Nashville Scene 7-8-21

CITY LIMITS: MNPD’S DELKE ACCEPTS A THREE-YEAR SENTENCE FOR KILLING DANIEL HAMBRICK

JULY 8–14, 2021 I VOLUME 40 I NUMBER 23 I NASHVILLESCENE.COM I FREE

SPORTS: NASHVILLE’S CAR CULTURE IS EVOLVING PAGE 8

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CONTENTS

JULY 8, 2021

7

26

In Plea Agreement for Delke, Hambrick Family Finds No Justice, No Peace ...........7

A Good Man in a Nest of Evil

CITY LIMITS

Three years after fatally shooting Daniel Hambrick in the back, now-former Officer Andrew Delke accepts a three-year sentence

BOOKS

Curtis Wilkie reveals the story of a brave man who informed on the Mississippi KKK

BY ARAM GOUDSOUZIAN AND CHAPTER 16

A poem illustrated by Maile Lani

Sports: Car Talk ..........................................8

BY C.I. AKI

BY LENA MAZEL

Nashville’s Bonkers Housing Market ........9 As the pandemic has slowed, homes are selling fast and prices have skyrocketed

29

MUSIC

Sympathetic Vibration ............................ 29

BY J.R. LIND

William Tyler and Luke Schneider mark inflection points on Understand

11

BY STEPHEN TRAGESER

All That You Dream ................................. 30 After more than three decades in Nashville, singer Jonell Mosser remains a great interpreter

COVER STORY

Forgotten but Not Gone The tragedy of Benevolent Society #2 Cemetery, one of Nashville’s long-overlooked Black burial spaces

BY BETSY PHILLIPS

Exit/In, Hurry Back Buildings Sell for $6.5 Million

‘Will They Feed Their Eyes?’

BY STEVEN HALE

From big corporate races to small independent clubs, Nashville’s car culture is evolving

THIS WEEK ON THE WEB: Breaking Down the Metro Nashville Public Schools Budget Nossi College of Arts Adds Chef Tom Eckert to Culinary Arts Program Goo Goo Summer Chef Series Returns ON THE COVER:

Benevolent Society #2 Cemetery; photo by Eric England

BY EDD HURT

Gearing Up: One Chord to Another ........ 30 Ross Collier’s Nashville Omnichord Supply Co. celebrates a highly unusual instrument

BY CHARLIE ZAILLIAN

The Spin ................................................... 31

21

The Scene’s live-review column checks out Hip Hop on Elliston at Exit/In

CRITICS’ PICKS

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Styrofoam Winos w/Crave On & Rig B, Essential Fellini: Juliet of the Spirits and Amarcord, Music City Puppet Slam, Sheila E., Music City Mondays: Crooklyn, Brooklyn’s Finest: The Making of Reasonable Doubt by Jay-Z, The Trans Community Photo Project, Her’s and more

32

FILM/TV

Primal Stream 59 Catch up on Season 1 of the idealistic and delightful Ted Lasso, now available to stream

BY JASON SHAWHWAN

24

FOOD AND DRINK

Sugar Shock: All Nice on Ice .................. 24 Four new ways to freeze your face off

33

NEW YORK TIMES CROSSWORD

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Cheap Eats .............................................. 25 A newly reopened Nashville institution offers a veritable Thanksgiving feast for 10 bucks

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DESPITE THE COLLEGE WORLD SERIES OUTCOME, THE VANDERBILT COMMODORES CAN STILL STAND PROUD

Just a couple of weeks ago, we were on the edges of our seats, watching enthusiastically as baseball teams from the University of Tennessee and Vanderbilt University headed to Omaha for the College World Series.

Unfortunately, UT was eliminated early.

Then, when North Carolina State had to forfeit because six players tested positive for COVID-19, Vanderbilt was hit with negative press and social media before losing their final two games and the championship to Mississippi State University.

I feel for Vanderbilt’s coach Tim Corbin and his Commodores. Despite their loss, this is still a great team — one of the last two teams standing in 2021! That is an amazing accomplishment. Of course fans in Nashville would have liked to see them perform better, but in the team’s defense — and as Coach Corbin had noted early in the season — being touted as the 2019 “reigning national champions” was not the best thing for this group. Many of his younger players lacked experience, especially after most of the 2020 season was canceled due to the pandemic. Kumar Rocker was the only starter from the 2019 championship in this year’s series — and as Corbin stated after the loss, “getting through the Regional was emotional … the Super Regional was emotional.

And then as we got through this, we had to navigate certain situations. And I think it caught up with us.”

One of those situations was NC State being pulled from the tournament by the NCAA. In bizarre fashion, Vanderbilt was villainized for the NCAA decision, and with media outlets making comments that a Vandy win would be marked with “an asterisk,” it’s little wonder they weren’t on top of their game when they took the diamond.

Add to that pressure the fact that Mississippi State had so many Bulldogs fans in the stands — it appeared more like a home game in Starkville, Miss., but louder, in Omaha’s larger facility. Coach Corbin referred to it as a “groundswell,” and even Mississippi State’s coach Chris Lemonis said he had to stay in his hotel room because Mississippi fans had “taken over the city.”

This loss is a hard one for Vanderbilt.

Despite the disappointment, Coach Corbin realizes that his players will grow from this experience, that they’ll get better. He also recognizes they didn’t always play well

NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

— even if they played hard. “We played a lot of tough baseball games out here,” The Tennessean quoted him as saying. “Didn’t always play well, but we played tough baseball. And that certainly is going to help the kids moving forward.”

Let’s revisit some moments that were great — moments that illustrate why Vanderbilt has a baseball program that is very much worth talking about these days. Prior to 2002, the school’s baseball program was not a hot topic of conversation. That changed when Charlie Hawkins generously donated $2 million to Vanderbilt so they could start to work on what is now Hawkins Field. That new stadium was a turning point for Vanderbilt. With this great facility, Vanderbilt had a foundation to attract great talent — and great coaches like Tim Corbin. In my mind, Hawkins Field was the beginning, and helped Coach Corbin create the great program he has now.

Since Corbin took over the program in 2003, he has taken the Commodores to every NCAA tournament but one. I love the opening of Corbin’s Wikipedia page: “Since becoming the coach of Vanderbilt in 2003, Corbin has transformed the Commodores from a perennial Southeastern Conference doormat to an elite program.”

That elite program is being fostered by a coach who cares about his team, not only as a whole but as individuals — and that can be seen in how hard the team works to get the job done. And though they didn’t win this year, the Commodores still have two CWS Championships under their belt, with more likely to come.

The controversy around NC State does not diminish the fact that Vanderbilt has a great deal to be proud of. They can be proud that they have one of the best baseball programs in the country. They can be proud that they worked hard and made it all the way to CWS once again. They can be proud that they weathered the media beating and showed true class even in defeat. Their show of character, even in their heartbreaking loss to Mississippi State, is the true demonstration of what winners they are.

Congratulations, Commodores! We’re still proud.

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

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

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CITY LIMITS

IN PLEA AGREEMENT FOR DELKE, HAMBRICK FAMILY FINDS NO JUSTICE, NO PEACE Three years after fatally shooting Daniel Hambrick in the back, now-former Officer Andrew Delke accepts a three-year sentence

BY STEVEN HALE recognize that my use of deadly force was not reasonably necessary, under all the circumstances,” Delke said. “I recognize that what happened on July 26, 2018, was tragic. Ms. Hambrick lost her son that day, and I am responsible for her loss. These are facts that I will have to live with for the rest of my life. And no mother should ever have to experience the loss of a child, and not a day has gone by that I have not thought about my actions. I also recognize that my actions impacted the community and the police department. I hope this case can contribute positively to a much-needed discussion about how police officers are trained, and how we as a community want police officers to interact with citizens. I am deeply sorry for the harm my actions caused. And I hope that Mr. Hambrick’s family will obtain some comfort from my acceptance of responsibility and my guilty plea today.”

Minutes later, Hambrick walked forward to a podium with the help of her family members and her attorney Joy Kimbrough, who read a statement Hambrick had written.

“On June 1, 1993, I gave birth to Daniel Edward Hambrick,” Kimbrough read. “He was my only child and the love of my life.”

The statement went on to outline in unsparing terms the fundamental injustice that the Hambricks and so many activists and community members who showed up to court saw in the plea deal.

“We all know that if Daniel had executed Delke by shooting him in the back of his head and in his back and in his buttocks as he ran away, he would be riding on death row, waiting on the electric chair,” Hambrick’s statement read.

She expressed her disgust at a nightmare that began with a white police officer fatally shooting her Black son in the back and ended with a white district attorney and a white defense attorney agreeing to a light sentence for the white cop, who was even able to keep his job for three years after the shooting. At one point, the reading of her statement had been interrupted by a thunderous noise — the sound of activists and community members banging on the wall outside the courtroom. Many of them had also shown up outside of Funk’s home the night before, protesting the agreement and vowing to see him voted out of office next year.

“I have contempt for this system,” Hambrick’s statement concluded. “I have

VICKIE HAMBRICK

POOL PHOTO BY JOSIE NORRIS, THE TENNESSEAN

T

hree years of a mother’s anguish and grief erupted in a Nashville courtroom Friday morning as Vickie Hambrick, her voice streaking out pained and furious, screamed at the former Metro police officer who killed her son Daniel on July 26, 2018, shooting him in the back as he ran away.

“I hate you!” she yelled before turning her attention to the judge, then the prosecutors, then back to the defendant again.

The previous day, District Attorney Glenn Funk informed her that he was accepting a plea offer from Andrew Delke’s defense team. The officer — who resigned earlier in the week as part of the deal — would plead guilty to voluntary manslaughter and a sentence of three years. Delke will likely end up serving no more than a year-and-ahalf in jail with good behavior, not even a year for every bullet he fired into Daniel Hambrick’s body. The deal meant he would not face a jury, or a possible conviction for first-degree murder and the 51-year sentence that comes with it. Funk later told reporters he’d accepted the deal because, were the case to proceed to trial, there was a strong possibility of a hung jury. Funk also argued that Delke’s admission of guilt could lead to a change in the way Nashville police are instructed to operate. Delke’s defense attorney David Raybin told reporters that he shared Funk’s belief that a hung jury was likely, and that it was the motivating factor in seeking a plea deal.

So Vickie Hambrick, wearing a blue-andwhite shirt with her son’s name and face on it, showed up to Judge Monte Watkins’ courtroom on Friday with her family — the same courtroom where she’d sat many times before as video of her son’s killing was played over and over again, the details of his final moments parsed and litigated. She and her supporters had already been forced to leave the courtroom once because of a few T-shirts that apparently violated a previously agreed-upon rule for a trial that now will never happen.

Once the hearing began, she sat in the front row as Assistant District Attorney Ronald Dowdy read a statement of facts into the record, recounting the events that Vickie Hambrick has seen and heard so many times. She listened as Delke stood and read a statement of his own, struggling over the words at times.

“I am pleading guilty today because I

ANDREW DELKE (LEFT) AND DAVID RAYBIN contempt for this plea. I have contempt for the [Fraternal Order of Police]. And I have a special contempt for Andrew Delke. May you all rot in hell.”

Kimbrough followed that with her own statement urging the judge to reject the plea “in the interest of justice.” And then, Kimbrough stepped aside to let Vickie Hambrick speak in her own voice.

There Vickie Hambrick stood. She was not by herself; her family members stood beside her and sat behind her, as did Sheila Clemmons Lee, another mother of a Black man killed by another white Nashville police officer. But standing at the podium, almost three years after her son’s killing, Hambrick must have felt alone. She listed off the family members she has lost over the years, the grief growing in her voice. She looked at Delke and screamed, rejecting his apology, before turning to the judge and then Funk and his deputy, Roger Moore.

“What if the tables turned?” Hambrick asked. “Judge? What if the table was turned? Just look at the tape. What if it was your son? Instead of my child? What if it was your child? It would’ve been a different story. Glenn! What if it was your motherfucking child, you white motherfucker? ...

You bastard. I hate you. Roger, I hate you too. You lying motherfucker, I hate you.

You told me a goddamn lie, and I hate you. I

hate you. Delke — karma’s a motherfucker.

You better watch your back in jail, motherfucker. You bastard. You a bastard. You better watch your motherfucking back.

You hear me? You better be scared. ... They better take you outta here now, ’cause I’m gonna come over there and smack the shit out of you. Oh yes, I am. So they better take you up outta here. ’Cause I been through a lot, from you. A lot. His friend killed himself. Because of you. I hate you. So I don’t accept your motherfucking apology. OK? You Ku Klux Klan motherfucker.”

She banged the podium, then pushed it over before lunging toward the table where the prosecutors sat, pushing over a computer screen and reaching for others.

Officers moved in between the Hambricks and the prosecutors, as supporters moved forward to support the family. The judge and the defense and Delke all left the courtroom. Funk stayed and stared and listened.

Eventually, Vickie Hambrick collapsed into a seat in the back of the courtroom. Family members surrounded her, fanning her as she screamed, “I want my baby!”

Some 20 minutes later, with the courtroom mostly cleared, Watkins returned and announced he was accepting the plea agreement. Delke was taken into custody immediately and transferred to jail.

EMAIL EDITOR@NASHVILLESCENE.COM

nashvillescene.com | JULY 8 – JULY 14, 2021 | NASHVILLE SCENE

7

SPORTS

CAR TALK

From big corporate races to small independent clubs, Nashville’s car culture is evolving

BY LENA MAZEL

8

PHOTO: CASEY GOWER

O

n June 20, fans sprawled well beyond the 1.33-mile track and towering grandstands at the Nashville Superspeedway, into campgrounds and grass parking lots surrounding the site. When the NASCAR Cup Series race began on Sunday, the sounds of V8 engines mingled with 38,000 screaming fans in a deafening roar.

Before last month, the Superspeedway — about 45 minutes east of downtown Nashville in Gladeville — hadn’t seen a race since 2011, and Middle Tennessee last hosted the Cup Series in 1984. And as racing returns, the Nashville car community is changing.

In addition to the Superspeedway’s reopening, IndyCar will bring the debut Music City Grand Prix to Nashville in August, and the NASCAR Cup Series may return to the Fairgrounds Speedway.

What’s more, the city will soon have its very own NASCAR team. Justin Marks, a former NASCAR driver and current team owner, recently announced that his team, Trackhouse Racing, is planning to relocate to Nashville. If all goes well, Marks says, Trackhouse will have its race shop in downtown Nashville for the 2023 season. The team is co-owned by Marks and Mr. Worldwide himself, Pitbull, and Trackhouse’s driver, Daniel Suarez, drives a bright-pink No. 99 car sponsored by Tootsie’s.

It’s rare to base a NASCAR team anywhere other than Charlotte, N.C. And it’s even rarer to build a race shop in a city center. But Marks and Pitbull have an audacious vision.

“We talked about it early in the days of Trackhouse, asking ourselves, what is a race team?” Marks told press on June 19.

“Why is a race team in 140,000 square feet in an industrial park?” He envisions the Trackhouse headquarters as a more hybrid space, maybe even including “a music venue and bar in downtown Nashville that is over the top of the race shop or something like that.”

Before the Cup Series race, many drivers commented on the strength of Nashville’s fan base. Denny Hamlin, a driver for Joe Gibbs Racing, originally raced at Nashville Superspeedway in the Xfinity Series (then called the Nationwide Series, but long referred to by fans as “the Saturday Circuit”) and returned this year for the cup. “Obviously, Nashville itself is a very exciting town,” Hamlin says. “Hopefully we get a lot of fan enthusiasm back there that we had about a decade ago.”

Beyond racing fans, Nashville also has a growing base of car enthusiasts, with clubs that — though often small — are varied and unique. When Drake Alexander Knight and Emily Melheim founded Elite Street Society, they didn’t have high hopes. They created their own car meet on a whim, and

NASCAR CUP SERIES RACE, JUNE 20 sat in a parking lot, waiting.

“We were like, ‘Oh, nobody is going to show up,’ ” Melheim says. She adds with a laugh, “But we were also like, ‘What are we going to do if they do show up?’ ” Ten people came to their first meet, and they convoyed east to Fall Creek Falls.

Knight says they didn’t consider any of the logistics of their first “car cruise” — like, for instance, what to do when someone is separated from the group at a stop light.

Now, a year later, the group has more than 1,500 members. At their anniversary cruise on June 27, Knight and Melheim knew to hand out Motorola walkie-talkies and give detailed instructions to participants.

Knight and Melheim initially joined the Nashville car scene by attending meets at night. But they say those meets often became dangerous as the night went on, with cars spinning out of control close to spectators. Once they saw someone with an assault weapon strapped to his chest nearly struck by a BMW doing doughnuts. To them, joining Nashville car clubs felt like a choice between risky sideshows or standoffish daytime meets with prohibitively expensive vehicles. They wanted to create a legal, safe alternative for “people who feel like they don’t belong,” says Knight.

Melheim pushed through self-doubt to learn about cars in an overwhelmingly male-dominated environment. “There’s been times I’ve felt so discouraged, like, ‘Oh, nobody wants to see me at these events,’ ” she says. “But it’s been the opposite. Being the president of this — it’s been so different. I feel like I can build that confidence.”

Now Melheim always makes a point of introducing herself to other women at ESS events. She and Knight acknowledge that the car scene is far from perfect. Knight

NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

points out that women make up only 11.1 percent of ESS’ membership. “When I see that number, I get hurt,” Knight says. “Because that tells me how much capability is out there. And I want to know what’s shying people off, I really do.”

More generally, he says, “that’s becoming a big focus coming up … how we can build a diverse and inclusive culture around what we do.” Their aim is for the meets to be open to everyone, regardless of who they are or what car they bring — or whether they bring any car at all.

Knight and Melheim once raised $500 to repair a club member’s engine — after they bought the parts, 13 members of ESS worked together to figure out the repair themselves. This is typical for the group, which often raises funds to help members in need and spends weekends driving around the Nashville area offering free repair services.

There’s a similar sense of community spirit on display at the big events too. On June 18 at the Nashville Superspeedway, during the Rackley Roofing 200 (part of the NASCAR Camping World Truck Series), the RV lot was nearly full. Each RV was a snapshot: a couple sipping drinks on a roof; kids running around with traffic cones; two teenagers sitting in a plush, brown driver’s seat while putting on makeup. As I passed one RV, a stranger called out, “Do you want anything to eat or drink? We’re just having dinner.” My new friends were a group from Louisiana who drove up every year before the track closed in 2011. Early on, they met a pit crew and cooked them dinner after each race. Ten years later, they’re still in touch.

Indeed, NASCAR is making overdue strides toward inclusivity. The company banned Confederate flags from its races

ELITE STREET SOCIETY about a year back, and publicly supported driver Bubba Wallace running a Black Lives Matter car. Both decisions received mixed responses from fans.

On June 20, Kyle Larson won the Cup race. (Trackhouse driver Suarez earned seventh place.) After a virtual race just last year, Larson faced serious backlash for using a racial slur. Though NASCAR has taken much-needed steps, the car community more broadly is facing an important cultural moment. How can they make sure the hospitality of the sport truly extends to everyone?

The last time the Cup Series was in Middle Tennessee, Geoffrey Bodine won.

That was nearly 37 years ago. Since then, NASCAR, and Nashville, have changed. It would seem the city’s car culture is moving in a new direction too.

EMAIL EDITOR@NASHVILLESCENE.COM

CITY LIMITS

NASHVILLE’S BONKERS HOUSING MARKET

As the pandemic has slowed, homes are selling fast and prices have skyrocketed

BY J.R. LIND willing to take on all the risk themselves rather than sharing that risk with a lender, as is standard practice.

And with surging prices and new home construction unable to catch up with demand, who can blame them? They’ll be in equity far faster than the five to seven years that’s been the rule of thumb for decades.

Those suffering the most are buyers on the lower end of the market, particularly those buying for the first time. Many first-time homeowners rely on mortgages backed by federal programs — either the Federal Housing Authority or the Department of Veterans Affairs — because these loans require a lower down payment (or in the VA’s case, none at all) and have other perks designed to help people own real estate and, therefore, build long-term wealth. The downside is that the FHA and VA have very specific home-inspection requirements, which are more stringent than those of a conventional mortgage. In essence, it’s virtually impossible for a would-be buyer using government-guaranteed financing to waive appraisal or inspection and still get their loan.

In Davidson County in June, there were 311 homes sold that were originally listed between $200,000 and $300,000. Of those, 235 — about three-quarters — sold after a week or less on the market. On average, those 235 homes sold for $8,819 more than the asking price. Only 24 of those homes sold at or below their listing price.

The waters calm with time. The 25 percent of those mid-priced homes that lasted longer than a week in June? They sold for, on average, $4,700 less than list.

Of course, that’s self-evident. The more desirable homes in the hotter neighborhoods are more likely to prompt bidding wars. Owners of homes that have languished on the market for a few months — though such a waiting period was once the norm — are more likely to take a lowball offer.

The good news, agents tell the Scene, is that things seemingly began to calm down in the last few weeks of June after the febrile spring, setting Nashville up to have a merely rapid market rather than one set at ludicrous speed.

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T

he Nashville-area real estate market started to slow down a bit at the end of June.

Single-family homes in the $200,000 to $300,000 range were starting to stay on the market as long as three, sometimes four days.

OK, that’s hyperbole, but not much.

Nashville’s loony housing market isn’t unique. It’s happening all over the country as America thaws from the COVID-19 freeze. Would-be sellers held back during the pandemic. Record low interest rates designed to goose the economy drew in more buyers, who were already thinking about purchasing a first home or upgrading after spending all that time cooped up in their old one. Builders aren’t building nearly as much as they once did, and even if they wanted to, the soaring cost of lumber and other material makes it a poor revenue play anyway. (Though lumber futures, thankfully, are starting to correct; so no, you can no longer use that as an excuse for why you haven’t started fixing your deck.)

The United States is now in the bizarre situation of having more real estate agents than homes to sell. And in Nashville, the number of home closings is higher than the number of remaining homes on the market.

Typically, experts say a market is healthy and balanced if there’s a six-month supply of homes — that is, inventory is six times higher than closings in a month. In May, there were 3,214 closings in the greater Nashville area.

That left 2,557 homes on the market, or a 24-day supply. Nashville’s market has been operating below the six-month threshold for a while — usually in the two- to three-month range — but never has it been so tight.

One veteran local buyers’ agent tells the Scene she apologizes to house-seekers when they come to her with preapproval in hand and the American Dream in their sights.

“I’m embarrassed by the market,” she says. “It’s absolutely embarrassing.”

Agents tell the Scene the same horror stories: solid offers usurped by cash; offers submitted before showings; arranging showings the instant a home hits the market only to find out it’s under contract the same day; sellers’ agents calling for best and highest offers after just 48 hours.

Nashville’s housing market has been hot for years, though it’s been confined to certain neighborhoods.

Stories of cash offers $30,000 over asking price in East Nashville are well-worn by now. What nobody could have foreseen was the same thing happening in places that weren’t featured prominently in coastal magazine lifestyle pieces — like say, Bordeaux or Antioch.

The population influx, coupled with the area’s relatively affordable housing costs — the median price of a home sold in the greater Nashville area in May was $400,000, one of the highest figures in years, but still 45 percent lower than Los Angeles — means that in-movers come armed with cash. With no need to finance, it’s easy enough to waive all the usual contingencies banks require, like inspections or appraisals.

Even buyers planning on a mortgage are willing to sidestep all the usual guardrails that help keep the housing market relatively sane.

“Even if the home doesn’t appraise [at the agreed sales price], they don’t care,” another agent tells the Scene. “They’ll make up the difference in cash.”

Fundamentally, that means homes are selling for more — sometimes far more — than banks think they’re worth. But people are so desperate for a home, they’re

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FORGOTTEN

BUT NOT GONE

THE TRAGEDY OF BENEVOLENT SOCIETY #2 CEMETERY, ONE OF NASHVILLE’S LONGOVERLOOKED BLACK BURIAL SPACES

BY BETSY PHILLIPS

F

our-hundred or so crumbling concrete rectangles jut out of the vinca at the top of a ravaged hill, silver circles embedded on top of the concrete. They’re numbered so that, if anyone comes looking and remembers where the dead person they’re looking for was first buried, the number can be linked to a location that no longer exists. Since no one knows the dead are here, no one comes looking.

Benevolent Society #2 Cemetery is not supposed to exist. At least, not anymore. And yet, twice I’ve stumbled my way up through the dense brush and the briars, trying to keep the cliff to my right so that I wouldn’t get too lost, and stood in the remains of this cemetery that was destroyed.

The deed to the property on Brick Church Pike says the general public has a right to access the cemetery, but in practical terms, that right belongs only to the foolish and the surefooted. It is virtually impossible for family members of the people in the cemetery to visit the cemetery. It is also virtually impossible for family members to discover that they are related to the people in the cemetery, as no official list exists of who is buried there.

I’d been looking for the cemetery in the

PHOTO: ERIC ENGLAND

wrong spot, up at the corner of Ewing and Brick Church, where the website Find a Grave said it had been located. I mentioned to my friend, Sunny Fleming — who happens to be vice president of the Tennessee Geographic Information Council — that I couldn’t even see where a cemetery as big as the one described in historical documents could have been at that intersection, considering the ages of the buildings there and the fact that I knew the cemetery had existed up until 1995.

Fleming went to work, using old maps, archaeological records and publicly available light detection and ranging (or LiDAR) data.

“The archaeological record gave me a better location to target, but modern imagery revealed warehouses and a hillside obscured by trees,” Fleming told me. “The LiDAR data allowed me to ‘put on X-ray goggles’, but for the Earth’s surface. This allowed me to detect two unnaturally shaped rectangular anomalies at the top of the hill of our area of interest — which later I was able to crossreference to deed information accessed on Metro’s parcel viewer that confirmed these as the extant location of the reinterments.

“The obvious action was then to go see it for ourselves,” she continued. “Having talked to the archaeologist who conducted

the work, he did his best to mentally prepare me for what I would see.”

Still, when Fleming, her husband and I made our way up there, to this place that was supposed to be a fitting alternative to the cemetery these people’s loved ones put them in, what we found was very distressing.

Fleming gave me her impressions of what we found. “The existing cemetery is densely packed, and the reinterment was conducted on a slab of limestone, so soil had to be brought in to cover the new graves. The graves are barely covered, and erosion has occurred over time, with invasive ivy now covering the entirety of the site. It’s barely delineated with deteriorating orange erosion fencing, like a construction site. It made me sick to my stomach. I didn’t walk around much because I was afraid of damaging it further. The fragility of the site was the thing that shocked me first. Then we came across a pile of headstones. Just an anonymous compilation of names engraved on rocks, covered in soil and moss and eroding away. The metaphor was obvious — despite having been carefully and lovingly carved at one time, they were still cast away and discarded carelessly by others who had no intention of giving a shit.”

How did it come to this?

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12

ORIGINAL CEMETERY GROUNDS

Caroline’s family was large, but it was tight-knit. Caroline had a younger brother, Daniel Toney, who she stayed close with.

Their mother Effie later married William Harris and had five children with him.

These Harris children, many of them close in age to Caroline’s children, were indeed very close to her children; one of the Harris sisters lived with Caroline’s daughter when they were both adults.

This all explains why a white man would sell land that had a white family cemetery on it to a group of Black people: The Parker family cemetery likely was already racially mixed.

THE SECOND CEMETERY — 1872

The Benevolent cemetery was dedicated on a Sunday, June 9, 1872. The Republican Banner reported that four bands, six mutual aid societies, 10 wagons full of singing Sunday-school children and people who just came out to walk along proceeded from Main and Foster streets (the latter is now Seventh Street) in Edgefield four miles away from the cemetery location. The parade grew to be a mile-and-a-half long. The

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BRICK CHUR

In 1872, Thomas W. Ballou — who lived out along Brick Church Pike, northwest of East Nashville — sold this land to the Edgefield Benevolent Society #2. Benevolent Societies in the African American community were part social club and part insurance for people who couldn’t buy insurance.

The motto of the Benevolent Societies was always some form of “To Care for the Sick and to Bury the Dead.” The acquisition of Ballou’s land meant that the members of Benevolent Society #2 now had their own dedicated space for burying their dead. The deed states that the society was getting all the land — 17 acres and 38 poles (a pole is about the length of a canoe) — except for the 9 square poles that were enclosed on the property, which the heirs of Jesse Parker were using as a family burial ground.

As best I can tell, this was everything on the west side of Brick Church Pike, from Haynie Avenue to the south up to the old dirt path that was known as Vista Lane (not the current Vista Lane). The back edge of the property was where the remnant cemetery is now.

Jesse Parker, whose heirs already had a cemetery on the land, was white. He had no children, or at least none who were named in his will when he died in 1845. His heirs were his brother-in-law, John Lanier, and his brother-in-law’s kids, and the families of his six other brothers and sisters. His nephew, George, got Jesse’s horse and saddle.

In the 1850 census, five years after Jesse’s death, 28-year-old George Parker was living with his widowed mom and his unmarried sister across from the family cemetery next to some Laniers (judging by ages, probably cousins). Right down the road from them, past the Kirkwoods, the Byrnes and the Kirkpatricks were more Parkers — Thomas, who was 80, Harry, who was 75, and Margaret, who was 70. They owned $300 worth of property. They were Black.

They were free. Thomas, like Jesse, came from North Carolina, and the two men were neighbors as far back as I could find.

We don’t know that they’re brothers, Jesse and Thomas, but their ages and patterns of residency suggest it. And Thomas, Harry and Margaret were all old enough in 1850 to make it likely that they were in the Parker family cemetery in 1872, along with Jesse.

Which brings us to Jesse’s nephew George Parker, who was white, and the woman who could not legally be his wife, Caroline Whitworth. In both the 1870 census and the 1880 census, George Parker was living with Caroline Whitworth and a bunch of Whitworth children. When the Whitworth children grew up, most of them took the last name Parker.

George is listed on their death certificates as their father, Caroline as their mother.

Caroline was born around 1840. Her three oldest children — Willis, Lucy and Joseph — were all born into slavery with Caroline.

Willis, the oldest, was born when Caroline was 15. In the 1860 slave schedule, nearby slaver James Whitworth is listed as owning three women the right age to be Caroline. In the 1870 census, Caroline is listed as “mulatto.” In 1860, two of James Whitworth’s 20-year-old enslaved women were listed as the same. In 1860, Willis would have been 5 and Lucy 3. James Whitworth owned a 5-year-old mixed-race boy and a 2-year-old mixed-race girl.

CH PIKE

THE FIRST CEMETERY — 1840s

Banner estimated that 6,000 people came to the dedication ceremony, and the story ends: “It is a noteworthy fact that the vendors of refreshments were not allowed upon the grounds, the societies deeming them too sacred for such traffic.”

I wanted to follow this route from the heart of East Nashville out to the Benevolent Cemetery, just to see what I could see, what I might learn. But this route literally doesn’t exist anymore. Foster got cut in two

by Ellington Parkway on one end, and the intersection where Foster met Dickerson was obliterated by the Gordian knot of I-24, Dickerson and Spring Street. Even the way the community moved through East Nashville was destroyed and carved up. Not just the cemetery has been lost, but the literal route through the neighborhoods to the cemetery has been destroyed.

The last burial I could find in the cemetery happened in 1955. The Interstate Highway System plan was enacted in 1956.

Construction on I-24 started in 1958. This, along with the urban renewal projects that started in the 1950s, probably spelled the doom of the cemetery. The people who used it couldn’t get to it.

THE THIRD CEMETERY — 1995

For all practical purposes, the Benevolent cemetery ceased to exist on March 6, 1961.

Eighty-three-year-old widow Cora Stratton, the last remaining member of Benevolent Society #2, had sold the cemetery land to a group called the Paradise Educational Club in January of that year. In March, this organization modified the deed.

WHEREAS, the said deed is irregular because said property was purportedly conveyed for the purpose of a cemetery; and whereas, the said Trustees of the Paradise Educational Club did not purchase said property from Cora Stratton for the purpose of a cemetery; and whereas, no cemetery has been erected thereon, except the nine (9) square poles which is now enclosed and used as a burying ground by the heirs of Jerry Parker …

I don’t know what to make of this. “No cemetery has been erected thereon”? That’s just not true. And certainly, if Mrs. Stratton was in mentally competent condition when she signed this, she would have known it was not true. The trustees of this club are

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listed on the deed as Eldrige Patton, Olivia Cheatham, Henry Clark, George Allen, Dora Scruggs and Calvin Magee. Most of those last names are also last names of people buried in the cemetery, but I couldn’t find any definitive connections. I could find no other information about this club — no listing in the phone book, no incorporation records, no mention in the newspapers.

Cora Stratton died in 1964. She was not buried in the cemetery her friends and neighbors a generation older than her founded and that she spent the last part of her life shepherding. Though it was still a place in the physical world, by the time she died, it had already legally disappeared.

Without ongoing burials, anyone to tend to it, an easy way for people to get from their neighborhoods to it or even a deed upon which it still existed, the cemetery was considered abandoned. Still, had you been able to see it in those abandoned years, you could have at least expected to see the kinds of features you can still see in other Black cemeteries in Davidson County. Many African American cemeteries here were, first, old slave cemeteries. Black people after the Civil War found ways to pool resources and buy these cemeteries because they wanted to be buried with the members of their families who had died before the war. But very few enslaved people were going to have headstones with names, because they weren’t allowed to read and write. Those graves were marked with fieldstones or plants.

When Tennessee State University history professor Dr. Learotha Williams Jr. visited the remnant graveyard, he found piles of those old fieldstones. He told me, “It was only after I saw piles of broken/misshapen flat rocks stacked up against trees and other odd places and realizing that that sort of thing didn’t naturally occur in nature that it dawned on me that I was looking at broken and discarded headstones.”

It’s not unusual to see old trees in rows or clusters in old Black cemeteries, because they were planted to mark the graves of loved ones. It’s also very common to see clumps of lilies or old daffodils. Sometimes graves were marked with wooden markers, which didn’t hold up well over time. It’s also common for old African American graveyards to be covered in vinca, which is lowermaintenance than grass, but does make a cemetery look overgrown if you don’t recognize why it’s there.

Was the Benevolent cemetery in any worse shape in 1995 than the Nashville City Cemetery was at that same time? No. But one got saved and one didn’t.

The owners of the property at that time, members of the Gilbert family, got permission from the Metro Council to remove the remains of the people buried there. Considering that the Paradise Educational Club got the cemetery removed from the deed long before this, we’re probably lucky they actually acknowledged it was a cemetery.

The owners hired an archaeologist, and that

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archaeologist and his team dug up all the graves they could identify and relocated them to the back of the property, at the top of the hill. The property owners then cut away the side of the hill to make a flat area for the warehouses that are there now. This means that anyone the archaeologist missed was hauled away with the hillside and dumped wherever the pieces of that hillside were dumped. This was all done legally.

One of the landowners at the time, Harris Gilbert, told The Tennessean: “We’re going to enclose the cemetery with a hedge or a nice rock wall. We just want to put them in an organized place in a respectable fashion.”

There is no hedge, no wall. Just orange plastic temporary fencing that has mostly fallen over.

The main reason the destruction of the Benevolent cemetery was allowed to happen is that no one knew who was buried in it. No families came forward to say, “Hey, those are my people in there.” Both Glenn Moss, who lived on Brick Church Pike in the 1990s, and Lawrence Jackson, president of the Haynes Area Residents Association at the time, told The Tennessean that they had

tried to find out who was buried in the cemetery, but had been unsuccessful.

Things are different now. The Tennessee Historical Commission has recently brought on Graham Perry to be the historic preservation specialist on cemeteries. He’s putting together a statewide database of all of Tennessee’s cemeteries that landowners, developers, real estate agents, historians, genealogists, planning departments and so on will be able to use to locate cemeteries and navigate the state laws around them.

When I talked to Perry for this story, he told me, “I will gladly take any location and historical information about a cemetery.”

He had me pinpoint the exact location of the remnant Benevolent cemetery so that he could be sure it’s correctly located and identified in the state database. This makes the cemetery once again real in such a way that it will be harder to disappear it from future deeds. It also means he can act as a clearinghouse of information and advice about how best to tend to the cemetery, if that’s what descendants want.

But without headstones or cemetery records, how can people know if their ances-

tors are in the Benevolent cemetery?

In June, I got to hear Kathy Lauder, retired Tennessee State Library and Archives employee and graveyard guru, talking about how she was piecing together a record of everyone buried in historically Black grounds Mt. Ararat and the original Greenwood cemeteries, since many of the early cemetery records had been lost in a fire. One of the tools she’s using? The city’s death records.

First in the death register and then on a person’s death certificate, some city employee wrote down where a person who died in Nashville was going to be put in the ground. Just by going through the death registers from 1881-1899, as well as searching through death certificates, I’ve come up with the names of about 240 of the people buried in the Benevolent cemetery.

What can I tell you about them? The cemetery is filled with familiar old Nashville names — McFerrin, Ridley, Robertson and Douglas among them. They were all from East Nashville, which makes sense. If they were from other parts of town, they would have belonged to other Benevolent Societies and been buried in

other Benevolent cemeteries.

And there were so, so many children.

Some were so young they didn’t have names yet. Some had names that made me think their parents were trying to bless them with strength to make their way in this hard world — John Henry Ezell, little Fred Douglas and Queen Jane McGavock among them.

Infants and toddlers dead of the croup and teething and fevers and general weakness.

The vast majority of burials I found records for were for very young children.

Dr. Williams tells me, “These spaces — no matter how unsuitable the ground was for burying their loved ones — became sacred ground when they purchased, consecrated it, and laid the first person to rest in it.”

It is still sacred now, and though so much of the cemetery has been lost, not all of it is destroyed. There are still some headstones.

The vinca in the removed cemetery is likely a remnant from the old cemetery. And now we have some names. If their families are looking for them, they are up at the top of an old hill at the end of a hard hike, waiting to be found.

EMAIL EDITOR@NASHVILLESCENE.COM

A Partial List of Interments at Benevolent Society #2 Cemetery Last Name

First Name Date of Death

Allen James Allison Thomas Anderson John Anthony Washington Armstrong Mary Baber Alice Baber Samella Banks Mary Banks Richard Berry Infant Bivans Charlotte Bowman Ben Bowman George Bradley Mary Branch William Bransford Minnie Bransford Walter Brown Richard A. Brown Tilman Bugg James Cage Walter Campbell Susan Cantrell Ed M. Cantrell Lucinda Carpenter Jordan Carpenter Robert Cheatham Infant Childress S. D. Childs Eugene Clark Myra Clark Plummer Cohn Lydia Cole Mollie Coleman Willis Conley Reuben Conn Mary Ella Conner Lydia Cowan (?)

Mad[???]ire Craur Valley Crawford Infant Crosseray [illegible] Crosseray Crossway Chainey Crump Ada Darden Lena Wise Davidson Infant Davidson John Dickenson Mamie Dortch George R. Doss Minie Douglas Fred Douglas Harry Douglas Leeanna Douglas Mary B. Douglas Minnie Driver Clara Dyser Infant Evans Mamie Evans Wilburn Ewin Infant Ezell John Henry

June 4, 1887 October 23, 1886 March 12, 1881 May 11, 1882 August 22, 1897 September 3, 1897 January 15, 1927 July 14, 1883 June 2, 1899 October 3, 1896 October 23, 1898 April 18, 1895 December 22, 1884 February 7, 1885 January 24, 1885 January 9, 1882 March 3, 1894 March 14, 1899 November 29, 1890 July 23, 1882 January 13, 1887 November 15, 1894 August 6, 1891 December 17, 1938 January 2, 1938 August 30, 1889 May 17, 1892 January 30, 1886 December 3, 1894 January 25, 1884 October 3, 1893 October 2, 1889 December 24, 1885 February 23, 1884 January 17, 1884 May 15, 1887 September 28, 1897 November 13, 1890 March 4, 1885 March 6, 1897 March 6, 1897 August 3, 1882 August 5, 1885 May 12, 1904 February 1, 1884 March 25, 1893 August 29, 1886 February 27, 1895 July 31, 1883 March 6, 1898 August 24, 1887 September 6, 1891 December 16, 1883 October 18, 1887 February 17, 1885 November 28, 1886 April 5, 1887 September 25, 1886 January 14, 1886 October 1, 1886

Last Name

First Name Date of Death

Last Name

First Name Date of Death

Last Name

Farrow Ferrell Fikes Fisher Fisher Forrest Gannaway Garret (?)

Gilliam Gilliam Gilliam Givans or Giraus?

Gordon Grant Hall Hampton Hampton Harper Harper Harper Harris Harris Harris Harris Hartsfield Hilliard Hite Holland Hooper Hopkins Horn Howlett Hunter Hurt Huston Inman Jackson Jackson Jackson Jackson Jenkins Joiner Jones Jones Kennedy Kennedy Kennedy Kirby Kizer Lawrence Lawrence Lee Lester Lester Lewis Lloyd Lytle Mallet Marble Martaiu (?)

Mathias

Robert Dalton Ben Charlie Joseph Landis Syrus (maybe?)

Evan (?)

Alfred Emma Infant Mad Charles Mamie Dora George Mary Bettie Gertrude Melville Alfred Mandy Plum William Fayette Nellie Mary Pennie Marincy (?)

Delphia A. Lina Joe Alfred David Eliza David Caroline Andrew Eliza Lucy Mary Robb Mary Lou Frank Infant Minnie Peter Rebecca Martin Robert James Sallie J. Jennie Mary William Millie Betty M[???]

Kizzie Infant Morning (?)

John

Matlock Maxey McCall McClain McCollough McConley McCoy McFerrin McFerrin McFerrin McGavock McGavock McGavock McGinnis McKay Miller Mills Moore Moore Moore Morgan Motlow Neal Neely Nichols Noll Oakley Oliver Owendorff Parker Payne Payton Peppers (?)

Peyton Phillips Phillips Phillips Phillips Rawles Reynolds Reynolds Reynolds Reynolds Rhodes Ridley Ridley Riley Robb Roberson Robertson Roberts Robertson Samuels Sanders Scruggs Shaw Shelby Shelby Simmons Simmons Simms

Abraham Charlie Infant Rachel Hattie Hattie Thomas George Lula Laura B. Anna Priscilla Queen Jane Infant H[???] A. William D. James Casias Frankie Lindsley Mary Joseph Celia Lucy V.N. Lena Dolly (nee Williams) Eddie Cato Henry Louisa Infant Pigeon Clara [illegible] Carrie Joel Robert Infant David James Lizzie Minnie Infant Annie Hardin William Bonney James Johnnie E. Tom George Jr. Virgil Robert H. Hayes Dan Jefferson Isaiah Sarah Carroll Polly Travis

Simpson Polly December 24, 1886 Sims Charles May 26, 1887 Sleet Albert October 27, 1896 Small Julia October 1, 1901 Smith Isaac April 28, 1881 Smith Jane February 19, 1886 Smith Jesse January 7, 1887 Smithers (?)

Milly December 12, 1885 Spurr James February 18, 1892 Spurs Levy November 14, 1884 Standard Sarah June 14, 1886 Starks Martha August 9, 1897 Stephenson W. D. November 3, 1898 Still Isaac May 31, 1890 Stull Tim August 9, 1892 Stull (?)

Emma December 15, 1891 Sweeney Daisy January 7, 1886 Taylor Josephine February 3, 1894 Tell Aggie July 15, 1884 Terril (?)

Millie January 17, 1887 Tilly J.F. Turner Alice December 10, 1897 Turner Panel (?)

October 14, 1918 Turningtine Anna July 18, 1897 Vinson Barbara (nee Turner) November 10, 1935 Wallace [???]lisha May 15, 1881 Wallace Bessie June 13, 1896 Wallace Matt Dena (?)

June 14, 1896 Washington William November 15, 1941 Watkins Lacreacy April 1, 1898 Weakley Charlotte April 9, 1886 Webb Ada April 19, 1887 Webb Infant January 19, 1886 Wharton Jerry June 8, 1890 Wharton Lafayette August 4, 1887 Wharton William June 19, 1885 While (or White?)

Harry March 28, 1899 White Mary January 27, 1904 White Olivia April 16, 1896 White Robert April 1, 1890 Wigfall Lydia July 25, 1899 Wilkerson Carrie June 1, 1891 Wilkerson James May 5, 1891 Wilkerson Mollie July 10, 1891 Wilkerson Thomas January 6, 1904 Williams James January 20, 1887 Williams John March 28, 1882 Williams John June 30, 1890 Williams Lizzie August 6, 1885 Williams Mary March 16, 1885 Williams Priscilla October 1, 1886 Williams Rose April 12, 1881 Willis Morgan June 20, 1890 Wilson Frank (maybe?) September 2, 1886 Woodson Samuel March 20, 1886 Woodward James W. May 13, 1898 Wright Luther February 25, 1894 Young Aron March 27, 1889 Young Henry April 30, 1886

January 24, 1895 July 22, 1887 March 3, 1928 February 25, 1901 December 26, 1901 September 16, 1886 September 15, 1886 April 15, 1891 March 28, 1886 October 14, 1888 August 31, 1883 December 9, 1885 September 4, 1883 January 8, 1891 December 21, 1896 June 10, 1887 July 25, 1885 March 18, 1887 March 13, 1887 February 26, 1887 November 19, 1936 December 1, 1904 May 3, 1955 August 10, 1893 October 20, 1885 April 24, 1884 July 17, 1888 March 16, 1886 April 13, 1899 May 17, 1897 October 16, 1898 June 19, 1921 January 28, 1896 December 2, 1895 October 5, 1884 December 11, 1887 September 1, 1888 April 24, 1888 November 18, 1884 November 23, 1897 February 6, 1899 September 29, 1888 October 17, 1895 February 11, 1882 March 6, 1884 October 22, 1895 December 31, 1888 January 3, 1888 September 21, 1890 January 25, 1886 December 11, 1883 April 22, 1895 September 1, 1894 March 18, 1911 October 18, 1887 July 14, 1887 May 30, 1884 December 28, 1885 February 14, 1897 February 1, 1889 February 8, 1886

April 28, 1899 October 26, 1887 September 26, 1894 July 10, 1893 April 24, 1884 February 11, 1884 February 16, 1886 February 1, 1895 August 4, 1882 February 18, 1896 October 30, 1883 October 26, 1893 November 3, 1886 March 28, 1885 October 17, 1883 September 2, 1888 July 22, 1955 August 6, 1887 June 28, 1886 April 27, 1888 October 7, 1894 June 3, 1894 February 22, 1886 February 8, 1884 April 21, 1882 April 16, 1886 December 4, 1931 February 20, 1884 November 6, 1881 May 28, 1911 November 28, 1890 March 4, 1885 July 31, 1892 February 1, 1887 July 15, 1891 October 30, 1887 April 13, 1888 August 3, 1892 September 23, 1893 May 1, 1890 July 27, 1889 March 13, 1887 December 8, 1891 January 19, 1891 April 27, 1881 April 18, 1887 March 26, 1905 April 1, 1881 March 7, 1887 October 28, 1948 May 3, 1928 May 21, 1886 July 12, 1887 August 20, 1883 August 30, 1882 November 11, 1885 July 10, 1884 May 26, 1892 February 26, 1898 December 11, 1900 March 27, 1930

First Name Date of Death

BurgEr  Week J ulY 12 -18 preSentEd bY

how it WorkS

The Scene’s annual summer tradition is back July 12 - 18 with 50+++ participating restaurant locations serving up their idea of the perfect patty at the low, low price of

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next Check out our full list of participating restaurants with their featured burger special!

page

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Visit our website to double check restaurant hours and locations and route out your plan of attack for #SceneBurgerWeek21

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Show up and eat burgs! No tickets are required to visit participating restaurants. Be patient as waits may be long and some restaurants run out of their Burger Week special! Follow them on social media for updates during the week.

just $7! Readers’ can then vote for their favorite eats of the week and help crown the “Best Burger” in town!

scaN me to VisiT thE ofFiciAl burGer Week webSite sponsored by

Ask youR seRver iF the Y haVe a JacK DanIel’s oR twO laNe BreWing speCial durIng burgEr wEek!

julY 12-18. $7 spEciaLity burGers. onE weEk oNly. nashvillescene.com | JULY 8 – JULY 14, 2021 | NASHVILLE SCENE

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6 Burger The Nations Joint Burger

ParTiciPatiNg ResTaurAnts

Joint

Two house blend patties/American cheese mustard lettuce tomato raw onions pickles joint sauce on a potato bun.

Check out the delicious burgs the participating restaurants are serving up all week long! Make sure to ask for their “Scene Burger Week Special” for the $7 price. Don’t forget that these don’t all come with a side, check our website to confirm their hours and BE NICE TO THEIR STAFF. They work their buns off during Burger Week and beyond!

7 Burger Republic Gulch | Mt. Juliet | Murfreesboro | Lenox Village The JamBurger

100% Certified Angus Beef, Tomato Jam, West Coast Onions, Crispy Fried Tennessee Onions on a locally baked brioche bun.

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Cabin Attic at Various Artists Brewing

East Nashville Surf Shack Burger

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Barlines

Downtown Two Step Sliders

What could be better than “Burger Week,” doubling your burgers. We have two sliders topped with White American Cheese, BBQ Sauce & Fired Onions on a Brioche Bun. Come and have a couple as an appetizer or double your order and make it a meal.

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Bourbon Street Blues & Boogie Bar

9 Chago's Cantina Belmont The QP Burger

2 smashed patties topped with cilantro pesto, grilled onions and queso dip. Served on our signature sesame top bun.

Downtown BBQ Burger

Your favorite venue in Printers Alley, Bourbon Street Blues and Boogie Bar, is showcasing their BBQ Burger this year! This baby includes bacon, cheddar cheese, voodoo sauce, lettuce, tomato, and onion. Come with an appetite and leave happy.

3 Bowie's Nashville Downtown Bowie's Burger

10 Corner Pub Bellevue | Brentwood | Cool Springs | Downtown Franklin Pepper Jelly Cheese Burger

Half pound burger, pepper jelly cream cheese, fried jalapeños, brioche bun.

11 Double Dogs Hillsboro Village & Sylvan Heights The Bo Burger

Hand-patted & grilled to savory perfection, the Bowie's Burger offers a juicy bite that would leave Iggy Pop smiling. Served with lettuce, tomato, red onion, pickle, and waffle fries.

4 Burger & Company Old Hickory SGB Stuffed - Smoked Gouda Burger

Smoked Gouda Stuffed Burger, topped with caramelized onions, & house made smoked basil pesto on a toasted brioche bun.

5 BurgerFi Brentwood Brentwood Burgerfi BBQ Brisket Burger

Soda Shop

For The Nashville Scene Burger Week, Elliston Place Soda Shop offers 2 hearty slider versions of our Signature Soda Shop Burger. Diminutive? Sort of, but so juicy, packed with flavor, blanketed with melted cheese and topped with lettuce, pickles, our special Soda Shop Sauce and joined in the basket by a side of crinkle-cut fries. All that for $7?

Can’t beat it with a stick.

15 ERGO Downtown Boxcar Burger

We start with The Union Station fresh ground of ribeye, brisket, and short rib. Styled with smoked poblano, chicken fried squash blossom, oaxaca cheese. Topped with onion & garlic aioli and placed on an everything bun.

16 Fable Lounge Midtown Fable Burger

Two 3 oz Kobe Beef Burger Patties Topped with Smoked White Cheddar Cheese Bacon Jam & Cracked Pepper Aioli Served with Fries & Malt Vinegar Ketchup.

17 Farm Burger Sylvan Park The I-24

Nashville

Tennesee Meats, Georgia Peaches, 100% Grassfed Beef Burger topped with Feta Cheese, Arugula, Chopped Pasture-Raised Pork Belly, and our House-made Georgia Peach Compote.

18 Fat Bottom Brewing The Nations Bertha Stout & Bone Marrow Butter Burger

An Angus Beef Patty Stuffed With a Garlic Boursin Cheese. Topped With Muenster Cheese, Crispy Fried Onions and an Oatmeal Stout / Bone Marrow Butter.

19 Germantown Pub Germantown Nashville Hot Burger

12 Drake's Franklin - Cool Springs The Big Easy Burger

Fresh ground beef patty with our signature spice rub, pico de gallo and pepperjack cheese topped with a toasted brioche bun and a fried jalapeno.

A fresh, never frozen blackened Cajun burger with provolone cheese, smoked ham, olive relish, remoulade, lettuce & tomato on a butter-toasted bun.

14 Ellington’s Downtown

20 Grillshack Germantown Germantown Grillshack Burger

The Grillshack Burger is 1/3lb of local beef from Bear Creek Farm, served on a fresh bakery roll. For Burger Week, we're adding grilled onions, Schwartz's deli pickle slices, and our secret-recipe peppercorn mayo.

21 Hard Rock Cafe Downtown Red White & Bleu Burger

Hard Rock Steak Burger Topped with Cajun Seasoning, Hard Rock Classic Buffalo Sauce, Bleu Cheese Crumbles, Crispy Onion Ring, Lettuce, and Ketchup. Served with Side of Seasoned Fries.

# SceneBurgerWeek21

NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

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A Black Angus beef patty topped with our special sauce, grilled onions, tomatoes, lettuce, pickles and melted American cheese.

Coming soon- visit the burger week website for up-to-date info on our featured burg!

The BurgerFi BBQ Brisket Burger features a single Angus patty topped with White Cheddar Cheese, Natural Pulled Brisket seasoned with Cattlemen's Memphis Sweet BBQ sauce, Shredded Cole Slaw and Pickle chips. Served on a Branded BurgerFi Potato Bun.

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Inspired by the West Coast favorite 'Wild Burger', Cabin Attic's Surf Shack Burger features a Mustard Fried 5oz Ground Chuck Patty with American Cheese, Caramelized Onions, Pickles, and Cabin Attic's Special Spread on a toasted bun served in the friendly confines of one of the city's hidden gems- Various Artists Brewing Taproom and Beer Garden.

Suggestively paired with Czech Pilsner.

13 Elliston's Place Rock Block The Soda Shop Slider

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22 Herban Market Franklin Guacamole Crunch Burger

30 The Nashville Grange Downtown Grange Single Smash Burger

39 The Sliderhouse Midtown The All American

100% grassfed & locally sourced beef patty with all-organic & house-made ingredients including guacamole, jalapeno cream sauce, guajillo mayo, mozzarella cheese, griddled onions, crunchy house-made tostada, lettuce, & tomato on a house-made bun.

Our classic and nostalgic Grange Single Smash Burger features local grass-fed beef, creamy Duke’s Mayo, housemade buttermilk hot sauce, American cheese, grilled onions, pickles, lettuce, tomato, and a buttery bun.

Two Classic Cheeseburgers Garlic Aoili Lettuce Tomato Onions Spicy Pickles Topped with Sharp Cheddar Cheese.

23 Hifi Clyde’s Midtown Clyde’s Burger

Swiss Cheese, Lettuce, Pickled Habañero, Tomato, Carmelized Onion, Sriracha Blue Cheese.

24 Hoss' Loaded Nolensville The Blackbird

Burgers

1/3lb Porter Road Butcher ground beef hand patted and stuffed with creamy Colby-jack cheese and topped with Cajun spices, Benton's bacon, mayo, and lettuce.

25 Jack Brown’s Beer Edgehill & Germantown Cobra Kai

& Burger Joint

1/4lb, 100% American Wagyu Beef patty topped with cream cheese, pickled jalapeños, and jalapeño jelly on a Martin’s potato bun.

26 John A's Music Valley John A’s Burger

Arugula Tomato, Special Sauce, Bacon, Onion, Bacon Jam and Brioche bun.

27 Luke's 32 Bridge Downtown The Scene Classic Burger

Chef Tomasz Wosiak helms the kitchen of some of country music's biggest star bars - this Classic Burger is his take on the perfect all-American staple. With no surprising ingredients -the burger instead relies on the quality of the ingredients to give it it's star power. Double all-natural beef patties, melting American Cheese, lettuce, tomatoes, onion, pickles, and mayo. *No substitutions allowed.

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Makeready Libations and Liberation

Downtown The L&L Burger

Caramelized Onions, American Cheese, Burger Sauce, Potato Roll.

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MOOYAH Burgers, Fries and Shakes

Brentwood Cheddar Bacon Burger

Try one of our fan-favorites! The Cheddar Bacon Burger features ¼ lb of fresh, never-frozen Certified Angus Beef®, Cheddar Cheese, Applewood Smoked Bacon, Grilled Onions, BBQ Sauce, on a non-GMO Potato Bun.

31 The Nashville Jam Berry Hill Fried Green BLT burger

Co.

Fried Green BLT burger: 1/4 lbs burger, bacon, pimento cheese, fried green tomato, lettuce.

32 The Nashville Music Valley The Classy HillBilly

Palace

40 Smokin' Thighs Wedgewood & Sylvan Park Flying Hawaiian

The Flying Hawaiian comes on buttered and grilled Texas Toast with a hand pattied ground chicken patty,provolone cheese, 2 slices of pineapple topped with our kickin slaw. All of this amazingness is finished off by the house made teriyaki sauce.

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The Classy Hillbilly, $7, Fried Apple Bacon Slaw, Crisp Smoked Bologna, Hand Made, House Seasoned All Beef Burger Patty, Spicy Chow Chow with a side of Tomato Mac & Cheese.

33 Peachtree Drive In Nolensville Road Pimento cheese & bacon burger

Sonny’s Patio Pub and Refuge

Germantown Smoked Pork Belly Bacon Smash Burger

Hand-pressed certified angus beef patty, 2 slices of American cheese, smoked pork belly bacon, pickles, onion, mustard on a potato bun.

6 Oz burger with house pimento cheese, maple wood bacon, jalapeno peach chutney.

42 South Side Nolensville Road Uncle Rico

34 Phat Bites Donelson "4/20" Burger

Quarter Pound Beef, Pepper Jack Cheese, House Fried Onion Strings, Pickled Jalapeno, Uncle Nearest TN Whiskey BBQ Sauce, Bobby John Henry Kaiser Bun.

2 beef patties, caramelized onions, goat cheese, local lettuce, and strawberry jalapeno jam.

43 Stay Golden Berry Hill The Brunch Burger

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The Pharmacy Burger Parlor & Beer Garden

East Nashville Chipotle Smash Burger

Two 3 1/2 oz TN beef patties, topped with American cheese, grilled jalapeño, onion, pickles, and our house-made chipotleavocado aioli. Served on our specially made yeast roll from Frothy Monkey Bakery.

36 Red Onion Downtown Smash Burger

Two fresh Smash patties on a brioche bun with cheese, lettuce, tomato, jumbo fried onion ring, and house made barbecue sauce.

37 Rock’n Dough Pizza & East Nashville and The Nations The Campfire Burger

Brewery

Angus beef patty, melted cheddar cheese, thick cut bacon, and our house made Highland Campfire Ale BBQ sauce served on a potato bun with a side of hand cut, seasoned, fries.

38 Scoreboard Music Valley Triple B

Bar and Grill

1/2lb locally raise beef patty, 2 pieces of pepper jack chees, sautéed onions, smoked in house beef brisket, 3 slices applewood bacon and drizzled with homemade bbq sauce. Served with hand cut fries, bacon, and cheese.

Kitchen & Pub

Porter Road Beef, Aged White Cheddar, Local Farm Egg, Yum Yum Sauce, Dill Pickle, and Crispy Potatoes.

44 Stompin' Grounds Restaurant Downtown Pastrami Spiced Wagyu Burger

Your favorite sandwich just got an upgrade! Enjoy a Wagyu beef patty covered in melty swiss cheese fondue, topped with crisp Napa cabbage slaw and French dressing served on a toasted sesame seed bun.

45 Vegelicious Watkins Park V-Burger

LLC

Delicious house-made patty, grilled onions, tomato, lettuce, vegenaise, mustard, ketchup on a wheat bun.

46 Wilco Franklin The "I-65"

Fusion Grill

Beef, Grilled Pickels, Grilled Red Onion, Red Wine Glazed Bacon, Sharp Cheddar, Home-Made Onion Rings, Honey Pinneapple Mustard and Ketchup.

sign up for your burger week passport for a chance to win!

see details

Don’t forget to vote for your favorite burg of the week and help crown the Best | Burger JULY 8 – JULY 14,in 2021town! | NASHVILLE SCENE nashvillescene.com

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how to UsE

youR buRger weeK paSspoRt

BURgS — BEER — LIVE BANDS — AND MORE!

ComE kiCk-oFf BurGer week witH us!

Free to attend no RSVP necessary

VotE foR youR FavOritE! At the conclusion of your #SceneBurgerWeek21 indulgences, vote for your favorite burgers of the week at sceneburgerweek.com and click VOTE. The winning location will win a super cool plaque to hang on their wall, a chance to compete in the 2021 World Food Championships and perhaps most importantly: Best Burger Bragging Rights.

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Voting runs Monday, July 12 - Monday July 19 NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

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RegiSter onlIne

creAte An aCcouNt

Visit sceneburgerweek.com and click “GET PASSPORT” OR scan the “GET PASSPORT” QR code at any participating restaurant.

Fill in your contact info to access the passport “game”. You can now scope out all of the #SceneBurgerWeek21 restaurants and see what burger they are offering.

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scaN qr codEs

colLect 100 poiNts Or mOrE

Visit any participating restaurant and order their Burger Week burger. Ask your server for their “Burger Week QR code”. Open your passport on your mobile device web browser, click on the restaurant “challenge” for the restaurant you are at and scan their unique code. This will automatically credit you points in your passport!

Monday July 12 — 5-7PM Luke’s 32 Bridge The first 50 people to arrive will win special swag bags from our sponsors and can enjoy specialty cocktails from Jack Daniel’s, samples of Two Lane Brewing, photo booth fun and more.

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Once you have 100 points you will automatically be entered to win our GRAND PRIZE (over $500 in value).

Order a Jack Daniel’s or Two Lane Brewing drink for extra points. Share your #Beefitarian burger pick photos for extra points. The more points you earn = the more entries you get in the contest!

s c a n to r eg is t e

proUdly PreSentEd bY

r

Share your droolworthy burger pics!

How to WIn: Show off your delicious burgers and you can win free stuff!

Post your photo on your Instagram, Facebook or Twitter then tag the participating Burger Week restaurant, @nashvillescene and use #SceneBurgerWeek21 on all your photos!

#SceneBurgerWeek21

The Scene will be resharing the tastiest pics all week long, so POST POST POST!

CRITICS’ PICKS W E E K L Y

R O U N D U P

O F

T H I N G S

T O

D O

MUSIC

THURSDAY / 7.08

PA R K E R G I S P E R T

[FUTURE POP]

STYROFOAM WINOS W/CRAVE ON & RIG B

SATURDAY, JULY 10

Here’s a bill featuring three Nashville bands that take avant-pop as their guiding principle. Led by guitarist, singer and songwriter Patrick Orr, Crave On specializes in tuneful, post-Go-Betweens songs with a krautrock edge. Orr plays

Brooklyn Bowl

work in electronic dance productions.

That’s helped her build up her profile even during the pandemic. She got a big boost in 2020 when “Only You,” a track she sings on produced by Dexter King, rotated in for an extended stint on the soundtrack of the popular video game Rocket League. Her fellow Nashvillians Coleman.X and Murry are just beginning to build up their catalogs.

Coleman.X shows off a high, airy voice — one it seems like he’s just learned how to get the most out of — while Murry brings in the influence of Soundcloud rappers on his downcast single “Don’t Look Now.” Jaypitts comes all the way from Detroit, bringing a blend of neo soul and nimble rap in the vein of André 3000 to the songs from his 2020 LP Highly Melanated. Rounding out the bill is Music City’s own Maggie Miles, whose full-length debut Am I Drowning or Just Learning to Swim dropped last year. Across the record, you might hear some similarities to the sonic variety and nuanced expression of Hayley Williams’ recent work, though there’s a hard-rock edge that cuts through on Am I Drowning. 8 p.m. at Mercy Lounge, 1 Cannery Row STEPHEN TRAGESER

MUSIC

SATURDAY / 7.10

EDD HURT

FILM

FRIDAY / 7.09 [SILLY SEXY COOL]

ESSENTIAL FELLINI: JULIET OF THE SPIRITS Juliet of the Spirits might not be the

best Fellini film, but it’s my favorite. It was one of a handful of films I watched over and over on VHS in the early 2000s, and it remains the perfect background noise — full of off-kilter circus music and gentle Italian voices. That’s not everyone’s ideal cinematic experience, but I love a movie that simply captures odd moments and deep conversations, especially among weirdos, from a detached perspective. Juliet’s plot is almost secondary — her husband is a cheat, and she seeks refuge among her oddball friends, specifically Suzy, her Sophia Loren-look-alike neighbor who wears feather boas and has an opulent sex den/ treehouse that’s only accesible via a giant wicker basket. Clearly the aesthetics of the film are the real star. Think of a lighter version of Jodorowsky’s Holy Mountain, or a heavier version of The Best Little Whorehouse in Texas. There are seances, spiritualism, an intersex clairyvoyant and

fantastic dream sequences, all filmed in brilliant Technicolor. It’s a silly, sexy romp — exactly what I’ve been in the mood for lately. Juliet of the Spirits is showing as part of the Belcourt’s ongoing Essential Fellini series, which runs through July 15. July 9, 11 & 14 at the Belcourt, 2102 Belcourt Ave. LAURA HUTSON HUNTER

MUSIC

guitar like someone who really likes Lou Reed, and his compositions — documented on 2019’s fine full-length Ace on the Outspeaker — manage to be both personal and, you know, catchy forays into progressive pop. Crave On is reportedly working on a new album, while Styrofoam Winos released a self-titled debut record earlier this year. What I love about the songwriting of Winos Lou Turner, Joe Kenkel and Trevor Nikrant is its delicacy — listen to the Styrofoam Winos track “In Your Room,” which features a bridge that opens up the song. In another superb track, “Skyline Top Removal,” they sing about watching a city “adjust to post-modernity.”

Rounding out Thursday’s bill is Rig B, a band that plays avant-pop in a style somewhere between Kevin Ayers and The Beach Boys. On Rig B’s 2020 release The Cost of an Orange, they play a modified jazz waltz, “How I Love to Sing,” during which they make a plea for universal peace. 7 p.m. at The East Room, 2412 Gallatin Ave.

[THE KICK DRUM IS THE FAULT]

HOUSEQUAKE FEAT. ALEXIS DONN, COLEMAN.X, JAYPITTS, MAGGIE MILES & MURRY

One of the great things about opportunities to see in-person shows again is getting an introduction to artists who aren’t pinging your radar — yet. The monthly Housequake series is back at Mercy Lounge, shining a light on rising pop musicians from around the city and around the region. Topping Friday’s bill is Nashville’s Alexis Donn, who often puts her diaphanous voice to

PARKER GISPERT W/COUNTRY WESTERNS, KINGS OF THE FUCKING SEA & MORE

On his 2018 full-length Sunlight Tonight, Nashville singer Parker Gispert sings a tune titled “Do Some Country.” As you might expect, the track has nothing to do with country music. What Gispert, who started the band The Whigs two decades ago in Georgia, does on Sunlight is cop the styles of folk rockers like Nick Drake, Beachwood Sparks and Big Star — the strings and general air of lassitude point to Gispert’s likely familiarity with Big Star’s spooky mid-’70s album Third. Gispert is working on a new record. Meanwhile, Country Westerns — led by singer and guitarist Joseph Plunket — play slightly countrified mid-American rock that combines the approaches of John Mellencamp and The Silos. Their self-titled 2020 album finds the band rocking out on tunes like “It’s on Me,” which gets its point across in three minutes.

Also appearing Saturday at Brooklyn Bowl are Kings of the Fucking Sea, whose crude stoner rock gets its due on the band’s 2020 Nashville-recorded full-length In Concert.

Rounding out the bill are New Wave rockers Gentleman Jesse, who hail from Atlanta, and Music City rock ’n’ rollers Rayon City.

7 p.m. at Brooklyn Bowl, 925 Third Ave. N. EDD HURT

THEATER

STYROFOAM WINOS

[DO SOME COUNTRY]

[LET THE BOYS BE BOYS]

MUSIC CITY PUPPET SLAM

If your idea of puppetry is confined to the fuzzy little googly-eyed creatures of your childhood, you’ll definitely

nashvillescene.com | JULY 8 – JULY 14, 2021 | NASHVILLE SCENE

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CRITICS’ PICKS at The Barbershop Theater, 4003 Indiana Ave. AMY STUMPFL FILM

want to check out the Music City Puppet Slam this weekend at The Barbershop Theater. Presented by multidisciplinary theater artist Amanda Card and Verge Theater Company, the show — which organizers hope will become an annual event — promises a full evening of new and experimental works of puppetry, including hand puppets, shadow works and more. Puppet slams are actually popping up all over the country, providing a unique opportunity to check out new and emerging works. Saturday night’s lineup will feature performances from a number of Nashville favorites, including Card herself, as well as Madeleine Hicks, Hannah Fletcher-Page, Cassie Hamilton and Jonah Jackson, along with live music by Mikey Rosenbaum. 7 p.m.

AMARCORD

[BOOBALICIOUSNESS]

ESSENTIAL FELLINI: AMARCORD

One of the last screenings I attended before COVID-19 fucked everything up was a 35mm showing of what has become my favorite Federico Fellini movie: his classic semi-autobiographical trip down memory lane, which won the 1975 Academy Award for Best ForeignLanguage Film: Amarcord. This episodic, colorful film mostly follows an adolescent boy growing up in a seaside town in 1930s Fascist Italy, filled with characters both eccentric and enticing. (Wait until you meet the busty tobacconist who gives our

FILM

[ROAD BURN]

WATCH DOCUMENTARIES ABOUT DIY TOURING ON YOUTUBE

Those who’ve never gone on tour might imagine it as something along the lines of Almost Famous-meets-Mötley Crüe’s The Dirt, when the reality is more like Cormac McCarthy’s The Road. Someone makes this point early on in Eric Fundingsland’s feature-length documentary Why Am I Doing This? A Film About Touring. Seedy motel rooms, vans with minds of their own, disappearing promoters, ornery soundpeople, cringe-inducingly bad local bands, bad food, bad sleep — the list goes on and on. But in spite of it all — and this is the crux of Fundingsland’s film — bands keep heading out for the road because the magic and electricity of a gig where everything aligns make it worth it. The North Dakota-raised, Seattle-residing director is also in the punk band The

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PHOTO: EMILY APRIL ALLEN

In the early hours of March 27, 2019, the music world lost a lovable duo: A band from Liverpool, England, called Her’s.

The indie-rock duo consisting of Stephen Fitzpatrick and Audun Laading, along with their tour manager Trevor Engelbrektson, were killed in a car crash while on tour in the U.S. Her’s was a wonderful oddity, and their groovy sound couldn’t be shoehorned into one genre. While Her’s was, at its core, a typical contemporary indie-rock band, the duo was able to impressively expand on myriad genres ranging from surf rock (“Speed Racer” and “Marcel”) to New Wave (“She Needs Him” and “Dorothy”) throughout their limited discography.

Their cover choices were also unusual and inspired; their rendition of Minnie Riperton’s “Lovin’ You’’ is the audible equivalent of genuine devotion. In their short run, which began in 2015, the pair was able to produce two albums: a debut compilation consisting of singles, Songs of Her’s, and a studio album, Invitation to Her’s. Since their deaths in 2019, similar musical acts like Boy Pablo and Clairo have risen in popularity. While the dreamy lo-fi part of indie music is getting the recognition it deserves with these bands and others, we aren’t likely to see many more indie acts quite as musically versatile and delightful as the band Her’s. KAHWIT TELA

Bismarck, which is part of the tight-knit constellation of musicians loosely affiliated with Steve Albini’s Electrical Audio studio, and his interviewees skew white and male (exceptions include members of indie-punk outfit Wimps and hard-rock crew Helms Alee). For a more diversely voiced, less acerbic look at similar subject matter, check out the 2017 feature-length doc Drive, Play, Sleep. The band behind it, a duo called Pocket Vinyl (he plays while she paints), is a bit precious for me, but the movie is impressively thorough and, like Why Am I Doing This?, made for next to nothing. Pull them both up on YouTube and make a double feature of it. CHARLIE ZAILLIAN [CAN’T KNOCK THE HUSTLE]

LISTEN TO BROOKLYN’S FINEST: THE MAKING OF REASONABLE DOUBT BY JAY-Z

In honor of the 25th anniversary of Jay-Z’s debut album Reasonable Doubt, hip-hop podcast Breaking Atoms has released a five-part podcast exploring the story behind the landmark LP. It’s almost hard to imagine the rap titan (who finds himself on a number of short lists for greatest rappers) as just another scrappy Brooklyn rapper who had to choose between pursuing a career in music and sticking to the drug game. But Reasonable Doubt showed off the potential that many other New Yorkers saw in young Hova — it’s an album that infused late-’90s mafioso rap aesthetics with personal reflections.

The podcast features interviews with Jay’s mentor Jaz-O, producer DJ Clark Kent, music promoter Maria Davis and critics like Yoh Phillips to detail the origins of the album as well as its impact, all edited together with song snippets to create a kinetic and absorbing listen. Plus, historian Dart Adams even gives a rundown on why Jay-Z had an umlaut over his name in the early days. You can listen on Spotify, Apple Podcasts or at breakingatoms.libsyn.com.

ALEJANDRO RAMIREZ [JACK OUTSIDE THE BOX]

OBSERVE THE 20TH ANNIVERSARY OF THE WHITE STRIPES’ WHITE BLOOD CELLS

It was July 2001. Grunge was long dead. Nu metal was dying. 9/11 hadn’t happened yet.

And a bumper crop of inventive new voices, untethered from the ’90s, was bubbling

NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

NASHVILLE HUMANE ASSOCIATION IN THE TRANS COMMUNITY PHOTO PROJECT up from underground. Chief among them were The White Stripes’ Jack and Meg White. From the glorious electric stomp of opener “Dead Leaves and the Dirty Ground” to the master class in concise pop composition “Fell in Love With a Girl” and irrepressibly sweet “We’re Going to Be Friends” — later adapted into a literal children’s book — White Blood Cells plays like a best-of collection. And that’s despite not even containing the Stripes’ hit to end all hits, “Seven Nation Army,” which would come a few years later. After retiring the Stripes, Jack White would of course go on to set up operations in Nashville, growing his legend as Third Man Records vinyl impresario, solo artist, producer, leader of two supergroups and champion of transgressive voices in art and music.

His last full-length outing, 2018’s Boarding House Reach, was a bit overcooked, but his late-pandemic SNL set felt like a return to stripped-down Stripes days, with the musicality and showmanship amplified but every bit of the rawness and sturdiness that has always formed the foundation of the house Jack built. CHARLIE ZAILLIAN [TRANS FORMATION]

SUPPORT NASHVILLE BUSINESSES WHO STAND WITH THE TRANS COMMUNITY PHOTO PROJECT ART

LISTEN TO HER’S

PODCAST

[WHAT ONCE WAS]

MUSIC

MUSIC

EVERGREEN: STUFF YOU CAN DO ANYTIME

With new legislation that seems designed to further marginalize trans Tennesseans,

it can be hard to see that there are allies pushing back. Local photographer Emily April Allen, along with her friend and trans activist Amo Elizabeth, launched an art initiative to put faces to those actions. Allen describes herself as “a really big fan of the photo series,” as also demonstrated by the Nashville Queers in Quarantine series she did in 2020. Now they are taking portraits of business owners and employees who want to show that they support the trans community. Participating businesses sign up, complete a Google form of questions, craft messages of support, and then Allen documents it. The duo is careful to point out that they cannot vet businesses to definitively say that they are safe spaces.

This is not a Green Book to bathrooms in Nashville. “This is a visual love letter from Nashville businesses,” Amo Elizabeth says.

The project may evolve into a resource guide for assisting businesses that want to be better allies, but for now it is simply something that means a lot to Allen and Amo Elizabeth, and they hope to others.

More than 75 businesses have reached out, and Allen is working to document them all this month. If you have a business that wants to participate in the photo series, message Allen through Instagram — she’s instagram.com/emdashphotos.

MARGARET LITTMAN

CRITICS’ PICKS boy a very boobalicious time.) Of course, this is simply Fellini going back to his formative days in Rimini, exaggerating it in horny, outrageous fashion. And yet, Fellini re-creates his hometown with the most earnest and emotional of intentions. Equal parts funny and moving, this movie is an enjoyable, melancholy ride through Fellini’s beginnings. And even though the Belcourt will show the film in 4K DCP, it’s still worth catching on the big screen. Amarcord is showing as part of the Belcourt’s ongoing Essential Fellini series, which runs through July 15. July 10 & 14 at the Belcourt, 2102 Belcourt Ave. CRAIG D. LINDSEY

MUSIC

SUNDAY / 7.11 [SHE DON’T NEED A MAN’S TOUCH]

SHEILA E.

When my editor asked me if we should include a Critic’s Pick on Sheila E. this week, only two words popped in my head: HELLS YEAH! In the ’80s, this daughter of percussion royalty (she comes from the beat-loving Escovedo family) was that rarest of beautiful creatures: a foxy lady with a seductive voice who could kill it on the drums. Prince knew the great power she wielded, which is why he took her under his wing and produced her first two albums — albums that had such funky bangers

for fun field trips and family outings, but too far away every other day of the year.

Summers felt especially grueling. My best friend and I would walk around the neighborhood hoping to get into hijinks, but all we’d usually find was my little brother and his dumb friends riding bikes. Our boredom stretched out the days, so we had to use our imaginations to stay sane. Like most people, I didn’t appreciate that easy living at the time, but I now look back with reverence. There were hammocks, and pools, and a mysterious young man named Zollie who worked on cars in his parents’ driveway. I have a particular place in my heart for narratives about childhood, their settings fuzzy with nostalgia, their characters bold and brilliant — the way people can seem when you’re a little kid.

Spike Lee’s 1994 family drama Crooklyn fits the bill for summer neighborhood vibes, and the Belcourt is screening it to welcome back its long-running Music City Mondays series. Crooklyn is an impressionistic pastiche of the sights, sounds and colors of the Brooklyn neighborhood where Lee — and his siblings Joie and Cinqué Lee, who co-wrote the screenplay — grew up.

The story presents a portrait of a family, the Carmichaels, and zooms in on Troy (Zelda Harris, a natural), the lone girl in a rambunctious bunch of brothers. Her father (Delroy Lindo) is a struggling musician, and

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UPCOMING VIRTUAL EVENTS THURSDAY, JULY 8 6:00PM

DAVID BELL

in conversation with MARY COBB Kill All Your Darlings

FREE EVENT!

MONDAY, JULY 12 6:00PM

JIMMIE ALLEN

ages 2-10

in conversation with MARY BETH ADAIR My Voice is a Trumpet

TUESDAY, JULY 13 6:00PM

JASMINE GUILLORY

in conversation with HEATHER COCKS & JESSICA MORGAN While We Were Dating SHEILA E.

FILM

MONDAY / 7.12 [SUMMERTIME VIBES]

MUSIC CITY MONDAYS: CROOKLYN

I grew up in a suburb of New York City that was close enough to Manhattan

her ma (Alfre Woodard) has to keep it all together. Because it’s a Spike Lee joint, you have the people of the block — veterans, musicians, glue-sniffers (one of whom is played by Lee) and others who provide a sense of what life is like when everybody knows everybody in the neighborhood.

Crooklyn was shot by art-world superstar Arthur Jafa (Daughters of the Dust; Love Is the Message, the Message Is Death), and his innovative cinematography helps the viewer see the world from Troy’s point of view. Roger Ebert wrote that some scenes in the film have “the directness and pain of real memory.” The Lee siblings didn’t apply the high gloss of nostalgia, but showed a family experiencing the often mundane messiness of life. 7 p.m. at the Belcourt, 2102 Belcourt Ave. ERICA CICCARONE

WEDNESDAY, JULY 14

MATT HAIG

in conversation with JENNY LAWSON The Comfort Book

6:00PM

THURSDAY, JULY 15

HELEN ELLIS

in conversation with MEGAN ABBOT Bring Your Baggage and Don’t Pack Light

6:00PM

MONDAY, JULY 19

ELIZABETH GILPIN Stolen

POWERED BY

as “The Glamorous Life” and “A Love Bizarre.” She was also his secret weapon, performing on tours with him and his band, and providing percussion on several of his albums, including Sign o’ the Times. But Prince is just one of the many icons she’s worked with — there’s Ringo Starr, Tito Puente and Pharrell Williams, to name a few.

The 60-something E. is still out there killing it live, which she will most likely do with her band, the E-Train, at City Winery on Sunday.

7 (sold the hell out) and 10 p.m. at City Winery, 609 Lafayette St. CRAIG D. LINDSEY

6:00PM

GET TICKETS & LEARN MORE AT PARNASSUSBOOKS.NET/EVENT

REGISTER: NASHVILLEJAZZ.ORG

3900 Hillsboro Pike Suite 14 | Nashville, TN 37215 (615) 953-2243 Shop online at parnassusbooks.net

nashvillescene.com | JULY 8 – JULY 14, 2021 | NASHVILLE SCENE

23

FOOD AND DRINK

ALL NICE ON ICE Four new ways to freeze your face off

BY MEGAN SELING

dients and a liquid base are chopped and mixed together on a cold plate that reaches minus 10 degrees. As the mixture freezes and becomes creamy, it gets spread out thin as cardboard and then scraped off the surface in large curls. It’s a mesmerizing process, really, and a completely customizable experience — recent specials at Rolled4Ever have featured Cupcake Collection cupcakes and NoBaked cookie dough. The rolled ice cream sundaes — with the curls stacked in a cup and topped with syrups and whipped cream — will look familiar to anyone who’s seen the treat trending on Instagram over the past couple of years. But Segovia and Bass have also put their own spin on the tradition by using the curls of ice cream in floats, cookie sandwiches and even take-home pints.

BLACK BOX ICE CREAM TRUCK Various locations

Just launched a few weeks ago, the Black Box Ice Cream Truck is looking to shake up Nashville’s ice cream scene with a menu of flavor combinations that rival Jeni’s. There are scoops for traditionalists — vanilla,

COTTON & SNOW

COTTON & SNOW

2444 Music Valley Drive 5055 Broadway Place, inside Assembly Food Hall Cotton & Snow has been serving cotton candy and shaved ice — sometimes in the same cup — from the little purple shack next to Grand Old Golf and GoKarts for years. It’s the perfect pairing, right? A round of mini golf and a cup of shaved ice topped with your choice of syrup from a selection of more than 100 flavors. This spring, Cotton & Snow refined its kidfriendly menu to bring an elevated version of its soft-as-hell snowballs to the Assembly Food Hall. Cotton & Snow’s original post offers an alphabet of flavors — from Arnold Palmer to Zombie, the latter a morbid mix of Granny Smith apple and cherry syrups — while the menu at the Broadway location features about a third of those options, but utilized in more deluxe creations.

Also, there is booze: shaved ice sundaes topped with a shot of rum, whiskey, tequila, etc. They’ve also introduced Snow Floats, a classic float made with soda and ice cream and packed with a layer of their snow to make for an extra cool and slushy drink.

ROLLED4EVER

1120 Fourth Ave. N., Suite 102 In October, the owners of the Rolled4Ever food truck, Bariangela Segovia and Maliyah Bass, moved into their first brickand-mortar storefront in Germantown.

Rolled ice cream, for those who aren’t familiar, is made when a variety of ingre-

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NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

ROLLED4EVER

PHOTOS: DANIEL MEIGS

T

emperature records were shattered last week when a heat wave moved into Canada and the Pacific Northwest — Portland, Ore., reached 115 degrees, while British Columbia got up to 116. The week before, parts of Russia experienced the highest temperatures they’ve seen in decades too — Moscow specifically reached 94.6 degrees, which doesn’t sound all that bad, relatively speaking, until you consider the fact that it was the city’s hottest recorded temperature since 1901.

Real talk: It’s only going to get worse.

Scientists around the country attribute these extreme conditions to global warming. What will summer look like in 10 or 20 years? Al Gore was right all along! I’ll save the climate-change spiel for another time.

(But please vote for candidates invested in prioritizing our planet.)

All of this is to say that the heat and humidity of summer can sometimes be almost unbearable, but thankfully Nashville knows how to cool down. The city is rich with ice cream, shaved ice and popsicle shops (and food trucks), and this season there are more tasty options than ever.

Here are four new ways to freeze your face off and find temporary relief from the heat.

PHOTO: DANIEL MEIGS

FOOD AND DRINK

BLACK BOX dark chocolate, cookies-and-cream and strawberry cake batter — but Black Box isn’t afraid to experiment. Specialty flavors include olive oil, wasabi, cherry Kool-Aid and Te Kā coconut with activated charcoal. Their ice cream freezer looks like a painter’s palette with all the vibrant colors.

Check out blackboxicecream.com to see where their truck will be next.

Good stuff, $10 or less Elliston Place Soda Shop — Meat-and-Three — $9.99 The newly reopened Nashville institution offers a veritable Thanksgiving feast for 10 bucks

BUBBLE LOVE

A

900 Rosa L. Parks Blvd., inside the Nashville Farmers’ Market Bubble Love has been a mainstay in the Nashville Farmers’ Market since 2018, offering boba-loaded milk- and fruit-based teas in flavors like honeydew, kumquat, lychee, chai and taro. The drinks are a refreshing option on their own — the origins of bubble tea are debated, but the common understanding is that the concoction originated in Taiwan, where summer temperatures can top out at 100 degrees with high humidity. This spring, owner Anna Fields introduced a new way to enjoy the traditional treat. Bubble Love now has soft-serve ice cream that can be topped with chewy boba, fruit-flavored popping

boba and/or jelly cubes. Vanilla is a mainstay and the second flavor rotates weekly — Fields has had matcha, coconut, taro and even the beloved Dole Whip served at Disney World. See the weekly flavors on Instagram at @bubblelovenashville.

EMAIL ARTS@NASHVILLESCENE.COM

fter reading about the reopening of the Elliston Place Soda Shop back in May, I was champing at the bit to try it myself.

The new spot is right next door to the longtime original location, and Elliston’s menu is full of classic comforts — from breakfast combos to burgers, fried fare and more. But I came for the meat-and-three combo ($9.99). I struggled deciding what to order — meatloaf, pot roast, fried chicken, the daily special? Per the server’s recommendation, I ordered the turkey and dressing, and by the time I got my food I realized I had a full Thanksgiving meal on my hands, complete with mashed potatoes and gravy, green beans, a basket of onion rings (kind of untraditional, considering), and a thick biscuit to top it all off.

Good thing I adore Thanksgiving food. The turkey sat atop a bed of fluffy yet slightly crisp dressing that was just beginning to soak up the pool of gravy. The green beans were cooked to perfection, and the biscuit was the perfect vessel to carry stray bites. The onion rings were crispy and slightly sweet. Dip them in gravy for a bite as delicious as it is unhealthy.

To wash it all down, I had a silky strawberry milkshake that paired wonderfully with the slice of chocolate pie (both $4.99). Is the Soda Shop the best spot for low-calorie dishes in Nashville? Absolutely not. Will I keep going? Most definitely. —KELSEY BEYELER

nashvillescene.com | JULY 8 – JULY 14, 2021 | NASHVILLE SCENE

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BOOKS

A GOOD MAN IN A NEST OF EVIL

Curtis Wilkie reveals the story of a brave man who informed on the Mississippi KKK

BY ARAM GOUDSOUZIAN

WHEN EVIL LIVED IN LAUREL: THE “WHITE KNIGHTS” AND THE MURDER OF VERNON DAHMER

BY CURTIS WILKIE W.W. NORTON 400 PAGES, $28.95 a long career in journalism with the Clarksdale PressRegister, Wilmington News-Journal and The Boston Globe. He is the author of six other books, including the acclaimed The Road to Camelot: Inside JFK’s Five-Year Campaign, co-authored with Thomas Oliphant.

He answered questions via email.

At the center of this book is Tom Landrum, the white Mississippian whom the FBI recruited to inform on the White Knights of the Mississippi Ku Klux Klan. Who was Landrum? At the time, Landrum was a 33-year-old youth court counselor troubled by the terroristic activities of the White Knights of the Ku Klux Klan operating out of his hometown, Laurel, Miss.

After a courthouse official tried to recruit him to join the secret brotherhood, Landrum decided to respond to a far different request from another friend, a local FBI agent: to become a volunteer informant. He joined the Klan and for four years reported to the FBI on every meeting he attended, naming names and sending warnings of people and places targeted by the Klan.

How did you come to this story? How did you discover Landrum’s role and the rich sources that put readers in his shoes? No one knew of Landrum’s undercover work for a half-century.

Then, a few years ago, he was identified as a Klansman in a locally published book. Fearing that he might someday be linked to the Klan, Landrum originally had asked for a private letter from FBI director J. Edgar Hoover that would make clear his role, but Hoover was so determined to control news about his bureau that he refused something like this.

In 2018, near the end of Landrum’s life, his family approached me to see if I would be interested in telling the story. They

26

showed me hundreds of pages of his written reports to the FBI that offered a rare inside look into the organization that had terrorized Mississippi during the 1960s, when I was a young reporter in the state.

I was able to interview Landrum and his wife, Anne, a number of times at their home near Laurel before his death at Christmas 2019. Meanwhile, I discovered a valuable collection at the nearby University of Southern Mississippi library: several thousand pages of FBI material used in the investigation of the White Knights.

The crime upon which the book hinges is the White Knights’ firebombing of the home of Vernon Dahmer, which resulted in his death. Why did they target Dahmer? In the 1960s, Dahmer was not only president of the NAACP in Hattiesburg, a city just south of Laurel, but one of the leading figures involved in voter registration work in the state.

Because of Dahmer’s success in the face of Klan attempts to intimidate him, Sam Bowers, the Imperial Wizard of the White Knights, imposed a decree of “Code Four” — elimination for Dahmer.

On a winter night in 1966, a gang of eight White Knights, riding in two cars, burned down Dahmer’s home and neighboring country store. He helped his family escape, fighting off the Klansmen in a gun battle before climbing out a back window. But his lungs were seared and he died a few hours later.

More than 100 FBI agents were dispatched to the state to lead the investigation.

With the help of Landrum’s tips about evidence he learned had been left behind by the raiding party, more than a dozen Klansmen, including Bowers, were rounded up within two months.

Over the years, state and federal prosecutors conducted a series of trials with mixed results. There were a few convictions and many mistrials, some caused by Klansmen planted on juries by local officials. In 1998, Bowers was finally found guilty and imprisoned for the rest of his life. I covered that trial for The Boston Globe.

Does When Evil Lived in Laurel provide lessons for us today? Nationwide, today, there are echoes of the elements in this story: racial tensions, campaigns to secure voting rights for Black people and efforts to deny them that right by some elected officials.

In the earlier struggle, Tom Landrum’s commitment reminded me of a statement [often misattributed] to an 18th-century Irish philosopher, Edmund Burke: “The only thing necessary for the triumph of evil is for good men to do nothing.”

Tom Landrum was a good man. We can never have enough good men and women.

To read an extended version of this interview — and more local book coverage — please visit Chapter16.org, an online publication of Humanities Tennessee.

EMAIL ARTS@NASHVILLESCENE.COM

ILLUSTRATION: MAILE LANI

T

he latest book by legendary journalist Curtis Wilkie, When Evil Lived in Laurel: The “White Knights” and the Murder of Vernon Dahmer, is a true-crime thriller. It immerses readers in the bone-chilling schemes of Mississippi Klansmen in the 1960s and illuminates the heroics of a martyred civil rights activist and a courageous FBI informant.

Wilkie, who spent part of his childhood in Oak Ridge, Tenn., was a student at the University of Mississippi during its 1962 crisis over the admission of Black student James Meredith, and he went on to

‘WILL THEY FEED THEIR EYES?’ A poem illustrated by Maile Lani

BY C.I. AKI now awakened, will they feed their eyes to see what poems wander lost and blind in the world that burns under this skin; the world that burns under this skin set afire by blue flames; flames cooking a beaten heart that must house and feed all that runs through its courtyards? will they feed their eyes to see what kind of words will leave open scars on pages and realize themselves in the name of a poem? will they look? will they know? will they follow the stories the skin keeps? will it be written, spoken, or concluded — all that the skin has read? all that weary flesh the skin has carried? all that original story the skin has written with flesh and trembling? will they feed their eyes to see? will they desire to read the flesh of the skin and the worlds it tells? there are worlds it tells. worlds.

C.I. Aki, the son of a Nigerian economist and a Nigerian Jamaican horticulturist, is a poet, essayist, filmmaker and educator based in Nashville. His debut collection of poems The World Black, Beautiful, and Beast is a witness to the constraints and restraints upon the beautiful freedom of the Black soul.

You can follow him on Instagram @soul_lit_writer.

Maile Lani is a Nashville-based artist and illustrator with a background in color theory and Asian art.

She blends surrealism with modernist elements as a way to bring life to her daydreams. Her work can be found on Instagram @paperspaceship.

NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

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It’s tequila time! Join the Nashville Scene for the 8th annual Nashville Margarita Festival on Friday August 20 at oneC1TY! Your ticket gets you entry to the event and margarita samples from the city’s best marg makers. Sip and vote for your favorite while DJs rock the park and you enjoy food truck fare, salsa dancing, photo booth fun and more!

@Nashvillescene

IT'S BACK

TICKETS ON SALE NOW!

MUSIC

SYMPATHETIC VIBRATION William Tyler and Luke Schneider mark inflection points on Understand

BY STEPHEN TRAGESER

“W

illiam’s probably sick of me at this point,” Luke Schneider says, grinning into his UNDERSTAND OUT MONDAY, JULY 12, VIA computer’s camera.

LEAVING RECORDS Having finished an across-town move in Nashville, he’s visiting Huntsville, Ala. “No, we don’t see each other enough,” William Tyler shoots back from two time zones away in Los Angeles, where he’s just settled back in after more than a year away.

The two longtime friends and sometime bandmates are on a video call with the Scene discussing Understand, an instrumental EP they recorded while spending their COVID quarantine together in Nashville. The four-song set is out Tuesday via Leaving Records, an L.A. indie much loved for the way founder Matthewdavid’s curation highlights common threads between artists who work in idioms as ostensibly different as ambient music and experimental jazz.

Tyler and Schneider’s EP includes performances on synthesizer, drum machine and banjo, but much of the expansive, gently shifting soundscape was created with the guitar and pedal steel they’ve respectively become known for over the past two decades. Electronic effects let the two expand the sonic range of their instruments into something grand and luminous, conjuring up celestial choirs or sparkling rivers snaking through a canyon. There are a wide range of influences at play, from krautrock to 19th-century art music and beyond, but many of the harmonies and melodies have roots in folk and country music.

Among other records — like Schneider’s Altar of Harmony and Tyler’s New Vanitas, both released in 2020 — Understand fits into a constellation of meditative work that celebrates and expands on a long history of experimenting within deep-rooted musical traditions. This movement has grown enough that it’s worth considering what to call it. Alongside several of their peers, Tyler and Schneider both spoke with journalist Stephen Deusner for a recent overview in Uncut. Deusner uses the term “ambient Americana,” which the pair doesn’t have a problem with, though they prefer the somewhat more evocative “cosmic pastoral.”

“Millennials and Generation X — people who grew up with both punk and post-rock, and have now rediscovered psych and New Age records — we’re now 20 years older than a lot of the people making the most relevant music,” Tyler says. “So it’s like we’re trying to reach for this new community of stuff that feels inclusive.”

“You could call [Understand] New Age too,” says Schneider. “ ‘New Age,’ I think, implies that there’s an intention — that’s what a lot of people would say is the differ-

ence between ambient music and New Age music. I think our intention with this music was to explore our musical friendship and our musical collaboration in a different way that we had, up to this point, not done — and also to help process heavy things going on in our lives that were both COVIDrelated and not COVID-related.”

The pair has a long history, beginning with living together and playing in bands in Nashville at the turn of the millennium when they’d just become adults. Tyler spent extended periods with Lambchop and Silver Jews, after which his solo career began to take off. Schneider has played in a country or country-rock vein with Caitlin Rose, Natural Child and Margo Price, and he still does so with Teddy and the Rough Riders; he’s also recently worked with Orville Peck. He got into New Age music as a way to center himself amid Price’s hectic touring commitments without relying on alcohol or drugs, and the records influenced the majestic steel sound that defines Altar of Harmony.

Neither player is one to bask in praise, but both have become highly respected; they aren’t mega stars, but they’ve played significant roles in broadening the horizons of their field. They’re not playing in Nashville all the time — though they both love getting together as often as possible with drummer Brian Kotzur and bassist “Little Jack” Lawrence under the name William Tyler Band — but they’ve both made a positive impact on local music that continues to ripple out.

Circumstances put the two in a house together for the first time in years as the pandemic worsened. Though Tyler was hesitant about making “a COVID record,” Schneider convinced him to start bouncing ideas back and forth. Eventually, they booked a oneday session with engineer Jake Davis in his Nashville home studio, and Understand is the result.

“Memory Garden” and “The Witness Tree,” the first two of the four tracks, are built around in-studio improvisations.

The third track, “No Trouble,” is slightly reminiscent of Mark Knopfler’s theme for The Princess Bride and grew from an idea Tyler had been kicking around. Schneider’s quarantine-time study of the banjo provided the foundation for closing number “The Going Through.”

“It’s just a simple little four-chord banjo progression, and then there’s also, like, the complete opposite, where I’m running the steel through a synth-y arpeggio pedal, and William’s just kind of droned out over that,” Schneider says. “That’s a sound that I don’t think would work on one of my solo records or something, but he was into it.”

There isn’t a big promotional push set for Understand; the duo only plans to release it digitally and on a limited-run cassette, content for it to be somewhat ephemeral. But as Schneider points out, the EP offers a different perspective from other work they’ve done separately or

WILLIAM TYLER

LUKE SCHNEIDER together, marking an inflection point for both men. For Schneider, it’s about the focus on caring for his mental and physical health that’s informed his recent music.

For Tyler, it’s a product of a new frame of mind that opened up as he took on an exciting if somewhat intimidating opportunity to score Kelly Reichardt’s 2020 film First Cow. The main theme came from a musical idea that, unusually for Tyler, he’d held onto for a decade — which showed him a new way to look at his work.

“There’s an acceptance of the ambiguity of your ideas, whether they’re your favorites, or ones that you don’t even have an emotional attachment to,” Tyler says.

“Whether they’re charted out, or they’re

just recorded scraps, you know, they can find a home with different people or different projects. They don’t have to be definitive all the time. I had been in sort of a seven- to 10-year cycle of trying to think of things to fill albums that felt cohesive together. And if anything didn’t fit that, I just threw it out.

“That’s not the way collaboration works at all. The whole essence of collaboration is give and take. … I’m probably collaborating, actively or inactively, with 10 other people — with things that could all be albums, or may not happen at all, or might just be one song. And I kind of am starting to let go of being precious about any of that, ’cause it doesn’t matter.”

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MUSIC

ALL THAT YOU DREAM After more than three decades in Nashville, singer Jonell Mosser remains a great interpreter

BY EDD HURT

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or Jonell Mosser, who has worked in Nashville for more than three decades, the role of the interpreter is bound up with the gravitational pull of Music City, where singers are often asked to PLAYING THURSDAY, JULY bend their ideas to 8, AT 3RD AND LINDSLEY suit the fashion of the day. Mosser is indeed what’s called a singer’s singer, but she’s not exactly a country singer, and while her style lends itself to soul music, she avoids the excesses of many modern R&B singers. What Mosser does, quite simply, is sing in a superbly modulated voice that can be gritty or reflective, depending on whether she’s covering a blues standard or neglected classics by the likes of Nick Lowe and Townes Van Zandt. Her taste has guided her through a career that contains the kind of music-business machinations that can generate a black hole.

Mosser is one of the city’s most accomplished interpreters, and her versatility and refusal to be limited by genre have produced albums as deep as her 1996 debut, a collection of Van Zandt songs called Around Townes. Lately, she’s been working on a live album pulled from performances she’s given over the past few years at Madison venue Dee’s Country Cocktail Lounge, where she continues to play regular gigs.

She performs there under her own name and with her current band, The Tajmaholics, which is named after guitarist and singer Taj Mahal. As she says, Mahal’s continuing career helped inspire her latest music.

“The Tajmaholics was my idea,” Mosser tells me via phone from her Nashville home. “My repertoire has changed over the years. After [I was] about 50, I thought, ‘Am I fooling myself that I’m still doing this?’ So I started looking around at artists that I felt were older but still killin’ it, you know what I mean, in their own idiom. The first who came to mind were Taj and Ry Cooder.”

Mosser added Mahal’s folk-country-pop arrangement of a 1960s song by Gerry Goffin and Carole King, “Take a Giant Step” — which Mahal and Cooder’s band The Rising Sons also recorded an uptempo version of in 1966 — to her set list. In her recent shows, she’s also sung Little Feat’s “All That You Dream” along with her own tunes, like “Nicer to Me,” a co-write with Tajmaholics guitarist Tom Britt. From the stage, Mosser sounds like the great interpreter she is, and her arrangement of “All That You Dream” vies with the treatment Little Feat gave the song on their original 1975 recording of the tune.

Mosser was born in Louisville, Ky., in 1959, and moved in 1977 to Bowling Green, where she planned to study theater at Western Kentucky University. After dropping out of Western, she began playing around Bowling Green, singing Top 40 hits, standards and rock tunes. She also sang with an all-female group, Yo Mama, during her years in Bowling Green. In 1985 she moved to Nashville, where she sang with another group, Girls Girls Girls.

“I know a ton of songs,” Mosser says.

“I’m one of those weirdo people that loves words. As long as the lyrics are memorable,

that song stays with me. Harlan Howard was a dear friend, and Harlan told me, ‘Do what you’re doing. Nobody can sing like you. Sing all kinds of songs, and don’t be prejudiced against country music.’ He said, ‘I’m gonna break you of that,’ and he did.”

As she tells me, somewhat ruefully, her attempts to sign to a major label and become

a full-fledged star were thwarted by the expectations of an industry that couldn’t see beyond standard genre boundaries.

“I was told over and over again that I was going about it all wrong,” she says. “I was never going to be successful if I tried to do all the things I was trying to do, musically.

They thought, ‘You’re a dumb girl, and you don’t know what’s going on [in the studio].

We’re gonna tell you one thing and do something else.’ I was the problem.”

It took more than a decade of performing in Nashville, but Mosser finally released Around Townes to critical acclaim. The record peaks with “Nothin’,” which Mosser & Co. render with ice-cold precision.

Caught live, Mosser is in her element.

Little Black Dress, a live album recorded at a 1994 engagement in Bearsville, N.Y., hit the market in 2020. She played the show with Orleans singer and former U.S. Rep. John Hall, who will appear on the bill with Mosser Thursday night at 3rd and Lindsley.

Mosser’s in-the-works live album sounds promising too. Produced by Dee’s sound person Chris Mitchell, the collection meets her exacting standards.

“I came to [the studio] and listened. I’m very picky. If there’s a big old clam in the middle of it, it’s done. But we’ve got enough for a record, we really do.”

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GEARING UP: ONE CHORD TO ANOTHER

to be marketed in the same way a home organ might’ve been,” the 28-year-old musician says. He first heard one in action in 2012 via his friend Zeke Bandy, a native Nashvillian now living in Jackson, Miss. “We were close musical friends, goofing off with whatever gear we could find at the time,” Collier remembers.

The Omnichord had staying power for Collier. “CompoRoss Collier’s Nashville sitionally, it’s phenomenal,” he says. “You can make chord Omnichord Supply jumps, experiment with modulations, [create chord] Co. celebrates a highly changes you wouldn’t otherwise.” Even if the Omnichord’s plastic sorta-rounded-trapezoid body isn’t familiar to unusual instrument you, you’ve probably heard one. Songs by some highBY CHARLIE ZAILLIAN profile players that include its unique sound are Parquet Courts’ “Before the Water Gets Too High,” Tame Impala’s “Why Won’t They Talk to Me?” and Wilco’s “War on War.” If Editor’s note: In our occasional series we call you’re craving a showcase that puts the Omnichord Gearing Up, we profile some of the people around front-and-center — including the built-in drum machines town who make, repair or sell the instruments and found on some models — check out Collier and Bandy’s other equipment that musicians use. multivolume A Very Omnichord Christmas collection on Bandcamp. Collier also points to producers Brian Eno ever heard of a Suzuki Omnichord? No problem. Novice or expert, Ross Collier has got you. and Daniel Lanois as enthusiasts of the instrument in the recording studio.

The multi-instrumentalist who sometimes “You can use it in an ambient way, but can also put turns local punk-folk trio Styrofoam Winos a guitar pedal on it and it’ll roll,” says Collier. “Run it into a quartet is so enamored with the instrument that through a [Roland] Jazz Chorus, make it a moody indie he’s built a small business around it: Nashville Omnichthing. Or put it through a Marshall and make it a giant ord Supply Co. in Madison. wall of distortion. It’s very versatile.”

When Collier Zooms with me to demystify the OmnichCollier started Nashville Omnichord Supply on a lark ord, he explains that in layman’s terms, it’s an electronic out of a shared workspace off Neely’s Bend Road. Deautoharp — a unique synthesizer that you play with a spite insisting he isn’t a gearhead — “It was really just a combination of buttons and a ribbon controller you can lot of trial and error, buying broken Omnichords on eBay tap or strum. The first model, released in 1981, “seemed

N

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NASHVILLE SCENE | JULY 8 – JULY 14, 2021 | nashvillescene.com

VISIT NASHVILLEOMNICHORDSUPPLY.COM FOR INVENTORY AND MORE

and fucking around with the insides” — he continued to acquire Omnichords in various states of disrepair, successfully fix them and turn the business into a legit enterprise. As it turns out, he has also been building a museum.

“We salvaged these crazy shelves from a railcar that felt like God descended from the heavens and gave us shelves with the perfect length and width to fit all the Omnichords,” Collier says. “When you are in the shop, you are in the presence of more Omnichords than anywhere else in the world. It’s a little sanctuary.”

A mint-condition Omnichord retails for roughly $600.

Collier understands that’s a definite try-before-you-buylevel figure. Committed to keeping his inventory in circulation locally, he encourages curious parties just to check out his website, call him up and book an appointment to come over, nerd out and maybe find a match in his collection. All that said, if you feel that finding a bargain is either a necessity or simply part of the fun, don’t think that there’s no Omnichord out there for you.

“It’s absolutely still possible to happen upon one in good condition in a thrift store or at an estate sale for $50. They are still out there. Do not lose hope!”

EMAIL MUSIC@NASHVILLESCENE.COM

MUSIC

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PHOTO: LANCE CONZETT

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he June 30 installment of Exit/ In’s early-summer pandemic-adjusted show series in the venue’s Out/Back outdoor space — which came on the eve of news that the sale of the property to AJ Capital Partners was finalized — went down smooth.

Hip Hop on Elliston was organized by 2 L’s on a Cloud founder and Scene contributor D’Llisha Davis, and featured a double bill with Reaux Marquez and Daisha McBride, plus DJ Walt spinning between sets. His selections were heavy on turn-of-the-millennium cuts by Southern wordsmiths Gucci Mane and Lil Wayne, with some early Jay-Z in there for good measure. Hova’s legendary “Dead Presidents,” released circa his 1996 debut Reasonable Doubt — which turned a quarter-century old last week — was playing as I made my way into the show space through Exit’s sister bar Hurry Back.

Around 8 p.m., there was a nice breeze coming through when McBride hit the stage. After 16 months of paused shows, the Knoxville-born MTSU grad and local hiphop hustler is picking back up where she left off — right at the stage of her development where gigging with regularity to increase her fan base is paramount. She noted the significance of this performance being her first for a live audience in more than a year, but content-wise it didn’t deviate too much from sets at the pre-pandemic Spewfest V in February 2020, or as part of May’s Best of Nashville Hip-Hop livestream. Like the livestream, Hip Hop on Elliston was hosted by local hypewoman extraordinaire Averianna the Personality, this time paying tribute to the late Kobe Bryant — who it’s still hard to believe we’ve lost — with her No. 8 Lakers jersey. McBride led with more swaggering material but got increasingly nuanced as the set went on. The back end of the 25-year-old rapper’s set featured multiple valiant guitar solos from her lead axman; not to be outdone, her drummer unleashed monstrous, prog-tastic fills during the anthemic finale “Ride Fr.” The song, which closes McBride’s

CHECK 1: DAISHA McBRIDE 2019 full-length W.I.L.D., has become her signature tune.

During the set changeover, Scene colleague Lance Conzett schooled me on Bordeaux-raised Reaux Marquez’s No Roads, a concept album released in February that’s centered on a bonfire hang on the North Side, during which systemic pressures and personal tensions reach a breaking point.

Marquez was forced to perform from a stool due to a leg injury, but his crackerjack band helped his presence stand tall for the 45-minute performance. It was loose, jazzy, fluid and conversational in a soulful West Coast type of way, reminiscent of very early Kendrick Lamar or Warren G. Several guests joined in, including singer Jamiah and rappers Brian Brown, The BlackSon and Ron Obasi; all except Obasi appear on No Roads, and they helped bring the story to life. The performance backed up a recurring thought of mine: While no one Nashville producer has distinguished him or herself as the key architect of a regional sound, the presence of live bands is one of the scene’s defining traits.

Though it wrapped at 10 on the dot, the concert was satisfying. At press time, there were only a few more outdoor shows on Exit/In’s schedule. Here’s hoping they’re able to work in a few every month that the weather cooperates.

EMAIL THESPIN@NASHVILLESCENE.COM

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PRIMAL STREAM 59 Catch up on Season 1 of the idealistic and delightful Ted Lasso, now available to stream

BY JASON SHAWHWAN

I

t’s been interesting lately, because Ted Lasso keeps coming up in unexpected situations. More often than not, I use my lifelong indifference to sports and their related travails (exceptions: bowling, actual miniature golf — ABC’s Holey Moley is near unwatchable — and pinball) as a lever with which to convince other people who don’t care for competitive sports that whoever brought the show up in the first place was right and that they should give it a try. There’s so much great stuff about this weird, genial and foulmouthed Apple TV+ sitcom that it’s doing a better job of improving the rest of the world’s perception of America right now than the vast majority of, well, Americans.

But I still can’t quite get my mind around how this show has such a diverse appeal to Americans of all sorts of ideological persuasions. If we actually had a foreign policy built on listening to the concerns of others, finding out how everyone and everything works together, and operating out of benevolent kindness and structured nurturing (as Ted Lasso, both the character and show, does), it’s hard to imagine the vast majority of elected officials being willing to go along with it — much less being capable enough of sustained concern for others. These are the thoughts that linger around the shadow of family get-togethers, and I could see this amiable show being a fail-safe for awkward discussions, a cushion of hearty larfs so we don’t have to ask those questions that could be the thing that tears the family asunder.

Maybe that’s too many variables for even Ted Lasso star Jason Sudeikis at his most charming to handle. But if there’s one axiom to best operate under while simultaneously in the age of climate crisis and Peak TV, it’s

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that we can’t expect our fictional characters to fix damage that’s been steeping for generations. If you haven’t seen Ted Lasso, whatever your political perspective, take a look. It really does appeal to the secret idealist in me, maintaining kindness in the face of catastrophe and fixing the tiny fractures to build interpersonal relationships back up into something stronger.

I binged Season 1 during the interval between my first and second COVID-19 vaccine shots, and there is something about its Paddington-with-F-words tone that meshes very well with cautious and subdued optimism. Of course, it looks like Season 2 is landing right as the Delta variant could be exploding in the U.S., which is pretty far from subdued and very far from optimistic.

But I’m going to cling to hope, because I can’t cling to cookies, and this show believes strongly in both of those things.

I love fuzzy British curmudgeon Roy (Brett Goldstein, who does that thing everybody claims to like about some Guy Ritchie movies, but handles it all himself) and the always vibrant Juno Temple as Keeley, a model/publicist/icon navigating countless

streams of fame and a shaky relationship.

I love Rebecca (Hannah Waddingham), the businesswoman of sharp instincts and a sharper wit. She’s what any of the iconic ’80s TV divas could have been with a social media presence — and if the ’80s allowed professional women to express vulnerability or empathy, which that decade defiantly did not.

I resisted Ted Lasso initially because sports. That is the truth. And it took a diverse and worldwide chorus of friends, colleagues, lovers and random internet folk to make me take that chance. And maybe you can’t trust what I’m saying because you rely on this column just for where the most adventurous and unsettling horror is (it’s called We’re All Going to the World’s Fair, and it’s coming sometime in early 2022), or where the secret-gay stuff can be found (Luca, on Disney+, and it’s very sweet). But know that I’m taking this week’s column to reach out to everyone who genuinely wants to strengthen interpersonal bonds, and to say that there are lessons on this show that can help everyone. Listen to others, kill your own ego, help those who are hurting, use your enthusiasms for good, and let go of the lingering toxic people who’ve made you into a hateful caricature.

Season 1 of Ted Lasso is available to stream on Apple TV+. Season 2 will launch July 23.

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2 Bed /1 Bath 1008 sq ft $1259 2 floor plans

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1 bed / 1 bath 650 sq ft $872 to $1184 3 floor plans

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

2 Bed / 1.5 Bath - 2 Bath 1,047 – 1,098 sq ft $1,299 +

3 Bed / 2 Bath 1201 sq ft $1,399 +

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gazeboapts.com | 615.551.3832 34

NASHVILLE SCENE | JULY 8 - JULY 14, 2021 | nashvillescene.com

East End Village Townhomes 307 E Village Lane Nashville, TN 37216

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Fairfax Flats 206 Fairfax Ave Nashville, TN 37212 1 bed / 1 bath

Non-Resident Notice Third Circuit Docket No. 21 D230

$1200 to $1375 634 sq ft

GARY LYNN MCELROY, SR. vs.

MARY TAYLOR LEWIS

Non-Resident Notice Third Circuit Docket No. 21D700 SHARITA MICHELLE MILTON vs.

HERSHEY BENARD BURNETTE

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www.rockylawfirm.com LEGALS Non-Resident Notice Third Circuit Docket No. 21D700

SHARITA MICHELLE MILTON vs.

HERSHEY BENARD BURNETTE In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon HERSHEY BENARD BURNETTE. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 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 August 30, 2021. It is therefore ordered that a copy of this Order be

Richard R. Rooker, Clerk L. Chappell, Deputy Clerk Date: June 30, 2021 Larry B. Hoover Attorney for Plaintiff NSC 7/8, 7/15, 7/22 & 7/29/2021 Non-Resident Notice Third Circuit Docket No. 21 D230 GARY LYNN MCELROY, SR. vs.

MARY TAYLOR LEWIS In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon MARY TAYLOR LEWIS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 8, 2021 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 August 9, 2021. 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.

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: June 9, 2021 Paul E. Tennison Attorney for Plaintiff NSC 6/17, 6/24, 7/1 & 7/8/2021

1 floor plan

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2100 Acklen Flats 2104 Acklen Avenue, Nashville, TN 37212 Makes a Difference Studio / 1 BathMetro 1 Bed / 1 Bath 2 Bed / 2 Bath Notice of Application The Metropolitan 517 sq ft Government of Nashville 700 ft 1036-1215 sq ft Projects Engineer. and sqTechnical Design and evaluate Davidson County is integrated systems $2400 for $1600 - $1625accepting applications $1825for- $1975 - $2800 industrial production non-profit agencies to participate in the Metro Makes a Difference Campaign. Application may be obtained from: Metro Makes a Difference website: https://www.nashville.gov/De fault.aspx?tabid=222

NSC 6/17, 6/24, 7/1 & 7/8/2021 IN THE JUVENILE COURT FOR DICKSON COUNTY, TENNESSEE AT CHARLOTTE Docket No.: 06-21-079-DN IN RE: LEXI GWEN CUNNINGHAM, A minor child under the age of eighteen (18) years MATTHEW CUNNINGHAM, MEGAN JONES, Petitioners, v DANELLE MAI BARR, Mother, Respondent.

PAUL RYAN CUNNINGHAM, Father(Deceased).

SERVICE BY PUBLICATION TO: DANELLE MAI BARR Pursuant to an Order entered by Dickson County Juvenile Court Judge Michael Meise, it appearing from the Petition for Dependency and Neglect filed in this cause, which is sworn to, that you are a resident of the State of Tennessee so that ordinary summons cannot be served upon you and you are therefore commanded to serve on Kirk Vandivort with Reynolds, Potter, Ragan and Vandivort, PLC., whose address is 210 East College Street, Dickson, Tennessee 37055 an Answer or Response to the Petition filed against you in this cause within 30 days from the fourth publication of this notice as required by law; otherwise a judgment by default will be taken against you.

It required that this notice appear in the Nashville Scene for four consecutive weeks.

This the 23rd day of June, 2021.

NSC 7/1, 7/8, 7/15, 7/22, 2021

of

metallurgic

inventory

control,

logistics

material flow, cost 2100acklenflats.comand | 615.499.5979 analysis, and production

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: June 9, 2021 Paul E. Tennison Attorney for Plaintiff

processes

powder, including human 12 floor plans work factors, quality control,

Non-Resident Notice Fourth Circuit Docket No. 21D780 TAMARA L. HOSSMAN vs.

STEVEN J. HOSSMAN In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon STEVEN J. HOSSMAN. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 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 August 30, 2021.

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.

Richard R. Rooker, Clerk M. De Jesus, Deputy Clerk Date: July 1, 2021 F. Michie Gibson, Jr. Attorney for Plaintiff NSC 7/8, 7/15, 7/22 & 7/29/2021

EMPLOYMENT Metro Makes a Difference Notice of Application The Metropolitan Government of Nashville and Davidson County is accepting applications for non-profit agencies to participate in the Metro Makes a Difference Campaign. Application may be obtained from: Metro Makes a Difference website: https://www.nashville.gov/De fault.aspx?tabid=222 Completed applications can be sent to email address MetroCampaign@uwmn.org.

Deadline for submission: July 31st, 2021. The Metropolitan Government of Nashville and Davidson County does not discriminate on the basis of age, race, sex, color, national origin, religion or disability in

Completed applications can be sent to email address MetroCampaign@uwmn.org.

Deadline for submission: July 31st, 2021. The Metropolitan Government of Nashville and Davidson County does not discriminate on the basis of age, race, sex, color, national origin, religion or disability in admission to, access to, or operations of its programs, services, or activities.

Inquiries concerning application process should be forwarded to the above email addressor.

Landscape Designer. Plan and design landscape architectural site plans for land area projects. Employer: Catalyst Design Group, PC. Job location: Nashville, TN. Mail resume (no calls) to: Andrew Wolthers, Principal, Catalyst Design Group, PC, 5100 Tennessee Ave., Nashville, TN 37209 Operations Coordinator: Campus Ministries.

Coordinate and evaluate programs, systems, and processes of religious organization providing college campus ministries to identify areas needing improvement.

Employer: Every Nation Churches & Ministries.

Location: Brentwood, TN. To apply, mail resume (no calls/emails) to Kerren Barker at P.O. Box 1787, Brentwood, TN 37024.

Technical Projects Engineer.

Design and evaluate integrated systems for industrial production processes of metallurgic powder, including human work factors, quality control, inventory control, logistics and material flow, cost analysis, and production coordination.

Employer: Hoeganaes Corporation.

Location: Gallatin, Tennessee. To apply, mail CV (no calls or e/mails) to: Ryan Morrison, Sr. Human Resources Manager, Hoeganaes Corporation, 1315 Airport Rd., Gallatin, TN 37066.

coordination.

Employer: Hoeganaes Corporation.

Location: Gallatin, Tennessee. To apply, mail CV (no calls or e/mails) to: Ryan Morrison, Sr. Human Resources Manager, Hoeganaes Corporation, 1315 Airport Rd., Gallatin, TN 37066.

Dollar General has multiple openings for Lead Software Engineers & Senior Software Engineers in Goodlettsville, TN. Requires a BS or MS degree in Computer Science or a related field & multiple years of SW dev work experience. For full job description & specific requirements for each position, & to apply, visit dollargeneral.com/careers

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In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon HERSHEY BENARD BURNETTE. It is ordered that said Defendant enter HIS appearance herein with thirty (30) days after July 29, 2021 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 August 30, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

In this cause it appearing to the satisfaction of the Court that the defendant is a non-resident of the State of Tennessee, therefore the ordinary process of law cannot be served upon MARY TAYLOR LEWIS. It is ordered that said Defendant enter HER appearance herein with thirty (30) days after July 8, 2021 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 August 9, 2021. It is therefore ordered that a copy of this Order be published for four (4) weeks succession in the Nashville Scene, a newspaper published in Nashville.

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