INDY Week 10.31.18

RALEIGH 10|31|18

ARSY’S LAW

The proposed victims’ rights amendment is more complicated than you’ve been led to believe

BY LEIGH TAUSS, P. 8 LIPSTICK ON A PIG, P. 6

KATHMANDU IN CARY, P. 16

FRIENDS WITH HAMILTON, P. 25

2 | 10.31.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 44

6 Not long ago, the hog industry said it was too expensive to cover its farms’ lagoons. A couple of million-dollar verdicts seems to have changed its mind.

8 Marsy Nicholas was one of 2,640 homicide victims in California in 1983. Her name lives on in a wave of criminal justice reforms sweeping the country—including, potentially, North Carolina.

14 Only one farmer took up Orange County on its offer to pay for Good Agricultural Practices certification last year.

18 Nathan Bowles is interested in the idea that we don’t learn from our mistakes as much as we repeat them.

22 Julie Budet, who fronts the French pop trio Yelle, pictures the world like she’s living in a cartoon.

23 Luca Guadagnino’s Suspiria remake is beautifully crafted but buckles under its own geopolitical ambition.

DEPARTMENTS 6 News 14 Food 18 Music 23 Arts & Culture 26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

On the cover

Vegetable jhol-style momos at Kathmandu Kitchen in Cary (page 16)

ILLUSTRATION BY STEVE OLIVA

PHOTO BY BEN MCKEOWN

INDYweek.com | 10.31.18 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED WIDENING OF I-40 FROM I-85 TO THE DURHAM COUNTY LINE IN ORANGE COUNTY TIP PROJECT NO. I-3306A The N.C. Department of Transportation will hold a public meeting regarding the proposed widening of I-40 from I-85 to the Durham County Line in Orange County. The primary purpose of this project is to improve traffic flow and relieve peak hour congestion.

The meeting will be held on Monday, November 5, 2018 at the Southern Human Services Center located at 2501 Homestead Road in Chapel Hill from 4-7 p.m. The public may attend at any time during the meeting hours.

Please note there will be no formal presentation.

At the meeting there will be maps of the proposed plans as well as project team members who will be available to answer your questions and receive feedback.

All comments will be taken into consideration as the project progresses. The opportunity to submit written comments will be provided at the meeting or can be done via phone, email, or mail no later than November 19, 2018.

As information becomes available, it may be viewed at the NCDOT Public Meeting Webpage: https://www.ncdot.gov/news/public-meetings/.

For additional information please contact NCDOT Project Management Unit, Gene Tarascio, by phone at (919) 707-6046 or by email at gtarascio@ncdot.gov or Consultant Project Manager Eric Midkiff, by phone at (919) 858-1820 or by email at emidkiff@calyxengineers.com.

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 Lauren Putnam via email at lnputnam1@ncdot.gov or by phone at (919) 707-6072 as early as possible, so that 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.

Las personas que 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 | 10.31.18 | INDYweek.com

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backtalk

Clarion Call On Thursday, we broke the news that Hillsborough’s Mystery Brewing Company— and its popular brewpub—would close, with the brewery having too much debt to make ends meet following a string of bad luck. Jonathan Bonchak writes in response: “The story of N.C. craft beer does not exist were it not for Erik Lars Myers and the Mystery team. Thank you for all you’ve done—not just for the beer industry, but for the whole region, in terms of appreciation of craft beverage, food, and the local/independent business community.”

D Ryan Anderson adds: “You can tell how much work, thought, and love they put into this project. It’s true that small business requires a nimble entrepreneur.

Sometimes even that is not enough. I hope the recovery from this stumble is quick and leads to someplace even better.”

We also reported last week on Lieutenant Governor Dan Forest’s weird pro-voter-ID video, in which he gives tips on how to commit voter fraud. Brian Castle comments: “There’s only one reason that white guys in power rail about voter ID. It’s to specifically disenfranchise those for whom getting an ID is hard (poor people/people of color), and they always follow up these types of laws with actions to make getting those IDs even harder, like closing DMV offices in areas where those folks live.

What an asshole this guy is.”

Matthew Brown responds to our reporting on the Raleigh City Council’s slow-walking and possible rejection of wayfinding kiosks downtown, which were favored by the Downtown Raleigh Alliance, but which council member Kay Crowder thought would make downtown look like Las Vegas: “Why do we need ‘wayfinding kiosks’?” Brown asks. “This is 2018! We have smartphones! These are nothing but big tacky plastic advertisements. Thank you, city council, for keeping this ugly commercial clutter out of our downtown!”

A few weeks ago, we released an investigation into what happened at the Montessori School of Raleigh, where a longtime teacher was charged with sexually abusing two students, and the head of school was charged with aiding and abetting his abuse. Elizabeth M. Johnson writes: “I read the ‘Molester in the Classroom’ article with

“ What an asshole this guy is.”

alarm but also recognition. For some of us reading (including myself as a trauma educator who has worked with sexual abuse survivors for almost fifteen years), it’s clear there were many red flags that weren’t recognized or responded to. But perhaps others of us might have done as Nancy Errichetti did: offer some warnings, create a ‘behavioral plan,’ and hope things got better.

“Therein lies the problem: Very few professionals (even those doing direct work with children like teachers and school administrators) receive any training in how to identify the signs of sexual abuse and respond accordingly. This is a huge gap that must be addressed. School educators and staff should receive annual training and education around sexual abuse. The longterm health implications of childhood trauma like sexual abuse are significant. Our future literally depends on the health and wellness of our children. Let’s do better.”

Janice A. Farringer adds: “Good reporting.

I hope the felony charge makes other school administrators report and fire faster.”

Finally, Erica Hellerstein wrote in early October about a Durham woman who is seeking asylum under a domestic-violence claim, which the Trump administration no longer recognizes.

David Vascones responds: “Thanks be to God for the brilliant reporting by Ms. Hellerstein on the story of Isabel’s family and her journey to seek asylum in the United States from Honduras. At this moment in history, when the most vulnerable brothers and sisters in our human family are having door after door slammed in their faces by unjust policies, irresponsible government officials, and cultural forces around the world that shut down the voices of women crying out for help, this article is a clarion call for justice. May it move us all to greater compassion, solidarity, and action.”

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

INDYweek.com | 10.31.18 | 5

indynews

Lipstick on a Pig

SMITHFIELD WILL INSTALL COVERS ON ITS HOG-WASTE LAGOONS. EXPERTS SAY THAT’S NOT GOOD ENOUGH.

BY LEIGH TAUSS AND SARAH WILLETS

O

n Thursday evening, Smithfield Foods announced that it would seal most of its open-air hog-waste lagoons and convert the methane its pigs produce to biofuel. In doing so, the world’s largest pork producer committed to a course of action that, not so long ago, the industry claimed was expensive and unnecessary.

The company patted itself on the back.

“Our investment in these projects underscores our longstanding commitment to sustainability, as well as our promise to produce good food in a responsible way,” Smithfield CEO and president Kenneth M. Sullivan said in a press release. “The scale of these projects is audacious. But, through partnerships with a broad coalition of stakeholders … we’re confident we can bring about sustainable, revolutionary progress in our effort to minimize our environmental footprint.”

Hold the applause, environmental experts say. So long as Smithfield’s farms persist with an anachronistic lagoon-tospray-field method of waste disposal, they argue, the threats to water contamination and public health will continue.

“It is not a solution, absolutely not,” says Michelle Nowlin, the supervising attorney for Duke Law’s Environmental Law and Policy Clinic. “Is it an improvement? Anything they do that is beyond a basic hole in the ground and spraying all the manure on fields is an improvement. Is it sufficient to protect the neighbors and the environment? Absolutely not.”

North Carolina is home to more than twenty-one hundred hog farms—and more than thirty-three hundred lagoons—that house about nine million pigs, which often live in crowded barns. Their feces and urine falls through slats in the ground and is then liquefied and stored in huge openair ponds nearby. When the lagoons fill up, the liquid waste is released as a mist onto nearby fields.

In 2014, more than five hundred neighbors of farms that raise Smithfield pigs 6 | 10.31.18 | INDYweek.com

sued the company, claiming that this system creates a nuisance that infringes on their quality of life. This year, three of those cases have gone to trial in a federal court in Raleigh—and Smithfield lost all three, with verdicts totaling tens of millions of dollars.

The remaining cases are now in mediation.

Smithfield’s announcement comes on the heels of Hurricane Florence in September, which left more than fifty-five hundred hogs dead, three lagoons breached, and fourteen lagoons inundated by floodwater. The Chinese-owned conglomerate framed its new initiative as part of a nationwide effort to reduce greenhouse gas emissions by 25 percent by 2025. To do so, 90 percent of its North Carolina hog farms will be outfitted with “manure-to-energy” technology. Lagoons will be sealed off, trapping methane that will then be transported to a central processing facility and converted to natural gas.

Additionally, Smithfield plans to implement “low-trajectory application tools” as an alternative to current large-scale sprayers that mist hog waste over fields—which plaintiffs in the nuisance lawsuits have complained gets carried by the wind to their homes—and says it will reduce truck traffic, plant more vegetative buffers, and work with universities and other partners to study waste-to-energy technology.

It’s not clear who will pay for all of this— Smithfield or the farmers with whom it contracts. Smithfield did not respond by press time to the INDY’s request for comment.

These changes might reduce odors, says Blakely Hildebrand, an attorney with the Southern Environmental Law Center, but they’ll do little to improve neighbors’ health issues or address water pollution because liquid waste will still be applied to nearby fields, and the lagoons—90 percent of which lie in the state’s flood-prone eastern coastal region—will still be vulnerable to flooding.

“The lagoon-and-spray-field system is the problem here,” Hildebrand says. “As long as the lagoon-and-spray-field system

Don Webb, a hog farmer turned reform advocate featured in the INDY’s “Hogwashed” series last year, died Saturday—two days after Smithfield Foods announced its reforms—at the age of seventy-eight. FILE PHOTO BY ALEX BOERNER is in place, and as long as Smithfield is relying on that system, there will continue to be water pollution issues and environmental justice issues for this industry.”

Alternatives to the lagoon-to-spray-field model have been known for years. In 1999, then-governor Jim Hunt suggested phasing out lagoons altogether. The next year, Smithfield entered into an agreement with the state attorney general to invest in research on waste management alternatives. As part of the agreement, researchers at N.C. State spent years evaluating and identifying “environmentally superior technologies.”

Those technologies went beyond covering lagoons or installing anaerobic digester systems, which convert methane into electricity. They included a system that flushes waste from hog houses and uses chemicals to remove the solids. The remaining liquid then flows through tanks, where bacteria removes most of the nitrogen before chemicals remove the phosphorus.

“Smithfield is well aware of what cleaner, more responsible technology looks like,” says Hildebrand.

Smithfield undertook its Smithfield Renewables initiative a year ago, prior to the verdicts, and plans to make changes to hog operations in Utah and Missouri as well. But critics suspect the company is announcing these moves now under the pressure of the recent jury awards, one of reached an eye-popping $94 million.

If all Smithfield does is cover the lagoons, Nowlin worries that might derail public pressure on the hog industry.

“Right now, public sentiment is that something needs to be done to protect these communities and natural resources, and if you take half-measures, it makes some people think there’s an easy fix, and it’s been taken care of,” Nowlin says. “Taking half-measures may, in the long run, do a lot more harm than good.” backtalk@indyweek.com

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED IMPROVEMENTS TO MCCRIMMON PARKWAY (S.R. 1635) FROM DAVIS DRIVE (S.R. 1613) TO PERIMETER PARK DRIVE AND GRADE SEPARATION OVER N.C. 54 (CHAPEL HILL ROAD) AND RAILROAD WAKE COUNTY TIP PROJECT NO. U-5747

217 WEST MILLBROOK RD. 919-787-9894

The N.C. Department of Transportation will hold a public meeting regarding the proposed project to improve McCrimmon Parkway (S.R. 1635) from west of Davis Drive (S.R. 1613) to Perimeter Park Drive. The project also proposes to build a grade separation over N.C. 54 (Chapel Hill Road) and the railroad in Morrisville. The meeting will take place on Thursday, November 8, 2018 from 4 p.m. to 7 p.m. at the Hope Community Church, Morrisville Campus located at 1000 Perimeter Park Drive in Morrisville.

The purpose of this project is to reduce congestion along McCrimmon Parkway from west of Davis Drive to Perimeter Park Drive. Another purpose is to improve safety along this corridor by building a grade separation over N.C. 54 and the railroad.

The public may drop-in at any time during the meeting hours. NCDOT representatives will be available to answer questions and listen to comments regarding the project. The opportunity to submit comments will also be provided at the meeting or via phone, email, or mail by November 30, 2018. Comments received will be taken into consideration as the project develops. Please note that no formal presentation will be made.

Project information and materials can be viewed as they become available online at https://www.ncdot.gov/news/public-meetings.

For additional information, contact Zahid Baloch, P.E., NCDOT Division 5 Project Engineer at, 1548 Mail Service Center, Raleigh, NC 27699-1548, 919-707-6012 or, zbaloch@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 Samantha Borges, Environmental Analysis Unit Public Involvement Officer at, smborges@ncdot.gov or 919-707-6091 as early as possible so that 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.

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

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INDYweek.com | 10.31.18 | 7

ARSY’S LAW O

The proposed victims’ rights amendment is more complicated than you’ve been led to believe

BY LEIGH TAUSS

8 | 10.31.18 | INDYweek.com

n November 30, 1983, Kerry Conley shot and killed his former girlfriend of three years, Marsy Nicholas, a blonde-haired, blue-eyed senior at the University of California– Santa Barbara. Seventeen months later, Conley was convicted of seconddegree murder and sentenced to life behind bars.

Marsy Nicholas was one of 2,640 homicide victims in California in 1983. Most of their names have faded from memory, data points from a comparatively violent era.

But thirty-five years later, Marsy’s lives on, adorning a wave of criminal justice reforms sweeping the country—including, potentially, North Carolina.

The roots of Marsy’s Law, however, lie less in the twenty-one-year-old’s murder than in an incident that happened about a week later. Unbeknownst to Marsy’s family, Conley bailed out of jail for $100,000.

One day, he ran into Marsy’s mother, Marcella Leach, at a grocery store. Leach, who had just come back from a visit to her daughter’s grave, was shaken by the encounter.

That moment birthed a movement.

Marsy’s parents came to believe that while criminals had some twenty rights spelled out in the U.S. Constitution, victims and their families had none—not even the right to be told their daughter’s killer was walking the streets. They founded a nonprofit called Justice for Homicide Victims, dedicated to righting this perceived imbalance, and pushed for stiffer penalties for convicted felons, including California’s controversial Three Strikes Law.

In 2008, Marsy’s brother, Henry Nicholas III—who’d helped launch the computerchip manufacturer Broadcom Corporation and is now worth an estimated $3 billion— took up the family’s cause, recruiting a team to craft what became Marsy’s Law and get it on the California ballot. It passed with 54 percent of the vote, enshrining into California law a mandate that victims should be notified at every step of the justice process—from bail hearings to sentencing to parole proceedings—and that officials must take into account victims’ safety when assigning bail or reviewing parole.

Nicholas wasn’t finished. In 2009, he founded Marsy’s Law for All, which aimed to add similar rights to the U.S. Constitution. While that hasn’t happened, Nicholas’s effort has spread all over the country—to Ohio, Illinois, the Dakotas, and Montana, and on Tuesday’s ballot in Florida, Georgia, Kentucky, Nevada, Oklahoma, and North Carolina (see “Follow the Money,” page 11).

The exact wording varies from state to state, but the general principles are the same: If they desire, victims should be notified of all court proceedings and have the right to speak at hearings involving sentencing or potential release. They should also be notified before a criminal is par-

doned or released, and afforded privacy from the accused and their attorneys.

In addition, the North Carolina version of Marsy’s Law effectively expands the number of victims covered under the state’s Crime Victims’ Rights Act of 1998 to include cases involving juvenile defendants and certain misdemeanors.

Proponents say Marsy’s Law gives victims a voice in a system that too often ignores them. While crime victims in North Carolina have constitutional rights— including the rights to restitution, to be notified of court proceedings, and to be heard during the trial—they say the state has no process in place to inform victims of those rights.

This amendment bridges that gap, says Frances Battle, executive director of the North Carolina Victim Assistance Network.

If it passes, she argues, fewer victims will be blindsided by developments in their cases.

“Marsy’s Law,” Battle says, “is actually going to require that there are processes in place to ensure that victims do not fall through the cracks, that they are not inadvertently looked over, that they are not forgotten.”

That’s proven to be a compelling sales pitch. Marsy’s Law has never failed at the

ballot box—and few observers believe it will do so in North Carolina. The proposed amendment offers voters a binary choice: Do you want to protect victims from criminals, or not?

This was such an apparent no-brainer that when the General Assembly put the proposal on the ballot this summer, only nine state representatives and one senator—all Democrats—voted against it. And even the progressives lobbying voters to “Nix All Six” amendments have largely avoided discussing this one on its merits; at most, they characterize it as a cynical political ploy or a heavy-handed solution to a problem that doesn’t actually exist.

But scratch the surface and the question becomes more complicated. The amendment could have huge ramifications for North Carolina’s criminal courts, clogging the justice system and driving up costs.

More important, critics say, Marsy’s Law will infuse emotion into what is supposed to be a fact-based process, allowing victims with financial means to pressure judges to impose harsher punishments—and, in the process, further exacerbating racial disparities in the justice system.

“This will distort the system,” says Duke University law professor James Coleman.

INDYweek.com | 10.31.18 | 9

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Former judge, now state representative Marcia Morey “It introduces victims into constitutionally protected proceedings in a way that likely will prejudice the defendant on the basis of factors that will be arbitrary— emotion, wealth, the ability to do it, who can show up at every hearing in a case, people who have the flexibility that money provides.”

T

o state representative Nelson Dollar, a Wake County Republican who sponsored the bill putting Marsy’s Law on the ballot, this is a simple and noncontroversial idea: The rights guaranteed to victims under the state constitution and state law are weak and ambiguous. Marsy’s Law would clear up any confusion and ensure that victims are taken seriously.

FILE PHOTO BY JEREMY M. LANGE

“The whole point of the justice system is to provide justice for those who have been the victims of crime,” Dollar says.

That assertion is “contrary to law and fact,” counters state representative Marcia Morey, a Durham Democrat and former judge leading the Nix All Six campaign. The system’s purpose, she says, is to provide a fair trial for those accused of crimes. The notion that victims deserve rights “equal” to those of defendants fabricates a false dichotomy— defendants against victims, rather than against the state.

“In terms of the work that police and prosecutors do, they don’t do that work for the victims—the victims benefit from it— but they are working for the people of North Carolina,” Coleman adds.

Like the other amendments, Marsy’s Law was placed on the ballot in the waning days of the legislative session, with little committee and no floor debate. Voters will be presented with a single sentence— “Constitutional amendment to strengthen protections for victims of crime; to establish certain absolute basic rights for victims; and to ensure the enforcement of these rights”— following an equally anodyne question about whether the state should protect the rights of hunters and fishermen (see “The Other Constitutional Amendments,” page 12).

This is “candy” for voters, Morey says, designed to both muddle opposition to more controversial amendments like voter ID—those advocating against all six amendments can now be painted as anti-victim— and to drive conservatives to the polls. The framing is difficult to disagree with, especially if voters aren’t familiar with the fine print. And finding that fine print is difficult.

As with other amendments, the General Assembly hasn’t written so-called implementing legislation spelling out precisely what the amendment will do.

“This is just icing on a shallow cake,” Morey says. “It’s deceptive. It sounds good.

It’s an amendment similar to ‘Do you love Mom and apple pie?’ How can you vote against it? But we don’t know what we’re getting with this, and it’s a get-out-the-vote scheme that actually can do a lot of damage to our criminal justice system.”

The amendment, critics say, is unnecessary. State law already protects crime victims and funds services to protect them.

“If there are changes people want to address to our current victims’ rights statute, they should be doing that through the law and not through the constitution,” says ACLU of North Carolina senior counsel Susanna Birdsong. She calls Marsy’s Law “potentially an empty promise,” in that lawmakers haven’t committed to providing the funding it will require.

Indeed, it’s not entirely clear how Marsy’s Law would be implemented, or how much it would cost.

A June report from the legislature’s Fiscal Research Division says the amendment will cost at least $8.8 million in 2021 and $11.2 million a year thereafter—the price of funding 150 victim service providers to notify and coordinate with victims. But even if the state coughs up that money, district attorneys are worried that the amendment’s mandates will strain their already-overburdened offices, at least according to David Rudolf, a Charlottebased defense attorney who represented Durham author Michael Peterson and former Carolina Panthers receiver Rae Carruth in high-profile murder trials.

FOLLOW THE MONEY “If people knew the story behind who is pushing what is called Marsy's Law, they would be shocked,” says state representative Marcia Morey, a leader of the Nix All Six effort. “All of it is a bit dubious.”

The person pushing it, California billionaire Henry Nicholas III, has spent more than a decade advocating for victims. Twice, however, he’s found himself on the other side of the law—as a defendant facing felony charges. This summer, he was arrested in Las Vegas and charged with drug trafficking after police allegedly discovered heroin, methamphetamines, cocaine, and ecstasy in his hotel room.

And a decade ago, he was indicted on charges of manipulating stockoption grants to enrich his company’s employees, trafficking narcotics, and installing “a secret and convenient lair” in his Laguna Hills home to bring sex workers. (In 2009, a federal judge, ruling that prosecutors had intimidated witnesses, threw out the stock-related charges; prosecutors later dropped the drug charges.)

Nicholas has spent more than $27 million advocating for Marsy’s Law nationwide. In fact, according to the website Ballotpedia, he’s contributed at least 90 percent of the effort’s total funding. Nicholas has pledged to spend $5 million in North Carolina. The campaign-finance-tracking website OpenSecrets shows that Marsy’s Law for North Carolina has spent more than $235,000 on television ads on just two stations: WCTI-TV in New Bern and WXII in Winston-Salem. The Associated Press reported that the campaign spent another $150,000 on radio ads.

And that could be just the tip of the iceberg.

“I’m afraid a lot of this is about money, political donations going into legislators to get this passed, dog-whistle ads that are on TV,” Morey says. “We can do anything to strengthen rights to victims throughout statutes tomorrow. If this was such a critically important issue, why hasn't our legislature had more legislation in statues about victims’ rights notification?” —Leigh Tauss

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PAID RESEARCH VOLUNTEERS NEEDED Researchers at NC State University are looking for healthy adults between 25 and 40 years of age to serve as paid participants in a research project, funded by the National Institutes of Health, that is focused on identifying factors related to maintained functioning and well-being in adulthood.

The study will take about 1.5 hours and pay up to $35.

If interested, please call (919) 515-9063 or email: cognitivedevelopment@ncsu.edu

INDYweek.com | 10.31.18 | 11

THE INDY RECOMMENDS: U.S. CONGRESS District 1: GK Butterfield District 2: Linda Coleman District 4: David Price CONSTITUTIONAL AMENDMENTS No on all six.

STATE SENATE District 14: Dan Blue District 15: Jay Chaudhuri District 16: Wiley Nickel District 17: Sam Searcy District 18: Mack Paul District 20: Floyd B. McKissick Jr. District 22: Mike Woodard District 23: Valerie Foushee STATE HOUSE District 11: Allison Dahle District 29: MaryAnn Black District 30: Marcia Morey District 31: Zack Forde-Hawkins District 33: Rosa Gill District 34: Grier Martin District 35: Terence Everitt District 36: Julie von Haefen District 37: Sydney Batch District 38: Yvonne Lewis Holley District 39: Darren Jackson District 40: Joe John District 41: Gale Adcock District 49: Cynthia Ball District 50: Graig Meyer District 54: Robert Reives Jr. District 56: Verla Insko

JUDICIARY N.C. Supreme Court: Anita Earls N.C. Court of Appeals, Seat 1: John Arrowood N.C. Court of Appeals, Seat 2: Tobias Hampson N.C. Court of Appeals, Seat 3: Allegra Collins N.C. Superior Court 10D, Seat 1: Keith Gregory N.C. Superior Court 14B, Seat 3: Josephine Kerr Davis N.C. District Court 10D, Seat 2: Rebecca Edwards N.C. District Court, Court 14, Seat 1: Dave Hall N.C. District Court Judge, District 14, Seat 5: Jim Hill DURHAM COUNTY Sheriff: Clarence Birkhead Soil and Water Conservation District Supervisor: Natalie Murdock, Laura Marie Davis ORANGE COUNTY Soil and Water Conservation District Supervisor: Heather Main, W. Chris Hogan Chapel Hill Affordable Housing Bond: Yes WAKE COUNTY District Attorney: Lorrin Freeman Sheriff: Gerald Baker Clerk of Superior Court: Blair Williams Board of Commissioners: Sig Hutchinson, Matt Calabria, Susan Evans, Greg Ford, Vickie Adamson Board of Education, District 1: Heather Scott Board of Education, District 3: Shaun Pollenz Board of Education, District 5: Jim Martin Board of Education, District 8: Lindsay Mahaffey Soil and Water Conservation District Supervisor: Ian McMillan, Jenna Wadsworth Bonds for Education, Wake Tech, and Greenways: Yes on all three

Early voting runs through Saturday, November 3; early voters who are not currently registered to vote are allowed to register and vote on the same day.

Durham EV sites: County Board of Elections office, Duke University Brodhead Center, East Regional Library, N.C. Central, North Regional Library, South Regional Library.

HOURS: Monday–Friday, 7 a.m.–7 p.m.; Saturday, 9 a.m.–6 p.m.; Sunday, noon–4 p.m.; Saturday, November 3, 8 a.m.–1 p.m.

Orange EV sites: County Board of Elections office, Carrboro Town Hall, Chapel of the Cross, Seymour Senior Center, Efland Ruritan Club Building.

HOURS: Monday–Friday, 7 a.m.–7 p.m.; Saturday, 8 a.m.–3 p.m.; Sunday, 1 p.m.–3 p.m.

Wake EV sites: Apex Community Center, Chavis Community Center, County Board of Elections office, Herbert C. Young Community Center, Knightdale Recreation Center, Lake Lynn Community Center, NCSU Talley Student Union, Northern Regional Center, Optimist Community Center, Wake Tech South Campus Physical Education Building.

HOURS: Monday–Friday, Monday–Friday, 7 a.m.–7 p.m.; Saturday, 8 a.m.–1 p.m.; Sunday, 1 p.m.–6 p.m. HOURS AT THE BOARD OF ELECTIONS OFFICE: Monday– Friday, 8:30 a.m.–5:15 p.m.; closed weekends except Saturday, November 3, 8 a.m.–1 p.m.

12 | 10.31.18 | INDYweek.com

THE OTHER CONSTITUTIONAL AMENDMENTS In addition to Marsy’s Law, there are five other proposed constitutional amendments on the ballot this year. Legislators have not enacted language guiding how these amendments would be put into effect or released estimated costs associated with their passage. Here’s what we know about each measure—and what we don’t.

RIGHT TO HUNT AND FISH This amendment would enshrine in the state constitution “a right, including the right to use traditional methods, to hunt, fish, and harvest wildlife.” The amendment doesn’t define “traditional methods.” or change existing laws. Opponents believe it’s an attempt to drive conservatives to the polls by suggesting their hunting and fishing rights are under attack when they aren’t. They also worry this amendment could be used to circumvent environmental protections.

STATE INCOME TAX CAP Currently, personal and corporate income tax rates cannot exceed 10 percent. This amendment would lower that cap to 7 percent. To be clear, this is not a tax cut—the individual income tax rate is currently 5.49 percent and the corporate rate is 3 percent—but opponents say it would prevent the state from raising taxes in the future to pay for things like public education and disaster response.

REQUIRE PHOTO ID TO VOTE A federal court in 2016 struck down North Carolina’s previous voter ID law, finding that it targeted African American voters. This amendment resurrects the requirement that voters present a photo ID, but legislators won’t decide what IDs would be accepted until after votes are cast. (Implementing legislation would likely be approved in a lame-duck session soon after the election.) Proponents say the measure is necessary to prevent voter fraud, but that doesn’t appear to be a real threat: A state audit of the 2016 election found just two cases of impersonation out of 4.8 million votes cast, and only one in which voter ID would have stopped a fraudulent voter. Thirty-four states have some version of a voter ID law, but just two have them in their constitutions. Studies show people of color disproportionately lack IDs, and opponents say securing one would be a barrier for lowincome voters and rural voters who live farther from a DMV office.

JUDICIAL APPOINTMENTS Currently, the state constitution gives the governor authority to fill judicial vacancies by appointment. Legislators say this amendment would create a system “in which the people of the State nominate individuals to fill vacancies,” but really it just inserts legislators into the process. A commission—whose members would be selected by the governor, the General Assembly, and the N.C. Supreme Court’s chief equally—would recommend candidates to the General Assembly. Legislators would then give the governor a list of nominees to choose from, and if the governor doesn’t pick one of those people in ten days, the legislature would fill the vacancy. The governor couldn’t veto a nominee. This process would apply to seats on the state Supreme Court, Court of Appeals, and local trial courts.

All five living former governors—Republicans and Democrats—as well as six former state Supreme Court justices have come out against this amendment.

STATE BOARD OF ELECTIONS AND ETHICS ENFORCEMENT This amendment would reduce the number of members on the State Board of Elections and Ethics Enforcement from nine to eight. Currently there are four Democratic and four Republican members each. The ninth is unaffiliated and is nominated by the other eight, with the governor making the appointment. Republicans say the proposed model still gives both parties input and would require the board to come to a consensus. Opponents say it would disenfranchise unaffiliated voters and guarantee gridlock. Like the judicial appointments amendment, this is opposed by former governors and justices alike. —Sarah Willets Visit the NC Constitutional Amendments Publication Commission at sosnc.gov/divisions/nc_constitutional_documents for more information.

“The DAs are very, very concerned about it. [Marsy’s Law] will create enormous burdens on the taxpayers of this state for the DA to even begin to comply,” Rudolf says.

“It’s hard for DAs right before an election to come out and say that, but that’s the truth.”

(The N.C. Bar Association says it has no position on Marsy’s Law, and the director of the N.C. Conference of District Attorneys did not respond to the INDY’s request for comment. Neither did Wake County District Attorney Lorrin Freeman, who is up for reelection, Durham County District Attorney Roger Echols, who lost in the May Democratic primary, or Durham County District Attorney-elect Satana Deberry.)

Beyond that, the amendment’s financial implications are hazy. The FRD report says the impact on the Administrative Office of the Courts is unclear. However, a draft 2017 report from the AOC on an earlier Marsy’s Law proposal estimates it would eventually cost $30.5 million a year to hire additional staff. And that doesn’t include “other costs of implementation.” Not only would the law add misdemeanors to the crimes for which victims would receive assistance—thus vastly increasing the number of crimes covered by the law—but it might also lead to longer, more expensive trials, critics say.

The amendment’s supporters say these estimates are inflated. Dollar contends that such a scenario hinges on district attorneys shifting positions that are currently funded by grants onto the state’s dime. He doesn’t think Marsy’s Law will cost taxpayers a thing.

“To the extent that some [district attorneys] have to perform a little more work, it’s because they are not providing the services and the information to victims that they should have been doing already,” Dollar says. “If it requires me to do more work to do my job the right way, I don’t consider that additional workload. I consider that the scope of what our responsibilities are.”

M

ore important to civil rights advocates than the amendment’s fiscal implications—after all, $30.5 million a year is just 0.1 percent the state’s $23.9 billion budget—is the way Marsy’s Law could tilt the scales of justice away from defendants, disrupting a basic philosophical tenet of the justice system: that a defendant is presumed innocent and entitled to a fair trial.

“The problem with including victims as a separate entity in all of these different stages of the process is that it has potential impacts for the rights of defendants,” Birdsong says.

For starters, having a victim who is entitled to specific, state-sanctioned rights implies that a crime has been committed.

But before the state secures a conviction,

“You start off with an allegation.

It becomes a crime when it’s proven either because the person admits it or because a fact-finder finds it, not because a complainant alleges it.” this crime is merely an allegation.

“You start off with an allegation. It becomes a crime when it’s proven either because the person admits it or because a fact-finder finds it, not because a complainant alleges it,” Rudolf says. “Is there a presumption that a crime has been committed because somebody’s been charged?

That’s completely inconsistent with the presumption of innocence.”

What’s more, Rudolf continues, allowing victims to influence when hearings take place might conflict with a defendant’s right to a speedy trial—for example, defendants’ bond hearings could be postponed to a time convenient for their accusers.

“Suppose a third party says, ‘I’m sorry, I’m going on a vacation, I’m going to be out of state for the next couple months, so we can’t proceed with this case,’” Rudolf says.

“Does that person have a constitutional right to go take a vacation for two months while a defendant sits in jail?”

And the distinction between the victim and the accused isn’t always clear, Rudolf points out. For example, in cases involving domestic violence or self-defense, both parties may allege that the other violated their rights. Designating one as the “victim” at the outset could bias the case.

To state senator Toby Fitch, a Democrat and former Superior Court judge, the biggest problem with Marsy’s Law—and the reason he voted against it—is that it allows victims to provide emotional testimony at every step of the process. That, he says, runs counter to the fundamental purpose of the justice system: to assess an allegation based on facts.

“The state has to be able to prove its actual situation based on evidence, not based on sympathy or the lack thereof,” he says.

A more prominent role for victims might also lead to harsher punishments, Coleman says, especially in cases where victims are

articulate and have the means to represent themselves well. Because Marsy’s Law’s rights are granted “upon request” and not automatically, he says, the victims who take advantage of them will tend to have money and status—“not poor people, who likely are the overwhelming majority of victims of crime in this state.”

That, in turn, could make the justice system’s outcomes even more racially uneven.

“I think often victims who are black will be ignored in the same way they are ignored today,” Coleman says. “I think this is going to be a right that will be exercised and implemented for the benefit of white citizens in North Carolina, and that’s just a sad fact.”

P

erhaps the best way to evaluate what Marsy’s Law would mean for North Carolina is to look at its effect on the six states that have voted for it. In some, it turns out, the law has produced unforeseen consequences.

South Dakota, which passed Marsy’s Law in 2016, spent $500,000 on new staff to coordinate with victims, but officials were nonetheless flooded with paperwork and had to log thousands of calls to notify victims. In some cases, offenders lingered in jail when victims couldn’t be notified about bond hearings. The law’s privacy provisions also gave the police license to shield information from the public. Almost overnight, vital facts—including crime locations and victims’ identities—disappeared from incident logs, according to Megan Raposa, editor of the local newspaper The Argus Leader. Later, the cops began withholding the names of homicide victims indefinitely.

“From an open-records standpoint, it has tightened the reins,” Raposa says. “Losing access to some of those specifics just gives us a foggier picture of what’s going on.”

Something similar happened in North Dakota, where police have refused to

release the name of a police officer who shot and killed a man and then claimed self-defense, invoking Marsy’s Law to protect the officer’s identity as a crime victim.

In Montana, a coalition of newspapers sued over the law, arguing that it would make information on crimes became so inaccessible that the media couldn’t function.

South Dakota lawmakers are now considering asking voters to repeal Marsy’s Law— or at least its “unintended consequences,” as they’ve pledged to maintain protections for victims. If that happens, South Dakota will become the second state to pass Marsy’s Law and then roll it back. In Montana last year, the state Supreme Court overturned it before it could be implemented, with the majority ruling that voters should have considered the sweeping changes Marsy’s Law made to the state constitution separately.

A federal judge struck down the provisions of California’s Marsy’s Law dealing with parole in 2014, but an appellate court reversed that decision two years later.

Overall, the law hasn’t created an undue burden on the justice system, according to former federal judge Paul Cassell, a Marsy’s Law advocate.

“The reports from California are that victims are now treated seriously, they have rights in the process, and it’s improved the quality of justice in California rather than in any way detracted from it,” Cassell says in a video on the Marsy's Law for All website.

Whatever issues emerge after Marsy’s Law passes, North Carolina can deal with them, says Battle, of the N.C. Victim Assistance Network.

“Certainly there are going to be things that we find have to be worked out,” she says.

“There are going to be bugs. There are going to be areas that are going to be improved, potentially some unintended consequences, but that shouldn’t stop us from moving forward. We just have to be committed to fixing whatever doesn’t work—and right now what we have doesn’t work.”

Morey counters that there are better ways to accomplish that goal. Funding technology updates and additional staff could enhance victim notification without compromising the rights of defendants.

And routing the money the state plans to spend on increasing the court system’s operational bandwidth directly to victims— via the state’s existing victims’ compensation fund, which paid out about $8.7 million in 2017—would be more effective, she says.

“We need to fully fund the victims’ compensation fund,” Morey says. “We need to get services to victims like mental health.

Let’s not grow a bureaucracy and delay the justice system.” ltauss@indyweek.com INDYweek.com | 10.31.18 | 13

indyfood

Bet the Farm

TO CREATE A TRULY SUSTAINABLE FOOD ECONOMY, SMALL FARMS AND GOVERNMENT NEED TO MEET IN THE MIDDLE BY AMANDA ABRAMS

L

ast year, Mike Ortosky put out a call to hundreds of Orange County farmers.

If they were interested in becoming certified in Good Agricultural Practices—a U.S. Department of Agriculture designation that allows farmers to sell produce to large institutions—the county would pay the certification’s $1,000 price tag for each farmer.

Surprisingly, only one farmer responded to Ortosky’s offer. Brett Evans of Red Hawk Farm in Hurdle Mills became GAP-certified this past February.

“I was hoping it’d open up doors of who I’d sell to,” Evans says. But so far, he isn’t using it.

That sums up the struggles that Orange County—and by extension, the rest of the Triangle—faces in its efforts to get more locally-grown food into local institutions.

For the region’s food economy to thrive and be genuinely sustainable, local growers need to sell their produce to big buyers like area hospitals, schools, and jails. But the cost of doing so, through GAP certification, is onerous. More importantly, local institutions currently aren’t interested in buying from area farmers, most of whom work on far too small of a scale to be useful to them.

That’s a problem Ortosky—who is Orange County’s agriculture economic developer— and other local government officials around the Triangle are aiming to solve. Their goal is to create a large food hub where locally grown produce can be aggregated and standardized, and then trucked to big buyers in the area.

But this is a project that will likely take decades. What’s immediately clear is that getting there will require wrestling simultaneously with two familiar economic drivers: supply and demand.

Around sixty years ago, North Carolina was home to farms of a range of sizes, and many owed their existence to the state’s bestknown cash crop: tobacco. Earning good prices, tobacco allowed small and midsize farms to flourish. Although this state still produces the most tobacco in the country, its popularity dropped precipitously around the 14 | 10.31.18 | INDYweek.com

turn of this century, and N.C. farms, especially small ones, were hit hard. Between 1954 and 2002, the USDA found that the number of N.C. tobacco farms dropped from 150,000 to 8,000.

At the same time, a new trend was developing. Local, sustainably grown food began increasing in popularity in the nineties, and small, diversified farms growing fruits and vegetables sprang up around the state, especially in educated, affluent regions like the Triangle.

“Over the past ten or fifteen years, demand for local food has really ramped up,” says Ortosky. Indeed, according to the USDA, the number of farms in Orange County that sell produce directly to consumers—via farmers markets, farm stands, and consumer supported agriculture—went up by 54 percent between 2007 and 2012, and the amount of revenues from direct-to-consumer sales more than doubled in that time. That’s echoed a national trend; according to the market research firm Packaged Facts, local food sales in the U.S. grew from $5 billion to $12 billion just between 2008 and 2014.

The result is a polarized environment for agriculture in N.C. There are big farms that sell tobacco and corn on a national or international scale, and there are small operations that sell directly to local markets, restaurants, and individuals. “Farming in the middle has disappeared,” Ortosky says.

Meanwhile, many of those small farms are starting to hit a wall. According to Ortosky and other local agriculture advocates, Triangle farmers markets are leveling off in growth: The area can support only so many of them. That follows a national trend; in 2016, the USDA noted that nationally, farmers market sales and direct subscriptions were beginning to plateau. What farmers need are new markets.

The natural next step would be to look to big institutions such as schools, hospitals, and jails as potential outlets for local food.

A food system with a broader base—that is, one with more area farms producing food

ILLUSTRATION BY STEVE OLIVA

for more local outlets—would allow Triangle governments to meet several important goals. Economic growth is the big one: getting locally grown food into regional institutions would keep dollars local and have a multiplier effect, adding jobs like truck driving and food processing and boosting growers’ financial stability. Plus, it’d result in fewer greenhouse gases emitted in transporting food, increased food security for the region, and probably better health outcomes for residents,

to increas that can c require fa ture or rad The big doesn’t m farms. Th corn or so and the s to produc would ma of supply.

But mo become G not much the small potatoes d have to co than one mean a w a half-doz hospital’s James at Weave affects al example, ers growi for each s who can s That m it wouldn Indeed, a stateme to get mo The bigge that we go ting pricin budget.”

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So why can’t UNC Healthcare hospitalswork with get its sweet potatoes from Orange County’sCenter, w Cates Corner Farm, for example, rather thanaround lo from a big distributor like Sodexo that mightfinal desig and Wake be sourcing its tubers from California?

There are a couple of reasons. The first isperhaps o GAP certification, which large institutions “Region typically require of farmers who sell to them.systems a It includes a set of standardized proceduresconfined t

to increase food safety and a one-day audit that can cost $1,000 a year. The process may require farmers to invest in new infrastructure or radically change their practices.

The bigger issue is that GAP certification doesn’t make sense for most of the area’s farms. The big ones selling commodities like corn or soybeans aren’t required to have it, and the small ones are currently too tiny to produce quantities of food at a level that would make it worthwhile. That’s a problem of supply.

But most farmers also aren’t eager to become GAP-certified because, so far, there’s not much local demand for it. After all, given the small size of many Triangle farms, sweet potatoes destined for UNC Hospitals would have to come from a handful of places, rather than one midsize operation. And that could mean a wide range in quality, and perhaps a half-dozen pickup trucks unloading at the hospital’s docks daily.

James Watts, merchandising manager at Weaver Street Market, says the problem affects all the region’s larger buyers. “For example, today, I have three different farmers growing Sungold cherry tomatoes—one for each store, because there isn’t any one who can supply all of my stores,” he says.

That might work for a small grocery, but it wouldn’t be feasible for a large institution.

Indeed, UNC Healthcare said as much in a statement: “We are open to exploring ways to get more local food items on our menus.

The biggest challenges are the high volume that we go through on a daily basis and getting pricing that would fit into our food cost budget.”

What’s needed, Ortosky says, is a food hub, a central site where local produce is aggregated, processed if needed, and then distributed to institutional buyers. That way, quality could be standardized, and smaller farmers could combine their products to fill orders.

That would likely make buying local produce far more attractive to local institutions.

And if that kind of new market opened, Ortosky says, “farmers will respond.” Evans of Red Hawk Farm, for example, is farming only about a tenth of his fifty-two-acre property and says he could scale up if the opportunity arose.

What would make the Triangle food hub Ortosky has in mind special would be its size.

Ortosky—who’s supplementing his Triangle work with a fellowship at Virginia’s Wallace Center, which focuses on national efforts around local food systems—believes that the final design would have to include Durham and Wake counties as well as Orange, and perhaps others too.

“Regional is the sweet spot,” he says. “Food systems are like watersheds. They’re not confined to geographic boundaries.”

The result could be beneficial to everyone, allowing shiitake mushrooms from Wake County to combine with an order of Tuscan kale from Orange County for Duke University’s food service. It’s big and ambitious, and exactly what the food hub would look like is very much a work in progress. Ortosky and cooperative extension officials from Durham and Wake counties are meeting regularly to talk to stakeholders and map out a plan, though they’re still in the very early stages.

One good example of how this facility might function, writ small, is in downtown Durham. Farmer Foodshare started out in 2009 as a gleaning operation but has since morphed into a hub connecting regional farmers with local institutions like Durham Public Schools and the Durham County Detention Facility. Farmer Foodshare does all the logistics: picking up and delivering most of the produce and holding it in cold storage when necessary.

The organization has flourished largely because of the support of county officials.

In 2009, Durham County pledged to begin buying local food for the school system and other public institutions; last year, it gave Farmer Foodshare $20,000 to pilot a program that would bring local food into the jail.

And after the county’s one GAP-certified farmer ceased production last year, commissioners budgeted $50,000 to assist new local farmers interested in GAP certification (four are currently seeking the certification).

“There is good work being done to make Durham city and county a model food community,” Heidi Carter, a county commissioner who’s helped drive the focus on local food, told the INDY in an email. “One important step is for our local and regional food systems to be strong, and this requires ample numbers of farmers who are matched with robust markets.”

That kind of public support for farmers, paired with mandates to bring local food into public institutions, might be the key to realizing Ortosky’s dream of a thriving regional food system. After all, moving it forward is a chicken-or-egg question: What comes first— supply provided by farmers, or demand on the part of institutions? A government mandate that includes a specific percentage of local food to be used in public institutions could be just the jumpstart that gets the whole thing going.

One way or the other, it’s going to take a while. Ortosky estimates that it might be ten years before Triangle institutions feature even 10 percent local ingredients. The end result, though, could be worth the wait: A Triangle economy that is genuinely local, truly sustainable, and supports farmers at every level of their growth. food@indyweek.com INDYweek.com | 10.31.18 | 15

PEt of the week

food

AMUSE-BOUCHE

KATHMANDU KITCHEN

1275 NW Maynard Rd, Cary 919-244-2631, kathmandukitchencary.com

Little Dippers

KATHMANDU KITCHEN’S NEPALESE MOMOS MAKE CARY A DUMPLING DESTINATION

BY AMY SENTEMENTES

A

Here is our Pet of the Week,

SERAPHINA!

Seraphina is a sweet one year old who is looking for someone to give loving glances to for life.

She also enjoys a good string toy and head scratches. If you are looking for a gorgeous new friend, Seraphina is for you.

Dogs have a reduced adoption fee of $75 (and cats have a reduced fee of $50) until the end of October.

For more information: www.apsofdurham.org/dogs/seraphina If you’re interested in featuring a pet for adoption, please contact advertising@indyweek.com 16 | 10.31.18 | INDYweek.com

s we learned last week, comfort food conjures up different dishes for everyone, but for me, dumplings have the singular ability to console me after a rough day or to celebrate a good one. I love them all, but have an affinity for my newest discovery, momos. Specifically, those from Kathmandu Kitchen, a Nepalese restaurant that opened in Cary in August. Momos are made with a basic noodle-dough wrapper, similar in taste though thicker than that of Japanese gyoza or Chinese wontons, and envelop a vegetable- or chicken-based filling. There are two types of momos at Kathmandu Kitchen; one style is served steamed with accompanying dipping sauces, the other jhol-style, where the dumplings are submerged in a chutney-based broth.

But don’t just take my word for it. These momos are so much like the real deal, my Nepalese friend volunteered her Friday nights during the restaurant’s soft launch in exchange for unlimited momos, just like the ones her mom used to make.

Vibe: Kathmandu Kitchen appears nondescript at first glance, but inside its mustard yellow walls, one of the gracious owners, Tripti Swar, Binod Bhatta, or KN Sharma, is likely to welcome you into the homey space. Pull up a black wooden chair at one of the granite tables; you’re bound to see Nepalese families catching up over bowls of curries and occasionally foregoing conversation altogether to gleefully slurp jhol momos. The gently-priced but solid house cocktails slow the pace of a hectic day; while sipping, I imagine the chef standing behind the kitchen curtain making momos, methodically fastening each noodle wrapper around its filling.

Menu: The broad menu contains both Nepalese classics and dishes that span the Himalayan region. The house specialties include jhol momos; classic curries such as shrimp Malabar and Himalayan vindaloo,

Jhol-style momos PHOTO BY BEN MCKEOWN redolent of freshly ground spices; and sizzling meats and cheeses from the tandoor oven. A plethora of vegetarian dishes, such as jackfruit biryani or Himalayan vegetable, pepper the menu.

What to order: Momos. And lots of them.

Take advantage of the variety, and order at least one of each of the two styles. They’re made-to-order and served as they’re ready, so don’t be surprised if they don’t arrive all at once. The classic, crescent-shaped momos are served on a pristine white platter, encircling two ramekins of sauces— tangy tomato and peppery curry—which add both pops of flavor and color. Resist the temptation to devour each dumpling in one bite, so you can break open the pockets with multiple nibbles, dipping them in both sauces and allowing the pungent spices to seep into the filling. While chicken jhol momos are shaped identically to their classic counterparts, vegetable jhol momos,

which I’m partial to, resemble delicately knotted pouches. Enjoy this style with a spoon, rather than a fork, so you can slurp the accompanying warm broth.

Entreés from the tandoor oven will warm you to your core, even on the coldest of days.

Add the duck tikka to your must-try list; it’s encrusted with spices, perfectly tender, and arrives on a sizzling skillet. Tandoori-fired breads, such as the garlic olive naan, are tailor-made for dipping into a steaming bowl of shrimp Malabar curry.

Price: Vegetable and chicken momos are $7 and $8, respectively. Appetizers, rice, and soup are $4 to $8. Tandoori specials, curries, and biryani are $10 to $18. Naan, paratha, and roti are $2 to $3; a bread sampler is $5.

Perfect for: Slaying dumpling cravings; a family-style or vegetarian-friendly feast; a belly- and soul-warming meal. food@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming November 21:

OUTPOSTS OF THE TRIANGLE For advertising opportunities, contact your ad rep or advertising@indyweek.com

Celebrate the Stone Center’s 30th Anniversary Celebration of Artists

With Us Comes the Parallax Thursday, November 8th Reception 7pm-8:30pm Featuring past visiting artists dating back to 2004, schedule includes talks from participating artists.

Some pieces will be auctioned off in support of the 30th anniversary fundraising campaign.

Free and Open to the Public

Rosie by Tim Okamura, 60”x40”, Oil on canvas

The Pathway Home by Michael Platt, 36”x54”, Pigment print on paper

The Sonja Haynes Stone Center for Black Culture and History 150 South Road Chapel Hill, North Carolina 919-962-9001 stonecenter@unc.edu INDYweek.com | 10.31.18 | 17

indymusic

NATHAN BOWLES TRIO Thursday, Nov. 1, 9 p.m., $5 The Cave, Chapel Hill www.caverntavern.com

Plain Sailing

NATHAN BOWLES EXPLORES NEW DIMENSIONS OF THE BANJO AND THE HUMAN PSYCHE ON PLAINLY MISTAKEN

BY SARAH EDWARDS

N

athan Bowles opens his fourth LP with a refrain written by a child: “So just lie and close your eyes, listen to a lullaby,” he begins on “Now If You Remember.” The song, originally composed by seven-year-old Jessica Constable for Julie Tippetts’s 1976 album, Sunset Glow, lends a foreboding feel to the beginning of the record. The rest of the album wrestles with this conceptual interest in self-deception, or being “plainly mistaken,” building through eight more songs toward a kind of warning: Tell yourself whatever you like, and you may just find yourself under a kind of cultural anesthesia.

Plainly Mistaken, released in early October, is also Bowles’s first album composed with a full band: The solo becomes a trio with the addition of double-bass player Casey Toll, who’s worked in several local acts, including Mount Moriah, and CAVE drummer Rex McMurry. Bowles forges ahead with vocals and his beloved banjo, which has been his primary instrument since 2010. McMurry, who moved to Durham by way of Chicago in late 2015, initially met Bowles through mutual friends and, for a short spell, was taking some time off from music.

“I called him up one day,” Bowles says, “And proposed that he un-hiatus himself.”

Toll, who had previously played with Bowles while accompanying the singer and guitarist Jake Xerxes Fussell, was a natural fit. If earlier albums were marked by a kind of meandering, self-reliant drive, the texture of Toll and McMurry’s seasoned playing lend Plainly Mistaken a full-bodied feel.

The album weaves ecstatic moments from bluegrass standards and sunny, fingerpicking lopes, with long, studied periods of drone.

The result is something hypnotic, troubled, and deeply involved—music that’s halfway between avant-garde and old-time.

Bowles moved to Durham in early 2015 from Blacksburg, Virginia, where he went to college. While in Virginia, he joined ranks with The Black Twig Pickers, a string band, and Richmond’s legendary drone-noise 18 | 10.31.18 | INDYweek.com

Nathan Bowles PHOTO BY BRAD BUNYEA outfit, Pelt. Both bands were formative to his percussive practice, as well as his deep love of old-time music; in the years since, Bowles has also toured playing drums for guitarist Steve Gunn. Bowles’s many musical partnerships reflect the kind of psychedelicfolk camaraderie that has evolved over the past couple decades, comprising a through line of experimental folk-leaning musicians through the Triangle and the upper reaches of Virginia and into Philadelphia.

Bowles’s collaborative approach to music keeps in time with the larger folk tradition

of reinterpretation, and talking with Bowles is like getting a crash course in the history of that tradition. In the course of our conversation, artists ranging from Ernie Carpenter to the Osborne Brothers to Cousin Emmy all organically crop up. But even as he offers his own reinterpretations of songs, as with Tippetts’s “Now Do You Remember,” Bowles prioritizes capturing a spirit rather than offering a mimeograph.

“Her voice is so specific and kind of inimitable,” he says, “I was more just trying to get something of the feeling of the

song and not duplicate it. I knew as soon as I recorded it that I wanted it to start the record, to be a kind of pacesetter.”

Bowles’s thoughtful new takes on old songs distinguish themselves throughout Plainly Mistaken. “Ruby” is the trio’s take on the old bluegrass standard, hewing off the Silver Apples’ 1968 version; Bowles’s version feels at once accusatory, frenzied, and unsettling, like the wheels are about to come off at any second. His swooning rendition of “Elk River Blues,” written by West Virginia Fiddler Ernie Carpenter, is a second-stab at a song that also appeared on Bowles’s first album, 2012’s A Bottle, A Buckeye.

“I’ve always liked that song solo in sets, but I liked the kind of swing and heft that the trio brought to it,” Bowles says. “It just felt so good that I thought, why not record it? There [are] no rules. … It swings in a different way than the solo piece.”

On the back of the album, a Javier Maras quote accompanies a hazy detail from a Félix Vallotton painting: “We go from deceit to deceit and know that, in that respect, we are not deceived, and yet we always take the latest deceit for the truth.” There’s a kind of Gordian knottedness to this idea, a musical expression of our collectively repeated mistakes.

Bowles has explored the slippery edges of language before. 2016’s cover of Jeffrey Cain’s “Moonshine Is the Sunshine,” gently riffed with Cain’s series of wry, folksy koans (“The straightest line is crooked, and it ain’t gonna get no straighter,” goes one). If the music itself—with its astral acoustic waves which seem, themselves, to be trying to work some knot out—reflects this idea of aphorisms, it might be its ability to hold more than two things in its heart: the old and the new, what is cosmic and what is rooted in earth.

There are, after all, no rules.

Bowles is interested, he says, “in the idea that we don’t learn from mistakes as much as repeat them.” Pausing, he laughs, “That probably sounds more pessimistic than it is.” music@indyweek.com

fifth Annual

November 10 10am-5PM November 11 12pm-5PM twenty potters & two teaching facilities Tour studios & buy beautiful locally made pottery Maps and brochure available at DurhamCountyPotteryTour.com

Style LOCAL

GUIDE

Coming 11/7

Ad Reservations due by 11/2 Contact your ad rep or advertising@indyweek.com INDYweek.com | 10.31.18 | 19

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music

BOB DYLAN

Saturday, Nov. 3, 8 p.m., Sold out Durham Performing Arts Center, Durham www.dpacnc.com

Bobby and Joanie Forever FIFTY YEARS ON, THE CIRCLE BETWEEN BOB DYLAN AND JOAN BAEZ REMAINS UNBROKEN BY ELIZABETH BRACY

“M

ama, You’ve Been On My Mind” was always the great Joan Baez and Bob Dylan duet, a three-minute symphony of passiveaggressive longing, sublimated jealousy, and immense mutual regard. Its participants prowl around one another uneasily, beautifying each other’s every syllable while remaining unwilling to even consider the cosmic profundity of their connection.

“Perhaps it’s the color of the sun cut flat and covering/the crossroads I’m standing at,” goes its opening couplet, suggesting a deep and mysterious union occasioned by nature and fate. “I don’t even mind who you’ll be waking with tomorrow …” goes the gutpunch kiss-off, as the world’s two most outwardly ambivalent lovers pretend not to be deeply, privately obsessed.

“Mama, You’ve Been On My Mind” is enchanting, strange, and sad. It was the presumptive musical and emotional high point of the joint bill Baez and Dylan played more than fifty years ago at N.C. State’s Reynolds Coliseum.

Joanie and Bobby, Bobby and Joan. The saga is romantic but full of pain. So much pain, so much of it rendered publicly. In 1962, Baez—the minted queen of the nascent folk boom—begins bringing out the thenunknown Dylan to perform a few songs in front of her large and adoring audiences. At the time, she is in love, and the exposure she provides him is invaluable, and yet it is possible that her motives are not entirely altruistic. It had already become an article of faith to everyone in the folk community that this strange, enchanted boy possessed a talent like no other, a supernova preparing to reset the firmament. Baez recognized the ramifications first of all. She calculated that even her wondrous skills would ultimately pale by the light of her strange hobo-paramour.

Everyone’s would. By twinning herself with him, she staked her claim to history.

Dylan and Baez toured the world together, including a performance at the March on Washington. And then, in a sort of cruel

ILLUSTRATION BY STEVE OLIVA

urham

inversion of A Star Is Born, he started to eclipse and forget her. In filmmaker DA Pennebaker’s legendary account of Dylan’s 1966 tour of Britain, Don’t Look Back, Baez appears as an ostensible collaborator, but is ultimately reduced to an object of vicious sport between Dylan and his dickish hanger-on Bobby Neuwirth. Night after night, he refuses to bring her on stage as promised, and her humiliation grows. There is an awfulness to this that makes you want to turn away from the picture, or even from Dylan entirely. The callow boy-king proceeds, imperious in the knowledge that his genius is a safety net for his sadism.

was lousy you said/Where are you calling from?”

When Baez played at DPAC in September as part of her 2018 Farewell Tour, she opened with Dylan’s “Don’t Think Twice, It’s Alright” and made her way through “It’s All Over Now, Baby Blue,” “A Hard Rain’s Gonna Fall,” and “Forever Young.” She also sang the songs of Mary Chapin Carpenter, Phil Ochs, and Antony & the Johnsons, amongst others. And then there was her own “Diamonds & Rust,” a painfully deep reckoning with an apparitional, estranged lover that is so transparently about Dylan that for years she lied to him and said it was

“It is a final irony that it was Joan, the master interpreter, and not Bob, the celebrated songwriter, who ultimately authored the definitive take on their fraught adventures.”

They parted company as his stature grew from rock star to generational icon to worldhistoric literary titan. But they didn’t stay apart for long. Dylan tapped Baez for his ambitious Rolling Thunder Revue tour in 1975, and cast her in a leading role in his simultaneous failed art film, Ranaldo & Clara, alongside his estranged wife, Sara Lowndes.

If you think this sounds weird, then you don’t know the half. Onstage, they sing brilliantly together, a chemistry undiminished by time and torment. “Mama You’ve Been On My Mind” evolves into something more terrible and exultant: “I’m just whispering to myself/ so that I can’t pretend.” Rumors of romance rekindled are never exactly confirmed, never exactly denied. So it goes for tumultuous decades.

It is a final irony that it was Joan, the master interpreter, and not Bob, the celebrated songwriter, who ultimately authored the definitive, no-holds-barred take on their fraught adventures: 1975’s “Diamonds & Rust.” It’s a song worthy of any of Dylan’s best, boasting cutting lines like “My poetry

about someone else, and for years he pretended to believe her. They may not appear together on stage, but they are never apart.

What of Baez and Dylan when he visits the same venue this week? Who is he anyway, nearing the very end of his Never-Ending Tour? An eerie savant of disguise and reinvention, late-period Dylan has shapeshifted between personas as gutbucket bluesman, thin-mustachioed sharpie, and desecrated crooner. He’s played each role with compelling relish, but even Houdini couldn’t escape himself. Squint and you can still see him, though you’ll have to squint hard. The shy kid from Hibbing, Minnesota, vibrating weirdly down some West Village corridor. The raspy ne’er-do-well unaccountably harmonizing with the mellifluous dark-haired beauty everyone had actually paid to see. The baby-faced manchild who the world’s most popular folk singer took under her wing and nurtured into posterity. Does he remember this?

Every night, I’d venture. music@indyweek.com INDYweek.com | 10.31.18 | 21

music

ind

YELLE

Saturday, Nov. 3, 8 p.m., $18–$20 Local 506, Chapel Hill www.local506.com

Al

Joie de Vivre

LUCA

FROM A FAR CORNER OF FRANCE, YELLE’S JULIE BUDET TAKES HER CARTOON WORLDVIEW TO THE POP CHARTS

BY RYA

O

BY ELIZABETH SZYPULSKI

J

ulie Budet, of the French pop trio Yelle, describes the way she sees the world as “like a cartoon.” And that’s not surprising, given that Yelle’s synthy, always-fun songs take place in their own universe: a daydreamy, slightly off-kilter place filled with glitter; bright, colorful lights; and lots of dancing. For example, the video for the single “OMG!!!” features a depressed hamster who’s just waiting for the sun to come out.

Yelle first caught ears stateside in the late aughts with 2007’s “Je Veux Te Voir,” a superb dis track that’s equally goofy and scathing. But even as the group has smoothed out its rougher edges over the years, its music is still plenty of fun to dance to, thanks in large part to Budet’s lively presence as a frontwoman.

From her home in Bretagne, in the northwestern part of France, Budet talked to us about the importance of sunshine, whether she’s a grownup, and how music helps her hang on to her sanity in 2018.

INDY: I really love how “OMG!!!” captures what it’s like to feel better after being down or depressed for a bit. Can you tell me a little about it?

JULIE BUDET: We wrote the song at a certain time, in a certain mood, and for “OMG!!!” it was the end of the winter, and we were waiting for the sun so much! So we probably wrote it at the moment when we needed the song so much that we had to express it in a song.

Did writing that song give you the same feeling of the sun coming out?

When there is no sun, I can deal with it. I really like fall, and I really like winter. It's not a problem for me, but when the sun hits you in the summer—we are like flowers, you know, we are like grass. We really need this vitamin to be alive! When it's dark all the time, it can be really depressing. I can make a 22 | 10.31.18 | INDYweek.com

comparison between the song and the stage because being in the lights, in front of people, it's also something that I miss sometimes when we are no longer touring.

You tour all around the world—what's it like having fans who don’t speak French and might not understand your lyrics?

Does that change anything about the way you write or the way you perform?

Not really, actually. If I know that people don't understand the lyrics of a song onstage, I really try to be the most expressive I can. I think we also write in a certain way, like probably a little bit naive. And also simple. Even if I play with words, I'm choosing uncomplicated vocabulary. We never focus on how people will understand. We just do things, and then we see what happens.

Even when you translate your lyrics, they aren’t very literal. It’s funny to think about going online to translate your songs and then ending up with something like, “Your jacuzzi is my volcano,” in “OMG!!!” Because that's still very metaphorical, and it's an unexpected and fun thing to say.

It's really about metaphors, as you said. Like “Jacuzzi,” in “OMG!!!” Something is happening in your body. It's burning; it's moving inside you. And you picture it—you see the jacuzzi bubbling—and you can totally imagine it. It's the same thing in your body when you're with someone that you like.

How do these metaphors reflect the way you think about and perceive the world?

I feel like it is really hard for me to grow up. I mean, I know that I am an adult. But I really feel that I'm still a little girl. I think I still see the world as a child. So when I'm driving, if I see bumps on the road, I can totally imagine I'm on the hippopotamus's back or something like that. I always have some images and pictures, like if I was living a cartoon.

Julie Budet PHOTO BY ALEKSANDRA KINGO You do a really good job of sharing that childlike sensibility through your videos and your costumes. Not everybody sees the world that way. Why is important to you to let people experience your way of seeing things?

When we are on stage, we really want to communicate and have a good moment with people, and to make them feel better, even if they have their problems in their lives. It's a moment, and it's a moment together. And the simple way for us to share it, it's to sing songs and to dance and to have this communion with them. We are always playing.

You know, I'm thirty-five years old. And I'm thinking about having kids, I'm thinking

n n D A for effo moments matic arti It might b ever made work of th neously o allegory w Holocaus But none ly enough exhaustio act drains Ironica Suspiria’s Berlin dan lows Suz expat from her past. H dance co begin secr fice. Thro no hints may be m Suzy’s M the cosm female soc archies an anything about my future, and I'm really scared andthe chara I'm really depressed sometimes becausetwist that I'm like, “What's the point of having kidsing inform in this world? What's the point of trying Suzy’s my best to preserve the environment ifes Guadag it's going to be worse in fifteen years?” Itganich m scares me. But I think music really helpsoverhaul me to live and to be happy in this world.attempt to And I really think music is important inpose beyo everybody's life, because it probably helpsgrab, yet i to have this possibility of being away frominertia. Ta your daily life and your problems andoriginal f everything, but also to have, sometimes,into the “G another way of seeing—of seeing life in aspread le many. Th more positive way. music@indyweek.commore than

indyscreen

SUSPIRIA 

Opening Friday, Nov. 2

Altar Ego

LUCA GUADAGNINO’S AMBITIOUS REMAKE OF A HORROR CLASSIC SACRIFICES FOCUS TO DAZZLING CRAFT

BY RYAN VU

O

ne wants to give Luca Guadagnino’s much-anticipated remake of Dario Argento’s classic Suspiria an A for effort. It’s gorgeously shot, with a few moments that rival the original in both cinematic artistry and bone-crunching depravity.

It might be the most ambitious horror movie ever made, taking the occult-thriller framework of the original and piling on a simultaneously over- and under-wrought historical allegory with references to religious schism, Holocaust guilt, and the radical German left.

But none of these subjects are pursued deeply enough to mean much, and the confused exhaustion that sets in well before the third act drains the impressive craft of its vitality.

Ironically, excessive ambition is one of Suspiria’s many themes. Set among an elite Berlin dance troupe in the late 1970s, it follows Suzy Bannion (Dakota Johnson), an expat from rural Ohio determined to escape her past. Her talent stuns the leaders of the dance company, a coven of witches who begin secretly grooming her for a ritual sacrifice. Through oblique flashbacks, Guadagnino hints at a tantalizing parallel—one that may be more than metaphorical—between Suzy’s Mennonite mother and sisters and the cosmopolitan dance company, two allfemale social groups with authoritarian hierarchies and dark secrets. Yet we never learn anything substantial about how this shapes the characters’ motives, even after a plot twist that surprises more as a result of missing information than skillful misdirection.

Suzy’s backstory is one of many changes Guadagnino and screenwriter David Kajganich made to Argento’s original. Their overhaul initially seems like a promising attempt to lend their version a sense of purpose beyond the usual, cynical studio cashgrab, yet it succumbs to the same narrative inertia. Taking place in 1977, the year of the original film’s release, the remake detours into the “German Autumn,” a period of widespread left-wing guerrilla violence in Germany. This is provocative but never feels more than tangential.

Tilda Swinton in Suspiria

PHOTO BY ALESSIO BOLZONI FOR AMAZON STUDIOS

It’s fine that Patricia (Chlöe Grace Moretz), who fled the dance company to join the Marxist-Leninist Baader-Meinhof Gang, is reduced to a spooky bit of foreshadowing, ancillary to the plot. But then, why

is the film so preoccupied with news footage and radio clips detailing the events of that time? The other Big Historical Theme comes via elderly psychoanalyst Josef Klemperer (Tilda Swinton in prosthetics),

who first learns of the witches from listening to Patricia’s “delusions.” A widower haunted by his complicity with the Nazis, Klemperer comes to serve as the movie’s emotional core. But as a witness to events that are largely concealed from him yet revealed to us, he has as little bearing on their direction as do all the extra layers of historical context—basically nil. It’s as if a lost Fassbinder movie had been jerry-rigged to a remake of Suspiria.

That the scenes set inside the dance school almost transcend the script’s weaknesses reflects Guadagnino’s commitment to fashioning a unique, immersive, at times overwhelming sensory experience. The sequence in which Suzy’s supernaturally assisted dancing folds another dancer up like a human pretzel is already infamous.

Argento’s Suspiria is often praised for the way its set pieces evoke the school’s dreamlike, Escher-esque architecture, as if the parade of doomed young women were eviscerated by design angles rather than human agents.

Unsurprising for the director of Call Me

by Your Name, Guadagnino elicits similar effects from the materiality of his characters’ bodies. In some of the best dance scenes ever in a studio film, we are made to see, hear, and even feel the thud of feet hitting the floor, the strain of muscles pulling bone into place.

The true heart of the film is the quasimaternal psychic duel between Suzy and her dance teacher, Madame Blanc (also Swinton). Alternating physical training and supernatural murder, their scenes together capture the simultaneously erotic and dehumanizing power of subjecting flesh to aesthetic form. If this Suspiria had grounded itself in its female characters and the ways women’s bodies are turned against them, instead of trying to address the conscience of Germany, it could have been not only much more cohesive, but a far worthier response to Argento. arts@indyweek.com INDYweek.com | 10.31.18 | 23

screen

CUCALORUS FESTIVAL

Wednesday, Nov. 7–Sunday, Nov. 11, $50+ Various venues, Wilmington www.cucalorus.org

Port City Cinema

ind

Fo

A HURRICANE CAN’T STOP WILMINGTON’S CUCALORUS FESTIVAL, AND TRIANGLE FILMMAKERS AND MUSICIANS A MAJ ARE HEADING EAST BY SUSAN SIMONE HAMIL

T

Cucalorus also hosts a pair of short docs he annual Cucalorus Festival has

by UNC students, Silence Sam and Silenced maintained a strong presence for Sam, which take place before and after independent film in Wilmington protestors pulled down the Confederate since 1994, and it’s going to take more than statue on UNC’s campus. The film is the weather to stop it now. The festival is part of a discussion called Monumental proceeding as scheduled for five days starting November 7, and as always, there’s much more to it than film. There's Dance-a-lorus, a live stage event pairing filmmakers and choreographers.

There’s a tech-and-entrepreneurship conference, Connect. And then there’s just the party spirit, from an opening concert by Superchunk to the closing-night karaoke costume dance, perfect for some post-hurricane celebration.

The members of Superchunk are far from the only Triangle residents heading east for the festival. You won't want to miss Durham stalwart Rodrigo Dorfman’s latest film, This Taco Truck Kills Fascists, which was just named “Best Louisiana Feature” by the New Orleans Film Festival.

In the film, Dorfman follows José Torres-Tama’s efforts to convert a basic taco truck into This Taco Truck Kills Fascists PHOTO COURTESY OF RODRIGO DORFMAN a revolutionary rolling theater Transformations: Community Art in that will travel the U.S. the South. The panelists will discuss the “I started wanting to do this film because historical context and ethical conflicts of I wanted to get on that truck,” Dorfman communicating history through memorials. explains. “Who doesn’t want to join a tacoLana Garland, the curator of this year’s truck theater? It was going to be a road movie.”

Hayti Heritage Film Festival in Durham, But soon, Dorfman found himself makalso takes on issues of race and personal ing a film about family, digging into the story response to history in the Cucalorus worksof Torres-Tama’s struggle to fit his defiant in-progress series. Garland will show predream around the challenges of raising two liminary pieces of The Reservoir Series, sons. The documentary turned into a film which draws together short films by and about parenting in the age of Trump. about African Americans across the country “At the end of film, the truck is going off and addresses the need to overcome the feelinto the heart of America,” Dorfman says. “In ings of hopelessness and despair that have a way, the film ends in the way I wanted it to emerged in the face of police violence. begin, as a fantastical American road trip.”

24 | 10.31.18 | INDYweek.com

“The Reservoir is a lifeline and love song for my people and community who are sick and tired of being sick and tired,” Garland says.

Two towering North Carolinians, musician Rhiannon Giddens and author John Jeremiah Sullivan, seem to speak directly

to Garland’s challenge in When the Battle’s Over: Songs of 1898. The performance commemorates the 120th anniversary of “the only forceable takeover of a constitutionally elected government in our nation’s history,” infamously known as The Wilmington Massacre (learn more about it in Chris Everett’s 2015 documentary Wilmington on Fire).

Giddens and Sullivan will alternate between a discussion of their research on spirituals of the 1890s and Giddens singing. After the show, there will be community march from the concert hall, past the Confederate monument to the 1898 Memorial, led in song by Giddens.

O

If you never saw Giddens and her former fellow Carolina Chocolate Drops, Dom Flef mons and Justin Robinson, when they were o busking in Durham and playing the farmly ers-market circuit with their mentor, JoePeggy Sch Thompson, you can catch them on SundayFounding morning in the Southern pre-sister-inmiere of John Whitehead’sestimatio Don't Get Trouble in Yourdialogue Mind. Whitehead was theremuch mo when the Drops first metlife, and in Thompson at the 2005 Black The Sc Banjo Gathering. and Pegg “I was just working with aHamilton small camera and looking forDestiny’s an interesting story,” he says.number i Captivated by the young musi-want a “r cians and their old-time men-tion, notin tor, Whitehead followed themson to “in home. It was a good story, but,Declarati not sure where it was going, he Two of put it in a drawer. musical: Nobody from around hereorganizat needs to guess what hap-there is a pened next. The Drops tookica, a pro off. The Drops got famous.social elit The Drops broke up. White-tual spar head captured the wholeilton on s arc. We see the Drops getimplied b their Grammy just as Rob-between h inson decides this is not his Peggy, musical destiny. Flemonsthe play, s struggles to choose betweenbook help touring with the Drops and his desire to Elliott, work on his own, digging more deeply intoauthor wi old-time musical history. In the end, hefrom UN decides to leave the group, and Giddensninth hist moves on into her own solo career.

Ridge Bo This is just the tip of the Cucalorus ice-Hamilton berg. It's a wide-open festival with filmsher editor that range from drama to comedy, and itsHamilton roots in the Wilmington movie scene givebecause it a professional panache and variety that ispoint, and unusual in small festivals. Collect a group of friends, and head down to Wilmington for the day, for two days, or the whole weekend—it is the beach, after all. arts@indyweek.com

indypage

Founding Sister-in-Law

A MAJOR FIGURE MADE MINOR IN THE MUSICAL GOES SOLO IN YA HISTORY HAMILTON AND PEGGY! BY ZACK SMITH

O

f the three Schuyler sisters seen on stage in Hamilton, imminently opening at DPAC (see p. 27), Peggy Schuyler is hardly the showiest part.

Founding father Alexander Hamilton’s sister-in-law has, in author Laura Elliot’s estimation, fewer than forty words of solo dialogue in the musical. But she played a much more important role in Hamilton’s life, and in history.

The Schuyler sisters—Eliza, Angelica, and Peggy—are highlighted in fan-favorite Hamilton song “The Schuyler Sisters,” a Destiny’s Child-type R&B-empowerment number in which the sisters declare they want a “revelation” rather than a revolution, noting that they want Thomas Jefferson to “include women in the sequel” to the Declaration of Independence.

Two of the sisters play big parts in the musical: Eliza married Hamilton, and her organization of his letters is a major reason there is a musical about him today. Angelica, a prominent member of the social elite, serves as an intellectual sparring partner for Hamilton on stage. (There’s also an implied but fictional attraction between her and Hamilton.)

Peggy, however, has no arc in the play, something Elliott’s new book helps to rectify.

Elliott, a New York Times best-selling author with a master’s degree in journalism from UNC-Chapel Hill, is celebrating her ninth historical young-adult novel at Quail Ridge Books on November 7, as part of a Hamilton-themed event. When asked by her editor—for obvious reasons—to write a Hamilton-related book, Elliott chose Peggy because “Hamilton’s sacrosanct at this point, and other people were already doing

father, the Revolutionary War general Philip Schuyler.

“Peggy was the only sister who stayed home in Albany, and that provided a window to talk about her father and his spy ring,” Elliot says. A former journalist, she drew heavily from letters in the National Archive to research the book. She found that while Peggy Schuyler’s words were lost to the sands of time, she had a major presence in history.

“There was nothing really left of her in her own handwriting, but a lot of people talked about her,” Elliott says. “They called her a ‘wicked wit.’ She was ‘endowed with a superior mind and a rare accuracy in judgment of men and things.’ One of Hamilton’s aides called her, in a letter, a ‘Swift Vanessa,’ referring to a poem by Jonathan Swift about an intellectual woman who alienated men because she wanted to talk politics and philosophy with them. It’s like eighteenthcentury code for calling someone an Elizabeth-Warren type.”

Elliott got to see Hamilton with the original cast “before it became this unstoppable thing,” she says, and she has nothing but praise for the musical. “History is real-life theater,” Elliott says.

“And when theater can capture that, what a gift that is!”

And it certainly hasn’t hurt her book sales.

“Before the book was even done, I’d already gotten kids at schools singing the Schuyler sisters song when I mentioned I was writing about Peggy,” she says. “The sisters are really encouraging this generation of young people who want to be part of the narrative, who want to be smart and empowered.” arts@indyweek.com

“History is real-life theater.” things about Eliza.” She discovered Peggy was more than just a little sister: “I found very quickly she was an extraordinary person in her own right, and there just wasn’t time in the musical to incorporate the totality of her life.”

Hamilton and Peggy!: A Revolutionary Friendship focuses on Peggy Schuyler’s search for her own identity, the role she played in bringing her sister Eliza and Hamilton together, and her relationship with her

L.M. ELLIOTT: HAMILTON AND PEGGY!

Wednesday, Nov. 7, 7 p.m., free | Quail Ridge Books, Raleigh | www.quailridgebooks.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming November 21:

OUTPOSTS OF THE TRIANGLE For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 10.31.18 | 25

WHAT TO DO THIS WEEK 10.31–11.7

GWAR PHOTO COURTESY OF FREEMAN PROMOTIONS SUNDAY, NOVEMBER 4

GWAR If you’ve been paying any attention—to plastic signs on roadway medians, to the pages of this newspaper, to the world around you—you’re already well aware that 2018 is a crucial year for midterm elections. In an effort to get out the vote on Election Day proper, Chapel Hill’s Superchunk holds court at Motorco for a free show—at least, if you RSVP with a photo of you at your polling place (photographing your ballot itself is illegal).

Otherwise, it’s twenty bucks. On their most recent album February’s What a Time to Be Alive, the band responds to the 2016 presidential election with urgent, razor-sharp songs that offer catharsis and a call to arms without reducing themselves to empty clichés. We hope you’ll do your civic duty without the promise of a rock ’n’ roll reward, but if not, well, here’s your prize. Cold Cream takes the middle slot, while No Love opens with raucous punk. —Allison Hussey

It’s remarkable enough that GWAR still exists. Over the past thirty-five years, the band has built a cult following built primarily around the band’s gore-splattered live shows, in which the band, adorned with foam-rubber prosthetics and makeup, simulate executions, spray fans with an assortment of fake bodily fluids, and tear through hard rock songs that mix sophomoric humor with sharp satire. Naturally, GWAR has attracted as much controversy as acclaim, and in the mid-nineties, the band offered memorable, in-character appearances on daytime talk shows to discuss censorship and media violence.

And yet, GWAR persists. Even after the death of the band’s founding frontman Dave Brockie (a.k.a. Oderus Urungus) in 2014, GWAR has continued its tradition of tenacious touring. Last year’s The Blood of Gods features the band in classic form, using mythological imagery, comic book exaggeration, and plenty of sex and violence to propel songs that veer from classic thrash to hardedged boogie rock. Miss May I and American Sharks open. —Bryan C. Reed

MOTORCO MUSIC HALL, DURHAM 8 p.m., Free–$20, www.motorcomusic.com

LINCOLN THEATRE, RALEIGH 8 p.m., $25, www.lincolntheatre.com

TUESDAY, NOVEMBER 6

SUPERCHUNK

WEDNESDAY, NOVEMBER 7

BASSEM YOUSSEF

After decades of religious media censorship, and with a dismal record on human rights, Egypt was an implausible country to launch an edgy political-satire TV program in the mold of The Daily Show. But during the Arab Spring, there was a period where public speech was freer, and when comedy—and criticism of autocratic rulers and Islamic fundamentalism—seemed less hazardous. Bassem Youssef began Al-Bernameg (The Show) as a series of five-minute YouTube videos that ultimately morphed into a top Egyptian TV show, with a viewership of thirty million, a third of the country’s population. Youssef was dubbed “the Jon Stewart of the Middle East” for roasting the country’s leaders, the military, and the Muslim Brotherhood. Then came the pushback: death threats, arrests, and trials for insulting Islam and the president. Since fleeing Egypt in 2014, Youssef’s been building a career as a comedian in the U.S. “I had to rewire my brain not just to do standup, but to do it in a language that was foreign to me,” he told the Chicago Tribune earlier this month. His show is a mix of comedy, autobiography, and political commentary comparing the rise of the right wing in Egypt and America. —Byron Woods UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $27, www.carolinaperformingarts.org

WHAT ELSE SHOULD I DO?

CUCALORUS FESTIVAL IN WILMINGTON (P. 24), BOB DYLAN AT DPAC (P. 20), L.M. ELLIOT AT QUAIL RIDGE BOOKS (P. 25), MATANGI/MAYA/M.I.A. AT THE CHELSEA THEATER (P. 43), NATHAN BOWLES TRIO AT THE CAVE (P. 18), DEANNE SMITH AT KINGS (P. 42), SO & SO READING SERIES AT CAM RALEIGH (P. 43), WE SHARE THE SUN AT GOLDEN BELT (P. 40), YELLE AT LOCAL 506 (P. 22) 26 | 10.31.18 | INDYweek.com

FRIDAY, NOVEMBER 2–SUNDAY, NOVEMBER 11

THE FLICK

In Annie Baker’s 2013 Pulitzer-winning play, Rose, Avery, and Sam are a trio of misfits working at a run-down cinema in a small Massachusetts town. Avery’s a socially awkward film geek on hiatus from the college up the road. Hard-partying indie girl Rose is a devotee of the leap-before-looking school of liaisons. Sam is thirty-five, still living at home, and still looking for a promotion at this dead-end gig. Since their lives are hung up in different holding patterns that play out in the theater’s Coke-spilled aisles and gummy seats, none are suitable candidates for a workplace romance. To be determined: Can they make any other human relationship work any better? Itinerant indie Bartlett Theater scored the perfect venue for this play when they learned Northgate Mall was looking for trial-balloon live shows for its Stadium Cinema 10. Presto: a play about a movie theater, staged in one. Jonathan Bohun Brady directs Chloe Oliver, Vincent Bland Jr., and Jim Roof. Popcorn and drinks are on sale in the lobby. —Byron Woods

TUESDAY, NOVEMBER 6–SUNDAY, DECEMBER 2

HAMILTON

It’s somehow fitting that Alexander Hamilton’s face has appeared on the largest number of U.S. currency denominations; it takes a lot of them to buy a ticket to his theatrical namesake. In case you hadn’t heard, the touring version of Lin-Manuel Miranda’s modest little musical—its New York grosses alone topped $400 million in August, and it’s still the top-selling show on Broadway—opens Tuesday at DPAC. When last we checked, scattered-but-pricey seats remained available for most dates on Ticketmaster.

But if luck’s on your side, you might still catch the show for a sawbuck. As with the New York production, the #HAM4HAM lottery will sell forty seats for each Durham show for $10 apiece. Two days before each performance, enter the lottery online on the show’s app or at hamiltonmusical.com/lottery. Winners, who will be notified via email at 11 a.m. the day before the show, have a five-hour window that day to buy their $10 tickets online. Sorry, school kids: You must be eighteen or older to play. —Byron Woods DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $LOL, www.dpacnc.com

Joseph Morales and Nik Walker in Hamilton PHOTO BY JOAN MARCUS

NORTHGATE STADIUM 10 CINEMA, DURHAM 7:30 p.m. Wed.–Sat./2 p.m. Sun., $27, www.carolinaperformingarts.org

INDYweek.com | 10.31.18 | 27

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3/31/19 THE MIDNIGHT ($20/$22) 4/18/19 TOM ODELL

11/28 HANDS LIKE HOUSES

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2/8/19 CODY KO & NOEL

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12/8 SOUTHERN CULTURE

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KROL ($10/$12)

MEMORIAL HALL (UNC CH-HILL)

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2/1/19 MANDOLIN

ORANGE

MOTORCO (DUR)

11/17 SAVES THE DAY W/KEVIN DEVINE (SOLO) 3/24/19 ALL

THEM WITCHES ($15)

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28 | 10.31.18 | INDYweek.com

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music 10.31–11.7

metal bands and started slowly crossing over into the country world in 2008 is not surprising. Metal and country fans have plenty in common—a subculture in love with real devotion in their songwriting, playing, and maybe drinking, too. It’s fitting that Jink’s latest offering is titled Lifers, as it holds that eternal youthful enthusiasm that breathes life into country music’s current one-trickpony trends. —John Bohannon LINCOLN THEATRE:

G Herbo

[$38+/8 P.M.] Since being associated with the most contentious Freshman class of rappers ever listed by XXL Magazine in 2016, Chicago’s G Herbo has proven himself as more than just another member of his city’s craze for drill music and separated himself from the wave of Soundcloud gimmicks that has surrounded him. This summer, he released Swervo, a full-length album packed with raw energy that will be sure to translate into moshing audiences in every city his Swervo tour touches.

—Charles Morse LOCAL 506:

Boy Named Banjo [$12–$15/8 P.M.]

Cody Jinks performs in Durham Thursday night.

PHOTO BY GREG GIANNUKOS

WED, OCT 31

NIGHTLIGHT: Solar Halos, Upper Wilds, Hand of Doom; 9 p.m.

CAT’S CRADLE: Hippo Campus, The Districts; 8 p.m.

CAT’S CRADLE (BACK ROOM): Lazaris Pit; 9 p.m.

THU, NOV 1

THE CAVE: Crystal Bright and the Silver Hands, Robert Griffin, Katharine Whalen’s Swedish Patrol/ Jimmie Ray Swagger and the Fussy Eaters, Codeine Haze; 9 p.m.

DUKE’S MARY LOU WILLIAMS CENTER FOR BLACK CULTURE: Jazz Jam; 9 p.m.

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

MOTORCO: Halloween VIII: Paranormal Party with DJ Rang, DJ Forge, Birdgherl; 9 p.m., $8-$10.

BLUE NOTE GRILL: Nash Street Ramblers; 7 p.m.

CAROLINA THEATRE:

Take Me to the River: New Orleans [$45–$65/8 P.M.]

Take Me to the River: New Orleans is what happens when you put three generations of Crescent City musical talent onto the same bill. Touring in commemoration of the Martin Shore–directed documentary of the same name, Take Me to the River features a jaw-dropping list of New Orleans artists, including

Ivan Neville, George Porter Jr. of The Meters, The Dirty Dozen Brass Band, The Lost Bayou Ramblers, Big Chief Monk Boudreaux, and more. They’ll spend the evening underlying just how much gratitude we owe to New Orleans for the sonic riches they’ve shared with all of us. —Jim Allen CAT’S CRADLE: Cursive, Meat Wave, Campdogzz; 8 p.m.$16-$18.

CAT’S CRADLE:

Cursive

[$16–$18/8:30 P.M.] Like Superchunk’s What a Time to Be Alive, Vitriola, the latest from the challenging indie rock band Cursive, is a reaction to the poisonous miasma that’s currently enveloping the world.

And like What a Time to Be Alive, it offers no solutions— just a chance to vent. “Rather than contributing to the anger,” Cursive frontman Tim Kasher said in a statement, “hopefully this record can be witnessed as a reflection of our collective anxieties, and perhaps offer a little catharsis.” Ain’t that what rock ’n’ roll’s all about?

—Patrick Wall CAT’S CRADLE (BACK ROOM): Nicki Bluhm, Gill Landry; 8 p.m., $16.

DURHAM PERFORMING ARTS CENTER

Cody Jinks

[$23.50+/7:30 P.M.] The fact that Cody Jinks grew up playing in thrash

Nashville quintet Boy Named Banjo adds a bit of polish and restraint—plus an actual rhythm section—to what’s otherwise an early Avett Brothers’ vibe, thanks to their earnest, folksy lyricism and breezy acoustic strums.

Durham’s Thomas Strayhorn previews his forthcoming album, which he recorded with Bombadil’s James Phillips, of deeply personal tunes with simple piano or guitar arrangements.

—Spencer Griffith NASHER MUSEUM OF ART:

Tish Hinojosa [FREE/7 P.M.]

Southern Cultures launches its Music & Protest issue at the Nasher Museum of Art with a performance from celebrated Texas folksinger Tish Hinojosa. Hailing from Texas, Hinojosa has made a steady career out of performing traditional and original songs in Spanish and English. She’s used her music to support

the rights of immigrants and farmworkers, and songs like “The West Side of Town,” which is about Hinojosa’s own immigrant parents, are beautifully written tales of hard work and triumph.

—Allison Hussey MOTORCO: Vinyl Theatre, The Catching; 8 p.m. $12/$14 day of show.

THE RITZ:

AJR

[$40/7:30 P.M.] Sibling pop trio AJR—whose branding prominently features the band members as cartoon avatars, a helpful tool for distinguishing them from the Jonas brothers—bring their energetic electronic music to Raleigh this week. The group, comprised of New York brothers Adam, Jack, and Ryan cite Kanye West and The Beach Boys as influences, though their sound is closer to a Pixar-esque version of the Chainsmokers, with the same zeitgeisty explorations of digital miscommunication, masculinity, and the complications of celebrity.

—Sarah Edwards

FRI, NOV 2 BLUE NOTE GRILL: Duke Street Dogs; 6 p.m.

CAT’S CRADLE: Ghostland Observatory, Gibbz; 8 p.m. $25-$27.

CAT’S CRADLE (BACK ROOM): Jess Klein, Katherine Whalen’s Swedish Wood Patrol, Humble Tripe; 8 p.m., $10-$12.

DUKE’S BALDWIN AUDITORIUM: Steve Coleman & Natal Eclipse; 8 p.m.

KINGS:

The Nude Party [$13–$15/9 P.M.]

Aside from being tricky to find on Google, The Nude Party stands out for being a straight-up rock band in the age of laptop jockeys and SoundCloud superstars.

Originally from Boone and now based in Woodstock, New York, the group embodies the sound, aesthetic, and lifestyle of early Pink Floyd, the Velvet Underground, and The Animals. And this is authentic stuff, folks: As legend has it, the six dudes in the band really used to party buck naked.

(Can’t wait for that episode of Behind the Music.)

—Howard Hardee INDYweek.com | 10.31.18 | 29

MOTORCO: The Little German Band, Oberkrainer Band; 4 p.m. Free.

SHARP NINE GALLERY: Keith Ganz Quartet; 8 p.m.

ST. MICHAEL’S EPISCOPAL CHURCH: Eric Plutz; 7 p.m.

SAT, NOV 3

BYNUM GENERAL STORE: Front Porch Pickin’; 10 p.m.

CAT’S CRADLE: Emmure, Stick To Your Guns; 7 p.m. $15-$25.

CAT’S CRADLE (BACK ROOM): The Shoaldiggers, Eno Mountain Boys, Ragweed Brass; 8 p.m., $5-$7 HAW RIVER BALLROOM

The Lemon Twigs [$15–$17/8 P.M.]

The Lemon Twigs, in Saxapahaw Saturday

PHOTO COURTESY OF HIGH ROAD TOURING

On Go to School, the wildly adventurous Long Island quintet The Lemon Twigs merges the musical theater background of cofounding brothers Brian and Michael D’Addario with songs cast in an eclectic array of settings. Imagined as a musical and described by the band as “a fairy tale with a dark edge,” the lushly orchestrated album— inspired by Broadway show tunes and British Invasion rock,

as well as the shaggy sixties— tells the equally zany tale of a chimpanzee adopted and raised as a human boy by childless couple. Jungle Green opens. — Spencer Griffith KENAN MUSIC BUILDING: Earspace; 8 p.m.

KINGS

Xander Naylor Sound Machine [$7/9 P.M.] Xander Naylor Sound Machine is the Brooklynbased guitarist’s quartet specializing in breakneck speed explorations in skronky jazz. Naylor’s guitar exploration often sounds less like a traditional guitar and more like late-aughts audio collage work of Black Dice and Growing. The quartet expands upon that idea to round out a dynamic journey of the sounds of Brooklyn’s recent decades in avant-jazz, experimental composition, and frenetic rock.

—John Bohannon MOTORCO: The Ataris; 8 p.m., $18/$20.

NCSU’S STEWART THEATRE Chanticleer; 8 p.m.

QUARTER HORSE BAR & ARCADE:

J0eru

[$5/ 9 P.M.] Durham electronic emporium Raund Haus has linked up with Fredricksburg, Virginia’s enigmatic j0eru a number of times for collage artwork on a number of the label’s releases.

Now, they reunite to explore the inner audio landscapes of the designer himself. Luminous and boasting an extensive wheelhouse of leftfield production sounds, it’s nice that j0eru’s lovably unbothered sonics reflect the same lived-in, no-bad-days essence his visual art is steeped in.

Another strong addition to the label’s admirable beat record catalog. With b0nds and pxl pyramid. —David Ford Smith THE RITZ:

Young the Giant [$29–$88/8 P.M.]

Unless you’re a Young the Giant devotee, at some point, you’ve probably subconsciously attributed the band’s milquetoast music to some other, equally indistinct indie-rock band that came of

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30 | 10.31.18 | INDYweek.com

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age circa 2010. The difference is, Young the Giant somehow outlasted those other bands and just dropped its fourth major-label album, Mirror Master. Go figure.

—Howard Hardee SHARP NINE GALLERY: Peter Lamb and the Wolves; 8 p.m.

SUN, NOV 4 CAT’S CRADLE: Polyphia, Hail The Sun, Covet; 7 p.m., $17-$21.

KENAN MUSIC BUILDING: Earspace; 3 p.m.

LOCAL 506:

Author & Punisher [$12–$15/9 P.M.] San Diego’s Tristan Shone is a robotics engineer with a master’s degree in sculpture and a taste for heavy metal (both the literal and musical kinds). All these facts collide and combust in the electronic-industrial music he makes as Author & Punisher. Shone designs and fabricates scary-looking prosthetics and controllers that fight back instead of helping out, augmenting the physical exertions his music so readily implies. This year’s Beastland is an infernal slab of demonic pitches and black-hole sub-bass, but if you caught Shone’s set at Moogfest, then you know that the stage, surrounded by devices that suggest both medieval torture and medical-horror films, is where his art most fully, darkly comes to life. —Brian Howe MOTORCO:

Portland Cello Project [$16–$18/8 P.M.] For some reason, people love to hear hordes of cellos recast pop music. Maybe it has something to do with the instrument’s rich timbre and expansive range? In any case, this group of Portlander cellists—with brass, percussion, and singer Patti King of the Shins—reimagine Radiohead’s vast discography as the centerpiece to this concert. —Dan Ruccia NCSU’S STEWART THEATRE: Raleigh Civic Chamber Orchestra; 4 p.m.

NIGHT RIDER:

Frayed Moon [$25/8 P.M.] Sonorous and brittle, the music of Frayed Moon suggests a one-man approximation of the first trilogy of albums from U2, back when they were still paddling around in muddy post-punk atmospheres.

There’s thick distortion caked on guitars, not to mention a fine lacquer of ennui that slimes up the lyrics. In other words, it’s mostly standard stuff for this well-trekked genre, and also slides right into quiet Sunday night plans.

—David Ford Smith SLIM’S DOWNTOWN: DJ Pangean; 10 p.m.

WEST END WINE BAR: Eric Meyer, Noah Sager & Friends; 4 p.m.

MON, NOV 5 THE ARTSCENTER: Old Time & Bluegrass Jam; 5 p.m.

CAROLINA THEATRE:

Toto

rock band Slothrust at all, it’s likely from about fifteen seconds of their song “7:30 a.m.” in the opening credits of dark rom-com You’re the Worst. Slackening and exploding between twee-pop jangle and nineties-indie crunch, topped by Leah Wellbaum’s deadpan takeno-shit vocals, it’s objectively a perfect song. Slothrust’s knack for spiking slacker rock with overachieving hooks is in full force on their new album, The Pact; think Speedy Ortiz if they were more into The Breeders than Polvo. Mannequin Pussy opens.

—Brian Howe RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, NOV 6 CAT’S CRADLE: The Psychedelic Furs, Liz Brasher; 8 p.m., $30-$34.

DUKE COFFEEHOUSE:

State Champion

[$55–$95/8 P.M.]

[$5/9 P.M.]

Yes, beyond the postmodern hall of mirrors that “Africa” has become, incontrovertible pop legends Toto still exist and still perform their musical instruments live. Seriously, put down the paper and scroll through the Porcaro brothers’ Discogs pages if you have any doubts. The number of records this Grammywinning band’s members have contributed to is vast, diverse, and mindboggling. Beyond the memes and the spectacle, if you have the cash, this is unquestionably worth seeing as a nugget of pop music history. —David Ford Smith

The occasional ragged, ramshackle edges belie State Champion’s lush Southern sound—that’s violin, not fiddle—and dense lyricism that takes dozens of listens to unpack, suggesting a band raised on short stories, seventies country, SST, and Springsteen. The Louisville quartet has the unenviable task of following one of the best rock ’n’ roll outfits around, as Spider Bags brings a boozy bout of scuzzy, scorching garage swagger with countryfried touches and psychedelic detours. (Disclosure: Spider Bags bassist Steve Oliva is the INDY’s art director.)

—Spencer Griffith

CAT’S CRADLE: Palaye Royale, Bones, Dead Posey, Anastasia Max; 7 p.m., $16-$19.

CAT’S CRADLE (BACK ROOM): King Buffalo, Irata; 8 p.m., $10

MOTORCO: Superchunk; 8 p.m.

Free w/RSVP and photo outside polling location, tickets $20 otherwise.

THE RITZ:

HAW RIVER BALLROOM: Guster, Zac Clark; 8 p.m. $26-$29.

6lack

MOTORCO: Flash Chorus; 7 p.m.

NCSU’S STEWART THEATRE: NC State Jazz Ensemble II; 7 p.m.

It’s hard to believe that it’s already been two years since 6lack (pronounced “black”) released his breakout single “Prblms,” which rode a yearlong wave and provided a theme song for everyone who was sick of their significant other. But since then, he has proven to be anything but a

THE PINHOOK:

Slothrust

[$12–$14/9 P.M.] If you know the Boston indie

[$30+/8 P.M.]

Author & Punisher performs in Chapel Hill on Sunday. one-hit wonder, collaborating with the biggest names, most recently being J. Cole on the track “Pretty Little Fears.”

—Charles Morse

WED, NOV 7 CAT’S CRADLE: Haken, Leprous, Bent Knee; 7 p.m., $22-$27.

CAT’S CRADLE (BACK ROOM): Kweku Collins, Joseph Chilliams, Kiya Lacey; 8 p.m., $12-$15.

FLETCHER OPERA THEATER:

A Tempo, Il Soldato & Friends

ultra-rare neurodegenerative diseases. This decidedly Spanish-flavored concert is part of a global tour to benefit the organization. Mezzo soprano Maria José Montiel, cellist Ángel Luis Quintana, and pianist Laurence Verna offer interpretations of classics by Spanish composers Manuel de Falla and Xavier Montsalvatge alongside Spanish-tinged works by Bizet and SaintSaëns. Montiel will play a rare cello, il Soldato, owned by the Fundacíon.

—Dan Ruccia

[$23+/7:30 P.M.]

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

The Fundacíon Columbus has a noble goal: to help find treatment for children with

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

PHOTO BY CAITLIN PENNA

MEYMANDI CONCERT HALL: A Tempo, Il Soldato and Friends; 7 p.m.

MOTORCO: RED, The Veer Union, Skyharbor, Veio; 6 p.m., $24-$28.

NCSU’S STEWART THEATRE: NC State Wind Ensemble; 7 p.m.

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art

10.31–11.7

ONGO 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.

SATURDAY, NOVEMBER 3

WE SHARE THE SUN Astrology’s star seems to be rising in recent years, especially in Durham. Even skeptics can use it as a tool, in dark and disordered times, to help understand the way we move in the world. This approach is taken by We Share the Sun, a pop-up art event at Golden Belt by art-curatorial consultancy Perk+Niel, an organization that supports and highlights artists of color in the Triangle. Astrology, interpreted by the fifteen visual artists featured in the exhibition, is a part of our “innate desire to understand more about ourselves.” This event (black-tie optional) is sponsored by The Carrack, along with other local vendors.

It also features readings by astrologer Kamara Thomas, music by DJ GLACEAZUKA, and more. Blackspace, a digital maker space in Durham and Chapel Hill that serves as a hub for social entrepreneurship and Afrofuturist thought, is the special guest of the night, and a portion of the proceeds to go support the organization. —Sarah Edwards

GOLDEN BELT STUDIOS, DURHAM 8–10 p.m., $10–$23, www.perkandniel.com

Art by J. “Slim” Robertson PHOTO COURTESY OF PERK+NIEL

32 | 10.31.18 | INDYweek.com

LAST CHANCE conjunction Photograph 5. Pleiades PleiadesArt Cameron V Photograp going to so you know t an undergr OPENING Cameron V housed nig SPECIAL Anything Goes: incubated l EVENT Sixty-four local artists juried by Jayne Walther. hosted lege Reception: Fri, Nov 2, 6 p.m. as diverse a Fri, Nov 2-Thu, Dec 13. Litmus Manilow, Ji Chuck Man Gallery, Raleigh. www. seventies a litmusgallery.com. before it wa Death Faire: Workshops, because of vendors, talks, children’s safety, The activities, interactive altar, the Raleigh meditation, fire-spinning, live roiled with music, food trucks, cash bar.

The Frog an Sat, Nov 3, 1noon. The Plant, The Pier, w Pittsboro. abundancenc.org. recorded th Día de los Muertos: Ofrendas Be Your Do Celebration: Peter Marin on Confusio installation, Videri chocolate history, mo and Pan de Muertos tasting, some hazily traditional Mexican music. Fri, Nov 2, 6 p.m. Artspace, Raleigh. artspacenc.org.

Fiber Arts Market: Triangle Weavers Guild sale. Demos for adults and children. Sat, Nov 3, 10 a.m. Triangle Fiber Arts Center,Durham. www. triangleweavers.org.

Reception: Jillian Ohl: Sugar Coated: Installation and illustrations. Fri, Nov 2, 6 p.m. Artspace, Raleigh. artspacenc.org.

Orange County Artist Guild Open Studio Tour: Open studio tours and sales. 10 a.m.5 p.m. Saturdays and noon to 5 p.m. Sundays. Sat, Nov 3-Sun, Nov 11. Hillsborough Gallery of Arts, Hillsborough. orangecountyartistsguild.com.

Serving Life: Re-Visioning Justice: Hidden Voices and Duke Chapel exhibit about guilt and innocence. Thu, Nov 1-Mon, Dec 10. Rubenstein Arts Center at Duke University, Durham. artscenter.duke.edu.

SPECIAL Sisters XII: Better by EVENT the Dozen!: Pottery, jewelry, and painting by Mary Beth and Virginia Owen.

Reception: Fri, Nov 2, 6 p.m.

Fri, Nov 2-Fri, Nov 30. Local Color Gallery, Raleigh. localcoloraleigh.com.

ONGOING LAST Alternative Images: CHANCE Pleiades artists in conjunction with the Click!

Photography Festival. Thru Nov 5. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

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 SPECIAL Evee Erb: Strong EVENT Ties, Invisible Threads: Interactive fiber installation. Closing reception: Sat, Nov 10, 7 p.m. Thru Nov 11. The Carrack Modern Art, Durham. thecarrack.org Meditations: Fiber art by Alice Levinson. Thru Nov 15. Durham Arts Council, Durham. durhamarts.org.

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

Thru Nov 23. Block Gallery, Raleigh. raleighnc.gov Nerys Levy and Michele Maynard: Paintings. Thru Dec 8. FRANK Gallery, Chapel Hill. frankisart.com LAST Origins: CHANCE Photography by Monika Merva. Part of the Click!

Photography Festival. Thru Nov 1. Durham Arts Council, Durham. durhamarts.org LAST A Palette of Rust CHANCE and Dreams: Photography by Karen Healy.

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 Vernon Pratt: All The Possibilities of Sixteen: Neverbefore-seen posthumous exhibit. Thru Feb 10. Gregg Museum of Art & Design, Raleigh. qqq.gregg.arts.ncsu. edu.

Rural Avant-Garde: The Mountain Lake Experience: Paintings, sculptures, installations and more by artists who attended the Mountain Lake Symposium. Featuring works by John Cage, Sally Mann, Howard Finster, Merce Cunningham, and others. Thru Dec 10. Gregg Museum of Art & Design, Raleigh. gregg.arts. ncsu.edu.

Semiotics of Cruising: William E. Jones, Robert Blanchon, Dean Sameshima, and others.

Thru Nov 17. Lump, Raleigh. lumpprojects.org.

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

Trace message from under quarry stone: Tarik Garrett, Doris Guo, Sarah Viviana Valdez, and Jack Crowley.

Thru Nov 17. Lump, Raleigh. lumpprojects.org.

Transcending Otherness: Jaki Shelton Green, Stacey L. Kirby, Jennifer Markowitz, Libby O’Daniel, Lamar Whidbee, and Jade Wilson. Thru Nov 8. Meredith College: Weems Gallery, Raleigh. www. cargocollective.com.

LAST Ruby C. Williams: CHANCE Farm Fresh Folk Art: Paintings. Thru Nov 2.

Alexander Dickson House, Hillsborough. historichillsborough.org

food & drink Battle of the Badges Chili Cook Off: At the Holly Springs Farmers Market. Sat, Nov 3, 9 a.m. Holly Springs Cultural Center, Holly Springs.

HSFarmersMarket.com.

Pinhook Presents: Weekly Pop-Up Series: Jeddah’s Tea and The Purple Fence, guest vendors. 8 a.m.-4 p.m. ThuSat. The Pinhook, Durham. thepinhook.com.

Salt & Smoke Festival: Barbecue presented by Acme.

Live music. Sat, Nov 3, 3 p.m.

Rock Quarry Farm, Chapel Hill. saltandsmokefest.com.

Sausagefest: Local sausages. $10-$25. Sun, Nov 4, 12 p.m.

The Rickhouse, Durham. rickhousedurham.com.

BILL BURTON ATTORNEY AT LAW

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

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OUTPOSTS OF THE TRIANGLE

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S

WEDNESDAY, NOVEMBER 7

DEANNE SMITH

About a year ago, Canadian-American comedian DeAnne Smith made a viral splash with a clip from her set at the 2017 Winnipeg Comedy Festival. The four-and-a-half-minute clip is called “Straight men, step your game up.” Smith frames her jokes around dating a woman who had previously dated men exclusively, and Smith expresses surprise at the ease with which her partner is impressed: “I just show her basic human decency, and she loses her mind,” Smith says.

From there, Smith offers advice to straight men on how to keep their ladies happy: Text a woman back, express genuine emotions and interest, and make eye contact. It’s all great fun, but at the core of the bit is some plain truth regarding gendered expectations of emotional intimacy and relationships. Smith can turn on a dime from endearing goofiness to razorsharp wit, and it’s a thrill to follow her through her anecdotes and observations. —Allison Hussey

KINGS, RALEIGH 7:30 p.m., $15–$18, www.kingsraleigh.com

DeAnne Smith PHOTO COURTESY OF DEANNESMITH.COM

34 | 10.31.18 | INDYweek.com

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OPENING Bar Plays 4.0: $10 suggested.

Tue, Nov 6-Thu, Nov 8, 8 p.m.

Fortnight Brewing Company, Cary. fortnightbrewing.com.

The Flick: Bartlett Theater. Fri, Nov 2-Sun, Nov 11. Northgate Stadium 10, Durham. bartletttheater.org She Kills Monsters: Play presented by Meredith College Theatre. Mon, Nov 5-Sun, Nov 11. Meredith College: Studio Theatre, Raleigh. meredith.edu.

So You Think You Can Dance Live! 2018: Dance. Sun, Nov 4, 8 p.m. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

The Talk: Benefit for Raleigh PACT. Sat, Nov 3, 7 p.m.

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

Bassem Youssef: The Joke Is Mightier than the Sword: Wed, Nov 7, 7 p.m. UNC Campus: Memorial Hall, Chapel Hill. carolinaperformingarts.org

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

Goodnights Comedy Club, Raleigh. goodnightscomedy. com The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10.

Fridays & Saturdays, 10 p.m. ComedyWorx, Raleigh. comedyworx.com.

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

Next to Normal: Play. 15-$22.

Thru Sun, Nov 11. North Raleigh Arts & Creative Theatre, Raleigh. nract.org

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

CAM 8 p.m

Gen

PHOTO

READ SIGNI

Kevin Corn Lucy Fell Do Nov 3, 11 a.

Pittsboro. m

Frankenrea reading of F Oct 31, 9 a.

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Robert Gip Weedeater.

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THURSDAY, NOVEMBER 1

SO & SO READING SERIES No less of an eminence than Louise Glück chose GennaRose Nethercott’s The Lumberjack’s Dove as a winner of the National Poetry Series in 2017— and that was just for the book. In her live show, which is closer to theater performance than a standard poetry reading (I saw it at The Fruit last week), Nethercott uses a homemade device called a crankie, in which a hand-cranked scroll carries illustrations across a backlit wooden box, to add an enchanting visual layer to the crisp, acute writing of her modern fairy tale. The Vermont author is currently on a mind-boggling eight-month tour, and she comes to CAM Raleigh to read with two distinguished N.C. State MFA students: Emily Cataneo, whose fiction is also fairy-tale-inspired and whose journalism has appeared in Slate and on NPR, and Tennessee Hill, whose work was featured in the Best New Poets 2018 anthology.

—Brian Howe

CAM RALEIGH, RALEIGH 8 p.m., free, www.camraleigh.org

Frankenreads: Marathon reading of Frankenstein. Wed, Oct 31, 9 a.m.-5 p.m. Duke Campus: Allen Building, Durham.

Robert Gipe: Novel Weedeater. Sun, Nov 4, 2 p.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Near Death Story Hour: Neardeath experience stories. Fri, Nov

Before she was a pop star who basically owned the early-Internet era of music, M.I.A. was Matangi “Maya” Arulpragasam, the U.K.-born daughter of a Tamil resistance leader in Sri Lanka, who experienced issues of globalism and displacement much more directly than most of her peers. A revolutionary, refugee spirit has always been baked into her polyglot electronic pop, with its banana-clip iconography and its cut-and-paste radical slogans. Steve Loveridge’s Sundance-blessed documentary, MATANGI/MAYA/M.I.A., captures her tripartite nature in its title—the Easterner, the Westerner, and the world force—and in personal video recordings spanning more than two decades. The film charts M.I.A.’s rise to fame and the critical backlash that inevitably comes to critical darlings, especially when they relentlessly insist on defying expectations (and especially especially when they are women of color). The Chelsea screens the film in its weekly, late-night Friday Music Mojo series. —Brian Howe

THE CHELSEA THEATER, CHAPEL HILL | 9:45 p.m., $7–$10, www.thechelseatheater.org

SPECIAL SHOWINGS

biopic focusing on singer Freddie Mercury. Rated PG-13.

Dumpster Dive Cinema: Tue, Nov 6, 9 p.m. The Station, Carrboro. stationcarrboro.com.

Funny Games: Screening. Sat, Nov 3, 9 p.m. Chelsea Theater, Chapel Hill. thechelseatheater. com.

The Happy Prince—Rupert Everett wrote, directed, and stars in this tribute to Oscar Wilde. Rated R.

LECTURES ETC.

The Source Family: With documentary filmmaker Jodi Wille. Thu, Nov 1, 6 p.m. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

Nobody’s Fool—Tyler Perry directs Tiffany Haddish as parolee helping her sister get revenge on a catfisher.

Rated R.

Astronomy on Tap Triangle: Young Planets and Dark Matter!: Talk about astronomy over beer. Tue, Nov 6, 7 p.m. Fullsteam, Durham. astronomyontap.org.

We Are Not Alone; Welcome Space Brothers; The Arrival: With Jodi Wille. Wed, Oct 31, 6 p.m. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu. edu.

The Nutcracker and the Four Realms—Because there simply aren’t enough Nutcrackers out there, here’s one from Disney. Rated PG.

A Conversation with Amitav Ghosh: Tue, Nov 6, 5 p.m.

Franklin Humanities Institute, Durham. fhi.duke.edu.

Bohemian Rhapsody—Bryan Singer directs this Queen

PHOTO COURTESY OF GENNAROSE.STRIKINGLY.COM

Kevin Cornell: Children’s book Lucy Fell Down the Mountain. Sat, Nov 3, 11 a.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

FRIDAY MUSIC MOJO: MATANGI/MAYA/M.I.A.

Can You Ever Forgive Me?— Melissa McCarthy turns to drama as a desperate writer fabricating sources. Rated R.

GennaRose Nethercott

READINGS & SIGNINGS

FRIDAY, NOVEMBER 2

2, 6 p.m. The Plant, Pittsboro. abundancenc.org Brian Noyes: The Red Truck Bakery Cookbook. Sat, Nov 3, 2 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

OPENING

 Suspiria—Reviewed on p. 23. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. 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 least interesting thing in this movie. Rated PG.  Crazy Rich Asians— This Asian-American-led rom-com is an undeniable cultural milestone, but put that aside and it’s uttery standard fare. Rated PG-13. ½ First Man— Damien Chazelle shoots the moon in his glorious film about Neil Armstrong. Rated PG-13. ½ Halloween—A backto-basics approach fails to restore the mystery and

menace of Michael Myers.

Rated R. 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 Mid90s—Tktktk tkt tk tkt kt tk tk tktkkt ktk tkt kt ktkkt ktktk kt kt kk tk tktkktktktktktk. Rated R.  The Old Man & the Gun—Robert Redford goes out with a bang in this crime caper, reportedly his final film role. Rated PG-13. ½ A Star Is Born— Neither modern classic nor mega-bomb, this CooperGaga remake is best when it’s allowed to be what it wants to be: a tender country-western love story.

Rated R. INDYweek.com | 10.31.18 | 35

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notices Notice of Resolution to Adopt Time for Counting of Absentee Ballots On 8/9/2018, the Durham Board of Elections met at its office at 201 N. Roxboro St., Durham, and adopted a resolution of the following effect: 1. The Board of Elections shall meet at 2:00 p.m. on Election Day, Tuesday, 11/6/2018 at its office to count absentee ballots.

2. The results of the absentee ballot count will not be announced before 7:30 p.m. on the evening of the Election.

3. The Board of Elections shall meet at 2:00 p.m. on Thursday, 11/15/2018 at its office to count additional timely-received absentee ballots prior to county canvass.

4. Any voter of the county may attend these meetings.

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OUTPOSTS OF THE TRIANGLE For advertising opportunities, contact your ad rep or advertising@indyweek.com 36 | 10.31.18 | INDYweek.com

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FORECASTS FORECASTSFOR FOROCTOBER THE NEW28–NOVEMBER MOON IN LIBRA,3 OCTOBER 7TH-13TH Chanelle A. Bergeron | moonbymoonapothecary.com

ARIES (March 21–April 19) Chanelle A. Bergeron | www.moonbymoonapothecary.com Dear Ram: This week emphasizes the patterns in your relationships and the role you play in them for better or worse. It may arrive in a flash of insight or be provoked by a single lyric from the radio, Aries (Marchresonates.

21-April 19) but it deeply Uranus, the planet of upheaval, retrogrades back into your sign until the Dear this weektomay a little tight, a little sloweryour thanfeet. you prefer. The New Moon is spring,Ram: so get ready feel feel its fantastic rumbling beneath

in Libra, your opposite sign, putting you face to face with others, bringing your relationships into focus,(April helping you redefi TAURUS 20–May 20) ne love. Receive and reflect without trying to change anything, let honesty your guide. relationships in your life have been experiencing a growth spurt, so give Dear Bull:beThe important them the room they need to stretch out comfortably. Alongside these shifts will come time to

reflect on how 20-May you spend your days, offering a chance to review to what is and is not aligning with Taurus (April 20) your sense of self. thiswill week seektopleasure and inbody, the mundane.

Dear Bull: the NewUse Moon asktoyou take care of joy your health, and your day to day.

Now is a time to revisit your rituals and routines, make slow-cooked foods, tend to your own GEMINIThe (May 21–June 20) hearth. more you nourish yourself, the more you can make offerings to others.

Dear Twins: If you’ve been feeling bogged down with work as of late, expect some fresh air to swoop into this sector of your world. It is especially helpful right now to create healthy relationships

Gemini (May 21-June 20) to your job and what you do to unwind, because your workload is only growing. This week, make Dear Twins: pause when you find pleasure, when you celebrate, when you create. This is a time to commune with those who light up your mind. particularly inspired time for you and the New Moon wants you to harness it. Write down your symphonies, pen your poems, fill your canvas with color.

CANCER (June 21–July 22)

Dear Crab: Connecting even deeper with your creative work and community is on the agenda this

Cancer (June 21-July 22) week. Push into your creative processes, let them expand—and you with them. Any issues in your Dear home where heart is and at this New Moon will usher youput there.

Though you may homeCrab: or family lifeiswill alsothe be exaggerated this time, the things you’ve on the backburner be combing through gone by, try not to get lostinintothe past.

Createclear the harmony start to boil over now,days ready for your attention.

Tune what becomes for you. you need at home, connect with your roots, and you will see what can be cleared away to make room.

LEO (July 23–August 22)

Dear(July Lion:23-August You may receive Leo 22) some wonderful news as it pertains to family or home over the next week.Lion: Root sort into through your nest, settle your space.for Before adding the flourishes and details to each it Dear what hasinto been waiting you to give it your full attention.

Sometimes room, do ato biglisten sweep clear away the we clutter.

In To your professional life, be open to change, be is hardest to and the truths of what need. find balance between your head and heart ready to the unexpected, and make room tothat dream. under thereceive New Moon, create playful daily rituals engage you. Make an altar, spritz lavender in your room, tackle each project with love.

VIRGO (August 23–September 22) Dear Virgin: What you envision for your future has been transforming and getting bigger. Walk Virgo (August 23-September 22) step-by-step toward the opportunities that allow you space to breathe, that value your time and Dear Virgin: although you are known your graceful to others, New Moonget solicits energy.

This week, make it your focus tofor seek balance andservice reciprocity in yourthe relationships, clear you to reserve that energy for yourself.

There will always be a new project to undertake, on your terms, and practice the art of discernment.

another element to perfect. For now, take a breather, reorient your compass, and enjoy the fruits your labors.

LIBRAof (September 23–October 22)

Dear Scales: You know what makes you more secure, well-fed, energized. Abundance is looking for Libra 23-October 22) space(September to land in your world. Relationships of all kinds always rule your sign, but now anything or anyone who tips scales and and siphons reserves willenergy be magnifi ed week this week.

Lettogoset of that Dear Scales: thisyour is your season youryour Moon.

Use the of the ahead which tapswhich you out. intentions best serve you, your vision for the years ahead. Use this momentum to renew

THIS HORROR-SCOPE BROUGHT TO YOU BY:

your sense of purpose. Being true to oneself is the greatest act of courage.

SCORPIO (October 23–November 21)

Dear Scorpio: The sun is officially 21) in your sign, and it makes for a very fertile, transformative time in Scorpio (October 23-November all areas of your life.

Invite magic choosing step into most authentic This Dear Scorpio: use the Newthe Moon to by release whattothrows youyour off course.

The pastself. may feelweek, connect to what and who fill your reserves and inner life. There is some innovation awaiting your all too near these days, let yourself reflect but don’t dwell. You are on the verge of a great work life, so stay receptive. transformation and it is natural to consider all that led to this moment. Meditation or creative expression can help you find alignment with your inner world and keep your waters flowing.

SAGITTARIUS (November 22–December 21) Dear Archer: You are given the immense and beautiful challenge of imagining change in your Sagittarius 22-December 21)your sovereignty and support from your community. world. This is(November especially true in regards to Dear Archer: requests thatsame you reach own the edges, explore beyond Playing it safethe willNew keepMoon you stewing in the old potpast andyour trodding same pathways.

Theyour more comfort zone, connect to those around you. It is the perfect time to let your social charms unexpected theand opportunity, the better.

guide the way. Take a risk, there are intriguing doors to open and surprises in store.

CAPRICORN (December 22–January 19)

Dear Seagoat: This week, feel the great Capricorn (December 22-January 19) joy of connection to your community and a boomerang effectSeagoat: in your profession.

Focus on receiving without the breathe. flow, andThe expanding in your Dear it is time to join forces with hope andcontrolling let your work New Moon creative life repeatingofthe same tricks. the midst of itlabor all, remember to atend to your reminds youwithout that a spoonful sugar gets youIn through a long and having balanced hearth and home more than just insight. to catchTime a wink. perspective will off er you great is on your side, re-infuse your work with light.

AQUARIUS (January20-February 20–February18) 18) Aquarius (January Dear Water Bearer: With so much growth in your professional life, release that which gets in the Dear Water Bearer: give your dreams a space to simply be. Though it may feel tempting to burst way of realizing your dreams and long-term goals for your work, and come face to face with what your own bubble, this New Moon asks you to entertain the impossible, to let your mind run free, lays at the foundation. This week, connect with comrades in your field, share your manifesto, bear to expose your heart.the ways you’ve been holding yourself back. Be flexible, allow for change, find faith in the unknown.

PISCES (February 19–March 20)

Pisces (February 19-March Dear Fish: It is time to dream20) big—no matter the hiccups or detours along the way, it is all part of Dear Fish: look at special the collaborations your life.

Doplay they meet youwhom half-way?

Do getting there.

Pay attention to in the roles you in support relation you, to those with you share they allow Be foropen your to expansion?

If the answer is no, use thisyou time toget evaluate where you put resources. learning from any tension thatthen arises now; will some much-needed your energy.inThis NewofMoon wants you to seek reciprocity and refuse to settle for less. perspective the skill sharing.

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

5

1

6

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

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# 50

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this week’s puzzle level:

© Puzzles by Pappocom

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

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

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

3 4

2

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MEDIUM

3 4

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# 52

2 7 6

MEDIUM 4 9 5 1 8 6 2 7 3

2 6 8 5 7 3 4 1 9

# 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

# 17 6 3 2 7 8 5 4 9 1

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1 9 8 4 2 6 3 5 7

7 2 5 9 4 8 1 3 6

9 1 6 2 3 7 5 8 4

8 4 3 5 6 1 9 7 2

solution to last week’s puzzle

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

8 7 5 9 4 and click 2“puzzle “Diversions”.

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

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

9 7 3

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30/10/2005

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INDYweek.com | 10.31.18 | 39

CHRISTIAN YOGIS

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DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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HISTORY TRIVIA: * Commodore Council was born on October 31, 1886.

He invented the famous BC headache powder at Germain Bernard’s drugstore in Durham in 1906. * NC State Capitol, a Greek Revival style building completed in 1840, became a National Historic Landmark on November 6, 1973.

Courtesy of the Museum of Durham History

INDEPENDENT JEWELRY APPRAISER Graduate Gemologist 919-260-3686 www.ncjewelryappraiser.com

DONATE GENTLY USED FURNITURE, HOUSEHOLD GOODS, AND CLOTHING TO SUPPORT LAKEWOOD ELEMENTARY SCHOOL!

Lakewood Elementary School PTA is hosting a fundraiser and seeking donations. All proceeds benefit the children of Lakewood Elementary (a DPS neighborhood school). To donate, contact Matt Sears at treasurer@lakewoodelementary. org before Saturday, Nov 3. Don’t have goods to donate?

Consider making a tax-deductible financial donation to a great PTA at: www.lakewoodelementary.org/support

RUMMAGE SALE SATURDAY, 11/10 TO SUPPORT LAKEWOOD ELEMENTARY SCHOOL

Want to find great deals on gently used furniture, household goods, and clothing AND help a school that would greatly benefit from your support? Join us Saturday, 11/10 from 8am to 12pm at City Well Church (2317 Chapel Hill Rd near the Lakewood YMCA) for the annual Lakewood Elementary School Rummage Sale. Don’t have time to stop by, but want to support an amazing public school? Consider making a tax-deductible donation at: www.lakewoodelementary.org/support.

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