MY MORNING JACKET with WAX FANG * Monday 13th My Morning Jacket might just be the best live band in America. And, like many of the strongest acts relentlessly crisscrossing the nation, the Jacket fly slightly below the pop-culture radar as they go about amassing their faithful. It may be grueling and old-fashioned, but fans made on the road are the ones that stick around, spread the word and land you a headlining slot at Bonnaroo. Psychedelic enough for the hippies, heavy enough for old-school rock lovers, smart enough for indie kids and with just the right touch of rootsy humility, this Louisville quintet’s brand of ambitious, dynamic rock ’n’ roll translates perfectly to arena and club alike. Frontman Jim James is an agile vocalist—his soaring range and sweet tone belie his mountain-man exterior. Opening are fellow Louisvillians and band-to-watch Wax Fang, a trio that share MMJ’s love of melody and improvisation, but with a heavier, more angular rendering. ( www.mymorningjacket.com , www.myspace.com/waxfang ) Ryman Auditorium —LEE STABERT MUSIC THURSDAY, 9TH ORGAN FAILURE If you’ve ever wondered what “Folsom Prison Blues” would sound like sung by Cookie Monster, wonder no more. Like Weird Al Yankovic on a nitrous spree, Houston’s Organ Failure give voice to just these sorts of delirious scenarios, while indulging every waggish whim that orbits in their demented minds. But the band’s covers are far more outré than Weird Al’s literal rip-offs—take their avant-folk approach on “Rock the Casbah.” And they play mostly originals, such as the damaged hip-hop come-on “What We Really Want to Do,” which sounds like an Odelay session hijacked by 13-year-old delinquents. What makes it work is Olivia “Poopy Lungstuffing” Dvorak, whose high-pitched banter at times sounds like one of Bart Simpson’s misfit friends. Organ Failure are the house band at Super Happy Fun Land, a Houston venue for experimental art and music. ( www.organfailure.org ) Ruby Green —JACK SILVERMAN THE WEISSTRONAUTS If there’s such a thing as a forward-thinking surf band, Boston’s The Weisstronauts are it. Avoiding the purism that makes so many instrumental retro-fetishists seem redundant, The Weisstronauts combine vintage surf and Nashville chicken-pickin’ with cartoon zaniness and spaghetti Western intrigue. They often recall NRBQ’s offbeat musical humor as much as Link Wray’s reverb-drenched Tarantino fodder. Joining the band on bass for this tour is Doug Yule, who took over bass and keyboard duties in some band called the Velvet Underground after John Cale was fired. ( www.weisstronauts.com ) Family Wash —JACK SILVERMAN WHITE WHALE Though White Whale’s Merge debut, WWI, contains many songs that contemplate the sea, overall the literary and historical allusions are minimal. Instead, this current hot topic among bloggers are a thrilling and dynamic unit who mix bright guitar licks with acoustic instruments, brushing up against classic and prog rock without committing to either. Singer Matt Suggs, who has recorded solo and with other acts for Merge, tackles each song with theatrical verve without veering into stiffness or pretension. ( www.whitewhale.us ) The End —WERNER TRIESCHMANN THURSDAY, 9TH — SATURDAY, 11TH DIONNE WARWICK Dionne Warwick’s appearance on the finale of this season’s American Idol was more entertaining for its highbrow-meets-lowbrow spectacle than for her vocal prowess. You’d assume the same would be true of her new album, My Friends & Me, on which she performs duets (mostly of familiar Bacharach-David material) with such successors as Mya, peers as Gladys Night and oddballs as Cyndi Lauper. But thanks to fresh, subtly hip-hop-conscious arrangements by Damon Elliott (Warwick’s son and a producer with records by Beyoncé and Jessica Simpson on his résumé), the album actually reveals how in touch with her voice Warwick remains. Few her age (or younger) say as much with as little as she does. ( www.dionnewarwick.info ) Schermerhorn Symphony Center —MIKAEL WOOD FRIDAY, 10TH DARRELL SCOTT As a singer-songwriter, Scott likes to think of himself as an artist working and living on the fringes of the Nashville music establishment. Yet these days he’s having a hard time keeping a low profile. He has written for the likes of the Dixie Chicks and Faith Hill, received multiple Grammy nominations and been named an ASCAP songwriter of the year. On Friday, he raises his profile a bit more, premiering a song cycle for the Nashville Chamber Orchestra’s Acoustic Café Series. The six songs in the cycle (called “The Beggar’s Heart”) are all thematically related, with Scott and fellow vocalists Jonell Mosser, Suzi Ragsdale and John Cowan singing quasi-confessional songs about past addictions, abuses, loves and aspirations. The concert will feature NSO string players along with a rhythm section led by Gabe Dixon (a former Paul McCartney keyboard player). Tickets are $25. Call 256-6546. 8 p.m. at Grace Chapel, 3279 Southall Road —JOHN PITCHER SATURDAY, 11TH BLACK ANGELS From the initial chords on “Young Men Dead,” the first track off of The Black Angels debut album Passover, one can’t help but feel reminded of times they don’t remember. It is this feeling of uncertainty that makes the Black Angels’ music both haunting and illusory. Over ethereal arrangements and a tripped-out psychedelic vibe, singer Alex Maas wails like a spirited herald delivering portents of doom that, on songs like “The First Vietnamese War,” at once remind us of our country’s past mistakes and inform us of our current course. This Austin band’s political disillusionment and vociferous censure of the war in Iraq may seem like typical celebrity prattle to anyone who has picked up a newspaper lately, but this is not an uninformed band, nor is their music typical of anything coming out of Texas right now. Mercy Lounge —DAVE RUDOLPH SWAN DIVE From anyone else in Nashville, an entire album of bossa nova might seem the height of cocktail-lounge archness—and a few years behind the curve, at that. From Bill DeMain and Molly Felder, it’s pretty much the move their fans have been not-so-secretly craving. The duo responsible for some of the most elegant, effervescent pop yet recorded in Music City know and love the form inside and out, and on their website’s Top 100 list of great moments in pop culture, the Frank Sinatra/Antonio Carlos Jobim LP collaboration beats out the sainted Pet Sounds. They’re said to be finishing the record with producer Brad Jones; maybe this pan-cultural experiment will paradoxically give DeMain and Felder their long-overdue domestic breakout. (At the moment, it’s easier to get their records commercially overseas: they’ve had Top 10 singles in Japan, and Samsung currently uses their song “Benny’s Grave” to hawk products on Korean TV.) And maybe they’ll serve listeners a taste of their musical caipirinha at this early evening show with Danny Flanigan. 7 p.m. at The Basement —JIM RIDLEY SUNDAY, 12TH CHARALAMBIDES Tom and Christina Carter have been making music together in Charalambides since 1991, easing dynamic psychedelic soundscapes—alternately vibrant and bleak, fall and winter—from two guitars and voice. The Carters, who were based together in Texas for over a decade, split from wedlock years ago. Still—though Tom now calls California home and Christina is in Massachusetts—they insist they’ve never met better collaborative counters. A Vintage Burden, their glorious album released earlier this year on Chicago’s Kranky, makes a case for what is perhaps the best point of their career. Longtime predecessors of the New Weird America, they are fervent producers, existing in artistic polygamy while married. Christina claims releases with both Loren Connors and DJ Shadow, while Tom’s recent sessions with left coasters Robert Horton and Yellow Swans—together as Mudsuckers—is one of the year’s best bits of improv. ( www.kranky.net ) Ruby Green —GRAYSON CURRIN GOV’T MULE W/DONAVON FRANKENREITER Guitar nuts dig New York’s Gov’t Mule for the eminently diggable playing of frontman Warren Haynes, a member not only of his own band but of the Dead and the Allman Brothers, too. (How’re those for side gigs?) On High & Mighty, the Mule’s full-length from this past summer, Haynes’ playing deservedly takes center stage—at one point in “Brand New Angel,” dude sounds more like an organ than the organ that’s actually featured in the track. But Haynes’ songwriting is picking up weight. A few of the new cuts sound like outtakes from the vault of some forgotten mid-’70s Southern-rock act. Opener Frankenreiter, from California, looks like a member of some forgotten mid-’70s Southern-rock act but sounds like the buddy of Jack Johnson that he is. ( www.mule.net ; www.donavonf.com ) Ryman Auditorium —MIKAEL WOOD MUTE MATH W/THE WHIGS AND JONEZETTA A common thing said about Mute Math is that they’re really good even though they’re a Christian band. The truth is that Mute Math are pretty good even though they wanna be Radiohead. The New Orleans quartet’s self-titled debut depends on the same equation (soaring guitars + whirring keyboards = alt-rock profundity) zillions of young groups have advanced since OK Computer, but these guys actually have an ear for a tune, which helps temper the obligatory claustrophobic vibe. They play fast, too. The Whigs, from Athens, Ga., do fuzzy indie-garage stuff that sounds more like a backwoods Strokes than Kings of Leon do. Mississippi’s Jonezetta prove that dance-rock isn’t just for big-city kids. ( www.myspace.com/mutemath ; www.thewhigs.com ; www.myspace.com/jonezetta ) City Hall —MIKAEL WOOD TUESDAY, 14TH LUKE DICK Most young country singers write as if aiming to appeal to your mother. Luke Dick, a recent Nashville arrival from Oklahoma, writes for drifters, shit-kickers and educated malcontents. Mixing red-dirt country ballads with twangy roots-rockers, he doesn’t hide his swagger, intelligence or sense of humor. He plays country like it’s been dragged through the Mississippi Delta, and he gives his heart equal time with his brain. Since arriving this summer, he’s hooked up with esteemed guitar-slinger Kenny Greenberg, and his first big appearance in town finds him fronting an impressive combo featuring Greenberg, bassist Glenn Worf and drummer Shannon Forrest. Blue Bar —MICHAEL McCALL SIR RICHARD BISHOP/JOSEPHINE FOSTER/THE CHERRY BLOSSOMS Think you’ve heard some hot guitarists, Music City? Prepare ye for the man whom the late John Fahey once told, “You play like the devil.” As guitarist for the legendary Sun City Girls, the avant-rock ethno-musicologists who have served as transmitters for the world’s unheard music for a quarter-century, Bishop developed a dizzying style that, as one listener observed, made his instantaneous improvisational impulses sound as masterfully ingrained as muscle memory. On his amazing solo release Fingering the Devil, Bishop’s acoustic playing blurs together ragas, flamenco, the African musics that birthed the blues and Django Reinhardt’s hot jazz to explore a lost continent of interwoven cultures. On this bill at Ruby Green, likely never to be duplicated (in Nashville, anyway), he performs with Foster, a rising giant of neo-folk music, whose new album A Wolf in Sheep’s Clothing pairs her otherworldly voice with 19th century German “Lieder” songs by Brahms, Schumann and Schubert—it got a 7.9 from Pitchfork, if any music snobs out there need convincing—and with Nashville’s own shambling folk-art collective The Cherry Blossoms, who typically have an easier time packing clubs in New York than in their hometown. This is the night to prove that false. Ruby Green —JIM RIDLEY TRENT SUMMAR & THE NEW ROW MOB Calling a band that includes the triple-guitar threat of Dan Baird, Ken McMahan and Pat Buchanan a mob is like hiding weapons of mass destruction among the kegs at a beer bust: at best, it’s gross understatement. Maybe frontman Summar just likes the idea of a sneak attack—like the cover of “He Stopped Loving Her Today” that features a chorus capable of making every George Jones fan in the nation’s honky-tonks spit-take their Skoal in unison. Fortified by the smash success Jack Ingram’s had with his cheeky co-write “Love You”—which treats the word “love” as an interchangeable euphemism for Scarface’s favorite four-letter epithet—Summar’s just released Horseshoes & Hand Grenades, a Rand Bishop-produced record of roadhouse country perfect for stomping peanut shells into powder on the barroom floor. Live, this Mob should rule. With Justin Earle and Travis Stephens. Mercy Lounge —JIM RIDLEY WEDNESDAY, 15TH QUEENSRYCHE It’s perversely fitting that at the dawn of the single-serve iTunes age, the concept album is officially back. Acts as diverse as My Chemical Romance, Sufjan Stevens, Coheed and Cambria, Green Day, The Streets, Mastodon and Elton John have all taken a crack at the long-form narrative lately, but it’s time for all of them to make way for the masters. Seattle hard-rock quintet Queensryche’s 1988 Operation: Mindcrime is a quintessential concept piece, one that set the stage for the band’s pop breakthrough with 1990’s “Silent Lucidity” and the triple-platinum Empire album. Mindcrime was a metal Manchurian Candidate, telling the tale of a programmed assassin in love with a hooker-turned nun, who—well, it’s complicated. Anyway, 18 years later the band offers Operation: Mindcrime II, which completes the story of revolution, revenge and rawk. On this tour, the ’Ryche—celebrating their 25th anniversary—are playing both albums back-to-back, complete with actors and special effects. Ryman Auditorium —CHRIS NEAL JURASSIC 5 As the preeminent purveyors of old-school rap, Jurassic 5 are a curiosity in these days of crunk and bling. The quintet trade verses, dip in and out of each other’s rhymes with uncanny precision and harmonize like a barbershop quartet. J5 also boast one of the most distinctive voices in modern rap with the booming baritone of Chali 2Na. On their latest, Feedback, the band try hooking up with Dave Matthews Band on “Work it Out,” and sound like Southern MCs on “Baby Please.” Yet they keep cranking up the wayback machine, echoing early rap crews like the Cold Crush Brothers and Stetsasonic. Don’t let the throwback talk scare you away—though J5 occasionally lay down social commentary, they’re all about getting the party jumping. ( www.jurassic5.com ) City Hall —MARK MAYS REGINA SPEKTOR This New York piano-pop singer got her big break opening for The Strokes (she also performed with Julian Casablancas on “Modern Girls & Old Fashion Men”), but Spektor’s a kookier proposition than her tidy garage-rock pals. On Begin to Hope, her most recent album, she pairs cutesy doo-wop melodies with funky hip-hop beats, finding room in melancholy slow-mo ballads for new feeling. Channeling brainy-lady predecessors such as Tori Amos and Kate Bush, Spektor’s an appealingly unguarded performer onstage. Like Fiona Apple (whose fans will find much to love here), she’ll give you the show she feels like giving you. ( www.reginaspektor.com ) Exit/In —MIKAEL WOOD DANCE SUBHAASHITAM: PARABLES FROM INDIA Monica Cooley, through her Kala Nivedanam school and dance group, has established the South Indian dance form Bharatanatyam here in Nashville. One of the most widely practiced of Indian classical dance forms, Bharatanatyam has both abstract sections that feature elaborate footwork, and story-telling elements based on facial expressions and body and hand positions. Kala Nivedanam’s newest production is notable for being based on Indian parables drawn from literary sources rather than the religious and devotional material more typical for the form. It features a trio of performers—Cooley, Arthi Katkuri, Vandana Botta—realizing choreography by Cooley’s teacher, M.V. Narasimhachari of Chennai. The performance is 7:30 p.m. Friday, Nov. 10, at Father Ryan High School Auditorium. Co-presented by the Global Education Center. —DAVID MADDOX THEATER GLAD TIDINGS III: RE-GIFTED This holiday variety show, conceived and written by Martha Wilkinson and Bobby Wyckoff, is becoming an annual event, with the creators adding successively new material to what is essentially a collection of comedy sketches and favorite seasonal songs. This year’s installment is under the direction of Carolyn German, with Tim Fudge supervising the music. The cast includes Paul Cook, Rebekah Durham, Nate Eppler, Brandon Reece, Jennifer Richmond and co-author Wilkinson. Presented Nov. 14–Dec. 31 at Chaffin’s Barn Dinner Theatre. For reservations, call 646-9977. —MARTIN BRADY MATT AND BEN Brenda Withers and Mindy Kaling (NBC’s The Office) are the authors of this tantalizingly clever spoof of the early period in the Matt Damon/Ben Affleck partnership. Withers-Kaling flash back to a suburban Boston apartment, where the struggling unknown actors attempt a verbatim screen adaptation of J. D. Salinger’s Catcher in the Rye. Suddenly, the screenplay for Good Will Hunting literally falls out of the sky, and their lives are changed forever. Visitations from Salinger and actress Gwyneth Paltrow keep things interesting in this hour-long dissection of Hollywood, fame and celebrity culture. The casting of females in the leads is not merely a gimmick; Withers and Kaling performed the roles originally, and that’s been the standard M.O. in the acclaimed mountings on both coasts and in touring shows. Amanda Bailey and Tia Shearer star in People’s Branch Theatre’s presentation of the Tennessee premiere. Performed Nov. 9-25 at the Belcourt Theatre. For tickets, call 846-3150. —MARTIN BRADY ENCORE! Street Theatre Company performs this revue celebrating the Broadway songbook in a dinner-theater engagement the next two weekends at The Thomas House in Red Boiling Springs. Company director Cathy Sanborn Street oversees a cast that includes Ann Marie Brown, Cherry Cole, Lee Druce, Tyson Laemmel and David Y. Williams. Performances are Nov. 10-11 & 17-18 at 7 p.m. For reservations, phone (615) 699-3006. (Thomas House does not serve alcohol, but guests may bring their drink of choice.) —MARTIN BRADY WIT’S END Edward Friedman, Vanderbilt professor of Spanish and comparative literature, has crafted this modern adaptation of Spanish playwright Lope de Vega’s La Dama Boba, an escapist comedy of love’s follies. Jeffrey Ullom directs the student cast. Performances are in Vanderbilt’s Neely Auditorium, Nov. 9-16. For tickets, call 322-2404. —MARTIN BRADY SORDID LIVES/SOUTHERN BAPTIST SISSIES In these two plays, Texas native Del Shores (Touched by an Angel, Queer as Folk, Dharma & Greg) attempts to find the lighter side of the dark side of white trash characters. Shores probes Southern family life, the church and homosexuality, among other things, and his works found an enthusiastic audience in Los Angeles when first staged there a decade ago. A 2000 film version of Sordid Lives developed a cult following of sorts, while this current national tour has only recently ventured outside Southern California, with previous dates in St. Louis and Dallas. Television standbys Delta Burke (Designing Women), Leslie Jordan (Will & Grace) and Dale Dickey (My Name Is Earl) are the stars, and the shows are presented in repertory, Nov. 10-12 at TPAC’s Polk Theater. Phone 255-ARTS. —MARTIN BRADY SCHOOLHOUSE ROCK LIVE The second production of Nashville Children’s Theatre’s 2006-7 season is this enthusiastic stage version of the popular ABC children’s programming favorite of the 1970s and ’80s. Learning, fun and catchy tunes combine to keep the kiddies entertained in upbeat fashion, the music including contributions from accomplished folks such as Lynn Ahrens, Bob Dorough and Dave Frishberg, among others. NCT education director Julee Baber directs an ensemble cast that includes Patrick Waller, Jenny Littleton, Ross Brooks, Marin Miller, D. Richard Browder and Brooke Bryant. Browder is the choreographer. The show opens Nov. 14 and settles in for a lengthy run through Jan. 14. For information, call 254-9103. —MARTIN BRADY ART “IT’S PLOWRAGEOUS” East Nashville’s Plowhaus coop celebrates its fifth anniversary with a show that brings together about 100 of the artists who have shown there. That’s a lot of people—but it’s only a fraction of the number who have been in Plowhaus exhibits, which just goes to show how much impact the co-op has had on the local art scene. And the fact that they can display work by all these artists at one time shows how much they’ve grown as an organization, being able to move from a small storefront to a larger space next door. You can see this show as part reunion, part greatest hits. Some of the most familiar names scheduled to participate are Bryce McCloud, Lesley Patterson-Marx, Lain York, Mary Sue Kern, Keith Harmon, Harry, Julie Sola, Beth Seiters, Ben Vitualla and of course Franne Lee, who has been Plowhaus’ tireless champion. The show opens on Thursday, Nov. 9; the party is 7 to 11 p.m. Saturday, Nov. 11. —DAVID MADDOX WATKINS COLLEGE OF ART & DESIGN SENIOR SHOW The capstone of Watkins College’s BFA program in fine arts and photography is a senior show where the students pull everything together in a single body of work. Each year the best of these efforts produce coherent and compelling statements. The group presenting senior shows this fall includes several students who have already been busy exhibiting. The most unusual-sounding project comes from Mike Bielaczyc, who is installing carnival tents in the parking lot for a one-night only display on Friday, Nov. 10. Other artists include painter Jaime Raybin, who recently won Best of Show recognition in a juried show at the Customs House in Clarksville, Chris Doubler, who contributed standout work to a very strong one-night show at 310 Chestnut in January, and photographers Billy Justice and Jill Mullins. The show has its opening reception from 6 to 8 p.m. Friday, Nov. 10. —DAVID MADDOX TAKE 121 ARTS GRAND OPENING The boom in downtown art venues continues with the opening of Take 121 Arts at 121 Third Ave. S., the site of the former Associated Salvage. The gallery is the latest venture from Framo Product, a framing and art wholesaling business owned by Chad Hollingsworth. Daniel Lonow will be the art director for the 5,000-square-foot space, which has an urban industrial ambience. The grand opening, from 6 to 9 p.m. Saturday, Nov. 11, will feature work by gallery artists Hunter Brice, Jeff Green, David Guidera, Jasmin Jata, Eric Oglander, K.J. Schumacher, Amber Spencer and Jeff Stamper. Pieces by Santa Fe artist Shelley Horton-Trippe and graffiti from TM Creative Group will also be on display. —JACK SILVERMAN BOOKS BILL ELLIOTT NASCAR is one of those salient cultural phenomena—like barbecue and country music—that is said to separate red states from blue. That perception’s not necessarily true, but NASCAR does represent a lifestyle popularly promoted as Southern, rural, anti-intellectual and Bush-loving. Perhaps predictably, most NASCAR writing (apart from a single famous piece by Tom Wolfe about Junior Johnson) consists of fluff and ghosted driver biographies. Legendary driver Bill Elliott’s Awesome Bill From Dawsonville falls into the latter category, but it is well worth reading if you want to learn something about the South and the history of stock car racing. Elliott’s remarkable career spans the years from NASCAR’s youth to its corporate maturity, from the days of Junior Johnson’s power slides around Carolina dirt tracks to the all-time NASCAR speed record of 212.809 mph set by Elliott at Talledega. The book is filled with gee-whiz good fun, and it reveals a superstar driver of surprising modesty. Elliott emerges as a clean-living, hardworking man devoted to his family and his profession—pretty much the same things that red state people seem to believe about themselves. Elliott will appear at Davis-Kidd Booksellers at 6 p.m. Nov. 11. –WAYNE CHRISTESON BOOKS IN COSTUME The tradition of artistic bookbinding—which generally involves disassembling, then embellishing a book to create a readable piece of art—dates to the Middle Ages. Husband and wife Jan and Jarmila Sobota and their sons Jan and Radek belong to this long-established European tradition; their works are found in collections ranging from the Vatican Library and New York’s Metropolitan Museum of Art to that of former Czech president Vaclav Havel. After defecting to the U.S. in the 1980s, the Sobotas returned to the Czech Republic 10 years ago, where they now offer bookbinding workshops and create new pieces. Reinterpreting a book in the Sobota style means using an element from the text as a clever reference point from which to develop a jacket (goatskin is a favorite material) and other “costumes.” For example, Thumbelina—in miniature, of course—comes enclosed in a gilded walnut shell; A Christmas Carol is a series of nesting gift boxes. Kim and Rosie Batcheller attended Sobota bookbinding workshops in the U.S. and also own an impressive collection of both full-sized and miniature Sobota pieces. Their collection, “Books in Costume: Designer Bindings and Book Objects by the Sobota Family,” opens Nov. 11 at the Main Library and remains on display through Dec. 15. The Batchellers discuss the show and bookbinding techniques, 11 a.m. to 2 p.m. Nov. 11. –MICHELLE JONES TELEVISION PRIME SUSPECT: THE FINAL ACT We’ve seen DCI Jane Tennison (Helen Mirren) in bad shape before—personal and professional battles and lapses in judgment have defined this character since the very first Prime Suspect miniseries back in 1991. It’s no surprise, then, that with mandatory retirement only a month away and alcoholism threatening what’s left of her career, Tennison is desperate to solve one last case, involving a missing 14-year-old girl. Mirren has won acclaim for recent portrayals of both the first and current reigning Elizabeths, in The Queen and HBO’s Elizabeth I, but this is her definitive role—as she intimates when Tennison tells a subordinate, “Don’t call me ma’am, I’m not the bloody queen.” This gripping installment brings Prime Suspect to a worthy close, with an appearance by one of Tennison’s earlier enemies, Bill Otley (the late Tom Bell), for an added touch of finality. The Masterpiece Theatre presentation airs 8 p.m. Nov. 12 and 19 on WNPT-Channel 8. —MICHELLE JONES FILM ANDY WARHOL SCREEN TESTS/ANDY WARHOL: THE COMPLETE PICTURE Between 1964 and 1966, the famous and obscure alike sat before a stationary 16 mm movie camera at Andy Warhol’s studio—everyone from Susan Sontag, Marcel Duchamp, Salvador Dali and Dennis Hopper to Factory superstars Edie Sedgwick, Gerard Malanga and “Baby” Jane Holzer. The films that resulted are portraiture for an accelerated age, shot at 24 frames per second to be projected at a slower 16 f.p.s. In conjunction with its new exhibit “Extra-Ordinary: The Everyday Object in American Art,” the Frist Center will be continuously screening selections all weekend from the 19 hours of footage shot by Warhol. (Film preservationist Jeff Lambert writes about these in our Movie Listings on p. 66.) At 7 p.m. Friday, the museum offers a free screening of Chris Rodley’s 2002 documentary Andy Warhol: The Complete Picture—a title that’s essentially an oxymoron. —JIM RIDLEY NASHVILLE JEWISH FILM FESTIVAL Now in its sixth year, Temple Nashville’s annual round-up of features, docs and short films, liberally interspersed with guest speakers and good food, calls the Belcourt home for a week starting Sunday morning.  —JIM RIDLEY RED RIVER On an ill-considered cattle drive to Missouri, hardheaded trail boss John Wayne butts heads with his adopted son (Montgomery Clift in his first movie role) in Howard Hawks’ 1948 Western. Walter Brennan plays the crusty wagon driver; John Ireland is gunslinger Cherry Valance, whose innuendo-filled exchanges with Clift have given students of Hollywood’s “celluloid closet” grist for decades. The movie is the Belcourt’s “Weekend Classic Matinee,” screening 11:30 a.m. Friday, Saturday and Sunday. —JIM RIDLEY REQUIEM Adapted from the same true story as the recent shocker The Exorcism of Emily Rose—that of Anneliese Michel, the young German woman who died in a case of alleged possession that still provokes controversy—Hans-Christian Schmid’s chilling film leaves open whether the torments afflicting its heroine are demonic or psychological. Not open to question is the greatness of the central performance by first-time star Sandra Hüller, who’s terrifyingly convincing as the girl who begins to flinch at the sign of crucifixes and the sound of prayer. Strong meat for religious groups seeking a challenging exploration of faith, the subtitled film opens Friday for a week’s run at the Belcourt.  —JIM RIDLEY AMERICAN HARDCORE From L.A. to D.C., from Black Flag and the Bad Brains to Minor Threat, Paul Rachman’s doc (inspired by Steven Blush’s 2001 book) examines the brief but explosive flourishing of hardcore punk from 1980 to 1986. The movie opens Friday at Green Hills; Tracy Moore discusses the film in her column on p. 40. Also opening at Green Hills: the comedy Driving Lessons, with Laura Linney, Rupert Grint and Julie Walters. —JIM RIDLEY