Arts

Doc Watson: Wisdom from an Appalachian renaissance man

20Whether you are an expert in folk music or if you can’t tell a banjo from a mandolin, a new biography, Doc Watson: A Life in Music, by Eddie Huffman, will draw you in. Along the way, you’ll discover not just Doc’s story, but the rich history of our state and the impact of its traditional music.
Huffman, a Burlington native and current Greensboro resident, confesses that he was more a fan of the pop music and rock-n-roll of the ‘70s and ‘80s of his youth, “dismissing country music as that cornball stuff they played on Hee-Haw.”
But he poured himself into Doc’s world: tracking down rare recordings, listening to every album, combing through archives across the state and beyond, watching old television clips, reading concert reviews, bootlegs, radio transcripts—and more.
Folks in the High Country in northwestern North Carolina welcomed him in, introduced him to people who knew and loved Doc, and even drove him through the backroads and hills that shaped Doc’s world.
Huffman gives us a close-up look at what it was like to grow up in the mountains near Boone in the 1920s and ‘30s, introducing us to Arthel Watson, the child who would one day be known as Doc.
You get the feeling that young Arthel would have happily welcomed us into his world, which was full of love—and full of hardship. In Deep Gap in Watauga County, his family had no running water, no electricity, and no insulation. Blind from toddlerhood, Watson was keenly fascinated with sound. He made instruments out of whatever he could get his hands on—from pots to cowbells—and delighted in sitting on the porch listening to the wind blowing through the trees.
Huffman paints a portrait of Watson as a jack of all trades, an Appalachian Renaissance man. He could have made a good life as a farmer, a carpenter, an electrician, a writer, a preacher, or just about anything that called for steady hands, a clear mind, and a generous heart.
Huffman’s book is, of course, not a self-help book, but it offers a powerful example: a life shaped not by ease or fame, but by courage, grit, and quiet humility. Here are just a few takeaways that reverberate through Huffman’s thoughtful exploration of Watson’s
life and legacy:
1. Take things apart… and creatively put them back together. “You can’t really love something until you understand it,” Doc said. As a boy, he tinkered with record players and homemade instruments. Later, he wired his first home by hand. Music was no different—he took songs apart, note by note, then put them back together in his own way. “I figured I’d better build on it,” he said, “so I’d be at least halfway original.”
2. Embrace… and exploit your limitations. Over and over, Doc turned his blindness into a strength. He could guess with accuracy how fast a car he was riding in was going, he could avoid stepping in potholes on a dirt road that his sighted friends stumbled into, he could identify 16 different birds singing, and he could chop wood with an axe with a crooked handle. After a stint at the School for the Blind and Deaf in Raleigh, Doc decided that was not the place for him and returned home. So, he had more free time on his hands than some sighted teenagers who had to attend school or work full-time. This allowed him to lean into his passion and become a master.
3. Grieve... and move forward. After the tragic loss of his son and musical partner, Merle, Doc Watson nearly gave it all up. But a dream—Merle guiding him from a desert toward light—changed his mind. So, Doc kept playing, knowing Merle would not want him to quit. And with his family, he started MerleFest, a tribute that still brings thousands together each year in Wilkesboro to celebrate the music they both loved.
4. Travel… and be a homebody. Doc Watson traveled from coast to coast, playing in the biggest cities. That alone—navigating it all without sight—is remarkable. But no matter how far he went, he was always ready to get home. “Us mountain folks feel pretty strongly about family,” he said. “Fireside, the supper table, breakfast with your wife—that means a whole lot. And I reckon that ain’t nothing to be ashamed of.”
These lessons—and many more—await in this moving biography. By the end, you’ll know plenty about Watson’s music. You will likely end up not just a fan of his music, but of the man himself.

Arts Council says hello, goodbye to new public art

19Fayetteville is a community of hellos and goodbyes. With our deep ties to the military, we are adept at wishing our friends well as they travel to the next duty station and welcoming new members for as long as they call Cumberland County “home.” Each summer, the Arts Council of Fayetteville | Cumberland County practices this by removing public art that goes on to its next home and installing new works that will be a part of the community for a year. The Arts Council’s ArtScape is an annual public art series, now in its ninth year, where visitors can view outdoor 3D sculpture all over the city of Fayetteville.
The new pieces installed this summer bring a new, colorful story to Fayetteville. James Futral’s Red Bear now sits proudly outside of the Arts Center, welcoming visitors. Bright silver shines through Hanna Jubran’s Sound of the Elements on Green Street and surrounds City Hall through Jim Gallucci’s Oak Leaf Arch. The multicolored Feather by Kirk Seese looks over Market Square, and the striking Yellow Flower by Loren Costantini cheerfully greets people at the Courthouse. The new ArtScape collection includes interactive pieces as well. Magnify, which sits at the corner of Hay and Ray Streets, allows people to swivel the top of the sculpture to capture sunbeams and reflect a stained-glass effect. Artist Agnes Black hopes that people engage with her piece Through the Heart’s Lens at 201 Hay Street by photographing through the heart-shaped cutout or strumming the guitar strings attached to the sculpture.
Installing the artwork is a challenging puzzle for Arts Council Facilities Manager Chris Walker. Walker has to secure all the pieces so they are safe for the public while placing them throughout the city.
“It's hard, hot work, but while you install them, you get to see the cheerful reactions of people at that moment they see the new works for the first time,” says Walker. In some cases, like the 20-foot tall Water Drop in Festival Park, the installation even takes a crane to lift the piece high in the air. But all the work is worth it to Walker. “Helping to install these sculptures gives me a chance to work with different artists to help bring something beautiful to our community.”
While the Arts Council produces ArtScape each year, the initiative takes the entire community to be successful. No one knows that better than Director of Development Josh Murray.
“ArtScape is the perfect example of how public art can unite a community. Talented artists create attention-grabbing pieces, and individual donors make the artwork publicly accessible through their sponsorship,” says Murray. Individual donors help support the rental cost for each of the pieces selected to be a part of ArtScape. “Together, the artists and donors play a major role in developing the visual identity of Fayetteville, which is a beautiful thing!”
ArtScape mirrors the rhythm of Fayetteville. Stories arrive, settle in, and eventually move on. As new works find a home in our city, they invite us to pause, connect, and see our community through a fresh lens. View ArtScape 9 from now until June, and for more information, visit www.wearethearts.com/artscape9.

(Photo: "Water Drop" by Hanna Jubran stands at Festival Park and is part of ArtScape 9. Photo courtesy of the Arts Council of Fayetteville/Cumberland County)

Chaplin’s "The Great Dictator" returns to the Cameo

54On Saturday, Oct. 11 at 4:30 p.m., the Cameo Art House Theatre will present a rare screening of Charlie Chaplin’s The Great Dictator. More than just a film, Chaplin’s 1940 satirical masterpiece stands as one of cinema’s most daring political statements. It’s a film that made audiences laugh while also forcing them to confront the terrifying realities of dictatorship, hate and war.
When The Great Dictator premiered in 1940, the world was in turmoil. Adolf Hitler had already plunged Europe into chaos and America had yet to join the fight. To take on such a subject in a comedy was audacious, if not outright dangerous. But Chaplin, who had spent decades captivating audiences with his silent era “Tramp” character, understood that laughter could cut sharper than anger. By creating a dual role, playing both Adenoid Hynkel, a ruthless dictator clearly modeled on Hitler and a humble Jewish barber who is his double, Chaplin highlighted the absurdity of tyranny and the humanity of its victims.
The film’s mixture of slapstick and satire is perfect. From Hynkel’s dance with the inflatable globe to the endless speeches filled with nonsensical jargon, Chaplin dismantled the image of the dictator, reducing him to a dangerous clown. Yet for all its comedy, the film is anchored by one of the most moving moments in cinema history: Chaplin’s final speech, in which the barber, mistaken for Hynkel, delivers an impassioned plea for kindness, democracy and peace. It is a speech that continues to echo across generations, often shared anew in times of global uncertainty.
For the Cameo Art House Theatre, presenting The Great Dictator is more than just programming; it is a celebration of cinema’s ability to endure and inspire. Independent theaters like the Cameo have long been champions of films that remind us why we go to the movies in the first place: not only to be entertained, but also to think, feel and see the world in new ways.
This screening is particularly special to me on a personal level. Years ago, I had the rare opportunity to hold an original 35mm print of The Great Dictator when the Cameo showed the film. As someone who has spent much of his life surrounded by movies, both in classrooms and theaters, that moment was nothing short of awe-inspiring. The film reels were heavy, encased in their metal canisters, the kind only seen in projection booths or archives. This film reel happened to be the only traveling print in the US, so gloves and extra precautions were necessary.
That encounter deepened my appreciation for Chaplin’s artistry and for the medium of film as a whole. We often forget, in the age of digital streaming, that movies were once fragile, physical things. They traveled from theater to theater, city to city, carried by projectionists and handled with care. To hold The Great Dictator in its original 35mm form was to connect not only with Chaplin, but also with everyone who had ever sat in a darkened room and watched that same piece of film flicker to life.
And now, with the Cameo’s screening, audiences will have their own chance to share in that magic. While the version on screen may not be the very same reel I once touched since the Cameo (and most theaters) is now all digital, the experience of gathering together, of seeing Chaplin’s work projected larger than life, is what truly matters.
It’s important, too, to remember that The Great Dictator was a deeply personal project for Chaplin. He financed it himself, pouring in thousands at a time when the outcome was uncertain. He risked alienating audiences who preferred his silent-era Tramp, and he risked angering governments and political leaders who saw his satire as dangerous. But Chaplin pressed forward, declaring later that had he known the full extent of Nazi atrocities, he might never have dared to make it. That tension between comedy and tragedy is what gives the film its timeless edge.
Watching it today, one can’t help but marvel at its relevance. Chaplin’s lampooning of authoritarianism, his warning about hatred, and his ultimate appeal for empathy speak just as powerfully in 2025 as they did in 1940. Perhaps that is why screenings like this one at the Cameo are so vital. They remind us that art does not fade; it continues to speak, provided we are willing to listen.
So on Oct. 11, as the lights dim and Chaplin appears once more, audiences will witness more than just a film. They will be part of a tradition that stretches back 85 years. For me, the memory of holding that 35mm print will linger as the projector whirs to life. And for everyone else who attends, perhaps there will be a moment or a line, a gesture, a laugh that connects them across time to Chaplin, to the past and to the enduring power of cinema.
Tickets for the screening are available now at the Cameo box office and online.

Cape Fear Studios presents 2025’s “6 By” Exhibit

55Cape Fear Studios is featuring their “2025 6 By Exhibit” until Nov. 25. The studio is located at 148 Maxwell Street. The exhibit can be seen Tuesday through Friday, 11 a.m. to 5 p.m., and Saturday, 10 a.m. to 2 p.m. The show consists of 43 pieces of art that feature works by visual, 2D, and 3D artists. At least one dimension of each creation needed to measure six inches before framing.
Artists are from throughout the United States. The sponsors of the “2025 6 By Exhibit” are the North Carolina Arts Council and the Arts Council of Fayetteville/Cumberland County. The media includes paintings, sculptures, ceramics, and digital art. General admission is free. For more information, contact Cape Fear Studios by phone at 910-433-2986, or visit their website at www.capefearstudios.com.
Jeffery Geller and Irina Shin Geller are the judges of this juried show and owners of Red Springs Artspace, located at 200 S Main Street, Red Springs, NC. Geller was the recipient of first place in the “Fall into Winter Exhibition” at Robeson Art Guild in Lumberton, North Carolina.
Geller began taking art classes in his youth and continued painting and sculpture classes while at California State University, Northridge, where he completed his BA. In graduate school at Duke University, he worked for three semesters with the painter Vernon Pratt. He has taught philosophy and logic at the University of North Carolina Pembroke and collaborated closely with the Art Department. Geller exhibited at the Hogarth Worldwide Biannual in New York in 2014.
Shin-Geller is a Korean-Russian artist. She studied graphic design at Parsons School of Design after immigrating to the U.S. In 2020, she moved to Red Springs, North Carolina, and became a Red Springs Artspace Artist.
“I like to create images that convey usual textures, patterns, shapes, and shadows. I enjoy experimenting with different techniques and media: acrylics, oils, watercolor, photography, and 3D,” Shin-Geller said. “Recently, my preferred material to work with is hanji-a, a handmade mulberry paper from Korea. Hanji-a has been known in Korea for many centuries and was used by my ancestors. I am of Korean ancestry. When I grew up in the former Soviet Union, I was not encouraged to value my ethnicity and cultural heritage. Now that I am older, I feel the need and have the freedom to get back to my Korean roots. It helps me understand what makes me unique, what is valuable to me, and what path to take in the future.”
Spend a crisp Fall Day on the “2025 6 By Exhibit” at Cape Fear Studios. . General admission is free. For more information, contact Cape Fear Studios by phone at 910-433-2986.

(Photo: Beach Bungalows by Melanie Moschella is a textile piece in the “2025 6 By Exhibit” at Cape Fear Studios. Photo by Lena Simmons)

 

Embrace Spooky Season with Dirtbag Ales, FSO

50The Fayetteville Symphony Orchestra invites the community to embrace the spooky season with a cinematic classic like no other.
On Saturday, Oct. 25, at 8 p.m., Dirtbag Ales, located at 5435 Corporation Dr. in Hope Mills, will transform into a stage for music, film, and Halloween spirit during Nosferatu Movie Night. Admission is free, making it the perfect way for families, friends, and film lovers to enjoy a festive night under the stars.
This unique event pairs the eerie brilliance of the 1922 silent horror masterpiece Nosferatu with a live performance from a small ensemble of Fayetteville Symphony musicians. With music specially arranged by Peter B. Kay, the orchestra will heighten the film’s suspense and atmosphere, turning every shadow, glance, and gesture into a haunting experience.
Directed by F.W. Murnau and starring Max Schreck in his chilling role as Count Orlok, Nosferatu remains one of the most iconic horror films of all time. Though more than a century old, the German Expressionist classic continues to captivate audiences with its haunting imagery and innovative cinematography by Fritz Arno Wagner and Günther Krampf. Known as the earliest surviving adaptation of Bram Stoker’s Dracula, Nosferatu has influenced countless vampire films and remains a cornerstone
of horror cinema.
The Fayetteville Symphony’s live performance adds an immersive dimension that honors the traditions of the silent film era, when live musicians often accompanied movies. With each note, the ensemble breathes new life into Murnau’s terrifying vision, making the experience both timeless and immediate.
Dirtbag Ales provides the perfect backdrop for this community gathering, offering an open, welcoming atmosphere where guests can relax with food, drinks, and the company of fellow movie enthusiasts. The outdoor setting enhances the event’s Halloween feel, making it an ideal way to kick off the spooky season.
Nosferatu Movie Night is more than just a film screening—it’s a celebration of art, history, and community. Lovers of horror movies, fans of live music, and those simply searching for a unique seasonal outing, will find this free event promises chills, thrills, and unforgettable memories.
Bring a blanket or lawn chair, and join the Fayetteville Symphony Orchestra on Oct. 25 for a night where music and film meet in haunting harmony.

(Photo courtesy of Wikipedia)

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