YES! Weekly — September 3, 2025

FOLKIN FINALLY

5 When the 11th annual WREAK HAVOC Film Festival rolls into Marketplace Cinemas (2095 Peters Creek Parkway, Winston-Salem) this Saturday and Sunday, audiences may notice a few alterations to the festival’s formula.

8 In North Carolina, roughly 1.4 million children rely on MEDICAID, and nearly 600,000 rely on SNAP benefits alone. For children attending schools in every community...changes to these programs could have devastating e ects since health and nutrition are deeply tied to success in schools.

10 Happy HOPSCOTCH SEASON, Dear Triad! It’s the most fun time of the year for North Carolina rock-n-rollers, 15 years running. And running September 3-7 in 2025!

11 My experiences at TAAZA led me to respect their opinion. I really enjoyed the food here. “Taaza” is an expression from northern India that means “fresh,” certainly a good theme for a restaurant.

12 “The N.C. FOLK FEST is where musical traditions meet bold new beats. Expect an eclectic mix of genres — funk, folk, soul, indie, roots, Latin, and more — from local legends and global stars alike. All free. All weekend. All welcome.”

16 The City of Greensboro has not explained payments of OVER $128,000 to a firm associated with Cyberlux, the corporation for which former City Attorney Chuck Watts also works.

18 The Winston-Salem Symphony, led by Music Director Michelle Merrill, opens its 2025-26 SEASON with performances of Tchaikovsky’s “Symphony No. 5,” a violin concerto by Wynton Marsalis, and will kick o the concerts with The William Tell Overture.

19 The Women’s Resource Center of Greensboro’s premier fundraising event, MEN CAN COOK… with a Twist, is 5:308:30 p.m. Oct. 18, 2025 at the Greensboro Coliseum’s Piedmont Hall.

5500 Adams Farm Lane Suite 204

Greensboro, NC 27407

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A romantic triangle with a twist

BY MARK BURGER

On the surface, The Threesome — the latest directorial e ort from UNCSA School of Filmmaking graduate Chad Hartigan — might appear to be just another raunchy softcore sex romp, but this romantic comedy, replete with dramatic underpinnings, is much more. There are some sexy moments and some funny moments, but also some sweet and touching moments, deftly incorporated into the narrative by first-time screenwriter Ethan Ogilby.

Executive producer Zoey Deutch stars as Olivia, a saucy waitress at a trendy Little Rock tavern who’s been having a casual a air with a married man (Josh Segarra). One fateful evening, she and Connor (Jonah Hauer-King), a former co-worker with whom she constantly flirts, encounter grad student Jenny (Ruby Cruz), who’s been stood up. There’s instant chemistry, and three of them indulge in an evening of drinking, dancing, a little marijuana, and finally a game of Truth or Dare.

If you wonder where this is heading, wonder no more, as they enjoy a menage a trois before going their separate ways. The evening, however, rekindles romantic feelings between Olivia and Connor, and they begin dating regularly. All goes swimmingly until Olivia discovers she’s pregnant. If that wasn’t enough, Jenny is also pregnant. How this tentative trio faces up to the dual challenge forms the backbone of this surprisingly layered film.

Faced with the unexpected consequences of their one-night indiscretion, all three characters weigh their options. Abortion is discussed (in a mature, objective fashion), but when Olivia and Jenny decide to have their individual babies, Connor does his best to placate and support them both while dealing with his own conflicted emotions. He wants to do the right thing, but isn’t entirely sure what the right thing is.

Amusingly, The Threesome is divided into trimesters instead of chapters, and

it’s to the credit of both filmmakers and actors that each character has a genuine arc. They’re forced by circumstance to confront their own flaws and foibles and do so in a believable fashion that doesn’t mock their situation. (What aren’t credible, however, are the pregnancy suits worn by Deutch and Cruz, which aren’t terribly convincing.) The comic highlight of the film is Olivia and Jenny arriving at the same obstetrician’s o ce at the same time for a check-up, with a sheepish Connor standing on the sidelines, wilting as he su ers through their hormonally challenged bickering. It is thus hardly surprising when both arrive at the same hospital at the same time when they’re ready to deliver — next door to each other. Here, the film takes on a more farcical approach, not unlike the 1984 Blake Edwards comedy Micki & Maude. It stays there long enough to earn some solid laughs before returning to its more serious themes. Yet The Threesome is never heavy-handed. The characters are likable and very likably played, with Deutch, Hauer-King, and Cruz appealing and a ecting.

Jaboukie Young-White bids fair to steal the show as Connor’s wisecracking gay friend Greg, who acts as something of a Greek chorus, and Saturday Night Live alumnus Julia Sweeney scores as Connor’s neurotic mother, with solid contributions by Robert Longstreet, Arden Myrin, Kristin Slaysman, and Allan McLeod. Hartigan’s own children, Casper and Matilda, also enjoy memorable roles as Olivia’s nephew and niece.

The ending is arrived at in a credible fashion, with everyone in a better, happier place — and be sure to stay through the end credits, which include bloopers and a snappy wedding-reception wrap-up. As the film opened with a wedding scene, it’s only fitting that The Threesome close on a similarly cheerful note.

(The Threesome opens Friday in select theaters) !

BLUR: TO THE END

(Greenwich Entertainment/Kino Lorber): Executive producer/director Toby L.’s self-explanatory documentary chronicles the history of the popular British pop band Blur (or “blur,” if you prefer) as the members reunite to record “The Ballad of Darren,” their first album in eight years, and their long-awaited concert debut at Wembley Stadium. The members of the group — Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree — are interviewed extensively and are clearly older but wiser, but the film doesn’t delve enough into their early history and rise to fame, although devotees will undoubtedly find it watchable. In addition, there’s too much talking and not enough rocking, at least until the concert finale. Greenwich Entertainment/ Kino Lorber has also released Blur: To the End and Toby L.’s concert documentary Blur: Live at Wembley Stadium on Blu-ray ($29.95 retail). The DVD ($19.95 retail) includes trailers.

HIS MOTORBIKE, HER ISLAND

(Cult Epics/MVD Entertainment Group): Nobuhiko Obayashi edited and directed this award-winning 1986 adaptation of Yoshio Kataoka’s 1977 novel (originally titled Kare no otobai, kanojo no shima) starring Riki Takeuchi (in his feature debut) as a motorcyclist rebounding from a romantic break-up who embarks on an unexpected, whirlwind romance with free-spirited motorcycle enthusiast Kiwako Harada that leads to unexpected consequences. In Japanese with English subtitles, both the DVD ($29.94 retail) and Blu-ray ($34.95 retail) include audio commentary, visual essays, theatrical trailers, and more.

LOST

IN SPACE (Arrow Video/MVD Entertainment Group): A limited-edition 4K Ultra HD combo ($49.95 retail) of the dreadful 1998 screen adaptation of the popular ‘60s sci-fi TV series produced by Irwin Allen, in which the Robinson family embarks on a dangerous mission through time and space aboard the Jupiter II as they seek to find an inhabitable planet with Earth on the brink of collapse in the 21st century (uh-oh!). This was New Line Cinema’s biggest-budgeted movie of the year and met with deserved critical derision and indi erent box-o ce returns. One of the worst films of its year, it literally strands its talented cast: Gary Oldman (who

BY MARK BURGER

DVD PICK OF THE WEEK: THE TOXIC AVENGER

(Troma Entertainment/MVD Entertainment Group)

Troma Films, the quintessential cult/indie studio, hit the jackpot in 1984 with this outlandish, outrageous, instant cult classic detailing the origins of “the first superhero from New Jersey,” co-directed by Troma founders Michael Herz and Lloyd Kaufman (under his pseudonym “Samuel Weil”). The Toxic Avenger became Troma’s most visible and viable franchise, spawning sequels (and a recent remake starring Peter Dinklage), a stage musical, a Marvel Comics adaptation, a Saturday morning cartoon series (!), and a slew of merchandising. Its sustained success has served Troma well during its 50-year history. Set in the fictional New Jersey metropolis of “Troma-

ville,” which would become the principal setting for many a Troma outing, the film stars Mark Torgl as Melvin, the beleaguered, bullied janitor at the local health club who falls victim to a cruel prank and falls into a barrel filled with toxic waste, emerging as the misshapen, mutated title character (now played by Mitchell Cohen in his feature debut). Possessing superhuman strength and a face only a mother could love (maybe), he embarks on a violent rampage — but in the cause of good. He singles out his tormentors, various local criminals and miscreants and other evildoers, and proceeds to exact gleefully gory retribution.

As a result, “Toxie” becomes a folk hero and even wins the love of gorgeous blind blonde Sara (Andree Maranda in her only feature to date) after saving her life, but soon finds himself on a collision course with Tromaville’s sleazy, obese, blatantly corrupt mayor Peter Belgoody (Pat Ryan Jr.), who is determined to destroy Toxie once and for all, leading to an obligatory “mano a monster” showdown.

Unabashedly crass, silly, and vulgar, The Toxic Avenger is loaded with manic energy, no-holds-barred violence, subversive satire, and even some (admittedly skewed) social commentary. It mocks the conventions of mainstream cinema in frequently uproarious fashion. The performances are hardly Oscar caliber but none the worse for it, as everyone plays it to the hilt — and beyond. Supposedly, Marisa Tomei made her feature debut here in a crowd scene at the health club. This is certainly not for all tastes, but its cult-classic status is wholeheartedly warranted. Besides, “taste” and Troma represent a contradiction in terms given Troma’s consistently goofy output over the years, which continues to win over new fans with each passing year.

The 4K Ultra HD combo ($39.95 retail) includes audio commentaries, retrospective interviews, director’s prologue and introduction, trailers, and more. Troma Entertainment has also released 4K Ultra HD combos (each $39.95 retail) of The Toxic Avenger Part II (1989), The Toxic Avenger Part III: The Last Temptation of Toxie (1990), and Citizen Toxie: The Toxic Avenger (2003), each replete with a bevy of bonus features including audio commentaries, retrospective and vintage interviews and featurettes, and more.

freely admitted he signed on for the paycheck), William Hurt, Mimi Rogers, Heather Graham, Matt LeBlanc, Lacey Chabert (in her feature debut), Jack Johnson, Jared Harris, and Dick Tufeld (reprising his series role as the Robot’s voice), with cameo appearances by some members of the original cast. The special e ects aren’t bad but future Oscar winner Akiva Goldsman’s screenplay certainly is, and director Stephen Hopkins can’t bring it to life. Still, it has

sic depicting the obsessive, ultimately tragic relationship that develops between struggling screenwriter William Holden and deluded, faded silentscreen goddess Gloria Swanson. As both a black comedy and even a psychological thriller, this perennially relevant and brilliantly realized masterpiece speaks volumes about the fickleness of Tinseltown (then and now) and remains a high point in the careers of all concerned, including Erich von Stroheim, Nancy Olson, Jack Webb, Fred Clark, and Lloyd Gough, with cameo appearances by Cecil B. DeMille, Hedda Hopper, Buster Keaton, H.B. Warner, and Anna Q. Nilsson. The film won Academy Awards for Best Original Screenplay, Best Art Direction/Set Decoration (black and white), and Max Steiner’s fabulous score, with additional nominations for Best Picture, Best Director, Best Actor (Holden), Best Actress (Swanson), Best Supporting Actor (von Stroheim), Best Supporting Actress (Olson), Best Cinematography (black and white), and Best Editing. Bonus features include audio commentary, collectible posters, art cards and lobby cards, retrospective featurettes, deleted scenes, trailer, and more.

THE TEXAS CHAINSAW

its fans — and they’re welcome to it. Bonus features include audio commentaries, collectible booklet, retrospective interviews, vintage featurettes, deleted scenes and bloopers, and more. Rated PG-13.

SUNSET BOULEVARD (Paramount

Home Entertainment): A 75th-anniversary 4K Ultra HD combo ($25.99 retail) of co-writer/director Billy Wilder’s controversial, unforgettable 1950 clas-

MASSACRE (Arrow Video/MVD Entertainment Group): A limited-edition 4K Ultra HD combo ($49.95 retail) of director Marcus Nispel’s 2003 feature debut, an unimaginative remake/reboot of the classic 1974 horror film, with original creators Tobe Hooper and Kim Henkel credited as co-producers, original cinematographer Daniel Pearl back on board, and John Larroquette again providing narration. Aside from cashing in on a profitable film franchise — and this film grossed over $100 million — this o ers nothing new to the formula, although Jessica Biel is a great-looking “Final Girl” and R. Lee Ermey hamming it up as a shady sheri . This won a few awards but remains a low point in the series, although but didn’t kill it o (obviously). Bonus features include multiple audio commentaries, collectible booklet and poster, retrospective and vintage interviews, behind-the-scenes featurettes, theatrical trailers and TV spots, and more. Rated R. !

See MARK BURGER’s reviews of current movies. © 2025, Mark Burger.

Wreak Havoc festival rocks Marketplace Cinemas

When the 11th annual Wreak Havoc Film Festival rolls into Marketplace Cinemas (2095 Peters Creek Parkway, Winston-Salem) this Saturday and Sunday, audiences may notice a few alterations to the festival’s formula. For one thing, the festival is no longer devoted exclusively to horror but has expanded its parameters to include other genres. Nevertheless, the same dedication to celebrating the work of independent filmmakers will be evident during the two-day event. Single-day passes are $15, and VIP two-day passes are $25 and can be ordered here: https://filmfreeway.com/WreakHavocHorrorFilmFestival/tickets.

“This marks the sixth Wreak Havoc Film Festival at our cinema, and we always have a great event with them — especially the year we did a drive-in horror film festival,” said Zack Fox, Marketplace Cinemas general manager. “This year, I am thrilled they’ve expanded — but not forgotten — from only horror films to other genres, and truly local North Carolina films. North Carolina has always had a wonderful group of horror filmmakers that came out to support and socialize at this festival. These festivals are a friendly and superb networking event for filmmakers and, with the expansion this year, I expect to see an increase of North Carolina filmmakers.”

The co-directors of this year’s festival are Sammie Cassell and Je Cochran, both long-time fixtures of the self-explanatory Wreak Havoc Film Bu s podcast (https://www.youtube.com/ watch?v=vn9MxMEbpSQ), as well as long-time fixtures of the independent filmmaking scene in the region.

“Until this year, we didn’t accept anything but horror, (but) Je and I felt that, after 10 years, it was a natural progression to expand outside of the horror genre,” Cassell said. “Fantasy, sci-fi, drama, and comedy are all essential genres to storytelling. We’ve seen some great sci-fi movies on the festival circuit, and we’ve screened a drama or two, so we wanted to expand our repertoire by screening all types of films. It helped a lot that North Carolina came on strong this year. We had some tremendous North Carolina movies this year.”

“Founding (festival) director Dan Sellers has chosen to step back from leading the festival this year due to personal reasons,” Cochran explained. “While Dan is still very much involved in both the festival and other Wreak Havoc Productions projects, he was not able to manage the festival this year. Dan’s long-time production partner Sammie Cassell and I both felt strongly that the festival should continue — not just for us, but

for the filmmaking community as a whole — so we stepped in as co-directors this year. I have partnered with Wreak Havoc Productions since the Midnight Shift short in 2017, and I have been a judge for the festival since 2018, so this seemed like a natural progression for me.

“Although not strictly a ‘local’ film festival, the Wreak Havoc Film Festival has always held a deep appreciation for our regional filmmaking community,” Cochran said. “We received more local submissions this year than in any previous year, and that has resulted in over half of the selections being from this region. What excites me most is the remarkable diversity among these films, their creators, and the genres they represent. Audiences will recognize familiar faces from past festivals alongside a wave of fresh talent — including a rising 16-year-old director based in Wilmington. The volume of local submissions this year highlights the quality of North Carolina’s indie film scene. As filmmakers ourselves, Wreak Havoc has always been proud to help showcase local talent.

“This year, we had the privilege of reviewing 80 film submissions from around the globe, and we have selected 38 of the very best to screen,” he said. “True to the tradition of our festival, the majority are short films, but we also have three features — each representing a di erent genre: Horror, drama, and thriller. We are also excited that about a third of the filmmakers will be attending in person, some coming from as far away as Missouri and Ohio.”

As far as the decision to expand the festival in terms of genres, “there were a couple of reasons we decided to do this,” Cochran explained. “First, like many smaller festivals, we’ve seen a decline in submissions since the

COVID era. Second, and just as importantly, there are some really great films being produced in other genres that deserved to have a platform. A look at our line-up this year demonstrates that evolution. That said, longtime followers will be glad to know we still received a strong showing of horror films, but we are also pleased to have a more diverse line-up this year. That includes dramatic, sci-fi, and action films.”

“For those worried about the lack of horror films this year, they need not be,” Fox added. “I’ve been reassured it’s a great amount of fright and thrill. This year, the festival is sponsored by Spookywood!”

“Working with Marketplace Cinemas is great,” Cassell said. “They are so supportive of indie film, and not all indie film festivals get to screen on an actual movie screen, which is nice. Zack and I are friends, which makes it easy to work together. Marketplace has become such a fixture in the area, and they’ve done such nice upgrades, it’s awesome working with them again!”

“We couldn’t be more thrilled,” Cochran added. “The theater perfectly reflects the spirit of North Carolina’s film community as well as the values of the Wreak Havoc Film Festival. Locally owned and operated, Marketplace has always been deeply committed to supporting regional filmmakers. Marketplace has been an ideal match for our film festival in recent years. Plus, they have some of the best popcorn in the Triad!”

The o cial Marketplace Cinemas website is https:// www.mpcws.com/, and the o cial Wreak Havoc Film Festival website is https://www.wreakhavochorrorfilmfest.com/2025-festival. !

Mark Burger

Contributor

[WEEKLY ARTS ROUNDUP]

BAD MOMZ OF COMEDY COMES TO WINSTON-SALEM FOR ONE NIGHT ONLY!

SUBMITTED BY THE ARTS COUNCIL OF WINSTON-SALEM & FORSYTH COUNTY

Bad Momz of Comedy is a group of hilarious, seasoned female and mom comics that perform stand-up around the country. Founded in 2022 by comic Orly K.G., Bad Momz of Comedy quickly took the comedy scene by storm with appearances on The Kelly Clarkson Show, at Zanies Rosemont, and at comedy clubs in Chicago, Nashville, and more.

Don’t miss this laugh-out-loud evening of entertainment for moms and non-moms alike!

“The ‘Bad’ moniker can be taken two ways: a comical dig at moms who can’t live up to the impossible ideal of perfect motherhood or denoting a somewhat naughty approach.” — New City Magazine

Bad Momz of Comedy features Orly K.G., Mizchitchat, Angie Schultz, Mo Good and Kristen Toomey.

Orly K.G. continues to hustle her way into the comedy scene with her antics about marriage, shame-eating, and her decaying body. This Jewish mom is funny — but please do not call her Mrs. Maisel. Oy!

Mizchitchat (Al-Nisa Lawson) brings nearly eight years of comedy experience with her signature blend of humorous insights, quirky details, and storytelling. She’s lit up stages nationwide. An IGTV favorite throughout the Carolinas, she also produces comedy events across the country and is a respected fixture in North Carolina’s comedy scene.

Angie Schultz is a stand-up comic who connects with audiences through sharp wit and personal humor. She’s performed at comedy clubs and Don’t Tell Comedy stages across the southeast. Her comedy dives into the chaos of marriage, motherhood, and youthful misadventures, blending adult humor with unforgettable storytelling. And she’s a veteran.

Mo Good: Hot o taping her hour-long

special at Zanies Chicago, this mother of two from the South Side of Chicago headlines comedy clubs all over the country. Best known for her hilarious storytelling on and o stage. She hosts events, produces local showcases, and all while working in Healthcare. This artist never runs out of relatable material. Kristen Toomey. Since 2008 she’s headlined comedy clubs all over North America and the U.K. Kristen’s comedy style is unapologetically truthful and energetic. Her debut album, “Mother. Fucker,” hit #1 on iTunes and her next special “Shriller” drops in August. She can be seen regularly at the top clubs in New York and Chicago, like The Stand, New York Comedy Club, Zanies, and Laugh Factory. !

WANNA go?

See Bad Momz of Comedy, Saturday, Sept. 13 at 6 p.m., at Reynolds Place Theatre, 251 North Spruce Street, Winston-Salem, on the first floor of the Milton Rhodes Center for the Arts. Tickets are $28 (+tax/fees). The show lasts one hour and 30 minutes. Recommended for ages 18+

Orly K.G.

[ WEEKLY ARTS ROUNDUP]

SEPTEMBER

ARTS IN FOCUS: NATIONAL DANCE DAY AND DANCE NIGHT

SUBMITTED

Get ready to put on your dancing shoes! On Saturday, Sept. 27, LeBauer Park will once again become a dance floor as National Dance Day and Dance Night return for a day-long celebration of rhythm, culture, and community.

National Dance Day has been a staple in LeBauer Park since the park opened in 2016. Organized by Greensboro Downtown Parks, the event has become a highlight of the summer calendar, bringing people together to experience the joy of movement. Over the years, it has grown into one of the park’s most beloved traditions, uniting families, neighbors, and visitors through dance performances by local organizations and troupes.

In 2022, Brittany Williams of iAlign Dance added a new chapter to this story with the introduction of Dance Night. Launched with her husband during their anniversary weekend, the event began as a heartfelt gift to the community, funded by their own wedding savings. “After everything we had gone through during the pandemic, we wanted to create something that would bring people back together,” says Williams. “Dance was the perfect way to do that.” Since then, the partnership

N.C. DEPARTMENT OF TRANSPORTATION TO HOLD PUBLIC MEETING REGARDING PROPOSED BRIDGE REPLACEMENTS ON 3RD, 4TH, AND 5TH STREET IN WINSTON-SALEM

PROJECT NO. HB-0031

FORSYTH COUNTY

WINSTON-SALEM - The public is invited to a meeting with the N.C. Department of Transportation to discuss the proposed bridge replacements on 3rd, 4th, and 5th Street in Winston-Salem.

The open-house public meeting will be held Sept. 11 at United Metropolitan Missionary Baptist Church, 450 Metropolitan Drive, Winston-Salem. The public is invited to attend at any time between 4-6 p.m. There will be no formal presentation.

between iAlign Dance and Greensboro Downtown Parks has grown into a seamless collaboration that ties National Dance Day and Dance Night into a full-day festival.

This year, National Dance Day will once again showcase nine to twelve dance troupes, each representing a different style and culture. Audiences can expect a diverse lineup similar to past years, which have featured Bhangra, Flamenco, Mexican Folk, Irish, Traditional Korean, Hip-Hop and Breaking, Jazz, and Ballet. As the sun sets, the focus shifts from performances to a family-friendly party. “During the day, you experience traditions from all over the world,” says Williams. “At night, you can take inspiration and just move however you want to”.

Behind the scenes, the collaboration between iAlign Dance and Greensboro Downtown Parks is a testament to what happens when organizations align their visions. Rather than competing for audiences or resources, they joined forces to create a stronger, more unified celebration. “This is really our way to bring the community in and to love on one another,” says Williams. And on National Dance Day and Night, LeBauer Park becomes the stage where all of that comes alive. !

Project details, including maps, can be found on the NCDOT project web page: https://publicinput.com/WS3-5Bridges This information will be available at the meeting, allowing for one-on-one discussions with engineers.

People may also submit comments on the project webpage, by phone at 984-205-6615 (project code 11214), email at WS3-5Bridges@publicinput.com, or mail to the address shown below by Oct. 10.

By Mail: Connie James NCDOT Division Project Engineer

NCDOT Division 9

375 Silas Creek Parkway Winston-Salem, NC 27127

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled people who wish to participate in this meeting. Anyone requiring special services should contact Alecia Hardy, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, N.C. 27699-1598, 919-707-6072 or ext-arhardy@ncdot.gov as early as possible so arrangements can be made.

Those who do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon prior request by calling 1-800-481-6494.

Aquellas personas no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800-481-6494.

Why Medicaid and SNAP Cuts Put School Leaders in an Impossible Position

Growing up, there was a period when my family relied on food stamps to survive. At the time, I admittedly felt some embarrassment about that fact, yet I found a way to use the foundation provided by that public assistance to achieve several important goals in life. Recently, I learned that my story is similar to that of a popular podcast host whom I’d never imagined I shared much common ground with. While our financial success and political views

di er drastically, I would argue that our shared experiences with the public safety net show how vital a resource it is for families who are experiencing financial strife and adversity.

That shared experience between us and so many others underscores why I am seriously concerned about the recent budget bill, which many argue will threaten programs like Medicaid and Supplemental Nutrition Assistance Program (i.e. SNAP) benefits for many Americans. As both Democrats and Republicans debate the feasibility of the bill and the toll it could take on the American people, I can’t help but think about the implications of this bill for schools and the people who run them — principals and assistant principals. Principals and assistant principals are often asked to deal with crises in schools, ranging from things like paper short-

ages to devastating gun violence. On a day-to-day basis, these leaders are often engrossed with tasks that directly involve children and families, some of whom rely on the very healthcare systems and SNAP benefits Congress just agreed to eliminate. This does not make the already complex jobs of school leaders easier. Rather, passage of this bill will only add to the running list of external factors that complicate running schools in the United States.

In North Carolina, roughly 1.4 million children rely on Medicaid, and nearly 600,000 rely on SNAP benefits alone. For children attending schools in every community, but especially low-wealth communities in North Carolina, changes to these programs could have devastating effects since health and nutrition are deeply tied to things like attendance, academic performance, and engagement in schools.

Relatedly, principals in North Carolina are compensated based on their school’s size and ability to show growth on academic metrics. However, with all that is going on in our country and the shift away from protecting the very basic needs of our most vulnerable, i.e. children, it is time for a new metric that considers the complexity of leading schools that are constantly asked to do more with less.

According to the Annie E. Casey Foundation, nearly 60% of children in North Carolina were eligible for free lunch during the 2019-2020 school year, which translates to about 900,000 children in the state. One way that children can qualify for free school lunch is often tied to their eligibility for SNAP benefits. The proposed legislation currently states that a portion of funding for SNAP benefits will be shifted to states. However, there is no guarantee that states will be able to shoulder this cost and may eventually need to cut benefits or change eligibility requirements. This could mean that children who once benefited from SNAP could lose their automatic eligibility for free school meals. Legislators have also said that families with children under the age of 14 will not lose their SNAP benefits.

Even if policy plans are executed perfectly, and history has taught us that they won’t be, we can still assume that this will have resounding impacts on children and

schools since neither is isolated from the collective challenges a community faces. Schools already deal with community issues like food insecurity and psychosocial problems like disengagement, which directly and indirectly impact children and families, and make it more di cult for school leaders to do their jobs.

Organizations like the North Carolina Principal and Assistant Principals Association have been calling for legislators to consider how di cult it is to be a principal. Even before the proposed changes to programs like SNAP, they’ve asked legislators to do something to counterbalance the impending leader shortage, where nearly 50% plan to leave their roles in the next three years. Specifically, they have asked for the legislature to consider the complexity of a school, which includes the size of a school, characteristics of students served — like housing status, income levels, and languages spoken — in hopes of retaining e ective leaders. Simply put, it takes a significant amount of resources and planning to run some schools, and leaders should be recognized for that. Several years ago, I served as the director of community schools for a nonprofit in New York City public schools. Legislators may not realize this, but I saw firsthand that school leaders do more than just oversee classrooms. They are often one of the first points of contact for families who are in need. These cuts impact everyone, including our school leaders, and if we must live with the changes, then it is time our lawmakers recognize and support leaders in the incredibly multifaceted role they play. !

In response to the Longworth at Large column published on August 27, 2025: Your article is really good! What a mess. I appreciate your e orts and skill in writing the article. I hope someone else picks that up too. It needs to be on the news, in the newspaper, etc. Have a great day and thanks for all you do to make our community better!

— David D. Daggett

Dr. Ti anie Lewis-Durham

Hometown Homies at Hopscotch 2025

Happy Hopscotch season, Dear Triad! It’s the most fun time of the year for North Carolina rock-n-rollers, 15 years running. And running Sept. 3-7 in 2025!

As someone who’s attended since the very beginning — it’s wild to think of the music, milestones, and memories (here’s to toasting the dawn in the pool Sheraton employees pretend never existed). And ultimately, the friendships made. I could — and often do — wax nostalgic on how my partner first chatted me up (or screamed, rather) under the Lincoln Theatre marquee after Sleep at Hopscotch 2013. Or how we’ve been inseparable since Hopscotch 2014.

Or the ways the festival was instrumental in highlighting just how rad Raleigh bands and bars were in 2010 — tracing the ways those have changed is incomprehensible. Raleigh is a di erent city, and Hopscotch is a di erent festival in 2025 — but I’m also a di erent person, so there’s that. Me and that boy under the Lincoln marquee are still burning rubber together (he’s playing in Doltz at Slim’s on Thursday, too). Hopscotch remains a raucous good time, and above all: a homecoming showcase that highlights the wealth of N.C. musicians, while bringing some crazy heavy hitters to N.C.’s capital city.

Getting to the Triad homies on the o cial schedule: Greensboro’s Kill the Buddha opens the Pour House on Thursday; and are busy “Day Party” bees on the heels of their August self-titled debut release. They’ll appear as part of the Honeyguide Garden Party at Neptune’s on Thursday; and as part of the NCMA Winston-Salem Day Party at the Pour House on Saturday.

Hopscotch Day Parties are where it’s at: they’re free (no wristband required), usually are all-ages, and often have food or other treats for attendees. Honeyguide is making zines. NCMA W-S — hosted by yours truly — is bringing a buncha Biscuitville (Triad represent!).

Kit McKay (aka GSO-native Patrick Stovall) lends some Triad lineage to the KTB’s Honeyguide appearance. McKay is also hopping hard around the day party circles: he’ll be at the “Indie Twang” party at Wolfe & Porter on Saturday (as will Greensboro’s Kenny Wavinson); at the Crank Arm Party on Saturday; and at Figulina’s Aperitivo Session on Sunday.

Backing up to the o cial festival shows: fellow Triad folk, Taylor Williams, Maia Kamil, and Victoria Victoria all have o cial fest slots at Transfer Co. Ballroom on Thursday; with Kamil and Victoria’s Victoria’s Tori Elliot appearing as a duo to open the NCMA W-S Saturday Day Party.

Greensboro’s Doltz also has o cial Thursday slots, though they’ll be crammed into the sweaty punk den of Slim’s (where I lost my voice and fell hard for Doltz’s “Bad Brad” in the Diarrhea Planet crowd at Hopscotch

2014), with the twang-trippers in Snide (who share a bassist with Winston-native Owen Fitzgerald). Snide is also playing the Wednesday “Punk Nite” pre-party at Neptune’s. And Fitzgerald is performing at Slims, earlier on Thursday, for the Sleepy Cat Day Party. Doltz will get their day party dues on a stacked Sunday bill at Landmark.

Greensboro thrashers, Blood Ritual, will stick around Slims for their o cial festival show on Friday. They’ll be joined by Richmond’s metal punkers, Private Hell, which features Greensboro-native Mikey Kent (who was a high schooler heading the punk outfit FUSS around the formation of the first Hopscotch). I might embarrass both of us — but I first met Kent a few lifetimes ago, when he was in middle school and I was managing a Hot Topic. I watched him come of age in the GSO house show circuit during the heyday of CFBG and the last eras of Somewhere Else Tavern — it’s really cool to see him all grown up, and playing in a band that rips.

On the twangier end — and major stages — Fust (with Greensboro-native Libby Rodenbough and Winstonnative Justin Morris) will be opening City Plaza on Friday before Blue Cactus and My Morning Jacket. Rodenbough will be wrangling a day party of their own, Friday at Schoolkids Records.

And on Saturday, Uymami (who grew up in WinstonSalem) will smash the culture class discotheque down at Neptune’s.

Getting to the day parties–where the Triad game is always strongest — and I truthfully end up having the most fun. There’s something about being a rock’ n ‘roll degenerate in broad daylight that does wonders for my mental health. With that, I’m thrilled to host my very first day party under the NCMA W-S helm, on Saturday at the Pour House.

Ever constant in my mission of showing the rest of N.C. how hard the Triad rules, I’m thrilled to showcase some of my favorites, alongside some wonderful Raleigh weirdos and rockers from around the Southeast. NCMA W-S concert alumni Maia Kamil and Victoria Victoria open as a duo, followed by the dreamy Greensboro Buddha-blues of Kill the Buddha. Raleigh’s junk dynasty leaders (with former-GSO’r Mike Wallace) RIBS takes things into the afternoon, along with the wild-and-wonderful “Guided By Voices-core” of Greensboro’s Instant Regrets. Rocktrio, Shagwüf, and punk outfit, Destructo Disk, round out the bill that moves across genres like a curated mixtape. RIBS will do a double-take during the Saturday biscuit bonanza, between the Biscuitville o erings from NCMA W-S at the Pour House and the Que Viva/Church Key Records/Layabout party at Neptune’s (which will have fresh Bojangles, as is tradition).

RIB’s Mike Wallace is the dang dayparty master: on Friday, he’ll pull triple-double duty as part of Verity Den at the Three Lobed Recordings/ WXDU party at Kings, and two sets of RIBS (one opening Kings, the other on the Hargett Block outside of Raleigh Times). And on Sunday, he’ll sort of rest by opening the Ajja day party with the new Hot Mop outfit. The primo Ajja party lineup also features RIBS’ Finn Cohen as part of Carpenter/Cohen; and will close out with a special appearance from the Charlotte/Winston hybrid that is the mighty Alternative Champs. Elsewhere around the festival, Greensboro’s Rabbit Fighter is at Crank Arm on Friday, Winston-native Peter Holsapple will rock the Wake Forest Listening Room’s Friday party at Slims; Modern Moxie (with High Point native Harry Kollm) is on Jack the Radio’s Saturday party at Slims; Greensboro’s bedrumor will be at the Black + White Co ee Roaster’s party on Saturday; and the Gate City’s Nate Hall will be at the All Y’all Party at the Pour House on Sunday.

Running through the list of hometown homies from the Triad, it’s almost unfair that Hopscotch posts too many N.C. homies to fit in print. It’s a magical weekend filled with music buds I hardly see any other time of year — the major highlight of Hopscotch is how it a ords so many working musicians the rare chance to be in the same place, at the same time, doing what we do best.

As I get older, those chances become fewer and fewer — their importance evergrowing in the face of finite experiences and the frailness of the human condition. In that light, I send my love to the Lonnie Walker boys (they’re slated to play the Sleepycat Party at Slims on Thursday) — and everyone lucky enough to know Raymond Finn. I still can’t imagine what it’ll be like without running into him tooling around in his golf cart; or emerging from a wet n’ wild Neptune’s pit and sharing that first breath of fresh Martin Street air.

Shining that light further: I’ve gotta plug the “Harris & Wentz Presents: A Bewitching Night of Mystic Tropicalia,” Thursday night at Lincoln. Despite being part of the comedy lineup — and being hilarious on their own–the chops on this group is no joke. A rotating periphery from bands like The Tills, Zack Mexico, Hndclw, and Zulitas (my favorite from Hopscotch 2024), and the infamously, absurdly, talented “Harrison & Wentz Presents” fold. I’ve tried to get out to their OBX stomping grounds for years to catch this particular bewitching experience. I’m stoked. Happy Hopscotch, y’all. Hug your friends and sing real loud. Let’s boogie. !

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

Katei Cranford

Contributor

Chow Down with John Batchelor at Taaza Indian Bistro

BY JOHN BATCHELOR

Ihave some acquaintances from my real estate open houses who have more experience with and just know more about Indian food than I do, because they or their families are from India. Several of them have identified Taaza as their favorite Indian restaurant in the Triad. I have never been to India, so my experience with Indian food is limited to area restaurants. My experiences at Taaza led me to respect their opinion. I really enjoyed the food here.

“Taaza” is an expression from northern India that means “fresh,” certainly a good theme for a restaurant. The first Taaza opened in Burlington in 2011. Greensboro came next in 2015, and a third installation opened in Clemmons this year. The website explains that their cuisine is “Rooted in the bold culinary traditions of South India and inspired by dishes from across the subcontinent...”

Chef-owner Chellappa Yasin is a native of Chennai in South India. He went to culinary school in India, earning a degree in Hotel Management and Culinary Arts, then cooked on cruise ships, as well as in restaurants in Miami, Charlotte, and Raleigh. His partner in Greensboro is Mohan Chinnathambi, originally from Madurai in Tamil Nadu, India. He graduated from culinary school in India, then worked as a chef and management trainee in hotels and resorts before moving to the U.S. He was a manager at Royal India in Raleigh, where he met Yasin. After a stint in Austin, Texas, Mohan returned to North Carolina with Yasin to co-found Taaza Bistro in Greensboro. [From the website]

All my visits took place at the Greensboro location. The look is contemporary, rather sleek. Guests sit at tables or in booths. A small bar occupies the rear of the restaurant. A wide array of cocktails is o ered, in addition to a solid selection of international beers, including some from India. I would praise this wine list anywhere, both for quality and value, but in an Indian restaurant, it’s just phenomenal. The Alexander Gewurztraminer matches a lot of the food here especially well.

Two appetizer platters provide an introduction to several starters. Mixed Vegetables includes Vegetable Samosa — fried pastry pockets filled with spiced vegetables, seasoned potatoes and peas wrapped in a light pastry, and Spinach Bites — cooked leaves battered and fried. The Non-Vegetable Platter consists mainly of chicken in various preparations — Chicken Fritters marinated in yogurt and lime, Fried Wings marinated in ginger-garlic paste, and Charcoal Grilled Breast cubes. All are delicious.

I love Indian breads. Naan is a pu y-soft flatbread, baked in a clay oven. Here, several varieties are o ered. We ordered servings of garlic and cheese and found both to be immensely enjoyable.

Main courses show not just exotic aromas and flavors, but a high level of execution in the kitchen. Indian restaurants are usually a good source for vegetarian dishes,

Non-Vegetarian App

and Taaza does them well, indeed.

Aloo Gobi Masala combines fresh cauliflower and potatoes, cooked with ginger. The texture is kind of soupy, studded with al dente vegetables. Navaratna Korma joins paneer cheese, carrots, onions, ginger, lima peas, green beans, and cauliflower with dried fruits and nuts in a light cream sauce. Skipping meat does not mean diminishing flavor. These taste great, and the slightly firm vegetables, along with nuts, provide texture.

Fowl, seafood, and meats are just as good. Servers ask the level of spicy heat desired. My wife and I both found “medium” to be just right. If you do not like intensity, you probably should specify “low.”

Chicken Khorma is cooked in creamy, rich gravy with dried fruits and nuts. The chicken itself is tender and fresh-tasting, moist and steamy. Shrimp Kulambu provides ten medium-large shrimp, deveined, in coconut curry broth spiced with South Indian spices, blended and ground in-house. Getting shrimp to the table in a broth this hot and not overcooking them is just this side of marvelous. I took them out and set them aside, to arrest the cooking and keep them tender, pouring broth over them and combining each one with rice.

These are served with basmati rice on the side, here delightfully flaky and flavorful. Use the gravy/sauce over the rice and savor the result. In most cases, a thick metal bowl keeps the broth very hot. Excellent attention to detail!

Tandoori Murgh is Cornish hens marinated in ginger, garlic, and yogurt, baked in the clay oven. I have had tandoori chicken dishes in other Indian restaurants, and they always taste good, but these small birds earned particular praise for their moist and tender interior.

Lamb Steak appears in the “House Specials” section of the menu. The classification is justified. Three strips of

lamb tenderloin are presented over lettuce and shredded red cabbage. The lamb is tender and juicy, just a better quality meat than I usually encounter in this price range, regardless of the restaurant’s genre. Another clear winner (and they have red wines here that live up to this challenge!). This comes with mixed vegetables — snow peas, cauliflower, and carrot slices.

In a party of four, we shared just a little “something sweet” — Gulab Jamun. These are deep-fried milk dumplings soaked in sa ron sugar syrup. Seriously sweet!

My wife and I both vowed to put Taaza on our list of return visit restaurants. This has become a personal favorite. !

JOHN BATCHELOR has been writing about eating and drinking since 1981. Over a thousand of his articles have been published. He is also author of two travel/cookbooks: Chefs of the Coast: Restaurants and Recipes from the North Carolina Coast, and Chefs of the Mountains: Restaurants and Recipes from Western North Carolina. Contact him at john.e.batchelor@gmail.com or see his blog, johnbatchelordiningandtravel.blogspot.com.

WANNA go?

Taaza Indian Bistro 1216 Bridford Pkwy M Greensboro 27407

336-285-7878

taazabistro.com/locations/greensboro/

Hours: Monday-Thursday: 11:30 a.m.—2:30 p.m., 5—10 p.m.; Friday: 11:30 a.m.—2:30 p.m., 5—10:30 p.m.; Saturday: 11:30 a.m.— 3 p.m., 5—10:30 p.m.; Sunday: 11:30 a.m.—3 p.m., 5—10 p.m.

Appetizers: $5-$14

Entrees: $12-$24

Desserts: $4

Most recent visit: August 24

Tandoori Murgh

Lamb Tenderloin Steak

Sampler

Mixed Vegetable Appetizer Chicken Khorma

Folkin Finally: A new date for the N.C. Folk Festival

Staring o with the splendid news that the North Carolina Folk Festival is finally operating on a di erent weekend than the Hopscotch Music Festival! After a few years of polite outreach from yours truly (and a few more years of petulant social media snark), my unyielding request has finally been honored!

Pushing back to the following weekend, the NCFF returns to downtown Greensboro, Sept. 12-14.

Not that I’m tooting my own horn (I’m hardly alone in clamoring for NCFF to change the date over the past decade), but it’s only fair to give the festival its due in finally seeing the light.

Basking in that light, the NCFF has shifted tone with a “Find Common Sound” tagline and is embracing all the folkin’ expletive-punning. “This isn’t your grandma’s folk fest (though she’s invited too),” organizers insist.

“The N.C. Folk Fest is where musical traditions meet bold new beats. Expect an eclectic mix of genres — funk, folk, soul, indie, roots, Latin, and more — from local legends and global stars alike. All free. All weekend. All welcome.”

…except it’s not all free. Despite the NCFF marketing primarily focusing on showcasing just how much freer than free the festival is for attendees, that’s not entirely true.

Sure, there’s the VIP packages, which run at $325 for the three days (or in $100, $200, and $150 allotments for Friday, Saturday and Sunday, respectively) that grant luxurious amenities like shorter lines, free booze, appetizers, and the almighty “clean, flushable bathrooms.”

“Yes, with doors. Yes, with soap,” the ads assure.

And there’s the after parties with cover charges at Ziggy’s — which isn’t an o cial NCFF venue, though they did snag a feature on the after party schedule (Mystic Syndicate will perform on Friday and The Keith Allen Circus on Saturday).

But what’s notably not free (and this

shouldn’t reflect negatively on the venue) are the ticketed late-night shows at the Flat Iron on Friday (with The Ain’t Sisters) and Saturday (with William Hinson and the Slys) that are otherwise listed as being part of the “free” festival lineup (until you dig into the schedule’s fine print).

In reality, the Flat Iron is presenting the late-night bands on their own — despite the NCFF folding those particular events into its marketing to bolster the artist count and value of their “free festival” through news releases and festival listings.

The “More to Explore” NCFF press release explicitly lists the ticketed artists among the “vibrant mix of performers, dancers, and community talent that will bring energy, creativity, and cultural connection to every corner of the festival footprint.”

“Everything flows through the Church Street footprint, now welcoming a new fifth stage at The Flat Iron, an air-conditioned retreat to escape the September heat while still soaking up the sounds,” the release continues, reinforcing ways the “More to Explore” lineup builds on the performances running “over three days, across five stages — all completely free to attend.”

As NCFF Executive Director, Jodee Ruppel, explained, “Greensboro’s live music venues are an essential part of what makes our city so vibrant. With The Flat Iron’s central location within the festival footprint and strong live music roots, it made sense to fold them into the o cial footprint this year. We’ve programmed their sets to flow seamlessly with the

nearby stage, so music never stops on this end of the festival.”

It then begs the question as to why a space the NCFF considers “essential” (and the Flat is essential) wouldn’t be supported by the festival directly. Don’t get me wrong, I’m thrilled that NCFF has started including venues in its operation — that should have happened from the start — but it’s notably odd that they’ve saddled a small, literal mom-and-pop venue with covering the costs for artists the NCFF has advertised as being part of the festival … and leaving the club with cover charges that are likely to be surprisingly o -putting to festival-goers attending what’s been highly, highly publicized as being “completely free.”

All that said, the Flat Iron rules. And it is worthy of the support that should be subsidized by the festival itself — especially if NCFF organizers make announcements indicating as such. And support that is well-deserved by the venue — support that I hope it receives from NCFF patrons. The bills are solid. The space is great. The Flat’s programming is wonderful (comedian Dave Hill will be there on Sept. 11 with BAL!!!). Two thumbs up. Getting to the actually free NCFF programming at the Flat Iron: they’ve got Del Ward on Friday evening. And Saturday starts with brunch features from Chandler’s and tunes from the Tender Hearted Rambler’s Revue, Ranford Almond, and the Too Phat Brass Band. On Sunday, Chromatica will present its annual Youth Talent Contest in the morning, followed by Laura Jane Vincent and Tom Troyer in the afternoon.

The folktastic duo, Vincent and Troyer, will also open the Revity Federal Credit Union’s Center City Jams stage on Friday with the “Matty Sheets Open Mic,” in honor of Sheets, the dearly missed everyman maestro who heralded open mic sessions before his passing last September. Sheets was truly a local legend. His legacy lives on at the Wednesday night open mics that bear his name at the Continental Club; and in the halls of the adjacent Back Table space, which will be an o cial NCFF “extra folkin’ fun” spot, showcasing the second and third place winners in the “Not Your Average Folk” contest. Triad sea-shantiers, Folkknot, will perform on Friday evening. Jazzster, Ian Rood, is scheduled for Sunday at 6 p.m.

While the “EFF” concept is new for the 2025 NCFF, the NYAF contest is a welcome return, with first-place winner Evan Blackerby snagging a spot opening the First Bank at Summit Stage on Saturday. Other EFF elements include popups along Church Street (the Tender Hearted Ramblers on Friday and a Dance Street Battle with GSOul on Saturday); and the Great Idea Podcast popup at the African American Atelier Sunday evening. On Lewis Street, GrooveLab N.C. and Dance From Above will present “Rock the Block” with Hollywood the DJ, Ena Pop, and Deron Juan on Friday; DFA and Groove Lab residents with Fresco, Ethan Burnz, and Mike Wawa on Saturday; and La Gozadera with 6Sense Collective on Sunday.

There’s also a host of EFF afterparties. On Friday, Eli Fribush & The Experiment will be at Natty Greene’s; Bala Roots at Little Brother Brewing, Southern Hustle at Joymongers, Drew Foust at Yokai, and the previously mentioned ticketed a airs: the Ain’t Sisters at the Flat Iron and Mystic Syndicate at Ziggy’s. Saturday’s afterparties include: the Di culties at Scuppernong and Dos Enes at Joymongers; plus the ticketed shows: The Slys and William Hinson at the Flat Iron and the Keith Allen Circus at Ziggy’s. Sunday is scant, but Clara Lampkin is listed as performing at Scuppernong.

Stretching the idea of “local legends” across “global stars,” Greensboro-native Graham Sharp and his Grammy-winning band, the Steep Canyon Rangers, will headline the closeout concert at the

Katei Cranford

Contributor

Wyndham Citystage Sunday evening, with N.C. sweethearts Chatham Rabbits in the supporting slot. Ivorian by way of Nashville, Peter One, will open Sunday’s Citystage (folks can also catch One on Saturday at the N.C. By Train Lebauer Park stage).

Atlanta Hip-Hop trailblazers, Arrested Development, are on deck to headline Saturday’s Citystage, which will boast an all-day international lineup, starting with the Ethno USA showcase; followed by Dawn Landes and Friends performing “the Liberated Woman’s Songbook”; Guatemalan guitarist Gaby Moreno; and California roots and brass collective, Dustbowl Revival.

Ethno USA will also open Friday’s Citystage, followed by the D.C.-based rock n’ soul band, Oh He Dead; and the jazzfunk-rock’n’roll from NYC’s Sammy Rae & The Friends.

Global and national influences extend across the festival footprint. Friday features Nashville’s Stella Prince on the LeBauer Park stage (she’ll also be at the Summit Stage on Sunday), followed by Virginia’s Palmyra; California’s Cristina Vane (on the Summit Stage); and the famous Jeff Sipe Trio performing both

Friday (on the N.C. Railroad Company Depot Stage) and Saturday on the Summit Stage.

Saturday showcases artists from all over: offering the soaring vocals of Hawaii’s Thunderstorm Artis and Denitia’s Nashville afropop on the LeBauer Park Stage (Denitia will also be on the Summit Stage on Sunday). Saturday’s Summit Stage attendees can enjoy Italian guitar and harmonica from Capri-born Noé

Socha (a featured member of the NYCbased Kelli Baker band) and Southern Indie rock from South Carolina’s Sam Burchfield and the Scoundrels. Sunday shines as an NYC spotlight with Lizzie No closing out the Lebauer Park Stage; meanwhile, Jonathan Scales Fourchestra will open the Summit Stage (after closing the Depot stage on Saturday). But there are plenty of N.C. artists on the NCFF lineup. Jack the Radio closes the

Depot Stage on Friday and will perform on the Summit Stage on Saturday (before splitting to their own Hopscotch Day Party with NCFF’s Friday Citystage headliner, Sammy Rae, that afternoon at Slim’s in Raleigh).

N.C. rules the Depot Stage on Saturday, Asheville’s Ashley Heath opening the block of artists that include Wilming-

CONTINUED ON PAGE 14]

FOR TICKETS CALL: 336-887-3001

SEPTEMBER 18, 2025 @ 7:30 PM

w/ special guest Rockie Lynne SEPTEMBER 26, 2025 @ 7:30 PM

50TH ANNIVERSARY SEASON

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ton’s Dear MariBella and the Pigkickers, Durham poet Shirlette Ammons, and Winston-Salem natives Lora Mouna and Sonny Miles. Mouna and Miles are also scheduled among Friday’s kicko artists, with Mouna opening the LeBauer Park Stage and Miles opening the Summit Stage.

Come Sunday, the Depot keeps rolling with N.C. favorites, starting with Wilmington’s Alexis Raeana, followed by Maia Kamil, and the Triangle cumbia kings in ¡Tumbao! (who’ll also be at the LeBauer Park Stage on Saturday).

While N.C. certainly rules the Depot Stage, N.C. folk are performing all over: the Tan and Sober Gentlemen will close out the Summit Stage on Saturday. And Asheville’s Tyler Ramsey will perform at the Lebauer Park Stage on Saturday and Sunday.

Getting to the “Folk Life,” the NCFF will take over the Greensboro Cultural Center with workshops, demonstrations, and an EP Release Party from Sunqueen Kelcey and the Soular Flares (Saturday at the Van Dyke Theatre).

Keying-in to the concepts of “Art. Dance. Music. Tradition. Culture,” the Folk Life series will host “International Demos in the Atrium” from 11 a.m. to 5 p.m. on Saturday and Sunday; along with dance showcases on Saturday (including the Wake Forest Gamelan, Montagnard Varsity Dance Team, and Flamenco Dance workshops) and performance showcases on Sunday (from Ethno USA, the Greensboro Youth Orchestra, and Folk Life Conversations from the John C. Campbell Folk School).

“These performances reflect the diversity, creativity, and connection that folk traditions are all about — not just on a stage, but in the streets, in the drum and dance circles, and in the shared moments between artist and audience,” said NCFF’s Programming Director, Savannah Thorne.

Extending those connections, the NCFF has once again incorporated the work of area universities and music scholars (and music makers). The N.C. A&T Fellowship Gospel Choir will open the LeBauer Park Stage; meanwhile, scholarly connections fill the Saturday and Sunday schedules in the Center City Jams arena. Saturday will feature work from Bhangra Carolina Indian Arts, the return of the NCFF Beats Batch with Katie.Blvd, SambaNC with the Brazilian Arts Project, a Drum Circle with the Beat Goes On, Suah African Dance, and a Bailar Greensboro session with Mara Gonzalez.

Dr. Gavin will once again start Sunday’s

Center City Jams stage o with an Irish seisiún, Dr. Christen Blanton returns for an old-time Jam, T-Claw Crawford will host a round of barn dancing, and Dr. Mark Dillon closes it out with a Honky Tonk Jam.

For the kids: NCFF organizers note that the Miriam P. Brenner Children’s Museum is waiving admission during the weekend, on top of the festival o ering kid-specific programming.

“Creating space for families to enjoy the festival together has always been important to us, but this year, we’re taking it to the next level,” Ruppel explained. “Our expanded family area gives kids and parents a place to engage, explore, and connect with music and culture in meaningful ways. It’s all part of our commitment to making the N.C. Folk Festival accessible, welcoming and joyful for people of all ages.”

And with Paw Patrol Live running at the Tanger Center, the Saturday Lebauer Park Stage will open with a family-friendly performance by The Rock and Roll Playhouse, featuring the music of the Grateful Dead for Kids.

For 2025, excitement for the NCFF has extended across the whole folkin’ Triad, with a/perture cinema hosting a “Folk + Film” series, pairing live music and films that celebrate folk music. First up is A Mighty Wind, with a pre-movie performance from Migrant Birds on Sept. 6; followed by Brown Mountain Lightning Bugs playing before Oh Brother Where Art Thou on Sept. 10.

While this writer has known the mild sorrow of always missing the NCFF — her hometown’s major music festival — this year, she tips her hat to whoever saw the scheduling light as she heads to Hopscotch. It’s good to look forward to coming home to the N.C. Folk Festival. It’s about folkin’ time. !

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

Lawsuit alleges connections between city and Defense Contractor

The City of Greensboro has not explained payments of over $128,000 to a firm associated with Cyberlux, the corporation for which former City Attorney Chuck Watts also works.

“The city has no dealings with Cyberlux,” wrote Eric Chilton, Strategic & Crisis Communications Manager for the City of Greensboro, in a recent media statement.

Since 2021, Cyberlux employed Watts as special counsel. Public records show Watts

working for the Durham-based defense contractor and drone manufacturer while on city time and using city resources.

Speakers at the June 17 meeting described Watts’ work for Cyberlux. Deputy City Attorney Tony Baker responded that this was not unethical or a conflict of interest.

On July 1, state investigators met with Guilford County district attorneys to discuss Watts’ business dealings. A day later, Watts announced his retirement, “e ective immediately.” Denying any wrongdoing, he stated that city leaders approved his employment with Cyberlux, but that he wanted to avoid a “distraction” during election season.

At the July 8 council meeting, Mayor Nancy Vaughan announced the promotion of former Deputy City Attorney Lora Cubbage as Watts’ permanent replace-

ment, under a contract requiring exclusive employment.

Baker was not in attendance. During public comments, speakers alleged that Baker and other sta members were under review for assisting Watts’ work for Cyberlux. There was no response from council or sta . After the meeting, when asked if she or current legal sta had done work for Cyberlux, Cubbage replied, “I don’t even know who Cyberlux is.”

On July 12, Vaughan said she could not comment on how long council had been aware of Watts using city resources in his Cyberlux litigation. She also told the News & Record that council had not been aware of the full extent of Watts’ work for Cyberlux, and called his contract requiring “exclusive employment” with the city “poorly worded.”

On July 21, DA Avery Crump announced there would be no criminal investigation of Watts, but added “this does not mean the District Attorney’s O ce believes the matter was in all respects handled appropriately from an administrative viewpoint.”

On July 24, Tony Baker resigned.

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On July 31, Curtin v. Watts et. al., a federal lawsuit filed in the Eastern District of Virginia, alleged further connections between Cyberlux and Greensboro.

Exhibit DD lists 25 payments made by the City of Greensboro to Thompson Coburn LLP between 2021 and 2024, totaling $128,744.50. Quarterly reports show this firm, with o ces in Birmingham, Chicago, Dallas, D.C., Los Angeles, New York, and St. Louis; as Cyberlux counsel. So do court records in earlier lawsuits.

In an Aug. 26 email, Greensboro City Manager Trey Davis wrote:

“All payments made to Thompson Coburn firm have been confirmed as legitimate by the attorney(s) working on the matter associated with the invoice and the department(s) from which the matters originated.”

Davis did not state what “the matter associated with the invoice” is, or what those departments are. YES! Weekly’s request for that information, filed Aug. 22, remains unanswered. So do earlier public information requests filed July 28 and Aug. 8.

Plainti in Curtin v. Watts et. al. is James Curtin, a D.C.-based author and defense consultant representing himself. Curtin’s initial complaint was against “Chuck Watts, individually and in his capacity as former City Attorney for Greensboro, North Carolina, and Special Counsel to Cyberlux Corporation.”

Amended Aug. 22, the complaint also names the City of Greensboro, alleging it “enabled agents of Cyberlux,” including Watts, “to engage in a campaign of retaliation intended to silence Plainti ’s protected reporting on misuse of FMF [Foreign Military Financing] funds and fraud against the U.S. taxpayer.”

Before filing, Curtin alleged to have “uncovered and reported evidence of misconduct, regulatory violations, and reputational threats involving Cyberlux Corporation — a publicly traded company seeking to partner with Plainti ’s client.”

“Rather than address these issues,” wrote Curtin, “Defendants engaged in a coordinated pattern of doxxing, threats, online harassment, and direct interference with Plainti ’s professional relationships, in retaliation for Plainti ’s whistleblowerstyle reporting. The campaign included coordinated attacks by social media aliases, paid promoters, public exposure of Plainti ’s identity, direct intimidation of business partners and clients, and a chilling e ect on Plainti ’s ability to work, publish, and pursue business opportunities.”

Curtin alleged that “Defendant Chuck Watts — acting simultaneously as both

Ian McDowell

Contributor

Chuck Watts

City Attorney for Greensboro, North Carolina, and Special Counsel to Cyberlux — used his professional and legal authority to enable, participate in, or willfully ignore the unlawful acts committed against Plainti . As a result, Plainti has su ered the destruction of valuable business opportunities, the loss of creative and professional autonomy, severe emotional distress, and significant personal and reputational harm.”

He also alleged that “The City of Greensboro, through its mayor, city council, and legal department, knew of Mr. Watts’ outside legal work for Cyberlux while serving as City Attorney, authorized such work, permitted City resources to be used for non-City clients, and made payments to Thompson Coburn LLP during this period without explanation of municipal purpose.”

“According to Mr. Watts himself,” wrote Curtin, “the Greensboro City Council authorized his outside legal activity. Despite this knowledge, the City failed to restrict, supervise, or prevent Mr. Watts’ use of municipal infrastructure to perform legal services for private clients, including Cyberlux Corporation, resulting in reputa-

Curtin described himself as having “published a series of articles under the name Jackson Holt, concerning Cyberlux’s alleged misuse of FMF funds, compliance irregularities, and related disclosures.”

In posts to his website and X made under that pseudonym, Curtin purported

In his court filings, he stated he did this to protect himself and his family.

Curtin included screenshots of multiple threats on X. One revealed Curtin’s identity, occupation, and residence; listed the names and ages of eight members of Curtin’s family; and stated,

though to say hi and shake your hand.” In none of his filings so far does Curtin o er direct evidence of Watts being connected with these threats. His Aug. 22 filing states he “will seek leave to amend this complaint to add additional defendants as their identities and roles become known through discovery.” Curtin’s complaint requests “damages believed to exceed $20 million, subject to proof at trial.”

According to Watts, “I will be addressing these points through the proper legal channels, assuming we are ever served in the matter, and I won’t comment further in the press.”

On Aug. 28, United States District Judge John A. Gibney ordered that Curtin v. Watts et al be transferred to the Greensboro Division of the United States District Court for the Middle District of North Carolina. As of Aug. 31, the City of Greensboro has not responded to multiple press requests for explanation of the $128,744.50 in payments to Thompson Coburn. !

IAN MCDOWELL is an award-winning author and journalist whose book I Ain’t Resisting: the City of Greensboro and the Killing of Marcus Smith was published

Winston-Salem Symphony opens 2025-26 season with Marsalis & Tchaikovsky

The Winston-Salem Symphony, led by Music Director Michelle Merrill, opens its 2025-26 season with performances of Tchaikovsky’s “Symphony No. 5,” a violin concerto by Wynton Marsalis, and will kick off the concerts with The William Tell Overture.

The performances will be held on Saturday, Sept. 20 at 7:30 p.m. and Sunday, Sept. 21 at 3 p.m. at Reynolds Auditorium (301 N. Hawthorne).

There’s so much more to the William Tell Overture than just the familiar “Lone Ranger” theme. A beautiful cello section solo and a threatening storm scene lead to the fanfare tune we all know and love from classic television. Wynton Marsalis’s recent violin concerto blends soulful and intense virtuosity with jazzy New Orleans romp, and Tchaikovsky’s “Fifth” will take you on a fateful journey from resignation

to the tender melody of a solo French horn, a lively waltz, and to ultimate triumph.

Guest violinist Kelly Hall-Tompkins will join the symphony for both performances. Winner of a Naumburg

International Violin Competition Honorarium Prize and featured in the Smithsonian Museum for African American History, Ms. Hall-Tompkins is a violin soloist entrepreneur who has been acclaimed by The New York Times as “the versatile violinist who makes the music come alive,” for her “tonal mastery” ( BBC Music Magazine ) and as The New York Times “New Yorker of the Year.”

A free pre-concert talk will take place one hour before showtime in the Judy Voss Jones Fine Arts Center, directly behind Reynolds Auditorium. Dr. David Levy, Wake Forest University professor emeritus of music, will offer insights into the pieces and their interesting backstories.

The theme for our 2025-26 season is “There’s No Sound Like Home,” as many of the upcoming concerts have a connection to our region. One of the pieces on this concert comes from jazz trumpeter, bandleader, National Medal

of Arts laureate, and Pulitzer Prizewinning composer Wynton Marsalis, who spent two formative summers as a teenager in the student program at Greensboro’s Eastern Music Festival. Since then, he has returned numerous times as a guest performer and master teacher.

Subscriptions and single tickets can be purchased online at wssymphony.org or by calling (336) 464-0145. Donations can be made at symp.ws/donate !

Proud to be one of t he southeast’s most highly regarded regional orchestras, the WINSTON-SALEM SYMPHONY premiered in 1947. Today, under the direction of Music Director Michelle Merrill, the Symphony fulfills its mission to “Bring Music to Life” by inspiring listeners of all ages throughout North Carolina’s Piedmont Triad with various concerts, education programs, and community engagement initiatives each year. The Winston-Salem Symphony is supported by Season Presenting Sponsors Bell, Davis & Pitt, and Concert Sponsors Arbor Acres.

Kelly Hall-Tompkins

Women’s Resource Center of Greensboro hosts MEN CAN COOK fundraising event

PRESS RELEASE

The Women’s Resource Center of Greensboro’s premier fundraising event, MEN CAN COOK… with a Twist, is 5:308:30 p.m. Oct. 18, 2025 at the Greensboro Coliseum’s Piedmont Hall.

The annual MEN CAN COOK culinary event features more than 50 “chefs” (men famous in their own kitchens) serving up signature dishes. Guests can enjoy dozens of small-bite samples.

This year’s event comes “with a twist” – a curated tasting of small-batch, handcrafted wines, beers, ciders, meads and distilled spirits from award-winning Triad-area producers: Steel Hands Brewing, Junius Lindsay Vineyard, Stardust Cellars, Bull City Ciderworks, Fainting Goat Spirits, Round Peak Vineyards and Brad Halling American Whiskey KO (BHAWK is owned-operated by a survivor of the 1993 Battle of Mogadishu, memorialized by the movie Black Hawk Down).

Guests can sample exciting foodie creations and libations in what promises to be Greensboro’s culinary rave of the year. Additionally, the event features live music by Taboo Sue, an all-female band playing rock, pop, funk, beach and blues.

This year’s Premier Sponsor is Christopher T. Barbee, Stifel Financial Advisors/Gonzales- Barbee Wealth Management Group. The Women’s Resource Center greatly appreciates their support.

The MEN CAN COOK fundraiser event began in 2001 and now raises more than $100,000 annually for the Women’s Resource Center. The Center is a onestop, non-profit community resource

providing job search and career counseling, legal information, and a range of programs and services that assist women and families in Guilford County. The Women’s Resource Center, which opened in 1995, serves more than 7,500 families each year. Reserve your tickets today to one of Greensboro’s “must attend” events. The Women’s Resource Center celebrates its 30th anniversary this year. Event tickets are $50 and available at the Women’s Resource Center, 628 Summit Ave., Greensboro, online at www.womenscentergso.org or at the door.

Twisted Tasting Room tickets are $20 in advance, $25 the day of. ID is required.

For information on how to become a Community Chef or Sponsor of Men Can Cook, contact Marti Smith @ 336-2756090 or Marti@womenscentergso.org !

CARBORRO

Cat’S CradlE

300 E Main St | 919.967.9053

www.catscradle.com

Sep 3: the Brian Jonestown Massacre

Sep 5: Carrboro Indie Night with Pilot light, davie Circle, rohna, the Wallabies

Sep 5: Christone “Kingfish” Ingram

Sep 5: VOla

Sep 6: John r. Miller

Sep 6: Motherfolk, Crumbsnatchers

Sep 9: James McMurtry, Bettysoo

Sep 11: No Chief, Ultrabillions

Sep 12: the Hials, Oceanic

Sep 13: Bass Battery

Sep 13: Oddly Satisfying: Ky Newman & atlgrandma

Sep 15: Michael Minelli

Sep 16: Clem Snide, Nicole tester

Sep 16-17: the Backseat lovers

Sep 17: Jack Van Cleaf, Joelton Mayfield

Sep 18: Bonny light Horseman

Sep 19: Hayes Carll, Johnathan terrell

Sep 19: MICO, vaultboy

Sep 20: Jesse Fox, Munsey, drunk Ex

Sep 20: John Craigie, Christina Vane

Sep 20: the Brook & the Bluff

Sep 21: last date, Fort Knox, Jackson Slater

Sep 21: Marshall Crenshaw, James Mastro

Sep 21: Stereolab

Sep 22: Boyscott

Sep 23: Maris x Carolina Kingsbury

Sep 23: Mt. Joy

Sep 23: Brooks Nielsen

Sep 24: tune-Yards, tre, Charles

Sep 24: Water From Your Eyes, Her New Knife

Sep 25: los angeles Power disco

Sep 26: Cigarettes at Sunset, High June, Yesterday’s Clothes

ChARlOtte

BOJaNglES COlISEUM

2700 E Independence Blvd | 704.372.3600

www.boplex.com

Sep 13: Megan Moroney

Sep 14: anuel aa

Sep 16: dream theater

Sep 20: Pancho Barraza & alicia Villarrel

Sep 27: El Flaco y Sus amigos

tHE FIllMOrE

1000 NC Music Factory Blvd |

704.916.8970

www.livenation.com

Sep 5: Boulet Brothers dragula

Sep 5: Jim Norton

Sep 6: Big Wild

Sep 9: Our last Night

Sep 11: Cash Cobain — Party with Slizzy

Sep 12: Cartel

Sep 13-14: Bayside

Sep 14: K Camp

Sep 16: SuperHeaven

Sep Malcolm todd

Sep 17: the teskey Brothers

Sep 17: Babytron

Sep 18: dylan gossett

Sep 19: Matt Maltese

Sep 20: dark angel Extinction level

Event

Sep 20: Pup & Jeff rosenstock

Sep 21: aidan Bissett

Sep 21: Bilmuri

Sep 22: g-Flip

Sep 23: Blessthefall

Sep 25: dying Fetus

Sep 25: russell dickerson

Sep 26: Jeremy Zucker

Sep 26: Marc rebillet

Sep 27: Maddox Batson

Sep 27: Waylon Wyatt

Sep 28: Bunnab

PNC MUSIC PaVIlION

707 Pavilion Blvd | 704.549.1292

www.livenation.com

Sep 6: Breaking Benjamin & three days grace

Sep 11: Junior H

Sep 13: little Big town, Wynonna Judd & Shelby lynne

Sep 14: Nelly, Ja rule & Eve

Sep 16: a day to remember & Yellowcard

Sep 17: the lumineers & Chance Pena

Sep 20: alice Cooper, Judas Priest & Corrosion of Conformity

SKYla CrEdIt UNION

aMPHItHEatrE

former Charlotte Metro Credit Union Amphitheatre

820 Hamilton St | 704.549.5555

www.livenation.com

Sep 4: Chevelle with asking alexandria and dead Poet Society

Sep 7: CaaMP

Sep 19: Parker McCollum

Sep 22: Vance Joy

Sep 23: Quinn XCII

Sep 24: the Marias

Sep 30: alex Warren

ClemmOns

VIllagE SQUarE

taP HOUSE

6000 Meadowbrook Mall Ct | 336.448.5330

www.facebook.com/vstaphouse

Sep 4: Swan & Sibs

Sep 5: Kwik Fixx

Sep 6: Matt dylan & the Honky tonk Outlaws

Sep 11: dustin York

Sep 12: Jill goodson

Sep 13: Bad romeo

Sep 18: Whiskey Mic

Sep 19: SoundKraft live

Sep 20: Black glass

duRhAm

CarOlINa tHEatrE

309 W Morgan St | 919.560.3030 www.carolinatheatre.org

Sep 5: Fully alive

Sep 6: life Unbounded

Sep 8: Howard Jones with Haircut 100 ft. richard Blade

Sep 9: tower of Power

Sep 12: Stayin’ alive

Sep 13: africa Unplugged

Sep 26: the Fab Four

dPaC

123 Vivian St | 919.680.2787

www.dpacnc.com

Sep 2-14: Beauty and the Beast

Sep 19: Sheng Wang

Sep 20: lucy dacus with Slow Pulp

Sep 22: Father John Misty with Cut Worms

Sep 24: Mark twain tonight! with richard thomas

Sep 25: lyle lovett and his acoustic group

Sep 26: Jimmy Carr

Sep 27: Matt Mathews

Sep 28: raphael Saadiq

Sep 30: Elvis Costello & the Imposters with Charlie Sexton

129 W Main St | 336.258.8240

www.reevestheater.com

Wednesdays: reeves Open Mic

Fourth thursdays: Old-time Jam

Sep 13: tray Wellington

Sep 19: the Wilder Blue

Sep 27: SIlk groove Motown revue

gReensBORO

310 S. Greene Street | 336.333.2605 www.carolinatheatre.com

Sep 5: Easton Corbin

Sep 6: Miramar & Maritzaida: Bolero, Bohemia & Beyond in the Crown

Sep 11: Bad Momz of Comedy

Sep 27: the Key West Band — Music for Our Ears

Sep 28: 23 Skidoo & the Secret agency

1126 S Holden Rd | 336.333.1034

www.thecomedyzone.com

Sep 4: Fiona Cauley

Sep 5-7: Kountry Wayne

Sep 12-13: the Magic Of Eric Eaton

Sep 19-20: Cristina Mariani

Sep 21: Ejspeaks Flat IrON

221 Summit Ave | 336.501.3967 www.flatirongso.com

Sep 3: Brass Cat Quartet

Sep 4: the Wilson Springs Hotel w/ Megan Jean’s Secret Family

Sep 5: rockstead, Mystic Syndicate, + Father Sun

Sep 6: lou Hazel

Sep 7: Heather Mae and Crys Matthews

Sep 9: Sweet dream, Brandon tenney and general Purpose

Sep 10: Pageant + Cinema Stereo

Sep 11: a Night of Comedy & Music: dave Hill w/ Bal

Sep 12: the ain’t Sisters

Sep 13: the Slys w/ William Hinson

Sep 16: ruth Wyand + the rough & tumble

Sep 26: Isaac Hadden

Sep 27: gVOE too: good Vibes Over Everything w/ Sunqueen Kelsey & the Soular Flares Submissions should be sent to artdirector@yesweekly.com by Friday at 5 p.m., prior to the week’s publication. Visit yesweekly.com and click on calendar to list your event online. home grown mu S ic S cene | c ompiled by Shane h art

GREENSBORO COLISEUM

1921 W Gate City Blvd | 336.373.7400

www.greensborocoliseum.com

Sep 4-7: Cirque du Soliel: OVO

Sep 19: The Queens! 4 Legends. 1 Stage.

HANGAR 1819

1819 Spring Garden St | 336.579.6480 www.hangar1819.com

Sep 6: Be’lakor w/ Solemn Vision, Blackwater Drowning

Sep 10: SkyDxddy w/ Demi the Daredevil

Sep 16: Rio Da Yung OG

Sep 20: Savannah Dexter + Brabo Gator

Sep 25: Blackbraid

Sep 26: Oceano w/ I Declare War, Larcenia Roe, Crucifiction

PIEDMONT HALL

2411 W Gate City Blvd | 336.373.7400 www.greensborocoliseum.com

Sep 19: Green Queen Bingo

Sep 20: Ole 60

Sep 26: Maddox Batson

STEVEN TANGER CENTER

300 N Elm Street | 336.333.6500

www.tangercenter.com

Sep 2-7: Beetlejuice

Sep 9: Kenny G

Sep 19: El Adios De Una Grande

Sep 23-28: Disney’s Beauty and the Beast

HIGH POINT

GOOFY FOOT TAPROOM

2762 NC-68 #109 | 336.307.2567

www.goofyfoottaproom.com

Sep 27: Turpentine Shine

HIGH POINT THEATRE

220 E Commerce Ave | 336.883.3401

www.highpointtheatre.com

Sep 18: Ledisi

Sep 26: Diamond Rio

Sep 27: WatchLadyB Fashion Show

Sep 28: John Marshall’s Torn Between the Two

JAMESTOWN

THE DECK

118 E Main St | 336.207.1999

www.facebook.com/TheDeckJamestown/

Sep 5: Brother Pear

Sep 6: Bad Habits

Sep 12: Retro Vinyl

Sep 13: Alek Ottaway Band

Sep 19: Men in Black

Sep 20: Black Pearl

Sep 26: Salem Smoke

KERNERSVILLE BREATHE

COCKTAIL LOUNGE

221 N Main St. | 336.497.4822

www.facebook.com/BreatheCocktailLounge

Wednesdays: Karaoke

Sep 19: Stereo Doll

Sep 20: Blazin’ Keys Dueling Pianos

Sep 26: Radio Revolver

LIBERTY

THE LIBERTY SHOWCASE THEATER

101 S. Fayetteville St | 336.622.3844

www.TheLibertyShowcase.com

Sep 13: Alyssa & Wayne Brewer

Sep 20: The Malpass Brothers

Sep 27: The Bellamy Brothers

RALEIGH

CCU MUSIC PARK AT WALNUT CREEK

3801 Rock Quarry Rd | 919.821.4111

www.livenation.com

Sep 3: Blink-182

Sep 4: James Taylor and his All-Star Band

Sep 11: Pantera

Sep 12: Junior H

Sep 13: Nelly with Ja Rule

Sep 16: The Lumineers

Sep 17: A Day to Remember & Yellowcard

Sep 19: Charlie Wilson

Sep 28: Marco Antonio Solis

LINCOLN THEATRE

126 E. Cabarrus St | 919.831.6400

www.lincolntheatre.com

Sep 4-6: Hopscotch Music Festival

Sep 11: Lucero

Sep 12: Record Store Junkies

Sep 14: Band Elyzium

Sep 18: Lamp ft. Russ Lawton, Scott Metzger, Ray Paczkowski

Sep 19: Harvey Street w/ The Band Solstice

Sep 20: Matt Maltese

Sep 21: Cherub w/ Sessy

Sep 22: Mirador

Sep 23: Deafheaven

Sep 26: The Ice Cream Girl Road Trip

Sep 27: Geo Tate’s Operation

Sep 28: Waylon Wyatt

RED HAT AMPHITHEATER

500 S McDowell St | 919.996.8800

www.redhatamphitheater.com

Sep 3: Chevelle with Asking Alexandria & Dead Poet Society

Sep 4: Jessie Murph

Sep 9: Pixies with Spoon and Fazerdaze

Sep 10: Sierra Ferrel

Sep 12: The Crooner & The Cowboy: Leon bridges with Charley Crockett and Reyna Tropical

Sep 13: Billy Currington + Kip Moose with Marlon Funaki

Sep 20: Parker McCollum

Sep 24: Rilo Kiley with The Mountain Goats

LENOVO CENTER

1400 Edwards Mill Rd | 919.861.2300

www.thepncarena.com

Sep 5: Nine Inch Nails with Boys Noize

Sep 7: Benson Boone w/ James Reay

Sep 8: Kali Uchis

Sep 11: Adam Sandler

Sep 23: Bring Me The Horizon w/ Motionless In White & Special Guests The Plot in You & Amira Elfeky

[SALOME’S STARS]

Week of September 8, 2025

[ ARIES (March 21 to April 19) An o er to help with a stalled project should reassure you that you have a workable plan in spite of the problems in getting it up and running. The weekend brings more positive news.

[TAURUS (April 20 to May 20) A past problem about a workplace situation reemerges early in the week. Talking things out helps ease tensions by midweek, but some hurt feelings could linger for a few more days.

[GEMINI (May 21 to June 20) Optimistic aspects dominate your e orts. However, expect to confront criticism, some of which might be valid, so keep an open mind. But overall, it’s your views that will count.

[CANCER (June 21 to July 22) Social interaction with new people, especially on the job, could be a bit strained in the early part of the week. But the awkwardness passes as you get to know each other better.

[LEO (July 23 to August 22) Expect news about a follow-up to a workplace change that could make a di erence in your career path. Meanwhile, new friends widen the circle for all you social Lions who love to party.

[VIRGO (August 23 to September 22) Enjoy your well-earned plaudits for a job well-done. But be aware that some people might not share your colleagues’ admiration, and you might have to work harder to win them over.

[LIBRA (September 23 to October 22) It’s a good week to recheck your probably already overlong to-do list and decide what to keep and what to discard. Lose the clut-

ter and focus your energy on what’s really important.

[SCORPIO (October 23 to November 21) This is a good time to take a new perspective on what you’ve been o ered. Expanding your view could help to uncover any plusses or minuses that weren’t apparent at first.

[SAGITTARIUS (November 22 to December 21) Applying the usual methods to this week’s unique challenges might not work too well. Instead, use your creativity to find a way to resolve any impasse that develops.

[CAPRICORN (December 22 to January 19) So what if fate throws some obstacles in your path this week? Just keep in mind that the sure-footed and resolute Goat can get past any barrier by focusing on the goals up ahead.

[AQUARIUS (January 20 to February 18) This week calls for better communication with people in both your private life and the workplace. Start by asking questions, then pay close attention to the answers.

[PISCES (February 19 to March 20) Potentially beneficial workplace changes could be closer than you realize. Make sure you know what’s going on so that you’re not left high and dry when the good things happen.

[BORN THIS WEEK: You’re not timid about pushing to have your aims realized once you’ve set your mind to accomplishing your goals.

answers

[CROSSWORD]

crossword on page 9

[TRIVIA TEST

[1. FOOD & DRINK: The Middle Eastern dish called falafel is made mostly of what ingredient?

[2. GEOGRAPHY: Which country has the most UNESCO World Heritage sites?

[3. TELEVISION: What is the name of Hawkeye’s living quarters in the M*A*S*H sitcom?

[4. ANIMAL KINGDOM: What is a male swan called?

[5. LITERATURE: Which Irish author wrote his last novel in crayon?

[6. MEASUREMENTS: How many square feet are in a square yard?

[7. SCIENCE: What’s the main function of red blood cells?

[8. MOVIES: Streaming movies became eligible for the 2021 Oscar awards for what reason?

[9. ANATOMY: What type of acid is found in the human stomach?

[10. U.S. CITIES: Which city was named for a British prime minister?

answer

10. Pittsburgh, Pennsylvania (William Pitt the Elder).

8. COVID-19 pandemic. 9. Hydrochloric acid.

6. 9. 7. To carry oxygen.

2025 by King Features Syndicate, Inc.

[WEEKLY SUDOKU]

sudoku on page 9

© 2025 by King Features Syndicate

1. Chickpeas or fava beans. 2. Italy. 3. The Swamp. 4. A cob.

5. James Joyce.

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