The snippet was from a Western and is now on display in the lobby. Renovating the building is part of a major downtown revitalization effort for Cary, with the intent of bringing more people downtown. And officials say the theater will help fill the void left when The Galaxy, a local theater known for showing independent films, closed its doors last year.
Chatham St. The interior is now wonderfully modern, and the venue makes for a great night out. Tickets are available at the box office or via Etix. It has always been a draw for the city and has recently undergone a rebirth of sorts. The Factory. The club is keeping the name and concept a secret until construction is completed. Menus have been completely revamped with a variety of American fare. The club is open for lunch Wed. Doug Benson. Patrons may notice the addition of more servers, bartenders, ushers and cooks. Another thing the new owners have done is to open the club to all comics, giving them more opportunity for stage time besides open mic nights.
Examples of this are the Wednesday Showcase and an Anything Goes late show. Attracting 1,s of visitors each year, this three-day event presents a festive atmosphere with unique vendors, specialty boutiques, entertainment and programs of interest for women of all ages. Read more about other special guests here. Each year the Raleigh show attracts some of the most sought-after experts in the industry to help guests enhance or transform their look as well as provide tips and tricks for leading a healthier life. American Laser Skincare : Laser hair removal, skin rejuvenation and body shaping.
Xtreme Whitening : Brighten your pearly whites up to eight shades in as little as 20 minutes. Hand and Stone Massage and Facial Spa : Swedish, deep tissue, sports and more; visit them at the show to ask about their signature hot stone massage. Boot Camp Moms : A community of women who do so much more than workout together; supporting, encouraging and laughing together all while burning a ton of calories.
Food Lion Chef Challenge : Professional chefs will share their tips regarding how to bring a fresh delicious meal to life in less than 30 minutes; the stage will be brimming with local chefs, interactive games and excitement, plus periodic food sampling along with premium goodies to make your grocery shopping easier. Dancing Like The Stars : this always-popular event competition returns. What you can win:.
The show will run this Fri. Children under age six are free with a paying adult. Want to join the fun? Follow visitRaleigh and look out for a trivia question tomorrow, Apr. Packs of tickets will be given away to the first six individuals to answer correctly! The restaurant is also open for Dec. Walking trails meander through the mature trees and over the stream. Hill Library.
Chatham has a wall that is covered with all things Cary. Singer Clay Aiken was added as the mural was created during the time of his American Idol appearance.
History of Wake Forest: Created by Franklin Academy High School at The Cotton Company , a refurbished cotton warehouse turned shopping center that offers more than 50 specialty shops and an art gallery showcasing the work of local artists and designers. Wake Forest : Another public art piece from Franklin Academy comes from senior Marissa Banks who wanted to show how public art can enrich a community.
Her work also includes contributions to the pastoral scene outside of Franklin Academy Elementary School and the firefighting mural inside Fire Station 3 on Forestville Rd. Art comes in all shapes and sizes. And downtown Raleigh features some of the coolest—on a grand scale. Over the years, these striking works transformed the landscape and provided eye-catching attention to what may have otherwise been just ordinary spaces. Some have been removed, while others stood the test of time.
How many of these have you spotted?
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The wall depicts an image of an oak tree and has become a symbol for Raleigh, the City of Oaks. The piece is made up of 79, light and dark aluminum squares that change shape and disappear as the squares flap in the wind. Butterfly Mural: This little building on Blount St. Lincoln Theatre : The west-facing wall of Cabarrus St. Johnson St. Check out the faces drawn into the fruits and vegetables. The building features a foot transportation-themed mural including Trolley Pub spanning the east and south facing walls of the property.
The museum encourages visitors to explore the natural world and their connections to it. Here are some of my favorite parts:. Nature Research Center : The new 80,square-foot wing, with state-of-the-art laboratories, research opportunities, interactive exhibits and live presentations given by top scientists.
I knew enough about history, about the sterile, cultural neck brace that America wore in the late '50s and early '60s, to realize just how revolutionary and foolhardy and essential Lenny Bruce was, but There are a startling number of comedians my age and younger! And I suspect -- fuck it, I know -- they're lying. They're not lying out of self-aggrandizement or even fear. It's just -- they know how important Lenny was, especially in terms of what they do now, onstage, that they assume he's also, to them, hilarious.
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Maybe they even convince themselves, when they listen to an old concert, that he's genuinely making them laugh. None of what I'm saying is meant to lessen Lenny Bruce, as a performer or barrier-breaker. If anything, it's a tribute to how iconic his material is -- like Ornette Coleman's music, or Ozu's films or Wallace Stevens' poetry -- there's an ever-renewing army of connoisseurs within his field who will always assert that he's hilarious, that he's a primal influence, that he's a source.
Which brings me to Bill Hicks, and the equally strange legacy he leaves behind after his death. We'll get to that later. And no, I'm not going to make the silly claim that there's a direct line between Lenny Bruce and Bill Hicks.
The path of influence in any art form is never a straight line, nor is it ever a "passing on" of a real or symbolic baton. Influence and homage are a tangled radio-burst of infectious particles, and there are as many side-steps, diagonal shuffles and pivots as there are clean strides forward. So let's take a few steps backward here, to the people who followed Bruce, and laid the path for Hicks. Lenny Bruce didn't just use language as a weapon -- he showed how, oftentimes, the weapon of language was pointed at us -- by us.
George Carlin took the weapon and treated it like a wicked toy, which, in many ways, was even more shocking. Meanwhile, Dick Gregory and Bill Cosby were kicking down doors using different forms of judo - Gregory with frank, withering exposure of the racial tensions he lived with every day; Cosby by being so undeniably hilarious and brilliant that he made the fact of his blackness a moot point and also secretly funding Sweet Sweetback's Baaadasssss Song.
Then along comes Richard Pryor, taking his id out for a walk and showing that everyone, black and white, had the same core fears, desires, and triumphs -- and people filled theaters and cinemas to hear him say it. Finally, there's Steve Martin, in his revival preacher white suit, packing stadiums by making fun of comedy itself -- and thus reality. By the time Bill Hicks started doing stand-up comedy, the form itself had calcified into the comfortable, brick-wall-and-two-drink-minimum that all of America saw on basic cable all through the '80s.
The feats of derring-do that Bruce and Carlin did with language in the '60s and '70s had become crass wordplay. Cosby realized, to his horror, that his opening the door for comedians who just happened to be black created a generation of comedians who only talked about being black. The same fate befell Pryor -- he'd opened a door that led to a deeper emotional freedom for performers who followed him, yet most of them never went deeper than saying, "motherfucker" constantly.
And Steve Martin's meta-textual commentary on smarmy, shallow comedians created a new breed of Barrier-breaking, darkness, risk and danger had all been co-opted, and any taste the audience had for the new had been dulled by a thousand baskets of mozzarella sticks and an ocean of over-priced blender drinks.
Which is what makes Bill Hicks' achievement all the more miraculous, when you put his comedy into the context of the time he did it. Lenny Bruce had to punch through an icy wall of Eisenhower-era repression. But Bill Hicks had to make his voice heard through the amorphous, ever-shifting fog of Reagan-era comfort and complacency.
Comedy club audiences in the '80s actually thought they were being revolutionary and dangerous, listening to a sport-coated, sleeves-rolled-up comedian railing against the absurdities of airplane food, the plot holes on Gilligan's Island and the differences between cats and dogs.
Like Kurt Vonnegut's Kilgore Trout, laying down world-saving truths in the pages of disposable stroke magazines, Bill Hicks was trying to light the way into the 21st century -- on the stained-carpet stages of strip mall chuckle huts, usually following a juggler. It changed what I wanted to do with comedy, almost instantly. Before Hicks, I was focused only on being liked. After Hicks, I was focused on discovering, together with each audience I stood in front of, why I liked what I liked. And how far I could take the things I liked and still get laughs.
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