11 a.m. - 1 p.m. Earth Party & Trashion Fashion Show
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Join the 41st Annual Cowtown Great American Cleanup and help beautify Fort Worth. Register as an individual or group, choose a cleanup hub or your own public area — supplies provided.
Join us for food, music, activities, and more to celebrate your impact.
A creative showcase of designs made from recycled materials — prizes awarded.
Recycle old or used tires for free and help keep Fort Worth clean.
Visit www.fortworthtexas.gov/cowtowncleanup for more information. ¿Hablas español? ¡Información disponible en español en el sitio web!
INSIDE
Lots of Flavor
Four local artists discuss what it means to be Black in music in North Texas right now.
By Patrick Higgins
Big Ball
Things got Celestial for the LGBTQ+ community to the tune of $18,000 in donations. By Stephen Cervantes
Destination: Wedgwood
From barbecue to soul food, Big Will’s got you covered. By Emmy Smith
4
15 11
‘Harsh’ Lighting
With his new album, country-noir stylist Brandon “Broke String” Burnett takes a cinematic approach. By Juan R. Govea
STAFF BOX
Editor-in-Chief: Anthony Mariani
Art Director: Ryan Burger
Special Projects Manager: Jennifer Bovee
Calendar Editor: Elaine Wilder
Film Editor: Kristian Lin
Music Editors: Patrick Higgins, Steve Steward
Proofreader: Emmy Smith
Editorial Board: Anthony Mariani, Emmy Smith, Steve Steward, Elaine Wilder
Contributors: E.R. Bills, Jennifer Bovee, Jason Brimmer, Jess Delarosa, Buck D. Elliott, Danny Gallagher, Juan R. Govea, Mark Henricks, Patrick Higgins, Kristian Lin, Cody Neatherly, Rush Olson, Emmy Smith, Kena Sosa, Steve Steward, Teri Webster, Ken Wheatcroft-Pardue, Elaine Wilder, Cole Williams
Owner / Publisher: Lee Newquist
Director of Operations: Bob Niehoff
Director of Sales: Michael Newquist
Director of Marketing: Jennifer Bovee
Account Manager: Julie Strehl
Sr. Account Executive: Stacey Hammons
Account Executives: Tony Diaz, Wendy Maier, Sarah Niehoff, Biz Thames, Wyatt Newquist
Brand Ambassador: Clint Newquist
BLACK HISTORY MUSIC
Local artists share their thoughts on the rich legacy of Black musicians in the area and the emotional complexity of this dedicated month.
BY PATRICK HIGGINS
The contribution of Black musicians to Fort Worth is the same as it is to America. It’s immeasurable, invaluable, and woefully underrecognized. To alleviate in some small measure that last bit, we reached out to some area musicians to gain their insights on the rich legacy of Black artists from our burg and whether the focus of traditional media surrounding Black History Month — supposedly intended to celebrate normally underappreciated creators — really accomplishes what it’s purportedly intending to do.
All too often, people of color, Black artists in particular, tend to be treated by the media — intentionally or otherwise — as a monoculture. Yet despite dismissive assumptions, perspectives in reality are as varied and complex as are the individuals who live and express them.
Quincy Holloway is a decades-long veteran of the North Texas underground scene, playing drums with dozens of bands like Dove Hunter, Kaiser, Meth Gator, and the legendary dub outfit Sub Oslo. Chris “Chill” Hill is also a longtime Fort Worth drummer, backing acts like blues virtuoso Chet Stevens, the soulful Taylor Pace, and the four-part vocal group Elevation. Kayla Scales is a keyboardist and vocalist for Igimèjí, a jazzy neo-soul outfit focused on love and beauty. Wrex is a prolific rapper who writes introspective verses meant to expand the mind and soul.
Fort Worth Weekly: How do you feel about the rich history of Black artists from the area? How would you describe the personal impact that history has had on you?
Holloway: I feel quite fortunate to live in a community where the influences of such legendary musicians of color left their mark, particularly those of the late Ornette Coleman and Buddy Miles and, of course, our most contemporary local legend, Leon Bridges. Although I’m not too big on localism, I can’t help but feel a sense of pride.
Hill: Fort Worth has produced some incredible artists throughout its history, and I don’t think it gets enough love and recognition for that. It’s pretty cool to be associated with — at least in
geographical proximity — revolutionary legends like Kirk Franklin and Ornette Coleman.
Kirk was pivotal in making Black gospel music mainstream and exposing so many people to music they may not have known existed through the way he and his band and singers created it. He made it commercially fun, exciting, and relatable.
Ornette is one of if not the founder of what we consider free jazz. Most folks don’t like jazz, and I get it and understand why. It can just sound like noise at times. Sometimes it is. But for a musician, especially Black musicians, jazz is primal. It’s in our blood. To have it presented in a way where the foundation is “You have control over your instrument, you’ve learned all the rules, break them however you see fit” is the most freeing and exhilarating feeling there is. Ultimate expression. No box. No, “Hey man, don’t play that!” Just musicians communicating nonverbally through soundwaves and energy. Nothing beats it.
Scales: I think the rich history of Black artists in DFW is awesome. Whenever my band Igimèjí is on tour, I always tell our audience that we are from Dallas-Fort Worth, Texas. The musical tapestry of this city is already so unique. From Leon Bridges to Erykah Badu, I feel like that uniqueness really inspired Igimèjí to be so “genre-bendy” and comfortable with being experimental with our music.
Wrex: Every story and artist is unique. All of them had the inclination to create and the intuition to follow that instinct. Music is very ingrained in Black culture as a medium to communicate ideas and emotions.
Weekly: How do you see yourself as a contributor to that continuing legacy?
Holloway: I would be flattered to have even the slightest margin of influence picked up by musicians or artists current or future. Small cog, big wheel.
Hill: I hope to continue that legacy by standing on their shoulders and trying to be original, not putting myself or my art in a box, to have no limits to what I produce sonically, having my own recognizable and distinct voice that stands out. People don’t have to like it, but if I can at least have them say, “I’ve never heard anything like this before,” that’s good enough for me.
Scales: I just hope we’re doing our part to add to the history of our city.
Wrex: If anything, I happened to follow that path just looking for a way to express myself. Haven’t really considered the bigger picture of it all.
Weekly: How important is Black identity to you as an artist? Is there a difference in how you feel about Black identity individually and on a personal level versus how you feel about it in the context of being an artist?
Holloway: That one is a bit of a dance for me. I have long focused on the individual rather than the group when it comes to accomplishments and positive input. Still, it’s right at the surface, and you really can’t help but get clustered in by these concepts of race, gender, even age, I suppose. I would say that I personally strive to make the self the key indicator of what makes up one’s identity. I understand that some would prefer the safety of a group to identify with. I think more
and more I see markers like race, gender, ethnicity, and age as a permeable membrane that bends and expands with the real-time necessity to function within a group. You could place my brain inside any head, and it would still be Quincy doing and thinking Quincy shit!
Hill: I think it’s profoundly important. Our identity is a big part of who we all are, regardless of culture or background but specifically on being Black. This country has a rich history. Black culture is American culture. I remember hearing someone say a while back, “The most popular thing to be in the world right now is Black.”
Black culture permeates everything, from food to fashion to trends to music. All music. As far as its influence on my artistry, it sets a standard. There’s a level of excellence that I strive for and expect from myself. We have the same expectation from each other. Simply put, excellence is an expectation.
Scales: As an artist, being Black has become very important. I pull a lot of inspiration from my own culture. Whether it’s the writing of James Baldwin, the smoky voice of Nina Simone, or a Spike Lee movie, I stay motivated to add to the legacy of my own culture because I see so much beauty in it.
Wrex: Plenty of things I say in songs are written in a way that mainly Black people will understand the meaning of, because it’s hip-hop, though, not because of race. I know plenty of non-Black people who are versed in hip-hop. Do I consider race when creating? No. It’s more innate. It’s shaped me in so many ways to this point that it’s just woven into the creativity and process.
Weekly: How do you feel your identity influences how other artists in the music community associate with you? Do you feel the specific type of music you make impacts this?
Holloway: I have seen a long and fortunately positive arc in the relationship I have with other local musicians and artists. The time I spent in my youth dealing with the presence of skinheads and that ilk was deeply and positively affected by the sense of being protected by the antifascist mindset of my brothers and sisters in the scene.
Sitting here and thinking about it makes me believe that those times nurtured my sense of universality. I had so many positive reinforcers on “my” side as a Black kid. From the positive and progressive D.C. hardcore I was listening to to the real life elder local artists and musicians that rallied around the cause of social unity. I don’t know that the music I make today is acutely reflexive of those earlier times, but that may have more to do with my own intellectual pursuits.
Hill: That’s a tough question. My racial identity doesn’t play into it at all when it comes to how my non-white peers see me. They know I’m professional, prepared, and perform my job well. I’m kind and a good hang. So, I don’t believe they see me through the lens of Blackness first. I do not believe the music I make directly influences this, but perhaps the other way around?
Wrex: I don’t give it much thought, honestly, maybe because the “haters” are easily recognizable. I know most people who judge you based on skin aren’t that bright, so avoiding them is usually a good thing. Early in my career, hip-hop had a bad stigma, as if everything was violent from the culture. We would struggle to get venues and things continued on page 5
Neo-soul singer-songwriter Kayla Scales: “I stay motivated to add to the legacy of my own culture because I see so much beauty in it.”
Longtime underground-scene drummer Quincy Holloway: “If people only focus their attention on the perspective of a specific classification of humanity, then they are sadly missing the picture that the mosaic of our lives has to show them.”
Courtesy the artist
like that, and there are still some who would prefer we didn’t book their venues, but “go where you’re celebrated, not tolerated” fits here I guess.
Weekly: How do you feel about Black representation in the media, especially locally?
Holloway: That’s another tricky step. The irony of me answering questions on a Black History Month piece isn’t lost on me, but for the sake of answering, I look forward to a time where humanity isn’t so quick to celebrate or call out the idea of race or ethnicity first.
Hill: In general, I don’t believe we are represented as much as we should be. I don’t think that’s any specific person’s fault but rather the group of consumers. Years and years ago, Fort Worth was the most musically diverse city I’ve ever experienced. There were clubs everywhere, and you could go to any of them and catch somebody doing something incredible across many genres. Now, this town seems to only care about country, Americana, singer-songwriter, and cover/tribute bands. We [Black musicians] tend not to be in those scenes en masse. Therefore, a lot of our artistic endeavors tend to be overlooked because that’s not what “the people” want to see and hear.
If I could change anything, I’d change what we actually present to the public. In my opinion, the public tends to like what they think they should like based on what’s in front of them. They don’t go looking for anything new. It’s up to promoters, clubs, and media to take a chance on some people
and see if the public likes it. If so, cool. Everyone wins. If not, cool. Move on to the next. But people need a chance. This industry is based on risk, and nobody is risking anything anymore. They are set on playing it safe.
Wrex: Black representation in the media on a national scale — almost — always has an agenda. Our negatives are overstated. Our positives are overlooked. We’re made out to be a monolith in many cases, although there are so many ways to express the culture. Changes don’t really work because they go against said agenda. Withdrawing from those spaces is a more logical conclusion. Build our own media companies and control the narrative fully.
I think music media is a tad more fair because of the overwhelming contribution Black people make to American culture. It’s hard to speak on music at all without Black people’s hand and innovation in it. Unless you’re being disingenuous, of course.
Weekly: To that end, what are your honest feelings about the seemingly annual tradition of predominantly white media writing articles like this one or creating TV features around Black History Month? Do you see these as legitimate attempts to help raise Black voices and give platforms for Black perspectives, or can these efforts sometimes seem cynical and disingenuous?
Holloway: The closest analogy I could make would be from my observations of urban Japanese subcultures. By that, I mean when all things are as homogenous as they are over there, the individual controls what the world sees, and the media’s narrative resumes focus on specific aspects of that person’s accomplishments, talents, strengths, and
contributions. If Black people represented 80% of a given population, would there be a need to focus on white history month as a way to spotlight that culture? Possibly. But that brings so much of the focus back onto the idea of race in the first place, which I have grown so bored of. If people only focus their attention on the perspective of a specific classification of humanity, then they are sadly missing the picture that the mosaic of our lives has to show them.
Hill: Yeah, it’s quite annoying, honestly. Like I’d said before, Black history is American history, not
Look Again
separate but a part of it. It shouldn’t have to be hyper-focused on for 28 days every year. It always seems to me like, “OK, it’s February! Time to talk about MLK and Rosa Parks again. Smile at the closest Black person and tell them you appreciate them.” Of course, there are people who are genuine and mean well. Their hearts are in the right place. Others do it because they feel like they need to. Honestly, we probably need both. “A helping hand is a helping hand, clean or dirty.” Obviously, that quote deserves nuance, but in general, there’s no such thing as bad press, right? So as long as it keeps a conversation going, I can’t complain about the intent of the source. I just think if people really cared, it wouldn’t just be in February and on June 19th. Maybe you can hear the cynicism in my tone, which probably answers the last part of your question.
Scales: This is a good question, and I think my answer is going to be a bit complicated. I feel like white people’s attempts to include Black people in media, especially during Black History Month, can feel performative. I think a lot of white people, in general, still struggle to see Black art or creation as legitimate, including the journalists that cover it. That being said, I think that there are many white people who genuinely love and appreciate Black music, literature, and media and are seeking to make sure Black creators are given their credit for influencing the greater culture.
Wrex: Do these efforts sometimes appear cynical and disingenuous? Yes. That is because those specific attempts usually are. The real heartfelt, honest attempts to celebrate Black culture are easily recognizable as well, by the content of the message and what’s being highlighted about the
continued on page 7
Longtime drummer Chris “Chill” Hill: “We have always been innovators, and we will continue to be.”
the artist
FRIDAY MARCH 13 TH
Events from noon to midnight JANE AUSTEN BINGO
REGENCY DANCE LESSONS
Full Dance Cards and Fluttering Fans
Evening Promenade
Second Annual Regency Ball Regency Themed Decor & Attire Encouraged
SATURDAY MARCH 14 TH
Nostalgia Comes to Life Labrynth Feature Film audienceparticipation based screening Not So Mini Maze with goblins and lights
World of the Goblin King Fantasy Ballroom FANTASY FORMAL MASQUERADE GALA Costumes, Masquerade, & Ballroom Attire are Encouraged
artist or historical figure’s accomplishments. When done tastefully and in earnest, I do think it sheds a light on the brilliance and humanity.
Weekly: How do you feel about the current state of music, especially music made by Black artists?
Holloway: My feelings toward the general state of music made by Black artists today are just as varied as they have always been: If said artist is grinding out commercially driven turds for the masses, avoidance mode activated. If the artist is driving a truly inspiring message while galloping across the airwaves on a flaming steed of heart-pounding hoofwork, gimme more.
Hill: In all, I like where Black music is. It’s always been innovative, forward-thinking, challenging, and trendsetting. I love and appreciate all those qualities. I wouldn’t change anything about where we are. We have always been innovators, and we will continue to be.
I don’t have any issue with any music made by anybody, let alone Black artists, but a lot of people outside of the community have a lot to say about the music we make. I have a saying: “All music ain’t for everybody.” Nor is it supposed to be. Or doesn’t have to be. If you like it, wonderful. If not, it wasn’t for you anyways. So, move on. Don’t hate on other people’s art from the sidelines. If you hate something so much, you should try it yourself. Do it better. Be the change you want to see. But if you’ve never created anything or even attempted to, just
stay silent and let us do what we do. I appreciate originality, confidence, and staying true to yourself and your art no matter what it is.
Scales: Black music is so incredibly diverse now. I see so many Black punk artists, techno DJs, metalheads, grunge musicians, et cetera. Now more than I ever have. And I love it.
Wrex: The current state of music for Black artists is just like the state of Black people. First, it’s going back underground, just like Black people are withdrawing from the mainstream conversations, building our own infrastructure and music communities. It is the most diverse it’s ever been. There’s many different ways to express ideas across all genres. There is plenty of innovation, emotion, and passion being displayed right now, without the validation of outside groups and without their knowledge of these things existing. The best artists are only really known to the culture right now. It’s almost a secret. The most intelligent of us have abandoned mainstream credibility and that whole thing.
Weekly: What insights could you offer younger Black artists trying to make their way in the scene today?
Holloway: If it’s too loud, you’re too old.
Hill: The advice I have for any Black artist is to first make art for yourself. You have to like it. If others like it too, that’s a cherry on top. Be expressive and unapologetic. Confident. Loud.
Art is a language, so say what you want. There are two quotes I’d like to share in that same vein. They were made in reference to civil rights, but I believe they are universally applicable. “There
comes a time when silence is betrayal.” That’s MLK. If you keep your voice to yourself, you’re betraying not only those around you who may need it but also yourself.
Shirley Chisolm also said, “If they don’t give you a seat at the table, bring a folding chair,” meaning: Create your own space.
Scales: Honestly, for any artist, not just someone who is Black, I would say, stay true to yourself. Perform in public often and keep evolving your
craft. For Black artists specifically, don’t be afraid to speak up for the culture and showcase Black culture in as many creative ways as you can. We are not a monolith. We are known for our creativity. Embrace that. And don’t be afraid to get weird.
Wrex: The only insight I can offer is to be 100% yourself. There has never been a better time to do so. There are fans who are looking for exactly what you’re making, and social media has given you a great chance at finding them. l
Skipping the stress of parking at the Stockyards is our jam! Ride Trinity Metro Orange Line to the Fort Worth Music Festival February 26–March 1 for just $4 round trip. Find your ride now at RIDE TRINITYMETRO .org/ ORANGELINE .
Rapper Wrex: “We’re made out to be a monolith in many cases, although there are so many ways to express the culture.”
Courtesy the artist.
2026 CLIBURN FESTIVAL:
MARCH 26–29, 2026
MODERN ART MUSEUM OF FORT WORTH
From the beloved works of Gershwin, Copland, and Bernstein to the innovative voices of Price, Beach, and Barber, join us to celebrate the ingenuity, independence, and pure joy of American music.
GET YOUR TICKETS NOW CLIBURN.ORG
STUFF
Winter Olympics Wrap
Hockey superiority comes to America!
BY KRISTIAN LIN
Like you, I spent much of mid-February on my couch watching the Winter Olympics, and I think I want to try that deep-fried pizza that Stanley Tucci found in Milan.
Even before the 2026 Winter Olympics started, I found some great entertainment in the news that male ski jumpers were being accused of enlarging their penises, not for the usual reasons that men do that but so that they could get extra fabric on their ski suits that would enable them to jump farther. On other cheating fronts, Julia Simon won three gold medals for France in the biathlon despite being convicted of stealing her teammate’s and physical therapist’s credit cards and buying all sorts of stuff with them. And the Canadian curling team was accused of cheating, which I think is what happens when you have a sport that’s mostly self-officiated. As this paper’s film critic, I refer you to the 2002 movie Men With Brooms, which showcases a deeply Canadian sense of humor and is the only curling movie I’m aware of.
The figure skating competition was notable for the U.S. women shattering the whole stereotype of the demure ice princess who spends 12 hours a day practicing salchows and lutzes. Alyssa Liu walked away from the sport only to come back to it and drop an f-bomb on live TV after her gold medal-winning performance. Plano’s Amber Glenn demonstrated her resiliency by delivering on her free skate after biffing it in the
short program. She brings home a gold from the team event and proof that figure skating is for the queer women, too.
When women’s hockey became an Olympic sport in 1998, everybody assumed that the European countries would eventually catch up to USA and Canada. Today, the gulf between the North Americans and the rest of the world is wider than ever. The U.S. women were less than three minutes away from losing the gold-medal match before Hilary Knight tipped home a shot to force overtime. The game-winner was worth replaying multiple times, as USA’s Taylor Heise caught Canada on a line change and her 100-foot pass found Megan Keller, whose inhuman juke left Claire Thompson in her wake and whose backhand shot found its way under the pad of goalie Ann-Renée Desbiens to give USA gold.
The men’s hockey tournament had NHL players for the first time in 12 years, and the whole sport is better off for it. France’s Pierre Crinon was suspended by his own federation for fighting Team Canada’s Tom Wilson. Come on — who hasn’t wanted to punch Tom Wilson? Crinon is only human.
The Russians are not at these Olympics because of the whole Ukraine invasion thing. I am good with that, but it does make me sad that we don’t get to see a Russian hockey team with Evgeni Malkin, Nikita Kucherov, Kirill Kaprizov, Andrei Vasilevskiy, and perhaps one last hurrah for Alexander Ovechkin. They could have done some serious damage or flamed out spectacularly. Either way, it would have been great to watch. Apparently, you can’t even play with Team Russia on NHL 26
The host country predictably didn’t do much, as an Italy squad with no NHL players lost the most lopsided Olympic hockey game in history, an 11-0 smoking by Finland. It did get me thinking, though, about what an all-time Italy team would look like with hockey players of Italian descent. Results were imposing, with Dallas Stars Mike Modano and Jason Spezza centering the top two lines and with scoring options aplenty (Phil Esposito, Dino Ciccarelli, Mark Recchi). The defensive corps is somewhat thin after Mark Giordano and Alex Pietrangelo, but I would put my faith in goalies Tony Esposito, Roberto Luongo, and Tom Barrasso to shut down any offense.
I was happy to see the Slovaks make the medal round, something they couldn’t do 20-25 years ago when their country was absolutely loaded with talent (Marián Hossa, Peter Bondra, Pavol Demitra, Zdeno Chára). They wound up losing the bronze-medal game to Finland, but Juraj Slafkovský looks like the next great Slovak star.
I’ll admit I thought Canada would win the gold medal in men’s hockey. Even with Sidney Crosby injured, I figured they had too much strength in depth for everybody else, yet Team Canada looked weirdly ropey, needing overtime to beat the Czech Republic in the quarterfinals. Going to overtime against USA in the gold-medal match was a bridge too far for them, with Jack Hughes scoring the winner after his brother Quinn did the same against Sweden in the quarters. I was happy not to see Wilson and Brad Marchand celebrate and happier that the team honored Johnny Gaudreau, who would have been playing for Team USA had he not been killed along with his brother by a drunk driver in summer 2024. That sentimental touch was the perfect note to end these Winter Games on. l
Jack Hughes’ shot past Canada’s Jordan Binnington won Olympic gold for the U.S. men’s hockey team.
STUFF
Starry Night
More than $18,000 was raised by Trinity Pride’s Celestial Ball.
STORY AND PHOTOS
BY STEPHEN CERVANTES
Nearly 250 fabulous folks packed Southside Preservation Hall this past weekend and raised more than $18,000 to support LGBTQ+ community and art programs in Fort Worth.
The Celestial Ball, a fundraiser that blends cocktail-lounge elegance with the disco-era sparkle of Studio 54, offered both a safe space for queer people and allies to party while also building long-term community sustainability.
The ball was presented and hosted by Trinity Pride, Fort Worth’s local LGBTQ+ advocacy group. Trinity Pride President Roger Calderon kicked off the evening by talking about “creating a strong foundation, so that for years to come, there is a community that can keep Trinity Pride running for all of us, all of you, and for everyone else that comes after us.”
Funds raised from the gala’s ticket sales will partially go toward the revitalization of Q Cinema, Fort Worth’s historic queer film festival co-founded by Todd Camp and Shawn A. Moore in 1998. Hosted by Amphibian Stage in South Main Village, the fest is slated to make its return in November, bringing back the platform for queer filmmakers and audiences in a city where few LGBTQ+ dedicated art spaces remain.
Remaining funds from the night will go toward Trinity Pride Fest, which will return to South Main on Saturday, June 27, following last year’s successful turnout of 7,000-plus people, as well as additional LGBTQ+ community programming and resources.
Calderon, who moved back to Texas in 2019 after nearly two decades in New York, told the crowd that he originally left the state because he “didn’t want to be gay in Texas,” reflecting the long-standing political and cultural struggles for LGBTQ+ rights and visibility here. Calderon went on to express gratitude for the local community, saying, “This is what Texas is now and what we will fight to keep.”
The projects funded by Trinity Pride will support the overall mission: “to create safe spaces that celebrate authenticity, creativity, and belonging” in Fort Worth and all of North Texas.
The entertainment for the evening featured performances from August Edwards, Mystique Summers, and Deja Dubois, who began their performances with a choreographed dance to the song “This Little Light of Mine,” followed by solo dance and drag acts.
In between performances, partygoers took to the dance floor under the Southside Preservation Hall disco ball with music provided by DJ Amy H. Graves.
Trinity Pride hopes to continue hosting fundraising events like the Celestial Ball in the years
ahead. Given the sold-out crowd and waitlist, the gala is likely to become a recurring fixture on Fort Worth’s LGBTQ+ community calendar. l
MARCH
8 a.m. - 11 a.m. Citywide Cleanup
11 a.m. - 1 p.m. Earth Party
REGISTER TODAY!
The first 3,000 volunteers to register receive a free T-shirt.
Join the 41st Annual Cowtown Great American Cleanup and help beautify Fort Worth. Register as an individual or group, choose a cleanup hub or your own public area — supplies provided.
Join us for food, music, activities, and more to celebrate your impact. 28 DE MARZO
¡REGÍSTRATE HOY!
Los primeros 3,000 voluntarios en registrarse recibirán una camiseta gratis.
A creative showcase of designs made from recycled materials — prizes awarded.
NIGHT & DAY
Swearing It Well
This week starts with a resounding “f*ck this sh#t” but carries on with movies, the arts, and more.
BY ELAINE WILDER
At 8pm at the Grackle Art Gallery (4621 El Campo Av, Fort Worth, 817-615-0681), F#CK THIS!: A Raw Storytelling Show promises some much-needed collective catharsis as we celebrate that universal feeling many of us share right now. Featured performers include local artist Jordan Jeffreys, singer-songwriter Gabby Minton, and Portland performance artist ZigZag Rhae. Doors are at 7:30pm. As for the cover, simply pay what you can.
Speaking of stuff screwing off, Fort Worth aggro-popster Jeff Zero has really had enough of the “chilling weather” and has gone all in with his new protest song. Read all about “F*ck ‘Ice’ ” in this week’s Music section.
At Amphibian Stage (120 S Main St, Fort Worth, 817923-3012), the queer romantic comedy Bull in a China Shop is set amid the fight for women’s rights, spanning a four-decade relationship between Mary Woolley
and Jeannette Mark, teachers at Mount Holyoke. Tickets start at $17 at AmphibianStage.com.
Also running this weekend, the Fort Worth Symphony Orchestra and Dallas Theater Center have collaborated to bring a new Theater of a Concert concept to Bass Performance Hall (330 E 4th St, Ste 200, Fort Worth, 817-6656000). Shakespeare at the Symphony will feature selections from Mendelssohn’s A Midsummer Night’s Dream and Prokofiev’s Romeo and Juliet. Acting and music will intertwine as musicians and actors share the stage. Tickets start at $31.50 at FWSymphony.org.
Sledge Distillery (8210 Paluxy Hwy, Tolar, 817-888-8119) has another Hootenanny. From 2pm to 10pm, enjoy spirits,
food (3pm-9pm), and entertainment, including an arts-and-crafts session where you’ll build your own hexagon-shaped plant propagation station (3pm-5pm), and live music by Shotgun Josephine (6pm-9pm). Admission is free, but the class is $37.50 per person. For more information, visit SledgeDistillery.com/our-events.html.
Today marks the inaugural Maverick Con. UTA’s first-ever pop-culture convention with a cosplay competition, gaming tournaments, and panels with voice actors, including Daman Mills (Frieza in anime series Dragon Ball Super), and much more, is at E.H. Hereford University Center (300 W 1st St, Arlington, 817-272-2929) 11am-7pm. Tickets are $21.25 at UTATickets.com.
The UFC has partnered with Paramount+ for 2026, meaning pay-per-view screenings are a thing of the past. I’m sure sports bars will still be hosting UFC parties, but now you can too without spending a lot of extra money, as long as you’re a subscriber.
Meanwhile, Call Dad Real Estate is hosting a meet-and-greet with professional MMA fighters at Son of a Butcher (9649 Sage Meadow Trl, Fort Worth, 817-482-8998). From 6:30pm to 7:30pm, Ramiz Brahimaj (UFC welterweight), Macy Chiasson (Top 10 UFC bantamweight), Quinton Perez (Fury FC welterweight), and the undefeated Ramsey Brahimaj (XKO lightweight) will appear as part of Call Dad’s Sliders & Fighters. There is no cost to attend.
continued on page 14
Get your fix of post-Olympics hockey at a Dallas Stars watch party at Rusty Nickel IceHouse (2836 Stanley Av, Fort Worth, 817-528-1682). There will be chances to win prizes, including autographed memorabilia, and food and drink specials throughout the game. Plus, it’s Steak Night with a featured menu by Chef David Hollister. The puck drops at 8pm. No cover.
Did we do that? Rumor has it that after our cover story about the popular mystery movie night events (“Weird Wednesday,” Dec 30, 2025), the evil overlords at a corporation that shall remain nameless contacted the organizers about naming rights. The newly rechristened Mutant Bazaar is back with
its next awesome (and still weird) Wednesday event at Southside Preservation Hall (1519 Lipscomb St, Fort Worth, 817-926-2800). The night market is at 5pm, followed by a vintage video preshow at 7pm, and the secret movie screening at 8pm. Tonight’s mystery movie is a surreal fantasy adventure. The event is BYOB, but food vendors will be on-site. Parking is free, but you’ll need cash for vendors and donations. Admission is on a pay-what-you-can basis. For more info, visit FWCinema.org/MB52/.
Save the date! We finally have some details for our annual Fort Worth Weekly Music Awards Ceremony. It will be on the last Sunday in March at Ridglea Theater (6025 Camp Bowie Blvd, Fort Worth, 817-738-9500), where we will celebrate our 2025 winners and new Hall of Fame inductees. What time does it start? Don’t know yet. Who’s playing? We’ll see. For more details, follow us at Facebook.com/FortWorthWeekly and RSVP on the event page there.
UTA’s first-ever pop-culture convention features a cosplay competition, gaming tournaments, and panels with voice actors, including Daman Mills, on Sunday.
Acting and music will intertwine as musicians and actors share the stage at Shakespeare at the Symphony at Bass Hall this weekend.
EATS & drinks
Neo-Soul
Big Will’s brings good eats and good vibes to restaurant-starved southwest Fort Worth.
Big Will’s Soul Food, 5400 Woodway Dr, Fort Worth. 682-224-2828. 11am-9pm Tue-Fri. STORY AND PHOTOS BY EMMY SMITH
Aside from a popular Mex-Mex hole in the wall, an enduring Indian restaurant that has changed names and ownership several times in several years, and a Domino’s Pizza that will probably still be there long after human civilization has destroyed itself, residents of the sprawling southwest Fort Worth community known as Wedgwood don’t have a lot to speak of when it comes to dining out close to home.
A short history lesson: Once one of the premier neighborhoods in Fort Worth, the planned community of Wedgwood, which has over 5,000 homes, was founded in the 1950s, with its founders placing full-page ads in the Star-Telegram proclaiming to new homebuyers, “You’ll live happier in Wedgwood!” The community boasted at various times a country club, a bowling alley, and a popular movie theater well into the 1980s and ’90s before experiencing a decline as the population aged and families moved away.
These days, the community, which, full disclosure, includes yours truly, is experiencing a resurgence as families seek to plant roots in one of the few centrally located neighborhoods of Fort Worth that can still be called affordable. Its many parks, large lots, tree-lined streets, and active neighborhood associations and clubs are a big draw, but the major flaw is its lack of walkability — not to mention local businesses to support.
So, when the signage went up for a new barbecue and soul food restaurant in the Woodway shopping center that marks the de facto entrance to Wedgwood East, heads were understandably turning.
Big Will’s Soul Food had its grand opening on January 26, and the once-deserted parking lot of the small strip has been bustling ever since. I know because I live across the street. A quick scurry across a two-way street is all that stood in my way from heaping portions of Southern favorites. Speaking of the street, a curiously specific sign under the ordering counter advises, “Leave your drama in the middle of the street. Let the cars and trucks run over it.” Only good vibes will be tolerated, thank you very much.
Brand-new signage and huge lettering on continued on page 17 The omission
on Big Will’s fried chicken made for light and crispy bird.
the windows let passersby know what to expect, announcing that ribs, brisket, sausage, burgers, tacos, and more will be “smokin’ with flavor.” Inside, lacquered wood tables and low track lighting help transform the small dining area that was once a vegan bakery into a homey smokehouse. Behind the counter, it was easy to see that Big Will’s is a true family affair. Along with Big Will, easily identifiable by his stature and the fact that he was calling the shots, a small but mighty crew clearly consisting of husband, wife, extended family, and kids worked together to package up a steady stream of to-go orders. A young man of about 15 deftly took our order on an iPad before directing us to take a seat. It’s the kind of place that instantly makes you feel good to see where your money is going.
Big Will’s started as a barbecue food truck that regularly made the rounds at area school events. I opted to stick with familiar barbecue favorites, ordering a two-meat plate of sliced brisket and sausage, with potato salad and collard greens. My husband picked fried chicken, mac ’n’ cheese, and green beans from the soul food side of the menu.
After a relatively short wait, our plates were delivered — reusable plates and silverware but the kind made to look nice, not dissimilar to the dinnerware we used at our own barbecue-catered wedding. They were sturdy enough to contain the large portions of comfort classics.
My brontosaurus-sized brisket slices were not the tenderest this town has to offer, but they made up for it with smoky, beefy flavor and just
the right amount of seasoning. Same for the sausage, which lacked a bit of the snap I’m used to but tasted heavenly. My collard greens, slightly salty, made for a delicious foil to the rich meats, although the potato salad could have used a little more oomph.
My husband’s fried chicken consisted of two huge wings and a thigh, served aside two heaping mounds of homemade mac ’n’ cheese and stewed
green beans just like my mama made. The chicken was unbreaded, more like a “regular” KFC order versus the “extra crispy” my husband is used to, but he didn’t complain, as the meat was moist and tender and played nicely with the peppery seasoning in the bird skin.
It’s important to feel pride in one’s community, and there’s nothing quite like being able to step outside your door and support your
neighbors’ business, especially in the form of generously portioned, lovingly served comfort food. Soon I’ll be popping across the street again for one of Big Will’s numerous $10 lunch specials, which include assorted sandwiches (brisket, rib, sausage), loaded nachos, chicken wings, fried fish, and more. Even if it weren’t basically in my front yard, I’d be encouraging others to do the same. As we covered in last week’s Black History Month issue, you can never have too much soul food. l
A two-meat plate can include three enormous slices of smoky, savory brisket and sliced sausage, plus two soulful sides.
Only good vibes will be tolerated at familyowned and -operated Big Will’s Soul Food.
Taking Back Sunday (Brunch)
Until quite recently, my Sundays have been dominated by the Pittsburgh Steelers. Not unlike our esteemed editor, my husband is a super-fan. Now that the Super Bowl has come and gone, we can go back to our regularly scheduled programming: Sunday brunch. While many restaurants let you order breakfast at lunch and vice versa, I’m looking for a buffet with the option to try one of everything. These places may need to resurrect the #SteelCurtainDefense to limit my unlimited trips to the trough.
1.) While not exactly a buffet, Bigotes (1821 E Abram St, Arlington, 817-274-1350), a Tex-Mex restaurant owned by the Zavala family, does offer an all-you-can-eat special for $14.25 per person Fri-Sun and for $13.25 Mon/Wed-Thu. Your first plate comes with two cheese enchiladas, two crispy tacos, one tostada, rice, and beans, then you order more of whatever you like after that.
2.) While Wednesdays are typically nothing special except the marking of the halfway point to our weekend, I’m here to remind you that Blue Mesa (612 Carroll St, Fort Worth, 817-332-6372) still has its weekly discounted lunch buffet from 11am to 2pm for $12 per person. But I also recently learned that their weekend brunches are back! Join them on Sundays from 9:30am to 3:30pm in Fort Worth for Mimosa Brunch for $29 per person, featuring the usual breakfast items plus a carving station with salmon, smoked brisket, and pulled pork; a taco bar with chicken verde, ground beef chorizo, and all the fixins; and specialties like Blue Mesa’s famous adobe pies. Your mimosas and soft drinks are included, as is a dessert bar. Specialty cocktails are available for purchase as well. The locations in Addison (14866 Montfort Dr, 972-934-0165) and Plano (8200 Dallas Pkwy, 214-387-4407) have the same Sunday brunch schedule and also offer it from 10am to 3pm.
3.) Chisholm’s Restaurant (113 S Main St, Godley, 817-389-2560) is family-owned and known for its home-cooked Southern-style fare. They offer a breakfast buffet 7am-10am Sat-Sun, lunch buffet 11am-1:30pm daily, and a dinner buffet 5pm-8pm Fri-Sat. On Thursdays, there is sometimes a barbecue dinner buffet from 5pm to 8pm that includes hickory-smoked brisket, bacon-wrapped jalapeños, pork ribs, smoked turkey breast, smoked chicken, hand-battered chicken-fried steak, mashed potatoes, cream gravy, corn, green beans, baked beans, a salad bar, and a dessert bar. While #TheHubs is now free from Thursday Night Football programming, there is still the matter of #Wifey and her Grey’s Anatomy,
which returns from its Olympic-games hiatus this Thursday. As long as we make it back home by 9pm, I’m game!
4.) Division Street Diner (1800 W Division St, Arlington, 817-274-1606) is open 10am-2pm on Sundays and serves its brunch buffet only (no ordering from the menu) for $13.99 per person plus the price of your drink. You’ll find stations for carved meats, omelets, and waffles, plus a buffet line with fried catfish, chicken strips, chicken-fried steak, green beans, mashed potatoes, and sometimes (if you’re lucky) the best mac ’n’ cheese anywhere. For a casserole-style entree, Division Street rotates between shepherd’s pie and a Cajun pasta.
5.) Heaven’s Gate Restaurant (3820 N Main St, Fort Worth, 817-624-1262) has a lunch buffet seven days a week from 11am to 2pm, plus a breakfast buffet 8am-11am Sat-Sun. The lunch buffet features roast beef with red potatoes and carrots; chicken (lemon-peppered or fried); meatloaf; pork chops (grilled or fried); chicken-fried steak; and 10 sides, plus a rotation of eight chef’s choice entrees that vary daily. Menudo is also available on the buffet Sat-Sun.
6.) La Cabrona Cocina Mexicana in Artisan Circle (2933 Crockett St, Fort Worth, 682-2242560) does brunch Sat-Sun starting at 11am. On Saturdays, there’s a special brunch menu with items starting at $12 served alongside the full menu 11am-3pm. Then on Sundays, there’s an all-youcan-eat buffet 11am -4pm, with live mariachi music at 1pm, for $35 per person. Reservations are recommended on OpenTable.com.
7.) Neighboring Artisan Circle restaurant Terra Mediterranean (2932 Crockett St, Fort Worth, 682-224-2687) also has a strong brunch game. (But you, faithful reader, already know that, seeing as how you voted them Best Mediterranean Food in our Best Of 2025 issue.) There is a lunch buffet from 11am to 2:30pm Mon-Fri for $20 per person and a $25-per-person Sat-Sun throwdown, with baba ganoush, saffron chicken, falafel, gyro meat, hummus, freshly baked pita, and more.
8.) If you’re feeling fancy, Toro Toro (200 Main St, Ste B, Fort Worth, 817-975-9895) has its Bottomless Brunch with unlimited plates for $69 per person 10am-2pm Sat-Sun, plus a la carte options and a Bloody Mary bar. For those on a budget, try Toro Toro’s new lunch buffet 11am2pm Mon-Fri for $18 per person which includes a daily rotating selection of appetizers, salads, sides, and a chef-crafted entree: the signature parrilla plate (a Latin-style fire-grilled meat dish).
By Elaine Wilder
RIDGLEA ROOM
FROM WEDDINGS, PARTIES, CONCERTS TO WRESTLING CONTACT US TO BOOK YOUR EVENT NOW 817- 738-9500 OR 940-393-5339
Weekend brunches are back at all three North Texas Blue Mesa locations.
MUSIC
Jeff Zero Goes All in with New Song “F*ck ‘Ice’
”
We’re all tired of their bloodthirsty b.s., but the Fort Worth aggropopster has really had enough of the chilling weather.
BY ANTHONY MARIANI
Protestors across America, here’s your new chant (in 2/4 time):
“Fuck ‘Ice’ / Do I have to say it twice? / No one wants you here / So, fuck you, ‘Ice’ / There will not be any peace until the ‘Ice’ gets off our streets / Get out of our cities / Fuck you, ‘Ice.’ ”
Fort Worth pop singer-songwriter Jeff Zero just released the song after not being asleep, getting pissed off at the news, putting out a social-media call for artists, gathering them, and performing and recording the track (at a studio that shall not be named out of fear of backlash) — quickly but not sloppily. “Fuck ‘Ice’ ” is quite the tight, rousing acoustic guitar-forward ditty. Pete Seeger and Woody Guthrie would definitely approve.
“Ostensibly,” Zero said, “ ‘Fuck “Ice” ’ is a protest song about the weather — obviously *cough, cough* — although I suppose that under the right lighting, from a certain angle, and with a particular mindset, one might somehow interpret it differently.
“ ‘Ice’ can be dangerous,” Zero went on. “Nobody likes when ‘Ice’ spreads across the land. It can cause people to slip and fall. Cars can slide off the road and crash. ‘Ice’ even sunk the Titanic . ‘Ice’ lingers in the shadows and melts in the light. The weather is changing, and hopefully we will soon get ‘Ice’ off our streets and out of our cities.”
Immigration and Customs Enforcement (ICE/Ice) has become a scourge in the hands of
the current occupant of the White House. Once Donald Trump assumed office, his administration said ICE would target “the worst of the worst,” but analysis by the Cato Institute and others found that 73% of ICE detainees had no serious criminal convictions. The same person who described Mexicans and other immigrants south of the border as murderers and rapists probably has no idea that only 5% of all ICE detainees have been convicted of violent crimes like murder and rape. The White House’s goal is not to make our world safer. It’s to terrorize mostly Democratic-voting communities to scare them from voting. Or even living.
Why’d you do it, Jeff?
“The short version is that I oppose the American gestapo that is ICE,” he said. “Masked agents without cameras or nametags/identification snatching people off streets was dystopian on its own, but the occupation of Minneapolis, coupled with the murders of Renee Good and Alex Pretti, were the final straws. To remain silent is to be complicit.
“When I was a younger man,” Zero continued, “I was taught that ‘if you ever find yourself saying, “Somebody should do something,” remember that you are ‘somebody.’ So, I did.”
Zero is hoping for a chain reaction among
local singer-songwriters from his track and the recent, earlier release of an anti-fascist song by a Fort Worth friend of his.
If you know indie-rock singer-songwriter Denver Williams, Zero said, “he is not the type of person to be political or to cause friction. He’s just about the easiest person to get along with as you’ll ever meet. We’d had some private discussions about the state of things, but then he wrote, recorded, and shot a video for ‘Now that All of Your Secret Racist Dreams Are Coming True.’ That was my wakeup call.”
Zero deflects credit for his new track. “I’m not sure I did anything. I was angry and frustrated and felt I needed to pick up my guitar to deal with my thoughts, and ‘Fuck “Ice” ’ came to me almost fully formed in about 20 minutes.”
Gathering all the musicians, performing and recording the song, and shooting the video took about a week, Zero said.
“I am beyond happy with the results and with the support of my circle of friends, who all came out and sang, played, and helped,” he said. “It turned out better than I dared hope, and it was all 100% unscripted and spontaneous once we got [to the studio]. It was an amazing day, and I am blessed beyond measure to have the support of some amazing people, all of whom volunteered their time and effort.”
The patriots who responded to Zero’s call with gusto include percussionist Mike McMurray, pianist/accordionist Tommy Henson, guitarist Stin Hudson, and harmonica player CKB, along with lead guitarist Williams and the angelic “Fuck ‘Ice’ ” choir: Sonny Votolato, BK, Itchy Richie, Sarah Savage, and Faith Thompson, along with Henson and Hudson.
Zero hopes the song raises awareness “in an indirect allegorical way with enough plausible deniability to spark debate and inspire someone else to write Protest Songs Nos. 3 to 1,000.”
“Fuck ‘Ice’ ” is available for free streaming and downloading via jeffzeromusic.bandcamp. com/track/fuck-ice. l
This column reflects the opinions of the editorial board and not the Fort Worth Weekly . To submit a column, please email Editor Anthony Mariani at Anthony@FWWeekly.com. He will gently edit it for clarity and concision.
Jeff Zero: “I am beyond happy with the results and with the support of my circle of friends, who all came out and sang, played, and helped.”
Courtesy YouTube
Jeff Zero: “When I was a younger man, I was taught that ‘if you ever find yourself saying, “Somebody should do something,” remember that you are ‘somebody.’ So, I did.”
MUSIC
Rattlesnake Moon
Inspired by the newish Western Harsh Treatment , Brandon “Broke String” Burnett crafted an equally moody country-noir album of the same name.
BY JUAN R. GOVEA
After a show at Dan’s Silverleaf in Denton three years ago, country-noir singer-songwriter Brandon “Broke String” Burnett happened to meet two multimedia producers. Datalus Pictures’ Marielena Resendiz and Johnathan Paul asked him to record a song for their 2025 indie Western. Burnett and his group excitedly went to work, and their track “Rattlesnake Moon” not only appeared in Harsh Treatment but won an award for best original song at a Tucson, Arizona, film festival in 2024.
“It’s a good feeling, for sure,” Burnett said, “pretty cool.”
The song and film inspired Burnett and his producer, Calan Rawl, to record a full album of the same name as the movie. Broke String Burnett will celebrate the release of the LP Harsh Treatment with a big show at The Boiled Owl Tavern on Friday with two-steppin’ genius Cory Cross opening.
“The task was a song or two, but I just kept writing, so we went ahead and tracked them,”
Burnett said. “It was an experiment, and that’s what we leaned into. I love the album … and it’s just a fun album, I think. I was ecstatic about the opportunity. I’ve always been a fan of Western films and always written original music that played out like a movie.”
The film tells the story of two failed outlaws who, after getting kicked out of their own gang, find themselves pursued by a dangerous tracker, a bloodthirsty mercenary, and a host of sinister thugs, all of them after the priceless treasure the two outlaws do not realize they’ve stolen.
The picture premiered at the Dallas International Film Festival in April 2024. In October 2024, it was screened at the Wild Bunch Film Festival in Tucson and was nominated for awards in 15 categories, including Best Original Song. The movie premiered on Amazon Prime in October 2025 to positive reviews and is now streaming on Tubi and YouTube Video.
Like Burnett’s debut album, 2023’s Doppelganger, and sophomore effort, 2024’s Bloodveins, Harsh Treatment was recorded by Rawl at his South Fort Worth home in much the same way: drums in the living room, guitars in the bedroom, vocals in the bathroom.
Like most of the other nine tracks on Harsh Treatment, the dark, narrative “Rattlesnake Moon” follows an outlaw on the run, this one chased by demons.
“Dark is the night by the light of the Rattlesnake Moon,” Burnett sings in his smooth tenor over a dramatic soundscape that gradually shifts from patient to raucous. “It will show you things you cannot see / Even an outlaw needs a friend, but I’ll take what I can get / Even lost souls can find a way / I ain’t lost yet.”
“I make the music I make because I want to tell stories,” Burnett said. “I don’t think about it too much. I just write songs that I feel, and if it feels important, I will bring the song to the band” — guitarist/vocalist Henry Sepulveda III, drummer John Paul Thomas, and bassist/vocalist Gary Wingrove II — “and go from there. I’m not doing anything different than any other dude with an acoustic guitar. What makes each of us special is our voice. So, I guess I just feel motivated enough that I feel like I have something to say that would resonate. I just stay true to the story that is unfolding inside the songs.” l
String Burnett
Fri w/Cory Cross at The Boiled Owl Tavern, 909 W Magnolia Av, Fort Worth. No cover. 21+. 817-920-9616.
Broke String Burnett’s “Rattlesnake Moon” not only appeared in the Western Harsh Treatment but won Best Original Song in a Tucson, Arizona, film festival. Courtesy the artist
(From left) Calan Rawl, John Paul Thomas, Brandon “Broke String” Burnett, Gary Wingrove II, and Henry Sepulveda III will celebrate the release of their new album Friday at The Boiled Owl.
Juan R. Govea
Why Texas Investors Should Consider DSCR Financing Over Traditional Loans
By Glenna Hobbs
Texas is a land of opportunity for real estate
investors. The market moves fast. Rental demand is strong. Cities like Austin and Houston are consistently booming. Financing the right property can make or break your investment. Traditional loans check personal income like hawks. They can be slow to approve. And they often limit how much you can buy.
Luckily, there’s another way to finance income-producing properties. Enter DSCR financing, or loans based on the debt service coverage ratio. DSCR financing for Texas investors focuses on a property’s cash flow. Not their personal income. It opens doors that might stay closed with traditional banks. Want to unlock loans for more real estate investments in the Lone Star State? Here’s why DSCR financing is catching the eye of Texas investors.
The Focus Isn’t Personal Income
Traditional loans focus heavily on your debtto-income ratio. Lenders want to see every
paycheck. Every loan. Every credit card balance. It’s like they scrutinize every financial decision you’ve ever made. That creates a huge pressure to get your finances in order. Investors often scramble to prove their income is enough. This slows down deals.
DSCR loans flip the script. They focus on the property’s cash flow. Not the investor’s personal finances. Rental income speaks louder than your paychecks. Investors can show that a property earns enough to cover the loan.
For example, say you want to buy a duplex. It rents out for $1,200 per unit per month.
That easily covers a $1,800 mortgage, even if the investor’s personal salary isn’t huge. That opens doors in Texas cities where home prices are climbing. You can move faster. You’ll seize more opportunities without jumping through endless hoops.
Maximizes Texas’ Strong Rental Demand
Texas has a hot rental market. Fort Worth, Austin, Dallas, and Houston are becoming favorites among those wanting to move to big cities. People are moving in fast. Rental units
are in high demand. That’s why even home insurance is getting more expensive in Texas. Properties here are highly sought after.
DSCR loans let investors tap into this demand. If a rental generates solid monthly income, you can qualify. Investors can target neighborhoods with strong rental trends. Like those near tech hubs in Austin. Or college towns in Dallas. This means faster approvals. It also reduces the stress of proving personal income. Properties that earn reliably become easier to acquire.
Capitalizes on Low-Tax Advantage
Texas doesn’t have a state income tax. That’s huge for investors. It’s one big reason why many are relocating to Texas. People want to keep more of what they earn. That drives demand for housing. It also increases opportunities for rental income.
With DSCR loans, the focus is on the property itself. If the property generates solid income, it already proves it can cover the loan. Investors can keep a bigger share of rental profits. All thanks to Texas’s low-tax environment. This makes each investment more lucrative. You get a steady cash flow. A growing portfolio. More money stays in your pocket. Basically, DSCR financing helps investors effortlessly ride Texas’s financial perks… (Read more at FWWeekly.com.)
Continued in Living Local at FWWeekly. com. Use this QR code to read more.
Fort Worth, Austin, Dallas, and Houston are favorites for those wanting to move to big cities.
Courtesy Canva
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HISTORIC RIDGLEA THEATER
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