September 2018 O'Henry

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September 2018

FEATURES 54 Painting the Town

By Maria Johnson From downtown to Midtown and beyond, Marty Kotis is putting Greensboro at the forefront of street art

62 The Play Was the Thing

By Bill Fields For amateur golfer Dale Morey, competition was all

66 Train Spotting

By Billy Ingram Mike Small’s photographs capture the romance of the rails

70 Art & Nature

By Cynthia Adams Michael and Joan Mattingly’s colorful, Frank Lloyd Wright–inspired house and garden

81 Almanac

By Ash Adler

DEPARTMENTS 13 Simple Life

By Jim Dodson 16 Short Stories 19 Doodad

By Nancy Oakley 21 Life’s Funny

By Maria Johnson 23 Omnivorous Reader

By Stephen E. Smith 27 Scuppernong Bookshelf 29 Papadaddy’s Mindfield

By Clyde Edgerton 31 Drinking with Writers

By Wiley Cash 35 Gate City Journal

By Grant Britt 39 Wine Country

By Angela Sanchez 41 In the Spirit

By Tony Cross

45 True South

By Susan S. Kelly 47 Birdwatch

By Susan Campbell 49 Wandering Billy

By Billy Eye 82 Arts Calendar 104 GreenScene 111 The Accidental Astrologer

By Astrid Stellanova 112 O.Henry Ending

By David Claude Bailey

Cover Photograph by Amy Freeman

8 O.Henry

September 2018

The Art & Soul of Greensboro

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M A G A Z I N E

Volume 8, No. 9 “I have a fancy that every city has a voice.”

336.617.0090 1848 Banking Street, Greensboro, NC 27408 www.ohenrymag.com PUBLISHER

David Woronoff Jim Dodson, Editor • jim@thepilot.com Andie Stuart Rose, Art Director • andie@thepilot.com Nancy Oakley, Senior Editor • nancy@ohenrymag.com Brad Beard, Graphic Designer CONTRIBUTING EDITORS Cynthia Adams, David Claude Bailey, Harry Blair, Maria Johnson CONTRIBUTING PHOTOGRAPHERS Lynn Donovan, Amy Freeman, Sam Froelich, John Gessner, Bert VanderVeen, Mark Wagoner CONTRIBUTORS Ash Alder, Jane Borden, Grant Britt, Susan Campbell, Clyde Edgerton, Billy Eye, Ross Howell Jr., Billy Ingram, Susan Kelly, Sara King, Brian Lampkin, Meridith Martens, D.G. Martin, Ogi Overman, Romey Petite, Stephen Smith, Astrid Stellanova

O.H

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O.H

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O.Henry Magazine is published by The Pilot LLC

The Art & Soul of Greensboro

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September 2018

O.Henry 11

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Simple Life

A Beautiful Blue Marble

Finding meaning in the universe, however large or small

By Jim Dodson

While digging out an

old flower bed this summer I found, of all things, a beautiful blue marble buried more than a foot deep in the earth.

I decided it was either evidence of a lost race of marble-playing pioneers or simply belonged to a kid who lost it in the dirt when our house was built. That kid would now be over 75 years old.

Either way, this beautiful blue marble, resting in the palm of my soiled palm, reminded me of an image of the planet taken by the crew of the final Apollo mission as they made their way to the Moon. The photograph was dubbed The Blue Marble because it revealed a fragile blue world that is home to “billions of creatures, a beautiful orb capable of fitting into the pocket of the universe,” as NASA elegantly put it.

Some experts say marbles are the oldest toys on Earth, found by archeologists in the tombs of ancient Egypt and the ashes of Pompeii, mentioned in Homer’s Odyssey and Shakespeare’s Twelfth Night. Even America’s Founding Fathers were known to play a mean game of marbles when they weren’t busy forming a nation.

The earliest marbles were made of dried, molded clay. In the mid-19th century, however, a German glassblower invented a pair of special scissors that could cut and shape molten glass, making glass marbles affordable for the first time. Glass marbles quickly dominated the market, particularly after industrial machines made them more efficiently, further lowering their price. “Valued as much for their beauty as the games played with them,” the National Toy Hall of Fame notes, “marbles inspired one 19th-century enthusiast to describe the twisted spiral of colored filament in glass marbles as ‘thin music translated into colored glass.’”

Because my family was always on the move during my first seven years of life — following my father’s newspaper career across the Deep South — I had few The Art & Soul of Greensboro

if any regular playmates and plenty of time to fill up on my own come endless Southern summers. Books and marbles and painted Roman armies filled those quiet hours when the air sounded roasted by cicadas.

Everywhere we lived from Mississippi to South Carolina, I found myself a cool and comfortable patch of earth beneath a porch or a large tree where I played out the Pelopennesian War or shot marbles in a large ring scratched into the dirt.

I excelled at shooting marbles, often whipping my dad when he came home from work. His necktie loosened, he would come outside with a cold beer to see if I had any interest in coming to supper, squatting to play me a quick game before we went in to eat. The object of the game we played was to knock as many marbles outside the ring without having your “shooter” wind up outside as well.

I forget who told me that it was good luck to play with a marble that matched the color of your eyes. Accordingly, my shooter was always blue.

I could spin and skip marbles like nobody’s business in those days, and even carried a small sack of my favorites with me whenever my family went on vacation or visited elderly relatives. Politely excused, advised not to wander far, I could slip outside and find the nearest patch of earth for a little marble- shooting practice.

Then along came the spring of 1964. I watched Arnold Palmer win his final Masters green jacket on TV and began swinging a golf club in the yard, making a list of 11 things I intended to do in golf. At the top I hoped to someday meet the new King of the game.

That summer I made the Pet Dairy Little League and began reading about Brooks Robinson, the “Human Vacuum Cleaner” in the sports pages.

Robinson played third base for the Baltimore Orioles. I laid hands on an official Brooks Robinson fielder’s glove, vowing that in the unlikely event that I didn’t grow up to be the next Arnold Palmer I might become the next “Mr. Hoover,” as Robinson was also called.

September 2018

O.Henry 13

Simple Life

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14 O.Henry

September 2018

In effect, I lost my marbles that summer of ’64 — or at least put them away forever.

Arnie won the Masters, and Robinson had his best season offensively, hitting for a .318 batting average with 28 home runs. He also led the league with 118 runs batted in, capturing the American League’s MVP Award and his fifth Gold Glove. In the American League MVP voting, Robinson received 18 of the 20 first-place votes, with Mickey Mantle of the Yankees finishing second, much to the delight of my colorful uncle Carson.

He took me to my first Major League ballgame when I got sent up in late summer to spend a week with my uncles and their German wives in Baltimore. Uncle Carson was a big Irishman who worked at a tire factory and had season tickets to “the Birds,” as he fondly called them. He couldn’t abide Mickey Mantle. “I’d like to knock that smug smile off that overpaid showboat’s kisser,” he said to me during the pre-game warm-ups as both teams took the field in Memorial Stadium.

Uncle Carson’s seats were a dozen rows back along the third base line. He encouraged me to bring my new Brooks Robinson fielder’s glove along because he was confident I could get it autographed by “the greatest third baseman ever.”

Sure enough, when Robinson appeared on the field, stretching and chatting with other players, including several on the detested Yankees team, Uncle Carson sent me scurrying down to the dugout where a crowd of kids clustered, seeking autographs.

When Robinson ambled over, I asked him for his autograph and he smiled and said “Sure, Kid. Where you from?” At least I like to remember it this way. Honestly, I was too tongue-tied and in the throes of awe to remember what he actually said.

Up in the stands, however, as Mickey Mantle sauntered past, Uncle Carson cupped his massive hands to his mouth and hollered, “Hey, Mantle!

You’re a stinking bum! You couldn’t hit the side of a barn if they pitched underhand to you!”

For the record, I’m not sure this is precisely what Uncle Carson yelled at Mickey Mantle, either. But it’s certainly within the ballpark, as they say, because Uncle Carson was a world-class heckler, a oneman leather lung, the ultimate obnoxious Oriole.

Mickey Mantle just laughed and kept walking.

When I got back to our seats, Uncle C was buying a couple of cold beers.

“How old are you now?” He asked as the vendor moved along. He was holding two large cups of beer.

“Eleven,” I answered truthfully.

“That’s old enough.” He handed me a National Bohemian beer, my first ballpark beer. A moment later, facing the field of play, he calmly remarked, “Just so you know, Squire, some things need to stay The Art & Soul of Greensboro

Simple Life at the ballpark.”’

I knew exactly what he meant.

Funny thing about life on a beautiful blue marble.

I failed to become the next Arnold Palmer.

But at least I grew up to collaborate on his memoirs, becoming a good friend of the game’s most charismatic figure.

Some years ago, I even had the chance to tell Brooks Robinson about Uncle Carson at a dinner where I was the guest of honor for my sports journalism and books. The event’s hosts had secretly invited the greatest third baseman of all time to sit beside the honoree, who was nearly as tongue-tied and in awe as he was in 1964.

“I think I remember your Uncle Carson,” Robinson told me with a laugh. “Or at least a few hundred others like him — especially up in Yankee Stadium. They made your uncle look like a minor league heckler, I’m afraid.”

We had a fine time chatting about the Oriole’s golden seasons and lamented their cellar-dwelling ways these days. In 1966, Robinson was voted the All-Star Game Most Valuable Player and finished second to teammate Frank Robinson in the American League Most Valuable Player Award voting, and the Orioles went on to win their first World Series against the Los Angeles Dodgers.

In the 1970 post-season, Robinson hit for an average of .583 in the American League Championship and tagged the Cincinnati Reds for a pair of homers on their way to a 4–1 shellacking and their second World Series title. It was Robinson’s defensive prowess that snagged the Series MVP, however, and prompted Reds manager Sparky Anderson to quip, “I’m beginning to see Brooks in my sleep. If I dropped this paper plate, he’d pick it up on one hop and throw me out at first.”

At the end of his final season in 1977, having collected 16 Golden Gloves, Robinson’s No. 5 jersey was retired. Six years later, he was elected to the Baseball Hall of Fame on the first ballot. “It all seemed to pass so quickly,” Brooks Robinson told me that night we ate supper together. “But what amazing memories.”

As another hot summer ends, as overdue rain and cooler nights heal my withered garden and herald the post-seasons of golf and baseball, my friend Arnold Palmer is gone and this month the Birds — per usual — are dwelling deep in the American League cellar, their glory years just a pleasant memory.

Having lost all my marbles but having found a blue one buried in the earth of my own garden, I’m probably where I should be at this moment and time on this fragile blue planet, lucky to have a quieter world I can hold in the palm of my hand. OH Contact Editor Jim Dodson at jim@thepilot.com.

The Art & Soul of Greensboro

Graduation Promotion Marriage Baby Anniversary

Stack your celebrations www.StateStJewelers.com September 2018

O.Henry 15

Short Stories

Fear and Loathing

The times they are a-changin’— and uncertain, leaving everyone with a case of jangled nerves. Expressing this societal angst are works in various media featured in the exhibit Dread & Delight: Fairy Tales in an Anxious World, on view through December 9 at Weatherspoon (500 Tate Street). Erica Beckman’s arcade-like video of Cinderella, for example, explores female roles; Timothy Horn’s oversized carriage made of crystallized candy questions acquisition as a part of the American Dream; and analyzing desire and values as inspired by Rapunzel, is MK Guth’s 1,800-foot long braid. Accompanying the exhibit during its three-month run are a series of lectures, tours, readings, a fairy tale-writing workshop, a read-athon at Scuppernong Books, and Triad Stage’s production of A Midsummer Night’s Dream,

by William Shakespeare. Given the darker nature of some of the works, you might think twice before exposing them to young eyes and minds. Info: weatherspoon.uncg.edu.

NATALIE FRANK, “ALL FUR III”, 2011–14. GOUACHE AND COLORED CHALK ON PAPER; 30 X 22 IN. EACH. PRIVATE COLLECTION © NATALIE FRANK, PHOTO BY FARZAD ORWANG.

A Lark in the Park

Saturday, in the park, as the old Chicago song goes, and though the 4th of July may be in the rearview mirror, you’ll still see people laughing, people dancing, people talking, people smiling, a man — or several — playing guitar. Mark September 15 on your calendar for the 48th Annual Day in the Park Festival at High Point City Lake Park (602 West Main Street, Jamestown). Presented by High Point Arts Council, Day in the Park is the longest running arts festival in Guilford County (who knew?). And yes, the draws are the food, craft vendors, folklife exhibitions and live music by the likes of Boom Unit Brass Band and folk duo Hoot & Holler. But don’t forget to admire the children’s carousel, the pool (a 1935 project of the Works Progress Administration) and at 230 feet long and 165 feet wide, one of the largest in the Southeast. And, of course, there’s always shimmering in the distance, the stunning surrounding lake absorbing the waning rays of a summer sunset. Info: (336) 889-2787, ext. 26 or email programs@highpointarts.org.

Bernin’ Man

There’s a place for you at Dana Auditorium (5800 West Friendly Avenue) on September 20 and 22 as the Greensboro Symphony Orchestra presents “Bernstein at 100,” the first of the Tanger Outlets Masterworks Series, celebrating the centennial of conductor/composer Leonard Bernstein’s birth. Firing up his bow and violin is GSO’s conductor and violinist, Dmitry Sitkovetsky, who will perform Bernstein’s Serenade Violin Concerto, while guest Kevin Geraldi takes the conductor’s baton. Rounding out the program are Bernstein’s Candide overture, symphonic dances from West Side Story, and Blumine, by Gustav Mahler. Tickets: (336) 335-5456, ext. 224 or greensborosymphony.org.

Breaking the News

Hard to imagine, in this day and age of clicks and Tweets, that the media once employed newsboys who hawked newspapers from city street corners. Well, relive the good ole days — or not-so-good-ole days, as recounted in Disney’s Newsies!, a production by Community Theatre of Greensboro. Running from September 14–30 at CTG’s Starr Theatre (520 South Elm Street), the show tells the story of Jack Kelly, a newsboy or “newsie” in early 20th-century New York who organizes a strike among his teenage compatriots against unfair working conditions imposed by the big, bad publishing titans of the era. Which makes us wonder: Can we anticipate a sequel in which 21st-century techies fight back against Google and Facebook? Likely not until the 22nd century. Tickets: (336) 333-7469 or ctgso.org.

16 O.Henry

September 2018

The Art & Soul of Greensboro

ROCKS Solid

That would be She ROCKS the Triad, a new, local branch of a Wilmington-based charity, She ROCKS. Standing for “Research Ovarian Cancer Knowledge Awareness,” the organization grew from the experience of Port City resident Beth Quinn, who in 2013 was stunned to learn of her diagnosis of stage IV ovarian cancer, which often strikes without warning.

Quinn, a banker by trade, turned adversity into action, and in 2014 established She ROCKS to fund research, treatment and awareness of the deadly disease. In four short years, through various events such as an annual luncheon, golf tournament, concert and more, not to mention online donations, She ROCKS has raised hundreds of thousands of dollars that have benefited the likes of UNC Lineberger Comprehensive Cancer Center, New Hanover Regional’s Zimmer Cancer Center and more. Sadly, Quinn did not live to see the fruition of her efforts, but they are gaining momentum with the emergence of She ROCKS the Triad. On September 28, the fledgling branch of the charity will host its first event: a dinner catered by 1618 at Summerfield Farms (3203 Pleasant Ridge Road, Summerfield), replete with drinks, live music and a raffle. So come out and enjoy the evening’s pleasures — the perfect weapon to fight and defeat others’ pain. Tickets: (336) 866-0003 or email Triad@she-rocks.org.

Cool Hand Uke

If you harbor a desire to become a virtuoso on the ukulele, then Ho forth and sign up for lessons on the pint-sized, Hawaiian stringed instrument, courtesy of the Music Center of City Arts and Events. Starting September 10, prospective students ages 16 and older are invited to attend the six-week program, held Monday nights from 6 to 7 p.m. at Van Dyke Performance Space (200 North Davie Street) — all for a cost of $75, with instruments provided.

And at the end of six weeks? We can’t guarantee you’ll be strumming “Somewhere Over the Rainbow” like Israel Kamakawiwo’ole, but maybe a stirring rendition of “Oh Yes, We Have No Bananas”? To register: (336) 373-2547 or https://web1.vermontsystems.com/wbwsc/ ncgreenwt.wsc/search.html?module=AR&fmid=12114924.

Cheap Thrills

OK, so Halloween isn’t for another couple of months. That’s not stopping retailers plastic selling skeletons and tombstones, or the Wreak Havoc Horror Film Festival from screening feature-length and short films from all over the world on September 20 & 21 at the Carolina Theatre (310 South Greene Street). Carefully selected entries include everything from blood-and-gore-a-thons to campy fare that will have you, well, screaming with laughter. And what isn’t scary is the price: Twenty bucks covers your admission to the entire festival on both days. Tickets: (336) 333-2605 or carolinatheatre.com.

Browse-a-Rama

Attention flea market denizens: In a first ever, Architectural Salvage of Greensboro — an arm of Preservation Greensboro Inc. that saves and sells parts and details from old houses (doors, windows, cabinets, brass hardware, shutters, claw- foot tubs, chandeliers and the like) — will host the ASG Vintage Market. Held Saturday September 22 from 9 a.m. to 3 p.m. at its Huffman Street location. Market vendors will be hawking old things you might typically find at ASG, as well as new things, and new things repurposed from the old. It’ll be an eclectic mix, to be sure, but if you’re in search of a one-of-a-kind object, there’s a good chance you might find it here. Info: (336) 272-5003 or preservationgreensboro.org.

The Art & Soul of Greensboro

Ogi Sez Ogi Overman

Help me settle the age-old debate: Is September late summer or early fall?

Either way, it marks the time of year when vacations are tapering off and concerts are picking up. So let’s just call it concert season. The choices are plentiful, and here are my top five.

• September 9, Blind Tiger: High

Point brothers Tim and Danny Carter left home for Nashville many years ago, but they’ve remained close to their roots.

While Danny recovers from some health issues, Tim has a new band and a new album, titled Wishes. His CD release party will be an SRO old-home week, guaranteed.

• September 18, The Crown: If all

music fans were guitarists, Coco Montoya would be playing downstairs. Yes, the lefthanded Strat player who doesn’t reverse the strings (à la Albert King, Eric Gales, Eddy Clearwater) is that revered among his peers.

Former sideman for John Mayall, Albert Collins and Bo Diddley, he will knock your socks off and steal your shoes.

• September 20, The Ramkat: For attendees of MerleFest, the Waybacks need no introduction. The San Francisco ensemble produces the Hillside Album Hour, a cultural phenomenon that replicates an iconic classic rock album, done Americana style. They’ve developed a cult following reminiscent of Phish or early Dead.

• September 21, High Point Theatre:

If you think the SteelDrivers lost a lick when Chris Stapleton went solo, you’d be wrong. After being replaced by Gary Nichols, already a Mercury Records artist, the Nashville quintet won a Grammy for Best Bluegrass Album for The Muscle Shoals Recordings. So there.

• September 28, Greensboro

Coliseum: While Chris Young, no doubt sits atop the country music world, he has so many crossover followers that he defies stereotypes. More crooner than twanger, part of his appeal may also be due to his unbridled support of numerous charitable causes. He’s the real deal.

September 2018

O.Henry 17

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Doodad

(Women’s) Clothes Make the Man An exhibit of fashion illustrations by Kenneth Paul Block lights up Alamance Arts

The lines are swirling, ap-

Migrate to Wrightsville Beach, NC

proximating movement. The gaze is almost always distant, cast toward something or someone out of view. The gesture, typically a hand on hip, conveys assurance, resoluteness, a contrast to the elegant, decidedly feminine flourishes of ruffles, dramatic capes, cinched waists, loose strands of hair and gloves encasing long, delicate fingers.

Striking the balance between the strong and the demure was the intention of Kenneth Paul Block, a longtime illustrator for Women’s Wear Daily and its sister publication W. His stunning drawings form the basis of Kenneth Paul Block & the Masters of Fashion Illustration, on view through October 20 at Alamance Arts (213 South Main Street) in Graham.

His haute couture illustrations were “aspirational,” says Betty Morgan Block, a retired Elon professor who is the wife of Block’s nephew Steve — and serves as CEO of the Kenneth Paul Block Foundation, which is curating the exhibit. More focused on the women wearing the clothes, the drawings, she says, “sent the message: ‘This is what you can do. This is what you can be.’ He was a powerful advocate for women.”

A graduate of New York’s Parsons School of Design, Block started his career at McCall’s Patterns, where, Betty Morgan Block explains, “his primary responsibility was to get the details right.” Hence, the artist’s early medium of pen and ink. His style would evolve after he arrived, in the 1950s, at Women’s Wear Daily, his perch for more than 40 years. It was advantageous timing, given that postwar designs of Givenchy, Chanel, Oscar de la Renta, among designers who accentuated style, were embraced by women — Babe Paley and Jacqueline Kennedy Onassis, for example — who would become icons of the era. During this period, Block’s own style became more vivid. His favored medium? “A felt tip marker,” says Betty Morgan Block, as well as watercolor, gouache and in one illustration, pen-and-ink and eye makeup. “He’d grab a crayon, whatever he could, that would look good on paper,” she adds.

It comes as no surprise that Block, who died in 2009, influenced generations of fashion illustrators. After a wilderness period during the 1990s when supermodels and expensive photo shoots dominated print media, artists, such as Bil Donovan, Jason Rooks, Lena Ker are today’s masters of the genre, which is seeing a resurgence online. Validation that great art such as Kenneth Paul Block’s, like great fashion, is timeless. — Nancy Oakley OH Info: alamancearts.org

The Art & Soul of Greensboro

Migrating Gulf Fritillary butterflies return to our gardens each fall. With our Seaside Garden Package, you can dine al fresco, surrounded by these graceful and elegant guests, and then visit nearby Airlie Gardens and the NHC Arboretum.

855.416.9086 • blockade-runner.com September 2018

O.Henry 19

I FOUND FIN D YOU R

my groove.

DOWN TOWN .

|

DOWNTOWNGREENSB ORO . ORG

Life’s Funny

The Kids are All Right Bending the Rules with Goat Yoga

By Maria Johnson

Occasionally, I enter-

tain myself by imagining what my maternal grandmother — who was born in 1904 and died in 1996 — would say about modern life.

Take, for instance, goat yoga, the trend of doing yoga with baby goats in the room. On purpose.

“So you pay money to go into a room and stretch?” my grandmother would say.

“Yes,” I’d say.

“And they bring goats into the room?” she’d probe.

“Well, not full-grown ones,” I’d say. “Baby ones. Because they like to climb on you while you’re stretching. And they’re less likely to pee and poop on you.”

At this point, my grandmother, a well-educated woman who nonetheless retained her country-born common sense, would suck on her ever-present toothpick, pointing it this way and that with her lips, like a little conductor’s baton.

“Seems to me . . .” she’d say in my reverie,“If you had goats, you’d get in plenty of stretching by pulling weeds in the pasture.’”

And because it’s my daydream, and we liked to joust this way, I’d say, “Seems to me if you had goats, you wouldn’t have any weeds in your pasture.”

And she’d say, “Well, I’m sure you could find some weeds somewhere.”

And I’d say, “Listen, this is 2018. You have no idea.’”

And then we’d dissolve into laughter. And that’s why I think if she were a young woman today — even an autumnal woman — she’d enjoy goat yoga with Greensboro’s Cathy Yonaitis.

Cathy’s an occupational therapist by training, so it wasn’t much of a stretch for her to take up yoga about 15 years ago.

When she and her husband Matt built a home in northern Guilford County, she started teaching classes in the basement studio there. Her business’s name, Unite Us Yoga & Therapeutics, was a play on her last name, which is pronounced “unite us.” Also, it was a way of saying that yoga — with its emphasis on tapping into peace and happiness – can “unite us.”

OK, enough crunchy talk.

A couple of years ago, when goat yoga started grazing around the edges of fitness, Cathy’s Facebook friends prodded her to go goat.

She thought it was silly. She was a serious teacher of Iyengar-based hatha yoga, which stresses precise postures. Her friends persisted.

“Once about 10 people tagged me, I thought, ‘Well, maybe I should,’ ” she says.

In May 2017, she borrowed a few goats from a friend and booked five classes.

A month later, she bought three Nigerian Dwarf goats and continued having classes through the summer. Every session was full. People were giving her thumbs-up feedback.

But Cathy was puzzled and a bit hurt.

During the classes, no one paid much attention to her, let alone precise poses.

The scene was barely controlled chaos. The students were eaten up, sometimes The Art & Soul of Greensboro

literally, by the goats, which exhibited a fondness for hair and earlobes. Gales of laughter blew through the studio.

Then the husband of a woman with stage four cancer told Cathy how much his wife had enjoyed the class.

Another woman, who was physically disabled, told Cathy she’d never dreamed she could do yoga, until she tried goat yoga.

Thus enlightened, Cathy lightened up. The goats connected her students to the joy she professed to teach.

“This is easy,” she told herself. “If you let it be easy.”

Earlier this summer, two of the goats that Cathy bought last year had kids: Stella, Rebel, Rocky and Einstein.

They were two weeks old, not much bigger than cats and not yet weaned, when I walked into the studio on a recent Saturday morning. The kids were skipping around in loose-fitting baby clothes, the snap-at-the-crotch onesies that Cathy bought at a Goodwill store.

Her husband, Matt and two of their three sons, Sammy and Jonah, were riding herd, scooping up the kids and distributing them evenly for adoration.

I settled onto a mat next to Cheryl Patton, who was visiting from Montevallo, Alabama. She cradled Stella in her lap.

I asked if I could hold Stella, and Cheryl, a bubbly soul with a well-oiled laugh, handed over the soft, sedate kid with a long triangular face and orangeslice ears.

I gave up the goat as Cathy called the class to order and invited us to relax and not take ourselves so seriously. We brought our hands together at our hearts and chanted, “Ommmmmm,” as in “Ommmmygod, I’m being nibbled by a small ruminant.”

Game on. For the next hour, the goats clicked, bucked, butted, spun and skittered across the wooden floor, front legs stick-straight, back legs springing. Cathy kept us in floor poses that made it easier for the kids, weighing no more than a whisper, to climb aboard backs and stomachs.

“Watch your parts,” Cathy cautioned.

Indeed, during the cat-cow poses that found us on hands and knees, one baby started jabbing at the underside of a young woman with its snout, as kids sometimes do when they want to nurse.

The woman had nothing to offer. Soon, however, she was flooded with the peace of goat yoga.

Make that the pee of a yoga goat: small pond of payback.

Matt and the boys rushed in with towels. The woman howled with laughter.

She was a zookeeper. Fact is stranger than fiction. Here’s another fact: I can’t remember the last time I heard such sustained, genuine laughter.

Cathy will offer more classes this fall, and she plans to breed this year’s youngsters for fresh batch of kids next spring. Which means, in the bastardized parlance of goat yoga, there will be plenty of “na-ah-ah-ah-maste,” to go around. OH Maria Johnson is a contributing editor of O.Henry. Cathy’s next goat yoga classes will be September 8th, 9th, 15th and 16th. She does private parties,too. Get more info at uniteusyoga.com.

September 2018

O.Henry 21

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The Omnivorous Reader

Dark Passage An oral history recounts the grim realities of slavery

By Stephen E. Smith

Barracoon: The Story of the

Last “Black Cargo” is an oral history as told by Cudjo Lewis, a 95-year-old former slave who was among the last Africans transported to the United States prior to the Civil War. (A barracoon is an enclosure, fortress or compound in which black captives were held before being sold to slavers.)

Lewis’ narrative is pieced together from interviews conducted in 1927 by Zora Neale Hurston, an anthropologist and popular writer of the Harlem Renaissance who had, prior to the publication of Barracoon, faded into obscurity. After completing her three months of interviews with Lewis, Hurston was unable to find a publisher for her manuscript and Lewis’ story languished for 90 years until it was released by Amistad, a HarperCollins imprint, and immediately climbed The New York Times best-seller list.

Slave narratives aren’t a rarity. The Life, History, and Unparalleled Sufferings of John Jea, The African Preacher, The Life of Olaudah Equiano, Narrative of the Life of Frederick Douglass, Incident in the Life of a Slave Girl, etc., have enjoyed popular acceptance, so much so that they assume a similar narrative pattern, beginning with a statement of birth, usually taking place on a plantation, and concluding with reflections upon the slave experience from the point of view of a freeman. Barracoon differs from the typical slave narrative: It’s the complete recounting of the slave experience, beginning

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with the principal’s early life in Africa, the massacre of his family, his time in a barracoon, the Middle Passage, during which he was packed with more than 100 other human beings aboard the ship Clotilde, and his suffering as a freed slave who found himself without family in a strange, hostile land where his existence was marked by brutality and endemic bigotry. Nothing about Lewis’ story is uplifting. Degradations, heaped one upon another, marked his passage through a life that was a desperate struggle for survival marked by physical and emotional suffering.

So why publish such a book? Isn’t there grief enough in the world? And why read about suffering that’s past and done?

The casual student of history understands that slavery was the dominant disruptive force in our nation’s history, and that issues of caste and class continue to profoundly disturb the workings of our democracy. If slavery is the legal expression of the relative status of one race to another, it’s possible to prohibit by law the mechanisms that enable the attendant injustices.

It’s much more difficult to banish the persistent stigma of slavery from the hearts and minds of our citizens. Hurston had a responsibility to relate the undeniable horrors of Lewis’ life so that readers could truly comprehend the circumstances under which he lived. Writers and/or folklorists take no pleasure in making readers miserable, but sentimentality is deadly stuff, and it’s reprehensible to hide the grim realities of life with self-serving lies. Just as we must confront the horrors of the Holocaust, it’s well that we have access to the unvarnished truth about slavery. We need to face the past as it was in order to comprehend the pernicious legacy that shapes the present. Cudjo Lewis no doubt understood this when he said, “Thankee Jesus! Somebody come ast about Cudjo.”

To comprehend Lewis’ experience, it’s necessary to understand his dialect; therefore, Hurston’s facility at producing a text that conveys the September 2018

O.Henry 23

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orality of her informant’s spoken words is of the utmost importance. Initially Lewis’ dialect can be slow going for readers who have difficulty comprehending the peculiarities of his vernacular, which is unlike the more contrived dialect of Mark Twain’s Jim or Joel Chandler Harris’ Uncle Remus. “Yeah, in Afficky we always know dere was a God; he name Alahua, but po’ Affickans we cain readee de Bible, so we doan know God got a Son. We ain’ ignant — we jest doan know.

Nobody doan tell us ’bout Adam eatee de apple, we didn’t know de seven seals was sealee ’gainst us.” After reading a few pages of dialect, the reader slips easily into the rhythm of the language and Lewis is easily understood.

Hurston worked hard at producing a readable but authentic facsimile of Lewis’ speech, but it was this use of dialect that publishers, intent on translating the text into Standard English, offered as a justification for rejecting publication of the manuscript.

The subplot of Barracoon concerns Hurston’s determination to gently coax from Lewis his life experience. A few critics have dismissed the book as Hurston’s recreation of Lewis’ story, but it’s clear to the reader — indeed it is necessary for the reader to believe — that Hurston resisted interjecting her own point of view into Lewis’ telling. She’s patient with Lewis and sensitive to his emotional reaction to the terrors of his life, enticing him with peaches and gently prodding him into revealing the most intimate and horrifying details.

The attack on Lewis’ African village, the death of his loved ones, the Middle Passage, and his years as a slave are all necessary elements of the story, but Lewis’ primary focus is on his life in Africatown, the community in which he lived after emancipation. He lost children in unexplained accidents, was swindled by white lawyers, and eventually suffered the death of his wife. And like all African-Americans of the time, he endured the humiliations of Jim Crow. What resonates with the reader is Lewis’ homesickness, his love and longing for his African childhood, and his humanity. When Hurston asked him to pose for a photograph, Lewis donned his best suit of clothes — but stood before the camera in bare feet. “I want to look lak I in Affica, ’cause dat where I want to be,” he said. After living most of his life in America, he still pined for his homeland.

At a time when compassion is in short supply, Cudjo Lewis’ story is a reminder that all that’s good and human in our hearts needs renewing. OH Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry and four North Carolina Press awards.

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Scuppernong Bookshelf

Clubbin’ It!

Favorite book club selections run the gamut of literary genres

Compiled by Brian Lampkin

We’re often asked here at Scup-

pernong Books for an updated list of the best book-club books. Every book club is created differently, so it’s difficult to determine what exactly a “book-club book” is. Undaunted, let’s take a crack at creating a relatively contemporary list, a mix of new hardcovers, recent paperbacks and personal favorites.

Searching for Stars on an Island in Maine, by Alan Lightman. (Pantheon, $24.95, 2018). That elusive mix of science and spirituality that so many of us long for. “A lyrical and illuminating inquiry into our dual impulse for belief in the unprovable and for trust in truth affirmed by physical evidence.” — Maria Popova, Brain Pickings Last Ballad, by Wiley Cash. (HarperCollins, $26.99, 2017). Set in Gastonia, N.C., in 1929, this novel takes the historical fact of labor unrest in the textile mills and turns it into a deeply moving account of one woman’s struggle against the forces of greed, racism and misogyny. Great fiction with a purpose!

The Salt Line, by Holly Goddard Jones. (Putnam, $26, 2017). A UNCG professor, Jones sets this dystopian future in Greensboro and parts west. Lethal ticks, border walls and class segregation are all part of this too-near future.

Cooking Gene: A Journey Through African-American Culinary History in the Old South by Michael Twitty (Amistad, $28.99) & Potlikker Papers, by John T. Edge (Penguin Press, $28, 2017). Two excellent books on the history of food in the South.

There There, by Tommy Orange (Knopf, $25.99, 2018). The hottest book in the literary world. Orange is Cheyenne and Arapaho, and this book explores contemporary Native American life: “Not since Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven and Louise Erdrich’s Love Medicine has such a powerful and urgent Native American voice exploded onto the landscape of contemporary fiction.”

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The Secret Token: Myth, Obsession, and the Search for the Lost Colony of Roanoke, by Andrew Lawler, (Doubleday, $29.95, 2018) & The Last Castle: The Epic Story of Love, Loss, and American Royalty in the Nation’s Largest Home, by Denise Kiernan.

Histories on the opposite ends of North Carolina, and both fascinating and nationally regarded works.

Florida, by Lauren Groff (Riverhead, $27, 2018). Another contender for all the year-end literary awards. “As fine and beautifully crafted as any fiction she has written, [Groff] is one of the best writers in the United States, and her prizewinning stories reverberate long after they are read.” — LA Review of Books Sing, Unburied, Sing, by Jessmyn Ward (Scribner, $26, 2017). “Ghosts, literal and literary, haunt nearly every page of Sing, Unburied, Sing — a novel whose boundaries between the living and the dead shift constantly, like smoke or sand. Set on the Gulf Coast of Mississippi (a place rich in oil rigs and atmosphere, if almost nothing else), the book’s Southern gothic aura recalls the dense, head-spinning prose of William Faulkner or Flannery O’Connor.

American Wolf, by Nate Blakeslee (Crown, $28, 2017) “[ American Wolf] is a startlingly intimate portrait of the intricate, loving, human-like interrelationships that govern wolves in the wild, as observed in real time by a cadre of dedicated wolf-watchers — in the end, a drama of lupine love, care, and grief.” — Erik Larson, author of The Devil in the White City and Dead Wake “Gripping and fascinating! Wolf versus wolf, wolf versus man, man versus man.” — Margaret Atwood, author of The Handmaid’s Tale and Hag-Seed Hard to argue with those two writers!

Barracoon: The Story of the Last “Black Cargo,” by Zora Neale Hurston (HarperCollins, $24.99, 2018). Barracoon employs Hurston’s skills as both an anthropologist and a writer, and brings to life Cudjo’s singular voice, in his vernacular, in a poignant, powerful tribute to the disremembered and the unaccounted.

And, Finally, let’s mention Scuppernong’s own Steve Mitchell and his novel Cloud Diary (C&R Press, $18, 2018). It is a tender account of young love that predictably falls apart, but somehow sustains a remarkable care that manifests many years later as one of them is dying of cancer. Subtle, moving and writerly. Steve would also be happy to attend your book club. OH Brian Lampkin is one of the proprietors of Scuppernong Books.

September 2018

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Papadaddy’s Mindfield

My New Food Home

By Clyde Edgerton

This is a story about a way to get

ILLUSTRATION BY HARRY BLAIR

healthier without medicine, through food. No, don’t stop reading, please.

I had 20 migraines between October 2016 and April 2017. I didn’t know what to do. I thought about hitting myself in the head with a hammer, then decided to see my doctor. She gave me a prescription for migraines. One pill made me feel so bad I decided I’d rather have the headaches. I checked in with a neurologist, who basically told me he didn’t know what I should do, beyond keeping a migraine diary to discover my “triggers.” I envisioned a life of diary writing with continued migraines. I wanted quick relief — I wanted a relief app.

A friend suggested a book: The Migraine Brain. I read it. It had a bunch of “Don’t Eat This” lists, and while the lists didn’t always agree, they did overlap on certain foods. I was desperate. I went cold turkey and stopped eating or drinking anything beyond veggies, brown rice, fruit, and water — with beans for protein, and sparkling water for some pizzazz in my life.

I admit that I’ve silently looked down my nose at vegetarians. I once wrote in a book that when new parents get the baby seat all situated and fastened into the car, a cousin is going to come along, say it’s not put in right and then call the authorities. That cousin, I said, will be a vegetarian. If that’s funny, I’ve told folks, it’s because it’s true. Now I are one myself. (From that old joke: “I always wanted to be a grammarian and now I are one.”)

Here I was looking to become not only a vegetarian, but also a vegan — somebody I once visualized as soft-spoken and polite, wearing flip-flops, apt to be found sitting in a dark back room, listening to a podcast about . . . oh I don’t know — animals.

I was willing to sit anywhere and drink spinach smoothies and listen to even classical music if that would help stop the headaches. I would become a veggie vegan spokesperson. A veggie vegan warrior, maybe — if by chance the headaches stopped.

I cut out all gluten, sweets, dairy products, alcohol, soy, bananas (the only fruit on most all the no-eat lists in the book I read), eggs, coffee and meat. I was that desperate.

Beans and rice, with sautéed onions and peppers, became my first island of refuge — my first meal friend.

This meat/potato/biscuit puppy was surprised that the world didn’t collapse. My fresh food list led to a new — I’ve got to say it — happiness. Because the migraines stopped cold — as if a miracle had descended — and a respite from the pain of migraines made up for any initial worry about food.

During the first month of different eating habits, I discovered excellent gluten-free breads in the freezer section at the grocery store while rediscovering simple cornbread (no gluten), corn chips, oatmeal, and ah . . . homemade The Art & Soul of Greensboro

granola. Refried beans became a favorite — and in any Mexican restaurant I could find a friendly meal. (Hold the cheese, please.)

More and more restaurants are catering to people who eat the way I now eat. You might be surprised. I’ve found great sushi. Sometimes with sushi I cheat a tad with a little white fish meat, as in the “Lean Queen” specialty roll at Yoshi Sushi Bar in Wilmington. I’ve called for it for takeout so many times — they see the incoming number and answer with, “Got it.”

When you are somehow restricted, a result may be liberation. Narrowed choices may bring greater enjoyment.

I discovered a bean burger cut up on a salad at PT’s.

I started satisfying my sweet tooth big time with cantaloupe, honeydew melons, and sweet potatoes — two in the oven on aluminum foil, hit 350 degrees and the timer for 1:37. And a rice cake with almond butter and honey is succulent.

And, listen . . . ice cream. I’ve screamed for it all my life. Several non-dairy, non-sugar (or very low sugar) ice creams are out there. Try it before knocking it. I make a tiny milkshake several times a week: a few ounces of almond milk and with a couple scoops of Nada Moo or S.O. ice cream substitute.

I lost 20 pounds in three weeks — and a year later, I’m still down 20. It helps that I’m walking two miles a day.

Narrowed choices have forced my finding really good recipes. I look forward to breakfast like never before: a layer of frozen blueberries, a layer of gluten-free granola with a few roasted pecans or maybe some trail mix for crunch, then a layer of a favorite in-season fruit with a dash of salt. Top off with ice cold almond milk (or hemp milk or flax milk). A dessert for me is often pecans and strawberries with strong decaf coffee. My old molecules have accepted new molecules coming through the door. Did I mention homemade granola? Or toast, avocado and fresh tomato? Gluten free pizza crust — served in many pizza parlors now?

I did try one steak a couple months ago. It landed in my stomach like a hiking boot.

My last physical exam showed lower cholesterol than ever, lowest weight in 50 years (by 20 pounds), and lower blood pressure than ever. You are what you eat.

My impetus to change my eating habits was 20 migraines in a few months.

I’ve heard that a new habit materializes in two weeks to a year. I’ve passed the one-year mark. And yes, I’ve adjusted a bit: I’m back on an occasional egg and a serving of fish. But there are many reasons not to yield — not to return to my old-food home. I have a new new, better, tastier food home.

If you think you could feel better — consider cutting the gut-makers. Go lean. At least don’t scoff at us vegetarians, vegans, and hybrids. Consider joining us. Try it for one month. OH

Clyde Edgerton is the author of 10 novels, a memoir and most recently, Papadaddy’s Book for New Fathers. He is the Thomas S. Kenan III Distinguished Professor of Creative Writing at UNCW. September 2018

O.Henry 29

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Drinks with Writers

Book Tour Blues At Bespoke Coffee and Dry Goods

By Wiley Cash

Bespoke Coffee and Dry Goods at

the corner of Princess and 2nd streets in downtown Wilmington seemed like a good place to meet my friends and fellow writers Jason Mott and Taylor Brown for several reasons. First, the place is absolutely gorgeous. Huge windows pour light into a high-ceilinged space that is grounded by checkered tile, hardwood floors and countless succulent plants that lend soft pops of natural color to the industrial furnishings. Second, Bespoke’s coffee is just as outstanding as the curated list of local beers they have on tap. Finally, I knew Taylor would already be there, just as he is every afternoon.

I find Taylor at his spot near the register, sitting at the window that looks out on 2nd. When I say “his spot” I really mean it; a small gold plaque on the counter reads This space is reserved for Taylor “The Bodyguard” Brown.

“I spend hours writing here every afternoon,” he says when I ask him to tell me the story of the plaque. “When they first opened, I would stay until closing at 7:00 p.m., and then I would walk out with the staff.” He smiles, looks down at his open laptop where it sits just below the plaque. “They

The Art & Soul of Greensboro

started calling me the bodyguard.”

I have known Taylor since an advanced reader’s copy of his debut novel, Fallen Land, found its way to me in the months leading up to its publication. The novel, which was released in 2016, was a huge success, and it was followed by the novels The River of Kings in 2017 and Gods of Howl Mountain in 2018. He has just recently returned from a long book tour that had him crisscrossing the country.

“How are you feeling after all that travel?” I ask.

“It gave me mono,” he says.

I laugh.

“No, seriously,” he says. “I went to the doctor last week.”

Jason walks in the door while we are talking. Like Taylor, he has just arrived home from a long book tour himself. We all shake hands, and Jason asks how we are doing.

“Book tour gave Taylor mono,” I say.

“I almost died on book tour, too,” Jason says.

I gesture toward the bar.

“Let’s get some drinks.”

We get our drinks — iced coffee for Taylor, water for Jason, and an IPA from Wilmington Brewing Company for me — and grab a table just inside the front door.

I have known Jason since my parents introduced me to him in 2013, when his first novel, The Returned, was released. The book was optioned and produced as a television show for ABC before it was even published, and my mom watched it and loved it, and then she and my dad went to one of Jason’s book signings. She fell for him because of his books, and my dad September 2018

O.Henry 31

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32 O.Henry

September 2018

fell for him because of his cars. To say that Jason Mott is a car enthusiast is an understatement.

He buys them, repairs them, modifies them, and races them. My dad had spent much of his young life doing the same. Finally, a writer both my mother and father could support.

Jason’s second novel, The Wonder of All Things, was released in 2014, and his novel The Crossing was released this spring. I ask him to expound upon his near-death experience on book tour.

“Hospitality driver,” he says. “He almost mowed down someone crossing the street in Seattle. He slammed on the brakes, and I thought I was going through the windshield. He told me he hadn’t seen the guy because he’d been about to pass out.”

“What did you do?” Taylor asks.

“Well, I was starving, and I figured if he was about to pass out, then he might need food. We stopped at Burger King and ate dinner before heading to the bookstore.”

“The glamour of book tour,” I say.

Our conversation quickly turns to surprising, horrifying and hilarious things that can happen when you are on book tour alone, staying in bad hotels, catching red-eye flights, and always feeling like you are supposed to be somewhere else.

“I’m actually working on a novel right now about a writer who goes on a book tour where insane things happen,” Jason says. “I wrote it as a screenplay, and the folks out in Hollywood said it may get more interest if it’s a book first.”

“I’ll read it,” I said.

“I’ll read it and blurb it,” Taylor said.

We tell more stories, finish our drinks, and then stand to leave. As someone who drives a toy-littered Subaru Outback with two car seats in the back, I watch Jason leave and try to imagine what kind of car he will be climbing into. Taylor heads back to his seat where his laptop still rests below his plaque.

“How late will you stay?” I ask.

“They close at 6:00 p.m. now,” Taylor says.

“They felt bad for running me out of here an hour early, so they gave me a key to lock up.”

“Are you serious?” I ask.

He smiles and holds up a brass key on his key ring.

I say good-bye and step out into the heat. As I settle into my car and turn on the A/C, I imagine Taylor a few hours from now, closing down his laptop, turning off the lights at Bespoke Coffee and Dry Goods and locking the door behind him, glad to be home. OH Wiley Cash lives in Wilmington with his wife and their two daughters. His latest novel, The Last Ballad, is available wherever books are sold.

The Art & Soul of Greensboro

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September 2018

O.Henry 33

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The Art & Soul of Greensboro

Gate City Journal

Homegrown Folk

Greensboro brings a local spin to the North Carolina Folk Festival, September 7–9

By Grant Britt

It’s like the circus is coming to

town, but without the elephants. The folk festival is back in Greensboro this month, and there’s plenty of trumpeting going on, but it’s of the human, not the animal persuasion. It’s a new, improved version, with some important changes.

The festival belongs to Greensboro now, and henceforth will be known as the North Carolina Folk Festival (ncfolkfestival.com). As part of the original deal that secured the National Folk Festival in Greensboro for three years, the national organizers agreed to let us keep on keeping on with a festival of our own invention.

Former Arts Greensboro President and CEO Tom Philion was instrumental in bringing NFF to town but has retired this year, replaced by Interim President and CEO Amy Grossmann, who worked as program manager/logistics coordinator at the National Council for the Traditional Arts and program director most recently for the Maryland State Arts Council. “I was the one, based up in the offices in Washington, D.C., that took the festival to different communities, so I was part of hiring all the bands and working on logistics for producing the National Folk Festival in other communities,” Grossmann says. She’ll be using her expertise to move the festival along locally while still maintaining national and global ties, explaining, “Our plan is to continue the legacy of the national, continuing to present world-class artists, who come from all over the U.S.” There’ll be international artists as well, but North Carolina artists will be spotlighted. Grossmann says the goal is to have a diverse offering of traditions representing American roots, North Carolina and world traditions.

Grossmann runs the show now, but Philion will still be available as a consultant. “I want to have more time and flexibility to do some other things. A job like this pretty much owns you,” the former director/bassist admits. “I moved to town 18-plus years ago, there are a lot of people who don’t even know me as a musician,” he adds, jokingly referring to himself as “a musician with a day job.”

The Art & Soul of Greensboro

He says he misses performing and hopes to do more of it.

Though Philion’s musical talents won’t be on display in the streets this year, there will be plenty of other music to keep you satiated. Another change will be the omission of a North Carolina–oriented stage. “When the National moved into a community, they always had a stage that was for the state,” Philion says.

“We’re integrating North Carolina performers on all stages this year.”

A big part of that integration will focus on Rhiannon Giddens. The former Carolina Chocolate Drops local will be among a number of NC Arts Council Heritage Award-winners on the fest-set list. Giddens broke out big on a solo career in 2013’s Another Day Another Time concert at New York’s Town Hall, blasting out a stellar solo debut on the T Bone Burnett-produced, 2015 “Tomorrow Is My Turn”. “Not only is she the hometown girl, she’s very invested in this event,” Grossmann says. Giddens will be performing in different configurations, with a trio as well as a larger group, plus some more intimate performances. Giddens wants to share her banjo explorations and is hosting a gathering on Saturday morning of the festival that will be a mix of a workshop and TED Talk with different performers and academics. Open to the public, the event, as Grossmann describes it, will be “a deep dive into some conversations and exploration about performance, tradition and history of the banjo.”

As wonderful as it is to have a festival with global artists performing in your own backyard, it’s sometimes a daunting task to haul your sweaty, aching body multiple times up and down the 2-mile downtown festival strip to catch your favorites. Even though the artists perform multiple times on different days, sometimes one day is all you can do. But Grossmann says the big stages are here to stay. “As the festival has grown over the past three years, the sites we’ve chosen accommodate the thousands of people who come to the fest, so that’s going to remain our focus going forward.”

In addition to group performances, the North Carolina Folk Festival will host other special thematic workshops, talk/demos on a particular theme or topic, similar to Giddens’ presentation about the banjo. A fiddle workshop, perhaps, facilitated by a folklorist, with violinists and fiddle players from different traditions discussing and demonstrating their techniques.

Another new element will be a mobile app providing festival-goers with info on vendors and performers. It has a built-in GPS feature with map allowing you to meet up with friends or family among the throngs. The app will also September 2018

O.Henry 35

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36 O.Henry

September 2018

clue fest-goers into surprise performances, pop-up shows throughout the site. “So people who have the mobile app or follow us on social media will get an announcement and we might have an unscheduled performance taking place who knows where,” Grossmann says. But for us old-schoolers bound by the printed page tradition, 95 percent of the performances will still be listed on the printed schedule.

Despite the name change, the lineup will remain diverse and eclectic, from Shashmaqan to Jarekus Singleton, from Sona Jobarteh to Viento de Agua, from The Fitzgeralds to Wesli. Apart from Giddens, (see sidebar), there are a couple of acts that should be on every festivalgoer’s to-do list. For sheer sweaty fun, Nathan and the Zydeco Cha-Chas are the go-to act of the festival. Even if you don’t know how to dance, Nathan Williams’ rollicking rhythms will have you up and attempting variations of halfremembered glory dancing days of the Shing-a-ling or the Funky Chicken. Nathan won’t judge you. “If you can’t dance, wave your hand,” he says. “Seeing people having fun and enjoying themselves, he allows, “That’s the gift right there.”

Just like Clifton Chenier did decades before, Williams mixes in various styles in his sets, covering Ray Charles “I Can’t Stop Loving You” as a chanky-chank waltz with a soulful Hank Williams feel. Jim Croce’s “Bad, Bad Leroy Brown” has even more swagger when translated and transmogrified

by Nathan’s accordion. In a typical Cha-Chas’ set, Boozoo Chavis rubs elbows with Otis Redding sandwiched between a rowdy version of “When The Saints Go Marching In” and Archie Bell & the Drells’ 1968 hit “Tighten Up.” It’ll fool with your head and your feet in a way that’ll have you spinnin’, staggerin’ and callin’ for more.

John Jorgenson Quintet spins you another way, channeling the lightning fast runs of Django Reinhardt’s gypsy jazz. On an array of stringed instruments, Jorgenson dazzles the senses with his own compositions, as well as his translations of Reinhardt’s Hot Club classics. But it’s not just some stuffy re-creation of dusty past glories. Jorgenson is funny as a standup comedian, his between-song patter unlaxing you momentarily before winding you up once again with his string-pulling prowess. His approach makes converts of even the most standoffish jazz observers who previously thought the genre made them nervous.

Perhaps the best thing about the N.C. Folk Fest is the price. It’s free — all day, all night. In an era when a big festival or concert can set you back thousands, for many it’s the only way to go. And multiple appearances by nearly every performer have huge appeal as well, eliminating making agonizing choices between favorites.

Grab your sunscreen, put on your comfortable The Art & Soul of Greensboro

Gate City Journal walking shoes, sling your folding chair over your shoulder and from September 7 through 9, come on downtown for the most free fun of the festival season.. OH When not slinging deathless prose from his iconstuffed shack across from the graveyard, Grant Britt races sweatily through the streets in search of mighty fine entertainment for the ear and the feet.

Rhiannon’s Return

Rhiannon Giddens will be a big draw for the festival, partly because her musical roots run deep in the Triad, but largely because her glorious voice, her enthusiasm and determination to share her multicultural heritage through her instrumentation and compositions are magnets for audiences. Giddens’ 2007 MerleFest debut with the Carolina Chocolate Drops had people sprinting from their lawn chairs in front of the main Watson stage to get a closer look at the hell she was raising at the tiny Cabin stage off to the side. “We had a 20-minute set, and six songs in I was like, ‘All right guys, let’s just hit it hard!’” the musician recalls. “For years afterward, we’d see people coming to the shows saying ‘I saw you at Merlefest and that’s why I’m here.’ So it was definitely a huge turning point for us.”

Giddens’ mentor was Mebane native Joe Thompson, one of the last black square dance fiddlers. Thompson’s playing had a depth and syncopation that set his music apart from most white practitioners, and a dedication to his craft that kept him playing into his 90s up until his death in 2012. “He wasn’t really concerned about record sales and gigs. He loved doing gigs, he lived and breathed it, and that was a very powerful way for us to begin our journey together under that umbrella,” Giddens says. “He was so generous with his time and his energy. I think all of that was a great anchor for us to have.” — G.B.

The Art & Soul of Greensboro

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September 2018

O.Henry 37

38 O.Henry

September 2018

The Art & Soul of Greensboro

Wine Country

Ask Me Another, Please Here are a few of the usual suspects

By Angela Sanchez

Being a sales person in the

wine industry for almost 20 years, and now working with my own wine program, I have fielded quite a few questions over the years. Here are a few of the most common:

What is your favorite wine?

I almost always drink rosé, almost every day, all year long. Mostly because, to me, it is the perfect balance between red and white wine and goes with just about anything you want to eat. My favorite red varietal is grenache. Whether it’s full-bodied, deep and full of the aromas of pencil lead from Priorat in Spain or blended to give Southern Rhône wines roundness, fruit forwardness and generosity on the palate, I love it. Anytime I am in the mood for a red wine to have with a nice steak or lamb dinner or just to have a nice glass, following rosé, I choose a nice grenache or a wine blended with it. Also, I always drink bubbles on Sunday. If not Champagne then something more budget-friendly, like Italian Prosecco or Cremant from France or dry styles of California sparking. Look for them to say brut on the label. I do have my favorite producers and regions for my favorite wine styles, but I always keep an open mind and eye to try new ones.

What wine should I serve at my party?

I like parties and wine and fun and, together, parties and wine are fun. I suggest wines that are crowd pleasers, that don’t need a lot of discussion and are easily enjoyed. Keep it simple. You want guests to have something they can feel comfortable with. Something sparkling because nothing says party, or fun, like bubbles. A red and a white. For the white, I recommend an easy drinking style with little or no oak used to age the wine. My favorites come from regions where you can find great value these days, like sauvignon blanc from South Africa or Chile, or a nice blend, usually grenache blanc and viognier, from the The Art & Soul of Greensboro

South of France. As far as red goes, I prefer something that has not seen a lot of oak aging. Great value areas where you get a lot of bang for your buck are Chile, Argentina and Spain. Try an Argentinian malbec, Chilean cabernet or Spanish grenache. For bubbles, the best bets for quality and price come from Prosecco from Italy and Cava from Spain. Also a nice choice, but a bit higher priced would be a sparkling wine from Napa, California, made using the traditional méthod champenoise.

How long will my wine last?

Are we talking about the bottle you just opened; the bottle your boss gave you for your birthday; or that bottle of 1996 Screaming Eagle Cabernet? If it’s the bottle you just opened, in my case, it wouldn’t last past tonight. If it’s the bottle your boss gave you as a gift and you aren’t familiar with the name, Google it. The winery will have a description and most likely tell you if it’s ready to drink now, within the next year, or hold, and for how long.

If it’s a bottle of 1996 Screaming Eagle, it’s ready to drink, so drink it. If it is another bottle worthy of aging and collecting, please make sure to keep it somewhere cool, dry and out of direct sunlight. Aging times vary based on the varietal, style, vintage and producer. Some varietals naturally need longer to develop their full potential — think cabernet and merlot-based Bordeaux. The vintage and producer usually dictate aging. A great producer makes good wine even in a bad vintage, but a bad vintage can make lesser producers struggle to make a wine that can last over time and, as a result, it would need to be consumed young, or as a critic might say, now.

I am always happy to answer questions. I ask a lot of them myself. These are just a few of the frequent flyers. They have one common theme — drink what you like, when you like, and you won’t be disappointed. OH Angela Sanchez owns Southern Whey, a cheese-centric specialty food store in Southern Pines, with her husband, Chris Abbey. She was in the wine industry for 20 years and was lucky enough to travel the world drinking wine and eating cheese.

September 2018

O.Henry 39

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September 2018

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The Art & Soul of Greensboro

In the Spirit

Three’s Company Three drinks, three ingredients

By Tony Cross

I asked a

PHOTOGRAPH BY TONY CROSS

close friend the other day what I should write about in my next column. She replied, “Like, how to make a drink.”

She’s obviously not one of my 12 readers; 10 if you don’t count my parents. Instead of just walking away, I asked her to enlighten me. Her response, “Something good. But, like, easy to make.” That I can do. So, for those of you who want a few go-to cocktails that only involve a few steps, here are three suggestions. And, even if you don’t mind making a mess out of your kitchen, I think you’ll enjoy these.

The first time I tried a Negroni cocktail, I was in disbelief about how terrible it was (forget the fact that I made it). My palate was as sophisticated as a 4-year-old; obviously, my taste buds had some growing up to do. Months later, Campari and I became well-acquainted, and soon best pals. So, the first time I tried the Boulevardier cocktail, I was smitten. Spicy rye whiskey paired with bitter Campari and rounded out with sweet vermouth was love at first sip. In fact, I loved this drink so much that I made one (maybe it was more?) for myself every single evening last summer when I returned home. For the whiskey, my standards are either Wild Turkey Rye or Rittenhouse. Both pack a punch and are moderately priced. The sweet vermouth, however, has changed during the course of the 100 that I’ve prepared. I used to use Carpano Antica, which is a lovely sweet vermouth that has beautiful notes of vanilla and orange, but now I like a more bitter-forward style. Cocchi Dopo Teatro is a ridiculously good vermouth that infuses quassia wood, rhubarb and cinchona. The base wine is The Art & Soul of Greensboro

blended with Barolo Chinato.

The result: a vermouth that’s perfect for sipping on its own but I love it in a Boulevardier.

You be the judge.

Boulevardier

1 1/4 ounces rye whiskey 3/4 ounce Campari 3/4 ounce sweet vermouth Combine all ingredients in mixing vessel (or build it in your rocks glass). Add ice, stir for 50 revolutions, and strain into a rocks glass over ice. Garnish with orange slice or orange peel.

It’s still warm enough to have one more month of summer drinking, even if fall is a few weeks away. One of my absolute favorite poolside cocktails is the Caipirinha. Made with cachaça, a rum distilled from sugar cane indigenous to Brazil, this cocktail is so good, it’s hard to just have one. If you have cachaça, a lime and sugar, you’re good to go. Please note that Bacardi, or any other clear rum, is not a substitute. Cachaça’s grassy flavor comes from its lower sugar content that’s produced when it’s juiced. A lot of rum is made with juice that comes from molasses. If your lime is small, use the whole thing; if it’s rather large, 3/4 of it will do. Start by cutting the lime in half lengthwise (think of the top and bottom of the lime as the north and south poles). Take each half and cut the ends off each pole. Then, take each half and cut down the center from the poles. You’ll have four pieces of lime now. Cut off and discard any slithers of white pith that remain. The pith will add a bitterness that’s not needed for this drink. Once that’s done, cut each of the four pieces down the middle widthwise.

You should have eight little pieces of lime. Place those into a sturdy rocks glass.

I say sturdy because you will be building and muddling into this glass. If it’s a brittle glass, it might break and you could cut yourself. Blood would be a fourth, and totally unnecessary, ingredient. Add two teaspoons of white sugar, and muddle. When muddling, try not to annihilate the limes; you’ll want to gently muddle while twisting the muddler to extract not only the lime’s juice, but the oils as well. Add 2 ounces of cachaça, and crushed ice (yes, the type of ice makes September 2018

O.Henry 41

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42 O.Henry

September 2018

The Art & Soul of Greensboro

In the Spirit

Get Back Your Kick!

a difference — crushed ice for the win.) Now, with a bar spoon (or regular spoon, if you don’t have one), gently stir everything in the rocks glass for about 10 seconds. Top off with more crushed ice. This will be just a touch spirit-forward, especially if your sugar sinks to the bottom of the glass. Another option would be using 1/2 ounce of simple syrup (two parts sugar, one part water). If this gets good to you, try adding a couple slices of pineapple or strawberries when muddling.

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Caipirinha

2 ounces cachaça 2 teaspoons sugar 3/4 to 1 whole lime This last drink takes some time — three weeks, to be exact, but don’t let that deter you from having this amazing cocktail. I totally stole the base of this recipe from bartender Jeffrey Morganthaler’s Bar Book that came out four summers ago. In it, Morganthaler gives us the specs for a recipe he found in a book printed in 1939 from Charles H. Baker using his strawberry-infused tequila.

All you’ll need is one quart of strawberries and 16 ounces of a good reposado tequila. Dice the strawberries, add them to a Mason jar, and fill with tequila. Seal the jar, and leave in a cool, dark place for three weeks. Shake the jar for about 15 seconds a few times each week. When the time is up, voila!

Strain through cheesecloth, and you’ve got yourself a winner. It’s delicious by itself, but when I decided to put this on my drink menu, I didn’t want to sell this neat or over ice. I was afraid that it would be gone just like that. So I decided to make a cocktail with it. I made a syrup from lavender buds and added lime juice — essentially a riff on a margarita.

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Bit by a Squirrel

2 ounces strawberry-infused reposado 1/2 ounce lime juice 1/4 ounce lavender syrup Put all ingredients in cocktail shaker and add ice. Shake it like it’s hot, and then strain into a chilled cocktail coupe. Garnish with a few lavender buds.

Lavender Syrup: take 1/4 cup of water and 1/2 cup of baker’s sugar, and place in a small pot over medium heat, stirring until the sugar is dissolved.

Add 1/4 ounce of dried lavender buds. Once the syrup has cooled, strain out lavender. OH Tony Cross is a bartender who runs cocktail catering company Reverie Cocktails in Southern Pines.

The Art & Soul of Greensboro

www.ohgoodnessfineportraits.com September 2018

O.Henry 43

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The Art & Soul of Greensboro

True South

You Know I’m Right (Even if you hate to admit it)

By Susan S. Kelly

In the Declaration of Indepen-

dence, when our forefathers wrote, “We hold these truths to be self-evident,” they left a few truths out. Not Murphy’s Law kind of truths, or Wouldn’t You Just Know It truths, the kind that make you cuss. My truths are far, far bigger, better, truer. They’re You Know I’m Right truths.

— If you lined up all the note pads with your name on them that people have given you throughout the years, they’d stretch from the kitchen sink to the staircase. (My sister has actually done this.)

— Crème horns, Krispy Kreme cream-filled (not custard) doughnuts, and Little Debbie Oatmeal Cakes are nothing but vehicles for the white goo inside.

— Do not engage with enraged mothers, sea gulls, or ivy.

— Anything annual — oyster roast, house party, frat bro reunion — gets old after a while.

— “O Come, O Come Emmanuel” has a lot to say about rejoicing, but it basically sounds like a dirge.

— The worst reflection you’ll ever see of yourself is in the mirrored strip at the meat counter in the grocery store while you’re leaning over to examine the pork tenderloins.

— Money may be a tacky gift, but no one ever returns it.

— A christening party is the most demanding entertaining you’ll ever have to do in the guise of a casual nothing-to-it affair. You have to look good, the baby has to look good, your house has to look good, and the food has to taste good. And it all has to be done before noon. Sober.

— Whoever goes first in Tic-tac-toe is going to win.

— If your grass doesn’t look good in April, you’re sunk for the summer.

The Art & Soul of Greensboro

— Some people hate sweet potatoes; some people hate the dentist. But everyone hates the word “moist.”

— The original, jaunty version of “Carolina In My Mind” is superior to the slow, melancholic, later version.

— Christmas season yard inflatables spend 99 percent of the Christmas season deflated in the yard.

— What is the big deal with the Mona Lisa?

— You actually wish hotels would just go ahead and install big, wall-mounted shampoo and bath gel dispensers so you wouldn’t feel compelled to take the mini-bottles when you already have dozens.

— The first people to arrive at funerals are from out of town. They had to gauge how long it would take to drive and then add a safety buffer.

— Wouldn’t you like to see the machine that peels those already-peeled hardboiled eggs at the grocery store in action?

— No matter what the prayer book says, “the peace that passeth all understanding” is when all of your children get invited to spend the night with friends on the same night.

— Food served in spoons at cocktail parties is so awkward it makes you feel like an infant. The rim means you can’t eat it sideways, so you have to feed yourself frontways, like your mother did playing airplane with lima beans.

— You know I’m right. Convene the founders. Amendments on the table. OH Susan Kelly is a blithe spirit, author of several novels, and proud grandmother.

September 2018

O.Henry 45

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The Art & Soul of Greensboro

Birdwatch

Caw Caw of the Wild The stealthy, predatory — and fascinating fish crow

By Susan Campbell

Everyone knows what a crow is,

right? Well, no — not exactly. It is not quite like the term “seagull,” which is generic for a handful of different species. When it comes to crows, you can expect two species in the Piedmont during the summertime: the American crow and the fish crow. Unfortunately, telling them apart visually is just about impossible. However, when they open their beaks, it is quite a different proposition. The fish crow will produce a nasal “caw caw,” whereas the American crow will utter a single, clear “caw.” That single, familiar sound may very well be repeated in succession, but it will always be one syllable in contrast to the fish crow. Young American crows may sound somewhat nasal at first, but they will not utter the two notes of their close cousins, the fish crow.

Both crows have jet black, glossy plumage. Strong feet and long legs make for good mobility. They walk as well as hop when exploring on the ground.

Also they have relatively large, powerful bills that are effective for grabbing and holding large prey items. Crows’ wings are relatively long and rounded, which allows for bursts of rapid flight as well as efficient soaring. The difference between the two species is very subtle: Fish crows are just a bit smaller, and probably the only way to accurately tell them apart is to have them side-by-side.

Fish crows are migratory across inland North Carolina. Before much longer, expect to see flocks of up to 200 birds staging ahead of the first big cold front of The Art & Soul of Greensboro

the fall. Most of the population will be moving generally eastward come October.

For reasons we do not understand, some fish crows will overwinter in our area.

Small groups are even being found on Christmas Bird Counts each December across the region. Because of in-migration, the number of fish crows along our coast swells significantly by mid-winter. Visiting flocks do not stay there long but are among our earliest returning breeding birds, arriving by early February for the spring and summer. Almost as soon as they reappear, they begin nest building.

Interestingly their bulky stick-built platforms are hard to spot, usually perched in the tiptops of large pines. Furthermore, crows tend to be loosely colonial, so look for two or three pairs nesting close together in early spring.

Although fish crows are frequently found near water, they wander widely.

They are very opportunistic, feeding by picking at roadkill, taking advantage of dead fish washed ashore, sampling late season berries, digging up snapping turtle eggs or, one of their favorite activities, robbing bird feeders with what often appears to be pure delight. But they can also be predatory. And though they are large birds, they can be quite stealthy. If you’re lucky, you might catch them stalking large insects in open fields or, at the water’s edge, frogs and crayfish. Unfortunately, fish crows are also very adept nest robbers and take a good number of eggs and nestlings during the summer.

These birds, as well as their American cousins, can become problematic.

They are very smart and readily learn where to find an easy meal. At bird feeders, they will quietly wait until the coast is clear, especially if a savory lunch of mealworms or suet can be had.

Southern farmers, years ago, found a fairly effective deterrent was to hanging one of their brethren in effigy to keep flocks from decimating their crops.

Recently I acquired a stuffed crow from my local bird store with the hope that this method would scare them from my feeding station and keep them from preying on nearby nests. Amazingly, it worked! I do move it regularly to keep the attention of passing would-be marauders. Of course, it is quite the conversation starter as well!. OH Susan would love to receive your wildlife sightings and photos. She can be contacted by email at susan@ncaves.com, or by calling (910) 585-0574.

September 2018

O.Henry 47

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The Art & Soul of Greensboro

Wandering Billy

Greensboro’s War Effort Remnants of the ORD recall the Gate City’s role in World War II

By Billy Eye

“They’re Germans, don’t mention the war.”

— Basil Fawlty

Greensboro’s Army

Air Forces base was commissioned 75 years ago, all the excuse I needed to wander the confines of what was once Basic Training Camp No. 10 / Overseas Replacement Depot, an essential WWII installation. It was huge.

Beginning at Summit, the facility, also known as ORD, extended outward in both directions from Bessemer Avenue down to English Street. It was bounded to the south

by Lee Street (now Gate City Boulevard) while extending northward well past Wendover.

In operation from 1943 until 1946, the camp was initially charged with training and outfitting airmen and WACs; after V-J Day the mission shifted to processing returning troops back into civilian life.

It was an enormous operation requiring 3,200 permanent military personnel and hundreds of civilians. Trainees of note included motion picture stars Donald O’Connor and Sabu (Dastagir), the Elephant Boy, but by far the most famous recruit was future movie idol Charlton Heston who was married, yes, right here in Greensboro days before shipping out in 1944.

After the base was decommissioned, the land, some 650 acres, was parceled out for Summit Shopping Center, Alpat Restaurant, Best Products, McKnight Hardware, subdivisions and other varied interests. In the 1950s a golf course occupied the area where the sprawling rifle range had once been. NCA&T’s athletic field fits neatly inside that footprint today.

Despite decades of rampant development, remnants of BTC-10 / ORD are there for those willing to poke around a bit.

Venture east down Bessemer from Summit, and look for Bojangles’ on your left. The red brick building directly behind the drive-thru on Westside Drive was one of the nine Post Exchanges (PXs). Expanded in the rear for an

The Art & Soul of Greensboro

auto parts store post-war, the facade is exactly as it once was, with a rusty signpost (sans sign) still standing at attention out front.

Two doors down is an honest to goodness metal Quonset hut that served as Chapel No. 1, unless this building was moved from its original spot. There are two other Quonsets that I know of inside the center city limits, one off South Elm and another on Lydon Street.

Continuing down Bessemer, that triangular patch of grass across from KFC was where the headquarters building once stood, hence the name of the street. Shame it couldn’t have been preserved. I had a peek inside before its demolition a few years ago, a good portion of it appearing as eerily vacant as it must have looked when the last recruits locked the doors behind them in 1946.

Taking a right off Bessemer onto Winston you’ll see an unrestored, vacant metal building made “off limits” by fencing. Note the cinderblock foundation. These structures were never meant to be anything but temporary. We were going to win the war after all!

Beginning at Warehouse Street and continuing over to English you’ll find, perhaps, the highest concentration of the remains of ORD. Those neat rows of warehouses, wooden frames now covered in vinyl siding, were originally processing centers for troops arriving by train. The easily recognizable train depot, end of the ORD line, September 2018

O.Henry 49

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The Art & Soul of Greensboro

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To the east on Cain Street sits another barrack, repurposed as a lodge hall. I believe this is the location where some 300 German POWs were housed, just outside the camp’s perimeter. Because of a manpower shortage, many Germans spent their days working on nearby farms and were apparently well-liked. African-American soldiers complained, rightfully, that enemy combatants were afforded better accommodations than they were.

Long gone is the massive Kitty Hawk Amphitheater and the multiple dance halls and nightclubs featuring entertainers such as Louis Armstrong, Benny Goodman, Ronald Reagan with wife Jane Wyman, Jeanette MacDonald, opera singer Grace Moore, boxer Max Shapiro, and Lon Chaney. ORD’s Officer’s Club was reputed to be the nation’s finest.

Greensboro’s Army Air Forces base was a proving ground for thousands of fighter pilots, bombardiers and crucial personnel engaged in a war that, by necessity, would have to be won in the skies.

Heroes all. We stand in their shadows.

***

On a related note, VFW Post 386 at 1206 American Legion Drive will be holding their highly anticipated hot dog sale from 9 a.m. to 2:30 p.m. beginning the first Saturday after Labor Day and continuing on Saturdays through April. OH Billy Eye would love to write a book on ORD if someone would fund it. Thanks to photographer Nathan Stringer for the modern ORD pics you just enjoyed.

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The Art & Soul of Greensboro

September 2018

O.Henry 53

Painting the Town From downtown to Midtown and beyond, Marty Kotis is putting Greensboro at the forefront of street art

H

By Maria Johnson • Photographs by Amy Freeman

e’s not an artist.

He never studied art. Never collected it. Never particularly noticed it.

Heck, he wasn’t even a comic book kid.

But in the last two years, Greensboro real estate developer Marty Kotis — an only child who followed his father Bill into the business — has emerged as a champion of street art, splashy outdoor art writ large, often in the form of spray-painted murals.

This isn’t some guy noodling around on a bridge with a can of Rust-Oleum.

This is a deep-pockets patron who’s pushing polished, professional work.

Done with permission.

And paychecks for internationally known artists.

As a result, Greensboro perches on the front row of a global art movement.

“The really weird thing is seeing these artists from all over the world in Greensboro, North Carolina – like, little ole Greensboro,” says local street artist Brian Lewis, who is professionally known as JEKS. “You know, we’re a small town compared to the rest of the world, but we have some of the best murals. It’s cool to have that caliber of art here” To earn that distinction for the city, Kotis has shelled out a chunk of change — estimates climb well into six figures — for more than 40 pieces, ranging from small graffiti “throw-ups” to beautifully nuanced portraits that jump out from big walls, many of them in the Kotis stronghold of Midtown.

54 O.Henry

September 2018

That a developer would pay for more than necessities in his buildings is unusual. That he would pay for adornments that last, on average, 10 years before they need refreshing or painting over, is remarkable. But Kotis sees his investment as an extension of what he’s been doing since he joined his dad’s business in the mid-1990s.

“I’ve always been interested in changing the landscape of a city,” he says. “I’ve been curating buildings for a long time. Now, I’m curating art.”

Bearded yet boyish at age 49, he tosses off the names of street artists — usually one-word handles such as Adnate, Belin, DOES, DAAS and DANK— with ease.

He checks his Instagram feed several times a day to see what they’re up to. He follows individuals and aggregators who gather and share images. Greensboro swims in that sea, too. Every time a significant piece goes up, the city gets tagged in posts that are cast upon the waters of social media.

“That’s shared all over the world,” says Kotis. “We had a guy come in from New York just to look at our art. He’s a freelance writer who covers a of lot street art. He pointed out that our pieces are much larger than what you would find in New York, and our art tends to stay up longer.”

Kotis has tinkered with interior and exterior art since 2010 when he bought, renamed and revamped the Darryl’s restaurant on Gate City Boulevard, the last location of a once-popular chain that was born in North Carolina.

He hired local artists to paint witty bar signs and vignettes when he reopened the restaurant as Darryl’s Wood Fired Grill.

The Art & Soul of Greensboro

The Art & Soul of Greensboro

September 2018

O.Henry 55

Dan Kitchener DANK He expanded with creative touches at his Midtown restaurants including Burger Warfare (see military robot sculptures and a bar crafted from .50-caliber machine gun shells), the now-defunct Marshall Free House and its short-lived replacement, The Traveled Farmer.

He waded into large-scale acrylic art in 2016 after local entrepreneur Ryan Saunders, who founded a venture called Create Your City, approached him about painting one of the buildings that Kotis and his father own at the corner of Friendly Avenue and Davie Street.

Kotis gave the nod, and a woman named Taylor White, of Raleigh, painted a pair of intertwined purple hands on a wall facing GreenHill gallery, which funded the project.

Kotis was intrigued. He became a student of outdoor walls. He noticed street art when he was traveling, and he started planning trips around it.

“I went to Berlin in 2016 and saw how amazing some of these pieces can be, really world-class art,” he says. “I took a stenciling class just to understand the technique. I traveled to New York, Las Vegas, Houston and Miami to see some different art, too. I thought, ‘I want to bring this to Greensboro.’”

The following year, he commissioned artist Steven Darling, who lives part time in Winston-Salem, to paint lettering and a kaleidoscopic lollipop on the side of a downtown building where Kotis plans to install a charter school. The building, at the corner of Church and East Washington streets, once held a candy company and, later, human-services agencies.

Kotis struck again when he lassoed local, national and international artists to decorate the industrial surfaces at his Tracks Bazaar and beer garden on eight-plus acres that were once occupied by Brooks Lumber Co. near the South Eugene Street bridge. He envisions the complex as part of a larger arts district along Gate City Boulevard.

Hungry for more wall space, Kotis pivoted north to the epicenter of his holdings in Midtown, a swath along Battleground Avenue discernable by its outdoor bistro lights, buildings with heavy cornices and ornate brickwork.

He recruited some heavy-duty names.

He flew in Australian artist Matt Last, who goes by the name Adnate and who specializes in painting indigenous people, to do a portrait of a Lumbee man

56 O.Henry

September 2018

on the side of the Midtown Financial Advisors building.

Kotis, who serves on the UNC Board of Governors, says he wanted to honor the Lumbee, the largest tribe east of the Mississippi River, after he delivered a commencement address at UNC Pembroke last year. ”It was very welcoming community,” says Kotis.

Adnate did a second portrait, of a young Lumbee woman, on a bridge abutment next to Tracks. The bridge is along the Atlantic & Yadkin Greenway, which, when completed, will thread by Tracks Bazaar and Midtown, enabling walkers and cyclists to take in the art that Kotis is assembling along the blacktop spine.

“You’ll have this outdoor gallery stroll,” he says. “It’s only a mile and a half as the crow flies.”

Among the sights that pedestrians will see: The huge pieces that Kotis commissioned earlier this year on sides of RED Cinemas in Midtown. The theater’s south-facing wall is a futuristic vision of Tokyo — complete with flying cars and a holographic geisha — painted by British artist Dan Kitchener, aka DANK. To cover the north wall, Kotis brought in three famous street artists.

Joos van Barneveld, aka digitaldoes or simply DOES, from the Netherlands, painted the abstract background.

Adnate, of Australia, returned to do the Marvel Comics movie characters Deadpool and Wolverine.

Spanish artist Miguel Ángel Belinchón Bujes, better known as Belin, rendered Wonder Woman, her bracelets crossed in defiance of evil.

Kotis adores the Wonder Woman portrait.

“I would argue that’s the best photo-realistic mural I’ve seen in the entire world,” he says. “When he finished that, we were all amazed. He did that with no projections, no markings.”

While he was here, Belin also did a large cubist painting of a woman inside the former Ham’s Lakeside, which Kotis plans to reopen as a second Darryl’s Wood Fired Grill next spring. Meanwhile, the artist DOES executed an abstract design, suggesting the interplay of light and water, across the back of the restaurant on East Cone Boulevard.

If it sounds as if Kotis spends a lot of time with the artists, he does.

The Art & Soul of Greensboro

PHOTOGRAPHS THIS PAGE FROM KOTIS.ORG

“I don’t delegate the architecture of my buildings, and I don’t delegate this either,” he says. “It’s something I enjoy.”

For Kotis, the pleasure starts with picking a wall. He mulls over which artists have a style and subject matter that fit the space.

Many of his buildings — he owns 27 in Midtown alone — provide ideal workspaces, with blah two-story walls that back up to the retired railroad tracks.

“I enjoy taking these really ugly areas and making them among the nicest parts of the city,” he says.

He reaches out to the artists himself, spending hours pitching ideas, trading images, selling himself and Greensboro. One of his advantages, he says, is that he gives artists an unusual degree of freedom.

“I don’t say, ‘Hey, can you paint my grandmother on the side of this building and do it with these colors?’ ” he says.

He asks about their dream projects.

“If we can do something they’ve been burning to do, we get a much better installation than if they slap up a wall they’ve done 30 times,” he says.

Kotis makes an attractive offer: a wall prepped to the artist’s specs; airfare for the artist and sometimes for family members; accommodations at hotels or Airbnbs; meals; rental cars; local assistants; project lighting; mechanical lifts and, of course, paint.

That’s in addition to an artist fee for painting, which can run from thousands to tens of thousands of dollars, depending on the stature of the artist.

Kotis often pays for wrap-and-reveal parties at the end of projects.

A few weeks ago, he oversaw an ambitious project at 1205 West Bessemer Avenue, a brick office building in Midtown. Kotis plans to convert the property to an office/residential hybrid with Airbnb space.

To transform the building from ho-hum to hot-damn, he brought back his goto artist, Adnate from Australia, to paint three portraits — two Cherokee sisters on one wall and an Aboriginal man on the other side of the building, representing the belief that first-nation people communicated through dreams.

Adnate had expressed interest in working with artist Eric Mangen of Luxembourg, so Kotis hired him to do the background. Mangen bandied about the idea of using large fire extinguishers — similar to the 4-foot models used at The Art & Soul of Greensboro

airports — to douse the building with waves of purple and lime green paint.

Kotis suggested another way.

“I said, ‘Do you think you could paint with a fire truck?’ He said, ‘Well, that’s never been done in the world.’ I said, ‘Let me see what I can do.’”

Kotis bought a used fire truck. He rigged it with special hoses and nozzles for paint. Mangen was floored.

“That’s the fun part, too,” says Kotis. “The challenge of seeing if we can do something that’s never been done. How do we create that wow factor?”

Kotis admits he was anxious about the building’s purple and green color scheme. So were his tenants. One woman walked into the parking lot while the purple paint was going up. She was talking on her cell phone.

“She said, ‘This is the ugliest crap you’ve ever seen in your life,’ ” says Kotis.

“Then she looked over and saw us and was like, ‘Oh, hey!’ The next day, we added the green. Sometimes, when you do this, it can be like watching sausage-making.”

Kotis paid a team of videographers, including one from Los Angeles, to record the process. He pushed the finished clip out on Instagram and Facebook.

(See O.Henry’s Facebook page to view the clip). He routinely posts glowing testimonials by out-of-town artists to boost his profile as an employer— and, at the same time, enhance Greensboro’s street cred.

He makes no apologies for importing talent, which has caused some grumbling among local artists. In that regard, Kotis likens himself to the Greensboro Coliseum. ”You wouldn’t say, ‘Well, let’s have only local artists at the Coliseum.’ That’s crazy. You’re taking an art form and letting people see it and appreciate it,” he says. “Also, these local artists have a chance to come out and watch the techniques and see what someone is doing.”

Saunders, the arts entrepreneur who first talked Kotis into a large-scale mural, agrees that bringing big-name artists to Greensboro raises the bar for local practitioners, whom Kotis continues to hire.

“I think it’s extremely important what he’s doing,” Saunders says.

“Greensboro is on-trend with street art. It’s happening all over the world, but in

September 2018

O.Henry 57

58 O.Henry

September 2018

The Art & Soul of Greensboro

PHOTOGRAPHS THIS PAGE FROM KOTIS.ORG

terms of a city this size, we’re ahead of the curve.”

Kotis notes that others are propelling street art in Greensboro. The Greensboro Mural Project focuses on collaborative painting.

Phillip Marsh, of Rockers Print Shop, promotes and paints street art.

The city of Greensboro has gotten in on the act, too.

Recently, the city hired an artist from the Netherlands, David Louf, aka Mr. June, to paint the concrete dome of the Mitchell Water Treatment Plant in the Midtown area.

The city also paid the street artist known as DAAS to paint two panels on a parking deck on Bellemeade Street. During that job, Kotis chatted up DAAS, who lives in Japan and the United States., and gave him another gig: painting a young African-American space girl on a brick wall at Tracks.

Kotis’s proactive approach is catching, says Josh Sherrick, the city’s superintendent of arts and events.

“Marty doesn’t just talk about it; he does it. He puts his money where his mouth is,” says Sherrick. “Seeing these walls done with speed and efficiency . . . it opens your eyes to what we can do from the government side.”

Kotis isn’t finished.

He plans to add more street art to his Midtown holdings, including a brand new standalone building at the intersection of Pembroke Road and Battleground Avenue. The health food restaurant Corelife Eatery will open there later this year. Kotis made sure the outer walls included insets for murals.

He wants the Greek artist Insane51 to do some provocative work at his Pig Pounder Brewery.

He’d like to bring back the Wonder Woman artist Belin to erect a sizable The Art & Soul of Greensboro

sculpture in Midtown.

Farther up Battleground, he’ll probably add some street art to the Mattress Warehouse building that he owns. When he constructs shops and a mountain bike park behind the mattress store, he’ll deck that with street art.

The same goes for a new brick building slated to go across the street from the mattress place, a wedge of land that’s home to a convenience store now.

The Roses shopping center on East Cone Boulevard — that’s his, too — will not escape roller, brush and nozzle.

His senior living complex on Whitehurst Road will sport outdoor art, probably on the back of a building that used to house Refz bar and grill.

“That’ll be more subtle,’ he says.

He would like to do something entirely different with the small shopping strip that used to house Mahi’s Seafood Restaurant on Lawndale Drive.

Kotis wants to bring back DOES to turn the whole building into a piece of art. He visualizes the vacant storefronts glowing from within, maybe with video screens. The exterior would be painted and lit up. Passers-by on Lawndale Drive and the new urban loop would simply behold, not enter, the building.

Soon, Kotis says, he and his 15-year-old son Alex will experiment on the building with some drip painting techniques.

Kotis swears he doesn’t want to be an artist himself.

“My art is place-making,” he says. “It’s a creative outlet. It gives me new inspiration and ideas, and it keeps things interesting for me. When I have fascinating projects, and interesting people to work with, and a chance to something worldclass, that inspires me.” OH Maria Johnson is a contributing editor of O.Henry.

September 2018

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The Art & Soul of Greensboro

Watta Baby!

Kiddie swimmer makes a splash

The Baby is only a few months old — in appearance and in fact — and already he’s a landmark, this chubby-cheeked, blue-eyed, bare-chested tyke who hovers on a wall facing Battleground Avenue near Pembroke Road.

He appears to swim under azure water, holding a can of spray paint in his right hand, in the style of the infant who clenches a dollar on the iconic album cover of Nirvana’s Nevermind.

Thousands of people drive by “The Baby” every day and grin. Groups of friends pose in front of the rosy pink tot. They snap pics, post, like, repost.

He has become somewhat of a social media sensation, this bubble-blowing babe, and he has buoyed the career of the Greensboro artist who created him.

Brian Lewis, aka JEKS, has been overwhelmed by the response to the aqua kiddie that he and artist Eric Mangen of Luxembourg painted to life in June.

“People have shown so much love,” says the 35-year-old Lewis, who revived his spray-painting skills last year after a lengthy layoff. “I get a comment every day from people saying, ‘Thank you.’ “ The baby was born after real-estate developer Marty Kotis offered Mangen a wall in his Westover Gallery of Shops.

Mangen was in town to paint a psychedelic background for another piece on a Kotis property at 1205 West Bessemer Avenue. Kotis had bought a used fire truck just so Mangen could drench the wall with paint, and Mangen wanted to use the truck again.

Kotis looked for blank walls on his other properties.

He offered Mangen the backside of the building that houses Great Outdoor Provision Co. and Chipotle Mexican Grill, among other businesses.

Mangen grabbed the offer, and Kotis urged him to collaborate with Lewis, whom Kotis had hired for several jobs, mostly notably a portrait of Ryan Gosling’s character in the movie Blade Runner 2049.

The mostly monochromatic portrait gazes onto Battleground Avenue from a high spot near the box office at RED Cinemas.

Lewis and Mangen huddled on the quick-draw project at Westover.

Mangen was determined to slash bright turquoise paint across the concrete-block wall, which was covered in a solid terra cotta color.

Mangen had no idea what Lewis would paint — street artists are notoriously independent, even when collaborating — but he urged Lewis to depart from his usual gray-scale palette and use screaming pinks that would pop against the turquoise backdrop.

Lewis listened. He’d had some success with color — see a gray-toned hand squeezing a vivid green lime, a work he did with local artist Gina Franco, inside Crafted: The Art of the Taco in downtown Greensboro — but he was relatively new to big, bright photorealistic murals. A Winston-Salem native, he’d grown up on graffiti.

“I fell in love with the medium,” says Lewis. “The rattle cans, there’s nothing like it, you can cover so much ground so quick.”

He loved heavy-metal music, too, and after graduating from high school — where he’d built a portfolio in Advanced Placement Art — he jumped on board as a drummer with the Greensboro based band Bloodjinn and toured for many years before he burned out on the travel and segued into a regular bartending gig. He’d dusted off his spray game in early 2017.

“A good friend, Mitch Cook, he pulled me out of the woodwork and said, ‘Let’s do a job together,’ ” Lewis says.

They teamed up on a piece, riffing on classical statuary, for Rue-Bar in downtown Greensboro.

Lewis honed his mural techniques, with permission, on walls around town, including one at Mother Tucker’s bar on Spring Garden Street.

When street artist Patch Whisky of Charleston, S.C., visited to paint at Kotis’s Tracks Bazaar, he invited Lewis to join him. That’s how Lewis met The Art & Soul of Greensboro

Kotis, who recommended Lewis to the owner of Riding High Harley-Davidson on NC 68. Lewis embellished an outside wall with a photorealistic dragon. The gray-toned dragon swooped across social media.

More jobs followed for Lewis: Elvis on the side of a friend’s bar in Charlotte; a trip to Pabst Blue Ribbon headquarters in Los Angeles to do indoor murals depicting the brewery’s history; an invitation to Meeting of Styles, a traveling worldwide summit of street artists that lands once a year in Miami.

Then came Ryan Gosling’s stubbly face on the front of the theater in Greensboro. Kotis invited Lewis to mingle with the international team he assembled to paint the sides of the cinema.

To have a supporter like Kotis — who appreciates street art and has the walls and the money to make it happen — is a rare and beautiful thing, says Lewis.

“A term used for a client like that is ‘Unicorn,’ ” he says. “He wants to cover the town, and it’s cool. It’s real cool.”

So, would Lewis stretch himself to create something outrageously pink on the wall at Westover?

Sure.

The night before he painted, Lewis lingered online over stock images of babies, using Photoshop to morph them into a baby with a rattle can on a string.

The Nirvana reference came from Lewis’s love of music and the wall’s proximity to BadAxe Boutique, a guitar store.

“It was a point-and-shoot,” says Lewis. “There wasn’t much thought behind it at all except, ‘What’s the best giant thing I can do in a short amount of time?’”

The next day, he climbed onto a lift, rolled a pink base coat over part of Mangen’s background, and freehanded the outline of the baby.

Referring to a gridded image on his cell phone, and using low-pressure spray paint cans designed for street artists, he conjured the cherub square-by-square. Toward the end, he ran out of paint and had to run to Home Depot for pink Rust-Oleum.

The result is an “Awww”-inspiring image that’s bobbing around the world on a wave of likes.

“It’s been humbling. In the beginning, about five or ten people a day were tagging me on Facebook and Instagram,” says Lewis, who goes by JEKS_NC on Instagram.

“I never thought a big pink baby would cause that kind of reaction, but it’s fun. It makes people smile.”

The response has been career fuel for Lewis, who prefers to keep his face hidden in photos so his work remains the focus. You might not recognize his mug in public, but look for the tattoo sleeves that betray his world-as-canvas outlook.

The edge of his right hand bears the word “starving.”

The edge of his left hand says “artist” in the same Gothic font.

When he raises his hands together . . . you get the idea.

The ink was applied earlier this year, Lewis’s way of embracing the question he’d heard for so many years.

“So many people would be like, ‘Are you going to be a starving artist your whole life?’” he says. “I didn’t mind, as long as I was happy. But at this point, I’m not starving too much any more.” – M.J. September 2018

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The Play Was the Thing For amateur golfer Dale Morey, competition was all

By Bill Fields • Photographs from Doug Morey & David Williams

D

ale Morey drove the highways of the Southeast for decades, logging tens of thousands miles a year, from the 1960s through the’80s, to and from his longtime High Point home. His full-size sedan — a Cadillac or Mercedes, but blue, always blue, his favorite color, regardless of make — was fitted with custom shocks to cushion the ride. He was a furniture hardware salesman traveling with product, and the samples were as heavy as his foot.

“He liked to drive fast,” recalls Morey’s son, Doug. “The highway patrolmen knew him on a first-name basis. Dad got his share of tickets.”

Regardless of where Morey was going to or coming from on a business trip, he usually had additional cargo in the trunk: golf clubs that he used to become one of the finest amateurs ever to call the Old North State home. Morey’s game traveled well and it aged gracefully.

“He’s a real player,” Ben Crenshaw noted after being grouped with Morey in the 1973 Western Amateur. It had been two decades since Morey won the prestigious event — and six other titles in the same year that he was runner-up to Gene Littler in the U.S. Amateur. Morey was 54 at the time, yet not giving an inch to golfers less than half his age.

As Gary Koch, a Crenshaw contemporary who would go on to have a successful PGA Tour career of his own, says, “If you were going to an amateur event in that period and saw Dale Morey was in the field, you knew he was going to be someone tough to beat. He was a serious competitor, and he knew how to play golf.”

There was certainly no doubt about that, not with a golf record good enough to earn him induction into the sports and golf halls of fame in both his native state of Indiana and his adopted home of nearly 50 years, North Carolina.

With 2018 being the 100th anniversary of Morey’s birth it is a perfect time

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to remember this wonderful golfer, who lived in High Point for many years until his death in 2002 at age 83.

Morey was no stranger to Greensboro’s PGA Tour stop, having played in it seven times from 1961–1972. He shot a finalround 66 in 1968 to tie for 29th. The following spring, when he was 50, he opened with a 66 to share the first-round lead with Littler and Gordon Jones, turning back the clock in the manner of eight-time Greater Greensboro Open champion Sam Snead, who won his last GGO in 1965 at the still-record age of 52.

There was a time early in Morey’s life when sports, not sales, was his job. After an All-American career in basketball and golf at Louisiana State University from 1939–42, Morey turned professional and tried his hand on the golf circuit intermittently for a few years. He played in 38 tour events with three top-10 finishes in his lifetime.

His best finish was seventh in the Montgomery [Alabama] Invitational in the fall of 1946, but that week at Beauvoir Club was telling for Morey, who shot a first-round 64 but still trailed Jim Ferrier’s 62 and Ky Laffoon’s 63. Believing that he didn’t have the talent to make a good living in an era when purses were meager, Morey worked clubpro positions in Illinois, Missouri and Kentucky for a couple of years. During winters, he played pro basketball for the Anderson [Indiana] Packers.

“I played forward in college and guard in the pros,” the 6-foot-1 Morey told a reporter in 1982. “Nowadays, I’d play waterboy.”

Those barnstorming days of games in cozy gymnasiums were a far cry from the ramped-up contests of the modern National Basketball Association. Morey loved to recall a player with skills beyond the hardwood. “One player was a ventriloquist who was good for at least two points a game,” says Morey’s son. “He’d go under the basket and throw his voice and then be open for a layup.”

It was no surprise that Morey got involved in basketball growing up The Art & Soul of Greensboro

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in Martinsville, Indiana, a small town in the central part of the Hoosier State between Indianapolis and Bloomington. When John Wooden was 14, in 1924, he moved to the same neighborhood in Martinsville where Morey and his single mother, Bess, lived. Eight years older, Wooden — a star player at Martinsville High School and Purdue University before his legendary coaching career at UCLA — befriended the younger, promising Morey whose growth spurt came late.

“Dad’s parents separated when he was little and he grew up pretty poor,” Doug Morey says. “He lived across the street from John Wooden. They’d let him play in pickup games until some of the bigger guys showed up. Wooden taught him that the little guy’s got to work harder.”

Perhaps that was his way of paying it forward, as Martha Morey, Dale’s widow explains: “Wooden was kind of a mentor to him. Somebody had been real good to Wooden, and he was kind of passing that help along. He took Dale under his wing and saw to it that he got a basketball scholarship to LSU.” Basketball led Morey to golf, his prep coach urging him to caddie to strengthen his legs for the season. Morey took to the game, soon developing a particularly deft touch on and around the greens — uncanny skills that were the foundation of his game from his junior days to his senior years.

“Dale Morey, the Martinsville High School champion, did away with medalist Chick Yarborough, of Washington, when his putter was a magic wand,” The Indianapolis News reported in its July 28, 1937, account of the opening round in the Indiana Junior Amateur. “The margin was 4 and 3 and Dale used only twenty-two putts for the fifteen holes.”

One Indiana sportswriter dubbed the rising young golf sensation a “Hoosier Links Houdini” because he scrambled so well. Morey referred to his wedge as his “dead iron,” so frequently did he chip and pitch the ball “dead to the pin” to save par even when his ball-striking let him down.

Tommy Langley, 86, a High Point investment adviser, played regularly on weekends with Morey for a quarter century. “I called him ‘Dandy Boy,’ and he called me ‘Tommy Boy,’” Langley remembers. Langley, who was graced with an elegant, high, beautiful golf swing, remembers Morey’s swing as “sort of flat but

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effective,” a lethal combination with his chipping and putting skills. “He said, ‘Tommy Boy,’ I can’t be pretty like you, I just have to get the ball in the hole,’” Langley continues. “Dale broke his wrists and hit his putts a little bit right to left, hooked them. He chipped the same way, his right hand coming over the top a little bit. He had this magic touch.”

Applying to the USGA for his amateur reinstatement in 1947, Morey couldn’t compete in anything for two years but quickly made up for lost time by winning the Southern Amateur in 1950 (he would win it again 14 years later). In the 1953 U.S. Amateur at Oklahoma City Golf & Country Club, Morey battled a cold and was “gobbling vitamin pills and guzzling orange juice,” according to the Associated Press’s Will Grimsley, but it didn’t weaken his tenacity. Trailing 2-down to Littler after 33 holes of the 36-hole final, Morey, who had defeated Bill Campbell in the fourth round, birdied the next two holes to draw even.

Morey’s rally forced Littler to sink a lengthy birdie putt on the 36th hole to win the championship.

“Dad cleaned up for the presentation, putting on a nice shirt and sport coat,” Doug Morey says. “Then he saw Littler was still in his game outfit. He asked Littler, who was younger and just out of the Navy, if he was going to put on a coat.

Littler said he didn’t have one. Dad said, ‘Wait a minute,’ and went back into the locker room and put on his game outfit, and they went out for the ceremony looking the same. That kind of sums him up. He was very much like that.”

Gentlemanly but not necessarily gentle in the heat of a tournament. Koch, who contended with Morey at the 1971 Southern Amateur at the Country Club of North Carolina when he was 18 and Morey was 52, remembers a steely competitor. “He was old school, and I don’t mean that in a derogatory way,” Koch says. “But he was not above trying to make you feel uncomfortable. There wasn’t a lot of chitchat if you were grouped with Dale. He was a tough guy.”

Langley calls Morey “the strongest, most able competitor you ever saw in your life” who had a strong will and “could be very confrontational” with someone he thought was attempting to bend the rules. To Morey, who won the Indiana Open and Amateur titles four times apiece as a young man, golf wasn’t about atThe Art & Soul of Greensboro

tention or accolades or awards even though golf brought him plenty of each. The play — serious, give-it-all-you-have play — was the thing.

“It was all about the competition,” Martha affirms, reluctantly revealing that her late husband “once even put some of those big ole trophies out for the trash.”

During an era in which golf equipment wasn’t nearly as forgiving — balls not as lively, club heads smaller and shafts heavier — Morey thrived on competition, whether against young men headed to the tour or his senior peers.

The two-time U.S. Walker Cup team member played in the Masters and U.S. Open multiple times and had striking longevity in the U.S. Amateur, finishing ninth in 1972 at age 53. Five years later, at 58, he beat a 22-year-old in the first round.

Well past the age most golfers weren’t doing much except filling out a field, Morey won the 1967 Carolinas Amateur and North Carolina Open and the 1968 and ’69 North Carolina Amateur. Those victories set the stage for a fabulous senior career that would earn him the distinction as senior golfer of the 1970s from Golf Digest.

Morey won the U.S. Senior Amateur in 1974 and 1977 and was dominant close to home. He captured the Carolinas Golf Association Senior Amateur seven times and CGA Senior Four-Ball on 12 occasions. In eight of these he teamed up with close friend Harry Welch of Salisbury.

“Dale stayed trim and was a just a rigid, tough competitor,” Tommy Langley says. “He intimidated people in senior golf because he was in such good shape.”

The man who jogged with ankle weights (he ran two miles each morning during his first national senior win) and regularly exercised at the High Point YMCA, stayed motivated to succeed for a long time. “It’s hard to keep up the desire to win,” Morey said, explaining his competitive longevity to a reporter for The Tampa Tribune in 1978. “A lot of the guys say they’re out here for fun. If you want fun, you can go to the beach.”

Morey approached his work with the same dedication, often leaving home before sunrise to drive to a sales call. “He packed a lot into a day,” Martha says.

“That’s the way he was. Going into some of those purchasing agents’ offices, in Virginia or wherever it might be, he’d be there before they got to work. He’d be waiting on them.” Her husband’s energy and enthusiasm along with a personality suited to sales was a potent combination. “He was very much a people person,” says son Doug, “whistling, a good guy, very well-mannered.”

Being a talented golfer certainly didn’t hurt Morey’s sales efforts either, his reputation on the course helping his career away from it. “He was very wellknown and very well-respected,” says David Williams, who worked with Morey during the 1980s. “Dale was fortunate because he played customer golf and was known by the presidents of all the companies. He was able to sell from the top down rather than most of us who had to sell from the bottom up.”

But golf and business aren’t always top of mind when Morey’s children reminisce about their father. Doug remembers how impossibly tough it was to beat his dad’s underhanded free throw touch in the driveway. To Morey’s daughter, Maureen Schirtzinger, he was a man who loved gadgets, an early adopter of car telephones nearly a half century ago. “It was huge and had no range, but he had one,” says Maureen, who was also the first kid on her block to have a radio that mounted on her bike’s handlebars.

“From a kid’s perspective, his golf seemed very normal,” Maureen says. “I probably was older before I realized how good he was. It wasn’t like it was us or golf. He would come to father-daughter school days. I don’t think I ever saw him not be friendly or not talk to someone.”

Once when Maureen was a young girl, her father returned from an out-oftown drive with something other than a sales order, speeding ticket or golf clubs in the car. “It was a giant stuffed rabbit, 4 or 5 feet tall. He had it belted in on the front seat,” she recalls, unsure of whether her dad won the plush toy by waving his magic wand of a putter, or with the Morey magic touch, simply pulled it out of a hat. OH North Carolina native Bill Fields has written about golf since the mid-1980s and has won multiple awards from the Golf Writers Association of America.

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Train Spotting Mike Small’s photographs capture the romance of the rails

By Billy Ingram • Photographs by Mike Small

T

he soundtrack of the South is in the music of the rails; horns like a hundred off-key saxophones serving as the chorus for a melody sung by wheels skating and skipping across iron. As singer songwriter Paul Simon once said, “There’s something about the sound of a train that’s very romantic and nostalgic and hopeful.”

Our city earned her nickname, “The Gate City,” because of our proximity to the railroad so it’s fitting that few American photographers have captured these mechanical age marvels in a more spectacular fashion than Greensboro’s own Mike Small. “I got into trains when I was a kid,” he tells me. “In the second or third grade I was drawing pictures of trains. Then I found out you can just take

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a photo, you don’t have to go to the trouble of doing the artwork.”

Mike started, well, small. “I got my first camera for Christmas in 1967,” he recalls. “It was a Polaroid Swinger, not a real quality camera. Almost all of my pictures taken with film were from a manual Canon FT. My current camera is a Canon PowerShot SX130, a high end point-and-shoot.”

He’s photographed just about every aspect of a train’s life here — switching freight cars at the yard in Aberdeen, a passenger line awaiting a crew change on a snowy day at the Pomona Yard, a Southern Railway southbound freighter crossing the trestle over the James River, an Amtrak Carolinian rounding the curve just north of the Hilltop Road crossing, even a rail line taken out of service in 1976 between Greensboro and Rural Hall in Stokesdale where the depot was moved and converted into a house.

The Art & Soul of Greensboro

Small’s dramatically staged photographs have appeared in numerous national magazines over the last 40 years or so. “I took lots of pictures of the Seaboard Air Line which merged with Atlantic Coast Line to form Seaboard Coast Line in the eastern part of the state. I liked the different color schemes,” he says of the line that dubbed itself the “Route of Courteous Service.” Small photographed one of those locomotives next to a restored former passenger station built in 1900 that today serves as a railroad museum in Hamlet.

In 2011, Small ventured back to where he grew up, near the tracks south of Thomasville, to snap an iconic photo of a locomotive chugging through fall foliage in the early morning hours, a freight train, he says, that ran from High Rock through High Point, Thomasville and Denton. “A milepost indicates 12 miles to High Point,” Small observes nostalgically.

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M

ultiple people have told me of being in some far-away locale only to see the photographer whip by on his three-speed bike on his way to meet a train, camera in tow. “I spent a lot of time photographing Southern Railway’s Southern Crescent passenger trains which used to run through Greensboro in the 1970s,” he recalls. Of one memorable image he tells me, “Engineer Joe Beal is leaning from the window of the northbound Southern Crescent No. 2 in 1978, at the Greensboro passenger station.” An ice and sleet storm was underway so they were having trouble keeping the windshield frostfree: “That locomotive is a General Motors Electro-Motive Division E8A, built between 1949 and 1953,” he says enthusiastically.

Since 1970, Southern Railway’s fabled flagship passenger train the Southern Crescent traveled in both directions between New York and New Orleans, with stops in our nation’s capital, Atlanta, and our own downtown depot. “I remember the Southern Crescent E units, they called them, locomotives with the streamlined nose,” Small says. At some point in the night, on that 1,377-mile trip, the New York bound express and the Louisiana bound train could be expected to pass each other, but rarely in Greensboro.

That didn’t deter the shutterbug from lying in wait with lights and camera positioned just in case they converged here. “I didn’t know if I’d ever get that shot; I had to just keep watching for the southbound train to be sufficiently late so that it got here at the same time as the other one,” Small explains. Many nights he stalked the Greensboro depot hoping to capture both Southern Crescent passen-

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ger trains awaiting boarding at the same time, “I got the shot around 2:30 a.m. with thick fog in the air. That photo was published in Trains magazine in 1979, a calendar in 1984, and as a Vanishing Vistas print,” he says proudly.

In another chance Southern Crescent passing in the night, one shot in color, Mike notes, “The northbound No. 2 is at left and is on time. I lit the nose with a large press type flash bulb. Train No. 1, at right, was about an hour and 15 minutes late.”

Southern Railway (“Southern Railway Serves the South”) was famous for its polished handrails, plush wide seats, onboard chefs, attendents in starched uniforms fluffing white tablecloths in the club cars. That 1940s style attention to detail was no longer economically viable by the late-1970s.

Southern joined Amtrak much later than most other railroads, the last of the Southern Railway passenger trains were also the very last privately owned, long- distance passenger trains in the United States. The remaining freight lines were merged with Norfolk and Western in 1982 to become Norfolk Southern. “Some of the locomotives around here they keep rebuilding,” Small says. “They go back to the ’70s. Then you have the very modern ones, the ones with the wide nose. They’re not my favorites, though.”

In a photo taken from the Guilford College bridge at GTCC in Jamestown, a northbound Norfolk Southern train with double-stacked containers is seen powered by two Union Pacific locomotives. In recent years the railroad has added a second track between Greensboro and Jamestown.

Another colorful image depicts a Norfolk Southern container and trailer The Art & Soul of Greensboro

train snapped from the Cornwallis Drive bridge. It is, Mike Small points out, “The only place in Greensboro that I know of where a train can be photographed on the Washington and Atlanta mainline with the city skyline in the background.”

You can still ride the rails from Greensboro to the Gulf of Mexico aboard the Crescent. Many of its 1970s pre-Amtrak streamlined stainless steel-and-glass passenger and dining cars are still in use, with remodeled interiors, outfitted with modern conveniences. You’ll need to be at the downtown depot around midnight. Breakfast will be served as you pull out of Atlanta, luncheon on the other side of Birmingham.

Sure, some of the starch is out of the collars and the food is no longer prepared on board, but rail travel is one of the few rare, authentic travel experiences around — one that has changed so little it would be familiar to your grandparents.

It’s the only way to fly! OH A frequent contributor to O.Henry, Billy Ingram prefers traveling by train..

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Story of a House

Art and Nature Michael and Joan Mattingly’s colorful, Frank Lloyd Wright — inspired house and garden

By Cynthia Adams • Photographs by Amy Freeman 70 O.Henry

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T

wo bright young Midwesterners met in The Chicago Bar in Omaha, Nebraska. He was from Missouri, she was a native Cornhusker. Michael Mattingly was in medical school at Creighton University; Joan was studying to become a nutritionist at the University of Nebraska Medical Clinic rather than pursuing art as she secretly desired.

They clinked glasses and clicked. The handsome couple married twice; once secretly, and again three years later, making for a cheering, affirming story about love conquering all. These 31 years later, the Mattinglys are toasting a long and happy union.

“I didn’t want my dad to get upset and not pay for medical school,” Michael explains. “We met when we were 21 and married when we were 23. We are defying all odds.”

Even his six siblings didn’t know. “We went on a cruise three years later as our honeymoon, then came back and had a reception,” Michael remembers.

“It doesn’t usually turn out that way,” Joan muses.

On a Friday afternoon, Riedel glasses in hand, they are at home, watching the sunset from their back deck overlooking a placid scene of their verdant backyard and sipping a nice red, a Napa blend.

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Red is Joan Mattlingly’s favorite color, by the way.

In their northwestern Greensboro house, the Mattinglys have created a “soft contemporary home,” meaning, an infusion of Asian and organic influences — a nod to a much-admired fellow Midwesterner, Frank Lloyd Wright.

Something about the spacious lots of their neighborhood reminded them of the Midwest and they committed to their new surroundings, fully infusing their energies into house and landscaping.

And it nearly didn’t happen.

After a long search for a Triad house with contemporary lines, the Mattinglys found an approximation of their dream home back in Rock Hill, S.C. “We started looking here in 1996, and moved in 1997,” says Michael, now a specialist in nephrology at Carolina Kidney Associates. “Our other home was ultracontemporary.” Joan noticed their current house while being shown another on the same street. Fortunately, it became available in less than a month. They acted quickly.

Good friends back in Rock Hill immediately scooped up their home and the Mattinglys moved to Greensboro.

“I loved the neighborhood,” says Joan.

The house had aspects they liked that read faintly Asian and thereby Wright-like: the low-slung rooflines, generous decking and the orientation to the deep backyard.

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The pair set to work, transforming the stark interiors — white tile or carpeted floors, white walls, white Formica and all surfaces were all dramatic white with only a touch of navy — into an earth-toned home more organic and to their liking.

“It was a showplace,” says Joan. “Decorated to the nines.”

They exchange a look. “But we had a 1 1/2-year-old.” Their daughter, Emma, is now grown and living on the coast in Wilmington.

“We’re not into cold contemporary,” Joan explains. “People immediately think of contemporary as austere. It was beautiful,” she concedes, “but not for us.” Even the exterior flowers the owner had planted were all white. The owner told them “this house doesn’t lend itself to color.”

“Well, that won’t last long,” replied Michael.

Joan shrugs and smiles. “Color works here.” They’ve since painted every room, some twice, in various earth tones. “We do it all ourselves,” says Joan. Out went marble and clinical tile. In came cork and wood, many of the woods exotic and imported. Some rooms were given a coating of a burgundy color.

Most recently, they installed dramatic double front doors made in Honduras. “I waited 21 years for those,” says Joan. They added side panels of rain glass to bring in dramatic beams of light to the foyer. They both laugh about the adventure of getting those specific doors — perhaps a story for another day, they say. Their house that is rife with stories about evolving, given that the owners patiently waited for just the right thing.

The kitchen, which bears discussing, is also built with color and texture in mind. And wood. Here, they elevated the kitchen ceiling, lifting it up and widening doorways, while enclosing an adjacent rear porch. “We wanted it more open,” Joan says.

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“We had also fallen in love with wood. We fell in love with cork.”

The north-facing kitchen, situated over the garage, had a cold tile floor. They installed cork flooring in a bathroom and then in the kitchen in 2003, opting for sustainable, forgiving materials.

At the time, cork as an interior surface was extremely rare, the Mattinglys stress. “No one had cork,” Michael offers. “It’s kinder,” Joan adds.

Woods take center stage in a kitchen that features several exotic varieties. The contemporary cabinets are maple, cherry and zebra wood, designed and built by local woodworker Grant Newton. Overhead are colorful Millefiori glass light fixtures. Joan rests an elbow on the red quartz counter. “We load up that bar and we flow; this is where everybody comes during a party.”

And art is abundant here and elsewhere. “Mike made that,” Joan says. “He created a sculpture from corks. I contributed by drinking wine,” she laughs.

There are witty metal sculptures there by local artist Frank Russell, titled Obstinate Lobster, fashioned, in part, with the leg of a wrought iron garden bench; Yo Yo Ma (a fish sculpture with eyes made out of yo-yos), and Redneck Fish, so named because its body is made from a guitar. Most of their art is local. Joan has close friends who are artists, including sisters Carey Jackson-Adams and Nancy Bulluck.

She collects her favorite red pottery from Seagrove potter Ben Owen.

The couple attend Winston-Salem’s Piedmont Craftsmen’s Fair every year after Thanksgiving and usually return with another art piece. The list of collected artists is long. Bailey Wharton created a lot of their wood pieces.

They have also collected paintings by Kim Kesterson Trone. But they are especially fond of a Brian Hibbard painting —an exception to local artists in the collection.

“Everything has a story,” says Joan. “We have been so lucky to fall into such a beautiful art world here.”

They installed Shoji screens in their master bedroom and bath. “We just liked them. It’s ageless contemporary.

Grant made them from unique woods and created the cabinetry.”

It is methodically conceived and executed. Shoji screens also conceal sliding doors to the back deck.

A formerly “sterile” powder room was painted in the style of Austrian painter Gustav Klimt by Joan and an artist friend from Rock Hill. It remains as painted, 22 years later. Joan says she still loves it.

A sculpture on their hearth, acquired when they lived in Scottsdale, Arizona, is made from the skeleton of a sor-

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rel cactus. It is surprising and organic — something that repeats through the house and garden — another revealing imprimatur of Frank Lloyd Wright, whom Michael says is the artist he would most love to have met.

The woodsy exterior space is where Michael Mattingly’s effort shines. He had ample space within which to work, with nearly an acre lot.

He culled pines and sweet gums, making way for a vision. The vision is fully realized. Now, the landscape is utterly private and green, like a Julius von Klever painting. It is lush and dappled by afternoon light. Here too, Joan says, is where Michael finds solace from work.

“This is where I live,” both say at different moments, standing on a deck made intimate with the addition of a covered porch, which serves as an outdoor living room. It was built last year after the couple admired something similar in Scottsdale. “The restaurants all had covered terraces, and Michael felt we could recreate it at home. Jay Snyder, a local metalworker and artist, created their fencing and artful rear gate; he also designed their rain chains, says Joan. “He had never done a structure like this.”

Early on, Michael consumed landscaping books, and after a year of mulling things over, he began shaping the backyard with careful intention. “I had dump trucks, four loads, to come in. I had to rent a Bobcat and move all this dirt, then put up a retaining wall.”

Despite the hard labor, the physician finds release in his many projects. “He comes home and I watch his shoulders relax,” says Joan.

While the front yard is straightforward and well-groomed, the back of the property is magical.

“I compare our house to a mullet,” he jokes. “Serious in the front and a party in the back.”

Vines were choking azaleas and other plantings until Michael reshaped the mess into a controlled vision that now seems utterly natural.

“I call it planned chaos,” he says.

And that river rock lining dry creek beds and French drains that look like the cunning handiwork of Mother Nature? It was put in place by Michael — all 18 tons of it, brought in on 12 pallets.

Ditto for clearing many cords of wood, pines and sweet gums with the injuries to prove it, Joan says. Then he made natural pathways mulched with cedar that crisscross the property. There are small bridges, a pergola, arbors and many birdhouses. The manual work forged a closer relationship to nature.

A consultation with Triad landscape designer Marguerite Suggs (a birthday gift to Michael from Joan) led Michael to shade-loving plantings.

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Joan says, “We transplanted indigenous fern, planting them in this gully. We call it Fern Gully.” Now fawns and foxes are commonplace in the habitat that took hundreds of hours of labor in order to look so natural and spontaneous.

Some of the fawns were born on the property, Joan observes, “Wouldn’t you want to bring your baby here? I would.”

A small pond has a witty design. “It’s a kidney shape,” Michael quips. “I’m a kidney doctor.” Owls and raccoons attacked the koi there despite all efforts to repel them, so they no longer stock it. But they do actively court birds.

“There are a lot of birdhouses . . . we love the birds. Probably half of the birdhouses, we made,” Joan notes.

“When we changed the house roof, Mike created things from the copper.” She indicates copper garden features as examples. “Mike made many of the arbors.”

Repurposing materials shaped many designs for their projects. “One of Mike’s passions is cigars. At the back of the property is one of the most unique birdhouses you’ll ever see, made out of cigar tubes.”

“There are endless options,” says a smiling Michael, who is still plotting projects.

Houses are at the edge of the property; yet, it is completely quiet and only an impression of a house is visible through the foliage. The fawn, the owl, the raccoon recede into wooded quiet. A small shed at the rear of the property is nearly invisible, yet part of a unified design.

Things artfully disappear.

Even a Japanese maple is so perfect in formation it could be mistaken for a sculpture as it adjoins other outdoor art on display. Everything is permeated with a meditative calm.

When Wright discussed design, he admonished to “Study nature, love nature, stay close to nature. It will never fail you.”

The Mattinglys manifest the master’s advice. OH Cynthia Adams is an O. Henry contributing editor. She can be reached at: inklyadams@aol.com.

The Art & Soul of Greensboro

September 2018

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Sweet and Good

A L M A N A C

September n

By Ash Alder

September is the golden hour of summer.

Soon, the squash blossoms will disappear. Ditto fresh okra, watermelon, sweet corn and roadside stands. The crickets will grow silent, and the black walnut will stand naked against a crisp winter sky.

But right now, in this moment, everything feels soft, dreamy, light.

In the meadow, goldenrod glows brilliant among Joe-Pye and wild carrot.

In the garden, goldfinches light upon the feeder, swallowtails dance between milkweed and aster, and just beyond the woodland path, the hive hums heavy.

September is raw honey on the tongue.

I think of my Devon Park rental, retrieving the old push mower from the woodshed and discovering a colony of honeybees busy beneath the creaky floorboard. In the space between the floor joists: 40 pounds of liquid gold. Gratitude arrives with the scent of ginger lilies. I exhale thanks to the apiarist for transporting the bees to his own backyard — and for leaving just a taste of their honey for me.

September is master of subtly. Satiety following an electric kiss; anticipation for the next one. Delight in this golden hour, this taste of sweet nectar, this gentle reminder to be here now.

‘Tis the last rose of summer, Left blooming alone; All her lovely companions Are faded and gone.

— Thomas Moore, The Last Rose of Summer, 1830

Pecan Harvest

Yes, the time has come. If you’re lucky enough to have one or more pecan trees growing in your backyard, then you know that the earliest nuts fall in September. And those who are lucky enough to know the ecstasy of homemade pecan pie will tell you that the efforts of the harvest are worth it. Or just ask one of the neighborhood squirrels.

Here’s a trick. If you’re wondering whether a pecan is fit to crack, try shaking a couple of them in the palms of your hands first.

Listen. Do they rattle? Likely no good. Full pecans sound solid, but the way to develop an ear is trial and error. You’ll catch on.

And in the spirit of Mabon, the pagan celebration of the autumnal equinox, consider offering libations to the mighty pecan tree. My bet is they’ll relish your homemade mead as much as any of us.

The Art & Soul of Greensboro Greensboro

September is National Honey Month. According to the National Honey Board (exactly what it sounds like: a group dedicated to educating consumers about the benefits and uses of all things you-know-what), the average honeybee produces 1 1/2 teaspoons of honey over the course of its entire life. Here’s another nugget that might surprise you: A typical hive can produce between 30 to 100 pounds of honey a year. To produce just one pound, a colony must collect nectar from about 2 million flowers. Think about that the next time you hold in your hands a jar of this pure, raw blessing.

Wish to make mead? Honey, water, yeast and patience.

But if pudding sounds more like your bag, here’s a recipe from the National Honey Board:

Honey Chia Seed Pudding Yield: 4 servings Ingredients: 2 cups coconut milk 6 tablespoons chia seeds 1/2 teaspoon vanilla extract 2 tablespoons honey Fresh berries Granola

Directions: Combine coconut milk, chia seeds, vanilla and honey in a medium bowl. Mix well until the honey has dissolved. Cover and refrigerate for at least 4 hours, but preferably overnight.

Stir well and divide the pudding into individual portions.

Serve with fresh berries. Add granola, if desired.

(I recommend adding a few organic cacao nibs too.)

The breezes taste Of apple peel.

The air is full Of smells to feel – Ripe fruit, old footballs, Burning brush, New books, erasers, Chalk, and such.

The bee, his hive, Well-honeyed hum, And Mother cuts Chrysanthemums.

Like plates washed clean With suds, the days Are polished with A morning haze.

— John Updike, September

As the Wheel Turns

The autumnal equinox occurs on Saturday, Sept. 22, just two days before the full Harvest Moon. Speaking of, if you’re gardening by the moon, plant annual flowers (pansies, violets, snapdragons and mums) and mustard greens during the waxing moon (Sept. 9–21). Onion, radish, turnip, and other vegetables that bear crops underground should be planted during the dark (aka waning) moon. According to the Old Farmer’s Almanac, old-time farmers swear this makes for a larger, tastier harvest.

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September 2018

Melon-choly Baby 9/

1

September 1

MELON-CHOLY BABY. 8 a.m. Put some honeydew on the Honey-Do list, and canter on over for some cantaloupe: It’s Labor Day Melon Celebration.

Greensboro Farmers Curb Market, 501 Yanceyville St., Greensboro. Info: gsofarmersmarket.org.

YOUNGBLOODS, OLD SOUL. 8 p.m. Hear some old-school soul with fresh styling from Charlottebased rockers, DownTown Abby & The Echoes.

Carolina Theatre, 310 S. Greene St., Greensboro.

Tickets: (336) 333-2605 or carolinatheatre.com.

CAN’T TOUCH THIS! 8. p.m. Catch Tex Mex band Intocable while you can. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro.

Tickets: (800) 745-3000 or ticketmaster.com.

September 1 & 2

TRANE-ING DAYS. 3 p.m. All that jazz and a little blues comprise the John Coltrane International Jazz and Blues Festival. Oak Hollow Festival Park, 1841 Eastchester Drive, High Point.

Tickets: (336) 819-5299 or coltranejazzfest.com.

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Fair Trade

FolkFest 9/

7-9

September 1–October 20

LINES OF FASHION LINES. The art of fashion illustration pops at Reflections of Elegance: Kenneth Paul Block and the Masters of Fashion. Alamance Arts, 213 S. Main St., Graham. Info: (336) 226-4495 or alamancearts.org.

September 1–November 4

BEGUILING BIJOUX. The word “jewelry” acquires a new level of meaning at Beyond Ornament, an exhibition of unusual baubles fashioned by N.C. jewelry makers. GreehHill, 200 N. Davie St., Greensboro. Info: (336) 333-7460 or greenhillnc.org.

September 1–December 9

HAPPILY EVER AFTER? Maybe, maybe not.

See how artists express contemporary angst in Dread & Delight: Fairy Tales in an Anxious World. Weatherspoon Art Museum, 500 Tate St., Greensboro. Info: (336) 334-5770 or weatherspoon.uncg.edu.

September 1–February 17

STILL TALKIN’ ’BOUT THEIR GENERATION.

9/

7-16

Catch 1960s: Survey of the Decade. Weatherspoon Art Museum, 500 Tate St., Greensboro. Info: (336) 334-5770 or weatherspoon.uncg.edu.

September 4

AUTHOR, AUTHOR. 7 p.m. Andrew Saulters reads from his collection of one-act plays and a montage, No, It’s Just You. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

September 5

AUTHOR, AUTHOR. 7 p.m. Meet Chip Bristol, author of The Boy Who Liked to Wear a Red Cape.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

September 6–9

AUTHORS, AUTHORS, AUTHORS! Meet scribes and publishers of all genres at the Bookmarks 14th Annual Festival of Books and Authors.

Downtown Winston-Salem. Info: bookmarksnc.org

September 7–9

FOLK FEST. It’s National no more, but as the North The Art & Soul of Greensboro

Cutting Class 9/

14

Carolina Folk Festival, the annual roundup of music and culture still rocks (see page 35). Downtown Greensboro. Info: ncfolkfestival.org.

WHERE THE WILD THINGS ARE. 8 p.m.

Meaning, the funny men and women of Nick Cannon’s “Wild ’N’ Out” standup comedy tour. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro.

Tickets: (800) 745-3000 or ticketmaster.com.

September 7–16

FAIR TRADE. Step right up to the midway at Central Carolina Fair for hot dogs, cotton candy, thrill rides, games, live music and fun. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro.

Info: greensborocoliseum.com

September 7–October 1

BEHR WRIGHT. That would be artists Brenda Behr and Molly Wright, whose paintings will be on view in an exhibition, Hot Now (a nod to Behr’s rendering of a Krispy Kreme Doughnut shop). Catch a lunch-and-learn at 11:30 a.m. with Behr on 9/7, followed by an opening reception at 6 p.m., or sign up for a workshop with Wright on 9/8. O’Brien Gallery, 307 State St., Greensboro. For information and workshop registration: (336) 279-1124 or send an email to:kathylovesart@aol.com.

STOKE(LY) THE HOME FIRES. 7 p.m. R&B sensation Stokely, along with Blackstreet, bring some smooth grooves to the stage as a part of WQMG’s Summer Throwback Party Series.

White Oak Amphitheatre, Greensboro Coliseum Complex, 1921 E. Gate City Blvd., Greensboro.

Tickets: (800) 745-3000 or ticketmaster.com.

The Art & Soul of Greensboro

Feel the Bern 9/

20-22

September 8 & 22

IRON JOHN. 10 a.m. He’s smokin’ hot! Or at least his forge is. Check out The Blacksmith. High Point Museum, 1859 E. Lexington Ave., High Point. Info: (336) 885-1859 or highpointmuseum.gov.

September 9

GUILDING THE LILY. 2 p.m. Daylily hybridizer J.D. Stadler shares his successful techniques in cultivating Doubles, Reds and extra-large plants at a meeting of Triad Daylily Fans. Earthfare, 2965 Battleground Ave., Greensboro. Info: 336-456-4509 AUTHOR, AUTHOR. 3 p.m. Greensboro Bound presents Patrick Winn, author of Hello, Shadowlands: Inside the Meth Fiefdoms, Rebel Hideouts and Bombed-Out Party Towns of Southeast Asia. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

EAT, DRINK AND . . . 2 p.m. You know the rest.

The fundamentals of food and drink are the curricula for Back to Basics Class. 1618 Downtown, 312 S. Elm St., Greensboro.

September 9–30

NONE AND DONE (IN). Everyone loves a mystery, especially with Agatha Christie as its author. Enjoy some thrills and chills at Triad Stage’s adaptation of And Then There Were None.

Performance days and times vary. The Pyrle Theatre, 232 S. Elm St., Greensboro. Tickets: (336) 272-0160 or triadstage.org.

Young at Art 9/

28

September 10

FLY (TO) THE COOP. 6:30 p.m.

Meaning Cooper Mountain organic wines from Oregan. Try ‘em out with a multi-course dinner. 1618 Seafood Grille, 1618 W. Friendly Ave., Greensboro.

September 13

KNOWLEDGE IS POWER. Noon. Especially when it comes to understanding and dealing with something as complex as dementia. Attend a lunch and learn, “Dementia Talk: Why Do They Do That . . . and What Can I Do About It?” Hospice and Palliative Care of Greensboro, 2500 Summit Ave., Greensboro. Tickets: ticketmegreensboro.com THE PRESIDENTS’ ANALYSTS. 7:30 p.m. Karl Rove and David Axelrod, strategists for Presidents George W. Bush and Barack Obama, respectively, kick off The Bryan Series. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro. Tickets: (800) 745-3000 or ticketmaster.com.

September 13 & 26

ROCK THE CASBAH AND CIAO DOWN! 6 p.m. Learn how to cook tagine and couscous at North African night (9/13), and chicken piccata and cannolis at Ciao! Italian Night (9/13). Reto’s Kitchen, 600 S. Elam Ave., Greensboro. Tickets: ticketmegreensboro.com.

September 14

CUTTING CLASS. 5 p.m. Learn the art of September 2018

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Arts Calendar julienne, dicing, chiffonade and other slicing techniques, and use your newfound skills to create an impressive salad at Teen Cooking Class.

Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

AFTER THE FALL OUT. 7 p.m. You’ll remember them for centuries. Chicago pop-punk rockers Fall Out Boy ratchet up the decibels. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro.

Tickets: (800) 745-3000 or ticketmaster.com.

September 14

IT’S GONNA BE EPIC! 7:30 p.m. As the name, “Epic Brass” suggests, major pieces for brass fill the bill for the opening concerts of North Carolina Brass Band’s fifth season. 9/14: Dana Auditorium, 5800 W. Friendly Ave., Greensboro.

September 14–16

NIFTY AT FIFTY. And over! Check out 50+ Art Show and Sale, featuring the works of local N.C. artists, all of whom have reached or surpassed their sixth decade. 2400 Can-NC Bell House, 2400 Summit Ave., Greensboro. Info: artsgreensboro.org.

September 14–30

EXTRA! EXTRA! Catch Community Theatre of Greensboro’s production of Disney’s Newsies!, the story of newsboys in turn-of-the-century New York

who strike in protest of publishers’ rising distribution prices. Sound familiar? Performance days and times vary. Starr Theatre, 520 S. Elm St., Greensboro.

Tickets: (336) 333-7469 or ctgso.org.

September 15

TIME TREK. 8 a.m. Walk with historian Glenn Chavis to learn about High Point’s historic black entertainment and business district during the segregation period. Changing Tides Cultural Center, 613 Washington St., High Point. To register: (336) 885-1859 or highpointmuseum.org.

PAST PRESENT. 10 a.m. Historian Phyllis Bridges gives a guided, African-American Tour of Oakwood Municipal Cemetery, with insights into early black settlers. Oakwood Municipal Cemetery, 512 Steele St., High Point. Info: (336) 885-1859 or highpointmuseum.org.

September 16

IT’S A G.A.S.! 7 p.m. Meaning, Great American Songbook. Listen to some selections from it, courtesy of Piedmont Triad Jazz Orchestra. Tickets: (336) 333-2605 or carolinatheatre.com.

September 17

HELLO, BEATIFUL! 10 a.m. As in, Greensboro Beautiful. Learn about its history and impact on the Gate City over the last 50 years from Director Cathy Cates. Greensboro History Museum, 130

Summit Ave., Greensboro. Info: (336) 373-2043 or greensborohistory.org.

September 18

AUTHOR, AUTHOR. 7 p.m. Poet Stacey Waite reads from her volume, Butch Geography.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

KING OF STRING. 8 p.m. Listen to the tunes of Coco Montoya, master of the Stratocaster. Tickets: (336) 333-2605 or carolinatheatre.com.

September 19

HOOT-ENANNY. 6:30 p.m. Sip some craft brews from the Twin City’s Hoots Beer Co., paired with some fare with flair prepared by Chef Adam Barnett.

Katharine Brasserie & Bar, 401 N. Main St., Winston-Salem. Tickets: https://www.brownpapertickets.com/event/3582457.

AUTHORS, AUTHORS. 7 p.m. Meet writers published by Prospective Press: Joe Lineberry, Rachel Rogers, Meri Elena and Susan Surman.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

September 20–22

FEEL THE BERN. 8 p.m. Greensboro Symphony’s Dmitry Sitkovetsky takes to the violin for “Bernstein at 100,” a centennial celebration of Leonard Bernstein, featuring the composer’s Serenade Violin

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84 O.Henry

September 2018

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September 2018

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O.Henry 85

shops • service • food • farms

support locally owned businesses

Arts Calendar

Concerto. Dana Auditorium, 5800 W. Friendly Ave., Greensboro. Tickets: (336) 335-5456, ext. 224 or greensborosymphony.org.

September 21

AUTHOR, AUTHOR. 7 p.m. Lee Zacharias reads from her new novel, Across the Great Lake. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

TALKEYE. 8 p.m. Actor Alan Alda of television’s M*A*S*H and host of Scientific American Frontiers, dishes on art and science as a part of UNCG’s University Concert and Lecture Series. UNCG Auditorium, 408 Tate St., Greensboro. Tickets: vpa.uncg.edu.

September 21 & 22

SCARY MOVIES. Catch a medley of horror flicks — features and shorts, gore-fests and comedies from around the globe at the Wreak Havoc Horror Film Festival. The Crown, Carolina Theatre, 310 S. Greene St., Greensboro. Tickets: (336) 333-2605 or carolinatheatre.com.

September 22

BROWN BAGGIN’ IT. 10 a.m. Discover multiple options for back-to- school lunches other than the standard pb&j at Family Cooking. Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

SEASONED. 3 p.m. The noble tomato is the

focus of an Adult Cooking class, “Eat the Season.”

Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

TO ARMS! 4:30 p.m. The Guilford Militia Encampment recreates living conditions of Revolutionary War soldiers. Historic Park, High Point Museum, 1859 E. Lexington Ave., High Point.

Info: (336) 885-1859 or highpointmuseum.org.

SWING TIME. 8:30 p.m. Salem Swing Band induces you to jump and jive at a dance hosted by Piedmont Society of Swing Dance. Introductory jitterbug lesson available at 7:30 p.m. Admission at the door is $12 for members, $10 for nonmembers. Oriental Shrine Club, 5010 High Point Road, Greensboro. Info: (336) 508-9998 or piedmontswingdance.org.

SACRED AND PROFANE. 7 p.m. Hear the thunderous sounds of metal rockers Godsmack, who will throw down with Shinedown.

Greensboro Coliseum, 1921 W. Gate City Blvd.

Tickets: (800) 745-3000 or ticketmaster.com.

September 22, 23 26–29

GRAND STRANDS. Catch UNCG’s production of the musical celebrating 1960s counterculture, Hair. Performance times vary. Taylor Theatre, 406 Tate St., Greensboro. Tickets: vpa.uncg.edu.

September 24

CLEAN YOUR PLATES. Noon. Or rather, palates. Learn all about clean eating at Adult Cooking: Lunch and Learn. Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

September 25

AUTHOR, AUTHOR. 7 p.m. Meet Mary Carter Bishop, author of Don’t You Ever: My Mother and Her Secret Son. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

September 26

WHODUNIT? 6 p.m. Triad Stage Book Club discusses Agatha Christie’s Murder on the Orient Express.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

September 27

AUTHOR, AUTHOR. 7 p.m. Meet novelist Jamey Bradbury, author of The Wild Inside.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

September 28

FORE SCORE. 11 a.m. It don’t mean a thing if it ain’t got that swing! The Piedmont Opera Open Golf Tournament gets underway at Bermuda Run

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September 2018

The Art & Soul of Greensboro

Join the effort. Visit www.triadlocalfirst.com.

shops • service • food • farms West, 324 Bermuda Run Drive, Bermuda Run. To register: Call Connie Quinn at (336) 725-7101.

ON TOP OF SPAGHETTI. 5 p.m. Kids can learn to make their own pasta and sauce with garden-fresh ingredients at “Spaghetti Soiree.”

Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

SOIREE FOR A CAUSE. 6 p.m. Help raise funds for the new Triad chapter of She ROCKS (Research Ovarian Cancer Knowledge Support) by enjoying a catered dinner by 1618, drinks, live music and a raffle. Summerfield Farms, 3203 Pleasant Ridge Road, Summerfield. Tickets: (336) 866-0003 or email Triad@sherocks.org.

JAZZ TREAT. 6:30 p.m. Steve Haines, Michael Sellars, Chad Eby and Ariel Peacock perform a special pop-up jazz concert. O.Henry Hotel, 624 Green Valley Road, Greensboro. Info: (336) 854-2000 or ohenryhotel.com.

YOUNG AT ART. 7:30 p.m. He may be losing sleep but he’s not letting grass grow. Country crooner and youngest member of the Grand Ole Opry Chris Young is comin’ over. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro.

Tickets: (800) 745-3000 or ticketmaster.com.

September 29

POTATO HEADS. 6 p.m. Italian comfort food,

support locally owned businesses

Arts Calendar

gnocchi with pesto Genovese, is the star of Adult Cooking. Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

AUTHORS, AUTHORS. 7 p.m. Meet writers Katherine Schwille (What Luck, This Life) and Jonathan Ward (Bringing Columbia Home).

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

WHEREFORE ART THOU ROMEO? 8 p.m.

Romeo Santos, “The King of Bachata,” brings some Latin vibes to town. Greensboro Coliseum, 1921 W. Gate City Blvd., Greensboro. Tickets: (800) 745-3000 or ticketmaster.com.

FASHION WITH PASSION. 11 a.m. See the latest style trends, doff your hat to fundraising recipient Triad Pink Heals and its Pink Fire Truck, and try for prizes in a raffle. Threads Boutique, 809 Green Valley Road, Greensboro. Info: (336) 944-5335 or https://www.facebook.com/ threadsgreensboronc/.

HAIR TODAY. 7 p.m. Before they run so far away tomorrow. Flock of Seagulls, Naked Eyes, Wang Chung and others relive the Reagan era of big hair at “Lost 80s Live.” White Oak Amphitheatre, Greensboro Coliseum Complex, 1921 W. Gate City Blvd., Greensboro. Tickets: (800) 745-3000 or ticketmaster.com.

TARHEEL TALES. 3 p.m. Hear a reading from North Carolina Literary Review with John York. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

READ ALL ABOUT IT. Treat your little ones to story times: BookWorms (ages 12–24 months) meets at 10 a.m.; Time for Twos meets at 11 a.m. Storyroom; Family Storytime for all ages meets at 6:30 p.m. High Point Public Library, 901 N. Main St., High Point.

Info: (336) 883-3666 or highpointpubliclibrary.com.

September 30

WEEKLY HAPPENINGS Mondays

BUZZING. 10 a.m. Your busy little bees engage in a Busy Bees preschool program focusing on music, movement, garden exploration and fun in the kitchen. (Members only). Greensboro Children’s Museum, 220 N. Church St., Greensboro.

Preregistration: (336) 574-2898 or gcmuseum.com.

CHAT-EAU. Noon. French leave? Au contraire! Join French Table, a conversation group.

Scuppernong Books, 304 S. Elm St., Greensboro.

Info: (336) 763-1919 or scuppernongbooks.com.

Tuesdays

Friendly Shopping Center, Greensboro, NC 1-800-528-3618 The Art & Soul of Greensboro

336-299-9767

www.extraingredient.com

Greensboro's Locally Owned Kitchen Store since 1985 September 2018 O.Henry 87

Join the effort. Visit www.triadlocalfirst.com.

Arts Calendar ONCE UPON A TIME. 2 p.m. Afterschool Storytime convenes for children of all ages.

Storyroom, High Point Public Library, 901 N. Main St., High Point. Info: (336) 883-3666 or highpointpubliclibrary.com.

PINT-SIZED GARDENERS. 3:30 p.m. Instill in your kiddies a love of gardening and edible things at Little Sprouts (ages 3 to 5 years).

Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: (336) 574-2898 or gcmuseum.com.

PICKIN’ AND GRINNIN’ 6 until 9 p.m. Y’all come for Songs from a Southern Kitchen, featuring: Abigail Dowd and Jason Duff (9/4); Sam Frazier and Eddie Walker (9/11); Windfall (9/18); Lyn Koonce and Raymond Brooks (9/25).1421 W. Wendover Terrace, Greensboro. Info: (336) 370-0707 or CREATIVE KIN. 5 to 7 p.m. Moms, dads, brothers, sisters, aunts, uncles and cousins: Enjoy a free evening of artistic expression at ArtQuest.

GreenHill, 200 N. Davie St., Greensboro. Info: (336) 333-7460 greenhillnc.org.

MUSSELS, WINE & MUSIC. 7 until 10 p.m. Mussels with house-cut fries for $15, wines from $10–15 a bottle and live music by AM rOdeO — at Print Works Bistro, 702 Green Valley Road, Greensboro. Info: (336) 379-0699 or printworksbistro.com/live_music.htm.

Wednesdays

TO MARKET, TO MARKET. 8 a.m. until noon.

The produce is fresh and the cut fleurs are belles.

Greensboro Farmers Curb Market, 501 Yanceyville St., Greensboro. Info: gsofarmersmarket.org.

Thursdays

TOQUES FOR TOTS. 3:45 p.m. Kids learn the ins and outs of planting a kitchen garden, as well as good kitchen skills at “Homegrown Chefs,” a six-week course starting 9/27. Greensboro Children’s Museum, 220 N. Church St., Greensboro. To register: gcmuseum.com.

TWICE UPON A TIME. 11 a.m. Preschool Storytime convenes for children ages 3–5.

Storyroom, High Point Public Library, 901 N. Main St., High Point. Info: (336) 883-3666 or highpointpubliclibrary.com.

ALL THAT JAZZ. 5:30 until 8 p.m. Hear live, local jazz featuring Dave Fox, Neill Clegg and Matt Kendrick (aka the O.Henry Trio) — and featured guest artists April Talbot (9/6); Karon Click (9/13); Howard Eaton (9/20); Joey Barnes (9/27). All performances are at the O.Henry Hotel Social Lobby Bar. No cover. 624 Green Valley Road, Greensboro. Info: (336) 854-2000 or www.ohenryhotel.com/jazz.htm.

JAZZ NIGHT. 7 p.m. Fresh-ground, fresh-

brewed coffee is served with a side of jazz at Tate Street Coffee House, 334 Tate St., Greensboro. Info: (336) 275-2754 or www.tatestreetcoffeehouse.com.

OPEN MIC COMEDY. 8–9:35 p.m. Local pros and amateurs take the mic at the Idiot Box, 2134 Lawndale Drive, Greensboro. Info: (336) 274-2699 or idiotboxers.com.

Fridays

THE HALF OF IT. 5 p.m. Enjoy the hands-on exhibits and activities for half the cost of admission at $5 Fun Fridays ($2 on First Fridays).

Greensboro Children’s Museum, 220 N. Church St., Greensboro. Info: (336) 574-2898 or gcmuseum.com.

Fridays & Saturdays

NIGHTMARES ON ELM STREET. 8 p.m. A 90-minute, historical, candlelit ghost walking tour of Downtown Greensboro. Tickets: (336) 905-4060 or carolinahistoryandhaunts.com/information.

Saturdays

TO MARKET, TO MARKET. 7 a.m. until noon. The produce is still fresh and the cut fleurs still belles. Greensboro Farmers Curb Market, 501 Yanceyville St., Greensboro. Info: gsofarmersmarket.org.

THRICE UPON A TIME. 11 a.m. Hear a good yarn at Children’s Storytime. Scuppernong Books,

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88 O.Henry

September 2018

The Art & Soul of Greensboro

Arts Calendar 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

GENIUS AND JAVA. 11:15 a.m. With a cup of Joe as inspiration, create that masterpiece at Coffee and Canvas, which pairs painting and sipping. Cost is $5 and includes art supplies and bean. Griffin Recreation Center, 5301 Hilltop Road, Greensboro. Info: (336) 373-2928 or email Latrisha.Carmon@greensboro-nc.gov.

WRITE IS MIGHT. 3 p.m. Avoid writer’s block by joining a block of writers at Come Write In, a confab of scribes who discuss their literary projects. Scuppernong Books, 304 S. Elm St., Greensboro. Info: (336) 763-1919 or scuppernongbooks.com.

JAZZ ENCORE. 6:30 p.m. Hear contemporary jazz cats Aaron Matson & Band (9/1); AnneClaire Niver & Band (9/8); Gary Hastings & Band (9/15); Andrew Berinson and Ti Harmon (9/22); and Ben Strickland & Band (9/29), while noshing on seasonal tapas at O.Henry Jazz series for Select Saturdays. O.Henry Hotel, 624 Green Valley Road, Greensboro. Info: (336) 854-2000 or ohenryhotel.com.

IMPROV COMEDY. 10 p.m. on Saturday, plus an 8 p.m. show appropriate for the whole family.

The Idiot Boxers create scenes on the spot and build upon the ideas of others, creating shows

The Art & Soul of Greensboro

that are one-of-a-kind — at the Idiot Box, 2134 Lawndale Drive, Greensboro. Info: (336) 274-2699 or idiotboxers.com.

Saturdays & Sundays

KIDS’ CRAFTS. Idle hands are the devil’s workshop — unless you enroll Junior in one of three structured activities at Greensboro Children’s Museum: Art Studio encourages making art in all kinds of media; at Music Makers kids can shake, rattle and roll with percussion instruments; while Get Moving! inspires physical activities. Times and dates vary.

Greensboro Children’s Museum, 220 N. Church St., Greensboro. Info: (336) 574-2898 or send an email mailto: marketing@gcmuseum.com.

Church St., Greensboro. Info: (336) 574-2898 or gcmuseum.com.

MISSING YOUR GRANDMA? 3 p.m. until it’s gone: Tuck into Chef Felicia’s skillet-fried chicken, and mop that cornbread in, your choice, giblet gravy or potlikker. Lucky 32 Southern Kitchen, 1421 W. Wendover Terrace, Greensboro. Info: (336) 370-0707 or lucky32.com/fried_chicken.htm.

Sundays

FOOD OF LOVE. 11 a.m. Tuck into mouthwatering Southern brunch fare (biscuits, anyone?), courtesy of Chef Irvin J. Williams, while students from the Miles David Jazz Program serenade you with smooth jazz. The Historic Magnolia House, 442 Gorrell St., Greensboro.

Info: (336) 617-3382 or thehistoricmagnoliahouse.com.

HALF FOR HALF-PINTS. 1 p.m. And grownups, too. A $5 admission, as opposed to the usual $10, will allow you entry to exhibits and more. Greensboro Children’s Museum, 220 N.

To add an event, email us at

ohenrymagcalendar@gmail.com

by the first of the month

ONE MONTH PRIOR TO THE EVENT.

September 2018

O.Henry 89

Luxury AwAits yOu

on the Lake

Paul J. Ciener

Botanical Garden

fall PlaNT SalE Mark Your Calendars for October 6, 2018

Saturday, October 6, 2018 8:00 am-12:00 pm

Life & Home

Michelle Porter

Plants for sun and shade, selected trees, shrubs, herbaceous perennials and more will be on sale. A list of plants will be posted on our website, www.cienerbotanicalgarden.org prior to the sale. Proceeds benefit the future development of the Garden. Come find something perfect for your garden!

8 Sail View CoVe

NORTHERN SHORES ESTATES at LAKE JEANETTE

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6 Bed/6.2 Bath Premium Peninsula Lot with Expansive Water Views Ideal for Entertaining • Lower Level with Kitchen, Bedroom Suite, Den, Game Room, Art Studio & More!

A look at what’s new, exciting and exceptional in Japanese maples.”

by Matt and Tim Nichols Co-owners and Operators of

MICHELLE PORTER

Saturday, October 6, 2018 10:00 – 11:00 am $10

MP

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215 S. Main Street, Kernersville 336-996-7888 www.cienerbotanicalgarden.org

of

M O V I N G !

REALTOR®, BROKER, MBA, ABR, CSP, GRI, CRS, SFR, CPM • homes@michelleporter.com www.michelleporter.com

Paul J. Ciener BotaniCal Garden

Gathering Friends

G E T

...turning dreams into an address

©2017 BHH Affiiliates, LLC. An independently operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Equal Housing Opportunity.

Everyday is a beautiful day at Dirty Dogs!

dinner & luncheon

DINNER Tuesday, October 16th Grandover Resort and Conference Center one Thousand club road, Greensboro, nc

Dr. Rick Rigsby Motivational Speaker & Author

6 PM - reception 7 PM -- dinner and Keynote

LUNCHEON Monday, October 22nd Sheraton Greensboro @ Koury Convention Center 3121 W. Gate city Boulevard

Boutique

• Dog Treats and Antlers • Shampoos, Conditioners and Fragrances • Dog Toys • Collars and Leashes

Our Services

• Self-Service Dog Wash • Premium Dog Wash • Grooming Introducing Heather Richardson, Pet Stylist • 336-587-0195

Elizabeth Vargas Television Journalist / ABC News + A&E

11:30 AM - Seating and Social Time 11:45 AM luncheon and Keynote Tickets and sponsorships available at

www.earlier.org or 336.286.6620

90 O.Henry

September 2018

2511 Battleground avenue, greensBoro, nC K9CRZY7@aol.com • www.dirty-dogs.com (336) 617-7191 • Like us on Facebook Monday-Saturday 9am -7pm • Sunday 12-5pm

The Art & Soul of Greensboro

Life & Home

save 15 $

on your 1st 60 or 90 Minute Custom Massage w/any therapist

Fractional CO2 Laser Treatments.

MicroNeedling with PRP and medical Peels.

New Clients only. Not valid with any other specials or discounts

336.334.0044

523 State St, Greensboro, NC

www.AtoZenMassage.com Massage services provided by NC Licensed Massage and Bodywork Therapists.

Amy Rumley L.E. C.L.T , CPT

“Your kindness and compassion in the care of my father are so greatly appreciated. I don’t know what we would do without you. Thank you for being such a critical part of his recovery. We are so very grateful for you.”

— With love, Alexandra

Quality Care, Kindness & Affordability.

All While Staying at Home.

Kathy Nevil, RN • Janet McGoldrick, RN (Owner) Angelia Cox, RN (Owner) • Cathy Propst, RN

How does your fall wardrobe stack up?

W by Worth has all the latest treNDs

september 20-26 1515 W Cornwallis Drive, Suite 100 Greensboro, NC 27408

Phone: 336.285.9107 Fax: 336.285.9109

email: info@1stChoiceHomeCareInc.com

The Art & Soul of Greensboro

C a l l t o day t o s C h e d u l e yo u r p e r s o n a l a p p o i n t m e n t Mitzie Weatherly • MWeatherly@WbyWorth.com • 336.314.5500 Jeanne Peele • JPeele@WbyWorth.com • 336-314-1155

September 2018

O.Henry 91

Downtown Greensboro

Interior Design • Furnishings • Accessories • Art • Gifts

336-274-2426 251 N. GreeNe Street www.MartinsFrameandArt.com

spencer’s vintage & fine consignment not your ordinary

Store, bUt a

shopping

VIVID

eXperience

225 SUmmit ave. • GreenSboro t U e S d ay - S at U r d ay • 1 0 a m - 6 p m

336.579.84 4 9

i n t e r i o r s

513 South Elm Street , Greensboro, NC 27406 336.265.8628 www.vivid-interiors .com

Recipes fRom the old city of

JERUSALEM www.AspenGSO.com Middle Eastern food is naturally good for you.

Jerusalem Market provides you with complete foods with all good nutrients, good fats, the food is natural fuel. Loaded with protein, nutrients, and vitamins, Middle Eastern food is naturally engineered for the most beneficial effect on the body.

227 S. Elm Street Downtown Greensboro Open Tuesday-Sunday 11:00- 7:00

N ThIs mENTIOrECEIvE D N a D a

10% OFF

“You Will Be Pleased”

CaTErING markET plaCE DINE IN TO GO

310 South Elm Street • Greensboro, NC 27401 336.279.7025 | Mon-Sat 11am-9pm | www.jerusalemarket.com

92 O.Henry

September 2018

The Art & Soul of Greensboro

HALLOWEEN PHOTOS OF YOUR PUPS Oct.9 & Oct 11 Call us for details or to schedule your dogs pictures.

Proceeds benefits the SPCA of the Triad

WE OFFER: dog daycare • sleepovers grooming • webcams

705 Battleground Ave.

www.DogDaysGreensboro.com

modern furniture made locally

511 S Elm St. | Greensboro NC 27406 | 336.370.1050 areamod.com

Downtown Greensboro

Specializing in doggie happiness

Come. Sit. Heal.

We strive to provide complete care for our patients.

Preventive & Wellness Care • Hospitalization Medicine / Surgery • Dentistry • And more ...

Dr. John Wehe 120 W. Smith Street • Greensboro NC | 336.338.1840

w w w .do w n t o w n gre e n sbo ro an imalhospital. com

The Art & Soul of Greensboro

September 2018

O.Henry 93

It’s a Dual Market!

Best move up market in a long time!

Yvonne Stockard Willard Realtor™, Broker, GRI

Business & Services

allentate.com

336.509.6139 Mobile 336.217.8561 Fax

yvonne.stockard@allentate.com www.allentate.com/YvonneStockard

717 Green Valley Road, Suite 300 • Greensboro NC • 27408

Personalized, Stress-free, Effective College Admissions Planning.

KErri BECKErt With 10 years of experience and expertise, Kerri Beckert is dedicated to helping students and their families understand and succeed in the competitive college admissions and application process. Giving student-clients the ability to showcase their own achievements, personalities, and admissions goals, Kerri assists them in envisioning, defining, and actualizing their admissions plans.

anchorcollegiate.com | kerri@anchorcollegiate.com

your loCal oFFiCE suPPliEs solution Office PrOducts, furniture & Machines Now in our new location.

Locally owned.

Free Next Day Delivery in the triad area on over 30,000 office products 3402-C W. Wendover Ave. | Greensboro, NC 336.275.2871 | www.carolinaofficemachines.com

Knitting For the Love oF

FALL-SCAPING PERFECTED! Seasonal plants, supplies, gifts, accessories & trinkets

GUILFORD GARDEN CENTER Where gardening is fun!

701 Milner Dr. Greensboro | 336-299-1535 | guilfordgardencenter.com

Never Miss An Issue!

Subscribe today and have MAGAZINE delivered to your home! $45/yr • In State

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3 wAyS tO S u BS C r I Be Fill out and return, Call 336.617.0090 or email dstark@ohenrymag.com

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94 O.Henry

Bill me later

September 2018

phOne

O.Henry Magazine P.O. Box 58, Southern Pines, NC 28388

1614-C West Friendly Avenue Greensboro, nC 27403 336-272-2032 stitchpoint@att.net MondAy-FridAy: 10:00-6:00 sAturdAy: 10:00-4:00

The Art & Soul of Greensboro

Practicing Commercial Real Estate by the Golden Rule Bill Strickland, CCIM Commercial Real Estate Broker/REALTOR 336.369.5974 | bstrickland@bipinc.com

Voted Best Menswear Store 2015, 2016, & 2017 LocaLLy owned Since 1963 Jack Victor Hart ScHaffner Marx Ballin trouSerS

www.bipinc.com

Bill’S kHakiS

ASHMORE RARE COinS & MEtAlS Since 1987

• 30+ years as a major dealer of Gold, Silver, and Coins • Most respected local dealer for appraising and buying Coin Collections, Gold, Silver, Diamond Jewelry and Sterling Flatware • Investment Gold, Silver, & Platinum Bullion

Visit us: www.ashmore.com or call 336-617-7537 5725 W. Friendly Ave. Ste 112 • Greensboro, NC 27410 Across the street from the entrance to Guilford College

reMy leatHerS GitMan BrotHerS Baroni clotHinG 34 HeritaGe JeanS cuStoM SuitS & SHirtS

the HUB ltd 2921-D Battleground Ave. • Greensboro 336.545.6535 | TheHubLtd.com

Monday-Saturday: 11 aM - 5 pM or By appointMent

Business & Services

Berle trouSerS

G ibsonville A &C

ntiques olleCtibles Full of History, Antiques & Charm

5th Saturday Sale • September 29 Security & inveStigative conSulting ServiceS

106 E. Railroad Ave, Gibsonville, NC • (336) 446-0234 Downtown Gibsonville behind the Red Caboose

GibsonvilleAntiques.com • Mon-Sat 10-6 & Sun 1-5

Get your company on the path to success

Security Risk Consultation Executive Protection & Investigative Brokering Emergency Preparedness • Active Shooter Planning Threat Assessments (Behavioral, Corporate, Residential and Personal) • Travel Risk Management Pre-Employment Assessments • Advisory Counsel and Support Security Guard Brokering call us today to discuss your business and personal needs.

336.897.3101

Katie Koballa, iC

114 N. Elm St. Ste. 302 • Greensboro, NC 27401 corporate@signalzero.us • www.signalzero.us

336.402.3238 336.299.4164

The Art & Soul of Greensboro

Travel Agent

katie@4moonstravel.com

September 2018

O.Henry 95

Business & Services

Trunk Show thurSDay SeptemBer 27th 10 am - 6 pm

etc. Consignment • 336-659-7786 Dover Square 1616 BattlegrounD ave greenSBoro 336.851.5025

S

mainanDtaylorShoeS.com

eptember & ctober

O

etc. Home • 336-659-0900

Monday-Saturday 9-6 690 Jonestown Rd. • Winston-Salem www.etcConsignmentShoppe.com

1/2 Off all KIds eYe wear

must purchase lens and frame

2222 Patterson St. #A | Greensboro, NC 27407 336.852.7107 | www.houseofeyes.com Only one block from the coliseum.

96 O.Henry

September 2018

The Art & Soul of Greensboro

She gathered the threads of her life and stitched them together with love and joy!

Sub-Zero, the preservation specialist. Wolf, the cooking specialist.

You’ll find them only at your local kitchen specialist.

Sewing Machines • Vacuum Cleaners/Supplies Authorized Husqvarna, Viking, Pfaff and Brother Dealer Repair and Service Classes and Machine Instruction

Shop LocaL for Best Prices We Service What We Sell & Offer Personal Attention

1710 Battleground Ave. • Greensboro, NC

336.274.6793 • www.mckinneysewandvac.com Mon, Tue, Thur, Fri 10:00am-5:30pm Wed 10:00am-1:00pm • Sat 10:00am-3:00pm

Our name doesn’t say it all!

If it’s broken glass, we can replace it.

Mirrors | Storm Windows & doors | Glass Top Tables Tempered Glass | Insulated Units Windshield Glass is your one-stop glass shop. We service the Triad and surrounding counties for all types of residential and commercial glass repairs.

336-854-9222 • www.HartApplianceCenter.com

2201 Patterson Street, Greensboro, NC (2 Blocks from the Coliseum) Mon. - Fri.: 9:30am - 5:30 pm Sat. 10 am - 2 pm • Closed Sunday

Business & Services

You won’t find them in ordinary kitchens.

Or at ordinary stores.

Specializing in • golf club repair, • custom club fitting, • and we sell new and used golf clubs.

improper equipment can wreck your golf game

kelly’s golf 510 N. SprING ST. | GreeNSboro, N.C. 27401 336-273-1791 | www.windshieldglass.com

The Art & Soul of Greensboro

2616-C Lawndale Drive • Greensboro, NC 27408

336.540.1452 • www.kellysgolf.com

September 2018

O.Henry 97

SEPtEmbEr

EvEnts 9/13 Hospice Lunch & Learn:

Dementia Talk: Why do They Do That… and What Can I Do About It? Lusk Center 12 noon

9/13 North African Night Cooking Class

Reto’s Kitchen 6:00 pm

9/26 Ciao! Italian Night

Italian Night Cooking Class

Greensboro History Museum 7:30 pm

Ticket Me Greensboro is a local, customizable ticketing platform in which organizations can sell and manage their own ticketed events with built-in regional marketing.

For more information on getting your event listed, call 336-907-2107 TicketMeGreensboro.com is powered by

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336.617.0090

2018 University Concert 2019 & Lecture Series Don’t miss our upcoming season, featuring artists such as Audra McDonald, Alan Alda, Herbie Hancock, Mark Morris Dance Group, and more!

Arts & Culture

© Douglas Kirkland

© Allison Michael Orenstein

For tickets and more information:

UCLS.UNCG.EDU | 336.272.0160 The Art & Soul of Greensboro

September 2018

O.Henry 99

2018 mS. guilford CounTy

Arts & Culture

SeniorPageant SepTember 15, 2018

Spring arbor of greenS boro 2:00 pm - 4:00 pm Donations for the Alzheimer’s Association will be accepted.

C.P. LOGAN 5125 Michaux Road | Greensboro gbmktg@hhhunt.com | 336.286.6404 www.springarborliving.com

“SunflowerS” • 16’x20” • original oil Connie P. logan - artiSt/teaCher

www. CPLogan.com

Tickets: triadstage.org/tickets 336-334-4392 100 O.Henry

September 2018

The Art & Soul of Greensboro

fall in loVe with Dance

They delivered the papers, until they made the headlines...

fall special 5 sessions for $50

salsa • waltz • rumba • foxtrot • swing • tango • cha cha hustle • quickstep • mambo • samba • merengue

SEPTEMBER 14-30, 2018

Tickets $15-30 ( + NC Sales Tax & $2 Restoration fee) 520 S. Elm Street

336.379.9808 Gift Certificates Available 1500 Mill Street, Suite 105 • Greensboro, NC 27408 www.fredastaire.com

www.ctgso.org

Arts & Culture

Music by Alan Menken Lyrics by Jack Feldman Book by Harvey Fierstein Based on the Disney Film written by Bob Tzudiker & Noni White

336.333.SHOW(7469) ROANE LAW

Solve the mystery before time runs out.

SEPT. 9 - OCT. 7, 2018 From the best-selling mystery novel of all time.

Ten strangers trapped on a dangerous island each have a secret. One by one, they begin to die.

Match your wits against the master of suspense to catch the killer before there are none.

EXTENDED RUN!

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The Art & Soul of Greensboro

September 2018

O.Henry 101

Arts & Culture 102 O.Henry

September 2018

The Art & Soul of Greensboro

MERIDITHMARTENS

state of the ART • north carolina

HOT NOW! f e at u r i n g t h e a r t w o r k o f

BRENdA BEHR & MOLLy WRIgHT

waterColor

FRIdAy SepteMBer 7 • 6-8pM

Dead and Gone • Original Artwork Oil on Linen Canvas • 36” x 48” • $3,500

www.meridithmartens.com

f MeridithMartens.Artist • 910.692.9448

“ShoreSide” By Molly wright, aCryliC

ARTIST’S Reception, Sept. 7th, 6-8pm LUNCH & LEARN with Brenda, Sept. 7th, 11:30-1pm Call the gallery to sign up WORKSHOP with Molly, Sept 8th, 10am

Arts & Culture

“hot” By Brenda Behr,

(all supplies & lunch included)

307 State Street, Greensboro (336) 279-1124 • www.tylerwhitegallery.com

November 9, 2018 @ 7:30 p.m.

November 11, 2018 @ 2:00 p.m.

UNCG Auditorium (408 Tate St.) FREE Parking

Tickets: $15 - $85 (336) 272-0160

GreensboroOpera.org

The Art & Soul of Greensboro

Puccini’s

MADAMA BUTTERFLY September 2018

O.Henry 103

GreenScene

Brooke Powell, Michelle Bonifant

Charles Boyle, Greg Monroy

VIR Michelin GT Challenge Pre-Event Party Revolution Mill Stacks

Friday, July 20, 2018

Photographs by Lynn Donovan

Andrew David, Jim LaBranche, Duane Steppe

Christopher, Tom & Marsha Tice

Christopher Delligatti, Mike & Clayton Stinett

Nicole, Laura, Alessandra & Leonardo Ludert

Maura, Melvin & Frances Riley

Scott & Archer Hill, Enzo, Tahe Zalal

104 O.Henry

September 2018

Douglas & Kelly Gresham, Kevin Smith

Marcus Leeper, Michelle & Will Ward

Shea Holbrook, Vin & Kaelyn Riley

Kathie Niven, Connie Nyholm (VIR Owner)

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GreenScene GSO National Dance Day LeBauer Park

Sunday, July 29, 2018

Photographs by Lynn Donovan

Athena Ward, Jordyn Jackson

Sheetal, Jazmine & Rimpy Kathuria Darius Bronn, Ciara Farmer Alisia Romero, Celia Marillo

Kia Aponte, Karyn, Xander & Jade Dickerson

Daniel Cisneros, Leo Vega, Fernando Sanchez, Ricky Calderon, Louis Requena Viviana Rosales, Nicole Taylor, Brandi Bostwick

Chris Kellam, Terry Max, Jose Paredos, Mariano Borbonio

Brian & Leslie Britt

Tomorrow Betts, Houston Wingo

Jasmin & Vanessa Ibarra, Ana Rodriequez, Shayla Hernandez

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Joshua Wyatt, Sebrina Headen, Sheila Crawford, Jordan Maynard, Denise Crawford

September 2018

O.Henry 105

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106 O.Henry

September 2018

The Art & Soul of Greensboro

GreenScene Opportunity Greensboro Fellows Program Opening & Closing Receptions

Wednesday June 13 & Monday, August 6, 2018 Photographs by Lynn Donovan

Alexander Shepherd, David Ross, Brandon Thomas

Seth Took, Harman Bains

Shawn Straub, Kerris McKoy, AJ Steindel, Yehau Liu Marcus Marti, Noah Ihekaire, Chris Rivera Jenay Brown, Brittney Bolden, Asia Wells

Kerris McCoy, Taylor Strassburg, Julie Hildebrand

Kelly Martin, Jane Fernandes, Alex Ward

Brent Christensen, Cecelia Thompson

Lizzy Tahsuda, Anita Graham, Ron Lawrence, Justin Outling, Arthur Samet, Larry Czarda

Arthur Samet, Larry Czarda, Caryn Atwater, Bill MacReynolds

Lauren Smith, Hannah Dobrogosz Emily Bennett, Isabel Hewgley, Monica Luong, Brian Styers

Autumn Steele, Frankie Jones, Anyjah Andrews

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September 2018

O.Henry 107

GreenScene National Night Out

Tuesday, August 7, 2018

Photographs by Lynn Donovan Carl & Sue Mitchell E.J. Kusse, Kaye Nall

Roddy Covington, Keith Jefferson M.T. Balambao, Jackson, Harli, John & Tosha Meredith Frank James, Peter & Immanuel Ogbole Janice Osborne, Nicky VanMeter

Libby & Ben Canzemi, Bebop Barry Fulbright, Debbie & Leslie Garrett

Samantha Cisney, Pasquale Henrichs

R. Sigmon, Marikay Abuzuaiter

H. Talley, B. Morgan, J. Ludemann, A.C. Awad

108 O.Henry

September 2018

Ty Jenks, Dusty Shutt, Nathan Cassiano, Bill Williams, Peter McRae, Brandon Boylston

Anita & Sterling McDaniel

Junius Lewis, Jones Manga

Providence Ogbole, Abigail Keku, Gerald & Enekole Ogbole

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Chesnutt - Tisdale Team Xan Tisdale 336-601-2337

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Xan.Tisdale@bhhsyostandlittle.com Kay.Chesnutt@bhhsyostandlittle.com ©2018 BHH Affiliates, LLC. An independently operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Equal Housing Opportunity.

Bel Canto (It.): Beautiful Singing

The opening concert of our 36th Season

Nature Choral music born from the space where human nature, the natural world and the supernatural meet

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September 2018

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110 O.Henry

September 2018

The Art & Soul of Greensboro

The Accidental Astrologer

Cool Temps, Hot Dishes

September’s stars serve up a medley of sweet and sour

By Astrid Stellanova

September brings us the fall, thank the Lord! We get a respite from the sweat and vapors.

Now that it’s cool enough to go back into the kitchen, take a look at the calendar. There’s a slew of official foodrelated observations that sound suspiciously like they came from a bunch of hungry Southern cooks at a family reunion. It’s as if somebody started sampling the home brew, and after a few, couldn’t agree on any one delicacy to celebrate, so they included the whole menu. Maybe this is how come September is not only National Biscuit Month, but also National Potato Month and National Chicken Month.

If these honors were indeed invented by Southerner Star Children that home brew musta been pretty good: They left National Banana Puddin’ lovers Month until November. — Ad Astra, Astrid Virgo (August 23–September 22) Sugar Lump, there was a time when you had less going for you than a scared Beagle in a hailstorm. Now, you have a busier social life than the Kardashians. Everybody is watching, wondering, waiting for you to make a move and follow suit. If you still have a little bit of Snoopy in your soul, lie down, put your feet up and think first.

Libra (September 23–October 22) It is entirely up to you if you want to direct everybody in the drama of life, but it would sure help if you had any idea about what you are doing. The advice you have sworn by is about as helpful as a room deodorizer in a bus station. Change gears or you may strip the transmission, Sugar Pie. Recalibrate.

Scorpio (October 23–November 21) Oopsies were made. That’s a charitable way of saying you’re wrong more often than right lately, but enough people stand by you anyway. Charisma? Yup. Regrets? Nope.

But Sugar, don’t squander all this goodwill in one month.

Sagittarius (November 22–December 21) I wish I had a restraining order for everybody who tried to attack you for having an “original” idea that was behind its time. Not a typo. Honey, if you can just pretend to regret being too big for your britches you might not get your comeuppance.

Capricorn (December 22–January 19) The seasonal change has got you all flubbed up. But as soon as the first cool evening settles, all will feel better and brighter. There’s a whole lot of hot air hitting you from a close acquaintance that has Spam for brains. Grab a fan and pay them no mind.

Aquarius (January 20–February 18) You’ve been on the sliding board of life and it has felt like the first time on the playground — scary, too fast and at least a little skin left on the sliding board on the way down. But you arrived at a safe place, Honey Bun, and things do go right at last.

Pisces (February 19–March 20) You’ve made an important correction, Sweet Thing, and you get to reap the benefits.

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You’ve shared a lot of credit, helped others and boosted your karma. It wasn’t easy to make the change you did but you put your big pants on and did it.

Aries (March 21–April 19) Two people are walking back into your life and there will be a test of your strategic powers. This is destiny, Sugar, so just remember that you are in the Schoolhouse of Life for a reason. Your best will be good enough and you shall pass without scars.

Taurus (April 20–May 20) You’ve got a generous, intelligent, powerful nature, and when people get on your good side they are in for a treat. It is myth-making to watch you do your creative best. These times remind your friends why they hang in there, and they do.

Gemini (May 21–June 20) You cleared a big hurdle and now you graduate to the next. Your abilities to redeem yourself never fail to amaze — and sometimes stupefy. In the end, Buttercup, there is another task to face. It will look easy after summer’s challenge.

Cancer (June 21–July 22) Lordamercy, if you were surprised by the breaks you got, you never let it show. You have a better poker face than the professionals. The cards are in your favor, and you know how to play them. So deal or draw. The game is yours, Sweet Thing, but don’t hold ’em.

Leo (July 23-August 22)

You are legendarily strong and stoic. You are a born leader and you know it. But you also have a shadow side that is the opposite. When did you last let anyone know that? It is possible to show that side to others and not lose a bit of face.

Try it, Sugar. OH For years, Astrid Stellanova owned and operated Curl Up and Dye Beauty Salon in the boondocks of North Carolina until arthritic fingers and her popular astrological readings provoked a new career path.

September 2018

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O.Henry Ending

I’m With the Band

By David Claude Bailey

On fall Fridays after I fired up the

charcoal in our backyard in Sunset Hills, I’d sit and watch the sun go down and pop my first IPA. In the distance, faint but insistent, I could hear the rhythmic, tribal thrum of Grimsley High’s drumline. But you don’t just hear drums, you feel them, deep down, where it matters. Primal, appealing to our innermost sense of rhythm and communication, no wonder schools use them to whip fans into a fury.

Drums and I go way back — to my mother’s kitchen where, convinced that I was a child prodigy, she’d allow me to turn her pots and pans into misshapen hulks until my sister pleaded with her to make me stop. In eighth grade when James Moore brought a carload of instruments so we could try out for band, I went straight for the snare drum. For the next four years, drums were my constant companion.

For this clueless and clumsy oddball in a small town like Reidsville, being in the marching band allowed me to join the tribe, and with zero athletic ability, be part of football and basketball season. Despite my straggly goatee, my longish hair and my stupid grin, I was someone, someone special, in fact, first drummer in the marching band. An introvert by nature, my central position in the marching band helped me grapple with sometimes being the center of attention. And little by little I realized that having power over others was an important responsibility.

Take the Sun Fun Parade. It was in Myrtle Beach, which had a deserved reputation for its libidinous and wild atmosphere. But what sticks in my mind is not the raucous night in the motel with 25 coed band members and maybe three chaperones. What I remember best is Art Frazier, standing in

112 O.Henry

September 2018

the middle of the street, blowing his whistle four times to get things going and hoisting his baton high in the air to begin our 2-mile-long, fun-in-thesun strut. It was totally my responsibility to set the pace so we would catch up with the Shriners’ crazy little cars, which were buzzing around in front of us. I did this by speeding up the cadences — until people began looking at me with concern, especially the tuba players struggling to swing their massive horns from side to side. Eventually, we closed the distance, at which point I slowed the beat down to the pace of the rest of the parade, screaming out the names of the cadences we played until Art announced which marches we’d play. Never mind the 100 percent wool uniforms that exuded a naptha-heavy mothball aroma as the 93-degree temperature beat down on our navy-blue-and-gold school colors. Or the sweat that dripped off the leather bands that held on our ridiculous Nutcracker toy soldier hats. Or the bite of the drum strap after 10 minutes. Or the blisters you earned from the drumsticks, an extra pair of which rattled around in my pocket so when the heads snapped off, flying like bullets through the air, you had a spare pair.

It was a heady affair, prompting a really rare commodity among teenagers: deserved pride in a job well done after hours of practice.

Things got pretty tribal on the bus rides back from football games, when you might get a come-hither look from Ruby, to join the “wild” crowd at the back of the bus. For to be a band member meant acceptance into an otherwise exclusive club. Al, perhaps the best-looking and coolest guy in our class, who gave me advice on dating; Jimmy, who accepted me though he ran around with a group that had a lot more fun than I ever would; Kathy, the only female drummer, with naturally blonde hair and a flippantly joyous personality, someone who wouldn’t have given me the time of day had I not been a member of the drumline. Their fathers weren’t members of the Penrose Park Country Club as my father was, nor did they fraternize with the beatnik crowd that I ran with. But we were best of friends and I learned so much from them.

At age 40, I wrote a letter of apology to Mr. Moore, aka “Curly.” I can see him now, waving his baton madly and screaming — the only way he could be heard — “Drums! Drums! Drums! Please! Not so loud.” That memory occasions a twinge, no, a stab of remorse because there was always genuine pain and concern in his voice.

I told him how he had instilled in me an appreciation of music that has since been at the center of my life and has helped me navigate some really rough times. Mr. Moore graciously wrote back and said he was glad I’d learned to love music and didn’t remember my being particularly worse than anyone else.

That, of course, stung like the devil, but I’m getting over it. OH Contributing Editor David Claude Bailey still enjoys drumming on tabletops, car dashboards, and just about any hard surface until he drives his children, wife and workmates crazy. To hear some RSH cadences, click on www.rshdrumline.com, a website created by O.Henry frequent photographer Mark Wagoner..

The Art & Soul of Greensboro

ILLUSTRATION BY HARRY BLAIR

For this drummer, the heartbeat of camaraderie goes on

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