The conference will be held at the Renaissance Hotel in downtown Nashville. The “In Harmony with Tradition and Innovation” theme will focus on clean energy technology as a catalyst of job creation, with an opportunity for high-level networking and showcasing the Tennessee culture. Attendees will gain a first-hand look at the historic Ryman Auditorium and the famed County Music Hall of Fame.

The Southeast U.S./Japan Association (SEUS-Japan) promotes trade, investment, understanding and friendship between Japan and eight member sates of the Southeastern United States: Alabama, Florida, Georgia, Mississippi, North Carolina, South Caroline, Tennessee and Virginia. Members are from both the private and public sectors. It’s Tokyo-based counterpart organization is the Japan-US Southeast Association, composed of Japan’s top business leaders and government officials.

To view the program, visit www.seusjapan2010.com.  To register as part of the Tennessee delegation, visit http://state.tn.us/ecd/BD_international_SEUS.html or call 615-663-6060.

Work continues to progress on the state’s second largest Recovery Act funded project on I-40 at White Bridge Road in west Nashville.  This weekend, crews will close lanes on Interstate 40 in both directions near White Bridge Road to begin work on concrete foundations for new overhead sign structures.  Also this weekend, the I-40 eastbound ramp to White Bridge Road will be closed as crews install a storm sewer across the off-ramp.

The closures are as follows:

• Friday July 23, 8:00 p.m. through Monday July 26, 5:00 a.m. - the left lanes of I-40 eastbound and westbound will be closed to remove the median barrier rail and install a new overhead sign footing.

• Friday July 23, Saturday July 24 and Sunday July 25, 10:00 p.m. through 5:00 a.m. (EACH NIGHT) – I-40 will be reduced to one lane in each direction as crews continue removing the median barrier rail and installing a new overhead sign footing.

• Friday July 23, 9:00 p.m. through Sunday July 25, 6:00 p.m. – The I-40 eastbound ramp to White Bridge Road (Exit #204) will be closed for the installation of a storm sewer. Motorists will be detoured to 51^st Avenue (Exit #205).

The lane closures are part of the Interstate 40/White Bridge Road Interchange Modification Project, which will help improve traffic flow for motorists traveling eastbound I-40 to Briley Parkway and from Briley Parkway to westbound I-40.  The $32 million project is funded through the American Recovery and Reinvestment Act and is scheduled to be complete in August 2011.

For more information on TDOT construction project activity visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/.  Travelers can also dial 511 from any land-line or cellular phone for travel information or can follow us on Twitter at www.twitter.com/TN511 for statewide travel information or www.twitter.com/Nashville511 for traffic information in the Nashville area.  Motorists are reminded to use all motorist information tools responsibly.  Drivers should refrain from texting, tweeting or using a mobile phone while operating a vehicle.  TDOT advises drivers to “Know before you go!” by checking traffic conditions before leaving for your destination.

NASHVILLE: Motorists traveling in the Nashville area this weekend should be alert for interstate ramp closures at two different locations along Interstate 65. The projects will impact travel on Rosa Parks Boulevard and Armory Drive. The lane closures are as follows:

Region 3 Concrete Pavement Repair: Saturday, July 10, 3:00 a.m. through Monday, July 12, 6:00 a.m.: The I-65 southbound ramp to Armory Drive will be closed in order to remove and replace deteriorating concrete.

I-65 at the junction with Rosa Parks Boulevard: Saturday, July 10, 4:00 a.m. through Sunday, July 11, 6:00 p.m. : The Rosa Parks Boulevard ramp to I-65 southbound will be closed in order to blast and install storm sewer across the ramp.

TDOT will use overhead and portable message boards to direct motorists around the ramp closures. Drivers are encouraged to plan ahead and use alternate routes. For more information on TDOT construction project activity visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/.  Travelers can also dial 511 from any land-line or cellular phone for travel information.

TDOT Commissioner Gerald Nicely

Memphis is home to the world’s busiest cargo airport, fourth largest inland port, five Class I railroads and several major interstates and highways, the movement of freight into and out of Memphis is a multi-billion dollar industry.  On Thursday, July 8 at 1:00 p.m. CT, Tennessee will be one of three states to host the national release of a critical new national report on the state of America’s freight transportation system.  Tennessee Department of Transportation Commissioner Gerald Nicely will join Arkansas State Highways and Transportation Department Director Dan Flowers and numerous local and state officials and industry representatives to release the new report Unlocking Freight.

Unlocking Freight, the new report from the American Association of State Highway Transportation Officials, examines America’s freight system, our highways, ports, railroads and airports, and the need for critical improvements.  The event will be held near the world’s busiest cargo airport, Memphis International Airport, to emphasize the importance of freight movement to the Tri-State area and the opportunity for investment. The report release will be performed at Wilson Air, Winchester Road, Memphis, Tennessee 38118.

Attending will be state, local and industry officials including TDOT Commissioner Gerald Nicely, Arkansas State Highways and Transportation Department Director Dan Flowers, Memphis Mayor A.C. Wharton, Jr., Shelby County Mayor Joe Ford, Memphis Greater Chamber of Commerce Senior Vice President Dexter Muller, Port of Memphis Executive Director Randy Richardson, RJ Corman Railroad Chairman Fred Mudge, along with representatives from Mississippi Department of Transportation, Memphis International Airport, Tennessee Trucking Association, Tombigbee Waterway and Norfolk Southern Railroad.

'Sandstone Waves' by Gwendolyn Rodriquez

Tennessee Art League continues to be a premiere showcase palace for regional Middle Tennessee visual art talent. TAL’s July exhibits showcase that focus quite nicely. Both showcase galleries are currently showing a substantial body of work by two unique and gifted artists. Peach McComb’s works are installed in the Ethel Smith Salon, while Gwendolyn Rodriguez holds sway in the Premiere Gallery.  Both artists present dynamic visuals that beckon viewers to stay awhile and give some introspection to their vision.

Gwendolyn Rodriguez is a Woodlawn resident who has apparently spent some time in the Middle East;  several of her most striking pieces take that region as their subject perspective. Her works are dynamic, striking and very emotive. Her use of colors and brush stroke gives breath and depth to her subjects and her focus.

'Turf War'

Other works include striking still lifes and a  most stunning Renaissance-esque portrait. Placement is also an active partner in the presentation of works in this exhibt. Several works benefit  significantly from their placement among the  components of this exhibit.

Sharing top billing with Gwendolyn Rodriguez is Nashville-based Peach McComb of Old Hickory, whose collection adorns the Ethel Smith Gallery and renders the salon an enclave of passion, sight and color. Explorations of vibrant floral still life and landscapes that conjure memories of countryside strolls spring forth through her gentle and skilled nudging. Even if you’ve never experienced such walks, you’ll feel as if this memory is genuine to your recollection.

'Spike' by Peach McComb

McComb is a member of the Studio A Artist group housed on the second floor. She has shown various styles of visual art techniques in past months but this month has her showcased singularly in the Ethel Smith gallery. Seashore imagery  beckons the viewer to linger amid the sweet spray of the ocean’s salty spray as its waves rush ashore, pushing the cool ocean breeze before. Peach also shares a penchant for floral interactions and several vivid presentations are shown here. Somewhere there is a very fiesty feline demanding that his image not be incorporated in that painting.

The rest of the salons on first floor consist of the Members’ Gallery where several dynamic and brilliant works are given reign. The walls of the open gallery space are filled with more dynamic and breathtaking works that all amaze the eyes and imprint themselves on the viewer’s soul. Here are brilliant visuals commanding not just colors but vibrant, forceful brush stroke application to impart vitality and arresting allure.

Natchez, Son of Cochise

The second floor continues displays of TAL members works. Studio A members have dominion here as the medium of expression includes everything from pen and ink portraiture to watercolors to acrylic to oils to photography. Scott Giles, Bob Jones, Mark Ivie, Ev Niewohner and Kathleen Haynes are but just a few of the many talents on display here. From small near miniatures to large-scale vistas, visual stimulation rules the day. Bob Jones’ pen and ink portraits defy belief as being the work of the human hand, so close to fine art photography is the incredible detail of each image. Here he offers another breathtaking portrayal of Miles Davis that is simply mesmerizing. Kathleen Haynes has several diverse watercolors on hand this month. The vibrancy of the colors belie the medium of presentation, effusing life and vitality to the subject matter, be it intimate landscape or floral congress. Scott Giles has two winery pieces on hand this month. His imagery is sharp and striking; his use of purple highlights in is very much arresting. Portraiture in stark relief is presented among the spaces here on the second floor of the TAL. Bold strokes and deep, contrasting lines punctuate the posed faces — no easy pondering these stories in flesh. But ponder you will.

YMCA ArtEMBRACE artwork

TAL continues to support Metro school students through its affiliation with the ‘Art After School Hours’ program. On the third floor, students engaged in the YMCA’s ArtEMBRACE program have their works on display. Every student in this Printmaking Art Show is under 13 years of age. Primarily from elementary and middle schools, these students have found a positive, expressive outlet to enhance confidence and self-esteem by discovering a talent they didn’t know they possessed. The printmaking class is conducted by artist Marlynda Augelli. All student artwork is priced at twenty-five dollars. Donations benefit the YMCA ArtEMBRACE Program, which is free to the students. For more information on the ArtEMBRACE After School Student Enrichment Program, please call (615) 226-5577 or visit their website: www.ymcafunco.org.

The Tennessee Art League Galleries, located at 808 Broadway in downtown Nashville, are open to the public with no admission charge. Memberships are available to all interested in art instruction and developing their skills and talents. For more info, contact 615-736-5000.

"Face of Love" by Terry Bunn

The opening reception for the Magdalene and Friends Art Show, Featuring art by the Women of Magdalene, will be held July 3 from 6-9 p.m. at 154 5TH Avenue North. The exhibit runs through July 31.

Exhibitors include Sigourney Cheek, Kaaren Hirschowitz, Tyree Finch, Hollye Gallion, Page Hart, Paul Harmon, Wendi Strauch Mahoney, Amanda Norman, Rosie Paschall, Dawn E. Whitelaw, and others.

Guests can access the exhibit space via the Downtown Presbyterian off on Fifth Avenue.

In addition to supporting American veterans, Hip Kitty and their label, Luna Chica Records International, are taking their efforts one step further by encouraging fans to bring their gently used cell phones to the event to help support troops overseas. Each phone donated will be contributed to a national non-profit organization and is equivalent to providing an hour of talk time to soldiers abroad through pre-paid calling cards. To make it even more fun for fans to get involved, the person who donates the most cell phones at the show will win a personalized Hip Kitty Fan Package – which will include Hip Kitty music, merchandise and other fun surprises.

“We want our fans to come to the show and have a great time and support our veterans, but we also hope they’ll get involved and bring their old cell phones to support our troops overseas,” said Jen Halverson, lead singer for Hip Kitty. “We thought this would be a perfect way to celebrate our freedom by doing something to support our vets and our active military.”

Supporting American troops is not new for Hip Kitty; it’s part of their mission as a band. Hip Kitty has enthusiastically performed at several military bases, whose locations include: Curacao, Puerto Rico, Honduras, Bahrain and Kuwait.

Tickets for the VETS ROCK Freedom Celebration on July 1 start at $20 in advance or $25 at the door the night of the show. For more information, please visit www.vetsrock.org. For those who wish to donate phones and are unable to attend the event, please forward them to:

• Hip Kitty
  P.O. Box 8047
  Gallatin, TN 37066

The group will accept MP3 players and iPods, and the devices do not need to be in working order.

Tennessee Department of Transportation contract crews will once again close lanes on Interstate 24 East and West in southeast Davidson County this weekend as repair work on several bridges continues. I-24 between mile markers 57 and 59 will be reduced to two lanes in each direction beginning Friday, June 25, 2010 at 8:00 p.m. The lanes will reopen no later than Monday, June 28 at 6:00 a.m.

During this weekend’s lane closures, workers will remove deteriorated concrete from the bridges that cross over Haywood Lane, Mill Creek, and Bell Road. Once the new concrete is poured, it must harden for approximately 18 hours. The bridge repairs are being completed as part of a $3.2 million dollar interstate resurfacing project that stretches from Haywood Lane to the Rutherford County line. The entire project is expected to be complete by the end of July.

TDOT urges motorists to be mindful of workers in construction zones and reduce their speed as they travel in these areas. TDOT will use overhead and portable message boards to alert motorists of the lane closures. Motorists are advised to plan ahead and avoid the area if at all possible. Law enforcement officers will be on site in the work zone to provide traffic control as the work is being completed. TDOT also asks drivers to use caution and be alert to changing traffic conditions in work zones across the state.

For more information on TDOT construction project activity visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/.  Travelers can also dial 511 from any land-line or cellular phone for travel information. TDOT advises drivers to “Know before you go!” by checking traffic conditions before leaving for your destination.

A second fund-raising Peace Supper  will be held Friday, June 25, from 6-8 p.m. at the Nashville Friends Meeting House, 530 26th Ave. N. in Nashville. Tickets for the evening event are $20.

Rev. Lawson will speak at 2:15 p.m. and Sheehan will take the podium at 3 p.m.

The day’s events include music, dance, poetry, workshops, arts, crafts and food from around the world. Children’s projects and activities are also planned.

The festival is sponsored by the Nashville Peace Coalition, Nashville Peace & Justice Center, Code Pink, PeaceRoots Alliance, Farms Not Arms, Mideast Peace Coalition, Veterans for Peace and others.

For more information, call Jane Hussain at  615-650-8868 or Liz Barger 9at 31-964-2119

NASHVILLE, TN: While repairs to Schermerhorn Symphony Center continue in the aftermath of last month’s historic flooding, the Nashville Symphony’s latest available estimates now indicate that the total cost to the organization will be approximately $42 million. These costs include disaster response, cleanup, business interruption and restoration of the building. The Symphony anticipates that assistance from FEMA, along with $10 million in flood insurance, will cover a substantial portion of the costs. In addition, insurance will cover the replacement of certain items lost in the flood, including two Steinway concert grand pianos and the console of the Martin Foundation Concert Organ. Once all of these combined sources are exhausted, the remaining gap could be as much as $10 million.

“To close that gap, we are going to have to raise money,” said Alan D. Valentine, President and CEO of the Nashville Symphony. “We are actively exploring funding from grants and foundations and are counting on support from within the community. We hope that we can meet this challenge quickly in order to avoid any further interruption to the schedule of the repairs, or to our work and our mission.”

Meanwhile, it now appears that the Symphony will resume concerts at the Schermerhorn in January 2011. This timetable will allow the Symphony to complete all repairs to the building, which include securing and installing the replacement components of the extensive electrical and mechanical systems destroyed in the flood. In anticipation of this, the Symphony is currently finalizing plans to relocate its complete fall schedule of classical, pops, jazz, family and special concerts to alternate venues.

Valentine added that the Symphony is also exploring options for changes to the Schermerhorn which would mitigate the hazards from any future disasters.

Please continue to visit www.nashvillesymphony.org for ongoing updates. The site features a “recovery page” for the latest news.

Beached by Peach McComb

Tennessee Art League will install a new exhibit in its Ethel Smith Gallery showroom, beginning June 29th. A one-woman art show with featured artist Peach McComb will run through July 31 at the 800 Broadway institution. An artist reception will be held Saturday, July 3, 6 – 9 p.m. The gallery is open Monday – Friday, 10 a.m. to 4 p.m.

Originally from Massachusetts, Ms. McComb is relatively new to the art scene in Nashville. McComb’s work has a charming painterly quality: her subject matters are very broad, from landscapes, to seascapes, to florals and abstracts. McComb has studied with many internationally known artists in her continued and rapid development and she approaches each canvas with enthusiasm. She finds great joy in her work which is translated to her canvases and refers to painting as “yoga for the mind.” She has supported numerous non-profit organizations with contributions of her work and she shares her love of painting with all her viewers.

The Tennessee Art League galleries are open to the public weekdays. There is no admission charge to view the galleries displays. For more information on exhibits, call 615-736-5000 or visit their website at <www.TennesseeArtLeague.org>

Dior's "Afternoon Dress" and Donellan's blak wool suit invite visitors to view the rest of the Golden Age of Couture" at Nashville's Frist Museum.

“The Golden Age of Couture: Paris and London 1947-57″ opened today at the Ingram Gallery of the Frist Museum in Nashville with a spectacular display of fashion direct from the Victorian and Albert Museum in London England. The show will run through September 12 and is the only American stop on this fashion tour. Following record breaking attendance at its launch in London and its subsequent presentations in Australia, Hong Kong and Canada, The Golden Age of Couture continues its international tour at the Frist before traveling to Museums Sheffield in 2011.

Two hundred and twenty-one items are presented, ranging from impeccably tailored suits to embroidered gowns, from undergarments designed for specific ensembles to a miniature display of couturier garments, from an array of costume jewelry to exquisitely bottled perfumes. Many of the pieces in this collection are accented by millinery: broad dramatic picture hats, clean clipped pillboxes and cocktail hats, garnished with veiling, flowers or beading; and tweed and felt hats of impeccable tailoring and craftmanship.

The jewelry on display is costume; ornate brooches, sparkling rhinestones earrings, and burnished gold and pearl necklaces garnish each ensemble.

In addition to the fashion, the collection is accented by fashion photography of the era, video clips of fashion shows, and clips from films in which the couture garments were are much a star as the actresses who wore them.

The say that this exhibit is “breathtaking” would be an understatement. After decades marred by the Great Depression and the global economic and social impact of Worlds War II, when frugality reigned, the post-war period gave rise to new luxury and extravagance — not the least which came in the form of fashion.

The exhibition celebrates an important decade in fashion history that began with the launch of Christian Dior’s famous New Look in 1947 and ended with his death in 1957. The romantic postwar silhouette pioneered by Dior both scandalized and delighted the public, and ushered in a period of remarkable creativity. Dior himself called it a “golden age” for haute couture. He and his contemporaries set a standard for impeccable workmanship and design that has rarely been surpassed since.

In addition to Dior, the exhibition highlights the work of such luminary Paris designers as Cristóbal Balenciaga, Hubert de Givenchy and Pierre Balmain and celebrated London designers including Hardy Amies, Charles Creed and Norman Hartnell. Included are examples of daywear, cocktail dresses and evening gowns designed for royalty and aristocracy. Photographs by Cecil Beaton, Richard Avedon and Irving Penn show how images in fashion magazines enhanced the prestige of couture, while also making its innovative ideas widely known and accessible in America as well as Europe.

The Victoria and Albert Museum has tracked down and purchased several couture garments especially for this exhibition. One is a Givenchy blue cape (1957), identical to the one worn by Audrey Hepburn in Funny Face. Another exciting find is a red version of Dior’s glamorous Zemire (1954). The bodice and long jacket with full length skirt, previously known only through archive photographs, was recently discovered in a cellar near the River Seine in Paris and has been cleaned and repaired for the exhibition.

The presentation of this exhibit is as elegant as its fashion; simple mannequins with articulated fingers are posed and garbed in meticulously detailed garment.  Many of the “hands” are covered with the fashionable elbow-length gloves of the era.

Couture fashion is sewn entirely by hand; close scrutiny reveals miniscule stitching that gathers volumes of red chiffon into a detailed draped bodice and voluminous skirt (Jean Desses/Evening Dress, 1953 Paris), and tiny stitches anchoring the side zipper in a bodice-hugging strapless gown (Pierre Balmain Evening Dress, 1956 Paris), and impeccable bound buttonholes on a coat/dress ensemble (Christian Dior “Perou” Evening Dress and Coat with Necklace/Autumn-Winter 1954-55 Paris)

“The Golden Age of Couture offers a rare opportunity to learn about the creative, social and economic forces that shaped fashion in the dramatic postwar years through the clothing itself.

The first garments viewed include suits by Dior (“Ecarlate” Formal Afternoon Dress/Autumn-Winter 1955-56 Paris), which featured a luxurious red full-skirted garment with detailed fitted bodice a fringed fabric know inspired by 19th century dress; it is accessorized with sleek black gloves. Beside it stands a sculptural  Michael Donellan worsted wool suit (1954) with a blouse-like colar.

Also fascinating were the “Miss Lachasse” dolls, plastic and wooden dolls with wax heads  garbed in detailed reproductions of couture clothing — right down to miniature silk stockings, shoes and undergarments, and accessorized with small purses, cigarette lighter and mini-cigarettes.

The meticulous care that went into creating every single couture dress, suit, hat and shoe is clearly and engagingly conveyed,” says Trinita Kennedy, Frist Center associate curator. “The ripple effect of high fashion on the clothing worn by women of all social classes is also made evident. The garments on view truly defined an era. The Frist Center is proud to be the only place in the United States where this unique exhibition can be seen.” Kennedy concluded.

Paris’ reputation for high fashion began in 1858 when British dressmaker Charles Frederick Worth opened his prestigious fashion house in Paris with the goal of unifying design and fabrication under one roof. The production of couture was based on the division of labor and almost entirely a handcraft industry.

Separate in-house workshops for tailoring and dressmaking were supported by the luxury trade of handmade accessories and trimmings such as feathers, embroidery, beading and ribbon work that was supplied by specialists throughout France.

At the turn of the century, the Parisian couture trade quickly began to flourish. The Chambre Syndicale de la Couture Parisienne was formed to regulate the increasing number of houses. By 1938, there were 70 registered houses varying in status and importance; each was distinguished by its designer and gained social value based upon the fashion of French women.

Costume jewelry of equisite design accent many garments.

The industry was disrupted by the wartime occupation of Paris. Towards the end of the war, couturiers created Théâtre de la Mode—small dolls dressed in the latest styles and set in arranged scenes, or tableaux, designed by artists such as Christian Bérard and Jean Cocteau. The first part of the Frist Center exhibition will display a small sampling of the Théâtre, which originally toured to Scandinavia, Britain and the USA between 1945 and 1946 to raise funds for war victims and to promote French fashion.

After the war, on February, 12, 1947, Dior launched his couture house and became an overnight sensation. The exhibition reveals how Dior, who once likened couture to marriage in the way design and material with its instances of perfect harmony mixed with a few disasters, created the most successful fashion business model of the 20^th century through advertising, licensing, perfume and publicity.

Dior’s voluptuous collection was the antithesis of masculine wartime fashion. His designs featured sloping shoulders, full bust and a cinched waist above long, full skirts. Carmel Snow, editor-in-chief of American Harper’s Bazaar, was quick to call it the “New Look” because it was so different from all that came before it.

The Paris couture system set a template for London couturiers, and with the creation of the Incorporated Society of London Fashion Designers in 1942, the small community of fashion houses gained increasing recognition. Many British designers were trained in Paris; John Cavanagh, for example, worked with both Edward Molyneux and Pierre Balmain before returning to establish his own London business. Although London could not compete in terms of output, its fashion and textile industry became increasingly profitable. During the postwar period, Paris’ dominance was challenged as increases in material and labor costs and higher taxes put pressure on couturiers. However, for France the couture industry remained vital to the economy with Dior alone providing five percent of the country’s national export revenue in 1949.

A section of the exhibition will focus on handcraft and techniques, with undergarments and the insides of dresses on display. To enrich the content of the exhibition, photographs, documentary film, textiles and archival material will also be on view. It will close with a look at the state of haute couture today.

Dior’s death in 1957 brought an end to the golden age of couture as fashion moved from the fitting rooms and ateliers into boutiques. Even so, the legacy of artistry and craftsmanship still thrives in the remaining grand houses of Paris.

Advance timed tickets for The Golden Age of Couture will be available May 17, 2010, through www.fristcenter.org (additional charges apply) and on site at the Frist Center. The exhibition broke all attendance records at the V&A when it opened in 2007. As the Frist Center is the only U.S. venue for The Golden Age of Couture, the exhibition is expected to draw visitors from around the country.

The Victoria & Albert Museum

The Victoria and Albert Museum in London is the world’s largest museum of decorative arts and design. Named after Queen Victoria and Prince Albert, the museum was founded in 1852, and its massive collections include more than 5,000 years of art and design from all over the world. The museum was conceived by Prince Albert as a way to improve the standards of British design by making examples of fine decorative arts and design available for viewing and study.

The Victoria and Albert Museum is divided into four major Collections departments: Asia; Sculpture, Metalwork, Ceramics & Glass; Word & Image and Furniture, Textiles and Fashion. Together, the four major collection areas contain more than 6.5 million objects. The V&A holds one of the finest collections of fashionable dress in the world featuring suits, cocktail dresses and evening gowns accompanied by a superb archive that have been specially conserved and displayed to provide a unique window into postwar Paris and London couture.

A catalogue that accompanies the exhibition is available in both hard and soft copies.

The Frist Center for the Visual Arts is supported in part by the Metropolitan Nashville Arts Commission and the Tennessee Arts Commission.

Friday, July 9:   Films at the Frist: “Stage Fright”

7:00 p.m., Auditorium. Free. Christian Dior, the most influential fashion designer from the late 1940s through the late 1950s, designed Marlene Dietrich’s dresses for Stage Fright. Dior actually dressed Dietrich on- and off-stage and was so important to the actress that she had him written into her contract for the movie. In fact, she was so insistent that Dior be the one to design her wardrobe that she declared to Alfred Hitchcock, “No Dior, No Dietrich!” This film is one of the first instances in which a leading actress wore couture creations instead of the clothing that the film studio costumier had decided on.

About the film: Set in the world of theater, Stage Fright follows a struggling actress’s efforts to help a friend prove his innocence after he is accused of committing murder. Starring Marlene Dietrich, Richard Todd, and Jane Wyman. Directed by Alfred Hitchcock, 1950. 110 minutes. 35mm.

Friday, July 16   ARTini: The Golden Age of Couture: Paris and London

7:00 p.m.   1947–1957. Meet at information desk. Free with purchase of gallery admission

Join Anne Taylor , curator of interpretation at the Frist Center, as she leads an informal conversation about one or two works of art in this exhibition. Complete your evening by relaxing in the Grand Lobby with beverages from the café, including special ARTini cocktails, and visiting with friends.

Tuesday, July 20   ARTini: The Golden Age of Couture: Paris and London

12:00 p.m.  1947–1957. Meet at information desk. Free with purchase of gallery admission

Take a break from your day and join Anne Taylor, curator of interpretation at the Frist Center, as she leads an informal conversation about one or two works of art in this exhibition. Complete your visit with stop in the café or gift store.

Thursday, July 22   Gallery Talk: The Golden Age of Couture: Paris and London

7:00 p.m.   1947–1957. Meet at the information desk. Free with purchase of gallery admission

Join Trinita Kennedy, associate curator at the Frist Center, for a tour of this exhibition. Complete your evening by enjoying beverages and music in the Grand Lobby or visiting with friends in the café.

About the Frist Center

The Frist Center for the Visual Arts is supported in part by the Metropolitan Nashville Arts Commission and the Tennessee Arts Commission.

Accredited by the American Association of Museums, the Frist Center for the Visual Arts, located at 919 Broadway in downtown Nashville, Tenn., is an art exhibition center dedicated to presenting the finest visual art from local, regional, U.S. and international sources in a program of changing exhibitions. The Frist Center’s Martin ArtQuest Gallery features interactive stations relating to Frist Center exhibitions. Gallery admission to the Frist Center is free for visitors 18 and younger and to Frist Center members. Frist Center admission is $10.00 for adults and $7.00 for seniors, military and college students with ID. College students are admitted free Thursday and Friday evenings (with the exception of 2010 Frist Fridays), 5–9 p.m. Discounts are offered for groups of 10 or more with advance reservation by calling (615) 744-3247.The Frist Center is open seven days a week: Mondays through Wednesdays, and Saturdays, 10 a.m.–5:30 p.m.; Thursdays and Fridays, 10 a.m.–9 p.m. and Sundays, 1–5:30 p.m., with the Frist Center Café opening at noon. Additional information is available by calling (615) 244-3340 or by visiting our Web site at www.fristcenter.org.

Photos by Turner McCullough Jr.

Lady Antebellum. Photo: Miranda Penn Turin

When Lady Antebellum sat down with songwriter Josh Kear in February 2009 to write a song about a sexually-charged, late-night phone call to an ex, the trio encountered a dilemma centered on a lyric for the second chorus, in which Charles Kelley confessed, “It’s a quarter after one, I’m a little drunk and I need you now.”

They all loved the line but they weren’t sure how it would be perceived by others with a stake in their success. “We were like, ‘Is our label going to get mad?’” Kelley recalled. It’s not like either the alcohol or the desire alluded to in the words was particularly problematic. But outside of Lee Ann Womack’s “I May Hate Myself in the Morning” and “Last Call,” both of which met resistance among crucial radio programmers, it’s tough to find many successful songs that mix love and liquor so blatantly.

Still, it didn’t take much to persuade Lady Antebellum and Kear to agree that the line belonged in the song. “It was just honest to us,” said Dave Haywood. “I mean, who hasn’t been there? It’s late at night and you’ve had a drink or two and you miss somebody. We didn’t over think it more than that. We were like, ‘You know what? Let’s just write what’s honest and what’s true to us.’ And in reality, we’ve been there and so we put it in there.”

It’s clear that they made the right decision. The executives at Capitol Records Nashville surprised the band when they not only gave a thumbs-up to the song but decided to make it the first single and title track from the album, Need You Now. It spent a whopping four weeks at No. 1 on the Country Aircheck singles chart, lodged at the top of the Billboard chart for five consecutive weeks and earned Platinum digital single sales status just before Christmas — all of which set the stage for a spectacular album release in January, when Need You Now premiered at the top of the charts with 480,922 in sales, more than twice the number for the various-artist Help for Haiti and well ahead of runners-up Lady Gaga, Susan Boyle and Barry Manilow. By holding on to the top slot in the Billboard Top 200 in its second week, the group became the first Country act since the Dixie Chicks in 2006 to achieve that cross-format distinction — and only the sixth artist in the previous year to do so, along with Susan Boyle, Eminem, Jay-Z and a few others.

Obviously radio and the public responded to the song — its message as well as its catchy chorus hook and the powerful vocals laid down by Kelley, Haywood and Hillary Scott. In fact, radio programmer Charlie Cook, VP of Country, McVay Media, uses “Need You Now,” including the “I’m a little drunk” line, as his ringtone and as on-hold music for callers to his mobile phone.

“Quarter after one in the morning, the guy’s sitting there, pining for his girlfriend, and he’s had a couple of drinks,” Cook mused. “Pretty good fodder for Country Music, as far as I’m concerned.” Expanding on the impression made by Lady Antebellum with this track, Cook observed, “They’re true to their principles. They’re sensitive because of the audience, not because of their experience, and so they said, ‘You know, we just have to go with what we believe in.’ And that worked. That hooked up with the audience very comfortably.”

“Comfortable” might not be the best word to describe the life of Lady Antebellum these days. “Hectic” is probably closer to the mark, and that’s exactly how they want it. Following their selection as CMA New Artist of the Year in 2008 with victories in the Vocal Group and Single categories at the 2009 CMA Awards, they went into heavy promotion for January’s release of Need You Now, earned a high-profile live performance on the Grammy Awards and then headed out in February to open on Tim McGraw’s “Southern Voice” tour. It’s no wonder that when they announced their first headlining date at Nashville’s Ryman Auditorium, tickets were snapped up so quickly that the band added a second date — both of which were sold out in less than half an hour.

Lady Antebellum built this impressive momentum carefully, through lessons gleaned in particular about interaction with fans over the two years since the release of their self-titled debut Platinum album. Much of 2009 was spent on Kenny Chesney’s “Sun City Carnival” tour, with more than 10 stadiums sprinkled into the schedule. On those mega-shows, they performed in conditions far from typical for gigs — a midday slot in sunlight and sweat-inducing temperatures, for example. The fans reacted positively, though the band did take note and learn from the occasional lulls between songs in the languor of a hot afternoon.

That inspired them to join with Monty Powell to write “Stars Tonight,” a bright, fast-paced song on Need You Now that celebrates the interaction between stage performers and their audiences. “You have to have songs that make people in the absolute back row of the stadium feel like they’re part of that experience,” Haywood said, addressing the intention behind the sing-along chorus, tribal “hey-hey!” chant and promise that “we’re all stars tonight.”

From the start, Lady Antebellum has been conscientious about building and nurturing their fan base, especially via online social channels. Scott first became aware of Kelley and Haywood through MySpace; once they committed to becoming a trio, their Web experience empowered them to build and maintain a community of listeners by simply reaching out. Like many other Country artists particularly of their generation, they’ve become heavy users of Twitter. And they’ve maintained their commitment to upload new Webisodes to their site each week on Wednesday, making the event appointment viewing for many followers.

A strong personal connection to their fans is one byproduct of these efforts. Sometimes it’s perhaps a little too personal — “People wait outside the bathroom stall to shake my hand,” Scott confirmed — but it’s also helped build their community in places they barely even imagined when they were starting out.

The reach of their brand became particularly apparent in September, when they opened for Kenny Rogers at Gstaad, Switzerland, in their first European booking. Mostly locals attended the Friday night performance, but on Saturday ticket buyers arrived from countries throughout the continent. The band was particularly surprised to discover that they weren’t just an unknown opening act; some of those fans were intent on seeing them and were singing every word to their music.

“That was an eye-opener,” Kelley said. “We don’t have distribution over there, but through the Internet they found a way to either listen to the album or have it find its way over to them, the physical CD. To know that your music can have that much reach is pretty wild.”

Far beyond American shores, Lady Antebellum has reaped the benefits of a plan whose key components include connecting online and presenting material that’s as honest as it is accessible.

That’s one reason why “American Honey” was chosen as the album’s second single. Written by Cary Barlowe, Hillary Lindsey and Shane Stevens, it’s a laid-back romantic reverie, whose acoustic textures and down-home fiddle create a sound more traditional than one often hears on today’s Country charts.

“We like to keep people on their toes and continue to try to show different sides of us with what singles we put out,” Scott explained. “It’s pretty conscious that we don’t want anything to sound like the one before it.”

“They were trying to make music that people will talk about 30 years from now,” elaborated Paul Worley, who co-produced both of Lady Antebellum’s albums. “When you go back and look at our influences and the music that we love, a lot of that music was made 30 or 40 years ago, and they want to be in that class of people. Now, whether they make that category or not, only time will tell, but that’s what they’re shooting for and it comes across in what they choose to write about and the sounds that they wrap around themselves. Any music that’s ever made it to that category is music that had risk and the possibility of crash-and-burn failure. But by luck and fortune and serendipity and whatever you want to call it, it broke through.”

Appropriately, breaking through a barrier is the theme of the album’s final, moving song, “Ready to Love Again,” written by all three members of the group with Michael Busbee but drawn from Scott’s personal experience at recovering from a gut-wrenching breakup. In contemplating another possible romance, the singer admits her trepidation, reflects on “building walls” and “the fear of how it might end” and then asserts herself with a figurative step forward.

The song might be about an emotional moment in her life, but in a parallel manner it also reflects the uncertainty that Lady Antebellum experiences now as one of Country Music’s signature acts. Instead of going into creative hibernation as Need You Now ascends, they’re already looking for ways to challenge themselves onstage and in the studio. That, they believe, is a central tenet for remaining vital.

“You get to a place where you’re not afraid to risk failing,” Scott said. “You can’t be afraid because you have to stay true to what your heart says and what you believe in and what you want to say.”

Lady Antebellum will be performing on Thursday, June 10 at the LP Field Concert Stage during the 2010 CMA Music Festival, which takes place Thursday through Sunday, June 10-13 in Downtown Nashville.

Artists currently scheduled to appear at LP Field include (in alphabetical order):

Thursday, June 10: Jason Aldean, Danny Gokey, Alan Jackson, Lady Antebellum, Tim McGraw, and Carrie Underwood.

Friday, June 11: Julianne Hough, Miranda Lambert, Reba McEntire, Josh Turner, Keith Urban and more.

Saturday, June 12: Easton Corbin, Billy Currington, Randy Houser, Martina McBride, Rascal Flatts, and Zac Brown Band.

Sunday, June 13: Trace Adkins, Justin Moore, Brad Paisley, Kellie Pickler, Darius Rucker, and Blake Shelton.

Four-day, upper level general admission tickets are still available for $110. All other levels are SOLD OUT. Single night tickets to the individual Nightly Concerts at LP Field are on sale for $30 for upper level general admission. To order tickets, call 1-800-CMA-FEST (262-3378); visit www.Ticketmaster.com to buy online or charge-by-phone at 1-800-745-3000. Tickets are also available at any Ticketmaster outlet. Prices do not include applicable handling fees. Ticket prices are subject to change without notice. All sales are final and non-refundable. Artists appearing subject to change.

© 2010 CMA Close Up® News Service / Country Music Association, Inc.

Dancing Congas, Oil, by Ev Niewoehner

Nashville’s Tennessee Art League, fresh from their day trip to the Watercolor Society’s Annual Showcase in Chattanooga, have released the lineup for their June Art Crawl Showcase. All three floors will have new displays for the viewing public.

The Central South Art Exhibition National (CSAE) continues in the Premiere, Ethel Smith and Members Galleries. This is a highly competitive juried visual art show which will remain on exhibit through  June 25. A reception will be held Saturday, June 5 from 6-9 p.m.

The Poston Gallery will feature an exhibit of works by students participating in the Tennessee Art League (TAL). The After-School At-Risk Art Program (ASAP) will open June 5. This exhibit will showcase artwork from the Donelson and Wright Middle Schools after-school program for which TAL provides professionally-trained art instructors.  The ASAP program is a partnership between TAL, Metro Nashville Schools and Project Pencil.

On the second floor, Studio A Artists feature the diverse works of Ev Niewoehner, Jamie Sanderlin Parks, Judy Klich, Mary Miller-McNutt and Wendy Latimer. This exhibit opens with the Saturday, June 5,  Art Crawl reception and continues through June 30.

Gallery hours are 10 a.m. to 4 p.m. Tuesday through Saturday.  The Tennessee Art League is located at 808 Broadway.  For more information, call TAL @ 615.736.5000, or online at tennesseeartleague.org. Admission is free and open to the public.

Before “Star Search” gave us Britney Spears and Christina Aguilera, before “American Idol” brought us Kelly Clarkson and Carrie Underwood and MySpace gave us Miley Cyrus and Taylor Swift — decades before any of these female teen idols was born — there was Brenda Lee.

Brenda Lee records "Fools Rush In" in 1961. photo: courtesy of the Country Music Hall of Fame and Museum

As attested by “Brenda Lee: Dynamite, Presented by Great American Country Television Network,” an exhibit at the Country Music Hall of Fame and Museum through July, none of these young megastars, despite their staggering success, has yet to eclipse the magnitude of the former Brenda Mae Tarpley.

The only woman inducted into both the Country Music and Rock and Roll Halls of Fame, and a member of the CMA Board for eight years, Lee was, according to rankings compiled by Billboard chart guru Joel Whitburn, the most commercially successful female singer of the 1960s. To date, she has sold more than 100 million records worldwide.

She also has the distinction of being the youngest headliner (12) on the Las Vegas Strip and of being a regular teenage guest on “The Ed Sullivan Show,” Red Foley’s “Ozark Jubilee” and other nationally syndicated television shows. Nicknamed “Little Miss Dynamite” for her diminutive stature, big voice and electrifying stage presence, she has performed internationally since the 1950s, including 30 separate trips to Japan and a 1962 tour of England with The Beatles as her opening act. In 2009, Lee, who still does about 20 shows a year, was feted with the Recording Academy’s highest distinction, a Lifetime Achievement Award.

“It still staggers me,” said Lee, standing before a glass case displaying a few of her many trophies as she recently walked through the Hall of Fame exhibit.

“When I look at these awards, it’s like they’re not mine,” she elaborated as she graciously accommodated the steady stream of fans that approached her for an autograph. “It’s like somebody did really good, but it’s not like that person is me because this was not my goal. I didn’t have an agenda to win a lot of awards or to make a lot of money or sell millions of records. I just wanted to sing and I’ve been blessed to do that. And then, along the way, I’ve been blessed to be recognized for it. But still, this is unbelievable. It absolutely is.”

Coming from another performer, such comments might come off as disingenuous or, at the very least, pat. But not coming from Lee, who went into business to help her mother and her sister after her father died. The exhibit’s most telling remembrance of this period of her career is a photo of Lee, not quite 10 years old, performing at the Biltmore Hotel in Atlanta shortly after her father’s passing. Accompanied by a clarinetist and an accordion player, she’s dressed in kiddie cowgirl boots and Western wear.

Two years later, the family moved from Augusta, Ga., to Springfield, Mo., so that they wouldn’t have to make such a grueling commute for her to appear on the “Ozark Jubilee” each week. “Otherwise,” she explained, “we had to take a Greyhound bus after school on Friday, ride all night, get there at some point on Saturday, do the show, get back on the bus, ride all night, get home Sunday and go back to school on Monday. That got old after a while.”

Alluding to these less glamorous days during her induction into the Rock and Roll Hall of Fame, she acknowledged, “It’s been a long way from the Georgia cotton fields to the Waldorf Astoria.” Video footage of her speech, which lavished praise on her producer, the late Owen Bradley, and on the A-team of studio pros who played on her sessions, is included in the exhibit, along with clips from each stage of her career.

“Owen was wonderful,” Lee recalled. “He knew his artists so well, not just professionally but personally. He knew what each was capable of and made sure that he got that out of them.”

He also didn’t limit his imagination, or that of his artists, to the artificial boundaries between Country, pop and rock ‘n’ roll. “Owen’s theory was always ‘if it’s good, it’s everything,’” Lee said. “So we would always try to choose the best song that we could. The A-team guys, Buddy Harman, Bobby Moore, Floyd Cramer, Boots Randolph, Ray Edenton, Harold Bradley, Grady Martin, Hank Garland — who am I forgetting? — and of course the Anita Kerr Singers, we’d all sit around and they’d say, ‘Well, I think when she sings this line, we’ll come in with this scooby-dooby-do.’ And then Grady would say, ‘I’ll play this lick,’ and Boots would say, ‘How about I do this on the solo?’ And that’s how it came about.”

Brenda Lee visits her exhibit at the Country Music Hall of Fame and Museum. Photo: Donn Jones

The “it” of which Lee speaks includes some 250 songs recorded for Decca, a company that’s now part of the Universal Music family, by the time she was 21. Some 30 of these were Top 40 pop hits; another 20 or so, most of them recorded in the ’70s and ’80s, reached the Country Top 40. The biggest, from “I’m Sorry” and “I Want to Be Wanted” to “Dum Dum” and “Rockin’ Around the Christmas Tree,” have long been regarded as classics.

Learning of the exhibit in Nashville, Rolling Stones guitarist Keith Richards sent Lee an autographed photo with a note saying that he listens to her growling 1959 hit, “Sweet Nothin’s,” on his iPod before every show he plays. Elton John, who has said that he wrote his 1972 smash “Crocodile Rock” with Lee in mind, sent her a blinged-out pair of sunglasses.

These and other celebrity connections pop up throughout the exhibit, including a photo of Lee with the Queen of England and video footage of her cutting up with Bob Hope on one of his TV specials. But maybe most inspirational, amid all her accolades, are the items that testify to how steadfastly Lee has balanced family and show business over the course of her nearly 60-year career.

“We wanted to tell the story of this phenomenal family, of Brenda’s incredible focus as a mother and a wife and, now, a grandmother,” explained the exhibit’s curator, Carolyn Tate, VP of Museum Services, Country Music Hall of Fame and Museum. “She works around her grandkids’ schedule every day. It’s amazing, and she’s been doing that sort of thing from the beginning.”

She has also been married to the same man, Ronnie Shacklett, for the better part of five decades. More than just her childhood sweetheart, Shacklett has guided Lee’s career since the death of Dub Albritten, who managed her during her formative years. He even made a note on the back of their marriage license, which also appears in the exhibit, that his brand new bride had a 3 PM rehearsal that day for her May 12, 1963, appearance on “The Ed Sullivan Show.”

“I’m like, ‘Wow, Ronnie, how romantic,’” Lee recalled, laughing.

Her personal and professional accomplishments are a matter of record, as is her position in history as something of a prototype for contemporary female teenage idols. Still, Lee admitted, “I’m not sure that I could make it starting out today. Back when I was starting out, the main ingredient was talent, but today it’s the complete package. It’s the whole look, the whole image, the whole demeanor, the whole attitude. You’re a product. You’ve passed the line of being unique.”

That said, Lee does follow and genuinely enjoy many of the young stars of today. For those who are now following the path she blazed as a very young phenomenon, her advice is straightforward: “Commit yourself wholeheartedly to your dream and be prepared to believe totally in yourself, even when no one else believes in you.

Sometimes it can be a very long haul with a lot of heartbreak before you see any form of success with your music. I often have young artists come to me and say, ‘Well, I’m going to give it a few years and if things don’t work out, I’ll go back to whatever I was doing before.’ I think to be successful in this business, you have to block out that there was a ‘before.’

“Meanwhile,” she continued, “If you can be happy doing something else other than having a career in music, do it. Music careers are not for the faint of heart or the easily discouraged or for those who can easily resort to a Plan B. Music can be a very tough vocation. It’s a career for those who could never be happy doing anything else.”

As for today’s young stars, Lee singles out Miranda Lambert and Taylor Swift among other favorites. “They’re real people singing about real things,” she said. “That’s why people are responding to Taylor Swift. It may be teenagers. It may be young adults. I don’t care. But they are responding in millions and millions and millions of ways. She’s outselling everybody in the industry right now. It’s phenomenal. “

Swift fully reciprocates the respect Lee shows to her. “One of the things that I’ve been so thankful for this year is the support of my fellow artists, and Brenda Lee has been so wonderfully gracious toward me,” she said. “She’s not only a great artist, but also a great role model for other artists who start their careers at a young age.”

As Lee sees it, she and Swift share one trait that has proven indispensible to their successes: “She is who she is. She’s just being her. She doesn’t have a record company saying, ‘You have to cop an attitude because you’re smiling too much. You need to be a little bit more sullen because that’s what’s happening right now.

“I had a record company one time tell me, ‘Don’t smile. You smile too much.’ I said, ‘Are you joking? That’s me. That’s what I do,” concluded Lee — with, of course, a smile.

CMA created the Country Music Hall of Fame in 1961 to recognize individuals for their outstanding contributions to the format with Country Music’s highest honor. Inductees are chosen by CMA’s Hall of Fame Panels of Electors, which consist of anonymous voters appointed by the CMA Board of Directors.

© 2010 CMA Close Up® News Service / Country Music Association®, Inc.

A portion of Concord Road (State Route 253) in Williamson County will close beginning June 1, 2010. The closure will allow Tennessee Department of Transportation contract crews to accelerate the excavation and utility relocation work that must be completed for the widening of Concord Road. Concord Road will be closed from Edmondson Pike to Crockett Road for approximately 120 days.

During this period, traffic will be detoured around the closure using Green Hills Boulevard and Crockett Road. A temporary traffic signal has been installed at the intersection of Crockett Road and Green Hills Boulevard to improve traffic flow around the closure. The closure will permit “Local Traffic Only” for residents of the Beech Grove subdivision. A detailed map of the detour is attached to this release.

TDOT will have numerous signs on area roads to alert motorists of the closure. Detour signs will also be clearly posted along the route. TDOT has worked closely with the City of Brentwood to coordinate the closure and maintain emergency services. Travelers are encouraged to visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/ or http://www.brentwood-tn.org/index.aspx?page=568 for detailed information about the project.

The $5.3 million project, which began in August of 2009, will widen Concord Road from Edmondson Pike to Sunset Road. The project is estimated to be complete by December 2010.

Admission to the School of Nashville Ballet Summer Intensive is by audition only.  The School welcomes applicants of all races and national or ethnic backgrounds who have turned 12 years of age and will be no older than 21 years of age on May 1, 2010.  A minimum of four years of concentrated ballet is required, with two years of pointe work for female students.

Bring headshot and one photo in first arabesque (en pointe for ladies). Proper attire required. Audition will include pointe work, “so ladies, please come prepared.”

Dancers are invited to stay and have a Q & A session one of the NB2 members who auditioned for Fox TV’s “So You Think You can Dance”. Get inside tips for auditioning, hear about her experience and learn more about training to be a professional dancer.For more information,  email kspinazzola@nashvilleballet.com or call 615-297-2966, extension 20

Scholarships will be awarded by merit.

On  June 1,  H.O.V. lanes will be available only to vehicles with more than one occupant and motorcycles.  Fines for H.O.V. lane violators will also be reinstated.

For more information on travel conditions across Tennessee visit www.tn.gov/tdot/tdotsmartway or call 5-1-1 from any land line or cell phone.  TDOT is also on Twitter.  For up to the minute traffic information in the Nashville area follow us on Twitter at www.twitter.com/Nashville511.  For statewide travel information follow .

This weekend’s lane reduction is necessary for the application of a special sealant that will be placed on the newly repaired concrete bridge deck surface at mile marker 98, just north of the Davidson County line. Once the mixture is applied to each travel lane, it must dry for a period of several hours.

Previous closures for this project have resulted in lengthy delays, particularly on I-65 North. Motorists are advised to plan ahead and avoid the area if at all possible. Law enforcement officers will be on site in the work zone to provide traffic control as the work is being completed. TDOT also asks drivers to use caution, reduce their speed and be alert to changing traffic conditions in work zones across the state.

For more information on TDOT construction project activity visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/.  Travelers can also dial 511 from any land-line or cellular phone for travel information or can follow us on Twitter at www.twitter.com/TN511 for statewide travel information or www.twitter.com/Nashville511 for traffic information in the Nashville area.

NASHVILLE-Governor Phil Bredesen announced today that federal and state aeronautics grants totaling $2.5 million have been approved for four Tennessee airports.

“Our local airports are vital to the economy and travel system of Tennessee.” “Investing in our airports helps keep them competitive and efficient at meeting the needs of businesses and travelers.” – Bredesen.

Airports receiving grants include Chattanooga Metropolitan Airport, Cleveland Municipal Airport, McMinn County Airport and Rockwood Municipal Airport. The grants are made available through the Tennessee Department of Transportation’s Aeronautics Division.

“This division administers federal and state funding to assist in the location, design, construction and maintenance of Tennessee’s diverse public aviation system,”  “We are pleased to continue to support Tennessee’s general aviation and commercial airports.”- reported TDOT Commissioner Gerald Nicely.

Except for routine expenditures, grant applications are reviewed by the Tennessee Aeronautics Commission (TAC), which is a five member board charged with policy planning and with regulating changes in the state Airport System Plan.

Ronald Cooper, Chair of the TAC: “The TDOT Aeronautics Division has the responsibility of inspecting and licensing the state’s 126 heliports and 75 public/general aviation airports.”

The Division also provides aircraft and related services for state government and staffing for the Tennessee Aeronautics Commission.

NASHVILLE, TN: A portion of US Highway 70 in Davidson County damaged by the recent flood is now open to traffic. Clean-up and repair operations were completed this afternoon, allowing contract crews to reopen the section of US Highway 70 between Newsom Station Road and McCory Lane in the Bellevue area of Nashville.

The flooding that occurred two weeks ago triggered a large slide that covered the roadway with large amounts of rock and debris. TDOT initiated an emergency contract, which was awarded to Civil Constructors on Friday, May 7, 2010. Since then, approximately 2,000 cubic yards of material has been removed from the area. New pavement and striping have also been applied to the roadway.

TDOT will issue traffic advisory updates as changes occur. A number of Tennessee roadways were damaged by the recent flooding. For a complete list of impacted areas, please visit the TDOT SmartWay web site at www.tn.gov/tdot/tdotsmartway/.  Travelers can also dial 511 from any land-line or cellular phone for travel information.  Motorists are reminded to use all motorist information tools responsibly.   TDOT advises drivers to “Know before you go!” by checking traffic conditions before leaving for your destination.

Tim Wise is among the most prominent anti-racist writers and activists in the U.S., and has been called, “One of the most brilliant, articulate and courageous critics of white privilege in the nation.” Wise has spoken in 48 states, and on over 400 college campuses, including Harvard, Stanford, and the Law Schools at Yale and Columbia, and has spoken to community groups around the nation.

He is the author of four books, White Like Me: Reflections on Race from a Privileged Son,  Affirmative Action: Racial Preference in Black and White, Speaking Treason Fluently: Anti-Racist Reflections From an Angry White Male and Between Barack and a Hard Place: Race and Whiteness in the Age of Obama.

Wise  has contributed chapters or essays to 20 books, and is one of several persons featured in White Men Challenging Racism: Thirty-Five Personal Stories, from Duke University Press. He received the 2001 British Diversity Award for best essay on race issues, and his writings have appeared in dozens of popular, professional and scholarly journals. Wise has been a guest on hundreds of radio and television programs, worldwide.

Kathy Chiavola is internationally renowned as one of the most respected vocalists in bluegrass and acoustic music.  Kathy was voted 1999’s Outstanding Background Vocalist in the Nashville Music Awards and has sung on hundreds of recordings with Vince Gill, Ricky Skaggs, Tammy Wynette, Kathy Mattea, Garth Brooks, Emmylou Harris and Bill Monroe.  CHiavolaworked with The Doug Dillard Band, Vassar Clements, The Country Gazette, Jerry Douglas, Edgar Meyer and Mark O’Connor before forming her own group. Kathy has toured the US, UK, Europe, Japan extensively where she has a large fan base.   She has recorded four solo albums and is a much sought-after vocal coach and teacher.

Tickets are $40 for one, $75 for two people.  Reservations can be made ONLINE or you can mail a check to TAP, PO Box 60338, Nashville, TN 37206 (earmark “Long Haul”).  For more information, including a list of this year’s stellar awardees, go to www.taptn.org.