Nashville Scene 11-2-23

NEWS:

NOVEMBER 2–8, 2023 I VOLUME 42 I NUMBER 39 I NASHVILLESCENE.COM I FREE

AS CARS KILL HUNDREDS OF TENNESSEANS EACH YEAR, TDOT HOPES TO MAKE WORK ZONES SAFER >> PAGE 7

FOOD & DRINK:

A THREE-STOP STROLL THROUGH SYLVAN PARK FOR ‘DATE NIGHT’ >> PAGE 26

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

CONTENTS NEWS 7 Cars Are Killing Hundreds of Tennesseans Every Year How the Tennessee Department of Transportation hopes to make road work zones safer for workers, drivers and pedestrians

BY LENA MAZEL

7 Confusion, Clerical Errors Impede TennCare Renewal State insurance nears halfway mark of yearlong post-COVID unwinding

BY HANNAH HERNER

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

COVER STORY 11 Under the Gun

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Nashvillians learn to live in an armed society Dessert at Answer • PHOTO BY ANGELINA CASTILLO

BY ELI MOTYCKA

19 CRITICS’ PICKS

Black Opry Records Launch Party, Mrs. Doubtfire, The Paper Kites, A. Savage and more

FOOD AND DRINK 26 Date Night: Punk Wok, Black Dynasty Ramen and Answer A three-stop stroll through Sylvan Park

BY DANNY BONVISSUTO

VODKA YONIC 30 In Living Color Nashville’s murals are proof that my daughters are surrounded by greatness — and proof of North Nashville’s resilience

BY TONYA ABARI

BOOKS 32 Ginger Minj Snaps The Drag Race alum shows us her Southern-fried sass

31 Crawl Space: Camp and Collage Commingle at November’s First Saturday Happenings Chalet Comellas plays with AI, Billy Renkl comforts crows, and Lindsy Davis deconstructs domesticity

BY JOE NOLAN

NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD

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MARKETPLACE

BY KIM BALDWIN

MUSIC 35 Road and Track Tré Burt Takes Traffic Fiction for a Drive

BY SEAN L. MALONEY

36 Unfiltered Lydia Luce finds a new kind of vulnerability on Florida Girl

BY HANNAH CRON

ON THE COVER:

36 Another Look The Scene’s music writers recommend recent releases from Soccer Mommy, Jyou and K.O.N and more

ART

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Photo by Eric England

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38 Christmas Comes Early The Holdovers is more than ’70s nostalgia

BY KEN ARNOLD

Nashville’s Better Side of Best

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10/30/23 6:02 PM

FROM BILL FREEMAN

WHO WE ARE

PRESIDENT JOE BIDEN SPEAKS ON THE PHONE WITH ISRAELI PRIME MINISTER BENJAMIN NETANYAHU AS THE LEADER of the free world, one of the greatest challenges facing President Joe Biden is supporting our allies while encouraging humanitarian aid at the same time. At some critical junctures, the two are not mutually exclusive — that’s the tightrope walk Biden is currently navigating with his firm support of Israel, one of our greatest allies, and also his encouragement for humanitarian aid for the innocents caught between the Islamic terrorist group Hamas and the nation of Israel. Yet Biden is finding a way to accomplish both goals. This is unquestionably the mark of a strong and capable leader.

President Biden addressed the nation recently to inform American citizens of the challenges facing Israel and his intentions to fully support our ally, while also cautioning against the temptation to rush headlong into battle. He likened the situation facing Israel, after a horrific assault on their nation, to the United States’ response after the terrorist attack on Sept. 11, 2001. As President Biden said in his address to the nation on Oct. 19, 2023, “We’re facing an inflection point in history — one of those moments where the decisions we make today are going to determine the future for decades to come.”

Biden’s resolve to both support Israel and to deliver aid amid the growing humanitarian crisis in Gaza is commendable. In fact, Fox News analyst Brit Hume, whose conservative news media organization certainly is never one to rave over Biden’s addresses, stated that the president’s speech “may be remembered as one of the best, if not the best, speeches of his presidency.”

The challenges were many, and the risks were great — yet President Biden made his address only after first traveling to Israel to show unequivocal support for Israel’s right to defend itself against attack. At the same time, a second goal was to use the strength of the United States to help relieve suffering, negotiate for release of hostages and encourage an intentional and wellplanned response. Biden compared the Israelis’ understandable shock and grief with the United States’ collective outrage after 9/11. He encour-

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aged Israeli Prime Minister Benjamin Netanyahu and the people of Israel to learn from the United States’ experiences in seeking justice following an unprovoked and violent attack never seen on U.S. soil before or since. He reiterated the importance of remaining objective and focused in the midst of grief and the desire to seek justice.

“When I was in Israel yesterday, I said that when America experienced the hell of 9/11, we felt enraged as well,” he said. “While we sought and got justice, we made mistakes. So I cautioned the government of Israel not to be blinded by rage.”

“Worry” is too weak a word to use in describing the rest of the world’s concern over the prospect of a war in the Middle East. You don’t have to be very old to know all too well that this region has been a powder keg for generations — the birthplace of Judaism, Islam and Christianity. Uneasy peace has been more common than outright war in the Middle East for a few decades, yet we are now standing on the precipice of a war between Israel and Hamas. In fact, as of this writing, Israel has now begun a full ground invasion of Gaza — marking the official beginning of war. Time will tell what the ripple effects will be of Israel’s understandable desire to respond to the unprovoked attack on their innocent civilians, but history will surely show that President Biden’s support of Israel and his equally strong support for humanitarian aid have been steadying and measured.

People of Jewish faith sometimes say the Hebrew phrase, “Shalom aleichem,” meaning, “Peace be upon you.” The irony is not lost that the same phrase in Arabic is nearly identical: “As-salamu alaykum.” Let us pray that the entire world will have peace upon us all as we stand at the precipice of war.

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: CAMERON SMITH/WHITE HOUSE

BIDEN WORKS TO SUPPORT ISRAEL AND MOTIVATE HUMANITARIAN AID IN GAZA AMID GROWING TENSION

EDITOR-IN-CHIEF D. Patrick Rodgers MANAGING EDITOR Alejandro Ramirez SENIOR EDITOR Dana Kopp Franklin ARTS EDITOR Laura Hutson Hunter MUSIC AND LISTINGS EDITOR Stephen Trageser DIGITAL EDITOR Kim Baldwin ASSOCIATE EDITOR Cole Villena CONTRIBUTING EDITORS CAN BE FOUND: Erica Ciccarone, Jack Silverman at The Belcourt, always STAFF WRITERS Kelsey Beyeler, Logan Butts, Stephen Elliott, Hannah Herner, Hamilton Matthew Masters, Eli Motycka, Nicolle Praino, William Williams CONTRIBUTING WRITERS Sadaf Ahsan, Ken Arnold, Radley Balko, Ashley Brantley, Maria Browning, Logan Butts, Steve Cavendish, Chris Chamberlain, Rachel Cholst, Lance Conzett, Hannah Cron, Connor Daryani, Steve Erickson, Adam Gold, Kashif Andrew Graham, Seth Graves, Kim Green, Amanda Haggard, Steven Hale, Edd Hurt, Jennifer Justus, P.J. Kinzer, Janet Kurtz, Christine Kreyling, J.R. Lind, Craig D. Lindsey, Sean L. Maloney, Margaret Littman, Brittney McKenna, Marissa R. Moss, Noel Murray, Joe Nolan, Betsy Phillips, John Pitcher, Margaret Renkl, Daryl Sanders, Jason Shawhan, Nadine Smith, Ashley Spurgeon, Amy Stumpfl, Kay West, Andrea Williams, Nicole Williams, Ron Wynn, Charlie Zaillian ART DIRECTOR Elizabeth Jones PHOTOGRAPHERS Angelina Castillo, Eric England, Matt Masters GRAPHIC DESIGNERS Sandi Harrison, Mary Louise Meadors, Tracey Starck PRODUCTION COORDINATOR Christie Passarello GRAPHIC DESIGN INTERN Kylie Taylor FESTIVAL DIRECTOR Olivia Britton MARKETING AND PROMOTIONS MANAGER Robin Fomusa PUBLISHER Mike Smith ASSOCIATE PUBLISHER Michael Jezewski SENIOR ADVERTISING SOLUTIONS MANAGERS Carla Mathis, Heather Cantrell Mullins, Jennifer Trsinar, Keith Wright ADVERTISING SOLUTIONS MANAGERS Teresa Birdsong, Maddy Fraiche, SAW: Wicked at TPAC, and Kailey Idziak, Allie Muirhead, Niki Tyree, Alissa Wetzel is quitting her job SALES OPERATIONS MANAGER Chelon Hill Hasty to become a flying monkey on tour ADVERTISING SOLUTIONS ASSOCIATES Audry Houle, Jack Stejskal SPECIAL PROJECTS COORDINATOR Susan Torregrossa PRESIDENT Mike Smith CHIEF FINANCIAL OFFICER Todd Patton CORPORATE CREATIVE DIRECTOR Elizabeth Jones IT DIRECTOR John Schaeffer CIRCULATION AND DISTRIBUTION DIRECTOR Gary Minnis FW PUBLISHING LLC Owner Bill Freeman

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 5:35 PM

Celebrate our newest exhibitions with a weekend-long festival!

November 4–5, 2023 Don’t miss a full house of stunning art with dance and music performances, art-making activities, exhibition tours, live art demonstrations, a scavenger hunt, food trucks, games, and more. There’s something for everyone!

Join us Saturday and Sunday!

For more information and a detailed schedule, visit FristArtMuseum.org/Fest

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Admission:

Downtown Nashville 919 Broadway Nashville, TN 37203 FristArtMuseum.org

Adults: $15* Frist Members and youth 18 and under: FREE *All normal discounts suspended during event

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

NEWS

CARS ARE KILLING HUNDREDS OF TENNESSEANS EVERY YEAR How the Tennessee Department of Transportation hopes to make road work zones safer for workers, drivers and pedestrians

PHOTO COURTESY OF TDOT

BY LENA MAZEL

CARS KILL HUNDREDS of people in Tennessee every year. As of this writing, since the beginning of 2023, 1,100 people have died in traffic-related incidents in the state, and the past few years have seen relatively similar statistics.

Tennessee can also be a dangerous place for workers: A 2020 cover story by Scene managing editor Alejandro Ramirez details advocacy efforts for safer and more equitable workspaces after the tragic death of 16-year-old Gustavo Ramirez, who fell from scaffolding while working at a construction site in Nashville.

Nashville has taken steps to improve safety around both cars and construction. The city’s Vision Zero plan aims to have zero pedestrian deaths by 2050. (So far this year, 39 pedestrians have been killed by drivers in Nashville; in 2022, 47 pedestrians were killed.) For workers, Metro councilmembers have organized for stronger safety regulations, though one recent bill was undermined by the state government.

At the crossroads of worker safety and traffic safety are road work zones. Here, crews from the Tennessee Department of Transportation are at risk, but so are drivers, passengers and even pedestrians. Tennessee sees thousands of work zone accidents every year, and while road crew fatalities have become more rare, they still do occur. Between 1948 and 2022, 113 TDOT workers have died on the job. The most recent

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fatality was TDOT employee Trent Johnston in 2022. Over the past few years, the Department of Transportation has taken steps to make drivers safer around work zones. As traffic around Nashville increases, these initiatives are more important than ever.

Tennessee has seen roughly 2,200 work zone accidents so far in 2023; 777 of these were in Nashville’s highway patrol district (District 3, which includes Davidson County and 11 nearby counties). This number is slightly lower than previous years: The state saw 3,561 work zone crashes in 2021 and 3,047 in 2022.

Rebekah Hammonds, a TDOT spokesperson representing Nashville’s region, explains that accidents set off longer chains of events than people realize. “One of the crashes we saw last month involved a crew repairing a guardrail, and that was because there was another crash that had just happened with other vehicles,” says Hammonds. “It’s this kind of vicious cycle when it comes to repair work like that.”

Hammonds says Nashville’s high numbers of work zone crashes are due to a variety of factors, including “people not paying attention, high speeds and the drastic volume of traffic that we see on a regular basis.” The Tennessee Department of Safety and Homeland Security reports that 1 in 9 work zone accidents this year has involved a distracted driver, but Hammonds

notes that this number could be underreported, since most drivers won’t freely admit to being distracted. But distracted driving is definitely a focus for TDOT, along with their frequent messages to drivers to “slow down, move over.”

The Tennessee Department of Transportation runs its Work With Us campaign to encourage drivers to be aware of workers. They’ve recently had more initiatives to help reach Tennessee teenagers, including a TikTok contest with cash prizes.

TDOT has also implemented structural changes to help make roads safer, including the new I-24 Smart Corridor, which gives drivers more time to respond to accidents by displaying lane closures on gantries well before the incident and enforcing temporary reduced speed limits. TDOT’s HELP operators — accident response units who administer life-saving aid and divert traffic — are particularly vulnerable to accidents because they respond during peak traffic times.

While it’s difficult to quantify the impact of the Smart Corridor on HELP crews with the current available data, Hammonds says she’s already heard from operators that the signage has made them safer. Drivers have been able to move over more quickly and give them more space to respond to accidents.

Many of TDOT’s initiatives are designed to

protect their crews, but Hammonds points out that because of roadside machinery design, crews are actually much safer than most drivers in work zone accidents. Road crew trucks typically have impact attenuators, accordion-like devices designed to crumple in a crash, leaving vehicles relatively unharmed. Passenger vehicles don’t have the same kind of protection, Hammonds says, and usually come off much worse in a crash.

“When we say, ‘Slow down, move over,’ yes, it is 100 percent to protect our workers and contractors,” says Hammonds. “But really, it is also to protect the driver. When we see these crashes happen, the driver who runs into the barrier or attenuator or truck … they are the ones that receive the majority of the damage, because they’re hitting something like that at such a high rate of speed.”

Tennessee has seen significant changes to its road infrastructure, and population growth has put more stress on local and statewide traffic grids. More traffic means more crews on the road, and more chances for accidents. Still, Hammonds says, the most important message is the same one TDOT has been saying all along: “If it is possible, and you are driving through a work zone, please slow down and please move over.” ▼

CONFUSION, CLERICAL ERRORS IMPEDE TENNCARE RENEWAL State insurance nears halfway mark of yearlong post-COVID unwinding

BY HANNAH HERNER MORE THAN 147,000 Tennesseans have lost TennCare coverage since April, as the state insurance provider nears the halfway point of a yearlong unwinding process.

In the first four months of data released, the majority (76.2 percent) who lost coverage did so because of bookkeeping issues — the enrollee didn’t return the necessary information to TennCare in time or didn’t respond at all, or their renewal paperwork was lost along the way back to TennCare. (According to TennCare, 46 percent of people renew over the phone, compared to 27 percent renewing by both mail and online.) One woman from Southeast Tennessee is on the verge of becoming one of those people.

Her mother and conservator Joan, who asked that Scene sister publication the Nashville Post use only her first name, typically renews TennCare coverage for three family members per year: her two adult daughters with disabilities and her brother. She hasn’t had to do so since 2020, as the public health emergency put the yearly redeterminations on pause, but she told the Post she never had an issue

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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PITH IN THE WIND NASHVILLESCENE.COM/NEWS/PITHINTHEWIND

renewing coverage prior to the pandemic.

“We’ve never had this much trouble before,” Joan says. “We’ve done reauthorizations before, and it’s never been like this.”

This year, as TennCare looks to shrink its 1.7 million enrollment down to pre-pandemic levels of closer to 1.4 million, she hit a snag with one daughter’s coverage.

Her daughter, who has been on TennCare since 2017, is also part of TennCare’s Employment and Community First CHOICES program for people with disabilities. The program provides aides to help her take her medication effectively, learn independent living and job skills and provide rides to the grocery store and other community activities.

Joan’s daughter lives separately from her family, but all of her mail is supposed to go to her parents. The first TennCare renewal issue arose when mail went to her apartment, though Joan was able to intercept the letter.

When her daughter’s coverage came up for renewal in May, Joan called to speak with a representative and answered some renewal questions over the phone. She also mailed in the full packet on May 31, including the application, housing and utilities information, pay stubs and bank statements. On June 26, Joan received a letter from TennCare stating that she had not sent the required information. She faxed the documents again and kept a copy of the confirmation from the fax machine. On July 17, her daughter’s services coordinator with ECF CHOICES noticed that her coverage was set to be terminated on Aug. 3.

Joan began to get nervous, worried that her daughter losing support from CHOICES would mean she could no longer live independently.

The reasoning was murky — when she and the services coordinator called TennCare’s phone line on July 20, one person said the reasoning was because Joan had not sent in the financial information requested; another said TennCare did have the necessary documents, but they were missing information about a bank account that had been a part of certification in previous years.

The family had closed the account in 2021 because the daughter had lost her checkbook.

Thinking she’d found the issue, Joan filed an appeal that day over the phone. On Aug. 7, she got a letter from TennCare signifying changes in income information, which she suspected was regarding the closed checking account. The letter pointed her to the TennCare Connect online portal to confirm the change, but the information wasn’t there. So she called, again, and found out that TennCare was using her daughter’s year-to-date

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income as her monthly income, which rendered her ineligible due to income limits.

“If I hadn’t caught it, they would have sent me a letter and said, ‘You’re terminated because you make too much money,’ and I would have had to start over with another appeal process,” Joan said. “If I didn’t have the time and the tenacity to go in and call and call and call and call, I would have never found that out. I really feel for the people who do not have the wherewithal to do this. It just makes me very sad.”

Even before the large-scale unwinding, paperwork stood in the way of TennCare coverage for eligible Tennesseans. A 2020 federal lawsuit brought by TennCare families alleged that renewal practices have been a challenge for years. The suit was recently amended to include experiences from 2023’s unwinding process.

A 2019 investigation by The Tennessean found that 220,000 kids lost TennCare coverage due to clerical errors from 2016 through 2018. It wasn’t until 2019 that TennCare launched an online portal to assist with redeterminations.

A trial is set for Nov. 14 to determine whether TennCare’s processes are fair and comply with Centers for Medicare and Medicaid Services regulations.

LOCAL NONPROFITS ASSIST, ADVOCATE FOR TENNCARE USERS

Joan turned to the Tennessee Justice Center, a statewide health-care-focused advocacy organization, which assured her that her daughter was, in fact, eligible.

“The whole time it’s been very, very stressful,” Joan says. “Even though, on paper, we’re in limbo, we feel very comfortable that the information [TennCare has] shows that she’s eligible according to their rules. I’m not as panicked as I have been throughout the process when they kept saying, ‘You didn’t give us this information, so you’re off.’”

Social workers at TJC mitigate a range of issues — some people don’t receive the paperwork, some people don’t understand it, and some people don’t think it’s important and throw it away — according to Michele Johnson, executive director of the organization.

“When something is not working for three-quarters of the people, it seems like going back to the drawing board and figuring out how they can create a better process is vital and urgent,” Johnson says. “Many times people never received a notice. They don’t know where the notice went. They hadn’t moved. They go to the pharmacy to get medicine and they can’t get the medicine, or they go to take their child to therapies and they can’t

get the therapies.”

Family and Children’s Services, a statewide nonprofit based in Nashville, offers in-person help to those navigating TennCare renewal, especially for those with low technological or English literacy — the TennCare online portal is offered only in English and Spanish. FCS can also help link people to marketplace insurance at healthcare.gov if they no longer qualify for TennCare.

Open enrollment begins Nov. 1 and lasts until Jan. 15, but those who lose TennCare coverage qualify for special enrollment until July 31.

“Those are the populations with the highest need — people with literacy barriers, whether that’s English language or just reading in general, or any sort of mental and physical disabilities,” says Emilie Fauchet, assistant director for health care access services at Family and Children’s Services. “I also think that even for the average person, it can be a difficult process to navigate.”

Joan’s daughter still has coverage while TennCare is confirming her eligibility, and the family recently received another letter saying she’s up for redetermination again in November. The process has been confusing and time-consuming, Joan says.

“That’s the thing that makes me cry and keeps me up at night,” she says. “I am college-educated. Yes, I’m getting older, but I have some skills. I have tenacity.

I’m not without resources, emotional resources. I think of the other people that I know, that I’ve worked with through my volunteer activities and I think, ‘How in the world could they negotiate this?’ I’m retired. Most of these people are working. You don’t have time to sit on the phone for three hours every time you have to do one little thing.”

TennCare tells the Post it did not collect data on the race of the applicants losing coverage.

“We are using multiple forms of communication to try and reach members including text, email and paper notifications, so it’s important that people open and respond to communication from TennCare,” Amy Lawrence, TennCare spokesperson, said in October.

“It’s also important to note what we are seeing in Tennessee is similar to the experiences of other Medicaid agencies,” Lawrence added. “As has been true since the start of the unwinding, we remain one of a minority of states that do not require a mitigation plan from CMS, which is a reflection of all the work we have done to be prepared for renewals.”

This article was first published by Scene sister publication the Nashville Post. ▼

Mayor Freddie O’Connell announced more staff hires, including two top officials — Darren Jernigan and Jamari Brown. Jernigan, a former Metro Councilmember, currently represents parts of Hermitage, Old Hickory and Donelson in the state House. The six-term Democrat will manage the city’s relationship with the state as O’Connell’s director of legislative affairs. Commercial real estate veteran Brown returns to the mayor’s suite as O’Connell’s director of economic and community development. Brown briefly held the same role in David Briley’s mayoral administration. O’Connell is also hiring communications professionals Brittany Irby and Javier Solano.

The state of Tennessee will pay $150,000 to former health official Michelle Fiscus to settle a defamation suit. Fiscus, who was fired from the Tennessee Department of Health in 2021, faced backlash from conservatives for her vaccine advocacy during the national COVID-19 vaccine rollout.

Fiscus says she was fired for political reasons, while the state cited her job performance and leadership. Now a top official at the Association of Immunization Managers, Fiscus settled her defamation suit more than two years after she brought legal action against Tennessee.

SCREENSHOT FROM A PROPAGANDA VIDEO POSTED BY PATRIOT YOUTH

PHOTO: ERIC ENGLAND

JAMARI BROWN

Far-right activists with the Tennessee Active Club and Patriot Youth disrupted a student meeting at MTSU hosted by the Democratic Socialists of America. Tennessee Active Club is a paramilitary group in Davidson County that outwardly identifies with Nazi ideology. The groups claimed responsibility for the event with a video posted on Telegram, which shows the groups vandalizing the students’ online materials and disrupting a meeting. The harassment follows a national uptick in violence by white supremacists and the far right, and local incidents of public Nazi organizing.

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

UNDER THE GUN NASHVILLIANS LEARN TO LIVE IN AN ARMED SOCIETY

BY ELI MOTYCKA

night. Jennifer has since been diagnosed with post-traumatic stress disorder. Both parents have done extensive therapy with the boys, who don’t participate in school lockdown drills.

“We’ve never really seen the need for guns in our household, but the first thing we did when we got back was register with the state,” says Hayes. Unlike Tennessee, Illinois requires a 72hour waiting period and a permit to own a gun.

“When that comes in, we plan on buying a gun for Illinois and a gun for Nashville. We’ll lock them up and take proper training and all that.

We always considered Nashville very safe, but that incident changed us. We want to be prepared if something else were to occur. We don’t want to be out there with no protection.”

TYPICAL GUN VIOLENCE charts, graphs and tables don’t capture victims like the Hayes family, which, three months later, lives with the psychological and emotional fallout of a gun that never went off. Or elementary school children, versed in active-shooter drills, who teach their parents about “hard corners,” the hidden spots of a room not visible from an outside window or door.

In the past decade, gun violence has pervaded the everyday. Mass shootings have shattered expectations of safety at elementary schools, high schools, concerts, mosques, churches, malls, movie theaters, grocery stores, bars — sacred spaces that previously functioned as havens of public life. Regular and random

PHOTO: ERIC ENGLAND

JEREMY HAYES WAS getting ready to take his three sons to the pool when he heard a loud rap on the door.

Hours earlier, his wife Jennifer had gotten to Nashville after finishing a work trip. The Hayeses live in Illinois but bought an apartment on Church Street in 2021 as a weekend getaway — a refuge where the family felt safe. They like to walk to Sounds games and concerts. On that Friday in late July, Jackson (age 10), Brady (8) and Austin (5) were scrambling around the apartment collecting bathing suits and towels.

“We really like it in Nashville,” Hayes tells the Scene weeks later. “We probably spend 25 percent of our time down there. We bring friends and family, do the Broadway thing. With the exception of this incident, we really enjoy Nashville.”

The knocking got aggressive.

“Like a SWAT team,” Hayes remembers. “So I opened the door, and there was a person pointing a gun directly at my chest.”

Jennifer stood next to him. Brady and Austin stood behind their parents. Police later decided that Brady was in the line of fire — Austin’s state-

ment to the police could mean a fourth felony charge for the Hayeses’ across-the-hall neighbor, Chris Weathers, who was booked three days later on three charges of aggravated assault.

Hayes had never met the man. That afternoon, Weathers stood in the hallway shirtless, allegedly aiming a black handgun.

“He told us to shut our kids up, or he would,” remembers Hayes.

Jeremy expected the gun to go off. After some yelling and a few tense seconds, he shut the door. The family huddled in the bedroom while Jennifer notified the front desk and called the police. By the time the cops arrived to take statements, Austin had cried himself to sleep. The family headed back to the Chicago suburbs that

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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PHOTO: HAMILTON MATTHEW MASTERS

gun use — like the September road rage incident on I-440 that put bullet holes in Chancery Court Judge I’Ashea Myles’ Prius, or the shooting of a German shepherd at Percy Warner Park two weeks later — defy expectations of safety anywhere.

Unable to rely on lawmakers to regulate guns, some Tennesseans have decided to risk gun ownership to help manage the fear and anxiety of living in a nation full of weapons. While mass shootings erode Americans’ shared sense of security, it’s retaliatory gun violence, intimate partner violence, gun accidents and suicide by firearm that kill us in higher numbers — all risks that dramatically increase by inviting a weapon into one’s home. These owners hope to mitigate the statistics with extensive safety measures, regular training and the weighty sense of responsibility that accompanies keeping a firearm, consciously distancing themselves from both the gun-obsessed maximalists and negligent owners. Those who spoke to the Scene for this story justified their decision with different versions of the same sentiment: I am anti-gun for everyone except myself.

America’s civilian gun ownership far exceeds every other country in the world. There are more guns in this country than people, mostly concentrated in the hands of “super-owners,” a term used by Vanderbilt professor Jonathan Metzl in his landmark 2019 book Dying of Whiteness. This majority-white, majority-male group captures the furthest extreme of gun ownership and often follows a cultural obsession with Second Amendment rights and escalatory practices like open carrying.

For decades, the National Rifle Association and other extreme pro-gun interests have been the sole forces defining American gun ownership, Metzl argues in his new book — a project that springs from the public response after the 2018 Waffle House shooting in Antioch.

“Even though he was doing everything possible to flash warning signs, Travis Reinking coded as a patriot to police, to communities, to his parents, up until the moment he pulled the trigger,” Metzl says of the Waffle House shooter, who was ultimately convicted on four counts of first-degree murder. “Then after he pulled the trigger, the state apparatus of Tennessee mobilized to protect the rights of people like him. This issue of white male gun ownership is not fully addressed if the gun safety side is only looking at shootings.”

Metzl points to bigger, structural reasons for today’s arms race: large swaths of the country gripped by fear. Aspects of life seemingly unrelated to guns — like increased green space and more street lights — correlate with lower gun violence, he says. Every Tuesday afternoon, Metzl packs a Vanderbilt lecture hall with undergrads for his fall course, Guns in America.

“You could take someone who’s a conservative gun owner in America and put them on a train in Tokyo, and they would probably feel like, ‘I don’t need my gun right now,’ because you don’t fear somebody else has a gun,” Metzl says.

“There are societal checks in place. The triggers people associate with why they need a gun are

JONATHAN METZL

The triggers people associate with why they need a gun are about the breakdown of community infrastructure, the lack of investment in civic space, lack of trust in communal structures. We need to take people’s concerns about fear and safety seriously and really try to address them.”

—JONATHAN METZL, VANDERBILT UNIVERSITY

about the breakdown of community infrastructure, the lack of investment in civic space, lack of trust in communal structures. We need to take people’s concerns about fear and safety seriously and really try to address them.”

IN AUGUST, state lawmakers came back to Nashville for a special legislative session called

by Gov. Bill Lee. Lee announced the session amid public backlash against the state’s lax gun laws.

In a press release issued on May 8, the governor said the session was intended to “keep Tennessee communities safe and preserve the constitutional rights of law-abiding citizens.”

In March, an individual armed with tactical gear, two rifles and a handgun killed three 9-year-old children and three adults at the Covenant School in Green Hills before being shot to death by Nashville police. The killings roiled the city and prompted immediate, sustained protest at the state Capitol, where pro-gun lawmakers hold supermajorities in the House and Senate.

Lee’s response implied a potential revision of Tennessee’s legal protections for firearms — a conservative credo that has become essentially

unlimited in Tennessee over the past decade.

August came and went. State leaders passed one piece of legislation related to guns, a mishmash of statutes exempting firearm safety products from sales taxes, enabling Tennesseans to request free state gun locks and mandating safe-storage content in handgun training courses. After reframing the session as a crime-focused work session, Lee delivered closing remarks. He praised Covenant parents for being a part of the public “engagement process.”

“My daughter lost 50 percent of her hearing in her left ear — I can’t stand the thought of having another child be shot at in school,” says Melissa Alexander, the mom of a Covenant student who survived the March shooting. “Or for a parent to go through the chaos of trying to figure out if their child is alive. Or to lose their babies, and not be able to tuck them in at night.

All because we’re so concerned with some right to bear arms that’s talking about a stupid militia.

We are not in a war. Let’s stop pretending and creating a war amongst each other.”

Alexander, a Republican, has publicly blasted her own party for its weak stances on gun control. The Scene reached out to several Re-

publican lawmakers for comment on this story and requested interviews with members of the House and Senate via the GOP’s communications staff. Ultimately our request for comment was not fulfilled.

Tennessee’s experiment against gun control began with the 2007 passage of a so-called Stand Your Ground law, which enhanced legal protections for civilians to use deadly force.

The next year, the U.S. Supreme Court affirmed citizen gun rights with a 5-4 decision in District of Columbia v. Heller, energizing national opposition to gun control. Four months later, Barack Obama was elected president, followed shortly by a historic spike in gun and ammunition sales. (A much larger spike occurred in 2012, in the months following Obama’s reelection and the mass shooting at Sandy Hook Elementary; similar spikes continue to follow events of mass gun violence.)

The Tennessee legislature gradually struck down more gun regulations throughout the 2010s. First, lawmakers expanded the rights of permit holders, allowing them to store loaded guns in car trunks and to carry them at bars, public parks, playgrounds, school campuses and on buses. In 2019, the House and Senate gutted requirements for a gun permit before getting rid of required permitting altogether in 2021. “Permitless carry,” championed by ranking Republicans William Lamberth in the House and Jack Johnson in the Senate, signed away the state’s last line of firearm oversight.

Spurred by the tragedy at Covenant, Tennesseans across the political spectrum have become fixated on gun control as a litmus test for future voting.

“It is important for voices like mine to speak out,” says Jordan Huffman, Nashville’s newly elected councilmember for parts of Donelson, Hermitage and Old Hickory. “It is critical for people like me who grew up around guns, who look like me — a bald guy with a beard — to talk about responsible gun ownership.”

We speak in his condo while Huffman’s 2-year-old son Will toddles across the kitchen and living room.

Originally from Greeneville in East Tennessee, Huffman grew up in a family of gun owners.

Huffman says becoming a dad made him take the security of his home and family more seriously. He and his wife have gun safety training and know how to use a handgun, which they keep locked in a fingerprinted safe on a shelf in their closet. He disabled the combination lock on the off chance that Will finds the safe and guesses right. They occasionally hear hostile gunfire in their neighborhood, says Huffman, and a firearm is a last resort.

“We have an issue with fear in this country,” he says. “Fear that something will happen. I saw this fear when I was campaigning and in East Tennessee. It happens when you listen to propaganda all day — commonsense voices of reason get drowned out. There is a big difference between owning an assault rifle and owning a handgun that’s locked away and stored safely. I like guns. I grew up around guns. I like shooting guns. But you can’t say there’s not a problem in

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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The lesson is that we have too many guns in society. We’ve lost. We are winning the war against car accidents. We are winning against childhood cancer. I want people to understand that having a society with guns is going to cost us some proportion of our children.”

this country right now.”

In Tennessee, a single piece of mandatory reporting remains: federal form 4473, a record of official firearm sales. Guns that change hands in private sales, transfers, loans, gifts or thefts leave no records. Beth Joslin Roth, a longtime advocate for gun safety and a staffer for state Sen. Heidi Campbell, collects statewide gun statistics, legislative history, legal loopholes and shooting data at the website Tennessee Under the Gun. As of this writing, Nashville police were aware of 1,278 guns stolen in Davidson County this year.

Nearly 8,000 guns have been reported stolen in Nashville since Jan. 1, 2019. Gun theft, particularly from unlocked cars, is so bad that police issue regular press releases reminding gun owners to lock their vehicles. In early September, a police rifle, riot gear and a police shotgun were stolen from marked MNPD vehicles in two separate incidents.

“Officers throughout the police department are being reminded to properly secure their firearms,” police told WSMV at the time.

A purely voluntary permitting process, thefts and a robust private market render statistics on Tennessee gun ownership unreliable. Tennessee annually reported more than 100,000 legal gun owners before state law gutted the permitting process. The state makes a lot of guns — 185,000 in 2021 according to the ATF, mostly manufactured in Gallatin by Beretta, the Italian gun giant that moved its U.S. headquarters to Tennessee in 2016. Smith & Wesson moved its headquarters to East Tennessee this year after more than 100 years in Massachusetts. Both companies cited Tennessee’s gun-friendly political climate in explaining their moves.

THE THING ABOUT having more guns: Sometimes they go off.

Mass shootings like the ones at the Covenant School and Waffle House rock a city, dominating headlines and casual conversation for weeks.

These events politicize bystanders and shape community narratives, but they account for just a fraction of the city’s gun violence.

Last year, Dr. Jay Wellons, a pediatric neurosurgeon at Vanderbilt Children’s Hospital, published All That Moves Us, a book about what he sees on the operating table. Vanderbilt is the region’s only Level 1 trauma center, the state’s highest designation for its most urgent medical

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emergencies. Wellons is a self-proclaimed “son of the South,” and his experience with firearms includes both growing up with hunting rifles and operating on gunshot wounds, a central theme in All That Moves Us. “As doctors, we can only do what we are trained to do if a patient makes it to the hospital alive,” Wellons tells the Scene.

He remembers the surge of trauma physicians moving toward the door after the shooting at Covenant.

“They finally told us nobody would be coming to the ER that was alive,” says Wellons. “The sadness and grief was palpable. We were ready to save lives. That’s what we are trained to do.

That’s what we want to do.”

The survivability of a child with a gunshot wound is less than 5 percent, says Wellons, because of how the bullet tears through tissue.

At high velocities, a single round creates an air pocket that rips a path through the body in a process called cavitation. When it hits bone, the bullet fragments. When it fragments, it begins to tumble, wreaking havoc across arteries and organs. Wellons draws a graph: Two colorful lines signify childhood cancer and car deaths decreasing over time. A third, fatal gunshot injuries, increases gradually. Then sharply.

“Throughout history, medicine has learned lessons from weapons of war and taken them back to nonmilitary society,” says Wellons. “I do not see the lesson here. The lesson is that we have too many guns in society. We’ve lost. We are winning the war against car accidents. We are winning against childhood cancer. I want people to understand that having a society with guns is going to cost us some proportion of our children.”

So far this year, Nashville police have logged 3,497 incidents of violent threats involving firearms, like the threat that shook the Hayes family.

There have been exactly 300 nonfatal shootings and 77 fatal shootings in 2023, on pace to match 2022. About 75 percent of victims are Black. Most are men, though women in domestic violence situations face a particular epidemic of gun violence in Nashville, amplified by failed state oversight, according to reporting this summer from WPLN’s Paige Pfleger.

Of these incidents, most are scattered across North Nashville, Antioch and Madison. Zoom in and see three distinct clusters near Edgehill, Napier-Sudekum and Cayce Homes, all MDHA

PHOTO: ERIC ENGLAND

—DR. JAY WELLONS, PEDIATRIC NEUROSURGEON

METRO COUNCILMEMBER JORDAN HUFFMAN properties close to downtown.

“That’s what happens when you don’t make an investment in a community,“ says Larry Turnley, who grew up in the J.C. Napier homes in the 1980s and 1990s. “People see that you don’t care.

That evolves into violence. When I was a kid, you might pick up a stick or a brick to ward someone off. Now, since you have guns so accessible, it’s going to be gun violence.”

As a young adult, Turnley was shot by police while fleeing from a porch late at night. The bullet is lodged in his upper thigh. After 20 years in prison, he returned to Nashville. He works with violence-interruption group Gideon’s Army trying to help young Black men avoid the mistakes he made as a teenager.

In 1991, Turnley shot down an MNPD helicopter with a handgun. In court proceedings, he explained an intense desire for acceptance and social pressure. Young Buck, an early member of G-Unit and perhaps Nashville’s most commercially successful rapper ever, cemented LT as a local legend by rapping about the moment in 2011’s “I’m Done Wit Y’all.”

“They respect me because I have credibility from my past,” Turnley tells the Scene under a pavilion in Hadley Park. “That opens up their ears. And I can go in and hit them with a positive message. Those stories have influence in our communities, so I can be out here as a violence interrupter, trying to stop gun violence or retaliatory gun violence.”

RAYMOND KINZOUNZA HAS a mini plastic water bottle next to the door to his office. It’s

about half full with shell casings Kinzounza finds on the street and sidewalk outside the library, a growing collection that he started five months ago. He fled civil war in the Congo in the late 1990s. Kinzounza manages the Nashville Public Library’s Pruitt Branch, a two-story community space on Charles E. Davis Boulevard, the center of the Napier-Sudekum neighborhood.

“The identity of a library is defined by the need of the community,” Kinzounza tells the

Gun manufacturing giants Beretta and Smith & Wesson have moved their headquarters to Tennessee in recent years. Both companies cited Tennessee’s gun-friendly political climate in explaining their moves.

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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WITNESS HISTORY This white corduroy jacket was embellished with rhinestones by fourteen-year-old Tanya Tucker to spell out the title of the song “No Man’s Land” from her 1974 album, Would You Lay with Me (In a Field of Stone)— some fifty years before she would be inducted into the Country Music Hall of Fame in 2023.

From the exhibit The Road to the Hall of Fame artifact: Courtesy of Tanya Tucker artifact photo: Bob Delevante

RESERVE TODAY

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10/30/23 10:46 AM

Scene. “What I see here, it breaks my heart. People come to us with spoken needs and unspoken needs. This library is a safe place.”

When the bottle fills up, Kinzounza plans to get a bigger one. He prevents maintenance from fixing the tiny holes high on the walls and the spidering cracks in the window, the marks left by bullets that strike the building.

“I want them to see how dangerous it is to be in this neighborhood,” he says. “These tell a story.”

Kinzounza participates in monthly community meetings with residents, police officers and local leaders. When drive-by gunfire picked up, he pushed for speed cushions on Charles Davis, a fix that, he says, slowed cars and reduced shooting. Now he’s asking Metro to ban Roblox, a wildly popular game among elementary and middle school students in his library’s computer lab that involves shooting and evading law enforcement.

Guns are not allowed in his library. Kinzounza has never considered owning one himself.

“Violence will always push people to more violence,” he says. “That is useless.” ▼

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BULLET CASINGS RAYMOND KINZOUNZA HAS COLLECTED AT THE LIBRARY

PHOTOS: ERIC ENGLAND

RAYMOND KINZOUNZA POINTS AT A BULLET HOLE AT THE NASHVILLE PUBLIC LIBRARY’S PRUITT BRANCH

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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COME SEE US AT

COMMON HOUSE WORKSHOP

Thur. Nov. 30 - Sat. Dec. 2

event; Saturday-Sunday workshop

Farmers, gardeners, educators, activists, entrepreneurs and food system stakeholders from across Tennessee and the Southeast region will gather to learn, connect, and work together to build a more resilient, community food network.

The Common House in cohousing is all about form, function, and fun! We will work with our architects to come up with what we want in our shared amenities space, including things like entertainment and creativity areas. Join us before January to be involved.

PHOTOS: ERIC ENGLAND

THE TENNESSEE LOCAL FOOD SUMMIT January 19-21, Friday night public

CALL 615-480-2786 FOR DETAILS | BURNSVILLAGEFARM.COM NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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2023/24 SEASON

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FEB 25 | 7:30 PM

LADYSMITH BLACK MAMBAZO CINEMA’S ICONIC LOVE THEMES ROMANCE AT THE SYMPHONY

Nashville Symphony | Emmanuel Fratianni, conductor

Presented without the Nashville Symphony.

Nashville Symphony | Enrico Lopez-Yañez, conductor

COMING SOON TO THE SCHERMERHORN NOV 2 TO 4 | 7:30 PM Classical Series

COREA’S CONCERTO + ROMEO & JULIET with the Nashville Symphony

NDLOVU YOUTH CHOIR Presented without the Nashville Symphony.

Live Recording

NOV 5 | 2 PM NOV 5 | 7:30 PM HCA Healthcare and Tristar Health Legends of Music

NOV 9 TO 11 | 7:30 PM FirstBank Pops Series

JEFFERSON STARSHIP with the Nashville Symphony

AN INTIMATE EVENING WITH DAVID FOSTER & KATHARINE MCPHEE

NOV 28 | 7:30 PM Special Event

NOV 17 & 18 | 7:30 PM Classical Series

NOV 6 | 7:30 PM Presentation

COPLAND, PIAZZOLLA, AND ESTÉVEZ with the Nashville Symphony Live Recording

JOHN DENVER: A ROCKY MOUNTAIN HIGH CONCERT CELEBRATION with the Nashville Symphony

NOV 21 | 7:30 PM Presentation

NOV 29 | 7:30 PM Special Event

“MERRY CHRISTMAS, LOVE” FEATURING JOSS STONE with the Nashville Symphony

AN EVENING WITH JEFFREY OSBORNE & PEABO BRYSON Presented without the Nashville Symphony.

Presented without the Nashville Symphony.

THANK YOU TO OUR CONCERT PARTNERS

The Ann & Monroe Carell Family Trust MOVIE SERIES PARTNER

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GiancarloSCENE Guerrero, music director NASHVILLE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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CRITICS’ PICKS: WEEKLY ROUNDUP OF THINGS TO DO Visit calendar.nashvillescene.com for more event listings

MUSIC

THURSDAY / 11.2 [WHEN I DREAM]

CRYSTAL GAYLE

I met Crystal Gayle when I was a kid, and her aura has stayed with me my entire life.

In the early ’90s, she owned Crystal’s in Belle Meade Plaza, a store full of sparkling home accessories where I was not allowed to touch a single thing — Or Else. There aren’t enough details to make a full story, but in my memory, Crystal was surrounded by … crystal … and she actually sparkled. She greeted me with her twinkling blue eyes, that smile and, of course, her trademark waterfall of hair. Since then, the legendary country singer has been inducted into the Grand Ole Opry by her sister Loretta Lynn and received a star on the Hollywood Walk of Fame. Her most recent album, 2019’s You Don’t Know Me: Classic Country, was co-produced by her son. Soak up her brilliance as she sings classic country songs from a decades-spanning career. The performance will surely stay with you. TOBY ROSE 8 P.M. AT THE FRANKLIN THEATRE 419 MAIN ST., FRANKLIN [THE WALLED CITY]

ART

CHINA IN THE JAPANESE IMAGINARY: MIYAMOTO RYŪJI’S PHOTOGRAPHS OF KOWLOON WALLED CITY

“THE SPACE BETWEEN,” JULIETTE ARISTIDES

Carrie Cushman, a graduate of Vanderbilt University and now the director and curator of the Edith Dale Monson Gallery at Hartford Art School, University of Hartford, is returning to her alma mater. She’ll present a lecture, free and open to the public, about Miyamoto Ryūji’s photography of the Kowloon Walled City in the years before its demolition in 1993. Kowloon Walled City was considered the most densely populated place on Earth, with more than 33,000 people living in what was essentially one city block in Hong Kong. Buildings were added on top of one another in an unregulated chaos that resulted in masses of wiring and maze-like alleys. Cushman will explore the legacy and

ART

THURSDAY, NOV. 2 [GET REAL]

CONTEMPORARY REALISTS: JULIETTE ARISTIDES, ALAN LEQUIRE AND RICHARD GREATHOUSE

Contemporary realism is as much a principle as it is an artistic genre — it’s a modern movement that’s informed by the historical realism of artists like Courbet who rebelled against the trend of romanticism that loomed large in 19th-century France. Contemporary realists are just as rebellious — they are artists who capture the objective truth of their subjects, disregarding all the trends in contemporary art since the advent of photography. That’s a broad distillation, but luckily for Nashvillians, the top contemporary realist painter of our time, Juliette Aristides, is in town to give a better one. On Thursday, she’ll discuss her work with Richard Greathouse and Nashville’s own Alan LeQuire, whose most notable works include the Athena sculpture at the Parthenon and Musica at the Music Row roundabout. The occasion is a curated exhibition of all three artists, which will be on view at LeQuire Gallery through Jan. 28, with an artists’ reception 4 to 6 p.m. on Thursday. Come to meet these masters and learn about their craft — there’s not likely to be a better opportunity than this. LAURA HUTSON HUNTER THROUGH JAN. 28 AT LEQUIRE GALLERY 4304 CHARLOTTE AVE.

CHARLIE AND THE CHOCOLATE FACTORY PAGE 20 THE BLACK OPRY REVUE: BLACK OPRY RECORDS LAUNCH PARTY PAGE 22

DEREK HOUGH: SYMPHONY OF DANCE PAGE 24

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 2:02 PM

MARGARET LITTMAN

MUSIC

4:10 P.M. AT VANDERBILT’S COHEN MEMORIAL HALL 1220 21ST AVE. S. [THE MUD, THE BLOOD AND THE BEER]

MUDHONEY W/HOOVERIII

MUSIC

Thirty-five years after their debut EP Superfuzz BigMuff helped Sub Pop Records loosely define the punk-spirited hard-rock sound of Seattle, Mudhoney is still making records that draw listeners in with their raw, brash sound.

In October, the grandfatherly rockers released their latest work, Almost Everything, created in the studio with longtime producer Johnny Sangster. But age hasn’t dulled their blades. The Grungefathers are still among the fiercest bands going, firing on all cylinders like a fully restored vintage hot rod. The dark comic lyricism and hypnotic psychedelia of the record’s first single “Almost Everything” serve as just a hint of the bleak brilliance Mudhoney’s 11th album has to offer. Mark Arm’s tongue-in-cheek songwriting for this album takes on the themes of dystopia that we all experience — the proliferation of misinformation, a planet facing environmental disaster and the rise of authoritarianism. The opening slot is held by California six-piece Hooveriii (pronounced “Hoover 3”). The expansive project of musician Bert Hoover, H-3 marries prog sensibilities with sunshine-pop melodies of the West Coast. The result is an off-kilter, electric Kool-Aid groove that has just a hint of Daevid Allen’s Gong and the trilogy of albums Mr. Bowie made in Berlin. P.J. KINZER 8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST. [BODY SHAMING]

UNIFORM W/BODY VOID

New York City’s Uniform sounds like an inner-ear skin graft. Some might find that description repulsive and off-putting, but if it piqued your curiosity then I cannot recommend Uniform’s 2020 LP Shame highly enough. The Gotham trio features members of post-punkers The Men, powerviolence revivalists Hatred Surge and short-lived power electronicists The

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Whip and the Body. And that combo should give potential listeners a pretty good feel for what Uniform does on record. Using samplers, transistors and guitars, the noise-rock unit draws from myriad underground influences to create a sound that is equally harsh and thought-provoking (and at times just a bit terrifying). Their tourmates Body Void share a similar spirit for punk-informed industrial music, creating ugly sounds by blending sludgy down-tuned metal with synthesizers pushed to the limits of what musical electronics can handle. The Vermont threesome went into the studio with Uniform’s Ben Greenberg at the mixing board to create their most recent work, Atrocity Machine, released last month on prolific extreme music imprint Prosthetic Records.

P.J. KINZER

7 P.M. AT DRKMTTR 1111 DICKERSON PIKE [PANIC! AT THE CART CORRAL]

GROCER W/AUSTIN HOKE & ZOOK

Philadelphia rocker outfit Grocer’s music is plenty of fun; their recent EP Scatter Plot zigs and zags from unsettled and unsettling noises that join together at odd angles to refrains you can shout or whistle along to. But the trio also offers a potent reminder that songs that are a treat to listen to can, y’know, be about something. Throughout their catalog, Grocer keeps asking questions about our decision as a society to place so much importance on the commercial utility of … well, everything, from time to the environment to artistic creativity.

On their tour stop at The 5 Spot, they’ll be supported by some Nashvillians who have a similar knack for Trojan-horsing important and interesting ideas into enjoyable music. Namely, that’s multi-instrumentalist Austin Hoke — whom you might have seen backing up Tyler Childers, gigging with his own band Heinous Orca, or doing a solo set of Bach cello suites at Springwater last Christmas — and Zook, Zach Tittle’s ’70s-pop-leaning project that recently celebrated its new LP Vases.

SATURDAY / 11.4 [A WORLD OF PURE IMAGINATION]

CHARLIE AND THE CHOCOLATE FACTORY

For more than 90 years, Nashville Children’s Theatre has opened a world of “pure imagination” to youngsters throughout the region. So what better place to stage a brandnew adaptation of Roald Dahl’s Charlie and the Chocolate Factory? This Theatre for Young Audiences world premiere features original music and lyrics by Marc Shaiman and Scott Wittman (the creative team behind Hairspray), as well as familiar songs from the 1971 film Willy

SHOPPING

A. SAVAGE

Wonka & the Chocolate Factory — including “The Candy Man,” “I’ve Got a Golden Ticket” and “Pure Imagination.” Directed and choreographed by NCT’s executive artistic director Ernie Nolan (with musical direction

by Christopher Bailey), the cast includes Garris Wimmer, Corrie Maxwell, Megan Murphy, Dustin Davis, Douglas Waterbury-Tieman, Katie Bruno, Bakari Jamal King and more. And you can bet that there will be some truly fanciful design elements, starting with William Ditty’s costumes. AMY STUMPFL NOV. 4-DEC. 17 AT NASHVILLE CHILDREN’S THEATRE 25 MIDDLETON ST. [ALL HAIL HAIL]

HAIL DARK AESTHETICS’ 10TH ANNIVERSARY

There’s no need to say goodbye to spooky shit just because October’s over. Just ask the good folks at Hail Dark Aesthetics, the city’s one-stop shop for all things creepy. Hail celebrates its 10th anniversary on Saturday with a book signing by the Satanic Chef, Adam Ostrofsky, as well as the return of the Bizarre Bazaar, with tons of market vendors (like Bat’s Baths bath and body treats and Robert Frazor’s bone furnishings), live music and even tarot readings. But the best part? They’re offering free admission into the brand-new Hail Mini-Museum — it’ll be a hell of a time. For more information, follow @hailnashville on Instagram. LAURA HUTSON HUNTER NOON TO 5 P.M. AT HAIL DARK AESTHETICS 2410 GALLATIN PIKE

MONDAY / 11.6 MUSIC

impact of Miyamoto’s work as part of the alumni lecture series. The talk will be held in 203 Cohen Memorial Hall with a reception to follow.

[COURT-APPOINTED]

Andrew Savage, primarily known as frontman of NYC-based art-punk outfit Parquet Courts, is a prolific artist. In roughly 12 years, the quartet has issued seven LPs, two EPs, a live album (recorded at Third Man Records), a collaborative album with Daniele Luppi and a handful of non-album singles. Savage even received a Grammy nomination for Best Recording Package for the album art of Parquet Courts’ 2016 release Human Performance. But he’s also ventured outside the confines of the Courts as a solo artist under the name A. Savage, issuing his sophomore effort, October’s Several Songs About Fire, via Rough Trade. Several Songs features less of the kinetic, uptempo, live-wire energy the Courts are known for, largely opting instead for downtempo explorations that frequently clock in at five or more minutes — with the exception of nervy single “Elvis in the Army.” It’s an approach that has fetched Savage comparisons to folk titan Bill Callahan, and it works — Savage’s unique baritone and literate lyricism are served well by tunes like “Hurtin’ or Healed” and “Thanksgiving Prayer.” North Carolina’s Sluice and Nashville’s own Dillon Watson open. D. PATRICK RODGERS 8 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.

THEATER

MUDHONEY

MUSIC

PHOTO: EMILY RIEMAN

MUSIC

FRIDAY / 11.3

[RELATIVITY PRINCIPLES]

THE PAPER KITES

The Paper Kites’ new album At the Roadhouse clocks in at a healthy 61 minutes, and I perceive it as an example of countryfolk-pop-rock time dilation. Led by singers and songwriters Sam Bentley and Christina Lacy, the band got together in 2009 in Melbourne, Australia. They hit in 2010 with a dreamy tune titled “Bloom,” which belongs on any playlist of songs Rory and Lorelai Gilmore might have

STEPHEN TRAGESER

9 P.M. AT THE 5 SPOT 1006 FOREST AVE.

THE PAPER KITES

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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NOVEMBER 18

IV & THE STRANGE BAND

NOVEMBER 7

BRITTANY HOWARD

DECEMBER 8

WITH L’RAIN

PRESENTS

A McCRARY KIND OF CHRISTMAS

14TH ANNUAL LIVE CELEBRATION

NOVEMBER 11

THE McCRARY SISTERS, BUDDY MILLER, EMMYLOU HARRIS, MARGO PRICE, ETTA & BOB BRITT, TRAVIS LOGAN UNITY CHOIR, DANNY & MABLE FLOWERS, BIZZ AND MANY MORE!

WARD DAVIS

WITH JOSH MELOY AND CLINT PARK

DECEMBER 10

SUNDAY SERVICE

JANUARY 6

DRAG BRUNCH • 1-4 PM

EARL SCRUGGS’ 100TH BIRTHDAY CELEBRATION

AGES 21+ ONLY ON SALE FRIDAY AT 10 AM

ON SALE FRIDAY AT 10 AM JANUARY 27

JOHN CRIST

November in...

ON SALE FRIDAY AT 10 AM FEBRUARY 3

11/12

hosted by

WNXP NASHVILLE

with DTL JAMS

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TUESDAY

11/25 SATURDAY

RON GILMORE

with CHIKAH

11/21

with WORK WIFE

11/30 THURSDAY

HUSBANDS JACK KAYS

11/16 THURSDAY

MUSIC TRIVIA

SUNDAY

BMI SHOWCASE

TOPOGRAPHIES

SATURDAY

11/4

with GREG FREEMAN

LOCKELAND STRINGS, IZZY HELTAI & MORE

11/18 SATURDAY

FRIDAY

with EVE MARET

MARY LATTIMORE

11/15 WEDNESDAY

11/17

& THE IMPOSSIBLE TRUTH

RUNNER & SUN JUNE

FRIDAY

TUESDAY

WILLIAM TYLER

“FLORIDA GIRL”

11/10

11/14

1960s RARE & ELECTRIFYING RECORDS

ALBUM RELEASE SHOW!

SLUICE & DILLON WATSON

FRIDAY

THURSDAY

BILLIE MARTEN

with MAX HELGEMO

11/9

PERIOD BOMB & CIRCLE K

THURSDAY

STYROFOAM WINOS

11/3

PISSE

11/2

TRE BURT A. SAVAGE LYDIA LUCE

THREE DOG NIGHT ON SALE FRIDAY AT 10 AM MARCH 8 & 9

GREENSKY BLUEGRASS ON SALE FRIDAY AT 10 AM JUNE 19

BRIAN REGAN

ON SALE FRIDAY AT 10 AM

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The Blue Room for your upcoming event!

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623 7TH AVE S NASHVILLE, TENN. NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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NATHANIEL RATELIFF

You likely recognize Nathantiel Rateliff as the dynamite frontman of his Stax Records soul outfit The Night Sweats — and that’s OK! Rateliff is best known for leading his band through sweat-soaked sets of timeless, fun-as-hell rock ’n’ roll tunes — come on, who hasn’t shouted along to the “son of a bitch!” chorus in “S.O.B.”?

— but he’s not only that guy. In early 2020, Rateliff released And It’s Still Alright, an underthe-radar solo album full of sobering folk tunes that navigate tender-to-the-touch moments of loss and grief. A month after the album debuted, COVID-19 took hold of live entertainment. The virus sidelined Rateliff’s solo tour just days after it launched — until now. Three-and-a-half years following the release of And It’s Still Alright, Rateliff hits the Ryman Auditorium to give this collection of songs its due. The bill promises a show that varies from solo, acoustic renditions of Rateliff songs to performances backed by a full band and string quartet. Kevin Morby opens.

MATTHEW LEIMKUEHLER

SPORTS

7:30 P.M. AT THE RYMAN 16 REP. JOHN LEWIS WAY N. [THE OWLS ARE NOT WHAT THEY SEEM]

VANDERBILT WOMEN’S BASKETBALL VS. KENNESAW STATE

One of the strangest differences between college and pro sports is that in college, the “preseason” actually counts toward a team’s final record. While the Commodores are still two months away from their first SEC game against Mississippi State, they’ll open the season at Memorial Gymnasium against the Owls of Kennesaw State on Nov. 6 for the first of 14 nonconference matchups. The preseason features the late-November South Point Shootout in Las Vegas, facing N.C. State in ESPN’s annual ACC/SEC Challenge, and a game against

22

TUESDAY / 11.7 [HELLOOOOO!]

MRS. DOUBTFIRE

It’s hard to believe that it’s been 30 years since Mrs. Doubtfire first landed on the silver screen, but beginning next week, you can experience this charming ’90s hit in a whole new way, as the Tennessee Performing Arts Center welcomes the musical comedy Mrs. Doubtfire to Jackson Hall. Based on the beloved film starring Robin Williams and Sally Field, the story follows Daniel, a divorced man who disguises himself as a feisty Scottish nanny in order to spend more time with his kids. Directed by four-time Tony Award winner Jerry Zaks (The Music Man, Hello, Dolly!, Guys and Dolls), the musical features original music and lyrics by Nashville’s own Wayne Kirkpatrick, along with his brother Karey Kirkpatrick — the same team that brought us the Tony-nominated musical Something Rotten! And it’s great to see Rob McClure hitting the road to reprise his Tonynominated Broadway performance, starring alongside his real-life wife Maggie Lakis.

AMY STUMPFL

NOV. 7-12 AT TPAC’S JACKSON HALL 505 DEADERICK ST. [LONG WAY TO GO]

CHRISTOPHER CROSS

Apart from the obvious masterpieces of yacht rock — Steely Dan’s “Kid Charlemagne”

and Little Feat’s “Red Streamliner,” among many other examples of funk-jazz-pop fusion — the greatest song in the genre is Christopher Cross’ 1979 “Ride Like the Wind,” which went to No. 2 on Billboard’s Hot 100 chart in 1980. What makes “Ride Like the Wind” so evocative and addictive has partly to do with the ingenious structure of Cross’ tale of a fateful road trip. “Ride” gets to its amazing chorus in a flat 50 seconds, and Cross — along with the justly famed yacht-rock vocalist Michael McDonald — sings it like he’s this very normal guy who happens to hold the ineffable secrets of the ’70s in his hand. Cross stands as the ultimate student of Steely Dan’s hipster auteurs, Walter Becker and Donald Fagen. Cross translated the jazz-meets-R&B sound Becker and Fagen labored over on Steely Dan’s Aja and The Royal Scam for an audience that wasn’t interested in the depictions of countercultural malaise you hear on, say, “Deacon Blues” or “Kid Charlemagne.” In fact, think of “Ride Like the Wind” as a corollary recording to “Kid Charlemagne,” which places 1960s LSD manufacturer and Grateful Dead associate Owsley Stanley in a desperate situation in which he’s trying to scrape up enough money to put gas in the car. In contrast, Cross rides with a full tank and his own brand of angst, and his guitar solo is worthy of the Dan themselves. Can superficial jazz-pop-rock be as good as the deep kind? I say yes. EDD HURT 8 P.M. AT THE CMA THEATER AT THE COUNTRY MUSIC HALL OF FAME 224 REP. JOHN LEWIS WAY S. [ON THE RECORD]

THE BLACK OPRY REVUE: BLACK OPRY RECORDS LAUNCH PARTY

Since its launch in 2021, the Black Opry organization has been doing critical work building both a platform and a community base for Black and brown artists in the country and Americana worlds. What started as a significant online presence evolved into The

Black Opry Revue roadshow, an artist residency in Philadelphia via public radio station WXPN, showcases at big festivals like AmericanaFest and Newport Folk Fest and much more. With a new home base set up in Nashville, Holly G and Tanner Davenport and their crew — whom the Scene recognized in our recent Best of Nashville issue — have taken the next big step and set up their own label. It’s no small deal in the record business; when it was a fledgling industry a century ago, executives made a decision to capitalize on racism that’s affected artists of color ever since. Tuesday’s installment of The Black Opry Revue on the rooftop at Acme Feed and Seed is the launch celebration for Black Opry Records. Several of the folks on the bill (like Tylar Bryant, Aaron Vance and Jett Holden) have been part of Black Opry Revue shows since the early days, and others joined in more recently (like Julia Cannon, Denitia, Nicky Diamonds, Carmen Dianne and Crystal Rose). Vance’s 2021 album Cabin Fever, in which he delivered smart songs in a fantastic baritone, was a standout of that year; Denitia, who recently returned to Nashville after several years away, stuns on her gentle 2022 LP Highways. But you don’t want to miss any of the performers, because you’ll be hearing about ’em later. There’s no cover, but you must RSVP via Acme’s website. STEPHEN TRAGESER 7 P.M. AT ACME FEED AND SEED 101 BROADWAY

WEDNESDAY / 11.8 MUSIC

[... AND IT’S FINALLY ALRIGHT]

nearby Lipscomb University. The 11 a.m. KSU matchup will mark the beginning of coach Shea Ralph’s third season on the Dores’ sideline. With Vandy grad student Jordyn Cambridge (now fully injury free) being named preseason All SEC Second Team, a lot of eyes will be on her as the leader of the team. P.J. KINZER 11 A.M. AT VANDERBILT’S MEMORIAL GYMNASIUM 210 25TH AVE. S.

MUSIC

MUSIC

8 P.M. AT BROOKLYN BOWL 925 THIRD AVE. N.

MRS. DOUBTFIRE

THEATER

EDD HURT

MUSIC

bonded over in the post-countercultural art mecca of Stars Hollow. (In fact, I did a quick search of “Gilmore Girls Paper Kites” and came up with two solid playlists that did indeed feature “Bloom” and another acoustic number by the band, 2018’s “Only One.”) At the Roadhouse registers as basic country rock — the songs are effective, but they’re quite simple, and the album combines canny dynamics with gauzy guitar and vocal textures. Since nearly all the songs on At the Roadhouse run at a languorous tempo, it’s great to hear the band get into Tom Petty-CSN&Y-Chris Bell territory on “June’s Stolen Mustang,” which finds the protagonist driving into the “backstreets of a backwater town” in search of a new start that might or might not be in the cards. “June’s Stolen Mustang” rocks in the time-honored countryrock manner, and the slow ones end up emitting their own narcotic vibe as they meander through space-time. Opening is Minnesota rock band The Cactus Blossoms, which orbits in postEverly Brothers space on its 2022 album One Day.

[I KNOW IT’S ONLY ROCK ’N’ ROLL]

SOUTHERN CULTURE ON THE SKIDS W/THE BEAT CREEPS

Now in their 40th year, bodacious retro-rockers Southern Culture on the Skids continue to throw what Rolling Stone calls a “hellraising rock and roll party.” You may remember their 1995 smash hit “Camel Walk,” but who can forget other cult classics such as “Nashville Toupee,” “Too Much

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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Live Piano Karaoke 6 NIGHTS A WEEK! *Closed Tuesdays

EAST NASH V I LLE

DRUNKEN DISNEY SINGALONG 7-9 PIANO KARAOKE 9-12 w/Katie Pederson FRI 11.3 PIANO KARAOKE 6-9 w/Polina Senderova PIANO KARAOKE 9-1 w/Kira Small SAT 11.4 ALI MURPHY 7-9 PIANO KARAOKE 9-1 w/Benan SUN 11.5 OPERA ON TAP 7-8:30 PIANO KARAOKE 8:30-12 w/Kira Small MON 11.6 SHOW TUNES @ SID’S 7-9 PIANO KARAOKE 9-12 w/Krazy Kyle WED 11.8 HAGS REEL TO REEL 6-8 BURLESK 8-9 ($7) PIANO KARAOKE 9-12 w/Paul Loren THU 11.2

UPCOMING SHOWS AT THE MUSEUM’S CMA THEATER

NOVEMBER 7

CHRISTOPHER CROSS

*available for private parties!*

NOVEMBER 8

AN EVENING OF MUSIC WITH

3245 Gallatin Pike • Nashville TN 37216 sidgolds.com/nashville • 629.800.5847

VALERIE JUNE, RACHAEL DAVIS, THAO, AND YASMIN WILLIAMS

ERROR 404

DECEMBER 5 and 6

GIRL NAMED TOM

ONE MORE CHRISTMAS TOUR

nothing to do

DECEMBER 15

RODNEY CROWELL

THE CHICAGO SESSIONS TOUR

calendar.nashvillescene.com

DECEMBER 20

DARREN CRISS

A VERY DARREN CRISSMAS

DECEMBER 21

BIG BAD VOODOO DADDY

BIG BAD VOODOO DADDY’S WILD & SWINGIN’ HOLIDAY PARTY

MARCH 5

GEOFF TATE & ADRIAN VANDENBERG

TICKETS ON SALE NOW Museum members receive exclusive pre-sale opportunities for CMA Theater concerts.

Learn more at CountryMusicHallofFame.org/Membership.

BOOKED BY @NATIONALSHOWS2 • NATIONALSHOWS2.COM

The CMA Theater is a property of the Country Music Hall of Fame and Museum.

224 REP. JOHN LEWIS WAY S • NASHVILLE, TN CMATHEATER.COM • @CMATHEATER

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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11.3

11.1

FRI 11.3

KENDALL BOWSER SOBER TRUTHS RELEASE SHOW FEAT: ELENI IGLESIAS • ELIZA HARRISON SMITH • OLIVIA FRANCES

SAT 11.4

GEL

SUN 11.5

MCKAY • BUDGE • EDGEHILL

6PM VINTAGE SOUL NIGHT 5PM THE SONNYSICK HOMEBOY FREE 9PM JESSE KRAMER BAND

11.4 11.5

DIRTY POP PARTY

4PM SPRINGWATER SIT-IN JAM FREE

MON 11.6 SUNFLOWER KINK • THERE GO I • SHUTEYE

5PM WRITERS @ THE WATER OPEN MIC FREE 9PM THE CATASTROPHES, OWL KEY,

TUE 11.7

ACTION PARK & CASUAL SECTS

ULTIMATE COMEDY • FREE OPEN MIC!

WED 11.8 KID PASTEL • CAROLINE ROMANO / MOM ROCK

115 27TH AVE N. OPEN WED - SUN 11AM - LATE NIGHT

2412 GALLATIN AVE

@THEEASTROOM

VALERIE JUNE Pork for Just One Fork” or “Banana Puddin’”?

With tongues firmly planted in cheeks, SCOTS have never been afraid to keep it lewd and rude. However, the band’s rowdy catalog has matured alongside its members over the last four decades, most notably on their latest album At Home With Southern Culture on the Skids, released in 2021. Don’t sleep on local gothabilly garage ghouls The Beat Creeps, who kick the night off with fresh wax copies of their most recent Halloween single “The Phantom” in tow.

JASON VERSTEGEN

DANCE

8 P.M. AT 3RD AND LINDSLEY 818 THIRD AVE. S. [WITH THE STAR]

DEREK HOUGH: SYMPHONY OF DANCE

MUSIC

I’m not sure that a Fred Astaire equivalent exists in 2023. Ballroom dancing skills don’t necessarily put a man higher in the social consciousness anymore, but they should! World of Dance judge and Dancing With the Stars alumnus Derek Hough (also brother to Julianne Hough) has surpassed the shows that made him and produced a new national touring stage show, Symphony of Dance. The show promises “elegant ballroom, sexy Latin, captivating contemporary and all your favorite styles of Dance,” (note the capital D) accompanied by a live band. To sweeten the deal, audiences can take in a true power couple: Hough and his new wife Hayley Erbert. If you’re interested in having a crush on Derek Hough, look no further than the 2013 independent dance film Make Your Move. He actually learned to tap dance for the role — is there anything he can’t do? Or check out the Step Into … The Movies TV special for an Astaire-tinged tribute. HANNAH HERNER 7 P.M. AT THE GRAND OLE OPRY HOUSE 600 OPRY MILLS DRIVE [PROMISE OF THE MOTHER CHURCH]

LUKAS NELSON AND PROMISE OF THE REAL

Lukas Nelson — the 34-year-old son of country legend Willie Nelson — continues to forge his own path as a songwriter and showman in the roots-rock scene. He’ll bring his ace band Promise of the Real back to the Ryman Auditorium for a one-night show in support of a

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new studio LP, Sticks and Stones. With tunes like the honky-tonkin’ Lainey Wilson collaboration “More Than Friends” and country-rocker “Sticks and Stones,” the album marks the latest in a run of solid releases from Nelson and company.

(Seriously, go to the Ryman for the live rendition of groovy rock song “Find Yourself,” but stay for the still-timely message of fan-favorite “Turn Off the News” or the gooey ballad “Just Outside of Austin.”) Need more reason not to sleep on this show? Just ask Neil Young, who enlisted the band to back him for years on the road and in the studio. MATTHEW LEIMKUEHLER 7:30 P.M. AT THE RYMAN 16 REP. JOHN LEWIS WAY N. [WIDENING VENN DIAGRAM]

AN EVENING OF MUSIC WITH VALERIE JUNE, RACHAEL DAVIS, THAO & YASMIN WILLIAMS MUSIC

11.2

THU 11.2

PHOTO: RENATA RAKSHA

Est. 1896

At a glance, you might not see a ton of common threads between the musicians on the marquee for Wednesday’s show. Sure, Valerie June, Rachael Davis, Thao and Yasmin Williams are all insightful, inventive and gifted writers and performers, but they didn’t grow up or currently live near each other, and the span of their careers thus far varies. And they don’t make music that’s all that similar: In an extremely general sense, June blends soul and R&B with string-band music, and Davis is a fantastic vocalist who contributes to lots of others’ records and describes her own work as “Motown banjo.” Meanwhile, Thao is wellknown for incisive and organic indie rock, and Yasmin Williams has been blazing new trails in the realm of fingerstyle guitar. However, Anya Siglin, promoter of the Ann Arbor Folk Fest, invited the four to play a kind of writers’ round in January, and the blend of solo performances and discussions about where their perspectives diverge and where they intersect was a hit with the crowd — so much so that they’ve turned it into a traveling show. Find out what it’s all about when they stop in at the CMA Theater on Wednesday.

STEPHEN TRAGESER

8 P.M. AT THE CMA THEATER AT THE COUNTRY MUSIC HALL OF FAME 224 REP. JOHN LEWIS WAY S.

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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k o w k n u p sush

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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FOOD & DRINK: DATE NIGHT

PUNK WOK, BLACK DYNASTY RAMEN AND ANSWER A three-stop stroll through Sylvan Park

MISO TORI PAITAN AT BLACK DYNASTY SECRET RAMEN HOUSE

PERUVIAN ROLL AT PUNK WOK

Date Night is a multipart road map for everyone who wants a nice evening out, but has no time to plan it. It’s for people who want to do more than just go to one restaurant and call it a night. It’s for overwhelmed parents who don’t get out often; for friends who visit the same three restaurants because they’re too afraid to try someplace new; and for busy folks who keep forgetting all the places they’ve driven past, heard about, seen on social and said, “Let’s remember that place next time we go out.”

I TOLD MY husband Dom I loved him first.

He was just supposed to be the guy I went out with a couple times to get back in the game after a devastating breakup. Fun, light and no commitment. I was shocked to find myself

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PHOTO: ELIZABETH WISEMAN

PHOTO: ERIC ENGLAND

BY DANNY BONVISSUTO

falling for him on our first date — at the longdefunct Nick & Rudy’s in Midtown — and spent months trying to talk myself out of it.

When I couldn’t, and I told him I loved him, he replied that other women had said they loved him before, and that he wanted to be sure before he said it to me. We laugh about this now, because he told me he loved me less than 24 hours later, and has said it at least 10 times a day ever since.

Back then, “I love you” meant “I cannot get enough of you.” Two decades later it means “I like you half the time and will stick it out the other half.” These days, I feel the most love when Dom says other three-word phrases like “I’ll clean up” and “half-price sushi.” The latter is the happy hour special every day from 3 to 6

p.m. at Punk Wok. Half-price sushi is not a good idea if it’s a sad-ass crunchy shrimp roll that’s died a slow, fishy death in a supermarket case.

But it’s a fantastic idea at Punk Wok, where the freshly made Matt’s Tatts roll — crab and cucumber inside and tuna on top — is $11 at 5 p.m. and $22 an hour later.

STOP 1: PUNK WOK Tucked into a first-floor corner of Sylvan Supply, Punk Wok isn’t just a fun play on words; it’s a mission. Smallish space, red-and-black, with a nice little patio. Reggae and The Strokes.

Mirrored walls and a military mural along the back with the Johnny Rotten quote, “Don’t accept the old order. Get rid of it.”

If the old order is a bloated list of sushi rolls,

each more overworked than the last, Punk Wok offers a blessedly restrained number of rolls, nigiri and sashimi. Dom is an anti-mayo guy,

Punk Wok 4101 Charlotte Ave. punkwok.com Black Dynasty Secret Ramen House 4101 Charlotte Ave. blackdynastyramen.com Answer 132 46th Ave. N. answerrestaurant.com

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 3:40 PM

PHOTO: ANGELINA CASTILLO

STRAWBERRY-RHUBARB CRUMBLE AT ANSWER which I consider a character flaw, so we shared a hamachi roll; the Real-Deal-California (with jumbo lump crab instead of the fake stuff); the chef’s special, which on our visit was a very lightly fried smoked salmon and cream cheese roll with spicy salmon on top; and the Peruvian, by far our favorite, a tuna and avocado roll topped with bright shrimp ceviche. If more rolls had Punk Wok’s ceviche on top, I’d never need to use wasabi or soy sauce for flavor again.

Want to make it interesting? For $9 extra you can play Russian roulette with any roll, which means they inject one piece with a super spicy pepper sauce. Whoever gets the spicy roll also gets a kamikaze shot, which I can’t imagine is all that helpful.

The half-price deal doesn’t apply to three rolls on the menu, including the daily market special. Still, we were out the door for $55, including a full-price beer.

STOP 2: BLACK DYNASTY SECRET RAMEN HOUSE Just across the courtyard and the thoughtfully preserved train tracks is Black Dynasty Secret Ramen House — secret because it’s in the Sylvan Supply outpost of Bearded Iris Brewing, and the only signage is a cool neon

skull filled with ramen brains to the right of the main door.

To keep it secret-ish, simple and true to the goal of making the best ramen they can, every day, from scratch (yes, that includes the noodles), Black Dynasty focuses on the food and puts the patrons to work. We seated ourselves, ordered and paid for our food with a QR code at the table and ordered drinks separately from Bearded Iris bartenders.

From our two-top by the door, I faced Black Dynasty’s expo window, where I watched a guy wipe stray drips of broth off the sides of steaming bowls, add a square of nori and dip in the ramen spoon before handing it off for delivery. The view was interesting, but the seating was super funky. I was down low in the banquette, Dom was much higher in the chair, and the table between us was long, which made him feel a little too far away for sharing and conversation. I watched others struggle to find a groove with the seating, including a college student with visiting parents, and two nurses in scrubs just off a shift. It didn’t seem to bother the woman with Bettie Page bangs and perfect black lips. How she kept that lipstick on and slurped ramen at the same time is a mystery to me.

We had the miso tori paitan, which is pork

loin and broccolini in a rich chicken broth, and vegan tantanmen with tofu. Tantanmen is the Japanese take on Sichuan dan dan noodles and ground pork. Where most tofu in ramen is presented cubed, Black Dynasty works some sort of magic to make their tofu look and taste like spicy ground pork. I don’t know what that magic is, and I don’t want to know, but it was different and damn tasty. All ramen options at Black Dynasty are infinitely customizable: If you want more or none of any ingredient, there’s a box to check for that.

STOP 3: ANSWER We left two to-go containers of ramen in our car and took a long, slow stroll through Sylvan Park to Answer, the neighborhood bistro that faces 46th Avenue North. The cool night and leaves in the street got us talking about fall.

I said it makes me want to drink hot tea and read books under a blanket. Dom said fall makes him want to go to high school football games and egg houses. Same book, vastly different pages.

When we arrived at Answer at 7:30 p.m. on a Friday night, there was a half-hour wait for two seats at the bar. It’s a popular place, and wellsuited for a one-restaurant date night or just apps, so we took a walk south on 46th to the

roundabout, and our name came up shortly after we returned.

The bar is the heart of Answer, and runs almost the entire length of the restaurant’s center, which is a nice change from being separated from the rest of the restaurant.

There’s plenty of other table seating around it, including the covered and heated patio out front, but the bar has a great energy, and the people-watching is top-notch.

While we shared a strawberry-rhubarb crumble and blondie with caramel ice cream off their verbal dessert menu, we watched Vanderbilt baseball coach Tim Corbin have dinner with his wife while watching college football on his laptop. This inspired a conversation about whether I’d be annoyed if Dom watched college football on his laptop during a date night (depends on the circumstances, but probably so) and a guessing game about whether each couple around the bar was dating or married. Scrolling phones while eating or looking more than slightly annoyed = married. Talking, listening and looking at each other = dating.

I’d like to think that one of the women at the bar was there just to get back in the dating game after a bad breakup, and was quietly falling in love against her better judgment. ▼

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 3:41 PM

TO FREE ND AT T E

N OV E M B E R 4 + 5 / O N E C 1 T Y / 1 0 A M - 4 P M

KID & PET FRIEN D LY

Join us for the Fall edition of Crafty Bastards on November 4 + 5 at oneC1TY! The FREE TO ATTEND festival will be our biggest yet with 120 crafters selling their handmade jewelry, body care, gourmet food products, pet goods and more! Knock out your holiday shopping and support local while enjoying craft cocktails, wine, beer, food truck fare, live music, activities and more.

SPONSORED BY

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

WE ADDED EVEN MORE FUN THIS YEAR!

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SATURDAY, NOVEMBER 4 NOON-4PM

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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PET OF THE WEEK!

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JASPER is a handsome 4-yearold Black Cat who is ready for his most purrfect furever home.

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He does reply. Almost instantly, too. Heads up though: His meow replies usually mean: “Pet Me!” Yup. That’s Jasper. He wants (and deserves) all of the attention! He would be a great addition to any family. Could it be yours?

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Nashville’s murals are proof that my daughters are surrounded by greatness — and proof of North Nashville’s resilience

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PHOTO: ERIC ENGLAND

Adopt. Bark. Meow.

Microchip. Neuter. Spay.

MURAL IN FRANKIE PIERCE PARK BY OLASUBOMI AKA-BASHORUN 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.

THERE ISN’T A mural from Charlotte Pike to Jefferson Street that my 8-year-old doesn’t love.

Whether we’re walking, biking or driving by, she marvels at vivid colors, geometric designs and the people who stop in front of them for selfies.

I moved here by way of Baltimore 12 years ago. And although Nashville doesn’t have scrapple sandwiches, extra-lump crab cakes and club music blasting from marble stoops, or aye yo’s, huns or long, drawn-out double oo’s, I appreciate reconnecting with the Southern soil that my family left behind many decades ago. Through art, I always find pieces of home sprinkled across Music City — grocery stores, historic buildings, greenways and street corners once bustling with the lives of the ancestors I never knew.

In 2021, our homeschool enrichment program hosted a session centered on the mural in Frankie Pierce Park downtown. Olasubomi Aka-Bashorun, one of the artists who painted the mural, described his process while explaining Juno Frankie Pierce’s pivotal role in the women’s suffrage movement. Pierce significantly impacted African American women in this city. I could see what learning about Pierce did for my daughter and the other children in attendance. “Juno Frankie Pierce is a freedom fighter that everyone should know about,” proclaimed one of the 10-year-old participants. I thought, “This is why representation and education matter.”

After the lecture, the children created mini

murals, throwing paint balloons against whiteboards showcasing vibrant explosions of color.

That day, my daughter fell in love with the mural as an art form — and as a writer, I fell in love with another medium that harnessed the cultural memories of my people.

An online search led me to Creative Girls Rock — a Nashville-based nonprofit whose mission is to educate and empower young girls to cultivate creativity through art. Creative Girls Rock planned to paint a community mural on Slim & Husky’s late-night cinnamon-roll spot The Rollout on Buchanan Street. Located in historically Black North Nashville, Buchanan has surely seen the likes of civil rights heroes Z. Alexander Looby, Diane Nash and John Lewis, as well as artists like Zora Neal Hurston and Aaron Douglas.

Housing discrimination and the building of the interstate that bisects the area contributed to inequalities that persist today, with gentrification now displacing Black residents. But Black Nashvillians persist. One Drop Ink Tattoo Parlour, Slim & Husky’s, The Southern V and more businesses have joined the decades-old Woodcuts Gallery and Framing and Alkebu-Lan Images. These are thriving, bustling, Black-owned destinations in our community.

So when I saw that Creative Girls Rock was inviting 5- to 16-year-olds to claim a wall, I jumped at the chance. The children were asked to select flowers that would be painted along with their names on the building. My daughter was ecstatic. She picked a rose because red is her favorite color, and she insisted that “the world just needs a little more love.” The project came at a time when we needed it the most, amid a pandemic and in the wake of the killings of George Floyd, Daunte Wright and Breonna Taylor, as well as local men Jocques Clemmons and Daniel Hambrick, who were killed by police in 2017 and 2018. The community came together and rallied around Creative Girls Rock’s project unapolo-

getically celebrating Blackness and women’s creativity through art. The affirmations painted on the mural — beautiful, intelligent, bold, worthy, valuable — also represented the promise of what the Buchanan district can do for our community.

However, just three years later, the mural on Buchanan Street was undone. One summer day, I drove by and noticed that the mural was being painted over with wide, pink paint swatches. When I went to the Creative Girls Rock Instagram page, I saw this message: “Unfortunately, it appears it’s getting painted over as someone moves into the space. It will be a devastating loss of positive energy and affirmations for the people of this community as the erasure continues.”

Like at so many other places in Nashville, the building changed hands, and the new owners erased the past. This type of erasure is unnerving. It’s the silent kind. It was heartbreaking to tell my daughter that the mural she contributed to will no longer be there. But then I thought about one of our other favorite murals on Main Street. “They tried to bury us,” it says. “Little did they know we are seeds.”

Beautiful. Intelligent. Bold. Worthy. Valuable.

Fierce. These words describe the strength and creative contributions of Black women — and of the resilience of the North Nashville community that persists even in the face of erasure. For my family, the Creative Girls Rock project on Buchanan Street is more than just a mural. It’s a legacy we are happy to have been a part of.

Wherever I go now in the city, alongside a skyline continuously crowded with cranes and new infrastructure, I take a few moments to admire the imprint of humanity through canvases of art. Nashville’s murals collectively serve as an intimate portrait of the city where I birthed my two daughters. The murals are proof that they are surrounded by greatness. ▼

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 2:01 PM

ART: CRAWL SPACE

CAMP AND COLLAGE COMMINGLE AT NOVEMBER’S FIRST SATURDAY HAPPENINGS Chalet Comellas plays with AI, Billy Renkl comforts crows, and Lindsy Davis deconstructs domesticity

DOWNTOWN Abstract painter Jane Braddock has been showing her work at Tinney Contemporary since the gallery opened back in 2008. The artist’s abstract fields, forms, gestures, spots and splatters draw on vibrant palettes to create energized layers of chromatic movement. Her work also often includes text in poetic grids without punctuation — her words and lines snapping into pieces at the edges of her canvases. Braddock’s fragmentary phrases often linger on natural and spiritual subjects, but they also speak to the way gallerygoers “read” two-dimensional wall art and the way they read into it. Braddock’s 3 Rivers solo exhibition debuts at Tinney’s opening reception this Saturday. ➡DETAILS: 2-8 p.m. Saturday at Tinney Contemporary, 237 Rep. John Lewis Way N.

CHALET COMELLAS AT ZEITGEIST WEDGEWOOD-HOUSTON Nashville-based artist and curator Chalet Comellas has been busy. The new media displays she curates with Clint Sleeper at Unrequited Leisure are always don’t-miss offerings at Wedgewood-Houston’s First Saturday happenings. And Comellas and Sleeper just closed their excellent Shaman in the Loop multimedia exhibition at Gallery 204 at Vanderbilt University. That show explored the connections between technology and esoteric systems of divination and healing, asking questions and offering critiques about our developing relationships with AI and machine learning. Comellas is also showing in the group exhibition Éramos Semillas / We Were Seeds, which is on view at Stove Works in Chattanooga through Nov. 11. On Saturday, Comellas is opening yet another new show at Zeitgeist. I love the irreverent title — Can I see like a planet? and other questions for chatbots. It’s a self-reflexive display that explores the expanding role that nonhuman intelligences are playing in the realm of art generation. The show also includes contributions from real living human artists — including Kelli Shay Hix, Mark Baker and Comellas’ frequent collaborator Sleeper. This show is asking illuminating questions about the nature of creativity in the age of artificial intelligence, and you can find your own answers on Saturday night.

➡DETAILS: 11 a.m.-8 p.m. Saturday at Zeitgeist, 516 Hagan St.

DECONSTRUCTING DOGMATIC DOMESTICITY AT RED ARROW

The Frist’s Multiplicity: Blackness in Contemporary American Collage has Nashville’s art scene preoccupied with all things cut-and-paste. It’s perfect timing for Billy Renkl’s new show at David Lusk Gallery, which opened Oct. 14. The Comfort of Crows includes 52 of Renkl’s collages of ornithological and botanical illustrations, maps and cyanotypes, sheet music and more. Part of the general appeal of collage is the shock of an unusual juxtaposition or the appealing synchronicity of a complementary match of images, designs, colors and textures. In fact, collage’s penchant for camp is a direct result of these inherent ironies. But Renkl operates well beyond caprice, bringing a formalist’s eye for materials and design to his careful constructions of mixed-up media. Each of the works responds to an essay in his sister Margaret Renkl’s book of the same title.

The volume is a nature memoir that reflects on the cycle of one year’s worth of the migrations of birds, and the ebb and flow of animals, plants and weather through the author’s backyard.

Billy Renkl’s collages build a narrative of their own, and this exhibition reads — like local and

EAST NASHVILLE Lindsy Davis has been showing her paintings and sculpture at Red Arrow since it was a tiny one-room gallery next to the Fond Object record store in Riverside Village. The gallery and Davis have both come a long way since then — Red Arrow is now one of the best contemporary art spaces in the city, and Davis is one of the artists who best represents the women-owned-and-operated showcase and its painting-centric roster. Deconstructing Dogmatic Domesticity doesn’t look like anything new from Davis — the show of canvases and objects is full of the blacks and whites and natural materials that have informed most of the artist’s recent work. Instead, this show refines Davis’ preoccupations with perception, texture and color. And it finds Davis’ recent curious sculptural explorations evolving into a fully articulated display of forms that comment on domestic routines using materials like concrete and wood, wire and fire. Deconstructing Dogmatic Domesticity finds Davis’ objects catching up with her impressive abstract painting, announcing the artist as a true double threat with knockout power in both mediums. ▼ “MAKE OUT A MEAL,” LINDSY DAVIS

STILL IMAGE OF LARGE-SCALE VIDEO PROJECTION USING MAX MSP, AN AUTO-GENERATIVE SOFTWARE

BY JOE NOLAN

a conversation about pop culture through the lenses of yellow emblems like the smiley face and the No. 2 pencil. The yellow smiley face was created by designer Harvey Ross Ball in 1963, and No. 2 pencils can be painted any color. But yellow faces and yellow pencils have amassed the kind of cultural gravitas that outlasts economic trends, political shifts and the ebb and flow of popular taste. Ball’s beaming face has seen six popes — so far. And yellow has been the emblematic color of graphite writing utensils since the 19th century. Should you brand yourself, and how badly does it hurt? When do camp luxury items inspire as much devotion as religious iconography? When is a logo just a logo?

You may just find the answers to these questions and more. ➡DETAILS: 6-9 p.m. Saturday at Julia Martin Gallery, 444 Humphreys St.

global ecosystems — as something greater than the sum of its parts. ➡DETAILS: 3-5 p.m. Saturday at David Lusk Gallery, 516 Hagan St.

Like Moonlight on a Yellow Ferrari claims the best exhibition title this Saturday night. The display by Chris Uphues and Devin Goebel creates

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 2:01 PM

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BY KIM BALDWIN

6:30 p.m. Wednesday, Nov. 8, at Parnassus Books PHOTO: ALBERT SANCHEZ

Antiques

GINGER MINJ SNAPS

The Drag Race alum shows us her Southern-fried sass

Visit nashvillescene.com for a longer version of our interview with Ginger Minj.

YOU MAY HAVE seen alums of RuPaul’s Drag Race at some of Nashville’s larger venues, like TPAC or Play. But Wednesday’s event is something special — Ginger Minj, whose book Southern Fried Sass: A Queen’s Guide to Cooking, Decorating, and Living Just a Little Bit Extra drops Nov. 7, will make an appearance at Parnassus Books. Ahead of her book event, we spoke on Zoom about the book’s origins, Southern grandmas, Florida politics and Minj’s own philosophy for how to get through the fear and hate surrounding the LGBTQ and drag communities.

juicy in this book!

Did you ever think you would write a book? I imagined my life story told in a Lifetime movie, or on Jerry Springer. But as I got older, I’ve been traveling the world and I’ve met people that are like, “This piece of your story really resonates with me,” or, “This thing that you said about your childhood really helps me put mine into perspective.” There is power in communication.

So I thought, “What’s the best way to do that?

I’ll write a book.” Because I’m not just one thing.

I’m a little bit of everything shoved into one great big glittery ball.

What did you think the book would be? I thought it would be a straightforward memoir, but I wanted something special and different that more people could connect with. It was after my grandmother passed away and left me her recipe box that I wondered if anybody had ever done a memoir-slash-cookbook. Everything from the chicken to the gossip is going to be

You’re from Florida, and I’m wondering how it feels to watch things like the ‘‘Don’t Say Gay” bill and other anti-LGBTQ legislation get proposed and passed. I’m conflicted on this, because on the

Is it strange to go from performing on stages all over the world to reading at a podium in a bookstore?

No. The strange part for me is in these arenas where we’ve got between 5,000 to 10,000 people, and there’s such a disconnect from the audience. There’s so many people and we’re so far away, that whenever I am able to bring it down and be in a small room of people who are there for one particular reason, and that reason is me, it’s much easier to connect and share stories.

That’s what I prefer. That’s why I’m really excited about the book tour.

surface level, yes, I am pissed-off. I’m angry at all this. I have worked at Hamburger Mary’s in downtown Orlando for the last 16 years. I have never had an issue there. When this started popping up, we got bricks through the windows, we got actual Nazis protesting us in the streets, we got news crews bursting into the dressing room and trying to do an ambush. That all is so frustrating, but I try to filter things through the brighter future of it all. One takeaway is that we have finally made enough impact culturally, particularly with drag, and we are so mainstream that we’re scary.

I think people wouldn’t push back if they didn’t feel — I don’t want to say threatened, because I don’t think any of them truly feel

threatened, but I do think they feel like we’re taking over, and it makes them very uncomfortable. Because it means things are changing.

And once things are changing, you either jump onboard, or you get left behind. Eventually the people that are being the loudest, protesting the loudest, being the most harmful and making the most noise, they’re getting left behind. And I find that unfortunate, because I want everybody to get on the train and have a nice, smooth ride.

You started your career performing at Pulse Nightclub and live with a lot of fear and hate surrounding what you do. How does that feel? Right after the Pulse [nightclub shooting] happened, it was so jarring. I don’t even know that I had time to be sad about it because it was so shocking. I was numb for a couple of days. Then something beautiful happened. The entire community — not just the LGBTQIA+ community — showed up to protect the town. We had the Westboro Baptist Church show up. We had a bunch of protesters show up, and none of them were from Orlando.

The entire community, I will never forget, they made these giant angel wings, that — oh God, I’m going to get emotional talking about it, because it was just so beautiful in that moment.

They made these giant wings, and they all stood side by side so that they blocked out the protesters from the people who were mourning.

It gave me such a different feeling for my town and my community, and it made me proud to be in Orlando. I have been here for so long and I have seen this community come together to protect each other, even when we didn’t agree. I always go back to that moment.

That is what Orlando is. That’s why I’m proud to be a part of this.

When I recently talked to John Waters, he said the drag ban is too late — that because of RuPaul, people in Middle America love drag. It’s exactly right. We owe a lot to Ru, but we owe so much to John and Divine. Divine was the first one. She did not walk through the door. She kicked it off the hinges.

One of the saddest things to me is that I will never get to meet Divine and say, “Thank you for everything you did, particularly for weird little queer fat kids like me.” When I was growing up, all I had was John Waters, Divine and RuPaul in The Brady Bunch Movie. That’s what I had for queer representation. ▼

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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MUSIC

Playing 8 p.m. Thursday, Nov. 2, at The Blue Room

ROAD AND TRACK Tré Burt Takes Traffic Fiction for a Drive

BY SEAN L. MALONEY TRAFFIC FICTION, the latest release from California-born singer-songwriter Tré Burt, swirls with sadness and swagger — a rock record dancing on the precipice of self-assuredness and self-doubt. His third record for beloved Nashville indie label Oh Boy, Traffic Fiction finds Burt in the role of a wide-eyed romantic, hip-shaking crooner and beatnik mystic wandering deep sonic spaces. He pulls together song styles and textures that eschew straight nostalgia for a malleable musical vision that is as playful as it is powerful.

“When I was writing these songs, I wanted them to sound fun, because they’re like a massage for my soul,” Burt tells the Scene ahead of his Nov. 2 visit to The Blue Room. “I was kind of soothing myself with writing sounds that made me happy.”

The sounds come from all corners — you’ll find a rootsy New Wave vibe living in the heart of Traffic Fiction, but dub and jazz and soul all make an appearance, while country and psychedelia groove around the edges. Songs like

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“Wings for a Butterfly” and “2 for tha Show” feel lived-in and well-loved, like they escaped from a long-lost cassette buried in a shoebox at the back of the cosmos. Burt’s voice is rich and warm, and his keen sense of syllabic momentum is both precise and enveloping; he makes earworms of each line and quip.

“It started out as a poem called ‘Traffic Fiction,’” Burt explains. “My label hit me up and they wanted to talk about the next record.

I didn’t have any idea what I was going to do. I took a notebook to a barn. I just started free-writing the poem, which became a song. … I wanted to inhabit this surreal sort of universe, and I built off that. I more or less wrote all the songs on this 10-day little retreat that I took myself on. … I wrote most of those music parts in the back, like the bass line, the key lines, the clarinet or shit like that.”

As Burt prepared to work on Traffic Fiction with producer Andrija Tokic at The Bomb Shelter, the recording was shadowed by the decline and passing of Burt’s grandfather, who

Burt attributes with a profound influence on his musical taste and craftsmanship. It gives songs like the title track — a primo car jam if there ever was one — and “To Be a River” a glimmer of sadness on the edge of every sparkling, snarling guitar line. Bookended by snippets of audio vérité, Burt’s “surreal sort of universe” holds more than a nugget of truth about relationships, memory and the act of storytelling.

“I’m not going to lie, it was a hard time,” he says. “I was going through a hard time writing, recording this record — my pops was dying and died during it. But I wouldn’t have anyone else to go through that with, working on something, other than [Tokic]. We just had this sort of thing where we can bounce off each other without really talking, ‘reading each other’s minds’ sort of thing. It kind of spooked me. … It was fun though.”

Much of Traffic Fiction’s magic comes from the push and pull of sounds, the way the musicians give each other space and fall into sync. There are fleeting moments and subtle elements with huge impacts: the split second when the clinking of a wood block becomes the entire focus of “Santiago,” or the warm cavern of echo that “Piece of Me” dwells in. And there are lines whose casual delivery makes

them feel tossed-off, but they land with the weight of neutron stars, as in the aforementioned “Piece,” when Burt sings, “More than one thing can be true.” He handles his writing with a poet’s heart and a cinematographer’s eye, making Traffic Fiction an enveloping sensory experience, primed for life on the road.

“When I was writing this record, I let the label know, and my manager — I’m like, ‘Hey guys, just so you know, I’m prepared to be broke for the next year playing this record live,’” Burt says with a laugh. “When I was writing these songs, I’m like, ‘Fuck, I’m going to actually have to do this live — this is a big sound.’”

The economics of touring are not artist-friendly in 2023. But when you listen to Traffic Fiction, and let your mind roam through those grooves and into dancing shoes, it seems like a smart investment. And therein lies the ultimate appeal: These songs are going to move serious air. They sound like they are ready to escape from the stereo like a jailbreak montage in an ’80s movie. It all points to a good time, for audience and artist alike.

“I’m looking forward to playing this record.

It’ll be my first tour with the band. But it’s going to be fun. I just want to just fucking party with people.” ▼

10/30/23 5:23 PM

Lydia Luce finds a new kind of vulnerability on Florida Girl

BY HANNAH CRON LYDIA LUCE MAY be a longtime staple of Nashville’s indie-rock and folk scenes, but she’s a Florida girl at heart.

Her new record of that name, released Oct. 27, is an exercise in reclaiming her roots and returning to being at peace with her body after a turbulent time.

It comes as no surprise that Florida Girl is deeply personal, reflecting on topics like acceptance, difficult relationships and Luce’s experience with an eating disorder. This level of intimacy isn’t new for Luce. But in a conversation ahead of the Nov. 4 release celebration at The Blue Room, she explains what’s different: She’s sharing what’s on her heart while it’s happening, cultivating an environment for vulnerability between herself and the listener.

“With eating disorders, it’s like a lifelong thing that is with you forever — not that it doesn’t get better,” Luce says. “So it doesn’t feel like when I’ve spoken about other vulnerable topics with my writing. It doesn’t feel as sealed-up and packaged, and, like, ‘OK, I figured out how to conquer this, and now I’m ready to share it with the world.’ But I also feel like I’m excited for the part of the vulnerability where people are also vulnerable back, and share their stories, because a lot of this stuff is so isolating.”

The album has an organic blend of acoustic and electronic elements and playful dynamics: Sometimes Luce’s soft voice floats over pounding drums and chugging guitars, and sometimes it’s cradled in synth swells and string plucks. That’s a perfect fit for Luce’s writing, as the title track, and much of the rest of the record, reckons with reunification. Luce is reconnecting

her past and present selves, and herself with the family she’s grown apart from. While they have their fair share of differences, Luce says she’s been able to build a healthy relationship with where and who she came from.

“I think part of that is like, yeah, I’m from Florida — it’s a weird state,” she says. “I’m from a family that’s really conservative and very religious, and we have different opinions on almost everything. But there, I didn’t choose that. They’re my family, and, like, there’s still so much love, and I feel like they’re mostly accepting me now.”

Part of Luce’s growth has been learning to make a priority of caring for herself for the first time. The past year has been fraught with chronic pain and the mental struggle that often accompanies such experiences.

Luce is a multi-instrumentalist whose classical experience includes leading the Lockeland Strings ensemble, and she’s suffered injuries from years of overplaying. She has had to learn all-new ways of selfcare and expression.

“I’m really proud of myself, the way I’ve taken care of myself and learned to take care of myself,” she says. “I found a new therapist. I got on an antidepressant, which was so hard. And I was like: ‘I need help, in that I can’t control my body right now. What can I do to help my mental health?’ [With ‘Saline,’] I’ll remember this time with that song, of this amazing community of women and men — people that I found that fully supported me.

And it’s mutual.”

“Saline” is gentle in tone but sneakily propulsive, conveying both stress and the need to soothe it. Percussion played softly but at a frantic pace drives a strumming acoustic guitar as Luce croons, “We take care of each other / This I’ll do for you.” With all the heartache it entails, Luce has found something beautiful in her experience with chronic pain. Her new connections with others reach beyond what she knew was possible.

“I feel like I’ve learned so much through this process.

PHOTO: ZACHARY GARY

UNFILTERED

Playing 8 p.m., Saturday, Nov. 4, at The Blue Room

All the lessons that I’ve learned — really it’s only been in the last five months. It’s very compacted, but I feel like these lessons are out there. They were meant to learn right now to help me for the rest of my life. So

sometimes we have to learn lessons through pain. …

When you’re vulnerable, it creates this space for other people to share. And maybe some of those people have never shared.” ▼

ANOTHER LOOK The Scene’s music writers recommend recent releases from Soccer Mommy, Jyou and K.O.N and more

WIND UP WITH a trick-or-treat bag full of rocks again? Dump ’em in the gutter and fill it up with great records by Nashville musicians (and at least one in which the marquee artist is from elsewhere but relied heavily on Music City players). The Scene’s music writers have nine new recommendations for you to add to your streaming queue or pick up from your favorite record store.

Some of our picks are also available to buy directly from the artists on Bandcamp. Though a recent sale has sparked some troubling developments for the widely loved platform, its Bandcamp Friday promotion — in which the company waives its cut of sales for 24 hours — returns on Nov. 3.

SOCCER MOMMY, KARAOKE NIGHT (LOMA VISTA) On her new EP, Sophie Allison, aka Soccer Mommy, takes on five songs by other artists: Pavement’s “Here,” Sheryl Crow’s “Soak Up the Sun,” Slowdive’s “Dagger,” Taylor Swift’s “I’m Only Me When I’m With You” and R.E.M.’s “Losing My Religion.” It’s no easy task to make someone else’s song your own, but Soccer Mommy does just that. Working with multiplatinum co-producer Matt Cohn, guitarist-vocalist Allison and her band — guitarist Julian Powell, guitarist-keyboardist Rodrigo Avendano, bassist Nick Widener and drummer-percussionist Rollum Haas — bathe each song in

36

an almost otherworldly soundscape that transcends the sonic limits of the original and leaves the listener hoping there will be a Karaoke Night II. DARYL SANDERS

JYOU AND K.O.N, THE BOOMBOX (INNER CIRCLE) MCs K.O.N and Jyou stand tall on their own: K.O.N’s 2022 LP Kids Being Kids nonchalantly blurs the line between rap and future funk, and Jyou’s Living on the Edge from January elegantly blends old-school boom-bap and more contemporary styles. The pair deftly covers a lot of ground on their collaborative EP The Boombox. They swagger right into the club on opener “Hips,” and circle through several other seasons of life by closing track “Leisure,” a nuanced look at long-term relationships. STEPHEN TRAGESER

LUKE SCHNEIDER, IT IS SOLVED BY WALKING (CENTRIPETAL FORCE/ THIRD MAN) Odds are pretty good you’ve heard the name Luke Schneider, and they’re even better that you’ve heard him play. For years, Schneider and his Emmons push-pull pedal steel have been a mainstay in Nashville country, alt-country, Americana and more, and with his debut LP Altar of Harmony, he took a deep dive into New Age and ambient sounds. On his second solo release, Schneider keeps pushing the boundaries of the instrument, transforming its typical country twang into an effects-laden ambient soundscape. With inspirational touchstones like the work of Brian Eno and Robert Fripp, these five tracks envelop the senses, layering sustained drones with flourishes reminiscent of Bruce Kaphan’s ambient experiments with pedal steel. The end result is heady and intense, but immensely rewarding — like Schneider’s daily meditation practice. BEN ARTHUR

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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10/30/23 5:23 PM

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june & girls night free throw w/ Prince Daddy & The Hyena, Charmer & blvck hippie joe hertler & the rainbow seekers w/ Post Sex Nachos & BEAN

a tribute to pearl jam rare hare bea miller happy landing w/ CERTAINLY SO the emo band: live band pop/punk karaoke sicard hollow & tophouse nashville is dead: grateful dead tribute the lone bellow the lone bellow jd mcpherson w/ Joel Paterson alexandra kay w/ Haley Mae Campbell sold out! sapphic factory: queer joy party be our guest: the disney dj night motion city soundtrack w/ gully boys welcome to the nu-year: Nu metal tribute allison russell sold out!

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SOUTHERN CULTURE ON THE SKIDS WITH THE BEAT CREEPS

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GARY NICHOLSON & THE CHANGE

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DILLON CARMICHAEL WITH KELLER COX

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11/10 BOOMBOX WITH TEP NO 11/11 JEFFREY STEELE + ANTHONY SMITH 11/12 LIAM ST. JOHN WITH VOLK + JOSHUA QUIMBY 11/14 JONATHAN PEYTON WITH JOEL ADAM RUSSELL 11/15 TEDDY THOMPSON WITH SPECIAL GUESTS EMMYLOU HARRIS, LOLA KIRKE & LOGAN LEDGER 11/16 TROUBADOUR BLUE WITH EVAN BARTELS 11/17 THE EAGLEMANIACS

11/18 VINYL RADIO 11/19 JOHN R. MILLER WITH WILLY TEA TAYLOR 11/21 FRANK RAY WITH HUNTERGIRL 11/24 FAB A BEATLES REVUE + THE CONSOULERS 11/26 JD SIMO & FRIENDS WITH THE WEIRD SISTERS + JACOB PERLEONI 11/29 TAJ FARRANT WITH NATHAN BRYCE & LOADED DICE 11/30 PONY BRADSHAW WITH RACHEL BAIMAN

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STEPHEN WILSON JR., SON OF DAD (BIG LOUD) Stephen Wilson Jr. — who longtime followers of Nashville rock will remember from Aughts ensemble AutoVaughn, a group he toured with after earning a microbiology degree at MTSU — holds nothing back in the 22-song magnum opus that is his debut solo album Son of Dad. A trailer-park Kerouac whose dark, left-of-center country fuses back-40 grit and lo-fi grunge with a flair for droning (yet catchy) dissonance, Wilson has a view of the rusting American Dream that’s hard to look away from. With a title nodding to his late father, who raised Wilson as a single parent, the album ultimately feels like a declaration of creative independence — intriguing and insightful at all levels. CHRIS PARTON

ABBY JOHNSON, ABBY JOHNSON (EARTH LIBRARIES) One of the striking points of songsmith Abby Johnson’s debut album is the production. Working with producers Kyle Buckner and Drew Carroll and with longtime local faves Ornament as her band, Johnson navigates easily between folky sounds, indie rock and country funk. It’s a fine match for insightful songs about things you want to remember because they’re enriching, as well as things you don’t want to forget because the lessons sting. “If I stop wanting more, will there ever be another door?,” she sings in “Try Me On,” a song about the things that keep us together when maybe they shouldn’t. “Will it open slowly, or swing out wide? / I crossed my heart / Each and every time it shut on me / Or when I lose the key.” STEPHEN TRAGESER

WESLEY & THE BOYS, SWITCHBLADE TWIST (SWEET TIME) Wesley & The Boys’ grimy garage-punk barrage wouldn’t have sounded out of place in the Memphis scene at any point over the past 25 years.

Fittingly, the Switchblade Twist 7-inch arrived in late September, right in time for the band’s first GonerFest after-party gig. Juvenile delinquency reigns on the pogo-till-you-drop title track and the deliciously sarcastic “Jail, Again.” Live-set standout “Car Song” closes things out, and it’s a tongue-in-cheek sendup of tough-guy posturing. Ryan Sweeney, longtime local and regional rock booster, issued the three-song collection on his Sweet Time imprint. The 7-inch previews a recently completed second album by one of the tightest and most road-ready punk bands in town. ADDIE MOORE

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AUSTIN STAMBAUGH, MIDWEST SUPERNATURAL (ANTI-CORP) There’s a whiff of the outsider-country ethos on Ohio-born singer and songwriter Austin Stambaugh’s Midwest Supernatural, which he cut mostly live with a tactful band that’s adept at bringing old-school styles back to life. Stambaugh strikes me as an exponent of postmodernist, expressionist country, and he delved into Bert Jansch-style folk-blues on his 2019 album Where She Will Go. What you get on Midwest Supernatural are stories that Stambaugh delivers in a gliding voice that registers as both countryinflected and bluesy. When it works — check out the modal underpinning of “Final Delivery” and the skirling fiddles on the post-blues track “San Marcos” — Stambaugh’s fusion of narrative and music is genuinely innovative. Stambaugh makes like a newfangled realist of neo-country, and this couplet from “Final Delivery” sums up his approach: “But neither John nor his woman ever got the paper signed / So his last will was forgotten to his estranged ex-wife.” EDD HURT

SUGAR SK*-*LLS, STAR TIME (YK RECORDS) You might find it funny that despite many years as a mostly solo electronic project, Ben Marcantel’s Sugar Sk*-*lls named their new album Star Time after expanding into a trio by joining forces with G. Seth West from Gray Worry and Tye Bellar of Financier. But it’s no less appropriate; the LP puts the deeply personal into perspective with the vastness of the cosmos.

Standout track “Crystal Orchids” features an all-too-rare appearance from Cortney Tidwell; her voice anchors the song, about tension in a relationship, while the soundscape swells, pulses and glitches. STEPHEN TRAGESER

BETHANY COSENTINO, NATURAL DISASTER (CONCORD) While Bethany Cosentino may be the Queen of L.A. via her surf-rockinspired indie duo Best Coast (currently on indefinite hiatus), she chose Tennessee as the place to record her solo debut. She’s traveled from the beach to the Thompson’s Station, Tenn., farm-based studio of rock artist and producer Butch Walker. Nashville musicians grace some of the tracks’ production credits, including contributions from in-demand session and touring musician Ellen Angelico on pedal steel and guitar from Jeff Trott, a veteran songwriter known for his extensive work with Sheryl Crow.

Cosentino cites Linda Ronstadt, Bonnie Raitt and Crow as early influences on her songwriting, and they come to the fore on Natural Disaster. She still rocks, but now in a rootsy way. JACQUELINE ZEISLOFT ▼

FILM

CHRISTMAS COMES EARLY The Holdovers is more than ’70s nostalgia

BY KEN ARNOLD

The Holdovers R, 133 minutes Opening Friday, Nov. 3, at the Belcourt; opening wide Friday, Nov. 10

“HISTORY IS NOT simply the study of the past, but an explanation of the present.” That’s a line from Alexander Payne’s latest, The Holdovers, that could also serve as a summary of the film itself.

History has a habit of repeating itself, and despite the advances of technology and civilization, the human condition remains the same. Loneliness and desire have haunted the human mind since the dawn of our species. And despite its heavy lean into the 1970 setting, The Holdovers feels like it has something very modern to say.

It’s the holiday season at New England prep school Barton Academy, and Angus (Dominic Sessa) is stuck at school over winter break. Also left at the school are the loathed ancient civilizations teacher Paul Hunham (Paul Giamatti) and grieving cafeteria worker Mary (Da’Vine Joy Randolph). Angus is stuck with the school’s ultra-strict teacher, and Paul is stuck with a rebellious student — the two of them have to learn to endure each other’s presence to survive the Christmas holiday.

From the opening credits you can see Payne’s dedication to making the presentation feel not like a period piece, but more akin to a contemporary film from 1970. Editing techniques such as wipes and dissolves that have since fallen out of fashion are used in abundance, hammering home the ’70s feel. While the plot description

sounds like a Christmas movie you’ve seen before, Payne — reuniting with Giamatti here for the first time since 2004’s Sideways — is able to create something that feels like a film you’re marking off your watch list as opposed to a contemporary work of fiction.

Style aside, this one is surprisingly hardy, filled to the brim with not only sharp, witty comedy but also themes about the universal human condition — loss, loneliness and mental illness.

There are moments when simple back-andforths between characters peel back layers just enough to reveal how messed-up things were and still are.

That said, it also happens to be one of the funniest movies of the year. Clever dialogue is delivered with nearly perfect comedic timing — this preview screening featured some of the loudest laughter I’ve ever experienced at a screening.

Payne and writer David Hemingson use humor to chip away at the cynicism of any would-be Grinch or Scrooge. Giamatti gives a career performance, Randolph steals every scene she’s in, and Sessa — making his film debut here — is destined for a long career in acting.

More than a feel-good holiday offering, The Holdovers fires on all cylinders. It has a wide appeal and will be cinematic therapy for anyone who’s ever spent the holiday season alone. ▼

NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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BACK OF THE BOOK ACROSS 1

61

Frequent flier?

Leaf-

18

Raw power

raking

23

Weight that’s subtracted

25

Knight on the Hollywood Walk of

time

4 Made good

Ending with stand or step

64

Go-ahead

13

Wrath

65

Made a semi circle, say?

27

Heavy tool

14

Video game hero who battles the

66

Language suffix

30

Like many

evil Dr. Wily

67

O.R. workers

Shook hands, say

68

Holder of a record 21 Oscar

31

“Twilight” vampire

nominations for acting

33

Some Friskies offerings

Aziz Ansari’s “Parks and

35

Place to order patatas bravas

36

Green onion

37

Some splattery paintings at

10

16

Some

17

energy

69

Fame

Recreation” role

drinks 19

___ Tour

20

Skirt option

21

“It’s … OK”

1

22

Ending with Wikipedia

2 Work considered by some to be

24 26

Application

28

Ingredient in some lotions

29

Stand in a studio

NASCAR driver Johnson

MoMA 42

Toronto athlete, familiarly

44

Big name in stream-of-

the first Romantic-era symphony

consciousness writing

3 Wii Sports sport

46

Power tool in carpentry

4 Qty.

48

Common five-petaled flower

5 Abound

49

City connected to Ciudad Juárez

6 Princess Fiona, for one

Court

30

rib-eye steaks

DOWN

Cinnamon roll topping

by the Bridge of the Americas

athlete,

7 New Hampshire city

50

Buddy ___

slangily

8 Bygone owner of Capitol Records

55

Unknowns

32

Baylor University’s city

9 Weed in some medicinal wine

57

Dismal

34

___ memory (ability to recall

10

Jerky?

58

Hacky Sack hitter

images with high precision)

11

Cocktails with orange peel

62

Give the go-ahead

garnishes

63

Econ stat

35

Recipe abbr.

38

Martial arts rank

12

Talent show performance, say

39

___ Jones

15

Sgt., e.g.

40

It’s just a guess: Abbr.

41

Assistant in ministry

43

Nag (at)

45

NO. 0928

PUZZLE BY RICKY CRUZ

ANSWER TO PREVIOUS PUZZLE

Most wan

47

Rambles

51

Pasta ___ Norma

52

Cell messenger

53

Setting for a teacup, maybe

54

Portmanteau for a certain selftaken video on a smartphone

56

Texter’s indication of uncertainty

59

Cuts (off)

60

Zippo alternative

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Rocky McElhaney Law Firm INJURY AUTO ACCIDENTS WRONGFUL DEATH TRACTOR TRAILER ACCIDENTS

Joseph P. Day, Clerk L. Chappell, Deputy Clerk Date: October 19, 2023

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LEGALS Non-Resident Notice Third Circuit Docket No. 23D652 TANESSA LARAE MARSHALL vs.

ISRAEL MARTIN LUTHER MASON

Rental Scene

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 ISRAEL MARTIN LUTHER MASON. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after November 16, 2023 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 18, 2023.

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.

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 ISRAEL MARTIN LUTHER MASON. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after November 16, 2023 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 18, 2023.

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.

NSC 10/26, 11/2, 11/9, 11/16/23 NOTICE OF SALE UNDER MECHANIC’S AND ARTISAN’S LIEN Cumberland International Trucks, Inc. (“Secured Party”), pursuant to Tenn. Code Ann. §§ 66-14-103, 66-19-101, and pursuant to a Notice of Claim of Mechanic’s/Artisan’s Lien dated September 8, 2023, as amended hereby, holds a lien for repairs against a certain 2019 International LT625 VIN: 3HSDZTZR2KN374377 owned by AWL Transport LLC, which Secured Party improved by providing various service, labor, and parts.

Pursuant to Tenn. Code Ann. § 66-14-104, notice is hereby given that Secured Party, pursuant to applicable law, will sell the Vehicle described above

by Public Sale to be conducted as follows: Date of Sale: November 17, 2023 Time of Sale: 1:00 p.m. CST Place of Sale: Exo Legal PLLC 818 18th Avenue South, Tenth Floor Nashville, Tennessee 37203 (or other place designated in the Notice of Sale) Agent for Creditor: Exo Legal PLLC The Public Sale will be conducted by Exo Legal PLLC, pursuant to a separate notice provided to Invoice Debtor and the Secured Creditor: Compass Equipment Finance LLC, IS AOA. For information, contact David Anthony, Exo Legal PLLC, at (615) 869-0634.

As to all or any part of the Vehicle, the right is reserved to: (i) sell part or all of the Vehicle and/or delay, continue, adjourn, cancel or postpone the sale of any part of the Vehicle; and/or (ii) to sell to the next highest bidder in the event any high bidder does not comply with the terms of the sale.

The Public Sale will be conducted by Exo Legal PLLC, pursuant to a separate notice provided to Invoice Debtor and the Secured Creditor: Compass Equipment Finance LLC, IS AOA. For information, contact David Anthony, Exo Legal PLLC, at (615) 869-0634.

As to all or any part of the Vehicle, the right is reserved to: (i) sell part or all of the Vehicle and/or delay, continue, adjourn, cancel or postpone the sale of any part of the Vehicle; and/or (ii) to sell to the next highest bidder in the event any high bidder does not comply with the terms of the sale.

Secured Party shall sell, grant, convey, transfer, and deliver unto any successful purchaser all of the right, title, and interest in and to the Vehicle which Secured Party has a right to sell as a Secured Party and no further or otherwise. The Vehicle will be sold “as is”, “where is”, and “with all faults”, without any representations or warranties, expressed or implied and subject to any prior liens or encumbrances, if any. Without limiting the generality of the foregoing, Secured Party has not made and will not make any representations or warranties regarding the Vehicle, the condition of the Vehicle, warranty of title or marketability of title and the conveyance shall be with all defects and without any warranties, expressed or implied, including warranties of merchantability, condition, or of fitness for a general or particular purpose.

David M. Anthony, Exo Legal PLLC 818 18th Avenue South, Tenth Floor Nashville, TN 37203 Telephone: (615) 869-0634 NSC: 11/2, 11/9/23

EMPLOYMENT Senior Manager, Outcomes Analysis. Direct the WholeHealth Living Advanced Analytics team, analyzing processes, identifying information, and documenting requirements and specifications through a health outcome lens.

Employer: Tivity Health Services, LLC. Location: Franklin, TN. May telecommute from any location in the U.S. To apply, mail resumé to April Baltzly, 1445 S. Spectrum Blvd., Chandler, AZ 85286.

Technical Training and Development Manager.

Oversee development and implementation of engineering technical training programs for road construction and aggregate processing equipment and systems. Frequent travel required to client locations.

Employer: Wirtgen America, Inc. Job location: Antioch, TN. Mail resume to: Allen Parton, Dir. of HR, Wirtgen America, Inc., 6030 Dana Way, Antioch, TN 37013.

Secured Party shall sell, grant, convey, transfer, and deliver unto any successful purchaser all of the right, title, and interest in and to the Vehicle which Secured Party has a right to sell as a Secured Party and no further or otherwise. The Vehicle will be sold “as is”, “where is”, and “with all faults”, without any representations or warranties, expressed or implied and subject to any prior liens or encumbrances, if any. Without limiting the generality of the foregoing, Secured Party has not made and will not make any representations or warranties regarding the Vehicle, the condition of the Vehicle, warranty of title or marketability of title and the conveyance shall be with all defects and without any warranties, expressed or implied, including warranties of merchantability, condition, or of fitness for a general or particular purpose.

David M. Anthony, Exo Legal PLLC 818 18th Avenue South, Tenth Floor Nashville, TN 37203 Telephone: (615) 869-0634 NSC: 11/2, 11/9/23

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NASHVILLE SCENE • NOVEMBER 2 – NOVEMBER 8, 2023 • nashvillescene.com

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