CITY LIMITS: EXPERTS CALL FOR MEDICAL EXCEPTIONS TO RESTRICTIVE STATE ABORTION BAN
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CITY LIMITS: LGBTQ RIGHTS ARE UNDER ATTACK IN TENNESSEE. HERE ARE SOME RESOURCES.
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While Nashville changes, Belle Meade tries to stay the same BY ELI MOTYCKA
CULTURE: REMEMBERING
TENNESSEE
WRESTLING LEGEND
JERRY JARRETT
PAGE 31
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9
CITY LIMITS
Experts Call for Medical Exceptions to Tennessee’s Highly Restrictive Abortion Ban .............................................................. 9
Legislation permitting medical exceptions for abortions is currently, and contentiously, making its way through the House and Senate
BY CONNOR DARYANIMore Than a Billboard: Resources for LGBTQ Nashvillians
Last week, Gov. Bill Lee signed a pair of bills targeting drag shows and trans health care. Here are ways to help the queer community.
Uncertainty remains as Nashville General Hospital preps new facility
BY HANNAH HERNER Pith in the Wind
This week on the Scene’s news and politics blog
13
COVER STORY
The Belle Tolls
While Nashville changes, Belle Meade tries to stay the same
BY
ELI MOTYCKA
19
CRITICS’ PICKS
Margo Price, SEC Men’s Basketball Tournament, OscaRRR Picks + Best Picture Marathon, Samia and more
27
FOOD AND DRINK
Spilling the Beans
Surrounded by change, Varallo’s — the state’s oldest restaurant — is still slinging chili downtown
BY MARGARET LITTMAN
30 ART
New Moon
Sierra Luna takes a giant leap at STATE Gallery
BY JOE NOLAN
31
Remembering Tennessee Wrestling
Legend Jerry Jarrett
The Continental Wrestling Association founder and consummate showman died last month at age 80
BY NADINE SMITH32
BOOKS
Raise the Roof for Tennessee Women and Title IX
Mary Ellen Pethel celebrates the lives of 50 Tennessee women athletes
BY PETER KURYLA, CHAPTER16.ORG
34
MUSIC
Love Will Keep Us Together .................... 34
The War and Treaty look at love from all sides on Lover’s Game
BY BRITTNEY M c KENNA Still Got It 34
Yo La Tengo returns with a new LP and a renewed appreciation for the road
BY CHARLIE ZAILLIAN Everybody Get Together 36
Sharing space with fellow players is key to Thayer Sarrano’s
THIS
Why Didn’t Bill Lee Denounce the Nazi Sign?
Uncle Nearest Gives Back to HBCUs and BIPOC Spirits Professionals
Lawmaker Apologizes for Lynching Comment Amid Calls for Discipline
ON THE COVER: Allée Steps
England
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In a surprising turn, Fox News mogul Rupert Murdoch admitted that some of the network’s hosts deliberately promoted the false narrative that the 2020 election was stolen from President Trump. Murdoch further admitted he could’ve stopped it but didn’t, according to a recent New York Times story. Murdoch’s comments came amid Dominion Voting Systems’ $1.6 billion defamation lawsuit against Fox News.
Of Fox hosts Lou Dobbs, Sean Hannity, Jeanine Pirro and Maria Bartiromo, Murdoch said under oath that “they endorsed” the false narrative. Murdoch said, however, it was not Fox the network but only its hosts who made the claims. But according to the Times, Dominion alleges: “The people running the country’s most popular news network knew Mr. Trump’s claims of voter fraud in the 2020 election were false but broadcast them anyway in a reckless pursuit of ratings and profit.” According to the Times: “Fox guests and hosts claimed, for instance, that Dominion’s voting machines had been designed to rig elections … and were equipped with an algorithm that could erase votes from one candidate and give them to another.”
the party,” Coppins told CNN.
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Reports the Times: “Dominion’s goal, aside from convincing a jury that Fox knowingly spread lies, is to build a case that points straight to the top of the Fox media empire and its founding family, the Murdochs. ‘Fox knew,’ the Dominion filing declares. ‘From the top down, Fox knew.’” Apparently, Dominion has a strong case — as Murdoch’s statements now show. The article continues to detail Fox endorsing the false narrative. “Fox News stunned the Trump campaign on election night by becoming the first news outlet to declare Joseph R. Biden Jr. the winner of Arizona — effectively projecting that he would become the next president. Then, as Fox’s ratings fell sharply after the election and the president refused to concede, many of the network’s most popular hosts and shows began promoting outlandish claims of a farreaching voter fraud conspiracy involving Dominion machines to deny Mr. Trump a second term.” The article also reminds readers that “the law shields journalists from liability if they report on false statements, but not if they promote them.”
The former president, according to Forbes, called on Murdoch and “his group of MAGA Hating Globalist RINOS” — that is, Republicans in name only — to “get out of the News Business as soon as possible.” Trump still insists there are “MASSIVE amounts of proof” supporting his false election claims, despite those claims being thoroughly debunked and his advisers’ warnings that his allegations were untrue. His unsubstantiated whining is getting old — so much so that members of his own party have had enough!
The Atlantic’s McKay Coppins recently wrote about how many Republicans secretly hate Trump: “Press them hard enough, and most Republican officials — even the ones with MAGA hats in their closets and Mar-aLago selfies in their Twitter avatar — will privately admit that Donald Trump has become a problem.” There is “desperation in
Attempts to break free from Trump’s lies and influence seem to be increasing, as indicated by another recent New York Times headline: “Fox Leaders Wanted to Break From Trump but Struggled to Make It Happen: Executives and top hosts found themselves in a bind after Donald Trump began pushing unfounded claims about election fraud, court filings show.” The same article says, “‘Navigating’ the delicate balance between truth and ‘crazy’ was how Mr. Murdoch described his challenge in emails recently made public.”
Some might feel sorry for the Fox executives, fearing Trump and his minions’ backlash. But it’s hard to muster sympathy for Murdoch or Fox when they perpetrated a lie against the American people. They didn’t have to pursue or publicly endorse the lie, especially when evidence shows they didn’t believe it themselves. Murdoch himself even said he “seriously doubted any claim of massive election fraud” and thought “everything was on the up-and-up.” As Politico puts it: “The network agreed to air Trump’s claims because of their inherent newsworthiness … while suggesting their hosts would challenge or push back on the false claims. Dominion said that pushback was … drowned out by louder and larger embraces of Trump’s claims.”
Regardless of the reasons Fox hosts or Murdoch had for their actions, it appears they’ve finally noticed their terrible role in widening the gap in an already divided country. If we didn’t live in America — whose citizens are smarter than Fox gives us credit for — I’d fear we’d never recover. Perhaps after seeing Murdoch’s testimony, Americans will agree that Trump needs to move on — so we can do the same!
Bill Freeman
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In memory of Jim Ridley, editor 2009-2016
Legislation permitting medical exceptions for abortions is currently, and contentiously, making its way through the House and Senate
BY CONNOR DARYANIRepublican state lawmakers’ attempts to roll back some of Tennessee’s abortion legislation — which is among the most restrictive in the country — have slowed down, despite the medical community stressing the urgency of the situation.
Tennessee was one of 13 states with an abortion ban that was triggered when Roe v. Wade was overturned in 2022. Many doctors, advocates and legal experts consider Tennessee’s law criminalizing doctors for performing abortions to be the strictest in the country. And while a bill that would allow for exceptions in cases of rape or incest has been put on ice until next year, legislation permitting medical exceptions for abortions is currently, and contentiously, making its way through state House and Senate committees.
According to medical professionals, House Bill 883, which passed in the Population Health Subcommittee in early February, contains the ideal language needed to provide the best health care possible to their patients. The bill was supposed to be heard in the House Health Committee on March 1, but following pressure from anti-abortion lobbyists Tennessee Right to Life and delays in the Senate, it has been deferred until March 22.
“With every legislative delay, and
Last week, Gov. Bill Lee signed a pair of bills targeting drag shows and trans health care. Here are ways to help the queer community.
BY D. PATRICK RODGERSclarifying and cleaning up our Tennessee abortion laws, women and patients are suffering,” says primary care physician Amy Gordon Bono, who serves on the boards of advocacy groups Forward Tennessee and Protect My Care. “We are seeing increased maternal morbidity. We see women losing their uteruses unnecessarily because they get an infection that could have been prevented at the start.” Bono says HB 883 is the minimum requirement for physicians to adequately and ethically care for pregnant patients.
One of the things the bill would do is delete the “affirmative defense” language currently used in the state’s abortion ban. This language means that if a doctor performs an abortion, no matter the circumstances, they can be charged with a felony and will have to defend their actions in court. HB 883 would instead allow doctors to use their “good faith” judgment when treating a patient.
“I don’t think people always appreciate how pregnancy can really be a lifethreatening condition,” says Bono. “I mean, it’s certainly a medical condition that requires monitoring. … We’re really trying to prioritize medical complications of pregnancy. We’re trying to prioritize enabling that mother to be able to survive her pregnancy.”
The “good faith” language does not currently appear in the Senate version
LGBTQ rights are under attack in Tennessee.
During its current session, the Tennessee General Assembly has already passed legislation banning gender-affirming care for trans youth and banning drag shows that “appeal to prurient interest” on public property outside of age-restricted venues. Gov. Bill Lee quickly signed both bills into law on March 2 without much in the way of ceremony or statement. The drag legislation will go into effect on April 1, and the trans health care legislation on July 1.
Not long before the governor signed the legislation, a photo emerged of Lee during his years at Franklin High School. In the photo, which was discovered in a 1977 Franklin High yearbook, Lee is dressed in women’s clothing; in drag, in other words, on public property, in front of minors. This sort of thing was and is a not-uncommon sight at public high schools — powderpuff football and various homecoming traditions often see boys dressing in cheerleaders’ uniforms or girls wearing men’s suits. But activists
of the bill, which Bono refers to as the legislation’s “watered-down” version. She explains that this “good faith” language is vital to doctors being able to provide patients with the best treatment possible, and that the “reasonable standard” language used in the Senate version is restrictive and disrespectful to the patients.
“As a clinician, I know that I can have the very same clinical situation but have a different patient in front of me,” says Bono. “And I have to make a different decision in creating my plan of care because my patient is different. Good-faith medical judgment is good for the doctor. It’s good for the patient. It should be good for our government.”
But increasing pressure from the Tennessee Right to Life lobby is muddying the waters, to say the least. In February, the group sent letters to Republican legislators in an attempt to turn them against the legislation, and even went so far as to threaten members of the Republican supermajority with negative ratings on the group’s so-called legislative score card if they choose to support the bill. These threats received immediate backlash from House Speaker Cameron Sexton (R-Crossville), who has publicly supported the House version of the bill.
Sexton and Sen. Richard Briggs (R-Knoxville) have both been working to amend Tennessee’s abortion ban following reports that state Attorney General Jonathan Skrmetti advised Republican legislators that the current law would be difficult to defend in court. Skrmetti pointed to a similar law in Idaho, which was blocked by a judge.
But the GOP is split. Multiple Republican leaders have voiced opposition to making any changes to the current law, including Gov. Bill Lee, Senate Speaker Randy McNally (R-Oak Ridge) and Sen. Todd Gardenhire (R-Chattanooga). Gardenhire chairs the Senate Judiciary Committee, where multiple bills attempting to loosen abortion restrictions were killed last week. They say they would rather wait a year or two and see what happens.
A study in Texas shows that state’s abortion laws, which are very similar to
Tennessee’s, are associated with dramatic increases in maternal morbidity rates. Bono says a “wait and see” approach will be catastrophic to not only women’s health, but the future of health care in the state.
“I talked to a doctor this morning on the way to work,” says Bono. “She met with her accountant yesterday to figure out if she could take an early retirement. The chilling effect that is taking place in our state is immediately being felt with patients suffering, but the long-term effects are going to be doctors leaving medicine, leaving the state, and new physicians not coming in to replace them.”
EMAIL EDITOR@NASHVILLESCENE.COM
A STUDY IN TEXAS SHOWS THAT STATE’S ABORTION LAWS, WHICH ARE VERY SIMILAR TO TENNESSEE’S, ARE ASSOCIATED WITH DRAMATIC INCREASES IN MATERNAL MORBIDITY RATES. AMY GORDON BONO SAYS A “WAIT AND SEE” APPROACH WILL BE CATASTROPHIC TO NOT ONLY WOMEN’S HEALTH, BUT THE FUTURE OF HEALTH CARE IN THE STATE.
quickly seized on the hypocritical nature of the photograph.
The photo went wildly viral. At a press scrum not long after, Lee called a question about the photograph “ridiculous,” saying, “Sexualized entertainment in front of children is a very serious subject.” Of course sexual entertainment in front of kids is very serious and very unacceptable — that’s why obscenity laws exist. And with obscenity laws already in place, critical thinkers might find themselves asking, “Why, then, do we need additional laws targeting drag performers specifically?”
A GoFundMe campaign organized by Tennessean Zachary Stamper quickly sprang up last week aiming to “purchase billboards across the state of Tennessee” for the purpose of publicizing Lee’s cross-dressing high school shot. As of this writing, the campaign has already raised roughly $70,000. Stamper has also indicated that he would like the billboards to include “statistics for the foster care system here in Tennessee.” (As the Scene and others have previously reported, the Tennessee Department of Children’s Services is understaffed and underfunded, leaving children to sleep on the floor in state office buildings — seemingly a significantly more dangerous and unfit situation for kids than any drag show could be.)
Queer Tennesseans and allies are feeling justified rage over the Tennessee General Assembly’s slate of anti-LGBTQ legislation. Last week a banner featuring a swastika, homophobic and transphobic slurs, and the white-supremecist slogan known as the “14 words” was seen hanging from a Chestnut Street bridge near downtown Nashville. According to photographs posted to social media by Tennessee Holler and others, the banner thanked Gov. Lee for “tirelessly” working to
oppress gay and trans people. People who know Nashville well know that bigotry and oppression are unfortunately threaded into the city’s history. Nevertheless, seeing that level of deplorable hate speech — realizing that bigots of the highest order feel invigorated and energized by this legislation — speaks volumes.
The ACLU of Tennessee has announced its intent to challenge the anti-trans-health-care law in court, and the day after Lee signed the bill into law, the LGBTQ rights group Campaign for Southern Equality issued a release. “The passage of this law cutting off trans young people’s access to life-saving care is devastating,” says the Campaign for Southern Justice’s Ivy Hill in the release, “but it won’t stop our community from holding and supporting each other.”
In addition to awarding $250 “rapid response grants” to trans youth and their families, Southern Equity also issued a list of resources available to those affected by the legislation. Find more information at southernequality.org/TNResources.
Below, we’ve listed a number of LGBTQ community organizations, many of them provided by the Campaign for Southern Equality’s list, and many of them open to accepting donations. If you’re considering sending your money to a campaign to put up billboards that Lee will likely dismiss, consider donating to one of these causes instead.
As a friend recently put it to me, you can’t shame the shameless. Tennessee’s Republican supermajority likely won’t alter its course because of a few billboards. But offering your support for these causes could indeed positively alter the course of young LGBTQ Tennesseans’ lives.
EMAIL EDITOR@NASHVILLESCENE.COM
Campaign for Southern Equality southernequality.org
PFLAG pflag.org/findachapter
GLSEN Tennessee glsen.org/chapter/tennessee
Just Us at The Oasis Center oasiscenter.org/for-youth
Vanderbilt Program for LGBTQ Health vanderbilthealth.com/program/program-lgbtqhealth
Nashville CARES Sexual Health Clinic nashvillecares.org
Planned Parenthood of Tennessee and North Mississippi plannedparenthood.org
Tennessee Advocates for Planned Parenthood plannedparenthoodaction.org
Nashville Launch Pad nashvillelaunchpad.com
Inclusion Tennessee inclusiontn.org
BY HANNAH HERNER
Nashville General Hospital
CEO Dr. Joseph Webb would have liked to have gotten started on a new facility by now.
Nashville Scene sister publication the Nashville Post
The hospital needs the city to commit to donating the land on which the hospital will sit. Webb confirmed again to the Post that Nashville General’s first choice is 720 Mainstream Drive in MetroCenter, though other possibilities have been considered, and no final decision has been made. He said conversations with the city are in the “preliminary” phase.
Jackie Jones, superintendent of community affairs for the Metro Parks and Recreation Department, says Nashville General has not yet requested to use the land at 720 Mainstream Drive.
Tennessee Pride Chamber tnpridechamber.com
ACLU of Tennessee aclu-tn.org
Tennessee Equality Project tnep.org
The Music City Sisters musiccitysisters.com
Nashville Pride nashvillepride.org
The Tennessee Vals tvals.org
Vanderbilt University Office of LGBTQI Life vanderbilt.edu/lgbtqi
The Nashville Gender and Sexuality Alliance linktr.ee/nashvillegsa
Protect Trans Health TN instagram.com/protecttranshealthtn
The city’s safety-net hospital is racing against a clock that ends in 2027, when its lease with Meharry Medical College is set to expire. Meharry would like to see the hospital stay put, but Nashville General has released renderings of a proposed new campus, and Webb has said multiple times that he prefers a city-owned property in MetroCenter currently occupied by soccer fields.
Last week, Nashville General held its yearly town hall following its quarterly Hospital Authority Board meeting. Around 25 people were in attendance, including seven speakers and a moderator.
What’s standing in the way of getting started?
“A commitment for appropriate space allocation to the initiative,” Webb tells
“I can confirm that they have been informed that the property is highly utilized by the community and that the mission of the Parks Department is to provide as many recreational outlets in underserved communities as possible, particularly in a city where green space is rapidly diminishing,” Jones says. “If they are still interested, their request would have to be submitted, vetted and approved by the Parks Board.”
TJ Ducklo, spokesperson for Mayor John Cooper, adds: “There have been no discussions to date. Mayor Cooper has invited Hospital Authority Chair [Richard] Manson and other officials to share details of their proposal, and we expect that to happen in the coming weeks.”
The MetroCenter site is favored because it is centrally located and has access to a bus
line, Webb says. At the town hall meeting, Webb announced that the organization’s Bordeaux outpost will open in June.
“The fact that we do have issues that are political in nature to deal with always adds an extra layer of time, because of the number of stakeholders that have to be brought to the table,” says Webb. “It’s not a two-party process; you’ve got to have multiple parties involved. People have different agendas; stakeholders have different agendas. We’re accustomed to that level of complexity.”
Through two additional outpatient sites — Nashville Healthcare Center and the new Bordeaux center — Nashville General has diversified its funding streams in the past several years. The organization is looking for a private investor to get the new hospital off the ground. At the town hall, Webb said there are multiple parties interested in investing, though he did not provide specifics. So far, says Webb, those conversations have been led by an owner’s representative.
“I don’t think people should look at this in a small-minded way,” Webb says. “There are individual firms that have more than enough resources to fully fund a project like this and to generate their return on that investment over a 30-year period.”
The new site could include housing to further diversify funding streams, Webb adds.
“If it helps to alleviate some of the taxpayer burden, that should be viewed as a good thing,” Webb says of the potential for housing, for which he anticipates pushback. At the town hall, he said he could not promise that those units would be affordable units.
At last week’s board meeting, one board member said the board had not approved a new hospital. Dr. Raymond Martin said a recent Tennessean story about the process was inaccurate, because it noted that the board “decided last year to build a new hospital,” while Martin said the board had not. Webb pointed to a feasibility study approved in May 2022 in response.
“I’m not sure where [Martin’s comment] was coming from,” Webb says.
As this process continues, the Hospital Authority Board recently opted to meet quarterly instead of monthly, and the body had to reschedule its most recent meeting twice after failing to establish a quorum at earlier dates.
Webb bristles at the idea of calling Nashville General a “cash-strapped” organization. To say the new hospital location will still rely on a city subsidy is accurate, but the goal is not to eliminate the subsidy. Support for indigent care is prescribed in the city’s charter. Webb tells the Post the hospital’s finances depend in part on whether the city pays the full subsidy amount requested for indigent care.
“When the city decides that they don’t want to pay the full amount of the cost that’s being presented [for indigent care], then it just means that the hospital has a deficit,” Webb says. “The hospital has to figure out how it’s going to put together a budget to reflect that the city declined to pay the full amount for the indigent care.”
This article first ran via our sister publication, the Nashville Post.
EMAIL EDITOR@NASHVILLESCENE.COM
A state subcommittee ripped Tennessee State University administrators, alleging a pattern of mismanagement, poor communication and housing-related issues at the historically Black public university. The criticisms stemmed from a comptroller’s report, which recommended placing the school under the control of the Tennessee Board of Regents. Lawmakers agreed on a one-year extension for TSU, during which the state expects regular updates and reporting. … Nashville’s state Sen. Jeff Yarbro is sponsoring a new bill that would allow on-site food prep (including sampling) at farmers markets, currently prohibited by a peculiarity in the Tennessee state health code. … Dickerson Pike bakery Shugga Hi sued its landlord, an estate overseen by attorney Aubrey Harwell Jr., for circumstances relating to the sale of Shugga Hi’s building to TriStar Health, a subsidiary of HCA. Shugga Hi owner Kathy Leslie is petitioning the court to allow her to purchase the building, which was sold to HCA without offering her first right of refusal, says Leslie. … The Senate Judiciary Committee killed a bill by perennial medical cannabis advocate and Republican state Sen. Janice Bowling
The legislation aimed to set up a medical cannabis industry in Tennessee. … Dr. Ginger Holt is suing Vanderbilt University and Vanderbilt University Medical Center for sex discrimination and retaliation, which, she claims, occurred after Dr. Rick Wright was named chair of her department. Wright was recently appointed VUMC’s new chief medical officer. … Republican state Rep. Paul Sherrell suggested the state adopt lynching as an official method of state executions. He later apologized for exercising “very poor judgment” after Black members of the legislature called for his resignation. … Gov. Bill Lee’s transportation plan, which would add toll roads to state highways, passed the House Transportation Committee despite pushback from Republican legislators. … Metro issued a permit for an asphalt plant in Old Hickory despite neighbors’ concerns about air quality, pollution and impact on local wildlife. The plant will operate about 1,600 feet from Old Hickory Lake. … Councilmember Angie Henderson spoke to Scene columnist Nicole Williams about Henderson’s recently announced run for vice mayor. We also have a Q&A with mayoral candidate and Councilmember Freddie O’Connell. … A banner bearing a swastika and white supremacist slogans appeared near Fort Negley celebrating anti-trans and anti-drag legislation recently signed by Gov. Lee. His refusal to condemn the support of apparent Nazis speaks volumes, writes contributor Betsy Phillips
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BELLE MEADE PLAZA sits just outside the Belle Meade city limits. A few hundred yards away, two metal horses mark the beginning of Belle Meade Boulevard, which branches off Harding Pike near Belle Meade City Hall and runs nearly four miles to the base of the stone steps at Percy Warner Park. Like the horses, the Allée Steps are a city symbol, a celebration of its beloved backyard.
Belle Meade’s charter bans commercial activity inside city limits, part of a
list of land use prohibitions that includes duplexes, open carports, rental properties, trucks and billboards. Aside from five exceptions — three churches, William Giles Harding’s plantation home (now a tourist attraction and winery) and the country club — Belle Meade’s three square miles consist of single-family residences.
The Kroger at Belle Meade Plaza is the closest grocery store. There are a few storefronts down the strip, and Starbucks is a preferred coffee shop, passively competing with a new Dunkin’ and an old Bruegger’s Bagel Bakery farther down Harding. While local chains like Crema, Barista Parlor and Frothy Monkey expand across Nashville, the Seattle-based international chain earned local loyalty.
Real estate developers AJ Capital, based in Wedgewood-Houston, have slated the
entire Belle Meade Plaza strip for an overhaul. The project faces staunch opposition by residents who have already scored reductions in building height and living units, a mixture of condos, apartments and hotel rooms. Concessions have followed months of tense meetings between architects, planners, traffic engineers, District 24 Councilmember Kathleen Murphy and the opposition, an increasingly organized group of residents who speak out of turn and keep the gallery loud.
“Don’t ‘Gulch’ my West Nashville,” said one opponent at a community meeting at Montgomery Bell Academy in January. AJ Capital plans to change the site’s uses from purely commercial to a mix of residential and retail, and needs Murphy’s support for a zoning change to allow a complete redevelopment of the corner parcel at White Bridge
Road and Harding — a busy intersection that, residents fear, can’t take more traffic.
“The noise, process and duration of demolition and excavation is bone-rattling,” says another resident, providing a blanket criticism of large-scale construction. The opposition comes from surrounding neighborhoods like West Meade, Forest Hills, Sylvan Park and Belle Meade. Speakers insist they aren’t against change in general; they oppose this project’s specifics. In rowdy Q&As, they skewer AJ’s proposal as reckless density motivated by greed, alternatively calling for fewer units and units below market rate. (Per state law, it is illegal to force developers to include affordable housing in new builds.) At any mention of a traffic study, they attempt to discredit engineers’ methodology. The same West End corridor — Belle Meade specifically — helped
While Nashville changes, Belle Meade tries to stay the same
kill Let’s Move Nashville in 2018. The $5.4 billion transit plan would have put a dedicated transit line down West End ending at the same plaza Kroger, depriving drivers of a critical turn lane on West Nashville’s major arterial. Back then, opponents said the same thing: It’s the specifics, not the idea.
No neighborhood is positioned to stop change quite like Belle Meade. It is perhaps Nashville’s most affluent three square miles, and residents have the time to engage in their surroundings. There’s a common if abstract understanding of Belle Meade’s character built on wide green pastures, old-growth trees and tasteful, classical architecture, all on the shared grounds of a historic plantation estate where the world’s finest thoroughbreds once grazed. The city has complete authority over zoning and building codes, allowing planners and residents to work hard to insulate the area from Nashville’s explosive growth. Belle Meade is armed with a new historic zoning commission that can impose additional restrictions on building, reinforcing a sense of control for longtime residents witnessing change across the city. Even though the plaza lies just outside Belle Meade city limits, locals come to outgoing city manager Beth Reardon hoping to stop it.
“With the change in Nashville, its growth so sudden, we got a lot of influx of developers buying houses, demo-ing properties, and putting up houses as quickly as they could,” says Reardon, who’s ending a 32-year career at Belle Meade City Hall. “You’re not going to find tall-and-skinnies in Belle Meade. Our subdivision regulations are not going to allow that.”
Nowadays it’s nearly impossible to increase the city’s density. Andrew Pieri, Belle Meade’s building codes consultant, calls it “conceivable” but mired in variables. Even if homeowners had a lot big enough (the city has a minimum lot size of 1 acre), they’d face all kinds of restrictions on road front-
age, driveways and setbacks. When asked about subdividing a lot, Reardon shakes her head and laughs.
“Even though it’s in the middle of this metropolitan, urban, fast-growing city, Belle Meade has been insulated from that change,” Jennifer Moody, Belle Meade’s incoming city manager, tells the Scene. Moody’s first day as city manager was Feb. 27. Reardon’s still helping with the transition and expects to be gone by April 1. “That special sense of place — that small-town feel — is at the heart of what we’re trying to preserve. Residents have local control. They have an elected body governing them of residents who live right here. It adds to a sense of feeling represented, of being able to protect your interests.”
DAVIDSON COUNTY VOTERS passed a referendum to combine city and county governments in 1962. Belle Meade, along with five other “satellite cities,” didn’t join. A sixth, Lakewood, merged in 2011. Some municipal services, like trash and zoning control, stop at the city limits. Metro provides others, like the fire department.
In the years that followed consolidation, many of Nashville’s wealthy white families withdrew from the city center, moving to enclaves like Belle Meade as well as Oak Hill and Forest Hills, both of which also retained city charters through consolidation. Belle Meade kept control over a small police force, a part-time judge with a part-time courtroom, and land use. For 60 years, the area has stayed committed to a distinct array of social institutions, cultural landmarks, outdoor recreational opportunities and a network of exceptional private schools. Meanwhile, Nashville has changed around it.
Residents’ desire to preserve Belle Meade’s look, feel and character can be so fierce that, at times, it even baffles city administrators. Twenty years ago, residents
killed a sidewalk master plan meant to make the boulevard more pedestrian-friendly. A scaled-down version that would have put walking paths in the boulevard’s median died a quiet death last year after widespread pushback.
“We had a landscape architect design a great plan for the city,” Reardon explains to the Scene. “It was shot down by residents who said, ‘We don’t want sidewalks here, you’ll change the whole look of the boulevard. This is going to destroy everything we have now. We don’t want people walking all over the place.’ Last year we put in a temporary gravel path in the median as a demonstration project. Again people said, ‘Absolutely not, you’re destroying the look of our beautiful median.’ There was a huge level of engagement — 750 comments in a town of about 3,000.”
Steve Roche moved to Belle Meade in the winter of 1998 to be closer to Harding Academy, where he planned to send his children. At a meeting about last year’s proposed sidewalk demonstration, Roche remembers one resident voicing concerns that people would start parking along the boulevard and hosting barbecues on the median.
“I had to ask her to repeat it — I thought she was joking,” Roche tells the Scene. “It was a fine plan. I thought it was great. A lot of people were complaining, and all the people who were upset made their case known. That’s what’s sad — I think those people are a fifth or a seventh of the population. The people who wouldn’t mind it, they don’t ever come out.”
A rash of construction in the 2010s prompted tighter restrictions on what can (and can’t) be built in Belle Meade. In summer 2019, the city engaged the Tennessee Historical Commission to produce a “Historic Resources Survey,” which proposed three special districts — East, West and South — and a district that would blanket the entire city. These maps codified Belle
Meade’s architectural character, structuring what would become the city’s Historic Zoning Commission a few months later. Such districts come with additional building specifications, exterior guidelines and an approval process in which the historic commission makes construction permits contingent on aesthetic and architectural guidelines. Metro Nashville has a similar process in neighborhoods like Richland, Germantown, HillsboroWest End and Edgefield.
Residents complained that too many new houses didn’t fit the Belle Meade character and disrupted the feel of the neighborhood, citing details like brick color, materials and architectural cohesiveness. Officials responded. At the time, then-director of Belle Meade building and zoning Lyle Patterson told media that the city was responding to demo permits and homes built “on spec” — construction done by a developer rather than a future resident.
The new HZC now issues a “Certificate of Appropriateness” allowing builders to move forward with their designs. The application asks for details like chimney material and gutter dimensions, all keeping with the commission’s explicit purpose to “encourage development that is compatible with the city’s historic character.”
FOR A CENTURY, Belle Meade had one official residence: a grand plantation home established by John Harding of Virginia in 1807. The estate passed to his son William Giles Harding in 1839, growing in size, wealth and prestige as Nashville flourished in the antebellum years. Forced labor staffed the house and grounds, which swelled from the 250-acre tract purchased by John Harding to 5,400 acres under William Giles. By the eve of the Civil War, 136 Black residents were enslaved across the estate, including 63 children younger than 10, according to census records.
Historian Brigette Janea Jones has helped bring a fuller picture of the estate’s history to the Belle Meade Historic Site and Winery, Harding’s original plantation home currently serving as a tourist attraction with guided history tours (and wine). Jones started at Belle Meade in 2015 and became its first director of African American Studies in 2018. Her work has brought a renewed focus on the complex, often forgotten lives of Black residents enslaved at Belle Meade, including their histories of escape and resistance.
William Giles Harding was a brigadier general in the Tennessee State Militia and used his wealth to finance the Confederate rebellion. When the Union took Nashville early in 1862, Harding was sent to Fort Mackinac, a Union prison in Michigan. After swearing allegiance to the Union, he returned to the South. Harding maintained ownership of Belle Meade after the war and welcomed the 1866 marriage of his daughter Selene Harding and William Hicks Jackson, a fellow high-ranking Confederate brigadier general. Jackson took control of the land in 1883, by which point Belle Meade had gained an international reputation for its horses. Shortly before his death in 1902, Jackson, saddled with debt, started selling off the estate.
Private residences began popping up across Belle Meade a few years later. Hastened by a new streetcar line laid out down Belle Meade Boulevard in 1913 and Belle Meade Country Club’s relocation in 1916, mansions gradually replaced meadowland.
The area went from 22 buildings in 1920 to almost 400 by 1940 — the area’s first building boom.
The ethics of preservation, conservation and neighborhood character have long defined Belle Meade politics. Moody mentions a tale about how the city incorporated in order to keep a gas station from moving onto the boulevard. Reardon recalls the election of former Mayor Elizabeth Proctor, who — in the early 1980s — won her seat by successfully harnessing residents’ frustrations with homes built in a cul-de-sac on Bonaventure Place. Current Mayor Rusty Moore tells constituents that he is “committed to preserving the uniqueness of our community, maintaining our property values, and helping keep our neighborhood safe for future generations” in a brief city bio.
In exchange for an extra property tax levied on residents, the city promises a few special services. One lifelong resident describes these to the Scene as “perks,” slight upgrades on the Metro treatment enjoyed by the rest of the city. About half the Belle Meade city budget goes to a local police force staffed by eight officers, four sergeants, a lieutenant and a police chief. Tasked with covering just three square miles, Belle Meade cops are notorious for catching speeding drivers often unaware that they’ve entered a tightly monitored satellite city. Residents praise BMPD for quick response times and keeping a vigilant watch over the city, aided by automated license plate readers since 2017. Belle Meade clears brush, maintains green space, manages water and sewer lines, and collects “backdoor” trash pickup — Belle Meade residents don’t have to roll garbage bins out to the street. While Metro officially runs Percy Warner and Edwin Warner parks, local fundraising helps bypass city bureaucracy to secure improvements and maintenance. In 2021,
Friends of Warner Parks, a nonprofit set up to improve and maintain the 3,100-acre woods, completed a $15 million capital campaign to fully repair and relandscape the Allée Steps. A similar effort helped secure $2 million for a course redesign at the Percy Warner Golf Course.
A network of elite private schools substitutes for a public education system. In the 1970s, “segregation academies” popped up to absorb demand from white families fleeing integrated public schools. Still predominantly white, many of these schools — Franklin Road Academy, Harding Academy, Brentwood Academy — are fixtures in and around Belle Meade, Green Hills, Forest Hills and Oak Hill.
The ZIP codes that span the same wealthy suburbs, 37205 and 37215, account for 7 percent of Nashville’s population and 2 percent of students enrolled in MNPS schools. Today just 70 students within the Belle Meade city limits are enrolled in Metro Nashville’s public schools, according to MNPS. Neighbors favor private schools like Ensworth, Montgomery Bell Academy, Harpeth Hall and University School of Nashville, where yearly tuition sits at or above $25,000. They’re also conveniently located, reflecting a historic tie between Nashville’s prestigious prep schools and the city’s wealthiest neighborhoods. Harding and Harpeth Hall are almost inside Belle Meade proper. MBA is just down the road. Christ Presbyterian Academy and Brentwood Academy are 10-minute drives out of town, as is Ensworth High School. Such education preferences were on display in Belle Meade in the spring and summer of 2020, the era of yard-sign graduation announcements.
Census data puts the city’s annual median
income at $208,304 — more than three times the Davidson County average. Residents skew older and 94 percent are white. Just seven homes are on the market as of this writing, including a 16,000-square-foot chateau on Westview listed for $15 million. An English tudor across the street is listed for $4.2 million. City policies also safeguard an unofficial city service that Mayor Rusty Moore makes explicit. Like Jackson and Harding before them, Belle Meade residents store tremendous wealth under their feet.
BELLE MEADE IS HOME to the Frists and the Ingrams, Nashville’s highest-profile billionaire families. They’re neighbors on Chickering, keeping stately residences near Percy Warner Park. Ingram Industries set up headquarters just down the street, and HCA Healthcare was incubated by the Frists in and around the power centers of the big small town in the late 1960s. Down the road lives Republican junior U.S. Sen. Bill Hagerty. Writer Jon Meacham, celebrated for his commitment to chronicling the nation’s history, lives in a Georgian mansion on 4 acres between Tyne and Chickering. Al Gore keeps a home on Lynnwood, and former state House Speaker Beth Harwell lives across the boulevard facing the fairways of Belle Meade Country Club.
“The Club,” as it is known, sits at the physical center of the city. It’s a hub of social life and Belle Meade’s only commercial dining option, featuring an upscale dining room, a robust takeout operation and a kid-friendly summer snack bar. A full guide to etiquette at the club’s seven restaurants can be found online. The club’s one-time initiation fee
hovers around $150,000 and requires sponsorship from current members, all part of an admissions process shrouded in secrecy. There were a little more than 1,200 memberships on file as of last year, spread over several categories: resident, non-resident, associate (ages 30 to 34), associate (ages 35 to 39), associate resident, senior resident and lady — the latter a distinction for unmarried women.
An internal directory obtained by the Scene does not include demographic data, but the club has long been scrutinized for having few non-white members. In 2008, the Scene wrote about David Ewing’s long wait for acceptance into the club. In 2011, a judicial ethics panel reprimanded Judge George Paine, then chief justice of the Bankruptcy Court of Middle Tennessee, for membership in an organization that practices “invidious discrimination.” Paine retired later that year. Recently, club decision-makers reckoned with a prominently displayed portrait of Confederate Gen. Robert E. Lee. After surviving a couple relocations, the painting was taken down.
“There is no portrait of Robert E. Lee currently hanging in this building,” a club manager told the Scene in early March. As for the portrait’s recent whereabouts? “I cannot speak to that.”
A COMMITMENT TO TRADITION in Belle Meade has coincided with reactionary politics. Trump won the city in 2016, though he was Republican primary voters’ second choice behind Marco Rubio. Trump won the city again in 2020, just barely, while Joe Biden won Davidson County 2 to 1. Hagerty won his neighborhood handily in 2020.
As development creeps closer, residents are anxious, and conservative, about the future. At a packed Feb. 15 community meeting, attendees asked about the office park across the street from Belle Meade Plaza. Neighbors had gotten used to Ingram’s 11-story office building, which went up in 1985. Metro’s zoning department respected Ingram as a height precedent for the area, and AJ Capital planned to match it. What would stop the same thing from happening up and down Harding?
“Fortunately for me, I’m out of office in August, so that won’t be coming up in my term,” Kathleen Murphy told the room. “I can’t predict what will come there, and neither can the planning department.”
Through a decade of tall-and-skinnies, urban infill, boutique hotels and trendy coffee shops, the city of Belle Meade and its skirt of commercial strips have survived mostly untouched. While the rest of the city struggles to pay rent or beat out all-cash offers, large wooded lots from Oak Hill to West Meade steadily gain value, boosted by a market too short on supply. While the rest of the city struggles to book a table at the latest James Beard nominee, Belle Meade has Sperry’s, a wood-paneled steakhouse on Harding Pike preparing to enter its 50th year. While trends in city planning begin to prize walkability and density over cars and single-family estates, Belle Meade hopes to preserve its own way of life.
After three decades with the city, Reardon sums it up.
“We are what we are, and what we have been, since we were incorporated in 1938.”
Census data puts the city’s annual median income at $208,304 — more than three times the Davidson County average. Residents skew older and 94 percent are white.PHOTO: ERIC ENGLAND BELLE MEADE COUNTRY CLUB
FILM
THIS]
With the Academy Awards landing Sunday, the Belcourt is offering film fans one last chance to catch the nominees on the big screen before the ceremony with its OscaRRR Picks + Best Picture Marathon series. Cinephiles still have the chance to catch the Oscar-nominated shorts in the live-action and animated categories on Thursday, not to mention Indian epic RRR, whose “Naatu Naatu” is up for Best Original Song. With the exception of James Cameron’s Avatar: The Way of Water, the Hillsboro Village arthouse will also show every Best Picture nominee, most of which have showtimes on Saturday: Tár, with its exceptional turn from star Cate Blanchett; Baz Luhrmann’s absolutely outlandish Elvis; director Edward Berger’s World War I epic All Quiet on the Western Front; Sarah Polley’s adaptation of Miriam Toews’ novel Women
Talking; the fun-as-hell populist nominee Top Gun: Maverick; Steven Spielberg’s masterful The Fabelmans; the widely beloved Everything Everywhere All at Once (leading the field with 11 total nominations); Martin McDonagh’s tender, funny and heartbreaking The Banshees of Inisherin; and Swedish director Ruben
Östlund’s dark-horse satire Triangle of Sadness Also showing is Irish Best International Film contender The Quiet Girl and Best Animated Feature Film nominee Guillermo del Toro’s Pinocchio. After the series wraps, the nonprofit cinema center will close the weekend with its swanky annual Red Carpet Evening fundraiser and watch party on March 12. Through March 11 at the Belcourt, 2102 Belcourt Ave. D. PATRICK RODGERS
MUSIC [LIFE LESSONS]
Margo Price’s 2016 album Midwest Farmer’s Daughter and 2017’s All
MARCH 10-JULY 30
American Made are part of country music history because Price had the balls to sing about things like bank foreclosures and poverty in ways that even Loretta Lynn might have shied away from. Still, you can hear a certain decline in focus and bite even on All American Made, and I chalk it up to — among other factors — Price’s voice, which definitely transcends its folkie timbre and phrasing on the first album and betrays her folkie roots on the second. I don’t expect a modern Nashville artist to identify totally with country music, no matter how much Americana fans wish for the return of the good old days. This means I respect Price’s foray into what you could call pop music
on 2020’s That’s How Rumors Get Started, a record that pretty much falls flat. The post-Tom Petty usages Price dives into on this year’s Strays are the kind of thing you’d expect from Nashville artists whose idea of good rock ’n’ roll is, you know, Tom Petty. I’m not knocking either Price or Petty — the received notions of rock both artists traffic in can produce some great music. The Strays track “Anytime You Call” pulls off its Procol Harum-meets-David Bowie structure well enough. Meanwhile, Price hits the mark on “Lydia,” a tale of down-and-out hopelessness that finds her telling the song’s subject to buck up and get on with her life. She appears Thursday with her husband, Jeremy Ivey, along with veteran country singer Jessi Colter. 8 p.m. at the Ryman, 116 Rep. John Lewis Way N. EDD HURT
As the college basketball season draws near to the Big Dance, many hoops fans know there’s nothing quite like the energy of conference championship time. Coming into this year’s SEC Tournament, there are some huge storylines for watercooler bracketologists to consider. After a remarkable season, the conference could put as many as eight teams in the field of 68. Alabama and their star Brandon Miller, though linked to an ongoing murder case, could have a shot at the coveted No. 1 overall NCAA tournament seed. The Tennessee Vols are trying to secure a top 10 ranking going into the postseason. And Texas A&M is looking to cap one
of their finest seasons, boasting one of the best guards in the country in Wade Taylor IV. Kentucky, Missouri, Mississippi State, Auburn, Arkansas and local heroes Vanderbilt are all still in play to go dancing, given a good showing in Nashville. March 8-12 at Bridgestone Arena, 501 Broadway
P.J. KINZERMUSIC [NO DOY] MOE.
In high school, the bumper of my Toyota Camry had the following sticker lineup: Ween, moe., Phish. (Rusted Root had window placement.) This let all of Nashville know I was ready to jam. And the sticker order holds true, too: moe. was a little gonzo, like WEEN, and pretty mind-bending, like Phish. Now, a trillion years later, moe. doesn’t have quite the same effect when I’m stone-sober inside my car-seat-laden SUV, but the group jams on. They play loose, improvised sets ranging from blues ballads to hard-hitting rock tracks and catchy singalongs. It’s a trippy-dippy show for folks who want to take a trip down memory lane. This time, you’ll be more likely to remember it. 8 p.m. at Brooklyn Bowl, 925 Third Ave. N. TOBY LOWENFELS
MUSIC [IN ON THE GROUND FLOOR] THE UPLAND LARKS
Since Thursday’s show is The Upland Larks’ first public performance, there’s not much I can tell you about the band besides the names of the players and the general idea that unites them. Per a note from the ensemble’s guitarist (and Scene contributing editor) Jack Silverman, the
majority of the Larks’ performance will be improvised, with psych rock and krautrock as the guiding influences; think evocative riffage and mind-bending harmonies paired to driving grooves. Following Silverman’s 2021 EP Now What, his eponymous “crime jazz” quartet has been gigging about town frequently as well as working on the soundtrack for Mind Traveler, Greg Mallozzi’s forthcoming documentary about parapsychology researcher Andrija Puharich. Joining Silverman are two recent Seattle transplants — Don McGreevy, whose CV includes a decade-plus tenure on bass with influential drone-centric metal group Earth, and multi-instrumentalist Milky Burgess, who works with goth-schooled folk songsmith Marissa Nadler. Longtime local producer-engineer and musician Roger Moutenot, whose massive list of credits includes some of Yo La Tengo’s best-loved work, completes the group. Check ’em out now for the chance to say you saw ’em way back when. 8 p.m. at Vinyl Tap, 2038 Greenwood Ave. STEPHEN TRAGESER
ART [PHOTOGRAPHIC
Photographer Vesna Pavlović’s recent exhibitions have been a departure from installations of reproduced images, and have seen her get back to the documentary style that first got her noticed as a young photographer. Perfect Memory includes three different bodies of photographs that Pavlović captured in Cuba, the U.S. and in her onetime home in the former Yugoslavia. “Sites of Memory,” “Jardines de Hershey” and “Searching for the Perfect Sunset” explore notions around memory-making within the context of the political and cultural histories informed by the Cold War era. Images of theatrically staged cinematic props snapped inside the defunct Avala Film studio in Belgrade are emblematic of Pavlović’s wry-eyed cultural commentary, and pictures of an abandoned amusement park in Jibacoa, Cuba, are a haunting reminder of communism’s legacy of failed utopias. Through April 8 at Zeitgeist, 516 Hagan St. JOE NOLAN
CLASSICAL
[MOSER THE MASTER]
Guerrero will lead the full orchestra, and the evening also includes Brahms’ gorgeous Symphony No. 4, along with Lutosławski’s lively Symphonic Variations March 10-12 at the Schermerhorn, One Symphony Place
AMY STUMPFLCHILDREN
[MORE TEETH]
DINOTREK
It’s almost spring, which means life has found a way at the Nashville Zoo. Or at least animatronics have. DinoTrek returns March 10 for its fourth season, boasting 20 new prehistoric predators. While these dinosaurs may not be able to rip your arm off, they are life-size and can hiss, spit and roar just like the real thing. (As far as we know.) Tickets to enter the exhibit cost $4 on top of regular zoo admission and can be purchased online or upon arrival. This secret pathway into the past is open to dino enthusiasts young and old through July 30. No matter what age, guests are in for a treat that stands the test of time. Even with robotic raptors, DinoTrek has plenty of excitement and spooky surprises, so guests should be advised: “Hold onto your butts!” The thrill of dinosaurs never gets old. March 10-July 30 at the Nashville Zoo, 3777 Nolensville Pike HANNAH CRON
[READ ALL ABOUT IT] INOXIA MAGAZINE VOL. 2 RELEASE PARTY
[A LITTLE SPRING IN YOUR STEP]
CHEEKWOOD IN BLOOM
Spring just wouldn’t be complete without a visit to Cheekwood. This weekend offers the perfect opportunity to welcome the upcoming vernal equinox, as Cheekwood in Bloom returns, boasting more than 250,000 colorful tulips, daffodils and other blooming bulbs along
with vibrant redbuds, dogwoods and magnolias. Beyond the spectacular scenery, you can explore all sorts of new interests and hobbies at Cheekwood this month. Tour the historic home and gardens, or sign up for one of the many wellness programs and hands-on workshops and classes, from flower arranging to watercolors and ceramics. Looking for a more relaxing way to enjoy the gardens? Grab a blanket (and maybe a cocktail) and check out the live musical performances available each weekend. The popular Tots! program also returns this weekend, providing a wide range of storytimes and other fun activities for little ones, including a new offering called “Turtle Talks.” Advanced timed-entry tickets are required and are available at cheekwood.org. March 11-April 9 at Cheekwood, 1200 Forrest Park Drive AMY STUMPFL
A third of the way through her crosscountry Honey tour, Samia will enjoy home-court advantage at the Brooklyn Bowl this month. With opening sets by buzzy duo Tommy Lefroy and up-and-coming gems Venus and the Flytraps, the show will be a formidable showcase in lofi pop, led mostly by women and femme artists — a niche for which Nashville is becoming a worldwide hub. Two years after her breakout album The Baby, Samia has found a perch as a vocalist and songwriter, cutting haunting tracks like “Kill Her Freak Out” and “Charm
AN EVENING OF DVO ŘÁK
To say that German-Canadian cellist
Johannes Moser grew up in a musical family would be something of an understatement. Moser actually comes from a long line of esteemed musicians, from his father Kai Moser (a longtime cellist in the Bavarian Radio Symphony Orchestra in Germany) and mother Edith Wiens (a renowned Canadian soprano), all the way back to his great-grandfather Andreas Moser, who studied and played with the famous violinist Joseph Joachim. But make no mistake about it: Johannes Moser stands firmly on his own accomplishments, first garnering international attention at the 2002 Tchaikovsky Competition and earning the distinguished Brahms prize in 2014. This weekend, Moser joins the Nashville Symphony to present Dvořák’s stunning Cello Concerto. Music director Giancarlo
Back in 2018, Megan Loveless — who co-founded show promoter and indie label To-Go Records and is the talent buyer at Third Man Records’ Blue Room — edited the inaugural edition of Inoxia, a cool glossy magazine surveying the DIY music scene in Music City. With a yearand-a-half of adjusting to post-lockdown conditions behind us, she’s put together a new edition of the mag that focuses on how local underground music has had to adjust. To celebrate, she’s organized a show jam-packed with sets from some of the outstanding local talent featured in the magazine, including stellar MC and singer $avvy, electronic musician and composer Eve Maret, contemporary shoegaze and experimental popsters Total Wife and indiefolk-and-rock outfit Bats. DJ Shug, aka Vinyl Tap booker Caroline Bowman, will also take to the decks, and there’ll naturally be copies of Inoxia for sale. 8 p.m. at The Blue Room
BACKSTAGE NASHVILLE FEAT. MATRACA BERG, DANNY FLOWERS, WAYLON PAYNE & DAN SMALLEY
KELSY KARTER & THE HEROINES + THEM VIBES
A PARADE OF FLOWERS FOR WANDA HODGE FEAT.
THE MCCRARY SISTERS, DANIEL MIREE, CHAZZ WILLIAMS, JOHN PRIMM, ANGELA PRIMM, MADISYN VAUGHN & OTHERS
COLE RITTER & THE NIGHT OWLS AND VADEN LANDERS
FIGHTER FEST CALL ON THE FIGHTER FEATURING MADDYE TREW, ANTHONY SMITH, JIM BROWN, DARRYL WORLEY & RICH GOOTEE
The Collection w/ Mom Rock and Samuel Herb
Tommy Prine (7pm)
The Swell Fellas, Annie Dukes, The Dirty Janes (9pm) Begonia w/ Tedious & Breif (7pm)
The Cold Stares (9pm)
Arcy Drive w/ Jude Parrish (7pm)
Why Bonnie, Foyer Red, Kolezanka (9pm)
Maura Streppa, MackMartin, Emily Mangione (7pm)
My Politic, Stephanie Lambring (7pm)
Will Hoge (7:30pm)
Tommy Prine (7pm)
Wheelwright (Formerly Jared & The Mill) (9pm)
Kid Pastel w/ Caroline Romano (7pm)
Multi Ultra w/ The Year B4, Jonathon Plevyak (9pm)
Willi Carlisle w/ Willy Tea Taylor (9pm)
Rachel LaRen, Delaney Ramsdell, Grace Tyler (7pm)
Psybin (7pm)
Paul Vinson w/ Hugh Lindsey, Common Man (9pm)
TOWER w/ Dead Runes (8pm)
Razor Braids w/ Purser & Lily Ohphelia (9pm)
Nicotine Dolls (7pm)
3/9
3/10
9pm Shi, Bazookatooth & Karma Vulture
9pm Soviet Shiksa, Pentagram String Band Lance Whalen, Cash & Noel
4pm The Dosstones FREE
3/11 9pm Wyld Ryde, American Bombshell & The Brandon Fields Experience
3/12
You.” Along with her boyfriend, local artist Briston Maroney, Samia has made it a priority to give back to the city’s creative community and support its independent artists. 7 p.m.at Brooklyn Bowl, 935 Third Ave. N. ELI MOTYCKA
4pm Springwater Sit In Jam
9pm Cheem, Riley!, The Low Blow & Topiary Creatures
3/15 5pm Writers @ the Water Open Mic
9pm Roses Jones, Psychic Nurse, Wentzel Brothers, Zenora
Open Wed - Sun 11am - Late Night
[MEET
The Tennessee State Museum’s popular TN Writers | TN Stories series is back this weekend, kicking off an intriguing new season of free author talks. Each reading and discussion takes place in the museum’s Digital Learning Center, and guests will have the opportunity to purchase books through the museum store and have them signed by the author. First up this Saturday, Mary Ellen Pethel will discuss her book Title IX, Pat Summitt, and Tennessee’s Trailblazers: 50 Years, 50 Stories, which offers a fascinating look at some of the state’s pioneers in women’s sports. (Read more on that one in this week’s books section.) Other upcoming events include Yasmine S. Ali’s Walk Through Fire: The Train Disaster That Changed America (April 8). And the May 13 event will offer a double bill: Elizabeth Elkins’ We Should Soon Become Respectable: Nashville’s Own Timothy Demonbreun and R. Scott Williams’ The Accidental Fame and Lack of Fortune of West Tennessee’s David Crockett March 11-May 13 at the Tennessee State Museum, 1000 Rosa Parks Blvd. AMY STUMPFL
player Bill Evans (the other one) and dobro master Jerry Douglas. Since both are masters of their craft as well as noted music fans, Costello and Gibbons are sure to put on a really incredible night of songs from their respective songbooks and beyond. 7 p.m. at Brooklyn Bowl, 935 Third Ave. N. P.J. KINZER
[DRAG THEM]
DRAG
6
THU 3.9 ELTON JOHN singalong w/Griffin McMahon 8-9
Piano karaoke 9-12 w/Alan Pelno
FRI 3.10 HH PIANO KARAOKE 6-9 w/Alyssa Lazar (from The Voice!)
Piano karaoke 9-1 w/Caleb Thomas
SAT 3.11 TABITHA MEEKS 7-9
Piano karaoke 9-1 w/Alan Pelno
SUN 3.12 *INDUSTRY NIGHT* 6-1
Piano karaoke 8-12 w/Kira Small
MON 3.13 SHOW TUNES @ SID’S 7-9
Piano karaoke 9-12 w/Krazy Kyle
WED 3.15 HAGS REEL TO REEL HAPPY HOUR 6-8 BURLESK 8-9 ($7)
Piano karaoke 9-12 w/Paul Loren
[TWEET
With the warm weather that’s made its way into Middle Tennessee over the past few weeks, it’s hard not to want to spend every spare minute outside. If you’re looking to try something new, Owl’s Hill Nature Sanctuary has plenty of options, including a Beginner Birding Workshop. The class starts at 8 a.m. — the early bird catches the worm, so if you want to see the birds, you have to wake up early! — and is open to nature lovers 14 and up. Owl’s Hill naturalist Laura Smith will instruct participants on how to identify common local species by both sight and sound, and offer guidance on which tools to use to enhance their bird-watching experience. This event is BYOB — that is, bring your own binoculars — and birders are welcome to bring along a field guide as well. 8 a.m. at Owl’s Hill Nature Sanctuary, 545 Beech Creek Road S. HANNAH CRON
SUNDAY
MUSIC [HELPING HANDS] ELVIS COSTELLO, BILLY F GIBBONS AND ALL-STAR FRIENDS
The enlightened solons of the Tennessee General Assembly have lifted the Volunteer State’s children out of poverty, overseen a top-flight state foster care program that is never a source of controversy, derision or embarrassment, provided a suitable backstop of support for women and children in the wake of the Dobbs decision and created an environment that’s moved the state’s public schools nearly into the Top 30 nationally. It’s natural of course that they’d take on the last real threat to children: drag queens. Or maybe it would be natural if that list of accomplishments was in any way true. (In fact, only one of them is true: Tennessee really is all the way up to 33rd in the latest K-12 rankings, so yay I guess). Nevertheless, the attack on drag is real and will likely be codified into law by press time. No need to go into the specifics of the drag ban, in large part because the bill is troublingly vague. We know it doesn’t cover future governors at suburban high schools showing off their gams. Anyway, instead of being professionally pessimistic, let’s revel in the joys of drag instead. Nashville’s homegrown drag competition, SiSSi, returns for a new cycle starting March 12 at Eastside Bowl, hosted as ever by two of the Music City’s best practitioners of the art: Cya Inhale and Vidalia Anne Gentry. As per usual, the eleganza extravaganza will climax in a few weeks with a final showdown, but in the meantime, enjoy the prelims … before it’s too late. March 12 and 26 and April 16 at Eastside Bowl, 1508 Gallatin Pike S. J.R. LIND
The slightly clunky rock-band dynamics on Constant Smiles’ 2012 album Isabella Rossellini muffle the impact of the songs bandleader Ben Jones came up with for the album. Isabella Rossellini registers as a variation on emo, while Constant Smiles’ 2021 Paragons benefits from excellent production values in the service of tunes that split the difference between Psychedelic Furs-style melodies and concise structures that remind me of everyone from Olden Yolk to Parquet Courts. Paragons represents a big step forward for a Massachusetts collective — Jones is essentially the mastermind behind a floating group of musicians — that has released a lot of interesting experimental rock since they got together in 2009. For my taste, the Paragons track “Please Don’t Be Late” sums up the group’s evolution into a pop band that nearly always sounds shaded by a melancholia they can’t shake. “Please Don’t Be Late” sounds terrific because it has a beautifully worked-out chord progression that — like virtually all great pop — evokes similar chord progressions that express urgency and a longing for a perfect world that doesn’t exist. The band delves into ’80s-style pop on the new full-length Kenneth Anger, which is titled in tribute to the famed underground filmmaker. They still sound pretty melancholic, but the songs are more concise and catchier than ever.
8 p.m. at Drkmttr, 1111 Dickerson Pike EDD HURT
Kaston Guffey and Nick Pankey formed My Politic nearly two decades ago as teens growing up in the Ozark Mountains of rural Missouri. Since then, the contemporary-folk duo has released five albums of harmony-laden songs that tug on the heartstrings of Americana while reflecting on an increasingly divided nation. Their 2022 album Missouri Folklore: Songs & Stories from Home brings Guffey and Pankey full circle as songwriters. The standout single “Buzzards on a Powerline” is subtle and compelling as it echoes the helplessness of smalltown addiction and the struggles of recovery. “I was very taken by the idea of never escaping a label, no matter how much progress you make,” says Guffey. “I’m constantly fascinated by the evangelical ‘godliness’ of the Ozarks while all this darkness lurks under the surface.” The angelic singer-songwriter Stephanie Lambring opens the evening. 7 p.m. at The Basement, 1604 Eighth Ave. S.
Unfortunately, artists and musicians are some of the folks most vulnerable to peril under a medical system driven by for-profit motives. The Musician Treatment Foundation provides health care to musicians, insured or not, for hand, arm and shoulder injuries that could risk a player’s career. To support the cause, Texas shredder Billy Gibbons and songwriter extraordinaire Elvis Costello will be hosting an all-star event raising money for the foundation. Among the long list of guests are Costello’s Imposters, Miles Davis sax
Over the past decade, North Carolina’s River Shook (fka Sarah Shook) and their band have been playing a formidable part — alongside others, from Adia Victoria to Lee Bains III & the Glory Fires and beyond — in the gradual redefinition of what “Southern rock” can be. Musically, their 2022 LP Nightroamer runs the gamut from taut Modern Lovers-esque indie rock to soul that Wilson Pickett might be proud to claim and rambunctious two-steppers; Shook’s solo project Mightmare also released its first album Cruel Liars last year, which brings electronic sounds into the mix. Whatever tonal colors they use, the songs are about the importance of being honest with yourself and others — even when the situation calls for that honesty to be brutal. Sunday night, Shook & Co. will be joined by kindred spirit Sunny War, who was born in Nashville and recently returned after many years away. War just released Anarchist Gospel, a phenomenal record that brings in heaps of locals for powerful narratives centered on maintaining your sense of self in truly bonkers times. 8 p.m. at The Basement East, 917 Woodland St. STEPHEN TRAGESER
JASON VERSTEGENRegina Spektor is making piano cool again, and you won’t have to wait long for proof. The revered singer and songwriter will return to Nashville on March 13, nearly six years to the date since her last show in Music City. Spektor is on tour supporting her newest album, 2022’s Home, Before and After, which NPR music wizard Bob Boilen named as one of 3245 Gallatin
Inspirational Stories from The Lovelady Center
March 13 through April 7
Public
served
following the free reception in Cherry Theater. Purchase tickets: 931-540-2879
his favorite albums of the year. Fittingly, Spektor also played a fantastic careerspanning Tiny Desk set in the fall, a mustwatch for fans of the performance series (which should be everyone!). Spektor’s music is a beautiful blend of folk, classical, jazz and punk styles — it doesn’t sound like it should work, but it definitely does. Her songs have soundtracked everything from Grey’s Anatomy to The Chronicles of Narnia, and she has long been a supporter of various human rights issues. Recently, she has been a vocal opponent of her native Russia’s attacks on Ukraine. To know Spektor’s work is to love it, and her upcoming Ryman show is sure to be a treat. 7:30 p.m. at the Ryman, 116 Rep. John Lewis Way N. HANNAH CRON
ART [ANALOG SYNTHESIZER]
Wesley Clark’s A Human Synthesis is a display of the artist’s graphite-on-paper works. The show’s monochromatic palette emphasizes the erratic mark-making that Clark uses to create interacting deep-black fields, zigzag patterns, grids and squiggles that fill the works to their edges. He also employs erasing and scratching to create layers upon layers in these palimpsestic pieces that fall somewhere between art and artifact, documenting the process of their own making. This is another show of strong formalist works in a March art gallery calendar that’s brimming with abstractions and the elemental thrills of art for art’s sake. Through April 15 at Tinney Contemporary, 237 Rep. John Lewis Way N. JOE NOLAN
COMEDY [WHAT IF GOD WAS ONE OF US] GIRL GOD
You don’t need to worry about Girl God getting canceled. Unlike countless toads
who are somehow booking stand-up gigs despite their misdeeds, Girl God has a clean record. The trans comedy team of writers Grace Freud and April Clark bring their Twitter personalities to life via scripted and improv-heavy bits. They parody neoliberal identity politics, skewer transphobia and have no qualms about mocking Dave Chappelle. Their act comes at a time when we need them most. As they boast, “We are the most famous trans comedy duo of all time.” 8 p.m. at Zanies, 2025 Eighth Ave. S. TOBY LOWENFELS
The legacy and accomplishments of the eclectic ensemble War rank among the most extensive in recent pop music history. Their origins date back to the late ’60s in Los Angeles, when they began refining their mix of R&B, soul, Latin, blues and rock elements into a group sound. After some early success backing Eric Burdon, including on the hit “Spill the Wine,” War branched out and began their greatest commercial period in the ’70s. They enjoyed a lengthy string of anthemic singles and albums such as The World Is a Ghetto, “Why Can’t We Be Friends,” “Low Rider” and “Slippin’ Into Darkness,” among many others. Since the early ’80s, the group has undergone many personnel changes while recording with a host of labels. They did enjoy one more big ’80s hit, “You’ve Got the Power,” then had a mid-’90s comeback LP Peace Sign. During that decade, rap acts like The Beastie Boys and the Poor Righteous Teachers had hits utilizing samples from War classics. Through all the eras and changes, keyboardist and vocalist Lonnie Jordan has been a vital part of their core sound, and he is the lone original in the current edition. Catch him and the latest version of the band Wednesday at the Schermerhorn. 7:30 p.m. at the Schermerhorn, 1 Symphony Place
RON WYNN
Saturday, March 11
SONGWRITER SESSION
Miko Marks
NOON · FORD THEATER
Saturday, March 11
SONGWRITER SESSION
Sunny Sweeney
2:30 pm · FORD THEATER
Sunday, March 12
MUSICIAN SPOTLIGHT
Justin Hiltner
1:00 pm · FORD THEATER
Saturday, March 18
SONGWRITER SESSION
Steve Dean and Bill Whyte
NOON · FORD THEATER
Sunday, March 19
MUSICIAN SPOTLIGHT
Deanie Richardson
1:00 pm · FORD THEATER
Saturday, March 25
SONGWRITER SESSION
Janelle Arthur and Ryan Larkins
NOON · FORD THEATER
Saturday, April 1
SONGWRITER SESSION
Terry McBride
NOON · FORD THEATER
Sunday, April 2
MUSICIAN SPOTLIGHT
Derek Wells
1:00 pm · FORD THEATER
Saturday, April 8
SONGWRITER SESSION
Ben Johnson
NOON · FORD THEATER
Check our calendar for a full schedule of upcoming programs and events.
Museum Membership
Members receive free Museum admission and access to weekly programming, concert ticket presale opportunities, and much more.
JOIN TODAY: CountryMusicHallofFame.org/Membership
Thursday, April 6 / 6-9:30pm / musicians hall of fame and museum
Four of Nashville’s best chefs will throw down in a head-to-head cooking competition featuring one secret ingredient to win the coveted Iron Fork trophy! Watch the competition go down while you enjoy samples from 20+ of the best restaurants in town and sip on cocktails, beer and wine.
TICKETS ON SALE NOW AT IRONFORKNASHVILLE.COM
Surrounded by change, Varallo’s — the state’s oldest restaurant — is still slinging chili downtown
BY MARGARET LITTMAN
1907. That’s the year Tennessee’s oldest restaurant opened its doors. Those are also the last four digits of the phone number for Varallo’s Restaurant, the place that holds that honor.
Varallo’s has changed locations a number of times over the past century-plus. Since the early 1990s it has been located at 239 Fourth Ave. N., sporting a triangular pediment and old-school-style signage. Once called
Varallo’s Too, this is now the sole Varallo’s location.
“Everyone in the family worked in the restaurant, either waiting tables, bussing dishes or washing dishes,” remembers Jim Varallo, whose grandfather Frank Varallo Sr. founded the business and whose parents, Frank Jr. and Eva, were known throughout Nashville for their decades of chili-slinging and top-notch customer care.
While Nashville today is known as the home of hot chicken and meat-and-threes, chili has a long history in Music City. You may be familiar with Cincinnati chili — this is not the same thing. Cincinnati’s version is sweeter and has a different texture, intended to be eaten on spaghetti with onions, beans and cheese. Varallo’s chili can be eaten on its own, although with the Varallo’s three-way you get it served on top of spaghetti and a tamale. (With your choice of long or short spaghetti.) Fun fact: Jim remembers when one of the leading Cincinnati chili restaurants opened in Nashville on Eighth Avenue North, aware of Varallo’s
reputation, thinking that Music City would eat up their take on chili. As he recalls, the store was open just three months.
Bob Peabody bought the business from Todd Varallo — the grandson of Frank Jr. and Eva — in 2019, becoming the first nonfamily member to own the restaurant.
“The time had come,” Jim says. “We had no more heirs, and Bob loved the history of the restaurant. We fell in love with Bob.”
Peabody, a supply-chain specialist, was looking for a career change and was intrigued by Varallo’s heritage. He followed Todd around the small restaurant for months, writing down everything Todd had in his head — things Jim says were passed down from Frank Jr. and Eva. From those observations, Peabody crafted an operations manual. He would send sections to Todd for review and editing until he felt like he had everything ironed out.
Then, 2020. The world changed. When Varallo’s reopened after a six-and-a-halfmonth pandemic hiatus, which included some long-overdue remodeling, Peabody
had the full menu, including chili, spaghetti, breakfasts, burgers and meat-and-three combos available. And he noticed things were not the same. For decades, much of Varallo’s business had been thanks to downtown office workers, many of whom would come in for breakfast before work and again at lunch. Peabody estimates that before the COVID pandemic, about 70 to 80 percent of business came from state workers. But when more people started working at home, or having hybrid workplaces, that shifted. They didn’t need food near the office as often, and they weren’t going out for lunch with their co-workers. Peabody made tweaks, and — perhaps temporarily — did away with the meat-and-threes to focus on the better-selling dishes.
During the pandemic, supply-chain limitations also caused difficulties for Peabody. He couldn’t find many of the goods he needed, such as napkins to fit his existing dispensers. The small restaurant has a dishwashing station large enough for pots and pans, but not for a steady stream of plates
and silverware, so having disposable plates was essential.
While Peabody does still have regulars, he estimates that at least 50 percent of his business now comes from out-of-towners, particularly hotel dwellers appreciative of one of the few affordable places to grab breakfast downtown. Construction workers, who are busy downtown, also appreciate a place to get a hot breakfast before work, Peabody says.
“I’ve really enjoyed getting to know the regulars,” Peabody says. “You develop relationships and know what they order. But the people from out of town are fun too. The customers are what I enjoy.”
Peabody also adjusted Varallo’s opening hours, and continues to be attentive to what customers want. In mid-March the restaurant will reopen on Saturdays, although not until 7 a.m., an hour later than on weekdays. Since he’s catering to visitors rather than downtown employees on Saturdays, Peabody says a 7 a.m. start time is sufficient — but, he notes, you can expect it to be very busy by 8 a.m.
If you’ve eaten at Varallo’s recently, you’ve seen Peabody. He’s the guy behind the counter and at the giant vat of chili. He gets to work around 3:30 a.m. to open the doors at 6, and that’s the Varallo family way. “My dad believed you needed to run every day from start to finish,” Jim says. “You needed to be there in person, and he taught Todd to run it that way.”
Peabody has a sense of responsibility to lead the Varallo’s brand like the family would. Varallo’s has survived many changes and in fact was born of change. Frank Sr.
was a professional concert violinist who turned to chili after an injury halted his musical career. He spoke four languages fluently — his first job was as a translator at Ellis Island — and also traveled frequently. On repeated hunting trips to Mexico he ate a chili that he loved, and that recipe turned into the Varallo’s recipe.
That recipe has changed over time. In its early days, Jim says, “Families and proper women did not go into saloons, and the chili recipe was extremely hot. It was toned down when the city began to grow.”
In the late 1980s the Varallo’s family sold the licensing rights to their recipe for canned chili on supermarket shelves. That company has stopped making that product about a year-and-half-ago, although they still own the rights. Peabody says he receives 18 calls a week from people asking where they can find it. He tells them that he’ll happily sell chili to go. That doesn’t help folks calling from Florida, but selling locally in pints and quarts has increased the takeout business.
While Varallo’s has historically been a breakfast and lunch spot for 116 years, Peabody is seriously considering dinner and late-night hours. The restaurant’s home is part of the historic Arcade building. (It is on the street, not inside the Arcade itself.)
The Arcade’s current renovation project has put tenants on a month-to-month lease. But Peabody says the landlords have left him hopeful that not only will he be able to stay, but that there is opportunity for expansion.
As the restored Arcade opens with old and new businesses, Peabody understands that the plan is for the property to be open later at night and on the weekends. If that’s the case, he’ll be there then as well, serving chili and burgers and all-day breakfast to the increased foot traffic. He may even bring the meat-and-three back.
“I survived the last three years,” Peabody says. “I intend to stay here. This is the oldest restaurant in Tennessee, and I feel an obligation to keep it going.”
EMAIL ARTS@NASHVILLESCENE.COM
BY JOE NOLAN
Sierra Luna’s new exhibition at the STATE Gallery at The Forge is called Well Where Are We Anyway. It’s a fun name for a show of works that spill ceaselessly across mediums and genres, daring viewers to categorize and compartmentalize them under convenient but reductionist labels like “photography,” “drawing” or “literature.”
Luna is currently an artist-in-residence at The Forge’s STATE Gallery + Studios project, which hosts an annually revolving roster of six creators who are each given free studio spaces and a gallery exhibition over the course of their stay. The whole shebang is underwritten by the Tennessee Titans, and the program represents one of Nashville’s most creative and successful solutions for connecting artists to an increasingly rare resource: affordable spaces to make in. For creative folk, there are innumerable benefits to having a dedicated art space — including being able to make a mess that doesn’t destroy your living situation, being able to leave it and come back to pick up your process right where you left off. Artist and filmmaker David Lynch — in interviews and in his own writing — talks about how important it is for artists to “have a setup”
so that they can be ready to work when the inspiration comes. Working in a dedicated space brings a creative focus that’s hard
to come by if you’re painting in your living room, or sculpting in your kitchen. Being a resident at The Forge’s studio
space for 12 months can bring level-jumping concentration and confidence — along with the constructive criticism of STATE Gallery curator Alyssa Beach. You can see all of these at work in Well Where Are We Anyway. The most impressive aspect of the show is just how “multimedia” the works actually are.
Lots of artists mix and match materials and techniques, but there are usually particular elements that identify the maker as, say, primarily a photographer or primarily a painter.
By contrast, Luna’s work feels thoroughly confident and capable across a variety of mediums — an impressive feat given that this is her debut solo exhibition. Her photographs — mostly black-and-white scenes staging female models in natural settings — play a central role here. But they’re mounted on large pieces of paper, where Luna adds fantastic charcoal elements (“You’re Never Really Alone and It Doesn’t Matter How Hard You Try or If You Try to Talk to Them”), unique applications of sewn details (“The Moon Used to Be So Small”), sure-handed abstract ink painting (“A Big Try”) and detailed etching (“Where the Rain Obeyed the Sky”), as well as poetic texts that even manage their own shimmering images and provocative insights (“Where the Fae Play”).
Luna’s everything-everywhere-all-atonce approach works because she has the craftsmanship to keep it all glued and stitched and folded together. Her restless style is also indicative of where she’s at in her career — an emerging artist emboldened by the resources and the opportunities that her studio residency offers. According to Beach, Luna originally planned a display of painted garments as her residency exhibition, but Beach encouraged the artist to push herself beyond familiar materials and techniques. Still, Well Where Are We Anyway includes an artifact from that show-that-might-have-been in the form of “It’s a Jacket” — a long black leather jacket decorated with an assortment of colorful elements painted by the artist. The jacket features acrylic paintings of two skulls on the back shoulders looking down at a church on fire. A large red fish floats across the back waistline of the coat above two white cranes balancing on the bottom hem. The overall look of the piece recalls black velvet paintings, and everything kitschy and rock ’n’ roll that they conjure. The detailed renderings and unique materials are a perfect fit with the rest of the show, but the piece is also a telling monument to just how broadly Luna’s capacity for expression has exploded during her residency.
In his book Catching the Big Fish: Meditation, Consciousness and Creativity, David Lynch writes: “Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.” That’s a good reminder for young artists — it’s important to take chances and push past comfort zones. Well Where Are We Anyway is a great example of the thrashing and flashing things an artist can find when they have the confidence and resources to swim a little further and dive a little deeper. EMAIL ARTS@NASHVILLESCENE.COM
The Continental Wrestling Association founder and consummate showman died last month at age 80
BY NADINE SMITH
Professional wrestling is an often unfriendly business, and few who succeed in it do so without making enemies. After Jerry Jarrett’s passing on Valentine’s Day this year, countless stories shared about the legendary Tennessee wrestling promoter suggested a different breed: not just a perceptive businessman, but a restless visionary and generous spirit, who cared as much about developing new talent and new ideas as he did maintaining the bottom line.
“I think my dad was a great observer and learner,” remembers Jerry’s son and fellow wrestling legend Jeff Jarrett in conversation with the Scene. “He was self-taught, and it was part of his nature to learn from others and continue to pass that knowledge on.”
Jerry Jarrett was a proud native of Nashville’s 22nd Avenue and would eventually reside in Hendersonville, but his name is synonymous with Memphis, where he founded and operated the Continental Wrestling Association in 1977. Though his most significant accomplishments were behind the scenes, Jarrett was a skilled in-ring competitor as well, claiming several tag-team titles alongside his former teacher Tojo Yamamoto, a Hawaiiborn wrestler who played a Japanese heel onscreen and trained countless Memphis alumni offscreen. Those included the younger Jeff, who would become internationally known for his time in the WWF and WCW during the wrestling boom of the 1990s, and today works for All Elite Wrestling.
In its early days, televised wrestling mostly served a promotional function, with filler matches and interview segments aimed at enticing viewers to buy a ticket to the next live show in town — the true main events were reserved for a paying
audience. While Jerry Jarrett was hardly the first to tell compelling stories in wrestling through episodic television, his work in the Memphis territory took narrative wrestling to the next level, transforming a style of programming that was essentially glorified commercials into appointment viewing.
The in-ring work was solid quality, but it was the mic work that truly lit Memphis on fire, and the talking would become as much of an attraction as the wrestling itself. Legends like Jerry “The King” Lawler, “Superstar” Bill Dundee and Jimmy Valiant turned “cutting a promo” into an art form all its own. Meanwhile, the iconic archetype of the “heel manager” — villainous agents who interfere in matches and rile up the crowd on behalf of their client — was perfected by talent like Jimmy Hart and Jim Cornette. Almost every wrestling promoter in the United States had to pay
television stations out of their own pocket for airtime, but Jarrett’s product was such an enduring ratings success, and his talent roster so beloved, that local station WMC-TV paid him to broadcast the show.
“My father liked to tell stories with emotions, and he was a very innovative mind,” says Jeff. “He was the first to do so many different stipulation matches, like the scaffold match. We did hardcore wrestling years before anyone called it that. We did intergender wrestling in Tennessee in the late 1980s, something that had never been done before.”
The model of weekly TV you see today on shows like Monday Night Raw and AEW Dynamite came from, perhaps more than any other one source, Jerry Jarrett and the style he helped pioneer: the unpredictable feuds and the soap opera melodramatics, the gripping interviews and hard-hitting brawls, the dramatic swerves and over-thetop characters. Countless developments in wrestling that are usually credited to the WWE and Vince McMahon can be traced back to Memphis and the mind of Jerry Jarrett. The first WrestleMania in 1985 became a phenomenon in part because of how the then-WWF embraced pop music and celebrity culture. But before Hulk Hogan ever amped up the crowd to “Eye of the Tiger” or walked to the ring with Mr. T, CWA was using music by ZZ Top and Lynyrd Skynyrd and bringing in Andy Kaufman to feud with Jerry Lawler. Hulk Hogan’s name was even Jerry’s idea: He nicknamed a young Terry Bollea “The Hulk” after an appearance in Memphis alongside Lou Ferrigno — the future Hulkster standing head-and-shoulders above television’s Incredible Hulk.
As McMahon drove his competitors out of business throughout the 1980s and 1990s, Jarrett was the very last of the regional holdouts. Working alongside Jeff, Jerry Jarrett would return to running shows in the area with NWA-TNA, now known as IMPACT Wrestling but still based in Nashville. Though Jerry’s involvement with the company lasted only a few years, the evocatively named Total Nonstop Action Wrestling was like Memphis 2.0, infusing old school Southern grappling and scandalous story lines with a modern extreme-sports flavor. As one of the few mainstream challengers to WWE’s chokehold over American pro wrestling in the 2000s, TNA was the first introduction many fans of a certain age had to wrestling outside the WWE monopoly, and a glimpse of the countless styles that lay beyond it.
Jerry Jarrett’s business acumen and creative enthusiasm extended outside wrestling as well. “He approached everything with a passion, no matter if he was in the wrestling industry or outside of it,” says Jeff. “He had his construction business and car lots, but he would even get really into hobbies like collecting knives or antiques, and he was an avid reader of everything. Whatever he did, he had such a passion for it, and for life in general.”
It’s that singular passion that made Memphis wrestling so distinctive, and it lives on in the explosive drama that grips wrestling fans the world over every week.
EMAIL ARTS@NASHVILLESCENE.COM
Historian Mary Ellen Pethel’s latest project combines her twin passions for history and sports. In Title IX, Pat Summitt, and Tennessee’s Trailblazers, Pethel measures the impact of 50 years of Title IX legislation on Tennessee women’s athletics in higher education. By telling the stories of 50 Tennessee women, she makes a compelling case for the critical role they played in making the public policy meaningful and transforming the state’s image nationwide in the process.
Pethel, assistant professor of interdisciplinary studies and global education at Belmont University, is the author of several books, most notably Athens of the New South: College Life and the Making of Modern Nashville. She answered questions by email.
Could you say a few words about how you decided on the unique form this book ultimately took on, namely its stories and its various vignettes? I was sitting in a coffee shop in March 2020, not knowing that the COVID-19 pandemic would soon shut down most of the world. A friend had sent me a link to a newspaper article about the first full-court women’s high school basketball game in the modern era here in Tennessee. It was much later than you might imagine — not until 1979 — seven years after the passage of Title IX.
I researched further and reached out to an editor at the University of Tennessee Press with whom I’d worked before and pitched an idea for a book about Tennessee women and athletics in the Title IX era.
Maybe among the most important things historians do is recover stories that most people would otherwise never have known or might have forgotten. To your mind, which figures in this group most merit remembering and recovery from relative obscurity? I think about women like Lucia Jones. Lucia grew up in South Carolina and played boys’ baseball undercover as a boy until she hit 13 and people figured out the ruse. But along the way she began teaching swimming lessons and realized that she loved to teach. She later joined the PE faculty at the University of Tennessee at Martin and shaped the lives of generations of students.
Bettye Giles, a matriarch of women’s sports in Tennessee, also comes to mind. She turned 94 in January 2023. She was cofounder of the Tennessee College Women’s Sports Federation and a mentor to Pat Sum-
mitt. There are people like Joan Cronan, who spent 30 years as an athletics director at UT Knoxville and continues to be an ambassador for all women’s sports. Joan remains influential, charismatic and a class act from top to bottom. There’s Teresa Lawrence Phillips, the first Black female athlete to play at Vanderbilt. She eventually worked as an assistant coach at her alma mater before moving on to Fisk and then Tennessee State University, becoming athletics director at TSU in 2002, a position she held until her retirement in 2020.
This book combines a love of history and story with a genuine love of sports. How did you develop those passions? I’ve thought, played and written about sports for a long time. As I came of age in the 1990s, I was fortunate that my parents fully supported my athletic endeavors. I was also fortunate to play on some really good teams in high school, specifically on the varsity basketball team as point guard.
Later, as an undergrad honors student at UT Knoxville, I wrote my senior thesis about the first generation of women athletes in Knoxville. So I’ve been interested in the intersection of gender and sports for some time. The story of women’s athletics in Tennessee worked in two stages. Women played sports in high schools and colleges in the Gilded Age and Progressive Era, only for women’s athletics to go mostly dormant following a cultural backlash in the 1920s. Competitive intercollegiate women’s sports reemerged in the 1960s. Title IX was my chance to tell the second half of a larger story that had long interested me.
To read an uncut version of this interview — and more local book coverage — please visit Chapter16.org, an online publication of Humanities Tennessee.
EMAIL ARTS@NASHVILLESCENE.COM
One doesn’t often hear accounts of how pursuing a career in music helped strengthen a marriage. Rather, we’re used to stories of long stretches away from home, late nights in the studio, time spent secluded to write — things necessary to a successful career but typically not conducive to a happy, healthy marriage. The War and Treaty — the blues-, rock- and R&B-blending husbandand-wife duo of Michael and Tanya Trotter — prove the opposite can be just as true on their new album Lover’s Game, out Friday via Mercury Records.
In 2019, the Trotters notched an Americana Music Association Honors and Awards win for Best Emerging Artist, setting the stage for a whirlwind two years, even in spite of the pandemic. In 2020, they released their second full-length Hearts Town, and even with COVID-19 throwing a wrench in the works of the music industry, the critically acclaimed LP propelled them forward; in 2021, they toured with John Legend — an artist they’d admired and respected for years — and in 2022 they were recognized as Americana’s Duo/Group of the Year.
Released during the early months of the pandemic, Hearts Town marked the end of a chapter for the duo, while Lover’s Game signals the start of a new one. The Trotters made the bulk of the new LP during lockdown, finding that period of solitude to be a fruitful time for looking inward — even if it was slightly frustrating, given that it put their rapid rise on hold. While much of the couple’s reflection related to their own marriage, they also considered how they wanted to approach other relationships in their lives, including their relationship with their fans.
Yo La Tengo returns with a new LP and a renewed appreciation for the road
BY CHARLIE ZAILLIAN
Formed in Hoboken, N.J., in 1984, Yo La Tengo has not only long surpassed the average life expectancy of an indie-rock group, but also continued to find new ways to spin its singular, hypnotic, fuzzed-out sound. No two YLT albums sound quite alike, but the way the trio — which solidified its lineup of singer-drummer Georgia Hubley, singer-guitarist Ira Kaplan and
“The pandemic really allowed us, as married people, to do some inner work, and really reposition and rethink about how we saw the ones we love, the ones we live with, the ones we couldn’t get to,” Tanya tells the Scene. “And it refocused us in a lot of ways. It’s really an introspective record, not just about Michael and me, but even [about] how we saw our fans — and how much we missed them and appreciated them, and wanted them to go on this next journey with us.”
Lover’s Game is about marriage, but that doesn’t mean it is a collection of love songs. Instead, the 10-track collection looks at longterm commitment through varied perspectives. It examines the good (the nuanced piano ballad “That’s How Love Is Made”), the bad (the tender “Yesterday’s Burn”) and, refreshingly, the ugly (the deliciously twangy title track) sides of dedicating your life to another human being. Lyrically, the record is nuanced and ultimately optimistic, while sonically Lover’s Game offers up the musical melting pot for which the duo has come to be loved.
The Trotters recorded Lover’s Game with Americana super-producer Dave Cobb,
bassist James McNew circa 1992 — plays with their influences and techniques and reaches out in new directions is a grounding source of comfort for their legion of fans. They’ve practically become a genre unto themselves.
On 2015’s masterful Fade, Hubley, Kaplan and McNew vibed out with a vengeance, adding a new pillar to their deep catalog alongside two earlier consensus fan faves, both of which were recorded in Nashville: Painful, which turns 30 in the fall, and I Can Hear the Heart Beating as One, released in 1997. Since then, Yo La Tengo’s efforts have erred on the mellower side, as with There’s a Riot Going On, the tour for which last brought them to Music City in 2018, and the quarantine-era, ASMR-like We Have Amnesia Sometimes — records both best enjoyed prostrate, over headphones or between a nice set of speakers.
whom Tanya calls “a dear friend,” noting his honesty and down-to-earth disposition.
“He allowed us to be who we are,” she says. “And then we trusted that, and trusted each other. It was a wonderful experience.”
Notably, the album is also the first record on which the Trotters wrote songs in truly collaborative fashion. They sat down to write together instead of sharing parts and demos for the other to work from.
“We wrote together, we sang together, we conceptualized together,” Michael says. “We didn’t do anything separately or apart. And that’s what makes this album so beautiful and, in my opinion, so much more complete than our prior works. Because usually it’s all me [on a song] or it’s all Tanya. This time it’s us, together.”
The day after our conversation, Michael and Tanya headed down to Riviera Maya, Mexico, for a festival organized by Dave Matthews and Tim Reynolds. Alongside acts like Shovels & Rope and Mt. Joy, The War and Treaty played two days of the three-day event, including a coveted Friday evening slot just before Dave and Tim’s daily performance. As The War and Treaty’s star
continues to rise, it’s easy to imagine the duo continuing to creep ever higher on festival lineup posters; in other words, catch their performances at intimate venues while you still can.
Making Lover’s Game turned out to be far more than just making a record for the Trotters, thanks both to the reflection afforded by the pandemic and to the pair’s willingness to be open and vulnerable with one another during the songwriting process. Those conversations and writing sessions deepened the couple’s marriage and yielded their best album yet — one that offers answers, if sometimes indirectly, to questions wrought by their time stuck at home.
“We had to really check ourselves,” Michael says. “How do we come out of this moment? How do we overcome our own personal fears? And how do we overcome our own personal letdowns and disappointments? Are we going to recommit ourselves to this journey of loving humanity and loving ourselves and loving one another, loving our children — and just loving, period? This is our gift to ourselves and to humanity.”
EMAIL MUSIC@NASHVILLESCENE.COM
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With all that’s happened since those Basement East shows five years back, the moment feels right for a more rock-leaning Yo La Tengo record, and with This Stupid World, McNew, Kaplan and Hubley have answered the call. From the long-form opener “Sinatra Drive Breakdown,” which is all moody motorik grooves and gnarled, dissonant guitars, to “Aselestine,” which is among several sublime tracks on which Hubley takes the mic, to the ambient closer “Miles Away,” the nine-song LP feels like reuniting with an old friend. The making of it, however, marked at least one first for the veteran band, bassist McNew tells the Scene. In contrast to records like 2002’s all-instrumental The Sounds of the Sounds of Science — written for a series of short nature films and mostly recorded with their Music City go-to producer-engineer Roger Moutenot in an abandoned bank building on the East Side — no fourth person was involved through most of the process.
“We made this record ourselves — recording, engineering, mixing — which was different, and really fun,” McNew explains, speaking via phone from a tour stop in San Francisco. “‘Sinatra Drive’ was born of a hastily recorded jam. Played it once, and there it was. There was lots of combining archival recordings with new tracks recorded from scratch. Once we got rolling and got the mics set up — to a place where we could just kinda go, track whenever we wanted — we were off. It was really fun, and hard — solving problems ourselves all day long, making it up as we went along. Spontaneous and satisfying.”
McNew points to a stylistic influence you might not expect for the YLT oeuvre, but makes total sense when he puts it in context. He highlights the way the work of Derrick Carter, a DJ who helped shape the contours of house music, crept into his playing on Stupid World “I like repetitive music, and for me, it doesn’t get more desirable than what he does — these trance-like, psychedelic qualities,” says McNew. “[Carter] has been at it since he was a kid, and continues to make amazing music now. He’s someone I’ve listened to a lot these past couple years — deep diving, and staying there.”
For the well-traveled trio, the forced break from touring in 2020 and ’21 naturally lent perspective on what the road can give you back.
“During that stretch, there were people, places and things you wondered if you’d ever see again,” McNew says. The bassist will celebrate his 54th birthday this July on tour in Japan — home of the Boredoms, a band “who’ve been around almost exactly as long as Yo La Tengo has … and while they don’t put out as much stuff as we do, have an uncompromising vision of art and music and what they believe in [that] I’ve always found deeply inspirational.”
The sentiment extends to Nashville. The band’s frequent visits led them to bond with local legends Lambchop, and their many sessions with Moutenot were instrumental in finding their trademark sound.
“It’s always a homecoming. Add up all the time we’ve spent working [in Nashville] and it’s probably a couple years of our lives as temporary citizens. We can drive around without a map, get from neighborhood to neighborhood. That’s a cool feeling — a home away from home. No other city feels like that. Other than maybe the town where I grew up.”
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Sharing space with fellow players is key to Thayer Sarrano’s Ancient Future
BY SEAN L. MALONEYRoom tone: You gotta have it. For reference, for postproduction, as an insurance policy, as an engineering ritual — if you’re producing an audio recording for just about any purpose, you need access to the sound of the room where the recording was made, all by itself. The sound of the space, which can be beautiful all on its own, is one of the things that makes recorded music magical. While the ability to produce tracks “inside the box” — with nary an instrument pushing air — opens up lots of creative avenues, often computer-based productions are missing this very special ingredient.
Thayer Sarrano’s new record Ancient Future — which she’ll self-release Friday and celebrate with shows Thursday at The 5 Spot and Friday in Georgia — is a welcome respite from our overly algorithmic moment. Sarrano, a singer-songwriter and multi-instrumentalist whose laundry list of credits includes work with Cracker and Of Montreal, splits her time between Athens, Ga., Nashville and the road. Accompanied by drummer Marlon Patton, steel player Matt “Pistol” Stoessel and guitarist Rick Lollar, she headed into the countryside an hour or so from Athens in September 2020 to work on Ancient Future
“We went to this place called Gypsy Farm, which is in Lavonia,” says Sarrano. “I had heard about it from friends in Elf Power and my pedal-steel player’s band. They had
recorded there and said it was just amazing. It used to be a country music venue. … There were posters everywhere still, it looked very untouched. [Laughs] It was, like, Johnny Cash and Dolly Parton and George and Tammy and stuff. The auditorium chairs — where they had people’s names taped to them, like, all yellow — and then this huge stage. So it was like, ‘Oh, what a great place.’”
Ancient Future has a profound sense of place, which happens to be in the far reaches of the galaxy. It makes sense that Sarrano’s portal to the edge of space is in the woods near the border between Georgia and South Carolina. Self-funded at a time when gigs were scarce and prospects bleak, Ancient Future is very much a product of quarantine restrictions, but nothing about it feels defined by the pandemic. The overarching need for human connection that marked those months of lockdown resulted in an album as fluid and vital as a mountain stream.
“[Stoessel and Lollar] both kind of found out that Marlon and I were going up there and were like, ‘Can we come?’” Serrano recalls with a laugh. “I was like, ‘Yeah, you know, there’s no budget here, but you’re welcome to come.’ And they’re like, ‘I’m so bored, I get outta the house.’ We were just gonna get drum sounds, and I told them, ‘Here’s how a song goes, play whatever you want. Maybe we get some vibey sounds.’ And they’re, like, miking the bleachers, and just getting all these crazy room sounds. Then we ended up tracking the whole record that day, kinda by accident.”
Ancient Future is an expansive and or-
ganic album on which the character of the room and the character of the people playing in it contribute to the experience. From the opening swell of “Both Sides of the Door” to the final chimes of “Right Here Instead,” Sarrano and her crew approach the concept of psychedelic rock as pranayama breathing exercise, pulling deep into themselves and exhaling a cosmos of sounds. There’s the intimacy of an inner journey and all the electricity of a rock band in a big room.
On the instrumental title track, Sarrano creates a melodic structure suited for Panavision, cinematic in scope and ready-made to let her bandmates run wild. It’s a 15-minute adventure through sweeping vistas and taut improvisation, roaming through dark canyons and cresting awe-inspiring peaks. It’s rare that a track of such epic length feels so focused and so free simultaneously, but Sarrano is a deft director who brings the best out of herself, her environment and her colleagues.
“In the past, maybe I wouldn’t have done something like that,” she says. “We’re in this beautiful room, why would we not just, you know, try to see what happens. Like, there’s absolutely no pressure. … I felt so connected to the songs — the way they had come, and them being these positive things.”
What comes across is a joyful celebration of sharing a space with people you care about, listening together and responding together. You might be able to approximate lots of the individual sounds with advanced technology, but the method of creation can’t really be replicated without humans together in a room.
“I wanted that [positivity] to be what I was sharing, especially when things were just so horrible and all these dark times. This is the love I want to be out there. And I just have to get it out there.”
She says with a laugh, “It was just, like, ‘We will make this exist.’”
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BY STEPHEN TRAGESER
Being a fan of Brazilian psychrock heroes Os Mutantes in the U.S. isn’t the most casual thing that can happen, though happy accidents tend to play a role. The original trio dissolved in the 1970s, and while a new incarnation has recorded occasionally since 2006 and toured fairly regularly, their Stateside dates have tended to be in places like New York, Los Angeles and Chicago. If you are a fan, chances are you’ve got a very personal story about how the wildly creative outfit came into your life and broadened the way you look at music — as does Scene contributor Sean Maloney, who shared his story about their 1999 greatest-hits compilation Everything Is Possible appearing in the review pile at his student radio station. Os Mutantes’ spring tour is taking them to clubs all across the U.S., including places they haven’t played before, like Nashville. On the evening of March 1, you could feel crackles of anticipation sparking their way through the capacity crowd inside The Blue Room at Third Man Records
dience’s left, guitarist Camilo Macedo and bassist Vinicius Juniqueria to the right and drummer Claudio Chernev right behind Dias, who was seated at center stage. Dias is the only founding member touring and recording under the Os Mutantes banner; many of the players who appeared Wednesday have worked with him since the 2006 reunion. To my ear, the three newer studio albums don’t capture the original group’s inventiveness, and they don’t stand up sonically either. But in person, the band is a force to behold, radiating joy at creating together onstage, enveloping us in a welcoming, theatrical weirdness and playing their proverbial asses off.
They opened with “Fuga No. 11,” an evocative baroque-pop Mutantes classic. Afterward, Dias mentioned how much he enjoyed playing the song, which he noted was the first one he wrote with Os Mutantes co-founder Rita Lee. The frontman’s stage presence was genially cool, with a dry wit and a tendency toward fantastic tangents that brought to mind fellow rocking songsmith Robyn Hitchcock.
Up first was singer-songwriter Esmé Patterson, who let the audience know it was her last night opening for the group — as well as an adopted-hometown show, since she’d recently moved here from Colorado. With support from Hilary James on bass, she started boldly with an as-yet-unreleased song that established the foundation for her set: The chords and the song structure drew on folk and blues, the tones were warm and rich with a gritty edge, and the vocals were hypnotic. Among the highlights was “The Glow,” which tells the story in The Beach Boys’ “Caroline, No” from Caroline’s perspective. Patterson and James wrapped their performance with the swampy, strutting “Sleeping Around,” featuring a guitar solo from Os Mutantes’ singer-guitarist Sérgio Dias. He started off a bit shaky, flirted with going off the rails and then came shuddering back into focus, sounding a little like bedrock rock ’n’ roller Link Wray.
Patterson and James said their goodbyes, and in relatively short order Os Mutantes settled in, with singer-keyboardist Henrique Peters and singer Esmeria Bulgari to the au-
Several of the songs were newer, including “Time and Space” and “Beyond” from Os Mutantes’ 2020 LP Zzyzx. They didn’t grab me on the album, but made a deep impact at The Blue Room. The group’s ability to blend pastoral psychedelia, art music, folk and dance music styles from all across South and Latin America, bluesy American rock ’n’ roll and proto-metal hard rock — often as not in the same song — remains nothing short of mind-blowing. The band played some of the tunes that are burned into my brain from repeated listens to Everything Is Possible a little slower than on the recordings from the ’60s and ’70s. But they used the tempo changes to their advantage. The sweet, effervescent buzz of “A Minha Menina,” the kinetic bliss of “Bat Macumba” and the lysergic groove of “Ando Meio Desligado” stretched out like psychedelic taffy. “Cantor de Mambo” — shoutout to Peters for a fantastic vocal performance — got heavier and weirder, with Dias grinning and staring into the air above him, as if receiving instructions from elsewhere on how to direct his ferocious solos.
About 90 minutes after they took the stage, Os Mutantes geared up for one final number: “Panis et Circenses,” an art-pop piece about capitalism crowding out artistic expression. It builds to a frenzied crescendo and comes to a sudden halt, as if someone stopped the turntable with the needle still down. Naturally, the band performed the pause in full before finishing out the song, with its Portuguese lyrics translated to English. The concept of Os Mutantes that I’ve had in my head for two decades already contained multitudes, and it was a sheer delight to see how many more layers the group has — and how much more they have to give.
EMAIL THESPIN@NASHVILLESCENE.COM
MAR 9 Wednesday Night Titans
MAR 10 3-REX-Free Show
MAR 11 The Taylor Party: Taylor Swift Night
MAR 12 SiSSi: A Queer Competition (Rd. 1)
MAR 17 RockNPod Pre-Party: Rare Hare
MAR 14 Pitch Meeting: Residency
MAR 19 Clan Of Xymox
MAR 21 Real Friends & Knuckle Puck
MAR 22 Mod Sun
MAR 23 Harley Kimbro Lewis
MAR 24 Marauda: Rage Room Tour
MAR 25 Eastside Headbanger Ball
MAR 26 SiSSi: A Queer Competition (Rd. 2)
MAR 28 The Battle Of Nashville: Tribute To Rage Against The Machine
MAR 31 IV & the Strange Band
APR 1 Emo Nite
APR 2 North Star Boys
APR 6 Elise Trouw: Losing Sleep Tour
APR 11 Kevn Kinney
APR 14 The Red Jumpsuit Apparatus
APR 15 Wildermiss
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EVERY FRIDAY IN FEBRUARY Foster’s First Fridays
MAR 9 Hi-Jivers Duo
MAR 10 Jon Radford Presents: The Raw (DJ Set)
MAR 15 The Imperial Blues Hour
MAR 16 Austin John Organ Trio
MAR 17 Nicky G & Friends
MAR 21 Robbie Crowell & Friends
MAR 22 Patrick Sweany
MAR 23 Sam Hawksley
MAR 24 The Criminal Mind (songs of Tom Petty)
MAR 29 The Coal Men
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Welcome back to a surprising overview of the panoply of entertainments available to the viewer.
Everything is still on fire, and pollution from the East Palestine, Ohio, chemical chaos is something everyone should be very conscious of. Thankfully, there are options.
Below, find a roundup of titles currently available to stream or purchase via physical media.
What can be said about TCSM that hasn’t already been said? It’s an enduring classic in the field of horror cinema — a film whose raw edges, effective performances and perfection in the fields of title and tagline have ensured that even people who wouldn’t go anywhere near such a film know what a TCSM is and exactly what it means. As an acerbic and sometimes unpleasant fat guy, I must give respect to Paul Partain as Franklin Hardesty for lighting the way, and maximum respect to Teri McMinn as Pam, who gets the doomed-oracle role. It’s like in other films when there would be a twominute scene in a classroom, and whatever the teacher was talking about would be the theme of the movie; only for Pam it’s astrology, and she rocks it.
It doesn’t matter how you watch Tobe Hooper’s 1974 magnum opus (beaten-up 16 mm print, multiple-generation VHS recording, DCP; I’ve seen them all). Such is the craft and sheer, visceral fear within it. But damn if this new 4K Ultra High Definition from Dark Sky Films/MPI Media isn’t something truly special. Because it uses HDR (a concept that I remain in awe of despite not completely understanding it — basically, there’s increased resolution to the color black that allows more visual precision or something to that effect, but if you’re reading this column, I can guarantee you know someone who will help you find the proper
HDR settings for your system), we’ve got a surprising amount of shadow detail, making the darkness yield a bit more of its secrets. It’s got the lossless original mono sound mix. (Here’s a secret tip: Think of most horror movies from before 1985 the way you would the pre-stereo Beatles albums. Mono mixes don’t fuss around, and they deliver.) It has a good 2.0 mix and a Dolby Atmos mix as well, which is relentless and will doubtless shake up the strongest of constitutions.
The best horror anthologies find a way to blindside you in a different way with each episode, and this handsome gathering of dark tales, all overseen by icon and allaround good dude Guillermo del Toro, delivers creative shocks at each step of the way. Personal favorite episodes of Cabinet of Curiosities include “The Viewing” (Mandy’s Panos Cosmatos introducing a face-melting preternatural presence at a druggy party for psychics and weirdos), “The Autopsy” (from the director of The Empty Man, a great small-scale alien invasion story that features the most breathtaking opening shot of anything I saw in 2022) and “The Outside” (Ana Lily Amirpour documenting a suburban breakdown amid the rise of a superlotion). But all eight episodes are creative and enjoyable in some capacity.
THE LAST OF US: “LONG, LONG TIME” ON HBO MAX I’ve never played the video game that spawned the HBO series The Last of Us. I haven’t even watched the first two episodes. (Truthfully, I was waiting to make sure it
didn’t turn into The Walking Dead 2.0.) But when “Long, Long Time” dropped, it was made apparent to me that I needed to check it out. The central 45 minutes of the series’ third episode is a moving and affectionate portrait of queer resiliency that feels all the more resonant given how openly the Tennessee state legislature is crafting its discriminatory bills. It’s also fascinating that, between this and Knock at the Cabin, the new trend for mainstream representation of gay couples is aspirational entropy, where being a good example for the rest of folks makes up for the utter horrors faced just for existing, and death is ultimately the best one can hope for. But here’s the thing about “Long, Long Time”: Awful people may draw hatestrength from the fact that it ends with a low-key suicide pact, but the idea of 20 more years of relative peace and quiet during the utter collapse of society and then staying in control of one’s own decisions is better than the majority of people on the planet can hope for. We all die, despite what the worst people in the world may think. And Nick Offerman and Murray Bartlett do an incredible job of giving us a pointillist portrait of an evolving relationship. Much respect for giving Linda Ronstadt her Kate Bush moment as well.
Allow me a moment to praise Cheaters
It’s still the best reality television program out there, with more than two decades of discontinuous adventures in the dramatic lives of people who can’t bring themselves to talk honestly. Oh, there are plenty of cheaters, and those they cheat upon. But at every point what we get are portraits of delusion and or desperation, and it always — ALWAYS — comes back to not talking openly and honestly at the beginning of a relationship. New host Peter Pankey (fka Peter Gunz) has found his own hook with the material, often working through de-escalation and making personal connections with the involved parties, but it’s second host Joey Greco who defines the series, walking perfectly the tightrope between sincere and smug (and the best off-the-cuff responses to the material). And it’s the late Clark Gable III whose episodes best get at the sad emotional impasse that so many of these couples find themselves in; it is Gable who dwells behind a perfectly narcotized poker face,
and it is also he who breaks past that buffer with an overwhelming emotional response. Personal favorites include the Renée Lewis wrap-up segment, Jill the LARPer and that one segment of Cheaters: Too Hot for TV in which the woman whose kink is municipal road repair and her boyfriend decide that their relationship can encompass that kink, embrace it and grow even stronger. It’s absolutely the most inspiring bit of reality television I’ve ever seen, even with all the dildos and the roadside-chartreuse color scheme. Also, some places streaming Cheaters use uncensored video masters.
This one is an interesting endeavor. For the Love of DILFs is the perfect companion piece to MILF Manor over on TLC. It’s honestly fascinating in the fact that it unfolds in a manufactured world where the closest thing to a straight person is bisexual hostess Stormy Daniels — and nobody gives her any foolishness, because if you gather a group of gay and bisexual men together, nobody is going to give anyone grief about that one person they had sex with and have been trying to live down ever since. On one side are the Himbos, an assortment of five twinks and twunks. On the other side are five Daddies. And there’s a series of dates and activities in hopes of helping a duo find true love (and a $10,000 prize). Sounds pretty much like any other dating reality show, but there’s something intriguing about how things unfold, with the way that expectations aren’t universal, and how sometimes being boring is worse than being evil. It’s still very early in its run, but it has the kind of energy that’s exactly right for anyone who watches The Bachelor or The Bachelorette and thinks, “These people are dawdling a lot for people who very obviously want to be doing it.”
The one universal constant in the Italian genre of suspense thriller known as giallo is that being a model or dancer pretty much carries a death sentence. And after the tragic death of dancer Sylvia following a harrowing encounter at a decadent party, who’s going to star in the Frankie Goes to Hollywood video (for “Warriors of the Wasteland”) that this crew of tech people, models, dancers, pimps, drug dealers, diamond mules and sexhavers are trying to get made? Too Beautiful to Die is a 1988 film (and know that there’s only one film more 1988 than this, and it’s unavailable currently) and a mystery steeped in impeccable production design and outfits, perky nudities, and a taste for elaborate set pieces. Director Dario Piana wears his affection for Flashdance on one sleeve and the films of Brian De Palma on the other. It’s trashy and awesome and worth a watch for anyone who misses the weird multiquadrant efforts at sexy suspense that the ’80s excelled at. Also, any film that uses Kissing the Pink’s “Certain Things Are Likely” gets major eurodisco points from me, even though it ends with a Huey Lewis and the News song you haven’t thought about in decades.
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Shop from 100+ curated artisan craft vendors from across the country while enjoying live music, craft cocktails, local food vendors and more.
May 19
The annual chef competition and sampling event returns with four of Nashville’s best chefs battling it out in a live cooking competition.
June 2023
Kick off the start of summer with margaritas in hand as you sample margaritas from 15+ local restaurants competing to be crowned Best Margarita in Nashville.
JULY 8
Don’t miss Nashville’s longest running outdoor movie series! enjoy a free, family-friendly movie under the stars while enjoying treats and eats from local food trucks.
July 10-16
Enjoy 100+ curated artisan craft vendors, tastings from local breweries, a craft cocktail bar, live music and more!
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ACROSS
1 Pit-of-the-stomach feeling
5 Fastidious to a fault
9 Wedding walkways
14 Literary heroine Jane
15 Entertainment district in London’s West End
16 Watts of “Mulholland Drive”
17 Seat on a ship
19 Robust brew
20 Get through to 21 Pool of money
23 Start to scream or shout?
26 Sing like Tom Waits
28 Phrased 32 “The missing link” 34 Word with raising or splitting
36 Commercial lead-in to Clean
37 Domesticated
38 Fit of wild emotion
40 Natalie Wood’s role in 1961’s “West Side Story”
41 Foundation
42 Capitol Hill staffers
43 Bet the family farm, so to speak
45 Instrument found in a post office or grocery
46 Reddit Q&A
47 Major provider of scholarships, in brief 48 Look through a window, say 49 Like bananas and banana slugs 51 Orangish-brown gem 53 Otolaryngologist, familiarly 54 Make fun of
3 Certain line segment
4 Hockey feint
5 Receptacle near a firepit
6 ___ Ark
7 Offering on a sushi menu
8 Mayor Lightfoot of Chicago
9 Yet to come 10 Mythological being with a horse’s tail 11 Facilities in England 12 Prey for a dingo 13 Command that might precede “Shake!” 18 One might have the disclaimer
35 Clarification words for a speller
38 “Freeze!”
39 Along with lentils, one of the two main ingredients in idli
41 Exposed, as a cover
44 One giving a wake-up call
45 Hyundai Sonata, for one
48 Certain ecclesiastic
50 Punch bowl go-with
52 Quibble
55 Some antique collectibles
57 Princess whose brother is not a prince
58 Meadow call
59 Ambulance letters
60 Well-suited
62 “Kidding!”
63 Father of une princesse
64 Saddler’s tool
65 ___ Américas
25 Formative
29 “Is it worth the risk?”
30 Do great at
1 With 2-Down, moneysaving flight option, often
2 See 1-Down
31 ___ collar (iconic Ruth Bader Ginsburg neckwear at the Smithsonian)
Online subscriptions: Today’s puzzle and more than 9,000 past puzzles, nytimes.com/ crosswords ($39.95 a year).
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Crosswords for young solvers: nytimes.com/ studentcrosswords.
Local Attractions:
Non-Resident Notice
Sixth Circuit Docket No. 22C2675
ELLIOT J. SCHUCHARDT vs. DAVID DELL'AQUILA
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon DAVID DELL'AQUILA. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 30, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken o n May 1st, 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
B. Poole, Deputy Clerk
Date: March 1, 2023
Elliot J. Schuchardt Attorney for Plaintiff
NSC 3/9, 3/16, 3/ 23/ 3/30/23
Non-Resident Notice
Third Circuit
Docket No. 22D1726
VERONICA HERNANDEZ SOTO
vs. ARMANDO DIAZ AISPURO
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ARMANDO DIAZ AISPURO. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk M. De Jesus, Deputy Clerk
Date: February 16 2023
Matt Maniatis Attorney for Plaintiff
NSC 2/23, 3/2, 3/9, 3/16/23
· Vanderbilt University and Hospital
· Belmont University
· Hillsboro Village
Music Row
Neighborhood Dining and Drinks:
Double Dogs Restaurant
Hopdoddy
Burger Bar
Ruby Sunshine
Biscuit Love
Belcourt Taps
McDougal’s Chicken Fingers and Wings
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon ARMANDO
DIAZ AISPURO. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk M. De Jesus, Deputy Clerk
Date: February 16 2023
Matt Maniatis Attorney for Plaintiff
NSC
Non-Resident Notice
Third Circuit
Docket No. 22D1606
BRENDA NICOLE ADAGEYUDI vs. REGINALD ADAGEYUDI
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon REGINALD ADAGEYUDI. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
M. De Jesus, Deputy Clerk
Date: February 16, 2023
M. Oliver Osemwegie Attorney for Plaintiff
thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
M. De Jesus , Deputy Clerk
Date: February 16, 2023
M. Oliver Osemwegie Attorney for Plaintiff
NSC 2/23, 3/2, 3/9, 3/16/23
Non-Resident Notice
Fourth Circuit
Docket No. 22D309
AMBER M. WORD vs. THOMAS L. DILLARD
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon THOMAS L. DILLARD. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after MARCH 16, 2023, same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 17, 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
L Chappell, Deputy Clerk
Date: February 15, 2023
Robyn L. Ryan Attorney for Plaintiff
NSC 2/23, 3/2, 3/9, 3/16/23
cession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
L Chappell, Deputy Clerk
Date: February 15, 2023
Robyn L. Ryan Attorney for Plaintiff
NSC 2/23, 3/2, 3/9, 3/16/23
Non-Resident Notice
Third Circuit Docket No. 22D1838
JACOB JEROME REYNOLDS vs. JULIE NICOLE REYNOLDS
In this cause it appearing to the satisfaction of the Court that the defendant is a nonresident of the State of Tennessee, therefore the ordinary process of law cannot be served upon JULIE NICOLE REYNOLDS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after MARCH 23, 2023 same being the date of the last publication of this notice to be held at the Metropolitan Circuit Court located at 1 Public Square, Room 302, Nashville, Tennessee, and defend or default will be taken on April 24, 2023.
It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.
Joseph P. Day, Clerk
M. De Jesus Deputy Clerk
Date: February 16, 2023
Trudy L Bloodworth Attorney for Plaintiff NSC 3/2, 3/9, 3/16, 3/23/23
Senior Engineer, IT DevOps.
Implement continuous integration and continuous deployment (CICD) technical initiatives and deliver cutting edge solutions for a major retailer. Employer: Tractor Supply Company. Location: Headquarters in Brentwood, TN. May telecommute from any location in the U.S. Multiple openings. To apply, mail resume (no calls/emails) to S. Case, 5401 Virginia Way, Brentwood, TN 37027 and reference job code 21- 0351.
Senior Analyst, HR Analytics. Work cross functionally with the business to identify data needs and provide analytics, dashboarding, or reporting support for a major retailer. Employer: Tractor Supply Company. Location: Headquarters in Brentwood, TN. May telecommute from any location in the U.S. Multiple openings. To apply, mail resume (no calls/emails) to S. Case, 5401 Virginia Way, Brentwood, TN 37027 and reference job code 21- 0218.
Eco-Energy, LLC. seeks a Research Analyst in Franklin TN, to develop and implement supply/demand framework of energy and agricultural commodities. Requires 20% of domestic and international travel. Apply at https: https://www.ecoenergy.com/.
Eco-Energy, LLC. seeks a Manager, International Trade in Franklin TN, to coordinate sourcing of trade products for import; initiate export sales. Requires 20% of domestic and international travel. Apply at https: https://www.ecoenergy.com/.
Senior Manager, Cloud Computing & Networking (Mult Pos), PricewaterhouseCoopers Advisory Services LLC, Nashville, TN. Hlp clnts trnsfrm their bus thru innvtv tech sols & effctv IT Srvc Mngmnt. Req Bach’s deg or foreign equiv in Bus Admin, Info Mgmt, Engg or rel + 6 yrs of rel work exp, of which 5 yrs must be post -bach’s prgssv rel wrk exp; OR a Master’s deg or foreign equiv in Bus Admin, Info Mgmt, Engg or rel + 4 yrs of rel wrk exp. 80% telecommtng prmittd. Mst be able to commute to designated local office. Trvl up to 80% req. Apply by email at US_PwC_Career_Recruitme nt@pwc.com, referencing Job Code TN3575.
Senior Engineers, IT Cloud Infrastructure. Design, engineer, and support public and private cloud infrastructure services for a major retailer. Employer: Tractor Supply Company. Location: Headquarters in Brentwood, TN. May telecommute from any location in the U.S. Multiple openings . To apply, mail resume (no calls/e-mails) to S. Case, 5401 Virginia Way, Brentwood, TN 37027 and reference job code 21- 0344.
· Nicoletto’s Italian Kitchen
· Fido
· Pancake Pantry
Enjoy the outdoors: St. Bernard Park
Fannie Mae Dees Park Centennial Park Centennial Dog Park
Best places nearby to see a show:
Belcourt Theatre
The Station Inn The Basement Ryman Auditorium
Favorite local neighborhood bar: Double Dogs Restaurant
Best local family outing: Adventure Science Center
Your new home amenities: Green Pet Area
· Controlled access parking garage
Outside lounge area with gas grill and TV
Washer and Dryer in each apartment
