INDY Week 1.25.2017

RALEIGH

DispatchEs FRom thE REsistancE

ATTENTION!

SUBVERSION WILL NOT BE TOLERATED! P.6

SURVIVE THE LONGEST WINTER! P.22

1

. 25 . 17

p.15

GO BEHIND THE METAL CURTAIN! P.26

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WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 34, NO. 2

6 Sheriff Donnie Harrison believes Wake County’s school resource officers are “set up for failure.”

16 “This kid’s got a picture of our president kissing Putin. Two men kissing. That ain’t right.”

20 If North Carolina is a microcosm of the United States, then residents’ activism could be seen as a bright spot in an otherwise dark political climate.

22 It only takes Mason jars and a few simple preserves recipes to sock away a taste of winter.

23 The (sweet, bite-size) evidence is in: giving up dessert for New Year’s is a crazy idea.

26 An army of home-built and modified pedals enables guitarist Nora Rogers to acquire the flavors she’s after.

28 A year after leaving the embattled Carolina Theatre, Bob Nocek has a full plate.

33 In Heisenberg, we learn that the more precisely you can locate a particle—or person—the less you really know.

DEPARTMENTS 5 Backtalk 6 Triangulator 22 Food 26 Music 29 Arts & Culture

A scene from the Women’s March on Raleigh Saturday

PHOTO BY BEN MCKEOWN

34 What to Do This Week 36 Music Calendar 41 Arts/Film Calendar On the cover: ILLUSTRATION BY SHAN STUMPF

INDYweek.com | 1.25.17 | 3

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backtalk

In Memoriam Last week’s cover story on the ailing David McKnight, a former journalist turned street musician (who passed away last Tuesday, after our story had been sent to press), generated lots of remembrances from people who’d encountered him over the years.

“Excellent tribute to David Proctor McKnight in this week’s INDY,” writes Bill Newton. “The best one I can remember in memorializing someone, in fact. Made me feel like I was there with you on Hillsborough Street and when you visited him. I didn’t really know him, but I have seen him perform over the years and in recent years would visit with him while at the Durham Farmers Market. I called him the sage of the farmers market. About three years ago, he made a new friend at the farmers market. Our greatgranddaughter would go with us from time to time when we babysat her. She loves music and loves to dance. We were there with her once when my wife asked David if he could do ‘Wheels on the Bus.’ She is six now and doesn’t go with us much, but when she does she will miss him, as will most of the children who go to the farmers market. Thanks for the beautiful article.”

Ian McKee, who graduated from Riverside High in Durham in 2003, says he knew McKnight “through dozens of interactions over our years spent in passing on Ninth Street. As I got older, I would buy him a beer at Dain’s and get to know him a little bit. I knew very little about his life and past, but I was always struck by his amazing humility, contentedness, and goodwill for all. I believe that David’s life shows us how incredibly little material wealth matters and how much it truly matters to be a good, kind, humble person.”

“A beautifully written article,” adds Lisa Lewis. “For several years, I spent many afternoons with David when he came to Mitch’s Tavern after playing on Hillsborough Street.

I would greet him with, ‘Oh, pain in my ass,’

always getting a laugh. I threw his creamers to him baseball-style. I only missed once, hitting a beer tap and spraying him and one other. He laughed and laughed. We were always talking about politics and baseball. I know of no one who got so much pleasure from life. There is some fine fiddling going on somewhere, and may he be in a better place—and I hope there is some baseball there for him.”

Commenter Anne 1 writes that she went to Duke in the early nineties and worked at Brueggers Bagels on Ninth Street. “David was there first thing every morning, before anything else on the street was open. He never asked for anything more than a cup of water. I’d ask if he wanted a coffee or a sandwich, and he always shyly turned it down. I remember going outside on my lunch breaks to the sound of his fiddle floating up from somewhere down the street.

The city of Durham eventually chased all the homeless people out of the area. Yes, there were some aggressive panhandlers in the area, but David was never one of them. He disappeared. I always wondered where David went. About ten years later, I had a job at N.C. State, and found him again on Hillsborough Street. It was clear no one was home; he usually just shuffled up and down the street carrying his violin. I saw this in my news feed this week and sobbed. I realized all those years, he touched so many souls, and I never asked the man for his name.”

Finally, Jack Le Sueur, who was quoted in the story, writes with a correction. Contrary to the article, “Pattie and I were not married in the seventies when we performed with David as Triangle; our wedding was in 1982 (and we’re still married).”

“There is some fine fiddling going on somewhere, and may he be in a better place.”

Want to see your name in bold? Email backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up on Twitter: @indyweek.

INDYweek.com | 1.25.17 | 5

triangulator +DEPORTATION THREATS

While running for president, Donald Trump made his pledge to eliminate what he called the “illegal” Deferred Action for Childhood Arrivals program—a 2012 executive order that allows children of undocumented immigrants brought to the United States by their parents, often called Dreamers, to be temporarily spared deportation— a central plank of his campaign. Now that he’s taken office, advocates warn that doing so would do more than harm DACA’s nearly 750,000 beneficiaries. According to an estimate by the left-leaning Center for American Progress, such a move could also spell economic disaster.

Revoking DACA, CAP projects, would deprive the U.S. GDP of more than $433 billion over the next decade, and North Carolina of more than $10 billion. And that figure doesn’t take into account the toll deportation of the 741,000 DACA beneficiaries (26,936 of whom live in the Tar Heel State) would take on the families of the deported. After all, legal status affords immigrant youths the ability to obtain employment opportunities and health care coverage. That would evaporate the second Trump overrides President Obama’s executive order, which the new president could do with the stroke of a pen.

Despite his feverish anti-immigrant rhetoric, however, Trump has not yet exercised that option.

In fact, the new administration seems to be having second thoughts. On Monday, press secretary Sean Spicer told the media that the White House would focus on deporting undocumented criminals, not Dreamers, which mirrors the Obama administration’s immigration priorities; on Sunday, chief of staff Reince Priebus told Fox News that Trump planned to work with Congress on a “long-term solution,” though he didn’t provide details.

+REMOVE AND REPLACE?

In the aftermath of a highly publicized incident in which a Rolesville High school resource officer threw a fifteen-year-old girl to the ground, giving her a concussion [“Deletable Resources,” January 11], social justice advocates last week called 6 | 1.25.17 | INDYweek.com

DACA, BY THE NUMBERS

741,000

$433 billion

26,936

$1.1 billion

Number of DACA beneficiaries in the U.S., as of September 2016

Number of DACA beneficiaries in North Carolina, as of September 2016

Cost of DACA revocation over the next decade

Annual cost of DACA revocation in North Carolina

Sources: Center for American Progress, N.C. Budget & Tax Center

ILLUSTRATION COURTESY OF U.S. CITIZENSHIP AND IMMIGRATION SERVICES

a press conference to demand that SROs be removed from Wake County schools, beginning with a 50 percent reduction next year, and replaced by counselors and psychologists.

On Thursday, Wake County Sheriff Donnie Harrison submitted his own recommendation to the Board of Commissioners.

But Wake’s top lawman didn’t call for copfree halls. He just wants his deputies to stop patrolling them. Instead, Harrison called for the creation of a school-system-run public safety department, a move he said would fix a “patchwork of a public safety system in our schools” that are “set up for failure.”

“Currently, we have eleven chiefs of police and one sheriff with oversight,” his letter said. “Each agency has different protocols and training standards that often may be in conflict with the goals and objectives set by the school board and superintendent.”

A Wake County Public School System-run department, however, would be able to create its own “specialized training program,”

Harrison says, adding that a WCPSS “command center” would be better equipped to “ensure consistency” and “monitor every single school facility in the county.”

Letha Muhammad, a leader of the Education Justice Alliance, laughed aloud when told of Harrison’s proposition, then said she “disagrees wholeheartedly with the good sheriff.” In her and other reform advocates’ view, there should be a decreased—if not nonexistent—police presence inside public schools, not a WCPSS police force.

This isn’t the first time the sheriff has weighed in on the county’s SRO system. In September, he said he might pull his deputies from county schools if the school board didn’t set a clear policy for transgender students, citing the example of a principal allowing a transgender female to use the girls’ bathroom. Though Harrison supports the enforcement of HB 2, he said his beef was with inconsistent rules across the county’s schools about whether this sort of thing should be permitted.

It’s unclear how the school system will respond to Harrison’s recommendation,

but several school board members have said they’re concerned about the costs associated with creating their own police department.

Calls to the WCPSS were not returned by press time.

+SPECIAL SNOWFLAKES

Forget millennials. It’s politicians—or, at least, some of them—who are really the fragile snowflakes. Take, for example, state Senator Dan Bishop, R-Mecklenburg. He wants to introduce legislation that would protect state officials from potentially hostile constituents, making it a crime, punishable by up to five years behind bars, to “threaten, intimidate, or retaliate against a present or former North Carolina official in the course of, or on account of, the performance of his or her duties.”

Sounds innocuous enough. But consider the casus belli: a group that followed former governor Pat McCrory last weekend in Washington, D.C., calling him a bigot (fact check: he did sign HB 2) and yelling

“shame!” The video, shot by a member of a Greensboro socialist outfit, shows McCrory’s antagonists engaging in the subversive act of publicly disagreeing with a policy maker. The horror!

Bishop wasn’t having it. He told The News & Observer that he will introduce legislation to prevent these types of incidents from happening. After all, he told the N&O, “lines are being crossed.” The group that confronted McCrory consisted of “ubiquitous leftist rioters,” a “chanting mob,” he proclaimed. Such behavior, he added, “is dangerous.”

It’s worth noting that, as a state rep last year, Bishop sponsored HB 2, which actively stigmatizes and endangers the state’s transgender population. But yeah, the politicians are the aggrieved parties here.

So, to recap: socialists exercise First Amendment rights by criticizing governor who signed discriminatory law. Offended lawmaker who introduced discriminatory law proposes legislation making that behavior a criminal offense. All because, you know, “lines are being crossed.”

Stay tuned for next week’s update: “Hippies, please do not breathe in my general direction.” triangulator@indyweek.com This week’s report by Ken Fine and Erica Hellerstein.

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T R U M P L A N D I A

WElcomE to thE

REsistancE ince November 8, the idea of a Trump presidency has seemed to me almost surreal, like a Black Mirror episode, not an actual thing that would actually happen.

It was too far-fetched that the world’s superpower would cede control to an insecure, vainglorious game-show host who has surrounded himself with white nationalists, conspiracy mongers, and ideologues, and who has over the past two months resolutely demonstrated that his administration will have little regard for ethics and norms and will be outright dismissive of conflicts of interest.

Like, that can’t really happen, can it?

But here we are. As I watched Donald Trump take the oath of office last Friday— from a hotel in Portland, where I was attending a conference— the reality of this moment took hold. There was Trump, scowling and dour, telling us what a hellscape America had become: “Mothers and children trapped in poverty in our inner cities; rustedout factories scattered like tombstones across the landscape of our nation; an education system flush with cash, but which leaves our young and beautiful students deprived of knowledge; and the crime and gangs and drugs that have stolen too many lives and robbed our country of so much unrealized potential. This American carnage stops right

S

here and right now.”

The president’s first few days didn’t inspire much hope.

To review: Trump went to the CIA, cheering section in tow, to complain about media coverage of his inauguration crowd’s size. His press secretary lied and his adviser excused the lying with talk of “alternative facts.” Trump also had the Justice Department back down from fighting a voter-ID law in Texas, issued an executive order to begin dismantling the Affordable Care Act, revived the antiabortion Global Gag Rule, and signed an executive order that will increase mortgageinsurance premiums for some homebuyers.

But I found hope Friday night on Portland’s streets, where, despite the cold and rain, some five thousand people poured into downtown in protest. And I found hope the next day, when more than three million people took to cities across the country to denounce the new regime and its would-be strongman, including a halfmillion in Washington, one hundred thousand in Portland, and, back home, seventeen thousand in Raleigh.

Welcome to the resistance.

In the pages that follow, you’ll find stories about this burgeoning movement, from the inauguration protests to the women’s marches. And maybe they’ll give you the same hope that they gave me.

—Jeffrey C. Billman

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TRUMPLANDIA!

The Resistance: Day 1

AS TRUMP IS SWORN IN, PROTESTERS (AND ANARCHISTS) TAKE TO D.C. STREETS

BY KEN FINE

PHOTOS BY CARLOS ANDRES VARELA

1. Exactly What Trump Wants

Torch, as he calls himself, is wearing a bandanna over his face, secured just below his eyes. The fabric matches the skinny black jeans, black T-shirt, and hoodie he’s wearing during what he characterizes as the “deinauguration of America’s Hitler.” And when the twenty-four-year-old pulls a hammer out of his backpack and starts chipping away at a stretch of curb near the intersection of Thirteenth and K streets, when he grabs a chunk of pavement and hurls it at a line of riot-gear-clad members of Washington, D.C.’s police department, he gets the chaos he’d traveled from Colorado to incite.

Several officers lob concussion grenades toward the thousands who, moments earlier, had been peacefully protesting the swearing-in of Donald Trump. (Interim D.C. police chief Peter Newsham would later tell the press that it was the protesters, not the cops, who threw the grenades. This was inaccurate.) Others spray chemicals and fire rubber bullets into the crowd. Some protesters murmur that tear gas is moving downwind toward us.

They’re right. Moments later, I can barely breathe, my eyes and chest on fire. I fall to my knees. People are fleeing, but one man helps me to my feet.

Torch, meanwhile, stands his ground. “Is that it?” he screams, holding a middle finger into the air while his other hand lets fly another piece of street. “Come on. Let’s see what you got, you fuckin’ pigs.”

I hear two pings and another explosion— one that sends hard plastic shrapnel in all directions, hitting twenty-two-year-old D.C. resident Katie McMillan in the thigh. She turns toward Torch, her leg bleeding, and begins to plead with him.

“Why are you doing this?” she asks. “We need to stay peaceful. This is exactly what [Trump] wants. You’re giving this piece of shit exactly what he wants.”

Torch isn’t swayed. “Fuck you. If you can’t handle it, you should go back home,” he says.

16 | 1.25.17 | INDYweek.com

D.C. police deploy concussion grenades to disperse protesters.

“Guys like Trump only respond to force.”

Several people cheer him on. Dejected, McMillan leaves.

The next hour-plus sees more destruction on this block. The windows of a limousine parked outside a Washington Post building are smashed, the car tagged with spray paint and ultimately set ablaze. Newspaper racks and trash cans are tossed into the middle of the street and set on fire. Self-described anarchists throw everything from construction cones to glass bottles at the cops.

The sounds of chaos—glass breaking, metal meeting pavement, grenades exploding, screams, chants, shouted exple-

tives—bounce off the buildings. Every few minutes, the cops beat their batons against riot shields and insist, in one voice, that the crowd “get back.” Then they charge, pepper spray streaming from small gaps in their human wall.

Protester after protester goes down—one with a gash above his eye, another screaming, “I can’t fucking see. I can’t fucking see.”

A black Suburban with red and blue lights flashing on its dashboard drives through the crowd and doesn’t stop when several protesters try to block its path. One hurls a piece of concrete through the SUV’s back windshield.

It’s a melee, far removed from the “peace-

ful transfer of power” that reverent television pundits would hail throughout the day. And it’s not at all what I expected when I first took to the D.C. streets Friday morning.

So let’s rewind.

2. A Real Man

It’s seven a.m., and I’m having a smoke on the front porch of the house on Decatur Street where I crashed the night before.

My friend (it’s her house) had told me to be mindful of where I parked Thursday because the Russian diplomats who live across the street would have me towed. I thought she was kidding. There’s no way

TRUMPLANDIA! I’m covering the inauguration of Donald Trump—a man whose election owes in part to Vladimir Putin’s meddling, and whose associates are reportedly under FBI investigation for their ties to the Kremlin—and just happen to be staying across the street from Russians.

I’m not that lucky.

But when I look across the road, I notice a Russian flag hanging outside a house guarded by chicken wire fencing. Christmas lights are still hanging in the front yard. Two men are smoking cigarettes out front, speaking into cell phones in a foreign tongue. I take a picture to prove serendipity exists.

I hail a cab. My driver, a middle-aged African American who’s lived in D.C. since 1969, is fired up. I assume—ignoring my tendency to not judge books by their covers—that he’s agitated because Barack Obama is hours away from boarding Marine One and leaving Washington. I’m wrong.

“You’re not from around here are you?” he asks.

“No, sir. North Carolina.”

“Welcome to my city. Welcome to our city.

Today’s the day. Yes, sir. It’s gonna be a good day.”

In the fifteen minutes it takes us to get to within earshot of my destination, the corner of Sixteenth Street and Pennsylvania Avenue, Al Moore tells me that he’s attended every inauguration since he moved to the capital, and that he’s upset he has to work today. “A real man,” he says, is about to take the oath.

“He tells it like it is,” Moore says. “People in my family, they got all angry that I was votin’ for him, but I told them, what’ve the Clintons done for you? Then they talk about, ‘He’s arrogant.’ You tryin’ to tell me that Barack Obama isn’t arrogant? That’s absurd.”

Every few blocks, we see groups of protesters walking down the street carrying homemade signs.

“Look at that. This kid’s got a drawing of our president kissing Putin,” Moore says.

“Two men kissing. That ain’t right. These kids got no respect for the office or the man.

But trust me, they will. He’ll make sure of that real quick.”

“So you don’t have a problem with the way this guy talks about immigrants or the fact that he’s appointing people to his Cabinet who’ve said some pretty questionable things about minorities?” I ask.

Moore laughs. “You see. I don’t buy into

Above: Protesters march. Below: Xan Joi confronts a Trump supporter. all that crap the media is selling,” he says.

“Somebody owns them. You know what I’m sayin’? Follow the money and the truth will set you free. Don’t buy into all that propaganda. All I need to know is that a strong man who doesn’t take any nonsense is about to face the world and remind people what America’s all about.”

3. This Road Is Closed

I’m walking through a square near the intersection of Fifteenth and I streets. Hundreds of soon-to-be protesters are mobilizing, discussing how they intend to disrupt the pending inauguration as Secret Service agents dressed in street clothes look on, white

earpieces visible under the black beanies they’re wearing.

A thirty-two-year-old who claims to be an organizer of DisruptJ20, an amalgamation of activist groups, invites me to join a blockade and assures me that if I get arrested, it’s OK to declare my right to remain silent. “Don’t talk to them. They’ll use it against you.”

Within fifteen minutes, we’re marching en masse toward an inauguration entry point located near the intersection of Tenth and E streets. Some protesters are already blocking Trump supporters from their desired destination.

A middle-aged white guy wearing a red “Make America Great Again” cap tries to reach the checkpoint. He’s spent the last five minutes wading through a sea of jeers and chants of “shame” and “stupid fucking hat.”

But a chain of bodies linked together at the arms is holding the line.

So when he comes upon sixty-six-yearold Californian Xan Joi, a short, soft-spoken woman in a mustard-yellow homemade anti-Trump sweatshirt, he sees it as his best chance to push through. He makes his move.

“I’m sorry, sir. This road is closed,” Joi says, her sweet-as-sugar voice prompting even the loudest protesters to flash smiles.

“I can’t let you pass.”

The man throws his arms into the air.

“What’s that, dear? This road is closed?

Where’s your permit?” he asks, taking a few steps forward before his torso meets Joi’s outstretched hands.

“My permit is the Constitution,” she replies. “Please, sir. Help us keep this peaceful.”

The man again lunges forward—this time, aggressively—but two bystanders shove him back. Joi stays the course.

“Can’t you just go another way? Washington is a big city,” she pleads.

Moments later, his elbow meets her face.

Joi holds her mouth and mutters, eyes wide open as her cheeks turn bright red. The man’s friends quickly pull him away from the scene.

“Read the Constitution,” Joi shouts, following him up the street.

“I’ve read the Constitution, you old bat,” he replies.

“Well, then, you should understand,” Joi screams, the veins in her neck bulging as she angrily waves her arms. “You should understand that we have a responsibility to shut this government down.”

INDYweek.com | 1.25.17 | 17

TRUMPLANDIA! 4. A Vote for Putin

sends a message. You know, people think people like me don’t give a fuck and just want to break shit,” he says. “But the truth is, Trump is gonna lie about the size of this protest. He’s gonna say all these people were paid and try to pull one over on the ignorant people who voted for him. But the cameras were rolling when those grenades were flying. They were rolling when we fucked up that limo. Let’s see him try to lie that shit away.”

The officers standing behind the blockade at Tenth and E are mostly passive. Sure, they’re helping Trump devotees when they attempt to break through the protest, but there’s little force on display. And the protesters, while nonviolent, know how to get under the skin of Trump’s supporters, like forty-three-year-old Brian Hudson.

“I’m not afraid of being pushed around,” Hudson says defiantly after a failed attempt to break through the line. “I’m an American and freedom is guaranteed to me. I have every right to walk down this street. Watch me.”

He charges the blockade and yells “sore losers” and “why don’t you go get a job” when he’s pushed back. An older man waves his finger at the protesters and tells them, “You can’t be blocking the street like this.” In unison, they respond: “Here’s your wall. Here’s your wall.” A man behind me yells, “A vote for Trump is a vote for Putin. You betrayed your country.”

Hudson, who drove from Louisiana to be here, calls the protest “disgraceful.”

“We didn’t do this when Barack Hussein Obama was elected,” he says. “But these whiny liberals always throw a fit when things don’t go their way. I bet half of them didn’t even vote, and the other half were paid to be down here.”

Hudson makes two more attempts to break through before giving up and turning away. But before he’s out of sight, he cups his mouth with his hands and bellows, “You better get used to losing, losers. Trump’s gonna win and win. You might as well deal with it.”

6: Gaslighter in Chief

5: War Zone

I spend the next few hours watching as, one by one, Trump supporters fail to breach DisruptJ20’s blockade. And as more and more protesters converge on the intersection, the chants get, shall we say, creative.

“My pussy. My call. Fuck your wall,” the crowd roars, cheering before a young woman with a megaphone leads them in song.

“When the people rise up, the power comes down,” she sings.

A few minutes before Trump takes the oath, I walk into a pizza shop. A handful of bikers are standing at the bar, drinks in hand as they toast their new president as he’s being sworn in. When it ends, I head back down to the protests to see if an official transition of power has inspired any action. It has.

The crowd dissipates, and large clusters 18 | 1.25.17 | INDYweek.com

Protesters create a blockade at an entrance to the inauguration. of protesters march in different directions.

Groups of hundreds converge a few blocks away from the intersection where, an hour later, D.C. would resemble a metropolitan war zone. Stopped cars are swallowed up by the thousands carrying signs, playing instruments, and recording video on their cell phones.

There are people walking on stilts and a massive inflatable elephant with “RACISM” written on its side. There’s dancing, singing, and groups of a dozen or more join-

ing hands to block intersections, blissfully unaware that, a mere two blocks down the road, they’ll be greeted by riot cops, and when the two groups come face to face, what starts as a standoff will end in violence.

More than two hundred people will be arrested and charged with crimes ranging from vandalism to inciting a riot. Several storefronts will be damaged, including a Starbucks and a Bank of America. Then there’s the aforementioned flaming limo.

Torch tells me it’s necessary. “I hope it

The day after the inauguration, the newly elected president validated the anarchist I met at Thirteenth and K. Those who participated in Saturday’s Women’s March—more than a half-million, by some accounts (see page 19)—brought public transit and traffic to a standstill. Trump supporters turned out in no such droves Friday.

But the president did exactly what Torch predicted. He pushed a false narrative that a million-plus people stretched all the way to the Washington Monument during the inauguration, a claim quickly debunked by numerous aerial photographs. After the National Park Service retweeted side-byside images of Obama’s 2009 inauguration and Trump’s paltrier one, the Trump administration banned the NPS from using Twitter. Experts told The New York Times over the weekend that fewer than two hundred thousand people attended the inauguration; in 2009, Obama got 1.8 million.

Trump’s response? To declare, during remarks delivered during his first visit to the CIA, that the media was “dishonest.” White House press secretary Sean Spicer doubled down on his boss’s claim, telling reporters that Friday’s crowd was “the largest audience to ever witness an inauguration, period,” a statement Trump counselor Kellyanne Conway said was based on “alternate facts.”

I can only speak to what I experienced: finding a cab with no problem in the morning and again later that night, being able to grab lunch downtown without having to wait for a table, never seeing more than a handful of Trump supporters together at the same time. My second cabbie, another middle-aged African American who went by the nickname Easy, told me that getting around had been surprisingly smooth.

“But on the radio,” he added, “they say it’s gonna be insane tomorrow. Part of me wants to drive and make some real money.” kfine@indyweek.com

TRUMPLANDIA!

The Resistance: Day 2

ple think and just the truth ize of this se people er on the m. But the grenades when weBY m try to lie

TRUMP’S FIRST FULL DAY IN OFFICE WAS GREETED BY THE LARGEST PROTESTS IN AMERICAN HISTORY. HERE ARE REPORTS FROM THE WOMEN’S MARCHES ON WASHINGTON AND RALEIGH. ERICA HELLERSTEIN AND HANNAH PITSTICK

[WASHINGTON, D.C.]

Depending on whom you ask, anywhere from five hundred thousand to one million people he newlycame to Washington, D.C., for the Women’s narchist IMarch on Saturday. Several million more ho partici-marchers descended on cities across the ch—morecountry, including seventeen thousand in unts (seeRaleigh (see page 20). Thousands of those nd trafficwho took to D.C.’s streets Saturday traveled urned outfrom North Carolina via bus, plane, car, or train. For many, it was a new experience. hat Torch “This is my first time ever,” says Diane ative thatMoorefield, who took a bus to Washington l the wayfrom Durham early Saturday morning. “I’m uring thefed up. I grew up in the sixties and thought unked bythis was all over with. But I guess not.”

After the One of the five North Carolina organizers, side-by-Katherine Bellamy of Durham, signed up ugurationdays after the election of Donald Trump, not mp admin-realizing how big the event would become. ing Twit-“In the very early stages, there were maybe imes overten thousand people involved, and that's hundredwhy I said I'd do it, because I had no idea uguration;what I was getting myself into,” Bellamy says. “I’m hoping, and I think this is going e, duringto light a fire under a lot of people and build visit to thea lot of activists. It created me. I wasn’t an st.” Whiteactivist, and now here I am.” r doubled Organizers chartered more than thirty reportersbuses, each containing about 50 riders; sevaudienceeral of these buses left Durham at two thirty period,” aSaturday morning. Moorefield was on one of anne Con-them, determined to speak out against the racism and misogyny she perceives from the cts.” perienced:new administration. “Every day you wake up he morn-and there’s something new he’s done,” she eing ablesays. “It’s a continuing nightmare.” having to From morning to late afternoon, the city’s re than astreets were clogged and the D.C. Metro her at thesystem was packed full, with marchers ther mid-squeezing their way through train doors, ent by thelines winding out the station entrances, and ng aroundwomen running up the down escalators to join the throngs patiently waiting to exit. ey say it’sThe Metro recorded more than a million me wantstrips Saturday, the second-highest total in the system’s history. (The busiest day was y.” yweek.comBarack Obama’s first inauguration, in 2009.)

hief

Women’s rights advocates march on Washington. PHOTO BY CARLOS ANDRES VARELA Many wore pink “pussy hats” and held signs denouncing the new president: “Keep Your Tiny Hands Off My Reproductive Rights.”

“There is no Planet B.” “Trump Stinks Bigly.”

In the lead-up to the march, the national organizers maintained that, despite the event’s timing, it was not anti-Trump but rather pro-equal rights, with a focus on inclusivity and intersectional feminism.

“I'm not anti-Trump,” Bellamy insists. “If he’s the [president], I want him to succeed, but at the same time, if he’s going to lead our country, I want him to lead the country with women in mind and make some changes that are long overdue.”

The official line aside, several celebrity speakers bashed Trump to wild applause.

Actress Ashley Judd, who once considered a U.S. Senate run in her native Kentucky, read a poem by a nineteen-year-old in Tennessee: “I’m not nasty like the combo of Trump and Pence being served up to me in my voting booth. I’m nasty like the battles my grandmothers fought to get me into that voting

booth.” Madonna littered her speech with Trump-directed F-bombs. “It took us this horrific moment of darkness to wake us the fuck up. … Yes, I’m angry. Yes, I’m outraged.

Yes, I have thought an awful lot about blowing up the White House, but I know that this won’t change anything.”

The next day, Trump mocked the Women’s March on Twitter: “Watched protests yesterday but was under the impression that we just had an election! Why didn’t these people vote? Celebs hurt cause badly.” Two hours later, he—or someone on his staff— was more reflective: “Peaceful protests are a hallmark of our democracy. Even if I don’t always agree, I recognize the rights of people to express their views.”

Aside from the occasional Trump jeer, most of the march’s speakers sounded positive notes, with perhaps the most resounding cheers elicited by six-year-old Sophie Cruz, the child of undocumented immigrants, who said, “We are here today making a chain of love to protect our families. Let us

fight with love, faith, and courage so that our families will not be destroyed. I also want to tell the children not to be afraid, because we are not alone.”

The Women’s March wasn’t perfectly choreographed. Owing to a surfeit of scheduled speakers, the rally portion of the event, which started shortly after ten a.m., ran nearly two hours over, and by two p.m.., many attendees were antsy, chanting, “Start the march!” And due to the sheer number of attendees—organizers expected two hundred thousand but got three times that—the march route was changed at the last minute, causing confusion. Many didn’t hear the new marching orders, resulting in large groups splintering off and creating their own routes around the city, with many still marching by sunset.

Beyond the occasional hiccups, though, the march succeeded in making a powerful statement. More important, it also succeeded in forming a worldwide network of millions, soon to be deployed in a new campaign called “10 Actions for the First 100 Days.” The first one: write a postcard to your senator about what matters most to you.

(Printable postcards can be found at womensmarch.com/100.)

The North Carolina organizers say they’re currently setting up events around the state to support the national effort. According to Bellamy, several marchers say they want to run for office—and the organizers intend to do everything they can to back them.

“We will be continuing this grassroots effort into a grassroots global organization where we can take this huge network that’s been created and the values that it stands for and further it,” says Emily Harris, another North Carolina organizer. “We want to continue making our presence known during this administration and moving forward.

What’s going to be important for women?

What’s going to be important for marginalized populations? I’m really excited to see what comes out of it. So yes, we are making plans.”

—Hannah Pitstick INDYweek.com | 1.25.17 | 19

TRUMPLANDIA! [RALEIGH]

There was a moment during Saturday’s Women’s March on Raleigh when everything seemed to fall into place.

Carly Jones, one of the rally's organizers, climbed on the stage in a bright green jacket, short brown curls bobbing as she maneuvered her way to the microphone.

Beaming, she told the crowd that as many as five hundred thousand people were in attendance at D.C.’s march and asked if they had any idea how many people had made it to Raleigh’s. From her vantage point, it was hard to tell. Aerial shots later showed thousands of people spilling onto the side streets of downtown Raleigh, but none of them were visible in the tightly packed Moore Square, then a sea of pink hats and tongue-incheek posters.

Jones did not wait for them to guess.

“Seventeen thousand!” she boomed. “Isn’t that amazing?”

The crowd erupted.

An elderly man with a shock of gray hair stood up and roared. “Hallelujah!” screamed a middle-aged woman with corkscrew curls and fuchsia gloves, thrusting a fist in the air. A small dog barked. A Raging Granny hooted.

And just like that, the resistance landed in Moore Square.

The crowds weren’t just raucous in Raleigh. From New York City to Nairobi, sister marches all over the world were shattering expectations. Millions of people, representing every continent on the planet, rallied in solidarity with the Women’s March on Washington. A remarkable photo gallery from The New York Times showcased concurrent marches from Antarctica to Georgia (the country), from Brazil to Spain (“I march for America,” read a young girl’s sign in Barcelona.) Saturday’s marches were a shattering global repudiation of a man who can’t stand rejection, a deeply insecure high school bully, for once, put in his place. Its reverberations will be felt for years to come.

There was a feeling in Raleigh that Moore Square was a part of history in the making.

But the march was distinctly North Carolinian. Speakers talked about many of the themes animating marchers on a national level—abortion and reproductive rights, equal pay, higher representation of women in office, “the casual misogyny displayed by our current president”—but many made a point of talking about these issues as they 20 | 1.25.17 | INDYweek.com

related to the Old North State. Hailing from groups such as Progress NC, Public Schools First NC, Lillian’s List, Spirit House, AFLCIO NC, the Carolina Abortion Fund, the UNC School of Social Work Latinx Caucus, and more, they talked about gerrymandering and fair elections, HB 2 and cuts to school funding, labor and immigration policy.

Artist Laila Nur paid tribute to the Fight for $15 movement with a song about the minimum wage: “Seven twenty-five. How do they think that I’m supposed to survive?

They spend a half a mill so we don’t unionize, so the heat stay off ’cause the bill’s too high.” Asatta Goff, a high school student and poet, asked each person in the crowd to visualize who and what they’re fighting for.

And when Minister Michelle Laws of Durham’s Union Baptist Church took to the stage and thundered, “Either you stand with women or you stand in the way!” the ground shook.

The moment perfectly encapsulated why organizers chose to name the marchers the Noisy Majority. It was a nod not just to the countless attendees who shouted themselves hoarse, but also a reference to Trump losing the popular vote by about three million. “This is a minority-rule administration,” said organizer Anna Grant of Carolina Jews for Justice, “due in part to racist voter suppression. North Carolina has been ground zero for that. And I think that part of our responsibility as North Carolinians is to draw attention to that. To say we are the majority, we refuse to be silenced, and this is about a fundamental issue of democracy.”

Indeed, North Carolina, once a tolerant home for the progressive intelligentsia, has of late become a petri dish for Republican extremism and authoritarianism. That, the marchers warned, could be a harbinger of what’s to come nationwide under the Trump administration. “If the rest of the U.S. wants to see what happens when separation of powers is ignored and partisanship takes over governance, then look here,” said organizer Shana Becker. “You have a legislature that usurps the power of the judiciary, usurps the power of the governor, and disrupts our system of the balance of powers.”

Still, if North Carolina is a microcosm of the United States, then residents’ activism here in the face of executive overreach could be seen as a bright spot in an otherwise dark political climate. However tiny that fleck of optimism may be, it was surely the rally’s unifying force. The march’s supporters

TRUMPLANDIA!

Protesters amass in downtown Raleigh. PHOTO BY BEN MCKEOWN weren’t monolithic. Among others, I talked to a war veteran who fought in Afghanistan, an immigrant public school teacher, the mother of a disabled child who said Trump’s mocking of a disabled reporter made it “personal,” an undocumented visual artist, and a young girl with a Black Lives Matter sign who shyly said the march made her feel “proud of herself and proud of the world.”

Everyone in the diverse crowd had a different answer to Goff’s question: “Who are you fighting for?” But so much of the group’s

energy seemed to be an expression of collective rage over all of the crap anyone deemed The Other has to deal with in the course of a lifetime. For them, Trump’s victory was a triumph of cruelty, a symbol of the humiliations marginalized people are forced to endure. Those indignities stack up over the years, lodging themselves in your memory and gut-punching you in your most vulnerable moments.

On Saturday, they bubbled over.

—Erica Hellerstein INDYweek.com | 1.25.17 | 21

indyfood

Putting Up With Winter

PRESERVE THE BEST OF THIS SEASON FOR WARMER WEATHER TREASURES

BY ERIN URQUHART

T

he Mason jar, a now-trendy token of creative reuse, has come to symbolize Southern food. We see jars as cocktail glasses, sweating on bar tops from Carrboro to Brooklyn, while Pinterest devotes pages to ways of transforming them into everything from tiny votive candleholders to crafty snow globes.

But preservation is the Mason jar’s most reliable and beautiful function, and it takes patience. ‘Putting up’ sometimes means forgetting to set a kitchen timer and accidentally turning a batch of stove-top orange marmalade into fruit leather. It means waiting three weeks to pop open a jar of pickles.

But the reward is a taste of summer, delivered by a jar of canned fruit opened amid the doldrums of winter. And winter has its own edible treasures. These three will enable you to save, and savor, the best of winter.

ANGOSTURA BLOOD ORANGE MARMALADE

Yield: 6 half pints 3 pounds blood oranges 6 cups white sugar 8 cups water 3 to 5 tablespoons Angostura bitters

Wash and scrub oranges and place them in a pot. Cover with water and set on the stove over high heat. Bring the liquid to a boil, reduce the heat to medium-low, and cover.

Simmer the oranges until the rinds are tender enough to be easily pierced with a fork.

Remove the pot from the heat and let oranges cool completely.

When oranges are cool, remove from the pot. Measure 6 cups of the cooking water; reserve.

Cut the oranges in half across the middle.

With a spoon, scoop the interior flesh out and into a bowl. Remove the seeds and discard.

Cut each half into four wedges and then cut those wedges into thin strips.

In a large pot, combine the reserved cook22 | 1.25.17 | INDYweek.com

ing water, the pulp, zest, and sugar. Place over high heat and bring to a boil. Cook at a controlled boil, stirring regularly until the volume in the pot has reduced by about half.

Monitor the temperature with a thermometer. The marmalade is done when it reaches 220 degrees F. Right before it reaches that temperature, stir in Angostura bitters.

Pour marmalade into sterilized jars, leaving half-inch headspace. Wipe the rims, apply the BPA-free lids and rings, and let set in fridge. Or, for shelf stability, process jars in a boiling water bath for 10 minutes.

Remove the jars and set them on a folded kitchen towel to cool for 12-24 hours.

KICKIN’ PICKLED BEETS

Yield: 4 pints 2 pounds red beets 3 cups apple cider vinegar 1 cup water 4 cloves garlic (peeled and sliced) 2 tablespoons kosher salt 1 tablespoon black peppercorns 2 small jalapeño peppers (cut in half lengthwise, seeds removed) 1 tablespoon fresh thyme (chopped)

Preheat oven to 350 degrees F. Place rack in middle of oven.

Wash and scrub beets and put in a baking dish. Add about 1/4 inch of water to the bottom. Cover with foil. Roast for 45–55 minutes. Test for doneness with a small knife—it should slip easily into the thickest part of the beet.

Remove dish from the oven and allow beets to completely cool. Slice a thin layer off the top and bottom of each beet and remove the peel.

Cut in half, then into 1/4-inch thick slices.

Meanwhile, in a large pot combine vinegar, water, salt, peppercorns, garlic, peppers, and thyme. Bring to a boil, then simmer on medium heat for five minutes.

Pack beets into your sterilized jars. Ladle brine and brine ingredients into jars, leaving

Our writer puts up her Kickin’ Pickled Beets for the winter. PHOTO BY ALEX BOERNER a half-inch or so of headspace. Wipe the rims, apply the BPA-free lids and rings, and let set in fridge. Or, for shelf stability, process jars in a boiling water bath for 10 minutes.

Remove the jars and set them on a folded kitchen towel to cool.

Let it pickle for at least three weeks before consuming.

WHISKEY GINGER JELLY

Yield: 6 half pints 750 ml whiskey 2 cups fresh apple cider Juice from 1 lemon 1 package of liquid pectin 3 1/4 cup white sugar 2 inches of fresh ginger (peeled and chopped into 1/4-inch slices)

In a small pot, combine one cup of apple cider and the ginger slices. Bring to a boil,

reduce heat, cover, and simmer on low-medium heat for ten minutes.

In a large pot, combine all cider (one fresh cup plus the ginger-infused cider), lemon juice, whiskey, fresh ginger, and sugar. Bring to a hard boil over high heat for seven to ten minutes, stirring regularly until consistency has thickened. Add pectin. At this point the bubbles should look shiny and syrupy.

Test the jelly set using the saucer test: freeze a saucer for fifteen minutes, drop one teaspoon of jelly onto a saucer, and place in fridge for one minute. Nudge the edge of the jelly; it should wrinkle if set.

Remove ginger slices and pour jelly into prepared jars, wipe rims, apply lids and rings, and set in fridge. Or process in a hot water bath for ten minutes (see above).

Remove from water bath and let cool on a folded towel for 12-24 hours.

See more at www.puttingupwitherin.com

food

LOAF

111 West Parrish Street, Durham www.facebook.com/LoafDurham

LUCETTEGRACE

235 South Salisbury Street, Raleigh www.lucettegrace.com

BOULTED BREAD

614 West South Street, Raleigh www.boultedbread.com

batter, which, after being strained, chills for two full days. It is then poured into buttered, waxed copper molds from France and baked low and slow. After the canelés cool, they practically sell themselves. “People will ask at the market, ‘What is that?’” Turner says.

“But by the time I finish saying ‘vanilla’ and ‘rum’ and ‘custard,’ they’ve bought it.”

LUCETTEGRACE: MACARON ($2.25)

A confetti of confections: treat yourself to lucettegrace’s Birthday Cake macarons. PHOTO BY BEN MCKEOWN.

It’s the Little Things

BOULTED BREAD: PASTEL DE NATA ($2)

DIETING’S A DRAG. TREAT YOURSELF TO THESE BITE-SIZED SWEETS IN 2017.

BY EMMA LAPERRUQUE

I

’m a big believer in making lots of New Year’s resolutions and forgetting them

by Valentine’s Day. I relish that freshstart feeling, like slipping between justwashed sheets after a kick-your-butt day.

New year, new me. Even if it’s never true.

This year, I resolve to meditate and practice yoga and run a marathon and volunteer here and there and everywhere—and stick to my anti-diet.

Remember that time you said no sugar— none!—and it was all well and good for a week and a half, and then out of nowhere you found yourself elbow-deep in a half-gallon of rocky

road? (Who put this here? You? Me?!) Same.

There’s nothing worse than a New Year’s diet. Especially after the worst year.

So, for 2017, let’s not-diet together. Instead, let’s learn to make fresh pasta instead of cutting carbs. Let’s master a filthy-dirty martini.

Buy that cookbook you keep eyeing and make every recipe in it. Blast music while making dinner. And have dessert. Always have dessert. Turn a tiny, sugary afternoon pick-meup into a habit—or a lifestyle.

LOAF: CANELÉ ($2.50)

Loaf experimented for almost nine

Patisserie lucettegrace makes up to 1,500 macarons every week. In other words, more than 75,000 every year. This meringuebased, French sandwich cookie trended in the States a few years ago; The Atlantic declared it “the new cupcake” in 2014. It is still the “cool” dessert at any party. (Who needs a wedding cake when you could have a massive, multicolored tower of macarons?)

Lucettegrace rotates a selection of six varieties monthly. “We’ve got one flavor that’s become our signature,” owner Daniel Benjamin says. “For whatever reason.” That would be Birthday Cake: one blue shell, one pink, filled with a mash-up of confetti birthday cake, vanilla mousse, and, in true French style, butter. (Who needs a “reason” when you have confetti birthday cake?) Other flavors of the moment include maple waffle, bourbon chestnut, chocolate Earl Grey, and pistachio raspberry.

months before getting the recipe just right.

Canelés are now a staple at the bakery and a mysterious phantom at its stands at farmers’ markets in Durham and Chapel Hill— there one minute, gone the next. Manager Mary Turner says customers often buy them all up at once. (PSA to canelé whisperers: Show yourselves. Be my friends.) Traditional to the Bourdeaux region in France, canelés are shot-glass-sized and bundt-cake-shaped, with a deep, dark, caramelized crust and a custardy center. Think popover meets crème brûlée—heavy on the vanilla, heavier on the rum. Loaf’s version starts with a crêpe-thin

Baker Joshua Bellamy’s wife’s best friend was in Portugal when she stumbled upon one of the country’s signature pastries—pastel de nata, or “custard tart”—and sent intel across the pond. Bellamy, one of three co-owners at Boulted Bread, started testing recipes and soon unrolled the petite treat on opening day in 2014. It’s stayed on the bakery’s weekend menu ever since. Traditionally, pastel de nata includes a crisp pastry shell filled with a rich custard and baked at a high heat until the top begins to brûlée. Boulted’s rendition features its puff pastry—freshly milled einkorn flour and lots of cultured butter—with a bright, lemony, yolk-yellow custard. Each tart is finger-length, roughly two inches in diameter.

“It’s a perfect size to enjoy with a cup of coffee,” Bellamy says. “You polish them both off and feel like a million bucks.”

Twitter: @EmmaLaperruque INDYweek.com | 1.25.17 | 23

Roe vs. Wade Anniversary - Jan. 22, 1973 44 Years of Reproductive Choice

“Few decisions are more personal and intimate, more properly private, or more basic to individual dignity and autonomy, than a woman’s decision — with the guidance of her physician and within the limits specified in Roe — whether to end her pregnancy.

A woman’s right to make that choice freely is fundamental.”

Justice Blackman, Thornburgh Decision United States Supreme Court, 1986

We, the undersigned, support a woman’s right to safe, legal, and accessible birth control and abortion. We condemn the acts of violence and intimidation directed at women and their health care providers. We agree that these rights extend to all women regardless of economic status, and, as taxpayers, affirm our support of public funding for family planning services and funding for abortions for indigent women.

This affirmation of a woman’s right to choose was paid for by the North Carolinians whose signatures appear and was organized by the North Carolina National Organization for Women.

For more information on the North Carolina Organization for Women contact: North Carolina NOW, PO Box 24995, Raleigh, NC 27611 email: nownorthcarolina@gmail.com 24 | 1.25.17 | INDYweek.com 24 | 1.25.17 | INDYweek.com

Nancy Ackley-Henderson Melanie Aiken Dee Akhavein Sandy Albert Jennifer B. Albright, MPH Carolyn Allen Jan Allen Miranda Allen Amy Alspaugh Sandra Ambromitis Joan Ambrosino Jolene Anderson Nancy Anderson Valencia Applewhite Margaret Bordeaux Arbuckle Molly Arnold Ann Ashford Karla Atkinson Ann F. Baker Ruth A. Baker Myrtis Barker Esther Barkley Henry Barkley Deirdre Barlaz Kathryn Barnes Becky Battye William Battye Kenille Baumgardner Shana Becker Gary Beecham Thomas S. Benton, MPH Carolyn Beranek Debbie Bergstrom Patricia Beyle Catherine Biondi Nancy Blood Violette Blumenthal Barbara Blunt Tolly Boatwright Amber Bogle Mary Bolstad Laura Rein Booth Susane Boukamel Janet Bowen Betty Tucker Boyd Glenn Boyd Vicki Boyer Chad Boykin Linda Brandon Aliza Bricklin Linda Brinkley Carol Brooke Elizabeth Brown Gordon Brown Finley Bryan Holly M. Bryan Judith L. Buchanan Suzanne Buckley Lori Bunton Rebecca Burke Robin Burr Lori Bush James E. Buxton Leigh Callahan

Helen J. Campbell Rebecca Campbell Sarah Carlson Deborah Carr Gary Carter Lara Carter Mandy Carter Becky Carver M. Chalmers Cathy Chandler Chris Chato Rose Chess Saundra Clagett Lauren Clark Stephanie Clark Joe Clayton Jessica Coates Meta A. Weaver Coaxum Mary B. Cochran Janet F. Cohen Perry Colwell Diana Conangla Maryjane Conti Jacob Cooley Linda B. Cornetti Richard W. Cornetti Annie Laura Cotten Jeannette Council Jimmy Creech Marylee Susan Crofts Megan Cunningham, MD Elisabeth O. Curtis Anne C. Dahle Jeanne Dairaghi Patty F. Daniel, R.N. Joann Dare Matthew Davis Robin R. Davis Darilyn Dealy Margaret G. Dean Vicky DeGroote Beth Dehghan Sheila Denn Nancy Leslie Devereux Lary L. Dial Anne DiBernado Jacquelin Dietz Rabbi Lucy Dinner Corrinne Dorland Carol Dugger Sara Lowe Dumond Tina Duncan Bethany A. Dusenberry Valinda Dyer Philippa Van Dyne Naomi Eckhaus Bobette Eckland Dr. Susan Eder Rev. Martha Edgerton Maggie Ellis Ellison L. Ellison Julia S. Elsee Julie Elsee Sonia Ensenat

Catherine Ev Seth Evans Sydell Evans Rick Farkas Hayley Farle Jen Ferris Laura Flicke Robbin L. Fl Dana Rees F Risa Foster Bee Frame Laura & Fran Marian Fran Wayne Fran Vonda Frantz Marcia Freed Michael Free Lauren Frey Kimberly Ga Karin Gately Phelps Gates Nancy Geim Judith Stone Linda Giltz Rebecca Gitl Jan Gittlema Marjorie Go Mary Gold Geri Goldste Rachel Gold Miyoshi Gon Becky Good Patricia Timm Patricia Goo Elaine Maret Randee Gord Anissa Goss Kathleen Gra Diana Gray Lynette Gree Kathy Gregg Kate Griffin Katherine Gr Patricia A. G Marena Grol Rochelle Gu Kimberly Gu Betty Rogers Kate Hacket Cindy Hanfo Ed Hanson-K Eileen Hanso Lucy Harber Harriet Harm Marcia Harri Sara Harriso Judith Hartso Karen Hawk Lindsey G. H Eunice Heili Bob Hellwig Charline Hen Dr. Tom Hen Mary Kay H

Catherine Evangelista Seth Evans Sydell Evans Rick Farkas Hayley Farless Jen Ferris Laura Flicker Robbin L. Flowers Dana Rees Folley Risa Foster Bee Frame Laura & Frances Marian Franklin Wayne Franklin Vonda Frantz Marcia Freed Michael Freemark, MD Lauren Frey Kimberly Galien Karin Gately Phelps Gates Nancy Geimer Judith Stone Ghoneim Linda Giltz Rebecca Gitlen Jan Gittleman Marjorie Godfrey Mary Gold Geri Goldstein Rachel Goldstein Miyoshi Gonzalez Becky Gooding Patricia Timmons Goodson Patricia Gooley Elaine Marett Gordon Randee Gordon Anissa Goss Kathleen Graves Diana Gray Lynette Green Kathy Greggs Kate Griffin Katherine Griffin Patricia A. Griffin Marena Groll Rochelle Guilford Kimberly Guinness Betty Rogers Gunz, LCSW Kate Hackett Cindy Hanford Ed Hanson-Kelly Eileen Hanson-Kelly Lucy Harber Harriet Harman Marcia Harris Sara Harrison Judith Hartsook Karen Hawk Lindsey G. Hedrick Eunice Heilig Bob Hellwig Charline Henderson Dr. Tom Hennessey Mary Kay Hennessey

Jayda Henry Charlotte Henshaw Stanley Henshaw Pam Hildebran Aleece Hiller William & Christine Hodder Catherine H. Holcombe Ethelyn Holden Eve Hubbard Betsy Huber Christine J. Huber Joel Huber Frances Huffman Susan Hustace Brian Hutcheson Nell Ingalls M. Deborah Jackson LaVonne Waugh James Judith R. Jenkins Shelton Jenkins Lindsey Jeralds Amy Jeroloman Joseph N. Johnson Sharon Johnson Teresa Johnson Dunella Jones Ruby Jones Ruby C. Jones Veronica Jones Rabbi Raachel Jurovics Annette Kahn Loree K. Kallianen Daniella Kamis-Brown Mary Kelly Rob Kelly Merle A. Kemp Julie M. Kemper Judy Kerr Sheila Kerrigan Elli Klein Dr. Cynthia Kleppinger Hardee B. Klitzman Anne Kotch Jonathan Kotch McLean Kram Priti Lalka Naomi Lambert Lucy S. Lancaster Terry Landers William Laney Annie Lang Kay Lanier, RN Lee Laskody Amy Lee Susan Lees Jack K. Leiss, PhD Bob Leker Mary C. Lemay Betty J. Letzig Cathie P. Linkous Ursula Lobacz Kathleen Lohr Barbara Longmire Ann Loucks

Cheryl Loud Jan Lowe Judy Lowe Paula Lowe Glenda Macemore Thomas D. Macon Beth Maczka Roberta Madden Margie Maddox Maddie Majerus Jennifer “JJ� Maloney Shreders Britt Mann Sophia Mann Jacquelyn Manson Amy Markin Nancy Miller Martin Xaris A. Martinez Alida Mason P. Joan Matthews Ann Matthysse Leila May Nancy Mayer Sinead Hogan Mayo Jennifer Mayr Cindy McCauley Sandy McClurg Tammy McGann Denny McGuire Teresa McInerney Cathie McIntyre Daphne McLawhorn Portia McMillan Lou McMillion Roberta Sbocco McMurtrey Peggy McNeill Bernard McWilliams Maren McWilliams Sharon Meginnis, PhD Pat Meller Wendy Michener Martha New Milam Penni Miles Elaine Millan Carolyn Miller Lisa Misrok Tom Mitchell Ann Mixon Cynthia Mixon Henry Mixon Sarah Moessinger Gloria Moncelle Harry Moncelle Sarah Moncelle Yvonne L. Monroe, MD Kristen Moore JoAnn Mount Gwynne Lewis Movius Lisa Mowat Audrey Muck Betsy M. Munroe Pauli Murray Lacy Music Linda A. Naylor Paul D. Naylor

Israel Nelson Constance Newman Lynn Newsom Steve Newsom Karen Newton Carole Nicholson John Niffenegger Jay Novella Marie Novella Belinda Novik, MD, PhD Phyllis D. Nunn Paul Offen Carrol Olinger Vivian Olkin Scott Olson Pat Orrange Jill Over Richard Paddock Elise Paliga Gailya Paliga Donald Palmer Maurita Paprocki Joe Parker F. C. Parrot Kristine Partin Cheryl Snith Passarelli Sandy Pearce Margaret Peebles Patricia L. Pertalion Claudia Ann Peters Louise Peters Mary A. Peterson John Pilutti Judith Pilutti Barbara E. Plott Susan Pollitt Cheryl Posner-Cahill Tonya Powell Anne Prather Abigail Quesinberry Blanche Radford-Curry Kathe Rauch Carol Retsch-Bogart Susan Reynolds Geraldine A. Richards Douglas Rickert Andrea Ritter Mary Roberts Kiana Robertson Bob Rodriguez Linda Rodriguez Angie Roediger Frank Roediger Chris Roerden Lois Roewade Cornelia Rogan Tara Romano Louise Romanow Ruth Rose Marlene Rosol Bill Rowe Kathy Ruffner-Linn Corinne G. Russell Jack Sanders

Jo Sanders Sharon Sanders Jill Sansoucy Dudley Sargent Frank Sargent Margaret Scales Wanda Webb Schrader Martha Scotford B. Sue Scott Nancy Scott Sue A. Scott Kathy Seaton Sandy Seaton Ronald Sederoff Lisa Semmens JoAnne Setzer Mary Susan Sewell Joyce Sexton Nancy Shaffer Laura Shank Sherry Shapiro Sharyn Shapiro Svi Shapiro Nancy Sharpless Ricki Shepherd Mary Sheridan Nancy Shoemaker Rebecca Showman Anna Shubel Ann Sink Sim Sitkin Pat Sledge Anne Slifkin Anne Smiley Amanda Smith James Smith Jim Smith Mary Nelle Smith Maxine Smith Michele G. Smith Marcia Sobel Jamie Sohn Ann Solomon Maxine Solomon Diane Spangler Sharon Spry Dr. Carol Stamm Susan Steadman Annabelle Stein Ellen Stein Jane Stein Sarah Stein Stephanie Steiner Leigh Stewart Barbara Still Jim Stolz Blaise Strenn Thomas Strini Betsy Stuart Nancy Sturdivant Varsha Subramanyam Donna M. Supple Carrie Sutton Margie Sved

Deborah Swain Joe Swain, Jr. Bill Swallow Germaine Terry Liz Testa-Vasser Brenda Thalmann Mary E. Thomas Ann Thompson Miriam Thompson Cindy Thomson Judy Thorne Julie Thorner Jack Thornquest Julie Tomlinson Charlene Torrest Cynthia Trowbridge Bill Tucker Jane Tucker Joyce Tucker Kay Turley Mary Ubegone Gwen Chappell Veazey Peg Vick B. Von Hauzen Dr. Floyd Waddle Julie Waddle Roberta Waddle Pamela Wade Shirley Walker LeAnn Wallace, JD, PhD Joan F. Walsh, PhD LuVerne Walter Margo Ward Tammy Ward Nancy Warden Shelby Ware Karen Watkins Carolyn Watson Joyce Watson Phebe Watson Danielle Boucher Weaver Dr. Wendee Wechsberg Margaret Weeber Chris Weedy Hilde Weisert Allie West Deborah West Jessica West Jean M. White Heather Williams Louise Williams Polly Williams Susan D. Williams Hannah Williamson Anne Winner Paula A. Wolf Laura Wright Dianna Wynn Lucile Young INDYweek.com | 1.25.17 | 25 INDYweek.com | 1.25.17 | 25

indymusic

INSTRUMENTALIST:

NORA ROGERS STORY BY CORBIE HILL

N

PHOTOS BY ALEX BOERNER

as a member of the fierce (and sadly defunct) ora Rogers laughs as she says it, but hard doom duo The Curtains of Night. As a one thing she loves about playing duo with drummer Lauren Fitzpatrick, she guitar is restraint. expanded her sonic palette beyond a guitarShe’s sitting on the carpeted floor of the ist’s traditional territory. Still, her high-vollittle Carrboro room where her bands Solar ume, high-test style had a humble genesis.

Halos and Object Hours practice, and just “My parents are musicians and we always in front of her is the wall of amps and speakhad instruments around er cabinets that brings the house,” Rogers says. her instrument’s signal “My mom’s a guitar to life. The pedalboard player and would just that sits at the foot of her put the guitar in open amp wall enables Rogtuning and hand it to ers to go from adding a me.” touch of light distortion Rogers and her parto her guitar to unleashents have very different ing peals of apocalypmusical philosophies; tic noise and feedback. they’re old-time musiShe’s built them all cians, invested in refrom scratch or modicreating traditional fied them to her liking, LOCATION: A practice space sounds. She respects and sometimes, she says in Carrboro next to a noisy what they do, but it’s with obvious glee, she concrete factory not for her. She has to just turns everything on.

AGE: 40 get loud.

And while Rogers seeks INFLUENCES: Geeshie Wiley Rogers is especially a degree of havoc with and Elvie Thomas, Patti Smith, Algia Mae Hinton, PJ Harvey, focused on the interplay her guitar, when she Moonshine Kate, Mary Timony, of pickups, pedals, and plugs it in, she’s in comMaybelle Carter, Kazu Makino, amps. To her, the elecplete control.

Barbara Lynn tric guitar isn’t a com“I think of the guitar KNOWN FOR: Rogers has been plete entity, but rather a amp and the guitar and lending her heavy, muscular piece of a puzzle wherepedals all as a living sysguitar playing to local bands in each element contem, and you’re part of for the better part of two tributes something that,” Rogers explains. decades. She currently perdistinct to the whole.

“I like there to be a litforms with Solar Halos and the “It’s sort of like cooktle chaos in that I have newer Object Hours. ing. You’re trying to balto sort of rein it in, so a SEE HER: Object Hours plays Nightlight Friday, Jan. 27, at ance the flavors you lot is going on with how 9:30 p.m., and Solar Halos want,” she says. “I guess I am hitting the strings plays at Local 506 Saturday, the basis [the amps] is and how my guitar is Jan. 28, at 9 p.m. kind of the umami. I played in terms of conwould say my overdrive trolling this sometimes pedals are sort of the chaotic system.” salt and my Rickenbacker is sort of the citRogers’s playing both drives and sprawls rus. It’s all an organism that kind of works within the music of her two bands. Even together.” when she’s hammering out a seventies-style We spent some time with Rogers and rock riff, her open-tuned guitars ring with learned about the moving parts of her sympathetic drones and reverberating overremarkable rig. tones. She developed that fullness of sound

26 | 1.25.17 | INDYweek.com

TUNINGS

From her childhood spent listening to banjo music, Rogers has a longheld appreciation for the instrument’s hypnotic quality, so she tends to replicate her favorite banjo tunings on her guitars. Usually, she uses a lower tuning in C or D. “When you’re the only guitar, it added a lot of fullness, and I loved the doubled notes on the guitar. You give yourself a drone, and the notes you play off of it has that kind of push-pull,” Rogers says

GUITARS GIBSON SG SPECIAL Screw holes in the body of this guitar and nonfactory tuners tell Rogers that this 1970 or 1971 electric was modified before it got to her, and that once upon a time it sported a Bigsby-style tremolo. She’s done a few mods of her own, re-fretting it and putting in new pickups. At home, Rogers has a Gretsch hollow-body, an old Martin acoustic, and a Gibson S-1, which she says sounds good but is heavy and awkward and not entirely fun to play.

AMPS AND CABS 2.

1.

3.

RICKENBACKER 620

PEDALBOARD 1. GIG-FX CHOPPER This powerful pedal makes Rogers’s guitar signal sound like helicopter blades or machine gun fire or can summon even weirder “chopped” sounds.

“It’s a tremolo and it has this chopping modulation so you can change what kind of wave pattern you want, the ratio and the rate of it,” Rogers says. She admits the stereo-capable pedal is “a little intimidating,” but appreciates its versatility and noisemaking potential.

2. IBANEZ TUBE SCREAMER OVERDRIVE/HOMEMADE OVERDRIVE Depending on the needs of the band, Rogers summons additional grit from a modified Ibanez Tubescreamer (which is currently plugged in) or a purposely noisy homemade overdrive (which is not).

3. BOSS LOOP STATION Rogers has cello and banjo loops saved in this pedal, which she turns on when she’s tuning. These interstitial sounds come out of her quieter Ampeg V4 head amp.

This guitar caught Rogers’s eye in a music store around the time she went off to college, but she lacked a good amplifier rig for it for about fifteen years. Rogers says it’s light and easy to play but still boasts a big sound. It remains her favorite instrument in her arsenal.

HOMEMADE 50W HEAD AMP One of the more remarkable pieces of gear in Rogers’s collection is a homemade amp in a clear housing.

With all its tubes proudly exposed, it’s compelling in a Brutalist sort of way. She built it with her partner, Patrick Zung, who based the design on a Marshall amp he borrowed from Pipe guitarist Mike Kenlan. “(Zung) is the real mad scientist amp builder, but I soldered every piece of that amplifier. We build kind of matching ones and have continued to tweak them along the way, and his now sounds different from the way mine sounds,” Rogers says.

HOMEMADE 412 CAB “I kind of like a new, crispy speaker, what most people don’t like. With my guitar amp and setup, I’m kind of going for a higher-range frequency to come through, and this grittiness that is in the distortion pedals kind of adds this grit texture to the high frequency,” Rogers says.

“There’s a little sizzle that I like.

That’s what I’m going for.”

INDYweek.com | 1.25.17 | 27

music shows. So I’ve already blown past what the Carolina Theatre had then, and really I’m just getting started.

Almost exactly a year ago, in the midst of a financial debacle, Bob Nocek left his sevenyear post as the Carolina Theatre’s president and C.E.O. Over his tenure, Nocek had watched the theater transform from an underutilized local concern into one of the Triangle’s best venues, but in late 2015, Nocek announced that poor accounting practices had landed the historic 1920s theater in a one-million-dollar hole. He proposed that the City of Durham kick in $600,000 while the Carolina revised its operations to stop the bleeding, but Nocek abruptly resigned.

Only a month later, he filed paperwork to start a new company, Bob Nocek Presents, to connect artists and comedians with performance venues. Beginning last June with a Jason Mraz show in Macon, Georgia, Nocek has since put together fifteen more events, including several at Carolina Theatre: names like Patton Oswalt and Paula Poundstone, David Crosby and Aaron Neville, as well as up-and-comers like Aoife O’Donovan. We sat down with the seventeen-year concert-promotion vet and talked about his new venture, the intricacies of concert promotion, and the whole Carolina Theatre debacle.

INDY: You’re doing shows all over the Southeast now. Where do the Triangle and North Carolina fit in?

BOB NOCEK: The Triangle is so crowded that it can’t be a focus for me. I’m looking for buildings that could use more shows that aren’t getting the kind of shows they want.

I do feel that a lot of North Carolina is still coming into its own. I look at markets like Greensboro or Wilmington, or even Asheville to some extent, and there’s a lot of artists that haven’t played those markets. Those are the places where I’m eager to do shows.

My sense is that when a nonprofit hits a financial crisis, someone’s head usually rolls.

That comes with being in the top job. If something goes wrong on your watch, whether or not you were the one who actually did the accounting, and I wasn’t, it was ultimately my responsibility. This is a difficult business to understand. We’re in a business where we’re risking large amounts of money, and sometimes you may lose some of that money.

But people don’t compare it to opening a restaurant, where you may spend two million dollars up front and try to make it back. They think, well, let’s just not do shows that lose 28 | 1.25.17 | INDYweek.com

In your experience at the Carolina Theatre, do you feel you were made the fall guy?

I think what frustrates me the most is seeing people willing to buy into things that I just know aren’t true. The bottom line is we took an organization that was doing six hundred thousand dollars in ticket sales and put them to two and a half million or more. Had we been given accurate books, we could have made the adjustments along the way. I’m not happy about the way things went down, but I still believe we did the best we could with the information we had. And I’ve moved on to something that’s making me a lot happier.

Don't Call It a Comeback BOB NOCEK ON LIFE AFTER THE CAROLINA THEATRE DEBACLE

BY DAVID KLEIN PHOTO COURTESY OF BOB NOCEK

money and only do shows that win. First of all, nobody knows which ones are gonna work and which ones aren’t. I feel like there’s been this narrative that’s come out of it, that this was all about losing money on shows. I would dare anybody to show me the eight hundred thousand to a million in losses on shows. Yes, we lost money on shows—because I booked things that I never would have booked had I known what our real financial situation was.

You couldn’t be blindsided this way now?

I’m doing the books myself, because it’s a small enough company. But I’m also starting to think about having to outsource that.

I’m probably going to wind up doing close to a million dollars in ticket sales from the first show through a year.

When I took over Carolina Theatre in 2009, they were doing six hundred thousand dollars a year, including their school

What do you think of what the Carolina is doing now?

There’s so much money being poured into it. Dan Berman’s foundation—he’s putting in three or four hundred thousand dollars, and they got to the city match, which is six hundred thousand dollars. If people had given us any portion of that, we would have been fine too. Most of what they’re doing is repeating what I did. And honestly, how invested is an out-of-town company going to be in anything other than making money? I don’t think you’ll be see things like Brian Wilson and Lauren Hill or other artists that cost over fifty thousand dollars. And we made money on those shows. We weren’t losing money on big-ticket artists.

What about concerts like Burt Bacharach in early 2015?

I think Burt probably lost. And Frank Sinatra Jr. We booked those shows because we felt like everything else was paying for it.

I didn’t book those shows to make money.

I booked them because we hoped to break even, because it diversifies the audience.

That’s what’s difficult, when I read stories and see things like that pointed out, as if somehow that was what I thought was the key to the Carolina Theatre’s success. No, that was trying to round out what we offer.

If their future is a big-money, high-donor, elitist organization with a smaller audience, and they can make that work, then God bless ’em. dklein@indyweek.com

indypage

Relentless Justice

GROUNDBREAKING DURHAM ACTIVIST AND LAWYER PAULI MURRAY CONNECTED RACE AND GENDER LONG BEFORE THE INTERSECTIONAL ERA

BY CRISTEL ORRAND Anna Pauline “Pauli” Murray, a slightframed, gender-queer, light-skinned black woman, spent her life facing discrimination and relentlessly pursuing justice. Murray is so little remembered that even locals who’ve seen her face in the bright mural on Foster Street might have been surprised when the Pauli Murray Family Home in Durham was recently designated a national historic landmark.

But during her lifetime, Murray had friends from the White House to Selma, Alabama. She was one of the finest legal minds and activists of the twentieth century; her work surrounding the Fourteenth Amendment contributed to the greatest legal precedents of our times.

In 1913, three-year-old Murray came to live in Durham with her maternal aunt.

Despite losing both her parents and struggling with her gender and sexual identity, she had a supportive extended family of teachers who advocated for her education. After earning a bachelor’s degree from Hunter College in the early thirties, she was denied admission to UNC-Chapel Hill for graduate school. It would be another thirteen years before UNC admitted black grad students.

Murray worked in teaching and workers’ rights until being admitted to Howard University Law School. Although she was valedictorian, the Harvard Law fellowship typically given to top Howard graduates was denied to her on the basis of her sex, despite a letter of recommendation from President Roosevelt. She later graduated from Berkeley, passing the California state bar in 1945. In 1951, she overcame gender bias to become the sole women in her law firm, only to become a victim of McCarthyism when she applied to teach at Cornell.

Her references, including Eleanor Roosevelt, were considered too radical. Persisting, Murray eventually earned her doctorate

The Pauli Murray mural at 313 Foster Street by a team of artists led by Brett Cook PHOTO BY ALEX BOERNER

in law from Yale in 1965 and became the first female ordained priest in the American Episcopal Church in 1977.

Murray’s fascinating life and personal struggles in race, feminism, and labor fueled her activism and legal work. She focused on the broadest applicability of the Fourteenth Amendment. From Plessy v. Ferguson in 1896 until Brown v. Board of Education in 1954, “separate but equal” had been the law of the land. Murray argued that separation of any kind was inherently unconstitutional, as had the lone dissenting justice, John Marshall Harlan, in the 1896 landmark case. But Murray took it further, arguing for its applicability to any person, regardless of sex, race, religion, or sexuality. Murray’s earlier work, including the 1950 book States’ Laws on Race and Color, informed the strategy Thurgood Marshall and the NAACP took in Brown. For the first

time, separate was declared unequal—and unconstitutional.

Murray’s pioneering work predated and influenced much of the civil rights movement. In fact, Marshall called Murray’s work “the Bible” of the movement. Murray had been arrested in 1944—ten years before Rosa Parks—for refusing to move to the broken seats in the back of a bus, and had participated in numerous sit-ins at Howard in segregated D.C. restaurants. In 1961, JFK appointed Murray to the Presidential Commission on the Status of Women, where she wrote "A Proposal to Reexamine the Applicability of the Fourteenth Amendment to State Laws and Practices Which Discriminate on the Basis of Sex Per Se." Her work influenced Martin Luther King Jr. and labor leader A. Philip Randolph.

But she was also critical of the lack of female leadership in the civil rights move-

ment. In The Negro Women and the Quest for Equality and in a 1963 letter to Randolph, she censured “the blatant disparity between the major role which Negro women have played … and the minor role of leadership they have been assigned[.]” She went on to say, “It is indefensible to call a national march on Washington … which contains the name of not a single woman leader.” Her words influenced the 1964 Civil Rights Act and a new generation of feminists.

In 1965, Murray and coauthor Mary Eastwood published Jane Crow and the Law: Sex Discrimination and Title VII, drawing concrete disparities between Jim Crow laws and what she called “Jane Crow” laws. In 1966, she cofounded the National Organization of Women and, along with Dorothy Kenyon, won the White v. Crook case, which gave women the right to serve on juries.

Ruth Bader Ginsburg was so struck by Jane Crow that she named Murray and Eastwood honorary coauthors of her 1971 brief for Reed v. Reed, the case that decided the Equal Protection Clause of the Fourteenth Amendment actually applied to women.

Decades before the civil rights movement and half a century before the Moral Monday movement, Pauli Murray understood the need to connect issues of race with gender—that workers’ rights and women’s rights were human rights. Taken separately, each would remain a minority, but taken together, all people would have the right to equal protection under the law. Through her own litigation and that of others who used her “Bible” for civil rights, Murray left an indelible mark on twentieth-century American jurisprudence. Befitting her legacy, Murray’s childhood home in Durham will reopen in 2020 as a center for history and social justice. If you’d like to learn more or support Murray’s legacy, visit PauliMurrayProject.org. arts@indyweek.com INDYweek.com | 1.25.17 | 29

indyart+stage

SLIPPAG GESTUR

7 p.m. Thu 2 & 7 p.m.

Take the Shadow for the Substance

KARA WALKER’S SILHOUETTES AND SLIPPAGE’S DANCE RESPONSE EXPLODE IDEAS ABOUT BLACK BODIES

BY BYRON WOODS

of Garner present

Jan 27, 28 & Feb 3, 4 at 8 pm, $15 2 pm matinees Jan 28 & Feb 4, $12 Tickets at the door Garner Performing Arts Center • 742 W Garner Road GarnerPerformingArtsCenter.com 30 | 1.25.17 | INDYweek.com

Kara Walker’s current exhibit in the Nasher’s Incubator Gallery is called Harper’s Pictorial History of the Civil War (Annotated). The parenthetical term is used somewhat ironically. Usually, such explanatory notes occupy the margins of a document or added pages in the back. But Walker’s graphic annotations overtake the illustrations they accompany, all but eclipsing them at times.

“They’re the subjects that have been left out of the frames, but now they’re almost the only thing you can see,” says Thomas F. DeFrantz, who chairs Duke’s African and African-American studies department.

He’s also the artistic director of the performance company SLIPPAGE, which this week presents a new dance and technology work, reVERSE–gesture–reVIEWed, at the Nasher. It interacts with Walker’s projected images, reflecting and engaging their pointed commentaries.

“Like Walker, we’re concerned with things that are hidden, then exposed, things that are impossible to hear but then so loud you can’t miss them,” DeFrantz says. Because black bodies are often viewed as either athletically exemplary or grotesque in the cultural imagination, reVERSE also focuses on “appendages that amplify the body, that make the black body strange.”

In her exhibit, Walker superimposes outsize, distorted, often nude silhouettes on fifteen enlarged line illustrations from the 826-page chronicle of the Civil War that Harper’s Magazine published in 1866. In one picture, a cannon in the original drawing blows apart a giant woman, the dark outlines of her torn, flying body parts dwarfing the soldiers below. In another, the shape of a man with an exaggerated rear end holds a boxinggloved fist aloft, preparing to smite the figure of a much smaller pugilist that was also added to the original illustration.

Walker has been confronting audiences

SLIPPAG

as a way t DeFran what’s be nal illustr to recons this imag events,” h cal recor the peopl was fough Kara Walker: From Harper’s Pictorial History of the Civil War (Annotated), 2005 DeFrantz COURTESY OF THE NASHER/PHOTO BY PETER PAUL GEOFFRION/© KARA WALKER ner of the can has yet awakened: bondage, ownership,of the ro with such provocations for two decades. Her the selling of bodies for power and cash havework refr 1994 wall installation, Gone: An Historical made twisted figures of blacks and whitesthe cente Romance of a Civil War as It Occurred b’tween al field. “ alike.” the Dusky Thighs of One Young Negress and In 8 Possible Beginnings or: The Creation ofreduction Her Heart, used the eighteenth-century African-America, a Moving Picture by Karastereotyp French decorative technique of cut-paper E. Walker, a 2005 film in which Walker ani-reduction silhouettes to depict scenes of rape, lynchmated her silhouettes as shadow puppets,human be ing, and dismemberment of African-Amera black slave is sodomized by King Cotton,in a 2014 ican men, women, and children by smiling depicted as a scrawny white master. (It wasEach “say masters. recently on view in Southern Accent at thelittle infor The incendiary fifty-foot installation galNasher.) In 2014’s A Subtlety, or The Marvel- DeFran vanized critics and thrust Walker to the foreous Sugar Baby, Walker fashioned a three-that the m front of contemporary art. Her work, in New story statue of a nude black woman in adoes, by di Yorker critic Hilton Als’s view, saw AmeriSphinx-like pose out of eighty tons of sugar.current tr can racial relations as “a freak show that is In both works, critic Steven Litt noted, herawkward. impossible to watch, let alone understand. … art “magnified racist antebellum stereotypesand failur Slavery is a nightmare from which no Ameri-

SLIPPAGE: REVERSE– GESTURE–REVIEWED

7 p.m. Thursday, Jan. 26, 2 & 7 p.m. Friday, Jan. 27, free–$5

KARA WALKER: HARPER’S PICTORIAL HISTORY OF THE CIVIL WAR (ANNOTATED) Through March 5, free–$5 The Nasher Museum of Art, Durham www.nasher.duke.edu

SLIPPAGE: reVERSE–gesture–reVIEWed

PHOTO COURTESY OF THOMAS DEFRANTZ

as a way to lash out at them.”

DeFrantz believes that Walker reveals what’s behind or underneath the original illustrations. “She wants to provoke us to reconsider and recalculate how we see this imagery and how we remember these events,” he says. Historical records often push the people the Civil War was fought over to what DeFrantz calls “the corner of the story, the edges of the room.” Walker’s work reframes them in the center of our visual field. “Silhouettes are reductions, and racial stereotypes are also reductions of actual human beings,” she said in a 2014 PBS interview.

Each “says a lot with very little information.”

DeFrantz concludes that the most important thing Walker’s work does, by disrupting our sense of historical and current tropes about race, is to make us feel awkward. “Awkwardness is about rupture and failure,” he says. “As we go through a day,

or a gallery, walk down a street or engage in a dance, we have expectations of what those things feel like.” But in the awkward moment, “something else happens, the encounter is failing and something is being revealed.”

He was also drawn in by the enigma of the silhouette itself. “It can’t be a full person,” he says. “It has no features; it’s only the outline of a person.” Ralph Ellison also pursued this idea of being a shadow, a fugitive who is always in motion, in Invisible Man. “These are difficult times to work with ideas of African-American history, black bodies in motion, and especially the futures of black people in our performances,” DeFrantz says. “But the awkwardness can help us all imagine this contemporary moment differently, how we recognize each other across difference and imagine the place of black bodies in the contemporary landscape.” arts@indyweek.com

“Silhouettes are reductions, and racial stereotypes are reductions of human beings.”

INDYweek.com | 1.25.17 | 31

PETof the WEEK PHOTO BY ALYCAT PHOTO & VIDEO SERVICES

JINGLE BELLS is out Pet of the Week. She came to us over the holidays, hence the name Jingle Bells.

32 | 1.25.17 | INDYweek.com

Jingle Bells is a delightful adult dog (5-6 years old) who loves everyone and everything! She’s playful, friendly and very affectionate. Since she’s very attentive and food motivated (she loves treats!) - she’ll be fun to train.

All Jingle Bells needs is a wonderful, loving and caring individual or family of her own!

We recently took Jingle Bells to an adoption event at Macy’s of Southpoint, and she did so well with children, babies, and even a cat that we also had there from APS. She is a very sweet girl who loves squeaky toys. She would also love a space to run!

FOR MORE INFORMATION: WWW.APSOFDURHAM.ORG/DOGS/JINGLE-BELLS If you’re interested in featuring a pet for adoption, please contact eroberts@indyweek.com

indystage

HEISENBERG

HHHH

Through Sunday, Feb. 5 Murphey School Auditorium, Raleigh www.burningcoal.org

Uncertain Fate

IN THE TWO-HANDER HEISENBERG, PLAYWRIGHT SIMON STEPHENS SPINS A QUIET POETICS OF QUANTUM MECHANICS

BY BYRON WOODS presents Georgie as an entity who frequently occupies two contradictory states of mind, if not identity. Call her Schrödinger’s girlfriend, for lack of a better term.

At its heart, Heisenberg’s uncertainty principle proves there is a limit to the knowledge we humans can attain about our surroundings and our universe, and that this border is determined not by the sensitivity of our instruments but by the nature of existence itself. In Georgie’s badly damaged relationship with her son, in Alex’s informed meditations on a Bach sonata and his utter reticence in the realm of feelings, and in the ever-changing intersection of these two

Sarah Hankins and Tom McCleister in Heisenberg With a title like Heisenberg, it bears noting that Simon Stephens’s drama, which Burning Coal Theatre Company opened last weekend a month after it closed on Broadway, isn’t some scientific historical thriller like Michael Frayn’s Copenhagen. For what it’s worth—and it’s actually worth quite a bit—the two-hander also lacks the dazzling intellectual fireworks of Alan Lightman’s speculative novella, Einstein’s Dreams (in which director Emily Ranii starred when Burning Coal produced its original stage adaptation in 1998).

But while Stephens keeps the mental calisthenics about quantum mechanics more subdued, the quiet poetics he finds in Heisenberg’s famed uncertainty principle has room to breathe. So do the characters: Alex, a diffi-

PHOTO COURTESY OF THE RIGHT IMAGE PHOTOGRAPHY INC.

dent, seventy-five-year-old London butcher, and Georgie, an enigmatic woman in her early forties. The two strangers meet when Georgie interrupts Alex’s people-watching at a train station with a kiss on the back of his neck.

The rushed recital of apologies, casual insults, and rapidly unraveling explanations that ensues reveals Georgie as a woman whose backstory (as an assassin—no, a waitress) has a few too many alternative facts to be truly trusted. As she pursues a singularly awkward introductory conversation—and continues to pursue Alex afterward—we see her tricky reversals of opinion. When Alex asks if she’s spying on him, she truthfully answers, “I am. I’m not really. I am, kind of.”

As the relationship develops, Stephens

improbable characters, the subtle metaphor unwinds: the more precisely you can locate a particle—or a person—the less you can actually know about his or her trajectory or momentum.

Under Ranii’s probing direction, Sarah Hankins fully occupies the prismatic quantum states of Georgie, and Tom McCleister gradually brings Alex’s hidden depths to the surface. Accompanied by David Ranii’s fitting, sometimes discordant audio mix, the pair explores the interiors of several relationships—to the point beyond which only mystery lies. Highly recommended. arts@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 1.25.17 | 33

01.25–02.01 Euan Morton in Hedwig and the Angry Inch PHOTO BY JOAN MARCUS

STAGE

WEDNESDAY, JANUARY 25–SUNDAY, FEBRUARY 12

INTIMATE APPAREL

So much cultural history has been relegated—and lost, over the centuries—to the kitchens, laundry rooms, and other work and meeting places of women. Playwright Lynn Nottage drew on old family photographs and stories about her great-grandmother for this 2003 drama about a black seamstress in turn-of-the-century New York who, as a maker of fine undergarments, glimpses worlds of privilege and happiness that she cannot access for herself. But when a fellow churchgoer urges her into a long-distance romantic correspondence with a Barbadian laborer on the Panama Canal, the distance between different dreams of prosperity and contentment threatens all they’ve built.

Raelle Myrick-Hodges directs for PlayMakers Repertory Company. —Byron Woods PAUL GREEN THEATRE, CHAPEL HILL Various times, $15–$57, www.playmakersrep.org

MUSIC

FRIDAY, JANUARY 27

KURT VILE & THE VIOLATORS

In the past few years, Philly’s Kurt Vile has taken a well-deserved seat at the table of indie rock royalty. After splitting amicably from The War on Drugs, which he cofounded with Adam Granduciel, Vile focused on sharpening his solo career, and the resulting LPs have offered compelling, even-keeled rock that tugs on threads of psychedelia and folk without hewing too closely to either. He’s still touring in support of his album b’lieve i’m goin down, which came out in September 2015—perhaps he’ll have some new songs to tease a follow-up. Nashville’s Luke Roberts joins Vile in Saxapahaw. —Allison Hussey HAW RIVER BALLROOM, SAXAPAHAW 8 p.m., $23–$25, www.hawriverballroom.com

STAGE

TUESDAY, JANUARY 31–SUNDAY, FEBRUARY 5

HEDWIG AND THE ANGRY INCH

How did playwright John Cameron Mitchell keep his gender-queer 1998 punk-rock drag show and rock confessional, later immortalized in a 2001 film, from turning into a period piece when it opened on Broadway, with Neil Patrick Harris as Hedwig, in 2014? Simple: Mitchell rewrote it. “What excited me was reconceptualizing it,” he told Vulture that year.

“I don’t think people realize how different it is.” The title character’s still a carnivorous “internationally ignored song stylist”—and a brave, brazen survivor of a botched operation that left her, in Mitchell’s words, “a gender of one.” But new music’s been added to Stephen Trask’s prismatic score in this touring version, helmed by Euan Morton and Hannah Corneau. —Byron Woods DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $20–$125, www.dpacnc.com 34 | 1.25.17 | INDYweek.com

WHAT TO DO THIS WEEK

ART

SATURDAY, JANUARY 28

WE ARE HAPPY TO SERVE YOU

2016 was a crazy year at Lump, Raleigh’s legacy-laden art gallery and project space.

First, founding director Bill Thelen announced that he was going to step down after the close of Lump’s twentiethanniversary season, leaving us on tenterhooks as to whether Blount Street was about to lose an institution. But then Kelly McChesney, whose Flanders Gallery shared the space, swooped in, atomizing Flanders into Lump and recalibrating it for the future (see our recent Indies Arts Awards profile for the story). This relaunch party celebrates Lump’s new nonprofit status and kicks off a month of events that reads like a who’s who of local art. On Saturday alone, three collaborative installations by the likes of Thelen, Amanda Barr, Martha Clippinger, Derek Toomes, and George Jenne make up the exhibit We Are Happy to Serve You. There will also be performances by Ginger Wagg, Mike Geary, Gabrielle Duggan, and Neill Prewitt (who promises a song called “Don’t Grow Up to Be an Angry White Man”). Then you can Lump it and like it for all of February, when copious events include a healthy portion of experimental film from Durham Cinematheque, Anna Kipervaser, and Unexposed Microcinema.

—Brian Howe LUMP, RALEIGH 4–9 p.m., free, www.teamlump.org

MUSIC

TUESDAY, JANUARY 30

JOAN OF ARC

Kurt Vile PHOTO BY MARINA CHAVEZ

Chicago-based indie rock outfit Joan of Arc rose from the ashes of post-hardcore luminaries Cap’n Jazz in 1995, amid the death rattles of emo’s old guard. Former frontman Tim Kinsella traded in his old band’s mathy manual for a standard, melodically driven songbook and dusted off Casio keyboards, shifting from labyrinthine to layered. Joan of Arc’s twenty-year career is distinguished by a tireless creative drive, frequent lineup shifts, and mild trolling. The band’s new record, He’s Got the Whole This Land Is Your Land in His Hands, is its goofiest to date.

One thing’s for sure: nothing cures the post-election dumps quite like hearing an emo icon sing the words “I know how the nicest guy in ISIS feels.” MAGAS and Youth League open. —Zoe Camp THE PINHOOK, DURHAM 9 p.m., $10, www.thepinhook.com

WHAT ELSE SHOULD I DO? HEISENBERG AT BURNING COAL (P. 33), INGRID BERGMAN IN HER OWN WORDS AT NCMA (P. 44), PAT METHENY AT THE CAROLINA THEATRE (P. 37), DAVID S. MITCHELL AT THE REGULATOR (P. 44), N.C. SYMPHONY AT KINGS (P. 40), OBJECT HOURS AT NIGHTLIGHT (P. 26), PROMPTS AT THE CARRACK (P. 43), REGARD AT MEREDITH COLLEGE (P. 41), SLIPPAGE/KARA WALKER AT THE NASHER (P. 30), SOLAR HALOS AT LOCAL 506 (P. 26) INDYweek.com | 1.25.17 | 35

1/25 TOO MANY ZOOZ W/ BOOM UNIT BRASS BAND ($15) 1/26 YONDER MOUNTAIN

FR 1/27

STRING BAND

SAMMY ADAMS

W/ THE RAILSPLITTERS ($27.50/ $30) 1/27 SAMMY ADAMS W/ JACK HARLOW AND STEPHEN HART ($16/$19 VIP ALSO AVAILABLE)

FR 1/27 @MOTORCO

COLD CAVE

1/28 COSMIC CHARLIE (GRATEFUL DEAD TRIBUTE) ($10/$13) 2/1 THE DEVIL

5/20 SAY ANYTHING / BAYSIDE W/ HOT ROD CIRCUIT ($20/$23)

W/LOST DOG STREET BAND ($22/$25)

6/6 THE ORWELLS ($18/$20)

2/2 BLACK TIGER SEX MACHINE W/ KAI WACHI ($18/$20) 2/3 G LOVE AND SPECIAL SAUCE W/ RIPE ($25/$30)

CAT'S CRADLE BACK ROOM

MAKES THREE

5/16 WHITNEY ($16)

2/4 BOB MARLEY'S BIRTHDAY 1/27 THE GRAND SHELL GAME W/BASSH, AL RIGGS CELEBRATION W/MICKEY MILLS AND STEEL & MORE 1/28 DEAD HORSES W/KATE RHUDY ($10/$12) 2/6: ISAIAH RASHAD W/LANCE SKIIIWALKER & JAY IDK ($17/$20) 1/29 BEER & HYMNS (NO COVER) 2/7 BLIND PILOT ($18/$20) 2/1 MARSHALL CRENSHAW W/ 2/8 PAPADOSIO W/ JAW GEMS ($17) BOTTLE ROCKETS 2/10, 11 (TWO NIGHTS!): BLACK MARBLE 2/2 LD RAINBOW KITTEN SOSURPRISE W/YOU.,JENNY BESETZT ($8/$10) W/ CAAMP OUT 2/3 ALLISON CRUTCHFIELD & 2/16 THE RADIO DEPT THE FIZZ W/ THE GERMANS ($15/$17) W/ RADIATOR HOSPITAL AND 2/17 STRFKR W/ PSYCHIC TWIN PINKWASH ($10/$12) ($20/$23) 2/4 REED TURCHI W/JB BOXTER ( $8/$10) 2/18 ABBEY ROAD LIVE! TWO SHOWS, 4 PM & 8:30 PM 2/5 (4 PM SHOW) 2/21 HAMILTON LEITHAUSER CHARLIE HUNTER TRIO ($18/$20) W/ LUCY DACUS ($17/$20) 2/6 MARGARET GLASPY W/ BAD BAD HATS** ($12/$15) 2/24 NRBQ W/TERRY ANDERSON AND SOLD THE O.A.K. TEAM ($25) 2/7 ISAIAH RASHAD OUT 2/25 VEGABONDS W/ATLAS ROAD 2/10 NO ONE MIND CREW, LEFT ON FRANKLIN, BAKED W/ SUNNYSLOPES, KONVOI ($7) GOODS, WILL OVERMAN BAND ($5/$10) 2/11 STOP LIGHT 2/26 NIKKI LANE HIGHWAY OBSERVATIONS ($10/$12)

QUEEN TOUR

W/ BRENT COBB & JONATHAN TYLER ($15/$17) 2/28 THE ENGLISH BEAT ($18/$20) 3/1 JAPANDROIDS W/ CRAIG FINN ($20/$23) 3/2 THE GROWLERS ($20) 3/6 COLONY HOUSE W/ DEEP SEA DIVER ($12/$15) 3/9 TIM O'BRIEN ($22/$25) 3/10 ELECTRIC GUEST ($12/$14) 3/12 SENSES FAIL W/ COUNTERPARTS, MOVEMENTS, LIKE PACIFIC ($15/$18) 3/17 TORTOISE ($15) 3/18 MARTIN SEXTON** ($25/$28) 3/23 SOHN**($17/$20) 3/24 JOHNNYSWIM (22/$25) 3/25 HIPPO CAMPUS W/MAGIC CITY HIPPIES ($13/$15) 3/28 THE MENZINGERS W/ JEFF ROSENSTOCK, ROZWELL KID ($17/$20) 3/29 COREY SMITH 4/1 DINOSAUR JR ($25) 4/2 LAMBCHOP W/XYLOURIS WHITE ($15) 4/7 CARBON LEAF W/RESTLESS HEARTS ($16/$20 MOVED FROM 2/18) 4/11 WHY? ($16/$18) 4/18 CHRONIXX ($22.50/$25) 4/20 FOXYGEN ( $18/$20) 4/21 JUMP, LIT TLE CHILDREN

SOLD OUT

4/25 PARACHUTE W/ KRIS ALLEN ($18/$20) 5/5 ADRIAN BELEW POWER TRIO W/ SAUL ZONANA ($26/$30)

2/12 MARY LATTIMORE ($10/$12) [ MOVED FROM MAIN ROOM] 2/13 KYLE CRAFT ($10/$12) 2/15 DUSTBOWL REVIVAL ($10) 2/17 OVERTONES SERIES: AUZURI STRING QUARTET ($15) 2/18 (NOON) ROCK FOR REYES BENEFIT W/ HAPPY ABANDON, ORLANDO PARKER JR, OG MERGE, SOMEONE’S SISTER ($5/$10)

SA 1/28 @CAT’S CRADLE BACK ROOM

DEAD HORSES

TH 1/26

YONDER MOUNTAIN STRING BAND 3/23 SABA W/SYLVAN LACUE ($15/$18) 3/29 CHERRY GLAZERR W/LALA LALA AND IAN SWEET ($13/$15) 4/13 MATT PRYOR AND DAN ANDRIANO ($13/$15) 4/17 SALLIE FORD W/ MOLLY BURCH ($10/$12) 4/19 ACID MOTHERS TEMPLE W/ BABYLON ($10/$12) 4/27 THE WILD REEDS W/ BLANK RANGE ($12/$14) 5/3 CLAP YOUR HANDS SAY YEAH ($16) 6/7 GRIFFIN HOUSE ($20/$23) MOTORCO (DURHAM) 1/27 COLD CAVE W/ DRAB MAJESTY ($15) 1/29 AUSTRA W/ LAFAWNDAH ($17/$20) PINHOOK (DURHAM) 2/24 SAVOY MOTEL 4/24 MATTHEW LOGAN VASQUEZ (OF DELTA SPIRIT) $13/$15

2/20 JOHN DOE (SOLO) $16/$18

KINGS (RAL) 5/3 ANDY SHAUF W/ JULIA JACKLIN RED HAT (RAL) 5/14 THE XX

2/21 G-NOME PROJECT ($7/$10)

CAROLINA THEATRE (DUR)

2/22 EISLEY W/ CIVILAIN, BACKWARDS DANCER ($15)

3/7 VALERIE JUNE 3/20 THE ZOMBIES 'ODESSEY AND ORACLE' 50 YEAR TOUR

2/18 (8PM) SUSTO ( $10/$12)

2/23 THE GRISWOLDS W/ DREAMERS ( $17) 2/24 PENNY & SPARROW W/ COREY KILGANNON ($15) 2/25 BLUE CACTUS ALBUM RELEASE SHOW W/ NICK VANDENBERG AND MOLLY SARLÉ ($10) 2/26 KEVIN GARRETT THE FALSE HOPE TOUR ($12/$15) 3/3 FRONT COUNTRY ($10/$12)

4/14

WELCOME TO NIGHT VALE W/ERIN MCKEOWN (ON SALE 1/20) THE RITZ (RAL) (TICKETS VIA TICKETMASTER)

2/23 SHOVELS & ROPE W/ JOHN MORELAND ($23/$25) 5/1 THE NEW PORNOGRAPHERS ($30)

3/4 ALEX DEZEN (OF DAMNWELLS)

HAW RIVER BALLROOM

3/5 ALL THEM WITCHES W/ IRATA ( $12/$14)

1/27 KURT VILE AND THE VIOLATORS

3/7 MOOSE BLOOD W/TROPHY EYES, BOSTON MANOR, A WILL AWAY ($15/$17) 3/10 TIM DARCY (OF OUGHT) ($10/$12) 3/21 NYLON MUSIC TOUR PRESENTS

POWERS & BRIDGIT MENDLER ($16/$18) 3/22 THE JAPANESE HOUSE ($15/$18)

W/ LUKE ROBERTS

3/6 COLD WAR KIDS W/ MIDDLE KIDS 3/11 SON VOLT ($22/$25) 4/1 PATRICK WATSON ($20/$22) DPAC (DURHAM 4/20 STEVE MARTIN AND MARTIN SHORT WITH

STEEP CANYON RANGERS

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 36 | 1.25.17 | INDYweek.com

music

1.18–1.25

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Zoe Camp (ZC), Annalise Domeghenini (AD), Allison Hussey (AH), David Klein (DK), Desiré Moses (DEM), Dan Ruccia (DR), David Ford Smith (DS), Patrick Wall (PW)

WED, JAN 25 BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • CAT’S CRADLE: Too Many Zooz, Boom Unit Brass p.m., $15–$17.

SA Band; 1/14 9(SOLD OUT) •&DEEP SU 1/15Reviving (TIX REMAIN) SOUTH: Raleigh: The Ivory, WAKA FLOCKA Alteras, The Second After, Awake At Last, Little Volcanoes; 8 p.m., $1. • FLAME HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: Nixon, Blevins & Gage; 6:30 p.m.

• KINGS: Vermin Supreme, Rob Potylo; 9 p.m., $10–$12. • LOCAL 506: Mammoth Indigo, Mature Fantasy; 9 p.m., $7. • NEPTUNES PARLOUR: Free Improvised Music Series: James Gilmore; 8:30 p.m., $5–$10. • NIGHTLIGHT: January 919Noise Showcase; 8:30 p.m., $5–$7.

• POUR HOUSE: Jahman Brahman, Bella’s Bartok; 9 p.m., $6–$8. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE BULLPEN: Thomas Rhyant; 7 p.m., free.

THU, JAN 26 Animal Mother GARAGE Self-styled as JAZZ “garage jazz,” the members of Cincinnati’s Animal Mother fall somewhere in the trench between mellow classical jazz and the punk energy of older free-form greats like Ornette Coleman or recent irreverent jazz acts like BadBadNotGood. With plenty of rock instrumentation to spare, this is jazz for people who don’t always have a stomach for the genre. With Ages of Sages.

—DS [NEPTUNES PARLOUR, $8–$10/10 P.M.]

King Draft BIG IDEAS For the show he’s dubbed “The Kingdom Experience,” King Draft is offering a fashion show and visual art alongside his eclectic, soulful mash-up of hip-hop. His latest project, Live Forever, is the antithesis to mainstream trap, buoyed by consistently inspirational lyrics. With Allie Capo, Swank Heen, Don Paumani, Dshawn&Soul, and Jarome

Chesson. —KJ [THE PINHOOK, $8/9 P.M.]

Local Band Local Beer: Youma EPIC Raleigh’s Youma AMBIENT purveys ambient arena rock, uniting the effects orgy of chillwave with a U2-vian sense of drama—and aspiration.

“As they explore modular synthesis, funk rhythm, and lyrics through presence, they hope to show you your own reality,” reads the band’s bio. So there’s that too.

With Arson Daily and NewAger, Kenny Roby’s new project.. —DK [POUR HOUSE, $3–$5/9:30 P.M.]

Janet Stolp & the Best Kept Secrets JAZZ & Jazzy folkie Janet FOLK Stolp resurrects big-band standards, revising and rearranging them to weave in and around her mellifluous vocals with plinking and plucking accompaniment from mandolin, ukulele, and fiddle with bongos as an extra added distraction. The Best Kept Secrets’ take on “Besame Mucho” is what can only be called “big band Appalachia.” —GB [BLUE NOTE GRILL, FREE/7 P.M.]

Yonder Mountain String Band BIG TENT Bluegrass can be a difficult genre to dig, speaking to an experience that isn’t always universal—plus, yodeling isn’t all too sexy. But that’s no matter for Yonder Mountain String Band, whose blend of progressive bluegrass and punk rock means few in the audience will feel as if they’re being recruited to the backwoods.

The Railsplitters open. —AD [CAT’S CRADLE, $27.50–$30/8 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m.

• CAROLINA THEATRE: Pat Metheny; 8 p.m., $47–$105. See box, page 37. • CARRBORO CENTURY CENTER: Jazz Tones;

noon. • THE CAVE: Jphono1, Daniel Chavis, Treyverb; 9 p.m., $5.

• DEEP SOUTH: The Forgotten Man, The Ghost of Saturday Nite, 90 Proof Therapist; 9 p.m., $5. • IRREGARDLESS: Workbook; 6 p.m. • KINGS: N.C. Symphony: Cat o’ Nine Tails; 9 p.m., $8. See box, page 40.

• LOCAL 506: Vita and The Woolf, Adam Fenton, Tremolux; 9 p.m., $8–$10.

• RUBY DELUXE: Disco Deluxe with Luxe Posh and Friends; 10 p.m.

FRI, JAN 27 Sammy Adams PARTY Ascendant Boston BOY hip-hop phenom Sammy Adams traffics in the sort of populist big tent rhyming that goes heavy on sing-along hooks and self mythology. On tracks like the hard-charging party anthem “Overboard” and the agreeably knuckleheaded ode to conspicuous consumption, “L.A. Story,” Adams demonstrates the nimble flow and vaguely preposterous persona that has abetted his rise and attracted big-ticket collaborators like Pharrell Williams and Mike Posner.

Stephen Hart opens. —EB [CAT’S CRADLE, $16–$400/8 P.M.]

Demon Eye, Toke, Bedowyn WE’RE By the time you read DOOMED this, a dim-witted, cheddar-colored misogynist has been installed as our bullshitbraying overlord. These are dark days, indeed, and there might be no better salve than embracing ruination through doom metal.

This bill—featuring the dark, doomy proto-metal of Raleigh’s Demon Eye, the riff-heavy stoner doom of Wilmington’s Toke, and the doom-tinged classic metal of Raleigh’s Bedowyn—is a good place to start. —PW [SLIM’S, $7/9 P.M.]

FR 2/3 SA 2/4 TU 2/7 WE 2/8 SA 2/11 TH 2/16 2/17 2/18 SA 2/18 TU 2/21 2/232/25 TU 2/28 FR 3/3 SA 3/11 SU 3/12 SA 3/12

CEDRIC BURNSIDE PROJECT THE MONTI: HIPPO AWARDS POPUP CHORUS JOHN SCOFIELD LUCY KAPLANSKY

WE 1/25

ALASH

FR 1/27

TH 1/26

NC COMEDY ARTS FESTIVAL NC YOUTH TAP ENSEMBLE POPUP CHORUS NC COMEDY ARTS FESTIVAL BALLAKÉ SISSOKO & VINCENT SÉGAL TRANSACTORS IMPROV TRANSACTORS IMPROV: FOR FAMILIES! GARY STROUTSOS ALASDAIR FRASER & NATALIE HAAS

SA 1/28 SA 1/28 MO 1/30 WE 2/1

MAMMOTH INDIGO / Mature Fantasy VITA AND THE WOOLF THE LAWSUITS UNC vs. Miami on the Big Screen COMPASS CENTER PRESENTS SOLAR HALOS / S.E. Ward / GOWN

Monday Night Open Mic

CRANK IT LOUD PRESENTS HOMESAFE Life Lessons / Chase Huglin

WE 2/1

CRANK IT LOUD PRESENTS

HOMESAFE W/ LIFE LESSONS / CHASE HUGLIN TH 2/2 FR 2/3 SA 2/4

ESME PATTERSON TORCH RUNNER

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Monday Night Open Mic

COMING SOON: GOST, UNC VS. DUKE, AIRPARK & LIZ COOPER AND THE STAMPEDE, CRO-MAGS

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PAT METHENY

The long-running guitar titan Pat Metheny has spent the past five decades dazzling audiences with an idiosyncratic blend of technical proficiency and experimental wanderlust. Always a devoted traditionalist with an appetite for the outré, Metheny’s hugely influential forays into jazz fusion have long since confirmed his reputation as one of the genre’s remaining pioneers.

Metheny’s early training began as a sideman for a bevy of geniuses performing in a wide swath of disciplines, ranging from Charlie Haden to Joni Mitchell to Ornette Coleman. Early solo records featured collaborations with the legendary Jaco Pastorius on bass, planting the seeds for the protean genre experiments that would become the calling card of his soon-to-be-formed original band. With the formation of the Pat Metheny Group in 1977, the guitarist reached the height of his commercial and critical acclaim.

With that ensemble, he released a series of well-received and influential records, including 1979’s bona-fide classic American Garage and the terrific live document

for directions and information

Travels. Along with fellow travelers like guitarist Bill Frisell, Metheny has long been thought of in jazz circles as a sort of Trojan horse, both effective enough to broaden audiences and not compromise his formalist impulses in doing so. Recent years have seen Metheny combining his improvisational tendencies with an abiding interest in the theatrical world and Latin jazz, as evidenced by recent collaborations with Chicago’s Steppenwolf Theatre and the terrific solo record The Sign of Four.

This week, the ten-time Grammy winner brings a full band of accomplished multi-instrumentalists, comprising a diverse lineup featuring longtime MexicanAmerican drummer Antonio Sanchez and new members from Malaysia and Australia (bassist Linda Oh) and the UK (pianist Gwilym Simcock). Following a year in which nothing feels remotely assured, it is prudent to catch this one-of-a-kind icon at the peak of his powers. —Timothy Bracy THE CAROLINA THEATRE, DURHAM 8 p.m., $47–$105, www.carolinatheatre.org

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DANCE HITS W/ LUXE POSH 10PM FREE ONYX CLUB BOYS 9PM FREE FLASH CAR, FRUIT & FLOWERS, THE EX-GIRLFRIENDS 8:30 $8 JAZZ SATURDAYS W/ THE JAZZTONES 2PM FREE DJKB 10PM FREE ONYX CLUB BOYS 9PM FREE HONEY MAGPIEW/ JEFF THOMPSON 8PM $6 JAZZ SATURDAYS

W/ ATTICUS REYNOLDS 2PM FREE

CLUB PLAYPLAY 10PM FREE VALENTINE’S DAY REAL ESTATE: TU 2/14 A TRIBUTE TO SUNNY DAY REAL ESTATE & ELLIOT SMITH 8PM $6 TH 2/16 ONYX CLUB BOYS 9PM FREE FR 2/17 THE NC RHYTHM PROJECT 7:30PM $8 TWIN PEAKS NIGHT EVERY MONDAY! 9PM FREE

38 | 1.25.17 | INDYweek.com

now THE INDY'S GUIDE TO THE TRIANGLE

SA 1/28

LORDY, Karl Agell, erstwhile LORDY vocalist of a host of Triangle heavies—including Leadfoot and, for a spell, Corrosion of Conformity—turns forty this month, and he’s celebrating with this heavy-oriented show. Agell fronted COC when the Raleigh band recorded Blind, an album that grafted hardcore muscle onto affable Southern rock, in 1991.

Kinghitter, his current outfit, operates similarly, bridging Southern boogie and heavy metal purity. With The Bleeding Hearts, Maldora, Patty Hurst Shifter, and MSRP. —PW [POUR HOUSE, $8–$10/8:30 P.M.]

ROCK ME, A two-hundredAMA sixty-first birthday may not have the nicely rounded ring of two hundred fifty or three hundred, but that’s no reason to pass it by, especially when we’re talking about a composer like Mozart. For this celebration, the North Carolina Symphony will perform a nice mix of his arias, a piano solo, and his thirty-ninth symphony. —DR [MEYMANDI CONCERT HALL, $18–$76/8 P.M.]

Wesley Eisold’s music as Cold Cave derives its gravity from an existential tug-of-war between the dance floor and the doldrums— frigid synth-pop grooves fighting like hell amid a harsh, noisy void: an ostensible nod to his past in the hardcore bands Give Up the Ghost and Some Girls. Profound gravity, of course, profound impact; in the decade since the project’s inception, he’s performed at the Guggenheim and shared stages with Sonic Youth and the Jesus and Mary Chain. Drab Majesty opens. —ZC [MOTORCO, $15/9 P.M.]

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N.C. Symphony: Mozart’s Birthday

Cold Cave

GURU GUITARS 5221 Hillsborough St, Raleigh, NC 27606 (919) 833-6607 www.guruguitarshop.com

FR 1/27

Kinghitter, The Bleeding Hearts

Leadfoot, Maldora ROWDY Lutie Cain celebrates ROCK her fortieth birthday playing in two of her bands in the same place on the same night, drumming for garage rattlers MSRP and playing bass for alt-rock, punk, and Americana hybrid Maldora. Rootsy rockers Patty Hurst Shifter have been putting forth their “R.E.M. doing the Stones” thing since 1999.

—GB [POUR HOUSE, $8–$10/8:30 P.M.]

The Lawsuits CASE Philly’s The Lawsuits CLOSED like to imagine themselves the brooding kind, but by and large are appealing purveyors of seventies-style pop.

With writing frequently as clever and off-kilter as the Fleetwood Mac and Loudon Wainwright records one imagines inspired them, their future looks rosy. —EB [LOCAL 506, $6–$8/9 P.M.]

Pie Face Girls IN YOUR Pie Face Girls’ 2014 FACE EP, First, opens with a track titled “Fuck You, I’m Pretty,” which aptly sets the tone for the Raleigh trio’s no-nonsense garage punk. In just under twelve minutes, Pie Face Girls offers an unapologetic fistful of chugging guitar riffs backed by powerful percussion.

The band hits Ruby Deluxe to celebrate the release of its new full-length, Formative Years, released by Raleigh label Negative Fun. Expect to hear some of those songs tonight. —AH [RUBY DELUXE, FREE/8:30 P.M.]

Ariel Pocock Trio NOT PINK In the opening of the age of the yellow-haired, short-fingered hobgoblin, it’s good to see artists doing what they can to resist. All the proceeds from this concert, featuring Durham residents Ariel Pocock and Kate McGarry along with Nashvillian Jess Nolan, will benefit Durham’s Planned Parenthood. The three singers have distinctive voices which cover a wide range of styles, though all are rooted in jazz and the blues.

—DR [THE SHED, $5–$10/8 P.M.]

Professor Toon WRITE IT Durham’s hip-hop DOWN connoisseurs have been anticipating a new project from Professor Toon for nearly a year, since last February’s Take Notes. The LP, filled with radio friendly songs, offers a balance between personal testimonies (“The Elephant”) and playful turn-up tracks (“Professor ”) aligned over high, energetic trap beats. With Nance, Don Neil, and Tange Lomax. —KJ [KINGS, $10–$12/9 P.M.]

Shelles COME With last year’s OUT OF IT Carousel, Chapel Hill’s Shelles quietly released one of the area’s most solid rock records. Like fellow locals Some Army, Shelles offered a clutch of fuzzy rock songs that bear the slightest twinge of twang. On opening track “Wild and Buchered,” steel guitar floats behind a veil of hazy guitars, while the record’s title track delivers a fairly straightforward, acoustic guitar-driven song that’s lifted gently with sparkling piano and a modest horn section. The band takes the stage in its hometown with The Paul Swest (see Feb. 1 listing at The Cave) and Majestic Vistas. —AH [THE CAVE, $5/9 P.M.]

Rick Springfield, Richard Marx CLASSIC At this double bill MEN featuring two of the eighties’ best-loved purveyors of pure pop schmaltz, Rick Springfield and Richard Marx, attendees can expect to be treated to throwback highlights such as Springfield’s durable rumination on jealousy, “Jesse’s Girl,” as well as signature Marx ballads like the consummately crafted “Right Here Waiting” and “Now and Forever.”

Whether or not that’s your cup of tea, these show business survivors have spent the better part of five decades delivering for audiences, so expect professionals at bat.

—TB [DURHAM PERFORMING ARTS CENTER, $40–$75/8 P.M.]

The Well Respected Men GET Erstwhile dB’s KINKY frontman Peter Holsapple’s a busy boy these days.

Besides releasing his first solo sessions in twenty years, he’s got himself a Kinks cover band. The Well Respected Men specialize in early-to-middle period Kinks, i.e. the golden years, so expect the set to range from British Invasion-era rave-ups to arch baroque pop pieces. —JA [DEEP SOUTH, $7/8:30 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • ARCANA: One Track Mind; 10 p.m. • BEYÙ CAFFÈ: Butcher Brown; 7 & 9 p.m., $17. • BLUE NOTE GRILL: Ellis Dyson & The Shambles; 9 p.m. Duke Street Dogs; 6-8 p.m., free. • CAT’S CRADLE (BACK ROOM): The Grand

Shell Game, BASSH, Al Riggs; 8:30 p.m., $8–$12. • HAW RIVER BALLROOM: Kurt Vile and the Violators, Luke Roberts; 8 p.m., $23–$25.

See page 35. • IRREGARDLESS: Elmer Gibson; 6:30 p.m. • LINCOLN THEATRE: PULSE: Electronic Dance Party; 9 p.m. • THE MAYWOOD: Down By Five, See Water, The Water Between; 9:30 p.m., $8. • SHARP NINE GALLERY: Slide Effects; 8 p.m., $10–$15. • THE STATION: Body Games, Janxx; 8:30 p.m., $6. • THE BULLPEN: Pat “Mother Blues” Cohen; 7 p.m., free.

SAT, JAN 28 Dead Horses DON’T This MilwaukeeBEAT IT based trio has cut its teeth on the road since 2010 with a blend of guitar, upright bass, and mandolin that fits squarely into the frontier of traditional roots music.

But it’s the vocal power of frontwoman Sarah Vos that makes every song a standout. The group’s latest album, last year’s Cartoon Moon, was notably produced by Ken Coomer (Uncle Tupelo, Wilco) who filled out the band’s sound out with subtle keyboards and percussion in his Nashville studio. Kate Rhudy opens. —DEM [CAT’S CRADLE, $10–$12/8 P.M.]

Atticus Reynolds RIFT Trio DRUM Atticus Reynolds, a FUNK high school senior in Chapel Hill, is a percussion prodigy, and a busy one that. He’s worked his way through jazz, is a member of two UNC jazz ensembles, teaches percussion to youths, and has started up a pair of bands. With his RIFT Trio, Reynolds, guitarist Russell Favret, and bassist Butler Knowles play originals, jazz standards, and contemporary rock and pop with an approach that draws on the folkloric tradition and a futuristic sensibility. —DK [THE SHED, $8–$12/8 P.M.]

Rites to Sedition DARK This Saturday night MAGICK slate is another infernal lineup that plumbs the crypts of black metal from around the Carolinas, courtesy of your friends at the Maywood.

Charlotte’s Rites to Sedition rep late-nineties black metal influences and shred songs about “ancient magicks.” The ritual must come first though, and setting

things off are Fayetteville’s Shrine, South Carolina’s Valle Crucis, and Raleigh’s Arghast. —DS [THE MAYWOOD, $8/8:30 P.M.] ALSO ON SATURDAY ARCANA: Let’s Go Crazy: George Michael Edition; 9 p.m., $5. • BEYÙ CAFFÈ: Primera Jazz; 7 & 9 p.m., $15.

• BLUE NOTE GRILL: Mel Melton & The Wicked Mojos; 8 p.m., $10. • CAROLINA THEATRE: WISER A Capella Jam; 7 p.m., $10–$12. • CARY ARTS CENTER: Triangle Wind Ensemble; 3 p.m. • CAT’S CRADLE: Cosmic Charlie; 9 p.m., $10–$13. • DEEP SOUTH: Absent Lovers, Pivot, Nick Driver; 9 p.m., $7. • DUKE’S NELSON MUSIC ROOM: Duke University String School Faculty Recital; 4 p.m. • IRREGARDLESS: Cole Koffi; 11:30 a.m. John Palowitch Trio; 6 p.m. Small House; 9 p.m. • KINGS: Happy Abandon, Lacy Jags, Wailin Storms; 9 p.m., $10–$12. • LINCOLN THEATRE: The Breakfast Club, Supersonic; 9 p.m., $10. • LOCAL 506: Solar Halos, S.E. Ward, GOWN; 9 p.m., $10–$20. See page 26. • MEYMANDI CONCERT HALL: NC Symphony: Mozart’s Birthday; 8 p.m., $15–$80. See Jan. 27 listing. • NIGHTLIGHT: T.O.U.C.H. Samadhi; 9 p.m., $10. • POUR HOUSE: Legendary Shack Shakers, The Brains; 9 p.m., $15–$20. • RUBY DELUXE: Third Annual Absinthe Birthday Burlesque Bash; 9:30 p.m. • SHARP NINE GALLERY: Dave Finucane Quartet; 8 p.m., $10–$20. • SLIM’S: Snake & The Plisskens, No Anger Control, Posion Anthem, Karbuncle; 8 p.m., $5. • THE STATION: Luxe Posh: Dance Hits; 10 p.m. Jazz Saturdays; 2 p.m., free. • UNC’S HILL HALL: Aaron Likness; 8 p.m., free.

SUN, JAN 29 Austra DYSTOPIC Katie Stelmanis POP began work on Austra’s poptimist protest album, Future Politics, two years ago during a decampment to Mexico City, well before the rise of Donald Trump. Communally focused and strikingly personal, the record (which she released on Inauguration Day) presents a dance-ready, stylistically diverse rebuke to the incoming administration; considering how long it’s been in development, the ostensible coincidence of its timing might just be clairvoyance. Foxture opens..

—ZC [MOTORCO, $17–$20/8 P.M.]

Jack the Radio LOCAL This Raleigh-based COUNTRY country rock outfit exhibits a mastery of the sort of frat-friendly blues-rock that has been ascendant in Nashville dating to at least the time of Big & Rich or whoever. Fortunately, on tense meditations like “Moonlight” there’s real songwriting talent at work once the keg is tapped. Map the Sky, Secretary Pool, and True North open. —EB [THE PINHOOK, $8/8 P.M.]

North Carolina Master Chorale DONA While it’s not the EIS... most radical requiem around, Brahms’s A German Requiem is one of the more unusual entries in the genre, and you can hear it in Raleigh courtesy of the North Carolina Master Chorale. Brahms wrote the text himself, excising much of the Christian liturgy and instead focusing largely on the mourners left behind. —DR [MEYMANDI CONCERT HALL, $24–$32/3 P.M.]

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ALSO ON THURSDAY ARCANA: Jon the Revelator; 8 p.m. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • DUKE CHAPEL: Thomas Murray; 5 p.m. • DUKE’S NELSON MUSIC ROOM: Sandra Cotton, Catherine Hamner; 3 p.m. • IRREGARDLESS: Larry Hutcherson; 10 a.m. Matt Walsh; 6 p.m. • POUR HOUSE: Jahlistic, Manjah; 9 p.m., $6–$8. • SLIM’S: Slimsmas; 8 p.m. • STEEL STRING BREWERY: Aosha and Kiah Wells; 4 p.m. • UNC’S HILL HALL: UNC Cello Choir; 3 p.m., free. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, JAN 30 Dr. Eugene Chadbourne’s International Wonder of Weird Songbook LET’S GET With one snow day WEIRD! exception, Eugene Chadbourne and a genial slate of oddballs have been holding court at Neptunes every Monday night to offer their broad-minded takes on protest music in a series titled “International Wonder of Weird Songbook.” This week, the North Carolina crew is joined by Philadelphia guitarist Nick

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Millevoi, whose credits include Chris Forsyth and the Solar Motel as well as his own Desertion Trio.

Millevoi’s guitar playing is equally angular and ecstatic, which should make him a perfect match for Chadbourne’s high-energy escapades. If you’re looking to bring your January to a close with a bang (and a squeal, and a shriek, and a clang), you’ll find your answer in a basement bar on Martin Street. —AH [NEPTUNES PARLOUR, $8/8:30 P.M.] ALSO ON MONDAY

JOHN ZORN

THURSDAY, JANUARY 26

N.C. SYMPHONY PRESENTS: CAT O’NINE TAILS In the early nineties, composer and musician John Zorn was living in a tiny twobedroom apartment in the East Village. The walls were filled floor to ceiling with records, cassettes, and CDs—thirteen thousand of them in all. Zorn began and ended each day listening through some of them. There wasn’t much else in the apartment, just a bed and a TV. TV was an obsession, and he would spend the day with it on, even when practicing his saxophone or writing music. If a bit of a jingle caught his ear, he’d add it to whatever piece he happened to be working on at the time. The same would go for anything else that would pass by his ears—a bit of melody from Charles Ives, a John Coltrane lick, a texture from Karlheinz Stockhausen, a tune from Carl Stalling. He was, and is, a musical omnivore, ingesting every sound that comes his way.

Unsurprisingly, Zorn’s compositions tend to be simultaneously overcaffeinated, flighty, and hyperkinetic. He spent the seventies and early eighties writing what he called “game” and “card” pieces for various improvisers in which he would sculpt strange, ever-changing musical structures.

Cat O’ Nine Tails, from 1988, was one of Zorn’s first pieces for classical musicians: the Kronos Quartet. In Raleigh, N.C. Symphony members David Kilbride, Karen Strittmatter Galvin, Samuel Gold, and Nathaniel Yaffe will perform it as part of the symphony’s ongoing series at Kings. The piece was originally subtitled “Tex Avery Directs the Marquis de Sade,” which hints at both its humor and its perversity. The work is essentially a postmodern collage. In just under thirteen minutes, it cycles through sixty different musical cells, alternating between cartoon music, “collage elements,” interludes, noise, and improvisation. Flashes of famous string quartets bump against noisy squalls that dissolve into Bugs Bunny outtakes. A country tune grows out of some misremembered Pierre Boulez, which morphs into a dark tango. And on and on. Don’t attempt to find a story or attach any logic to anything that happens; meaning for Zorn come from those disjointed moments between fragments, where genres bend and structure dissolves. It’s the sound of those thirteen thousand records playing one after the next, piling up within a singularly hyperactive imagination.

The other half of the quartet’s performance is Ravel’s luscious string quartet. It’s a strange pairing, but Ravel’s imperturbable flow will seem even more soothing and serene after Zorn’s barely contained chaos. —Dan Ruccia KINGS, RALEIGH 9 p.m., $8, www.kingsraleigh.com 40 | 1.25.17 | INDYweek.com

through four decades and enough different lineups to populate a breakaway anarcho-socialist commune. While the band’s sound has evolved from the slash-and-burn punk of its earliest days to more of a sludge metal hybrid, Reagan Youth has never wavered in its heedless satire of right-wing orthodoxies, returning it to history’s present moment.

Pleasures of the Ultraviolent, Sibannac, and Life Alert open.

—EB [KINGS, $10–$12/9 P.M.] ALSO ON TUESDAY

IRREGARDLESS: Great Father Whale; 6 p.m. • POUR HOUSE: Greg Finger Band, CW’s Acoustic SoulJo; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

IRREGARDLESS: Stevan Jackson; 6:30 p.m. • THE PINHOOK: Joan of Arc, Magas, Youth League; 9 p.m., $10.

See page 34. • RUBY DELUXE: Tide Eyes; 11 p.m. • UNC CAMPUS: PERSON RECITAL HALL: Timothy Holley, Adam Mitchell; 7:30 p.m.

TUE, JAN 31

WED, FEB 1

Reed Mathis & Electric Beethoven

The Devil Makes Three

ROLL Reed Mathis’s OVER Electric Beethoven project bills itself as the world’s first CDM—that is, classical dance music—band, in which the Tea Leaf Green bassist rearranges the motifs of Beethoven’s third and sixth symphonies as entryways into vapid and prosaic full-band jamtronica improv wankfests.

—PW [POUR HOUSE, $12–$15/9 P.M.].

RAUCOUS Santa Cruz trio The ROOTS Devil Makes Three is a force to be reckoned with.

The group has delivered its raucous take on bluegrass, blues, and roots music on the road for the past fifteen years. On last year’s Redemption and Ruin, the band delivered a collection of cover songs that pays homage to the artists who have influenced its members along the way. Lost Dog Street Band opens. —DEM [CAT’S CRADLE, $22.50–$25/8:30 P.M.]

Pathogenesis NO CURE One of the first Google search results for Raleigh-via-Virginia quartet Pathogenesis comes from the website greatnameforaband. com, which asserts that the word (definition: the manner of development of a disease) would make for a great band name, possibly not knowing that it’s already in use.

Indeed, Pathogenesis is the perfect name for a band that plays crushing death-grind, as this one does. But there’s a perversely humorous streak (see: “Dick Suckin’ Truck”) that makes Pathogenesis stand out.. —PW [SLIM’S, $5/9:30 P.M.]

Reagan Youth CLASSIC A first-wave New HXC York hardcore band with a backstory worthy of a Russian novel, these old-school polemicists have soldiered

Homesafe SAFE Homesafe (featuring RIFFS Ryan Rumchaks of Chicago pop-punk band Knuckle Puck) blends its version of pop-punk and hardcore with ambient music to create a dislocated sound that complements the blast beats and angst nicely. The band’s musicianship alone makes it worth watching.

Life Lessons and Chase Huglin open. —AD [LOCAL 506, $12/6:30 P.M.]

Marching Church MOODY Sometimes, you’ve MARCH got to just sit in your feelings and brood for a while. Few rock records will set that tone as well as Marching Church’s Telling It Like It Is, released late last year. It’s plenty moody, but doesn’t fall

toward moping or malaise; it sits restlessly as it stirs with arrangements that smack of the eighties. Its tension makes it nothing short of mesmerizing.

Bernardino Femminelli and Raleigh’s Essex Muro open. —AH [KINGS, $10–$12/9 P.M.]

The Paul Swest SONIC Beginning a JAZZ monthlong residency at The Cave, The Paul Swest is a free jazz ensemble led by Charles Chace, a visual artist as well as an ace guitar player. His work is experimental, improvisatory, and exploratory, and with drummer Tony Stiglitz and bassist Casey Toll, the intricacy of his recorded work comes to dynamic life. With Jil Christensen and Kirk Ross.

—DK [THE CAVE, $5/9 P.M.] ALSO ON WEDNESDAY CAT’S CRADLE (BACK ROOM): Marshall Crenshaw and the Bottle Rockets; 8 p.m., $20–$35.

• CORNER TAVERN: Chris Overstreet; 9 p.m. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

• IRREGARDLESS: Hill Country Cosmopolitans; 6:30 p.m. • UNC’S MEMORIAL HALL: Bruckner Orchestra Linz: Philip Glass Tribute; 7:30 p.m., $19–$79.

art

1.25–2.1

THURSDAY, JANUARY 26

REGARD

When artists look at their own work, it’s like looking in a mirror. But what might their peering faces look like from the back of the glass? That notional space is given intriguing form in REGARD, a new exhibit at Meredith College that divides a mix of local and national artists into fifteen pairs and charges them with creating “reciprocal portraits.” Not random, the pairings are based on existing personal connections, so the exploration of how we see through art is bolstered by a consonant theme: how we see our friends and loved ones. These thirty artists—including David Eichenberger and Shaun Richards, Caitlin Cary and Skillet Gilmore, and exhibit curators Sherry di Filippo and Janet Link— refract one another through drawing, painting, video, photography, and mixed media, trapped on either side of the gossamer glass, saying, this is you, and this is you. The exhibit runs through Feb. 12. —Brian Howe MEREDITH COLLEGE’S WEEMS GALLERY, RALEIGH 4:30–6:30 p.m., free, www.meredith.edu

Regard contributions by elin o’Hara slavick (left) and Raymond Goodman (right)

OPENING SPECIAL Fever Within: The EVENT Art of Ronald Lockett: Paintings and assemblages. Jan 27-Apr 9.

Curator’s tour: Jan 29, 2 p.m.

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

Next Chapter: Paintings by Lori D. White. Jan 27-Feb 22, 6-9 p.m. Village Art Circle, Cary. www.villageartcircle.com.

ONGOING SPECIAL 2-Dimensional Art EVENT Show: Group show.

Thru Mar 22. Reception: Jan 29, 2-4:30 p.m. Carrboro

Branch Library, Carrboro. www. co.orange.nc.us/library/carrboro.

LAST 311 Gallery Annual CHANCE Small Works Winter Arts Show: Mixed media. Thru Jan 28. 311 Gallery, Raleigh.

SPECIAL 6 Artists : Painting, EVENT Collages and Watercolor: Group show. Thru Jan 28. Reception: Jan 25, 6-8 p.m. Pullen Arts Center, Raleigh.

LAST Three Old Coots: Art CHANCE At Its Roots: Pottery, drawings and paintings by Bobby Kadis, Steve Wainwright, and Abie Harris. Thru Jan 31.

Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

About Place: Greg McLemore and Barbara Campbell Thomas.

Thru Feb 25. Artspace, Raleigh. www.artspacenc.org.

LAST Ruth Ananda: CHANCE Paintings. Thru Jan 31. Bean & Barrel, Chapel Hill. www.beanandbarrel.com. — Thru Jan 31. Zola Craft Gallery, Durham. zolacraftgallery.com.

Smithsonian exhibit reframes what it means to be an Indian American. Thru Apr 2. City of Raleigh Museum, Raleigh. —David Klein LAST “We Can Do It!”: CHANCE Group show. Thru Jan 31. Local Color Gallery, Raleigh. www.localcoloraleigh. com.

Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated into the U.S. and their contributions to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling

Jarrett Burch: Paintings. Thru Feb 16. ERUUF Art Gallery, Durham. www.eruuf.org.

Cascading Color: Elizabeth Kellerman. Thru Apr 16. Durham Convention Center, Durham. www.durhamconventioncenter. com.

PHOTO COURTESY OF WEEMS GALLERY

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LAST Cecilia Guitarte, CHANCE Susan Luster: Painting and ceramics. Thru Jan 25. Cary Gallery of Artists, Cary. www.carygalleryofartists.org.

A Celebration of 100 Years of Solitude: Gabriel García Márquez’s One Hundred Years of Solitude, the story of the rise and fall of the fictional Colombian town of Macondo, is built on a grand pattern of Latin American myth and history, intermeshed with an intimate one of seven generations of a family, and both wound by Márquez into shapes of fated repetition and doom. This exhibit by the Artist Studio Project, including twelve artists’ responses to the novel, was curated by Rafael A. Osuba, who put on a similar tribute to Don Quixote last year.

The featured artists include Luis Ardila, Cornelio Campos, Ernesto Hernández, Saba Taj, and Antoine Williams. Thru March 10. Durham Arts Council, Durham. www.durhamarts.org.

—Brian Howe Collections: Leah Sobsey. Thru Sep 30. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Color Across Asia: Thru May 13, 2018. Ackland Art Museum, Chapel Hill. www.ackland.org.

Corridor Exhibitions: Carrie Alter, Paula Baumann, Andie Freeman, Celia Gray, Judy Keene, and Don Mertz. Thru Mar 25. Artspace, Raleigh. www.artspacenc.org.

Gordon Dean: Site-specific installation. Thru Feb 5.

Artspace, Raleigh. www. artspacenc.org.

Discover Your Governors: Thru Aug 6. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

LAST Dreams Deferred: CHANCE Interactive photography exhibition by Veronique Moses and Ariyah April. Thru Jan 27. Visual Art Exchange, Raleigh. www. visualartexchange.org.

LAST Favorite Things: CHANCE Thru Jan 28.

Tipping Paint Gallery, Raleigh. www.tippingpaintgallery.com.

Flora and Fauna: Mixed media.

Thru May 14. Ackland Art Museum, Chapel Hill. www. ackland.org.

LAST The Great Outdoors: CHANCE Robert Thurston.

Thru Jan 29. Nature Art Gallery, Raleigh. www. naturalsciences.org. #Greenspaces: Paintings

by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com.

Guin Down the Coast: Photography. Thru Feb 27. Bond Park Community Center, Cary. www.townofcary.org.

History and Mystery: Discoveries in the NCMA British Collection: This is the first time in decades that NCMA has curated an exhibit from its

British holdings of Old Master painting and sculpture. Thru Mar 19. NC Museum of Art, Raleigh. www.ncartmuseum.org.

—Brian Howe Jake and Charlie: Folk Art

by Jake McCord and Charlie Lucas: Mixed media. Thru Jan 26. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Memory & Imagination: Folk art. Thru Feb 23. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library.

Moor and Moon: Mary Walker.

Thru Mar 10. Durham Arts Council, Durham. www. durhamarts.org.

My Favorite Things: Group show. Thru Feb 4. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

Natural Forces: Paintings and drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www. frankisart.com.

Oceans and Moods: Drawings and paintings by Lyudmila Tomova. Thru Feb 26. The Community Church of Chapel Hill Unitarian Universalist.

LAST Passing Through: CHANCE American Landscapes: Travel photography

by Gordon Schuit. Thru Jan 31.

Crook’s Corner, Chapel Hill. www.crookscorner.com.

Planting Hope: Drawings. Thru Feb 5. FRANK Gallery, Chapel Hill. www.frankisart.com.

LAST Plein Air Painter’s CHANCE Group Showcase: Thru Jan 28. Artspace, Raleigh. www.artspacenc.org.

Post Mégantic: Photography

by Michel Huneault. Thru Feb 18. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Potters’ Penguin Project: As tenacious creatures that mate for life, valiantly protect their young, and are perpetually dressed for a party, penguins are easy to romanticize. But there’s nothing whimsical about the plight of the Adélie penguin colonies in East Antarctica, where an iceberg loosened by climate change is blocking access to the sea for the colony there and has decimated its ranks to the point of near extinction. To highlight the dire impact of global warming, the Potters’ Penguin Project unveils a colony of its own—nearly two thousand handmade clay penguins by more than four hundred participants. Thru Feb 11. Claymakers, Durham. www. claymakers.com.—David Klein LAST Re-Surface: Regional CHANCE Emerging Artists-inResidence: Conner Calhoun and Kelly S. Murray. Thru Jan 28.

Artspace, Raleigh. www. artspacenc.org.

Regard: An Exhibition of Reciprocal Portraits: Mixed media group show. Thru Feb 12. Meredith College: Weems Gallery, Raleigh. www.meredith. edu/the-arts. See p. 41.

LAST Stacy Bloom CHANCE Rexrode: This resorceful artist puts a sharp feminist critique into her sculptural assemblages, beautiful and awful at once.

Dense proliferations of household and craft items associated with “women’s work” express overconsumption and the tidal pullback of valuation.

Rexrode’s construction prompts an open-mouthed “How’d she do that?” But it’s her rigor that will haunt you. Thru Jan 30.

food

Chatham Cider Works Opening: Sat, Jan 28, 4 p.m.

The Plant, Pittsboro. www. theabundancefoundation.org.

www.preservationchapelhill.org.

Horace Williams House, Chapel Hill. www.chapelhillpreservation. com. —Chris Vitiello Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin.

Thru Mar 5. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

Sense of Scene: Group show.

Thru Mar 11. Durham Arts Council, Durham. www. durhamarts.org.

Soundings: Protest|Politics|Dissent: You’d be forgiven for taking a break from the post-election news for your sanity’s sake. But there’s no better way to tune back in than with this sound exhibit featuring digital audio works by more than twenty artists. This politically charged exhibit covers front-page themes including climate change, migration, and incarceration, and includes a programmed schedule of special listening times for specific artists throughout its run. You’ll hear the album We Lost Half the Forest and the Rest Will Burn This Summer by Postcommodity, a collective based in the Southwest, before its inclusion in this year’s Whitney Biennial. And French Afro-futurist Kapwani Kiwanga’s “Tongue” unpacks the loss and transformation of cross-cultural transmission. Thru Feb 18. Power Plant Gallery, Durham. —Chris Vitiello SPECIAL Textiles in Tiers: EVENT Trudy Thomson, Sandy Milroy, and Rose Warner.

Thru May 25. Reception: Jan 29, 2-3:30 p.m. National Humanities Center, Durham. www.nationalhumanitiescenter. org.

The Weight We Leave Behind: Jessina Leonard’s digital pictures are compositionally cool yet emotionally warm. One shows the impression of a body on a mattress; another plots stray hairs on a graph of bathroom tile. This series was inspired

Larry’s Lab: Central and South American Coffee: Wed, Jan 25, 6 p.m. 42 & Lawrence, Raleigh.

by a Wendell Berry essay, “Faustian Economics,” and American exceptionalism and overconsumption in general.

“There are two sides of the title,” Leonard explains. “In one, the weight we leave behind is lighter than we imagine— maybe significant things we do aren’t as significant as we like to think. In another sense, it’s heavier, in that we don’t have control over what we leave behind, like how a parent might mark a child or bodies mark the Earth.” Thru Feb 28. Bull City Arts Collaborative: Upfront Gallery, Durham. www.bullcityarts.org.

—Brian Howe This Land Is Your Land: Vaughn Bell. Thru Feb 8. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Allison Tierney: Thru Mar 25.

HQ Raleigh, Raleigh.

stage SATURDAY, JANUARY 28

PROMPTS: NEXT STEPS The group exhibition Nasty Women, started in New York City by Roxanne Jackson and Jessamyn Fiore, has a companion show at the Carrack this week. It’s a timely effort to “demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women’s rights, individual rights, LGBTQ+ rights, and immigrant rights.” The Carrack put out an all-inclusive call for works by any artist along these lines who was ready to donate the proceeds of sales to Planned Parenthood. The exhibit runs alongside the gallery’s annual community show, adding to the populist punch. Your last chance to go is Saturday night, when a performance event complements the exhibit’s inauguration anxiety perfectly. Choreographer Justin Tornow’s lively PROMPTS series, in which a variety of artists respond to an open call for ten-minute performances built around a prompt, returns, asking what our “next steps” might be. —Brian Howe THE CARRACK MODERN ART, DURHAM 7–9 p.m., $5 suggested donation, www.thecarrack.org

Together: Group show.

Thru Mar 5. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

Transits and Migrations: A Summer in Berlin: Student photography. Thru Apr 15.

Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Unpacking the Past, Designing the Future: The Scrap Exchange and Lakewood in Partnership: Stories and artifacts. Thru Feb 11. The Scrap Exchange, Durham. www.scrapexchange. org.

Michael Weitzman: Photography. Thru Feb 28.

Duke University Hospital- Art & Health Galleries, Durham.

What’s the Story?: Sitespecific installation by Mary Ann Anderson. Thru Feb 5.

Golden Belt, Durham. www. goldenbeltarts.com.

William Noland: Dream Rooms: Long video takes examining technology and intimacy. Thru Feb 5. NC Museum of Art, Raleigh. www.ncartmuseum. org.

Read our review of Heisenberg at Burning Coal Theatre on p. 33.

PHOTO COURTESY OF THE RIGHT IMAGE PHOTOGRAPHY, INC.

OPENING The Civilians New Play Workshop Reading: $10. Sat, Jan 28, 8 p.m. Duke Campus: Reynolds Industries Theater, Durham.

Hedwig and the Angry Inch: Musical. $20-$120. Jan 31-Feb 5. Durham Performing Arts Center, Durham. www.dpacnc. com. See p. 34.

Triangle Restaurant Week 2017: Various locations throughout the Triangle.

Thru Jan 29. https:// trirestaurantweek.com/.

Martin Luther King, An Interpretation: Play. $10. Jan 28-Jun 24. The ArtsCenter, Carrboro. www.artscenterlive. org.

Metal Pole Mayhem: Soundtrack Edition Pole and Aerial Show: Electric guitar,

movies, pole dance and aerial acts. $20. Sat, Jan 28, 9 p.m.

Motorco Music Hall, Durham. www.motorcomusic.com.

The Second City: Comedy. $20-$75. Fri, Jan 27, 8 p.m.

Carolina Theatre, Durham. www.carolinatheatre.org.

Topeng Losari: Dance by Nani. Fri, Jan 27, 8 p.m.

UNC Campus: Memorial Hall, Chapel Hill. www. carolinaperformingarts.org.

ONGOING LAST Always... Patsy CHANCE Cline: Musical. $20-$50. Thru Jan 29.

Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

Heisenberg: $5-$15. Jan. 19-Feb. 4, 7:30 p.m. and Sundays, 2 p.m. Thru Feb 5.

Burning Coal Theatre at the Murphey School, Raleigh. www. burningcoal.org.

LAST  Orlando: CHANCE $5-$20. Thru Jan. 28. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. Read Byron Woods’s review at indyweek.com.

LAST The Whipping Man: CHANCE $15-$24. Thru Jan 29. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

INDYweek.com | 1.25.17 | 43

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screen SPECIAL SHOWINGS Anne Braden: Southern Patriot: Mon, Jan 30, 8 p.m.

The Pinhook, Durham. www. thepinhook.com.

Jackson. Peck carries Baldwin’s unfinished yet urgently relevant perspective, like a torch, into the dark present and beyond. Wed, Feb 1, 7 p.m. Carolina Theatre, Durham. www.carolinatheatre. org. —Brian Howe

Democracy for Sale: Sat, Jan 28, 8 p.m. Haw River Ballroom, Saxapahaw. www. hawriverballroom.com.

Paris Is Burning: Sun, Jan 29, 6 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

Farmsteaders: Fri, Jan 27, 7 p.m.

Full Frame Theater, Durham.

Spaceballs: Fri, Jan 27, 5:30 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

February One: Wed, Feb 1, 9:50 & 11:20 a.m. Carolina Theatre, Durham. carolinatheatre.org.

I Am Not Your Negro: Ta-Nehisi Coates not only laid the cornerstone of post-Black Lives Matter social criticism in Between the World and Me; he also inadvertently turned a new generation onto James Baldwin, to whom Coates was widely compared. Raoul Peck’s new documentary stands to capitalize on the fresh interest.

Based on Remember This House, Baldwin’s unfinished book about the lives and assassinations of Medgar Evers, Malcolm X, and Martin Luther King Jr., I Am Not Your Negro imagines the story Baldwin might have written through archival footage and narration by Samuel L.

OPENING A Dog’s Purpose—Former Book of Mormon star Josh Gad provides a dog’s inner monologue in this family comedy-drama. Rated PG. Gold—A businessman (Matthew McConaughey) and a geologist find gold in the Indonesian jungle in this trueish crime film. Rated R. Resident Evil: The Final Chapter—The horror-action franchise based on the popular video-game series about zombies concludes, starring Milla Jovovich and Ali Larter. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at www.indyweek.com.  20th Century Women—The slippery concept of family is the heart of Mike Mills’s loopy, lovely autobiography. Gorgeous shots and a strong screenplay surround Annette Bening’s compelling performance in an eccentric ode to coming of age in 1979. Rated R. ½ Fantastic Beasts and Where to Find Them—A Rowling-penned, promising start to a new Harry Potter franchise. Rated PG-13. ½ Hidden Figures— This true story of three black women triumphing over racism and sexism in the 1960s space race has a TV-movie softness but powerfully portrays bigotry and courage. Rated PG.  La La Land—Damien Chazelle reunites Gosling and Stone for a breezy jazz musical with Technicolor charm. Rated PG-13.

HH½ Passengers—This glossy interstellar vehicle for provocative moral

entanglements ultimately implodes from the pressure of its star-driven, crowdpleasing mission. Rated PG-13.  Patriots Day— Mark Wahlberg’s ego singlehandedly avenges the Boston Marathon bombing victims. Rated R.  Rogue One: A Star Wars Story—This war flick set in the Star Wars universe takes place just before the first film, and works great as a standalone. Rated PG-13. ½ Silence— Scorsese offers a masterful, reverent tale of seventeenth-century Jesuits traveling to Japan.

Rated R.  Split—Box-officebait-turned-flopper M. Night Shyamalan sticks a killer twist into this tense tale of a kidnapper with multiple personalities (James McAvoy)—but the biggest shocker of all is that the movie’s pretty good. Rated PG-13.

FRIDAY, JANUARY 27

INGRID BERGMAN IN HER OWN WORDS She epitomized Hollywood glamour during the golden age of cinema, but in public life Ingrid Bergman experienced some notably postmodern pitfalls. Making her ostensible screen debut in 1935, she was bodyshamed by critics in her native Sweden (“Hefty but quite sure of herself” exclaimed one). She was slut-shamed on Capitol Hill in 1950 for her extramarital affair with director Roberto Rossellini (“a cheap chiseling female” and “a powerful influence for evil,” cried Senator Edwin C. Johnson). Plus, she starred in Gaslight, a film whose cultural relevance continues to reassert itself as the ideal metaphor for the insidious power politics now at play. Somehow, she lived through it all: the absurdity of screen icon-hood, being painted a corrupter of youth, and rejection both in Sweden and in the U.S., among other trials, with consummate grace.

When she returned to America after eight years abroad, she picked up where she left off and eventually received an apology from Congress. On the centennial of her birth, NCMA screens this 2015 documentary, based on Bergman’s home movies, letters, and diaries. It offers luminous proof that superlatives such as icon, screen legend, and beauty for the ages are, once in a great while, properly applied. —David Klein NORTH CAROLINA MUSEUM OF ART, RALEIGH 8 p.m., $5–$7, www.ncartmuseum.com 44 | 1.25.17 | INDYweek.com

THURSDAY, JANUARY 26

DAVID S. MITCHELL: WE HOLD THESE TRUTHS The seeds for this debut political thriller were planted in 2008, when David S. Mitchell found himself at odds with the consensus among his fellow law school students that the election of Barack Obama would transform society. Mitchell doubted the country’s desire for change truly ran deep, and when he backed into a job as campaign manager for AfricanAmerican candidate Ken Lewis in the North Carolina senatorial race two years later, Mitchell got to test that hypothesis.

Seeing scores of Obama-esque candidates shot down in their election bids seemed to confirm the idea that Americans were willing to get behind the idea of liberty and justice for all, but not inclined to do the hard work to incorporate those ideals into daily life. Mitchell seethed at the lost opportunity, but in his novel he seeks to galvanize young people to wield the political power they potentially hold. The author will discuss his book and issues of politics and race with Lewis and historian Timothy Tyson. —David Klein THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

READINGS & SIGNINGS

LITERARY R E L AT E D

David Billings: Deep Denial: The Persistence of White Supremacy in United States History and Life. Thu, Jan 26, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Jim Holman: “Wagner and the Movies.” Wed, Jan 25, 7:30 p.m.

UNC Friday Center, Chapel Hill. www.fridaycenter.unc.edu.

Greg Hansbrough: Enduring Strength: The Story of the Other Hansbrough Brother. Wed, Feb 1, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

PHOTO COURTESY OF MANTARAY FILMS

Dmitry Orlov: Shrinking the Technosphere: Getting a Grip on Technologies That Limit Our Autonomy, Self-Sufficiency and Freedom. Wed, Jan 25, 7 p.m.

Flyleaf Books, Chapel Hill. www. flyleafbooks.com. Thu, Jan 26, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Tim Tyson: The Blood of Emmett Till. Wed, Feb 1, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

E. Patrick Johnson: “The Beekeeper: Collecting Oral Histories of Black Southern Queer Women.” Thu, Jan 26, 4:30 p.m. Graham Memorial Hall, Chapel Hill.

PlayMakers Community Tour: Measure for Measure: Performance and discussion.

Thu, Jan 26, 4:30 p.m.

Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Tuition Inequality for Undocumented Students and the Future of DACA Panel: Lori Khamala, Yazmin Garcia Rico, and Marco Cervantes. Thu, Jan 26, 7 p.m. Emerson Waldorf School, Chapel Hill. www. emersonwaldorf.org.

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notices

Defendant. : TO: BARBARA W. BRANCH 400 Courtney Creek Blvd.

Apt. 634 Durham, NC 27713 (Last Known Address) TAKE NOTICE that a pleading seeking relief against you has been filed in the above entitled action. The nature of the relief being sought is Equitable Distribution and Absolute Divorce.

YOU ARE REQUIRED to make defense not later than forty (40) days following January 11, 2016, and upon your failure to do so, Plaintiff will apply to the Court for the relief sought.

This the 11th day of January, 2017.

THE LINEBERRY LAW FIRM, P.C. _______________________ ______________ CHAS. M. LINEBERRY, JR. Attorney at Law N.C. State Bar No. 13018 3602 Wrightsville Avenue Wilmington, North Carolina 28403 Telephone: (910) 798-0600 Facsimile: (910) 798-0401 Attorney for Plaintiff

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INDYweek.com | 1.25.17 | 45

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TO BE FEATURED IN A GIVE! GUIDE HIGHLIGHT, CONTACT CLASSY@INDYWEEK.COM

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Who:

Triangle Literacy Council

What:

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Since 1970, the Triangle Literacy Council has been teaching adults, youth, and families how to read, write, speak better and improve their lives through the use of volunteer, one-onone tutoring and small group classes. All services are provided free of charge to participants. All programs use best practices with evidence-based

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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.

this week’s puzzle level:

© Puzzles by Pappocom

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.

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46 | 1.25.17 | INDYweek.com

# 26

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INDYweek.com | 1.25.17 | 47

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NEWS • ARTS • FOOD • MUSIC INDYWEEK.COM TO A DV E R T I S E O N T H E B AC K PAG E : C A L L 9 1 9. 2 6 8 .1 9 7 2 ( D U R H A M /C H A P E L H I L L ) O R 9 1 9. 8 3 2 . 8 7 74 ( R A L E I G H ) • E M A I L : A DV E R T I S I N G @ I N DY W E E K .C O M