Jamestown

Jamestown, NC · Arts & Culture
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This Giant North Carolina Bookstore Lets You Trade In Old Reads And Fill A Bag With Used Treasures
McKay’s in Mebane, North Carolina, is the kind of place that makes you feel like you’ve been doing everything wrong up until now. You’ve been buying new books at full price, letting old ones pile up on shelves, and wondering why your entertainment budget keeps disappearing. McKay’s...
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triadgolf.com
Recent Wake player advances to final stage of LPGA Tour Qualifying, locals fall short
A Wake Forest player advanced to the Final Stage of LPGA Tour Qualifying while two three players came up short. Anne-Sterre den Dunnen of The Netherlands, who finished her career at Wake Forest in the spring, tied for 35th place Friday at Plantation Golf Club in Venice, Florida, to advance to the Final Stage later this month at Magnolia Grove in Mobile, Alabama.
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davidsonlocal.com
Aggie choir brings harmony to Lexington
Sunday evening the parking lot at First Reformed United Church of Christ was full and Uptown Lexington were full in anticipation of renowned The North Carolina Agricultural and Technical State University Choir. Cars lined both sides of the street, and every pew in the sanctuary was filled fast. The evening was presented by Faith and the Arts of Lexington, a newly formed group that brings the churches and the arts community of Lexington together.
The Mount Airy News
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The Mount Airy News
Raleigh News & Observer
Doo-wop legend who sang ‘Money Honey,' other R&B hits, to get NC marker
Clyde McPhatter, a falsetto-voiced pioneer of early rock-and-roll, who launched his highly influential but short career in the churches of Durham, will soon grace an North Carolina historic marker on the streets where he first learned to sing. Born in 1932, McPhatter grew up in a Baptist family in Durham’s Hayti neighborhood, where he sang solos in the choir at his preacher father’s church, Mount Cavalry Baptist, but he soon moved to New York, formed a gospel group based in Harlem — The Mount Lebanon Singers. Like many crooners of his era, McPhatter followed the powerful draw of secular music, and he lent his voice to the early 1950s blend of rhythm and blues. This combination of gospel soulfulness and free-spirited, sexually charged energy led the country into a new rock and roll era. A young Ernie Barnes would recall sneaking into the segregated Durham Armory to get a glimpse of McPhatter with his doo-wop Dominoes, describing the scene he saw on the dance floor, so bold for the era it seemed sinful, but not so audacious he didn’t move along. “What I observed was the no inhibition, no self-consciousness or rigidity, just fluid movement while the music punctuated every