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This Saturday, the Little Theatre of Winston-Salem will host its third annual fund-raising event, “ THE BASH,” beginning at 7 p.m. at the Masonic Center, 4573 County Club Road, Winston-Salem. Tickets start at $30 (general admission), with guaranteed Premier Seats for $50. 4 This letter is in reply to Jim Longworth’s recent article in Yes!Weekly titled “Democrats Still Don’t Get It”. I agree with the author’s underlying contention, but found the article contained NUMEROUS MISSTATEMENTS and omissions.

6 THE LUCKIEST MAN IN AMERICA, written by Maggie Briggs and director Samir Oliveros, dramatizes the recordbreaking 1984 run of contestant Michael Larson (played by Paul Walter Hauser) on the CBS game show Press Your Luck (the film’s original title).

11 Chris Brubeck’s “ CONFLUENCE: DOUBLE CONCERTO for Classical Guitar, Blues Guitar & Orchestra” will make its North Carolina debut as part of the Greensboro Symphony Orchestra Masterworks series, on April 11 at the Steven Tanger Center for Performing Arts in Greensboro.

12 At the April 1 meeting of Greensboro City Council, multiple BLACK LEADERS AND COMMUNITY ORGANIZERS called for investment in their Southeast Greensboro neighborhoods, which they accused city leadership of having long ignored.

Saturday night fever for the Little Theatre!

BY MARK BURGER

This Saturday, the Little Theatre of Winston-Salem will host its third annual fundraising event, “The Bash,” beginning at 7 p.m. at the Masonic Center, 4573 County Club Road, Winston-Salem. Tickets start at $30 (general admission), with guaranteed Premier Seats for $50. A Premier Table for eight comes complete with a branded (and reﬁllable) wine glass. Additional o ers include a commemorative wine glass with free reﬁlls for $25, and for $20 guests will receive 10 ra e tickets to potentially win a bevy of exclusive prizes. Tickets can be purchased by calling 336-725-4001 or by visiting https://www.ltofws.org/bash

“The Bash is more than just a ﬁne night out,” explained Joelle Irons, the Little Theatre’s executive director. “It’s a vibrant gathering that brings our community together for a shared love of theater. It’s an evening of celebration where theater enthusiasts, supporters, and friends come together to recognize the impact of the Little Theatre of Winston-Salem. Through laughter, entertainment, and camaraderie, we not only honor the magic of live theater but also ensure its continued growth and accessibility for future generations. The Bash is a testament to the power of the arts in uniting people and enriching our community.”

The evening’s festivities will include live music, food and drink from popular local restaurants, ra es, silent and live auctions, performances by such talented Little Theatre veterans as Taylor Bechtold, Charity Hampton, Morrissia Ravenell, Isaac Hampton, Ralph Shaw, and Evan Wong, accompanied by Michael Lauricella — and there are bound to be some fun surprises along the way. All proceeds from the event will beneﬁt the Little Theatre of Winston-Salem, the oldest performing arts organization in the Piedmont Triad.

Another Little Theatre favorite, actor/ director Jim McKeny, will act as host for the event. “I was quite shocked when I was asked to consider being The Bash emcee,” he said. “Then I felt a deep sense of honor followed immediately by an overwhelming ﬂood of terror! I’ve attended the fundraisers before but

merely as a guest. It’s the ﬁrst time that I recall being asked to emcee anything.”

He then quipped: “I’ve reached out to Stephen Colbert for some opening monologue tips, but I am not holding my breath …!”

For over 30 years, McKeny has been a mainstay at the Little Theatre, having acted in or directed countless productions. “I came to Winston-Salem from L.A. in late ’89 and the ﬁrst show I saw at the Little Theatre was ‘The Boys Next Door’ in 1993. It had such production values, and I thought it would make a wonderful theater home. The ﬁrst show I appeared in was ‘See How They Run’ in 1994, directed by the late Gene Johnson. One of the things that has always made the Little Theatre stand out for me was the attention to the quality of the productions. The sets, lighting, costumes, directors, crews, and the level of talent that always turn out for the shows. Having been an L.A. actor prior to arriving here, I imagine I came o as snooty and full of myself, but the Little Theatre family allowed me into the fold, and for the past 31 years they’ve been my theater family, too.”

In December, McKeny directed Charlie Lovett’s adaptation of “A Christmas Carol” at the Little Theatre, which was a rousing success. “It was a huge cast, and thankfully we had tons of folks try out. I had an opportunity to give roles to several people who had never once set foot on a stage before. They were all made to feel safe and protected and every one of them performed like troupers … the unabashed joy on their faces

as they all rose to the many challenges and found themselves in front of packed houses show after show. But that wasn’t even the best part of it; the greatest thrill for me was that these, for the most part complete strangers, bonded and became a family virtually overnight. It’s a special thing to witness, and it’s a precious thing to nourish.

“For 90 years, the Little Theatre of Winston-Salem has been an incubator for talent both on — and o -stage,” McKeny said. “The number of people who started here and went on the make wonderfully successful professional careers for themselves is certainly a strong part of its legacy and community value, no denying it. What keeps it vital and critical to our area is that it is WinstonSalem’s original community theater. Steeped in history to America’s ‘Little Theatre’ movement of the ‘30s, it keeps striving to bring professional quality theater to the Triad through the passions, talents, and sheer will of everyday folk

who ﬁnd their sense of purpose onstage, backstage, and behind the scenes.” Of course, community theaters rely on patrons and supporters to sustain a consistent level of quality entertainment, which is why The Bash is such a key event in the Little Theatre’s annual repertoire. “In these days of budget cuts to theater arts and opportunity for ‘safe spaces’ for personal expression, it’s our civic duty to make sure organizations like the Little Theatre of Winston-Salem thrive this year and for future years so those spirited young and young at heart may realize the joy of a little theater in their lives,” McKeny said. !

WANNA go?

For more information, call 336-725-4001 or visit the o cial Little Theatre website: https://www. ltofws.org/.

Jim McKeny

Letter to the Editor: “Democrats Still Don’t Get it” Response

BY JOEL LANDAU | GREENSBORO, N.C.

This letter is in reply to Jim Longworth’s recent article in Yes!Weekly titled “Democrats Still Don’t Get It”. I agree with the author’s underlying contention, but found the article contained numerous misstatements and omissions. For instance, he blames Clinton’s unsuccessful 2016 Presidential bid largely on her arrogance. This is unlikely given that her opponent, Trump, was at least as arrogant as Clinton. Longworth then claims Biden had put Harris in charge of the border crisis — this is an untrue Republican talking point; Harris was tasked with looking into the reasons people were coming here from Latin America, not with ﬁxing the problem. He also criticizes Harris for not moving her politics to the center. Every election cycle the mainstream media pushes the Dems to move towards the center DESPITE their biggest successes coming when they actively promote various progressive causes that Americans widely support. Yet, I agree with Longworth that the Ds still don’t get it in that they continually are out maneuvered by the Rs when it comes to framing their respective messages. Re Clinton, it was jarring to watch her let Trump control the

discussions and walk all over her during their debates.

In general, with some exceptions, for years the Republicans have been playing hardball while the Democrats have been playing whi e ball, with the advantage to the Republicans. Looking at Trump’s 2024 victory, you can’t overstate the importance of Senate Majority Leader McConnell’s stealing 2 Supreme Court seats from the Dems. If those conﬁrmations had followed the normal, established procedures, the SC would have had a 5-4 liberal majority rather than its 6-3 conservative majority. It would not have allowed the hollowing out of Voting Rights and Civil Rights laws which gave Trump a boost and greatly enhanced the Rs ability to win the House. Also, the NC State Supreme Court’s conservative majority allowed, last year, a redistricting plan that handed the Rs an additional 3 seats in Congress. Without those 3 seats the Ds would have taken the House by 1 seat. This would have curtailed the current Trump takeover of our govt.

I enjoy reading Longworth’s columns, partly because he takes on whatever issue he sees as appropriate, regardless of party a liation. In this case though there’s more to the story than the examples he cited. !

[WEEKLY ARTS ROUNDUP]

UNCSA PRESENTS “BALLYMORE, AN OPERA IN TWO PARTS”

SUBMITTED BY SCOTT CARPENTER CAPTURE Public Relations & Marketing

The University of North Carolina School of the Arts (UNCSA) 2024–25 performance season, “UNCSA Presents,” continues in April with a featured performance of “Ballymore, an Opera in Two Parts” from the A.J. Fletcher Opera Institute. “Ballymore” will be performed on Wednesday, April 23 at 7:30 p.m.; Friday, April 25 at 7:30 p.m. and Sunday, April 27 at 2 p.m. at the Agnes de Mille Theatre on the UNCSA campus, located at 1533 S. Main St. in Winston-Salem.

Fletcher Opera Music Director James Allbritten conducts “Ballymore.” With music and libretto by Richard Wargo, the contemporary opera “Ballymore” is based on a stage play, “Lovers,” by Brian Friel. It follows the complicated romances of two couples living in Northern Ireland in the 1960s.

During part one, called “Winners,” the opera introduces teenage lovers Mag and Joe. When Mag becomes pregnant, the two face scorn from the community. Amidst the turmoil, they struggle to study for their exams and instead decide to row out to the middle of a nearby lake.

The second part, called “Losers,” focuses on middle-aged lovers Andy and Hanna. The pair has trouble establishing a relationship under the watchful eye of an interfering mother and bothersome neighbors who do not approve of their union. Though they eventually marry, the question of their happiness looms.

“The design settings in Brian Friel’s original play are highly specific, and composer Richard Wargo has honored those locations while using music to elevate them. One space is mystical, filled with freedom and possibility where the sky goes on forever; the other is crushingly domestic, a symbol of an unfulfilled life, where the ceilings bow under the weight of the expectation imprisoning the inhabitants,” guest director Stephen Wrentmore said. “It’s crucial to understand Ballymore as two distinct pieces with interconnected themes rather than

a single cohesive whole — each demands its own world.

“Our designer, Shuyang Zhou, along with her associates and assistants, has created two wonderfully immersive environments that allow these stories to unfold,” he added. “One of the things I deeply admire about Friel — and which Wargo ampliﬁes through his music and sensitive adaptation — is the complexity of the characters. As a director, I ﬁnd the historical authenticity compelling, yet there’s a refreshing lack of sentimentality and cliché. This makes exploring these characters’ lives all the more thrilling.”

Wrentmore noted that costumes play a critical dramaturgical role in “Ballymore,” helping to anchor the piece in the 1960s, if not a speciﬁc place.

“For me, design is an essential storytelling tool. Sets are not decorative, and the costumes are not clothes. Krista Commisso, costume designer, and her team, along with Celine Lin, hair and makeup designer, brought the vision to life,” Wrentmore said. “’Ballymore’ resonates across generations. Audiences may look at this 1960s rural Irish setting, with its religious dogma, small-town familiarity, and deep undercurrents of secrecy, and ﬁnd striking contemporary relevance. Or they may simply enjoy a beautifully told story, performed by an exceptionally talented group of students. Either way, it’s a win.”

Tickets to “Ballymore” are $25 per for adults and $20 for non-UNCSA students with a valid ID and tickets can be purchased online or by calling the box o ce at 336-721-1945. !

PHOTO BY SHUYANG ZHOU A.J. Fletcher Opera Institute: “Ballymore,” an Opera in Two Parts

36 Things people run on racetracks in Switzerland’s capital?

39 Coke and Pepsi’s business?

43 Collide with 44 Robots in human form

45 “Fer cryin’ out loud!”

48 Barkeeper on The Simpsons

49 Audio game from Hasbro 50 Soothsayer

52 O -limits

54 Farrow of ﬁlm

57 Storytellers’ leagues?

Cheatin’ with heart: The Luckiest Man in America

There aren’t many movies about game-show scandals, with Robert Redford’s Quiz Show (1994) inevitably the one people know best, and remains perhaps Redford’s best ﬁlm as a director, although it wasn’t particularly successful at the box o ce. Last year, actress Anna Kendrick made her directorial debut with the fact-based Netﬂix drama Woman of the Hour, although it didn’t necessarily depict a scandal.

Now, we have The Luckiest Man in America, written by Maggie Briggs and director Samir Oliveros, which drama-

tizes the record-breaking 1984 run of contestant Michael Larson (played by Paul Walter Hauser) on the CBS game show Press Your Luck (the ﬁlm’s original title). Larson, who drove an ice cream truck in Ohio, essentially crashed the audition process but was selected nevertheless by the show’s creator/producer Bill Carruthers (David Strathairn). By all appearances, Larson is a plodding dunderhead — just the sort of working-class, “middle America”-type Carruthers thinks is an ideal contestant.

As it turns out, Larson is much more than that. He has assiduously, obsessively studied the show and proceeds to go on a record-breaking run, to such an extent that Carruthers and the network team are rocked back on their heels and wonder if he isn’t cheating. It’s particularly fun watching the blasé attitudes of the network personnel crumble as they go into panic mode. It becomes even more fun when Michael begins to suspect that they’re

on to him, with both sides exhibiting paranoid behavior that intensiﬁes as the cash total mounts — all of it captured on television in front of a live audience that begins cheering Michael on. He instantly becomes a sort of folk hero, even while e orts are underway to ascertain who Michael really is, what he knows, why he’s winning, and whether or not he can or should be stopped.

Hauser, doubling as an executive producer, brings surprising emotional depth to Larson while remaining an enigma throughout. He’s eccentric and unpredictable, but you don’t necessarily dislike him. The performance, like the tone of the ﬁlm, is designed to keep the viewer a little o -balance, a little unsure what will happen next, which is a key component of the overall success of The Luckiest Man in America. It sends up the game-show milieu while also satirizing it, thereby making a statement — although not a weighty one — about the American Dream and the lengths some people will go to make it come true.

Surrounding Hauser is a stellar ensemble, including Maisie Williams, Haley Bennett, Patti Harrison, Shaunette Renee Wilson, Damian Young, Ricky

Russert, and David Rysdahl, all of whom make an impression, although Bennett (as Michael’s estranged wife) likely knocked out her role in a single day. The real standouts are Walton Goggins as glad-handing Press Your Luck host Peter Tomarken; Shamier Anderson as Chuck, who is tasked with sni ng out Larson’s identity and learns some harsh lessons about network politics as a result; Brian Geraghty as fellow contestant Ed, who exhibits more compassion than competitiveness toward Michael; and the always welcome Strathairn, whose Carruthers begins to squirm under the pressure, knowing full well he’s the one who screwed up. There’s also a quirky cameo by Johnny Knoxville as a TV talkshow host who interviews Larson in a fantasy sequence, and although he’s not speciﬁcally playing him, there’s a distinct Johnny Carson vibe in his portrayal.

Running a tight, trim 90 minutes, The Luckiest Man in America gets all its points across without belaboring them, although some might have wished for a more in-depth or nuanced treatment. It’s funny and incisive — a quintessential and very contemporary American fable. Sometimes, nice guys do finish first … even if by underhanded means. It’s how you play the game, and this film plays it smart.

Mark Burger

Contributor

spread What’s Spinning?: Record Store Day 2025

Record Store Day makes its annual rotation, which means it’s time for my annual deep dive into the N.C. record-lovin’ world.

O cially speaking, Post Malone is the 2025 RSD ambassador and the whole shebang is fueled by manic collectors and major exclusive releases — all in the spirit of celebrating the cultural dynamo and cornerstone that is the independent record store.

And celebrate we shall — exclusive releases or not — there’s rad shops and artists laying wax around North Carolina this year.

OFFICIAL RSD REVOLUTION

Peter Holsapple is the face of RSD 2025 around these parts: with the Winstonnative’s new record “The Face Of 68,” among the o cial RSD exclusives; and his song “I Can Help” also appearing on the Sweet Relief Musicians Fund RSD compilation (an organization that provides ﬁnancial assistance to music industry workers in need).

A timestamp of life at the age of its release, the “The Face Of 68” o ers Holsapple’s ﬁrst solo record in seven years; and is extra ﬁtting for an RSD release, coming from “That Kind of Guy” lead single — the kind with “20 box sets of Rolling Stones...” the kind who’s spent his life on both sides of the record store counter. The kind still making bang-up records at 68.

“I’ve been at this for a long time,” Holsapple said. “I picked up my mom’s guitar after seeing the Beatles on The Ed Sullivan Show in 1964, just like hundreds at that time. It stuck, and I began singing and playing in bands right after that.” From his time in the dB’s, as part of R.E.M; Hootie & the Blowﬁsh and the Continental Drifters, Holsapple draws upon experiences to build a rock’n’roll reﬂection — intelligent, melodic — continuing leaning into clever wordplay, woven across trademark pop-rock melodies. This latest o ering is a little heavier, a

little more introspective than prior work–topics exploring a lifetime’s expanse to the grit of electric guitar. Grief, love, records. The fundamentals.

Produced by Don Dixon (REM, The Smithereens), “The Face Of 68,” showcases Holsapple’s reﬁned guitar work and songwriting prowess.

“To say that I’m overthe-top excited about this would be an understatement,” Holsapple said, reﬂecting on his storied career; and the upcoming album release show with Michael Slawter on April 24 at Gas Hill Drinking Room.

RSD EVENTS

Holsapple will be at Josey Records and Music in Dallas on RSD proper; but fellow Winston-native and dB’s bandmate, Chris Stamey, will host a special Chamberpop Concert at the Wake Forest Listening Room RSD evening.

John Howie Jr. & the Rosewood Blu are also getting in the RSD spirit–releasing their new record, “The Return of…” in limited Laguna-blue vinyl; and performing at Schoolkids Records in Raleigh for RSD. Howie and his country-rock cohort will bring the party to the Triad for a release show at Gas Hill Drinking Room on April 19.

Durham’s Daughter of Swords will also celebrate the release of their new album “Alex,” with an idyllic release party and signing session — over mimosas and pancakes at Psychic Hotline’s Mailroom Outlet & Newsstand, 10 a.m. to noon on RSD morning.

TALKING SHOP IN THE TRIAD

In Record Store news, Schoolkids closing their Chapel Hill location last November — after nearly 50 years — was a gut punch. This writer still mourns the Greensboro Schoolkids spot of her childhood (now the Walgreens at the corner of Spring Garden and Josephine Boyd). In a similar heartbreak, Winston-Salem’s Underdog Records shuttered its doors as a brick-and-mortar on March 1. Motivated by owner Jonathan Hodges’ move to Birmingham, Ala.; he’ll continue Underdog operations in an online format from his

new neck of the woods. Triad vinyl lovers wish him the best.

In Greensboro, Soul Relief’s Harley Lyles also made a move — taking his shop from College Hill to the groovy mid-century Thornton Building (1830 Pembroke Rd., behind Irving Park Plaza on Lawndale). While he’s not going hard on RSD, a stop by Soul Relief is always worth a gander and conversation for crate diggers out there.

It’s a similar situation for RSD hunters at both the Greensboro and WinstonSalem Hippo Records locations: the stores placed orders for customer requests, but aren’t explicitly stocking titles. Vinyl-lovers wanting to share the spirit of the season, sans-exclusivity, can enjoy regular ol’ record-shopping at: the Gate City Noise booth at Design Archives, Remember When, and Dictator Records in Greensboro; Whoa! Tone Records in Kernersville; Your Song Sound Exchange in Thomasville; HiFi Records in Graham; and the Record Booth 93 at Granddaddy’s Antique Mall and Keith’s CDs & Tapes in Burlington.

RSD title-hunters should check Bu alo Boogie in Greensboro; King Records in Archdale; Main Street Vinyl in Burlington; and both the Winston and Mebane McKay’s locations.

…AND AROUND THE STATE

Taking the RSD spirit on the road, shops around N.C. are gearing up for the big day–but forewarning: the RecordStoreDay.com shop directory is a bit antiquated. While there’s something nostalgic about seeing long-lost spaces like CFBG and Maya among the listings, it’s not helpful for folks on the hunt. Triangle shops still spinning, despite not digging into RSD stock, include: Volume Records in Hillsborough; All Day Records in Carrboro; Chaz’s Bull City Records in Durham; Sound O Records & Hiﬁ in Raleigh; and Hunky Dory’s locations in Durham, Raleigh, and Cary. Durham’s Carolina Soul (headed by former WUAG all-star Jack Bonney,) will be stocking RSD titles and operating with extended hours (plus special “early bird appointments”). Record Krate in Cary is also o ering appointments for early shopping access.

In Raleigh, there’s the Schoolkids standard; Sorry State will up the punks and pump RSD selections; along with the nice folks at Nice Price and the Pour House (who’ll be ra ing prize packages of merch and Pour House Live pressings). Raleigh-area RSD hunters can also hit up Phil’s Music Exchange of Wilson; Old Records o the Shelf in Four Oaks (who’ll be ra ing concert tickets); and Broken Anchor Media in Youngsville. Down around Charlotte, RSD is a mystery at Salisbury’s Lost & Found; but a certainty at Recyclable Records in Kannapolis. As per the owners, “Ronnie is, of course, happy to see Judas Priest, Saxon, and Black Sabbath. Beth is happy to see the soundtrack for ‘Over The Edge.’” (Fun fact: this writer already has that soundtrack on vinyl — which she recalls snagging one ﬁne day, years ago, at the dearly missed Collectables Too where Dunkin Donuts is now on Holden Road). Noble Records in Matthews and Revolver Records in McAdenville will also be stocking RSD.

Travelers can also try their luck at Rock Star Records and Sell Your Soul Records in Mooresville; and Jampac Records in Monroe. They may not ﬁnd RSD exclusives, but they’ll likely not leave emptyhanded.

Getting into the Queen City proper:

Katei Cranford

Contributing columnist

Repo Record, Poet’s Vault, Hardy Boys Records, and Lunch Box will all be stocking RSD (with free mugs at Lunch Box).

Out West, Sylva’s In Your Ear Music Emporium will be stocking RSD titles, ra ing tickets to the Orange Peel, and hosting a performance from the Moody Bridge Band. Baby Rabiez in Arden will also o er a show (from Lost Cat) with RSD selections; while Hickory’s Far Out Records and J&B Vinyl in Lenoir keep it simple with sales and RSD shopping. There’s also Dead Wax in Lenoir, Green Eggs and Jam in Morganton, and Play It Again in Valdese for general record shopping pleasure.

In Asheville, Voltage Records and Static Age rip — though they haven’t announced any RSD exclusives; same for Records in the RAD. Harvest Records, however, is going hard for RSD: stocking titles, o ering bevies from area breweries and a commemorative tote for the ﬁrst 150 shoppers; along with sets from 103.3 Asheville FM DJs Donovan Quixote and Josie Ingate.

Heading east: Alley Cat Records in Greenville is stocking RSD, on top of hosting a show that evening (and prepping for the Green Wave Music Fest, April 2526). At the coast, Sudden Light in Nags Head, Azio Media: Books, Music & More in Shallotte, and Shut Up and Listen in Elizabeth City are all stocking RSD titles. Down in Wilmington, Yellow Dog Discs and the Record Bar will be running specials on top of o ering RSD titles. Meanwhile, Schoolkids Wilmington, Modern Legend, and The Fuzzy Needle Records & Books are teaming up to o er discounts at each other’s shops. Fuzzy Needle will open early, with libations, DJs, and gratitude for being “lucky to be a part of this community of folks who love music and records so much.”

Gravity Records won’t be stocking RSD exclusives, but their shelves are ﬁlled with choice selections and they’ll “take the opportunity to celebrate our record shop and shops across the world for being the pillars of culture that they are,” with sets from RizzyBeats (and other special guests).

LOCAL GROOVES

While RSD itself is a behemoth of national releases, it’s important to highlight the independent shops and local artists laying wax all year long. Local grooves are a’plenty around the Triad.

Looking over the year: Victoria Victoria put out “Sweetest Ache” (using Pour House Pressing) and Gage Winslow got characteristically weird with “Once I Went

Out, And Never Came Back.”

Looking ahead, central N.C.’s “postpunk Americana garage rock” quartet, the Goodbye Horses will celebrate “Ghost Weather,” (out via Dark Homes Records on vinyl, cassette, and CD) with an earlyafternoon release show (Wafer Thin and Matt Smith & The Cowboy Spankers), at the Flat Iron on May 25.

For guitarist Mark Malarkey, drummer Christopher Shipman is the “true aﬁcionado of current vinyl culture” in the band. “He’s often found spending way too much time and money at Hippo Records snagging new releases by some of his favorites like The Cure, My Morning Jacket, Spoon, and Nick Cave and the Bad Seeds,” Malarkey said — though he’s no stranger to the medium. Having worked at The Record Exchange and Tower Records in Philadelphia, Malarkey was imbued with “some serious love and nostalgia for the brick and mortar record store.”

“I have so many amazing memories from those days that will stay with me forever,” he continued — dropping a collection that spans the Replacements, to Hanoi Rocks, Husker Du, and The Kinks; along with locals like The Tremors, Subculture, COC, and Superchunk. Taken together, it’s a reﬂection of the extensive range of inﬂuences heard in the group’s debut o ering. As bassist RJ Hooker noted, “We’re working on expanding into even more genres like disco and experimental jazz, but that’ll have to wait for the next record.”

Speaking of next records: Sam Fribush will be at the Flat Iron for his own album release on May 31; celebrating “Another Side of the Sound,” the debut LP from the newly formed “DTF” trio featuring himself with guitarist Ari Teitel (The Rumble/ Dumpstaphunk) and drummer Adam Deitch (Lettuce).

“We’re three musicians with a deep respect for classic funk, jazz, hip-hop, and R&B, and we wanted to do it the oldschool way,” Fribush said. “Drawing inspiration from legends like Jimmy Smith, J Dilla, The Meters, and Tower of Power, we crafted tunes that blend timeless groove with a modern edge. This record is a true reﬂection of our passion and inﬂuences — can’t wait for you to hear it!”

Moving straight to the shelf: Walter Grady (Greensboro’s by-gone, small-time Berry Gordy) is getting his due on the upcoming “Eccentric Soul” installment from the Numero Group. Due for a doublealbum vinyl release on May 2, “Eccentric Soul: The Linco Label,” is the latest from the international archival recording and rights management company that gives

fresh spins to “forgotten music and iconography from around the globe.”

According to the group, “there is no Numero sound, rather, Numero is an aesthetic. An art project disguised as a business, a powerful collection, distribution, and marketing ﬁrm masquerading as an old-fashioned record label.” (That masquerade might be a contributing factor in Doug Klesch’s “Gate City Soul” remaining unﬁnished. Perpetually stalled in rights acquisitions, there’s about 45 minutes over three segments on Youtube; o ering a fascinating — even if incomplete — deep dive on Greensboro music Chitlin’ Circuit era.)

Laying wax for a new generation, “Eccentric Soul” compiles ”melodic milestones from the birthplace of the civil rights movement,” to showcase the “hotbed of Black excellence, activism, and raw talent” of east Greensboro in the 1960s and 70s. “At the helm of a half-dozen labels, local yokel Walter Grady assembled a rotating cast of townies, homecoming queens, and big men on [N.C. A&T] campus to manifest a scintillating sound that was both homegrown and revolutionary.“

Featured artists include: Gin and the Gents, Four Wheel Drive, Ronn Feaster, The Opells, The Versatile Gents, The Blenders, Cathy Smith, Electric Express, Bryant Headen, Roy Roberts Experience, The Party Brothers, Soul Hustlers, John McCain. Second Movement, True Transfusion, EW Funktionäre, Inner City Funktion, Bridge, Human Blood, and Rufus Thompson.

JUST RECORDS FROM NORTH CAROLINA

Expanding to N.C. albums worth a mention: Jack the Radio’s “Under Lonely Light,” SNIDE’s 7” split with Napalm Cruiser, and VALLETTA’s “Summer” LP (mastered by Winston-Salem’s Matt Tuttle) are three shelf-worthy selections that come to mind.

Transferring mediums: Come Hear N.C.’s “Shaped by Sound” television series (currently airing on PBS North Carolina), is hosted by Greensboro-native James Mieczkowski and highlights the wonders of N.C. music through live performances and interviews from featured artists — several of whom put out vinyl this year. Nnenna Freelon’s “Beneath the Skin,” Fancy Gap’s self-titled debut, Mipso’s “Gas in the Tank: Mipso Live Across America 2023/2024,” Fust’s “Big Ugly,” and Shirlette Ammons’ “Spectacles,” all showcase the specter of N.C. music — and that includes the Triad. Mipso’s Libby Rodenbough is Greensboro-born

and raised. She also appears on Fust’s album with Winston-native Justin Morris (“Big Ugly” also features horns from UNC-Greensboro grad, Jacob Bruner). And fellow UNC-G grad (and former WUAG News Director), Jessamyn Stanley (aka “the Beyoncé of yoga”) lent vocals to the closing track on “Spectacles.” Blue Cactus, the featured artist for episode 8, will join the party with the release of their third album, “Believer,” out on vinyl on April 25 from Sleepy Cat Records. Speaking of Sleepy Cat Records, they put out one of my favorite records of this past year: Lonnie Walker’s “Easy Easy Easy Easy.” It’s become a hard listen in the weeks since the passing of drummer (and wonderful weirdo) Raymond Finn’s passing; but remains very much worth a spin.

And then of course: there’s @justrecordsfromnorthcarolina, the Instagram account o ering a record in the ﬁgurative — a testament to the collective prowess of Winston-Salem wordsmith, composer, and “2x Grammy loser” Jonathan Kirby. Showcased in no particular order, the account chronicles Kirby’s eponymous two-decade pursuit of collecting “just records from North Carolina” through cover art and primo commentary. ”It doesn’t matter if it’s good,” he explained, “it doesn’t matter if it’s rare, it just matters if it’s JUST RECORDS FROM NORTH CAROLINA.” And it’s hilarious.

EMBER VINYL LOUNGE, FOR YOUR LISTENING PLEASURE

Meanwhile: at Ember Vinyl Lounge, it just matters that it’s on vinyl.

Hosted by the ﬁne hi-ﬁ freaks from Ember Audio, Vinyl Lounge is an exercise purely — and explicitly — for listening pleasure; last Thursdays of the month in the Hanes House at NCMA WinstonSalem.

Attendees are invited to bring records from their collection — each person gets a spin on Ember’s insanely high-quality equipment (we’re talking speakers worth more than my house) — all geared toward gathering and celebrating “the beauty of analog sound.” The result is an immersive, communal experience — and a remarkably diverse crowd spanning new collectors and seasoned crate diggers across all walks of life (and their respective preferred genres). From Ween to the works of Harry Mancini–Prodigy to the Colorblind James Experience — Blondie to Bach; as long as it’s on vinyl, anything goes at Vinyl Lounge (next up on April 24). !

KATEI CRANFORD is a Triad music nerd who enjoys spotlighting artists and events.

Natalie Garcia

Conﬂuence at the Symphony

Chris Brubeck’s “Conﬂuence: Double Concerto for Classical Guitar, Blues Guitar & Orchestra” will make its North Carolina debut as part of the Greensboro Symphony Orchestra Masterworks series, on April 11 at the Steven Tanger Center for Performing Arts in Greensboro.

Marking the ﬁfth concert in the GSO Masterworks series, the event promises an “unforgettable fusion of genres that will captivate guitar aﬁcionados and general music lovers alike,” showcasing the unique blend of classical sophistication and blues soul through the masterful work of guitarists Thomas Flippen and D. J. Sparr; along with an opening performance of Jessie Montgomery’s “Strum” and Tchaikovsky’s “Symphony No. 5” to close, all led by guest conductor Robert Moody.

“It’s a really stellar program,” Moody said, expressing excitement at returning to the Triad. Currently the Music Director of the Memphis Symphony Orchestra, Maestro Moody was the director of the Winston-Salem Symphony from 2005-2018; and was one of seven final contenders to head the GSO. With a reputation for cultivating engaging, energetic experiences, Moody has worked with esteemed ensembles and orchestras across the United States; and also serves as Music Director for the Baltimore Chamber Orchestra and Arizona Musicfest. “I’m looking forward to being in Greensboro,” he said. “It feels very much like home to me. I lived there for such a long time and have so many great friends in the Triad. We’re starting with a wonderful opening work by a living American composer and then Tchaikovsky’s ‘5th Symphony’ — such a monster of a work — to finish o the concert. I hope to see you there.” Friends and fans can likely catch up at the “Masterworks Musicology Mixology” pre-concert lecture, held in the Koury Room on the third floor of the

Tanger Center on the evening of each Masterworks concert. Doors will open at 6:15 p.m. with the lecture component beginning at 6:30 p.m., prior to the 7:30 p.m. concert. A menu of specialty cocktails inspired by the evening’s concert is paired with an educational discussion exploring unique details about the works that will be performed.

Conductors and guest artists typically join in the session — and there’s a chance that Grammy-nominated composer Chris Brubeck, who’s attending the concert, might just pop in. “I’m coming down [to Greensboro] because I’m so excited to hear [what is] only the second performance,” Brubeck said, reﬂecting on the Double Guitar Concerto’s debut with the Memphis Symphony Orchestra last fall.

Attuned to the pulse of contemporary music, Brubeck’s innovative creativity fosters his penchant for bridging sonic worlds in ways that resonate with wide audiences. He’s cultivated rich legacies in jazz and classical music circles, all the while carrying forward the pioneering spirit of his legendary father, Dave Brubeck.

“It’s a really exciting piece,” Chris said, recalling the premier performance. “We’re going to have some of the same great musicians fronting this piece; along with the great conductor who commissioned this piece in the ﬁrst place. Really interesting kind of work because it really blends and interweaves sort of two streams of con-

sciousness: classical and blues, which is why it’s called conﬂuence.”

Blues guitarist D. J. Sparr and Classical soloist Thomas Flippin will illuminate the pathways between the two styles through a dynamic interplay, weaving a rich backdrop of harmonies, rhythms, and textures often regarded as incongruent. With a reputation for precision and versatility ranging classical works and the avant-garde, Flippin (who holds a Master of Music and Artist Diploma degrees in guitar performance from the Yale School of Music), leverages the delicate intricacies against Sparr’s iridescent blues stylings. As an electronic guitar soloist, and composer-performer, Sparr tunes into his vast experiences with ensembles and orchestras including: the New World Symphony, London Symphony Orchestra, Alabama Symphony, Cabrillo Festival Orchestra, Eighth Blackbird, New Music Raleigh, and the Aspen Contemporary Ensemble; among others.

Together, the pair demonstrate notions of interplay reinforced by the evening’s first performance: “Strum,” a work lauded for both its accessibility as well as depth — o ering a pathway into classical music for the unfamiliar, in tandem with an engaging experience for the seasoned enthusiast through the boundary-pushing blend — or confluence — of traditional technique and contemporary influences, in an exploration of new musical territories. The pathway through the confluent

concerto will culminate with Tchaisvosky’s timelessness. The old and the new in raucous symphonic wonder.

“The [guitar concerto] piece really rocks out,” Brubeck explained, highlighting the anticipated energy. “When we did it in Memphis, we couldn’t even get by the ﬁrst movement without a standing ovation. So come hear a brand new exciting piece. Join us and have a great time.”

The Greensboro Symphony Orchestra invites the public to this landmark event, where classical meets blues in a single intense performance. For tickets or to ﬁnd out more, go to greensborosymphony.org, or call 336-335-5456 x 224. !

KATEI CRANFORD is a Triad music nerd who enjoys spotlighting artists and events.

Katei Cranford

Contributor

Chris Brubeck

East Greensboro residents call for Community Investment

Ian McDowell

Contributor

At the April 1 meeting of Greensboro City Council, multiple Black leaders and community organizers called for investment in their Southeast Greensboro neighborhoods, which they accused city leadership of having long ignored.

Deena Hayes-Greene, co-founder of the Gorrell Street Association, Chair of the Guilford County School Board, and co-chair of the International Civil Rights Museum, began by citing a report from 11 years ago that “our region has histori-

cally excluded marginalized voices from planning processes.” When that report was originally presented, said HayesGreene, one Council member allegedly commented “Yeah, yeah, I’ve heard it all before.”

“And that,” said Hayes-Greene, “is exactly the problem.”

In that 2014 report, “We were told that, if racial income gaps were closed, the Piedmont Triad’s gross domestic product would have been 9.5 billion dollars higher in 2012. That was over a decade ago. You had the data, the projections, the report, the truth, and still you’ve done nothing. You tell us change doesn’t happen overnight, but here in Greensboro it seems that change doesn’t happen in 10 years, it doesn’t happen in 20 years, and sometimes not in 30. What we needed and what we still need today is intentional, strategic,

equity-driven leadership, but what we got and continue to get is a shrug.”

Crystal Black, chair of grassroots advocacy organization The Southeast Greensboro Coalition, described the city’s majority-Black neighborhoods as su ering from property values and tax revenues “favoring a uent areas while our schools remain underfunded,” as well as a lack of job opportunities, green spaces, and recreational areas, “while white-majority areas enjoy ample services.”

Calling Southeast Greensboro “the new test pilot for these systematic inequities,” Black accused the Planning and Zoning Commission of having “thrown around promises that have not materialized, while we’ve been met with a saturation of a ordable housing as the solution.”

“We are here to demand change,”

said Black. “We will not allow you to consider conditions in some zoning cases and refuse in others without being held accountable. We will also not turn a blind eye to the blighted properties that decay in our neighborhoods. We ask you to hold these property owners accountable. Clean it up or condemn it.”

Organizer Megan Hayes-Bell described how, at the March 4 council meeting, “neighborhood and homeowner association members stood here and spoke openly about the decades of neglect that our communities have experienced, which have created conditions so unstable that quality grocery stores and commercial businesses won’t consider coming to us.” These speakers, she said, “received no meaningful response from this council or the city manager.”

“Instead, we were told how hard it is to attract grocery stores to food deserts,

as if we already don’t know that. We are not asking you to drop a grocery store in our neighborhoods tomorrow. We are asking you to understand why it’s not possible for one to thrive right now. What we need is not charity, but investment in conditions that create sustainability. We need diverse mixedincome housing. We do not need to be the continued dumping ground for low and a ordable housing projects that only concentrate poverty and increase instability.”

Hayes-Bell criticized the city’s housing infrastructure as “either disorganized or invisible,” and described the Redevelopment Commission of Greensboro and the Greensboro Housing Development Partnership as “lacking clear vision, measurable goals and accountability,” and “making choices that perpetuate the very problems that we are trying to solve.”

Monica Walker also referred to the previous month’s town hall, “where members of my community, the Uniﬁed Neighborhood Council of Southeast Greensboro, did everything in our power to convey the deeply-rooted conditions hindering the redevelopment of our neighborhood.”

“What we are demanding,” said Walker, “is that you as elected o cials fulﬁll your responsibilities to address and correct the historic systemic disinvestment that has plagued this community far too long. The absence of a grocery store is a symptom, not the disease.”

Walker called for “serious investment, not charity, not containment, not placeholders,” but “high-quality retail services that can spark economic growth,” and stated that “the city must repair the damage caused by decades of neglect that has left this area unattractive to qualiﬁed developers.” Walker also declared that “we don’t need another so-called ChangeMaker space,” as “these are often little more than symbolic gestures, spaces that come and go while our community is left behind.” This statement was in response to developer Andy Zimmerman’s plan to expand the Forge from its present location on Lewis Street to what is now the gravel parking lot at Elm and Gate City Boulevard.

Before voting to adjourn, several council members responded to the speakers from Southeast Greensboro.

“I’m a member of this community too,” said District 1’s Sharon Hightower. “I don’t disagree with the comments that we have to do better in certain areas, that our community has been under-

served. I hear you very loud and clear, and I hope we can ﬁnd a road we can get on together.”

“I agree,” said At-Large Representative Hugh Holston. “Listening is critical, we are going to have to work together. There are some challenges, but we can overcome them and we can thrive. I look forward to the opportunity.”

“I think we can all agree that we can sit down together and see what we can do to make things better for everyone,” said Mayor pro tem (and mayoral candidate) Marikay Abuzuaiter.

Acknowledging Hayes-Greene, Black, and Walker by their ﬁrst names, District 2’s Goldie Wells said she understood their concerns about their neighborhoods.

“That’s how Sharon and I got here, by ﬁghting for something for our neighborhoods. Some of these things have not changed, but we’re still working. Now Crystal, you can shake your head, but we have been here and if you were sitting in this seat, maybe you’d understand a little bit better. We are trying to do things that we hope in the long run will not just be better for Districts 1 and 2, but for the whole of Greensboro. Because we’re all in this together. When our neighbors are su ering, then we are su ering, all over the city. I just want people to understand that we care about people. These things that folks say about us, that’s their idea but that’s not us.”

District 3’s Zack Matheny, described an unnamed member of the Uniﬁed Neighborhood Council as excluding him from an October meeting held by that organization, after inviting him to it.

“I hope you’ll change your mind and work with me,” said Matheny.

In a public Facebook post on Thursday, April Parker, who did not speak at either meeting and who is running for Matheny’s District 3 seat.

Parker acknowledged that Matheny had been invited to that October meeting, but stated (as Black did on March 4) that Hightower, Wells, Holston, and Thurm were already attending that meeting when Matheny tried to join it.

“You arrived late,” wrote Parker, “and your presence would have created a quorum,” referring to the rule that no more than four council members can be present at any community meeting that is not an o cial city council session. !

and

IAN MCDOWELL is an award-winning author

journalist whose book I Ain’t Resisting: the City of Greensboro and the Killing of Marcus Smith was published in September of 2023 by Scuppernong Editions.

[TRIVIA TEST]

by Fifi Rodriguez

[1. TELEVISION: Who had a 1980s workout video series called Sweatin’ to the Oldies?

[2. ANATOMY: What is heterochromia?

[3. GEOGRAPHY: What is a chain of islands called?

[4. FOOD & DRINK: What is Canada’s national dish?

[5. HISTORY: When was Facebook launched?

[7. U.S. STATES: Which state has the most miles of interstate highway?

[SALOME’S STARS]

Week of April 14, 2025

[ARIES (March 21 to April 19) You’re doing better on the ﬂexibility issue, but you still need to loosen up a bit to show that you can be less judgmental and more understanding about certain sensitive matters.

[8. MOVIES: What type of ﬁsh is Nemo in the animated ﬁlm Finding Nemo?

[9. GENERAL KNOWLEDGE: Which month is designated as National Ice Cream Month in the United States?

[6. MEASUREMENTS: What is the shortest wavelength in the visible light spectrum?

[10. SCIENCE: How long does it take for the International Space Station to orbit the Earth?

answer

1. Richard Simmons. 2. When the colored part of the eyes (irises) are two di erent colors. 3. Archipelago. 4. Poutine (French fries, cheese curds and gravy). 5. 2004. 6. Violet. 7. Texas. 8. sh.Clownﬁ 9. July. 10. 90 minutes.

[TAURUS (April 20 to May 20) Your personal aspect continues to dominate this week. But try to make time to deal with important career-linked matters as well. A change of plans might occur by the weekend.

[GEMINI (May 21 to June 20) Excuses are not really needed for much of the confusion that occurs this week. However, explanations from all parties could help in working things out to everyone’s satisfaction.

[CANCER (June 21 to July 22) A surprising (but pleasant) recent turn of events continues to develop positive aspects. But be prepared for a bit of a jolt on another issue that needs attention.

[LEO (July 23 to August 22) Creating a fuss might bring you the attention that you want. But are you prepared for all the

explaining you’d have to do? It’s better to use more subtle ways to make your bid.

[VIRGO (August 23 to September 22) With education continuing to be a strong factor this week, this could be the time to start learning some new skills that can later be applied to a bid for a potential career move.

[LIBRA (September 23 to October 22) You might do well to reconsider some of your current time priorities before you get so deeply involved in one project that you neglect meeting a deadline on another.

[SCORPIO (October 23 to November 21) With an important decision looming, you need to be careful about the information you’re getting. Half-truths are essentially useless. Get the full story before you act.

[SAGITTARIUS (November 22 to December 21) Find out what everyone’s role is expected to be before accepting a workplace proposal. Getting all the facts now could prevent serious problems later on.

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[cAPrIcorN (December 22 to January 19) A flexible position on a workplace matter could be the best course to follow during the next several days. A personal issue also benefits from an open-minded approach.

[AQuArIus (January 20 to February 18) Involving too many people in your workplace problem can backfire. Remember, allegiances can shift. Ask trusted colleagues for advice, but don’t ask them to take sides.

[PIsces (February 19 to March 20) Before submitting your suggestions, take more time to sharpen the points you want to make. The clearer the presentation, the more chance it has to get through when submitted.

[BorN THIs week: Your clear sense of who you are gives you confidence when you need to tackle difficult situations.

answers

[crossword] crossword on page 5

[weekly sudoku] sudoku on page 5

ANXIETY CLUB

APRIL 12 / 7:30PM

REYNOLDS PLACE THEATRE

APRIL 14 / 5:00PM

HANESBRANDS THEATRE

Special Guest: Wendy Lobel, director

An intimate and humorous look at anxiety through the eyes of some of today’s most brilliant comedians.

EASTERN WESTERN

APRIL 14 / 7:00PM

MARKETPLACE CINEMAS #2

Special Guests: Biliana and Marina Grozdanova, directors

Set in the 1880s, story of a widower struggling to raise his two-year-old son in the American West.

THE THREESOME

APRIL 13 / 7:30PM

UNCSA – MAIN THEATRE

Special Guest: Chad Hartigan, director

New romantic comedy from UNCSA and RiverRun alum Chad Hartigan starring Zoey Deutch, Jonah Hauer-King and Ruby Cruz. About how one night can change everything.