INDY Week 11.14.18

RALEIGH 11|14|18

DEMOCRATS GOT MORE VOTES. REPUBLICANS GOT MORE SEATS.

NORTH CAROLINA HAS

A DEMOCRACY PROBLEM.

by Jeffrey C. Billman , p. 7

AN END TO 287(G)? P. 6

FOSTER CARE IN CRISIS, P. 9

LIFE AFTER THE MISFITS, P. 20

2 | 11.14.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 46

DEPARTMENTS

6 Had Camilo Coronilla Loyola been pulled over one month later, he wouldn’t be facing deportation.

6 News 16 Food & Drink

7 More people voted for Democrats than Republicans in General Assembly races, but Republicans have commanding majorities in both the House and Senate.

17 Screen 18 Music 22 Arts & Culture 26 What to Do This Week

9 There are only five Durham County foster families who take in teenagers.

29 Music Calendar 32 Arts & Culture Calendar

16 There’s already solid Thai on the outskirts, but now you can have it downtown, thanks to Thai@Main Street.

17 Documentary Working in Protest spans thirty years, but the filmmakers don’t plan to stop updating it anytime soon.

20 Doyle Wolfgang von Frankenstein just wants you to enjoy the records he’s already made, dammit.

25 In his first full-length play, New Yorker theater critic Hilton Als ties together two stories with a thread of eloquent silence.

On the cover ILLUSTRATION BY CHRISTOPHER WILLIAMS

Kim Grier recently launched the Triangle Foster Parent Association (see page 9).

PHOTO BY CAITLIN PENNA

INDYweek.com | 11.14.18 | 3

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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4 | 11.14.18 | INDYweek.com

backtalk

Stages of Grief In case you missed it, there was an election last week. While Democrats picked up roughly three-dozen seats in the U.S. House, Terry Duff sees the results as a repudiation of Barack Obama: “Why didn’t Barack Obama go to Wisconsin, Illinois, and Michigan to campaign for the Democratic gubernatorial candidates in those states?” he asks. “After all, look at his success in the Florida and Georgia races. His tried and failed message of his version of ‘hope, change, and health care’ by fundamentally changing America is exactly why America is becoming great again. History books, in the future, will rave about Nancy Pelosi’s only crowning achievement: She found Trump’s lost tax returns.”

T Scott, meanwhile, wants to correct a letter-writer from last week’s Backtalk: “Last week you published the views of a reader who blithely and incorrectly asserted that Trump ‘has turned this economy around for sure.’ This view is myopic in the extreme. The facts are that the economy has been growing since 2010. Between 2010 and 2016, the unemployment rate fell from 10 percent to 5 percent. The continuation of positive growth in GNP and the further reduction of unemployment since 2017 is as much a product of the forward momentum of the Obama policies as anything done under Trump. The Trump tax cuts added some stimulus to the mix, but at what future cost remains to be determined.”

Mike Harris writes that “while the midterms were not quite the sweeping validation that my wife had hoped for, it is still a much brighter day in the U.S. of A. today. Proof positive of that is the snit that President Trump is in. Trump went rapidly through the stages of grief: denial (with a bizarre tweet referring to ‘tremendous success’), then anger (scrapping with reporters), then bargaining (praise for Nancy Pelosi!). I’m guessing that depression and acceptance will be along after January, when it sinks in that his congressional rubber stamp has truly been taken away. (After, of course, a monumental tantrum.)

“For me, personally, this midterm meant a lot. When Trump was elected, I was stunned. I could not believe that anyone could possibly think that this shamelessly self-loving, arrogant, bombastic clown

could be the president of the United States, no matter how much he swore that, when elected, he would be ‘so presidential!’ As the midterms approached, I dared to hope that the results would demonstrate that Americans do not want the nation to be governed by a hate-filled, misogynistic misanthrope whose delusions of grandeur make him believe that he—and he alone—can decide for all what the very nature of truth is, that any inconvenient fact can be disposed with by self-serving and fraudulent ‘alternative facts,’ with no support from reality.

“I dared to hope that Americans do not want the nation to be governed by a hatefilled, misogynistic misanthrope.”

“I love my country. I don’t buy into slogans like ‘Make America Great Again’ because America is great. Sure, some aspects can and should be better—but that betterment comes from moving forward, not backward.

A free press exists, and it should not be made into ‘the enemy of the people’ by someone whose fear of that press motivates his attitude. No one man should have jurisdiction over the truth, and no political party should allow itself to become a cult of personality to hang on to power. Clearly, there should be negative consequences for going down this path.

“If the midterms had validated Donald Trump’s twisted truths and supported his dark vision for the U.S., I would have fallen into despair. I would have lost faith in the intelligence, compassion, and basic common sense of my fellow citizens. Thankfully, the midterms proved that America does pay attention, and does still care. Now, with a little luck and some long-overdue due diligence, the nation may yet be saved.”

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

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indynews Too Late

WAKE COUNTY’S INCOMING SHERIFF HAS PLEDGED TO END 287(G). THAT WON’T HELP CAMILO CORONILLA LOYOLA.

BY LEIGH TAUSS

O

n November 3, a carpenter named Camilo Coronilla Loyola was delivering cabinets to a customer when he was pulled over by Fuquay-Varina police.

It was just before 6:00 p.m. and already dark.

An officer asked to see his driver’s license, but Coronilla Loyola, who is undocumented, didn’t have one. The officer let Coronilla Loyola go and told him not to drive again. But there was no one who could pick him up, so he cranked the engine and drove for a block before red and blue lights once again flashed behind him.

“They didn’t give him a ticket that time.

They cuffed him,” says Carolina Campos, Coronilla Loyola’s wife.

Police charged Coronilla Loyola with driving without a license, and he was taken to the Wake County Detention Center. At a court hearing on November 8, a judge asked why Coronilla Loyola was still being detained five days later for a minor infraction. The answer: Wake County’s controversial partnership with federal immigration authorities under the 287(g) program, which allows local law enforcement to coordinate with ICE in order to detain and deport undocumented residents.

The next morning, ICE agents took Coronilla Loyola to a facility in Georgia. He now faces deportation to Mexico.

His arrest was a matter of bad luck. If he’s deported, it’ll be a matter of bad timing. On December 3—a month after Coronilla Loyola was detained—Gerald Baker will be sworn in as Wake County’s new sheriff, following a contentious campaign focused largely on 287(g). Baker promised to end Wake’s participation in the program.

Incumbent sheriff Donnie Harrison stood by it, calling it “a valuable tool that has identified some very dangerous individuals.”

Baker won decisively—but his victory likely came too late to help Coronilla Loyola or others like him. Since Harrison partnered with ICE in 2007, more than fifteen hundred Wake County undocumented immigrants have been deported through 6 | 11.14.18 | INDYweek.com

Martha Hernandez speaks at an anti-287(g) press conference last Thursday at the Wake County Justice Center. PHOTO BY LEIGH TAUSS 287(g), many after having been picked up over traffic violations.

In an interview Friday, Baker told the INDY that he intends to make good on his promise, though he’s still figuring out how to disentangle the Sheriff’s Office from ICE. “I am looking to stand by what I said I was going to do,” Baker says. “I’m trying to go to [the Sheriff’s Office] leadership so we can sit down and look at that program and find out how we are going to do what we said we we’re going to do.”

Mecklenburg County Sheriff-elect Garry McFadden has also pledged to end the program. He prevailed in May’s Democratic primary over an incumbent who supported Mecklenburg’s participation in 287(g). In response to McFadden’s victory, ICE threatened to ramp up immigration enforcement.

Nationally, seventy-eight law enforcement agencies use the program, and the number of localized ICE partnerships has nearly doubled since President Trump took office. Ten agencies have ended 287(g) agreements following community campaigns against the program, according to the Immigrant Legal Resource Center.

“I don't think we know what the transition is going to look like” in Wake County, says state ACLU advocacy director Sarah Gillooly. “The deportation proceedings move really

quickly. It is a good question how many people will be held on ICE detainers on the day the sheriff-elect takes office.”

Not honoring these detainers is the first step to cutting ties with the program, according to UNC law professor Deborah

Weissman, who notes that courts have ruled the detainers in violation of the Fourth Amendment because they allow Wake County to hold people after they otherwise would’ve been released.

But merely ending the program might not be enough, Weissman says. The Sheriff’s Office will need to rebuild the public trust eroded by the program, whether through community outreach or by seeking to suppress evidence in ongoing immigration proceedings obtained through the program.

Whatever steps Baker takes probably won’t benefit Coronilla Loyola.

“I don’t think there’s any recourse for people who have already been handed over and in the removal proceedings, not in so far as Wake County can undertake,” Weissman says.

“He’s desperate, sad. He wants to get out,” Campos says of her husband. “He doesn’t want to leave the kids.” ltauss@indyweek.com

news

Threat Assessment

A NEW REPORT HIGHLIGHTS JUST HOW VULNERABLE THE TRIANGLE IS TO CLIMATE CHANGE

BY SARAH WILLETS

A

new report by a coalition of local governments looks at the threats of climate change in the Triangle, establishes which areas are most at risk, and recommends ways to make those communities more resilient in the face of higher temperatures, heavier rain events, and increased flooding.

The Resilience Assessment was released Friday by the Triangle J Council of Govern-

ments, following a year-long collaboration between Cary, Chapel Hill, Raleigh, Durham, Durham County, and Orange County.

“The goal of resilience is more than simply ‘bouncing back’ after an event—the idea is to ‘bounce forward’ to a place where the community will be better able to withstand a future event,” the report reads.

One such event, Hurricane Florence, came as the report was being finalized. The

September storm dropped an estimated eighteen trillion gallons of water on the state, causing intense flooding and killing thirty-six people. While the Triangle dodged the worst of the storm, “Hurricane Florence underlined the need for this Assessment and this Partnership,” the report reads.

The assessment is meant to serve as a starting point for local governments in future planning decisions and for the region ‘to build a resilient, climate-ready place to live, work, and thrive.’”

The report looks at climate-related threats such as drought, heavy precipitation, and heat waves, and analyzes how vulnerable homes, businesses, utilities, agriculture, and other assets are to them. It also takes into account non-climate-related stressors, like sprawling impervious surfaces that can foment runoff, flooding, and isolated heat, as well as a population that grew by more than 250 percent from 1970 to 2016.

As the report points out, the Triangle is already experiencing extreme rain events as well as more intense drought conditions.

Census tracts rated as having the highest vulnerability to flooding include East Durham, areas around Croasdaile Creek in Northwest Durham, areas around Crabtree Creek north of downtown Raleigh, and parts of Southeast Orange County. About thirty-two hundred residential properties are considered to be at medium or high risk of flooding. The impacts of flooding on road access are more widespread, and could lead to more than thirty thousand properties becoming inaccessible to residents and emergency vehicles, the report says.

More residential properties—23,285, particularly west of Chapel Hill and in the southern- and easternmost parts of Wake County—were rated at medium or high vulnerability for wildfires amid increasing temperatures and drought conditions, meaning they are at risk of fire and are more than an eight-minute drive from a fire station.

Communities most vulnerable to extreme heat are largely concentrated in downtown areas. Raleigh is already experiencing a higher-than-normal number of over-ninety-two-degree days, with a record of forty-eight in 2010, the report says.

In response, the report recommends a “regional outreach and communication plan for all threats,” transitioning public fleets away from fossil fuels, regional fire station coordination, further assessment of flooding potential, a stream-monitoring system to alert officials about rising water levels, incentives to develop green infrastructure, design standards that reduce heat absorption, and planting more trees. swillets@indyweek.com

soapboxer

Our Democracy Problem

NORTH CAROLINA DEMOCRATS GOT MORE VOTES. REPUBLICANS GOT MORE SEATS.

BY JEFFREY C. BILLMAN

J

ust before 1:00 a.m. last Wednesday, House Speaker Tim Moore and Senate leader Phil Berger declared victory. The election, they said in a press release, was a “clear mandate to continue Republican policies that are benefitting the workforce, improving schools, and delivering a pro-jobs agenda for families.”

On the surface, they had a good argument: In the state Senate, Republicans took home 29 out of 50 seats, and 66 out of 120 in the state House. Democrats had overcome Republican supermajorities, but those are still decisive margins, especially after a supposed blue wave. What’s more, Republicans had again claimed ten of the state’s thirteen congressional seats, and four of the six constitutional amendments they’d put on the ballot passed, including the longsought voter ID. That, to North Carolina Republicans, is a clear mandate.

One problem: More Tar Heels actually voted for Democrats.

In the fifty Senate races, of the 3.63 million residents who voted for a Democrat or a Republican, 50.5 percent filled in the bubble for the Dem. In the House, 51.2 percent of major-party voters did the same. In congressional races, Republicans have a stronger case: They won a majority of the two-party vote, 51.1 percent–48.9 percent.

But there’s a caveat: In the Third Congressional District, incumbent Walter Jones ran unopposed. If you subtract his 186,000 votes—or assume that a Democratic sacrificial lamb had won 25 percent in that district—Democratic congressional candidates would have won more votes while losing more than three-quarters of the races.

This is a testament to how thoroughly the odds are stacked in the NCGOP’s favor.

The issue is hardly unique to North Carolina. In U.S. House elections, Democrats are on track to win the popular vote by about seven points, netting some three-dozen seats—a good showing, but as William T. Adler of the Princeton Gerrymandering Project wrote in The New York Times:

The system is rigged—

by Republicans, for Republicans.

“While it was a significant victory that gave control of the House to the Democrats, they could have won even more seats if not for gerrymanders—carefully manipulated district maps that have given Republicans a substantial advantage in House elections since 2012. Particularly in four states— Ohio, Michigan, North Carolina, and Texas—Democratic candidates gained support from voters relative to 2016, but gained relatively few seats.”

Indeed, in 2014, when Republicans won a similar percentage of the popular vote, they claimed a fifty-nine-seat majority; they held a thirty-three-seat majority following the 2012 elections, in which the congressional popular vote was a near tie. Both of these majorities are larger than the one the Democrats will take into the 116th Congress. And that’s not even getting into the fundamentally undemocratic U.S. Senate, where, by 2040, 30 percent of the population—a whiter, more rural, more conservative minority—will control 70 percent of the Senate seats.

To be sure, gerrymandering isn’t the only factor at work. Another big one is self-sorting—meaning, Democrats cluster in urban centers, where they run up huge margins, while Republicans sprawl out in suburban and rural areas, winning more districts.

There’s also candidate quality: Democrats attracted and funded quality candidates up and down the ballot, even in districts that were never really in play; Republicans, sensing a wave, rolled over in deep-blue districts and let Democrats run up the score.

But that doesn’t obviate the fact that North Carolina has a democracy problem—that gerrymandering here is particularly pernicious, and redistricting reform would be a first step toward a more equitable system.

A look at election data makes obvious that congressional gerrymanders— declared unconstitutional by a federal court last year, albeit too late to be changed ahead of the election—saved Republicans George Holding in the Second Congressional District and Mark Harris in the Ninth. Those districts were drawn to exclude urban voters, who were packed into districts where Democrats put up huge margins, allowing Republicans to win more seats by smaller counts. The same strategy allowed legislative Republicans to maintain big majorities that far outstrip their actual support.

The system is rigged—by Republicans, for Republicans. The solution, insofar as is possible, is to remove politics from the process. An independent commission—like the ones that already exist in six states and passed overwhelmingly in Michigan last week—wouldn’t be perfect, or even necessarily immune from political considerations.

But in North Carolina, where the democracy problem is particularly acute, and the legislature’s gerrymanders have been particularly aggressive, it’s worth a try. jbillman@indyweek.com This column has been condensed and edited for print. Find the original at indyweek.com.

INDYweek.com | 11.14.18 | 7

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NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED IMPROVEMENTS TO THE N.C. 55 CORRIDOR FROM SOUTH OF OAK GROVE CHURCH ROAD (S.R. 1532) TO N.C. 42 IN HARNETT AND WAKE COUNTIES TIP PROJECT NO. R-5705

804 W. Peace St. • Raleigh • 834-7070

The N.C. Department of Transportation will hold a public meeting regarding the proposed improvements to the N.C. 55 Corridor from south of Oak Grove Church Road (S.R. 1532) in Harnett County to N.C. 42 in Wake County.

The meeting will be held on Thursday, November 15, 2018 at the Angier Baptist Church located at 155 S. Hickory Street in Angier from 4-7 p.m. The public may attend at any time during the meeting hours. Please note there will be no formal presentation.

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

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

All comments will be taken into consideration as the project progresses. The opportunity to submit written comments will be provided at the meeting or can be done via phone, email, or mail no later than November 29, 2018.

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

For additional information please contact NCDOT Project Manager Kim Gillespie, P.E., C.P.M., by phone at (919) 707-6023 or by email at klgillespie@ncdot.gov or Consultant Project Manager, Tommy Register, P.E., by phone at (919) 773-8887, ext. 108 or by email at tregister@tgsengineers.com.

NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this meeting. Anyone requiring special services should contact Lauren Putnam via email at lnputnam1@ncdot. gov or by phone at (919) 707-6072 as early as possible, so that arrangements can be made.

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

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

INDYWEEK.COM 8 | 11.14.18 | INDYweek.com

TOO MANY KIDS. NOT ENOUGH PARENTS. Durham’s foster care system is in crisis.

There’s no single cause, and there’s no easy fix.

BY SARAH WILLETS • PHOTOS BY CAITLIN PENNA s a lobbyist for the Southern Environmental Law Center, Brooks Rainey Pearson is immersed every day in seemingly intractable problems—pollution, conservation, environmental justice.

“My day job is trying to stop, basically, our species from rendering itself extinct by destroying the environment,” she says.

“I’m a teeny-tiny cog in this whole huge machine that’s trying to fix this big problem, and I maybe make a tiny impact on it, but I can’t see that impact.”

In the fall of 2016, with Donald Trump careening toward the presidency, those problems took on a new urgency. So Rainey Pearson and her husband, Dave, started thinking about tangible differences they could make where they live in Durham. One problem in particular grabbed her attention.

On the news and at the General Assembly, Rainey Pearson had been hearing about the ballooning number of children in North Carolina’s foster care system, and the pressing need for families to take them in. The couple, who have no biological children, decided to look into helping fill that gap.

“We didn’t come to fostering because we wanted to be parents,” Rainey Pearson says.

“We came to fostering because we wanted to help solve a problem in our community and parenting is the way we’re helping solve that.”

In August 2017, after background checks, home visits, and thirty hours of training, they were licensed as foster parents. The next day, a sweet, anxious, thoughtful fiveyear-old became their first placement.

They were his fifth.

Brooks Rainey Pearson INDYweek.com | 11.14.18 | 9

Kids in foster care can bounce around for any number of reasons: Their foster parents might reach the limit of five children per household. The parents could also move or decide to adopt instead of taking in foster children. Or—faced with caring for often-traumatized kids—they might simply ask that a child be moved, or stop fostering altogether. When foster homes fill up, kids are moved out of the county—away from their biological families, support networks, and social workers—or could end up in a succession of temporary placements.

This issue is indicative of a larger problem: There are more kids in Durham County custody than there have been in at least eighteen years, and there aren’t enough foster parents to take care of them.

Durham isn’t alone. Across the country, the number of children in foster care has, after years of steady decline, been rising since 2012—from 297,000 in September 2012 to 437,000 in September 2016. They’re living with foster parents, relatives, and family friends, and in group homes, jails, and hospitals while—in most cases—allegations of neglect or abuse against their parents make their way through the justice system.

North Carolina’s foster population reached a ten-year high last year, with about eleven thousand kids in the system, up from fewer than nine thousand four years earlier.

The state is now in the process of overhauling its child welfare system—studying the gaps in a system that failed a 2015 federal review, implementing new performance standards for county social services departments, and creating a mechanism to take over child welfare services in counties that fail to meet those standards.

In Durham, the rise in the foster population began in late 2013, about a year after the rest of the state. Michael Becketts, assistant secretary for human services at the N.C. Department of Health and Human Services and Durham County’s social services director from 2012 to 2017, attributes that delay in part to a large number of adoptions being finalized while the foster population grew elsewhere.

“While most counties were trending up, Durham was just behind in the curve. In 2014 and 2015, not only was there a growth, there was a sharp increase,” Beckets recalls.

On the first day of September 2013, there were 142 juveniles in the custody of the Durham County Department of Social Services. By the first of September this year, that number had more than doubled to 304—the highest it’s been since 2000. As of late September, there were just ninety-five families licensed to care for these children, as well as a growing number of eighteen-totwenty-one-year-olds allowed to stay in the 10 | 11.14.18 | INDYweek.com

The Pearsons’ foster son plays with a toy train. foster system by a recent change in state law (see “Aging Out,” page 14).

As the foster population has grown, so has the strain on local resources—and the share of foster care costs falling on the county. (Foster care is paid for through a combination of county, state, and federal funds.) Phrases like “unprecedented” and “pressing concern” have started showing up in county budgets.

Elsewhere, an oft-cited culprit is the opioid crisis, with overdoses sending kids into the system. But that’s not the case here.

Wendy Jacobs, chairwoman of the Durham County Board of Commissioners and vice chairwoman of the county’s social services board, says the problems landing children in foster care—poverty, instability, mental illness, and substance use—have always existed in Durham. But now, those problems are being exacerbated by insufficient wage growth, gentrification, and cuts to mental health services.

“All of these pressures,” Jacobs says, “I think we’re seeing them play out in our community.”

Indeed, DSS officials say there’s no single factor driving the crisis in Durham. Rather, children who come to the attention of Child

Protective Services have increasingly been exposed to multiple, complex problems at home, and those hard-to-resolve cases are getting stalled in an overburdened system.

As the numbers inch upward, Durham County is looking for more resources to handle increased caseloads, more innovative approaches to prevent children from entering the system, and more foster parents, like Rainey Pearson, willing to take on this seemingly intractable problem.

“Now there are layers and layers of issues that might be in a case with the families and even with the children,” says Shirley Harley-Smith, district administrator for Guardian Ad Litem in Durham, whose volunteers advocate in court for foster children. “We see issues of mental health and substance abuse and domestic violence and just issues on top of issues. They are very complex cases—not an easy answer, not an easy fix.”

F

oster care cases begin with Child Protective Services.

When CPS gets a report of abuse, neglect, or dependency—meaning, when a child can’t depend on a parent—caseworkers decide whether it requires further investigation and whether a child needs to be

moved or can remain in their home while the Department of Social Services works with the family. If the child can’t safely stay at home, the DSS petitions the court for custody. After that, the clock begins ticking to find them a place to stay. The goal is to uproot the child as few times as possible on the way to a permanent home.

First, social workers try to place the child with a relative or family friend. If that’s not possible, they look to county-licensed foster families and families licensed by private agencies, who may be outside the county.

In the meantime, the kids are at the county DSS—although Jovetta Whitfield, assistant director of child and family services at Durham’s DSS, says they don’t stay overnight or go home with staffers. The county’s licensing workers know which of their families’ homes are full, what ages they prefer to take, what schools they live near, and whom they can call short notice.

About half of kids in Durham County custody are in a foster home. Another quarter are with relatives. Fewer than one-fifth are in therapeutic foster homes, which are set up for children with cognitive or behavioral problems, and a handful are in group homes, jails, hospitals, and other settings.

“I’VE BEEN HERE LONG ENOUGH THAT I’VE SEEN KIDS WHO WERE IN FOSTER CARE NOW ARE PARENTS AND THEIR CHILDREN ARE IN FOSTER CARE.”

Throughout North Carolina, parental drug use is an increasingly common reason for children to be removed; it was cited as the reason for 39 percent of removals last fiscal year, up from 28 percent in fiscal year 2013, according to the DHHS. But Durham lags behind other counties in opioid-related deaths and emergency room visits. In 2015, drug use was involved in just 10 percent of removals in Durham, and has not accounted for a significantly larger share since the foster population started rising, according to data from the UNC School of Social Work.

“It is not due to opiates,” Whitfield says.

“We don’t have prescription addictions. We don’t have the oxycodone.”

In Durham, the most common factor is neglect, which has been cited in about three-fifths of removals in recent years. In 2015, physical abuse was cited in about 9 percent of cases. Other, infrequently cited reasons include parental alcohol use, parental incarceration, and inadequate housing.

“There’s always a story,” says HarleySmith. “There’s always an underlying thing.

No one wants their children taken. These parents love their children. Life happens.”

Like Jacobs, Durham County DSS director Ben Rose believes poverty often underlies the reasons children come into care. According to census data, a quarter of

Durham County children live in households with incomes below the poverty level.

“We still have a lot of families struggling to make ends meet, and that’s stressful.

That creates tension, potential domestic violence,” Rose says.

As DSS officials point out, children in foster care have experienced at least two traumas: whatever caused them to be removed from their homes, and the removal itself. Each new placement marks its own upheaval.

Whitfield, who’s worked with the Durham County DSS for twenty-two years, says caseworkers are having a hard time finding relatives to take children at risk because they have their own histories with CPS— which is indicative of a cycle of trauma.

“I’ve been here long enough that I’ve seen kids who were in foster care now are parents and their children are in foster care,” she says.

Even though Durham County has recruited many more foster families in recent years, there are still too few to meet the county’s needs. One hundred and thirty-three individuals—mostly teenagers and therapeutic cases—in the custody of the Durham County DSS are living outside of the county because there are not foster homes for them in Durham.

INDYweek.com | 11.14.18 | 11

The kids stay in foster care until a judge says it’s safe for them to go home or terminates their caretaker’s parental rights, allowing them to be adopted. Reunification is DSS’s first choice, and the most common outcome.

Foster parents don’t really have a say in what happens, and either option—adoption or reunification—means one family stays together at the expense of another.

“It kind of drives me crazy when people say, ‘I couldn’t do it, I’d get too attached,’ as if I’m not a person who gets attached,” says Rainey Pearson, who is still caring for the child who came to live with her last summer. “These kids deserve to have a grown-up who is too attached, who is so invested in them. You know going in that you’re going to get your

heart broken. Either you’re going to lose the child or watch them struggle with where they came from.”

For all the heartbreak, what keeps foster parents going is a desire—and a sense of responsibility—to be there for kids who are at the mercy of a system they have been thrown into through no fault of their own.

“Basically what they’re asking you to do is take this child, love them, and know that they’re going to leave,” says Kim Grier, a Durham foster parent who recently started the Triangle Foster Parent Association. “Us being hurt and grieving for a while and having that pain is worth having this child feel loved and have a supportive, safe place for as long as we have them.”

FOSTER THE PEOPLE To become a foster parent in Durham, you must be at least twenty-one and have lived in North Carolina for at least a year. You can be married or single and own your home or rent. You have to have enough income to meet household needs— rent, utilities, food.

Every household member eighteen and older has to go through a background check, including fingerprinting. The Durham County Department of Social Services evaluates the results on a case-by-case basis, but convictions of child neglect or abuse, violent crime, a felony drug crime, or a DWI will disqualify you. The agency will also take into account if you’ve had a significant life event in the past year, like getting married, getting divorced, having a baby, experiencing a death, or moving.

If you’re eligible, the next step is to take an orientation class. These classes are mandatory if you want to move forward, but can also be a great way to find out if fostering is right for you. Call the Durham DSS at 919-560-8092 to register or if you have questions.

After that, all household members twenty-one and older must complete thirty hours of Model Approach to Partnerships in Parenting classes. This is a crashcourse in what it will be like to be a foster parent—dealing with social workers, biological families, and children with trauma. Additional hours are required to keep your license. There’s no fee for the training or to get licensed.

During the training process, a social worker will visit your home to make sure it’s safe, which includes a fire inspection. Pets will be considered in whether you get licensed. You’ll also be asked for references. Medical exams are required for each household occupant, plus TB tests for all adults.

Foster parents receive a monthly stipend to cover living expenses: $475 for children under five, $581 for children six to twelve, and $634 for children thirteen and over. Foster children are covered by Medicaid, and the county helps pay for things like tutoring, summer camp, and clothing.

Kim Grier, a Durham foster parent who runs the Triangle Foster Parent Association, recommends prospective foster parents attend a TFPA event to learn more about the experience.

“It isn’t easy, but if you have support and you really want to help kids, it’s certainly doable,” she says. “It’s much more doable if you have your tribe and your support system in place.” —Sarah Willets 12 | 11.14.18 | INDYweek.com

I

t’s logical to assume that more kids are entering foster care in Durham because there are more complaints coming into CPS. But that’s not the case. The number of calls has remained steady—about three thousand per year—and county data shows the number of complaints being investigated is declining. Instead, Rose says, more investigations are finding kids at risk and resulting in removals.

That’s partly because the public is more educated about what to report, and partly because the cases themselves are becoming more complicated. For example, if there’s a parent with mental illness who self-medicates with drugs, both issues have to be addressed before a judge will restore custody.

“A lot of the therapeutic interventions for children have become more sophisticated, but that means more labor-intensive and more time-consuming,” says GAL attorney Alice Espenshade. “I think back in the seventies and eighties, we got good at finding children in harm’s way and rescuing them, but since then, there’s been this evolution of, ‘OK, how do we make these children whole and functional?’ That’s the tricky part.”

The end result is that Durham’s foster care pipeline is clogged.

The median length of stay for children who entered care in fiscal year 2015, the most recent year for which data is available, is 879 days. That’s higher than the median stay for children who entered foster care in any previous year going back to 1997. Both the county and the state lag behind the federal standard of less than twelve months for finding permanent living situations for foster children. (The county does, however, have few children re-enter foster care, which staffers say is a testament to the effort they put into finding stable homes.)

The increased foster population has meant higher caseloads for social workers.

Citing burnout and turnover, the DSS made a rare mid-cycle budget request earlier this year for five new CPS investigators and an additional supervisor. At the time, Rose estimated that each CPS worker was handling about thirty cases each or more, well above the state standard of ten. County commissioners approved the request—about $500,000 a year—in February, and in late October, each of the twenty-six CPS investigator positions carried about eleven cases.

The state standard for foster care social workers is fifteen cases. With twenty-four positions dedicated to finding permanent homes for foster children, their caseload ratio is now around one to twelve.

Social workers are in short supply across North Carolina. In 2017, the turnover rate for child welfare social workers was 32 percent,

according to a report released in late August Compli

by The Center for the Support of Families,ents with which was contracted by the state to maphave med out a plan for child welfare reform. for Medic Courts are also strained. In Durhamit when th County, two District Court judges hear alle- “They gations of abuse, neglect, and dependency,you need in addition to other matters. According toreunified The Center for the Support of Familieshave sub report, “a shortage of court time was con-health t sistently cited as an issue” among socialproviders service departments. as readily “If we had more court time, meaningSharyn F more judges, then you might be able toplacemen move cases along,” Whitfield says.

Durham C In the meantime, children remain in foster care, often for months, while the process hil plays out. Two foster parents who spoke to wo the INDY in March said they were expect-gotten a ing their foster placements could turn intoed to he adoptions soon. In November, they werepopulatio still in the same position.

In fisc Guardian Ad Litem is similarly overbur-$450,000 dened. In early October, the organizationDurham had 128 volunteers to advocate for moregrowth. T than three hundred children in Durham.grant the Along with Harley-Smith, three supervi-budget re sors recruit, train, and manage volunteers,caseloads who meet with children and foster parentsworker a and relay their findings to Espenshade, whoto help ge handles every GAL case in the county.

That’s f “With a smaller caseload, each of uspositions could maintain a better knowledge of theget busie details of each case and fend off problemsWhitfield we saw coming,” Espenshade says.

Cases may also be delayed while parents seek out resources—like psychiatric care or substance abuse treatment—to correct the reason for their child’s removal. Here, too, the system is taxed.

North Carolina’s managed care organizations, which administer mental health services for people with Medicaid or no insurance, have seen hundreds of millions of dollars in state funding cuts in the past five years. This year, Alliance Behavioral Health, which serves Durham, Wake, Johnston, and Cumberland Counties, saw its funding cut by $18 million. According to the 2018 State Medical Facilities Plan, Alliance has just 356 inpatient psychiatric care beds to cover that region of nearly two million people, plus just 32 licensed substance-use treatment beds. (In addition, the state operates three substance abuse treatment centers and three psychiatric hospitals.)

“It’s not that Durham lacks resources,” Whitfield says. “It’s that the resources that are here are at capacity. [Service providers] can’t take any additional families in a timely manner—and it’s not just Durham citizens or residents or families. It’s surrounding counties who are coming and utilizing those same resources.”

W

“M T I T H A A A O

Complicating things further, most parents with children in the system either don’t have medical insurance or, if they qualified for Medicaid based on having children, lose it when they no longer have custody.

“They have a mandate of, this is what you need to do to have your children reunified with you—what you have to do is have substance abuse counseling, mental health treatment—but we don’t have providers that can see families or parents as readily as we need them to be seen,” says Sharyn Flood, program manager for child placement and supportive services at the Durham County DSS.

W

hile the DSS has reduced social worker caseloads, the agency hasn’t gotten all of the funding it’s requested to help manage the growing foster population.

In fiscal year 2016, the DSS received $450,000—less than it had asked for—from Durham County to help manage caseload growth. This fiscal year, the county didn’t grant the department’s foster care-related budget requests—$600,000 for help with caseloads as well as for another social worker and a child-and-family facilitator to help get kids permanent homes.

That’s forced the agency to try to shuffle positions from within as certain divisions get busier—“robbing Peter to pay Paul,” as Whitfield puts it.

Asked why the requests weren’t granted, Jacobs, the board chairwoman, says county manager Wendell Davis didn’t include those items in his budget recommendations. “Anything that’s ever come before us, we’ve always supported,” Jacobs says.

Davis told the INDY it would be “impossible” to include every request in an “extremely tight” budget. He says the DSS requested the funds after running out of foster care maintenance dollars—which go toward room and board, clothing, therapy, medical care, and other services—last fiscal year. The county, Davis says, will “monitor this line item” and “look at reserves to help cover the expanding costs” if the DSS exceeds expenses again.

The county has increased its foster care spending in recent years. According to John Kenion, finance and reimbursement officer for the DSS, foster care expenses have increased 61 percent in the past six years, to $3.8 million. The money coming in via reimbursements—from the federal government and, to a lesser extent, the state— is going up, too.

But the share left to the county has grown as well.

The county had to cover $612,000 in 2014; that figure climbed to $1.1 million in 2017 before dipping to about $800,000 this fiscal year. For children who aren’t eligible for federal and state funding—including kids who weren’t removed from very low-income

“MOST PEOPLE THINK ANYTHING IS ACHIEVABLE IF THEY JUST TRY HARD ENOUGH, AND IT’S NOT ACHIEVABLE FOR A WHOLE GROUP OF PEOPLE.”

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AGING OUT The effects of the rising foster population are particularly acute for teenagers. A lot of foster parents prefer caring for small children. Very few foster families in Durham—the Department of Social Services estimates there are five—regularly take teenagers. As a result, many teens are moved out of the county, far from any support network they may have and social workers who have to shoulder the extra commute to make sure their placement is safe.

“About one-third of our youth who are in care are thirteen or older, and if they come in at an older age, say sixteen or seventeen, they’re more likely to remain in care longer,” says Danielle Dolinski-Sloan, program coordinator for the DSS’s LINKS program, which helps older foster children prepare to leave the system.

This means they may experience more placements, more instability, and, in turn, miss out on important life skills, not to mention quintessential teenage experiences like sleepovers and prom.

Roberto Medina, who entered foster care at age five, says he was moved too many times to count. He’s had placements in Durham, Zebulon, Garner, Roxboro, and Cary.

Moving around like that made it hard to make friends, and nearly jeopardized his high school graduation.

“With school I was social, but not a lot, because I knew I couldn’t stay with those friends forever,” says Medina, who is now nineteen. He never told any of his peers he was in foster care, nor did he tell them he was undocumented and entered foster care when his father was deported.

As a recipient of Deferred Action for Childhood Arrivals, Medina’s situation is unique. He doesn’t qualify for many of the benefits other foster youth receive, and Durham County doesn’t get reimbursed for the costs of his care.

For a little over a year, he’s had a sort of guardianship arrangement with foster parent Steve Combs, who started fostering teenage boys after working as a family court attorney in Wake County, where he saw siblings separated because the younger ones were easier to place.

Combs says fostering teens is just a different experience, more like mentoring.

He helps them learn how to drive, budget, navigate adult relationships, and apply for jobs. With that foundation, Medina earned a cooking certificate, got a kitchen job at a convention center, and recently started taking business classes through Wake Tech.

“The misconception is either the older kids have behavior issues or they’re sixteen, you can’t really teach them that much, so why bother,” says Combs, who recognizes his home is probably the “last stop” before many of the teenagers he fosters are turned out into the adult world.

LINKS and the state’s Foster Care 18 to 21 Program—for those who turn eighteen in foster care—aim to ease that transition. Prior the state’s 2017 rollout of the 18 to 21 Program, the number of foster youth aging out of the system was rising along with the larger population, and legislators wanted young adults exiting the system to have a better shot at success and independence.

“A lot of youth aging out of foster care might not have the support that youth who are not in foster care may have,” says Dolinski-Sloan. “They may not have parental support, financial supports, someone to walk them through the steps of becoming an adult.”

As long as they are enrolled in school, working, or can demonstrate an inability to do either, they can stay with their foster families, live in a group home or dorm, or move out on their own. They continue to receive caseworker services, Medicaid, and access to scholarships, and may collect a stipend for their own care.

At the beginning of September, there were thirty-one individuals eighteen and up in Durham County custody—a number that has steadily grown since the program took effect. —Sarah Willets 14 | 11.14.18 | INDYweek.com

Kim Grier holds her foster child in her home in Durham. households, children staying with relatives, and some children who are not citizens— the county covers 100 percent of their costs.

Kenion says this accounts for the largest growth in the county’s foster care costs.

While the county is struggling to meet the system’s needs, the state is demanding that local officials do more.

In 2015, a federal review found that North Carolina’s child welfare system had failed to meet nearly all of the standards on which it was graded, from protecting children from abuse and helping them achieve stable living situations to staff training.

As a result, the state put in place what’s called a Program Improvement Plan, and

contracted with The Center for the Support of Families to craft the preliminary recommendations that came out in August, and a final Social Services Reform Plan and the Child Welfare Reform Plan due out in February. The effort has led to new policies, including House Bill 630, which requires social services departments to enter into performance-standard agreements with the state—and risk a state takeover if they fail to meet those benchmarks, like timelines for moving along CPS and foster care cases.

“Everything falls to the local level, when it shouldn’t,” says Jacobs. “That’s what we see more and more with state and federal

funding. We’re seeing that with school funding, housing, everything. It’s not fair.

The state, especially with child welfare reform, they’re going to be expecting counties to do all of these things—improve outcomes, reduce caseloads—but are they going to provide the funding to go along with implementing things like professional development or prevention programs?”

T

hough the state’s reforms have led to potentially onerous mandates, the Program Improvement Plan also spurred some cutting-edge pilot programs in which Durham is taking part—for example, childcare meetings that bring together foster and biological families, social workers, GAL volunteers, and family engagement teams.

Beyond that, Durham County is also exploring ways to keep kids from entering the child welfare system in the first place.

A federal grant that enables DSS to educate staffers and first responders on how to respond to domestic violence is connecting victims, including children, to mental health services. The county is working with Duke University to analyze child welfare data and identify points where social services may have been able to intervene before a CPS report was filed. Mothers and children who visit pediatric clinics in Durham are being screened for early traumas that are tied to poor health and abuse later in life. Meanwhile, staffers in the county’s human services divisions are being trained in trauma-informed care, and the hope is that training will be expanded to public school and library staff.

“These are some of the innovative things that we can do in Durham whether we have the support from outside or not,” says Jacobs. “I have a lot of hope for this approach, and I’m also hopeful that out of child welfare reform, we will get some more focus on preventative funding.”

The county DSS has also stepped up its recruitment of foster parents. That’s paying off—at the end of September, there were ninety-five licensed foster homes in the county, up from fifty-four in 2014— although staffers say they need more.

It’s a constant process because foster parents burn out or reach the household limit of five children, including adopted and biological kids. Deborah Cousin, foster parent recruiter for the DSS, says some people get into fostering with the intent to adopt and stop when they get that opportunity. And, more often than not, foster parents ask to be placed with small children, not teenagers.

“They think they can mold a baby,” Cousin says.

Cousin has also been reaching out to churches and employers—foster parents

have to be able to support their household without the stipend they receive (see “Foster the People,” page 12).

“Being a foster parent is not an entitlement,” she says. “We want to make sure you can provide a safe and loving home for our children. I get a lot of calls from people asking, ‘How much do you pay?’ It’s my passion to not just get foster parents, but to get good people that will take care of our children.”

Foster parents say the experience—particularly how much they know about a child’s background and court case—varies greatly depending on the child’s often overworked and underpaid social worker.

“The difficulty is not the kids, for the most part. It’s the system,” says Kim Grier, who is fostering a baby boy with her husband. “The system is very hard to navigate, and I would encourage any new foster parents or people thinking about becoming foster parents to find a good support group and know that you are making a huge difference for these children, even though the system is frustrating.”

Foster parents describe the experience as both the best and hardest thing they’ve ever done. There’s a common thread to their stories: living with uncertainty and competing emotions. Fostering takes a lot of time—there are school drop-offs, therapy appointments, social worker check-ins, and visits with biological families. Sometimes finding the right therapist or doctor is made more complicated by North Carolina’s mental health care system, Medicaid, and limited information about a child’s history.

“Every day of foster parenting you have to board the ‘forgives all things, loves all things, bears all things’ love train,” says Jessie Larkins, a pastor who lives in Durham and has been fostering with her husband for two years. “It’s about a faithfulness.

You’re dealing with kids who expect people to give up on them, and so the whole point is, if you’re going to do this, you’re going to do this because you want to prove to them that there’s somebody who believes they’re worth not giving up on.”

Foster parents who spoke with the INDY talked about coming to terms with the fact that caring for neglected or abused children won’t erase their trauma, or necessarily help their biological parents overcome what may be generational struggles with mental illness, substance use, and poverty.

“Everybody thinks they will be the exception and not the rule,” says Courtney Baker, who’s had six foster placements, including several teenagers. “That’s because most well-intentioned people who are educated think anything is achievable if they just try hard enough, and it’s not achievable for a whole group of people.”

Because most children in Durham County foster care are black and the majority of foster parents are white, there’s often the added complication of parenting a child of a different race—from learning how to do hair to broaching the latest police killing of a black person.

“If something happens in the news—Ferguson, Trayvon Martin—we have to figure out how to talk to them about that,” says Larkins, who has a black adopted son and has fostered other children of color. “The talk that black parents have to have with their black sons, we’re trying to figure out how to talk about that without having that experience and figuring out who in our life can help us have that conversation. It’s changed the way I move in the world and what I fight for and how I fight for it because it’s not abstract anymore.”

Most relatives who take care of children, however, are black. Whitfield says if they were to get licensed—allowing them to get a stipend—the number of black and white foster parents would be more equal. They often don’t get licensed, Whitfield believes, because of a culture of taking care of one’s own family.

For the largely white families who have the resources to take in foster children, the experience puts their own privilege in stark relief. Larkins recalls taking a teenager in her

care out for her first sit-down meal. Baker has watched as a now twenty-one-year-old she fostered sits in jail awaiting trial. (She recently closed her foster parent license after adopting a third child.)

“This is the way the world really works for a whole set of people, and I cannot go back. I cannot unlearn that,” Baker says. “There’s a lot of sorrow there, but it’s made me a much deeper person, and it’s made me figure out what’s really sustainable for me, for life. I can’t just go on vacations to the beach and have a Mai Tai. I can’t go back to that reality.”

A year after that little boy came to live with Rainey Pearson and her husband, they’ve moved into a larger home so they can take in more children.

“It’s not what I pictured, but then there are moments that are exactly what I pictured,” she says. Moments like reading to him in the bathtub, or creating a secret hand-squeezing language—three times to say he’s scared or twice to say he loves her.

“I think I had a more rose-colored-glasses idea,” she says. “Maybe I had a bit of a savior complex about it, like I was going to come in and make these huge differences. It’s more about accepting that I can make a big difference in this one kid’s life, and I’m just going to have to do it one kid at a time.” swillets@indyweek.com

INDYweek.com | 11.14.18 | 15

indyfood

AMUSE-BOUCHE

Curry Favor

THAI AT MAIN STREET SAVES DOWNTOWN DURHAM A STRIP-MALL TRIP TO EAT THAI

BY LAYLA KHOURY-HANOLD

I

t seems like you can get just about any dish in downtown Durham, from empanadas to pizza to ramen, but until this summer, there was nary a plate of pad Thai in sight. But Thai at Main Street, which opened in June in the former Dame’s Chicken & Waffles space at 317 West Main Street, has filled the void.

The greatest hits are all here—pad Thai, fried rice, and coconut-based curries—alongside a smattering of dishes that explain the “Bangkok Twist” tagline on the restaurant’s sign. These include entrées such as Bangkok duck and Bangkok shrimp, which are also a nod to chef-owner Jay Aparoj’s hometown (Aparoj also runs Bangkok 54 in Chapel Hill).

As a third-generation restaurateur, Aparoj has plenty to draw on from his family’s recipe book (see: golden grilled chicken), but he’s putting his own stamp on it with dishes that don’t shy away from spice, such as a cantmiss papaya salad.

Vibe: Laid back, in a bright, contemporary space. Photos of Bangkok at night hang on the grey-and-yellow striped wall, accented by orange banquettes and a turquoise wall behind the bar, where Food Network is likely to be playing on the small flat screen. Service is prompt and friendly, and servers are knowledgeable and can help steer your order if you’re looking to sample something beyond pad Thai or fried rice. It’s definitely a downtown lunch hot spot—by 12:30 p.m. on a Wednesday, the place was packed, so get there early if you’re on a lunch break.

Menu: The lunch menu offers a handful of curries, pad Thai, fried rice, and the like, with either chicken, pork, beef, mixed vegetables, or tofu (or you can upgrade to shrimp, squid, or scallops for a couple bucks more). Each comes with Jasmine rice and a side salad or soup—opt for the soup, which comes with glass noodles, scallions, and mushrooms in a clear, restorative broth. For less pedestrian dishes, look to the house specialties side of the menu for entrées such as mixed seafood 16 | 11.14.18 | INDYweek.com

THAI@MAIN STREET

317 West Main Street, Durham 984-219-7444, www.thaiatmainstnc.com

Seafood Tom-Yum fried rice COURTESY OF THAI AT MAIN STREET with fish, shrimp, scallops, and squid in a redcurry-coconut broth.

What to order: If it’s pad Thai or fried rice you’re after, you’ll get solid takes of each, but don’t sleep on the golden grilled chicken, listed under house specialties (and available as a lunch menu set) and made according to a decades-old family recipe. Bone-in, skin-on chicken is marinated in lemongrass, makrut lime leaves, fresh garlic, and curry powder (which also gives the dish its subtle golden hue), then chargrilled—the pieces with smoky, char-lacquered skin are the best. It’s served simply with steamed broccoli and rice, so pair with the papaya salad, which packs a spicy-sour jolt (though I wish there was more of a smack of fish sauce to bring the funk).

More slaw than salad, the pale green ribbons are dressed in a vinegary, piquant sauce sluiced with lime juice and laced with Thai chili powder, then scattered with julienned carrots, halved cherry tomatoes, and peanuts. Your server will ask how spicy

you’d like it, on a scale of one to five, but be warned that the one is more like a three right out of the gate. It’s best to order it at a level one and add heat to taste with the accompanying caddy of chili sauce, vinegared chilies, or chili powder. If you want to double down on the heat, staff may recommend ordering one of the Bangkok-style dishes, such as the duck, served with a coconut red curry sauce, or the shrimp, fried and topped with a tri-chili pepper sauce. For a milder option, the green curry—a coconut-milk base strewn with cubes of chewy tofu, bamboo shoots, and red bell peppers—is a fine rendition of a classic.

Price: Apps start at $3 for spring rolls and hover around $7 for satay, wings, and meatballs. Curries, noodles, and rice dishes start at $11. House specialties are $13 to $18.

Lunch sets are $9 to $12.

Perfect for: Thai without the commute; banishing cold-weather blues; a quick lunch downtown. laylakh@indyweek.com

indyscreen

Absolute, Total Revolution

CARRBORO FILM FESTIVAL SELECTION WORKING IN PROTEST PROVIDES A COOL TAKE ON INFLAMED TIMES

BY ZACK SMITH

A

rt, some say, is never truly finished, and when your art is documenting protests, that’s doubly true. Last week, when I spoke with Chapel Hill filmmakers Michael Galinsky and Suki Hawley about their film Working in Protest, which screens in the Carrboro Film Festival at 7:00 p.m. on Saturday, November 17, they had just updated the film’s Facebook page with new footage of a protest against possible interference in the Mueller investigation, which they had recorded in Chapel Hill the night before. I remarked that the film, which compiles their footage from protests over a thirty-year period, seems like something they could infinitely update.

“That’s what we’re doing!” Galinsky cheerfully replies.

Working in Protest has a simple formula that gets complex results. The film jumps around in time, showing images and interviews from varied protests and discussions about controversial issues and finding unsettling parallels between injustices taking place decades apart—particularly when it comes to questioning the White House or the normalization of white supremacy.

Galinsky says the most common themes that emerged as they compiled the clips were the militarization of the police and the criminalization of dissent. “The more things change, the more they stay the same,” he says.

Hawley says she and Galinsky felt an obligation to document these upheavals partly because of how they were being documented elsewhere. “It’s basically just us, in a very neutral way, covering events around us that we feel the media either over-sensationalizes or under-represents,” she says. “There’s no argument behind it.

We want to be able to communicate across different lines so people can listen. Once you’re advocating for something, a number of people will just shut down.”

Galinsky says the film falls into a category between advocacy and journalism.

“We want these pieces to feel like what

screen

BRIEF

THE BALLAD OF BUSTER SCRUGGS 

Opening Friday, Nov. 16

Rev. William Barber in Working in Protest PHOTO COURTESY OF MICHAEL GALINSKY the experience actually is like,” he says.

“Media is very coherent, very edited and structured, but when you go to a protest, it’s usually very incoherent. There’s a lot of noise and arguing and lack of structure, and we want to capture that.”

The initial inspiration for the film came when Galinsky and Hawley moved back to North Carolina about five years ago and found photo negatives of pictures he’d taken from an ugly chapter in Triangle history that had a distressing resonance with the present.

“I grew up in Chapel Hill, and in 1987, the day after I graduated from high school, the Klan marched on Franklin Street,” Galinsky says. When he posted the photos online, he was told there were also still sound recordings of the protest, which he and Hawley edited over a montage of the

still photos. Among other places, the work appeared at The Nasher Museum in the exhibit Southern Accent.

Galinsky and Hawley have another film almost completed, The Commons, a compilation of shorts about the toppling of Silent Sam and Confederate memorials in the Triangle (one part, "Silenced Sam," is available at indyweek.com). Galinsky jokes that the goal of these films is to inspire “absolute, total revolution.”

More seriously, he wants viewers to “get more perspective on events, and how they consume media and how it gets to them.”

And there’s a time-capsule element as well, he says: “We want to capture things and preserve them for a later time when people can make more sense of them, when they’re not so angry and inflamed.” arts@indyweek.com

CARRBORO FILM FESTIVAL

Saturday, Nov. 17 & Sunday, Nov. 18, $15–$20 The ArtsCenter, Carrboro www.thecarrborofilmfestival.com

The latest from the Coen brothers, The Ballad of Buster Scruggs, is an anthology of six Old West short films and a must-see for those who appreciate the Coens’ Western oeuvre—films like True Grit and No Country for Old Men. The six shorts are of varying quality, but the last three are so good that they reflect glory back on the first three.

The opening act, with Tim Blake Nelson as a crooning cowboy, is the Coens at their smug and smirking worst. They have a thirty-year record of using ultra-violence as a punch line, and goddamn, it’s a tired bit.

The second story, with James Franco as a bank robber, is little better, but it’s partially redeemed by Stephen Root as the West’s looniest banker. Liam Neeson heads up the third tale, “Meal Ticket,” about a traveling wagon show and a limbless thespian.

Then comes the gold rush: Tom Waits anchors the wildly entertaining “All Gold Canyon” as a prospector with a method to his madness. It’s a near-perfect short film, a story that could only be told in this specific format. The penultimate tale is the most sincere, and the best. Zoe Kazan plays a homesteader on a wagon train as the filmmakers finally drop the smart-alecky stuff to evoke the vast emotional sweep of the classic Western. The final piece is a gem, too—a spooky stagecoach exchange among five fellow travelers with a common destination.

While Scruggs is opening at select theaters, as far as we know at press time, none of them are in the Triangle. It’s premiering on Netflix, which funded the project, something we’re going to see a lot more of as Netflix and other digital services continue their foray into original programming.

—Glenn McDonald INDYweek.com | 11.14.18 | 17

N OVE M B E R

WE 14 ALLEN STONE

w/ NICK WATERHOUSE 7p

indymusic

HISS GOLDEN MESSENGER Friday, Nov. 16, 8 p.m., $25 Carolina Theatre, Durham www.carolinatheatre.com

TH 15 PJ MORTON

W/ GRACE WEBER 7p

FR 16 RUNAWAY GIN- PHISH TRIB. 8p

SA 11/17 • 7P

THE WHITE PANDA SU 18 DAY 26 & SAMMIE 7p TU 20 QDR CARES – CONCERT FOR

CAROLINA W/ DAVID LEE MURPHY,

BRANDON LAY, BRITTON BUCHANAN 7p

WE 28 GHOST LIGHT 7p TH 29 PANCAKE & BOOZE ART SHOW 6p FR 30 MYLES KENNEDY & CO 7p DECE M B E R

SA 1 KIX 7p WE 5 SAMANTHA FISH

W/ JOHNATHAN LONG 7p

TH 6 FRONT COUNTRY 7p FR 7 ABBEY ROAD LIVE! 50TH ANNIVERSARY OF THE WHITE ALBUM 6p

SA 8 QDR CARES – ACOUSTIC

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

MO 10 STATE PROPERTY REUNION TU 11 TH 13 FR 14 SA 15 TH 20 FR 21 SU 23 FR 28 SA 29

NOW OR NEVER TOUR 7p KHRUANGBIN SOLD OUT CARL THOMAS 7p YARN W/ THE DUNE DOGS 7p CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR 2018 7:30p LOST GENERATION 8p THE SOUL PSYCHEDLIQUE & LOVE TRIBE 8p SMELL THE GLOVE 9:30p COMRADES & NOMADS BIS SOMETHING PRE-PARTY 7p BIG SOMETHING W/ THE MANTRAS 8p

SU 30 BIG SOMETHING

W/ THE KIND THIEVES 8p

MO 31 BIG SOMETHING

W/ MIDNIGHT NORTH 8p

CO M I N G S O O N

1/4 AARON HAMM AND BIG RIVER 1/9 1/11 1/12 1/18 1/23 1/25

& JONATHAN WOOD 6:30p FRUITION 7p ZOSO 7:30p ZOSO 7:30p THE GRATEFUL BALL 7:30p RIPE

W/ THE BROOK AND THE BLUFF 7p GREENSKY BLUEGRASS AT THE RITZ 7p

1/25 AMERICAN AQUARIUM 7p 1/26 2/1 KELLER WILLIAMS 8p 2/2 PIGEONS PLAYING PING PONG 8p

2/11 ALAN DOYLE BAND 7p 3/3/19 Y & T 7p ADV. TICKETS @ LINCOLNTHEATRE.COM & SCHOOLKIDS RECORDS ALL SHOWS ALL AGES

126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 18 | 11.14.18 | INDYweek.com

Gleaming Gold

HISS GOLDEN MESSENGER’S M.C. TAYLOR TAKES A MOSEY THROUGH HIS BACK CATALOG BY ALLISON HUSSEY M.C. Taylor PHOTO BY ANDY TENILLE

T

he past decade has been an unusual ride for Hiss Golden Messenger.

M.C. Taylor began it as a vehicle for electric-only songs, but quickly cracked open a new world of tunes that explored anxiety, spirituality, exhaustion, and joy— often all at the same time. With Scott Hirsch, who’s produced, engineered, mixed, and played bass and guitar throughout the band’s entire catalog, Taylor transformed into one of North Carolina’s biggest names in rootsy rock.

Earlier this month, Merge Records reissued some of Hiss Golden Messenger’s earliest work in a four-LP box set. We sat down with Taylor to venture through some of those songs (and other rarities) and reflect on the band’s winding history.

“O Nathaniel” Country Hai East Cotton, 2009

On his first album as Hiss Golden Messenger, Taylor leaned into Jamaican dub-inspired arrangements with an all-electric band.

I had started this record, and then, right in the middle of all of that, I moved to North Carolina. I kind of threw my hands up and said, “I need a change that’s so drastic that I’m just going to leave.” And I moved to North Carolina. I started working on this record in 2006; it didn’t come out until 2009. I would say for probably two years of that gap of time, I didn’t do anything with it. I was in this whole new place and putting a life together. I have a personal connection to this record for all kinds of different reasons.

I’ve always loved Jamaican music. That goes back to when I was seventeen or eighteen years old. What is it that draws me to that stuff? I don’t know. It’s just a reimagining of what sound can do. People like King

Tubby, Lee “Scratch” Perry, Scientist, Yabbi You, Nani the Observer, and all kinds of producers and engineers were so technologically advanced. Their imagination was driving it. It’s not like they had millions of dollars to make this stuff happen. It was pure ingenuity and genius.

“Lal’s Song” Golden Gunn, 2013 The inspiration for this song’s title is Lal Waterson. With her brother, Mike, Waterson issued Bright Phoebus, a cult-hit folk LP that Taylor counts among his favorites. The track appears on Taylor and Hirsch’s 2013 album with guitarist Steve Gunn.

The Watersons, at the beginning, were purely a vocal-based group; they were a cappella.

Their voices were very strong together. They

weren’t beautiful in the way that most people think about beautiful, but there’s something very compelling about how they sounded.

You listen to their singing, and it’s pretty clear that they never made any concessions to anything except for their own emotions and their own relationships.

Bright Phoebus is an incredible and deep record. It’s an ugly record. It’s not something that you can put on in the background, I don’t think. But the writing is so deep and incredible. The singing is so beautiful. They were working totally outside the mainstream.

They put the record out, and it completely disappeared. People didn’t like it. It’s been reassessed in the past couple of years. It speaks to me on an emotional level.

“Blue Country Mystic” Poor Moon, 2011 The opening track to the third Hiss Golden Messenger LP introduces the album with swelling strings.

This was one that I was not convinced of.

I liked the emotional thing that it conveys, but I just didn’t know how to arrange it in a way that felt rhythmically interesting. Scott Hirsch kept saying, “I have a bass part that will make it work. Let’s just try it.” To me, the whole song is the bass.

There are a fair amount of tunes in the Hiss catalog that, maybe they don’t sound a lot like this, but they feel like this. I always refer to them as “the steppers.” It’s almost dancehall, kind of. For one thing, it’s syncopated in a way, against the drum groove. That was definitely another reminder out of many I’ve had in my life—listen to other people sometimes.

“Born on a Crescent Moon” Lord I Love the Rain, 2012 This track, from a 2012 album of odds and ends, returns to Taylor’s early dub inspirations with a spiraling, groovy jam.

I like that music can put people in a trance.

That’s something very powerful about music to me. Repetition is sort of like a meditation. I’m particular about the type of quoteunquote “jamming” that I like. The music that establishes kind of a reflective cycle in which the changes are subtle and small, and it takes a really long time for changes to happen—that does something to me. There’s something collective about it. It’s not that someone is trying to show how good they are. They’re being a collective goal that’s beyond technique.

I’m attracted to music that requires a bit of work from the listener. That’s why I love devotional or spiritual jazz. Bright Phoebus falls into that category, too. When you

put something on, and you can’t even say whether or not you like it immediately, but there’s something emotionally compelling there that wants you to be with it for a certain amount of time. I have a deep well in my heart for that kind of stuff.

“Far Bright Star” Bad Debt, 2010 Taylor recorded this album at his kitchen table in Pittsboro, unaware it would change his entire life.

[Bad Debt] was a paradigm shift in my life, completely. It was almost like a near-death experience, or something that didn’t change me briefly, but changed my life on a molecular level. I found a thing that I could do. Prior to this record, I had even already made Hiss Golden Messenger records. But before this record, I was kind of like everybody who wants to be a musician that’s writing songs, recording, playing shows, but the stakes are neutral. After I wrote these songs, I realized I have something here.

“Cheerwine Easter” Haw, 2013 Nodding to North Carolina’s favorite specialty soda, “Cheerwine Easter” is a slow-blooming centerpiece to Haw that sparkles and soothes.

Bad Debt was a record about discovery. Poor Moon is kind of a wandering record. There’s maybe a little bit of desperation on Haw. There were some things that I was thinking about and dealing with on that record that didn’t exist on Poor Moon.

At a certain point with Hiss, I started writing songs that could be considered gospel songs, except for I’m not a churchgoing person. The greatest devotional music that I know is music that’s searching, or addressing the dark night of the soul. “Sufferer” is in that mode too, “Red Rose Nantahala” is in that vein. Since Bad Debt, I had been using specific Biblical imagery, which I continued to do on this album. There were some unresolved questions in my life that existed.

There is a Pharaoh Sanders record that is and was a big influence on me at that time, Deaf Dumb Blind. He does a version of the gospel song “Let Us Go into the House of the Lord.” All of the emotions are here: joy, sadness, everything in one place. That’s what “Cheerwine Easter” sounds like to me, too.

I wasn’t trying to copy [Pharoah Sanders], I was trying to get at the emotional complexity.

I felt like, if it can be done, I want to learn how to do it, too. I want to make a song that sounds happy and sad at the same time. That’s possible. Why do we have to choose? ahussey@indyweek.com

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming November 21:

PITTSBORO/SAXAPAHAW & OUTPOSTS For advertising opportunities, contact your ad rep or advertising@indyweek.com

INDYweek.com | 11.14.18 | 19

music

Misfit Managed

DOYLE WOLFGANG VON FRANKENSTEIN SETS OUT TO CREATE HIS OWN LEGACY OF BRUTALITY, THE OLD-FASHIONED WAY BY BRYAN C. REED Doyle Wolfgang Von Frankenstein PHOTO BY KANON MADNESS

A

little more than a year ago, Doyle, the band led by erstwhile Misfits guitarist Doyle Wolfgang Von Frankenstein, released its second album, Doyle II: As We Die. This being the age of immediacy, it’s almost reflexive to ask Doyle, midway through his cross-country World Abomination Tour 2018, what he’s working on now. A few songs are in progress, he says. A few are complete. But that’s not the point.

“I’d like to tour this album if everybody doesn’t mind,” Doyle says. “Everybody, as 20 | 11.14.18 | INDYweek.com

soon as it came out, was asking: ‘When’s the next one coming out?’ Keep stealing music and there won’t be a next one.”

One could be forgiven for assuming Doyle, who long ago cemented his iconstatus in underground music as the statuesque guitarist of punk-rock idols The Misfits, might have a leg up on the hungry hordes of indie bands starting from scratch. But, according to Doyle, the path to success in the music industry is still a mystery.

“I’ve been doing it forty years, and I don’t know,” he says. “It’s really fucked up. You need a ton of money to promote everywhere possible, but I don’t have that.”

On tour, he says, it can be a gamble.

“It all depends on the fucking promoter, man. If they don’t promote, nobody comes.

They think, ‘Oh, you were in the Misfits, I don’t have to promote,’” he says. “You’re full of shit. I don’t think more than five percent of Misfits fans even know I have a fucking band.”

Doyle isn’t even the guitarist’s only postMisfits venture. The Misfits’ original, classic lineup dissolved in 1983, briefly reuniting in 2016 for a handful of high-profile, oneoff shows. Doyle and his brother, Misfits bassist Jerry Only, formed the short-lived metal band Kryst the Conqueror and later reformed a version of The Misfits with singer Michale Graves in the mid-nineties. In the 2000s, Doyle formed Gorgeous Frankenstein with his then-wife, Stephanie Bellars, a.k.a. Professional wrestler Gorgeous George, and toured with his former bandmate Glenn Danzig’s eponymous band Danzig. By 2013, Doyle had emerged as a band, with the guitarist teaming with Cancerslug vocalist Alex “Wolfman” Story to add lyrics and vocal melodies to his compositions.

“I put ads in all the places, or the papers, that you put out to get band members, and his was the only audition CD that I listened to every song because they were all great,” Doyle says. “I had some famous people send me shit too. Of course, I won’t mention their names.”

In 2013, the band debuted with Abominator, following it with As We Die last year. On both records, the chemistry between Doyle and Story is immediately clear. Story moves easily from a raw croon into full-throated bellowing, in the same way Doyle shifts between chugging punk-rock riffs and sharp metal solos. Songs like “We Belong Dead” evoke the ghoulish, fiftiesinformed punk of the Graves-led Misfits, while “Show No Mercy” wouldn’t feel out of place next to Deliverance-era Corrosion of Conformity. “Blood on the Axe” finds its groove against a crossover thrash riff, while “Run For Your Life” shifts from a tumultuous death metal intro into fist-pumping melodic punk. That versatility and volatility, Doyle says, keeps the band from fitting easily into any stock categories.

“I don’t look at anything as a genre,” he says. “I just write whatever’s comfortable in my hands. If I like it, then it’s good for me. If it’s good for me, then it’s good. If people don’t like it, they can go fuck themselves. I gotta like it first.”

Even as the materials marketing Doyle are quick to cite his legacy in the Misfits and his influence on horror punk—the band’s official bio describes Doyle as “the poster child and originator of the genre”—Doyle himself is reluctant to associate himself with the genre.

“As far as horror-punk, I think pretty much a hundred percent of horror-punk bands suck because they’re all just shit imitations of what the Misfits did,” Doyle says. “And the Misfits really wasn’t one thing. It was rock ’n’ roll, it was thrash metal, it was punk, it was fifties music, it was rockabilly, it was all kinds of shit. I don’t think we sound like anything but ourselves.”

But making a living from songs is an increasingly difficult prospect in the digital age. As digital piracy continues to cut into sales figures, and streaming services cut out traditional album sales revenue, bands—even those with significant legacies to bolster their efforts—struggle to turn art into business.

“The thing that sucks about the Internet is everybody thinks the music’s free because we’re so used to getting instant gratification with this fucking computer that’s in our hand all fucking day,” he says. “You come in and take our product, which is our songs, and don’t pay for it, that should be a crime.

The Internet needs to police that and make it a hefty fucking fine, because we’re doing the world a service by entertaining them and keeping them all fucking sane. What do you think, it’s free? That we don’t have to eat? It’s fucking bullshit. These tours cost me money.

I don’t make fucking money on this shit.”

Story, Doyle says, sums up the situation the best: “We’re just a traveling T-shirt company with jingles to sell the fucking shirts.”

So the group stays on the road, playing their songs to anyone eager to hear them.

“Kids travel far to see the show, so you gotta give them a show,” Doyle says. “If there’s one kid at the fucking show, you’ve gotta give it to ’em.”

Plenty has changed in the business of rock ’n’ roll, but the power of a good show is timeless. music@indyweek.com

DOYLE

Friday, Nov. 16, 7 p.m., $18–$50 The Maywood, Raleigh www.themaywoodraleigh.com

music

REVIEW

TIRED OF EVERYTHING SILENCED TO LIVE A LIE RECORDS 1/2

In the truest hardcore fashion, Tired of Everything’s debut demo, Silenced, wastes no time in making its points. With six tracks that blitz by in about as many minutes, the Raleigh band unleashes a vicious polemic against animal consumption, gentrification, sexual abusers, societal privilege, struggles with mental illness, and Confederate monuments.

But there’s nothing noteworthy about a hardcore band being angry—no matter how righteously—at the problems in society. That’s step one. Tired of Everything knows the power of a gnarled hook, which many other acts lose in a frenzy of guttural vocals and belligerent breakdowns. When the band drops into a half-time stomp at the tail-end of “Industry of Lies,” vocalist Will Butler winds a factual assertion about animal casualties at the hands of American industry into a scathing accusation pointed at the listener. “Their blood is on your hands,” he screams in a near-taunt.

And later, as the band berates an unnamed (but specifically detailed) abuser on “Missing Stair,” the rushing D-beat and simple riff driving the song give a springy foundation for Butler’s venomous, chanting verses. “Power position/Hurting women/Play the victim,” he yells. "Punk progressive/ Home aggressive/Play the victim/Move to Winston/Crimes are distant/Play the victim.”

At their best, Tired of Everything offers a distillation of hardcore’s most enduring traits. They execute their songs with urgency and precision, giving platform to Butler, whose lyrics manage to convey much despite their minimalism. This might not come as a surprise to local hardcore insiders, who’ll recognize Butler from his role in Oxidant, as well as heading up the label To Live A Lie Records, or the roles his bandmates—drummer Eli Thorpe, guitarist Ryan Swinsick, and bassist Matt Sorrells—have played in bands like Zipper, Mad Dog, and Salmonella.

But what the quartet have arrived at here is a powerful and promising debut. Hopefully, they’ll have enough vitriol left for a proper full-length. —Bryan C. Reed

music

BRIEF

BIRDS & ARROWS’ LATE FALL MIGRATION When Durham residents Andrea and Pete Connolly set out for Arizona nearly three years ago in search of a creative and physical life change, the couple’s band, Birds and Arrows, was known for its gentle, often romantic folk-pop. Returning this weekend for their first Triangle show since 2015 to support their new album, Arbitrary Magic, the pair say that living in the Sonoran Desert has helped inspire a new direction for their music, which may seem unrecognizable at first to folks in their old stomping grounds.

“There's something about Tucson—and a lot of the Southwest, really—that emboldens artists, and it's definitely done that for us,” the Connollys shared over email, mentioning how tough it was to shake their label as a sweet folk duo before the move. “There's a sense of true wild freedom here where artists don't seem held back by the conservative nature of their surroundings.” In the case of Birds & Arrows, that means Arbitrary Magic has a crunchier sound than anything they’ve released before, though both Connollys grew up playing in rock bands.

They’ve been significantly reworking their sound, they say. That’s involved Andrea shifting her songwriting focus to be more outspoken in light of the current political climate, particularly in the context of a border town like Tucson; she refers to “Stay Down” as her “angry #metoo song,” while “Overloaded” speaks to Trump’s demonization of Latinx people.

“We've been married ten years and are still madly in love, but artistically, it would be pretty damn boring to just continue to write about that,” she explains. “We're ready to scream about change right now.” While excited to share their new material with their former home, they acknowledge that some longtime listeners may be thrown for a loop by the changes. “Some people might be a little freaked out, but we're still the same honest, harmony-based, song-oriented band we always were—we'll just melt your face now too.” —Spencer Griffith Birds & Arrows play at the Cat’s Cradle Back Room Friday, November 16, at 8 p.m. Tickets are $10–$12, Surrender Human and Rachel Kiel open.

INDYweek.com | 11.14.18 | 21

indyart

Etel Adnan’s “Untitled” (2017) in Birthday Presents PHOTO COURTESY OF GALERIE LELONG & CO.

Collect Calling

THE BENEFITS AND CHALLENGES OF COLLECTING ART, WRIT LARGE AT THE ACKLAND BY JULIE M. HAMILTON

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n mid-September, a huge red orb appeared in six different locations around UNC and Chapel Hill. Wedged in arched doorways and between columns, the site-specific installation invited viewers to re-envision familiar surroundings through an imaginative interaction with architecture in public space. Kurt Perschke’s traveling RedBall Project, cited as the longest-running street-art performance (it began in 2001), was part of a trifecta of happenings commentating the sixtieth anniversary of UNC’s Ackland Art Museum.

Premiering concurrently was UNC alumna Lauren Frances Adams’s Crazy Quilt, a site-specific installation in the museum’s 22 | 11.14.18 | INDYweek.com

revamped ART& community space—a place for artist lectures, events, and mini-exhibits where students can also hang out and study in a food-and-beverage-friendly reception area.

Made of temporary-adhesive floor-to-ceiling wallpaper, Adams’s large installation is mural-like in its scale and its all-over textile motif. Named after the quilting style composed of irregular patchwork pieces in a variety of materials and patterns, Adams draws inspiration from the decorative arts in combining haphazard scraps of historical happenings, stitching together a revisionist narrative of labor, women, people of color, and LGBTQ history in North Carolina. By provoking questions about how history gets created

and using her access to the North Carolina archives, Adams created a “microcosm of the Ackland,” says Lauren Turner, the museum’s assistant curator.

While the red ball has rolled on to other cities, Crazy Quilt remains on view through March. Also still on view, through the new year, is the third and largest of the projects the Ackland unveiled in September. If Crazy Quilt is a microcosm of the museum, then the exhibit Birthday Presents is a macrocosm: a broad collection of global work organized roughly into two categories, “The Art of Our Time” and “The Historical Collection.” The latter ranges from Han Dynasty earthenware sculpture to twentieth-century African ceremonial masks and Japanese ceramics, as well as a significant number of Abstract Expressionist prints and paintings.

It is no secret that the Ackland is a premier Southeastern destination for its archival wealth in prints, which is why lithographs, screen prints, and drawings make up the bulk of the exhibit. It includes three Rembrandt etchings, an Edouard Manet lithograph, four Lee Krasner lithographs, two Adolph Gottlieb color screen prints, a Sam Francis lithograph, and a Sister Mary Corita Kent screen print.

The unifying thread is the method of acquisition: The pieces represent the largesse of the museum’s donors. Complementing the Ackland’s 2011 exhibition Carolina Collects: 150 Years of Modern and Contemporary Art from Alumni Collections, in which UNC alumni loaned their private collections to the museum, Birthday Presents is a compilation of pieces that have been given to the Ackland or promised to it in commemoration of its anniversary.

A museum’s permanent collection is established through innumerable means, but university museums can face fairly restricted budgetary allotments for purchasing new pieces to expand their permanent collections, often relying on annual funds and institutional endowments. Thus, exhibits are frequently dependent on loans from other institutions or private collections to keep them fresh and interesting.

When collecting institutions like the Ackland acquire pieces, art acts as a kind of energy source, a potential waiting to be utilized and maximized in different contexts in the museum. Chief curator Peter Nisbet describes it as “adding batteries to the storehouse.”

Meanwhile, for non-collecting contemporary museums (such as CAM Raleigh), the very idea of a collection is a financial

burden that imposes limitations, but also opportunities to create innovative, unexpected exhibits.

Art historian Claire Bishop discusses conflicting theories of building permanent collections in her book Radical Museology: Or, What’s ‘Contemporary’ in Museums of Contemporary Art? Beyond the expense of building and maintaining a collection, Bishop writes, “to many curators, the historical weight of a permanent collection is an albatross that inhibits the novelty so essential to drawing in new audiences.”

As recent studies have shown—including “Igniting the Power of Art: Advancing Visitor Engagement in Museums,” which ran for seven years at the Dallas Museum of Art—experimental exhibits typically attract a broader audience, especially among the younger demographic, by provoking contemporary political issues and encouraging social-media spreading. Spectators who might think of a traditional museum as stuffy or elitist can now frequent museum spaces that have reconfigured their programming and outreach to be more democratic, accessible, and interactive.

On the other hand, Bishop argues, “The permanent collection can be the museum’s greatest weapon in breaking the state of presentism because it requires us to think in several tenses simultaneously: the past perfect and future anterior.”

In other words, a permanent collection provides a foil, a context for the contemporary exhibits to dialogue with and react to. I believe that the Ackland’s upcoming December exhibition, A New Look: The Permanent Collection Galleries Re-energized, will attempt to do precisely that.

Birthday Presents demonstrates how the Ackland’s administrators navigate the financial concerns Bishop raises: by cultivating critical relationships with philanthropic patrons and UNC alumni to incorporate key pieces into the collection. The museum seems to accept Bishop’s invitation to rethink its holdings in “several tenses simultaneously” by juxtaposing a more traditional exhibit with Perschke’s transient public work and Adams’s historically significant yet strikingly contemporary installation.

It’s the combination of old and new, permanent and temporary, that helps viewers understand each, validating Bishop’s prognosis that, without a collection, it’s hard for a museum to stake a claim not only to the past, but also to the future. arts@indyweek.com

BIRTHDAY PRESENTS Through Jan. 6 | Ackland Art Museum, Chapel Hill | www.ackland.org

indypage

Kill Your Idols

DESTROY ALL MONSTERS IS A GRIPPING MUSIC-SCENE MURDER MYSTERY BY MICHAEL VENUTOLO-MANTOVANI

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Florian as they wander through a music eff Jackson’s newest novel paints a scene and town in tatters, grappling with the local music scene that is dark and turmurder of Shaun, the former’s boyfriend and bulent, mired in uncertainty, fear, and latter’s ex-bandmate and best friend. dread. The anxious small-town musicians, Side B, “Kill City,” takes a macro view of aspiring managers, obsessive collectors, and the national epidemic of musicians being ravenous fans in Destroy All Monsters, which murdered while performing. Xenie, Shaun, FSG Originals published last month, aren’t and Florian become part of the story’s fabric grappling with shuttering clubs or scene rather than the story itself, reminding us that infighting or cops cracking down on DIY these tragedies are so much venues, like so many of their more than information scrollreal-world counterparts. ing across a chyron on a nightInstead, someone—or ly television news program. someones—is gunning down Relying on his history musicians mid-set for reaas a musician in real music sons unknown. Soon, musiscenes, Jackson builds worlds cians around the country are that square more realistically coping with these tragedies, than many rock novels that which begin in the fictional have come before. From his town of Arcadia but spread descriptions of the venues, copycat-style across America. rock dives, and practice spacIn an era when mass shootes the scenesters of Arcadia ings have become a sad PHOTO BY LYDIA BITTNER-BAIRD inhabit to the minutiae of the instruments national norm, Destroy All Monsters is as they play, the demo cassettes they dub, the urgent and visceral a story as readers might show flyers they Xerox, and their personfind, as it grapples with the shockwaves sent al relationships to the music they create, through a community and the anxieties that Destroy All Monsters often reads like a docufester in the wake of such tragedies. And ment in the vein of Jon Fine’s Your Band while Jackson, a fiction writer and playSucks or Legs McNeil’s Please Kill Me. wright based in Charlotte, conceptualized Music is the book’s beating heart. Wherethe story long before the tragedy at France’s as DeLillo’s Great Jones Street was a musing Bataclan, life’s imitation of art and vice versa on celebrity dressed up as rock tome, and is frighteningly present throughout the book.

Jessica Hagedorn’s The Gangster of Love is Jackson’s debut small-press novel, the as much about family and cultural adaptastunning Mira Corpora, garnered accotion as it is about punk rock, the core ethos lades from The Los Angeles Times and Don of Destroy All Monsters is the relationship DeLillo. It’s a surreal tale full of colonies of between the obsessives and the music, at a outcast children, magical mixtapes, teentime when music is becoming ever more disage oracles, and haunted amusement parks. posable, ever less valuable.

While Destroy All Monsters is decidedly less One part modern noir, one part angsty fantastical, it still challenges literary norms, post-teen rock novel, one part allegory about eschewing quotation marks in dialogue and the cast-off nature of music in the age of conceptualizing the entire story as if it were streaming, the propulsive and uber-stylized a rock record.

Destroy All Monsters deeply probes the quesLike an album, Destroy All Monsters tion of music’s place in an ever-faster world, has two sides, leaving the reader to choose and what it might take, as Xenie argues in which to read first. Side A, subtitled “My Side A, for it to begin to matter again.

Dark Ages,” follows Xenie, a disillusioned yet arts@indyweek.com talented singer, and the stubborn guitarist INDYweek.com | 11.14.18 | 23

24 | 11.14.18 | INDYweek.com

indystage

HILTON ALS: LIVES OF THE PERFORMERS Friday, Nov. 16 & Saturday, Nov. 17, 8 p.m., $37 Current ArtSpace + Studio, Chapel Hill www.currentunc.org

Silent Shout

THE VOICE AND ITS ABSENCE IN THE FIRST FULL-LENGTH PLAY BY PACESETTING THEATER CRITIC HILTON ALS

BY BYRON WOODS

T

he first half of Lives of the Performers, the debut play by Pulitzer Prizewinning New Yorker theater critic Hilton Als, focuses on June and Jennifer Gibbons, the daughters of a West Indian family who immigrated to the United Kingdom in the 1960s. During and after a disastrous upbringing in which the children were perpetually bullied—as the only black kids in the small, racist coastal town of Haverfordwest, in southern Wales—they became known as “The Silent Twins” for their adamant refusal to speak to anyone but each other.

The second act of the play, which Carolina Performing Arts is presenting as an in-progress staged reading at Current this weekend, focuses on Sheryl Sutton, an actor who rose to the forefront of the black avant-garde in 1970s-and-‘80s New York City. Sutton found fame as the “Byrdwoman,” a recurring figure in Robert Wilson’s first decade of experimental stagings. Wearing a dark, severe, high-necked Victorian dress, Sutton silently poured two children glasses of milk before calmly murdering them with a kitchen knife in Wilson’s uncanny 1973 classic, Deafman Glance. Her movements and gestures were meticulously essentialized and stripped of artifice. With an absolutely magnetic stage presence, Sutton made Wilson’s events unfold with a sense of inexorable ritual. Wilson researcher Laurence Shyer called her the director’s “quintessential performer.”

What do two subjects that seem so discrete have in common? Start with silence.

Wilson gave Sutton’s mute characters a strange agency in Deafman Glance and The Life and Times of Sigmund Freud, where she remained motionless on the Brooklyn Academy of Music stage for an hour before creating a coup de theatre merely by rising, walking forward, and gazing out, for the first time, upon the audience. Sutton’s extended silences gave her performances a profound sense of reserve—a bottomless well of interiority in which her characters lived rich, contemplative lives that were at once fully disclosed and fully hidden.

“Sutton said one of the reasons she so enjoyed working with Bob was that he gave her so much time to think. She was using all of that time,” Als says. Shyer noted that Sutton’s silence gave her the enigmatic ability “to be strongly present and absent at the same time.”

Hilton Als

were not welcome—and “a family to replace the one they had excommunicated,” as Als wrote in a 2000 story in The New Yorker.

In that safe, private place, a flood of poetry, novels, and diary-based memoirs followed.

But as puberty hit, their separate space and common cause began to crumble.

PHOTO COURTESY OF CAROLINA PERFORMING ARTS

Similarly, the vow of silence that June and Jennifer Gibbons made as children and perpetuated for almost two decades was an act of disengagement and resistance, a barricade against both their harassment and the parents who weren’t able to protect them from it.

But in their sanctuary of silence, a rich, creative interior life flourished among the twins. In the upstairs bedroom that was their fortress of solitude, they formed a society of two, speaking to each other in an all but impenetrable common tongue. Then they began using dolls to script and craft a community to replace the one in which they

Sutton and the Gibbons twins have something else in common: They are “blissfully unaware,” Als says, of “performing blackness.”

“One of the things that undoes me as a viewer, when I watch human beings being human beings, is when their story, which includes blackness and femaleness, is used as an ideological tool and not a narrative tool,” says Als, who will receive the Langston Hughes Medal the day before arriving in Chapel Hill. Anytime he felt his script slip into an easy explanation of who his subjects were because of their race and gender, he cut the passage.

“It feels creepy when people are italicizing part of their humanness in order to sell themselves,” he says. “I didn’t want these women to be sold. I wanted them to be listened to.” For him, the work is about what he calls twinning. “It’s a way of wanting to feel that someone has the same feelings or understands you completely and without qualification,” he says.

Als has written small works for the stage before, and in 2016, the Whitney Museum invited him to direct a revival of free-jazz composer Cecil Taylor’s operatic version of Adrienne Kennedy’s A Rat’s Mass. Still, Lives of the Performers is his first full-length play.

“I’ve felt really vindicated,” Als says.

“Working as a critic at The New Yorker has been a wonderful kind of graduate school to work in theater.”

The work began as an adaptation of Als’s New Yorker article about the Gibbons twins for a 2017 benefit by performance artists Okwui Okpokwasili and Helga Davis.

“My sister had recently died,” Als says, “and what they and director Peter Russo came up with was so emotionally true, I wanted to continue, so I could deeply and emotionally talk about me and my sister as well.”

Carolina Performing Arts announced last month that Okpokwasili and Davis had been chosen to receive two of the first four fellowships in the new Creative Futures initiative, and both will act in this week’s staged reading at Current. At the same venue on Saturday at 4:00 p.m., Als will hold a free public conversation about how criticism and creative writing build communities of readers, spectators, and artists.

As our conversation winds down, Als reflects on his subjects and the courage they have given him.

“These people have endured great hardships, but the richness of the imagination has the enormous ability to lift you out of the limitations of the world,” he says. “They were free to dream without restriction, because they insisted on that.” arts@indyweek.com INDYweek.com | 11.14.18 | 25

WHAT TO DO THIS WEEK 11.14–11.21 WEDNESDAY, NOVEMBER 21–SUNDAY, NOVEMBER 25

THE PLANETS

The solar system is a rather lonely place for intelligent lifeforms: eight empty houses on a long, dark block, plus ours. To make the community seem a little cheerier, or a bit more inhabited, at least, the ancients anthropomorphized nearby planets. In giving them godlike characteristics, they dreamed up a weird little neighborhood for us in the process. A warrior’s on the adjacent red rock; a universal love object’s two doors down on Venus. Further off: the overcaffeinated town crier, Mercury, and the rich and jovial Jupiter. Saturn manages the old folks’ home, close by the magus, Uranus. Farthest away: Neptune, a mystic. In 1916, Gustav Holst completed a Romantic suite imagining what they sounded like. In 2015, Carolina Ballet’s artistic director, Robert Weiss, and its resident choreographer, Zalman Raffael, completed the anthropomorphic circuit in a prismatic ballet in which company members assemble Durham sculptor Guy Solie’s golden aerial sculpture during the performance. It’s back this weekend, in a program with Balanchine’s Apollo. —Byron Woods RALEIGH MEMORIAL AUDITORIUM, RALEIGH Various times, $34+, www.carolinaballet.com

The Planets PHOTO COURTESY OF CAROLINA BALLET WEDNESDAY, NOVEMBER 14–SUNDAY, NOVEMBER 18

THE PINHOOK IS 10

The Durham of a decade ago looked a whole lot different than it does now. It didn’t have quite so many condos or special-occasion restaurants, but it did have The Pinhook, which celebrates ten years of business with a full weekend of festivities. On Wednesday, Wailin Storms heads up a heavy bill, and on Thursday, you can take part in the club’s famous karaoke. On Friday, deejays Queen Plz and Gemynii top off an eclectic bill that includes Hammer No More the Fingers, Shirlette Ammons, Ryan Gustafson, and more; the next night offers drag queens, ZenSoFly, and lots of rock ’n’ roll. The party concludes on Sunday with sets from Phil Cook, Skylar Gudasz, and Loamlands, the current band of Fearless Pinhook Leader Kym Register. It’s as much an opportunity to revel in some great local acts while celebrating one of Durham’s most important community hubs. See The Pinhook’s website for full lineup details. —Allison Hussey THE PINHOOK, DURHAM Various times, donations, www.thepinhook.com

WHAT ELSE SHOULD I DO?

THURSDAY, NOVEMBER 15

DAVID GRANN: THE WHITE DARKNESS

The best narrative-nonfiction journalists spin long historical lines out of intimate human stories in prose that relies on crafty structure, not the rhetorical hard sell, for emotion and suspense. This is why David Grann is one of the very best. He plays his cards close to the vest, bringing the reader into not just his conclusions, but also his process of discovery. His careful reportage page-turns like potboilers in book-length lives-and-times portraits of people who strode through history powered by courage, obsession, and madness. The Lost City of Z is a cracking adventure yarn that also vividly details the waning days of British exploration, while Killers of the Flower Moon is a gripping murder mystery that also illuminates the U.S.’s colonial atrocities and chronicles the emergence of the FBI. Grann’s new book, The White Darkness, previously excerpted in The New Yorker, follows contemporary Antarctic explorers who are trying to complete the legendary journey that Ernest Shackleton could not, tying the twentieth and twenty-first centuries in a knot, as Grann likes to do. We’re shivering with anticipation. —Brian Howe QUAIL RIDGE BOOKS, RALEIGH 7 p.m., $20 (book purchase), www.quailridgebooks.com

AN EVENING OF POETRY & CELEBRATION AT THE REGULATOR (P. 35), BIRDS AND ARROWS AT THE CAT’S CRADLE BACK ROOM (P. 21), BIRTHDAY PRESENTS AT THE ACKLAND (P. 22), DOYLE AT THE MAYWOOD (P. 20), CARRBORO FILM FESTIVAL AT THE ARTSCENTER (P. 17), HISS GOLDEN MESSENGER AT THE CAROLINA THEATRE (P. 18), LIVES OF THE PERFORMERS AT CURRENT (P. 25), MARIMBAS FROM HELL AT THE CHELSEA THEATER (P. 35), BEVERLY MCIVER AT CRAVEN ALLEN GALLERY (P. 32), SHE LOVES ME AT PLAYMAKERS (P. 34), TIRED OF EVERYTHING AT SLIM’S (P. 21) 26 | 11.14.18 | INDYweek.com

SATURDAY, NOVEMBER 17 & SUNDAY, NOVEMBER 18

MOUNTAIN MAN

Mountain Man—the trio of Molly Sarlé, Amelia Meath, and Alexandra Sauser-Monnig— called Vermont home when it released its debut record, Made the Harbor, in 2010. In the eight years since, the band’s members have all made their way to North Carolina, and in September, they released a long-awaited second record called Magic Ship. There, the women spin another web of intricate tunes that put their striking vocal harmonies front and center. The singers seem to have a preternatural understanding among each other, and their resulting musical efforts are spellbinding. If you need some tender comfort as we slide toward the depths of winter, Mountain Man will offer enough warmth to see you through to springtime. Saturday’s show has already sold out, but the band added another for Sunday.

The Dead Tongues open both nights. —Allison Hussey HAW RIVER BALLROOM, SAXAPAHAW 8 p.m., $25, www.hawriverballroom.com

Mountain Man

PHOTO BY SHERVIN LAINEZ

THURSDAY, NOVEMBER 15–SUNDAY, NOVEMBER 18

I AM MY OWN WIFE

It took some daring for museum curator Charlotte von Mahlsdorf to reconstruct and preserve the last Weimar cabaret, Die Mulack-Ritze, in the basement of her Gründerzeitmuseum after the gay bar’s 1963 demolition at the order of East German authorities. But far more courageous was her fifty-year sojourn, from the 1940s through the 1980s, as a self-identified transvestite in East Berlin. She somehow managed to live through two of history’s most oppressive, gay-persecuting regimes, the Third Reich and the German Democratic Republic that followed it. When playwright Doug Wright first visited von Mahlsdorf in 1992, he concluded that she didn’t run a museum; she was one: a living chronicle of untold stories in gay history behind enemy lines. His subsequent interviews and research—including in Stasi intelligence files—resulted in this Pulitzer- and Tony-winning 2004 biographical play. Brian Westbrook takes on this rarely seen one-person show in an enhanced staged reading—fully embodied, with costumes and set—for Justice Theater Project. Jackson Cooper directs. —Byron Woods UMSTEAD PARK UCC, RALEIGH Various times, $15, www.thejusticetheaterproject.org INDYweek.com | 11.14.18 | 27

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WE 11/14 @CAT’S CRADLE BACK ROOM

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FR 11/16

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JOHN COWAN COWAN MAC DEMARCO JOHN w/ DARIN & BROOKE w/Crank DARIN BROOKE ALDRIDGE ALDRIDGE It Loud & Presents SO LD OUT

FRI 11/23

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28 | 11.14.18 | INDYweek.com

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music 11.14–11.21 WED, NOV 14

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

DUKE’S PERKINS LIBRARY: Ciompi Quartet; 12 p.m.

FLETCHER OPERA THEATER: Highland Echoes; 7 p.m.

THE KRAKEN: Jonathan Byrd & Friends; 7 p.m.

MOTORCO: (Sandy) Alex G, Half Waif; 8 p.m.

Choir takes a slightly different approach, letting each of their twenty-four singers have their own sound, trusting that they’ll work together, and reveling in the heterogeneous sound that sometimes emerges.

Here, that unusual sound will be unleashed on a wide-ranging program of sacred music that spans five centuries. —Dan Ruccia

NIGHTLIGHT: Forward, Headsplitters, Public Acid, Scarecrow; 9 p.m.

GREGG MUSEUM OF ART & DESIGN: Thomas Taylor; 7 p.m.

POUR HOUSE: Jennifer Hartswick & Nick Cassarino Duo, Charly Lowry; 8 p.m.

PJ Morton

THU, NOV 15 BLUE NOTE GRILL: Carolina Lightnin’ Tommy Edwards, Alice Zincone & Rick Lafleur; 7 p.m.

CAT’S CRADLE (BACK ROOM): Billy Raffoul; 8 p.m.

THE CAVE:

Dexter Romweber [$10/9 P.M.]

Dexter Romweber has been a local treasure since he started the minimalist roots-rock band Flat Duo Jets back in the eighties, blazing a trail for the likes of the White Stripes to follow in the process. But as a searing solo act, Romweber is even more visceral and raw, roaring out tunes that lay bare his rockabilly roots and giving the audience a good look at exactly what authenticity looks (and sounds) like.

—Jim Allen DUKE’S BALDWIN AUDITORIUM: Duke University Wind Symphony: Dream Machine; 8 p.m.

DUKE CHAPEL:

Latvian Radio Choir [$10–$45/8 P.M.]

The first principle of choral singing is typically blending, the idea that all the singers in the group should work towards a specific, unified sound. The Latvian Radio

LINCOLN THEATRE: [$20/8 P.M.]

New Orleans native PJ Morton plays keys for Maroon 5, served as music director for Solange, and has produced for LL Cool J, Monica, and Jermaine Dupri. But his self-released Gumbo is his greatest accomplishment, surpassing even his Young Money debut, which featured guest spots from Lil Wayne and Stevie Wonder. “Claustrophobic” features Morton relaying feedback from a major label exec that his style—which meshes old-school gospel and soul with a touch of hiphop—is neither mainstream nor entirely underground.

Fortunately, the musically rich, lyrically reflective album’s Grammy nod suggests the contemporary R&B world has taken notice— and it’ll be better for it. Grace Weber opens.

—Spencer Griffith MEYMANDI CONCERT HALL:

Hot Rize

[$26–$42/7:30 P.M.] Progressive bluegrass outfit Hot Rize celebrates its fortieth anniversary this year with a hit-filled set that includes the group’s traditional country alter ego, Red Knuckles & the Trailblazers. Inventive and sharply talented, flat-picker Bryan Sutton—who joined in 2002—fits right in with the classic line-up of Pete Wernick, Tim O’Brien, and

Kamasi Washington performs at The Ritz in Raleigh on Thursday.

PHOTO COURTESY OF SACKS AND CO.

INDYweek.com | 11.14.18 | 29

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

FRI, NOV 16

Nick Forster, who have won major IBMA awards and topped bluegrass charts with their originals. Easygoing neo-folk singers and multiinstrumental whizzes both, Mandolin Orange’s Andrew Marlin and Seattle’s Eli West pair up to open.

—Spencer Griffith

THE ARTSCENTER:

Peter Yarrow [$32/8 P.M.]

As a part of the folk boom of the sixties with Peter, Paul & Mary, Peter Yarrow was a part of American history, a key participant in a magical moment in our culture. At eighty years old, he remains a torchbearer for that era’s progressive values and its musical legacy. Sure, you can probably expect to hear some of his old group’s material when you see him performing solo, but that’s only the tip of the iceberg. —Jim Allen

THE RITZ:

Kamasi Washington [$25/8 P.M.]

If the world feels terrible to you right now, consider seeking a reprieve in the saxophone sounds of contemporary jazz titan Kamasi Washington. He pulls funk, soul, and hiphop into his distinct blend, one that feels sublime and otherworldly in the best of circumstances—and it’s a powerful balm for all others.

Butcher Brown opens. — Allison Hussey

Hot Rize is in Raleigh on Thursday.

PHOTO COURTESY OF CROSSOVER TOURING

BEYÙ CAFFÈ:

Bassel & the Supernaturals [$13/7 & 9 P.M.]

SEYMOUR SENIOR CENTER: Carolina Mountain Dulcimers; 7 p.m.

“Syrian heart, Chicago soul” reads the tagline for this Chicago-based soul-funk group. The Syrian connection

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BLUE NOTE GRILL: Duke Street Dogs; 6 p.m.

CAROLINA THEATRE: Hiss Golden Messenger; 8 p.m. See page 18.

CAT’S CRADLE: Atmosphere, deM atlaS, The Lioness, DJ Keezy; 8 p.m.

CAT’S CRADLE (BACK ROOM): Birds and Arrows, Surrender Human, Rachel Kiel; 8 p.m. See page 21.

DUKE’S BALDWIN AUDITORIUM: Lindsay Kesselman & the Red Clay Saxophone Quartet; 8 p.m.

DUKE’S NELSON MUSIC ROOM: Duke Opera Workshop: A Popular Song Revue; 8 p.m.

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MEYMANDI CONCERT HALL: N.C. Symphony: Tchakiovsky’s Pathétique; 8 p.m.

with a silver spoon in it, it just feels like MAGA under a “Feel the Bern” hoodie. With Gyyps and Trip Carter. —Charles Morse

MOTORCO:

Yung Yent

CAT’S CRADLE (BACK ROOM): Leroy Savage & Friends; 7 p.m.

[$10–$15/7 P.M.]

Taking every mainstream melody and drum pattern and dropping it into FL Studio production software, singing slurs over it with AutoTune, generally appearing like a Dollar General Post Malone: Yung Yent who pledges allegiance to “DA 919 TIL I DIE” on his Soundcloud page, has the artistic depth of a red Solo cup that’s been stepped on repeatedly at a tailgate rager. His vulgar, sloppy attempt at hip-hop culture screams appropriation louder than Duke Basketball’s marketing campaign to adopt Durham’s bull-horn hand gesture. Teshiam, Isaiah Pharoah, DGWAP, and Castro open. —Charles Morse SHARP NINE GALLERY: Brandon Mitchell: A Tribute to the Modern Jazz Quartet; 8 p.m.

SAT, NOV 17 BARLEY LABS: Curtis Stith; 7 p.m.

BLUE NOTE GRILL:

Randall Bramblett and Band [$20–$25/8 P.M.]

Singer, songwriter, and multi-instrumentalist Randall Bramblett has been on the scene since the seventies, as a solo artist, member of Sea Level, sideman for the likes of Steve Winwood and Gregg Allman, and more. He was mixing rootsy rock ‘n’ roll with blues, country, and soul influences long before anybody called it Americana. At this point in his career, he’s got a hefty catalog of nice and greasy tunes to choose from when he hits the stage.

—Jim Allen BYNUM GENERAL STORE: Front Porch Pickin’; 10 a.m.

CAT’S CRADLE BACK ROOM:

Tall Heights [$13–$15/7 P.M.]

Tim Harrington and Paul Wright released their second album, Pretty Colors For Your Actions, this year, yet any of its tracks could sneak into a midaughts adult alternative mix

HAW RIVER BALLROOM: Mountain Man, The Dead Tongues; 8 p.m. See page 27.

MOTORCO: Vundabar, Illuminati Hotties, Museum Mouth; 8 p.m.

RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: Ciompi Quartet: Remembered, Imagined, Re-imagined with Eliza Baggo; 4 p.m.

THE WICKED WITCH: Here to Stay II: An El Pueblo Benefit; 2 p.m.

MON, NOV 19

Tall Heights are in Carrboro Saturday.

CD (think of the Gap in-store playlists). Inoffensive with occasional strings and vocals from both members, it’s easy to imagine the duo sitting in a Starbucks, untangling Apple earbuds, and agreeing Chris Martin’s falsetto “slaps.” With Frances Cone and Old Sea Brigade. —Julie K. Smitka DUKE’S BALDWIN AUDITORIUM:

Marc-André Hamelin [$10–$25/8 P.M.]

As usual, pianist Marc-André Hamelin brings to Durham an unusual assortment of piano music. Alongside some familiar Chopin and Bach, he presents lesser-known music by Samuil Feinberg, Alexis Weissenberg, and Mario Castelnuovo-Tedesco.

Of those, Feinberg is perhaps the most interesting and least heard. A Soviet pianist and composer active from the nineteen twenties through the sixties, Feinberg seems like a natural successor to Scriabin, putting Scriabin’s mystical harmonic language in service of fascinating forms and emotionally complex arcs.

—Dan Ruccia DUKE’S NELSON MUSIC ROOM: Duke Opera Workshop: A Popular Song Revue; 3 p.m.

THE PINHOOK: Mama Played Mondays; 7 p.m.

PITTSBORO ROADHOUSE & GENERAL STORE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m.

PHOTO BY JIMMY FONTAINE

HAW RIVER BALLROOM: Mountain Man, The Dead Tongues; 8 p.m. See page 27.

KINGS:

Futurebirds [$12–$15/9 P.M.]

POUR HOUSE:

SUN, NOV 18

The Red Clay Strays

CAROLINA THEATRE:

Led by Brandon Coleman’s deep Alabama drawl and bolstered by livewire energy, Red Clay Strays distill decades of Southern music into bluesy country-rock that feels both fresh and familiar. Atlanta singer-songwriter Nathan Evans Fox has a penchant for penning plaintive folk songs that cast vignettes in vivid, visceral detail, like “Texas Dust”—the title track to his second album—which tells his grandfather’s poignant life story as an Army veteran and migrant worker.

—Spencer Griffith

Chamber Orchestra of the Triangle [$30/3 P.M.]

Athens, Georgia quintet Futurebirds marks its tenth year with this tour, having mastered an indie roots formula that combines searing solos from a classic Southern rock triple-guitar attack with reverb-drenched psychedelia. Spaced-out, twangy jangles soar on the strength of knockout hooks buoyed by ragged four-part harmonies, made even better during rowdy shows which are known to extend well into the wee hours. Hopefully the group’s take on Bandway’s “4-Day Weekend” finds its way into tonight’s career-spanning set. With Neighbor Lady.

—Spencer Griffith

The Chamber Orchestra of the Triangle seems to specialize in bringing new life to obscure works. During their last concert, they gave a gripping performance of Florence Price’s dynamic first symphony. Here, they play a neo-Romantic bassoon concerto by Nino Rota, best known for his soundtracks for Federico Fellini films and The Godfather, an early variation set

by Dvořák, and Samuel Barber’s strange cantata Prayers of Kierkegaard, setting excerpts from the Danish philosopher’s journals and sermons.

—Dan Ruccia

MOTORCO: Saves The Day, Kevin Devine (Solo Acoustic), An Horse; 8 p.m.

NCSU’S STEWART THEATRE: Sybarite5; 8 p.m.

RUBENSTEIN ARTS CENTER - VON DER HEYDEN STUDIO THEATER: Ciompi Quartet: Remembered, Imagined, Re-imagined with Eliza Bagg, soprano; 8 p.m.

SHARP NINE GALLERY: Joshua Rager Quartet; 8 p.m.

Like Asher Roth before him, Felly carries the torch as this decade’s college rap white guy.

The Connecticut-born spitter raps with a flow almost identical to late-career Mac Miller, but done well enough that it doesn’t sound like a terrible imitation.

His rapping is uninspired, filled with as much braggadocio as any other rapper. But coming from a mouth that was raised

[$7–$10/8:30 P.M.]

SLIM’S: Zipper, LMI, Tired of Everything; 9 p.m.

TUE, NOV 20

CAT’S CRADLE:

CAT’S CRADLE:

[$20+/7 P.M.]

[$20–$23/7 P.M.]

Felly

Queen Naija Queen Naija made the increasingly coveted transition from YouTube content creator to charting musician outside of the platform. After her public divorce from her husband, a fellow YouTuber, she released “Medicine,” where she detailed her experience from vulnerability to scorn on discovering her ex-husband

was unfaithful. Queen Naija’s self-titled debut EP on Capitol Records with production from No I.D. launched her R&B career past the point of merely promising.

—Julie K. Smitka CAT’S CRADLE (BACK ROOM): Mouse on the Keys, Tera Melos, Dumb Waiter; 8 p.m.

LINCOLN THEATRE:

QDR Concert for Carolina: David Lee Murphy, Parmalee [$20–$45/7 P.M.]

Best known for his 1995 singalong-friendly smash “Dust on the Bottle,” David Lee Murphy has since co-written country chart-toppers for Kenny Chesney, Jason Aldean, and Thompson Square. Murphy’s own recordings have a distinct rock flair that Parmalee can only aspire to with its tepid pop-country. Sanford’s Britton Buchanan rocketed to fame with a runner-up finish on last season of The Voice thanks to his prowess with covers, while rising Nashville star Brandon Lay adds autobiographical, small-town pop-country anthems. Proceeds benefit the NC Disaster Relief Fund. —Spencer Griffith

WED, NOV 21 BLUE NOTE GRILL: The Herded Cats; 8 p.m.

THE KRAKEN: Jonathan Byrd & Friends; 7 p.m.

LOCAL 506:

Bask

[$10/8:30 P.M.] Outwardly, Asheville doesn’t seem a likely place to have birthed a gnarly stoner rock band. Yet Bask’s Ramble Beyond, released last year, delivers on the promise of its title by embracing the Appalachian hamlet’s omnivorous spirit.

Bask’s music comes with qualifiers that overlap at odd intersections, sure—epic, heavy psychedelic Americana seems to be the most succinct way to sum up the quartet. But it operates within powerful Southern archetypes— Mastodon’s malleable and massive movements, Skynyrd’s sweet and loping lilt, Weedeater’s bong-aided depths—while simultaneously pushing past them.

—Patrick Wall MOTORCO: Mac DeMarco; 8 p.m.

INDYweek.com | 11.14.18 | 31

art

11.14–11.21

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

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

OPENING SPECIAL Beverly McIver: Eyes EVENT Wide Shut: New paintings from the American Academy in Rome.

Reception: Sat, Nov 17, 5-7 p.m. Thru Sat, Jan 26. Craven Allen Gallery, Durham. cravenallengallery.com.

The Conglomerate opening reception: Kennedi Carter, Britney Balmer, Jarome Chesson, Justin Surgeon, and Joan Yabani.

Thu, Nov 15, 6 p.m. The Carrack Modern Art, Durham. www. thecarrack.org.

SPECIAL I Love My Robot: EVENT Robot art by Mike Slobot. Artist reception: Thu, Nov 15, 7-9 p.m. Wed, Nov 14-Sun, Dec 2. Duke Campus: Louise Jones Brown Gallery, Durham. slobots.com.

The World in Watercolor: Tour and lecture from artist Marie Crock. Sun, Nov 18, 2 p.m. West Point on the Eno, Durham.

ONGOING Abundance: Art exhibit. Thru Nov 24. V L Rees Gallery, Raleigh.

SPECIAL All-Star Group EVENT Exhibit: More than twenty artists and craftspersons in a wide range of media.

Reception: Sat, Nov 17, 5 p.m.

Thru Dec 31. Horse & Buggy Press and Friends, Durham. www.horseandbuggypress.com.

Anything Goes: Sixty-four local artists juried by Jayne Walther.

Thru Dec 13. Litmus Gallery, Raleigh. litmusgallery.com.

Ashlynn Browning: Revisionist Geometry: Thru Jan 5. Durham Arts Council, Durham. durhamarts.org.

Cameron Village Underground Photography Exhibit: This is going to sound crazy, but did you know there used to be an underground mall under Cameron Village, and that it housed nightclubs that both incubated local rock and hosted legendary touring acts as diverse as R.E.M., Barry Manilow, Jimmy Buffet, and Chuck Mangione? In the late seventies and early eighties, before it was shut down because of concerns about safety, The Village Subway—aka the Raleigh Underground—roiled with nightclubs such as The Frog and Nightgown and The Pier, where Sonic Youth recorded the cover of “I Wanna Be Your Dog” that appears on Confusion Is Sex. This rich history, mostly lost beyond some hazily remembered

SATURDAY, NOVEMBER 17

BEVERLY MCIVER: EYES WIDE SHUT Last year, the Greensboro-born Duke art professor Beverly McIver was awarded the prestigious Rome Prize and set off to spend a year painting in Rome. Transplanting to Italy is a dream shared by many people, particularly those of us in thrall to Call Me by Your Name, but for McIver, the experience held particular meaning as a time to artistically reimagine herself outside of her roles as teacher, a caregiver, and “an artist living under the weight of the history of the American South.”

Eyes Wide Shut features the new paintings she made at the American Academy of Rome. McIver’s oil portraiture often involves some form of mask—sunglasses, closed eyes—a continuation of a longstanding study of costuming and self-portrayal through the lenses of race, gender, and social identity. After this opening reception at Craven Allen Gallery, the exhibit is on view through January 26. —Sarah Edwards

CRAVEN ALLEN GALLERY, DURHAM 5–7 p.m., free, www.cravenallengallery.com

“Whatever Might Rise I” by Beverly McIver PHOTO COURTESY OF CRAVEN ALLEN GALLERY

32 | 11.14.18 | INDYweek.com

blogs, is the subject of a new exhibit at The City of Raleigh Museum, which runs through January after a sold-out, wait-listed reception with photographer Chris Seward.

His dynamic black-and-white photos from the scene capture 17, 5 p.m. now-famous names and local, Buggy proto-indie-rock bands such rham. as The Fabulous Knobs and press.com. Arrogance in their primes.

-four local More than two hundred photos e Walther. are featured in the exhibit, Gallery, along with flyers, videos, and other artifacts. Thru Jan 31. y.com.

Raleigh City Museum, Raleigh. evisionist cityofraleighmuseum.org. . Durham —Brian Howe .

Sam Ezell: Self-taught Hillsborough artist. Thru Dec 21. Alexander Dickson graphy House, Hillsborough. www. g to sound visithillsboroughnc.com. ow there Gwen Lowery: Night Visions: ground Village, Fiber art. Thru Jan 5. Durham ghtclubs Arts Council, Durham. local rock durhamarts.org. y touring LAST Meditations: Fiber CHANCE art by Alice E.M., my Buffet, Levinson. Thru Nov 15. Durham e? In Arts Council, Durham. d early www.durhamarts.org. as shut ncerns lage leigh d with he Frog The Pier, ecorded a Be ars on rich beyond bered

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McIver d a year by many ame, but o artistiiver, and n South.” merican e form of ng study nder, and Gallery,

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

Thru Nov 23. Block Gallery, Raleigh. raleighnc.gov.

Nerys Levy and Michele Maynard: Paintings. Thru Dec 8. FRANK Gallery, Chapel Hill. frankisart.com.

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

by Titus Kaphar, Ori Gersht,

and Zanele Muholi. Thru Mar 31. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Sarah Edwards Rural Avant-Garde: The Mountain Lake Experience: Paintings, sculptures, installations and other works by artists who attended the Mountain Lake Symposium.

Featuring works by John Cage, Sally Mann, Howard Finster, Merce Cunningham, and others. Thru Dec 10. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

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

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

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

Sisters XII: Better by the Dozen!: Pottery, jewelry, and painting by Mary Beth and Virginia Owen. Thru Nov 30.

Local Color Gallery, Raleigh. www.localcoloraleigh.com.

SPECIAL A Southern Review: EVENT Featuring the Pleiades member artists.

Reception: Fri, Nov 16, 6-9 p.m. Thru Dec 23.

Pleiades Gallery, Durham. www.pleiadesartdurham.com.

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

Tom Willis: Journey: Paintings. Thru Apr 12.

Durham Convention Center, Durham. durhamarts.org.

LAST Trace message CHANCE from under quarry stone: Tarik Garrett, Doris Guo, Sarah Viviana Valdez, and Jack Crowley. Thru Nov 17. Lump, Raleigh. lumpprojects.org.

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

food & drink The Black Farmers’ Market: Annual marketplace for local, regional, and national Black-owned farmers. Sun, Nov 18, noon. NC Mutual Life Building, Durham.

Holly Springs Farmers Market: Sat, Nov 17, 9 a.m. Holly Springs Cultural Center, Holly Springs.

HSFarmersMarket.com.

Tails at Twilight: Animal Protection Society of Durham’s Well-Groomed Event: Cocktail reception, three-course dinner, silent and live auctions, and dancing to benefit APS Durham. Sat, Nov 17, 6 p.m. Washington Duke Inn & Golf Club, Durham. APSofDurham.org.

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

PopUp with NC Oyster 365 and Bull Durham Beer: Oysters and beer.

Fri, Nov 16, 6 p.m.

The Bullpen, Durham.

BILL BURTON ATTORNEY AT LAW

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bill.burton.lawyer@gmail.com INDYweek.com | 11.14.18 | 33

stage WEDNESDAY, NOVEMBER 14–SUNDAY, DECEMBER 9

SHE LOVES ME

Don’t get too hung up if you don’t immediately recognize the title of PlayMakers Rep’s upcoming musical, a critical hit (but box-office dark horse) in the 1960s that gained more ground in a Tony-winning 2016 Broadway revival. If you saw the 1998 Tom Hanks/Meg Ryan comedy You’ve Got Mail—or two certain films from the forties with Jimmy Stewart or Judy Garland—you know the story, because they all came from the same source material: Polish playwright Miklos Laszlo’s 1937 play, Parfumerie. In it, Amalia and Georg are competing clerks getting on each other’s nerves in a tony Budapest perfume shop. Unbeknownst to either, both have responded to the same lonely-hearts ad in the personals section of the city paper, and love is blossoming—on paper, at least. But what will happen when they finally realize the love of their life is their workplace nemesis? Kirsten Sanderson directs a cast including Jenny Latimer and Michael Maliakel; Mark Hartman leads the band. —Byron Woods

PLAYMAKERS REPERTORY COMPANY, CHAPEL HILL Various times, $15+, www.playmakersrep.org

OPENING

Stewart Theatre, Raleigh. go.ncsu.edu/FallDanceConcert.

I Am My Own Wife: Staged reading presented by Justice Theater Project. $15. Thu, Nov 15-Sun, Nov 18. Umstead Park United Church of Christ, Raleigh. thejusticetheaterproject.org.

Meredith Dance Theatre and Meredith Jazz and Tap Company Gala: Dance. Sun, Nov 18, 7 p.m. Meredith College: Jones Auditorium, Raleigh. meredith.edu

Lives of the Performers: Play by Hilton Als. Fri, Nov 16 & Sat, Nov 17. Current ArtSpace + Studio, Chapel Hill. carolinaperformingarts.org

November Dances 2018: Duke Dance Program fall concert.

Featuring Michael Klien, Julie Janus Walters, Maurice Dowell, Jun Shepard, and Gabrielle Cooper. Fri, Nov 16 & Sat, Nov 17, 7 p.m. Duke Campus: Reynolds Industries Theater, Durham. danceprogram.duke. edu

Meredith Dance Theatre: Meredith College’s modern dance company. Fri, Nov 16, 7 p.m., Sat, Nov 17, 3 p.m.

Meredith College: Jones Auditorium, Raleigh. meredith. edu NC State Dance Program Fall Concert: Multimedia piece inspired by Rural Avant-Garde exhibit at the Gregg Museum of Art & Design. Thu, Nov 15 & Fri, Nov 16, 8 p.m. NCSU Campus:

Sebastian Maniscalo: Stand-up comedy. Sat, Nov 17, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org A Third Date Thanksgiving: Improv-comedy food drive benefiting the Food Bank of Central NC. Sat,

Michael Maliakel and Jenny Latimer in She Loves Me PHOTO BY HUTHPHOTO

34 | 11.14.18 | INDYweek.com

Nov 17, 8 p.m. Walltown Children’s Theatre, Durham. walltownchildrenstheatre.org Winter Showcase: Aerial dance, silks and lyra, and contemporary dance. Sat, Nov 17, 7 p.m.

Durham School for Ballet and the Performing Arts, Durham. durhamballettheatre.org.

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

Goodnights Comedy Club, Raleigh. goodnightscomedy. com.

Dancing at Lughnasa: Duke Theater Studies. Nov 15-17, 8 p.m., Nov 18, 2 p.m. $10-$15.

Duke Campus: Sheafer Lab Theater, Durham. tickets.duke.edu Hamilton: Thru Sun, Dec 2.

Durham Performing Arts Center, Durham. dpacnc.com.

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

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

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

The Memory of Water: Play presented by Forest Moon Theater. Nov†16 & 17, 7:30 p.m., Nov 18, 3 p.m. $13-$18.

Wake Forest Renaissance Center, Wake Forest. forestmoontheater.org She Loves Me: Presented

by PlayMakers Repertory Company. Thru Sun, Dec 2. PlayMakers Repertory Company, Chapel Hill. playmakersrep.org

page READINGS & SIGNINGS Jo Burgo: Shame: Free Yourself, Find Joy, and Build Self-Esteem. Wed, Nov 14, 6 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Sara Foster: Cookbook Pie. Sat, Nov 17, 2 p.m.McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Zach Pekar: Novel The Dunes of Aderstan. Sat, Nov 17, 11 a.m.

McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Andrea Pippins: We Inspire Me book launch and coloring party. Wed, Nov 14, 6 p.m.

WeWork, Durham.

LECTURES ETC. Christine Darden: Retired NASA mathematician, data analyst, and aeronautical engineer. Wed, Nov 14, 3 p.m.

Durham Technical Community College, Durham.durhamtech. edu Museum of Life and Science’s Tinkering & Drinkering: Ages 21+. $10 suggested donation. Thu, Nov 15, 6 p.m.

Motorco Music Hall, Durham. motorcomusic.com Ruby Fridays: Serving Life: Talk on exhibit of art created by men on death rows across the country. Free lunch. Fri, Nov 16.

Ruby Lounge at Rubenstein Arts Center, Durham. artscenter. duke.edu.

screen SPECIAL SHOWINGS Dumpster Dive Cinema: Tue, Nov 20, 9 p.m. The Station, Carrboro. stationcarrboro.com Marimbas from Hell: Screening. Fri, Nov 16, 9 p.m.

Chelsea Theater, Chapel Hill. thechelseatheater.com.

OPENING Boy Erased—Lucas Hedges plays a real-life teen subjected to gay conversion therapy by his Baptist parents. Rated R.  The Ballad of Buster Scruggs—Reviewed on p. 17.

Rated R.

THURSDAY, NOVEMBER 15

AN EVENING OF POETRY & CELEBRATION Tina Barr, a poet originally from Long Island who now lives in Black Mountain, won the Barrow Street Book Prize for Green Target, her new collection. Barr blends her academic background (“The War of Myths: From Modernist Archetype to Postmodernist Cartoon” was the title of her dissertation) and her current perspective in the slow, wild expanses of rural N.C. in poems that look equally at art history and ahistorical nature. The title poem, “Green Target, Jasper Johns, 1955,” trembles between ekphrasis and reverie, spinning a world of onion stalks and redbud twigs from the Abstract Expressionist’s famous whorls, with just a twist of Robert Duncan’s “My Mother Would Be a Falconress.” The book teems with every shade of green—“chartreuse, lime, darken to olive, moss, juniper.” At this Regulator reading, Barr is joined by Bull City Press publisher Ross White and Tony Reevy, who is senior associate director at UNCChapel Hill’s Institute for the Environment.

—Brian Howe

THE REGULATOR BOOKSHOP, DURHAM 7 p.m., free, www.regulatorbookshop.com

Fantastic Beasts: The Crimes of Grindelwald—The Harry Potter extended universe continues to extend with this sequel. Rated PG-13.

Instant Family—Mark Wahlberg and Rose Byrne play a couple that adopts three kids in this comedy by the makers of Daddy’s Home. Rated PG-13.

Widows—Director Steve McQueen follows 12 Years a Slave with a woman-led heist flick with an ensemble cast led

by Viola Davis. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Can You Ever Forgive Me?—Comic actor Melissa McCarthy shines in her first dramatic turn, though the script’s characterization of a real-life literary forger is muddled. Rated R. ½ First Man—Damien Chazelle shoots the moon in his glorious film about Neil Armstrong. Rated PG-13. ½ Halloween—A back-tobasics approach fails to restore the mystery and menace of Michael Myers. Rated R.

PHOTO COURTESY OF PRAGDA.COM

FRIDAY, NOVEMBER 16

LA MARIMBAS DEL INFIERNO (MARIMBAS FROM HELL) Hard times, a beloved marimba, and a desire to give it all for the love of heavy metal are the gears turning behind this comedy with strains of mumblecore by writerdirector Julio Hernández Cordón, who was born in Raleigh, then raised in Mexico, Guatemala, and Costa Rica. The film follows Don Alfonso, a deliveryman and flagging musician whose bad luck drives him to start a band with Chiquilin, his gluesniffing nephew, and Blacko, a legendary rocker and ex-Satanist turned religious fundamentalist. The name of the band they create? Marimbas from Hell. Cordón blurs the lines between fact and fiction—the germ of the idea came from a surreal scene in a Cordón documentary featuring the real-life Alfonso and his marimba— and challenges notions of what it means to be an artist in the land of the marimba, Guatemala. The film closes Cordón’s tribute to the “people I know who develop projects that are unthinkable in a country such as mine.” See it for one night only at the Chelsea. —Sarah Edwards

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

 The Happy Prince— Rupert Everett nails the style but misses something of the substance of Oscar Wilde in his portrait of the writer’s dark last days. Rated R. ½ Mid90s—Jonah Hill’s adoring portrait of nineties pop and skate culture hits charming beats but rings rosily false.

Rated R.

 The Old Man & the Gun—Robert Redford goes out with a bang in this crime caper, reportedly his final film role.

Rated PG-13.

bomb, this Cooper-Gaga remake is best when it’s allowed to just be a tender country-western love story.

Rated R.

½ Prospect—This indie sci-fi Western starring Jay Duplass wrings some cool stuff from a modest budget. Rated R.

 Suspiria—Luca Guadagnino’s superlative craft gets bogged down in extraneous world-building in his remake of the horror classic.

Rated R.

½ A Star Is Born—Neither modern classic nor mega-

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM INDYweek.com | 11.14.18 | 35

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FORECASTS FORECASTS FOR FOR THE NOVEMBER NEW MOON14–21 IN LIBRA, OCTOBER 7TH-13TH Chanelle A. Bergeron | moonbymoonapothecary.com

ARIES (March 21–April 19) Chanelle A. Bergeron | www.moonbymoonapothecary.com Dear Ram: This week, let yourself get dreamy.

The more you feed your imagination, the more likely you are to explore parts of yourself and relationships that may have felt out of your reach or Aries (March 21-April 19) underneath your surface.

Seek out the nebulous and abstract movies, art, and music that make your Dear this week mayat feel little tight, a little slower than you prefer. The New Moon is mind Ram: wander and wonder thea world.

in Libra, your opposite sign, putting you face to face with others, bringing your relationships into focus,(April helping you redefi TAURUS 20–May 20) ne love. Receive and reflect without trying to change anything, let Dear Bull:beIf your you feel you’ve been more introverted than normal over the past few months, this week honesty guide. will have you beginning to sing a different tune. The world is calling you outdoors—your curiosity

is expanding, there 20) is a silver lining around all that you see. Your ability to connect with the Taurus (Apriland 20-May peopleBull: whothe inspire andwill vice versa starting unfurl.health, and your day to day.

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

Dear Twins: Your work life has been the focal point for much of your energy as of late, and this week it ramps up a notch until the end of the year. Follow the creative glimpses and glimmers that allow Gemini (May 21-June 20) you to think outside the box, the paths that are a little less trodden. As you open to possibilities, Dear Twins: pause when you find pleasure, when you celebrate, when you create. This is a they in turn open to you.

particularly inspired time for you and the New Moon wants you to harness it. Write down your symphonies, pen your poems, fill your canvas with color.

CANCER (June 21–July 22)

Dear Crab: This week brings with it a much needed breath of fresh air, so much so that you may find

Cancer yourself(June more 21-July wistful, 22) romantic, or restless than normal. Instead of plotting ways to escape your Dear Crab: routine, home isimagine where the heart is and thisworld Newlarger Moonand willmore ushermyriad. you there. you may day-to-day how to make your Get Though lost in tending to be daysgilding gone by, notwith to get lost in the past. Create the harmony you need at thecombing details ofthrough your home, thetry walls your dreams. home, connect with your roots, and you will see what can be cleared away to make room.

LEO (July 23–August 22)

Dear(July Lion:23-August All the work you’ve been putting toward understanding your roots and foundation has Leo 22) been paving thethrough way for what you tohas trust more deeply. year’s end, full you attention. are gettingSometimes to test out it Dear Lion: sort been waiting forUntil you the to give it your these waters with intimate partners with we an ease feltbetween was inaccessible upand to now.

The is hardest to listen to the truths of what need.you To may find have balance your head heart more you invite playfulness and romance into these relationships now, the deeper they anchor. under the New Moon, create playful daily rituals that engage you. Make an altar, spritz lavender in your room, tackle each project with love.

VIRGO (August 23–September 22) Dear Virgin: This week, notice where there is tension at home, especially in regards to your partner Virgo (August 23-September 22) or who you share space with. Perhaps more than usual, you will be seeking fairness, equality, and Dear Virgin: although you areBeware knownoffor yourfrustration graceful service topassive others,aggressiveness, the New Moonmake solicits balance in your relationships. letting become you energy forparties yourself.

There will always be a new project to undertake, timeto toreserve clear thethat air and let all be heard.

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

LIBRAof (September 23–October 22)

Dear Scales: Imagine new ways to be in touch with the little routines that make up your day. The

Libra (September 23-October 22)into your reality, the more you will find the balance so necessary more you can comfortably ground to your rhythm. week, make and timeyour to move your body, make a point put your health Dear Scales: thisThis is your season Moon.

Use the and energy of itthe weektoahead to set and well-being first, to serve embark onyour a new regimen of self-care. intentions which best you, vision for the years ahead. Use this momentum to renew your sense of purpose. Being true to oneself is the greatest act of courage.

SCORPIO (October 23–November 21)

Dear Scorpio: This 23-November week, you will want Scorpio (October 21) to get down to work more than normal as you have been feelingScorpio: the expansive of all that is possible just within LetThe thispast be tempered Dear use thenature New Moon to release whatand throws you offreach. course. may feel with a fair amount of playfulness and romance. Take the time to find pleasure in all that you do, so as not all too near these days, let yourself reflect but don’t dwell. You are on the verge of a great to lose sight of its core. transformation and it is natural to consider all that led to this moment. Meditation or creative expression can(November help you find alignment with SAGITTARIUS 22–December 21) your inner world and keep your waters flowing.

Dear Archer: The best place to envision all that is brewing inside is from the comfort of your own

Sagittarius 22-December abode. This (November is a great week to begin the21) project of turning your house into a home. There is an Dear Archer: New Moon that you reach own edges, explore beyond your emotional andthe spiritual qualityrequests to this, so take your timepast andyour follow your instinct.

Check out The comfort zone, Magic and connect to those It is perfect time to let your social charms Life-Changing of Tidying Up byaround Marie you.

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

CAPRICORN (December 22–January 19)

Dear Seagoat: You have22-January been a busy19) bee as of late, but this week will feel like a nice reprieve. You Capricorn (December will still be keeping occupied and inspired, on and a more tangible and manageable level.

Find Dear Seagoat: it is time to join forces withbut hope let your work breathe.

The New Moon balance between meetings bustle making surea to getlabor someand alone timeaand adequate reminds you thatthe a spoonful ofand sugar getsby you through long having balanced R&R. Remember that fromTime an empty cup! side, re-infuse your work with light. perspective will off er you youcan’t greatpour insight. is on your AQUARIUS (January20-February 20–February18) 18) Aquarius (January Dear Water Bearer: You are being given permission to indulge in the slow, rich, velvety energy that Dear Water Bearer: give your dreams a space to simply be. Though it may feel tempting to burst awaits you this week. Especially if you have been traveling or going a mile a minute lately, this is a your own bubble, this New Moon asks you to entertain the impossible, to let your mind run free, great time to check your pace and really catch up to yourself. Make some to-do lists, tie off loose to expose theyour ways you’ve been holding ends, dot all Is and cross all your Ts. yourself back. Be flexible, allow for change, find faith in the unknown.

PISCES (February 19–March 20)

Pisces (February 19-March 20)of passion and drive, moves into your first house until January.

Dear Fish: Mars, the fiery planet Dear thesense collaborations your life. Do they support you,you meet youand half-way?

Dothe WhileFish: this look givesat your of self an in extra shimmer, it may also make misty nostalgic, they fornite your If the answer is no, then use this evaluate wheresoyou lines allow not defi or expansion? clear. This will be true especially in regards to time your to career and goals, useput this weekenergy. to plot aThis course of Moon action wants for when feel stuck down the your New youyou to seek reciprocity androad. refuse to settle for less.

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7 2 5 9 4 8 1 3 6

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

4 2 2

9 3 7 6 4 5 3 5 8 7 8 3 8 5 6 4 7 9 # 50

su | do | ku

this week’s puzzle level:

© Puzzles by Pappocom

3 4 8

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

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

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

1

6

4

1

4 1 9 6 8 7 3 3 7 6 9 5 8 5 38 2 9 5 5 84 3 7 9 1 6 2 6 8 9 2 7 9 8 6 5 4 8 5 9 3 2 # 52

MEDIUM 9 1 6 2 3 7 5 8 4

8 4 3 5 6 1 9 7 2

# 52

1 6 5 9 2 7 4 8 3

8 7 2 3 6 4 9 5 1

3 9 4 5 1 8 6 7 2

4 5 8 2 3 9 7 1 6

# 18 2 1 7 6 8 5 3 9 4

6 3 9 4 7 1 5 2 8

7 4 6 8 5 2 1 3 9

5 2 3 1 9 6 8 4 7

9 8 1 7 4 3 2 6 5

1

solution to last week’s puzzle

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

Pages.”

Best of luck, and have fun! www.sudoku.com

30/10/2005

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2

9

5

3 8 7

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1

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* Durham tobacco manufacturer, civic leader and philanthropist William Thomas Blackwell died on November 12, 1903. He was buried in Maplewood Cemetery. * On November 18, 1879, African Americans celebrated the first NC Colored State Fair in Raleigh. The fairs ceased in 1931. * On November 19, 1850, the Raleigh Register became NC’s first daily newspaper.

Courtesy of the Museum of Durham History

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