INDY Week 10.11.17

raleigh 10|11|17

PIPE SCHEMES DUKE ENERGY wants to build a $5 billion natural gas pipeline through eastern North Carolina. They’ll have to go through MARVIN WINSTEAD first.

B Y E R I CA H E L L E R S T E I N

P. 10

2 | 10.11.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK 6 From September 20 to October 9, Raleigh saw thirteen days where the high temperature was at least six degrees above normal.

.

.

8 It’s incredibly easy to slip into the abyss of the American immigration system.

10 In North Carolina, about thirty thousand Native Americans live along the proposed route of the Atlantic Coast Pipeline.

16 Thelonious Monk was born in Rocky Mount one hundred years ago, but after his family traveled north during the Great Migration, he returned to the state exactly once.

VOL. 34, NO. 40

DEPARTMENTS 6 Triangulator 8 News 16 Music 20 Arts & Culture 25 Food 26 What to Do This Week 29 Music Calendar 33 Arts & Culture Calendar

20 The Articulating Value symposium aimed to create an inclusive dialogue about the worth of art, but, despite its best efforts, participants were almost exclusively white.

24 Marcel Marceau, the world’s foremost mime, rescued Jewish children during World War II. 25 Despite the stated focus of St. Roch Fine Oysters + Bar, the best thing might be the drinks.

ON THE COVER

Swift Creek, near where the Atlantic Coast Pipeline would pass (see page 10)

PHOTO BY ALEX BOERNER

PHOTO BY ALEX BOERNER

INDYweek.com | 10.11.17 | 3

PEt of the

WEEK

Raleigh Durham | Chapel Hill

PUBLISHER Susan Harper EDITORIAL

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

Erica Hellerstein, Sarah Willets

MUSIC EDITOR Allison Hussey COPY EDITOR David Klein FOOD EDITOR Victoria Bouloubasis LISTINGS COORDINATOR Kate Thompson THEATER AND DANCE CRITIC Byron Woods RESTAURANT CRITIC Emma Laperruque STAFF PHOTOGRAPHER Alex Boerner CHIEF CONTRIBUTORS Drew Adamek, Elizabeth

Bracy, Timothy Bracy, Michaela Dwyer, Spencer Griffith, Corbie Hill, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Angela Perez, Hannah Pitstick, Noah Rawlings, Bryan C. Reed, V. Cullum Rogers, Dan Ruccia, David Ford Smith, Zack Smith, Chris Vitiello, Patrick Wall INTERNS Emma Parna Gomes, Maddy Sweitzer-Lammé

PRODUCTION+DESIGN

PRODUCTION MANAGER Christopher Williams GRAPHIC+EDITORIAL DESIGNER Steve Oliva

OPERATIONS

BUSINESS MANAGER Alex Rogers

CIRCULATION

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

ROMEO, Romeo, wherefore art thou Romeo? Right here! I’m right here! I’m here and sweet as can be! I’m a youngster so I’ve got lots of energy and like to play, but I loooove those cuddles! Adoption fees for all dogs are just $50 for the month of October, and cat adoption fees are only $25!

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If you’re interested in featuring a pet for adoption, please contact

eroberts@indyweek.com

4 | 10.11.17 | INDYweek.com

Michael Griswold, JC Lacroix, Richard David Lee, Joseph Lizana, James Maness, Gloria McNair, Jeff Prince, Timm Shaw, Freddie Simons, Marshall Wade, Gerald Weeks

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Celebrating Dizzy Gillespie’s 100th Birthday!

Wednesdays Aug. 2 - Oct. 25 • 5 pm - 6:30 pm Market Plaza

JOHN BROWN BIG BAND — WITH NICHOLAS PAYTON —

Saturday, October 21, 2017 • 8PM • Carolina Theatre carolinatheatre.org for tickets

between Wilmington & Fayetteville Street

RESEARCH VOLUNTEERS Have you been in a relationship in which your partner assaulted you, physically hurt you, or threatened to harm you?

If you answered “yes” to having experienced any of these behaviors from a current or former intimate partner while living, working, or going to school in Orange County, NC, you may qualify for a study conducted by researchers from the School of Social Work at UNC at Chapel Hill. This study aims to learn about the strengths and needs of the Orange County community in addressing intimate partner violence, as well as intimate partner violence housing-related services.

Wednesday October 18th:

Honey Magpie sponsored sponsoredby by

Participation will consist of completing a brief background questionnaire and completing an audiotaped individual interview or focus group, which is a requirement of participation.

To participate you must be 18 years of age or older, have basic reading/writing skills in English, and be in a safe place (emotionally and physically).

All participants will receive a $30 gift card in appreciation for their time. Childcare is available to participants who need it.

For more information, please call Ms. Brittany Chesworth at 984-528-6041.

INDYweek.com | 10.11.17 | 5

ENDLESS SUMMER If you, like us, are wondering when fall is going to get its ass in gear—in other words, when we’re finally going to get a break from this stifling heat and suffocating humidity—you’re not alone. Across the globe, this September was the hottest September in at least four decades, and, more alarmingly, the only one of the twenty hottest months on record to not take place during an El Niño. (It was also the most active month on record for North Atlantic hurricanes.)

This is, of course, just happenstance, as we all know global warming is a fraud cooked up by the Chinese and the Illuminati or whatever. After all, why else would President Trump be ditching the Obama administration’s Clean Power Plan, as the administration announced Monday?

But we digress. In early September, you might recall, there was a cool snap in the Triangle, with highs going as low as 67 on September 12. But the latter part of this month—since right around the time autumn officially got started, on September 22—has consistently seen highs five or ten degrees above average, sometimes more.

How much of this heat wave is just weather being weather, and how much of it should be attributed to climate change, is beyond our ken—though it makes sense that, as the globe warms, we’ll see more of this unseasonable unpleasantness in the future.

Here are the daily high temperatures from September 17 (the Sunday of the week that summer turned to fall) to Monday, October 9.

DAYS OVER 90 DEGREES

91

91

2017 high temperature

60

40

9/17

9/18 9/19

9/20 9/21

9/22

9/23

9/24 9/25 9/26 9/27 9/28 9/29 9/30 10/1

DAT E 6 | 10.11.17 | INDYweek.com

Average high temperature

80

D E G R E E S I N FA H R E N H E I T

triangulator

94

10/2 10/3

10/4 10/5 10/6

10/7 10/8

10/9

+THE GREAT DIVIDE

According to a new poll released by Meredith College Monday, more than three-fifths of North Carolina voters support keeping Confederate monuments on public grounds.

What’s more, nearly that many believe the statues are “important monuments to North Carolina’s past,” while just 24 percent believe that they are monuments to racism.

These numbers, consistent with other polls, could make it harder for Governor Cooper to convince the N.C. Historical Commission to remove three Confederate monuments on the grounds of the state capitol.

But, more interesting, stark demographic divisions frame not just the monuments debate but also debates surrounding DACA, North Korea, and climate change.

So, for instance, while 70 percent of white voters, and almost 80 percent of members of the “silent generation” (those born from the mid-1920s to the mid-1940s), say that Confederate statues are important, more than half of black voters and almost 40 percent of millennials say they’re symbols of racism. Likewise, roughly a quarter of whites (and a third of Republicans) believe President Trump should do “nothing” for Dreamers, but nearly 60 percent of Hispanics want Congress to create a pathway to citizenship, not just legal residency. Moreover, a plurality of whites agrees with Trump’s decision to end DACA, while more than 75 percent of black and Hispanic voters think that decision was wrong. And more than two-thirds of millennials blame Trump for divisions in the country, while more than half of the silent generation thinks the protesters his administration has engendered are the problem.

PERIPHERAL VISIONS | V.C. ROGERS

None of this is particularly groundbreaking. As a rule, white people—white men, and especially older white men—lean culturally conservative; Democrats, especially nonwhite and millennial voters, stake out more progressive positions. It’s also not entirely unexpected, given the social science research, that we tend to silo ourselves off from those with differing positions—though the degree to which we do so is somewhat startling.

In the poll, only 20 percent thought it informative to talk politics with those who have a different perception of Trump; more than 30 percent said they wouldn’t bother.

+DEEP POCKETS

Supporters of turning the former Crooked Creek golf course in Fuquay-Varina into a county park are speaking out for it again as the project is set to be reheard by Wake County commissioners.

The proposal for what’s sometimes called South Wake Park returns to commissioners in their November 5 meeting. Commissioner Matt Calabria, whose district includes the proposed park, told the INDY that the plan generally resembles the one that generated much discussion at an August work session.

“The general tenets are roughly the same,” Calabria says. “The staff is doing their legal due diligence.”

According to Calabria, the question of whether the Fuquay-Varina park would fit into the county’s parks plan has been resolved.

That document sets out provisions for renovating, maintaining, and upfitting existing parks, not for future projects, he says.

During a public comment period at an

October 2 commission work session, Rolesville Mayor Frank Eagles reminded commissioners that a decision to build a county park in Fuquay-Varina would not be forgotten by Wake’s other towns.

“Crooked Creek Park sounds good,” Eagles said. “But Rolesville just purchased one hundred and ten acres of property, farmland, for development of a sports complex and park, and we expect our share, too. In talking to the other mayors, each municipality expects the same share. I hope you’ve got deep pockets.”

Asked about Eagles’s comment, Calabria says commissioners welcome requests from all parts of the county. “We’ve done work in just about every municipality,” he says.

Backers made the case for the park for a variety of reasons. Joel Sugarman, a Fuquay-Varina resident, told commissioners he recovered from a heart attack in part by walking along the closed golf course that could become a park.

“Having a local exercise place that’s close by my house, in addition to the Y where I go work out, has really helped save my life,” Sugarman said.

Supporters say the South Wake Park could fill a need for open space in this rapidly growing part of the county and create a place for families to join in activities.

But some board members questioned the need for the park when many other priorities require funding, including mental health care and affordable housing. And town officials in Fuquay-Varina have declined to contribute any resources to the park. triangulator@indyweek.com This week’s report by Jeffrey C. Billman and Thomas Goldsmith.

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INDYweek.com | 10.11.17 | 7

indynews

Off the Radar

WILDIN ACOSTA’S ASYLUM CASE IS PENDING. WHAT ABOUT THE OTHER MEMBERS OF THE NC6?

BY SARAH WILLETS It’s been twenty-one months since an Immigration and Customs Enforcement operation swept up a group of undocumented teenagers in North Carolina. They became known as the NC6, though more than six people were snatched from communities in this state in the early months of 2016.

Their detention sparked an outpouring of support around North Carolina, particularly in Durham, where Wildin David Guillen Acosta was taken into custody outside of his home while on his way to Riverside High School.

Acosta, now twenty, came to the United States in 2014, fleeing threats of violence after trying to convert gang members in Honduras to Christianity. Last week, he appeared before an immigration judge in Charlotte and was given a two-month continuance of his asylum case. He will return to Judge Stuart Couch’s courtroom on December 5 to learn his fate.

Because of the way Riverside wrapped itself around Acosta, he’s received more sustained attention than others considered part of the NC6. That isn’t to suggest there’s been apathy toward the other teens—community members, legislators, and advocacy groups all rallied on their behalf; it’s just that easy for someone to slip into the abyss of the American immigration system.

“There’s any number of things that are just completely impossible when the government is playing musical chairs with your client,” says Brian Hoffman, a lead attorney with the Southern Poverty Law Center’s Southeast Immigrant Freedom Initiative in Lumpkin, Georgia.

Closed proceedings are one way the system is shrouded in relative secrecy— although this does prevent sensitive information about a person from becoming public and reaching their persecutors abroad. Last week, Acosta gave permission for friends and supporters to join his hearing, normally a confidential proceeding. The group still had to turn off its cellphones and hand them to a guard to verify the devices were really off.

8 | 10.11.17 | INDYweek.com

Case information is also largely inaccessible. An 800 number for the Executive Office of Immigration Review only provides basic case details, like the date and location of an upcoming hearing. ICE’s online detainee locator will tell you where a person is detained, but not why or for how long.

Hoffman says immigration attorneys may be limited in what information they can get from courts and often have to rely on Freedom of Information Act requests to obtain client information, which can take months.

“I can say there are a few cases where if we had just been able to get a look at their file, they would not have been deported,” Hoffman says.

Detention centers, like Stew- Wildin Acosta PHOTO BY ALEX BOERNER art Detention Center in Lumpkin, where Acosta was detained for eron-Salmeron, who lived in Charlotte, was seven months, are isolated not only from deported in November 2016. According to detainees’ families but also from legal help.

The Charlotte Observer, his parents had been Hoffman says attorneys are often unable to keeping him home from school for fear of schedule phone calls with clients, who are ICE when he and his father were pulled over sometimes moved to other facilities withand he was detained. Padilla Guzmán, who out notice. lived in Wake County, was deported July 28 “We find even having our office five minafter his asylum application was denied. utes from the Stewart Detention Center, it’s According to advocacy group Action NC, difficult just getting a client in front of you to Salmeron-Salmeron had a pending asylum get the information we need,” he says. application when he was deported, although A search for the names of the NC6—Acosthis has been contested by the government, ta, Bilmer Pujoy Juárez, Yefri Sorto-Herwhich says there was a computer error. Salmnandez, Josué Alexander Soriano Cortez, eron-Salmeron, along with Pujoy Juárez, Santos Padilla Guzmán, and Pedro Artueach filed petitions arguing that their detenro Salmeron-Salmeron—will yield news tions had been unlawful—pulling their cases reports about their detentions as part of into the light of the federal court system. an immigration enforcement push aimed at Pujoy Juárez, who lived in Greenville at unaccompanied minors. But little comes up the time of his detention in late January since last summer.

2016, is due in immigration court NovemIn the interim, two—Padilla Guzmán and ber 9, according to the EOIR. (His attorney Salmeron-Salmeron—have been deportdeclined to comment.) According to his petied. Both had come to North Carolina tion, the Board of Immigration Appeals had fleeing gang violence in El Salvador. Salm-

reopened his removal proceedings in August 2016, rescinding a previous removal order and allowing his asylum case to proceed. An ICE spokesperson confirmed Pujoy Juárez is no longer in custody. (Que Pasa says he was released in late September 2016).

The same goes for Sorto-Hernandez, who is due in court April 5, according to the EOIR. Sorto-Hernandez lives in Charlotte and also fled gang violence in El Salvador.

He was detained on his way to his bus stop in late January 2016 while headed to West Mecklenburg High School.

The least information is available about Soriano Cortez. The EOIR lists no upcoming hearings and no information about an appeal to the BIA. According to ICE, he was released from custody on August 5, 2016.

“That’s all the detail I can provide under our privacy rules as he’s not in ICE custody,” says spokesman Bryan Cox. Soriano Cortez, who is from El Salvador, lives in Thomasville. He was detained at home in early February 2016. La Noticia reported that he had plans to become a police officer.

Although they are out of Stewart, a detention center where conditions have prompted calls for a shutdown, Acosta, Pujoy Juárez, and Sorto-Hernandez are not out of the woods. The Charlotte immigration court is notoriously tough for asylum cases. According to the EOIR, Charlotte judges in fiscal year 2016 granted just 17 percent of asylum applications. Couch, the judge Acosta faces, granted just 71 of 386 asylum applications that came before him from 2011–16.

President Trump—who in August said he “hates taking” asylum seekers—could make these odds even longer. On Sunday, the president demanded that any legislation protecting recipients of the Deferred Action for Childhood Arrivals program must include “tightening standards” in the asylum system to allow more detentions and deportations and the “expeditious” return of minors who came to the U.S. unaccompanied. swillets@indyweek.com

Morally Bankrupt

DURHAM COUNTY COMMISSIONERS TRY TO FIGURE OUT HOW MUCH A CONFEDERATE MONUMENT IS WORTH

BY SARAH WILLETS Four days after demonstrators tore down a Confederate monument in downtown Durham in August, District Attorney Roger Echols announced he would seek “a just resolution” for those charged with the statue’s toppling. That resolution would take into account “the pain in Durham and the nation,” as well as an assessment of the property damage, which he asked county manager Wendell Davis and the board of commissioners to estimate.

That estimate, county officials discovered, wasn’t easy to come by. Is the now-crumpled statue worth the modern equivalent of the $5,000 commissioners paid to erect it in 1923? Is the value whatever it would cost to replace the metal figure of a solider? Is this divisive object worth anything in a city always striving to be more inclusive?

After a closed session last Monday, county commissioners unanimously approved a letter to Echols attempting to reconcile the monetary value of the object with the social context surrounding it.

“In many ways, it’s very subjective, so that was really the challenge,” chairwoman Wendy Jacobs told the INDY. “I think everyone on our board felt really strongly that financial value had to be in the context of the value to our community.” Jacobs says commissioners received thousands of emails about the issue, most from people who felt the statue had little or negative value.

In 2017 dollars, Davis told commissioners Monday, the statue, including the still-standing base, was worth just over $71,000. Staff members figured the statue itself accounts for about a third of that value. Informal bids to replace the statue came in at about $28,000.

However, the board adds in the letter, the statue has “no moral value for our community.”

“Many people feel that the statue has been a harsh reminder of racial discrimination, oppression, pain and suffering,” the letter

reads. “We understand some people in our community feel that the statue has historical, cultural or personal value to them and we also recognize that to many people in our community, the statue has little or even negative value.”

Commissioner Heidi Carter objected to including the word “moral.” She said she would have preferred a stronger statement, but that it was important for the board to get behind a unified message.

“The most important part for me, however, is the worth to our community, and that’s the kind of value I really wanted us to hit a little harder. I feel like we’re skirting it a little,” she said during the meeting. “… We don’t have to say moral value—it’s value. I wish we felt like we could be strong enough to just come out with ‘value.’”

Carter says she thought more of the process should have been public, as opposed to taking place in a closed session.

“I absolutely thought any discussion of the wording of that letter needed to be public,” she says, adding, “I think that it was reasonable to go into closed session to discuss the actual general statute that limits what we can do with public monuments.”

Jacobs says the board was operating in unfamiliar legal territory, first by interpreting the untested 2015 state law protecting Confederate monuments, and second by providing information that would be taken under advisement by a prosecutor.

The board left with plans to continue discussion of all of Durham’s memorials, monuments, and historical honors.

“The toppling of that statue toppled kind of the veil of peace to some degree over the community and unleashed concerns that some people probably carry around inside them,” said Commissioner Ellen Reckhow.

“I think this is the beginning of probably what will be much more extensive discussion about the remainder of that monument.” swillets@indyweek.com

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OCT 15

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OCT 22 SPECIAL FILM SCREENING

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“Many people feel that the statue has been a harsh reminder of racial discrimination, oppression, pain, and suffering .”

INDYweek.com | 10.11.17 | 9

I

f you look closely, you can see the signs scattered throughout Nash County, poking out from sprawling fields and sun-scorched patches of grass. They come in all shapes and sizes. Some are bright yellow with just one word: DANGER. Others are square and white with a circle and a slash. All of them have the same message, peppering a sleepy, rural stretch of land with a small yelp of protest: No Atlantic Coast Pipeline.

PIPE SCHEMES Duke Energy wants to build a $5 billion natural gas pipeline through eastern North Carolina.

They’ll have to go through Marvin Winstead first.

BY ERICA HELLERSTEIN 10 | 10.11.17 | INDYweek.com

PHOTOS BY ALEX BOERNER

On a hot afternoon in September, Marvin Winstead strides confidently to his sign, propped up against a pile of overgrown grass.

“This is where it’s scheduled to go,” he says, gesturing to the ground and then pointing across the street, to a dense forest brimming with bushes. “What they’ll do is come through here and just knock all these trees down. They don’t have any concern for the impact …” he trails off, shaking his head.

When Winstead talks about the pipeline, he gets angry. Occasionally, he’ll launch into a ten-minute diatribe, barely taking a breath.

The whippet-thin farmer is sixty-six years old, with kind eyes and a gray mess of hair that juts out from a black baseball cap. Just behind him stretches the seventy-acre farm that has been in his family for generations. It’s currently growing soybeans; at other times of the year, it sprouts corn, cotton, and wheat.

Winstead is one of about a thousand landowners in North Carolina who would be affected by the proposed Atlantic Coast Pipeline, a $5 billion joint venture by Duke Energy, Dominion Energy, Piedmont Natural Gas, and Southern Company Gas. Fortytwo inches in diameter, the pipeline would cross six hundred miles of the Southeast, transporting fracked natural gas from West Virginia through the verdant Shenandoah National Park and into eight eastern North Carolina counties: Northampton, Halifax,

Nash, Wilson, Johnston, Sampson, Cumberland, and Robeson.

The project, part of a series of pipelines popping up around the Southeast, would be capable of transporting 1.5 billion cubic feet a day of natural gas to customers in North Carolina and Virginia, according to Atlantic Coast Pipeline LLC, the joint venture of Dominion and Duke. ACP calls it a “vitally important infrastructure project that will ensure the economic vitality, environmental health and energy security of the MidAtlantic region.”

Across the state, however, a dedicated base of opponents has mobilized, from Asheville to Fayetteville. They worry that the pipeline will cause irreparable environmental damage, lead to rising utility costs, and disproportionately affect poor and minority communities.

In North Carolina alone, they point out, about thirty thousand Native Americans live along the proposed route.

“There’s no question that, if you look into it, Native American communities are disproportionately impacted,” Winstead says.

“These companies are driven by greed. To me, they’re traitors to society. They’re compromising our safety, our health, and they are harming the air that you breathe.”

W

instead first learned about the pipeline in May 2014, when he received a letter from the project’s developers saying they intended to run the pipeline underneath his farm.

“The idea that they want to transport fracked gas across my property is insulting,” he says.

An avid environmentalist, Winstead opposes fracking generally and is concerned about the potential harm to the more than 320 waterways the pipeline would cross in North Carolina. He also worries about living so close to the route—in 2016, there were thirty-eight serious pipeline accidents in the U.S., resulting in sixteen deaths and eightysix injuries, according to the Pipeline and Hazardous Materials Safety Administration—and the livelihood of his crops.

“It’s only common sense that if you’re going to come through my farm and dig a deep ditch, no matter what they say when they put it back, it’s not going to be the same,” he says. “That field, with the nice green luscious soybeans growing, will not be that productive. It will destroy the soil structures, and the fertility will be compromised.”

The landowners in the pipeline’s path got a reprieve last week, when the N.C. Department of Environmental Quality made public a September 26 letter to ACP denying the company’s application for a water-qual-

ity permit. However, the DEQ invited ACP to resubmit its application with additional information about the project’s impacts on streams and waterways. In a statement, Duke called the decision a “normal part of the process.”

Another big decision awaits, as well. Sometime soon, perhaps this month, the Federal Energy Regulatory Commission is expected to issue its approval decision for the project.

The developers need both to proceed.

Winstead is currently hedging his bets.

He’s refused to sign an easement agreement, a one-time payment the developers are offering landowners. (Winstead won’t say how much ACP offered him.)

If the project goes ahead and Winstead is in the way, the developers could take him to court under eminent domain laws, an effort to move forward despite his objections.

But until that happens, Winstead says, he won’t make the process any easier for ACP than it needs to be.

“They’re going to have to get a court order to come in here and survey,” he says. “And I’m going to fight it. They may very well construct the pipeline on my property, but the red carpet will not be rolled out for them.”

S

ince its introduction, the Atlantic Coast Pipeline has been controversial.

The ACP is one of eleven proposed pipeline projects in the Southeast, five of which have already been green-lighted by the FERC. They’re part of a natural gas building boom situated in the Appalachian Basin, which is home to the gas-rich Marcellus and Utica shale formations, primarily in Ohio, West Virginia, and Pennsylvania. Over the past decade, natural gas production in the region has shot up, thanks to improvements in fracking technology, which has allowed for access to previously unreachable gas deposits.

Since 2009, natural gas production in the Appalachian Basin has increased thirteenfold, according to a report last year from the advocacy group Oil Change International. In 2010, the area accounted for just 4 percent of the nation’s gas production; by 2030, according to the study, it could supply as much as 50 percent.

“This small region is slated to out-produce the rest of the country by a long way,” says Lorne Stockman, senior research analyst at Oil Change International and the primary author of the report. “Pennsylvania would produce more gas than Texas if this all goes ahead. It’s a huge geographical shift.

It’s kind of a frenzy where everyone just wants to get their project built, and there’s very little scrutiny on how much of this is really needed.”

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11th Annual

Storytelling Festival of the Carolinas Laurinburg, NC October 21st & 22nd, 2017

Mesmerizing. Captivating. Dramatic.

If you have never experienced the on-stage performance of storytelling, you owe it to yourself and your family to join us for The Storytelling Festival of the Carolinas, an annual event held this year on Saturday, October 21st and Sunday, October 22nd, 2017.

Get ready to be utterly spellbound for two days as internationally renowned performers spin their magic and touch every emotion from laughter to horror to tears. (Yes, they’re that good.)

Held at the Storytelling and Arts Center in downtown Laurinburg, NC, the festival has a central stage to assure you’ll hear the best storytelling this side of Garrison Keillor.

Single day adult tickets begin at $20. Single day and weekend tickets are available - as are military, senior and family packages.

www.storyartscenter.org INDYweek.com | 10.11.17 | 11

The boom comes as energy companies— motivated in part by the Obama administration’s efforts to reduce carbon emissions from power plants—are turning away from coal-fired power plants and moving instead to the somewhat cleaner natural-gas-powered plants.

In 2016, coal accounted for nearly 70 percent of carbon emissions in the U.S, according to the U.S. Energy Information Administration. The same year, natural gas surpassed coal as the leading source of power generation in the country, providing about 34 percent of America’s electricity, compared with coal’s 30 percent. (Between 2000 and 2008, coal contributed to 50 percent of the country’s energy supply.)

Over the next few years, coal and natural gas are expected to compete for market share, but energy experts agree that coal will never regain its prior dominance. In short: natural gas is here to say.

But a growing number of scientists say the so-called natural gas race could do serious damage to the air and water and pose a threat to the goal of reducing greenhouse gas emissions. That’s because natural gas is mainly composed of methane, an exceptionally potent greenhouse gas that also contributes to global warming. Although natural gas produces about half as much carbon dioxide as coal when it’s burned, the bigger problem occurs when it leaks.

As Bill McKibbin, the founder of 350.org, explained in an op-ed in The Seattle Times, “If [natural gas] leaks unburned into the atmosphere, then methane traps heat about 80 times more effectively, molecule for molecule, than CO2. The point of this chemistry lesson is: If as little as 3 percent of natural gas leaks in the course of fracking and delivering it to the power plant through a pipe, then it’s worse than coal. And, sadly, it’s now clear that leakage rates are higher than that.”

In 2013, he continued, aerial photos of a Utah fracking basin found leakage rates as high as 9 percent.

Given these concerns, ACP opponents ask, why commit to a risky, decades-long fracked gas infrastructure when renewable energy sources are becoming less expensive and more widely adopted?

“Why are we trying to build so fast?” asks Caroline Hansley, the dirty fuels organizing representative for the Sierra Club. “My perspective is that if they get these investments funded by the regulatory agencies at the federal and state level now, they’ll be locked in to be able to recoup investments for twenty to thirty years down the road. And every day that goes by, solar and renewables are getting cheaper.”

12 | 10.11.17 | INDYweek.com

PROPOSED ATLANTIC COAST PIPELINE ROUTE NORTHAMPTON CO.

HALIFAX CO. NASH CO. JOHNSTON CO. CUMBERLAND CO.

WILSON CO.

ROBESON CO. Graphic by Shan Stumpf

A

CP backers say there’s not enough renewable energy to supplant gas. And instead of focusing on environmental impacts, they point instead to what they say will be the project’s economic gains.

Look no further than ACP’s economic benefit analysis of North Carolina, which estimates that the project’s construction will result in $680 million in economic activity, create more than 4,400 jobs, and generate more than a $1 million in annual tax revenue. (Once it’s built, ACP says the pipeline will generate nearly $12 million in annual economic activity and 925 jobs.)

It’s not hard to understand why that’s appealing. The pipeline will make its way through some of the most impoverished parts of North Carolina, areas reeling from vanished industry and factory closures. Many are desperate for any positive economic news.

The eight North Carolina counties the pipeline will traverse all have poverty rates above 15 percent, according to the N.C. Department of Commerce. Halifax County, the fourth-most economically distressed county in the state, has a poverty rate of nearly 26 percent and an unemployment rate of more than 8 percent. And then there is Robeson County, where more than 40 percent of the population is Native American, with a poverty rate of 32 percent; and Wilson County, 40 percent African American, with a poverty rate of 24 percent.

Against that backdrop, Cheryl Parker, the mayor of Selma, a town of about six thousand in Johnston County, endorsed the project. She says her decision came in part from her experience on the Johnston County Economic Advisory Board, which she chairs.

There, she says, she sees the natural gas requirements from the industries she hopes

SAMPSON CO.

to attract to the area.

“In many cases, if you can’t check that box that you have it or have access to it, you get no further consideration,” she says. “You can count on that maybe as much as nine out of ten times, they want natural gas. And so in order to have manufacturing return to North Carolina, particularly eastern North Carolina, I see it as a necessity.”

Opponents say the economic growth claims are inflated, with supporters often recycling ACP’s numbers. They point to the FERC’s environmental impact statement from July, which found that the project would result in only eighty-two permanent jobs, and just twenty in North Carolina.

“Dominion chose a route that really couldn’t be more environmentally destructive—through the steep mountains of western Virginia and West Virginia and through some of the most intact, undeveloped forests in the Southeast,” says Greg Buppert, a senior attorney at the Southern Environmental Law Center. “But the Dominion PR machine is very effective and has reached out to local elected officials, state elected officials, and federal elected officials, delivering their message. And unfortunately, that’s the information officials are using to make decisions.”

Among them is the Trump administration, which has ranked the ACP twentieth on its list of fifty top infrastructure projects. The pipeline has also garnered the support of numerous state lawmakers. In April, sixteen legislators from Virginia, West Virginia, and North Carolina sent a letter to the FERC, urging officials to approve the pipeline. Among the signatories were Senate leader Phil Berger, House Speaker Tim Moore, and Senate minority leader Dan Blue, a Raleigh Democrat. (Blue, Berger,

and Moore did not respond to requests for comment.)

Still, the project isn’t a done deal. Before development can begin, the project must be approved by the FERC and a host of state agencies. The DEQ and its Virginia and West Virginia equivalents, for example, need to issue water-quality permits stipulating that the pipeline is in compliance with the Clean Water Act. West Virginia and Virginia have yet to issue their decisions.

And while the DEQ rejected ACP’s application last month, Duke Energy said in a statement that the rejection was no big deal: “Disapproval and resubmittal of the application is the process they use to ask for more information or to address their comments.”

If the agency ultimately denies the permit, Buppert says, that would be “fatal to the project,” though the developers would likely appeal.

Such a rejection would be stunning, opponents say, because of the clout Duke wields.

In 2012 and 2014, according to the Institute for Southern Studies’ Facing South, the company contributed $944,250 to North Carolina political campaigns and committees. According to campaign finance records, Governor Cooper received $21,000 from Duke Energy from between 1996 and 2008. (Duke supported Cooper’s opponent, former Duke employee and governor Pat McCrory, in last year’s gubernatorial race.)

So far, Cooper has yet to make a statement on the project, and his office declined to comment for this story.

I

n his black Jeep, Winstead zips down a narrow, tree-lined road in Nash County, pulling over every so often to point out landmarks, like the tiny white church building where Governor Cooper’s father attended school. He parks his car and heads down a sloping hill to the shaded banks of a stream known as Swift Creek.

The air is stagnant and muggy, but it’s cooler by the shady edge of the creek. The leafy arms of trees fan out over the stream’s clear, rock-studded banks. Winstead cranes his neck and points to an area downstream, just out of sight. That’s where the pipeline would cross, he says. He ticks off a list of the major state waterways the pipeline would traverse, including the Tar, Roanoke, Neuse, and Cape Fear rivers, as well as the Swift and Fishing creeks.

“It’s not far-fetched to say that almost every significant river in eastern North Carolina has the potential to be impacted by this pipeline project,” he says.

According to the SELC and the Sierra Club, the project’s construction will affect 37,000 feet of 326 waterways and at least 467

acres of wetlands. In those waterways and wetlands, they write in comments submitted to the DEQ, “the blasting and the digging of trenches will occur directly in saturated waters, causing excessive sedimentation and destroying fragile layers of hydric soil that rely on stable, low-oxygen conditions to perform unique wetland functions.” That “can seriously impair aquatic life and habitats.”

“The builders of the ACP will be causing unnecessary degradation of water quality, of stream health, of the aquatic environment, and all those important species who depend on that environment,” says Matthew Starr, the Upper Neuse Riverkeeper. “This is to make money, and they’re going to do this at the expense of our streams, out water quality, and our environment.”

The SELC and Sierra Club dispute ACP’s estimate that the project will result in less than an acre of wetland loss. Instead, they say, “390 acres of forested wetlands will be deforested, or take over a century to recover—if recovery ever occurs.” That loss, they argue, can “dramatically reduce the particular wetland’s ability to store storm and floodwaters, which is essential given that North Carolina will likely experience future extreme storm events like Hurricane Matthew.”

“The SELC’s comments do not reflect the reality of how pipelines safely oper-

ate all across our country every single day,” Dominion spokesman Aaron Ruby counters in an email. “We’ve taken tremendous care throughout the entire process to protect water quality. We’re using some of the most protective construction methods ever used by the industry. We’ve also taken an unprecedented level of avoidance to minimize impacts on the environment. We’ve made hundreds of route adjustments to avoid environmentally sensitive areas, including wetlands, wildlife habitats, and countless water sources. It isn’t just us that disagrees with the SELC.” Ruby points to the FERC’s final environmental impact statement, which concluded that the project would “not result in a significant cumulative impact on the environment.” The pipeline would result in “some adverse effects,” but those could largely be reduced to “less-than significant levels” if developers follow the agency’s recommendations.

But what if they don’t?

In the past year, nineteen pipeline accidents have resulted in three deaths and twenty-five injuries, according to the U.S. Department of Transportation. Those incidents include several major spills: in January, the Ozark pipeline spilled more than fifteen thousand gallons of oil in Missouri;

in April, the Buffalo pipeline leaked nearly nineteen thousand gallons of oil onto farmland in Oklahoma; in July, the Longhorn pipeline spilled more than eighty-seven thousand gallons of oil in Texas.

Oil Change International’s Stockman points to the embattled Rover pipeline as an example of a natural gas pipeline gone awry.

The multibillion-dollar pipeline, which would travel from the Marcellus shale to the Midwest and Canada, got the OK from the FERC in February and is currently under construction. Already, though, it’s facing more than $2.3 million in fines from the Ohio Environmental Protection Agency for dozens of environmental violations, including disposing of industrial waste near drinking water sources and spilling two million gallons of drilling fluid into Ohio wetlands.

To date, the pipeline has received thirteen environmental violations from the Ohio EPA, more than any other major interstate natural gas pipeline built in the last two years, according to a Bloomberg analysis.

You shouldn’t be worried about that happening here, says Duke Energy spokeswoman Tammie McGee. “You have to know that we have thousands of miles of pipelines right now,” she says.

“Right this minute. [Pipelines have] been rated the safest way to transport natural gas

or to transport energy. It’s far safer by transporting by rail or by truck, and it’s closely overseen by the Department of Transportation after it’s in operation. We have multiple layers of safety in the pipeline, and it starts with manufacturing, the thickness of pipes, external and internal coding—we have the ability to cut off parts of the line from other parts of the line almost instantaneously if our sensors detect any kind of abnormality.”

McGee continues: “In all that we do, safety is our number one priority. We live it every single day. Dominion has a similar philosophy, so we are putting all precautions in place to ensure the safety of the communities where we will be working.”

J

ohn Whittemore climbs down a muddy path to the mouth of the Cape Fear River. Along the way, he’s greeted by a spider web, which he gingerly moves aside. He gazes across the water. There’s a large pile of branches stacked up, aftermath from the devastation caused by Hurricane Matthew.

“It got so bad,” Whittemore recalls. “You think about stuff like that, and you think, if we had a major pipeline right here during that, it would have busted.”

Whittemore, thirty-four years old, is Tuscarora—one of the local native tribes in east-

INDYweek.com | 10.11.17 | 13

ern North Carolina—and is one of thousands of Native American North Carolinians who might be affected by the pipeline. He grew up here in Fayetteville and comes to this park often—to swim, to entertain his young son, and to just hang out.

“Culturally, I identify with this land,” he says. “It’s my territorial homeland.”

Whittemore’s story adds another dimension to the battle over the Atlantic Coast Pipeline, one that has drawn comparisons to the controversial Dakota Access Pipeline. Thousands of activists converged on North Dakota last year to oppose the construction of a pipeline that would run near the Standing Rock Sioux Reservation. Soon after President Trump took office, the U.S. Army Corps of Engineers approved the pipeline, which the Obama admistration had halted in December. In June, however, a federal judge ordered the corps to reconsider its permits for the project.

According to a July article in the journal Science written by Ryan Emanuel, an associate professor at N.C. State and member of the Lumbee Tribe, nearly thirty thousand Native Americans live within 1.6 kilometers of the proposed pipeline and comprise 13 percent of the people potentially affected by it.

Emanuel crunched the same data federal regulators used for their draft environmental statement, but he says he found flaws in their analysis that masked the pipeline’s impact on Native American communities. Those flaws, he wrote, “rendered FERC’s analysis incapable of detecting large Native American populations along the route, leading to false conclusions about the project’s impacts.”

The FERC wasn’t swayed by his criticism.

In its final environmental impact statement, the agency concluded that “environmental justice populations would not be disproportionately affected” by the project.

Emmanuel doesn’t buy it. “We treat wetlands better than we treat poor and minority people in environmental justice reviews,” he says.

He says it’s ironic that all of this is playing out in eastern North Carolina. The region, after all, is where the environmental justice movement began in the early 1980s, when the residents of a primarily black town in Warren County organized against the construction of a hazardous waste landfill.

What’s happening now, Emmanuel says, is a textbook example of an environmental justice violation—in a place that invented the textbook.

“It’s a really powerful symbol to me,” he says. “It speaks to the fact that this is not a priority for the regulators and developers, it’s just a box they want to check and to move on to the next thing.”

If the pipeline goes ahead, Whittemore 14 | 10.11.17 | INDYweek.com

Alistair Bevett fishes underneath a bridge running over Swift Creek. says, the community is prepared to engage in the kind of activism that gave rise to the environmental justice movement in the first place.

“We like to think that this isn’t going to happen,” he says. “We really are fighting it permit to permit to permit. But if that doesn’t happen, we’re prepared to have another Standing Rock.”

U

ltimately, this decision isn’t up to activists or state politicians or even Duke Energy. It rests with state and federal agencies, including the DEQ and the FERC. The latter has opponents worried.

A recent investigation by the Center for Public Integrity found the FERC’s approval process to be nearly a rubber stamp. In the past thirty years, the agency has rejected just two pipelines out of hundreds of proposals.

“At best,” the investigators wrote, “FERC officials superficially probe projects’ ramifications for the changing climate, despite persistent calls by the U.S. Environmental Protection Agency for deeper analyses. FERC’s assessments of need are based largely on company filings. That’s not likely to change with a pro-infrastructure president who can now fill four open seats on the five-member commission.”

Since then, President Trump has filled two of those four open seats.

The FERC is currently composed of three members: Cheryl A. LaFleur, Neil Chatterjee, and Robert F. Powelson; the latter two

were confirmed by the Senate in August.

Chatterjee was previously energy policy adviser for Senate Majority Leader Mitch McConnell and helped lead the campaign against the Obama administration’s Clean Power Plan. Powelson, who served on the Pennsylvania Public Utility Commission, has criticized Maryland governor Larry Hogan for calling for a ban on fracking and argued that pipeline opponents are involved in a “jihad” against natural gas.

Asked about this apparent pro-pipeline predeliction, FERC media liaison Craig Cano referred the INDY to a 2014 decision by the U.S. Court of Appeals for the District of Columbia, which reads in part: “Presumably under most regulatory schemes, by the time applicants and their expert counsel have worked through changes, adaptations, and amendments, they are not likely to pursue many certificates that are hopeless. The fact that they generally succeed in choosing to expend their resources on applications that serve their own financial interests does not mean that an agency which recognizes merit in such applications is biased.”

A

CP opponents, dubious that the FERC will break with tradition, are instead placing their bets with the DEQ, which is run by the Cooper administration.

“It will be a courageous political decision when the Cooper administration decides to weigh in and deny this permit,” says Greg Yost.

He’s standing in front of the DEQ offices in Raleigh in September, on day nine of a one-man, twoweek fast to protest the ACP. (He ended up finishing on day eleven, when the DEQ delayed a decision on the water-quality permit.) By his side are other activists, including Tom Clark, a sixty-four-yearold from Fayetteville.

Clark hoists a familiar sign in the air, one of the “no pipeline” posters that are commonplace in Nash County. He lives along the pipeline route—about one thousand yards from where it is expected to cross, he says—but feels like his safety is an afterthought. What would happen if a gas leak or an explosion occurs, he wonders.

“I live in the sacrifice zone,” he says. “I don’t think you or anybody else would like your family to be considered sacrificial.”

Clark’s county, Cumberland, is among those that could be at risk in case of an explosion. In North Carolina, the FERC’s final environmental impact statement identified twenty-four areas known as “high consequence” zones—where, in the case of a pipeline rupture, there’s the chance of property damage, injury, or death. They’re situated in seven of the eight counties along the route— Cumberland, Northampton, Halifax, Nash, Wilson, Johnston, and Robeson.

A report by Clean Water for North Carolina calculated that the blast zone—the area where people could be hurt or killed if a pipeline explodes—extends 943 feet, a significantly larger estimate than the ACP’s 660-foot estimate. Clark’s fears aren’t theoretical: since 1997, according to the U.S. Department of Transportation, pipeline accidents have killed more than 320 people, injured more than 1,300, and cost more than $7 billion in property damage.

“If I go to bed tonight, I may not wake up in the morning,” Clark says. “And I have to live the rest of my life that way? Every time I leave home, I have to worry when I go back if my wife will be all right.”

Clark pauses, overcome with emotion.

“My grandmother passed away when I was six months old,” he eventually says. “My grandfather continued for decades farming and keeping this farm together by himself, so his family could have land. I always dreamed of living there. Now Duke and Dominion is gonna come up and do this?

No. I’ve done everything you told me. You’re not taking anything away from me.” ehellerstein@indyweek.com

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MONK@100

Tuesday, Oct. 17–Thursday, Oct. 26, Various times, $10–$25 Durham Fruit & Produce Company, Durham www.dukeperformances.duke.edu

Thelonious in Action

DUKE PERFORMANCES’ TEN-DAY MONK@100 FESTIVAL CELEBRATES THE UNBOUNDED LEGACY OF ONE OF JAZZ’S GREATEST ARCHITECTS

BY DAN RUCCIA

F

ew jazz composers or pianists have had as deep an effect on the form as Thelonious Monk. The North Carolina-born musician built his sound around a fundamental tension between tradition and modernity, between jazz history and a vision of some imagined future. The stereotypical Monk tune consists of fragmentary lines, strange chords, unusual rhythmic feels, and bizarre song forms. But he was equally capable of writing the sweetest melody imaginable, dotting a solo with unexpected references, and swinging just as hard as anyone else (even if his preferred tempo was a gentle foxtrot). In the early parts of his career, nobody could quite understand his iconoclastic compositions or his minimalist approach to soloing. But by the early sixties, he was one of the most lauded pianists and composers in jazz.

This year marks what would have been Monk’s hundredth birthday, and Duke Performances is celebrating with Monk@100: A Century of Genius, a wildly intense ten-day festival devoted to his music. Had he been a classical composer, the centenary script would be well established: ensembles all over the world would devote huge amounts of programming to his music. Jazz poses a trickier problem for this kind of retrospective. Its ethics promote novelty, individual expression, and change. It is a progressive form that eschews the museum-style trappings that seem to weigh down so many orchestras. Jazz values improvisation and spontaneity, making the music impossible to pin down completely. To celebrate a jazz musician in a meaningful way, you have to decide what to focus on: do you try to play the notes themselves or do you focus on the spirit and energy of the performance? Do you re-create the way they would have sounded when they were originally created or do you update them for the way jazz sounds now? What do

Ethan Iverson PHOTO COURTESY OF DUKE PERFORMANCES you treat as the musical source: sheet music, studio recordings, or live performances?

And, most important, what exactly are you trying to celebrate?

Monk@100 is, strangely, one of the few extended celebrations of Monk’s centenary anywhere. For the festival, co-curators Ethan Iverson, former pianist in The Bad Plus, and Aaron Greenwald, the executive director of Duke Performances, decided to keep things simple.

“Overthinking a conceptual approach to Monk, where you try to add a d.j. and video and a rock band and the internet and create something completely modern—that actually feels less interesting than just getting the very best musicians we can get and playing Monk really well,” Iverson says.

Over ten days, some of the greatest jazz musicians in the country will come to the Durham Fruit & Produce Company to play nothing but Monk tunes. Duke Performanc-

es has purchased copies of every Monk record they can find—including the incredibly rare twenty-two-LP set of Monk’s complete Riverside recordings—and they are making the lobby of the venue into a giant listening room. They’re offering an exploration of Monk that’s obsessive and deep.

“I was chatting about it with my wife and she said, ‘So, people are just going to play Thelonious Monk’s music for ten days…?’” Greenwald recalls. “And I said ‘…yeah.’ It never occurred to me that that might be weird.”

M

onk’s connection to North Carolina and Duke is somewhat tenuous. He was born in Rocky Mount on October 10, 1917, but his family joined the Great Migration in June 1921, destined for New York City. While his sonic roots contain a little bit of eastern North Carolina church music, he was really informed by the polyglot of Manhattan’s San Juan Hill, the vibrant jazz clubs of Harlem,

COURTESY OF DUKE PERFORMANCES

and the rollicking rhythm and blues he played while touring the Midwest in his teens with a traveling evangelist called “the Texas Warhorse.” After leaving, Monk would only return to North Carolina once, in May 1970, for a short run at a club in Raleigh. However, his family had roots here going back to the early 1800s, and his final tenor sax player, Paul Jeffrey, later founded the jazz program at Duke

University. So while North Carolina may not be central to Monk’s musical life, neither is it totally random for Duke Performances to pick up his banner.

This is also not the first foray into Monk’s music for Duke Performances. The festival is in some ways an outgrowth of the institution’s Following Monk festival from fall 2007. That sprawling, sixteen-event series,

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which featured a wide range of musicians and dancers, was Greenwald’s first at Duke Performances, announcing the breadth of his vision for what the organization could be.

“My experience the last time was the more time you spent in proximity to his music, the more it yielded,” Greenwald says. Having discovered the durability and depth of Monk’s music, Greenwald decided to go all in for Monk@100: “He’s only going be 100 once—we’re not going to do this for his 110th birthday. Let’s dig in and see what the music has to yield.”

To capture the spirit of Monk’s music, Iverson and Greenwald decided to build around Monk’s preferred configuration—tenor saxophone, bass, drums, and piano—and so the festival is bookended by two different trios.

There’s saxophonist J.D. Allen’s, with Gregg August and Rudy Royston, and Iverson’s, with David Williams and Victor Lewis. Supplementing each trio is a veritable who’s who of jazz greats. Guitarist Bill Frisell, pianist Kris Davis (replacing the late Geri Allen), and trumpeter Dave Douglas each sit in with Allen. All three are superstars, and the possibilities of Davis interpret Monk seems endlessly, but the piano-less quartet with Douglas promises to go farthest afield. Joining Iverson’s trio is a veritable murderers’ row of tenor sax players: Melissa Aldana, Chris Potter, and Houston Person, Joshua Redman, and Ravi Coltrane. Greenwald has described these four nights as “an homage” to Paul Jeffrey.

In the middle, the festival explores the possibilities of the piano. Two duos—Jason Moran with drummer Tyshawn Sorey, and Gerald Clayton with saxophonist Ben Wendell—will strip Monk’s tunes down to their essence. And a group of five pianists will play through the Monk songbook in solos and duos. The only group not playing any Monk here is the Como Mamas, whose gritty gospel will provide a chance to reflect on Monk’s years touring with the Texas Warhorse.

“There’s one way that Monk gets looked at sometimes, that he’s an experimentalist first and foremost. And that’s valid, but it’s just as important, if not more important, that you have black music and religious music underpinnings, in terms of his whole aesthetic,” says Iverson. “I personally feel that the experimental side of Monk has been celebrated almost at the expense of the American black tradition.”

This festival seeks to focus on that aspect of Monk, letting his avant-garde side filter through what Iverson calls Monk’s “ancient principles,” giving equal weight to the thorniest and sweetest portions of his oeuvre. It’s a bold choice, one that might manage to channel fully the spirit and sound of his music. music@indyweek.com

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music

Trick or Treat

TRICKY’S THOUGHT-LEADING TRIP-HOP DISCOGRAPHY REMAINS UNEVEN BUT THRILLING

BY DAVID FORD SMITH

P

aranoia can change an artist. We see it in musicians who vanish for years at a time, unwilling to write the follow-up record their fans want. We see it with image-conscious experimental producers who bristle at opportunities to work with pop artists. We particularly see it in the career of Tricky, who blessed the early nineties with some of the most seductive, vivid, claustrophobic pop music ever created. In line with the ennui of his on-record persona, he abandoned the style almost as quickly as he picked it up. Later, when asked about the 18 | 10.11.17 | INDYweek.com

Tricky PHOTO BY SEBASTIAN PIELLES period, he was concise: “I will fucking deny having anything to do with it,” he told Melody Maker in 1997. Two decades of left turns and confounding records followed. For better or worse, he would never be pigeonholed again.

The difference between these two eras shapes most of the conversation around the artist born Adrian Thaws, an unquestionably innovative figure in pop history who has been alternatively reexamined every album cycle or dismissed as a has-been. For every glowing exaltation of his 1995 debut LP, Maxinquaye, and its gorgeous gloom, there

are those who despise the indulgent latterday experimental entries in his sizable discography. There are still those who lived through the nineties and continue to blame him for the endless compilations of fusion restaurant musical wallpaper built off his records. A reasonable take likely lies in between and depends on your tolerance for Muzak and Tricky’s inconsistent ability to curate his output.

Tricky’s early days are well documented.

He first hopped into the spotlight as the unofficial fourth member of British electronic icons Massive Attack. On 1992’s Blue Lines, he flexed a surreal, world-weary rap sensibility that he later fleshed out on Maxinquaye, as well as the equally excellent but lesser-known Nearly God. (He released it under a pseudonym of the same name.)

During this period, he also cowrote Bjork’s “Headphones” and “Yoga,” which appeared on her landmark 1995 record, Post, and dated her for a time. This is the era that people remember, and rightfully so. In an emotionally forward genre like trip-hop, which toes the line between cinema and melodrama, the music ages like milk if not crafted with particular care. These records hold up exceptionally well. In our current throes of nineties revival, even goofy throwaway lines like “Seduce me/Dress me up in Stussy” somehow still seem relevant.

The greater trip-hop scene quickly spiraled into shorthand for saccharine instrumental hip-hop, with many Beth Gibbons and Joshua Davis knockoffs soundtracking boutiques and middle-class dinners. Tricky was already out. He did remix work for rock bands like Bush, entertained offers from bands like U2 to produce albums, and busted out his acting chops with a sizable supporting role in The Fifth Element. He brightened up his musical disposition and collaborated

with Alanis Morissette and Ed Kowalczyk from Live. His résumé from the late nineties through the early aughts looks like it was purposely designed to elicit confused looks.

In late September, Tricky released Ununiform, his thirteenth record. It is the latest in a long chain of releases that involve Tricky skipping around among genres however he sees fit. Most of these have been interesting and indulgent, sometimes fantastic, and occasionally downright unlistenable. After an acrimonious break with Domino Records, he’s self-released his more recent albums with the self-imposed editing (or lack thereof ) that comes with that freedom. Ununiform, true to latter-day Tricky form, features a rotating cast of guest vocalists. There’s Russian rapper Smoky Mo, Kazakh rapper Scriptonite, and a return appearance from Martina Topley-Bird, the secret weapon behind most of Tricky’s best nineties material. They all bring something unique, but as usual, Tricky’s presence on the record starts to evaporate behind the guests, who themselves start to feel interchangeable if you aren’t keeping close tabs. There’s a lackluster cover of Hole’s “Doll Parts” buried in there, too.

As those esoteric features might hint, Tricky has proven in interviews to be surprisingly plugged into the current music scene.

In a recent FACT Magazine documentary, he describes playing several shows with the rapper Mykki Blanco, who featured on his 2014 release, Adrian Thaws, and how blown away he was by Blanco’s performance style and a cappella rapping. His taste is reassuring: it reminds us that, with better curation, Tricky could still synthesize all his interests into a truly vital artistic statement. Until then, his work will continue to confound, which is probably how he likes it. music@indyweek.com

TRICKY

Thursday, Oct. 12, 8:30 p.m., $22 Lincoln Theatre, Raleigh www.lincolntheatre.com

MUSIC BRIEF

MUSIC BRIEF

RACHEL KIEL

DRUG YACHT

The supremely gifted Chapel Hillbased singer-songwriter Rachel Kiel has demonstrated her estimable talents for the better part of a decade, but her third full-length, Shot From a Cannon, immediately announces itself with a powerful statement of intent. The opening title track is a tour de force of crashing harmonies, surprise melodic twists, and yearning vocals that brings to mind Big Star's “O My Soul” by way of “Ladykillers”era Lush. It’s a perfect table setter for a remarkable album that finds Kiel finally alchemizing her diverse influences into an organic whole, equal parts noise rock, decorous folk, and psych-addled roots rock.

There’s generosity to Kiel’s music, from the expansive, aching new wave grace notes of “Charged” to the insistent minor-key heartbeat of the painful, emotional travelogue “Elm and Pine.” It’s a pleasure to marinate in the rich textures of Kiel's keening alto, especially on relaxed but charged fare like the resigned “I Can See You Going” or the calmly unhinged “Just to Talk to You.” Abetted by a raft of talented locals including Matt Douglas (The Hot at Nights, the Mountain Goats), former Flesh Wounds drummer Laura King, and Skylar Gudasz, Kiel moves comfortably from country shuffles to rave-ups. She even effectively swings for the fences on the pull-out-all-thestops ballad “Clara,” with its echoes of everything from Burt Bacharach to Chrissie Hynde's classic “I'll Stand

by You.” The accumulating effect is impressive enough that it renders even a delightful, thematically appropriate set-closing cover of Marshall Crenshaw's “You're My Favorite Waste of Time” as a minor disappointment.

Crenshaw's great, but Kiel is too. With a songwriter of this caliber working at this high level, one more original is always preferable. —Elizabeth Bracy

The Van Warmer—the second release from the three Daves (Bjorkback, Cantwell, and Heller) of Drug Yacht following a fourteen-year hiatus—begins with a feint.

“Switchblade Kid” kicks off with a dissonant, vibratoed seven-second head fake that quickly collapses and dissolves. Then the real riff kicks in: a sassy, sauntering sleaze-rock riff straight from the Sunset Strip. The Daves deliver the tune with their tongues so firmly in their cheeks that they’re practically bursting through the buccal cavity. When Bjorkback delivers the song’s verses, it almost sounds as though he’s stifling a laugh. When he howls the chorus —“You keep you motor clean!/You got your hooks in me!”—his smirk is practically audible.

But a band named Drug Yacht should be loads of fun. Nominally, Drug Yacht is a math rock band, albeit one of a particular burl and brawn, a mix of anxious energy and heft. Where many math rock bands are too often self-serious, Drug Yacht adds more than a bit of humor in with its melodic, musicular mix. There’s a worldclass reference to The Simpsons in “Ragon-a-Stick Rag,” and there’s the double, no, triple entendre in “Her Dick Moves.”

The Van Warmer is raw, in-your-face, full-tilt boogie, and its best moments balance riffs and ribaldry. Take “Bizzy Ballz,” where Bjorkback and Heller shout nonsequiturs over breaks between snaking riffs before the song whiplashes into a breakneck sprint. Or “The Chest of a Christian Woman,” which pinballs between AmRep paroxysms and Primus jocularity.

Even at thirty-seven minutes and change, The Van Warmer is so flush with ideas that it seems to race by on first listen. But so many riffs are stuffed within its run time that it will likely take a dozen listens to fully unpack it. That The Van Warmer is as fun as it is, for being so dense, is a testament to Drug Yacht’s playfulness. It’s entirely unwilling to take itself too seriously, and it's best when leaning hard into that "three friends fucking around in a shed" mentality.

—Patrick Wall

Shot From a Cannon Self-released HHH1/2

The Van Warmer Self-released HHH1/2

FINDER N Coming

soon

THE INDY'S GUIDE TO THE TRIANGLE INDYweek.com | 10.11.17 | 19

indyart On September 23 at Durham’s Living Arts Collective, the Saxapahaw arts nonprofit Culture Mill produced a symposium called Articulating Value in the Arts. Funded by a Biddle Foundation grant, it was the result of a yearlong conversation among Triangle artists and art professionals about the relationship between art and value. Culture Mill codirector Tommy Noonan’s reflections, delivered that day, are condensed for length here, but they appear in full in the free, downloadable Articulating Value book: culturemill. org/articulatingvalue#/the-book.

A

s an independent performing artist, the codirector of a small nonprofit, and a white, thirty-four-year-old male in central North Carolina, I began Articulating Value with certain assumptions: that professional artists were defined as those who earn a living wage from their art, that the primary barrier to a fully monetized culture of independent art in this country is a simple lack of public funding, and that my personal and professional networks were sufficiently broad to address the problem.

At the end of a yearlong process, I now believe none of these things to be true.

This project has revealed just how homogenous my own network is, and how segregated the arts community here remains. This is not news to many people, especially people of color. I am keenly aware of how embarrassingly late this revelation comes to some of us white artists, and how frustrating it may be for others to witness. Nonetheless, it bears repeating, as other (particularly white) friends in the arts community are still not aware of the degree to which our networks are segregated.

Our leading team made an early decision that the initial conversations on value and art would not be an advertised public event, but would spread within the existing networks of relationships among local artists. This was to create impactful, relevant conversations based on community bonds, as opposed to contriving “communities” and discussion terms. We started with ten questions, and we wanted them to resonate with questions already percolating between friends and collaborators. So we reached out to artists we knew personally or professionally—those whom we felt might be interested in grappling with our 20 | 10.11.17 | INDYweek.com

Vision Revision

A SOUL-SEARCHING SYMPOSIUM UPENDS ASSUMPTIONS ABOUT ART LABOR'S VALUE AND THE LOCAL ART SCENE'S DIVERSITY

BY TOMMY NOONAN

ILLUSTRATION BY SHAN STUMPF

questions, much as one would reach out to a friend for a coffee or beer to discuss some pressing personal issue.

This idea felt organic. We wanted the size of the initial gathering to preserve the possibility for a group discussion, so we limited our invitations to thirty people. Our leading team is balanced in gender; three of us are white and one is a person of color and an immigrant. Those invited included people of color, and we discussed the importance of a diverse room.

However, when the day arrived, the thirty faces in the room were almost entirely white. Further gatherings, which continued to spread through existing networks, remained predominantly white. This unfortunate, deeply problematic reality spurred many conversations and, of course, the impulse to remedy the situation—an impulse which can lead down the problematic path of tokenism, or “mining for brown people,” as one of my PoC colleagues once put it.

Rather than remedy this situation, I now feel it is important to let the nature of our method be revealed as indicative of an insidious truth: from the first conversation through the final symposium, the unexamined white impulse to have a simple conversation within existing social networks reinforced the deeply segregated nature of those networks, excluding many andcementing the terms of discussion along segregated lines. Existing social networks, unconsidered by white artists, reflect a deeply racist and systemic history still at work in North Carolina.

And so we were left with what to do.

Certainly, the answer is related to work on a generational scale that dwarfs the arts, work that is already underway in many spaces. What to do is less about token diversity and more about building real relationships beyond the easy, existing social networks of artists—networks that are often the products of a racist society.

Perhaps it’s about cultivating the curiosity to show up in other spaces, as to foster the conditions for new relationships to blossom across segregated networks. I am speaking to white people, as people of color already are doing enormous work on this issue. We white artists need to consider what it means to show up if we want our own spaces and networks to be more than

reflections of an oppressive system.

So perhaps the problematic nature of our initial decision has value in that it provides an opportunity to reconsider the terms of conversations about art, who shows up to those conversations, and how they are or are not invited in the first place. Perhaps one value of art is that its networks can be a scaffold that takes shape around greater structural problems in society, becoming a frame through which those problems might be revealed and addressed.

O

ne example of broad social injustice being addressed through the lens of the art world was the Art Worker’s Coalition in the late sixties. As a loosely assembled network of multidisciplinary artists, the AWC protested a homogenized, exclusive art world, specifically, the sometimes exploitative relationship between art institutions and artists.

The legacy of the AWC’s work can be felt in several movements today. One is the New York-based nonprofit Working Artists and the Greater Economy. (My analysis draws heavily on W.A.G.E.’s research, located at www.wageforwork.com.) Articulating Value encountered W.A.G.E. through a set of questions we began asking our friends and colleagues: What are artists paid in your field? What should they be paid?

These questions relate to my second naive assumption: that the primary barrier to a robust and monetized independent arts culture in America is a lack of public funding.

Once again, the problem proved more complex than I thought. It involves not only public funding structures but also nonprofit arts institutions, and the ways we, as individual artists, relate to them and one another. It was striking that, in response to the question about artist payment, few offered a considered numerical answer. More often, the answers were either equivocal paragraphs on the nature of art and capitalism or cynical one-liners.

Either few wanted to answer our question or few knew how to.

Most important, these responses betrayed a lack of meaningful reference points about how much artists should be paid—or any frame of reference for the value of artist labor in monetary terms.

Of course, quantifying labor value in the arts is a Sisyphean task. Everything differs according to location, community, medium, and level of experience. Visual artists grapple with a mystifying marketplace full of agents, dealers, speculators, and collectors. Theater artists or film and television writers often regard free labor as a career investment, with unionization providing

reference points for a basic value. Independent musicians’ payment depends largely upon ticket sales by a for-profit venue, but concert musicians might be under contract to a large nonprofit with clear definitions about the value of their labor. Of all fields, dancers seem to have the least consensus as to how their labor or their ephemeral artworks should be valued.

It is no wonder that such a heterogenous landscape creates confusion at best and exploitation at worst. Such conditions gave birth to W.A.G.E.’s mission to address artist fees, mainly in the arts nonprofit sector in the U.S. Its primary instrument is a fee scale by which nonprofits pay artists and an accompanying certification program. The approach is modeled on existing structures in Canada and elsewhere.

Nonprofits obtain W.A.G.E. certification

“This project has revealed just how segregated the arts community here remains.” by committing to pay artists a certain proportion of their annual budget, then turning their numbers over to W.A.G.E. for assessment and approval. In such a system, the labor of artists is treated like any other type of labor, which produces value within capitalist society. If one party profits from labor that is not adequately compensated, then the situation has a name: exploitation.

I think we artists walk around with two myths about our labor: we are special unicorns who live outside the normal conditions of capitalism, and our love of our work precludes our right to be compensated for it. These myths are not only untrue, they are also harmful, enabling the continuation

of an exploitative system, conditioning our behavior so that we enter dubious, quasiexploitative relationships as collaborators, even with the best of intentions. This is not entirely our fault, but it is, to some extent, our responsibility to address.

In the U.S., nonprofits are supposed to be tax-subsidized to do the socially important charitable work taken on by the public sector in other wealthy industrialized nations, where robust cultural ministries often directly fund and, more importantly, regulate artist labor. Here, we have thousands of nonprofits that gather both public and private funds and may or may not engage in the direct payment of artists. This lack of any regulatory mechanism encourages an abundance of free artist labor, which is too much for many nonprofits to resist. (Who doesn’t love free labor?)

This creates a pervasive culture among artists in which we fail to maintain common references about what we should be paid.

We also start reproducing these exploitative relationships by asking one another to contribute labor without any discussion of compensation.

My point is not that all artists can always be paid. That would be unrealistic in our resource-scarce fields. It is that, while artists should be paid, the systemic problem will persist until that fact is internalized by artists willing to ask up front about fees, and until artists and employers can have frank discussions about nonexploitative compensation for labor.

In this way, W.A.G.E. not only provides an opportunity for the ethical self-regulation of the nonprofit sector, it also raises awareness among artists, enabling them to grasp their responsibility in asserting their own value. I am happy that Culture Mill, the independent nonprofit I codirect with Murielle Elizéon, has recently become the first nonprofit in the Southeast to gain W.A.G.E. certification. For all our future programs and projects, we will pay artist fees according to W.A.G.E.’s scale.

Practically, this means our projects will be limited by realistic costs and cannot operate on whatever scale we want—that’s a benefit of using free artist labor. It means we must make choices according to what labor actually costs, but we consider that a worthwhile and an ethical trade to make. It is our hope that we are not only putting our money where our mouth is but also encouraging other nonprofits in our region to self-regulate.

A

nother question we started with was, How do you define professional? Quite simply, I assumed a professional artist to be one who earns a living making art. I now find this to be woefully inadequate. Some artists consistently create work of great quality

and impact without ever earning a living from it, while others have ways of subsisting from their craft that have more to do with entrepreneurship than creativity. Some artists move freely in and out of art making, while others make art constantly but rarely share it with anyone.

Some industrialized nations, such as France, have a clear administrative category for professional artists. Once the hours of work are logged and the paperwork is approved, artists are adopted into the Intermittent du Spectacle system and enjoy all sorts of rights and regulations concerning their labor, unemployment benefits, and other official mechanisms. In the U.S., however, as in many countries, no such administrative class exists. Artists bear the responsibility of articulating that definition.

Over the course of our conversations, I came to define professional artists as those who are committed to an art practice in which they have invested considerable time, energy, and resources; those who are committed to demonstrably engaging with the world; and those who are committed to the concrete work of connecting artistic labor with the basic costs of their lives.

Let me focus on that word: commitment. There are no easy answers to any of our questions, but the operative characteristic of being a professional artist, of addressing questions of labor and value, and of confronting the reality of a segregated arts community, is commitment.

In Articulating Value, each conclusion revealed an exception; each definition revealed new ambiguities, and the meaning of commitment varies for different artists, administrators, thinkers, consumers, and producers. Yet one is either committed to these questions or is not; one either advocates for ethical practices or does not; one either shows up in unfamiliar spaces or does not.

In one of our interviews with artists, the immersive theater director and activist Mikhael Tara Garver said, “If you are asking what makes me a professional artist, it’s that I am having this conversation ... I’m dealing with the balance of real life and my values and priorities. It’s that I woke up this morning and I’m figuring out how I balance family with the goals and ideas and ways I want to make work in the world.”

Perhaps one value of art, then, is that there are no easy answers, but whether we are producing, consuming, thinking, or facilitating, art is a dynamic, unsolvable, and important puzzle—one whose many facets provide the opportunity to discuss how to be in the world, as artists, as citizens, and as humans. arts@indyweek.com INDYweek.com | 10.11.17 | 21

indystage

NC DANCE FESTIVAL

Thursday, Oct. 12, 8 p.m., $15–$22 The Rickhouse, Durham www.danceproject.org

EMERGENCE

Saturday, Oct. 14, 3 & 8 p.m., $7–$10 PSI Theatre, Durham www.triangledanceproject.org

State of Dance

AS THE FOCAL POINT OF NORTH CAROLINA DANCE SHIFTS FROM CAMPUS TO INCREASINGLY PROFESSIONAL INDEPENDENT ARTISTS, THE NC DANCE FESTIVAL AND EMERGENCE ADAPT

BY BYRON WOODS

P

articularly in the dance world, change does not take place in a vacuum. A development in one area, for good or ill, can send ripples out across the practice. If others follow suit, the ripples become waves, potentially large enough to change the trajectories of people, communities, and institutions. As with the 2017 hurricane season, the shifts seem sudden only if you do not see them coming.

It’s significant, then, that a week after Durham Independent Dance Artists launched its fourth season with a public recommitment to excellence and risk, the NC Dance Festival and Emergence, two unaffiliated statewide dance showcases, will follow suit, presenting the results of changes years in the making.

The last five years have seen unprecedented growth and recognition for dance makers both locally and across the state.

One year after the American Dance Festival featured Winston-Salem choreographer Helen Simoneau in its 2012 Footprints concert for student dancers, the festival began reversing years of neglect of the statewide scene by presenting Carolinians on its main stages, in three annual showcases coproduced with the NC Dance Festival. Choreographers from New York and elsewhere adjudicated the series—an early signal that work produced here was robust enough to meet the standards of top professionals. That same year, Tobacco Road Dance Productions established an unorthodox mentorship program for emerging regional choreographers.

In 2014, choreographer and NCCU faculty member Kristi Vincent Johnson established an online clearinghouse for resources for dance makers, Triangle Dance Project, and produced its first Emergence showcase for rising artists from across the state. That year also saw the birth of DIDA, the region’s first 22 | 10.11.17 | INDYweek.com

Rachel Barker's trio "Welcome" is featured in this year's NC Dance Festival. PHOTO BY CHRIS RECORD/COURTESY OF NC DANCE FESTIVAL ongoing collaborative initiative for dance artists to help promote and produce one another’s work.

In the years that followed, artists from North Carolina, including at least five DIDA dance makers, were welcomed to ADF main stages in various showcase and solo showings. When ADF’s 2017 season opened with a gala night devoted to choreographers from the state, it was clear

that regional choreography was being taken more seriously than it ever had been before.

That posed a particular challenge to the NC Dance Festival. Since its management hadn’t changed since its founding in 1991, an initial strength—intimate connections with traditional academic centers of practice in cities including Greensboro, Raleigh, and Boone—was rapidly becoming a liability as an emerging independent,

professional dance community established itself outside of the collegiate scenes.

“So much activity was happening elsewhere that we were becoming disconnected and isolated in our academic setting,” says Anne Morris, director of the NCDF. As the young artists in that emerging community kept creating dance pieces for the intimate, nontraditional performance spaces they could afford to rent, another schism

STAGE BRIEF

DURHAM SAVOYARDS REVIVE A LOST, SCANDALOUS GILBERT AND SULLIVAN OPERA How does a performance of a 146-year-old comic opera qualify as a premiere? In the case of Gilbert and Sullivan’s Thespis, which the Durham Savoyards present this week, it’s because the score has been missing since the end of the 1800s.

This absence prompted composer Alan Riley Jones to begin writing his own version of the music in 1992.

When he finished a score for piano and chorus for a staged reading in 2004, the Savoyards asked him to write an arrangement for a twentythree-piece orchestra—the traditional number for Gilbert and Sullivan. After a trial performance last May, the company scheduled its premiere.

But what prompted the mysterious disappearance of Arthur Sullivan’s original score? Scandal—at least in Victorian terms—could be the answer.

Years before the pair became household names in England, Gilbert and Sullivan wrote Thespis for a London burlesque house. Billed as “An entirely original Grotesque Opera in Two Acts,” the production featured cross-gender casting, “brazen girls in tights and short skirts,” and broad

developed: a body of works that didn’t play well on the conventional proscenium stages the NCDF used.

“We didn’t always present them in the best way,” Morris admits, “and when we couldn’t accept many of them, some artists just stopped applying. It wasn’t the right setting for them.”

If the festival was to remain relevant, something had to change. After longtime director Jan Van Dyke died in 2015, the new management engaged in a series of conversations with dance communities from across the state.

“We needed to hear from them about what was going on in their communities, what’s important to the artists there, and what their needs were,” Morris says. The ongoing conversations have suggested the necessity of changing how and where the NCDF presents its artists.

The rollout of those changes begins Thursday night in Durham—a major change in itself, since until this year the festival’s local headquarters have been at Raleigh’s Meredith College. Its new venue, the Rickhouse, is an intimate event space in downtown Durham’s nightlife district. The

humor that its creators would later denounce as “the kind of work they wished to avoid.” As a result, Thespis was never published or revived during their lifetimes. Conveniently enough, the score vanished thereafter.

The missing score “opened a door” for Jones, a longtime Gilbert and Sullivan aficionado. He tries to answer the question, “If I was handed this libretto in 1871, what would I have written in the style of the time?”

“Alan has the ear and tone of Sullivan,” says Savoyards president Bobby Cameron. Jones’s achievement inspired the company to stage Thespis as a second show this year, paired with Trial by Jury, Gilbert and Sullivan’s second comic opera. As such, they had to cut costs by staging it at East Chapel Hill High School’s theater, a surprisingly good venue for professional theater. The venue “lets us reach out to a new generation and get as many kids involved as we can,” Cameron says.

Thespis and Trial by Jury run Oct. 12 through 15; visit www. durhamsavoyards.org for times, tickets, and details. —Byron Woods

festival specifically selected artists whose work “should complement what’s already happening here and whose themes should interest local audiences,” says Morris. Performers such as Chris Yon, Taryn Griggs, and Joyemovement have been applauded in the last two years at ADF, and Ramya Kapadia reflects the region’s longtime interest in classical Indian dance.

Two nights later, Johnson ups the stakes in the fourth year of Emergence at PSI Theatre, which includes showings by Renay Aumiller and Lucas Melfi. Johnson followed ADF’s lead, placing submitted works before a panel of out-of-state adjudicators.

“When there’s an outside perspective to measure where we are compared to everyone else, it gives you a different sense of confidence,” Johnson says. Having worked in New York and elsewhere, she calls North Carolina one of the meccas of contemporary dance: fertile, diverse, and with audiences that are open to new ideas. Bringing in outside judges demonstrates the rising standards of Carolina choreography—and helps spread the word about that growth to the rest of the dance world. bwoods@indyweek.com INDYweek.com | 10.11.17 | 23

indypage

SHAWN WEN: A TWENTY MINUTE SILENCE FOLLOWED BY APPLAUSE Thursday, Oct. 12, 7 p.m., free Letters Bookshop, Durham www.lettersbookshop.com

Walking on Air

SHAWN WEN’S UNORTHODOX BOOK ABOUT MIME SOMEHOW GIVES VOICE TO THE ELOQUENT SILENCE OF MARCEL MARCEAU

BY KENDRA LANGDON JUSKUS

I

s a mime a clown? A fool in a box?

A dancer, an athlete, an artist? How about a fabricator and a truth teller?

Or a little bit of the deepest fear, the most unguarded delight, lodged in all of us?

Shawn Wen’s A Twenty Minute Silence Followed by Applause (Sarabande Books, July 2017) won’t give you a comprehensive overview of mime or of the book’s subject, the incomparable Marcel Marceau. But you don’t need straight narrative for illumination, or to grow fascinated with a form that perhaps you never thought of as transcending the maudlin pantomime of climbing an invisible staircase.

Wen, a California-based writer and radio producer who spent two years in Durham working for The State of Things, may even convince you that greater skill exists in that campy act than you would have believed, unfolding the mime’s most powerful revelations about humanity. She may redefine mime for you, just as this little volume redefines terms like poetry, prose, biography, and book.

Marceau communicated through the manipulation of his body, the space around him, and collective imagination. “Leave speech behind,” Wen writes. “The body has its own language: weight, resistance, hesitation, surprise.”

Still, perhaps inevitably given her work in radio, Wen’s work arrives aurally. The book echoes its subject’s silence: heavy on white space, each page mimics Marceau’s creation of something out of an empty stage, ex nihilo, a feat Wen is obsessed with.

This layout makes for a quick read and elides some biographical features. Wen is infusing every word with as much power as Marceau used in each muscle to mime, say, kissing a woman, or drawing a last breath, in a way that was artistic but also human.

Wen’s precision frees her to try on any genre, as Marceau’s physical control allowed him to be anyone. Turning a page 24 | 10.11.17 | INDYweek.com

PAGE BRIEF

Shawn Wen PHOTO BY JANA ASENBRENNEROVA might reveal a list of his belongings, a scene featuring his beloved character, Bip, a prose poem, or a story of how he met one of his wives or rescued Jewish children during World War II. At last, the disparate pieces connect, as all of Marceau’s isolated movements sinuously come together to construct a man, and also, more than a man.

You may think nothing of mime; I didn’t before reading this, though now I see mime’s resonance in everything from improv to break dancing. Wen’s book somehow voices the power of recognizing yourself in a living metaphor, as you’ll hear when she comes to Letters Bookshop Thursday evening. arts@indyweek.com

Tyree Daye

SO & SO CELEBRATES TYREE DAYE’S AMERICAN POETRY REVIEW-PRIZED RIVER HYMNS “I am praying/Lord, what do you do/with these words?”

So writes Youngsville native Tyree Daye in “Fire Water,” from his first full-length collection, River Hymns.

In it, the author answers his own question, using words to materialize the ghosts and losses, the fears and beauty, that have both made and broken him. His book, an open-eyed lamentation of the destructiveness of his own hammer, also expresses a fierce longing to rebuild what is broken.

River Hymns was chosen by Gabrielle Calvocoressi (see p. 36) as the winner of the 2017 American Poetry Review/Honickman First Book Prize. Daye, who graduated from the MFA program at N.C. State and now works at The Raleigh Review, has also published two chapbooks, an indication that he is brimming over with words. They are powerful, intensely personal words, too, straining at the boundaries of a place where the speaker is taught to “throw love at the wall, see if it hollers.”

Originally slated in the So & So Reading Series with Bianca Stone, who was rescheduled for February, Daye picked another State alum, Matthew Wimberley, to read with him at CAM Raleigh at 8 p.m. on Thursday, October 12. A winner of Seven Kitchens Press’s chapbook contest and a recent finalist for Four Way Books’ Levis Prize, Wimberley was raised in the Blue Ridge Mountains, and his poetry is as place-based as Daye’s, with a power derived less from the punch of the words than from the stretch of their lyricism and a piercing attention to detail. The two poets’ readings should complement each other nicely. —Kendra Langdon Juskus

indyfood

ST. ROCH FINE OYSTERS + BAR 223 South Wilmington Street, Raleigh 919-322-0359, www.strochraleigh.com

Shell Shock

AN ASHLEY CHRISTENSEN PROTÉGÉ REPLACES JOULE WITH SURPRISING CAJUN OYSTERS AND OUTSTANDING COCKTAILS

BY EMMA LAPERRUQUE You can tell a lot about raw oysters by the company they keep. At most bars, it’s one or two old friends, say, Tabasco or horseradish.

At St. Roch in Raleigh, it’s a party. Cocktail sauce and mignonette, lemon wedges and pickled banana peppers, fried saltines and more fried saltines. The oysters are from Cedar Island but they dream of New Orleans, as does most of the menu, save for a couple of dishes that fantasize about Japan (“Nori’d” roasted oysters, miso broth-braised clams).

St. Roch was named for the NOLA neighborhood where chef-owner Sunny Gerhart grew up. You may recognize the name from his work with James Beard Award-winning Raleigh chef Ashley Christensen. Gerhart was her sous chef when she opened her first venture, Poole’s Diner, in 2007. He went on to lead the kitchen at Joule, Christensen’s coffee shop-meets-restaurant. When he put in his notice early last year to pursue opening his own place, she had another idea.

“After thinking through his situation, I realized I had the opportunity to create an entry point into this business for Sunny in a way that’s unique from what anyone else could offer him,” she wrote in a November 2016 press release.

Indeed, it was unique. Gerhart wouldn’t have to leave to open his own restaurant— because he was already in it. Joule would close and Gerhart would recast the concept as St. Roch. It opened in May, evoking the déjà vu of a room repurposed, like a kid who comes home from college to find Pilates equipment where his dresser used to be. There are industrial-chic lights and animal portraits. Where a communal table once stood, there are now black leather booths.

Gerhart’s cuisine is a welcome addition to the Triangle, where Cajun options are scarce.

In Hillsborough, there’s LaPlace. In Raleigh, Rey’s and The Big Easy (which has a second location in Cary).

Then again, to describe St. Roch’s concept as Cajun wouldn’t exactly be right. It’s more specific than that: Cajun with an emphasis on seafood and seafood with an emphasis on

Raw oysters at St. Roch PHOTO COURTESY OF ST. ROCH oysters. The glowing neon light outside the restaurant—it depicts an open-mouthed oyster with not a pearl but a diamond inside— gives you an idea.

Or just go in and glance at the menu. Its four sections consist of small, big, raw oysters, and roasted oysters. Technically, there are five, if you count “Sunny’s Leave a Little Room,” a box in the bottom right listing a few desserts like brioche beignets. I ate at the restaurant twice and failed to leave a little room twice.

I tried. The small plates (from $9 to $16) lean toward big, and the big ones ($18 to $39 for a one-pound ribeye) leave you with leftovers. This is not necessarily a bad thing, but it is a thing. A small and a big is likely too much for one person, but some oysters and a small or some oysters and a large, depending on your hunger, could be just right. And maybe that’s the point.

The most exciting facet of the menu is none of those, though. It’s the cocktails. Try Nancy’s Dress, with rum, lime, orange oil, and, of all things, balsamic vinegar. It sounds like some squeeze bottles got mixed up. But it’s sweet and tangy, like a great shrub.

Bobby Boucher, a reposado tequila drink, makes a similar case for savory cocktails. “It’s like a margarita,” my server said, “but better.”

Lime and a cayenne-salted rim and, why not, the holy trinity. Not that one, the other one: onion, celery, and green bell pepper. It’s the foundation for countless Cajun recipes, like jambalaya and gumbo—and, now, cocktails.

These drinks were made to go with $1 oysters (Tuesdays or any night from five to six).

Nancy’s Dress, a dozen dead-cold oysters, and those damn fried saltines, and I feel, for a few sips and slurps, wholly at peace.

The roasted oysters were less lovely. They come in three varieties: barbecued (lemon,

rosemary, cayenne, parmesan), Tasso’d (pork jowl tasso, sage, filé, Gruyère), and Nori’d (miso, lime, chili, panko). I ordered the last. They tasted like butter. My friend compared their richness to a “church casserole,” but I’m Jewish, so this only made me not want to try a church casserole.

If you aren’t one for oysters, all is not lost. Your next-best bet is the cold crab and shrimp, an herby salad begging to be scooped up with crispy ciabatta.

Or if you’re feeling cozy, get the barbecued shrimp. This riff on the NOLA classic—a saucy dish with punchy ingredients like Worcestershire, hot sauce, and lemon—has coconut, lime, and cilantro. Peel-and-eats swam in a gravy-thick sea, and I wanted to dive in and join them.

I’m not one to use the term “umami bomb,” but if I were, it would be about these clams.

Miso broth, oyster mushrooms, pork belly, and poached egg, all somehow upstaged by a dollop of crispy chili made with fried shallots, garlic, and shrimp paste. Beg for a side of it, take it home, and hide it from whomever you live with.

If you aren’t one for seafood at all, you’ll make do. Get the kitchen-sink giardiniera salad with tomatoes and squash, olives and pickles, peppers and provolone. Its croutons are very, very crispy, but some people like that. The red beans and rice have a plump homemade red hot (great if you like red hots), but my friend and I couldn’t stop admiring the buttery white rice.

But maybe that’s the best part of St. Roch: always being on your toes. Sometimes you are impressed by the unexpected. Other times, it’s just a really cold oyster, or a perfect grain of rice. food@indyweek.com INDYweek.com | 10.11.17 | 25

SATURDAY, OCTOBER 14

BILL CALLAHAN

FRIDAY, OCTOBER 13–SATURDAY, OCTOBER 14

MANIFEST II

THURSDAY, OCTOBER 12

Last year, local musicians Sarah Shook and Erika Libero were working on trying to set up some skill-share workshops for female and nonbinary musicians.

Then they stumbled upon a post online in which major music festival lineups had been edited to remove all-male bands; the remaining rosters were mere skeletons. Thus, they started Manifest, a two-day DIY festival that exclusively featured bands whose members were not all men. Manifest returns to Local 506, Nightlight, and The Cave with the same mission this year, with bands that run the gamut from Shook’s own raucous honky-tonk rock, the smooth electropop of Tomboi, fearless punk from The Muslims, and the jittery noise of Sister, Brother. There’s metal, pop-rock, snotty punk, a little prog, and more on the bill, too. Revel in their power, and maybe you’ll find a favorite new band while you’re at it. —Allison Hussey THE CAVE/LOCAL 506/NIGHTLIGHT, CHAPEL HILL Various times, $25–$30, www.facebook.com/manifestmusicfestival

DUKE’S BALDWIN AUDITORIUM, DURHAM 8 p.m., $10–$38, www.dukeperformances.duke.edu

Bill Callahan PHOTO

WHAT TO DO THIS WEEK

COURTESY OF BILLIONS CORPORATION

Bill Callahan’s discography begins with 2007’s Woke on a Whaleheart, but that leaves out nearly two decades of music before it, when Callahan was a pioneering lo-fi singer-songwriter called Smog. Smog was more a feeling than a sound—a cast of light flickering between late-afternoon dread and dawn’s weary optimism, a regard for the world that alloyed raw-hearted love, gimlet-eyed suspicion, and scornful, wounded laughter. Bill Callahan is all that, too, but with the tape noise burned off to let the thorny thatch of his guitar playing, the bottomless well of his baritone, and the gnomic brilliance of his lyrics win the wide acclaim they deserve. This transition occurred on his final album as Smog—A River Ain’t Too Much to Love, still a career best—and, on subsequent albums like Apocalypse and Dream River, Callahan has leaned into his role as a trickster oracle, cosseting us with soft sounds before driving home barbed insights that elicit rueful smiles or gasps. Now that Leonard Cohen is gone, he is more our Cohen than ever, but one for a more cynical, sinister age. Nathan Bowles and Jake Xerxes Fussell open. —Brian Howe

THE MONTI: COURAGE

The world is already bewildering enough for most of us. But for children with learning differences, a term now replacing “learning disabilities” in the professional community, the disparities in how they process the world in each moment, and how the world views those differences in turn, can be a real barrier to social and academic development. That’s why it’s particularly appropriate that the regional first-person storytelling series The Monti has chosen courage as the theme of this benefit performance for The Hill Center. For forty years, the Durham school has helped students with attention deficit disorder, dyslexia, and other processing challenges negotiate their differences and find success in school and life.

Monti founder Jeff Polish hosts speakers including local young adult novelist J.J. Johnson; the ticket price includes complimentary beverages. —Byron Woods THE HILL CENTER, DURHAM 7:30 p.m., $30, www.hillcenter.org

WHAT ELSE SHOULD I DO?

ALGIERS AT MOTORCO (P. 31), JULIEN BAKER AT HAW RIVER BALLROOM (P. 29), BUMP IN THE NIGHT AT THE ARTSCENTER (P. 35), GABRIELLE CALVOCORESSI AT FLYLEAF BOOKS (P. 36), TYREE DAYE AT CAM RALEIGH (P. 24), DURHAM SAVOYARDS AT EAST CHAPEL HILL HIGH SCHOOL (P. 23), EMERGENCE AT PSI THEATRE (P. 22), GANJA & HESS AT SHADOWBOX STUDIO (P. 36), RACHEL KIEL AT CAT’S CRADLE BACK ROOM (P. 19), MONK@100 AT DURHAM FRUIT & PRODUCE COMPANY (P. 16), NC DANCE FESTIVAL AT THE RICKHOUSE (P. 22), TRANSCENDENTS AT POWER PLANT GALLERY (P. 33), TRICKY AT LINCOLN THEATRE (P. 18), SHAWN WEN AT LETTERS BOOKSHOP (P. 24) 26 | 10.11.17 | INDYweek.com

10.11–10.18

THURSDAY, OCTOBER 12–SUNDAY, OCTOBER 29

DARKSIDE

Existentialism (Applied)—that’s what we called our biweekly sessions at a friend’s house after our grueling senior seminar in philosophy. We’d digest our forced feedings of Kant and Kierkegaard with cheap takeout and liqueurs, contemplating Nietzsche’s bizarre koans along with ignited illicit herbs. Invariably, the existential soundtrack was by Pink Floyd. So there was something quite familiar in the news that Tom Stoppard, when he was commissioned to write a radio play for the BBC in 2013 to mark the fortieth anniversary of landmark album The Dark Side of the Moon, devised a dramatic comedy in which a philosophy student falls into a looking-glass world of philosophical thought experiments and is tested when she befriends the people she meets there. Whimsy meets gravitas as story and soundtrack both probe diverse facets of the human experience. Pálína Jónsdóttir directs. —Byron Woods BURNING COAL THEATRE COMPANY, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $5–$25, www.burningcoal.org

TUESDAY, OCTOBER 17–SUNDAY, OCTOBER 22

THE LITTLE MERMAID

The mouse house scored instant hits with Broadway adaptations of animated movie musicals like Beauty and the Beast and The Lion King, but The Little Mermaid, based on the Hans Christian Andersen tale of a subaquatic princess who pays dearly for a chance at human love, took longer to find its sea legs. The initial 2007 production team couldn’t quite figure out the whole underwater thing, so they stuck the actors in Heelys and called it a day. Needless to say, it didn’t go over very well. But by 2012, new director Glenn Casale had rearranged the songs and replaced the roller-shoes with flying harnesses, and Bob Crowley had built a new set, like a pop-up-book aquarium. The forestalled but inevitable Tonys, Grammys, and Broadway.com Audience Awards followed. You’ll stay for the stagecraft, which has gadgets and gizmos aplenty, whozits and whatzits galore. But, especially if you were a nineties kid, you’re showing up for the songs, to revel once again in the ultimate lonely-tweenager ballad, “Part of Your World,” and to marvel that you will never unremember Caribbean travesties like “Under the Sea” and “Kiss the Girl.” You poor, unfortunate souls. —Brian Howe DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $30+, www.dpacnc.com

SATURDAY, OCTOBER 14

ART IT UP!

Hillsborough Street: it’s not just for State students anymore. For the fourth year running, a wide variety of arts and culture events, both performative and participatory, pop up in the area for one busy day in Art It Up. The free offerings include yoga in the Raleigh Rose Garden, behind-the-scenes tours at Theatre in the Park, a performance by N.C. State Native American drumming group Miska Waya at the Gregg Museum, a pottery demo at the YMCA, a performance of Seed Art Share’s short play Iced Coffee: Five Cubes (at Jubala, natch), and a wine tasting at The Green Monkey. If you’re up for shelling out some cash, there’s also a wine-and-art event at Aloft at eleven, a performance of Joseph and the Amazing Technicolor Dreamcoat at Sonorous Road at two, and improv at ComedyWorx at night. And there’s a Krispy Kreme popup at Aloft where you can register at a discount for the upcoming Krispy Kreme Challenge race, if running two and a half miles to eat doughnuts for charity doesn’t strike you as insane. You could also just take the kids to build scarecrows and pick pumpkins at Pullen Park. —Brian Howe HILLSBOROUGH STREET, RALEIGH 9 a.m.–10 p.m., various prices, www.hillsboroughstreet.org/artitup

Diana Huey in Disney’s The Little Mermaid

PHOTO BY MARK & TRACY PHOTOGRAPHY

INDYweek.com | 10.11.17 | 27

SA 10/14

FR 10/13

RIVER WHYLESS

CHELSEA WOLFE

10/12 TURNOVER W/ ELVIS DEPRESSEDLY, EMMA RUTH RUNDLE ($17/$20) 10/13 CHELSEA WOLFE** W/ YOUTH CODE ($20/$23) 10/14 RIVER WHYLESS W/ THE GRAND SHELL GAME ($14/$16) 10/15 BROTHER ALI W/ DJ SOL MESSIAH, LAST WORD (DJ SET), SA-ROC ($16/$18) 10/16 KALI UCHIS W/ PHONY PPL ($15/$18) 10/17 THE DIGITOUR PRESENTS D

WES TUCKER

LE

CANCEL

10/20 YEP ROC 20 -- NICK LOWE, JOSH ROUSE, LOS STRAITJACKETS, ELI PAPERBOY REED, SPECIAL GUEST TBA 10/21 YEP ROC 20 -- DAVE ALVIN AND PHIL ALVIN WITH THE GUILTY ONES, CHUCK PROPHET WITH THE MISSION EXPRESS, JEREMY & THE HARLEQUINS, DRESSY BESSY, THE FLESHTONES 10/24 TED LEO AND THE PHARMACISTS

W/ IAN SWEET, THE STARS EXPLODE ($16/$18) 10/25 JOSH RITTER & THE ROYAL CITY BAND W/GOOD OLD WAR ($27.50; INCLUDES ALBUM DOWNLOAD) 10/26 SAN FERMIN W/ GRACIE AND RACHEL ($15) 10/27 AMINE W/ TOWKIO

SOLD OUT

10/28 DEADHEAD MASQUERADE BALL FT COSMIC CHARLIE ($12/$15) 10/29 GRYFFIN W/ AUTOGRAF (DJ SET), AYOKAY ($17/$20) 10/31 JR JR W/ CHAD VALLEY ($16/$18) 11/1 CRANK IT LOUD PRESENTS:

CITIZEN

JULIEN BAKER 1/22 AND 1/23/18

TWO SHOWS!

SAY ANYTHING

($22/$27; $40 FOR 2-NIGHT PASS)

SA 10/14 @CAT’S CRADLE BACK ROOM

1/26 ENTER SHIKARI W/MILK TEETH ($18/$20)

MATT POND PA

1/27/18 TENNIS

11/11 ARKELLS W/ IRONTOM ($15)

1/30/18 DESTROYER W/ MEGA BOG ($20/$23

11/12 OVERCOATS W/ GORDI ($10/$12)

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

11/13 DAVID BAZAN W/ MICHAEL NAU ($15)

4/2/18 UDO DIRKSCHNEIDER

11/15 MO LOWDA & THE HUMBLE / ATLAS ROAD CREW

5/25/18 PETER HOOK & THE LIGHT ($28/$31)

11/16 CITY OF THE SUN ($10/$12) 11/17 HOWARD IVANS (ROSEBUDS, GAYNGS)

CAT'S CRADLE BACK ROOM 10/11 NOW, NOW W/DEM YUUT ($13/$15) 10/12 HOLLY BOWLING ($15/$17) 10/13 WITT LOWRY SOLD W/ RO RANSOM OUT 10/14 MATT POND PA W/ WILD PINK ($15/$17) 10/15 ZENSOFLY, JOOSELORD MAGNUS, BRASSIOUS MONK, J ROWDY & THE NIGHTSHIFT 10/16 THE NATIONAL PARKS W/ RIVVRS

AND SKYLAR GUDASZ ($12) 11/18 MODERN ENGLISH W/ THE VELDT, ENTERTAINMENT ($20/$23) 11/30 THE WEATHER STATION W/ JAMES ELKINGTON 12/1 ALLAN RAYMAN ($18/$20) 12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE W/ MOLLY PARDEN ($15/$17) 12/15 LYDIA LOVELESS (SOLO) $15 12/16 LYDIA LOVELESS (SOLO) $15

11/4 KNUCKLE PUCK W/ MOVEMENTS WITH CONFIDENCE, HOMESAFE 11/5 JOYCE MANOR / WAVVES W/ CULTURE ABUSE ($20/$23)

10/19-21 YEP ROC 20-YEAR

2/7/2018 WILLIE WATSON ($18/$20) CAROLINA THEATRE (DUR) 12/6 THE MOUNTAIN GOATS W/ JENNY BESETZT MOTORCO (DUR) 10/13 GUIDED BY VOICES ($26/$30)

10/22 PICKWICK W/ THE ELWINS ($12/$15)

11/3 BLITZEN TRAPPER W/ LILLY HIATT

11/6 WAX TAILOR: SOLO SET & GUESTS W/ DIRTY ART CLUB ($20/$23)

10/23 TREVOR SENSOR W/ LEAN YEAR ($10/$12)

11/4 BORIS W/MUTOID MAN, ENDON ($18/$20)

10/24 JESSICA LEA MAYFIELD / LED

11/30 THE DISTRICTS W/ SUN SEEKER ($15/$17) DPAC (DUR) TWO 11/13 AND 11/14 SH OWS! BON IVER W/ AERO FLYNN

W/SORORITY NOISE, GREAT GRANDPA 11/2 THE ENGLISH BEAT ($18/$20) 11/3 JD MCPHERSON W/ NICOLE ATKINS ($16/$18)

11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25) 11/9 POPUP CHORUS CELEBRATES TOM PETTY ($13/$8 WITH STUDENT ID)

11/10ABBEY ROAD LIVE! BEATLES TRIBUTE 11/11 SAINT SO MOTEL W/ GIBBZ LD OUT

11/12 LUNA W/ ELEANOR FRIEDBERGER ($20/$23)

10/17 RACHEL KIEL

ALBUM RELEASE

W/JOSH KIMBROUGH, JOSH MOORE 10/18 SH-BOOMS W/ FLASH CAR

CELEBRATION

BLANK RANGE

CANCEL

10/25 THE ALTERNATE ROUTES W/ NICK FRADIANI 10/26 THE SOCIAL ANIMALS 10/27 THE MOVIELIFE W/IRON CHIC 10/28 ELLIS DYSON & THE SHAMBLES W/THE OBLATIONS ($5) 10/29 MUMZ, THE NITROGEN TONE, TRIKE, SPAGHETTI ($5) 10/31 RATBOYS W/ DAGS

11/25 ST. VINCENT THE RITZ (RAL) 10/26 PORTUGAL.THE MAN SOLD W/LIDO OUT RED HAT AMPH (RAL) 10/2 THE HEAD AND THE HEART W/ THE SHELTERS

11/14 COUSIN STIZZ W/SWOOSH, BIG LEANO ($15/$18)

11/2 LARRY KEEL EXPERIENCE W/ JON STICKLEY TRIO ($!6/$20)

11/15 THE STORY SO FAR W/TURNSTILE, DRUG CHURCH

11/3 ALL THEM WITCHES W/ KING BUFFALO

11/16 YELAWOLF W/MIKEY MIKE, BIG HENRI, COOKUP BOSS ($25/$28)

11/4 THE HOTELIER W/ OSO OSO, ALEX NAPPING ($13/$15)

11/18 CULTS W/SHE-DEVILS, HOLDOUT ($19/$21)

11/5 TERA MELOS W/ SPEEDY ORTIZ, PROMM

11/30 CUT COPY

11/7 THE WORLD IS A BEAUTIFUL

HISS GOLDEN MESSENGER

W/ ROZWELL KID, ADJY ($15)

12/16 CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR

12/2 POKEY LAFARGE ($17/$20) 12/17 HORTON’S HOLIDAY HAYRIDE STARRING REVEREND HORTON HEAT, WITH THE BLASTERS, JUNIOR BROWN, BIG SANDY ($25/ $28)

28 | 10.11.17 | INDYweek.com

FR 10/13 @HAW RIVER BALLROOM

PLACE AND I AM NO LONGER AFRAID TO DIE

HAW RIVER BALLROOM 10/13 JULIEN BAKER W/ HALF WAIF ($16/$18) 10/20 EMILY SALIERS W/ LUCY WAINWRIGHT ROCHE 11/5 KISHI BASHI W/ TALL TALL TREES ($20) 11/30 AND 12/1

TWO SHOWS!

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

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

music 10.11– 10.18

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Katie Hjerpe (KH), Allison Hussey (AH), David Klein (DK), Charles Morse (CM), Noah Rawlings (NR), David Ford Smith (DS), Patrick Wall (PW)

FRIDAY, OCTOBER 13

JULIEN BAKER Memphis native Julien Baker delivers devastatingly beautiful reflections that are wise beyond her years, with an emotional weight as powerful as any of today’s best songwriters. After spending her teenage years leading the angular emo quartet Forrister, Baker used her solo debut, Sprained Ankle—recorded when she was just eighteen—to wrestle with such heavy topics as existentialism and faith, identity and acceptance, and substance abuse and broken relationships.

Identifying as a queer Christian Southern woman, Baker reveals her own vulnerability as she grasps for elusive conclusions to unanswerable questions, often to a jarring but relatable degree. On “Blacktop,” Sprained Ankle’s opening track, she asks God, “But if no one sings along in praise/ Are you still proud when I open my mouth?” She questions whether He would reject the “love letters” she’s written Him if her audience does the same. The latter instance seems to have become rhetorical; that LP landed on plenty of 2015 “best of” lists and was later rereleased

by Matador Records, and Baker now plays headlining shows for moderately sized theaters rather than small clubs, before rapt crowds that sit in pin-drop silence, hanging on and echoing her every word.

Baker’s musings on her forthcoming follow-up—and proper Matador debut—Turn Out the Lights are just as complex and intimate, though with the addition of more instrumental layers, like the elegant, mesmerizing piano accompaniment she teased with “Good News,” the closing track on Sprained Ankle. “Maybe it’s all gonna turn out alright,” she repeats on lead single “Appointments,” then adds “I know that it’s not but I have to believe that it is.” Like the rest of Baker’s work, her arresting vocal haunts a sparse arrangement wrought from little more than a meditative guitar line and bits of piano, with a melody nearly as potent as her words.

Before Baker takes the stage in Saxapahaw, there’s electro-infused Brooklyn project Half Waif. The band’s members also play in Pinegrove, and the group is spearheaded by Nandi Rose Plunkett, whose ethereal vocals, confessional lyricism, and lush synth textures take center stage. Together, the trio crafts dreamy moods that pulse to fluttering beats around which Plunkett’s voice flits and soars. —Spencer Griffith HAW RIVER BALLROOM, SAXAPAHAW 8 p.m., $16–$18, www.hawriverballroom.com

PHOTO BY NOAH KNIGHT

WED, OCT 11 BLUE NOTE GRILL: Scott Sharrard & The Brickyard Band; 8 p.m., $15–$20. • CAT’S CRADLE (BACK ROOM): Now Now, Dem Yuut; 8 p.m., $13–$15. • DUKE’S BALDWIN AUDITORIUM: Duke Symphony Orchestra with Hsiao-mei Ku; 8 p.m. • DUKE COFFEEHOUSE: Maple Stave, Twelves, War Brides. • KOKA BOOTH AMPHITHEATRE: Longleaf Pine Nuts; 5:45 p.m., $5. • LOCAL 506: Legendary Shack Shakers, Bloodshot Bill, Paint Fumes; 9 p.m., $15. • MOTORCO: Joyner Lucas, Kourvioisier; 8 p.m., $12–$15. • NEPTUNES PARLOUR: Cortex, The Paul Swest; 10 p.m., $7–$10. • THE PINHOOK: Elvis Division, John Davis; 9 p.m., $5. • POUR HOUSE: Particle, Lespecial; 8 p.m. • RED HAT AMPHITHEATER: Kid Cudi; 8 p.m. • SLIM’S: Magma Opus, Hound, Witchtit; 9 p.m., $5. • THE STATION: Honey Duchess, Ghost Eagle; 8:30 p.m., $6.

THU, OCT 12 The Courtneys INDIE POP

Like early Yo La Tengo or the Mod-

ern Lovers, this delightful Vancouver trio has the well-earned confidence in its material to allow its shimmering melodies and cascading hooks to build slowly before diving into uncanny melodies and dynamic turns. Smart, wry material like the reverbed-out chug of “Los Boys” benefits from an approach that’s unvarnished and offhand, but in no way amateurish.

Versing and Desert Secretary open. —EB [THE PINHOOK, $10–$12/9 P.M.]

Totally Destroying It also celebrating double digits with a rare set, followed by Unifier’s infectious alt-rock ditties and Handsome Foxes’ fervent bursts of emo.

Saturday stars the rocktinged modern country of Nashville’s Kasey Tyndall, preceded by a surprise guest and performance by an all-star band of open mic regulars. —SG [DEEP SOUTH, FREE/8 P.M.]

Deep South 10th Anniversary

The musicians of JAHlistic hold a steady, skank-guitar-driven beat, as is custom with roots reggae bands. This makes all the more uncommon and interesting the vocal acrobatics of singer Tania Aloise, whose voice floats and spins in concord with the instrumentals of her bandmates. With Monjah and Sensi Trails. —NR [POUR HOUSE, $3–$5/9 P.M.]

Deep South THE DECADE Entertainment’s live-venue venture—the red-walled, lyric-covered dive Deep South the Bar—turns ten this month, marking the occasion with three nights of free shows filled with some longtime friends. Thursday features K-Hill and the live hip-hop collective Kick-AVerse, along with the slick, oversize “conscious pop” of Branan Murphy. Friday finds power-pop institution I Was

Local Band Local Beer: JAHlistic JAH BLESS

Bruno Mars Without securing MARS ATTACKS a seat months

ago, finding your way into Bruno Mars’s long-awaited show without spending a pretty penny might be as difficult as escaping his seemingly unending streak of mega-hits. Thanks to massive cross-generational appeal, manifold talent—as a producer, singer, dancer, and multi-instrumentalist—and an eclectic range from sensual R & B to retro soul and, well, upbeat funk, Mars is deservedly one of today’s most-loved pop stars. If his Super Bowl performance was any indication, this one’s likely worth the ticket price.

Jorja Smith opens. —SG [PNC ARENA, $198–$983/8 P.M.]

Paint Fumes Raucous Charlotte garage-rock trio Paint Fumes titled its last EP If It Ain’t Paint Fumes, It Ain’t Worth a Huff, and—when it comes to garage rock, anyway—it might be right. It’s a furious explosion of animated grit and grime, filled with lo-fi freakout that bounces off the wall like lost Nuggets ragers. With Night Battles and Zodiac Panthers.

—PW [KINGS, $5–$7/9 P.M.]

HUFF IT

Royce Da 5’9” Battles with ROYCE RETURNS alcoholism and a near-career-ending feud with longtime friend Eminem haven’t hindered the relevance of Royce Da 5’9” as one of hip-hop’s most technically gifted emcees.

His latest project, The Bar Exam 4, displays the same Royce that fans love, with nothing especially new in his flow or beat choices. But given his ability to bring vivid life to subtle metaphors, the shtick doesn’t get old. G. Yamazawa and J. Gunn share the stage. —CM [MOTORCO, $30–$35/9 P.M.]

Speed Stick DOUBLE Speed Stick is the DRUMS cleverly named pairing of drummers Laura King (Flesh Wounds, Bat Fangs) and Tom Simpson (The Love Language, The Light Pines). Sharing a kick drum and surrounded by their own toms, cymbals, and snares, the two deliver full-tilt percussive improvisations that’ll keep you at rapt

attention with their detail and power. Moon Racer, the new lo-fi pop project of Cassis Orange’s Autumn Ehinger, opens, and so does Mac McCaughan. —AH [ARCANA, FREE/8:30 P.M.]

Turnover Over the last five PUNX GAZE years, the internet has rammed various strains of gloomy youth music into the same ever-expanding box. Former Fueled By Ramen obsessives started reading about Sarah Records and Loveless, and rising labels like Boston’s Run For Cover began catering to a new, trendy shoegaze-emo hybrid. Originally a midday Warped Tour act, Turnover has spent almost eight years bridging that gap. The band’s August LP, Good Nature, clouds earnest pop-punk poetry in a haze of rainy day dreampop chorus pedal.

Asheville lo-fi titans Elvis Depressedly open. With Emma Ruth Rundle.

—DS [CAT’S CRADLE, $17/8 P.M.] INDYweek.com | 10.11.17 | 29

ALSO ON THURSDAY THE ARTSCENTER: The James Hunter Six; 8-10 p.m., $28. • BLUE NOTE GRILL: The Hollow Rock Ramblers with Whit Smith; 7 p.m., free. • CAT’S CRADLE (BACK ROOM): Holly Bowling; 8 p.m., $15– $17. • HAW RIVER BALLROOM: Benevolence Farm Second Chance Dine & Dance; 7 p.m., $45. • LINCOLN THEATRE: Tricky, In the Valley Below; 8:30 p.m., $22. See page 18. • LOCAL 506: Joecephus and the George Jonestown Massacre, Dr. Mudd and the Alamo; 9 p.m., $8–$10. • NEPTUNES PARLOUR: Larry’s House: A Night at Paris Garage; 10 p.m.

FRI, OCT 13 Guided By Voices POLLARD Thirty-five years, POWER countless lineup changes, and seemingly tens of thousands of tunes later, Robert Pollard and company keep on keeping on, currently touring on two 2017 releases (so far.) For those who have not seen the version of Guided By Voices with ace guitarist Doug Gillard in the fold, he is a major value add.

—TB [MOTORCO, $26–$30/9 P.M.]

Deceased Seminal death STILL ALIVE metal crew Deceased was the first band to sign to Relapse Records, and it would become one of the vaunted label’s biggest early pillars. It was Relapse that released Deceased’s high-water point, 1997’s Fearless Undead Machines, a near-perfect thrash homage to cult horror classics marked by pummeling percussion and blistering guitars. Like the zombies it sings about, Deceased still ain’t dead, thirty years into its storied career. With Birth the Wretched and Ergodic.

—PW [THE MAYWOOD, $10/9 P.M.]

TH 10/12 FR 10/13 SA 10/14 SU 10/15 TU 10/17

He cut his teeth in BLUES HEAD Levon Helm’s band The Barnburners, but a grown-up Chris O’Leary flashes some formidable fangs on his own when channeling Howlin’ Wolf on “Moanin’ at Midnight.” Helm called The Barnburners “blues heads who never wanted to

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listen to anything but the blues,” and O’Leary lives up to that calling. —GB [BLUE NOTE GRILL, $10/9 P.M.]

SA 11/4 SA 11/4 FR 11/10 SA 11/18

HOUSE & For half a decade, BAND fuzz-pop kings Paperhaus staffed a popular Washington, D.C., DIY venue named, you guessed it, Paperhaus. As the story goes, the esteemed venue fell victim to chic real estate trends and traded hands for a cool $750,000 last year. But the band lives on slinging fuzzy anthemic dreampop.

Recent single “Go Cozy” affixes the bliss-out leads of Ducktails to the churning underbelly of Built to Spill, with some odd prog strafes to boot. Raleigh’s ZenSoFly and Pie Face Girls open. —DS [KINGS, $7–$10/9 P.M.]

Chelsea Wolfe Hard to imagine, DARK ARRIVAL really, but moody doom-folk singer Chelsea Wolfe has, on this year’s Hiss Spun, mined depths deeper than 2015’s Abyss. It’s darker

ALSO ON FRIDAY ARCANA: Ladies of the 80s vs. 90s with DJ Play Play; 10 p.m., $5. • THE CARY THEATER: David LaMotte, Beth Wood, Chris Rosser; 8 p.m. • CAT’S CRADLE (BACK ROOM): Witt Lowry, Ro Ransom; 9 p.m., $12–$65. • THE CAVE: Manifest II; 8 p.m., $15–$30. See page 26. • DEEP SOUTH: 10th Anniversary Celebration: Handsome Foxes, Unifer, I Was Totally Destroying It; 9 p.m., free. • DUKE’S BALDWIN AUDITORIUM: Carla CopelandBurns, Inara Zandmane; 8 p.m. • HAW RIVER BALLROOM: Julien Baker, Half Waif; 8 p.m., $16– $18. See box, page 33. • LOCAL 506: Manifest II; 9 p.m., $15–$30.

See page 26. • MEYMANDI CONCERT HALL: Classic Pops; 8 p.m. • NIGHTLIGHT: Manifest II. See page 26. • THE PINHOOK: PRIVXTE: Dance Party, Refined; 10 p.m., $7. • POUR HOUSE: Widow, Datura, Knightmare; 9 p.m.

preparing to do some damage. Backed by his crackerjack five-piece band, Jacob’s fluid take on blues and country soul is a giddy thrill, packed with unflashy, virtuoso passages that act in the service of songs that are always good and occasionally outstanding. The Trongone Band opens. —TB [POUR HOUSE, $8/9 P.M.]

THE RITZ: Appetite for Destruction: Guns N Roses Tribute; 8 p.m. • SHARP NINE GALLERY: UNC Faculty with Andre Hayward; 8 p.m., $10–$20. • SLIM’S: Paper Dolls, Jordan Esker, Raid the Quarry; 9 p.m., $5.

SAT, OCT 14 Bad Balloon MAJOR + Chiming guitars MELLOW strums, easygoing drums, and ardent vocals characterize the music of Carrboro’s Bad Balloon. It’s not crafting radical soundscapes or reaching for new musical heights, but the band keeps things pleasantly major key and mellow. With Permanent Makeup, Mall Prowler, and Tegucigalpan.

—NR [THE STATION, $6/10 P.M.]

Chris Jacobs In the tradition of SOLID COUNTRY mid-Atlantic hotshots like Bill Kirchen, Baltimore singer-guitarist Chris Jacobs sings with a burly growl and looms over his Telecaster like a man

The General Live Score In writing new SILENT NOT scores for films by the likes of Laurel & Hardy, which never had a soundtrack, and for films like The Cook, the Thief, His Wife and Her Lover, which did, Eric Carless has redefined what it means to be a film composer.

His latest work accompanies The General, filmed in the Oregon mountains and starring silent screen legend Buster Keaton as a railroad engineer and would-be Confederate soldier who springs into action when his train is stolen by Northerners.

—DK [THE ARTSCENTER, $10–$15/3 P.M.]

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and heavier, thanks largely to its supporting cast—a metal all-star team that includes Sumac’s Aaron Turner and Converge’s Kurt Ballou—and its icy gothic story-songs are by turns fierce and fragile.

Youth Code opens. —PW [CAT’S CRADLE, $20–$23/8 P.M.]

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quartet uses heavy doses of harmony to drive home hooks that are often overshadowed by ambitiously lush arrangements. Carrboro’s Grand Shell Game adds majestic, poetic tunes that twist its foundation of cosmic roots and classic rock ’n’ roll in quirky, wildly eclectic directions. —SG [CAT’S CRADLE, $14–$16/8:30 P.M.]

TUESDAY, OCTOBER 17

ALGIERS

PHOTO BY JOE DILWORTH

ALSO ON SATURDAY

The four guys of Algiers—who began their association in Georgia but also call New York and London their home—are the kind of hyper-eclectic band that’s bound to send the obsessive categorizing type into an apoplectic fit. You could throw subgenre tags and band references at its sound all day long and still fail to completely capture it. But what the hell, let’s give it a shot: how about Liars beating up on The Black Keys while Gary Clark, Jr. goads them on? Or maybe TV on the Radio robbing a bank with Massive Attack while Radiohead waits in the getaway car? No, that’s not it either.

Most of the members of Algiers have been buddies since they were callow youths, but it took a relocation to London for its members to finally get Algiers started about a decade ago. It was there that the band tossed together everything from angular post-punk and avant-garde experimentalism to soul and gospel into a heady musical brew and let the chips fall where they may.

It ended up with something that’s sometimes dark, creepy, and brooding, and sometimes brash, explosive, and assaultive.

On Algiers’ self-titled 2015 debut album, singer Franklin James Fisher, guitarist Lee Tesche, and bassist Ryan Mahan—all

MOTORCO, DURHAM 8:30 p.m., $10–$12, www.motorcomusic.com

Matisyahu

Matt Pond PA

Orquesta GarDel

While much of MEH...

WHO? the reason behind Matisyahu’s initial breakthrough undoubtedly came from the unlikely sight of a Hasidic Jew toasting and beatboxing, hip-hop and electronic elements have since overtaken the organic roots reggae of his early spiritual work, resulting in rather generic crossover attempts.

Common Kings and Orphan open. —SG [THE RITZ, $25/8 P.M.]

Having spent MATT ROCK almost twenty years purveying his ornate brand of indie-tinged chamber pop as Matt Pond PA, Matt Pond is retiring the PA after this tour, meaning he’s dropping the band to pursue new directions. This year’s Still Summer is a solid effort, though, so they’re going out on a high note.

Catch him while you can.

With Wild Pink. —DK [CAT’S CRADLE BACK ROOM, $15–$17/8:30 P.M.]

Though it’s not SPICY SALSA what you may traditionally consider a “Southern” sound, there are few places other than North Carolina where Orquesta GarDel could exist. Multinational musicians of all musical backgrounds come together for original big-band Nuyorican salsa with a Durham jazz twist. The group’s performances are high-energy and dynamic, designed for dancing. Aiding in

of whom play a multitude of other instruments, too—delivered an idiosyncratic statement that landed the band on a lot of bestof-the-year album lists. Not long after that, the group brought a drummer into the fold, becoming a four-piece with the addition of erstwhile Bloc Party skins-pounder Matt Tong. And as a quartet, Algiers released its follow-up, The Underside of Power, just a few months ago, with production work by Portishead’s Adrian Utley.

Not only is Algiers’ music an intense experience, the lyrical side of its work is made to match. Overtly political in its approach, the band feels duty-bound to make as overt and angry a statement as possible about the current climate. Given the rather apocalyptic feeling of the present global situation, it would seem that there’s never been a better time for a band like Algiers to come along and swing the mighty hammer of art loudly and proudly in the name of disrupting the current order of things. And when Algiers brings all of that intensity to the stage, it’s quite a sight to behold.

—Jim Allen

that mission, DJ Kward bookends the night with two separate sets. —KH [KINGS, $12–$15/9 P.M.]

River Whyless FLITTING Asheville’s River FOLK Whyless crafts inoffensive, optimistic folk pop akin to a contemporary version of Rusted Root, slightly toning down the latter’s omnipresent worldly dalliances for a more ethereal approach. With a dash of instrumental whimsy, the

ARCANA: The Old Ceremony; 7 p.m., $10. • BLUE NOTE GRILL: The Well-Respected Men; 8 p.m., $8. • THE CAVE: Manifest II; 8 p.m., $15– $30. See page 26. • DEEP SOUTH: 10th Anniversary Celebration: Kasey Tyndall, The Open Mic All-Stars; 8:30 p.m., free. • DUKE’S BALDWIN AUDITORIUM: Bill Callahan, Nathan Bowles, Jake Xerxes Fussell; 8 p.m., $10–$38. See page 26. • IMURJ: AVL Battlegrounds; 8 p.m., $10–$15.

• IRREGARDLESS: Michael Jones Duo; 6-9 p.m. The Traditional Jazz Sextet ft. Andy Stein; 9 p.m. • LINCOLN THEATRE: GlowRage; 9 p.m., $20. • LITTLE LAKE HILL: Brett Padgett; 8 p.m., $15 donation. • THE MAYWOOD: Third Eye, Enrage Against the Machine; 9 p.m., $8–$10. • MEYMANDI CONCERT HALL: Classic Pops; 8 p.m. • MOTORCO: Who’s Bad; 4 p.m., free. • SHARP NINE GALLERY: Kevin Van Sant, Evan Roberson QT; 8 p.m., $10–$20.

• SLIM’S: Helgamite, Destroyer of Light, Etiolated; 9 p.m., $5. • THE STATION: Jazz Saturdays; 2 p.m., free.

SUN, OCT 15 Brother Ali CALMING On his latest FORCE album, All the Beauty in This World, Brother Ali brings soul to rap music effectively by utilizing jazz influences but not overselling them, and staying rooted in hip-hop with entrancing bass grooves and a soothing rap flow. His approach to expressing his conscious messages matches his subdued demeanor, making his messages something you actually want to listen to.

—CM [CAT’S CRADLE, $16–$65/8 P.M.]

The Cowboys YEEHAW Bloomington, Y’ALL Indiana’s The Cowboys play a cheerfully art-damaged brand of punk boogie that benefits from a hefty dose of subversive

digressions. Crucially, even when the jokes don’t land and the satire veers off into the utterly inscrutable, they remain a pretty damn fine rock band, with vocalist Keith Harmon channeling Jeffery Lee Pierce to great effect on tracks like the stomping “Thumbs” and the sweetnatured “Cindy Lou.” Cold Cream and Das Drip open.

—TB [THE PINHOOK, $7/9 P.M.]

Dead Rider Todd Rittmann, MAPLE FLAVOR the driving force behind seminal Chicago indie deconstructionists U.S. Maple, leads the experimental wrecking crew Dead Rider.

Like his old one, Rittmann’s new band relies on angular skronk, rude grooves, jazzy tones, and unctuous lounge-lizard croons to create music of unparalleled idiosyncrasy, slow and murmuring and punch-drunk and marked by creeping dread. —PW [NEPTUNES PARLOUR, $10/9 P.M.]

Kyle Hollingsworth Band As the Grateful FRIED CHEESE Dead touring colossus began to wind down in the early nineties, bands like Phish, Widespread Panic, and The String Cheese Incident stepped in to carry the tie-dyed banner and they still flourish today. String Cheese Incident keyboardist Kyle Hollingsworth has had a busy career outside of his main outfit, putting out solo LPs and collaborating with the Dead’s Mickey Hart and Robert Hunter, and even the Fiery Furnaces. With CBDB and City Dirt Duo. —DK [POUR HOUSE, $15–$20/8 P.M.]

Judah and the Lion While Judah & LION’S DEN the Lion sounds like the name of a reggae band, this alt-rocking Nashville sextet led by Judah Akers invokes New Testament iconography from a Christian perspective. But there’s no misunderstanding title of the band’s high-charting 2016 LP: With a record called Folk Hop n Roll, you know exactly where you stand. —DK [THE RITZ, $20–$80/8 P.M.] INDYweek.com | 10.11.17 | 31

ALSO ON SUNDAY ARCANA: Sarah the Instrumentalist, Mature Fantasy, Majestic Vistas; 7 p.m., free. • CAT’S CRADLE (BACK ROOM): ZenSoFly, Jooselord Magnus, Brassious Monk, J Rowdy & The Nightshift; 8 p.m., $7–$10. • DEEP SOUTH: Mike the Prophet, Eric Scholz Band, Infielder; 8:30 p.m., $5–$8. Live & Loud Weekly; 9 p.m., $3.

• DUKE CHAPEL: Kola Owolabi; 5 p.m. • DUKE’S NELSON MUSIC ROOM: Hsiao-mei Ku, R. Larry Todd; 7 p.m. • DUKE GARDENS: Mallarme Family Concert with Shana Tucker; 1-2 p.m., $5–$10. • THE GLENWOOD CLUB: Andy Stein; 3 p.m., $5–$20.

• HAYES BARTON UNITED METHODIST CHURCH: Stephen Aber with vocalists and trumpet; 3-4 p.m., free. • LOCAL 506: Summer Wars, Messenger Down, propersleep; 8 p.m., $7.

MON, OCT 16 Kali Uchis

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

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bill.burton.lawyer@gmail.com 32 | 10.11.17 | INDYweek.com

A well-learned HERE & NOW POP team player who’s worked with some of the best, Colombia’s Kali Uchis is simultaneously futuristic and vintage. Her new single, “Nuestro Planeta,” is a sultry, thumping number, while “Tyrant” is a mellow, Rihanna-evoking ride. Phony Ppl open. —KH [CAT’S CRADLE, $15–$18/8 P.M.] ALSO ON MONDAY CAT’S CRADLE (BACK ROOM): The National Parks, RIVVRS; 8 p.m., $10–$12. • IMBIBE: Grewen and Griffin; 7-10 p.m., free. • MOTORCO: Flash Chorus; 7 p.m., $7–$10. • NEPTUNES PARLOUR: Atomic Rhythm All Stars; 8 p.m., $5.

• PITTSBORO ROADHOUSE: Triangle Jazz Orchestra; 7 p.m., $10. • POUR HOUSE: Flux Capacitor; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, OCT 17 JD Allen Trio & Bill Frisell MONK @ For their install100 ment in the series that celebrates what would have been Thelonious Monk’s 100th birthday, tenor sax man JD Allen and his trio, who are known for gorging a raw, visceral sound, join forces with legendary guitarist Bill Frisell, famed for a rather airier approach but capable of getting gritty when

he wants to. Together they’ll offer up some unexpected, idiosyncratic, but absolutely passionate perspectives on Monk’s one-of-a-kind sound.

—JA [DURHAM FRUIT & PRODUCE COMPANY, $10–25/7 & 9 P.M.]

Comeback Kid STUNTED Blue-collar, GROWTH riff-happy, and Canadian as hell—the band took its name from a headline about the post-lymphoma return of NHL legend Mario Lemieux—Winnipeg’s Comeback Kid has been churning out metallic hardcore punk for nigh on two decades now. It’s also been churning out the same bellicose, pit-inducing hardcore for its entire lifespan. It ain’t much for nuance, but if you’re looking to get your temper raised, here you go. —PW [KINGS, $15–$17/7:30 P.M.]

Dinner Denmark’s Dinner LIGHT MEAL might not ring many bells, unless you obsessively charted the Captured Tracks or Ghostly International undercard circa 2012. Regardless, this ungoogle-able deep-voiced synth-pop project comes via Anders Rhedin, who also played in chamber pop outfit Choir of Young Believers.

Fans of Lust For Youth, John Maus, or any of that recent wave of sinister eighties sophisti-pop will find a lot to enjoy, even if the songwriting isn’t particularly addictive or rigorous. With Body Games.

—DS [THE PINHOOK, $10/9 P.M.] ALSO ON TUESDAY CAT’S CRADLE: Wes Tucker; 6:30 p.m., $25. • CAT’S CRADLE (BACK ROOM): Rachel Kiel, Josh Kimbrough, Josh Moore; 8:30 p.m., $8–$10. See page 19. • LOCAL 506: Lich King, Hidden Intent, Suppressive Fire; 9 p.m., $10.

WED, OCT 18 Blues Traveler The year is 2017.

THE HOOK Prince is dead, and so are David Bowie, Tom Petty, and Leonard Cohen.

Blues Traveler, however, is still a going concern. Yes, the band who brought us the

harmonica-heavy hits “Hook” and “Run Around” and probably some other songs is, in fact, celebrating its thirtieth anniversary with this particular tour. You can still find frontman John Popper clad in his harmonica bandolier and fedora, honking away as hard as ever—that is, when he’s not being a cretin to women on the internet.

Enjoy the nostalgia while it lasts, though who knows how long that’ll be. Maybe just long enough for the hook to bring you back. Los Colognes open. —AH [THE RITZ, $25/8 P.M.]

Tommy Castro and the Painkillers Take a soundbite SOUL BLUES of Wilson Pickett’s bobcat yowl, tamp it down with Delbert McLinton’s raspy drawl, then add a load of blistering guitar. That recipe pops Tommy Castro out of the oven, ready to deliver some soulful blues with his band, the Painkillers. On his new album, Stomping Ground, Castro serves up a soulful take on Taj Mahal’s “Further on Down the Road,” and knocks Delaney and Bonnie’s 1970 ripper “Soul Shake” out of the park. —GB [BLUE NOTE GRILL, $20–$25/7:30 P.M.]

The Sh-Booms FLORIDA The Sh-Booms say POWER they combine soul with rock ’n’ roll, and they’re not wrong. With horn-fueled fire that’d make ska proud, a good-humored group of multi-instrumentalist dudes support queen bee Mizz Bren, whose voice is astounding.

The band’s Usage Fee EP is just a taste of its rich flavor.

Carrboro’s Flash Car opens.

—KH [CAT’S CRADLE BACK ROOM, $10/8:30 P.M.] ALSO ON WEDNESDAY DEEP SOUTH: propersleep, Icaria, An Author, A Poet, So Soon, The Truth; 8 p.m., $8. • DURHAM FRUIT COMPANY: JD Allen Trio & Dave Douglas; 7 & 9 p.m., $10–$25.

• EMPRESS ROOM: Ed Stephenson; 7:30-10 p.m. • LOCAL 506: The Rocketboys, Must Be the Holy Ghost, Brother Cephus; 9 p.m., $10–$12. • POUR HOUSE: The Rad Trads, Steve Hartsoe Band; 9 p.m., $8.

art

10.11 – 10.18

OPENINGS

ONGOING

Art It Up!: Eighteen events at sixteen locations. Sat, Oct 14, 9 a.m.-10 p.m. Hillsborough Street, Raleigh. www. hillsboroughstreet.org/artitup.

See p. 27.

50th Annual Fall Pottery and Glass Festival: Glass and pottery pumpkin patch, pottery demonstrations, kiln openings and live raku firings, glass blowing and bead pulling demonstrations by Lisa Oakley, live music, and food trucks. 10 a.m.-6 p.m. Sat & Sun thru Oct 15. Cedar Creek Gallery, Creedmoor. www. cedarcreekgallery.com.

Autumn Art Extravaganza: Acrylic and oil landscapes and portraits, metal forms of sacred geometry, stone sculpture, encaustic wax, raku ceramics, mixed media, and more. Oct 12-14. 123 Art Studios, Pittsboro. www.123artstudios.com.

SPECIAL Hands On Fashion: EVENT Try on clothes made from recycled bike inner tubes, part of a month-long exhibition called Rubber Creatures from Outer Space! by Tom Buhrman. Fri, Oct 13, 6-7 p.m. Golden Belt, Durham. www.goldenbeltarts.com.

Ofrendas with Peter Marin: With wine and snacks. $25$35. Thu, Oct 12, 7-9 p.m.

Artspace, Raleigh. www. artspacenc.org.

SPECIAL One World: The EVENT Art of Jesse Kalisher & Friends: Photography by Jesse Kalisher.

Oct 13-31. Reception: Fri, Oct 13, 6-9 p.m. The ArtsCenter, Carrboro. www. artscenterlive.org.

The Pancakes & Booze Art Show: More than a hundred emerging artists showcasing their work with live music, body painting, multimedia displays, and free pancakes. $7-$12. Fri, Oct 13, 7 p.m.-2 a.m. Lincoln Theatre, Raleigh. www.lincolntheatre.com.

Transcendents: Photography

by Mariette Pathy Allen. Part of the the Click! Photography Festival. Tue, Oct 17, 5-8 p.m.

Power Plant Gallery, Durham. www. powerplantgallery.com.

SPECIAL Wanderers: EVENT Paintings by Jeff Joyce. Oct 13-Dec 2.

Reception: Fri, Oct 13, 6-9 p.m. Light Art + Design, Chapel Hill. www. lightartdesign.com.

Across The Horizon: Mixed media by Adrien Montoya, stained glass by Lizzie Bailey.

Thru Oct 28. Local Color Gallery, Raleigh. localcoloraleigh.com.

And Then the Sun Swallowed Me: “I have this terrifying thought from childhood,” Durham artist Heather Gordon writes. “One day, without notice, the sun will become a red giant and, in its death throes, will swell and swallow our planet, and all of us along with it. Alive.”

This cheering thought forms the backdrop of Gordon’s blacktape-and-video installation at CAM—and, perhaps, sheds light on her perennial fascination with turning personal data into geometric, optical-illusion-like abstractions. As everything hurtles toward extinction—while we, unlike the sun, must carry an awareness of this fact—there is an inherent allure and value in the little human things we can transform into beauty and save.

Thru Feb 4. CAM Raleigh, Raleigh. camraleigh.org. —Brian Howe Art in Times of Crisis: Two- and three-dimensional abstract pieces by Joumana Medlej. Thru Oct 30. NCSU Campus: The Crafts Center, Raleigh. www. ncsu.edu/crafts.

Beyond the Front Porch 2017: Twelve senior undergraduates.

Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. cdsporch.org.

Beyond the Surface: Paintings

by Marcy Lansman and Pat Merriman, carved wood

by Larry Favorite. Thru Oct 22. Hillsborough Gallery of Arts, Hillsborough. www. hillsboroughgallery.com.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

submit! Got something for our calendar? EITHER email calendar@indyweek.com

(include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent.

DEADLINE: Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

Black on Black V2: Performances and art. Thru Nov 25. VAE Raleigh, Raleigh. www. visualartexchange.org

TUESDAY, OCTOBER 17

MARIETTE PATHY ALLEN: TRANSCENDENTS

Blooms and Lagoons: Sue Scoggins. Thur Oct 31.

Little Art Gallery & Craft Collection, Raleigh. www. littleartgalleryandcraft.com.

The Boomer List: Photography

by Timothy Greenfield-Sanders.

Thru Dec 31. N.C. Museum of History, Raleigh. www. ncmuseumofhistory.org.

Carefully Cut: Tin can collage

by Thomas Graham. Thru Nov 2. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Celebrating George Bireline: Paintings. Thru Oct 28. Lee Hansley Gallery, Raleigh. www. leehansleygallery.com.

Allison Chambers and Charlotte Foust: Paintings. Thru Oct 27. ArtSource Fine Art, Raleigh. artsource-raleigh.com.

Coastscapes: Paintings by Nancy Hughes Miller. Thru Oct 28. Artspace, Raleigh. www. artspacenc.org.

Court and Capital: Art from Asia’s Greatest Cities: Thru Dec 10. Ackland Art Museum, Chapel Hill. www.ackland.org.

Deer, Oh Dear: Paintings by Shannon Bueker. Thru Oct 31. N.C. Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

Developing Landscapes: The joy and the terror of the Click!

Photography Festival both derive from its sheer volume.

So much photography in so many places for the whole month of October!

Here’s one not to miss: a selection of work from the advanced photography program at Johannesburg’s Market Photo Workshop, in which perspectives of South Africa’s physical landscape are inevitably shaped by the fallout from Apartheid’s long lifespan and arduous demise. In a world of forced removals and contested property rights, land is more than land; it’s a currency of

Transcendents: Spirit Mediums in Burma and Thailand

PHOTO BY MARIETTE PATHY ALLEN

Burma and Thailand are overwhelmingly Buddhist, but even older, animistic spiritual traditions still exist. Like Buddhism, their long heritage doesn’t prevent our times from having their say. To wit, in the past, most spirit mediums in those countries were women, but over time men have been integrated into the tradition; some dress as women while they are in a ritual trance, while others live full-time as women, becoming what we in the West would call transgender. In Transcendents: Spirit Mediums in Burma and Thailand, her new photo book from Hillsborough’s Daylight Books, photographer Mariette Pathy Allen (with Eli Coleman, director of the University of Minnesota’s Program in Human Sexuality) turns her lens on a vibrant juncture where an ancient culture bends to meet modernity. As a part of the Click!

Photography Festival, Allen has a pop-up exhibit of the photos and a book signing at Power Plan Gallery on Tuesday, with an artist talk at 6:30 anchoring the reception. —Brian Howe

POWER PLANT GALLERY, DURHAM

5–8 p.m., free, www.powerplantgallery.org

identity. See it through the eyes of Nkosinathi Khumalo, Tshepiso Mazibuko, Tegobo Moche, and others. Thru Nov 2. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

—Brian Howe The Disaster Paintings: Donald Sultan. Thru Dec 31. N.C. Museum of Art, Raleigh. www. ncartmuseum.org.

Don’t Quit: The Nello Teer Sr. Story: History of the Teer family in Durham. Thru Dec 15.

Durham History Hub. www. museumofdurhamhistory.org.

SPECIAL Download: Paintings EVENT and mixed media by Leatha Koefler and Jayne

Walther. Half-robot, half-human dancer Tiana Sutton at reception. Thru Oct 24.

Reception: Fri, Oct 6, 6-9 p.m.

Litmus Gallery, Raleigh. www. litmusgallery.com.

Ecology & Artifact: Paintings by Kimberly Wheaton. Thru Nov 1.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

SPECIAL Expressions of EVENT Nature: By Karin Neuvirth and Sharon Barnes.

Thru Oct 31. Reception: Fri, Oct 13, 6-9 p.m. This and That Gift Gallery, Carrboro.

The Fence: Durham is one of seven cities across the nation— the smallest, compared with the

likes of Brooklyn, Boston, and Houston—to host this touring, public photography exhibit, curated from submissions from around the world and based on themes such as “home,” “nature,” and “food.” While Lori Vrba is the only local artist among the fifty included in the touring exhibit, nine area photographers, including Bryce Lankard, Leah Sobsey, Gesche Würfel, and Warren Hicks, are featured in a regional showcase.

The exhibit wraps the block around the Chapel Hill Street parking garage in a temporary fence and banner of photos.

Thru Nov 30. Chapel Hill Street, Durham. —Brian Howe INDYweek.com | 10.11.17 | 33

Fluid: Paintings by MyLoan Dinh. Thru Oct 15. Durham Convention Center. www. durhamconventioncenter.com.

Forbidden Fruits and the Next Nemesis: Collages by Kathryn DeMarco. Thru Oct 30. Crook’s Corner, Chapel Hill. www. crookscorner.com.

Fragile Foundations: Mixed media by Ivana Milojevic Beck.

Thru Oct 28. Artspace, Raleigh. www.artspacenc.org.

From Isolation to War: Native veteran story quilts. Thru Oct 31. Love House and Hutchins Forum, Chapel Hill.

Hidden Patterns: Wooden art

by Gene Presson. Thru Nov 21.

ERUUF Art Gallery, Durham. www.eruuf.org.

Homebound: Brenda Brokke, Leatha Koefler, Amy Friend. Thru Nov 25. Artspace, Raleigh. www. artspacenc.org.

Hyperactive: Found materials by Leigh Suggs and Garry Noland.

Thru Oct 27. Artspace, Raleigh. www.artspacenc.org.

Image of Ukraine: Exploring Ukrainian Culture through Embroidery and Painting: Olena Zintchouk. Thru Dec 8.

UNC Campus: FedEx Global Education Center, Chapel Hill. www.global.unc.edu.

SPECIAL Juxtaposition: EVENT Married couple Donald Martiny and Celia Johnson create a profound visual language in this exhibit.

Martiny’s works are nonrepresentational, heavily textured three-dimensional shapes that he creates on the floor. It’s a physically taxing process. He uses brushes, brooms, mops, and his hands to push paint into abstract swoops. The power of pure paint, combined with simple but strong, emotive strokes, is a dazzling convergence, unbound and unrestricted by the shape of a canvas. And Johnson has long been intrigued by moving around shapes and colors to create puzzles. Her well-organized geometric compositions blend modern sophistication with clarity and economy. Her brightly colored encaustic works reflect the minimalist images of the sixties. Thru Oct 27. Artist talk: Thu, Oct 12, 6:30-8:30 p.m. Artspace, Raleigh. www.artspacenc.org. — Linda Kramer A Kiss of the Earth: Apt for a work about a season of 34 | 10.11.17 | INDYweek.com

fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere.

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

Thru Jan 28. N.C. Museum of Art, Raleigh. www.ncartmuseum.org.

—Brian Howe Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps.

Thru Mar 4. N.C. Museum of History, Raleigh. www. ncmuseumofhistory.org.

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

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

Near and Far: This Click!

Photography Festival exhibit by Alex Harris is representative of the festival’s national-caliber, local-focus bent. Harris, a founder of Duke’s Center for Documentary Studies who has been collected from MOMA to NCMA, has photographed the American South for four decades, and looks through a distinctly Southern perspective even when shooting in Alaska, Havana, or Mumbai. This self-selected retrospective palpates the theme of distance, a paramount concern for photographers both technically and ethically. The lenses of a photographer’s eyes can distort reality as easily as the lens of a camera; Harris has spent a lifetime exploring those complexities. Thru Nov 4. Craven Allen Gallery, Durham. www. cravenallengallery.com.

—Brian Howe Nevertheless She Persisted: Silkscreen prints by Kelly Bodie.

Thru Oct 31. Perch Studios, Carrboro. perchstudios.net.

SPECIAL Photographs, Books, EVENT and Broadsides: Christer Berg, Catharine Carter, Gail Goers, Raymond Goodman, Bryce Lankard, Rob McDonald, Jean Christian Rostagni. Part of the Click! Photography Festival.

Thru Oct 31. Reception: Thu, Oct 12, 5-8 p.m. Horse & Buggy Press and Friends, Durham. www.horseandbuggypress.com.

Reflections Within the Transitioning Grid: Lasercut photography by Merrill Shatzman and libi rose.

Thru Nov 22. Power Plant Gallery, Durham. www. powerplantgallery.com.

Refugee: Multimedia art exhibit from the Annenberg Space for Photography exploring the lives of refugees. Thru Nov 3. UNC Friday Center, Chapel Hill. www.fridaycenter.unc.edu.

Rubber Creatures from Outer Space: Sculpture and clothing

by Tom Buhrman. Thru Oct 31.

Durham Art Guild, Durham. www.durhamartguild.org.

Saved: Objects of the Dead: Photography and poetry

by Jody Servon and Lorene Delany-Ullman. Part of the Click! Photography Festival.

Thru Oct 24. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

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

Selfie: Pleiades member artists. Thru Nov 1. Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

Silk Road: Hand-painted silk

by Jill Hunt. Thru Oct 28.

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

Small to Large: Delight in the Practice of Painting: Paintings

by Margie Stewart. Thru Oct 23. Durham Arts Council, Durham. www.durhamarts.org.

Studio and Porch Paintings: Joan Vandermeer. Thru Oct 27. Mad Hatter Bakeshop & Cafe, Durham. www. madhatterbakeshop.com.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce—though we sometimes imagine we are crossing a boundary when we take thousand-dollar bikes into deceptively wild woods with our smartphones and moisture wicking socks.

The SuperNatural wades into this liminal zone, exploring how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality

installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others.

Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation, for the exterior vitrines. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe War Experience: Personal artifacts, medals, uniforms, maps, letters, photographs, and more. Thru Nov 29.

Raleigh City Museum, Raleigh. www.cityofraleighmuseum.org.

We’ve Met Before: Handwoven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded.

Andrea Donnelly holds this contrast in tension. “Cloth, in its infinite variety and varied significance, is deeply linked to our histories and emotions through the body,” she writes in her artist statement.

“Whether it’s woven to hang on the wall or to grace the neck and shoulders, I make cloth that creates connection.” The images on these large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory. Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.” Thru Jan 28. N.C. Museum of Art, Raleigh. www. ncartmuseum.org.

—Brian Howe LAST Where We Find CHANCE Home: Recent Southern photography by Ben Alper, DL Anderson, Aaron Canipe, Justin Cook, Phyllis Dooney, Matt Eich, Preston Gannaway, Lissa Gotwals, Jeremy M. Lange, Jared Soares, Aaron Turner, and Will Warasila. Thru Oct 14.

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

You’ve Reached the Office of Stuart Ullman: Replication of office from The Shining

by George Jenne. Thru Nov 4. Lump, Raleigh. www. teamlump.org.

food

stage

Chef’s Birthday Wine Dinner: Chef Dick Barrow. Five-course wine dinner. $75. Mon, Oct 16, 6:30 p.m. Kitchen, Chapel Hill. www.kitchenchapelhill.com.

OPENING

Free Wine Tasting: Mon, Oct 16, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. bottlerev.com.

Sip + Savor: A Food and Wine Experience: Sun, Oct 15, 4 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

Sono Wine & Sake Social: Chef Hyunwoo Kim serves complimentary sushi; certified sake advisor James Yang pours wines and sakes. Tue, Oct 17, 5-6:30 p.m. Sono, Raleigh. www.sonoraleigh.com.

Josh Blue: Stand-up comedy.

Oct 12-14. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Rodney Carrington: Stand-up comedy. $45+. Fri, Oct 13, 7 p.m. Durham Performing Arts Center. www.dpacnc.com.

Darkside: Play. $15-$25. Oct 12-29. Burning Coal Theatre, Raleigh. www.burningcoal.org.

See p. 27.

Emergence: The Triangle Dance Project’s fifth annual choreographer’s showcase, featuring Renay Aumiller, Lucas Melfi, Courtney OM, Ashley Jeanette McCullough, Lindsay Winthrop, and Arlynn Zachary. $10. Sat, Oct 14, 3 & 8 p.m. PSI Theatre, Durham. www.durhamarts.org.

See story, p. 22.

Disney’s The Little Mermaid: Musical. $30+. Oct 17-22.

Durham Performing Arts Center. dpacnc.com. See p. 27.

The Exonerated: Play. $18.

Oct. 18-29. NCSU Campus: Kennedy-McIlwee Studio Theatre, Raleigh.

The Fox on the Fairway: Play. $10-$15. Oct 13-15. Halle Cultural Arts Center, Apex. www.thehalle.org.

TerraVita’s The Carolina Table: East Meets West Dinner: With chefs Joe Kindred of Kindred Restaurant, Ashley Capps of Buxton Hall Barbecue, Josh DeCarolis of Mothers & Sons, Kim Hunter of Kimbap, Bret Edlund of Crawford and Son, Rebeca Alvarado-Paredes of manna, Colin Bedford of The Fearrington House Restaurant, Matt Butler of The Great Room. $95. Wed, Oct 18, 6-8:30 p.m.

Top of the Hill Restaurant & Brewery, Chapel Hill. www. terravitafest.com.

World Beer Festival: Durham: $40-$60. Sat, Oct 14, noon4 & 6-10 p.m. Durham Bulls Athletic Park, Durham. www. durhambulls.com.

Y’All Eat Yet: Food Truck and Five-Star Distillery Tour and Tasting: Food and distillery tour. $10-$29. Sat, Oct 14, noon-2 & 2-4 p.m. Mystic Farm & Distillery, Durham. www. whatismystic.com.

Jim Jefferies: Stand-up comedy. $40+. Sat, Oct 14, 8 p.m. Durham Performing Arts Center. www.dpacnc.com.

The Monti: Storytelling. $30.

Thu, Oct 12, 7:30 p.m. The Hill Center, Durham. See p. 26.

Native: Play. $15. Fri, Oct 13, 7:30 p.m. St Matthews Episcopal Church, Hillsborough. stmatthewshillsborough.org.

NC Dance Festival: Dance Project showcase featuring Rachel Barker, JOYEMOVEMENT Dance Company, Ramya Kapadia, and Chris Yon. $15-$18.

Thu, Oct 12, 8 p.m. The Rickhouse, Durham. www. rickhousedurham.com.

See story, p. 22.

Sense and Sensibility: PlayMakers play. $15+. Oct 18-Nov 5. UNC Campus: Center for Dramatic Art, Chapel Hill. www. playmakersrep.org.

The Bump in the Night crew PHOTO COURTESY OF METTLESOME FRIDAY, OCTOBER 13–SATURDAY, OCTOBER 21

BUMP IN THE NIGHT: A SPOOKY SKETCH COMEDY REVUE In a world full of ghoulish legislators who creep through our laws by night, of vampiric markets that suck the life out of us, and with rumors of a cyclopean wall rising at our southern border, audiences have an opportunity to face down their fears with laughter at Bump in the Night, the latest Mettlesome sketch comedy show, premiering at The ArtsCenter in Carrboro. Mettlesome is known for its incisive and diverse projects, working across venues and media in theater productions and podcasts. Bump in the Night is a follow-up to the Two Months In show, which was produced by the same team. It promises to confront the very real monsters of our world—Gordon Ramsay, D.C. senators, and Jeff Sessions (who looks like a possessed ventriloquist’s doll)—through the monsters of our imagination.

—Katie Jane Fernelius

FINDER N

THE ARTSCENTER, CARRBORO

8 p.m., $10–$12, www.thisismettlesome.com Sleepy Hollow: No one who saw the cartoon version as a child could ever forget The Legend of Sleepy Hollow and Ichabod Crane’s terrifying confrontation with its famed villian, the Headless Horseman. The Washington Irving tale is now the source material for a world premiere by Carolina Ballet choreographer-in-residence Zalman Raffael and artistic director Robert Weiss, rounded out with some other spooky ballet treats for an evening of high-culture, family-friendly scares. Oct 12-29. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com. — Brian Howe Thespis and Trial by Jury: Two plays with music. $15-$25.

Oct 12-15. East Chapel Hill High School, Chapel Hill. www. durhamsavoyards.org. See p. 23.

The Trigger: Script reading. Mon, Oct 16, 6 p.m. Imurj, Raleigh. imurj.com.

ONGOING

Anything Goes Late Show: Sat, Oct 14, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Bulltown Comedy Series: Tue, Oct 17, 9 p.m. Fullsteam, Durham. www.fullsteam.ag.

Comics Against Humanity: Improv comedy. $12. Wed, Oct 18, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Eyes Up Here Comedy: Standup comedy by women. $5. Wed, Oct 18, 8:30 p.m. The Pinhook, Durham. www.thepinhook.com.

The Harry Show: Ages 18+.

Improv host leads potentially risque games with audience volunteers. $10. Oct 13 & 14, 10 p.m. ComedyWorx, Raleigh. www.comedyworx.com.

Hush Hush: Secret Brew: Interactive improv comedy.

Thu, Oct 12, 8 p.m. Beer Study-Durham, Durham. www. thisismettlesome.com No Shame Theatre: Original theater. $5. Sat, Oct 14, 8 p.m.

The ArtsCenter, Carrboro. www. artscenterlive.org. ½ Romeo & Juliet: In her Bare Theatre production of Romeo and Juliet, Lucinda Danner Gainey particularly focuses on the social schism that so divides two families

they pass their hatreds down through generations. There is much to praise in Maegan Mercer-Bourne’s authoritative Prince, Tara Nicole Williams’s joyous Mercutio, Emily James’s good Benvolio, and Laura Parker’s incisive turn as the Capulet’s nurse. But we caution companies again about the treacherous acoustics of the Forest Theatre’s stonewall stage, which left some voices doubled and others inaudible throughout the performance, adding to intelligibility problems when a grief-stricken Juliet (McKenna Waldron) sped through certain passages. She and our Romeo (Christopher McBennett) are clearly young actors of talent, but with questionable range. I expect both will grow during this production, as the most recent faces in a story that has been ceaselessly reiterated for centuries. $10-$18. Thru Oct 22. UNC Campus: Forest Theatre, Chapel Hill. www.baretheatre.org.

—Byron Woods Under The Bridge Comedy Night Open Mic: Thu, Oct 12.

London Bridge Pub, Raleigh. thelondonbridgepub.com.

Coming

soon

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RECYCLE THIS PAPER INDYweek.com | 10.11.17 | 35

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page TUESDAY, OCTOBER 17

GABRIELLE CALVOCORESSI There’s something unsettling about this weather, the humid heave producing autumn leaves. It confuses the body. Maybe it reminds us how confusing the body is; maybe, in this confusion, we find some grace for our fleshy vehicles. Reading Gabrielle Calvocoressi’s new book of poetry, Rocket Fantastic, took me there, starting with the first poem, “Shave”: “Yes, I was a lady once but now/I take the blade and move it/slowly past the jugular …/ It was a thing/I did in private. My own self/ my quarry. No more.”

Calvocoressi, a UNC professor, fills her third book with a set of elusive characters, one of whose pronouns PHOTO COURTESY OF THE AUTHOR is denoted by the musical segno symbol. “[The pronoun] is simultaneously encompassing and fluctuating,” Calvocoressi writes, “pronounced by me with the intake of breath when a body is unlimited in its possibilities.” It’ll be a treat to hear these poems come to life at Calvocoressi’s hometown reading, with Alan Shapiro, on Tuesday.

—Michaela Dwyer

FLYLEAF BOOKS, CHAPEL HILL

7 p.m., free, www.flyleafbooks.com

Ganja & Hess THURSDAY, OCTOBER 12

GANJA & HESS

Spike Lee’s Da Sweet Blood of Jesus is about two people in love, and the ways in which their addictions inform their relationship and lives. Their addiction happens to be to blood. Yes, Jesus is Lee’s take on the vampire flick, but one that has much more on its mind than gore, grappling with race, class, and religion. Lee takes his cues from Bill Gunn, screenwriter and director of 1973’s Ganja & Hess, of which Jesus is a 2014 remake. The plots are mostly the same: Dr. Hess Green is stabbed by an ancient dagger, leaving him bloodthirsty and invincible. Then Ganja comes along, becoming his partner in crime.

Lee’s take is talkier, but Ganja packs as much punch. Gunn’s film was initially shortened without his consent, but the Museum of Modern Art combined the surviving 35mm prints to reproduce the original, which you can see in all its glory at Shadowbox Studio this week. —Jake Parker

SHADOWBOX STUDIO, DURHAM

7 p.m., free, www.shadowboxstudio.org

SPECIAL SHOWINGS A Screening of Amateur Footage from the Southern Historical Collection: Fri, Oct 13, 11:30 a.m. UNC Campus: Graham Student Union, Chapel Hill.

OPENING READINGS & SIGNINGS Gabrielle Calvocoressi and Alan Shapiro: Rocket Fantastic.

Tue, Oct 17, 7 p.m. Flyleaf Books, Chapel Hill. www. flyleafbooks.com.

Diane Chamberlain: The Stolen Marriage. Sat, Oct 14, 11 a.m.

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

Cathy Davidson: The New Education: How to Revolutionize the University to Prepare Students for a World in Flux.

Thu, Oct 12, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Shannon & Dean Hale: Monster High/Ever After High: The Legend of Shadow High.

Wed, Oct 18, 5 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

36 | 10.11.17 | INDYweek.com

Anthony Horowitz: Never Say Die. Sun, Oct 15, 2 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Mitchell J. Prinstein: Popular: The Power of Likability in a Status-Obsessed World.

Mon, Oct 16, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Doug Stanton: The Odyssey of Echo Company. Thu, Oct 12, 7 p.m. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

Julie J. Thomson: Begin to See: The Photographers of Black Mountain College. Tue, Oct 17, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Catherynne Valente: The Glass Town Game. Fri, Oct 13, 7 p.m.

Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Michael Walden: North Carolina Beyond the Connected Age. Wed, Oct 11, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

LECTURES ETC. NC’s Connection to the US Constitution: Presentation

by Scott Washington. Thu, Oct 12, 6:30 p.m. Durham Arts Council, Durham. www. durhamarts.org.

Parameter of Phrase in HipHop: Harmonic, Syntactical, and Rhythmic: Lecture from Kyle Adams. Fri, Oct 13, 4 p.m.

Duke Campus: Biddle Music Building, Durham. music.duke. edu.

Science Cafe: Who Needs a Driver?: Discussion about autonomous cars. Thu, Oct 12, 7-8:30 p.m. N.C. Museum of Natural Sciences, Raleigh. www.naturalsciences.org.

The Foreigner—Jackie Chan goes on a vengeful vendetta against terrorists in this thriller from the director of Casino Royale. Rated R. Happy Death Day—Imagine if Bill Murray kept getting murdered in Groundhog Day. Rated PG-13.

Marshall—Chadwick Boseman plays Thurgood Marshall, the first AfricanAmerican Supreme Court Justice. Rated PG-13.

Professor Marston & the Wonder Women—A biopic about the psychologist who invented feminist superhero Wonder Woman. Rated R.

A L S O P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ American Made— It’s Top Gun with Tom Cruise

flying for cocaine instead of country—fun enough, but it mostly rides on Cruise’s resilient charm. Rated R.

½ Despicable Me 3—This franchise feels washed up, but your kids won’t care, because Minions! Rated PG.

½ Annabelle: Creation—An adequate scary movie if you’re in a theater packed with people yelling advice at the screen, but genre connoisseurs might be bored. Rated R.

½ Dunkirk—Christopher Nolan’s WWII picture is very British and, for better and worse, very Terrence Malick—epic, meditative, and portentous. Rated PG-13.

 Atomic Blonde—Despite flourishes of ferocity, this Cold War thriller by John Wick codirector David Leitch coasts on its own glib, quirky coolness.

Rated R. ½ Battle of the Sexes—The true story of the 1973 tennis match between Billie Jean King and washed up champ Bobby Riggs reminds us how much common wisdom about female athletes has evolved. Rated PG-13. ½ The Big Sick— Kumail Nanjiani and Emily V. Gordon’s autobiographical rom-com truthfully portrays the cultural and romantic landscape of the U.S. Rated R.  Blade Runner 2049— This satisfying sequel to Ridley Scott’s seminal sci-fi noir reminds us that it works best to mess with the classics when there’s actually something wrong with them. Rated R.

 Ex Libris—Frederick Wiseman’s epic love letter to the New York Public Library gave us one simple idea: put the librarians in charge of the country. Unrated.  It—Blend classic Spielberg with Stranger Things and you get this scary, heartfilled new version of Stephen King’s magnum opus. Rated R.  The LEGO Ninjago Movie—Expect weak puns, weary pop-culture references, and a waning sense of discovery. Rated PG.  mother!—A harrowing speed-walk through Genesis, the Gospels, and the Book of Revelation, and a lot of frustration for an explosive payoff. Rated R.  Spider-Man: Homecoming—Getting back to basics, a fifty-five-yearold superhero feels like a kid again. Rated PG-13.

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Call us first. Living expenses, housing, medical, and continued support afterwards.

Choose adoptive family of your choice. Call 24/7. 877-362-2401

To adopt: 919-403-2221 or visit animalrescue.net

professional services Page Publishing will help you self-publish your own book.

FREE author submission kit!

Limited offer! Why wait? Call now: 888-231-5904 (AAN CAN)

TAI CHI

KEEP DOGS SHELTERED Coalition to Unchain Dogs seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates.

To donate, please contact Amanda at director@unchaindogs.net.

COMING TO ASHEVILLE?

(B2B) is a FREE job placement program for recent college graduates. B2B provides paid internships and full time career opportunities.

Requirements: Bachelor’s Degree Age 24 or younger Wake/Johnston County residentCall: 919-803-5056

classes & instruction

critters

g n i m o C n

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bang for your buck! classy at indyweek dot com

for sale 1-ACRE LOTS in eco-community, includes 7-acre nature preserve.

Ferns, creeping cedar, nature trails, footbridges, beaver pond, creek, heavily wooded, beautiful. $49,900/ lot (Efland). Text Tom at 919932-0704.

misc. notices ATTENTION VIAGRA USERS: Generic 100 mg blue pills or Generic 20 mg yellow pills.

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INDYweek.com | 10.11.17 | 37

p

crossword

Pathways for People, Inc. is looking for energetic individuals who are interested in gaining experience while making a difference! Positions available are:

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

Full Time Day Program Instructors

5 1

Full Time Art Instructor and Full Time General Instructor 8 6 needed for Day Program in Cary.

2 6 7 8 7 Monday through 2 9Friday from 9:00am 6 4 –44:30pm. Experience 1 with individuals with Intellectual 9 22 5Disabilities 9 a must 8 and college 2 6 preferred.

Please submit 7 5 degree resume with cover letter 9 5 32 to Rachael 4 at rachael@pathwaysforpeople.org.

1 5 No7phone inquiries please.

2 1 5 3

9 1

2 8For a list of other open 1 positions4please go to: 6 1 www.pathwaysforpeople.org 9 1 3

3 7 1 8 6 9 su |HARD do | ku this week’s puzzle level: # 38 MEDIUM

# 89

5 6 9 3 4

9

2 5 3 2

7 3 1 6

1

6

8 3 4 6

5

4 7 5

MEDIUM

# 90

last

© Puzzles by Pappocom

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

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

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

1

2 1 6 8 4 6 6 41 9 9 58

5

9

2

2 3

7 4

MEDIUM

2

7

8

4

4

29 7

5 3 11 1 2 5 67

6

3

8

85 4

7

8

7

1

2 8 6 3 5 4 1 7 9

1 4 5 9 7 8 3 2 6

3 7 9 2 1 6 4 8 5

8 7 4 1

6

3 1 2

5

9

8

8

7

8 9 4

5

3 7 7 5

7 3 6

# 91

MEDIUM

# 92

3

HARD # 89

9 3 2

# 40 8 1 3 5 2 7 6 9 4

9 6 4 8 3 1 7 5 2

7 5 2 4 6 9 8 3 1

4 2 7 6 8 5 9 1 3

5 9 8 1 4 3 2 6 7

6 3 1 7 9 2 5 4 8

solution to last week’s puzzle

# 39 www.sudoku.com 7 8 2 5 1 9 4 3 6 5 9 6 3| INDYweek.com 4 2 8 7 1 38 | 10.11.17 3 1 4 8 6 7 2 9 5 2 5 1 7 3 8 6 4 9 9 3 7 6 5 4 1 2 8 6 4 8 9 2 1 7 5 3

# 90

7 2 3 5 6 1 4 9 8 If you just1 can’t 5 8 9 wait, 3 4 2check 7 6 out the current 6 4 9week’s 8 2 7 answer 5 3 1 8 1 4 6 9 5 7 2 3 key at www.indyweek.com, 3 6 2 4 7 8 9 1 5 and click “Diversions”.

9 7 5 3 1 2 6 8 4 Best of luck, 4 3 and 1 7 have 5 9 8fun!

6 2 5 9 6 2 8 3 1 4 7 www.sudoku.com 2 8 7 1 4 6 3 5 9

# 40

10.11.17 3 7 9 8 5 4

1 5 6 9 7 2

4 2 8 1 3 6

2 9 3 5 6 7

7 1 4 3 8 9

6 8 5 2 4 1

8 4 2 6 1 5

# 91

9Page 5 23 of 25 3 6 1 7 7 4 2 9 8 3

4 7 5 6 3 9 8 1 2

1 9 6 8 2 5 7 3 4

2 3 8 1 4 7 9 6 5

9 2 4 5 1 6 3 7 8

6 1 7 3 8 4 2 5 9

5 8 3 9 7 2 1 4 6

7 6 2 4 9 3 5 8 1

3 4 1 2 5 8 6 9 7

8 5 9 7 6 1 4 2 3

# 92

7 3 2 6 8 9 5 1 4

6 9 5 4 3 1 2 8 7

1 8 4 5 7 2 6 9 3

5 7 1 2 9 3 8 4 6

4 6 3 7 5 8 9 2 1

9 2 8 1 6 4 3 7 5

3 4 9 8 1 6 7 5 2

2 5 6 9 4 7 1 3 8

8 1 7 3 2 5 4 6 9

CLASSY AT INDYWEEK DOT COM 30/10/2005

Book your ad • Email: classy@indywEEk.com

Book y

please contact eroberts@indyweek.com COMEDYWORX INTRO TO IMPROV

6/17 12-3PM AND 6/21 7-10PM 919-829-0822 OR COMEDYWORX.COM

advertise on this page!

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

Even better than the real thing CARRBOROVIRTUAL.COM

reserve this space RECYCLE THIS PAPER for $100!

RECYCLE THIS PAPER To advertise or feature a pet for adoption, please contact eroberts@indyweek.com

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

last week's puzzle

Book your ad • Email: classy@indywEEk.com

classy@indyweek.com RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER RECYCLE THIS PAPER

Bolinwood Condominiums Affordability without compromise

Convenient to UNC on N bus line 2 & 3 bedroom condominiums for lease

www.bolinwoodcondos.com • 919-942-7806

INDYweek.com | 10.11.17 | 39

back page

Weekly deadline 4pm Monday • classy@indyweek.com JEWELRY APPRAISALS

While you wait. Graduate Gemologist www.ncjewelryappraiser.com

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ERUUF, Durham & ArtsCenter, Carrboro.

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

ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN!

INTRO TO IMPROVISATION

November 8th at 7pm-10pm and November 12th 2pm-5pm. Be funny, be quick, be confident. 919-829-0822 or www.comedyworx.com

Piano Lessons with Robert Griffin. read teaching page @ www.griffanzomusic.com 919-636-2461 adult beginners welcome griffanzo1@gmail.com

Comin

g

soon

FINDER NDER THE INDY'S GUIDE TO THE TRIANGLE