Nashville Country Quotes

Nashville has always been competitive. My granddaddy called it the Hillbilly Babylon.

You’re still several calamities short of a country song, Jordan. If your truck breaks down or your dog dies, I’ll put in a call to Nashville for you. In the meantime, suck it up.

Maverick Simon was Hollywood and Nashville, while she was just a mechanic in a small town in Maine. It almost sounded like some hokey country song.

And we'll let the world dance around us while you lie here in my arms. The beat of your heart is all the music I need to hear. I spent my whole life searching for this melody, so I'll listen while I hold you near.

They only want to be there while you’re on top, and when you haven’t gotten a gig in a while and you don’t know how you’re going to pay your rent at the end of the month and the glamor they thought they signed up for is gone, they’re walking out the door, leaving you to pick up the pieces.

Think of Chicago as a piece of music, perhaps,” he continued. “In it you can hear the thousands of years of people living here and fishing and hunting, and then bullets and axes, and the whine of machinery, and the bellowing of cattle, and the shriek of railroads, and the thud of fists and staves and crowbars, and a hundred languages, a thousand dialects. And the murmur of the lake like a basso undertone. Ships and storms, snow and fire. To the north the vast dark forests, and everywhere else around the city rolling fields of farms, and all roads leading to Chicago, which rises from the plains like Oz, glowing with light and fire at night, drawing people to it from around the world. A roaring city, gunfire and applause and thunder. Gleaming but made of bone and stone. Bitter cold and melting hot and clotheslines hung in the alleys and porches like the webbing of countless spiders. A city without illusions but with vaulting imaginations and expectations. A city of burning energies on the shore of a huge northern sea. An American city, with all the violence and humor and grace and greed of this particular powerful adolescent country. Perhaps the American city—no other city in the nation is as big and central and grown up from the very soil. Chicago was never ruled by Spain or England or France or Russia or Texas, it shares no ocean with other countries, it is no mere regional captain, like Cincinnati or Nashville; it is itself, all brawn and greed and song, brilliant and venal, almost a small nation, sprawling and vulgar and foul and beautiful, cold and cruel and wonderful. Its music is the blues, of course. Sad and uplifting at once, elevating and haunting at the same time. You sing so that you do not weep. You have no choice but to sing. So you raise up your voice and sing of love and woe, and soon another voice joins in, and you sing together, for a while, for a time, perhaps a brief time, but perhaps not.…

Out on the northwest side of Nashville, Tennessee, Judge Seth Norman has come to expect phone calls to start pouring in around late January every year. “The legislature comes back in session in January,” Norman said. The calls come from state legislators, each with the same problem: an addicted son, a daughter, a brother-in-law. “‘Um, uh, my nephew down in Camden, you think maybe you might be able to help?’ I get those kinds of calls,” he told me while we sat in the office adjacent to his courtroom. Most of the country’s twenty-eight hundred drug courts are set up to divert drug abusers away from jail and prison and into treatment somewhere. Seth Norman runs the only drug court in America that is physically attached to a long-term residential treatment center. He takes addicts accused of drug-related nonviolent felonies—theft, burglary, possession of stolen property, drug possession—and puts them in treatment for as long as two years as an alternative to prison. Down the hall from his court are dorms with beds for a hundred people—sixty men and forty women. I

Jamie used the time away from me to do some soul-searching. She finally also did something she’d thought about for a long time. She walked into an Army recruitment office in Nashville and joined the military. She didn’t discuss it with me beforehand. Instead she called and said, “I’m joining the Army. It’s active duty and I’m going to be a truck driver with an airborne contract.” Shocked, I blurted out, “You’re going to do what? No you’re not.” “What do you mean? I’m gonna be a truck driver in a convoy.” I knew she was referring to a seventies country song she likes. Only this wasn’t a country song, this was real life. “Are you crazy? This is not a game. You will hate being a truck driver. You don’t even know if you’ll like being in the military. Go National Guard or Reserves and see if you like it.” “They said I’m already in. Basic is not for another few months but I’m in and I can’t change it.” “Yes you can. You are not in yet. You are not in the military. That was just a recruiter telling you that. Why aren’t you going in as an officer? You have a degree. You can make more money.” She seemed annoyed that I was raining on her parade, but I think it was also dawning on her that maybe I was right and she hadn’t done the research. “They told me that it’s not really that much more.” I explained to her, “They are lying to you. It is a lot more.” I had no problem with her joining the military. If that’s what she wanted to do, I supported it. But I was going to make sure she made the smartest moves she could make if that was in fact what she wanted to do with her life. I certainly wasn’t going to let her be talked into a lower-paid, higher-risk job.

the greatest inspiration for institutional change in American law enforcement came on an airport tarmac in Jacksonville, Florida, on October 4, 1971. The United States was experiencing an epidemic of airline hijackings at the time; there were five in one three-day period in 1970. It was in that charged atmosphere that an unhinged man named George Giffe Jr. hijacked a chartered plane out of Nashville, Tennessee, planning to head to the Bahamas. By the time the incident was over, Giffe had murdered two hostages—his estranged wife and the pilot—and killed himself to boot. But this time the blame didn’t fall on the hijacker; instead, it fell squarely on the FBI. Two hostages had managed to convince Giffe to let them go on the tarmac in Jacksonville, where they’d stopped to refuel. But the agents had gotten impatient and shot out the engine. And that had pushed Giffe to the nuclear option. In fact, the blame placed on the FBI was so strong that when the pilot’s wife and Giffe’s daughter filed a wrongful death suit alleging FBI negligence, the courts agreed. In the landmark Downs v. United States decision of 1975, the U.S. Court of Appeals wrote that “there was a better suited alternative to protecting the hostages’ well-being,” and said that the FBI had turned “what had been a successful ‘waiting game,’ during which two persons safely left the plane, into a ‘shooting match’ that left three persons dead.” The court concluded that “a reasonable attempt at negotiations must be made prior to a tactical intervention.” The Downs hijacking case came to epitomize everything not to do in a crisis situation, and inspired the development of today’s theories, training, and techniques for hostage negotiations. Soon after the Giffe tragedy, the New York City Police Department (NYPD) became the first police force in the country to put together a dedicated team of specialists to design a process and handle crisis negotiations. The FBI and others followed. A new era of negotiation had begun. HEART

I wound up writing a review that asserted her greatness but also said that this was not her career album, and that she could and would do even better than this. I was in Atlanta, late at night, leaving a piano bar (don't ask), when my cell phone rang and I distractedly picked it up. 'Hello?' 'Peter Cooper?' The words came out as one: 'Petercooper?' 'Yes.' 'You better get your ass over here right now.' 'Who is this?' 'Petercooper, it's Leeannwomack. Where the hell are you?' 'I'm in Atlanta?' 'Why?' That one was hard to answer. I paused to ponder. 'Doesn't matter. Get your sorry ass over here right now.' 'I can't. I'm in Atlanta.' 'Well, get in your car and drive to Nashville. 'Cause I'm gonna give you three swift kicks to the groin.

Nashville had gotten schizophrenic over the past decades. The reputation as Little Atlanta was well deserved—while the country music scene still ran the show, there were many more avenues for pleasure. The stunning Schermerhorn Symphony Hall and the First Art Center drew a more refined crowd downtown, and esoteric restaurants and sophisticated bars had opened to provide succor to the cultivated set. Taylor liked these places; they were a retreat, a way to get away from her sometimes mundane world. They

This South is nothing like the South in which I used to live, with its manicured lawns and gated country clubs. Even that South has changed. Over the years, Nashville has gotten bigger and more complex. The relatively modest, adolescent city in which I was born had grown into an adult with a tailored suit and gym-toned thighs, all glamour and muscle. It is part of the New South. In that South, there is no place for my daydreams. My true South, this South, is old, and deep, well into the belly of the region, far below the Mason-Dixon Line.

Nashville she liked, as a town. Dive bars, bookstores, amazing food from countries you’ve not even heard of.

Dad] would take a McDonald’s straw, cut it, put it in each nostril and [snort] just about every fifteen minutes for three or four days at a time,” Shooter recalled. Seeing their only child together sticking a used one up his nose became both the proverbial and literal last straw for Jessi Colter.4

The sexiest thing about a man is the way he can make a woman smile even when she thinks there is nothing to smile about.

Smoke hung heavy in the air. Will’s eyes stung. His throat. His nose. And the crackling. God, the crackling fire was like the devil laughing. Vera was in that house. Mikey gripped his arm. “Hold on, Will—” Will lunged forward. “Vera—” “Whoa, Will.” Mikey’s grip tightened. “Stop.” “The hell I will. Vera—” “Billy?” One of the cops approached him. Said a bunch of words. Helped Mikey hold Will back. Vera was in that house. Vera, her trusty wooden body, her frets, her new strings. Vera, who’d had his back everywhere from Pickleberry Springs to Nashville to New York to LA, from seedy bars to stadiums. Vera, who’d helped him write his first song. His last song. Every song in between.

There’s a spirit of freedom in Portland you can’t find many other places. Austin has it a little, and Boulder has it. Nashville is glowing with it. It’s not just a hippie thing either. It’s something other, a feeling everybody else in the country is being corralled into buying just a few kinds of clothes, a couple of different records and watching the same television shows, while in these rare cities, these bastions of freedom, people have turned off their televisions to realize there are more than binary options for us to choose from. We don’t have to be either conservative or liberal or religious or atheist or divided into this or that categories. We can be ourselves, a conglomerate of nuanced beliefs and opinions.

Louise, who at twenty-three could easily look like a sixteen-year-old boy, wore trousers, a vest, and a tie. Joan wore a chic dress with a nipped-in waist and wide skirt, her red hair in a wavy, shoulder-length pageboy. The juke box in the bar was a good one, with Ray Charles singing “Hey Now” and new records by B. B. King, whose performances on Beale Street were a Memphis sensation. The most popular song of the night, hands down, was Kitty Wells strumming “It Wasn’t God Who Made Honky Tonk Angels.” Wells was from Nashville, and the burgeoning country music industry in their home state was a subject of fascination for both women. Louise, intrigued by the fashion for cowboy costumes and yodeling, could do a fair imitation of Hank Williams. Louise had a new swagger that Joan hadn’t seen in her before. She was more assertive and suffered fools even less. When a pretty young woman stopped by their table to compliment Joan’s hair and flirtatiously ask, “Why don’t you cut it short?” Louise sent her on her way with a proprietary growl, saying, “Leave her alone. She’s not gay.

You know what happens when you play a country tune backwards? You get your girl and your truck back, you’re not drunk anymore and your hound dog comes back to life.” She said, “I was born in Nashville

but they would have anyway, no matter what he drove. “I have the day off tomorrow. And there are some other things I want you to see. I have a surprise.” He was trying to organize her introduction to Nashville, while keeping a hand in his work. And she knew they were playing a concert in six days. It had been sold out for months. He left her in the lobby, and she heard the Corvette roar off two minutes later, as she went upstairs. She had had a fabulous day so far, thanks to Chase. She changed into jeans and comfortable clothes for their time in the studio that night. And he said there would be plenty of food for everyone to eat. She couldn’t wait to see his house. She knew how much he loved it, and how important his home was to him. He talked about it a lot, and what a job it had been to renovate it. It was an old Colonial mansion on extensive grounds. It was part of an old plantation that had been divided into lots years before, and he had the main house and gardens closest to the house. The old slave quarters had been torn down when the property had been split up. She hardly had enough time to check her e-mails and change her clothes before it was time to pick her up. One of

The pandemic made me realize my anger was still very much alive and well, the wounded anger of a child. As I stepped up in March 2020 to help lead Metro Nashville through a monumental crisis for which there were no easy answers or easy exit, I became aware that the country had become one big schoolyard playground. Bullies were everywhere; social media gave them a platform to virtually arm-twist and intimidate anyone they wanted at any time of day or night - and seemingly without consequence.

One cost of the Ferguson riots was noted in their wake—a nationwide spike in violent crime, as police across the country retreated under the wave of anti-police hostility. In 2015, America’s 56 largest cities experienced a 17 percent rise in homicides. Several cities with large black populations saw their 2015 murder totals spike even more dramatically—they went up by 54 percent in D.C., 60 percent in Newark, 72 percent in Milwaukee, 83 percent in Nashville, and 90 percent in Cleveland. St. Louis police chief Sam Dotson, referring to the town where Michael Brown’s death took place, attributed the increased criminal violence to “the Ferguson Effect.”29

Making music is like constructing a machine whose function is to dredge up emotions in performer and listener alike. Some people find this idea repulsive, because it seems to relegate the artist to the level of trickster, manipulator, and deceiver—a kind of self-justifying onanist. They would prefer to see music as an expression of emotion rather than a generator of it, to believe in the artist as someone with something to say. I’m beginning to think of the artist as someone who is adept at making devices that tap into our shared psychological makeup and that trigger the deeply moving parts we have in common. In that sense, the conventional idea of authorship is questionable. Not that I don’t want credit for the songs I’ve written, but what constitutes authorship is maybe not what we would like it to be. This queasiness about rethinking how music works is also connected with the idea of authenticity: the idea that musicians who appear to be “down-home,” or seem to be conveying aspects of their own experience, must therefore be more “real.” It can be disillusioning to find out that the archetypical rock and roll persona is an act, and that none of the “country” folk in Nashville really wear cowboy hats (well, except during their public appearances and photo shoots).

Not to mention, assuming an owner of a business is a guy is just not my mom’s MO. Long before she dreamed up the idea for Big League Burger and helped build it up to the veritable empire it is today, she was almost too progressive a feminist for a place like Nashville, where she jokingly but not-quite-jokingly would clamp her hands over our ears anytime a line in a country song said something about girls with painted-on jeans or sitting on tailgates, saying it would make us 'the complicit kind of cowgirl.

Conceptually, this was an approach borrowed more from the world of freight movers than communications experts. Think of each message as if it were a large house and ask yourself how you would move that house across the country from, say, Boston to Los Angeles. Theoretically, you could move the whole structure in one piece. House movers do it over shorter distances all the time—slowly and carefully. However, it’s more efficient to disassemble the structure if you can, load the pieces onto trucks, and drive those trucks over the nation’s interstate highway system—another kind of distributed network. Not every truck will take the same route; some drivers might go through Chicago and some through Nashville. If a driver learns that the road is bad around Kansas City, for example, he may take an alternate route. As long as each driver has clear instructions telling him where to deliver his load and he is told to take the fastest way he can find, chances are that all the pieces will arrive at their destination in L.A. and the house can be reassembled on a new site. In some cases the last truck to leave Boston might be the first to arrive in L.A., but if each piece of the house carries a label indicating its place in the overall structure, the order of arrival doesn’t matter. The rebuilders can find the right parts and put them together in the right places. In

It was no accident that one of the advertising slogans for Holiday Inn, a chain that found success by building hundreds of motels near freeways and interstates, was “Holiday Inn. The best surprise is no surprise.” In this way, freeways have helped to rob many places of their personalities, smothering regional character under a blanket of sand and gravel. The interstates are designed to be monotonous, engineered to the same standards, governed by the same speed limits, with signs in identical colors and fonts indicating the distance to the next city. As a result they induce highway hypnosis, providing an experience less like motoring than like sitting on a vast concrete conveyor belt, cruise-controlling along with no effort required beyond keeping one eye on the road and another on your gas gauge, for mile after mile after mile. That numbing sameness reduces the landscape to a blur interrupted at regular intervals by overbright outposts of gas stations and fast-food chains, replicated in slightly different configurations right across the entire country, so that you can have breakfast at a Denny’s in the morning in Nashville and dinner at what appears to

So what exactly is 'Nashville' food, anyway? Unlike the Low Country with its shrimp and grits, or even Memphis with its barbecue, Middle Tennessee doesn't have an easily recognized cuisine. We mostly celebrate simply what comes from the earth here - the corn, tomatoes, beans, greens - the animals that proved easiest to raise - such as hogs and chicken - with some wild game and fish from our waters. It's the food that business owners made into our meat-and-threes, tearooms, and chicken joints, and it's the baked hams and green beans traditionally served in our homes.

We were in Nashville and the whole place was packed with country music executives. They played all their punk rock—just as loud and fast as they could until they virtually cleared the room until there was nothing left but punks. And then they played country music the rest of the night.

Kristofferson’s songs, particularly, explored sensual love and desperate negotiations with personal devils in a rambling ballad style that sharply contrasted with the strictly tempered verse that had dominated country music for decades. He engendered a freedom of expression in Nashville’s music business, and, in his wake, other freedoms emerged.

All this further convinced Phillips that the country music old guard in Nashville was vulnerable. Pierce was only thirty-four, but the young artists from Sun had made him look fifty.