SEEING THE FOREST AND THE TREES
BY ELI MOTYCKA
GET DECKED OUT AT THE HALL
The Museum Store has something for everyone on your list—for kids from one to ninety-two. Browse records, apparel, books, instruments, and more. Plus, stop by the downtown location for seasonal pop-ups by locally owned businesses. SHOP IN PERSON OR
NEWS
Bill Freeman Dies at 73
Real estate company founder, Scene owner and community benefactor died Sunday at his home in Forest Hills BY D. PATRICK RODGERS, WILLIAM WILLIAMS
Tennessee Ranks 49th on Policies to Benefit Children and Families
According to Prenatal-to-3 Policy Impact Center’s yearly report, our state trails the pack in support and resources BY HANNAH HERNER
Street View: Renovation Woes
Digging into a back-and-forth between two East Nashville homeowners and their builders BY LENA MAZEL
COVER STORY
Seeing the Forest and the Trees
As the city grows, Nashvillians are fighting to keep the tree canopy strong BY ELI MOTYCKA
CRITICS’ PICKS
Nate Bargatze’s Nashville Christmas, Wishy, Taylor Swift Trivia, The Terminator and more
FOOD AND DRINK
A Thanksgiving Bounty for Non-Cooks
A baker’s dozen of options for a day of gratitude, football and food comas BY MARGARET LITTMAN
VODKA YONIC
Breaking Up With Diet Culture
Ditching my toxic relationship with dieting and finding myself on the other side BY JESS THOMPSON
This Is Nashville Photographer Tamara Reynolds’ provocative series The Drake stirs at Coop BY LAURA HUTSON HUNTER
BOOKS
Cracks in the Foundation
With Prodigal Nashville’s Phyllis Gobbell depicts the drama of a fractured family BY ABBY N. LEWIS; CHAPTER16.ORG
MUSIC
Showstopper
Kaitlin Butts is the coolest theater kid in country music BY MATTHEW LEIMKUEHLER
Sweat Equity
Ratboys get ready to showcase all they learned making The Window BY HANNAH CRON
Sweets to the Sweet
Ahead of the final Sweet Time Booking show, looking back on a wild ride with dedicated local-rock booster Ryan Sweeney BY P.J. KINZER
NEW YORK TIMES CROSSWORD AND THIS MODERN WORLD MARKETPLACE
ON THE COVER:
TreeSavvy’s Adrian Wagner dismantling a hackberry. Photo by Eric England.
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BILL FREEMAN DIES AT 73
Real estate company founder, Scene owner and community benefactor died Sunday at his home in Forest Hills
BY D. PATRICK RODGERS, WILLIAM WILLIAMS
BILL FREEMAN — the co-founder of Nashville-based real estate company Freeman Webb, a Democratic Party powerbroker, a former mayoral candidate and the owner of Nashville Scene parent company FW Publishing — has died by suicide at his Forest Hills home.
Freeman died Sunday night. He was 73.
“For many years, Bill Freeman was a dedicated advocate for our city, state and community,” says Freeman’s son Bob Freeman. “His passion for making Nashville a better place was evident in every part of his life. Fearless in sharing his opinions on the issues that mattered most, he worked tirelessly to improve the lives of those around him and to leave a lasting impact on our shared future.”
A longtime supporter of local journalism and a candidate for mayor in 2015, Bill Freeman teamed with friend and business partner Jimmy Webb to purchase the Scene and sister publications the Nashville Post and Nfocus in 2018 via FW Publishing. Webb died in 2019.
Freeman attended the Peabody Demonstration School (now the University School of Nashville) and the University of Tennessee. He was appointed by President Barack Obama to the Kennedy Center Advisory Committee on the Arts, and by President Joe Biden to the J. William Fulbright Foreign Scholarship Board. An avid
TENNESSEE RANKS 49TH ON POLICIES TO BENEFIT CHILDREN AND FAMILIES
According to Prenatal-to-3 Policy Impact Center’s yearly report, our state trails the pack in support and resources
BY HANNAH HERNER
EACH YEAR, VANDERBILT UNIVERSITY’S Prenatal-to-3 Policy Impact Center releases an update on policies that benefit families and children, from conception to age 3. Tennessee is one of just eight states that has not implemented any of the organization’s core four policies. The state has not expanded Medicaid coverage, does not offer a statewide paid family and medical leave program, does not offer a minimum wage of at least $10 per hour and does not offer a refundable state-earned income tax credit of at least 10 percent.
In addition to those specific policies, the nonpartisan research center — part of Vanderbilt University’s Peabody College of Education and Human Development — also presents eight additional strategies and breaks them down into smaller steps.
pilot, he was a member of the Metro Nashville Airport Authority Board of Commissioners and the White House Historical Association. A onetime employee of the Metro Development and Housing Authority, he also served on the boards of the Nashville Area YMCA and Tennessee State University, among many other civic roles. A longtime mason and a former master of Corinthian Masonic Lodge No. 8, Freeman was also a grandfather, a sports fan and a dedicated community booster, donating to countless causes and media outlets in addition to his support of the Scene and its sister publications.
As the largest Democratic fundraiser in the state, Freeman threw his support behind President Obama, President Biden and numerous other local, state and federal candidates over the course of his career. In his 2015 run for mayor, he was narrowly edged out to miss the runoff.
“Bill was many things — real estate visionary, mayoral candidate, pilot, media magnate, staunch Democrat — and friend,” says Mayor Freddie O’Connell in a statement shared Sunday night. “Our city, state, and nation are better for his tenacity and commitment. We will miss him dearly, and my heart is with his family.”
“Bill Freeman was a giant in our city, known as much for his role in helping Nashville grow as he was for his commitment to ensuring that all
Prenatal-to-3 executive director Cynthia Osborne tells the Scene one change that could have a quick impact for Tennessee families is additional access to affordable child care. While the state succeeds in offering child care subsidies to families who make 85 percent of the state median income or less and recently limited family co-payments, a bill that would change the way reimbursement rates for the subsidies are set failed in the legislature earlier this year.
“That would have a huge impact on really preserving the wages of the families with lower earnings levels to begin with,” Osborne explains.
Another area that saw movement in the past legislative session: doula services. Doulas provide nonclinical emotional, physical and informational support for pregnant people. To meet Prenatal-to-3’s standards, doula services need to be covered by Medicaid, and the state would need to provide funding for doula training. Bills from state Sen. London Lamar (D-Memphis) created a Doula Services Advisory Committee to evaluate both reimbursement and training in 2023, and in 2024 created a maternal health equity advisory committee. Gov. Bill Lee included $1 million in the 2023-24 budget to create a pilot program to try out TennCare doula payment.
The state has not implemented a paid family leave program statewide, but it did begin offering 12 weeks of paid family leave to state employees in 2023.
Though there have been incremental changes, Tennessee is still ranked 49th overall. Meanwhile, its Southern neighbors have changed around it, Osborne says.
of its residents could thrive,” former Vice President Al Gore shared on social media. “Bill always sought out new ideas and knowledge in his pursuit of a better future for his community — one of the traits that made him such an important leader in our local media landscape.”
“Bill Freeman was a friend to all of Nashville,” says District Attorney Glenn Funk in a state-
“Our role is to provide the educational resources, the information, the data, the evidence about what works, so that others can take it to their state’s elected officials and advocate for change,” Osborne says. “There’s been a lot of progress over the past five years in a lot of states. Unfortunately we have not seen the change in Tennessee that we have seen in other states.”
North Carolina, for example, expanded Medicaid in 2023. Montana — like Tennessee, a state with a Republican-supermajority legislature — recently approved a higher minimum wage and increased the earned income tax credit.
When it comes to evaluating the outcomes of these policies, where Tennessee is strongest is in its percentage of children whose parent lacks parenting support — meaning parental health and well-being are strong. The state is ranked sixth in this category; 10 percent of parents say they lack emotional support, compared to 26.4 percent in the lowest-ranked state. Tennessee’s worst category is the percentage without access to Early Head Start programming — the state is ranked 50th, with 94.5 percent of children lacking access.
One way to measure the difference between states is the center’s policy impact calculator. For example, if a family works and has children in Colorado, that family has access to more than $54,000 in annual resources. If they live in Tennessee, they have a little less than $23,000 in resources to pull from, Osborne says.
Adding insult to injury in Tennessee is the state’s nearly total abortion ban. Around 20 percent of children
ment. “He worked hard to give the working men and women of this community better living standards from housing to wages. We are a better city because of Bill Freeman.”
In October of last year, Bill Freeman transitioned ownership of Freeman Webb Company to Bob Freeman, who also serves as a representative in Nashville’s state House District 56. At the time, Bill Freeman said he wanted to spend time with his family, including his wife Babs Freeman. He had previously suffered two strokes.
In addition to his wife Babs and his son Bob, Bill Freeman is survived by his sons Harvey and Mike.
“I know Bill Freeman, my dad, will be deeply missed by all who knew him — his family, friends, colleagues and this community,” says Bob Freeman. “His legacy of dedication and commitment will live on in the countless lives he touched.”
Details on funeral arrangements were still forthcoming as of press time.
If you or someone you know is experiencing a mental health emergency, you can call or text 988 to connect with the Tennessee Department of Mental Health & Substance Abuse Services’ crisis and suicide prevention line. You can also chat with 988lifeline.org, or dial the Statewide Crisis Line at 855-CRISIS-1 (855-274-7471). ▼
younger than 3 live in poverty — more babies born means more babies born with economic disadvantage, Osborne points out. The center’s policies are aimed at giving those kids a fair start.
“The point I always try to make is that state policy choices matter,” she says. “The variation across states is huge with regard to what children and their parents have available to help support them, and our state leaders can play a huge role in shaping the future and well-being of our children and therefore our society.” ▼
Local preservation organization Historic Nashville Inc. on Monday released the Nashville Nine, its 16th annual list of “buildings, neighborhoods, or historic landscapes in danger of being lost to demolition, redevelopment, or neglect.” Topping this year’s list is Colemere Manor, alongside the Belle Meade Theatre, Merritt Mansion and small music venues. See the full list at nashvillescene.com.
BILL FREEMAN
COLEMERE MANOR PHOTO COURTESY OF HISTORIC NASHVILLE INC.
RENOVATION WOES
Digging
into a back-and-forth between two East Nashville homeowners and their builders
BY LENA MAZEL
Street View is a monthly column taking a close look at development-related issues affecting different neighborhoods throughout the city.
A LITTLE MORE than two years ago, Kelsey and Matt Kirkegaard had big plans. They’d designed a renovation for their East Nashville home, full of custom work and accommodations for their kids, two of whom are disabled. Matt’s a real estate agent and Kelsey manages renovation projects, so they felt well-equipped to take on a project of their own.
But two years later, the Kirkegaards tell the Scene their builders are suing them for defamation, and they’re potentially facing bankruptcy. The Kirkegaards are part of an ongoing case with Stellan Eoin Builders, a renovation company from Clarksville. The couple says Stellan Eoin completed work incorrectly. Stellan Eoin refutes the claims.
The Kirkegaards moved out of their house In July 2022 so Stellan Eoin could begin renovations. They say that at first, the work was delayed and not to their specification. But then, according to Kelsey Kirkegaard, the real problems began to emerge.
Kelsey tells the Scene that Stellan Eoin installed different fixtures than the ones the Kirkegaards chose, damaged paint and furnishings, and laid uneven tiles and floors. The floors were a particular issue, she says, because of her daughter’s mobility challenges.
The Kirkegaards also tell the Scene they found a permanently running shower with a missing volume valve, an uncapped gas line sticking out of the house and a gas leak leading to the stove and the fireplace. The stove was also connected to the wall with a dryer hookup, says Kelsey.
But, she says, perhaps the most alarming installation was the steam shower. She found the shower’s tankless water heater “shoved in a tiny closet up against the wall,” Kelsey says.
“It has all these warning stickers on it saying that it can’t be up against the wall,” she says. Without the correct clearance, Kirkegaard says the steam shower “will shoot boiling water at you, and the pressure will build up and explode the unit, which is right behind my kids’ bunk beds.”
The Kirkegaards also filed a complaint with the Metro Nashville Codes and Building Safety Department stating their foundation wasn’t installed up to code. But Tennessee law states that builders can bring their own engineer to a property to perform another inspection. That’s what Stellan Eoin did — and their engineer’s report contradicted the Kirkegaards’.
Kelsey says James Gilkey, Stellan Eoin’s engineer, “didn’t seem very professional.” She says at the inspection, he scooped up the dirt underneath their poured slab and chewed it before de-
termining it was the correct material. She later searched his name online and found a fine he incurred for previously practicing on an expired license and a Kentucky State Police report about Gilkey’s involvement in a fatal traffic collision. Gilkey did not respond to multiple phone calls from the Scene.
The Kirkegaards sent the Scene a copy of a report by Trace Inspections that reinforces their claims. A representative for Trace Inspections tells the Scene they are unable to comment on the report due to ongoing litigation.
Kelsey also shared Stellan Eoin’s response to the report. In it, the builders address each point, refuting some issues with windows and other fixtures and stating that many of the defects are due to the Kirkegaards’ own work.
In communications with the Scene, Stellan Eoin states that the Kirkegaards have “substantially modified” the property and that “most, if not all, of the defects that the Kirkegaards now claim are the result of modifications that they, themselves, have made.”
When the Kirkegaards fired Stellan Eoin, they told some other members of the Nashville real estate community about their experiences. According to documents shared with the Scene, at least one Stellan Eoin customer canceled work as a result of those conversations. In response, Stellan Eoin sent the Kirkegaards a cease-anddesist letter in November 2023, referencing “patently false and defamatory statements.”
In August of this year, the builder filed a lawsuit against the Kirkegaards; this suit includes breach of contract, defamation, mechanics and materialsmen’s lien, and recovery of attorney’s fees and costs. Their case is currently in chancery court.
In a statement to the Scene, a representative for Stellan Eoin writes that “the dispute between the Kirkegaards and Stellan Eoin is currently in litigation and, as such, it would not be appropriate to comment publicly on this matter pending conclusion of the litigation.” They also provided the Scene with five paragraphs of additional detail on the aforementioned litigation and a copy of their claim. Stellan Eoin tells the Scene that they initially stopped work because the Kirkegaards owed them about $60,000.
In their statement, Stellan Eoin writes that they have “promptly responded to each and every allegation raised by the Kirkegaards” and “offered to complete the work upon payment of the amount owed.” The company writes that they’ve “repeatedly advised the Kirkegaards that … any legitimate issues with the work will be addressed” — it’s just that the Kirkegaards haven’t given them the chance to fix their work. They also say that the Kirkegaards’ “allegations of defective work have been made in response to the lawsuit filed by Stellan Eoin.”
The Kirkegaards dispute these claims. (“Why would I destroy my own house and lose a million dollars?” Kelsey says.) They also deny that they were unwilling to pay the contractor: They say instead that they fired Stellan Eoin because the work wasn’t completed correctly. In correspondence with the Scene, Stellan Eoin’s reps say they “suggest that you carefully consider the sources of your information in deciding whether to publish the proposed article.”
The Kirkegaards’ case is still in litigation. In the meantime, the Scene caught up with construction attorney Jean Harrison to check in on the state of construction law in Tennessee.
Last year, Harrison told the Scene that Nashville’s building inspections were far from extensive. “Passing the building code is like getting a D minus,” she said at the time. “It just means that your house won’t fall over in 100-mile-anhour winds.”
In October, a new state law went into effect allowing builders to hire their own building inspector and bypass Nashville’s codes depart-
ment. Some, including Gov. Bill Lee, say the law will help mitigate inspection delays and backlogs. But others say it could make inspections less reliable — and structures more dangerous for homeowners.
As it is, Harrison says the codes department is “being asked to do an impossible job in a very busy building environment.” The inspections don’t catch everything, and when they’re faced with conflicting reports like the ones about the Kirkegaards’ foundation, it’s not in a codes inspector’s best interest to look any further.
Harrison recommends hiring a construction lawyer to look over any contracts before buying a home. But for homeowners to have enough protection, more state and local regulation also has to happen. Harrison can’t fight these battles alone.
“One lone cranky construction lawyer against that kind of setup?” she says. “I’m doomed to fail.” Kelsey Kirkegaard feels similar. “We’re at a devastating loss right now,” she tells the Scene. “Everything we worked for for 10 years is gone.”
PHOTOS COURTESY OF THE KIRKEGAARDS
MOULDING
TANKLESS WATER HEATER
WITNESS HISTORY
This extensively modified 1962 Fender Telecaster was played by Bernie Leadon on numerous Eagles hits including “Take It Easy.” California luthier Dave Evans installed the Pull-String B-Bender, and Leadon made further modifications with parts from a 1953 Telecaster.
From the exhibit Western Edge: The Roots and Reverberations of Los Angeles Country-Rock, presented by City National Bank
Bob
artifact: Courtesy of Bernie Leadon artifact photo:
Delevante
SEEING THE FOREST AND THE TREES
As the city grows, Nashvillians are fighting to keep the tree canopy strong
BY ELI MOTYCKA
TREE PEOPLE TALK about the canopy like an existential struggle.
On one side, the irreplaceable nourishment of water, sunlight, open green space and air — all fundamentals. Troops, each a sort of caretaker, fan out across Davidson County on workdays and weekends. Caring about Nashville trees means the dual priorities of planting and maintenance. Mature, mighty maples and oaks have survived decades and must be protected from premature death. Nonprofits, the city and private homeowners are planting thousands of young saplings each year, particularly eyeing urban buffer zones dominated by concrete and pavement. Methodical arborists determine how to trim branches in a way that preserves a tree’s strength, or make the weighty decision to facilitate a tree’s death. The city has slowly begun building protections around its canopy, increasingly seen as among the city’s most valuable utilities.
Benefits flow generously from healthy trees. Wood stores carbon — which accounts for about half a tree’s dry weight — efficiently and cheaply. Leafy canopies filter air and function as carbon sinks, drawing down greenhouse gases spewed into the atmosphere. Mature trees increase property values and anchor the local ecosystem. Birds, caterpillars and squirrels share branches. Mighty oaks are places to rest. Climb-
ers reach for low-slung magnolias. Some bear flowers and fruit.
Re-wooding cities with shady trees and green space helps battle what’s known as the urban heat island effect, the public health phenomenon describing how city dwellers suffer higher temperatures living amid concrete, glass and asphalt. Clinical data has shown trees’ capacity to relieve stress and lower blood pressure. Nashville physician and former U.S. Senate Majority Leader Bill Frist, newly convinced of trees’ measurable impact on physical health, compared them to medicine in Forbes a few weeks ago. From 2003 to 2007, as the nation’s most powerful senator, Frist fought environmental protections and supported extractive oil and gas interests. In 2022, he became global chair of the Nature Conservancy. In May 2023, he testified in front of the Senate Budget Committee about the devastating effects of a rapidly warming planet.
Like so much in Nashville, the tree canopy — and its benefits to health, wealth and happiness — is distributed unequally, a bottom-line conclusion of Metro’s 2023 “Urban Tree Canopy Assessment.” Downtown is unsurprisingly naked, with just 8 percent of its 1,667 acres boasting tree canopy. North Nashville and South Nashville, lower-income areas and centers of the city’s Black and Hispanic communities, slot in next with 21 percent and 27 percent UTC, respec-
tively. The city’s overall average tree canopy — respectable 56 percent coverage — is inflated by a heavily wooded rural western edge spanning Joelton to Bellevue. While the canopy has technically grown 1.7 percent since 2010, the places where people live — East Nashville, Green Hills, North Nashville, Antioch, West Nashville — have stagnated or taken 1 to 2 percent canopy losses. In other words, Nashville’s forests are thriving away from its population growth. Lots of people and lots of trees are not mixing well.
On the other side, three primary factors threaten Nashville’s trees, all of which have gained strength in the past decade. Tree destruction has a small green champion: the tiny emerald ash borer, which came to Tennessee in 2010 from Asia by way of Detroit, assumed to have hitched a ride in packing crates. Signage at Percy Warner Park displays its image like a mugshot. North American arborists have completely submitted to the beetle. Insecticide treatment is expensive, ineffective shortly after infection and can destroy the surrounding ecosystem. Professional advice focuses not on saving trees but properly caring for an ash upon infection — the resigned response to a mass killing event.
“The Emerald Ash Borer is attacking all species of North American ash trees and will kill them all unless treated,” reads advice from the city. “No ash tree is immune to the devastating effects of this insect which has been in Davidson County since 2014 and Tennessee since 2010.”
Violent storms tore through the wooded South well before Fort Nashborough — built from milled logs — established white settlers’ expansionist footprint near the Cumberland River. But as the effects of climate change destabilize weather patterns, atmospheric scientists have observed certain increases in the frequency and intensity of tornadoes — the second threat to Nashville’s canopy. Data shows an eastward migration of “Tornado Alley,” putting Nashville in the highest-density patch of multitwister events.
Each storm tests trees for strength. Brittle branches snap easily; high winds pull weak trees from the ground. Living, flexible fibers survive duress better than desiccated branches, helping strong, healthy trees withstand storm
conditions. During heavy rain, a robust leafy overstory mitigates flooding by pacing the flow of stormwater. Still, direct hits can clear-cut a neighborhood or hillside in minutes, throwing mature trees into homes, schools, roads and cars. Twisters uprooted canopies across Madison and Hendersonville in December 2023, and tore over North and East Nashville in March 2020.
Often from fear, ignorance or negligence, the trees’ third enemy — humans — destroys the canopy. Some decisions happen quickly. Homeowners, stoked by cautious neighbors or jarred by storm damage nearby, begin to see the trees in their yard as dangerous liabilities.
“They’re just majestic, non-heart-beating creatures, and they’re typically not hurting anyone,“ says Mike York, the arborist owner of TreeSavvy Nashville. On the day he speaks with the Scene, he’s on site just across the Williamson County line taking down a damaged hackberry in a residential front yard. “I just try to think about if it was my tree. I talk myself out of business all the time — people are afraid of their trees and tell us, ‘Just take it down.’ And I have to say, ‘That’s not what you want to do.’ Especially with the construction boom going on. There are usually other options.”
The industry is full of bad advice and unnecessarily aggressive recommendations, York explains. Tree work can be extremely expensive, and certain methods — particularly the practice of abruptly trimming major branches into stumps, known as “topping” — sacrifice tree health and stability for short-term convenience.
A lucrative real estate bonanza, followed by disruptive development across the county, arrived around the same time as the emerald ash borer. In the context of profit-seeking construction plans, mature trees on a wooded lot can quickly turn into obstacles. Satellite imagery from 2010 shows a densely wooded tract between I-24 and Cane Ridge Road that is now home to the Nashville SC training center, Century Farms Apartments and Tanger Outlets.
“THERE HAS ALWAYS been a tension between the most efficient building processes, which helps with affordability of rent and housing we need, and preserving the natural environment
around us,” says Burkley Allen, one of Metro Nashville’s five at-large councilmembers. “I get so many calls from constituents saying developers just cut down every single tree on a property. It’s painful to watch.”
Land use is one of a few areas over which the Metro Council wields direct power. Allen — along with former Councilmember Kathleen Murphy and current Vice Mayor Angie Henderson, a former district councilmember — has helped lead the chamber’s efforts to build a layer of legal protection over Nashville’s canopy.
Starting in the late 2010s, Allen was involved in several pieces of legislation that make up local tree law. BL2022-1121 and BL2022-1122, passed in May 2022, laid out a basic bill of tree rights. Metro law now includes requirements for new trees to replace those that are uprooted, a complicated schedule converting trees to tree “units” and a tree density requirement of 22 units per acre. The city now keeps lists of recommended trees (more than 100, including oaks, elms and maples) and prohibited trees. The entire ash species has made the prohibited list, as have several types of invasive, fast-growing trees that choke the natural canopy. Many, like the purple-pink mimosa tree and the ailanthus, also known as the tree of heaven, currently thrive around Davidson County. The bills also created a new category with even tighter protections: the “Heritage Tree.” Once specific mature tree varieties reach a certain diameter, they may qualify as a Heritage Tree, adding more “unit” value, a stronger protection against their disposal.
Allen is currently drafting new legislation aimed at minimizing incidental but preventable tree damage on active construction sites. As new problems arise in the city, she says, pressure builds on the government to respond.
“Eventually, a certain amount of time passes, and we decide that what we have in place is good, but not enough to preserve existing trees,” Allen tells the Scene. “When we cross the line from incentivizing to punitive measures, that’s where we see tension with builders. Right now, the focus is on strengthening incentives to save existing trees.”
Tree removal permits — required when largescale developments, including commercial and commercial-residential, clash with mature trees — provide some picture into recent deforestation. Tree removal permits are not required for single-family homes. Since 2020, Metro data shows permits concentrated along major roadway arteries like Dickerson Pike and Gallatin Avenue and inside the I-440 loop. Map the permits and certain hot spots emerge, like the densely wooded plots along West Trinity Lane and commercial corridors in Madison and Antioch.
Very few regulations were in place when the NFL planned to cut down 20 mature cherry trees on First Avenue ahead of the 2019 NFL Draft on Broadway. Butch Spyridon — then the city’s tourism kingpin as the head of the Nashville Convention & Visitors Corp — quickly brokered an apology from the NFL and publicized the league’s new relocation plan. Residents bristled at the episode, seeing it as another symbol of the city’s sacrifice to tourism.
Throughout our hourlong conversation, Ginger Hausser regularly refers to this short-lived semi-scandal as “Cherrygate.” A veteran of state and local government, Hausser became executive director of the Nashville Tree Conservation Corps in January.
“We are an exciting, vibrant, economically powerful city that continues to grow,” Hausser says. “This is a place people want to be, and the development community can make a lot of money here. That’s pressure on losing the canopy. For about 25 years, there was no real voice at the table externally saying we need to look at our canopy. A few really public removals of trees, like the [2019 NFL Draft] and Cherrygate, got the community engaged.”
The NTCC and the Nashville Tree Foundation are the two major tree nonprofits in Nashville. Their mission statements are interchangeable — promoting, planting, protecting, preserving — and they’ve grown to complement each other. The corps focuses on government efforts — a play to Hausser’s strengths, leveraging public money, drafting legal protections and administering grants. The NTF leans into education with its annual Big Old Tree Contest, in-school programs and arboretum designations.
“Our program — Tree Buddies — starts with helping kids just notice the trees are there. Recognizing that they’re alive, they change colors and they drop little acorns that are actually their seeds,” says Caroline Willett, the outreach coordinator at NTF. “Mostly they just like going outside.”
Both organizations work with Root Nashville, a city-funded project launched under former Mayor David Briley that aims to plant 500,000 trees in Nashville by 2050. The Cumberland River Compact oversees Root, which has 60 trained neighborhood tree captains across Davidson County. The captains liaise between Jason Sprouls, Root’s campaign manager, and residents who want to plant a tree.
As of this month, Root has planted 50,000 trees since the first young oak went in at Metropolitan Interdenominational Church six years ago.
“It’s a beautiful tree and a wonderful gift,” says Edwin Sanders II, the church’s founding pastor.
Before his congregation built its current home on 11th Avenue North in 1981, they would worship outside in a nearby park on sunny days.
In a photo dated Oct. 10, 2018, commemorating the planting, Sanders stands with Sizwe Herring, a legendary local environmental justice organizer who died in January of this year.
“Buena Vista, our neighborhood, it means ‘beautiful view,’” says Sanders. “We want to surround ourselves in that spirit.”
Sanders points to the athletic fields behind John Early Middle School, the church’s neighbor to the east; he remembers when the site was covered in woods. Nearly every residential lot on the block has been redeveloped. Through the brush, Sanders spots a backhoe grading a plot across the street.
No one wants to pick a fight against tree planting, a tangible and symbolic act of hope and optimism. Taken together, sustained tree reforestation can come to resemble communal healing.
“Everybody feeds off trees in a different way
“This is a place people want to be, and the development community can make a lot of money here. That’s pressure on losing the canopy. For about 25 years, there was no real voice at the table externally saying we need to look at our canopy.”
— GINGER HAUSSER, NASHVILLE TREE CONSERVATION CORPS
— for me, it’s reconnecting to nature, which helps me tap into a deeper creative space,” says Jaffee Judah, founder and leader of Recycle and Reinvest, a local nonprofit that runs a youth tree-planting program called Soil Soldiers. “For them, it’s like a form of therapy and rehabilitation. It’s healing. Our youth learn actual employment skills, but also build connections to the community, and grow their sense of belonging.”
The tree canopy’s survival depends on spreading this gospel. Nashville’s high canopy stan-
dards for public land go only so far in a county dominated by private property. Most wooded lots belong to individuals who choose what to keep and what to fell. According to Nashville Tree Conservation Corps’ Hausser, straying too close to the property line could risk preemptive legislation from the state. During this year’s Tennessee Urban Forestry Council conference, Metro Water’s urban forestry coordinator Mike Jameson and Vice Mayor Henderson joined city attorneys Lora Barkenbus Fox and Tara Ladd
PHOTO: ERIC ENGLAND THE FIRST TREE PLANTED BY THE ROOT NASHVILLE CAMPAIGN
TREESAVVY’S ADRIAN WAGNER DISMANTLING
to discuss the latent litigation threat. The Nov. 13 panel discussion was titled “The Lorax’s Dilemma.”
“Between toxic court decisions construing tree ordinances as unconstitutional takings, pervasive risks of preemption, and inherent difficulties enforcing tree regulations, the message from academia is to focus on incentives,” Jameson tells the Scene during the conference. “Everything from tax exemptions for tree canopies to density bonuses to expedited permitting.”
A recent federal court case looms large in the tree legal space: F.P. Development sued Canton, Mich., over tree protections imposed by the city in 2006. The company argued that local tree preservation laws violated its private property rights. The 6th Circuit Court of Appeals, which includes Tennessee, sided with plaintiffs in October 2021. In the case, a strong legal signal for municipal tree protections, the landowner compared the city of Canton to the British Crown on the eve of the American Revolution. The Texas Public Policy Foundation and the Cato Institute, two significant libertarian groups, argued the case for F.P. Judges ruled for the plaintiffs in part because the city didn’t demonstrate “rough proportionality” — that is, trees’ positive impacts on the environment did not seem to outweigh costly private penalties for removal. Jameson says he expects new legislation in the statehouse next year that uses tax and permitting incentives to promote tree conservation on private property.
TREE TOPPING IN EAST NASHVILLE
“TREES ARE NOT your private property,” says Adrian Wagner, Mike York’s colleague at TreeSavvy. “They do not care about property lines, especially the ones that have been there for 400 years. We just have to get past that idea. You just happen to have a house that’s nearby. You can choose to work with them, and they will make your life safer and more enjoyable.”
The day before speaking with the Scene, Wagner spent the day in a 60-foot hackberry. The tree had split near its center, a rupture that prompted owner Janet Lanier to call TreeSavvy’s York. (He recommends landowners consult with an arborist every few years about large trees near their homes.) With sawdust flying, Lanier and her two golden retrievers watched the tree come down piece by piece.
Wagner harnessed, then severed, thousand-pound chunks of trunk, canopy and large branches (which he refers to as “picks”).
As the “climber,” he ascends into the canopy, relying on experience, ropes, his chainsaw, an instinctive grasp of physics and a crew of four — including a crane operator — to dismantle the hackberry in pieces. The crane slowly lowers each to the pavement, where York and others wait with chainsaws. Over the course of hours, the tree disappears into a wood chipper.
Wagner’s East Nashville home is decorated with ficus and bonsai trees. He uses these small models to point out branch structure and mimic incisions as he describes the process of taking down a mature tree.
Across the street, Wagner points to a younger Bradford pear — an invasive flowering species on the city’s no-planting list — and an older hackberry. Both had been “topped” during their lives, an outdated process of paring back a tree by lopping off its strong central branches. Small flowering trees can respond well, but topping permanently deforms big trees like the hackberry. A branch structure dominated by these offshoots makes the tree geometrically unstable, weak, unhealthy and unsafe.
“It couldn’t be structurally any more dangerous than it is right now,” Wagner says, pointing through the rain. “Twenty-five years ago, there was no management, just a one-size-fits-all solution to tree work that has degraded the entire canopy. They start to fall apart, and a kind of hysteria sets in. When storms come through, people get scared and preemptively take down their trees. It just becomes this downward spiral as nature disappears.”
Shoddy work poses immediate threats to residents and taxpayers. Topped trees and poorly managed brush create weak ecosystems, forcing avoidable future cleanup work. It’s a lucrative industry, Wagner says. To his trained eye, the “buzzcuts” he sees along Ellington Parkway and in Shelby Bottoms mean wasted taxpayer dollars on unnecessary, ineffective tree work.
“I think if we focused as much effort on keeping the trees up — doing the right kind of pruning at the right time, not topping them as we do — as we do planting new trees, we wouldn’t
have to plant as many new trees,” Wagner says. “One way might be a fund to help people manage their trees who don’t have the financial ability to do that. I think we just gotta slow down. It’s like trying to get to Mars or something, and forgetting we’re on Earth.”
Kay Quinn’s male Osage orange tree, Maclura pomifera, is growing sideways across the front lawn of her new home on Ashwood Avenue. The females are known for dropping bumpy green fruit about the size of a softball.
“The tree canopies the whole front yard,” Quinn tells the Scene. “It shadows everything. For many people that’s off-putting, right? And I thought that was where I was on it.”
She bought the house, and the tree, from its longtime owner in May. The tree had fallen decades ago and become a kind of neighborhood folk symbol. In the interest of a smoother deal, the seller’s real estate agent put in a clause that the seller would pay for its removal upon closing.
“But then you kind of get to know the tree, and I bonded with it,” remembers Quinn. “This tree fell, it has lived, and it is thriving. I could not cut up this tree. Once I realized it had to stay, I called the realtor, I told the seller, and we stopped that process.”
Today Quinn pays a tree service to regularly replace cylindrical supports to keep the Osage’s heavier branches off the ground.
“If it goes naturally, it will go naturally,” she says. “If it doesn’t — and it is thriving — I’ll just keep taking care of it. As its guardian.”
PHOTOS: ERIC ENGLAND
Enrico
THURSDAY, NOV. 21
COMEDY [TENNESSEE KIDDING] NATE BARGATZE’S NASHVILLE CHRISTMAS
Five years ago, stand-up comedian Nate Bargatze didn’t need much of an introduction around these parts. Having just released his second special The Tennessee Kid, the Mt. Juliet resident was a regular guest on The Tonight Show Starring Jimmy Fallon. These days, Bargatze doesn’t need much of an introduction anywhere. In the past half-decade, he’s launched his successful Nateland Podcast, released two outstanding specials (2021’s The Greatest Average American and 2023’s Hello World), set an attendance record at Bridgestone Arena, won multiple Best of Nashville writers’ choice and readers’ poll awards, and hosted Saturday Night Live twice. (If you didn’t see his SNL appearances, cue up “Washington’s Dream” and “Washington’s Dream 2.” Good stuff.) On Thursday, the master of relatable comedy and deadpan delivery will kick off the holiday season with Nate Bargatze’s Nashville Christmas at the Grand Ole Opry House. The show — a live taping to be streamed on Paramount+ in December — will be co-produced by Lorne Michaels’ Broadway Video and MC’d by Bargatze and is set to feature “stand-up comedy, pre-taped comedy shorts, sketches and musical performances.” Tickets are pretty scant as of this writing, but if you’re able to scare up a ticket, consider it a holiday miracle. D. PATRICK RODGERS
7 P.M. AT THE GRAND OLE OPRY HOUSE
600 OPRY MILLS DRIVE
INGRAM NEW WORKS PROJECT:
BLOODSUCKING LEECH PAGE 18
MARIAH CAREY’S CHRISTMAS TIME PAGE 20
THURSDAY / 11.21
MUSIC
[I’M DYNAMITE] HOTLINE TNT
BLVCK WIZZLE PRESENTS: SKOOT
MUSIK LIVE PAGE 22
I’m one of the dinosaurs who owned Loveless and Going Blank Again before most of these neo-shoegaze fans were born, so some of the rehashing of these pedal-hopping indie rockers can seem a little unimaginative. If My Bloody Valentine and Ride were trying to break the conventions of rock ’n’ roll, it seems strange that their disciples would want to create a sonic facsimile rather than continue down a new path of audio deconstruction. But occasionally I hear a band that pulls it off so well that I don’t mind that their sound would fit so neatly on an episode of 120 Minutes. I still come back to Hotline TNT’s 2023 album, Cartwheel, a year later. The songs from Canadian-turnedBrooklynite and TNT mastermind Will Anderson stick with you. For me, they’re a reminder of all the nights I spent lying on my bed listening to Chapterhouse CDs as the immersive sound drenched my room with layers of oozing warm sounds. Locals Soot and Baby Wave open the show, so be there on time. P.J. KINZER
8 P.M. AT DRKMTTR
1111 DICKERSON PIKE
FRIDAY
/ 11.22
HOLIDAY
[MERRY AND BRIGHT] HOLIDAY LIGHTS AT CHEEKWOOD
As a Nashville tradition 10 years running, Holiday Lights at Cheekwood is a family-friendly annual staple. Over a million twinkling lights adorn the trees and walkways, and in addition to enjoying their splendor, you can sip on hot chocolate (or spiked drinks!), roast s’mores or shop for presents at the holiday marketplace. This year, Laura Dowling, former chief floral designer for the White House, will be creating custom holiday decorations inside Cheekwood’s historic mansion, so you can warm up inside while gazing at beautiful garlands sure to inspire your own holiday decorating. See cheekwood.org for special events during this time, including afternoon tea service and visits with Santa (for humans and dogs!). ELIZABETH JONES THROUGH JAN. 5 AT CHEEKWOOD 1200 FORREST PARK DRIVE
MUSIC
[REINVENTING YOUR NOSTALGIA] UNDEROATH
Has it really been 20 years since Underoath released its breakout album? It felt like only a few summers ago that a group of sweaty kids
from Florida emerged from post-hardcore limbo to become one of the most buzzed-about bands in the scream-y mall-rat rock scene. (That’s not a dig; this writer exclusively dressed in Hot Topic tees in high school.) But it wasn’t a few summers ago — Underoath took off in 2004. The album that fueled the band’s ascension? They’re Only Chasing Safety, a melodically instinctive collection of tenacious riffs that still should be played at a speaker-blowing volume. And while the fashion of mid-2000s scene kids might’ve gone out of style, Underoath’s continued contribution to heavy music holds up. (Editor’s note: Judging by my social media feeds, 2000s fashion might be coming back anyway.) This weekend, fans can celebrate the album that started Underoath’s journey with a one-night show in Nashville. English post-hardcore band Static Dress plays main support; Nashville rock duo Her Leather Jacket opens the show.
MATTHEW LEIMKUEHLER
7:30 P.M. AT MARATHON MUSIC WORKS 1402 CLINTON ST.
[OKC THUNDER]
MUSIC
CHAT PILE
If you’ve paid attention to heavy music in the past few years, you’ve no doubt already heard the thunder of Oklahoma City’s Chat Pile by now. The metal revisionists have reached a lot of new ears recently, both with hessians and normies alike. Their last trip through Middle Tennessee was to play at The Caverns in Pelham with avant-garde electro-pop duo 100 Gecs. The appeal of Chat Pile’s Cool World album, released in October, is that the band manages to reconstruct itself with every release, almost as a challenge to fans to follow the band deeper into their dark well in search of a weirder, more terrifying cacophony. The dynamics on the album are akin to bands like Neurosis, Big Black or Killing Joke — bands willing to cross the boundaries of what heavy music is into what it could be. Cool World is the perfectly cold, decomposing soundtrack to a doomsday that the band seems to be warning us of. Experimental metal duo Mamaleek, on tour with Chat Pile, pairs dissonant sonic effects with lo-fi production and a howling croon to make a truly unique concoction of both delicate moments and wall-of-noise dirge. Local favorites Thirdface kick off the night with their thrash blitz. P.J. KINZER
8 P.M. AT THE END 2219 ELLISTON PLACE
FILM
[COME WITH ME IF YOU WANT TO LIVE] RESTORATION ROUNDUP: THE TERMINATOR
I love just about any film about a postapocalyptic world in which the hubris of mankind has reduced us to enemy factions in violent disputes over resources. I can watch Blade Runner, Mad Max or Children of Men over and over without ever hoping to come up for air. What I don’t like about those movies, though, is how wrong they get everything else. These allegorical tales meant to warn humanity of our relationship with the ecosystem and
technology make the whole thing sound way cooler than the reality. These films are carried by freedom-fighting rebels and well-dressed, time-traveling villains. But real-world villains dress poorly — even the rich ones — while the people who should be vigilantly fighting to save the world are all pointing their fingers at each other, turning society into a struggle between ill-considered technocracy and flat-out fascism. Four decades after its initial release, The Terminator unfortunately feels more real than it did in 1984. But maybe that’s what makes it unfortunately timeless. Its 40th-anniversary 4K restoration is playing both Friday and Saturday night, so there’s no excuse to miss this brilliant film. P.J. KINZER
NOV. 22-23 AT THE BELCOURT
2102 BELCOURT AVE.
SATURDAY / 11.23
[AIN’T THAT AMERICA]
FILM
STROSZEK
When international directors turn their gaze upon the U.S. and make a film here, the end result is always interesting and worth exploring, even if they don’t necessarily stick the landing. You take a look at big swings like Twentynine Palms, Maps to the Stars, Atlantic City, My Blueberry Nights, The Heart Is Deceitful Above All Things, Stoker, Zabriskie Point or Paris, Texas, and see films that endure as perspectives on the domestic day-to-day that keep complacency from calcifying. 1977’s Stroszek is something more than that: It’s a weird, openhearted portrait of the Why of America (specifically Ed Gein’s hometown, Plainfield, Wis.) and the myth of endless possibility. It’s kind of awesome that Third Man Records’ newest cinematic endeavor with local artist Cody Lee Hardin, It’s Only a Movie, is serving this up between the election and Thanksgiving. Stroszek is Werner Herzog’s vision of the world focused on the gulf between the American Idea and the American Actual. It’s also caught up in grand cultural legend, as Joy Division’s Ian Curtis reportedly watched the film and played Iggy Pop’s The Idiot right before taking his own life. It is perceptive, haunting and sometimes darkly funny, and the secondbest film ever made about the U.S.A. after Robert Altman’s Nashville. Prepare yourselves.
JASON SHAWHAN
8 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS
623 SEVENTH AVE. S.
[NEW
THEATER
WORKS RETURN] INGRAM NEW WORKS PROJECT: BLOODSUCKING LEECH
Over the past 15 years, Nashville Repertory Theatre has dedicated itself to the development of new works through its widely recognized Ingram New Works Project. In fact, the project has been instrumental in the development of more than 70 new plays since its launch in 2009, providing participating playwrights with muchneeded support, networking opportunities and audiences. You can be part of that process this weekend, as the Rep presents the world premiere staged reading of Bloodsucking Leech
Penned by Los Angeles-based playwright and screenwriter Amy Tofte, this dark comedy follows a woman as she “struggles to protect her aging mother from cat-fishers and conartists.” It’s a thoughtful new play, touching on themes of anxiety and isolation. Beki Baker directs a terrific cast of familiar faces, including Deb Meeks, Shannon Hoppe, Megan Murphy Chambers, Meggan Utech and Victoria Griffin. The reading is free and open to the public, and the playwright will be on hand for a post-show talkback. AMY STUMPFL
7:30 P.M. AT NASHVILLE REP’S OFFICES
161 RAINS AVE.
SUNDAY / 11.24
HOLIDAY [ON THICK ICE] SCOTT HAMILTON & FRIENDS HOLIDAY SPECTACULAR
I am constantly doing the mental math of how long it is until the Winter Olympics come around again just so I can watch figure skating. (It’s in February 2026 in Italy, as a reminder.) The fact is, there is figure skating to watch more regularly than that, especially when a treasure like gold medalist Scott Hamilton lives in town. At the eighth annual Scott Hamilton & Friends Holiday Spectacular, some of the country’s best skaters will donate their time to skate alongside live musicians and raise money for the Scott Hamilton CARES Foundation for cancer research. You may recognize musical guests like CeCe Winans and Steven Curtis Chapman, or skaters including Gracie Gold, Kurt Browning, Elladj Baldé or pair skaters Kaitlin Hawayek and Jean-Luc Baker. Their performances are entrancing, and I could tell they were having a damn good time doing it. Plus, you’ll get to see some tricks like backflips, which aren’t performed in regulation competitions! It might even inspire you to take some adult figure skating classes at one of Hamilton’s Nashvillearea rinks. HANNAH HERNER
5 P.M. AT BRIDGESTONE ARENA
501 BROADWAY
[WELCOME
TO THE
PERMISSION PARTY] ALEX WONG & CHATTERBIRD: PERMISSION
Alex Wong is an accomplished, Latin Grammynominated musician, songwriter, producer and chef. But growing up as a second-generation Chinese American, he often struggled with questions of cultural identity and “how to take up space in America.” Wong explores this deeply personal journey in his new album Permission. This weekend, he’ll team up with Nashville’s always daring chamber ensemble chatterbird for Permission: A Multi-Sensory Album Release Show. Billed as a “first-of-its-kind” immersive concert experience celebrating and exploring Asian American identity, this so-called “Permission Party” invites guests to connect through music, food, projected imagery and storytelling as they move throughout the various spaces of the Darkhorse Theater. Pairing each track from the album with a Chineseinspired dish, Wong will share the story behind the dish before premiering his songs. Guests can also look forward to never-before-heard compositional elements, created especially for chatterbird by Wong. It’s a wholly unique listening and tasting experience that promises to honor, celebrate and inspire. AMY STUMPFL 7 P.M. AT THE DARKHORSE THEATER 4610 CHARLOTTE AVE.
MUSIC
[SINGIN’ SONGS ABOUT THE SOUTHLAND] DRIVE-BY
TRUCKERS
Out of the band’s 14 studio albums, Southern Rock Opera might be the Drive-By Truckers’ most ambitious, poignant and absurd project to date. The 2001 album’s roots predate the band, first conceived by then-bassist Earl Hicks and guitarist Patterson Hood on a sprawling road trip to Athens, Ga. The idea was to write a script, adapting the story of the plane crash that killed members of Lynyrd Skynyrd into a literal opera. The idea turned into Southern Rock Opera, weaving the Truckers’ personal experiences with local folk myth and history. Hood and fellow songwriter Mike Cooley paint vivid images of racism, Christianity, stadium rock, Muscle Shoals and sniffin’ glue into 90 minutes of pure rock. The album pushed the Truckers’
MUSIC
ALEX WONG & CHATTERBIRD: PERMISSION
PHOTO: ALEX BERGER
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into the spotlight, and 23 years later, it continues to interrogate the juxtaposed ideals and horrors of the South — an especially important task in such a contentious and strange time. To honor its legacy, the band is going on tour to play the album basically front to back alongside other fan favorites. This Sunday, after looping across the United States, the Truckers find themselves in Nashville, interrogating “the duality of the Southern thing” yet again. BEN ARTHUR
8 P.M. AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
FILM [ANOTHER WARNING] RESTORATION ROUNDUP: THE SACRIFICE
The last time The Sacrifice, Andrei Tarkovsky’s final film, was re-released in a new 4K restoration, we were nearly a year into Donald Trump’s first presidential run. Now the 1986 film is back in theaters, just as that cheddar-cheese bastard is about to enter the White House again And even though this 38-year-old movie (which heavily influenced R.E.M.’s “Losing My Religion” video) is actually an allegory on Cold War-era chaos, it surprisingly has some prescient things to say about our clusterfucking times. “Our culture is defective,” says Alexander (Erland Josephson), an actor-turned-writer who must find a way to stop a nuclear holocaust and keep his family from imploding. The usually metaphysical Tarkovsky got in touch with his inner Ingmar Bergman on this one, even filming in Sweden and collaborating with Bergman regulars like Josephson and cinematographer Sven Nykvist. With the movie ending on an immolating note, Tarkovsky seemed all for ripping shit up and starting from scratch — which doesn’t sound like a bad idea right about now.
CRAIG D. LINDSEY
NOV. 24 & 27 AT THE BELCOURT
2102 BELCOURT AVE.
MONDAY / 11.25
[THE QUEEN OF CHRISTMAS IS BACK]
HOLIDAY
MARIAH CAREY’S CHRISTMAS TIME
You can no longer deny that Christmas is
here. Not only is Thanksgiving right around the corner (a festivity I’d say is situated within the Christmas season), but the queen of Christmas is coming to celebrate. If you follow Mariah Carey, you know she posted her annual “It’s Time” video celebrating the beginning of the Christmas season on Nov. 1. This week she’s bringing that Christmas joy down to Nashville with her show Mariah Carey’s Christmas Time — so the holly and jolly will descend on Bridgestone Arena whether you’re ready to admit it’s Christmastime or not. She’s celebrating 30 years of her first Christmas album Merry Christmas and of her beloved classic “All I Want for Christmas Is You.” Every holiday season for the past 30 years has been shaped by Carey’s record, which changed the Christmas game for the music industry and featured original music along with gospel and traditional standards.
The queen continues her reign — come view a re-coronation when she stops off in Nashville on Monday. KATIE BETH CANNON
7:30 P.M. AT BRIDGESTONE ARENA
501 BROADWAY
MUSIC
[SHAKE YOUR HIPS] WISHY
Hailing from Indianapolis, Wishy is led by singers and songwriters Kevin Krauter and Nina Pitchkites. They compare their 2024 album Triple Seven to “the bygone big-budget rock albums that inspired it.” I hear hints of emo and shoegaze in the slightly dissonant guitar riffs that underlie the songs on Triple Seven, but I don’t discern the influence of another genre they namecheck on their Bandcamp page: power pop. Still, the melody of my favorite Triple Seven track, “Busted,” is pretty nice, and the album sports plenty of moments when the abrasive guitars hook in with the vocals. You can read Triple Seven as a commentary on the Trump era, which you might want to do after digesting the result of the recent presidential election. In “Just Like Sunday” they sing: “I wanna be your big, bad second place.” Meanwhile, “Busted” revolves around this line: “Shake your hips at the end of the world.” If you’re a fan of emo, His Name Is Alive and Sonic Youth and, you know, Spell — the last was a Sonic Youth-style band from Denver who released the album Mississippi on a big-budget major label, Island Records, back in 1994 — Triple Seven is for you.
EDD HURT
8 P.M. AT DRKMTTR
1111 DICKERSON PIKE
TRIVIA
[POP-STAR QUIZ] TAYLOR SWIFT TRIVIA
Trivia nights are a chance to be silly — to
laugh with your friends, to try and absolutely demolish every other team, to eat bar food and to forget about how heavy everything may feel. There’s been a lot going on in the world lately, but there’s still room for that kind of joy. Taylor Swift Trivia at M.L. Rose is the perfect place to let loose and show just how much of a Mastermind you are when it comes to Miss Swift. Whether you know her All Too Well or the other teams seem Untouchable, the night is sure to be Enchanted. Though it’s not rational to be incredibly emotionally invested in a Taylor Swift trivia game — and as someone who loves this sort of thing, I would know — it can be an important part in retaining your sanity. Just let yourself have a night. As a bonus, the top three winning teams in these free competitions get M.L. Rose gift cards. KATIE BETH CANNON
NOV. 25 AT M.L. ROSE CAPITOL VIEW (431 11TH AVE. N.)
NOV. 26 AT M.L. ROSE SYLVAN PARK (4408 CHARLOTTE AVE.)
TUESDAY / 11.26
MUSIC [ROLLIN’] JELLY ROLL
What a year our dude Jelly Roll has had! The homie from Antioch rolled up on the mainstream like it owed him money, in the process becoming America’s Homie. When we caught up with him for our cover story last year, squeezing interviews into spare moments between award shows and business meetings, our man Jelly was a bit of an underdog, an excon with a stash of hits across genre charts. In the 12 months since, he’s become a fixture in national media and Davidson County’s most famous spokesperson since The Watson’s Girl.
WISHY
DRIVE-BY TRUCKERS
UPCOMING
PARNASSUSBOOKS.NET/EVENTFOR TICKETS & UPDATES
THURSDAY, NOVEMBER 21
6:30PM
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THURSDAY,
He also released Beautifully Broken, an album of hardscrabble soul-searching and tunes as cathartic as they are catchy. He was the musical guest on SNL, he had his music sampled by Eminem, and he cameoed on Sylvester Stallone’s show Tulsa King. He also sold half-a-million concert tickets. And Beautifully Broken earned him his first No. 1 album. All of this before he turns 40 on Dec. 4. Helluva way to close out your 30s. SEAN L. MALONEY
7 P.M. AT BRIDGESTONE ARENA
501 BROADWAY
WEDNESDAY / 11.27
MUSIC [GET TO THAT] BLVCK WIZZLE PRESENTS: SKOOT MUSIK LIVE
You might know Nashville native Blvck Wizzle best as a member of sprawling hip-hop collective Six One Trïbe, but his September solo record Skoot Muzik gives you a fuller introduction to his story and his storytelling. Slick and funky beats set the stage for his
soulful singing and guitar wizardry as he reflects on his family and the challenges of dating and relationships in a big city that likes to think of itself as a small town. His writing and performance style show you some of the through lines from blues to funk to hip-hop — my favorite cut is “Spaceships in Preston Taylor,” which makes me think of Funkadelic as heard by Dungeon Family — and he’s bringing the whole shebang to life at The Basement on Nov. 27. Ham2Funny, host of the SixOneFiF podcast, is your emcee for the evening, and two masterful MCs support. Namely, that’s longtime local ace Brian Brown, who celebrated the 10th anniversary of his debut EP 7:22 at The Basement East in February, and rising champ FoundHoney, who fired off a heater of a single called “Charlie Brown” in late October. STEPHEN TRAGESER
7 P.M. AT THE BASEMENT
1604 EIGHTH AVE. S.
JELLY ROLL
NOVEMBER LINE
Salute the Songbird w/ Maggie Rose, Special Guest: Emily Ann Roberts
11.12 Casey Beathard w/ Tucker Beathard
11.13 Eric Church: To Beat The Devil Residency SOLD OUT
11.14 Dwayne O’Brien (Of Little Texas)
11.15 Taylor Hicks
11.16 Outlaws Apostles – Free Show
11.17 Eric Church: To Beat The Devil Residency SOLD OUT
11.18 Cigarettes & Pizza w/ Aaron Raitiere, Shelly Fairchild
11.19 SiriusXM Presents Eric Church: One Night Only SOLD OUT
11.20 Tom Douglas – Love, Tom
11.21 The Warren Brothers
11.22 BlondMe – A Blondie Tribute
11.24 Pick, Pick, Pass w/ Kevin Mac, Abram Dean, Wyatt Durrette
11.25 Buddy’s Place Writers Round w/ Stevenson Everett, Cyndi Thomson, Chuck Wicks
11.30 William Michael Morgan GET TICKETS AT CHIEFSONBROADWAY.COM FOLLOW US @ChiefSBROADWAY om cha ons, t a s, eeple committed mmi
THE FOURTH THURSDAY in November is almost here. And while we can’t help you with some of the trickier parts of the Thanksgiving holiday (the romanticizing of colonialism or dealing with … um, certain family members), we can help you with the fun part. It’s often a daylong festival of eating and drinking. If you don’t want to do all the cooking yourself, we’ve got you covered. We’re back with a not-at-all-comprehensive list of places to dine in or take out for a Thanksgiving feast of your choosing.
We’ve narrowed down a long list of contenders to a baker’s dozen, chosen to give you a cross section of flavors, with some twists on the traditions, as well as a wide range of price points — from budget to indulgent. We’ve also given you some choices depending on your mood and how you are feeling about celebrating a holiday that can be both joyful and fraught. Stay in or go out; we’ve got ideas. Some of them will even provide enough for leftover sandwiches for the weekend.
One annual reminder: Almost everyone else is also plotting their big meal for that day. Unless expressly noted, you should plan by making advance reservations for both dining out and takeout orders. Some kitchens could be fully booked by the time you read this.
IF YOU FEEL LIKE DRESSING UP AND DINING OUT THIS YEAR
There’s no shortage of Thanksgiving din-
A THANKSGIVING BOUNTY FOR NON-COOKS
A baker’s dozen of options for a day of gratitude, football and food comas BY MARGARET
LITTMAN
ing-out options. Most hotel restaurants have sitdown dinners or buffets.
SCHULMAN’S NEIGHBORHOOD BAR: The chill East Side hangout offers its regular small menu (including vegan Buffalo chicken sandwiches), plus a special holiday menu with turkey poutine
(crispy fries topped with turkey and gravy). This is one of the few places where you don’t have to plan ahead at all; just show up. Based on the crowds from when I popped by for a pastrami dip last year, you won’t be alone. If you can’t make it on the holiday itself, you can try the special menu any time between Nov. 23 and 28 for a turkey sandwich, piled with stuffing and cranberry sauce.
SADIE’S: If you want a little twist on the traditional recipes but your family members prefer classic Thanksgiving dishes, the kitchen at Sadie’s is a good compromise. Mediterranean-influenced dishes include an herbs de Provence prime rib with thyme au jus and Moroccan brioche bread stuffing with apple and dried fruit medley. At $48 for adults and $20 for kids (drinks not included), this buffet is one of the better Thanksgiving dining-out bargains.
THE HERMITAGE HOTEL: The century-plus-old downtown grand dame is bringing back its beloved Grand Lobby Brunch. You get to dine amid the grandeur of the restored and updated Beaux Arts Lobby. (If you haven’t been since before the pandemic, you’re in for a treat.) The Thanksgiving buffet will feature traditional holiday dishes and Southern favorites, including turkey, rainbow trout, cold poached tiger shrimp, chilled crab claws, mini lobster rolls, and much, much more. Guests ages 21 and older receive a complimentary glass of sparkling, red or white wine for toasting the holiday. Brunch runs from 10:30 a.m. until 3 p.m. (It’s $115 for adults, $45 for chil-
dren ages 5 to 12, and free for children under 5.) Complimentary valet parking is provided.
FONDA ON 12TH: Chef Roberto Santibañez offers a menu that unites cultures, thanks to a Thanksgiving buffet featuring Oaxacan flavors. The menu includes two kinds of guacamole (something to be grateful for, in my book), leg of lamb, pumpkin soup and many other choices. This is another moderately priced option: $48 for adults and $24 for children 12 and under.
PINEWOOD SOCIAL: Pinewood Social’s jam is being open long hours, and Thanksgiving Day is no exception. You can grab a turkey plate special between 11 a.m. and 11 p.m. The menu includes the classics: mashed potatoes, green beans, stuffing, sweet potatoes and pie, plus the thing that will warm your family’s heart: free parking.
IF YOU DON’T FEEL LIKE PUTTING ON PANTS THIS YEAR (AND WHO COULD BLAME YOU?)
Whether you want to grab a full meal to feed your guests at home or you just want some carbs to eat on the couch, local kitchens have you covered.
SUSIECAKES: This Green Hills bakery offers apple crumble, pecan and pumpkin pies. You can supplement the classic dessert order with pumpkin cupcakes and themed, decorated sugar cookies. Preorder by Nov. 23 for pickup on Nov. 27.
SUSIECAKES
CITY HOUSE: Rebekah Turshen is one of the city’s best pastry chefs, working at one of the city’s best restaurants. If you really want to impress your guests, order one of her Thanksgiving treats, such as the sweet-potato chess meringue pie, the sweet-potato icebox cake or a six-layer Tennessee Waltz cake. Officially: Order at least two days in advance. Unofficially: Order ASAP. The carrot cake is already sold-out.
HIFI COOKIES: Three words: pecan-pie brownie. Five more: take-and-bake messy buns. Order sweet treats from the independent East Side bakery by Nov. 22. Pick them up Nov. 24, Nov. 26 or Nov. 27.
THE GUMBO BROS: Chef Adam Lathan’s got you covered. Order a whole Cajun-fried turkey with homemade gravy and cranberry sauce, intended to serve 10 people for $120. If that won’t feed your crowd, add on quarts or gallons of their gumbo, or red beans and rice, starting at $30 per quart. The meal comes with reheating instructions, so you can’t mess it up. Order by Nov. 25 for pickup in the Gulch Nov. 26 or Nov. 27.
FRIENDS IN LOW PLACES: If your family loves a celebrity endorsement, grab the Thanksgiving To-Go Package made from Trisha Yearwood’s recipes. A $199 package serves four to six guests and includes a whole roasted turkey, stuffing, mashed potatoes, green bean casserole, biscuits and pecan or apple pie. Order by Nov. 22 for pick up on Nov. 27.
COCORICO FRENCH BAKERY AND CAFE: Want your friends and family to say “Ooh la la?” Order French dishes including quiche, baguettes, cakes and pastries to serve with your main dishes or as a substitute for the classics. Also on the to-go menu is butternut squash soup and G.O.A.T. cheese spread. (Yes! The same cheese on
their award-winning vegetarian sandwich.) Pickup is in Midtown on Nov. 27.
CHIEF’S: Rodney Scott’s Whole Hog BBQ is going all-out with a Southern Thanksgiving menu, which can either be taken to go or served to you at the downtown celebrity spot. Think barbecue, spatchcocked sliced turkey, sweet-potato casserole, green beans, mac-and-cheese and pie meant to serve four to six people. Meals can be picked up Nov. 26, Nov. 27 or as late as Thanksgiving Day itself. If you dine in, make the reservation and you’ll be charged $250 per group of four to six, not per person.
CULACCINO ITALIAN RESTAURANT/CULAMAR SEAFOOD RESTAURANT: Franklin’s Italian duo will help you feed a crowd. Choose from torta di carote (carrot cake) from Culamar or a gooey, cheesy pan of homemade lasagna from Culaccino. Or get both. Prices are $90 each. Order through a Google form. ▼
BREAKING UP WITH DIET CULTURE
Ditching my toxic relationship with dieting and finding myself on the other side
BY JESS THOMPSON
Vodka Yonic features a rotating cast of women, nonbinary and gender-diverse 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.
away from me. I could no longer keep up with the high demands of macros and two-a-day workouts. The fine print of the relationship is cost and time. I drastically cut hours at work to be with my mom and could no longer afford the protein powders, the fancy workouts and the strict grocery requirements.
I didn’t want to, but we had to break up. It’s hard to leave a controlling relationship. I began spiraling.
I DON’T KNOW when my relationship with diet culture started. Isn’t it always like that? That thing that keeps showing up over and over again but you don’t recognize it until you’re in an affair with it? I woke up one day and was all the way in it. A whirlwind love affair that I knew was toxic, but couldn’t quit.
Perhaps it started in adolescence. Bodies start changing, hormones start raging. Comments begin about the difference between the body of a little girl and a woman. The introduction of women’s magazines and, even worse, teen magazines. And in my time, music videos. Oh, the music videos and the age of the video vixen. How badly I wanted the body of a video vixen and the approval of the male gaze.
In my teens, I was athletic and active. My body was “desirable,” but there was always the underlying conversation around my genetic makeup.
“You’re big-boned.”
“You’re lifting heavy weights? Be careful.”
“You’re getting fat.”
The programming was always there: the SlimFast commercials, the women on the covers of magazines, the weight talk. I internalized the idea that my body was “bad.” But I didn’t actively pursue changing my body until adulthood.
A funny thing happens when you become aware of the space your body takes up. It occurs overnight, the shift from living in your body with peace and grace, and then shifting to disgust.
Something had to change, and fast. I didn’t blame the relationship with diet culture. I blamed myself. I was the problem.
My relationship with diet culture deepened. It became toxic.
It started with a few Pilates classes and some spin classes. Then I started trying everything Running, boxing, yoga.
Then it moved to food. WeightWatchers? Sure. Atkins Diet? Yes, please. No meat? Sign me up. I did whatever was necessary to keep up with the relationship. We were in love, and this was how I did my part.
Things changed when my mom was diagnosed with stage 4 lung cancer. My relationship with diet culture was stripped
While I sat alone with my thoughts, diet culture kept moving along without me. I was heartbroken, sad and living with the “extra weight” of the tumultuous yet thrilling relationship I had walked away from. I cried a lot and started hiding.
When my mom passed and everyone went home after celebrating her, I took the first opportunity I could to rekindle my love affair with diet culture. But it felt different. It felt yucky. It hurt. I was angry about the abuse I’d endured all those years and even more infuriated by my desire to try again.
It wasn’t a smooth journey. The minute I decided to leave, I was left with a feeling of emptiness. How do I replace this nearly decadelong relationship? I couldn’t imagine myself in another relationship of this depth and need. Diet culture needed me, and I very much needed it. We were soul-tied. I was dependent on the need to make diet culture love and accept me.
But the more I tried, the more I realized I was outgrowing the relationship. I was learning new things about myself through therapy and self-care. I couldn’t keep up with my self-love journey while harming myself.
I began to look at how diet culture affected me. I was hypersexualized. I had low self-esteem and self-worth, and no awareness of all the other qualities I possessed that made me special. I was tired and miserable. Most of all, I was lonely. The preoccupation with keeping diet culture in my life left me empty: strained relationships, lots of debt and, most of all, no sense of self.
So I left on my terms. I felt liberated.
Diet culture didn’t seem to care. I began a new relationship with body liberation, a term coined by author Chrissy King. I replaced the fad diets with nourishment and joy. I replaced the “burn to earn” mentality and started moving my body because I love her, not to punish her. What I found on the other side of my relationship with diet culture was me. And I’m dope. Beautiful and embodied. My body is good, no matter what size she is. She carried me through a toxic relationship and came out on the other side stronger and better because of it. ▼
THIS IS NASHVILLE
Photographer Tamara Reynolds’
provocative series The Drake stirs at Coop
BY LAURA HUTSON HUNTER
THERE’S A CREW OF five Nashvillians lined up against a wall at Coop Gallery. On opening night, a crowd gathers around them, peering over each other’s shoulders in hopes of catching a glimpse of the figures’ faces up close. Everyone understands that the opportunity to examine, admire and honor these people is both unusual and important. They are five large-scale portraits of some of the unlikely protagonists in one of Nashville’s most stirring examples of documentary photography — Tamara Reynolds’ series The Drake
The Drake Motel on Murfreesboro Pike opened in the 1950s, and its storied history includes a prominent place in the 1993 River Phoenix film The Thing Called Love. Ashley McBryde shot a music video there for her 2019 song “One Night Standards.” But even though Reynolds named her series after the motel, it’s not her central focus. It’s just effective shorthand for the way things fall apart.
“It’s about a mile from downtown, located in an area that was ignored by developers,” she says in an essay about the series. “Gentrification and homogenization are taking hold of the city I’ve lived in all my life. Somehow, this one little block had escaped notice.”
Reynolds, a lifelong Nashvillian who currently teaches photography at Belmont and Vanderbilt universities, calls the block around the Drake “a microcosm of the disregarded or resentfully tolerated.” She began documenting it in 2015, drawn to the subjects after overhearing a few regulars at the nearby Your Place Cafe speak about sex workers disparagingly. In her essay, Reynolds says this was the moment she knew what story she wanted to tell. “It wasn’t about the overdevelopment of my home city,” she says. “It wasn’t about a forgotten bar or a vintage motel from the bygone years of Nashville. It was about the women walking the block. I wanted to know the women.”
The five central portraits work like a lineup of day players in a film about Nashville’s underbelly. The first shows a young woman in a faded pink shift dress. She’s standing contrapposto, her socked feet angled slightly inward like those of an insecure teenager. She holds her shoes under one arm and glances warily just out of frame. The photograph is subtly monochromatic — a sun-bleached rust-red wall and dirty brick facade provide a makeshift backdrop, and you can almost imagine her posing for a Barkley Hendricks painting.
At the other end of the group of five, a blond woman with chipped red nail polish gazes up from her cigarette, looking every bit like Cookie Mueller in one of Nan Goldin’s photos from 1980s New York. Like Goldin’s The Ballad of Sexual Dependency, Reynolds’ The Drake is shot with a degree of empathy that demands the viewer identify with the people in the photographs,
even when they might initially think they have little in common. Reynolds’ portraits command the most attention, but she contextualizes them with nuanced photographs of ordinary dayin-the-life vignettes. One such shot is almost like a still life of one of the motel rooms, where a television plays a black-andwhite Western from the 1950s — around the same time the motel opened. The TV is focused on the face of a young actress standing in front of a stagecoach. Her expression, when seen in contrast with the disheveled room, appears as concerned disbelief, as if a time traveler from an earlier America were looking out into our contemporary world. The character also works like a stand-in for Reynolds’ intended audience — people gazing in at the lives of those living “just above survival,” as Reynolds has said.
In another photo, a couple holds onto each other in the middle of the street. The man faces away from the camera, but the woman stares right into its lens. In a nearby photo, a man sits in an unpaved patch of sidewalk, his face obscured as a woman looks over him, tending to him in some unseen but evident way. The Drake photos are full of people caring for other people — mostly women caring for men. Bringing these figures into a gallery space is not in itself a radical act, but treating them with the tenderness Reynolds does is. Under
her gaze, they are all beautiful and deserving of attention. “They gave me what they could give me,” Reynolds says in her essay. “And I took what I could get.”
The Drake by Tamara Reynolds Through Nov. 30 at Coop, 507 Hagan St. “UNTITLED,”
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CRACKS IN THE FOUNDATION
With Prodigal, Nashville’s Phyllis Gobbell depicts the drama of a fractured family
BY ABBY N. LEWIS
NASHVILLIAN PHYLLIS GOBBELL’S latest novel, Prodigal, tells the story of a son’s homecoming after a decade in hiding.
A single gunshot at the Back Home Market changed everything for the clerk who was shot, the juvenile delinquent who pulled the trigger, and the Baptist preacher’s son who ran away, leaving everything he knew and loved, sure it was forever.
enormous wealth, which she does not share easily. Since her husband’s death, she has preferred to keep to herself in her massive house, emerging to play tennis at the country club but rarely to spend time with her family. She’s certainly not one to seek help or advice: “Anyone who meddled in Lady’s business had better have a goddamned good reason,” Gobbell writes. “She didn’t care much for lawyers or doctors or preachers — her son notwithstanding — but they were all sometimes a necessary evil.”
to Connor shrouds him in doubt from friends and family alike.
Connor Burdette is the youngest son of well-meaning minister Daniel and his wife Kitty. The couple have raised Connor and his older siblings Ivy and Russ in the small Tennessee community of Montpier, “a patriotic little town, a God-fearing town, a love-your-neighbor town.”
Connor, at 19, has always been known as the preacher’s boy, kind and gentle, so it comes as a surprise to everyone when he finds himself involved in a convenience store shooting with fellow youth Joe Ray Loomis. After the cashier takes a bullet to the leg, Connor and Joe Ray book it out of the parking lot, and Connor does not stop, leaving town for good without a word of goodbye to anyone. His family doesn’t know if he is alive or dead, but they keep hoping, because what is there to do but wait and pray for the day their boy returns home?
The opening chapter gives a quick account of the incident at the Back Home Market. Then we skip forward 10 years and meet Connor’s grandmother, Lady Burdette, who has always been a distant and calculating woman. She possesses
However, one day she unexpectedly leaves a voicemail for Ivy demanding that her granddaughter come over to discuss something important. Ivy is surprised and puzzled by the message, rushing to Lady’s house only to discover that her grandmother doesn’t seem to be home.
Ivy doesn’t think too much of the incident, but when she mentions it to her father that night at dinner, Daniel is quick to investigate. They find Lady sprawled at the bottom of the stairs, dead. Her death and the mysterious circumstances around it act as a proverbial gunshot in the quiet town, sparking rumors and gossip about both her passing and the disbursement of her sizable estate.
Connor’s sudden reappearance in Montpier the day after Lady’s death only fuels further gossip. Did he have something to do with her demise? Many are suspicious of him, and some townspeople are outright confrontational. What’s more, Lady made a major change to her will just before she died, and its new reference
Prodigal is told through multiple points of view from various characters, providing glimpses inside the continuous unraveling of this seemingly tight-knit family and the many secrets they hide. Gobbell’s writing style is familiar and cozy, like curling up on a couch with a warm beverage and listening to family members share stories. The initial conflict of the shooting at the market is only the first in a long line of twists and turns in the narrative. As we meet more characters and uncover further secrets, we find ourselves rooting for the most unlikely of heroines.
Prodigal is a well-crafted addition to the Southern literary novel genre from a practiced voice in true crime and mysteries.
For more local book coverage, please visit Chapter16.org, an online publication of Humanities Tennessee. ▼
Books 6:30 p.m. Thursday, Nov. 21
Prodigal By Phyllis Gobbell
Addison & Highsmith Publishers 200 pages, $19.99
Gobbell will appear at Parnassus
DECEMBER 7+8
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SHOWSTOPPER
Kaitlin Butts is the coolest theater kid in country music
BY MATTHEW LEIMKUEHLER
KAITLIN BUTTS KNOWS a thing or two about Oklahoma!
As a theater-loving kid raised in Tulsa, Butts frequented community theater productions of the famed Rodgers and Hammerstein musical, a summer tradition shared with her mother. She remembers the sweet dishes of berries and ice cream served by the theater and freely admits her first childhood crush belonged to Curly, the handsome cowboy at the center of the story.
Today, Butts is proof that theater kids can make damn good country music. She’s now a troubadour who’s been touring much of this year in support of Roadrunner!, an album inspired by Oklahoma! with which she plants her flag in the country universe. Over the course of its 17 songs, Roadrunner! showcases Butts’ knack for sharp writing, with a pinch of dramatic magic sprinkled in. Saturday, her tour returns to her adopted hometown for a show at Exit/In.
How did she come to write a concept album loosely based on an 81-year-old musical? The idea surfaced during COVID lockdown while orchestrating themed movie nights with her family — including her husband Cleto Cordero, singer-songwriter in Flatland Cavalry.
“It was Broadway night, and my husband had never seen any musicals growing up,” Butts says. “I showed him Chicago, which is my alltime favorite, and he loved it. We went to Oklahoma!, and as I was sitting there, I realized that I had written songs that pair well with the movie. … I was like, ‘Oh my God, why haven’t I thought of an Oklahoma! concept?’ I completely became obsessed with re-creating that and seeing what those songs would sound like today in the country music world.”
Butts began watching the 1955 film version of Oklahoma! over and over. Before the idea fully took hold, she’d already penned a few songs that could slide into the show’s canon, like playful album standout “Wild Juanita’s Cactus Juice” and mold-breaking ballad “Spur.” She kept writing, mixing autobiographical inspiration with the musical’s time-tested tale.
On a track list printed inside the Roadrunner! LP, she time-stamped where songs fit during the movie. She weaves in songs about all-night rambling on the road, like the titular tune, and ones about double-crossing men, such as the tongue-in-cheek romp “You Ain’t Gotta Die (To Be Dead to Me).” She taps into untamed love on
stripped-back country-folk number “Buckaroo” and pulls no punches on the show-shopping anthem “Other Girls (Ain’t Havin’ Any Fun).” She closes the album with “Elsa,” a heart-wrenching story about lost memories, inspired in part by time she spent playing for nursing home residents, some of whom became her friends.
She worked on the project for roughly four years, recording Roadrunner! in November 2023 at Ronnie’s Place Studio in Nashville.
“It was a hard thing to sell in the beginning stages,” she recalls. “I’m like, ‘I have this idea, no one’s really done this before.’ It’s hard to imagine what it can be. … It had to have that same feel [as the source material]. You just hope that it turns out the way you have it in your head.”
Butts isn’t the only Oklahoman to sing on Roadrunner!, either. After a chance meeting backstage at the Grand Ole Opry, she recruited Vince Gill to harmonize on “Come Rest Your Head (On My Pillow),” a love song soaked in fiddle and longing. She wasn’t sure Gill would answer the call — “He’s a busy man,” Butts observes — but he agreed almost immediately.
“It’s always fun to cheer on my fellow Okies,” Gill chimes in via email. “This kid, Kaitlin, has a
Playing 8 p.m. Saturday, Nov. 23, at Exit/In
great future and I’m grateful to be a part of this early stage of her career.”
On the road, Butts may bust out a cover or two, like her rendition of Chappell Roan’s megahit “Red Wine Supernova” or the blistering Roadrunner! version of “Hunt You Down,” a country ripper from Kesha’s 2017 comeback LP Rainbow. On “Hunt You Down,” she sings: “I ain’t never hurt nobody / Never buried a body / Never killed no one … Just know that if you fuck around, boy / I’ll hunt you down.” Butts sees Kesha’s tune as a new take on the musical’s classic number “All Er Nuthin’.”
“With me it’s all or nothing — I will kill you if you mess around,” she says, laughing. If you go to Saturday’s show, expect some old-fashioned stagecraft to bring you into the Western milieu, complete with prop horse, hand-painted backdrop and saloon doors. The tour is Butts’ opportunity to create a little of the immersive, community-building magic that being in the audience at the theater is all about.
“Fall in love with country music. Maybe you laugh and cry and have fun. Be friends.”
ALL HAIL RATBOYS! In August 2023, Chicago’s best self-described “post-country” indie-rock band released The Window, their fifth LP since Julia Steiner and Dave Sagan started writing songs together as college students in 2010. This album cycle marks a well-deserved, noteworthy boost in visibility for the group, whose second LP GN was on a list of “15 Great Albums You Probably Didn’t Hear in 2017” from Rolling Stone “Go Outside,” the closing track of 2021’s Happy Birthday, Ratboy, appeared in a Walmart TV spot a few months before The Window came out, and the band spent most of the late spring and summer opening for The Decemberists. Ratboys are closing out 2024 with a November headline tour that stops at The Blue Room at Third Man Records on Friday. This run lets the band put a bow on The Window in a way the bigger shows couldn’t.
“We haven’t gotten to headline some of these cities on this record yet — Nashville and Atlanta
SWEAT EQUITY
Ratboys get ready to showcase all they learned making The Window
BY HANNAH CRON
and [Carrboro, N.C.] are kind of the big three,” says singer-guitarist Steiner. “We’ve been there with the Decemberists … but on that tour, we were opening and our set was shorter, and so we only got to play a couple songs from the new record. But this time it’ll be cool to play some deep cuts and stretch out a little bit. As soon as this tour is over, we’ll be full speed ahead focusing on a new one. … It’s a bit like being pulled in multiple directions, but it’s kind of cool. We just can do whatever we want.”
Recorded with former Death Cab for Cutie member Chris Walla in the producer’s chair, The Window is Ratboys’ first record made start-to-finish with their full lineup, including Steiner and Sagan on guitars, Marcus Nuccio on drums and Sean Neumann on bass. Though much of the record was written before COVID, the themes and sprawling sound are difficult to separate from the pandemic era.
On the heartbreaking titular song, the band
doesn’t come in until after the first chorus, leaving Steiner mostly alone with an acoustic guitar as she sings about having to say final goodbyes to dying grandparents through the windows of a nursing home because of lockdown protocols. She notes that it’s the only song on the record that is directly about the realities of the pandemic, but that the way COVID forced musicians to slow down shaped the recording process.
“In the past, either it was me and Dave really hashing things out, just the two of us, or we would bring things to the band right before we went into the studio,” says Steiner. “But because of COVID, we had so much free time to work on it, and so I think the songs really benefited from that.”
“Black Earth, WI,” is an unusual song in the band’s catalog, a meandering eight-and-a-halfminute piece with an extended guitar solo in the middle that might feel familiar to fans of Neil Young or Wednesday. It has become a favor-
ite of Steiner’s, and it’s emblematic of some key lessons the band got from making The Window. Years ago, she had portions of the song worked up, but the band took advantage of COVID downtime to put work they might not otherwise have into making it something they could play together.
“I’m still really proud of these songs. We just rehearsed for the first time, playing these songs, getting ready for tour a couple days ago — and it felt so good. We’re still kind of learning things about them. There’s still so much to love and enjoy. So I’m thrilled. It’s not always that way. Sometimes you get sick of stuff and don’t ever want to play it again.” ▼
p.m. Friday,
Playing 8
Nov. 22, at The Blue Room at Third Man Records
SWEETS TO THE SWEET
Ahead of the final Sweet Time Booking show, looking back on a wild ride with dedicated localrock booster Ryan Sweeney
BY P.J. KINZER
IN THE EARLY 1990S, regional rock bands like Nirvana started exploding in popularity. Eager to capitalize, the mainstream music biz siphoned up indie acts like so much wet spaghetti and threw them at a wall of major labels to see which would stick and which would slide down into obscurity. “Budget rock,” an idea crystallized in the Bay Area underground centered on high-energy acts like The Mummies and The Rip-Offs, gained traction as an antithesis: Make the benchmark of success artistic expression and stupid fun, and ignore chart positions, musical proficiency and even recording fidelity. The budget-rock ethos has long been a guiding principle for Ryan Sweeney, who’s been part of Nashville-area scenes for nearly a quarter-century as a drummer and live-music promoter, and later the head of indie label Sweet Time Records.
Circa 2017, Sweeney started channeling his skills and resources into a small but mighty promotion enterprise called Sweet Time Booking, which has been responsible for a wealth of great rock shows in our area and beyond, including a pair of phenomenal festivals called Sweet by Sweet Time. But being a parent and active musician with lots of demands on his time, Sweeney is putting Sweet Time Booking to rest after one final show, set for Saturday, Nov. 23, at Betty’s Grill. Slack Times, a jangly Birmingham trio that takes cues from New Zealand’s 1980s Flying Nun scene, will be supported by Sweeney’s newest project Gross Motor, a fierce denim-and-leather riff machine that debuted in September. To put Sweet Time Booking in perspective, Sweeney granted me an exit interview in the parking lot of a Chuck E. Cheese while his son played with friends inside.
“I made a joke somewhat recently — I was like, ‘I’ve been doing this for 30 years,’” says Sweeney. “And then I was like, ‘Oh, wait, no, that’s real. I have been doing this for 30 years!’”
Around the time The Mummies were on the rise in California, Sweeney began his musical journey as a preteen in Danville, Va., where his older brother and friends — whose bandmates included future Nashville luminary Heath Haynes — booked and played gigs at cafes and pizza parlors. Sweeney started studying in Middle Tennessee State University’s recording industry program in 2000 while performing and booking around Murfreesboro and Nashville. Eventually, he found himself touring the world with bands like beloved riff rockers Hans Condor and power-pop weirdos Cheap Time, opening for the likes of Guitar Wolf and Mudhoney. He made friends across Europe who later needed to get gigs in Nashville so that trips to play events like Memphis’ Gonerfest made financial sense. Putting his skills and his local network into play repeatedly led to the start of Sweet Time Booking. During its run, he wrangled some of the best rock ’n’ roll acts from around the globe to play here, including Brooklyn psychedelic girl group Habibi, Derv Gordon of legendary U.K. rockers The Equals and Australian eccentrics Gee Tee — even Memphis garage heroes The Oblivians, who have always
been reluctant to play Nashville.
“They were just like, ‘The Oblivians in Music City — for Ryan Sweeney, we will do it,’” says Sweeney. “And that blew my mind.”
For all the self-aggrandizing Nashville likes to do under the “Music City” banner, it doesn’t have a great reputation across all music scenes. In DIY punk circles, Nashville is seen more as a liability than a gold mine, with show turnouts consistently much lower than in other similar-size cities. And when we do show up to these gigs, excitement can be at a minimum — even for pub-rock royalty like Wreckless Eric playing a pitch-perfect room like The 5 Spot, as he did in 2019.
“When I booked that show, he was so excited about it,” Sweeney recalls. “And it was packed. He had a great time. But it was also another thing where during his set, at least half the room left. Like, ‘What are you guys doing?’”
Putting on a show is a ton of work even if you aren’t playing. As with many DIY promoters in Nashville, burnout began setting in for Sweeney when getting fickle fans to turn out consistently proved a challenge with diminishing returns.
“That’s kind of really where this stopped being so much fun and started being more of a stressor,” he tells me. “It was cool that I was getting offered better shows — and I don’t want to say ‘higher quality,’ but more experienced bands, bands with bigger names. But that inevitably means they need more.”
Letting Sweet Time Booking go gives Sweeney more capacity to stay involved in the nasty underbelly of local punk. He’s a member of poetic punk outfit The Sleeveens, whose self-titled LP is among the most lauded punk albums of 2024 and who’ll be embarking on their first European tour early next year. He also plays with buzzing garage punkers The Shitdels, who just released their second LP Where’s Your Head? and Ramones-core outfit The Rip Taylors, who have a new record ready to go for 2025. As far as Sweet Time Records, upcoming projects include a new full-length from wild punks Wesley & the Boys and a 7-inch from hard-charging rockers Night Talkers. While it was time for booking to wind down, it isn’t an experience Sweeney regrets.
“I do appreciate the people that did show up and did promote and help out.” ▼
Saturday, November 23
SONGWRITER SESSION
Smithfield
NOON · FORD THEATER
Saturday, November 30
SONGWRITER ROUND Tribute to David Olney
NOON · FORD THEATER
Sunday, December 1
MUSICIAN SPOTLIGHT
David Dorn
1:00 pm · FORD THEATER
Saturday, December 7 FAMILY PROGRAM
String City
Nashville’s Tradition of Music and Puppetry
10:00 am and 11:30 am · FORD THEATER FREE
Sunday, December 8
MUSICIAN SPOTLIGHT Whit NOON · FORD THEATER
WITNESS HISTORY
Museum Membership
Receive free admission, access to weekly programming, concert ticket presale opportunities, and more.
Sunday, December 8
INTERVIEW AND PERFORMANCE Rosanne Cash
2:30 pm · FORD THEATER
Saturday, December 14
HATCH SHOW PRINT Block Party
9:30 am, NOON, and 2:30 pm HATCH SHOW PRINT SHOP LIMITED AVAILABILITY
Saturday, December 14
SONGWRITER SESSION Jamie Floyd NOON · FORD THEATER
Sunday, December 15
MUSICIAN SPOTLIGHT Alisa Jones 1:00 pm · FORD THEATER
Saturday, December 21
SONGWRITER SESSION Matt Warren and Dave Pahanish NOON · FORD THEATER
Slack Times w/Gross Motor playing 9 p.m. Saturday, Nov. 23, at Betty’s
RYAN SWEENEY
1 Fed the kitty, perhaps
7 Salve
11 #1 pal
14 Hercule’s creator
15 One who might make a comeback?
16 Hebrew name meaning “my God”
17 Much ado about some punctuation?
19 No pro
20 It’s often gained by knocking
21 Only city that entirely surrounds a country
22 Request from Oliver Twist
23 Nutrition fig.
24 Anger over a grammatically incorrect sentence?
26 She served on the court with Antonin and Anthony
29 Silky fabrics
30 Hunting cap feature
34 1930s vice president John ___ Garner
35 Harsh words regarding the past and the present?
38 Harbor sights
39 Take off
40 Commercial success?
42 Shipmate of Capt. Kirk
46 Brawl over what to call a piece of writing?
50 Toddler’s need, maybe
51 Grassy expanses
52 Regarding
53 Build, as a relationship
55 Possibilities
56 Punny summary of the battle between editor and writer seen in 17-, 24-, 35- and 46-Across?
58 Ornamental pond fish
59 Cross paths
60 Pill bug, e.g.
61 The Middle Ages or the Renaissance
62 ___ Nublar, fictional setting of “Jurassic Park”
63 Ending point of the first marathon DOWN
1 Sprinkling on a lox bagel
2 What is to be done?
3 Pattern of intersecting stripes
4 Use a spoon, say
5 What Alexander Graham Bell suggested as the standard telephone-answering greeting
6 Thomas Lincoln, familiarly
7 Industry mogul
8 Don’t you forget it!
9 Light units
10 Violent sport, for short
11 Flattering, as clothing
12 First city in Europe with paved streets (1339)
13 Touch
18 Gru’s twin brother in the “Despicable Me” franchise
22 Blue lobsters and white tigers, e.g.
24 Half-baked?
25 Drawings that might encounter problems with intellectual property law
27 Consonants articulated with the tongue against the upper teeth
28 Do some grapplin’
31 Was up
32 Big feller?
33 Drug also called “rocket fuel” or “ozone,” for short
35 Absolutely amazing
36 One side of a perpetual war in Orwell’s “Nineteen Eighty-Four”
37 “Stop right there!”
38 Tall and pointy, as ears
41 Uses TurboTax, perhaps
43 Green, say
44 Scenic spot to snorkel
45 Overturns
47 Dirt
48 Climate activist Thunberg
49 Billy Joel’s “Tell ___ About It”
53 Observe Ramadan, in a way
54 “Then again …,” in a text
56 Bon ___
57 K.G.B. rival during the Cold War
WHEREAS, David M. Anthony (“Trustee”) has been appointed Substitute Trustee by Lender by that Appointment of Substitute Trustee of record at Instrument No. 20241113-0088510, Register of Deeds Office for Davidson County, Tennessee, with authority to act alone or by a designated agent with the powers given the Trustee in the Deed of Trust and by applicable law; and WHEREAS, Lender, the owner and holder of said Indebtedness, has demanded that the real property be advertised and sold in satisfaction of said Indebtedness and the costs of the foreclosure, in accordance with the terms and provisions of the loan documents and Deed of Trust.
NOW, THEREFORE, notice is hereby given that the Trustee, pursuant to the power, duty and authority vested in and imposed upon the Trustee under the Deed of Trust and applicable law, will on Thursday, December 12, 2024, at 11:00 o’clock a.m., prevailing time, on the steps of the historic Davidson County Courthouse, 1 Public Square, Nashville, Tennessee 37201, offer for sale to the highest and best bidder for cash and free from all rights and equity of redemption, statutory right of redemption or otherwise, homestead, dower, elective share and all other rights and exemptions of every kind as waived in said Deed of Trust, certain real property situated in Davidson County, Tennessee, described as follows:
Legal Description: The real property is described in the Deed of Trust at Instrument No. 20191204-0125123, Register of Deeds Office for Davidson County, Tennessee.
FORECLOSURE SALE NOTICE WHEREAS, Integrity Group Solutions, LLC executed a Deed of Trust dated December 2, 2019, of record at Instrument No. 201912040125123, Register of Deeds Office for Davidson County, Tennessee (the “Deed of Trust”) and conveyed to Rudy Title and Escrow, LLC, Trustee, the hereinafter described real property to secure the payment of certain indebtedness (“Indebtedness”) owed to Blue Mountain Investment Group LLC (referred to as “Lender” and sometimes as “Beneficiary”); and WHEREAS, default in payment of the Indebtedness secured by the Deed of Trust has occurred; and
Land in Davidson County, Tennessee, being Lot No. 209 on the Plan of Part of The W.C. Miller Home Place, Sterling Heights, Section Five, of record in Plat Book 1835, Page 37, Register’s Office for said County, to which reference is hereby made for a more complete description.
Being the same property conveyed to Integrity Group Solutions, LLC by Warranty Deed recorded simultaneously herewith in Instrument No. 20191204-0125122, Register’s Office for Davidson County, Tennessee.
Street Address: The street address of the property is believed to be 77 Valeria Street, Nashville, Tennessee 37210, but such address is not part of the legal description of the property. In the event of any discrepancy, the legal description
herein shall control.
Other interested parties: None. THIS PROPERTY IS SOLD AS IS, WHERE IS AND WITH ALL FAULTS AND WITHOUT ANY REPRESENTATIONS OR WARRANTIES OF ANY KIND WHATSOEVER, WHETHER EXPRESSED OR IMPLIED, AND SUBJECT TO ANY PRIOR LIENS OR ENCUMBRANCES, IF ANY. WITHOUT LIMITING THE GENERALITY OF THE FOREGOING, THE PROPERTY IS SOLD WITHOUT ANY REPRESENTATIONS OR WARRANTIES, EXPRESSED OR IMPLIED, RELATING TO TITLE, MARKETABILITY OF TITLE, POSSESSION, QUIET ENJOINMENT OR THE LIKE AND WITHOUT ANY EXPRESSED OR IMPLIED WARRANTIES OF MERCHANTABILITY, CONDITION, QUALITY OR FITNESS FOR A GENERAL OR PARTICULAR USE OR PURPOSE.
As to all or any part of the Property, the right is reserved to (i) delay, continue or adjourn the sale to another time certain or to another day and time certain, without further publication and in accordance with law, upon announcement of said delay, continuance or adjournment on the day and time and place of sale set forth above or any subsequent delayed, continued or adjourned day and time and place of sale; (ii) sell at the time fixed by this Notice or the date and time of the last delay, continuance or adjournment or to give new notice of sale; (iii) sell in such lots, parcels, segments, or separate estates as Trustee may choose; (iv) sell any part and delay, continue, adjourn, cancel, or postpone the sale of any part of the Property; (v) sell in whole and then sell in parts and consummate the sale in whichever manner produces the highest sale price; (vi) and/ or to sell to the next highest bidder in the event any high bidder does not comply with the terms of the sale.
Substitute Trustee will make no covenant of seisin, marketability of title or warranty of title, express or implied, and will sell and convey the subject real property by Trustee’s Quitclaim Deed as Substitute Trustee only.
This sale is subject to all matters shown on any applicable recorded Plat or Plan; any unpaid taxes and assessments (plus penalties, interest, and costs) which exist as a lien against said property; any restrictive covenants, easements or setback lines that may be applicable; any rights of redemption, equity, statutory or otherwise, not otherwise waived in the Deed of Trust, including rights of
redemption of any governmental agency, state or federal; and any and all prior deeds of trust, liens, dues, assessments, encumbrances, defects, adverse claims and other matters that may take priority over the Deed of Trust upon which this foreclosure sale is conducted or are not extinguished by this Foreclosure Sale. This sale is also subject to any matter that an in spection and accurate survey of the property might disclose.
THIS 19th day of November, 2024. David M. Anthony, Substitute Trustee
EXO LEGAL PLLC P.O. Box 121616 Nashville, TN 37212 david@exolegal.com 615-869-0634
NSC 11/21, 11/28, 12/5/24
IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF ARIZONA Case No. CV-23-02470-PHX-DLR NOTICE OF PUBLIC SALE OF: Men’s Wearhouse 1921 Gallatin Pike North, Madison, TN 37115
United States Securities and Exchange Commission, Plaintiff, v. Jonathan Larmore, et al. Defendants, and Michelle Larmore; Marcia Larmore; CSL Investments, LLC; MML Investments, LLC; Spike Holdings, LLC; and JMMAL Investments, LLC, Relief Defendants.
TO ALL PARTIES IN INTEREST: Notice is hereby given that Allen D. Applbaum, as Receiver for ArciTerra Companies, LLC and related entities, intends to sell, through his broker, Marcus & Millichap Real Estate Investment Services (“Marcus & Millichap”), a multi-use retail center located in [1921 Gallatin Pike North, Madison, TN 37115], and owned by [1921 Gallatin Pike Nashville TN, LLC] (the “Property”), free and clear of all liens, claims, interests and encumbrances (the “Sale”).
Pursuant to the Motion for Entry of an Orders: (A) approving (i) the Receiver’s engagement and compensation of Marcus & Millichap as broker for the sale of the Property, and (ii) the proposed sale and auction procedures for the sale of the Property (the “Sale Procedures”),
including the scheduling of an Auction and Sale Hearing to consider the sale of the Property; (B) approving the sale of the Property to the bidders who submit the highest and best offers at a public auction to be conducted on RealINSIGHT Marketplace Auction Platform at https:// rimarketplace.com (the “Marketplace Auction Platform”), free and clear of all liens, claims, encumbrances and interests; and (C) granting related relief (the “Sale Motion”), the Receiver is soliciting higher and better offers for the Property. The Receiver is soliciting higher and better offers by means of an Auction to be conducted on the Marketplace Auction Platform, which shall be governed by the terms and conditions of the order establishing sale and auction procedures (the “Sale Procedures Order”) approved by the Court on October 17, 2024 [ECF No. 246]. The Sale Motion and the Sale Procedures Order are on file with the United States District Court for the District of Arizona, Sandra Day O’Connor U.S. Courthouse, 401 W. Washington St., Suite 130, SPC 1, Phoenix, Arizona 85003-2118 (the “Court”), and are available for review during regular business hours. Copies of the Sale Motion, the Sale Procedures Order, and the proposed Purchase Agreement to be executed by the Successful Bidders are also available upon request from the undersigned or by visiting the Receiver’s website at www. arciterrareceivership.com.
OBJECTIONS, if any, to the relief requested in the Sale Motion or to final approval of the proposed Sale of the Property must be filed in writing with the Clerk of the Court on or before November 6, 2024 at 5:00 p.m., Phoenix Time (the “Objection Deadline”). A copy of the objection must also be served on all of the following so as to be received by the Objection Deadline: counsel to the Receiver, Archer & Greiner, P.C., Attn: Allen G. Kadish and Harrison H.D. Breakstone, 1211 Avenue of the Americas, New York, New York 10036. Through this Notice, HIGHER AND BETTER OFFERS to purchase the Property are hereby solicited. The Auction will be held on the Marketplace Auction Platform beginning on October 29, 2024 at 12:00 Noon (Eastern Standard Time) and ending on October 31, 2024 at Noon (Eastern Standard Time). Instructions for attending the Auction are available at: at https://
rimarketplace.com.
A FINAL HEARING on the Sale Motion will take place on November 13, 2024 at 10:00 a.m., Phoenix Time, at the United States District Court for the District of Arizona, Sandra Day O’Connor U.S. Courthouse, 401 W. Washington St., Suite 130, SPC 1, Phoenix, Arizona 85003-2118, before the Honorable Douglas L. Rayes. Please be advised that any of the foregoing dates may be changed by the Court without further notice.
If you have any questions regarding or would like copies of materials relating to the information in this Notice, please make such request in writing to Counsel for the Receiver, Archer & Greiner, P.C., 1211 Avenue of the Americas, New York, New York 10036 Attn: Allen G. Kadish and Harrison H.D. Breakstone. NSC: 11/14, 11/21, 11/28, 12/5/24
IN THE CHANCERY COURT OF SUMNER COUNTY, TENNESSEE, AT GALLATIN RULE NO: 23AD-30
IN RE: THE ADOPTION OF TYLER TURNER (dob: 01/09/2014) TYLIN PATTERSON 01/23/2013) BY: TYLA CHAMPACO and JESSE CHAMPACO
PLAINTIFF vs. TELVIN TURNER
DEFENDANT
ORDER OF PUBLICATION
In this action, it appearing to the satisfaction of the Clerk and Master, from the Plaintiffs’ complaint which is sworn to that the whereabouts of Telvin Turner are unknown and cannot be ascertained after diligent search and inquiry so that the ordinary process of law cannot be served upon him.
It is therefore, ordered that publication be made in the NASHVILLE SCENE, a newspaper published in Davidson County, Nashville, Tennessee, for four consecutive weeks commanding said defendant to file an answer to the Petition for Termination of Parental Rights and Adoption with the Clerk and Master whose address is 155 East Main Street, Suite 3600, Gallatin, Sumner County, Tennessee 37066 and a copy to Plaintiff’s attorney, according to law within thirty days from December 12, 2024. If the Defendant fails to do so, judgment by default will be taken against him for the
NEIGHBORHOOD
LOCAL ATTRACTIONS
Broadway The Nashville Zoo
NEIGHBORHOOD DINING & DRINKS
Big Machine Distillery 12-South Tap Room
Tin Roof
ENJOY
Moss-Wright Park
Centennial Park Fair Park Dog Park
relief demanded in the complaint. This the 15th day of November, 2024
MARK T. SMITH, CLERK AND MASTER Insertion Dates: November 21, November 28, December 5 and 12, 2024
ATTORNEY FOR PLAINTIFF
Clare A. Zanger
135 Clif Garrett Drive White House, TN 37188615-6720511
email: clare@zangerlaw.com
NSC 11/21, 11/28, 12/5 & 12/12/24
Sustainability Manager (Brentwood, TN). Assist companies in bldg a reliable & accurate carbon acctng prgm that makes it easy to report to (CDP, SASB, GRI), reduce (IPCC or SBTI), & eliminate (carbon neutral programs). Remote employment from anywhere in the US, rprting to HQ at Brentwood, TN. 5% trvl to unspecified areas within the US as needed. Reqs Master’s deg in Sustainability Mgmt, Environmental Science, or rltd field. 1 yr concurrent exp in job, as Sustainability Consultant, or rltd occupation. Special skills: 1 yr concurrent exp in carbon acctng, rprting, & strat dvlpmt ; & mngng & organizing mltpl cnsltng projs. Send resume to Michelle Mascardo at WAP Sustainability LLC, 103 Powell Ct., Suite 200, Brentwood, TN 37027.
Social Media & Ad Mgr Exp in LATAM/Europe art mkt, digital strategy, SM/ad mgmt, trend tracking. 5+ yrs exp, MA in Art Biz, strong analytics. Eng/Span pref. Send CV to: media718.llc@gmail.com
The Escape Game
Brother’s Burgers
Southside Kitchen & Pub
Eastern Peak
Radnor Lake State Park
Rockland Recreation Center
