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WHAT WE LEARNED THIS WEEK DURHAM • CHAPEL HILL VOL. 36 NO. 42

9 A Durham County judge accused an investigator in a high-profile murder case of “inventing facts.”

DEPARTMENTS 6 News 15 Food

10 Chapel Hill-Carrboro City Schools is the state’s best-performing school district. It also has the second-largest black-white achievement gap in the country.

16 Music 18 Arts & Culture 22 What to Do This Week 25 Music Calendar

11 You can bury Aunt Bessie on your property, but you’ll have to tell prospective buyers.

29 Arts & Culture Calendar

15 In jelly, kudzu tastes like apple.

17 When she moved to Durham, Zoe Litaker worried there wouldn’t be much dance to photograph. She quickly found she was wrong.

20 When Día de los Muertos merchandise is sold alongside Halloween costumes, artists who want to combat cultural appropriation have their work cut out for them.

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Día de los Casi Muertos at Artspace (see story, page 20)

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YO U R G U I D E TO A F U N L I F E I N T H E T R I A N G L E 4 | 10.30.19 | INDYweek.com

backtalk

INDY VOICES

Immigrants Get the Job Done

Stay in Your Lane We begin with Christopher Berry Ross, who doesn’t appreciate our recent endorsements in the Chapel Hill Town Council race: “Maybe those of us who live in Chapel Hill and own homes here know what is best for us density-, traffic-, and transit-wise. A town’s primary duty is to its existing residents and property owners who pay the bills (taxes), not future ‘potential’ residents and outof-state property speculators and hedge funds. If INDY writers are so good at urban planning, then why are they not employed as urban planners or town managers? Maybe they should leave the posturing and lecturing about density and development to the current residents it actually impacts and the professionals.”

Bill Compton responds to last week’s Voices column, in which Courtney Napier warned that the new pro-development Raleigh City Council could make things worse than ever for underserved communities: “How are market forces an ‘attack on the civil rights of underserved communities’? If poor black folks don’t want to sell the land they own, they shouldn’t. If they do sell, good for them. To suggest that developers are ‘blockbusting’ people using racist scare tactics with no evidence is irresponsible journalism. I’m not sure why Ms. Napier is allowed to write these statements, providing no evidence, and then have them published.

“She’s also disrespecting every young, progressive Democrat in Raleigh who voted for this new council, suggesting we can’t think for ourselves.

It’s pretty sad watching these NIMBYs cry about their loss. Maybe Courtney can go see a movie with David Cox and Stef Mendell and make sure they’re OK.” “As someone who has lived in the South Park neighborhood for the last three years,” adds Joe K, “I don’t think your claims about developers paying below-market value to push out poor homeowners hold water. First of all, an enormous proportion of the homes in the South Park neighborhood are landlord-owned and rented out to low-income tenants.”

You can also find a longer response by Brent Woodcox, the YIMBY Raleigh advocate and General Assembly special counsel Napier mentioned in her column, at indyweek.com/news/voices.

Want to see your name in bold?

Comment: indyweek.com Email: backtalk@indyweek.com Facebook: @IndependentWeekly Twitter: @indyweek

HOW TO SUCCEED IN AMERICA. (STEP ONE: BRING RUBLES.) BY BARRY SAUNDERS

BARRY SAUNDERS is a former News & Observer columnist.

NEXT WEEK: T. GREG DOUCETTE, a local attorney, criminal justice reform advocate, and host of the podcast #Fsck ’Em All.

E

ver felt like you wanted to disappear, get out of town—out of the country, even—to escape embarrassment?

Ever been caught just as you were boarding a plane to Austria?

Except for the last part, that story is me—most excruciatingly, when I stood before Mr. Webb’s ninth-grade English class at Rockingham Junior High to recite an original poem he’d assigned each of us to write. I proudly and dramatically recited my “original” work and waited for Mr. Webb to laud my performance, to tell me that I was excused from class for the rest of the year because I’d done such a wonderful job.

He didn’t do that.

Instead, after I took a bow and waited for the applause to wash over me, he said, “My, that James Brown is a heckuva poet, isn’t he?”

Sure, I was busted, but how was I to know that Mr. Webb, a teacher who wore horn-rimmed glass, wingtip brogans, and cardigan sweaters with suede elbow patches, knew about “King Heroin”?

Know about it he did, though, and he busted me in front of the entire class, which was now laughing hysterically.

That humiliating classroom experience is the reason I know how Lev Parnas and Igor Fruman feel. The day Mr. Webb caught me plagiarizing the Godfather of Soul, I slunk back to my seat and prayed to fall asleep and wake up in another country. That’s precisely what ol’ Lev and Igor tried to do.

Upon discovering that the U.S. attorney’s office in Manhattan was fixing to arrest them for trying to buy U.S. politicians, those two bought one-way tickets

to Vienna—and not because they were dying to eat the city’s famed sausages.

The men, besties of President Trump’s personal attorney, Rootin’ Tootin’ Rudy Giuliani, are charged with trying to influence U.S.-Ukraine relations by spreading foreign cash to politicians.

That is, of course, against the law.

But let’s look on the bright side. Igor and Lev, in one sense, represent the ultimate immigrant success story.

They are, at heart, two men who came to America with nothing but a dream of a better life—and lots of rubles to spend on malleable politicians willing to remove recalcitrant ambassadors who stood in the way of their profiteering.

The Washington Post reported recently that Parnas, a stockbroker, donated $50,000 toward Trump’s election in 2016, and two years later, he and Fruman were breakfasting with the president, lunching with the First Sons, and doing The Funky Chicken at Mar-a-Lago. In May 2018, they donated $325,000 to a pro-Trump PAC. Is this a great country or what?

All of you immigrants massed at the border, seeking to enter the country, take note. In the immortal words of Montel Jordan, this is how we do it.

I didn’t even try to reach Parnas, a Ukrainian, or Fruman, a Belarussian, to get their side of the story. I’m sure if asked, they’d offer perfectly legitimate reasons for trying to leave the country abruptly. My efforts to reach their attorney, John Dowd, were unsuccessful, but I did conduct an, um, exclusive, madeup interview with the Uber driver who drove the duo to Dulles.

Seymour L. Pettigrew—the L stands

for “License? I don’t need no stinkin’ license”—who drives for Uber as a way to supplement the income from his full-time job making airplane seats uncomfortable, says he immediately suspected something was screwy with his passengers.

“First, all the way to the airport, they kept lookin’ out the rear window, like they thought the feds were chasing us,” Pettigrew told me. “More troubling was how they kept singing song lyrics from sixties pop songs. If I never hear ‘Leaving On a Jet Plane’ again, it’ll be too soon. The next person I hear singing that is getting socked in the eye.”

Chill, Seymour.

While I share Parnas and Fruman’s embarrassment and desire to flee, I share an even stronger bond with their apparent U.S. sponsor, Mr. Giuliani.

Back when I was a juvenile delinquent, and the Rockingham cops seemingly wore a path in the front lawn to our house to take me down “for questioning,” and I’d invariably blame my wrongdoing ways on my friends—Lil’ John, Tony, Blind, Vap, et al.—my exasperated aunt, tired of missing work to accompany me to court, would ask, “Don’t you have any friends who aren’t criminals?”

After all this, maybe Americans should ask the same of Rootin’ Tootin’ Rudy. backtalk@indyweek.com INDY Voices—a rotating column featuring some of the Triangle’s most compelling writers—is made possible by contributions to the INDY Press Club. Visit KeepItINDY.com for more information.

INDYweek.com | 10.30.19 | 5

news

Know Your Rights

A DOMESTIC VIOLENCE SURVIVOR ASKED THE RHA FOR AN EMERGENCY TRANSFER. THE RHA TRIED TO EVICT HER INSTEAD, A LAWSUIT SAYS. BY LEIGH TAUSS

The Eastwood Court Apartments

A

PHOTO BY JADE WILSON

manda’s infant son, Sam, lay beside her on a cool April night in 2016.

Her twelve-year-old daughter, Megan, was asleep in the other room.

Maybe it was a strange noise that woke Megan. She got up and approached her mother’s doorway. Inside, she saw a man atop Amanda, strangling her. Sam was still next to her.

Megan had seen the man before.

Before he’d broken into in their apartment in Eastwood Court—a forty-six-unit complex on East Davie Street managed by the Raleigh Housing Authority—that night, Amanda says her ex-boyfriend John had beaten her in the head and stomach when 6 | 10.30.19 | INDYweek.com

he discovered she was pregnant with Sam the year before, according to a federal lawsuit she filed against the RHA in 2018.

Earlier this month, that lawsuit produced a landmark federal consent decree, believed to be the first of its kind in the country, that spells out a public housing landlord’s obligations to domestic violence survivors under the Violence Against Women Act. For months, Amanda—as with her children and ex-boyfriend, the INDY is not using her real name to protect her privacy and shield her from potential retaliation— had asked Mike Ayodele, a manager for the RHA until 2017, to be transferred to another housing unit where John couldn’t find

her, the lawsuit says. According to Amanda, John had repeatedly threatened to kill Amanda, held a gun to her head, and threatened to burn down the apartment with her and her children inside.

In August 2016, John persuaded Amanda to let him visit his son for a day, the lawsuit says. But he took Sam and refused to return the child for six weeks. Desperate, Amanda reached out to Interact, a local agency that assists survivors of domestic abuse, and the Raleigh Police Department to file for a domestic violence protective order, which was granted.

A week after Amanda filed for the protective order, according to her lawsuit, Megan was sitting on the back porch when two men approached her. They pointed guns in her face and asked where Amanda was. Megan ran inside to warn Amanda as the men tried to force open the door.

As Amanda dialed 911, the men fired five shots into the apartment, striking the wall of Amanda’s bedroom, a bullet penetrating her mattress, according to the lawsuit.

The next day, Amanda reported the shooting to her family’s social worker, who informed the police. The social worker also asked Ayodele for an emergency transfer.

But Ayodele was uncooperative, rude, and hostile, the lawsuit says, telling the social worker that neither the protective order nor the shooting qualified her for a transfer.

According to the lawsuit, the social worker called the RHA’s main office. Someone there told her that Amanda was, in fact, eligible for a transfer, as John still had Sam and gunmen had shot up the apartment. But the family never heard back from the authority.

Megan identified the two gunmen in a lineup, and they were charged in the attack.

Later, the girl was followed to school by two men in a car who called her a “snitch,” and Amanda allegedly received threats on social media from one of their girlfriends.

(According to Amanda’s lawyers, one of the alleged gunmen was convicted of being an accessory after the fact to the shooting,

while charges against the other were dismissed. John, they say, hasn’t been convicted of any criminal charges.)

Amanda began staying with family and friends, her lawsuit says. She made another request for an emergency transfer in November 2016, this time in writing. But when an RHA agent stopped by to speak with her, she wasn’t home. A few weeks later, Amanda learned that not only had her transfer request been denied, but her lease had been terminated. She had two weeks to leave.

She filed an injunction against the RHA. The RHA responded six days before Christmas by seeking to evict her. The courts sided with Amanda, ordering the RHA to transfer her family to another unit.

The family moved in March 2017. Six months later, the RHA terminated Amanda’s lease again, according to court documents.

The INDY called the RHA last week for comment and was told to submit questions in writing. The RHA has not responded to those questions.

According to Amanda’s lawsuit, at no point did the RHA provide Amanda—or any of the RHA’s three thousand tenants—with a written notice explaining that the Violence Against Women Act offers safeguards against eviction and housing discrimination for domestic violence survivors.

“None of the tenants, we alleged, were getting these notices. They did not know [domestic violence] could be raised as a defense for an eviction,” says Suzanne Chester, a Legal Aid of North Carolina attorney who represented Amanda. “We know other clients were also impacted by the lack of information provided about their rights under VAWA.” On October 16, the RHA agreed to settle Amanda’s case. The settlement requires the authority to provide all tenants applying for housing or facing eviction with a written copy of their rights under VAWA, provide training to managers on the Fair Housing Act, make emergency transfer forms more readily available, and compensate Amanda

and her family for emotional trauma. (The amount is confidential.)

Ruth Sheehan, a lawyer representing the RHA, says the authority was “pleased” to enter into a consent decree that “sets out the new responsibilities for all public housing authorities under VAWA.” “RHA voluntarily went above and beyond the requirements of the VAWA statute, offering to supplement its current extensive training for property managers and administrators with additional training on domestic and sexual violence and intimidation,” Sheehan told the INDY in a statement.

According to Legal Aid, which handled Amanda’s case with Duke University’s Civil Justice Clinic, the consent decree is “believed to be the first in the country to address a landlord’s obligations under the federal Violence Against Women Act.” Police calls, noise complaints, criminal activity, failure to pay rent, and poor credit history can be symptoms of domestic abuse that can threaten a public housing tenant’s status and lead to eviction, Chester says.

“The consequences of domestic violence are higher for [public housing tenants] in that if they lose their tenancy at public housing as a result of domestic violence, they really have no other options,” Chester says.

Women account for 85 percent of domestic violence victims, and women of color, like Amanda, experience domestic violence at significantly higher rates than white women. About 90 percent of families in RHA public housing are headed by women, nearly all African Americans.

Last year, Interact worked with ninety-seven hundred victims of domestic and sexual violence in Wake County, according to Allison Strickland, Interact’s chief development officer. The actual number of domestic violence survivors in the county is likely much higher, however, as many are reluctant to seek support.

Nationally, 38 percent of survivors face homelessness after fleeing, Strickland says; in Wake County, “domestic violence is the number one reason that women often give for being the immediate cause for their homelessness.”

Amanda and her children still reside in an RHA apartment, and she and Megan were both diagnosed with PTSD in 2017, the lawsuit says. Amanda declined to comment for this story, but Chester says Amanda “is very pleased that the outcome of the case is going to benefit other tenants in public housing, and not just her.” ltauss@indyweek.com

THE INDY’S

2019 VOTING GUIDE Our Recommendations

Voting Locations

DURHAM

DURHAM COUNTY

Mayor: Steve Schewel City Council: Javiera Caballero, Jillian Johnson, Charlie Reece Housing Bond: Yes

CHAPEL HILL

Mayor: Pam Hemminger Town Council: Jessica Anderson, Susan Hunter, Tai Huynh, Michael Parker

CARRBORO

Mayor: Lydia Lavelle Board of Aldermen: Susan Romaine, Damon Seils, Sammy Slade

HILLSBOROUGH

Mayor: Jenn Weaver Board of Commissioners: Mark Bell, Matt Hughes, Evelyn Lloyd

Join the INDY Crew for First Friday!

First Friday November 1st

Downtown Raleigh 230 S. Willimington St. 6PM–9PM

“Greta Thunborg”, Art by Amy Flynn, a member of the Carolina Designer Craft Guild. Find her online @fobots.

Criminal Justice Resources Center 326 E. Main St., Durham South Regional Library 4505 S. Alston Ave., Durham N.C. Central Turner Law Building 640 Nelson St., Durham North Regional Library 221 Milton Road, Durham

ORANGE COUNTY

Orange County Board of Elections 208 S. Cameron St., Hillsborough Carrboro Town Hall 301 W. Main St., Carrboro Chapel of the Cross 304 E. Franklin St., Chapel Hill Seymour Senior Center 2551 Homestead Road, Chapel Hill

Note: The INDY is not endorsing in races for Chapel Hill-Carrboro City Schools Board of Education. Find candidates’ responses to our questionnaires at indyweek.com/news/elections.

Tastings by Oak City Amaretto Beer & Refreshments provided by

www.oakcityamaretto.com INDYweek.com | 10.30.19 | 7

news

Victims of Their Success

A LAWSUIT HINTS THAT THE SMALL BUSINESSES THAT REVIVED THE WAREHOUSE DISTRICT MAY NOT BE ABLE TO AFFORD IT FOR LONG BY LEIGH TAUSS

T

he Warehouse District was a ghost town when Eric Fuller opened his wood-puzzle workshop in 2006.

Aging brick buildings held small businesses and art galleries but little else.

During the day, you’d be hard-pressed to find anyone walking the streets. The downtown renaissance had begun but hadn’t yet made its way to the outskirts.

Fuller’s shop, Cubic Dissection, sits in a sprawling forty-two-hundred-square-foot industrial space at 316 West Cabarrus Street.

There he crafts complex puzzle boxes that typically sell for between $25 and $200.

The goal isn’t to get rich, he says. He just wants to provide his staff with benefits and craft a unique product.

He started making puzzles with a handsaw in his kitchen in 2003. His puzzle boxes are not only beautiful but boggle the mind: One in the works requires twelve thousand moves to complete. Another is only solvable by pressing a specific spot on the box, which pops open a magnetized lid.

“In the end, I do get paid to frustrate people,” Fuller says.

To subsidize his business, he sublet front-office space to a hair salon and leased parking spaces to McLaurin Parking.

But in April, his building was sold to Hobby Family LLC for $1.6 million. Three weeks after the sale, Fuller paid his monthly rent—$2,000—to his new landlord, as usual.

Two days later, he received an eviction notice.

Citing an estoppel certificate that Fuller had signed, Hobby Family argued Fuller violated the lease by subleasing the office and parking lot, although subleasing is not addressed in his lease and therefore is permitted under state law.

Fearing its own eviction, the hair salon left in June, Fuller says, and McLaurin reduced its parking lease to just one space, costing him another $750 a month.

Last week, Fuller sued Hobby Family, fighting what he believes is an attempt to 8 | 10.30.19 | INDYweek.com

An artist creates a puzzle inside Eric Fuller’s small business, Cubic Dissection. bully him out of his lease. Representatives from Hobby Family have not responded to the INDY’s request for comment.

Fuller’s story might be a canary in the coal mine. Indeed, as investment pours into the thriving Warehouse District in the form of high-end new developments like The Dillon, small businesses are likely to feel the squeeze from rising rents or leases they can’t re-sign as buildings change hands.

That’s the nature of the beast, Fuller says.

“When you look at areas where there are arts, it’s in areas where it’s cheaper to work,” Fuller says. “That makes an area creative and desirable.”

That inevitably draws investment, which

PHOTO BY JADE WILSON

in turn displaces the creative enterprises that put a neighborhood on the map.

The Warehouse District saw record food and beverage sales in September, up 63 percent from the same span of 2018, according to the Downtown Raleigh Alliance’s quarterly report. That outpaced the growth of any other downtown district.

The sales boom has been bolstered by the opening of several high-end restaurants in The Dillon, including the Barcelona Wine Bar and O-Ku Sushi. Across the street, Weaver Street Market opened in September.

Fuller knows his rent is well below market value and could be triple what he’s paying. He suspects that’s why his landlord wants him

out before his lease expires in 2021.

Bill King, the DRA’s CEO, says he hasn’t seen a decline of small businesses in the Warehouse District.

But ultimately, King says, “for small businesses to survive in downtown Raleigh and to keep up with the growth and rising value, we need people to support these small businesses, and we need folks to continue to patronize them.”

Fuller plans to ride out his lease for the next two years. After that, it’s unlikely he’ll stay downtown. He’s looked for similar spaces to set up shop, but in his modest price range, he says, “there’s nothing close.” ltauss@indyweek.com

news

Reckless Disregard

A JUDGE ACCUSES A DURHAM COP OF INVENTING EVIDENCE TO GET SEARCH WARRANTS IN A HIGH-PROFILE MURDER CASE BY BEN LEONARD

E

arlier this month, a Durham County Superior Court judge detailed his reasons for throwing out some of the most tantalizing evidence in the city’s most sensational homicide case—and accused a police investigator of “invent[ing] facts.”

In an October 8 filing first reported by the INDY and The 9th Street Journal, Judge Orlando F. Hudson wrote that he had suppressed evidence against Alexander Bishop, a teenager accused of strangling his wealthy father last year, because the statements lead investigator Tony Huelsman gave when applying for search warrants were made “in reckless disregard of the truth.”

“Investigator Huelsman repeatedly chose whatever statements he could cite to support his claims of suspicious circumstances to establish probable cause for the search warrants he sought while disregarding the evidence he examined and himself obtained, which revealed the statements he cited were false or materially misleading,” Hudson wrote.

The now-suppressed evidence includes supposedly missing gold that Huelsman suggested Alexander Bishop had sold as well as “suspicious” internet searches and allegedly contradictory statements he had made.

Alexander Bishop was charged with murdering his father, William Bishop.

Alexander says he found his father on April 18, 2018, with a dog leash around his neck and the family’s Labrador retriever, Winston, still attached.

Hudson most strongly rebuked Huelsman’s “attitude toward truth and falsity” surrounding the allegedly “missing” gold.

In search warrant applications, Huelsman claimed that a purchase order showed that William Bishop had more than $450,000 in gold bars. He alleged that Alexander and Sharon Bishop, William’s ex-wife, had taken the gold. The problem, according to Hudson, was that William Bishop had sold the gold in 2016, not purchased it.

Alexander Bishop cries during a court hearing.

“Investigator Huelsman saw the dates on the invoices and the purchase order, saw that William Bishop sold ... the gold ... in 2016 ... and chose to omit that information to make his false averments of ‘missing gold,’” Hudson wrote.

In addition, Hudson continued, Huelsman repeatedly claimed that Alexander Bishop asked to speak with the EMS supervisor who arrived in response to a 911 call “alone and away from the police” and said that Alexander told the EMS supervisor that he “wasn’t going to be upset about his father dying.”

Hudson threw out those statements because they weren’t entirely accurate.

CAMERON BEACH FOR THE 9TH STREET JOURNAL

According to Hudson, Alexander Bishop only said that he wanted to speak with the EMS supervisor “in private”—not away from the cops—and that he “feels bad that he doesn’t necessarily want [his father] to live.”

The judge also tossed supposedly contradictory comments about where Alexander found his father.

Huelsman claimed that Sharon Bishop said that Alexander had found William on the floor, whereas officers found him in a chair. But Huelsman omitted that Alexander told first responders and an officer that he had discovered his father in a chair, not on the floor, Hudson wrote. “Huelsman omitted … Alexander’s statements that he

had found his father in the chair … to suggest falsely that Alexander was hiding the truth about what happened to his father,” Hudson wrote.

Huelsman also claimed that Alexander said the dog leash was “wrapped around his father’s neck three times.” In fact, Huelsman had reviewed body cam footage in which Alexander said he didn’t “know how many times” the leash had been wrapped around his father’s neck, Hudson wrote.

Finally, Hudson wrote, Huelsman provided misleading information in search warrant applications for Sharon Bishop’s home and Alexander’s computer.

The investigator described a “suspicious” search history on Alexander’s cell phone after his father’s death, including searches for “financial information, how to calculate the value of an estate, the value of the price of gold per ounce, and how to transfer bank accounts after death.”

In later warrant applications, Huelsman made the same allegations but cut a sentence making clear that Alexander had conducted these searches after his father died.

Huelsman “intentionally deleted the sentence regarding the timing of the searches,” Hudson wrote.

“Huelsman’s material omission was made knowingly in order to suggest falsely that Alexander had made these searches prior to William Bishop’s death, thereby providing evidence of a motive for premeditated murder,” Hudson wrote.

Alexander had also searched for “3 Ways to Deal with the Death of a Loved One” and “Key Financial Steps to Take After a Loved One Dies.” backtalk@indyweek.com This story was produced in partnership with The 9th Street Journal, which is published by journalism students at Duke University’s DeWitt Wallace Center for Media & Democracy.

INDYweek.com | 10.30.19 | 9

news

Learning While Black

CHAPEL HIILL-CARRBORO CITY SCHOOLS IS NORTH CAROLINA’S BEST SCHOOL DISTRICT—ESPECIALLY IF YOU’RE WHITE BY JULIA MASTERS

C

Your week.

Every Wednesday.

INDYWEEK.COM 10 | 10.30.19 | INDYweek.com

hapel Hill-Carrboro City Schools is the best school district in the state and ranks in the top 2 percent in the country in terms of students who graduate ready for college and careers, according to the data-analysis website Niche.

On the other hand, CHCCS also has the second-largest achievement gap between black and white students in the U.S., according to a study by the Stanford Center for Education Policy Analysis. If you isolate black students, CHCCS ranks forty-eighth in achievement in North Carolina.

“You cannot say that you are one of the best districts in the state when so many of your students are faring so poorly compared to even other districts,” says Peggy Nicholson, director of the Youth Social Justice Project with the Southern Coalition for Social Justice.

According to the Youth Social Justice Project’s 2019 racial equity report card, white CHCCS students were 2.9 times more likely to be considered college- and career-ready than black students. Black students, however, were 13.9 times more likely to receive a short-term suspension and 5.6 times more likely to be referred to a juvenile delinquency court than white students.

“Black and brown children are just as capable of learning, are just as intelligent as white children,” says Nicholson. “They don’t misbehave more frequently or more seriously.

It’s not about the individual children. It’s about the way the system is responding to those children, and it is perpetuating the long history of racism.”

Racial inequity will be a key issue next week as voters select candidates for the four open seats on the Board of Education. Seven names will appear on Tuesday’s ballot—though one candidate, Louis Tortora, has dropped out— including incumbent Rani Dasi and former school board member Andrew Davidson.

Three current board members will step down when their terms expire this year.

Often, racial achievement gaps are chalked up to funding gaps. But CCHCS schools are well-funded across the board.

The district per-pupil expenditure is nearly $3,000 above the state average.

“What we are dealing with is a structure that’s doing exactly what it was designed to do, to promote a white-male-dominated society,” says CHCCS executive director of equity and inclusion Lee Williams.

Wanda Hunter, who co-chairs the Chapel Hill NAACP Education Committee, says the racial inequities present in the schools reflect a deeper culture.

She compares the school system to a lake with hundreds of fish floating belly-up.

By talking about the achievement gap and instituting programs for black students, schools are trying to fix the fish, not the poisoned water.

Instead, she says, the school board needs to look at how structural racism is affecting systems.

“I hope that the new board and administration will take this problem as seriously as it is because we are wasting huge human potential by not giving our children the opportunities they need,” Hunter says.

She also blames the culture of Chapel Hill and Carrboro, which she says feeds the school system’s inequities. Both towns are largely affluent, politically progressive, and highly educated.

But when a community prioritizes its own needs, equity can get thrown to the side.

And a majority of CHCCS’s 12,269 students in the 2017–18 school year—51.3 percent— were white, while 16 percent were Hispanic American, 14 percent Asian American, and 11 percent black.

To address the achievement gap, the school board has considered changing the discipline process to be more restorative in nature and recognize implicit bias, shifting the curriculum to do away with what Williams calls “whitewashed history,” and

boosting minority teacher representation.

(In 2017–18, 74 percent of the district’s teachers were white.)

“When students don’t feel or see themselves being represented, they become disinterested in education, and then you look at that as, ‘Well, you don’t care, they aren’t engaged,’” Williams says.

Each of the five candidates who responded to the INDY’s candidate questionnaire called racial inequity a focus of their campaign.

Dasi says that adding and retaining teachers of color, fostering a more welcoming atmosphere for students of color, and garnering community support for addressing issues of race are integral parts of her campaign. She also agrees that the curriculum needs to be more culturally inclusive.

Davidson focuses on the punishment system, saying that out-of-school suspensions should be eliminated under all circumstances except for bringing a gun to campus.

Ashton Powell says he wants to create structures for diverse communities to be a part of decision-making processes as well as for the district to teach culturally relevant classes.

Saying he’s running to “ensure representation for those most adversely impacted by our achievement gap,” Deon Temme wants to focus on the recognition of implicit bias, which leads teachers to have different expectations of some children.

Jillian La Serna says that building strong, transparent relationships with the community is also crucial.

It’s not just schools that need to be educated about the achievement gap, Williams says. So, too, do parents and the community as a whole.

“The strongest voices we have are those of our students,” he says. “We don’t empower students’ voices, they have them, but as adults, we need to make sure we listen.” backtalk@indyweek.com

Death Becomes You

indymusic

None of us are getting out of this alive. The local death-positivity movement wants us to embrace that reality.

By Laura Guidry

I

n a different setting, Sara Williams could pass for an elementary school teacher dressed up for a macabre theme day.

It’s Wednesday evening, about six o’clock, and Williams, a breast-cancer researcher at UNC until her retirement in 2016, is seated at the head of pushedtogether tables in the middle of the Hillsborough United Methodist Church’s fellowship hall. The hall is a small, old white house, and she’s in what was probably once a living room and, before that, a parlor.

She’s cheerful and smiling, with cropped silver hair and a drawl that strings out words forever. There are grinning skulls on her shirt and silver skeletons dancing from her ears.

LEFT: Sara Williams, founder of Death Cafe Mebane PHOTO BY JADE WILSON

INDYweek.com | 10.30.19 | 11

model that comes in a flat-pack box much like most IKEA In a way, she is a teacher, just not for children. Instead, products (about $350, plus shipping). for the next two hours, she’ll guide the adults who are filLegally, a funeral home has to use the coffin you provide, tering in—carrying containers of muscadine grapes and Williams says. grocery-store baked goods, placing them on a table against Discussion abounds. A coffin from Amazon or purchased the wall that’s already stocked with pizza and wine—in a directly from the supplier will cost less, but in the fog of conversation about death.

The subject of mortality has always fascinated Williams. grief, people don’t comparison-shop.

We spend enormous amounts of time preparing for major As a girl, she was drawn to cemeteries. In high school, she was told she was obsessed with death, which she calls a life events—births, graduations, marriages, retirements— defining moment in her life. She and her husband host but the one thing we all know is coming seems to catch us annual Day of the Dead parties. She became a funeral cel- by surprise.

Still more questions: Can Aunt Bessie be buried on my ebrant and a board member of the National Home Funeral property? (Yes.) Do I have to disclose Alliance. She believes that caring for that to potential buyers? (Of course.) the recently deceased is her ministry.

DEATH FAIRE 2019 If someone purchases the land, can And in 2014, Williams, who lives in Saturday, Nov. 2, 12–6 p.m. they dig up Aunt Bessie if they don’t Alamance County, founded and still The Plant, 220 Lorax Lane, Pittsboro want her there? (No one’s sure.) hosts Death Cafe Mebane, a gathering abundancenc.org, $15 (advance), If you don’t want Aunt Besa lot like this one, except it takes place $30 (door), $5 (12 and under) sie, don’t buy the land, someone at a taco and tequila bar instead of a suggests. church. There’s another death cafe In North Carolina, Williams in Raleigh, which meets at a funeral home. The Hillsborough Death Cafe, founded in 2018, has points out, you have the right to determine where your met monthly at the Hillsborough UMC for almost a year, loved one is laid to rest. And you can transport a dead body, though people get nervous about that. and a few times before that at a Mexican restaurant.

“There is no funeral police,” she says. “What’s the odds Williams doesn’t usually lead the Hillsborough group’s meetings. But people who work in the death positivity that you’re going to be stopped with a body in the car?” movement aren’t immune from needing a break from it. So she’s subbing for founder Neidra Clark, an end-of-life doula y 2030, the last of the baby boomers will have reached and, like Williams, a funeral celebrant. sixty-five, and the earliest boomers will be well into “I know most people are uncomfortable talking about their eighties. Twenty-one percent of the American popudeath—and it’s not just in the United States, it’s worldwide, lation will comprise seniors, up from 15 percent now, the although there are a number of cultures who honor death U.S. Census Bureau projects. By 2034, there will be more as a part of life,” Clark says. “I like to say you were born, so seniors than children. Fast-forward a generation, to 2060, you’re going to die. None of us are getting out of this alive.” and a quarter of the population will be over age sixty-five, Talking about that fact is healthy, Clark believes. and something like twenty million people will be over age The idea of group-led conversations about death and eighty-five, about ten times as many as lived that long a dying has been around since 2011, when a British Buddhist century earlier. named Jon Underwood started one in England. He died Two things are happening simultaneously, and both have suddenly six years later at the age of forty-four, by which profound implications for America’s future. The first is the point there were nearly five thousand death cafes in more boomers—and, after them, Gen Xers and millennials and than fifty countries, safe spaces in which to question every- Gen Zs—are making the inexorable march toward old age thing about death, including the industries that profit from and the grave. The second is that the birth rate in the U.S. it and the rituals that surround it. and across the West is declining, which means we’re not It’s September 11, a fitting night for a death cafe. After replacing people who are aging out of the workforce. That Williams lights a rosemary and lavender candle to set the puts at increased risk programs like Social Security and mood, the Hillsborough group begins, eyes downcast, with Medicare; eventually, this will require an influx of migraa prayer for those killed eighteen years ago and the families tion to take up the slack in the labor pool or an overhaul of left behind. our economic system.

There are about twenty people here, mostly baby boomers: But that’s a story for another day. home funeral attendants, death doulas, a woman who works The story for today is that baby boomers—a quarter of with the elderly. There’s a former social worker who bur- the country’s population, a generation raised on The Beatied countless students. A man introduces himself as Coffin les and Woodstock, that fought the Vietnam War and lived John. Several people are caring for aging parents and think- through the civil rights movement—are reaching their twiing about the day they’ll have to bury them. Most are eager to light in a youth-obsessed culture that goes to extraordinary talk, though some shift in their seats, quiet and uncomfort- measures to deny death and aging, to act as if dying is a failable. They’re first-timers, not used to casual conversations ure of medicine instead of a natural process that took hold about dying, even when leavened by frequent gallows humor. almost immediately after the evolution of life itself.

Much of the discussion is practical, logistical: How do But across the country—and in the Triangle—some boomI write a will? What’s an advance directive? There are also ers have chosen to face their looming mortality head on, to questions of morbid curiosity: Why don’t bodies smell reframe conversations about the way we grow old, the way we during home funerals? What’s the ice called that keeps the die, and the way we bury people. The death-positivity movebody cold? ment, as it’s known, aims to teach us how to die well—or, at You can buy a coffin at IKEA, someone mentions. A Goo- least, to show us how to talk about it. gle search doesn’t reveal one, but it shows a build-your-own After all, our stories all end six feet under.

B

12 | 10.30.19 | INDYweek.com

n 1973, when Anne Weston first got married and wanted to cook fried chicken for dinner, she went to the store. She Ididn’t like wings or legs, so she purchased breasts. She took

them home, tore off the skin, and fried them.

When her mother was a newlywed, she went to the store and bought a whole chicken. She took it home and tore the chicken apart to prepare it for frying.

And when Weston’s grandmother wanted to serve fried chicken for dinner, she went outside, selected a live chicken, chopped off its head, pulled out the feathers, and cut it into pieces to fry.

Now, Weston says, you go to Bojangle’s, order at the drive-in, and buy fried chicken. You don’t need to know how to kill and cook the bird, so that knowledge has largely disappeared.

The same is true of the dead. Even if you want to dispose of your deceased loved ones’ remains at home, you don’t know how.

In 2015, that idea prompted her to found the Green Burial Project, a Hillsborough nonprofit that informs people about natural burial options.

Weston stumbled into green burial when she was estate planning with her husband.

“For a long time,” Weston says, “I wasn’t fully recognized to the whole notion [of mortality]. I was just assured by my own life force that there would be an exception made for me. Let me just say that my dad, who’s been dead for twelve years now, also had that same assurance. It didn’t seem to work out for him, so I don’t think it will work out for me.”

The basics of natural burials are the same as those of everyday ones, except there’s no embalming, burial vaults or grave liners, and no impervious containers to hold the bodies. You put the body in the ground in an unfinished pine box or a quilt and let nature do its thing.

Ahead of the funeral service, rather than decorating with hothouse flowers, you cover the coffin with dried petals pulled from a wedding bouquet. Skip embalming and preserve the corpse with packets of reusable Techni Ice, which will keep the body cool but the skin feeling like skin.

Not everyone wants to touch the skin of a dead person.

Nor does everyone want a dead body lingering around the house. There’s a reason the U.S. funeral industry accounts for about $20 billion a year in economic activity. (The average funeral costs about $8,000.)

Embalming is engrained in American burial traditions, a way to keep the body looking as if it is suspended in time. It’s been that way since the Civil War, when field embalmers spilled onto battlefields to embalm corpses so they could be shipped home. As more and more people moved into cities and died in hospitals as opposed to family homes, the funeral industry became big business. hy are there a zillion websites and references to being sex-positive and nothing for being “W death-positive?” Caitlin Doughty tweeted in 2013.

Two years earlier, the Los Angeles-based, appropriately raven-haired mortician-turned-death-positivity-activist had created a movement when she started The Order of the Good Death. Its founding members included the kinds of are-these-really-real professionals that you’d expect to emerge from a lazy sitcom-writing session: a mushroom decomposer, a grave garment designer, an international corpse explorer, a conservation burial pioneer, and a morbid cake maker, along with the more usual cadre of writers,

professors, and forensic scientists.

The Order sought to bring death out from the shadows, arguing that “by hiding death and dying behind closed doors we do more harm than good to our society.” That’s also what Doughty tries to do through the Order and her own death-positivity work. She’s penned three books, her latest called Will My Cat Eat My Eyeballs? Big Questions from Tiny Mortals about Dying.

Her first book, the best-selling Smoke Gets in Your Eyes & Other Lessons from the Crematory, unsparingly pulls back the veil on the funeral industry. But in her morbidly funny way, Doughty also argues that readers shouldn’t fear their own mortality.

J. Dana Trent agrees. The year after she graduated from Duke Divinity School, she became a grief chaplain, earning the title of grief guru after helping people navigating their final journey. Her newest book, Dessert First: Preparing for Death While Savoring Life, chronicles that work and interweaves her own story of grief and loss.

“Whether because we view it as un-American, or consider it to foreshadow a ‘Grim Reaper’ tea party, most of us would rather die than talk about dying,” Trent writes. “The English language uses hundreds of euphemisms for death for this very reason—because we’d rather not even utter the ‘D Word.’”

Before her parents died—first, her father, during an estrangement with Trent, and then her mother years later— and before she was a grief chaplain, Trent was a kid growing up with two parents who battled mental illness. They had a hard time holding down regular jobs and became drug traffickers. As a child, Trent was dragooned into packaging weed into dime bags. Preschool hands, her parents found, were perfect for holding razor blades.

She worked on their assembly line, separating the seeds and stems from the bud.

“Blade up, handle down,” they’d remind her.

“It felt powerful,” she says.

She had a job. Her parents called her Budgie, and she was a lookout for her father’s drug runs. That ended—probably for the best—when she was six. Her mother left her father and took Budgie with her.

Still, she thinks being needed by her parents at such a young age led her to chaplaincy. She was valued, and she had to be attentive. She learned to be empathetic.

Most people in death care are.

Even before her own run-in with tragedy, Tami Scherwin—the executive director of Abundance NC, which incubates nonprofits in Pittsboro and strives to build a resilient community—understood how uncomfortable American culture was with dying.

In April 2016, a late-night knock on her door delivered the news that her nineteen-year-old son, Zafer, who was living in Colorado, had died of a heroin overdose. Scherwin’s community in Pittsboro rallied around her. Z’s wake lasted a week.

People kept showing up, Scherwin says. They drove and flew into town from all over the country and the world.

There was laughing and dancing and crying. People painted each other’s toenails and used spreadsheets to organize Z’s funeral. Nine hundred people attended. Scherwin and her family dug the hole for Z’s pine coffin.

“There were hundreds of people there that covered him up themselves, and that, to me, was part of the healing,” Scherwin says.

Scherwin had already been exploring the culture’s death

He became curious about death, but his parents steered him toward nursing. When he grew up, he became an ICU nurse, trying to pull people back from death’s clutches. But in his twenties, his world collapsed around him: He lost his partner to complications from diabetes, then his best friend to a car accident. His grief was deep, and he felt alone it in. He fell headfirst into addiction.

When Bujaski finally checked himself into rehab, he wore a collared shirt and slacks and felt like he didn’t belong there.

His addiction did. When he got out, he knew he Anne Weston, founder of the Green Burial Project PHOTO BY JADE WILSON couldn’t back to nursing.

So he went to mortuary phobia. Abundance NC had hosted events about dying. Her school in Pittsburgh. He wanted to help the bereaved not feel neighbor was battling ALS; his family planned to bury him alone. This was how he could save lives: by having lunch with in a new graveyard on Scherwin’s family’s property in the widows who had buried husbands, by answering phone calls woods of Chatham County. Zafer ended up being the first from family members months after their loved ones’ deaths, one buried there. by writing letters to the despondent, by confronting grief Scherwin thought she needed to do more. with compassion.

That year, Abundance NC launched its first annual Death Four the last four years, Bujaski, now 37, has worked at Faire. Six hundred people showed up. The event has grown, the 115-year-old Hall-Wynne Funeral Service in Durham, and Abundance has partnered with El Vinculo Hispano to spending his days speaking with families of the deceased, tie it into Day of the Dead celebrations. Abundance NC’s collecting bodies and taking them to the funeral home, fourth Death Faire, on November 2 at The Plant in Pitts- embalming them and taking them to their final resting place. boro, will feature workshops, DED Talks (i.e., talks from When he embalms, he says, the stainless steel table on local death gurus), kids’ activities, vendors, music, and a which he works is a sacred space. cash bar. You can lie in a pine coffin for a selfie—probably “This is someone’s body that they used as a vehicle after a visit to the cash bar—leave tokens or pictures of to maneuver in this world, and now you are given this deceased loved one at an interactive altar, scrawl dreams intimate opportunity to prepare them and touch them,” on a “Before I die” wall, and sit in a phone booth to call the Bujaski says. “The mouth that I’m closing is the mouth deceased and say whatever needs saying. that someone intimately kissed, and this is the mouth “We need to talk about these things,” Scherwin says. that kissed the kids and grandkids. These eyes, what have “There are so many people that I’ve seen that just kind of they seen? These are the hands that touched and cared for go into that denial or just act like this isn’t important, and I someone else, and now my hands are touching and caring think it’s probably one of the most important things.” for them. For me, it’s like a touch to humanity. It’s our duty as humans to take care of each other not only in life and he first person in Joshua Bujaski’s life to die was his but in death.” great-grandmother.

And when he gets off work, he goes to death cafes.

He remembers the large white Virginia farmhouse on He wants to talk about death. He wants to help other peohundreds of acres of rolling hills, where she lived with his ple talk about the process, to answer questions. He wants to great-grandfather and great aunt and he spent summers help green-burial advocates partner with funeral directors, as a boy. He remembers how they purchased him a plastic who can provide transportation or embalm with environFisher-Price doctor set after he reminded them to take mentally safe fluid. their medications, with a light blue and yellow stethoWhen Bujaski dies, he says, he wants to be encircled scope and a plastic syringe. by his close friends, like when he circled his great-grandBujaski watched her die in a hospital room when mother’s hospital bed and heard her last breath. There he was eleven. He remembers how her breath- won’t be an obituary or fake grass covering the pile of earth ing became agonal and laborious as her family circled that was dug out for him. His energy will dissolve back into her bed. He remembers feeling her hand at the view- the earth, consumed by the moisture, insects, and bacteria. ing, how cold it was, and thinking that people shouldn’t There won’t be a party. He wouldn’t want to miss it. die alone. backtalk@indyweek.com

T

INDYweek.com | 10.30.19 | 13

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indyfood

ROAD SIDES POP-UP

Saturday, Nov. 2, 5–7 p.m.

Parker and Otis, 112 S. Duke St., Durham parkerandotis.com

Edible Adventure

LOCAL FOLKLORIST EMILY WALLACE TAKES US ON AN ILLUSTRATED TRIP THROUGH SOUTHERN ROADSIDE DINING (WITH KUDZU) BY SARAH EDWARDS

I

n the heart of Smithfield sits a twentyfive-foot tall, royal-blue building shaped like a snow cone. Hills of Snow was built, aptly, by the Hill family in 1984, when the folklorist Emily Wallace was two; it would become a formative summer destination.

“Anybody who knows me knows that I’m obsessed with it,” she says. “I think in part it’s because Smithfield was a rural community, and we didn’t have an art museum in town, or even an art gallery, but we had this snow cone stand, which, to me, showed what was creatively possible.”

This attention to meaning and creativity drives Wallace’s debut Road Sides, a “glovebox essential” that takes readers on an illustrated A–Z trip through roadside eating in the American South. The book traverses Nashville’s hot chicken, trails along the bootleg highways of Western North Carolina, and makes a stop at Georgia’s Waffle House museum.

We live in the golden age of niche tourism, but Wallace—who received her degree at UNC-Chapel Hill and works as deputy editor and art director at Southern Cultures—puts her stock more in the whys and hows of the way we eat, travel, and work. As with Hills Snow Cones, the emphasis is not just on what is being served, but what it says about us.

The INDY spoke with Wallace last week about her book—and what she learned writing it. This conversation has been edited for length and clarity.

INDY: When did you start working on Road Sides?

EMILY WALLACE: About three years ago.

I’d been thinking I’d do something about the road or road food and the South, and then I bought this book called Quodlibet, an illustrated book all about the letter Q. It has little Q word definitions and wacky illustrations.

When I found that, I got the idea that I could structure it A to Z, with unexpected definitions and illustrations played off that.

Emily Wallace in her studio

PHOTO BY CAMERON LUDWICK

Tell me about the letter K. K was surprisingly challenging to come up with a concept to pair with it. I started with kudzu, which I thought was a little bit of a throwaway. But it turns out, it has a history alongside the road—it was planted to soak up loose soil when they were cutting in highways. I met with a woman named Edith Edwards in Rutherfordton who started a farm with her husband, Henry—a cow farm. She does all kinds of things; Edith is in her nineties now. She deep-fries kudzu leaves, she bakes them into quiches, she uses the blossoms to make teas and jellies.

What does kudzu taste like?

I can’t say I recall the taste in the quiche. In the jelly, it’s a little apple-like.

You envision this book as a why for roadtrip food instead of a where. Can you say more about that?

I envisioned it more as a companion to the experience of eating on the road rather than as a guide to the best spots. There are plenty of fantastic places featured. But the emphasis is really on the backstory—why we have meat-and-three restaurants, or giant foodshaped buildings, or drive-thru windows.

Your master’s thesis is on pimento cheese. What story do you feel that it tells about the South?

When I was in graduate school, I took a documentary food writing class at the Center for Documentary Studies, where we were tasked with following a person or place in the food industry. I’d just moved back to North Carolina from Chicago, where you couldn’t find pimento cheese at the time.

And suddenly surrounded by pimento cheese again—at the grocery store and at my grandmother’s house—it dawned on me that I didn’t know anything about the stuff.

So I documented a pimento cheese factory in Burlington called Star Foods and fell down a pimento cheese rabbit hole.

A lot of the small pimento cheese and sandwich-spread companies had a close history with the Piedmont’s textile mills.

They made spreads that were carried to work in brown paper sacks or that were wheeled through the factories on wagons that sold sandwiches to workers who had to eat at their stations as they found time.

You can now find pimento cheese all over.

It’s often used as shorthand for Southern, presented as something cute.

Where

T O E AT AND DRINK THIS WEEK

ROSEWATER KITCHEN & BAR 110 Park at North Hills St., Raleigh On Monday, the newest eatery in Giorgios Bakatsias’s empire opened in North Hills. Conceptualized as “a lush and romantic garden bistro,” the restaurant has three dining areas, including an outdoor patio ensconced in vines, offering seating for 110 guests.

DURHAM FOOD TRUCK RODEO Sunday, Nov. 3, 12–4 p.m.

Durham Central Park, 501 Foster St., Durham At Sunday’s Halloween-themed Durham Central Park food truck rodeo, you can balance leftover candy with bites from some of the Triangle’s most popular food trucks. Leashed dogs are allowed, parking is free, and the forecast is sunny and mild, so there aren’t many excuses to miss the last DCP rodeo of the year.

CONVERSATION + COCKTAILS WITH BRAD THOMAS PARSONS Friday, Nov. 1, 4:30–6:30 p.m., $25 Kingfisher, 321 E. Chapel Hill St., Durham Brad Thomas Parsons is the laureate of bartending, and Kingfisher is the town’s buzzy new craft cocktail joint, so it makes sense for the author to make a stop at the “ground-to-glass” bar. For Last Call, a book of profiles, pictures, and recipes, Parsons asked bartenders across the country one macabre question: What is the last thing you’d want to drink before you die? The event includes a Q&A with Parsons and Kingfisher owners Sean Umstead and Michelle Vanderwalker and comes with two complimentary cocktails.

—Sarah Edwards

What I like about pimento cheese, though, is that, while it is cute, it’s also substantive.

Pimento cheese has a long working-class history, feeding workers in textile mills and on factory lines.

And it looks good in its Sunday best, at weddings, funerals, and other celebrations. sedwards@indyweek.com INDYweek.com | 10.30.19 | 15

indymusic Vital Signs

HEATHER VICTORIA GLOWS UP, VIOLET BELL BUCKS TRADITION, LAND IS SINGS OF SURVIVAL

BY ERIC TULLIS, SPENCER GRIFFITH, AND SARAH EDWARDS HEATHER VICTORIA: BOUTIQUE HOTEL HHH 1/2

[JAMLA RECORDS; OCT. 11]

It’s increasingly difficult to detect any distinguishing musical characteristics among today’s dominant commercial R&B singers. Summer Walker is as much as SZA’s vocal clone as Queen Naija and Ella Mai are style duplicates; Jorja Smith is a louder Jhene Aiko.

But as irritating as listening to soundalikes might be for anyone who misses the halcyon R&B days of the 1990s—when the only through line of artists such as Mary J. Blige, Janet Jackson, Brandy, and Toni Braxton was an individual dedication to an unmatchable R&B recipe—relief can be found in a handful of singers du jour, such as H.E.R., Solange, and Teyana Taylor, who show reverence for their R&B idols without sounding derivative.

With the release of Boutique Hotel on Jamla Records, the Wilson-bred, Triangle-based artist Heather Victoria has also earned herself a seat at that table. Over the last several years, cultivated by Grammy-winning producer 9th Wonder, it has seemed as if the Raleigh-based Jamla label has operated like a music-industry Survivor competition. Victoria has persisted, offering her voice as needed to the label’s various releases and relationships while also releasing three projects of her own (Victoria’s Secret, Graffiti Diary, Hip Hop Soul Lives). Boutique Hotel is the culmination of Victoria hanging onto and living in her own career ambitions, arriving at a point where she feels comfortable vocalizing her own heartbreaks and joys.

This nine-song stay might not have surfaced so elegantly had it come out in 2017 when Victoria unexpectedly released the rabid R&B rejection jam “Dream On,” which was to be the lead single of her later-scrapped Black Girl EP. Producer Khrysis’s raw, head-nod hip-hop ethos is a far cry from the live instrumentation of The Gavin Tabone Quartet (most of whom are members of Jamla labelmate Rapsody’s backing band, The Storm Troopers), which lends itself to Boutique Hotel’s highend sound design. The album opens on a desirous note, first with the jazzy proposition of a love excursion to “Japan” (the only fully produced Gavin Quintet song on the album), and then with the Brian McKnight-inspired “Never Felt,” describing, in soulful soprano, the intimate sensations experienced while on said island country.

Then Boutique Hotel suddenly turns into a hangout suite where Victoria positions herself in the balance between reliability and badassery, first with guest rapper Big K.R.I.T. on the sing-rap, sax-clap laden tune “Big Momma,” then in a Jamla crew huddle to express her gratitude on “Tribe,” and then in the self-love workshop “One Love,” in which live kalimba plucks over 9th Wonder production almost outshine the original Heath Brothers composition.

16 | 10.30.19 | INDYweek.com

Songwriters Rose Gold, Ian Kelly, and especially prolific R&B balladeer Raheem DeVaughn (on the luscious duet “My Favorite”) rescue Boutique Hotel from some of Victoria’s more pedestrian songwriting, which she’s still able to bring off because of her newfound assuredness. And despite there not being any grand vocal moments on the album, the team effort is enough to make it a charming destination. In the future, however, this hotel will need more amenities than just fancy instrumentation to turn it into a hip-hop soul franchise. —Eric Tullis

VIOLET BELL: HONEY IN MY HEART HHHH

[SELF-RELEASED; OCT. 11]

In a crowded field of Americana artists who claim influence from disparate genres, though often with little evidence to support the claim, Durham duo Violet Bell truly pushes against the limitations and expectations of genres and genders on its debut LP, Honey in My Heart.

Lizzy Ross and Omar Ruiz-Lopez, who lead the project, are responsible for much of the magic, from his squalling, psychedelia-tinged violin climax on the otherwise-placid title track to her catchy, fluttering vocal hook on the sultry, organ-abetted R&B of “Elephant Heart.”

But they’re also supported by a stellar local cast: Carter Minor’s lonesome harmonica and Daniel Chambo’s haunting flute enhance the dramatic moods of “Smoke in the Night” and “Mountain Song,” respectively, while the breezy “Summer Skin” features jazzy piano from Joe MacPhail. It also finds Ross poking fun at mainstream Nashville’s idealized country woman, including a refrain featuring lines like “sunburn, mosquitoes, dirt between her toes,” with harmonies by Rissi Palmer and Shana Tucker. Ross again takes aim at unattainable images of perfection on “Ugly Part,” backing it up with a no-overdubs approach to recording, while “Swimming Towards Sharks” addresses the normalization of sexual violence.

The themes aren’t all heavy. Austin McCall’s jaunty rhythm propels “Juliana,” with harmonica and fiddle fueling a lighthearted ode to the band’s favorite YouTube yoga instructor. But smack in the middle of the eleven tracks, “Howl” serves as a thesis of sorts, acting as both at tribute to matriarchal figures who sacrificed their own ambitions to raise children and as a rallying cry to resist categorization. Ross’s soulful vocal gymnastics sound downright wild on the refrain, “howl at the moon if you want,” as metaphors such as “let your teeth grow long” urge an untamed existence. Fortunately, Violet Bell takes its own advice by defying stylistic bounds. —Spencer Griffith

MUSIC TO OUR FEARS You’ve got copious nightclub options for Halloween, but they’re all deejays or tribute acts. Let’s sort the candy pile.

BY BRIAN HOWE

O C TO B E R

WE 30 MARIBOU STATE:

ALBUM LIVE TOUR 7pm N OVE M B E R

FR 1 NASHVILLE WRITERS ROUND BENEFITTING VETERANS

FEATURING: BEN CAVER/JESSE LEE/EMILY BROOKE/ERIC HOLLJES/ JASON ADAMO/JORDAN JAMES/ BROOKE HATALA 6 PM

IF YOU LIKE ELECTRONIC MUSIC

LAND IS: LAND IS HHH 1/2

[SELF-RELEASED; OCT. 25]

According to Corbie Hill, “Survivor Song” is the only happy song that he’s written during twenty-plus years of making music. This gives the song, which opens the new EP by Hill’s band, Land Is, an admirable distinction, especially given that it was written immediately after Hill was diagnosed with an aggressive form of leukemia—one that, until recently, was considered terminal. Hill survived, but cancer took a staggering toll on his family (around the same time, his wife, Rachel, was also diagnosed with early-stage breast cancer), and this toll is felt keenly throughout the EP. Until recently, Land Is was a solo project, but for these three tracks, Hill, on vocals and guitar, is joined by a new band: Thomas Baucom (keys), Jack Gudhart (bass), and Patrick Edwards (percussion); they all sing harmonies. “The First Bird (for Kari & Channing)” features probing acoustic guitar that feels reminiscent of Ryley Walker’s jazzy spin on folk-rock, although it is probably the least fully realized song of the three songs.

“Evergreen,” an older song, rounds the trio out; it was written after Wes Lowder—the owner of Carrboro heavy metal venue The Reservoir—died in a car accident in 2010. The only solo song of the set, it has a quietly devastating effect. After the first two minutes, Hill’s voice drops off, letting piano and percussion build for the shimmering six-minute remainder.

Land Is was recorded in a shed in the backyard of Hill’s home in Pittsboro; the doors were left open, and the acoustics are textured with environmental sounds that wafted in during the recording. Cars pass, insects chirp, and airplanes fly overhead, adding a reassuring warmth. Life is difficult and fragile, these sounds seem to say, but life—mercifully? mercilessly?—goes on.

And while it’s true that happy does not work as a description for most of Hill’s music, it’s also not hopeless, either. At the end of “Survivor Song,” a serendipitous guest star makes a faint, chirping appearance: a Carolina Wren. —Sarah Edwards music@indyweek.com

Because adult Halloween is basically just an excuse to dress a little crazier, drink a little more, and dance a little harder than on your average Thursday night, it’s no surprise that spooky dance parties abound.

In Durham, we’ve got our evil eye on local beat collective Raund Haus’s “Haus of Horrors” at Motorco (9 p.m., $5). Along with deejays, expect live-hardware jams and even liver emcees, plus a costume contest. But don’t sleep on the party headlined by the deejay V S P R T N at Duke Coffeehouse (9:30 p.m., free) or the ski-masked head-knocker Malaa’s tour stop at The Fruit (10 p.m., $35), with local support from Stephyy and Phrey.

In Raleigh, we’re at least sliding through Imurj’s “La Cueva Halloween Dance Party” (8 p.m., $10), which promises kizomba, bachata, and salsa music as well as cash prizes for dancing and costumes, before heading to Ruby Deluxe’s “Monster Mash” (10 p.m., $5–$20), presented by the Raleigh Queer Venue Initiative and the dance-culture-promoting Saturday Night Project. It’s deejayed by local legend Luxe Posh and “Goth’s favorite dad,” DJ DIES A LOT. Expect drag and go-go dancing performances throughout the evening, too.

For industrial music, head to Raleigh Underground’s “Fallout Shelter” at Legends Nightclub (9 p.m., free–$3) with DJ Steve Halberstadt. Or, for a more contemporary take on sinister drums and synths, check out DSTNY Lifestyle’s “Trap or Treat” at Proof Five Points (9 p.m., $5–$20) with DJ RNB. Meanwhile, in Chapel Hill … um, well, hope you like bands. [sad airhorn sound]

IF YOU LIKE TRIBUTE ACTS

Tribute acts spend a lot of time dressing up like other people. For one night a year, on Halloween, they get to be like everyone else. I wonder if they love it or hate it? In any case, the hot ticket for throwback vibes in Chapel Hill is Stardust to Ashes at Cat’s Cradle (8 p.m., $10–$12), where you can dress like Bowie among other people dressed like Bowie, watching people dressed like Bowie play Bowie. I think that sentence broke English.

But we’d also get down at “One More Time” at Durham’s Luna Night Club (9 p.m., $15), a costume party that’s going all in on recreating the props and visuals of Discovery-era Daft Punk.

But really, we’re most stoked on some of the more informal tributes happening around the Triangle, especially “Hardcore Halloween” at Nightlight (8:30 p.m., $5–$15). There, you can pogo to covers of classic punk bands (so stoked to see Crass on the bill) to benefit a local women’s crisis shelter.

There’s some Melvins slipped into the mix, but if that’s not metal enough for you, check for “Hardcore Hank’s Halloween Metal Bash” at Slim’s (9 p.m., $5), where Raleigh metalheads will séance the ‘80s, covering Swedish doom legends Candlemass, fantastical schlock by Ronnie James Dio, and Megadeth’s Rust in Peace.

For more spooky fun with personas and music, check out the “Girls and Ghouls Drag Show” at Local 506 (10:30 p.m., $5)—and speaking of, RuPaul’s Drag Race is at DPAC on Halloween night.

And of course, if you’d rather just make your own tribute band, there’s always Scaryoke at The Pinhook (8 p.m., $5). bhowe@indyweek.com

HOUSE PARTY: THE HOMECOMING KICK-OFF FEATURING DJ SKILLZ

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SA 9 HIGH PLAINS DRIFTERS: TU 12

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WE 13 TH 14/ CHERUB 7pm FR 15 SA 16 SULLIVAN KING 8pm

LETTUCE @ THE RITZ 8pm

SU 17 AFTON MUSIC SHOWCASE FEATURING TBA 5:30PM

FR 22 ATLIENS W/ TBA 9pm SA 23 THE BLUE DOGS 7pm WE 27 NCMM’S FIRST WALTZ

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“NITRO COMEDY TOUR”

FEATURING: CATFSH COOLEY & ANDREW CONN WITH DJ SLIM MCGRAW. The show is produced by John Edmonds Kozma. 7pm DILLON FENCE W/THE BALSA GLIDERS/ALMOST PEOPLE 7pm YARN W/THE DUNE DOGS 7pm COMRADES AND NOMADS 8pm BIG SOMETHING W/TBA 8pm

SA 21 SA 28 SU 29 MO 30 BIG SOMETHING W/TOUBAB KREWE 8pm

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com INDYweek.com | 10.30.19 | 17

indystage

Stillness Is the Move

THE MOVEMENT OF A MOMENT, FROZEN IN TIME, IN ZOE LITAKER’S NEW PHOTO BOOK OF DURHAM DANCERS

BY BYRON WOODS

P

hotographer Zoe Litaker says that people kept asking her the same question at the recent launch of her photobook at the NC Dance Festival: “That’s in Durham?”

The response is understandable. The forty-three images in Durham Dances, which is available on Etsy in formats ranging from a $20 magazine to a $60 hardcover, range from Cristal Chinchayan’s Brazilian samba in a bamboo forest to Nicki Miller’s jagged gravity-defying jeté against equally kinetic downtown graffiti. Practitioners in ballet, hip-hop, Indian, belly, fire, modern, and tap dance interact with locales both familiar and obscure.

“Dance in Durham is a lot wider and more diverse than many people think it is,” Litaker says. After graduating from UNC-Chapel Hill in 2011, the Durham native sojourned with professional photographers in New York before she started photographing dancers in Seattle. Before returning to the area when her husband began graduate school at Duke in 2014, she worried if there would be any dance to shoot. Soon, she learned there was, and became one of the prime documentarians of Durham’s rich independent dance community.

INDY: What are you trying to achieve in your photography?

ZOE LITAKER: What’s really interesting to me about catching those moments, besides the challenge and excitement of working with great dancers, is creating something so permanent out of something so ephemeral. That’s kind of the crux of the matter; dance is such an illusory performative experience that catching it can’t do it justice.

But I feel that photography is a time machine. The ability to share a moment, a pause. It’s really an interesting conundrum: how you capture and convey that sense of movement and the exclusivity of the moment to people who aren’t there.

18 | 10.30.19 | INDYweek.com

Morgan Everett at the Corcoran Street parking deck in Durham Dances It’s a delicious tension: Dance photography involves capturing movement, but the moment you’ve captured it, it’s not movement anymore. It’s become something else.

That’s part of what drew me to it: the impossible challenge of capturing dance in a still image. In an art class with elin o’Hara slavick, one of the most interesting readings said that the photographer never sees what we’re photographing. I don’t even see that moment in time because the shutter is closed. I have to look back. I’m also in the dark until afterward.

PHOTO BY ZOE LITAKER

How do you do what you do with these dancers?

It’s a real collaboration between me and the dancer. I love working on location; since it’s more spontaneous than controlled performance and studio settings, it can have more authenticity. We look at the space, the dancer’s shape reacts to the space as well, and we decide how we can mimic this and what we want to do.

But really, it’s letting the dancer do what they want with the space and not micromanaging. They know how their bodies work much better than me. I can request things, but I let them be themselves in the space. I think that allows me to capture something more true. Dancers tell me it

makes me easier to work with than others.

What I respect most about dancers is that they’re brave and bold enough to use their bodies to tell their stories in front of a live audience. What’s braver than sharing work with your whole body?

What’s next?

I’ve been thinking of doing Durham Dances II because there are so many more dancers here; I feel I’ve just scratched the surface.

And the North Carolina Dance Festival has suggested North Carolina Dances. I’m at a place where I’m like, “What the hell, let’s see how far we can run with it.” arts@indyweek.com

S TA G E B R I E F

INFINITE POSSIBILITIES HHHH Oct. 11–27, 2019 Ward Theatre Company, Durham wardtheatrecompany.com

W

IT,

IC

AN

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L CELEBRA T UA N

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Some of the strongest productions in Ward Theatre Company’s four-year run in Durham have been the original stage works that artistic director Wendy Ward has devised with present and former members of her noted Meisner-based acting studio.

A 2016 revival of I Wish You a Boat placed audiences aboard a doomed transatlantic steamship at the end of the nineteenth century. The premiere of Revival in 2017 scrutinized the mysterious motions of the spirit—and, sometimes, its absence— among a rural congregation at a mid-century summer country tent meeting.

The considerable theatrical alchemy in Ward’s latest original, Infinite Possibilities, marks a welcome return to that form. At first, this ninety-minute production seems like an easy send-up of pricey, privileged new-age wellness resorts like Esalen, as smarmy hosts Diane (a sparkling Hilary Barry) and Simon (Geoff Bowen) tout naked yoga, an “ancient Mesquite ceremony,” and colonic hydrotherapy in cameo videos.

That sense only intensifies as Jim (an avuncular Guy Beretich), a fatuous last-minute pinch-hitter for a presumably more qualified therapist, fumbles through a workshop on relationships with a sextet of self-absorbed, upper-class misfits. The laughs are abundant as dubious listening exercises go completely off the rails before interruptions, inter-group antagonisms, and Jim’s wife, Cynthia (a prim Sharon Bishop) further sabotage efforts at supposedly authentic communication.

But via mid-show monologues, these characters deepen from their initially risible, self-absorbed takes. The most beatific of the lot, Amber (Jennifer Romeo), discloses the mountain of bad karma she has to work through from her former job, and Keith (Nicholas Todaro) pulls no punches in relating the events that placed him in mandatory anger management. Even Cynthia and Jim discard long-held defenses in candid self-assessments, and as Elizabeth, Amy Paquette finds the source of her character’s poorly hidden grief.

Ward’s humanizing of comic figures who are clearly still in need of healing is well within the realm of improvisational filmmakers Christopher Guest and Robert Altman. We’re heartened to hear she’s considering a revival of this production for spring. —Byron Woods

U LIT AND M

S

Saturday, November 9, 2019 Two great shows! 3pm and 7pm

Special Guests

Novelist ANNA JEAN MAYHEW Public Radio Reporter LEONEDA INGE Musicians LUIS DEL RIO and CRYSTAL BRIGHT Variety Show in the tradition of old-time radio with talented volunteers from around the Triangle All proceeds benefit EL FUTURO

www.murpheyschoolradio.net INDYweek.com | 10.30.19 | 19

indyart

DÍA DE LOS MUERTOS CELEBRATION Friday, Nov. 1, 6–10 p.m., free Artspace, Raleigh artspacenc.org

A (Paint) Brush with Death ONE ARTIST’S ATTEMPT TO CURB THE CULTURAL APPROPRIATION OF DÍA DE LOS MUERTOS BY SARA PEQUEÑO

J

ulio Gonzalez felt that he should intervene when some people showed up at his Mayan-themed art opening in Charlotte in 2012 who were painted like calaveras, or skulls, which are traditionally used to celebrate Día de los Muertos, or Day of the Dead. Gonzalez, who identifies as Mexican, wasn’t amused.

“Oh, this is your last-minute choice because it’s easy,” Gonzalez remembers thinking. “You have no idea of the connection.”

Gonzalez didn’t say anything in the moment, but as the years went by, he began to notice more Día de los Muertos decorations showing up in stores, completely severed from their traditions.

This led him to start his annual project Día de los Casi Muertos, or “Day of the Almost Dead,” an exploration of the inevitability of death through photography, video, and body painting. In its current form, the exhibit has occurred since 2016, although Gonzalez used some early photos in a 2013 exhibit. This year’s version is on view at Artspace in Raleigh through November 14, and on First Friday, it becomes the center of a Día de los Muertos celebration.

The goal of the project is to remind us that the holiday is so much more than bright skull makeup and votive candles. In recent years, Día de los Muertos has only become more commercialized, breeding misconceptions about the holiday. Calaveras and other Día de los Muertos-inspired goods sit close to the Halloween decorations at your local Target, as if these events were one and the same.

This couldn’t be further from the truth.

Día de los Muertos, which falls on Friday and Saturday this year, came from the combination of traditional Aztec celebrations and the imported values of Catholicism. It often involves setting up altars, or ofrendas, with photos of late family members, flowers, and the dead’s favorite things. It is also a time for graves to be cleaned and food to be prepared for the dead’s journey to the after20 | 10.30.19 | INDYweek.com

Día de los Casi Muertos PHOTO COURTESY OF ARTSPACE

life. While it is mainly celebrated in Mexico, other parts of Latin America have joined the festivities. The event is colorful and vibrant and has a mystical quality, but the core of it is simply to celebrate the dead.

Death is a touchy subject in the United States. While we know it is something we all must come to terms with, it tends to be pushed to the far reaches of the brain until we lose someone we know.

“We’ll talk about the food that we love,” Gonzalez says. “We all eat, but we don’t talk about this other thing that we all go through.

You find people need an outlet.”

Gonzalez, a painter based in Charlotte, created Día de los Casi Muertos to remind us of the inevitable. It takes a group of five to

complete the full body paint, a process that takes up to seven hours. It’s as exhausting for the models, who must stand during the entirety of the process, as it is for the artists. The end result, however, is bodies consumed by bright colors and designs, posed among marigolds and pictures of loved ones. They are calaveras come to life.

“One of the individuals that posed said that’s the first time that she felt beautiful,” Gonzalez says.

The second aspect of the exhibit is video interviews in which subjects talk about their first experience with death. In a video from 2016 on Gonzalez’s website, people discuss their parents, grandparents, or total strangers. One girl talks about losing her father; in the next story, a man speaks of a great-grandmother’s funeral that he vaguely remembers.

The holiday itself can bring healing for those who celebrate it. Angela Salamanca, owner of Centro Mexican restaurant in Raleigh, built her first ofrenda with her kitchen staff the year her sister died by suicide. Salamanca is Colombian, but she now sets up the ofrendas herself, and has moved the altar from the restaurant to Oakwood Cemetery, so the public can place their photos and celebrate their loved ones together.

“For me, it’s definitely meant a road to heal my pain from the way that my sister died and have a different relationship with that,” Salamanca says. “More than anything, it’s to educate my children about how important it is to speak about death.”

While Gonzalez’s exhibit isn’t “traditional,” it gives him a way to celebrate Día de los Muertos in a way that speaks to Latin Americans living in the United States.

“Within two generations you’re quote-unquote American, whatever that means,” he says. “It’s very hard to retain your traditions, because America is a melting pot and it gobbles everything up. So I think everyone kind of does it their own way.” spequeno@indyweek.com

CELEBRATE DÍA DE LOS MUERTOS AROUND THE TRIANGLE Día de los Muertos spans multiple days: Día de los Inocentes, when children are said to reunite with their families, falls on November 1, while Día de los Muertos comes November 2 and brings with it the souls of adults. If you’re interested in celebrating the holiday, there are tons of events happening in the Triangle.

However, please remember to be respectful of the families, the dead, and the traditions. These days are about so much more than face paint.

Oakwood Cemetery ofrendas: Through Nov 2. Raleigh restaurant Centro has been placing ofrendas for the last five years, but this year, it partnered with Raleigh’s Arts Commission to build more of them, which are viewable at Oakwood Cemetery.

Owner Angela Salamanca encourages folks to bring their own pictures and trinkets, which will be used in future altars. Historic Oakwood Cemetery, Raleigh, historicoakwoodcemetery.org.

Día de los Muertos Fiesta and Fundraiser: Nov. 2, 7 p.m. $50. Benefitting Brentwood Boys & Girls Club. Gallo Pelón Mezcaleria, Raleigh, gallopelon.com.

El Centro Hispano: Nov. 1, 4 p.m.

Altar and music. El Centro Hispano, Carrboro, elcentronc.org.

Comite Popular Somos Raleigh: Nov. 1–2, 2000 Avondale Drive, Durham, facebook.com/CPSRALEIGH. Día de Muertos con Revista Latina NC: Nov. 2, 10 a.m.–4 p.m. 2809 Spring Forest Road, Raleigh, revistalatinanc.com.

DSA Student Showcase: Día de los Muertos Altars: Through Nov. 3. Hosted through Durham School of the Arts.

Museum of Durham History, Durham, museumofdurhamhistory.org.

ArtsPower’s production of

the monster who ate my peas FAMILY SERIES 20192020

SATURDAY, NOVEMBER 9TH AT 10 AM.

CARY ARTS CENTER

(919) 462-2055 | www.townofcary.org | www.artspower.org

Chocolate Lounge & Juice Bar 11/1-3, 8-10

CAROLYN ADAMS 11/9 11/15-17 11/21 12/6

NO SHAME THEATRE – CARRBORO CARRBORO FILM FEST POPUP CHORUS (BONNIE TYLER/CYNDI LAUPER/EURYTHMICS) KELLER WILLIAMS

Get tickets at artscenterlive.org

Follow us: @artscenterlive • 300-G East Main St., Carrboro, NC

Fri 11/1 Sat 11/2 Fri 11/8 Sat 11/9 Fri 11/15 Sat 11/16

Dead Souls Gothic Lounge 9pm Tiny House & John Stevens Judson & Lang Hugh Willard Blumora Scott Bouldin

Music Performed from 6pm to 10pm Beer & Wine Served Daily Timberlyne Shopping Center, Chapel Hill 1129 Weaver Dairy Rd • specialtreatsnc.com INDYweek.com | 10.30.19 | 21

WHAT TO DO THIS WEEK

10.30–11.06

Stacy Wolfson and Curtis Eller of The Bipeds PHOTO BY ZOE LITAKER

FRIDAY, NOVEMBER 1

JOHN PRINE Most roots-adjacent songwriters worth their salt cite John Prine as an influence, and rightfully so: The iconic folk musician is a masterful storyteller who has a knack for touching on life’s melancholy with ample humor and heart, while his sly social commentary prods for change with bouts of snark and seriousness. After recovering from the first of his two bouts with cancer, Prine’s voice has taken on a deep, graveled tone that matches his fount of wisdom, and last year’s casual but terrific LP, The Tree of Forgiveness—his first batch of originals in more than a decade, which he is touring at DPAC—matched Prine’s genuine delivery with raw production, akin to Johnny Cash’s American Recordings. Ben Dickey, who starred as Blaze Foley in the 2018 biopic Blaze, opens with mostly originals, though don’t be surprised if he covers a Foley classic. —Spencer Griffith DURHAM PERFORMING ARTS CENTER, DURHAM 8 p.m., sold out, www.dpacnc.com

22 | 10.30.19 | INDYweek.com

SUNDAY, NOVEMBER 3

THE GUY FAWKES SESSION

Nothing makes our ears perk up like the words “new dance and music series,” especially when it comes from a trusted local source and takes place at a trusted independent venue. So we’re fully perked about “The Guy Fawkes Session,” the first installment of the monthly Shadowbox Sessions, curated by Durham dance theater duo The Bipeds.

Stacy Wolfson and Curtis Eller, who perform in their series’ first outing, are known for fusing modern dance and antique music in evening-length works such as last year’s 54 Strange Words. On Sunday, they’ll be joined by three other musicand-dance duos: Matthew McMunn, a Durham newcomer we recently saw perform in silver body paint and a balloon suit, collaborates with musician Crystal Bright. Renay Aumiller and Dave Yarwood are likely to reprise the algorithm-and-keyword driven improvisations they’ve been showing in the last year or so, while Megan Yankee, who probes Latinx identity in her work, and John Osburn round out the bill. —Brian Howe SHADOWBOX STUDIO, DURHAM 7 p.m., $10 suggested, www.shadowboxstudio.org

SATURDAY, NOVEMBER 2

DURHAM 150 CLOSING CEREMONY

In case you haven’t noticed, the City of Durham has been celebrating its one-hundred-fiftieth birthday all year with a variety of arts, culture, and history events. But if you somehow slept on all that, the closing ceremony at DPAC is a fine crash course. The multimedia production opens with remarks from Mayor Steve Schewel and Occaneechi Tribal Chairman Tony Hayes, who represents the region’s first inhabitants. From there, it’s a Durham extravaganza: A visual history rolls forth on three large video walls, with text by historian Jim Wise read by WUNC’s Frank Stasio and music by the John Brown Little Big Band. Playwright Howard L. Craft wrote transitional scenes, which are directed by Black Ops Theatre Company’s JaMeeka Holloway-Burrell. And Durham middle and high school students worked with professional animators to make a video envisioning the city’s next fifty years. —Brian Howe DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 p.m., $15+, www.dpacnc.com

Museum of the Moon in Bangalore, India, 2018 PHOTO © BRITISH COUNCIL, BY SATYA NAYAK

THURSDAY, OCTOBER 31–SUNDAY, NOVEMBER 3

BULL MOON RISING: MUSEUM OF THE MOON

If the moon appears to have fallen into Durham’s CCB Plaza on Halloween weekend, don’t panic—it’s not a sign of ongoing environmental apocalypse. It’s supposed to be that way. The touring installation by UK artist Luke Jerram has been seen in more than thirty countries, but this is its first orbit through North Carolina. Jerram used NASA imagery to replicate 6,458 feet of the moon’s surface in each inch of his spherical sculpture, which has a diameter of almost twenty-three feet and glows from within. The moon will hang in the plaza October 31–November 3, with events including a 6:00 p.m. kickoff on Halloween that features a lighting ceremony with Vivica C. Coxx and other Durham drag stars, Mayor Steve Schewel reading Goodnight Moon, and a Paperhand Puppet Intervention performance; Friday brings a Blackspace cypher and Batalá Durham music. On view 24/7 during its run, it’s the closest you can get to the moon without the risk of getting your face harvested by malevolent alien crabs. —Brian Howe CCB PLAZA, DURHAM Various times, free, www.bullmoonrising.com

WEDNESDAY, OCTOBER 30

AS ONE

Ideally, when telling a community’s story on stage, producers should cast performers from that community. But when a transgender person is the central character in a chamber opera, there are unique challenges. There are few transgender opera singers working today, and fewer singers of any kind who can handle the vocal range required for As One. Acclaimed mezzo-soprano Melina Jaharis is only the second transgender person to perform one of the two central roles in the chamber opera, whose free public rehearsal in UNC’s Process Series on October 30 presages a full production at CURRENT ArtSpace + Studio in February. Laura Kaminsky’s music, with a libretto by Mark Campbell and Kimberly Reed, traces the story of Heather through her youth in a small town to her college years, before and after her transition, in what producer Joseph Megel calls “a physical and vocal exploration of how one character can live in two bodies.” —Byron Woods UNC’S PERSON RECITAL HALL, CHAPEL HILL 7:30 p.m. free, www.comm.unc.edu

Your Week.

Every Wednesday.

WHAT ELSE SHOULD I DO? JIMMY SANTIAGO BACA AT LEVIN JCC (P. 31), CAROLYN ADAMS AT THE ARTSCENTER (P. 30), JULIO GONZALEZ AT ARTSPACE (P. 20), HALLOWEEN CONCERTS AT VARIOUS VENUES (P. 17), SAM GREEN & YO LA TENGO AT REYNOLDS INDUSTRIES THEATER (P. 25), BILL THELEN AT RALEIGH DENIM WORKSHOP (P. 29), EMILY WALLACE AT PARKER & OTIS (P. 15), WORKING GIRL AT THE CAROLINA THEATRE (P. 32) INDYweek.com | 10.30.19 | 23

WE 11/06 @CAT’S CRADLE

YOKE LORE

10.31

CLOSED AT 6PM FOR HALLOWEEN

11.1

Jill Heinerth Into the Planet, My Life as a Cave Diver 7pm

11.3

Readings from Flying South Literary Journal, 2pm Andy Greenberg, Sandworm: A New Era of Cyberwar and the Hunt for the Kremlin’s Most Dangerous Hackers, 7pm Richard Bell, Stolen: Five Free Boys Kidnapped Into Slavery and Their Astonishing Odyssey Home, 7pm Wes J. Bryant, Hunting the Caliphate: America’s War on Isis and the Dawn of the Strike Cell, 7pm

11.4 11.5 11.6

W/ FUTURE GENERATIONS

SA 11/09 @CAT’S CRADLE

THE INFAMOUS STRINGDUSTERS W/ KITCHEN DWELLERS

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SU 11/10 THE HAW RIVER BALLROOM

THE NEW PORNOGRAPHERS RECENTLY ANNOUNCED: Magic City Hippies, Beth Stelling, Flamenco Vivo, Lost Dog Street Band

W/ LADY LAMB

WE 10/30 WIZARD FEST WE 10/31 STARDUST TO ASHES

- A TRIBUTE TO DAVID BOWIE W/SPECIAL GUEST: ELVIS DIVSION ($10/$12); & HALLOWEEN COSTUME PARTY

FRI

11/1

RUSSIAN CIRCLES

FR/SA SOLD11/1 & 2 (TWO SHOWS, FRIDAY T OUSATURDAY) AND BILLY STRINGS

Windhand

x2W/ HARMONY WOODS

RUSSIAN CIRCLES

WE 11/6 YOKE LORE W/FUTURE GENERATIONS

Windhand

FR 11/8 THE DIP ($15/ $18) W/ ERIN & THE WILDFIRE SA 11/9 THE INFAMOUS

SAT

STRINGDUSTERS W/ KITCHEN DWELLERS

11/2

6PM

SAT

11/2

9:15PM

SUPERCHUNK

SOLD OUT

Plays “Foolish”: A 25th Anniversary Acoustic Performance with Torres

11/3

Crank It Loud Presents

NILE

Terrorizer / False Prophet / Extinction Level Event THU

11/7 FRI

11/8 SAT

11/9

LA MIGRACIÓN ES HERMOSA

A Benefit for the Border featuring Crystal Bright and the Silver Hands, Quilla and David Wimbish of the Collection Local 506 presents

LEFTOVER CRACK

with Days N Daze, Cop/Out and SiBANNÄC

THE JAPANESE HOUSE / Our Girl

Cat’s Cradle presents 11/12 TR/ST with special guest SRSQ DEAD MEN ROCKING Starring 3AMSOUND and TH 11/14 DOTWAV MEDIA with BLACKHAUS TUE

FRI

11/15

G YAMAZAWA / DJ Paradime / Gemynii

COMING SOON: Gravy Boys, Mad Crush, Chastity Belt , With Confidence, Fruit Bats, Songs From the Road Band, Com Truise, Flynt Flossy, Mikal Cronin, Young Bull, Amigo The Devil, Phutureprimitive, an-ten-nae, Jen Kirkman, Garcia Peoples, Deeper, Sammus, Street Corner Symphony, Thunder Jackson, Eric Roberson, The Wusses, Sarah Shook & The Disarmers, Integrity, Art Alexakis of Everclear, Carbon Leaf, Blackalicious, Over The Rhine, While She Sleeps, David Wilcox, Gnawa LanGus, Little People, Frameworks, Black Atlantic, Kevin Morby

24 | 10.30.19 | INDYweek.com

MAYA DEVITRY WE 11/20 KING BUFFALO ($10)

WE 01/29 ANAMANAGUCHI

TH 11/21 THIRSTY CURSES, SICK RIDE, HOUSTERINO ($8/$10)

02/1, 2020 JAWBOX

FR 11/22 TRAVERS BROTHERSHIP

02/14, 2020 THRICE,

SU 11/24: BEACH BUNNY W/ ANOTHER MICHAEL

MEWITHOUTYOU, DRUG CHURCH ( $26/$30) 02/15, 2020 COLONY HOUSE THE LEAVE WHAT’S LOST BEHIND TOUR 02/17, 2020 KYLE KINANE ($25/$28) 03/11, 2020 DESTROYER

W/NAP EYES

3/14, 2020 RADICAL FACE

FR 11/29 PHILSTOCK ‘19 TU 12/3 DIAMANTE WE 12/4 LAURA STEVENSON W/ ADULT MOM TH 12/5 JUMP LITTLE CHILDREN

SOLD OUTFR 12/6 NEIL HILBORN

W/ CARACARA

TU 11/12 CURSIVE/ CLOUD NOTHINGS/ THE APPLESEED CAST

04/3, 2020 SHOVELS & ROPE ($25/$28)

SA 12/7 SOLAR HALOS, DREAMLESS, WEIRD GOD

WE 11/13 KIKAGAKU MOYO W/ MINAMI DEUTSCH ($15/$17)

05/5, 2020 ANDY SHAUF W/ FAYE WEBSTER ($18/$20)

SA 12/21 JON STICKLEY TRIO ($10/$12)

TH11/14: TURNOVER/ MEN I TRUST FR 11/15 ALLAH-LAS W/ TIM HILL ($17/$20)

SUN

01/23, 2020 YOLA 01/25, 2020 THE ROAD TO NOW PODCAST

SA 11/16 GAELIC STORM

WE 10/30 JOAN SHELLEY W/JAKE XERXES FUSSELL

SU 11/17 ADHOC PRESENTS: CRUMB W/ DIVINO NIÑO, SHORMEY ($20)

TH 10/31 CRYSTAL BRIGHT AND THE SILVER HANDS W/ DEX ROMWEBER TRIO

FR 11/22 OFFICE HOURS ($10/$12) MO 11/25 NEW FOUND GLORY

W/HAWTHORNE HEIGHTS, FREE THROW, JETTY BONES ($27/$32) WE 11/27: LA DISPUTE, TOUCHE AMORE, EMPATH FR 12/6 OUR LAST NIGHT SA 12/7 SOUTHERN CULTURE

ON THE SKIDS

TH 12/12 TWIN PEAKS W/ LALA LALA AND OHMME FR 12/13 THE CONNELLS

W/SURRENDER HUMAN AND LEMON SPARKS ($20/$23) SA 12/14 THE REVEREND HORTON HEAT W/ VOODOO GLOW SKULLS, THE 5678'S, DAVE ALVIN ($25/$28)

FR 11/1 WXYC PRESENTS...

DISCO! ($5 NON STUDENTS/ UNC STUDENTS FREE) SA 11/2 JULIA/THE MOON UNIT W/ ALO VER ($5) MO 11/4 P3 / HIP HOP SHOWCASE TU 11/5 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE W/ HARMONY WOODS ( $15) TH 11/7 BLUE CACTUS W/ TATIANA HARGREAVES ($12/$15) SA 11/9 JACK KLATT ($10-$12) SU 11/10 PETER HOLSAPPLE COMBO W/CHARLES LATHAM AND THE BORROWED BAND TU 11/12 BLACK MOUNTAIN W/ RYLEY WALKER

TU 12/17 DAUGHTERS/HEALTH

FR 11/15 BLACK MIDI W/FAT TONY ($13)

FR 01/10 & SA 01/11, 2020 - TWO SHOWS HISS GOLDEN MESSENGER ($26)

SU 11/17 EDDIEFEST HAMMER NO MORE THE FINGERS, TRIPLE X SNAXX, JOHN HOWIE JR., ELVIS DIVISION, NIKKI MEETS THE HIBACHI, LUD, YUNG POLVO & MORE

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Your Week.

Every Wednesday. indyweek.com

10.30–10.06

music FRIDAY, NOVEMBER 1

SAM GREEN & YO LA TENGO On Friday, filmmaker Sam Green presents his ever-growing “live documentary” The Love Song of R. Buckminster Fuller, which follows the life’s work of the visionary architect, author, designer, futurist, and inventor of the title. Fuller is most famous for patenting the geodesic dome and coining the term “spaceship Earth,” so you have him to thank the next time you visit Epcot. Fuller was also once a resident of North Carolina, having taught at Black Mountain College and N.C. State in the late 1940s and ‘50s. Green, whose other works include the live documentary The Measure of All Things and the Oscar-nominated film The Weather Underground, narrates as he displays slides and footage of Fuller’s work. At this Duke Performances show, prolific indie-rock group Yo La Tengo performs an original score for the imagery, a big draw for music fans regardless of whether they care about visionary design and experimental film. —Sam Haw REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $28–$34, dukeperformances.duke.edu

Yo La Tengo PHOTO COURTESY OF DUKE PERFORMANCES

WED, OCT 30 CAT’S CRADLE Oh Sees, Prettiest Eyes, No Whammy!; $24$26. 8 p.m.

ARCANA Tracksuit; 9 p.m.

CAT’S CRADLE Wizard Fest; $15+. 7 p.m.

CAT’S CRADLE BACK ROOM Joan Shelley, Jake Xerxes Fussell; $15-$17. 8 p.m.

THE CAVE TAVERN The Waymores; 9 p.m.

DUKE ENERGY CENTER

FOR THE PERFORMING ARTS The Cory Band, Triangle Brass Band; $28. 7 p.m.

DURHAM PERFORMING ARTS CENTER Kevin Gates, YK Osiris, Rod Wave, SDoT Fresh; $54+. 8 p.m.

hardest-working, highest-energy emcees, celebrates his birthday in style at Kings, joined by Imani Pressley, 3AM, TheDeeepEnd, and GODRIC. This is where the heads lean into Halloween. —Brian Howe

KINGS

LINCOLN THEATRE Maribou State; $15. 8 p.m.

Jooselord’s Glow in the Dark Birthday Party

[$10. 9 P.M.] Fresh off an official bill at Hopscotch, Jooselord Magnus, one of the area’s

LOCAL 506 Islander, The Funeral Portrait, Dropout Kings, 13:7, Headtrip Trauma; $13-$15. 7:30 p.m.

THE PINHOOK Pale Lips; $8-$10. 8 p.m.

POUR HOUSE MUSIC HALL The Kind Thieves, The Wright Ave.; $5-$10. 9 p.m.

RUBY DELUXE Juxton Roy, Hit Like A Girl, Nervous Dater, Teenage Flophouse; $5. 8 p.m.

SCHOOLKIDS RECORDS Raleigh PALTH, Rothenbeck, Mike Vidal, Almost People; 7 p.m.

SLIM’S DOWNTOWN Doom Weaver; $5. 10 p.m.

UNC CAMPUS: HILL HALL Golda Schultz & Jonathan Ware; $37. 7:30 p.m.

THU, OCT 31

& Halloween Costume Party, Elvis Division; $10-$12. 9 p.m.

CAT’S CRADLE Witt Lowry, Xuitcasecity, Whatever We

THE CAVE TAVERN Certain Seas, Great Freak; 9 p.m.

ARCANA Monsieur, KHXOS, Trailor Trash, Femi The Femme, GEMYNII; $7. 9 p.m.

DUKE COFFEEHOUSE VSPRTN, DJ Tretorn, Fella; 9 p.m.

BLUE NOTE GRILL Michelle Belanger & The Mystery Hillbillies; 7 p.m.

CAT’S CRADLE BACK ROOM Crystal Bright and the Silver Hands; $10. 9 p.m.

Jay Som

CAT’S CRADLE Stardust to Ashes - A Tribute to David Bowie

KINGS

[$13-$15, 9 P.M.] The Bay Area musician Melina Duterte, who performs as Jay Som, makes music that’s often described as “bedroom pop,” which is a useful-enough catch-all for her dreamy, INDYweek.com | 10.30.19 | 25

LINCOLN THEATRE Eric Gales, Albert Castiglia, Mel Meton, Maj Deeka; $15-$33. 7:30 p.m.

LOCAL 506 Harm x Get Sad Y’all; $10-$13. 8 p.m.

MOTORCO MUSIC HALL

Superchunk

[$20, 6 P.M. & 9:15 P.M.] Like Merge Records, Superchunk’s fourth record, Foolish, is having an important anniversary: It’s now been twenty-five years since the album’s release. To celebrate, the indie-rock band released an acoustic version of the record, swapping out the overdrive pedals for cinematic string arrangements. They will perform two back-to-back live performances of this reinterpretation at Motorco. Martin Frawley of The Twerps opens.

—Sam Haw NIGHTLIGHT Low Variety, Drag Sounds, Lifters; 9 p.m.

POUR HOUSE MUSIC HALL Eric Sommer; 2 p.m.

POUR HOUSE MUSIC HALL Purple Masquerade: A Prince Tribute; $13-$18. 9 p.m.

RHYTHMS LIVE MUSIC HALL Delbert McClinton; $47. 8 p.m.

Jidenna performs at the Ritz on Saturday, November 2. PHOTO COURTESY OF THE RITZ

THE RITZ drifting take on indie-pop. The description doesn’t quite capture her skill as a multi-instrumentalist, though, or her gift for reimagining pop influences from Steely Dan to Third Eye Blind. For example, the beginning of “Superbike”—a jangly, blissed-out track from 2019’s Anak Ko about hopping on a bike and leaving your lover behind—takes inspiration from “Semi-Charmed Life.”

—Sarah Edwards MOTORCO MUSIC HALL Haus of Horrors; $5. 9 p.m.

NEPTUNES PARLOUR Drag Sounds; $10. 10 p.m.

NIGHTLIGHT Crass, Anti Cimex, Adolescents, Vice Squad, Melvins; $5-$15. 8:30 p.m.

POUR HOUSE MUSIC HALL Hustle Souls, Africa Unplugged, The Up & Up; $5. 9 p.m.

RHYTHMS LIVE MUSIC HALL Mood Swing, Zo Blow; $5. 6:30 p.m.

THE CAVE TAVERN Poinsettia, JPH, Analog Mountains; $5 suggested.

9 p.m.

Patrol; $27. 8 p.m.

RUBY DELUXE Monster Mash; $5. 10 p.m.

KINGS Thick Modine, Sportsmanship, Housterino; $8-$10. 9 p.m.

SLIM’S DOWNTOWN Hardcore Hank’s Heavy Metal Halloween; Bewitchtit, The Holy Divers, Rust In Peace. $5. 9 p.m.

THE KRAKEN Radar’s Clowns, Yardarm; 8 p.m.

SLIM’S DOWNTOWN Angle of Incidence, Raleigh Lights, Raging Savage; $5. 9 p.m.

WAKE FOREST LISTENING ROOM Mitchel Evan & The Saboteurs, Chris Frisina; 7 p.m.

THE STATION Ellis Dyson & The Shambles, The Oblations; 8:30 p.m.

FRI, NOV 01 KINGS The Body, Torch Runner, Solar Halos; $12. 9 p.m.

BLUE NOTE GRILL Jamie McLean Band; $10. 9 p.m.

CAT’S CRADLE Billy Strings; 9 p.m. Sold out.

CAT’S CRADLE BACK ROOM DISCO; $5. 9:30 p.m.

LINCOLN THEATRE House Party: The Homecoming Kick-Off; $20-$30.

10 p.m.

THE MAYWOOD Dark Design, River of Black, Ripchorde Released; $8.

9 p.m.

MOTORCO MUSIC HALL Russian Circles, Windhand; $19-$22.

9 p.m.

NIGHTLIGHT The R.I.P. Pickers, Cliff Hale and The Grand Ole Ospreys; $5-$15. 8 p.m.

POUR HOUSE MUSIC HALL Dr. Bacon, Winston Ramble; $10-$13.

9 p.m.

THE RITZ Big Wild, EVAN GIIA, Ark

SHARP NINE GALLERY UNC Jazz Band; 8 p.m.

SAT, NOV 2 ARCANA The River Otters; 9 p.m.

BLUE NOTE GRILL Randall Bramblett & Band; $25 -$20. 8 p.m.

CAT’S CRADLE BACK ROOM JULIA., The Moon Unit; $5.

9 p.m.

THE CAVE TAVERN People of Earth, Grayscale Whale, Identikit, Pink Neighbor; $5 suggested. 8 p.m.

DUKE COFFEEHOUSE MANAS, Housefire, Paulastretch; $5. 8:30 p.m.

MEYMANDI CONCERT HALL

Mahler’s Symphony No. 5

[$39+, 8 P.M.] All the publicity around Karina Canellakis’s latest appearance conducting the North Carolina Symphony focuses on Mahler’s Fifth. But we shouldn’t forget the works by Lili Boulanger and Ethel Smyth on the program.

D’un soir triste, the final piece Boulanger wrote in her own hand, is as craggy and dense as anything by Mahler. And in “On the Cliffs of Cornwall,” Smyth colorfully evokes the sea to open the second act of her opera The Wreckers. —Dan Ruccia HAW RIVER BALLROOM The Collection, Crystal Bright and the Silver Hands; $15. 8 p.m.

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

26 | 10.30.19 | INDYweek.com

Jidenna [$25, 8 P.M.] Now that his Bilbo Baggins/ Colonel Sanders dandy phase is behind him, Wondaland artist Jidenna has repurposed his African diasporic energy into rap bars for those of you who didn’t take him seriously when he was the “Classic Man.” His new 85 to Africa LP surely makes label founder Janelle Monáe proud on the merits of its musical quirks, but his own cultural satisfaction pokes through lyrically on the album’s intro, with Afrobeat royalty Seun Kuti. Jidenna also prances with Nigerian highlife boss Mr Eazi and, later in the album, even delves into reggae on “Vaporiza.” If he wants to be Prince Akeem, let him. He carries the role well. —Eric Tullis

SHARP NINE GALLERY Lovell Bradford Trio; $20. 8 p.m.

SLIM’S DOWNTOWN Appalachian Death Trap, Cult Classics, Safe Word; $5. 8 p.m.

SLIM’S DOWNTOWN Mystery Friends, Dotwavmedia, Dariel Clark; $5. 9 p.m.

THE STATION Hank & Brendan, Caitlin Washburn; 8 p.m.

WAKE FOREST LISTENING ROOM Greg Hawks and Friends; 7 p.m.

THE WICKED WITCH Bored Lord, DJ Love, Auntie Starr, PlayPlay, Sand Pact, TrailorTrash; $10-$15. 10 p.m.

SUN, NOV 3 BLUE NOTE GRILL Mysti Mayhem; 5 p.m.

ARCANA Sam Fuller-Smith; 8 p.m.

THE CAVE TAVERN Day and Dream; $5 suggested. 9 p.m.

KINGS OMNI, Black Surfer, Moonland; $12. 8:30 p.m.

MOTORCO MUSIC HALL Nile, Terrorizer, False Prophet, Summoned, Extinction Level Event; $20-$25. 7 p.m.

NEPTUNES PARLOUR Shana Falana, Aleatorics; $10. 9 p.m.

NIGHTLIGHT Piedmont Hepcats; $15. 7:30 p.m.

THE PINHOOK Hermit the Fog, Kid Advay, Dot Wav Media; $7. 7 p.m.

POUR HOUSE MUSIC HALL Reese McHenry; 3 p.m.

POUR HOUSE MUSIC HALL Elijah Melanson; 5 p.m.

WAKE FOREST LISTENING ROOM Hannah Aldridge, Travis Shallow, Caroline Mamoulides; $12. 2 p.m.

MON, NOV 4 THE CAVE TAVERN Dexter Romweber; $5 suggested. 9 p.m.

LINCOLN THEATRE Scarypoolparty, Sucre; $20. 8 p.m.

TUE, NOV 5

CAT’S CRADLE BACK ROOM Future Teens, Calicoco; $10$12. 8 p.m.

CAT’S CRADLE BACK ROOM The World Is a Beautiful Place & I Am No Longer Afraid to Die, Harmony Woods; $15. 8 p.m.

DUKE COFFEEHOUSE Adult Mom, Fresh; $10. 8:30 p.m.

LOCAL 506 Dreamers, Arrested Youth, Irontom; $15-$18. 7:30 p.m.

POUR HOUSE MUSIC HALL The Movement, The Elovaters, The Late Ones; $17-$20. 8:30 p.m.

WED, NOV 6 CAT’S CRADLE Yoke Lore, Future Generations; $12-$15. 8 p.m.

THE CAVE TAVERN Ginger Cowgirl, Shannon O’Connor; $5 suggested. 9 p.m.

LOCAL 506

Kelsey Waldon

[$12, 8 P.M.] Growing up among the tobacco fields of Monkey’s Eyebrow, Kentucky, with divorced parents, Kelsey Waldon grounds her lyrics in the hardscrobble realities and simple joys of rural life, offering personal but relatable tales

from her upbringing. Released last month, her third album, White Noise/White Lines, adds touches of gospel to neotraditional country; it received John Prine’s stamp of approval, making her the first new artist on his Oh Boy Records in fifteen years. Bill West opens.

—Spencer Griffith NEPTUNES PARLOUR Gudiya, Via Intercom, The Two Youths; $12.

10 p.m.

THE PINHOOK Screaming Females, Dusk, Bangzz; $15-$17. 8 p.m.

POUR HOUSE MUSIC HALL Aqueous, Lespecial; $14-$16. 8 p.m.

Jay Som makes a stop in Raleigh at Kings on Thursday, October 31. PHOTO BY LINDSEY BYRNES INDYweek.com | 10.30.19 | 27

Get Tickets at our website or in person at the box office.

T&TH 11AM–2PM and Event Days 11AM–showtime.

SAT

11.02

BY POPULAR DEMAND DELBERT MCCLINTON

TH

BILLY PRICE BAND

SAT

TRIAL BY FIRE JOURNEY TRIBUTE

SAT

JUS ONCE ANNIVERSARY AFFAIR

11.21 11.30 12.07

FR

THE STRANGER BILLY JOEL TRIBUTE EXPERIENCE

TUE

NYE CELEBRATION WITH THE MIGHTY MESSENGERS OF SOUL, DJ HEAVY, STANLEY BAIRD & CONSTANCE PRINCE

12.20 12.31

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TEASERS 19th Anniversary Party Saturday Nov. 9th Free buffet Special Entertainment Door Prizes Members in FREE 7-9

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bill.burton.lawyer@gmail.com 28 | 10.30.19 | INDYweek.com

for directions and information

An Adult Nightclub

www.teasersmensclub.com 156 Ramseur St Durham, NC

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art

10.30–11.06

submit! Got something for our calendar? Submit the details at:

indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

QUESTIONS? spequeno@indyweek.com

OPENING Conner Calhoun: Whispers from Wizard Mountain Drawings, paintings, and sculpture. Reception: Nov 1, 6 p.m. Nov 1-Dec 13. Lump, Raleigh. lumpprojects.org.

FRIDAY, NOVEMBER 1

SAD SUPPORT FOR VR GANG For one night only on First Friday, the inimitable drawings of Lump founder Bill Thelen—a new suite he’s calling sad support for vr gang—will pop up at Raleigh Denim Workshop in association with its drawing club. Art history and crap culture collide and shatter into nonlinear narratives though which, if you squint (and maybe take some acid), you can glimpse the story of workers at a virtual reality company who are struggling to make sense of the meat-world. A local legend who has also been featured in national exhibits that have earned notices everywhere from Frieze to The New York Times, Thelen retains an accessible approach to art-making that will surely provide inspiration when you make your own sketchbook using recycled Raleigh Denim materials.

—Brian Howe

Día de Muertos Celebration Food, music, ofrendas, and special art exhibition. Fri, Nov 1, 6 p.m. Artspace, Raleigh. artspacenc.org Georges Le Chevallier: Shibui Paintings Paintings. Nov 1-23.

VAE, Raleigh.

Chris McGuire: With The Land Photography. Nov 1-23. United Arts Council of Raleigh & Wake County, Raleigh.

Mystical Logical Mixed media.

Reception: Nov 1, 6 p.m.

Nov 1-Dec 13. Lump, Raleigh. lumpprojects.org.

RALEIGH DENIM WORKSHOP, RALEIGH 6–9 p.m., free, www.raleighdenimworkshop.com

NOURISH Oct 31-Dec 2.

5 Points Gallery, Durham.

5pointsgallery.com.

Oddville! Photography, sculpture, and performance. $5-$12. Sat, Nov 2, 6 p.m.

The Fruit, Durham.

Mary Beth Owen: Solo Sister Pottery. Fri, Nov 1, 6 p.m.

Local Color Gallery, Raleigh. localcoloraleigh.com.

Laura Lacambra Shubert: New Works Paintings. Reception: Nov. 1, 6 p.m. Fri, Nov 1-Dec 29.

Gallery C, Raleigh. galleryc.net.

Yuko Nogami Taylor: Majestic Incognito - Sanctuary Paintings.

Oct 31-Dec 2. 5 Points Gallery, Durham. 5pointsgallery.com.

ONGOING 100+ Years of Earth and Fire: A Retrospective of Four Women Working in Clay Pottery.

Reception Nov 15, 6 p.m.-8 p.m.

Thru Dec 7. Durham Art Guild, Durham. durhamartguild.org.

Anarchism and the Political Art of Les Temps Nouveaux, 18951914 Prints and graphics. Thru Dec 15. Nasher Museum of Art, Durham. nasher.duke.edu.

Art for a New Understanding: Native Voices, 1950s to Now Contemporary Indigenous art.

Art from sad support for vr gang by Bill Thelen PHOTO COURTESY OF THE ARTIST Thru Jan 12. Nasher Museum of Art, Durham. nasher.duke.edu.

NC Museum of Art, Raleigh. ncartmuseum.org.

The Art of Resistance Thru Dec 13. UNC’s FedEx Global Education Center, Chapel Hill.

Scott Avett: INVISIBLE Paintings and prints. Thru Sun, Feb 2. NC Museum of Art, Raleigh. ncartmuseum.org.

Art’s Work in the Age of Biotechnology Biotechnology: Shaping Our Genetic Futures With guest curator Hannah Star Rogers. Additional work on view at NCMA. Oct 16-Mar 15. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu.

The Atomic Photographers Guild: Nuclear Visions Photography. Thru Oct 31.

UNC’s Hanes Art Center, Chapel Hill. art.unc.edu.

John James Audubon: The Birds of America Ornithological engravings. Thru Dec 31.

Derrick Beasley: Black Wholes as Possibilities: Photos and sculpture. Thru Oct 31. Durham Arts Council, Durham. durhamarts.org.

Megan Bostic: Undeveloped Memories Mixed media. Thru Dec 7. VAE Raleigh, Raleigh.

Wim Botha: Still Life with Discontent Mixed media. Thru Dec 1. 21c Museum Hotel, Durham. ncartmuseum.org.

Kennedi Carter: Godchild Thru Jan 31.

21c Museum Hotel, Durham.

21cmuseumhotels.com/durham.

A Certain Uncertainty; from the Cassilhaus Collection Thru Nov 24. Horace Williams House, Chapel Hill. preservationchapelhill.org. conTEXT: A Calligraphic Journey Thru Nov 7. NCSU’s The Crafts Center, Raleigh. crafts.arts.ncsu.edu.

Cosmic Rhythm Vibrations Art inspired by music and rhythm. Thru Mar 1. Nasher Museum of Art, Durham. nasher.duke.edu.

José Manuel Cruz: Urban Cultural Footprints Thru Oct 31. Triangle Cultural Art Gallery, Raleigh. triangleculturalart.com.

Dirty South Jasmine Best, Laura Little, Aaron McIntosh, Renzo Ortega. Thru Nov 30. Artspace, Raleigh. www.artspacenc.org.

Encantada | Enchanted Thru Dec 20. Duke Campus: John Hope Franklin Center, Durham.

Fantastic Fauna-Chimeric Creatures Thru Jan 26. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Elissa Farrow-Savos: Truth Matters Mixed media. Thru Oct 30. Gallery C, Raleigh. galleryc.net Peter Filene & Bill McAllister Photos. Thru Nov 10. FRANK Gallery, Chapel Hill.

Hal Goodtree & Students: Photos. Thru Nov 9. Through This Lens, Durham.

Harriet Hoover, Vanessa Murray, Rusty Shackleford Thru Jan 5. Oneoneone, Chapel Hill. oneoneone.gallery

Frank Konhaus & Ellen Cassily: Cassilhaus Collection Photos. Thru Nov 24. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Andrew Kozlowski: Maria Martinez-Cañas: Rebus + Diversions Mixed media. Thru Jan 12. CAM Raleigh, Raleigh.

Momentum @ Hamilton Hill 2D and 3D art. Reception: Nov 16, 5-8 p.m. Thru Dec 31.

Hamilton Hill, Durham.

More Outsider Art in the Visitors Center Folk art. Group show. Thru Nov 29. Alexander Dickson House, Hillsborough. mikesarttruck.com.

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CO NT’D

New Orleans Second Line Parades Photos. Thru Dec 31. Love House and Hutchins Forum, Chapel Hill. southerncultures.org.

Now It’s Dark Prints.

Thru Nov 15. 10 a.m. Holy Mountain Printing, Durham. holymountainprinting.com.

Nuevo Espíritu de Durham: New Spirit of Durham Personal stories and images. Fri, Sep 13. Thru Jan 5. Museum of Durham History , Durham. cityofraleighmuseum.org.

Orange County Artists Guild Open Studio Tour Seventy-eight artists. Thru Nov 10. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Fahamu Pecou: DO or DIE: Affect, Ritual, Resistance Thru Nov 21. UNC’s Sonja Haynes Stone Center, Chapel Hill. stonecenter.unc.edu.

Portraying Power and Identity: A Global Perspective Thru Jan 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com/durham.

QuiltSpeak: Uncovering Women’s Voices Through Quilts Thru Mar 8. NC Museum of History, Raleigh. ncmuseumofhistory.org.

Nathaniel Quinn Paintings.

Thru Nov 1. Smelt Art Gallery, Pittsboro.

Fahamu Pecou: DO or DIE: Affect, Ritual, Resistance Thru Nov 21. UNC Campus: Sonja Haynes Stone Center, Chapel Hill. stonecenter.unc.edu.

Philip M. Rosoff: 1+1 Photos.

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

Lynn Saville: Photos. Thru Nov 9. Through This Lens, Durham. throughthislens.com.

Elissa Farrow Savos Mixed media. Thru Oct 30. Gallery C, Raleigh. galleryc.net She Who Tells a Story Thru Dec 1. Ackland Art Museum, Chapel Hill. ackland.org.

Southbound: Photographs of and about the New South Thru Dec 21. Gregg Museum of Art & Design, Raleigh, an Power Plant Gallery, Durham. powerplantgallery.com.

SATURDAY, NOVEMBER 2

JIMMY SANTIAGO BACA

Southern Oracle: We Will Tear the Roof Off Interactive sculptures. Thru Oct 31. NC Museum of Art, Raleigh. ncartmuseum.org.

In an interview with The Sun Magazine in 1980, the poet Jimmy Santiago Baca said, “Just as you’re born to cry when you come out of the womb, you’re born with responses that are much deeper than that.” This feels true to his populist poetry, which uses spare language to translate visions about love, loss, and immigration. Baca first learned to read and write while in prison in the 1970s; while serving time, he began sending his poems to magazines, and his first book, Immigrants in Our Own Land, was published to critical acclaim. Mario T. García, professor of Chicana and Chicano studies and history at UCSB, has written that “Baca is a voice of Chicano survival in a country that has too often marginalized Chicanos and other Latinos.” Local writer Richard Krawiec will host this thirdannual author event at the Durham Literacy Council. Tickets for the VIP reception are $100 and include refreshments and a signed copy of the book; regular tickets to the talk are $25 and student tickets are $10.

—Sarah Edwards

Damian Stamer: Unseen Watercolors and works on paper. Thru Nov 2. Craven Allen Gallery, Durham. cravenallengallery.com.

Sydney Steen: Fault Lines Vignettes. Thru Oct 25, 2020.

21c Museum Hotel, Durham.

21cmuseumhotels.com.

Leigh Suggs: No One Ever Makes a Promise in a Dream Thru Nov 3. Oneoneone, Chapel Hill. oneoneone.gallery.

Dawn Surratt & Lori Vrba: (en)compass Mixed media.

Thru Dec 20. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

Teens, Inspired: Home Poems, mixed media. Thru Jan 3. NC Museum of Art, Raleigh.

Trudy Thomson & Dawn Hummer: Fiber ConFigurations Fiber art. Thru Oct 31.

Reception: Oct 11, 6-8 p.m.

The ArtsCenter, Carrboro. artscenterlive.org/gallery.

LEVIN JEWISH COMMUNITY CENTER, DURHAM 5:30 p.m., $25–$100, www.durhamliteracy.org

Cheryl Thurber: Documenting Gravel Springs, Mississippi, in the 1970s Photos. Thru Mar 31. UNC’s Wilson Special Collections Library, Chapel Hill.

Trudy Thomson & Dawn Hummer: Fiber ConFigurations Fiber art.

Thru Oct 31. The ArtsCenter, Carrboro. artscenterlive.org. ¡Viva Viclas!: The Art of the Lowrider Motorcycle Guest curator Denise Sandoval. Thru Feb 9. CAM Raleigh, Raleigh. camraleigh.org.

What in the World Is a Grain Mummy? Egyptology and art.

Thru Jan 8. NC Museum of Art, Raleigh. ncartmuseum.org.

Jimmy Santiago Baca PHOTO BY GLORIA GRAHAM/WIKIPEDIA

READINGS & SIGNINGS Richard Bell Stolen: Five Free Boys Kidnapped into Slavery and Their Astonishing Odyssey Home. Tue, Nov 5, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Wes J. Bryant Hunting the Caliphate: America’s War on ISIS and the Dawn of the Strike Cell. Wed, Nov 6, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

30 | 10.30.19 | INDYweek.com

Andy Greenberg Sandworm: A New Era of Cyberwar and the Hunt for the Kremlin’s Most Dangerous Hackers. Mon, Nov 4, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Jill Heinerth Into the Planet: My Life as a Cave Diver. Fri, Nov 1, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Bernard L. Herman A South You Never Ate: Savoring Flavors and Stories from the Eastern Shore of Virginia. Sat, Nov 2, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Kevin M. Levin Searching for Black Confederates. Wed, Oct 30, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com Ricky Moore Saltbox Seafood Joint Cookbook. Mon, Nov 4, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com Cat Warren What The Dog Knows. Sat, Nov 2, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

LECTURES, ETC. Old North State Storytelling Festival Fri: 7 p.m.; Sat: 10 a.m., 1:30 p.m., & 7 p.m. $15-$50.

Nov 1-2. The Cary Theater, Cary. thecarytheater.com

stage OPENING Carolyn Adams Play. Fri & Sat at 8 p.m., Sun at 3 p.m. $17. Nov 1-10. The ArtsCenter, Carrboro. artscenterlive.org.

Cristela Alonzo Comedy. $20. Tue, Nov 5, 7 p.m.

Raleigh Improv, Raleigh.

Boom or Bust Burlesque. $25-$35. Thu, Oct 31, 7 p.m.

The Fruit, Durham.

A Bronx Tale Musical Musical.

Tues-Thurs: 7:30 p.m., Fri: 8 p.m., Sat: 2 p.m. & 8 p.m., Sun: 1 p.m. & 7 p.m. $31+. Nov 5- 10.

Durham Performing Arts Center, Durham. dpacnc.com.

Louis C.K. Comedy. $38-$48. Tue, Nov 5, 7:30 p.m. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

Lavell Crawford Comedy.

Fri-Sat: 7:30 p.m. & 10 p.m.

Sun: 7 p.m. & 9:45 p.m. Nov 1-3, Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Dead Parents Society Comedy. $15. Wed, Oct 30, 8 p.m. The People’s Improv Theater (PIT), Chapel Hill. thepit-chapelhill.com.

Durham 150 Closing Ceremony Talks, video, and acting. $15+. Sat, Nov 2, 7:30 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

Girls & Ghouls Drag show. $5.

Thu, Oct 31, 10:30 p.m. Local 506, Chapel Hill. local506.com.

Todd Glass Comedy. Fri-Sat: 8 p.m. and 10:30 p.m.; Sun: 7:30 p.m. $20. Nov 1-3. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Loni Love Comedy. Fri: 7 p.m. & 9:15 p.m.; Sat: 6:30 p.m. & 9 p.m. $22. Nov 1-2, Raleigh Improv, Raleigh.

Paint and Punchlines Comedy and paint night. $59. Wed, Oct 30, 5 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

FRIDAY, NOVEMBER 1–SUNDAY, NOVEMBER 10

CAROLYN ADAMS

Gwyneth Benitez-Graham in Carolyn Adams

RuPaul’s Drag Race Drag show. $56+. Thu, Oct 31, 8 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

Scream Queens! Burlesque. $12-$15. Sat, Nov 2, 9 p.m. Kings, Raleigh. kingsraleigh.com.

They/Them’s Got Jokes Comedy. Benefitting Carolina Abortion Fund. $10-$25 suggested. Fri, Nov 1, 7 p.m. The Pinhook, Durham. thepinhook.com.

PHOTO COURTESY OF THE ARTSCENTER

Treatbag 2019 Haunted brewery show. $10.

Thu, Oct 31, 8 p.m. Ponysaurus Brewing Co., Durham. ponysaurusbrewing.com.

ONGOING Be More Chill NRACT. Musical. $20-$22. Fri: 8 p.m.

Sat: 8 p.m. Sun: 3 p.m. Oct 25-Nov 10, North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

Dairyland Playmakers Repertory Company. Play. $15+. Thru Nov 3. UNC Campus: Center for Dramatic Art, Chapel Hill.

Illuminated Dresses ThursSat: 7:30 p.m.; Sun: 2 p.m. Thru Nov 3. Burning Coal Theatre at the Murphey School, Raleigh. burningcoal.org.

You’re a Good Man, Charlie Brown Raleigh Little Theatre.

Musical. $17. Thu-Fri: 7:30 p.m. Sat-Sun: 1 p.m. & 5 p.m. Oct 25-Nov 3 Raleigh Little Theatre, Raleigh.

The ritual is ancient; each fall, on Monday nights, a bunch of the boys get together at the secondhand sporting-goods store for TV football. So if someone or something were to come back to a small town in northern California years later, looking for one or more of them, they’d know exactly where to go. Playwright Mark Cornell, winner of the Southeastern Theatre Conference’s 2019 Getchell New Play Contest and the American Association of Community Theatre’s 2020 NewPlayFest award, calls his latest work a comic drama in which the camaraderie of a league of very ordinary gentlemen is interrupted by the arrival of a woman with a mysterious tie to local girl who died tragically many years before. Nancy Lane directs a cast including Gwyneth Benitez-Graham, Evit Emerson, and Mark Jantzen in this Full Nelson Theater production about friendship, love, holding on, and letting go.

—Byron Woods

THE ARTSCENTER, CARRBORO 8 p.m. Fri.–Sun./3 p.m. Sun, $17, www.artscenterlive.com

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 10.30.19 | 31

screen SPECIAL SHOWINGS A Place To Stand Followed by Q&A with Jimmy Santiago Baca. Donation suggested.

Sun, Oct 27, 4:30 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Creature From The Black Lagoon $10. Sat, Nov 2, 10 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Don Giovanni $15. Sun, Nov 3, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Dos Fridas Fri, Nov 1, 8 p.m.

NC Museum of Art, Raleigh. ncartmuseum.org.

Eddie And The Crusaiders, I Wanna Hold Your Hand $10. Fri, Nov 1, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Halloween (1978) $6. Thu, Oct 31, 7 p.m. The Cary Theater, Cary. thecarytheater.com.

Halloween (2018) $6. Thu, Oct 31, 9 p.m. The Cary Theater, Cary. thecarytheater.com.

The Monster Squad $8.

Thu, Oct 31, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Parasite Sold out. Wed, Nov 6, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Secret Life: Jeffery Dahmer $5. Fri, Nov 1, 10 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Witches of Eastwick $6.

Thu, Oct 31, 2 p.m.

The Cary Theater, Cary. thecarytheater.com.

OPENING Harriet—Kasi Lemmons stars in this biographical film about the heroic abolitionist Harriet Tubman. Rated PG-13.

Jojo Rabbit—This black comedy is about a German boy who discovers that his mother is hiding a Jewish girl in the attic. Rated PG-13.

Motherless Brooklyn—Edward Norton plays a loner private detective with Tourette’s syndrome in this adaptation of the Jonathan Lethem novel.

Rated PG. Terminator: Dark Fate—It’s like nothing after Terminator 2: 32 | 10.30.19 | INDYweek.com

Judgement Day ever happened as James Cameron returns to the fold of the classic sci-fi franchise. Rated R. Where’s My Roy Cohn?–This documentary about Donald Trump’s mentor and fixer exposes the seamy roots of the American political machine.

Rated PG-13.

N OW P L AY I N G

The INDY uses a five-star rating scale. Unstarred films have not been reviewed by our writers.

Downton Abbey—King George V and Queen Mary pay a visit to the abbey and cause a flurry of activity in this spin-off of the television series. Rated PG. Abominable—A yeti must be reunited with his family in this computer-animated adventure.

Rated PG.

Downton Abbey—King George V and Queen Mary pay a visit to the abbey and cause a flurry of activity in this spin-off of the television series. Rated PG.  Fast & Furious Presents: Hobbs & Shaw—The testosterone-driven repartee between Dwayne Johnson and Jason Statham is the only reason to endure this cartoonish, logically and temporally challenged CGI fest. Rated PG-13. —NM The Gemini Man—Will Smith always seems to be being hunted by mutants and/or clones; in this horror flick, the clone killer is his younger self.

Rated PG-13.

Ad Astra—A tortured but calm Brad Pitt traverses the solar system in search of his lost father. Rated PG-13.

½ Good Boys—In this Superbad for tweens, a trio of sixth-grade BFFs have misadventures as they try to find the cool-kids party. The profuse profanity is cut by the kids’ infectious charm.

Rated R. —NM

The Addams Family —In this star-studded new Addams installation, the macabre clan face-off with a reality television show host. Rated PG.

Hustlers—The true story of strippers drugging and stealing from Wall Street stock traders is the stuff think pieces are made of. Rated R.

 After the Wedding— Julianne Moore and Michelle Williams outshine the script, in this gender-flipped remake of the 2006 Danish drama. Rated PG-13. —Glenn McDonald

IT Chapter Two—The mixed reviews for the second part of Stephen King’s killer-clown opus mainly agree that it’s just not that scary. Rated R.

½ Angel Has Fallen— Secret Service agent Mike Banning is framed for an assassination attempt on POTUS. It’s not as wretched as London Has Fallen, and Nick Nolte as a conspiracy theorist is almost worth it.

Rated R.—Neil Morris Black and Blue—A rookie cop captures a murder by corrupt cops, in this timely thriller.

Rated R. Countdown—Apps may kill us all, and in this horror film, they do (the app in question is a countdown clock that predicts your time of death; not surprisingly, it may also be a killing mahine). Rated PG-13 The Death of Dick Long—A couple of ne’er-do-wells in small town Alabama find themselves covering up a crime, when their bandmate bro turns up dead. Rated R.

Jexi—A man’s life is ruined by his phone, when an AI program goes haywire. Rated R. Joker—At first, the buzz around this star vehicle for Batman’s greatest villain was all about Joaquin Phoenix’s intense turn in a role Heath Ledger made famous. But as more details of the plot have emerged, there’s been a justified backlash about what sounds like an antihero myth for violent incels. Rated R.

WEDNESDAY, NOVEMBER 6

WORKING GIRL

tk PHOTO BY TK

Mike Nichols’s beloved workplace comedy turned thirty last year, which is around the age that his prototypical career woman was in the film. Melanie Griffith stars as Tess McGill, a secretary whose working-class Staten Island origins are betrayed by her rubber-banded desk folders and her amazement at the concept of an open bar. To get to the top, Tess must betray her ice-queen boss, Katharine Parker—played to perfection by Sigourney Weaver—by impersonating her while Parker is in the hospital. It’s a cinderella story with a slippery grasp of feminism; the whole conceit being that there’s only one seat for a woman at the corporate table, and that in order to get to it, you must take out the woman in that seat instead of making more room. But this seems pretty true to how it must’ve felt at the time. Other dated elements, including the shoulder pads, guazy sunset hues, and a young Harrison Ford in a suit, are a pleasure to take in. —Sarah Edwards

THE CAROLINA THEATRE, DURHAM 7p.m., $7, www.carolinatheatre.org ½ The Lion King— Jon Favreau’s photorealistic palette is the boon and bane of Disney’s “live-action” computer rendering of an animated classic. Rated PG. —NM Lucy in the Sky—This Noah Hawley film gives an existential touch to the story of disgraced astronaut Lisa Nowak (see: every tabloid story in 2007).

Rated R.

Judy—Renee Zellweger, in a role that will likely make her an Oscar frontrunner, plays Judy Garland during the last few years of her life. Rated PG-13.

Maleficent: Mistress of Evil— Angelina Jolie was perhaps born to do many things, but surely playing one of Disney’s greatest villianesses is one of them. Rated PG.

The Lighthouse—Birds caw, fog looms, and waves crash in this hallucinatory horror film about two lightkeepers, played

by William Dafoe and Robert Pattinson, who are trapped in a remote 1890s lighthouse Rated R.

 Once Upon a Time In Hollywood—Quentin Tarantino portrays the late-sixties Hollywood film industry and vaguely mumbles something about the Manson family in this tedious, irrelevant exercise in bland nostalgia for

a bygone era of unaccountable hypermasculinity. Rated R. —Marta Núñez Pouzols  The Peanut Butter Falcon—This heartwarming Tom-and-Huck tale features a breakout performance by Zack Gottsagen, who has Down syndrome, and a soulful Shia LaBeouf. Rated PG-13. —GM  Raise Hell: The Life and Times of Molly Ivins—This spirited documentary pays homage to Molly Ivins, a native Texan and the daughter of an oil tycoon who bucked both geography and genealogy to become a leading voice of the liberal left for more than fifty years. Unrated.

Rambo: Last Blood—The Vietnam War was a long time ago now, but wily veteran Rambo is still out here, this time waging one-man war on a drug cartel. Rated R.

Ready or Not—A new bride is drawn into a brutal game of hide-and-seek with her husband’s wealthy family in this class-ragey, horrorcomedy-thriller. Rated R. Scary Stories to Tell in the Dark—The classic anthology of ghoulish tales gets mined for incidents in this horror throwback. Rated PG-13. ½ Spider-Man: Far from Home—It’s a bedrock truism that a superhero story is only as good as its villain, and Mysterio’s motivations are entirely and conspicuously dumb. Rated PG-13. —GM  Toy Story 4—A spork’s severe ontological distress ballasts a half-daring, half-predictable extension of a beloved animated franchise. Rated G. —NM Zombieland: Double Tap—A heartland sequel to the 2009 cult classic. Rated R.

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NOTICES DURHAM COUNTY BOARD OF ELECTIONS

Notice of Resolution to Adopt a Time for Counting of Absentee Ballots On 8/9/2019, the Durham County Board of Elections met at 201 E Main St., Durham, and adopted a resolution of the following effect: 1. The Board of Elections shall meet at 2:00 p.m. on Election Day, Tuesday, 11/5/2019 at 201 E Main St., Durham (Room 126), to count absentee ballots. 2.

The results of the absentee ballot count will not be announced before 7:30 p.m. on the date of the primary/ election. 3. The Board of Elections shall meet at 9:00 a.m. on Thursday, 11/14/2019 at 201 E Main St., Durham (Room 126), to count additional timely-received absentee ballots prior to the county canvass. 4. Any member of the public may attend these meetings.

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Debtors of the decedent are asked to make immediate payment. This TWENTY-THIRD day of OCTOBER, 2019. JAMES E. GRAHAM Jr., Executor, 7304 KRUME CT., APT. 1121, RALEIGH, NC 27613. INDY Week: 10/23, 10/30, 11/6, 11/13.

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Coming November 20:

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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 “puzzle pages” at the bottom of our webpage.

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this week’s puzzle level:

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

Best of luck, and have fun! www.sudoku.com solution to last week’s puzzle

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• On October 30, 1629, King Charles I granted much of the land of today’s NC and SC, referred to as Carolana, to Sir Robert Heath. The Carolana land grant is the original source for the name “Carolina.”

• On November 3, 1835, UNC professor Elisha Mitchell declared a peak in the Black Mountains, today’s Mount Mitchell, the highest peak east of the Mississippi River.

DANCE CLASSES IN LINDY HOP, SWING, BLUES At Carrboro ArtsCenter. Private lessons available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

T H E U LT I M A T E

OUTDOOR SPA

Courtesy of the Museum of Durham History

ASHEVILLE, NC

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