck with Ryan’s formula for success, there are new stops on the tours. Downtown now has Assembly Food Hall, and both Steam Boys and Slim & Husky’s are stops at Fifth + Broadway. One of East Nashville’s routes now includes chef Sean Brock’s Joyland.

Goo Goo Chocolate Co. has been through an overhaul of its own since it last hosted a tour, and Walk Eat Nashville tour-goers got to be among the first folks back in the interactive remodeled space. “We love having Walk Eat Nashville come through Goo Goo Chocolate Co. as part of their tours, and they do such an incredible job of giving the guests on their tour a culinary snapshot of Nashville,” says Beth Sachan, vice president of sales and marketing for the century-old candy brand. “There is so much history to our story that the tour guides are able to share in such a fun and engaging way that often turns their guests into Goo Goo enthusiasts.”

For the locally beloved Ryan — who was an editor at The Tennessean before starting Walk Eat — selling the business she built from the ground up was difficult. But it was made less so by finding a buyer who shares her sensibilities about Nashville. Seeing that restaurants and guides want to continue with Largen at the helm has been “the most heartwarming part,” Ryan says. “It has been amazing to see the business in her extremely capable hands, and I’m so happy to see it rejuvenated. It has made the transition seamless.”

Ryan will stay on in an advisory role for the next six months, a safety net for which Largen says she is grateful.

Pre-pandemic, Walk Eat offered multiple tours in East Nashville, downtown and Midtown. For now, the Midtown routes are on hold. Book tours online at walkeatnashville.com in advance. Currently public tours take place Thursdays, Fridays and Saturdays. Private tours are available.

EMAIL ARTS@NASHVILLESCENE.COM

A WALK EAT NASHVILLE TOUR STOPS IN AT D’ANDREWS BAKERY & CAFE

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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ART

CRAWL SPACE: JANUARY 2022

based creators organized by ZieherSmith.

Participating artists include: Esteban Ocampo Giraldo, Juan Uribe, Nicolas Bonilla Maldonado and Julian Burgos.

Julia Martin Gallery will welcome artist Andy Ness on Saturday night. Ness’ abstract paintings feature colorful combinations of circles and lines — the overall effect reads like impractically expressive design drawing, and maybe that’s the point. There is something intrinsically irreverent about these compositions of repeating shapes and marks rendered with a loose but never lazy hand.

Ness’ The Satellite exhibition is a great fit for the Wedgewood-Houston gallery scene, and I’m predicting this won’t be the last we see of Ness’ playful, unmistakable work.

SHOHEI KATAYAMA AT COOP

January’s First Saturday events come a week late, but right on time for a big winter art season

BY JOE NOLAN

A

fter chaotic holiday happenings that saw seasonal revelry squelched by canceled flights, disrupted events and a surge of hospitalizations due to the latest spike of COVID cases, Nashville’s visual arts community may be greeting the inaugural Art Crawl events of 2022 less rested and recharged than they had planned. A persisting pandemic is a bummer of a way to start a new year — again — but as the U.S. health emergency nears its two-year anniversary in March, I’m hopeful looking forward, because of the resilience, resourcefulness and responsibility I see looking back.

Nashville’s gallery scene has proven to be incredibly adaptable, and while we might see some scaled-back receptions and continued indoor masking in art spaces, Nashville’s winter arts calendar is banging. And this Saturday’s January Art Crawl is a strong start for the season.

SOUTH NASHVILLE

Nashville native Mika Agari proved to be one of our most inventive emerging local artists before graduating from Watkins College of Art in 2016, creating a pair of challenging local shows and moving to New York. Agari staged a mobile sculpture installation in her Nissan Sentra (Car Show, 2017) using materials like felt, rice, stickers from the greeters at Kroger and dead wasps. She also embedded digital tablets in black sand at artist David Onri Anderson’s former curatorial space, the Bijan Ferdowsi Gallery, and encouraged viewers to lounge on a mattress while they watched her performances on video (Friction Fruit, 2017). In January, Agari’s back in Nashville for a show at Anderson’s new DIY gallery, Electric Shed. Agari is in her element when she’s responding to specific spaces, combining natural and manufactured materials and found objects in arrangements of sometimes unexpected combinations. Agari’s installations can feel charged with ritual intention, infused with erotic messaging or just splattered with charming, dumb humor. Consequently, we can’t predict exactly what the artist has in mind for her I Bend a Branch show, but I know it will be worth the short trip to South Nashville. Follow @electricshedtn on Instagram for updates and information.

EAST NASHVILLE

Interior/Exterior is a group exhibition at The Red Arrow Gallery that features work by half a

dig art about art, but it’s always refreshing when artists push past the art historical ouroboros to use aesthetics to examine and combine elements and strategies in other far-flung fields. Katayama’s practice is primarily concerned with how people perceive themselves and the world through the lenses of nature, technology and science.

As a result, Katayama’s work touches on everything from physics and sustainability to sociology and cultural history. Coop specializes in bringing visiting artists to Nashville, and as an artist who has created ambitious exhibitions in venues all over the globe, Katayama makes a great choice to begin this next chapter for this local arts institution.

The news of Coop’s move comes with a wave of shifting galleries at The Packing Plant: Coop will be taking over the former

large Channel to Channel space, which includes the two side galleries that Channel to Channel was subletting. Open Gallery will continue to sublet one space, and Risology Club will be moving into the other side gallery.

Risology Club is a full-service risograph print shop and bindery, and they’re already regular guests at the Nashville Poetry Library’s Show and Sell events during most First Saturdays. It’s great to see the club making a permanent home at The Packing Plant, and knitting the visual art and lit communities that gather at The Packing Plant tighter than ever.

The former Coop space will become a new satellite showcase for South Nashville’s Modfellows Art Gallery beginning in February. This Saturday, the gallery will host Art Can’t Love You, a pop-up of new work from Colombia-

dozen artists who all identify as female, but create varying expressions about gender identity and feminism. These themes can be compelling, but the reason I read Ashanté Kindle’s artist statement about beauty standards and the “culture of hair” is because her gorgeous monochrome-blue abstract paintings are sumptuous feasts of texture and hue.

The ubiquity of political, racial and sexual identity art makes for trendy programming, but many artists lose the trees for the forest, crafting broad works with big messages, but lacking intense, individual signatures.

Work about identity that still manages to be unique to an individual always stands out. See Lauren Gregory’s “Ol’ Splashy” animated video, or Tess Davies’ exquisitely flatsurfaced Hermetic interiors as examples.

This show at Red Arrow also includes work

by Dana Oldfather, Reneesha McCoy, and Annie Brito Hodgin.

EMAIL ARTS@NASHVILLESCENE.COM

INTERIOR/EXTERIOR AT THE RED ARROW GALLERY

Coop will literally be making moves this month as it relocates to a bigger space at The Packing Plant. The inaugural show in these new digs — which had housed Channel to Channel before the gallery moved to Chattanooga — will be a display by Louisville, Ky.-based artist Shohei Katayama. I

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NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022

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BOOKS

WHERE NASHVILLE WORKS

AN UNLIKELY CAST OF HEROINES

Women prevail in Gwen E. Kirby’s inventive debut story collection

BY LAUREN TURNER

SCENERY Arts and Culture News From the Nashville Scene

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G

wen E. Kirby’s bold debut collection of stories connects an unlikely cast of heroines across time and space, each encountering her own series of obstacles in pursuit of survival, pleasure and fulfillment. In the collection’s title story, “Shit Cassandra Saw That She Didn’t Tell the Trojans Because at That Point Fuck Them Anyway,” Kirby revisits the archetypal woman — cursed to prophesy the truth without being believed — with a timely, inventive spin.

Among the things Cassandra doesn’t tell the Trojans about the future is that their very name would one day “be carried in every hopeful wallet, extracted with abashed confidence, slipped over the shaft, rolled to the base.” This is the sort of brilliantly wry punch line that characterizes Kirby’s playfully confrontational tone throughout the collection.

While some stories nod to women of the past such as Cassandra or an accused witch (“First Woman Hanged for Witchcraft in Wales, 1594”), others look to the future. In the zany “Normal Things That Happen a Lot,” women are bitten by radioactive cockroaches and given monstrous powers with which SHIT CASSANDRA SAW

BY GWEN E. KIRBY to ward off unsaPENGUIN BOOKS vory male attention: 288 PAGES, $17 “They get very drunk on the beer KIRBY WILL APPEAR IN CONVERSATION WITH that their cockroach KEVIN WILSON 6:30 P.M. bodies love, and WEDNESDAY, JAN. 12, AT walk home under the PARNASSUS BOOKS stars, and when they see a man they hiss and the man runs away and they laugh.”

The relationship between the supernatural and the everyday in Kirby’s writing imbues her protagonists with nuance and depth. The fantastical elements are imaginative and shocking, but never distract from the gritty human heart of the complex characters. In “Here Preached His Last,” a mother has an affair with her neighbor under the disapproving watch of the town’s famed preacher-ghost who calls her a “whore whore whore,” which only fills her with more desire. Kirby’s women are empowered by their complexities and wrongdoings, offering evidence of women taking up space in a male-dominated world.

These stories occupy a deft variety of forms — some experimental, all magnetic and accessible. In the laugh-out-loud hilarious “Jerry’s Crab Shack: One Star,” a male narrator writes a one-star Yelp review of a local diner following a bad dinner date.

Over the course of his review, he devolves,

expressing more interest in reviewing the waitress’s outfit, his marriage and ultimately his own reputation rather than the quality of the seafood. His performance of pragmatic judgment is revealed to be a mask for his deepest fears.

“Friday Night” is a story-length run-on sentence in which a woman and her husband argue over what to have for dinner, though she would rather have sex and ultimately a baby: “… my egg is on the fucking move like Wile E. Coyote ten feet past the edge of the cliff, gravity about to ruin his day, and my husband leaves the room and slams the door and I can hear him say goddamit, I can hear him get on the phone and order a pizza, a veggie garden delight, and he doesn’t ask to add pepperonis on half because he knows that I love pepperonis and he’s pissed off.”

The result of Kirby’s unique syntax is an overflowing breathlessness, seamlessly mirroring the emotional tension of the couple’s argument.

Effortlessly referencing hot topics such as date rape and toxic masculinity while illuminating the brave-and-depraved humanity of Kirby’s protagonists, the stories of Shit Cassandra Saw consistently bewilder and delight. Ranging from mythic to futuristic and the mundane middle-class crab shacks in between, her sharp, double-edged wit sears the page with devastatingly smart storytelling.

For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee.

EMAIL ARTS@NASHVILLESCENE.COM

NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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MUSIC

ANOTHER LOOK

The Scene’s music writers recommend recent releases from Mike Floss, Quez Cantrell, Bea Troxel and more

BY EDD HURT, P.J. KINZER, STEPHEN TRAGESER AND CHARLIE ZAILLIAN

I

n the process of assembling our annual Year in Music issue, we always learn about great records we missed, or get reminded of ones that deserve a little more attention.

With this in mind, our monthly roundup of FIND LINKS TO STREAM AND short album BUY THESE RECORDS AT reviews kicks NASHVILLESCENE.COM/MUSIC off the new year with eight new recommendations from our writers on superlative 2021 releases.

Add ’em to your streaming queue, get a physical copy from your favorite record store or buy a digital edition on Bandcamp.

At press time, there’s been no official word about whether #BandcampFriday — the promotion in which the company waives its cut of sales on the first Friday of the month — will continue in 2022. But the platform still makes it very easy to pay artists directly for their music and merch, so we’ll still encourage you to do so.

QUEZ CANTRELL, IN THE ROU9H (DIAMONDS IN THE BACKYARD)

Longtime hip-hop fan and local rap-scene supporter Quez Cantrell didn’t start making music of his own until 2018, but comes off like a seasoned pro on In the Rou9h. The five-song EP follows a 2020 release Cantrell titled 9 in tribute to late Titans legend Steve McNair, which showcased a relatable worldweariness and easy way with hooks on tracks like “Destination Destiny.” On Rou9h, the 31-year-old MC continues working to reverse past generations’ tendencies to bury feelings. With an assist from Scene fave Brian Brown, a remix of Cantrell’s late 2020 track “Lift My Spirit’s” faces down the struggle against creative stagnation.

On “2am Cravings,” Cantrell candidly addresses how COVID times have amplified the stress and anxiety of supporting a family. He sets these reflective bars to atmospheric and evocative backing tracks — it’s a record you can chill out to late at night, but it’ll make you want to not sleep in.

CHARLIE ZAILLIAN

BEA TROXEL, GETTIN’ WHERE (RUINATION RECORD CO.)

Among its other virtues, Bea Troxel’s Gettin’ Where shows off the immaculate phrasing of a very subtle singer. A Nashville native who graduated from The University of the South and lived in Harrisburg, Pa., before returning to town in early 2017, Troxel sounds something like, say, a less metallic-voiced Beth Orton. But she has her own full-bodied, relaxed style. Gettin’ Where sports arrangements that often begin with Troxel’s expertly played acoustic-guitar

figures before billowing into sections that include cello and violin. “The Light” is a beautiful tune in waltz time that alternates between sunlight and shade, while the title track lays out the album’s theme: “I may not tell you to your face / But man, I’m trying to take up space.” Gettin’ Where is as good as singer-songwriterdom got in 2021 — Troxel knows how to communicate passion by using restraint. EDD HURT

FULL MOOD, REDSLEEP (COLD LUNCH RECORDINGS)

Dreamy Nashville pop-rock duo Full Mood, aka Florida transplants Miranda McLaughlin and Nick Morelly, is my

favorite new-to-me band of 2021. Released in September, their Collin Pastore-produced EP Redsleep is filled with evocative sounds artfully deployed and pointed lyricism richly delivered. The songs are quick to gratify — especially the deliciously dramatic “2 U” — but are also compelling on repeat listens. Another standout is the elegant slow burner “Beats Me,” in which McLaughlin calculates the toll of carrying on a relationship whose only redeeming quality seems to be status benefits. While it’s fun to follow threads of influence, the total package is 100 percent Full Mood’s own work, and I am already eagerly awaiting what they do next. STEPHEN TRAGESER

THOMAS LUMINOSO, PALACE MORNING (WAREHAUS)

I don’t know if Thomas Luminoso has listened to Kevin Ayers, but what Luminoso does on Palace Morning sure suggests he’s studied the great 1970s psych rocker.

Palace Morning loops around itself in discursive fits and starts that put me in mind of Ayers albums like Shooting at the Moon and Bananamour. Luminoso even sounds like Ayers — he sings in a disaffected voice that’s woozy and a little lysergic. Another reference point for Palace Morning is ’70s avant-pop band Slapp Happy, and Luminoso turns his allusive record-collection rock into music that includes tempo and time-signature

nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

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MUSIC shifts and indecisive bits of guitar playing.

It’s accomplished stuff, and you’ll have fun navigating the album’s maze. What do Luminoso’s songs mean? That’s not always clear, but here’s a bit of verse — from a tune titled “For Your Harvest” — that might contain a clue: “You’re the archeologist / You hope that people venerate.” EDD HURT

MORGAN, TIME TO FALL (SOFT COFFIN)

Like Nico before her, folk songsmith Morgan performs under a mononym and serves up slow-grooving ruminations sung with an arresting vibrato on her debut EP. Murky shoegaze guitars and melodious Omnichord peals courtesy of seasoned Nashville indie players like Christina Norwood (whom you’ve heard or seen with The Black Belles, JEFF the Brotherhood and Savoy Motel) and Ornament’s Ryan Donoho add intrigue to songs like “Tomorrow’s Where That Future Wasn’t.” As an added bonus, a cover of Lee Hazlewood’s 1970 drinker’s lament “The Night Before” fits right in with Morgan’s originals. CHARLIE ZAILLIAN

GOLDEN AND RUST, GOLDEN AND RUST (SELF-RELEASED)

It’s been far too long since we’ve had new music from Joey Kneiser, the singer, songwriter, producer and frontman of beloved and long-dormant rock-countrysoul outfit Glossary. His most recent solo record was 2015’s The Wildness, and he’s been plenty busy since then, making the feature film Mr. Presto and parenting a toddler. In 2021, Kneiser came back strong with a new musical partnership called Golden and Rust, in which he splits singing and songwriting duties with Lew Card.

Their eponymous debut album features lots of friends old and new including Glossary and Jasmin Kaset bassman Bingham Barnes, drummers’ drummer Matt Martin and keymaster (and Nashville Sounds organist) Matt “Mr. Jimmy” Rowland.

There are sounds familiar and peculiar too: Barnes’ Geezer Butler-meets-Duck Dunn bass grooves are a Glossary hallmark; the lack of electric six-string is unexpected and refreshing, as is the gnarly synth clavinet sound on “Middle Man.” They are thoughtful and whistle-worthy songs, generally about trying to live a rich and full life in a strange and disheartening world.

STEPHEN TRAGESER

FU STAN AND BEHOWARD, CLAUDE & RAY (WE OWN OUR WAY)

Claude & Ray is one of the most imaginative Nashville rap releases of 2021.

FU Stan and BeHoward’s collaboration runs just under half an hour, but it overflows with the kind of smart, fresh energy that has built a multigenerational fan base for Southern hip-hop. With uncluttered beats, full-sprint verses and a lot of humor, each of the eight tracks can stand on its own, but each shows off its connections to a diverse legacy of Black genius. The slasher-film synthesizers of “Go Go” nod to the Memphis sound, while “BSN” features prolific Music City rapper Petty and pays chilling homage to Charles Mingus’ “Goodbye Pork Pie Hat.”

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FU Stan and BeHoward also made one of the year’s most creative music videos. Directed by local scene stalwart Wesley Crutcher, the visual for the track “Dope Boy” stars the duo as oldsters who stumble their way into slinging pills. P.J. KINZER

MIKE FLOSS, OASIS (SPIRIT & SOL)

In January 2021, masterful rapper Mike Floss dropped his first multi-track release

since his 2017 album Tennessee Daydreams.

It’s an excellent EP called God’s Leather with a harder trap-inspired sound than what Floss fans might be used to, showcasing some influences that he’s picked up as he’s spent time making connections outside of Nashville. Another EP called Oasis followed in November, which he has described as “a more personal body of work … vulnerable touches over soul-food soundscapes.” Oasis is a warm and enveloping listen with lyrics

that stay sharp as Floss outlines his focus on using his power to serve and uplift his community. As he sings in “Fubu Forever,” over a bed of old-school soul: “I’m still getting wavy, but lately / I feel like it don’t carry quite as much weight / I’m using my anger to make me a changer / I don’t think we got no more time left to waste.” STEPHEN

TRAGESER

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NASHVILLE SCENE | JANUARY 6 – JANUARY 12, 2022 | nashvillescene.com

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ACROSS Thwack Bow ties, e.g.

Dollar alternative Like chocolate mousse Puckish Lunar plain Circadian rhythm regulator Heaps Tech executive, for short Labor leader Dolores Huerta or astronaut Ellen Ochoa Representative Bowman, the first male member of “The Squad” H.S. course that might have a unit on the Harlem Renaissance Singer Tori Mendelssohn work in E flat major, and others Make definite, informally Mojito ingredient Rejections Scepter topper Does dirty Word before oil or water Use a 56-Across “Sure, sure” Delicate textile Presidential nickname Ticks off Open ___ Performance artist portraying male characters Agree Hawaii is famous for them Boat propeller Pulitzer-winning novelist Jennifer One of a pair at the dinner table … or a hint to this puzzle’s theme Like texting during a conversation, to some Ancient Greek marketplace Refer to Symbol of Russia “Copy that” Checkup, e.g.

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10% OFF DINE IN TOTAL BILL

$5 OFF TO GO ORDERS

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ON PURCHASE OF $25 OR MORE

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1106 Woodland St - Ste. 1 East Nashville | Five Points

NO. 1202

MUST BE PRESENT AT SITAR (EXP 2/28/22)

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TO ORDER CALL 615-321-8889 E PARKING FRE

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GRUBHUB | POSTMATES DOOR DASH | UBER

116 21ST AVE. N. | 321-8889 | SITARNASHVILLE.COM CLOSED ON TUESDAY

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WE DELIVER WITH

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B U R G E R &

C O MP A N Y

PUZZLE BY REBECCA GOLDSTEIN

DOWN 1 2 3 4

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Hindu honorific Success One may be tough to follow Historic Bay Area neighborhood with a 600-square-foot rainbow flag Australia, once Every last one West Coast air hub, for short First X or O Tarsal adornment Violin family name Papal collection overseen by a bibliothecarius 1996 hit for Alanis Morissette House mate?

Narrow inlet Basis of some insurance fraud Place to hang a mezuzah Bestie in Bordeaux Largest Frenchspeaking city in North America Consumed German physician who coined the term “animal magnetism” Vouch (for), in a way Something that’s impossible to run by yourself

37 39 40 41 44 46 47 49 52 54 59 60

Still up, say “A pity, really” Peak Word often confused with “fewer” Plead Too, for one Shoe with decorative perforations Leaf producer Hopeless case Contented sigh Earlier Park place?

61 62 63 64

L’ora della siesta, maybe “Parent-approved” cereal GPS approximation “Stand” band, 1989

ANSWER TO PREVIOUS PUZZLE W A S P

A M S T E L

D O E R

T/F R E E S P I R I T

E D N A

A S P

A N D I

T/F A K E G O L D R A S C A L A M O S I C U

A S K O F

D A N A

I S O L D E

R E S

O R A

H A I L

R E A L E S

T/F I R E S A L E

S C A N

T/F E A R G L A N D S E D Y

P E A T

E N O S

D R A T

I L L S

A R E

G L A D L Y

T/F E E D O F F

L O T T O

N U K E

C A P

L U P I N O

B I G G I E

S E E S A W

An unAbAshed,

fingeron-thepulse,

Your Loving Hand Pattied Local Burger Joint

liVe-liKe-You-

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enough

supporter of the Arts

for 30 YeArs.

L A B

T E E S I A M S

T R U E

Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/ crosswords ($39.95 a year).

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Crosswords for young solvers: nytimes.com/ studentcrosswords.

nAshVillesCene.Com nashvillescene.com | JANUARY 6 – JANUARY 12, 2022 | NASHVILLE SCENE

crossword_1-6-22.indd 29

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1/3/22 3:23 PM

Marketplace

Rocky McElhaney Law Firm InjuRy Auto ACCIdEnts WRongFul dEAth dAngERous And dEFECtIvE dRugs

Voted Best Attorney in Nashville Call 615-425-2500 for FREE Consultation

www.rockylawfirm.com LEGALS LEGAL NOTICE

Rental Scene

Howard C. Gentry, Jr., Criminal Court Clerk It is my privilege as your elected Criminal Court Clerk to notify all citizens of Davidson County, that relative to grand jury proceedings, it is the duty of your grand jurors to investigate any public offense which they know or have reason to believe has been committed and which is triable or indictable in Davidson County. In addition to cases presented to the grand jury by your District Attorney, any citizen may petition the foreperson (foreman) of the grand jury for permission to testify concerning any offense in Davidson County. This is subject to provisions set forth in Tennessee Code Annotated 40-12-105. Pursuant to Tennessee Code Annotated 40-12104 and 40-12-105, the application to testify by any citizen must be accompanied by a sworn affidavit stating the facts or summarizing the proof which forms the basis of allegations contained in that application. Your grand jury foreperson is Robert Davis. His address is 222 Second Avenue North, Washington Square Building, Suite 510, Nashville, Tennessee 37201. The grand jury will meet at 8:00 A.M. on Mondays, Tuesdays and Fridays for three (3) months. Submission of an affidavit which the applicant knows to be false in material regard shall be punishable as perjury. Any citizen testifying before the grand jury as to any material fact known to that citizen to be false shall be punishable as perjury. For a request for accommodation, please contact 8624260.

NSC 1/6/22

tive to grand jury proceedings, it is the duty of your grand jurors to investigate any public offense which they know or have reason to believe has been committed and which is triable or indictable in Davidson County. In addition to cases presented to the grand jury by your District Attorney, any citizen may petition the foreperson (foreman) of the grand jury for permission to testify concerning any offense in Davidson County. This is subject to provisions set forth in Tennessee Code Annotated 40-12-105. Pursuant to Tennessee Code Annotated 40-12104 and 40-12-105, the application to testify by any citizen must be accompanied by a sworn affidavit stating the facts or summarizing the proof which forms the basis of allegations contained in that application. Your grand jury foreperson is Robert Davis. His address is 222 Second Avenue North, Washington Square Building, Suite 510, Nashville, Tennessee 37201. The grand jury will meet at 8:00 A.M. on Mondays, Tuesdays and Fridays for three (3) months. Submission of an affidavit which the applicant knows to be false in material regard shall be punishable as perjury. Any citizen testifying before the grand jury as to any material fact known to that citizen to be false shall be punishable as perjury. For a request for accommodation, please contact 8624260.

NSC 1/6/22

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1510 Huntington Drive Nashville TN 37215 | liveatcolonyhouse.com | 615.488.4720 30

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Southaven at Commonwealth 100 John Green Place, Spring Hill, TN 37174

The Harper 2 Beds / 2 bath 1265 sq ft $1700

The Hudson 3 Bed / 2 bath 1429 sq ft $1950

3 floor plans southavenatcommonwealth.com | 629.777.8333 Colony House 1510 Huntington Drive Nashville, TN 37215 The James 1 bed / 1 bath 708 sq. ft $1360-2026

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Rental Scene

The Jackson 1 Bed / 1 bath 958 sq ft $1400

liveatcolonyhouse.com | 615.488.4720

Gazebo Apartments 141 Neese Drive Nashville TN 37211 1 Bed / 1 Bath 756 sq ft $1,119 +

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gazeboapts.com | 615.551.3832 Sunrise Apartments 189 Wallace Rd Nashville, TN 37211 1 Bed / 1 bath 600 sq feet $950 - $1150

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sunrisenashville.com | 615.333.7733 Cumberland Retreat 411 Annex Ave Nashville, TN 37209 2 Bed /1 Bath 1008 sq ft from $1349

1 Bed / 1 Bath 675 sq ft from $1159 2 floor plans

cumberlandretreatapartments.com | 615.356.0257 Brighton Valley 500 BrooksBoro Terrace, Nashville, TN 37217 1 Bedroom/1 bath 800 sq feet $1360

2 Bedrooms/ 2 baths 1100 sq feet $1490

3 Bedrooms/ 2 baths 1350 sq feet $1900

To advertise your property available for lease, contact Keith Wright at 615-557-4788 or kwright@fwpublishing.com

Studio 330 sq feet $900 - $1000

3 floor plans

brightonvalley.net | 615.366.5552 nashvillescene.com | JANUARY 6 - JANUARY 12, 2022 | NASHVILLE SCENE

31

S U H P I TC

Nashville is a diverse city, and we want a pool of freelance contributors who reflect that diversity. We’re looking for new freelancers, and we particularly want to encourage writers of color & LGBTQ writers to pitch us.

Read more at our new pitch guide: nashvillescene.com/pitchguide BOTH LOCATIONS OPEN DAILY 11-9 FOR TAKE-OUT YOUR FAVORITE MEXICAN FOOD & ‘RITA, TOO!

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Nashv il stron le g!

MUSIC CITY

PSYCHIC

New Year’s Predictions

10

%

OF F

a tarot card reading 615-915-0515

284 White Bridge Rd Reach more than

400,000

Scene readers. Plugged-in, educated, active consumers who support local businesses.

FROM T HE

SCENE

Studio.

Apartment.

Home.

Whatever you call it, find yours in the Rental Scene.

Email Mike at msmith@nashvillescene.com to get started planning for a BIG 2022!

TEXT

Flat.

Nashville Scene’s Marketplace on pages 30 - 31.

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