NEWS: HOW SEEPING SEWAGE SPAWNED SPACIOUS LOTS IN NASHVILLE’S WHITE SUBURBS
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Status Unknown
State and federal authorities are cracking down on immigration. What does that mean for the local immigrant community?
WITNESS HISTORY
This three-dimensional clay maquette was hand-modeled and painted by Thomas Hart Benton as a study for his mural The Sources of Country Music. In his words, “The clay model simulates the threedimensionality of life. That is, it’s no more just an imaginary thing, but it’s real there in this clay.”
From the exhibit An American Masterwork: Thomas Hart Benton’s “Sources of Country Music” at 50
RESERVE TODAY artifact photo: Bob Delevante
Affluence and Effluence in the Favored Quarter
How seeping sewage and an absence of urban services spawned spacious lots in Nashville’s white suburbs BY ALEX PEMBERTON
Pith in the Wind
This week on the Scene’s news and politics blog
COVER PACKAGE: STATUS UNKNOWN
Threats to TPS Could Upend Stability for Thousands of Immigrants
A Nashville business owner shares how temporary protected status helped her build a life — and how Trump’s policies are sowing fear and confusion BY
ALEJANDRO RAMIREZ
Increased Arrest Threat for Immigrants Amid Shifting Legal Ground
Nashville under pressure as state and feds push for stronger legal muscle to arrest immigrants BY ELI MOTYCKA
How Local Outreach Groups Are Talking About Immigration Enforcement
Talking to TIRRC legal services director Allen Shao King about ‘knowing your rights’ BY NICOLLE S. PRAINO
Undocumented Students Face Barriers in Access to Education
From kindergarten to college, immigrant students in Tennessee worry about impending crackdown BY JULIANNE AKERS
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AFFLUENCE AND EFFLUENCE IN THE FAVORED Q UARTER
How seeping sewage and an absence of urban services spawned spacious lots in Nashville’s white suburbs
A GREAT SOUTHERN philosopher once said: “I know you like to think your shit don’t stink, but lean a little closer, see, roses really smell like boo-boo-ooh.”
It is likely that those words have never blessed the ears of the median resident of Davidson County’s favored quarter. But the contemporary character and affluence of these sprawling hills — Oak Hill, Forest Hills, Green Hills and Hillwood — are owed in large part to their original effluence. (A fancy rhyming word for “wastewater.”)
Lean a little closer.
Scratch the surface of the manicured meadows and you’ll start to smell the roses. Dig deeper, and a story bubbles to the surface: one of sewers and septic tanks, the safety of children and the dangers of racism, and how it all flowed into metropolitan government.
FAVELAS OF THE PRIVILEGED
Automotive subdivisions were sliced off so rapidly in suburban Davidson County during the postwar boom that developers ran out of names and soon needed more resources than what an antiquated country government could provide. As in most Southern states, counties in Tennessee were originally designed for rural governance, and the provision of urban services — like firefighting, water and sewer — was not allowed under state law.
The problems of limited government were compounded by lax regulation. Early county subdivision regulations allowed developers to construct roadways so cheaply that their surfaces soon deteriorated. Sidewalks were not required. Neither were sewer systems — most postwar subdivisions relied on septic tanks, which performed poorly atop Davidson County’s shallow limestone base.
In 1946, Davidson County revised its subdivision regulations to increase minimum residential lot sizes to half an acre to provide more space for septic drain fields. Areas with less suitable soil conditions, like Oak Hill and Hillwood, required even larger lots. The lot size requirements, as the city-county planning engineer noted, “mean that frequently subdivisions which should accommodate 1,000 families for an ideal urban development, now only provide for 500 families with lots which are too big for the average priced home.”
The large lot expedient locked lower-income households out of suburban growth, just as it locked much of the county into a sprawling pattern of development too sparse to support urban services and made annexation a costly proposition.
And then there was that septic tank problem.
BY ALEX PEMBERTON
FOR THE HEALTH OF THE CHILDREN
Almost 150,000 Davidson County residents — more than 95 percent of them white — lived in unsewered subdivisions by the mid-1950s. Only a decade into mass suburbanization, 1 in 10 septic tanks was discharging sewage onto suburban lawns, and a quarter presented a “danger to public health.” Ironically, white families fleeing the alleged social and environmental harms of urban living now found themselves growing anxious about septic tanks in suburbia.
Karen Benjamin, author of the forthcoming book Good Parents, Better Homes, and Great Schools: Selling Segregation Before the New Deal, tells the Scene, “At the turn of the 20th century, residential developers urged affluent white parents to build a house in the suburbs for the sake of their children [and] mimicked the language of social science experts, doctors and educators to suggest that it was bad parenting to expose children to urban areas.”
While streetcar suburbs would benefit from extended sewer lines upon annexation, automotive suburbs were fundamentally different — isolated from all urban services. Yet despite the county health director warning several times
between 1949 and 1960 of an imminent epidemic outbreak from faulty septic tanks, white families still surged to new subdivisions in the county, in search of “safety” of a different sort.
BLACK CITY, WHITE COUNTY, BLACK WATER
Efforts to improve the “septic tank problem” in the outlying county stood in stark contrast to the decades-long civic disinterest toward sewerage in Black neighborhoods of the central city.
In 1946, a report found: “Approximately 48 percent of the total population in the entire urban area are not at the present time using public sewer systems. This is a considerably higher percentage of the total population than is found in other comparable Southern cities.” The majority of unsewered city territory covered areas of Black concentration, including much of Edgehill and Hadley Park
Sewer service was segregated by design Nashville planners modeled their work on the neighborhood unit concept, which divided the city into sections defined by “similar ethnic groups” to enable “more effective planning” — a bureaucratic euphemism for the allocation of public goods in privileged places and the ra-
tioning of public goods in disfavored districts.
Jessica Trounstine, a Vanderbilt University political scientist and author of Segregation by Design: Local Politics and Inequality in American Cities, tells the Scene local governments “used residential segregation to deny Black and other less privileged communities access to public goods.
“In cities that were less segregated by race and class, sewer access was also less segregated,” says Trounstine. “This is an artifact of the way that sewer lines are laid. It is much easier to deny whole neighborhoods access to sewers than single blocks or houses.”
Black communities faced more diseases and illness due to the lack of sewerage. As fears spread that domestic workers — commuting from Black neighborhoods to white suburbs — could spread disease, the city finally created a full sewer system by the mid-1950s. Overall rates of death from disease dropped precipitously, and racial disparities narrowed — but only after Nashville’s Black community suffered thousands of excess deaths across more than half a century.
WATER, EARTH, FIRE AND CHANGE IN THE AIR
Long-forewarned disaster struck when Hills-
PHOTO:
boro High School was destroyed by a fire on Halloween 1952. With inadequate water supply, the school was a total loss — and was insured at just half its value due to exorbitant insurance premiums. The county health department refused to permit rebuilding on the site “unless some system is found for proper disposal of sewage,” which set off a brief search for alternative school sites. By January 1953, the county government, school board and developers of The Mall at Green Hills agreed to financial arrangements for a sewer line that would weave nearly three miles through the rolling hills of residential subdivisions and tap into a city system the public works director described as “one of the most garbled in the country.”
Reconstruction of Hillsboro High School, in its celebrated midcentury-modern style, began concurrently with the sewer extension. But the problem was larger than one school. Sixty-four of the county’s 77 schools — from Inglewood to Burton and back to Madison — relied on septic tanks or pit privies.
The blaze and the broader school sewage crisis illuminated the “price of disunity” and consolidated efforts toward metropolitanism — a pricey and impractical proposition up until this point. A movement to incorporate a series of splinter cities pushed civic elites further than annexation — the only solution was a consolidated metropolitan government for Nashville and Davidson County.
A first vote for consolidation failed in 1958, though it garnered a majority of city voters and enjoyed strong support among the “cosmopolitan” voters in the district around Hillsboro High School. A plan for metropolitan government was approved by voters in Nashville and Davidson County in 1962.
The massive countywide project to extend sewers throughout the suburbs started soon after consolidation and lasted into the early 1990s. But the large lots that began as an unsewered expedient — and made Nashville one of the world’s sparsest urban areas — soon became central to concepts of community character, which residents have fought to maintain even as their original purpose was obviated. Today, Metro subdivision regulations enforce compatibility requirements that effectively prohibit resubdivision for lots smaller than the original in suburban areas of the county.
The favored quarter — with lots “too big for the average priced home” from the start — remains far wealthier and whiter than the rest of Davidson County. In the 2020 Census, non-Hispanic whites made up 89 percent of residents in the section, compared to 51 percent of the rest of the county. Each census tract in the area boasts six-figure median household incomes, with all three of the favored quarter satellite cities eclipsing $200,000 annually — more than two-and-ahalf times greater than the median household in Nashville.
Unifying and connecting the city, even via a sewer system, was a great triumph in progressive governance. But the spacious lots in the favored quarter show how uneven those results can be. ▼
Last week at the Tennessee General Assembly, Tennessee State University officials made their case, laying out a financial stability plan before the State Building Commission. Meanwhile, bills were proposed related to sidewalks SNAP regulations and maternal health care and hundreds of protesters gathered on the steps of the state Capitol as part of a series of nationwide Presidents Day demonstrations. Protesters spoke out against President Donald Trump and billionaire Elon Musk, who is leading the president’s Department of Government Efficiency (DOGE) initiative — which has been cutting staff from numerous federal agencies. Keep up with the latest from the General Assembly at nashvillescene.com/ state-legislature
In the latest installment of “On First Reading,” columnist Nicole “@startleseasily” Williams weighs in on the Metro Council’s squabbles over police surveillance and Historic Zoning. Amid discussions about Fusus — a video surveillance tool that has some community members on high alert — the council voted 24-13 to adjourn a Feb. 18 meeting prematurely due to weather conditions. “The council will start the next meeting by finishing up their debate on second reading of the Fusus bill,” writes Williams. “What a finish. 10/10. No notes.”
During discussion of legislation that would penalize charitable organizations for helping immigrants, state Sen. Brent Taylor (R-Memphis) said: “I would remind the churches that even heaven has an immigration policy. You can’t climb over the wall in heaven. You can’t slick talk St. Peter into the gates of heaven.” Writes columnist Betsy Phillips: “I gasped and then laughed when I read this. If Taylor just ran around in a T-shirt that read, ‘I’m evil,’ it would be more subtle than this.”
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Status Unknown
State and federal authorities are cracking down on immigration. What does that mean for the local immigrant community?
Threats to TPS Could Upend Stability for Thousands of Immigrants
A Nashville business owner shares how temporary protected status helped her build a life — and how Trump’s policies are sowing fear and confusion
BY ALEJANDRO RAMIREZ
CARMEN WAS NERVOUS when she arrived in the United States in December 1999, leaving her home country El Salvador behind. She acquired temporary protected status, or TPS, in 2001, and after more than 20 years of — in her own words — surviving and working hard every day, she now owns a small business and provides for her family. And she says TPS, a temporary status given to people from certain countries fleeing dangers like civil war and earthquakes, helped make it all possible.
“I came from extreme poverty,” she tells the
Scene in Spanish through a translator. Carmen is sitting in her Nolensville Pike restaurant while a playlist of grupo and ranchera music plays. “With four children, I wanted to give them a better life, better schools. That’s why I came here.”
She says life in a new country was difficult, but Nashville is now her home. Two of her children graduated from college, and she’s become a grandmother. She’s made friends. It would be difficult to leave this life behind.
But with the reelection of Donald Trump, Carmen is concerned about what the future holds for her, her family and her fellow business owners. Immigration law is in a constant state of flux, changing with each new presidential administration, and the current situation is chaotic. The president has attempted to revoke birthright citizenship (a move that is unconstitutional), empowered U.S. Immigration and Customs Enforcement to arrest people near “sensitive locations” like churches, and issued a flurry of other changes and executive orders related to immigration.
“I’m praying the president’s heart softens a little bit,” says Carmen. She thinks her TPS will be extended, but given the uncertainty — and the fact that some of her family members are undocumented — the Scene is not using her full name.
TPS doesn’t provide a path to citizenship or permanent residence (though some holders can apply for those opportunities), and it isn’t a uniform policy. Eligibility varies by country, and even by year. For example, there’s one cohort of Venezuelans who received TPS in 2021 and another group who qualified in 2023. An order to extend TPS for Venezuelans who received TPS in 2023 by the outgoing Biden administration was vacated by Trump earlier this month.
Carmen says the prospect of being sent to their countries of origin is scary for many immigrants. She herself only returned to El Salvador once in the past 25 years to visit family, with permission from the U.S. government, saying she risked her life to do so.
TPS allows immigrants to live in the country without fear of deportation and lets them qualify for work and travel permits. The American Immigration Council reported that in 2022 there were 7,800 TPS holders in Tennessee.
Carmen says she didn’t want to be a “burden” on the government, and TPS let her be productive. “Cooking’s always been one of my greatest passions,” she says. She opened her own restaurant in 2012.
Even if her TPS is safe, Carmen is still facing the consequences of widespread fear and uncertainty. She motions to her restaurant’s
“With four children, I wanted to give them a better life, better schools. That’s why I came here.”
many empty seats, and says other neighboring immigrant-owned businesses have been struggling — people are staying at home out of fear. They’re not working and they’re not patronizing businesses.
“A lot of people hoped the new administration would have improved the economy, but it’s getting worse,” says Carmen.
Trump and other Republicans have often scapegoated immigrants for economic woes, disregarding consensus studies and reports that immigration is good for the economy.
“I don’t think we’re the problem,” says Carmen. “We’re people who like to work. We’re not just here to be here, and we’re a people of fighters.”
Increased Arrest Threat for Immigrants Amid Shifting Legal Ground
Nashville under pressure as state and feds push for stronger legal muscle to arrest immigrants
BY ELI MOTYCKA
WEEKS INTO the new presidential administration, the state and federal governments have quickly implemented legal mechanisms for arresting immigrants. Local elected officials, Tennessee’s newly established Centralized Immigration Enforcement Division and forthcoming legal challenges will determine the extent of this push within the Davidson County borders.
Trump built his politics on attacking immigrants, particularly those from Central and South America, and conflating American identity with whiteness. Through the years, he questioned the citizenship of former President Barack Obama (born in Hawaii), centered his first successful presidential campaign on a promise to build a wall on the U.S.-Mexico border and won his second presidential term promising mass deportations. Party acolytes, like ranking Republican officials in the Tennessee state legislature, have vowed to assist him.
Hours into his second term, Trump issued Executive Order 14159, which outlines a new domestic apparatus for arresting immigrants. The order replaced Biden-era policies for asylum seekers and legal pathways to residency in the U.S. with interlocking directives for identifying, arresting and deporting residents who have violated federal immigration laws. Concurrently, Trump is seeking to make immigration law more restrictive with measures that include ending birthright citizenship, a guarantee under the 14th Amendment of the Constitution.
Tennessee lawmakers joined the effort during their January special session, which ran from Jan. 27 to 30. Both chambers passed a sweeping new immigration package that, among other statutes, created the Centralized Immigration Enforcement Division, a new state body to facilitate compliance with Trump’s immigration crackdown. Lawmakers also instituted a class-E felony penalty for officials who back “sanctuary city” policies, which has provoked imminent legal challenges from the ACLU and local governments on constitutional grounds.
“On the floor during the special session, a lot of Republicans cited the electoral success that they’ve had at the federal level when we pushed back against these policies,” says state Rep. Gabby Salinas (D-Memphis). “But elections don’t change the Constitution. The things they have been pushing, I think it’s un-American. That’s one of the reasons why I shared my story
REP. GABBY SALINAS
— to put a face to these issues. For them, it’s just speaking points.”
During January’s special session, Salinas appealed to colleagues with her own immigration story about coming to Memphis as a 7-year-old in the 1990s for cancer treatment. She relied on legal help from Tennessee’s then-U.S. Sen. Fred Thompson, a Republican, and became a naturalized American at 19.
“We got help from everyone,” Salinas tells the Scene. “We didn’t speak the language, and the reason we made it was because of the Tennesseans that were around us, Republicans and Democrats, who said, ‘We’re going to make sure you are OK.’ Those are my Tennessee values.”
Both the executive order and Tennessee’s new immigration laws encourage, but do not compel, formal cooperation from the Davidson County Sheriff’s Office, led by six-term Sheriff Daron Hall. The state’s new immigration package even includes $5 million in grants to counties that opt into federal statute 287(g) — so far only Knox and Greene counties in East Tennessee — which establishes a working agreement between local law enforcement and U.S. Immigration and Customs Enforcement (ICE).
The 287(g) policy authorizes ICE to delegate “immigration officer functions” to local law enforcement, extending the federal agency’s reach, power and capacity. In early 2007, Hall signed on to 287(g), generating pushback from the city amid civil rights concerns. Hall cut the agreement five years later. The focus on immigration arrests from Trump and Bill Lee have renewed the possibility of a 287(g) agreement.
“The decision to participate in 287(g) would be one the city, as a whole, must make — as it would take council approval to enter into an
[memorandum of agreement],” says Jonathon Adams, a DCSO spokesperson. “Currently, there are no discussions or plans to do so.”
Regardless of shifting legal policy, it’s a perpetual risk for a noncitizen immigrant to come in contact with law enforcement. Fingerprints or other identifying information could tip off ICE, and begin the removal process from the United States. A push for more deportations, including dedicated Centralized Immigration Enforcement officers, means more enforcement in more places with fewer protections.
“ With the executive orders, definitely one of the overall themes is an increase in detention and an increase in deportation,” says Emily Stotts, attorney and legal director at Tennessee Justice for Our Neighbors. “That has been, for most of my clients, the overwhelming concern: whether or not they could be picked up. And if they’re picked up, what do they do. The current risk is that immigration officers are being told and are expected to increase the amount of people they’re detaining. The initial rhetoric was that the administration was going after people who pose public safety threats. That’s not what’s happening. People who have no criminal history are being caught up in this. People with kids here. That’s what’s happening, and no one is safe.”
All people, regardless of citizenship, have rights in private places, Stotts explains. Immigration agents must legally respect constitutional protections — though, Stotts says, law enforcement may ignore procedure or otherwise violate an individual’s civil rights to precipitate an arrest. Immigration agents have already detained at least three undocumented Nashvillians at routine check-ins, as reported
by the Nashville Banner’s Laura Dean. An uptick in immigrant detention also means lucrative profit for Brentwood-based private prison contractor CoreCivic (formerly Corrections Corporation of America), which is well positioned for good business from the Trump administration, according to recent statements from CoreCivic CEO Damon Hininger. Hininger donated $300,000 to Trump’s campaign last year, and has contributed to other Republicans running for state office.
The city has already begun preparing its public spaces, like schools and libraries, for increased ICE activity. A Jan. 31 email to Metro Nashville Public Library employees explains city protocol for dealing with an ICE agent, including checking for identification, a warrant or subpoena, and contacting a Metro attorney.
Meanwhile, city leaders are still responding to the new felony threat to criminalize “sanctuary city” support, which goes into effect July 1. If challenged by the ACLU or Metro attorneys, as expected, many anticipate it would fail constitutional muster in court.
“The law itself is outrageously unconstitutional,” says District 6 Metro Councilmember Clay Capp, also an attorney. “It rips the heart out of the First Amendment, and it criminalizes the representative relationship. This state law is an attempt to create a permanent underclass on American soil and put local representatives in jail for speaking and voting. For those reasons, I really, truly expect this law will be struck down. I think we’d all be better off if we just stick to the U.S. Constitution — that’s what I intend to do, and I will not be intimidated by these attempts to criminalize my speech and my votes.” ▼
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How Local Outreach Groups Are Talking About Immigration Enforcement
Talking to TIRRC legal services director Allen Shao King about ‘knowing your rights’
BY NICOLLE S. PRAINO
TENNESSEE IS DOUBLING DOWN on the federal immigration enforcement actions from President Donald Trump, passing its own law to create a state enforcement agency during January’s special legislative session
The Nashville Scene recently sat down with the Tennessee Immigrant and Refugee Rights Coalition’s legal services director Allen Shao King to talk about what people need to know during this tumultuous time for immigration policy. He explains that, while there has historically been a separation between the duties of federal and state governments on immigration, to him, this seems like politicians trying to grab national attention rather than acting in the interests of the people of the state. There’s a lot of fear-mongering in politics when it comes to immigration, and that makes its way down into immigrant communities — which also creates confusion.
Shao King says that even when ICE officials claim to have a warrant for a search, they may have their own ICE-produced document and not the judicial warrant that is required. He explains that knowing the difference and knowing what those documents mean is important for both individuals and representatives of community gathering places — schools, churches and hospitals, for instance. ICE, says Shao King, might not actually have the proper authority to enter.
“It acts more as a fear-based battering ram than actually any sort of legal documentation,” Shao King tells the Scene in relation to ICE-produced documentation.
He explains that TIIRC has created several one-page explainers as well as detailed guides in multiple languages so people can learn more about their rights in addition to conducting presentations and partnering with community leaders to amplify the message. This interview has been edited for clarity and brevity.
‘KNOW
YOUR RIGHTS’
“Immigration law, even without all of these changes, is a very strange and complex area of law. … What we’re really focusing on right now, what a lot of groups nationwide are focusing on, is these ‘know your rights’ trainings. Essentially, these trainings are for members of the community, but they’re not just for undocumented people. The rights that we are talking about are not specific to immigrants. They are rights that are
available to everyone inside of the United States because we have the Constitution protecting us. The information that we’re trying to get out there is how to exercise your Fourth Amendment, your Fifth Amendment rights, and I think that is the best general advice that we can give to people. …
“We want people in the community to be educated about their rights, because the more educated we are, the safer we are. And that’s not just immigrants — that’s everyone in the community. When you know your rights, you’re better equipped to see a violation happening to someone else and to identify it and help protect them as well.”
IMMIGRATION ENFORCEMENT FEARS
“I think the biggest thing that community members are worried about is ICE enforcement. I think there’s just a lot of misinformation out there about the whole process. There are a lot of people living in the United States who currently don’t have status, but they come here in a variety of different ways. There are people who cross the border. There are people who obtain visas approved by the U.S. government who come and stay beyond the duration of the visa. There are programs that are created by the federal government that give status and allow people to enter the United States. But then, because the administration changes, they nix the program. And so there’s a lot of reasons why someone might be concerned. Our job right now is to
figure out how to best explain to the community how to assess your own risk and what are some ways to stay safe. …
“One statistic that we always have to reiterate is that immigrants, by the data, commit less crimes than nonimmigrants. That’s not a moral judgment. That is also a consequence of all these additional penalties that immigrants will be slammed with if they do commit crimes. But that is the reality of the situation. The other reality is that a lot of immigrants are afraid of law enforcement — regardless of what status they have, these are people who are less familiar with the way that law enforcement works in the United States. Obviously, it’s not the same in every country. They’re also afraid of the intersection between local law enforcement and federal immigration enforcement. …
“I would say that fear is what [some officials] want. The purpose of knowing your rights is knowing the limits of what they can or cannot do, and the federal government is trying to blur those lines. Yes, as an attorney, I have to tell you about the worst-case scenario. It doesn’t mean that ICE is around every corner. It doesn’t mean that people have to stay home and live in fear. … We need to recognize that that is their goal. When we’re scared, we’re not going to be able to take as much action. When we’re scared, when we’re hiding, we’re not going to be looking out for each other. And the end goal of fascism is to divide and conquer, to keep us all
PHOTO: ANGELINA CASTILLO
ALLEN SHAO KING
AND
oppressed, because we don’t have the energy to be looking out for each other.”
MESSAGING TO COMMUNITIES
“Recently I was on a statewide call with about 100-plus faith leaders. … They are worried because right after the inauguration there was a policy in place that has been in place for over 10 years, that ICE is not going to take action in certain sensitive areas within the community. There are certain things that we want people to be able to access, regardless of their status. … These faith leaders reached out to us because they heard about this policy being rescinded, and they wanted to know how to help. So I gave a presentation to them on the contents of the ‘know your rights’ [information] and just some tips about what they should say, but also what they should not say. Because we are not encouraging anyone to engage in the unauthorized practice of law. We want the most accurate information to be getting out there. But it is just such a clear example, too, of how federal immigration policy can trickle down to our communities. …
“I think the other thing to message to communities and for leaders within schools is just that this it’s not a short term-fight. This campaigning for immigrant rights has gone on for decades. We really have not seen com-
Undocumented Students Face Barriers in Access to Education
prehensive immigration reform to match the realities of our country in decades. And I think something that’s so critical for school leaders, for families, for students to remember, is that every kid has a constitutionally protected right to go to school.
“I think the biggest thing for people to keep in mind is that this is an attack on individuals. This is an attack on our humanity. … The fact that someone is an immigrant really doesn’t change that much about them as an individual. They can be a good person. They can be a bad person. They’re just a person living in our community, and we’re really being asked to focus on these labels, but at the end of the day, we’re all just people trying to make a living, trying to keep ourselves safe, trying to do what’s best for our loved ones, trying to create a future for our families, and we should lead by example. We need to care about each other instead of following these acts of divisiveness.” ▼
from nonprofit advocacy group Education Trust in Tennessee shows that 28 percent of students are English language learners. That’s the highest concentration among all Tennessee school districts.
Hurdles in education access aren’t limited to K-12 education. At the college level, undocumented students in Tennessee are not eligible for federal or state grants or loans — being treated financially as an international student — regardless of how long they have lived in the state.
From kindergarten to college, immigrant students in Tennessee worry about impending crackdown
BY JULIANNE AKERS
IN THE WAKE OF new Tennessee legislation that aims to crack down on immigration alongside efforts by the federal government, immigrant families with students — from kindergarten to college — worry about what this means for their children’s education.
At least one proposed bill in the Tennessee General Assembly would limit undocumented students’ access to education. The measure (House Bill 793/Senate Bill 836) would prohibit undocumented students from attending public schools and could create a challenge to Plyler v. Doe, a 1982 U.S. Supreme Court ruling that entitled all children to public education regardless of immigration status.
The recent school voucher legislation pushed by Gov. Bill Lee and passed by Tennessee lawmakers also prohibits undocumented students from benefiting from the program.
While there is no recorded data for how many undocumented students are enrolled in Metro Nashville Public Schools, a 2024 report
“Even if a student has lived here since they were 2 years old or 2 months old, because of that immigration status, they are charged triple in some cases what in-state students are able to pay for college,” says Raquel Oluyemo, executive director of Equal Chance for Education, a Nashville-based nonprofit that provides Tennessee’s undocumented students with college scholarships and mentorship resources. “It’s really created an insurmountable barrier, because not only is the cost of education higher, but often those students’ families are foreclosed from different work opportunities that would allow families to step in in the way that American students have that family support.”
Oluyemo notes that these students’ citizenship status is not the only barrier they face, and providing them with support and resources gears them up for college and the workforce.
“Not only are our students different in that they have a unique immigration status, but often they’re the first in their families to attend college, and that can be very frightening,” she says. “So we try to build a community of other first-time college students so that the younger students are able to access resources and build their career-readiness skills.”
TCHAIKOVSKY’S FIFTH with the Nashville Symphony
FEB 28 | 7:30 PM
MAR 2 | 2 PM
Leonard Slatkin, conductor Inbal Segev, cello
MAR 8 | 7:30 PM
HCA Healthcare & TriStar Health Legends of Music rita wilson with special guests Jackson Browne, Sebastián Yatra and the Nashville Symphony
MAR 18 | 7:30 PM
Presentation
Kodo One Earth Tour 2025: Warabe PresentedwithouttheNashvilleSymphony.
JERSEY BOYS AND GIRLS with the Nashville Symphony
MAR 4 | 7:30 PM
THE LEGENDARY LIFE OF TOM PETTY FEATURING CLAYTON BELLAMY
Kevin Fitzgerald, conductor Scott Coulter, Jessica Hendy, & Alex Getlin; vocalists John Boswell, piano & vocalist
MAR 7 | 7:30 PM PresentedwithouttheNashvilleSymphony.
Dee Dee Bridgewater & Bill Charlap PresentedwithouttheNashvilleSymphony. MAR 10 | 7:30
Presentation Bluebird at the Symphony with Kelly Archer, Natalie Hemby, Trannie Anderson & members of the Nashville Symphony
MAR 22 & 23 | 7:30 PM MAR 23 | 2 PM
Series The Lion King in Concert with the Nashville Symphony MAR 27 TO 29 | 7:30 PM Classical Series John Williams and Rachmaninoff’s Second Symphony with the Nashville Symphony
MAR 14 & 15 | 7:30 PM
Series Schubert’s Unfinished and The Zodiac Suite with the Nashville Symphony
MAR 30 | 7:30 PM Presentation The Simon & Garfunkel Story PresentedwithouttheNashvilleSymphony.
MARCH
5-6
DANCE [TRANSCENDING EAST AND WEST]
SOON-HO PARK & BEREISHIT DANCE COMPANY
South Korean choreographer Soon-ho Park has long been fascinated by the interplay of past and present, creating works that incorporate both traditional and contemporary movement — while testing the limits of the human body. In fact, his acclaimed Bereishit Dance Company, which arrives at OZ Arts next week, is dedicated to exploring “the dynamic relationship between nature’s physical laws and the human body, and that between people and society.” It’s a unique approach that somehow manages to challenge and connect various art forms, drawing from the worlds of martial arts, hip-hop and street dance. And interestingly enough, the company takes its name from the first word of the Torah, meaning “in the beginning” — a fitting nod to the creative process. The OZ program features two of Park’s signature works — Judo and Balance and Imbalance. Both pieces are marked by explosive movement, remarkable precision and endless imagination. Balance and Imbalance showcases live pansori (traditional Korean musical storytelling) and samulnori (an intriguing genre of Korean percussion music). AMY STUMPFL
MARCH 5-6 AT OZ ARTS NASHVILLE
6172 COCKRILL BEND CIRCLE
THURSDAY / 2.27
ART [REVVED UP]
RIDING
THE EDGE: PASSION, ART AND MOTORCYCLES
Riding the Edge: Passion, Art and Motorcycles at Chauvet Arts is a group show of paintings and photographs, paired with a selection of vintage, antique and collector motorcycles curated by the Lane Motor Museum. This is like one of those exhibitions where you bring vehicles into a gallery and treat them as objets d’art, but Chauvet has added works to the walls as well. The result is a conversation between art and design, spelled out in colors, textures and forms. More importantly, Riding speaks to the new exuberance seeping into contemporary art spaces. As styles trend abstract and formal, art is dropping narratives and literal messaging, and speaking energetically again in marks, moods and movement. Filling a gallery with metal horsepower lands squarely on the nose, but this exhibition is traveling in the right direction. Highlights include Gina Julian’s gorgeous, geometric paintings and Michael Ray Nott’s unmistakable black-and-white images of
downtown Nashville. JOE NOLAN THROUGH MARCH 30 AT CHAUVET ARTS 215 REP. JOHN LEWIS WAY N.
[FORTSONIA’S FINEST]
BOOKS
SETH MARTIN: CHUCK: STORIES FOR MY DAD
Chuck: Stories for My Dad — the brand-new, selfreleased collection of short stories by local writer Seth Martin — is punctuated with moments and characters that will ring particularly true to anyone who grew up in or with a connection to the rural South. There are characters like Doug, the barber who wore gator-skin boots, and moments like the time Seth’s older brother accidentally punctured a can of red spray-paint indoors, leaving the kitchen looking like a crime scene. It’s a folksy assortment of tough and tender moments collected from Martin’s childhood in 1990s rural Georgia — and even if you’re from nowhere near his native Fortsonia, Ga., you’ll likely find plenty to relate to in these five stories. On Thursday, Martin will celebrate Chuck’s release with a party at beloved watering hole Fran’s Eastside, featuring performances from local musicians Janell Rosa and Jack Evan Johnson. If you can’t make the party, order the
book via sethmartin.bandcamp.com. But if you can, come soak in some local vibes and toast the Martins — Seth and Chuck alike. D. PATRICK RODGERS
8 P.M. AT FRAN’S EASTSIDE
2504 DICKERSON PIKE
[STAND TOGETHER] UNITING FOR OUR NEW NEIGHBORS
Nashville chefs Wes Scoggins (aka the Jewish Cowboy), Louisa Shafia (cookbook author and the culinary mind behind Persian food supplier Feast) and Hangama Wahidi (chair of the board for Afghan Association of Nashville) are teaming up to cook for a cause. Join them at Uniting for Our New Neighbors, a fundraising dinner benefiting local refugees — because it’s a hard time to be a refugee in the United States. Nashville International Center for Empowerment joins several local Jewish organizations — including the Jewish Federation, Jewish Family Service, NCJW Nashville, Chabad of Nashville, Congregation Micah, Sherith Israel, The Temple Congregation Ohabai Sholom and West End Synagogue — in sponsoring this event so that 100 percent of funds raised will go to the Refugees Emergency Fund and will be used to assist the immediate needs of legal refugees. In addition to a menu of Afghan dishes including dal, rice, roast chicken, rice pudding and salads, the event will feature live music and guest speakers. Purchase tickets online for $50 per person. MARGARET LITTMAN
6 P.M. AT THE TEMPLE CONGREGATION OHABAI SHOLOM
5015 HARDING PIKE
MUSIC
[NEW ARCHITECTURE]
KACEY MUSGRAVES
A new concert hall is opening its doors in downtown Nashville this week with a little help from Kacey Musgraves. The lauded singersongwriter headlines opening night at The Pinnacle, a 4,500-person venue operated by concert mega-promoter AEG Presents that’s located in the expansive Nashville Yards mixeduse development. Local concertgoers can expect The Pinnacle to become a regular spot to catch shows, as evidenced by a lineup of upcoming concerts including Jason Isbell (solo, performing March 20-22 and March 28), Megan Moroney (April 9-10), Denzel Curry (April 12) and Jack White (April 18-19). Musgraves returns to Nashville to play this small (for her) room not long after headlining two nights at nearby Bridgestone Arena in early December. Earlier this month, Musgraves won her eighth career Grammy Award, earning Best Country Song for “The Architect,” a contemplative number included on the singer’s 2024 LP Deeper Well
MATTHEW LEIMKUEHLER
8:30 P.M. AT THE PINNACLE
910 EXCHANGE LANE
ART [EVERY BLESSING]
KIMIA FERDOWSI KLINE: FOUNT
Among the best recent art trends in Nashville are gallery takeovers by independent curators. This new exhibition at Tinney Contemporary shows that bringing outside programming into established art spaces is
still very much a thing in 2025. Nashville native Kimia Ferdowsi Kline’s multimedia works were a highlight at Tinney Contemporary’s pop-up in the Arcade in June. She’s back with Fount, a group exhibition of multimedia works focused on the body. Kline’s art is full of textures, colors and vibes, and her curating is predictably thoughtful and dynamic, wrangling a diverse selection of works into a visionary whole. Fount includes contributions from Tyler Rene Angelo, Lindsy Davis, Hannah Rose Dumes and Sabra Moon Elliot. JOE NOLAN
THROUGH MARCH 29 AT TINNEY CONTEMPORARY
237 REP. JOHN LEWIS WAY N.
[DOWN
MUSIC
ON THE LEVEE] ESTHER ROSE
The languid indie country that singer and songwriter Esther Rose favors on her 2023 album Safe to Run puts an Americana spin on the confessional mode perfected by forebears like Elliott Smith and Joni Mitchell. Rose moved from her native Michigan to New Orleans, where she began her recording and performing career, and these days she lives in Santa Fe, N.M. Safe to Run is modern country-rock that sometimes reminds me of the sort of post-Beatles music that came out of the North Carolina power-pop scene of the 1980s and ’90s. When the chord changes get appropriately cerebral, as on the Safe to Run track “Levee Song,” Rose sounds like she could’ve made great music with North Carolina pop masters Mitch Easter and Peter Holsapple three decades ago. Rose’s songs have plenty of depth that belies their sometimes placid surfaces, and the aforementioned “Levee Song” and another superb tune, “Insecure,” anchor Safe to Run, which stands with recent work by Maggie Rose and Kim Richey as a superior singer-songwriter record. Rose has a new
NASHVILLE SCENE • FEBRUARY 27 – MARCH 5, 2025 • nashvillescene.com
album, Want, set for release in May. She cut it in Nashville at The Bomb Shelter recording studio, and the album’s first single — “New Bad” — rocks out in a post-Pavement, post-grunge style. Alt-country singer Twain opens. EDD HURT
8 P.M. AT THE BLUE ROOM AT THIRD MAN RECORDS 623 SEVENTH AVE. S.
MUSIC
[KEEP ON RIDING, RIDING ON THROUGH] THE O’JAYS
Though they’re originally from Ohio and were previously known as both The Mascots and The Triumphs, the legendary vocal group The O’Jays have long been the kings of Philadelphia soul. They still retain two original members in Eddie Levert Sr. and Walter Williams Sr., childhood friends who’ve been singing together for more than six decades. It was back in 1972 that R&B production greats and label owners Kenny Gamble and Leon Huff inked the group to a deal that would forever change their status. They’d previously spent the ’60s scrambling to build an identity and reputation. They had enjoyed a couple of modest hits after being renamed The O’Jays in honor of Cleveland DJ Eddie O’Jay. But it was the Gamble/ Huff approach that turned them into an R&B institution. The duo penned a host of immortal hits that Eddie Levert’s earnest, powerful voice made staples, including “Backstabbers,” “For the Love of Money,” “I Love Music” and numerous others. Their extensive résumé includes numerous platinum and gold albums and Billboard Top 10 hits along with an induction into the Rock & Roll Hall of Fame (among other halls of fame). They are currently embarked on their final tour, which comes to the Ryman Auditorium on Thursday night. RON WYNN
7:30 P.M. AT THE RYMAN
116 REP. JOHN LEWIS WAY N.
FRIDAY / 2.28
MUSIC
[DIG IN] SHOVELS & ROPE
Many musicians fall under the umbrella of alt-country, but one group who claims the genre with pride is Shovels & Rope. The Charleston, S.C.-based power couple and musical duo — made up of Cary Ann Hearst and Michael Trent — will hit the stage at Brooklyn Bowl to showcase their latest record Something Is Working Up Above My Head. The album showcases a new, heavier sound for the band that strays from earlier folk-rock-inspired releases like 2012’s O’ Be Joyful (which featured Americana Music Association Song of the Year winner “Birmingham”). The newest release blends Shovels & Rope’s innate country twang with electrifying rock vocals sure to make for an energetic live performance. Tracks like “Love Song From a Dog,” featuring Gregory Alan Isakov, pay tribute to the couple’s romantic, acoustic roots — all with a heaping dose of Southern gothic influence. The night will begin on a lighter note with opener James Felice (of The Felice Brothers) playing tender, accordioncentric melodies from his debut solo release The Little Ones JULIANNE AKERS
8 P.M. AT BROOKLYN BOWL
925 THIRD AVE. N.`
CLUBS
[WE CAN WORK IT OUT] NAMELESS
WELLNESS CLUB
While most fitness clubs or wellness programs have one specific goal in mind, Nameless Wellness Club presents a much different approach. Instead of a weekly game or sport, the club bounces around to different venues and tries an array of fun activities
ESTHER ROSE
PHOTO: CHAR KLEIN
BIRD AND BYRON & KENNY SHARP: SOUL THRU SOUTH TOUR
The East Room Thu, March 6 | 8:00pm - 11:45pm
Two powerhouse acts collide for a night of southern soul, grit, and electrifying energy. A high-proof blend of Americana Rhythm & Blues dripping with Muscle Shoals soul, Nashville storytelling, and Memphis groove.
throughout the month. Past activities include a spades game, ice skating, yoga, indoor rock climbing, trivia night, hiking and bowling. Apart from the fitness- or wellness-related events, they also host volunteer opportunities with local organizations, such as supporting food banks. Their next game is pickleball at Isaac Litton School Park, so grab your paddles. It’s free to join, and all experience levels are welcome. If you’re new to pickleball, don’t worry — they’ll have extra paddles and balls on hand. To get involved, follow them on Instagram (@namelesswellnessclub) or join their Discord server to see upcoming events. TINA DOMINGUEZ
5:30 P.M.
[SGT. PETTY’S
BROKEN HEARTS CLUB BAND] A SHOALS TRIBUTE TO TOM PETTY
It’s been seven years since Tom Petty died from an accidental drug overdose at the age of 66. Nevertheless, the enigmatic rocker and frontperson of the Heartbreakers left an indelible mark on American popular music that continues to reverberate with fans new and old. Petty-penned hits are still ubiquitous on the radio waves and various social media platforms decades after their debut, but that hardly diminishes their vitality. In tribute to the late, great Petty, Alabama rock ’n’ roller Jordan Dean plans to lead a lineup of ubertalented performers all hailing from the Cotton State’s musical mecca, Muscle Shoals. “I have random moments where I think, ‘Man, I miss him being in the world so much,’” says Dean. “All of the players and singers involved are friends of mine, so paying tribute is like another small way of keeping him with us.” Backing Dean is a crack band including drummer Sol Littlefield, guitarist Daniel Crisler, percussionist Taylor Edwards, keyboardist Grayson Wright and bassist Zach Thomas. The lineup of Dean’s friends features a bevy of Southern songsters including Kassidy McCorkle, Rivers Grayson, Doc Dailey, Katlyn Barnes, Phillip Blevins, Morgan Villegas, Maggie Crisler and Adam Morrow.
JASON VERSTEGEN
8 P.M. AT THE BASEMENT EAST 917 WOODLAND AVE.
THEATER
[HONORING HISTORY]
SIX TRIPLE EIGHT
You may have heard about the new Tyler Perry film The Six Triple Eight, which follows the 6888th Central Postal Directory Battalion — an all-Black unit of the Women’s Army Corps (WAC) sent overseas during World War II to tackle the massive backlog of mail. But what you may not know is that Mary McCallum, a prolific Nashville playwright and founder of SistaStyle Productions, first premiered her award-winning play Six Triple Eight at the Darkhorse Theater back in 2014. The piece would go on to garner national attention, winning top honors at both the Atlanta Black Theatre Festival and the Tampa Bay Theatre Festival. McCallum’s play returns to the Darkhorse this Friday for three performances only. The cast features a number of familiar faces, including Molly Breen,
Naeaidria Callihan, Johnathan Dance, DaJuana “Dee” Hammonds, Shanté M. King, CandaceOmnira and Shawn Whitsell, along with McCallum herself. The show takes on themes of friendship, loss and resilience to become an engaging look at one of history’s most neglected chapters. McCallum also recently penned a novel version of Six Triple Eight AMY STUMPFL FEB. 28-MARCH 2 AT THE DARKHORSE THEATER 4610 CHARLOTTE AVE.
SATURDAY
/ 3.1
[I RAN]
MUSIC
NEW WAVE ORDER PROM
Nashville’s gnarliest partiers can bust out their rollers and set their crimping iron to “hot,” because obnoxiously big hair is back in vogue for one night only. At Eastside Bowl’s New Wave Order Prom Night, big bows and puffy sleeves aren’t tacky. The 18-and-up event promises music from the cream of the 1980s crop. “Nashville’s finest” will perform the music of artists including Thompson Twins, a-ha, Pet Shop Boys and many more dated yet danceable champions of the ’80s New Wave movement. After the event experienced a nearly two-month delay due to unexpected snowstorms in January, the event organizers aren’t taking any chances.
After two nights at Bridgestone Arena, Strings heads across the street to play a one-night gig March 2 at the Ryman Auditorium. It’s the third straight year he’s closed a two-night arena run in Nashville with a show at the Mother Church.
MATTHEW LEIMKUEHLER
FEB. 28 & MARCH 1 AT BRIDGESTONE ARENA (501 BROADWAY)
MARCH 2 AT THE RYMAN (116 REP. JOHN LEWIS WAY N.)
SUNDAY / 3.2
MUSIC
[ATHENS OF THE SOUTH?] MONSOON, WIEUCA & CASSETTE
STRESS
Prom night will commence at Eastside Bowl at 8 p.m., and partiers are encouraged to come dressed in their best vintage prom fits — ruffles and all. Those who arrive in limousines will receive “bonus points” and, of course, street cred. BAILEY BRANTINGHAM
8 P.M. AT EASTSIDE BOWL
1508 GALLATIN PIKE N., MADISON
MUSIC
[TRIPLE HEADER] BILLY STRINGS
Let’s ask one question of people who’ve yet to catch a Billy Strings show: Why? Yes, he’s a bluegrass picker, and that might not be your thing — it can be an acquired taste, I get it! But he’s not just paying tribute to your grandpap’s favorite banjo tunes. Each night onstage, Strings reimagines the canvas of bluegrass music by adding shades of folk storytelling, jam-rock instincts, country tradition and — at times — heavy metal tenacity. With his nuanced showmanship and a dedication to never playing the same show twice, he’s the type of artist every music fan should see at least once. This year, Strings returns to his adoptive hometown in support of Highway Prayers, a 20-song collection of road tunes that weave from kaleidoscopic picking (like on the number “Stratosphere Blues”) to spoken-word storytelling (“Catch and Release”) and a cappella fun (“Richard Petty”).
I spent more than five years living in Athens, Ga., both as a college student and as a hasbeen alumnus turned cynical townie. But what most defined my years in the town was its music scene, especially local bands like Wieuca and Monsoon. The Athens/Atlantabased rockers are headed to Drkmttr to replicate their hometown sound on the Nashville stage. Whether you’re in the mood for Monsoon’s two-piece indie rock and eerie punk sounds or Wieuca’s psychedelic collage of grunge and post-hardcore gruffness, a sweaty mosh pit is sure to form at any show featuring the groups. Both bands boast delightfully bizarre decadeslong histories filled with hiatuses and tonguein-cheek Christmas singles, all spanning genres from Southern rock to garage punk. Monsoon even garnered national attention when their song “Ride a Rolla” was featured in a 2016 Super Bowl commercial. Don’t let the Sunday night date deter you, and be sure to stay for Wieuca’s integral performance of “Man of the House” (from their 2021 record Burning Platform). You’re bound to leave a fan. Nashville post-punk band Cassette Stress is also set to fill the room with some haunting, bass-heavy darkwave sounds.
JULIANNE AKERS
8 P.M. AT DRKMTTR
1111 DICKERSON PIKE
SIX TRIPLE EIGHT
MONSOON
BENJAMIN
SPORTS
[ONE LAST RIDE] ATHLETES UNLIMITED PRO BASKETBALL FINALE
Athletes Unlimited Pro Basketball is concluding its monthlong run at Nashville’s Municipal Auditorium with one final doubleheader on March 2. As of press time, the Week 4 teams have not yet been determined. The four highestscoring players from Week 3’s action (which took place Feb. 19 to 23) will be the captains selecting the Week 4 squads. Nashville’s own Isabelle Harrison has been a captain for two of the three drafts thus far, so look out for her to be a potential Week 4 captain. The Los Angeles Sparks’ Odyssey Sims and the Dallas Wings’ Maddy Siegrist have pulled ahead on the individual leaderboard thus far, but others, including Harrison, are in striking distance to be crowned the season’s overall individual champion heading into the final weeks of play.
LOGAN BUTTS
3 & 5:30 P.M. AT NASHVILLE MUNICIPAL AUDITORIUM
417 FOURTH AVE. N.
[FAMILY TRADITION]
(Field of Dreams) foresaw how obsessed our culture would become with computers and conspiracies. He helmed a still-relevant comedythriller about (and eventually for) chronically online folk desperate to uncover who’s really pulling the strings. (The film is also the subject of Too Many Minutes, a podcast where I was recently a guest.) As a film released a few years before Hollywood began churning out blockbusters about people who knew their way around PCs (The Net, anyone?), Sneakers is one of the first ’90s movies to make treason-toppling heroes out of scrappy tech nerds. And Ben Kingsley rocks a douchey ponytail as the main heavy.
CRAIG D. LINDSEY
8 P.M. AT THE BELCOURT 2102 BELCOURT AVE.
WEDNESDAY
/ 3.5
MUSIC
[MAJOR LEAGUES] HOVVDY
MUSIC
SANTA’S ICE COLD PICKERS
One way to avoid the Sunday scaries is to not work on Monday. For most of us, though, we cope by finding something to look forward to on Sunday nights, like the Santa’s Ice Cold Pickers show at Santa’s Pub. Santa’s Ice Cold Pickers play down-home country favorites at one of Nashville’s most beloved dive bars, and you can be sure that every one of their shows will be different from the last. Bassist Carter Brallier leads the band through loose set lists, often calling up whoever ambles in to play along. The whole place starts to feel like his own living room as he welcomes buddies fresh from “road dogging” with one Grammy-winning artist or another. A lovely lady named Ms. Charlotte has sat in the front row every week for 12 years, clapping along for the entire set. She might just be the happiest gal in town. And there’s always one group of tourists from Ohio or Arizona or wherever else, giddy with excitement to have discovered a spot off the beaten path where it’s always Christmas and you never have to worry about Monday morning. TOBY ROSE
7-9 P.M. EVERY SUNDAY AT SANTA’S PUB 2225 BRANSFORD AVE.
TUESDAY / 3.4
FILM
[HACKING INTO THE MAINSTREAM] STAFF PICKS: SNEAKERS
The quaint but fun 1992 film Sneakers (the latest Belcourt Staff Pick, programmed by projectionist Bob Roberts) rounded up a unique collection of stars — screen icons Robert Redford and Sidney Poitier, SNL alum Dan Aykroyd, Gen-X matinee idol River Phoenix, acclaimed character actor David Strathairn — for a cyberpunk-era heist flick. They’re a crew of outlaw hackers turned security experts who steal a “black box” for the government — or so they’ve been told. You gotta wonder whether co-writer/director Phil Alden Robinson
In retrospect, the 1990s seem like a rock ’n’ roll dreamscape, especially when you compare the Bill Clinton era to the Musk-Trump moment we’re in right now. For the indiepop duo Hovvdy, the sound of Elliott Smith and Alex Chilton colliding with Coldplay and Wilco — which is part of the gestalt of ’90s rock — gives them a way into creating glossy, addictive pop tunes that also come with plenty of deeper meanings. Now living in Nashville, Charlie Martin and Will Taylor grew up in Dallas and lived in Austin before making the move to Music City. They come across a little like Coldplay on their self-titled 2024 album, which spans 19 tracks. You might hear echoes of the aforementioned Smith along with hints of dream pop throughout the album, which may be their best — and most fully realized — release to date. Like many ’90s bands — Pavement comes to mind — Hovvdy has moved on from the lo-fi aesthetic into more expansive, majorleague sounds, and I hope you find the Hovvdy track “Til I Let You Know” as melancholic, beautiful and well produced as I do. Every generation gets the Coldplay it needs, which is very reassuring. Video Age opens today’s show at The Basement East. EDD HURT 8 P.M. AT THE BASEMENT EAST 917 WOODLAND ST.
Marissa Moss Her Country
Alice Randal , My Black Country
Adia Victor a, Singer & Songerwriter Ann Powers, NPR’s Music
YOU DON’T KNOW JACK LIKE THIS — YET
Jack Daniel’s releases its oldest whiskey since … well, Jack Daniel was alive
BY CHRIS CHAMBERLAIN
FOR MOST OF the second half of the 20th century, whiskey lovers knew of only one product from Jack Daniel’s. Old No. 7 is the distillery’s 80-proof Tennessee whiskey, bottled in a unique square container and adorned with the iconic black-and-white script label that has also become the font of choice for tattoo shops frequented by motorcycle enthusiasts. Thanks to this laser focus on one product and advocacy from noted celebrities like Frank Sinatra, “Black Label” was all Jack Daniel’s needed to rise to spirits supremacy with sales exceeding 6 million cases of Old No. 7 per year by the turn of the 21st century.
The brand has diversified a bit since the 1988 introduction of Gentleman Jack, a very similar product to Black Label with an extra pass
through the charcoal mellowing process to impart a little extra smoothness. Later product releases included a rye whiskey, single-barrel offerings and flavored whiskeys including honey, cinnamon and apple varieties.
A constant throughout the past hundred years was the lack of an age statement on Jack Daniel’s products, stipulating only that the whiskey spends at least four years in oak to qualify as a straight whiskey under labeling regulations. That changed in 2021 when Jack Daniel’s released 10-year-old and 12-year-old versions of their classic mash bill recipe, the first age-statement products in more than a century.
While Jack Daniel was still alive, he in fact offered many different aged whiskeys, and collectors have discovered bottles labeled with
ages ranging from 10 to 21 years. While the distillery hasn’t confirmed how old they think they will go with the aging process in the future, the release of multiple batches of 10- and 12-year-old Tennessee whiskey has led to their latest vintage product, Jack Daniel’s 14-Year-Old Tennessee Whiskey. It would make sense that some of those batches from the first releases should be two years older by now and part of the new 14year blend, but that’s not necessarily the case. This is a unique stand-alone product of barrels selected and blended by Jack Daniel’s master distiller Chris Fletcher.
In early January, I was invited along with a few other whiskey writers and podcasters to join Fletcher in one of the oldest barrelhouses in Lynchburg to preview the new offering. That
made us the first people from outside the distillery to taste Jack Daniel’s whiskey that old since Mr. Daniel himself still roamed the grounds of the distillery. Fletcher says this project had been in the offing for quite a while.
“This is our history,” Fletcher explains. “We started down this path years ago with these barrels that were on the upper floors of our barrelhouses.”
Traditionally, the highest and hottest levels of a rickhouse offer an environment for faster aging, extracting more of the color and character of the wood into the whiskey. As part of his regular tasting regimen, when Fletcher and his team track the progress of individual lots, the distiller knew that these were some special barrels — and he believed that with proper treatment,
they could mature into something remarkable.
“They were part of our single-barrel program,” says Fletcher. “We started moving them down to lower levels after their 8th birthday.” In the official announcement of the product’s Feb. 24 release to the public, Fletcher says, “These whiskeys really showcase how a little extra time in our barrels is capable of producing something so special.”
All versions of Old No. 7 and the older releases and single-barrel products share the same basic grain recipe: 80 percent corn, 12 percent malted barley and 8 percent rye. It’s astounding how different they can taste from one another — due to how, where and for how long they were aged in oak. While Black Label is blended in huge
batches to maintain a consistency so that a bottle on the shelf of a liquor store in Boston is virtually identical to one being served at a bar in Berlin, the older whiskeys offer unique character from batch to batch and even from barrel to barrel.
This year’s 10-year-old is a 97-proof marvel. It’s the color of a copper penny in the glass, and the extra time in oak is clearly apparent in the oaky aroma on first sniff — but after a bit, bitter cocoa notes appear. On the palate, dark fruits are the first surprising flavors to appear, followed by a surprisingly mellow sweet finish reminiscent of the Werther’s Originals your grandma might have kept in her purse. There’s a hint of saddle in there too.
FOOD & DRINK: CHEAP EATS
GARDEN FRESH FOOD MARKET: QUESABIRRIA TACOS —
$3.99 EACH
The small but mighty tacos are grilled fresh at this Madison outpost
BY LAURA HUTSON HUNTER
THERE’S NO SHORTAGE of great restaurants in Nashville, but only a few of them exist inside of markets. Taking a pit stop to have lunch while buying groceries is the kind of indulgent turducken situation I can’t get enough of. Plus you’re multitasking, so you can feel a little smug about the whole thing. My new obsession is Garden Fresh Food Market in Madison, which is almost directly across the street from another Cheap Eats favorite, Tacos y Mariscos Lindo Mexico. (There’s also a stellar Michoacana ice cream spot nearby, but that’s for another column.)
Garden Fresh bills itself as a neighborhood Latin grocery store, but in reality it’s pretty massive, with a produce section that rivals Kroger’s and an aisle dedicated to uncommon sweets (including various candies coated with spicy tangy chili powder). But the real treat is the meat-and-three-style cafe in the back corner. It has weekly specials, like Torta Mondays and Beef Soup Saturdays. For my money, the stars of Garden Fresh’s show are the quesabirria tacos, which are served with a side of consommé for dipping. The small but mighty tacos are grilled fresh, with tender birria-style beef covered with just enough melted cheese, topped with red onions and cilantro. It’s delectable, and at $3.99 apiece, there’s no reason not to simply add one to every order, every time you visit. Hell, you might as well get one every time you’re in the neighborhood — they’re that good.
Visit the Garden Fresh Instagram account (@gardenfreshfoodmarket) to watch videos of how quesabirria tacos are made — plus you can keep up with daily specials and new offerings like an insanely overstuffed carne asada crunch wrap.
GARDEN FRESH FOOD MARKET
800 MADISON SQUARE, MADISON 615-541-6173
The 12-year-old emphasizes more of the confectionery essences that Jack Daniel’s proprietary yeast strain is known for. The higher proof level of 107 comes in hot before fading to a nice warm hug of dark molasses, toffee and maybe a bit of black licorice.
But the star of the show was always going to be the new (old) 14-year-aged edition, which Fletcher thieved directly from the barrel in the dim and dusty rickhouse for us to sample at full proof of 63.15 percent ABV. I knew this would be a different animal altogether upon the first waft from the tasting glass. It was like walking into an old-timey bakery with the aromas of wooden oak floors and hot pecan pies cooling on a rack by the front counter.
Even at that elevated proof level, the whiskey wasn’t rude to my tongue on the first attack. Although I knew that what I was tasting was made of just a few ingredients — corn, barley, rye, water and yeast — the flavors were a roller-coaster ride on the palate. In succession, the whiskey exhibited cinnamon, molasses and caramel, followed by almost tropical fruity notes before the grains and oak took over, with the usual long wood and leather finish that eventually transformed into something akin to pipe tobacco stored in a cedar box. Considering my grandfather actually kept his pipe in a chest like that, maybe that’s why it was so evocative.
Although the release of the 14-year-old Jack Daniel’s Tennessee Whiskey is quite limited, the company definitely shows preference to
their home markets through allocation — it will at least be easier to find in Middle Tennessee than, say, Berlin. The opportunity to taste history doesn’t come cheaply, as the suggested retail price for the 14-year-old should be around $149 per bottle. The 12- and 10-year-old editions should retail at $94.99 and $84.99 respectively, but individual liquor stores frequently ask for a higher markup on these allocated products. There are plenty of $100-and-up whiskeys in the market right now, but with declining consumption statistics and increased distillery capacities beginning to hit the market, some analysts predict a glut of whiskey will drive down prices in the future. That may well be true, but the facts that so many newcomers to the spirits game have flooded liquor-store shelves with private labels of unknown provenance and that the drinking public may be showing a preference for new and different types of intoxicants cannot undermine the time, effort and forethought put into Jack Daniel’s aged-whiskey program.
Will they someday reach the 21-year mark that Jack Daniel, the man, once sold in the years before Prohibition? Perhaps, but it depends on when the spirits in the barrel are ready — and that’s up to Chris Fletcher and his team. He won’t release a product that he doesn’t think is extraordinary just because it has reached an arbitrary age. But I can attest that teenage Jack Daniel’s is pretty remarkable and ready for the spotlight. ▼
CHRIS FLETCHER
END OF THE RIDE
The closing of Nashville’s beloved Opryland USA teaches us to just enjoy the ride
BY RIVER JAMES WITHEROW
Vodka Yonic features a rotating cast of women, nonbinary and gender-diverse writers from around the world sharing stories that are alternately humorous, sobering, intellectual, erotic, religious or painfully personal. You never know what you’ll find in this column, but we hope this potent mix of stories encourages conversation.
I KNOW PEOPLE who get emotional when discussing the burning of the Library of Alexandria. This says a lot about the company I keep (recovering high school Latin students), and even more about humankind’s infinite capacity for grief. That library has been gone for thousands of years, and yet it’s still being mourned with heartbreaking ferocity. To many, its name is synonymous with loss.
My Library of Alexandria is Opryland USA.
For those too young to remember the Clinton administration, Opryland was once Nashville’s very own amusement park, originally opened in 1972. Its rides, shows and concert venues were visited by millions of guests and countless music legends, making the park a beloved Nashville institution. But one day the “Powers That Be” wanted to build a mall, and that beloved Nashville institution was in the way.
So the park was closed in December 1997, when I was 7 years old. Opryland was systematically destroyed, piece by piece, until all that remained was the sad dry riverbed that was once the Grizzly River Rampage. By the end of 2011, even that unintentional memorial was gone.
I find there’s something particularly disorienting about losing a place. On some level we know every living creature will eventually die — every pet, every person, every animal we’ve parasocially bonded with via Instagram. That certainty doesn’t stop those losses from hurting, but it does take some of the burden off of us. We understand that no living thing, no matter how well-loved, can live forever.
But a place, theoretically, can. On July 17, 2025, Disneyland will celebrate its 70th birthday, while Walt Disney himself only made it to 65. Denmark has an amusement park that’s more than 400 years old. All over the world there are churches, temples, houses, schools and restaurants that will likely outlive any one of us. So when a place dies — not due to natural disaster but rather the whims of a multimilliondollar entertainment/hospitality juggernaut — it forces us to wonder: Could we have saved it? The answer is almost always no (unless you are on the board of a multimillion-dollar entertainment/hospitality juggernaut).
Because if love alone could save a place, Opryland would have been saved. It was loved as much as any place ever has been. Just
go to the comments of any YouTube video, stitched together from hundreds of home movies, and you will see people still angry, still mourning, still wishing they could share this place with their own kids. By most accounts, Opryland was a profitable park right up until the end. Its closure wasn’t a death; it was an execution. If that sounds too dramatic, you’re underestimating how strongly its loss is still felt in our city. I would give my right kidney to ride Chaos tomorrow, and plenty of other Nashvillians feel the same. We could probably take up a whole kidney collection.
One day Opry Mills will also likely find itself on the wrong end of someone’s cost-benefit analysis. It too could become someone’s lost Library of Alexandria. My own childhood mall has already been flattened into a parking lot, along with my high school and my hometown movie theater. The universe I grew up in is shrinking every day, and all I can do is watch it happen. But still, if I could bring just one of my lost places back, it would be the one with the bumper cars. You would think I’d be more emotional about the loss of my school than the demise of the Rock n’ Roller Coaster, but I’m not. That’s partially because the school really did need to come down (it was allegedly riddled with asbestos), but also because I still have all the memories I made there.
The truth is, I don’t actually remember Opryland.
I know I went multiple times as a child. I’ve seen the photographic evidence. I remember other childhood trips, from even earlier ages: Disney World, Gatlinburg, SeaWorld. I even remember that weird Cabbage Patch hospital in Georgia I visited when I was 3. And yet I don’t have any memories of Opryland. No matter how much I sift through the ashes, not a single spark remains. It’s become a place I lost twice; once from the world, and again from my memory.
That’s just how it is sometimes. A loss can be loud, entering your life with wrecking balls and dynamite. But other times it’s quiet, like a snowflake melting on your skin. A part of my story melted away, and I didn’t even notice. Even if they rebuild Opryland tomorrow, I can never get those memories back. (But for the record, I would still really, really like them to rebuild Opryland tomorrow. The kidney offer still stands.)
There is no moral at the end of this story, no call to action. I could ask you to protect the places and memories you love, but I know that won’t always be possible. Maybe your library will never burn, but probably it will. That’s just part of life’s roller coaster. All we can do is enjoy the ride while it lasts. ▼
ART: CRAWL SPACE
WEDGEWOOD-HOUSTON
Nowadays, I’m constantly writing about how art is trending away from figures and representation and toward abstraction and formalism. With these changes, narrative and content-heavy works are naturally receding while art about art is ascendant. That said, even at the height of American abstract expressionism in the mid-20th century, there were artists like those involved in the Bay Area Figurative Movement who never abandoned the human form. And some artists — like Shepard Fairey, for instance — spend their entire careers falling in and out of fashion as they dedicate their practice to social messaging or political narratives.
John Salvest’s latest show at David Lusk Gallery is a great example of how art can be formally compelling while also packing lots of punchy commentary about the world around us. Material Evidence is an exhibition of sculptures made from collections of found materials. Salvest uses paperback books, medicine tablets, coins, business cards and wooden walking canes to create painterly wall sculptures and freestanding works brimming with poignant insights and punning humor. There’s an inherent delight in seeing mundane detritus like colored yardsticks transformed into objects of real beauty, and sculptures like “Peace, Officer” — a peace-sign design formed on a wall by vintage wooden police batons — serve as sly reminders that when it comes to making art about social issues, a little irony can really help the medicine go down. Salvest is based in Arkansas, but he will be at Saturday’s opening, and will give a gallery talk at 5 p.m.
➨DETAILS Opening reception 4-7 p.m. Saturday at David Lusk Gallery, 516 Hagan St.
In March, Coop takes a break from its Volunteer State-focused Ten in Tenn series to host Logged In, an exhibition of work from Alabama-based Ghanaian artist Vincent Frimpong Frimpong was born in Accra, the capital city of Ghana in West Africa, but he earned an MFA at the University of Arkansas, and his ceramics practice is currently based in Talladega, Ala., where the artist is an assistant professor at Talladega College. I don’t usually include a whole lot of biographical information in this column, but when it comes to Frimpong and his colorful, ambitious works, the theme of being a person traveling between two different realities is ever-present. Frimpong’s works are exquisitely technical, vibrant and unique. He covers a wide range — from wall sculptures featuring abstract designs to installations featuring small figures.
TO WEDGEWOOD-HOUSTON
MARCH ART CRAWL BRINGS GODS AND MONSTERS
Highlights include punning sculptures from John Salvest and a must-see exhibit from Ghana-born, Alabama-based Vincent Frimpong
BY JOE NOLAN
Some of my favorites read more like tapestries or blankets — unexpected forms that surprise and delight in a show of ceramic works. The exhibition features lots of surfaces covered in intricate designs that speak to computer networks and digital circuits, as well as African textile designs. These works are satisfying for their striking colors and unique use of materials alone. And the narratives they carry — about being one person split between two worlds and transformed by them both — provide plenty of conceptual depth for deep-diving gallerygoers.
➨DETAILS: Opening reception 1-9 p.m. Saturday at Coop, 507 Hagan St.
Get ready for a painterly close to the winter art season at Julia Martin Gallery, featuring a solo exhibition by Nashville’s own Emily Holt. Originally from Memphis, Holt has been a staple in the local art scene since 2003. When she’s not inspiring young minds as a high school art teacher at University School of Nashville, Holt is busy creating multimedia works that speak to Nashville’s ever-changing — and endlessly
expanding — skyline. Recently, Holt has turned her attention to creating intricate architectural assemblages using materials salvaged from Nashville’s demolition sites. Holt collaborated with painter Peggy Snow for the What Happened Here? exhibition at Julia Martin Gallery, earning one of my Best of Nashville notices in 2022. This time around, the artist is shifting gears and showcasing large-scale multimedia paintings in a new solo show, Lossless Found. Holt’s latest body of work consists of expansive, unstretched bits of found paper, wire, fabric, paint and canvas that hang like tapestries in layered designs. All the colorful shapes and forms are glued and sewn on top of one another. The chromatic, abstract surfaces feature cutaways, revealing successive layers and creating a striking illusion of depth. These almost-sculptural works transform the act of contemplating a flat, square canvas into a dynamic and immersive experience. Holt’s cutaway sections and layers breathe new life into the traditional picture plane, challenging the conventions of midcentury abstraction that her exhibition calls to mind.
➨DETAILS: Opening reception 6-9 p.m. Saturday at Julia Martin Gallery, 444 Humphreys St.
Terra Magia is a collaborative exhibition between artists J. Alex Schechter and Sean M. Starowitz that’s occupying the Neue Welt gallery at The Packing Plant this March. Schechter is a sculptor who also has a degree in religious studies. Starowitz is also a sculptor, and his CV is brimming with community-based social-practice projects informed by the artist’s passion for archival research. When you put them together, you get the notion of the “Magic Land” where this curious pair questions how the relentless pursuit of technological advancement has warped humanity’s natural worldview. With the loss of magic, ritual, meaning-making myths and society-sustaining stories, how far can electric motors, magnetic levitation and Falcon Heavys really take us? Schechter and Starowitz have me expecting gods and monsters — mystic warriors and horned beasts ensconced in endless mazes.
➨DETAILS: Opening reception 5-9 p.m. Saturday at Neue Welt, 507 Hagan St. ▼
“DEHYIE,“ VINCENT FRIMPONG
VINCENT FRIMPONG: LOGGED IN AT COOP
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REVISITING A WITCH HUNT
Nashville native Clay Risen’s Red Scare offers a fresh take on the legacy of McCarthyism
BY JIM PATTERSON
IN HIS PREFACE to Red Scare: Blacklists, McCarthyism, and the Making of Modern America, Clay Risen states an intention to resist “drawing parallels between the past and the present.”
In conversation, that resistance goes by the wayside quickly.
“I was struck this summer when [now Vice President] JD Vance was talking about these Haitian immigrants in Ohio who are supposedly eating pets,” says Nashville native Risen, a historian and editor at The New York Times. “When evidence was brought to show him that this is actually not true at all, he said, ‘Well, the truth of it doesn’t matter because sometimes we have to tell these stories in order to get a larger truth across.’ To me, that was exactly what McCarthy was doing.”
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McCarthy is U.S. Sen. Joseph McCarthy from Wisconsin, who used the threat of communist infiltration into American politics, entertainment and elsewhere as a rocket ride to power in Washington, only to flame out when much of the threat was shown to be feverishly oversold.
We spoke with Risen in January. This interview has been edited for length and clarity.
How much of a threat to America was spying by communists in the 1950s? It’s wrong to say that there was no threat at all from Soviet espionage, or that the American Communist Party was completely innocent of everything it was charged with doing. But I think most were relatively minor cases that should have been dealt with as law enforcement matters and counterintelligence matters. They certainly didn’t necessitate the overarching or overwhelming response from government and the private sector and the public. I don’t think that by 1948 or ’47 there really was much of a national security threat. Look at what the Rosenbergs or Alger Hiss were accused of doing. Those are things that took place in the 1930s and ’40s. That’s not to excuse away anything that they did, but to say what they did early on doesn’t justify the crackdown of the late ’40s and ’50s.
McCarthy doesn’t come across as terribly intelligent in the book. Is that a correct assessment of him? He was a useful tool for a lot of different groups because he was willing to say stuff they couldn’t. Sen. Robert A. Taft, the Senate majority leader, wasn’t about to get out there and say the sorts of things that McCarthy was. He had too much at stake to be casting wide aspersions, but it was very useful for him to have McCarthy out there doing it. People who wanted to protect their reputations could feed stuff to McCarthy, and McCarthy was willing to say it. He became a puppet for these folks — even though, obviously, I think he did have his own volition and his own ideas
about where he was going.
At least three presidents [Harry Truman, Dwight Eisenhower, Richard Nixon] and one presidential candidate, Robert F. Kennedy Sr., had roles in the Red Scare. What did their actions reveal about them?
Truman was a very capable leader, but he was dropped in midstream to a lot of issues that even a year before he probably didn’t anticipate he’d have to deal with. Truman was not in over his head, but I think he was ultimately a little naive. He had faith that the American public was too smart and had too much common sense to be drawn in by the far left and communism, or on the other hand, to be drawn into red baiting and the Red Scare.
It was President Eisenhower who ultimately took McCarthy down. How did he do it? Essentially, he created a compromise where he reinforced the establishment and pushed aside the far left and far right. That was very much 1950s consensus building. Eisenhower does stand to me personally as something of an admirable character for just ultimately having faith in the establishment and in the ultimate wisdom of moderation. That at least temporarily won the day, but there’s a case to be made that had he taken on McCarthy
more aggressively, he could have done more to disabuse more people of these conspiracy theories and witch hunting.
Is there any threat that we could face where you would support taking away civil liberties of Americans, which happened back then? There’s always a balance between civil liberties and national security. I’m not an absolutist in that sense, but I think with the Red Scare, it illustrates that it’s very easy, once excuses are offered, to make a case for taking away civil liberties. It’s very easy for that to steamroll into overreach on the part of governments at all levels.
To read an uncut version of this interview — and more local book coverage — please visit Chapter16.org, an online publication of Humanities Tennessee.▼
Red Scare: Blacklists, McCarthyism, and the Making of Modern America By Clay Risen Scribner 480 pages, $31
SOUL OF THE CITY
Lorenzo Washington keeps the Jefferson Street legacy going
BY RON WYNN
WHEN THE NAMES of legendary Black music communities are cited, you often and immediately hear about places in Harlem, Chicago, Philadelphia or Detroit, and such sites as Beale Street in Memphis or Central Avenue in Los Angeles. But Lorenzo Washington wants the world to know that Nashville’s Jefferson Street in its heyday was every bit as busy as any of those places, and its legacy equally as important.
A longtime fan and supporter of Jefferson Street and North Nashville’s history, Washington recently celebrated his 82nd birthday. He’s also among this year’s recipients of a Keeping the Blues Alive Award from the Blues Foundation in Memphis. Washington is busier than ever as founder and curator of the Jefferson Street Sound Museum. The museum, located at 2004 Jefferson St., is a nonprofit 501(c)(3) organization that not only celebrates North Nashville’s musical history, but also remains very involved in recognizing and publicizing contemporary artists and events.
“We’re busier than ever,” Washington tells the Scene. “We sponsor contemporary and vintage performers every first Monday with open mic night. Anyone from the community can be part of that. It doesn’t matter if you’re a soul singer, hip-hop artist, spoken word — the entire musical community is welcome.”
The museum is featured in the documentary “Exit 207: The Soul of Nashville,” which was written, produced and directed last year by Belmont University students under the guidance of professor Jennifer Duck. Washington also regularly does speaking engagements at schools, and the museum is frequently visited by students and tourists. A museum podcast can be accessed via Jefferson Street Sound’s
website, and visitors can see an extensive and impressive array of exhibits, photos, rare memorabilia and information on the cultural impact and importance of Jefferson Street. The museum also presents live concerts each month, including a recent show featuring famed soul vocalist Charles “Wigg” Walker.
“I got involved in Jefferson Street in part because I had a driver’s license,” Washington recalls. “My friend Herbert Hunter had an audition and needed a way to get there. I took him and became his regular driver.”
Through that beginning, Washington was a witness to musical history, seeing the greats performing in the many clubs then active in the Jefferson Street vicinity.
“The first people that I saw were Jimmy Church, my friend Herbert of course, Little Richard,” says Washington. “I remember seeing Jimi Hendrix. Ray Charles came through here looking for Hank Crawford, who was attending TSU at the time. He recruited him for his band.
“There’s absolutely no place in this country I would say had more activity than Jefferson Street did when it was in its prime,” he continues. “All the greats came through here. I remember when Etta James came to town. There was a time when you could go from club to club and see something different — the blues, soul, jazz, you name it, it was here on the street. But the interstate took all that away.”
The roughly two dozen blocks from Fifth Avenue North to 28th Avenue North were home to some of the oldest Black churches in the city, as well as Engine Company No. 11, Nashville’s first African American fire hall. The Silver Streak, a ballroom near Jefferson, booked such iconic performers as Cab Calloway, Duke Ellington, Ella
PEAK PERFORMANCE
Tristen’s Zenith unearths unreleased tracks from her masterful synthpop era
BY BAILEY BRANTINGHAM
Fitzgerald and Count Basie. But the construction of Interstate 40 in the 1960s displaced hundreds of Black residents, destroying the Jefferson Street cultural district and splitting the neighborhood in the 37208 ZIP code in half.
In 2011, Washington created the Jefferson Street Sound Museum to commemorate that history. It’s housed in a building that was previously a restaurant and later a beauty shop. Jefferson Street Sound is now a recognized city landmark and cultural treasure. Washington’s efforts have earned national praise and other honors in addition to this year’s Keeping the Blues Alive award. He was recognized last year by Belmont University’s Global Honors program, and the National Museum of African American Music unveiled a new lobby exhibit, Living Legends: Lorenzo Washington, in his honor.
On April 3, the Third Annual Lorenzo Washington Day Gala will be held at the Millennium Maxwell House Hotel, located at 2025 Rosa L. Parks Blvd. But Karen Coffee, current vice president of the Jefferson Street Sound Museum, says she’d like to see the city put its tourist muscle behind the museum — and by extension North Nashville.
“Only a fraction of the money spent on tourism in this city comes into this neighborhood,” says Coffee. “This museum should be part of all the bus tours that come to town, and this community should get a much larger percentage of those tourist dollars and trade.”
“We’re still here, and we’re still doing a lot of things,” Washington says. “We welcome anyone who wants to know the real story about this community and what it’s meant not just to the city but the nation in terms of music, history and culture.” ▼
TWELVE YEARS AGO, Nashville singer-songwriter Tristen didn’t have to worry about the length of school drop-off lines or what type of shopping bags to purchase for her small business. She was solely focused on her music — and that dedication brought us her synthpop masterpiece CAVES in October 2013. Fast-forward to 2025: Her store, frequent Best of Nashville winner Anaconda Vintage is thriving, and she’s managed to master the fickle art of parenting. Now, after a three-year break from releasing new music, Tristen is stepping back into the spotlight with Zenith, an anniversary project born out of CAVES Zenith features one reissued track, one newly released track, and an extended alternate mix of a CAVES single.
“I planned on it being a 10-year anniversary, but life got in the way,” Tristen says. “I think it’s OK to do an 11-year anniversary and take a little more time. That’s what we’re doing. We’re just kind of jumping back into remembering what happened then.”
The “then” in question is fall 2013 — yes, technically a little more than 11 years ago. At the time, Tristen was at the center of what she calls a “golden age” of local music. She reminisces about a Nashville where most people in the industry were being paid more fairly and creativity wasn’t yet tarnished by the music industry’s streaming model.
During the OG CAVES era, the synthesizer was Tristen’s best friend.
“Synthesizer is the representation of the real — the strings are the real,” Tristen says. “Bringing those together, the marrying of the robot … the computer, and the soul of the human — and that together in some kind of meld. That’s where the headspace was.”
Two more albums and a bout of nostalgia later, Zenith is born.
The project — categorized as a single on streaming services, and available on vinyl as a 7-inch — consists of three tracks from the CAVES era: “New Punching Bag,” “Stimulation (I Can’t Get No)” and an extended remix of “No One’s Gonna Know.” The new version of “No One’s Gonna Know” features heavier guitar and a more raw sound. The remaining two tracks, however,
The Third Annual Lorenzo Washington Gala will take place 6:30 p.m. Thursday, April 3, at the Millennium Maxwell House Hotel. Event tickets and Jefferson Street Sound Museum hours available at jeffersonstreetsound.com.
THURSDAY
have (almost) never been heard before.
SUN
TUESDAY
9PM
Tristen rescued “New Punching Bag” from oblivion. The song was featured on a compilation that disappeared years ago, only for the demo to resurface when she was sifting through old CAVES content.
“When we were going through all this stuff, I’m like, ‘This song, it’s just so magical. It’s just so perfect,’” Tristen says. “And it’s such a picture of where I was at, at the time.”
“Stimulation (I Can’t Get No)” had a not-so-happy beginning. Friction during the recording process soured the track for Tristen, and ultimately caused her to cut it from the album completely. But the song proved to be another diamond in the rough of CAVES demos, and Tristen resurrected it for Zenith
Even putting her musical endeavors aside, Tristen’s plate stays full. First and foremost, she prioritizes her children.
“You have to be able to show up for your kids … but you should never give up things that are yours,” Tristen says. “So you have to remember who you are.”
Second comes her small business. She likens owning a vintage shop to “playing the video game of capitalism” — but one she compares to recycling. As she’s
noted before participating in clothing recirculation is a more sustainable form of commerce.
But Tristen also makes sure to carve out “me” time. Without it, she feels an all-too-familiar ache of impending sadness — one that can only be cured by a few hours of uninterrupted music-making.
“If there’s an extra hour I can get for me, I take it,” Tristen says.
Tristen will celebrate Zenith Saturday at The Blue Room at Third Man Records. After extensive planning and a fan poll, she promises to pull out all the hits while sharing the stage with some fun guests. ▼
Zenith is out now Playing Saturday, March 1, at The Blue Room at Third Man Records
Saturday, March 1
SONGWRITER SESSION Don Schlitz NOON · FORD THEATER
Sunday, March 2
MUSICIAN SPOTLIGHT Kristen Rogers 1:00 pm · FORD THEATER
Saturday, March 8
HATCH SHOW PRINT Block Party
3:00 pm · HATCH SHOW PRINT SHOP LIMITED AVAILABILITY
Sunday, March 9 HATCH SHOW PRINT Family Block Party
9:30 am · HATCH SHOW PRINT SHOP LIMITED AVAILABILITY
Sunday, March 9
MUSICIAN SPOTLIGHT Jen Gunderman 1:00 pm · FORD THEATER
WITNESS HISTORY
Museum Membership Receive
Saturday, March 15 SONGWRITER SESSION Canaan Smith NOON · FORD THEATER
Saturday, March 15 POETS AND PROPHETS Natalie Hemby 2:30 pm · FORD THEATER
Saturday, March 22 HATCH SHOW PRINT Block Party 9:30 am, NOON, and 2:30 pm HATCH SHOW PRINT SHOP LIMITED AVAILABILITY
Saturday, March 22 MUSIC AND CONVERSATION Meet Luke Combs’s Band
The Wild Cards 11:00 am · FORD THEATER
OH! CANADA?
Universal Language is a beguiling cinematic stew
BY CRAIG D. LINDSEY
I GET THE feeling Canadian filmmaker Matthew Rankin has some unresolved issues with his homeland. With his 2019 feature film debut The Twentieth Century, he concocted an alt-history psycho-satire using the life of Canadian Prime Minister William Lyon Mackenzie King. In that film, Canada is a genderfluid (half the cast, male and female, is in drag) ice kingdom, and King is a nebbish nepo baby with mommy issues and a boot fetish.
Along with being a mad mashup of Guy Maddin, Powell and Pressburger, Kenneth Anger and the Japanese horror whatzit House, Century saw Rankin garishly addressing the repression and oppression lurking underneath all that bland but sensible Canuck cheeriness. As one character says, “Canada is one failed orgasm after another.”
If Century was Rankin calling out Canada for not letting its freak flag fly, his new film Universal Language (which was selected as the Canadian entry for this year’s Best International Feature Academy Award, though it didn’t ultimately receive a nomination) sees him literally having trouble fitting in with the place. Along with co-writing and directing, Rankin stars as … well, Matthew Rankin. For the purposes of this story, he’s a guy who returns home to Winnipeg after resigning from his government job in Quebec.
Just like Century’s cold world, this bizarro version of Canada is caked in ice. Winnipeg is both a winterland and a wasteland, complete with myriad barnyard animals scurrying about.
(A turkey can even steal your glasses!) The townspeople are True Stories-level eccentric, from the tyrannical French teacher who thinks he’s cool because he has an earring to the cowboy-hat-wearing, wheelchair-riding, cheesy-commercial-making butcher. One earmuffed character (co-writer Pirouz Nemati) serves as a pitiful tour guide, dragging a group to such “landmarks” as the abandoned briefcase that still sits at the park bench where it was left.
But this Winnipeg is also populated by Iranians. They all speak Farsi and hang out at a Tim Hortons that mainly serves tea. Once again, Rankin presents an offbeat view of the world’s second-largest country (geographically), starring an unexpected cast of characters. By dropping an Iranian cast in a setting that’s both deadpan and derelict (the movie looks like it was shot around the abandoned community center from The Brutalist), Rankin makes Language a film that evokes both Kaurismäki and Kiarostami. The subplot featuring two young girls (Rojina Esmaeili and Saba Vahedyousefi) who go on a hunt for tools that’ll unfreeze some found money suspended in ice certainly gives off Where Is the Friend’s House? energy.
The casting also makes Language an uneasy tale of a hometown boy who becomes a stranger in a strange land. For Rankin’s onscreen avatar, Winnipeg is home, but it doesn’t feel like it. With the cemetery (where his dad is buried) and other memorials placed on the
sides of freeways, people literally move on from the past around these parts. The house he grew up in is now occupied by another (happier) family. Nevertheless, that family and other townsfolk welcome this awkward fella with open arms. By the time he finds out how his senile mother is being taken care of, it leads to a head-scratcher of a climax that also includes one last casting switcheroo.
With Universal Language, Rankin presents another beguiling cinematic stew bubbling over with obvious influences. The static tableau shots of what I like to call “workingclass twee” will definitely have people comparing the director to both Wes Anderson and Roy Andersson. But it’s also a film that has him satirizing, criticizing and, ultimately, coming to terms with the Great White North.
In Rankin’s hands, Canada is a flawed but fascinating land. Let’s just hope it doesn’t land in the hands of a certain orange despot.
Universal Language NR, 89 minutes Showing March 5-9 at the Belcourt; in Farsi and French with English subtitles
Tavern regular
Bit of haunted house décor
Remove some bugs from
Beethoven work initially dedicated to Napoleon
Classic line from the Dick and Jane series 16 Hiring practice at a family business, say
Like many shots in soccer
Suppose
One might be worthy or formidable
Years of decline
Pilots’ chronicles
“___ plaisir!” 27 Where people amass for Mass 28 Bee-dazzler? 29 Adequate 30 Hurdle for a future Ph.D. 31 E, in a musical mnemonic
32 Land whose name meant “between two rivers”
36 Gets up
39 Grp. with a lot of intelligence
40 Painter Bob who said “We don’t make mistakes. We have happy accidents”
44 Advocacy org. that gained prominence in 1980s New York City
45 Eastern currency 46 Word repeated in a children’s game 47 Laura of “Jurassic Park” 48 Structure with smoke flaps 50 Prefix with color and county
“Snow Falling on ___,” 1994 mystery novel set in Washington State
Bank assessment
55 Sichuan bean curd dish
56 Obstacles for a driver ... or what this puzzle’s circled squares represent
58 “When in the course of human ___ …” (start of the Declaration of Independence)
59 “You’re kidding yourself!”
60 Hate
61 In the interim DOWN
1 Singers who co-starred in the 1978 film “Sgt. Pepper’s Lonely Hearts Club Band”
2 Too
3 Either of two diverging in a Robert Frost poem
4 Horse-racing measurements
5 Football powerhouse in the S.E.C.
6 Eastern currency
7 Perfume ecclesiastically
8 Unrefined metal sources
9 Sunset in the West?
10 Motion-sensing gaming device
11 Popeye’s creator
12 “Kapow!”
13 All over again
15 Lounges, e.g.
18 Bit of biographical data
21 ___ chips, snack from Hawaii
22 Way
24 Vulpine
26 Fall apart mentally
28 Canadian province where “Anne of Green Gables” is set: Abbr.
33 Special reading ability, for short
34 “And make it snappy!”
35 Hall & Oates hit with the opening lyric “She’ll only come out at night”
36 Beyond cool
37 Geologic formation from glacial melting
38 Word with clothes or cleaner
41 Discharge of water, e.g.
42 Filter
43 Heavens
45 “You rang?”
48 Arrangement for an heir, perhaps
49 Literary husband of Zeena Frome
52 Early p.m. times, in brief
54 Steamed dumpling in Tibetan cuisine
55 ___ school
56 Common download
57 Metal para una medalla olímpica
53 Word that becomes its own synonym if you add a “k” to the end
54 Fix the wrong way?
55 H
for hearing on that Petition on March 28, 2025, at 9:00 a.m. at Williamson County Chancery Court, 135 4th Avenue South, Franklin, Tennessee 37064 or to otherwise enter an appearance in this matter. If you fail to do so, an order may be entered against you for the relief requested in the Petition. You may view and obtain a copy of the Petition and any other subsequently filed legal documents in the Chancery Court Clerk’s Office at the address shown above.
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IN THE CHANCERY COURT FOR THE STATE OF TENNESSEE TWENTIETH JUDICIAL DISTRICT, DAVIDSON COUNTY No. 24-1273-II
IN RE: THE MATTER OF NAME CHANGE OF KALIYHA FINLEY-GRAY BY NEXT FRIEND: PATRICIA GRAY Petitioner, vs. TARVISO FINLEY Whereabouts Unknown Respondent.
ORDER
NOTICE
Cyndey Gordan:
A Petition For Termination Of Parental Rights And Petition For Adoption has been filed against you seeking to terminate your parental rights to Kamilla Stone. You are hereby ORDERED to appear for hearing on that Petition on March 28, 2025, at 9:00 a.m. at Williamson County Chancery Court, 135 4th Avenue South, Franklin, Tennessee 37064 or to otherwise enter an appearance in this matter. If you fail to do so, an order may be entered against you for the relief requested in the Petition. You may view and obtain a copy of the Petition and any other subsequently filed legal documents in the Chancery Court Clerk’s Office at the address shown above.
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IT IS ORDERED, ADJUDGED, and DECREED that the Motion for Service by Publication filed by Petitioner, Patricia Gray, as Next Friend of her granddaughter, Kaliyha FinleyGray, is hereby granted and it is hereby ordered that Respondent, Tarviso Finley, will be served by publication notice in The Nashville Scene, a newspaper published in Davidson County, Tennessee for a period of four (4) consecutive weeks. IT IS ORDERED.
ANNE C. MARTIN CHANCELLOR, PART II
APPROVED FOR ENTRY: Marykate E. Williams #041708 CAMPBELL PERKY JOHNSON, PLLC 329 S. Royal Oaks Blvd., Suite 205 Franklin, Tennessee 37064 (615)914-3038 marykate@cpj.law
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APPROVED FOR ENTRY: Marykate E. Williams #041708
CAMPBELL PERKY JOHNSON, PLLC 329 S. Royal Oaks Blvd., Suite 205 Franklin, Tennessee 37064 (615)914-3038 marykate@cpj.law
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Virtual Design Construction Coordinator (Charter Construction, Inc., Nashville, TN): Reqs Bach (US/frgn eqv) in Civ Eng or rel; 2 yrs exp in CAD rel prog; exp bldg proj w/VDC sys; exp w/comp sw; exp w/const methods & practices; possess strong comm skills. Email resume to Tiffanyb@charterconstructio n.com.
Manager, Treasury (SRGY, LLC/Brentwood, TN). Req: Bach (US/frgn eqv) in Finance, Acctng, or rel; 5 yrs finance or acctng exp; adv prof in MS PPT & Word; adv MS Excel skills, incl vlookups & pivot tables; knwl of debt agreements, incl equipment finance or factoring; exp w/ biz visualization sw, incl Tableau & MS PowerBI. Email TCovington@surgerypartner s.com.
UBS Business Solutions US LLC has the following positions in Nashville, TN. Authorized Officer, Risk Control Specialist to conduct behavioral modeling of interest rate risk to support integrated balance sheet forecasting, earnings, hedging, and capital adequacy efforts. Requires Master's degree or B+1yr. exp. as an equivalent alternative. Can work remotely. (ref. code(s) 001766). Qualified Applicants apply through SHProfRecruitingcc@ubs.com. Please reference 001766. NO CALLS PLEASE. EOE/M/F/D/V. #LI-DNP.
forecasting, earnings, hedging, and capital adequacy efforts. Requires Master's degree or B+1yr. exp. as an equivalent alternative. Can work remotely. (ref. code(s) 001766). Qualified Applicants apply through SHProfRecruitingcc@ubs.com. Please reference 001766. NO CALLS PLEASE. EOE/M/F/D/V. #LI-DNP.
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Advertise on the Backpage! It’s like little billboards right in front of you!
Nashboro Golf Course BNA airport
ENJOY THE OUTDOORS
Percy Priest Lake Long Hunter’s State Park
BEST PLACES NEARBY TO SEE A SHOW
Ascend Amphitheater
FAVORITE LOCAL NEIGHBORHOOD BAR
Larry’s Karaoke lounge
COMMUNITY AMENITIES
Indoor swimming pool and hot tub
Outdoor swimming pool Ping pong table Fitness center Gated community
