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Events for September 16, 2019

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All Day

Native Son

September 16
|Recurring Event (See all)

An event every day that begins at 12:00 am, repeating until September 29, 2019

Paul Green Theatre, 120 Country Club Road
Chapel Hill, North Carolina 27514
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BY NAMBI E. KELLEY BASED ON THE NOVEL BY RICHARD WRIGHT DIRECTED BY COLETTE ROBERT WHEN YOU LOOK IN THE MIRROR, WHAT DO YOU SEE? On Chicago’s South Side in the 1930s, Bigger Thomas struggles to find a place for himself in a world where systemic oppression and poverty make fear and violence the everyday... Read More →

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Ongoing

Lindy Tuesdays (Starts Sept. 10)

September 10 @ 6:15 pm - October 1 @ 9:15 pm
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An event every week that begins at 6:15 pm on Tuesday, repeating until December 10, 2019

West End Theater NC United States
$46

Lindy Tuesdays with Richard Badu (Sept 2019)

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Swing, Blues, and Charleston Wednesdays (Starts Sept. 11)

September 11 @ 6:15 pm - October 2 @ 9:15 pm
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An event every week that begins at 6:15 pm on Wednesday, repeating until October 2, 2019

West End Theater NC United States
$46

Swing & Blues Wednesdays with Richard Badu – (Sept 2019)

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Penny & Sparrow

September 15 @ 8:00 pm - September 16 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

“Almost everything changed for us in these last two years,” says Andy Baxter, one half of the acclaimed duo Penny & Sparrow. “It was a painful experience in a lot of ways, but it was also a joyful one.” Joy and pain walk hand in hand on ‘Finch,’ Penny & Sparrow’s magnificent sixth album. Written during their first major break from the road in years, the record finds the band reckoning with a prolonged period of intense personal transformation, a profound awakening that altered their perceptions of masculinity, sex, religion, divorce, friendship, vanity, purpose, and, perhaps most importantly, self. Deeply vulnerable and boldly cinematic, the resulting songs blur the lines between indie-folk and alt-pop, with dense string arrangements and atmospheric production underpinning soaring melodies and airtight harmonies from Baxter and his longtime musical partner, Kyle Jahnke. Texas natives, Baxter and Jahnke first crossed paths at UT Austin, where they developed both a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of James Blake, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while The World Café raved that they’ve “steadily built a sound as attentive to detail as Simon & Garfunkel and as open to the present day as Bon Iver,” and Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” In addition to the mountain of glowing reviews, the band also earned high profile fans-including The Civil Wars’ John Paul White, who produced 2015’s ‘Let A Lover Drown You’-and extensive tour dates with everyone from Josh Ritter and Johnnyswim to Drew Holcomb and Delta Rae.

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Seratones

September 15 @ 8:00 pm - September 16 @ 12:00 am
Cat’s Cradle Back Room, 300 E Main St.
Carrboro, NC 27510 United States

“We went through a pretty dramatic shift with this record,” says Seratones frontwoman AJ Haynes. “The band lineup, the creative process, the sound: all of it changed in ways that really reflected our growth and evolution.” One listen to ‘Power,’ Seratones’ spectacular sophomore album, and it’s clear just how much of an evolution has taken place. Produced by Cage The Elephant guitarist Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements. Haynes’ captivating voice remains front and center here, but her delivery this time around is more measured and self-assured than ever before, a beacon of confidence and clarity amidst a sea of social and political turmoil. Perhaps even more marked than the any sonic development on the record, though, is Haynes’ lyrical turn, which points her gaze inwards for the first time as she grapples with race, gender, and justice, writing with an unfiltered honesty that at once exudes strength and vulnerability, hope and despair, beauty and pain. “I learned to tap more into my own stories with these songs,” says Haynes. “I came to recognize that I have this lineage and these inherited experiences that are beautiful and worthy of exploration. The more personal my writing got, the more deeply I was able to connect with people.” Seratones have been chasing those kinds of deep connections since 2016, when they first rocketed into the national spotlight with their breakout debut, ‘Get Gone.’ Rolling Stone called the album a “fitful collision of punk, soul and jazz echoing out of a shed strewn with whiskey bottles,” while Pitchfork praised the collection’s “soulful grease and punky grit,” and NPR hailed it as “lean and compact, with an impressive assortment of anthemic stompers.” The music earned the band dates on the road with artists as varied as St. Paul & The Broken Bones, Thao & The Get Down Stay Down, The Dandy Warhols, and Drive-By Truckers, along with festival slots from Hangout to Newport Folk and invitations to perform on national television and at NPR’s Tiny Desk. Links: Website | Facebook | Twitter | Instagram

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11:00 am

Find Your Artistic Voice (Section A)

September 16 @ 11:00 am - 2:00 pm
Jane Filer Studio, 300-G East Main St.
Carrboro, NC 27510 United States
$150

Section A) Stacye Leanza – Mondays, 11am-2pm, Sept 16 – Oct 14 (Fall 2019)

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11:30 am

Greg Rapp’s PHO-Tography Exhibit

September 16 @ 11:30 am - 9:00 pm
|Recurring Event (See all)

An event every day that begins at 11:30 am, repeating until September 21, 2019

Pho Happiness, 508A W Franklin St
Chapel Hill, 27516
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Greg Rapp’s first ever solo photography exhibit features a series of black and white photos from a trip to Vietnam a few years ago. The framed black and white photos are for sale with all profits going to the Inter-Faith Council which does work alleviating food insecurity in the community and more.

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6:30 pm

Portrait Drawing

September 16 @ 6:30 pm - 9:00 pm
Jane Filer Studio, 300-G East Main St.
Carrboro, NC 27510 United States
$210

Stacye Leanza – Mondays, 6:30-9:00pm, Sept 16 – Oct 21 (Fall 2019)

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7:00 pm

Live Jazz At Imbibe

September 16 @ 7:00 pm - 10:00 pm
|Recurring Event (See all)

An event every week that begins at 7:00 pm on Monday, repeating indefinitely

Grewen & Griffanzo Jazz duo every Monday at Imbibe. Grewen is Chet Baker reincarnated and Griffanzo handles a piano like no one you’ve ever seen. No cover charge.

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8:00 pm

Cat Power

September 16 @ 8:00 pm - September 17 @ 12:00 am
Cat’s Cradle, 300 E Main St.
Carrboro, NC 27510 United States

There are few voices more deeply embedded in the iconography and mythology of American indie rock than that of Chan Marshall. Under the musical nom de plume of Cat Power, Marshall has released music for nearly 25 years now and her prowess as a songwriter, a producer, and most notably-as a voice-has only grown more influential with time. On her 10th studio album, Wanderer, Marshall resets her dials, offering a collection of songs that function as pristine examples of her still-evolving creative practice. Held aloft primarily by Marshall’s own guitar and piano, Wanderer is a collection of winding, wondering narratives all perfectly imbued with the kind of yearning and warmth that have made her one of the most distinctive and beloved artists of her generation. Produced by Marshall and mixed by Rob Schnapf (Elliott Smith, Beck), the album includes appearances by longtime friends and compatriots, as well as guest vocals courtesy of friend and recent tourmate Lana Del Rey. Wanderer is, in many ways, a kind of quintessential Cat Power record, with Marshall’s clarion voice front and center in a set of songs that are remarkably stark and straightforward. Tracks like “Black” and “Me Voy” have the kind of haunted quality that recall the most emotionally harrowing moments of Moon Pix or You Are Free, while the elegant lilt of “In Your Face” and the minimalist blues of “You Get” (“You Know there’s nothing like time, to teach you where you have been” Marshall sings on the latter) have the same kind of playful, soulful timbre of The Greatest. Meanwhile, the album also showcases Marshall’s uncanny abilities as one of the great interpreters of songs, with a stunning version of Rihanna’s “Stay”. “I love the tradition of interpreting songs”, she says. “I think it’s one of the highest compliments you can pay another artist. It’s one of the great traditions in American music and one of the great pleasures.” While Wanderer represents a hard-won stability for Marshall, it’s also evidence that stability -emotional, physical, financial -is often fleeting. It’s a thing that must be cared for, protected, and can easily evaporate. Songs like “Robbin Hood” and “Nothing Really Matters” confront duplicity and hopelessness in equal measure, examining what it means to be taken advantage of (“Who Robbing, who robbing who?”) and the nihilism of trying to do the right thing in a world where it often feels as if it truly makes no difference. In stark contrast, the album’s first single, “Woman,” (featuring backing vocals from Lana Del Rey) is a full-throated push back against doubters and critics, as well as a righteous claiming of space. “The doctor said I was not my past, he said I was finally free,” sings Marshall, “I’m a woman of my word, or haven’t you heard? My word’s the only thing I’ve ever needed.” Defiant, unbowed, and fantastically steadfast, the song ends with the perfect, beautiful coda: “I’m a woman.” If old Cat Power records might have easily been viewed as repositories for pain, Wanderer is, at its heart, a testament to the transformative nature of songs, an album-length imagining of alternate paths, redemptions, connections, and open-ended possibility. This is most evident on “Horizon”, the album’s emotional centerpiece, in which Marshall sings about the complicated, emotionally elastic bonds between family members. For someone whose entire life has been predicated on movement -years of comings and goings with little time to pause and connect – the song offers a bittersweet reconciliation: “You’re on the horizon / I’m on my way / You’re on the horizon / I’m headed the other way.”

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