AC Milan boss Giampaolo: Players must give their lives for the shirt, not for meby Carlos Volcano21 days agoSend to a friendShare the loveAC Milan boss Marco Giampaolo is not seeking excuses for their start of the season.Giampaolo’s job is on the line facing Genoa this weekend.He said, “After four defeats in six games it is normal that everything is black. Even in this case we must have balance, I don’t think it’s time to make definitive judgments. “I know that the team has a lot of room for improvement, especially from the mental point of view, learning to do certain things in a certain way.”The players have to give their lives for the shirt, not for me. The team believed and believes in my ideas. “You have to be strong in defeats, you have to suffer and be attentive to details.” About the authorCarlos VolcanoShare the loveHave your say
SAN DIEGO, CA – MARCH 18: Head coach Bob Huggins of the West Virginia Mountaineers reacts as they take on the Marshall Thundering Herd in the first half during the second round of the 2018 NCAA Men’s Basketball Tournament at Viejas Arena on March 18, 2018 in San Diego, California. (Photo by Donald Miralle/Getty Images)TCU nearly landed a massive win in Morgantown against the No. 18 West Virginia Mountaineers, a game that would have given some legitimacy to TCU’s impressive early season record. Instead, the Horned Frogs will travel back to Fort Worth with a brutal loss. With under a second left in overtime, and his team up 85-84, TCU’s Kyan Anderson fouled West Virginia reserve guard Jevon Carter. Carter hit two clutch free throws to give West Virginia the late go-ahead lead. West Virginia goes to 16-3 with the win. The Mountaineers are definitely a factor in a very tough Big 12 this season.
TORONTO — The law governing class-action lawsuits in Ontario needs far-reaching reforms to ensure they are a fair, efficient and effective way for plaintiffs to get justice, a report released on Wednesday concludes.The report by the Law Commission of Ontario, billed as the first independent, comprehensive assessment of the provincial legislation in 27 years, aims among other things to tackle concerns over the fees lawyers earn, the sometimes ugly fights among competing law firms, and what is often a protracted and expensive process.Included in the report are more than two dozen recommendations covering virtually every step, from initiating litigation to distributing proceeds and reporting on the results.Ontario enacted the Class Proceedings Act in 1992 as a way to allow people with a common grievance to sue as a group — governments and big corporations are frequent targets — without having to dig into their own pockets and prove claims individually.Increasingly, claims involve thousands of people and settlements worth hundreds of millions or even billions of dollars. They have also led to hotly contested fights among law firms over who gets “carriage” of the litigation.“There is a strong belief within the class-action community that the system for determining carriage in Ontario is inefficient and unpredictable,” the report states. “The (act) needs dedicated new provisions to better manage and focus carriage hearings … to promote high-quality representation for class members, improve judicial economy, and increase predictability and finality in carriage decisions.”Recommendations include setting up a process and timetable for determining which among competing law firms gets to represent plaintiffs.The report, two years in the making, also takes aim at the fierce criticism of the fees law firms collect — often in the tens of millions of dollars — if the action proves successful. In many cases, court-approved legal fees dwarf what individual plaintiffs end up with.“Lack of compensation to class members is one of the most common and trenchant criticisms of class actions,” the report states. “Many people believe that access to justice in class actions is hindered by … claims in which minimal compensation is paid.”The report does note that lawyers would be reluctant to gamble on pressing a difficult lawsuit if fees are too low. Still, it urges better protection for plaintiffs, including increased transparency, monitoring and measurement of settlements, and reporting in detail the outcome.Other areas the report addresses include concerns over “copycat” claims in which law firms simply piggyback off the work of another firm that is actually pursuing results.“There is a pressing need to establish clear and enforceable rules and benchmarks early in the class action litigation process,” the report states. “The (commission) is recommending several targeted but significant reforms that will establish reasonable expectations — and firm consequences — for parties to advance their actions in a timely manner.”In all, figures suggest Ontario saw roughly 1,500 class actions between 1993 and February 2018, with more than 100 new ones now being filed annually. Roughly three quarters get certified — meaning they fulfil the requirements for staking a group claim.“Class actions have become one of the most high-profile and far-reaching legal procedures in the Canadian justice system,” Andrew Pinto, commission chairman, said in a statement. “The report’s 47 recommendations represent a necessary and important update to this very significant piece of legislation.”The report urges all levels of government to work together to develop a framework for dealing with class actions that span multiple provincial and territorial jurisdictions. It also takes aim at new legislation under Premier Doug Ford that could put the government beyond the reach of the courts by barring negligence lawsuits against it.Kirk Baert, a Toronto-based class-action lawyer whose firm has found itself in pitched battles with other legal firms and come under fire from a judge about the level of fees negotiated, called the report “well thought out and fairly balanced.”The law commission is an independent organization that researches legal issues and recommends improvements.Colin Perkel, The Canadian Press
Four of the 10 students presenting at Art2Wear work on their garments for the upcoming show. from left: Sydney Smith (senior), Sara Clark (junior), Gillian Paige (senior), and Sarah Cannon (senior).by Justin LeBlancphotographs by Benjamin ScottApril is crunch time at the N.C. State College of Design and College of Textiles. Student designers, models, and event planners are working overtime to prepare for our 13th annual Art2Wear Runway Show on April 25.Art2Wear is very special to me. The event contributed to a career-changing decision, when, as a student nearing graduation, I transitioned from architecture to fashion. Art2Wear gave me the opportunity to fulfill my passion for functional art, becoming an important stepping stone in my career. It led to my appearance on Season 12 of Project Runway and to my Spring 2014 collection presentation at Mercedes Benz Fashion Week in New York.This year’s Art2Wear will give a new group of students their chance at a once-in-a-lifetime opportunity: To have control of a stage where they can make their own dreams a reality. It’s a showcase for the best of the best and provides a perfect opportunity for the audience to meet top-notch designers in their transformative years.Art2Wear is also an educational event for the students, where they learn just what it takes to put on a major runway fashion event. With their imaginations running at full throttle, students have the chance to showcase their diverse interpretations of style, all centered on the event’s theme: Accelerated Evolution: Speed.I must tell you, there is no shortage of imagination. The energy has been buzzing for the past several months leading up to the event. Last year’s runway show, Hypernatural, drew more than 4,000 attendees. The atmosphere and mood were electric.We can only speculate, but the theme of this year’s show conjures up many possibilities: motion, change, technology, time, and transformation. I get goose bumps just imagining it.There will be 10 new collections featured at this year’s event designed by students from diverse disciplines ranging from Art and Design to Industrial Design.Will it be art? Will it push boundaries? Will it tell a story?I believe Art2Wear will be all of that and more – a celebration of style, art, and talent.
by Todd Cohenphotograph by Nick PironioWhen Daniel Wagner was 14, two teenage girls from his neighborhood in Port Huron, Mich., were killed in a car crash. The tragedy, and the lessons he learned from it, have shaped his life for more than four decades.About 20 miles from their destination, the girl behind the wheel “dropped a right front tire off the pavement, jerked the car back on the road, overcorrected, and got T-boned by a semi,” he says. “Both girls were killed instantly. I remember going to the funeral home for the visitation. Both caskets were closed because they couldn’t repair those girls, and there was just a picture of each of them on top of the caskets.”After the accident, Wagner’s father took him for a ride, “literally driving his car off the road and showing me how to bring it back on properly so that I never experienced something like that crash,” he says.Wagner estimates he has driven more than 1 million miles over the past 40 years and says he has “never put a dent or scratch on a single vehicle.” But he believes most people don’t know how to drive, and he is trying to do something about it.In 2010, Wagner founded Teen Driving Solutions School, a nonprofit that puts teens and their parents through a two-day course at the Virginia International Raceway in Alton, Va., near Danville, north of Durham. Wagner, who is its president, has invested $150,000 of his own money in the school, which has trained more than 200 teens from the Carolinas and Virginia. Only one of them has been in an accident since taking the course.“You can drive if you understand your vehicle and its capabilities and limitations, and you’re focused on your driving and your own limitations,” says Wagner, a Willow Spring resident and Michigan native who will be 57 this month. “We want to forever remove driving as the No. 1 cause of death for teens,” Wagner says. “They’ve been set up to fail, and they’re continually failing. I want these kids to have the ability to come home alive.What’s wrong with the way teens learn to drive?Driver education does not teach them how to drive. It teaches them how to pass the license exam. It’s the parents’ responsibility to actually teach them how to drive, and most parents don’t know how to drive themselves. And we have these graduated driver licenses, which have kicked the can down the road. While these graduated licenses have reduced fatalities for 16- and 17-year-olds, statistics show that fatalities for 18- to 24-year-olds are on the rise. They’re disconnected from the vehicle they’re driving. Our entire driving philosophy in this country is that experience is the key to safe driving.Why did you start Teen Driving Solutions School?A few years ago, several nephews and nieces started to drive. Within just a few months of their having driver licenses, every one of those kids was involved in a crash.What did you do?I started researching. I found they’re not being taught anything compared to what I was taught. I started to write a book about how to drive, and about how today’s youth are set up to fail when it comes to driving.What is the best way to drive?There are two primary things that make a safe driver. One is the use of sound judgment for making good decisions. The second thing is understanding the vehicle you’re driving. You have a 3,500-pound machine that is subject to the laws of physics.How does your school teach driving?The school literally puts these two concepts together – mental skills with vehicle control skills – in pretty much real-world scenarios. Parents and kids are required to take the course together, and we put them in the cars at different times and in classes at different times. In the classroom, parents are learning communication skills – how to be more of a coach than a parent when they’re in the right-hand seat. On the track, parents are learning three things – how to correct the bad habits they’ve developed over the last 20 or 30 years; learning how to lead by example; and learning exactly what we’re teaching their child and why we teach it that way.How bad is the problem of teenage drivers?Car crashes are the leading cause of death for teens and cause more than 400,000 injuries to teens a year. In Wake County, from 2008 to 2011, we lost 35 teenagers.What mistakes do parents typically make in turning over the car keys to their teens?Probably the biggest one is they don’t set the rules, the guidelines, for these kids – where you can go, who can go with you, when are you to be home. The second biggest mistake is they’re allowing teens to drive when they’re not fully qualified for that responsibility. The Children’s Hospital of Philadelphia and State Farm about five years ago did a survey on parents’ involvement with teen drivers. What they found was that parents who are fully and actively engaged in their teens’ driving ended up with teenagers who were 50 percent less likely to be in any type of crash, 50 percent less likely to drive without a seatbelt, and 71 percent less likely to drink and drive. Those to me are phenomenal statistics. They basically cut the risk in half just by being an involved parent.What are some common driving mistakes that lead to teen crashes?The biggest one is distractions that lead them to drive off the road. Looking at a cellphone, not paying attention. Texting is a huge problem. You’ve taken your mind off your driving, and you’ve taken your eyes off your driving. Those are two critical errors.When they drive off the road, they panic and try to jerk the car back on. That’s one of the leading causes of fatal crashes. They don’t understand how this car is going to react. By panicking and bringing the car back on too quickly, they lose control, and then they overcorrect, which turns the car the other way.Where were you educated?I never went to college. I’m a self-taught, self-trained mechanic. I attended trade school during high school. Then I opened up a repair shop in a Shell gas station. I did that about two years. My actual career, which started in 1980, is selling upholstery fabrics to the bus industry. I work for a textile mill, Holdsworth Fabrics, in Mirfield, England. My territory is the eastern half of North America – Mexico, the United States and Canada.You work full-time for your business and for the driving school?It takes up most of my waking hours. I’m also interim president for Calvin’s Paws, a cat rescue charity in Raleigh.What kind of car do you drive? Cadillac CTSV. It’s a four-door sports car. 556 horsepower. Stick. I prefer stick. It’s more fun to drive. You have to pay more attention to what you’re doing because you’re in charge of the gear changes. It keeps you more engaged in your driving. I wish everyone would drive a stick.What do you do for fun?Driving on track. I’m an instructor for high-performance driving events. Clubs where members can go out on the racetrack. You learn how to drive performance cars, street cars like mine.What are you reading?I spend hours a week researching driving issues on the web.What is your favorite driving movie?Gone in 60 Seconds.What inspires you?Seeing people achieve what they’re capable of achieving in life.What is your philosophy of life?Do your best at everything you do.
by Kaitlyn Goalenphotographs by Nick PironioFor most Southern cooks, field peas are as familiar and enduring a staple as their summertime harvest-mates, tomatoes. This year, however, an heirloom varietal of pea, thought to have vanished, will be grown within Raleigh city limits. And it all started with a dead woman’s fridge.Two years ago, Raleigh-based farmer Sean Barker traveled back to his native town in Mississippi to visit family. Amid catch-ups with relatives and reminiscing about old friends, Barker and his uncle struck up a conversation about Mama Hill, Barker’s grandmother who had passed away in 1999.Mama Hill had been an A-class gardener and a Southern cook of the highest order. In fact, Barker credits her for giving him the “agricultural bug” that grew into his profession. As he and his uncle sat on the porch, Barker recalled some of the crops he ate from Mama Hill’s garden as a child: okra, oversize summer squash, and a particularly delicious calico field pea unlike any he’d had before or since.Barker’s uncle paused. “You know,” he said, “when we were cleaning out the house after Mama Hill died, I moved her refrigerator to my house but never really went through it; I just plugged it into the wall in my garage and sort of forgot about it.”It prompted an immediate visit to the matriarch’s fridge, and an amazing discovery inside: Sitting on a shelf was a grocery bag full of seeds Mama Hill had saved. There were rice peas and lady peas, and a third bag of peas with a scrap of paper tucked into it: In Mama Hill’s script it read: “polecat pea, 1984.”To a farmer, this was the equivalent of winning the lottery. Here were the calico peas of Barker’s youth, forgotten until now. After his mother successfully grew a test crop last season, Barker decided to plant a plot of the heirloom at Raleigh City Farm, where he and his business partner, Corbett Marshall, grow produce under the name Kailyard Farm.If all goes according to plan, Mama Hill’s polecat peas will likely be harvested this month, along with about 20 other varietals Barker planted this season. Kailyard Farm sells its produce, including field peas, at the Raleigh City Farmer’s Market (Wednesdays from 4 to 7 p.m. at City Market).Grab some, if you can, and rekindle your romance with one of the South’s shining summer stars. Clockwise starting from the red seeds, Harico Rouge, Calico Crowder, Lady Pea, and Vietnamese Black.Field Peas with Cornbread and Tomato VinaigretteWhen I asked Barker how Mama Hill cooked her peas, he told me that she had a few tricks, including adding just a touch of sugar. In an ode to that maneuver, this recipe pairs the peas with a barely sweet tomato vinaigrette and cornbread crumbles. Like panzanella, the classic Italian tomato-and-bread salad, this dish works best with day-old cornbread.Serves 4-62 slices smoky bacon, cut into ½-inch thick pieces½ cup diced onion1 clove garlic, smashed2 cups fresh field peasKosher salt and freshly ground black pepper2 beefsteak tomatoes, cored and sliced in half1 tablespoon sherry vinegar1 teaspoon fresh minced tarragon1 teaspoon fresh minced parsley½ cup extra-virgin olive oil6 ounces chevre, crumbled4 cups cornbread, broken up into 2- to 3-inch piecesIn a saucepan over medium heat, add the bacon. Cook until it begins to brown a bit and release fat, about five minutes. Add the onion, garlic and field peas and stir to coat. Add water until the field peas are covered by an inch. Bring to a simmer and cook until the peas are tender, 12 to 15 minutes. Drain the peas, discarding the cooking liquid and the garlic clove. Transfer the peas to a bowl and season with salt to taste.Over a large bowl, use a box grater to grate the flesh of the tomatoes (discard the tomato skin). Whisk in the vinegar, tarragon and parsley. Whisk in the oil in a slow steady stream until the mixture is fully emulsified. Add the field peas, corn bread and chevre, and toss to coat. Transfer to a platter and serve.
by Kaitlyn Goalenphotographs by Jillian ClarkFolks, we’ve turned pumpkins into the Miley Cyrus of autumn eating. Once upon a time, pumpkins were cherished totems of the season, embraced with fervor by children in costumes. And while vestiges of that innocence still exist, popping up each Halloween like a Hannah Montana rerun, it’s been all but swallowed up by a new image: “pumpkin spice.” Like Miley’s wagging tongue, pumpkin spice follows us from latte to doughnut to beer. The flavor is ubiquitous and over-the-top, and tastes nothing like the ingredient for which it’s named. And that’s the shame of it, because actual pumpkins and their winter squash ilk (all part of the Cucurbitaceae family), should be the centerpiece of your cooking this month. No need to wait until Thanksgiving: make a pumpkin pie this weekend (and give it a twist by using coconut milk instead of the stalwart evaporated milk, or by throwing sorghum into the filling instead of granulated sugar). Swap out the butternut squash in your favorite soup recipe for an heirloom like red kuri squash or Jarrahdale pumpkin.Or do as I do: Let the natural vessel-like nature of pumpkins and squash work to your advantage by stuffing them full of your favorite things and roasting them whole. I like to mix stale bread with whatever is left in my fridge (the ends of a cheese plate, for example, or the last of a package of bacon), stuff the mixture into a pumpkin (or, for individual portions, acorn squash), top the mixture with cream, and bake until the squash is tender and practically melting into a cheesy, molten center.My comparison ends here: Miley, under all the pageantry and gyrating, has a killer voice. Pumpkin spice, likewise, harkens back to a vegetable worth honoring. Let’s get back to the source.Stuffed Acorn SquashServes 4This recipe is very much a template that can be customized to your taste. Swap the cheese (blue cheese would be delicious), swap spinach for kale, or bacon for sausage. You could even swap the bread for partially cooked rice; it’ll resemble a gorgeous risotto after being roasted.2 small pumpkins or 4 acorn squashSea salt and freshly ground black pepper2 tablespoons olive oil1 shallot, minced4 garlic cloves, minced8 ounces button mushrooms, thinly sliced3 sprigs fresh thyme2 cups cubed day-old bread (such as sourdough or country loaf)1 ounce sharp cheddar, cut into small cubes1 ounce Gruyere, cut into small cubes1 ounce Fontina, cut into small cubes3 slices bacon, cut into ½-inch pieces and cooked until crispy (optional)1 cup spinach leaves, torn into bite-size pieces (optional)½ cup heavy creamPreheat the oven to 350°.Using a sharp knife, make a circular cut around the stems of each acorn squash (as if you were carving the top of a jack-o’-lantern). Remove the tops, and use a spoon to hollow out the squash, discarding the seeds and stringy fibers. Season the insides of the squash with salt and pepper, and set the squash inside a 13-by-9-inch rimmed baking pan.In a large skillet over medium heat, add the olive oil. When it shimmers, add the shallot and garlic. Cook until the garlic is fragrant, about 2 minutes, and add the mushrooms and thyme. Cook, stirring, until the mushrooms have shrunk in size and are cooked through, about 8 minutes. Season to taste with salt and pepper. Set aside.In a large bowl, combine the bread, cheese, bacon (if using), spinach (if using), and reserved mushrooms. Season lightly with salt and pepper. Spoon the bread mixture into the squash cavities, pressing down gently to pack. Divide the cream between the four squash, pouring it slowly into the cavity, then replace the squash tops.Bake for 90 minutes to 2 hours, until the squash is tender when pierced with a knife. Let cool for 10 minutes before serving.
photo courtesy North Carolina State Archivesby Ernest DollarThis season, as you’re making your list and checking it twice, our area retailers would be grateful if you remember to “shop local.” That didn’t used to be a matter of choice. Local was the only option, and in Raleigh, it was often a colorful one. Ernest Dollar, director of the City of Raleigh Museum, found this fascinating photo of one of Fayetteville Street’s early sellers of wine, oysters, cigars, and groceries.Bananas and other fruits hang in the windows of Antonio Leo Dughi’s store at 235 Fayetteville Street, around 1900.Dughi stands in front of his store with his son, John (far right), and a young Dughi child. Customers and store clerks stand to the left, as does as an oyster wagon pulled by horse named Nancy. The ice cream wagon on the right was pulled by horse named John.Dughi and his wife were forerunners of the great wave of Italian immigration to the United States in the late 19th century. Dughi arrived in 1875 and eventually settled in Raleigh, where he established a store in a cramped downtown building.Dughi’s wagons helped his store become wildly popular by delivering fresh seafood, produce, ice creams, and novelty items to families across Raleigh. The Junaluska sign on top of the building refers to a wine company by that name.
After 21 years as Dean of the College of Design at N.C. State University, Marvin Malecha retires this month and will become president and chief academic officer at the NewSchool of Architecture and Design in San Diego, Calif. It seemed fitting in this interview with Walter to have the design visionary sketch his responses.What do you look like?A flash of white hairAgainst a black imageDefined by the geometry of eyewearFueled by an open spirit?But what does it matter?Do you have an alter ego?Yes and no. It is a circus.FriendsMentorsRole modelsComposed into an idealized aspiration.My alter ego has wings.Which building in Raleigh do you most admire?A building is a marker of life. It is architecture by its relationship to life. The vanishing tobacco barns are genuine. The Fadum House has a simple reality. The memory of the Catalano House haunts us. Dorton Arena reminds us of our better spirit, and the Hunt Library transforms our understanding.What’s your favorite thing to eat?In my personal quiet spaceA rich Italian red – Brunello and a bold cheeseWith my joyA soft black licorice with my granddaughterSo it depends …What are you afraid of?FEARTo restrict my curiosityTo cup my wingsThe authority of those who would seize my independenceCYNICISMTo drain me of my energyDriving color from my mindWhat’s on your feet?A message, a dialogue of Van Gogh,Heidegger, and Charlie Chaplin …Cole Hahn high tops todayMephisto for comfort yesterdayAsics from my son for exerciseMy identity!What is your favorite season?The season I am alive in! I am moved by the quiet of a snowfall and the crackle of the first steps in it. Who cannot be astounded by the brilliance of the color of a youthful spring? The lustiness of summer speaks for itself. But the beautiful subtlety of fall … the mature spectrum of color … the instigation … the demand for reflection – makes it my favorite.What’s on your mind?The past near and farToday … NOW!The transition to the future.Satisfaction for what has beenImpatience to be betterPossibilitiesColor!
David Wilmoth, 47, is a Lucas Enterprises-certified Darth Vader and a huge fan of the film series.photographs by Christer BergRaleighites have not been immune to the fervor surrounding the release of Star Wars: The Force Awakens, the latest chapter in the galactic saga. With a temporary studio set up at the Marbles IMAX Theatre, intrepid photographer Christer Berg captured fans of all ages as they waited in line for the film’s premiere. He discovered the force is strong in the City of Oaks.Brothers Jacob Bosecker, 10, and Joshua Bosecker, 12, dressed as an Ewok and a Padawan, or young Jedi.Stan Mallard, 27, paid tribute to Yoda with his eared hat. He began watching Star Wars when he was three years old. “My dad raised me on Star Wars,” he says.Stephanie Smith, 29, transformed into a Christmas Princess Leia. She first saw Star Wars when she was 8 and now her boyfriend, Stan Mallard (above), has re-introduced the films to her.Deirdre Lewis, 21, who dressed as Princess Leia, has been a Star Wars fan “since four or five years old, watching it constantly on TV.” This was her first time seeing a Star Wars movie in a theater.Lloyd Wilmoth, 9, cloaked himself as Luke Skywalker, complete with light saber. Appropriately, his father, David Wilmoth, is Darth Vader (above).A fan for as long as he can remember, Gage Ward, 21, donned a Boba Fett hoodie.Imperial Staff Officer Katrina Andrews, 36, has been a big fan since she was a child.
Nicole Wilder/Bravoby Mimi MontgomeryAfter serving as executive chef at The Umstead’s Herons restaurant, Scott Crawford opened Standard Foods last fall with business partner John Holmes. The space is a hybrid restaurant, grocery, and butcher shop, featuring a variety of ingredients and goods from local purveyors and growers. Crawford places an emphasis on clean simplicity when it comes to his menu, incorporating healthy ingredients into Southern-inspired cuisine.Now the three-time James Beard award semifinalist’s creations will reach a much wider audience: Crawford will be a contestant on the new Bravo culinary competition series Recipe for Deception, which premiered last month. The show pits four chefs against one other in three elimination rounds where each is challenged to create a dish showcasing one main ingredient. The catch? The chefs have no idea what that main ingredient is. Each competitor is allowed to ask another three yes-or-no questions to determine the secret addition, but two of the answers will be truthful and one a lie.It’s a culinary twist on the old Two Truths and a Lie game, and Crawford will appear on the February 11 episode. Following the broadcast, he’ll offer the mystery dish he created on the show at Standard Foods throughout the month. Of course, since he’s bringing his creation home to Raleigh, he’ll put his own local spin on it: Ingredients will be sourced from North Carolina and most will be available in the grocery section of his business. No lie.Catch Crawford on Bravo’s Recipe for Deception February 11 at 10 p.m. Visit Standard Foods at 205 E. Franklin St.; standard-foods.com
by Tracy Davisphotographs by Nick PironioRaleigh artist Clark Hipolito is a man in constant motion, a quality he shares with much of the art he makes. His reputation was built with murals and commercial interior design – art that stays where you put it – but his interests have led him to fill a unique niche on canvases that move: surfboards, skateboards, and guitars.“His artwork is absolutely amazing,” says master luthier Jay Lichty, who won Garden & Gun magazine’s 2010 top “Made in the South” award for his handcrafted guitars and ukuleles. One of Lichty’s ukuleles, painted by Hipolito, hangs on the wall of his dining room. “I treat this one more like art. It’s just too pretty to keep in a case. And honestly,” he pauses midsentence, examining the instrument, “I’m still not sure how he pulls them off. Is this gold leaf? It’s gorgeous.”A Connecticut native, Hipolito, 45, first found his inspiration in the Atlantic Ocean. During a 2003 trip to Charleston, where he was creating custom interiors and murals, Hipolito headed out to Folly Beach, noticed that the waves were great, and decided to rent a surfboard. He ended up with a decrepit old board and bought it on impulse. “If a board could have rust, this one would have.” He cleaned it up, painted it with a faux wood finish, “put art on it, and then rode it.” The board got attention. Soon Hipolito was painting boards for other surfers, and next thing he knew, he had a 15-board show in downtown Wilmington. Surfboards eventually led to instruments.Serendipity also played a role early on. After graduating from Seton Hall with degrees in business and design, Hipolito worked as an on-air graphics designer at MTV Networks in New York. He saw murals being painted and thought, “I want that. So, I started being an artist.” In 1994, he founded The Art Company, Inc., which he still runs, to create custom art. At about the same time, Hipolito moved South. Stints in Atlanta (“meh”) and Charleston (“liked but didn’t love”) failed to win him over, so a friend suggested he check out the Raleigh-Durham area. His introduction to the Triangle was a walk down Franklin Street in Chapel Hill. Everything clicked. “I loved it. Lots to do, pretty people, everyone’s friendly, good cost of living. All the basics. I thought, give it a year.”Hipolito decided on Raleigh, setting up in a warehouse on Yonkers Road where, surrounded by purveyors of lumber, lighting, and plumbing, he figured he could draw on the area’s innate grit and build-it vibe to turn the place into a SoHo artist’s loft. “Nope,” he says. “Completely didn’t work.” But a mural he painted there caught the eye of a couple shopping for tile and led to his first real job in Raleigh: a mural in their Italian restaurant, Casalinga Ristorante, at the time a popular spot on Capital Boulevard. The mural job snowballed into a collaboration to revamp the entire restaurant, and ultimately paved the way for fruitful connections with area builders.That ability to spark connection is another of Hipolito’s talents. Quick to smile, quick to make friends, quick to say yes, he’s not a “mull it over” kind of guy. That translates to an aptitude for “connecting the dots,” as he puts it, with the dots being people, ideas, and projects.From the start, both his clients and his art have been diverse. Early mixed-media commissions came from the Carolina Hurricanes and Walnut Creek Amphitheatre, and his paintings have appeared in TV series like Dawson’s Creek and Sex and the City. His art reflects influences as diverse as Roy Lichtenstein’s blending of text and image and the classical forms of Michelangelo. His work is also as likely to be on the ceiling or floor as it is to adorn a wall.So it was only natural that Hipolito – and his art – would go off-road.Things That Go When he first started painting surfboards, “I had no idea how to price them,” Hipolito says. For lack of a better plan, he created a silent auction with bid sheets at his first show. It created buzz from the start – it didn’t hurt that there were film crews in town – and prices shot up. The boards sold out the first night. “I thought, ‘I need to stick to this!’ It was killer.”Surfboards led to skateboards, and then came the leap to guitars. That’s no surprise to anyone who knows Hipolito, an avid music fan. Guitars are “an intimate canvas,” he says. “You can focus.” He paints them on commission and in live settings, including at the Bonnaroo music festival and at Raleigh nonprofit Band Together’s annual Main Event.The 2010 Band Together show, with headliner Michael Franti, made for an especially serendipitous connection. “I’m painting live while Franti does his thing,” he says, “and after the show Franti tells me that he loves it. Then he says, ‘Got a minute?’” Franti showed Hipolito his favorite acoustic guitar and asked him to paint it, but there was a catch: It was the only acoustic Franti had with him on tour, and he needed it in Asheville, ready to play, less than 48 hours later. “If you can do it,” said Franti, “take it.”“I went back to my house and got to work that night.” says Hipolito. Several hours later, his girlfriend drove Hipolito – borderline delirious from lack of sleep and a head full of lacquer fumes – to Asheville. He delivered it to a delighted Franti, and more projects came his way, all via word of mouth, including two guitars for members of Journey and an electric bass for the bassist of the rock band Umphrey’s McGee. “I have huge gratitude,” says Hipolito. “I get to see someone amazing playing my guitar on stage. And when those artists say good things about my art? It’s the ultimate gratification.”That appreciation for the talents of other artists – “the makers,” he says – fostered his collaboration with guitar maker Lichty, and with East Coast Surfing Hall of Famer and renowned surfboard shaper Will Allison, who approaches boards as functional sculpture. Their 2011 Birds of a Feather show, featuring Hipolito’s art on Lichty’s instruments and Allison’s surfboards, was held at Deluxe in Wilmington. It brought together everything Hipolito loves.“Those guys are masters,” says Hipolito. “There was a symbiosis, as well as a generational thing – these three compatible arts coming together.”For his part, Lichty met Hipolito when his client Mike Gossin of the band Gloriana commissioned a Lichty guitar, and wanted Hipolito’s art on it. Lichty wasn’t sure that was such a good idea. “The top of a guitar is the main tone producing part of it,” he explains, “so any art has to be absolutely thin, with no depth. Put too much paint on there, it’ll mess up the sound.”But he was willing to try. After Lichty built Gossin’s instrument, Hipolito came to his Tryon workshop to paint it. “He got there about 7 p.m.,” Lichty says. “I eventually went to bed, and when I got up at seven or eight the next morning, he was just finishing up,” recalls Lichty. “Then he heads back to Raleigh. He’s got some energy.” The two later met in Wilmington to deliver the instrument to Gossin, who loved how it looked and how it sounded. Says Lichty, “The consensus was, this was such a cool thing. Let’s do a project together.” The result includes the ukelele he now admires on his dining room wall.How he does itHipolito works in all mediums, but acrylics are his favorite. “You can do anything with them. They dry fast; they’re compatible with any surface.” And they take well to being sealed, which is especially important for art that has a job to do. Surfboards need resin; guitars need lacquer. “I’ve seen oils dissolve under a clear coat,” he says. “Not cool.”Because much of his art is made in public or commercial spaces, he doesn’t get many stretches of alone time with room for his thoughts to wander. So the solo all-nighter has become his favorite time to paint and create. “I’ll start something at maybe 11 or 12, and stay with it till 4 or 5,” he says. “Then sleep! And then head out for on-site stuff.”He works in his studio and at his home, both in Five Points, and also in a space above Wine On Main in Clayton, which he co-owns with Temple Phipps. He likes that the wine shop has become a meeting house of sorts for diverse groups in the community, and he has immersed himself in the city, chairing veterans’ memorial and public sculpture trail projects there. “Clayton. I love it. That main street is Glenwood South twenty years ago,” he says. “Just you watch!”Over on present-day Glenwood South, Hipolito’s newest work is at Devolve, a motorcycle and outdoor lifestyle shop. His surfboards are for sale, his murals are on the walls, and his passions are represented: art, travel, and bikes. Hipolito got his first motorcycle as a kid. He and his father chanced upon a bike in a random shop, and decided it was meant to be. “It fit in the trunk,” he says with a grin. “I can still see it. A Suzuki JR50.”If there’s a downside to living in-the-moment as emphatically as Hipolito does, it’s that there aren’t as many chances as he’d like to savor the moments as they come. There’s too much he wants to do.The top of that list: work with the band Widespread Panic. And, he adds, “I’d kind of like to do a hotel. Something in downtown Raleigh. A cool hotel.” Unlike Hipolito, a hotel just might hold still.
“To share the joy of music with others is a privilege.” –Sylvia Wiggins, director, Helping Hand Mission marching band (far left, front row)by Jessie Ammonsphotograph by Travis LongSylvia Wiggins has always had a penchant for band music. But as a high school student, she couldn’t muster the courage to audition for her school’s mostly-Caucasian ensemble. “I told myself that one day I’d have a band where everyone can come,” says the founder and executive director of Helping Hand Mission, a nonprofit that provides food, clothing, furniture, shelter – and band music – to Southeast Raleigh.Wiggins was working on an anti-gang initiative for Helping Hand when she remembered her adolescent hope and founded the mission’s marching band for 7- to 17-year-olds. “We have black kids, Hispanic kids, white kids. We want everyone to feel comfortable.”The marching band fluctuates between 50 and 70 members, and teens must complete community service projects to join. No musical experience is required, and the band relies on donated instruments. “We practice a few times a week, but the kids hang out a lot, too. We have a lot of activities that … we don’t put under the title ‘practice,’ but are band-related. They dance all the time.” That dancing inspires the marching: Often, members compose and freestyle original music inspired by what’s on the radio.Wiggins leads the troupe, despite an already-packed schedule running the nonprofit’s headquarters and shelter on Rock Quarry Road. For her, it’s a non-negotiable commitment. “Teens are my favorite kind of kid,” she says. “That’s the age when a lot of people give up on them, but I know what they can be. I like to see the outcome, when they realize their potential. Band is a safe place and a structured place.” Visit helpinghandmission.org to learn more about the marching band and to donate instruments.
Nick Pironioby Fanny SlaterOnce upon a basket of cornbread, I made a decision that would forever change the course of my life. I slouched into the cozy, familiar booth at Margaux’s Restaurant and asked my family: “What about some kind of tangerine chicken?”My mom looked up from her Caesar, puzzled. It was now three days before the finale of Rachael Ray’s Great American Cookbook Competition. I was one of two remaining contestants, and we had been sent home and given one week to choose our final recipe. For some bizarre reason, I couldn’t let go of tangerine chicken. I had never even made tangerine chicken before in my life. This was clearly the moment when I began grasping for anything. Anything at all. In this case: tangerine chicken.After winning Rachael Ray’s Great American Cookbook Competition, Slater appeared on the show. Here, she is shown with Jacques Pépin and Rachael Ray. Slater’s book will be available March 1.My boyfriend Tony slid the shiny basket of still-warm cornbread under my nose. I peeled apart a crumbly, golden square and swiped it through a ramekin of whipped butter. I looked up at my dad – whose expression was solemn (unusual for someone who wears cartoon rotisserie chicken socks). “Why don’t you end where you began?” he suggested.I thought back to the first recipe I’d submitted for the competition: “The Tin Foil Surprise.” It was my spin on our family’s favorite to-go English muffin breakfast sandwich. My updated version featured creamy taleggio cheese and floral, homemade orange lavender fig jam. I stuffed the fluffy cornbread into my mouth and grinned. “If the rest of my life is riding on an English muffin,” I declared, “I think everything is going to be okay.”Many of my richest memories have taken place over a basket of Margaux’s cornbread. I grew up with a dad who prepared top-notch homemade meals on a near-nightly basis, so naturally, my family’s restaurant expectations have always been high. But it’s never been pretentious, complicated cuisine we’re after – just good food made with soul. And butter, of course.Margaux’s opened its North Raleigh doors in 1992 and instantly became our second kitchen. It was where we boogied for my sister Sarah’s post-Bat Mitzvah brunch (and for mine four years later). It was where my parents celebrated birthdays and anniversaries. It was where we even broke our cardinal ritual of a homestyle Thanksgiving to unapologetically surrender to the sinful buffet one memorable year. And it was Margaux’s where we took “Macho Man” Randy Savage to dinner. No, seriously. But that’s another story.Apple; treeIn 1975, my mom founded the nationally-acclaimed bakery business Rachel’s Brownies. In the beginning stages of her eventual business partnership with my dad, she would tenaciously re-wrap the brownies he’d dutifully tried to wrap to meet her impeccable standards. For her, each chocolate morsel was a work of art. My dad, while not a whiz-bang brownie-wrapper like my mom, was a highly-experienced marketing guru and self-taught kitchen wizard. He kept a copy of Mastering the Art of French Cooking on his nightstand. When I was four, he scooted a chair up to the stove and handed me a spatula. In first grade, he came into my class at Ravenscroft and taught us all how to braid and bake homemade challah. That’s pretty much all I remember from first grade. Needless to say, I grew up on good eats, and it was only a matter of time before I took the cooking into my own hands.As a Ravenscroft first-grader, Slater performs a cooking demonstration with her father.My last year at Peace College (now William Peace University), I was assigned a final writing project to fulfill my English major. Sitting in my advisor’s office, I talked in circles until I somehow convinced him to allow me to intern at my favorite Raleigh restaurant and write about it. Several weeks later, I found myself standing in that esteemed kitchen, looking out onto the dining room where I had spent many meals enjoying cornbread, peppered duck, and delicate profiteroles. In Margaux’s kitchen, I felt as though I had been granted entrance to a mystical universe where few elite members were allowed. I silently bowed my head at the crab cakes.A few years later, right around the time I turned 25 and moved to California, the restaurant movement in the Triangle began to erupt. When I came home to visit, I thought I’d be eager to dive into the trendy new hot spots. But it turned out it was familiar flavors I craved. Between my dad’s sublimely-seared scallops and Margaux’s expertly-wrapped shrimp summer rolls, I was happy. After all, I had a short window of time at home and only so many pairs of stretchy pants in my suitcase.I eventually returned to the East Coast (downtown Wilmington to be exact), where I got close enough to sample the exquisite fare of Raleigh’s most gifted chefs. This is how Ashley Christensen became my best imaginary friend. As Julie Powell, of Julie & Julia, once said, “I have this fantasy that she comes for dinner and I show her my new lemon zester. We become very close.”Slater prepares a root vegetable frittata in her Wilmington home kitchen. “I always have eggs and veggies and cheese on hand,” she says. Maybe it’s because Ashley’s food is full of imagination – but also reminds me of home – that I daydream of this citrus-inspired friendship. Because at the root of it all, I am still influenced by the flavors that have stuck with me all of this time. The anecdotes and recipes you’ll find in my cookbook,Orange, Lavender & Figs: Deliciously Different Recipes from a Passionate Eater, are modern tributes to the food moments that have shaped my life. Case in point: to honor Margaux’s succulent, butter-slathered cornbread – which has provided me with countless memories – I crafted these honey cornmeal pancakes with vanilla bean-fig butter. But first, back to the beginning… I decided to submit “The Tin Foil Surprise” as my final recipe for Rachael’s competition. I think you can guess how it all turned out. I knew that if I stayed true to myself, my love for nostalgia, and my whimsical spirit, I couldn’t lose. After all, coming from a family who relentlessly encouraged my silliness and my love of cooking, it’s no surprise I come up with eclectic, playful food. Can you blame me? Because, well, with a name like Fanny – it’s pretty hard to fit into the crowd.But I’m okay with that.
by Mimi Montgomeryillustrations by Addie McElweeIn the interest of journalistic transparency, I’ll start this article off with a disclaimer: My knowledge of the flora and fauna that populate our local environment is slim. It can be narrowed down to a few identifiers – grass, leaves, a few varieties of common trees, and the occasional pine cone. It’s not enough to say I don’t have a green thumb. I am more akin to a creature without any sort of digital appendages at all, perhaps a sea cucumber, or a snail. I once bought a succulent, forgot where I put it, then found it three months later on the back of a shelf gasping in a pool of dehydrated, hungover misery like a college kid back from Cancun. If the horticultural world had a form of child protective services, it would have been sent knocking on my front door. So when I went to Raleigh City Farm to take a “foraging tour” with the Piedmont Picnic Project in March, I was, needless to say, completely out of my element. Headed by co-founders Elizabeth Weichel and Amanda Matson, the Project focuses on urban sustainability and increasing awareness about food history, teaching practices like gardening, foraging, preserving, and fermenting. Its aim is to provide Raleighites with simple ways to eat locally and sustainably. Raleigh City Farm, which also aims to increase accessibility and local awareness, was a fitting spot to embark on our trek. You don’t have to live on a rural farm to know where your food comes from, both groups point out, or to learn the history behind it. They believe anybody can and should be an active participant in finding and growing local, healthy foods. Clearly, I was a prime candidate for this “anybody” demographic. Other than the time I ate all the leaves off one of my mother’s house plants (at the tender age of six), my foraging experience has been contained to the produce aisle of Trader Joe’s. I’m definitely more of a Lucille Ball than a Bear Grylls, but I laced up my walking shoes, packed my pockets with enough nasal spray for an antihistamine overdose, and was ready to go. I was joined on the trek by Adrian Fisher, an urban agriculturist from Raleigh’s sister city of Hull, UK and hosted by the Raleigh Sister Cities group; Douglas Johnston, a Sister Cities representative; a crew of Meredith College Kenyan exchange students; Rebekah Beck, general manager of Raleigh City Farm; and a sprinkling of other intrepid foragers. We stood around until someone called out, “Let’s go Cro-Magnon!,” and off we went, heeding the bugle cry into the downtown wilds. Our merry gang of hunter-gatherers first stopped at a patch of grass between the curb and sidewalk outside the parking lot of Yellow Dog Bread Co. and Edge of Urge. What to me looked like a furry patch of weeds under a power line was in fact a gathering of henbit, Matson told us. A member of the mint family, henbit has a square stem with an almost-Elizabethan collar of purple flowers. It’s a common snack for chickens, hence the name. You’ve probably seen smatterings of these across your front yard, but I bet you don’t consume them raw, cooked, or boiled into a tea. Who knew an unassuming patch of sidewalk weeds could yield something with such potential? Clearly, those outside our tribe had no idea, either: Drivers beeped their horns at us as if we had the phrase “Honk if you love foraging!” taped to our backs, although they were probably just baffled to see us congregated animatedly around the base of an electrical pole like wild boars in hiking clothes snuffling for truffles. We plucked some of these newly discovered greens and continued on our way. Our next stop was the front yard of a beautiful historic home on Mordecai Street. Those were no measly weeds in the front yard, we quickly learned, but actually clumps of chickweed. It’s good to sauté or toss raw in salads, and it gets its name because – you guessed it – chickens like it, too. Naturally, we grabbed a few handfuls. Now you’re probably wondering if this was all on the up-and-up. Matson was quick to let us know that it’s always wise to ask before foraging a plant from someone’s private property. Apparently, foraging without permission can be considered theft, and some public spaces won’t even allow it. I could only imagine the conversations that would ensue if I had to tell my lawyer that I wasn’t being ticketed for speeding or an expired license this time – I was an agricultural outlaw, nabbed for smuggling leafy goods from a neighbor’s yard. Luckily for us, we managed to avoid any run-ins with the fuzz. We continued down the street to the historic Mordecai House, where we wandered through the vegetable garden in the back of the home and stopped to admire a clump of hoary bittercress growing along the picket fence. Apart from sounding like the name of a medieval disease or a potion ingredient from Harry Potter, hoary bittercress is a member of the mustard family and can be consumed cooked or raw for an added peppery taste to dishes. Its tiny white flowers are edible, as well. We added several handfuls to our growing cornucopia. Down the hill from the Mordecai House we mosied into Mordecai Spring Park, a grassy clearing full of foraging potential. I was beginning to look at lawns and strips of grass with a different set of eyes – as not just overgrowth idly passed-by, but as all-you-can-eat buffets in a wild-grown food court, ripe for the plucking. With our newfound perspective, the park became a veritable Whole Foods salad bar. We scooped up wild onions; chestnut pods; purple deadnettle (which can be used in salads and boiled as a tea); ground ivy (used as a spice and sometimes as a substitute for hops in breweries); and cleavers, those fuzzy leaves that stick to your clothes – and, it turns out, have seeds that can be ground into a substitute for coffee. Our baskets full of leafy plunder, we headed back to base camp at Raleigh City Farm. We’d worked up an appetite on our urban safari, and we were ready to dig in. Weichel and Matson had prepared snacks made with ingredients they’d found on their own local foraging expeditions, many of which consisted of the same types of plants we had just encountered. So we loaded our plates with a wild salad; honey wheat bread with jellies made from kudzu, muscadines, honeysuckle, and black locust; green pesto with field garlic, black walnuts, hoary bittercress, and purple deadnettle; and shortbread cookies with ground ivy. The spread was topped off with kombucha made of persimmons and rosehip, and a tea of ground ivy, henbit, dandelion flower, and wild shiso seeds. It was wildly delicious. Now that I can proudly add “foraging veteran” to the short list of accolades next to my name, I have a greater appreciation for the sustainability movement that’s happening here in Raleigh, especially in the downtown area. It truly is a simple matter of increasing awareness and knowledge about the topic – once you know what to look for and where to look for it, you find yourself seeing opportunities for fresh, local food wherever you go. Plus, if we are ever submerged into a post-apocalyptic dystopia, we foragers won’t be stuck eating canned beans and Twinkies like the rest of you. Actually, if it comes to that, you can hang with me – I know where we can find a mean patch of hoary bittercress.Piedmont Picnic Project: piedmontpicnic.comRaleigh City Farm: 800 N. Blount St.; raleighcityfarm.com
Travel Style Tryon Palace
The Powell GT chorus rehearses before its performance in Meymandi Concert Hall on April 5. The fourth-and fifth-graders had practiced for months, coming in to rehearse at 8 a.m. before their school day began.Raleigh Fine Art Society’s Choral Celebrationby Mimi Montgomeryphotographs by Jillian ClarkIt’s a Tuesday evening in April, and Meymandi Concert Hall is packed. In a few short minutes, Powell GT elementary school’s chorus will take the stage, and the kids are shushing each other as they wait in the wings for their cue. Their fourth- and fifth-grade faces are bathed in the blue light of backstage bulbs as they whisper last-minute notes and bits of advice to each other under the din of the audience outside and the sounds of the accompanists warming up. They’ve been counting down the months to this night. Their moment is finally here. On the other side of the curtain, it’s not the usual symphony crowd anticipating a night of classical music – it’s kids like them, all of whom will also have their own chance to perform. This is the first night of an annual two-night Raleigh Fine Arts Society Choral Celebration, bringing Wake County elementary school choruses to the capital city’s finest stage to perform for their parents, friends, and the public. The kids are all dressed in their best, some in white button-downs and dress pants, and others in black dresses and bows. As the audience goes quiet, the Powell students fidget anxiously and giggle; at the last minute, their teacher, Terri Gervais, confiscates phones from two of them. The kids stand up straight. It’s time to go on. “I’m so ready,” Damarian King, 11, mouths, a grin on his face.Leaving a legacy Powell is one of dozens of schools that have participated over the last 17 years in this annual concert, held each spring. Created in 1999 by RFAS founding member Martha Zaytoun, the event added music to the group’s lineup of programs designed to promote literature and the visual arts. The event rose in prominence in 2001 when it moved to Meymandi, and so many schools wanted to participate that RFAS had to add an extra evening to accommodate them all. Its popularity has only grown. This year’s Celebration included a record 16 schools and nearly 1,000 children singing. From the beginning, the event has showcased fourth- and fifth-grade choruses from Wake County schools, and has aimed to help improve their music as well as showcase it. The choruses are reviewed by an adjudicator, who provides notes and comments ahead of the performance, in which each school performs two songs individually and sings three all together. Because young children’s voices have their own special quality, working with them is different than conducting teenagers or adults, and requires experienced conductors trained in elementary music. The Celebration’s advisors (Ann LeGarde, Kenya Snider, and Ann Goldfinch) are all former or current teachers certified to teach music to children; they help structure the flow of the performance and help each participating school’s conductor select music that will showcase their children’s voices in the best way. This year, RFAS also assigned a choral clinician to each school who attended two rehearsals, and not only worked with the children on their selected music pieces, but provided feedback to their teachers, too. In addition, RFAS invited all of the schools’ choral teachers to a workshop with Dr. Frances Page, a professor of music at Meredith College and the conductor of the Capital City Girls Choir. Teachers filled out professional development forms before and after their school’s performances, as well, to chart their own growth and reflect on their students’ improvements. “This is something else we can do where we’re giving back,” says Dena Silver, chair of the Choral Celebration. “This is something where kids learn, where teachers learn. So, over time, you’re building on all that.” Silver says that’s important, because lower school choirs are at risk. “A lot of teachers and school administrators don’t feel that they’re necessary. So, we felt we needed to continue to improve the profile of those schools and elementary choral programs, and if we did that, they would maybe have a longer life.” Celebration advisor and Farmington Woods teacher Ann LeGarde says it’s working. “They gain so much confidence from that opportunity. When you finally see them on stage and hear them … their faces are lit up by the beautiful lights and they’re so excited and so proud of themselves,” she says. “It’s definitely a memory that lasts a lifetime. It’s just beautiful. It’s really beautiful.”The chorus stands at attention during one of their early morning practices.Going the extra distance Of the 16 schools participating in the Choral Celebration, Powell is one of four newcomers. A Raleigh magnet school, it is a diverse, arts-based elementary school near the Oakwood area focused on play and ingenuity. The children in its fourth- and fifth-grade chorus love to perform and go to great lengths to do so, arriving at 8 a.m. to rehearse before the school day begins. One March morning, some are sleepy, dragging their backpacks into the colorful room, but most seem excited. There’s a palpable buzz in the air – today their RFAS-assigned choral clinician, Anne Mormon-Smith, is there to listen to the group rehearse the two pieces they’ll sing in the Celebration. It’s clear that Gervais, Powell’s general music and chorus teacher, has set expectations for her students: They perch on the edge of their seats with rail-straight backs. In Gervais’ book, learning the correct way to carry a note or breathe from their stomachs is just as important as learning professionalism, responsibility, and cooperation. The group prepares to launch into a version of their favorite song, The Moon. “What is the feeling in The Moon?” Gervais calls out to her class. “Calm!” one child shouts out. “Soothing,” says another. “It makes me feel inspired and hopeful,” pipes up a voice from the back. She implores the group to use that imagery to infuse the piece with emotion. Gervais employs a variety of techniques to communicate what could be complicated musical terms to a group of elementary schoolers. She asks the kids to “color” the music with their voices to create emotion and movement in the music, and uses visuals like pulling an imaginary ribbon through the air to have them carry out a note and build a crescendo. “The kids that are coming really, really love to sing,” says Gervais. “They just have a natural ability.”Clinician Anne Mormon-Smith works with the children. After a rousing rendition of their second song, the classic Simple Gifts, and some helpful feedback from Smith, it’s time for the first class of the day. Everyone’s in a good mood after a morning of singing. Fourth-grader Elexis Creech, 10, says she can’t wait to perform at Meymandi. Her brother has seen the auditorium, and “he said that it was humongous and that it’s pretty. So, I’m really excited.” And more than a little ready to belt out the tunes. “I honestly think I was born to be in the spotlight,” she adds. That zest for performing runs through the group. Timmy Richardson, a 10-year-old fifth-grader, says he’s “just a little bit nervous,” but that he loves “to be in front of an audience.” The excitement is well-earned, Gervais says. The kids have taken it seriously, and it’s going to pay off. It’s an important lesson in working diligently towards achieving a goal. “It is hard work,” she says. “I tell them all the time – it’s hard work, but it’s fun. That’s what everything worthwhile is.”Teacher Terri Gervais conducts. Gervais knows all about that. “She’s gone above and beyond,” says Curtis Brower, Powell’s principal; he credits the chorus’ success to Gervais’ dedication, offering early rehearsals and ensuring that students who want to participate will be able to do so. Interest in what she’s doing has been so high she’s recently added a third-grade chorus, too, and many of her students have gone on to audition for outside groups like the Raleigh Boychoir. When she told her students they were headed to Meymandi April 5, they couldn’t contain themselves. “They were jumping up and down,” she says. It’s a first-time experience for many of the children in her group. The opportunity to perform in a real auditorium on a professional stage with excellent acoustics is a rare one. “This is a blending of backgrounds of kids,” says Gervais. “Some kids have probably gone to see things at the theater itself or the concert hall … (but) a lot of the other kids were never exposed to that. … So this is really a big thing for them to be able to sing on that stage.”Choral teacher Terri Gervais conducts the Powell GT chorus as they perform on the stage at Meymandi Concert Hall.Keep singing On performance night, it all comes together. The kids beam as all 500 of them come together to sing the last communal song of the evening, Stars, a piece commissioned by RFAS to honor Zaytoun. The sound of so many earnest voices rising up and into the ceiling of the auditorium is the pinnacle of an already memorable evening, and the students rush out to meet their waiting parents with grins on their faces. Teachers hand out cookies and hugs, and the kids high-five each other. They did it. It’s RFAS’ hope that many of the participants will continue singing long after this evening and help to preserve this celebration of music in Wake County. As everyone begins to leave, many of the students keep carrying the tunes even as they exit Meymandi with their families, humming the familiar melodies as they go their opposite directions into the night. Some are headed off to middle school next year; some have another year in thechorus. But one thing’s pretty clear: They will all keep singing.Scanning the music.
Pilobolus photo by Ian DouglasAmerican Dance Festivalby Mimi MontgomeryMovement is alive in the Triangle this summer when the American Dance Festival hosts its 83rd season in Durham June 16 – July 30. Heralded by The New York Times as “one of the nation’s most important institutions,” the festival, founded in 1934, aims to foster creative growth in the modern dance world by bringing together dancers, choreographers, and students to learn and practice alongside one another. This season, the festival will present 61 performances in 13 Durham venues by 26 companies and choreographers from Israel, Russia, France, and the U.S. Throughout, professional training workshops will be held for dancers, choreographers, students, and teachers from around the world at Duke University.The gathering also aims to have a local impact: ADF Project Dance offers creative movement workshops to Triangle students and distributes over 500 free performance tickets to local nonprofits. The group also partners with Durham’s Central Park School for Children to introduce dance classes as an alternative to more traditional physical education classes.Company Wang Ramirez photo by Frank SzafinskiThroughout the summer, ADF will also partner with lululemon for free, public yoga classes; lead free tours throughout the ADF school; host a children’s Saturday matinee series featuring especially imaginative performances to captivate little ones; and hold free movie screenings focusing on the relationship between body movement and cinema. Plus, through the ADF Go program, young art lovers between the ages of 18-30 can purchase a $10 ticket to any performance (barring Savion Glover and Jack DeJohnette June 20-21).Go big, go small, but definitely go. There are plenty of performances happening throughout the two months and it’s easy to take your pick. For a full list of performances, events, locations, and ticket prices, visit americandancefestival.org
by Liza Robertsphotographs by Nick PironioWilliam Ivey Long, the prolific, multiple-Tony Award-winning costume designer, has drama – and Raleigh – in his blood, and in every single one of his earliest memories.“I grew up in the stage left dressing room,” Long says as he gestures around a tiny, WPA-built stone structure that still stands at Raleigh Little Theatre’s outdoor amphitheater. He’s not speaking metaphorically: The dressing room is where he lived until age 3 with his father, a technical director, and mother, an actress who wore many play-making hats. “People would change clothes in our house, and put on costumes … You would open the door, and you’d be on the stage.”Doors – and stages – have a way of opening up for Long. On Broadway and London’s West End, he has showcased his talent for almost 40 years. He has 15 Tony nominations and six Tony Awards, and has designed costumes for more than 70 Broadway productions. He has received the Art Institute of Chicago’s “Legend of Fashion” award and was inducted into the American Theater Hall of Fame. He has the Order of the Long Leaf Pine, the City of Raleigh Medal of Arts Award, and the North Carolina Award in Fine Arts. Costumes for the likes of the Metropolitan Opera, Mick Jagger, the New York City Ballet, and Siegfried and Roy round out his resume.William Ivey Long fits Robin Givens for Roxie Hart; photo courtesy of Alessandra PetlinVanessa Redgrave wears a Long-designed costume as Queen Elizabeth I in The Lost Colony; photo courtesy of Aaron TrotmanBut despite his starry spot in the Broadway pantheon, manifested by his current role as head of the American Theatre Wing (the organization that runs the Tony Awards), Long remains resolutely North Carolinian, a natty Southern gentleman with gracious manners, good humor, and stories to tell. He’s as likely to digress about his large extended family (and their furniture) as he is to talk about his life of glamour. And he has remained loyal to the theaters here that launched him: This summer will be his 45th working on The Lost Colony play in Manteo.Growing up in the South has informed “every one of my sensibilities,” Long says. “How I was raised, telling stories, being in North Carolina, which is, I think, a very diverse culture … the abundance of educated, cultivated people … Revering the word, growing up in a family where the play is the thing …”Long’s words meander happily as he recalls his early influences: old Western movies; the Raleigh Rose Garden; the Long ancestors who were members of the first class at UNC-Chapel Hill in 1795; the actor Andy Griffith; Long’s great-grandmother’s sister; The Lost Colony costume designer Irene Smart Rains; the playwright Wendy Wasserstein; his parents.“I’ve always been interested in the making of theater, because of being right here.” He takes in the dressing room with a glance. “The business of our family was always play-making.”Destined, not designedConsidered by critics a nimble designer whose work marries storytelling and glamour – together with an unmistakably sexy jolt that “hovers between taste and travesty,” as famed New York magazine theater critic John Simon put it – Long is also considered technically ingenious, with a specialty in “transformations,” costumes that seamlessly turn a scullery maid into a princess, for instance, or a greasy car mechanic into a rock star.The Frogs, Dress Rehearsal, Lincoln Center Theater, June 19, 2004, Credit Photo ©Paul Kolnik, NYC 212.362.7778Costumes and sketches for The FrogsLong’s crimson feather ballgown that morphed into a living Christmas tree in La Cage aux Folles; @CarolRosegg“I love transformations,” he says. “I love transforming people.” At the same time, he says, his main goal is always to help tell the story. “I like to think that I’m an honest and true designer who supports the material.” Michael Feingold, theater critic for the Village Voice, agrees. Long deploys “a kind of secret, supplemental playwriting,” he wrote, “done not to compete with the script being performed, but to enhance it … William is one of the master dramatists of our day.”Long’s ethereal, transformational costumes for Cinderella, which won him the 2013 Tony; his over-the-top looks for Hairspray, which won in 2003; and his canny creations in last year’s On the Twentieth Century, which nabbed a nomination, showcase a portion of his talent.“His costumes look more than designed – they seem destined,” says critic Simon.Destined, not designed might be an apt description of Long’s career as well. He never set out to design costumes, he says; never gave them much thought at all. His interests were more varied. He took himself to William & Mary for college, for instance, because he loved the campus architecture and wanted to study art history. Then he took himself to Yale School of Drama because he wanted to be a set designer. He moved himself to the Chelsea Hotel in New York because he wanted to work for the couturier Charles James, who lived there. (It took Long six months to get James’s attention; in the meantime, neighbors like Andy Warhol “superstar” Viva and a punk-rocker called “Neon Leon” kept things interesting.) Long only became a Broadway costume designer, he says, after a friend from Yale was hired as the set designer for The Inspector General in 1978 and recommended Long to do the costumes. One production led to another, and “it slipped up on me,” he says. “It wasn’t conscious. It was so omnipresent that it became a self-fulfilling prophecy.” Long had become a costume designer.That was 38 years ago. “I am much more focused now and fierce – fearsome – in my approach than I was then,” he says. “I was young and naïve.” His first Tony, for Nine, focused his mind and gave him bigger dreams. “It didn’t just overnight change my life, but it did inside.”Of a pieceWherever his profession takes him, Long is never far from home. It’s not only on his itinerary year-round, it’s also readily in his thoughts, forming his frame of reference. Home and theater were and are of a piece.Long works on the set of Grease: Live; David Korins“The front hall of our big house in Rock Hill was always a scene dock,” he recalls. (His father, William Ivey Long Sr., was founder of the theater department, stage director, and professor at Winthrop University in Rock Hill, S.C.) “And the big dining room table, which I finally restored, my grandfather’s dining room table from Baltimore, it was always the cutting table during shows. I think twice in my life, my father did The Heiress. Well, the entire house was emptied on to that stage. It’s set in 1840, so all of the portraits, all of the furniture … routinely, pieces of furniture would go missing and be on stage.”Long as a young man, preparing a prop; courtesy William Ivey LongTrim in the navy Brooks Brothers suit and polished loafers that serve as his uniform, curly hair askew, it’s not hard to picture Long as a younger man; his bearing and energy alone take decades off of his almost-69 years. “If you don’t look in a mirror,” he says, “you don’t know how old you are. I stand in front of mirrors all the day long for the fitting process, and I do not look.”He always wears a rep tie, he says, and almost always one with a blue stripe. For someone in his line of work, this conservative lack of ostentation is striking. It suits him to be as polite in his clothes as he is in his manner, even as it adds an extra wink to his conspiratorial smiles.The stage left dressing room at Raleigh Little Theatre where Long lived with his parents, Mary Wood Long and William Ivey LongVanity Fair zeroed in on this ineffably put-together quality last year when it put him on its international best-dressed list. Alongside the likes of Prince Harry in a top hat and Eddie Redmayne in Gucci plaid, Long appeared in his Brooks Brothers suit and shoes, accessorized only with a grin and glinting eyeglasses. But he’s nonplussed by all of that; doesn’t bring it up unless asked, and then changes the subject.Long with his parents, Mary Wood Long and William Ivey Long; courtesy William Ivey LongAsk him what does excite him most these days, and he might tip over his chair with glee. “I’m charting new courses,” he says, with several projects in the works, including costumes for the new weekly television variety show by Lorne Michaels, Maya & Marty. It’s not Long’s first foray into live TV, for which his background in theater is well-suited. He also designed costumes for Grease: Live, as well as the TV version of The Rocky Horror Picture Show for the Fox network.“All three things are different. Now I can say I design for stage, screen, and television.”New things excite him most, he says, and always have. “When I was in the 8th grade,” he recalls, “in Mrs. White’s biology class, she asked: ‘Why does a bug go from one side of the leaf to the other? It’s in search of the heat.’ And I knew then and there in the 8th grade that that was my path in life. I was going to be in search of the heat. That’s how I choose my course. That’s how I choose my friends. That’s how I do everything. I’m a bug on a leaf in search of the heat.”Early yearsJust like that 8th grade revelation, much of what fires Long’s imagination got to him early. Summers spent in Manteo, working with his family to help put on The Lost Colony, where his father was technical director, were an important early experience, not only for the time he had on stage beginning at 8 in the role of a child colonist, or for his time soaking up the work of the costume shop (the Elizabethan ruff he made for his dog out of a scrap of pillowcase when he was 4 is hard to forget), but for the late-night movies he’d watch once the family got home from the evening Lost Colony performance at around 11 p.m.William Ivey Long with his hero, former N.C. Governor Jim Hunt“The black-and-white late movies on the Norfolk station were Hollywood musicals, Hollywood Greta Garbo films. That began my fascination with glamour … and influenced my sense of shape, and style, and proportion.”Long and Raleigh mayor Nancy McFarlane take a selfie in front of the plaque commemorating his childhood years at Raleigh Little TheatreDuring the winter, he’d watch Picture for a Sunday Afternoon: “Our family did not watch football.” He credits his great-uncle in Waynesville for taking him to the movies on Saturdays, where they saw Gene Autry and Tom Mix Westerns. “It was high style in the Old West. And it’s a next step to Gary Cooper in Morocco. The most glamorous, handsome, stylish American in the history of America. Gary Cooper and Marlene Dietrich in Morocco: If you want to mess up a child, have them watch that late at night.”And give him a homeplace out of a fairy tale. Long leans almost entirely off of his chair as he describes his first three years living in the dressing room where he sits. The one-room building is almost impossible to imagine as a home – but in Long’s memory, it’s fully that. “There were two mahogany Chippendale chairs and a tilt-top table,” he says, “even in this little manger.” Red draperies: “brocade, or velvet. I remember red. I don’t remember bathing, or going to the bathroom, or cooking, or eating … but I remember playing on that stage.”He also remembers playing in the Raleigh Rose Garden (“I thought everyone had one”); remembers “sitting on a bench in the dark” and watching a “strange man pulling my mother’s hair.” Turns out she was onstage just outside their tiny home, acting in Death of a Salesman.At the dedication, guests enjoy a cool refuge inside the diminutive cottage.On that same stage on a sultry evening in mid-May, dozens of notable Raleighites gathered to honor Long. Raleigh Mayor Nancy McFarlane introduced him as “one of our prominent native sons” and unveiled a plaque on the house to commemorate his childhood years in the place.“My oh my, not everybody gets to see their tombstone!” Long exclaimed. Governor Jim Hunt (“my hero,” Long calls him) and his wife Carolyn came to pay tribute, as did former News & Observer publisher Frank Daniels Jr. and his wife Julia, along with dozens of other art patrons and theater lovers. Long greeted them all with kisses and hugs, taking in their congratulations with humble humor.“The lesson to take home for your children and grandchildren,” he told the crowd, “is be careful where you grow up!”
WINnovation speakers: Maura Horton, Cindy Whitehead, Isa Watson, Jamie Meares, and Tashni-Ann Dubroy.by Mimi Montgomeryphotographs by Joseph RaffertyAn enthusiastic group of 210 Triangle area women (and three men) gathered at the Umstead Hotel and Spa Sept. 9 for Walter’s second-annual WINnovation event, sponsored by Bank of America and the Umstead. Celebrating women and entrepreneurism in the Triangle, the sold-out luncheon featured TED-talk-inspired “WIN” talks by five local female innovators: Cindy Whitehead, co-founder of Sprout Pharmaceuticals and founder and CEO of The Pink Ceiling; Tashni-Ann Dubroy, president of Shaw University and co-owner of Tea and Honey Blends; Maura Horton, founder of MagnaReady; Isa Watson, founder and CEO of Envested; and Jamie Meares, blogger and founder and creative director of Furbish Studio.“Don’t run from the word no. This is where mere innovation is born.”–Maura Horton, founder of MagnaReadyEach woman shared stories from her own entrepreneurial journey, covering everything from resilience to ingenuity; how to overcome boundaries; the importance of confidence; and how to lean into change and move past failure.Isa Watson, founder and CEO of Envested, speaks to the audience.Cindy Whitehead, co-founder of Sprout and CEO of the Pink Ceiling, gives her WIN talk.“There’s always something significant that you’ve achieved time and time again when the odds were stacked against you – when you’re looking to do something bold, I think it’s really important to just block out all the noise.”–Isa Watson, founder and CEO of EnvestedBekay King, Shaw University studentKelly GuessFollowing the talks, the group gathered together on the stage to answer questions from the audience. Then, guests separated into groups to participate in breakout conversations focused on how to execute ideas, how to leverage local resources, how to return to work after a career break, and how to work entrepreneurially in any setting. These discussions were led by Gab Smith, executive director of CAM Raleigh, Teresa Monteiro, founder and CEO of Her Leap, Jenny Hwa, executive director of Innovate Raleigh, and Robin Costello, corporate relations director of the Council for Entrepreneurial Development.Bank of America executive Kathryn Black“You can’t be your biggest hater. There are tons of people in the world to do that for you. You’ve got to be your biggest promoter … be sure you maintain a level of confidence that will take you beyond the stars.”–Tashni-Ann Dubroy, president of Shaw University and co-owner of Tea and Honey BlendsEntrepreneur Andrea HoytBreakout session moderator Teresa Monteiro“(Be) daring enough to not be afraid of change, and to not even give the word failure any meaning to you. I dare you to fail – try it.” –Jamie Meares, blogger and founderand creative director of Furbish StudioDonna Preiss, founder and CEO of The Preiss Co.Holly HammerThroughout the day, a networking area sponsored by e51 and HQ Raleigh allowed attendees to create connections and exchange ideas, propelling the power of WINnovation beyond the day itself. This forward momentum was further evidenced in an invitation from Gab Smith for all attendees to reconvene in six months at CAM. A cocktail hour closed the day. Guests mingled with new contacts and the event speakers, reflecting the camaraderie and community spirit that makes Triangle entrepreneurship flourish.Speakers Maura Horton, Cindy Whitehead, Isa Watson, Jamie Meares, and Tashni-Ann Dubroy during the Q&A session.“Put the women at the center of any conversation, walk a mile in their shoes, and you can make pretty remarkable change.”–Cindy Whitehead, co-founder of Sprout Pharmaceuticalsand founder and CEO of The Pink Ceiling