Tracey Morgan Gallery is pleased to present an exhibition of paintings by artist Stella Alesi in our project space. This is Alesi’s first exhibition with the gallery and is presented in conjunction with Hannah Cole: A Mirror, Not a Window in our main gallery space. A reception for both artists will be held Friday, November 3 from 6-8PM.

The works on view are from the SQUISHY series, a group of geometric, abstract oil on oil paper paintings. With the use of simple shapes and a limited color palette, these works explore the visceral experience of living at this current moment. Alesi’s colorful, “squishy” shapes bend to the demands placed on them by their seemingly heavy, unforgiving counterparts. With this work, Alesi confronts contemporary issues such as climate change and political turmoil, as well as personal trials, using basic shapes, both hard and malleable to express a state of being. The shapes are gestural, fluid, and animated – sometimes resembling body parts even in their minimalism. The effect is a playful interpretation of heavy topics – a visual play on the deep and multi-layer well of human emotions.

Stella Alesi works across several styles and mediums, including drawing, painting, photography, collage, and large wall works. Their practice is characterized by a willingness to try new approaches in the ongoing investigation into new materials and visual languages, always exploring new ways to represent the visceral nature of the human experience. Born on Long Island, New York in 1963, Alesi was raised in New Jersey. They studied at Parsons School of Design, New York City; University Hampshire, Durham; and University of Massachusetts, Amherst. Their work has been purchased by many private and commercial collections. Career highlights include a recent solo exhibit (spring of 2023) at the Northern-Southern gallery, Austin, TX and a large-scale permanent installation in the lobby of The Foundry, Austin TX. Alesi currently lives and works in both Austin, TX and Asheville, NC.

Here’s a gift that will grow on you or the gardener on your list. Reservations are now open for a mini-terrarium workshop at Bullington Gardens. This class is open to families who would like to create family ornaments to keep or give as gifts.

Set for November 15, 2023, 2:00pm-3:30pm, this hands-on, in-person workshop lets you create hang-able mini-terrariums that double as holiday decoration. Create plant-filled globes that will also feel at home in a window year-round.

What is included: Glass ornament, planting materials, living succulent plants to choose from, décor for your ornament berries, moss, and twine or ribbon to hang your one-of-a-kind ornament. Extra glass globes and materials will be available to purchase.

• Even though it’s getting colder, you can still find fresh, local food at area farmers markets. Nine markets in Buncombe County will offer extended seasons or special holiday dates in November and December. In addition to seasonal produce, meats, cheeses, eggs, and bread, these markets will feature local artists and handmade goods, such as wreaths, pottery, jewelry, and more.
• ASAP’s Double SNAP for Fruits and Vegetables and Farm Fresh Produce Prescription. Both programs offer participants free market tokens that can be spent on fresh fruits and vegetables. That includes in-season fall produce such as root veggies (including carrots, beets, radishes, and turnips), tubers (potatoes and sweet potatoes), brassicas (broccoli, cauliflower, and cabbage), winter squash, greens, and fruits like apples and persimmons.

Join us for our annual AIR Holiday Gift Card Exchange on Wednesday, November 15th, from 4:00 p.m. to 6:00 p.m. at Archetype Brewing + Kitchen on the South Slope. We’ll be serving snacks and pizzas from Archetype, and a cash bar will be available.

Please bring gift cards in $20 denominations to exchange with your fellow restaurateurs. These gift cards can be used as employee gifts, incentives, and tokens of appreciation. This event is always enjoyable and an excellent opportunity to network and connect with fellow AIR members. Be sure to arrive on time to fully participate in the festivities and exchange the most cards.

Join us at Keynote Speechcrafters and

Discover the
Joy of
Public Speaking!

It’s natural to enjoy things you do well,
and you will get good at this.

Our members are committed to meeting each week because

steady progress
requires
steady practice.

Our motto:

When you show up
You speak
Every meeting
Every week

So come join us at the South Buncombe Library on Wednesday evenings and prepare to become a better you.

Please Click here to let us know you are coming.

Guests are always welcome. We look forward to speaking with you!

BULLY

Lucky For You is Bully’s most close-to-the-bone album yet. It’s an album that’s searing and unmistakably marked by its creator’s experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on — and it’s all soundtracked by Bognanno’s rock-solid melodic sensibilities and a widescreen sound that’s impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno’s put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them.

Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. “Authenticity is always on my mind, without even knowing it,” she explains while discussing their recording process together. “If I’m doing something that doesn’t feel natural or right, I’m quick to shut it down. So it was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what’s actually good about my writing instead of changing it. I could tell how much he cared about the project and it meant alot to me.” The album came together over the course of seven months, the longest gestation process for a Bully record to date: “I was freaking out about it at first, because taking my time was so new for me. But a few months in, I realized how crucial that time ended up being. I got songs out of it that I wouldn’t have had otherwise.”

“With every record, I feel more and more secure in terms of doing what I want,” Bognanno continues. “For this one, I wanted to be as creative as possible with these songs.” She got her wish: A kaleidoscopic rock record spanning punk’s grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for, Lucky For You’s thematic focus also zooms in on grief and loss. The record is largely inspired by Bognanno’s dog Mezzi passing away, at a time when her life already felt as if in metamorphosis.

“Mezzi was my best friend,” she explains. “She made me feel safe and empowered, she showed me that I was worth loving and never judged me or viewed me as a let down. I always felt accepted, understood and so much less alone. Mezzi was living, breathing proof that I was worthy of being loved.” And the oceanic first single “Days Move Slow” was written shortly after Mezzi’s passing, reflecting the persistence of Bognanno’s incisive wit even while facing adversity. “There was nothing else I could do except sit down and write it, and it felt so good.”

“Hard to Love” stomps and lurches with awesome abandon, resembling one of the most sonically left-field tunes Bognanno’s put to tape as Bully; and then there’s the passionate opening track “All I Do,” which kicks in the door Bully-style with huge riffs atop her lyrical reflections on three years of sobriety. “I’ve been living in this house for seven years,” she says while discussing her current Nashville abode. “Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it’s still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I’ve moved on from?”

In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. “I’m so overly emotional and sensitive, it’s a blessing and a curse” she says with a laugh, but there’s no downside to her expressions of vulnerability on this record; it’s the latest bit of evidence that nothing can hold Bognanno back.

All ages

Fans of legendary folk icons The Kingston Trio can re-discover their timeless music all over again. All three current members, Mike Marvin, Tim Gorelangton and Buddy Woodward have intrinsic links to and experience with the original group: Mike is the adopted son of founding member Nick Reynolds, who was also his musical mentor; Tim, a close friend since boyhood, is one of the few musicians outside theTrio who has recorded with Nick Reynolds; and Buddy, who has performed with longtime Kingston Trio member George Grove. Many of their personal memories recall the iconic trio’s performances and journey as folk music made its extraordinary ascent to the pinnacle of popular culture – and the top of the music charts.

Every Wednesday Trivia Night

Trivia Night at Hickory Tavern

Carolina Hurricanes vs. Philadelphia Flyers

Hockey Fights Cancer Night

Back in summer 2021, Grace Potter took off on a solo cross-country road trip that would soon bring a life-saving reconnection with her most unbridled self. Heading out on Route 66 from her home in Topanga Canyon, the Vermont-born artist spent the coming weeks crashing in roadside motels and taking time each night to deliriously transcribe the song ideas she’d dreamed up behind the wheel, often scrawling those notes onto the backs of postcards and motel notepads. After completing two more trips across the U.S. on her own—and partly navigating her way with the help of hand-drawn maps from self-styled historians of Route 66—Potter flew to Nashville for a series of recording sessions that quickly gave way to her most magnificently unfettered collection of songs to date. Equal parts fearlessly raw memoir and carnivalesque fable, the result is a body of work that goes far beyond the typical album experience to deliver something much more all-enveloping: the original motion picture soundtrack to a profoundly transformative moment in Potter’s life, a fantastically twisted odyssey populated by the hitchhikers and outlaws and other lifelong wanderers who roam through the wonderland of her psyche.

The follow-up to Daylight—a 2019 release that earned GRAMMY nominations for Best Rock Album, and Best Rock Performance—Mother Road marks the start of a thrilling new era of a career that’s included turning out seven acclaimed albums, sharing the stage with the likes of The Rolling Stones, Robert Plant, and the Allman Brothers Band, and playing nearly every major music festival (in addition to launching her own festival, Burlington’s Grand Point North). Over the course of its 10 larger-than-life tracks, the album fuses elements of soul, blues, country, and timeless rock-and-roll with masterful abandon, thanks to the vibrant musicianship of Potter and her collaborators: legendary keyboardist Benmont Tench, guitarist Nick Bockrath (Cage The Elephant), bassist Tim Deaux (The Whigs, Kings Of Leon), pedal-steel guitarist Dan Kalisher (Fitz And The Tantrums, Noah Cyrus), Potter’s longtime drummer Matt Musty, and her husband Eric Valentine (a multi-instrumentalist who plays everything from African lute to synth bass on Mother Road). Produced by Valentine (who’s also worked with Queens of the Stone Age, Slash, and Weezer) and recorded at RCA’s famed Studio A, Mother Road fully echoes the ecstatic catharsis of its recording sessions, a process that Potter alternately likens to a tantrum and a haunting. “I didn’t have any real intention of making a record; I just thought I’d get into a room with some friends and mess around with these unfinished ideas I’d been gathering,” she says. “But then an entire album fell out of me, including all the lyrics—the blanks had been filled in, like my subconscious had created finished sentences spoken distinctly from the perspective of all these characters that were living inside me.”

As she reveals, that explosion of creative energy followed a period of emotional crisis for Potter, a turn of events partly triggered by moving back to her hometown with her husband and young son a year into the pandemic. “There was a big piece of my heart that wasn’t ready to go back to Vermont—it all happened about 10 years earlier than I’d expected,” she says. “California had always felt like a new beginning, a place where I was able to step into a community of like-minded weirdos, and through that first winter I started to feel trapped.” After suffering a miscarriage (a particularly brutal medical experience compounded by the fact that she’d unknowingly been carrying twins), Potter began treatment for clinical depression and soon decided to seek the solace and release she’d always found on the road. “I used the rental-car shortage as an excuse to go get our car in Topanga, but the truth is I was going to probably have a full mental breakdown if I didn’t step away from the pressure cooker of judgment, I’d placed on myself and my environment,” she says. “At first, I thought of what I was doing as escapism, and I felt ashamed of that. But eventually I realized I was giving myself permission to do what needed to be done for me to get better.”

Within days of that first road trip, Potter was overcome by memories of past adventures and began piecing together stories set in parallel realities and alternate timelines, each rooted in the unvarnished truth of her emotional experience. “Mother Road is a reframing of my understanding of my history,” she says. “It’s an important and powerful perspective I’d never had until this record, and the heart of it is my journey to self-reliance and a sense of worthiness.”

Named for a line from The Grapes of Wrath—in which John Steinbeck refers to Route 66 the “the mother of all roads…the road of flight”—Mother Road opens on the soulful swagger of its sublimely rowdy title track. “That song is my way of saying I’m not okay, and I’m hoping that the road will at least be my partner-in-crime on this journey, if not a healer,” says Potter, whose powerhouse voice lends the track a certain incandescent grit. A world-weary plea for redemption (from the chorus: “Wherever I’m headed/Mama, don’t let it be down”), “Mother Road” also makes for a prime introduction to the album’s ingenious use of background vocals. “All of those vocals are me, but each voice is a different character I was manifesting in the album,” Potter explains. Mother Road’s motley cast of characters includes the ghost of Waylon Jennings and an enigmatic road warrior named Lady Vagabond. On “Good Time,” meanwhile, Potter inhabits the role of a hellraiser called Brigitte as she serves up a groove-heavy sizzle reel of her real life’s wildest moments (e.g., “I breastfed a stranger once at an In-N-Out Burger/Stripped down to my skivvies and danced across the boulevard”). “Writing that song, I was thinking about all the times when there were no boundaries between me and the world at large,” says Potter. “As you get older there’s this expectation that you need to fall in line, that you can’t keep living in a fantasy your whole life. But I don’t know about that. Maybe we can.”

At the heart of Mother Road lies two back-to-back tracks that together speak to the transcendent power of bending reality and creating our own myths. Co-written by Potter and the Highwomen’s Natalie Hemby (a Grammy-winning songwriter whose credits include tracks by Kacey Musgraves and Maren Morris), “Little Hitchhiker” brings Potter’s delicate piano melodies, luminous acoustic-guitar work, and gorgeously longing vocals to a tender reflection on her experience as a nine-year-old runaway. Next, “Lady Vagabond” unfolds with spaghetti-western bravado as Potter immortalizes the lawless superhero within. “To me she represents complete self-reliance and strength, and the permission to be as mischievous or as benevolent as you want to be,” says Potter. “She may not have a great grasp on everything else in the world—she may not even have the greatest grasp on herself—but that’s okay.”

For the closing track on Mother Road, Potter offers up an epic piece of cabaret-pop touched with both theatrical flamboyance and devil-may-care attitude. A bit of coming-of-age autobiography in song form, the piano-led “Masterpiece” paints a picture of her libertine young adulthood in irreverent and dazzling detail (“I was the long-lost daughter of disco/Dancing thru my jock-strap dreams/In my funky little Fiat/Chasing down my Masterpiece”). “One of the silver linings of going back home was driving by my high school every day and having all those memories come rushing back,” says Potter. “The kids I’d grown up with were there with a million stories about me, and every story got weirder and wilder than the last. But I love that that’s how they remembered me, and I love that I’m still living those stories out through my songs.”

Even in Mother Road’s most outrageous moments, Potter infuses her songwriting with essential insight into the endless nuances of life and love and belonging. True to the cinematic nature of Mother Road’s storytelling, she’s also immersed herself in creating the album’s elaborate visual components, an undertaking that’s involved expanding her talents as a filmmaker and multimedia artist. “I know now that there’s more depth to my expression, and I feel ready to bring everything into focus under a much larger circus tent than I have in the past,” she notes. And after thousands of miles on the road, countless nights at seedy motels, and a heartrending return home, Potter has made her way to the kind of creative freedom that leaves both artist and audience indelibly altered—a freedom that’s undeniably led to her masterpiece.

Put those random facts and obscure obsessions to use at Trivia Night, every Wednesday at The Draftsman! Bring friends and make new ones while you fuel your brain with specials on signature cocktails and bar bites at our laidback basement bar. Bragging rights for the title of Trivia Champion are always up for grabs!