Rice Paper

Located at 906 Greensboro Road in High Point, Rice Paper offers Vietnamese cuisine for lunch and dinner (10 a.m. to 10 p.m.) daily. Outdoor seating is available, and there is a drive-thru (which may not yet be in operation).

Rice Paper doesn’t do anything exceptionally, but it does a number of things well. There is plenty of parking, and though the building seems small from the outside, plenty of seating as well. The interior is tastefully appointed with dark woods and hanging lights. The establishment was mostly empty when my wife and I visited, but we went during an off-hour (Sunday mid-afternoon). Lunchtime on a weekday may paint a different picture.

The menu here is appreciably extensive. Banh mi, bubble teas, pho, and vermicelli bowls share the stage with dishes less common to the area such as hu tieu or pressed noodles (banh hoi). With the ability to go large or small, vegetarian or carnivorous, Rice Paper has something for everyone.

For our first visit, my wife and I split a fresh roll and each took on a banh mi (grilled pork and the classic Vietnamese ham/pork/vegetable respectively). A Vietnamese coffee and a Thai tea rounded out our meal. The roll was lettuce-heavy but tasted fresh, and the accompanying peanut sauce delivered the expected flavor. The grilled pork banh mi was seasoned well, but both sandwiches were quite a departure from what we were used to. The bread was soft rather than crisp, and the mayo lacked tang. Perhaps Saigon Bakery has spoiled us. On a more positive note, the Thai tea seems like a future re-order, and the coffee was appreciably strong.

As mentioned above, Rice Paper’s offerings run the gamut from small bites to full meals, and the prices vary accordingly. Banh mi are a perfectly reasonable $5 each, and our app (sized for two people) was $7. Some of the rice and noodle dishes run into the teens, and nothing seemed like too much of a reach. Though servers were not always easy to understand, they were attentive and accommodating, and our food came out quickly.

Were Rice Paper situated in the heart of Greensboro, it would be subject to stiffer competition and would rate an occasional visit for some of its less ubiquitous menu items. But in the eastern High Point/Jamestown area, it serves a much bigger need and is a must for anyone in the vicinity with an appreciation for Asian cuisines.

The Birth of Loud

Music journalist Ian Port traces the development and evolution of the electric guitar primarily through the stories of two of its pioneering figures. Leo Fender was a self-taught radio repairman with a love of tinkering. Les Paul was an innovative musician looking for a way to make himself known. As contemporaries, uneasy friends, and occasional rivals, they kicked off a competition that revolutionized the mid-20th-century music industry.

Contrary to what the title suggests, this book is not really about a rivalry. Yes, Fender and Paul were opposites: the former was a reserved perfectionist, the latter a gregarious showman. And yes, the products for which they are best known – the Fender Stratocaster (and Telecaster before it) and Gibson Les Paul took turns jockeying for popularity. But those expecting juicy tales of vendettas and sabotage might be disappointed to learn that Fender and Paul shared quite a bit in common. Both were initially mocked by instrument makers when they suggested solid body electric guitars, and both were also renowned inventors. Fender may fit the mold more closely, but Paul practically invented multitracking (which he called “sound on sound”).

While The Birth of Loud offers some insights into what propelled both men toward their achievements, it also tracks the lineage of artists that their inventions made possible. Muddy Waters’ electric blues found a following in England after his popularity faded in the U.S., and the blues-revering English youth of the early 1960s grew into some of rock’s biggest names by the end of the decade. Perhaps no moment showcases the transient nature of acclaim more than an unknown Jimi Hendrix being given a chance to jam with Cream and upstaging Eric Clapton (then in his “Clapton is God” heyday).

These historical narratives are fascinating, and the book’s even pace can help sustain interest even among non-guitar players. However, Port’s descriptions of musicianship are often given to hyperbole, which cheapens them. Some may also take issue with Port’s chosen emphases: Fender and Paul and Clapton but only sparing mentions of Doc Kaufman, Paul Bigsby, and Jimmy Page. Still, distilling years worth of material into a coherent story is a challenge, and on the whole, Port acquits himself soundly (pun somewhat intended).

Beastie Boys Book

Written by surviving band members Adam “Ad-Rock” Horowitz and Michael “Mike D” Diamond with contributions from key collaborators, Beastie Boys Book charts the group’s evolution over its three-decade history. Three teenage middle-class Jewish outcasts meet in New York City’s club scene in the late 70s/early 80s and form a hardcore punk band before shifting their focus to rap. Under the auspices of Russell Simmons and Rick Rubin, they become the first commercially successful white rappers until falling out with their benefactors. This break, coupled with a move to the west coast, proves to be a blessing in disguise as the Beasties branch out musically, becoming innovative samplers and cementing an enduring legacy. They mature both artistically and personally, renouncing their prior misogyny and addressing more sophisticated lyrical themes, before disbanding when Adam “MCA” Yauch dies of cancer in 2012.

Once derided as a novelty act (white Jewish rappers!) or shallow party fiends, the Beastie Boys always had a lot more going on than their image suggests, and this book confirms that. For instance, their breakout hit, “(You Gotta) Fight for Your Right (to Party),” celebrated as a frat bro anthem, was actually a parody whose satirical intent was lost on many of its admirers. And while the Beasties rose on the strength of their sampling prowess, they could actually play instruments competently (or, in Yauch’s case, well). However, this book is less a vindication and more an exploration not only of the good, but the bad and the weird as well. Crazed managers, sketchy venues, and bizarre encounters all dot the landscape, and Horovitz doesn’t shy away from copping to despicable past behavior (such as kicking founding drummer Kate Schellenbach out of the band because a female member didn’t fit their image). Beyond that, the book is also a touching tribute to Yauch: a visionary iconoclast with an engineer’s mind.

Some of Beastie Boys Book’s best moments, however, come not from Horowitz or Diamond but from others who set scenes and fill in context around their escapades. Luc Sante nails the atmosphere of late 1970s New York nightlife with clarity and verve while celebrated chef Roy Choi draws parallels between passion for music and passion for food. Of course, much like the Beastie Boys’ music, nonsense filler pops up every now and then, as if the audience is being excluded from a prolonged inside joke. But just as those tracks can be skipped, so too can those pages.

While prior Beastie Boys fandom is a likely prerequisite to get through the book’s 500-plus pages, those with any interest in the group’s music will not be disappointed.

TIP: Get the audiobook version. It is read by Horovitz, Diamond, and an insane amount of celebrity guests: LL Cool J, Chuck D, Jarvis Cocker, Elvis Costello, Will Ferrell, Wanda Sykes, Maya Rudolph, and more.

Captain Marvel

Vers (Brie Larson) is a human who fights for the intergalactic Kree empire. After waking up on the Kree planet Hala without any memories, she is given enhanced ability by the Kree and assigned to their elite Starforce under the leadership of her trainer, Yon-Rogg (Jude Law). During a mission to extract intelligence on the Skrulls, a race of enemy shapeshifters, Vers is captured by Talos (Ben Mendehlson), the Skrull leader. Her memories are examined for a trace of Dr. Wendy Lawson (Annette Benning), a scientist from her forgotten past. Fighting her way out of Skrull custody, Vers crash lands on Earth, where she attracts the attention of veteran SHIELD agent Nick Fury (Samuel L. Jackson) and rookie Phil Coulson (Clark Gregg). Enlisting a curious Fury’s help, Vers tries to find Lawson and discover her own true identity while evading the Skrulls, who have begun to infiltrate Earth.

As Marvel Studios’ first female-led film, Captain Marvel attracted both a disproportionate amount of pre-release hype as well as a disproportionate amount of backlash from trolls. This polarized reaction does the film a disservice as it is neither as momentous nor as insufferable as either response suggests it should be. Instead, it’s a largely entertaining origin story replete with fun nostalgic flourishes as well as a sense that (ironic, given its 90s setting) it came along a decade too late.

Writers/directors Anna Fleck and Ryan Bolden, best known for character-driven dramas like the underrated Half Nelson, may seem an odd team to helm a superhero blockbuster, but their low-key sensibility rescues Captain Marvel from the pitfalls of excess. The 1990s setting, for example, is established via a Blockbuster Video appearance and period-appropriate music, and while there are a few well-timed jokes regarding the era’s (comparatively) slow computers, its never cranked up to the point of overshadowing other aspects of the film. The movie’s “don’t let anyone hold you back” message, in contrast, is far from subtle, but thematic obviousness and superhero movies go hand-in-hand.

Though their roles are varying degrees of rewarding, Captain Marvel’s cast is a good fit. Larson, in the title role, turns in a deceptively complex performance. As with Chris Evans’s early outings as Captain America, the apparent woodenness that comes with being a virtuous soldier-type belies a more conflicted core, something we see when Vers struggles with coming to terms with her identity. Both Jackson and Gregg are digitally de-aged about twenty-five years, and watching them play younger versions of much-loved characters is a blast. Mendelsohn is practically the go-to guy these days for slimy yet overmatched villains, and while Talos starts that way, as befitting a shapeshifter, there is more to the character than initial perceptions let on. The same can also be said for Goose, who is by all appearances a cat that once belonged to Lawson and joins up with the heroes. Unfortunately, several other roles are poorly written, and antagonistic characters often come across as blandly one-note. It would spoil the film to name them all, but a younger version of Ronan the Accuser (Lee Pace, returning from Guardians of the Galaxy) shows up, and he continues to lack his comic book equivalent’s complexity (think less genocidal maniac and more uptight hardass judge).

Aesthetically, Captain Marvel is a victim of timing. It is by no means a bad-looking film, but it lacks a lot of the visual oomph it would have delivered had it been released before other movies beat it to the punch. Guardians of the Galaxy already made its mark using upbeat pop songs from an earlier decade in action sequences, and several Marvel movies have made use of fast-paced space chases. Add to that the unfair-but-inevitable comparisons to DC’s Wonder Woman, and Captain Marvel simply loses a lot of the impact it may have had otherwise.

Though it may not be a revelation, Captain Marvel is far from a flop. An engaging change of pace, it fits nicely into Marvel’s cinematic universe rather than redefining it.

Greenfield's NY Bagels & Deli

Located at 2160G New Garden Road in Greensboro, Greenfield’s NY Deli and Bagels offers bagels and Jewish deli-style sandwiches for breakfast and lunch. Online ordering for pickup or delivery (via Grubhub) is available as are catering and Kosher options. The restaurant opens at 7 a.m. daily.

Despite its name, Greenfield’s NY Deli and Bagels has a somewhat convoluted lineage. It was opened last month by Tom and Anthony Cassano, associates of Robin Greenfield, who started the original Greenfield’s in Greenville, South Carolina nearly two decades ago. And while Greenfield, known as The Jewish Mayor of Greenville, seemingly adds a touch of authenticity to the operation, she is not a New Yorker but a native Floridian. None of this is reason enough to avoid the establishment, but those who have been to delis in New York/New Jersey should recalibrate their expectations for the Greensboro area.

By those standards, Greenfield’s is definitely promising, albeit with a few quirks. There is a decent amount of seating, especially relative to New Garden Bagels. A New York City skyline mural spans one wall though much of the décor here is strictly functional.

Greenfield’s bagel selection, on the other hand, is quite commendable. Though exact availability varies, there were about twenty kinds on hand when I visited, including varieties not easily found elsewhere such as Black Russian and Blueberry Brown Sugar. Spreads, like the bagels, are made in-house.

The rest of the menu isn’t as expansive, but it does offer both classics (Reubens and pastrami sandwiches) and more recent touches (The Larry David, a shout-out to Curb Your Enthusiasm, features Nova and whitefish on a bagel with lettuce, tomato, capers, and cream cheese). A deli case also features an assortment of salads and sides, there a few baked goods, and like any proper Jewish-style deli, Dr. Brown’s sodas are on hand too.

For my first visit, I tried an omelet sandwich (egg, cheddar, and pastrami on a plain bagel) as well as an assorted half-dozen bagels and lox spread to go. Those used to the smooth and uniform appearance of mass-produced bagels may be confused by the rougher appearance of the bagels found here, but I took this as a sign that they were homemade. Thankfully, the taste and texture fit the appearance: a crisp, crackly skin and a chewy interior. Legit. The accompanying pastrami was satisfyingly smoky, and the sandwich as a whole seemed well worth repeating. A word of caution, however: this is an omelet sandwich, not a mere egg sandwich. Expect to use two hands.

Pricing here varies. At $6.25/half dozen or $12.50/dozen, bagels are about the going rate. The omelet sandwiches start at $4.50 for egg on a bagel and increase accordingly with each topping added. Putting lox on anything brings you over $9.

Annoyingly, while prices are listed on the menu at each table, they are not (or at least were not when I visited) listed on the wall behind the counter. The blanks beside each item were perplexing to say the least. Also, while the tie-dye shirted staff were friendly and enthusiastic, they did appear at times distracted.

Greenfield’s knows how to churn out a quality bagel, and the menu holds enough promise to make return visits likely, but between New Garden Bagels down the road and Giacomo’s across the street, there are, for the time being, better options for both bagels and sandwiches in the immediate area.