Yes! Weekly - May 31, 2017

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MAY CHEF’S TABLE

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CHARLES BRONSON

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AT THE THRESHOLD

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May 31 - June 6, 2017 YES! WEEKLY

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Fri June 2

www.lincolntheatre.com JUNE

Beatlesque

F r 2 BEATLESQUE Beatles Tribute MOJO RISING Tribute to The Doors Sa 3 DELTA RAE @ CATS CRADLE Sa 3 PULSE ELECTRONIC DANCE PARTY Su 4 AFTON MUSIC SHOWCASE 6p F r 9 MARCO BENEVENTO 8p w/ The Hot at Nights Duo

Sa 10 “ONE FOR GREGG” A tribute to

The Allman Brothers Band Feat: Idlewild South & Friends 8p

Th 15 SUMMER SPLASH Fr 16 TURNPIKE TROUBADOURS 7:30 w/Frenchie’s Blues Destroyers

Sa 17 BARCODE SILENT PARTY 2.0 Fr 23 OLD 97’s w/ Vandoliers 7:30p Fr 30 RED NOT CHILI PEPPERS 8p JULY

Sa 1 Fr 7 We 12 Th 13 Fr 14 Sa 15 Tu 18 Th 20 Sa 22 Fr 28 Su 30 8 - 2 8 - 4 8-10 8-11 8-12 9 - 2 9-29 9-30

LUCERO w/Banditos 8p THE BREAKFAST CLUB WHITEY MORGAN THE WAILING SOULS GALACTIC EMPIRE SCYTHIAN KING LIL G 7p JIDENNA w/Roman Gain Authur INTERSTELLAR BOYS 8P BERES HAMMOND HELLYEAH w/Kyng / Cane Hill 8p

5500 Adams Farm Lane Suite 204 Greensboro, NC 27407 Office 336-316-1231 Fax 336-316-1930

Fri June 9

Marco Benevento BLACKFriMAN’S BOMBSHELL June 16

MATT BAKER was a damn good-looking black man who made his living drawing damn good-looking white women at a time when talking to one could have gotten him killed. Born in Forsyth County but raised in Pittsburgh, this debonair young man-about-Manhattan who didn’t live long enough to be an old one was the most successful African-American comic book artist of the postwar era.

Turnpike 8 Troubadours

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Fri June 23

EDITORIAL Editor JEFF SYKES jeff@yesweekly.com Contributors KRISTI MAIER JOHN ADAMIAN MARK BURGER RICH LEWIS STEVE MITCHELL BILLY INGRAM ALLISON STALBERG IAN MCDOWELL DEONNA KELLI SAYED MIA OSBORN PRODUCTION Graphic Designers ALEX ELDRIDGE designer@yesweekly.com

ADVERTISING Advertising Manager KATHARINE OSBORNE

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Publisher CHARLES A. WOMACK III publisher@yesweekly.com

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AUGUST

MICHELLE BRANCH COSMIC CHARLIE (Grateful Dead) BADFISH: A Tribute to SUBLIME ZOMBOY: Rott n’ Roll Tour DUMPSTAPHUNK NEVERMIND w/Joe Hero CHRIS ROBINSON BROTHERHOOD

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MAY 31 - JUNE 6, 2017 VOLUME 13, NUMBER 22

St.

MAY 31 - JUNE 6, 2017

kat@yesweekly.com

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Old 97’s

Our May CHEF’S TABLE was a rare treat. The setting was beautiful. At the one and only Sedgefield Country Club in Greensboro. We had the English Tudor style country club’s main dining room to ourselves, overlooking the 18th green of the famed Donald Ross course that is home to the Wyndham Golf Championship.

10 For 55 years, the Governor’s School of North Carolina (GSNC) has enriched the state’s most skilled and gifted high school students with innovative courses and the chance to engage with other bright young minds. But after this summer’s session concludes, the Governor’s School, the first program of its kind in the country, is at risk of being shut down.

11 CHARLES BRONSON (1921-2003) was a unique star. He wasn’t conventionally handsome, he wasn’t a particularly versatile actor, and he was never a critic’s darling.

Indeed, more often than not he was a critic’s punchline. Yet at the age of 50 he was the

Lucero

Sat July 1

HellYeah Sun July 30

world’s most popular film star – except in the United States.

12 He looks a little more like an avid gamer who’s grown up, or like a mildmannered metal head. He’s got a wispy goatee-meets-fu-manchu type deal, some Armani eyeglasses. But Graham, 36, the pastor of Grace Baptist Tabernacle in King, will THUMP THAT BIBLE. 19 PERFORMANCES from Open Space Café Theatre, The Drama Center, Community Theatre of Greensboro, Spring Theatre, Shared Radiance, GTCC Theatre and more will take place in three state of the art performance spaces, including the newly built black box theatre, the outdoor amphitheatre and a modern sound stage.

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The least sea-worthy — make that see-worthy — film in the deathless franchise, PIRATES OF THE CARIBBEAN: Dead Men Tell No Tales is the sort of bigbudget extravaganza that’s exhausting in the worst possible way.

Marketing BRAD MCCAULEY brad@yesweekly.com TRAVIS WAGEMAN travis@yesweekly.com CLAUDIA BURNETT claudia@yesweekly.com KAREN SCOTT karen@yesweekly.com Promotion NATALIE GARCIA

DISTRIBUTION JANICE GANTT We at YES! Weekly realize that the interest of our readers goes well beyond the boundaries of the Piedmont Triad. Therefore we are dedicated to informing and entertaining with thought-provoking, debate-spurring, in-depth investigative news stories and features of local, national and international scope, and opinion grounded in reason, as well as providing the most comprehensive entertainment and arts coverage in the Triad.

YES! Weekly welcomes submissions of all kinds. Efforts will be made to return those with a self-addressed stamped envelope; however YES! Weekly assumes no responsibility for unsolicited submissions. YES! Weekly is published every Wednesday by Womack Newspapers, Inc. No portion may be reproduced in any form without written permission from the publisher.

First copy is free, all additional copies are $1.00. Copyright 2017 Womack Newspapers, Inc.

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-Dankfest > June 17 -Greensboro Roller Derby > June 24 -East-West All-Star Basketball Games > July 17

Event Hotline: (336) 373-7474 / Group Sales: (336) 373-2632

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May 31 - June 6, 2017

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EVENTS YOU DON’T WANT TO MISS | BY AUSTIN KINDLEY

be there

DANA & SUSAN ROBINSON FRIDAY

JEFF SHAARA THURSDAY THUR 1

THUR 1

SETH WALKER THURSDAY FRI 2

FRI 2

FRI 2

JEFF SHAARA

SETH WALKER

INFLUENCE

SOUL SISTAS THE MUSICAL

DANA & SUSAN ROBINSON

WHAT: Hear Jeff Shaara speak about his new book, The Frozen Hours: A Novel of the Korean War, and answer audience questions.

Books will be for sale at the event and a booksigning with the author will follow the event. Free and open to the public.

WHEN: 7 p.m.

WHERE: Wake Forest University - Porter Byrum Welcome Center Auditorium.

1834 Wake Forest Road, Winston-Salem.

MORE: Free entry.

WHAT: Greensboro is excited to welcome home its native son, the illustrious, internationally-known modern roots artist, Seth Walker. Joining him for the evening are the Walker Family Band (featuring his dad Scott, sister Jennie, and uncle Landon) and Greensboro singer/song-writer, Alan Peterson.

WHEN: 7 p.m.

WHERE: Van Dyke Performance Space.

200 N. Davie St., Greensboro.

MORE: $17-$20 tickets.

WHAT: Influence is an annual collaborative exhibition between GreenHill and Art Alliance Greensboro presenting recent work of 18 influential instructors and highlighting their wide variety of style and expertise in the mediums of ceramics, sculpture, and two-dimensional work.

WHEN: 12 p.m.

WHERE: GreenHill.

200 N. Davie Street, Greensboro.

MORE: Free entry.

WHAT: A powerful tribute to phenomenal women everywhere through song, dance, & spoken verse. R&B, jazz, Broadway, gospel and more! Featuring some of the most talented women artists of the Triad. All hand selected by writer/director, Nathan Alston.

WHEN: 6 p.m.

WHERE: The Barn Dinner Theatre.

120 Stage Coach Trail, Greensboro.

MORE: $33-$43 tickets.

WHAT: Dana & Susan Robinsons mix of original songs, traditional songs, and tunes always makes for a great nights entertainment. They describe themselves as two guitar-playing, banjo-frailing , fiddlesawing, and harmony-singing interpreters of the American experience.

WHEN: 8 p.m.

WHERE: Muddy Creek Music Hall.

5455 Bethania Road, Winston-Salem.

MORE: $13-$15 tickets.

BEST-SELLING MILITARY AUTHOR

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Triad Local First has hit the road!

Hop on the “Triple T” Express and let us transport you to some of the Triad’s most unique food destinations. You will savor a specially curated culinary experience at one of our favorite, locally-owned restaurants or backstreet gems!

Triad Touring Tasters has launched!

For tickets to our next event visit:

www.triadlocallrst.com/triadtouringtasters ww MAY 31 - JUNE 6, 2017

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ENERGIZE THE BALLPARK SATURDAY

CHRIS WILES FRIDAY FRI 2 CHRIS WILES: 20tH ANNIVERSARY WhAT: Chris Wiles, Triad native comedian, is celebrating 20 years of comedy success two nights only at the Comedy Zone in Greensboro. Wiles’ fast-paced, face-making, story-telling, kinetic, stand-up comic style has established him as one of the hottest comics to rise from the Triad area. Four extra-special evening performances will feature Wiles as hot, middle and headliner.

When: 8 p.m.

WheRe: The Comedy Zone Greensboro.

1126 S Holden Rd., Greensboro.

MoRe: $12 tickets.

VANESSA FERGUSON SATURDAY SAT 3

ACtING OUt: tHE 25tH ANNUAL PUtNAM COUNtY SPELLING BEE WhAT: Filled with charming tunes and questionable definitions, this heartwarming musical comedy, The 25th Annual Putnam County Spelling Bee, follows a group of quirky middle-schoolers as they compete in the local spelling bee. This production is the first-ever musical featuring students in the UNCSA Acting Out! When: 2 p.m.

WheRe: Agnes de Mille Theatre - UNCSA. 1533 S Main St., Winston Salem.

MoRe: $11.50 admission.

SAT 3 ENERGIZE tHE BALLPARK: NIGHt WItH tHE WS DASH WhAT: The Winston-Salem Dash are proud to announce the return of ‘Energize the Ballpark,’ presented by Eanes Heating and Air. Following the Dash’s 4 p.m. game against the Wilmington Blue Rocks on Saturday, June 3, Sidewalk Prophets will perform a concert for all fans in attendance.

When: 4 p.m.

WheRe: BB&T Ballpark.

951 Ballpark Way, Winston-Salem.

MoRe: $10 tickets.

SAT 3

SUN 4

VANESSA FERGUSON

SUNDAY JAZZ PICNICS

WhAT: Joining Vanessa for the night are R’Mone Entonio and Nishah DiMeo. Get ready for a night of R&B, soul, and jazz from some of North Carolina’s top vocalists!

Preyer Brewery, Grove Winery, and food trucks on site. Picnics welcomed but no outside alcohol.

When: 6 - 8:15 p.m.

WheRe: Barber Park.

1500 Dans Road, Greensboro.

MoRe: $5 admission.

WhAT: Join us for free live music with Nomad Duo and lawn games on Sunday from 6pm to 7:30pm in LeBauer Park! Food, beer and wine is available from Ghassan’s and Noma Food & Co. No outside alcohol is allowed into the park.

When: 6 p.m.

WheRe: LeBauer Park.

200 N Davie Street, Greensboro.

MoRe: Free entry.

L.95 IA C E P S H C N U L 1 L 1 L $ MAKI R8O.95 & 3 FOR 2 FOR $ BENTOGBAOTXE$S7.50 STARTIN

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May 31 - June 6, 2017

YES! WEEKLY

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triad foodies

EAT IT!

A Chef’s Table with James Patterson of Sedgefield Country Club

BY KRISTI MAIER | @triadfoodies

O

ur May Chef’s Table was a rare treat.

The setting was beautiful. At the one and only Sedgefield Country Club in Greensboro.

We had the English Tudor style country club’s main dining room to ourselves, overlooking the 18th green of the famed Donald Ross course that is home to the Wyndham Golf Championship. Sure it was pouring down rain for the 1000th day in a row it seems, but that didn’t dampen our appetites a bit as 34 guests were there to celebrate the extraordinary culinary talents of Chef James Patterson and his team.

Patterson, or “JP” to his friends and family, has been the Executive Chef of SCC since 2014. He’s the husband to Taccoa and father to nine-year-old Harriett and he’s enjoying making his culinary mark in the Triad.

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Growing up in Wilmington, Patterson says culinary arts were always of great interest to him. He started out working as a dishwasher and worked his way up to the kitchen. He’s not formally trained, rather learned everything he knows from chefs in Wilmington, and marquee names like Craig Deihl in Charleston as well as Ashley Christiansen in Raleigh and the pastry chef Lionel Vatinet of La Farm Bakery in Cary. Patterson says he took a little time away from the field and sold beer for Red Oak Brewery but decided to enter the kitchen once again. “Back in 2005, I joined forces with McConnell Golf and here we are 12 years later, still with McConnell.” Patterson started at Raleigh Country Club as a sous chef, then took the Executive Position at Cardinal Country Club in Greensboro. He moved again to Clinton, South Carolina for McConnell and three years ago, assumed the Executive Chef position at Sedgefield.

Many would assume that the life of a

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4 country club chef might be a little more low-key. But that’s not always the case.

“Leaving the fine dining and restaurant industry was a difficult decision for me.

But as McConnell Golf has grown, I’ve been witness to the power of a restaurant in a country club. It’s alike in many ways, but we typically work six days a week and we work breakfast, lunch and dinner, whatever takes. The expectations at a place like Sedgefield are very high and we try to meet them.”

Patterson has become known locally for his passion for utilizing local ingredients and thinking outside of the box, especially when it comes to country club MAY 31 - JUNE 6, 2017

dining. “From the outside looking in, a person’s perception of what it’s like to eat at a country club comes from the occasional wedding reception or some kind of celebration. And you typically get banquet fare like chicken or salmon and vegetables. And we do that to an extent here at Sedgefield because we have to do what the client wants,” Patterson says.

“Sometimes they allow me to go outside of that and here, I’m pushing as a corporate chef with McConnell, and working with other chefs with the company, that a country club chef could be recognized for a James Beard Award.”

Sedgefield has a typical a la carte menu

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for breakfast lunch and dinner, Wednesday through Sunday, but Patterson says the weekend specials at SCC are when the team in the kitchen really has a chance to shine. “I talk to farmers throughout the week and months in advance for what we’d like to work with, to stay on top on what’s new and trending. We’re pushing each other to stay ahead of the game. We want our members to choose to dine with us and spend their money here, rather than eat elsewhere.” Patterson says their wine dinners allow him to further explore his culinary creative side with proteins like deer and boar and escargot.

Patterson says he likes to take old Southern dishes and put a new twist on it. Our Chef’s Table was just the event for Patterson to “go there” and draw out his staff ’s creativity as he lavished us with five courses including a dessert duo. Let’s take a look: First Course Goodnight Brothers Country Ham and Rosemary Arancini, Spiced Arugula Greens Salad with Red Eye Vinaigrette The arancini with bits of country ham and cheesy rice all tucked into a beautiful rice fritter was a great start. You could taste everything you love about red eye gravy (coffee, ham, pepper) all over the dressed arugula.

Second Course JP’s Signature “UpTown DownSouth” Shrimp and Grits, Tasso Ham Gravy, Cajun Fried Grit Cake, Shaved Parmesan Seriously, the absolute best shrimp and grits I’ve ever had. The tasso ham gravy is just the right amount of spicy. As in, it’s quite spicy and you won’t mind it one bit because the flavor is all of that.

If you are ever in the vicinity of a special event, you’re quite likely to experience this dish, as chef says he prepares it often in a variety of ways.

Third Course Red Wine Braised & Cheerwine Glazed Heritage Bred Pork Cheeks, Spiced Sweet Potato Puree, Slow Cooked Southern Greens This was hearty, sweet and savory with a great spicy, gingery twist on sweet potatoes. The collards were perfect.

Fourth Course Country Style Steak, Blue Cheese Cornbread Mashed Potatoes, Fried Brussel Sprout Leaves The steak was prime NY Strip, breaded and fried and topped with a pepper gravy.

It was like upscale, southern diner food perfection. But, please go back and read blue cheese cornbread mashed potatoes.

Patterson said at the dinner, “This was WWW.YESWEEKLY.COM

5 sous chef Isaac’s idea and I was like, ‘Isaac, what is this you are talking about,’ but we think it works with it perfectly.”

The only way to describe them is they are exactly as described. They were different and textured with sweet yellow cornbread and a bit cheesy. These should inspire you to maybe try making them at home.

Fifth Course Decadent Peanut Butter Pie with Oreo Crust and Malted Vanilla Bean Milkshake They had me at malted vanilla bean, and the little shot of milkshake was so luscious and yummy. The peanut butter pie, co-created with the help of the Traveled Farmer’s Tracy Lamothe, was perfectly peanut buttery and dark chocolate. Not too sweet and definitely rich and it just had to be brought home with us (both of them) because we couldn’t eat another bite.

Although we got to know Patterson a little bit better, the chef was quite quick to point out that it was his team that did most of the heavy lifting. And he introduced them to enthusiastic applause, Isaac Spencer, Executive Sous Chef, Yacouba Doumbia, Tracy Cottrell and Sebastian Colbert.

Don’t feel bad if you aren’t lucky enough to be a member of Sedgefield Country Club to enjoy Patterson’s cooking. You’re likely to find him collaborating across the Triad at special events and a competition or two. Patterson won the Greensboro series of last year’s final Competition Dining. And he’s since garnered the attention of the folks at Triad Local First, who’ve asked him to be Featured Executive Chef for Community Table 2018. He’ll also be on the 2017 team this year assisting this year’s featured chef, Jay Pierce. You’re also likely to enjoy his company at any of our Chef’s Tables, as he has been one of the most consistent attendees. !

WANNA

go?

Our next Chef’s Table will be on Monday, June 26, at 7:30pm as we let the Mozzarella Fellas surprise us with multiple courses. Tickets are $27 and include multiple courses plus tax and gratuity. For information follow @triadfoodies on Facebook and you’ll find it listed under “Events.”

MAY 31 - JUNE 6, 2017

YES! WEEKLY

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visions

SEE IT!

Governor’s School hopeful for return of state funding

F

BY MIA OSBORN

or 55 years, the Governor’s School of North Carolina (GSNC) has enriched the state’s most skilled and gifted high school students with innovative courses and the chance to engage with other bright young minds. But after this summer’s session concludes, the Governor’s School, the first program of its kind in the country, is at risk of being shut down.

In May, the state Senate passed a budget that called for defunding GSNC. The announcement took the school’s board and staff aback, said Governor’s School Foundation President Lee Conner: “It was very surprising to us, especially considering that the state’s budget surplus, depending on whose numbers you use, is somewhere between 500 and 600 million dollars,” said Conner. “We feel strongly that the evidence supports Governor’s School and the money it gets.”

GSNC is meant for rising high school seniors, but exceptions are made for rising juniors who are gifted in the visual or performing arts. Students spend five and a half weeks living and learning on campus at the school’s two host locations, Salem College in Winston-Salem and Meredith College in Raleigh.

“You’ll receive a level of instruction that is simply not available in high school,” said Conner, who attended the NCGS mathematics program in 1991.

There are ten specializations that can get a student nominated for Governor’s School: English, foreign language (French or Spanish), social science, natural science, mathematics, art, choral music, instrumental music, theater, and dance. There are no tests, no grades. Students meet within their specialty for twice daily classes, but some periods are devoted to discussions with students from other disciplines.

“In those classes you’re mixed up with everybody,” Conner explained. “You get a lot of different perspectives and ideas. You get to challenge people and be challenged

in turn, to expand what you know about yourself and the world around us.”

Governor’s Schools encourage not only the gaining of knowledge, but how to effectively share ideas with others.

“One of the things I loved about Governor’s School was that no one pushed you to a certain conclusion,” said Conner. “People pushed you to come to your own conclusions, and to think about why you think what you think. That was really refreshing and rewarding.”

Just being around other bright students is a gift, especially for Governor’s School attendees who come from rural areas. The connections forged in these summer sessions create the potential for lifelong friendships or collaborations down the road.

“The return on investment at Governor’s School is staggeringly good,” said Conner.

The Governor’s School receives an $800,000 in state funds for every five week session. That divides down to roughly $30 per student, per day. Even when the $500 in tuition provided by each student is added in, the total cost per day increases to just over $40. In addition, the benefits of the program stay close to home: A poll of GSNC graduates from several years ago showed that 70% of them still lived in North Carolina.

“For that small investment of $30 a day by the state,

you’re giving an incredible academic experience to some of your best and brightest kids, and over 70 percent of those kids stay in North Carolina. That’s a great investment,” said Conner.

Conner and other Governor’s School officials have presented this information and more to the State House and Senate, and Conner said the mood is hopeful that funding can be restored.

“Everyone I speak to is still very optimistic that this will get fixed,” he said. “We don’t know, of course, but we feel good about the dialogue we’ve had with the House and how responsive they’ve been when we shared the story of Governor’s School.”

The House should release its budget for the coming year sometime after Memorial Day, after which the House and Senate’s individual budgets will go to a conference committee to iron out their differences. Conner is hopeful that the House’s budget will include funding for Governor’s School, and that it will carry over to the final, statewide budget. The announcement will likely be made in late June, while the 2017 Governor’s School is in session.

The decision date is near, but Conner explained that there are still things people can do to ensure Governor’s School gets funded into the future.

“They can reach out to the legislators who represent them, particularly members of the Senate, and let them know how important it is to keep Governor’s School in the budget,” he said. “Another thing we’re asking people to do is to write letters to the editor of their local paper and share their experience about Governor’s School and how it impacted their life. It’s important for everyone to understand how widespread the impact of Governor’s School has been.”

For more information about the Governor’s School of North Carolina, visit www.ncgovschool.org. !

MIA OSBORN is a Greensboro-based freelance writer who hails from Birmingham, Alabama.

peppercorn theatre at kaleideum presents...

You Will Be Pleased

by kimberly belflower directed by hannah wolf

june 16 - july 2 at the delta arts center tickets, showtimes, and more at peppercorntheatre.org

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MAY 31 - JUNE 6, 2017

Mediterranean · Sandwiches · Vegetarian Lunch & Dinner CATERING · OUTDOOR SEATING · TAKE-OUT 310 S. Elm Street · Greensboro · (336) 279-7025 · /JmartOnElm · www.jerusalemarket.com/on-elm

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Bronson’s Loose Again!

A top-notch tribute to a tough guy BRONSON’S LOOSE AGAIN!: ON THE SET WITH CHARLES BRONSON by Paul Talbot. Published by Bear Manor Media.

468 pages. $28 retail (softcover), $38 retail (hardcover).

Mark Burger

Charles Bronson (1921-2003) was Contributing a unique star. He wasn’t conventioncolumnist ally handsome, he wasn’t a particularly versatile actor, and he was never a critic’s darling. Indeed, more often than not he was a critic’s punchline. Yet at the age of 50 he was the world’s most popular film star – except in the United States. That changed with Death Wish (1974), a blockbuster hit that perfectly captured the zeitgeist and catapulted him into superstar status.

Author Paul Talbot is clearly a Bronson fan, having earlier written Bronson’s Loose!: The Making of the Death Wish Films (2006). Here, he expands his focus to include other Bronson films, beginning with Hard Times (1975) – one of Bronson’s best films – through the made-for-TV Family of Cops trilogy (1995-’99).

Talbot combines his affection with solid storytelling, making this book a must for Bronson fans. It’s not strictly a biography, although there’s plenty of biographical data included, and Talbot doesn’t hesitate to criticize some of the films. But he’ll also point out the virtues of many, including the excellent HBO drama Act of Vengeance (1986) – in which Bronson played the reallife United Mine Workers union leader Jock Yablonski – or the sentimental holiday TV movie Yes, Virginia, There is a Santa Claus (1991), or the 1993 TNT adaptation of Jack London’s The Sea Wolf, all of which allowed Bronson to expand his range.

Nearly 15 years after his death, Charles Bronson remains a larger-than-life figure, with a solid (and eclectic) worldwide fan base. He remains a one of a kind. My college roommate Dean Galanis is a die-hard Bronson devotee, as is his mother (!), who often took young Dean to see the latest Bronson shoot-’em-up. And although yours truly has joked about Bronson’s stoic screen persona, I consider myself a fan, too. He wasn’t the greatest actor, but his very presence was indomitable. I even have an original Death Wish poster in my home.

One of the more embarrassing, though WWW.YESWEEKLY.COM

undeniably amusing, personal aspects when reading Bronson’s Loose Again! is being reminded how many of these films I saw during their original release, many on opening weekend! Yes, it’s true: I saw Murphy’s Law (1986), Assassination (1987), Messenger of Death (1988), and all the Death Wish sequels in the theater.

Bronson, born Charles Buchinsky and for each film – even if said film wouldn’t raised in the coal town of Ehrenfeld, Penn., initially seem to warrant it. There aren’t spent his youth in poverty. After Death many people who regard Assassination, Wish, he cranked out action film after acMessenger of Death, or Kinjite (1989) as tion film, one right after the other. The one first-rate (or even second-rate!) Bronson time he deviated from the formula, with vehicles, yet they are given their due, often the romantic-comedy/Western From Noon in wildly entertaining fashion.

Till Three (1976) – the best film he and Bronson’s screen image was not unlike his actress wife Jill Ireland ever starred in – the personality: Gruff, blunt, and hard-boiled. end result was a (mild) critical success and He boasted about not having friends – and a (major) box-office misfire, not helped by not wanting them, either. Yet there was a the inability of United Artists to promote, sensitive side to the actor, especially when or even release, the film properly. Talbot’s it came to Ireland (“She thinks I’m the chapter on From Noon Till Three is almost a best-looking man in the world, but I think revelation, given how few people know the I’m the ugliest,” he once said). Throughout film, and because he secured an interview the book, their devotion to each other is with writer/producer/director Frank D. Gilroy noted repeatedly by those interviewed. The (who died just a year later). main reason, perhaps the only reason, to So, it was back to action for Bronson, and revisit Assassination is their chemistry. That Talbot covers a good number of them: Love film would turn out to be Ireland’s last, as and Bullets (1979), CaboBlanco (1980), she died of cancer in 1990 at only 54 years Borderline (1980), 10 to Midnight (1983), of age, a cruel ending for an amazingly The Evil That Men Do (1984), and so on. Folbeautiful actress whose talents were often lowing the success of Death Wish II, which overlooked. restored some of the actor’s box-office Bronson would find love again, with luster, he contracted with Cannon Films, actress Kim Weeks, whom he wed in 1998, the ubiquitous and infamous low-budget but this union would prove short-lived, as film factory run by Israeli cousins Menahe soon began displaying symptoms of hem Golan and Yoram Globus, for whom Alzheimer’s Disease and died in 2003 – Bronson made most of his ‘80s features. itself a cruel ending to the life of one of the Cannon specialized in lowbrow action films, screen’s immortal tough guys. We love ya, and at this stage in his career Bronson was Charlie, wherever you are. content to keep making them (at $1 million a pop). He believed in giving his audience The official Bear Manor Media website is what they wanted, even to the detriment bearmanormedia.com. ! of his reputation.

Despite having covered the Death Wish films in his earlier book, Talbot revisits them through interviews with screenwriter David Engelbach (Death Wish II) and such actors as Robin Sherwood and the late Silvana Gallardo GREAT AMERICAN COOKOUT (Death Wish II), Kirk Taylor Saturday, June 17 at 9 AM - 12 PM (Death Wish 3) and Robert Joy Kick off the summer with Sir Charles and grilling up the market’s best local (Death Wish 5). The very title meats and seasonal produce to celebrate the start of the summer season. $5.00 per plate and is first come, first serve. Food will be served on the Bronson’s Loose Again! was Market lawn from 9:00 am until noon, with live music from local musicians the catchphrase on the Death and games for the kids. Johnny-O and the Jump Out Boys will perform Wish II poster. from 8:30-10am and Riley Walker will perform from 10am-noon.

Whether good or bad, successful or not, Talbot provides 501 Yanceyville St. • Greensboro, NC a concise “making-of” history WWW.GSOFARMERSMARKET.ORG

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tunes

HEAR IT!

Praise Band converts Psalms to music using numerology

BY JOHN ADAMIAN | @johnradamian

“

I don’t look like your typical Bible-thumper,” says Chris Graham. He’s right. He looks a little more like an avid gamer who’s grown up, or like a mild-mannered metal

head. He’s got a wispy goatee-meetsfu-manchu type deal, some Armani eyeglasses. But Graham, 36, the pastor of Grace Baptist Tabernacle in King, will thump that Bible.

He’ll thump it, but he’ll also spend hours and hours poring over lines from the

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creation of the cosmos.

We’re hanging out at Krankies in Winston-Salem and Graham and his bandmate Jonathan Riddle are walking me through the system they use to generate musical settings for the five Psalm texts (146-150) they’ve been working on.

Their band is called At the Threshold, and they play more traditional praise music, but the Psalms project has been consuming Graham and his bandmates for over a year. They have a notebook with texts in Hebrew with English translations. Graham assigned a numerical value to every letter, something akin to “A=1, B=2, C=3, D=4” and so on. He then wrote up three separate tallies and strings of numbers. One line would correspond to the numbers value for each individual letter in each line from the text. Another set of calculations added up the values for each word, so if the line had three Hebrew words with three letters in each word, Graham would end up with three separate numbers representing the corresponding numerical value for each of the words. A third tally would represent the sum of all number values from each letter in a given line. Graham says he based the system Come and visit! in part on the tradition State & Main Vintage offers known as Gematria, a varied collection of which was incorporated consignment pieces including into ancient Jewish antique, vintage and modern furnishings, home accessories, hermeneutic techniques, decorative arts, clothing, some of which went jewelry & much more. on to be associated with the Kabbalah. (He 1701 N. Main St., Suite B • high poiNt consulted with a rabbi tues-Fri 10-5 • Sat 10-2 to make sure that his Interested in consigning? Contact us at 336-509-0873!

book of Psalms, in the original Hebrew, using a complicated numerological/musicological system to convert letters and words into notes and chords. (Graham doesn’t read Hebrew, but he’s studying it.) Graham is a preacher, but he’s also a musician, and music is a central part of how he and his congregation worship.

Graham and his congregants point to scripture to explain why making music is so important. (“Praise him with loud clanging cymbals”; “He put a new song in my mouth, a song of praise to our God.”) The theological inclination to make song goes fairly deep with Graham.

“Because we’re created in God’s image and that’s how God created,” explains Graham. I say that I thought that God created using the word in Genesis, and elsewhere. Graham says yes, but that there are those who interpret the scripture to mean that God breathed song into those first heaven-and-earth-creating words.

It was a mix of word, breath and melody and rhythm — song — that sparked the

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Hebrew-to-numbers experiments made a kind of sense.)

It gets even more complicated and farout from there. Not wanting the music to push too far outside of the conventional bounds of Western harmony, Graham made each number correspond to a note in the diatonic scale, meaning that he would, somewhat arbitrarily, pick a key signature and then let each number from one through eight represent a scale degree or note in that key. So every number becomes an extrapolation of one of those eight numbers. For instance, if one of the Hebrew words adds up to the number 11 in Graham’s system, then, in the key of C major, say, that would translate to three notes above an octave over C. So that equals the note F in C major. In this fashion, every letter in the Hebrew alphabet is given a corresponding scale degree in traditional Western musical notation. Thus, Graham has a string of notes derived from Hebrew text, a specific note for each letter. In the resulting music, those strings of notes turn into a sort of solo line for Graham to play on guitar. (It turns out that Graham was a little bit of a metal head in his youth, and he says he’s still into groups like Opeth, which might explain the fondness for dense and complex musical logic.) There’s no specific designation for rhythm or phrasing, so the system allows for a fair amount of expressive interpretation.

Graham says the intent wasn’t to make music that was fundamentally challenging to the listeners’ ears or somehow outside the realm of traditional harmonic logic.

“This isn’t funky jazz,” he says.

That’s true, but a listen to the music that Graham and his collaborators have made signals that something different is happening here. The songs hover in unexpected harmonic pockets, with shifting colors that don’t necessarily broadcast immediately recognizable Hallmark Card emotions of uplift and good feeling. I don’t think a listener would think “hmm, this is music derived from a complex numerological system related to the ancient Hebrew texts,” but I also don’t think that listeners will hear this as standard contemporary Christian praise music.

The challenge was to make praise music that was fully anchored in the text, so

that the music itself pointed everyone back to the words, in a way, says Graham.

“The goal wasn’t necessarily to do anything mystical as much as it was to mine the word and honor it and be able to hear it in a different way,” says Graham.

People have been setting Bible verses to music since people have been reading the Bible. Maybe even before that. A majority of the Hebrew Bible is poetry, which was probably meant to be sung, whether because of the inherent ritual/religious importance of song or simply because it was easier to memorize that way.

Graham has been a pastor for six years.

His father was a pastor where he was raised, in Charleston, South Carolina.

Graham also studied family counseling.

He arrived in the area after setting out in search of a place to set up his congregation, driving around North Carolina, South Carolina and Georgia, waiting for the spirit to move, basically. Graham and about five families from South Carolina originally set up the Grace Tabernacle in Pfafftown, in northwest Winston-Salem, but the zoning regulations and fire codes made operating their space problematic.

“Most of us came up here with no job guaranteed,” says Riddle, 27, of the families that joined Graham on his mission to the north. “We knew that we wanted to be part of it.”

The Psalms Project is something that Graham and his At the Threshold bandmates want to document and share.

They’re launching a Kickstarter campaign in hopes of recording the songs in a studio and producing copies of the material.

I was going to say that I thought Graham and his musical collaborators were proud of what they’d done, but I’m guessing that pride isn’t something they would embrace as an appropriate way of feeling about all this. Graham and Riddle make a point of saying that this music isn’t about them and making a concert or a recording that people are entertained by, necessarily. It’s part of their religious practice. It’s a form of prayer.

As Graham says: “Worship is us reminding ourselves of what the scripture says.”

Learn more about At The Threshold and the Psalms Project at psalmsmusicproject.com. Hear Graham and the band on Sundays at Grace Baptist Tabernacle, 221 Ingram Drive, King. !

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JUNE 1 // 7 PM - Thirsty Thursday

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523 S Elm St | 336.271.2686 artistikanightclub.com Jun 2: DJ Dan the Player Jun 3: DJ Paco and DJ Dan the Player

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812 Olive St. | 336.302.3728 Jun 23: Lacy Green

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1819 Spring Garden St | 336.272.9888 theblindtiger.com May 31: Glass Cadilack & The Nitrogen Tone Jun 1: Of Tyrants & Footage Of A Yeti, Guatama, Sidelines, hollow Eyes Jun 2: hail The Sun, Capsize, Eidola, Limbs, hopesick Jun 3: Chasin Skirt, Somewhat Forgotten Jun 4: Jahman Brahman & Elusive Groove Jun 6: Beach Casino & North11, Yugo Jun 9: A Boogie wit da hoodie Jun 10: Create. Ft. Megalodon, Midnight T w/ Crowell, & more Jun 13: King Django, Dr. Ring Ding, Brian hill, John Decarlo, Matt Irie Band

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buckhEad Saloon

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213 S Elm St | 336.275.6367 churchillscigarlounge.com Jun 2: dJ precise Jun 10: Sahara reggae band Jun 17: Jack long old School Jam

thE cornEr bar

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1706 Battleground Ave | 336.378.0006 may 26: pay rock & david mclaughin Jun 9: Funky confusion band Jun 23: tyler millard band Jul 14: turpentine Shine Jul 21: adam pitts Jul 28: dana and Evan

1126 S Holden Rd | 336.333.1034 thecomedyzone.com June 2: chris Wiles June 3: chris Wiles June 9: michael mack June 10: michael mack June 16: Julie Scoggins June 17: Julie Scoggins June 23: darren “dS” Sanders June 24: darren “dS” Sanders June 30: Sid davis

thE idiot box comEdY club

2134 Lawndale Dr | 336.274.2699 www.idiotboxers.com Jun 23: Sean patton

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villagE tavErn

117 S Elm St | 336.378.9646 cdecgreensboro.com Jun 2: biz markie Jun 16: John mulaney Jun 18: J cole Jun 22: thunder from down under Jun 24: blackbear Jul 13: tom Segura Jul 14: kehlani

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113 N Greene St | 336.273.4111 Jun 15: open mic Showcase & grad party

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1614 N Main St | 336.883.4113 afterhourstavern.net Jun 2: DJ/Karaoke Jun 3: Sok Monkee Jun 9: DJ/Karaoke Jun 10: Suzi’s atomic Jukebox, Deconstruction Jun 16: DJ/Karaoke Jun 17: Psycho Sircus, audio assault Jun 23: DJ/Karaoke Jun 24: Shmack Daniels Jun 25: trailer Park orchestra Jun 30: DJ/Karaoke

bluE bourbon JacK’S

1310 N Main St | 336.882.2583 reverbnation.com/venue/bluebourbonjacks Jun 9: Southern Eyes Jun 23: Southbound 49 Sep 23: Southern Eyes oct 6: Jukebox revolver

claDDagh rEStaurant & Pub

130 E Parris Ave | 336.841.0521 thecladdaghrestaurantandpub.com

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libErtY brEwErY

914 Mall Loop Rd | 336.882.4677 hghosp.com

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thE DEcK

118 E Main St | 336.207.1999 thedeckatrivertwist.com Jun 3: brothers Pearl Jun 9: the Dickens Jun 10: Soul central Jun 16: Stereo Doll Jun 23: radio revolver Jun 24: Zach burick band Jun 30: Jaxon Jill

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DancE hall DaZE

612 Edgewood St | 336.558.7204 dancehalldaze.com Jun 2: colours Jun 3: the Delmonicos Jun 9: crimson rose Jun 10: Skyryder/DhD Jun 16: the Delmonicos Jun 17: cheyenne Jun 23: ambush Jun 24: Silverhawk Jun 30: the Delmonicos May 31 - June 6, 2017

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221 N Main St. | 336.497.4822 facebook.com/BreatheCocktailLounge Jun 6: DJ - freddie fred Jun 10: DJ - Mike lawson Jun 17: DJ - freddie fred Jun 24: DJ - Mike lawson Jul 1: DJ - freddie fred Jul 8: DJ - Mike lawson Jul 15: DJ - freddie fred Jul 22: DJ - Mike lawson Jul 29: DJ - freddie fred

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191 Lowes Foods Dr | 336.747.3059 OldNicksPubNC.com Jun 2: Karaoke w/ DJ tyler Perkins Jun 3: the Maybirds Jun 10: Karaoke w/ DJ tyler Perkins Jun 16: the rockets Jun 17: Karaoke w/ DJ tyler Perkins

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2213 E Oak Ridge Rd | 336.643.1570 facebook.com/JPLooneys Jun 1: trivia

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bull’S tavErn

408 West 4th St | 336.331.3431 facebook.com/bulls-tavern

cb’S tavErn

3870 Bethania Station Rd | 336.815.1664 Jun 16: Dom McManus

finnigan’S waKE

620 Trade St | 336.723.0322 facebook.com/FinnigansWake Jun 3: the Mulligans Jun 10: Jukebox revolvers Jun 30: Dana & Evan

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638 W 4th St | 336.777.3348 foothillsbrewing.com Jun 3: CC3 Jun 4: Sunday Jazz Jun 7: redleg husky Jun 10: Southern Eyes Jun 14: Eversole brothers Jun 17: Marvelous funkshun Jun 18: Sunday Jazz Jun 21: bluegrass Sweethearts Jun 24: the Pop guns Jun 25: Sunday Jazz Jul 2: Sunday Jazz

thE garagE

110 W 7th St | 336.777.1127 the-garage.ws

hiCkorY tavErn

206 Harvey St | 336.760.0362 thehickorytavern.com Jun 1: Mike bustin acoustic

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laughing gaS CoMEDY Club

2105 Peters Creek Pkwy laughingas.net Jun 2: Matt holt Jun 3: Matt holt Jun 9: Carlos valencia Jun 10: Smokey Suarez

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4926 Country Club Rd | 336.529.6230 macandnellisws.com

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630 S Stratford Rd | 336.768.2221 milnerfood.com Jun 4: live Jazz Jun 11: live Jazz

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MuDDY CrEEk CafE

5455 Bethania Rd | 336.923.8623 Jun 1: open Mic w/ Country Dan Collins Jun 2: russell lapinski Jun 3: ryan newcomb Jun 4: Phillip Craft Jun 9: Chief’s Choice Jun 10: not ready band Jun 24: usual Suspects

MuDDY CrEEk MuSiC hall

5455 Bethania Rd | 336.923.8623 Jun 3: aaron burdett CD release Show Jun 4: billy Strings with Presley baker Jun 7: braiden Sunshine from the voice Jun 9: rkiii Jun 15: Justin Cody fox Jun 17: banna Jun 18: Mean Mary Jun 21: Jon Stickley trio Jun 23: riverbend reunion Jun 24: amanda Cook and kennesaw ridge Jun 27: Marbin Jun 30: Christiane & the Strays

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2000 Griffith Rd | 336.760.8686 villagetavern.com May 31: breaking Season Jun 7: the Pop guns Jun 14: tin Can alley Jun 21: the funk Mob Jun 28: Phaseband Jul 5: generation Jul 12: the blue genes Jul 19: honky tonk outlaws Jul 26: Exit 180 band aug 2: the invaders aug 9: Chasin fame aug 16: the gb’s aug 23: Confuzion aug 30: breaking Season

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THE FILLMORE

CARY

BOOTH AMPHITHEATRE

8003 Regency Pkwy | 919.462.2025 www.boothamphitheatre.com Jun 7: Paul Simon Jun 28: John Mellencamp, Emmylou Harris, & Carlene Carter Jul 8: Sturgill Simpson

CHARLOTTE

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former Uptown Amphitheatre 820 Hamilton St | 704.549.5555 www.livenation.com Jun 6: Paul Simon Jun 13: Dirty Heads & Soja Jun 16: Third Eye Blind Jun 17: The Queen City Jazz Fest Jun 20: Deftones & Rise Against Jun 21: Elvis Costello & The Imposters Jun 23: Dispatch & Guster Jul 7: Sturgill Stimpson Jul 8: May Morning Jacket Jul 14: Summer Lights w/ Mrcyme & Jeremy Camp Jul 16: Tedeschi Trucks Band

1000 NC Music Factory Blvd | 704.916.8970 www.fillmorecharlottenc.com May 31: Miky Chance Jun 2: Delta Rae Jun 2: City and Colour Jun 3: Biz Markie Jun 8: Tegan & Sara Jun 9: Banks Jun 10: Kaleo Jun 14: Bleachers Jun 15: Miike Snow Jun 15: Sizzla Jun 16: Kiss-n-Grind ft. DJ Talib Kweli Jun 17: Almost Kings Jun 22: Blackbear Jun 22: Lizzo Jun 23: Yacht Rock Revue Jun 24: 3rd Annual Queen City Metalfest Jun 29: Otherwise Jul 8: Pröwess

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STAGE IT!

drama

Triad Theatre Festival

The North Carolina Triad Theatre League invites the community to experience a montage of live theatre. See what theatres in the Triad have to offer on Saturday, June 17 from 11:00am to 6:00pm at the Guilford Technical Community College High Point Center for Creative and Performing Arts, 901 South Main Street, High Point.

From Shakespeare to children’s theatre to musicals, and improv, a number of area theatre companies will demonstrate what they do. Professional theatres, community theatres and local improv troupes will be represented.

Performances from Open Space Café Theatre, The Drama Center, Community Theatre of Greensboro, Spring

Theatre, Shared Radiance, GTCC Theatre and more will take place in three state of the art performance spaces, including the newly built black box theatre, the outdoor amphitheatre and a modern sound stage. Improv shows from GTCC Spontaneous and Soylent Greensboro will add to the fun and encourage audience participation.

Vendors such as lighting and costume companies will be on hand. Food trucks from The Pearl Kitchen, Pita Delight, and Sweet Basil will be in the driveway. Raffles for free theatre tickets will be held.

Admission is free and the festival is appropriate for families with children of all ages. For more information, go to www.triadtheatre.com. !

Tarzan the Musical is swinging into Kernersville Kernersville Little Theatre (KLT) will close out its 40th season by bringing a Disney favorite to the stage with the musical Tarzan.

Based on Disney’s epic animated musical adventure and Edgar Rice Burroughs Tarzan of the Apes, Tarzan features heart-pumping music by rock legend Phil Collins and a book by Tony awardwinning playwright, David Henry Hwang.

Washed up on the shores of West Africa, an infant boy is taken in and raised by gorillas who name him Tarzan. Apart from striving for acceptance from his ape father, Tarzan’s life is mostly monkey business until a human expedition treks into his tribe’s territory and he encounters creatures like himself for the first time. Tarzan struggles to navigate a jungle, thick with emotion as he discovers his animal upbring-

ing clashes with his human instincts The cast listing can be found on the KLT website at KLTheatre.com.

The production will be staged at the James Fitzpatrick Auditorium, located at Kernersville Elementary School, 512 W. Mountain Street.

Performances are on the following dates: June 16-17 and 23-24 at 8:00 pm June 18 and 25 at 2:00 pm Tickets for Tarzan can be purchased online at klttarzan.bpt.me and are available at the door. Prices are as follows: Adults-$15, Students/Seniors-$13, Children $8.

There will be a Preview Night performance on June 15 at 8:00 pm. All adult tickets for the Preview Night performance are $10 and may also be purchased online or at the door. !

Auditions announced for The Tempest The Drama Center of City Arts, in conjunction with Guilford County Schools will hold auditions for William Shakespeare’s mystical play Saturday and Sunday, June 3 and 4 from 3-5pm in the Stephen D Hyers Theatre on the first floor of the Greensboro Cultural Center, 200 N Davie Street. Although the emphasis is on Guilford County students, anyone from age 9 to adult is welcome to audition. A Shakespeare monologue

is encouraged but not required. Audition material will be provided. The show will be at Gate City Gardens July 28-30. For more information, please visit our website, www.thedramacenter.com.

This is the 7th annual production that Guilford County Schools and the Drama Center of City Arts have collaborated on to provide summer Shakespeare in the park. !

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flicks

T

Lost at sea

BY MATT BRUNSON

he least sea-worthy — make that see-worthy — film in the deathless franchise, Pirates of the Caribbean: Dead Men Tell No Tales ( ) is the sort of big-budget extravaganza that’s exhausting in the worst possible way. Whereas the brightest blockbusters leave audiences feeling happily drained thanks to a real sense of adventure and plenty of adrenaline-pumping excitement (think Raiders of the Lost Ark or the original Jurassic Park), the poorest ones wear viewers out through a bullheaded combination of unnecessary bloat, tiresome developments, and — to paraphrase that Shakespeare guy — unrelenting sound and fury, signifying absolutely nothing at all. After sitting through a movie like Dead Men Tell No Tales, you don’t want to rush out and tell your friends to see it. You just want to take a nap.

It’s been six years since the last Pirates of the Caribbean picture drifted into theaters, and a full 14 years since the original film made its debut. Like all that have preceded it, this fifth entry is primarily built around Johnny Depp and his character of Jack Sparrow, and why not? It was the first Pirates feature that turned Depp into a genuine movie star and earned him his first Oscar nomination, and he’s always been the bloodline of this franchise.

Unfortunately, that blood is running thin these days — with Depp having spent the last several years playing caricatures rather than characters (The Mad Hatter, Tonto and more), there’s no longer any novelty to what was once a blazingly original creation. His Jack Sparrow is now just a Jack-in-the-box, popping out at regular intervals to amuse the kids.

Brenton Thwaites, the bland hero in last year’s Gods of Egypt, is the bland hero here as well, playing the son of Will Turner and Elizabeth Swann (original series costars Orlando Bloom and Keira Knightley).

For reasons too convoluted to explain, he’s but one of many people seeking the fabled Trident of Poseidon, joined in his quest by Jack and an astronomer named Carina (Kaya Scodelario). Captain Barbossa (returning Geoffrey Rush) is still on the scene, and there’s a new villain in the form of Captain Salazar (Javier Bardem), a murderous spirit who blames Jack for his present ethereal state.

For a movie that never stops moving, Dead Men Tell No Tales is astoundingly dull, choked to death by expensive CGI, lumbering set-pieces, and a script seem-

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ingly cobbled together even after production was underway (late in the film, Salazar is revealed to possess a power that sure would have come in handy at countless earlier points). There are a few clever moments strewn throughout — a bit involving a guillotine is brilliant, and, intentional or not, Jack’s first appearance is a nice homage to Charlie Chaplin’s intro in City Lights — but these bits are too few and too far between.

A couple of the earlier films featured Keith Richards as Jack’s father. Figuring that a Rolling Stone cameo should be matched by a Beatles cameo, this one showcases a brief appearance by Paul McCartney as Jack’s uncle. It’s an apt inclusion, since a message to the makers of this past-its-prime franchise can be found right there in The Beatles discography: Let It Be. The big-screen version of the imbecilic TV series that ruled ‘90s television, Baywatch ( ) is pretty much indefensible. Nevertheless, like my cousin Vinny bucking the odds in the courtroom, allow me to defend at least parts of it. Those would be the parts involving a charismatic leading man and no small measure of knowing laughs.

A movie based on a show about brain-baked lifeguards isn’t going to stir memories of, say, A Man for All Seasons or The King’s Speech or even Guardians of the Galaxy Vol. 2, but within its own parameters, Baywatch knows the territory. The plot is flimsy but enough to get the movie from point A to point B (if not much beyond): Stalwart lifeguards defend their stretch of the beach against criminals hoping to seize it for their own nefarious purposes. On second thought, flimsy might be too strong a word.

The MVP is, of course, the impossibly appealing Dwayne Johnson, cast as head lifeguard Mitch. The film has fun playing off the actor’s image as everyone’s

best — and best-built — buddy, and he’s equally ingratiating whether receiving or (more often) delivering the cutting zingers. Mitch’s favorite target is a narcissistic Olympian named Matt Brody, and Zac Efron surely deserves some sort of Good Sport award for allowing himself to be the movie’s version of Lou Costello.

That Baywatch was written entirely by men can be deduced by simple math.

There are four beautiful women in the primary cast (Alexandra Daddario, Kelly Rohrbach and Ilfenesh Hadera as lifeguards and Priyanka Chopra as the villain) but only two beautiful men (Johnson and Efron). The inequality is partly because the other male lifeguard is the audience surrogate, a shlub who looks like JoshGad-with-training-wheels. The character of Ronnie (played by Jon Bass) is there for the same reason that Ron Jeremy has prevailed in porn, so that ordinary, uncool guys can excitedly point and breathlessly intone, “If he can make it with the ladies, then, by God, so can I!” This Josh Gad Jr. isn’t particularly funny or endearing, but he of course gets the girl (well, one of the girls) — this bit of wish fulfillment should add an extra five or so million to the domestic box office. On the other hand, the only nudity in the film comes not from the four beautiful women or the two beautiful men but from this guy, so maybe subtract a mil due to the expected gay panic on the part of the intended audience.

Speaking of the male writers, it took three separate teams of two guys — six total writers! — to produce this script. It was probably worth the piling-on, considering one team was previously responsible for Norbit, one for Freddy vs. Jason, and one for those inane Night at the Museum flicks. Perhaps these gents were able to weed out much of each other’s rancid material, allowing several amusing bits to float to the top. On the other hand, the juvenile antics that do drag down the

picture — moments like Mini-Me Josh Gad unable to conceal his erection or Efron fondling a corpse’s testicles — clearly reveal the fingerprints of man-children who have previously toiled for the likes of Kevin James, Jimmy Fallon and The Smurfs. It’s too bad a skilled comic writer like Tina Fey wasn’t tapped to drop the boys-will-be-boys drivel and beef up the potent bits that were already in place. Or how about Aaron Sorkin? I imagine Aaron Sorkin writing a Baywatch movie would pretty much be on bucket lists left and right.

But I digress. Bottom line: Baywatch ain’t great, but after such duds as that King Arthur clunker and the latest Jack Sparrow droppings, you could do worse than a day at the beach.

An art-house experience for older viewers not particularly interested in typical summer shenanigans, The Lovers ( ) stars Debra Winger and Tracy Letts as Mary and Michael, an unhappily married couple both enjoying affairs with other people. Mary is seeing a writer (Aidan Gillen) while Michael is dallying with a dance instructor (Melora Walters), and both are repeatedly being given ultimatums by their respective lovers: Tell your spouse that you’re leaving them, or else. While Mary and Michael each try to build up the courage to confess, they unexpectedly locate a burning ember among the cold ashes of their marriage.

Suddenly, they’re in no real rush to seize that divorce.

Winger and Letts are excellent in the central roles, and writer-director Azazel Jacobs does a rather remarkable job of making these colorless and not particularly likable people interesting. The film loses its potency in the third act, though, with every action leading to a gotcha ending that’s too obvious, too facile and too clever for its own good. Too bad. !

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BLACK MAN ’S BOMB-

SHELL

PIEDMONT-BORN COMIC BOOK PIONEER MATT BAKER

BY IAN MCDOWELL Matt Baker was a damn goodlooking black man who made his living drawing damn good-looking white women at a time when talking to one could have gotten him killed.

Born in Forsyth County but raised in Pittsburgh, this debonair young manabout-Manhattan who didn’t live long enough to be an old one was the most successful African-American comic book artist of the postwar era.

Mastering a wide variety of genres, including crime, jungle adventure, western and romance, he was a top talent at a time when very few black artists drew comics. George Herriman, brilliant creator of Krazy Kat, was of mixed Creole heritage, but passed for white. The comic book and magazine publishers, editors and writers with whom Baker worked, including Stan Lee, knew that he was black. So did the ladies who liked him.

“All the women, white and black, went crazy for him, and I know he had a bunch of gals on the hook,” said artist Bob Lubbers, whom David Hajdu interviewed for his 2008 book The Ten Cent Plague: The Great Comic Book Scare and How It Changed America. Lubbers recalled Baker as something of a player. “You know how he drew women perfectly? The anatomy was magnificent, down to every muscle.

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Courtesy Matthew D. Baker and ©2005 Estate of Matt Baker.

Image may not be reproduced in any form.

1944 Self-Portrait shows Baker at the time his artwork first appeared in print.

Everyone who knew him knew that could only come from exhaustive personal research. He was the envy of everybody.”

Arnold Drake, who would later cocreate The Guardians of the Galaxy and who worked with Baker on the pioneering 1950 “picture novel” It Rhymes with Lust, painted a similar picture in a 2004 interview. “Women were crazy for him;

all sizes, shapes and colors.” Drake also called Baker “the hippest dresser I had ever seen.”

Frank Giusto, who claimed to have been one of the rare peers Baker truly opened up to, had a different take. In a 2011 interview with Sean Clancy included in Jim Amash and Eric Nolen-Weathington’s highly recommended Matt Baker: The Art of Glamour (TwoMorrows Publishing, 2012), the veteran inker says his friend wasn’t interested in women. “I knew he was gay because of some of the people he hung around with and the parties he went to; he’d tell me about this one or that one or whatever.”

Was he a pioneering LGBT talent as well as a pioneering African-American one? As Joe Palmer notes in “The Importance of Matt Baker” at www.gayleague.com, “the claim that Baker was gay rests solely on Frank Giusto.” His nephew Matt D. Baker, who so graciously supplied family photos for this article, mentioned his uncle’s “numerous attractive lady friends.” Despite the work of comics historians like Greensboro’s Jim Amash, who put me in touch with Baker’s namesake, much remains unknown about this singular talent.

We know he graduated from high

school in Pittsburgh around 1940 and, like many African-Americans of the time, moved to DC for government work, then relocated to New York, where he enrolled in the Cooper Union School of Engineering, Art and Design in the East Village. An admirer of such comics artists as Lou Fine, Reed Crandall and Will Eisner, he applied in 1943 or 1944 to the studio co-founded

by Eisner and Jerry Iger to “package” comic book pages for publishers entering the new medium. His only sample was a drawing of a beautiful woman, but that and his sartorial sense, looks and charisma, not qualities for which comics artists were noted, impressed associate editor Ruth Roche. His first confirmed work was penciling and inking the women in a “Sheena, Queen of the Jungle” story in Jumbo Comics #69 (cover-dated Nov. 1994).

Whatever his private life, Baker was a master of what comics collectors call “Good Girl Art,” drawing bombshells that could have been played by Rita Hayworth or Bettie Page. He drew them in action, at ease and, of course, tied-up, dressing them in sarongs, military uniforms, leopard skin bikinis, smart forties dresses and sexy fifties gowns, and in the case of his

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Phantom Lady #17 (1948). Baker’s notorious bondage cover of the titular heroine earned the ire of anti-comics crusader Dr. Fredric Wertham. Now a much sought collectors item routinely selling for astronomical prices. best remembered character, the Phantom Lady, a barely-there costume that made Wonder Woman’s look demure and earned Baker the reputation of the premiere “headlight artist” in the business.

Baker’s bosom-n-bondage cover for Phantom Lady #17 in 1948 was singled out for condemnation six years later by Dr. Fredric Wertham, whose alarmist bestseller Seduction of the Innocent helped kill the bestselling crime and horror titles of the 1950s and marked the end of the innovative EC Comics. Baker didn’t cre-

Cinderella Love #25 (1954). Baker’s cover for this Archer St. John publication shows him at the peak of his powers, making this issue the holy grail of romance comics collectors.

ate the character, whose debut in Police Comics in 1941 made her one of the very first female superheroes, but working with editor and writer Ruth Roche (who also scripted Sheena, Queen of the Jungle and Señorita Rio and clearly needs a biography of her own), revamped her into a scantilyclad bombshell who put the “bust” in crime-busting.

That Baker’s heroines were white (barring the occasional Polynesian princess) was just the way it was in comics of the 40s and 50s. Even today, too few titles

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Amazing Ghost Stories #14 (1954). Baker isn’t known for horror or sci-fi subjects, but this shows he could match the best of them. Note the lush jungle foliage. From the collection of Edward Fields.

from Marvel and DC feature heroines of color. Other than the short-lived Negro Romances, for which Baker never worked (but may have been the model for the fedora-wearing hepcat on the cover of the final issue), there weren’t any during his too-brief lifespan.

He did draw the first known black hero in American comics. Voodah debuted in Crown Comics #3 in 1945 and headlined until issue #19. But while black in the interior panels, he was a white Tarzan clone on the cover. After his first couple of

appearances, he became white inside the book, as did his girlfriend Jano. Despite creating a loincloth-clad jungle hero who was, briefly, actually African, Baker was better known for drawing scantily-clad women than scantily-clad men, although he depicted muscular action heroes better than most of his peers.

He was born in Forsyth County on December 10, 1921. His nephew Matt D. Baker told me there’s no surviving record of his birth city or hospital. In a 2011 interview with Jim Amash, he identified his uncle’s

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father Clarence as born in Abbott’s Creek and his uncle’s mother Ethel as born in Kernersville.

Clarence Matthew Baker, who never went by the first name inherited from his father, was a year younger than Stan Lee, with whom he’d work at Timely and Atlas, the predecessors to Marvel. His heart, damaged by childhood rheumatic fever, not only kept him out of World War II, but prevented him from seeing the 1960s superhero renaissance Lee would take credit for. He was four months short of 38 when he died of a stroke on August 10, 1959, less than two years before the November 1961 debut of The Fantastic Four, the book that launched the so-so-called Marvel Age of Comics. It’s easy to imagine Baker becoming a star Marvel artist like Jack Kirby.

I talked about this with veteran comics inker and historian Jim Amash, whose aforementioned Matt Baker: The Art of Glamour is the sourcebook for anyone interested in the artist’s life and career.

I’ve known Jim since he worked at Acme Comics in its original Elm Street location, back when prostitutes would yell “Hey, college boy” out of the broken windows of the skid row hotel next door. He sums up Baker’s style this way: “I think his influence is really far reach-

Courtesy Matthew D. Baker and ©2012 Estate of Matt Baker.

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Toward the end of his life, Baker also did illustrations for Men’s Magazines. This half-tone spread for Rage for Men #8 (1958) depicts a real person, Julie D’Aubigny, the notorious 18th Century bisexual opera singer and duelist who really did fight (and allegedly, kill) men, sometimes while topless. Ironically, one of Baker’s most sensational and salacious works depicts a real person and a real event. ing. Look at [contemporary fan favorite] Adam Hughes. Baker transcended his time period. He was working in a house style through most of the forties. When he got to the fifties, his style became more Madison Avenue, less bombastic. The fact that he could switch from bombast to that so quickly is a good indicator of his range.”

“If you look at his Westerns and his stuff for [Marvel predecessor] Timely, you see another shift. He started to break out of that urbane sleek style that he had done for [magazine and comics publisher Archer] St. John in the early 50s and added more emphasis on drama. It’s like he splits the difference between what he’d done in the 40s and the 50s. My personal feeling is that if he had lived into the 60s, he would have adapted to and mastered the Marvel style, and you might have seen a Matt Baker version of Jack Kirby, with correct anatomy and everything. I think he could have adapted to the 60s styles with no problem. He had three styles as it was. A man who was doing that, and was 37 when he died, he could certainly have adapted to the Marvel Age.” Jim thinks the happiest professional period in Baker’s life was when he worked for Archer St. John, whose publishing empire included various crime and men’s magazines as well as comic books like Mighty Mouse, Atom-Age Combat, Strange Terrors, and Married Romance. For St.

John, Baker drew stories for Canteen Kate, Teen-Age Romances and the allegedly true crime Authentic Police Cases, as well as the proto graphic novel It Rhymes with Lust.

“St. John was very progressive for his time. Didn’t care about your race or your gender. Matt Baker was obviously going to flourish under that. Stan Lee was the same way. He was color blind, all he cared was that you could get your work in on time. He was probably happy to have Matt Baker. Not a common occurrence in that time period.’

What was common was having to work your ass off in a low-paying industry, particularly if you lived as large as Baker and had higher-paying non-comics markets denied to you because of your color.

And that, along with his damaged heart, helped kill him.

“He was always under deadlines and deadlines were always heavy pressure. In 25 years of working in comics, I know you have to do the best job you can with the deadline they’ve given you. Sometimes you have plenty of time and sometimes you have to work all nighters. Matt Baker in his prime years was putting out a lot of work. I’m sure he was working around the clock.”

Jim also speculated that the five flights of stairs to Baker’s apartment on 116th Street contributed to his death. In Shaun

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Courtesy Matthew D. Baker and ©2012 Estate of Matt Baker.

May not be reproduced in any form.

PRESENTS

Clancy’s interview with Frank Giusto in Jim’s book, Giusto says the elevator was often out of service, and that he once joked to Baker “Can’t you find something a little lower than five floors?” Giusto says that Baker was conscious of his own mortality, but “He didn’t dwell on the fact that he had a bad heart. He was never looking for sympathy.”

Baker’s final comics panels appeared posthumously. His last known confirmed work is the six-page “I Gave Up the Man I Love!” in Atlas/Marvel’s My Own Romance #73 (Jan. 1960). Coupled with his dying before the superhero revival, the fact that much of his mature work was for romance comics is another reason his achievements have only been recognized in the last decade or so. Romance comics, with their once-vast readership of girls and grown women, used to be ignored by historians and critics of pop culture, who viewed comics fandom as a boys club, although that’s changing with the publication of such works as Michelle Nolan’s 2008 Love on the Racks: A History of American Romance Comics.

There’s an argument to be made that working on the 1950s romance titles edited by Marion McDermott helped Baker develop a more realistic style aimed at a female readership, just as much as working with Ruth Roche at the Igor Studio in the 40s shaped his depictions of vaWWW.YESWEEKLY.COM

va-voom bombshells for the millions of soldiers buying comics at the end of World War II. He was also experimenting with a more science fiction-oriented style in the years before his death. As Jim Amash said to me, “It’s a shame we never got to find out what opportunities the 60s and 70s might have held for him.”

Due to comics historians like Jim Amash, Clarence Matthew Baker is better remembered now than he was in previous decades, when I, who’d been reading about comics history ever since I was a teenager, had never heard of him. In the course of my email correspondence with Matt D. Baker, the artist’s nephew expressed gratitude for Jim’s work. “Jim’s dedication to getting the true essence of my uncle’s life as an artist and his place in the comic industry gives me knowledge that Uncle Matt’s talent, skill and style were both revered and sought after, especially when very few African-American artists were able to do the work he did.

Jim’s work throughout these years has been heaven-sent.”

Baker was inducted into the Will Eisner Comic Book Hall of Fame in 2009. For a career-wide sampling of his work, along with copious interviews and analysis, Matt Baker: The Art of Glamour is hard to beat, but It Rhymes With Lust and Matt Baker’s Canteen Kate are also in print and highly recommended. !

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last call [THE ADVICE GODDESS] love • sex • dating • marriage • questions

BY AMY ALKON

TALE OF WHOA

A dear friend who’s also a co-worker just went through a breakup with her girlfriend, and she’s devastated. I don’t know what to tell her. I’ve tried everything: You dodged a bullet; it’s a blessing in disguise; you’re better off without her; you should get back out there. Everything I say seems to be wrong, and she gets angry. She’s crying and isolating a lot, and I want to help, but I don’t know how. — Clueless Clearly, your heart’s in the right place.

However, you might send your mouth on a several-week vacation to a no-talking retreat.

Consider that we don’t say to people who are grieving over someone who’s died, “C’mon, think positive! One less person you have to call! And didn’t he live kinda far out of town? Be glad you don’t have to make that schlep anymore!” It helps to bear in mind the theory that evolutionary psychologist and psychiatrist Randolph Nesse has about sadness (and its goth sister, depression): These emotions — like all emotions — have functions. For example, being sad (like about a breakup) leads us to reflect on where we may have gone wrong — and possibly gain insights that will keep us from making return visits to Boohooville.

Also, note that not all emotions advertise — that is, have visible outward signs announcing to those around us how we’re feeling. Take envy. When your boss gives your rival the promotion you wanted, there’s no specific facial expression that conveys your longing for a well-targeted meteorite to take her out “Wizard of Oz”style. However, Nesse suggests that one of the possible evolutionary reasons for the very visible signs of sadness may be to signal to others that we need care — a message that gets sent loud and clear when one is sobbing into the shoulder of the bewildered Office Depot delivery guy.

Being mindful that sadness has a job to do should help you stop pressing your friend to see the “good” in “goodbye.” Probably, the kindest thing you can do is to try to be comfortable with her discomfort and just be there for her. Hand her a Kleenex and listen instead of attempting to drag her kicking and screaming to closure: “It’s 10 a.m. Aren’t you overdue for a round of cartwheels?”

FAILURE TO LUNCH

I’m not ready for a relationship now, so I’m having a friends-with-benefits thing with this guy. He typically takes me out to eat before we hook up. However, a couple of

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times, he had someplace to be right afterward, so he didn’t take me out to eat first. It really bothered me, and I’m not sure why. I know it’s just sex; we’re not dating. But I felt super-disrespected and almost cried later in the evening. I guess I felt used, which is weird because we’re really “using” each other. — Puzzled To a guy, “just sex” is enough. You don’t have to tell him he’s pretty and take him to Yogurtland.

Although intellectually, “just sex” is enough for you, too, the problem is your emotions. They might just seem like a sort of wallpaper to add oomph to your mental den, but evolutionary psychologists Leda Cosmides and John Tooby explain that emotions are actually evolved motivational programs. They guide our behavior in the present according to what solved problems that recurred in our ancestral environment.

Many of the threats and opportunities they help us manage are universal to male and female humans, thanks to, say, how a hungry bear isn’t all that picky about which sex its double humanburger comes in.

However, in the let’s-get-it-on-osphere, there’s only one sex that gets pregnant and stuck with a kid to feed. So women, but not men, evolved to look for signs of a sex partner’s ability and willingness to “invest.” Even today, when that investment isn’t there, female emotions are all “Ahem, missy!” — making you feel bad: hurt, disrespected, used. Wanting to feel better is what motivates you to take corrective action. As anthropologist John Marshall Townsend observed about female subjects from his research: “Even when women voluntarily engaged in casual sex and expressed extremely permissive attitudes, their emotions urged them to test and evaluate investment, detect shirking and false advertising, and remedy deficiencies in investment.”

And no, you can’t just plead your case to your emotions with “But I’m using birth control!” Your emotions are running on very old software (predating even those early ‘90s AOL floppies), so as far as they’re concerned, there’s no such thing as sex without possible mommyhood. In other words, if you’re going to make casual sex work for you, you need to see that it works for your emotions. Basically, your body is your temple, and prospective worshippers need to sacrifice a goat to the goddess — or, at the very least, buy the lady a hamburger. !

GOT A problem? Write Amy Alkon, 171 Pier Ave, #280, Santa Monica, CA 90405, or e-mail AdviceAmy@aol.com (www.advicegoddess.com) © 2017 Amy Alkon Distributed by Creators.Com.

[HOROSCOPES] [GEMINI (May 21 to June 20) This is a time in which you must take a look at reality. The facts are being exposed related to your life direction. Maybe you are just realizing how others see you. Possibly the culprit is yourself as you have avoided clear knowledge of your total picture.

Becoming conscious brings the power to resolve issues.

[CANCER (June 21 to July 22) Mars, the warrior, enters your sign this week and will be traveling with you for seven weeks. This energy is especially helpful in defining our boundaries. Periodically we need to examine who we are and who we are not. Often something or someone is eliminated. In general, it increases your courage and physical strength.

[LEO (July 23 to August 22) There is the possibility that you will attract someone who is needy, causing you to feel that you should help. Before you go very far, talk to your friends and ask who this person is. He or she might be a “vampire,” one who takes far more than he can give. On a higherlevel, there is also the possibility of an encounter with your Spirit.

[VIRGO (August 23 to September

22) Your concentration is good at this time and will help you accomplish any mental project you need. Use your hands to create artwork and gardening is also favored. Love life and time spent with children would go well this week. Nurturing will feel good to you.

[LIBRA (September 23 to October 22) Aspects favor the law, circumstances involving distant people, travel, and the internet. Relationships go well with a little surprise change in the mix. You have been needing to do something different together. Now is the time to experiment.

[SCORPIO (October 23 to November 21) A child or a lover might scratch an old emotional wound. In the old days it felt like an abandonment so this feels painful. It is important for your mental health to stay in the present moment, lest you overreact to the situation and generate misery for yourself and others. Try not to relive that old history in knee jerk fashion.

[SAGITTARIUS (November 22 to

December 21) Primary relationship(s) are going well now. The two (or more) of you may be working together to accomplish a long-term goal. You have been building and growing your new identity for the

last two or more years. This week some of that effort is showing budding signs of favorable results.

[CAPRICORN (December 22 to January 19) Relationships to your family of origin are given a boost. It is possible you are on a family vacation with everyone, including your adult family and children.

Make an effort to reach out. Plan a barbecue in the backyard, if nothing else.

[AQUARIUS (January 20 to February 18) Let yourself make changes, even small ones, in your daily routine. It will be a refreshing shift from the norm. Give the artist in you an opportunity to spread its wings and experiment with a new or unusual medium. Play with accent pieces in new colors to brighten your mood.

[PISCES (February 19 to March 20) There are vampires loose in the world and the Fish tends to attract them. If you have aged a bit, you probably have begun to smell them when they enter your vicinity. Those who have not will be learning a lesson soon. It’s a required course for this sign. Save some energy for yourself.

Don’t take over someone else’s problem.

[ARIES (March 21 to April 19) An abandonment issue from the past may be re-enacted in the present, only in different clothing. The symbolism points toward early issues with siblings or elementary education peers. If you have an overdone sense of rage this week, it is most probably caused by issues from long ago.

[TAURUS (April 20 to May 20) You are planning to make a change soon that will surprise everyone. You have just a few more projects to accomplish and then you can tell everyone. You seek a practical and ordered change, which means laying all the bricks just right. Love life appears stable and unconflicted. !

Are you interested in a personal horoscope?

Vivian Carol may be reached at (704) 366-3777 for private psychotherapy or astrology appointments.

There is a fee for services.

Website: http//www.horoscopesbyvivian.com

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