INDY Week 1.17.18

ra l e i g h

1|17|18

A LETTER TO MY

RAPIST I WAS SE XUA LLY ASSAU LT E D AS A T EEN AG ER .

I ’M ST I LL H E A LI N G .

BY C AI TLI N P E NNA PAGE 10

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WHAT WE LEARNED THIS WEEK VOL. 35, NO. 3 6 “Black guys counting my money! I hate it. The only kind of people I want counting my money are short guys that wear yarmulkes every day.”

DEPARTMENTS 6 Triangulator 8 News

8 Last year, the Durham County Detention Facility turned over fifty-seven people to Immigration and Customs Enforcement.

22 Music 25 Food 27 Arts & Culture

10 “‘I need to file a report on a rape that happened seven years ago,’ I told the police officer. ‘I can’t help you with that,’ he replied.”

30 What to Do This Week 33 Music Calendar 37 Arts & Culture Calendar

22 The surrealistic animation of people like Ralph Bakshi manifests in complex, bizarre, nearly comical juxtapositions in the music of Durham electronic musician Hanz.

25 Conveyor-belt sushi was invented in 1958 by an understaffed chef at a busy restaurant in Osaka, Japan.

29 With its racial slurs and slut-shaming, A.R. Gurney’s 1988 epistolary drama, Love Letters, feels especially current.

Durham’s Rockin’ Rolls Sushi Express uses a conveyor belt.

PHOTO BY CAITLIN PENNA

ON THE COVER PHOTO BY TAYLOR MCDONALD

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle Coming February 21:

Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 1.17.18 | 3

NCDOT TO HOLD PUBLIC MEETING JANUARY 30 FOR THE PROPOSED INTERCHANGE IMPROVEMENTS ON I-40 AT AIRPORT BOULEVARD WAKE COUNTY TIP No. I-5700 The N. C. Department of Transportation will hold a public meeting in January regarding project I-5700 which proposes to make improvements to the I-40 interchange at Airport Boulevard. Two alternatives are being considered at this location, a Diverging Diamond Interchange and a Partial Clover Interchange.

The meeting will be held on Tuesday, January 30th at the LaQuinta Inn and Suites, located at 101 Hospitality Court in Morrisville from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. NCDOT representatives will be available to answer questions and receive comments regarding the project. Please note that no formal presentation will be made.

Citizens will also have the opportunity to submit comments and questions in writing. Comments received will be taken into consideration as the project develops. Please note that comments should be submitted on or before February 14, 2018.

The public can view maps displaying the location and design of the project as they become available online at http://www.ncdot.gov/projects/publicmeetings.

Anyone desiring additional information may contact Mr. Bob Deaton, NCDOT Project Manager by phone at (919) 707-6017 or by email at rdeaton@ncdot.gov.

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe DESIGN DIRECTOR Shan Stumpf STAFF WRITERS Thomas Goldsmith,

Erica Hellerstein, Sarah Willets MUSIC EDITOR Allison Hussey COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Caitlin Penna CHIEF CONTRIBUTORS Amanda Abrams, Jim Allen, Elizabeth Bracy, Timothy Bracy, Michaela Dwyer, Katie Jane Fernelius, Curt Fields, Spencer Griffith, Glenn McDonald, Neil Morris, Hannah Pitstick, Noah Rawlings, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERN Emma Parna Gomes

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers

CIRCULATION

CIRCULATION DIRECTOR Brenna Berry-Stewart DISTRIBUTION Laura Bass, David Cameron,

Nathan Fellers, Michael Griswold, JC Lacroix, Richard David Lee, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Trudi Vass

ADVERTISING

ADVERTISING DIRECTOR Stephanie Miller SENIOR ACCOUNT EXECUTIVE Sarah Schmader ACCOUNT EXECUTIVE Kim Cordray, Hanna Smith CLASSIFIEDS ACCOUNT EXECUTIVE Kim Cordray

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NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Ms. Diane Wilson via e-mail at pdwilson1@ncdot.gov or by phone at (919) 707-6073 as early as possible so that arrangements can be made.

Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494.

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In respon submit th Julie M. K had alrea the only p petition y ber us a b million N are there? my guess. who are health car to help bu denied ev because w probably the state permit its access to nearly ev does), but state pol ately ensu “This a heard th for 2018 A been mo Decembe in person I was su I didn’t y income. I my previ and repli break $10 minimum gatekeepe also chan suggested way so th lack of si the sixth my health him, then not equal I’ll turn f pate endu uninsured enough to A recen lic, If You an impas bee: “I ha

backtalk

The History & Evolution of the Outhouse

since the 1960s. This nation suffered eight In response to our request for readers to years under a Muslim trained and educatsubmit their most heartfelt wishes for 2018, ed as a communist/socialist anti-American Julie M. Kemper writes to say that her wish DNC stooge, but your paper is savagely antihad already been denied. “But since I’m not Trump. In a couple of weeks, I am going to the only person in this situation, I’ll write to a class on ‘The History & Evolution of the petition your newspaper to please rememOuthouse.’ I think I will bring a copy of your ber us a bit more. If there are roughly ten paper as a show-and-tell extra. People who million North Carolinians, how many of us are familiar with how an outhouse system are there? Maybe eight hundred thousand is works will recognize how your paper is permy guess. We are North Carolinian citizens fect for that system.” who are politically denied access to any Sick burn, bro. health care. We want health care, would like In other matters, an article by Amanda to help buy into our health care, but we are Abrams about the effects of gentrification denied even the possibility of access. Not in Durham’s East End was a popular topic because we don’t qualify for Medicare (we online. “While I think it’s probably do), nor because important to highlight the state cannot afford to some of the unscrupulous permit its poorest citizens “This nation behavior by individuals, access to Medicare (as suffered eight it distracts from the real nearly every other state structural remnants of does), but because certain years under a racism that got us to this state politicians deliberMuslim trained point,” writes AndrewL. ately ensured our denial.

“The real problem is this “This autumn, when I as a communist engrained notion that heard that the deadline DNC stooge.” we can kick black people for 2018 ACA sign-up had around to different neighbeen moved up to midborhoods as we see fit.”

December, I actually went Ron Bonzani points to underlying causes in person to an ACA gatekeeper to ask how as well: “Disgusting. Not a word about the I was supposed to know if I qualified if social, political, or economic forces that I didn’t yet know the results of my 2017 allowed the neighborhoods to get so bad income. I was told to guestimate, based on in the first place. Local, municipal, and my previous tax returns. I’m an optimist state governments have never cared about and replied that I hoped in 2017 I would black neighborhoods, and that’s why slum break $10,000, which was North Carolina’s lords were allowed to flourish. Then twenminimum last year to qualify for ACA. The ty years later, some white folks come in gatekeeper informed me that the minimum and say, ‘Hey at least we’re better than the also changed: as of now, it’s $12,600. He slumlords!’” suggested I contact [the government] anyRon Corey says he doesn’t get the area’s way so that I won’t get tax-penalized for the attractiveness. “I can never see any reason lack of sign-up (which I’ve done now for that anybody would pay the prices on housthe sixth year). He also suggested that I get ing or rent that are being pushed right now my health care through a charity. I thanked in these new apartments and small houses him, then reminded him that charity does or old refurbished houses. All these folks not equal health insurance. It just doesn’t! are living about two blocks or half a mile I’ll turn fifty-seven in a few days. I anticiaway from a shooting or drug deal or high pate enduring the constant dread of being unemployment and blight.” uninsured for a sixth year, hoping I live long enough to qualify in 2019.”

Want to see your name in bold? Email us at A recent Soapboxer column—“A Repubbacktalk@indyweek.com, comment on our lic, If You Can Keep It” [January 3]—drew Facebook page or indyweek.com, or hit us up an impassioned rant from Robert Huckaon Twitter: @indyweek. bee: “I have not seen so much hate and crap

T

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OCTOBER 1973: Donald Trump and his father, Fred Trump, are accused by the Department of Justice of refusing to rent apartments to African Americans. The case was settled two years later. The Trumps did not admit guilt. From The Washington Post: “Two former Trump employees … were quoted in court documents as saying they were told that the company wanted to rent only to ‘Jews and Executives’ and ‘discouraged rental to blacks.’”

MARCH 1978: The DOJ accuses Trump of not living up to the terms of the 1975 settlement and continuing not to rent to African Americans.

MAY 1989: In a full-page New York Daily News ad,

FEBRUARY 2011: Trump tells the conservative gathering CPAC, “Our current president came out of nowhere.

Came out of nowhere. In fact, I’ll go a step further. The people that went to school with him, they never saw him.

They don’t know who he is.” (This is false.)

MARCH 2011: On The View, Trump embraces birther-

ism: “I was a really good student at the best school. I’m like a smart guy. They make these birthers into the worst idiots. Why doesn’t he show his birth certificate?”

JUNE 2013: Trump tweets: “Sadly, the overwhelming

amount of violent crime in our major cities is committed by blacks and hispanics [sic].” (This is false.)

Trump calls for the execution of the Central Park Five, five black and Latino teenagers accused of raping a white woman in Central Park. They were later exonerated based on DNA evidence, but Trump refused to concede their innocence, calling the city’s $41 million settlement with them a “disgrace.”

1991: A book by John O’Donnell, a former president of Trump Plaza Hotel and Casino in Atlantic City, quotes Trump complaining about a black accountant: “Black guys counting my money! I hate it. The only kind of people I want counting my money are short guys that wear yarmulkes every day. … I think that the guy is lazy. And it’s probably not his fault, because laziness is a trait in blacks. It really is, I believe that. It’s not anything they can control.”

OCTOBER 1992: A New Jersey appeals court upholds a $200,000 judgment against the Trump Plaza Hotel and Casino after managers removed black and women dealers to cater to a mobbed-up high roller’s prejudices.

FEBRUARY 2000: To stop a competing casino from opening in the Catskills, Trump runs newspaper ads showing hypodermic needles and drug paraphernalia, saying, “The St. Regis Mohawk Indian record of criminal activity is well documented.”

SEPTEMBER 2010: Trump tells David Letterman that Muslims should not build a mosque in Lower Manhattan, near Ground Zero: “Well, somebody knocked down the World Trade Center. … Well, somebody’s blowing us up. I mean, somebody’s blowing up buildings, and somebody’s doing lots of bad stuff, David.”

6 | 1.17.18 | INDYweek.com

triangulator

A HISTORY OF DONALD TRUMP’S RACISM, ABRIDGED

JUNE 2015: Announcing his candidacy for

president, Trump says, “When Mexico sends its people, they’re not sending their best. … They’re sending people that have lots of problems, and they’re bringing those problems with us. They’re bringing drugs. They’re bringing crime. They’re rapists. And some, I assume, are good people.”

MAY 2016: Trump criticizes the judge

overseeing lawsuits against Trump University as inherently biased because he’s of Mexican descent.

AUGUST 2016: Trump makes a pitch to black voters: “You’re living in poverty, your schools are no good, you have no jobs, 58 percent of your youth is unemployed. What the hell do you have to lose?”

JANUARY 2017: President Trump

signs an executive order banning all refugee admissions and temporarily barring people from several majority-Muslim countries.

AUGUST 2017: After white supremacists march in Charlottesville and an antifascist demonstrator is murdered, Trump repeatedly says “both sides” are to blame, adding that there were “some very fine people” among the white supremacists. He later calls Confederate monuments “our heritage.”

SEPTEMBER 2017: At a rally in Alabama, Trump attacks NFL players who kneel during the national anthem to protest racism and police brutality. Advising his supporters to boycott the NFL, he says, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now. Out. He’s fired. He’s fired!’”

DECEMBER 2017: Trump reportedly says that

people who come to the U.S. from Haiti “all have AIDS” and laments that Nigerian immigrants don’t “go back to their huts.”

JANUARY 2018: Trump asks a group of lawmakers, “Why are we having all these people from shithole countries come here?” referring to Haiti and countries in Africa. He also says he wants more immigrants from places like Norway, which, obviously, is mostly white. (Trump later denies making that comment about Haiti— but not about African countries.)

A United Nations spokesperson calls Trump a “racist.”

+MORAL POISON

The Reverend William Barber II again took up his campaign against Raleigh lawyer Thomas Farr’s nomination to the federal bench last week. On Time magazine’s website, Barber blasted Trump’s nomination as “moral poison.”

“I’ve spent my whole life in North Carolina, and I know Farr,” Barber wrote. “I know what he’s done, what he stands for, and just how detrimental he will be to his constituents if confirmed.”

Barber, the co-chairman of the Poor People’s Campaign, continued, citing scripture to make his case: “Amos 5:15 says, ‘Hate evil, love good; maintain justice in the courts.’ To place someone who shows conspicuous contempt for equal protection under the law and a racist mind-set is not only the wrong use of the judiciary, it is an offense of the moral law of God.” This isn’t the first time Barber, a Goldsboro pastor and former leader of the state NAACP, has voiced his concerns about Farr in the national press. In late December, he wrote an op-ed for The New York Times, also in opposition to Farr’s appointment, citing Farr’s past association with Senator Jesse Helms and his advocacy for voter-ID legislation that courts have found discriminatory.

Barber’s thousand-word-plus piece in Time joins a series of protests against Farr, who received a favorable recommendation from the Senate Judiciary Committee last year, then saw his nomination returned to the White House. North Carolina’s U.S.

senators, Richard Burr and Thom Tillis, strongly support Farr.

So does Dallas Woodhouse, executive director of the state Republican Party, who calls Barber’s piece an example of racebaiting that dishonors Farr, whom Woodhouse describes as “a man of character, honor and distinction.” If, like Barber, public figures criticize lawyers for representing the state of North Carolina, “Many Democrats will be affected,” Woodhouse says.

Trump has sent the nomination back to the Senate, where it will require a vote from a newly constituted judicial committee containing Democratic senators Kamala Harris of California and Cory Booker of New Jersey. Booker, in particular, has been critical of Farr’s nomination, citing the INDY’s reporting to demand more information about Farr’s role in Helms’s voter-suppression efforts in 1990.

Even so, Woodhouse predicts, “He will be confirmed and he will be on the court.”

+CASE (ALMOST) CLOSED

Eight people accused of taking part in the dismantling of a Confederate monument in Durham this summer are no longer facing felony charges.

The group had faced felony charges of inciting a riot, but Durham County District Attorney Roger Echols told the INDY last week that “our intent is to try defendants only on the misdemeanors.”

The arrestees appeared in court Thursday

morning. All of their cases were continued to February 19. Judge Fred Battaglia scheduled the cases for trial that day and said they should be resolved then.

Initially, twelve people had been charged in connection with the toppling of the Main Street monument on August 14.

Charges were dropped against three people, and a fourth took a deferred dismissal, contingent upon completing community service and paying restitution.

“We have the whole community of Durham behind us, and the whole world is watching,” said Raul Jimenez, one of the people charged.

Takiyah Thompson, also charged, said the decision to pursue just misdemeanor charges shows “they don’t have a strong case” against the defendants. Thompson said she’s ready for the cases to go to trial and for her and her fellow defendants to regain “some normalcy” after months of demonstrations, court appearances, and threats.

“It just feels like we’re one step closer to being done with this,” she said.

In a press conference outside the courthouse, demonstrators continued their calls for all of the charges to be dropped.

Echols said the cases were expected to go to trial Thursday but couldn’t because of a scheduling conflict. His office filed an additional misdemeanor charge against each person for conspiring to damage a public monument. triangulator@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. FOOD • NEWS • ARTS • MUSIC

This week’s report by Jeffrey C. Billman, Thomas Goldsmith, and Sarah Willets.

PERIPHERAL VISIONS | V.C. ROGERS

INDYWEEK.COM INDYweek.com | 1.17.18 | 7

indynews Held Over ICE WANTS LOCAL JAILS TO KEEP SUSPECTED UNDOCUMENTED IMMIGRANTS LOCKED UP EVEN AFTER CHARGES ARE RESOLVED. THE DURHAM COUNTY SHERIFF’S OFFICE IS COMPLYING.

BY SARAH WILLETS

S

hortly after the president’s inauguration, the Trump administration announced a directive expanding which immigrants would be prioritized for deportation and calling for more partnerships with local law enforcement to make that happen. The administration also put out a plan to shame those agencies that didn’t comply.

For a few weeks, the Department of Homeland Security published a Declined Detainer Report, highlighting jurisdictions that refused to honor detainer requests from Immigration and Customs Enforcement to keep people who have been booked into local jails longer because ICE suspected they are subject to deportation. The reports, some of which contained errors, were quickly criticized by sheriffs and halted, but the administration’s effort to extend the reach of immigration enforcement through local jails didn’t end there. The use of immigration detainers is rising nation8 | 1.17.18 | INDYweek.com

wide—including in Durham.

Although the Durham County Detention Facility doesn’t directly partner with ICE through its 287(g) program and has waffled on whether it participates in another program, known as Secure Communities, that facilitates so-called ICE holds, the Sheriff ’s Office is receiving more detainer requests than in recent years, and more people are ending up in ICE custody.

According to information provided by Sheriff ’s Office spokeswoman Tamara Gibbs, fifty-seven people were taken directly into ICE custody after being issued detainer requests while they were at the Durham jail in 2017, up from forty-nine in 2016 and thirty-two in 2015.

A detainer request is essentially a request from ICE that a jail hold a person booked on local charges for up to forty-eight hours after those charges have been adjudicated so that ICE can assume custody. ICE typically learns that a potentially deportable

person is in jail when fingerprints and other information taken at intake make their way up to federal databases. In North Carolina, jails send fingerprints to the State Bureau of Investigation so the SBI can check for outstanding charges; the state’s database is linked with FBI records.

ICE touts the practice as a way to identify and apprehend immigrants who pose a public safety threat. But immigrant rights advocates—and some judges—have raised questions about the constitutionality of detainers because they let local officials hold people beyond when they would have ordinarily been released.

Last year, a Texas judge ruled that the Bexar County sheriff violated a man’s Fourth Amendment rights by holding him on a detainer after criminal charges were dismissed. In July, Massachusetts’s highest court ruled that neither state nor federal law gives local officials authority to enforce immigration detainers. Multiple courts

ham jail Central A African c Accord the rise n ed, but it’s guration.

July 2017 ber 2013.

Howev requests r ICE custo that infor Informati Trump a details ab ICE is wi detainer their age g convictio that infor Nitin gration a increase i potential ham jail— he says, “t “I’ve ne ored,” say about a ye says, peop for drivin hold, and takes par that allow gration en quickly m Detention immigrat taken. A r identified have said detainers amount to a new arrest condition requiring probable cause under the Fourth ment at th “What Amendment.

According to Syracuse University’s these det Transactional Records Access Clearing- city coun house, the number of detainer requests sent about he to the Durham jail had already surpassed totals for 2015 and 2016 by July 2017.

The numbers are still significantly lower than during the Obama administration, but after years on the decline, the recent uptick Here‘s represents a reversal that is taking place across the county.

Detainer usage peaked around 2011 and took a significant dip after 2014, when the Obama administration prioritized for deportation only people who had been convicted of serious or repeated crimes. 2015 The decrease played out locally as well. In 2016 2010, the Durham jail received 291 detainer requests, about five times as many as it got 2017 in 2015, according to TRAC. Most people held under detainer requests at the Dur-

BEH

ham jail were originally from Mexico or Central America, while a few were from African countries.

According to TRAC, detainer use was on the rise nationally before Trump was elected, but it’s sharply increased since his inauguration. More detainers were issued in July 2017 than in any month since November 2013.

However, it’s unclear how many of those requests result in a person being taken into ICE custody. ICE had previously released that information to TRAC via Freedom of Information Act requests, but under the Trump administration a range of basic details about ICE holds is being withheld.

ICE is withholding whether the subjects of detainer requests have a criminal history, their age group, and their most serious past conviction. TRAC is suing for the release of that information.

Nitin Goyal, a Durham-based immigration attorney, says he has observed no increase in the number of calls he gets from potential clients with ICE holds at the Durham jail—one about every two weeks. But, he says, “they’re always honored.”

“I’ve never heard of them not being honored,” says Goyal, who opened his practice about a year and a half ago. Generally, Goyal says, people are booked in Durham (often for driving while impaired), issued an ICE hold, and taken to Wake County, which takes part in the federal 287(g) program that allows local officials to carry out immigration enforcement. From there, they are quickly moved to the privately run Stewart Detention Center in Georgia, where most immigration detainees from this state are taken. A recent Homeland Security report identified delayed medical care, unhygienic conditions, and misuse of solitary confinement at the facility.

“What Durham needs is to stop honoring these detainer requests,” Goyal says. “The city council is passing all these resolutions about helping immigrants and refugees,

but they’re doing absolutely nothing on the ground to help.”

Indeed, Gibbs says “all detainers are honored at the DCDF.” According to Gibbs, when the jail receives a request to hold a detainee, an immigration officer interviews that person and the person is held until he or she is released to ICE, sent to another county, or released by a judge. Gibbs says federal officials do not disclose the reason for the detainer to the Sheriff’s Office.

In 2015, of fifty-five detainer requests, thirty-two resulted in the person being released into ICE custody. Thirteen detainees were released to other counties (in which case the ICE hold goes with them), and in ten cases the hold was canceled. The following year, seventy-two detainer requests were issued, forty-nine of which resulted in ICE taking custody. Eleven detainees were transferred to other counties, four holds were canceled, and in eight cases the detainees remain at the Durham jail.

Of the 114 holds issued last year, fiftyseven detainees were released into ICE custody, and another twenty-two were released to other counties. In twenty-seven cases, the subjects of detainer requests are still at the Durham County jail, and in eight cases the detainer request was canceled.

As the INDY reported last summer [“Cut the ICE,” June 21], eighteen-year-old Jairo Garcia del Cid was put into removal proceedings after ICE sent a detainer request for him to the Durham jail. Garcia del Cid, who fled gang violence in El Salvador, had been booked at the jail on a larceny charge and was kept there for two days after the district attorney’s office dismissed the case.

According to the Executive Office of Immigration Review, Garcia del Cid was ordered removed from the country in November. Ten months after being arrested by Durham police, he is still being held at Stewart Detention Center. swillets@indyweek.com

BEHIND BARS, WITHOUT CHARGE

Here‘s what happens when ICE requests a hold in Durham County.

RELEASED TO ICE

RELEASED TO ANOTHER COUNTY

2015

32

10

13

0

55

2016

49

4

11

8

72

2017

57

8

22

27

114

DETAINER CANCELED

STILL IN DCDF

TOTAL

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM

SOURCE: DURHAM COUNTY SHERIFF'S OFFICE

INDYweek.com | 1.17.18 | 9

A L ET T ER TO M Y R APIST I WAS SEXUALLY ASSAULTED AS A TEENAGER. I’M STILL HEALING.

BY CAITLIN PENNA

It was August 2010.

I was fifteen at the time, and you were eighteen. We were dating. We’d planned on camping and drinking with two other friends, but what happened next was totally out of my control.

I had smoked K2—synthetic marijuana—for the first time, and drank just a little. I lay in that tent watching the ceiling spin. My body couldn’t move. I was frozen. No one told me what K2 would do to me. No one told me how lucky I was that I didn’t have a heart attack.

I remember saying, “No, no, no.”

With my body frozen, but my eyes still able to see, I watched you take off my shorts and rape me.

Photo on this page by Taylor McDonald All other photos by Caitlin Penna 10 | 1.17.18 | INDYweek.com

stopped. I tried to invest in relationships, but I couldn’t; I felt so guilty about what had happened to me. I always thought it was my fault. I was afraid that whoever I dated would find out. I didn’t know what was wrong with me.

It wasn’t until I told my therapist about these problems that I learned that the trauma is why I am the way I am. The Top: An officer lets the detective know that I’ve arrived trauma of pure manipfor my interview. Bottom: I wrote down my thoughts ulation, of verbal and after the interview. emotional abuse, of you taking advantage of me when I was completely vulnerable. That’s something I have to live Not once, but seven times, at least accordwith every day. It wasn’t until all of this ing to what you told people afterward: “I hit came to light that I realized the trauma had it seven times,” you said. ruined so many relationships. I began havMy reputation suffered. You treated me ing flashbacks and daily anxiety attacks; like garbage. You manipulated me—and you the stress got me so sick, I threw up everystill do to this day, by telling others I’m a thing I ate or drank for three months. I lost slut and then coming back to me and trying nine pounds—and I only weighed 110 to to be my friend. begin with. I was so weak, I couldn’t drive. I It wasn’t until after I attempted suicould barely walk. cide four months after you raped me that a In July 2016, my psychiatrist diagnosed social worker told me what had happened me with post-traumatic stress disorder and was “date rape.” I was in shock. Since I functional dyspepsia, a chronic disorder wasn’t beaten, it never occurred to me that that occurs when the nerves in your stomI was raped. ach send the wrong signals to your brain, “Do you want to press charges?” she asked. causing stomach acid to build up, nausea, “No,” I replied. I was confused and unstaand vomiting. It stems from PTSD, anxiety, ble. I didn’t know what to do. I had just tried and depression, I learned. to commit suicide.

Then, one day at work—I was a photogSix years passed, and I was still broken. rapher at the Henderson Daily Dispatch—I Every time your name came up, my heart

My now-former boyfriend (who was not my assailant) holds me after the interview with the police. I couldn't stop crying.

was assigned to photograph a “safe space” for kids who have been physically, sexually, and emotionally abused. After listening to some of their horror stories, I told myself, “If a four-year-old can sit in front of a jury and explain to them what Uncle Jim did to him in detail, I can take my case to the police. I can sit in front of that jury and tell my story.”

And so, in February of last year, I finally filed a report with the Raleigh Police Department. A month later, the Wake County District Attorney’s Office rejected my case. He-said, she-said, they said.

I guess I expected that. There was no physical evidence, after all, and seven years had passed since it happened, so there wasn’t much chance of a successful prosecution. But I didn’t expect the healing I got from this experience.

I’m telling my story for myself, as a way to confront what happened to me and deal with it. But I’m also telling it for other women who may be afraid to come forward, to speak up, afraid to be vulnerable again.

I want you to know that what you did is probably the worst thing anyone has ever done to me. But I’m a stronger person now, thanks to you, and I wouldn’t change that for anything.

My

heart was racing. My hands were soaking in sweat. My mind was going a mile a minute.

It was the summer of 2016. I’d just walked into the Raleigh Police Department. There were a half-dozen or so officers standing

around, chatting. One of them saw me and asked what I needed help with.

“I was raped.”

Every officer fled in a different direction, like when you flip on a light and cockroaches scatter. They wanted nothing to do with me or my allegation.

Then, I approached the desk officer and told him that my sexual assault had happened seven years ago. He looked at me and began asking every question imaginable: Why are you only reporting it now? Is this revenge? Where did the assault happen?

Who was there? I knew then how every single sexual assault survivor must feel when filing a report: terrified, anxious, ashamed, guilty, angry, depressed.

A detective who happened to be at the desk pulled me aside. He gave me a list of questions: Who raped me? How old was he? What was his birthday? Where did the assault take place? When? Why are you only speaking up now? He told me to bring back answers. Since I couldn’t bring back proof, I had to bring back a statement, printed out in black and white.

That list forced me to relive the trauma. Every time I speak about the assault and its aftermath, I’m opening up an old wound. I found out more information about you than I knew. I learned, for the first time, that you were eighteen when it happened, an adult who knew exactly what you were doing to me. You knew how to manipulate me.

This alone could have stopped me dead INDYweek.com | 1.17.18 | 11

My therapist, Megan Feather, tells me that many sexual-assault cases don't get past the district attorney’s office.

in my tracks, but I couldn’t let you win. Over the next six months, I continued with my therapy, which eventually pushed me to go back to the police, while I battled the panic attacks that never subsided and continuously second-guessed myself. But I knew I needed to do this—for me.

“I

need to file a report on a rape that happened seven years ago,” I told the police officer.

“I can’t help you with that,” he replied. It angered me to be immediately dismissed, but I persisted.

It was February 2017, six months after I’d initially gone to the police. I’d finally come back with the detective’s list in hand, the list that made me relive every single memory: the night it happened, how you assaulted me, how I woke up hurting down there, how how you treated me afterward, the rumors that spread like wildfire, every little detail my mind had suppressed. Memories I didn’t know existed.

I handed it over.

The officer took it, looked it over, and typed up a report. He gave me a sort of business card that had my case number on it and told me a detective would be in touch with me soon. The detective called about a week later. We set up a time to meet: March 8, 2017, seven p.m. I didn’t know it then, but this interview changed my life.

Not knowing what to expect, I went in quiet and cautious. The detective greeted me and sat me down in a room where the 12 | 1.17.18 | INDYweek.com

walls were white and the chairs were black.

It smelled clean. I felt terrified and anxious.

I looked to my right and saw the video camera recording me. I looked down and saw his notes. I looked up, and we began.

The questions were blunt and difficult to answer, but he was honest and kind. I needed that. He assured me that, after I left, he would have to call you. And he and I both knew this would raise issues that I didn’t know how to deal with. What were you going to do? I wondered. Will you threaten me?

For the next two days, I was a wreck. I couldn’t think straight. I couldn’t sleep.

On March 10, the detective called me while I was at work. He told me that he spoke with you, and you said you were really messed up and weren’t sure if the night I told him about was that night you assaulted me. But you didn’t tell him you assaulted me. You told him it was consensual, as if a fifteen-year-old girl stoned into paralysis could consent to anything. The detective took my case to the district attorney’s office, which declined to prosecute you.

Since it was my word against yours, they couldn’t charge you.

I get that the cops couldn’t do much for me. Still, seven years is a long time to deal with the trauma, the guilt, the manipulation; a long time to be suicidal, trying to ignore rumors, using drugs to suppress the pain, trying to move forward with my life, but ultimately not understanding why this happened to me and why it was so consuming.

What was I supposed to do? Face it?

Above: A single teardrop on an apology letter to my ex. Below: The moment I received a call from RPD informing me that the district attorney rejected my case. I realized it was over.

I was numb.

There were no more phone calls, no more interviews. I wasn’t going to court. You would never face a jury.

A week later, though, something wonderful happened: the pain, the anger, disappeared. I suppose my brain finally processed it.

It’s funny. Everyone says not to talk about your sexual assault. But for me, telling my story has become more than a healing experience. It’s shown me a new layer of myself that I hadn’t known existed. By telling others my story, I’ve been able to reflect on who I am—and to be a light in other people’s lives. By being vulnerable, I can help them heal, too.

When I originally posted this story to Instagram, someone reached out to me and said, “While my dilemma is nothing compared to what you went through, not even remotely

similar, your posts helped me get out of bed.”

Many people seem to think that after facing something like this, the trauma ends and you can go on with your life. But it’s never over. I’ll never heal, not completely, but I hope to continue to grow, to emerge from this experience with knowledge, strength, love, self-care, and a little more confidence.

You have closed so many doors in my past, but I refuse to let you control my future. I refuse to let your actions dictate how I feel or whom I can be vulnerable with. You’ve unwittingly taught me so much about myself. You’ve taught me how to fight for what’s right, not holding back but not letting go, either. I’ll continue to walk through every storm your actions throw my way, and I’ll continue to stand up for myself.

I won’t let you win again. backtalk@indyweek.com

NOTICE OF AVAILABILITY FOR REVIEW OF THE FEDERAL FINAL ENVIRONMENTAL IMPACT STATEMENT COMPLETE 540 – TRIANGLE EXPRESSWAY SOUTHEAST EXTENSION PROJECT TIP Project Numbers: R-2721, R-2828, & R-2829 The Federal Final Environmental Impact Statement (FEIS) for the Triangle Expressway Southeast Extension Project has been completed. This document is available for public review at the following locations: NCDOT District Office–Wake County 4009 District Drive Raleigh, NC 27607 919-733- 9499

Garner Planning Department 900 7th Avenue Garner, NC 27529 919-773- 4449

Capital Area Metropolitan Planning Organization 421 Fayetteville Street, Suite 203 Raleigh, NC 27601 919-996- 4400

Southeast Regional Library 908 7th Avenue Garner, NC 27529 919-662- 2250

Holly Springs Community Library 300 W. Ballentine Street Holly Springs, NC 27540 919-577- 1660

Knightdale Planning Department 950 Steeple Square Court Knightdale, NC 27545 919-217- 2241

Holly Springs Dept. of Planning & Zoning 128 South Main Street Holly Springs, NC 27540 919-557- 3908

Clayton Planning Department 111 East Second Street Clayton, NC 27520 919-553- 1545

Fuquay-Varina Community Library 133 S. Fuquay Avenue Fuquay-Varina, NC 27526 919-557- 2788

Hocutt-Ellington Library 100 S. Church Street Clayton, NC 27520 919-553- 5542

Fuquay-Varina Planning Department 401 Old Honeycutt Road Fuquay-Varina, NC 27526 919-552- 1429 An electronic version of the document is also available on the project website at www.ncdot.gov/projects/complete540/.

Please note: while representatives from each of these locations have agreed to make the FEIS available for public review, the staff at these locations are not prepared to answer questions about this project.

Comments regarding the FEIS may be submitted to NCDOT by mail to the attention of Rodger Rochelle, P.E., NCTA Chief Engineer, 1578 Mail Service Center, Raleigh NC, 27699-1578 or by email to complete540@ncdot.gov. A Design Public Hearing will be scheduled in early 2018.

INDYweek.com | 1.17.18 | 13

deep dive

EAT

BAGEL BAR

104 CITY HALL PLAZA, #101; 919-294-6661; BAGELBARBAGELS.COM A little slice of New York City right across the street from City Hall. The Bagel Bar, already a Chapel Hill staple, made a Bull City addition, where it’s serving up bagel sandwiches all day long.

EAT • DRINK • SHOP • PLAY

DOWNTOWN DURHAM

N

ot so many years ago, longtime Bull City denizens will tell you, you didn’t go downtown after dark. That’s no longer the case, not by a long shot. The last decade or so has seen an unbridled renaissance, with downtown Durham becoming a thriving hub for foodies and culture, a destination for folks from all over the Triangle. There’s something for everybody, from high-end concerts to DIY shows—like someone crammed all of a big city’s amenities into downtown’s relatively small confines.

Downtown ain’t what it used to be, and for that we’re grateful.

BEYÚ CAFFÉ

DASHI

415 EAST CHAPEL HILL STREET; 919-251-9335; DASHIRAMEN.COM If ramen isn’t your thing, venture upstairs to Dashi’s izakaya to enjoy smaller plates and late-night snacks while you sip sake. But if ramen is your thing, you’re in luck—from meaty to vegetarian, hot or cold, Dashi has something delicious for you.

341 WEST MAIN STREET; 919-683-1058; BEYUCAFFE.COM Stop by Beyù (pronounced be you) for any combination of drinks, coffee, food (from breakfast through dinner), and live music you want. At its core, the cafe is a jazz club inside of a coffee shop inside of a bar inside of a restaurant, all wrapped up in an unequivocally cool atmosphere.

BULL CITY BURGER AND BREWERY

107 EAST PARRISH STREET #105; 919-680-2333; BULLCITYBURGERANDBREWERY.COM Some of the freshest meat patties in town can be found at Bull City Burger. The restaurant and brewery makes almost everything inhouse and works with local farmers to get produce. Pair a burger and fries with a Bull’s IPA and you’ve got a perfect meal.

BULL MCCABES IRISH PUB

427 WEST MAIN STREET; 919-682-3061; BULLMCCABESIRISHPUB.COM

There’s no denying that Bull McCabes

MUST

PHOTO BY ALEX BOERNER

SALTBOX SEAFOOD JOINT

608 NORTH MANGUM STREET; 919-908-8970; SALTBOXSEAFOODJOINT.COM

If you drive by too quickly, you’ll miss it—and you don’t want to do that. Every morning, Saltbox proprietor Ricky Moore gets a delivery of fresh, never frozen, regional seafood, then quickly deep-fries it up until it’s gone, still juicy and not overwhelmed by grease. Expect a hefty wait come lunchtime, but you’ll keep going back regardless. Saltbox piles on with the fried shrimp plate, pairs its seasonal softshell crab with a wonderful aioli, and packs its fried catfish into a fresh roll topped with slaw. With only the freshest seafood around, Saltbox never disappoints.

14 • SPECIAL ADVERTISING SECTION • 1.17.18

PHOTO BY ALEX BOERNER

DOS PERROS

fills a void in the Bull City, with traditional Irish pub fare and plenty of Guinness to sip on. The large yard offers plenty of space to sprawl out and drink away the day, and there’s plenty of TVs showing whatever games are on.

200 NORTH MANGUM STREET; 919- 956-2750; DOSPERROSRESTAURANT.COM You literally can’t miss this bright yellow upscale Mexican restaurant. But don’t just look: go inside and get the chile relleno. And top off your meal with a margarita.

COUNTING HOUSE AT 21C

THE FEDERAL

111 NORTH CORCORAN STREET; 919-956-6760; COUNTINGHOUSENC.COM The art gallery at 21c is always free and open to the public, but dinner at the Counting House restaurant and bar downstairs is the boutique hotel’s pricey attraction. Get the charred okra and an Old-Fashioned, then check out the transparent bathroom stalls.

(Don’t forget to lock the door.)

DAME’S CHICKEN AND WAFFLES

919-682-9235; DAMESCHICKENWAFFLES.COM If loving chicken and waffles is wrong, we don’t want to be right. You won’t leave hungry, but you will wait in line.

914 WEST MAIN STREET; 919-680-8611; THEFEDERAL.NET This comfy neighborhood bar features beers from around the world and simple food that hits the spot. Its late-night fare is rivaled only by its out-of-this-world specials. Also: the nachos could feed a small army. Also: get the veggie sliders!

GEER STREET GARDEN

644 FOSTER STREET; 919-688-2900; GEERSTREETGARDEN.COM Tucked away in a former Gulf gas station, Geer Street cooks up down-home food with a conscience, including pasture-raised beef for its burgers. On Wednesdays, drafts are $3.50.

GOORSHA

910 WEST MAIN STREET; 919-588-4660; GOORSHADURHAM.COM In the Amharic language, goorsha refers to the act of feeding another person as an expression of love. This new Ethiopian restaurant has plenty of love on the menu, in the form of delicious injera, classic Ethiopian specialties, and plenty of vegan options, including yemisir kik, a red lentil dish.

GONZA TACOS Y TEQUILA

604 FERNWAY AVENUE; 919-907-2656; GONZATACOSYTEQUILA.COM Stop by this West Village joint for some delightful tacos, then follow them with a shot or two of tequila from Gonza’s wide selection.

KING’S SANDWICH SHOP

701 FOSTER STREET; 919-682-0071; KINGSSANDWICHSHOP.COM Since 1942, King’s has provided food that hits the spot in Central Park. Nestled on the corner of Geer and Foster, it’s worth a quick stop either on your way to a ball game or in between work meetings. Splurge and get a milkshake. You deserve it.

LITTLER

110 EAST PARRISH STREET; 919-374-1118; LITTLERDURHAM.COM This dinner-only restaurant is small—it only seats thirty-six—but it makes up for its size with a sophisticated, evolving food and drink menu. Reserve a dinner slot online.

LOAF

111 WEST PARRISH STREET; 919-797-1254; FACEBOOK.COM/LOAFDURHAM/ This bakery has fresh bread and delectable treats to tide you over during the day. Stop by in the morning to pick up a croissant, then come back on your lunch break to grab a quick flatbread.

LUCKY’S DELICATESSEN

105 WEST CHAPEL HILL STREET; 919-864-8841; LUCKYSDELINC.COM Not only does Lucky’s have fresh sandwiches—the eggplant parm is everything right with the world—but it also offers upNorth deli staples like matzo ball soup and herbed gravlax. You’ll think you died and went to Jersey.

LUNA ROTISSERIE & EMPANADAS

112 WEST MAIN STREET; 984-439-8702; LUNAROTISSERIE.COM Luna has some of the best empanadas around. But if you’re looking to shake your

the

Artisan Market

carnivorous ways, give the vegan chilibraised jackfruit patacon a try. (That’s jackfruit, slaw, cheese, and chili-lime mayo stacked between two plantains.)

M KOKKO

311 HOLLAND STREET, SUITE B; 919-908-9332; FACEBOOK.COM/MKOKKODURHAM/ Michael Lee’s second downtown Durham restaurant—M Sushi was the first—focuses on Korean fried chicken, chicken sandwiches, chicken-based ramen, and a few other things.

(Just a few: there aren’t many items on the chalkboard menu.)

M SUSHI

at 305

A TASTE OF ETHIOPIA

LUNCH • DINNER • FULL BAR

Glass, jewelry, photography, pottery, t-shirts and everything in between!

305 East Chapel Hill Street • Downtown Durham

The Artisan Market at 305

GF and Vegan Friendly

311 HOLLAND STREET; 919-908-9266; MSUSHIDURHAM.COM This isn’t your average sushi place. It’s better than that—and well worth finding tucked away off East Chapel Hill Street. M Sushi focuses on an omakase-style dining experience, while providing some of the freshest seafood in the Triangle.

MON-SAT 11:30AM-10PM SUN 12PM-9PM

MATEO BAR DE TAPAS

GOORSHADURHAM.COM

109 WEST CHAPEL HILL STREET; 919-530-8700; MATEOTAPAS.COM Mateo’s small plates have garnered rave reviews, and the sangria (with Cheerwine!) is excellent. But the thing you really want here is the pan con tomate: bread, olive oil, tomato paste, and, if you’re feeling frisky, manchego.

We can’t shut up about it.

OVER 40 NC ARTISANS

RECYCLE THIS PAPER

910 WEST MAIN ST HEART OF DURHAM 919-588-4660

MAYBELLE’S BISCUIT & BBQ

406 BLACKWELL STREET; 984-219-6345; FACEBOOK.COM/MAYBELLESBBQ/ At this new barbecue-and-biscuit joint in the American Tobacco Campus, you’ll find the staples: eastern North Carolina pulled pork barbecue, ribs, brisket, sides.

MOTHERS & SONS TRATTORIA

Durham’s Classic Burger Restaurant and Oldest Brewpub B U L L C I T Y B U R G E R A N D B R E W E R Y. C O M

107 E Parrish St • Durham • 27701

107 WEST CHAPEL HILL STREET; 919-294-8247; MOTHERSANDSONSNC.COM Mothers & Sons takes its inspiration from Italian families and seasonal fare. It also claims to be the first restaurant in the South to showcase handmade pasta.

NANASTEAK

345 BLACKWELL STREET; 919-282-1183; NANASTEAK.COM Right next to DPAC, NanaSteak ranks among Durham’s premier steakhouses.

Classic Neapolitan-style Pizza with Top Quality Ingredients POMPIERIPIZZA.COM

102 City Hall Plaza • Durham • 27701 1.17.18 • SPECIAL ADVERTISING SECTION • 15

Tabletop • Linens • Gifts • Decor Bridal Registry • Wedding Invitations 339 W Main St, Downtown Durham bungalowandco.com • @bungalow.and.co

SUPER SELECTION!

NINTH STREET BAKERY

136 EAST CHAPEL HILL STREET; 919-688-5606; NINTHSTBAKERY.COM Don’t let the name throw you off. This Bull City institution is smack-dab in the center of downtown. Stop by on your lunch break to snag a sandwich or pick up some fresh bread for the week.

OLD HAVANA SANDWICH SHOP

310 EAST MAIN STREET; 919-593-4006; OLDHAVANAEATS.COM Using locally sourced pork and produce, Old Havana offers up an authentic taste of Cuba in Durham.

PARKER & OTIS

CUSTOM FINISHING AVAILABLE The Rockwood Center 2501 University Dr. • Durham 919-401-5004 • Tues-Fri 10-6 • Sat 10-4

Q FO R

, SERVICE & PRICE UALITY

READY TO FINISH FURNITURE

Book Cases • Entertainment Centers • Desks • Dining Tables & Chairs ... and more

For all your winter weather needs: SLEDS! SALT! ICE MELT! SNOW SHOVELS! INSULATED CHICKEN DENS!

112 SOUTH DUKE STREET; 919-683-3200; PARKERANDOTIS.COM Nestled near Brightleaf Square, P&O offers sandwiches and salads to calm any hunger pang. And while you’re waiting for your food, take some time to peruse the eclectic mix of gifts and impulse buys.

THE PARLOUR

117 MARKET STREET; 919-564-7999; THEPARLOUR.CO If you haven’t had The Parlour’s salted caramel ice cream in a waffle cone, you haven’t lived. You can pick up a pint for home, too.

PARTS & LABOR AT MOTORCO

723 RIGSBEE AVENUE; 919-901-0875; MOTORCOMUSIC.COM/EATS Smack in the Rigsbee Avenue corridor, across the street from The Pit and Fullsteam and adjacent to the Motorco music venue, P&L does bar food right. Good drinks, good beer, good prices. Get the pretzels.

PIEDMONT RESTAURANT

401 FOSTER STREET; 919-683-1213; PIEDMONTRESTAURANT.COM With locally sourced ingredients, Piedmont highlights chef John May’s Southern roots.

The Firsthand Foods’ New York strip, with blue cheese, kale, and chimichurri, is almost legendary around here.

THE PIT 774 Ninth Street, Durham 919-286-7331 • barnessupplydurham.com Now open until 7pm! Sundays 10-5

Barnes

16 • SPECIAL ADVERTISING SECTION • 1.17.18

321 WEST GEER STREET; 919-282-3748; THEPIT-DURHAM.COM Like its Raleigh sister, this iteration of The Pit does whole hog barbecue in quintessential North Carolina fashion.

PIZZERIA TORO

105 EAST CHAPEL HILL STREET; 919-908-6936; PIZZERIATORO.COM Don’t let the long lines scare you away.

The inventively crafted wood-fired pizza— especially the timberlake potato, bagna cauda, and pecorino pie—is worth the wait.

POMPIERI PIZZA

102 CITY HALL PLAZA; 919-973-1589; POMPIERIPIZZA.COM Housed in a former fire station, Pompieri offers thin pies you cut with scissors and many locally sourced ingredients (including fresh mozzarella). Don’t get distracted by the fish.

RISE BISCUITS AND DONUTS

401 FOSTER STREET; 984-439-2220; RISEBISCUITSDONUTS.COM Not only does Rise have delicious donuts that make you question whether or not any other donut comes close, but it also features a wide selection of biscuit sandwiches.

ROSE’S NOODLES, DUMPLINGS AND SWEETS

121 NORTH GREGSON STREET; 919-797-2233; ROSESDURHAM.COM After four years of operating as a butcher’s market and pastry shop, Rose’s owners Katie and Justin Meddis decided to do something different. Earlier this year, they converted their Gregson Street digs into a sit-down, twenty-seat restaurant that focuses on local approaches and fresh ingredients. The commitment to quality, however, remains the same.

RUE CLER

401 EAST CHAPEL HILL STREET; 919-682-8844; RUECLER-DURHAM.COM This Parisian restaurant’s menu changes frequently, but the moules frites and beignets are always great.

SCRATCH BAKING

111 ORANGE STREET; 919-956-5200; PIEFANTASY.COM It’s all in the name (and pie) at Scratch, which is known for serving up pies whole or by the slice. You’ll want to stop by early and often. If pies aren’t your thing, the lunch offerings are pretty great. The roasted sweet potato salad is almost perfect.

TABERNA TAPAS BAR

325 WEST MAIN STREET; 919-797-1457; TABERNATAPAS.COM Can’t score a table at Mateo? Taberna offers killer small plates along with drink specials during the week, so you can indulge until your heart’s content. Don’t forget the flan.

TOAST PANINOTECA

345 WEST MAIN STREET; 919-683-2183; TOAST-FIVEPOINTS.COM Don’t let the name fool you: Toast is more than just warm bread. Stop by for soup or a panini on your lunch break, or drop by for a crostini to snack on.

TORERO’S MEXICAN RESTAURANT

800 WEST MAIN STREET; 919-682-4197; TOREROSMEXICANRESTAURANTS.COM If you’re looking for something quick, cheap, and authentic, Torero’s Mexican food will satisfy.

VICEROY

335 WEST MAIN STREET; 919-797-0413; VICEROYDURHAM.COM Viceroy has some British fare, but it leans heavily on its Indian roots, having been born from an Indian food truck. Make it a point to order the paneer.

DRINK

106 MAIN

106 EAST MAIN STREET; 919-593-0560; 106MAIN.COM With signature cocktails, a quality beer selection, and $3 wells on Thursdays, 106 Main is one of downtown’s best-kept secrets, offering a quieter, more intimate vibe than most of its competitors.

ARCANA BAR AND LOUNGE

331 WEST MAIN STREET; 919-973-1675; ARCANADURHAM.COM Arcana is a rare treat: a dim, cozy, casual, elegantly scruffy hideaway below street level, but one with unusually good bartenders. You can get a high-quality craft or classic cocktail (the Sazerac is dynamite) in a place that doesn’t make you feel like an investment banker, or spend like one.

Lightly, not overbearingly, tarot themed, and furnished with a ragtag collection of vaguely Victorian couches and lamps, Arcana also hosts a lively series of events, from intimate dance parties to adventurous dance performances.

ACCORDION CLUB

316 WEST GEER STREET; FACEBOOK. COM/ACCORDIONCLUBDURHAM A new kid on the Geer Street block, Accordion Club is a straightforward, affordable, and comfortable neighborhood bar that doesn’t quite qualify as a dive.

There’s a stellar draft list and a wide

assortment of bottles and cans, some of which are of the $2 Milwaukee variety.

There’s liquor, too, but you won’t really find anyone ordering fancy cocktails. Have yourself a whiskey, neat.

ALLEY TWENTY SIX

320 EAST CHAPEL HILL STREET; 984-439-2278; ALLEYTWENTYSIX.COM Featuring meticulously crafted—read: pricey—cocktails, Alley Twenty Six is where you take a date for that pre-dinner drink or nightcap. It also features a full kitchen that whips up dishes like the Alley Burger (black truffle cheddar, bourbon bacon jam, arugula, chipotle aioli, foie gras if you want it).

BULL CITY CIDERWORKS

305 SOUTH ROXBORO STREET; 919-237-2357; BULLCITYCIDERWORKS.COM In spring 2017, a year after Bull City Ciderworks had to leave its Elizabeth Street digs to make way for a new police station, Durham’s premier cidery reopened on Roxboro Street, in a comfy space perfect for kicking back and sipping on an Off-Main cider.

FULLSTEAM BREWERY

726 RIGSBEE AVENUE; 919-682-2337; FULLSTEAM.AG A destination for newcomers and locals alike, Fullsteam focuses on local ingredients and a wide variety of styles—the standby Paycheck Pilsner, sure, but also the sweet potato lager.

The taproom has a beer option for even the snobbiest of connoisseurs. Its kitchen has a wonderful collection of inventive small plates and bar snacks.

ATOMIC FERN

108 EAST PARRISH STREET; 919-908-8662; ATOMICFERN.COM The downtown social club is focused more on having a good time than offering specialty drinks in a glamorous setting. But it’s cheap, and we dig its board game selection.

THE BAR

711 RIGSBEE AVENUE; 919-956-2929; THEBARDURHAM.COM Durham’s premier LGBTQ bar has two distinct vibes: a neighborhood bar during the week and a full-on club on the weekends, with live DJs and plenty of dancing. Stop by for a drag show.

BAR BRUNELLO

117 EAST MAIN STREET; 919-294-4825; BARBRUNELLO.COM Owner Esteban Brunello certainly knows his wine. The Buenos Aires native is a bona fide expert, in fact, having worked at several of the Bay Area’s premier wine-focused restaurants and been named Rising Star Sommelier in 2013 by the culinary magazine StarChefs.

His knowledge—and just as important, his unbridled passion for the stuff—is evident at downtown’s newest wine bar.

BAR VIRGILE

105 SOUTH MANGUM STREET; 919-973-3000; BARVIRGILE.COM Nestled in a cozy, classy space within eyeshot of DPAC, Bar Virgile makes some of the finest cocktails around. The Boulevardier—like a negroni, only with bourbon instead of gin—is the best to ever pass our lips.

BEER DURHAM

404 HUNT STREET #110; 919-680-0770; BEERDURHAM.COM Not feeling the bar scene? No worries. Stop

by Beer Durham any day of the week and pick up a growler of your favorite brew, or try something new.

PHOTO BY ALEX BOERNER

CRITERION

347 WEST MAIN STREET Criterion features beer, booze, and a lowkey atmosphere in Five Points. High-backed booths offer privacy from the usual barroom distractions, and the beer and whiskey offerings are right on.

COCOA CINNAMON

420 WEST GEER STREET; 919-697-8990; COCOACINNAMON.COM As much a work of art as a refueling station, Cocoa Cinnamon has become locals’ go-to for a morning pick-me-up. If you don’t know what to get or want to try something out of your coffee comfort zone, the baristas will guide you in the right direction.

DURTY BULL BREWING COMPANY

206 BROADWAY STREET, #104; 919-688-2337; DURTYBULL.COM One of Durham’s latest breweries is a bit off the beaten path, but it’s worth going for the unique brews (e.g., the rice IPA) and barrelaged specialties.

PONYSAURUS BREWING COMPANY

219 HOOD STREET; 844-369-7669; PONYSAURUSBREWING.COM Terrific beers, a fantastic atmosphere, and a continuing rotation of terrific food trucks: you can’t go wrong with an evening at Ponysaurus.

The taproom offers not just a bar with a wide variety of Ponysaurus beers (get the Scottish ale) as well as a few guest taps, but also a gorgeous outdoor setting with picnic tables and grills, so you can cook your own food while watching the game on one of the large flat screens. There are few more idyllic places to spend a warm summer night.

POUR TAPROOM

202 NORTH CORCORAN STREET #200; 919-251-8985; DURHAM.POURTAPROOM.COM Go to the counter, let them swipe your card, get an orange wristband, grab a glass, and pick one of the dozens of drafts on the wall. Hold your wristband up to the tap; it will register how many ounces you’ve had—the beers are charged by the ounce—then pour. Don’t go all in on a pint. That’s no fun. Sample a variety 1.17.18 • SPECIAL ADVERTISING SECTION • 17

of three- or four-ounce pours. Then drop your wristband at the counter, and they’ll run your card (20 percent graituity included). It’s simple like that.

THE ROOF AT THE DURHAM HOTEL

315 EAST CHAPEL HILL STREET; 919-768-8830; THEDURHAM.COM/ROOF Take in the spectacular views of the ever-changing Durham skyline while imbibing at the (mostly) open-air rooftop bar. The rooftop offers some small plates, but if you’re looking for a full menu, venture downstairs to the hotel’s main restaurant.

SOCIAL GAMES & BREWS

1007 WEST MAIN STREET; 919-666-7555; SOCIALDURHAM.COM If you’re looking for skeeball, the right place to go in downtown is the Social. It has an impressive amount of space for all of your gaming needs and also hosts trivia and open-mic nights.

SURF CLUB

703 RIGSBEE AVENUE; 919-294-9661 Surf Club is Rigsbee Avenue’s laid-back neighborhood hang, fully equipped with shuffleboard, darts, bocce ball, and a pool table. With a killer beer selection, good whiskey aplenty, and a plethora of seating options, this is where to go when you don’t want to think about where to go.

SHOP

BULLDEGA URBAN MARKET

104 CITY HALL PLAZA, #100; 919-680-4682; BULLDEGA.COM Styled after many larger city bodegas, Bulldega offers the convenience of a grocery store with the products of a farmers market.

Stop by for a quick premade lunch, grab a missing ingredient for your dinner, or raid the well-stocked beer section.

BULLSEYE BICYCLE

102 MORRIS STREET; 919-438-3883; BULLSEYEBICYCLE.COM The centrally located bike shop offers a variety of brands and a helpful staff that can help you pick out your next set of wheels.

CHET MILLER

118 WEST PARRISH STREET; 919-683-3201; CHETMILLERSHOP.COM For fans of Parker & Otis, Chet Miller offers a lot 18 • SPECIAL ADVERTISING SECTION • 1.17.18

of the same options, just without the sandwiches.

Nestled on historic Parrish Street, this shop purveys gifts for anyone you can think of.

VERT & VOGUE

DOLLY’S VINTAGE

Vert & Vogue has offerings for both men and women, from high-quality denim to housewares and skin care products.

213 WEST MAIN STREET; 919-682-1471; FACEBOOK.COM/DOLLYSVINTAGE Dolly’s has an impressive mix of new and vintage with lots of Durham pride. Looking for a tweed coat for your next costume party and a gift for the host? Here you go.

353 WEST MAIN STREET; 919-797-2767; VERTANDVOGUE.COM

PLAY

501 FOSTER STREET; 919-794-8194; DURHAMCENTRALPARK.ORG From food truck rodeos to the weekly farmers market to jazz shows to open-air movie nights, Durham Central Park has something for everyone.

319 WEST MAIN STREET; 919-688-5747; THEEXOTIQUE.COM Exotique is more than just an international clothing store. It highlights both local and international artists as well as handmade goods.

DURHAM PERFORMING ARTS CENTER

FIFI’S FINE RESALE APPAREL

123 VIVIAN STREET; 919-680-2787; DPACNC.COM DPAC brings Broadway to the Bull City, hosting some of the top-rated shows in the country.

(Hamilton is coming in the 2018–19 season!) It also hosts concerts and comedy performances.

1000 WEST MAIN STREET; 919-806-3434; FACEBOOK.COM/FIFISOFDURHAM Brand-name clothing at a price that won’t jeopardize your rent payment? Head to Fifi’s.

MOTORCO MUSIC HALL

LETTERS BOOKSHOP

ROCK’S BAR AND HAIR SHOP

119 WEST MAIN STREET; 919-956-7625; ROCKSDURHAM.COM Stop in downstairs for a walk-in appointment or schedule one in the upstairs barbershop.

Either way, you get to chill out and enjoy a haircut with a cold craft beer.

RUNAWAY

212 WEST MAIN STREET, #102; 919-213-1081; RUNAWAYCLOTHES.COM Durham born and bred, Runaway encapsulates the city’s youthful grit.

SEVEN STARS CYCLES

104 WEST PARRISH STREET; 919-675-2435; SEVENSTARSCYCLES.COM Seven Stars sets itself apart from other bike shops with its affordable rentals.

409 BLACKWELL STREET; 919-956-BULL; DURHAMBULLS.COM Baseball is America’s pastime, right? Well, in Durham, you can take in a game and enjoy a cold craft beer at the same time at the DBAP. Hit the bull, win a steak.

DURHAM CENTRAL PARK

EXOTIQUE

313 WEST MAIN STREET; 919-973-2573; LETTERSBOOKSHOP.COM Letters offers a wide variety of books—and some pretty great discounts, too—and will help you special order something if needed.

Serious bibliophiles should join the shop’s Same Page Club.

DURHAM BULLS ATHLETIC PARK

723 RIGSBEE AVENUE; 919-901-0875; MOTORCOMUSIC.COM Motorco showcases everything from punk bands to community choruses; it’s one of the best places to see midlevel touring bands in Durham.

PHOTO BY D.L. ANDERSON

AMERICAN TOBACCO CAMPUS

318 BLACKWELL STREET; 919-433-1566; AMERICANTOBACCOCAMPUS.COM The site of a former tobacco warehouse exemplifies how you can reimagine the past.

Former warehouses now hold restaurants, a movie theater, and even the local public radio station while also playing host to tech companies. Throughout the year, it’s the site of live concerts on the stage underneath the Lucky Strike Water Tower.

THE CAROLINA THEATRE

309 WEST MORGAN STREET; 919-560-3030; CAROLINATHEATRE.ORG This city-owned historic theater hosts the Full Frame Documentary Film Festival and features an art-house cinema. It also brings comedians and concerts to the Triangle in a more intimate atmosphere than the DPAC.

MUSEUM OF DURHAM HISTORY

500 WEST MAIN STREET; 919-246-9993; MUSEUMOFDURHAMHISTORY.ORG Stashed away in a former bus station, this treasure trove takes a different spin on Durham’s history, offering exhibits both inside and outside of the building—creating a museum without walls.

PINHOOK

117 WEST MAIN STREET; 984-244-7243; THEPINHOOK.COM Downtown’s premier punk rock venue does more than host shows; it’s also home to open mics, open jams, trivia, and queer dance parties.

It puts together some of the best concerts in Durham, while also serving up great drinks.

QUARTER HORSE BAR & ARCADE

108 SOUTH MANGUM STREET; 919-973-1717; QUARTERHORSEARCADE.COM You drink and play classic arcade games and pinball, like you’re a kid again. Only you’re intoxicated.

NINTH & BROAD

T

hough Durham is, in many ways, a college town, its downtown tends to be less of an undergrad magnet than Chapel Hill’s. Students and townies might be more apt to mingle along the Ninth and Broad Street corridor of shops, restaurants, and coffee joints. In recent years, the landscape has changed significantly. On Ninth, a Harris Teeter-anchored development has brought in a Panera, luxury condos, and a very large parking lot. On Broad, a Papa John’s has replaced local institution Nice Price Books.

We wonder if Ninth and Broad are going to succumb to the same corporatechain development that has anonymized Franklin Street along Chapel Hill’s campus. But for now, plenty of good reasons to visit remain, from high-quality new restaurants and art galleries to the shaggy old standbys—bookstores, head shops, and late-night food—that are still hanging on.

MUST

THE PALACE INTERNATIONAL

1104 BROAD STREET; 919-416-4922; THEPALACEINTERNATIONAL.COM Authentic, delicious African cuisine, prepared and served by a local family in a casual setting on Broad Street—literally, if you secure one of the large-umbrellaed sidewalk tables. The Palace International has been a Durham institution since 1989, when two married immigrants from Kenya first opened it. Sadly, in 2001, the restaurant burned down, but it had become such an essential community hub for Durhamites, especially for diasporic communities, that it persevered to rise again in 2007. It’s a showcase for African and Afrocentric culture as well as food, with revolving exhibits on its walls and a lively downstairs event space, The Vault, where you might wander down to find anything from a dance performance to a DJ after a warming dinner with family and friends.

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1.17.18 • SPECIAL ADVERTISING SECTION • 19

EAT

BANH’S CUISINE

750 NINTH STREET; 919-286-5073 You might walk right by this humble, cash-only shop on Ninth, with its small clutch of plasticclothed tables and its stuffed Styrofoam takeout boxes. Don’t: Banh’s is great for a quick, satisfying Chinese or Vietnamese meal, with perfectly fried tofu and beloved vegetarian specials, for less than ten bucks.

BLUE CORN CAFE

716 NINTH STREET; 919-286-9600; BLUECORNCAFEDURHAM.COM Blue Corn’s wide-ranging Latin American fusion includes a cross-continental selection of empanadas, plantains, Cuban sandwiches, fish tacos, and paella, made to code with locally sourced, mindfully prepared ingredients in a spacious, low-key atmosphere.

BURGER BACH

737 NINTH STREET (IN THE SHOPS AT ERWIN MALL); 919-973-4416; THEBURGERBACH.COM Pronounced burger batch, this lively New Zealand-inspired gastropub specializes in grass-fed beef and lamb burgers. Kiwis don’t mind pricey meals, apparently: round out your burger with some fresh-cut fries and you’re up near $20. But as burgers go, Bach’s are some of the better ones you’ll find in Durham.

COSMIC CANTINA

1920 PERRY STREET; 919-286-1875; COSMICCANTINA.COM Open late, cheap, and good: the holy trinity of virtues for college-town food establishments.

Cosmic, a ramshackle burritos-and-margs joint just off Ninth Street, hits all the marks. Bonus points for its second-floor outdoor dining area, a relaxing venue for inhaling Mexican food in good weather, intoxicated or not.

DEVIL’S PIZZERIA

742 NINTH STREET; 919-286-3090; DEVILSPIZZERIA.COM There aren’t many spots to grab a New Yorkstyle slice in Durham. This one evokes not just the fare but also the vibe of a Manhattan street-corner pizza joint: not designed for dining in—decoratively, it’s not far off from a janitor’s closet—but plenty good for when you’re on the run and need some grease in your life.

ELMO’S DINER

776 NINTH STREET; 919-416-3823; ELMOSDINER.COM You’ll be hard-pressed to find a local willing to disparage Elmo’s. No need to venture off 20 • SPECIAL ADVERTISING SECTION • 1.17.18

into the lunch and dinner portions of the menu. Stick with the basics: eggs, pancakes, bottomless coffee, and, sure, maybe a slice of cobbler or pie to wind down the meal, with a coloring sheet for the kids.

HEAVENLY BUFFALOES

1807 WEST MARKHAM AVENUE; 919-237-2358; HEAVENLYBUFFALOES.COM Wings and waffle fries in a tiny hut, y’all.

What else do you need to know? Order your chicken boneless or bone-in (or vegan, if a soy protein nugget sounds digestible to you), with heat levels from “mild” to the preposterously fiery “Burnie Zass-hoff.”

MONUTS

1002 NINTH STREET; 919-286-2642; MONUTSDONUTS.COM You’re likely to encounter an intimidating line on weekend mornings at this bakery and cafe, but don’t let it deter you. It moves pretty quickly, and on the other side lies much deliciousness: Monuts has an eclectic, electrifying selection of bespoke donuts,

WATTS GROCERY

1116 BROAD STREET; 919-416-5040; WATTSGROCERY.COM Opened in 2007, Watts Grocery—it’s not a grocery store; it’s named after one that used to exist in nearby Trinity Park—was ahead of the curve on the locavore trend. Its Carolina take on upscale American fare still has a loyal following, even as the Durham foodie front grows ever more competitive.

JUJU

737 NINTH STREET, #210; 919-286-3555; JUJUDURHAM.COM The culinary anchor of the Erwin Mill development, Juju serves up smartly fused Asian tapas (ahi poke with macadamia soy jus, avocado, nori and sweet onion; country-fried duck confit). Lounge on one of the comfy patio booths and sip in the scenery of Ninth Street— preferably on Tuesdays, when wine is half price.

LOCAL 22 KITCHEN AND BAR 2200 WEST MAIN STREET; 919-286-9755; LOCAL22DURHAM.COM You will not stumble upon Local 22; it is wellhidden among several newish luxury apartment developments not visible from any main streets. But its happy-hour-friendly offerings (burnt brussels sprouts, sweet potato waffle fries, lots of local brews) may compel you to mark your coordinates for a future trip.

MADHATTER BAKESHOP AND CAFÉ

1802 WEST MAIN STREET, 919-286-1987, MADHATTERBAKESHOP.COM Sitting just where Main runs into Broad, like a gateway to another world, Madhatter is a roomy, bustling standby where you can get high-quality coffee drinks, a smorgasbord of fresh baked goods, a reasonably healthy lunch or dinner, or even a custom wedding cake. It’s a business-meeting staple for campus dwellers, like Parker & Otis is for downtowners.

METRO 8 STEAKHOUSE

746 NINTH STREET; 919-416-1700; METRO8STEAKHOUSE.COM Metro 8 is tough to spot, camouflaged as it is on a block full of more downscale (though still worthy) eateries. But this white-tablecloth steakhouse, where chef/owner Francisco Pirillo puts an Argentinean twist on an American style, is an attractive option for a fancy occasion or simply a red-meat hankering.

PHOTO BY ALEX BOERNER

as well as some tasty bagel and biscuit sandwiches (breakfast and lunch), smart coffee (drip, pour over, espresso), and, if you’re feeling frisky, beer and cocktails.

THE PIE HOLE

810 NINTH STREET, #130; 984-329-2900; FACEBOOK.COM/PIEHOLEDURHAM This new binge-bait spot, run by a Triangle couple who have another in Los Angeles, doesn’t go in for fashionable ambiguity in naming—it’s a place where you put pie in your pie hole. Sweet pie, savory pie, made from scratch daily, paired with signature coffee drinks you can even get spiked at night.

VIN ROUGE

2010 HILLSBOROUGH ROAD; 919-416-0466; VINROUGERESTAURANT.COM A French bistro from Matt Kelly, Vin Rouge is commonly cited as one of Durham’s finest restaurants. It’s homey but elegant, with a stacked wine list, a lovely courtyard, and $1 oysters on Tuesdays.

ZENFISH POKE BAR

810 NINTH STREET, #126; 919-937-9966; ZENFISHPOKEBAR.COM ZenFish Poke Bar plays fast and loose but reverent with the principles of poke, the Hawaiian fish salad that’s currently faddish, mixing raw and cooked ingredients, offering vegan and gluten-free options, and adding in kale and zoodles, the menu changing in season with local farmers.

DRINK

DAIN’S PLACE

754 NINTH STREET STREET; 919-416-8800; FACEBOOK.COM/ DAINSPLACEDURHAM Most bars in Durham these days occupy a niche of some kind: fancy cocktails, brewery on site, live-music draw, sportsy TV setup.

Dain’s is just a bar: cozy, a handful of TVs, a sturdy drink selection, and unpretentious grub. It’s a friendly mix of students, professors, hipsters, and regular Joes who know a solid joint when they see one.

THE GREEN ROOM

1108 BROAD STREET; 919-286-2359; GREENROOMDURHAM.COM A real-deal, hole-in-the-wall, dog-friendly pool hall—with darts and shuffleboard, too—made famous by Bull Durham, which shot some scenes there, the Green Room is among the most charming establishments in all the Triangle.

JOE VAN GOGH

1104 BROAD STREET; 919-286-4800; JOEVANGOGH.COM It’s been nearly ten years since Joe Van Gogh opened its doors on this commercial stretch of Broad Street, just south of the School of Science and Math, but it’s such a social anchor it’s hard to imagine the neighborhood without it. Try a soy cortado with honey from one of the shop’s baristas and grab a seat in the lofted area near the front windows.

THE TAVERN

1900 WEST MARKHAM AVENUE; 919-286-7665; THETAVERNDURHAM.COM One of the better places in Durham to do your sports-watching, The Tavern also boasts several pool tables, a handful of video games, and darts aplenty. The bar food is basic but goes down wonderfully with toughto-beat domestic-beer pitcher specials that can be enjoyed several nights of the week.

SHOP

THE DUCK SHOP

737 NINTH STREET, #230; 919-416-3348; THEDUCKSHOP.NET Hats, shirts, watches, decals, golf balls: The Duck Shop has the Duke logo emblazoned across just about any item one can conceive of.

HIGH STRUNG VIOLINS & GUITARS

1805 WEST MARKHAM AVENUE; 919-286-3801; HIGHSTRUNGDURHAM.COM Stringed instruments are the focus at the aptly named High Strung Violins & Guitars.

Budding musicians can rent instruments and sign up for private lessons; for experienced old hands, High Strung supplies the day-to-day needs (strings, straps, repairs) as well as big-ticket items, like Larrivee guitars, and violins and bows handpicked from specialty vendors.

HUNKY DORY

718 NINTH STREET; 919-286-1916; HUNKYDORYDURHAM.COM As its lively sidewalk sign often indicates through

some kind of innuendo, Hunky Dory is a sort of stoner mecca: half record store, half head shop. Inside, locally blown glass and high-end vaporizers mingle with a modest selection of used and new vinyl. Outside, you can occasionally find terrible LPs leaned up against the trash bin—free to haul off for the Manilow fan in your life.

THE REGULATOR BOOKSHOP

720 NINTH STREET; 919-286-2700; REGULATORBOOKSHOP.COM The Regulator is an independent bookstore as well as a magnet for visiting authors’ readings.

A side nook, stocked with obscure quarterlies and other rags you can’t find anywhere else in Durham, is a magazine-lover’s dream.

PLAY

CRAVEN ALLEN GALLERY & HOUSE OF FRAMES

1106½ BROAD STREET; 919-286-4837; CRAVENALLENGALLERY.COM This long-running custom framing business, operating since 1968, also serves as an intimate show space for art photography. The exhibits often have deep local roots, too; this October brings a show from Alex Harris, a founder of Duke’s Center for Documentary Studies.

DUKE EAST CAMPUS TRACK

BOUNDED BY BROAD STREET, MAIN STREET, BUCHANAN BOULEVARD, AND MARKHAM AVENUE Alongside the squat, stone wall that encircles Duke’s East Campus is a 1.5-mile track popular among joggers and walkers. The scenery inside is a little less leafy these days—Duke recently chopped down a whole bunch of old willow oak trees to make room for a softball stadium—but the track remains the most attractive option for outdoor cardio in the Ninth Street corridor.

HORSE & BUGGY PRESS (AND FRIENDS)

1116 BROAD STREET, #101; 919-949-4847; HORSEANDBUGGYPRESS.COM New to Broad Street after a long tenure downtown, Horse & Buggy is one of the most distinctive art galleries around, mainly because its gallery space is housed inside and connected to Dave Wofford’s artful letterpress printing business. Of course, the exhibits, while varied, often focus on handprinted arts, and the gallery often has open houses on Thursdays.

MORE FROM OUR ADVERTISERS THE ARTISAN MARKET AT 305

305 EAST CHAPEL HILL STREET; 919-943-7585; FACEBOOK.COM/ARTISANMARKET305 With products from over forty North Carolina artists, the Artisan Market at 305 has glass, jewelry, photography, pottery, t-shirts and everything in between.

BUNGALOW

339 WEST MAIN STREET; 919-973-2449; BUNGALOWANDCO.COM Stop in at Bungalow for stylish everyday china, serving pieces, bed and bath linens, table linens, pillows and throws, natural skincare, finely milled soaps, unique tapers and lovely scented candles.

FIFI’S FINE RESALE APPAREL

1000 WEST MAIN STREET 1-B; 919-806-3434; FACEBOOK.COM/FIFISOFDURHAM Specializing in the resale of designer and name brand apparel for women, stop in to buy items to freshen your own closet or consign them to sell to someone else.

BARNES SUPPLY COMPANY

774 NINTH STREET; 919-286-2750; BARNESSUPPLYDURHAM.COM Open since the 1950s, Barnes Supply Company carries supplies for holistic, modern pet and garden care with a nostalgic feed store feel, with inventory uniquely shaped to suit the needs of the local community.

NINTH STREET FLOWERS

700 NINTH STREET; 919-286-5640; NINTHSTREETFLOWERS.COM Ninth Street Flowers combines signature freshness with inspired design and unsurpassed service. Blooms are sourced from local growers when possible and imported from farms around the world when necessary.

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle Coming February 21:

Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com 1.17.18 • SPECIAL ADVERTISING SECTION • 21

JAN UARY

FR, JAN 19 • 8PM

THE BREAKFAST CLUB

SA 20 BOULEVARDS

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TWO AMERICAN NIGHTS !

AQUARIUM 8P MO 29 BROCKHAMPTON @THE RITZ FR 26SA 27

F E B R UARY

FR 2 SA 3 TH 8 TH 8 FR 9 SA 10 SU 11 FR 16

KELLER WILLIAMS 8P PERPETUAL GROOVE 8P AJR: THE CLICK TOUR BIG GIGANTIC @ THE RITZ ID 8:00PM FAR TOO JONES 7P SLEIGH BELLS 7:30P THE SHAKEDOWN

indymusic Bends and Breaks

AS HANZ, DURHAM’S BRANDON JUHANS SERVES UP ANOTHER ROUND OF ELASTIC ELECTRONICA

BY DAVID FORD SMITH

(PLAYS TOM PETTY)

SA 17 WHO’S BAD

(MICHAEL JACKSON TRIBUTE)

SU 18 Y&T 7P FR 23 EMANCIPATOR ENSEMBLE 8P SA 24 WEEKEND EXCURSION 7P SU 25 ERIC JOHNSON W/ARIELLE 7P

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3/16 J RODDY WALSTON & THE BUSINESS 3/21 NEW POLITICS W/DREAMERS AND THE WRECKS

3/23 COSMIC CHARLIE PLAYS “EUROPE 72” 8PM 3/25 BIG K.R.I.T & TY DOLLA SIGN @THE RITZ 8PM

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ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

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22 | 1.17.18 | INDYweek.com

Brandon Juhans, aka Hanz PHOTO COURTESY OF TIMOTHY SACCENTI

S

ince 2007, Brandon Juhans has recorded mystifying electronic music under the moniker Madbearhanz, or, simply, Hanz. But his interest in experimentation extends back much further.

“Visual art was my original outlet until I picked up music as a teen. I was making these surreal black and white illustration and collages for a long time,” he says. “Now I'm making the audio version of those styles.”

This week Juhans delivers a new volume of work as Hanz: Plasty I, an EP that’s being released by the celebrated New York label Tri-Angle Records. The EP, a follow-up to 2016’s acclaimed Reducer, is a step forward and his venture into William Burroughsstyle cut-up beatmaking. During the recording, Juhans recorded dozens of songs, only to chop out fragments and tumble them together in unorthodox ways. Plasty I is the first in a two-part series that draws on repeating musical themes and elements that refract in and out. It’s heady stuff, but it’s also compelling. Where plenty of artists claim in press releases that their music provides a window into their mind and creative process, Juhans actually seems to accomplish that.

Juhans says that two of his big visual influences are surrealist animators Satoshi Kon and Ralph Bakshi. Like those artists, Juhans’s work is suffused with a kind of woozy, unknow-

able horror and absurdism about everyday life.

“Plasty” utilizes pedestrian beat ingredients: kick drums, synth plucks, beeps and bloops, arranged in complex, bizarre, nearly comical combinations. Opener “Advice Ad” storms in with what sounds like a buzzing swarm of acoustic guitars. “Your Local Shapeshifter” sounds like drum-and-bass music running off the rails into madness.

Like fellow experimentally minded TriAngle label-mates Rabit and Serpentwithfeet, a through line of tradition still lurks below Juhans’s subversion. His music scans as informed by classic hip-hop production, if a deformed, unrecognizable version of it. You can almost imagine an adventurous rapper going in over “King Speed,” a barbed take on nineties rap. Asked what musicians he looks up to, he mentions the rap group Shabazz Palaces and the Japanese producer Foodman, who both gleefully smash conventional music forms into anarchic collage. He also gives props to the pop singer Björk, who is reportedly a fan of his and has brought out his music in live DJ sets.

Juhans currently resides in Durham, which has bubbled up on the American electronic music map over the last few years thanks to the presence of Moogfest. A common criticism of the festival—one that the organizers have increasingly attempted

to remedy with local workshops and other forms of outreach—is that, despite its main attraction as a who’s who of international underground talent, it can paint over actual local underground artists and those who do the work of maintaining venues and nurturing talent. More specifically, it can make the local community seem more supportive of leftfield electronic music than it is.

Juhans is a bit isolationist about Durham’s place in the electronic scene at large.

“I think music scenes are like online communities now, less location based,” he says.

He doesn’t align himself much with local efforts but acknowledges that the state “has a lot of creative potential and it will continue to.” Still, he enjoys playing out locally.

“I think everything I’ve made is meant to be played out loud,” he says. “On headphones, there’s a lot to hear in the background, but [people] should definitely play this on a system. Everything is different and more physical live. I think it can be fun to test the audience.”

As with any ambitious artist, he isn’t going to draw an easy-to-follow map for that audience, though. “Plasty I and II have a variety of influences, moods, and personal meanings,” he says, “But I want to leave it open to interpretation.” music@indyweek.com

DAVID RAWLINGS

Saturday, Jan. 20 & Sunday, Jan. 21, 8 p.m., $35 Haw River Ballroom, Saxapahaw www.hawriverballroom.com

David Rawlings and Gillian Welch PHOTO BY ALYSSE GAFKJEN

Twin Engines

GILLIAN WELCH AND DAVID RAWLINGS HAVE BECOME SHORTHAND FOR GUY-GAL ACOUSTIC DUOS, BUT THERE'S SO MUCH MORE TO THEIR RAPPORT

BY ALLISON HUSSEY

I

n a cluttered music-media landscape, thousands of bands are jockeying for eyes and ears wherever they can get them: Twitter, Instagram, Spotify, Facebook, email blasts from a public relations professional. It helps if you have a hook, a convenient “this sounds like this thing you already like.”

I’ve written about a lot of music that falls under the big tent of country, bluegrass, folk, Americana, and so on, and I receive a high volume of press releases attending to those tastes. A common “if-you-like-X” point of comparison in these overtures is Gillian Welch and Dave Rawlings. More specifically, the Welch-Rawlings axis has become a sort of shorthand for gal-guy duos who play acoustic guitars and write songs together.

It makes sense that young bands would want to hitch their wagons to two of their field’s best-known names, and arguably, two

of the United States’ most skilled living songwriters. But what this comparison ignores is the unique relationship between Rawlings, Welch, and their music.

Though they have discrete bodies of work, both Rawlings and Welch make essential contributions to each other’s songs. Rawlings’s songs wouldn’t be the same without Welch’s keen harmonies, and his own vocals and guitar playing lend Welch’s material even more haunting heft. They’re two halves of the same beating heart. When they first started playing together, Rawlings and Welch were inspired by tightly harmonized acoustic duos of the 1930s.

They felt like music had moved on quickly from there, and that they had plenty of room to explore.

“We thought that it was a cool jumpingoff place. Certainly, you think about people

who did a great job as a duo—someone like Simon and Garfunkel, but that was one instrument, primarily,” Rawlings says. “We just felt like there was more fertile ground there that had sort of been left.”

Though it was Welch’s name and photograph on the covers of records like Revival, Hell Among the Yearlings, and Time (The Revelator), she and Rawlings still worked on songs as a team, equal partners in creativity.

“We felt it was our music, but with Gil singing lead,” he says. (Welch was unavailable to say her piece on the matter.)

Rawlings says that, early in his career, he was more focused on being a great guitar player than a songwriter. But he accumulated a respectable batch of songs he liked, and in 2009 released Friend of a Friend as Dave Rawlings Machine. Welch still makes essential appearances on Rawlings’s records—she

co-authored Friend of a Friend’s sparkling “Ruby,” played drums on much of 2015’s Nashville Obsolete, and sings harmonies all across his catalog.

But the lines between a Welch song and a Rawlings song have always been more than a bit blurry. Rawlings says that even though they’ve both connected deeply to particular songs they’ve written together, they’ve usually been able to figure out who should take the lead; doubtless, there’s a bit of intimate mystery in deciding what songs end up where.

“There’s been a little sleight of hand over the years,” Rawlings admits. He points to songs like “I Want to Sing That Rock and Roll” and “The Way It Will Be” as prime examples. Though they’re both Welch songs in name, Rawlings is actually the one leading the melody on the former, and the two evenly split the vocals on the latter. On Poor David’s Almanack, released in August, they stretch their duets even further.

“It was a lot of fun to have something like ‘Cumberland Gap,’ where we swapped off the vocal, where we’re both kind of singing some. That’s a brand new kind of feeling,” Rawlings says.

Some of the evolution of Welch’s and Rawlings’s “solo” vehicles has reflected their own natural growth as songwriters and musicians. Rawlings says it used to be that, if they wrote a song they weren’t sure about recording for themselves, they’d give it to another artist. “Dry Town” went to the Nitty Gritty Dirt Band, “Wichita” to Tim and Mollie O’Brien, and Emmylou Harris did Welch’s “Orphan Girl” for 1995’s Wrecking Ball, seven months before Welch released the song under her own name. But Rawlings says that he and Welch have gotten to a point in their creative relationship where, if they write a song they like, they can figure out a way for one of them to keep it.

“The most exciting thing to me is if Gillian and I get something that kind of has the best of both of us in it. People feel that. Some of the songs we’ve written together have taken such interesting twists and turns and paths to get where they get.” Rawlings says.

With a new Welch record in the works— Rawlings says they hope to issue it this year—the duo will continue to follow their winding, inextricably connected paths toward gorgeous new places. ahussey@indyweek.com INDYweek.com | 1.17.18 | 23

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music

LEE “SCRATCH” PERRY

Saturday, Jan. 20, 8 p.m., $25–$40 Motorco, Durham www.motorcomusic.com

Made From Scratch

AN INFLUENCE ON EVERYONE—INCLUDING HIMSELF— LEE “SCRATCH” PERRY RETURNS TO CONQUER BY GARY SUAREZ

O

n one hand, the groundbreaking 1976 record Super Ape didn’t need a modern reworking. Recorded in Jamaica at Lee “Scratch” Perry’s infamous Black Ark and credited to The Upsetters, the seminal reggae album remains an undisputed classic of the genre, primarily due to the producer’s inventive and original studio techniques. At the time, he was already a progenitor of the genre thanks to his own 1968 single “People Funny Boy,” a perceived diss track toward former associate Joe Gibbs, reinforced by his Upsetter imprint for Trojan Records and his recordings there with The Wailers.

With Super Ape, Perry pushed boundaries behind the boards from the unassuming space behind his Kingston home. While not strictly a dub record, the album employs many of the creative strategies that personify that now instantly recognizable sound, including “Black Vest” and “Curly Dub.” Perry’s invaluable contributions to that subgenre began a few years prior with 1973’s Upsetters 14 Dub Black Board Jungle, considered one of its first and best. Paired with Super Ape, it is a testament to his many innovations.

Still, there’s something to be said about making a record so influential that, four decades later, it prompted a reboot helmed by its original creator. Headlined by Perry and the Brooklyn-based Subatomic Sound System collective, last year’s Super Ape Returns to Conquer reimagines the 1976 original, faithful in some spots more than others.

The prodigious producer has borrowed from himself before, and the comprehensive nature of this project fosters the idea of music as a living thing belonging to the artist, rather than something archived for posterity or off-limits beyond dutiful, ondemand re-creation in the live setting. Now in his eighties, Perry assuredly deserves the right to reflect on his discography via rerecordings, just as Johnny Cash did during his twilight years under Rick Rubin’s stewardship, or how Neil Young has done on some of his late-career releases.

the years, the dub mystic attracted a wide range of wide-eyed collaborators, many coming well after the suspicious quietus by fire of the Black Ark premises. Whether undone by Perry’s own doing or the work of malevolent forces, the studio was clearly not the source of his genius, as evidenced by creative partnerings in the subsequent decades with Adrian Sherwood, Mad Professor, and The Orb. DJ Spooky tapped him to join the fray for 2003’s Dubtometry set, while professional party persona Andrew W.K. recruited techno aesthete Moby, the Afghan Whigs’ Lee "Scratch" Perry PHOTO COURTESY OF PRIMARY TALENT INTERNATIONAL Dave Rosser, and, yes, himself for Perry’s 2008 Contemporary artists have regularly full-length, Repentance. drawn on Perry’s back catalog to build up On this side of the millennium, Perry has their own. Major-label and indie hip-hop found himself aligned with a motley crew of acts alike, such as Busta Rhymes, Cage, revolving well-wishers hoping for a blessing Dead Prez, and Lil Wayne have all benefitfrom the icon. He has been a resolute presed from digging in his crates. While many ence on the touring circuits in both North marveled at No I.D.’s flip of Sister Nancy’s America and abroad, abetted by backing dancehall classic “Bam Bam” on Jay-Z’s latbands including The Robotics, White Belly est album, 4:44, it was Kanye West who Rats, The Upsessions, and the aforemenbrought the Black Ark to The Black Album tioned Subatomic Sound System. All the by sampling Max Romeo and The Upsetwhile, Perry continues to record new releasters’ “I Chase the Devil” for the Brooklyn rap es for labels affiliated with various session mogul’s “Lucifer.” Perry’s most frequent rap partners. Meanhwhile, reissued editions of patrons were The Beastie Boys, who liberalhis older records find their way back into ly yet reverently drew from his discography print or are otherwise repackaged. with placements on Check Your Head and With no guarantee that Perry will see Ill Communication. To mark the pinnacle appropriate royalties from all this activity of the trio’s apparent fandom, he even made capitalizing on his name, it seems the best a proper vocal appearance as a toaster on way to both celebrate and materially support Hello Nasty, doling out resonant poetry over the aging artist is to catch him in concert.

“Dr. Lee, PhD.” Given the retro feel of his Super Ape Returns The lore around Perry’s eccentricities and to Conquer, now might be the best opportusuperstitions has surely lured others deepnity to do so. er into his work and his inner circle. Over music@indyweek.com

indyfood

ROCKIN’ ROLLS SUSHI EXPRESS 3405 Hillsborough Road, Durham www.rockrollusa.com

Rolling with the Punches

A JAPANESE AMERICAN CAUTIOUSLY ACCEPTS THE CONVEYOR-BELT SUSHI AT ROCKIN’ ROLLS—AND WHAT IT MEANS FOR A NEW GENERATION OF FOODIES

BY SAYAKA MATSUOKA

All-you-can-eat sushi options weave through Rockin’ Rolls Sushi Express on a conveyor belt.

T

ucked between a nail salon and a dry cleaners off Hillsborough Road in Durham, Rockin’ Rolls Sushi Express would be easy to miss at first glance if it wasn’t for the cheesy font on its sign—an homage or a rip-off of the typeface popularized by Hard Rock Cafe.

Walk inside and you’re greeted by upbeat pop singles and sleek, modern décor: walls painted a matte black, faux leather booth seating, and large, peculiar photographs on the walls that show surrealistic wasabi and salmon bisected into halves. It’s a conveyorbelt sushi restaurant, but unlike any other I’ve been to before.

One long belt winds through the body of the restaurant, circling rows of booths made for big groups of diners and counters with chairs for those who prefer to eat alone.

Clear, plastic windows against the roving belt can be opened and closed by the customers, creating a barrier between the tables and the moving plates of sushi. (Personally, I like to leave my window open.) Just a few weeks after Rockin’ Rolls opened in Sep-

tember, I added it to my rotation as a go-to lunch spot.

At twelve dollars per person, the all-youcan-eat sushi is no doubt affordable. The last time I went to Rockin’ Rolls, the dining room was filled with families, couples, police officers, and college kids who I realized had consciously picked the sushi spot over the Mexican place or the Chick-fil-A in the same shopping center.

The idea was born when a sushi chef out of Osaka couldn’t keep his restaurant staffed enough to meet growing demand; a belt was the quickest, most efficient way to get food to customers. Created by inventor and restaurateur Yoshiaki Shiraishi in 1958 (he got the idea from a beer-bottling factory) conveyor-belt sushi was initially rejected by traditional sushi makers who spent decades perfecting their craft. Part of the allure of sushi restaurants, which began as outdoor carts and later morphed into indoor sushi bars, was watching master chefs prepare delicacies in front of you. There was an aspect of showmanship and pride in being

PHOTO BY CAITLIN PENNA

a sushi chef. Some of that essence was lost when the conveyor-belt style became mainstream, and it has become further diminished in restaurants like Rockin’ Rolls.

As a Japanese child raised in the South, I found this very modern iteration of sushi dining—the one exhibited at Rockin’ Rolls— perplexing. In the late nineties, sushi was still a new fad—an exotic experiment—with mostly non-Asian people questioning the safety of eating raw fish and scrunching up their noses at the idea of grilled eel. My father was trained as a sushi chef when he first immigrated to the States. So the general disdain for a food I loved, and which sustained my family for years, was hard to swallow. It may be irrational, but I want this new wave of sushi fever to match my own experiences and ideals of what sushi is about.

Conveyor-belt sushi is known as kaitenzushi or mawaruzushi in Japan. The first time I experienced its joy was on a trip to my mother’s hometown of Niigata. I was ten years old. Friendly, but robot-like women greeted us at the door of a bright and cozy

restaurant. A rectangular belt snaked through the restaurant, moving past our booth, where my mother, grandparents, sister, and I had squeezed in. We snatched up brightly colored lumps of yellowtail nigiri and perfectly formed tuna rolls. A touch screen set just above the moving belt outlined offerings like hotate and mouthwatering toro at market-price. Even as a kid, I remember distinctly feeling the balance that existed in the restaurant, its aura both of nostalgic Japanese tradition and modern efficiency. And while it had an undeniable air of mass production, it didn’t feel as impersonal as Rockin’ Rolls.

At Rockin’ Rolls, the booths are too high to see the line of sushi chefs cranking out roll after roll, nigiri after nigiri. There’s no dialogue or appreciation between you and the makers of the delicious food you’re consuming; there’s no relationship.

One of my favorite restaurants in Chapel Hill is an old standby that I’ve written about before. Kurama Sushi and Noodles Express, a smaller, family-owned establishment, has an entirely opposite vibe. Cramped and worn from decades of service, it employs a much shorter belt, which revolves at the center of the restaurant. Customers can also sit at the sushi bar where the owner, Hiro, fills orders. That’s usually where you’ll find me, taking the opportunity to speak my native tongue with Hiro, something I seldom get the chance to do outside of talking to my own family. We’ll talk about anything— the weather, UNC—while I watch his hands make repeated movements, moving intuitively after all these years, forming my lunch.

It feels homey and connected. The food is good, and so is the conversation.

At Rockin’ Rolls, the sushi is endless and plentiful. The rolls are delicious. There’s all you-can-eat salad, edamame, and miso soup, too. But to me, something is lost in its hyperefficient, sleek, stripped-down system. I love going there because it’s a great deal, but its lack of personality leaves me feeling lonely.

Maybe it’s the mostly dark décor, or that the chefs are too far away to talk to. But there’s nothing familiar to remind me of my favorite mawaruzushi experiences as a kid.

Maybe I’m being too critical of Rockin’ Rolls. Maybe the restaurant, at face value, is a gateway to classic sushi for a flourishing foodie culture willing to try it all. food@indyweek.com INDYweek.com | 1.17.18 | 25

food

Chef Scott Howell hopes that sharing his story of injury, addicton, and recovery will help others.

PHOTO BY CAITLIN PENNA

Cook’s Corner

AFTER A NEARLY FATAL ACCIDENT, CHEF SCOTT HOWELL SUFFERED FROM DEPRESSION AND ALCOHOLISM. BUT IN THIS NEW YEAR, HE’S FINALLY BOUNCING BACK.

BY CURT FIELDS

A

lmost four years ago, a 1,200pound grill fell on Scott Howell from the back of a truck that the chef was unloading. His right leg was broken in multiple places—he almost lost it.

But that was nothing compared to how shattered he became mentally.

Howell is one of Durham’s early chef entrepreneurs—and he has seen the restaurant craze take off. He opened Nana’s in 26 | 1.17.18 | INDYweek.com

1992. He now owns Nanasteak, Nanataco, and is a co-owner of Bar Virgile. His severe injury left him bedridden for six months— and he didn’t walk for almost a year. Howell felt unmoored. Depression set in. The restaurant business wasn’t just a job; it was who he was.

“I had a nervous breakdown. There’s no doubt about that,” Howell says from across a table at Nana’s last week, shortly before

dinner service. “I had never had any trouble with drinking. I’ve never been a pill guy. But I started drinking excessively. I was trying to numb the feeling of ‘What do I do?’”

Before that, he had only taken one month off in nearly twenty-five years of working in restaurants. The immobilizing injury left him feeling helpless and irrelevant.

“I didn’t get out of bed for almost six months, and I’d never had more than two

weeks vacation in my lifetime,” he says. “The physicality of what happened was terrible, yes. But I lost my way. I just didn’t have a purpose. When you have a full life and then all of a sudden you don’t, and everything that you were has been taken away from you, because of your physical ability, or inability.

It has taken me three and a half years to feel normal again.”

Aubrey Zinaich-Howell, Scott’s wife, says that he initially hid his pain. “I didn’t realize that [his drinking] and depression had gotten to where it was.”

The struggle for normalcy began in March 2015 with eighty-four days in a drug and alcohol rehabilitation facility. “He didn’t want to do it at first, but I think probably no one faced with that does,” she says. As Howell reiterates, “I really just fell apart. I’m gathering up still.”

Part of that gathering involves being open about his experience. Men’s Health magazine features Howell in its latest issue. The magazine contacted Howell after seeing a 2016 News & Observer article. Telling the story isn’t always easy, but he hopes it may help someone else. In the high-stress world of restaurant kitchens, he isn’t the only chef to run into addiction issues. Renowned Southern chef Sean Brock of Charleston is one high-profile example in an industry that the U.S. Department of Health and Human Services ranks as the No. 1 profession for substance abuse disorders.

Howell began publicly opening up about his experience in 2016, first in the aforementioned News & Observer story. “That’s why I let [the N&O] do the article, that’s why I let [Men’s Health] do the article, and that’s why I’m talking to you about it,” he says. “I can’t ignore what happened to me and what I went through. I’m not saying that I’m perfect, because I am far from that. But at least I’m a guy who a lot of people can identify with and know that you can go down, but you can also come back. You just have to.”

He pauses. “It’s difficult, to say the least.”

There are other challenges as well.

“They still don’t really trust that I’m going to be here, so that part’s been tough,” he says of the crew at Nana’s. “This is the first time I’ve not been on a schedule in my life. [But] I’m fifty-four years old, so it was probably leading in that direction, because how long can you be a line cook and grind it in the kitchen?”

Another painful consequence was the toll on his marriage.

“If it wasn’t for Aubrey we could have lost this business,” Howell says, his voice breaking slightly. “I could have lost my leg. I never got an infection because she changed my dressing twice a day. I owe a lot to her. I owe a lot to a lot of people.”

The couple separated in August 2017.

“We’re still running the businesses together,” says Howell. “It is sad. That was the biggest disappointment out of everything.”

Both are hopeful that by being public about his depression and alcoholism, the story may resonate with others also struggling.

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H

owell has long been a looming presence in the Triangle restaurant scene. After stints in New York, Italy, and California, Asheville-raised Howell returned to North Carolina to be sous chef at Ben Barker’s Magnolia Grill for a year and a half before opening Nana’s in 1992.

“I started setting a different bar with Ben,” he recalls. “I had worked for some fantastic guys and he let me have free rein to do whatever I wanted.”

Through the years, an illustrious group of restaurateurs—including Mattie Beason, Dan Ferguson, and Ashley Christensen—worked for Howell.

Being a godfather of local fine dining— or “grandfather” as he jokingly suggests— puts Howell in a unique position. Asked about his influence and the future, he becomes more emotional.

“There’s a lot of searching going on,” Howell says softly. “I’m always searching.

You know, I just haven’t figured it out yet.”

He chokes up, his eyes water, his voice wavers. “I think my life will change into a place where hopefully I can help people more. I try to be a better man now. My life is still an ongoing challenge. It is hard to talk about sometimes. I’m looking for my purpose and that’s one of the purposes that I’m looking for, to help people understand that it’s OK. You’ve got to talk about it. If you don’t talk about it, you’re going to kill yourself.”

He’s also looking for his place in the restaurant business, Zinaich-Howell says. “I think what he’s looking for right now is how he relates to the business at large and how he’s going to find his voice in 2018, and how he’s going to be relevant again,” she says. “Really, that’s something that anyone who’s been in the business as long as he has must do. It’s especially important for him after having to cocoon himself away from it. He’s working to find his creativity again.” food@indyweek.com

CALL ME BY YOUR NAME

BY RYAN VU

Call Me by Your Name PHOTO BY SAYOMBHU MUKDEEPROM/COURTESY OF SONY PICTURES CLASSICS

S

ince its premiere at Sundance last summer, Luca Guadagnino’s latest film has received nearly unanimous praise, which is often a sign of bland likability. But Call Me by Your Name is the rare festival smash that is broadly accessible without sacrificing one whit of intelligence, subtlety, or craft.

The film kicks off with a sly self-conscious wink as the intertitles “Somewhere in Northern Italy” evoke a fairy-tale realm attuned to the sensuous climate and refined culture yet removed from the pressures of history and politics. Young Elio Perlman (Timothée Chalamet, sure to become a star) and his parents (Michael Stuhlbarg and Amira Casar), a family of transatlantic Jewish intellectuals, are on their annual summer vacation at their seventeenth-century Italian country home.

Oliver (Armie Hammer), an American graduate student, soon arrives as a temporary assistant to Elio’s father, a professor of classical archaeology. Oliver plays the alpha-bro foil to Elio’s moody child prodigy, and their initial tension breaks into a brief but passionate affair.

One of Guadagnino’s many achievements

is how he charges the ephemeral story with import and anticipation. The sheer thrill of the filmmaking is undeniable, lensed in 35mm by Sayombhu Mukdeeprom (best known for his work with Apichatpong Weerasethakul) and composed to convey a wealth of subtle information without ever being obvious. James Ivory’s script, adapted from André Aciman’s internationally renowned novel, delights in intellectual pleasures absent from most contemporary cinema. It’s been awhile since we’ve seen anything like a performance of Bach in the style of Liszt or a quote from a sixteenthcentury French romance played as erotic overtures. Yet neither does the film shy away from raw sentimentality; the beautiful climactic speech by Elio’s father about the necessity of heartbreak serves as a manifesto.

If I’ve only indirectly identified Elio and Oliver’s relationship as queer, that’s because the film is indirect to a fault about the terms normally used to describe nonheterosexual romantic love. This is not to say that it lacks specificity—far from it.

Most of Elio and Oliver’s developing passion is conveyed through silent glances,

innuendo, and the details of the 1983 miseen-scène. The film never mentions gay liberation or the AIDS crisis, but the cultural markers are precise, from Elio’s Ray-Ban sunglasses to a pivotal dance sequence set to The Psychedelic Furs’ “Love My Way.” Though circumstances require them to be discreet, the lovers are protected from serious opprobrium by class and the enlightened temperament of Elio’s parents. Both men also have flirtations with women, yet neither seems forced by the encounter to radically question his identity.

Guadagnino’s eye equally eroticizes men, women, and their environment (including a particular piece of fruit), and he has been criticized for whitewashing gay sex as well as gay politics.

Instead of exploring gay identity, the filmmakers have carved out a kind of laboratory for queer love. Elio and Oliver’s affair is as isolated from their respective life histories as it is from history writ large, even if its memory stays with them forever. Within those limits, they are free.

Accept the film’s limits, and Call Me by Your Name is nearly perfect. arts@indyweek.com INDYweek.com | 1.17.18 | 27

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THE MASTER BUILDER

Jan. 18–Feb. 3, 8 p.m. Thu.–Sat., $8–$17 Mystery Brewing Company, Hillsborough www.littlegreenpig.com

The Home Maker

TAMARA KISSANE’S NEW PLAY AND NEW PODCAST ARE BOTH ABOUT ARTISTS TRYING TO BUILD SOMETHING FOR THEMSELVES

BY BYRON WOODS

Your week.

Every Wednesday.

INDYWEEK.COM 28 | 1.17.18 | INDYweek.com

Thaddaeus Edwards as Lionel and Zo Saxton as Hildy in The Master Builder

H

elen Sullivan, known to the world as Sully, has captured the media’s attention as home designer to the rich and famous. When a late-night talk show host pushes too hard during an interview, the flamboyant architect makes a ratings splash: “Go off-limits again with me and I’ll pull down your pants and spank your bare ass on live TV. OK? And that’s just because I like you.” After looking around, Sully says, “Anybody else mentions my personal life and I’ll knock your goddamn teeth out.”

If she were real, Sully would be either the best or the briefest guest ever on Artist Soapbox (artistsoapbox.org), theater artist Tamara Kissane’s weekly interview podcast devoted to Triangle creators. But Sully is actually the title character in Kissane’s contemporary adaptation of Henrik Ibsen’s The Master Builder, a meditation on the lives, psyches, and limits of creative people that charts the rise and fall of a celebrated architect. Little Green Pig Theatrical Concern debuts the show this week at Mystery Brewing Company in Hillsborough.

The podcast, now up to sixteen episodes,

PHOTO BY KEVIN EWERT

began last September; Kissane was working on the Ibsen script in the same period.

As it happens, both projects are focused on what it takes for artists to make homes for themselves, not only in their immediate families but also in the communities where they live. Thus far, Kissane’s guests have covered topics from burlesque and circus arts to being an artistic parent, from building functional infrastructure for theater companies to how to accurately measure one’s own artistic growth.

When artists don’t have time to learn from one another, as Kissane observes, they keep re-creating the same wheel—and making the same mistakes.

“It’s inefficient and unnecessary when we have an abundance of resources and knowledge in our own community,” Kissane says.

In that light, she views Sully, the controlling central character in The Master Builder, as a fascinating figure: a rock star who doesn’t apologize for breaking the rules and has a hell of a good time doing so—at least, up to a point.

But Sully is a cautionary figure as well.

“I think she operates with a scarcity model,”

Kissane says. “She has to have all the pie. That ultimately works against the best kinds of artists; it’s not sustainable.”

Those familiar with Ibsen’s script will notice that Kissane has flipped the gender of the lead, a choice Kissane says came easily.

“Women are traditionally cast as homemakers,” she says. “Sully literally is one: an architect who creates homes for other people but cannot make one for herself.”

This change also brings the play into contact with contemporary dilemmas for women in the workplace, as Sully comes into conflict with coworkers and her partner.

“There’s always that question, when people see women climbing,” Kissane explains.

“Is she neglecting the other areas in life she should be or is responsible for? There’s always a tension between soaring in your work and putting down roots. I hold those tensions even now. My commitments in my family are in conflict with the commitment I want to make as an artist. Artist Soapbox and The Master Builder are ways for me to navigate that tension.” bwoods@indyweek.com

Postage Due

STAGE BRIEF NICOLA BULLOCK: IMAGO

THE OUTMODED POWER STRUCTURES OF RACE AND GENDER ENCASED IN A STRONG PRODUCTION OF LOVE LETTERS FEEL SADLY CONTEMPORARY IN 2018

HHHH Through Saturday, Jan. 20 The Fruit, Durham www.didaseason.com

BY KATY KOOP

Ira David Wood III as Andrew and Sandy Duncan as Melissa in Love Letters PHOTO COURTESY OF CURTIS BROWN PHOTOGRAPHY NC Theatre’s current production of A.R. Gurney’s epistolary drama, Love Letters, is a testament to how powerful theater can be when it trusts its audience.

At Fletcher Opera Theater, Bill Yates Jr.’s bare-bones set features just two desks, two chairs, two glasses of water, and two open scripts in front of an almost blindingly bright cyclorama. Veteran Raleigh stage actor Ira David Wood III (as Andrew) and stage-and-screen star Sandy Duncan (as Melissa) remain seated for most of the performance.

Director Guy Stroman imposes no mournful sound cues, no illusory projections, no pantomiming with props—just two people connecting. It is two characters speaking for themselves. That’s it.

We watch as they correspond, reciting more than fifty years’ worth of letters filled with broken promises, cheesy family newsletter announcements, condolences, and everything in between. The passage of time is marked by shifts in designer Christina L. Munich’s vibrant colored lights.

The decision to keep the characters seat-

ed at their desks makes the show feel static at first, but, as it goes on, the staging becomes deeply compelling. The simplicity of the production allows Duncan and Wood to just act, unhindered by unnecessary props or costume changes. Wood, as the insufferable yet endearing Ladd, is the perfect match for Duncan as the biting, snarky Gardner. Especially viewing the

LOVE LETTERS HHHH Through Sunday, Jan. 21 Fletcher Opera Theater, Raleigh www.nctheatre.com

1988 show through a 2018 lens, Duncan is electrifying as an assertive “nasty woman” decades ahead of her time.

The strength of the acting aside, there are some jarring elements in this production. At the end of the play, one character speaks to another outside of the context of writing a letter, which weakens the

premise. Love Letters is also thick with moments of racism, sexism, and toxic masculinity, reflecting real attitudes at the time when the fictional letters were written. NC Theatre presents these moments as written, without theatrical commentary, revealing the harsh realities of privilege in the era and offering a darker glimpse into the characters.

Even with Melissa’s shocking barrage of Asian slurs and Andrew’s repeated slut-shaming, Love Letters feels incredibly current. These missives could have been written in emails and tweets as easily as on stationery. In a time when inappropriate relationships between men, women, and nonbinary people are being exposed every day, a play showing how a man and a woman mistreat each other feels especially apt.

Latching onto each other and lashing out, undergoing days of constant contact and weeks of silence—it all reveals how we use one another and how much further we have to go. arts@indyweek.com

There’s something about preparing for a debutante ball while caked in blood. (Maybe you would see it as something else, but I can’t—the deep blue of the party dress against the red smeared on the skin.)

But Imago, the character Nicola Bullock inhabits in her new work of the same name, doesn’t seem preoccupied by it. By the time she announces that she’s going to “debutante herself,” claiming the coming-of-age party she never had, she has already dropped down from The Fruit’s ceiling in a mask and metamorphosed from writhing organism to biped, dancing around the stage like a bug under glass. (“Imago” is an entomological term, referring to a fully developed adult insect, as well as a psychoanalytical one.)

Imago, Bullock writes, transpires “in the shadows”—in the messy, shrouded in-between of the social poses expected of people, particularly women. But there is a method to the mess. With rigorous precision, Bullock rips pages out of a women’s magazine, crumples them up, and shoves them under her armpits and bodice, like a scarecrow stuffed with advice columns.

Later, we gather around her offstage. This debutante’s coming-out party, which has a double meaning for a “queer, nonmonogamous, almost middle-aged woman,” includes an invitation to us to hurl water balloons at her as she dances to Britney Spears’s “Circus.” But only, she instructs, during one of the four choruses.

Only then! It’s a mess forestalled and made legible. I throw a balloon, as most people around me do, and feel queasy. Bullock scream-giggles as the balloons break against her skin, washing the red away—but not completely.

What’s in Imago’s shadows?

Whenever you feel you’re about to grasp the weirdness between the poses, between the scream and the giggle, it’s already gone. This is what the piece does best: it throws a spotlight on what’s hidden while insisting, Wait, there’s more, there’s more, there’s more.

—Michaela Dwyer INDYweek.com | 1.17.18 | 29

WHAT TO DO THIS WEEK 1.17–1.24 SATURDAY, JANUARY 20

BOULEVARDS

Boulevards, the hard-driving project led by Raleigh’s Jamil Rashad, snuck in under the radar with a new record, Hurtown, USA. The self-released LP makes for a strong follow-up to 2016’s electrifying Groove!, full of the same throwbacks to slick funk and R&B from the eighties and nineties. Rashad has a gift for crafting hooks that stick with you immediately, as though he’s worked with a team of Top 40 mad scientists to develop tunes that are scientifically engineered to get you to dance.

But Hurtown, USA isn’t all anthems for a good time—amid all the funk and shine, Rashad digs deep into themes of heartbreak for songs that sting even as they swing. Even so, show up ready to sweat. The esteemed Raleigh rap crew Kooley High opens, as do the rock band Lonnie Walker and the fiery young emcee ZenSoFly. —Allison Hussey LINCOLN THEATRE, RALEIGH 9 p.m., $15, www.lincolntheatre.com

Boulevards PHOTO BY BEN MCKEOWN

THURSDAY, JANUARY 18–SUNDAY, FEBRUARY 4

THE NORMAL HEART

Terrence McNally was right when he wrote of the AIDS crisis, in Mothers and Sons: “First it will be a chapter in a history book, then a paragraph, then a footnote.”

Manbites Dog Theater staged The Normal Heart as its first show in 1988, but thirty years have passed without another regional production. So it’s well past time we had a reminder: as hundreds and then thousands of gay Americans died from AIDS in the early 1980s, federal and state governments did nothing at first and then far too little for years. Activist Larry Kramer cofounded the Gay Men’s Health Crisis, a New York organization, to draw attention to the epidemic and tend to the suffering. When that effort didn’t cause sufficient change, Kramer helped found the more radical ACT UP: AIDS Coalition to Unleash Power. If you’ve forgotten—or never knew—why these desperate acts were needed, it’s time to remember. Local hero Emily Ranii returns to Burning Coal Theatre Company to direct this angry biographical chronicle of our time of plague. —Byron Woods MURPHEY SCHOOL AUDITORIUM, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $15–$25, www.burningcoal.org

30 | 1.17.18 | INDYweek.com

SATURDAY, JANUARY 20

BRIAN BLADE & FELLOWSHIP BAND

Brian Blade may be best known for his eighteen years in the drummer’s chair for Wayne Shorter’s ever-magnificent quartet, but his own Fellowship Band is equally impressive. The core of the group—pianist Jon Cowhert, bassist Chris Thomas, and saxophonists Melvin Butler and Myron Walden—have been playing together since the late nineties, and it shows. The notion of fellowship is central to everything they do, both in a spiritual and communal sense. Their music is deeply (and often abstractly) rooted in the church music and gospel sounds of Blade’s native New Orleans, but you can also hear the influence of Shorter’s expansive, peripatetic approach to composition and soloing. The playing is focused, direct, and intuitive, anchored by Blade’s fleet drumming and Cowhert’s ringing piano chord voicings. And when they all get going, their communication is so free-flowing, it’s easy to see how they might make the audience part of their community. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM, DURHAM 8 p.m., $10–$38, www.dukeperformances.duke.edu

THURSDAY, JANUARY 18–SATURDAY, FEBRUARY 3

THE MIRACULOUS AND THE MUNDANE

Award-winning playwright Howard L. Craft has been busy since a workshop version of his Durham-based family drama received four stars from us last spring. Tweaks and rewrites inevitably followed; then came word that his 2015 play, Freight: The Five Incarnations of Abel Green, would be produced off-Broadway. Its critically acclaimed run closed just before Thanksgiving. Two actors from the workshop production anchor this world premiere of Craft’s latest work. The seldom-seen Trevor Johnson returns as the show’s compelling central character, Percy, a rough-edged Vietnam vet and an aging single parent whose struggles with the early stages of Alzheimer’s disease shake his family. Lakeisha Coffey reprises her striking performance as his troubled daughter, Chloe. Stage veteran Gil Faison joins them as Percy’s lifelong friend, Bone, and comedian Amadio Perez takes on Percy’s son, Junior, in a work that examines the endurance of relationships and the resilience of an African-American family. —Byron Woods MANBITES DOG THEATER, DURHAM Various times, $5–$20, www.manbitesdogtheater.org

THURSDAY, JANUARY 18

JEGHETTO

The only thing Trump has ever been right about, he was right about on accident: Frederick Douglass has done an amazing job. To celebrate the famed nineteenthcentury abolitionist’s two-hundredth birthday, Orange County, Chapel Hill, Carrboro, and the local NAACP are collaborating on a series of community events that kicks off with a bang: a new puppet show by Tarish “Jeghetto” Pipkins, who has created a Douglass puppet just for this celebration. Gospel singer and scholar Mary D. Williams provides the sung soundtrack for Pipkins’s visual magic, carrying viewers of all ages from American slavery through abolition and beyond.

—Brian Howe UNITED CHURCH OF CHAPEL HILL 7 p.m., free, www.chapelhillpubliclibrary.org

Jeghetto PHOTO

BY ALEX BOERNER

FRIDAY, JANUARY 19

DREAMERS

DACA, the federal immigration policy that allows minors who were brought to the U.S. without documentation to stay—at least temporarily—is so embattled that we have no idea what its status will be by the time you read this. That’s why the Pleiades Gallery show DREAMers: A Visual Conversation about DACA, Deportation Defense, and the American Dream is especially vital and timely. A collaboration emerging from a series of conversations among Pleiades artists, Alerta Migratoria NC, and the NC Dream Coalition (all of which will be represented at this reception), the exhibit features contributions from Cornelio Campos, Manny Perez, Erick Saavedra, Michelle Valladarez, and many others, all probing the limits and the durability of an American dream that becomes a nightmare when it isn’t available to all. —Brian Howe PLEIADES GALLERY, DURHAM 6–9 p.m., free, www.pleiadesartdurham.com

WHAT ELSE SHOULD I DO?

ABACUS: SMALL ENOUGH TO JAIL AT THE CAROLINA THEATRE (P. 40), BLACK IRISH AT THE CARY ARTS CENTER (P. 38), NICOLA BULLOCK AT THE FRUIT (P. 29), NAIMA COSTER AT THE REGULATOR (P. 39), DEZ MONA AND B.O.X. AT UNC’S HILL HALL (P. 35), LEE “SCRATCH” PERRY AT MOTORCO (P. 24), DAVE RAWLINGS MACHINE AT HAW RIVER BALLROOM (P. 23), LOVE LETTERS AT FLETCHER OPERA THEATER (P. 29), THE MASTER BUILDER AT MYSTERY BREWING (P. 28), CHIEKO MURASUGI AT DUKE (P. 37), THEY MIGHT BE GIANTS AT CAT’S CRADLE (P. 33) INDYweek.com | 1.17.18 | 31

FR 1/26

SA 1/27

ENTER SHIKARI

TENNIS

MO 1/22 & TU 1/23

SAY ANYTHING IN DEFENSE OF THE GENRE ANNIVERSARY TOUR

THEY MIGHT BE LD GIANTS SO OUT

1/18

TWO

1/22 AND 1/23 SHOWS!

SAY ANYTHING

IN DEFENSE ANNIVERSARY TOUR

W/ AARON GILLESPIE, BACKWARDS DANCER

($22/$27; $40 FOR 2-NIGHT PASS) 1/26 ENTER SHIKARI W/MILK TEETH, SINGLE MOTHERS ($18/$20) 1/27 TENNIS

GAELIC STORM

BEAR W/ GEOLOGIST ($22/$25)

1/30 DESTROYER W/ MEGA BOG ($20/$23 2/1 TYPHOON W/ BAD BAD HATS, SUNBATHE ($18/$20) 2/3 BOB

MARLEY BIRTHDAY BASH: MICKEY MILLS & STEEL, JAMROCK, ZION PROJECT, DJ RAS J ($12/$15) 2/10 WHY? W/ OPEN MIKE EAGLE ($16/$18)

GUNDERSEN ($15/$17)

2/12 DECLAN

MCKENNA ($15/$17)

2/13 SONS OF APOLLO (FORMER DREAM THEATRE, GNR, MR BIG, JOURNEY) ($25/$28) 2/15 COREY

SMITH W/KASEY TYNDALL ($20/$25) 2/17 THE

BLACK LILLIES W/ SAM QUINN

2/20 PHILLIP PHILLIPS ($27.50/$30)

5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29; ON SALE 1/19, NOON) 5/25 PETER HOOK & THE LIGHT ($28/$31) 6/23 THE

3/21

CAT'S CRADLE BACK ROOM 1/17 YUNG GRAVY LD SO W/ JAY STORM, DJ ENGELS

OUT

1/18 BE LOUD CAROLINA: MKR, PEOPLE OF EARTH, LOCAL FLORA 1/19 ENO

RIVER RATS RELEEASE PARTY W/ NICK SHANAHAN, D TOWN DEUCE ($8/$10)

1/25 TRAVERS BROTHERSHIP / TONK / REESE MCHENRY (SOLO)

W/FIELD MEDIC ($15)

3/9 SENSES

FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD 3/13 J

BOOG W/JESSE ROYAL, ETANA ($20) 3/16 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12) 3/21 MOOSE

BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) OF MONTREAL ($17)

3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS:

OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30 CIGARETTES

AFTER SEX ($20/$23)

4/2 CRANK IT LOUD PRESENTS:

UDO DIRKSCHNEIDER

4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20; ON SALE 1/19) TWO

4/11 AND 4/12 SHOWS!

YO LA TENGO ($22/$24) DOG ($27.50/ $30; ON SALE1/19)

4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18) 4/28 THE AFGHAN WHIGS AND BUILT TO SPILL ($35; ON SALE 1/19) 5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28)

5/8 BAHAMAS ($16/$18)

32 | 1.17.18 | INDYweek.com

JONES & DON DIXON

3/23

KYLE CRAFT SOIL

3/26 S

3/31 STOP

1/28 1ST

ANNUAL CARRBORO DJANGO FEST FT. STEPHANE WREMBEL AND ONYX CLUB

2/2 BAT FANGS RECORD RELEASE PARTY W/ PIPE, SOLAR HALOS ($10)

2/5 CHARLIE HUNTER TRIO FEAT. SILVANA ESTRADA ($18/$20; 7 PM SHOW) 2/6 WAR 2/7 WILLIE

LEBLANC AND THE ARTISANALS ($10/$12) 4/5 THAT

4/12 MO

4/28 LOMA W/ JESS WILLIAMSON CAROLINA THEATRE (DUR) 3/24

PATTIE & THE CURRENT

LUCIUS

MOTORCO (DUR) 4/2 TWIN PEAKS W/ THE DISTRICTS 4/11 WAXAHATCHEE AND HURRAY FOR THE RIFF RAFF ($20/$22) 5/5

ALVVAYS W/ FRANKIE ROSE ($15/$17; ON SALE 1/19)

6/3 POND ($15) ARTSCENTER (CARRBORO) 1/27 AN EVENING WITH LLOYD COLE ($20) 3/3 AN EVENING WITH SOLD COWBOY JUNKIES OUT 3/21 NEIL

HILBORN ($15/$20)

4/20 GREG

BROWN ($28/$30) THE RITZ (RAL)

SNARKY PUPPY W/ SIRINTIP 4/7 RAINBOW KITTEN SURPRISE (ON SALE 1/19, 10 AM)

2/17

2/13 TINY MOVING PARTS W/ MOM JEANS, OSO OSO ($13/$15)

2/17 HANK,

($10/ $15 FOR 2 TIX)

JONES & THE INDICATIONS ($13/$15)

($18/$20)

2/16 NORA JANE STRUTHERS W/ CHRISTIANE ($12/ $15)

HOUSE

LOWDA & THE HUMBLE

4/23 DURAND

ON WOMEN ($10/$12)

($10/$12)

1 GUY ( $15)

4/6 GRIFFIN

WATSON W/ANNA TIVEL

MOM / CHRIS FARREN

($10/$12)

4/4 DYLAN

2/10 AMIGO ALBUM RELEASE PARTY W/ JON LINDSAY, AL RIGGS ( $7/$8) 2/11 ADULT

LIGHT OBSERVATIONS

4/1 NOTHING, NOWHERE. W/ SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15)

($6/$7)

ALLEN / DISSIMILAR SOUTH / JUSTIN FOUTS / VERONICA SARRIA ($5)

CAREY W/ GORDI ($15)

3/30 MOVEMENTS W/CAN’T SWIM, SUPER WHATEVR, GLEEMER ($13/$15)

1/26 COOPER

1/31 THE DANGEROUS SUMMER W/MICROWAVE, THE BAND CAMINO ($15)

3/7 LP W/ NOAH KAHAN ($22/$25)

($12/$14)

1/21 DUMPSTER DIVE CINEMA PRESENTS: ICED AND WINTERBEAST (FREE)

2/24 ANDREA GIBSON W/CHASTITY BROWN ($18/$21)

3/6 WALLOWS

COURTNEY MARIE ANDREWS

3/22 MARTI

1/20 CHARLIE MARS W/ ABIGAIL DOWD

1/30 MUST BE THE HOLY GHOST W/ DEAF POETS, NIGHT BATTLES ($8)

3/2 JOYWAVE W/SASHA SLOAN, KOPPS ($15/$17)

RUFFIANS

/ SNAIL MAIL ($12)

3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17)

2/22 LIGHTS W/CHASE ATLANTIC, DCF ($20/$23)

4/18 DR

3/20 SHAME

3/24 URBAN

BOYS; & GYPSY JAZZ GUITAR WORKSHOP WITH STEPHANE WREMBEL

3/1 QUINN XCIISOLD W/ CHELSEA CUTLER OUT

I TRUST ($10/$12)

3/19 BORN

FEELIES ($20/$23)

2/21 PEDRO THE LION W/ MARIE/LEPANTO ($20/$22)

3/23

3/18 MEN

5/18 DAVID BROMBERG (SEATED SHOW) ($23/$26)

W/ OVERCOATS ($16/$18)

1/28 GAELIC STORM (SEATED SHOW) $25/ $28

2/11 NOAH

SU 1/28 5/9 PANDA

5/9

NATHANIEL RATELIFF & THE NIGHT SWEATS

W/ LUKAS NELSON & PROMISE OF THE REAL (ON SALE 1/26, 10 AM)

W/ CAROLINA BLUEGRASS BAND ($7/$10)

KINGS (RAL)

2/20 MAGIC GIANT W/ THE BREVET ($12/ $14)

2/17 PHOEBE BRIDGERS W/ SOCCER MOMMY ($10)

2/22 LARRY

CAMPBELL & TERESA WILLIAMS

2/24 CALEB CAUDLE ALBUM RELEASE SHOW

W/ JAKE XERXES FUSSELL ($10/$12) 2/27 DIET

CIG W/ GREAT GRANDPA, THE SPOOK SCHOOL

3/5 KOLARS W/ ESCONDIDO ($12) 3/6 ELLIOT

ROOT ($8/$10)

3/7 SONREAL ($15/$17) 3/9/ VUNDABAR W/ RATBOYS ($10/$12) 3/13 JESSICA LEA MAYFIELD W/ T HARDY MORRIS ($15)

3/30 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20)

HAW RIVER BALLROOM 2/1 THE DEVIL MAKES THREE 3/3 BRETT

DENNEN ($22/$26)

3/23 GODSPEED YOU! BLACK SOLD EMPEROR W/KGD OUT 5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18)

NORTH CHARLESTON PAC (CHARLESTON, SC) 2/25 STEVE

MARTIN & MARTIN SHORT

W/ THE STEEP CANYON RANGERS AND JEFF BABKO

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

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

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM

music 1.17– 1.24

CONTRIBUTORS: Grant Britt (GB), Selena Fragassi (SF), Spencer Griffith (SG), Kat Harding (KH), David Klein (DK), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW), Amanda Wicks (AW)

WED, JAN 17

THURSDAY, JANUARY 18

BLUE NOTE GRILL: Rev. Billy C. Wirtz; 7:30 p.m., $10–$15. • CAT’S CRADLE (BACK ROOM): Yung Gravy; 9 p.m., $14–$16. • THE CAVE: The Worst Residency Ever; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • IRREGARDLESS: The Longleaf Pine Nuts; 6:30 p.m. • NIGHTLIGHT: Jake Fussell, The Leveetoppers; 8:30 p.m. • POUR HOUSE: US Bombs, The Dirty Politicians, Viva Le Vox; 9 p.m.

• RUBY DELUXE: Goth Night: DJ Bela Lugosi’s Dad; 10 p.m.

THEY MIGHT BE GIANTS

THU, JAN 18

In 1982, the same year that R.E.M. debuted with Chronic Town and launched a long and proud career, John Flansburgh and John Linnell began their foray into the music business as They Might Be Giants via a telephonic service called Dial-a-Song. At the time, it would have been hard to imagine that these future fathers of geek rock— with their setup of guitar, sax, accordion, and nasally vocals—would outlast the future kings of jangle pop, not to mention nearly all their early-eighties contemporaries.

But in hindsight this longevity makes sense, considering the singularity of the band’s voluminous catalog (the band’s twentieth record, I Like Fun, is out this week), the DIY spirit that made them objects of swift fascination in New York City using nothing but a balky answering machine to transmit their songs to the world, and the savvy pivot they made toward the kids’ market in the 2000s.

What does it take to be considered geek rock? Glasses are surely called for—and Flansburgh has often favored geek-issue horn-rims, but beyond the look, it’s songs about Belgian painters, constellations, and palindromes; it’s a penchant for herky-jerky, stop-start cadences, and an omnipresent adenoidal-ness that define the genre TMBG invented. They transcend novelty through ingeniously constructed songs, packed with detail, where stupidcatchy meets Mensa-level wordplay (“Life is a placebo/masquerading as a simile”).

But if there’s an egregious braininess at work, there’s also a pronounced streak of mischief, which shows through both in the music and in world-class videos for songs like “Anna Ng,” the band’s first hit. That aspect made its progression into kids’ music a natural development. But as easy as it may be to write them off as brainy dudes making brainy pop for brainy folks and their offspring, that would miss their underlying humanity and sincere wonder at the world and its infinite strangeness.

During their major-label period in the nineties, TMBG delivered a certifiable hit with “Birdhouse in Your Soul,” and songs like “I Love You for Psychological Reasons” from 2016’s Phone Power show that the ability to write deft and deeply catchy pop fare is undiminished by time. Now a full-fledged band and seasoned live act, the band hasn’t strayed too far from its roots, as the recently revived Dial-a-Song shows. On a stage packed with pros, armed with a truckload of well-loved songs, and a packed house, these Giants should be all smiles. —David Klein CAT’S CRADLE, CARRBORO | 9 p.m., $25–$28, www.catscradle.com

PHOTO BY SHERVIN LAINEZ

Tim Barry At this point, Tim WOOD MAN Barry has been apart from Avail longer than he was a part of the Richmond punk band; he’s spent the last decade and a half churning out workmanlike country- and folk-inflected solo albums about the working man’s struggle.

Wooden, his latest, is all-acoustic and rural. Laura Stevenson and Roger Harvey open. —PW [MOTORCO, $13–$15/8 P.M.]

Matthew Paul Butler FRIENDLY Last March, folk FOLK artist Matthew Paul Butler released Pairs, a collaborative album with Vicenza, Italy’s Phill Reynolds in memory of a friend who had died. Butler’s songs are soft and contemplative, making for a lovely tribute with sparse guitar and gritty vocals. Charles Walker and Evel Arc open. —KH [THE PINHOOK, $5/9 P.M.]

The Infamous Stringdusters SIZZLING While The STRINGS Infamous Stringdusters are rooted in

newgrass, the boundary-pushing string band’s latest record, 2017’s Laws of Gravity, leans just as often into country territory.

Listeners are rewarded with an increased focus on songwriting and melody, though the first-rate pickers aren’t afraid to stretch out solos, particularly on stage. Dangermuffin offers jammy Americana tinged with enough mellow island vibes to imagine the quintet wouldn’t mind being hit with an errant kick while it soundtracks a round of hacky sack. —SG [HAW RIVER BALLROOM, $22–$24/8 P.M.]

Local Band Local Beer: Madison Jay Last year, Madison MIND THE GAP Jay released his debut album, Return of the Gap, after years of grinding the local rap scene with creative promotions and raw live performances. The album came off as stiff, but it effectively showcased Jay’s ability to be a relatable songwriter with subject matter ranging from disappointing relationships in the song “Everyday” to glorious head-knocking braggadocio in “Don’t Want Deez.” With TheDeepEnd, C. Shreve, Lena Jackson, and more. —CM [POUR HOUSE, $3–$5/9 P.M.]

Nathan Arizona and the New Mexicans STONER Offering standard ROCK stoner dude rock ’n’ roll, Nathan Arizona & the New Mexicans have a vast collection of music on Bandcamp, including a live volume with poor production.

Here’s hoping the Cave has a better sound system than what that was recorded on.

The band is at its best when it’s sludgiest. The Big Lonesome, Native Harrow, and Juliana Finch open. —KH [THE CAVE, $5/9 P.M.]

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM INDYweek.com | 1.17.18 | 33

ALSO ON THURSDAY THE ARTSCENTER: PopUp Chorus: Broadway; 7 p.m., $8–$13.

• BLUE NOTE GRILL: Carolina Lightnin’; 7-9 p.m., free. • CAT’S CRADLE: They Might Be Giants; 9 p.m., $28. See box, page 33. • CAT’S CRADLE (BACK ROOM): Be Loud! Carolina: MKR, People of the Earth, Local Flora; 8 p.m., $5.

• DEEP SOUTH: Stephanie Merinoff, The River Otters; 8:30 p.m.

• IMURJ: kick & casonka; 7:30 p.m.

• IRREGARDLESS: Cityfolk; 6:30 p.m. • RUBY DELUXE: Seize the Stage; 8 p.m., $5. • UNC CAMPUS: HILL HALL: Dez Mona and B.O.X.; Saga; 7:30 p.m. See box, page 35.

FRI, JAN 19 Arson Daily Raleigh power trio FIRE STARTERS Arson Daily lives up to its incendiary moniker, crackling with live-wire energy on an explosive, riffy blend of blown-out garage rock with alternative dynamics. Filled with hazy hooks and jangling guitars, Greensboro’s Echo Courts and Boone’s The Remarks

both interpret dreamy, retro psychedelia through a modern lens. —SG [THE STATION, $7/9 P.M.]

Albert Castiglia Junior Wells’s BLUES BENDER former bandleader, Albert Castiglia, is a ferocious guitar slinger whose barbed wire licks emphasize all of the best parts of the blues. But that’s not all he carries around in his trick bag: Castiglia also cribs some of Albert Collins’s frosty licks and Sonny Landreth’s greasy slide technique, melding them into his own unique style. —GB [BLUE NOTE GRILL, $10/9 P.M.]

Jeremy Denk and Stefan Jackiw PRE-POST Charles Ives was a MODERN postmodernist before there was such a thing as a modernist (the same could be said for Mahler). Throughout his music, genres collide and superimpose in entirely unpredictable and ingenious

TH 1/18 SA 1/20 TH 1/25 SA 1/27 SA 2/3 SA 2/10 TH 2/15 TH 3/1 FR 3/2

ways. This concert of his four violin sonatas, written in the 1910s, attempts to unpack those layers by presenting the works alongside the songs and hymns that inspired them. Only Jeremy Denk, a master of all things Ives, would think of something so audacious. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$42/8 P.M.]

Samantha Castrovinci and Shannon Dawn O’Connor harmonize on simple old-time standards and jubilant originals inspired by traditional fare.

O’Connor also pairs up with Rus Hames for breezy folk duets as D Town Deuce. Nick Shanahan wraps his classic country in weathered vocals like tough, well-worn leather. —SG [CAT’S CRADLE BACK ROOM, $8–$10/8 P.M.]

Curtis Eller and Charles Latham

The Fat Catz

elected Bill Clinton as president, and it was the last year that hard-drinking, hard-partying Southern rockers Jackyl had a platinum record. Ted Nugent has taken them on tour, which speaks volumes about their balls-tothe-wall yee-haw hair metal goofiness. —DS [THE RITZ, $22.50/8 P.M.]

Lord Raja

SNARKY Curtis Eller is an SONGS ultra-charismatic showman who wields his banjo like a prop for acrobatic moves when not using it to fuel his vaudevillian carnival of old-time and early rock ’n’ roll.

Full of sarcasm and social commentary, Charles Latham maintains his acerbic anti-folk spirit even if last year’s Little Me Time abandoned the lo-fi aesthetic. —SG [MYSTERY BREWING, FREE/8 P.M.]

Burlington’s The LIVETRONICA Fat Catz follow the same not-quite-jam-notquite-electronica format as regional favorites Big Something, Sound Tribe Sector Nine, and The Mantras. They don’t tread on any ground that those bands haven’t worn away already, but their grooves are crunchy and their grooves are tight, pushing extended jams into heady territory. —PW [THE MAYWOOD, $10/9:30 P.M.]

Duke CoffeeNYC MOODS house’s bookings have been sharp lately, especially in the realm of left-field dance music. The venue begins its 2018 programming with NYC ambient techno don Lord Raja.

His “wet” style of beatmaking heartens to the late-aughts Los Angeles beat scene of early Flying Lotus and Teebs, though with a bit more lived-in grit.

With DJ Bitchcraft. —DS [DUKE COFFEEHOUSE, FREE, $5 WITH DUKE ID/8:30 P.M.]

Eno River Rats

Jackyl

Mark G. Meadows

NEW OLD On Eno River Rats’ TIME unvarnished debut,

OLD BOYS

In 1992, the United States

SILKY PIANO

No, this isn’t a jazz performance

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

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When Mick CAN’T GET NO Jagger and Keith Richards met at a railroad station in 1960, they surely could not have foreseen that a) they would still be playing music together half a century later, and b) symphony orchestras would fall over themselves to occasionally program concerts entirely of Stones music because they hope it’s an easy way to get people to come to concerts.

Soul survivor, going to be the death of me, indeed. —DR [MEYMANDI CONCERT HALL, $18–$68/8 P.M.]

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by everyone’s favorite representative from North Carolina’s Eleventh Congressional District (as hilariously awful as that would be).

Mark G. Meadows is a Washington, D.C.-based pianist and singer who fuses jazz, pop, rock, soul, R&B, gospel, etc., into a unified whole. —DR [BEYÙ CAFFÈ, $14/7 & 9 P.M.]

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Nevernauts

THURSDAY, JANUARY 18

DEZ MONA AND B.O.X.: SÁGA

If CBGB were still PUNK PLANET around, Nevernauts would be on Hilly Kristal’s radar. The Hope Mills troupe has been steadily expanding outside its homegrown circle with a straightforward, seventiesstyle of punk rock inspired by science miscellany. Like Blondie waxing about aliens or The Ramones tackling quantum theory, it’s a little far out, but it works. With Smoke from All the Friction, Vaughn, and Hyacinth. —SF [THE PINHOOK, $5/9 P.M.]

PHOTO BY MOUS LAMRABAT

The Steel Wheels

The idea that disparate music styles and epochs are at odds is foreign to the Belgian groups Dez Mona and Baroque Orchestration X (B.O.X.), who present their 2011 collaborative opera, Sága, in Chapel Hill this weekend.

Dez Mona specializes in eclectic compositions brushed with evocative flourishes: rich gospel harmonies, thrumming jazz rhythms, glassy classical piano and obsidian-like glam guitars. Although the band has released multiple albums highlighting original material, its members are also gifted interpreters—a slower, ominous cover of the Weeknd’s “Can’t Feel My Face” amplifies the original song’s paranoia.

Founded in 2009, B.O.X. also strives for the shock of the new. Using baroque instruments—for example, a bass lute known as the theorbos or the pre-trumpet cornetta— they’ve reimagined Radiohead songs as dusky chamber music pieces and collaborated with composer Shara Nova on the opera You Us We All. (Carolina Performing Arts presented the latter production in 2015.)

“To my ears and taste, there is a kind of shared ‘down-to-earthness’ in both early music and indie pop and rock,” B.O.X founder Pieter Theuns says in the Sága program notes. “On top of that, there is a lot of taste for adventurous sounds in some pop and rock formations outside of the mainstream.”

Sága, which is being performed by a seven-piece ensemble featuring musicians from both groups, strives to find common ground in traditional and cutting-edge approaches.

Dez Mona vocalist Gregory Frateur anchors the somber chamber music with a pure, operatic voice that defies expectations; he unfurls a straightforward croon on “A Part of Our Dreams” and a gossamer falsetto on “Heavy Hearted Land.”

And despite an antique instrumental configuration—which includes theorbos, double bass, accordion, baroque harp, and viola da gamba— Sága has clear modern indie analogs.

The lilting “A Part of Our Lives” resembles Sigur Rós; “She Is a Haven” echoes the stringsoaked grandeur of Antony and the Johnsons’ classical collaborations; and the buoyant “A Part of Us All” builds in intensity like Arcade Fire’s best moments.

In another nod to opera’s sonic fluidity, the title has a dual meaning: It refers both to the wise Norse goddess of poetry and history and the historical narratives relaying the foundational myths of Iceland and Greenland. Appropriately, Sága’s music is restless—it captures a search for wisdom pertaining to love and personal enlightenment—and yearns for solace and a sense of belonging.

For B.O.X.’s Theuns, the process of making Sága also provided plenty of insights into the benefits of creative contrasts. “Sometimes it means making space, getting out of the way,” he says in the program notes. “Sometimes it means going along and even over the top, pushing each other to unknown territories. It’s a beautiful kind of ballet if all goes well.”

—Annie Zaleski UNC’S HILL HALL, CHAPEL HILL | 7:30 p.m., $10, www.carolinaperformingarts.org

Led by vocalist HARD ROLLIN’ Trent Wagler, whose gravelly voice underpins their overall born-of-the-earth sound, The Steel Wheels are still touring in support of last year’s Wild as We Came Here.

The band’s infectious, toe-tapping rhythms create a robust sound and shift their acoustic playing into a more full-bodied experience, enhanced by fiddler Eric Brubaker’s harkening melodies and Wagler’s meditative flatpicking. —AW [MOTORCO, $15–$23/8 P.M.] ALSO ON FRIDAY BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • THE CAVE: Antique Hearts, Zoe Child; 9 p.m., $5.

• IRREGARDLESS: Take Two with Jyl Clay; 6:30 p.m. • LINCOLN THEATRE: The Breakfast Club, Supersonic; 9 p.m., $10. • POUR HOUSE: Pie Face Girls, Vacant Company, Girl Werewolf; 10 p.m., $6–$8.

• THE RITZ: Jackyl; 8 p.m. • RUBY DELUXE: DJ Luxeposh; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Michael Daughtry Band, Heather Kenney; 7 p.m. • SHARP NINE GALLERY: Svetlana and the Delancey Five; 8 p.m., $10–$20. • SLIM’S: Red is Blue, White Petals, Sammy Heck; 9 p.m., $5.

SAT, JAN 20 Acoustic Manner RESCUE As the vindictive ME policies of the current administration continue to target the most vulnerable among us, the work of Raleigh Rescue Mission, which provides life-saving services to people in need, becomes that much

more vital. Tonight’s benefit features Acoustic Manner, a seasoned jam-grass outfit that balances tradition with a slew of styles, and folksy story songs by the richvoiced James Olin Oden, not to mention Dark Alley IPL, a limited-edition beer collaboration between Raleigh Brewing and the Pour House.

—DK [POUR HOUSE, DONATIONS/9 P.M.]

Dirty Remnantz The Sunset Strip HAIR METAL springs to life with this well-versed Raleigh cover band, which goes deep into the archives to deliver B-sides of eighties stalwarts Guns ‘N Roses, Whitesnake, Bullet Boys, and Kix. Anyone can do “Paradise City,” but Dirty Remnantz puts together true fan snapshots of an era.

—SF [SLIM’S, $5/9 P.M.]

Charlie Mars WHERE’S Jason Mraz would TEXAS? be proud his poppy-singer-songwriter, somewhat optimistic legacy is being carried on. Charlie Mars’s latest single, “The Money.” is about how money doesn’t make you happy.

Backed with fingerpicked electric guitar, soft, nasally vocals, and a toe-tapping beat, the song is the opener for his “Texas Trilogy” albums, but the song lacks a gritty Texas vibe. —KH [CAT’S CRADLE, $12–$15/8:30 P.M.]

Audra McDonald ALMOST Actress and singer EGOT Audra McDonald is one letter away from achieving EGOT, the creative crown jewel that entails winning an Emmy, a Grammy, an Oscar, and a Tony. She shares that award-winning talent when she takes the stage at Memorial Hall for an evening of songs culled from her vast catalog. Having lent her classic soprano voice to Broadway productions of Carousel, Ragtime, and Porgy & Bess, and more recently portrayed the cheeky piece of furniture Madame Garderobe in the live-action Beauty and the Beast, McDonald brings a touch of magic to every soaring note.

—AW [UNC’S MEMORIAL HALL, $10–$99/8 P.M.]

North Elementary What with GLEAM ROCK fronting his long-running rock band North Elementary, which issued its sixth LP last year, wrapping up the first full-length album with his JPhono1 project, and drumming with Lacy Jags, John Harrison has been busy of late. Tonight’s bill features kindred spirits Horizontal Hold, along with Loose Jets and Z Plan. —DK [THE CAVE, $5/8:30 P.M.]

OC45 PUNK AS The hard-drinkHECK ing, fuck-theworld punk of Boston punk band OC45 splits the difference between goldenera West Coast pop-punk and Bay State pugnaciousness. It’s gruff and gritty, but still sensitive and melodic.

The anthemic, shout-along punk tunes that stock last year’s Happy Accidents are good for pumping fists and ruining stuff, even if, as is true of a good wrecking session, the endorphin rush doesn’t last long after the music’s done. With Few Good Things, Mumu Tutu, and Nevernauts. —PW [THE MAYWOOD, $8/8:30 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: ZOOCRU; 7 & 9 p.m., $12. • DEEP SOUTH: Vaughan Penn, McCullers Crossroad; 8 p.m. • DUKE’S BALDWIN AUDITORIUM: Brian Blade and the Fellowship Band; 8 p.m., $10–$38. See page 30. • HAW RIVER BALLROOM: David Rawlings; 8 p.m., $35. See page 23. • IRREGARDLESS: Gary Brunotte Duo with Beverly Botsford; 6-9 p.m. Half Past Six; 9 p.m. • KINGS: Ohmme; 9 p.m., $8–$10.

• LINCOLN THEATRE: Boulevards, Kooley High, Lonnie Walker, Zensofly; 9 p.m., $15.

See page 30. • MEYMANDI CONCERT HALL: The Music of The Rolling Stones; 8 p.m. • MOTORCO: Lee “Scratch” Perry + Subatomic Sound System, DJ Ras J; 8 p.m., $20–$40. See page 29.

• NEPTUNES PARLOUR: Boulevards (DJ Set); 7 p.m. • THE PINHOOK: The Conjure, Danni Cassette, Gemynii, Femithefemme; 10 p.m., $10. • SHARP NINE GALLERY: Joel Frahm, Jason Foureman Trio; 8 p.m., $15–$25.

INDYweek.com | 1.17.18 | 35

SUN, JAN 21 Coco Amino Coco Amino only FUN ROCK has a few songs, but they’re good: shredding electric guitar, earnest lyrics, and just a bunch of dudes having fun. The track “Give Up” delivers an unexpected marriage of country rhythms with surf rock sensations.

Estuarie and Jameson open.

—KH [THE CAVE, $5/9 P.M.]

Gobsmacked

YOUR WEEK. EVERY WEDNESDAY. FOOD • NEWS • ARTS • MUSIC

PERFECT Gobsmacked is, PITCHES essentially, Pitch Perfect in real life. The show is a cappella and beat-boxing, minus Anna Kendrick, but featuring the three-time undefeated UK Beatbox Champion and current World Team Champion BALL-ZEE. This tour sold out shows in London, Hong Kong, and more. —KH [DURHAM PERFORMING ARTS CENTER, $29–$49/7 P.M.]

Resonancy: Tom Nguyen The instrumental STICK TIME percussion vignettes of Asheville percussionist Thom Nguyen are atop the marquee for this installment of Neptunes’ time- and space-bending Resonancy concert series.

Nguyen regularly mans the skins for wild Asheville psych-freak rockers Nest Egg, but his list of avant-garde collaborators is long and storied: He forms the duo Manas with the guitarist Tashi Dorji, and he provided percussion to Sarah Louise and Sally Anne Morgan’s striking fiddle-and-guitar duo House and Land. —PW [NEPTUNES PARLOUR, $7/9:30 P.M.] ALSO ON SUNDAY

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BLUE NOTE GRILL: Mysti Mayhem Trio; 5-7 p.m., free. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • HAW RIVER BALLROOM: David Rawlings; 8 p.m., $35. See page 23. • IMURJ: A Stained Glass Romance, Beshiba, UNICRON,

No Devil Lived On; 8 p.m., $10–$12. • IRREGARDLESS: Great Father Whale; 6 p.m. • NIGHTLIGHT: Joe Newberry; 7:30 p.m. • POUR HOUSE: The Trousers, Medium Heat, Karbuncle; 2 p.m., $5. Formula 5, Electric Soul Pandemic; 9 p.m., $7–$10. • RUBY DELUXE: DJ Stone Zone; 10 p.m. • ST MATTHEWS EPISCOPAL CHURCH: David Arcus Organ Recital; 3 p.m., free. • UNC’S MEMORIAL HALL: Audra McDonald; 2 p.m.

• UNIVERSITY UNITED METHODIST CHURCH: Women’s Voices Chorus Winter Concert; 3-4 p.m., $7–$17.

MON, JAN 22 Isabel Leonard LOTS OF This celebrated LEN mezzo-soprano has the stunning vocal gifts required to voice the classical opera canon as well as the requisite accessibility to fetch a Grammy. In this recital, the New York-based singer salutes one her city’s great musical treasures, also named Leonard, in an evening devoted to Leonard Bernstein.

Hearing her give wings to these gems from West Side Story, Wonderful Town, and other Bernstein masterworks should be a treat. —DK [UNC’S MEMORIAL HALL, $15–$49/7:30 P.M.]

Say Anything Say Anything FULLY GROWN dropped its sprawling 2007 double album, In Defense of the Genre, into a rapidly dying emo climate, and the record predictably lacked the ride-or-die fanbase of pop-punker holy document ...

Is a Real Boy. Songs like “Retarded in Love” certainly haven’t aged well, but others, like a few of Max Bemis’s best songs and the on-theway-up Hayley Williams and Gerard Way features make it worth a another listen. Each disc gets a public airing over two nights at Cat’s Cradle for the record’s tenth anniversary. With Aaron Gillespie and Backwards Dancer. —DS [CAT’S CRADLE, $22–$27/7:30 P.M.]

ALSO ON MONDAY IMBIBE: Grewen and Griffin; 7-10 p.m., free. • MOTORCO: Flash Chorus; 7 p.m., $7–$10. • NEPTUNES PARLOUR: The Atomic Rhythm All Stars Residency; 8:30 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, JAN 23 Ruth B. Ruth B.’s “Lost SOCIAL STAR Boy” has tallied millions of YouTube views since she developed the elegant ballad from a series of viral Vines containing just a few piano chords and lyrics.

She’s yet to match that unlikely breakthrough, but her soulful pipes and earworm melodies make for pleasant pop. Hailey Knox and Gabriel David open. —SG [POUR HOUSE, $15/7:30 P.M.] ALSO ON TUESDAY CAT’S CRADLE: Say Anything, Aaron Gillespie, Backwards Dancer; 7:30 p.m., $22– $27. • THE CAVE: Wyldlife, Criminal Kids; 9 p.m., $5. • IRREGARDLESS: Bill West; 6:30 p.m.

WED, JAN 24 Felly SAMPLE Sampling is an art HEAVY that rapper and producer Felly puts to use in his collage-like tracks. Whether pulling together a smoky jazz-laced clip for his new single, “Seattle,” or looking to trap for “First Things First” off his 2017 album, Wild Strawberries, he has no qualms about taking what he needs to make something new.

With Gyyps and Trip Carter.

—AW [MOTORCO, $18–$60/8 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • THE CAVE: The Worst Residency Ever; 9 p.m., $5.

• HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IMURJ: Green Aisles, Self and Other, Nevtelen; 8 p.m., $10. • IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m.

• POUR HOUSE: Consider the Source, Zephyranthes; 9 p.m., $10–$12.

• RUBY DELUXE: New Wave Night with DJ Rock Lobster; 10 p.m.

art

1.17 – 1.24

OPENING SPECIAL America Wants: EVENT Photography by Owens Daniels. Jan 19-Mar 8.

Reception: Fri, Jan 19, 5 p.m.

Durham Arts Council, Durham. www.durhamarts.org.

C Note: Original works for $100. Paintings, sculpture, fabric, glass, clay, metal, wood, jewelry. Jan 22-Feb 18. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

SPECIAL Colors of Latin EVENT America: Paintings

by Yholima Vargas-Pedroza.

Jan 19-Mar 26. Reception: Fri, Jan 19, 5 p.m. Durham Arts Council, Durham. durhamarts.org.

SPECIAL Renzo Ortega: EVENT Paintings. Thru Feb 18. Reception: Thu, Jan 18, 6 p.m. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

SPECIAL Packaging Space: EVENT Selections from the Bull Meets Bayou Durham NOLA Exchange. Fri, Jan 19, 6-9 p.m. Golden Belt, Durham. www.goldenbeltarts.com. — Multimedia community engagement installation by Calvin Brett and The Bull Meets Bayou. Jan 19-Feb 10.

Reception: Fri, Jan 19, 6-9 p.m.

The Scrap Exchange, Durham. www.scrapexchange.org.

Re(fuse): Triangle Book Arts Group. Jan 19-Mar 3. Artspace, Raleigh. www.artspacenc.org.

SPECIAL Resolute: Mixed EVENT media paintings by Antuco Chicaiza. Jan 19-Mar 8.

Reception: Fri, Jan 19, 5 p.m.

Durham Arts Council, Durham. www.durhamarts.org.

ONGOING LAST Analog Playhouse: CHANCE Bill Brown. Thru Jan 18. Lump, Raleigh. www.lumpprojects.org.

And Then the Sun Swallowed Me: Black tape and video installation by Heather Gordon.

Thru Feb 4. CAM Raleigh, Raleigh. camraleigh.org.

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Black.: Documentary photography by Evan Nicole Bell. Thru Feb 5. Duke Campus: Louise Jones Brown Gallery, Durham. duke.edu.

SUNDAY, JANUARY 21

CHIEKO MURASUGI

Bryan Colburn Ellis and Linda Prager: Prager and Ellis work in seemingly unlike mediums— clay sculpture and drawing, respectively—but the two local artists covertly meet at the seam of shared concerns, such as the exploration of pure form and the serendipity of unintended outcomes. Prager regards her clay forms as canvases for delicate layers of color and texture, while Ellis calls his drawings “illusory configurations referencing abundance, bodily structure, and landscape” that draw on (without being beholden to) traditional methods such as Japanese woodblock printing.

Thru Jan 28. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

—Brian Howe

Born in Tokyo, educated in Canada, and based in San Francisco for two decades before she moved here to pursue an MFA in studio art at UNC-Chapel Hill, Chieko Murasugi (recipient of an emerging artist grant from the Durham Arts Council) brings a global perspective to the vivid, almost figurative abstract paintings currently on view in her exhibit The Fierce Urgency of Now at the café in Duke’s West Union Building. The title comes from Martin Luther King Jr.’s “I Have a Dream” speech; Murasugi painted these works in response to a social media image that purported to show the KKK marching in Mebane, North Carolina. That turned out to be fake news, but the resurgence of white-supremacist hate groups is anything but. Murasugi attacks the issue with fierce but controlled brush strokes, scrawled over repeatedly with a Japanese hiragana character bearing one simple, urgent message: “No.” She discusses the work in this artist talk; the exhibit closes on the fifth of February. —Brian Howe

Austin Caskie: Artspace satellite exhibition. 3-D models.

Thru Mar 31. HQ Raleigh, Raleigh.

Character Space: Text-based art

by Scott Hazard and Stephanie Strange. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

SPECIAL DREAMers: DACA, EVENT Deportation Defense, and the American Dream: Collaboration by Pleiades artists, Alerta Migratoria NC, and The NC Dream Coalition. Thru Jan 29.

Reception: Fri, Jan 19, 6 p.m.

Pleiades Gallery, Durham.

PleiadesArtDurham.com.

Exterminati Sunt Mechanica: John Elliott. Thru Jan 28. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

LAST A Field, A World: CHANCE Charlotte native John Beerman spent three decades living and painting in the Hudson Valley. Six years ago, he returned to his native North Carolina, bringing with him a delicate way of dealing with light. Beerman’s paintings, while indebted to the lightobsessed Hudson Valley

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DUKE’S WEST UNION BUILDING CAFÉ, DURHAM 2 p.m., free, www.chiekomurasugi.com

“Our Creative Protest” by Chieko Murasugi PHOTO BY PETER GEOFFRION

painters of the nineteenth century, are less grandiose visions. His eye directs itself toward nature and landscapes, but he often frames only fragments of them, fixating upon uncommon angles of perception. Segments of tree trunks are foregrounded, the earth in which they are rooted and their leaves overhead unseen. This photograph-like framing, along with a gentle way of abstracting away shadow, lends his work stillness and softness. Thru Jan 20. Craven Allen Gallery, Durham. cravenallengallery.com.

—Noah Rawlings Folk Art in the Library: Bailey Jack, Eric Legge, Irene Tison, Cher Shaffer and Michael Banks.

Thru Feb 25. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library.

Gutter Box: Ben Alper: Photography. Thru Feb 1. Lump, Raleigh. www.lumpprojects.org.

Light Cycles: Photography by JP Trostle. Thru Feb 17. Atomic Fern, Durham. atomicfern.com.

A Kiss of the Earth: Apt for a work about a season of fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere. It’s the inspiration for this experiment

by UNC-Chapel Hill associate art professor Sabine Gruffat, whose interactive threechannel video projection remixes the story of a pagan tribe’s maiden sacrifice: realtime weather data from Paris affects the weather in the animation, and viewers can text to a number on the wall to further alter the proceedings.

Thru Jan 28. NC Museum of Art, Raleigh.ncartmuseum.org.

—Brian Howe

Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, and lamps. Thru Mar 4. NC Museum of History, Raleigh. ncmuseumofhistory.org.

LAST Ellen Jane Messina CHANCE and Bonnie Walker: Alcohol inks and repurposed metal sculpture. Thru Jan 23.

Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

Mike’s Attic: Partnership with Mike’s Art Truck. Selftaught artists. Thru Feb 28.

Durham Technical Community College (Orange County Campus), Hillsborough. www.durhamtech.edu/ orangecountycampus.htm.

More Than One Story | Mas de una historia: Photography.

Thru Feb 1. UNC Campus: Davis Library, Chapel Hill. www.lib.unc.edu/davis.

Mute Music: Drawings and poems by Jenny Eggleston.

Thru Jan 31. The ArtsCenter, Carrboro. artscenterlive.org.

New Growths: Watercolors by Michelle Podgorski. Thru Jan 31. The ArtsCenter, Carrboro. artscenterlive.org.

Paintings from the Estate of Wladimir de (Wlodzimierz) Terlikowski: Thru Feb 13.

Gallery C, Raleigh. www. galleryc.net.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. www. durhamconventioncenter.com.

INDYweek.com | 1.17.18 | 37

Processing: Megan Bostic and Davis Choun. Thru Jan 27.

Artspace, Raleigh. www.artspacenc.org.

LAST Resolutions 2018: CHANCE Statewide juried exhibit. Thru Jan 21.

Hillsborough Gallery of Arts. www.hillsboroughgallery.com.

Serving Life: ReVisioning Justice: By death row inmates.

Thru Jan 25. Visual Art Exchange, Raleigh. www.visualartexchange.org.

The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

stage

Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

Ackland Art Museum, Chapel Hill. www.ackland.org.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce—though we sometimes imagine we are crossing a boundary when we take thousand-dollar bikes into deceptively wild woods with our smartphones and moisturewicking socks. The SuperNatural wades into this liminal zone, exploring how we see and shape the contours of our planet as the physical refuse of the industrial age shades into

the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation, for the exterior vitrines. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for postcapitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

Test of Faith: Signs, Serpents, Salvation: Photographs by Lauren Pond. Thru Feb 4. Duke Campus: Rubenstein Library, Durham.

Michael Weitzman, Bob Dunhama and John Parsons: Photography and oil paintings.

Thru Feb 11. Halle Cultural Arts Center, Apex. www.thehalle.org.

We’ve Met Before: Handwoven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded. Andrea Donnelly holds this contrast in tension. The images on her large

OPENING The Artist’s Role: An Urban Artistry project. Modern urban dance, jazz, and blues. $12-$15.

Sat, Jan 20, 8 p.m. The Vault, Durham.

Chippendales 2018: Sat, Jan 20, 9 p.m. The Ritz, Raleigh. www.ritzraleigh.com.

Eddie B.: Stand-up comedy.

Sat, Jan 20, 8 p.m. Durham Performing Arts Center, Durham. www.dpacnc.com.

Guy Torry: Stand-up comedy.

Jan 18-21. Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com.

Jess Hilarious: Stand-up comedy. Wed, Jan 24, 8 p.m.

Goodnights Comedy Club, Raleigh. www.goodnightscomedy.com.

The Master Builder: Little Green Pig Theatrical Concern. Jan 18-Feb. 3. Mystery Brewing Company, Hillsborough. www.mysterybrewing.com.

See story, p. 28.

Black Irish: Lit PHOTO COURTESY OF ZIMZOOM PHOTOBOOTH SATURDAY, JANUARY 20 & SUNDAY, JANUARY 21

BLACK IRISH: LIT

No one else in regional dance is doing what choreographer-designer Ronald West is doing.

His fusion of razor-sharp hip-hop moves, contemporary techniques, experimental costume and technical design, and dance-club beats with catwalk sensibilities have depicted improbable intersections in recent years: Gown and Pro-ject evoke Gaga choreography, the LGBTQ ballroom community of New York City, and German tanztheater, as dancers peel through layers of functional and dysfunctional relationships. In his new Black Irish work, Lit, West explores the physical and psychological possibilities of the most euphoric buzzword of 2017.

Since “lit” means being shown in light as well as intoxicated, take a moment to let your eyes adjust to the disorienting glare when the doors of perception first burst open. Then watch as the light-bulb moments really start happening. The evening opens with an encore performance of last year’s Shade. —Byron Woods

CARY ARTS CENTER, CARY | 7 p.m. Sat./4 p.m. Sun., $10–$20, www.iamblackirish.com 38 | 1.17.18 | INDYweek.com

The Miraculous and the Mundane: Play. Jan 18-Feb. 3.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org.

See p. 31.

The Normal Heart: Play. $15$25. Jan 18-Feb 4. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.

See p. 30.

Ridin’ Wit’ Joe Crack: Play. Sat, Jan 20, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m.

Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory. Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.” Thru Jan 28. N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

—Brian Howe Winter Corridor Artists Exhibition: Dana Ayscue, Cynthia Bickley Green, Stephen Cefalo, Eileen Hendren, Kelly Murray. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

The Woman Who Made Snow: Photography by Anna Exum Snow. Thru Mar 31. Durham History Hub, Durham. museumofdurhamhistory.org.

The Harry Show: Ages 18+.

Improv host leads potentially risque games with audience participation. $10. Fridays and Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Hot Comedy with Brian Burns: Stand-up comedy. Mon, Jan 22, 8 p.m. The Cave Tavern, Chapel Hill. www.caverntavern.com.

Hush Hush: Audience confession comedy show. Wednesdays thru Apr 25, 8 p.m. Fullsteam, Durham. thisismettlesome.com.

LAST  Imago: CHANCE Reviewed on p. 29.

Thru Jan 20. The Fruit, Durham.

Locals at the Local: Stand-up comedy. $5-$7. Thu, Jan 18, 8-9:30 p.m. Local 506, Chapel Hill. www.local506.com.

LAST  Love CHANCE Letters: Reviewed on p. 29. $29+. Thru Jan 21.

Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

The Monti Storyslam: Secrets: Storytelling. $12. Wed, Jan 17, 7:30 p.m. Motorco Music Hall, Durham. motorcomusic.com.  The Mound Builders: In Ward Theatre Company’s Durham debut, 2016’s Jacuzzi, we couldn’t pick the two students making their stage debuts out of the quartet of actors. We can’t say the same of The Mound Builders, in which several actors didn’t convince us. In Lanford Wilson’s drama, dangerous schisms arise between selfabsorbed researchers and poor, uneducated farmers in the backwoods of Illinois.

We savored Evit Emerson’s work as Dan, a charismatic young anthropologist who

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READ Capital CoffeeCon: With Larry’s Coffee, Lucettegrace, S I G N I Raleigh Coffee Company, Jeffrey Bea Rise, Benelux Coffee, and Williams: T Escazu Chocolates. Music from Chatham Rabbits Music Sun, Jan 21 Co. $5. Sat, Jan 20, 9 a.m.- Ridge Book noon. Raleigh City Museum, quailridgeb Raleigh.

David Colli cityofraleighmuseum.org.

Activists: M Free Wine Tasting: Mondays, Holmes, and Marriage Eq 5:15-7:15 p.m. Bottle Rev Jan 18, 7 p.

Chapel Hill, Chapel Hill.

Chapel Hill www.bottlerev.com. rhapsodizes about the enigmatic Native Americans referred to by the play’s title.

Emma Jo McKay anchors this troubled enclave of academics in the supporting role of Cynthia. But Rick Skarbez seemed nearly a generation too young to play a pompous senior anthropologist, and Margery Rinaldi was an improbably polite and circumspect as what was supposedly an ultra-high-maintenance jetsetting character. $25. Thru Feb 19. Ward Theatre, Durham. wardtheatrecompany.com.

—Byron Woods

Donna Eve Bittersweet.

McIntyre’s www.mcin

John Hech Gentlemen: America’s F 23, 7 p.m. Q Raleigh. qu

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Barbara Cl Promise Bet What We’re Up Against: “This 17, 7 p.m. F fucking woman stands there Hill. flyleafb Jan 21, 4 p. and says to me, ‘This is my point, Stu. It’s not about the Main Libra work, it’s about point of view. .co.orange.

When a woman designs it, LECTU it’s shit, and when a man designs it, it’s great.’ So I say Currybloss to her, no this isn’t about Sacrificial P point of view, this is about music, poe power.” In Theresa Rebeck’s between. T office dramedy, it’s 1992, p.m. Vimal a time when a woman can Cafe, Chap get ahead in a competitive www.curry workplace like an architectural From Mem firm—that is, as long as she Lecture by knows her place, doesn’t rock Dix Park. Tu any boats, and waits her turn Fletcher Op for advancement. But who dukeenergy decides when it’s her turn?

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Thru Jan 28. William Peace Sounding K University: Leggett Theatre, Lecture. Fri Raleigh. raleighlittletheatre.org. UNC Camp —Byron Woods Chapel Hill

page READINGS & SIGNINGS Jeffrey Beam: Jonathan Williams: The Lord of Orchids.

Sun, Jan 21, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

David Collins: Accidental Activists: Mark Phariss, Vic Holmes, and Their Fight for Marriage Equality in Texas. Thu, Jan 18, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Donna Everhart: The Road to Bittersweet. Sat, Jan 20, 11 a.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

RECYCLE THIS PAPER

John Hechinger: True Gentlemen: The Broken Pledge of America’s Fraternities. Tue, Jan 23, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Sujata Massey: Widows of Malabar Hill. Sat, Jan 20, 2 p.m.

McIntyre’s Books, Pittsboro. www.mcintyresbooks.com.

Donald Rosenstein and Justin Yopp: The Group: Seven Widowed Fathers Reimagine Life.

Thu, Jan 18, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

Barbara Claypole White: The Promise Between Us. Wed, Jan 17, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com. — Sun, Jan 21, 4 p.m. Orange County Main Library, Hillsborough. .co.orange.nc.us/library.

LECTURES ETC. Curryblossom Conversations: Sacrificial Poets open mic for music, poetry, or anything in between. Third Thursdays, 6-8 p.m. Vimala’s Curryblossom Cafe, Chapel Hill. www.curryblossom.com.

From Memory to Action: Lecture by Elizabeth Silkes for Dix Park. Tue, Jan 23, 5:30 p.m.

Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh.com.

Our Lives in the New Normal: HIV in 2018: Conversation with Jesse Milnan Jr. after the 7:30 p.m. performance of The Normal Heart. Free with ticket to play. Sat, Jan 20. Burning Coal Theatre at the Murphey School, Raleigh. www.burningcoal.org.

Sounding Korea: Keith Howard Lecture. Fri, Jan 19, 4:15 p.m.

UNC Campus: Person Hall, Chapel Hill. music.unc.edu.

BILL BURTON MONDAY, JANUARY 22

NAIMA COSTER: HALSEY STREET Wake Forest University writing professor Naima Coster, who grew up in Brooklyn, unveils Halsey Street, her debut novel, at the Regulator. The novel is a family saga set against the backdrop of Bed-Stuy, a gentrifying neighborhood in Brooklyn. Coster interweaves the perspectives of Penelope, an unsuccessful artist returning home to care for her ill father, and her mother, Mirella, who has departed for her home country of the Dominican Republic. Shifting back and forth in time to tell both women’s stories, Halsey Street is already earning acclaim for its look into the braiding of art and life.

Naima Coster Kirkus Reviews calls it PHOTO BY JONATHAN JIMÉNEZ PÉREZ “absorbing and alive, the kind of novel that swallows you whole.” People says it’s “a masterful tale of family failures and forgiveness.” Get in early on what may be one of the year’s first big critical hits with this reading and signing. —Zack Smith

THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

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screen WEDNESDAY, JANUARY 24

ABACUS: SMALL ENOUGH TO JAIL The late UNLV basketball coach Jerry Tarkanian once famously quipped, “The NCAA is so mad at Kentucky, it’s going to give Cleveland State two more years of probation.”

The propensity for law enforcement and regulatory agencies to target low-hanging fruit while letting major offenders slip away is at the heart of the latest documentary from director Steve James (Hoop Dreams; Stevie). Abacus: Small Enough to Jail chronicles the family of Chinese immigrants that owns the modest Abacus Federal Savings bank in Manhattan’s Chinatown. Speciously accused of mortgage fraud, Abacus was the only U.S. bank to face criminal charges in the wake of the 2008 financial crisis. The family was forced to defend itself in a five-year legal battle—the investigation in 2010, the indictment in 2012, and the trial in 2015.

Abacus opened last year’s Full Frame Documentary Film Festival before premiering on PBS’s Frontline in September; now catch it in the new season of the Full Frame Road Show’s winter series. —Neil Morris

THE CAROLINA THEATRE, DURHAM 7:30 p.m., free with RSVP, www.fullframefest.org

Abacus: Small Enough to Jail PHOTO COURTESY OF SEAN LYNESS

SPECIAL SHOWINGS

thieves planning a heist on the Federal Reserve Bank.

Rated R.

Iced and Winterbeast: Dumpster Dive Cinema. Sun, Jan 21, 8 p.m. Cat’s Cradle Back Room, Carrboro. www.catscradle.com.

Forever My Girl—In this romantic drama, a country music star rekindles an old flame in his hometown.

Rated PG.

OPENING

Phantom Thread—The world of 1950s London couture gets the Paul Thomas Anderson treatment. Rated R.

12 Strong—Based on a true story, this war drama starring Chris Hemsworth follows CIA and U.S. special forces operatives to Afghanistan after 9/11. Rated R. ½ Call Me By Your Name—Reviewed on p. 27.

Rated R. Den of Thieves—The LA County Sheriff’s Department clashes with a group of 40 | 1.17.18 | INDYweek.com

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG.

½ Darkest Hour— This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  The Disaster Artist—James Franco does a suspiciously good impression of a bad artist, The Room writer-director Tommy Wiseau, but the point eludes us. Rated R.  Downsizing— Alexander Payne’s satire, in which Americans are shrunk in order to get a mini version of the good life, is something very rare: a film that doesn’t resemble anything we’ve seen before.

Rated R.

 I, Tonya—This kinetic, sympathetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need an awful lot of nineties nostalgia to see this reboot as anything but a utterly generic jungle adventure. Rated PG-13. ½ Justice League— Uneven but much better than Batman v. Superman: Dawn of Justice, this collision of Zack Snyder’s bombast and Joss Whedon’s wit actually kind of works. Rated PG-13.  Lady Bird—Greta Gerwig’s nostalgic coming-ofage debut as a writer-director is winning and alert to class but falters on race. Rated R.

½ The Man Who Invented Christmas—Charles Dickens and his famous A Christmas Carol characters come to life in this pleasant holiday surprise from across the pond.

Rated PG.  Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t, and he really lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene. Rated R. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press. Rated PG-13.

 The Shape of Water—For better and worse, Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R.  Thor: Ragnarok—A stodgy, self-serious franchise springs to life with demigods delightfully out of their element. Rated PG-13. ½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale.

Rated R.

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RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER 9 RECYCLE THIS PAPER 9 1 4 THIS PAPER RECYCLE 1 9 6 RECYCLE 3 5 THIS PAPER 2 9 2 7 8 RECYCLE THIS PAPER 5 6 7 7 RECYCLE THIS 1 4 PAPER 1 4 2 RECYCLE THIS PAPER 3 8 5 RECYCLE THIS PAPER 7 1 8 6 5 3 RECYCLE THIS PAPER 6 5 RECYCLE 9 7 PAPER THIS 5 2 5 6 RECYCLE THIS1 PAPER RECYCLE THIS PAPER # 94 7 4 9 THIS PAPER RECYCLE RECYCLE THIS PAPER 6 5 3 THIS PAPER su |HARD do | kuRECYCLE this week’s puzzle level: # 41 RECYCLE THIS PAPER © Puzzles by Pappocom

crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions” at the bottom of our webpage.

1

9 2

4 7 6 1 7 2 6 9

9 4

1 3

1

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# 42

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

3 6 8 6 7 5 2 6 8 5 1 4 4 4 1 9 8 5 1 5 3 2

2

1

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4

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# 96

3 4 8

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# 96

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# 44

If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions”.

CLASSY AT INDYWEEK DOT COM

Best of luck, and have fun! www.sudoku.com

# 42 3 6 9 2 1 4 7 530/10/2005 8

8 4 1 | 3INDYweek.com 7 5 6 9 2 42 | 1.17.18

1 4 1 9

3

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1.17.18

solution to last week’s puzzle

# 41

2

9

# 43 6 1 7 9 2 5 4 3 8

3 9

4

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5

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7

1 2 3 8 9 4

8 4 6 7 5 3

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# 43

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# 44

7 2 3 8 4 9

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1 3your 9 B6ook ad • Email kim: classy@indywEEk.com 2 1 9 3

4 5 7 8

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5 3 6 2

please contact advertising@indyweek.com

advertise on this page!

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please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

last week's puzzle

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM Book your ad • Email kim: classy@indywEEk.com

INDYweek.com | 1.17.18 | 43

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