NPT’s ‘Aging Matters: Aging & the Workplace’ Premieres April 27

It is estimated that 10,000 baby boomers turn 65 every day in the United States; a trend that will continue for the next decade. At the same time, we are living longer than ever before. The aging of our population will impact every aspect of our lives. Aging Matters: Aging & the Workplace, the latest documentary in Nashville Public Television’s NPT Reports: Aging Matters series, explores the effects an aging demographic will have on the workplace. The documentary premieres Thursday, April 27, at 8 p.m. on NPT. We will host a simultaneous Facebook Live screening event allowing viewers to carry on a real-time conversation with Will Pedigo, the documentary’s producer; Marilyn Margolis, CEO of Emory Johns Creek Hospital; and John Hettish of Middle Tennessee Two-way Inc.


“Aging in the workplace is the sleeping giant. We have a very talented group of individuals in the baby boomer range that will soon be retiring,” says Meredith Jones in the documentary. “If we are not careful, we are going to lose a very valuable skill set, work ethic and perspective.”

One way to bridge that gap is to pass along institutional knowledge and acquired experience in the multigenerational workplaces that result when people remain in the workforce longer. However, these workplaces must also function to everyone’s benefit and that can mean recognizing and accepting changes and limitations that are a natural part of the aging process.



In the second half hour of the Aging Matters premiere, producer Pedigo sits down for a series of conversations with Meredith Jones, managing partner, Sera Business Advisors LLC; Eddie Lunn III, CEO, Boiler Supply Company, Inc.; Joycelyn Stevenson, shareholder, Littler; Mark Singer, Greater Nashville Regional Council, Area Agency on Aging & Disability; and Jennifer Abernathy, executive director, Tennessee Respite Coalition.

The NPT Reports: Aging Matters series is hosted by Grammy-winning singer and songwriter Kathy Mattea. Aging Matters: Aging & the Workplace is made possible by the generous support of the West End Home Foundation, the Jeanette Travis Foundation, The HCA Foundation and Cigna-HealthSpring. Additional support provided by Lisle Parham Wealth Management of UBS Financial Services Inc., Jackson National Life Insurance Company, he Community Foundation of Middle Tennessee, and AARP Tennessee.

Additional broadcast times for Aging Matters: Aging & the Workplace are below; the documentary will also be available for online viewing at

  • Saturday, April 29, 5 p.m. on NPT2
  • Sunday, April 30, 1 p.m. on NPT2
  • Monday, May 1, 8 a.m. on NPT2
  • Tuesday, May 2, 1 p.m. on NPT2

Find our complete broadcast schedule at

About Aging Matters: NPT Reports: Aging Matters is a major initiative designed to open a community-based conversation about what older citizens in Middle Tennessee need to optimize their quality of life and what the community needs to do to prepare for a coming explosion in our aging population. Over the course of several years, NPT has focused on issues such as caregiving, finances, end-of-life issues, dementia and Alzheimer’s through documentaries, televised town halls or panel discussions, Aging Matters updates, community engagement conversations, a project website, interactive online screenings and DVD distribution.

‘Call the Midwife’ Recap: Season 6, Episode 4

Helen George as Trixie Franklin, Claire Lams as Marnie Wallace. Credit: Courtesy of Neal Street Productions 2016

Call the Midwife is back for a sixth season Sundays at 7 p.m., through May 21. Read the Vanderbilt University School of Nursing guest blog each Monday morning for historical and contemporary context about the previous night’s episode. SPOILER ALERT: Some posts may contain spoilers.

By Bethany Domzal Sanders
Vanderbilt University School of Nursing

I have always admired Call the Midwife for maintaining a degree of authenticity about pregnancy, labor and birth that is rarely seen on television. Sunday’s episode did not disappoint, from the forceps marks on baby Andrew’s head, to the look on Shelagh’s face when she heard her baby’s heartbeat for the first time, to the peculiarity of having a group of male students peer into a woman’s anatomy while she lies vulnerable on an exam table with her legs up in the air.

This episode also portrayed the nature of attending adoption births in a way that did not offer judgement of either woman. Still, I hesitated about writing about this topic because I wasn’t sure I would be able to adequately express what it is like to witness adoptions from the midwife’s perspective. Adoption births can be intense affairs and I can recall details of every one that I’ve attended. I would hazard a guess that Nurse Crane has more than my 10 years of midwifery experience, but even so I can relate to her statement about having “mopped up more tears and dried up more milk supplies than I can shake a stick at.”

Tom captured it best when he described adoption as “delicate”; that adjective so perfectly encompasses the mixed emotions and sometimes complex social issues surrounding these births. As midwives, we are charged to be “with woman” — that is in fact the very origin of the word midwife. In adoptions, however, we sometimes find ourselves between two women: the birth mother whose medical and emotional needs we attend to, and the adoptive mother, who has an entirely different set of emotional needs. We want to honor the gift the birth mother is choosing to give, but also to affirm her legal rights. We want the adoptive family to experience the joy that an infant brings, but not at the expense of another person.

While it is rare, we occasionally witness a change of heart take place as occurred in this Call the Midwife episode. In my experience the scene plays out just as tearful and emotional as it did between Dot and Marnie.

Bethany Domzal Sanders, MSN, CNM, is a member of the Vanderbilt Nurse-Midwives, the clinical practice of the Vanderbilt University School of Nursing located at West End Women’s Health Center.

NPT’s ‘Early Black Press’ Documentary Premieres April 20, 2017

The Early Black Press: Tennessee Voices Lifted, an NPT original production, premieres Thursday, April 20, at 8 p.m. This latest documentary in our Citizenship series was produced by LaTonya Turner and Ed Jones and examines the rise of black-owned newspapers in the decades following the Civil War. We will host a simultaneous Facebook Live screening event allowing viewers to carry on a real-time conversation with Turner, Jones and media expert Karen B. Dunlap, Ph.D., president emeritus of The Poynter Institute, during the premiere.

Dr. Dunlap is one of several scholars, historians and other experts discussing the development and significance of these publications in The Early Black Press. Other guests are Beverly G. Bond, Ph.D.; Carroll Van West, Ph.D.; Robert J. Booker; Bobby L. Lovett, Ph.D.; Lewis Laska, Ph.D.; and John Edwards III. (Nashville historian David Ewing appears in a bonus video available on the documentary’s website.)

Not surprisingly, black newspapers were launched in Tennessee’s most populous cities where large populations of blacks were eager to capitalize on their freedom – and later to counteract the setbacks of the Reconstruction era. Among these publications were The Colored Tennessean (Nashville), the Knoxville Examiner, The Chattanooga Blade, and the Memphis Free Speech and Headlight, the latter boasting journalism pioneer Ida B. Wells as an owner/publisher.

Wells, who had studied for a time at Fisk University, launched her newspaper career writing scathing editorials about Memphis’ racial policies. In addition to advocating for civil rights and women’s rights, she was also an anti-lynching campaigner and one of only two women who signed “the call” for the founding of the NAACP.

Ironically, black newspapers began to decline in the 1960s as opportunities for African Americans began to increase in mainstream newspapers during the Civil Rights era.

Additional broadcast times for The Early Black Press: Tennessee Voices Lifted:

  • Saturday, April 22, 5 p.m. on NPT2
  • Sunday, April 23, 1 p.m. on NPT2

The documentary will also be available for online viewing at


About the Citizenship Project
The Citizenship Project is a new series of NPT original documentaries that will look at how different groups have fought for, obtained and maintained the rights and access we commonly associate with American citizenship.

These include the right to vote, the right to receive a public education, the right to be considered equal before the law, and the right to worship the religion of one’s choice. Over the course of the project, the programs will cover Tennessee history from the end of the Civil War through the 1960s, exploring civil rights and women’s suffrage among other topics.


Major funding provided by


‘Call the Midwife’ Recap: Season 6, Episode 3

Call the Midwife is back for a sixth season Sundays at 7 p.m., through May 21. Read the Vanderbilt University School of Nursing guest blog each Monday morning for historical and contemporary context about the previous night’s episode. SPOILER ALERT: Some posts may contain spoilers.

Alice Connor as Lucy Chen, Lucy Sheen as Oilen Chen

By Michelle Collins
Vanderbilt University School of Nursing

Cultural customs surrounding childbirth are fascinating. Though the process of labor and birth is universal, the particulars of how it happens varies widely across cultures. Sunday’s Call the Midwife episode featured a woman whose mother-in-law wanted to employ various Chinese customs, like that of confinement, with her son’s family. The practice of confinement dictates that for 30 days after birth, the woman does not leave her home, does not shower or take a bath (she may freshen up with wet washcloths), and she must drink and eat only tepid or hot foods and beverages. To some, like the new mother in this episode, this custom may sound quite stifling, yet it is a cultural practice carried out even today among young Chinese mothers.

Consider some of our distinctively American customs that probably seem just as foreign to outsiders, like inducing labor on a planned delivery date. Tibetans, for example, believe that a child should be born only at the time that he/she is destined because of the child’s foreordination (which entails being born under a particular star) in order to fulfill its potential. To interfere with that sacred timing – via induction of labor, for example – could have tremendous cultural impact and influence on the family. Where we choose to give birth is also greatly influenced by culture. Approximately 25 percent of births in the Netherlands occur at home, while the percentage in the U.S. remains less than 1 percent (0.92 percent in 20131). These are vastly different numbers, yet each reflects a cultural “norm.”

These differences lead us into the other theme of this episode, which was the movement of childbirth away from home and into large, centralized maternity units. Prior to the advent of maternity homes, births in the U.K. took place in the woman’s own home. Maternity homes provided care for women who faced more than average risk or an unsuitable home environment. In the early 1960s, birth shifted away from maternity homes to larger, more centralized hospitals. As the inspector visiting the maternity home in this episode tells Dr. Turner (played by Stephen McGann), a larger hospital maternity unit could easily subsume the maternity home’s four beds and provide care with a much greater degree of “efficiency.”

Let’s look at what efficiency has “done” for childbirth. The majority of babies in the U.S. are born Monday through Friday, between the hours of 7 a.m. and 5:30 p.m. (and most before noon). Tuesday is the day on which most births occur; Sunday is the day with the fewest births. At least one quarter of women choose to have non-medically indicated inductions of labor so they can plan the date, make sure arrangements are set at home and not have an unscheduled labor “interrupt” already very busy lives – efficient right? But convenience and efficiency (and all of the intervention that induction of labor entails) do not come without a price. The cesarean section rate in the U.S. has jumped more than 60 percent since the late 1990s.

As out-of-hospital birth in the U.S. gains in popularity, those of us in the trenches look optimistically forward to the reversal of some of the “efficient” birth trends of the recent past decades.

  1. Martin JA, Hamilton BE, Osterman MJ, et al. Births: final data for 2013. Natl Vital Stat Rep 2015; 64:1.

Michelle Collins Ph.D., CNM, FACNM, FAAN is a Professor of Nursing and Director of the Nurse-Midwifery Program, at Vanderbilt University School of Nursing.

‘Call the Midwife’ Recap: Season 6, Episode 2

Emerald Fennell as Patsy Mount. Credit: Courtesy of Neal Street Productions 2016

Call the Midwife is back for a sixth season and so are the faculty of the Vanderbilt University School of Nursing with a weekly guest blog. Watch the show Sundays at 7 p.m. through May 21, then read our blog each Monday morning for historical and contemporary context about the previous night’s episode. SPOILER ALERT: Some posts may contain spoilers.

By Bethany Domzal Sanders
Vanderbilt University School of Nursing

I recently attended the birth of baby who, during the course of a routine ultrasound, was diagnosed as having either an absent or severely abnormal brain structure. The parents lived with this uncertainty for nearly five months, meeting with specialists and having additional tests performed. Ultimately, no one could predict the outcome for this baby, as this particular condition manifests in a range from very mild to severe delays in developmental milestones. As the mother held her baby for the first time, her face shone radiantly with love and the one thing about which there was no doubt was how very much loved this baby was.

As I watched Sunday’s Call the Midwife episode, “uncertainty” was the word that kept coming to mind. Derek and Penny Reed facing a number of unknowns about the birth of their long-awaited baby. Jessie and George Marsh not knowing what would happen when the bandages were removed from George’s eyes. And midwives Patsy and Delia wondering how their impending separation would affect their relationship.

Despite continued advances in modern medicine and obstetrics, uncertainty continues to follow us. Ultrasounds and blood tests can provide helpful information, but sometimes “I don’t know” are the only words we have when we face expectant families.

Uncertainty, however, isn’t always a negative force. The biggest uncertainty of all is predicting when babies will be born. As a certain giraffe has recently taught us, this can also create excitement and a feeling of expectation about the unknown. It is certain that women will continue to birth babies in this series and in real life, and that midwives will continue to care for them to the very best of their abilities – despite any reforms Sister Ursula may have up her sleeves.

Bethany Domzal Sanders, MSN, CNM, is a member of the Vanderbilt Nurse-Midwives, the clinical practice of the Vanderbilt University School of Nursing located at West End Women’s Health Center.

NPT and Local Museums Commemorate the Great War with Programs, Exhibits

In April 1917, the United States entered the First World War, a conflict that had been consuming Europe for two-and-a-half years. NPT is airing The Great War, a documentary miniseries, and a special Great Performances dance presentation to mark the centennial of U.S. involvement in the war. If these programs spark your interest in the war and its aftermath, be sure to check out the museum exhibitions mentioned later in this post.

Great War programming
Great Performances: Young Men on Friday, April 7, at 8 p.m.
World War I had a profound influence on the visual and performing arts, literature and other cultural genres. Generations later, the BalletBoyz dance troupe commissioned a work to tell the story of infantrymen caught in the collision of 19th-century battle techniques and 20th-century weaponry. Choreographed by Iván Pérez to a score by English folk rock musician Keaton Henson, Young Men premiered at the Sadler’s Wells Theatre in London in 2015. The ballet was filmed on location in Northern France for Great Performances.

The Great War: American Experience, Monday – Wednesday, April 10 – 12, at 8 p.m.
Shown in two-hour blocks over three days, The Great War provides a comprehensive look at how involvement in World War I led to social change in the United States. The miniseries pays particular attention to the contributions of African Americans, Native Americans and women.

Episode I covers the beginnings of the war, including the August 1914 assassination of Archduke Ferdinand; the 1915 sinking of the Lusitania, in which 128 Americans died; and growing public pressure on President Wilson for the U.S. to join the war effort. Episode 2 picks up in Spring 1917, with the U.S. preparing for war abroad while confronting domestic issues such as segregation and the suppression of free speech as dissent about the war grew. Finally, Episode 3 examines how the United States found a new international role after the war.

The Same Spirit, a war poster, by Charles Gustine referencing the Spirit of Seventy-Six painting. Tennessee State Museum

Exhibiting the war

The Tennessee State Museum opens a new exhibit, “The Yanks are Coming: Tennesseans in World War I” Thursday, April 6, and is also hosting a ceremony commemorating America’s entry into World War I at noon that day. This small selection of posters, photographs and other items is a companion exhibit to the larger one on view in the Military Museum in the War Memorial Building. Additionally, the museum’s collection of World War I materials is available online at

In October of this year, the Frist Center for the Visual Arts will open “World War I and American Art,” the first major exhibition to examine how American artists reacted to the First World War. George Bellows, Childe Hassam and Georgia O’Keeffe are among the 50 artists whose works are featured in this show organized by the Pennsylvania Academy of the Fine Arts. John Singer Sargent’s Gassed, on loan from London’s Imperial War Museum, is one of the high-profile pieces in the show. This battlefield scene depicts a line of British soldiers being led to a medical station with their heads wrapped in gauze to protect their eyes from toxic mustard gas. Other works consider America’s struggle with neutrality vs. action; preparing for war; and celebrating and mourning following the war. “World War I and American Art” will be on view from Oct. 6, 2017, through Jan. 21, 2018.

John Singer Sargent (1856–1925). A Street in Arras, 1918. Watercolor on paper, Imperial War Museums, London, England.

NPT Announces Retirement of President & CEO Beth Curley; Promotion of Kevin Crane to CEO

Nashville, Tenn. – Today Nashville Public Television’s Board of Directors announced the retirement of NPT’s President & CEO, Beth Curley and promoted Kevin Crane, NPT’s Vice President of Content and Technology to be the next President & CEO effective July 6, 2017.

Curley, who has served as NPT’s CEO since 2005, is a national leader in public broadcasting with a career that spans over 40 years. During her time at NPT she refocused and revolutionized the way that the station serves the Middle Tennessee community by developing large, multi-year projects that encompass documentaries, robust digital content and extensive community engagement. She spearheaded projects including NPT Reports: Aging Matters, Children’s Health Crisis and Next Door Neighbors that have won national acclaim for the unique deep-dive approach to storytelling that all of these series employ.

Curley has been at the helm of the national PBS distribution of major productions such as Gershwin at One Symphony Place; The Carter Family: Will the Circle Be Unbroken (American Experience); Hank Williams: Honky Tonk Blues (American Masters); Christmas at Belmont and Aging Matters: Living with Alzheimer’s & Dementia. She also managed the national presentations of No Going Back: Women and the War; Wessyngton Plantation: A Family’s Road to Freedom; Music City Roots; Civil War: The Untold Story; and Buffalo Bill’s American West.

In addition to innovating NPT’s program production strategy, Curley focused on building a strong, financially secure base for NPT – leading a successful capital campaign that built the station’s first endowment fund and helped fund many technological updates. During the recession that began in late 2007, Curley was a strong and steady presence, guiding the organization through a financially turbulent time while balancing the budget each year and developing new programming initiatives to serve the community.

“Under Beth’s leadership, NPT has become one of the premier public television stations in the nation,” said NPT’s Board Chair, Mike Koban. “NPT’s excellent program quality, service to the Middle Tennessee community, and financial stability are the result of her vision and steadfast dedication to the mission of public broadcasting. Her impact on NPT and Middle Tennessee has been immeasurable, and our community is a better place in which to live due to her tireless efforts.”

Curley’s successor, Kevin Crane, is a seasoned public television professional who currently serves as NPT’s Vice President of Content and Technology. In this position Crane has played a key role in the creation and production of local programs including Aging Matters, Children’s Health Crisis, Tennessee Civil War 150 and the American Graduate project. In addition, he has overseen all of NPT’s broadcast and IT technology during a period of massive technological changes including the transition from analog to digital broadcast technology.

“Kevin has worked in public broadcasting for over 30 years and has been with NPT since 2000, and he is the right person to lead NPT due to his experience and accomplishments. Over the next five years NPT faces a number of technological challenges including implementing a new standard for digital broadcasting plus changing viewer preferences,” said NPT’s Board Chair, Mike Koban. “I am confident that Kevin will develop new program strategies to adapt to the rapid pace of change in our industry so that we can continue to effectively serve the Middle Tennessee community.”

Prior to NPT, Crane worked at the WGBH Educational Foundation. He holds a Masters in Educational Technology from the University of Massachusetts and a B.A. in Filmmaking from SUNY Binghamton.



‘Call the Midwife’ Recap: Season 6, Episode 1

Pearl Appleby as Trudy Watts in Call the Midwife. Credit: Courtesy of Neal Street Productions 2016

Call the Midwife is back for a sixth season and so are the faculty of the Vanderbilt University School of Nursing with a weekly guest blog. Watch the show Sundays at 7 p.m. through May 21, then read our blog each Monday morning for historical and contemporary context about the previous night’s episode. SPOILER ALERT: Some posts may contain spoilers.

By Michelle Collins
Vanderbilt University School of Nursing

And we’re off on another season with our favorite heroines in blue! The time is Spring 1962 and there’s a new face in Sister Ursula (Harriet Walters), who has replaced Sister Julienne (Jenny Agutter) as charge of Nonnatus House. Sister Ursula has been sent by the order to “straighten up” the place and her sternness is surpassed only by her lack of warmth and congeniality.

The first episode of Season 6 centers on a young mother and son who are victims of domestic violence. Violence in families, particularly intimate partner violence, is as old as time. Ancient Greek petroglyphs portray males abusing their female partners. Saint Augustine of Ancient Rome, whose own mother suffered at the hands of her husband, wrote that wives routinely showed the evidence of their husband’s blows.

Here’s what we know now: Domestic violence is generational and it is probably far more prevalent than reflected in statistics given that it is underreported much of the time. Sometimes an abused woman may have the relief of a “honeymoon” period, wherein her abuser may give her respite from violence during her pregnancy. On the other hand, pregnancy may also be the trigger for an escalation in the violence perpetrated by the partner. Women who withstand kicks or blows to the pregnant abdomen may sustain injury to themselves as well as to the pregnancy.

In Sunday’s Call the Midwife, the young women went into labor after an episode of violence and gave birth to a baby that was said to be “bathing in her own first bowel movement.” That refers to the passage of meconium – or baby’s first stool – within the intrauterine environment, which can occur as a result of intrauterine stress. Too often physical abuse results in death of the baby. The sad reality of this episode is that though it was set in the 1960s and a dramatization, the same situation plays out every day all over the U.S. in 2017.

Consider the following statistics*:

  • Number of people per minute who experience intimate partner violence in the U.S.: 24
  • No. 1 and No. 2 causes of women’s deaths during pregnancy in the U.S.: Domestic homicide and suicide, often tied to abuse.
  • Number of women in the U.S. who report intimate partner violence: 1 in 4
  • Estimated number of children, worldwide, exposed to domestic violence everyday: 10,000,000
  • Worldwide, likelihood that a man who grew up in a household with domestic violence grows up to be an abuser: 3 to 4 times more likely than if he hadn’t
  • Percentage of U.S. cities citing domestic abuse as the primary cause of homelessness: 50
  • Percentage of homeless women reporting domestic abuse: 63
  • Percentage of homeless women with children reporting domestic abuse: 92

And that sweet little boy who was humiliated and terrorized by his father in Sunday’s episode? According to statistics, he is doomed to grow up and repeat the sins of his father.

Michelle Collins Ph.D., CNM, FACNM, FAAN is a Professor of Nursing and Director of the Nurse-Midwifery Program, at Vanderbilt University School of Nursing.


*50 Facts About Domestic Violence, Huffington Post, Jan.30. 2013

‘Call the Midwife,’ ‘Home Fires’ Return Sunday, April 2; VU Nursing Blog on April 3

Call the Midwife and Home Fires, two dramas highlighting communities of women, premiere Sunday, April 2, on NPT with compelling and powerful episodes.

Babies and battles

The sixth season of Call the Midwife begins in 1962 amid numerous societal shifts and a leadership contest between Sister Julienne (Jenny Agutter) and the austere Sister Ursula (Harriet Walker). This season, the Nonnatus House midwives continue to address medical and personal dilemmas while helping mothers and the Poplar community cope with family responsibilities, disease and social prejudice.

Watch Call the Midwife Sundays at 7 p.m., April 2 through May 21, then read our weekly recap blog written by Vanderbilt University School of Nursing’s Michelle Collins and Bethany Domzal Sanders each Monday.

Keeping calm, carrying on

Also returning Sunday is Home Fires on Masterpiece. The storyline resumes in June 1940 for the series’ second and final season. Francesca Annis (Reckless) and Samantha Bond (whom you may remember as Downton Abbey’s Lady Rosamund Painswick) anchor this series revolving around women who pull together to face the challenges of wartime life in an English village. As the season opens, Alison and Laura face the consequences of their actions; while Sarah and the Brindleys await news of their loved ones.

Home Fires airs Sundays at 8 p.m., April 2 through May 7; the first season is now available on NPT Passport.

Find our full programming lineup at

Join Us for ‘Violins of Hope’ and ‘120 Days’ Screenings April 5 & 6


NPT is partnering with two Nashville community organizations for free documentary screening events next week.



Violins of Hope on Wednesday, April 5
NPT presents Violins of Hope: Strings of the Holocaust at the Gordon Jewish Community Center (801 Percy Warner Blvd., Nashville, 37205) from 6 to 8 p.m., Wednesday, April 5. Narrated by actor Adrian Brody, the documentary follows the journey of Israeli violinmaker Amnon Weinstein in his efforts to restore violins that were played by Jewish prisoners in concentration camps and instruments connected to the Klezmer musical culture. The panelists for this event will be Mark Freedman, executive director of the Jewish Federation of Nashville and Middle Tennessee; and Steven Brosvik, the Nashville Symphony Orchestra’s chief operating officer. Click here to RSVP for this event.

This haunting film by Lance K. Shultz reveals a bright spot following one of the darkest chapters in history. There was little reprieve from the despair and horror surrounding Jews in the Holocaust, but music – particularly that of violins, which hold an important role in Jewish culture – offered temporary solace and a glimmer of hope. The instruments returned to the concert stage in 2015 in a performance by the Cleveland Orchestra featuring violin virtuoso Shlomo Mintz. A traveling exhibit of the violins will be on display at Nashville Public Library’s main branch March 18 through May 28, 2018; and the Nashville Symphony will perform a “Violins of Hope” concert, in which orchestra members will play the restored instruments, March 22 – 24, 2018.

120 Days on Thursday, April 6
NPT presents a free screening and panel discussion of 120 Days: Undocumented in America from 6 to 8 p.m., Thursday, April 6, at Casa Azafrán (2195 Nolensville Rd., Nashville 37211). Ted Roach’s film is about Miguel Cortes, a North Carolina man who is given 120 days to self-deport to Mexico after a traffic stop. This timely documentary puts a face on the immigration debate as Cortes must decide whether to leave his wife and two daughters, or disappear into the shadows in his adopted homeland. The panelists for this event are: Wade Munday, executive director of Tennessee Justice for our Neighbors; Denise Rocha, associate director of Migrant Education for Conexión Américas; Maritza Erazo, psychotherapist for Family & Children’s Service; and Karla Ruiz, executive chef/proprietor of Karla’s Catering and Prepared Foods. Click here to RSVP for this event.

120 Days is part of the Southern Documentary Fund’s Reel South series airing 11 p.m. Tuesdays on NPT.

Find more NPT events at