Our Critics Picks 

Jake La Botz—Thursday, 26th Now that the Mississippi Delta has virtually dried up as a source for dismal, ragged-edged bluesmen, it’s hard to think of it as fitting inspiration for Jake La Botz. His 37 years have been colored by dead-end jobs, busking on Chicago’s Maxwell Street—where he met Robert Johnson-heir Honeyboy Edwards—and drug addiction, not to mention shadowy roles in films such as Animal Factory and Ghost World, a Velvet Revolver audition at Slash’s request and loads of tattoos. The Los Angeles artist’s fourth album, Graveyard Jones, has everything to do with the ink. The cover art captures the tattoo on his forearm, a skeletal bluesman burning in the fires of hell. So it’s natural that La Botz is playing tattoo parlors to promote the record. The songs pierce and scrape at the listener’s skin like the needle of a tattoo gun, his harsh, grainy rasp—not unlike Tom Waits’—spewing forth blunt, morbid narratives about threadbare lives and the nearness of the grave. Lone Wolf Body Art —JEWLY HIGHT MUSIC Thursday, 26th THE ROMANTICS There’s more to the story of The Romantics than the inescapable “That’s What I Like About You.” First, “Talking in Your Sleep” is the Detroit band’s biggest official hit (No. 3 in 1983). Second, the band had to fight in court to reap the rewards of “That’s What I Like About You,” which found it’s way into commercials in the late ’80s and early ’90s without their consent. Third, Blondie drummer Clem Burke came on board after the band settled a seven-year lawsuit with their management and started playing again. Fourth, Clem Burke left The Romantics when Blondie got back together. Fifth, The Romantics’ 61/49, released in 2005, found a surprisingly lively band returning to its stripped-down rockabilly and punk roots. Sixth, “What I Like About You” is an awesome song—an infectious sing-along pop anthem with a fevered jolt of a harmonica break just for good measure—that you’re probably singing in your head right now. (romanticsdetroit.com) Exit/In—WERNER TRIESCHMANN TURNCOATS Murfreesboro’s Turncoats share personnel with raunchy punk hooligans The Young Livers and synth-pop new-wavers How I Became the Bomb, and, upon hearing their new 7-inch single, the amalgamation makes perfect sense. Taking the bluesy punk of the former and polishing it up with the pristine pop of the latter, The Turncoats come away with a classic, guitar-driven power pop sound reminiscent of Big Star and The Who. Recorded by Brian Carter, who sat behind the recording console for The Features and seemingly any band that was ever associated with Spongebath Records, the single marks the first release under the newly established record label faction of the Murfreesboro music hub Grand Palace. (myspace.com/turncoatstn) Grand Palace —MATT SULLIVAN Friday, 27th MOVEMENT NASHVILLE HALLOWEEN BASH Movement Nashville is bringing out the big guns for its Halloween—OK, the Friday before Halloween—Bash. De Novo Dahl’s quirky, indie-pop, Bang Bang Bang’s guitar-heavy Southern rock, AutoVaughn’s synthy power-pop and Jeremy Lister’s rangy songwriter fare will all be on display. Let’s hope we’ll see some creative costumes on stage. Bang Bang Bang, you can’t just throw on some tight pants and call yourselves Kings of Leon, while the stakes are raised for De Novo Dahl, since they dress up for most every gig anyway. The evening promises to be a big, rowdy shindig—filled with catchy sing-along tunes and girls exercising their once a year dress-like-a-slut options. There’s a $3 discount if you come in costume, so get waxing now. (myspace.com/movementnashville) Exit/In —LEE STABERT KAYO DOT Calling Boston’s Kayo Dot the perfect experimental art-metal band is not only a dubious genre classification, but it also undermines the vision of former Maudlin of the Well frontman Toby Driver. Perfection isn’t part of this band’s vocabulary and, in mixing moments of grindcore with doses of free and cool jazz, bossa nova, Baroque classical, indie post-rock and bona fide heavy metal—it’s almost anathema. Instead, Kayo Dot embrace the all-encompassing experimental ethos, holding sacred the notion that success through exploration is contingent only upon occasional failure, but they weave their tests of juxtaposition and altered sonic states into sprawling and comprehensible (if illogical) song-shaped behemoths. (kayodot.net) The Muse —GRAYSON CURRIN Saturday, 28th JONNY LANG This hunky 25-year-old bluesman sings about the pleasures of going triple-platinum on his new album, Turn Around, but admits that, “There’s no guarantee it’s ever gonna happen.” Lang’s a sensible fellow: none of his subsequent albums have matched the commercial success of his 1997 debut (perhaps the most compelling product of the bizarre mid-’90s boom in teenaged blues guys), so his chances of selling three million CDs to My Chemical Romance fans are now slim at best. But the gospel-tinged Turn Around deserves to be heard by at least a few thousand of the listeners who bought Lie to Me for its child-prodigy value; counter-intuitively, age has actually freshened up Lang’s tuneful soul-rock jams. And it’s done great things for his love songs, which these days sound pretty believable. (jonnylang.com) Ryman Auditorium —MIKAEL WOOD TILLY AND THE WALL If you know anything about Tilly and the Wall, you probably know them as the Omaha band that forwent a drum kit in favor of amplified tap dancing. But the band are more than a pair of patent-leather shoes and accompanying hand claps; their delicate folk-pop gems have an enthusiasm and optimism that’s earned them a dedicated following among the high school and college indie crowds. They’re the byproduct of the now defunct group Park Ave.—the band Conor Oberst and Clark Baechle started before they went the way of Bright Eyes and The Faint, respectively. Exit/In —CLAIRE SUDDATH MOJAVE 3 W/TIM O’REAGAN Ex-Slowdive members Neil Halstead, Rachel Goswell and Ian McCutcheon formed Mojave 3 a decade ago as an excuse to play something different than Slowdive’s fuzz-soaked shoegaze pop. The result: a handful of gorgeous space-folk discs more about tune than volume. Puzzles Like You, the outfit’s latest, suggests that all the gentle strumming and careful harmonizing has reignited the desire to rock. It’s no barnburner, but the bright, jangly Puzzles is faster and louder than any previous Mojave music. Opener (and erstwhile Jayhawks drummer) Tim O’Reagan, from Minneapolis, plays appealingly ramshackle roots stuff. (mojave3online.com; myspace.com/timoreagan) Belcourt Theatre —MIKAEL WOOD IV THIEVES These English garage-rock guys put out a good album last year called The Greatest White Liar under the name Nic Armstrong & the Thieves. After he’d completed Liar’s just-released follow-up, If We Can’t Escape My Pretty, Armstrong decided that his three bandmates had contributed enough to the effort to warrant changing the name of the act to IV Thieves. Sweet chap. Can’t Escape offers more of Armstrong’s scruffy British Invasion worship, now with swell three-part harmonies. Onstage, the Thieves are known to tear shit up. (myspace.com/ivthieves) The Basement —MIKAEL WOOD Sunday, 29th ROCKY VOTOLATO w/WILLIAM ELLIOTT WHITMORE Like Elliott Smith, Seattle’s Votolato is a former punk rocker who now makes hipsters swoon with tender acoustic folk-pop ditties. The ones on his latest, this year’s Makers, aren’t as distinctive as Smith’s, but few indie-scene singer-songwriters’ are. Whitmore, from Iowa, sounds somewhat less like his peers, thanks to his fondness for the banjo and his cracked singing voice, which could pass for that of an 80-year-old man. (myspace.com/rockyvotolato; williamelliottwhitmore.com) Exit/In —MIKAEL WOOD   Monday, 30th FRANK MARINO & MAHOGANY RUSH Chark Kinsolving knows how to put the rock in Rocktober. The Mercy Lounge/Cannery Ballroom co-owner managed to book two of his all-time guitar heroes in the same month: Robin Trower, who played the Cannery Oct. 2, and Frank Marino & Mahogany Rush, who play the Mercy this week. Marino’s story is legend: after a teenage acid spree in the ’60s that landed him in the psych ward, he immersed himself in guitar to keep from going off the deep end. (Stories that he awoke from a coma overtaken by the ghost of Jimi Hendrix abounded for years—though Hendrix was still alive during the hospitalization.) He formed Mahogany Rush in 1971 and recorded their first album when he was just 17. Marino is clearly influenced by Hendrix, though he covers more territory, revealing a variety of six-string flavors from Classic Rock’s heyday. Something of a cult figure, the Canadian guitar colossus hasn’t been seen in these parts in eons. “Usually the act gives the club a rider,” Kinsolving says, “But, I’m giving them a rider—there will be fog, and you will play ‘Stories of a Hero’ from Juggernaut.” (mahoganyrush.com) Mercy Lounge —Jack Silverman KINKY Three albums in, this Monterey, Mexico, sound machine and indie-dance rock outfit are still looking for their crossover hit. No matter—they demonstrate an appealing junk aesthetic on Reina, throwing synths, steel guitars, accordions, cowbells and anything else on the dance floor to see what moves. “Sister Twisted” and “I Say Hey” are marvelously empty-headed, body rocking tunes with enough quirks to satisfy jaded ears. The band falter on vocals a little, and the lack of a strong singer usually means the songs don’t add up to much more than appealing grooves. Then again, it’s likely the crowd will be too busy sweating on the dance floor to care. (kinkymusic.com) Exit/In —Werner Trieschmann BROADWAY MEETS COUNTRY If you’ve ever been at a Lee Ann Womack show and wished she’d sing a little something from Funny Girl, or wondered what would happen if the star of Legally Blonde: The Musical tore into Gretchen Wilson’s “All Jacked Up,” this night is your purple-state dream come true. As the title subtly implies, “Broadway Meets Country” features country stars performing show tunes, and musical theater types taking on country classics. Last year the show went down in New York City; for the second annual concert, those Broadway babies will have to brave the rough-and-tumble dive bar we call the Tennessee Performing Arts Center’s James K. Polk Theater. Barbara Mandrell and Tony-winning “30 Rock” star Jane Krakowski are slated to host, with proceeds going to TPAC Education and the Actors’ Fund of America. Music City heavyweights on hand include Womack, Trisha Yearwood, Josh Gracin, Raul Malo, Lorrie Morgan, Joe Nichols, Jamie O’Neal, Phil Vassar and Chris Young. They’ll bridge the cultural divide with stars of stage and screen Ben Vereen, Peter Gallagher, Laura Bell Bundy and many more. (cmaawards.com/2006/events/broadwaymeetscountry) TPAC’s James K. Polk Theater —CHRIS NEAL Tuesday, 31st THE STRINGDUSTERS HALLOWEEN SHOW It’s hard to think of another bluegrass band that’s as successful at combining old-school ferocity with modern musical sophistication, a mix that endears them to the jamgrass crowd. The sextet’s members have served stints as sidemen with, among others, Ronnie Bowman, Chris Jones, Mike Snider and Drew Emmitt, but beyond the impressive résumés, they’ve got a fine web of personal connections that enrich and enliven the music. Their new five-song disc, released just in time for last month’s IBMA festivities, promises a solid Sugar Hill debut early next year, and adds a dandy new live cut, coincidentally recorded at tonight’s venue. Coming off a busy summer of picking—and bonding—they’re ready to cut loose at home, and while costumes may or may not be involved, the show’s bound to summon some lively spirits. Station Inn —JON WEISBERGER DANCE TAIPEI FOLK DANCE THEATER The Chinese Arts Alliance of Nashville continues to supply the local scene with imported ethnic dance programs that are both enriching and refreshingly novel. Taipei Folk Dance Theater, Taiwan’s premier professional folk dance company, was established in 1988 with a mission to promote the beauty of Taiwanese ethnic dance, to preserve the dance culture of aboriginal Taiwanese and to explore the influence of Chinese traditional dance. The troupe is constantly developing new works and has now performed in more than 40 countries in Europe, the Americas, Asia and Africa. Their Nashville presentation features eight different dances, including “Meditation Through the Flower,” “The Love of Autumn,” “When My Heart as a Window of Life Opens” and “Homage to the Gods.” Performed 7 p.m. Oct. 26 in Ingram Hall at Vanderbilt’s Blair School of Music. Call 292-6204. —MARTIN BRADY THEATER HAMLET Valhalla Shakespeare is a theater company committed to presenting the works of the Bard in outdoor performances that eschew formality in favor of a simpler, more casual approach that focuses on text over tech. Green Room Projects’ Mark Cabus directs this production about the melancholy Dane, and he’s gathered up an interesting group of Middle Tennessee actors for the effort, including Jessejames Locorriere, Richard Northcutt, Wesley Paine, Tee Quillen, Claire Syler and Kyle Williams. Cabus, himself one of the Nashville area’s finest actors in all styles, will also trod the boards. The performances are 3 p.m. Oct. 28-29 at Valhalla Farms, 3081 Jimtown Road, in Cannon County.  Admission is free. For directions, go to www.vsptn.com or call (615) 904-5335 for more information. —MARTIN BRADY THE LION KING At last, Nashville gets to feel the love—and to see what all the shouting is about. This stage adaptation of the popular animated Disney film is a true visual feast, one that features hundreds of puppets (including an 18-foot-high giraffe and a 13-foot-long elephant), an equal number of masks, costumes and wigs. The story’s the same as the 1994 feature film, which included such characters as a wisecracking meerkat, a big-hearted warthog and a pack of evil hyenas. Elton John and Tim Rice’s popular score (“The Circle of Life,” “Hakuna Matata,” etc.) has been expanded to include the music and lyrics of Lebo M, Mark Mancina, Hans Zimmer and Jay Rifkin, providing cooler rhythms with which noted choreographer Garth Fagan can work his magic. Julie Taymor, with her battle-tested experience as an imaginatively successful director of stage, opera and film, brings all the re-conceptualization together into a lavish visual and aural assault, which, they say, is guaranteed to thrill all ages. For six weeks, Music City will be in thrall. Performances are Oct. 26-Dec. 3 at TPAC’s Andrew Jackson Hall. Phone 255-ARTS. —MARTIN BRADY COMEDY THE SPONTANEOUS COMEDY COMPANY This occasional ensemble of veteran comic actors has experience with both sketch comedy and improv, but this engagement finds them working only in the latter form, drawing material from audience suggestions. Ringleaders Jackie Welch and Carolyn German have been around Nashville for years as writers, performers, directors and teachers, and both their talents and credits are first-rate. They’re joined by Frank Rains Jr. and Josh Childs for an Oct. 28 performance at the Darkhorse Theater. Show time is 8 p.m. Russ Davis mans the keyboards. For more information, call 874-8715. —MARTIN BRADY ART SOUTHEASTERN COLLEGE ART CONFERENCE The premier event dedicated to promoting the visual arts in higher education returns to Nashville for the first time in 30 years. The conference, hosted by Vanderbilt University, runs through Oct. 28 and features more than 100 events, including a slew of exhibitions going on throughout the city. Zeitgeist Gallery will show works by regional artists Armin Mühsam, Gene Wilken and Mike Wsol, who each interpret the relationship between some combination of architecture, man and landscapes. The opening reception is 6 to 8 p.m. Oct. 28 at Zeitgeist. The gallery also teams up with Tennessee Volunteer Lawyers for the Arts for an exhibit at Vanderbilt University Law School featuring works by three Nashville artists and three regional artists with ties to the conference. An artist reception will be held 5 to 7 p.m. Oct. 26 at the Law School. The Parthenon features works of SECAC and MACAA members selected by art critic and scholar Eleanor Heartney, and Vanderbilt’s Sarratt Gallery exhibits works by University of North Carolina-Asheville painting professor Virginia Derryberry. The meat of the conference includes panel discussions and lectures on everything from the role of madness in creativity to the works of John Lennon and Yoko Ono. For a full schedule of events, including lectures by professors from Princeton, Vanderbilt and the Art Institute of Chicago, call Vanderbilt at 322-NEWS or visit SECAC’s website, www.unc.edu/~rfrew/SECAC. Lectures are designed for members of SECAC and MACAA, but the general public may purchase day passes for $55. Art exhibits and openings are free. —CLAIRE SUDDATH TED JONES The Palette Gallery presents a show of new work by Fisk University professor of art Ted Jones. Exploring print, design, sculpture and photography, Jones’ work draws from his African American cultural experience and makes use of Biblical allusions as well as references to the plight of the poor and incarcerated.  The best of his large prints combine raw renderings with a graphic designer’s sense for color and composition. An artist’s reception will be held on Friday, Oct. 27, from 6 to 9 p.m. —JOE NOLAN ARTCLECTIC 2006 Celebrating its 10th anniversary, Artclectic—the annual fundraiser for University School of Nashville—brings together a show of work by celebrated artists from a decade’s worth of the exhibit’s history. The four-day event includes a silent auction and interactive educational classes.  The show is open to the public from 10 a.m. to 6 p.m. Saturday, Oct. 28, and from 11 a.m. to 3 p.m. Sunday, Oct. 29, at University School of Nashville, located at 2000 Edgehill Ave. For more information visit usn.org/artclectic. —JOE NOLAN PLOWHAUS’ 5TH ANNUAL DAY OF THE DEAD CELEBRATION Featuring traditional and contemporary art created around the theme of the Mexican holiday that coincides with celebrations of Halloween and All Saints Day, this Nashville art party combines an exhibition with food and live music from Stone Jack Jones.  The show features work by Toni Swarthout, Stephen McClure, Aaron Durnin, Jeana Clark, Erika Johnson, Aaron Grayum, Adam Hunt, Belinda Yandell, Beth Sieters, Carri Hofaker, Carrie Mills, Chris Hill, Connie Knoch, Elle Long, Franne Lee, Harry, Janet Lee, Jeff Goodwin, Jessi Gonet Goodwin, John Holland, Judith Jackson, Keith Harmon, Lisa Reed Preston, Marlynda Augelli, Michelle Grayum, Rebecca Durnin and Rex Boggs. An artist reception takes place at Plowhaus on Saturday, Oct. 28, from 7 to 11 p.m. —JOE NOLAN __NYM SEX SHOW Any art show advertising sex as its theme is guaranteed to bring some people out, but don’t hold that against the __nym group. Sex is, after all, one of the basic food groups of human experience, so you have to make art about it. What’s more, this group, primarily current Watkins students, puts together really intelligent shows, and you can expect them to have things to say about sex and sexuality that not only provoke but also have intellectual and visual substance. The artists—Matt Christy, Ken Nakamura, Mai Lick, Christina Wing, Alison Boyd, Coffey May, Scott Wold, John Whitten, Adolfo Davilia, Adam Nicholson, Nick Stolle and Roy Wyatt Batty—include many of the people from the group’s excellent show about language last year. One night only, Saturday, Oct. 28, from 7 to 10 p.m. in the basement of 3609 Pilcher Ave. in Sylvan Park. —DAVID MADDOX NEW FIGURATIVE ARTISTS EXHIBIT Alan LeQuire’s gallery, which is dedicated to art centered on the human figure, is currently holding an annual show at its Charlotte Avenue space. The exhibits range from the deeply classical drawings of Juliette Aristides to the more surrealistic compositions of Ron Cheek and Brody Vincent. Other artists in the show include Jammie Williams, Lou Copeland and Kelly Williams, whose art looks at the figure from a more fragmented perspective. LeQuire will also show some of his own drawings. LeQuire Gallery will hold the closing reception 6 to 8 p.m. Friday, Oct. 27. —DAVID MADDOX CHRIS DRURY: “THE STAR CHAMBER” British artist Drury has been in residence at Vanderbilt University for the last month constructing his Star Chamber on the grounds of the Dyer Observatory.  The dome-shaped structure—part artwork, part science demonstration—will have openings that allow images of the sky and trees outside to reflect off white plastered interior walls onto the floor. It’s surrounded by stones arranged in the spiral form of galaxies and the human heart, some positioned to mark the main points in the solar year. In conjunction with his residency, the Vanderbilt Fine Arts Gallery has an exhibit of Drury’s gallery works, which show the same engagement with the forms and materials of nature. There will be a reception for Drury at the Fine Arts Gallery on Friday, Oct. 27 from 5 to 7 p.m. (Drury will give a talk at 5:30 p.m.), and the Star Chamber on the Dyer Observatory grounds will open to the public on Sunday, Oct. 29, starting at 2 p.m., with music by the Eclectic Chamber Players at 3 p.m. —DAVID MADDOX BOOKS DEBORAH EISENBERG She is often mentioned in the same breath with Alice Munro as a contemporary master of the short story, but Deborah Eisenberg’s approach to fiction is both more abstract and more direct. Compared to Munro’s exquisite narrative gems, Eisenberg’s stories are rough-cut stones. Eisenberg focuses narrowly on her characters’ subjective experience, with the single-minded aim of capturing the essence of human feeling. She gives story structure and setting only the briefest nod. Her readers are obliged to work at filling in the blanks—a good strategy, given that a more idle audience might have time to lose patience with the unrelieved confusion and ennui that seem to afflict everyone in Eisenberg’s fictional world. But it must be said that Eisenberg’s depressive bent often serves her very well. The title story of her latest collection, Twilight of the Superheroes, is an exploration of the post-9/11 malaise afflicting a clutch of arty, ambitious New Yorkers. A quintessential arty New Yorker herself—longtime Manhattanite, longtime partner to playwright Wallace Shawn—Eisenberg deftly connects the firsthand horrors of 9/11 with the ethical doubts and delusions that have been its long-term fallout. As one of her characters muses, “Obviously, at every moment something terrible is being done to someone somewhere—one can’t really know about each instance of it!... Then again, how far away does something have to be before you have the right to not really know about it?” Deborah Eisenberg will read from her work in Room 101, Buttrick Hall at Vanderbilt University on Nov. 2 at 7 p.m. Audio of the reading will be posted to VUCast (vanderbilt.edu/news/). —MARIA BROWNING CARL T. SMITH Former Nashville sideman and record producer Carl T. Smith left the music business several years ago to begin a career in fiction writing. He has now turned out three well-received novels, the first of which, Nothin’ Left to Lose, is set in Nashville’s music world. His most recent novel, Louisiana Burn, and its predecessor Low Country Boil, concern an enigmatic former-everything named Sam Larkin. A former cop, jailbird and killer, Larkin is asked by an old girlfriend to serve with a DEA strike force investigating a web of corrupt Louisiana politicians, including the judge who wrongfully sent Sam to jail. The action begins quickly and moves through a maze of tricky plot turns to a tight and satisfying conclusion. Smith invents multiple characters and story lines—relationships, murders and betrayals—and cooks them into a brew which never loses its fizz. The novel is reminiscent, in fact, of the sprawling stories of John Grisham. Smith’s dialogue is sharp and, even at almost 400 pages, Louisiana Burn never falters. The book has been optioned for a movie and for television, and the intriguing Larkin has the makings of a continuing character for Smith’s future work. Smith will appear at Davis-Kidd Booksellers at 6 p.m. Oct. 30. —WAYNE CHRISTESON LAWRENCE OTIS GRAHAM The first African American to have his name inscribed on United States currency was a slave turned United States senator named Blanche Bruce. In The Senator and the Socialite, author Lawrence Otis Graham tells Bruce’s story from his beginnings in slavery through three generations of his family. Bruce was born in Virginia, the son of his white master and another slave. After the Civil War he moved to Mississippi where, in 1874, he was elected to the Senate as a Reconstruction Republican, rising to the pinnacle of power, influence and wealth. Following the official end of Reconstruction in 1876, and the arrival of Jim Crow and the Ku Klux Klan, Bruce lost his Senate seat and in 1881 accepted an appointment from President Garfield as register of the Treasury. Despite his position, Bruce and his family were nevertheless shunned by white society and even by poor blacks who felt he was “too white” (fulfilling the bitter irony of his first name). By the third generation, the Bruce family were reduced to poverty and, in one case, to imprisonment, and their saga was largely forgotten until Graham resurrected it in his exhaustively researched and ambitious work. Lawrence Otis Graham will read from and sign The Senator and the Socialite at the West End Borders at 7 p.m. on Nov 2. —WAYNE CHRISTESON EVENTS RIVERFRONT REDEVELOPMENT PLAN PUBLIC FORUM The group developing a vision and plan for the Cumberland River waterfront holds its final in a series of three public forums on Wednesday. This session will focus on the shorter-range improvements that can make the waterfront much more usable over the next five years. It involves things like walkways, piers, parks and access points that are not as dramatic as digging new channels and relocating major industrial sites, but could make all the difference in the world to convert the waterfront into a public civic space. And those would be the first steps required to move toward the kind of major transformation envisioned in the ambitious concept plans. The forum will be held at Adventure Science Center, 6 p.m. Wednesday, Oct. 25. —DAVID MADDOX RAY CHARLES: FRIENDSHIP As an artist, Ray Charles obliterated the artificial boundaries between pop, country and R&B, and on his 1984 album Friendship—recorded in Nashville with legendary producer Billy Sherrill and celebrity duet partners ranging from Johnny Cash to Ricky Skaggs—he scored a late-career triumph. As part of its ongoing Charles exhibit, the Country Music Hall of Fame hosts a discussion of the record’s making with Skaggs, steel-guitar great Buddy Emmons, engineer/musician Ron “Snake” Reynolds, former Columbia Records chief Rick Blackburn and former Columbia A&R manager Margie Hunt. The panel convenes 2 p.m. Sunday in the Ford Theater, free with museum admission or membership. —JIM RIDLEY FILM UN BECOMING Rick Schweikert’s off-Broadway play tackles an explosive subject: whether hysterectomy is an unnecessary procedure used by the medical establishment to castrate and effectively silence women. A DVD of the production will screen noon Sunday at the Belcourt, followed by a discussion with the playwright and Nora W. Coffey of the Hers Foundation; the foundation also hosts its 25th hysterectomy conference Saturday from 8:30 a.m. to 6 p.m. at the downtown Doubletree Hotel, 315 Fourth Avenue South. For more information, see hersfoundation.org. —JIM RIDLEY NASHVILLE BLACK PRIDE ANNUAL LGBT FILM & CULTURAL FEST You won’t find any minorities at this annual celebration, just a majority of “Gay/Same-Gender-Loving People of Color in a social, nonthreatening and empowering setting.” Sunday’s all-day marathon of features, documentaries and shorts starting 1 p.m. at the Belcourt caps a weekend of book signings, spoken-word performances, comedy nights, interactive workshops and seriously all-out dance parties. More details on screenings are in our Movie Listings on p. 80; a full weekend schedule is at brothersunited.com/blackpride.htm. —JIM RIDLEY MY MORNING JACKET’S OKONOKOS Warm up for MMJ’s Nov. 13 show at the Ryman with the group’s first concert film, making its debut via digital projection at theaters across the country 7:30 p.m. Monday. The Belcourt hosts the Nashville screening. —JIM RIDLEY HALLOWEEN Masked madman Michael Myers stalks the streets of Haddonfield in John Carpenter’s masterful 1978 shocker, often imitated but never surpassed. One of the great widescreen movies, it shows Monday and Tuesday only in select Regal Cinemas, projected digitally (alas) and preceded by a new documentary featurette. —JIM RIDLEY TETON GRAVITY RESEARCH’S ANOMALY From Jackson Hole to Tokyo, from Corsica to Morocco, champion snowboarders and skiers risk their necks chasing the wickedest vertical slopes on earth in jaw-dropping footage. Sponsored by Neptune Diving & Ski and Lightning 100/Team Green, the national tour of this extreme-sports phenomenon gets its local premiere 7 p.m. Wednesday, Nov. 1, at the Belcourt. —JIM RIDLEY THE ROCKY HORROR PICTURE SHOW Is there a Rocky Horror virgin left anywhere in Middle Tennessee? If so, deflower ’em at the Belcourt’s full-costume screenings 11:30 p.m. Friday and Saturday. Toast, hot dogs and newspaper optional. —JIM RIDLEY


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