The mid-19th-century minstrel banjo is one of the first manifestations of the meeting of these musical worlds - Africans and Europeans. Along with the fiddle, the banjo was the most popular instrument in African-American music in the United States through the 18th and into the 19th century. In the early 1800s, white musicians began to take up the banjo in imitation of southern African-American players. By the mid-1800s, white professional stage performers had popularized the banjo all across the United States and in England and had begun their own banjo traditions as they popularized new songs. Because these musicians usually performed with blackened faces, they came to be known as blackface minstrels. Interesting history.
Tickets for this concert are still available - call PineCone's box office to reserve your tickets or if you have questions: 919-664-8302. Concert info: https://pinecone.org/events/dom-flemons-ka…
I understand the desire to understand what, exactly, Moogfest means with their "protest stage", but this article starts out with a skeptical premise and basically takes lack of information as proof of said premise. It's ridiculous and the quality of research/aggressiveness of agenda here is something I'd equate to the Daily Caller or Breitbart - just on the other side. I'm newish to Durham but as far as I understand Moogfest hasn't exactly done anything to spite the city yet, and the author's definition of what constitutes protest seems to be pretty singular and myopic. Calling a bunch of non-profits that supports one's notion of progress and having them say they aren't working with Moogfest is really a reach. I mean, personally, I'd be happy if Moogfest did support those organizations, but just because they have a 'protest stage' doesn't mean they are all of a sudden obliged to do so prove this festival theme. Maybe it will all turn out to be a marketing ploy, but if that's the case it's a shame because you already wrote the piece before you had the facts.
There's also the very possibly obvious scenario that the 'Protest' stage will show artists who engage in 'protest music' and charging to see artists isn't some cynical gesture. If it's a big draw and that's how these artists make a living, well, that's how it goes.
This interview with Bob Nocek really jolted me. I was not surprised to read about the economic foibles of the theater when they occurred, but the ego and arrogance of Nocek--all I can say is wow. As a marketing and PR professional I was never awed by the theatre's marketing acumen--there were many empty seats at shows that should have sold more tickets.
The Carolina Theatre as a non-profit depends on donors and volunteers to put on its shows. Their staff is not large and as many 30 volunteers are needed to take tickets, provide customer service and usher during shows. Ultimately, the city of Durham controls the reins of the theater and pays the non-profit that runs the Carolina Theatre.
Nocek's failure to admit responsibility for the theater's fiscal meltdown also jolted me. He arrogantly says he was ""responsible" but did not do the accounting and was unaware of the situation. He was CEO of a small staff and didn't know there were financial problems? He admits in the interview he is capable of keeping his own books for his new company, but didn't have a clue about Carolina's financial condition. I find it very difficult to believe that a CEO in a company that does less than $3 million in business would not be curious enough to know how the business is doing month to month let alone every day. It wasn't hard to see which shows made money and which shows lost. It wasn't hard to figure that there appeared to be a lot of shows that lost money or didn't make enough of a profit compared to the shows that made money. I'm sure the theater knows the break-even point for each show and must have known income and expenses every month. Why didn't Nocek? He couldn't just yell down the hall and ask, "How did we do with that show?" It's not like he was running Exxon.
When an organization fails it is usually not the fault of one individual but a systemic flaw in the business. The Carolina Theatre is run by a board but the CEO has day-to-day operational control. Nocek takes great pride in the growth of the theater under his tenure, but it makes one wonder, given the size of the theater's fiscal hole, how much of that success was an illusion? He claims he increased sales from $600,000 to $2.5 million, but he left a hole of at least $1.2 million. That's not an accomplishment. His failure to take credit but not blame is egomaniacally astonishing.
I also don't understand how Nocek can walk away from a CEO position and then turn around and compete with the organization that suffered under his tenure. Didn't he have a non-compete clause in his contract? The result of the theater's financial disaster under Nocek left the city of Durham holding the bag for $1.2 million of which the city is forking over $600,000 to keep the theater afloat, a sum which the Carolina Theatre's board must match from donations.
His last answer in the interview shows Nocek's true arrogance when he talks about trying to "diversify" the audience by booking money-losing shows like Burt Bacharach and Frank Sinatra, Jr. Who were the diversified audiences he was trying to attract? Dead people?
I wish the Indy had gone deeper into its questioning of Nocek. Any curious resident of Durham must wonder what really happened at the Carolina Theatre.In the interview Nocek castigates people for blaming him. They have that right especially since their questions have not been answered. It's not very comforting to know that Durham's citizens must pay for Nocek's failure while he advertises Bob Nocek Presents across the state.
that gibson sg looks just like the one BIG BOY HENRY use to play. wish i could get to chapel hill tonight, i would like to hear it
One correction: None of the shows I've presented have been at The Carolina Theatre in Durham. They've been at The Carolina Theatre in Greensboro. I attempted to rent Durham's Carolina Theatre in 2016, and the Board of Trustees refused to allow me to rent a City-owned venue.
Great to see you doing so well, Bob!
Rusted Root has remained authentic and less worried about being cool. Their ability to stay true should be celebrated! And... They still sound great thanks to Michael Glabicki's relentless vision and his own artistic evolution.
I went to Duke in the early 90s, and worked at Brueggers Bagels on 9th St. every morning while I was in school. David was there first thing every morning, before anything else on the street was open. He never asked for anything more than a cup of water. I'd ask if he wanted a coffee or a sandwich, and he always shyly turned it down. I remember going outside on my lunch breaks, to the sound of his fiddle floating up from somewhere down the street. The city of Durham eventually chased all the homeless people out of the area. Yes, there were some aggressive panhandlers in the area, but David was never one of them. He disappeared. I always wondered where David went. About 10 years later, I had a job at NCSU, and found him again on Hillsborough St. It was clear no one was home, he usually just shuffled up and down the street carrying his violin. I saw this in my news feed this week, and sobbed. I realized all those years, he touched so many souls, and I never asked the man for his name. May you rest in peace David, and I know the music in heaven is all that much brighter for your presence.
I sincerely hope the statue happens and want there to be a link / address for donations!
A fine story but one correction: Pattie and I were not married in the 70s when we performed with David as Triangle; our wedding was in 1982 (and we're still married).
Yes I will miss him and his music. I did not know about his run for Senate, but it makes a certain amount of sense as does his disappointment. Rest in peace David, you made a difference.
INDY Week, how do I donate to the statue fund???
A beautifully written article. For several years I spent many afternoons with David when he came to Mitch's Tavern after playing on Hillsborough St. I would greet him with "Oh pain in my ass", always getting a laugh. I threw his creamers to him baseball style. Did well. I only missed once, hitting a beer tap and spraying him and one other. He laughed and laughed. We were always talking about politics and baseball. I know of no one who got so much pleasure from life. There is some fine fiddling going on somewhere and may he be in a better place and I hope there is some baseball there for him.
The word "appropriation" in this article is used in a negative sense, leading one to think that singers such as Elvis Presley were stealing music they performed. This reminded me of a youtube video playing Big Mama Thornton's "Hound Dog" back to back with Elvis' version and stating that "Elvis stoled the song." Actually the song writers, Leiber and Stoller, made much more money from Elvis' version than they did from Big Mama's.
If anything, Elvis' versions of songs from earlier records made many more music buyers aware of artists like Big Mama -- and, for example, Arthur Crudup, Roy Brown and Junior Parker -- I bought records by all of these great artists because Elvis' recordings brought those artists to my attention. Otherwise, it's likely that I would never have heard of them.
I'm sure that it wasn't intentional, but if there's any stealing going on, it's by Indy columnist Allison Hussey who didn't think about the implications of her indicating that her "guitar teacher Max Drake" gave her "a CD-R of Thornton's 'Hound Dog: The Peacock Recordings.' " Burning a CD-R actually eliminates any chance a recording artist (estate or owner) has of collecting any artist royalties from their work.
When introduced to other artists like "Memphis Minnie and other lesser-sung heroes," hopefully that wasn't via "artist royalty free" CD-R's as well.
FYI, the version of Hound Dog that Elvis recorded had different lyrics. They had been changed by Freddie Bell (and the Bellboys). Elvis asked Freddie for permission to record his version and that's what he did. Elvis learned of this version when he was in Las Vegas performing at the New Frontier in spring 1956. Freddie Bell was performing in the Sands lounge, which was across the street. It was Elvis' back up band that discovered this version and told Elvis about it. Elvis did know of Mama Thornton's version. The best example of singing both versions was his performance of the song on the Milton Berle show. I suggest listening to Freddie's version first, then check out the Berle version.
Great list, but not much local hip-hop! I'd throw out Izz the Unknown, who's been making the rounds in Chapel Hill, Raleigh, and Durham. Plus, looks like he's got recent collabos with Raleigh producer Sadvillain. https://soundcloud.com/izztheunknown
The Never. Haven't thought about them in ever. That song "The Astronaut" from their first record is a power pop opus.
Pam I'm so glad you are back on the air. Thanks for being so very honest with your struggles in this article. I missed that smile and happiness you brought to the broadcast. Congratulations on what you are now doing with this chapter in your life.
I've had nothing but positive experiences working with Slums, his music always seemed to me more club ready where raund haus tends to be more experimental, but one is a solo artist and one is a showcase, so that's more the reason for the confusion.
Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
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