watch | DJ Fatz and DJ 2wenty of Choice FM on party-rocking, and The People’s Station

DJ 2wenty: We’re for the people. Nine times out of ten if the people want it, we do it. 

Choice FM 92.1, is a radio station reaching Rocky Mount, Wilson, Oxford, Nashville, Zebulon, Chapel Hill, Raleigh, and Durham. Affiliated with the nationally syndicated Breakfast Club, they cover mainstream Hip Hop and R&B culture and music; locally, they lift up talent, events, opportunities, and businesses in rural communities of color throughout Eastern and Central North Carolina as well as the metro area. The station itself was originally called Soul 92 Jams, and offered one of the first spaces for black voices on radio in the area at its creation in 1974.

I sat down with DJ 2wenty and DJ Fatz, both of whom have been at the craft for decades, since the early eighties. DJ 2wenty eyed Soul 92 as the place for him well before he settled into his home at “The People’s Station”.

DJ 2wenty: I told the boss I’d be working here and he said they may not have enough room for me. I said, yeah, you do.

His time slots, role and experiences built from there and now, DJ 2wenty is at the studio six days a week, broadcasting and collaborating with other hosts, like DJ SoFabKim. DJ Fatz brings the Governor’s Mansion every weeknight, a three-hour set spanning current and classic black music. Both have shared stages and connected amongst the local and international DJ communities. As for live events, DJ Fatz and DJ 2wenty agree, the people “gotta come prepared to party.” So, when we talked about what DJs need to bring to the table:

DJ 2wenty: Music, know your equipment, and your sound. Because sound matters, it really matters.
DJ Fatz: I want people to hear what I’m doing and how I’m doing it, it’s like now people don’t really care about the sound, about the DJ being a real DJ – as far as transitioning a record into another record, the blending and scratching. We’re party-rocking DJs. We don’t wanna just stand behind what we use. I’m not bashing the technology change, cuz times have to change…

It’s like the disc jockey tradition blurs that line of the past and the potential. The atmosphere and experience a turntablist brings about can never be replicated. They scratch, flare, tear, and transform music deconstructing and rearranging to create new pieces, combining physical elements – vinyl, needle, motor, and their own hands – with unique style. 

Durham in particular has a deep connection with the DJ tradition – before and including DJ Fatz, who’s originally from the Bull City. 

DJ Fatz notes that for him, and for more and more folks DJing, it’s about combining the potential of current technology, with a deep knowledge of music and that equipment – digital, analog, or both.

If you didn’t know, turntabling is one of the pillars of hip hop culture, and these two live for the culture. Choice FM is keeping that creativity – and sharing it, interacting with the audience – at the forefront.

DJ 2wenty: I want to be the DJ that makes you dance, that has people singing along, lose their voice, take their shoes off cuz their feet hurt.

DJ Fatz and DJ 2wenty believe people are looking for just that, somewhere they can really release and dance – another innate element of hip hop. There’s this call for something more than a “social gathering”, as they put it. Nuanced, vibrant, innovative and deeply rooted black culture spans the rural and the metropolitan in this area. Rural communities of color are often overlooked, but the folks at Choice FM truly support the people throughout Eastern and Central NC.

Their abilities to broadcast over distance or bring an event to life, whether they be concerts, pool parties, or turntable battles, help keep the people connected, informed, and feeling free to move with the music.

DJ Fatz: We’ve been knowing each other now 20, 30 years. It was so amazing to come back and meet up with him and he’s in this type of setting. I’ve always been an African man, I want an urban radio station in this area. When choice came along it was like heaven on earth for me, because it allows us to be the DJs that we are. You got DJs at this station that respects the art and culture of DJing so when I come here to DJ, it feels like home.


Scroll to the top or head to Youtube to catch our full interview. You can also vibe with DJ 2wenty at The O in Wilson every Saturday and Tuesday, and DJ Fatz in Durham at Emerald City every Saturday.

You can reach DJ Fatz on Instagram, @djfatz72 or on Twitter, @djfatz_bcf.

watch | Cool Boy 36 speaks on video art, streetwear, Raund Haus

Cool Boy 36 sat down to share what the movement and collection is about, shouting out creatives in the Durham, NC scene. Click to get a little more familiar:

Shop Cool Boy 36 art and gear at bigcartel and keep an eye out for Flora (Cool Boy 36 Collection #2)! The launch party will be at the Durham Arts Place on Saturday, August 5th. Details here.



Growth through Darkness: A Gallery Walk with Charvis Harrell

“My art comes from a dark place,” wrote Charvis, when we asked him to share about his process and introduce himself.



We all know the saying meant to push us through times of intense adversity and ongoing challenges: “that which doesn’t kill you will only make you stronger”. But if you ask him, “it’s more appropriate to say that which doesn’t kill you – but comes close – will change your life in a way you aren’t equipped to imagine. That is where my art comes from.”

The man behind the artwork hails from Macon, Georgia, where he and his creative expression have grown through times of prosperity, pain, and processing.

“The hardest part of doing any piece is getting past myself, until recently I would too often drink 125 ounces of cheap beer between in the middle of the morning just to get my brain past this one word I learned the hard way: sarcoidosis.

This lung disease inflames and weighs on people between the ages of 20 and 50 at times temporarily, at times permanently. In response to the environment – chemicals, bacteria – it’s as if stimulated and drained all at once, it seems. 
“It started in the summer of 2004, I felt as if I came down with a real bad cold. One day at work I felt like I couldn’t make it anymore so I went to the hospital. They took my blood and after a misdiagnosis of AIDS, tuberculosis, and other illnesses my body mimicked, until they finally did a biopsy and came to the proper result of sarcoidosis. Until that moment I was a construction worker as my father was and his father was, and art was something I did on rainy days to relax.”

As most are, Charvis was into crayons and such as a kid, and it was when he saw The Artifacts, Wrong Side of Da Tracks, that he intentionally made visuals his own, “I never got anywhere close to putting up a burner, but I had a real sick tag. I put it up everywhere I could in Sharpie and every once in awhile I’d get a can of some real cheap paint and try to do bigger stuff, but I must admit I wasn’t that good at that.” Still, he continued to draw, and during the healing process from a car accident at the age of 21, he felt led to paint – big, using mistints from the hardware store and higher grade paints, to highlight.


This mosaic is an homage to Charvis’ upbringings in the church and career as a mason. “Doing construction with my father gave me a sense that anything was possible. Taking part in the completion of a building from the erecting of the foundation until turning over the keys makes you aware that you can make anything out of the materials you have with the right knowledge. My mother was the same way with sewing and plays and productions so I was surrounded by people who could turn plain objects into whatever they desired.”


He calls his early work “awful art, self-taught garbage where the background appeared to be an afterthought painted around the subject.” Four months after his sarcoidosis diagnosis, a house fire led to a new beginning and a “valuable lesson that when you own nothing you possess everything you need.” That fire claimed almost all of his artwork and most of his good friend and thought partner Jermaine Causey’s as well.

At that point, he says, “I began to produce art with a serious intent to flaunt some of my greatest possessions: my perception and sympathy for the people without power to speak for themselves. My art became much better and I started to show my work.”

That perception and sympathy combine to feed his work with honesty – essential when seeking to understand stories that are not your own, and to reinforce that there are dimensions to every person’s story. 

“I thank God for every moment and I know compared to so many other diseases it could be much worse, but the reality is, sometimes it’s hard for me to use my talents – often I wake around two or three in the morning, covered in sweat, nauseated, tired, and achy with my brain racing from me.”

That’s where the process often begins for him, waking to the darkness of morning then immersing into “research, research, and more research”, watching documentaries or Art21, a series on the art of the people of our century, until dawn. If he’s called to draw that day, he’ll do that, or paint, until midday. He shared that lately, though, he’s been devoting more of that energy to the writing process.

At his father’s recent passing, Charvis came across a collection of old poetry that he is in the process of self publishing, entitled “cartoon violence”, and his murder mystery, titled, “The Butcher, The Baker, and The Cupcakemaker Bot” is well underway.  You can find the introduction to it on Twitter, under the name butchbakemake. “I’ve gotten some great feedback, so lately I’ve been focusing more of my creative energy on writing, but I still find space to paint every week.”

Volunteering at the Tubman Museum, before it became one of the biggest museums of African American art  in the Southeastern United States gave him a rare chance to become extremely intimate with great works of art. He mentions the curator, Jeffrey Bruce, in particular, who “went above and beyond his way to be more than generous with his knowledge and expertise, which I still seek and appreciate”.

Tony Harris, creator of Iron Man and Ex Machina, also helped Charvis to develop. Harris was open to Charvis’ questions on general art, tools, techniques and ways to make comics appear professional. “The amazing thing is that as great as his art is, he was one of the least absorbed artists I’ve ever met. Everything was about Rockwell and how he constantly worked and reworked a painting, doing the same painting three or four times, his ability to tweak characters and bring about details that he invited and his ability to use the people around him resonate to an entire nation.”

So perhaps, growth is about the people that substantiate the space around us, challenging limits and illuminating possibilities to the artist, the self, within. It comes forth in the art as well, influencing strokes, nurturing subjects, inviting collaborators.

“I just finished probably my best show yet with Jermaine Causey and Nik Nerburn. I’ve been doing art with Jermaine since kindergarten and anytime you see one of my pieces you’re seeing conversations between Jermaine and​ I that led to that work. Nik is a new friend of ours, a photographer we just began to work with, and he is a perfect fit to counterbalance our style and add the personal touches that brings everyday people into the spotlight.”

The Ampersand Guild Hall, or The [&] Guild Hall, was the ideal location for the installation and his paintings. It is a family-owned, artist-run space committed to fostering community amongst people of all backgrounds in a place that badly needed a watering hole for creative vision. It is the only venue in Macon where artists of different races consistently put on shows together, presenting narratives that subvert the idyllic Southern comfort driving segregation and inequity.

You’ll feel his comfort working with space, physical or philosophical. You’ll see it in the way he utilizes elements like shadow and the coincident construction, the way he challenges the means and nature of interactions between people.

So together, Harrell, Causey, and Nerburn set out to shine light on folks shrouded in socially-constructed shadows, wrongly characterized by their oppression. Perhaps to educate some, in the visceral way that art does, and certainly to remind “others” that their multiple facets are seen, they matter, they are appreciated.


“Just a reminder of what it’s like to be young and free”


In recent months, sarcoidosis has begun to affect Charvis’ eyes, and he will tell you, “I spend too much time thinking that if sarcoidosis takes my vision – how can I produce my art from an even darker place?”

It should be noted, though, that there are very real things that the eyes can’t reveal, that the mind won’t accept. Not without intention or passion or persistence, or all three. This artist expresses a pure dedication to muddling through the elusive with the rest of us.

Now, a recap of the show at his favorite hometown venue, [&] Guild Hall, through the lens of Ariel Robbins at Essentia Arts Photography.


On Wahooism, the reduction of Native American culture to convenient and reductive symbols with aggressive connotations – especially offensive given historical to current practices of oppressing indigenous people in the United States.

What questions do you want people to ask themselves when they look at this?

“How comfortable are you with using an entire race as a mascot?  How would I feel if this was my race on a banner? Would you be offended if there was a team named the yellow skins depicting an Asian with skin the color banana yellow? The biggest misconception of all is you have a team named the Indians with a Native of this land depicted with a  bright red skin tone smiling ear to ear. Now I changed the race to an actual Indian is it appropriate now? Wahooism.”


This is a companion piece to the red, white, and blue banner, it is a painting of “Wah-Tho-Huk” though most people know him as Jim Thorpe, an all-American. As a child he was forced to attend a normalizing school where Americans separated him from his family, culture, language, and even the very name his parents gave him – all under the pressure to be acceptable to America. He excelled in all sports and was even an NCAA ballroom dancing champ, but lived a hard, broke life, ending up forced to be a laborer. To this day, his accolades go unrecognized officially.


The controversy of this – the treatment of indigenous people in popular culture – is one that historical victors would like to have us overlook. It’s especially insulting when collective consent to Wahooism just amplifies the systemic violence and disregard for Native Americans currently displayed. Consider the tribal land seizures to make way for destructive oil pipeline construction in the corporate interest at Standing Rock and throughout the US.

Charvis takes it all head-on, pushing viewers beyond the comfortable narratives constructed for us. Experiences in that space beyond norms is vital this time of “alternative facts” and convenient misinformation, in which people are collectively confused about how we got here and where we’re headed. His work feels like a reminder to continue to question and to nurture those spaces beyond norms – regardless of the aforementioned current political dynamics in the United States, maybe even in spite of.


It seems the ‘danger’ is learning, says Charvis



I’m interpreting this as a commentary on rape culture and consumerism, but what statements lie behind that yell, when you revisit this piece?

It’s more so on the popular rap culture. It’s part of a series called “ With the jawbone of an ass.” It references Samson killing a bunch of people, but considers how we kill our love for each other and ourselves through our constant degrading of women and our love for things with people names on it. Artists that don’t challenge themselves tend to fall into a machine of cliches.

It’s as if 90% of the mainstream rappers love Jordans, needs a chain, smoke the best, make it rain on them hoes, got that stick, whip game, flip it, my goons so grimey, pop them bottles, hoes be loving, my ice got me froze, and the names of various products with white people’s names on them, bitches be sucking. If you listen to most of the subpar rap, you can point to an image coming out of the mouth of the subject I painted. For almost every lyric.

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The shadow play is so interesting, how’d you account for location and the sun for this installation piece?

“This piece commemorates the meeting and process of working with Ed Woodham and Samantha Hill. They were resident artists who were fired for working with the actual residents of a location they were asked to work in, instead of helping to tell a false narrative of people who weren’t part of the actual neighborhood.” Maya Mackrandilal writes about it all in The Impossibility of Art.

“Sam once asked me if I could use one word to describe my art and​ my message I’m trying to convey, what would it be. ‘Hate.’ The look on her and Ed’s face was priceless. Hate can be one of the strongest forces you encounter in your life. To illustrate my idea I carved the words rise with arrows pointing up and Bree Newsome at the bottom climbing the flagpole in South Carolina taking down the confederate flag. It shows how a hate for something can make you rise up to do a beautiful thing. Light is an important function of this piece, at the right time it shows that the things you do will cast a shadow bigger than you are.”




Keep up with Charvis Harrell on Instagram (@charviszharrell).

Getting to the root: Where do our missing girls go?

The #missingDCgirls have woken us up again. Black cis and trans girls & women reported missing across the country number close to 75,000. 37 of the cases in DC – all Black and Latinx – reported since January remain unsolved.

In the past few weeks, spikes in disappearances of young women of color – and notice of them – in the Metropolitan DC area sparked widespread concern and consideration about the status quo. 









Amidst statements that this is only a spike in reporting, Derrica Wilson finds the community’s fears to be valid. Wilson is co-founder of and a spokesperson for Black & Missing Foundation (BAM FI), an organization working to spread awareness of and locate missing people of color. Viewing the chart above, keep in mind that the rate of those missing must be viewed relative to the size of the population. The US is 73% white, so it’s clear, about a quarter of the population – Black, Asian, Native, Latinx – is disappearing at an alarming rate.

As people who care and for those who see ourselves in this – how can we provide for and protect missing cis and trans women and girls of color in the US?

This is happening currently, every day.


Why? How?

Some will be runaways seeking refuge, or fleeing abuse. The girls missing from DC have drawn our attention to missing youth in particular, and rightly so. Cis and trans young women ages 11 to 17 make up approximately 75 percent of the runaway population. The National Runaway Safeline also reports that a range of 1.7 to 2.8 million runaway and homeless youth live on the street each year.

Runaways list abuse as a major reason for running. That trauma is something they will need help building themselves up from – as we all would. Physical, emotional, and sexual abuse still widely affects minors between the ages of 12 and 17. If they don’t have a safe place or trusted advocate to turn to, running away becomes a real option. They’re human.

Look to support organizations like Covenant House, a homeless youth shelter and center of advocacy in DC. Sasha Bruce Youthwork engages and prepares young people to stabilize with work and social support. Seeking Shelter’s strong list of sheltering and transitional services covers 15 cities across the US, including DC.

We could all support these community hubs in our local cities, by donating time and resources as we are able. The Public Defender Service for DC provides a Directory of Youth and Family Services amongst other resources for navigating the DC Justice System.


They can be led astray

Black and Latinx youth are particularly vulnerable to predators via social media. People have always been enticed by the promise of romance. It’s often difficult to distinguish from what we may be really seeking like autonomy, self-love. Teens, statistically, have a harder time with that difference, especially when they are being manipulated or groomed.

At the same time, social media postings of missing kids can help bring them home faster. That’s especially true for teenagers. Their peers are more likely to see the alert and can notify police and those searching of any information they have. Derrica Wilson of BAM FI encourages us all to pay attention to missing persons reports and outreach efforts on social media.

Maybe we could more intentionally build with the young people around us. If you’re interested in volunteering try mentorship, get out in the community. They need to be listened to – as they all do. Life lacks stability sometimes, and it can be extra difficult as a young person. We don’t need to have it all together to share an ear and some experiences.


Seeking safe spaces

Some are afraid to disclose their personal beliefs and preferences, for fear that family would take issue. It’s the pregnant teenager, or someone struggling with expressing their sexual and/or gender identity. Teens are new to finding their place in the world and though they are resilient, sexism, racism, and transphobia are turning their insides too. So they run away when they can find no one to turn to without fear of judgment, or worse. And to whom? Where? The reality is, as Kimberly of the Sylvia Rivera Law Project (SRLP) says, “outside of community, there are no safe spaces”.


And to whom?

It’s on track to be the most violent year on record for trans women of color. Casa Ruby and organizations like it around the country provide that sense of community and care for individuals in need of safe spaces and solidarity. As the only Bilingual Multicultural LGBT safe space in Washington, DC, Casa Ruby offers companionship, along with access to hot meals, emergency housing referrals, legal services counseling, and support groups. These beacons for young people need our support. They are right there at the intersections of identity, quality of life, and safety.


Speak up

While we’re on connections – language can go a long way. In every day you can instill the use of Latinx in place of Latino or Latina, to support awareness, visibility, and acknowledgement for the gender nonconforming. It’s an extension of using “they/them/their” instead of assuming “his/her” identification amongst LGBTQ+ and allies. You can invite a safe space with your presence and help others do the same. It’ll continue to spread through conversation, verbal and written communication, and social media. (No excuses – the APA just recognized “they” as a singular pronoun.) I may have digressed there, but it’s about willingly shifting to a more inclusive society, starting with the narrative.
Screen Shot 2017-03-28 at 8.10.37 AM


Keep an eye out

We must be vigilant, we know some will have been abducted. People are calling for transparency and community involvement in the way local and federal officials take action to #findourgirls. Black lawmakers are calling for the FBI and Justice Department to help police investigate the missing in DC. However, even police have been arrested for human trafficking. It’s a disgustingly lucrative business.

Human trafficking has become the second-fastest growing criminal industry in the United States. Activists and organizations across the country and world fight the forces perpetuating slavery and trafficking, both domestic and international. Based in DC, FAIR Girls prevents the exploitation of girls worldwide through prevention education, compassionate care, and survivor-inclusive advocacy. Courtney’s House provides outreach and protection for children and minors who are victims of domestic sex trafficking in the greater DC area. You can find many other active Housing Resources and Emergency Shelters at the District of Columbia Office of Disability Rights.


What now?

We must support the watchers. High attendance to “Where Are They Now?”, the March 22nd forum on the missing in DC shows a community mobilized, and passionate about the cause. They are at the heart of this in Ward 8, and authorities should recognize and include them in finding solutions for preventing and protecting against this.

Where Are They Now?, forum held March 22nd, 2017.


The public has to be more aware, inclusive, and active than ever in this time of heightened violence against people of color and the lgbtq+ community, redundant mainstream media, and building institutional oppression. Part of the response to the recent burst of black and latinx girls disappearing in DC is termed as a “perceived increase”. It feels a bit dismissive, like there’s an assumption these lives will pass from mattering in the public eye.

We must stay raising awareness about our missing cis and trans young women of color and issues facing them. Since there’s always been a significant disparity in how much they are reported and efforts to find them, we’ve got ground to cover, wouldn’t you say?

So let’s say their names, keep an eye out for others, and integrate living, thriving safe spaces wherever we can. Maybe then we could find them before they ever go missing.



Support Black & Missing Foundation in providing equal opportunity for all missing. If you’re in the DC area in May, join their Hope Without Boundaries 5K Run/Walk fundraiser.

If you relate to this, and want to share here, contact us.


Pie Face Girls: Angry, Attentive, and Anti-HB2

We started off discussing Monsanto on slightly damp benches. Dani’s disdain for the company’s careless disruption of the natural flow of things quickly shifted into the group’s deep appreciation for the deliciousness of ugly fruit, specifically blood oranges from earlier in the summertime. “GMO OMG.”, she recommended, “It’s on Netflix.”.


Pie Face Girls at Tactile Workshop for The Hopscotch Oasis. Dani on guitar, Tiffany on bass, Klay on drums.

I ran into the Raleigh-based band at The Hopscotch Oasis, a day party for the festival hosted by Tactile Workshop. Perfectly comfortable, super sweaty, and thoroughly entertaining on the half-pipe stage, they let us know right off the bat, “we are an angry band.”  Throughout the show they chatted openly with us about the festival, giving context to songs about catcalling, birth control, and white male privilege via Tinder. They also paid homage to the anti-HB2 banner displayed by Grayson and Tina Haver Currin and verbally harangued Gov. Pat McCrory. Everyone seemed to feel at home tucked away in the lush little backyard of Tactile Workshop, talking about real, impolite, human things. It was refreshing. North Carolina’s citizens, reputation, and economy remain marred by HB2, the discriminatory, anti-LGBT legislation passed with shady swiftness earlier this year. In the state’s capital, Hopscotch was a 3-day, 3-night invitation to explore music venues and vibes that felt worlds away from the North Carolina state legislature and wary of standing in its bigotry-tinged shadow.

Hey, Pat, happy Hopscotch. #hopscotch16

A photo posted by Grayson Currin (@currincy) on


At the Hopscotch Oasis that Saturday, Klay put it precisely – “Hopscotch is evil because they make you choose.” Hailing from Durham, I have spent a sporadic, limited time in Raleigh, and rarely spent it frolicking and Hopscotch was a great chance to bop around the city and its venues. I imagine it was that much harder to choose from this year’s impressive lineup while listed on it, to play three shows throughout the weekend. Pie Face Girls pulled through it, though. The band wistfully recalled Big Freedia and Erykah Badu, noting that in addition to favorites and legends like those, Hopscotch curates a strong, eclectic range of genres. Festival-goers could check out any artist for a solid show, and “it might push you outside of the zone that you anticipated,” Klay pointed out. Keep in mind, 40% of the 120-band Hopscotch lineup is local. Pie Face Girls made a point to shout out the experimental noise of Patrick Gallagher out of Carrboro, NC and all the artists they played with throughout the weekend, including Durham’s JooseLord Magnus at The Hopscotch Oasis. I missed JooseLord’s performance, but observed the mutual enthusiasm they had for a future collaboration following the show and immediately wanted to get to learn more about them both.

So, Pie Face Girls met me in Raleigh for an interview and as we discussed the challenges of navigating the vast Twitter community and the process of building ideas into action, we landed on a conversation about how the band are growing into themselves. Tiffany described this past year as the one where she realized that they could truly spread their reach and stand on their own, though “in the beginning, it was fun and games.” Now, they are looking to sustain themselves with what they love, acknowledging that it takes time.

Their straightforward statements, like those in “Fuck You, I’m Pretty” and the mantra, “Dick is Dead” really resonate with people – at The Hopscotch Oasis, it was like one big conversation. At the same time, Dani pointed out, entrepreneurship and marketing demand their own skills and are necessary for growth. Seeking that growth can feel farcical after years of creating and performing solely for the love of it. Surely, they do not want to sell out, but I’d assume that would be difficult for the members of Pie Face Girls – authenticity is part of their essence. Defiant honesty and self-knowledge course through their sound; their presence is a cool, collected indignation that reminds you, “if you’re not angry, then you’re not paying attention.

They are definitely paying attention.

The group posted up at Ruby Deluxe’s NC Pride Dance Party in Raleigh to register voters a few days after we talked, and has played alongside NC Music Love Army to raise money for efforts against HB2. The Love Army performs in protest, and “in support of sane governance for North Carolina”. Proceeds from these shows go to community and advocacy organizations Equality NC, LGBT Center of Raleigh and Now or Never NC.  Pie Face Girls recently played the Official Afterparty following Come Out and Show Them: A Benefit to Take Back Our State. The proceeds from that festival went to Common Cause NC, Democracy North Carolina, Southerners on New Ground and Come Out and Show Them’s efforts to keep activist artists’ shows in the state in order to redirect the funds for the work of repealing HB2.


Tiffany, Dani, and Klay at Ruby Deluxe, handing out sexual health resources and getting people registered to vote.

Another way you’ll find Pie Face Girls in the mix could be a collective or record label for musicians in marginalized communities to come together – queer artists, trans and cis female artists and artists of color. North Carolina does not offer that in music production yet and the corrupt politics of this state only reinforce the need for such a space. As the idea grows, they are seeking collaborators that want to make a similar impact. Klay and Tiffany joked about whether they were included in the plans, and without missing a beat, Dani confirmed. At one point, she looked at them, then to me and said, “your fam is your support system.” They were quick to thank multiple bands, community members, and artist-activists for encouraging them from the beginning and as they’ve grown thus far, shouting out the staple Raleigh venue, Kings.

I had to ask, then, about the label on their ReverbNation profile from earlier on, “Do it your damn self”. It’s an empowering message, and at this point, it seems they are building on that spirit. that led them to record everything on their own in order to get their messages out into the world, then kept them performing and bettering themselves, but now with an explicit appreciation for collaboration. They are consciously taking themselves more seriously than ever and embracing the process.

Pie Face Girls take the impact of the craft beyond themselves as well, working with Girls Rock NC to guide young musicians as they lift their voices and build community through music. Dani helps to facilitate Teen Axn League, a team of female and trans youth, working year-round in conjunction with Girls Rock NC, to create safer spaces for teens in North Carolina, through organizing an overnight feminism and music summer camp every year.

When I asked about what is next to come, Dani stated, “as long as I can be an activist, I’m happy. As long as I can fight for the shit that matters in this world…because there’s a lot of shit to fight in this world.” Pie Face Girls’ raw yet inviting nature and open participation in activism come at a welcome time, when women’s rights and LGBTQ rights are threatened intensely at the state level, particularly in North Carolina. It is also a time when local policy implications are largely lost amongst the presidential election melee. Musical forces out there spending quality time with young people making their way, and encouraging the groups who fight hateful legislation and advocate for their communities and the voice of the people shouldn’t be taken for granted. Participation matters, especially in local and state politics, and at the community level.

“At the end of the day it’s about intention,” they stated in agreement – and I think that’s true for all of us. The volunteering we do, the creative statements we make, and the collaborations we are a part of demand we pay attention to the why of it all. Pie Face Girls are setting out to “reach as many people as we can… and get to the point where other people will load our gear,” Tiffany clarified with a laugh. They are working on tours through the South and the Northeast, and the logistics of an album set to come out in 2017. Experiencing the passion and talent they put into the music, and the way their engaging personalities drew people in after the show at The Hopscotch Oasis, Pie Face Girls are well on their way with some real, quality statements. Stay tuned.


Follow Pie Face Girls on Twitter, Facebook, and Instagram.



Upcoming Shows

October 14-15  Manifest Music Festival, downtown Chapel Hill

October 22  Jon Lindsay album release party, Kings Raleigh

October 27  Local Band Local Beer, Pour House Raleigh

November 19  Kosher Hut Raleigh

November 25  Smashfest, Scrap Exchange Durham