With two bare hands wrapped around the flattipped shovel, Brian Norris doesn’t have to step on the top of the blade with his work boot very hard for it to slide halfway into the earth. Norris works his way around what looks like a metal window frame laying on ground, slipping the blade into the dirt to mark of the edges of the grave.

And walking among the tables of wares at Grandma’s Cookie Contest at Independence Village in Winston-Salem — five of them, larded down with chocolate-chip goodness, roasted-nut crannies, shavedcoconut nests, stacked on doilies, placed in muffin...

With characterization is a secondary consideration, the film is primarily concerned — and consumed — with its opulent (and admittedly eye-catching) production design and a flashy, hip-hop attitude that feels someone anachronistic amidst the Roaring Twenties’ surroundings but is right up Luhrmann’s alley.

These projects connect ideas. Aesthetically, he pleases the viewer with gorgeous places within places, forcing us to imagine ourselves building shelter where we would never imagine having to. His projects are naturally thought-provoking while simple enough to adorn dining-room tables.

“Boring,” “mainstream” and “conservative” may be the last words that would ever be used to describe an of Montreal record, though Kevin Barnes is certain that his descriptions of his forthcoming album Lousy with Sylvianbriar.

Winston-Salem City Council decided in a 5-2 vote on Monday to authorize the sale of Lawrence Joel Veterans Memorial Coliseum to Wake Forest University, with the majority brushing aside a substitute motion to put the deal on hold and direct the city manager to explore other cost-saving measures through contracting out the management of the facility.