performance - Rapid River Magazine

performance - Rapid River Magazine

PAGES 28-29

Keigwin + Company brings

its pure, electrifying brand of

contemporary dance to Diana

Wortham Theatre at Pack Place

on March 30 and 31. PAGE 4






music by

Brahms in

a concert

conducted by

The Asheville

Symphony Orchestra’s music

director Daniel Meyer. PAGE 6

The Western North Carolina

AIDS Project joins 55 other

cities across the country and

Canada on Thursday, April 26 for

Dining Out for Life ® . PAGE 24


Carol Branton Morrow, fine artist and

creator of this month’s cover. PAGE 19

Steven Eudy sells top-quality used

guitars at the Guitar Trader. PAGE 37



Presenting Jean Coralli’s “Giselle”

Under Sergei Radchenko’s direction, leading dancers from

across Russia present Jean Coralli’s Giselle, a story of young

love, mistaken identity, and the journey of the spirit. The

Moscow Festival Ballet’s performance maintains the Russian

tradition of scrupulous production and loving concern for

this gem of the romantic ballet.

Friday, March 9 @ 7:30 pm


Tickets $15–$60 • Students 1/2 price • Tickets available at the Civic Center

Box Office, or 828.225.5887 •

BMW of Asheville


A Dream of Camelot:

a Return to Love

Featuring 25 New Original Songs!

Asheville composer Richard

Shulman’s inspiring musical

A Dream Of Camelot is

returning to the beautiful

Masonic Temple, 80 Broadway

St., Asheville, March 29, 30, 31,

and April 1. It is being directed by

Rock Eblen, a veteran of the Asheville

theater scene.

Shulman and Eblen are combining

their talents for what promises to

be a compelling and uplifting evening

of entertainment. Both have demonstrated

years of dedication to boosting

Asheville’s vibrant and independent

performing arts community.

This original musical opens with

the rise and fall of ancient Camelot.

Arthur, Merlin, Lancelot, and Morgaine

are vowing to keep their dream of a better

world alive. They become magically reborn

into today’s society, and find their modern

holy grail through adventurous relationships

and progressive lifestyles. Will the guy

get the girl? Will they find that illusive key

to happiness?

A Dream Of Camelot is about loving

communication — inside and out — and

about finding new ways within ourselves to

improve our lives.

Shulman was initially inspired to

write about Camelot through an inner vision

of a sword descending from the heavens.

This led to his composing “Camelot

Reawakened” a symphonic work which

Bill Gerhardt Jazz Trio

Hendersonville Chamber Music

presents the exciting Bill Gerhardt

Jazz Trio, Sunday, March 18 at 3 p.m.

For fans of traditional jazz, it’s an

afternoon you won’t want to miss. A

modern jazz icon, pianist, arranger and

Down Beat Magazine award winner,

Bill Gerhardt will be performing with

Mike Holstein on bass, and Justin Watt

on drums. Gerhardt “brought the

house down” when he performed in

Hendersonville last year.

IF YOU GO: Bill Gerhardt Jazz Trio, at

Hendersonville’s First Congregational

Church, on the corner of Fifth Avenue

and White Pine. Tickets are $17,

available at Hendersonville Visitors

Center or at the door on the day of the

performance. For details visit www.

Richard Shulman

Photo: Carrie Turner

was performed

and recorded by

members of the

Asheville Symphony


in 2002.

A director

of a community

center Shulman

worked with then

suggested that he

write a musical

on Camelot, and

this story of the

Camelot characters

bringing their dream into modern society

has inspired Shulman to launch developmental

productions in 2009 and 2011, and

now a third set of performances with some

surprise character transformations and new

musical arrangements.

Cast members include popular Asheville

performers Steven Turner, Tony Fogleman,

Eileen Kennedy, Morgan St. Clair,

Justin Jones, Jenna Jaffe-Melissas, Gary

Gaines, Chelsea St. John, Luke Dotson, and

Rock Eblen as Merlin.




Rock Eblen as Merlin

Anthony Fogleman

plays Lancelot/Mark

Steven Turner plays

King Arthur

A Dream Of Camelot at the

downtown Asheville Masonic

Lodge, Thurs., March 29 – Sun.

April 1. Shows are at 7:30 p.m. Thursday,

Friday, and Saturday, March 29, 30, and 31,

and at 2:30 p.m. Sunday, April 1.

General admission tickets are available in

advance for $20 at (828) 658-9604, at www., and at the door

for $25. Tickets for the special preview on

Thursday, March 29 are $15.

2 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7



Danny Ellis Returns

with Stunning 800 Voices

Irish-born and now-

Asheville resident

Danny Ellis performs

800 Voices, his highly

lauded musical memoir

of his childhood in an

Irish orphanage on Friday,

March 9 at 8 p.m. at Diana

Wortham Theatre.

Ellis performs his

new show, An Irishman in

America, featuring music

from his latest CD release,

The Space Between The

Lines, on Saturday, March

10 at 8 p.m. at Diana

Wortham Theatre in downtown


Since touring the show

in Dublin, London and across America,

Danny Ellis has garnered much attention for

his well-crafted and beautifully told memoir:

the book is set for release in September

of this year, and the musical premieres in

Danny Ellis


Dublin in Spring 2013.

Joining Danny for 800

Voices on March 9 is Jamie

Laval on fiddle, Duncan

Wickel on fiddle and

whistles, Daniel Barber on

keyboard and percussion,

and Zach Page on bass.

Accompanying Danny on

the March 10 performance

of An Irishman in America

is Duncan Wickel on

fiddle and whistles, Daniel

Barber on keyboard and

percussion, Zach Page on

bass, and Byron Hedgepeth

on percussion.

800 Voices is a cinematic, uplifting

and poignant journey through Danny’s

‘Danny Ellis’ continued on page 23

oh, the endless expressions of love

14k gold rings accented

with diamonds and sapphires

PG. 36


Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 3




Keigwin + Company

Knock-out fusion of pop culture

and high art, Keigwin + Company

brings its pure, electrifying brand

of contemporary dance to Diana

Wortham Theatre at Pack Place on

Friday and Saturday, March 30 and 31 at 8

p.m. With the verve of New York Fashion

Week and MTV, Keigwin + Company delivers

provocative, witty and engaging dance,

overflowing with both style and heart.

Keigwin + Company reaches national

and international audiences with its refreshing

vision of dance, embodying a theatrical

sensibility that is dramatically chic

with an athletic impact. “One of Keigwin’s

greatest gifts is for revealing the individuality

of his champion dancers. He lets you see

them, he allows you to love them,” remarks

The Village Voice.

The company receives rave reviews and

is regularly invited to perform at celebrated


venues such as the

Kennedy Center,


Santa Barbara,

New York City

Center, and The

Joyce Theater.

During the

March 30 and 31 performances at the Diana

Wortham Theatre, Asheville audiences

will see the preview of the company’s

brand new work, “Contact Sport” before

its official June 2012 premiere at The

Joyce Theatre in New York. “Contact

Sport” utilizes highly athletic and vigorous

movement to explore the ever-evolving

relationships between four brothers, set to

the iconic sounds of Eartha Kitt.

Other works featured on Keigwin +

Company’s Asheville program are: “Mattress

Suite,” – six individual pieces featuring

an array of music from the operatic

Scarlatti and Giordani to the soulful Stevie

Wonder and Etta James; “Caffeinated,” the

full company of eight dancers in a hilarious,

jittery mix of aerobics, cheerleading, ballet

and boxing, featuring music by Philip Glass;

“Triptych,” a group work showcasing the

athleticism of individual dancers; and “Love

Songs” featuring three separate couples

accompanied by the music of Roy Orbison,

Aretha Franklin, and Nina Simone.

Larry Keigwin is a native New Yorker

and graduate from Hofstra University. He

founded Keigwin + Company in 2003 and

as Artistic Director, Keigwin has lead the

company as it has performed at theaters and

dance festivals throughout New York City

The Little Girl Who Loves

to Twirl - Booksigning

JeanAnn Taylor’s book signing event

and fundraiser takes place on Tuesday,

March 20, from 5 p.m. to 8 p.m.

Special performance by the Asheville

Ballet Conservatory. Held at The Hop,

640 Merrimon Ave., Asheville. Call

(828) 277-0998 for more details, or


Club Bellydance

The Bellydance Superstars and the

Asheville All-Stars in an exciting performance

on Monday, March 12. Featuring

dancers Lauren, Sabah, Moria,

Sabrina, and Stefanya. Doors open 7

p.m. Show time 7:30 p.m. Tickets $20

adv., $25 day of show. The Altamont,

18 Church St., Asheville, NC. (828)

348-5327, or

“...mixes the stretched lines

of ballet with the more

weighted, blunt quality of

contemporary dance.”




~The New York Times

Photos: Matthew Murphy

and across the country. In addition to his

work with K+C, recent commissions include

Works & Process at the Guggenheim,

The Juilliard School, The New York City

Ballet’s Choreographic Institute, and The

Martha Graham Dance Company, among

many others. In 2010, Keigwin was named

the Vail International Dance Festival’s first

artist in residence, during which time he

created and premiered a new work with four

of ballet’s most prominent stars. Also in

2010 he staged the opening event of Fashion

Week: “Fashion’s Night Out: The Show,”

which was produced by Vogue and featured

over 150 of the industry’s top models. In

2011, Keigwin choreographed the new

musical Tales of the City, at the American

Conservatory Theatre in San Francisco, as

well as the new off-Broadway production of

RENT, now running at New World stages.

Keigwin has most recently been commissioned

to create a new ballet for the Royal

New Zealand Ballet in February 2012.

Pre-show discussions: For insight and

increased enjoyment of the performances,

ticket holders can attend free pre-performance

discussions led by Larry Keigwin,

company founder and choreographer, in

The Forum at Pack Place at 7 p.m. before

both performances.

To obtain more information

on Keigwin + Company’s

performance at Diana Wortham

Theatre or to purchase tickets (Regular

$35; Student $30), call the theatre’s box

office at (828) 257-4530 or visit www. Student Rush tickets ($10

for students with valid I.D.) are sold the day

of the show, based on availability.

Child ticket unavailable. Some parents

may find portions of these performances

unsuitable for children.

4 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7


Established in 1997 • Volume Fifteen, Number Seven

MARCH 2012

Publisher/Editor: Dennis Ray

Managing Editor: Beth Gossett

Marketing: Dennis Ray, Rick Hills

Staff Photographer: Liza Becker

Layout & Design: Simone Bouyer

Poetry Editor: Ted Olson

Proofreader: Mary Wilson

Accounting: Sharon Cole

Distribution: Dennis Ray


Judy Ausley, Claire E. Barratt,

James Cassara, Michael Cole,

Amy Downs, John Ellis,

Beth Gossett, Steven R. Hageman,

Max Hammonds, MD,

Phil Hawkins, Delina Hensley,

Phil Juliano, Chip Kaufmann,

Michelle Keenan, Eddie LeShure,

Peter Loewer, Marcianne Miller,

April Nance, Ted Olson,

T. Oder, R. Woods, Dennis Ray,

Alice Sebrell, Clara Sofia,

Greg Vineyard, Bill Walz.


Rapid River Arts & Culture Magazine is a

monthly publication. Address correspondence

to or write to:

Rapid River Arts & Culture Magazine

85 N. Main St.

Canton, NC 28716

Phone: (828) 646-0071

All materials contained herein are owned and

copyrighted by Rapid River Arts & Culture

Magazine and the individual contributors

unless otherwise stated. Opinions expressed

in this magazine do not necessarily reflect

the opinions of Rapid River Arts & Culture

Magazine or the advertisers found herein.

© Rapid River Arts & Culture Magazine,

March 2012 Vol. 15 No. 7

2 Performance

A Dream of Camelot. . . . . . . . . . . . . 2

Danny Ellis . . . . . . . . . . . . . . . . . . . . 3

Keigwin + Company . . . . . . . . . . . . 4

Brahms’ First Symphony . . . . . . . . . 6

Diavolo Dance Theater. . . . . . . . . . . 7

Asheville Symphony . . . . . . . . . . . 15

Christopher O’Riley . . . . . . . . . . . 20

Sagapool . . . . . . . . . . . . . . . . . . . . . 21

8 Columns

James Cassara - Music . . . . . . . . . . . 8

Eddie LeShure - Jazz. . . . . . . . . . . . 10

Greg Vineyard - Fine Art . . . . . . . . 16

Ted Olson - Poetry . . . . . . . . . . . . 28

Marcianne Miller – Books . . . . . . . 29

Judy Ausley - Southern Comfort. . 30

Bill Walz - Artful Living . . . . . . . . 31

Max Hammonds, MD - Health . . 31

Peter Loewer - The Curmudgeon. 33

6 Music

Amici Music . . . . . . . . . . . . . . . . . . . 6

The Gourds . . . . . . . . . . . . . . . . . . . . 9

Jonathan Scales Fourchestra. . . . . . 10

Night of the Blues. . . . . . . . . . . . . . 10

11 Movie Reviews

Chip Kaufmann & Michele Keenan 11

17 Fine Art

The Folk Art Center . . . . . . . . . . . . 17

{Re}Happening 2012 . . . . . . . . . . . 18

John MacKah Spring Schedule . . . 38

19 Interviews

Carol Branton Morrow. . . . . . . . . . 19

Steven Eudy . . . . . . . . . . . . . . . . . . 37

22 Stage Preview

LYLAS . . . . . . . . . . . . . . . . . . . . . . . 22

NC Stage – Love Child. . . . . . . . . . 22

24 Shops

Dining Out for Life . . . . . . . . . . . . 24

Vanuato Kava . . . . . . . . . . . . . . . . . 26


we love this place

Pan Harmonia at The Altamont

Monthly concerts of premier chamber music, the

2nd Sunday at 5 p.m., in the heart of downtown

Asheville. Sunday, March 11 – Music to Welcome

Spring. Featuring Kate Steinbeck, flute; Amy

Brucksch, guitar; and Elizabeth Gergel, cello.

Pan Harmonia celebrates the global village with a

feast of traditions mixing fresh sounds from Brazil,

Spain, Macedonia, Argentina, and North America.

Music by Piazzolla, Fred Hand, Vivian Fine, and

others. Tickets are $12 in advance, available at or $15 at the door. The

Altamont Theatre, 18 Church Street, Asheville.

For more information call (828) 254-7123, or visit

Rapid River Magazine

Follow us online for the latest events

Kate Steinbeck, flutist


Winner Mavis Staples at UNC Asheville

Mavis Staples, one of America’s most enduring and best

loved vocalists, will perform in concert at 8 p.m. Saturday,

March 31, in UNC Asheville’s Lipinsky Auditorium.

Staples made her name as a singer of gospel and rhythm &

blues. Her most recent album, “You are Not Alone,” won

the 2011 Grammy Award for best Americana Album.

Staples began her career in 1950 as a member of her family’s

popular gospel group, the Staple Singers. Her father, Pops

Staples, was a close friend of Martin Luther King, Jr., and the Staple Singers became a leading

musical voice of the civil rights movement in the 1960s. In the early 1970s, the group merged

gospel harmonies with pop and funk sensibilities and reached Billboard Top 40 eight times,

including number-one hits “Respect Yourself” and “I’ll Take You There.” Tickets are $35; $7 for

students. For tickets or more information, visit or call (828) 251-6674.

GeekOut 2012 – Preserving the Spirit of Fanaticon

A celebration of comic books, gaming, costumes, art, and fan culture will take place May 11

through May 12, 2012. The de-centralized convention will take place within a walking radius

of dozens of downtown Asheville venues and businesses who will be hosting themed events.

Programming will be free of charge for attendees.

Both evenings will feature all-ages activities as well as afterparties geared towards an 18+ audience.

Saturday morning and afternoon will focus on programming appropriate for children

and families. Participants are encouraged to attend in-costume. Local businesses are partnering

with Multiverse Asheville to organize the celebration. For more information please contact Ken

Krahl,, or visit

On the Cover:

One More Berry Please, by Carol Branton

Morrow. Article on page 19.

34 What to Do Guide

Best in Show by Phil Juliano . . . . . 35

Callie & Cats by Amy Downs . . . . 35

Corgi Tales by Phil Hawkins . . . . 35

Dragin by Michael Cole . . . . . . . . 35

Ratchet & Spin by T.Oder, R.Woods 35

Distributed at more than 390 locations throughout eight counties in WNC and South Carolina.

First copy is free – each additional copy $1.50

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 5

R A P I D R I V E R A R T S & C U L T U R E

stage preview

Special Free

Book Offer!

—Pat Boone

Crashing the Dollar:

How to Survive a

Global Currency

Collapse by Craig R.

Smith was written to help

save American families

from the economic death

spiral of a falling U.S.

dollar and rising


To help prepare Americans for the dollar’s demise now, I

have been authorized to offer a FREE copy of Crashing

Special Free Book Offer! —Pat Boone

Call 1-866-709-3643 today!


Brahms’ First Symphony

The Asheville



continues its

51st season on

Saturday, March 17

at 8 p.m., at Thomas

Wolfe Auditorium in

downtown Asheville.

The concert will consist

of music by Rossini,

Glazunov, Piazzolla, and

Brahms conducted by

music director Daniel

Meyer, and featuring

saxophone soloist

Douglas O’Connor.

The evening will

begin with the delightful Overture to

La scala di seta (The Silken Ladder) by

Gioacchino Rossini. Written in Venice

in 1812, when Rossini was 20 years

old, this opera was the 6th of the 38

Rossini wrote during the major portion

of his composing career. It is best

known for its rapid staccato theme for

oboe, which is a part of virtually every

oboe audition. Scala di seta “duels”

have been reported for oboe auditions,

where the conductor ratchets up the

tempo progressively for the candidates

until a winner emerges!

Next on the program will be

the Concerto for Alto Saxophone

and String Orchestra, Op. 109, by

Aleksander Glazunov. Born in St.

Petersburg, Russia, in 1865, Glazunov

became Rimsky-Korsakov’s favorite

pupil. Despite being alienated by the

1917 revolution, Glazunov stayed in

Douglas O’Connor


St. Petersburg until

1928. When he was

commissioned in 1934

to write the Saxophone

concerto, Glazunov

produced a gentle,

warm work, a nostalgic

backward look at the

past century.

Completing the

concert’s first half will

be Astor Piazzolla’s

Oblivión, also featuring

O’Connor. Piazzolla’s

name is closely associated

with the tango. Born in Argentina

in 1913, his family moved to New

York in the 1930s, where he studied

piano and the bandoneón, a type of

concertina with a 38-button keyboard

that had become the central instrument

in Argentinian tango ensembles.

After a stint in Paris Piazzolla returned

to Argentina to form his renowned

Tango Quintet, made up of the

bandoneón, violin, piano, electric

guitar and bass. Because of the rarity

of the bandoneón, his works are often

transcribed for other instruments – in

this case, O’Connor’s alto sax and


Doug O’Connor has been actively

working with a variety of composers

who are writing pieces for his virtuosity,

he is a firm advocate of both new

and traditional repertoire. According

to Maestro Meyer, “Doug’s staggering

“Seamless technique...

sumptuous lyricism.”

~ Philadelphia Inquirer

technique is matched by his ability to

play to the heights of expressivity, and

the Glazunov and Piazzolla will showcase

those talents.”

Concluding the evening, the orchestra

will play the colossal Symphony

No. 1 in C minor, Op. 68 by Johannes

Brahms. “You don’t know what it is

like always to hear that giant marching

along behind me,” Brahms wrote to

conductor Hermann Levi, in reference

to Beethoven. Premiered in 1876,

this work was dubbed “The Tenth”

by Hans von Bülow, a well-known

conductor of the time.

Two free presentations will be offered

on the music and its background.

On Friday, March 16 from 3-4:30 p.m.,

at the Reuter Center on the Campus of

UNC-Asheville, Music Director Daniel

Meyer will discuss the music and introduce

the featured soloists, with Chip

Kaufmann presenting the composers’

lives and times. Then, on Saturday,

March 17 from 7 to 7:30 p.m., Meyer

will present an abridged version of his

talk on the music, and will introduce

the soloist, in the Banquet Hall of the

Asheville Civic Center. Both events are

free of charge and open to the public.




Tickets are available through

the Symphony office or

the Asheville Civic Center

box office, and range in price

from $55 to $20 (with discounts

available for students). Visit www. or call (828)

254-7046 for more information.

March Musical Madness


miciMusic, the new chamber

music organization dedicated

to playing great music in

intimate venues and nontraditional


will present three diverse

programs as part of their

“March Musical Madness”


An American in Paris

Featuring soprano Amanda

Horton, baritone Roberto

Flores, and pianist Daniel

Weiser in a program highlighting

American composers

who travelled to France

Roberto Flores

including Aaron Copland,

Cole Porter, and George



March 8 at

7:30 p.m.

at Trinity


Church, 900

Blythe Street in

Hendersonville. $20 suggested

donation; free for


Friday, March 9 at 7 p.m.

at White Horse Black

Mountain, 105 Montreat

Rd. in Black Mountain.

$15 for adults; $5 for children/students.

Sunday, March 11 at 4

p.m. at Trinity Episcopal

on Church Street in Asheville.

$20 suggested donation;

free for children.

The Luck of the Irish

Amanda Horton

Featuring soprano tine Cullen singing opera


lieder, showtunes, and great Irish

songs, accompanied by Daniel Weiser.

Thursday, March 15 at 7:30 p.m. Call

(828) 505-2903 for details.

‘Musical Madness’ continued on page 15

6 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7



Thrilling and Cinematic Dance Company

Diavolo Dance Theater Captivates

With a wizardry all its own,

internationally renowned

modern acrobatic dance company

Diavolo Dance Theater

incorporates thrilling stunts

with incredible interactive props in its oneof-a-kind

performance at Diana Wortham

Theatre at Pack Place.

Diavolo’s widely acclaimed dancers,

gymnasts and actors deliver a magnificent

cinematic experience, thrilling audiences

with one powerful image after another. By

employing oversized, surrealistic sets and

props, Diavolo creates a sense of daring and

risk-taking that juxtaposes human fragility

and survival – and accomplishes its metaphors

of the challenges of relationships,

the absurdities of life, and the struggle to

maintain our humanity in the shadow of an

increasingly technological world. Audiences

thrilled by Momix and Pilobolus will be

blown away by Diavolo.

Diavolo Dance Theater – Trajectoire Photo: Kristi Khans

Diavolo’s members are an incredibly

diverse group of performers – but above all,

they are teammates. Under the guidance of

Artistic Director Jacques Heim, they collaboratively

develop works on massive sets

and everyday structures. Heim’s childhood

struggles and his journeys as a French-Jewish

man shape his thematic choices within

urban landscapes.

Heim strives to propel the evolution

of dance and entertainment through

Diavolo, and to further integrate the arts

into mainstream America. The company’s

works investigate the latent absurdities of

contemporary human life while seeking to

re-contextualize those absurdities through

the body, exploring the influences of the


“World class: exacting

choreography. Elegance,

power, beauty, with the

thrill of danger…”

~ Hannoversche Allgemeine, Germany

environment, possessions and relationships.

Artistic Director Jacques Heim has

been named one of the Faces to Watch in

the Arts by the LA Times and one of the 100

Coolest People in LA by Buzz Magazine.

Heim has recently worked in television on

BBC America’s Dancing with the Stars and

Bravo’s Step Up and Dance. He has been

invited to serve as Creative Director for

the Opening Ceremony of The 16th Asian

Games, in Guangzhou,

China and is

now working on a

second commission

for the Los Angeles

Philharmonic based

on John Adams’

Fearful Symmetries.



For insight and

increased enjoyment

of the performances,

ticket holders can attend

free pre-performance

discussions in

The Forum at Pack

Place at 7 p.m. before

both performances.

Y.E.S. Fund Annual

Raffle: During

both evenings of the

Diavolo performances,

the theatre conducts its 4th annual raffle

to benefit the Youth Education Scholarship

(Y.E.S.) Fund. The theatre’s Y.E.S. Fund

provides children the opportunity to experience

the arts by attending Young Audiences

performances. At the annual raffle,

patrons purchase raffle tickets, peruse lobby

tables filled with art and craft gallery items,

restaurant gift certificates, homemade goods

and more, and then place their raffle stub in

baskets by the items of their choice. Winners

are announced at the end of the evening and

the raffle adds fun and fanfare to the night of

these performances.

Douglas O’Connor


APRIL 14, 2012


Stravinsky The Soldier’s Tale

Mozart Symphony No. 41


2 0 1 1 - 2 0 1 2 SEASON

Daniel Meyer, Music Director


MARCH 17, 2012 • 8pm



828.254.7046 •

Diavolo Dance Theater – Humachina




Mainstage Dance Series presents

Diavolo Dance Theater, Tuesday

& Wednesday, March 13 & 14, at

8 p.m. Diana Wortham Theatre at

Pack Place.

To obtain more information or to purchase

tickets (Regular $45; Student $40; Child

$12), call the theatre’s box office at (828)

257-4530 or visit

Student Rush tickets ($10 for students with

valid I.D.) are sold the day of the show,

based on availability.



Rossini La Scala di Seta Overture

Glazunov Concerto for Alto Saxophone

Piazzolla Oblivion

Douglas O’Connor, saxophone

Brahms Symphony No. 1

MAY 12, 2012





Call for tickets today!

Symphony No. 1 “Spring”

Concerto for Violin and Piano

Pines of Rome

Echo Cooperative

Spring Concerts

Sunday, April 1 at 3 p.m.

The Opal String Quartet with Brian

Hermanson, clarinet. Clarinet quintets

of Mozart and Brahms. Presented at

St. Matthias in Asheville just off South

Charlotte Street at Max Street, on the

hill across from the Asheville Public

Works Building (1 Dundee St.).

Wednesday, April 18 at 7 p.m.

The Renaissonics, internationally acclaimed,

Boston-based ensemble. Renaissance

and Early Baroque Chamber

Music, Dance Music and Improvisations.

Held at St. Matthias.

Sunday, May 6 at 7:30 p.m.

Pan Harmonia brings their exciting

blend of chamber music to Jubilee! Kate

Steinbeck, flute, Rosalind Buda, bassoon,

Barbara Weiss, harpsichord, and

Byron Hedgepath, percussion.

IF YOU GO: First Sundays will continue

into the summer. For more information

on concerts, directions, and how you

can support Art Outside the Box, visit or call (828)


Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 7

PG. 36


R A P I D R I V E R A R T S & C U L T U R E



CD Reviews

by James Cassara

It’s been a relatively slow month for new releases so let’s delve into

a couple of welcome reissues, a long overdue boxed set, and a new

album from an old friend. As always be sure to haunt your local

music shop in search of these and other gems. They are the ones

that help keep Asheville’s vibrant music scene going.

Otis Rush

and Friends

Live at Montreux



Sounds Records

These bargain

priced vintage Live

in Montreux issues are a gift to those who

purchased the initial run of poorly mastered

and packaged releases, and while it might be

tempting to ask for a refund on those first go

rounds the bonus material and deluxe liner

notes make these well worth seeking out.

Otis Rush is a seminal figure in electric

blues; his left handed style is unique unto

itself, and while his fellow guitarists worship

him he’s never quite received the wide

spread attention of such contemporaries as

Buddy Guy or even Junior Wells.

Part of that may be the intermittent

nature of his recording career: Rush went

nearly twelve years from his 1956 rhythm

and blues smash “I Can’t Quit You Babe”

to finally recording his first full album and

then spent much of the 1980s out of the

scene, having famously stormed out of a

1984 session only to be later shunned by

nearly every label in town. But during that

studio hiatus Rush continued to tour relentlessly

and, as this show aptly demonstrates,

never lost his magic touch.

From the torturously slow burn of

“Mean Old World” to the pounding “Gambler’s

Blues” this is prime stuff, as Rush

extracts every bit of pain and passion from

his six strings while the band hangs on for

dear life. It’s easy to see why long time

drummer Jessie Lewis Green has described

being on stage with Rush as “sitting in the

eye of a hurricane.” Speaking of the stage,

the expanded Live at Montreux considerably

ups the ante by tossing in a few tracks

that in and of themselves are enough to

justify this release.

The friends in question include both

Eric Clapton (who has recorded Rush’s

“Double Trouble” on more than one occasion)

and Luther Allison. The resultant

fireworks have to be heard to be believed, as

the three rip through a quartet of numbers

including “Cross Cut Saw” and “All Your

Love”. Clapton first recorded an Otis Rush

song during his tenure with John Mayall’s

Blues Breakers and it’s evident that he relishes

the opportunity to show his gratitude

to a genuine master of the Chicago Blues.

It’s a wonderful thing when a label

works hard to treat an artist with the

respect they deserve. Kudos go out to

Montreux Sounds for resurrecting this

vintage performance and giving the material

and Otis Rush the royal treatment

they deserve. *****

Dion MiMucci

Tank Full of Blues

Blue Horizon


Having long

since exorcised

the demons of his

past—whether musical or personal—Dion

DiMucci has settled in to a stellar late career,

the sort of growing older gracefully that few

artists are able to fully master. For the past

decade or so Dion has embraced the blues,

not as a white artist attempting to impose his

style on that grandest of genres, but rather

as one who grew up listening to music that

transcends geography and time.

2006’s Bronx in Blue was an excellent

collection of blues standards, a sort of declaration

that he was not only ‘back’ but had

in truth never really left. 2007’s Son of Skip

James was a collection of revelatory blues

covers and fine new material that hinted at

just how deep Dion’s replenished creative

well was. Tank Full of Blues, the final

release of what he’s calling his “Blues Trilogy”

is the next logical step. Recorded with

the brothers Guertin on bass and drums the

sound is sparse and direct.

Dion produced the album, wrote all

but two selections, and purposely asserted

his own underrated guitar work front and

center. The result is a serpentine, street wise

collection of inspired blues and roots, gritty

rock numbers that are completely absent of

hollow feel good nostalgia while giving the

listener a lesson in how it should be done.

It’s hard to imagine any contemporary

Blues man writing lyrics as convincing as the

intensely powerful “Ride’s Blues (For Robert

Johnson)” in which Dion conjures a new

tale about the great bluesman while digging

deeply into his own spiritual angst. “Two

Trains” is a near perfect sampling of Muddy

Waters’ “Still a Fool” and Johnson’s “Ramblin’

on My Mind”, while “My Michelle” is

a clear tribute to the great Jimmy Reed. But

be clear that while Dion proudly displays his

influences they’re recast in wildly imaginative

ways that continually surprise.

For the majestic “Bronx Poem,” a spoken

word finale, Dion bares his soul in ways

that lesser talents wouldn’t even attempt. It’s

the most beautiful of dirges, a contemplative

moment wherein Dion embraces his own

spiritual convictions while celebrating the

humanity in us all.

Once declared the greatest street poet

of his time Dion brings us back home

again, revealing his own understanding

and acceptance. Tank Full of Blues is

heady stuff, and while Dion could easily

take the easy way out that’s never been his

style. As it is it ranks among his greatest

achievements, an album that sounds like

one for the ages. *****

The Smiths




It’s a testament

to the

Smiths ferocious

nature that this

long awaited boxed set doesn’t—despite its

name—feature the totality of their impressive

output. There’s a handful of wandering

B-sides that managed to escape Johnny

Marr’s attention (he allegedly supervised the

collection) and neither are the unreleased

but heavily bootlegged sessions from their

first album included. Having said that, it’s

hard to quibble with what is here.

Despite a remarkably short life span—

the band’s active years barely stretched from

early 1982 until later summer 1987—few

groups of the era were more influential

or beloved. So what makes Complete so

essential, even to those of us who own all

the source material? First and foremost the

remastering is exceptional, setting a new

standard to which other boxed sets may now

aspire. Layers of sonic interference have

been meticulously cleaned out; leaving a

sound that is as vibrant and animated as to

be almost startling.

While there are no surprises in terms of

material the presentation is exquisite, with

copious liner notes, rare photos, and commentary

insights that cast an illuminating

light onto the band’s working processes. As

to the music itself, its best digested in album

length doses. The mid-period stuff never

sounded better and while Rank, the band’s

1988 swan song, was still light years better

than most of the synthesizer laden dross

emanating from the UK at that time, the

handwriting was clearly on the wall.

The limitation of Marr’s melodies was

beginning to show and it became quickly apparent

that Morrissey was interested in singing

about only one thing: himself. So unlike

far too many bands The Smiths pulled the

plug at just the right time and while some

may pine for a reunion tour—and who

knows what the cards might hold—I’ll settle

for luxuriating in this most splendid trip

‘CD’s’ continued on next page

8 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

sound experience

The Tasty Weirdness of the Gourds


While their reputation has long been as the

prototypical good-time, honky tonk band, such

declarations have never done The Gourds full justice.

multi-instrumentalist/vocalists Kevin Russell

and Jimmy Smith (who also shared

songwriting duties), accordionist Claude

Bernard, and drummer Charlie Llewellyn.

In late 1997/early 1998, Llewellyn was

replaced by a longtime friend of the band,

Keith Langford, who was previously with

the band Damnations TX. Ex Uncle Tupelo

multi-instrumentalist Max Johnson, who’d

recently spent time with Wilco, joined

shortly thereafter and the band’s current

incarnation was in place.

With the new lineup intact, the Gourds

released Bolsa de Agua in the summer of

2000, followed in short order by 2002’s

Cow Fish Fowl or Pig, Blood of the Ram

in 2004, and in successive years Heavy Or-

Certainly they are that, but they

are also consummate musicians

who work damn hard at getting

better, a fact in which they justifiably

take great pride.

They’re also quirky enough to ally

themselves with the alternative scene—a

feat more easily described than accomplished—which

has helped distinguish

the band from the all too crowded musical

environs of Austin, Texas.

Long time fixtures on the SXSW

festival, where they have steadily moved

from the outer fringes to main stage,

the Gourds first gained the attention of

the Alt Country crowd with the Saturday

night house party sound of their

1997 debut Dem’s Good Beeble. While

that effort hinted at a sound that would

eventually become their own, its followup,

1998’s Stadium Blitzer was a huge

step forward.

Despite such odd song subjects as

the consumption of haggis and mismatched

clothing patterns, intent listeners

could tell there was something more

to the band.

Later that year, the Gourds broke

through to college radio with an EP of

cover tunes, including

such seemingly odd

choices as Bowie’s “Ziggy

Stardust” and Snoop

Dogg’s “Gin and Juice”

that again demonstrated

their desire to avoid

easy categorization.

Unfortunately, the

demise of Watermelon

Records, with whom

the band had signed a

mid level contract, stalled whatever commercial

success they’d had to that point.

Happily, North Carolina based Sugar Hill

Records stepped in, and the Gourds’ next

album came out the following year. Over

the next few years Sugar Hill also reissued

the rest of the bands’ existing catalog.

Since 2003 the Gourds have bounced

between the smallish Eleven Thirty Records

and the somewhat more established Yep

Roc (yet another Tarheel based label) before

recently signing to Vanguard. Landing with

such a storied label, one whose commitment

to divergent music spans six decades, might

well give the Gourds the commercial stability

they’ve lacked.

The Texas group started out with

namentals, Noble Creatures, Haymaker,

and Old Mad Joy. The last of those,

along with an unnamed recently recorded

but not yet released effort, were

recorded at Levon Helm’s Woodstock,

NY studio and produced by longtime

Bob Dylan sideman Larry Campbell.

They’ve also dabbled into the world of

soundtracks, focusing primarily on such

independently funded efforts as the

cult favorite Mike Woolf documentary

Growin’ a Beard. October 2011.

While maintaining a consistent pace

of one record per year The Gourds have

also toured at an unyielding pace, often

wracking up 200 dates per year. It’s a life

they clearly love and the in concert honing

of new material has clearly made their

records all the better. What better way to

welcome spring than to see them in their

preferred habitat, emanating from stage

the virtues of good times and great music?




The Gourds perform

Wednesday, March 21 at the

Grey Eagle, 185 Clingman Ave.

in Asheville. Showtime is 8:30 p.m.

(doors open at 7:30) for this all ages,

standing room only performance. Tickets

are $12 in advance and $15 day of show.

Phone (828) 232-5800 or visit www. for more information.

‘CD’s’ continued from page 8

down memory lane. The Queen may be

dead, but God save the Smiths! ****

Dr. John

Live In Montreux



Sounds Records

While there

is no shortage of

live recordings from the good Doctor, few

find him fronting a band comprised of such

New Orleans greats, including saxophonists

Alvin “Red” Tyler and David “Fathead”

Newman (cool nicknames are a prerequisite

for playing in this band), and fewer still are

as uproarious and engaging as this extended

version of the 2005 release.

Digging into his vast catalog of New

Orleans classics as well as his own swamp

drenched material, Dr. John whoops and

hollers through such funk laden treasures

as “Right Place Wrong Time” and beautiful

standards like “Blue Skies” and “Makin’

Whoopee.” He even cools down the sizzle

long enough to enliven the pop era jewel

“(C’mon Baby) Let the Good Times Roll”

while giving a sophisticated rendering to

the great Charles Brown’s “Tell Me You’ll

Wait for Me.”

Live in Montreux demonstrates not

only John’s phenomenal piano skills but

the added tracks, particularly the extended

workouts like “The Bass Drum (On a Mardi

Gras Day)” (which medleys with “I Shall

Not Be Moved”) and the burning interpretation

of “Mess Around” shows what a fine

bandleader he is, willing and eager to turn

this over to the ace musicians around him.

The interplay between the rhythm

section and John, heard best on the extended

jamming of “Iko, Iko” is simply

amazing. Unlike the original issue, the

remastered sound is spotless, immediate

and warm, documenting a momentous occasion

by an inspired band and a performer

whose boundless talent never fails to

astound and entertain. ****



Campaign 1984

he Campaign


is best


as a “dirty

south” rock ‘n roll

band from Asheville,

NC. The

band is comprised

of founding members

Matt Anderson

on lead vocals/guitar and Justin Biltonen

on lead guitar/backing vocals, as well as

bassist Brandon Burney. The band was

formed in Fall 2004 and immediately

began writing and recording music.

In 2005, they self-released “Jazz

For Burning” and followed up with a

tour up the East Coast. After a handful

of other self-booked tours, the Campaign

1984 put out Blood For Nashville

via Long Island’s Five Point Records.

Here, the music began to shift away

from earlier hardcore

leanings and more

towards a heavy rock

influence. With less

screaming and more

singing and musical

dynamics, they were

beginning to establish

themselves in a realm

of raunchy, riff-based

rock and roll.

This vision became fully realized on the

2008 digital self-release Southern Gentlemen.

After two years of constant touring,

they recorded this third album and released

it for free via their website. In 2008, 2009,

and 2010, the Campaign 1984 began work

on what would become their fourth fulllength

album, Sessions. These three years

saw the band head to Nashville, TN to work

with producers Chris Henderson (guitarist

‘The Campaign 1984’ continued on page 10

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 9

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

sound experience

‘The Campaign 1984’ continued from page 9

for 3 Doors Down) and Roger Alan Nichols

(Paramore’s “All We Know is Falling”) during

three separate studio sessions.

The four songs recorded with Nichols

formed the Black Magic Revival EP

which was pressed before being combined

with the other two recording sessions with

Henderson. The 11-track CD was released

on July 3, 2010. This album showcases

the next stage of evolution in their sound:

an aggressive yet accessible blend of hard,

southern-fried riffage, catchy choruses, and

lyrics poison-tipped with sex, cynicism, and

social satire.




The Campaign 1984 with

Collapse, Saturday, March 17

at 9 p.m. at the Grey Eagle, 185

Clingman Ave. in Asheville. $8 at the

door. Standing room only. Phone (828)

232-5800 or visit

for more information.

Night of the Blues

Fans of authentic boogie styled electric

blues—and this music writer certainly

counts himself among them—

should be thrilled by the prospect

of a full tilt evening of the real deal.

Organized by local blues aficionado Michael

Martin, and hosted by the newly refurbished

Asheville Music Hall (formerly Stella Blue)

the evening features some of the finest blues

players in our area.

Headlining the evening will be Mac

Arnold and Plate Full of Blues. Arnold is

the last remaining original artist from the

famous “Muddy Waters Band.” He’s toured

the world performing the music he was born

to play and even at this later stage in life Arnold

shows no signs of slowing down. His

unique style of traditional blues, combined

with a band of modern talents, is recognized

as one of the true carriers of the torch.

Given that Arnold no longer tours as

steadily as he once did this opportunity to

hear him up close should not be missed.

Rounding out the evening will be the Chi-

cago Electric Blues band, a relatively new

Southeast based rock/blues band who’ve

been getting great press and have recently

toured throughout Europe and Australia.

The band is touring in support of their recently

released CD, Envision Nu Blues.

In addition to being a night of great

music, a portion of the event proceeds will

benefit The Rescue Missions of Asheville &

Knoxville, an organization dedicated to helping

those down on their luck gain the skills

and support needed to get back on their feet.

It’s a cause we should all rally behind: Bona

fide Chicago style blues and a chance to help

our fellow citizens better help themselves.

How could you go wrong?





Night of the Blues – actually

two nights! Friday, March 23

at the Square Room (www. in downtown

Knoxville, Tennessee. Saturday, March

24 at the Asheville Music Hall (www.

WNC Jazz Profiles: Jonathan Scales Fourchestra

The steel pan, an amazing musical discovery born in the Caribbean

nation of Trinidad & Tobago, is often associated with sandy

beaches, tropical climates and cruise ships.


hat’s not exactly what you get

from the jazz-fusion quartet,

Jonathan Scales Fourchestra.

What you do get is a classicallytrained

composer turned steel

pan maestro and front man, Jonathan

Scales, heavily influenced by the complexity

of banjo virtuoso Bela Fleck to the

hustle of Jay-Z.

Born in San Francisco, CA and was

raised in a military family, Jonathan grew

up in Maryland, Virginia, North Carolina,

and Germany. “I got into music at a

young age like most people. My parents

sang in the church choir and were always

playing Gospel music and Michael Jackson

around the house. My dad majored

in music in college but went on to join

the Army, so it was always in him, but

he never had the opportunity to pursue

it like I’m doing now. I started playing

saxophone in 6th grade band and started

trying to write music shortly thereafter.”

I asked Scales how he ended up

in WNC? “I attended high school in

Fayetteville, NC and only put in one

college application - to Appalachian State

University in Boone. Luckily I was accepted

into the Music Composition &

Theory program. Crazily enough, that’s

where I first picked up the steel drums. After

I graduated, I moved to Asheville at the

suggestion of a musician that I’d played with

regularly in Boone.”

The Fourchestra was born in the

January of 2007. “I’d previously played in

a few different groups, but really wanted a

focused ensemble that could really work on

my compositions. I really wanted to take

the reins of my career into my own hands.

I would say the vision is a common one in

the music world - to perform my work for

audiences around the world while simultaneously

being able to make a living.”

“Scales is one of the most unique and

inspiring musicians I have heard - you can

hear a plethora of influences, ranging from

classical counterpoint to Arabic music to

Jazz fusion. The amazing thing about it all

is how seamlessly he combines all these elements,

while masterfully navigating a largely

unexplored instrument.” Jason DeCristofaro

(Jazz Vibraphonist/Composer)

Gritty blues guitarist Duane Simpson

and flat pick fusion bassist Cody Wright

provide the harmonic support for Scales’

sound, while jazz/hip-hop drummer Phill

Bronson drives the time-shifting, modern

grooves. It’s all a means of delivering

Jonathan’s musically complex yet somehow

Jonathan Scales Fourchestra Photo: Frank Zipperer

accessible ideas to anyone willing to listen.

Jonathan has released three well

received, full-length works. First was

2007’s “One-Track Mind”, then 2008’s

“Plot/Scheme, which featured the likes

of Jeff Coffin (of Dave Matthews Band),

Joseph Wooten (Steve Miller Band), and Jeff

Sipe (Aquarium Rescue Unit). Then 2011

ushered in “Character Farm & Other Short

Stories”, a 45-minute dive deeper into nine

compositionally-twisted, original instrumental

“stories”. Guest appearances on the

record include Coffin, Yonrico Scott and

Kofi Burbridge of Derek Trucks Band fame,

plus fiddle virtuoso Casey Driessen.

Scales’ versatility and innovative nature

have allowed him to share the stage with acts

like The Wooten Brothers Band, Larry Keel

& Natural Bridge, The Duhks, Everyone

Orchestra, Toubab Krewe, Ben Sollee,


Casey Dreissen, Del tha

Funky Homosapien and


Modern Drummer

Magazine offers, “Jonathan

Scales makes the pans fit

in unconventional musical

spaces.” Jazz Times states

that Scales’ brings forth a

“new vitality to the traditional

Caribbean instrument...

picking up where

Othello Molineaux left

off 20 years ago with Jaco

Pastorius.” Scales has been called a “...

rising star of the steel drums...” by Traps

Magazine, while Pan on the Net refers

to him as “the Real Deal” and having “A

Thelonious Monk-like attitude with a

Mozart creativity that works.” When Steel

Talks sums it up with, “At the end of the

day, Scales is going to be a major play in

rewriting the books on steel pan music

outside of the box.”

Share Eddie LeShure’s

passion for jazz with

Jazz Unlimited on MAIN

FM each Wednesday

7-10 p.m., at 103.5 or

10 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

Reel Take Reviewers:

MICHELLE KEENAN is a long time student

of film and a fundraiser for public radio.



is a film


as well as a

program host


Both are


of the


Film Critic's



Bullhead ∑∑∑∑1/2

Short Take: The disturbing

but absorbing story of a

cattle farmer, his ties to the

Belgian ‘Hormone Mafia’

and his dark past.

Illustration of Michelle

& Chip by Brent Brown.

BRENT BROWN is a graphic

designer and illustrator.

View more of his work at

REEL TAKE: Nominated for

an Oscar this year for Best

Foreign Film, Bullhead is the

disturbingly dark and absorbing

story of two men tied by

a childhood trauma. Writer

director Michael R. Roskam

makes his film debut with this profoundly

sad and gritty drama from Belgium. Bullhead

is not likely to win, but it is certainly

deserving of the nomination.

I need to be careful not to give away too

much of the story because its impact lies in

watching the story unfold. In a nutshell, the

story is pitted in the relationship between

Belgian cattle farmers (who are apparently

generous and free-wheeling with the growth

hormone injections) and meat traders and

their relationship to the drug dealers who

provide them with the Barry Bonds juice.

At the center of these tenuous alliances

is Jacky Vanmarsenille, played beautifully by

Matthias Schoenaerts. He is a quiet, brooding

bull of man, constantly hopped up on

steroids and hormones (before you judge

him, wait to see the reaon). In the process of

a shady deal, he is reunited with his childhood

friend Diederik (Jeroen Perceval),

whom he hasn’t seen in 20 years. The two

are forever bound by a childhood trauma.

It is a trauma so devastating their lives are

forever marred by it.

As the story unfolds, a murder within

the wider ring of the hormone mafia puts

the police on Jacky and his family. Jacky’s

past come backs to haunt him, he can no

longer even remotely shut the memories

down. He also senses that something is

wrong and that they should back out of

this particular deal. He is filled with a feeling

of foreboding on all levels. It’s as if he’s

a time bomb; it’s not a matter of will he

explode, but when.

Roskam weaves the layers of the story

past and present to create a world of crime,

heartache, cruelty and vengeance. It is a

strangely absorbing

story, due in part

to Roskam and in

part to Schoenaert’s

achingly poignant

performance. It helps

that the filmmakers

photograph Schoenaert

to great effect

and the actor knows

how to make the

most of it.

Bullhead is not

easy to watch. It is disturbing yet utterly

moving. It is simultaneously quiet and calm

yet raging with anger. Jacky is the victim of

a heinous crime, but no one in this story is

innocent. All have done something that they

will have to pay for eventually. To that end

Bullhead plays out in classic tragedian form.

I did not want to see this film, nor did

I think I would like it. Like isn’t exactly the

right word, but I was completely fascinated

and I won’t soon forget it. I will certainly

keep my eye out for more from both Roskam

and Schoenaert. If you can palate it, see

it while you can.

Matthias Schoenaerts gives a

stunning and powerful performance

in Bullhead.

Rated R for some strong violence, language and

some sexual content.


Chronicle ∑∑∑∑1/2

Short Take: Chronicle is

an impressive low-budget

sci-fi/fantasy of teen angst

gone awry. Although

it falters somewhat at

the end, it remains a

surprisingly powerful film


REEL TAKE: Long before

Leonard Maltin arrived on

the scene there was a TV

movie reviewer named

Steven H. Scheuer. Describing a 1957 film

called Plunder Road he wrote “make a 1000

Grade B crime melodramas and you’re

bound to turn out one gem and this is it.”

Substitute 100 for “1000” and found footage

for “Grade B crime” and you have an accurate

assessment of Chronicle. Rarely have I

gone into a film with such low expectations

and then had my preconceptions so completely


Andrew Detmer (Dean DeHaan), a

lonely teenage misfit, finds solace in his

video camera which helps him to deal with

the outside world. After he and his cousin

Matt (Alex Russell) and high school BMOC

Steve Montgomery (Michael B. Jordan)

discover strange crystals inside a hole in the

ground, they develop telekinetic powers.

After an initial period of exhilaration, they

spiral out of control, leading to tragedy.

The parallels to drug and alcohol addiction

are obvious, as are references to two

Brian De Palma films of the 1970s (Carrie,

The Fury) but that doesn’t keep Chronicle

from being original in its own right as well

as a heartfelt depiction of the anxieties and

insecurities teenagers face during their high

school years. This is due to a solid screenplay

from Max Landis (son of director John

Landis) and the assured first time direction

of Josh Trank. I came away reminded of director

Steven Soderbergh and his first time

effort Sex, Lies & Videotape.

As someone who endured a difficult

domestic situation and was bullied during

my middle and high school years, it

was easy to identify with Andrew and the

physical revenge

he inflicts on

his tormentors.

But Chronicle is

more than just a

teenage revenge

fantasy. It combines


films, the

deservedly much

maligned “found

footage” genre,

and a coming-ofage

story into an

extremely satisfying


At 84 minutes there is really no wasted

footage, although the climactic CGI destruction

scenes grew tiresome. But then something

had to pad the movie out and provide

footage for the trailers to get the all-important

young male audience and their dates

into the theaters. The beauty of Chronicle,

which takes its name from the fact that

Andrew (Dean DeHaan) demonstrates his

telekinetic abilities in the remarkable low

budget thriller Chronicle.

∑∑∑∑∑ - Fantastic

∑∑∑∑ - Pretty darn good

∑∑∑ - Has some good points

∑∑ - The previews lied

∑ - Only if you must

M- Forget entirely




You can email Chip or Michelle at

Andrew’s camera documents everything,

is that it works so well on several different

levels and provides you with so much more

than just another “found footage” movie.

Rated PG-13 for intense action and violence,

some language, sexual content, and teen drinking.


Nicolas Cage

is back as



Johnny Blaze in the

uninspired sequel

Ghost Rider: Spirit

of Vengeance.

Ghost Rider:

Spirit of



Short Take: Sequel to the 2007 Ghost

Rider has Nicholas Cage at his loopiest

and a much better villain but overall it

lacks the substance of the original.

REEL TAKE: It is somewhat surprising

that it took this long to mount a sequel to

the first Ghost Rider. Although the 2007

original cost $110 million, most of it spent

on CGI effects, its worldwide gross was a

healthy $238 million and nothing in Hollywood

is more highly prized than financial

success. Almost 5 years later the sequel has

arrived. It cost $35 million less and runs

95 minutes as opposed to 115. In this case

though, less is definitely not more.

The number one problem is the script.

There’s about 30 minutes worth of material

in a 95 minute movie and that means

lots of padding to fill out the time. Most of

it involves CGI transformations and lots of

action chase sequences. Of course most of

this is done to satisfy the IMAX audience

and those who want gimmicky 3-D effects.

If that’s all you’re looking for then you’ll be

satisfied but it doesn’t hurt to have a little

more substance in the mix. After all, stew is

a lot more satisfying than soup.

Although Nicolas Cage is back, Eva

Mendes decided not to return. Her replacement,

Violante Placido, does what is

‘Movies’ continued on page 12

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R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

film reviews

‘Movies’ continued from page 11

required of her but little else. There is,

however, a real improvement in the villain

department. Ray Carrigan (Johnny Whitworth),

who is given the gift of decay by the

Devil (anything he touches rots, except for a

Twinkie), is much better than Wes Bentley’s

Blackheart and there’s no comparison

between Ciarin Hinds’ Satan and Peter

Fonda’s. Hinds knows the best thing to do

with rubbish like this is to chew the scenery

and enjoy every bite. He does.

At the helm this time around is the

directing team of Mark Neveldine and Brian

Taylor who were responsible for the two

Crank movies starring Jason Stathan. Those

movies were enjoyable because they were so

over-the-top that they subverted the action

genre that they belonged to. No such luck

here. Ghost Rider 2 isn’t outlandish enough

or serious enough to make much of an

impact, although a demon bulldozer and the

amphitheater sequence do manage to lift the

film above the ordinary, but not for long.

Although it cost far less to make, GR2

took in considerably less at the box office

its opening weekend. While it should wind

up not losing money it probably won’t

make any and for breaking Hollywood’s

golden rule, that means there will be no

follow up. While life is sometimes full of

disappointments, at least Ghost Rider 3

won’t be one of them.

Theatre Directory

Asheville Pizza & Brewing Company

Movieline (828) 254-1281

Beaucatcher Cinemas (Asheville)

Movieline (828) 298-1234

Biltmore Grande

1-800-FANDANGO #4010

Carmike 10 (Asheville)

Movieline (828) 298-4452

Carolina Cinemas

(828) 274-9500

Cinebarre (Asheville)

The Falls Theatre (Brevard)

Movieline (828) 883-2200

Fine Arts Theatre (Asheville)

Movieline (828) 232-1536

Flat Rock Theatre (Flat Rock)

Movieline (828) 697-2463

Four Seasons (Hendersonville)

Movieline (828) 693-8989

Smoky Mountain Cinema (Waynesville)

Movieline (828) 452-9091

Rated PG-13 for sequences of action and violence,

disturbing images, and language.


Journey 2: The Mysterious

Island ∑∑∑∑

Short Take: Old school adventure film

that is a throwback to the Saturday

matinees of yore with Michael Caine

having a grand old time.

REEL TAKE: Seeing this movie was really a

trip back in time for me and not just because

I saw the original 50 years ago. Before the

film begins there is a new Looney Tunes

cartoon shot in 3-D. It features animated

figures instead of drawings and uses as its

soundtrack a recording I had as a child called

Daffy Duck’s Rhapsody which was set to

Franz Liszt’s Hungarian Rhapsody #2.

Seeing Daffy and Elmer Fudd looking like

Shrek and Donkey bouncing around to my

old recording was a very surreal experience

but an enjoyable one. It set just the right

tone for the feature that followed.

I take my hat off to the filmmakers for

having the audacity to make an old fashioned

kiddie matinee in the 21st century.

I’m not sure if this was deliberate but they

should be applauded for doing it. Back in

1961 it was Ray Harryhausen’s stop motion

effects. Now it’s CGI, but the effect is still

the same: Pure, unadulterated entertainment

that will engage kids while amusing parents.

The 1961 film stuck fairly close to

Jules Verne’s novel of Civil War soldiers

carried away by hot air balloon to a

mysterious island where their survival is

ensured by the unseen premise of Captain

Nemo. Harryhausen added several giant

stop motion creatures to the mix, creating

a film that became a minor classic. For this

version the giant creatures remain but the

basic story is a follow-up to the 2008 Journey

to the Center of the Earth which had a

contemporary setting.

Josh Hutcherson returns as Sean

Anderson but Brendan Fraser is replaced by

Dwayne Johnson. After receiving a coded

message from his long missing grandfather

(Michael Caine), Sean sets out, with the

aid of his stepfather, to find him. They are

joined by a helicopter pilot (Luis Guzman)

and his young daughter (Vanessa Hudgens).

They make it to the island where they

encounter Caine and then have to find a way

off before it sinks.

Everyone enters into the spirit of the

proceedings with Hutcherson and Hudgens

an attractive couple and Dwayne Johnson

acquitting himself nicely. At 78 Michael

Caine seems as spry as ever and is having

way too much fun. Luis Guzman also takes

a break from his usual tough guy role and

displays a flair for comedy.

Journey 2: The Mysterious Island succeeds

admirably in what it sets out to do,

which is be an old fashioned, family oriented

Michael Caine and Luis Guzman are taken

aback by one of the many giant creatures in

the family adventure Journey 2:

The Mysterious Island.

adventure movie that follows in the footsteps

of Treasure Island, Gulliver’s Travels (both

play a key part in the film) and the original

1961 version. Even without the nostalgia

value I had a great time and you should too.

Rated PG for adventure action and brief mild


Pariah ∑∑∑∑

Short Take: Pariah

is the raw and

powerful telling

of young African-

American woman’s

story of coming-ofage

and coming out.


Adepero Oduye stuggles to come out

in the coming of age drama Pariah.

REEL TAKE: We have

film festivals to thank

for the distribution

of small, wonderfully

worthy, independent

films like Pariah. Focus Features picked up

this brave and beautiful little film after its

success at last year’s Sundance Film Festival.

Writer director Dee Rees turned her student

short of the same name into a feature length

film with the help of executive producer

Spike Lee. Pariah is the powerful story of

young woman struggling to quietly embrace

her sexuality. It is a story of coming-of-age

and of coming out. Ironically it marks Rees

coming-of-age and coming out as a filmmaker

as well.

Alike (Adepero Oduye) is a seventeen

year old African-American woman who

lives with her family in Brooklyn. She is an

excellent student and a loving daughter, but

she is keeping a secret. Alike is certain of her

sexuality, but uncertain in how to embrace

life as a lesbian. Her parents are enveloped

in their own marital strife, and she knows

her secret would compound their difficulties

if it was known.

Alike’s mother (Kim Wayans) suspects

her daughter’s sexual orientation but is determined

to steer her daughter down a different

path. “God doesn’t make mistakes,”

she tells Alike, inferring that homosexuality

is a mistake. In her heart of hearts, she

is a loving wife and mother and just wants

a good life for her children, but the severity

of her convictions and what that means

drives her children and husband from her.

Alike’s father, played brilliantly by Charles

Parnell is struggling in his marriage. Alike

is daddy’s little girl, but daddy just doesn’t

want to see the truth.

The story unfolds artfully and painfully.

It is rife with raw tension, frustration and

sheer vulnerability. It feels so real, it’s like

you are a fly on a wall while watching an

unscripted life. Ironically, there is nothing

in the world of reality television that’s as

remotely real or truthful as this film.

Overall there is nothing new about this

story. It is the texture and context of this

film that sets it apart. For anyone who has

suffered similar struggles, the film is bound

to strike a resonant chord. Part of the human

condition and the human experience

is vulnerability and finding your truth and

your place. Regardless of race, class or sexuality,

these struggles are universal.

Pariah is uncomfortable to watch

at times, but well done

throughout. In the end, Alike

reaches out to her mother,

turning her own words on

her with, “Remember, God

doesn’t make mistakes.” If

you side with ‘team mom’

on the issue of homosexuality

and/or think the late NC

Senator Forrester was a true

champion of family values

and the sanctity of marriage,

Pariah may be a bit of stretch

for you. Otherwise, Pariah

embraces the human condition poetically

and bravely, and is a film worth seeing.

Rated R for sexual content and language.


Safe House ∑∑∑1/2

Short Take: A jaded, renegade CIA agent

plays mind games with a younger, naïve

agent in a fast-paced action drama.

REEL TAKE: Safe House is Swedish director

Daniel Espinosa’s first American film.

He is known for Easy Money, an actionpacked

European sensation from a couple

of years ago. There is no denying Espinosa

can deliver the punch. Shoot outs and car

chases are choreographed in unbelievable

and gritty detail. There is gritty detail galore

in Safe House, but grit does not a great

movie make. Espinosa relies just a little too

much on his slick action sequences and fine

performances from Denzel Washington

and Ryan Reynolds. Safe House is a keepyou-on-your-toes

action-packed couple of

hours of entertainment, but unfortunately

it doesn’t quite rise to what I think they

hoped it would be – something more along

the lines of the Bourne franchise. The sad

part is, it could have been.

Washington plays Tobin Frost, a ren-

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film reviews

‘Movies’ continued from page 12

egade former CIA agent, now operating in

his own interests. Reynolds is Matt Weston,

a rookie CIA operative in charge of a safe

house in South Africa. When a transaction

goes bad, Frost finds himself at the American

Embassy in Cape Town, where he is

quickly transferred to Weston’s safe house.

While being water boarded by the Americans,

Frost shows his prowess for psychological

evaluation and manipulation. When

the safe house is attacked, Weston escapes

with Frost and, after a few twists and turns,

they become unlikely allies.

Watching everything unfold are

tage. The storyline

brings back childhood


of imagining

creatures such as

fairies or Thumbelina

living covertly

around us. The

friendship between

Arrietty and

the human boy

is heartwarming,

and watching the borrowers try to navigate

a human household provides entertainment;

for instance, simply fetching a sugar

cube from the kitchen becomes a treacherous

task that requires an

assortment of tools and an

An ordinary house cat proves

quite a challenge for Arrietty, the

tiny borrower in The Secret

World of Arrietty.

abundance of climbing.

Though Hiromaso

Yonebayashi directed The

Secret World of Arrietty,

Hayao Miyazaki’s influence

is palpable, and I would



by Clara Sofia

The Secret World of

Arrietty ∑∑∑∑

A remake of the 1997

live action film The Borrowers,

The Secret World

of Arrietty chronicles the

story of a family of little

people, Arrietty and her

parents, who live in a

house’s floorboards. They

undertake missions to

borrow materials from the

humans in order to survive. But, for

safety reasons, the borrowers keep their

presence secret. When a human boy accidentally

sees Arrietty, the family must

decide to either risk trusting him or to

find a new home.

The first word that comes to mind

to describe Arrietty is “charming.” The

animation is beautiful, the storyline is

intriguing, and the soundtrack perfectly

reflects both the borrowers’ exciting

adventures and the tranquil human cotdefinitely

put the film in league with

My Neighbor Totoro and perhaps

even Howl’s Moving Castle. Unlike

some Japanese animated films (Spirited

Away), the American dubbing for The

Secret World of Arrietty did not annoy

me. Amy Poehler and Will Arnett

add character as Arrietty’s parents, and

Bridgit Mendler’s voice makes Arrietty

seem mature and competent.

I recommend The Secret World of

Arrietty to anyone who enjoys well-executed

animated films or who simply

wants to see a feel-good film. It’s a perfect

movie to take your kids to or even

to see by yourself. Far removed from

the troubles of the

human world, Arrietty

gives viewers a dose of

happiness with a touch

of magic.

Rated G for nothing


Denzel Washington and Ryan Reynolds

are unllikely allies in Safe House.

Weston’s superiors at Langley, including

Weston’s direct supervisor David Barlow

(Brendan Gleeson), Barlow’s arch rival,

Catherine Linklater (Vera Farmiga), and the

top brass, Harlan Whitford (Sam Shepard).

While the film is largely predictable,

even its twists and turns, said twists and

turns offer the most interesting nuggets

of the story. At first it’s all laid out very

clearly: Frost is a bad man, and Weston is

idealistically working for the good guys

(CIA). It’s when the lines begin to blur

that the story gets interesting and our two

unlikely allies form a bond. Watching that

bond emerge is one of the finer points of

the film. It’s also one of the only respites

from the non-stop action.

I wasn’t sure about the casting of Reynolds

as Weston at first (a role that would

have likely been Matt Damon’s ten years

ago), but ultimately he does a great job as

the wet-behind-the-ears rookie. He looks

like he’s on the verge of tears for the first

half of the film. It was off-putting at first,

but only because it was so unusual to see

such a human reaction to the events in such

a gritty actions flick. Fear not, Reynolds fans

– like Damon, he is still a sweetie, but he’s

a sweetie with chops by film’s end. Having

churned out a host of action films with his

buddy Tony Scott since Training Day, the

character of Tobin Frost was a cakewalk

for Washington. Lucky for us, Washington

brings just a little bit more than what the

script demands.

Audiences are enjoying Safe House

more than the critics are. If you’re looking

for an entertaining action film, Safe House

will hold your attention while you’re watching

it. Just don’t expect it to stay with you

very long after you exit the theatre.

Rated R for strong violence throughout and some



The Vow ∑∑1/2

Short Take: Inspired by

a true story, The Vow is

the well intended, but

ultimately mediocre telling

of a couple struggling to

find love again after the

wife suffers a traumatic

brain injury.


sounds like something

straight out of a Nicholas

Sparks novel, but (very fortunately

for us) it’s not. Thank the film gods

for that, because the one thing this movie

could not have survived is the tragic flaw

that graces many a Sparks story. The Vow

is a rediscovery of love within a love story

– and no one dies. The film was inspired by

the true story of a couple, who had to fall in

love all over again, after the wife suffers a

traumatic brain injury and awakens with no

memory of her husband.

Paige and Leo are a young couple,

utterly and passionately in love with one

another. She’s an up-and-coming sculptor.

He owns a fledgling recording studio. Their

uber hip fairy tale is abruptly interrupted

by a horrific car crash. Paige is left with no

memory whatsoever of her life with Leo

and, in fact, seems to have reverted to the

status quo, country club life of her upbringing.

Steadfastly in love with his wife, Leo is

determined not only to make her fall in love

with him all over again, but to unearth the

wildly bohemian Paige buried somewhere

deep inside. For Paige it’s a rediscovery of

who she really is.

Complicating the

challenge already set

before Leo is Paige’s

estranged family, who

swoop in to reclaim

their daughter after

her accident. Sam

Neil and Hope Lange

play her one-dimensional,


parents. I don’t think

I’m alone in thinking

that they were more

creepy than upper

crusty. I would not have needed the reason

the story gives for an estrangement from

parents like them.

There is always room in the world for

simple little love songs and romantic movies.

The Vow is well intended and speckled

with some bright moments, but unfortunately

it suffers from a mediocre script,

slight miscasting, and some inconsistencies.

Tatum’s heart is in the right place as the

romantic Leo, but as an urbanite, recording

engineer that hangs with a totally hipster

crowd, he just doesn’t quite fit. He and

McAdams don’t share the kind of chemis-

Channing Tatum and Rachel

McAdams get plenty of lip lock

time in The Vow.

‘Movies’ continued on page 14

Here’s Looking at You Kid

TCM presents the Casablanca 70th

Anniversary Event on Wednesday,

March 21

at 7 p.m.

at Carolina

Cinemas. For

more details

phone (828)

274-9500 or


ActionFest 3 –

This Time It’s Personal!

ActionFest returns to Asheville April

12-15. The event showcases the most

exciting action films from around the

globe, and features mind-blowing

live stunts. The festival pays tribute to

stunt men and women, fight choreographers,

and 2nd unit directors, who

make action films thrilling for audiences


This year, Haywire star Gina

Carano will be the recipient of the

inaugural Chick Norris Award. The

award honors the Best Female Action

Star who embodies the attitude, spirit,

athleticism, and grit of Hollywood

legend Chuck Norris.

IF YOU GO: ActionFest, April 12-15

at Carolina Cinemas. More details

available at

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 13

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

film reviews

‘Movies’ continued from pg. 13

try McAdams shared with Ryan Gosling in

The Notebook, but it is a solid chemistry

nonetheless. It plays out well in moments of

passion, and even more so in the humor, but

the over all telling of this romantic tale is too

shallow for their chemistry and the movie as

a whole to have any real emotional depth.

The film is largely predictable, but

that’s not a deal breaker in any story for

me, if it’s a good story. This is a good (albeit

schmaltzy) story, and it starts off well

and ends surprisingly strongly. The middle

however is soft, and it magnifies the film’s


The Vow is best suited for young,

mainstream hopelessly romantic girls (especially

if any of the girls have a penchant for

Channing Tatum’s bare bottom). Ladies,

don’t make your husband or significant

other take you to this one. Earn points for

enticing them to see something you both

can enjoy.

Rated PG-13 for an accident scene, sexual content,

partial nudity and some language.


Daniel Radcliffe is about to see something he

doesn’t want to see in the first-class ghost

story The Woman in Black.

The Woman in Black ∑∑∑∑1/2

Short Take: A classic, old school ghost

story that is beautifully crafted and

anchored by a remarkable, low key

performance from Daniel Radcliffe.

REEL TAKE: I’ll say it right from the start,

The Woman in Black is not a horror film.

It is a ghost story and if you don’t know the

difference then you are likely to be disappointed.

For those of you who do know

the difference and appreciate those almost

forgotten words “mystery & suspense”, then

The Woman in Black will prove to be a very

rewarding experience.

The ghost story film is a very small

genre which essentially starts with The

Uninvited in 1944 and extends through

the The Innocents and The Haunting in

the 1960s to the Nicole Kidman opus The

Others in 2001. The undisputed top dog in

this field is Peter Medak’s The Changeling

(1980) with George C. Scott, which The

Woman in Black clearly references along

with a little known 1997 British film, Photographing


The screenplay by Jane Goldman (Kick

Ass) is based on a bestselling book by Susan

B. Hill that became a celebrated BBC made

for TV movie in 1989 (which the author

hated) and a currently running West End

production which also opened in 1989.

Although different from the book, the play

and very different from the TV movie, the

author is reportedly quite happy with this

adaptation and she should be.

Daniel Radcliffe plays Arthur Kipps, a

young Edwardian lawyer who is widowed

after his wife dies in childbirth. He is sent

to a remote village to settle an estate. Once

Chip Kaufmann’s Pick:

“The Changeling”

The Changeling (1980)

Now that The Woman in Black has

successfully added itself to the small but

impressive canon of ghost story movies

(see review this issue), I thought it

would be appropriate to choose as my

DVD pick this month the film which is

considered the Mt. Everest of ghost story

movies. That film is Peter Medak’s The

Changeling (1980) which is not to be

confused with Clint Eastwood’s Changeling

(2008) starring Angelina Jolie, which

is not a ghost story at all.

The film stars George C. Scott as

a recently widowed NYC composer

who rents an old mansion in Seattle in

order to accept a teaching position and

try and get his life back together. At first

the house seems ideal but slowly odd

sounds occur, things happen and Scott

finds himself driven by unseen forces to

uncover a dark secret from the past.

Melvyn Douglas, in one of his last

film appearances, plays a powerful U.S.

senator with a skeleton in his closet that

he doesn’t even know about. Scott’s

wife, Trish Van Devere, is a local real

estate agent who wants to help Scott get

to the bottom of the mystery. Character

actor John Colicos is also impressive as

a hostile police inspector who hinders

Scott’s actions.

Director Medak, who is best

known for the outlandish Peter

O’Toole film The Ruling Class pulls

out all the stops in crafting an old

school ghost story using the time

honored techniques of moody photography,

effectively sinister music,

quick edits and sound bites that startle

the viewer without showing much of

anything. In the middle of the film, a

séance sequence that brings the ghost

there he finds himself unwanted by the

villagers but befriended by the local squire

(Ciarin Hinds). Immediately upon arriving

at an isolated old mansion, he becomes

aware of a sinister presence there which

quickly turns vicious. Children in the village

begin dying by their own hands and Kipps

desperately tries to discover the local secret

and do something about it.

Director James Watkins, whose previous

effort was a brutal 2008 horror film

Eden Lake, forgoes all the visceral horror of

the previous movie and concentrates on the

classic tools of the ghost story film, jump

cuts, atmospheric music, enhanced sound

effects, and committed performances from

the actors. All these elements and more

March DVD Picks

to light remains unforgettable once it has

been seen.

Made for a small company and out of

print for many years, The Changeling is

now readily available at a ridiculously low

price if you want to purchase it. You can

rent it locally or obtain it from Netflix as

well. If you enjoy chills as opposed to gore

with a few twists and turns along the way,

then it doesn’t get much better than this. If

you liked The Woman in Black, you’ll love

The Changeling.

The Guard (2011)

The Guard was, without a doubt, one

of my favorite movies films of 2011. It is

the kind of film that I’ll revisit periodically

and roar with laughter each time. It was

also one of the most overlooked movies of

2011, at least on this side of the pond. It’s

now available on DVD, and I hope it will

enjoy a larger audience now that it’s on the

small screen. I’ll site St. Patrick’s Day as an

excuse to recommend it to you this month,

but really no excuse is needed. It’s just

cracking good fun.

For me, The Guard was the most enjoyable

and laugh-out-loud funny films to come

down the pike in a good while. Written and

directed by John Michael McDonagh, brother

of Martin McDonough, The Guard drew

come together nicely to create a classic of

the genre. If this sounds like your cup of tea,

then by all means drink it.

Much has been made about The

Woman in Black being a Hammer Film.

The old family company no longer exists

but the new one is trying to follow in their

footsteps by producing atmospheric, low

budget (WIB cost $13 million) movies with

solid scripts and quality performances. This

and their three other films (The Resident,

Wake Wood, and Let Me In) show that they

are succeeding.

Rated PG-13 for thematic material and disturbing


Michelle Keenan’s Pick:

“The Guard”


comparisons to Martin’s 2008 critically

acclaimed but also much overlooked film

In Bruges. While John Michael displays

a similar flair for dark wit and peculiar

characters as only the Irish can do, The

Guard offers far more levity and is more

readily digestible than In Bruges.

The film stars Brendan Gleeson

(who also starred in In Bruges, ergo

drawing some of the comparisons)

as Gerry Boyle, a rather unorthodox,

non-conformist police sergeant in rural

Connemara. When a drug smuggling

investigation inadvertently teams straight

laced, by-the-book African American FBI

agent Wendel Everett (Don Cheadle)

with Segeant Boyle, hilarity and a head

count ensue.

Cheadle plays straight man to Gleeson’s

politically incorrect antics. I suppose

one could say Gerry is innocently racist

(by cultural perception, not by personal

belief or conviction), which somehow

makes his remarks appallingly funny,

rather than just plain appalling. How

Cheadle keeps a straight face is anyone’s

guess. His deadpan ‘you-didn’t-just-saywhat-I-think-you-said’

looks play well off

Gleeson’s innocuous comments.

A fantastic supporting cast provides

a lively, if not unusual ensemble to

flank our heroes. Fionnula Flanagan as

Sgt. Boyle’s dying mum is a hoot. Mark

Strong, Liam Cunningham and David

Wilmot make the funniest trio of philosophizing

bad guys since Pulp Fiction.

The Guard is a must see for those

that enjoy a dark Irish comedy. It is the

best vehicle yet for Gleeson’s talents.

Not one bit of the script and storyline is

wasted. If this sounds like your cup of

tea, you won’t be disappointed.

14 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E




Films are shown on Tuesday nights at

8 p.m. in the Cinema Lounge at the

Carolina Cinema on Hendersonville

Road. Screenings are free.

March 6: Hair

(1979 - Milos Forman) Czech director

Forman’s film version of the famous

1960s counter culture musical.

March 13: The Good Fairy

(1935 - William Wyler) Rarely seen

William Wyler romantic comedy

with Margaret Sullivan and Herbert


March 20: The Boys In The Band

(1970 - William Friedkin) William

Friedkin’s once daring adaptation

of the controversial play about gay


March 27: Charlie Chan at the


(1936 - H. Bruce Humberstone)

One of the better late entries in the

popular series with the original Chan,

Warner Oland.

Carolina Cinemas, 1640

Hendersonville Rd. (828) 274-

9500. For more information go to

Asheville Symphony hosts

the Cleveland Institute of

Music Orchestra

Since 1998, the Asheville Symphony

has been pleased to present

a competition winner from

the Cleveland Institute of Music

as soloist for one of the Masterworks

concerts. Many of these young

artists have gone on to have distinguished

careers as soloists or members

of major orchestras.

This year we are pleased to host

the entire orchestra in a Sunday matinee

performance on March 25, 2012

at 2pm in the Thomas Wolfe Auditorium.

According to Joel Smirnoff,

President of the Cleveland Institute

of Music, “Asheville has been such a

welcoming audience to our students

and we wanted to bring the entire

orchestra of 90 musicians to play for

the patrons of the Asheville Symphony.

This marks the first time that the

entire orchestra has traveled outside

the state of Ohio. This is an exciting

opportunity for our students.”

The orchestra will perform

Berlioz’s Roman Carnival Overture,

Concerto for Harp, Op. 25 by Alberto

Ginastera and Prokofiev’s Suite from

Romeo and Juliet, Op. 64.

Since its founding in 1920, CIM

has offered a world class education

to students from 3 to 93 and provided

concerts for the community. Located in

University Circle, Cleveland’s cultural

hub, CIM is easily accessible to all

music lovers.

As a top-tier conservatory, CIM’s

student body is international in its

composition: 25% representing 23 other

countries, 60% from 49 U.S. states, and

15% from Ohio. Nearly 3,500 talented

students have completed programs from

the bachelor’s to the doctoral level.

Eighty percent of the Institute’s

alumni perform with the world’s most

acclaimed musical organizations, in major

national and international orchestras

and opera companies, as soloists and in

chamber ensembles, and hold prominent

teaching positions around the world.




Tickets for the concert are on

sale now and may be purchased

by calling the Asheville

Symphony office at (828) 254-7046,

in person at the Asheville Civic Center

or at TicketMaster by phone or online.

For more information, visit the

Asheville Symphony website at www.



Films are shown every Sunday at

2 p.m. at the Lake Pointe Landing

Retirement Community (behind Epic

Cinemas) in Hendersonville.

March 4: Wings

(1927 - William Wellman) This silent

film was the first movie to win a Best

Picture Oscar and features a love

triangle set against the backdrop of

World War I.

March 11: The 7% Solution

(1976 - Nicholas Meyer) Intriguing

“what if” film about a meeting between

Sherlock Holmes and Sigmund


March 18: The Party

(1968 - Blake Edwards) Peter Sellers

stars as a hapless Indian actor who

wrecks a lavish Hollywood party.

March 25: Brief Encounter

(1945 - David Lean) England’s version

of Casablanca about an ill fated

romance during World War II.

‘Musical Madness’ continued from pg. 6

Friday, March 16 at 7 p.m. at White

Horse Black Mountain. $15 for adults;

$5 for children/students.

Sunday, March 18 at 3 p.m. at First

Baptist Church in Weaverville, 63 N.

Main St. $15 suggested donation; free

for children.

A ‘Franck’ly French ‘Faure’

Featuring violinist Rachel Patrick and

pianist Daniel Weiser performing two



Sonatas by

Cesar Franck

and Gabriel



March 22 at

7:30 p.m. at a

house concert

in Asheville;

Daniel Weiser Friday,

March 23 at

7:30 p.m. at a house concert in Arden.

Saturday, March

24 at 7 p.m. at

White Horse

Black Mountain.

$15 for adults; $5

for children/students.

For details on either

of the house

concerts, contact

Daniel Weiser at

(828) 505-2903

or e-mail daniel@ Rachel Patrick

Reservations are required.

For more information on the performances

at White Horse Black Mountain

phone (828) 669-0816, or visit www.




All programs are subject to

change. Visit www.amicimusic.

org for latest information. To

get on the AmiciMusic e-mail list

in order to get up-to-date info on all

concerts, please contact Dr. Weiser at

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 15



fine art

Appreciating The Path



You know

when you

have an

elusive, yet


idea in your

brain, waiting for

that big bang where

it suddenly all comes

together? These moments

of clarity bring

forth new series that

delight artists and art

appreciators alike.

On Friday,

March 21, 2011, at

3:59 a.m., painter

Daniel McClendon

had one of these

particularly powerful

epiphanies, where it

all suddenly solidified.

He sketched a

bison on the last page

of a Double Tree

Hotel notepad, the first sketch for a new

series that became what the world saw at

the November, 2011, River Arts District

Studio Stroll.

Which is when I saw the resultant

final bison painting, and all the other new

works gracing the walls of his new space,

dubbed “The Lift Studios”, in honor of

the mechanical device toward the rear. I

immediately appreciated both the space and

the art, and how well each balances with

each other, much as Daniel and his wife,

Michelle, complement each other in their

new adventure.

Daniel remarked on all this when we

met again recently, noting that the building

and the work are tied together in a way,

where it just seemed to have been made for

his artwork. It’s that magical pairing, the sort

that seems to happen when all is flowing

along the right track.

Full of colorful energy, Daniel’s paintings

are lined up on the brick walls in this

gorgeously restored, split-level industrial

space that’s also ideal for events. These large

representations of animals swirl within

powerfully laid-out splashes and scratches

and scrawlings. I enjoy their instantaneous

nature, as well as hearing about the artist’s

path that led to such raw, authentic visions.

Daniel has harnessed that next wave of his

own artistic energy, something many artists,

including me, strive for, and are inspired by.

Daniel explained to me that he appreciates

his path in our arts-related community

of Asheville, and how it has provided a real-

Daniel McClendon in his fine art space.


world education.

Working in a different

style previously,

his new inspiration

and passion made

his old life feel like

he was “welding the

same car part over

and over,” whereas

now he gets to have

a passionate engagement

with his creative

process every

day, without struggle

or over-thinking. He

is at a point where

his current mode

simply flows, and

“specifically shows

the process that’s

been in my mind for

a long time.” He has

found that common ground where method

and visuals are one.

Part of an artist’s success is a balance of

talent and pragmatism. Daniel acknowledges

a realism about efficiency and costs in business,

and that it’s great to have a partner who

watches those things, too. Michelle is Business

Manager (aka “The Lift Operator”),

does the numbers and runs the event opportunities.

A cool dog named Huck rounds out

this trio making a neighborhood-friendly

go of things in one of the best places in the

country to do it.

Daniel and Michelle started working

on The Lift Studios last summer. With

sales and commissions going well, the

couple is staying busy, and will be inviting

everyone to a grand opening sometime in

the near future. Join their mailing list at, and be sure

to check out Daniel’s work on-line and

when you’re in the River Arts District!

Located at 349 Depot Street, they are open

Tues-Sat, 10-5, and by appointment. On

the front window, down low, it reads “A

Daniel McClendon Fine Art Space.” There

couldn’t be a more perfect sentence to describe

the experience as one steps inside.

Greg Vineyard is an artist,

art consultant and writer

based in Asheville, NC.

www.creativewayfinding. Find his art

at Constance Williams

Gallery, 9 Riverside Drive.

16 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7


fine art

The Folk Art Center Celebrates

National Quilting Day

Celebrate National


Day on Saturday,

March 17

at the Folk Art

Center. Connie Brown

and Robin Brooks, who

are members of the

Asheville Quilt Guild

and the Southern Highland

Craft Guild, will

demonstrate their craft

from 10 a.m. to 4 p.m.

in the center’s lobby.

The National Quilting Association, Inc.

began sponsoring National Quilting Day in

1991. Quilting groups across the country

use the event as a way to raise awareness of

the traditional craft. At the Folk Art Center,

Connie Brown will present “Quilted

Gardens,” an exhibition of quilts that have a

floral theme. Modern and vintage examples

will be showcased.

Connie Brown also invites visitors to

bring in their own quilts for evaluation.

Connie will use the clues within the quilt

to find the pattern name and to determine

the era the quilt was made. These same

clues are a glimpse into history, the quilt

maker’s life and the time in which she

lived. Helpful information about how to

care for quilts and how to learn more about

What is a





It is an original concept

designed by Cilla Vee

Life Arts director Claire

Elizabeth Barratt.

“Motion Sculpture”

is a movement method

which incorporates

techniques similar to Tai

Chi, Yoga and Butoh to

produce seamless slowmotion

dance and sculptural stillness. “Installation”

is a presentation method wherein

an environment is created and sustained for

an extended time-period, during which the

viewer is free to enter and leave as they wish.

Combine these two definitions, add

an ambient yet edgy live soundscape, video

projections and yards of color fabric – and

your imagination might possibly begin to

Connie Brown and her quilt,


the process will also be


Robin Brooks will

demonstrate all elements

of quilt-making

from design to piecing to

machine stitching. She

will share examples of all

stages of the process.

During the event,

Allanstand Craft Shop

at the Folk Art Center will feature a variety

of traditional and handmade quilts made

by members of the Southern Highland

Craft Guild, which represents craftspeople

living in the Appalachian mountains. To

become a member of the organization,

artists’ work has to pass a rigorous jury

process, ensuring the work displayed is

always the highest quality.




The Folk Art Center is located

at Milepost 382 of the Blue Ridge

Parkway, just north of the Hwy. 70

entrance in east Asheville, NC.

For more information about the Folk Art

Center’s celebration of this event, call (828)

298-7928 or visit

Kolorz – a Motion Sculpture

Movement Installation


piece together the Multi-

Media arts spectacle

ready to greet you at

The Artery on Saturday

March 31.

Collaborating with

Cilla Vee Life Arts

(CVLA) will be guest

artist David Linton from

NYC. His “Bicameral

Research Sound & Pro-

jection System” offers

the audio/visual elements

of the installation.

“Kolorz” is a sixhour

installation, during which audience

members are welcome to arrive and leave

at any time. Come for the afternoon, happy

hour, or after-dinner entertainment. Kids

are welcome, beer and wine will be served,

donations taken at the door will benefit the

“Mountain to Sky Artist Exchange.”

For information about Cilla Vee Life

Arts visit For informa-


tion about the Creative Sector Summit and

other Asheville Area Arts Council programs

and events visit




“Kolorz” – a Motion Sculpture

Movement Installation, Saturday

March 31, from 3 to 9 p.m. Barratt

will also be teaching a series of Motion

Sculpture movement workshops on the

following Sundays through the month of

March: 4th, 11th, 18th, and 25th.

At the Artery – Asheville Area Arts Council,

346 Depot St., River Arts District. $10

suggested donation.

Mane Street Fur

Professional Pet Grooming

by Misty Wright

Walk-Ins Welcome!

(828) 550-1556

Puppies 4 Sale

AKC & CKC Available

Standard Poodles: . $550

Schnauzers: .......... $400

Chorkies: .............. $350

& Many More

64 Main Street • Canton, NC 28716

PG. 36


Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 17

Allanstand Craft Shop

at the Folk Art Center

Milepost 382 Blue Ridge Parkway | Asheville, NC

Open Daily 9am-5pm | 828-298-7928

Guild Crafts

930 Tunnel Road/Hwy 70 | Asheville, NC

Open Mon.-Sat.: 10am-6pm | 828-298-7903


mountain artists and

setting the standard

for fine crafts

since 1930.

Shop online:

The Southern Highland Craft Guild is an authorized concessioner of

the National Park Service, Department of the Interior.

work shown: Jim McPhail


fine art

{Re}Happening 2012


The third annual {Re}Happening

takes place on Saturday, April 7

from 6 p.m. to midnight in the

original dining hall of the former

Black Mountain College, now

Camp Rockmont.

In partnership with The Media Arts

Project (MAP), this Black Mountain College

Museum + Arts Center (BMCM+AC)

event pays tribute to Black Mountain College

by bringing its dynamic energy into the

present day.

The project developed as an innovative

fundraising and community building

collaboration between the two non-profits,

balancing the history, innovation and experience

of BMCM+AC, with the forwardthinking

and media-based collective of artists

that defines the MAP. Among the more

than fifty artists participating in this year’s

event will be two projects supported by the

MAP Community Grant.

“The {Re}Happening provides an opportunity

for the MAP and BMCM+AC

to directly support local artists by helping

to develop and showcase their projects,

while simultaneously contributing to innovation

and culture in Western North

Carolina,” says Gene Felice, a member

of the MAP Board of Directors and the

{Re}Happening’s artistic instigator. “The

MAP is thrilled to once again offer the

WNC arts community direct funding, after

the outpouring of creativity and support

that made the first two {Re}Happening

events a success.”

Mysterium by the Institute for the

Advancement of Occultism and Aerophonics.

Photo: Michael Oppenheim


Quasi Equivalence by Gene A. Felice II,

Janice Lancaster, Kima Moore, Claire Barratt,

Kathleen Hahn, and Paul Anderson.

Photo: Michael Oppenheim

Two projects were chosen and each

funded with $1,500 grants in the 2011-2012

grant cycle, supporting work from three

local artists which will premiere at this year’s


The April 7, 2012 event will begin with

a cocktail hour, leading into a seated familystyle

dinner. The second part of the evening

will include drinks, light appetizers and an

extended evening of art, performance, and

dancing. Tickets for the entire event including

dinner are $60 ($50 for BMCM+AC

and MAP members); dinner begins at 6

p.m. The second half begins at 8:30 p.m. at

a ticket price of $15 ($10 for members). The

overall event will end by midnight.

At each year’s {Re}Happening, local

restaurants provide flavors, scents and nourishment

to both the audience and the artists.

The evening brings together more than fifty

artists from the region’s diverse creative

communities in a setting that occupies a

unique place in history. The opportunity

for contemporary artists and performers

to collaborate and create new work in the

dining hall, the roundhouse, the lodges, the

outdoor grounds and waters of Lake Eden

makes the {Re}HAPPENING a singular

and deeply resonant event.

Vinnie’s Neighborhood Italian will

provide the main course, and dozens of

local restaurants will contribute. Please visit for more details.




{Re}Happening takes place April

7, 2012. For more information or

to purchase tickets for the event

visit Black Mountain College Museum

+ Arts Center, 56 Broadway, Asheville,

phone (828) 350-8484, or send an email to

18 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7


fine art

PG. 36



Carol Branton


Carol Branton Morrow spent her

childhood in Winston-Salem,

where her parents took every opportunity

to instill in her their love

of nature. This affair with nature

has continued throughout her life and led

her to live in the Asheville area. After a

career in advertising, Carol picked up where

she left off in college and is once again pursuing

her love of painting.

Rapid River Magazine: How long have you

been an artist?

Carol Branton Morrow: I have been an

artist all of my life. In my youth I always

carried a sketch book to record objects

or write down descriptions of things that

inspired me. My college career started as a

fine arts major, but ended up in the field

of graphic design. After a 28-year career in

that field, I finally have the opportunity to

return to my first love – painting.

Autumn Glory by Carol Branton Morrow

RRM: How many hours a day do you create?

CBM: I devote at least four or five hours a

day to my creative side. I am still freelancing

for advertising clients, and that affects

my schedule.

RRM: You use different mediums. How do

you decide what medium you’re going to

use? Do different subjects call you to use

different mediums?

CBM: I usually choose the medium that best

suits my emotional reaction to a subject. I

paint in watercolor, oil and pastel. My primary

medium is pastel, but it’s unusual for

my paintings to be pure pastel. Most often, I

use watercolor or oil stain as an underpainting,

adding layers of pastel on top.

I like my oil stains to have runs, and

if I’m lucky the under-stain will provide


Carol Branton Morrow

“spider-webbing” in just the right places to

enhance a field of grass or a stand of trees.

Watercolor can be as spontaneous as oil, but

in different ways. There still will be runs,

but there also can be “blooms” that inspire

and move the painting forward. At times, I

apply the pastel sparingly to let the underpainting

speak. Other times, the underpainting

virtually disappears.

RRM: Why have you chosen mostly to work

with pastel and watercolor as your media?

CBM: Pastel is such a spontaneous medium.

You don’t “mix” your paints like you do in

wet mediums. I see that spot of beautiful

purple in the shade, then look at a box of

pure color until I find the pastel that says

“put me there.” Of course, I can mix pastels

together by layering or blending, but the

initial emotional reaction to color and light

is right at your fingertips.

Ask pastel artists how they feel when

they open up a new box of pastels and

you’ll see that we’re like kids in a candy

store. The pure color just makes you want

to express yourself.

RRM: How would you describe your painting


CBM: I am an impressionist. I don’t want

to produce an exact replica of what I see. I

want the viewer to feel the emotion of my

first “Wow, how beautiful” moment. It’s

all about color and light and how these elements

mix and play off one another.

RRM: Can you tell me a little bit about your

painting process?

CBM: The first thing I do before starting

a painting is to sit quietly and absorb my

subject. I have to have an emotional reaction

to the subject for me to feel as if my painting

will be successful. I sketch out the subject in

different formats – horizontal, vertical and

square. I look at the sketches and decide if

something needs to be taken out or moved

to create a more pleasing composition.

When I move to my paper, I barely

sketch in the outlines of the subject, not as

Wade in the Water Children by Carol Branton Morrow

individual objects but as shapes of masses.

I am not seeing a tree or house, but at this

point, just shapes. I then lay in the shapes

with my wet medium, starting with the

shadows and dark objects. The underpainting

IS NOT a finished painting. It is almost

abstract, and sometimes actually is. I paint

with the paper on a vertical surface. This

allows the pigment to freely run down the

paper, creating interest as it goes. Of course,

you have to pick and choose which runs are

acceptable, wiping out the unwanted ones,

or you’ll end up with a mess.

After my underpainting has dried, I

move to pastel. Just as in the initial painting,

I lay in my darks first. Although it’s

quite tempting to put detail in at this point,

I try to refrain from doing that. I lay in my

masses and gradually get more detailed.

The highlights are the very last thing I do,

and this is the part I love the most. After

I have worked and worked to make the

painting a success, the highlights are the

icing on the cake!

RRM: What was your progression as an

artist? Did you start with pastels and then

move to watercolor? How did that progression


CBM: My mother was a watercolor artist,

so naturally I began there. It was not until

late 2009 that I decided to get serious about

pastel. Now that I mix the two mediums, I

get the best of both worlds – the flow of wet

pigment and the spontaneous application of

pure pigment on the same painting surface.

It can be glorious!

Carol Branton Morrow’s work is on display at

Studio B in North Asheville.

Studio B

171 Weaverville Highway, Asheville

(828) 225-5200

Carol Branton Morrow’s web site:

Jewelry • Fine Art

Home Furnishings

Local Crafts

29 Biltmore Ave.

Exclusive Parking in the Rear

(828) 281-4044

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 19



Virtuosic Pianist and Host of NPR’s “From The Top”

Christopher O’Riley

Host of National Public Radio’s

From The Top and interpreter

and arranger of some of the most

important contemporary popular

music of our time, Christopher

O’Riley plays Diana Wortham Theatre on

Saturday, March 3 at 8 p.m.

From Ravel to REM and everywhere

in between, Christopher O’Riley raises

eyebrows. One of the leading American pianists

of his generation, O’Riley skillfully expands

his own repertoire and performances

beyond classical and into the rich uncharted

territory of contemporary and alternativerock.

From groundbreaking transcriptions

of Radiohead, Elliott Smith, and Nick

Drake to unforgettably sublime interpretations

of the classical canon, O’Riley

stretches the piano beyond conventional

boundaries with infectious passion. For

his Diana Wortham Theatre performance,

O’Riley will be utilizing the theatre’s Hamburg

Steinway Model B piano.

As host of the popular classical music radio

show, National Public Radio’s From The

Top, O’Riley works and performs with the

next generation of brilliant young musicians,

demonstrating to audiences that these artists

are as interesting and diverse in their personal

lives as they are in their music-making.

Two years ago, PBS launched the weekly

television series From the Top at Carnegie

Hall featuring O’Riley as host, directed by

Emmy winning director Gary Halvorson.

O’Riley’s first innovative recording

of Radiohead transcriptions, True Love

Waits received four stars from Rolling

Stone and was as critically acclaimed as it

was commercially successful. His Hold

Me to This: Christopher O’Riley plays the

music of Radiohead followed suit. Tackling

the deeply emotional and complex work

from the troubled singer/songwriter Elliott

Smith, Home to Oblivion: An Elliott Smith

Tribute drew critical praise from both classical

and pop music critics. O’Riley’s fourth

set of transcriptions from the contemporary

popular songbook was Second Grace

– The Music of Nick Drake, a collection of

repertoire written and originally recorded

by the late enigmatic British guitar wizard

and songwriter.

In addition to his transcriptions,

O’Riley ventures into alternate territory,

touring with other classical artists. He has

developed programs with fellow pianists:

Heard Fresh: Music for Two Pianos; with

the jazz pianist Fred Hersch; and Los

Tangueros with the Argentinian pianist

Pablo Ziegler, a program of two-piano arrangements

that feature Astor Piazzolla’s

classic tangos. In 1999 he collaborated

with choreographer and director Martha

Clarke, who staged several stories of Anton

Christopher O’Riley Photo: Wendy Lynch

Chekhov set to the piano works of Alexander

Scriabin, performed live on stage by

Mr. O’Riley. This production, titled Vers

la Flamme, toured Europe and the United

States, and was presented by Jacob’s Pillow,

Lincoln Center and the Kennedy Center,

among others.

Christopher O’Riley has toured the

U.S. with the world-famous Academy of St.

Martin in the Fields Chamber Orchestra.

He has appeared with the philharmonic

orchestras of Los Angeles, New York,

Moscow, and the Royal Philharmonic in

London, the Minnesota Orchestra, and the

symphonies of Pittsburgh, Atlanta, Baltimore,

Philadelphia and San Francisco. The

illustrious group of conductors with whom

he has collaborated includes Michael Tilson

Thomas, Semyon Bychkov, JoAnn Falletta,

Krystof Penderecki, Kurt Mazur, James

Gaffigan, Vassily Sinaisky, Christopher

Hogwood, Roger Norrington and Leonard






Christopher O’Riley, Saturday,

March 3 at 8 p.m., Diana Wortham

Theatre at Pack Place. To obtain

more information or to purchase tickets

(Regular $30; Student $25; Child $12), call

the theatre’s box office at (828) 257-4530

or visit Student Rush

tickets ($10 for students with valid I.D.)

are sold the day of the show, based on


20 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E


Joie De Vivre! Sagapool

Gypsy/Swing World Music Show

Rich and brightly rhythmic, Sagapool

brings the vibrant music of the

world at large for a March 22

performance at the Diana Wortham

Theatre at Pack Place. Guitar, bass,

accordion, percussion, banjo, piano, glockenspiel,

Rhodes violin, and clarinet all shine

in the hands of these six multi-instrumentalists

– often switching hands right on stage, as

each band member can play all instruments

– in a worldscape of passionate joy.

With masterful playing and brilliant

melodies, Sagapool delivers an original and

dazzling gypsy/swing repertoire that reflects

the colorful influences of Montréal’s cultural

mosaic. Sagapool has enchanted audiences

at venues and festivals from the hip South

By Southwest in Austin to the prestigious

Montreal International Jazz Festival. Their

Asheville performance coincides with the

release of a brand new album, Sagapool.

With its diverse cultural background,

Sagapool defies simple categorization and

performs its own blend of joyful and cin-


ematic music, often with a friendly bit

of mischief. It is no surprise when the

guitarist jumps up to join the bassist

for a thumping four-handed riff, or

when the entire band leaps on stage

just in the nick of time.

Sagapool was first conceived

by Luizo Altobelli (accordion) and

Guillaume Bourque (clarinet) while

jamming as students in the halls of the

Conservatoire de Musique de Montréal.

With the addition of four stellar

musicians from around the world

– Marton Maderspach (percussion),

Zoé Dumais (violin, glockenspiel),

Alexis Dumais (piano, double bass

and percussion) and Dany Nicolas

(guitar, double bass and piano) – the

band’s sound evolved into a joyous cultural collage.


Sagapool’s third album, Épisode Trois

earned “Album of the Week” by Montreal

newspaper Ici upon its release in 2008 and

was subsequently number one for seven

consecutive weeks on Montreal CIBL

Radio’s “World Beat” chart, and number six

on the Earshot Jazz chart. Épisode Trois also

reached the Top Ten List of Montreal CD

sales. Sagapool’s Northern thoughtfulness

won the band a Canadian Folk Music Award

(2008) for Best Instrumental Album and

earned them a showcase spot at WOMEX in


The band’s second album, St-Urbain

Café, received a nomination at ADISQ (the

Québec equivalent of the United States’

Grammys) in the best instrumental album

category. That same year, the group won the

Roseq-Radarts prize, awarded by Québec’s

top music promoters.




Sagapool, Thursday, March

22 at 8 p.m. Diana Wortham

Theatre at Pack Place. To obtain

more information or to purchase tickets

(Regular $30; Student $25; Child $12), call

the theatre’s box office at (828) 257-4530 or

visit $10 tickets for

students with valid I.D. sold on the day of

the show, based on availability.

diana wortham theatre at pack place in downtown asheville DANCE SERIES

MARCH 13 & 14

reinvents dance

re-imagines theater

redefines thrills

MARCH 30 & 31

"pure explosive


- NY Times

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 21






stage preview

LYLAS Debut Appearance

Brand New Show at The Magnetic Field

All You Can Eat LYLAS is the tenth

totally original production written

and performed by

LYLAS. Featuring all

new material, All You

Can Eat LYLAS is an original

sketch comedy show. Think

Saturday Night Live, but with

all women! Though LYLAS

pokes fun at all things locally

and globally, their shows have

no agenda other than to make

people laugh.

Written, directed, and

performed by women, but

chock full of enough hilarity

for all genders to enjoy,

LYLAS is just plain funny. LY-

LAS has consistently sold out

performances for all of their

past shows and leaves audiences

laughing for weeks.

LYLAS (an acronym which stands

for “Love Ya Like A Sis” and is commonly

found scrawled in yearbooks or texted

between phones) is collaboration between

several Asheville women. LYLAS regulars

Delina Hensley, Hollis Brown, Robin

Raines, Sarah Carpenter and Marissa Williams

will be featured in this show.

For more information about LYLAS,

please visit

LYLAS is an acronym which stands for “Love Ya Like A Sis.”





All You Can Eat LYLAS runs

Thursday through Saturday nights

at 7:30 p.m. March 1-10 and

March 3, 9, and 10 at 10 p.m.

Tickets: $15 Thursday nights, $12 Friday

and Saturday nights.Tickets are available

in advance at

or by calling (828) 257-4003. Purchasing

tickets in advance is strongly recommended.

The Magnetic Field, 372 Depot Street, in

Asheville’s River Arts District.








North Carolina Stage Company

offers two straight hours of kneeslapping,

side-clutching, tearson-your-cheeks

laughter with its

two-man comedy Love Child.

Love Child is also the name of the

play-within-a-play in this comedy full of

backstage shenanigans and on-stage hysterics.

Writer/director Joel has pinned all of his

professional hopes on his new English adaptation

of the Greek tragedy Ion. Tensions

are running high as Joel tries to keep his

company of actors under control, his sanity

intact, and his mom from offering unsolicited

advice from the front row.

Charlie Flynn-McIver and Bill Muñoz

play an enormous cast of characters, including

the actors on stage, the crew behind the

scenes, and the audience watching them

perform. Directed by Neela Muñoz.

Bill Muñoz and Charlie Flynn-McIver star in

the delightful comedy Love Child.




Love Child runs through

March 18, 2012. Performances

Wednesday-Saturday at 7:30 p.m.,

Saturday and Sunday at 2 p.m.

Tickets are $17-$29 based on day of the

week. For details visit or

call (828) 239-0263.

22 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7



‘Danny Ellis’ continued from page 3

remarkable experiences as a

child and testament to the fact

that we endure, even thrive, not

despite obstacles and loss but

because of them.

When he last presented

800 Voices to a packed Diana

Wortham Theatre in March

2010, it was met with high

acclaim. John Ellis, Managing

Director of Diana Wortham

Theatre, describes the response:

“At the end of this surprisingly

uplifting performance, the

audience instantly rose as one…

Following the final bow, the

audience lingered in the theatre

longer than I have ever seen

– not wanting to leave – wanting to stay and talk about what

they had just experienced.”

Danny’s extensive history as a bandleader, arranger,

songwriter and performer are spotlighted the following night

with his March 10 presentation of An Irishman in America.

The evening features songs from his latest release, The Space

Between the Lines, along with a rich tapestry of musical

genres that have inspired him throughout his fifty-year musical

career, and the

“Triumphant …

transcendent … a

searing testament to

the resilience of the

human spirit.”

~ The Irish Times

Danny Ellis – An Irishman

in America

journeys through

the many places

he lived before

deciding to make

Asheville his home.

Since the age

of eight when he

joined the school

band, music has

been a driving force

in Danny Ellis’ life – and ultimately his saving grace.

Although not known as a trombone player, it was actually

Danny’s first instrument in school and his main instrument

during his time touring for a decade with Irish showbands

Graham Parker & The Rumour and The Foundations.

Audiences will have the opportunity to hear his trombone

playing at the March 10 concert.

After a decade of touring Europe and several years

working as a session singer in London’s Abbey Road Studios,

Danny immigrated to America in 1991, ultimately settling

in Asheville. He is a much sought after teacher of voice and

songwriting, and has taught at the renowned Swannanoa

Gathering. Danny has worked and performed with David

Wilcox, Peggy Seeger, and Kat Williams as well as hundreds

of students. Most recently, Danny worked with John Doyle

and co-produced his latest album.

PG. 36


The Green Light Cafe

Homemade Vegetarian and Vegan Meals

Catering :: Monthly Specials




The Mainstage Special Attractions Series presents

Danny Ellis, 800 Voices: Friday, March 9 at 8 p.m.

and An Irishman in America on Saturday, March 10

at 8 p.m.

For more information or to purchase tickets (Regular $30;

Student $25; Children $12), call the theatre’s box office at

(828) 257-4530 or visit Student Rush

tickets ($10 for students with valid I.D.) are sold the day of

the show, based on availability.

18 N. Lexington Ave.

Downtown Asheville • (828) 250-3800

Dinner Monday – Saturday

Tues.-Thurs. 11:30-8pm • Fri.-Sat. 11:30-9pm

Sunday Brunch 11-4pm • Closed Monday

PG. 36


PG. 36


Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 23

Scratch Kitchen

Locally Produced Foods



Dining Out for Life

D a i ly S p e c i a l S

MOnDay-FriDay 11aM tO 3pM

SaturDay BrunCh ~ 10aM tO 2pM


Dining Catering Take-Out







PG. 36


PG. 36


Dine-in :: Carry-Out

389 walnut Street

Waynesville NC


Limited Delivery ~ Call for Details

1196 N. Main Street

Waynesville, NC

• Daily Lunch Specials

• Frozen & Fresh Take-Out Meals

• Corporate & Special Event Catering

• Pick-up & Local Delivery Available

828-507-3654 or 828-452-5187 ~

MWF 10:30 to 5:30 • T/TH 10:30 to 2:30

Visit our website for catering options,

lunch menu & weekly specials!


PG. 36


PG. 36


The Western North Carolina AIDS Project (WN-

CAP) will join 55 other cities across the country and

Canada on Thursday, April 26, 2012, to host its 10th

annual Dining Out for Life ® event. More than 100

restaurants will participate. All money raised in WNC

will help WNCAP continue its mission to provide supportive

services for individuals and families affected by HIV/AIDS in

18 WNC counties, and

prevention education for

all who are at risk.

Although the event

is based in Asheville,

this year we have added

restaurants in Arden,

Black Mountain, Brevard,


Maggie Valley, Saluda,

Sylva, Waynesville, West Asheville, Weaverville and Woodfin.

On that date all participating restaurants will generously

donate 20% of their gross sales to WNCAP. Last year’s event

attracted over 10,000 patrons and raised $138,000, a new record

for donations from both restaurants and diners. Thanks

to the generosity of our sponsors, only 5.1% of our revenue

went towards expenses.

Dining Out for Life (DOFL) is the largest annual

fundraiser supporting the mission of WNCAP. Reduction in

funding at both state and federal levels has created an even

greater need this year for support from local communities.

Nationwide, over 26 million dollars for AIDS Service

Agencies across the country has been raised since the first

Dining Out for Life event in 1991 in Philadelphia. Asheville

ranks 5th in the nation for total funds raised each year and

number one for the least amount of expenses spent to produce

the DOFL event.

On April 26, each participating restaurant will be part of

an intense marketing campaign to increase diner traffic for

breakfast, lunch and dinner and to introduce people to new

dining experiences. Diners will be greeted at each restaurant

by Ambassadors to thank them for dining out; they will also

be offered opportunity to win drawing prizes in appreciation

for their support. Diners, Ambassadors and Restaurant staff

are invited to celebrate with an After Party that evening

at the Grove House featuring a variety of entertainment;

Grove House will also donate 20% of their gross revenue to

WNCAP as part of DOFL.

Dining Out for Life ® raises much-needed AIDS awareness

and serves as a reminder that our community is still

affected by this devastating disease.





restaurants will

donate 20% of their

sales to WNCAP on

Thursday, April 26.

To view a list of participating restaurants, sponsors

or for more information, visit

or call (828) 252-7489 ext. 310.

24 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7



Prestige Subaru is proud to present


The Greek Ladies Philoptochos of the

Holy Trinity Greek Orthodox Church

will hold their Annual Palm Sunday

Luncheon on April 1 from 11 a.m.

to 2 p.m. The take out line will open at

10:30 a.m. There will be a variety of Greek

dishes such as Pastichio, Spanakopita, Meat

balls, and Baked Chicken oreganato served

Cafereria style. Prices range from $1 to $12.

Place an order at (828) 253-3754 between 9

a.m. to 12:30 p.m. Monday-Friday and (828)

254-4754 on the day of the luncheon.

There will also be Greek folk dancing

performed by our youth Dance Troup. At

the Hellenic Center, 227 Cumberland Ave.

in Historic Montford.

April 26, 2012

investing in the souls of our city

Creatures Café

Alcohol-Free Music Venue and Café

• Awesome Desserts

• Delicious Snacks

• 23 Bottled Sodas

• Mocktails

• Full Espresso Bar

PG. 36


On Thursday, April 26, dine at one of over 100

restaurants in Western North Carolina and

20% of your total bill will be donated to the

Western North Carolina AIDS Project. You can

also enter our drawing to win fabulous prizes!


• Live Entertainment

• Amazing Desserts

• An Inspiring Art Gallery


Tues-Thurs, 5:30pm-12am

Fri & Sat, 5:30pm-3am

81 Patton Ave., Asheville

PG. 36



Creatures Cafe is a non-profit organization 501 (c)(3) ein 26-0245324 – Photos courtesy of Monzingo Photography

(828) 236-9800

Open 7 Days a Week

50 Broadway ~ Asheville, NC

Specialty Pizzas • Spring Water Dough • Salads

Vegan Soy Cheese, and other Vegetarian Options!

PG. 36


Bring in this Ad

and We’ll Take

15% Off

Your Order

Excluding Alcohol

1 Coupon Per Table


Hoagies & Pretzels

Fresh-Baked Calzones


Internet Access!

Like us on Facebook,

Follow us on Twitter @WNCAP and

visit for details!

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 25

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

restaurants & wine

Local Kava Aficionado Brews Inspired New Offerings

Vanuatu Kava Bar, North Carolina’s

first, has reopened at 15 Eagle Street

after closing their old location in late

December of last year. In addition

to a change of location, numerous

other changes are afoot for the local business

including lower prices, new and stronger

drink offerings, an even more laid-back

atmosphere, longer hours, and a vegetarianbased

menu for lunch.

Back in Asheville from a trip to

Vanuatu, Andrew Procyk, who co-owns the

business with his wife Keely Flow, is looking

forward to implementing his new inspirations.

“While experiencing fresh kava in

Vanuatu, I had a breakthrough about its potential.

The connections I made there have

now allowed us to achieve that potential, and

drop our per-drink prices at the same time.”

While he was there, Andrew was

featured twice in the Vanuatu Daily Post,

once with his picture gracing the cover.

“Ni-Vans (Native Vanuatu) were floored to

Vanuatu is to kava what

France is to fine wine. Native

cultures throughout the

South Pacific have drunk

kava for millennia.

learn that kava was taking a hold in the U.S.

in its traditionally-consumed form. It is a

major crop for them, and the U.S. is a huge

market, so we are putting a lot of money

directly into the villages of the growers by

doing what we do, and they are understandably

excited about it.”

Vanuatu is one of the archipelago nations

of Melanesia, in the South Pacific,

just west of Fiji. It is the home of world’s

strongest kavas and the likely birthplace of

its domestication, boasting 100+ varieties

of the root.

Tanna root ball

“Vanuatu is to kava what France is to

fine wine,” as Keely puts it. Native cultures

there and throughout the South Pacific have

drunk kava for millennia. It is used both for

social occasions and religious ceremonies,

as the kavalactones, the active constituents,

impart euphoria, relaxation and essentially a

lovely buzz – one some believe allows them

to communicate with their dead ancestors.

In Vanuatu, Procyk met with Dr. Vincent

Lebot, one of the most published kava

researchers in the world, viewed the growing

process on the outer island of Tanna, and

met with members of government agencies

to discuss the implementation of qualitycontrol

for exports.

“They are already essentially fairtrade

because of their mandated minimum

per-kilo price, and organic by virtue of

their purity law. The next step would be to

have outgoing shipments tested for chemo

types, to verify the cultivar before export.

This would not only ensures the product is

contaminant free, but would guarantee the

specific type/cultivar being exported.”

Meanwhile, down the street at your

newly re-opened local kava bar, there are

several new ‘Value-Added’ products that

have been developed by Vanuatu Kava Bar’s

kava source that stand to bring even more

money into the less-developed nation.

Keely explains, “We have the first watersoluble,

water-based extract of kava that

can be put into any drink. Pure relaxation

with no more rooty taste!” The new menu

will be veg-heavy and feature island items

as well as seitan gyros and tacos, tempeh

sandwiches, at a recession-friendly $5 average

price point.

The new location is decorated with

handmade pecky Bald Cypress furniture

crafted by Procyk, including a ½-ton,

12-foot table and benches which are the

communal centerpiece of the new bar.

An equally massive reinterpretation of

Gauguin’s Where Do We Come From?

What Are We? Where Are We Going? by

local artist Anne Marie McAllister will grace

the wall. Vanuatu Kava Bar smacks of rustic

sophistication, conjuring island relaxation

sans umbrella drinks or leis.

“We are really excited about the new

space and its potential, and hope to see lots

of new faces,” says Keely.

Vanuatu Kava Bar

15 Eagle St., Asheville, NC 28801

(828) 505-8118

March 2012 Events at

The Weinhaus

Wednesday, March 14

Wine Dinner at The Market Place As

an Asheville institution The Market

Place is moving in innovative, new

directions under Chef/Owner William

Dissen. After graduating from the

CIA, William honed his skills at the

prestigious Greenbrier Resort. From

there he made his way through the low

country cuisine of Charleston before

coming to Asheville to pursue his

farm-to-table vision of dining.

We look forward to pairing wines with

his five course culinary creation. The

time is 7 p.m. Price: $65 all inclusive.

Please call the Weinhaus for reservations

at (828) 254-6453.

Friday, March 30

Friday Night flights presents Springtime

in Spain. We all think of Spain

for their red wines, but what about

their sparkling wines and lovely, acidic

white wines. As the forsythia blooms,

we will offer an evening of wines that

are lighter on the palate.

The transition to lighter fares and longer

evenings lead us to wines that are

less dense on the palate. This evening

will travel from cava, through white, to

light-bodied red wine. The wine will

be accompanied by light hors d’ouvres.

The price is $10. Time is 5:30-7:30

p.m. Held at the Weinhaus.

The Weinhaus, 86 Patton Avenue

Asheville, NC (828) 254-6453

Great values & styles

FREE Wine Tastings on Saturdays

from 2 to 5 p.m.

Tasting wine is not only fun, but it presents a chance to learn about

wine and what it is about a particular wine that you like, or don’t

like. You can sip while you shop. Find some new favorites — try

it before you buy it. We will usually have a few whites and a few

reds open, with the occassional guest speaker. Please stop by!

Wine Retail ~ Tastings ~ Wine Classes

Great wines for any occasion and budget.

555 Merrimon Ave.

(828) 254-6500

26 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E

authors ~ books ~ readings

Naked Came the Leaf Peeper


hey say more than one cook ruins

the stew, but Asheville readers will

soon find out that a handful of

authors can whip up one deliciously

entertaining novel. Twelve local

writers contributed to a literary relay race,

each one writing a 6,000 word chapter (in

only two weeks!), adding their specialized

ingredients — usually zany, often lusty,



Linda Marie Barrett: poet, fantasy

author, general manager and co-owner

of Malaprop’s Bookstore/Café.

Wayne Caldwell: poet, short story

author and novelist (Cataloochee) .

Fred Chappell: former poet Laureate

of North Carolina, writer of short

stories, novels and literary criticism.

Latest fiction is Ancestors and Others,

New and Selected Stories.

Gene Cheek: author of the painful true

story: The Color of Love: A Mother’s

Choice in the Jim Crow South.

Annette Sanooke Clapsaddle: author

and teacher who lives in Cherokee and

serves as an assistant to Principal Chief

Michell Hicks.

Tony Early: a graduate of Warren Wilson

College, now living in Nashville,

writer of short stories and novels ( Jim

the Boy)

Alan Gratz: writer of short stories and

young adult mystery novels (Something


Tommy Hays: novelist (In the Family

Way) and Executive Director of the

Great Smokies Writing Program at


Brian Lee Knopp: author and memoirist

(Mayhem in Mayberry, Misadventures

of a P.I. in Southern Appalachia).

Vicki Lane: novelist, Day of Small

Things, and five books in the popular

Elizabeth Goodweather Appalachian

mystery series.

John P. McAfee: author of poetry and

two novels (A Slow Walk in a Sad


Susan Reinhardt: syndicated columnist

(Asheville Citizen-Times) and author

of four humor books (Not Tonight,

Wait Till I’m a Size Six).

Afterword by Charles F. Price, artist

and novelist of historical stories set in

North Carolina (Nor the Battle to the


sometimes depraved, and always clever

— to create a hilarious Appalachian novel

named Naked Came the Leaf Peeper.

Leaf Peeper is the latest entry into

the genre of relay novels begun by Naked

Came the Stranger in 1969, a hoax

written by 24 journalists, under the

name of Penelope Ashe, as a protest to

what they considered the popularity of

low-brow writing. Shocking everyone,

it became a bestseller. Proof, I say, that even

when they’re trying to write a potboiler,

good writers can’t help but turn out good

writing. And it helps, as in the case of Leaf

Peeper, if you have one of the country’s

best independent bookstores encourage the

project and publish it.

Leaf Peepers begins as a parody of

The Girl with the Dragon Tattoo. Tiny,

red-haired Garnell Lee Ray is a guilt-free

assassin with a spud gun. She shoots a nasty

real estate developer in the back with a

Yukon Gold, sending him splattering down

a cliff of the Blue Ridge Highway. But when

Garnell returns to the Linville Falls campground,

a figure juts out of the shadows and

shoots her — with real bullets. Next comes

the proverbial outsider, Avery County Sherriff

Detective J.D. Klontz, who hails from

Buffalo and hasn’t a clue about mountain

people and the interlocking predicaments

they get themselves into. Brian Lee Knopp,

who knows a thing or two about mountain

crime from his years as a private investigator,

wrote this first chapter.

“…zany… lusty…depraved…

and always clever…”

One by one the other authors stir the

pot, throwing in fiendish murders, peppering

it with deranged plot twists, and taking

the lid off salacious family secrets. The

fun in reading Leaf Peeper is recognizing

the style of each writer — we all know the

Southern belle columnist who can’t help

being sassy no matter what she writes, and

which honored poet is so inherently lyrical

that even his nonsense is a work of art. The

biggest surprise is how well the styles of the

disparate writers meld together. Leaf Peeper

is amazingly seamless — it can stand on

its own, not just as a novelty, but as a truly

enjoyable novel.

Though the story takes place in autumn,

in order perhaps to have the riotous Samhain

gathering in Pack Square that serves

as the ending chapter by Tony Early, (who

had entirely too much fun creating utter

chaos which lets no criminal go unpunished,

and one naked upturned butt), there aren’t

many words about the glory of our changing

leaves. Not much nature at all, really

— except for a strange raven named Pecker,



A fine,

hilarious novel

that natives

and tourists

alike will enjoy.

and a beagle who loves to eat golf balls. This

pair turns up, like omens of Granny magic,

throughout the novel, as if reminding us that

this story is not meant for Yankees — unless

of course, they’re planning to move here or

pay their tithes as tourists.

All of the writers are totally irreverent

towards everyone who makes Asheville so

wonderfully weird. No local is spared, not

Republicans or Wiccans, not Evangelicals or

nurses with fancy lingerie and certainly not

environmental polluters. The Asheville Citizen-Times

is pilloried for its lazy headlines

and the Mountain Xpress is chided for its

blatant liberal bias and its shameful lack of

sports coverage.

I want to complain that nobody made

fun of Rapid River Magazine. We don’t

cover sports and politics isn’t our thing

— all we do is write about local arts and

culture — couldn’t we have warranted even

one snarky barb?

Written by Brian L. Knopp et al

Malaprop’s Bookstore/ Cafe (2011)

212 pages, ISBN: 9780965865777

Meet the Leaf Peeper Authors

The public is invited to celebrate the

publication of Naked Came the Leaf Peeper

and meet the 12 local authors who wrote it.

The gathering is co-sponsored by the Great

Smokies Writing Program — so it’s a good

time to meet instructors and students in

that fun group, too. Be sure to give yourself

plenty of time to park and make your way to

the Humanities Hall.




Friday, March 30 at 7 p.m. in

the Humanities Lecture Hall, on

the campus of UNCA. For more

information please call (828) 254-6734, or


Marcianne Miller is a local writer.

She’s completing her first novel, set in

Asheville. She can be reached at marci@



We host numerous Readings,

Bookclubs, as well as Poetrio!

More events posted online.


Monday, March 5 at 7 p.m. – D-I-Y HERO

RON TANNER Talk & Booksigning.

March 8 at 7 p.m. – Sweet samplings from


Friday, March 9 at 7 p.m. – Visionary

Shamanism with STAR WOLF.

March 10 at 2 p.m. – ANNE CHESKY

RICEVILLE presents Images of America.

March 10 at 7 p.m. – STEPHANIE POWELL

WATTS presents her debut novel WE ARE


March 13 at 7 p.m. – Chinese Medicine

For Spring with KATH BARTLETT.

March 14 at 7 p.m. – A Friend In Grief:

Simple Ways to Help Discussion & Signing


March 15 at 7 p.m. – TASERIZED:

KYLE ROSS discusses her experience with

police brutality.

March 16 at 7 p.m. – PHOTOGRAPHY &


March 20 at 7 p.m. – NICARAGUA:


Discussion & Slideshow.

March 21 at 7 p.m. – NLP MEETS ADHD:

Discussion with BRUCE STEWART, MNLP.

Thursday, March 22 at 7 p.m. – CHI


March 24 at 7 p.m. – MIKE SEEGER’S Life

& Musical Journey: an old-time country

music event with BILL C. MALONE.

March 27 at 7 p.m. – Discussion with


March 28 at 7 p.m. – GLOW: a reading


Thursday, March 29 at 7 p.m. – TOXIC

FOOD/HEALTHY FOOD, Discussion with DR.


55 Haywood St.

828-254-6734 • 800-441-9829

Monday-Saturday 9AM to 9PM

Sunday 9AM to 7PM

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 27



What mischief the wind

whips up

Ordering and reordering

sky’s vapors,

Fashioning strange shapes

in foamy grey white

While sun melts

to oily light

Staining firs

that rim the sky.

On the way there


Sun smells different

through bright air


Where she sits

in robed silence

Staring at nothing,

the massive wall clock

Clicking out seconds

of her still moments,

Pricking the quiet

in tocks

That mimic her heartbeat:

Tireless glass meter

measuring a life.

She articulates notice

of blankness,

Of sameness

of days

That have somehow


To decades,


in a warm grey cave

Walled by ghosts


with phantom steps of kin

And keen elegance

Where once she had

busy breaths

Of bright unruly children

and days of difference.

Here now, the enormity

of small tasks

And time that won’t stay put.

What crawled away

in the night this time?

Was it a hand

or a foot?

Or something more useful

that at dawn

Turned to earth?

Memories are voiceless.

Only the clock

asserts its diligence

To a deaf room

Mute as a tomb

but for the glass heart

On the wall

that, bloodless, looms

And today

no one comes,

No one at all.

~ Kirsten M. Walz

R A P I D R I V E R A R T S & C U L T U R E

poetry & poets

Returning to Appalachia:


by Kennon Webber

by Thomas Rain Crowe

Axed by a FAX

He had just returned from his 2 week vacation when

He got the Word:

…services no longer…clean out your desk by…

His final check arrived by mail with a curt note

“Don’t fail to apply for COBRA”

Plus a cheery reminder from

Human Resources to sign up

ASAP for employment counseling and an

Anger management seminar

Job search networking scheduled soon

A precise date forthcoming

Yes, axed by a FAX, just when it was no longer

The Job but a way of life

But he had heard for years that over-55

Men and women were disappearing from the

National work force

Now, he was going to find out where they went.

from Leo Poems

[an internal chapbook in Minotaur #60, 2011]


Let the god-knows-what be brown as earth

on skin and bone

Let the young morning become soft night and the disappearing dew

become stone

Let the open nectar of flowers be like bald meadows

high on The Roan

Let the murmur of song sparrows seep from rivers

melted with frost and fire

Let wet smoke bloom and dance after soft rain goes wild

blushing at blue wind fecund of flickers and rise higher

Roan Mountain–Fall 2010

from Every Breath Sings Mountains

[Voices from the American Land, Vol. II, No. 3, 2011]


When I began writing this

monthly column for Rapid

River Magazine in June 2009,

I thought I’d primarily be

reviewing books by contemporary

Appalachian poets. I did so more or less

regularly for about a year, but then began to

explore other territory….for no other reason

than there were many other territories to

explore. Thereafter, I often turned my attention

to the poetry of other countries and

other cultures. I’ve periodically returned

in my Rapid River Magazine columns to

my original focus on Appalachia, writing

reviews of particularly interesting poetry

books from regional poets.

Over the past year or so, I have frequently

avoided the traditionally

analytical role of the

reviewer and have instead

responded to the world of

poetry as an unself-conscious

fan. This column will

follow along that vein.

Below are some recent

poems by five exciting poets

from across Appalachia.

These poems are somewhat

arbitrarily selected

from the memorable books

in which they originally

appeared, all published in

the past year. My hope and

recommendation is that if

you like the poems, you

will seek out the books.

You’ll not regret becoming

more familiar with these

poets and those books.

by Linda Parsons Marion


The Hills Are

Green and Fresh

After rain I wander slowly

across the graveyard and

grant immortality for

an hour of remembering.

Miss Hettie, whose fingernails with ridges

were beautiful to a first grader, and

Mrs. Kingery, Sunday School teacher,

who comforted an orphaned four-year-old,

lie near the hill’s crest. I am joined

by Cousin Eugene who says Billy Joe,

the naughty boy who used an art class jar

when Miss Lavonia said he “could not

leave the room,” survived Pearl Harbor

on the USS North Carolina, fought on

for four years, came back a broken man.

We remember the War and how all

of us left then, the first of

our folks to leave the hills.

They are here, Mother, Daddy, Aunt Madge,

Tom, Grandpa, Uncle Lon, Aunt Pearl.

The gravestones speak memories

as the reluctant sun sets.

At Lois’s we eat strawberries

washed with love,

sweetened by rain.

~ Lenore McComas Coberly


I fought it for years, buying cigars for a man

who kicked cancer’s ass, beat heart attacks, TIAs.

Then asking his favorites, I left the tobacconist

with a boxful of Punch Deluxe. A premium smoke,

he strokes the Sumatran wrapper like a foreskin,

blend of fine Honduran broadleaf he wets in the O

of his lips. He tells of visiting Castro’s Havana, late

‘60s, clandestine factory tour in treacherous times,

loco Americano slipping in the side door. Coffee-dark

workers handed him fresh Maduros, sealed with a hark

of spit. Although Tampa, or maybe that trip to the Bahamas,

is the closest my father ever sailed to Cuba, I let him

disembark on its turquoise shore, let sand scuff his shoes,

canefields sweeten every inlet for miles. He taps ash

on his pantleg, inhales revolution, the sweating rollers

and cutters, the spice routes of old. To get the last dib

of good, he screws the hot stub in a corncob pipe

and draws to the bitter end.

from Bound [Wind Publications, 2011]

28 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

annual poetry contest winners


Another Thanksgiving

My mother wasn’t there.

She would have loathed the talk

Twenty percent discounts

a friend of a friend could

squeeze you in

cash in your miles

three trips for the price of one

Atlantic City, Disneyworld, Vegas

Next month they leave for Florida

they got this great deal

So now the task of eating

everything left in their fridge back home

and describing in unsparing detail

how their car will join them on the car train.

My mother wasn’t there

for the stirring at the stove

the carving at the board

the unmolding of the jello

the two kinds of stuffing

the crisp and the soggy

And yet she was,

angered anew by interruptions

from multiple cellphones,

virtual switchboard from hell

My father wasn’t there

either and yet he was

as I drank his seven

glasses of Scotch and

wine and mouthed

unflattering commentary

beneath my breath.

~ Fran Ghee Ross


All Grown Up

The grass is thick and deep and wide

calling fragrant from outside

one blade within the other cries

for rain to fall down from the clouds

The grass is tall and growing still

alive with crickets and lady bugs

spiders perched upon clover thickets

etched silver and pearlescent

in sweet morning droplets

I used to weep when the grass was cut

soft muted muffled sounds

gurgling forth my secret love

trembling rivulets spilling out

the widening edge of river

I could never find

I lingered there all alone

resisting the pull of the world

now I step lightly into the quiet

throw the barn doors open

and turn the key in the mower

the crickets retreat and lady bugs vanish

the spiders fleeing up their invisible webworks

and I mow mow mow

never looking backwards

my ears stopped by machine roar

my eyes fixed ahead upon the day’s chores

my heart stilled to childish feeling

that only my spirit still remembers

slipping past blinders that block

the slow moving turtle and snake

the newborn rabbits in their nests

and all the rest of life

to my right and to my left

~ Natalia Kalianna


The Book of Jobs

Today’s skimming of the web is like reading the

Book of Job with an added s—

It’s downhill all the way.

The horrors of a body’s ills have been replaced

by mental doubts that linger

In the mind of the few brains left—

For art is gone, its glory past.

A once nimble finger

Now casts about for meaning behind foolish

attempts at creating weakened images,

All in a search for icons to glorify what’s left

of pure cult

And swiftly move to a mass-cult domain.

No pyramids, no dollar signs, no crosses of a

medieval cast,

No sunbursts or slices of a moon,

Just pitiful iconography

Filled with reptilian hearts of emptiness.

~ Peter Loewer

We here at Rapid River Magazine

always like to provide a forum for

our local and regional poets. This

year’s contest winners are unique,

diverse, and talented. As always,

we thank each and every person who

submitted work, and encourage them to

continue writing. We hope you enjoy these

poems as much as we did.

by Rose McLarney


Some springs, apples bloom too soon.

The trees have grown here for a hundred years, and are still quick

to trust that the frost has finished. Some springs,

pink petals turn black. Those summers, the orchards are empty

and quiet. No reason for the bees to come.

Other summers, red apples beat hearty in the trees, golden apples

glow in sheer skin. Their weight breaks branches,

the ground rolls with apples, and you fall in fruit.

You could say, I have been foolish. You could say, I have been fooled.

You could say, Some years, there are apples.

from The Always Broken Plates of Mountains

[Four Way Books, 2012]

by Jesse Graves

Devil’s Snuff

My cousin David and I made sport of it,

Ranging into the woods to see who

Could turn up the most,

then smashed our shoes

Down on the knobby brown heads of dust—

The devil felt so real to me that I trembled a little

At the spores spreading wide in the air,

His hot breath breaking

loose upon the earth,

Our laughter another sign that he owned us.

from Tennessee Landscape with Blighted Pine

[Texas Review Press, 2011]

Ted Olson is the author of such

books as Breathing in Darkness:

Poems (Wind Publications,

2006) and Blue Ridge Folklife

(University Press of Mississippi,

1998) and he is the editor of

numerous books, including The

Hills Remember: The Complete

Short Stories of James Still (University Press

of Kentucky, 2012). His experiences as a poet

and musician are discussed on www.windpub.


Poets who would like for their poetry to be

considered for a future column may send their

books and manuscripts to Ted Olson, ETSU, Box

70400, Johnson City, TN 37614. Please include

contact information and a SASE with submissions.

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 29

R A P I D R I V E R A R T S & C U L T U R E

southern comfort


Celebrating Mike Seeger

in Words and Song

Bill C. Malone, Professor

Emeritus of History

at Tulane University,

is one of the country’s

leading historians on

country and traditional

music. The Society for

American Music gave

him a Lifetime Achievement Award in

2008. His newest book is Music from

The True Vine: Mike Seeger’s Life &

Musical Journey. Malone will discuss

his biography of Mr. Seeger and play a

little old-time country music with his

wife Barbara.

IF YOU GO: Saturday, March 24 at 7

p.m. Malaprop’s Bookstore/Café, 55

Haywood Street, downtown Asheville.

For more details: (828) 254-6734, www.

Help Me Keep Asheville Weird!

As the Dolly Parton song goes, “Here

she comes again.” That rings true

for me, as I am back again with new

columns for Rapid River Magazine.

Sometimes, at least for me, a little

hiatus from the writing is sobering

and good. It certainly

clears the head and allows for

a new start with new ideas.

So, here we go again!

During my time with

newspapers, an editor told me one day that

my real talent is feature writing. I know

we live in a time that people value family

members more than ever, because life is so

very precious. I can see it in the obituaries

in the newspaper each morning. I always

have to see if the deceased is someone I

interviewed on some newspaper in North

Carolina. Sadly I have seen more than one

in recent months.

There have been times with newspapers

where I generated my own stories instead

of having an editor give me an assignment.

People have also called and asked me

to look into doing a story on someone they

hold special.

So, always looking for new story ideas

that can make a difference to another person,

I began thinking about news stories for

Rapid River. No matter how newspapers

have changed there is always a need for

features about real people in our city and

county. There is not one person I know who

would not be honored if I called and said,

“I would like to write a story about you.”

I have never had anyone turn me down or

refuse to have their story printed.

So, my new idea for Southern Comfort

is to share more people stories with

our readers. There are no qualifications

that a person must have in order for me to

interview someone. Just call me in Asheville

at (828) 253-3655 or send me an email:

with your suggestion and

phone number of that special person. I will

find out what is unique about this person

when I call them for an interview.

Your special person can be a son or

daughter, your husband or parents, grandparents

or a fireman or police officer, a ditch

digger or someone who cleans out sewers

Every one of us has

a story to tell.

in Asheville, it makes no difference to me.

Each and every person is the same, not one

person is better than someone else. Every

one of us has a story to tell.

Life for all of us is very different than

when I was younger. Our

lives can be snuffed out in

a moment’s time. So many

of us never get the chance

to hold that person again or

even say thank you for all the

great years. Did you say, “I love you, honey,”

when you left for work today?

Life is more than precious to me these

days. I think about every single person I

have known over the years, some that I

did not stay in touch with and others I just

lost contact with. Why not call me or email

me and together we will feature some very

unsuspecting person in my column? Then

in the event of tragedy, you will have that

special story in your possession to read

again and again.

If you are someone who has a hard time

describing things or a significant other in

ynthia Drew’s first novel, City of

Slaughter, tells the powerful story

of a young Jewish immigrant who

flees Russia in 1900. She finds

work in the sweatshops of New York, at

the ill-fated Triangle Waist Company,

where 146 garment workers were killed

in a terrible fire. With courage, determination

and hope, the woman struggles to

reach the highest level of society. Drew

is the winner of Rapid River Magazine’s

short fiction prize (2005) and teaches


your life, just pick up the telephone and give

me a call and I will help you. I will write the

story about your favorite person.

I am looking forward to hearing from

you in the next few weeks.



creative writing at


Reuter Center.

urder as a Call to Love is Judith

Toy’s extraordinary story of how

she recovered from the murder

of her family, and, using mindfulness,

reached a state of forgiveness and

love. She was a core member of worldrenowned

teacher Thich

Nhat Hanh’s order in

1997 and his teachings

abound in her book.

With her husband Philip

Toy, also an ordained

Zen master, she leads

Writer Judy Ausley

has been a reporter

with newspapers

in NC for 40 years.

She retired in 2005

and continues to

freelance at her

home in Asheville. She can be contacted

by e-mail at If you

know a character in Asheville who has not

had a conventional life, put them in touch

with Judy for an article in this column,

Southern Comfort.

IF YOU GO: Friday,

March 16 at 5 p.m. at

Accent on Books, 854

Merrimon Avenue

in North Asheville. For more details

phone (828) 252-6255 or visit www.



workshops and retreats

in the U.S. and abroad.

IF YOU GO: Sunday,

March 25 at 3 p.m. at

Malaprop’s Bookstore/

Café, 55 Haywood

Street downtown

Asheville. For more

details call (828) 254-

6734, or visit

30 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

artful living

Personal Peace

“Everything is as it can be.”

~ Alan Watts, philosopher/theologian

Eckhart Tolle advises us “our suffering

is in our resistance to what is.” The

“what is” of life contains the entire

spectrum of possibility from the

sublimely beautiful to the unfathomably

hideous, from the birth of a child, to

the Holocaust, from the bloom of flowers

in spring, to the wasteland of a nuclear

explosion or catastrophic global climate

change. Many rightfully ask whether it is not

necessary to resist “what is” if it is patently

destructive, anti-life and human dignity?

The answer is in the manner of resistance

we bring. Tolle is not advising us to

passivity. He is advising us to wise seeing of

things for what they are, and not resisting

the understanding that “everything is as it

can be.” To oppose a wrong, we must first

see the wrong as the natural outcome of the

way things are. To change what is wrong

and destructive, we must work with the

“what is” of the conditions that created it.

First, we must be willing to see it for

what it is, to not be apathetic, not turn a

blind eye. Having seen it, we must not

shrink from it as if it cannot be, or that it

is too frightening to us. Nor can we fight

a wrong from the place of hatred. Hatred

created it. In the end, from the place of

hatred, we will replicate much of what we

fought to displace. Action emanating from

Sick and Tired


obby! How’s it going, dude?” Josh

leaned over the cubicle wall. “Great

Super Bowl, huh?”

“Yeah. Great game.” Robert did

not look up from his computer key


“Wow, man, what happened?” Josh

came around the cubicle wall to get a closer

look at his friend. “Did your team lose you a

lot of money, or what?”

“Nah. The game was fine. It’s the commercials.

They make me sick and tired.”

Josh banged his “enter” key with a flourish

and looked up.

“What!? You didn’t like the polar

bears?” Josh said half-jokingly. But he knew

his friend didn’t get upset easily over trivial

matters. “What gives, man?” He could see

the fire in Robert’s eyes.

“I am sick and tired of commercials that

portray males as slobbering sexual idiots, females

as sex objects like blow-up dolls, and

heaven as some sexual fantasy place.”

Such thinking, however, is beginning

to be questioned and challenged by

an increasing number of individuals

who are evolving in their consciousness.

These visionaries see

the necessity for a social awareness

that enfolds all peoples, all

species, even the ecosystem of

the planet itself as the necessary

identity for humanity if we are

to survive and prosper

into the future.

A growing mass of

such evolving individuals

is necessary to

achieve an evolving,

healthy human society

that moves what

“can be” to entirely

new dimensions of

“what is.”

It is a very difficult

lesson to absorb that without the tion of the “what is” of the limited con-


that leads to destructive social

patterns, there can be no evolving to what

can be. The starkest example of this is that

it took the insanity of the Holocaust for

the majority of humanity to say, “never

again” to genocidal racism.

It took the shocking devastation of

Hiroshima and Nagasaki for a growing

realization to take root that unlimited

war can never be waged again. It will,

sadly, probably take the shock of dramatic

consequences to human-created climate

change to force a new evolution of human

love, compassion and courage

are the non-resistance that is

the only true counterweight to

evil, hatred and apathy.

“Everything is as it can

be” is an amazing insight

into the unfolding

evolutionary dynamic

of society. Human

society is a collective

consciousness that,

exactly like an individual


is in a process

of evolution, of

moving from a narrow,

self-absorbed, frightened and limited sense

of self into more expansive, inclusive and

resourceful awareness.

In example: along the path of human

history, absolutist monarchies, slavery,

religious wars, sexism and racism have been

accepted political consciousnesses. Humanity,

individually and collectively has, or is in

process of, evolving beyond such consciousnesses.

The “what is” of humanity has

evolved into a new “can be”.

Today, economic, political and national

competition and conflicts are accepted

political consciousnesses along with unfettered

exploitation of the Earth’s resources.


“Is this a religious thing?” Josh asked.

He knew Robert was a professing Christian.

“No, man.” Robert was adamant. “It’s

my head they’re messing with. Do you

know what that does to your mind – when

you see all those scantily clad female bodies

dancing around in some idiot male mind as

if heaven were some sexual fantasy place?

You begin to think that this kind of thinking,

this kind of behavior is normal. You

begin to believe that this is how we should

think of each other, that we are just sex

objects to be exploited, that life is just a big


“Easy, man. They’re just some commercials

on TV. Everyone knows that isn’t


“Yeah. Tell that to Delbert.” Robert

turned back to his computer, staring at its

blank screen.

“You mean the guy over in accounts

receivable?” Josh looked puzzled as Robert

nodded. “Why? What happened to him?”


“He and some of the girls in shipping

seem to have accepted that fantasy world

as reality.” Robert shook his head, trying to

clear away the stark reality that had intervened.

“Now he’s in a messy divorce and is

at risk of losing custody of his kids.” Robert

looked up at Josh and nodded. “Yeah, those

cute kids in the picture that he has on his

desk – the ones that he’s always bragging so

much about to us.”

“Oh, wow.” Josh rolled his eyes and

ran his hand through his hair as he walked

around in a small circle trying to take it all

in. “Oh, wow.”

Robert put his head in his hand. “Those

commercials totally ruined the game for me,

man.” He stood and headed for the coffee

machine, then turned, walking backwards

and speaking. “I’m telling you, I am sick

of being the target of these sexually perverse

advertisements and I am tired of the

bombardment, man.” He spun around and

walked away. “I am sick and tired of it all,”

he tossed over his shoulder.

“Oh, wow,” Josh muttered as he turned

back to his cubicle.

consciousness in relationship to the planet

and our place upon it.

The horror of “what is” is sometimes

necessary to wake us up to what can be, to

what must be, if we are to evolve successfully

as a species. No, to realize that “suffering is

caused by resistance to what is” is not a call

to passivity. It is a call to come out of denial

into consciousness. It seeks to awaken us to

the need for action that moves us beyond the

“is-ness” of a destructive unconsciousness.

Paradoxically, this evolved consciousness can

bring us personal peace while we engage the

forces of history and social conflict.

Sometimes, force is needed to constrain

violence, but only peace will bring peace.

Ultimately, violence only perpetuates violence.

Only identification with the totality of

life on this planet will save humanity from

the consequences of our identification with

separateness, consumption and competition

moving us toward Armageddon.

Do not resist facing this “what is.” It

got this way because it is how everything has

been. We must evolve our vision as individuals

and then as a species into a new “can

be” if the next stage of human history is a

consciousness capable of a peaceful, beautiful,

sustaining future. To resist this will

surely bring suffering.

Reprinted from February 2008

Bill Walz teaches meditation

and mindfulness in university

and public forums, and is a

private-practice meditation

teacher and guide for

individuals in mindfulness,

personal growth and consciousness. He

holds a weekly meditation class, Mondays,

7 p.m., at the Friends Meeting House, 227

Edgewood in Asheville. By donation.

Information on classes, talks, personal

growth and healing instruction, or phone

consultations at (828) 258-3241, e-mail Visit

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 31



Local Retreat for

Times of Transition

Two seasoned teachers will lead a retreat in downtown

Asheville on Friday, March 16 and Saturday, March

17. Crossing Thresholds: Navigating Your Uncharted

Territory invites participants into quiet reflection

and expressive activities to explore the hopes and

fears of facing

change. Co-leaders

Laura Collins

and Barrie Barton

will create a safe

community where

participants can dive into the choppy waters associated with

transition and leave with tools for further reflection.

Barton, who last year directed the community choreography

production, Hand Me Down, at the Diana Wortham

Theater, says the retreat will “help participants create a new

relationship to the experience of moving through transitions,

allowing them to lean gently into the change.” She will use

her experience as a dance teacher to lead participants into an

awareness of the body’s natural wisdom. “Each of us has access

to an inner intelligence that emerges when we give ourselves

time to play, connect and reflect,” adds Collins, a local

writer, counselor and retreat leader. “We’ll guide participants

to find their own compasses for navigating the uncertainty.”

About the Retreat Leaders

With 30 years of dance, choreography and teaching

experience, Barrie Barton brings a wide-open, liberating and

ineffable skill for creative expression to her role as a community

choreographer, dance educator and artistic director. Currently,

Ms. Barton serves as artistic director of Community

Choreography Project, which invites participants to artful

play, exploration and expression through movement, stories,

creative writing and choreography.

Ms. Barton taught dance for Buncombe County Schools

for 22 years. She continues to inspire teachers and students

as guest faculty at the N.C. Center for the Advancement of

Teaching, Upward Bound at Mars Hill Collage and through

community adult dance classes and workshops. Ms. Barton

successfully produced four multi-media movement theater

performances: ‘Hand Me Down,” in 2011, ‘Knock, Knock,’ in

2009, ‘Holding Us’ in 2007 and ‘Holding Love’ in 2006.

Laura Collins began leading retreats more than 20 years

ago and brings humor and empathy to her work of creating

community. With backgrounds in theology, contemplative

spirituality, counseling and creative writing, Ms. Collins

weaves poetry and play into sharing and silence. She served

congregations for 16 years and has worked in hospice, with

men coming out of prison and with at-risk youth.

She now works as a retreat leader and ritual artist

through Living Rituals and Sacred Separations, as a writer

and editor through The Write Idea, and at Mission Hospitals

as a Family Support Liaison helping families with difficult

end-of-life conversations.




Explore the hopes and

fears of facing change.

The retreat, 6:30 a.m. to 8:30 p.m. on Friday,

March 16, and 9:30 a.m. to 3:30 p.m. on Saturday,

March 17 will be held at Jubilee! Community at

46 Wall Street. Only 25 participants will be accepted to

provide for a more intimate retreat experience.

Early registration prices end on March 10. Registration and

additional information is available by emailing either leader: or Lunch

from Loretta’s may be ordered when registering.

32 December 2011 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 4


the curmudgeon

The Curmudgeon and

the Sweepstakes

The Curmudgeon has a facetious

look about his visage,” said Cityfella

to Mrs. Storekeep as he waited for

the morning mail to be sorted with

the deft hands of the second in


“Just before you arrived I gave him

his Sweepstakes Prize Selection Kit from

The Publisher’s Clearing House — in fact,

there’s one for you coming up. The prize

is up to $10,000,000.00 so I imagine he’s

thinking about it as we speak.”

She put the pile of the various weekly

shoppers aside in order to reach Mrs.

Cityfella’s copy of Harper’s Bazaar and

neatly file it with his Progress Energy bill

— including its usual notice of all the good

things it does for everybody’s welfare — and

a copy of The New York Times, plus his

phone bill from AT&T.

Cityfella opened the brown envelope

from Port Washington, NY, and began to

sort through the cards and the enclosed

computer-generated letter, and immediately

started to smile.

“Now you know why I’m smiling so,”

said Curmudgeon, “because this promise of

so much money tells me just what my lifelong

dreams should be.”

“What?” asked the local Tax Collector

as she piled her tax records on the counter

next to the newspapers and sat down on the

small stool below the bowling trophies.

“Well,” he said, “to begin with: Imagine

returning to my place of birth with

$10,000,000! I could pay off all my bills . .

. invest for the future (that’s a good one),

plan for my children’s education (where?),

and still have plenty of money left over

to treat my family to some pretty fancy

luxuries. Think of the looks on my various

neighbors if I drove home in a brand-new

luxury car.”

“What’s a luxury car?” asked Mrs.

Storekeep. “Most of the trucks that roll

around these roads cost more than most

luxury car, especially with all the extras they

usually contain.”

“What luxuries?” asked the Tax Collector

with a knowing gleam in her eye.

“I could,” continued Curmudgeon,

“build a new home in the area’s best neighborhood

. . . complete with a gigantic swimming

pool and a wet bar in the patio.”

“And you would have 1 in

1,215,500,000 chances to win,” said Cityfella.

“The mosquitoes and the midges

would love the patio bit,” said Mrs. Storekeep

as she glanced at the shelf loaded with

various repellents for the summer to come.

“And if I win,” said the Curmudgeon,

“at 9:30 one morning a Cadillac limo could

pull up on front of my home — “


“ — not unless

you pave it,”

Illustration by Peter Loewer

said Cityfella.

“. . . and my entire family could be

chauffeured to the Atlanta Airport where we

would board a private jet that would carry us

to any place in the world — ”

“ — that would let you in — ,” said

Mrs. Storekeep.

“And, I think, you still have to go

through security checks,” said Cityfella.

“And,” said Mrs. Storekeep, “remember

you’re a bachelor, live alone, and your only

relatives are two sisters in Cincinnati — who

never visit.”

But the look on the Curmudgeon’s face

showed he was no longer listening, but in a

voice tinged with emotion started a rundown

of just what he could to with a pile of


“I could solve the mysteries of the

Mexican pyramids and actually know what

happens after the Aztec calendar for 2012

comes to an end. I could know how to guarantee

success at my job — ”

“What job,” muttered the Farmer who

up to now had been quietly sitting over near

the front window reading his copy of The

Wall Street Journal. “The only job he ever

had was the time he bought stock in that

company that planned to buy iceberg chunks

and float them down to various countries

in the Mideast that were running short of

their water supplies, like France planned for


“I could have seven cars, one for each

day of the week — ”

“I think,” said the Tax Collector,

“there’s a county council meeting I should

be attending.”

“Seven in a neat row, each with different

colors — ”

“I’ve got some fertilizer to order

— unfortunately not as ripe as what you

have around here,” said the Farmer to Mrs.

Storekeep, “so have a great day,” and he ran

to the door.

“A huge wall-covering TV with a dish

on the roof that would pull in Japanese soccer

matches — ”

Cityfella picked up his mail, put the

sweepstakes stuff in the waste basket by the

front door radiator, and waved good bye to

Mrs. Storekeep.

“ — Not to mention life size statures

of Batman and Superman to stand over near

the wet bar — ”

Peter Loewer has written and illustrated

more than twenty-five books on natural

history over the past thirty years.

Thank You to Our

Fine Sponsors:

Asheville Lyric Opera,

Sign-A-Rama, Great

Smokies Creations,

Mia Galleries, Van Dyke

Gallery, Gallery 262,

Frame It To-a-T, Neo

Cantina, Jack of Hearts

Pub, Creatures Cafe,

Mamacitas Restaurant,

Jimmy John’s Subs,

Green Light Cafe, The

Fine Arts League of the



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• A Private Show at a 2012-2013 Opera Production

• $500 in Giclee Prints of Your Winning Entry

• $700 in Classes at The Fine Arts League of the

Carolinas Art School

• $500 in Custom Framing

Prizes will be awarded to the top 3 entries.

There will also be a People’s Choice Award.

Enter online at

A portion of the proceeds will benefi t Friends of Great Smoky Mountain National Park

Entry Forms Available at These Locations


Asheville Lyric Opera * 236-0670, YMI Building, 39 S. Market Street

Bistro 1896 * 251-1300, 7 Pack Square SW, Downtown Asheville

Creatures Cafe * 254-3636, 81 Patton Ave., Asheville

Fine Arts League of the Carolinas * 252-5050, 362 Depot St., Asheville

Frame It To-a-T * 665-7730, 1103 Brevard Rd., South Asheville

French Broad Food Co-Op * 255-7650, 90 Biltmore Ave., Asheville

Green Light Cafe * 250-3800, 18 N. Lexington Ave., Asheville

Guitar Trader * 732 Haywood Rd., Asheville

Jimmy John’s Subs * 5-A Biltmore Ave., Downtown Asheville

Luke Atkinson Furniture * 252-7168, 728 Haywood Rd., West Asheville

Made In Asheville Gallery * 254-8949, 61.5 Lexington Ave., Asheville

Mamacita’s Mexican Grille * 77 Biltmore Ave., Downtown Asheville

Sign-A-Rama * 484-1590, 1216 Hendersonville Rd.,

Van Dyke Gallery * 281-4044, 29 Biltmore Ave., Downtown Asheville

Biltmore Village

NEO Cantina *


Bogarts Restaurant * 452-1313, 303 South Main St., Waynesville

Cornerstone Cafe * 452-4259, 1092 North Main St., Waynesville

Friends of Great Smoky Mountain National Park

Gallery 262 * 142 N. Main St., Waynesville

Great Smokies Creations * 85 Muse Business Park, South Waynesville

Kanini’s * 507-3654, 1196 North Main St., Waynesville

Village Green * 273-2635, 389 Walnut St., Waynesville

Strains of Music * 456-3331, 67 Academy St., Waynesville


Jack of Hearts * 645-2700, 10 South Main, Weaverville

Vol. 15, No. 4 — RAPID RIVER ARTS & CULTURE MAGAZINE — December 2011 33

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

what to do guide

Fiber art by Cheryl


Thursday, March 1

Artistic Diversity

in Fiber

A new exhibition

showcasing quilting,

knitting, dollmaking,

and other

fiber arts, opens at

Blowers Gallery in

UNC Asheville’s

Ramsey Library.

The exhibition is free and open to the

public and will remain on view through

March 30. An opening reception will be

held from 6-8 p.m. in the gallery.

The exhibition features the work of

members of the Fiber Arts Alliance,

which is affiliated with the Asheville

Quilt Guild. These artists work in

many types of fibers and their creations

take many forms, ranging from the

traditional to the innovative, flat and

three-dimensional. For more information,

call (828) 251-6436.

Friday, March 2

Artists of





Reception from Souls by Cassie Ryalls

6-8 p.m. On

display at the Mesh Gallery through

April 13, 2012. 114-B W. Union St.,

Morganton, NC. (828) 437-1957. Free.

10% proceeds to Options.

How to place an event/

classified listing with

Rapid River Art Magazine

Any “free” event open to the public can

be listed at no charge up to 30 words.

For all other events there is a $14.95

charge up to 35 words and 12 cents for

each additional word. 65 word limit

per event. Sponsored listings (shown

in boxes) can be purchased for $18 per

column inch.

Deadline is the 19th of each month.

Payment must be made prior to printing.

Email Beth Gossett at:

Or mail to: 85 N. Main St, Canton,

NC 28716. Call (828) 646-0071 to

place ad over the phone.

– Disclaimer –

Due to the overwhelming number

of local event submissions we get for

our “What to Do Guide” each month,

we can not accept entries that do not

specifically follow our publication’s

format. Non-paid event listings must

be 30 words or less, and both paid and

non-paid listings must provide information

in the following format: date,

time, brief description of your event,

and any contact information. Any entries

not following this format will not

be considered for publication.

Friday, March 2

Cecil Clemons

An opening

reception for the

Asheville Gallery

of Art’s featured

artist will be held

from 5:30 to 7:30

p.m. The exhibition,

“Three,” will

Dream, 36x48, acrylic.

feature passionate,

colorful, non-representational

paintings inspired by Central American

native traditional clothing. On display

through March 31, 2012 at 16 College

Street. For more information, call (828)

251-5796 or visit

Sunday & Monday March 4 & 5

Auditions for “Look

Homeward Angel”

The Haywood Arts Regional Theatre

will hold auditions for its spring

production of the Thomas Wolfe

classic Look Homeward Angel at 6:30

p.m. Directed by Steve Lloyd. The play

opens April 27 for a two week run and

has nineteen roles for men and women

of various ages. The lead is a young

teenager. Anyone interested in working

production should stop by. Auditions

will be held in the Performing Arts

Center at the Shelton House, 250

Pigeon St. in Waynesville. For more information

go to

Monday, March 5


Women’s History


The Asheville-Buncombe

League of

Women Voters will

present a one-woman

show at NC Stage

Company honoring

Frances Perkins.

Actress Caroline

McIntyre portrays

Frances Perkins.

Perkins was the first woman to serve in

a Cabinet, a fighter for women’s rights,

and FDR’s Secretary of Labor. The

venue will open at 6 p.m. with a cash

bar and snacks. Show from 7 to 9 p.m.

Tickets are $19.50, $10 for students.

Reserve tickets at or

by calling (828) 239-0263.

March 5 & 6

Contemporary Art

and Women Artists

Eleanor Heartney,

distinguished art

critic, editor, and

author will give two

lively presentations

about art and the contemporary artist’s

role in society.

Tales of Plastic Surgery, Genetically

Altered Rabbits, and Other Acts of Art,

will take place Monday, March 5 at 5

p.m. in Western Carolina University’s

Bardo Art Center, Room 130. On

Tuesday, March 6 at 7:30 p.m. Heartney

will present Out of the Shadows:

the Changing Place of Women Artists

in Our Times at the Black Mountain

College Museum + Arts Center, 56

Broadway, Asheville, NC.

Thursday, March 8

Haywood Community Band

Band rehearsals are held at Grace In

The Mountains Episcopal Church, 394

Haywood Street in Waynesville. The

first rehearsal will take place Thursday,

March 8 at 7 p.m., and will last until

8:30 p.m. Anyone interested in joining

the band should call Rhonda (828)

456-4880. Visit

Thursday, March 8

Odyssey Community School

Open House

From 5:30-7 p.m. meet the teachers,

administrators, and tour the beautiful,

six-acre campus. Learn more about an

integral education for pre-k through

high school, and its relevance to your

child’s future. 80 Zillicoa Street, Asheville,

NC, 28801. For more information


or call (828) 259-3653

Saturday, March 10

Daughters of the

American Revolution

Reading and book signing

event from 1-2:30

p.m. Courageous Kate

and Fearless Martha

written by Shelia Ingle

and illustrated by John Ingle. John and

Shelia Ingle will dress in colonial period

clothing and display toys of the period.

Enjoy red and white mints, apple

cider, ginger snaps, and exciting stories

from another era. At Grateful Steps

Publishing House & Bookshop, 159 S.

Lexington Ave., Asheville. Phone (828)

277-0998, visit

Saturday, March 10

The Broadcast CD Release Party




8 p.m.,

$10, all

ages show

at The



185 Clingman Ave., Asheville. (828)

232-5800 or

Sunday, March 11


Artists Exhibit

The Black Mountain

Center for the

Arts, located in the old City Hall at 225

W. State Street, hosts a gallery show

featuring the works of students who

Appalachian Pastel

Society Juried Show

Deadline: March 24, 2012

Pastel artists: “On Common

Ground: From the Mountains

to the Sea” 2012 Statewide Pastel

Exhibition, June 1-30 in Raleigh,

NC. For prospectus, visit www.

take visual arts classes at the Center.

Opening Reception from 3-4 p.m. On

display through April 5, 2012. For more

information call (828) 669-0930 or visit

Tuesday, March 13

Auditions for Over the River and

Through the Woods

Readers Theatre Showcase production.

Auditions from 10 a.m. to 3 p.m.

Directed by Thelma Cousins. Roles

available for 3 men and 3 women. All

roles at ACT are open to anyone in the

community. No experience is necessary

to audition. All audition material

is provided and will be available at the


Performances Friday, March 30 and

Saturday, March 31, 2012 at 35below

at Asheville Community Theatre; Sunday,

April 1 at the Reuter Center on the

UNCA campus. All performances are

at 2:30 p.m. and all tickets are $5.

For more information please visit the

Asheville Community Theatre web site


Friday, March 16

i mag i na tion

Odyssey Gallery

hosts a ceramic

show featuring

Jan Cothran, Paul

Frehe and Tisha

Cook. Opening

reception from 5

to 7 p.m. On display through Friday,

May 4, 2012. Odyssey Center is in the

ever-growing River Arts District, at 238

Clingman Avenue, two doors up from

the Clingman Café.

March 22-31


Theatre UNCA will stage Molière’s

1664 satiric comedy, with seven performances

in the university’s Carol Belk

Theatre. “Tartuffe” is the story of a con

man pretending to be a religious figure,

and the family he tricks. Performances

at 7:30 p.m. Thursday-Saturday, with a

2 p.m. performance on Sunday, March

25. Tickets are $10; $8 for seniors, and

$5 for students. Tickets available online,

at the box office one hour before

curtain, or by calling (828) 232-2291.

For details visit

Sunday, March 25

Asheville Community Band

Spring Concert begins at 3 p.m. in the

Auditorium of Asheville High School

on McDowell Street. Admission is $8.

Students admitted free. Scholarships

will be awarded to college students who

are majoring in Music Education. Call

(828) 254-2234 for information.

Friday & Saturday, March 30 & 31

Keigwin + Company

A knock-out fusion of pop culture

and high art. Mainstage Dance Series,

Diana Wortham Theatre at Pack Place,

8 p.m. Regular $35; Student $30. This

performance is unsuitable for children.

Student Rush day-of-the-show (with

valid I.D.) $10. Tickets/Info: (828) 257-

4530 or at

Saturday, March 31

Language Is Music

Artist reception from

5-7 p.m. Stephen

R. Ham original

monoprints installation,

“Language Is

Music, A Revealing

of the Human Soul,”

at the Hilton Asheville Biltmore Park,

through April 9, 2012. Free and open to

the public.

Saturday, April 7


Pastel Society

Spring Show

Opening reception

4-6 p.m. On

display March

Sandia Crest by

Karen Chambers

30 through April 30, 2012 at 310 Art

Gallery, Riverview Station, 191 Lyman

St. #310, Asheville. Hosted by gallery

founder, Fleta Monaghan. For information

go to,

or contact Fleta Monaghan at

(828) 776-2716.

Oktoberfest Arts and

Crafts Applications

Hickory’s Oktoberfest 2012 is now

accepting applications for Arts and

Crafts vendors. Celebrating its

27th year, this annual festival will

be held October 12, 13, and 14,

2012 in Downtown Hickory, NC.

Estimated attendance is more than

100,000 for the three day event.

Oktoberfest’s Arts and Crafts show

is a juried event, with prizes given

for the top three artisans. Early

registration (postmarked by August

1, 2012) is $100. Regular registration

is $150. Electricity is available

for an additional $25.

Applications are available on line at


34 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

what to do guide

Creatures Cafe

Every Wednesday – Salsa Night

Party. $5 cover per person. $8

per couple. Includes a salsa dance

lesson at 8:30 p.m.

Every Thursday at 9 p.m. Singer

Songwriter Showcase – Dan

Coyle and Nate Tasker hosted by

Wilhelm and McKay

Friday, March 2 – Sarah and the

Secrets and Flesh and Stones

Saturday, March 3 – Matt

Chancy and Rather to be Chosen

Friday, March 9 – Harvest and

international star Nate Tasker

with five #1 Christian music hits

in Australia, and one #1 in the


Friday, March 16 – Tyler Herring

and Same Ol’ Sound

Saturday, March 17 – Michael

McFarland and Arms of Mercy

Friday, March 23 – Sarah and the

Secrets and Shield of Salvation

Creatures Cafe

81 Patton Ave., Asheville, NC 28801

(828) 254-3636

National Writing Contests

The Writers’ Workshop of

Asheville, NC, is sponsoring the

following contests. Any writer

may enter, regardless of residence

or experience.

The awards for all contests are:

1st Place: Your choice of a 3 night

stay at The Mountain Muse B&B

in Asheville; or 3 free workshops

(online or in person); or 100

pages line-edited and revised by

our editorial staff.

2nd Place: 2 night stay at the

B&B; or 2 free workshops; or 50

pages line-edited and revised by

our editorial staff. 3

rd Place: One free workshop, or

25 pages line-edited and revised

by our editorial staff.

In addition, ten Honorable Mentions

will also be given.

23rd Annual Poetry Contest

Deadline: Postmarked by

March 30, 2012

Hard Times Writing Contest

Deadline: Postmarked by

June 30, 2012

For guidelines and more

details visit

Best in Show

Callie & Cats

Corgi Tales


Ratchet and Spin

by Phil Juliano

by Amy Downs

by Phil Hawkins

by Michael Cole

by T. Oder and R. Woods

Robin Bullock CD

Release Concert

Friday, March 23 at 8 p.m.

A special concert celebrating

the release of Robin’s

Photo: Paul Schraub

new CD, Majesty and

Magic. Robin’s virtuosity on guitar, cittern and mandolin

blends the ancient melodies of the Celtic lands

into one powerful musical vision. Tickets $15. White

Horse, 105C Montreat Road, Black Mountain, NC

28711. For more information call (828) 669-0816 or


UNC-A Student Performances

Admission is $5 at the door for each performance,

with students and children free.

March 15 – Jazz Combos Concert under the direction

of William Bares and Brian Felix. 7:30 p.m.,

Lipinsky Auditorium.

March 18 – Chamber Music Concert – performances

include the String Quartet and Brass Quintet. 4

p.m., Lipinsky Auditorium.

March 25 – University Singers Concert under the

direction of Melodie Galloway. 4 p.m., Lipinsky


April 15 – Wind Ensemble & Symphony Concert

under the direction of Milton Crotts. 4 p.m., Lipinsky


April 17 – Contemporary Music Concert – 20th and

21st century music as well as student compositions.

7:30 p.m., Lipinsky Auditorium.

For more information, call the Music Department at

(828) 251-6423 or visit

Painting and Playing in Italy

The Fine Arts League

of the Carolinas is

once again pleased

to return to Italy

with a trip to Tuscany

between May

19 through May 27.

Based in Lucignano, a

small Medieval hill town located south of Florence,

our guests will comfortably lodge just outside the

town walls in old world Villas with kitchens, modern

rooms with baths, and a swimming pool.

Lucignano is centrally located in the heart of the

Chianti region. Guests simply have to open their

door and step out each morning to draw or paint the

Tuscan landscape surrounded by Olive Groves and

overlooking Cortona.

A member of The Fine Arts League staff will lead

a daytrip to one of the surrounding towns to draw,

paint or sightsee. Morning drawing and painting

will be led by Fine Arts League instructors John

Dempsey and Christopher Holt. Afternoon drawing

or painting sessions with founder Ben Long.

For more information, please contact the Fine Arts

League of the Carolinas at (828) 252-5050, or visit • Copyright 2012 Adawehi Press


Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 35

R A P I D R I V E R A R T S & C U L T U R E

find it here

Alan Deutsch Photography

Cornerstone Cafe

(828) 452-4252

Green Light Cafe

(828) 250-3800

Mellow Mushroom

(828) 236-9800

Altamont Theatre

Diana Wortham Theatre

Guild Crafts

Neo Cantina

Amici Music

Asheville Bravo Concerts

Asheville Lyric Opera

Asheville Symphony

Beads and Beyond

(828) 254-7927

Bistro 1896

BlackBird Frame & Art

Bogart’s Restaurant

The Chocolate Fetish

The Chocolate Bear

The Fine Arts League Of The


Double Exposure Giclee

Fine Art Printmaking

Frame It To a T

FB Food Co-Op

Frugal Framer

Gallery Two Six Two

Great Smokies Creations

(828) 452-4757

Great Trade Solutions

Great Tree Zen Temple

The Guitar Trader

Jack of Hearts

Pub & Restaurant

Jewels That Dance

Jimmy John’s



(828) 259-9949

Luke Atkinson Furniture

Malaprops Bookstore/Cafe


The New York Studio

of Stage and Screen

North Carolina Stage Company

Rider’s Roost

Southern Highland Craft Guild

Studio B

Van Dyke Jewelry

The Wine Guy

Woolworth Walk




























(828) 646-0071

















36 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7

R A P I D R I V E R A R T S & C U L T U R E M A G A Z I N E

unique asheville shops


Steven Eudy

of The Guitar Trader

The Guitar Trader in West Asheville

is a locally owned shop selling top

quality used guitars and music gear.

They feature some of the best deals

in WNC on used guitars, bass guitars,

tube amps, effects and accessories.

Rapid River Magazine: Tell us a little

about The Guitar Trader. How did you get


Steven Eudy: Long before “The Guitar

Trader” there was a business here called

“The Consignment Center”. They sold

everything from furniture to electronics

but eventually ended up focusing on used

instruments, thus “The Guitar Trader” was

born. I was one of the regular customers and

eventually became good friends with the

owner, Steve.

In December on 2010 Steve told me he

wanted to sell his inventory and move on.

I was able to purchase all of the inventory,

the fixtures in the store, and the name “The

Guitar Trader”. By January 1rst of 2011 I

was the new “Guitar Trader.” One day, in

the tradition of The Dread Pirate Roberts, I

will find another “Steve” to be “The Guitar

Trader,” lol.

RRM: Do you play the guitar? If so when did

you first become interested in playing the


SE: Of course! I’ve been playing since I was

12, and I’m 34 now and terrible at math, so

you tell me how long that is, lol. My mom

got me started actually. She has played guitar

and sang since she was a kid. The first songs

I learned to play were “Wipeout” and “Jingle

Bell Rock.” She taught me a lot of “Boogie

Woogie” type licks, “House of the Risning

Sun,” and “Bad Leroy Brown.”

That was a really solid introduction to

rock and roll and that type of fun, energetic,

rock and roll is still my favorite type of

music to play. We had a lot of good people

around to teach us both and I took lessons as

a kid too. I still take lessons!

RRM: What was it that made you get involved

with dealing guitars?

SE: My intent in moving to Asheville was

to surround myself with good friends and

musicians and somehow become a part of

the music scene here. I’ve been fortunate to

have made a lot of friends here in the last

10 years, and a lot of them are very talented

musicians. I also have a pretty good background

in sales. I’ve helped a couple people

start up new businesses and I feel like life

has been preparing me for having my own


business because of those


I’ve learned a lot from

watching others and by

working for other people.

When you bring together

my desire to be around other

musicians, my sales back

ground, and the opportunity

that was presented to

me here, it definitely seems

meant to be. I’m doing what

I love to do!

RRM: How long have you

been in business?

SE: 1 year, 2 months, and 24

days... but who’s counting?

RRM: Do you deal more in

higher end vintage guitars or more recent

issue used guitars?

SE: Yes! Lol, I actually started out with a

pretty rough inventory. I had stacks of obsolete

PA gear from the 80’s, speaker cabinets,

a bunch of cheap guitars, no effects or accessories,

and and maybe 2 or 3 “nice” guitars.

Through trading and reinvesting my profits

I have grown the inventory to include about

100 guitars, some high end, a lot of midlevel

priced, and I always keep around some

entry level affordable guitars too.

RRM: What are some of your personal favorite

guitars and why?

SE: I love Fender Stratocasters! They are

light, easy to play, and you get a lot of different

tones. I listen to a lot of Steve Miller,

Eric Clapton, Jimi Hendrix, and Stevie Ray

Vaughn, all masters of the Stratocaster. I like

how on a strat, even with a little distortion,

you here the natural sound of the guitar

come through. I like hearing the strings hit

the fretboard, something that you don’t always

get from other guitars. I like Telecasters

too, but Strats are my favorite.

RRM: If someone is interested in buying a

vintage guitar can you give some advice as to

what to look for?

SE: Of course! The holy grail of electric

guitars is always “Made in USA”, but look

around for “Made in Japan” guitars from

the late 60’s, early 70’s as well. Even in the

80’s and 90’s a lot of the MIJ guitars rival the

quality of the USA guitars.

If you’re shopping for something to

hang on the wall you might not be overly

concerned about the playability of the guitar.

But, if you’re looking for something for a

“collection” or something that you are going

to play make sure that the neck is nice and

straight, that the strings aren’t too high up

off the fretboard, look for previous repairs,

and check out all of the electronics. Most

of all, don’t feel like you have to make your

Steven Eudy sells top-quality used guitars and music gear. Photo: Liza Becker

mind up “on the spot”. Find a guitar that

you can’t stop thinking about, then buy it!

RRM: What do you see in the future for the

guitar market?

SE: Well, for me things can only keep getting

better. I’ve found a good niche in the

market, and that’s what you’ve got to have.

I think less people are buying “new” these

days because of the economy. I feel positive

about the future though. I think our economy

will get better but people will probably

be more cautious with their spending. I

think dealing “used” equipment is a good

niche in either economy. Now is a good

time to buy vintage guitars because prices

are down. Still, some guitars are increasing

in value.

When the economy gets better I imagine

that all of these people who have had to

sell their instruments to get through hard

times will be out here shopping for “new to

you” instruments. People are always going

to want to play guitars. I think guitars have a

solid future.

March 27, 2012

Cocktails Beginning at 5PM

Dinner and Dancing at 8PM

RRM: Do you

offer lessons?

SE: Not yet!

And I think

maybe I’ve

offended a

few people

by saying

“no, we don’t

have the time

or space”,

but that is

honestly the

The Fine Arts League of the Carolinas Gallery in the

Grove Arcade, 14 Pack Square Place

Food provided by local restaurants and members of AIR. 828.252.5050

Fine Arts League of the Carolinas

362 Depot Street • Asheville’s River Arts District

The Guitar Trader

(828) 253-2003

Photo: Liza Becker

truth. I’m less distracted these days though

and we are slowly making some room in the

back for a lesson studio. I imagine we’ll offer

lessons in the near future.

732 Haywood Rd., Asheville

The Fine Arts League of the Carolinas Annual Fundraiser

Committed to

teaching the realist

traditions of the

old masters.

Vol. 15, No. 7 — RAPID RIVER ARTS & CULTURE MAGAZINE — March 2012 37

Buy, Sell, Trade



John MacKah

Spring 2012 Schedule


Saturday Studio


PG. 36


PG. 36


The Guitar Trader : 732 Haywood Rd.

(828) 253-2003 :


Family Owned and Operated Since 1955

Create the Sofa You’ll Love

Many Styles and Fabrics to Choose From

Starting at $425

728 Haywood Road • Asheville, NC

(828) 252-7168

American Made and Locally Owned

Thank You for Voting Us #1




1269 TUNNEL RD. SUITE B .....299-8880

1062 PATTON AVE. .................232-6030


140 AIRPORT RD. SUITE M .......654-0906

PG. 36


PG. 36


660 MERRIMON AVE. ........ 253-2883

80 N. LEXINGTON AVE. ...... 254-4980


Morning classes for beginners

and intermediate

painters on special projects:

still-life, texture studies,

color, and skill development.

Easels provided,

otherwise bring your own

materials. Topics include:

intro to oils; acrylics; use

John Mac Kah

of mediums; painting on

panel; making your own materials; stretching canvas. Please

RSVP. $25. Some materials fees may apply.

Thursday Night Painting

Ongoing class for intermediate painters. Easels provided.

Still-life; finishing, self-directed projects, self-portrait. Bring

your own


Join any

time. $25

Please call

for more





in Contemporary


Rime Frost by John Mac Kah

ism with

John Mac Kah. Weekends, Friday-Sunday, from 10 a.m. to 5

p.m. Bring your lunch and a beverage.

Studio Composition

March 16-18 – This class is to prepare the student to work

and make decisions on location. We will cover atmospheric

perspective, organizing spatial relations, and effects of light,

then we will move to oils and develop value studies (underpaintings).

Materials list provided on registration. Fee: $225.

Register by March 10 for $200.

Phenomenal Painting: Adding Atmosphere

March 23-25 – Capture ethereal phenomena: fog, mist,

reflections, rain, shadows, and snow using a tonalist approach

to oils. This is a studio class to lay the foundation for effective

painting outdoors. Fee: $225. Register by March 18 for 200.

Natural Textures: Bring Them to Life

April 27-29 – Learn how to build textures – bark, fur, grass,

foliage – to produce natural patterns. Oils, combined with

acrylics and egg tempera will be demonstrated. Fee: $225.

Register by April 21 for $200.

Pigment & Paint: What’s in your palette?

May 4-6 - Explore color on a practical level. Learn how

pigments and color are related and how to read the labels

on a tube of paint. Friday 1-4 p.m.; Saturday 10-4; Sunday

‘John MacKah Classes’ continued on page 39

38 March 2012 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 15, No. 7



PG. 36


‘John MacKah Classes’ continued from page 38

1-5 p.m. Fee:

$175. Register

by April 27

for $150. This

class is one of

two in a series,

the second is

scheduled for


Take one or

both. Instructor:



Grandmother Lake, Grandfather Mountain,

Oil on panel by John Mac Kah

Mountainside Dining at its Best

Painting a Mountain: Cold Mountain

May 18-19 – We will spend three days at Mt. Pisgah and

Buck Springs to capture the unique view and weather system

around Cold Mountain. All levels welcome. Materials list on

registration. Fee $225. Register by May 12 for $200.

Personal Palette: The Colors on Your Plate

June 15-17 – The second of a two part workshop on color

and pigment. Fee: $225. Register by June 8 for $200. You

need to be experienced with working in oils. Materials list on

registration. Bring your lunch. Friday - Saturday, 10 a.m. - 4

p.m. Instructor: Ruthanne Kah.


April 15-20 – Painting Abazzo Style – the layering of colors

rich in oil and varnish mediums to create maximum depth

and control. Painting will take place both in the studio and

on-location. Some supplies provided by the instructor for an

additional studio fee. Arrowmont School of Arts & Crafts,

Gatlinburg, TN,

June 3-9 – Oil in Plein Air: The Painter’s Craft – Mastering

the use of oils to craft a painting based on historically proven

methods. We will make our own supports and grounds, as

well as traditional oil-varnish mediums. Pure gum turpentine

will be used in mixing mediums; odorless solvents in the studio.

John C. Campbell Folk School, Brasstown, NC, www.


Instructor, Core Program through April 20, 2012. Fine Arts

League of the Carolinas, Asheville, NC. (828) 225 5050. Visit for more information.

Study Abroad Program

June 1-30 – Tuscany Italy: Paint and Play in Italy. Register

by April 1 for discount. Open Registration deadline: May 11,

2012. Classes by Ben Long, Christopher Holt, and John Mac

Kah. Art History excursions to Florence, Rome

Summer 2012: Master/Apprentice Program -

Landscape Painting Intensive, Asheville

July 9 – August 10 – Five week intensive Summer Session:

Register by May 11 to receive discount. Open Registration

deadline: June 29, 2012. John Mac Kah, Instructor.

John Mac Kah

122 Riverside Drive, Asheville, NC 28801

(828) 225-5000

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