The 2019 Green Tie Gala: Celebrating the Fine Arts at CHS


The week before Spring Break is usually one of the toughest; at this point in the year, months from the last full-length break, many students are barely clinging on to their academic motivation. Luckily, at Cary High this week still goes out with a bang; enter The Green Tie Gala, a vivacious celebration of all of the fine-arts happenings at Cary. Not only does this occasion bring students together from all over the school, it is also a vibrant beacon of art and culture in the larger community of Cary.

The Gala began in 2007 as a fundraiser for the newly-built 3000 building. Now part of a twelve-year-strong tradition, it is still the chief fundraiser for CHS Performing Arts Booster Club. However, that’s not all it is; the Gala is also a showcase of the immense talent and overwhelming creativity Cary’s students have to offer.

The 2019 Green Tie Gala offered a form of entertainment for everyone. Even before the show, eye-popping pieces of art from the CHS Visual Arts Department were on display, and the Culinary Academy provided delectable appetizers. The show kicked off with a performance from the Concert Chorus, followed by a performance from the Beginning Band. Then, several of Cary High’s smaller, yet just as illustrious, ensembles took the stage, including the CHS Percussion Ensemble, Jazz Band, Green Eggs & Jam, and CHS Improv. The night also featured several selections from the CHS Symphonic Band, as well as a medley of solo performances from Cary High’s astonishing (no bias here) spring musical, Little Women.

However, the most jaw-dropping performance of the night was the show’s finale, in which the Cary High Band, Orchestra, and Chorus shared the stage and performed three masterworks together. This year’s finale included Verdi’s triumphant “Anvil Chorus,” John Williams’ soaring “Hymn to the Fallen” from the film Saving Private Ryan, and the epic-yet-harrowing Duel of the Fates from Star Wars: Episode I—The Phantom Menace. This breathtaking blend of beauty, power, and drama was sure to delight, move, and dazzle every audience member.

The 2019 Green Tie Gala was a huge success, and if you missed out on watching it, make sure to come next year. In the meantime, check out the Cary High Performing Arts page to catch the year’s remaining arts performances and showcases from Cary High’s finest.

Little Women: Bringing an Astonishing Classic to Life on Stage


It’s that time of year again: the CHS Spring Musical is upon us! This year’s production, Little Women, shows on March 7th, 8th, and 9th at 7:00pm, in the CHS Auditorium. For those unfamiliar, Little Women follows the four March sisters — Jo, Meg, Beth, and Amy— as they attempt to find their place in the world, against a backdrop of Civil-War-era Massachusetts. With a dazzling score by Jason Howland, the musical takes a fresh perspective on Louisa May Alcott’s timeless tale. The CHS Drama Department takes this one step further by blending abstract, innovative technical elements with realistic costumes and characterizations to create a unique reimagining of a story that has had its fair share of adaptations and analyses.

One of the ways Little Women tells its story is through set. For Cary High’s production, the set is comprised of the realistic furniture of the March home, as well as several “sides” that are used to delineate the different settings and worlds explored throughout the story. From forming the walls of Aunt March’s intimidating mansion, to marking the columns of Annie Moffat’s ballroom, to creating the hearth of the March home itself, these sides are created with a breathtaking pastel palette (painted by the CHS Art Club) and move and breathe like another character in the show.

The stage is set for another captivating scene in the March house

Another way the novel is brought to life is through the use of projections. Given the episodic, vignette-like nature of both Alcott’s original book and its musical adaptation, projections are used to indicate to the audience when and where the story is jumping. Though not a dominating feature, they aid the audience in fully entering the world of the story.

These tech elements are paired with music that honors the story’s antique charm while providing a contemporary edge. Some of the musical’s songs, like Beth and Mr. Lawrence’s cheerful ditty “Off to Massachusetts,” have a quaint, toe-tapping sound that harken back to the days of old musical theatre. Others, like the Act One finale belted out by Jo entitled “Astonishing,” provide a contemporary musical theatre sound that prevent the show from becoming merely a period piece.

Perhaps this juxtaposition of the old and the new takes after the novel itself. Little Women was first published in 1868, a time when few protagonists were strong females and even fewer of those protagonists were empowering. The character of Jo March is possibly one of the most revolutionary in American Literature, as she is the one to pilot her fate and choose her path in life, instead of a husband or father choosing it for her. At the time, Louisa May Alcott’s deft depiction of such a personality was groundbreaking, and this cutting-edge spirit has not been lost in the musical. Despite the fact that the tale has been around for 150 years, its messages about deep family connections and steering one’s destiny in the face of hurdles and challenges are everlasting, and will continue to inspire and uplift children for generations to come.

Want to see this beautiful story unfold before your eyes? Come see Little Women on March 7th, 8th, and 9th in the CHS Auditorium! Buy tickets at

Until then, check out this beautiful promotional video created by Michael Shorb:


Movie Review: A Star is Born


Overall Rating: ★★★★★

Warning: Minor spoilers… obviously

A Star is Born is a romantic film centered around an aging rock star (Jackson Maine played by Bradley Cooper) and a struggling musician (Ally played by Lady Gaga) he takes under his wing and falls in love with. The fourth film of its name and general plot arc (the previous three were released in 1937, 1954, and 1976), this directorial debut from Bradley Cooper has been nominated in eight categories, including Best Picture, at Sunday’s Academy Awards.

It had the feel of La La Land, which swept the Oscars two years ago (though famously not Best Picture). It featured many characteristics of classic Hollywood love stories — a euphoric beginning and emotionally devastating ending — only it went much further. The film’s darker and more mature approach, complete with drug abuse, difficult childhoods, and commentary on the public’s destructive obsession with stars, makes the film more intensely emotional than other romantic flicks. Jackson Maine’s downward spiral begins with his struggles with addiction, then improves with the help of a loved one, only to spiral further downward until he crashes — something many have witnessed in a world where addiction runs rampant. Ally’s storyline was equally riveting; we see her leave behind the pride she holds so dearly, as fame and money loosen her morals and convince her to abandon herself. The film addresses other important issues, such as Hollywood’s reluctance to allow people outside typical standards of beauty to reach fame; Ally reveals that many producers had rejected her talented voice when they saw her large nose. Another would be the film’s inclusion of a drag bar, which is rarely featured in blockbuster movies. Although the short scene may seem insignificant to some, it portrays drag in a positive, healthy light instead of including it as an oddity. Finally, I would like to address this movie’s spectacular playlist, featuring amazing originals such as “Always Remember Us This Way,” “I’ll Never Love Again,” and “Shallow,” which was nominated for Best Original Song. Even if you decide not to watch the movie, these songs can be played on repeat without getting old, and I highly recommend listening to them.

One criticism of the film is its transitions, which were occasionally confusing and hard to follow. For example, I still have no clue what led Maine to his final scene, which may have dampened its emotional impact. But in all honesty, this issue was minor, and the movie is one of the best romantic films out there. I highly recommend A Star is Born for its emotional storyline and the broad span of issues it addresses.

Editor’s Picks: Top Albums of 2018 (10-6)


2018 saw many artists incorporating eclectic soundscapes–even pop hits took a turn for the experimental through the likes of Ariana Grande and Janelle Monae. Below, I’ve compiled a list of albums that, for one, I appreciate personally, and second, I see as ground-breaking, genre-bending, and fit for the year 2018.

10. 7 – Beach House (Rock)


This dream pop duo can’t seem to miss. They’ve released seven great albums in twelve years, each one of them different yet distinctly Beach House. On 7, you hear what defines them—reverb-drenched guitars, fuzzy synths, and mid-tempo melodies—but on a new level: the sounds darker and more confident than ever. As the title indicates, this album isn’t about anything—rather, it transports the listener into another realm, another atmosphere, where unnamed dreams and hopes blend into walls of sound.

Recommended Track: Dive


9. Room 25 – Noname (Rap)

Room 25

Fatima Nyeema Warner grew up in Chicago, where, while pursuing slam poetry and freestyle rapping, she befriended local artists Chance the Rapper and Saba, even gaining a feature on the former’s popular mixtape Coloring Book. Since then, under the moniker Noname Warner has pioneered her own take on rap music, combing neo-soul and jazz with referential, thought-provoking verses. On Room 25, her second album, Noname manages to sound self-assured and soothing throughout references to “the Reagan administration,” “globalization,” and radio rappers “wearing adult diapers.”

Recommended Track: Self


8. Negro Swan – Blood Orange (Pop/R&B)

Negro swan

With the release of Negro Swan, Devonte Hynes (aka Blood Orange) continues his progression to more experimental R&B. With touches of funk and 80s sophisti-pop, this record’s sound is minimalist, full of synths and sax riffs, and carried by Hynes’ soulful voice. Spoken word interludes praise “doing too much,” but vulnerable scenes from Hynes’ life (“Dagenham Dream” in particular relays a crushing story of merciless bullying) prove that the route to self-acceptance is never easy.

Recommended Track: Saint


7. Beyondless – Iceage (Rock)


The fourth release from Danish rock band Iceage is prime post-punk revival. It’s full of energy, scratchy guitar noises, and haunting vocals (think The Strokes, but darker and heavier), and yet it’s not without pop appeal. Nearly all of the ten songs are catchy, with a head-nodding angst that effortlessly propels the listener along.

Recommended Track: Hurrah


6. Be The Cowboy – Mitski (Rock)
Be the cowboy

To some, Mitski’s music is an acquired taste. It’s musically complex, sometimes jarring, and often tackles the awkward, less fun parts of love. But Be the Cowboy is polished and poppy, jumping to new sounds on each vignette-like song (the average length is 2:17 minutes), making it a more accessible introduction to the Japanese-American artist. While the melodies are still never quite what you expect, or even want them to be, once you finally catch on to them you feel the full catharsis of Mitski’s ever-lonesome love.

Recommended Track: Nobody


Click here to check out albums 5-1


Editor’s Picks: Top Albums of 2018 (5-1)


5. iridescence – BROCKHAMPTON (Rap)


America’s favorite boy band since One Direction delivers an emotion-packed mosaic of styles in their major label debut. Kevin Abstract’s delicate sensitivity, Joba’s angst, and Merlyn Wood’s humor shine in this first record since Ameer Vann’s departure (he was dismissed after accusations of sexual abuse). Between the “sadboi” songs and bangers, iridescence has so much raw energy and weirdness—goofy sound and voice effects are scattered throughout—that it’s simply irresistible.

Recommended Track: WEIGHT


4. Isolation – Kali Uchis (Pop/R&B)


On Isolation, her first proper album (after numerous collaborations with the likes of Snoop Dogg and Tyler the Creator), Kali Uchis reaches and even surpasses the level of some of her influences. She incorporates Brazilian bossa nova, Dancehall reggae, and 90s R&B to create a night-time record with a confident, seductive tone. All of the songs are danceable and catchy, and finding a stand-out is a near-impossible task.

Recommended Track: Just a Stranger (feat. Steve Lacy)


3. In a Poem Unlimited – U.S. Girls (Pop/R&B)

In a poem

At first listen In a Poem Unlimited is a feminist statement made for the #MeToo era. And in many ways it is, but that doesn’t mean mainstream liberalism is off the hook. Case in point: the catchy disco centerpiece, “M.A.H.” (which stands for “Mad As Hell”), finds its target of anger in Barack Obama. On this danceable, funky record, U.S. Girls use allusions and witty wordplay to criticize the patriarchy in a smart, unique way—which, in a time of many musical attempts at feminism, is quite an accomplishment.

Recommended Track: Pearly Gates


2. Dirty Computer – Janelle Monae (Pop/R&B)

Dirty COmputer

After releasing two records critically-acclaimed for their experimental twists on R&B, Monae reaches outside her “alternative” label into a more “pure” pop on Dirty Computer. Prince-like 80s synths, trap beats, and glam rock guitars feature throughout overt political messages and personal stories. Sexual liberation is a common theme, yet in the end Monae’s message is positive and surprisingly family-friendly: self-love and acceptance conquer even the most oppressive regimes (as depicted in her—while not essential—captivating full-album visual on Youtube).

Recommended Track: Make Me Feel


1. Golden Hour – Kacey Musgraves (Folk/Country)

Golden Hour

Golden Hour is a beautifully produced escape into sun-soaked summer days. Musgraves borrows from radio pop, 70s soft rock, and traditional country in a magnificent forty-five minutes of music. The country clichés are sung winkingly, and the lyrics in all their simplicity paint an authentic portrait of a woman always on the edge between enjoying life and questioning it. Nostalgia runs current-like under bright acoustic guitars, banjos, and dreamy keyboards, and the result is a near-indescribable feeling: “happy and sad at the time.”

Recommended Track: Slow Burn

Abby Davis on her new album, Bonus Room


While you’ve got some free time during this Thanksgiving Break, give CHS Senior Abby Davis’ new album Bonus Room a listen. Bonus Room, Davis’ second full-length album, was released on September 30th, 2018 and combines R&B and acoustic funk with soulful, raw vocals to produce a unique sound reminiscent of rainy-day jam sessions. When she’s not recording and releasing music, Abby gigs all around the Triangle, performing at everything from open mics to music festivals. She’s gotten the chance to work with professionals at the Berkeley College of Music, and has even been nominated for a Carolina Music Award! I sat down with Abby Davis to hear about her process in producing music, her journey as a youth performer, and her future ambitions.


Question: How did you get into writing and producing music?


Abby Davis: I started writing my own music when I was thirteen years old, at Martin Middle School. Mr. Yancey, the chorus teacher, had his students do a project where we would all write songs, and he would put the best out on iTunes. He ended up releasing some of my songs, and that really encouraged me to keep writing. I got into producing my own music last year, at my old school. Everyone was always talking about recording their own music, but no one really did; so, I decided I’d be the first one to do it! It started out with me just singing into my iPad—that’s how my first album was recorded. Later, I ended up getting my own recording studio.


Q: How were you able to put your own recording studio together?


AD: My dad has always been into recording music too; he’s in a lot of different bands, being the insane drummer that he is. He told me that I should get my own studio after I had gotten into writing music. He took me to Guitar Center one day, and we got all of the recording equipment. I went home that day, set it all up, and began recording Bonus Room. It feels so good to have my own studio—it makes me feel like the music is really coming from me.


Q: How has being young affected your career and musicianship?


AD: Being young definitely makes people view me as unprofessional; especially being a part of Gen Z, and being in the hectic climate that we’re in…Also, I want to represent the youth and what they want to say, as well as what I want to say, in my music.


Q: Where would you like your songwriting and music career to take you? Do you have high aspirations, or do you view your music as a passion project?


AD: My music kind of started as a passion project, but after I released my first album, A Walk In My Brain, I realized that I needed to pursue a career in music. I knew that I wouldn’t be truly happy if I were to pursue anything else.


Q: Tell me about your gigs around the Triangle! How did you get started, and how far have you come in terms of local performances? Any favorite venues you’ve gotten to play at?


AD: I started gigging when I was about seven years old. I was taking lessons from my uncle at Bamboo Music Studios; he’d set up gigs at places like the art museum or at coffee shops, and have all of his students perform. I started getting my own gigs during my Freshman year; I’d just walk into venues and ask if they needed a live performer! Doing open mics was another way that I got into gigging—one place I’d do a lot of open mics at was the Berkeley Cafe, in Downtown Raleigh. I play a lot of actual gigs there now, usually one every month.


Q: Your second album, Bonus Room, was recently released on iTunes, Spotify, Apple Music, and SoundCloud. How did it feel to achieve this?


AD: It feels so amazing—to finally feel like an individual artist, who really puts herself out there. It’s probably the best feeling ever.


Q: Tell me about your experience at Berkeley College of Music!


AD: Berkeley College of Music is one of the most incredible places on Earth; it’s my dream school! This summer, I went up there for a week to do a songwriting camp, and I learned a lot of really eye-opening things about songwriting, a lot of which I had never thought about before. The most important thing I learned was probably that you can’t know everything about music. It was so inspiring to be around so many other people doing the same thing that I am, and we all got super close.


Q: Describe your journey in creating Bonus Room.


AD: So, I started writing Bonus Room this summer, when I was at a camp at the Berkeley College of Music. I wrote a total of 63 songs for it, and I ended up using 12. With my first album, I kind of just “threw it out there,” but with Bonus Room, I wanted to make sure that it was good, and that I genuinely liked all of the songs on it. I took my time in recording it (I actually started recording during Hurricane Florence). I released it through this collective that I’m a part of, called Oak City Mob—my friend Danny Secor, who started Oak City Mob, called me over to record some hooks for his music, and he offered to help me release my own music.


Q: Tell me about your parents’ involvement in music, and how that has shaped your musical career.


AD: I grew up in a very musical family. My mom sings, and my dad plays drums; they were in a rock band together in the ‘90’s. The music they wrote for their band has inspired me and has added a Rock ‘N Roll element to my own music.


Q: Are there any particular figures that you feel have shaped your identity as a musician?


AD: One of my biggest musical inspirations has to be Fleetwood Mac, and especially Stevie Nicks. I’m also really inspired by Tom Petty and the Heartbreakers and Billy Joel. In terms of modern artists, I’m a huge fan of SZA, Georgia Smith, and Tyler the Creator.


Q: What advice to you have for those who wish to pursue a career in music/songwriting?


AD: These are the exact words my father said to me in a conversation we had the other day: “The more you put yourself out there, the more you’re going to be open to criticism, and the more you’ll end up saying ‘screw you’ to all of the criticism. Please yourself, and the rest will come.”



Bonus Room by Abby Davis is now available on iTunes, Spotify, and Apple Music.