INDY Week 11.1.17

raleigh 11.1.2017

ANTHROPOSmashing the Taffeta Ceiling p. 14

Whalebone Corsets Begone p. 15

Aughties Fashion Nostalgia p. 24

SCENE

HOW TO DRESS LIKE A HUMAN IN THE TRIANGLE

2 | 11.1.17 | INDYweek.com

WHAT WE LEARNED THIS WEEK 6 By the time it ends, the Raleigh mayoral race will consume a long, long 122 days.

8 Since being elected to the Durham City Council in 2001, Cora Cole-McFadden has never garnered less than 58 percent of the vote. This year looks different.

10 As Pat McCrory’s press secretary, Graham Wilson slammed opponents’ “continued distortion of the facts.”

Now he’s running for Apex Town Council.

.

21 Even women with so-called average bodies struggle to find clothes that fit.

DEPARTMENTS

VOL. 34, NO. 43

6 Triangulator 8 News 13 The Style Issue 29 Food 32 Music 35 Arts & Culture 36 What to Do This Week 39 Music Calendar 44 Arts & Culture Calendar

23 Costume designers working on a 2000 production of the musical Pippin gave the show a vaguely gothic look, without realizing that leather doesn’t bend like chiffon.

29 Fishy is having its moment right now—even fish sauce caramel is a thing.

32 Most of the songs on the new LP by Ama Divers are named for GPS coordinates.

ON THE COVER PHOTO BY TODD TURNER MODELS: JORDAN GRAHAM (DURHAM) NATALIE DRENNON (RALEIGH)

Natalie Drennon thinks her patent leather mini-satchel is “the cutest thing alive.”

(See our annual Style package, beginning on page 13.) PHOTO BY TODD TURNER

INDYweek.com | 11.1.17 | 3

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backtalk

Tyranny and Skullduggery

On the recent controversy over donations Lots of feedback on several different topics to get through this week. So, without fur- Raleigh mayoral candidate Charles Francis accepted from an Amendment 1 advocate, ther ado, let’s get at it.

Responding to news that a federal court which cost him the endorsement of Equalhad appointed a special master to analyze ity NC’s PAC: “If Francis really cared about and perhaps redraw the state’s legislative the LGBT community,” writes JerryG, “he districts, TonyD writes: “Let’s hope we can wouldn’t be taking money from bigots. No beat these crooked Republicans. Their tyr- self-respecting Democrat would do this.”

On that electoral contest, commenter anny and skullduggery have dragged North Carolina down to the lowest level. These Black Raleigh argues: “Black Raleigh wrote fanatics need to be kicked out on their ass. the book on being marginalized in Raleigh, Their stupidity and greed will destroy the and even though this isn’t the Marginalized very fiber of our society. The Republicans are Olympics, we understand that the quality the embodiment of evil. McCrory found out of life many poor and working-class folks how voters get even—his ass is gone. Too bad who Francis will represent, as he has done gerrymandering has left us with these other as an attorney for years, will continue to go useless taints in Raleigh. Maybe we can get ignored if he isn’t elected. Nancy [McFarlane] is about business, not people.” rid of them in the next election.”

Some Confederate sympathizers got hot Regarding our endorsements in Chapel Hill, Jennifer Van Winkle argues that we and bothered by a recent story on the value made a misstep: “I urge your readers to look of the monument that demonstrators tore down in August: “A monuat Allen Buansi’s credenment to law-abiding defendtials, which are readily found of our community is of online. He has a long, impres“A cheap piece ers a much greater value than sive list of service to Chaof crap erected the lives of a lawless mob of pel Hill and North Carolina and a depth of experience to demonstrate idiots bent on destruction peace and tranquility and making him exceptionala commitment of the value should be deterly qualified to serve. The to white mined by those who are hurt INDY missed the boat by not by its destruction not the endorsing him with clarity supremacy.” defenders of a mob!” writes and enthusiasm.”

Sam Burch.

On the INDY’s recent A guy (presumably) who reporting on property-tax subsidies offered to some residents of Dur- styles himself Robert E. Lee adds: “This is ham’s Southside neighborhood, Durham 451 pure corruption. This monument was obviwrites: “Isn’t the point of city-funded revi- ously priceless. If you had to put a dollar talization efforts to make areas more attrac- amount on it, it would clearly be in the huntive, livable, and valuable? Why are people dreds of thousands of dollars. This is no difshocked when it works? Taxes are a bur- ferent than the D.A. letting his buddy off with den for everyone. The average property in petty theft stealing the Mona Lisa because Durham County increased in value by 14 corrupt politicians say it is only worth the percent in the 2016 revaluation. If your prop- wood, paint, and canvas it is painted on.”

To which Vidvis responds: “Hey, y’all. The erty value went up by that 14 percent average, your taxes did not change. If your property statue was a cheap piece of crap erected privalue went up by less than 14 percent, your marily to demonstrate a continuing committaxes went down. If your property value ment to white supremacy. Every person in went up by more than 14 percent, your taxes the crowd that pulled it down is more worwent up. That’s called fairness. People with thy of honoring than every member of the fast-rising property values should pay more Confederacy.” because they will make more if they sell their property. If your taxes went up by $349, that Want to see your name in bold? Email us would indicate a 40 percent-plus increase in at backtalk@indyweek.com, comment on our the value of a $100,000 home. You don’t need Facebook page or indyweek.com, or hit us up on Twitter: @indyweek. a subsidy.”

INDYweek.com | 11.1.17 | 5

THE LONG AND WINDING ROAD Raleigh’s election is (mercifully) almost over.

+NOW APPLI

JULY 8

Raleigh-born attorney and banker Charles Francis dubs Mayor Nancy McFarlane aloof and files to seek her office, saying Raleigh is “great but should be greater.”

Let’s take a look back.

O

n July 8, Democrat Charles Francis announced his campaign against incumbent Mayor Nancy McFarlane, mounting the first serious challenge to her since she took office. While McFarlane has presided over a vibrant city, that vibrancy hasn’t been equally distributed—a fact Francis took advantage of. And in the last month, since Francis’s campaign survived the first round of voting, things have become ever-more heated. Next Tuesday, the question will be settled once and for all: Will McFarlane get a fourth term, or are Raleigh voters really tired of the status quo?

Before then, let’s take a quick trip down memory lane.

AUG. 1

JULY 13

The Wake County Democratic Party endorses Francis, the first time the Dems have endorsed a challenger to the unaffiliated McFarlane.

McFarlane files to keep her job, saying she’ll run on her record and pointing to a poll showing that most residents are satisfied. “I see every race as competitive,” adds McFarlane, who won her previous two elections by nearly fifty points.

SEPT. 21

OCT. 10

Early voting begins in sites expanded by the city council earlier this year.

SEPT. 27

Four-term former governor Jim Hunt endorses McFarlane. “She is a true leader and has my full support,” Hunt says.

OCT. 26

The Francis-tied group Raising Raleigh Project cites Human Rights Campaign’s ranking of Raleigh below other N.C. cities on LGBTQ issues.

OCT. 7

U.S. Senator Cory Booker speaks at a southeast Raleigh rally supporting Francis.

OCT. 20

McFarlane and Francis battle in a Spectrum News debate. She pushes her experience in government and business; Francis pledges to operate the city more efficiently.

On Election Day, McFarlane, with 48.40 percent of the vote, outpolls Francis, at 36.75 percent, and Fitts, at 14.74 percent.

The lack of a majority allows Francis to ask for a runoff.

OCT. 14

Fitts endorses Francis.

OCT. 16 OCT. 23 NOV. 7

Election Day II is finally here.

6 | 11.1.17 | INDYweek.com

OCT. 31

This newspaper goes to press. Absolutely nothing of interest happens in the final week of the election.

Francis loses the endorsement of Equality NC Action Fund PAC, an LGBTQ advocacy group that had backed both candidates. The group says Francis has ties to pro-Amendment 1 and HB 2 politicians. Francis says he’s pro-LGBTQ rights.

JULY 21

Mary-Ann Baldwin takes herself out of the running for her Raleigh City Council at-large seat, opening the door for a shakeup. Paul Fitts files for the mayoral race as a Republican.

OCT. 15

Francis asks for a runoff, noting that a majority of Raleigh voters picked someone other than McFarlane.

Francis speaks at a meeting of the Wake County Republican Party, drawing criticism from McFarlane, who says he’s seeking support from Trump backers. The Wake GOP chooses to support neither candidate.

OCT. 19

Early voting begins for the November 7 runoff.

Two wee announce Ali in the decide w years at t supports past expe ness acum tion is m Dependin cil could b er membe In Tue rent city Ali wins, If Schew cil will ch unexpired cedures, t participa ignation i Here’s Interes job with t each appl ham Cou taxes. The up with c and a que narrow th more than viewed. T ed in an o Then they The ap ly similar

PERIPHERA

+NOW TAKING APPLICATIONS?

Two weeks ago, Durham Mayor Bill Bell announced he was endorsing for Farad Ali in the November 7 election that will decide who succeeds him after sixteen years at the city’s helm. Explaining why he supports Ali, Bell touted the candidate’s past experience on the council and business acumen. But, as Bell said, “this election is more than an election for mayor.”

Depending on the outcome, the city council could be tasked with appointing another member to its ranks.

In Tuesday’s election, Ali faces current city councilman Steve Schewel. If Ali wins, Schewel keeps his council seat.

If Schewel wins, his peers on the council will choose someone to finish out his unexpired term. According to council procedures, the member being replaced can’t participate in the process “once their resignation is accepted by the City Council.”

Here’s how it works.

Interested candidates can apply for the job with the city clerk, who will verify that each applicant is a registered voter in Durham County and doesn’t owe any county taxes. The city council is supposed to come up with criteria to evaluate the applicants and a questionnaire. The council can then narrow the field to “not less than three nor more than seven candidates” to to be interviewed. These interviews must be conducted in an open meeting, preferably televised.

Then they vote.

The application should be “substantially similar” to the one used the last time

a council vacancy was filled. That was 2013, when council member Don Moffitt (who did not make it through the October primary) was selected to finish out Mike Woodard’s unexpired term after he was elected to the state Senate. The threepage application asked candidates why they want to serve, what they would bring to the table, and their ideas on addressing affordable housing, crime, transit, development, jobs, and diversity. They were also asked what books, newspapers, and blogs they’ve read recently and what sources of information they would rely on to make decisions if appointed.

Schewel holds an at-large seat, so there would be no residency requirement other than that applicants live within city limits.

The city code doesn’t lay out a timeline for when the seat must be filled, but in 2013 it took about two months.

Of course, we don’t know yet if any of this will be necessary. Schewel won the primary handily with about 51 percent of the vote, compared with Ali’s 29 percent. Schewel has the endorsement of the People’s Alliance, the Triangle Labor Council, and the Sierra Club. Ali has the backing of the Durham Committee on the Affairs of Black People, Friends of Durham, and, of course, Bell.

+ RALEIGH’S LGBTQ QUESTION

Gay rights have emerged as a contentious issue in the Raleigh mayoral race, creating some of the most heated rhetoric to date.

Both Mayor Nancy McFarlane and

Democratic challenger Charles Francis refer to themselves as strong supporters of LGBTQ rights. However, both have encountered sometimes-oblique criticism of their records.

On October 23, Equality NC’s political action committee rescinded its endorsement of Francis, whom the group had coendorsed along with McFarlane. The PAC cited Francis’s lack of public advocacy on the issue, along with his campaign contributions from conservative politicians and public figures who had backed Amendment 1 and HB 2.

Then, on October 26, the Human Rights Campaign released a scorecard of U.S. cities based on “how inclusive municipal laws, policies, and services are of LGBTQ people who live and work there.” The nonprofit’s analysis gave Raleigh—under McFarlane’s leadership—a grade of 60 on a scale of 100, placing it below Greensboro (82) and Durham (69).

Both candidates disputed criticisms of their records on LGBTQ issues. Francis said criticisms of the politics of some of his supporters were unjustified, citing the diversity of his supporters and pointing out that McFarlane had also received donations from people who supported candidates in favor of HB 2.

For her part, McFarlane spoke up for Raleigh’s inclusion of LGBTQ people, noting that the HRC survey did not measure work done by such nonprofits as the LGBT Center of Raleigh. triangulator@indyweek.com

THE INDY'S GUIDE TO THE TRIANGLE

This week’s report by Sarah Willets and Thomas Goldsmith.

PERIPHERAL VISIONS | V.C. ROGERS

s d n sta

! w o n

on

INDYweek.com | 11.1.17 | 7

indynews

Her Last Stand

CORA COLE-MCFADDEN IS A DURHAM POLITICAL INSTITUTION. CAN SHE HANG ON TO HER SEAT ONE MORE TIME?

BY SARAH WILLETS

E

ach race on the November 7 ballot for Durham’s municipal elections is competitive. Durhamites are engaged—early voting for the October 10 primary brought out about 60 percent more eligible voters than in 2015, although turnout was still just 13 percent—and the candidates are sharp. But the Ward 1 race is the closest.

In the primary, DeDreana Freeman led incumbent Cora Cole-McFadden by 1,301 votes—a slim margin that is surprising given Cole-McFadden’s track record in primaries past. She was unopposed in 2013, won 69 percent of the vote in 2009, 72 percent in 2005, and 58 percent in 2001, when she first joined the council.

It’s also the only race with an incumbent still in the running, pitting a seventy-twoyear-old lifelong Bull City resident and longtime fixture of Durham politics against a forty-year-old who moved to Durham ten years ago and seems to be everywhere and involved in everything.

As a teenager, Cole-McFadden was one of four students who helped desegregate Durham High School. She was the first AfricanAmerican woman to lead a city department and the first black woman to serve as the council’s mayor pro tem.

Freeman is special assistant to the president of the East Durham Children’s Initiative. She has served as president of Durham’s InterNeighborhood Council and chairwoman of the Northeast Central Durham Leadership Council. She is a city-county planning commissioner and chairs the Durham Democratic Party.

Both candidates identify inequities experienced by Durham residents in wealth, housing, and health as the most pressing issues facing the city. Cole-McFadden emphasizes her Durham roots and the importance of institutional knowledge, while Freeman speaks about the need for 8 | 2.10.16 | INDYweek.com

Cora Cole-McFadden more community participation and more investment in marginalized communities.

Freeman sees herself as a grassroots candidate and Cole-McFadden as “of the establishment.” Both agree that they vary more in approach than in policy.

Freeman thinks voters want change, and Durham can do more to live up to the progressive label it gives itself. That means listening to communities from which she feels Cole-McFadden is disconnected.

“I don’t have to say how progressive I am.

I think the last ten years of my life show how progressive I am, and I think if you look at the last sixteen years of her being in office, you would see how not progressive she was,” Freeman says.

Asked for specifics, Freeman says Cole-

McFadden hasn’t pushed for innovative solutions to the city’s affordable housing crisis and voted to spend $1.4 million on body cameras with little means for the public to access the footage, though a state law passed last year forbids the release of body-cam footage without a court order.

But Cole-McFadden says the sacrifices she’s made as a council member, city employee, and someone who helped advance racial equality make her worthy of another term.

She knows Durham, she says, and knows the realities of working in local government, particularly under a preemptive state legislature—which she suggests her competitor may not.

(While Cole-McFadden touts her institutional knowledge, on Monday the INDY reported that Cole-McFadden copied portions of her responses to a People’s Alliance candidate questionnaire word for word from internet sources. Cole-McFadden says she was in a hurry and unintentionally left out citations.)

“We are at a crossroads in the city of Durham. We can either choose to continue progress we’ve made or we can go backwards. I know there are people in Durham who would dare not let that happen,” ColeMcFadden says. “The vote is going to be much better in the general because people now understand what’s at stake.”

It is a thorny-enough decision that at Durham CAN’s delegates’ assembly Thursday— where candidates in all four city races were asked to commit to the influential group’s agenda on housing and jobs—ten of eleven people the INDY asked for their thoughts said they didn’t know enough about the candidates or didn’t have strong opinions either way. A few even visibly took a step back when asked about the Ward 1 race.

The eleventh person, Matt Kopac, says he also suspects people are hesitant to publicly

take a side because of their connections to the candidates. It’s a tight race because each candidate has rightly earned the respect of the community, he says. Kopac supports Freeman. Serving on the council isn’t the only way to gain relevant experience for the job, he says.

“Cora is very deserving of a hard look at another term, but she’s up against someone with a great track record herself of community involvement,” he says.

When Freeman decided to run, ColeMcFadden was planning a run for mayor.

The challenger says she didn’t recalibrate her campaign strategy when Cole-McFadden announced she would instead seek reelection to the Ward 1 seat—and thinks she’d have a stronger lead now if she had.

At the county Board of Elections on Friday, one voter, a family friend of Cole-McFadden, said he wasn’t aware that anyone was running against her. Shelia Thompson, also a friend of the incumbent, said she would have supported her for another term no matter who her opponent was. “Her heart is in what she does,” Thompson said.

Durham’s PACs are split, although that isn’t unusual. Freeman has the endorsement of the People’s Alliance, while ColeMcFadden is backed by the Committee on the Affairs of Black People and the Friends of Durham.

Durham CAN doesn’t make endorsements, but each candidate on Thursday agreed in front of more than six hundred people to meet its agenda—preventing displacement and evictions, investing more in land banking, creating more summer jobs for youth and job opportunities for exoffenders—if elected.

All the candidates on the November ballot are “exceptional,” Kopac says. “I think Durham will be just fine.” swillets@indyweek.com

Open Wounds

WAKE COUNTY’S COMMISSIONERS AND SCHOOL BOARD MEMBERS ARE STILL SMARTING OVER THIS YEAR’S BUDGET FIGHT

BY THOMAS GOLDSMITH Sometimes wounds have to be ripped open before they can heal.

That was the conclusion reached by leaders of Wake County’s government and school system Monday. The subject was smoothing the path to an agreement on how to pay for educating the 161,755 students projected to attend Wake schools next year.

The Board of Education came up with a memorandum of understanding that would create a new committee comprising three members each from the school board and the purse-strings-holding Board of Commissioners. Ideally, the committee would work collegially through the year, as an aid to the budget process, which involves members of both boards arguing from April to June over whether the county should fund all of the school board’s budget request.

During the most recent process, the negotiations left some bruised feelings, some of which were revived Monday night.

Commissioner John Burns recalled being labeled “treasonous” after he voted for a lower amount than the school board’s request to increase local funding by $45 million.

“Mr. Burns, I appreciate your opening the wound,” said Bill Fletcher, a school board member.

Fletcher said the school system had cooperated with commissioners, putting off a seven-year funding plan because it coincided with a transit referendum and supporting a sales tax increase for affordable housing.

“Our staff was impugned that their data was not accurate,” he said, referring to acrimony during budget discussions. “We’ve got some wounds to heal.”

Though both boards professed interest in the memorandum, snags immediately emerged. Talks reflected the seemingly inevitable clash between the school board’s mission to seek visionary and practical solutions for students and the commissioners’ charge to meet the county’s overall needs without large tax increases.

“It’s time we get past the surprises we encounter every year,” Burns said, referring

to expensive requests that appear before commissioners at budget time.

“I do feel the Board of Education has worked hard to answer questions from commissioners during the budget process, which had not been done in previous years,” said school board vice chairwoman Christine Kushner.

Kushner’s colleague Jim Martin was more direct.

“There has not been a surprise budget coming out of the Wake County school system during the past five years,” Martin said. “I get frustrated when I hear ‘surprises.’”

The request for $10 million for counselors and social workers appeared in Superintendent Jim Merrill’s April 4 presentation but did not make it through the budget process. The ask was designed to help students who have yet to succeed in the system, but also to respond to several racially charged incidents in the system during the past school year.

Burns apologized to Martin for saying “surprises.” He then created a surprise of his own by suggesting that the boards simply tell the General Assembly that Wake should be allowed to postpone budget-testing class-size mandates.

The lawyers in the room, Scott Warren for the commissioners and Jonathan Blumberg for the school board, greeted Burns’s proposal with a notable lack of enthusiasm.

“Literally you're talking about flouting the General Assembly,” Blumberg said.

Warren wouldn’t discuss it at all: “This is not the appropriate forum for attorney-client discussions. It's just really not a good idea.”

School board chairwoman Monika Johnson-Hostler said her panel’s members would discuss and return with a decision about the plan for an ongoing budget committee, hoping to create a better path to the system’s mission of preparing students to thrive in a “complex and changing world.”

“Students are ever changing, and it is our job ever to be meeting those needs,” Johnson-Hostler said. tgoldsmith@indyweek.com

“Our staff was impugned that their data was not accurate.”

INDYweek.com | 2.10.16 | 9

news

Bigotry’s Spokesman

IS IT A BIG DEAL THAT AN APEX TOWN COUNCIL CANDIDATE WAS A PROMINENT DEFENDER OF HB 2?

BY ERICA HELLERSTEIN In 2016, Sam, a transgender teen from Apex, decided to come out to her peers.

Although she’d already started transitioning at home, she hadn’t told people in her social circle—and she was worried.

“There was some fear there,” her mom says.

Soon after, the legislature passed HB 2, the so-called bathroom bill. That made things worse. Whenever Sam left the house, for example, she had to strategically plan to make sure she didn’t need to use a public bathroom. To this day, Sam is afraid to use bathrooms in public places.

“The whole HB 2 debacle has really impacted our family in a very negative way, to the point where it has decreased her self-worth,” says her mother, who asked to remain anonymous. “And a lot of that is because she is transgender and she doesn’t feel accepted in the state.”

Given that adverse impact, Sam’s parents are now looking nervously toward the upcoming Apex Town Council race, where the rags of HB 2 are still quietly playing out.

The HB 2 thread can be traced back to one candidate in particular: the snowyhaired Graham Wilson, formerly the press secretary for HB 2 cheerleader and defeated governor Pat McCrory. Wilson, who’s currently a PR consultant, according to the website Apex Voter Guide, served as McCrory’s press secretary from July 2015 through the end of his term.

In that role, Wilson defended the law during the height of its fallout. He blamed Charlotte for passing an antidiscrimination ordinance and thus provoking the HB 2 fight, and at one point argued that “this entire issue originated by the political left was all about politics and winning the governor’s race.” When CharlotteMecklenburg Schools announced that it would allow transgender students to use bathrooms that comported to their gender identity, Wilson blasted it as a “radical change.” When HB 2 opponents 10 | 11.1.17 | INDYweek.com

Graham Wilson challenged the law in court, Wilson criticized the “continued distortion of the facts by the groups challenging this law.”

The HB 2 connection doesn’t end with Wilson. There’s also Paul Stam, a former state representative from Apex. Stam, a primary author of HB 2 , contributed $200 to Wilson’s campaign and to that of fellow candidate David Hooks. Stam famously passed out a handout on the House floor in 2014 describing pedophilia, necrophilia, and bestiality as “sexual orientations.”

Stam declined the INDY’s request for an interview but said in an email that he has “known Mr. Hooks and Mr. Wilson for decades and highly respect each of them.”

So far, Wilson’s background as McCrory’s press secretary hasn’t come up much in his election bid—and in his own campaign materials, he doesn’t seem eager to highlight it. His campaign website doesn’t mention his time working for McCrory.

It’s not clear how much of an effect an HB 2 connection could have for a coun-

cil candidate. In 2016, the town leaned toward Hillary Clinton, according to vote tallies from the Wake County Board of Elections.

Still, the N.C. Republican Party, which recently sent out mailers endorsing Wilson and Hooks, sees it as fertile ground. In an email, Dallas Woodhouse, the executive director of the N.C. GOP, says the party weighed in because “Apex is a key area of growth.”

Wilson didn’t return phone calls or emails, and he refused to speak with a reporter at a “meet the candidates” event at an Apex IHOP last week.

Three of the five candidates vying for three spots on the council—Mayor Pro Tem Nicole Dozier, Brett Gantt, and Audra Killingsworth—have been endorsed by the Wake County Democratic Party. Only one of them has been willing to address headon Wilson’s previous gig. In a phone call, Killingsworth says she was appalled to learn about Wilson’s involvement with

McCrory and HB 2.

“Disgusted,” she says. “And horrified that we have someone with those views running for town council in Apex. We need someone who is more like the face of our community. We want someone who is thoughtful and looking toward the future instead of regresses in policies and could potentially harm our community.”

Gantt declined to comment on Wilson’s history, citing his employment with the EPA, which requires him to remain nonpartisan. Dozier, a health policy expert with the N.C. Justice Center, told the INDY, “As a mom, a daughter, and as an elected official, I represent everyone in Apex. I represent everybody, and I don’t want anyone to feel as though they may not be welcome.”

The candidates’ aversion to discussing the HB 2 matter might have something to do with a petition published recently on Change.org by Mike Rusher, calling on Apex candidates to take part in a positive campaign. To date, the petition has received thirty-eight signatures, including from Hooks, Gantt, and Wilson.

Rusher used to be chief of staff for the N.C. Republican Party. (He didn’t respond to a request for comment.)

The three top vote-getters on Tuesday will serve four-year terms—which means they’ll sit on the council in 2020, when the state’s moratorium on local nondiscrimination ordinances expires. After that, municipalities will be able to pass their ordinances protecting LGBTQ residents— or not, depending on who’s in charge.

“If you have someone who has a history of stating these stances on people who are transgender or LGBT, then I would expect that their future decisions are going to be very similar,” says Killingsworth. “When they’re talking about, Is it possible to have a nondiscrimination ordinance? Well, it probably won’t pass if these two people get on the board.” ehellerstein@indyweek.com

INDYweek.com | 11.1.17 | 11

12 | 11.1.17 | INDYweek.com

Fashion Forward

ART, HISTORY, CIVIL RIGHTS, TECHNOLOGY, NOSTALGIA, INNOVATION—EVERYTHING CONNECTS THROUGH CLOTHES

BY BRIAN HOWE

T

hey say that beauty is only skin-deep, which is true. But style—the way we own, inhabit, and express our natural endowments—goes all the way down to the core. And it’s not just the core of ourselves, but that of our entire collective history and society. In the INDY’s second-annual Style Issue, we’re pushing beyond what looks good and where to buy it—though of course, that’s included, too, in our roundup of local brands and retailers and our street-fashion photo spread—to find the seams where fashion runs into art, history, civil rights, technology, nostalgia, innovation, freedom, oppression, and every other facet of culture. You’ll read about how two Raleigh museums are finding the political in pleats and petticoats, how theater costumers and band stylists make fashion work on demand, how one Durham designer is looking to new tech to make better-fitting clothes for women, and more. We also hope you’ll get a kick out of our Aughties Fashion Nostalgia coloring book, where we do some advance reconnaissance on the next frontier of comeback trends. Dust off those shutter shades and skinny jeans, fellow oldies; it’s going to be a long decade.

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

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

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

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

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

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

INDYweek.com | 11.1.17 | 13

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(L to R) Givenchy evening dress by Alexander McQueen; cocktail dress by Tilmann Grawe; day ensemble by Jean Louis Scherrer

PHOTOS COURTESY OF JOHNSON PUBLISHING COMPANY, LLC

The Taffeta Ceiling THE EBONY FASHION FAIR BROKE DOWN BARRIERS BETWEEN AFRICAN AMERICANS AND RUNWAY FASHION. INSPIRING BEAUTY WEAVES ITS LEGACY IN DAZZLING GARMENTS.

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hat would the fashion landscape look like today without Beyoncé Giselle Knowles-Carter? Do you remember the first time you were enchanted by her iconic debut album cover, on which she was strategically draped in rhinestones?

When she graced the 2017 Grammy Awards stage, dripping from head to toe in gilded adornment, no one questioned the appropriateness of the regalia because she had been dazzling us with her fashion statements for more than a decade.

Similarly, Rihanna has dominated popular culture by making avant-garde fashion statements whenever the opportunity arises. We are fortunate to live in a time when the color of these women’s skin has not pre14 | 11.1.17 | INDYweek.com

BY NIKI MCNEILL ing the elegant women featured in the magvented them from becoming international azine’s pages. We probably would not have household names. fashion icons like Beyoncé and Rihanna, Today, African-American women are who would not have been allowed to enter mainstream trendsetters, but this was not the fashion houses that now fight over the the case in 1958, when Eunice Johnson— chance to dress them, the cofounder of Johnwere it not for the trail son Publishing Company, Johnson blazed. which published Ebony INSPIRING BEAUTY: She was born in Selma, magazine—pioneered 50 YEARS OF EBONY Alabama, to an upperthe Ebony Fashion Fair, FASHION FAIR middle-class family. which is celebrated in Through Jan. 21 Her passion for personInspiring Beauty, a new North Carolina Museum of Art, al style developed early, exhibit at the North CarRaleigh yet she chose to pursue a olina Museum of Art. www.ncartmuseum.org sociology career. While In fact, African-Amercompleting her master’s ican women were often degree, she met her husband, John H. Johnprohibited to shop at fine retailers, and their son, and a dynamic duo formed. She moved access to high fashion was limited to view-

to Chicago with him in the 1940s. Then her love of haute couture led her to Europe to visit top ateliers in search of items for her personal wardrobe. Known for her impeccable taste, Johnson began to curate an impressive collection. She knew that there were many black women who loved fashion but did not have the opportunity to travel to Europe, as she frequently did.

Backstage management company The Ground Crew’s Audrey Smaltz, who was the voice of the Ebony Fashion Fair for seven years and sometimes traveled with Johnson on buying trips, recalls how she always purchased one thing for herself and two or three for the Fashion Fair.

“At the time, it was difficult for black women to even receive an invite, so design-

ers were shocked to find Mrs. Johnson not only attending but purchasing garments straight off the runway,” says Smaltz.

From the start, Johnson’s aim was to use the Fashion Fair tour as a fundraiser for African-American charities. From 1958 to 2009, the traveling show raised more than $50 million dollars for those organizations.

Johnson organized and produced the Fashion Fair with models of color gracing the stage. Even in the 1970s, AfricanAmerican models were rarely seen in major fashion shows, so to attend one that featured only African-American men and women was groundbreaking. It was also well received. Smaltz recalls selling out the Kennedy Center in D.C. At NCMA, Fashion Fair model Kimberly Kearse-Lane remembered how fast the models were dressed behind the scenes.

“I’ve never walked in another show where the changes were executed so quickly,” she said.

Kearse-Lane participated in an astounding 287 shows during her short tenure with Fashion Fair. Before appearing in the show, she was an aspiring model, but walking the runway in more than two hundred cities launched her modeling career and afforded her the chance to win the title of Miss Topeka. Her story is one of dozens shared by Fashion Fair alumni whose participation was life-changing.

The forty ensembles from the Ebony Fashion Fair on view at NCMA feature sequins galore, intricate needlework,

and dresses in every silhouette, from ball gowns to mini skirts.

Though the garments are mainly for women, men are represented, too. There is an over-the-top, fully sequined suit, multicolored fur boots, and a full-length purple fur. The designers include names you will recognize, like Yves Saint Lauren, Bob Mackie, Givenchy, and Pierre Cardin, alongside designers you should get to know, such as Emanuel Ungaro.

André Leon Talley, a groundbreaking Vogue magazine editor, also worked for Ebony Fashion Fair early in his career.

At his talk with Smaltz at NCMA Sunday night, he recounted how Johnson recruited him from Women’s Wear Daily.

“She insisted that I come work for her, and she always respected the opinions of her team,” Talley said. “Mrs. Johnson would return from Europe to her modernistic home kitchen, after spending thousands on couture, and bake a lemon pound cake from scratch.”

Talley painted a picture of a woman driven to share what she was fortunate enough to see in Europe with the AfricanAmerican community.

Johnson accomplished her dream and left behind a legacy that will never be duplicated. It is a privilege to have this collection and its cultural impact illuminated at NCMA. If you are a fashion enthusiast, you cannot miss this exhibit. arts@indyweek.com

(L) Ball gown by Vivienne Westwood PHOTO COURTESY OF JOHNSON PUBLISHING COMPANY, LLC (R) Day ensemble by Missoni PHOTO BY JOHN ALDERSON/©2013 CHICAGO HISTORICAL SOCIETY

True to Form

FROM UNDERWEAR UP, THE SHAPE OF FASHION TAKES THE MEASURE OF MORE THAN A CENTURY OF SHIFTING SILHOUETTES

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BY ALLISON HUSSEY

here’s a scene in the film adaptation of The Devil Wears Prada in which Miranda Priestly, a terrifying but brilliant fashion magazine editor, chastises her young assistant for snickering during a meeting. “You think this has nothing to do with you,” she says, before delivering a dressing-down on how fashion has everything to do with her.

It’s true: whether we want to admit it or not, fashion affects us all, especially women, who have been subjected to some wildly erratic clothing trends throughout history. They form the backdrop of the North Carolina Museum of History’s current exhibit, The Shape of Fashion, which runs through May next year.

Tucked in the back corner of the museum’s first floor, the small exhibit is a light overview of the various forces that have literally shaped women’s fashion, explaining both the mechanics of the pieces as well as the historical circumstances surrounding them.

The oldest piece on display is a “column” dress from the early-to-mid1820s; few garments survive from before that time. The most current piece is a Jackie O-looking dress from the seventies, with a placard explaining that, in subsequent decades, clothing shapes would lose their uniformity, in part because of the rise of mass manufacture.

There are plenty of intriguing little aha moments that illuminate the larger forces, particularly war and technology, that influence fashion.

For example, the favored column shape in the late-eighteenth and early-nineteenth centuries stemmed from a general American interest in Greco-Roman aesthetics, thanks to a post-revolution attraction to Greek and Roman democratic ideals.

In the following decades, skirts bloomed in size, but they required bulky petticoats to lend them their shape. In 1856, however, R.C. Millet patented the steel-hooped cage crinoline, which kicked the door open for the billowing—and, paradoxically, much lighter—hoop skirts that we now associate with the Civil War. Fabric rationing during World War II dictated the shorter hemlines of the 1940s,

while the invention of metal S-hooks replaced corsets’ complicated laces.

One particularly striking display outlines silhouettes from the mid-1700s through the mid-1900s, presenting the changes in women’s fashion over the years in sharp relief.

Waistlines rise and drop, skirts balloon and deflate, bustles appear and disappear, and hemlines mostly just rise and rise. It will, at the very least, make you grateful that the

A bell-skirted gown from the mid-nineteenth century PHOTO COURTESY OF NORTH CAROLINA MUSEUM OF HISTORY’

patriarchal obsession with minuscule waspwaists has diminished.

There’s also a section devoted solely to underwear. Our foremothers, bless their hearts, wore a lot of it. A handful of interactive touchscreens walk visitors through each layer, and again, you’ll feel grateful—no longer are we tied up and weighed down by whalebone corsets or multiple layers of petticoats, nor do we have to wear split-crotch undies in order to accommodate bodily functions under it all.

Ultimately, in showing us the shape of where we’ve been, The Shape of Fashion illuminates where we are. ahussey@indyweek.com INDYweek.com | 11.1.17 | 15

Dress to Express

INSTEAD OF STYLING MUSICIANS IN COSTUMES, DEAR HEARTS HELPS THEM BE THEMSELVES

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ome musicians’ looks are as iconic as their art—think Siouxie Sioux’s gothy cat-eye makeup, Annie Lennox’s edgy androgyny, Elvis Presley’s gold lame Nudie suit, Madonna’s gilded cone bra, or basically any era of David Bowie.

But how do they get that way? The answer, sometimes, is stylists. In Durham, two women have helped a few local musicians take greater strides into style.

Stella Cook and Donna Orr started Dear Hearts in 2013, beginning by selling clothing and accessories out of a vintage camper trailer. They eventually moved in to a storefront on Foster Street, across from what’s now The Rickhouse.

“The store was fun and awesome, but also incredibly difficult,” Cook says. She and Orr were both working other jobs, which meant that keeping the store open at consistent hours was a constant struggle.

In August 2015, after a little more than two years, Orr and Cook closed their storefront. But the duo had already earned a local reputation for finding eye-catching pieces. The two took to dressing musicians when their friends Amelia Meath and Nick Sanborn, aka Sylvan Esso, recruited Cook and Orr to style them for publicity photos and videos surrounding the press cycles of the band’s first single and subsequent debut LP. “Some of the best shots that came from that were the ones that were simple, clean, plain, and them. So it’s like, What’s the best thing for this person? What are they trying to look like, but how can we also not make it feel convoluted and make it feel like them?”

Cook says. Orr adds, “We’re really just hired to be eyes, essentially.”

They’ve also applied those eyes to Hiss Golden Messenger’s M.C. Taylor and Mipso, which proved to be more involved because of the four band members’ different individual styles and personalities. Orr and Cook met with the individual players and helped them select outfits for their photo shoots. But a key factor was keeping Mipso, Mipso.

“You don’t want to flip it so hard on its 16 | 11.1.17 | INDYweek.com

BY ALLISON HUSSEY

Donna Orr and Stella Cook PHOTO BY LIZ CONDO head that you jar everyone. Mipso had a really solid fan base on their own—you don’t want to isolate that fan base by making them something like, ‘OK, now you look like a goth band,’” Orr says. “It has to be subtle and natural and organic. The people have to internalize it, too, and want to do it.”

Cook and Orr have no interest in trying to completely reinvent someone’s look— they’ve gotten that request and turned it down in the past. Especially in the field of music, they want to help artists’ appearances best reflect their art and personalities.

“A lot of people in music are interested in showing their identity via fashion, but they’re not as caught up in ‘I’m wearing this,’ or ‘It cost me this much,’ or whatever.

It’s more of an extended version of their voice in a lot of ways,” Orr says.

In addition to styling musicians themselves, Cook and Orr have also used their expertise to style spaces for artists at music festivals. For three years, they’ve styled art-

ist trailers at Eaux Claires, the summertime shindig in Eau Claire, Wisconsin, that was cofounded by Bon Iver’s Justin Vernon and The National’s Aaron Dessner.

Though they don’t consider themselves interior designers, when Vernon asked the two if they were interested in taking on the project of finessing twenty-something artist trailers for the first festival in 2015, they took the chance. They’ve returned to Eaux Claires each year since, and after they posted photos of their work on their website, another company tapped Cook and Orr to style artist areas at getaway events in Riviera Maya, Mexico, featuring Phish, Luke Bryan, and Dave Matthews.

Both have spent significant time in and around the music industry; Cook used to bartend at The Troubadour in Los Angeles and is married to Megafaun’s Brad Cook, while Orr once worked at Warner Brothers Records and has toured with bands.

They’ve seen enough grimy green rooms

with lumpy, damp couches and bad fluorescent lighting to last a lifetime. Thus, for festivals, they focus on adapting utilitarian spaces into spots where artists and their guests can completely relax. They joke that it’s like “polishing turds, constantly.”

“Trailers aren’t cozy, especially the ones we get. They’re nice, and they’re new, but things don’t stick to the walls, you can’t hammer anything.

So you have to figure out, How do I decorate this thing where everything about it has been built to not be decorated?”

Orr says.

“It doesn’t need to be anything but comfortable and feel really good,” Cook adds.

For artist areas, the two get a lot of foundational pieces from IKEA, which they credit with being inexpensive, durable, and easily stored. But to keep their backstage areas from looking like they were ripped straight out of the catalog, Orr and Cook add in other details—art, throw blankets, and more—sourcing the décor as locally as possible.

Dear Hearts’ efforts, however, aren’t all play all the time. In order to make the creative half happen, Cook and Orr have to do the unsexy administrative stuff of managing budgets, contracts, and insurance forms. What’s more, the two both hold down other jobs in addition to their Dear Hearts duties: Orr works part-time as a special events coordinator at Duke’s Nasher Museum of Art, and Cook runs her own Pilates studio. Even amid all the hustle, they love the work of getting people and places to the best versions of themselves.

“With people, we do like to try to bring out what is already sort of there. I still don’t always know what looks good on me,” Cook says. “Sometimes you need a little help.” ahussey@indyweek.com

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Home Shopping Network GET TO KNOW SOME OF OUR FAVORITE LOCAL RETAILERS AND BRANDS LOCAL RETAIL

and glassware, along with contemporary goods ranging from animal skulls to African mud cloths. 612 West South Street, Raleigh, holdergoodsandcrafts.com

THE ART OF STYLE At The Art of Style, the look is chic, cosmopolitan, and modern, with a monochromatic palette that would please even the most fashion-forward urban dwellers. The store carries men’s and women’s clothes by a slate of distinctive designer brands— familiar names like Kenneth Cole along with N.C. brands like Wilmington’s Forge & Foundry, hip footwear from BED|STÜ, and specialty items like heavenly socks made in Italy by Punto. Look here for that cool item your closet is lacking. 19 West Hargett Street, Raleigh, 919-755-3333, theartofstyleboutique.com CHET MILLER This home décor center on Durham’s Parrish Street offers a carefully curated, eclectic selection of gifts and artifacts by top designers, from high-end furniture to lamps, wallpaper, and prints. Founded by the people behind Parker & Otis, it’s also a down-to-earth purveyor of charming doodads of every sort: trinkets, barware, soap, globes, thermoses, and nature paintings.

The store features more men-centric items (think beard-maintenance tools) than your average upscale gift emporium. 118 West Parrish Street, Durham, 919-683-3201, chetmillershop.com DECO RALEIGH This home furnishings company features the work of a bevy of talented local artists and artisans, so its merchandise is not what you’ll find elsewhere. In a pleasantly cluttered atmosphere of fun and discovery, it’s easy to lose yourself in the aisles of quirk—kids’ books and greeting cards, refrigerator magnets, mugs, and jewelry—and the store’s relaxed vibe encourages laid-back browsing. 19 West Hargett Street, #108, Raleigh, 919-828-5484, decoraleigh.com 18 | 11.1.17 | INDYweek.com

URCHIN + CORAL PULLOVER/BIG URCHIN PULLOVER BY FLYTRAP CLOTHING PHOTO BY LEONARD LLEWELLYN GODWIN

EDGE OF URGE Beginning humbly in 2002, with owner Jessie Williams selling handmade clothing accessories out of a tiny space in Wilmington, Edge of Urge’s Raleigh location is now a vibrant presence on Franklin Street, offering the work of innovative designers of uncommon items—women’s clothing, jewelry, and accessories, baby clothes, or art for your home. The store also keeps a lively schedule of workshops and special events, but above all, the minds behind this emporium know that finding the perfect item brings a visceral thrill, and they strive to deliver that frisson to their customers. 215 East Franklin Street, #110, Raleigh, 919-827-4000, edgeofurge.com

fabrics from many nations, soaps and lotions, and a range of jewelry and objets d’art to fit a range of budgets. 319 West Main Street, Durham, 919-688-5747, theexotique.com

EXOTIQUE Exotique has flourished for a decade on Durham’s West Main Street, with a focus on jewelry, art, and clothing made by an international creative community. It’s a gift store, boutique, and gallery with a distinct sensibility and a commitment to community. Come for handbags from Guatemala in dazzling hues, Ghanaian shirts for men,

HOLDER GOODS & CRAFTS This sun-filled space in downtown Raleigh is a furniture store, an arts gallery, and an interior design firm as well as a showcase for the work of local artisans, potters, and craftspeople. It’s also an agora where you’ll come upon an alluring stream of rarified objects and curiosities curated with a sharp and appreciative eye: vintage items, like coffee mugs

GYPSY JULE Quite adamantly, Gypsy Jule doesn’t want to be called a boutique—“It’s too froufrou for what we do,” the website explains. The preferred term: Misfit Mercantile. What does that mean? Rugged and adventurous.

Urban and rustic. Unconventionally bohemian. Everything from fashionable boots to glassware, skirts to jeans. 207 West Davie Street, Raleigh, 919-753-7444, gypsyjule.com

MAGPIE BOUTIQUE Magpie prides itself on offering women’s clothing and accessories you won’t find elsewhere, in styles that are versatile and can be worn both for a day at the office and an evening cocktail party. Located in Durham’s West Village, Magpie stocks dresses, tops, skirts, and jeans that are all eminently fashionable and sure to turn heads wherever you go. 601 West Main Street, Suite D, Durham, magpienc.com PORT OF RALEIGH The carefully curated selection in this home furnishings store reflects an aesthetic honed by the owners over decades, surveying the world for the simplest, most practical, and pleasing home essentials. Elegant lines and a clean look pervade the collection, from clocks and tables to vases and charging cables designed to simplify your digital clutter. This is a can’t-miss place for a cool wedding gift, and affordable enough to buy yourself something, too. 416 South McDowell Street, Raleigh, 984-221-8008, portofraleigh.co POSSIBILITIES This small independent women’s clothing emporium reflects its owner’s quarter-century in the business with a look that’s bold and feminine, but also comfortable and seemingly effortless. Tunic-style tops are matched with dresses in light, often diaphanous fabrics, all in a range of natural fibers reflecting the spirit of ease and positivity the store aims to foster. Possibilities also carries an interesting assortment of handcrafted jewelry and a range of accessories tailor-made to complement the store’s vision of style.

1247KildaireFarmRoad,Cary,919-460-1852, possibilitiesboutique.com

grids, or simple shapes like anchors or the state of North Carolina, providing a distinct sensibility to these wares. 20 East Hargett Street, Raleigh, 919-833-8770, hollyaiken.com

REVOLVER CONSIGNMENT BOUTIQUE Recycling makes good sense, especially when it comes to purchasing upscale clothes at prices that are affordable to the average man and woman. Revolver has offered a blend of modern and vintage, designer and retro clothes for more than a decade, and it has earned a reputation as a place where you can shop in a pleasant, unhurried, well-organized environment and leave with at least one cool-as-eff item you just can’t live without. 122 Glenwood Avenue South, Raleigh, 919-834-3053, revolverboutique.com RUMORS Shopping at a quality thrift store is one of the most satisfying and cost-effective ways to make your fashion discoveries. Opened in 2013, Rumors has quickly become a well-loved source for delivering that elusive thrill of the find with its carefully selected range of vintage and modern styles. Denim, fur, or leather, designer label or a classic cartoon sweatshirt, New Year’s Eve or Halloween—we hear Rumors has the goods. 106 North Graham Street, Chapel Hill, 919-942-2335, shopatrumors.com

HOLLY AIKEN HANDBAGS PHOTO COURTESY OF HOLLY AIKEN

NYLA ELISE CLOTHING CO. The distinctive T-shirts and letterman jackets designed by Nyla Elise have earned a lot of street cred from being worn by big names like Kevin Hart and Kerry Washington, but Rick Moore, the store’s owner, says his locally sourced clothing is for everyone. Emblazoned with slogans like “Film Is My Ammo,” these tees and tanks have an urban verve all their own. nylaelise.com

TS DESIGNS This screen-printing company has been plying its trade since 1977, long before the T-shirt ascended to its current status as a laid-back style staple and ubiquitous promotional giveaway. The firm revamped itself according to a green business model in the early nineties, a strategy that has kept it at the forefront of its industry, offering high-quality, sustainable apparel made of 100 percent North Carolina-grown cotton. 2053 Willow Springs Lane, Burlington, 336-229-6426, tsdesigns.com VERT & VOGUE Vegan shoes and bamboo sweaters are among the items on offer at this chic clothing emporium, which prides itself on offering cutting-edge looks for men and women that fulfill the owners’ commitment to the work of green-minded designers and artisans. The clothing here is made exclusively from fine-quality natural fibers, sourced from eco-friendly manufacturers and designers. This kind of attention to detail does translate into some substantial price tags, but the quality of the materials means the clothes will last and keep looking good long after cheaper, more generic basics fall apart. 905 West Main Street, #24B, and 353 West Main Street, Durham, 919-251-8537, vertandvogue.com

LUMINA CLOTHING This homegrown clothier offers men’s and gender-neutral clothing—chinos, work shirts, button-downs, and the like—in light, durable fabrics in a classic unfussy style, all of them made in America, many from North Carolina. Also shoes, grooming stuff, bags, and accessories. Besides the sure touch of the goods selection, part of the attraction comes from the store’s personable, customer-friendly atmosphere, which makes shopping for quality clothes far more enjoyable than it often is. 215-120 East Franklin Street, Raleigh, 919-977-0130, luminaclothing.com

VODA BOUTIQUE Earlier this year, N.C. State grad Kayla Brewer opened Voda, a boutique on the bottom floor of a new apartment building on Tucker Street that offers everything from casual to trendy, nighton-the-town fashions, clutches to booties, jeans to sweaters. 725 Tucker Street. Raleigh, 919- 706-5783, facebook.com/vodaboutique

LOCAL BRANDS FLYTRAP CLOTHING This experienced family-run screenprinting company finds inspiration

in the natural world, coming up with designs for its mostly women’s apparel in its backyard workshop and selling them throughout the country in high-end stores as well as internationally. All of its garments—dresses, tunics, scarves—are designed and made by hand. flytrapclothing.com HOLLY AIKEN This maker of classy, practical bags and accessories has a distinctive style based on a color palette derived from retro items.

A slew of merchandise, from handbags and messenger bags to diaper bags and wallets, are emblazoned with a pleasing geometry of chevrons, diagonals, and dot

RALEIGH DENIM Raleigh Denim succeeded wonderfully well in achieving its initial goal of creating authentic, handcrafted jeans sourced exclusively from the finest local textile makers, made cloth by area designers, pattern makers, and fabricators. Ten years later, its wares have expanded to a full range of apparel and accessories, all of equally discerning quality. This is the place for pricey, indestructible selvage jeans with local pride. 319 West Martin Street, Raleigh, 919-917-8969, raleighdenimworkshop.com RUNAWAY With its super-popular “Durm” shirts, hoodies, hats, and stickers, Runaway embraces a style that’s synonymous with its city. But its owners aim for something far beyond high regard in the clothing business: an urban lifestyle brand. The folks behind Runaway are crazy for art, DJ culture, and skateboarding, and those loves are reflected in its lumberjack hats, ball caps, T-shirts, tank tops, and accessories for women, men, and kids. 212 West Main Street, #102, Durham, 919-213-1081, runawayclothes.com INDYweek.com | 11.1.17 | 19

Fourth Annual

November 4 10am-5PM November 5 12pm-5PM twenty-one professional potters & two teaching facilities Tour studios & buy beautiful locally made pottery Maps and brochures available at DurhamCountyPotteryTour.com 20 | 11.1.17 | INDYweek.com

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inc in for called ave new techn ham’s R com) wan made clot The ide commute in Califor profession “Profes super an we’re stan champagn lashes, w all these t hands,” sh Miller designer, istic unti her to st robe. She blazer, a p er: the ki ed, adapta on your b ing a pres a drink. S manager w Her tw trian jack is classic. thinking a able. She movemen feature women’s starter ca of produc bike comm her goal a she realiz small and larger.

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Form and Function

DURHAM’S REID MILLER USES NEW TECH TO PUSH PAST STANDARD SIZES IN PROFESSIONAL WOMENSWEAR

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ince the standardization of sizes in the 1940s, women have been forcing their bodies into the socalled average mold. But, with the help of new technology, apparel designers like Durham’s Reid Miller (reidmillerapparel. com) want to provide affordable, custommade clothing for the modern woman.

The idea took root when Miller was a bike commuter pursuing a public health degree in California and realizing how restrictive professional womenswear can be.

“Professional apparel for women is super antiquated and basically assumes we’re standing around with little glasses of champagne, in stilettos, blinking our eyelashes, when the modern woman is doing all these things and maybe wants to use her hands,” she says with a laugh..

Miller always wanted to be a fashion designer, but she didn’t think it was realistic until she met one who encouraged her to start by designing her own wardrobe. She drew some sketches of a tweed blazer, a pair of jeans, and a merino sweater: the kind of outfit she’d always wanted, adaptable for the fluid lifestyle of getting on your bike, going to a coffee shop, giving a presentation, and meeting friends for a drink. She handed them to a production manager who brought them to life.

Her tweed blazer is inspired by equestrian jackets, she says, so the overall design is classic. The fun part was updating it and thinking about how to make it more moveable. She added an action pleat in back for movement and lots of pockets, a design feature often curiously missing from women’s clothing. She launched a Kickstarter campaign to try to realize her vision of producing a line of apparel for female bike commuters. But when she fell short of her goal and started meeting with women, she realized her target market was way too small and the issue to address was much larger.

“I don’t think there was one woman I met who did not bring up fit as an issue, and it’s really interesting, because you realize that even women who seem to have

BY HANNAH PITSTICK

A display of merchandise from Reid Miller’s launch party PHOTOGRAPH BY MARIA BRUBECK the average body have a problem,” Miller says. “Because standard sizing doesn’t really make sense. Standard for what?

Bodies are so varied, and it doesn’t really work for people.”

Until now, Miller has been following a typical production model, which involves sending off patterns and materials and getting back an order of standard sizes. She’s been selling her ready-to-wear riding denim online over the past year and more recently at Liberation Threads, but when she had a few prototype jackets made last year, she realized this model would not work with her vision.

“I fortuitously got a jacket back, and it was just a teeny bit off and it looked totally different,” she says. “I realized I can’t sell this in standard sizing with this fancy material and all the waste that’s going to happen there.

And what’s happening with apparel anyway? It’s dying to have an update.”

Last summer, over coffee, her father told her something she took to heart: “You know, my dentist takes this little wand and puts it in your mouth and takes a scan and makes a molar to measure. You think you can do that

with apparel?”

When Miller started researching apparel technology, she discovered the existence of tools like digital pattern makers, computerized cutters, and 3-D body scanners that could make custom apparel more adaptable and affordable. She was also surprised by the dearth of made-to-order womenswear options online. When she typed in “custom-made clothing,” she found plenty of options for men, but next to nothing for women.

“None of these technologies that we’re working with are novel or right-off-the-press new,” she says. “It’s all quite logical. Why aren’t we doing this for womenswear?”

She posits that a big part of the problem is that the industry doesn’t think there’s a desire for custom-made womenswear, or maybe women think the idea is neat but aren’t willing to invest in it. Miller is out to prove that idea wrong.

On September 26, Miller tried crowdfunding again, this time using iFundWomen to raise money to test a made-to-measure production model for women, creating custommade riding jackets for five local women of

varying sizes.

The process has four steps. First, tailor Nighisti Selby takes measurements.

Then, South Carolina’s Apparel Prototyping & Design Solutions creates a digital pattern. In Tennessee, Omega Apparel provides computerized cutting, and the final garment is hand-sewn by Sew Co. in Hendersonville.

“I can’t wait for made-to-measure,” says Crystal Dreisbach, one of the women in the test run, in a campaign video. “I really want to simplify my wardrobe and have just amazing, classic pieces that fit me really well and are well-made and beautiful and will last me a long time.”

Miller met her goal of $15,000 on October 25 and is now in the process of testing out the model. If all goes well, Miller will start making her custom riding jackets for women across the country. To start, she’ll connect women with a nearby tailor to get precise measurements, but the long-term plan is to incorporate 3-D body scanners to take exact measurements of women who order from her, once the technology becomes cheap, portable, and accurate enough. According to Miller, industry experts predict an accurate phone app could be available in as soon as two years.

Locals in the apparel industry are excited to see more custom-made clothing options added to the Triangle’s fashion scene.

“We’re a boutique, and we specialize in ready-to-wear apparel, but, as we all know, ‘ready to wear’ doesn’t always literally mean ready to wear right off the rack,” says Rebecca Kuhns, owner of Liberation Threads in Durham, which stocks Miller’s (currently) ready-to-wear Riding Denim. “Even though I have a fairly average-size body, a personal frustration is that, often, pants aren’t made for the curves of the standard African-American body, and that’s something I have to navigate.”

Miller says another aim of her campaign is to prove that women can and should tackle the big problems.

“I feel like if women can own their power, we would live in a much better world,” she says. arts@indyweek.com INDYweek.com | 11.1.17 | 21

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By a Thread

HOW THEATRICAL COSTUME DESIGNERS AND DRESSERS BEAT THE ODDS TO BRING STYLE TO THE STAGE

BY BYRON WOODS

A

sk a fashion designer to simultaneously whip up an embroidered Shang Dynasty emperor’s robe, the vainglorious get-up of an eighteenth-century Parisian dandy, and a Hashbury hippie chick’s accoutrements circa 1965, and you’re likely to get little more than a blank look. For a theatrical costume designer, though, such requests are just part of the job description. Since theater covers the whole of human history, its designers have a very broad wheelhouse indeed, spanning millennia of fashions, on demand. The requirements don’t end there. Their clothing also has to work in a grueling environment where actors routinely get less than sixty seconds to change between scenes, and dancers put extreme stress on a costume’s fabric, seams, and fasteners. A failure in any of these can spell disaster for a performance.

When we asked regional costume designers and professional dressers to recall some of their career’s greatest challenges, the answer was unambiguous for stage veteran Jan Chambers, resident set and costume designer at PlayMakers Repertory Company: the group’s 2009 production of Nicholas Nickleby Parts I and II. Over two full evenings in David Edgar’s monumental adaptation of the famous Dickens melodrama—just under six and a half hours of programming in all—twenty-five actors played over 150 characters, each requiring a separate costume. “There were nearly a thousand costume pieces,” Chambers says, recalling some thirty faculty, grad students, and former graduates from UNC’s costume technology program who made bespoke patterns, cut fabric, and built Victorian-era costumes, day and night, for months before the show. The results placed Nicholas Nickleby among a handful of productions that reset expectations of regional theater’s capabilities. Chambers says, “We still speak of it as the pivotal moment we all realized, ‘Oh my god, we can do anything.’”

John McIlwee, director of N.C. State’s University theater program, had loved— and toured in—Stephen Schwartz’s musi-

NCSU’s production of An Ideal Husband, November 2016. Costume design by John McIlwee, costume construction by Laura Parker. PHOTO BY RON FOREMAN cal Pippin. But when he directed it in 2000, he wanted a darker take, and a different look, from the medieval carnival motley long associated with the show. His fairly radical costume choice: black leather and chain mail on exposed flesh, to give the work a rougher, vaguely gothic feel. Some performers were clad in little more than leather codpieces and bustiers: “a regular S & M orgy,” McIlwee laughs.

But getting that design to work on stage was anything but erotic for the costume makers or the actors. To start with, working with leather “broke a lot of sewing needles on that show,” McIlwee recalls. Then came the blood, when actors quickly discovered that chain mail, usually worn over tunics,

was cutting them during dance and rigorous movement sections. Hours were then devoted to padding every piece. Then came design adjustments to permit performers enough flexibility to execute the choreography and blocking, since “leather doesn’t bend like chiffon.” The male lead, a trickster figure called the Leading Player, needed three differently tailored vests to complete the show: two leather ones that permitted a range of arm movements, and one in black latex for dance numbers.

The final challenge for Pippin? Simply getting the costumes on, since the leather would stick to any sweat and pull at any hairs on the actor’s bodies. The solution was a mix of baby powder and Vaseline, slath-

ered on all body parts the costumes came in contact with.

The show went up. From my seat in the house, it looked striking and sharp. And no one in the audience had an inkling of everything that went into making it happen.

Christine Lawless and Anny Thompson, professional dressers who work both touring and house productions at Duke Energy Center for the Performing Arts, can tell you about the world-famous blowhard who finally demanded, “Treat me like the piece of meat I am!” By now, neither of them has any remaining illusions about the nature of the business. “If you’re collecting underwear at the end of the night, trust me, it’s not glamorous,” Lawless quips.

Happily, they have few tales to tell of onstage disasters, in part because it’s their job to prevent them, and they’ve managed to avert numerous potential catastrophes, including by whip-stitching the back of Anita’s dress in the middle of a West Side Story dance number and choreographing a crew through a simultaneous ten-person full-costume change, in under fifty seconds, for a memorable production of La Cage aux Folles.

One evening that still stands out in their minds took place years ago, when an actor playing the heavy in the musical Carousel indulged in method acting backstage as well as on, getting into character by refusing to bathe, pouring beer all over his clothes, and then wringing the liquid into his mouth.

After distressing the fabric—and his colleagues—in this way for a number of performances, one night his pants split at the crotch, from front to back, mid-scene.

At this point, everyone learned that he had gone commando. The actor rushed toward the dressers in the wings, who gaffer-taped his costume—and genitals— and sent him back on stage. “There was not enough vodka in the world,” Lawless notes—not to fortify the dressers, but to deodorize the costume, which had to ultimately be thrown out. bwoods@indyweek.com.

INDYweek.com | 11.1.17 | 23

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CONCEPT & TEXT BY BRIAN HOWE ILLUSTRATION BY SHAN STUMPF

P

eak nineties nostalgia is just about

over, settling into the ambient perma-state of eighties nostalgia, and aughties nostalgia is bearing down on us.

Really—nineties kids are pushing thirty now, obsolete go. Y2K babies are To advertise or featureas a pettrendsetters for adoption, please contact eroberts@indyweek.com about to take the reins of industry, which they will cram full of things they’re nostalgic for, while the elders among us think, Wait, wasn’t that last week? If you’re not too depressed to move now, break out your crayons and go to work on our Aughties Nostaliga coloring book to stay on trend. It’s going to get Ugg-ly.

Skateboard (Your choice of decks: Element, Toy Machine, Enjoi, Zoo York.)

24 | 11.1.17 | INDYweek.com

High-fashion bucket hat (Totally Friendsterprofile-picworthy)

Shutter shades (Thanks, Kanye.)

Eyebrow ring (Preferably a barbell. Pair it with a belly button hoop to make your parents cry.)

Juicy Couture velour hoodie (This is a coloring book, so you get to choose, but we suggest the most disgusting mauve.)

Livestrong bracelet (Before Lance dished to Opera, you could wear this with pride, or at least, not shame.)

iPod (For period authenticity, leave it white and imagine it’s playing a mainstremo band.)

Harry Potter or Everything Is Illuminated (One of these is maybe the worst popular book ever, and it ain’t about wizards.)

Embroidered boot-cut jeans (You’ll need the pockets for your T-Mobile Sidekick with Bedazzled case.)

Ed Hardy graphic tee over rugby shirt (Don’t forget to pop the collar.)

Studded belt and chain wallet (Grommets also acceptable, add a black leather wristband to really look like you just walked out of an Interpol concert.)

Nokia N-Gage (The pains of being an early adopter.)

Von Dutch trucker cap (Underneath? Think spiky hair with chunky highlights.)

Soul patch (For the Nickelback fan in your life.)

WWJD bracelet (Well, he probably wouldn’t wear this, for starters.)

Cargo shorts (When it’s just too hot for skinny jeans.

Bonus points— sort of?—if they’re khaki cords.)

Uggs (So furry, so comfy, so easy to swap out for Rollerblades.)

Puffy DC skate shoes (What’s that giant tongue compensating for?)

Rollerblades (Make the whole world your rink with these sweet-ass in-lines.)

INDYweek.com | 11.1.17 | 25

AnthropoScene

So, what are humans wearing in the Triangle these days?

We fanned out to find stylish folks and ask them two questions: 1. What fashion trend from the 2000s are you nostalgic for?

(See “Now That’s What We Call Aughties!” on p. 24.)

2. What is your favorite item you are wearing today, and why?

PHOTOGRAPHS BY TODD TURNER TEXT BY BRIAN HOWE

SHERIF FOUAD 1. Mock turtlenecks 2. “My Salence jacket.

It’s so versatile. Dress up, dress down, travel, and raincoat.”

TREVEON GOVAN 1. FUBU jerseys 2. “My necklace. My best friend made it for me and it’s got a lot of sentimental value.”

26 | 11.1.17 | INDYweek.com

MARIE BELLE PEREZ RIVERA 1. High-top sneakers 2. “My vegan leath it goes with everything. It’s a conversati

HANN 1. Flan 2. “M

NATALIE DRENNON 1. Jelly backpacks 2. “My patent leather mini-satchel, because it’s the cutest thing alive.

It ties all of my outfits together with a pop because of the fabric.”

JORDAN GRAHAM 1. Tall white tees 2. “My turtleneck sweater.

It’s from my childhood.

I’ve had it since I was ten or eleven years old.

I used to passionately hate it. Now I passionately love it.”

EZ RIVERA rs 2. “My vegan leather purse, because hing. It’s a conversation starter.”

HANNAH MCLEOD 1. Flannels buttoned all the way up 2. “My skirt. It used to be floor-length and I chopped it off.”

CHRISTIAN NANCE 1. Nike SB’s 2. “My shirt. It was a gift from my girlfriend and it’s made by one of my favorite brands.”

LESLIE WOODS 1. Crop tops 2. “My Raleigh Raw sweatshirt, because we made them.”

INDYweek.com | 11.1.17 | 27

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indyfood

MOFU SHOPPE

321 South Blount Street, Raleigh www.mofushoppe.com

Downtown Darling

WITH A NEW BEAUTIFUL BRICK-AND-MORTAR, MOFU SHOPPE FORGOES DUMPLINGS FOR A MEATIER FUSION MENU WITH MORE WHIMSY AND JUST A FEW MISHAPS BY EMMA LAPERRUQUE Everyone around me is eating tacos. The man to my right. The man to my left. The woman sitting across from him. Which means I inevitably want tacos, too. I want crispy fried flounder, charred flour tortillas, and squiggles of cilantro sour cream.

We are toward the back of MOFU Shoppe, a strikingly designed space on South Blount Street with high ceilings, exposed wooden beams, so many windows, bright white walls, dangling twinkle lights, a lofted second floor, a big bar.

Near the front, a garage door blends the restaurant into the sidewalk. Couches face the open air. If people usually look lovelier in natural light, restaurants do, too. And MOFU looks stunning.

So do those tacos.

“They’re good?” I ask the man to my right.

“They’re great,” he says.

Tacos weren’t what I expected from MOFU Shoppe, the brick-and-mortar sequel to the locally—and nationally— famous Pho Nomenal Dumplings food truck. In 2015, co-owners Sophia Woo and Sunny Lin drove onto Season 6 of the Food Network’s The Great American Food Truck Race and won the $50,000 prize.

Around here, fans know Pho Nomenal best for its Taiwanese pork belly spaghetti and shiitake-tofu dumplings. Though the truck is on hiatus for now, Woo says they’re hoping to bring it back in 2018.

Considering the backstory, maybe I should have expected tacos. The dish’s title on the menu, Sol Tacos, tells you why. MOFU’s executive chef Andrew Schaumann used to run a food truck called just that before joining the Pho Nomenal team.

Some of Pho Nomenal lives on at MOFU. “Fu” means fortune in Mandarin Chinese. So, more fortune, hopefully.

There are the namesake dumplings, but only with pork and chive (stay tuned for more varieties). They have crispy bot-

Green Curry Mussels PHOTO BY GABE ROMERO toms and arrive with two dunking sauces in tow: a bracing black vinegar-sesame, to keep all the rich flavors humble, and a “sweet and spicy” that reminded my friend and me of ketchup (he liked this, I didn’t).

Beyond dumplings, MOFU’s lunch and dinner menus are an ambitious departure from Pho Nomenal. The truck excelled at Asian fusion through a whimsical lens (corn dog banh mi, Cheerwine bulgogi).

MOFU is sometimes whimsical. The seared shrimp cake—a rectangular slab— comes with miso ranch. Which, even elevated by miso, will always be the goofy best friend of salad dressings.

The chicken wings evoke a similar spirit. They have crispy edges and juicy meat, with two saucy options: buttery sriracha, for a trendy twist on Buffalo sauce, and nuoc cham, a Vietnamese dressing with lime

juice, fish sauce, sugar, garlic, and chilies.

The latter caught my eye. Fishy is having a moment right now—even fish sauce caramel is a thing (kind of like salted caramel but with umami)—and I’m all about that. Bring on the fishy! These wings, unfortunately, didn’t. Too sweet, no sass.

The green curry mussels landed all the right punches. Smoky tomatoes, black garlic oil, fatty pork belly. Don’t be shy about loud-slurping the broth from the mollusk shells. You can also dip the yo tiao bread— as my server described it, “Chinese fry bread, traditionally eaten for breakfast.”

In that case, it would be dipped in soy milk, a sweet-leaning custom that MOFU creatively recasts as savory.

If the menu has any drawback, it’s the one most menus have: too much meat. Of the sixteen nondessert items, only three are vegetarian. Sticky orange cauliflower,

a bok choy, pea shoot, and peanut salad, and a roasted king trumpet mushroom with a gochujang demiglace. (Yes, the demi-glace, which usually refers to a beef stock-based, ultra-reduced brown sauce, is vegetarian. Here, it draws meatiness from mushrooms and miso.)

If the kitchen has any drawback, it’s an inconsistency in cooking all that meat. When I ordered the pork chop, my server asked if MOFU’s standard medium-rare was alright, and it would have been. The days of pork-must-be-cooked-to-165-degrees are over. (As food science guru J. Kenji López-Alt explains it, “These days, our pork is just as safe as our beef.”)

Some parts of the chop—pale as a piglet, probably from a lukewarm pan—were indeed medium-rare.

Others were rare. Others were raw, which is why I opted to send it back.

The manager took the plate off the check and apologized, a lot.

Every kitchen has mess-ups. This is especially unfortunate when it’s your dinner, but it’s understandable when you’re the line cook in the weeds. What never seems excusable is a restaurant not taking ownership of that. MOFU gracefully did.

Though the dinner menu is equally distributed between small and large plates (respectively averaging at ten and twenty dollars), the former is what excites me right now about MOFU. When you wander through that wide-open garage door, head toward the bar. Order the Wannabe Americano, with Aperol, St. Germain, and juicy muddled oranges. Or the Tokyo Mule, with plum wine, gin, ginger beer, and lime. Get a bunch of dumplings and curry mussels and sriracha chicken wings. And stay awhile. Food trucks may have a lot going for them, but they’re never this beautiful. food@indyweek.com INDYweek.com | 11.1.17 | 29

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A TASTE OF ETHIOPIA IN THE HEART OF DURHAM

In Ethiopian culture, friendship, honor, and love are expressed by feeding each other- an act known as a goorsha.

A goorsha is a sign of acceptance and appreciationlike a hug between friends.

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30 | 11.1.17 | INDYweek.com

indyfood

[COOK THIS ]

Hot Take

THREE RECIPES FOR FARMER’S DAUGHTER SWEET POTATOHABANERO HOT SAUCE

BY EMMA LAPERRUQUE

F

armer’s Daughter’s five-ounce bottle of sweet potato-habanero hot sauce starts in a 100-liter, stainless steel wine barrel.

First, April McGreger—who started the home-based business of pickles and preserves in 2007—chops up habanero and ahi dulce peppers. The latter, she explains, “are sweet and red, with a fruitiness similar to a habanero but not as hot.” She mixes the peppers with salt, then tosses them in the barrel. They’ll hang out there for four to six months.

That is the secret ingredient in most of McGreger’s recipes: time. Even the local, organic sweet potatoes are sourced strategically.

“They’re harvested at the end of summer,” she says, “but they’re best after they’ve had a few months to cure, so they get sweeter and smoother and silkier.”

McGreger is known in the Triangle for her spoonable strawberry jam, bubbly caraway sauerkraut, and spicy cabbage kimchi.

But she’s also an expert on sweet potatoes.

She grew up on a sweet potato farm in Mississippi and, in 2014, wrote a namesake book on the vegetable for UNC’s Savor the South series. The 152-page, breakfast-todessert collection has a lot of big ideas.

Sweet potato biscuits with chorizo gravy.

Bourbon’d sweet potato casserole.

And sweet potato-habanero hot sauce.

The book’s version is streamlined for home cooks, who may not want to wait on a recipe for half a year. The good news is, if you head to the Carrboro or Durham farmers markets on Saturdays, you can have your fermented hot sauce and eat it, too.

After the chilies become the best version of themselves, they’re run through a food mill and mixed with sweet potato puree, garlic, and dried mango. The sauce is heated and bottled “and that’s it!”

McGreger says.

To her, it’s just another day of work. But

the result is singular—spicy and fruity from the habaneros, tangy from their brine, with a just-right viscosity from the starchy sweet potatoes. This year, the sauce notably won a Good Food Award, which recognizes artisanal, craft products across the country. In other words: snag your bottles while you can.

When asked if McGreger ever saves some for herself, she replies that that’s an understatement: “I use it all the time.”

I have a feeling you will, too. Beyond fish tacos and scrambled eggs and yogurtdolloped stews, here are a few ways to get started.

BUFFALO CAULIFLOWER

One of McGreger’s favorite ways to use her hot sauce is with chicken wings: marinated, then broiled. Here, I give cauliflower the Buffalo treatment. Crispy, crusty exterior.

Buttery, lip-tingly sauce. Tangy buttermilk ranch for dunking. (Disclaimer: I am team blue cheese when it comes to wings. But the ranch really works here.) Use extra dressing for crudité platters and salads, but never pizza.

Yield: 4 servings + 1 cup dressing For the buttermilk ranch: 1/2 cup whole-milk Greek yogurt 1/4 cup mayonnaise, preferably Duke’s 1/4 cup buttermilk 3 tablespoons chopped chives 1 garlic clove, grated on a microplane 2 dashes Worcestershire 1/4 teaspoon kosher salt 1/4 teaspoon Old Bay 1/4 teaspoon dry mustard, preferably Coleman’s Ground black pepper, to taste For the buffalo cauliflower: 3/4 cup all-purpose flour 4 eggs, beaten with a fork Canola oil, for shallow frying

“That is the secret ingredient in most of McGreger’s recipes: time.”

Yield: 4 servings 1/2 cup beer (any style works) 3 tablespoons Farmer’s Daughter sweet potato-habanero hot sauce 2 tablespoons freshly squeezed lemon juice 1 tablespoon Worcestershire sauce 3 cloves garlic, grated on a microplane 1 teaspoon smoked paprika 5 tablespoons unsalted butter (1 for later) 1 medium-to-large eggplant, cut into 1-inch cubes Kosher salt, to taste

1 1/2 cups panko 2 teaspoons salt 1 head cauliflower, cut into florets 4 tablespoons unsalted butter 1/2 cup Farmer’s Daughter sweet potatohabanero hot sauce Kosher salt, to taste

Combine the beer, hot sauce, lemon juice, Worcestershire sauce, garlic, and paprika in a bowl and stir with a fork. Melt 4 tablespoons butter in a large skillet over medium heat. Add the eggplant and cook, stirring occasionally for about 4 minutes, until it just begins to soften. Generously season with salt. Add the sauce and continue to cook until just tender. Taste and adjust accordingly. (Want it brighter?

Add more lemon juice. Spicier? More hot sauce. Butterier? You know what to do.)

Serve immediately with warm bread.

Make the dressing. Combine all ingredients in a bowl and stir until smooth.

Taste and adjust (more garlic? Mustard?).

Refrigerate until you’re ready to use.

Fry the cauliflower. Add a very thick layer of canola oil to a very large skillet.

Set over medium heat. While that warms up, prepare your dredging station: flour in one bowl, eggs in another, panko in another. Add 1 teaspoon salt each to the flour, eggs, and panko, and stir to distribute.

Bread a cauliflower floret in that order: flour, then egg, then panko. Set on a plate and repeat with the remaining florets.

Your oil should be shimmery and hot by now. Test by adding a panko crumb. If it sizzles, you’re good to go. If it drops—too cold. If it immediately starts to color— too hot. Carefully add the breaded florets to the pan. Turn the florets every couple of minutes with tongs until all sides are deeply golden brown. Transfer to a papertowel-lined plate to cool.

Heat the butter in a small saucepan.

Add the hot sauce and stir with a fork until cohesive. Transfer the fried cauliflower to a serving plate and pour the Buffalo sauce evenly over top. Serve with ranch dressing to dunk.

MICHELADA

The Michelada is often described as a “Mexican Bloody Mary” but that’s about as accurate as describing a Bloody Mary as an “American Michelada.” They are both spicy and savory. But oddly enough, tomato juice isn’t fundamental to Micheladas. Lime juice and hot sauce are, plus something umami-rich like Worcestershire. I stick to this original formula, but instead of a classic Mexican cerveza, like Tecate or Modelo, opt for a local pilsner from Highland Brewing Company. Use whatever you want, so long as it’s light and refreshing.

Yield: 1 drink 1 lime wedge 1 1/2 teaspoons kosher salt 1/4 teaspoon ground cayenne 1 tablespoon Farmer’s Daughter sweet potato-habanero hot sauce 1 teaspoon Worcestershire sauce Juice from 1 1/2 limes 1 (12-ounce) pilsner-style beer

NOLA-STYLE BBQ EGGPLANT

I was thinking a lot about Buffalo cauliflower, which is how we ended up here: another vegetarian swap. New Orleans-style BBQ classically refers to head-on shrimp. When I thought about Sichuan “fish-fragrant” eggplant—similar to the eggplant with garlic sauce you’ll find on Chinese takeout menus— I knew the nightshade would do well here.

Eggplant offers a similar, meaty flesh, which loves to bathe in bubbly sauce. And you’ll save a few bucks, too! Just make sure you have plenty of warm bread to sop up the sauce.

Combine the salt and cayenne in a small dish. Run the lime wedge around the rim of a tall beer glass. Dip the rim in the salt. Add the hot sauce, Worcestershire, and lime juice to the glass. Add as much beer as will fit and taste. Adjust accordingly and add more beer as you sip. food@indyweek.com (Top) Buffalo cauliflower, (Bottom) Michelada

PHOTOS BY ALEX BOERNER

INDYweek.com | 1.11.17 | 31

indymusic

AMA DIVERS

Sunday, Nov. 5, 8 p.m., $7 The Pinhook, Durham www.thepinhook.com

WAILIN STORMS

Friday, Nov. 3, 9 p.m., $10 The Pinhook, Durham www.thepinhook.com

Mise en Place

FROM BLUSTERING TEMPESTS TO TEPID FOLK-POP, THREE BANDS SET THEIR SCENES THROUGH SONG

AMA DIVERS

Shadow Seeking Sun Rent Hike Records HHHH½

It’s 2017, and we’re surrounded by noise.

Phones and computers chime in thousands of different tones and timbres as social media streams flood us with more information than we could ever digest; there are times when even ostensibly fun activities like listening to music feel like a burden of excess input. But with Shadow Seeking Sun, its first “proper” LP, Durham trio Ama Divers uses some of the noises of everyday life to develop gorgeous, immersive songs that offer release from that prison of pandemonium.

The foundation of Shadow Seeking Sun is field recordings that Renee Mendoza Haran recorded on her phone while traveling away from home on work trips. She sent them to her husband, Brian Haran, who built out larger instrumental landscapes with guitarist Chris Girard.

The resulting songs land somewhere between structured compositions and ambient music. They’re meandering and pretty, but hardly aimless. Renee’s drawnout vocals sound like she’s beckoning you from a great distance, and her voice is so warm and comforting that it feels as though you have no choice but to follow her lead.

With two exceptions, all of the track’s titles are GPS coordinates. The warm, gaping first track corresponds to Durham, with others based in San Jose, Houston, and Las Vegas. These recordings give the LP a 32 | 11.1.17 | INDYweek.com

strange sense of environment—the sounds, such as summertime cicadas, are all intimate and familiar, but entirely anonymous.

Each of the five GPS-titled tracks specifies whether the recording was taken at sundown or sunset, with two other songs titled “Sunset at Sunrise” and “Sunrise at Sunset.” In every respect, then, Shadow Seeking Sun exists in the hazy edges between day and night, those hours when the world stands on the cusp of illumination or total darkness. Ama Divers revels in the ambiguity of those environments.

Though Ama Divers creates mini-biomes within each track, the band builds discrete environs on each half of the record. The first half is rangy and melodic, while the B-side, at times, is a bit more prickly and dark. New details within each landscape reveal themselves on every listen.

Shadow Seeking Sun is dense, but not in a way that renders it hostile or inaccessible. Rather, it’s a soothing immersion that, for all of its details, renders ease and calm, a much-needed meditation in overtaxed times. —Allison Hussey

vocals are otherworldly, sharply cracking through her guitar and Omar Ruiz-Lopez’s violin. On the title track, Ross breathes the EP’s opening lyrics, which lead into humming violins and the echo of a plucked acoustic guitar. Behind it, “Dear One” is a thoughtful letter to an abandoned lover.

Next, “A Dawn Chorus” arrives full of outdoorsy sounds: birds chirping, an errant wind chime swaying, a babbling brook. It’s relaxing, but it drops the momentum built by the two preceding tracks. Similarly, “Write My Lines” is sparse but jarring, with Ross singing in a stop-start pattern. “Acres Waltz” returns to the outdoors with owl and cricket sounds, and the song brings to mind acoustic strumming around a campfire. But with “Vampire,” Violet Bell veers toward pure pop with electric guitar and picked violins matching Ross’s vocals as she jumps from note to note.

Dream the Wheel seems unsure of what Violet Bell wants its sound to be: pop, nature preserve, folk? It’s hard to tell. Folk fans will love the first two, nature aficionados will enjoy a couple, a pop fans will love the last track. Whether Violet Bell chooses to stay scattershot or hone a more specific sound will dictate how far it can keep going.

—Kat Harding

VIOLET BELL Dream the Wheel Self-released HH½

Swirling, dark, ethereal music is the perfect soundtrack to the early dark and chilly nights of fall. There’s no shortage of the stuff, but Durham-Raleigh duo Violet Bell has offered a few more tunes that do the trick with its debut EP, Dream the Wheel. Lizzy Ross’s

WAILIN STORMS Sick City Antena Kryzku HHH½

It’s not that Durham’s Wailin Storms never lived up to its name. The Bone Colored Moon and Shiver EPs were moody but spare, pro-

ducing not torrents of sound but acting, in hindsight, as billowing thunderheads signaling the coming storm. The band hit full cyclogenesis on 2015’s One Foot in the Flesh Grave; frontman Justin Storms expanded Wailin Storms into a proper quartet, with drummer Mark Oates, lead guitarist Todd Warner, and bassist Steve Stanczyk giving his songs the heft they required. But on Sick City, the quartet’s second full-length record, Wailin Storms embodies its howling, ominous moniker.

Where One Foot in the Flesh Grave was a severe tropical storm, Sick City is a full-tilt, Category 4 noise-rock squall. Snare drums clap like hurricane shutters on “Foot of My Tongue” and “Night of Long Nights” as distorted guitar lines whip by in violent gales.

The seething, pulsing bass intro of “Hurricane Trash Wave” gives way to devastating crescendos that punch you off your feet. Unhinged howls in “Clean Shirt” flash like lightning bolts as a fusillade of reverbdrenched guitar chords pound like a cataract of rushing rain.

Saying Wailin Storms wears its influences on its sleeve is obvious: The band’s always owed more than a passing glance to The Gun Club and The Birthday Party; its bleak misanthropy and imposing histrionics recall Swans; its spacious song structures and sparse, cavernous textures bring to mind Young Widows. But on Sick City, Wailin Storms offers a more confident presentation of those contrasting influences.

Consider “Irene Garza,” a true-crime song about the rape and murder of a Tejana beauty queen that rages between manic and maniacal. “You wear a crooked cross/ You have no fucking heart,” Storms moans at the outset of the song before the band lurches forward. “I can’t see/I can’t breathe,” he gasps in the first half of the song’s creeping chorus, capturing the grisly panic Garza must have felt as she was being suffocated to death after being sexually assaulted.

It’s an afflicted, punishing Southern gothic post-punk song—the band’s best to date, and one perfect for its moodiest and most engaging work. —Patrick Wall

RECYCLE THIS PAPER

INDYweek.com | 11.1.17 | 33

34 | 11.1.17 | INDYweek.com

indyscreen

THE KILLING OF A SACRED DEER HHHH Opening Friday, Nov. 3

Cruel and Unusual

THE LOBSTER’S CREATOR COOLLY PROFFERS MORE PROFOUNDLY UPSETTING THINGS YOU CAN’T LOOK AWAY FROM

BY BRIAN HOWE There’s a certain type of movie in which chaotic strangers crash into an orderly family unit and unleash havoc. Recent specimens include Rachel Weisz vehicle Complete Unknown and Darren Aronofsky’s mother!. Further back, there was Funny Games by Michael Haneke, the director who Greek auteur Yorgos Lanthimos, insofar as he resembles anyone, most resembles.

The Killing of a Sacred Deer is one of those movies, Lanthimos-style. If you saw The Lobster, you know what that means: an indigestible alloy of humor, cruelty, absurdity, rationality, cynicism, and pathos; an inexplicable premise that brooks no arguments and offers no answers; and characters whose unreal affect starkly outlines the psychological and ethical dimensions of their plight. This time, it’s all sealed up in a Skinner box that probes the extremes of familial love and survivor’s guilt, revenge, selfishness, and justice.

This is Lanthimos’s second consecutive film starring a puffy yet alert Colin Farrell, who plays heart surgeon Steven with almost Swiss composure and efficiency.

We meet him in a slightly strained conversation with clean-cut, sixteen-yearold Martin (Barry Keoghan, fresh off his Dunkirk breakout, who handles Lanthimos’s blankly stylized prose with remarkable, vacuous menace).

Steven, arrogant and benign, presides over a tony little bourgeois household, while Martin and his widowed mother (a tremulous Alicia Silverstone) live in a shabbier part of town. But this doesn’t sufficiently account for their relationship’s stiff formality and furtive intimacy or the sense of inchoate danger around it.

Impeccably polite yet puzzlingly pushy, Martin insinuates himself deeper and deeper into Steven’s life. Slowly and inexorably, Lanthimos metes out the context of their connection. The secret at its core is a time bomb ticking in the center of the film.

When it goes off, with blurted abruptness, the second half rockets away into spoiler-

Barry Keoghan as Martin in The Killing of a Sacred Deer PHOTO BY JIMA/COURTESY OF A24 land, where a pageant of brutality awaits.

Lanthimos fires up all his devices to keep us off-balance in the relentless plot. Scary music pops up at the oddest times, more often during a dinner invitation than a threat or violent act. The voyeuristic camera is always creeping up on its subjects, down hallways and streets, redoubling our feeling of rushing to catch up with something we’re not sure we want to see.

And there’s the artfully artificial way in which Lanthimos people interact, a clashing blend of emotional neutrality and outrageous oversharing. “Our daughter started menstruating last week,” Steven remarks to a colleague—this is what passes for small talk in Lanthimos. Steven’s daughter, Kim (Raffey Cassidy), mentions the same thing to Martin, with just as little cue or reaction. The dialogue is one-size-fits-all: any character’s lines

could just as easily be spoken by any other, which boils everything down to societal roles and individual motivations.

Lanthimos portrays a world full of arbitrary mandates that are always met with unhesitating, detached assent, which may be his way of telling us how to watch his movies.

The characters here keep demanding to see one another’s body hair. “You’ve got a great body,” Kim drones to Martin, falling impassively in love. Steven’s wife, Anna (Nicole Kidman, who intelligently fills Lanthimos’s empty vessel with an inert scorn), habitually pretends to be under general anesthesia when she and Steven have sex, which is just the Lanthimostest.

Old white guys will be very keen on the film’s classical framework (the title refers to the Greek myth of Iphigenia, who was sacrificed by her father, Agamemnon, to

placate Artemis), while a broader populace, fresh off mother!, will pick up on the glaring biblical references: there are crosses, there is the washing of feet, there are stained-glass impastos on fallen bodies. There is a man playing god and a malevolent deity cast down into a basement.

But this is all so much gold leaf on what is really a merciless rehearsal of the trolley problem, an ethical thought experiment that happened to memorably feature in a recent episode of the ingenious NBC sitcom The Good Place. A runaway trolley is barreling toward five people. You have the choice to either do nothing and let them die or pull a lever that diverts the trolley onto another track, where it will kill one person. Do you act and preserve the most life, or not act in the attempt to minimize your moral culpability?

As soon as I saw the strangely antiseptic close-up of open-heart surgery that begins the film, I knew critics were going to trip over themselves in the rush to compare it to cinematic open-heart surgery. (And they did.) But this is a rhetorical red herring. Lanthimos always shows us exactly what he’s doing, but he never, ever shows us why. His heart is hidden, mysterious, supremely opaque.

Like The Lobster, The Killing of a Sacred Deer ends ambiguouly. The person I saw it with has sent me at least six all-caps texts about its frustrations and inconsistencies in the week since. She’s right. But she’s still thinking about it, and so am I. I’m thinking about the knife Lanthimos twists into the classic dilemma: What if the helpless trolley operator is also the scoundrel who tied the people to the tracks? And aren’t a lot of our accidents more like that than we’d care to see? bhowe@indyweek.com INDYweek.com | 11.1.17 | 35

WHAT TO DO THIS WEEK

TUESDAY, NOVEMBER 7

EMA

“Fuck California/you made me boring” will forever be the infamous couplet that introduced us to the fractured, dystopian pop worldview of South Dakota’s Erika M. Anderson, aka EMA. Since that opening salvo in “California,” she’s proven to be an exceptional scenario builder, cribbing inspiration from cultural theorists and William Gibson to craft weird kitchensink conceptual records about horrifically bleak versions of our world. Her newest LP, Exile in the Outer Ring, is a scorching hard rock record through and through. The “outer ring” refers to the album’s overarching wasteland concept, about the furthest suburban sprawl layer of highways and strip malls around a city where those pushed out by wealth scrape by. The record came out on City Slang, because, according to Anderson, her former label, Matador Records, thought it was “too political.” Maybe political isn’t the word, but you can’t deny her continued knack for provocation. With The Blow and Just Jess. —David Ford Smith THE PINHOOK, DURHAM 9 p.m., $14, www.thepinhook.com

SATURDAY, NOVEMBER 4 & SUNDAY, NOVEMBER 5

MURIELLE ELIZÉON & TOMMY NOONAN: JE SUIS BELLE

The title of the 1882 Rodin sculpture “Je Suis Belle” translates to “I am beautiful,” as if the statue were describing itself. Assembled from two pieces— ”Crouching Woman” and “The Fall of Man”—it’s an intimate, interconnected duet between a woman and a man. (At an 1886 exhibition, its perceived erotic undertones apparently caused a stir.) As part of a North Carolina Museum of Art-commissioned series of short performances, Culture Mill’s Murielle Elizéon and Tommy Noonan distill the kinetic texture of Rodin’s sculptures (including “Je Suis Belle,” which is included in the museum’s extensive Rodin collection), drawing inspiration from the artist’s famed relationship with fellow sculptor Camille Claudel. The resulting twentyminute duet, backed by sound artist Ben Trueblood, will take place, of course, in the museum’s Rodin galleries, and will repeat at various times this weekend and November 11. —Michaela Dwyer EMA PHOTO

NORTH CAROLINA MUSEUM OF ART, RALEIGH 1, 2 & 3 p.m., free, www.ncartmuseum.org COURTESY OF CHROMATIC PUBLICITY

36 | 11.1.17 | INDYweek.com

TUESDAY, NOVEMBER 7

ON STA

GLENN JONES

American Primitive guitar music is a curious animal. Though its origins are largely credited to John Fahey in the late fifties, there’s something about it that feels ancient, even as new practitioners pick it up every day. Marked by deft, detailed picking, at its utter best, the style takes traditional acoustic guitar picking and unbinds it from standard ideas of song form and structure. Among its best contemporary players is Glenn Jones, who specializes in spacious numbers on the acoustic guitar and banjo. Jones’s compositions most frequently bring natural panoramas to mind: grassy, open fields bathed in sunlight, tickled by a gentle breeze; squat, swirling columns of dry leaves in late fall. At times, it can be more rewarding to close your eyes instead of trying to keep up with Jones’s fingers as they fly across his fretboard. Durham’s multitalented guitarist and pedal steel player Nathan Golub opens. —Allison Hussey NIGHTLIGHT BAR & CLUB, CHAPEL HILL 8:30 p.m., $10, www.nightlightclub.com

Killian Manning/No Forwarding Address PHOTO

NDS

NOW!

FINDER NDER THE INDY'S GUIDE TO THE TRIANGLE

BY ELIZABETH CONNOR JONES

WEDNESDAY, NOVEMBER 1–SUNDAY, NOVEMBER 5

KILLIAN MANNING: UNCLE SAM WANTS YOU!

The origins of Uncle Sam—the rosy-cheeked, billowy cartoon figure that jabs his finger at you, ready to crawl out of two dimensions—are indefinite. While personified in its most recognizable form in a 1917 poster by illustrator J.M. Flagg, this image of patriotic coercion may have come into use even earlier, during the War of 1812. Either way, it’s ubiquitous: the other day, I passed one clinging to an ancient event-announcement corkboard on Franklin Street. Of course, it was no quaint artifact; it was a modern-day military recruitment advert.

For a second, I confused it with a flyer for Killian Manning/No Forwarding Address’s Uncle Sam Wants YOU!, the Durham Independent Dance Artists 2017–18 season opener. In this ensemble work, Manning—one of the region’s venerable longtime dancemakers—tackles this American iconography head- (and feet-, and arm-) on, in what looks to be a comedic critique; Manning promises a combination of “sass, satire, and sedition.” —Michaela Dwyer LIVING ARTS COLLECTIVE, DURHAM 8 p.m. Weds.–Sat./3 p.m. Sun., $10–$18, www.livingartscollective.com

WHAT ELSE SHOULD I DO?

AMA DIVERS AT THE PINHOOK (P. 32), GHANY BELMAACHI AT THE MAHLER FINE ART (P. 44), EMMYLOU HARRIS’S WRECKING BALL AT THE ARTSCENTER (P. 43), INSPIRING BEAUTY AT NCMA (P. 14), PHARAOHE MONCH AND PITCHBLAK BRASS BAND AT REYNOLDS INDUSTRIES THEATER (P. 39), SHALEIGH DANCE WORKS AT REALITY MINISTRIES (P. 47), THE SHAPE OF FASHION AT NCMH (P. 15), DAVA SOBEL AT QUAIL RIDGE BOOKS (P. 48), UNEXPOSED AT SHADOWBOX STUDIO (P. 48), WAILIN STORMS AT THE PINHOOK (P. 32) INDYweek.com | 11.1.17 | 37

FR 11/3

JD MCPHERSON

SA 11/4 @CAT’S CRADLE BACK ROOM

THE HOTELIER

FR 11/3 @CAT’S CRADLE BACK ROOM

ALL THEM WITCHES

11/1 CRANK IT LOUD PRESENTS:

CITIZEN

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

SU 11/5

WAVVES

11/4 KNUCKLE PUCK W/ MOVEMENTS WITH CONFIDENCE, HOMESAFE 11/5 JOYCE MANOR /

WAVVES

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

11/7THE STRUMBELLAS W/ NOAH KAHAN ($22/$25) 11/9 POPUP

CHORUS CELEBRATES TOM PETTY ($13/$8 WITH STUDENT ID)

11/10ABBEY ROAD LIVE! BEATLES TRIBUTE ($12/$15)

KISHI BASHI

1/30/18 DESTROYER W/ MEGA BOG ($20/$23 2/24/18 ANDREA GIBSON W/CHASTITY BROWN ($18/$21) 3/6/18 WALLOWS ($15; ON SALE 11/3) 4/2/18 UDO

DIRKSCHNEIDER

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

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

11/14 COUSIN STIZZ W/LEVI CARTER, BIG LEANO, DANNY BLAZE ($15/$18)

SU 11/5 @HAW RIVER BALLROOM

TERA MELOS

OUT

MOTEL W/ GIBBZ SOLD

BLITZEN TRAPPER

SU 11/5 @CAT’S CRADLE BACK ROOM

5/8/18 BAHAMAS ($16/$18; ON SALE 11/3)

11/11 SAINT

FR 11/3 @MOTORCO

11/15 MO LOWDA & THE HUMBLE / ATLAS ROAD CREW / LEFT ON FRANKLIN 11/16 CITY OF THE SUN ($10/$12) 11/17 HOWARD IVANS (ROSEBUDS, GAYNGS) AND SKYLAR GUDASZ ($12) 11/18 MODERN ENGLISH W/ THE VELDT, ENTERTAINMENT ($20/$23)

11/30 THE WEATHER STATION W/ JAMES ELKINGTON

11/15 THE STORY SO FAR W/TURNSTILE, DRUG CHURCH ($22.50/$25)

CAT'S CRADLE BACK ROOM

12/1 ALLAN RAYMAN ($18/$20)

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

W/ JON STICKLEY TRIO ($!6/$20)

EXPERIENCE

12/5 DAVID RAMIREZ: WE’RE NOT GOING ANYWHERE W/ MOLLY PARDEN ($15/$17)

11/17 WXYC

90'S DANCE 11/18 CULTS W/SHE-DEVILS, HOLDOUT ($19/$21)

11/30 CUT

COPY 12/2 POKEY LAFARGE ($17/$20)

12/9 SOUTHERN

CULTURE ON THE SKIDS W/ IT'S SNAKES!, DEX ROMWEBER ($13/$15)

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

THEY MIGHT BE GIANTS ($25/$28; ON SALE 11/3) 1/18

1/22 AND 1/23/18

TWO SHOWS!

SAY ANYTHING

11/2 LARRY KEEL

11/3 ALL THEM WITCHES W/ KING BUFFALO 11/4 THE HOTELIER W/ OSO OSO, ALEX NAPPING ($13/$15) 11/5 TERA MELOS W/ SPEEDY ORTIZ, PROMM

12/15 LYDIA LOVELESS (SOLO) $15 1/4/18 MELODIME W/ THE BREVET ($12/$14) 1/31/18 THE DANGEROUS SUMMER ($15) 2/7/18 WILLIE WATSON ($18/$20)

11/7 THE WORLD IS A

12/6 THE MOUNTAIN GOATS W/ JENNY BESETZT

CAROLINA THEATRE (DUR)

MOTORCO (DUR)

TU 11/7

THE STRUMBELLAS HAW RIVER BALLROOM

W/ ROZWELL KID, ADJY ($15)

11/3 BLITZEN TRAPPER W/ LILLY HIATT

11/5 KISHI BASHI W/ TALL TALL TREES ($20)

11/9 LAZER/WULF W/ CINEMECHANICA, SOLAR HALOS, YOUTH LEAGUE ($8)

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

HISS GOLDEN MESSENGER

11/10 MODERN MEASURE

TWO SHOWS!

12/16 CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR NORTH CHARLESTON PAC (CHARLESTON, SC)

11/11 ARKELLS W/ IRONTOM ($15)

DPAC (DUR)

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

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

11/13 AND 11/14 SHTW OWS! BON IVER W/ AERO FLYNN

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

11/30 AND 12/1

11/30 THE DISTRICTS W/ SUN SEEKER ($15/$17)

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

1/27/18 TENNIS

WAX TAILOR

12/16 LYDIA LOVELESS (SOLO) $15

11/6 KID POLITICS, ROBERTSON, THE RIFLERY, TYLER BRADFORD WRIGHT, RYAN DUNSON (OF ROOKIE OF THE YEAR), LEANDER ($8/$10)

BEAUTIFUL PLACE AND I AM NO LONGER AFRAID TO DIE

MO 11/6

O

11/25 ST. VINCENT

2/25/18 STEVE MARTIN & MARTIN SHORT W/ THE STEEP

CANYON RANGERS AND JEFF BABKO (ON SALE FR 10/27)

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO **Asterisks 38 | 11.1.17 | INDYweek.com

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

hill

music 11.1–11.8

FOR OUR COMPLETE COMMUNITY CALENDAR

CONTRIBUTORS: Jim Allen (JA), Spencer Griffith (SG), Kat Harding (KH), David Klein (DK), Charles Morse (CM), Noah Rawlings (NR), David Ford Smith (DS), Patrick Wall (PW)

WWW.INDYWEEK.COM

THURSDAY, NOVEMBER 2

PHAROAHE MONCH & PITCHBLAK BRASS BAND As rap music rolls into the dawn of another decade, the art form’s sound and style moves, too, putting icons of a certain age in the position to adapt in order to preserve their relevance in hip-hop culture.

Following the lead of trailblazers like Nas and Jay-Z, who have successfully collaborated with symphonies and universities, artists from the nineties have been able to preserve their work by breaking into the world of high art and the institutions that support it.

Pharoahe Monch is the latest to follow suit, collaborating with PitchBlak Brass Band, a liveinstrumentation hip-hop band from Brooklyn with whom he’s been performing for the past year. Monch is a staple for golden era hip-hop enthusiasts. He rose from New York’s underground hip-hop scene in the late nineties alongside Mos Def and Talib Kweli, bringing lyrics that focused on Afrocentric consciousness and crowd-moving energy. His debut single, “Simon Says,” was a fun hip-hop classic that launched him into the living rooms of middle America at a time when fun in hip-hop wasn’t a popular theme. His abilities as a rapper haven’t diminished through the years: PTSD, from 2014, was a seventeen-track lyrical onslaught, featuring production that stayed loyal to boom-bap aesthetics.

That allegiance to boom-bap, though there is a market for it, is an Achilles heel for rappers from his generation. Younger audiences acknowledge its importance to hip-hop culture, but they don’t connect to it well because of how the influence of trap music has cemented itself into modern hip-hop’s DNA. However, after the success of Kendrick Lamar’s To Pimp a Butterfly, younger audiences have gravitated toward funk fusion bands like PitchBlak Brass, which have been able to breathe new life into older hip-hop via live instrumentation, while attracting purveyors of the fine arts like Duke University.

The union of old school hip-hop and funk fusion bands is common sense—the foundation of hip-hop production is based on sampling funk, and live bands can play those samples with ease, which brings new dimensions to what a d.j. can achieve alone. The occasion at Duke does, unfortunately, mark PitchBlak Brass Band’s last show ever. But with Monch at the helm, it should make for one hell of a retirement party.

—Charles Morse DUKE’S REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $10–$38, www.dukeperformances.duke.edu

PHOTO COURTESY OF DUKE PERFORMANCES

WED, NOV 1 BLUE NOTE GRILL: Paul Barerre & Fred Tackett; 7:30-10:30 p.m., $30–$38. • CAT’S CRADLE: Citizen, Sorority Noise, Great Grandpa; 7:30 p.m., $17–$20. • THE CAVE: Zensofly October Residency; 9 p.m., $5. • IRREGARDLESS: The Barred Owls; 6:30 p.m. • LOCAL 506: Worriers, Thin Lips, Katie Ellen, Pink Drinks; 9 p.m., $10. • MOTORCO: I The Mighty, Hail the Sun, Good Tiger; 6:30 p.m., $15–$17.

• POUR HOUSE: Smoke From All the Friction, Daniel Nickels, Messenger Down; 8 p.m. • SLIM’S: Prisoner, Shadows, Oxident; 9 p.m., $7.

THU, NOV 2 China National Centre for the Performing Arts Orchestra YOUNG This orchestra is a MASTERS mere seven years old, and its members are far younger than the lifers one

usually sees in internationally touring ensembles, but it has earned an international chorus of accolades attesting to its excellence. Honoring the group’s mission to highlight the classical canon as well as modern works, the program begins with works by two living Chinese composers—a violin concerto by Zhao Jiping and Chen Qigang’s Reflet d’un temps disparu—followed by Sibelius’s Second Symphony. —DK [UNC’S MEMORIAL AUDITORIUM, $10–$49/7:30 P.M.]

Elysia Crampton Last year, North NU EARTH Carolina label Break World Records quietly released Elysia Crampton Presents: Demon City, which ended up topping a number of electronic year-end lists for entirely valid reasons.

The ambitious, identity-exploring release—which Crampton called an “epic poem”—was a weird, disorienting statement from an intriguing new master in experimental music. It’s a sort of

collage, blending unheralded styles of Spanish music, modern pop production, and noise. Like her collaborator Chino Amobi, Crampton pushes culture forward by force. With fellow deconstructionists Rabit and Earthly in tow, this bill is a wonderfully strange, forwardthinking lineup. —DS [DUKE COFFEEHOUSE, $5, FREE WITH DUKE ID/9 P.M.]

Amos Lee SOULFUL Does singer-songFOLK writer Amos Lee make soulful folk rock or folktinged neo-soul? Either way, he’s been hanging out his shingle since 2004, when he released his debut EP on Blue Note, which was probably hoping he’d turn out to be the male Norah Jones or something. That didn’t happen, but Lee has been sticking to his stylistic guns ever since. Mutlu opens. —JA [CAROLINA THEATRE, $40–$60/8 P.M.]

Scott Miller Not to be confused V-R0Y BOY with the late leader of Game Theory/Loud Family, Scott Miller first earned attention with alt-country band The V-Roys, recording for Steve Earle’s label and playing with Earle himself. Long operating on his own, Miller moves beyond the alt-country borders to a broader sort of Americana sound. Simone Finally opens. —JA [MOTORCO, $15–$18/8 P.M.] ALSO ON THURSDAY THE ARTSCENTER: Ranky Tanky; 8-10 p.m., $22. • BLUE NOTE GRILL: Nash Street Ramblers; 7-9 p.m. • CAT’S CRADLE: The English Beat, Crucial Fiya; 8 p.m., $18–$20. • CAT’S CRADLE (BACK ROOM): Larry Keel Experience, John Stickley Trio; 7:30 p.m., $16–$20. • THE CAVE: Pierce Edens; 9 p.m., $5.

• DEEP SOUTH: Abstract Manner, Mosquito Legs, Obsidian Darling, Jamie Hurt; 8:30 p.m., $7. • DUKE’S REYNOLDS

INDUSTRIES THEATER: Pharoahe Monch & PitchBlak Brass Band; 8 p.m., $10–$38. See box, this page. • IRREGARDLESS: Terry Wiley; 6-9 p.m. • LOCAL 506: The American Indie, Fontaine, Taylor Leopold; 9 p.m., $7–$10. • PIOLA: Chris Reynolds Trio; 6:45-8:45 p.m. • POUR HOUSE: Local Band Local Beer: Coytah, North Elementary, The Kneads; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

• THE STATION: Heat Preacher, Matt Phillips; 8 p.m.

FRI, NOV 3 Ages of Sages Age of Sages…That NEW NOODLES was the name of an old Legend of Zelda release, wasn’t it? Or was it Final Fantasy?

Actually, it’s the name of a soul-fusion project based out of Chapel Hill, led by singer-songwriter Cameron Cooke, who laments the loss of days ”when fire was magic” and “stars were distant souls.” With TYNY. —NR [THE STATION, $7/9 P.M.]

All Them Witches Unlike many heavy METAL MAGIC outfits mining primal proto-metal, All Them Witches gives listeners room to breathe, interspersing blistering barrages of hulking riffs with brooding bouts of atmospheric swirls. Live audiences might find those mercurial shifts even more startling, as the Nashville quartet relies heavily on improvisation and experimentation while blending sixties and seventies psychedelic blues with elements of sludge, desert, and space rock.

King Buffalo adds more hypnotic stoner grooves. —SG [CAT’S CRADLE BACK ROOM, $12–$14/8:30 P.M.]

alt-J CTRL-ALT- Alt-J’s second-toDELETE last record played like an impersonation of a “weird,” experimentally minded pop band: full of distorted oohs and la-las amid embarrassingly clumsy lines like, “Turn you inside out and lick you like a crisp INDYweek.com | 11.1.17 | 39

packet.” Relaxer, from last June, doesn’t fare much better. The first single, “3WW,” opens with the line, “There was a wayward lad” over a colorless guitar riff.

Not all its musical ideas are bad, but the utter of lack of humor is.

—NR [MEMORIAL AUDITORIUM $59–$143/8 P.M.]

Blitzen Trapper HEART- The blend of folk LAND rock, alt country, and alt rock these Portland, Oregon, gents have been busily perfecting since the early aughts is likely to find favor with Wilco lovers. Their latest album arrives as the soundtrack to some sort of theater project they cooked up, but stylistically it seems right in line with the road they’ve been headed down for some time, which is a good thing. With Lilly Hiatt. —JA [MOTORCO, $17–$19/8 P.M.]

JD McPherson Oklahoma ROOTS ROCKER singer-songwriter JD McPherson is sort of the twenty-first-century American answer to Dave Edmunds, a roots rocker who embraces the retro aspect of his rootsiness while finding a way to breathe vivid life into it. His new album opts for a bit more modernity, sometimes at the expense of the infectious rawness of his previous output, but onstage that sort of thing seems unlikely to be an issue. With Nicole Atkins.

—JA [CAT’S CRADLE, $16–$18/8 P.M.]

Cristina Pato Quartet MASTER Renowned for her OF PIPES work in Yo-Yo Ma’s Silk Road Ensemble, the multi-instrumentalist and composer Cristina Pato has done for the gaita—traditional Galician bagpipes—roughly what Israel Kamakawiwo’ole and his “Over the Rainbow” did for the ukulele. Incorporating the sparky rhythms of traditional gaita tunes with influences ranging from jazz to tango to Celtic pipe music, Pato, accordionist Victor Prieto, and a fiery rhythm section redefine typical notions of bagpipe music with an experience that’s kinetic, 40 | 11.1.17 | INDYweek.com

joyful, and decidedly nonfunereal. —DK [UNC’S MEMORIAL HALL, $10–$20/8 P.M.]

THE COMMUNITY CHURCH OF CHAPEL HILL UNITARIAN UNIVERSALIST: Eric Bannan; 7 p.m., $10–$12.

Seraphim System

SAT, NOV 4

Industrial and EBM EAR PLUGS purveyors Seraphim System headline this unrelenting exploration of all things heavy.

Daikini represents Norfolk, Virginia, with astringent noise, and there’s also the harsh feedback exaltations of Clary Sage. Chapel Hill metal militia Roseclouds round out the night.

—DS [NIGHTLIGHT, $5/9 P.M.]

Takeheart There’s probably a HXC 4 JESUS joke to be made here about Christian metalcore, about using an intrinsically violent idiom to preach the gospel of the Prince of Peace.

Strip away the religious leanings, though, and Raleigh’s Takeheart is nigh indistinguishable from the legion of breakdown-heavy beatdown bands across the state—like openers Killing the Catalyst, Unicron, and Live For What Lasts. —PW [THE MAYWOOD, $10/8:30 P.M.] ALSO ON FRIDAY THE ARTSCENTER: Emmylou Harris’s Wrecking Ball; 7:30 p.m., $16.

See box, page 43. • BEYÙ CAFFÈ: Lockdown Blues Band; 7 & 9 p.m., $10.

• BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. Teresa James & The Rhythm Tramps; 9 p.m., $15. • BOTTLE REV CHAPEL HILL: Eric Merlau and Phil Broome; 5-8 p.m., free. • CHATHAM STREET WINE MARKET: Jordan Lake Swimmers; 6 p.m., free. • DEEP SOUTH: LowBrow; 8:30 p.m., $5–$10. • DUKE’S BALDWIN AUDITORIUM: Villers Quartet; 8 p.m., free. • IRREGARDLESS: The Doug Largent Trio; 6:30 p.m. • LINCOLN THEATRE: The Dead Phish Panic; 8 p.m. • LOCAL 506: Dissimilar South, Pretend Chess; 9 p.m., $8. • MEYMANDI CONCERT HALL: N.C. Symphony: Program of Favorites

by Tchaikovsky and Dvorak; 8 p.m. • MYSTERY BREWING PUBLIC HOUSE: Louis Landry; 8-11:30 p.m., free. • THE PINHOOK: Helms Alee, Wailin Storms, Solar Halos; 9 p.m., $10.

• POUR HOUSE: Big Daddy Love, The Company Stores; 9 p.m., $10–$12.

• RUBY DELUXE: DJ DNLTMS; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): JD McPherson; 6 p.m. • SHARP NINE GALLERY: Scott Sawyer Trio; 8 p.m., $10–$20.

Boris BEYOND For Japanese trio BoPINK ris, “heavy” isn’t an adjective. It’s a pure state of being. Boris has been heavy since forming a quarter-century ago—sometimes accessibly so (see: 2006’s Pink; 2007’s Rainbow), sometimes, well, not (see: 2001’s Amplifier Worship; last year’s Gensho). July’s Dear plays like something of a greatest-hits collection, with Boris following its restless muse to glacial power drones, riff-laden stoner pop, and oscillating pulses of noise. With Mutoid Man, Endon. —PW [MOTORCO, $18–$20/9 P.M.]

DJ Kid Capri MASTER There isn’t a hip-hop SPINNER d.j. today who doesn’t name DJ Kid Capri as a major influence, business-wise and artistically. A master turntablist who has produced tracks for Jay-Z, Heavy D, and Big L, and was the house d.j. for seven seasons of Def Comedy Jam, Kid Capri is a blueprint for an entire genre. —CM [LINCOLN THEATRE, $20–$35/10 P.M.]

Flamenco Carolina DANCE & The centuries-old FUN Andalusian folkloric music tradition of flamenco dazzles with its clapped rhythms, crisply strummed guitars, spirited vocals, and the sight of bailadores doing a dance featuring rhythmic stamping. This family-friendly concert by this local flamenco group is an ideal way to expose kids to the excitement of a live musical performance. —DK [CAROLINA THEATRE, $5/11 A.M.]

Halloween Hangover Bash Missed out on the GRAVE SMASH annual All Hallow’s Eve shenanigans? Here’s your makeup date. This post-Halloween Halloween bash is flush with colorful local rock, punk, and metal acts: Silent Horror,

Walpyrgus, Poison Anthem, Madd Hatters, Gorbash, Good Good Grief, Few Good Things, Drat the Luck, Dissin’ Terry.

There’s burlesque from the Riot Kittens burlesque troupe, too, plus circus-freak stuff from the Charlotte-based Stray Cat Sideshow. —PW [THE MAYWOOD, $8–$10/4:30 P.M.]

Johnnyswim MARRIED As Johnnyswim, MUSIC songwriting and romantic partners Amanda Sudano Ramirez and Abner Ramirez forge slick, soaring pop-soul anthems filled with dramatic hooks, embodying both the twang of their Nashville beginnings and the starry-eyed aspirations of their Los Angeles base. Striking Matches comes off as a less compelling, countrified clone of the coed duo. —SG [THE RITZ, $25/8 P.M.] ALSO ON SATURDAY THE ARTSCENTER: Mister G; 11 a.m., $10. • BEYÙ CAFFÈ: The DexBass Experience; 7 & 9 p.m., $12. • CAT’S CRADLE: Knuckle Puck, Movements with Confidence, Homesafe; 7 p.m., $17–$20. • CAT’S CRADLE (BACK ROOM): The Hotelier, Oso Oso, Alex Napping; 8 p.m., $13–$16. • THE CAVE: Reese McHenry and the Fox; 9 p.m., $5. • DEEP SOUTH: Curtis Stith, Gabriel David, The Jonah Project; 8:30 p.m., $8. • DUKE’S NELSON MUSIC ROOM: R. Larry Todd, Hsiao-mei Ku, David Meyer; 5 p.m.

• IRREGARDLESS: Lou Padro Duo; 6-9 p.m. Half Past Six; 9 p.m. • LITTLE LAKE HILL: Wyatt Easterling, Rod Abernethy, Bett Padgett; 8 p.m., $20. • LOCAL 506: Fruit & Flowers, Glove; 9 p.m., $8. • MEYMANDI CONCERT HALL: N.C. Symphony: Program of Favorites by Tchaikovsky and Dvorak; 8 p.m.

• MYSTERY BREWING PUBLIC HOUSE: Katharine Whalen; 8-11:30 p.m., free. • NIGHTLIGHT: Simply Paradise feat. Rheji Burrell; 10 p.m.-2 a.m., $10. • THE PINHOOK: Poison: A Queer Scorpio Dance Party; 10 p.m.-1:30 a.m., $5–$7. • POUR HOUSE: Groove Fetish, The Southern Belles; 9 p.m. • RUBY DELUXE: Shana Falana, Konvoi; 9 p.m.

DJ LuxePosh; 11 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Flounder Warehouse; 7 p.m. • SHARP NINE GALLERY: Scott Sawyer Quartet; 8 p.m., $10–$20. • THE STATION: North Elementary, Noise! Lights!; 8:30 p.m. Jazz Saturdays; 2 p.m., free. • UNIVERSITY UNITED METHODIST CHURCH: Handel with Care; 7:30-9 p.m., $10–$17.

SUN, NOV 5 Kishi Bashi ELECTRO Seemingly STRINGS tailor-made for triumphant montage scenes in coming-of-age indie flicks, the best of Kishi Bashi’s bright, kaleidoscopic pop expands upon his classically trained, orchestral foundations with an expanded palette that includes electronic flourishes atop his evocative violin loops. The former of Montreal multi-instrumentalist folds that outfit’s far-out psychedelia into ambitious but accessible arrangements paired with raw, wistful lyricism; last year’s Sonderlust focused on the songwriter’s turbulent marriage.

Solo banjo experimenter Tall Tall Trees opens. —SG [HAW RIVER BALLROOM, $20/8 P.M.]

The Hot at Nights with Nicolay The Hot At Nights kick off a Neptunes residency that’s sure to find the instrumentalists further exploring genres to amalgamate into their jazz roots, as the dizzingly creative three-piece did on this year’s synth-infused Three Kids.

The virtuosic trio reunites tonight with The Foreign Exchange producer Nicolay, with whom they’ve collaborated on 2011’s Shibuya Session EP and an LP due early 2018. —SG [NEPTUNES PARLOUR, $10–$12/9 P.M.]

HIP JAZZ

Tera Melos Rolling drums, TERA FIRMA jangly, bright guitars, and hushed vocals add up to Tera Melos, a northern California band touring in support of its late-August album Trash Generator. With Sadie Dupuis back with Speedy Ortiz and Promm in the opening slot, this one’s set to be a great indie rock show. —KH [CAT’S CRADLE BACK ROOM, $15/8 P.M.]

Rhythm & Waves Vol. 1 MAKING K97.5 radio A SPLASH personality Mr.I.Am created the showcase

series Carolina Waves this past summer as an effort to spotlight North Carolina hip-hop and R&B artists on major platforms like Hopscotch and A3C Music Festivals. The showcases thus far have been heavy on hip-hop, but Rhythm & Waves will feature R&B artists exclusively. Standouts in the lineup include Trez Falsetto, 3AM, and Imani Pressley.

—CM [KINGS, $10–$12, 6:30 P.M.]

Snow Tha Product ALL THE Forget Cardi B— WAY Snow Tha Product is another Latina emcee who has been a certified warrior in the underground circuit for years.

Her 2016 project, Half Way There…Pt. 1, showcased her deadly precision as a bar spitter in songs like “No Cut” and her ability to make a pop hit with “Alright,” which featured PnB Rock. Easily standing up to household names, Snow’s sound is nothing short of refreshing.

With AJ Hernz and Castro Escobar. —CM [MOTORCO, $15–$17/7 P.M.]

The Temptations Revue GOLDEN One of the SOUL preeminent exponents of the Motown sound, the Temptations transitioned from the label’s catchy, well-tailored aesthetic on mid-sixties radio hits like “Ain’t Too Proud to Beg” and “My Girl” to a harder-edged, hallucinatory psychedelic soul that yielded darker fare like the harrowing “Papa Was a Rolling Stone.” The Temptations Revue features Nate Evans, one of the few remaining original members of the group, and four other strong voices blending in soulful harmony, enabling these classic tunes to live and breathe again. —DK [MEMORIAL AUDITORIUM, $42–$128/7 P.M.] ALSO ON SUNDAY BLUE NOTE GRILL: TBS 1st Sunday Blues Jam: Ruth Wyand & Logie Meachum; 6-9 p.m., free. • CAT’S CRADLE: Joyce Manor, Wavves, Culture Abuse; 8 p.m., $20–$23. See box, page 41. • THE CAVE: Endelouz, Nick Shanahan, Chris Bullock; 9 p.m., $5. • DEEP SOUTH: Priscilla Block; 8 p.m., $12.

SATURDAY, NOVEMBER 4 | SUNDAY, NOVEMBER 5 | TUESDAY, NOVEMBER 7

BAWL-A-PALOOZA

The World Is a Beautiful Place & I Am No Longer Afraid to Die PHOTO Just as it was in 2005, emo is still the most freighted, nonspecific genre in popular music.

Need proof? Look no further than the playlists of any of the countless emo nights sweeping the bars and clubs of America. Despite the ongoing so-called fourth wave of purist emo, the word lugs along associations with aughties nostalgia, of earnest pop-punk and MySpace “scene” electropop, of major-label ventures into Christian metalcore.

For better or worse, more young people likely associate a label like Fueled By Ramen with emo than the agonized art rock that smaller labels like Dischord and Jade Tree put out decades earlier. But the term won’t go away, hence, the simultaneous conversations around Joyce Manor, The Hotelier, and The World Is A Beautiful Place & I Am No Longer Afraid To Die, three popular contemporary “emo” rock bands that sound nothing alike.

Of the three, The Hotelier is probably the most traditional and Midwesternindebted of the three, even though it hails from Massachusetts. With two acclaimed records on the N.C.-based indie/emo label Tiny Engines, the band’s shtick is forceful, erudite, and confessional indie punk, with lovably flawed vocals to match. It isn’t unique rock music, but in our modern emo climate, The Hotelier does the best version of that sound by far.

For every risk that the Hotelier doesn’t take, The World Is a Beautiful Place & I Am No Longer Afraid to Die takes five. On past records, the band usually slurried grandiose post rock with the mopiness and twinkling guitar flourishes of post-American Football emo. Coming on the heels of the departure of one of its primary songwriters amid a flurry of publically aired interpersonal drama, the

Teasers 17th Anniversary Celebration

group’s new album, Always Foreign, looks for some catharsis. Arguably, the band finds it.

By far the group’s strongest record to date, Always Foreign transcends easily chartable influences to create something unique, thoughtful, and surprisingly unpretentious.

With punchier songwriting and better, less obvious deployment of crescendo and ambient pyrotechnics, the album course-corrects a lot of the band’s most indulgent habits. At a tight forty-two minutes, nothing feels extraneous.

Joyce Manor, meanwhile, eschews the experimentation of the previous two, valuing brevity at the expense of everything else. The heirs to the snotty, wryly intelligent pop-punk stars of previous generations, it’s not afraid to write a two-minute album closer called “This Song Is a Mess But So Am I” and call It a day.

On last year’s Cody, Joyce Manor stretched out, with occasional three-minute songs for

TH 11/2 SA 11/4 SA 11/4 FR 11/10 SA 11/11 FR 11/17 SA 11/18

Saturday Nov. 11

MEMBERS IN FREE before 9pm door prizes and heavy hors d’oeuvres special entertainment

919-6-TEASER

for directions and information

www.teasersmensclub.com 156 Ramseur St Durham, NC

Open 7 Days/week • Hours 7pm - 2am An Adult Nightclub

11/1811/19 TH 11/30 FR 12/1 SA 12/2 SA 12/2 WE 12/13 SA 12/16 SU 12/31

COURTESY OF EPITAPH RECORDS

an album that ran a surprisingly long twentyfour minutes. Like all snarky, guy-seeking-girl pop-punk, this isn’t good nutritious music to sustain a whole diet on, but to snark about it would be to hate fun. —David Ford Smith SATURDAY, NOVEMBER 4 THE HOTELIER, OSO OSO, ALEX NAPPING Cat’s Cradle Back Room, Carrboro 8 p.m., $13–$16, www.catscradle.com SUNDAY, NOVEMBER 5 JOYCE MANOR, WAVVES, CULTURE ABUSE Cat’s Cradle, Carrboro 8 p.m., $20–$23, www.catscradle.com TUESDAY, NOVEMBER 7 THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, ROZWELL KID, ADJY Cat’s Cradle Back Room, Carrboro 8 p.m., $15, www.catscradle.com

RANKY TANKY

(ARTSPARKS! FAMILY SHOW)

MISTER G (ARTSPARKS! FAMILY SHOW) TRANSACTORS IMPROV JOHN MCEUEN & FRIENDS PRESENT WILL THE CIRCLE BE UNBROKEN

THE ROCKETBOYS

NO SHAME THEATRE – CARRBORO LEAH KAUFMAN CD RELEASE SHOW –

WE 10/25

MILE TWELVE (CO-PRESENTED WITH THE COMMUNITY CHURCH OF CHAPEL HILL)

WE 11/1

CARRBORO FILM FESTIVAL POPUP BROADWAY THE GIBSON BROTHERS NORTH COUNTRY CHRISTMAS

W/ THIN LIPS, KATIE ELLEN, PINK DRINKS

ON TO SOMETHING FINE

WITH NEWBERRY & VERCH

11TH ANNUAL ELF MARKET LAUREL & HARDY LIVE FILM RE-SCORING BY TIM CARLESS

DAR WILLIAMS 2ND ANNUAL HOLIDAY CIRCLE SHOW DIRTY DOZEN BRASS BAND NYE PARTY Find out More at

ArtsCenterLive.org

300-G East Main St., Carrboro, NC Find us on Social Media: @ArtsCenterLive

w/ Must Be the Holy Ghost, Brother Cephus

WORRIERS

THE AMERICAN INDIE / FONTAINE

TH 11/2

w/ Taylor Leopold

FR 11/3

FR 11/3

RUMORS PRESENTS: A 90S HALLOWEEN PARTY Celebrating The Iconic Music + Fashion

of Our Favorite 90s Femmes DISSIMILAR SOUTH W/ PRETEND CHESS SA 11/4 SU 11/5 TU 11/7

FRUIT & FLOWERS / GLOVE CRANK IT LOUD PRESENTS:

ANARBOR w/ Sundressed LOSTBOYCROW W/ PRELOW: SPIN THE GLOBE TOUR w/ DYSN COMING SOON: MATTHEW MAYFIELD, JONWAYNE, THE AFFECTIONATES, THE WRECKS, THE BALLROOM THIEVES

www.LOCAL506.com INDYweek.com | 11.1.17 | 41

IRREGARDLESS: Ed Moon; 6 p.m.

• LINCOLN THEATRE: Oteil & Friends; 8 p.m., $25. • LOCAL 506: Anarbor, Sundressed; 7:30 p.m., $12. • NCSU’S STEWART THEATRE: Raleigh Civic Chamber Orchestra; 4 p.m. • THE PINHOOK: Ama Divers, Real Dad, 1970s Film Stock; 8 p.m., $7. See page 32. • POUR HOUSE: T.O.N.E-Z of Gangstagrass, Crackle Kapone, Freedom Infinite, Chetta Chasers, Diverse Character; 8 p.m. • RUBY DELUXE: DJ Mindspring; 10 p.m. • WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

CAT’S CRADLE: Wax Tailor, Dirty Art Club; 9 p.m., $20–$23. • CAT’S CRADLE (BACK ROOM): Kid Politics & Robertson, The Riflery, Tyler Bradford Wright, Ryan Dunson, Leander; 7:30 p.m., $8–$10. • IMBIBE: Grewen and Griffin; 7-10 p.m., free. • THE MAYWOOD: The Convalescence, Wings Denied, Shaping the Legacy, Death Rattle, Krosis; 7:30 p.m., $12–$15.

• MOTORCO: Flash Chorus; 7 p.m., $7–$10. • POUR HOUSE: Bumper Jacksons; 8 p.m. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

MON, NOV 6

TUE, NOV 7

Cold Specks

Fletcher Opera Institute: Opera Scenes

SULTRY Ladan Hussein, also SINGER known as Cold Specks, is celebrating her barely month-old album, Fool’s Paradise, where she explores what it means to be a Somali-Canadian woman through dreamy lyrics with laid-back vintage R&B tones paired with modern electronic beats. La Timpa opens. —KH [MOTORCO, $12–$15/8 P.M.]

Girlpool POOL OF After a debut record TALENT that ruminated on moving into adulthood, Girlpool’s second LP, Powerplant, is bolstered with drums, moodier harmonies, and tighter-than-ever vocal interplay between Cleo Tucker and Harmony Tividad. The songwriting has become more dynamic, with tracks often twisting into surprising forms, but tunefulness remains paramount. Powerplant is a carefully considered power pop album, and Girpool is a commanding live band. With Palm and Lala Lala. —NR [KINGS, $15/8:30 P.M.]

Spektral Quartet ODD RO- The programming MANCE for Spektral Quartet’s upcoming performance has a fascinating logic: The Chicago-based string quartet will be exploring the theme of romanticism in classical music by juxtaposing such passionate, fluctuating works as Brahms’s Op. 51 with the repetitive ruminations of Philip Glass’s String Quartet No. 2. —NR [UNC’S MEMORIAL HALL, $10–$20/7:30 P.M.] 42 | 11.1.17 | INDYweek.com

ALSO ON MONDAY

OPERA, The A.J. Fletcher DOC Opera Institute nurtures the next generation of classical music performers and regularly showcases emerging area talents in performances such as tonight’s, which presents a series of iconic opera scenes performed by local singers and pianists abetted by guest conductor Warren Jones. Featured will be excerpts from Stravinsky’s The Rake’s Progress, along with a pair of works by American composers: Leonard Bernstein’s dark Trouble in Tahiti and Susannah by Carlisle Floyd.

—DK [FLETCHER OPERA THEATER, $14–$15/7:30 P.M.]

Thick Paint MUTUAL Led by Graham OMAHA Ulicny, this Omaha-via-Asheville outfit makes astringent, emotive, not-quite-dance music marked

by Ulicny’s winsome tenor, angular guitar lines, shoegaze textures, and at touch of the Afro-tribal vibe of his previous band, Reptar. Anna McLellan, also from Omaha, sings spare, tragic-sounding piano-based songs in a plaintive voice that recalls contemporaries like Sharon Van Etten and Angel Olsen. With his loop-pedaldriven solo project, Real Dad, Durham’s Nolan Smock lends his dark croon to an immersive mix based on dystopian film soundtracks and “aspirational Y2K pop.” —DK [NEPTUNES PARLOUR, $5/10 P.M.] ALSO ON TUESDAY CAT’S CRADLE: The Strumbellas, Noah Kahan; 8 p.m., $22–$25.

CAT’S CRADLE (BACK ROOM): The World is a Beautiful Place & I Am No Longer Afraid to Die, Rozwell Kid, Adjy; 8 p.m., $15. See box, page 41. • THE CAVE: Asher Skeen, Christopher Hunter, Charity Lane; 9 p.m., $5. • IRREGARDLESS: Marilyn Wienand; 6:30 p.m. • LOCAL 506: Lostboycrow, Prelow, DYSN; 9 p.m., $12–$15. • THE MAYWOOD: Earthling, Knight Terror, Datura, Old Codger; 8:30 p.m., $10. • MOTORCO: The War & Treaty; 8 p.m., $12–$14. • NIGHTLIGHT: Glenn Jones, Nathan Golub; 8:30 p.m. See page 37. • THE PINHOOK: The Blow, EMA, Just Jess; 9 p.m., $14. See page 37. • POUR HOUSE: Coast 2 Coast Live Interactive Showcase; 9 p.m. • RUBY DELUXE: Experimental Tuesday: Extropic; 11 p.m.

WED, NOV 8 Saving Space Showcase: Museum Mouth, Mineral Girls, Case Sensitive The ongoing Saving SPACE FEELS Space Showcase has had the continuous goal of promoting musicians who identify as femme, queer, or POC. The upcoming fourteenth showcase will feature local bands Museum Mouth, mineral girls, and Case Sensitive—groups that share a penchant for catchy riffs and lovely earnestness. All proceeds will go toward hurricane relief in Puerto Rico.

(Disclosure: Sarah Schmader, who books the series, is an advertising account executive at the INDY.) —NR [RUBY DELUXE $7/9 P.M.]

TJ Kong & the Atomic Bomb SOPHO- Philadelphia’s TJ MORIC Kong & the Atomic Bomb opens its latest LP, Dancing Out the Door, with “Black Bats,” which highlights the group’s jarring, barking vocals, and burlesque-y yet somehow Americana-sounding music. It inexplicably sounds like high school musical theater. —KH [THE PINHOOK, $10/9 P.M.] ALSO ON WEDNESDAY THE ARTSCENTER: Triangle Jazz Orchestra; 7:30 p.m., $5. • DEEP SOUTH: Get Sad Y’all: Raleigh’s Emo Night; 9 p.m.-1 a.m., $5–$10. • LOCAL 506: Matthew Mayfield; 9 p.m., $14–$17. • NEPTUNES PARLOUR: Winstons, The Mumz, Mechabull; 10 p.m., $7. • POUR HOUSE: Sun Dried Vibes, Reinstated; 9 p.m., $7.

FRIDAY, NOVEMBER 3

EMMYLOU HARRIS’S WRECKING BALL: LIVE IN CONCERT PAUL BARRERE & FRED TACKETT WITH CRAIG

WE 11/1 & PATRICK FULLER: 3 MEMBERS OF LITTLE FEAT

UNITE FOR A RARE PERFORMANCE TH 11/2 NASH STREET RAMBLERS DUKE STREET DOGS FR 11/3

TERESA JAMES & THE RHYTHM TRAMPS

SA 11/4 PRIVATE EVENT IN THE MUSIC HALL SU 11/5 TBS 1ST SUNDAY JAM/ROAD2MEMPHIS:

RUTH WYAND/LOGIE MEACHUM TU 11/7 TUESDAY BLUES JAM

7:30PM $30 SRO 7PM 6-8PM 9PM $15 8PM $10

6-9PM 7:30PM

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

ILLUSTRATION BY SHAN STUMPF, PHOTO COURTESY OF NONESUCH RECORDS

Between her early collaborations with Gram Parsons and her long, rich solo career, Emmylou Harris was already the undeniable queen of Americana before she released her milestone album, Wrecking Ball, in 1995. But the game-changing record took her career to a whole new, unexpected level. Daniel Lanois, the sonic alchemist who had made his name by producing albums for U2 and Peter Gabriel, helmed the record, but it was his transformation of Bob Dylan’s sound on 1989’s Oh Mercy that presaged the magic he worked with Harris.

Lanois had cut the Dylan record in New Orleans, and with a coterie of handpicked players, he created a swampy, swirling sound around Dylan that was simultaneously organic and hypnotically otherworldly. He did much the same for Wrecking Ball, bringing Harris to the Crescent City and utilizing many of the same players, plus U2 drummer Larry Mullen. Harris was forty-eight at the time, the same age Dylan was at the time Oh Mercy was released. But like Dylan, Harris wasn’t too old to learn some new tricks. In place of the straightforward country and folk approach of her previous albums, Lanois brewed a heady mix of haunting, ambient textures, transmogrified New Orleans grooves, and flashes of psychedelic voodoo.

The material chosen for the album—songs

by Dylan, Steve Earle, Lucinda Williams, Neil Young, Gillian Welch, and others—could

have fit comfortably on Harris’s previous outings, but the tunes were given an entirely different spin, with Harris making the most of Lanois’ sorcery and delivering some of the most poignant performances of her career.

Wrecking Ball earned Harris a Grammy for Best Contemporary Folk Recording, and it altered the path of not only her own career but Americana in general, redefining what roots music could encompass.

It shouldn’t be terribly surprising, then, that even twenty-two years after Wrecking Ball’s release, a batch of modern-day Americana artists would be inclined to mount a tribute to the momentous LP. That’s exactly what’s on tap at the ArtsCenter with Emmylou Harris’s Wrecking Ball: Live in Concert. A perfect storm of local talent convenes to salute the songs and the sound that made such a major impact on contemporary roots music. Billie Feather, Dale Baker, Mark Williams, Taylor Leonhardt, Sara Zaleta, and Angela Winter will pool their talents under the guidance of Tim Carless for this one-off event. Together, they’ll take the audience through the entire album, from “Where Will I Be” to “Waltz Across Texas Tonight,” putting their own artistic stamp on the tunes in the process.

—Jim Allen

www.capitalcabaret.com

THE ARTSCENTER, CARRBORO 7:30 p.m., $16, www.artscenterlive.org INDYweek.com | 11.1.17 | 43

art

11.1 – 11.8

OPENING 76th Annual North Carolina Gourd Arts and Crafts Festival: $2. Sat, Nov 4 & Sun, Nov 5.

Holshouser Building, Raleigh. www.ncstatefair.org/events/ calendar.htm.

Anything Goes 2017: Juried exhibit of forty-four artists. Fri, Nov 3-Fri, Dec 1. Litmus Gallery, Raleigh. www.litmusgallery.com.

Artist talk with Herb Jackson: Informal Q&A. Sat, Nov 4, 2 p.m. Gregg Museum of Art & Design New Location, Raleigh.

Artspace Collectors Gala Art Preview: Nov 3-17. Artspace, Raleigh. www.artspacenc.org.

Concept to Gallery: Six photographers. Nov 1-30.

Reception: Fri, Nov 10, 6-9 p.m.

FRANK Gallery, Chapel Hill. www.frankisart.com.

The Coronation of the Descendants: Serah. Nov 1-11.

Reception: Fri, Nov 3, 6-9 p.m.

The Carrack Modern Art, Durham. www.thecarrack.org.

Drawn Together: Mixed media drawings and ceramics by Kiki Farish, Jean LeCluyse, Aggie Zed. Nov 7-Dec 22. FRANK Gallery, Chapel Hill. www. frankisart.com.

Durham County Pottery Tour: Visit the studios of twentythree potters and teaching facilities throughout Durham County. Sat, Nov 4, 10 a.m.-5 p.m. & Sun, Nov 5, 12-5 p.m.

Claymakers, Durham. www. durhamcountypotterytour.com.

Earth, Water, Air, Fire, Space: Photography by Natalie Ammarell. Nov 1-30. Chatham Hill Winery, Cary. www. chathamhillwine.com.

FLUXUS Actions: Chance, Randomness and Uncertainty: Performance art and object lessons. Nov 1-6. NCSU Campus: The Crafts Center, Raleigh. www.ncsu.edu/crafts.

Guardians of the Forest: Photography by Susan Jones. Nov. 3-25. Tipping Paint Gallery, Raleigh. www. tippingpaintgallery.com.

Holiday Salon & Craft Exhibition: Pottery, glass, jewelry, photography, painting, 44 | 11.1.17 | INDYweek.com

fibers, books and printmaking by twenty-five artists. Nov 1-Dec 30. Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com.

SPECIAL Nature’s EVENT Enchantment: Rita Baldwin. Nov 3-26. Reception: Sat, Nov 4, 2-4 p.m. NC Museum of Natural Sciences, Raleigh. naturalsciences.org.

SPECIAL Nevertheless She EVENT Persisted: Mixed media by Elissa Farrow Savos.

Nov 1-28. Reception: Fri, Nov 3, 6-9 p.m. Gallery C, Raleigh. www.galleryc.net.

OC Fringe Art Show: Folk art and furnishings. Sat, Nov 4, 10 a.m.-5 p.m. ivegotahammer, Efland. ivegotahammer.com.

SPECIAL Overtones/ EVENT Undercurrents: Paintings by Donald Martiny.

Nov 5-26. Reception: Sun, Nov 5, 2-4 p.m. Horace Williams House, Chapel Hill. www. chapelhillpreservation.com.

SPECIAL Sisters XI: Pottery by EVENT Mary Beth Owen, jewelry and paintings by Virginia Owen. Reception: Fri, Nov 3, 6-9:30 p.m. Local Color Gallery, Raleigh. localcoloraleigh.com.

SPECIAL Tethered to the EVENT Zeitgeist: Mary Ann Anderson. Nov 3-25. Reception: Fri, Nov 3, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.

Emily Weinstein Open Studio: Oil paintings and prints. Sat, Nov 4-Sun, Nov 12, 10 a.m.-5 p.m.

Emily Weinstein Studio, Chapel Hill. www.WeinsteinArt.com.

SPECIAL Winter Corridor EVENT Artists Exhibition: With Dana Ayscue, Cynthia Bickley Green, Stephen Cefalo, Eileen Hendren, Kelly Murray.

Nov 3-Jan 27. Reception: Fri, Nov 3, 6-10 p.m. Artspace, Raleigh. www.artspacenc.org.

Winter Heat: Visual art and live musical performances in a twoday showcase centered on art and social justice. $15. Fri, Nov 3 & Sat, Nov 4. Imurj, Raleigh. www.imurj.com.

ONGOING

And Then the Sun Swallowed Me: Black tape and video installation by Heather Gordon.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Thru Feb 4. CAM Raleigh, Raleigh. camraleigh.org.

Beyond the Front Porch 2017: Exhibition by twelve senior undergraduates. Thru Nov 12. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

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

Blind Field: Sculpture by Kelly Johnston. Thru Nov 11. The Scrap Exchange, Durham. www. scrapexchange.org.

The Boomer List: Photography

by Timothy Greenfield-Sanders.

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

LAST Carefully Cut: Tin CHANCE can collage by Thomas Graham. Thru Nov 2.

Alexander Dickson House, Hillsborough. www. historichillsborough.org.

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

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

Photography Festival both derive from its sheer volume. So much photography in so many places for the whole month of October!

Here’s one not to miss: a selection of work from the advanced photography program at Johannesburg’s Market Photo Workshop, in which perspectives of South Africa’s physical landscape are inevitably shaped by the fallout from Apartheid’s long lifespan and arduous demise. In a world of forced removals and contested property rights, land is more than land; it’s a currency of identity. See it through the eyes of Nkosinathi Khumalo, Tshepiso Mazibuko, Tegobo Moche, and others. Thru Nov 2. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu.

—Brian Howe LAST Dining Out: CHANCE Ceramics. Thru Nov 5. FRANK Gallery, Chapel Hill. www.frankisart.com.

The Disaster Paintings: Donald Sultan. Thru Dec 31.

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FRIDAY, NOVEMBER 3

GHANY BELMAACHI: UNDER THE SAME SKY The idea of global communication through art is often a convenient abstraction, but the Mahler Fine Art in Raleigh puts it into concrete practice with its Moroccan/ American Artists Residency Exchange. Next spring, five Triangle-based artists—Thomas Sayre, Pete Sack, Luke Buchanan, Susan Woodson, and Kathleen Rieder—will travel to Morocco to create and live alongside artists there, five of whom will then come to Raleigh and the Mahler in the fall. The program is directed by Moroccan-born painter Ghany Belmaachi, a former Raleigh resident, whose solo exhibit Under the Same Sky opens at the Mahler this Friday and then runs through December 2. Aptly for someone who is building a bridge from Raleigh to Morocco, Belmaachi’s striking designs capture universalist themes in bright, flat colors, singing a quiet song of oneness in divisive times. —Brian Howe

THE MAHLER FINE ART, RALEIGH

6–9 p.m., free, www.themahlerfineart.com

Ghany Balmaachi: from Under the Same Sky PHOTO COURTESY OF THE MAHLER FINE ART

NC Museum of Art, Raleigh. www.ncartmuseum.org.

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

Durham History Hub. www. museumofdurhamhistory.org.

Envision Saint Agnes Hospital: Community and student artists.

Thru Jan 5. Miriam Preston Block Gallery, Raleigh. www. raleighnc.gov/arts.

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

exhibit wraps the block around the Chapel Hill Street parking garage in a temporary fence and banner of photos. Thru Nov 30. Chapel Hill Street, Durham.

—Brian Howe Flash of Light, Fog of War: Japanese military prints 18941905. Thru Jan 7. Ackland Art Museum, Chapel Hill. www. ackland.org.

Freeze!: Installation by Mary Carter Taub. Thru Jan 5. Miriam Preston Block Gallery, Raleigh. www.raleighnc.gov/arts.

Hidden Patterns: Wooden art

by Gene Presson. Thru Nov 21.

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

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

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

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

LAST In the Footsteps Of...: CHANCE Group photography exhibit by The Image Salon. Part of the Click! Photography Festival. Thru Nov 2. Durham Arts Council, Durham. www. durhamarts.org.

LAST Islands of CHANCE Authenticity: Photography by Shreepad Joglekar. Part of the Click!

Photography Festival. Thru Nov 2. Durham Arts Council, Durham. www.durhamarts.org.

LAST A Kiss of the Earth: CHANCE Apt for a work about a season of fecundity, the epochal modernist ballet The Rite of Spring just keeps on giving, more than a century after its legendary premiere. It’s the inspiration for this experiment

by UNC-Chapel Hill associate art professor Sabine Gruffat, whose interactive three-channel video projection remixes the story of a pagan tribe’s maiden sacrifice with stochastic elements: real-time weather data from Paris affects the weather in the animation, and

viewers can text to a number on the wall to further alter the proceedings. Thru Jan 28. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe More than One Story | Mas de una historia: Photography.

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

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

—Brian Howe Orange County Artists Guild Open Studio Tour Preview Show: Preview work by more than eighty participating artists.

Thru Nov 12. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Path to Liberation: saint, sawdust, soul: Paint and mixed media by Lehna Huie. Thru Nov 12. Meredith College: Weems Gallery, Raleigh. www.meredith. edu/the-arts.

LAST Play is Universal: CHANCE Photography by Barbara Tyroler. Thru Nov 5.

FRANK Gallery, Chapel Hill. www.frankisart.com.

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

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

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

The Shape of Fashion: Dress trends from the 1800s to

the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

See p. 15.

Steinfest: Present Day Interpretations: Collection of steins from more than sixty artists. Thru Nov 11. Claymakers, Durham. www.claymakers.com.

Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

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

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

The SuperNatural wades into this liminal zone, exploring how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others.

Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation, for the exterior vitrines. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps.

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

Triangle Weavers Art Exhibition: Fiber art. Thru Jan 6. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/ library/carrboro.

LAST Untitled: Works CHANCE from the Loop 20132017: At a glance, you might guess that Peter Hoffman’s exhibit is documenting— through a glass, brightly— Durham’s downtown loop. (I did.) But he’s actually refracting an area of downtown Chicago through his photographs and

illuminated digital collage. This underscores the essential sameness beneath the superficial variety of the urban pedestrian’s experience, as buildings, streets, and other walkers weave complex lines and parallax perspectives into an ungraspable sensory medium of form, motion, and space. The difference between looking at Hoffman’s photos and his digital collage, where the code from original photos is smashed and reassembled, is like the difference between walking with a destination and walking without one, with paths of necessity decaying into enclosing abstractions of color and shape. Thru Nov 3.

SPECTRE Arts, Durham. www. spectrearts.org. —Brian Howe LAST Visitations: CHANCE Photography by Barbara Tyroler and poetry by Jaki Shelton Green. Thru Nov 5.

FRANK Gallery, Chapel Hill. www.frankisart.com.

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War Experience: Personal artifacts, medals, uniforms, maps, letters, photographs, and more. Thru Nov 29. Raleigh City Museum, Raleigh. www. cityofraleighmuseum.org.

Wanderers: Paintings by Jeff Joyce. Thru Dec 2. Light Art + Design, Chapel Hill. www. lightartdesign.com.

We’ve Met Before: Handwoven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded. Andrea Donnelly holds this contrast in tension. “Cloth, in its infinite variety and varied significance, is deeply linked to our histories and emotions through the body,” she writes in her artist statement. “Whether it’s woven to hang on the wall or to grace the neck and shoulders, I make cloth that creates connection.”

The images on these large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory. Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.” Thru Jan 28. N.C. Museum of Art, Raleigh. www.ncartmuseum. org.—Brian Howe You’ve Reached the Office of Stuart Ullman: Replication of office from The Shining

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

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food

2017 Shindig VIP Tent Experience: Sample more than fifteen beers and meet performers. $40. Sat, Nov 4, noon-9:30 p.m. 110 W Main St, Clayton, Clayton.

Caffe Marrone Italian Wine Dinner: With Al’s Burger Shack, Mel’s Commissary, Italian Pizzeria III. Five-course dinner with wine. $50. Wed, Nov 8.

Mel’s, Carrboro.

Food Truck Rodeo: Between Henderson and N. Columbia St.

stage OPENING

The 25th Annual Putnam County Spelling Bee: Play. $12-$15. Nov 1-5. Durham School of the Arts, Durham. www.dsa.dpsnc.net.

Flamenco Carolina: Flamenco song and dance. $5. Sat, Nov 4, 11 a.m. Carolina Theatre, Durham. carolinatheatre.org.

Ibsen-Enemy: Staged reading of Ibsen’s An Enemy of the People

by Netherwood Productions and Little Green Pig Theatrical Concern. $10. Wed, Nov 8, 7 p.m. Motorco Music Hall, Durham. motorcomusic.com.

In the Wings: Dot: Play. Mon, Nov 6, 7 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Free Wine Tasting: Mon, Nov 6, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev. com.

Grub & CEF: Piggy Bank Bash: Proceeds benefit CEF. Meatball bar and dinner with vegan options, drinks, music, more. $30. Mon, Nov 6, 6-9 p.m.

GRUB Durham, Durham.

Transactors Improv: The Spooky Show: $10-$15. Sat, Nov 4, 8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

Uncle Sam Wants YOU!: Dance. Nov 1-5. Living Arts Collective, Durham. www. livingartscollective.com. See p.

37.

VAE Comedy Night: Black On Black V2 Edition: Stand-up comedy. $10. Sat, Nov 4, 7-10 p.m. VAE Raleigh, Raleigh. wellRED Comedy Tour: Stand-up comedy. Wed, Nov 8 & Thu, Nov 9. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

ONGOING

Cindy Kaza: Stand-up comedy.

Thu, Nov 2, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Anything Goes Late Show: Comedy. Sat, Nov 4, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Jen Kirkman & Gretchen McNeely: Stand-up comedy.

Wed, Nov 1, 8 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

The Best of Raleigh Roundup: Stand-up comedy. Sun, Nov 5, 8 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Joel McHale: Stand-up comedy. Fri, Nov 3 & Sat, Nov 4, 7:30 & 10 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Eyes Up Here Comedy Showcase: Stand-up comedy by women. $5. Fri, Nov 3, 8 p.m.

Neptunes Parlour, Raleigh. www. neptunesparlour.com.

Orange is the New Barack: Vaudeville-style comedy show.

Sat, Nov 4, 8 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

Golden Age: Improv comedy. $5. Fri, Nov 3, 9 p.m. Monkey Bottom Collaborative, Durham. www.thisismettlesome.com

Storybook Tales: Fancy Nancy and Alice in Wonderland. $15-$18. Sat, Nov 4 & Sun, Nov 5, 3 p.m. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

46 | 11.1.17 | INDYweek.com

More than a dozen food trucks.

Sun, Nov 5, 12-4 p.m. Rosemary St. Carrboro.

The Harry Show: Ages 18+.

Improv host leads late-night revelers through potentially risque games with audience volunteers. $10. Nov 3 & 4, 10 p.m. ComedyWorx, Raleigh. www.comedyworx.com.

Mushroom and Foraging Wine Dinner: With wine from Christine Netzl. $65. Tue, Nov 7, 7 p.m. Guglhupf Bakery, Restaurant & Cafe, Durham. www.guglhupf.com.

Salt and Smoke Festival: Whole heritage hog BBQ and sides, raw oysters, local booze, live music, and more.

Presented by ACME. $20-$85.

Sat, Nov 4, 3-8 p.m. www. saltandsmokefest.com. Rock Quarry Farm, Chapel Hill.

The Ryan Higgins Crowdwork Show: Maddie Gross, Mark McPartland, Shari Diaz. $5. Sat, Nov 4, 8 p.m.

Neptunes Parlour,Raleigh. neptunesparlour.com.

Hush Hush: Secret Brew: Interactive improv comedy.

Thu, Nov 2, 8 p.m. Beer StudyDurham, Durham. www. thisismettlesome.com Late Night Dip: Comedy. Fri, Nov 3, 10:30 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Life Sucks: “Life is just exactly life ... and we should be grateful every day for the great and mysterious gift that it is. And yet, we find the most extraordinary ways to fuck it all up for ourselves.” In Life Sucks., Aaron Posner, the playwright who transformed The Seagull into the outrageous farce Stupid Fucking Bird, sends up another Chekhov classic, Uncle Vanya, in a blunt, flippant, caffeinated take on the sum of our discontents. Posner’s contemporary clan confront one another at their annual reunion with a recital of their pipe dreams, poor choices, and absurd desires. But in this selfaware theatrical retrofit, the audience is in for a grilling as well, about the roads untaken and things unsaid that keep us up nights. $5-$20. Thru Nov 11.

Manbites Dog Theater, Durham. www.manbitesdogtheater.org. — Byron Woods Love Never Dies: Broadway theater. Thru Sun, Nov 5.

Durham Performing Arts Center, Durham. www.dpacnc.com.

Revolutionaries in the Dark PHOTO COURTESY OF SHALEIGH DANCE WORKS

FRIDAY, NOVEMBER 3

SHALEIGH DANCE WORKS: REVOLUTIONARIES IN THE DARK In early October, the pack of multidisciplinary performers who make up ShaLeigh Comerford Fairbanks’s ShaLeigh Dance Works wove through Unscripted Hotel’s first-floor lobby as part of Durham Independent Dance Artists’ fourth-season launch party. In pairs and larger groups, they whirligigged with and against one another, throwing limbs between intrigued passersby as they shuttled luggage between the bar and the parking garage. (Behind them, DJ PlayPlay streamed Haddaway’s “What

Is Love?”) In other words, they know how to fill a space. On Friday night, the company hosts Revolutionaries in the Dark, a benefit gala for their 2017–18 season (which will kick off with I Promise, one of DIDA’s three fall performances). At heart, it’s a fundraiser for the group’s performance and community engagement work (replete with silent auction and raffles). But, as the grandiose title suggests, it’ll also be a theatrical event, with music, visual art, poetry, and, of course, dance. —Michaela Dwyer

REALITY MINISTRIES, DURHAM | 7 p.m., $15–$50, www.shaleighdanceworks.com

The Monti: Stories of Medicine and Religion: Storytelling $22.

Fri, Nov 3, 8 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

The Mystery of Love and Sex: Charlotte and Jonny are such a cute young couple. They’ve known each other since they were nine, and they’re still spending all their time together in college. She’s white, he’s black.

She’s Jewish, he’s Baptist. She’s bisexual (well, theoretically); he’s a virgin. She wants to sleep with him; he really isn’t after that. Her

parents, a Southern mother and a liberal Jewish father from New York, approve. Somewhat. Aside, that is, from Dad’s latent racism and homophobia. Can any of these relationships be saved?

Certainly, since people change so much in their twenties—and forties—when they finally learn something big about one another and themselves.

Director Dana Marks takes on what The New York Times calls the “almost dizzying momentum” of playwright Bathesheba Doran’s work in this

Honest Pint Theatre production. $14-$17. Thru Nov 12. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org.

—Byron Woods Perfect Arrangement: Less well known than the infamous list Senator Joseph McCarthy claimed to possess of 205 Communists employed in the State Department in 1950 was the roll of ninety-one names John Purifoy circulated that same year as evidence of a “homosexual underground” in the government. That

sparked the “Lavender Scare,” an organized effort to root out gays and lesbians in federal employment. By the end of the Truman era, 425 State Department employees had been dismissed, and another five thousand workers, contractors, and military personnel would be fired and publicly disgraced after Eisenhower signed a similar executive order in 1953. Topher Payne, whose incendiary satire Angry Fags got our attention last year, has

fashioned a campy farce that segues into darker hues, as two State Department higherups, themselves in marriages of convenience to mask their sexuality, find themselves tasked with identifying gays and lesbians in their section. $15+. Thru Nov 12. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org.

—Byron Woods The Racket: Improv comedy. $5. Fri, Nov 3, 8 p.m. Monkey Bottom Collaborative, Durham. www. thisismettlesome.com

LAST  Sense and CHANCE Sensibility: Kate Hamill’s remarkable adaptation of Jane Austen’s classic made waves when its workshop production at Bedlam Theatre was listed among The New York Times’ top ten plays of 2014. The work breathes new life into Austen’s novel by dramatizing and occasionally mocking the economic and social tightropes women walked in Austen’s day. At PlayMakers, director Taibi Magar gratifies from the outset, as a gaggle of gossips whose black formal dress suggests a flock of merciless crows pick apart the dilemma of the hapless Dashwoods after the death of Henry, the family patriarch. In nineteenthcentury British culture, women lived under fundamental lifelong contingencies. Not allowed, for the most part, to secure their own land, funds, or position, their moves were strictly monitored and judged by family and neighbors alike. They were more vulnerable to scandal than men. But Hamill’s decidedly light touch, which Magar echoes here, entertainingly emphasizes the whirlwind of emotions in Marianne and Elinor’s quest for “a good match.” $15-$57.

Thru Nov 6. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

—Byron Woods INDYweek.com | 11.1.17 | 47

page READINGS & SIGNINGS

Digital World. Thu, Nov 2, 7 p.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Edwin B Fisher: The Dangerous Case of Donald Trump: 27 Psychiatrists and Mental Health Experts Assess a President. Tue, Nov 7, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Khizr Khan: An American Family: A Memoir of Hope and Sacrifice. Tue, Nov 7, 7 p.m.

Pullen Memorial Baptist Church, Raleigh. www.pullen.org.

Layton Green: Written in Blood.

Wed, Nov 8, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

James Grymes: Violins of Hope: Violins of the Holocaust, Instruments of Hope and Liberation. Thu, Nov 2, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

Ana Homayoun: Social Media Wellness: Helping Tweens and Teens Thrive in an Unbalanced

Purple Freedom: Breaking The Cycle: Poetic monologue performance. Fundraiser for SUSO-NC. $25. Sat, Nov 4, 5:30 p.m. Durham Arts Council, Durham. www.durhamarts.org.

Jane Williams: Mysterious Moments: Thoughts that Transform Grief. Sat, Nov 4, 3 p.m. Southwest Regional Library, Durham. www. durhamcountylibrary.org.

Emily Herring Wilson: The Three Graces of Vall-Kill: Eleanor

Roosevelt, Marion Dickerman, and Nancy Cook in the Place They Made Their Own. Thu, Nov 2, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

screen

LECTURES ETC. British Music & Europe in the Age of Brexit: Symposium.

Fri, Nov 3-Sat, Nov 4. Duke Campus: Various venues. www. music.duke.edu.

Celebrating Twain: A National Read-Aloud-AThon: The Purloining of Prince Oleomargarine. Sat, Nov 4, 11 a.m. Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Zine Machine: Durham Printed Matter Festival: Sat, Nov 4, 11 a.m.-6 p.m. Durham Armory, Durham.

WEDNESDAY, NOVEMBER 8

DAVA SOBEL: THE GLASS UNIVERSE

Guillaume Vallee: Le bulbe tragique THURSDAY, NOVEMBER 2

UNEXPOSED: INTERNATIONAL ANIMATION DAY Yes, it’s an animation festival, but if you’ve ever been to an Unexposed screening, you already know it’s probably not for the kids (unless the kids happen to be way more into avant-garde cinematic abstraction than funny cartoons). Though the microcinema screening series has been mostly dormant since its proprietors, the Smyth brothers, gave up their space near Golden Belt, they’re cranking it back up to bring ASIFA’s International Animation Day to Durham. The program features about twenty animated shorts from around the world, adding up to ninety minutes of flickering colors, flashing lights, brief narratives, and experimental animation techniques. Parents, come and cleanse your palates of all that Dora the Explorer. —Brian Howe SHADOWBOX STUDIO, DURHAM | 8–9:30 p.m., free, www.shadowboxstudio.org

SPECIAL SHOWINGS The Boy from H2 & The World Will Smile Back: With commentary from filmmaker and human rights worker Helen Yanovsky. Wed, Nov 8, 7 p.m. The Garage at Smith Warehouse, Durham.

Fire at Sea: With commentary from Reuters photographer Darrin Zammit Lupi. Thu, Nov 2, 7 p.m. The Garage at Smith Warehouse, Durham.

John Cleese and the Holy Grail: Screening followed by Q&A and conversation with John Cleese. Wed, Nov 8, 7:30 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

Dava Sobel

PHOTO BY MIA BERG

The roles of women in math and science are getting some deserved attention; NASA has finally not only recognized the women portrayed in last year’s Hidden Figures, but there’s also a “Women of NASA” LEGO set on the way. But women were unfairly overlooked in astronomy before NASA was even a concept, as is recounted in Dava Sobel’s The Glass Universe: How the Ladies of the Harvard Observatory Took the Measure of the Stars. Sobel, author of Galileo’s Daughter and a longtime science writer for The New York Times and The New Yorker, uses excerpts from diaries, letters, and memoirs to craft the story of the women employed as human calculators by the Harvard College Observatory in the mid-nineteenth century, interpreting the observations their male counterparts made through telescopes. Over time, these women helped establish many elements of modern astrophysics, including a classification system for stars and a scale for measuring distance in space. It’s past time for their achievements to be brought to greater awareness. —Zack Smith

QUAIL RIDGE BOOKS, RALEIGH | 7 p.m., free, www.quailridgebooks.com 48 | 11.1.17 | INDYweek.com

STILL COURTESY OF UNEXPOSED

Lured: Fall Film Series. $5-$7. Fri, Nov 3, 8 p.m. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Steamboat Bill Jr.: Live music

by Free Planet Radio with silent movie. Sat, Nov 4, 8 p.m. The Cary Theater, Cary. www. thecarytheater.com.

Tony Conrad: Completely in the Present: $10. Sat, Nov 4, 9 p.m. Kings, Raleigh. www. kingsraleigh.com.

OPENING A Bad Moms Christmas— The ensemble cast of dark

comedy Bad Moms returns for holiday shenanigans. Rated R. Goodbye Christopher Robin— This biopic of A. A. Milne tells the true story of the creation of Winnie the Pooh.

Rated PG.  The Killing of a Sacred Deer—Reviewed on p. 35. Rated R. Thor: Ragnarok—Thor has to escape the alien planet Sakaar to save Asgard from the apocalypse. Rated PG-13.

works best to mess with the classics when there’s actually something wrong with them.

Rated R.  The Florida Project— Tangerine creator Sean Baker chases sparks of vitality on the neglected margins of the Magic Kingdom. Rated R.  It—Blend classic Spielberg with Stranger Things and you get this scary, heartfilled new version of Stephen King’s magnum opus. Rated R.

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

 The LEGO Ninjago Movie—Expect weak puns, weary pop-culture references, and a waning sense of discovery. Rated PG.

½ American Made—It’s Top Gun with Tom Cruise flying for cocaine instead of country—fun enough, but it mostly rides on Cruise’s resilient charm. Rated R.

½ Loving Vincent—The first fully painted animated film is a sort of prodedural about Vincent Van Gogh that is visually stunning but weak on story. Rated PG-13.

½ Battle of the Sexes— The true story of the 1973 tennis match between Billie Jean King and washed-up champ Bobby Riggs reminds us how much common wisdom about female athletes has evolved.

Rated PG-13.

 mother!—A harrowing speed-walk through Genesis, the Gospels, and the Book of Revelation, and a lot of frustration for an explosive payoff. Rated R.

A L S O P L AY I N G

 Blade Runner 2049—This satisfying sequel to Ridley Scott’s seminal sci-fi noir reminds us that it

 The Snowman—Less a whodunit than a “who cares,” this senseless adaptation of one of Norwegian crime author Jo Nesbø’s Harry Hole books is truly abominable.

Rated R.

indy classifieds employment employment

CORPORATE SUPPORT ASSOCIATE FOR UNDERWRITING NORTH CAROLINA PUBLIC RADIO WUNCFM

BARTENDERS NEEDED MAKE $20-$35/HOUR

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Sinks? 30+ years experience.

Call Greg at 919-791-8471 or email exley556@gmail.com

Interested candidates must apply online at: http://unc. peopleadmin.com/postings/128579 Candidates should be prepared to attach a current CV and cover letter. The position is open until filled.

WUNC-FM and The University of North Carolina at Chapel Hill is an equal opportunity employer that welcomes all to apply, including protected veterans and individuals with disabilities.

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

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The Corporate Support Associate will meet individual sales goals on a monthly and annual basis. These goals will be achieved by researching, locating and contacting national, regional and local businesses, organizations and agencies to present on-air and digital sponsorship opportunities.

WUNC is headquartered in the Triangle area (Raleigh, Durham, Chapel Hill) of North Carolina. It’s often rated among the top areas to live in the country. The ocean and mountains are just a few hours away.

WUNC is ranked among the top radio stations in the Raleigh/Durham metro and is also ranked among the top public radio stations in the country. Salary is based on experience and qualifications and includes a competitive benefits package.

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North Carolina Public Radio-WUNC, the public radio station licensed to the University of North Carolina at Chapel Hill, is hiring a Corporate Support Associate to join its underwriting sales team.

The Corporate Support Associate will report to the Corporate Support Manager.

The ideal candidate for the position will have 2 or more years of professional media sales experience (or experience in a related position) and an understanding of public media’s significance in the world of marketing. A bachelor’s degree is required.

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NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA WAKE COUNTY IN THE GENERAL COURT OF JUSTICE

TAKE NOTICE that an Amended Petition for Adoption was filed by TIFFANY NICOLE CLARK and ADAM BRETT CLARK on the 7th day of September 2017, with the Clerk of Superior Court for Wake County, Raleigh, NC, in the above-entitled special proceeding. The Petition relates to a male child born on April 1, 2017 in Raleigh, North Carolina. The birth mother’s name is TIMEKA TAI BELL. TAKE NOTICE that you are required to make defense to such pleading no later than forty (40) days after the date of the first publication of this notice, exclusive of such date.

Upon your failure to do so, the Petitioners will apply to the Court for relief sought in the Petition. Any parental rights that you may have will be terminated upon the entry of the decree of adoption.

massage by a Male Russian Massage Therapist with strong and gentle hands to make you feel good from head to toe.

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notices

NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA WAKE COUNTY IN THE GENERAL SUPERIOR COURT DIVISION 17 SP 894FOR THE ADOPTION OF: TRISTIN MICHAEL CLARK BY: TIFFANY NICOLE CLARK and ADAM BRETT CLARK TO: ANDREW JEFFRIES

entertainment RECYCLE THIS PAPER

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This the 3rd day of October 2017.

NOW!

ANGELA L. HAAS NC BAR NO. 28552 ATTORNEY FOR PETITIONERS HAAS THARRINGTON, P.A. 5540 MCNEELY DRIVE SUITE 301 RALEIGH, NC 27612 WAKE COUNTY CLERK OF COURT SPECIAL PROCEEDING DIVISION (12th FLOOR) 316 FAYETTEVILLE STREET RALEIGH, NC 27601

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Bolinwood Condominiums Affordability without compromise

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

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last week's puzzle

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DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ERUUF, Durham & ArtsCenter, Carrboro.

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

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