NOVEMBER 10–16, 2022 I VOLUME 41 I NUMBER 40 I NASHVILLESCENE.COM I FREE
Within REACH
A new city program plans to send a non-police response to low-acuity 911 calls BY HANNAH HERNER METROPOLITIK: COOPER ADMINISTRATION BRINGS A TITANS STADIUM DEAL TO METRO COUNCIL PAGE 7 MUSIC: JESSIE BAYLIN MAKES PEACE WITH THE PAST ON JERSEY GIRL PAGE 37 cover_11-10-22.indd 1
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B E T H E S U I T. BE THE SOUND.
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TODAY
11/4/22 12:24 PM
CONTENTS
NOVEMBER 10, 2022
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Cooper Administration Brings Titans Deal to Council ....................................................7
Making It in Music City ........................... 35
CITY LIMITS
Metropolitik: A $2.1 billion deal for a new stadium inflames long-simmering tensions between the mayor and councilmembers BY ELI MOTYCKA
Woolworth Woes ........................................8 Debate over the use of the civil rights landmark is emblematic of larger Nashville conversations BY MARGARET LITTMAN
Pith in the Wind .........................................9 This week on the Scene’s news and politics blog
BOOKS
True Feeling, Not Magic .......................... 35
Another Look: Recent Releases From the TSU Aristocrat of Bands, Palm Ghosts and More
An appreciation of Louise Erdrich, recipient of the 2022 Nashville Public Library Literary Award
Nashville Voters Given Incorrect Ballots
Margo Price’s Maybe We’ll Make It is an artist’s unflinching self-portrait BY JACQUELINE ZEISLOFT, CHAPTER16.ORG
BY SEAN KINCH, CHAPTER16.ORG
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MUSIC
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Garden State of Mind ............................. 37
Within REACH
Perfect Imperfection ............................... 38
A new city program plans to send a non-police response to low-acuity 911 calls
Third Man Records set to capture John Moreland’s gritty realism, direct to disc
BY HANNAH HERNER
BY CHRIS PARTON
COVER STORY
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CRITICS’ PICKS
Jessie Baylin makes peace with the past on Jersey Girl BY D. PATRICK RODGERS
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Say Cheer................................................. 30
FILM
The Scene’s live-review column checks out Nnamdï at Drkmttr
40 Father and Child Reunion
BY MARGARET LITTMAN
Aftersun is a heartbreakingly beautiful tale of childhood memories
Cheap Eats: Music City Crepes .............. 31
BY CORY WOODROOF
The Nashville Farmers’ Market outpost offers sweet and savory options
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VODKA YONIC Tinder Mercies
911 dispatch center Photo by Eric England
BY RACHEL CHOLST
BY EDD HURT
BY KELSEY BEYELER
Watch Caitlin Rose and Friends Pick on ‘Getting It Right’
ON THE COVER:
Veteran vocalist Wendy Moten is just getting started
The Spin ................................................... 39
Mike Wolf’s newest book offers spirit-forward stories and recipes for the season
Brothers Ryan and Matthew Poli Announce Their First Restaurant
On Her Own Time .................................... 38
Robyn Hitchcock and Emma Swift, Hari Kondabolu, Nashville Jewish Book Series and more
FOOD AND DRINK
THIS WEEK ON THE WEB:
NEW YORK TIMES CROSSWORD
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MARKETPLACE
I am a queer, progressive, female minister, which makes dating … tricky BY MARY MALONE
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CULTURE
‘Will Killing Be Permissible?’ Diving into the history of late local wrestling legend ‘Big Tussie’ Jackson BY NADINE SMITH
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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SEN. MARSHA BLACKBURN
BLACKBURN CONTINUES TO IGNORE THE REAL ECONOMIC PROGRESS MADE UNDER BIDEN Through the never-ending bickering of our current political climate, good news is being lost amid partisan posturing. Economic progress — real economic progress — is being made. This is something that should be championed regardless of political affiliation, yet once again we see far-right politicians trying to distract from the solid progress the Biden administration has been making. Our own senior U.S. Sen. Marsha Blackburn is again attempting to diminish the progress and cast doubt on its importance. Point one. Under President Joe Biden, our country has seen the national deficit fall by a historic $1.4 trillion this year. By comparison, Trump oversaw some of the largest increases in our national debt to date. According to Fox Business, “Republican President Donald Trump added nearly as much national debt during his four years in office as Obama did in eight, posting another $8.2 trillion.” At the time of that Oct. 7 article, Biden had dramatically slowed our national debt, with Fox Business reporting that after “less than two years into office, Biden has so far added $1.84 trillion to the national debt.” At that rate, Biden is on track in his first term to cut the increase in our national debt by roughly half as much as Trump increased it by. I repeat: Biden is on course to cut our national debt increase by half of what Trump borrowed. And what does our senior senator have to say about Biden’s national deficit reductions and the reduction in our borrowing? Last year she called Biden’s economic progress “reckless spending” during a Senate GOP leadership press briefing — as Forbes put it, “Blackburn assailed Biden for increasing national debt.” So Blackburn mischaracterizes and criticizes Biden’s successful steering of our economy and national debt, but somehow she remains perfectly quiet on the fact that Trump oversaw some of the largest increases in our debt ever seen. Point two. Job growth is strong under President Biden’s watch. As he recently noted during White House remarks made in October, we have seen record numbers of jobs created during his first term. Biden remarked that his administration has overseen “10 million jobs created — a
PRESIDENT JOE BIDEN record for any administration at this point in a presidency.” Biden also pointed out that we’ve hit a 50-year unemployment low with 3.5 percent and added nearly 700,000 manufacturing jobs “created with companies investing billions of dollars to build industries of the future here in America, proving that ‘Made in America’ is no longer just a slogan.” What has Sen. Blackburn said about Biden’s clear economic progress and job growth? Here’s her pointed tweet from just a few days later: “Americans are struggling to put food on the table because of Biden’s socialist spending spree. They do not want to hear another rambling speech from Biden.” Did she comment on the increase in jobs? No. Did she comment on our low unemployment rate? No. She simply latched onto the GOP’s far-right talking points for the day and resorted to derogatory descriptions. At the end of the day, it’s fair to question legitimate policies and their apparent benefits or drawbacks. It’s fair to acknowledge progress and failures made by a presidential administration, either at a single point or as part of an overarching look at administrations on the whole. We need to look back at our past in order to best map our steps for the future. Yet our entire political atmosphere is being overtaken by snarky soundbites and pithy one-liners crafted to serve as social media ammunition for a future campaign. When can we return to business as usual? We should start at the ballot box, electing representatives based on their ability to listen to our needs, craft policies that are directed to improve our daily life and work cooperatively with each other and remain above the fray. Unfortunately, I don’t see any real chance for that with Tennessee’s congressional delegation as it stands today.
Bill Freeman Bill Freeman is the owner of FW Publishing, the publishing company that produces the Nashville Scene, Nfocus, the Nashville Post and The News.
PHOTO COURTESY OF WHITEHOUSE.GOV
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©2022, Nashville Scene. 210 12th Ave. S., Ste. 100, Nashville, TN 37203. Phone: 615-244-7989. The Nashville Scene is published weekly by FW Publishing LLC. The publication is free, one per reader. Removal of more than one paper from any distribution point constitutes theft, and violators are subject to prosecution. Back issues are available at our office. Email: All email addresses consist of the employee’s first initial and last name (no space between) followed by @nashvillescene.com; to reach contributing writers, email editor@nashvillescene.com. Editorial Policy: The Nashville Scene covers news, art and entertainment. In our pages appear divergent views from across the community. Those views do not necessarily represent those of the publishers. Subscriptions: Subscriptions are available at $150 per year for 52 issues. Subscriptions will be posted every Thursday and delivered by third-class mail in usually five to seven days. Please note: Due to the nature of third-class mail and postal regulations, any issue(s) could be delayed by as much as two or three weeks. There will be no refunds issued. Please allow four to six weeks for processing new subscriptions and address changes. Send your check or Visa/MC/AmEx number with expiration date to the above address.
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CITY LIMITS
METr0P0LITIK
COOPER ADMINISTRATION BRINGS TITANS DEAL TO COUNCIL
A $2.1 billion deal for a new stadium inflames longsimmering tensions between the mayor and councilmembers BY ELI MOTYCKA Metropolitik is a recurring column featuring the Scene’s analysis of Metro dealings.
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week after Mayor John Cooper and Titans CEO Burke Nihill convened press at the Metro Courthouse to announce that the two parties planned to move forward with a new domed stadium for the team, Councilmembers Courtney Johnston and Delishia Porterfield described the deal’s state of play as “alarming.” On Twitter, District 7 Councilmember Emily Benedict referred to negotiations as a “backdoor deal” and called on the mayor to go “back to the drawing board — and involve Council first this time.” “We’re accustomed to getting hustled,” said Councilmember At-Large Bob Mendes from his perch as chair of the council’s ad hoc East Bank Stadium Committee. “Round one, we’re told, ‘It’s nonbinding, it doesn’t matter, you’ve got plenty of time to decide on the final documents.’ ” Mendes, Porterfield and Johnston were discussing the deal’s terms sheet, the most complete picture of a prospective new lease, with representatives of the Cooper administration. “When we get to the second round, someone will play a video and say, ‘You committed.’ ” Through capital spending plans and capiRENDERING OF THE PROPOSED TITANS STADIUM
tal improvement budgets, the council has hemmed and hawed, expressing implicit and explicit frustration with Cooper, who at times has treated the body more like a stumbling block than a sounding board. Lastminute acquisitions of the Global Mall and the former Tennessee School for the Blind at 88 Hermitage — a key parcel for Wharf Park, one of Cooper’s remaining aspirations — grated councilmembers who pushed for more clarity and more time. In all cases, enough members fell in line when it came time to vote. The Titans deal is already different. By sticker price, it’s the biggest item on the city’s budget. Next to brief flirtations with public transit, it’s among the most expensive projects the city has ever considered. The public has swapped gossip, glossy renderings and associated plans for a redeveloped East Bank, while the substance of negotiations has occurred in weekly closed-door meetings between the team and the mayor. Cooper preferred to deliver a final product rather than involve the council in the talks themselves, leaving most of the city’s elected officials to follow progress in the media. Now everyone else is eager to jump on the city’s $760 million obligation. It’s a far cry from the $1.8 billion the Titans said the city owed to renovate Nissan Stadium, but along with $500 million from the state, a
historic amount of public money to shell out for a sports team. By conducting the deal in private and tightly controlling the narrative around it, often with carefully crafted talking points that emphasize some elements of the deal and obscure others, Cooper has shaken the faith of his colleagues in the people’s chamber. The premise has united an unlikely coalition of Cooper critics. Fiscal conservatives, libertarians, labor unions, public housing advocates and neighborhood community groups have transformed into public spending wonks, eager to kick the tires on an eye-popping outlay of funds for a private business owned by a billionaire family. Opposition formed quickly in response to the deal’s top line — $2.1 billion for the secondmost-expensive stadium in the world, funded mostly with tax dollars by a city and state struggling to provide a competitive public education system and basic health care for many of its citizens. were asking for renovations. In a philosophical sense, the deal is that Many critics are stuck on the fact that simple. Shouldn’t the government levy taxes the city never presented its own number, to efficiently allocate public resources at least not publicly. Doing so might push based on the priorities of voters? Why spend the team toward litigation or relocation, not billions to build a new arena for a team that to mention associated costs and political already has one? In the city’s legal and ecoconsequences for the mayor. Instead, the nomic reality, Metro Nashville is struggling Titans’ interpretation of the lease has been to choose between alternatives that all come the only one, setting the floor for the city’s with consequences — some political and financial obligations. In June, Councilmemsome financial. ber Sean Parker added $200,000 to the budThen-Mayor Phil Bredesen wooed the get to fund an independent review of Houston Oilers to Nashville with genthe city’s lease obligations. erous lease terms in 1996. The city “In 2017 we did a study of was saddled with providing a stawhat it would cost to keep Nisdium in “first-class condition,” VISIT NASHVILLESCENE.COM san Stadium in good condition,” the operative phrase in today’s FOR OUR ELECTION DAY said Parker in a budget work negotiations as the Titans point COVERAGE. session. “That study determined to billion-dollar facilities around it would be $300 million over 20 the country. To meet that stanyears. The estimates we’ve heard dard, says the team, the city would since then are considerably higher. need to provide upgrades in the neighI’m hoping to get a Metro side opinion about borhood of $1.8 billion through 2039, the life what our obligations are under the existing of the 1996 lease. Much of this dealmaking lease.” happened privately between Cooper and the It passed, and the mayor’s office coTitans, producing a few headlines back in ordinated with Venue Solutions Group, February that the city’s portion of a new staBrentwood-based consultants with specific dium could be cheaper than what the Titans expertise in stadium projects. The mayor’s office tasked VSG with an independent review of the Titans’ proposed renovations, returning a report that corroborated the team’s numbers but confused some councilmembers, who thought they were finally getting an estimate that wasn’t determined by the team’s preferred designs. Mayor Cooper relied on this number to announce in October that a new stadium is the prudent financial choice for the city. The council, smarting from the familiar feeling of being shut out of the dealmaking process, now prepares to vet multiple moving parts under the watch of an executive branch that wants to get things moving. Tasked with the power of the purse, representatives are slowing the deal’s timeline in the name of taxpayer protection. With three pieces of stadium legislation moving through four different council bodies, and a cost study that wasn’t quite what councilmembers expected, each week will bring more questions. The terms sheet — so far, the most controversial legislation on the Metro Council’s plate — is slated for a Dec. 6 discussion, then a vote, on the council floor. EMAIL EDITOR@NASHVILLESCENE.COM
BY CONDUCTING THE DEAL IN PRIVATE AND TIGHTLY CONTROLLING THE NARRATIVE AROUND IT, OFTEN WITH CAREFULLY CRAFTED TALKING POINTS THAT EMPHASIZE SOME ELEMENTS OF THE DEAL AND OBSCURE OTHERS, COOPER HAS SHAKEN THE FAITH OF HIS COLLEAGUES IN THE PEOPLE’S CHAMBER.
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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CITY LIMITS
WOOLWORTH WOES
Debate over the use of the civil rights landmark is emblematic of larger Nashville conversations
PHOTO: DANIEL MEIGS
BY MARGARET LITTMAN
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n 2021, Historic Nashville Inc. included the Woolworth building downtown on its annual Nashville Nine, a list of historic sites the preservationist group considers at risk of being lost. At the time HNI wrote: “We recommend that they bring in [an expert] with a specialization in the Civil Rights Movement or Black Freedom Struggle, a trained historic preservationist, and a conservator who can assist with the identification and care of the building’s remaining historic elements. Sometimes, historic preservation encompasses not only a building’s exterior but also respect for the interior where historic events took place.” Were it not for what happened at the Woolworth in February 1960, the building at 221-223 Rep. John Lewis Way N. likely wouldn’t have made the list. Around the time of his 20th birthday, activist and future U.S. Rep. John Lewis was arrested for the first time in what would become a career of civil disobedience. The Nashville sit-ins — nonviolent on the part of the protesters, although not always by those who opposed them — were a crucial turning point in the national civil rights movement and led to integration of the city’s lunch counters, making Nashville the first city in the South to do so. In 2020, the Metro Council voted to rename Fifth Avenue — the street on which the building sits — Rep. John Lewis Way. At the time, Councilmember Freddie O’Connell tweeted in support: “The world needs #GoodTrouble right now,” a reference to Lewis’ famous mantra. But recently, the trouble at the Woolworth building has not been good. Last month it
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was the site of the premiere of The Greatest Lie Ever Sold: George Floyd and the Rise of BLM, a film directed by Candace Owens for far-right website The Daily Wire. Ye — the artist born Kanye West — attended the premiere, attracting the attention of national media, including Billboard, TMZ and Rolling Stone. Also this fall, the new Woolworth Theatre became home to Shiners, an ongoing theatrical show that some critics say includes insensitive content at odds with the building’s history. “It is kind of sacrilege — it breaks my heart,” says Bruce Bouton, a well-known session musician and a minor investor in the Woolworth building. “The juxtaposition between John Lewis and Kanye is disappointing. The people who let this happen are not working in the spirit of the civil rights movement. Everybody had really high hopes for this property.” In December 2015, the Woolworth building was purchased for $3.4 million by a trust headed by Fresh Hospitality’s Mike Tidwell. Nashville restaurateur Tom Morales and others turned the bottom two floors — which once operated as a Dollar General — into Woolworth on Fifth, a restaurant designed to engage tourists and locals about the sit-ins and their role in Nashville’s history. Woolworth on Fifth opened in 2018 after a $6 million renovation. Working with architecture firm Tuck-Hinton, the team uncovered the original mezzanine with metal railings and terrazzo floors. They created a replica of the historic lunch counter and found three of the original stools from the sit-in era. The team also found a water fountain with a “Blacks only” sign and other painful artifacts from segregation. They
worked with the Nashville Public Library for permission to use archival photos and video footage to tell the stories of the sit-in movement at the restaurant. The Woolworth on Fifth project fit with other efforts to tell a fuller story of Nashville’s past, not erasing the Music City moniker, but showing that the city’s past is not one-note. “Those stores were sacred ground,” says Lee Sentell, founder of the U.S. Civil Rights Trail, which launched in 2018. The trail helps Southern states make their civil rights landmarks more accessible to students, locals and tourists. In 1983 the Woolworth building was one of 28 structures included as part of an application for Fifth Avenue Historic District status; the building was awarded that status as part of the group, not on its own. That paperwork notes the 1890s structure’s exterior terracotta panels and the interior mezzanine. In many cities, the buildings on the trail are now gone. “It is hard to go to Atlanta and find even one civil rights building still standing,” says Sentell. “In Nashville, I’m impressed that the buildings are still there. Our job is to put a spotlight on these places and hope that the property owners have successful businesses so that the buildings won’t get bulldozed.” The reasons the Woolworth on Fifth restaurant eventually closed are myriad. Morales, who remembers shopping at Woolworth as a child, sold his stake in 2019 before it was shuttered. The space then was leased to the team that developed the Woolworth Theatre: Woolworth Theatre CEO and country music artist Chuck Wicks, Joe Bravo, and local technology entrepreneur Rob Bellenfant and his 615 Ventures investment firm. Wicks and Bravo declined repeated requests for an interview for this article. Bellenfant did not return multiple messages, nor did Tidwell or other major investors in the building. The Woolworth Theatre did share a statement on social media, however, noting that it is “a place where everyone is welcome,” and that “the Woolworth Theatre does not comment on the functions, content, or the guest lists of our clients for private events.” In March 2022, the building unveiled an exterior display window featuring one of the original lunch counter stools, one of Lewis’ iconic trench coats, and books and video about the sit-in era. Then-CEO Keval Sheth underscored the team’s commitment to paying homage to the building’s past. (Sheth has since left the Woolworth Theatre leadership team for personal reasons.) As part of the process to turn the space into a theater, the replica lunch counter was removed, and the terrazzo flooring has been covered, though it is still visible in some landings and hallways. The mezzanine railings remain intact and visible and are encased to protect them as part of everyday use. The building’s upper floors, called Woolworth Upstairs, include 12 Airbnbs that opened in 2019 and are unaffiliated with the theater. While he is no longer a stakeholder, Morales is frustrated that the historic — and expensive — work that went into the space wasn’t protected as it was remodeled for its next act. “It is disrespecting the history of the first place John Lewis was arrested,” he says.
In addition to the physical space, at issue is Shiners, a show Wicks spent more than four years developing, inspired by Absinthe, an adults-only show in Las Vegas. (If readers want to see Shiners and be surprised by its acts, consider this a spoiler alert.) Shiners is billed as a Vegas-meets-Broadway (as in Lower Broad, not the Great White Way) show about a moonshiner family reunion. The show features Wicks — who, as it happens, is the brother-in-law of conservative country music star Jason Aldean — and Laura Osnes, a Tony Award nominee who spends part of the evening sitting on a trapeze swinging above the audience. While Wicks and Osnes sing some, and Wicks plays the guitar, Shiners is largely accompanied by prerecorded pop music. Performers roam through the room and rows of folding chairs as audience members grab drinks from the bar, located where the historic lunch counter used to be. Throughout the 75-minute show, they perform Cirque du Soleil-style acts, including gravity-defying acrobatics, pole dancing and contortion. Given the moonshine theme and the bickering-family shtick, the show has the feel of Pigeon Forge dinner theater — if Pigeon Forge allowed a lot more sexual innuendo. In one scene, three male performers arrive onstage seemingly naked and slide towels back and forth, carefully keeping their privates private. A spotlight moves from man to man, bigger on one than the other, implying varying penis sizes. The heart of Shiners is the incredible athleticism of the performers, rather than a narrative thread. But the hard-to-follow connections between the characters have led to some concern. At one point, two male performers drink moonshine that is a love potion, causing them to become infatuated and leading to an astonishing acrobatic duet. The playbill doesn’t clarify whether their characters, Jim Bo Shiner and Bo Bo Shiner, are related to each other. Are they meant to be brothers or cousins? It might not seem like it matters, but the idea of them being in love with each other is treated as unseemly, which is jarring. Context on why audiences are supposed to find their attraction problematic would be helpful. Later in the evening, six audience members are called onstage to play Family Feud, complete with theme music and an LEDscreen backdrop. They are asked what animal noise people are most likely to make in bed, leading to a cacophony of sound. Eventually, Michael Tumelo Moloi, the only Black member of the cast, appears in a vaguely tribal costume and makes melodious animal noises. Moloi is internationally known for his traditional African dance performances, and this information is included in his artist bio, but context for why the dance is taking place at the Shiner reunion is not. Moloi’s non-speaking role, combined with the dance and his face paint, is one that many audience members have found racially insensitive and disconnected from the racial history that took place on the property. Moloi did not respond to interview requests. The show’s title refers to the family of moonshiners, but critics have noted that the term “shiner” also has historical negative connotations, sometimes having been used as a derogatory term for Black people. If all of this were taking place elsewhere,
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CITY LIMITS say in a tent outside Caesar’s Palace in Las Vegas like Absinthe, it likely would have gone unremarked upon. But the disconnect between the content and the historical significance of the space has many people troubled. The Nashville Convention & Visitors Corp suspended the Woolworth Theatre’s membership after receiving numerous comments and complaints about the content of Shiners. Butch Spyridon, CEO of the NCVC, emphasizes that the organization is not interested in policing what content is or is not performed in Nashville. He was concerned, however, that many people were unaware that the show was adults-only. Some early promotional materials did not specify the audience for the show; newer posters have 18-and-up information added. Early criticisms came from audience members who were surprised by the ribald nature of the comedy. The NCVC is waiting to hear back from the Woolworth Theatre team about possible changes that may be made to the show to set clear expectations about its content and to put the story in context. Of course, not everyone is aghast. Many ticketholders have loved Shiners, particularly the impressive athleticism of the performers, the vaudeville-like pacing and energy, the adults-only humor, and the opportunity to engage with the cast. “Not only is the space important, but it needs to be a place where you know about the story of the building before you see a show there,” says Carole Bucy, Davidson County historian. At present, during Shiners there’s no explanation of what the space is or why it’s important. There’s nothing included in the playbill, and no one makes a preshow announcement about the education window in front. Such land acknowledgements are increasingly commonplace. For example, an announcement may be made before the curtain rises about the Indigenous peoples who once owned the land on which a theater is built. Spyridon understands that historical significance alone doesn’t pay a mortgage, and that there has to be a way to generate revenue to keep a building open. He hopes that everyone involved will demonstrate “respect for the building. Woolworth is the cradle of our civil rights efforts.” To generate revenue, the theater is renting space to other productions, and not all come with the baggage of Owens’ film. Last week a live music show featuring female singer-songwriters called She Believed She Could opened for what producers hope will be a long run. “We’re proud to be launching a familyfriendly show that celebrates the women of country music,” says Todd Cassetty, director and producer of She Believed She Could. “We’re excited to be downtown in a building where history was made fighting for inclusion and empowerment. Those are themes that are reinforced in our production.” Those who want to see Nashville’s civil rights legacy as a visible part of its identity hope commerce and conservation can coexist. “We are losing the historic fabric of Nashville,” says Bucy. “The very least we can do is save the stories before we don’t have anything left.” EMAIL EDITOR@NASHVILLESCENE.COM
THIS WEEK ON OUR NEWS AND POLITICS BLOG: A Canadian man has been arrested in connection with a bomb threat made against the Nashville Public Library on Sept. 22. Joshua Kimble of Peterborough, Ontario, was charged with 12 counts of public mischief, 12 counts of disseminating false information and one count of failing to comply with a probation order. The Associated Press reports that Kimble was also charged with making bomb threats against Boston Children’s Hospital and other sites in September. The Metro Nashville Police Department at the time noted that the threat was “not deemed credible,” although all of the library branches closed for the day out of an abundance of caution. … While the mayor pushes for a new domed arena for the Titans, Nashville still doesn’t know what it would cost to renovate Nissan Stadium. A study furnished by Brentwood-based Venue Solutions Group only assessed the Titans’ proposed renovations, rather than any alternative scenarios, and did not determine what would or wouldn’t be compliant with the terms of the 1996 lease. A partner with VSG emphasized that the company was not qualified to make those determinations. … A developer proposing more than 1,000 residential units at the site of a former East Nashville apartment complex will get a final vote after months of delay. The Metro Council on Tuesday gave Austin-based Cypress Real Estate Advisors approval on second reading for its proposal for up to 12 buildings including retail space and 1,150 residences on the site of the nowdemolished RiverChase Apartments. A final vote is now scheduled for Nov. 15. District 5 Metro Councilmember Sean Parker had delayed a public hearing and second vote on the project several times as he sought additional public input, especially related to the affordable housing component. CREA was originally negotiating with community groups on a community benefits agreement for the development, but those negotiations fell apart, and the developer then struck a CBA deal with Urban League of Middle Tennessee. … A bill that will modernize Nashville’s curbside parking, proposed by District 34 Councilmember Angie Henderson, passed on third reading at this week’s Metro Council meeting. The bill outlines a management agreement with private company LAZ Parking Georgia, which would install and manage smart parking meters. Users could pay with their phones, credit cards or cash. … After Republicans split Davidson County into three different districts to weaken Democrats’ congressional chances, roughly 200 people ended up voting on the wrong ballots. Contributor Betsy Phillips notes the irony of the mistake, which falls on the Republican election officials: “Since Tennessee became a GOP-supermajority state 20 years ago, Republicans’ dream has been to split Nashville into three districts, which they finally did this year. They didn’t manage to work out any of the details in all that time?”
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A new city program plans to send a non-police response to low-acuity 911 calls BY HANNAH HERNER
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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PHOTO: ERIC ENGLAND
BROOKE HAAS, EMS SPECIAL OPERATIONS CHIEF WITH THE NASHVILLE FIRE DEPARTMENT
IF SOMEONE CALLS 911 in Nashville while experiencing a mental health crisis, the person who answers goes through a series of questions with them. If the caller is deemed nonviolent, the call information is sent over to a team of fire department dispatchers, which also houses emergency medical services. If there’s a threat, the call is sent to police dispatchers. In the former, an ambulance heads to the scene. It’s not uncommon for emergency staff to already know the person experiencing the crisis — they’re often someone who needs ongoing mental health support and relies on emergency services to fill that void. As of right now, the fire department staff has only one option: to take that person to the emergency room. But soon that will change. The pilot program for REACH (Responders Engaged and Committed to Help), set to launch Feb. 1, will team a paramedic from the Nashville Fire Department with a master’s-level clinician from Nashville’s Mental Health Cooperative. The pair will arrive at the scene in an SUV. The program is an effort to better address behavioral health incident calls that have the city’s ambulances taking more than 120 people to the emergency room each week. Heading up the program are Brooke Haas, EMS special operations chief with the Nashville Fire Department, and
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Stephen Martini, director at the Metro Nashville Department of Emergency Communications. Haas describes two primary goals for the program: get the person having a mental health crisis where they need to be, and cut down on unnecessary ambulance transports. Where an ambulance has just one option of where to take a patient, REACH will have a lot more freedom to transport people to community resources — including places like the Mental Health Coop, Centerstone, Park Center, Neighborhood Health and even the caller’s own home. “Really, their options are hospital, or we don’t transport,” says Martini. “Police officers are very similar. They take you to jail or they don’t take you anywhere. We don’t want a taxi service, but we’re in a moment that says if you call 911 and your problem can’t be solved by taking someone to jail or transporting someone to the hospital, [there aren’t other options]. … We needed a new solution.” There are just 28 ambulances in Davidson County. If one is tied up on a call where they’re not really needed, Haas explains, it extends the response time for another, possibly more acute medical situation. Unlike police, the fire department is not tied to a police precinct. Instead, each call is assigned to the nearest ambulance. During its pilot program, REACH is set
to run from noon until 10 p.m., Tuesday through Saturday. The two cars will often have overlapping shifts, but because the program is launching with just four total staff, sometimes there will be only one car on duty.
REACH SHOULDN’T BE confused with the city’s other co-response program, Partners in Care, which was introduced in late 2021. Partners in Care pairs a mental health clinician with a police officer. “Acuity” is a keyword that differentiates the two programs: Partners in Care is high-acuity, meaning the person in question is often actively suicidal or experiencing psychosis, and may even need involuntary committal to the hospital; REACH, on the other hand, will be responding to lower-acuity mental health calls. The Metro Council voted in September 2022 to expand Partners in Care. Starting Nov. 1, the program opened up in the South Precinct, putting it in four out of the city’s eight total precincts. In the most recent quarter, Partners in Care responded to 300 calls. Of those, 14 people were arrested. Overall, around 5 percent of the people involved went to jail, and around 5 percent of calls resulted in use of force. Roughly 15 percent of dispatches were by request of an officer, but most
of the calls came directly through 911 or the non-emergency line. In Partners in Care calls, people were most commonly transported to the emergency room (34.2 percent), while 32 percent went to a different community service and 11.6 percent were transported to inpatient mental health treatment. Another 5 percent were taken to the Comprehensive Treatment Center for opioid use disorder. Michael Randolph, program manager for Partners in Care on the Mental Health Coop side, will also lead the REACH team. Nationally, he says, there’s a lack of inpatient and outpatient services specifically for mental health, so the burden has been falling on first responders. He hopes to take some of that burden back. “What’s happened is, who started dealing with a lot more mental health is firefighters, EMTs, police officers and emergency rooms,” Randolph says. “Hopefully, as mental health leans into working with these responders to become more of a first responder like them to better respond to these calls, we can take some of the [burden] off the system.” Under the umbrella of emergency psychiatric services, Mental Health Coop’s Crisis Stabilization Unit has 15 beds; the Crisis Treatment Center has 12 observation beds; and the Intensive Intervention Center has eight beds. That’s a total of 35 beds.
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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“We’re all a little burned out. But hopefully this is a relief. If we’re assessing and responding to crises more efficiently and effectively, it gives some relief to the emergency rooms, the fire department, the police department and other crisis factors.” PHOTO: ERIC ENGLAND
—Michael Randolph, program manager for Partners in Care MICHAEL RANDOLPH
Randolph anticipates that while REACH will bring a lot of referrals to these beds, not all will need this level of care, and REACH will refer to other inpatient and outpatient services based on need. “We can go to Mental Health Coop, but at some point, they will be full,” Haas adds. ”We’re going to keep looking at that to make sure that we have a good, solid — eventually — list of options for different places that we can take people and make sure the infrastructure is there to support that.” Another issue REACH could run into is not having enough staff to support eventual expansion of the program. According to Robert McAlister, the NFD’s EMS director, the city is already having trouble finding 36 EMTs to staff three new ambulances by the end of the year. Paramedics are even tougher to come by, as they have an even higher level of education. There’s a scarcity in mental health professionals post-COVID too, Randolph adds. “We’re all a little burned out,” Randolph says. “But hopefully this is a relief. If we’re assessing and responding to crises more efficiently and effectively, it gives some relief to the emergency rooms, the fire department, the police department and other crisis factors.” Both sides will participate in crosstraining: Paramedics will receive the 40hour crisis intervention training that Mental Health Coop offers; on the flip side, mental health clinicians will learn CPR and first aid. At least for now, REACH leaders are holding steadfast when it comes to keeping the qualifications high, though Randolph and Haas agree that in the future the program could expand to include more levels of responders.
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Sending the highest level of paramedic along with a mental health clinician ensures that response time is shorter, as they don’t have to consult their supervisors. Before this program, EMTs and paramedics without a background in mental health response were often left to make the call for a patient in crisis with help from supervisors and sometimes the Mental Health Coop’s mobile crisis vehicle. “Right now, if we are dispatched to a person having suicidal thoughts, we will transport them to the hospital,” Haas says. “If they don’t want to go to the hospital, it becomes a little bit more involved. Because we can’t leave them. We don’t know how to make those determinations from the mental, behavioral health side of things, whether they can stay or go. So when that happens, that’s when we get more people involved.”
NASHVILLE’S SPECTRUM of policing programs is modeled after that of Denver. That city introduced a co-response model with police similar to Partners in Care in 2016 called Crisis Intervention Response Unit, and a co-response model outside of police in June 2020. Earlier this year, Denver put up $1.4 million to expand this non-police response, called STAR (Support Team Assisted Response). STAR gets a lot of calls from other cities looking to replicate the program, says STAR spokesperson Emily Williams. Since it began, the program responded to more than 2,700 calls, though there were more than 11,000 that would have qualified. Evan Thompkins, STAR program specialist, points out that even a police co-response program can still exacerbate mental health issues.
“Interacting with a police officer if you’re already in mental health distress, a lot of times that can elevate people, especially if they’ve already had bad experiences with the police,” Thompkins says. “Sometimes if a police officer shows up, they might just see something not as mental health, and maybe they arrest the person or that person gets a ticket. That just compounds the problem. That person doesn’t get the care that they actually need.” One pitfall with the STAR program is that 30 percent of their calls have first been responded to by police. Even so, for those where STAR responded first, none of them required police backup. “We’re working on that data to see how we can minimize that percentage so that STAR is always the first correct response,” Williams says. “But I think what it shows is that Denver is really working to make sure people get the right response at the right time, and when a police officer shows up and says they are not the right person, they’ve got another team that they can call.” Unlike with Nashville’s program, STAR partners with the city’s safety-net hospital to provide EMT to staff its vehicles. This year, they’ve also asked for funding to help recruit and train more behavioral health professionals to mitigate the shortage. STAR is also introducing further wraparound services, as roughly twothirds of the people they respond to are experiencing homelessness. “One of the lessons learned that Denver had is when they focused a non-lawenforcement mental health care response in their downtown district, they wound up really running unintentionally a homeless impact response,” Martini says. In February 2021, before Partners in
Care was introduced, Nashville Organized for Action and Hope started working on a plan for an emergency response program called HEALS (Health Engagement and Liaison Services). This program closely resembles CAHOOTS (Crisis Assistance Helping Out On The Streets) a Eugene, Ore., program that’s been active for nearly 30 years and on which STAR based its model. A key difference in NOAH’s design would be replacing the master’s-level mental health counselors with lower-level mental health clinicians, or EMTs with lived experience of mental illness and/or homelessness. Jane Boram, co-chair for NOAH’s criminal justice task force, expresses concern that there weren’t enough community stakeholders involved in the decision to start the REACH pilot. Of the 27 groups invited to collaborate, says Boram, many outside of Metro didn’t show or didn’t receive information on the meetings in a timely manner. Nashville was one of seven sites to receive specialized technical assistance and strategic planning earlier this year from the USDA Substance Abuse and Mental Health Administration’s GAINS Center for Behavioral Health and Justice Transformation. That collaboration started in April, and by September, Martini and Haas presented the program to the Metro Behavioral Health and Wellness Advisory Council, where it was approved. “The concern is that we did not have any kind of community engagement,” Boram says. “Nobody offered up any ideas about, ‘Is this a good idea? Is this not a good idea? Do people in North Nashville want this? What’s the Black community saying? The Hispanic community saying? What’s the LGBTQ community saying?’ There’s just no diversity.”
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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“Interacting with a police officer if you’re already in mental health distress, a lot of times that can elevate people, especially if they’ve already had bad experiences with the police.” — Evan Thompkins, program specialist at Denver’s STAR program
In response, TJ Ducklo, spokesperson and adviser for Mayor John Cooper, points to the success of Partners in Care and promises collaboration with NOAH and other community partners. “Earlier this year, in recognition of our good work, Metro got the opportunity to partner with federal experts to develop a non-law-enforcement pilot,” Ducklo tells the Scene. “A stakeholder group with representatives of 27 departments, advocacy groups and nonprofits contributed to the design of a pilot program that will pair mental health professionals with paramedic captains to respond to people in crisis without putting them in dangerous environments. The leadership for this pilot program has also briefed the Behavioral Health and Wellness Advisory Council on this process. Planning and collaboration with community partners will continue and will include direct conversations with NOAH and others, as Mayor Cooper has committed to.” The Metro Council has approved $273,000 in general services district funding to provide two vehicles and two paramedics for REACH in the FY23 budget. This funding is meant to last through June 2023, and new funding will need to be approved by the council in the FY24 budget process. The funding for the mental health clinicians has yet to be secured.
THE METRO NASHVILLE POLICE Department is also on board with REACH. Anthony Brooks, lieutenant of alternative policing strategies, says since he started at MNPD, he has noticed more mental health issues in the field. He’s not sure if it’s getting worse, or if officers are more aware
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of it now thanks to training related to the Partners in Care program. It’s probably a bit of both, he says. “The REACH program that’s being planned plus Partners in Care, I think they’re going to work alongside each other as a community and really do some good,” Brooks says. In the future, Randolph hopes to partner with additional organizations to offer more services — such as providing housing and food in a time of crisis. Says Randolph, “If we look five years down the line of what kind of crisis response we need in Nashville, we wanted to have everything throughout the spectrum to meet people where they’re at in a crisis and give them the correct help in a trauma-informed way, and do things as therapeutic as possibly and give them as much choice and as much empowerment in that crisis as we can.” According to Haas, at the outset, REACH’s goal is to determine a new way to help the 120-plus patients per week who are currently being taken to the hospital. “Once we get a handle on that, to see what’s working and not working, there’s different levels of care — including peer support, follow-ups, checking on people, things like that — that we would love to be able to do in the future that would bring in other agencies,” Haas says. “But for this pilot, we’re gonna stick with the fire department and the Mental Health Coop.” The emergency room often isn’t the best place for someone experiencing a mental health crisis. Ultimately — for REACH, for community advocates, for stakeholders — the hope is that when calling 911, people experiencing such crises will have another option. EMAIL EDITOR@NASHVILLESCENE.COM
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NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com Giancarlo Guerrero, music director
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THURSDAY / 11.10 [R.I.P. SAMO]
OUR FRIEND, JEAN: EARLY WORKS BY JEAN-MICHEL BASQUIAT
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More than 20 items made by art icon Jean-Michel Basquiat will be on display this week in Nashville as a traveling exhibition makes its way through various HBCUs. The works in this display include collage, drawings, painted clothing and other various ephemera — none are masterpieces, though that’s not really the point. Instead, the exhibition’s focus is on the value of collecting work, particularly when it’s from early in an artist’s career. The show is largely based on the collection of photographer Alexis Adler, a friend and early supporter of Basquiat who will be at the reception on Thursday to share stories about the works and the man himself. Reception 4-6 p.m.; through Nov. 16 at TSU’s Hiram Van Gordon Gallery, 3500 John A. Merritt Blvd. LAURA HUTSON HUNTER [YOU’VE GOT A FRIEND IN ME]
FRIENDS LIFE COMMUNITY PRESENTS A PERFECT DAY
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If the past couple of years have taught us anything, it’s the importance of community. On Thursday, you can check out one of Nashville’s finest — Friends Life Community. Established in 2008, this vital nonprofit has been creating opportunities for teenagers and adults with intellectual and developmental disabilities to grow, learn and discover their full potential — often through the arts. And with A Perfect Day, audiences can get a unique glimpse at what a perfect day might look like from the perspective of a Friend. Hosted by Tennessee Performing Arts Center, the program offers a collection of vignettes — film, music, live performance, video projection, visual art, costume design, dance, music and more. 6:30 p.m. at TPAC’s Polk Theater, 505 Deaderick St. AMY STUMPFL
REFLEXIÓN: ANDRÉS BUSTAMANTE THROUGH NOV. 28
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REFLEXIÓN: ANDRÉS BUSTAMANTE
I generally enjoy Nashville artist Andrés Bustamante’s colorful polycarbonate sculpture forms as pure, abstract, art-for-art’s-sake works. But Bustamante also sees the process of using heat and physical force to bend and mold his mundane materials into gorgeous objets d’art as analogous to the kind of challenges and disciplines — from strict meditation practices to psychedelic experiences — that can bring about spiritual transformation and growth. The artist’s newest series of works introduces healing brainwave entrainment technology like vibroacoustic therapy and BrainTap technology to bring an audio element to these works, which makes the artist’s spiritual messaging more explicit. Bustamante’s method of blasting plastic with a blowtorch is decidedly low-tech, and that makes this introduction of brain-
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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CRITICS’ PICKS
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In the years since his 2018 album Wide Awake, Rayland Baxter has been through a great deal of changes. He’s toured extensively, endured a pandemic and spent a year living in an old rubber band factory. Most significantly, he lost his father Bucky Baxter, a celebrated pedal-steel player whom the younger Baxter calls his “twin flame.” All of those experiences and more inform his latest LP If I Were a Butterfly, released Nov. 4. In a recent interview with the Scene, Baxter notes that he wrote about 130 songs before settling on the 10 that became If I Were a Butterfly, which was recorded just before the world went into COVID lockdown. He co-produced the LP with Tim O’Sullivan and Kai Welch before eventually spending time alone with the songs. A who’s-who of musician friends joined in, including singer-songwriter Lennon Stella, Alabama Shakes bassist Zac Cockrell and iconic Motown percussionist Mz. Bobbye Hall. Baxter’s late father contributed pedal steel to the record, too. The result is Baxter at his most ambitious. The tough-to-classify psych folk of his earlier releases is outfitted with heavier rock influences and unorthodox, pleasantly surprising flourishes of gritty psychedelia and cinematic strings. It’s his fullest artistic statement yet, one that manages to show the full breadth of Baxter’s interests and influences. Friday, you’ve got a chance to hear it live. Don’t miss it. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. BRITTNEY MCKENNA
DAN SODER
COMEDY
MUSIC
FRIDAY / 11.11
[FUNNY BOY]
DAN SODER
Stand-up comic Dan Soder has a goodguy vibe. At 39 years old, he’s kind of a bro, but he’s also an anti-alpha male. For example, a joke about weed leads into an anecdote about doting on his 90-year-old nana. His style is casual and conversational, making his punch lines feel natural. Having grown up in the shadow of a dead alcoholic father, he uses his humor to make light of heavy life situations. As he puts it, “If I had a good childhood, I wouldn’t be a comedian. I’d just be the funniest guy that works at
[BELL-BOTTOM BLUES]
GOVERNMENT CHEESE
From start to what I hope isn’t the finish, the music of Nashville rockers Government Cheese embodies what rock ’n’ roll can do to impressionable teenagers from Bowling Green, Ky. The group cut its first EP in 1985 in Bowling Green, and I still hear the reverberations of punk — that alldefining cultural moment that has inspired both Government Cheese and, say, fellow Southerners Drive-By Truckers — in the 2022 album Love. The Cheese’s late-’80s music owes a debt to The Clash and Nick Lowe, and the band’s themes are already there in 1987’s “Underneath the Water Tower,” a song about coming of age in a Southern town that is very far from London and New York. On Love, one of the band’s songwriters and singers, Tommy Womack, sings about growing up “working poor in the bell-bottom South.” By now, Government Cheese’s music sounds like standard rock ’n’ roll, more or less — they play everything for drama and pathos, and make a bid to be remembered as masters of funny readymade tunes, just like The Replacements. I appreciate Womack & Co.’s ability to express those timeless themes of rock, which include getting old and realizing you may not have forever to listen to all of your Mott the Hoople bootlegs. Friday they’ll be joined by fellow Nashville rock pioneer Jason Ringenberg, who’ll play with his band The Barnstormers. Fiddler Fats Kaplin
and singer Kristi Rose will also appear, and this show — one of the last on the schedule for Exit/In as the venue faces an uncertain future — shapes up to be a tribute to the spirit of Nashville rock in the 1980s and ’90s. 7:30 p.m. at Exit/In, 2208 Elliston Place EDD HURT
SATURDAY / 11.12 THEATER
Enterprise Rent-A-Car.” Catch him twice this week at Zanies. 7 & 9:15 p.m. at Zanies, 2025 Eighth Ave. S. TOBY LOWENFELS
bending technology particularly intriguing. Opening reception 4-8 p.m. with a gallery talk by Bustamante at 6; through Nov. 28 at Belmont University’s Leu Center for the Arts, 1919 Belmont Blvd. JOE NOLAN
[BANG THIS]
STOMP
What started out as a merry band of street performers in the U.K. has emerged as a true international percussion sensation. On Saturday, the always-popular Stomp returns to TPAC for one night only. Offering a unique blend of percussion, movement and comedy, Stomp turns ordinary objects — everything from trash cans and brooms to hubcaps and Zippo lighters — into a mesmerizing mix of musical instruments. Created by Luke Cresswell and Steve McNicholas in 1991, Stomp has been performed for more than 24 million people in 50 countries. And the award-winning phenomenon shows no signs of slowing down, with sold-out crowds continuing with productions in New York and London, as well as ongoing North American and European tours. Audiences can expect plenty of high-energy fun along with a few updates, as the performers show off some fresh routines involving props such as tractor tire innertubes and paint cans. 8 p.m. at TPAC’s Jackson Hall, 505 Deaderick St. AMY STUMPFL
[FLOODED]
MATTHEW RITCHIE: A GARDEN IN THE FLOOD
An ambitious and immersive exhibition from renowned transmedia artist Matthew Ritchie, A Garden in the Flood will include not only paintings and architectural structures, but also sweeping diagrams and AI-created hallucinatory animations. In the curatorial statement, it’s clear that this work will build on the Frist Art Museum’s continuing explorations of the sublime and technology: “This exhibition’s interweaving of paradise and chaos offers a meditation on art’s capacity to help overcome our current social fragmentation — to be a connective tissue that is healing and beautiful.” Of particular note is the inclusion of a new video work that the Frist commissioned from composer Hanna Benn in collaboration with the celebrated Fisk Jubilee Singers. The piece, titled “Telmun,” is named for an area near the Persian Gulf that was once believed to have been the site of the Garden of Eden, and the visual elements include images of the Fisk Jubilee Singers as well as abstract diagrams from W.E.B. Du Bois’ data portraits. Through March 5 at the Frist Art Museum, 919 Broadway LAURA HUTSON HUNTER
STOMP
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NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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11/7/22 2:49 PM
NOVEMBER 13
LIVE AT THE OPRY HOUSE
DISNEY JUNIOR LIVE ON TOUR COSTUME PALOOZA NOVEMBER 19
DROPKICK MURPHYS
WITH JAIME WYATT AND JESSE AHERN FEBRUARY 5
NIGHT RANGER
an independent bookstore
ON SALE FRIDAY AT 10 AM FEBRUARY 5
for independent people
STEPHEN SHARER
UPCOMING EVENTS 6:30PM
LIVE AT THE OPRY HOUSE
ON SALE FRIDAY AT 10 AM
THURSDAY, NOVEMBER 10
ALEXA MARTIN
with SARAH ADAMS at PARNASSUS Better Than Fiction
FEBRUARY 9 & 10
SATURDAY, NOVEMBER 12 10:00AM 2022 NPL LITERARY AWARD PUBLIC LECTURE
BLACKBERRY SMOKE
with LOUISE ERDRICH
ON SALE FRIDAY AT 10 AM
at THE NASHVILLE PUBLIC LIBRARY 10:30AM
SATURDAY STORYTIME
MAY 4
at PARNASSUS
LIZZY McALPINE
MONDAY, NOVEMBER 14
7:00PM
BILLY COLLINS
ON SALE FRIDAY AT 10 AM
on ZOOM Musical Tables
TUESDAY, NOVEMBER 15
11:00AM
JULY 12
ANTHONY HOROWITZ with SHARI LAPENA on ZOOM The Twist of a Knife 6:00PM
WEDNESDAY, NOVEMBER 16
STEVE MARTIN & HARRY BLISS on ZOOM Number One Is Walking
Good Books come to those who shop early! Scan the QR code or visit: parnassusbooks.net/holiday-catalog-2022
FIRST AID KIT
WITH THE WEATHER STATION ON SALE FRIDAY AT 10 AM
6:30PM
MARGO PRICE
with ANN POWERS at PARNASSUS Maybe We’ll Make It
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nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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CRITICS’ PICKS
AUGUSTANA
Nov. 11
LEE ROY PARNELL
Nov. 18
JASON HUDY
Nov. 19
9pm Drummer Exchange Program, 8 Fathom Flood, Poplar Creek 9pm Soviet Shiksa, Viva le Vox 11/11 & Omenbringer 9pm John Lanier Band, Cow Punx 11/12 & Samantha Rae 11/10
3pm Springwater Sit In Jam 11/13 9pm Kristan Mikala, Felicity
& Forest Romm
5pm Writers @ the Water Open Mic
11/16 9pm Crave On, Zook, Jessie Gray
LEVI KREIS
TRIUTE TO “A CHARLIE BROWN CHRISTMAS”
LORI MECHEM QUARTET
A FAMILY CHRISTMAS WITH
LOUIS YORK & THE SHINDELLAS
Dec. 1 1 Dec.
FREE POOL FREE DARTS
Dec. 4
Dec. 9
ALSO SHOWING COTA Benefit for Rose
11/15
Movie Gang Presents:
11/22
Willy Wonka & The Chocolate Factory Dailey & Vincent
12/7
FT Live and Great Performances Sponsored by
615.538.2076 | FranklinTheatre.com 419 Main St., Franklin, TN 37064
22
COMEDY
Nov. 29 & 30
[TAKE THE BUTTS YOU’RE GIVEN]
EUGENE MIRMAN: I’M LATE FOR MY MEETING IN THE LAKE
Eugene Mirman is the kind of comedian who can quickly move from gallows humor to pure silliness and back again — it’s a skill that serves him well as the voice of the always silly but often poignant Gene Belcher in long-running cartoon sitcom Bob’s Burgers. But Mirman’s stand-up has something his voiceover work never will — a sad-eyed visage capable of expressions that can bring to mind Jon Lovitz and Patton Oswalt. His most recent special, 2020’s It Started as a Joke, was more documentary than stand-up special, and focused on his personal life and industry status as a comedian’s comedian — luminaries like Michael Ian Black, Janeane Garofalo, Reggie Watts and Bobcat Goldthwait are all prominently featured. Come see him perform at Eastside Bowl before he heads out on tour with fucking Dinosaur Jr. and Guided by Voices. 8 p.m. at Eastside Bowl, 1508 Gallatin Pike S. LAURA HUTSON HUNTER
series, is the horrible sort of adrenalinefueled hallucination that is worth staying up for. Midnight at the Belcourt, 2102 Belcourt Ave. P.J. KINZER
SUNDAY / 11.13 BOOKS
& KENTUCKY THUNDER
FILM
RICKY SKAGGS
EUGENE MIRMAN
PHOTO: BRIAN TAMBORELLO
LADIES NIGHT OUT: KAREN MORGAN & TARA BROWN Nov. 12
[GENTLEMAN’S AGREEMENT]
NASHVILLE JEWISH BOOK SERIES
The Nashville Jewish Book Series is kicking off its seventh year with a fun, kid-friendly program on a not-so-fun topic: antisemitism in literature. Since this is a prevalent problem at the moment — or any moment, really — it’s a good time to introduce kids to the issue in a friendly setting. Regular Scene contributor Margaret Littman will kick off the series with a conversation with Nancy Churnin, author of Dear Mr. Dickens, and there’ll be art projects for the kiddos, plus books for sale from The Getalong. Stay tuned to the
[AGAINST THE NINJA]
MIDNIGHT MOVIE: MIAMI CONNECTION
Y. K. Kim’s 1982 film Miami Connection is a motion-picture travesty that is still somehow incredibly fun. True to the sort of tropes fans expect from amateurish action films, the plot centers on an antagonistic drug cartel of motorcycle ninjas. The gang’s foes are a heroic rock band named Dragon Sound, and all of them also happen to be students of Taekwondo. Like a time capsule of 1980s lowbrow culture, the cinematic flop was rediscovered by the Alamo Drafthouse a decade ago. Miami Connection, now on its second round in Belcourt’s Midnight Movies
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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11/7/22 2:50 PM
DOWNTOWN
Friday, November 11
Saturday, November 12
SONGWRITER ROUND
PERFORMANCE
Words & Music for CreatiVets
Alan Bibey & Grasstowne
NOON · FORD THEATER
3:00 pm · FORD THEATER
Friday, November 11
Sunday, November 13
SONGWRITER ROUND
MUSICIAN SPOTLIGHT
Operation Song
Caitlin Evanson
with Bob Regan and Friends
1:00 pm · FORD THEATER
2:30 pm · FORD THEATER Saturday, November 12 PERFORMANCE
Jim Hurst and Missy Raines
Tuesday, November 15 LOUISE SCRUGGS MEMORIAL FORUM
Honoring Kay West
11:00 am · FORD THEATER
6:30 pm · FORD THEATER · FREE
Saturday, November 12
Saturday, November 19
PERFORMANCE
SONGWRITER SESSION
Claire Lynch Band 1:00 pm · FORD THEATER
Alan Rhody and Dave Gibson NOON · FORD THEATER
Check our calendar for a full schedule of upcoming programs and events.
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nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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CRITICS’ PICKS
abba disco
11/27 SUNDAY
HOUSE OF LUX
11/18
DJ LIZA ANNE
MOOREA MASA & THE MOOD
11/26 SATURDAY
for ABORTION CARE TENN.
FRIDAY
SOLID STATE RADIO & JOHNNY & THE JUMPMEN
DRUGDEALER with REVEREND BARON
More info for each event online & on our instagram!
presented by
FILM 11/28 MONDAY
11/19 SATURDAY
WILLIAM MARISA & TYLER ANDERSON
TO-GO RECORDS
FRIDAY
MARCO WITH LOVE SON LITTLE
ARIEL BUI, DENDRONS, THAYER SARRANO
VENUS & THE FLYTRAPS, SMUT, & HEAVEN HONEY
11/25
11/16 WEDNESDAY
DISCOVERY NITE
PRETTY SICK
We are closed on the 24th!
Rent out
The Blue Room for your holiday party! BLUEROOMBAR@THIRDMANRECORDS.COM
THEBLUEROOMBAR.COM
@THEBLUEROOMNASHVILLE
623 7TH AVE S NASHVILLE, TENN.
NASHVILLE'S LARGEST AT ASSEMBLY FOOD HALL ROOFTOP Explore the full lineup at SKYDECKONBROADWAY.COM
November 5
November 19
ROME & DUDDY 7 BRIDGES MONDAY TRIVIA NIGHTS
at Assembly Hall on Level 2
TITANS WATCH PARTIES on the Big Screen
November 19
LET'S GET BASTED BAR CRAWL 24
FRI - SUN LIVE MUSIC 5055 Broadway Pl Nashville, TN 37203 Q E /skydeckonbroadway
TO KILL A MOCKINGBIRD 60TH ANNIVERSARY
[SEX AND CHOCOLATE]
THE 1975
The 1975 has been ruining my life for nearly 10 years now — quite a feat! Still, even for a new fan, Saturday’s show at Municipal is a worthwhile venture. Part of what makes a 1975 show great is the performance value. There’s always action onstage, and lead singer Matty Healy truly never gives the same performance twice. The band’s most recent album, Being Funny in a Foreign Language, has bangers for days. “Happiness” is a standout; it’s impossible not to dance to “Oh Caroline”; and “About You” captures 2014 energy in the best way. After a couple of albums that were a bit too sparse and abstract for me, The 1975 is back to the glory days of its first two albums. It’s only fitting, then, that they call this tour At Their Very Best. The visuals are pure eye candy, and I can’t wait to see how that translates into the live show. Opening is Kansas City-based rock band Blackstarkids. 7 p.m. at Municipal Auditorium, 417 Fourth Ave. N. HANNAH HERNER [ALL SHOOK UP]
GIRLS WRITE NASHVILLE BENEFIT FEAT. ANNIE DIRUSSO, EMONI WILKINS, ALANNA ROYALE & MORE
If Sunday’s benefit event for Nashville nonprofit Girls Write Nashville is anything like last year’s event, it’ll be an exceptionally inspiring evening that sheds light on just how much mentorship means and how it can transform young artists. Belmont graduate and pop-rock TikTok triumph Annie DiRusso will co-headline the gig with R&B and blues songsmith Emoni Wilkins and soul singer-songwriter Alanna
Royale. Also on the lineup are Girls Write mentors Jess Nolan, who’s been playing keyboards for Jenny Lewis recently, and Julia Cannon, whose performing credits include work with Alicia Keys and The Roots. Girls Write alumnae round out the bill, including Lindsey Lomis, Tiana Williams, Magdalene and Anya Booth. Check out some highlights of their work on Girls Write’s website. The benefit is part of Lightning 100’s Nashville Sunday Night series. 8 p.m. at 3rd and Lindsley, 818 Third Ave. S. AMANDA HAGGARD
MONDAY / 11.14 MUSIC
LIVE! at THE BLUE ROOM
[A SOUTHERN GOTHIC]
I’m quite certain that if Robert Mulligan’s Oscar-winning 1962 adaptation of Harper Lee’s Pulitzer-winning 1960 novel To Kill a Mockingbird came out today, it would automatically be branded as “woke” fluff that teaches children to be soft-ass snowflakes. Gregory Peck acts like he’s constantly trying to keep righteous indignation in check as altruistic liberal lawyer Atticus Finch. He’s a man doing everything he can to fight injustice in 1930s Alabama and make sure his two kids (who call him by his first name — how’s that for progressive parenting?) don’t fall down the same bigoted rabbit hole. With the kid characters serving as mischievous little sponges, observing the townsfolk at their racist piece-of-shit worst (that is, when they’re not wondering what the hell is up with that creepy guy — played by a young Robert Duvall — who lives down the street), this black-and-white classic lays out how easily children can pick up hate from adults who should know better. To celebrate the film’s 60th anniversary, Fathom Events will present To Kill a Mockingbird at select AMC and Regal locations. Visit fathomevents.com for tickets and showtimes. Nov. 13-16 at AMC and Regal Theaters CRAIG D. LINDSEY MUSIC
11/17 THURSDAY
SRSQ, GEL & THIRDFACE
MUSIC
JOHN MORELAND
11/12 SATURDAY
CHLOE STILLWELL
CEREMONY
11/5 SATURDAY
BMI SHOWCASE
INTIMATE R&B
FRIDAY
COMEDY NIGHT hosted by
11/11
WNXP
FRIDAY
hosted by
11/4
MUSIC TRIVIA
DJ AFROSHEEN & DJ JOHN STAMPS
11/14 MONDAY
JAZZ NIGHT
BABY: DANCE PARTY
11/10 THURSDAY
ALBUM RELEASE SHOW
11/3 THURSDAY
GREASY NEALE
rest of the series as it rolls out events with a range of renowned Nashvillians, writers and scholars. Take that, Kanye. 2-4 p.m. at the Gordon Jewish Community Center, 801 Percy Warner Blvd. TOBY LOWENFELS
[FOR NOW PEOPLE]
HOUSEQUAKE FEAT. CHRIS WIPER, ELE IVORY, JOHNNY CATTINI & KATE YEAGER
For five years, Tyler Martinez & Co.’s recurring Housequake showcase has kept the spotlight on local and regional up-and-comers in the vibrant world of contemporary pop. The adventure continues Monday with a four-artist lineup featuring Belmont-educated Chris Wiper. His catalog of indie-rock-leaning singles celebrates his outstanding voice in the way that Paul Hollywood wants a recipe to celebrate a given ingredient — Wiper’s gentle delivery and wide range are highlights of a variety of great songs. Joining in is the also-mellifluous Ele Ivory, who recently followed her 2021 LP Drama Club Days with the single “Ten Year Town,” a piano-driven single that looks candidly at the anxiety of being an independent musician; how much of your life do you give to the pursuit of a career in an uneven and unpredictable field? Johnny Cattini, a fine singer whose songs run the gamut from jam-band-adjacent to post-disco pop, is also an excellent guitarist whose picking you’ll have heard if you’ve caught country songsmith Georgia Webster on the road recently. Rounding out the bill is Kate Yeager, whose love songs often have an acoustic-folk foundation. If mainstream country suddenly gets more serious about embracing queer folks, Yeager ought to have a publishing deal any time now, so make sure you get out so you can say you saw her way back when. 7 p.m. at Eastside Bowl, 1508 Gallatin Pike S. STEPHEN TRAGESER MUSIC
November in...
[TOTAL SATURATION]
PINKSHIFT
The 30 seconds of music that start “Cinderella,” a track from Baltimorebased emo-pop-rock band Pinkshift’s new album Love Me Forever, might be the most interesting section on the record. What Love Me Forever presents is emo overkill, which I don’t mean as a dis — emo is a hybrid that takes disjunction, anger and self-determination as prime values. The introduction to “Cinderella” is a slightly sour, almost meditative bit of music that leads into the post-hardcore body of the song. Love Me Forever folds in thematic material you’d expect from an emo band, so tunes like “Get Out” and “The Kids Aren’t Alright” address self-healing and the impossibility of true love in a crappy, mediasaturated universe. As such, the album is indeed therapeutic — singer Ashrita Kumar emotes over the backing of guitarist Paul Vallejo, bassist Erich Weinroth and
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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11/7/22 2:50 PM
Live Piano Karaoke 6 NIGHTS A WEEK!
Nashville’s ONLY vinyl record store with full bar and 24 seasonal craft beers on tap.
11 12 13 14 15 16
Suzie Chism ‘Pobrecita’ Album Release Show + Listening Party w/ Nikki Barber and Rose Hotel Barrique and Orpheus Metal Night DJ Nexus: Cosmic Lounge Sun Records Sunday Happy Hour / PM: Anne Malin Residency Friends of Mine ft. Hannah Delynn, Neil O’Neil, Hannah Connolly, and Nico Son Forest Romm & Friends Songwriters Night Jess Jocoy, Ellie Turner, and Graham Bramblett
ashville .c
om
n ta p yl
vin
10
THU 11.10 PRIVATE EVENT 6-9:30
Piano karaoke 9:30-12 w/Alan Pelno
FRI 11.11
Happy Hour piano karaoke 6-9 w/Kira Small Piano karaoke 9-1 w/Caleb Thomas
SAT 11.12
Tabitha Meeks 7-9 Piano karaoke 9-1 w/Alan Pelno
SUN 11.13
2000’s Throwback SINGALONG 8-9 Piano karaoke 9-12 w/Kira Small
UPCOMING SHOWS AT THE MUSEUM’S CMA THEATER
MON 11.14 Show Tunes @ Sid’s 7-9
Piano karaoke 9-12 w/Krazy Kyle
TUE 11.15
NOVEMBER 12
STEVE VAI
Turntable Tuesday 6-1 (bring a vinyl, 2nd drink on us!)
INVIOLATE TOUR 2022
WED 11.16 Hags Reel to Reel Happy Hour 6-8
Burlesque 8-9 ($7) Piano karaoke 9-12 w/Alyssa Lazar
NOVEMBER 18
3245 Gallatin Pike Nashville TN 37216 sidgolds.com/nashville 629.800.5847
LINDSEY BUCKINGHAM
AN EVENING WITH LINDSEY BUCKINGHAM
DECEMBER 2 AND 3
NITTY GRITTY DIRT BAND
WILL THE CIRCLE BE UNBROKEN: 50TH ANNIVERSARY CELEBRATION
DECEMBER 6
BIG BAD VOODOO DADDY
BIG BAD VOODOO DADDY’S WILD & SWINGIN’ HOLIDAY PARTY
DECEMBER 10
MIKE FARRIS
MIKE FARRIS SINGS! THE SOUL OF CHRISTMAS
JUNE 3
RON POPE 2023 TOUR
TICKETS ON SALE NOW Museum members receive exclusive pre-sale opportunities for CMA Theater concerts. Learn more at CountryMusicHallofFame.org/Membership.
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The CMA Theater is a property of the Country Music Hall of Fame and Museum.
224 REP. JOHN LEWIS WAY S CMATHEATER.COM
• •
NASHVILLE, TN @CMATHEATER
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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Call for take-out!
Authentic Mexican Cuisine & Bakery...Side by Side!
CRITICS’ PICKS
615-669-8144 PanaderiayPasteleriaLopez
917A Gallatin Pike S, Madison, TN
PINKSHIFT
[NO FUN]
LINGUA IGNOTA
By no means is a Lingua Ignota album a casual listen. The brainchild of Kristin Hayter, Lingua Ignota deals with
violent imagery, disturbing topics and harsh sounds. It’s not meant to make you feel comfortable. Hayter is a survivor of domestic abuse, and throughout her musical catalog she attempts to unpack the great deal of trauma associated with her lived experiences, referring to her music in interviews as “survivors’ anthems.” Hayter holds a master’s degree in fine arts, and that becomes abundantly clear from the moment you begin to listen to one of her albums. The mixture of metal, noise rock, electronic, folk, classical and whatever else Hayter thinks she needs to get her emotions on a record is genre-defying but cohesive, creating a soundscape that is just as awe-inspiring as it is disturbing. 8:30 p.m. at The Basement East, 917 Woodland St. CONNOR DARYANI
TUESDAY / 11.15 COMEDY
MUSIC
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drummer Myron Houngbedji, who provide the sprung, post-everything rhythms that constitute prime emo. Meanwhile, Kumar plays piano and makes like a singer-songwriter on “In a Breath,” which suggests she might have a career as a solo artist. Love Me Forever and the band’s 2020 breakthrough track “I’m Gonna Tell My Therapist on You” express the anxieties of a dire moment in socioeconomic and cultural history — no one escapes the intrusive glare of authority figures, some of whom have massive technological platforms to further their grip on your psyche. Opening will be Jigsaw Youth, an all-female punk band from Staten Island, N.Y., along with Kansas rocker Yasmin Nur, whose 2020 EP Punch Me! This Is a Nightmare! explores the more straightforward aspects of emo. 7 p.m. at Drkmttr, 1111 Dickerson Pike EDD HURT
PHOTO: LEIGH ANN RODGERS
615-865-2646 TacosyMariscosLindoMexico
[SERIOUS LAUGHS]
HARI KONDABOLU
As a leading anti-racist comedian, Hari
LINGUA IGNOTA
GOURMET WINE AND FOOD PAIRINGS, HISTORICAL BOURBON TASTINGS, PRIVATE EVENTS
(615) 356-6164 WWW.BELLEMEADEWINERY.COM
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DISCOVER A NEW LEVEL OF NASHVILLE.
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11/7/22 2:50 PM
1508A Gallatin Pike S Madison TN 37115
12Eleven
Green Velvet
11/10
11/16
11/11
Amigo the Devil
NOV 10 NOV 11 NOV 12 NOV 14 NOV 15 NOV 16 NOV 17 NOV 18 NOV 23
11/12
Cory Branan 11/17
State Champs 12/4
Secrets 11/23
Machine Head 12/9
12Eleven Green Velvet Eugene Mirman Housequake The Runaway Grooms Amigo the Devil Cory Branan Wreckno Secrets
Eugene Mirman
NOV 28 NOV 30 DEC 3 DEC 4 DEC 6 DEC 8 DEC 9
12/16-20
The Ornaments
Low Volume Lounge
Housequake Lost Stars Black Christmas Burlesque State Champs Counterparts Curren$y Machine Head
NOV 2 NOV 3 NOV 9 NOV 10 NOV 16
@eastsidebowl | @esb_venue
NOV 17 NOV 23 NOV 24
8PM Free please mind the tip hat!
Jim Oblon Sizzle Went The VCR Anne McCue & The Cubists Gina Sicilia Imperial Blues Hour w/ Jeffrey Clemens Foster McGinty record release Jack Silverman Closed for Holiday
2022 PRESENTED BY
DEC 2 | 6PM THE FACTORY AT FRANKLIN BENEFITING:
TICKET INCLUDES 12 Fun-Size Festive Cocktails (over 25 to choose from!) Grown-up Photos With Santa Holiday Tunes and Treats Entry onto the Nice List
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CRITICS’ PICKS
Order a CUSTOM HOLIDAY charcuterie board @livvislunchbox
HARI KONDABOLU
JOHNNYSWIM L I V E AT T H E R Y M A N T I C K E T S AT T O K E N S S H OW.C O M / R Y M A N
N OV E M B E R 2 0 , 2 0 2 2 | 7: 3 0 p m R YM A N A U D I T O R I U M | N A S H V I L L E , T N 28
MUSIC
WEDNESDAY / 11.16 [TWO FOR THE ROAD]
ROBYN HITCHCOCK AND EMMA SWIFT
During his four-decade-plus career, London-born songsmith Robyn Hitchcock — who’s lived in Nashville at least part time with partner and fellow songwriter Emma Swift since 2015 — has developed a very special knack for writing psych-folk-punk-pop tunes that are pointed, poignant and weird in equal measure. In the wake of his 2017 self-titled album, Hitchcock found himself in something of a creative rut. As he explained to Scene contributor Daryl Sanders in a recent interview, a Yuletide visit to the historic city of Tulum on Mexico’s Yucatán Peninsula reignited his creative spark. In late 2019 and early 2020 he found himself demoing a fresh batch of songs whose thematic thread is the strangeness of existing in a world that we’ve come to believe is human-centric but is still subject to forces beyond us. Then, of course, the pandemic came crashing down; since Hitchcock couldn’t go record with fellow musicians, he sent tracks to friends and colleagues all over, including Brendan Benson and Johnny Marr. The end result is Shufflemania!, a rich and rollicking LP released in October via Hitchcock and Swift’s Tiny Ghost Records. On the current run of dates in support of the album, Hitchcock is performing solo, bringing the songs back to the way he presented
them to his collaborators. On Wednesday, he’ll drop in at The Basement. As a special bonus, Swift is playing a separately ticketed show in the same spot beforehand. If you haven’t yet caught her playing tunes from her 2020 Bob Dylan tribute Blonde on the Tracks, make sure you don’t miss out. Emma Swift at 7 p.m., Robyn Hitchcock at 9 p.m. at The Basement, 1604 Eighth Ave. S. STEPHEN TRAGESER
FILM
N O S M A L L E N D E AVO R PRESENTS
Kondabolu makes jokes that are smart and nuanced. You can find his work across all types of media, from Netflix specials to podcasts. But he was put on the map after he received death threats for his 2017 documentary, The Problem With Apu. The film confronts his cartoon nemesis, Apu Nahasapeemapetilon, the Indian convenience store owner on The Simpsons. In a recent bit debating the merit of cops versus firefighters, he reasons, “You’ll never hear a firefighter say, ‘Well, I had to set that building on fire because, if I hadn’t, it would’ve set me on fire!’ ” His routines make people think about social issues while laughing, which is no small feat. 7 p.m. at Zanies, 2025 Eighth Ave. S. TOBY LOWENFELS
[SOS]
MORSE CODE PILOT PREMIERE
Longtime locals — and hell, plenty of non-Nashvillians to boot — are likely familiar with the work of the multitalented Korby Lenker. A few years back, the folk songster and short-story author put together a web series called Morse Code, an earnest slice-of-life dramedy following a struggling musician and featuring cameos from fellow Nashvillian performers. But after the sudden death of his younger sister, Lenker stepped back from performance, as well as Morse Code. Now, five years after launching his web series, Lenker has regrouped with a slew of experienced filmmakers to supersize Morse Code into a proper TVlength pilot. Directed by funnyman and TV-industry vet Travis Nicholson (one of the main brains behind CMT’s Billy Ray Cyrus-starring Still the King), produced by industry vet Randa Newman and starring Lenker, Savannah Welch, James Kyson, Jessejames Locorriere, Quinnlan Ashe and Sierra Ferrell, the pilot episode of Morse Code will debut Nov. 16 at the Belcourt. This is a group of filmmakers and performers whose work is characterized by that increasingly difficult-to-find combination — humorous but not cynical. Tickets to the free screening were all claimed as of press time, but if you’re not able to cozy up to someone with a plus-one, stay tuned as Lenker & Co. shop the pilot around. Maybe we’ll be able to see more episodes from the comfort of our couches before too long. 7 p.m. at the Belcourt, 2102 Belcourt Ave. D. PATRICK RODGERS
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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FOOD AND DRINK
SAY CHEER Mike Wolf’s newest book offers spirit-forward stories and recipes for the season BY MARGARET LITTMAN
W
e thought last year was going to be the year. The year when our holiday gatherings were going to be back to “normal.” Of course, Omicron CHEER: A LIQUID GOLD had other plans. HOLIDAY DRINKING GUIDE And as a result, BY MIKE WOLF many of us scaled OUT NOV. 15 TURNER PUBLISHING, 387 back our holiday PAGES parties. But 2022 is lookLIQUID GOLD PUNCH POP-UP 5 P.M. WEDNESDAY, ing like our year. NOV. 16, AT PENINSULA AND Perhaps, decked THE BOOKSHOP out in velvet and sequins, we can safely toast each other in person, and maybe even stand under the mistletoe. All this delayed merriment may be leading to some societal pressure. If you’re getting ready to host a party and want to show off your pandemic-honed cocktail-making skills (or mix drinks worthy of your friends and family who upped their cocktail game in the past two years), don’t worry — Nashville’s Mike Wolf has your back. On Nov. 15 the prolific bartender, podcaster and author will publish Cheer: A Liquid Gold Holiday Drinking Guide. Covering every possible opportunity to celebrate between October and Dry January, this seasonally focused book will get you in the mood for holiday entertaining. “I’m hoping it is a book that will get dirty on the countertop,” Wolf says, explaining that the 387-page book is designed to have stories that are read, told and retold, and recipes that are experimented with and spilled on. Fans of Wolf’s previous books — Garden to Glass: Grow Your Drinks From the Ground Up, Lost Spring and Barantined: Cocktail Recipes, Tips and Stories to Enjoy at Home — will find some familiar territory in Cheer. The book includes more than 125 seasonal recipes, from classics like hot buttered rum to twists like the persimmon-spice Old Fashioned. There are plenty of drinks that can be served in a punch bowl, perfect for a party. Check out the suggestion for adding a light, dry rosé to your cranberries at Thanksgiving. And, yes, there are some seasonal movie and music pairings suggested to accompany your drink of choice. Nonalcoholic recipes for Dry January — or any other time you don’t want booze in your beverage — are also included. Fans of Wolf’s Liquid Gold podcast — cohosted by Kenneth Dedmon and Jessica Backhus, both of whom are featured in the book — will find the familiar spirit-centric trivia they love to share. The first popular eggnog recipe? That came from George Washington. The fruit on which Lewis and Clark subsisted on their trek west? Pawpaw. You’ll learn to make pawpaw bitters and cordials and even get to read about craft beer and pawpaws. Wolf fans are in for a new treat, too. Cheer
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PICASSO COCKTAIL
features several fictional short stories he wrote, a nod to what he hopes will be his next book — a novel. Because Wolf thinks Cheer will be his last cocktail book as he pursues fiction, he really packed it all in this one (to the point where his editor kindly told him he could stop). Featuring lovely photos from Christine Souder (Wolf’s sister-in-law) and illustrations by Audrey’s Jenna Pearl Leonard, Cheer might feel like a manual for how to be a little extra at the holidays. It’s tempting to run out and buy star anise pods, Proper Sake, elderflower liqueur and every other ingredient lovingly mentioned in order to have anything a guest’s heart desires. If that’s you, you’re not alone, Wolf writes: “It’s
our nature, as humans and Americans want to ‘up the game’ and make every year the most epic celebration ever.” To save your sanity and your budget, Wolf suggests picking just one specialty drink for your event, making that the evening’s signature drink, and then having a few other classic spirits (he suggests tequila, gin and whiskey) on hand for alternatives. Wolf’s a fan of recipes that make life easier. He’s a proponent of batch cocktails such as martinis that can be stored in the freezer or Old Fashioneds that can hang out in the fridge, so you don’t spend your time at your party making drinks and instead can spend time talking to your guests. Blended drinks and aged eggnog are other do-ahead suggestions.
“I like it when people look at a book and say, ‘Well, I’m not necessarily going to make this like the thing that he made, but it’s inspiring me to do something else with it.’ I’m all about using what’s around you, using what’s growing, using stuff that’s in season. So one of my goals is to inspire people to do their own thing, and I’m just giving them the ratios and the base knowledge to be able to do that.” Cheer, which also features a foreword by local pastry icon and food writer Lisa Donovan, will be available at bookstores across town, including The Bookshop and Parnassus Books. Wolf is planning an event with The Bookshop and Peninsula on Nov. 16, plus some other events around town in December. EMAIL ARTS@NASHVILLESCENE.COM
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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Because Nashville is so much more than honky-tonks and bachelorettes...
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The Nashville Farmers’ Market outpost offers sweet and savory options BY KELSEY BEYELER
T
here’s something for everyone at the Music City Crepes stand in the Nashville Farmers’ Market. Craving something sweet? Grab a Nutella- and fruit-filled crepe. Prefer something more simple? Try one with butter and powdered sugar. (You can also add cinnamon if you’re into that.) Came with an appetite? Order one of the loaded egg, meat or veggie crepes. There are tons of combinations, all made to order, and they’re all affordably priced at around $8 or less. You can also order vegan and gluten-free crepes for a little extra. MUSIC CITY I usually crave the No. 7 ($7.99), which is loaded with grilled chicken, ParmeCREPES san and mozzarella cheeses, lettuce and Caesar dressing — so basically a Caesar 900 ROSA L. PARKS BLVD. FACEBOOK.COM/ salad wrapped in a crepe. It’s pretty standard as far as flavors go, but the crepe NASHVILLEFARMERS that cradles it adds substance and provides a delicious and convenient vehicle, making it feel more luxurious than a traditional wrap. The crepes themselves are nice and thin, perfectly cooked, and their subtle salty flavor complements the fillings without overpowering anything. I also tried the No. 16 ($5.99), which has fresh-squeezed lemon juice and plenty of sugar to balance out the tartness. It paired wonderfully with a coffee from Farm City Coffee. Bonus points for Music City Crepes’ staff, who are always friendly.
Where the Party Starts sinkersbeverages.com 3308 Gallatin Pike | 615.262.2300 nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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I am a queer, progressive, female minister, which makes dating … tricky BY MARY MALONE Vodka Yonic features a rotating cast of women and nonbinary writers from around the world sharing stories that are alternately humorous, sobering, intellectual, erotic, religious or painfully personal. You never know what you’ll find in this column, but we hope this potent mix of stories encourages conversation.
T
wo questions are written in gel pen under the heading “Important Questions” in my third-grade journal:
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It’s no surprise that I ended up becoming a reverend. For the most part, this feels like my life’s calling. I love what I do. The only catch is that it makes dating … tricky. I am a queer, progressive, female minister, which many see as a paradox. I feel the need to be selfeffacing about my job. I notice that my liberal friends tend to feel uncomfortable about my work, joking that Jesus is my boyfriend, or when I have to leave social functions early, that “she’s gotta go tend to her flock.” I prefer meeting people organically, but I wasn’t doing a lot of that while stuck inside at the height of the pandemic. I had been on a few app dates in previous years. But this time was different — I was determined to date. Still, making a profile proved difficult. When it came to my job title and religious beliefs, I didn’t want to lie, but I didn’t want to scare off potential suitors. I settled for “Director” and “Spiritual.” Unsurprisingly, I mostly connected with liberal agnostics. The conversations inched along until the question of work came up. “Actually, I’m a minister, haha. But a cool, progressive one who’s down with the gays.” One guy responded, “Wait, like are you in a jam band?” And another, “Like, a nun?” Some dropped contact after the big confession. One woman even watched one of my sermons online — yikes. It didn’t feel like I was gaining much traction. Then came Sam. (Let’s call him Sam.) Sam was an attractive freelance writer who lived in East Nashville. He wore cowboy boots, chewed toothpicks. He collected records and didn’t own a television. Sam was the kind of guy who skipped school a lot growing up but still managed to make good grades. I liked Sam. Our banter was lightning-quick. We’d zing off each other with a dry wit that left me feeling refreshed. We talked books, music, family. I wanted to meet up. But when Sam asked what I was doing on Sunday morning, I had to admit that I was working … at a church … as a reverend.
“You’re joking,” he said. “Like … Sunday school and shit?” I was self-deprecating enough that he reached out the next day to ask what I had taught in Sunday school. I told him that I started by asking everyone to name a book that they would assign to everyone in the world. One guy said Atlas Shrugged. I told Sam how deeply disturbing that was to me. He agreed. Maybe I hadn’t scared him off. A few days later I finally asked him out. “I thought pastors were supposed to be demure,” he wrote back. “I think that’s nuns,” I countered. We went on a hike. He grilled me about theology, asking me if I had a favorite translation of the Bible. “It has to be King James,” he said. “That’s the most poetic.” We hiked past a church and went inside. I tried not to act too mesmerized by the architecture. On the way to the car, he asked what I had going on that night. “I lead something called Theology on Tap,” I said. “A group of young adults get together at a bar and discuss theological topics.” “Oh, so you’re, like, a cool pastor who drinks,” he scoffed. I didn’t see a second date in our future. Despite his devout atheism, Sam stuck around. But me constantly diminishing my faith didn’t seem to appease his adamant distaste for it. He mocked the Jesus keychain dangling from my car mirror and the framed quote from a spiritual mystic hanging in my room. He gave me a book called Mortality about the absurdity of God, which I read and liked. I sent him an article by a funny, irreverent Christian author. He hated it. The turning point came a few weeks in when he asked if I really believed in this Jesus thing. I tried to be vague and accommodating. “I live my life as if it’s true, yeah.” Sam shook his head. “That’s bonkers. You know, I wouldn’t have even swiped right on you if you had put ‘Christian.’ ” There it was. Someone who shared my wit, curiosity and progressive values had confirmed my deepest fear: I can’t be all of me when I date. Needless to say, the relationship didn’t work out. I became increasingly deflated by his constant sarcasm. He became increasingly indignant about my beliefs. I’m back on the app these days, finding myself in that same murky place of howmuch-to-share-and-when. I’m queer. I’m a reverend. I’m liberal. Can I be all three in one profile? Recently, I changed my job title to “Minister,” hoping that it’s a step in the right direction. Maybe someone out there is willing to grab a beer with a “cool pastor.” Pray for me — but only if you want to. EMAIL ARTS@NASHVILLESCENE.COM
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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CULTURE
‘WILL KILLING BE PERMISSIBLE?’
Diving into the history of late local wrestling legend ‘Big Tussie’ Jackson BY NADINE SMITH
C
ountless colorful figures have called Nashville home in their time, but there have been few like Carrie Lee Jackson, the woman better known as “Big Tussie.” You may have heard about her feats of strength. Maybe the name rings a bell, since it was the inspiration for one of Lambchop’s first album titles. Whether tall tales or truth, stories of Big Tussie’s life have become something like local legend. She was a member of the choir at St. Mark Baptist Church. She was a mother. But far from your ordinary Nashville housewife, she was also a feisty bruiser who could allegedly bench-press more than 400 pounds. The myth has grown over the years, but her story has yet to be fully told, and much of the puzzle still remains unsolved. Though her wild encounters with the law have been documented, relatively little has been written about Big Tussie’s unexpected career as a professional wrestler. In the 1970s, the former resident of the John Henry Hale Homes developed quite the reputation among local authorities and media. In 1969, Jackson was charged with assault after reportedly single-handedly taking on three police officers — while the officers claimed they were writing Jackson a ticket, she maintained that they beat her on her way home, and it took six more officers to finally arrest her. The incident lit a fire in the powerful woman, and in 1971 she mounted a campaign for the Metro Council’s District 18, in her words fighting for “benefits for the poor people, of which I am one.” A 1976 profile of Jackson in The Tennessean, which investigated child abandonment charges that were later dropped, outlined her platform as “more jobs for the underprivileged, lower taxes, repeal of the auto sticker, air conditioning in housing projects, and against police brutality.” In the same article, her former attorney Avon N. Williams Jr. implied that Tussie once almost threw him out of his office window. When Big Tussie’s political career failed to launch, she turned her strength of mind and will to a more physically suitable arena: professional wrestling. But to understand Tussie’s place in pro wrestling, we first have to break down a little regional rasslin’ history. For decades, wrestling in Middle Tennessee was controlled by legendary promoter Nick Gulas, with any would-be competitors ruthlessly squashed. In the 1970s, former world’s champion Lou Thesz, who held the NWA Worlds Heavyweight title for longer than anyone in history and was considered a legitimately formidable athlete, attempted to lay claim to the Nashville territory. With financial backing from concert promoter and manager Buddy Lee — whose talent agency would later represent
everyone in Nashville from Garth Brooks to George Strait to The Chicks — and singer Danny Davis of the schmaltzy Nashville Brass, the Universal Wrestling Association made its debut at Municipal Auditorium in 1976. Unfortunately for Thesz & Co., Gulas would lay the competition on thick, crushing his new rivals within the year thanks to the assistance of main-event superstars like Jerry Lawler and the Fabulous Moolah. During its brief run, the UWA was home to several Tennessee legends, like heavyweight champion “Pistol” Pez Whatley, the first Black wrestler on the collegiate team at UT-Chattanooga and an outspoken figure in a sometimes racist industry. In the tag-team division, the UWA heavily pushed the Islanders, more famously known as the Wild Samoans, who were managed by another storied Nashvillian, “Gentleman” Saul Weingeroff. Before the crazed antics of Jimmy Hart and Jim Cornette, Weingeroff was one of the first masterful heel managers, with a reputation for starting riots and a long résumé of colorful stunts like entering the 1964 presidential election. Weingeroff was perhaps most infamous for managing the Von Brauners, a tag team with a Nazi gimmick — and openly embracing his own Jewish identity while doing so. After he retired from the ring, Weingeroff remained a fixture in Nashville, operating a sign shop and working as a volunteer sheriff’s deputy. Considering his own pioneering and polarizing life, Weingeroff was a natural fit for Big Tussie, and helped her break into
the business. Sadly, a significant amount of early televised wrestling footage is lost, possibly because local stations didn’t have the resources to maintain an archive — or because they didn’t believe wrestling was worth preserving in the first place. Given the frequently “carny” nature of the wrestling business, there was usually no financial incentive to keep footage from the many fly-by-night promotions that have come and gone in Tennessee, so it’s usually up to hobbyists and private collectors to preserve wrestling’s past. Thanks to YouTube accounts like Armstrong Alley and Bryan Turner’s VHS Rehab — the latter of which is run by its namesake Turner, a mainstay of the Nashville indie wrestling scene with a massive personal tape library — there’s a growing wealth of Southern wrestling history, and especially Nashville wrestling history, available for free online. It’s because of amateur archivists like these that I even discovered Big Tussie Jackson’s wrestling career. Over the past year, a handful of once-lost episodes from the Universal Wrestling Association’s show on NewsChannel 5 made their way onto YouTube, including an immediately iconic interview with the debuting super heavyweight and local legend. On a May 1976 broadcast of UWA, Thesz introduces Big Tussie alongside Weingeroff, who proclaims Tussie as one of the great new discoveries in wrestling and outlines her extensive training. Weingeroff emphasizes that he’s teaching her proper wrestling technique, otherwise she might legitimately kick someone’s ass. When Tussie talks for herself, she’s quick on her feet — Thesz asks if she’s going to be able to play by the rules, and she asks with a straight face, “Will killing be permissible?” before cracking up. She clearly saw the economic potential and entertainment value in her natural gift for street fighting: “I’m a gospel singer, but that don’t mean I’m not
gonna whoop somebody when they run over me. I’ve been fighting free, and now I’m gonna fight for some money.” When Thesz mentions she’ll be facing off against the women of the UWA, she’s quick to let him know that she’d rather wrestle men. In her words, she wanted to be “the lady ’rassler” equivalent of Muhammad Ali. But when asked if she’d ever consider squaring up with Ali, she replies, “No, he’s my friend.” Unfortunately, Big Tussie doesn’t appear in or near the ring in any of the UWA episodes that have surfaced, but she made several appearances on shows throughout 1976 as the Islanders’ domineering enforcer — two decades before Chyna would become a superstar as Triple H’s female bodyguard in the WWE. Chyna was briefly allowed to wrestle men and truly flex her capabilities, and it made her a superstar. But Big Tussie was a Black woman in a different era, and despite her desire to wrestle men, she wasn’t afforded the same opportunities. Intergender matches are still rare on American television, but they’re a regular feature of the modern indies, and it’s hard not to wonder who Big Tussie could have been if she’d been allowed to show her full strength. But given her defiant streak, the idea of fixed contests and being told to lose probably didn’t sit right with Tussie either. After she began her in-ring career, Big Tussie would make another court appearance that received a brief mention in The New York Times. This time, she’d been charged for “disorderly behavior” after reportedly breaking the furniture in a motel room by simply lying down on it. The judge advised her to “keep her chair breaking and bed breaking relegated to the wrestling ring.” Big Tussie died in 2005. If she had come up in a later era of professional wrestling, she could have been a verified hardcore star, breaking tables and light tubes like a fish takes to water. EMAIL ARTS@NASHVILLESCENE.COM
‘BIG TUSSIE’ JACKSON ON UWA TV, MAY 13, 1976
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
BOOKS
MAKING IT IN MUSIC CITY Margo Price’s Maybe We’ll Make It is an artist’s unflinching self-portrait BY JACQUELINE ZEISLOFT
I
n Maybe We’ll Make It, Margo Price delivers an unflinching selfportrait of an artist striving to find her sound and make her Music City dreams come true. Price moved to Nashville from Illinois in 2003, when she was 20 years old. Back then, in those pre-gentrified days, the city was grittier yet still a musician’s paradise. If you’re familiar with Price’s career arc, you’ll know MAYBE WE’LL MAKE IT: A she didn’t come MEMOIR into mainstream BY MARGO PRICE UNIVERSITY OF TEXAS PRESS success until 256 PAGES, $27.95 her 2016 record Midwest Farmer’s PRICE WILL APPEAR IN CONVERSATION WITH Daughter. The ANN POWERS 6:30 P.M. meat of Maybe WEDNESDAY, NOV. 16, AT We’ll Make It takes PARNASSUS BOOKS place between 2003 and 2015, when she goes through an episodic series of struggles and transformative experiences that turn into memorable songs and hard lessons learned. Just Kids, Patti Smith’s memoir about being a young artist in Greenwich Village, is the most apt comparison to Maybe We’ll Make It. Price sees Nashville through the eyes of a romantic. She is on the nose — in a charming way — when she writes about the Nashville neighborhood of Hillsboro Village, once an enclave for artists, hippies and eclectic souls: “We loved Hillsboro Vil-
TRUE FEELING, NOT MAGIC An appreciation of Louise Erdrich, recipient of the 2022 Nashville Public Library Literary Award BY SEAN KINCH
F
rom the first moment we heard Louise Erdrich’s voice, we knew we’d discovered a unique talent — more than that, a portal to a new world. Love Medicine introduced Erdrich’s literary landscape, the North Dakota of ERDRICH WILL GIVE A FREE the Ojibwe tribe and PUBLIC LECTURE 10 A.M. SATURDAY, NOV. 12, AT neighboring regions, MARTIN LUTHER KING JR. populated by a broad HIGH SCHOOL cast of lovers and fighters, ne’er-do-wells and saints, strivers and bankrupts. Her world was so fully realized, replete with historical schisms and mythological lore, that her debut novel felt like a continuation of an old treasury of tales. Each subsequent volume from Erdrich wove further strands back in time — to wars and resettlements, broken treaties and new communities — and forward, as later generations strike out beyond the rez for jobs and relationships. They roam, for example, to Minneapolis, where in The Sentence a character named Louise, a writer, owns a bookstore that bears remarkable resem-
lage because it felt like our own little slice of what I imagined Greenwich Village was like.” She name-checks establishments like Boscos and Bookman/Bookwoman, beloved sites that have since shuttered. Just as Smith’s version of the Village is gone, Price’s Nashville is a thing of the past. Yet she breathes life into this ghost, and throughout the book the city feels like a vivid, exciting place to come of age. Early on, she meets Jeremy Ivey, now her husband and “one true love.” They’re both scrappy DIY musicians trying to make rent. Living in one rundown house after another, they convert spare rooms into recording studios. Once a day of shift work is over, picking parties and rowdy nights at dive bars begin. Price spends hours in basement studios with her friends, “swapping our songs, learning covers, harmonizing,” and making records with Ivey. They grow together as musicians and partners: “We were both beginning to sound more like ourselves — whoever that was, whoever they were.” What did “making it” look like to Margo Price? Being able to play music and not go broke. Upon her arrival to Nashville, she is thrown into unsafe living conditions that reflect the dire economic circumstances she faces: scabies, roommates on meth, rat infestations and much more. It’s grim, and she isn’t immune to outside perceptions of her lifestyle, remembering a time her fam-
ily visited her in Nashville: “My mother later confessed that she cried when she saw the squalor in which we were living.” At one point, she and Ivey hit a “new level of poverty,” dumpster diving and shoplifting while living paycheck to paycheck. These struggles are all for the music. Yet finding recognition for her songs is elusive in the way it often is for outsider artists who don’t conform to genres or industry mores. While Price and Ivey are prolific in their output — with every chapter detailing the genesis of a new musical phase, homemade EP, crosscountry tour or band — there’s always a sense of things just not clicking for them. Much of this has to do with the fact that Price feels the local scene in Nashville sees
blance to Erdrich’s own Birchbark Books. The fact that her fictional bookstore is haunted seems perfectly apt; the possibility of its real counterpart being haunted would in no way deter a fan like me from shopping there. To be harassed by Flora (the ghostly presence in The Sentence) would make me feel as if I were an honored guest in the Erdrichian cosmos. In the absence of that privilege, I am happy to access her world via her 17 novels, which vary in structure, style, mood and message, yet somehow cohere into a recognizable universe. Her novels don’t merely overlap with recurring places (prominently, the Turtle Mountain Reservation) and events (land-grabs by the U.S. government, the Vietnam War); they feel as if they belong to the same interconnected web of narrative. Even when the tone of the novels changes — from the somber purpose of The Night Watchman to the dark comedy of The Sentence — we read them as movements in a symphony. Asked by a Paris Review interviewer if she felt as if she were creating “one long novel,” Erdrich explained the continuity. “All of the books will be connected somehow — by history and blood and by something I have no control over, which is the writing itself.” Erdrich has said that in writing she seeks to enter a trance state, when the characters and voices flow into her mind without conscious control. The paradox is
that achieving those moments when the subconscious takes over requires hard work. She writes continually, pulling her car off the highway to scribble notes and hiding from her family to indite ideas. From that labor, stories emerge that have the effortless fluidity of folk tales. The experience of reading her novels corresponds to Erdrich’s ideal: Her fiction transports you from the mundane details of existence to the mythic plane where storytelling moves with the natural inevitability of springtime rain. Because her work is rooted in a region, with recurring characters who are haunted by the past, Erdrich is compared to Faulkner. Because her Chippewas occasionally make use of ancient potions or encounter the ghosts of beloved dead, critics label her a magic realist, her North Dakota a Native American version of Gabriel García Márquez’s Macondo. At this point in her career, though, neither comparison is adequate to capture her style or vision. Next to Faulkner’s recursive spirals, Erdrich’s narratives are models of momentum and resolution. And her magic rarely involves GarcíaMárquezian flights of young women into the ether. Erdrich’s characters are tempest-tossed by their own passions, not elixirs. “It’s a true feeling,” a character says in Love Medicine, “not no magic.” A more revealing parallel is to stack Erdrich’s oeuvre next to that of Mario Vargas Llosa, the Peruvian novelist who won the Nobel Prize in Literature in 2010. Like Vargas Llosa, Erdrich launched her career with a series of exceptional novels that gained a broad readership, critical praise and attention from academia. Professors who in the 1960s and ’70s taught Vargas Llosa’s The Green House as part of the Latin American “boom” began to teach Erdrich’s Tracks and The Beet Queen as part of a
her as an “outcast” and a “pariah,” as she writes: “We booked more shows around town but had a hard time finding a scene that accepted us. We were too country for the rock scene and too rock for the country scene.” The cookie-cutter country music world is not for them, but neither is the “crusty punk” circuit. Price knows she’s a misfit, but she stays loyal to her sound and vision as they evolve. Maybe We’ll Make It is tinged with Price’s anxiety and frustration about not being recognized for her art. This translates into a nagging need to run from Nashville, a place where she’s invested so many expectations. Musicians move to Nashville hoping to get something — fame, song credits or opportunities to play. Price’s failure to get the acceptance she craves from the music scene makes grinding in Nashville feel like an endless struggle, one that’s enough to fill a book. Artists of all creeds will find something relatable in Maybe We’ll Make It, with its raw depictions of the artist’s perennial dilemma: bridging the transcendental need to create with the very real need to survive. Beyond this, Price’s memoir offers a heart-wrenching account of her journey as a mother. Now enjoying an enviable level of success, Price looks back at her decade-long pursuit of music from a safe place with nostalgia, finding meaning in the chaos of it all, as many artists have: “It was an era that belonged to us and us alone. It can’t be embodied by just one band or one song or one bar or one specific moment. It both took forever and was gone in a flash, and I didn’t ever want it to end.” For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM
Native American renaissance in the ’80s and ’90s. In the middle of his career, Vargas Llosa experimented with form and genre before producing an epic masterpiece, The War of the End of the World, a fictionalized account of Brazil in the 19th century that showcases the author’s stylistic ingenuity alongside his political perspicacity. Erdrich similarly reached a midcareer apogee with the connected novels The Plague of Doves (2008) and The Round House, the latter winning the National Book Award in 2012. Those novels, dramatically different in structure, depict the long-term effects of horrific violence on small communities and their halting attempts to achieve justice. With the success of those novels, Erdrich cemented her place among the first rank of American novelists. What is remarkable about Vargas Llosa and Erdrich is that, after several decades of producing distinctive and celebrated works, they continued to stretch themselves creatively. In the 2000s, Vargas Llosa had a run of acclaimed novels — including The Feast of the Goat and The Bad Girl — that culminated in his getting the nod from Stockholm. Erdrich’s two most recent novels, The Night Watchman and The Sentence, suggest that she too has tapped into new sources of material and has devised new vehicles for storytelling. In my view, she has already carved out a niche in world literature that deserves Nobel recognition. If she maintains this profusion of literary brilliance, the momentum for her to win that honor will become inexorable. For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. EMAIL ARTS@NASHVILLESCENE.COM
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MUSIC
GARDEN STATE OF MIND
Jessie Baylin makes peace with the past on Jersey Girl BY D. PATRICK RODGERS
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efore starting the process of making her new record Jersey Girl, Jessie Baylin wasn’t sure if she even wanted to keep making music at all. The indie-pop singersongwriter — a New JERSEY GIRL OUT NOW VIA Jersey native who MISSING PIECE RECORDS/ spent eight years in BLONDE RAT; PLAYING Los Angeles before TUESDAY, NOV. 15, AT THE settling in Nashville BASEMENT EAST — had a decade’s worth of critically acclaimed albums under her belt. Records like 2012’s Little Spark and 2015’s Dark Place are marked by an intoxicatingly warm vintage-pop sound, replete with Baylin’s dreamy vocals and lush arrangements. But in July 2018, Baylin’s frequent collaborator Richard Swift died after a brief hospitalization due to complications related to alcoholism. Swift was something of an indie-rock guru. In addition to putting together a prolific solo catalog of his own, the West Coast native produced records for Foxygen, Damien Jurado, David Bazan, Kevin Morby and others. He also served as a sideman for The Shins and The Black Keys. With Baylin, he served as composer, arranger and performer — and to an extent, cheerleader. “When he passed, there was obviously a lot of grief there, and I needed to process that before I got back into the studio,” Baylin tells me by phone, not long after completing a week’s worth of album-promotion events in New York. “But little did I know, once I got back into that space, there was just a great sadness, but I also felt his presence in a big way every day, just sort of remembering the things that he would remind me. He was like, ‘This is just you — all I do is turn on the microphones, you know.’ And I let those words that he left with me guide me through this process.” Baylin also had some help from a pair of old friends. Jersey Girl was written and recorded with accomplished Nashville producers Daniel Tashian and Ian Fitchuk. Tashian has written songs with and for Tim McGraw, Martina McBride and Demi Lovato, among countless others. Fitchuk has done the same with Pink, Miranda Lambert, Amy Grant and dozens more. The duo also co-wrote and co-produced Kacey Musgraves’ 2018 smash success Golden Hour, which won Grammys for Album of the Year and Best Country Album. Baylin had worked with the pair before, but when she expressed uncertainty over entering the studio again, Tashian wasn’t having it. “I was like, ‘I don’t know if I want to do this anymore,’ ” says Baylin. “And Daniel was like, ‘Well, I’m just personally not OK with that. So I’m gonna trick you into making a record with me if that’s OK.’ And I was like, ‘Good luck.’ But it was a very good trick
that he did, because it worked.” Because Baylin and Tashian had last worked together on the former’s 2018 children’s album Strawberry Wind, and had played and worked together before that, the two had what she describes as an “effortless” rapport. They wrote much of the record together in the mornings before Tashian’s other sessions for the day started — “right after we both dropped our kids off at school,” Baylin explains. Among the first songs to come together during those writing sessions were album opener “Night Flower” and the slow-burning “Velvet Touch.” On the record, the former is marked by that familiar Swift-esque warmth, like a lost track from The Velvet Underground & Nico. “Obviously, Swift brings a very specific sound to his records,” says Baylin. “And I didn’t want to make that sound happen with-
out him. I wanted to honor it, but also push it forward a little bit. I feel like we really did that in a way that’s respectful, where I don’t sound like a new artist. There’s all the dreaminess of what Richard and I were creating together. But you know, it just feels a little more, dare I say, mature. But maybe I’ve grown up. Maybe I’m finally growing up.” Meanwhile, the piano ballad “Desire” has undeniable traces of Joni Mitchell’s influence. “I was brought up on Joni Mitchell, and she’s absolutely an influence for me,” says Baylin when I point this out. “But sometimes when I am writing and I listen to Joni Mitchell, it shuts me down. It’s too good. It’s too deep. I’m like, ‘I’ll never get there — I’m too simple in comparison to Joni.’ ” But “simple” isn’t quite right. Elsewhere on the record, “That’s the Way” and “Time Is a Healer” are uptempo rock numbers, while
the midtempo “Strange Diamonds” is sultry and transfixing. With its reverb-drenched guitars and expansive arrangement, “Strange Diamonds” owes a small debt to Ennio Morricone, whose Western scores Baylin cites as another influence. When pressed, she admits that one just might be her favorite song on the record. The album closes with “Jersey Girls,” a nod to the singer’s upbringing and the inspiration for the record’s title — not to mention a label Baylin says she’s been running from most of her life, but finally decided to embrace. “A lot of the songs are all these different parts that I needed to make peace with. I made a hit list of, like, things I needed to look at — even if they were kind of ugly and shameful and lost and sad. And I wanted to just make peace with it all.” EMAIL MUSIC@NASHVILLESCENE.COM
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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MUSIC
PERFECT IMPERFECTION Third Man Records set to capture John Moreland’s gritty realism, direct to disc BY CHRIS PARTON
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That’s basically what Moreland does to your soul, too. Ever since breaking out with 2015’s High on Tulsa Heat, the poetic songwriter has dug deep into the darker corners of the human condition, laying out what he’s found for all to pick through. Like others given the live-to-acetate treatment before him — Billie Eilish and The Melvins among them — Moreland takes the ugly truth and makes it into something beautiful, with a sound that drives the point home. Early in his journey into the singersongwriter world, the Oklahoma-born former hardcore punk sounded like a holdover from the Dust Bowl era: a bluesman with the weight of the modern world on his shoulders, wielding only an acoustic guitar and his craggy but expressive vocal. Although his 2022 album Birds in the Ceiling flies further afield sonically than before, his unvarnished approach to performance remains intact. Still grounded by aching vocal confessions, fearlessly honest and clinging to the hope that sunshine is the best disinfectant, he creates hypnotic, trancelike contemplations onstage. He tends toward gentle strumming and scalpel-sharp lyrics, with which he cleaves the emotional bedrock of inner turmoil into monuments. “I don’t ever want to sound like I have answers, because I don’t,” Moreland says in Birds in the Ceiling’s press materials, perhaps oversimplifying his gift for selfreflection. “These songs are all questions.
ON HER OWN TIME
Veteran vocalist Wendy Moten is just getting started BY RACHEL CHOLST
“I
had to talk to myself about it,” says Wendy Moten with a laugh. We’re discussing her decision to compete in Season 21 of The Voice after more than three decades as PLAYING FRIDAY, NOV. 11, a professional singer. AT 3RD AND LINDSLEY Moten has sung duets with pop legend Julio Iglesias in front of the pyramids in Egypt. She toured as a background singer with Tim McGraw and Faith Hill from 2005 to 2018 and with Martina McBride from 2014 to 2016. She has been a stalwart of beloved Western swing outfit The Time Jumpers during their weekly gig at Nashville’s 3rd and Lindsley. One thing she hasn’t done in decades, though, is headline a show of her own in her hometown. Friday night, that will change, when she stops in at 3rd and Lindsley for her first performance of any kind in Nashville in more than a year, since she came in second place on the aforementioned reality talent competition. When we got in touch, Moten was in Jerusalem, on a stop during a cruise she’d been performing on that featured alumni of the show. In spite of her success on The Voice, Moten is still a one-woman operation. She entered the competition at 57 years old as a means of kickstarting her solo career. She was confident that her decades of experience would yield her some success on the show, but she still had doubts. “My nightmare was, after 35 years being in the music industry, no one turning around,” Moten says. If you’re not familiar with the format, contestants must first pass a blind audition for the four celebrity coaches, who sit in rotating chairs with their backs to the talent. If a coach wants to work with a contestant throughout the season, they punch a button that turns their chair around to face the singer. Moten’s fears turned out to be unfounded: She earned the coveted
PHOTO: ANGELINA CASTILLO
here’s something special about the best live recordings. It’s that indescribable mix of passion and place that can serve as a time capsule, allowing fans to relive a moment of musical ecstasy over and PLAYING SATURDAY, NOV. over. Unfortunately, 12, AT THE BLUE ROOM AT some get tampered THIRD MAN RECORDS with and tweaked until the magic of the moment escapes. On Saturday, John Moreland will stop in at The Blue Room at Third Man Records, and he and the TMR crew will be doing everything they can to avoid that. Moreland, one of the folk world’s most intense artists, will hook himself up to a unique machine that rewards such intensity: Third Man’s vintage live-to-acetate recording rig. The process perfectly captures the imperfection of a real, live performance. The master disc from which all copies will be made is cut on their lathe in real time as the show is happening, rather than from a recording, eliminating the possibility of retakes, overdubs or anything else. Since the company revived this technique about a decade ago — and it seems they’re still the only ones to do so, at least while incorporating it into a venue — they’ve gone about recording select shows in all their raw, unfiltered glory. Moreland is the ideal next candidate. The rig can immortalize a collective moment, using a finely tuned instrument to slice a permanent groove into the spinning acetate disc.
Everything I write is just trying to figure stuff out.” In the otherworldly Blue Room, those questions will turn even more engrossing, with a massive elephant head looming over the audience from the back wall, among other retro-chic decor, and with lab-coated recording engineers peering into the crowd from the control room. It’s an optimally weird setting for an equally quirky endeavor, pulled back to life after being left behind by “progress.” Most popular from the 1930s through the ’50s, the live-to-acetate process is a true holdover of the industrial optimism of the early 20th century. Today it feels like analog magic. According to Third Man, their 1950s Scully lathe once cut masters for Cincinnati’s King Records, possibly even the original version of James Brown’s “It’s a Man’s World.” On Record Store Day in 2014, TMR chief Jack White and his band used said rig to set a record for the fastest studio-to-store recording. (That’d be “Lazaretto” backed with “Power of My Love.”) Seeing the process in action and being part of it is an experience all to itself. But as a relic of the recording arts, it can be temperamental and takes skilled hands to operate, hence the labcoated engineers. So why even bother? Back in 2013, when TMR released its first live-to-acetate LPs (from The Shins, The Kills and Seasick Steve), the company explained: “We believe that this new/old method of recording is as honest as it gets, bringing listeners as close to the experience of the performance as possible.” With John Moreland, that experience is something worth capturing. And the more honest, the better. EMAIL MUSIC@NASHVILLESCENE.COM
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four-chair turn, simultaneously impressing Kelly Clarkson, Ariana Grande, John Legend and Blake Shelton. During filming, things took a surprising turn when Moten tripped on a stage monitor and broke both of her arms. However, she felt able to sing through the pain and elected to stay on the show. “They blinged up my splints and they flew my sister in to take care of me,” Moten says. She has no regrets. “I’m glad that I stayed on the show because I think had I not, I would’ve given up the music business or something. So the fact I could stay on that show, all beat up, and still compete on the highest levels — it’s taught me something about myself, too.” Moten began performing in public at a very young age. As a child, she sang in her father’s church in Memphis. “There was no negotiation there,” she says with a laugh. “We went four days a week. I didn’t really know that I had anything unique, because in Memphis, everybody knew how to sing better than I did.” Moten kept singing anywhere she could: at state fairs, at talent contests, at theme parks like Opryland. Her dogged pursuit eventually led to a record deal at EMI. “I was a product of the ’90s girls: Whitney Houston, Selena, Mariah Carey,” she says. Moten opened for Michael Bolton and performed on The Tonight Show. But she did not generate a following as quickly as the label wanted, and her contract came to an end. Then she linked up with Julio Iglesias, and they toured together for 15 years. But she found she didn’t fall in love with music until she turned 50. Iglesias gave her that advice over dinner one night. “That’s what was missing for me, although nobody knew,” she recalls. “It was just my own little secret. Once I realized that that’s what’s gonna create longevity beyond other people’s expectations, then I realized, ‘OK, what do I have passion for?’ And I realized that I really did love music. I really love communicating with people through song. And I love how they react.” Moten enjoyed making others’ dreams come true as a background singer, and describes her time in that role as “gathering data.” Then she found the right moment to step out on her own. “I didn’t feel the fear, I didn’t feel anything,” she says, “which lets me know that I was ready to come back out again.” Friday’s show celebrates Moten’s return as a headliner, and she’s gathered a slew of legendary performers for the honors. Country songsmith Shelly Fairchild, who is Moten’s creative director, will be the featured guest. Moten will also bring her All-Star Band, which is fully as advertised. The band includes musical director Clay Perry on keys (Desmond Child, Julio Iglesias, Barbara Streisand), David Santos on bass (Billy Joel, Crosby Stills & Nash, John Fogerty, Melissa Etheridge, Toto) and Grammy Award-winning drummer Derrek Phillips (Vanessa Williams, Alison Krauss, Michael McDonald, CMT Giants/Charley Pride). Martina McBride’s longtime guitar player Greg Foresman is playing, alongside Denny Hemingson (who is also Tim McGraw’s longtime musical director) on steel guitar. Grammy winner Dana Robbins is on sax, and Steve Herrman (who’s played with Joe Walsh and many others) is on trumpet. Kim Fleming (Amy Grant, Wynonna and Naomi Judd, Vince Gill) joins Moten on vocals. Moten believes that her time on The Voice has inspired others to chase their dreams, no matter what popular culture tells you about your age. “People older than 30, we still have value. I just got great at 57. We don’t have to stop because they say ‘Your time’s up.’ My time’s not up. I’ll tell you when my time’s up.” EMAIL MUSIC@NASHVILLESCENE.COM
THE SPIN PRECIOUS RESOURCES BY EDD HURT
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ecause our biological clocks move in tandem with the cycles of daylight and nighttime, the last day before we set our clocks back an hour in the fall can seem even more compressed than usual. That was the case as I made my way to Drkmttr, the nifty performance space on Dickerson Pike where Chicago avant-popster Nnamdï was set to play the final show of his current tour. The warmth of the day lingered into the evening, and there was a full house of fans at Drkmttr who were there to see the Chicago super-eclectic do his thing. Nnamdï is indeed a superb pop musician with skills in the construction of songs you can hum along to, but his sense of time — abetted by his crack band — was expansive and playful, with preplanned detours that made the show far more than a simple presentation of material. Nnamdï closed out his tour in Music City with support from local indie rockers Volunteer Department, whose big beats and strummed guitars underpin smart songs about the complexities of social situations. The band, led by Oliver Hopkins, takes indie as a starting point. I missed their set — hopefully there will be a few more before their EP Clean Living is out on a date TBA. But I was able to catch most of Joshua Virtue’s foray into busted-up, sour-and-sweet rap that combined the flow of ’70s soul with outlandish beats and off-kilter chords that put me in mind of, say, Frank Zappa. Like Nnamdï, Virtue is a Chicago musician, drawing upon the big stew of influences
the city is known for. In contrast to Virtue’s intensity, Nnamdï took the stage from the rear of the venue after his band — two electric guitars, bass and drums — waited for him with an air of uncertainty. He’s a huge personality, and he came into the spotlight dressed in a green jumpsuit that made him look like a character from a graphic novel about a futuristic pop-soul-funk auteur from Chicago. What’s striking about Nnamdï is, well, everything. But no discussion of his methods could fail to mention his outrageously big, mobile voice, which has a rocker’s range and a wacky cartoon character’s flexibility. There was never a moment during his hourplus set when he didn’t seem both in control and slightly bemused by his own virtuosity as a singer and bandleader. His band was equally adept, going from frantic posthardcore to XTC-style pop to shiny shoegaze, with the two guitars piling on layers of beautiful harmonics. They performed his latest album Please Have a Seat from start to finish, and the immaculate sheen of the album got splayed and messed with for the benefit of an audience he held in his hand. What you hear on Please Have a Seat is a glorious mix of approaches that reads definitively as rock ’n’ roll — if rock ’n’ JOSHUA roll had the slinky power VIRTUE of R&B and soul and the stretched-out time signatures of prog and New Wave. Going into the show, I was already addicted to the album’s “Touchdown,” a magnificent account of fear of flying — at least I think that’s what it’s about — that sounded like The Beach Boys channeling the acerbic guitar moves of the aforementioned XTC’s Andy Partridge.
Nnamdï & Co. also took another favorite of mine on Please Have a Seat, “I Don’t Wanna Be Famous,” into the stratosphere. There’s no sense of Nnamdï holding back throughout Please, and this is a man who hungers for pop success — the perks of the lifestyle — without sounding like an overeager rock star. In other words, his worldview is as idealistic as his music. Using samples to augment the drive of the band, the group showed off an amazing array of techniques that place them at the forefront of the pop avant-garde. For example, Nnamdï is a master of AutoTune, and he uses it to amplify his vocal approach. There’s not a trace of timidity in anything he does onstage. His songs fold in organ samples, proggy interludes, straightahead chord changes that quickly turn weird, and stretches of very fast 12/8 time that suggest a distant relationship to gospel music. I heard echoes of Zappa, George Clinton, Brian Wilson and the great English avant-soul artist Lewis Taylor in the set. Nnamdï was also charming — I don’t think I’ve ever heard an out-of-town musician tell a Nashville crowd anything like this: “What am I supposed to do? Use a tuning pedal? Absolutely not.” He turned “Dedication” into an audience sing-along and got out into the crowd to make his point. As far as I could tell on a strange, timechallenged evening that felt transitional, everyone had a good time. That’s because Nnamdï knows how to extend that most precious of resources, time, in ways that cohere as songs you remember. It was rock ’n’ roll as the big beat and big fun — just like it’s supposed to be in a world where fun can be a scarce commodity. EMAIL THESPIN@NASHVILLESCENE.COM
PHOTOS: CLAIRE STEELE
MUSIC
KEEP ON ROCKIN’ IN THE FREE WORLD: NNAMDÏ
nashvillescene.com | NOVEMBER 10 – NOVEMBER 16, 2022 | NASHVILLE SCENE
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I
n Aftersun, cameras are time machines. They’re a means of capturing the present — to understand it in the future, to relive what you can’t fully process in the now, to help you grapple with it later. Capturing images of those we love AFTERSUN keeps those people R, 98 MINUTES alive long after OPENING FRIDAY, NOV. 11, they’re gone, and AT THE BELCOURT keeps a piece of our lives eternally frozen in a single, precious moment. These images are a fuel for memories, good and bad. Scottish filmmaker Charlotte Wells uses her directorial debut as a way to deal with her past. Aftersun follows Wells’ cinematic stand-in Sophie (Celia Rowlson-Hall), who digs through recorded archives featuring her father Calum (Paul Mescal). We’re never fully sure what information about her dad Wells’ avatar is looking for, but it’s clear what she finds. Through splices of filmed memories and remembered ones from a Turkish vacation in the late 1990s (Frankie Corio plays young Sophie), Wells’ film dissects this fatherdaughter relationship. There are people doing the Macarena during resort dinners, as well as a moment in which a daughter uses a karaoke rendition of REM’s “Losing My Religion” to express her emotions. This foot-
age and these moments make it easy for the viewer to remember their own childhood, as Wells’ attention to detail brings that time back to life — the little moments serve as totems to drag us back into the past, whether we like it or not. Most of the film is told through quiet observation, piecing together snippets from the father-daughter vacation to paint a fuller picture of a man Wells — and Sophie — might not have fully understood when she was young. As the saying and the lyrics go, we wish we knew when we were young what we know now. Aftersun is a painfully authentic reminder that we may never understand the full humanity of the ones who raised us until we walk in their shoes. But once we do, they become even more dear to us. Their flaws become ours, and their virtues remind us of the best parts of ourselves. Aftersun shows how bittersweet that balance can be. Mescal and Corio really pull your heartstrings as a father and daughter who clearly love each other, even when they don’t always connect. They both give stellar performances and keep the film relatable. Sophie finds mystery in her father, likely mystery that she will continue to unpack and process long after the credits roll. The truth about Calum explodes in Aftersun’s third act, when a low-key film cranks it up to 11 and delivers a finale and needle-drop that will likely devastate and challenge you in ways you didn’t expect. If you let it, Aftersun will break your heart open and spill all of your childhood memories on the theater floor. It may also move you to find empathy and acceptance for your parents that you never knew were lacking. It’s a truly brilliant film, and one that might just change the way you look at where you came from and the people who made you. EMAIL ARTS@NASHVILLESCENE.COM
NASHVILLE SCENE | NOVEMBER 10 – NOVEMBER 16, 2022 | nashvillescene.com
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Non-Resident Notice Fourth Circuit Docket No. 22D1208 MOHAMMAD ZAHIR NASHIR vs. MEENA MASOUD NASHIR In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon MEENA MASOUD NASHIR. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public
Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 19, 2022 Matt Maniatis Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22 Non-Resident Notice Third Circuit Docket No. 22D412 WILLIAM BRADLEY vs. ANTIONETTE BERRANGE BUKES BRADLEY In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ANTIONETTE BERRANGE BUKES BRADLEY. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 19, 2022 Robyn L. Ryan Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22 Non-Resident Notice Fourth Circuit Docket No. 22D1293 STEPHANIE E DIXON-BARBOSA vs. EDUARDO BARBOSA SANABRIA In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon EDUARDO BARBOSA SANABRIA. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
STEPHANIE E DIXON-BARBOSA vs. EDUARDO BARBOSA SANABRIA In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon EDUARDO BARBOSA SANABRIA. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 19, 2022 James L. Widrig Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22 Non-Resident Notice Fourth Circuit Docket No. 22A36 MARCUS KENTON MARTIN, et al. vs. JOSHUA WILLIAMS In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon JOSHUA WILLIAMS. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
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nessee, therefore the ordinary process of law cannot be served upon JOSHUA WILLIAMS. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk L. Chappell, Deputy Clerk Date: October 20, 2022 Brad H. Frakes Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22
Non-Resident Notice Fourth Circuit Docket No. 22D428 WENDY ROCHELLE BUFORD TATE vs. CURTIS NILRON TATE In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon CURTIS NILRON TATE. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 20, 2022 Paul A. Rutherford Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22
Joseph P. Day, Clerk L. Chappell, Deputy Clerk Date: October 20, 2022 Brad H. Frakes Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22
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and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 20, 2022 Paul A. Rutherford Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22
Non-Resident Notice Fourth Circuit Docket No. 22D965 NAVEEN AGRAWAL vs. SUSANA CASTRO CANGA In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon SUSANA CASTRO CANGA. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after NOVEMBER 17, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 19, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk L. Chappell, Deputy Clerk Date: October 20, 2022 Robert Todd Jackson Attorney for Plaintiff NSC 10/27, 11/3, 11/10, 11/17/22
Non-Resident Notice Third Circuit Docket No. 22D1309 LEAH TOUSSAINT vs. KERVENS TOUSSAINT In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon KERVENS TOUSSAINT. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 24, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 26, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Local attractions near James L. by: Widrig · AMC Theaters Attorney for Plaintiff · Murfreesboro Square NSC 10/27, 11/3, 11/10, 11/17/22 · The Avenue
Best place near by to see a show: Joseph P. Day, Clerk · Center For The Arts
Top 3 bars and restaurants near by: · Demos Restaurant · The Alley on Main · Toot’s Restaurant
Best local family outing: · Sky Zone Trampoline Park
3 near by places you can enjoy the outdoors: · The Greenway · Stones River Battlefield · The Fountains at Gateway
Favorite local neighborhood bar: · Whiskey Dix
M. De Jesus, Deputy Clerk Date: October 26, 2022 Roland T. Hairston II Attorney for Plaintiff NSC 11/3, 11/10, 11/17, 11/24/22
List of amenities from your community: · Saltwater Pool · Dog Park, · Community Garden, · 24/7 Fitness Center, · Outdoor Kitchen w/ Grills, · Volleyball Court, · Multi-Sport Court, · Playground
Non-Resident Notice Third Circuit Docket No. 22D1309 LEAH TOUSSAINT vs. KERVENS TOUSSAINT In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon KERVENS TOUSSAINT. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after NOVEMBER 24, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on DECEMBER 26, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk M. De Jesus, Deputy Clerk Date: October 26, 2022 Roland T. Hairston II Attorney for Plaintiff NSC 11/3, 11/10, 11/17, 11/24/22
Non-Resident Notice Third Circuit Docket No. 22D1167 HARVEY STANLEY BURNS vs. ELIZABETH SHARONDA BURNS In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon HARVEY STANLEY BURNS. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after DECEMBER 1, same being the date of the last publication of this notice to be held at the Met-
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ropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on JANUARY 2, 2022. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville. Joseph P. Day, Clerk L. Chappell, Deputy Clerk Date: November 3, 2022 Ellis H. Marshall Attorney for Plaintiff NSC 11/10, 11/17, 11/24, 12/1/22
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