INDY Week 1.06.16

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What good are Durham Police Department body cameras if the public can’t see what’s on them? By David Hudnall

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INSIDE NEWS & COLUMNS 6

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TRIANGULATOR: The Legislature kicks the poor in the teeth (again), Durham County cracks down on e-cigs and DEQ takes it easy on Duke Energy (surprise!)

NEWS: The McCrory administration responds to our lawsuit the same way it responds to public records requests: delay

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Gary Louris meet beyond state lines and a generation gap

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WHERE WE’LL BE: The best arts and

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MUSIC CALENDAR

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ARTS CALENDAR

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FILM CALENDAR

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VOLUME 33 NUMBER 1

No watching the watchers

Our last little fun

Hand-held wonders

Crate-dug finds Jason Perlmutter, the owner of the Triangle’s newest record store, talks about hunting for rare vinyl and staying fair By Allison Hussey

FILM REVIEW: The Revenant

culture events of the week

JANUARY 6, 2016

By Jill Warren Lucas

CALENDARS & EVENTS 29

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Meet Sandra Gutierrez, the Triangle’s empanada expert

MUSIC: In Au Pair, Django Haskins and

THEATER REVIEWS: The Book of Mormon

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Despite laws and court rulings, North Carolina’s machine-gambling industry won’t go away By Erin Sroka

CITIZEN: To move the ball forward,

and Time Stands Still

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What good are police body cameras if the public can’t see what’s on them? By David Hudnall

A R T S , C U LT U R E , F O O D & M U S I C

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CARY

F E AT U R E S

progressives need to convince poor whites to vote in their own self-interest

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Think outside the black-box Unexposed Microcinema goes all in on experimental film in the new year By Brian Howe

THIS PAGE: Making empanadas at home with Sandra Gutierrez PHOTO BY JEREMY M. LANGE ON THE COVER:

The INDY’s Act Now and Food/Farmers Markets calendars can be found at indyweek.com.

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COMING UP NEXT

“A hurricane of unbridled imaginativeness.”

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The New York Times

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Compagnie Marie Chouinard

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Melissa Aldana, saxophone with Pablo Menares and Allan Mednard

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Jason Moran & The Bandwagon Throw Me on the Burnpile and

18 & 19 Light Me Up – Lucy Alibar SAT 20

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Raleigh Cary Durham Chapel Hill A ZM INDY, INC. COMPANY PUBLISHER Susan Harper

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The Knights with Gil Shaham, violin

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Swimming in Dark Waters: Other Voices of the American Experience featuring Rhiannon Giddens, Bhi Bhiman and Leyla McCalla

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Fred Hersch, piano and Julian Lage, guitar The Ghost of Montpellier Meets the Samurai – Trajal Harrell An Evening with Garrison Keillor

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Gabriel Kahane and Timo Andres

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David Hudnall, Jane Porter

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back talk

eigh y ham pel Hill Vote, baby, vote

McCrory may indeed go down (Citizen, Dec. 30). I hope so. But if he does, it will be attributable to successful GOTV by Democratic operatives in the context of the presidential election. I doubt that his man foibles will make much of a difference in the outcome. Partisans on both sides have owe already made their minds up, and political advertising next year will be dominated by the presidential race. ey There are two questions. One is how many of the partisans on both sides e show up to vote. The other is whether independents in North Carolina will lean n Woods Democratic or Republican for president iello next year. If they vote Democratic for president, they’re almost certain to vote Klein, sey, Democratic for governor too. Everything eil Morris, hangs on those two questions.

eed, Schram,

more

illiams

ct, via indyweek.com

Self-serving

For a couple of years I had worked for an arts and culture weekly wherein the publisher would frequently dedicate his column to chastising local business owners for not spending enough of their budget

ers jamin mpf

on advertising. He wasn’t necessarily wrong, but one must consider the source, and how it comes off. For a free weekly alternative paper, which survives off of an advertising-based business model, to publish a story saying, “Theaters need to do more advertising,” it can’t help but sound self-serving (“Enough isn’t enough,” Dec. 30). After all, while a theater can survive without much in the way of advertising, the same cannot be said for a free alt-weekly.

Often times small theaters will do shows with the assumption that they will not “sell out,” and thus spend accordingly.

If the Burning Coal wants to do only shows that turn large profits, then the recipe is pretty well known for most theaters: do family-friendly musicals with small casts and big names. Nunsense, The Fantastiks, Cabaret and The Last Five Years can all sell out pretty easily without a lot of advertising, and all have relatively small casts.

But theater isn’t run like a normal industry, where the only deciding factor is what will result in the highest amount of profits. Theaters decide on shows that tell the kinds of stories the artistic director

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wants to give the community, whether they make all of their money back or not.

I think your piece is very well written and I doubt you wrote this with the INDY’s bottom line in mind. However, I think there is potentially a disconnect as to what motivates a black-box theater and what motivates a normal business.

James Johnson, via indyweek.com

History won’t like you either

A few months ago I’m pretty sure the INDY reported on vandalism of the Silent Sam monument at UNC (“The South lost. Get over it,” Aug. 12) and included a list of public and private Confederate monuments in the Triangle, the obvious implication being that these other monuments, including graves, should be damaged or demolished, as has now happened at Raleigh’s Oakwood Cemetery.

The locations are probably public knowledge, but the INDY still seemed to support vandalism. It’s as if someone were poisoning water supplies and you printed a list of water intakes or effective poisons and justified the acts.

It can be argued that Silent Sam is a

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JANUARY 6, 2016

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public monument and needs to be removed to make UNC more open, but these other monuments are private, though open to visitors, and many of them mark actual graves. Someday the graves of the INDY’s staff might attract vandalism, for example if you back Hillary Clinton and then she starts a war with Russia or China, and people in the future remain enraged about the results of such a war.

Confederates who died long ago have become the burning issue, while the current Democrats and Republicans, black and white, have caused the deaths of millions of civilians in Arab countries since 1991 for power, oil, making the world safe for Zionism, etc. If there are people around in 150 years, they might judge us harshly.

Michael Pollock

If you would like to respond to something that appeared in the INDY’s pages, please send an email to backtalk@indyweek.com. The INDY reserves the right to edit letters for space and clarity.

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triangulator news

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STARVE THE POOR!

Also: Put down those vapes! Clean up that coal ash (or don’t)!

T

he beginning of each New Year inevitably heralds the implementation of a bunch of CRAPPY NEW LAWS from the General Assembly, and 2016 is no exception. Sigh. As has become customary, it’s the state’s poor population that will be hit hardest.

The latest attack ends a federal waiver designed to help poor people in economically distressed states. Under the 1996 WELFARE REFORM LAW, able-bodied adults between the ages of 18 and 49 who are medically able to work and live in a household with no dependents are eligible for only three months of federal food and nutritionservices benefits over the course of a three-year period, and only then if they show that they are working, training to work or volunteering 80 hours per month.

But in 2008, at the onset of the Great Recession, 23 counties (including Wake, Durham and Orange) in North Carolina were allowed a federal waiver to that three-month limit so that these folks could, you know, eat. A law passed last legislative session, somewhat ironically called the PROTECT NORTH CAROLINA WORKERS ACT, lifts that federal waiver, because the Carolina Comeback has been so successful and everyone who wants a job now has one.

Or something.

In Wake County, at least 2,000 people could be affected, says REGINA PETTEWAY, director of Wake County Human Services. In Durham, some 2,700 people will get to go hungry a little more often, according to a report given to the Durham County Commission Monday night.

“Our hands are tied, in that we can’t help people outside the work, volunteering and job training aspect,” says Wake County Commissioner JOHN BURNS. “We’ll try to help them comply with the terms of the statute so they can qualify for assistance, but 20 hours a week is quite a bit when you may not have prospects for employment. This is yet another example of the Legislature taking shots at people who have trouble defending themselves.”

Related: Because the poor have it way too damn easy, on Monday the state’s DIVISION OF EMPLOYMENT SECURITY announced that people filing new unemployment insurance claims have to make “five valid job contacts with potential employers for each week claimed,” to prove they’re really out there looking for work. Otherwise their benefits could be delayed or denied altogether.

So, that’s 2016 off to a great start.

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nother new law for the New Year: VAPES are now the same as cigs in the eyes of Durham County law enforcement. That means NO MORE E-CIGARETTES on city or county property, including parks and trails and within a 100-foot radius of bus stops. Bars and restaurants can still decide for themselves whether they want to be vape-friendly, per state law.

“We have sent out letters to local restaurants to let them

BY DAVID HUDNALL AND JANE PORTER know that it’s within their right to restrict its use,” says Durham County Public Health director GAYLE HARRIS. Wake County has a similar county-property e-cig ban.

Orange County hasn’t yet added e-cigarettes to its SmokeFree Public Places Rule, but communications manager STACY SHELP says the county’s board of health will be considering action this year.

Jason Joyner, lobbyist for a klatch of brick-and-mortar shop owners, e-liquid makers and other vape-product suppliers known as the N.C. VAPING COUNCIL, says Durham County’s decision was no big surprise.

“Every county or municipality has the right to do it, but I did find it interesting that [Harris’] tagline on the announcement was basically, ‘We know it’s not as safe as clean air, so we’re going to ban it in public places,’” Joyner says. “Well, if that’s the precedent, then what else do we ban? BUS EXHAUST? What about the bull at the ballpark that blows out the huge cloud of smoke when the batter hits a home run? Is that within 50 or 100 feet of the public sidewalk?”

MOE MAKKI, of Cloud Vape Lounge in south Durham, says he’s not too worried about the ban. “I’m more worried about the juice tax,” he says.

North Carolina recently became the first state in the country to pass a tax—5 cents per milliliter—on e-liquid.

(That’s the juice that fills up those complex-looking vaping instruments that are en vogue these days.) The law went into effect this past July. Gregory Conley of the AMERICAN VAPING ASSOCIATION, a national advocacy group, sees a connection between the tax and the fact that North Carolina is tobacco country.

“The reason that tax passed is because R.J. REYNOLDS supported it,” Conley says. The Winston-Salem-based company has an e-cig product, VUSE, but it’s what’s referred to as a cigalike, which is disposable and doesn’t require the purchase of e-liquid. “Tobacco companies don’t want to shut down the e-cigarette product category completely, because they offer some e-cig products. But they want to erect barriers to keep new businesses from competing.”

Harris says the first six months of the ban are meant to be educational. “We’re just trying to GET THE WORD OUT,” she says. “We’re not trying to fine anybody. You’d have to ignore several warnings to get a fine.”

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he N.C. Department of Environmental Quality had a big assignment due on New Year’s Eve. It had 16 months to work on it, but still turned its homework in at the very last minute—around noon on Dec. 31. Whether DEQ’s timing had anything to do with the fact that New Year’s Eve is a FANTASTIC DAY FOR A NEWS DUMP is for others to say. What we know for certain is that the work is trash-like, and deserves a mark of “incomplete.”

Per the Coal Ash Management Act—enacted in 2014

in response to Duke Energy’s spill of 39,000 tons of hazardous coal ash into the DAN RIVER—DEQ was required to evaluate and rate the safety levels of 14 of Duke’s sites across the state. Those deemed “high” risk would have to be cleaned up by Duke by 2019; “intermediate”-risk sites by 2024; “low”-risk sites likely by 2029, though possibly never.

Half of this work had already been done by others. The conditions of a criminal plea agreement require Duke to clean up four of the sites (Dan River, Asheville, Sutton and Riverbend). And Duke has reached a settlement with the SOUTHERN ENVIRONMENTAL LAW CENTER to clean up three more (Cape Fear, Lee, Weatherspoon). That’s despite the DEQ challenging the SELC’s agreement with Duke in court—essentially, opposing the cleanup.

“I know, it’s hard to believe,” says SELC attorney FRANK HOLLEMAN. For five of the remaining sites, DEQ has determined that it does not have enough information to classify them. It’s just not sure yet!

That’s not all. In November, the SELC obtained a public document from DEQ containing findings on dam safety, groundwater, surface water and drinking water at these sites. According to that document, nearly EVERY SINGLE DUKE SITE was rated “high” risk. But in the official release, sent on New Year’s Eve, only the four sites that are part of the criminal plea agreement are rated “high.” The rest are all “low,” “intermediate” or “low to intermediate”—that is, undecided.

“They literally did not comply with the law,” Holleman says. “They were supposed to issue final ratings by Dec. 31, and for several of the sites, they didn’t. And besides that, THEY IGNORED THEIR OWN STAFF’S RATINGS and watered them down in the final version. Meanwhile, we’re two years since the Dan River spill, and three years since we began pushing DEQ to start cleaning up these sites. And, for some political or ideological or bureaucratic reason, the leadership at DEQ doesn’t want to require Duke to clean up coal ash at these sites. That’s the only conclusion a fair-minded person could reach.”

(Here we note without comment that GOV. PAT MCCRORY was a Duke Energy executive for 28 years.)

For his part, DEQ Secretary DONALD R. VAN DER VAART thinks the SELC is disrupting the process.

“I am disappointed that special interest groups attempted to corrupt the process by leaking an early draft that was based on incomplete data,” van der Vaart said in a press release.

Concerns about DEQ’S LIMP FINDINGS can be voiced at a series of public meetings being held throughout January and February at each coal-ash site. s Reach the INDY’s Triangulator team at triangulator@indyweek.com.

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news

DELAY GAME

An attorney for the media outlets suing the governor says the administration is handling this case just like it handles public records

BY JANE PORTER

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n July, the INDY joined a coalition of six media outlets and two nonprofits in filing a lawsuit against the McCrory administration for allegedly failing to promptly provide various public records.

On Friday, the case heads to mediation. If the parties can’t reach an agreement there, depositions of four public affairs officials will begin next week.

The complaint, filed in Wake County Superior Court, seeks to compel cabinet members and public affairs officials to allow inspection of public records at no cost, to admit that administration policies violated the N.C. Public Records Act and to cover the plaintiffs’ attorneys’ fees, estimated at several thousand dollars.

The lawsuit cites 13 examples in which the administration allegedly obfuscated or otherwise mishandled records requests.

In one, the INDY requested Gov. Pat McCrory’s travel records in November 2013, but did not receive them until March 2015—nearly a year and a half later. Those records were heavily redacted, and the administration offered no explanations for the redactions.

Unsurprisingly, the administration denies violating state law. But ultimately, the problem may lie with the wording of the Public Records Act itself. The law says that government officials “shall as promptly as possible furnish copies” of requested records. That leaves a lot of wiggle room: What does “as promptly as possible” actually mean?

Another point of contention: Is the lawsuit about the administration’s overall policy toward the handling of public records, as the plaintiffs argue, or about these 13 specific requests?

Mike Tadych, an attorney for the media outlets—the INDY, The News & Observer, The Charlotte Observer, The Alamance News, WRAL and WNCN (nonprofits N.C. Justice Center and the Southern Environmental Law Center are using their own lawyers)— says the administration’s response to the lawsuit mirrors its response to records requests: “It’s all about delay.”

On the Wednesday before Thanksgiving, McCrory’s legal team—which did not respond to the INDY’s requests for comment by press time—asked for a court order prohibiting state officials from having to provide testimony about journalists’ requests for public records or any documents beyond those related to the 13 requests cited in the complaint.

The law says that government officials “shall as promptly as possible furnish copies” of public records.

That leaves a lot of wiggle room.

The administration asked the court to stay this fact finding, pending mediation, which is its right under the law, and later filed a motion to designate the case as “exceptional,” meaning a judge would be selected from a mutually agreed-upon list to hear the case and “to determine the appropriate scope of discovery.”

One problem: The McCrory administration would not agree to anyone on the plaintiffs’ attorneys’ list of recommended judges. After filing the motion to stay the discovery, the administration’s attorneys informed the plaintiffs that four public affairs officials— McCrory communications director Josh Ellis and public affairs officers with the Department of Environmental Quality, Department of Transportation and the Department of Commerce—wouldn’t be showing up for depositions scheduled for Dec. 1–4.

Around this time, the plaintiffs asked the judge currently overseeing the case, Don Stephens, to appoint a mediator. He did, and a mediation session is now scheduled for Jan. 8. If the parties can’t come to an agreement there, the case—and the depositions—will crank up again.

In an earlier filing in September, McCrory’s defense attorneys argued that the administration had already produced all of the requested records mentioned in the lawsuit, which in their view rendered the entire case moot.

They then shifted the blame to the media outlets making the requests: “The requests are often extremely broad. Many times such requests are made without regard to the burden placed on taxpayer resources, the amount of time and energy it takes to identify responsive records, and the time it takes to review each record to ensure that information protected by law is not released inadvertently.”

Tadych says the state is treating the lawsuit as if it were just about those 13 records requests and not the bigger picture.

“In the introduction of the complaint, we say it is a systematic ignoring of public records requests, and that is what the case is about,” says Tadych. “They are pretending those sentences are not in the complaint, which is yet another delay tactic. We want to see some systematic procedures put in place to ensure a prompt response to future records requests.”

But it’s not clear what these procedures would look like. Unlike the federal Freedom of Information Act—which gives a time limit of approximately one month for a standard public record request to be fulfilled—North Carolina’s law does not set specific parameters. To clear things up, the General Assembly would have to amend the Public Records Act to define what “as promptly as possible” means.

Short of that, the question will likely keep heading back to court. s Jane Porter is an INDY staff writer. Email her at jporter@indyweek.com.

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What good are Durham Police Department body cameras if the public can’t see what’s on them?

BY DAVID HUDNALL

ILLUSTRATION BY CHRISTOPHER WILLIAMS

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n theory, Durham police officers wearing body cameras is good for everybody. For citizens distrustful of the Durham Police Department—a not-unreasonable point of view, given that Chief Jose Lopez was just run out of town due, in part, to accusations of racial profiling in the department—body cams offer a degree of protection against police misconduct. For officers who fear false accusations, the body cams are there to back up their version of events.

Transparency equals truth. Win-win.

But what if the language of the actual body-cam policy undermines that transparency?

Last spring, the DPD held several community forums soliciting input from residents about what a good body-camera policy might look like. A few weeks ago, the DPD unveiled its draft proposal outlining that policy. Not everyone is happy about it.

“The way the policy looks right now, there’s no process by which people can access these videos through publicrecords requests—not even the individuals involved in the incidents,” says Susanna

Birdsong, policy counsel for the N.C. ACLU. “The whole reason body cams are such an important tool is because they offer transparency and accountability for police. But if the public can’t access the recordings, then what’s the point?”

Birdsong is referring to the following excerpt from the DPD’s draft policy: “Body camera recordings constitute records of a criminal investigation and/or personnel records and are not public records.” It then cites two public records statutes—one about criminal investigations, the other on personnel records—neither of which mentions anything about body cameras.

The “personnel records” justification is borrowed from the Greensboro Police Department. Personnel records laws are designed to protect the privacy of government employees. Greensboro was the first large city in North Carolina to implement a body-camera policy. In doing so, it declared body-cam footage part of an officer’s personnel record.

The wobbly hook the GPD hung this hat on was a federal court case in Fayetteville

where a judge stated that dash-cam footage might be considered part of an officer’s personnel record.

“But that is not a binding ruling or a clearly settled question of law,” says Jonathan Jones, director of the N.C. Open Government Coalition (and a former Durham County assistant district attorney). “And it was about dash cams, not body cams. No judge in North Carolina has addressed whether body cams are a personnel record. Nor has the General Assembly. And beyond that, the reason police departments are using body cams is not for employee evaluation and review.

They’re intended to build trust in the community and investigate crimes. So it’s a bizarre justification.”

The “criminal investigation” rationale is also counterintuitive. Few would argue that body-cam footage related to an ongoing investigation should be a matter of public record. But the DPD classifying all bodycam footage as being part of a criminal investigation effectively means that sole discretion is given to the police chief to

determine what gets released to the public.

One does not need to travel very far back in recent history to find an incident that illuminates the problematic nature of such an arrangement. The Chicago Police Department received and rejected 15 Freedom of Information Act requests for the video of the shooting of Laquan McDonald in the year after the Chicago teenager’s death. Only after an independent journalist sued the police department and a judge ordered the video released did the world find out that a Chicago police officer appeared to have murdered McDonald in cold blood.

The way Durham’s draft proposal is currently written, the DPD would not be required to disclose such a video.

Jones argues that the “criminal investigation” statute the DPD cites is not relevant. “There is one case in Randolph County—a police officer shot a UNC student on Highway 85—where [a judge] ruled that a dash-cam video was part of a criminal investigation and not subject to public records requests,” Jones says. “But

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news that was a non-binding, non-precedential opinion. The only place that ruling has the authority of law is Randolph County.

“In other words,” Jones continues, “I can’t state unequivocally to you that North Carolina body-cam footage is public record. At the same time, [the DPD] can’t say unequivocally that it’s not. So I think a policy like this opens Durham up to a legal challenge. Because at some point there’s going to be an instance where there’s something caught on camera that the public demands to see. And somebody will sue. At some point that is going to happen.”

One logical way to settle matters would be for the Legislature to enact clear bodycamera laws that satisfy the general public’s twin desires for personal privacy (no publicly accessible footage of an officer accidentally entering the home of a naked woman) and police accountability (no more law enforcement stonewalling the release of Laquan McDonald-like videos).

Rep. John Faircloth, R-Guilford, a former police chief in High Point who sponsored a body-cam bill in the last session, says the issue is a “delicate dance.” His bill passed in the House but stalled in the Senate. If passed, it would have essentially killed the argument that body-cam footage should

PERIPHERAL VISIONS • V.C. ROGERS

be considered part of an officer’s personnel records. But it also would have given police departments discretion over whether to release recordings to the public.

“That bill is really more of a first step in what I think will be a long process,” Faircloth says. “I was hearing from police departments who believed they were hamstrung by the ‘personnel’ nature of the current state laws. The bill was designed to give them the ability to release limited information—film, camera records—in order to keep public order in their cities.”

Faircloth says he’s not in favor of giving police departments carte blanche to decide what gets released.

“I think, first of all, we ought to go as far as we can to making information available to the public, so long as it doesn’t get in the way of critical evidentiary information that would cause us to lower the quality of investigations,” Faircloth says. “And past that, I think there’s a place here for judicial participation. It’d be similar to how if the police want to search a home, they have to get permission from an uninvolved party—a judge. So if a newspaper wants to view body-camera footage that hasn’t been released by the police, they can take their request straight to a judge.

“It’s also possible,” Faircloth adds, “that there’s another way of accomplishing this, but we won’t know until we all get together in several meetings across the state and come up with the best way to do it.”

That may take a while. Until then, the DPD’s body-cam policy will be the rule of law here.

It’s not yet set in stone, however: The city is taking feedback on the proposal through Jan. 14. After that, says City Manager Tom Bonfield, there will be briefings in which council members can offer their thoughts.

Bonfield will also be making his own recommendations, one of which is that the City Council be a third-party decider of what body-cam footage is in the public interest.

“I agree that it’s not appropriate for the police department to have absolute power there,” he says.

Councilman Charlie Reece, who was active in police-reform efforts prior to his election last year, says he also has some issues with the policy.

“I have a number of concerns in areas where the policy falls short of the kind of transparency that our community will require here in Durham,” Reese told the INDY in an email. “… The subject of a video recording captured by a police-

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worn body camera should have the right to view that video recording, and in certain circumstances, to have a copy of that footage provided to them. As presently written, the draft general order would provide the Chief of Police (or her designee) with unfettered discretion to approve or reject a request by the subject of such a video to receive a copy of such footage, and I would not support such unfettered discretion.”

Jones argues that the police have nothing to fear from body cams—and if the policy is properly constructed, the tech might actually improve relations between cops and citizens.

“My experience as a prosecutor in Durham was that it was very common for people to say they were mistreated by police, and then you go to the dash-cam video and discover the officer was 100 percent professional,” Jones says. “And I think these body-cam videos will show that most of the time. But particularly given the concern about the police department here in recent years, I’m disappointed they’re not viewing this as an opportunity to rebuild trust in the community.” ▲ David Hudnall is an INDY staff writer. Email him at dhudnall@indyweek.com.

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THE WHITE PEOPLE PROBLEM Or, how do we get angry, impoverished whites to vote in their own economic self-interest?

BY BOB GEARY

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ver the holidays, my wife and I visited family in Huntington, West Virginia. It’s a small city in obvious distress. I bring it up because, with the 2016 primary elections just around the corner, it’s home to a lot of angry white voters.

Huntington, not long ago, was a thriving railroad and river hub for the coal and steel industries of Appalachia. Its decline tracked the exodus of jobs from both, but especially coal. In 1950, Huntington’s population was 86,000. Today, it’s below 49,000—and dropping. Handsome, solidly built brick houses that would be scooped up in Raleigh go begging there. Or, if occupied, they need repairs.

As do the city’s streets. And sidewalks.

And water system.

Huntington can’t afford to keep itself up, in other words, and it’s in a state that can’t afford to either. West Virginia ranks dead last in labor-force participation, with just 52 percent of adults under the age of 65 working or looking for work.

If that sounds bad, it is. The national rate, after declining dramatically in recent years—a canary in the coal mine, if you will, showing how dismal the American economy looks to the average worker—is still above 62 percent.

In October, President Obama visited West Virginia to announce an initiative— and a pledge of money—to curb the rising incidence of heroin addiction and deaths from overdoses. The problems are national, Obama said. But West Virginia’s are the worst. And in West Virginia, officials described Huntington as “ground zero.”

Why? One reason is coal miners—the few still working and others who used to—who were injured, got hooked on prescription painkillers and turned to heroin.

West Virginia Sen. Joe Manchin was aboard Air Force One. According to Reuters, he said many in the state blame Obama for the heroin epidemic, because his policies promote renewable energy over coal and the jobs it used to provide.

“Any time you have a loss of jobs, loss of income, lose of purpose, loss of family,

you’re going to have people turning to different things,” Manchin said. “And that’s why you’ll see people today that are very upset.”

Manchin is a Democrat, but one who’s pro-coal—and he’s an exception to what is, increasingly, Republican rule. In the 2014 elections, after eight decades of Democratic control, West Virginia turned both houses of its legislature over to the GOP. The state’s other U.S. senator, Shelley Moore Capito, is a Republican. Obama lost West Virginia in 2008 and again in 2012—by 27 points.

Now, I’m not advocating that

White voters will continue to control Congress regardless of who’s president Democrats, or Republicans for that matter, take up for coal, a dirty carbon emitter.

Nor do I think that Obama is to blame for lost coal-mining jobs: The industry’s giant mining machines and mountaintopremoval methods are.

Still, here’s a state in dire straits, with a city that needs help on a scale the state government simply can’t provide. Only Washington can. And West Virginia used to know that: Every other thing in the state is named for the late Sen. Robert Byrd, a Democrat who brought home the bacon in Congress from 1953–2010.

Yet today, a majority of West Virginia voters buy the Republican argument that money collected by government, whether state or national, is more likely to be wasted than spent in ways that create jobs for them. Wasted, or lavished on the rich.

And yes, they are predominantly white voters—West Virginia is 94 percent white— and yes, racism is at work. I wish it weren’t.

But wishing won’t move votes.

In recent days, The New York Times reported that self-identified white Democrats are Donald Trump’s fiercest supporters. Half the country thinks the

“American dream” no longer holds true, according to a poll for NBC News and Esquire about voter anger. The angriest groups: white women, white men, Republicans and those “in the middle of the middle class.”

It defies rationality, because clearly white grievances pale—that’s right— compared with those of African-Americans and Native Americans.

But it’s a problem nonetheless, and here’s why. Let’s assume that a Democrat, Hillary Clinton or Bernie Sanders, is elected president. Each leads Trump and all or most of the other GOP candidates in most polls, so that’s not a stretch.

And let’s further assume that President Sanders or Clinton wants to restore the American dream for working-class Americans and has a viable plan to do so, using changes in tax policy, investments in education and infrastructure and so on. A progressive program, in other words, that a majority of American voters support.

But tough rocks, because a majority of white American voters don’t support it.

They support tax cuts and shrinking the government.

Because of gerrymandered congressional districts and a U.S. Senate that gives equal representation to Wyoming and California, white voters will continue to control Congress regardless of who’s president— with minority voters sequestered in a relatively few districts and few states.

Without Congress, there will be no progressive program.

The challenge for Democrats in 2016, therefore, is to explain to enough white voters how progressive economic change will be good for everyone who works— white, brown or black. Explain it, explain it and explain it again, until the argument breaks through and voters elect a Congress committed to getting something done.

Impossible? Try making the case in Huntington. And go from there. s Bob Geary is an INDY columnist. Email him at rjgeary@mac.com.

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Despite laws and court rulings and ongoing investigations, North Carolina’s machine-gambling industry refuses to go gentle into that good night

By Erin Sroka ILLUSTRATION BY SKILLET GILMORE

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white neon sign with a red “24/7” was the first indication that a sweepstakes was opening in my neighborhood. Soon, a green light bent into a shamrock was placed in the window of a once-dead retail space between a gas station and a dry cleaner. It was on: Our new local casino had plugged in gambling machines under the premise of selling phone cards. Sweepstakes were sprouting in strip malls all around Wilmington, with signs that offered business services and Internet time where the market had not previously demanded them.

Most residents passed these new businesses without knowing what they were, but a few knew their true purpose. It was these people who came inside to play video games of chance.

I first entered the sweepstakes on a cold night in March 2010, when my housemate Geilda and I were walking home from downtown. We’d been at a party, interacting with people like us—mostly white folks, young and creative, poor in a way we assumed was temporary. We rang the bell to be let in (the sweepstakes kept its doors locked at all times), and once inside, our conversation stopped. It was 3 a.m., and a few silent women sat facing Pot-O-Gold machines. The childish noises of video keno dominated the room, creating a soundtrack of hope and disappointment.

The desk worker who

programmed my $5 onto a machine spoke softly, as if to avoid disturbing a room full of sleepers.

Geilda and I shared a machine and starting playing a game we didn’t understand. But the choices were simple enough—cash out or bet—and we went through a few rounds of lights and noises before our total spun $3 higher than where we’d begun.

“Cash out,” Geilda advised, and we did.

I came home feeling like I had escaped something that I didn’t understand.

Months went by and I kept visiting the sweepstakes.

One summer afternoon, I went during daylight hours, before most people were off work. People seemed more alert than usual; two players even looked up and acknowledged me when I joined them at their cluster of machines.

I had $10 programmed on my machine. This was an increase from my original $5 limit, which I justified by reasoning that I needed more time to experience the game. I selected my numbers and adjusted my bet. The woman beside me, shorthaired with cargo shorts and a tan that suggested a career in landscaping, told me the machines didn’t really pay out until you put in $80 or so.

I bet slowly so that the $10 would last longer. I got up by a few dollars and my machine made a thrilling, cartoon-fast counting sound. I cashed out.

The man next to me voiced his support.

“That’s good—your money still means something to you. After a while, it won’t.”

T

he loophole that let machine gambling into my neighborhood was based on a legal argument that said if states allowed

South a Chapel Hill-based publisher of long-form journalism.

This story is excerpted from an article from The New New South, You can purchase the full version at www.newnewsouth.atavist.com/our-last-little-fun.

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McDonald’s and Coca-Cola to give away products from pull tabs on French fry packages and the undersides of bottle caps, so too could small businesses use video gambling to promote their services. Under this justification, storefront after storefront opened in North Carolina with words like fax, phone cards and Internet written on their signage, while their interiors housed rows of Pot-O-Gold machines or computers installed with Internet gambling software.

Machine gambling was banned in North Carolina under the name of slot machines in 1937 and under the name of video poker in 2006. But the sweepstakes loophole, combined with the ability of software companies to update games faster than lawmakers could respond, created a boom in the late 2000s, culminating in as many as 900 storefronts housing thousands of machines across the state. The General Assembly banned the sweepstakes in 2010, with the N.C. Supreme Court upholding the ban in 2012 and again in 2015. The U.S. Attorney’s office recently prohibited five software companies from operating in the state, and Attorney General Roy Cooper maintains that the state has the legal authority to go after those that remain open. And yet the ban is unevenly enforced.

The industry has its friends, and it is persistent: Flush with cash, it continues to invest in legislative and judicial strategies aimed at legalization. Industry money played a role in the state’s 2012 elections—a dynamic Democracy N.C. executive director Bob Hall referred to as “pay-toplay politics.” Hall pushed the N.C. Board of Elections to investigate sweepstakes-industry campaign contributions, totaling millions of dollars, made to Gov. Pat McCrory and others. When the board ruled earlier this year that there had been no violations of campaign-finance laws, Hall pushed for a criminal investigation. Wake County District Attorney Lorrin Freeman agreed. With the help of the State Bureau of Investigation, Freeman is now probing the relationship between the sweepstakes industry and the state’s political leaders.

Even so, in 2015, three years after the ban was first upheld, sweepstakes locations still proliferate across the state. Each works a legal strategy supplied by a law firm or software company, and some post the latest order of injunction near their doors. There is a timelessness to the story, a sense that the sweepstakes just keeps going, a sense that a state’s and an individual’s choice of whether

INDYweek.com or not to collude with machine gambling isn’t much of a choice at all.

T

he spread of sweepstakes was part of a national trend.

Until the late ’80s, casino gambling was contained in America’s two major resort destinations: Las Vegas and Atlantic City. In the decades since, regional casinos have opened in many other states. A national conversation about the impact of this industry’s exponential growth in our culture and communities has never happened, and much of the research on gambling is funded by the industry itself.

When there is discussion of the pernicious effects of gambling, it typically occurs in the courtship between a casino and a state. Casino supporters point out the advantage of extra tax dollars, job creation and economic development in rural communities. Critics point out that a large portion of casino revenue, as much as 60 percent, comes from problem gamblers.

The sweepstakes model avoids this debate, enters without consent and reaps profits for as long as it can get away with it.

When legislatures move to enforce existing gambling laws, the industry counters by offering a cut of the profits. The possibility of a legal partnership was raised in the General Assembly in 2009, when it was estimated that the state stood to gain $500 million.

This figure was floated during a budget shortfall, from an industry that was proving difficult, if not impossible, to control.

Just as the sweepstakes conducted business in legal gray areas, they also contained moral and emotional gray areas. It was these complexities that kept luring me back.

Sometimes I returned sure that the place was evil, or at least predatory, there to take advantage of people who were too stressed out making ends meet to resist the allure of a pretend bubble where work and money didn’t matter.

Other times, I sympathized with its workers and the small businesswoman who ran the place, wondering if the harm it did might not be so bad.

I wanted to take a closer look to understand the pull of the place and find out what good it held, if any. I wanted to know why I could escape its magnetism but others couldn’t. And as North Carolina moved to eradicate sweepstakes across the state, I wanted to know if this removal was really a good thing—and to see who would miss it when it was gone.

close its doors.

I sat at a machine tapping away $10 on a game of keno.

Two young women played beside me. Both were still dressed in work clothes, one in a Hardee’s uniform and one in scrubs. They shared a machine and slowly lost a tiny sum of money.

For the first time, the office door opened and Linda emerged. She bustled past where I sat, hunched over and pushing buttons. “Where’s your enthusiasm?” she asked.

Perdue did sign the sweepstakes ban into law, of course.

It was a decisive move in what one state representative called the game of “whack-a-mole” the industry played with the state. Each time the state pushed to ban the machines, and district attorneys and county sheriffs enforced the law through raids, the machines would show up again with new legal justifications and updated software.

The sweepstakes loophole has created opportunity through legal confusion across the country. In addition to

A

s I got to know the sweepstakes and its players that summer, I became curious about the owner, Linda.

When I asked about her, employees pointed to a locked office door and explained that she wasn’t there much. In July 2010, on the night the state House passed the sweepstakes ban, there was a light on in the office. Linda was inside on the phone, discussing what to do if Gov. Beverly Perdue signed the ban into law, which everybody knew she would. That would mean five more months— from July to Dec. 1—before the sweepstakes would have to

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always do skill and dexterity were required elements of play. The skill argument didn’t hold, however, against the reality of about how players perched on barstools in the corners of gas stations, and writin he wanted chain-smoking cigarettes and mashing the same two dictionary buttons over and over and over. closing, h At the sweepstakes, jackpots worth up to $2,500 were I played the prize for depending on everything except oneself. Of course, almost no one ever won. But for habitual machine out and w gamblers, jackpots were not the point. For folks captivated When I by machine gambling, winning big is less important than told me th 11:58 p.m spending time on the machine. There is a certain state pack up th in which the game takes a player’s full attention to the exclusion of everything else. Jackie, a friend who developed Linda h She looke an interest in sweepstakes around the same time I did, Vivian, w called this “the bubble.” managed In North Carolina, the sweepstakes arrived as unemployment soared following the housing market crash she lost h money aw of 2008. Over and over, patrons said they came to the sweepstakes “to relax,” and maybe it was relaxing to escape when this into a world where one’s value was not tied nobody li But the to work and where money didn’t matter.

Of course, not everyone will get stuck in a fortune. A bubble in front of a gambling machine. The by Hest T National Center for Responsible Gaming, the suit ar was unco which is funded by casino stakeholders, businesse estimates the percentage of pathological gamblers among the general population is decision c Superior C 0.6 percent, with a 2.3 percent incidence of problem gamblers. A 2013 paper by the to instill d Institute for American Values argues that attorneys a more accurate sample consists of people ban was l who gamble frequently rather than the general population. loophole Linda t In this sample, the percentage of problem gamblers shoots up to 15 to 20 percent, and for people who gamble straight fr exclusively on machines, the number can be higher. This simply ca learned th same paper estimates that 40 to 60 percent of casino the ban. S revenue comes from problem gamblers.

But the NCRG’s minuscule figure paints a picture of an out until t That ni industry that is fundamentally harmless to all but a small group of people, people who have something wrong with Linda ann them. It’s like the emphasis on consumer choice that Coca- instead of Cola cites in its public statements on obesity: The solution was packe in and an is not just in getting soft drink companies to lower their caloric content, but in getting the consumer to make better place that The cigar choices.

But how much choice does a consumer have if a product Among or an experience is addictive? And where does culpability actually th staff didn lie when products are designed and marketed to be as they had, widely available and irresistible as possible? reaction w rom Thanksgiving to the Dec. 1, 2010, deadline, a focused o warm, friendly vibe prevailed at the sweepstakes. their bubb The place had a rare glow, and I took pleasure in the The nex small talk—and my tiny keno wins. Or, I was becoming in happily habituated. played in Even Jay, a male desk worker, was nice to me. “Ah, the over for a writer,” he said when I walked in on a Sunday night. Then “Here you he suggested that instead of writing about the sweepstakes, But two I write a book about him. “I’m smart,” he said, “but I was a bad feel

I got up by a few dollars and my machine made a thrilling, cartoon-fast counting sound. I cashed out.

The man next to me voiced his support. “That’s good— your money still means something to you.

After a while, it won’t.”

North Carolina, at least a dozen states—including Florida, Ohio, New Mexico, Virginia, New York and California— have faced or currently face similar challenges. Several software distributors have become practiced at locating and exploiting vagaries in state laws, but also at building relationships with lawmakers.

Hest Technologies and International Internet Technologies are two major players that have made their way through North Carolina. Each has become embroiled in litigation involving multiple states. Chase Burns, the owner of IIT, was arrested in Florida after a scandal involving a fake charity and the resignation of that state’s lieutenant governor. Burns made the news in North Carolina, too, for being the largest individual donor to candidates for the General Assembly in 2012, and again for having ties to McCrory, who, prior to his election, worked for a law firm retained by Burns.

But it’s clear that costly litigation is worth the risk for owners and distributors. A low estimate for a single machine’s earnings is between $2,000 and $4,000 per week; some estimates go as high as $6,000 per day for a well-placed machine.

Video poker was successful in South Carolina, take-yourpaycheck successful, and North Carolina lawmakers were wary when the machines first crept over the border in the ’90s. Authorities saw no difference between Pot-O-Gold machines and slot machines, but the industry argued that, because the game Pot-O-Golds were known for was poker,

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INDYweek.com always doing other things.” He talked about how he couldn’t pass the reading and writing section of the GED, and how he wanted to learn all the words in the dictionary. And how, with the sweepstakes closing, he was about to need another job.

I played until I got up $13. Then I cashed out and went home.

When I stopped by on Nov. 29, Linda told me the plan was to let people play until 11:58 p.m. the next day, and then start to pack up the machines.

Linda had her office door cracked.

She looked out at an employee named Vivian, whose expression was grim as she managed the desk. One more day until she lost her job. “I told them to put some money away and make arrangements for when this happened,” Linda said. “But nobody listened.”

But the next day brought a change of fortune. A lawsuit came through. Filed

by Hest Technologies together with IIT, the suit argued that a sweepstakes ban was unconstitutional because it violated businesses’ First Amendment rights. The decision came from a Guilford County Superior Court judge, and it was enough to instill doubt in the minds of district attorneys about whether the sweepstakes ban was lawful or enforceable. The loophole would remain open.

Linda told me she got her information straight from the district attorney. She simply called him on the phone and learned that he felt the same doubt about the ban. She said he wouldn’t send police out until the law was clear.

That night, the sweepstakes felt festive.

Linda announced three $50 drawings— instead of the usual one—and the place was packed. One of the regulars sauntered in and announced that he hadn’t seen the place that crowded since it first opened.

The cigarette smoke was overwhelming.

Among players, some knew this wasn’t actually the last night. Some didn’t. The staff didn’t make a point to announce it; if they had, it’s hard to say what the overall reaction would have been. Most people focused on their machines and got lost in their bubbles.

The next morning, Dec. 1, Vivian let me in happily—victoriously. A cluster of women played in one corner. One of them came over for a refill, gave Vivian $80 and said, “Here you go, baby. Put all of it on there.”

But two hours later, Linda was getting a bad feeling. She’d been driving around

town and talking on the phone with her distributor, and it seemed to them that her place was the only sweepstakes still open. Internet sweepstakes were running, but they were directly addressed by the new lawsuit, and it wasn’t altogether clear where that left Pot-O-Golds. Linda felt exposed, and if the DA decided to shut somebody down just to make an example, she felt that it would be her.

By late afternoon, Linda was dismantling her business. Vivian was quiet, hardly saying anything, just shaking her head. A few employees and a few regulars stood in clumps, unsure what to do. The place got quieter and quieter as Linda went around the room turning off machines and unplugging them from the wall.

One woman continued to play while a small group looked on. She was in her 60s, well dressed with good posture. She poked at a keno game, which was suddenly the most interesting thing in the room.

She handed Vivian some money for a refill and said aloud to her—or to Linda or to us, or to the state—“Let me just have my last little fun.”

T

he next spring, I noticed a light on again at the sweepstakes. My friend and I rang the bell, and a new worker let us in. The lobby was dimly lit, and walls had been erected in the center of the room. A woman sat at the desk. She was overly friendly and slightly suspicious. When I asked about playing the machines, she presented me with a ledger, where I was to fill out my name and contact information. I asked about Linda, and she became friendlier. She said Linda was her business partner, but she now lived out of state.

I started to hand her $5, but she pointed me to the small, walled-off room and said I could put my money directly on the machines now. She opened the door for me and I saw a dozen Pot-O-Golds, even older than Linda’s previous models, packed into a warm little space. About 10 people played silently with cigarettes burning. No one was friendly.

I fed my $5 into an open Pot-O-Gold and played keno. It was the same thing: the bouncing balls and the bubbling sounds.

There was nothing left in the place to make me feel anything but sad.

Respond to this story at backtalk @indyweek.com.

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WITHIN REACH

Cary’s Sandra Gutierrez is one of America’s foremost empanada experts. She says the Triangle’s Latino food scene is finally catching up to its surroundings.

BY JILL WARREN LUCAS

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fter a year in which she published two well-received cookbooks and traveled often to promote them in readings, signings and cooking demonstrations across America, Sandra Gutierrez welcomed 2016 in the best way she could imagine: cozied up with family in her Cary home, where she made short-cut collard empanadas with prepackaged Goya wrappers.

“It’s good to know how to make the dough, but these let anybody make empanadas anytime,” says the author of Empanadas: The Hand-Held Pies of Latin America, as she tears into one stuffed with a traditional Argentine combination of stewed beef, chopped olives and raisins. “There are thousands of recipes, some of them complicated, but you can make delicious empanadas from leftovers. You can even use eggroll wrappers. Enjoying good food with your family is more important than making every single thing from scratch.”

Released last spring, Empanadas empowers home cooks to prepare dozens of the variations popular throughout Latin America. But the Guatemala native is on a timely, relevant quest to broaden the already wide appeal of these portable pies—especially in the South, where fried hand pies have a beloved place in the culinary canon. In both Empanadas and Beans & Field Peas, a Savor the South book published in September by the University of North Carolina Press, Gutierrez delivers recipes with rich historical context that also consider the busy lifestyles of American cooks who hope to get dinner on the table quickly.

By making these recipes more approachable, Gutierrez has become a vital figure in the changing foodways of the Triangle, where authentic Latin fare is finally making inroads in a scene once clogged with gloppy combination plates and stale tortilla chips. In the last several years, more than a dozen restaurants offering and often updating the cuisine of Latin America have become area favorites.

Many of them, like Calavera in Raleigh and Carrboro and the new Luna and Makus in Durham, even specialize in empanadas. When Gutierrez first settled in Cary in 1993, she couldn’t have imagined such a change.

Gutierrez sat down at home over a batch of empanadas to discuss her career and the changes in cuisine all around her.

INDY: You’ve published four cookbooks in four years, starting with The New Southern-Latino Table and Latin American Street Food, both produced by UNC Press. To what do you credit this success?

SANDRA GUTIERREZ: I’ve had fortunate timing to be part of the growing interest in Latino culture. Empanadas was my surprise book; I got that offer three weeks after committing to Beans & Field Peas. Empanadas are trendy right now, but I think they’re here to stay because of the

dough made of cassava or yucca—also completely gluten free.

In Mexico and Guatemala, you find masa—again, gluten free.

Because of this, nearly everyone can eat empanadas.

The empanada is a versatile filling conveyance; surely you’ve encountered awful Americanized versions?

Nothing terrible, really. Fillings originate from whatever is left over in someone’s home. People sometimes tell me my recipes are not “authentic.” They are—it’s a matter of authentic to whom? The ingredients and seasonings vary based on where you are. Sometimes the dough is baked, sometimes fried. Peanut butter and jelly works in a pastry; apple pie filling also works. It’s like a Southern fried pie.

What distinguishes an empanada from a hand pie, then?

The name. The concept exists all over the world, and we have the Persians to thank. Almost every culture has them. You’ll find the “pasty” in the British countries, and phyllo is used for spanakopita in Greece. Empanadas lend themselves to being tweaked for American flavors.

Americans love pie. What’s the saying—we’re as American as apple pie? You can add whatever you like. I like to think that any stew can be put in an empanada, any pie filling. A classic combination in Latin America is a white cheese and preserves; imagine that here with local fig preserves and goat cheese. Now that would make a wonderful empanada.

From Cary, Sandra Gutierrez has become both an expert in empanadas and an advocate for the area’s evolving food culture. PHOTO BY JEREMY M. LANGE

influx of Latinos all over the United States. It’s only a matter of time before everyone discovers how great they are; I don’t think anyone who grew up with Pop-Tarts should have any trouble relating to an empanada.

Americans have the tendency to assume that all Hispanic cultures are similar, but empanadas vary considerably across Latin America. What accounts for this?

Tamales and empanadas are everywhere. Tortillas are not; they’re just in Mexico and central America, and then they disappear. But as you travel, you find that empanada doughs are very different. You’ll find wheat-based dough, like tender pastries, because it’s what the Spaniards brought.

But as the indigenous peoples of the Americas fell in love with handheld pies, the dough began to change. If you go to the Latin Caribbean and Central America, you’ll find dough made with plantains, which is gluten free. In Brazil, you find

What are some of your favorite area restaurants for Latino food?

MachuPicchu in Raleigh is a great example of authentic Peruvian food. Guasaca Arepa is Venezuelan, and the food is delicious. Cuban Revolution in Durham is great, as is Carmen’s Cuban Cafe, over by the airport. They’ve been there for decades. It’s basic Cuban cuisine, but it’s the most authentic street food you can find.

What’s the best way to identify a restaurant that serves authentic cuisine?

The best recommendation you can find is when you go in, it’s full of Latin people. For the most part, these are not fancy restaurants. A lot of times they are in strip malls because the rent is cheaper. We’re talking about momand-pop concepts, and they’re not expensive. I especially like La Vaquita in Durham. It’s a stand-alone place where you order at the window and eat outside.

It’s such a welcome change. When Cary was young and we’d go to Mexican restaurants, I’d always order huevos rancheros, because it was the only thing that was real. But we’re moving away from the Americanized, chain-like ideas. Imagine my excitement, my joy and my need or urge to write about and teach everything I know about the

eat & drink different Latin cuisines. I’ve got so much to share. There is so much to discover.

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How did you manage writing two such different single-topic cookbooks at the same time?

I was able to prepare whole meals for my family with recipes from both books, so that helped. My favorite part of the job is the research.

I love to be completely immersed in a topic. Why do we eat what we eat? What are the stories? I’m a learner, and there is no

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The Les Dames mission has attracted several influential North Carolina women—including president Colleen Minton of TerraVita; Vivian Howard of Chef & the Farmer in Kinston; Triangle cookbook writers Nancie McDermott, Sheri Castle and Debbie Moose—among others. What does it mean to you to be part of this circle?

It is humbling. These are women who have dedicated themselves to food and have a heart that makes them want to give back to their community. It’s good to have women

When Cary was young and we’d go to Mexican restaurants, I’d always order huevos rancheros because it was the only thing that was real.

The INDY’S GUIDE to ALL THINGS TRIANGLE

SemanS Lecture thursday, november 19, 2015, 7 Pm

Reality of My Surroundings THE CONTEMPORARY COLLECTION On view through July 10, 2016

2001 Campus Drive, Durham I nasher.duke.edu Ebony G. Patterson, ...shortly after 8- beyond the bladez (detail), 2014. Museum purchase with additional funds provided by Blake Byrne (T’57) and Marjorie and Michael Levine (T’84, P’16, P’19, P’19).

Courtesy of the artist and Monique Meloche Gallery, Chicago. © Ebony G. Patterson.

more delicious way to learn than with food.

If you only knew how many afternoons I take classes online—history, literature.

I have a thirst for knowledge, and I want to share what I learn, which is why I love teaching so much. It’s fun for me.

You are a charter member of the new North Carolina chapter of Les Dames d’Escoffier, the international organization that advocates for women in the food industry. How do you see its role in getting female professionals in the food industry to commit to the advancement of education and philanthropy through food?

It’s such an exciting time to be in the Triangle. So many women are doing remarkable things. Chefs, writers, food scholars—we’re all in this area. The most beautiful part of it is that we are a very gregarious community, and everybody is interested in helping everybody else.

Les Dames will allow women to help other women in the industry, while at the same time making a difference in their community. We haven’t decided where our group will go, because it’s new, but there are many opportunities to help through food: teaching children to grow vegetables at school and then how to cook and eat them, or scholarships to get an education in the food world.

There’s a lot of need in our community.

It’s beautiful that a group of us women can come together through our experience and expertise in the food industry.

leaders making change and helping. The need is only growing.

It’s also great that we have a place where we can network with a common purpose.

I see a bunch of professionals mentoring other professionals. That is not perceived to be the norm among women in business. It’s usually very competitive, but this is a group of mentors. We all want to help each other and our community. It’s something I have never experienced at this level before.

Will 2016 bring a fifth cookbook from you?

I’m not doing another book right away. I’m booked solid through June promoting all of my books and teaching classes. The one part I don’t like about all this is the travel.

It’s given me a new sense of independence, but it also is a chore. It’s very worthwhile, though, as I make connections with someone who cooked my recipe or who is interested in what I’m writing about.

I would love more people to join me on social media (Twitter: @sandralatinista). I love the back-and-forth exchange; it keeps everything fresh for me. I get to know what people are looking for. I’m not writing the books for myself. I really do care about what people want to see and learn. s Jill Warren Lucas is a Raleigh writer who blogs at Eating My Words. Follow her on Twitter: @jwlucasnc.

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eat & drink EMPANADA EASE Sandra Gutierrez’s Empanadas: The Hand-Held Pies of Latin America collects 60 recipe variations on the hold-able wonders, crisscrossing the region and its varying traditions.

Gutierrez offered this recipe—made with cheap, easy, store-bought dough—as an introduction to empanadas at home.

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Shrimp and Tomato Stew Flaky Pillows (Pastéis de Camarão) Makes 12 1 teaspoon extra virgin olive oil 1 cup finely chopped white onion 2/3 cup peeled, seeded and chopped plum tomatoes 2 tablespoons tomato paste 1/4 cup chopped fresh cilantro, leaves and tender stems 1 teaspoon fine sea salt, or to taste 12 ounces peeled and cooked shrimp or langoustines, cut into 1/2-inch pieces 12 store-bought empanada discs, such as Goya Vegetable oil for frying MAKE THE FILLING: Heat the olive oil in a large skillet set on medium-high heat.

Add the onions and sauté until they are golden, about 2 minutes. Add the tomatoes and tomato paste; sauté for 1 minute. Add 1/4 cup of water and stir well to form a thick paste. Add the cilantro and salt; remove from the heat and let cool slightly. Add the shrimp or langoustines and stir well. Transfer the filling to a large bowl. Cover and let rest for at least 30 minutes or overnight.

ASSEMBLE THE PASTÉIS: Defrost packaged empanada discs overnight in the refrigerator or at room temperature for 35–45 minutes. Place two tablespoons off center on one side of the round wrapper, leaving half-inch pastry border. Fold the top over the filling and seal by pressing sides together with your fingers. Crimp them tightly with the tines of a fork. Transfer them to a prepared baking sheet.

FRY THE PASTÉIS AND SERVE: Fit a large baking sheet with a metal cooling rack; set it aside. In a large skillet with high sides, heat 1/2 to one inch of vegetable oil to 360 degrees, or use a deep fryer. Working in batches, carefully slide the pastéis into the oil. Fry them until they’re puffy and golden, 1 1/2 to 2 minutes, turning them over halfway through. If the oil gets too hot as you fry and they’re browning to quickly, lower the temperature and let the oil cool slightly before frying more. Remove them with a slotted spoon and place on the prepared rack to drain. Let them cool for 1 to 2 minutes and serve.

NOTE: Pastéis are best eaten immediately after they’re fried. Freeze them uncooked in a single layer; once solid, transfer them to freezer bags and keep them frozen for up to three months. Fry them without thawing (to prevent splatters) for 3 to 3 1/2 minutes, or until they are golden and crispy.

The INDY’s Guide to Dining in the Triangle

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• JANUARY 6, 2016 • music visual arts performance books film sports INDYweek.com

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Carolina Soul, the Triangle’s newest record store, wants you to hear the unexpected

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@ THE RITZ

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CeeLo Green

FILE PHOTO BY D.L. ANDERSON

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music visual arts performance books film sports

A

s the final few hours of 2015 tick away, Jason Perlmutter sits at his desk in Durham, intermittently bidding the employees of Carolina Soul “Happy New Year” as they leave.

The handful of people who pass Perlmutter’s desk spent much of their week processing several hundred records for an eBay auction set to launch over the weekend. In 2015, Perlmutter estimates, Carolina Soul sold 40,000 records just through eBay; the holiday weekend won’t slow the company’s 2016 start.

During the holiday break, Perlmutter and his staff will also be making final preparations for the grand opening of the new brick-and-mortar arm of Carolina Soul, his record retail operation that has specialized in rare slabs of soul, funk, jazz and hip-hop for the last 15 years. During the last two decades, what was Perlmutter’s hobby has bloomed into a booming business with a worldwide reputation.

If you still doubt that vinyl is back, the survival and expansion of a specialized project like Carolina Soul—or Sorry State Records in Raleigh, a store that focuses on punk rock and made a similar move from online to physical retail in 2013—offers a pointed retort.

Record collecting caught Perlmutter’s interest when he became a DJ at UNC’s student-run radio station, WXYC-FM, in 2000. He began scouring nearby shops like Schoolkids and The Record Exchange for albums he heard and liked at the station.

He picked up extra copies of the things that piqued his interest most.

Perlmutter had no intentions of making it his livelihood. Actually, the Raleigh native used his chemistry degree for a job in a Research Triangle Park laboratory.

But he kept researching the records he

loved, eventually seeking out the people responsible for making the soul songs he discovered. Those connections and that knowledge landed him contract work with the North Carolina Arts Council and the Bull City Soul Revival, which documented soul music from Durham.

During these interviews, Perlmutter found musicians often owned several

Some sell for a few hundred dollars; others, like an outlier 45 that sold a couple of years ago, fetched $6,000.

But now, Carolina Soul has taken the chance to put down substantive local roots and exist offline, too. Sharing half of a storefront with Bar Lusconi on Durham’s Main Street, the space looks modest from the outside, but the narrow room holds

To the streets: the first stacks of Carolina Soul in downtown Durham

copies of 45s or LPs he knew were rare and coveted. He’d negotiate purchasing those records directly from the artists before listing them for auction online. Now Perlmutter travels as far as Mississippi, buying batches of records that range in size from a few hundred to, as in the case of a particularly large Mississippi haul, 40,000.

Many of Carolina Soul’s digital clientele are DJs seeking out specific samples, but Perlmutter says big-time collectors keep a close eye on Carolina Soul’s eBay account, too. This year, Carolina Soul has run weekly auctions, which include anywhere from 600 to a thousand individual records.

PHOTO BY ALEX BOERNER

nearly 10,000 records, almost all used.

Away from those Main Street stacks but nevertheless surrounded by rooms of records in Carolina Soul’s offices, Perlmutter reflected on the hobby that, at this point, has become his life.

INDY: At what point did you transition from working your RTP job into doing Carolina Soul full-time?

JASON PERLMUTTER: There were

times when I was doing both. You could say I’ve always been doing Carolina Soul, going back to college. I’ve been collecting local soul music (which is what it started

out as), DJing that, researching that, doing some informal oral history work on that topic, like tracking down artists and maybe doing business with them, too, about some of their rare old records. Eventually, that led to a compilation, Carolina Funk, which was 22 tracks from North and South Carolina that were rare 45s by groups that played funk. There were some other projects like that and a website, carolinasoul.org.

I founded that in 2005; at that point, it was just a discography of these records I was collecting and learning about, even if I didn’t have them.

It was an attempt to have a complete catalog of that body of music. All that time, I was working in a chemistry lab, and I kept doing this in my spare time.

Carolina Funk was made then. As an extension of that, I did a little bit of contracting work for the North Carolina Arts Council on their African American Music Trails, which was focusing on eight counties in eastern North Carolina that had a strong history of black music, counties where several members of James Brown’s band had come from.

That didn’t last very long, but what was significant about it was that I got approval from my full-time chemistry job to go part-time for a period of time. That was the beginning of a transition. I had plans to go back to school, but eventually changed those, too. I was going to continue to buy and sell records, which I was doing on a very small scale, while applying for school.

But then it was just like, “That’s what I want to do.”

In your first few years of buying records,

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music visual arts performance books film sports how did you know what to buy? Would you buy indiscriminately and research later, or were you seeking specific records?

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I’m not quite old enough to have been digging for records in a pre-Internet era. The Internet was definitely a thing back then, but there would still be records where there wasn’t a lot of information about them. The information about what the release was, the history of it, the value of it—that wasn’t as big of a thing as it is now. There was a lot of trial and error to buying records. Some of it was, “Do I like this record? Does it look cool?” I’ve bought a lot of records that turned out to be horrible or worthless, valuewise or based on how they sounded.

You cleared close to 40,000 records on eBay this year, and the store has about 10,000 records. Where do these records come from?

These records come from a lot of different places. We’re always buying records, and I hope to continue to do that for a long time to come. We get records through reaching out to different DJs and individual collectors and folks who have worked in the music business in some capacity. It’s an extension of efforts to find a musician who maybe made one record. Now the goal is to find somebody who didn’t necessarily make the records but came into a lot of records by working in the business. We also have increasingly taken records on consignment for the online business. We’ve also done some advertising that’s taken us across the country looking for records.

When you go out to look at or buy records, how often do you know what you are getting?

Almost never. Often, we are dealing with people who didn’t previously know. If you talk about consignors, those are generally folks who buy and sell themselves, but we’ve found it to be mutually beneficial for us to sell for them. Given that they’re experts themselves, they often know what they have.

Almost nobody else either knows, or what they say might not be what it actually is. Something heartbreaking often happens—what is described sounds great, and you get there and they’re all ruined because of water damage, or none of them are actually in the covers. Anything that can go wrong, you have to expect it.

I imagine that some of the people you’re

buying records from don’t always understand the value of what they have.

What do you do to ensure that everything that happens with the transaction is fair?

It’s not that people don’t always know what they have or don’t know that what they have is of value. People actually realize that records are of value and once again of interest. A lot of people that we deal with say—perhaps as a bargaining chip—that vinyl is coming back. It seems surprising to the people who have been into vinyl the first time around and then forgotten about it all these years. For that reason, people do know that there’s interest in records and

There was a lot of trial and error to buying records. I’ve bought a lot of records that turned out to be horrible or worthless. have perceived correctly that some records are worth quite a bit.

Your question is about how to make a fair deal, and that’s what we’re always trying to do—pay a fair price based on what we believe the record to be worth and realizing that we need to keep the business going. We will explain that our offer is based on the value, but that we need to leave ourselves some room. Everybody realizes we’ve driven some distance to see them, and there’s work to be done to clean the records up to sell them online or in the store.

How did you figure out what would populate the physical record store?

It’s actually a fluid thing. We’re going to learn a lot, I hope, based on what people buy and ask us to track down for them. That’s what we’re going to be there for, to stock things that people want. At this point, we’re just making a guess. I hope it’s a good one, and I’m sure we’ll learn a lot along the way.

We’ve tried to stock the store with records across a variety of price points. There are a lot of classic records, but we also believe that someone who comes in to the store will find, perhaps, while looking for something

that they do know, something that they didn’t previously know.

There are a lot of discussions of late about changes in Durham and the tension between what’s been here and an influx of new money. To you, how does Carolina Soul fit into that debate?

I think Durham is open to a store like ours.

There are already a bunch of great record stores in Durham that we shop at. We’re friends with the people who run them. But with Carolina Soul, specializing in soul and jazz and gospel and blues and reggae and disco and boogie and rap, people are excited that there’s now a new place to look through a lot of those kinds of records.

There is a wide market for these. I think a lot of people in Durham, whether they frequent downtown or otherwise, will be drawn to the store. The store, I hope, will be more than just a place where commerce is done, but also, in the great tradition of record stores, a place where people come together and connect with music and other people and develop relationships.

Will having built a curatorial reputation online help in having a downtown storefront?

I think so. The funny thing, though, is that the curatorial reputation is probably better known outside of Durham. Part of our reason to do this is that we’re here in Durham, and we’ve been a business in Durham, but only really friends of ours in Durham know about it. It’s an opportunity to develop a relationship with the public in the community that we’re a part of, that many of us are from originally or from nearby areas, and to put down some roots here. Any kind of reputation that we have for curation will help us a little bit, but we’re going to have to prove here that we’re a source for good music.

Allison Hussey is the calendar editor of the INDY. Find her on Twitter: @allisonhussey.

CAROLINA SOUL GRAND OPENING DANCE PARTY Friday, Jan. 8, 9 p.m., free The Pinhook, 117 W. Main St., Durham 919-667-1100, www.thepinhook.com

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Green Burial:

a natural option

LIVE-IN COMFORT

Despite state lines and a generation gap, Gary Louris and Django Haskins find songwriter synergy as the new Au Pair

BY JORDAN LAWRENCE

G

ary Louris can’t remember precisely where he first met Django Haskins.

He knows that it was at one of the large-band re-creations of Big Star’s Third that his friend, the Triangle songwriter and record producer Chris Stamey, has staged many times around the world since 2010.

But Louris isn’t sure if the show was in Nashville or Chicago.

“It’s a lot of people involved in these Big Star things,” Louris explains. “Everything’s kind of crazy because everybody’s trying to get their moment in to rehearse songs they barely know. And then there’s kind of the regulars, the guys who hold it all together, and a lot of them are from North Carolina.

One of them is Django, and Django was just particularly open and friendly. We just seemed to hit it off while we’d be sitting down waiting.”

Haskins confirms that it was, indeed, Chicago in the summer of 2013. Just more than two years later, Louris and Haskins issued One Armed Candy Bear, their fulllength debut as the duo Au Pair. A rush of minimalist pop-rock enthusiasm that turns a wry eye to the flawed characters of its songs, One Armed Candy Bear moves with an energy that suggests their partnership, no matter where it began, was kismet.

Louris and Haskins might seem an unlikely musical pair. For three decades, Louris has anchored the Minneapolis-based Jayhawks, a band whose twinkling tunes helped etch out and stretch the boundaries of Americana and alt-country. With Durham’s The Old Ceremony, Haskins explores various tints of pop and rock, with violin and glockenspiel helping to guide the band through clattering breakdowns and tender ballads with equal aplomb. But both musicians insist they don’t get to explore all their ideas, inclinations and interests in their main projects.

“For me, The Old Ceremony is still definitely a very alive, ongoing experiment,” Haskins offers. “With Gary, it is a completely different set of DNA. It comes up with different results, and it satisfies the kind of itches that work best for us.”

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The INDY’s Guide to Dining in the Triangle

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GLAD Study

Au Pair, a pair: From left, Django Haskins and Gary Louris

PHOTO BY MATT CARTER

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• JANUARY 6, 2016 • music visual arts performance books film sports INDYweek.com

“Are you saying that we’re like a rash?”

Louris asks “Well,” Haskins responds, “we’re like a lotion.”

Such repartee abounds in conversation between Louris and Haskins. Despite a two-decade age difference, the pair’s shared sense of humor actually sparked the collaboration.

“It started as a joke,” Louris says. “I mentioned my pet peeves of certain clichés—‘My bad,’ ‘It’s all good,’ ‘Everything happens for a reason.’ We started bantering back and forth and decided we’d write a song that included every bad cliché we could think of. That got the wheels turning toward doing something more serious.”

“And we wrote a country song,” Haskins adds. “It was called ‘It Ain’t All Good.’ That actually happened after we had written a serious song called ‘King of the Valley,’ but at that point we figured we might as well follow through and do this silly thing.”

A few months after their Chicago exchange, Louris made the first of several trips to Durham. He would stay with Haskins and his wife, Lauren, until the birth of their now one-year-old son, Silas.

The pair would sit across from each other in Haskins’ living room, singing into Louris’ iPad to sketch out songs and fragments.

The chemistry was immediate.

“The first time Django and I really got together, and I came to North Carolina, I knew we had something because we wrote a song, and it probably had like 18 chords,” Louris remembers. “We both could follow it, and Django seemed to have this ability to remember things and follow a creative process that I’ve had a hard time finding in anybody else. It just worked.”

Once they had enough material, they spent four weekends working with the producer Brian Haran at his Pinebox Recording studio in Durham. Eager to engage in a more immediate and intimate process than the complex, full-band sessions of their primary acts, where members might sit for days waiting to add parts, Haskins and Louris told Haran to put them in front of one microphone. Sending their vocals and guitars through that single line provided a tight and energetic core for their songs. The two sing most of their lines together, and they revel in the tension between Louris’ smooth warble and Haskins’ comfortably rough croon.

From that foundation, they built outward, accessorizing the songs with

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tricky synthesizers and oddball percussion.

Thus, an album that has two basic modes— bright, propulsive pop-rock and thoughtful balladry—sounds remarkably diverse. Both “In Every Window” and the title track move at a jittery gait. But the former’s colorfully crunchy synthesizers and jangly acoustic guitar yield to acoustic strumming and fuzzy electric riffs for the latter. For Haskins and Louris, the contours Haran added proved essential; even now, they call him “that third brain.”

“A lot of times one of us would be playing, and we would just describe what we were going for, and [Brian] would find the electronic equivalent of it in terms of pedals and everything and set that up for us,” Haskins explains. “And then he would help find the sounds, or even actively play them while we did something on guitar.”

That range stems, too, from the diverse set of ne’er-do-well protagonists built for these tunes. The title track rails against a violent über-capitalist who insists that possession is “nineteen-tenths of the law.”

The graceful “One-Eyed Crier” cleverly mocks a former lover who was only ever half sincere.

Such character studies allowed Louris and Haskins to explore potent themes together early on while slowly building a mutual comfort. That should allow them to navigate deeper, more personal topics in the future. In November, while playing a show together in California, they worked on a few new ideas for a second album. They discovered they’d already started developing new intimacy in writing together.

“When you’re writing a song, you want to get at something that’s very personal in some way,” Haskins reasons, “but when you’re writing with someone else who hasn’t shared your exact experience, that’s pretty scary.”

At least, that is, until he moves in for a little while. s Jordan Lawrence writes about music in Columbia, South Carolina, and on Twitter: @jordanlawrence.

AU PAIR with Beauty World Saturday, Jan. 9, 9 p.m., $12 Cat’s Cradle Back Room, 300 E. Main St., Carrboro, 919-9679053, www.catscradle.com

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SHOT IN THE DARK

After sparking a local experimental film scene, a Durham microcinema goes large

BY BRIAN HOWE

I

f you were looking for a sustained experimental film scene in the Triangle just a couple of years ago, you were out of luck. Basically, your options were Tom Whiteside’s Durham Cinematheque, which focuses on archival more than contemporary, or the filmmakers associated with Duke’s graduate program in experimental and documentary arts, who were cloistered away on campus. But that changed when a pair of garrulous brothers moved to Durham and double-handedly created a social nexus for experimental film where none had existed.

Over the last two years, Jeremy and Brendan Smyth’s Unexposed series has transformed the local state of contemporary experimental film—both from campus and around the country— from a glimmer of isolated practitioners and one-off screenings to a consistent, visible presence in Durham’s cultural life.

Justly encouraged, they are now going all in on experimental film in a way that is virtually unprecedented in the national microcinema scene. Their aim is to make the art form they love accessible to all.

In the new year, the Smyths are increasing their schedule from monthly to weekly. They are enlisting collaborators and instituting a yearlong programming theme.

They are planning a tri-annual festival and launching a new online home for the films they screen. Most daring of all, they are renting a space, putting their servicejob money behind a fervent belief that experimental film could be accessible, even popular, if presented in the right context.

“Our vision is essentially just to prove that there are enough followers of this art form that somebody slapped down cash money on a commercial venue,” Jeremy

Seeing double: Brendan (left) and Jeremy Smyth in the new Unexposed Microcinema PHOTO BY JEREMY M. LANGE

says, “and to give people multiple ways to experience experimental film.”

The Smyths, 26 years old, are twins whose unpretentious manner belies their passion for an elevated art form. Both are tall and thin, bearded and flannelled, beamish and boyish. They mainly grew up in Florida but spent summers in Haverhill, Massachusetts.

By early 2013, after finishing their studies in economics and film at the University of Florida, they were back in Massachusetts, where they still run the annual Haverhill Experimental Film Festival. They decided it was time for something new.

The Smyths are not only curators but also collaborative creators, mainly of odd, beautiful abstract documentaries. Like one of their idols, Bill Brown—the itinerant experimental filmmaker and Dream Whip zine author who is currently a lecturing fellow at Duke—they are intimately concerned with place, complicating their impressionistic records of far-flung travels with analog techniques and in-camera edits.

From the presence of Brown (and

other notable experimental filmmakers) and the graduate program at Duke, the Smyths reasonably inferred that Durham must have a thriving experimental film community. They didn’t realize they were badly mistaken until they moved here in the summer of 2013.

“It wasn’t really happening,” Jeremy says.

“We had no idea why there wasn’t a poster somewhere about a screening at Duke.

We literally started Unexposed because we wanted to meet the professors and give them a chance to screen out in Durham.”

S

ince February 2014, Unexposed has roamed through about 10 different venues, mostly in downtown Durham, including the sensible Shadowbox Studio, a stark room above The Pit barbecue restaurant and a barn in Chapel Hill. Almost every month, the series has featured a curated selection of work by traveling and local academic and independent filmmakers, who are usually in attendance for lengthy discussions.

Now, instead of playing venue roulette, the series hunkers down in a garage-bay studio with blank-slate white walls across the street from Golden Belt. Because intimacy is one of Unexposed’s defining features, the move isn’t about finding a bigger audience— the space holds about 50 people, in line with the series’ average draw of 40 people per screening—but about making that audience more diverse and raising the profile of experimental film.

Every month, the Smyths will show a selection of 15 or 20 films multiple times in different contexts. Each Friday will feature a different recurring event that is also part of a monthly focus on a certain region. First Fridays are given to black-box screenings that introduce the month’s geographical terrain. On second Fridays, the films will visually score live music, a telling inversion of the usual hierarchy, where abstract film is mere fodder for bands. During Durham’s Third Friday gallery walks, the Smyths will casually run films on multiple projectors and host art shows—particularly abstract painting, a widely accepted medium that they believe can foster an understanding of abstract film. And fourth Fridays continue the tradition of giving visiting filmmakers a close look and a chance to meet their viewers.

The new series begins at 8 p.m. this Friday with the grand opening of Unexposed Microcinema and the debut of the new thematic program, which this month features filmmakers from New England. The screening features nine shorts by five New England filmmakers, curated from the Smyth’s overall selection

• JANUARY 6, 2016 • music visual arts performance books film sports INDYweek.com

by Anna Kipervaser, a recent recipient of Duke’s experimental and documentary arts MFA. She will take on this role every month, a product of the Smyths’ efforts to bridge town and gown, infiltrating the closed-off world of Duke while building their small but devoted audience.

“They’re having screenings, bringing in amazing filmmakers, but the public doesn’t know about them,” Jeremy says. “But we attend all their events. We go to campus.

We knock on the locked door to let us in.” Gradually, the academy returned the interest, with quite a few Duke professors and MFA students showing at Unexposed and then coming back for other screenings, including Kipervaser.

“She’s helped us integrate with the MFA students a whole lot because she has a great personality, and me and Brendan are a little shy at times, even though people don’t believe us,” Jeremy says.

Kipervaser is also the curator of the new online series that launches this Friday on a smartly branded website designed by Jack Marinich—another part of the push to mainstream the avant-garde and let go of a certain preciousness about presentation.

“We think that experimental film has denied the Internet to an almost ridiculous degree,” Jeremy explains. “Brendan and I have been talking about wanting to push it forward into the digital age, get the films out there, so that when people ask what I do, I don’t have to stumble around my words for three minutes and then give up.”

Instead, he can direct them to the “Explore” tab on the Unexposed website so they can simply see the films, which often defy conventional description. The Smyths hope the geographical focus can also provide curious viewers, who might be conditioned to regard film as a narrative form, some of the context they lack. The brothers are fascinated by how filmmakers from a single area can bring a variety of viewpoints to the same sense of place, which can be critical to understanding their work.

“It’s about a learning process, making experimental film less high and mighty,” Jeremy explains. “These people live and work in New England—they’re just human beings, let’s learn about them. It’s a way to ground people.”

The Smyths are aware of, if not daunted by, the improbability that goes with the originality of their scheme.

“The concept of roaming microcinema exists in so many places,” Jeremy says.

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“You set up 15 chairs in a bar, and it’s quaint and lovely, but it’s so fleeting. The idea of us having our own space is actually kind of insane, and people in the experimental film community are freaking out a little bit.

They’re almost confused by our dedication.

Nobody thinks this is possible—nobody!”

Still, with the momentum they’ve built in Durham, it just might work. The old series went out on a high note with a spotlight on Duke’s David Gatten, a 20-year veteran of the experimental film scene who has earned a Guggenheim Fellowship and premiered his works at places like the London Film Festival and the New York Film Festival. Sixty-five people showed up.

They stayed for five hours.

“The dedication that night made me realize that the audience is totally there, especially when we’re collaborating with different members of the artistic community,” Jeremy says. “David kind of shoved us in the right direction, saying there hadn’t been that kind of audience for experimental film since the ’70s.”

Beyond the smart curation and consistent presence of Unexposed, the unique ingredient of its success—the thing that makes the impossible possible—might well be the brothers’ personalities. Their presentation is casual, conversational and enthusiastic, purged of ceremony and arcane theory. When asked whether it’s just who they are or a deliberate countermeasure against the rarified cult of experimental film, Jeremy laughs.

“I think it’s both, honestly,” he replies.

“We’re just fun-loving kind of guys. But at the same time, we love this art form so much, and we see why it’s not moving forward, why we’re still explaining what it is. Before each screening, Brendan and I always tell each other to be really happy, smile. It transfers to other people, like, ‘Hey, I can have fun watching this; I can have a conversation about it, not walk out solemnly and go to bed alone.’” s Brian Howe is the INDY’s arts and culture editor. Email him at bhowe@indyweek.com.

UNEXPOSED MICROCINEMA GRAND OPENING Friday, Jan. 8, 8 p.m., $5 Unexposed Microcinema 105 Hood St., Suite 5, Durham www.unexposedmicrocinema.com

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SNARK AND SALVATION

The Book of Mormon and Time Stands StillTHE BO

I

f you take away one thing from THE BOOK OF MORMON, the Broadway smash now running at DPAC, it probably won’t be a new perspective on life, an insight into yourself or a sense of awe about the transformative power of theater. Instead, it will almost certainly be this: “I have maggots in my SCRO-tuuuum!”

These words keep intruding on songs throughout the show, a lacerating reminder of the gulf between the frivolous American problems of a gaggle of young Mormon missionaries and the much direr problems—famine, war, dysentery, AIDS— of their prospective African converts.

It’s the most uproarious running gag South Park creators Trey Parker and Matt Stone (with Bobby Lopez, composer of Frozen and Avenue Q) came up with for a sacrilegious musical comedy that pillories the Church of Jesus Christ of Latterday Saints—and any other religion with imperial ambitions—for the self-denial it inflicts on its followers and the uselessness of its doctrines for people without privilege.

The odd couple at the center of the satire consists of squeaky-clean Elder Price, who is a little too invested in his own leading role in Heavenly Father’s schemes, and slovenly nerd Elder Cunningham, an excitable fuckup who is too hapless for coherent theology.

Price prays to be sent to the promised land of Orlando, Florida, but instead finds himself yoked to Cunningham in a Ugandan village whose denizens have more pressing concerns than the afterlife, such as the reign of terror of General Butt-Fucking Naked (based on a real Liberian warlord). He wants to circumcise all the women in the village, including Nabulungi (whom Cunningham keeps calling things like Neutrogena), the virginal object of desire—and more, since the villagers believe having sex with a virgin can cure AIDS. Facing these horrors and doubting his own faith, Price has a breakdown while Cunningham, improbably, thrives, countering Price’s disillusionment with illusions. Cunningham starts earning the converts that have eluded Price by spicing up Mormon articles of faith (which he admits are boring) with characters from Star Wars, Star Trek and The Lord of the Rings, though it’s a Pyrrhic victory, since

his parishioners now believe that Mormon prophet Joseph Smith had sex with frogs.

The result is a foul pop-culture stew, with Yoda gags for Hollywood fans and riffs on other popular musicals (The Lion King’s happy-go-lucky “Hakuna Matata” is re-wrought as a more apt phrase meaning “Fuck you, God”) for the Broadway crowd.

Though farcical, the terrain is dark and lacks redemption; the show weighs the brutality of African beliefs against the absurdity of Mormon ones and finds only outrage in the balance, as well as the thin insight that different metaphysics can’t coexist in close proximity.

The Africans are not rendered as romantically noble by any means, but at least we are shown that they have the excuse of poverty and colonial oppression.

The closest Mormons get to a sympathetic moment comes in the song “Turn It Off,” which plumbs the repressed anxiety and sexuality beneath their shiny beliefs.

This Book of Mormon has a different cast than the one that came to DPAC in 2014, and perhaps it was just the diminishing returns of rewatching a rather glib show, but David Larsen seemed less flawless than Mark Evans as Price, and Cody Jamison Strand more grating than Christopher John O’Neill as Cunningham. Strand’s physical comedy was superb and his super-nerd screech suited the role, though it sometimes rendered punch lines unintelligible.

Since its 2011 debut, The Book of Mormon has racked up nine Tony Awards and a nod from The New York Times as the best musical of the young century. And to be sure, it is a spectacular show. The songs stick in your head, the dancing is delightful and the sets are immersive fantasies. But it isn’t deep, and is unlikely to challenge anyone except teenagers, prudes or, well, Mormons.

Still, there are an infinite number of worse ways to spend an evening than with this rude, hilarious, charismatic show.

At least you don’t have maggots in your scrotum. —Brian Howe

I

t’s the lesson monologist Spalding Gray learned too late, if he ever learned it at all: Documenting life is an excellent way to keep it, and the people in it, at a certain distance. In some cases, chronicling people’s

Monica L. Patton, David Larsen and Cody Jamison Strand in The Book of Mormon PHOTO BY JOAN MARCUS/COURTESY OF DPAC

lives is enough to indefinitely forestall having to commit to one for yourself.

In TIME STANDS STILL, playwright Donald Margulies zeros in on another population subject to this malady: journalists. At the outset, war photographer Sarah (Olivia Griego) and correspondent James (Brook North) have just crash-landed back in their Brooklyn apartment after getting roughed up in Iraq. Days before an I.E.D. put Sarah in a coma for two weeks, another bomb shell-shocked James out of the field. Now he hovers over her as she slowly navigates with crutches, which aggravates the independent Sarah no end.

But when her longtime editor and friend, Richard (John Honeycutt), shows up with a younger and somewhat less sophisticated girlfriend, Mandy (Katie Barrett)—and marriage prospects are subsequently raised for both couples—these jaded newshounds’ limited capacity for building and sustaining relationships slowly comes into focus.

It’s certainly comical when Sarah and James snark on Mandy once she’s out of the room, despite Richard’s defenses of her. “I think it’s sweet,” Sarah coyly snipes. “You always wanted a little girl.” But it becomes far less amusing as we gradually learn that, for at least one of them, significant others inevitably fall in the category of fixers, those crucial but still somehow lesser ombudsmen who guide, protect and make battlefield journalism possible. We start to wonder: Who’s the fixer in each of these relationships? What fate will these characters ultimately face when the allimportant story is over?

As James savages a stage show about

refugees for turning people he has known into “anthropologic curiosities, like dioramas in a museum,” Margulies asks us, if only momentarily, to critically compare theatrical representations of war against reportage and combat-zone photography.

Griego anchors this production as the uncompromising Sarah, and North delivers a personal best as a fretful James.

Honeycutt makes a solid Richard, and Barrett combines sparkle and no-nonsense certainty as Mandy. Todd Houseknecht’s set is too rudimentary to evoke a Brooklyn loft, but director Andy Hayworth’s strongest showing to date conveys intensity when these journalists are challenged to step out from behind the camera or keyboard and do something with their own lives beyond observing and reporting.

—Byron Woods

THE BOOK OF MORMON HHH 1/2 Durham Performing Arts Center 123 Vivian St., Durham 919-680-2787 www.dpacnc.com Through Jan. 10

TIME STANDS STILL HHHH South Stream Productions @ Sonorous Road Theatre 209 Oberlin Road, Raleigh 919-803-3798 www.sonorousroad.com Through Jan. 17

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AMERICAN SPIRIT

Birdman director’s follow-up film is a masterful neo-Western based on a true story of survival and rebirth BY NEIL MORRIS

A

t one point in The Revenant, stranded fur trapper Hugh Glass (Leonardo DiCaprio) takes overnight shelter from a blizzard by removing the entrails of a dead horse and sliding into its hollowed-out carcass. When morning arrives, he slowly emerges, naked, from the grisly womb. At another point, he crawls out of his own shallow grave. These are stark visual metaphors for the theme of rebirth that permeates Alejandro González Iñárritu’s epic neo-Western, set in the infancy of our nation’s early-19th-century westward expansion and based on a true story.

A revenant is one who Frontier phoenix: Leonardo DiCaprio plays real-life explorer Hugh Glass in The Revenant.

PHOTO BY KIMBERLEY FRENCH/COURTESY OF 20TH CENTURY FOX returns from the dead, as Glass seemed to after being mauled by a grizzly Crusades and as relevant as the war in Iraq. deceased Pawnee wife—meditative bear during a hunting The bear attack is a visceral CGI flourishes more befitting of Terrence expedition in 1820s Dakota Territory. triumph, rendered with natural simplicity Malick. These scenes could (and probably Iñárritu plunges us into a milieu where the and exacting brutality. (Internet rumors should) have been excised, but they most daunting foe is the untamed terrain about Glass being “raped” by the meaningfully inform a moment when of thick forests, frigid mountaintops, wide grizzly are utterly unfounded.) He is Glass encounters an abducted Native plains and roaring rapids. The pelt trade later abandoned by the trappers tasked American girl. Iñárritu films it, along with is a source of enmity between American with watching over him, and the death many other sequences, with the trackingand French military and business interests of his part-Pawnee son, Hawk (Forrest shot technique he employed in Birdman, and the Native Americans they are Goodluck), further fuels Glass’ revenge complemented by cinematographer systematically exterminating from their quest.

Emmanuel Lubezki’s almost exclusive ancestral home.

His main antagonist is John Fitzgerald, use of natural light. Stories abound about A bloody seven-minute clash between a bullying backwoodsman played by Tom the film’s grueling shoot and skyrocketing Glass’ hunting party and the Arikara tribe Hardy, who seemingly prepared for the budget, but the end result is a cinematic is the most spectacular battle scene to role by watching Tom Berenger in Platoon tour de force, if not a rebirth. s open a movie since Saving Private Ryan. on a loop.

Hardy is mesmerizing as a “I’m waiting for Captain Leavenworth to man whose lack of empathy, and even Neil Morris writes about film for the INDY arrive with his army,” says Captain Andrew humanity, might be the very traits that and others. Twitter: @ByNeilMorris Henry (Domhnall Gleeson), the leader of have enabled him to outlive many of his Glass’ expedition and ostensibly one of the brethren. good guys in this bleak saga. “Then we’ll THE REVENANT The Revenant, adapted from Michael have enough men to go back out there and HHHH 1/2 Punke’s 2002 novel, includes extraneous shoot some civilization into those fucking Opening Friday existential visions of Glass and his [Indians].” The sentiment is as old as the

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1.6–1.13

Where we’ll be

PHOTO BY NICK VANDENBERG

CALENDARS MUSIC 31 VISUAL ART 35 PERFORMANCE 36 BOOKS 37 FILM 38

MUSIC

THE GREAT COVER UP

KINGS, RALEIGH WEDNESDAY, JAN. 6–SATURDAY, JAN. 9

LOVE AND INFORMATION 1349

PHOTO COURTESY OF SEASON OF MIST

For many of the last 17 years, Kings has attempted to stockpile good karma for the next calendar cycle through The Great Cover Up, a weekend-long fete of often one-off cover acts formed by temporary confederations of local musicians. Kings packs the club for a few consecutive nights, donates the door take to charity and provides moments (“Remember that time they were Fugazi? Or The Damned? Or No Doubt?”) that people still speak of fondly a decade later.

This year, Kings has added a “bonus night” on Wednesday, extending The Cover Up to a half-week spree and adding another chance to raise cash for causes such as supporting victims of domestic abuse and sexual assault (InterAct), general community goodwill (The Beehive Collective) and the next generation of local musicians (Kidznotes). So let the speculation begin: Which rock gods and goddesses—and potential rap crews—will climb the Kings stairs to glory this year? 8:30 p.m., $7–$10, 14 W. Martin St., Raleigh, 919-833-1091, www.kingsbarcade.com.

—Grayson Haver Currin

THEATER

LOVE AND INFORMATION

MANBITES DOG THEATER, DURHAM WEDNESDAY, JAN. 6–SATURDAY, JAN. 9

In conventional scripts, playwrights provide the names and identities of the characters, or at least the locations and times of events. In Love and Information, all Caryl Churchill provides are brief titles for a series of seemingly disconnected scenes, followed by anonymous lines of dialogue. In a five-star production last January, part of the Delta Boys’ achievement was how imaginatively a quintet of self-directed actors filled in the blanks, sharply defining individual characters in specific situations and conveying transitions in more than 60 different relationships.

This kinetic, non-stop show confronts us with what actor Skylar Gudasz called “the constant stimulation and constant disconnect” of a culture in which the values we assign to others and ourselves can be contingent upon—and threatened by—the next Facebook status post. Rajeev Rajendran replaces Lucius Robinson in this one-weekonly encore production, joining prior cast members Gudasz, Emily Anderson, Zach Leclair and Caitlin Wells. 8:15 p.m., $5–$20, 703 Foster St., Durham, 919-682-3343, www.manbitesdogtheater.org. —Byron Woods

MUSIC | 1349, TOMBS, FULL OF HELL LOCAL 506, CHAPEL HILL TUESDAY, JAN. 12

Oslo, Norway, the home of 1349, served as a conducive crucible for the infamously violent and volatile rise of black metal a quarter-century ago. But 1349 emerged several years after the all-important Norwegian storm that produced the likes of Mayhem and Burzum, Immortal and Emperor. Still, for nearly two decades, they’ve espoused the genre’s love of theatrics and blast-beat obliteration, delivered in a series of increasingly refined records that stop well short of Cradle of Filth’s pedestrian posturing but do add a certain patina of accessibility to the form’s harsh tidings. To wit, 2014’s Massive Cauldron of Chaos landed a few exceptional hooks. Don’t expect the same from Full of Hell, a young crew of American grindcore militants as harsh as

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the name implies. Whereas 1349 and Full of Hell are both rather hidebound with respect to niche, New York’s excellent Tombs splice together bits of math rock, black metal, death metal and post-rock to construct captivating hybrids.

They’re the glue of the year’s first must-see metal show. With GROHG and Bobby Orr. 7:30 p.m., $15–$20, 506 W. Franklin St, Chapel Hill, 919-942-5506, www.local506.com.

—Grayson Haver Currin

THEATER

SMALL AND TIRED COMMON GROUND THEATRE, DURHAM THURSDAY, JAN. 7– SATURDAY, JAN. 23

The blood debt has been removed from this modern-day version of The Oresteia, Aeschylus’ tragic trilogy about sons, fathers and vengeance. It isn’t Clytemnestra who kills Agamemnon, and the deed follows the suicide, rather than murder, of Iphigenia. But in depicting an estranged son’s return to a homeland that is now alien to him, Australian playwright Kit Brookman compares the forces of grief, memory, guilt and resentment with the vengeful gods they’ve replaced among a deeply damaged clan. Gregor McElvogue directs a cast that includes Jane Holding, Justin Peoples and Laurel Ullman in this Common Wealth Endeavors production. 8 p.m.

Thurs.–Sat.; 3 p.m. Sun., $10–$15, 4815-B Hillsborough Road, Durham, 919-410-8631, www. fromcommonwealth.com. —Byron Woods

MUSIC

TOMMY EDWARDS, ANDREW MARLIN AND MILES ANDREWS

BLUE NOTE GRILL, DURHAM SUNDAY, JAN. 10

Almost exactly a year ago, Tommy Edwards and Andrew Marlin took the stage together at the North Carolina Museum of History for one of the duo’s only formal performances to date. Edwards has been a fleet-fingered flatpicker in the area for 50 years, while Marlin makes up half of the tender and wonderful roots act Mandolin Orange.

They share a bright-eyed, smile-heavy synergy, complementing each other so well and with such grace that they don’t really even need to speak between songs or ahead of instrumental breaks. Still, their between-song wisecracks are a delightful addition to their impressive skills. Big Fat Gap’s Miles Andrews joins the two on bass here. The trio will likely blow past their two-hour set time; they’re sure to enjoy every note. 5 p.m., free, 709 Washington St., Durham, 919-401-1979, www.thebluenotegrill.com. —Allison Hussey

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SA 3/26 MOUNT MORIAH W/ ELEPHANT MICAH ($12) MO 3/28 JUNIOR BOYS W/ JESSY LANZA, BORYS ($15/$17) TH 3/31 G LOVE AND SPECIAL SAUCE **($25 / $30) FR 4/1 DUNCAN TRUSSELL ($20; ON SALE 1/8) SA 4/2 DAUGHTER SA 4/9 THEY MIGHT BE GIANTS **($23/$25) UT LD O4/18 SOMO THAO & THE GET DOWN STAY DOWN ($15/$17) WE 4/20 MURDER BY DEATH W/ KEVIN DEVINE & THE GODDAMN BAND($15/$17) TH 4/28 POLICA W/ MOTHXR W/ MOTHXR ($16/$18) FR 5/6 STICKY FINGERS ($13/$15)

TWO NIGHTS! WE 3/30-TH 3/31

DR. DOG @ HAW RIVER BALLROOM ON SALE JANUARY 8

CAT'S CRADLE BACK ROOM 1/8 MAGNOLIA COLLECTIVE J PHONO1, MARK HOLLAND 1/9 AU PAIR W/ BEAUTY WORLD ($12) 1/13 JUCIFER W/ THEM DAMN BRUNERS 1/14•1/15 RAINBOW KITTEN SURPRISE (SOLD OUT!) 1/22 DANGERMUFFIN W/ BAKED GOODS ($10/$12) 1/23 LARRY CAMPBELL & TERESA WILLIAMS ($17/$20) 1/27 JULIEN BAKER ($10) 1/29 JON STICKLEY TRIO W/ STEPHANIESID AND HNMTF 2/4: FAT CHEEK KAT ($5/$8) 2/7 THE PINES 2/12: ARALEIGH W/ SHANNON O'CONNOR 2/13 HEY MARSEILLES W/ BAD BAD HATS($12/$14) 2/16 PROTOMARTYR W/ SPRAYPAINT ($10/$12) 2/18 DRESSY BESSY AND THE PYLON REENACTMENT SOCIETY FEATURING VANESSA BRISCOE-HAY ($15/$18) 2/21 HONEYHONEY ($15) 2/22 THE SOFT MOON ($10/$12) 2/26 GRIFFIN HOUSE ($15/$18) 2/27 THE BLACK LILLIES W/ UNDERHILL ROSE ($14)

3/11 PORCHES / ALEX G W/ YOUR FRIEND ($13/$15) 3/19 GROOVE FETISH ($7/$10) 4/3 KRIS ALLEN 4/5 CHON W/ POLYPHIA, STRAWBERRY GIRLS ($13/$16) 4/15: ELEANOR FRIEDBERGER ($14/$16; ON SALE JAN 8)

ARTSCENTER (CARRBORO) 2/4 BOB SCHNEIDER 5/5 GREG BROWN ($28/$30)

LOCAL 506 (CHAPEL HILL) TU 2/16 THIRD MAN RECORDS PRES: TIMMY’S ORGANISM VIDEO, REGRESSION VIDEO REGRESSION 696

CAROLINA THEATRE (DURHAM)

2/25 JOSH RITTER & THE ROYAL CITY BAND

PINHOOK (DURHAM) 1/29 DYLAN LEBLANC W/ JOSH MOORE

HAW RIVER BALLROOM 1/16 BRIAN FALLON AND THE CROWES W/ CORY BRANAN 1/22 JOE PUG AND HORSEFEATHERS 3/30-3/31: DR DOG ($22/$25; ON SALE JAN 8) 4/3 ANGEL OLSEN ($17/$20)

THE RITZ (RALEIGH) 1/19 RATATAT W/ JACKSON AND HIS COMPUTERBAND

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

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music WED, JAN 6 THE CAVE: Steph Stewart and the Boyfriends, Tim Vee, High Bushy Tails; 9 p.m., $5.

See indyweek.com.

CORNER TAVERN: Chris Overstreet; 9 p.m.

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m.

KINGS: The Great Cover Up: Bonus Night; 8:30 p.m., $7.

See page 29.

MOTORCO: PopUp Chorus; 7 p.m., $8.

POUR HOUSE: The Nitrogen Tone, Suede; 9 p.m., $5–$8.

VIMALA’S CURRYBLOSSOM CAFE: Viswas Chitnis; 7 p.m.

THU, JAN 7 2ND WIND: 2 fer; 7:30-9 p.m.

BEYÙ CAFFÈ: Michael Jones Trio; 7 p.m.

BIG EASY-RALEIGH: Annie Bennett; 6 p.m.

BLUE NOTE GRILL: Nash Street Ramblers; 7-9 p.m.

CARRBORO CENTURY CENTER: Lazarus Blue; noon, free.

THE CAVE SINK TAPES Though equidistant from Yo La Tengo’s Hoboken and Springsteen’s Jersey Shore, fellow Garden Staters Sink Tapes champion the jangle and fuzz of toasted Aussies such as The Go-Betweens and Twerps. In that regard, the quartet’s charming indie rock, in which quarter-life crises come to life, is more akin to that of statemates The Wrens. $5/9 p.m. —PW DEEP SOUTH: Ivy Stone, Gavin Goes Home, Isaiah & The Boys; Contributors: Grant Britt (GB), Grayson Haver Currin (GC), Spencer Griffith (SG), Allison Hussey (AH), Jordan Lawrence (JL), Karlie Justus Marlowe (KM), Bryan C. Reed (BCR), Eric Tullis (ET), Chris Vitiello (CV), Patrick Wall (PW)

8:30 p.m., $5.

IRREGARDLESS: Pippa Hoover; 6:30 p.m.

KINGS: The Great Cover Up; 8:30 p.m., $10. See page 29.

LEGENDS: DJ Joey; 9 p.m., $3.

MOSAIC WINE LOUNGE: Femme Fatal All Female DJ Night: DJ Vouis Luitton and Guests; 10 p.m., free.

PIOLA: Chris Reynolds Trio; 6:45-8:45 p.m.

PITTSBORO ROADHOUSE: Bill Baucom; 6 p.m.

FRI, JAN 8 618 BISTRO: Randy Reed; 7-9:30 p.m.

BEYÙ CAFFÈ AL STRONG “I wanted the sound to be consistent from the time I recorded it to the final product. I wanted to see it through,” says Triangle trumpeter Al Strong about the reasoning behind his yearlong

JANUARY 6, 2016

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BIG EASY-RALEIGH: Glen Ingram; 6 p.m.

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. Lee Gildersleeve and the Bad Dogs; 9 p.m.

CAT’S CRADLE (BACK ROOM) MAGNOLIA COLLECTIVE

POUR HOUSE LOCAL BAND LOCAL BEER: HAMMER NO MORE THE FINGERS, GHOSTT BLLONDE, DOC AQUATIC With the start of 2016, Local Band Local Beer—the weekly series that’s offered an often very good bill of three or so bands for free in downtown Raleigh for a decade—begins its second act in earnest at a new venue. Tir Na Nog, the Irish pub that launched the series in 2006, closed in November and shuttled the shows two doors down to The Pour House. Tonight’s bill is a great start for the new beginning: Hammer No More the Fingers doesn’t get out as much as it used to, but the group’s playful, harmony-heavy indie rock still twists and turns itself into charming shapes. The trio remains a thrill to see. The songs of Ghostt Bllonde, meanwhile, exist in the same post-Spector haze that The Love Language always embraced; they’re best when they punch through it. The great young Asheville outfit Doc Aquatic, which takes the first slot, conjures the sleepy atmospherics and beguiling coo of early Woods records.

Free/9 p.m. —GC

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hiatus from Art of Cool, the jazzadvocacy organization and music festival he co-founded, to finalize his debut album, Love Strong Vol. 1. It’s a dutiful 10-song jazz strut that swivels from an Afrobeat party take on “Blue Monk” into the original cocktail composition “Liquid.” You’ll especially love it when Strong—who’s also an area jazz instructor—disobeys the genre’s pedantry and pulls out his fun, blush-worthy rendition of “Itsy Bitsy Spider.” $8/8 & 10 p.m. —ET

With the recent An Old Darkness Falls, the once-loose Magnolia Collective solidified its touch for stately, affecting country-rock.

Moving beneath a modern sheen that should please Jason Isbell’s fanbase, the band backs Daniel Snyder’s understated paeans with sharp guitars and arrangements that favor restraint over flash. Magnolia Collective doesn’t stand out from today’s crowded Americana pack so much as it showcases the power of the genre’s modern conventions. With Jphono1 and Mark Holland. $7/8 p.m. —JL THE CAVE: Steel City Jug Slammers, Dwight Hawkins; 9 p.m., $5.

PHOTO COURTESY OF THE BAND

016

THE KRUGER BROTHERS SATURDAY, JAN. 9

FLETCHER OPERA THEATER, RALEIGH—The Wilkesboro-via-Switzerland acoustic trio The Kruger Brothers fold classical techniques and jazz tactics into American folk music. Whether it’s called progressive bluegrass or modern string band music remains a personal preference, but either way, the group pushes its form further than many stateside brethren.

Banjo player Jens Kruger and guitarist Uwe Kruger learned the stuff from Doc Watson records and even collaborated with the late North Carolina legend before moving to the United States more than a decade ago. Along with bassist Joel Landsberg, the brothers have become mainstays at Watson’s MerleFest, thanks largely to picking traditional bluegrass at breakneck tempos. But the repertoire doesn’t stop there.

The trio moves from rustic, rootsy songwriting and almost effortlessly intricate instrumentals to complex compositions, like Jens’ seven-movement concerto, Lucid Dreamer, which debuted during the 2014 Wide Open Bluegrass festival. The three-piece makes many area festival appearances, but the intimate confines of Fletcher Opera Theater offer a seemingly ideal setting to showcase the Krugers’ superior songcraft, spirited playing and warm repartee. 8 p.m., $35–$37, 2 E. South St., Raleigh, 919-664-8302, www.pinecone.org. —Spencer Griffith

DEEP SOUTH GAINSAY Durham trio Gainsay formed from the relics of local acts Bobby’s Fever and Saints Will Do to arrive at a union of Fugazi’s post-hardcore zigzags and Superchunk’s peppy pop. The trio’s self-titled August EP demonstrates a growing knack for crooked riffs and big hooks. With HundredftFaces and Wolves & Wolves & Wolves & Wolves. $5/9 p.m. —BCR EMPRESS ROOM: Kyle Ferris; 9 p.m.

FAIRVIEW RESTAURANT: Paul Holmes; 7-10 p.m.

HAW RIVER BALLROOM DONNA THE BUFFALO Festival fixture Donna the Buffalo has stirred its melting pot of Cajun, folk, zydeco, roots rock and world music for more than a quarter century, long enough that its once-inspired blends

INDYweek.com

IRREGARDLESS: Mahalo Jazz; 6:30 p.m.

JOHNNY’S GONE FISHING: Bill Baucom; 7-9 p.m., free.

KINGS: The Great Cover Up; 8:30 p.m., $10. See page 29.

LINCOLN THEATRE ZOSO ZOSO is an expertly rehearsed Led Zeppelin tribute act that’s cycled through the country’s clubs for nearly twice as long as its inspiration even existed. In two nights, the Californians will cover seven years of Page, Plant, Bonham and Jones by working through the first three albums on Friday and the next four (that is, through Presence) on Saturday.

That seems a remarkable feat of practice and perseverance, yes, but mostly it’s a reminder of the sheer vitality and efficiency of Zeppelin. During an astonishingly brief window four decades ago, the band sometimes churned out two instant classics during the same calendar year, a fact that’s even more impressive given a modern era of glacially protracted album cycles. $14/9 p.m. —GC

LOCAL 506 ADULT MOM Steph Knipe’s songs under the nom de plume Adult Mom summon difficult subjects: gender fluidity, queerness, the pinch and prod of painful memories, the need to externalize feelings even if they can’t be understood, experiencing big revelations through the smallest of observations. The tunes are presented simply, with jangling open chords, melodic arpeggios and rudimentary beats; the directness lends Knipe’s songs an immediacy, enabling the music to translate the topics. With Jawbreaker Reunion and Sinai Vessel. $7/9 p.m. —PW LORRAINE’S COFFEE HOUSE: Gentlemen of Bluegrass; 7:30 p.m., $5.

MOTORCO: The Independents, Sibannac; 9 p.m., $8–$10.

THE PINHOOK: Carolina Soul Records Grand Opening Dance Party; 9 p.m., free. See page 20.

PITTSBORO ROADHOUSE: Faith Bardill and The Back Row Saints; 8 p.m.

PLAN B: Good Rocking Sam; James, Pace & Preslar; 9 p.m.-1

SCHOOLKIDS RECORDS TOKE, PLOW One of North Carolina’s key brags—you’re never too far from the beach or the mountains— manifests here as a doom-metal double-header featuring the Cape Fear trio Toke and Western N.C. brethren, Plow. Toke’s selftitled debut suggests Eyehategod and Buzzov*en through thick, sludgy tones and grinding blues riffs. Plow’s 2014 EP, Neurotic, tilts more psychedelic, unspooling agile riffs from a deliberate low-end groove.

Free/7 p.m. —BCR SHARP NINE GALLERY: Ariel Pocock Trio; 8 p.m., $10–$15.

SITAR INDIAN CUISINE: Daniel Chambo; 6-9 p.m.

SLIM’S: Tomato Dodgers; 9 p.m.

SOUTHLAND BALLROOM ERIC GALES BAND Memphis native Eric Gales can’t decide if he wants to be Lenny Kravitz, Jimi Hendrix or Albert King. Doesn’t much matter, as he’s a dedicated disciple of that fiery guitar triumvirate who pulls it off well. Between solo albums, Gales has toured with Lauryn Hill and the supergroup PGP (alongside members of King’s X, The Mars Volta and Suicidal Tendencies) while mixing in elements of Cream-era Clapton.

Gales gets a lift from his instrument by playing a left-handed guitar strung for right-handed playing. Cufflinx opens. $15–$18/9 p.m. —GB

SAT, JAN 9 BAILEY’S PUB & GRILLE: April Mae & the June Bugs; 5 p.m.

BEYÙ CAFFÈ THE NOAH SAGER QUARTET Look and listen closely enough, and you may discover a rift among Triangle jazz musicians.

On one hand, you have the scene’s soul-forward swing maestros who’ll jam any night away; then you have master technicians like pianist Noah Sager and saxophonist Keenan McKenzie, whose reputations are touted more by the before-midnight enthusiasts. For these early club engagements, percussionist Theous Jones and bassist Eric Meyer join the fold.

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JANUARY 6, 2016

$7/8 &10 p.m. —ET

PHOTO COURTESY OF ATLANTIC RECORDS

seem to come out bland more often than not these days. It’s as if the veteran band long ago jammed through all possible permutations of its earthy, upbeat ideas. $20–$22/8 p.m. —SG

am, $8.

RAAGA: Viswas Chitnis; 6-9 p.m.

ROCK HARBOR GRILL: Bruce Clark Trio; 9 p.m.-midnite, free.

WAKA FLOCKA FLAME MONDAY, JAN. 11–WEDNESDAY, JAN. 13

CAT’S CRADLE, CARRBORO—Why does Waka Flocka Flame need three nights in a row—in relatively quiet Carrboro, of all places—to fire off insolently birdbrained Brick Squad chants? It’s anyone’s guess, especially since he appeared on a Raleigh stage in June, but the string of shows offers a triple opportunity for self-respecting women to hop on stage to stack on top of each other like cheerleaders in Flocka’s signature “pyramid of moisture.” He erected that same piece of feminine architecture at Raleigh’s Lincoln Theatre. His extended stay should also give Flocka’s more career-driven fanbros the chance to audition to be his personal blunt roller, another position he advertised in June. At that show, he was a pantomiming party maniac who treated his hits (“Rooster in My Rari,” “ No Hands,” “Hard in the Paint”) more as adrenaline shots than actual songs.

If that’s why you love Flocka, fine, but maybe you too have started to wonder if he’s trying to leave that party image behind just a little bit. He abandoned his shtick, for instance, for the recent dis “Ask Charlamagne,” which borrows the “Donkey of the Day” theme from the just-as-birdbrained Power 105 The Breakfast Club radio host Charlamagne Tha God. Flocka manages to piece together nearly two minutes of coherent rap barbs, setting what may be a new personal record. He aims at no rapper in particular as well as every rapper at once: “Y’all be on some foolish shit/stupid does, stupid is/rappers always stupidest,” he points out, more subdued and succinct than usual. In recent interviews, including the one with The Breakfast Club, he’s expressed a heightened sense of purpose, industry acumen and social awareness, as if he’s tired of being looked at as the stupid one with nothing to offer but tons of turn-up. Now he tweets in Zen koans instead of loud rap parlance. Perhaps he’s transforming into a real-life Flocakaveli right before our eyes. 9 p.m. (Monday & Tuesday), 8 p.m. (Wednesday), $20–$25, 300 E. Main St., Carrboro, 919-967-9053, www.catscradle.com. —Eric Tullis

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BIG EASY-RALEIGH: Glen Ingram; 6 p.m.

BLUE NOTE GRILL: Boom Unit Brass Band, The Bulltown Strutters, MSA Cajun Band; 8 p.m., $8.

BRASA STEAKHOUSE: Jim Ferris Trio; 7 p.m.

CAT’S CRADLE (BACK ROOM): Au Pair, Beauty World; 9 p.m., $12. See page 23.

THE CAVE: Jessica Is Dangerous, Royal House, Them Damn Bruners; 9 p.m., $5.

CITY LIMITS JASON MICHAEL CARROLL Jason Michael Carroll won’t have far to travel for this stop on his new release tour. The Youngsville, North Carolina, native’s 2015 album, What Color Is Your Sky, comes loaded with straightforward country love numbers reminiscent of his career-making single “Livin’ Our Love Song.”

He’s added a few more of the arena rock production tricks popularized by redneck rocker Jason Aldean. In fact, Carroll sounds eerily like Aldean here, just with better pitch and more hair. $15/8 p.m. —KM DEEP SOUTH: Bear With Me, Youma, Lions & Liars; 9 p.m., $8–$10.

FAIRVIEW RESTAURANT: Chris Keller; 7-10 p.m.

FLETCHER OPERA THEATER: The Kruger Brothers; 8 p.m.

See box, page 31.

IRREGARDLESS: Hal Engler; 11 a.m. Gary Brunotte and Nelson Delgado; 6 p.m. Marimjazzia; 9 p.m.

JOHNNY’S GONE FISHING: The Dogwood Blossom Band; 7-9 p.m., free.

KINGS: The Great Cover Up; 8:30 p.m., $10. See page 29.

LINCOLN THEATRE: Zoso; 9 p.m., $14. See Jan. 8 listing.

LORRAINE’S COFFEE HOUSE: Savannah Richmond Music; 7:30 p.m.

THE MAYWOOD RUSCHA Late last February, Ruscha issued its 2015 EP, a six-song romp in which three guitarists simultaneously plow and pirouette, riff and rip around the hyperkinetic motion of the only member not wielding strings—yes, a drummer. Those instrumental browbeaters still delight with a willfully esoteric take on classic metal: That is, queue up the memories of Maiden, Sabbath and maybe even Helmet.

INDYweek.com Remove everything but the basics. And riff as though there’s never been anything else to do.

Tonight, 2015 EP finally gets a physical release, and rest assured that the fun of these tunes has yet to fade. With American Empire. $7/9:30 p.m. —GC

MEYMANDI CONCERT HALL N.C. SYMPHONY: EMILY SAVES THE ORCHESTRA The state symphony presents Emily Saves the Orchestra, a production of Canada’s awardwinning Platypus Theatre that’s meant to draw kids into the wonder of classical music. Lured onstage by the power and beauty of Beethoven’s Ninth Symphony, the irascible Emily must battle the monster Cacopholous to save music itself. Bring the family early for the symphony’s popular Instrument Zoo program. $23/1 & 4 p.m. —CV

THE PINHOOK TEARIN’ UP XMAS ROWDY SQUARE DANCE

SOUTHLAND BALLROOM OAK CITY HARD ROCK SHOWCASE The “Oak City Hard Rock Showcase” is such a mixed bag that the five or so acts on the slate don’t actually come from Raleigh. Headliners A Light Divided, for instance, import their Paramore love from Winston-Salem; leader Jaycee Clark is a terrific singer, adding a little old-soul gusto to these alternative anthems. From Garner, Burning the Veil dips deep into doom, while Raleigh’s Enigmatic Path bends atavistic thrash into oblong, eccentric shapes. With Space Rabbit, Thundering Herd and more. $8–$12/8 p.m. —GC TRINITY LOUNGE: DJ Jason; 10 p.m.

UNVINED: Angela Bingham; 7:30-10:30 p.m.

SUN, JAN 10

PITTSBORO ROADHOUSE: Silverfox; 8 p.m.

BEYÙ CAFFÈ: Andrew Berinson; 11 a.m.-2 p.m.

BLUE NOTE GRILL: Andrew Marlin, Miles Andrews and Tommy Edwards; 5 p.m. See page 29.

THE CAVE: Tim Stambaugh; 7 p.m.

DEEP SOUTH: Rawthentic; 8 p.m., $5.

FAIRVIEW RESTAURANT: Paul Holmes; 10 a.m.-2 p.m.

FULLSTEAM: You Knew Me When; 5 p.m.

IRREGARDLESS: Gene O’Neill; 10 a.m. Zach Wiley; 6 p.m.

POUR HOUSE THE JASON ADAMO BAND

LINCOLN THEATRE AFTON MUSIC SHOWCASE

This winter hasn’t exactly been a cold one so far, but you can heat up this weekend as needed with the recurring Rowdy Square Dance. The Five Points Rounders provide old-timey yet appropriately rambunctious string band fare. Traditional callers will guide your moves, so if you’re new to square dancing, don’t worry— they’ll teach you the steps. $5/9 p.m. —AH

Music City and Oak City unite for this four-band bill. Bookending the night are hometown acts Jason Adamo Band and Waking April. Adamo’s polished, adult-alternative anthems should pair well with the younger duo’s dramatic, piano-driven pop. Two freshly formed Nashville outfits, The New Schematics and The Riflery, bring bigger and brighter hooks. Pay special attention to The New Schematics, whose melodies boast earnest lyricism and a mix of alternative and indie influences. $8–$10/9 p.m. —SG

Search for “Afton Live,” and you’ll find a bevy of blog posts questioning the organization’s tactics and blasting the promotional hub’s scheme of having bands sell tickets to receive their small cut as the equivalent of a pay-to-play arrangement. Still, Saturday’s selection of acts does include some promising up-andcomers, particularly the stately folk-pop act Ozymandias and the better-than-average alt-rock of Veda St. $12–$15/6:30 p.m. —JL

RAAGA: Viswas Chitnis; 6-9 p.m.

SHARP NINE GALLERY: Thomas Linger Quartet; 8 p.m., $10–$15.

SITAR INDIAN CUISINE: Daniel Chambo; 6-9 p.m.

N.C. MUSEUM OF HISTORY KIM ARRINGTON

LONDON BRIDGE PUB: Q Soul; 2 p.m., free.

The soul singer has chosen a tricky trade: She must tap some deep emotional source on demand while remaining believable. Over-sing a tune and you sound insincere, but under-sing

and you become elevator music.

Durham-based singer-songwriter Kim Arrington finds the sweet spot, neither belting it out nor playing it safe. With a bright, smooth voice arriving over relaxed arrangements, she’s always convincing. Arrington’s husband, the pianist and producer Victor Moore, joins her for this Sunday afternoon special, co-presented

by PineCone. Free/3 p.m. —CV PITTSBORO ROADHOUSE: John Westmoreland; 11:30 a.m.

Mr. Wonderful: Celebrating Dean Martin’s Music; 7 p.m., $5.

POUR HOUSE: Gallows Bound, Old Salt Union; 9 p.m., $5–$8.

SLIM’S: DJ Pangean; 10 p.m.

THE SHED JAZZ CLUB: Enjoy Sunday with Danny Grewen; 6-9 p.m., $5.

MON, JAN 11 BEYÙ CAFFÈ: Bo Lankenau; 7 p.m.

CAT’S CRADLE: Wacka Flocka Flame; 9 p.m., $20–$25. See box, page 32.

THE CAVE OBNOX, X_______X Cleveland, Ohio, has long been a source for unconventional and uncompromising punk rock.

These days, the prolific garageish rocker Lamont “Bim” Thomas is heir apparent to the city’s punk legacy. Under his Obnox handle, Thomas has amassed a deep catalog that strays from fuzzy garage-rock foundations toward soul, hip-hop, noise and anywhere else the muse may take him. Tonight, he’s joined on tour by fellow Clevelanders X_______X, an arty and abrasive band helmed by electric eels frontman John D. Morton. The band existed briefly in the late ’70s and has reunited to pick up where it left off. Local synth-punk maestros Natural Causes open. $12/9 p.m. —BCR

LOCAL 506 FINIAN ST. OMER II On the microphone and behind the production boards, he now prefers the name Finian St. Omer II. Behind the turntables, he goes with the shortened Fin the DJ. When he was the punch line hero of the Triangle-based hiphop collective The Justus League, he went by Chaundon. Now, the NC-via-NYC hip-hop veteran’s entertainment company and label Golden Era Music is celebrating its fifth year of grunt work. Let’s hope Fin has convinced two of the night’s performers—label artists Tuscon and C-Minor—that

fr 1/8

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WKNC AND LOCAL 506 PRES:

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ADULT MOM

JAWBREAKER REUNION / SINAI VESSEL 9pm $7 sa 1/9 MEET THE CHAPEL HILL MAYOR, PAM HEMMINGER! 3:30-5:30 pm

SA 1/9

WE 1/13

SA 1/16

FR 1/22

SA 1/23 SA 1/30 WE 2/3

SA 2/6 2/102/11 2/12 2/13 FR 2/26 SA 2/27

NO SHAME THEATRE TRIANGLE JAZZ ORCHESTRA TRANSACTORS IMPROV FOR FAMILIES 6PM THE CHUCKLE & CHORTLE COMEDY SHOW 8PM SCIENTIST TURNED COMEDIAN: TIM LEE

SOUTH CAROLINA BROADCASTERS

su 1/10 3@3: HALF

MOON BAND

ABSENT BOUNDARIES / CHRISTIANE 3pm FREE

mo 1/11 MUSIC FROM THE SOUL PRESENTS:

FINIAN C. ST. OMER II

TUSCON / C MINOR / ROME CLIENTEL 9pm $5 tu 1/12

CRANK IT LOUD AND CVLT NATION PRESENTS:

fr 1/15

‘HEAVY LINES’ ALBUM RELEASE SHOW: HAPPY ABANDON XOXOK / SISTER DAVID 9pm $5/$7

1349 / TOMBS / FULL OF HELL / GROGH BOBBY ORR 7:30pm $15/$20

COMING SOON: LOLO / AGENT ORANGE / VINYL THEATRE FINISH TICKET /DAVID RAMIREZ / THE WEEKS • GREG HOLDEN • MILO

www.LOCAL506.com

TH 1/7 FR 1/8

SA 1/9

NASH STREET RAMBLERS THE DUKE STREET DOGS LEE GILDERSLEEVE & THE BAD DOGS RED HOT MARDI GRAS KICK OFF PARTY WITH BOOM UNIT BRASS BAND BULL TOWN STRUTTERS & MSA CAJUN BAND

7PM 6-8PM 9PM FREE 8PM $8

LIVE MUSIC • OPEN TUESDAY—SUNDAY THEBLUENOTEGRILL.COM 709 WAHSINGTON STREET • DURHAM

JOSH OLIVER

THE MONTI TRIANGLE JAZZ ORCHESTRA TRANSACTORS IMPROV NORTH CAROLINA COMEDY ARTS FESTIVAL BOOKER T. JONES JEANNE JOLLY Find out More at

www.ArtsCenterLive.org 300-G East Main St. Carrboro, NC Find us on Social Media

@ArtsCenterLive

919.821.1120 • 224 S. Blount St THE NITROGEN TONE TH 1/7 LOCAL BAND LOCAL BEER HAMMER NO MORE THE FINGERS

WE 1/6

GHOSTT BLLONDE / DOC AQUATIC

JASON ADAMO BAND

SA 1/9

SU 1/10 TU 1/12 WE 1/13 TH 1/14

THE NEW SCHEMATICS / THE RIFLERY WAKING APRIL GALLOWS BOUND/ OLD SALT UNION

DEVON ALLMÄN BAND DOWN BY FIVE / THE BIG TAKEOVER LOCAL BAND LOCAL BEER THE BRONZED CHORUS GOODBYE TITAN / NIGHT IDEA

FR 1/15 SU 1/17

MILAGRO SAINTS STAMMERINGS KINDLER / FONIX

MO 1/18 TU 1/19 WE 1/20 TH 1/21

MOTORBILLY / GHOST TOWN GOSPEL SMOOTH HOUND SMITH INPUT ELECTRONIC MUSIC SERIES LOCAL BANDS LOCAL BEER REBEKAH TODD AND THE ODYSSEY

THE BOURBONS / THE ANTIQUE HEARTS THE HOT AT NIGHTS - COOL IT EP RELEASE PARTY!

FR 1/22

HANK SINATRA

SA 1/23

SU 1/24

THE GRAVY BOYS / ST. LUKE’S DRIFTERS STEPH STEWART AND THE BOYFRIENDS JMCLOVINS / MISTER F

facebook.com/thepourhousemusichall @ThePourHouse

thepourhousemusichall.com

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BILL NACE TUESDAY, JAN. 12

NIGHTLIGHT, CHAPEL HILL—In a 2013 interview with Body/Head, the guitarist Bill Nace’s duo with former Sonic Youth linchpin Kim Gordon, The Quietus’ Petra Davis asked the two musicians what career ambitions remained for each. They’d done so much, she said, what could be left on the docket?

At first glance, the question computes more easily for Gordon than Nace. In Sonic Youth, she shook up the indie-major label equilibrium by jumping to Geffen and, much later, back to the indies with Matador. Her band helped define indie rock for many people and introduce more to the wilder sides of experimental rock music. She became a (sometimes reluctant) fashion and feminist icon and wrote a book about the process that soon became a New York Times Best Seller.

Nace’s profile, however, has stayed considerably lower and closer to the same fringes to which Sonic Youth long served as a signpost; in fact, his excellent collaborations with Gordon, through which they headlined festivals and toured the world, represented by far his most popular foray.

But Nace has long been an incredibly compelling and patient guitarist, capable of turning his amplifier, his strings and a set of pedals into sheets of versatile, evolving sound. At his best, he seems to linger in the gap between pure noise and pure drone, dissonant notes hovering in the air until they expire or bleed into the next passage. And that quality has indeed afforded him an incredibly active collaborative career, so that he’s worked with a who’s who of some of the world’s best improvisers. He’s played musical ping-pong with Paul Flaherty and ground through sound with cellist Okkyung Lee and drummer Chris Corsano. In fact, during the last decade, he’s seemed tireless, hopscotching between partnerships and guises at a rate that suggests he lives to hear his sound in new contexts.

That approach helps explain his answer to that question back in 2013. What’s next? “To remain. I’d just like to keep playing as long as I possibly can.” With Suicide Magnets, Jake Meginsky and Northgate Syndicate. 9:30 p.m., $9–$11, 405 1/2 W. Rosemary St., Chapel Hill, 919-960-6101, www.nightlightclub.com. —Grayson Haver Currin all of their toiling will gain them recognition very soon. Also with Rome Clientel. $5/9 p.m. —ET

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NEPTUNES PARLOUR: The Atomic Rhythm All-Stars; 8 p.m., $3–$5.

THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, JAN 12 CAT’S CRADLE: Wacka Flocka Flame; 9 p.m., $20–$25. See box, page 32.

THE CAVE LARA HOPE & THE ARKTONES

TeasersMensClub

@TeasersDurham

An Adult Nightclub Open 7 Days/week • Hours 7pm - 2am

This time-traveling New York quartet comes from just outside Woodstock, but the group throws it back decades ahead of that town’s fabled days. They wildly toss together early rock ’n’ roll, rockabilly and R&B. While the alchemic band ricochets between retro styles, Hope steals the show herself, whether serving as a spark plug for rowdy numbers or lending sultry vocals to a slow swing. John Howie Jr. opens with a solo set. $5/9 p.m. —SG IRREGARDLESS: Stevan Jackson; 6:30 p.m.

KINGS LUNCH CULT Like the great Cap’n Jazz, Lunch

Cult approaches punk with a suburban mind-set and a freejazz bent. Hyperactive, hypereducated and hyperaware, these Maine musicians are at once knottily complicated and sloppily enthusiastic. Perhaps most telling within the group’s spasmodic approach is its willingness to cover, appropriately shambolically, its favorite Ornette Coleman tunes—or perhaps even just the fact that it has favorite Ornette Coleman tunes (“Lonely Woman” and “Law Years,” by the way). Nice Try and Beverly Tender open. $5/8:30 p.m. —PW LOCAL 506: 1349, Tombs, Full of Hell, Grohg, Bobby Orr; 7:30 p.m., $15–$20. See page 29.

NIGHTLIGHT: Bill Nace, Suicide Magnets, Jake Meginsky, Northgate Syndicate; 9 p.m., $9.

See box, this page.

PITTSBORO ROADHOUSE: Kevin M. Thompson; 6:30 p.m.

POUR HOUSE DEVON ALLMAN BAND It won’t do you any good to yell “Whipping Post” tonight. Devon Allman says he doesn’t want to abuse his last name, so the only Allman cover you might hear is “One Way Out,” which is an Elmore James tune, anyway.

Allman’s selections are mostly originals from his band Honeytribe, founded in 1999 but now on hiatus while Allman balances a solo career and records and tours with Royal

Southern Brotherhood. He calls his sound “feel-based music,” a mix of blues and rock led by soulful vocals that are reminiscent of his daddy, Gregg. $12–$15/8:30 p.m. —GB

WED, JAN 13 CAT’S CRADLE: Wacka Flocka Flame; 8 p.m., $20–$25. See box, page 32.

CAT’S CRADLE (BACK ROOM): Jucifer, Them Damn Bruners; 9 p.m., $10.

IRREGARDLESS: The Holland Brothers; 6:30 p.m.

JOHNNY’S GONE FISHING: Genna & Jesse; 7-9 p.m., free.

LINCOLN THEATRE LIQUID STRANGER Swedish dance producer Martin Stääf, better known as Liquid Stranger, claims to “save marriages, one ceiling subwoofer at a time.” Not one for understatement, he bangs out booming, squiggly EDM-influenced dubstep with more texture and care than your average brostep whiz.

For a well-balanced electronic evening, come early for the sleek trap-hop of Brooklyn’s Space Jesus and the uplifting trance of New Jersey’s Au5. $12.50/9 p.m. —DS POUR HOUSE: Down By Five, The Big Takeover; 9 p.m., $5–$7.

INDYweek.com

HORACE WILLIAMS HOUSE: Jan

Galleries OPENING THE ARTSCENTER: Jan 8-31: Grey Area, monochromatic paintings and paper installation

by Constance Pappalardo and Erin Oliver. 300-G E Main St, Carrboro. 919-929-2787, www. artscenterlive.org.

CARY SENIOR CENTER: Jan

12-Feb 19: Musings, work by Katy Gollahon. 120 Maury O’Dell Place.

919-469-4081, www.townofcary. org.

CEDAR CREEK GALLERY: Jan

9-Feb 21: CUPful: Celebrating the Daily Ritual, over 400 mugs and cups handcrafted by artists from all over the United States. Free.

1150 Fleming Rd, Creedmoor. 919528-1041, www.cedarcreekgallery. com.

FRANK GALLERY: Fri, Jan 8, 6-8

p.m.: Reception. 109 E Franklin St, Chapel Hill. 919-636-4135, www. frankisart.com.

GALLERY C: Sun, Jan 10, 1-4 p.m.: Reception. — Jan 7-Feb 10: Backroads: The Down East Photography of Watson Brown.

540 N Blount St, Raleigh. 919-8283165, www.galleryc.net.

10-Feb 1: Letters at Play: Text in Wax, encaustic paintings by Carol Retsch-Bogart, Lew Graham and Peg Bachenheimer. 610 E Rosemary St, Chapel Hill. 919-9427818, chapelhillpreservation.com.

LOCAL COLOR GALLERY:

Fri, Jan 8, 6-10 p.m.: Reception.

— Jan 8-30: New Year - New Art, watercolor, acrylic, oil, clay, glass and mixed media by twelve local women artists. 311 W. Martin Street, Raleigh. 919-819-5995, www.localcoloraleigh.com.

MEASUREMENT BUILDING: Jan 11-Feb 11: Cinc Hayes, paintings. 404 Hunt Street, Durham. 843-475-3132, Cinchayes.com.

PAGE-WALKER ARTS & HISTORY CENTER: Jan 6-Feb

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SUNDAY, JAN. 10, CHAPEL HILL HORACE WILLIAMS HOUSE—Hot wax isn’t just for record collectors. Visual artists have been using it to create encaustic paintings since before the Common Era, manipulating heated, pigmented beeswax to produce images of rich and lustrous depth. Preservation Chapel Hill’s January exhibit features encaustic abstractions—complicated by oil paint, cold wax, collage and, especially, lettering— by three local artists. The striking preview works we saw included Carol RetschBogart’s Surrealist cut-up graffito, Lew Graham’s gory explosion of stenciled letters and Peg Bachenheimer’s cool, mantra-like oms. The gentle corrosion of the medium seems to cast the sedimentary nature of communication itself in relief. The exhibit should pair nicely with another that opens in Chapel Hill this week, Layer Upon Layer at FRANK Gallery (reception: Jan. 8, 6–9 p.m.), featuring Peter Filene’s doubleexposure photographs and Linda Prager’s ceramics—both shows are concerned with exposing hidden layers. Make them some of your beeswax.

2–4 p.m., free, 610 E. Rosemary St., Chapel Hill, 919-942-7818, www. preservationchapelhill.org.

—Brian Howe

CLOCKWISE FROM TOP LEFT

Encaustic paintings by Carol Retsch-Bogart, Lew Graham and Peg Bachenheimer, on view for the month of January in Letters at Play: Text in Wax at the Horace Williams House PHOTOS COURTESY OF THE ARTISTS/ PRESERVATION CHAPEL HILL

TIPPING PAINT GALLERY:

Jan 8-30: Re-Start. 311 W Martin St, Raleigh. 919-928-5279, www. tippingpaintgallery.com.

DUKE CAMPUS: CENTER FOR DOCUMENTARY STUDIES: Thru Feb 27: South

ONGOING ARTSPACE: Thru Jan 23: Carpe

20: Books & Pages, work by Christine Adamczyk. — Jan 6-Feb 20: Painting on Silence, work by Frank Myers. 119 Ambassador Loop, Cary. 919-460-4963, www. friendsofpagewalker.org.

Diem, work by Rachel Campbell, Judith Condon and Jane Paradise.

— Thru Jan 16: The Forest for the Trees. Free. 919-821-2787, info@ artspacenc.org. 201 E Davie St, Raleigh. 919-821-2787, www. artspacenc.org.

ROUNDABOUT ART COLLECTIVE: Jan 8-31: Textile

BOND PARK COMMUNITY CENTER: Thru Feb 29: Dispatch

Topography, textile works by Joyce Watkins King. free. 305 Oberlin Rd, Raleigh. 919-747-9495, www. roundaboutartcollective.com.

JANUARY 6, 2016

LETTERS AT PLAY: TEXT IN WAX

visualarts

INDYPICK

•

from Vick Benson Farm—A Visual Communique from the Family Farm, work by Robert Cassanova.

150 Metro Park Dr, Cary. 919-4623970, www.townofcary.org.

CARY ARTS CENTER: Thru

Jan 24: Cary Photographic Artists.

— Thru Jan 21: Synesthesia: Connecting the Senses. 101 Dry Ave. 919-469-4069, www. townofcary.org.

CARY TOWN HALL: Thru Jan

25: Getting to Know Me, work from the LeTouquet and Town of Cary Children’s Cultural Exchange.

316 N Academy St. 919-469-4000, www.townofcary.org.

INDYPICK CRAVEN ALLEN GALLERY: Thru Jan 9: Moving

Pictures/Figure and Forest, work

by Dan Gottlieb. — Thru Jan 9: Animal, Vegetable, Mandible, work by Iris Gottlieb. 1106 1/2 Broad St, Durham. 919-286-4837, www.cravenallengallery.com.

Side, photographs and writings by Jon Lowenstein. — Thru Feb 28: Aunties: The Seven Summers of Alevtina and Ludmila, photographs

by Nadia Sablin. 1317 W Pettigrew St, Durham. 919-660-3663, www. cdsporch.org.

DURHAM ART GUILD: Thru Jan 9: 2015 Members’ Holiday Market. 120 Morris St. 919-5602713, www.durhamartguild.org.

DURHAM CONVENTION CENTER: Thru Apr 14: I Want

Candy, work by Stacy Crabill. 301 W Morgan St. 919-956-9404,

INDYweek.com durhamconventioncenter.com.

www.scrapexchange.org.

ENO GALLERY: Thru Jan 15:

THROUGH THIS LENS:

INDYPICK

FLANDERS

GALLERY: Thru Jan 18: Near Mint: In Lucas We Trust. 505 S Blount St, Raleigh. 919-757-9533, www.flandersartgallery.com.

FRANK GALLERY: Thru Feb

7: The Human Touch: Portraits of Care. — Thru Feb 7: Intersections, work by Sasha Bakaric, Shelly Hehenberger and Suzanne Krill. — Thru Feb 7: Layer Upon Layer, work by Peter Filene and Linda Prager. 109 E Franklin St, Chapel Hill. 919-636-4135, www. frankisart.com.

HERBERT C YOUNG COMMUNITY CENTER: Thru

Jan 25: Serenity in the South, work

by H. Lee Dawson. 101 Wilkinson Ave, Cary. 919-460-4965, www. townofcary.org.

HILLSBOROUGH GALLERY OF ARTS: Thru Jan 24:

Resolutions 2016. Free. 121-D N Churton St. 919-732-5001, www. hillsboroughgallery.com.

LEE HANSLEY GALLERY: Thru Jan 23: Acclaimed Artists, works by celebrated deceased North Carolina artists — Thru Jan 23: George Bireline Revisited, abstract expressionist, color field, figurative and narrative paintings by the late Raleigh artist. 225 Glenwood Ave, Raleigh. 919-828-7557, www. leehansleygallery.com.

LIGHT ART + DESIGN: Thru

Jan 16: Metal V, Annual exhibition of metal artists with works from sculpture to jewelry. 919-9427077, info@lightartdesign.com, www.lightartdesign.com. 601 W Rosemary St, Chapel Hill. 919-9427077, www.lightartdesign.com.

Pappalardo, paintings. 100 Woodland Pond, Cary. 919-4474000, www.theumstead.com.

UNC CAMPUS: WILSON SPECIAL COLLECTIONS LIBRARY: Thru Jan 10:

Chronicles of Empire: Spain in the Americas, featuring more than 50 early printed volumes from UNC’s Rare Book Collection. 201 South Rd, Chapel Hill, lib.unc.edu/wilson.

Art Related

THE EL QUIXOTE FESTIVAL:

Thru Apr 23: art exhibits, performances and more in various locations celebrating Don Quixote.

See website for more details. www.iamquixote.com.

DANCE | BLACK IRISH: SHADE |

Museums

NASHER MUSEUM OF ART:

Thru Sep 18: The New Galleries: A Collection Come to Light.

— Thru Feb 28: Reality of My Surroundings: The Contemporary Collection. — Thru Jan 10: Richard Mosse: The Enclave. 2001 Campus Dr, Durham. 919-684-5135, nasher. duke.edu.

NC MUSEUM OF ART: Thru

MORNING TIMES GALLERY:

NC MUSEUM OF HISTORY:

ORANGE COUNTY MAIN LIBRARY: Thru Feb 26: Side

Roads: Folk Art from Mike’s Art Truck, folk art by nine self-taught artists. 137 W Margaret Ln, Hillsborough. 919-245-2525, www. co.orange.nc.us/library.

THE SCRAP EXCHANGE: Thru

Jan 9: $24 Art Show. 2050 Chapel Hill Road, Durham. 919-688-6960,

36

UMSTEAD HOTEL & SPA: Thru Apr 30: Constance

Arts Program, works by City of Raleigh and Wake County employees and their families. 222 W Hargett St, Raleigh. 919-9963610, www.raleighnc.gov/arts.

Thru Jan 31: Britt Flood. 10 E Hargett St, Raleigh. 919-459-2348, www.morningtimes-raleigh.com.

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Thru Jan 9: Industrial Blues, photographs by Gunther Cartwright. — Thru Jan 9: Trees, photographs by JJ Raia. 303 E Chapel Hill St, Durham. 919-6870250, www.throughthislens.com.

Mar 20: Chisel and Forge: Works

by Peter Oakley and Elizabeth Brim. — Thru Jan 17: Leonardo da Vinci’s Codex Leicester and the Power of Observation. — Thru Jan 31: Robin Rhode Video Installations. — Thru Jan 17: The Worlds of M.C. Escher: Nature, Science, and Imagination. 2110 Blue Ridge Rd, Raleigh. Info 919839-6262, tickets 919-715-5923, www.ncartmuseum.org.

MIRIAM PRESTON BLOCK GALLERY: Thru Jan 14: National

JANUARY 6, 2016

Thru Jun 19: Treasures of Carolina: Stories from the State Archives, public records and private archival materials from the state archives.

— Thru Feb 28: Hey America!: Eastern North Carolina and the Birth of Funk. — Thru Jul 10: North Carolina’s Favorite Son: Billy Graham and His Remarkable Journey of Faith. 5 E Edenton St, Raleigh. 919-807-7900, www. ncmuseumofhistory.org.

FRIDAY, JAN. 8–SUNDAY, JAN. 10, CARY

CARY ARTS CENTER—“If one could smell color, hear color, feel color and see vibrations in color beyond just seeing the obvious, its SHADE, what would that experience be like?” That’s the question choreographer Ronald West asks in his attempt to translate synesthesia, the neurological cross-wiring of the senses, to stage, in his new work for his dance company, Black Irish. As befits a contemporary hip-hop

performance Comedy

THE CARY THEATER: Sat, Jan

9, 8 p.m.: Big Al Goodwin, John Betz, Jr. $13–$15. 919-462-2051, thecarytheater.com/event/comedywith-big-al-goodwin-featuring-johnbetz-jr-presented-by-town-of-cary/.

122 E Chatham St.

COMEDYWORX THEATRE:

Fridays, 8 p.m. & Saturdays, 4 & 8 p.m.: ComedyWorx Improv Show, 2 teams of improv comedians earn points by making the audience laugh. $6–$12. — Fridays, 10 p.m. & Saturdays, 10 p.m.: The Harry Show, Ages 18+. Improv host leads late-night revelers through

potentially risque games, with audience volunteers brought onstage to join in. $10. 431 Peace St, Raleigh. 919-829-0822, comedyworx.com.

DSI COMEDY THEATER:

Fridays, 10 p.m.: Mister Diplomat.

Free. — Fridays, 11 p.m.: The Jam. free. — Saturdays, 10 p.m.: Pork, 5 NC comics perform. Free. 462 W Franklin St, Chapel Hill. 919-3388150, www.dsicomedytheater. com.

FLEX NIGHTCLUB: Thursdays,

midnite: Trailer Park Prize Night, comedy drag show with gag prize giveaways. 2 S West St, Raleigh.

919-832-8855, www.flex-club.com.

GOODNIGHTS COMEDY CLUB / THE GRILLE AT GOODNIGHTS: Saturdays, 10:30

dance inquiry, the other meaning shade has acquired in contemporary culture is also a factor. What would happen if you could throw shade— literally as well as figuratively—at friends, strangers, lovers or exes?

William Howard, Justin Mackey and David Lezcano provide the live music. 7 p.m. Fri.–Sat.; 3 p.m. Sun., $10–$20, 101 Dry Ave., Cary, 919-469-4069, www.iamblackirish.com. —Byron Woods

p.m.: Anything Goes Late Show. free. — Fri, Jan 8, 7:30 & 10 p.m. & Sat, Jan 9, 7:30 & 10 p.m.: Rod Man. $25–$33. 861 W Morgan St, Raleigh. 919-828-5233, www. goodnightscomedy.com.

SUNDAY AFTERNOON SALSA: Second & Fourth

TOOTIE’S: Saturdays, 7:30 p.m.:

SUNDAY SALSA SOCIAL:

ComedyMongers Open Mic. $5, free for comedians. 704 Rigsbee Ave, Durham. 984-439-2328.

Dance PA R T I C I PATO RY DURHAM DANCE WAVE:

Mondays, 7:30-9 p.m.: $7. www. durhamdancewave.com. The Murphey School at the Shared Visions Retreat Center, 3717 Murphy School Rd, Durham. 919616-2190, www.sharedvisions.org.

SCOTTISH COUNTRY DANCING: Wednesdays, 7:30

p.m.; Thru May 4: Glen Eden Park & Community Center, 1500 Glen Eden Dr, Raleigh.

PHOTO BY ANNA MAYNARD

Celebrating 40 Years, work by Nancy Tuttle May. — Thru Jan 15: Fine Southern Clay, studio ceramics and sculptural clay by Southern artists. 100 S Churton St, Hillsborough. 919-883-1415, www. enogallery.net.

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Sundays, 3:30-6:15 p.m.: $6–$10.

919-494-2300, wesleyboz@ musicanddance.com. Raleigh Elks Lodge, 5538 Leadmine Rd.

Sundays, 6:30-9:30 p.m.: Every Sunday social featuring mostly salsa with sides of bachata, merengue, cha cha and kizomba.

Lesson at 6:30 for beginners plus sometimes intermediate. DJ Dance at 7. $6. www.dancegumbo.com.

Triangle Dance Studio, 2603 S Miami Blvd, Durham.

TRIANGLE SINGLES DANCE CLUB: Sat, Jan 9, 8 p.m., Fri, Jan 15, 8 p.m., Sat, Jan 23, 8 p.m. & Fri, Jan 29, 8 p.m.: alcohol-free dance for 40+ singles. $5–$8.

Northbrook Country Club, 4905 North Hills Dr, Raleigh.

PERFORMANCE INDYPICK SHADE: Fri, Jan 8, 8 p.m., Sat, Jan 9, 7 p.m. & Sun, Jan 10, 3 p.m.: presented by Black Irish. Cary Arts Center, 101 Dry Ave. 919-469-4069, www. townofcary.org. See box, this page.

INDYweek.com

THEATER | HIGHWAY 47 WEDNESDAY, JAN. 6–SUNDAY, JAN. 10, CHAPEL HILL KENAN THEATRE AT UNC—Tome, New Mexico, a small town south of Albuquerque, was torn apart in the 1960s when a land grant to 30 families, originally bestowed by Spain’s King Philip V, was contested upon the sale of 70 square miles to a development corporation. Performer and playwright KJ Sanchez’s father was at the epicenter of the resulting feud. “Half the town thought he was a hero, half thought he was the devil himself,” Sanchez wrote in 2013, while crafting a solo show the Chicago Sun-Times called “a riveting account ... of a daughter trying to come to terms with her father (and herself).” Now Sanchez puts on Highway 47 for five days at UNC’s Kenan Theatre, courtesy of PlayMakers’ PRC² series. 7:30 p.m. Weds.–Sun.; 2 p.m. Sun., $15–$45, 150 Country Club Road, Chapel Hill, 919-962-7529, www.playmakersrep.org. —Byron Woods

based on interviews with military spouses from the community.

A new work Commissioned by the Cape Fear Theatre. Free.

UNC Campus: Swain Hall, 101 E Cameron Ave, Chapel Hill.

Theater OPENING INDYPICK

box, this page.

HIGHWAY 47: See

DOWNRANGE: VOICES FROM THE HOMEFRONT: Fri, Jan 8, Sat, Jan 9 & Thu, Jan 14: A new play about the impact of deployment on military families

SILHOUETTES OF SERVICE:

Sun, Jan 10, 5 p.m., Fri, Jan 15, 5 p.m., Sat, Jan 16, 5 p.m. & Mon, Jan 18, 5 p.m.: a new documentary theatre piece that illuminates the true stories of soldiers from the shadows of WWII to current

cadets. Free. UNC Campus: Swain Hall, 101 E Cameron Ave, Chapel Hill.

INDYPICK LOVE AND INFORMATION: Jan 6-9:

Manbites Dog Theater, 703 Foster St, Durham. Tickets 919-6823343; Office 919-682-4974, www. manbitesdogtheater.org. See p. 29.

RAGTIME: Tue, Jan 12, 7:30 p.m.,

Wed, Jan 13, 7:30 p.m., Thu, Jan 14, 7:30 p.m., Fri, Jan 15, 7:30 p.m., Sat, Jan 16, 2 & 7:30 p.m. & Sun, Jan 17, 2 & 7:30 p.m.: $25–$77. Memorial Auditorium, 2 E South St, Raleigh. 919-996-8700, dukeenergycenterraleigh.com.

ONGOING THE BOOK OF MORMON: Thru Jan 10, INDYPICK

7:30 p.m.: $50–$130. Durham Performing Arts Center, 123 Vivian St. Info 919-688-3722, Tickets 919680-2787, www.dpacnc.com. See review, p. 27.

INDYPICK TIME STANDS STILL: Thursdays-Sundays. Thru

Jan 17: $16–$18. Sonorous Road Productions, 209 Oberlin Rd. Raleigh. 919-803-3798, www. sonorousroad.com. See review, p. 27.

BILL BURTON ATTORNEY AT LAW

Un c o n t e s t e d Di vo rc e SEPARATION Mu s i c Bu s i n e AGREEMENTS ss Law UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e rMUSIC s h i pBUSINESS LAW Wi l lINCORPORATION/LLC s C o l l e c t i o n s WILLS

967-6159 (919) 967-6159

bill.burton.lawyer@gmail.com

books Readings & Signings

CHARLES BELFOURE:

Tue, Jan 12, 7 p.m.: with novel House of Thieves. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, www. quailridgebooks.com.

ED TARKINGTON: Wed, Jan 13, 7 p.m.: with novel Only Love Can Break Your Heart. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, www. flyleafbooks.com.

KORBY LENKER: Sat, Jan 9, 2 p.m.: with Medium Hero and Other Stories. McIntyre’s Books, 2000 Fearrington Village Center, Pittsboro. 919-542-3030, www. mcintyresbooks.com.

REBECCA DUNCAN: Sat, Jan 9, 3 p.m.: with novel Secrets of Gray Lake. Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-8281588, www.quailridgebooks.com.

REBECCA SCHERM: Tue,

Jan 12, 7 p.m.: with novel Unbecoming. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, www. flyleafbooks.com.

SARAH SHABER: Thu, Jan 7, 7

p.m.: with novel Louice’s Chance.

Quail Ridge Books & Music, 3522 Wade Ave, Raleigh. 919-828-1588, www.quailridgebooks.com.

STEWART O’NAN: Fri, Jan 8, 7 p.m.: with novel West of Sunset.

Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-9427373, www.flyleafbooks.com.

INDYPICK TWO WRITERS WALK INTO A BAR #19: Tue,

Jan 12, 7 p.m.: featuring poet Alice Osborn and zine and non-fiction

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JANUARY 6, 2016

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writer Trace Ramsey. Free. West End Wine Bar, 601 W Main St, Durham. 919-381-4228, www. westendwinebar.com.

Literary Related

CITY SOUL CAFE POETRY & SPOKEN WORD OPEN MIC:

Wednesdays, 8-10 p.m.: Poets, vocalists, musicians & lyricists welcome. All performances a cappella or acoustic. $5. www. citysoulcafe.splashthat.com.

Smokin Grooves Bar & Grill, 2253 New Hope Church Rd, Raleigh.

THE MONTI: Wed, Jan 13, 7:30 p.m.: Motorco Music Hall, 723 Rigsbee Ave, Durham. 919-9010875, www.motorcomusic.com.

SACRIFICIAL POETS TOUCHSTONES OPEN MIC:

First Wednesdays, 6-8 p.m.: www. sacrificialpoets.com. Flyleaf Books, 752 Martin Luther King Jr Blvd, Chapel Hill. 919-942-7373, www. flyleafbooks.com.

INDYweek.com

film Special showings

ROMANZA: THE STRUCTURES OF CALIFORNIA DESIGNED BY FRANK LLOYD WRIGHT: Thu,

Jan 7, 7 p.m.: $10. James B. Hunt Jr. Library, 1070 Partners Way, Raleigh. 919-513-7031.

THE THIRD MAN: Fri, Jan 8,

7:30 p.m.: $10–$12. NC Museum of Art, 2110 Blue Ridge Rd, Raleigh. Info 919-839-6262, tickets 919-715-5923, www. ncartmuseum.org.

Film Capsules

Our rating system uses one to five stars. Signed reviews are by Brian Howe (BH), Laura Jaramillo (LJ), Kathy Justice (KJ), Craig D. Lindsey (CDL), Glenn McDonald (GM), Neil Morris (NM), Zack Smith (ZS) and Ryan Vu (RV).

Opening

CAROL—Todd Haynes directs Cate Blanchett and Rooney Mara in this romantic drama, where a young lady falls for an older, married woman in midcentury New York City. Rated R. THE FOREST—A young woman (Natalie Dormer) searching for her twin sister in a Japanese forest finds herself overwhelmed by paranormal forces. Rated PG-13.  1/2 THE REVENANT— See review on p. 28. Rated R.

Current Releases

The INDY’S GUIDE to ALL THINGS TRIANGLE

 1/2 BROOKLYN—John Crowley and Nick Hornby capture the nostalgic melancholy of Colm Tóibín’s novel in this elegiac old-school melodrama. Saoirse Ronan is Eilis, an Irish girl who goes to work in Brooklyn in the 1950s, thanks to the sponsorship of a U.S.-based priest (Jim Broadbent). Leaving behind a mother and sister she adores, she’s initially homesick, living in an all-female boarding house.

That changes when she meets a sweet-natured Italian plumber

who falls for her. Striking work by cinematographer Yves Bélanger and costumer Odile Dicks-Mireaux makes Ronan—with her moony, wholesome looks—the brightest thing in the movie. Things get complicated when she starts seeing a suave Irishman (Domhnall Gleeson), turning the story into an intercontinental torn-betweentwo-lovers affair. Like so many films about immigrants looking for a better life, this one lays out a wondrous and romantic (if oddly minority-free) vision of America’s past. Rated PG-13. —CDL  CREED—The boxing-film genre reached its narrative limits long ago. But by using conjoined character arcs, the Rocky series’ seventh film ably honors, updates and even deconstructs its legacy.

Adonis Johnson (Michael B. Jordan), the son of late champ Apollo Creed—Rocky’s respected nemesis—is rescued from a delinquent childhood by Mary Anne Creed (Phylicia Rashad), Apollo’s widow. Haunted by her husband’s death in the ring, she discourages Adonis’ impulses. But he moves to Philadelphia to coax an aging Rocky Balboa (Sylvester Stallone) to train him. He reluctantly agrees, though his guilt over failing to prevent Apollo’s death is a motivation the film doesn’t sufficiently explicate. Ryan Coogler, who directed Jordan in Fruitvale Station, reclaims the blackness of a franchise originally framed through the prism of the Great White Hope. Jordan and Stallone, utterly at ease, conjure an alchemy of wit and poignancy.

Rated PG-13. —NM  THE DANISH GIRL—Eddie Redmayne (last year’s Oscar winner for best actor) stars as landscape painter Einar Wegener, one of the first recipients of gender reassignment surgery. Set in 1920s Copenhagen, the tale is inspired by actual events, although director Tom Hooper (Les Misérables) takes liberties to present the story as a tender portrait of a remarkable marriage. Alicia Vikander plays Einar’s wife, Gerda, and her performance is every bit as vulnerable and wrenching as Redmayne’s. As Einar begins his gradual transformation into a woman, the story becomes a psychologically complex love triangle between two people.

But Hooper’s overwrought visual strategy keeps the film from really soaring. The style is too composed and conventional for the material. Rated R. —GM  THE GOOD DINOSAUR— Disney and Pixar’s latest imagines a world where an asteroid didn’t hit Earth and dinosaurs continued to evolve. The premise is an excuse for an old-fashioned adventure story—a “boy and his

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JANUARY 6, 2016

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dog” tale where the dog is the boy and the boy is a dinosaur, set on a dino homestead where an Apatosaurus family is apparently quite good at irrigation despite a lack of opposable thumbs. Family runt Arlo is terrified of everything and despairs of ever “making his mark.” An encounter with a loin-clothed “critter” (Jack Bright) leads to a tragedy, and then Arlo is swept downriver, where he discovers that the cave-boy he resents is a surprisingly loyal companion on the long, danger-filled trip home. There’s a darkness to this story that contrasts with the soft, toy-like pastel dinosaurs; Arlo suffers about every physical and emotional trauma possible in a Disney flick, dead parent included. It’s all a little old-fashioned for Pixar, which has done its best work breathing fresh life into tired ideas. But it’s nice to see that oldfashioned children’s stories aren’t extinct. Rated PG. —ZS  THE HATEFUL EIGHT—The best things during the interminable three hours of Quentin Tarantino’s latest are the musical overture by Ennio Morricone and the intermission, when you can flee without bothering the rest of the audience. Set in post-Civil War Wyoming, The Hateful Eight is an ensemble Western revolving around a gaggle of miscreants forced into close quarters en route to the town of Red Rock. In all, 10 people take shelter from a blizzard in a stage stopover, including “the Mexican” (Demián Bichir), a taciturn cowpuncher (Michael Madsen) and the local hangman (Tim Roth). As their furtive motives and backstories are gradually revealed, the plot assumes the guise of Agatha Christie’s And Then There Were None, originally published in the U.K., in 1939, under the title Ten Little Niggers, a pejorative Tarantino excessively deploys. Though it was divisive, his frequent use of the racial slur in his early films felt organic in the vernacular of modern urban milieus. But he treats his Civil War-era settings, here and in Django Unchained, as license to gorge on the slur to a cartoonish, wearying degree.

Despite a garrulous script, few sequences are memorable. The final chapters are a nihilistic fever dream; what’s missing is maturity and meaning. The characters are mere ciphers for Tarantino’s base indulgences. He can still be a captivating, adroit filmmaker, but his narrative predilections have become predictable, and his films are teetering on self-parody.

Unless he jettisons his period revenge fantasies and returns to the wheelhouse of contemporary hyper-realities, Tarantino will soon feel as dated as his film

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JANUARY 6, 2016

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RALEIGH GRANDE

THE REVENANT • THE FOREST • CAROL STAR WARS: THE FORCE AWAKENS THE HATEFUL EIGHT • DADDY’S HOME THE BIG SHORT • SISTERS • JOY CONCUSSION ALVIN AND THE CHIPMUNKS: THE ROAD CHIP For times please go to website

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RETROEPICS FRIDAY, JAN. 8–THURSDAY, JAN. 14, DURHAM THE CAROLINA THEATRE—Hydrate first. And have a large meal; you’ll need more than popcorn to get through the Carolina Theatre’s RetroEpics series, which gives classic Hollywood extravaganzas the big-screen presentation they still deserve. Debate all you want about the merits of Quentin Tarantino’s The Hateful Eight in 70mm, but there’s no question that the grandeur of 2001: A Space Odyssey and the restored version of Metropolis shines through only on a theater screen. Plus, there are chances to appreciate the powerful cinematography, costumes and scale of best-picture winners Gandhi, The Deer Hunter and the director’s cut of Amadeus. Do take note: All of these films are at least two-and-a-half hours long, and sometimes three. See a few back-to-back and that’s your whole day. It’s worth it. Various times (see website for schedule), $9 per screening, 309 W. Morgan St., Durham, 919-560-3030, www.carolinatheatre.org. —Zack Smith

stock. Rated R. —NM  1/2 SISTERS—Amy Poehler and Tina Fey are Maura and Kate Ellis, terminally immature siblings whose empty-nester parents are selling their childhood home. Poehler sweetly plays the straight woman to Fey’s nottotally-believable middle-aged lady gone wild. It’s a competent comedy that occasionally hits some very funny notes, though it mostly stays within the triedand-true formula of mainstream American comedy: toilet humor meets family values. Directed by Jason Moore, Sisters mobilizes a cadre of Saturday Night Live talent in bit parts. Unfortunately, none of them are allowed enough screen time to really let their jokes rip. The famed chemistry between Poehler and Fey is best expressed when they’re obviously going off script. The pair has an uncanny gift for physical comedy, but the script seriously hampers Fey’s comedic gifts, stifling her brainy absurdist humor and shoehorning her into the Sarah Silverman-esque territory of dick and pussy jokes. Fey and Poehler have been writing some of the best comedy of the aughts on 30 Rock and Parks and Recreation.

Television seems to be a more nurturing context than movies for

weird talents like theirs. Though female comedians have gained ground in recent years, Sisters highlights how limited a category “funny” remains for women in Hollywood. Rated R. —LJ  STAR WARS: THE FORCE AWAKENS—Director J.J. Abrams has delivered a triumph by flouting the usual reboot expectations to make a disco remix of franchise mythology. Three decades after the events of Return of the Jedi, the collapse of the Empire has created a power vacuum. The fascist First Order has stepped in, and Luke Skywalker, the last of the Jedi, has disappeared. On the desert planet of Jakku we meet Poe Dameron (Oscar Isaac), a hotshot Resistance pilot, who finds an unlikely ally in the morally conflicted Stormtrooper Finn (John Boyega). We also meet the resourceful scavenger Rey (Daisy Ridley), who plucks high-tech debris from derelict space cruisers half-buried in the sand. Over on the Dark Side, the mysterious Kylo Ren (Adam Driver) wears a mask and cape that evoke Darth Vader.

Details on his actual identity are among the first of the script’s many unsettling surprises. As more characters come into play, it becomes clear that Abrams isn’t creating a new Star Wars so much

as retelling the original saga with all the components mixed up. Rey is a little bit Luke and little bit Leia.

Poe is a little bit Han and a little bit Luke. Snoke is part Vader and part Palpatine. Rey’s companion droid, BB-8, is R2-D2 with a new form of locomotion. The narrative is familiar, too, set in motion by a droid with coveted information.

Harrison Ford is one of the very best parts of a very good movie.

For the first time in a long while, he looks like he’s having fun.

Not everything clicks into place: As Leia, Carrie Fisher isn’t given much to do; the political state of affairs between the First Order and the Republic isn’t clear; the pace is a twinge too speedy. But it builds to a satisfying crescendo— watch how Abrams updates the series’ signature cross-cut editing in the final battles. And the quiet coda is just about perfect. The last image is a gorgeous visual metaphor for what the filmmakers have accomplished. It’s helpful to keep in mind the notion that myths are stories we tell ourselves over and over again, in different guises and different eras.

Star Wars is one of the great tales of our modern mythology, and The Force Awakens successfully re-imagines the legend for a new generation. Rated PG-13. —GM

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Flex HRS./most Wknds 1-800-403-7772 Lipservice.net (AAN CAN)

PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-4136293. Void in Illinois/New Mexico/Indiana (AAN CAN)

1991 PORSCHE 944 S2 CABRIOLET A rare and classic beauty.

46,000 miles. Showroom condition. $15,500. From long time Second owner. 240-2914652

CASH FOR CARS: Any car/truck. Running or not! Top dollar paid. We come to you! Call for instant offer: 1-888-420-3808 www.cash4car. com (AAN CAN)

Dating made Easy EAGLE TALON TSI TURBO AWD, low mileage, very good condition. $3500. Call Chris: 919-524-8062.

HONDA ACCORD ‘08 $7,900. Buy my personal gently used 2008 Royal Blue LXP Honda Accord with 110,595 miles. Go to SHOFFNERHOMELAND.COM Click ìGOODBUYî for details.

SELL YOUR CAR FAST! You give us $20, we’ll run a 20 word ad with a color photo for 4 weeks. Call 919-286-6642 or emailclassy@indyweek.com

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Raleigh

(919) 833-0088

Durham

Chapel Hill

(919) 595-9888 (919) 869-1299 For other local numbers:

FIND REAL GAY MEN NEAR YOU Raleigh:

(919) 829-7300 Durham:

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(919) 869-1200

INDYweek.com • JANUARY 6, 2016 • Teaching Opportunities in China

Become a junior math designer!

Amplify is seeking students in grades 6-9 5 7 to partner with us.

Interested? Please contact: mathlab@amplify.com or 919.794.6516 For more information visit: www.amplify.com/junior-designers-nc

ART CLASSES

Taught in small groups, ages 5-adult. www.lucysartstudio.com 919-410-2327

YOUR AD HERE

Back Page ads start at just $23 for a 2-line ad.

For details, call 919-286-6642 or email classy@indyweek.com

BARTENDERS NEEDED MAKE $20-$35/HOUR Raleigh’s Bartending School 676.0774 www.cocktailmixer.com 1-2wk class

© 2013 Amplify Education, Inc. All rights reserved.

SELL YOUR CAR FAST!

You give us $20, we’ll run a 20 word ad with a color photo for 4 weeks. Call 919-286-6642 or emailclassy@indyweek.com

BEGIN TAI CHI & AIKIDO

Starts Jan. 6. Aikido for kids M, W, Sat. Hillsborough. info@openskymartialarts.com 919-732-6367.

GARDENS TO DIE FOR

Find Peace, Beauty, and Abundance in your own yard! Mark N. Jensen. 919-528-5588 GardensToDieFor.com

PUBLIC SPEAKING CLASS AT BURNING COAL THEATRE

Monday Nights, 7-10pm, $145. January 18 - February 8th, 2016. Call 919-834-4001 to register

VIDEO YOUR WEDDING, BAND GIG, PLAY, OR EVENT!

HELP KEEP DOGS WARM!!

Coalition to Unchain Dogs seeks plastic or igloo style dog houses for cold dogs in need. To donate, please contact Amanda at director@unchaindogs.net.

HOME REPAIR SPECIAL

GLAMOUR MODELS NEEDED

T’AI CHI

JANUARY - 50% off initiation fee. Newly Renovated! Indoor/Outdoor Tracks, Saline Pool, Group Fitness, Strength/Cardio Equipment, Yoga, Pilates, Tai Chi, Personal Training, Nutrition & Weight Loss, Therapeutic Massage.

Call Today! 919-660-6660 or www.dukefitness.org

At ERUUF, Durham & ArtsCenter, Carrboro.

RICHARD BADU, 919-724-1421, rbadu@aol.com

NINTH STREET DANCE

Need Support? Let AppleBuddy help you. Call 919.740.2604 or log onto www.applebuddy.com

FITNESS STARTS HERE! WORK OUT WITH US AT DUKE HEALTH & FITNESS CENTER.

DANCE CLASSES IN SWING, LINDY, BLUES, CHARLESTON

Shoot. Edit. Burn. Upload. 919.357.3764 ted@tedtrinkausvideo.com

GOT A MAC?

Traditional art of meditative movement for health, energy, relaxation, self-defense.

Classes/workshops throughout the Triangle.

Magic Tortoise School - Since 1979. Call Jay or Kathleen, 919-968-3936, or Lao Ma: 919-542-0688. www.magictortoise.com

English, Biology, Chemistry, Physics, History, Geography, Economics Enthusiastic professional with teaching certificate/university degree?

Gain career-enhancing international experience!

E-mail resume to Beijing Royal School: brshr@brs.edu.cn Mention INDY in title. Highly competitive salary, great benefits!

Place an ad in the Professional Services section for 4 weeks, get 2 extra weeks FREE! Ads start at $19/week. 919-286-6642 or e-mail classy@indyweek.com

For film/print work. 919-949-8330

919.286.6642

Workshops: Somatic Improv 1/16, Lyrical 1/23, Tango 1/30 Classes for people of all shapes/sizes in: ballet, tap, lyrical, hip-hop, salsa, swing, break, African, more. www.ninthstreetdance.com

LIVING MINDFULLY

RELAX. REFLECT. RESTORE. With KD KRAMER at Spira Pilates Studio, Carrboro.

Free intro classes: Jan 12, 12PM and Jan 13, 8AM. Starting Jan 19-classes every Tues. at Noon and every Wed. at 8AM.$15/ class, 6 classes for $80. mndfl.living@gmail.com

MARK KINSEY/LMBT

Feel comfy again. 919-619-NERD (6373).

Durham, on Broad Street. NC Lic. #6072.

BUCK NEKKID

Men's Skyclad Yoga The Triangle, NC http://www.meetup.com/Skyclad-Yogaof-the-Triangle/

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Weekly deadline 4pm Monday • classy@indyweek.com IS IT HARD TO IMAGINE LIFE WITHOUT WEED?

HIRE THE BEST!

LOTUS LEAF GIFTS/APPAREL

NEED HELP ASSEMBLING YOUR HOLIDAY ONLINE ORDERS?

Do you want to stop, but can’t? We Can Help!

Marijuana Anonymous: www.NorthCarolinaMA.ORG 919-886-4420 410 W. Geer St, Durham. Your local source for healing crystals and stones, Himalayan salt lamps, singing bowls, meditation cushions, jewelry, tarot cards, casual bohemian wear & fun yoga apparel. Info: lotusleafimports.com or 512-350-3250

Find the best candidates for your job opening in the INDY! Employment ads start at 70 cents/ word/week. Call INDY Classifieds: 919-286-6642 or email classy@indyweek.com

Call 336-227-3781 or visit SHOFFNERHOMELAND.COM. Home Repairs/ Remodeling: now offering Assembly/ Installations for Home, Patio, Yard & Garden.

Serving Orange & Alamance Co.

NOELLE PAULL- PET SITTER EXTRAORDINAIRE!!

Available for overnight stays, can give meds incl. sub-q & intramuscular injections. 19 years kennel texch experience. Excellent references!

919-815-8956 or paullnoelle@hotmail.com

OLD FASHIONED HANDYMAN!

Appliance installation/repair; Equipment, Plumbing & Electrical repair; Fencing; HVAC ; Preventative maintenance; Roofs/Gutters.

Profits support Pleasant Drive Animal Rescue. 919-904-9025 ACHfixit@gmail.com

There’s always MORE ONLINE! indyweek.com

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