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Buzz & Click 3 * Saturday, 5th

A testament to the diversity of Nashville’s electronic music scene, WRVU-91 Rock’s third annual Buzz & Click show brings together many faces of the city’s binary contingent.
A testament to the diversity of Nashville’s electronic music scene, WRVU-91 Rock’s third annual Buzz & Click show brings together many faces of the city’s binary contingent. Making their third consecutive appearance at the event are Jensen Sportag, who’ve been diligently building the city’s electronic fan base, while former Voight-Kampff member Matt Hamilton will deploy fascinating sounds from a more experimental place. Particularly notable in the lineup is the return of former Nashvillian and Venus Hum member Tony Miracle, with his new Satellite City project. Of equal mention is Athena Blu, whose Jan Pulsford has done amazing production with the Thompson Twins, Cyndi Lauper and DJ Julian Marsh. At the opposite end of the aesthetic spectrum are Birdfeeder, who, arising from their Lovecraftian murk, will bring withering electronic fear to the proceedings. They will be premiering a new piece composed specifically for the event. There also will be an unannounced appearance by Nashville’s first couple of electronic music, Annette Strean and Kirk Cornelius, during 3kStatic’s set. Care and creativity go into the planning of almost all of 91’s events, but the Buzz & Click shows go above and beyond expectations in curating the new electronic sounds of Nashville. (For more info, visit www.wrvu.org/upcoming.html.) The 5 Spot —JASON SHAWHAN MUSIC Thursday, 3rd KENNY NEAL Last summer, Neal again proved he’s the standard-bearer for the living legacy of the swamp blues. His album, A Tribute to Slim Harpo and Raful Neal, was intended at first only to include his father’s vocals and harmonica playing, not to commemorate him along with Harpo, the legendary “King Bee” from the Baton Rouge area who recorded for Nashville’s Excello label. But the death of Neal’s father a year ago made the album more reverent than exuberantly swampy, with Kenny’s already world-weary singing complementing Raful’s. Neal continues to keep the door open to the currents of Americana that have traditionally entered the laid-back blues in which he was steeped while growing up. He’s given a soulful spin to material from Dylan, John Hiatt and Nick Lowe, songwriters whose earthy fables have influenced Neal’s own writing. (www.kennyneal.net) B.B. King’s —BILL LEVINE ADRIANNE This 27-year-old Berklee grad may not be a household name, but she is a staple, by way of suburban Miami, of the L.A. singer-songwriter scene. Down to This, her fourth album, comes without the bells and whistles of 2004’s well-received 10,000 Stones, but the pop hooks remain intact. Adrianne, who doesn’t use her surname (Gonzalez), eases her way through 11 originals, unplugged and unaccompanied. Swelling from breathy wistfulness to throaty bite, her vocals are well-matched to her emotive lyrics and sharp guitar playing. Last year, three of her songs were featured in the movie Eulogy, starring Debra Winger, Ray Romano and Zooey Deschanel. Bluebird Café —JEWLY HIGHT Saturday, 5th-Sunday, 6th JEFF HAMILTON TRIO Co-leader of the Clayton-Hamilton Jazz Orchestra, the de facto house band of the Hollywood Bowl, Hamilton is one of the best drummers currently working in the big-band tradition. Yet he’s often heard to best advantage in smaller settings, where his command of multiple textures stands out. With his background in arranging standards for large ensembles, he always swings hard and plays with a strong feel for melody. His sets may shift fluidly from swing to stately ballads, Brazilian jazz to funky blues, quirky Monk to reimagined Beatles. Featuring Christoph Luty on bass and Tamir Handelman on piano, Hamilton’s trio will perform at 8 p.m. on Saturday (the show may have sold out by the time this reaches print) and 4 p.m. on Sunday. (www.hamiltonjazz.com) Nashville Jazz Workshop; for info, call 242-JAZZ. —BILL LEVINE Sunday, 6th DWIGHT YOAKAM A recent study shows that about a third of men report feeling “liberated” after a divorce. It appears you can count Dwight Yoakam in that minority, as his music has been given a surprising jolt by his split from Pete Anderson, his producer and guitarist of 21 years. Sure, Anderson’s brilliance played a large part in establishing Yoakam as the latter-day standard-bearer for the tough, twangy Bakersfield sound. But the freshness of Yoakam’s recent, self-produced Blame the Vain argues that this divorce has an upside. Anderson’s onstage spot has been taken by guitar hotshot Keith Gattis, part of a rejuvenated Los Angeles country scene that also influenced Blame the Vain. The self-titled debut of opening act Hanna-McEuen also bears a touch of Bakersfield, along with tinges of the Mavericks and the Dirt Band—suitably, as first cousins Jaime Hanna and Jonathan McEuen are the sons of Dirt Band mainstays Jeff Hanna and John McEuen. Ryman Auditorium —CHRIS NEAL Monday, 7th CRYPTIC ONE/HANGAR 18 The rapper Cryptic One and the members of Hangar 18 belong to the underground hip-hop collective known as the Atoms Family. One of the Family’s main producers, Cryptic uses styles and techniques identified with other artists in an attempt to subvert their work with his dire yet indirect political verse. Regardless of what he samples, the results always land somewhere to the left of the original, whether veering toward abstract electronica or employing elements of jazz without diving full-on into trip-hop or acid jazz. Hangar 18’s more spartan production serves as a backdrop for the trio’s comedic party-minded sing-alongs. Both acts face the challenge, inherent in hip-hop, of translating their sonics to the stage, where bass-booming sound mixes unfortunately still prevail. Cryptic appears in Nashville on his first nationwide tour. (www.daybydayent.com/artists/cryptic_one.shtml) 12th & Porter —SABY REYES-KULKARNI HATEBREED This Connecticut outfit still sound fresh 10 years into their career, despite being succeeded by countless bands who likewise combine death metal and hardcore. The fact that Hatebreed’s innovations haven’t lost their luster is all the more remarkable when you consider that the band’s songwriting has evolved little since their 1997 classic, Satisfaction Is the Death of Desire—and that the group’s straight-ahead approach to riffing and groove rarely reached beyond the pedestrian to begin with. Hatebreed’s stature as a metalcore institution persists largely on the strength of vocalist Jamey Jasta, whose death-metal bark is seldom matched in presence, body and dimension by his peers. His renditions of trademark hardcore themes of empowerment and survival resonate with vigor and mark Hatebreed as hardcore torchbearers, a distinction few of their contemporaries can claim. (www.hatebreed.com),Exit/In —SABY REYES-KULKARNI Tuesday, 8th FREAKWATER This neo-Appalachian stringband’s music isn’t overtly political, but if only through evocation and narrative, principals Cathy Irwin and Janet Bean have been taking sides ever since they began harmonizing together in the late 1980s. Irwin’s “Ugly Man” and “Waitress Song,” from 1995’s Old Paint, are straight out of Dorothy Allison; they say as much about the hegemony of patriarchy and classicism as the white paper of any second-wave feminist. The burst of guitar feedback that opens “Buckets of Oil,” the third track from Freakwater’s new Thinking of You, initially recalls the cover of Black Sabbath’s “War Pigs” that the group released during the nation’s 1991 attacks in the Persian Gulf. The second coming of “War Pigs” is more like it: the song is a devastating attack on the blood-for-oil diplomacy and persistent bad faith of the second Bush administration. Invoking images of amber waves of grain and purple mountains’ majesty (the latter likened to so many purple-heart medals shining on a “sad hill of graves”), Irwin and Bean bemoan a not-so-beautiful America upon which the face of God no longer shines, an America “where the winner and the losers, from sea to shining sea / Have been bought and sold, and most often have for free.” (www.freakwater.net) 3rd & Lindsley —BILL FRISKICS-WARREN MARAH The brothers Bielenko accept their fate as anachronistic urban rockers who wear their heart on their rolled-up sleeves on the new If You Didn’t Laugh, You’d Cry, which includes an unusually sweet ditty with the chorus, “So what if we’re out of tune with the rest of the world.” A roots-rock band if your roots are in Philly soul, sidewalk doo-wop, Springsteen rock and the street scenes of Lou Reed, Marah write about blue-collar, rust-belt-city neighborhoods and the dreamers and hustlers who populate them. Better yet, they deliver the whole raucous, sprawling mess with the sweaty commitment of a bunch of millworkers throwing a bachelor party for a lifelong buddy. The new album has more acoustic strings than the horn-driven 20,000 Streets Beneath the Sky, but every song still sounds like a buzzing pizzeria on a Friday after midnight. (www.Marah-USA.com) Mercy Lounge —MICHAEL McCALL DANCE TANGO AT THE FRIST Tango Nashville, dedicated to educating and entertaining Middle Tennesseans with the art and culture of Argentine tango, celebrates its second anniversary with a gala performance on Nov. 3, from 5:30 to 7:30 p.m., at the Frist Center Auditorium. The two-hour program features a 30-minute “essentials” class, led by Clifton Chow of Boston Tango, as well as performances featuring members of the Nashville Ballet, fresh from their own recent tour of South America. Refreshments and a cash bar will be available. For info, call 889-3390 or visit www.tangonashville.com. —MARTIN BRADY THEATER THE GLAMOROUS ANDREA MERLYN MAGIC SHOW The so-called queen of magic returns to Bongo After Hours Theatre for one show on Nov. 6. Merlyn (a.k.a. Taylor Martin) has been cross-dressing since he was a teenager. Besides finding work with his touring magic act—earning the praises of Penn and Teller, among others—he’s been a singer, a radio personality and an actor, and once even belly-danced for the governor of his home state of Indiana. Whether these special skills get worked in among the prestidigitation is anyone’s guess. Seeing is believing! The sleight of hand begins at 9 p.m. —MARTIN BRADY GETTING OUT The student thespians in Vanderbilt University’s theater program have proven capable of some very good efforts. While their focus is often on classics and musicals, they also tackle contemporary works, such as this interesting script about a woman trying to move on with her life after a prison stint. The author, Marsha Norman, won the 1983 Pulitzer Prize for her acclaimed ’Night Mother. Performances are Nov. 4-12 in Neely Auditorium on the campus. For tickets, phone 322-2404. —MARTIN BRADY THE PERFECT 36 History comes alive this weekend, when thespians at Volunteer State Community College present this re-creation of the contentious politicking that resulted in Tennessee becoming the pivotal 36th state to ratify the 19th Amendment to the Constitution, which accorded women the right to vote. Nashville songwriter Candace Anderson Corrigan’s original script, based on events described in Carol Lynn Yellin and Janann Sherman’s nonfiction book of the same name, portrays a nasty, protracted fight for civil rights in the summer of 1920, when members of the suffragist movement went head-to-head with the Tennessee legislature. Performances are Nov. 4-6 at the Wemyss Auditorium on the Vol State campus in Gallatin. For info, call 452-8600 ext. 2167. —MARTIN BRADY COMEDY SOUTHERN FRIED CHICKS Drawing upon their commonalities—most importantly, being Southern women—and their divergent social backgrounds, these three comedians have joined forces to present a touring show enjoying solid regional success. Leanne Morgan, Karen Mills and Etta May have each had their share of solo gigs as performers or writers, having individually made appearances at well-known clubs and comedy festivals as well as on TV and radio. What you essentially get here is three different one-woman shows: Knoxville’s Morgan works her Southern-conservative, June Cleaver-ish soccer-mom routine; former UT-Chattanooga basketball star Mills riffs as the enlightened New South gal who has gone from catfish to sushi; and May comes on as a neo-Minnie Pearl making comic hay out of family life with a truck driver and four unruly kids. The Chicks make their Nashville debut on Nov. 4-5 at the Belcourt Theatre. —MARTIN BRADY ART MARCUS ANTONIUS JANSEN: “URBAN STATE OF MIND” Born in Manhattan and raised in Germany, painter Jansen borrows as much from German Expressionism as he does from New York’s urban landscapes and hip-hop culture, creating a hybrid form he has dubbed Urban Expressionism. Like his early hero, Jean-Michel Basquiat, his work comes from the same streets and makes use of numeric symbols and text, but his canvases rarely leap from cityscapes to pure abstraction, and his use of alpha-numeric elements seems more purely compositional than poetic. A Gen-X veteran of the first Gulf War, Jansen came to art after his combat experience left him with “a heightened sense of awareness with things in the world,” he explains. “I would like to think of my work as the spiritual process of what happens between the eye and the object.” Gallery One will host an opening reception on Saturday, Nov. 5, 6-8:30 p.m. The exhibit will run through Dec. 4. —JOE NOLAN JOYCE GRALAK: “A GOOD YEAR FOR BLACKBERRIES” Featuring recent work by the acclaimed Knoxville artist, “A Good Year for Blackberries” is a study in memory and perspective through time. Making use of found objects, text and rural and domestic images, Gralak layers her elements in wax, creating connections and dichotomies beneath varying levels of clarity and obscurity. The elements in a given piece are “chosen by gut level reactions,” according to the artist, and the subject that emerges is the result of a dialogue between the art and its creator as much as it is between the art and the viewer. Much in the way that blackberries can grace a home-cooked dessert or form an imposing bramble, Gralak would have us use her art as a lens through which to examine our varied connections to the world and one another. The show has been on display at the Tennessee Arts Commission Gallery since Sept. 29, and it closes this weekend with a reception on Saturday, Nov. 5, from 5-7 p.m. The gallery is located at 401 Charlotte Ave. —JOE NOLAN BOOKS DIANE THOMAS It’s February 1955, when 15-year-old Achsa McEachern writes a letter that opens with the sentence, “Dear Mr. Presley: I don’t know who you are, and I’m not a person who writes fan letters, but I thought I ought to tell you they’re playing your record, ‘That’s All Right, Mama,’ on the wrong radio station.” So begins The Year the Music Changed (The Toby Press), a debut novel by Georgia writer Diane Thomas. Based on an outrageous premise—that Elvis Presley, at the age of 20, engaged in an intense secret correspondence with a bookish Atlanta girl—the book is a multilayered coming of age story: Achsa comes to understand herself and her troubled parents; Elvis the backwoods hillbilly singer comes to be Elvis the national pop icon, and rock ’n’ roll music comes to stay. The early Elvis letters are so full of rural dialect, and the early Achsa letters so full of outsider teen earnestness, that they’re almost embarrassing, but the transformation of Elvis and Achsa into soul mates happens both subtly and quickly. By the third chapter, the premise no longer seems remotely bizarre, and you can’t help falling in love with this heart-thawing epistolary novel. Diane Thomas will speak at a luncheon at Landmark Books in Franklin on Nov. 5 at noon. The lecture is free; luncheon tickets are $25. Call 791-6400 for reservations. —MARGARET RENKL BILL SMITH Crook’s Corner restaurant in Chapel Hill, N.C., is dearly loved: food critics everywhere have sung its praises, from Bon Appetit to The New York Times. With the publication of his new cookbook, Seasoned in the South: Recipes From Crook’s Corner and From Home (Algonquin, 192 pp.), chef Bill Smith—who’s been with the restaurant for over a decade—presents a collection of the culinary institution’s recipes for New South cuisine. Arranged seasonally, the recipes are straightforward, designed to be enjoyed by cooks both experienced and not. Smith’s style is friendly, honest, charming in its exuberance. You can tell he’s the consummate host, as much in love with good conversation as with good food. Novelist Lee Smith has written the foreword—she recommends her all-time favorite dish of fried oysters with roasted garlic mayonnaise—and her description of the chef is endearing. Think dancing on tables, or gathering blossoms at midnight for a honeysuckle sorbet. On Wednesday, Nov. 9, Bill Smith will participate in a meet-and-greet at Davis-Kidd Booksellers. Wine and hors d’oeuvres from Crook’s Corner will be served; tickets are $15. —LACEY GALBRAITH FILM MIRRORMASK Fantasy author Neil Gaiman and director Dave McKean collaborated on this visually stunning dream tale, in which a 15-year-old girl (Stephanie Leonidas) seeks a powerful mask in a netherworld of opposing kingdoms and strange beings. The film opens Friday at Green Hills. —Jim Ridley BLOW OUT Brian De Palma breaks down cinema to individual frames and reassembles it before your eyes in his 1981 thriller, one of the decade’s best movies and arguably the most corrosive Hollywood movie ever made about the ethical dangers inherent in filmmaking. In his imagined intersection of the Zapruder film, Chappaquiddick and Antonioni’s Blow-Up, De Palma entangles a sound man (John Travolta, never better) in a deadly conspiracy he may have captured on tape. Not to be missed on the big screen, the movie gets a free screening 7 p.m. Friday at the Frist Center in conjunction with Deborah Aschheim’s installation Neural Architecture—which, in its examination of surveillance electronics as part of the infrastructure of modern life, sounds like ideal De Palma material. —JIM RIDLEY SPIKE LEE No major American filmmaker remains more tuned-in to current affairs than Lee: his criminally overlooked 25th Hour was arguably the first Hollywood movie to explore the post-9/11 landscape, and even a misfire like She Hate Me bristles with concerns that bleed ink. Following a 5:15 p.m. screening of his 1990 masterpiece, the still-controversial Do the Right Thing, he lectures 7:30 p.m. Wednesday, Nov. 2, at MTSU’s Alumni Memorial Gym in Murfreesboro to kick off the university’s three-day International Conference on Cultural Diversity. Call 898-5975 for ticket info. —JIM RIDLEY THE TWO FACES OF SCARFACE What is this week, De Palmapalooza? No complaint here, as Vanderbilt’s Sarratt Cinema, that notorious O.G. hangout, hosts a double bill Saturday of De Palma’s 1983 coke epic Scarface (scripted, if you’ll recall, by one Oliver Stone) and the 1932 Howard Hawks classic that loosely inspired it. Together, they’re as cockeyed a salute to the American dream as the movies have produced; neither should be missed. —JIM RIDLEY KEANE Consider this chilling film by writer-director Lodge Kerrigan the anti-Flightplan, as a distraught dad (Damian Lewis) searches for his missing daughter who disappeared from the New York Port Authority bus terminal. Acclaimed as one of the year’s best films, it opens Friday at the Belcourt. —JIM RIDLEY NASHVILLE JEWISH FILM FESTIVAL The city’s yearly gathering of indie features, documentaries and archival films on the theme of Jewish life, history, tradition and culture launches its fifth annual event Sunday at the Belcourt, with opening-day screenings of Paper Clips and the Charlie Chaplin classic The Great Dictator. —JIM RIDLEY JARHEAD Jake Gyllenhaal plays Anthony “Swoff” Swofford, a green Marine dispatched to the Middle East in the build-up to Operation Desert Storm, in this movie version of Swofford’s memoir. Sam Mendes (American Beauty) directed; Jamie Foxx and Peter Sarsgaard co-star. Opening Friday. —JIM RIDLEY


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