INDY Week 10.3.18

: CTION IDE ING SE ssss t t e h INS VERTIS e D h LA n g n CIA g SPE ssii ii u ttll u b o b o p ssp

RALEIGH 10|3|18

THE TRUMP ADMINISTRATION SAYS DOMESTIC VIOLENCE SHOULDN’T BE A BASIS FOR ASYLUM. FOR ONE TRIANGLE RESIDENT, THAT COULD MEAN A FORCED RETURN TO HONDURAS— AND A DANGEROUS, UNCERTAIN FUTURE.

BY ERICA HELLERSTEIN, P. 12 INDYWEEK.COM 2.0, P. 6

DEALS ON WHEELS, P. 8

SMILE FOR THE CAMERA, P. 27

INDYWEEK.COM

Your week.

Every Wednesday.

2 | 10.3.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 40

DEPARTMENTS

6 The INDY has a new website. We think you’ll like it.

8 News

8 It took two years for the Raleigh City Council to even consider Pitch & Primer’s request to legalize mobile retail.

In the meantime, the company went out of business.

22 Food 24 Music 26 Arts & Culture

10 The building that housed the Harriet Tubman YWCA, once a hub of Durham’s black community, barely escaped being demolished.

30 What to Do This Week 33 Music Calendar

12 Two years ago, Isabel fled an abusive ex in Honduras, where 93 percent of femicide cases go unsolved, and came to the Triangle. The Trump administration might send her back.

36 Arts & Culture Calendar

22 If you praise old Durham and bemoan gentrification, then put your money where your mouth is and dine in old Durham.

24 Like the dearly departed Double Negative, Public Acid has found a way to punch new contours into the relatively narrow mold of hardcore punk.

26 The Yo Soy Válida billboard that just popped up on the Durham Freeway isn’t advertising. It’s art.

Meghan Wagner’s Go Girl Shoppe would benefit from a proposal to effectively legalize mobile retailers in Raleigh (see page 8). PHOTO BY CAITLIN PENNA

On the cover PHOTO ILLUSTRATION BY STEVE OLIVA / PHOTOS BY GERSON GARCÍA

INDYweek.com | 10.3.18 | 3

NCDOT TO HOLD TWO PUBLIC MEETINGS REGARDING PROPOSED TRANSPORTATION IMPROVEMENTS TO U.S. 1 (CAPITAL BOULEVARD) FROM I-540 IN RALEIGH TO PURNELL ROAD/HARRIS ROAD IN WAKE FOREST WAKE COUNTY STIP PROJECT NO: U-5307 Two public meetings will be held to present information on State Transportation Improvement Program (STIP) Project No. U-5307, which proposes to make improvements to U.S. 1 (Capital Boulevard) between I-540 in Raleigh and Purnell Road (S.R. 1909)/Harris Road (S.R. 1931) in Wake Forest. The meetings will take place on Tuesday, October 9 and Thursday, October 11 between 4 and 7 p.m. The same maps and information will be presented for review at both meetings.

Tuesday, October 9, 2018: 4-7 p.m.

Lifepoint Church 9500 Durant Road, Raleigh

Thursday, October 11, 2018: 4-7 p.m.

Renaissance Center 405 Brooks Street, Wake Forest

These meetings are being held in an effort to effectively involve the public in the project planning process and the important decisions that will be made regarding the proposed improvements.

The N.C. Department of Transportation is proposing to convert U.S. 1 (Capital Boulevard) to a controlled-access facility from I-540toPurnellRoad (S.R.1909)/Harris Road (S.R.1931). Controlled access means that access to U.S. 1 would be made by use of interchanges and that no direct driveway access would be allowed. The purposeoftheprojectisto improve traffic congestionand traveltimes andmaintain regional mobility and local connectivity.

Maps of the concepts and interchange options being considered for project U-5307 are available for viewing and downloading from the NCDOT public meetings website: www.ncdot.gov/news/public-meetings/ Additional information is available and comments may be made directly by visiting NCDOT’s public engagement platform for this project: www.ncdot.publicinput.com/US-1-Capital-Boulevard.

An opportunity to discuss the project with NCDOT and Consultant team members, ask questions, and provide feedback will be available. Interested citizens may attend at any time between 4 and 7 p.m. as no formal presentation will be made. Attendees will also have the opportunity to submit written comments and questions until November 11, 2018.

For more information on project U-5307, please contact NCDOT Project Manager David Stark by email at dstark@ncdot.gov.

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

Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

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

4 | 10.3.18 | INDYweek.com

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe STAFF WRITERS Leigh Tauss, Sarah Willets MUSIC EDITOR Allison Hussey FOOD+DRINK EDITOR Layla Khoury-Hanold STAFF PHOTOGRAPHER Caitlin Penna COPY EDITOR Laura Bullard THEATER+DANCE CRITIC Byron Woods DANCE CRITIC Michaela Dwyer CONTRIBUTORS Amanda Abrams, Jim Allen,

Elizabeth Bracy, Timothy Bracy, Araceli Cruz, Katie Jane Fernelius, Curt Fields, Nick Gallagher, Spencer Griffith, Laura Jaramillo, Debbie Matthews, Glenn McDonald, Niki McNeill, Neil Morris, Hannah Pitstick, Noah Rawlings, Kevin J. Rowsey II, Dan Ruccia, David Ford Smith, Zack Smith, Cole Villena, Chris Vitiello, Ryan Vu, Patrick Wall

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backtalk

White Woman Cult Two weeks ago, we ran an essay by Kat Harding on the podcast My Favorite Murder’s problematic Facebook fan page, which Harding argues MFM hosts Karen Kilgariff and Georgia Hardstark have failed to rein in. The podcast’s fans—“murderinos”— didn’t take kindly to the critique.

Eric Landfried writes that Harding needs to chill: “Why don’t you get off Karen and Georgia and stop being so damn offended by every single thing? We were not put on this earth to pussyfoot around everyone’s feelings. If you don’t like it, listen to another podcast. There is nothing about Karen and Georgia’s podcast that is, in any way, shape, or form, white supremacist.

You can’t go through life letting everyone’s words control your feelings, crybaby. Your feelings about people’s words and opinions are yours. It’s not the world’s responsibility to coddle you. Grow up.”

Commenter magnificentbish adds: “They aren’t responsible for the actions and words of others who claim themselves as their fans and fellow murderinos. As a woman of color myself, I find it in extremely poor taste that you, a white woman, choose to focus using your own privilege and journalistic talent on shitting on some podcast hosted by other white women as some acknowledgment of your intersectional feminism. Congratulations. All I’ve gotten from this poor writing is that you don’t like this podcast and seem to think it’s literally the only true crime offering out there.”

“I am outraged that these women speak in such an off-the-cuff manner and make ‘mistakes’ while recording a podcast,” writes Dan O’Neil. “They should have purchased The Big Book of Politically Correct Terms for Everything and studied it carefully before starting a podcast. Shame on them.”

Over to you, hiyaneighbor1: “This article is so disparaging of people’s characters while not referencing any specific instances beyond the mispronunciation of an important geological space. In my opinion, the two cohosts go out of their way to admit when they are being stupid, they’ve messed up, or were insensitive, meaning they are trying to fix it when they make mistakes. Just like you have done by writing an article slicing people’s reputations with little to no actual research. There are so many people who do

wrong and either don’t even know they are doing so or, worse yet, don’t care. Maybe spend your ample time and minimal energy focusing on them.”

“They should have purchased The Big Book of Politically Correct Terms for Everything.”

Next up, Sara James: “Hey, it’s good that you’re trying to call someone out on facts while getting all the facts wrong. If you’re writing about a podcast, you should have actually listened to it. Most of what you brought up has been addressed by Georgia and Karen. You need to do better sleuthing and realize G&K are regular Joe Schmoes like the rest of us; they never once have claimed to be experts.”

Not everyone rose to MFM’s defense.

Ashouraita Khoshaba writes that she quit listening six months ago: “I respectfully called them out on Twitter for being against intersectional feminism (listen to The Last Podcast on the Left’s episode with them if you want to hear their disgusting views on it, but be warned that it’s infuriating). I asked if they had educated themselves since that episode. Instead of answering me, Hardstark blocked me, and then made an indirect Instagram post about me on the same day. It’s dangerous that they have such a huge platform while quietly abusing POC. They’re the epitome of white feminism.”

“I watched the whole thing unfold in real time, and this was honestly a toneddown retelling,” adds Holly Higgins. “I’ve been disappointed in their response and unsubscribed from the podcast—the emotional gymnastics required for the sake of two women reading off Wikipedia just isn’t worth it anymore.”

And we conclude with Jess Davey: “MFM is a tone-deaf, pumpkin-spice flavored, white woman cult. Someone should call their dads.”

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

INDYweek.com | 10.3.18 | 5

indyupfront

Dot Com Boom

THE INDY HAS A BRAND-DAMN-NEW WEBSITE. YOU SHOULD GO CHECK IT OUT.

BY JEFFREY C. BILLMAN

S

ince this internet fad looks like it’s sticking around for a while, we figured we should pretty ourselves up.

For the last few months, the INDY has been working on a project to overhaul our website from the ground up: a new content management system, new fonts, a new layout, a new tagging system, new categorization, a new calendar, new everything.

And now, dear reader, it’s finally done.

Or, at least, mostly done. Because the day you launch a redesign like this, you’re not actually finished with it. You’re probably 80 percent of the way there. Which is to say, we’ll be working out the kinks and experimenting and figuring out how to optimize performance for weeks, maybe months, to come.

(If you see something weird, please email me.)

But ready or not, come hell or high water, this baby was going live October 1. Hope you like it.

We had two fundamental reasons for this undertaking.

The first was aesthetic. The old indyweek. com was clunky and, visually, about a decade out of date. The new design, which we developed with our partners at Metro Publishing, is cleaner, sleeker, sexier even. There’s white space and modern typefaces. It’s more structurally coherent and navigable. In short, it should be easier to find what you’re looking for and easier to read once you get there.

And, not for nothing, the ads should pop out more without looking like clutter, which is beneficial for both readers and advertisers.

The second was pragmatic. Our old website didn’t have what’s called responsive design, which could make reading our stories on your phone a little screwy. This one does. About half of our traffic comes through mobile, so that’s a pretty big deal. More traffic not only means more people reading our journalism, but it also means more revenue, which allows us to do more journalism.

6 | 10.3.18 | INDYweek.com

The biggest change for us—though probably not for you—is that we’ve eliminated the distinction between “stories” and “blogs,” terms that were more meaningful a decade ago than they are now. Without getting technical, this will allow us to better stay on top of the news cycle and publish stories when they’re ready, rather than when our print schedule allows.

On our homepage, you might notice a few things have disappeared: the story slider, the “Most Read” scroll, and the blogroll, for starters. In their place, you’ll find a main story, two other highlighted stories on the left, and a scroll to the right showing our most recent articles. Below that, you’ll find our paper’s sections—News, Food & Drink, Music, and Arts & Culture—our guides to the Triangle, which draw from our glossy magazines and special sections, and then our calendars.

One thing you won’t be able to do—at least right now—is comment on our stories. (In addition, the comments from our old website disappeared during our content migration.) This is unfortunate. We want readers’ feedback.

But our old comments system was problematic: It was inundated with spam that we spent way too much time cleaning up.

More important, we want to create a system free of anonymity, where ad hominem attacks can’t be leveled from behind a pseudonym, and where commenters’ accounts are tied to real identities.

We’re still looking for the best way to make that happen. With any luck, we’ll find something soon. For now, though, please comment on our Facebook page or Twitter feed, or just do it the old-fashioned way and send an email to backtalk@ indyweek.com. jbillman@indyweek.com

October 7, 2018 1 - 5 pm

To avoid crowds come at 3 pm

Monday - Saturday 10 - 5 pm and Sunday 12 - 5 pm

217 WEST MILLBROOK RD. 919-787-9894

INDYweek.com | 10.3.18 | 7

indynews

Truck Stop

WHY IS THE RALEIGH CITY COUNCIL SO SCARED OF MOBILE RETAIL?

BY LEIGH TAUSS

O

Despite the restrictions, mobile retailers never got it rolling, in part due to the city’s n Saturday afternoon, a small line have existed in Raleigh through symbiotic restrictions. “Raleigh is way behind the of curious shoppers waited to relationships with other businesses, often curve. New Orleans, Dallas, Cleveland, enter Gypsy Jule’s bohemian-style setting up in their parking lots. This is how basically every major metro area does allow camper. A few feet away, Go Girl Shoppe’s former mobile retailer Pitch & Primer got its mobile retail in some way or another.” eye-catching floral-painted 1976 Shasta drew customers inside.

The decorated campers stood out among the dozens of vendors in white tents lining Fayetteville Street as part of the Wide Open Bluegrass Street Festival. The festival, though, is one of the few times the city allows mobile retailers to set up shop.

As the surging online marketplace devours conventional retailers, businesses have begun thinking outside of the brick-and-mortar box to launch and grow their brands, piggy-backing off of the success of food trucks. Proponents say these versatile shops on wheels could increase vibrancy and downtown foot traffic, and maybe even be the next local startup trend—if, that is, the city council can figure out what to do with them.

On September 18, the council voted not to move forward with an ordinance that would have effectively legalized mobile retail in Raleigh, though Mayor Nancy McFarlane planned to bring the proposal back at Tuesday’s council meeting (after Meghan Wagner's Go Girl Shoppe PHOTO BY CAITLIN PENNA this newspaper goes to press). start, parking outside Trophy Brewing, RunThat hasn’t stopped some entrepreRight now, the city only permits mobile ologie, and State of Beer—a mutually benneurs from hitting the road. Go Girl Shopbusinesses that sell food, produce, and floweficial arrangement, says Trophy co-owner pe owner Meghan Wagner has been taking ers. Mobile retailers are allowed to operate David Meeker. her mobile store to festivals and special only on an ad hoc basis for one-day events But trying to circumvent the city’s ban events throughout the Triangle since 2012. and festivals or with a temporary use perdidn’t always work, says Pitch & Primer “With rent prices going sky-high but mit for up to twenty days—for, say, a fireowner Jared Childs. He was ticketed for setpeople buying less from you because they works pop-up shop—according to assistant ting up his 1970s Airstream outside of HQ can go on Amazon, people are thinking planning director Travis Crane. They’re not Raleigh. So, two years ago, he pitched an outside the box,” Wagner says. “By starting allowed on an ongoing basis. ordinance that would allow mobile retailers out this way, you are able to brand yourself “The way it’s set up right now, it’s basically to operate more freely, and he worked with and get a larger following that will impossible to do mobile retail,” says House of former council member Mary-Ann Baldwin eventually lead to someone having their Swank owner Johnny Pugh, who purchased to bring it forward. own store.” a truck to start a mobile operation but 8 | 10.3.18 | INDYweek.com

The council’s Economic Development and Innovation Committee discussed the proposal in April, May, and November 2017 before the council directed its staff to draft the ordinance that December. Ten months later, the draft finally landed on the current council’s agenda.

The proposal would fold mobile retailers into the city’s unified development ordinance, limiting sales to clothing and grooming products and prohibiting the sale of alcohol, tobacco products, “adult-related products,” and firearms and explosives. In addition, the retailers would need to be located within a parking lot and would only be able to operate for four hours at a time with the permission of the property owner for no more than two consecutive days at a time, no more than ten times a year.

It wasn’t the most permissive strategy, but it was a start, supporters say. But even that seemed a bridge too far for some council members. At the September 18 meeting, Kay Crowder asked to remove the ordinance from a list of text changes being referred to the city’s planning commission, noting that she’d been unable to get in touch with Pitch & Primer, the business requesting the change.

There’s a good reason for that: Pitch & Primer closed this spring. In the nearly two years since he proposed the ordinance, Childs says he’d lost track of where the ordinance stood, and the meetings kept getting delayed.

“They couldn’t take action and make a decision that seems pretty simple to me,” Childs says.

After Crowder’s request, council member Russ Stephenson said he didn’t see “the same level of interest” in mobile retail as food trucks and, with no other discussion,

the council unanimously voted the ordinance off of the docket. No one was there to speak up for mobile retail because no one had any idea the council was addressing it.

The item was buried on the agenda within a list of other proposed text changes.

The rejection was a shock to Jennifer Martin, executive director of Shop Local Raleigh. She, too, had been caught unaware that the proposal was coming up for discussion, even though she’d been following along intently. More surprising, Martin says, was that no one aside from Crowder attempted to reach any of the businesses involved.

“I think we’re really stifling the entrepreneurial spirit when we make decisions like this, and we haphazardly come to a conclusion without really vetting it,” Martin says. “I didn’t see the negative.

Why would we not look at this to help our small businesses and growth and tax revenue and providing jobs?”

For David Meeker—the son of former mayor Charles Meeker—this move is just the latest example of the city council’s reticence toward innovation.

“I feel like the council ran as a progressive group,” Meeker says. “They’ve been the opposite, and they’ve been incredibly conservative on all types of issues—ADUs to this, you can go down the list. I feel like Raleigh is a progressive city that wants to move forward, and they don’t represent us right now.”

The day after the vote, McFarlane stopped

by House of Swank and met with Pugh. A few hours later, McFarlane tweeted that, “with renewed interest and support, I will bring the item back to council for discussion.”

The ordinance wasn’t included on the agenda for Tuesday, though it could be brought up during the meeting. If that happens, it might get a more receptive audience.

Council member Nicole Stewart says she was “caught off guard” at the last meeting, but after learning more about mobile retail, she’s open to considering it.

“I’m interested in any economic opportunities that make it easier for folks to enter the market, and there are regulations that we need to add in or reconsider to do that,” Stewart says. “I think mobile retail is one of those things.”

Stephenson is also willing to reconsider: “If there’s interest, let’s go for it,” he says.

But Crowder says that while she’s open to looking at mobile retail, she’s not sure there’s anyone clamoring for the change.

“I don’t know that the city necessarily needs to be planning for it if there’s no desire for it,” Crowder says. “If there isn’t anyone doing it, then I don’t know why we would enact an ordinance that no one is using.” ltauss@indyweek.com

NCDOT TO CONDUCT PUBLIC MEETING OCTOBER 16 REGARDING PROPOSED WIDENING OF FALLS OF NEUSE ROAD BETWEEN I-540 AND DURANT ROAD IN RALEIGH, WAKE COUNTY STIP No. U-5826 The N.C. Department of Transportation will hold an open-house public meeting to present an updated design for the proposed widening of Falls of Neuse Road between I-540 and Durant Road in Raleigh, Wake County.

The meeting will be held on October 16th at Lifepointe Church located at 9500 Durant Rd in Raleigh from 4 p.m. to 7 p.m. Interested citizens may attend at any time during the meeting hours. Following the public meeting held in August 2017, citizen comments were reviewed and meetings were held with local officials. As a result, modifications were made to the public meeting maps.

Modified maps will be presented at this meeting. NCDOT representatives will be available to answer questions and receive comments regarding the project.

Please note that no formal presentation will be made. All comments received will be taken into consideration as the project progresses.

As information becomes available, it may be viewed online at the NCDOT Public Meeting Website: www.ncdot.gov/news/public-meetings/ Anyone desiring additional information may contact Senior Project Engineer, John Braxton by phone (919) 707-6219 or email jwbraxton@ncdot.gov.

Comments should be submitted by November 1, 2018.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting.

Anyone requiring special services should contact Diane Wilson, NCDOT Senior Public Involvement Officer by phone (919) 707-6073 or by email pdwilson1@ncdot.gov as early as possible, so that these arrangements can be made.

Persons who do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800-481-6494.

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

INDYweek.com | 10.3.18 | 9

news

The Past Isn’t Past IN AUGUST, DURHAM ALMOST DEMOLISHED A LONG-OVERLOOKED PIECE OF BLACK HISTORY. IT STILL MIGHT. BY SARAH WILLETS

V

acant and windowless, the building at 312 East Umstead Street gives few hints at its past. There’s no sign identifying the three-story brick midcentury structure, only a dark green construction fence punctuated by warnings for trespassers in red and black.

Inside, a colorful sign dating to its days as a daycare facility reads in block letters: “Welcome to our classroom.” Blackened, peeling walls show where a fire broke out after it had been abandoned and adopted by squatters. Any items that were left—mattresses, cabinets, a still-shiny trophy—have been piled up in the backyard, overgrown with bamboo.

Long before all that, this was the Harriet Tubman YWCA, the city’s black YWCA during segregation and a hub of the Southside neighborhood for more than two decades.

Beginning in 1953, it housed and educated young black women and hosted black entrepreneurs and civic leaders. That tradition of bringing people together continued into the late 1970s, when both the Duke Workers Organizing Committee and the Triangle Area Lesbian Feminists met there.

But as the building degraded, so too did memories of its past. And after years of sitting vacant, the Harriet Tubman YWCA was set to be demolished in late August.

Just days before demolition, April Johnson, the director of Preservation Durham, called Neighborhood Improvement Services and relayed the building’s significance and a new owner’s willingness to renovate it. In a 2012 inventory of African-American historic sites in Durham, Johnson had named the Y a top priority for preservation. The demolition was put on hold two days later and—for now—the building has been spared.

For longtime Southside residents Alice White, Camillia Foust, and Regina Meadows, the Y is a vestige of their childhoods in a neighborhood that has 10 | 10.3.18 | INDYweek.com

changed dramatically. They were too young then to be aware of the voter registration drives and community meetings; their memories center on summer camp and sock-hops.

“It’s a landmark,” Meadows says. “It really is.”

The Harriet Tubman branch of the YMCA predates the building itself. It started on Fayetteville Street in 1922, and by 1923 had two hundred members, according to history professor Leslie Brown’s Upbuilding Black Durham. The branch moved to 312 East Umstead Street in 1937.

According to Johnson’s research, supporters raised $90,000 for the current building, which was unveiled in 1953. Women could take classes in everything from Russian to drapery-making to photography.

“They were committed to empowering women,” Johnson says, “and making sure we had skillsets to survive in an unfriendly world for black people at the time.”

The Y wasn’t just a place for women to get together. Planning for the 1957 Royal Ice Cream sit-in—three years before the famous sit-in at Woolworth’s in Greensboro—happened there as well. Several of the Y’s tenants were among those arrested.

Eventually, though, the Y closed and became a daycare. It’s unclear how long it had been vacant before 2013, when the police reported unsafe conditions to NIS. Over the next five years, the cops responded to 381 calls of illegal activity within 500 feet of the building as the city tried to wrangle the property owner, who promised and failed to fix it up. A demolition order was issued in 2015. But, partly because the job was so extensive, it took the city until last year to earmark money to knock the building down, and until this summer to complete the asbestos removal required to raze it.

Johnson’s call came August 15—the day before that work was completed and the

The former Harriet Tubman YWCA

PHOTO BY CAITLIN PENNA

week before demolition was set to begin.

When Johnson explained the history of the building and said a new owner had contacted her about wanting to renovate the place, assistant director of code enforcement Faith Gardner and NIS director Constance Stancil remembered a presentation they’d recently seen about the importance of preserving black spaces. A light bulb went off.

“We care about the culture of Durham and we want to preserve as much of it as possible,” says Stancil, who quickly relayed Johnson’s call to the city manager. “It was significant then, and it could be significant again if people realize the importance of it.”

If the building is torn down, it will meet the same fate as both of the Y’s former homes—the one on Fayetteville and the original building on East Umstead—and join the thousands of other homes and businesses demolished in Hayti since the construction of the Durham Freeway, which cut through the vibrant black neighborhood in the 1960s.

“Black-built environment is pretty highly undervalued and often not seen,” says Justin Robinson, who was part of the presentation to NIS. “A lot of these spaces, if you don’t now the history, seem unassuming.”

PEt of the week

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PHOTO BY KEVIN KERWIN

City officials, including Mayor Steve Schewel, have expressed a desire to preserve the Y. But the city has to balance that with the need to enforce its building codes and respond to neighborhood complaints.

“We have to keep people’s feet to the fire,” says city manager Tom Bonfield. “We want to know they’re serious about doing something, otherwise we’ll just be responding to code enforcement complaints again and again.”

After the new owner, Mark Bullock, filed a temporary restraining order on August 20 to halt the demolition, the city agreed to delay it through October while it works with him on an agreement outlining the work that needs to be done. But it remains to be seen whether the he can renovate the building on budget before the city loses patience.

Standing in the shell of the building last week, Bullock pointed to a nearly inch-long scar on his nose. He got it, along with one under his left eye, when he was about six years old and caught a fence while running from a nearby pool back to the Y’s daycare.

Five decades later—this July—he bought the building for $75,000.

With thirty-five years of construction experience, Bullock disagrees with the city’s assessment that costs to repair to building exceed 50 percent of its value, the state’s threshold for ordering demolition. According to Durham County property records, the site—including the fifty-eight-hundredsquare-foot building and the half-acre on which it sits—is worth $313,000.

Bullock also takes issue with the $89,000 lien the city has placed on the property to recoup what it has spent on asbestos removal and air testing. He says he could have done it cheaper himself and that the city greatly increased repair costs by removing the building’s many large windows.

Bullock says he’d like to renovate the building into multifamily affordable housing, perhaps for veterans. But under current zoning, he’s limited to single-family housing or a duplex. While he hasn’t submitted a formal site plan for review, he has shared with city officials a concept for a duplex with offices on the first floor, as well as a rough $110,000 budget, which doesn’t include the money the city wants back.

White, Foust, and Meadows—the longtime residents—would also like to see the building converted into affordable housing, but what’s most important to them is that the place they remember so fondly, and that marks the history of their neighborhood, not be reduced to rubble.

“Buildings create memories and help us understand culture in a neighborhood,” Johnson says. “When it’s gone, people forget, and you can’t tell that story.” swillets@indyweek.com

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INDYweek.com | 10.3.18 | 11

CREDIBLE FEAR

The Trump administration says domestic violence shouldn’t be a basis for asylum.

For one Triangle resident, that could mean a forced return to Honduras—and a dangerous, uncertain future. ´ STORY BY ERICA HELLERSTEIN • PHOTOS BY GERSON GARCIA

Olanchito, Honduras Editor’s note: For their protection, the names of the asylum seeker and her family members have been changed.

O

ne afternoon in September 2016, Carmen sat in the dimly lit living room of her home in Olanchito, Honduras, picked up the phone, and learned that her oldest daughter was running away.

The forty-seven-year-old seamstress had been working on a large order of dresses for a parade.

When Carmen first got the commission, Isabel, her earnest and diligent twenty-sixyear-old daughter, had agreed to pitch in, 12 | 10.3.18 | INDYweek.com

just like always. Now Carmen needed her help, but Isabel was nowhere to be found.

That wasn’t like her. A few days earlier, Isabel had told her mother that she was taking a quick vacation to the coast, but she hadn’t checked in. That wasn’t like her either.

So Carmen called. When Isabel picked up, Carmen laid on the kind of maternal guilt that transcends borders: “You left me alone here with all of this work. What’s going on?”

Isabel hesitated. The two were close.

They lived together. But they had their differences: Isabel was demure, with a slight build and nervous affect; Carmen was squat, opinionated, and fiercely protective. She’d raised four kids as a single

mom in a rough neighborhood, struggling to make ends meet. For years, the only pieces of furniture in the living room were four plastic chairs and a matching table.

To support the family, Carmen sewed relentlessly, once finishing forty-nine dresses in two weeks. Isabel—even though she had her own job selling food products to stores in Olanchito—had become Carmen’s dutiful assistant, her “right arm.”

But then she wasn’t anymore. Because Isabel, her mother learned, wasn’t actually on vacation.

Instead, Isabel said, she was somewhere in Mexico with a coyote and her four-yearold daughter, Karla, preparing to cross the border into the United States.

“Mom,” she said through tears, “we’re not coming back.”

Carmen was incredulous. It wasn’t like Isabel to joke about things like that, but she couldn’t believe this was happening.

Carmen unleashed a string of logistical questions, to which Isabel responded in a patient, measured tone. Slowly, the reality sunk in. Her daughter was really leaving.

Later that afternoon, Carmen called back. She told Isabel that her ex-boyfriend and Karla’s father, Manuel, had learned she’d left, and he had something to tell her.

“He sent the message that it was better for me not to return,” Isabel later recalled.

“Because if I came back, there was no telling what might happen to me.”

February, I flew to Honduras to visit hometown and see the country IshenIsabel’s had left behind. From the congested

streets of San Pedro Sula, I wound my way along a twisting road about five hours east to Olanchito, a city of one hundred thousand that sits beneath a rolling blue mountain range that looks close enough to touch.

The city is weathered and picturesque.

Downtown, a bone-white church rises across the street from a leafy park, zigzagging with blooming aisles of bushes.

Carmen’s house is a short drive away, on an unpaved road that juts off of a sloping, dusty street. She raises chickens in the backyard, cooks in a brightly painted kitchen, and works in a living room piled with fabric. She set up a sewing station near the window and sometimes labors into the night.

Her erratic work schedule is born out of anxiety—fear of robberies keeps her on edge, and her sleep has suffered. She goes outside only when she has to. If night falls and she’s missing an ingredient for dinner, she prefers to go hungry rather than walk to the corner store, just a few doors down.

That pervasive sense of danger extends beyond her neighborhood. It’s seen, in fact, as a major factor in the recent wave of migration from Central America’s Northern Triangle to the U.S. Over the past several years, hundreds of thousands of people have left the region, which encompasses Guatemala, Honduras, and El Salvador, and sought refuge in other countries. According to the United Nations, more than 294,000 people from the Northern Triangle applied for asylum or refugee status worldwide in 2017, a more than 50 percent increase from the year before, and sixteen times the number of people who applied in 2011. Many are fleeing violence, political unrest, and poverty.

In 2014, Honduras had the world’s highest murder rate; although it has declined since then, it still ranks among the five most violent countries in the world. That violence, coupled with political and economic instability—Honduras is also one of the poorest countries in Latin America, and has been in political turmoil since a 2009 coup ousted the country’s democratically elected president—has fueled an exo-

dus to the U.S. Between 2012 and 2016, the number of Hondurans seeking asylum in the U.S. has increased nearly sevenfold, according to data from the U.S. Department of Justice Executive Office for Immigration Review, from 1,552 to 10,818.

The region’s violence frequently targets women. In 2015, the United Nations High Commissioner for Refugees interviewed more than 150 women seeking asylum from the Northern Triangle and found that they were subjected to “extreme levels of violence on a near-daily basis.” For Honduran women, that can mean murder. Between 2005 and 2013, the number of violent deaths of women in the country swelled by 263 percent. As of 2016, the country had one of the highest femicide rates in the world.

But the perpetrators of gender-based violence are rarely held accountable. According to the women’s rights organization Centro de Derechos de Mujeres, or CDM, Honduran authorities investigated just 3 percent of the more than four hundred cases of femicide in 2016, and only two cases led to guilty verdicts.

The state “keeps sending out the message that it doesn’t care about violence,” says CDM attorney Damicela Mayes. “So, because they don’t have other options, the majority of women make the decision to leave the country. Many of them are afraid that a man will kill them if they don’t leave.”

When Isabel departed Central America’s Northern Triangle to resettle in North Carolina’s Triangle in 2016, she joined that group. She left Honduras reluctantly, to escape an increasingly unstable situation with Manuel that had deteriorated when they separated after about four years of dating. She says he’d been verbally and physically abusive, called her names, showed up unannounced at her mother’s house, told her he was taking Karla, and once slugged her in the head.

He was unwilling to accept the separation, Isabel believed. She worried that he could kill her or take her daughter.

“We were in a terrible situation,” she says. “I was afraid that he would attack me.

I felt that I had everything to lose—that he could come at any moment, and I would not be able to do anything.”

A church in downtown Olanchito, a short drive from Carmen’s house INDYweek.com | 10.3.18 | 13

is limited data available to indicate how many asylum seekers in the TU.S.here fit Isabel’s profile. Documents obtained from the Executive Office for Immigration Review show that 150 Hondurans applied for asylum in Charlotte’s immigration court, which handles cases from North and South Carolina, in fiscal year 2016; just 22 of those applications were approved. The others were abandoned, withdrawn, or denied.

(EOIR does not track gender in its database.)

Additional records received through a Freedom of Information Act request, filed with U.S. Citizenship and Immigration Services, or USCIS, show that the number of Honduran women applying for asylum has steadily increased since fiscal year 2014, when 763 women filed asylum applications. In fiscal year 2017, 3,152 Honduran women applied for asylum. About 17 percent of those applications were granted by USCIS, and 23 percent were referred to an immigration judge; it’s unclear what happened to the rest.

That sliver of data seems to back up reports that rising numbers of women from the Northern Triangle are following Isabel north, some escaping what human rights activists call an epidemic of gender-based violence.

Yet when they get here, they face a formidable foe: an administration intent on shrinking the asylum system, part of a broader push by President Trump to curb the flow of migration into the country.

In June, Attorney General Jeff Sessions issued a sweeping order that largely eliminated both domestic violence and gang violence as grounds for asylum. The decision has the potential to wall off the asylum system not only for people fleeing gang violence but also for women seeking refuge from domestic abuse. It drew fire from immigrant and women’s rights groups, which criticized the administration for adopting an old-school mentality—in which domestic violence was seen as a private matter between partners, as opposed to a broader human rights concern.

Karen Musalo, the director for the Center for Gender and Refugee Studies at the University of California Hastings College of the Law, says the decision was “like dragging us back to the dark ages of women’s rights.

The fact that violence against women is a private or personal matter and not a matter that’s of concern for human rights or refugee rights is just flat-out wrong.”

Isabel, the specter of violence was a companion in Olanchito, a Fbeastorpersistent lurking around the edges of daily life.

It showed up during an evening stroll with her high-school boyfriend when a wild-eyed 14 | 10.3.18 | INDYweek.com

The scene of a murder in Olanchito man with big red shoes robbed them and placed a machete at the nape of Isabel’s neck, threatening to cut off her head. He ordered her to kiss him and groped her body as her boyfriend sat quietly beside them.

It appeared again a few years later, when Isabel was accosted by a young man while she walked from church to her apartment, where she lived alone. The man trailed her on his bicycle and tried to attack her as she unlocked her door. She was a few paces ahead and managed to slip through the door before he muscled his way in. But he lingered outside, and Isabel, peering through the window, saw a flash of his gun.

“I know you live alone,” he told her.

Isabel bolted the door, held her breath, and waited. The man eventually left, but the encounter weighed on her.

“I thought, what could have happened if God hadn’t given me the courage to get to my house and lock the door on time?” she says. “That man would have raped me, killed me, would have left my body. He could have done what he wanted to me, and no one would have realized.”

In 2012, Isabel moved in Manuel when she was seven months pregnant with his child. The two fought intensely. Manuel called Isabel a “bad woman” and told her he regretted loving her. His anger boiled over, and he would call Isabel and other women putas, or whores. Isabel worried he would beat her if she spoke up for herself.

“He treated me really badly, he looked at me repugnantly, like I was disgusting,” she says. “I felt like the worst woman in the world.”

Isabel says she was too ashamed to tell anyone about her situation; besides, in her community some people accepted domestic violence as a normal part of life. Even so, her mother picked up on what was going on.

Carmen remembers running into Isabel’s room once after hearing a fight and finding Manuel choking her against a wall.

In the spring of 2016, Isabel finally left Manuel. But even then, she says he struggled to accept that it was really the end— especially the idea that Isabel could marry another man. Isabel moved in with Carmen; Manuel lived nearby. Sometimes he showed up at her house unexpectedly, provoking arguments. One time, after he brought Karla home late, they fought. He shoved her phone into a glass of liquid, breaking it. Isabel got mad. Manuel pummeled her in the face, knocking her down.

“With just one blow to my head from him, I was seeing stars,” she says. And she worried that things could get worse.

“When we were arguing and he hit me, I saw how bad things could get when things are out of control,” she says. “I was always afraid. I thought, my God, if I end up fighting with this man, what will be the result?

Is this man going to kill me? He could be capable of anything.”

never filed a police report. Like many Hondurans, she didn’t have faith Iinsabel the cops.

“In my country, there is no security and no ability to trust the police,” she told me. “The police are never there when you need them. They get there late because they are accomplices to the criminals.”

Isabel had good reason to be wary: The country’s police force is notoriously corrupt. According to the website InSight Crime, which covers organized crime in Latin America, Honduras is home to one of the most crooked police forces in the region. Officers have been accused of an extensive roster of criminal activities, including “corruption, sharing information with criminal groups, allowing drug shipments to pass unchecked, and reportedly participating in, and even directing, violent criminal operations.” Last winter, a secret government document obtained by the Associated Press revealed that the national police chief helped a cartel leader deliver a tanker truck containing nearly a ton of cocaine in 2013.

But corruption is just part of it. Experts who work with domestic violence victims say women are often hesitant to come forward because of the obstacles they face before and after they report. A big concern is fear of retaliation, particularly from abusers tipped off by the police.

“Women make complaints about violence, and the abusers find out about those complaints due to information leaks,” says Mayes, the CDM attorney. “There is a lack of confidence in the system.”

Under Honduran law, the penalty for domestic violence that rises to the level of criminal prosecution is between two and four years in prison. For injuries that don’t reach that threshold, however, first-time offenders only face up to three months of community service and twenty-four hours in jail for abusers caught in the act—which, critics argue, isn’t much of a deterrent.

As a judge who oversees domestic violence cases in Olanchito told me: “Making offenders sweep the streets is not going to solve the problem.”

Advocates say women are also disinclined to report because there is limited space for them at domestic violence shelters. According to the Módulo de Atención Integral Especializada, or MAIE, a unit of the public prosecutor’s office set up for victims of domestic violence and sexual assault, there are just four government-run domestic violence shelters in the country of about nine million people. Those shelters have finite resources: The shelter in San Pedro Sula, a city of about seven hundred thousand, has room for between fifty and one hundred women, an employee at MAIE told me.

A 2016 State Department report concluded that the “government did not provide enough financial and other resources for these facilities to operate effectively.”

Had Isabel gone to a shelter, her closest option would likely have been in the coastal city of La Ceiba, about two hours by car; if it didn’t have room, she could have tried the shelter in San Pedro Sula, a five-hour drive.

But Isabel decided that she couldn’t risk staying in in Olanchito, or any part of Honduras. She believed Manuel would track her down wherever she went. And so, in September 2016, about six months after they separated, Isabel decided to leave—a choice she came to out of necessity, she says.

“I never had a desire to go,” she says. “Some people were always wanting to go to the United States, but not me. I had my job, and really, it was a good job in Honduras. When I decided to come, I felt there was no other choice.” n Honduras, I heard a similar refrain in the stories of a bleary-eyed group of deportees Ifiltering through the gates of an airport out-

side San Pedro Sula.

This hodgepodge crew, some emptyhanded, others clasping the necks of drooping trash bags, had all been sent home after entering the U.S. without authorization.

Some were excited to be back. “I’m home, and we’re going to make food!” an impressively

coiffed man exclaimed on the phone to his mom. He bought a bag of orange passionfruit juice, tilted his head back, and drizzled it into his mouth.

Alberto, a friendly guard eyeing the steady flow of deportees, recognized many of them from previous attempts. Some he’d seen three times. Sometimes, he told me, he becomes emotional seeing young men hobbling back with limbs lost to la bestia, the notoriously dangerous train that migrants often ride through Mexico to the U.S. Though the ride is treacherous, known for kidnappings and robberies, Alberto understands why they take the risk.

“They go there because there aren’t opportunities in this country, not out of bad intent,” he said. In his estimation, 80 percent of the people who are deported try again.

Consider a twenty-one-year-old with a string-bean build. He came to Honduras by way of New Orleans, where he’d lived for nearly eleven years. Would he try to come back to the U.S., I asked? “Yes,” he responded before I finished the question. He has a threeyear-old son in New Orleans, and lots of family there. Here? His eyes scanned the parking lot and he shook his head.

Why keep trying? A few reasons: poverty, unemployment, violence, political instability.

In 2009, a military coup ousted the country’s left-leaning president and carted him off to Costa Rica at gunpoint while he was still in his pajamas. Human Rights Watch described the coup and its subsequent violence as “the most serious setbacks for human rights and the rule of law in Honduras since the height of political violence in the eighties.” More than 120 activists have been murdered in the country since 2010, making Honduras one of the world’s deadliest places for human rights defenders.

The unrest escalated last November, after Juan Orlando Hernández, a conservative U.S. ally, won a second term in an election marred by allegations of voter fraud, sparking widespread protests. Between the election and the end of December, according to the Honduran human rights organization COFADEH, 30 people were killed, 232 people were wounded, 1,085 people were detained, and one person was disappeared.

In the weeks after the inauguration, when I visited Honduras, evidence of discontent could be seen across San Pedro Sula. The expression “Get out, JOH” was scrawled in graffiti on walls throughout the city, including on the charred skeleton of a tollbooth that was torched during a post-election protest.

It wasn’t uncommon to see trucks loaded with heavily armed military police cruise down the streets of San Pedro Sula, or young police officers swaggering in front of police stations with large guns.

INDYweek.com | 10.3.18 | 15

One activist who was kidnapped for a week by the military in the eighties said she feared a rising tide of repression: “In the eighties, I wasn’t as scared as I am now,” she told me.

Among the most prominent issues for many activists is the plight of women.

Human rights groups have argued that the 2009 coup coincided with a rise in violence against women. The country’s militarization, they say, has exacerbated an already hostile environment for women.

Femicides increased by nearly 50 percent between 2008 and 2012, and the impunity rate for those crimes hovered at more than 93 percent, leaving at least 2,036 murders of women unpunished.

Since 2012, government reports have boasted a reduction in overall violence, including gender-based crimes and femicides, but human rights groups have flagged inconsistencies in the data. One report by CDM compared government data on homicides from January–June 2014 with media reports of femicides during that same period, and found forty-five separate instances in which femicides were reported in the news but were not categorized as homicides by the government, which instead registered them as accidental or unre-

solved deaths. CDM’s analysis concluded that 17 percent of total femicides during that time fit into this category.

“We do believe that there are murders that are being classified wrongly,” says Neesa Medina, an analyst with CDM. “As a result of that, the murder rate is decreasing. We can’t prove that this had been done on purpose, but we have denounced this, and we had asked formally to have an organization to look at this protocol of the police, but no one cares. We know that there is no political will to see this as a concern.”

Some officials told me they were committed to solving cases of violence against women, but institutional barriers stood in the way. A police officer who investigates femicide cases in San Pedro Sula looked demoralized when I asked him why the femicide impunity rate remains so high.

“We don’t have enough resources and technology to investigate properly,” he said.

For example, he said that forensic samples in femicide cases had to be sent to a laboratory in Tegucigalpa, more than 160 miles away, because an equivalent didn’t exist in San Pedro Sula. (One was under construction, he said, but he didn’t know when it would be finished.)

A group of women go to a police station in Olanchito to file a complaint.

16 | 10.3.18 | INDYweek.com

Officers’ hands are also tied by the legal system itself, he said, particularly for domestic violence cases.

“The major difficulty is that the law doesn’t protect these women,” he told me. “When they file a report, the law only states that men have to be separated from their homes and maybe enforce a security measure like a restriction order. If it happens again, then the man can get arrested.

Women have to go through all of that for a man to be put in jail. The process is too slow, and women get killed during it. Some men lose their temper when women file a report, and they kill them.” sabel and Karla arrived in the U.S. after about ten days of traveling. They traIversed three countries—Honduras, Gua-

temala, and Mexico—before crossing into Texas, near Hidalgo. After they crossed, immigration officials apprehended them and brought them to the South Texas Family Residential Center, an immigration detention center in Dilley.

After a few days, Isabel was allowed to give her credible fear interview, one of the first steps in the asylum process that determines whether applicants have a “credible fear” of persecution or torture on account of their

race, religion, nationality, political opinion, or membership in a particular social group if they go back to their home country.

During her interview, Isabel discussed her history with Manuel. She told the asylum officer that she feared for her life in Honduras and described the police’s blasé attitude toward cases involving women.

The officer concluded that Isabel did have a credible fear of return, allowing her to proceed with her asylum case. After being released from detention, Isabel and Karla moved to the Triangle. There, she found an attorney and had her initial asylum hearing in Charlotte last winter. The judge set a final hearing date for the case in October.

While she awaits her day in court, Isabel has been adjusting to her new life. She began a new relationship with a man; they had a baby last summer. Her days are filled with the responsibilities of motherhood: taking care of Karla, who enrolled in school and is learning English, and her new baby. She likes it here. The street she lives on is quiet most of the time. When she has more time, she says, she’d like to find a job, and maybe a therapist.

“I’m happy when I’m walking, I begin to think about how different it is here,” she says. “Now that I’m here, I don’t want to go back. It’s so different.”

Carmen’s life changed after Isabel left, too, but not for the better. She became sick after her daughter’s departure, fell into a deep depression, and had a nervous breakdown.

Sometimes, she kept herself up at night, wondering: Will I see her again before I die?

Carmen described these changes in anguished detail when we met at her home in Olanchito. She waited for me at the corner of two unpaved roads, hands perched on her hips, black hair knotted up into a ponytail. All around her, the neighborhood was groggily waking up: motorcycles rumbling, lifting clouds of dust; roosters squawking; men trudging down the street. A group of wolfish teenage boys huddled nearby.

Carmen walked quickly to her house, which is filled with tributes to her kids— their names and ages spelled out in rainbow magnets across the kitchen refrigerator, a gift from Isabel after she began earning a steady paycheck. Previously, Carmen had very little furniture. Today, there are three couches, two comfy beige chairs, a TV, and a few small tables draped in white cloth that hold pictures of her children in the living room.

“I would tell my kids, I don’t have things because the money I make is to raise them,” she told me. “Now my life is different. When Isabel began to work, she bought me furniture for Mother’s Day. She gave me was a stove, then she bought a refrigerator. I didn’t have anything. Nothing.”

She sunk into the couch and began railing against the neighborhood. A few days earlier, she told me, a burglar had killed one of her neighbors—shot him to death after stealing his motorcycle. As Carmen talked, she jumped from one thought to another like she was hopping across a pond, each stone a different idea: delinquency, her precious children, Manuel. She discussed Olanchito’s past nostalgically, her childhood memories filled with the sepia-filtered recollections of youth. “Now it’s different,” she said—a town compromised by lawlessness, crime, and gang violence.

She told me she hated being so far away from Isabel, but she also believed that Manuel posed a real threat: “Here in Olanchito,” she said, “it wouldn’t be the first time that a man killed a woman in a rage.” ven before Jeff Sessions’s announcement in June, the odds were already stacked Eagainst people like Isabel.

Between 2012 and 2017, nearly 80 percent of asylum seekers from El Salvador and Honduras lost their cases, according to the Transactional Records Access Clearinghouse at Syracuse University, with Guatemala close behind at nearly 75 percent.

Asylum applications in North Carolina, like Isabel’s, go to the Charlotte immigration court, one of the toughest in the nation. In 2016, a group of immigration advocates called the court one of five “asylum-free zones” in the U.S. in written testimony to the Inter-American Commission on Human Rights, arguing that it displayed “bias against Central American gang and gender-related asylum claims.” That same year, Charlotte’s immigration court granted asylum in just 17 percent of cases, compared with the New York City court’s 85 percent.

Domestic violence and gang claims in particular face additional difficulties because their place in the asylum framework is not well-defined. The modern asylum system was developed after World War II, amid consensus that nations had failed to protect Jews and other groups fleeing Nazi oppression. That gave way to the 1951 United Nations Refugee Convention and its 1967 protocol, which defined a refugee as a person fleeing persecution based on “race, religion, nationality, membership of a particular social group, or political opinion.”

That definition has formed the basis of the system used today to evaluate asylum cases. Under U.S. and international law, asylum seekers must prove that they have a well-founded fear of persecution in their home country on account of one of those five categories—race, religion, nationality, political opinions, or membership in a particular social group—and that their

native government is unable or unwilling to protect them.

“Membership of a particular social group” is the most ambiguous of the five. It is defined as a group of people with a “common immutable characteristic” that they cannot or should not have to change. Notably, gender does not have its own designation like race or religion, but women seeking asylum on gender-related violence claims have qualified as members of a “particular social group.” Legal scholars often interpret the absence of gender as a matter of historical context. When the definition was developed, crimes against women, including domestic violence, were not broadly recognized as matters of public concern or government responsibility.

Public opinion evolved in the decades that followed, and clearer guidelines developed about gender-related claims. In a landmark 1996 decision, the Board of Immigration Appeals ruled that a woman

Even with the decision on the books, some immigration advocates and attorneys found that claims could be undermined by a hostile environment—a judge, for instance, who doesn’t respond positively to the way an asylum seeker presents herself in court.

Hila Moss, an attorney who represents domestic violence asylum seekers with the U.S Committee for Refugees and Immigrants in North Carolina, says a case could fit every statutory definition required for asylum—a “slam dunk”—but if the asylum seeker doesn’t project fear during the trial, a judge could rule against her.

“A lot of these judges hold the fact that these women have low affects and sluggish demeanors against them, saying, ‘You don’t care about your case. You’re just sitting there talking monotone. You’re not being demonstrative or showing fear or even crying; therefore, it shows that you weren’t really a victim,’” Moss says.

“ The law doesn’t protect these women.

The process is too slow, and women get killed during it. Some men lose their temper when women file a report, and kill them.” fleeing female genital cutting was eligible for asylum, recognizing for the first time that a woman escaping gender-related harm could be eligible for asylum in the U.S. But domestic violence as a basis for asylum has been mired in controversy almost ever since. In 1999, the BIA denied protection to a Guatemalan survivor of domestic abuse, opening the door to more than a decade of legal wrangling.

In 2014, the BIA weighed in decisively in favor of domestic violence victims.

The case—the Matter of A-R-C-G—established that “married women in Guatemala who are unable to leave their relationship” could constitute a “particular social group.”

Though significant, the ruling was narrow, legal scholars found, giving judges discretion in how they evaluated domestic violence cases, and, as a consequence, a wide degree of disparity in how they ruled.

A 2016 analysis by Blaine Bookey, the Center for Gender and Refugee Studies’ co-legal director, found that in the year after A-R-C-G, “arbitrary and inconsistent outcomes have continued to characterize asylum adjudication in this area of the law.”

In one exchange, she recalls, when a client who experienced years of sexual abuse sobbed during her testimony, the judge remarked: “I just want to make note that the respondent is sobbing audibly, but there are no tears coming out.”

In June, the challenges for those seeking asylum on domestic violence grounds became even more pronounced when Sessions reversed a ruling by the BIA that granted asylum to a Salvadoran abuse survivor in a case known as the Matter of A-B. The next month, the USCIS instructed asylum officers that domestic violence and gang-related claims would, “in general,” not establish the basis “for asylum, refugee status, or a credible or reasonable fear of persecution.”

The possibility that domestic violence survivors could be almost uniformly denied safe haven has generated bipartisan pushback. In June, a House committee including U.S. Representative David Price, a Democrat who represents Orange and Wake Counties, rebuked Sessions, voting to block the Department of Homeland Security from using its funds to implement the decision.

A month later, the Center for Gender and

Refugee Studies and the ACLU sued the Trump administration over the USCIS guidelines; the CGRS continues to represent the woman at the center of the A-B case.

Although it’s hard to say definitively, some immigration attorneys have estimated that Sessions’s decision could invalidate tens of thousands of pending asylum claims.

“Most of the Central American cases involve either some form of domestic violence or gender violence or fear of gang,” says Musalo of the CGRS. “And then [there are] lots of cases from other countries around the world—gender violence and domestic violence isn’t only a phenomenon of the Northern Triangle countries.”

Sessions’s decision, Isabel’s hearing is still pending. How she feels about Dtheespite looming date depends on her mood, she

told me this spring. Sometimes, it feels tantalizingly close; other times, somewhere in the hazy distance.

Sitting inside her home in North Carolina, Isabel winces at the thought of going back to Honduras. It’s just past noon, and she’s preoccupied with lunch preparations, shuffling between the living room and kitchen in black platform sandals. Every so often, she’ll spring up and brusquely walk to the kitchen to stir a pot simmering on the stove. The food is ready for her boyfriend when he comes home on his lunch break.

He walks up to the baby’s crib and affectionately cups her left foot in his hands.

She’s battling a cold and is bundled up in fuzzy pink pajamas.

The pink color palette is all over Isabel’s daughters’ room, too—pink curtains and a dresser filled with plastic toys, pink crocks, a playhouse. One of Karla’s favorites is a fake kitchenette, which Isabel stores with real cans of food in a pantry at the bottom.

Throughout the house are Post-it notes with pictures of animals her daughter drew: a bear, a dog. Karla has also taken to practicing writing in English on a dry erase board in red marker. She often drags her polar bear stuffed animal around the house.

Just beneath the surface of this calm, homey scene, though, there’s a churning well of uncertainty, and Isabel knows it. Her new life is precarious: It relies on decisions, lawsuits, and political calculations far outside of her control. And so does the life that could await her back in Honduras.

“If we went back there, only God knows what might happen,” she says. backtalk@indyweek.com Reporting for this story was supported by the International Women’s Media Foundation as part of its Adelante Latin America Reporting Initiative.

INDYweek.com | 10.3.18 | 17

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Won’t You Be Our Neighbor?

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magine walking or biking to Ninth Street grocery stores and restaurants and living in a safe, supportive condo cohousing community built to minimize its carbon footprint. Located in the Old West Durham neighborhood, Bull City Commons will be neighbors with Cocoa Cinnamon coffee shop and Locopops, a unique Mexican inspired ice cream experience. Go another few blocks and you are in Duke Gardens, the Nasher Museum, or on Duke campus enjoying a concert. The city bus and the proposed lite rail line passes right by our street.

On our half acre site, we are currently designing a four story building with 22 residential units and spacious indoor and outdoor commons areas. We anticipate creating a screened porch, roof top terrace, vegetable gardens, pollinator habitat and an open 2,000 square foot area encompassing: • A kitchen and dining/lounge area for socializing, meal sharing and community events • A shared laundry room eliminating the need for individual washers/dryers • Two guest rooms and bath • Activity rooms for watching movies, jamming/playing music, practicing yoga, meditation, exercise.

All this below market prices! How? Rather than hire a developer, we are self-developing utilizing the amazing talents, experience and energy of our members under the guidance of an architect and project manager.

We are an eclectic group of individuals and couples – gay and straight- reflecting a variety of interests, walks of life and parts of the country. Visit our website and join us at HAPPY HOUR or an INFO SESSION!

18 | 10.3.18 | INDYweek.com

(919) 542-0394 hello@chathamartscouncil.org www.chathamartscouncil.org

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t the Chatham Arts Council, we’re partnering with Chatham County Schools to change the way you think about arts education. Since the 2015-2016 school year, Chatham Arts Council’s Artists-in-Schools Initiative has brought professional artists into schools to support math, science, language, and history curricula. Through interactive, engaging workshops taught by theatre actors, performance artists, dancers, mural painters, West African drummers, and strings musicians, students have unique opportunities for a deeper engagement with learning objectives.

This year, we are expanding to all 10 traditional Chatham County elementary schools, reaching 2,766 children with 14 professional artists - helping make 24 direct curriculum connections. We aim to make an impact!

How valuable could arts in education be? Very!

Students involved in the arts are four times as likely to be recognized for academic achievement; four times more likely to participate in a math and science fair; and three times more likely to be elected to class office.

With the Artists-in-Schools Initiative, professional artists work with teachers to foster a personal connection between students and their academic lessons. This could mean working with a West African musician to explore math through music and rhythm. Or incorporating puppets and digital animation to teach literacy and science concepts, resulting in a compelling story of animal migration. Or having theatre artists lead students to interview history buffs in the community about the Civil War to gather oral history about how it affected the area. However the artist residency takes shape, the result is striking. Artists-in-Schools provides schools access to professional artists and educational enrichment that they could not otherwise afford AND links classroom standards and learning objectives with creative work in a way that is useful for teachers, students, and administrators.

To be part of the impact, visit www.chathamartscouncil.org/donate.

DURHAM FAMILY MEDICINE 2400 Broad St Suite 1 Durham NC 27704 P: 919-220-9800 • F: 919-220-9500 durhamfamilymedicine.net https://www.facebook.com/Durham-Family-Medicine Introducing David Herring PA-C...

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ew to Durham Family Medicine, David is a triangle-region North Carolina native. He received his Bachelor of Science Degree in Biology from Campbell University in December of 2015. He graduated from Wingate University in 2017 where he received his Master of Physician Assistant Studies degree. In his spare time, he enjoys being outdoors especially fishing and hiking.

His practice interests include family medicine, dermatology, and preventative medicine. His foundation of practice is to approach the patient as a whole being with many intricate parts. David and our other providers are currently accepting new patients.

Durham Family Medicine’s goal is to provide compassionate care to patients in a timely manner. Our health professionals are dedicated to helping people realize their full potential with their health, lifestyle and attitude. We want to help every patient become, and remain, healthy and strong. We do this by providing options to change lifestyles which help individuals achieve optimum health.

Let us be your partner in health, and your resource for the information you need to make your best health choices!

We Accept the Following Insurances: AARP, Aetna, Alliance PPO, Assurant Health, Blue Cross Blue Shield of NC, Beechstreet, Cigna, Definity Health, Duke Select, First Health, Golden Rule, Great West, Harrington Benefit, Humana, Inclusive Health, Mamsi, Medcost, Medicare, One Net, Primary Physician Care, United Healthcare, Wellpath Coventry.

So we can better serve you, please contact us if your insurance is not listed. *DOT Certified for DFM patients and non-DFM patients* Accepting Please call the office for more information

business spotlight business spotlight

EMPOWER DANCE STUDIO Where Faith Empowers Movement

109 West Parrish St Durham, NC 27701 www.empowerdancestudio.com 984-377-2017

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ou are invited to join the Empower Circle! Hi, my name is Nicole Oxendine, the owner and co-founder of Empower Dance Studio. Empower is a dance studio that nurtures and fosters natural beauty, instills self-confidence, and reinforces positive images of dancers from all backgrounds. My fearless co-founder, Jessica Burroughs and I established Empower in 2015 after witnessing an increased demand for dance in the Research Triangle area, especially for the marginalized groups of young girls and boys.

Empower is place where children and adults of all ages, shapes, and sizes can learn quality dance technique, feel confident, and embrace their natural beauty through movement. Our goal is to create a positive and happy experience for all our students. We strive to nurture and develop talent, celebrate the achievements of all students and inspire a love and appreciation of all styles of dance and the arts. We are committed to providing a safe and positive environment in which all students can feel empowered, comfortable and free to express themselves Empower offers weekly classes in ballet, jazz, tap, hip hop, and lyrical for children aged 2-17. Our unique weekly adult classes include community ballet, lyrical, funk dance fitness, afrobeat, and sexy girlboss. Once a month, Empower Dance Studio opens its doors for Durham’s Third Friday Art Walk with dance performances paired with other artistic disciplines, such as visual arts, poetry, and music.

We are excited to share our love and passion for dance!

Join hands, put a jewel on your chest, engage your core, stretch your foot into the circle, and on three yell a big loud: EMPOWER! Visit our website www.empowerdancestudio.com for more information!

THE MINDFULNESS PROGRAM AT UNC UNC Program on Integrative Medicine

MONARCH BROW & FACIAL STUDIO

mindfulness@med.unc.edu • pim.med.unc.edu (919) 966-8586 Twitter: @uncmindfulness Facebook: @uncpim

Artistically crafted brow design and organic facials Certified PhiBrows microblading practitioner 304 W. Weaver St. #104, Carrboro, NC 27510 919-260- 1493, monarchbrowandfacials.com

What is Mindfulness?

Mindfulness is a behavioral technique involving paying attention to the present moment’s experience on purpose and non-judgmentally. Mindfulness training has been scientifically associated with improved life-satisfaction, improved cognitive performance, creativity, and can serve as an antidote to our often stressful and over stimulated lives.

Research on Mindfulness Multiple research studies confirm that people who attend an eight-week mindfulness training course report the following benefits: • reduced stress-related physical and psychological symptoms • enhanced ability to cope with chronic pain, illness, and stress • decreased psychological distress, including anxiety, depression, fatigue and sleep disturbances Additionally, continued practice of mindfulness has shown improvements such as: • increased ability to relax • greater enthusiasm and quality of life • increased creativity • improved confidence, self-esteem, and resilience Mindfulness training classes at the UNC Program on Integrative Medicine include: • Mindful Parenting • Mindfulness for Teens • Foundations of Mindfulness • Morning of Mindfulness workshops • Mindfulness Intensives • Advanced Mindfulness Instruction Classes are available in Chapel Hill and RTP.

Your face is nature’s art. I merely enhance its perfection. ~ Angela Hugghins

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s an accomplished painter and sculptor, Angela Hugghins brings an artist’s eye to her work transforming how the world sees her clients’ faces. A professional aesthetician since 2000, Angela launched Monarch Brow & Facial in 2016, providing expert skincare treatments, organic facials and lash and eyebrow tinting. And now, after six months of training under Francek Prsa and the pioneering Serbian Master Microblading artist Branko Babic, Angela is one of only a handful of professionals in North Carolina fully certified in PhiBrows microblading.

Microblading enhances the eyebrows using semi-permanent makeup to perfect their symmetry, color and thickness based on The Golden Mean, a mathematical formula which Renaissance artists referred to as “The Divine Proportion”. It defines the most visually satisfying ratio of length to width, and appears throughout history in fine art, architecture and design.

Microblading practitioners are trained in facial morphology to utilize the face’s natural contours and coloration to arrive at the most pleasing, perfectly proportioned results. Angela’s fine arts training informs her uncanny ability to envision ways to craft your appearance to “The Divine Proportion” based on your specific facial characteristics. View before and after photos at monarchbrowandfacials.com In keeping with the individualized nature of Angela’s work, all sessions are one-on-one. No waiting room or receptionist will greet you, just Angela herself. Her studio is an intimate space, designed for private, personal attention. She uses only organic, hypoallergenic and sustainable cleansers and makeup, providing treatments and simple-to- follow guidance to achieve great looking, healthier skin with a minimum of regimen at whatever budget you can manage.

The next stage of Angela’s quest for perfection is launching her own brand of plant-based, small-batch skin treatment products in the coming months. First up will be a cleansing facial scrub formulated for acne and oily or problematic skin.

INDYweek.com | 10.3.18 | 19

business spotlight business spotlight

QUINNGER BEER Brewed in Cary, NC

www.quinngerbeer.com quinn@quinngerbeer.com (919) 200-8930 @quinngerbeer

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he brainchild of Quinnger Ginger Beer, COO, and long-time Raleigh-area bartender, Quinn McKee. Quinnger Ginger Beer is a premium, non-alcoholic ginger soda that has been earning fans across the Triangle for nearly five years now.

Some of you may remember the sharp, crisp, refreshing bite of ginger beer from the “Good Ol’ Days,” before ginger ale came on the scene and ruined your drink with high fructose corn syrup and artificial flavorings. That won’t be a problem with “Quinnger” Ginger Beer.

Taking its name from our Brewer, our product uses nothing but whole ginger root, real lemon juice, and raw cane sugar to craft a clean, balanced taste. Plus, we always brew in small batches to ensure both freshness and quality. So whether you’re drinking it alone or using it to enhance spirits, you can rest assured you’re getting the freshest buzz for your bottle.

As a dedicated North Carolina small business, we are currently expanding to The Triad, Charlotte, Wilmington, and Asheville, and now offer our product for sale through our website. One can take us home from a growing number of Triangle bottle shops and stores, or taste us behind the bar at a vast array of area bars, farmer’s markets and restaurants. For a complete list of distributors, visit us online at www.quinngerbeer.com.

OSCAR CORNELIO, MD, MSC

VillageHearthCohousing.com (561) 714-8009 VillageHearthCohousing@gmail.com

Integrative Family Medicine Physician

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Avance Care 1821 Martin Luther King Jr. Pkwy Durham, NC – 919-748-4990 AvanceCare.com

r. Oscar Cornelio is a Board-Certified Family Medicine Physician who practices Integrative and Functional Medicine. Originally from Peru, where he graduated from San Marcos University Medical School, he came to the US and finished his Family Medicine Residency at the Fairview Hospital-Cleveland Clinic Program in Cleveland, OH. After working in community health clinic settings, he was accepted at the prestigious Research Fellowship Program in Integrative Medicine at Boston Medical Center.

Dr. Cornelio believes in providing convenient and accessible care to patients, offering primary care services 7 days a week with extended hours and weekend availability. Whether you need a checkup or aren’t feeling well Avance Care can get you in the same-day or within 24 hours. In addition to core primary care onsite labs, x-rays, allergy services, nutrition, and behavioral wellness are offered.

As a Family Physician, Dr. Cornelio sees patients in all different stages of life, from newborns to geriatrics. His passion lies in Integrative and Functional Medicine, which focuses on treating the root causes of medical conditions, not just the symptoms. He believes in paying special attention to the close relationship between the mind, body, spirit and the environment and believes in a holistic approach to medicine. By offering onsite Zumba, yoga, acupuncture and massage therapy he works collaboratively with his patients to not only help them feel better but to reach their maximum wellness potential. He is also trained in Mindfulness Based Stress Reduction (MBSR) techniques, offered in group or individual visits.

Dr Cornelio’s bilingual and bicultural skills are especially valuable for the Spanish community. He is in network with most major insurances and cash pay patients are welcome.

Come visit our beautiful facility, we invite you to be part of our family.

20 | 10.3.18 | INDYweek.com

VILLAGE HEARTH COHOUSING I

magine… cheering your team or watching movies together in the Common House sitting room. Cooking and eating with friends. Impromptu gatherings. Wine, laughter, and great conversation. Sipping coffee on the shaded terrace. Exploring your creativity in the arts & crafts studio and the woodworking shop. Staying fit in the exercise room. Being in control. Having time for the things that enrich your life!

We are a dynamic LGBT-focused group of baby boomers collaborating to build a 55+ community on 15 beautiful, wooded acres just 20 minutes from downtown Durham. We are gay and straight, single and coupled, working and retired, from Durham and beyond. We will own our homes where we can balance social and private time in a self-managed, close-knit, respectful, mutually supportive environment. Friends, nature, and fun will be right at our doors.

• 28 fully equipped, energy-efficient, single-story cottages built with Universal Design principles creating accessibility throughout all dwellings, walkways, Common House, and auxiliary buildings • 2,550 SF Common House includes: large combination dining/meeting room, kitchen, exercise room, sewing/craft room, guest room, laundry facilities, terrace and more!

• Private and community gardens, walking trails, dog park, arts & crafts studio, woodworking center, bike shed, and common storage building.

• Friendly front porches, private back yards, and abundant green space.

Live small. Have it all!

Is Village Hearth right for you?

Contact us NOW. Only 4 homes left...

FINDER THE INDY'S GUIDE TO THE TRIANGLE

COMING OCTOBER 24, 2018 INDYweek.com | 10.3.18 | 21

Keeping the Triangle clean, one house at a time!

TAKE $20 OFF* *initial cleaning after consulation Thanks for voting us “Best of the Triangle!”

919-68-CLEAN (919-682-5326)

carpediemcleaning.com

indyfood True Grit

IF YOU DON’T SUPPORT THE OLD STANDBYS, YOU CAN’T COMPLAIN THAT DURHAM AIN’T WHAT IT USED TO BE

BY ARIAINE SANDERS

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

ILLUSTRATION BY CHRISTOPHER WILLIAMS

L INDYWEEK.COM 22 | 10.3.18 | INDYweek.com

ong before the skyline’s crowning jewel turned from the neutral pebble of the N.C. Mutual Life building to the glass tower of One City Center, Durham held a certain allure. As a longtime restaurant insider, beer geek, and fat kid at heart, Durham’s food scene—and lately, its craft beer scene—have been a source of both great joy and intense pride.

But along with the “g” word (gentrification) and shiny luxe apartments bringing luxe people with adventurous palates and the budgets to sate them, the restaurant industry has expanded like something out of a scratch and sniff sci-fi movie.

With all the diversity in the food and drink scene, it’s tempting to try a new restaurant every week, or even every day. It’s a luxury to have restaurants suited to impress out-oftown guests within walking distance of my home, or have a sexy date night on a Tuesday and then flood the ‘gram with images of a Manhattan with a smoked-lemon twist and beautifully plated dishes of vegetables and animal parts I didn’t previously know you could eat.

But amid the trendy buzz, the noise of construction, and the frantic pace of Durham’s expansion, it sometimes feels nothing like the place that I first called home

sixteen years ago. The days when $10 bought you a Jack-and-Coke or a pint of beer to wash down a greasy, satisfying burger at Devine’s may not be long gone, but they’ve certainly faded into something fuzzy and nostalgic.

In Durham’s rapidly gentrifying landscape, in food and life in general, there’s something comforting about turning to reliable standbys, a place where you can get a consistently well-executed meal with friendly, familiar service, away from the flash and pomp of the hot new thing. Plus, it’s also nice to give your wallet a break from $14 cocktails and $25 entrees.

In the moments when I get to enjoy being on the other side of the bar, I seek out the places that have stayed true to themselves and true to what’s made Durham feel like home for me. After all, if we don’t support these places, we can’t complain that Durham ain’t what it used to be.

As an early riser, or at least the parent to an adorable pup who is an early riser, Elmo’s Diner has long been a breakfast-time favorite for fluffy pancakes and huevos rancheros. Despite sitting on the edge of a thriving downtown, Elmo’s feels like eating at grandma’s house. The walls are brightly painted, and there’s a din of pots and pans clanging in the kitchen and friends giggling over an inside joke.

It feels like small-town charm personified to be warmly greeted at the door by someone who feels more like your neighbor than an extra from a movie about Brooklyn, to feel like you’re more than a table number, to be noticed even when you’re sitting at the bar with a book.

Much of the staff has grown up at Elmo’s, and that camaraderie gives it an authentic Southern hospitality that newer places in Durham seem to caricature rather than capture. As buildings tower over us and construction cranes become fixtures in our skyline, sometimes it’s nice to feel like I’m still on the ground.

Despite keeping rather unusual hours, one thing I have in common with the rest of the workforce is that I often don’t give lunch the time and attention it deserves.

Like many Americans, I eat it standing up and, too often, out of a bag. And it’s no wonder; add paid parking to the downtown Durham mix and lunch starts to feel far too much like rat-race-meets-deathmatch hell for me. Part of the reason I chose to remain in the South is for a gentler pace.

Luckily, Ninth Street Bakery still exists to save the day. One of the few places with dedicated parking, it can still be easy to miss, with its doors set back from the street. The aroma of freshly baked bread is practically a meal on its own and has the singular ability to slow Durham down for me. When I feel like sitting outside without cars whizzing by, I snag a seat on the set-back patio and savor a turkey and Swiss on whole wheat, soft in the middle with just the right crunch on the crust.

When I’m feeling fancy and want a night out downtown without the shrill soundtrack that comes with being seated next to a college girl’s birthday party, the pressure of making a reservation weeks in advance, or even the effort of putting on a cocktail dress, I make my way to Metro 8 Steakhouse.

Its staff is friendly and knowledgeable without pandering or being condescending.

Even with white-linen tablecloths, you don’t feel like a cretin for showing up in jeans, but you don’t feel silly if you felt like dressing up.

Dining alone here can take the form of sitting at the bar and chatting up the bartender or a friendly regular, or a date night can be had in one of the intimate nooks.

At Metro 8 you can still get an excellent cocktail for around $10, as well as an amazing portion of quality meat with an Argentinian twist. The space’s cathedral ceilings show the building’s lovely bones, which sets the appropriate ambiance for the religious experience that is the chocolate soufflé.

Although I may have told a few of my secrets, I don’t think that my ace in the hole is much of one. Everyone still talks about Vin Rouge, even though it’s in that “I know it’s old news, but …” kind of way, but that’s what keeps it in my heart.

Their staff is singular among town, particularly as the night dies down. Rather than feeling like you’re keeping someone at work, it feels as though you’ve been invited to a more intimate and relaxed part of the evening. Kitchen staff occasionally creep out to enjoy a post-shift drink, and the closing servers relax into hosting a cocktail party in its last throes.

Most would agree that something feels a bit off about chugging a $14 cocktail in a standing-room-only bar because you can’t avoid being jostled enough to keep from spilling it. So something feels patently sophisticated about savoring a cocktail over crème brûlée while the folks who chase trends head to whatever cool, new bar is the thing this month. As Vin Rouge staff polish silver and clear the last few tables, the simple pleasure of a dram of whiskey often calls to me.

If I feel like making a night of it, The Federal is my spot. Open until 2:00 a.m. and rarely packed after 11:00 p.m., it has become a regular late-night stop.

From its patio, you can see Durham morph just beneath its brick skin. You can still hear fireworks from the “new” ballpark, though the skyline now blocks the view. A luxury apartment announces, “now renting” as it towers over Brightleaf Square. The bar that used to be a live music venue squats in its shadow. Around the corner, a college co-ed tries to stay on a mechanical bull that might be older than Shooters itself, and just down the street, hip hop blares out of the doors of Skewers, somehow still open.

As a solitary cube of ice slowly melts to water in a glass of whiskey, the merging of the two is symbolic of the coming together of the old and new, mingling, swirling, dancing, eventually finding equilibrium; still more whiskey than water. food@indyweek.com

RECYCLE THIS PAPER

INDYweek.com | 10.3.18 | 23

TH 4

O C TO B E R TRAOBA PRESENTS: THE 4TH ANNUAL

NELSON MULLINS BATTLE OF BONKER BAND! 4:45p TH 4 TURNPIKE TROUBADOURS @ THE RITZ 7p

FR 10/5 THE DEVON ALLMAN PROJECT W/ SPECIAL GUEST DUANE BETTS 8P

SA 6 LITTLE OZZY W/ BILLION DOLLAR BABIES AND KNIGHTS 7p

indymusic

GHOSTT BLLONDE

Saturday, Oct. 6, $8, 9 p.m.

Kings, Raleigh www.kingsraleigh.com

Seasonal Fire

GET YOUR FALL OFF TO A CRISP START WITH FORGOTTEN FOLK SONGS AND FRESH HIP-HOP BEATS

FR 12 DOOM FLAMINGO 10:30p SA 13 HELP IS ON THE WAY FESTIVAL SU 14 TH 18 SA 20

A BENEFIT FOR OUR FRIENDS DOWN EAST 12p AFTON MUSIC SHOWCASE 6p LANE 8 LITTLE BY LITTLE TOUR 7p PULSE FM PRESENTS: CAROLINA CARES A BENEFIT CONCERT 6p TWIDDLE 7p

TU 23 WE 24 THE OH HELLOS

W/ SAMANTHA CRAIN 7p

TH 25 AN EVENING W/ CHRIS FR 26 ROBINSON BROTHERHOOD 7 pm SA 27 QDR HOWL-O-WEEN HARVEST BALL FEAT: DANIELLE BRADBERY, RUNAWAY JUNE, CLARE DUNN 7 pm

SU 28 WHITEY MORGAN

W/ ALEX WILLIAMS 7p

TU 30 CLAUDIO SIMONETTI’S GOBLIN 7p

N OVE M B E R

11/1 G HERBO 11/2 11/3 11/4 11/8 11/9 11/10 11/13

W/ SOUTHSIDE & QUEEN KAY 7 pm COREY SMITH 8p ST. LUCIA 8p GWAR 7p PAPADOSIO W/ LITZ 8p THE LACS 8p WILL HOGE 7p

HAZEL DICKENS & ALICE GERRARD

SING ME BACK HOME: THE D.C. TAPES, 1965-1969 FREE DIRT RECORDS 

Hazel Dickens and Alice Gerrard were steeped in folk, bluegrass, and country tradition when they released their first album in 1965. Between the duo’s commanding approach to the music and their pioneering status as a distaff duo in what had been an almost exclusively male-occupied realm, Dickens and Gerrard became an important presence in and influence on the folk scene of the era (not to mention subsequent generations).

QDR CARES – CONCERT FOR CAROLINA W/ DAVID LEE MURPHY, BRANDON LAY, BRITTON BUCHANAN 7p

11/14 ALLEN STONE

w/ NICK WATERHOUSE 7p

11/15 PJ MORTON 11/16 11/17 11/28 11/30

W/ GRACE WEBER 7pm

RUNAWAY GIN- PHISH TRIB. 8p WHITE PANDA 7p GHOST LIGHT 7p MYLES KENNEDY & CO 7p

CO M I N G S O O N

12/1 KIX 7p 12/6 FRONT COUNTRY 7p 12/7 ABBEY ROAD LIVE! 50TH ANNIVERSARY OF THE WHITE ALBUM 6p

12/8 QDR CARES – ACOUSTIC

CHRISTMAS FOR KIDS WITH RUSSELL DICKERSON, CRAIG CAMPBELL, JASON MICHAEL CARROLL 7p KHRUANGBIN 7p

12/11 1/4 AARON HAMM AND BIG RIVER 6:30p

3/3/19 Y & T 7p ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 24 | 10.3.18 | INDYweek.com

Dickens and Gerrard were from West Virginia and Washington, respectively, but they were headquartered in the Baltimore and Washington, D.C., area by the mid-sixties.

During the surprisingly long period between their first two albums, they would convene

to work out new material for their repertoire. They recorded these practice sessions at home, probably just for reference, with plenty of quotidian ambience in the background, including the occasional clamor of children. Thanks to UNC-Chapel Hill’s Southern Folklife Collection, which handles Gerrard’s archives, a historic cache of those home recordings from 1965 to 1969 have been shared with the world.

On their early albums, the duo was backed by brilliant players like mandolinist David Grisman, fiddler Chubby Wise, and multiinstrumentalist Mike Seeger, but the offthe-cuff performances captured here are strictly Dickens and Gerrard on guitar, banjo, and autoharp. The stripped-down setting and the lo-fi feel only add to the appeal, giving the album the intense, unvarnished vibe of an Alan Lomax field recording. The minimal arrangements lend the pair’s keening harmonies even more impact.

Sitting at the kitchen table with Dickens and Gerrard, we get a glimpse not only of their working process, hearing them get a handle on new material, but of the breadth of their sensibilities. The duo’s original albums contained songs by a handful of bluegrass and country artists, but these nineteen tracks shine a brighter light than ever on Dickens and Gerrard’s aesthetic purview.

On one hand are tunes from expected sources, like a rollicking version of Ralph Stanley’s “Bound to Ride” with some impressive banjo picking from Gerrard, and a boldly bounding take on The Louvin Brothers’ “Are You All Alone.” But we also hear an autoharp-assisted take on the Everly Brothers hit “Bye Bye Love,” and country hits of the day like Merle Haggard’s “Sing Me Back Home” and Dolly Parton’s “In the Good Old Days (When Times Were Bad).” Between the repertoire and the candid performances, this collection is both a historic find and a fan’s delight. —Jim Allen

PUBLIC ACID EASY WEAPONS SELF-RELEASED 1/2

Public Acid opens Easy Weapons with a burst of aggression. Seven seconds of squealing feedback gives way to another twelve of a torturously slow sludge riff before the song finally launches into its hardcore blitzkrieg. And in that first halfminute, the band makes clear its intent to subvert expectations at every turn.

Hardcore is confrontational by nature, but it also can be fairly limited in its approach. This is particularly true of the sub-strain of hardcore known as “D-beat,” which frames its songs on a particularly powerful drumbeat popularized by the British band Discharge. While Public Acid shares many of the characteristics of D-beat hardcore, such as the heavily distorted guitars and that driving, insistent drumbeat, the band has found a way to mine volatile dynamics from the codified structure.

Take, for instance, “Why Not,” (which can’t help but feel like a nihilistic response to Discharge’s seminal 1981 rallying call, Why?). In the hands of Public Acid, the steady drum pattern gives the song its foundation, but the guitars unleash a hail of distortion and feedback, complemented by gruff vocals buried in reverb, that feels less like crisp riffs than a gale of debris.

With the rhythm section keeping the band grounded, the guitars summon chaos, filling space with shrill squalls and churning blunt riffs into seismic events.

Similarly to the album-opening title track, “Incapacitate” begins with stinging, staccato guitar bursts that evoke an emergency broadcast alert before the song ons withlaunches into its maelstrom of cyclonic conds ofriffing, blurred vocals and flashes of feedo anoth-back. This mastery of dynamic is rare for a ludge riffnew band, but the core members of Public s into itsAcid have spent years cutting their teeth first half-in a slew of area bands, including Holder’s intent toScar, Wriggle, Bad Eric, and Menthol, and n. seem to have arrived here with something thrilling.

Like the dearly departed Raleigh icons Double Negative, Public Acid have found a way to punch new contours into the relatively narrow mold of hardcore punk. Their deft balance of reckless guitar noise and insistent rhythm makes a sturdy foundation for one of the stronger hardcore releases to emerge from the perennially fertile North Carolina scene in some time.

And with its ten tracks wrapping up in less than fifteen minutes, Public Acid know well how to get to the point and get out of the way, leaving only a trail of aural destruction in their wake. —Bryan C. Reed

GHOSTT BLLONDE

y nature,BIRTHDAY PARTY ed in itsSELF-RELEASED ue of the1/2 “D-beat,” articular-Though they put out a seven-inch split with ed by theNegative Fun Records in 2014 and loosed ublic Acida few one-off tracks into the waves of the of D-beatinternet in recent years, Marc Kuzio and his orted gui-bandmates in Raleigh’s Ghostt Bllonde once drumbeat,seemed in danger of disappearing. ne volatile Five years on from the lovable, ramshackle AM-pop blitz of their first record, 2013’s ure.

Trashpop // Doomwop, a second LP had yet to surface. But fortunately, the promising young act didn’t succumb to the chaos of fretting over mixing, labels, and life minutiae: The universe at last aligned to deliver Ghostt Bllonde’s enjoyable second album, Birthday Party.

The whirring sound of a cassette ushers in “Past Lives (If It Works),” the record’s intentionally misleading opener. Smothered in tape hiss and distortion, the track slowly colors itself into a clean and precise hi-fi audio mix. It’s an immediate sign that this album, which was mixed and co-produced by Triangle music staple Missy Thangs, has pristine Spector-style production benchmarks. The effect also works as a cheeky reference to Ghostt Bllonde’s own punk origins, recording scrappy music on whatever gear was available and playing through cruddy house party PAs at long-shuttered early-2010s Raleigh DIY spaces.

That track segues into the firework pop of “Birthday Party,” a propulsive fist-pumper. As on the first record, Ghostt Bllonde’s elemental talents visibly lie in buoyant, high-wire rock songs that draw life from the deep recesses of pop music. The band interlaces these influences well, collapsing post-Strokes 2010s festival circuit rock and their own unique constellation of vintage pop references into an inventive and accessible neo-surf style.

It’s little sonic touches that make that clear, like the infectious guitar lick that closes “Parallels,” or in the maximalist, energybuilding drum fills that carry “High Rise” into

the atmosphere. Kuzio builds up exuberant doom and gloom like a reinforced bunker, only to be party-crashed by reams of sunshine guitars and triumphant disco bass.

Birthday Party is a charming follow up from Ghostt Bllonde. It doesn’t reboot their chosen sound, nor does it really need to.

There is something to be said for slightly iterating on but otherwise leaving whole what was already a confident, well-constructed rock band. —David Ford Smith

OAK CITY SLUMS

One of the best illustrations of this point is in the second track, “Space,” where Finch executes the dark tones and sporadic bursts of drum-and-bass sensibilities and the synthy arpeggio of techno, but with an undeniable hip-hop bounce to it. This theme is constant throughout the project, but what keeps things interesting is how Finch rearranges these elements in each track, putting one genre in the forefront and another one subtly in the background, only to return the background element to the foreground a few minutes later.

NOT WELL RAUND HAUS 

On the last night of Hopscotch 2016, Oak City Slums took the stage at CAM Raleigh before a packed audience of festivalgoers anticipating the headliner of the night, Mr. Carmack. What those attendees weren’t anticipating was that they were surrounded by a legion of local hip-hop and beat-scene loyalists who came to see Slums execute his brand of bass-heavy, sample-laden dance music, and create seismic activity in the warehouse district of downtown Raleigh.

Slums didn’t disappoint, with a performance and crowd reaction that has become somewhat of a folk legend in the independent rap and beat scene. Since then, Slums’ legendary status has not faltered, but the question of “what’s next” quietly lingered for about two years.

But Slums, aka Rodney Finch, has put that to rest with Not Well, a ten-track ride that feels like it’s speeding 80 mph on a winding dirt road. It has all of the thumping, fast-paced chaos that sets Oak City Slums’ drum programming apart, but with dirty sizzles and pops from analog synthesizers that induce a static calm. On Not Well, Finch lays out inspiration from a plethora of dance music genres with the same resplendence as a Thanksgiving dinner.

Though Finch is known as a hip-hop producer, his music has never conventionally fit into that realm. Not Well comes off as a project made by someone with a broad taste in dance music, borrowing elements from across the dance spectrum, but with a sound that doesn’t seem messy, imitated, or even imitable.

Finch’s skills for sampling and remixing tracks helped him rise toward the top of the Triangle’s deejay and beat-making scene, but none of that appears on Not Well. By taking this risk, Finch gives himself the ability to explore his musical influences without being bogged down by the limitations of fitting into one type of beat making.

What makes Not Well special is the fact that it’s an electronic music record that has something for everyone in a way that lacks the kitsch of a David Guetta record, but avoids the headspace of similarly weighty music like a full-on drum-and-bass record.

The whole album is executed like one of Finch’s celebrated deejay sets: Though he weaves in and out of genres, he makes it feel right and convinces his listeners to even consider some music they wouldn’t normally pay attention to. —Charles Morse music@indyweek.com INDYweek.com | 10.3.18 | 25

indyart

I Saw the Sign

WHAT’S UP WITH THE MYSTERIOUS BILLBOARD THAT JUST POPPED UP ON THE DURHAM FREEWAY? BY SARAH EDWARDS

Your week.

Every Wednesday.

INDYWEEK.COM 26 | 10.3.18 | INDYweek.com

Billboard by Stacey L. Kirby PHOTO COURTESY OF 21C MUSEUM HOTEL

W

hat is a billboard for? Most often, it’s a space to advertise things familiar to the American imagination: Jesus, fast food, and the phone numbers of personal injury lawyers.

In the digital age, when ads can be planted in an Instagram feed rather than a cornfield by the highway, the billboard is in decline, but it still has the peculiar power to get our attention—especially if it subverts expectations.

If you’re driving on Highway 147 in Durham this week, you might notice a new billboard that just appeared between Ellis Road and Briggs Avenue. It has red-whiteand-blue regalia and a design that evokes the Pepsi logo, but there’s a much more unexpected message in the middle: “Yo Soy Válida,” which is Spanish for “I Am Valid.”

In the lead-up to midterm elections, it’s not unusual for sponsored political messaging to spring up. But the Super PAC behind this message isn’t the norm. The average Super PAC is partisan and has the sole intent of swaying voters toward or away from a particular candidate. But For Freedoms, the Super PAC founded by artists Hank Willis Thomas and Eric Gottesman before the 2016 election, is a nonprofit, nonpartisan artist platform intended to “deepen public discussions on civic issues and core values.”

The name is drawn from Franklin Delano Roosevelt’s 1941 “Four Freedoms” speech, later popularized by Norman Rockwell’s painterly visions of ordinary Americans carrying out the freedom to worship, to exercise free speech, and to be free from want and fear. Since 2016, For Freedoms’ $1.5 million campaign has rolled out a diverse set of public programs, from installations and exhibits to subway advertisements and lawn signs.

Among these, the most massive undertaking is the 50 States Initiative, which, since September, has been commissioning billboards by artists in all fifty states as well as Puerto Rico and Washington, D.C. The billboards include designs from artists such as Alec Soth, Carrie Mae Weems, and Marilyn Minter, centering on issues such as gun control, campaign reform, and gender equality. One billboard in Pennsylvania, by the artist Zoe Buckman, reads, “Grab ‘em by the ballots.”

Durham’s Stacey L. Kirby is the artist behind “Yo Soy Válida,” which was commissioned by 21c Museum Hotel, one of For Freedoms’ partners in the initiative. Kirby, a previous winner of the prestigious ArtPrize competition in Michigan, is no stranger to civic engagement. For more than a decade, her performance work and installations have used ethnographic research to explore

topics around citizenship, belonging, and identity. (On October 13, she is staging an interactive pop-up show at 21c Durham called “Civil Presence,” which she says is in conversation with her billboard design.)

According to 21c’s chief curator, Alice Gray Stites, Kirby is a natural fit for the project. The message of the billboard, Stites says, is “an assertion of belonging, of being a citizen, which we hope will encourage everyone on any side of any aisle to participate in the election.”

Kirby says the decision to design a billboard in Spanish was inspired in part by Jennifer Dominguez, a Latinx high school student and artist Kirby met through the Durham Art Guild and Student U’s Creative Mentorship Program. (Dominguez, who has assisted Kirby in her studio and is on the Nasher Museum Teen Council, gave her artistic thumbs-up on the design).

Kirby hopes the message will amplify and honor voices in the Latinx community during a particularly brutal and fearful period of U.S. immigration policy.

“Like any artwork, part of its function is to raise questions in people’s minds and to get them talking to one another,” Stites says. Until it comes down October 29, “Yo Soy Válida” will be doing just that for Durham Freeway commuters. arts@indyweek.com

art

MONA KUHN: EXPERIMENTAL Opening Wednesday, Oct. 3, 8 p.m.

The Fruit, Durham www.clickphotofest.org

Step into a World

MONA KUHN TURNS FLAT PHOTOS INTO AN IMMERSIVE ENVIRONMENT IN THE CLICK! PHOTOGRAPHY FESTIVAL

BY JULIE M. HAMILTON

P

images of the audience. Kuhn is echoing ing viewers to enter the exhibit one by one, hotographer Mona Kuhn is globally Jacques Lacan’s psychological theory of Kuhn’s structure urges them to slow down acclaimed for her cinematic the mirror stage, in which people recognize and become more mindful of their exischromogenic and silver gelatin their likeness in a mirror. But the image tence, suspending notions of time in order to prints, most notably of female figures and they see is a copy—it is not, in fact, a real engage the subconscious. minimalist architecture. But after more than person. Thus, the mirror falsely projects One must pass through a large vinyl phototwenty years of exhibiting in contemporary an idealized version. Kuhn plays with this graph to enter the first chamber, breaking the galleries and art fairs, she wanted to try a concept by crinkling the foil-lined walls, photo’s surface with the body and shattering site-specific installation at an experimental venue.

The Click! Photography Festival, which fills Triangle galleries and venues with exhibits and presentations throughout October, and the unique qualities of The Fruit were a perfect fit, as Durham’s favorite produce warehouse turned postindustrial event space was already amenable to innovative concepts not contingent on the buyers’ market.

Kuhn’s installation, Experimental, opens at the Fruit at 8:00 p.m. on Wednesday, October 3, followed by an October 6 keynote talk on her creative process at the Rubenstein Art Center. The exhibit is inspired by Kuhn’s photographic series She Disappeared into Complete Silence, which conveys a nude female figure’s tranquil respite in a desert. While such topographies typically connote extreme climates, isolation, and even danger, Kuhn’s images, shot near Joshua Tree, envision an Edenic oasis. Her illustrative use of light is the primary means of spiritual renewal, inducing a medita- "ADM 7790" (2014) by Mona Kuhn PHOTO COURTESY OF THE ARTIST tive state. distorting the medium’s capacity to mirror a the notion of art as a touch-free space. The In Experimental, Kuhn employs video prolikeness. Underscoring that we are all prone image is of a triangle, which Kuhn says “symjections, vinyl installation, and other mixed to misperception, the mirage-like foil adds bolizes the ongoing metaphorical connecmedia to build her photos into an environa sculptural dynamic to the room, a tangible tions between heaven and earth,” a kind of ment in which spectators can contemplate iteration of Kuhn’s photographs shot in the sacramental threshold between the known and deconstruct notions of the self. In this Mojave Desert, offering yet a further layer of and unknown that the viewer metaphysisense, the audience is the exhibit’s subject, illusion and appearance. cally crosses. performing the work as a participant.

Performance and installation art have Subsequent rooms transition from Taking viewers on a journey through a vellong challenged the gallery’s institutional questions of space to questions of self, vet tunnel into The Fruit, the exhibit invites limitations by reimagining the very particularly of identity. Metallic materials them to detach from the familiar world outenvironments art should inhabit. In his 1976 adorning the walls not only reflect light, side and be reconfigured, as if they were book Inside the White Cube: The Ideology of but act as a mirror, refracting fragmented entering a cloistered monastery. Requir-

the Gallery Space, Brian O’Doherty argued that the gallery is a controlled context for the art object. Its white-washed walls housing artistic relics are indebted to earlier forms of religious space used for rituals and liturgical performances: Romanesque cathedrals, Egyptian tombs, even Paleolithic caves.

Immersive installations like Experimental work along similar lines, reclaiming the gallery’s pre-commercial origins in ritual, transforming artas-merchandise into participatory, tactile universes.

This feeling of the monastery is clearly evident in the second room of Experimental, where the flattened, gold-hued silhouettes of six totemic female figures allude to Byzantine icons. But a sonic landscape of mysterious, suspenseful recorded sounds is dissonant with the visual projections. Kuhn is questioning human perception and institutions, subverting religious constructs that seem to offer stability through familiarity.

Before creating this installation, Kuhn was the curator for The Billboard Creative in Los Angeles, where she acquired a taste for bringing art into spaces outside of museums and galleries. Angelenos spend significant time in their vehicles, so the collective placed art billboards along the circuitous freeways. Like Jenny Holzer’s 1982 “Truisms” marquee in Times Square and Felix-Gonzalez Torres’s “Untitled (Billboard of an Empty Bed)” during the HIV/AIDS crisis, The Billboard Collective hoped to “stop traffic with art” by bringing beauty to the banal. Kuhn’s evolving passion for engaging a broad range of spectators in novel ways made Click!’s invitation an ideal chance for her to explore ontological questions of belief and doubt, complicating photography’s capacity for innovation and engagement in the Triangle. arts@indyweek.com INDYweek.com | 10.3.18 | 27

indystage

SCHAUBÜHNE BERLIN: AN ENEMY OF THE PEOPLE Friday, Oct. 5 & Saturday, Oct. 6, 8 p.m., $27 UNC’s Memorial Hall, Chapel Hill www.carolinaperformingarts.org

Public Enemy

RECENTLY BANNED IN CHINA, A LEADING GERMAN THEATER COMPANY IS MAKING IBSEN DANGEROUS AGAIN

BY BYRON WOODS

W

hen Tobias Veit, the executive director of Schaubühne Berlin, was summoned back to the National Center for the Performing Arts in Beijing after midnight, just hours after his theater company had opened its run of An Enemy of the People, he knew it couldn’t mean anything good.

After all, Henrik Ibsen’s controversial nineteenth-century drama, last seen in the Triangle at PlayMakers in 2015, could easily disturb a Chinese regime known to be leery of protest. In the play, a lone scientist openly defies local government and media, both corrupted by corporate influences, when he learns that manufacturing waste has contaminated the village’s drinking water.

Still, after touring through thirty-three countries since 2012, the Schaubühne production was a known commodity long before its arrival in Beijing last month. The company and world press had been clear about its contents, and its presenters had received a DVD and script. After this degree of vetting, what could the actors have done to offend their Chinese hosts?

According to actor Christoph Gawenda, who plays Dr. Stockmann, the show’s title character, it turned out that the problem wasn’t on stage at all. It was in the audience.

The Schaubühne production, which Carolina Performing Arts presents in Memorial Hall this week, differs from most in several aspects. In dramaturge Florian Borchmeyer’s adaptation, Stockmann gradually takes on more of an edge than most American productions depict. Its actors also form an onstage band, with a set list including Gnarls Barkley, David Bowie, and The Clash, before they start chalking the blackboard walls of designer Jan Pappelbaum’s set to indicate changes in locations.

But the key difference lies in a sequence director Thomas Ostermeier introduces into the famous town-meeting scene, where Stockmann lashes out at neighbors who’ve been manipulated by the local paper and the village leaders turn on him. In Ostermeier’s 28 | 10.3.18 | INDYweek.com

version, the paper’s publisher stops Stockmann in mid-rant to poll the audience, asking who is on the doctor’s side. Then he and other characters demand to know why.

“It’s critical to the experience of the play,” says Amy Russell, director of programming at Carolina Performing Arts. “It gives the audience agency; it’s how they bring it into the present.”

authorities were adamant that it never happen again. The company was directed to delete the sequence, and officials who attended the next day’s rehearsal confirmed that the passage had been removed.

“There was never a hard word,” Gawenda says. “They said it with a smile: ‘We are very happy you are here, but you will do it our way.’”

An Enemy of the People PHOTO BY ARNO DECLAIR It usually took a bit of prompting from the company to make the audience-participation section a robust debate, but that wasn’t the case in Beijing.

“I was quite surprised,” recalls Gawenda. “Immediately, they began talking about situations in China—about state corruption, freedom of speech, and people being killed. There was an extraordinary tension in the air.”

As Ostermeier intended, a real-world political forum was emerging from a theatrical simulation of one, and Chinese

Actors noticed another change before their next performance: Four television cameras had been installed throughout the theater.

“They weren’t filming us,” Gawenda says.

“They were aimed at the audience.”

Following two censored performances in Beijing, Chinese officials canceled the company’s dates the following week in Nanjing, citing “technical problems.”

Of course, no such censorship awaits Schaubühne Berlin when it performs here this week. If environmental scientists make disconcerting discoveries in North Carolina,

lawmakers simply draft legislation mandating that the science be ignored, as then-state senator David Rouzer famously did in 2012 in response to findings on the rise of ocean levels. That, or quietly roll back oversight that might uncover unwanted data.

Nevertheless, a play about a government’s resistance to acting on corporate water contamination will inevitably find itself entangled in local politics, and it should be interesting to hear, in the participatory section, where North Carolinians stand—especially after Hurricane Florence exacerbated longstanding issues. Duke Energy’s coal ash basins flooded the Neuse and Cape Fear rivers last week, and USA Today reported that Goldsboro’s drinking water now has eighteen times the acceptable level of arsenic in it.

The INDY recently observed multiple compromised hog lagoons in a flyover of southeastern N.C., and The New Yorker reported Sunday that two of them had dumped seven million gallons of fecal waste into the South and Cape Fear Rivers.

Ostermeier’s An Enemy of the People is of a piece with Carolina Performing Arts’ seasonal theme of citizenship, “not just in the legal sense, but in our social and civic responsibilities to each other,” as Russell says. But is Stockmann a good citizen or a bad one? The production casts him as Ibsen originally saw him, as an antihero.

“Stockmann becomes a radical without even noticing it,” Gawenda says. By the time of his climactic monologue, the doctor speaks of exterminating those who disagree with him, in a note of passion—and possible hyperbole—that echoes the extremity in much of present-day American political discourse.

“Economics has taken over the culture,” Gawenda says about Ibsen’s story. “The majority is already being influenced by the people with the greatest economic interests, and even the politicians don’t see the long run. It’s quite hard to break through that.”

Sound familiar? arts@indyweek.com

indyscreen

A STAR IS BORN ½

Opening Friday, Oct. 5

Two Hours and Fifteen Minutes of Fame

MODERN CLASSIC OR MEGA-BOMB? THE BIG DISAPPOINTMENT IS THAT A STAR IS BORN IS NEITHER ONE.

BY LAURA JARAMILLO

T

a coherent tone that feels naturally he new remake of A Star Is Born, contained within a single movie. Instead, starring pop star Lady Gaga and over a distended two hours and fifteen directed by movie star Bradley Coominutes, we careen from one visual style per, has been hotly anticipated to be either a and pace to the next. modern classic or a mega-bomb of rehashed Cooper has suggested in interviews that camp. The big disappointment is that it’s what drew him to the film was its potential neither. Cooper’s directorial debut has to critique the fame-industrial complex, moments of tremendous heart but is ultimately too uneven and bloated to make it a must-see.

The film follows the relationship of Jackson (Cooper), an aging alcoholic country star, and Ally (Gaga), a waitress and aspiring pop singer, from their fortuitous first meeting and on through their relationship’s calamitous arc. Cooper and Gaga, a counterintuitive screen couple, sparkle in their screen chemistry, and the starcrossed ecstasy and difficulty of their bond is the glue that tenuously holds the PHOTO COURTESY OF WARNER BROS. film together. but the roulette quality of its style dilutes But A Star Is Born is pulled between any possible critique. When Ally reaches too many different things at once: gritty peak fame, her face plastered across Los kinetic realism, slick and slightly corny Angeles billboards, Jackson warns her music video, women’s melodrama, and, to reclaim control of her image before occasionally, even men’s melodrama, as she loses herself. The irony is that Ally when Jackson confronts his estranged remains emotionally grounded and selfbrother, who is played by Sam Elliott possessed, so that the drama becomes a with a vague air of cowboy parody. But one-sided battle against Jackson’s will to these threads never come together into

destroy himself with manly devices like alcoholism. This just reinforces the notion that fame is perfectly fine as long as you can act like a professional and handle it.

Cooper’s film is mainly based not on the 1937 original, but on the campy 1976 remake with Kris Kristofferson and Barbra Streisand, which was highly uneven but

gained a cult following among Streisand fans. Likewise, the confusion of the latest version seems to stem in part from the studio’s apparent indecision over whether the film could stand on its own or had to bank on Gaga fans. It’s most enjoyable when it’s allowed to be what it actually wants to be, a tender country-western love story. arts@indyweek.com INDYweek.com | 10.3.18 | 29

WHAT TO DO THIS WEEK 10.3–10.10 SUNDAY, OCTOBER 7

NASHBASH

While Moore Square gets a makeover nearby, Raleigh’s Nash Square Park hosts a throwdown that’ll challenge the best of the former’s Downtown Live concert series (remember those?). The first-ever Nashbash, co-presented by the nearby Whiskey Kitchen restaurant and Imurj event space, is a free day-long party that features live music and lots of local snacks and beverages. Raleigh rap favorites Kooley High and Pat Junior headline the festivities—and they take the stage early enough that their high-energy sets can be the perfect kickoff to a big night out. Proceeds from the family-friendly festival benefit three good causes that do on-the-ground work in and around Raleigh: the InterFaith Food Shuttle, which delivers food to low-income communities; Foundation of Hope, which raises money for mental health research; and the paralysis recovery center Next Step Raleigh. —Allison Hussey NASH SQUARE PARK, RALEIGH | Noon, free, www.imurj.com

Pat Junior PHOTO BY ALEX BOERNER

FRIDAY, OCTOBER 5

ABOVE THE RIM

Perhaps you’ve heard of this “basketball,” said to be vital, for better or worse, to the bloodstream of the Triangle. If not, a new CAM Raleigh exhibit curated by artist Phil America might serve as a good, if somewhat conceptual, introduction to the love of the game. It features work by fifteen local and international artists, including Hank Willis Thomas, Monica Kim Garza, and Bryce Lankard, not to mention a functioning half-court inside CAM, created by Felipe Pantone. After a ticketed opening reception on October 4, this First Friday reception is your first chance to get a free look, with food trucks and an exhibition practice by the Bridge II Sports PRIDE Youth Wheelchair Basketball team. And CAM’s free family Saturday the next day features talks, basketball activities, and dance performances starting at noon. The First Friday reception also unveils Moral Monsters, a new exhibit by local fixture Antoine Williams. Across the Rim runs through February 3 after this weekend’s festivities. —Sarah Edwards CAM RALEIGH, RALEIGH | 6-10 p.m., free, www.camraleigh.org 30 | 10.3.18 | INDYweek.com

SATURDAY, OCTOBER 6

REVENGE OF THE AFRONAUTS ALBUM RELEASE PARTY

If you’ve spent any time wandering through downtown Durham on a Friday night after 9:00 p.m., it’s likely you’ve encountered a youth-centered cypher in the CCB Plaza. It’s an energetic affair where participants in Blackspace’s programming for youth of color in music, technology, and more get to relax and show off their skills at freestyling. This weekend, the Blackspace crew has even has even more to celebrate with the release of Revenge of the Afronauts, an album that puts the talents of Blackspace youth front and center in a studio setting. With the guidance of a couple of mentors, students wrote and performed all of the beats and lyrics that appear on the record. In the cypher and on stage, Blackspace’s brood show themselves off as confident, energetic, and immensely talented—the kids are more than just all right, they’re crushing it. —Allison Hussey THE PINHOOK, DURHAM | 8 p.m., $5–$10, www.thepinhook.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle “Hand Cropping #1, Vick Family Farms, Wilson, N.C.” by Jeremy M. Lange in Across County Lines PHOTO COURTESY OF THE NASHER SATURDAY, OCTOBER 6

ACROSS COUNTY LINES: CONTEMPORARY PHOTOGRAPHY FROM THE PIEDMONT

Coming October 24:

FIVE POINTS/GLENWOOD SOUTH

For advertising opportunities, contact your ad rep or advertising@indyweek.com

An abandoned sock snaking across a cracked road. An older couple descending a mall elevator in stiff repose. An empty wig shop lit by harsh fluorescents. In this exhibit featuring thirty-nine photographers who all share a connection with the Piedmont region of North Carolina, such sights feel at once familiar and strange, like references to another world—one that exists just beyond words and begins right after the lights go out. They convey a sense of meaning that feels just within reach, just across county lines. The exhibit spans the 1970s and the present, including photographers like William Ferris, Diego Camposeco, and Phyllis B. Dooney, who demonstrate the broad range of techniques and approaches that N.C. photographers bring to the table. The exhibit runs through February 10 after this free opening reception and cash bar. —Sarah Edwards THE NASHER MUSEUM OF ART, DURHAM | 7-10 p.m., free, www.nasher.duke.edu

FRIDAY, OCTOBER 5 & SATURDAY, OCTOBER 6

GASPARD&DANCERS

A viewer’s presence can change more than an artist wants to change. Though most creators would like their audiences to understand and appreciate their work, many also have to resist being boxed in or misinterpreted by the public’s expectations. Jean-Michel Basquiat had this on his mind in an interview conducted during the last year of his life, and choreographer Gaspard Louis draws on that text in the premiere of 27, the final section of the Durham dance artist’s trilogy devoted to the Neo-Expressionist painter and the highlight of his company’s annual concert at Duke. A New York community gathering confronting changes in immigration policy this year inspired another new work on the program, No Entry. “People were voicing their concerns about children being separated from their parents and families, and I thought, ‘If we just sit there and do nothing about it, we are complicit,” Louis says. The evening also includes Around Within, a new trio for women, and a restaging of Souke (Shake). —Byron Woods REYNOLDS INDUSTRIES THEATER, DURHAM | 7:30 p.m., $15–$28, www.danceprogram.duke.edu

WHAT ELSE SHOULD I DO?

ANTI-NOSTALGIA AT THE CARRACK (P. 36), GHOSTT BLLONDE AT KINGS (P. 25), IT IS DONE AT THEATRE IN THE PARK (P. 38), MONA KUHN AT THE FRUIT (P. 27), NC LATIN AMERICAN FILM FESTIVAL AT VARIOUS VENUES (P. 40), JODI PICOULT AT QUAIL RIDGE BOOKS (P. 40), SCHAUBÜHNE BERLIN AT UNC’S MEMORIAL HALL (P. 28) INDYweek.com | 10.3.18 | 31

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THE STRUTS 12/8 SOUTHERN CULTURE ON THE SKIDS W/ WEISSTRONAUTS ($13/ $15)

11/2 JESS KLEIN, KATHERINE WHALEN'S SWEDISH WOOD PATROL, HUMBLE TRIPE ($10/$12)

10/12 NEIL DIAMOND ALLSTARS W/ LESTER COALBANKS & THE SEVEN SORROWS ($10)

12/18 2ND ANNUAL HORTON’S HOLIDAY HAYRIDE: REVEREND HORTON HEAT, JUNIOR BROWN, BLASTERS, BIG SANDY

10/13 DIALI CISSOHKO & KAIRA BA W/ SHANA TUCKER ($10/$12)

12/19 THE WEEPIES HOLIDAY SHOW ($28/$32)

10/14 GAELIC STORM ($26/ $29; SEATED SHOW)

12/31 NYE DILLON FENCE

11/9 TYLER RAMSEY ($15)

10/15 BOB MOSES W/ MANSIONAIR

1/5 LAKE STREET DIVE (ON SALE 10/5)

11/10 VETIVER (SOLO) AND FRUIT BATS (SOLO) ($14)

10/16 WILD NOTHING W/ MEN I TRUST

1/14/19 NONAME ($25/ $28)

11/11 BAILEN ($10/$12)

10/20 GLORIETTA (DAVID RAMIREZ, NOAH GUNDERSEN, MATTHEW LOGAN VASQUEZ, KELSEY WILSON, ADRIAN QUESADA, JASON ROBERT BLUM)

1/31/19 EL TEN ELEVEN W/ JOAN OF ARC ($15/$17)

11/13 THE MERCURY PROGRAM AND DOVE LEGS ($10/$12)

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11/15 BILLY RAFFOUL

2/16/19 MATT NATHANSON (ON SALE OCT. 5)

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11/20 MOUSE ON THE KEYS / TERA MELOS W/DUMB WAITER ($17/$21)

10/4 SAM BAKER ($15/$17)

11/27 PHRESHER AND Q DA FOOL ($17.50/ $20)

10/5STOP LIGHT OBSERVATIONS W/LOCALFLORA($10/$12)

10/30 & 10/31 HIPPO CAMPUS W/THE DISTRICTS

10/6 ELECTRIC SIX W/ JEREMY AND THE HARLEQUINS

11/1 CURSIVE W/MEAT WAVE, CAMPDOGZZ

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11/2 GHOSTLAND OBSERVATORY W/ GIBBZ ($25/$27)

11/5 KING BUFFALO W/ IRATA 11/7 KWEKU COLLINS W/JOSEPH CHILLIAMS ($12/$15)

11/17 TALL HEIGHTS W/FRANCES CONE AND OLD SEA BRIGADE ($13/$15)

10/27 ROKY ERICKSON W/ WHITE MYSTERY, BAT FANGS ($25/ $28)

10/11 THE ARTISANALS W/ THE HIGH DIVERS

11/3 EMMURE & STICK TO YOUR GUNS ($22/$25)

10/12 THE VEGABONDS W/ KENDALL STREET COMPANY ($10/ $15 FOR TWO-PACK)

11/4 POLYPHIA W/HAIL THE SUN, COVET ($17/$21)

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Your Week.

Every Wednesday. indyweek.com

music 10.3–10.10

a touch of rock. Better known for the hits he’s penned than for his own recordings, Phil Vassar is no slouch as a singer either. Cledus T. Judd parodies pop-country singles. —Spencer Griffith

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

LOVE HOUSE AND HUTCHINS FORUM: Music on the Porch: Marimjazzia; 5:30-7 p.m., free.

POUR HOUSE: Local Band Local Beer: Elonzo Wesley, Heat Preacher, The Genuine; 9 p.m., $3–$5.

RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER:

Amir ElSaffar and Hamid Al-Saadi [$10–$25/8 P.M.]

Literally meaning “place,” maqam is an Arabic system of modes, the collections of scales and intervals that form the basis for Arabic music’s extensive improvisatory tradition. This concert brings together two masters of Iraqi maqam: trumpeter and santur player Amir ElSaffar and his teacher, the singer Hamid Al-Saadi. ElSaffar has sought the mid-point between jazz and maqam for years now, pushing both in new directions. And Al-Saadi’s long melismas beautifully bring to life ancient traditions.

—Dan Ruccia

FRI, OCT 5 BEYÙ CAFFÈ: Trey Sorrells; 7 & 9 p.m., $13.

Alice Cooper headlines Memorial Auditorium in Raleigh Friday night.

WED, OCT 3

THU, OCT 4

CAROLINA THEATRE: Steven Curtis Chapman; 7 p.m.

CAT’S CRADLE (BACK ROOM): Sam Baker; 8 p.m., $15.

CAT’S CRADLE (BACK ROOM): Emily Kinney, Paul McDonald; 8 p.m., $20.

BEYÙ CAFFÈ: Russ Corvey; 7 p.m., $7.

CAT’S CRADLE:

DUKE CAMPUS: BALDWIN AUDITORIUM: Duke Symphony Orchestra with Cicilia Yudha; 8 p.m., free.

BLUE NOTE GRILL:

Shemekia Copeland

[$18/8 P.M.]

THE CAVE: Jon Shain, Joe Newberry, Donna Herula; 8 p.m., $5 Suggested donation.

HAW RIVER BALLROOM: Gillian Welch; 8 p.m., $35.

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

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

MOTORCO: JEFF The Brotherhood, Caseymagic; 8 p.m., $12–$15.

POUR HOUSE: Downtown Abby & The Echoes, Heads Up Penny; 8 p.m., $10.

[$25–$30/7:30 P.M.]

Shemekia Copeland, the daughter of guitar legend Johnny Copeland, has been a blues belter for a good twenty years now. On her latest album, America’s Child, she brings her mighty pipes to a batch of socio-politically savvy tunes that speak to the present moment in which our country finds itself. There are precious few roots-minded blues singers who can pull that off, but Copeland’s got a rare gift. —Jim Allen

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

PHOTO BY ROB FENN

Skizzy Mars With soft and melodic raps mostly sung for lovers, laid out on equally soft pop beats, Skizzy Mars paints a picture of Harlem that’s a lot more gentrification-friendly than the tales of narcotics trafficking and violence that most people expect from that part of New York City.

However, his departure from hometown traditions isn’t a bad thing, as his uplifting music creates a relaxed ambiance that’s well-suited for a weeknight show.

—Charles Morse

KINGS:

A Hawk and a Hacksaw [$10/9:30 P.M.]

Albuquerque’s A Hawk and A Hacksaw gathers inspiration for its music from its travels, which translates into a sound that seems to be born out of the Balkans rather than the American Southwest, and concept albums based on a sixties Soviet film and inspired by the Japanese concept of forest bathing.

The duo—Heather Trost and Neutral Milk Hotel drummer

Jeremy Barnes—primarily employs violin and accordion for its experimental folk, along with a smattering of worldly instruments. Tegucigalpan opens. —Spencer Griffith

CAT’S CRADLE: Cosmic Charlie; 9 p.m., $12–$15.

CAT’S CRADLE (BACK ROOM): Stop Light Observations, Local Flora; 8 p.m., $10–$12.

Classic Country Throwdown

THE CAVE: Matted Grass/ Dylan Angell/ Trevor Reece; 9 p.m., $5 Suggested donation.

DUKE’S BALDWIN AUDITORIUM: Branford Marsalis Quartet; 8 p.m., $10–$62.

[$40–$60/5 P.M.]

HAYTI HERITAGE CENTER:

KOKA BOOTH AMPHITHEATRE:

Though billed as classic country, this bill features acts that made their mark on Nashville in the nineties. Tracy Lawrence’s earnest baritone was a radio fixture throughout the decade thanks to tunes like the chart-topping “Time Marches On,” while Little Texas fuses group vocals with

Hayti Blues & Roots Celebration [$55–$120/6 P.M.]

Long before Art of Cool or Moogfest were holding court downtown, The Bull Durham Blues Festival was the city’s premier music festival. After several years INDYweek.com | 10.3.18 | 33

of gradual changes, it’s been rebranded as the Blues and Roots Celebration and will be held at the Hayti Heritage Center this weekend. On Friday, jazz guitarist Baron Tymas and former Carolina Chocolate Drops fiddler Justin Robinson explore the blues, and on Saturday, Lee Garland and Lenora Helm present a multimedia exploration of women’s contributions to the blues. The Saturday night finale is a bit of an oddity: the backing band of famed bluesman B.B. King, who died in 2015, fronted by none other than Tito Jackson.

—Allison Hussey KINGS: Illiterate Light, Black River Township, Winfield; 8:30 p.m., $10–$12.

LINCOLN THEATRE:

Devon Allman Project [$20–$30/9 P.M.]

A Hawk and a Hacksaw, at Kings Thursday

PHOTO COURTESY OF GROUND CONTROL TOURING

Many would like to pigeonhole Devon Allman as the next-gen version of his father, Gregg, but that’s an oversimplification.

His music bears a blues-rock flavor, and he sports a big,

burly voice, but that’s pretty much where the similarities end. He doesn’t really sound overtly like his dad at all. If that disappoints you, don’t bother turning up for his show.

But if you’re in the market for a grown-ass man with an identity of his own, step on up.

—Jim Allen LOCAL 506:

Dead Moon Night [$10/6 P.M.]

Fred Cole, who fronted the garage-punk bands Dead Moon and Pierced Arrows, died on November 9, 2017.

Just a month earlier, the commissioner of the city of Portland, Oregon, proclaimed October 5 to be Dead Moon Night, a recognition of the band’s seminal importance on its home city and of its lineage in the moss-caked Pacific Northwest grunge bands that came after them.

Those tendrils reached to the Triangle, too. Pipe, Dirty Little Heaters, Zodiac Panthers, and Billy Buckley, and Lee & Jenny Waters play their favorite

Dead Moon songs (and probably a few of their own).

—Patrick Wall MEREDITH COLLEGE’S CARSWELL CONCERT HALL: Meredith Sinfonietta; 8 p.m., free.

POUR HOUSE: Get Sad Y’all Raleigh’s Emo Night; 8 p.m., $20.

THE PEOPLES IMPROV THEATER-CHAPEL HILL: PopUp Chorus; 7 p.m., $8–$13.

UNC’S HILL HALL: UNC -Chapel Hill Department of Music: Jazz Combos; 4 p.m., free.

SAT, OCT 6 THE ARTSCENTER:

Lee Konitz [$34/8 P.M.]

Saxophonist Lee Konitz has seen a lot. He’s the last surviving player from Miles Davis’s epochal Birth of the Cool sessions in 1949, and he was a key member of both Lennie Tristano’s and Stand Kenton’s bands in the 1950s. He’s probably played with every major jazz musician active in the last 70 years. That he still

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has interesting things to say a week shy of his ninety-first birthday is a testament to his enduring creative vision.

—Dan Ruccia BEYÙ CAFFÈ:

Antoné “Chooky” Caldwell [$15/7 & 9 P.M.]

Antoné “Chooky” Caldwell has worked throughout the music world, from producing tracks for Snoop Dogg, to playing in Washington D.C.based churches, to supporting Macy Gray, and earning two Grammy nominations. The multi-instrumentalist performs a heartfelt mix of soul and R&B, with special attention paid to funk breakdowns played high on the neck on his primary love, the six-string bass guitar.

—Josephine McRobbie CAT’S CRADLE: Blitzen Trapper, Okey Dokey; 9 p.m., $17–$19.

CAT’S CRADLE (BACK ROOM): Electric 6, Jeremy & the Harlequins; 8:30 p.m., $13–$15.

THE CAVE: Billy Sugarfix and the Early Girls, The Outboards; 9 p.m., $5 Suggested donation.

DUKE’S BALDWIN AUDITORIUM: Branford Marsalis Quartet; 8 p.m., $10–$62.

HAYTI HERITAGE CENTER: Hayti: Blues & Roots Celebration; 7 p.m., $55–$120.

MOTORCO: The Wusses, KB-50; 8 p.m., $6.

RUBY DELUXE:

Sunwatchers [$8–$10/8 P.M.]

Taking their name from a track from Albert Ayler’s New Grass and featuring members of Dark Meat, the ensemble Sunwatchers welcome a pastiche of sounds including violin, bagpipes, and the electric phin, a fantastical and dreamy-sounding stringed instrument with origins in Thailand. The result is a free and wild tour through desert blues, psychedelia, and noise.

Experimental trio KUZU, with Dave Rempis, Tashi Dorji, and Tyler Damon, opens.

—Josephine McRobbie SLIM’S:

Console Command [$7/8 P.M.]

It’s a wonder that the four selfdescribed “hyper-nerds” in the Durham rock band Console

Command put down their Nintendo Game Boys long enough to get so good at their instruments because these nerds totally shred. The band’s debut album, New Game+, which dropped in February, is a collection of power-metal covers of songs from video games such as Mega Man II, Castlevania, and Pokémons Red, Blue, and Yellow. And you know what? It’s pretty sweet.

Scarves, Mackey, and Smoke From All the Friction open.

—Howard Hardee UNC’S HILL HALL: UNC -Chapel Hill Department of Music: Jazz Band; 8 p.m., $5–$10.

SUN, OCT 7 IMURJ: A Story Told, Bogues, Sink the Ship; 1 p.m., free.

POUR HOUSE: Lemon Sparks, Peter Holsapple Combo, Roger Gupton; 1 p.m., $5. Honey Hounds; 8 p.m., $10.

THE RITZ:

Kali Uchis

[$28–$65/8 P.M.] There’s a subtle fracture between Colombian-American singer Kali Uchis’s sound and her visual aesthetic.

Her instrumentation and production touch gently on funk and R&B tropes, and her sweet and nonplussed vocal presentation calls to mind Gal Costa. But Uchis, who counts among her fans Drake and Tyler, The Creator, has also honed a set of videos and a live presentation style that is tough, arty, and highly game for absurdity. Like Lana Del Rey, Lady Gaga, and Beyoncé, the music feeds into the aesthetic and vice-versa.

—Josephine McRobbie

MON, OCT 8 MEMORIAL AUDITORIUM:

Alice Cooper [$47+/8 P.M.]

More than fifty years into a hall-of-fame career, the immortal Alice Cooper is perhaps known as much for the shocking spectacle of his stage show—which infamously includes props like snakes, blood, guillotines, nooses, and electric chairs in ghastly scenes of executions—as for hits like “I’m Eighteen” and “School’s Out,” which seem to have more lives as raw, rebellious teen anthems than

Active Bird Community stops at The Pinhook on October 10.

Cooper has himself. Those relatively straightforward moments of proto-hard rock aside, Cooper’s catalog has extended to a dark, macabre mix of horror metal and glam that’s practically as theatric as his performances.

—Spencer Griffith MOTORCO: Flash Chorus; 7 p.m., $7–$10.

POUR HOUSE:

Lydia Lunch Retrovirus

[$15–$20/8:30 P.M.] Teenage Jesus & the Jerks, the first of many bands formed and fronted by agent provocateur Lydia Lunch, lived up to every old-guard criticism of punk. They were fiercely inaccessible, cacophonous and confrontational, and aggressively atonal, and they disbanded without ever releasing much material.

They were also one of New York’s most seminal No Wave bands, and Lunch has spent the decades since crafting pugnacious, noise-driven music and poetry. For one of her latest projects, the clangorous Retrovirus, Lunch enlisted a No Wave murderers’ row in Weasel Walter (Flying Luttenbachers), Bob Bert (Sonic Youth, Pussy Galore) and Algis Kizys (exSwans). —Patrick Wall

TUE, OCT 9 CAT’S CRADLE:

The Struts

[$24–27/7:30 P.M.] The video for The Struts’ breakthrough single “Could Have Been Me” is a fitting introduction to the British glam rock quartet, with halfdressed morning-after hotel room scenes preceding the climatic chorus delivered via gang vocals from a boozefueled party. Louisville’s White Reaper delivers primal hits of power pop propelled by an abundance of fist-pumping riffs and howled hooks that explode from a fuzzy fray.

Brooklyn’s Spirit Animal shares a bit of the headliner’s overthe-top flair on bombastic altrock jams. —Spencer Griffith POUR HOUSE: Moon Hooch, Lavender Fields; 8 p.m., $15.

UNC’S MEMORIAL HALL: UNC Wind Ensemble and Symphony Band; 7:30 p.m., $5–$10.

WED, OCT 10 CAT’S CRADLE:

Minus the Bear [$28/8 P.M.]

Seattle’s long-running Minus the Bear is calling it quits with a farewell tour and a

PHOTO BY ELEANOR PETRY

corresponding EP, Fair Enough.

Dating back to 2001, the group has delivered six kind of proggy, kind of poppy albums full of complex drum patterns, space-age noises, loop pedals, and the wholesale exploitation of the two-hand tapping guitar technique. They’ve always been likeable guys, too, coming across as indie-rock everymen with sly senses of humor.

Caspian opens.

—Howard Hardee

avant-garde edge, and with Die Trommel Fatale, he led a burly, double-drums combo to explore darker themes.

Here, with cellist Daniel Levin and bassist Henry Fraser, Seabrook leads a more dynamic and nuanced approach that touches on everything from trad-jazz to Les Paul pop, from math-y outbursts to patient ambient swells. Christian Cail’s Candy Ass opens. —Bryan C. Reed

THE CAVE: The Basic Unit; 8 p.m., $5 Suggested donation.

THE PINHOOK:

THE KRAKEN: Jonathan Byrd & Friends; 7-10 p.m., free.

MOTORCO: Dark Tranquillity, Amorphis, Moonspell, Omnium Gatherum; 6 p.m., $25–$28.

NEPTUNES PARLOUR:

Brandon Seabrook Trio [$8–$10/10 P.M.]

It’s fitting that the September debut of Brandon Seabrook’s eponymous Trio took the title Convulsionairies.

The New York-based guitarist, banjo player, and bandleader Seabrook has amassed a thrilling catalog in various combinations of confrontational mergers of avant-jazz, metal, and math rock. With Seabrook Power Plant, he played banjo-driven thrash with an

Active Bird Community [$10–$12/9 P.M.]

Active Bird Community is a band out Brooklyn specializing in messy, slacker-style indie-rock reminiscent of The Pixies and Nirvana’s more subtle moments (see: recent single “Unwind With Me”).

Frontman Tom D’Agustino often makes his voice crack with emotion, as though he’s a teenager who’s constantly on the verge of breaking down.

But then you realize he’s totally in control, and you’re the one getting emotional about your high school days.

Either way, it’s captivating.

—Howard Hardee UNC’S MEMORIAL HALL: Orchestre Révolutionnaire et Romantique; 7:30 p.m.

INDYweek.com | 10.3.18 | 35

art

10.3–10.10

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

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

OPENING

FRIDAY, OCTOBER 5

ANTI-NOSTALGIA “Desire has no history,” says the exhibition note for this group exhibit at The Carrack, quoting Susan Sontag. (Sure, Sontag also compared photography to “soft murder” and described it as irresistible “mental pollution,” but don’t let that deter you.) The exhibit brings together dozens of artists around an intriguing call to create work featuring found photographs. The result is a series of manipulated photos using various techniques that converse with Sontag’s critique of photography, ambitiously seeking an alternative to the nostalgic revisionism that often accompanies our experience of found photographs. After this opening reception, the exhibit continues through October 21, with a free workshop with UNC art MFA student Michael Keaveney on October 7 and a talk by curators Olivia Huntley and elin o’Hara slavick and a few featured artists on October 21. Anti-Nostalgia is part of the Click! Photography Festival (see p. 27). —Sarah Edwards

THE CARRACK MODERN ART, DURHAM | 7–9:30 p.m., free, www.thecarrack.org

“Them People Were Mighty Mad About That Body Being Stolen” by Annie Simpson PHOTO COURTESY OF ELIN O’HARA SLAVICK

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM 36 | 10.3.18 | INDYweek.com

SPECIAL Art, Color & Light: EVENT Mixed media by Adrien Montoya and stained glass by Lizzie Bailey. Oct 5-27.

Reception: Fri, Oct 5, 6-9:30 p.m. Local Color Gallery, Raleigh. www.localcoloraleigh. com.

The Beyond: Georgia O’Keeffe and Contemporary Art: Opening event. $45-$50. Wed, Oct 10, 7 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

SPECIAL Black, White and EVENT Read: Paintings by Jillian Goldberg and Susan LaMantia. Oct 5-27. Reception: Fri, Oct 5, 6-10 p.m. Artist talk: Sat, Oct 20, noon. Artspace, Raleigh. www.artspacenc.org.

Candida Höfer in Mexico: Preview reception. Fri, Oct 5, 6 p.m. NC Museum of Art, Raleigh. www.ncartmuseum.org.

SPECIAL Horace Farlowe: EVENT Paintings and sculptures. Oct 5-Nov 14.

Reception: Fri, Oct 5, 6-9 p.m.

Gallery C, Raleigh. galleryc.net.

Festifall: Fall arts festival. Sun, Oct 7, noon-6 p.m. Downtown Chapel Hill, Chapel Hill. www.townofchapelhill.org.

FRANK in Focus: Photography.

Oct 3-20. Frank Community Gallery, Chapel Hill. frankisart.com.

Haunting Houses: Doug Tabb.

Oct 4-28. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

SPECIAL Seems Like Home: EVENT Redux: Raleigh landmarks and landscapes. Oct 6-27. Reception: Fri. Oct 5, 6-9 p.m. V L Rees Gallery, Raleigh. vlrees.com.

Sip, Paint and Party: Paint with N.C. artist Kela Hunt. $40. Sun, Oct 7, 2-7 p.m. Premier Lounge, Raleigh.

Two CLICK! Exhibits: Tianran Qin and Paula Riff. Fri, Oct 5, 6-9 p.m. Litmus Gallery, Raleigh. www.litmusgallery.com.

Unique as We Are Alike: Exploration of contemporary Lumbee identity. Sat, Oct 6, 5:30-7:30 p.m. Love House and Hutchins Forum, Chapel Hill.

The World in Watercolor: Marie Crock. Sat, Oct 6, 2:30 p.m. West Point on the Eno, Durham. www.enoriver.org.

ONGOING Thirtieth Annual Sculpture in the Garden: Outdoor sculpture show. Thru Dec 9. North Carolina Botanical Garden, Chapel Hill. www.ncbg.unc.edu.

Alternative Images: Pleiades artists in conjunction with the Click! Photography Festival.

Thru Nov 5. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

The Art of Travel: Pastel Paintings from the Estate of Elsie Dinsmore Popkin: Paintings by Elsie Dinsmore Popkin. Thru Oct 17. Gallery C, Raleigh. www.galleryc.net.

Cameron Village Underground Photography Exhibit: This is going to sound crazy, but did you know there used to be

an underground mall under Cameron Village, and that it housed nightclubs that both incubated local rock and hosted legendary touring acts as diverse as R.E.M., Barry Manilow, Jimmy Buffet, and Chuck Mangione? In the late seventies and early eighties, before it was shut down because of concerns about safety, The Village Subway— aka the Raleigh Underground— roiled with nightclubs such as The Frog and Nightgown and The Pier, where Sonic Youth recorded the cover of “I Wanna Be Your Dog” that appears on Confusion Is Sex. This rich history, mostly lost beyond some hazily remembered blogs, is the subject of a new exhibit at The City of Raleigh Museum, which runs through January after a sold-out, wait-listed reception with photographer Chris Seward. His dynamic black-and-white photos from the scene capture now-famous names and local, protoindie-rock bands such as The Fabulous Knobs and Arrogance in their primes. More than two hundred photos are featured in

the exhibit, along with flyers, videos, and other artifacts. Thru Jan 31. Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

—Brian Howe City and Townscapes: From Home to Far Away: Sean Bailey, William Hill, James Keul, Armen Knox, Xavier Knox, David Knox, Faye Oldham, Jackie Rimmler, Jerry Smith, Jailton Suzart, Nancy Walker, Jan Wilson, and Barbara Younger. Sep 28-Oct. 21 Margaret Lane Gallery, Hillsborough. margaretlanegallery.com.

A Colorful Bounty: Three featured artists. Sep 29-Oct 23.

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

Fall Corridor Exhibition: Artspace members Jason Bryant, Ryan Fox, Trish Klenow, Frank Kreacic, and Susie Silver.

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

Food of the Gods: New York photographer Lydia McCarthy.

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

I Be Person I No Be Number: Part of the Click! Photography

FINDER THE INDY'S GUIDE TO THE TRIANGLE

COMING OCTOBER 24, 2018

Arts Council, Durham. www.durhamarts.org.

Festival. Thru Oct 26. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

Origins: Photography by Monika Merva. Part of the Click!

Photography Festival. Thru Nov 1. Durham Arts Council, Durham. www.durhamarts.org.

Portraying Power and Identity: A Global Perspective: 21c Museum Hotel unveils a packed portraiture exhibition featuring work by forty contemporary artists, many of whom pay striking homage to classical portraiture in recasting their own images and experiences. Anthony Goicolea, a photographer interested in digital manipulation and themes of duality and the reclamation of self, nods to John Singer Sargent’s “Madame X” with “Portrait in Negative of a Boy with Harmonica as Madame Gautreau.” Miguel Ángel Rojas’s series depicting a young, injured Colombian soldier in repose gracefully gestures toward Michelangelo’s “David.” The exhibition also includes works

by Titus Kaphar, Ori Gersht, and Zanele Muholi. Thru Mar 31. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Sarah Edwards

A Palette of Rust and Dreams: Photography by Karen Healy.

Part of the Click! Photography Festival. Thru Nov 1. Durham

Raleigh Makers Market: First Saturdays, 10 a.m.-2 p.m.

Benelux Cafe, Raleigh. www.raleighmakersmarket.com

Janks Archive: Research Triangle: Jerstin Crosby, Ben Kinsley, and Jessica Langley.

Thru Oct 6. Lump, Raleigh. www.lumpprojects.org.

Kindred Lines: Brenon Day and Ophelia Staton. Thru Oct 15. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

Meditations: Fiber art by Alice Levinson. Thru Nov 15. Durham Arts Council, Durham. www.durhamarts.org.

Mothers, Daughters, and the Writer’s Life: Writing and photography by Elizabeth Matheson and Barbara Tyroler.

Thru Nov 23. Block Gallery, Raleigh.

Re-Collections: Photography.

Thru Oct 31. Chatham Hill Winery, Cary. www.chathamhillwine.com.

Reflections of Elegance: Kenneth Paul Block & the Masters of Fashion Illustration: Original works by fashion illustrator Kenneth Paul Block. Thru Oct 20.

Alamance Arts Council, Graham. artsalamance.com.

Strange New World: Largescale paintings by Jennifer Davis. Thru Oct 27.

Artspace, Raleigh. www.artspacenc.org.

Trilogy: Paintings by Marcy Lansman, textiles by Alice Levinson, turned wood by Michael Salemi. Thru Oct 21. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Visualizing Micro Environments: Paintings by Orr Ambrose inspired by cosmology, physics, and microbiology. Thru Oct 11. Durham Convention Center, Durham. durhamconventioncenter.com.

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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GUIDE

Coming 11/7

Ad Reservations due by 11/2 Contact your ad rep or advertising@indyweek.com

FRIDAY, OCTOBER 5–SUNDAY, OCTOBER 21

IT IS DONE

Just so you know, you’re in the wrong bar—and the wrong play—if you’re waiting for happy hour. The dingy drinking establishment in Alex Goldberg’s 2011 thriller, It Is Done, is the polar opposite of the proverbial clean, well-lighted place. Instead, it’s ninety minutes from nowhere on a desolate back road somewhere in Big Sky territory.

There’s nothing but Hank Williams on the jukebox and a bartender who’s found some unconventional ways to stay busy between growing seasons when the customers are few. Just now, some wicked weather has blown two strangers off the road: Jonas, a guy in his thirties who doesn’t appear to have gotten much sleep lately, and Ruby, a professional of some sort, impatiently waiting for AAA to give her a tow. Wow, that dust storm’s getting worse. Nobody’s going anywhere for awhile. That could be a problem because all of them have secrets they really don’t want the others finding out about—well, not yet, at any rate. Another round? —Byron Woods

THEATRE IN THE PARK, RALEIGH | Various times, $16–$24, www.theatreinthepark.com

Olivia Fitts as Ruby in It Is Done PHOTO COURTESY OF THEATRE IN THE PARK 38 | 10.3.18 | INDYweek.com

Phoenix Fest: Sat, Oct 6, 9 a.m.-6 p.m. Durham. phoenixfestdurham.com.

Skeleton Crew: Play by Dominique Morisseau. $15$57. Oct 10-28. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

Stage Read Series: Tracey Letts: Featuring Killer Joe. $14$18. Oct 5-7. Sonorous Road Theatre, Raleigh.

ONGOING Anything Goes Late Show: Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

OPENING The Capitol Steps: Make America Grin Again: Musical comedy. $35. Sat, Oct 6, 7:30 p.m. Carolina Theatre, Durham. www.carolinatheatre.org.

An Enemy of the People: Schaubühne Berlin. Oct 5-6, 8 p.m. UNC Campus: Memorial Hall, Chapel Hill. carolinaperformingarts.org.

It Is Done: Play. $18-$24. Thru Oct 21. Theatre In The Park, Raleigh. theatreinthepark.com.

Curve of Departure: Most family structures resemble an intergenerational game of Jenga. As death, divorce, and other estrangements make their subtractions from its strata, new longterm relationships and marriages add strategic blocks—theoretically, at least. In Rachel Bonds’s 2017 domestic drama, it’s a delicate moment for the fractured, cross-cultural clan gathered in a Santa Fe hotel room for the funeral of Cyrus, its most problematic member.

Cy’s father, the irascible, eloquent Rudy, wrote him off after the deceased abandoned his wife, Linda, when his son, Felix, turned twelve. All three are here, in need of different forms of closure, as further changes loom. The early stages of dementia threaten Rudy’s relationship with Linda, as Felix’s boyfriend, Jackson, is meeting the family for the first time. Thaddeus Edwards directs this inaugural production from Bulldog Ensemble Theater, formed by a group of Manbites Dog Theater expats. $10-$20. Thru Oct 14. Durham Fruit Company.

—Byron Woods The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Improv at the Varsity: Stand-up, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.com.

Joseph and the Amazing Technicolor Dreamcoat: Musical presented by Cary Players. $20. Oct 5-7. Cary Arts Center, Cary. townofcary.org.

The Revolutionists: Whom does a badass woman seek out when she needs a job done?

A fellow badass. Thus, the endlessly inventive Olympe de Gouges, the only feminist playwright in Reign of Terror– era Paris, finds three women at her door one afternoon in July 1793. An old friend from the Caribbean needs a pamphlet on the abolition of slavery in the French colonies?

Done. And it shouldn’t take much time to whip up one memorable line—”something with a lot of ‘fuck you’ in it”— for assassin Charlotte Corday to say after she murders Jean-Paul Marat. But what will de Gouges do when a third guest, none other than Marie Antoinette, demands a complete rewrite of her life and public image? And what can any of them do when they realize the revolution has no interest in liberating women anyway? Lu Meeks, Tiffany Lewis, Liz Webb, and Melanie Simmons take on playwright Lauren Gunderson’s snarky, quicksilver wit. $15-$25. Raleigh Little Theatre, Raleigh. www.raleighlittletheatre.org.

—Byron Woods Sister Act: A Divine Musical Comedy: Musical based on the film. $15 suggested. Thru Oct 7. NC Central University Theatre, Durham.

food & drink BBQ & Friends: Food from more than a dozen Triangle chefs and eateries. Live music by Up Cane Creek. $10-$25. Sun, Oct 7, 1-4 p.m. TROSA Inc. Durham. trosainc.com.

Flight Pairings with Big Spoon Roasters: Beer and nut butter flight pairings. Live music by Laura Thurston. Sat, Oct 6, 4-8 p.m. Durty Bull Brewing Company, Durham.

Your week.

Every Wednesday.

ARTS•NEWS•FOOD•MUSIC INDYWEEK.COM INDYweek.com | 10.3.18 | 39

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page

SPECIAL SHOWINGS

Advance Victory Screening: A Star Is Born: $12. Wed, Oct 3, 7 p.m. Alamo Drafthouse, Raleigh.

Cameraperson: Ackland Film Forum. $7. Tue, Oct 9, 7 p.m.

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

Free Victory Screening: StraitJacket: Mon, Oct 8, 6:30 p.m.

Alamo Drafthouse, Raleigh.

Friday Music Mojo: Buena Vista Social Club: $10. Fri, Oct 5, 9:30 p.m. Chelsea Theater, Chapel Hill. www. thechelseatheater.com.

Global Film Series: Imagining Emanuel & Out of Norway: Documentary. Tue, Oct 9, 6:30 p.m. NCSU Campus: Witherspoon Student Center, Raleigh.

THURSDAY, OCTOBER 4

JODI PICOULT

What has Jodi Picoult been up to? The prolific author of twenty-eight novels (that’s 1.2 books a year for two decades) brimming with family, heartbreak, and queasy ethical dilemmas—including 2004’s breakout tearjerker, My Sister’s Keeper, which was adapted into a film starring Cameron Diaz—keeps up the breakneck pace with a new novel, A Spark of Light, which feels eerily hewn from the news cycle. It starts in a moment of crisis at a Mississippi reproductive-health clinic held hostage by a gunman, then veers off, more adagio, to examine those affected by the shooting. At Quail Ridge Books, Picoult discusses the book with superstar novelist John Grisham; purchase a copy from Quail Ridge to gain a seat and a spot in the signing line. (Picoult also appears at a luncheon at McIntyre’s Books in Pittsboro this week; see our calendar for details.) —Sarah Edwards

Howl-O-Ween Horror Mixtape!: $5. Sun, Oct 7, 7:45 p.m. Alamo Drafthouse, Raleigh.

QUAIL RIDGE BOOKS, RALEIGH | 7 p.m., $29, www.quailridgebooks.com

Room 237: Presented with The Association of Paranormal Study. $8. Sun, Oct 7, 3 p.m.

Alamo Drafthouse, Raleigh.

PHOTO BY DEBORAH FEINGOLD

READINGS & SIGNINGS Perre Magness Coleman: With cookbook Southern Snacks: 77 Recipes for Small Bites with Big Flavors. Sat, Oct 6, 2 p.m.

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

Literary Luncheon with Jodi Picoult: With novel A Spark of Light. $75. Thu, Oct 4, noon.

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

Jo Maeder: With Zerk ‘Em and Pull the Push Rods: A Wry Squint at Aviation in the Mid 20th Century. Sat, Oct 6, 11 a.m.

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

40 | 10.3.18 | INDYweek.com

LECTURES ETC. Art for Lunch with Jenny TonePah-Hote: Discussion of her artwork in Ackland Upstairs installation American Indian Art in the Twentieth Century. Wed, Oct 10, 12:15 p.m. Ackland Art Museum, Chapel Hill. www.ackland.org.

Brotopia: Breaking Up the Boys Club of Silcon Valley: Book discussion with the Justice Theater Project’s Sara Thompson. Sat, Oct 6. Quail Ridge Books, Raleigh. www. quailridgebooks.com.

In Conversation: Branford Marsalis & Aaron Greenwald: On the evolution of the tenor

saxophone in jazz. Wed, Oct 3, noon. The Pinhook, Durham. www.thepinhook.com.

Anastasia Taylor-Lind: “On War, Gender and Photojournalism: Telling Stories About the Ongoing Conflict in Ukraine.” Sun, Oct 7, 4:30 p.m.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Visionary Aponte: Incarceration and the Future of Black Freedom: Lunchtime panel discussion with Omisade Burney-Scott, Lynden Harris, Theresa Newman, Tarish Pipkins, and Sherrill Roland.

Thu, Oct 4, noon. Power Plant Gallery, Durham.

Maniac: 4K restoration. $8.

Fri, Oct 5, 10 p.m. Alamo Drafthouse, Raleigh.

Nosferatu: With a live score by Invincible Czars. Wed, Oct 3, 7:15 p.m. Alamo Drafthouse, Raleigh.

Saturday Fright Night: The Thing: $10. Sat, Oct 6, 9:30 p.m. Chelsea Theater, Chapel Hill. www.thechelseatheater.com.

Sergio & Sergei

Above and Beyond: NASA’s Journey to Tomorrow: $14.

Wed, Oct 3, 7 p.m. Regal North Hills Stadium 14, Raleigh.

WEDNESDAY, OCTOBER 3–THURSDAY, NOVEMBER 8

NC LATIN AMERICAN FILM FESTIVAL The NC Latin American Film Festival is returning with a new selection of fifteen films from Argentina, Brazil, Cuba, Mexico, Nicaragua, Panama, Paraguay, Spain, Uruguay, and Venezuela, supplemented with panels and talks. Gustavo Furtado, a Romance Studies professor at Duke University, serves as guest curator, choosing films that “depict individuals, communities, or even nations at the crossroads of danger and possibilities.”

Brazilian documentary O Processo (“The Trial”) is about the impeachment of president Dilma Rousseff in 2016; director Maria Augusta Ramos will be at the October 28 screening.

Another is El Rey del Once (“The Tenth Man”), from Argentina, which looks at a father-and-son relationship in the Jewish quarter of Buenos Aires. Anne Rubenstein, a history professor at York University, will give a lecture about iconic Mexican actors from golden-age cinema. And the festival closes with The Queen of Spain, a satirical look at Spanish cinema starring Penelope Cruz. The screenings take place around Duke and UNC; visit the website for all the times and locations. —Araceli Cruz

DURHAM/CHAPEL HILL | Various times, free, jhfc.duke.edu

OPENING

least interesting thing in this movie. Rated PG.

Blaze—Ethan Hawke’s biopic is about country musician Blaze Foley. Rated R.

 Crazy Rich Asians—This Asian-American-led romcom is an undeniable cultural milestone, but put that aside and it’s uttery standard fare.

Rated PG-13.

½ A Star Is Born— Reviewed on p. 29. Rated R. Venom—Marvel Comics’ “evil Spider-Man” gets his own flick, starring Tom Hardy.

Rated PG-13.

N OW P L AY I N G

Twin Peaks: Fire Walk with Me: $5. Mon, Oct 8, 9:15 p.m.

Alamo Drafthouse, Raleigh.

The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

Weird Wednesday: Bubba Ho-Tep: $5. Wed, Oct 3, 8:30 p.m. Alamo Drafthouse, Raleigh.

 Ant-Man and the Wasp—Marvel takes a goofy, low-stakes break from existential threats.

The tone is so agreeable you hardly notice the rickety script. Rated PG-13.

Weird Wednesday: Hausu: Archival 35mm screening. $8.

Wed, Oct 10, 7:45 p.m. Alamo Drafthouse, Raleigh.

Wild Kratts: Creepy Creatures: PBS Kids series. $5. Sat, Oct 6, 10 a.m. Alamo Drafthouse, Raleigh.

½ Christopher Robin— After you get used to them being 3-D plush toys, Winnie the Pooh and friends charm, but Christopher Robin is the

½ Incredibles 2—Dialing up socially progressive themes fourteen years after the original, Pixar’s sequel is fun, funny, and timely but not quite transcendent.

Rated PG. ½ Jurassic World: Fallen Kingdom—Murky morals, jump scares, and diminishing returns of digital dinos weigh on this once-mighty franchise.

Rated PG-13. ½ Mission: Impossible – Fallout—This Tom Cruise vehicle isn’t a good action film; it’s a great one, rivaling genre exemplars and drawing upon the previous entries in franchise. Rated PG-13.

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DURHAM COUNTY BOARD OF ELECTIONS NOTICE OF GENERAL ELECTION TUESDAY, NOVEMBER 6, 2018

The above election will be held in Durham County, NC on 11/6/2018. All polling places will be open from 6:30 a.m. until 7:30 p.m. on Election Day. CONTESTS & BALLOT ITEMS U.S. House of Representatives (Districts 1, 4) N.C. Senate (Districts 20, 22) N.C. House of Representatives (Districts 29, 30, 31, 54) N.C. Supreme Court (Associate Justice, 1 seat) N.C. Court of Appeals (3 seats) N.C. Superior Court, (District 14B, 3 seats) N.C. District Court (District 14, 6 seats) District Attorney (District 16) Durham County Clerk of Superior Court Durham County Sheriff Durham Soil & Water Conservation District Supervisor N.C. State Constitutional Amendments Town of Chapel Hill Affordable Housing Bonds

ONE-STOP (EARLY VOTING) LOCATIONS Board of Elections office, 201 N. Roxboro St., Durham South Regional Library, 4505 South Alston Ave., Durham East Regional Library, 211 Lick Creek Ln., Durham North Regional Library, 221 Milton Rd., Durham Duke University Brodhead Center, 402 Chapel Dr., Durham (address for GPS/parking: 107 Union Dr., Student Wellness Parking will be marked and reserved for voters)

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SCHEDULE FOR ALL EARLY VOTING SITES: Wednesday, 10/17 through Saturday, 11/3/2018: Weekdays: 7:00 a.m. to 7:00 p.m.

Saturdays 10/20 and 10/27/2018: 9:00 a.m. to 6:00 p.m.

Sundays: Noon to 4:00 p.m.

Saturday, 11/3/2018: 8:00 a.m. to 1:00 p.m.

ADVANCE VOTER REGISTRATION DEADLINE: Friday, 10/12/2018. Voters that miss the registration deadline may register during early voting (see below).

SAME-DAY REGISTRATION DURING EARLY VOTING: Voters are allowed to register and vote during early voting. It is quicker and easier to register in advance, but if you have not registered in advance, you can do so during early voting with proper identification. This same-day registration is not allowed at polling places on Election Day. Information regarding registration, polling locations, absentee voting, or other election details may be obtained by contacting the Durham County Board of Elections or visiting its website.

Website: www.dconc.gov/elect Email: elections@dconc.gov Phone: 919-560-0700 PAID FOR BY DURHAM COUNTY BOARD OF ELECTIONS

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

8

1 9 4 6 1 2 8 5 4 3 9 8 5 9 66 2 8 9 18 14 6 5 73 3 55 24 2 1 7 1 6 7 8 4 9 2 3 8 3 3 5 4 2 7 1 su |MEDIUM do | ku this week’s puzzle level: # 13

1

MEDIUM

5

2 4 5 1 6 62 9 3 7 2 6 4 75 9 3 1 8 7 8 3 18 5 6 6 6 7 2 5 5 2 8

# 49

4 2

6 7 3

89

9 3

5

84

7

MEDIUM

9

5

1

7 4 6

# 50

MEDIUM

# 14

© 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.

4

3 6 1 6 7

8 4

5

3 4

7 82 4 4 9 36 6 14 8 9 2 62 3 87 9 7 1 2 3 5 3 76 2 5 8 1 6 2 9 8 3 9 2 3 1 3 8 4 8 9 2 MEDIUM

9 6 7 5 1 4 3 2 8

2 1 3 8 6 7 4 5 9

8 5 4 9 3 2 6 7 1

5 2 8 6 4 9 1 3 7

9

6 7 9 1 2 3 5 8 4

7 8 6 4 9 5 2 1 3

3 9 5 2 7 1 8 4 6

1 4 2 3 8 6 7 9 5

# 13 www.sudoku.com 1 6 2 8 9 7 3 5 4 7 5 9 | 1INDYweek.com 3 4 2 8 6 42 | 10.3.18 3 8 4 6 2 5 1 7 9 5 4 6 3 8 2 9 1 7 9 2 3 7 4 1 5 6 8 8 1 7 5 6 9 4 2 3

10.3.18 2 6 3 4 8 5

4 7 5 2 9 1

9 1 8 6 7 3

5 9 1 7 3 6

3 8 2 1 5 4

6 4 7 9 2 8

7 3 6 8 4 2

96

8

7

8 1 75 6

4 94

1 7

6 1

6 23 1 55 2 88 6 9

# 52

MEDIUM

5 3 9 7 8 6 1 4 2 If you just7 can’t 1 8 5 wait, 2 4 3check 9 6 out the current 6 4 2week’s 1 9 3 answer 7 5 8 3 8 7 6 4 2 9 1 5 key at www.indyweek.com, 4 9 6 3 1 5 2 8 7 and click “Diversions”.

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

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

# 14

1

4 18 99 3 8 7 1 5 2 5 7 4 9 7

MEDIUM

# 50

solution to last week’s puzzle

3

7

# 15 4 3 1 7 5 8 9 6 2

8

4

6

7 4

# 51

MEDIUM # 49

2

6

# 51

4 8 7 3 1 9 2 6 5

2 5 9 6 7 4 8 1 3

3 6 1 8 5 2 7 4 9

5 7 4 1 9 3 6 2 8

6 3 2 7 8 5 4 9 1

1 9 8 4 2 6 3 5 7

3 5 2 6 7 9

7 4 1 5 8 2

9 8 6 4 3 1

7 2 5 9 4 8 1 3 6

9 1 6 2 3 7 5 8 4

# 16 # 52

8 4 3 5 6 1 9 7 2

1 6 5 9 2 7 4 8 3

8 7 2 3 6 4 9 5 1

3 9 4 5 1 8 6 7 2

4 5 8 2 3 9 7 1 6

2 1 7 6 8 5 3 9 4

6 3 9 4 7 1 5 2 8

7 4 6 8 5 2 1 3 9

5 2 3 1 9 6 8 4 7

9 8 1 7 4 3 2 6 5

CLASSY AT INDYWEEK DOT COM

# 15 1Page 8 13 of 25 5 2 9 4 3 5 6 1 7 9

2 7 5 1 9 8

4 9 3 7 5 6

6 1 8 2 4 3

1 2 7 9 6 4

5 3 9 8 1 7

8 6 4 3 2 5

# 16

4 2 3 7 8 6

6 30/10/2005 9 3 5 1 7 8 5 8 B 9 ook 7 4 your 3 6 1 7 8 6 2 4 5 3 1 5 2 8 6 9 9 5 6 4 7 2 1 2 4 1 9 3 8 7

2 1 ad 9 4 3 5

• Email amanda: classy@indywEEk.com

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reserve this space for $100! classy@indyweek.com

last week's puzzle

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INDYweek.com | 10.3.18 | 43

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