INDY Week 12.07.16

BYE, MCCRORY P. 6

THE IUD SURGE P. 10

ROLLING IN DOUGH P. 23

raleigh 12 | 7 | 16

ZENSOFLY AND OAK CITY SLUMS REMASTER RALEIGH’S BASS MUSIC SCENE

BY ERIC TULLIS

P. 20

2 | 12.7.16 | INDYweek.com

WHAT WE LEARNED THIS WEEK | DURHAM VOL. 33, NO. 47

6 Governor McCrory concedes, but progressives must gear up for the war ahead.

8 “I mean, this is a cop who has terrorized this community for years. It’s always a shakedown.”

10 The day after the election, Google Trends showed a spike in searches for “IUD,” “Planned Parenthood,” and “birth control.”

15 Programs that employ inmates as dog trainers have led to a decrease in prisoner depression and a decline in recidivism rates.

22 A small family collard farm sustains itself on patience and perseverance.

25 Mipso bassist Wood Robinson never thought of himself as a frontman, but here we are.

26 Pioneering electro-acoustic composer Pauline Oliveros’s work is less about what to listen to than how to listen 27 A premise that could have turned out as low-grade sketch comedy offers unexpected insight and delight in The Typographer’s Dream.

DEPARTMENTS 5 Backtalk 6 Triangulator 8 News 22 Food 25 Music 27 Arts & Culture 30 What to Do This Week 32 Music Calendar 36 Arts/Film Calendar

Greg Jenkins carries a collard plant to a customer’s car at the Jenkins Farm in Durham.

PHOTO BY ALEX BOERNER

On the cover: ILLUSTRATION BY SHAN STUMPF

INDYweek.com | 12.7.16 | 3

Raleigh Durham | Chapel Hill

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backtalk

Safe Spaces We’re still getting tons of reader reactions to both Donald Trump’s election and our November 16 issue in response to it. First up, Cheyenne Solorio and Matthew Hickson, Durham schoolteachers and cofounders of Bull City Schools United.

“Between now and January 20,” they write, “millions of teachers and students around our country will continue the essential daily work of growing a future generation. In the backdrop of their exchange, our country faces an incredibly challenging political climate. Our president-elect has incited violently racist, misogynist, and anti-LGBTQ sentiments. His electoral coalition fused together disaffected, and mostly white, voters into a miasma of racism and heterosexism. All while our young people are the brownest, queerest, most progressive generation in United States history. The future of this nation belongs to them. At the foundation of education is the belief in empowering our young people with the skills to someday lead our country. There is perhaps no time in recent memory where this work has been more challenging and important.

“Although our country has yet to see the legal ramifications of the president-elect’s presidency on our vulnerable youth, the sentiments, platform, and supporters of the president-elect’s campaign have already wreaked havoc on the social and emotional well-being of our students. This lack of safety directly impacts their ability to learn and achieve in the classroom. Calls to suicide prevention hotlines that are geared toward LGBTQ people have spiked in the wake of the results of the election.

Students who are undocumented immigrants, or have undocumented family members, are experiencing anxiety as they face potential deportation, or separation from their family.

As educators, we have found ourselves having to reaffirm our students in order for them to believe that their lives matter, that their right to a safe space in school will be defended, and that their schools and communities love, support, and believe in them no matter their background or identities. Our nation’s LGBTQ

youth and youth of color are turning toward their schools to find support. If we truly believe that every student deserves a safe space to learn and grow, we have to support and push our schools and districts to create these safe spaces and schools for our country’s future leaders.”

Meanwhile, Jesus Gutierrez writes to thank us for Ken Fine’s article, “A Story for My Little Girl”: “My eleven-year-old daughter also cried the next morning. I am saving your article and framing it for her. The way you described your daughter is exactly the way my daughter is.

Huge heart, loves helping people. Loves standing in the crowds chanting on Moral Mondays. She is a fighter, and I will keep reminding her that. I want her to grow up and light a fire so bright that it will burn the shit out of the bigots and the racists but especially the sexual predators like the president-elect. I want her to be so strong that they will be intimidated by her girl power.”

Erin G of Durham, however, says we just don’t get it: “I read your recent INDY all the way through. I was a little taken aback. I am a female who is disabled and I voted for Trump.

I feel that you (able-bodied, employed, well-todoers) still do not understand. You are still not listening to us. Anger did not drive us to vote. It was desperation. Would we have voted for Bernie? Yes. But you know how that went.

“I want you to understand the underclass is way larger and more desperate, here in a land that boasts of a love of equality, than you realize. The spike in the suicide rate should have tipped you off, but our troubles are always considered fixable with more social programs.

We do not want more social programs. We do not want Medicaid. Medicaid keeps you down, does nothing to lift you up. All the programs for the poor now fix you in place. We wanted a way out, and that is why we voted for Trump. Even if he cannot do it, he heard us.”

“We wanted a way out, and that is why we voted for Trump.”

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

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Leading Others in Writing for Health Starts May 11 | Register now through May 5 For information, pricing, or to register for a program visit DukeIntegrativeMedicine.org Duke Center for Living Campus 3475 Erwin Road, Durham • (919) 660-6826 INDYweek.com | 12.7.16 | 5

triangulator +BOY BYE

On Monday afternoon—after nearly a month of recount demands and baseless challenges to voters’ eligibility—Governor McCrory finally gave in to the inevitable and conceded his loss to Roy Cooper, who will become North Carolina’s seventy-fifth governor.

(Soon afterward, Republican attorney general candidate Buck Newton, trailing by more than twenty-three thousand votes, also conceded to Democrat Josh Stein.)

Cooper’s 10,293-vote victory, at long last official, marked a bright light for Democrats in an otherwise dismal election. It wasn’t just that Donald Trump prevailed— while losing the popular vote by 2 percentage points, underlining the fact that some votes matter more than others, thanks to our anachronistic system—or that Richard Burr scored an easy win over Deborah Ross. It was also that long-serving Democratic insurance commissioner Wayne Goodwin and superintendent of public instruction Jane Atkinson were defeated, too, and labor commissioner Cherie “Elevator Queen” Berry, who has shown precious little interest in actually helping laborers, soundly beat former Raleigh mayor Charles Meeker. And, thanks largely to a gerrymander that has been ruled unconstitutional (new elections next year!), the Republicans maintained their supermajorities in both legislative chambers.

What did Cooper do that so many other Dems couldn’t pull off? Several things. For starters, he’s a known quantity, a respected, moderate public servant who can speak to more than North Carolina’s deep-blue urban areas. But just as important, he hewed closely to boilerplate Democratic talking points on education and jobs; while he was never a stem-winder on the stump, he did give the deeply unpopular McCrory just enough rope to hang himself.

As Tom Jensen of the Raleigh-based Public Policy Polling persuasively argued, McCrory’s unpopularity was about more than the uber-contentious HB 2, though that might have been the icing on the hate cake.

Rather, McCrory was underwater just a few months after taking office, as progressives made him the face of the legislature’s farright agenda: refusing to expand Medicaid, using a motorcycle-safety bill to pass abortion restrictions, allowing guns in bars, 6 | 12.7.16 | INDYweek.com

+OFF-WHITE POWER

ILLUSTRATION BY SHAN STUMPF

eliminating the earned income tax credit, passing voting restrictions.

“He allowed himself to be associated with a bunch of unpopular legislation,” Jensen wrote on the PPP website Monday, “and progressives hit back HARD, in a way that really caught voters’ attention and resonated with them.”

There’s a lesson here, Jensen continued: “Pushing back hard on McCrory worked.

The seeds of his final defeat today were very much planted in the summer of 2013.

And it’s a lesson for progressives in dealing with Trump. Push back hard from day one.

Be visible. Capture the public’s attention, no matter what you have to do to do it.”

There was one line in McCrory’s concession video that warrants further attention: “Despite continued questions that should be answered regarding the voting process,” he said, “I personally believe a majority of our citizens have spoken.”

This echoes something North Carolina Republican Party executive director Dallas Woodhouse told Barry Yeoman, an occasional INDY contributor writing for the New Republic, last week. While admitting his party erred in its challenges to voters’ eligibility, he called it an “unreasonable standard” to have proof before lodging a protest.

Even more important, he said that new restrictions on ballot access were needed to “restore confidence” in the system.

“Whether there’s widespread voter fraud or not,” Woodhouse said, “the people believe there is.”

First, there’s not a scintilla of evidence of widespread voter fraud, and maybe if Republicans hadn’t spent the last decade ginning up conspiracy theories, “the people” wouldn’t believe that. But the bigger picture here is that Woodhouse—and, to a lesser degree, McCrory and even Trump, who has claimed, with facts pulled out of his ass, that he lost the popular vote because three million people voted illegally—is giving away the game.

The more suspicions are raised about the integrity of the process, the more Republicans have an excuse to enact restrictions that disenfranchise Democratic voting blocs, especially African Americans, thus reinforcing Republicans’ dominance of what should be a purple state. And Cooper, whose veto will be easily overridden, will be powerless to stop them.

This is what’s coming. Defeating McCrory was an important win that merits a moment’s celebration, but progressives need to prepare themselves for the next war, and they need to start now.

The Loyal White Knights of the Ku Klux Klan didn’t run. They drove—hauled ass, in fact—away from confrontation, only screaming “white power” from the safety of their pickup trucks, tails between their legs, when it was completely safe to do so.

That’s what happened Saturday, as a longplanned and much-discussed rally to celebrate the election of Donald Trump was derailed, twice, by well over a hundred counterprotesters who held banners with slogans like “John Brown Lives—Smash White Supremacy,” a reference to the pre-Civil War abolitionist.

The rally’s intended location—Pelham, in Caswell County, near the Virginia border— was only announced Friday evening, though what passed for the actual rally took place some thirty miles away, in Roxboro.

“They pushed it back till eleven [a.m.], and we were like, ‘All right, cool, we’ll wait,’” one protester told the INDY. “We did a march in Pelham, and then we heard they were going to Danville, and when we got there, someone hopped in their truck and took off. Once we headed home an hour later, they were in that other fuckin’ town, Roxboro or whatever. So they literally waited until we were gone and then did it an hour away.”

The reason? It was “too cold to march,” Imperial Kommander Amanda Barker, wife of group founder Chris Barker, told the U.K.’s Daily Mail. (Another possible explanation for why the rally was so disorganized was that a planning meeting resulted in a stabbing at the Barkers’ home that landed Chris Barker in jail.)

“They waited until everyone left town,” the protester said, “and then fucking sped through Roxboro in a ten-car parade where they were going thirty-five miles an hour.”

Meanwhile, a counterdemonstration in Raleigh’s Moore Square, organized by the Triangle Unity May Day Coalition—an alliance of several Triangle social justice groups—drew close to a thousand people to hear artists and activists, including former Workers’ World Party vice presidential candidate Lamont Lilly, speak against Trump, the Klan, and the system itself.

“Donald Trump isn’t what scares us. That embarrassment of a man didn’t vote himself into the White House,” nineteen-year-old

MDD Study

immigration activist Jorge Ramos said. “The American people did. His words are unifying, but in the worst way possible. We must be vigilant. All of the ugly things are no longer ugly.”

“I do believe that if we come together, we can defeat white supremacy,” Lilly said. “I do believe that we can defeat racism, if we stand back and fight back with everything we have, we can defeat sexism, capitalism, and poverty. We can defeat this entire fucked up system!”

+FRACK CRACKS

For the time being, Duke Energy’s plans to build a twenty-one-megawatt natural gasburning power plant on the Duke University campus are on hold, as officials from both the builder and potential host informed state regulators that they want to suspend the review process for the facility for six months.

While the news marks a victory for those who have been outspoken against a “fracked gas” plant existing on a progressive university campus, NC WARN executive director Jim Warren was only cautiously optimistic about the project’s latest turn.

“It’s not over—and we’ll keep working with allies to keep the pressure on,” he said

ILLUSTRATION BY SHAN STUMPF

in a news release. “Stopping the industry scheme has widespread ramifications for the fracking boom and the incredibly potent methane gas pouring from natural gas operations. … Building large power plants is making the climate crisis worse—by squandering precious years and dollars that should be going toward energy efficiency, renewables, and energy storage.”

According to Duke University’s website, the plant that the university and Duke Energy have proposed building the plant on the west campus would generate electricity for North Carolina’s grid, “as well as an estimated 85,000 pounds per hour of steam and hot water for Duke University and Duke Medical Center.” The facility would cost an estimated $55 million and be owned by

Duke Energy.

The university claims that the plant would “reduce the university’s carbon dioxide emissions and save money,” but acknowledges that “some university community members have voiced concerns.”

That’s putting it mildly.

“We’re pushing for a transparent path the campus and community can be proud of,” NC WARN says on its website. “As it becomes clear that the climate crisis is being driven by methane emissions from the fracking boom, humanity badly needs [Duke University’s] leadership.” triangulator@indyweek.com

The Frohlich Lab at UNC-Chapel Hill is looking for individuals who would be interested in participating in a clinical research study. This study is testing the effect of transcranial alternating current stimulation (tACS) on mood symptoms of Major Depressive Disorder.

Transcranial current stimulation is a technique that delivers a very weak current to the scalp. Treatment has been well tolerated with no serious side-effects reported. This intervention is aimed at restoring normal brain activity and function which may reduce mood symptoms experienced with Major Depressive Disorder. We are looking for individuals between the ages of 18 and 65, diagnosed with Major Depressive Disorder currently not taking benzodiazepines or antiepileptic drugs.

You can get compensated up to $280 for completing this study. If you are interested in learning more, contact our study coordinator at: courtney_lugo@med.unc.edu Or call us at (919)962-5271

This week’s report by Jeffrey C. Billman, Paul Blest, and Ken Fine.

PERIPHERAL VISIONS | V.C. ROGERS

INDYweek.com | 12.7.16 | 7

indynews

Housing Starts

INSIDE JESSICA HOLMES’S CAMPAIGN TO TACKLE WAKE COUNTY’S AFFORDABLE HOUSING CRISIS

BY PAUL BLEST For the Wake County commissioners, 2015 was the year of education, with school funding increased by $44.6 million. Twenty-sixteen was the year of transit, as they placed a successful referendum on the November ballot to fund a far-reaching transit plan. Now 2017, it seems, will be the year of affordable housing.

On Monday, with new commissioners Greg Ford and Erv Portman sitting in on their first meeting, the board named appointees to a thirty-two-member steering committee it created back in September. The committee, chaired by Commissioner Jessica Holmes, will report monthly to the board of commissioners.

“Our goal is to take a long-range look at affordable housing needs within the county and to develop a twenty-year plan that explores ways to increase the stock of affordable housing in the county,” says Holmes, who represents Cary and has spearheaded affordable housing efforts. (At the conclusion of Monday night’s meeting, Holmes stunned her colleagues by abruptly announcing her resignation. The next day, she emailed to say she had reconsidered: “An opportunity had presented itself to me, and in part out of frustration, I had decided to pursue it.”

However, she continued, “the overwhelming voice of my constituents” led her to change her mind.)

The vote was originally scheduled for November 21, but it was delayed following a motion by Commissioner John Burns, who wanted more information about how committee members were selected. On Monday, before the commission voted unanimously to appoint members to the committee, Burns issued a statement expressing his full support: “I am happy to say that the short delay did result in a better understanding of the goals of the committee and the roles that needed to be filled by various members, as well as a better understanding of the process by which the memberships of such boards are compiled.”

This is the first step in an effort to attack 8 | 12.7.16 | INDYweek.com

Jessica Holmes

PHOTO BY JEREMY M. LANGE

homelessness—according to the 2016 “point in time” survey, more than eight hundred Wake residents, including 150 children and 80 veterans, were homeless—and the county’s burgeoning affordable housing crisis. Up until now, the board, which became wholly Democratic after the 2014 elections, hasn’t taken an aggressive posture. For a county that’s growing by sixty-three people a day, and where a Wake County reassessment last year found that property values were back up to pre-housing-crash levels, that presents a serious challenge.

Holmes, meanwhile, has garnered attention from local media for advocating some innovative ideas on affordable housing, including a proposal for the county to build housing on unused land owned by Wake County Public Schools. All of that land—four sites—is outside of Raleigh and Cary. Holmes says that could solve the problem of clustering impoverished students in the same high schools.

“The goals of this committee are to advance low-density affordable housing options dispersed across the county, so not any particular neighborhood community,” she says.

“A byproduct of that could be addressing high-poverty schools by sort of leveling out the number of students who live in poverty being congested in any particular school or district.”

Homelessness among Wake County students skyrocketed following the Great Recession. A November 2015 report by the school system found that 2,736 Wake students were homeless, up 29 percent from the 2009–10 school year. Those students are four times as likely to be sick and have development issues as their peers.

Holmes says another plank of her plan would address chronic homelessness, particularly the homeless who suffer from mental illness. “It’s about time we acknowledge the interaction between chronic homelessness and mental illness and talk about not

only providing housing, but wraparound services,” she says.

One idea Holmes mentions has taken off elsewhere, including Dallas and San Francisco: ending chronic homelessness by simply giving people a place to live.

“It’s very possible, and there’s evidence to support, that housing these individuals may be more cost-effective than leaving them on the street, and then they end up in the ER,” she says. “So this is not only the right thing; it’s the most fiscally responsible way to use taxpayer dollars in relation to poverty.”

In 2005, Utah—hardly a bastion of liberalism—provided housing to the chronically homeless at a cost of $50 per month or 30 percent of the homeless person’s monthly income, whichever was more. By 2015, the number of chronically homeless people in that state had plummeted by 91 percent.

Of course, all of these ideas are just that right now: ideas. The steering committee is the first step in bringing them to fruition. Of the committee’s thirty-two members (counting Holmes), there are twenty “subject matter experts”—including developer Gregg Warren, Raleigh housing director Larry Jarvis, and former Wake County Superior Court judge Howard Manning—seven residents, and four “stakeholders,” including Cary town council member Lori Bush, Morrisville council member Vicki Scroggins-Johnson, and a representative each from Wake County Public Schools and the Wake County Human Services Board.

Now that the committee is formed, it’ll hold monthly meetings for a year and present a report to the commissioners next October. But Holmes tells the INDY she’s pushing for affordable housing to be included in the next budget, which the board will vote on in June.

“I’m passionate about this issue,” Holmes says. “I’m ready to move forward and welcome partners in the community. Anyone who wants to be a part of this conversation, we welcome your thoughts.” pblest@indyweek.com

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Grab Them by the

s u r e Ut

WITH THE TRUMP ADMINISTRATION THREATENING TO ROLL BACK REPRODUCTIVE RIGHTS, WOMEN ARE SEEKING OUT CONTRACEPTIVE CARE WHILE THEY STILL CAN

BY HANNAH PITSTICK

O

10 | 12.7.16 | INDYweek.com

ILLUSTRATION BY SHAN STUMPF

n the evening of November 8, Megan Squires gathered at the Isaac Hunter’s Oak City Tavern in downtown Raleigh with about one hundred supporters of the Wake County transit referendum to watch the election results roll in. The mood was festive and restless at first. But as state after state went for Donald Trump, Squires felt an increasing sense of dread.

Aside from the transit referendum’s victory, things were looking bleak for North Carolina and the country. Upon leaving the bar, Squires began crying. She even let out a scream of rage, uncharacteristic of the normally subdued twenty-nine-year-old. The possible repercussions of a Trump victory raced through her mind, and one of her first concerns was what the new administration could mean for reproductive rights.

“I have a friend who I was watching the election results with, and, unrelated, she had an appointment to have a Skyla inserted the next day, so we were all just kind of sadly joking, ‘At least you’re getting that,’” Squires says.

She wasn’t alone. With a Trump presidency—and the threat of a reproductive-rights rollback—looming, women across the country felt the urge to set up appointments for long-acting reversible contraceptive devices, like Skyla, that would outlast a Trump administration. In fact, the day after the election, Google Trends showed a huge spike in searches for “IUD” (an acronym for “intrauterine device”), “Planned Parenthood,” and “birth control,” as NPR reported last month.

“Since the election, we have seen an uptick in questions about access to health care, birth control, and the Affordable Care Act,” says Dr. Raegan McDonald-Mosley, chief medical officer at Planned Parenthood, in a statement. “While we truly hope that birth control methods will be available, accessible, and

affordable to all women under the Trump administration, we understand people’s real concerns about losing access to birth control, which is basic health care for women.”

Squires, who has interned for Planned Parenthood, had considered getting an IUD before, but she’d put off setting up an appointment, in part because of how painful she’d heard the insertion can be. After the election, Squires stopped procrastinating.

(She also decided to live-tweet her November 30 insertion from her newly created Twitter handle, @sexlifepositive.)

Squires recently moved back to Carrboro from Chicago and is insured through the Affordable Care Act’s health care exchange while in between jobs. Thanks to the ACA’s

contraceptive mandate, Squires can get an IUD inserted without a copay. Without insurance, the combined cost of the medical exam, the IUD, and insertion can range from $500– $900, according to Planned Parenthood.

Squires opted for the ParaGard, a nonhormonal copper IUD that lasts up to ten years.

Other options for long-acting reversible contraception include other IUDs, such as Mirena (which lasts five years) and Skyla (three years), and the contraceptive implant, a tiny rod inserted under the skin of the upper arm that is good for three years.

“I’m fine with the birth control I have now, but the election has made me scared for women’s rights,” says Laura Paskoff, a Raleigh twenty-four-year-old who plans to

utilize Mirena. “I don’t want my rights taken away from me, so I felt like I should do this while it’s covered through my insurance.”

Squiers and Paskoff aren’t the only local women with these anxieties.

“We have had a few patients specifically state that that’s the reason they wanted to either come in for a new visit or have their IUD replaced a little bit earlier than is necessary, just so it wouldn’t be an issue,” says Dr. Beverly Gray, an ob-gyn at Duke Medicine and director of the Ryan Family Planning Clinic. “As far as the ACA mandate that insurance cover birth control, I think it’s definitely possible that that mandate could be taken away. Whether or not insurance companies decide that it’s cost-effective—

which it is cost-effective to provide effective contraception to patients—that has yet to be seen.”

According to Gray, studies show that when women have no cost barriers, about 75 percent will choose either an IUD or a contraceptive implant, which in turn reduces the rates of unplanned pregnancy and abortion.

Adam Sonfield, senior policy manager and executive editor for Guttmacher Policy Review, says that even before the contraceptive mandate went into effect, most insurance plans were already covering a full range of contraceptive methods. The biggest change is that the ACA requires plans to cover every single method with no out-ofpocket costs.

“Plans weren’t necessarily doing all of that beforehand,” he says. “They were covering a wide array of methods, but not necessarily all of them, and they were trying to encourage women to use cheaper methods rather than ones that were more expensive up front for the insurance company. They were penny pinching in various ways, even though those methods that are more expensive up front may be cost saving for the insurance plan in the long run because they can be more effective. If this requirement were eliminated, it’s possible that we could see some insurance companies reverting back to what they did before.”

Even if contraception remains available, higher prices for birth control will effectively limit some lower-income women’s options.

A survey commissioned by the Planned Parenthood Action Fund in 2010 found that a third of women surveyed struggled to pay for prescription birth control, which at the time cost $15–$50 each month.

Despite the evidence, some politicians— namely, Trump’s pick for health and human services secretary, U.S. Representative Tom Price, R-Georgia—have denied that any woman has trouble paying for birth control.

At the 2012 Conservative Political Action Conference, Price said, “Bring me one woman who has been left behind. Being me one. There’s not one.”

Price has consistently voted in opposition to the ACA’s federal contraceptive mandate, which he and other conservatives view as antithetical to religious liberty. (In the 2014 case Burwell v. Hobby Lobby, the U.S. Supreme Court ruled that “closely held” forprofit corporations could claim an exemp-

tion to the mandate.) There are several ways in which the new administration could attack it.

The administration could decide to no longer endorse the recommendation made by the Department of Health and Human Services in 2011, which included contraception in the list of preventative services for women that should be covered under Obamacare.

Trump could also expand the current exemption for employers who invoke a religious objection to birth control. Or, with the help of Congress, the administration could repeal or modify the Affordable Care Act, and with it the birth control provision.

“The birth control provision has helped tens of millions of women in the country,” Sonfield says. “It has reduced a cost barrier to women choosing the contraceptive method that works best for them at a given point in their lives, and to plan whether and when to have children, with all the benefits that means for them in terms of helping them stay in school and get a good job and care for their family. Undermining or eliminating this provision would do a lot of harm to a lot of people.”

The uncertainty has made some women who are satisfied with oral contraceptives look into longer-term options.

“I’ve considered getting an IUD a couple of times, but birth control in the pill form has always worked for me,” says Sarah Nolan, a Duke graduate student. “It’s weird to have this very personal decision made for me due to circumstances very outside of my control.”

Nolan will turn twenty-six one month after Trump takes office. She’ll be forced off her parents’ health insurance and on that of her employer.

“Right now I’m on the birth control pill, which is great, and it’s free to me through my parents’ health insurance every month,” she says. “I don’t have to do an economic calculation every time I go to pick up my prescription; it’s just there as part of my health care system. In a few months, I might have to put a monetary value on it—how much is that convenience of a birth control method that works for me worth in terms of dollars? Do I have those funds in my monthly budget? It might not end up being all that much, but if you add up a twenty- or thirty-dollar copay each month over a year, it starts to seem more significant.” backtalk@indyweek.com INDYweek.com | 12.7.16 | 11

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DECEMBER 7, 2016

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WHO RESCUED WHO? BEHIND PRISON WALLS, NORTH CAROLINA INMATES ARE TRAINING SERVICE DOGS—OR ARE THE DOGS TRAINING THEM? B Y S AYA K A M AT S U O K A

With graying hair and a bushy moustache that spreads across his upper lip, Grady Meredith speaks with an air of confidence that hints at years of life experience. He stands at about five feet six and has a muscular stature that looms over Lucy, the Labrador mix that sits at his feet. He walks the two-year-old service dog through a series of training techniques in the middle of a bare, bunker-like room made of sheets of metal and concrete floors. One at a time, he drops an assortment of items: a pack of almonds, a toothbrush, keys, all of which Lucy eagerly bends down to pick up and returns gently to Meredith’s open palm.

Next, he places a bright red Staples “Easy” button on one of the metal walls. With one word—“nose”—he commands Lucy to push the button. Tail wagging, Lucy trots over and puts her nose to the plastic. “That was easy,” chirps the device. Watching Lucy effortlessly complete each task feels like witnessing a circus act; the tricks, which seem simple enough, surprise and fascinate.

But while the presence of more than a dozen dogs lightens the bleak room’s atmosphere, the fact that this is all taking place inside a medium-security prison is hard to ignore.

At forty-six years old, Meredith has been locked up for more than P Hold, O TMeredith O S B Y has BEN Mlocked C K E Oup Wfor N more than At forty-six years been

A service dog trains at Eyes, Ears, Nose, and Paws.

INDYweek.com | 12.7.16 | 15

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At forty-six years old, Meredith has been locked up for more than half his life. He’s currently serving a life sentence at Franklin Correctional Center in Bunn, a small town about thirty miles east of Raleigh. The prison holds more than four hundred prisoners who have been convicted of an array of offenses, from drug possession to murder.

Meredith was convicted of second-degree murder. He grew up in a Gaston County mill village, a ghost of the once-booming textile industry. His best childhood memories are of the time he spent working with his uncles teaching dogs retrieval work.

“We trained bird dogs like retrievers and black labs and competed them in retrieval competitions,” Meredith says. “Before I came to prison, I always had a dog.”

Meredith now works with Eyes, Ears, Nose, and Paws, a Carrboro nonprofit that trains puppies to become service dogs for those who are differently abled. The group partnered with the prison in late 2014 in a program called At Both Ends of the Leash, which aims to increase the number of service dogs in the Triangle; it now employs eighteen prisoners as dog trainers.

“Training service dogs is labor intensive, and it’s hard to find people who can commit to doing it for a long period of time,” says Deb Cunningham, cofounder and director of EENP. “It takes thousands of hours to train dogs, and volunteers don’t have as much time.”

EENP surely benefits from the work of these prisoners, but the inmates themselves also find the work rewarding. It’s a break from the drudgery and tedium of life behind bars, as well as a source of much-needed stimulation. The program also offers trainees valuable experience that may be beneficial outside the prison walls. Cunningham says the dogs teach the prisoners patience, compassion, and empathy.

The use of prisoners as dog trainers dates back the eighties, when Sister Pauline Quinn, a Dominican nun, started a dog-training program in a Washington state prison—the first of its kind. Since then, many programs, including At Both Ends of the Leash, or ABEL, have sprung up around the country.

Though these programs have proven popular, there hasn’t been a lot of hard research into their efficacy; the studies that do exist suggest that dog-training partnerships have a positive effect on prisoners.

A 2007 study published in the Federal Probation journal, for instance, showed a decrease in the rates of depression and aggression among inmates in Indiana.

According to the study, these changes could be attributed to the prisoners’ assuming increased responsibility in caring for the dogs and the resulting trust that prison staff

developed toward the inmates. Studies have also shown that programs like the one at Franklin can help reduce recidivism rates. A 2013 study of a Philadelphia prison showed that while 41 percent of all prisoners were rearrested within a year of release, only 14 percent of prisoners involved in canine programs were.

“You can see a difference in the guys when you put a leash in their hands,” Meredith says. “They have responsibility, and it teaches them self-awareness. At some point, it starts to psychologically make a difference.”

T

he idea for the partnership between EENP and Franklin began almost two years ago. It took off quickly.

“We approached the N.C. Department of Public Safety, and they showed interest in the program,” Cunningham says. “After that, we found Franklin and then signed the contract in late 2014.”

The contract states that EENP pays for the dogs, dog food, supplies, vet care, training, and transportation, while Franklin provides the space, recruits trainers, and ensures that the program gets the facilities it needs. Through this partnership, EENP will be able to place more dogs with people in need, and Franklin inmates will have the opportunity to provide a community service and learn a marketable skill.

This program is one of twenty prison partnerships in the state, collectively referred to as A New Leash on Life, which began operating in 2004. Most programs work to make dogs ready for regular companionship as pets, but as a long-term service-dog-training program that lasts for eighteen months, compared with standard eight-to-twelve-week programs, the EENP partnership is unique.

Cunningham says she decided to produce service dogs, rather than house dogs, after spending time on a volunteer search-andrescue team with her dog Finner, an experience that motivated her to find other ways to draw upon dogs’ innate skills.

“Working with Finner was amazing,” she says. “He could use his nose to locate a person in several hundred acres of woods very quickly. Finner’s unique ability to do something I couldn’t forged a special relationship.

I wanted to find more ways to harness this amazing relationship.”

Cunningham now uses her expertise to bring this experience to others. But it’s no easy ride for those who see hope in the program. There’s an exhaustive application and interview process, and inmates with a history of sex-related crimes or animal cruelty are immediately rejected.

It’s up to the state Department of Public

Safety as to who gets to take part in the program. Prisoners who are selected are paired with a six-month-old Labrador or golden retriever, which they train for the next year and a half. The only exception is a oneweek furlough for the pups, who are briefly returned to society so they don’t forget what life is like outside of prison. Other than that, dogs and trainers eat together, sleep together, and play together every day, 24-7, until the dogs are ready to graduate.

“These guys are full-time professional volunteers,” said Maria Ikenberry, cofounder and director of EENP. “They are never truly off duty.”

The partnership started with fewer than a dozen dogs and trainers. It now has eighteen service dogs in training, each with an assigned prisoner-trainer.

Meredith is one of them. After landing behind bars at twenty-three, Meredith struggled to find meaning. In 2005, when the prison where he was incarcerated started a pilot program for A New Leash On Life, he saw a chance to return to the only thing he ever loved.

“I’m a dog trainer. There’s no other way to put it,” Meredith says.

Meredith bounced from prison to prison and eventually landed in Franklin, but he continued to work with dogs and guide new

“Training dogs is really about working with people, because through helping dogs, it helps you as a person.” trainers.

“This is one of the best programs there is,” says Meredith. “It’s purpose-driven, and there’s more freedom than some of the other programs. I didn’t have the best childhood growing up, but I’ve had a lot of support through programs like these over the years.”

Alden Rainey is another inmate who says he’s benefited from the program. Rainey, twenty-nine, is quiet and reserved but expressive and loving with his training dog, Ike. Having landed in prison for armed robbery and weapon possession, he says working with dogs is a new experience for him.

“I’ve always quit things my whole life, but I knew I couldn’t quit this,” Rainey says. “I wanted to better myself.”

Noting the daily struggles of living in prison, Rainey says having a dog helps alleviate a number of stressors. “You have to let a lot of

things go,” says Rainey. “Training dogs is really about working with people, because through helping dogs, it helps you as a person.”

Rainey has served four years and has eighteen months left on his sentence, and he would like to work with dogs when he gets out.

“Hopefully it’ll open doors for me,” he says.

This idea is supported by a 2006 national survey of different prison-based animal programs, which showed that about 33 percent of programs reported knowledge of former inmates who left prison and went on to work with animals. Meredith says some men who worked in the Craven program have since gone on to work with dogs outside of prison.

“It’s a lot of hard work, and it’s like a real job,” says Cunningham. “But for some, this is exactly what they want to be doing.”

Keith Acree, a DPS spokesman, says that

he also knows of some prisoners who previously worked in A New Leash on Life programs who are now working with animals on the outside, though he declined to provide specifics, citing the need for confidentiality.

This sort of anecdotal evidence has bolstered programs like ABEL all over the country. The 2006 survey, conducted by sociologist Gennifer Furst, a professor at William Patterson University in New Jersey, found that thirty-six states across the country run programs similar to the one at Franklin. While this survey included all animal-based programs, including those using livestock and even cats, dogs were the primary training animal, both for companionship and service training.

According to Furst, these types of programs have proliferated in the last ten years—perhaps one in every state now and several overseas as well. And while current funding for prison research is focused primarily on terrorism and policing, Furst believes these programs will continue to exist as long as there is the need for them.

“The equation is there,” says Furst. “With the recent wars, there is an increase in veterans who need support, there are homeless animals, and we have the largest prison complex in the world. These programs are under-studied but continue to be popular.”

INDYweek.com | 12.7.16 | 17

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I

n June, EENP held its inaugural graduation for the dogs that passed the first round of training. The usually bleak training room at Franklin had long tables covered by yellow tablecloths, and rows of plastic chairs were set up at the front of the room. The atmosphere was lively, energized by the bustle of dogs, trainers, prison staff, volunteers, and the clients who were there to receive the dogs.

Both Rainey and Meredith sat with their trainees, lovingly giving them belly rubs and casually checking the inside of their ears.

That afternoon would be the last time they would be together; it was graduation day for both pooches.

The ceremony began with words from the superintendent of Franklin, Timothy McKoy. Reflecting on the program’s first year and a half of existence, McKoy admitted that the initiative’s success was never guaranteed. “We were a little shaky about this program when we first started,” McKoy said.

“We didn’t know how it was gonna go, but after eighteen months, I can say that it’s truly been a blessing.”

Two clients sat in the audience.

One of them, Hannah Michels, is a twentyone-year-old born with a congenital form of myasthenia gravis, a neuromuscular disease

that causes mobility impairment. Michels had been waiting almost two years for a service dog, which isn’t unusual; her wait time is close to the national average, due to an imbalance of supply and demand.

“I think it’s wonderful that they’re using inmates to train the dogs,” Michels said. “I cannot wait to get my dog to keep me company and keep me safe.”

For Michels, who renamed the dog she was given Pennie, having a service canine is life-changing. Her dog, she says, will help her with day-to-day tasks including retrieving her phone, moving her wheelchair to her, seeking help when Michels experiences trouble breathing, and picking up anything Michels drops.

Nearby, Amanda Weekley stood hunched over a walker, speaking to volunteers; she was also scheduled to receive one of the dogs.

Weekley, thirty-four, has ankylosing spondylitis, an inflammatory disease that causes vertebrae to fuse together. She also suffers from arthritis, neuropathy, and type II diabetes; she’s been on disability for seven years.

Weekley says her two kids help her around the house, but having a service dog will help her become a mother again—and let her children be children.

“I lose my balance and fall sometimes,”

Weekley said. “A service dog can go get help.”

Meredith was stoic when it came time to give Lucy away, but Lucy seemed to understand what was happening. With her big brown eyes, she turned to gaze up at her trainer and friend one last time before being handed off to her new owner.

Cunningham says she aims to place at least fifteen dogs per year. For that to happen, she needs at least forty dogs in the program, because only half of the dogs end up graduating. Right now, the program is training seventeen dogs.

Regardless, she thinks the future bodes well. In September, EENP took on its first work release trainer, who gets paid to work in the EENP office during the day. She also hopes to open more ABEL programs in two to three more prisons in the state.

While the immediate goal may be to train as many service dogs as possible, for inmates like Meredith and Rainey, the program is about more than just about creating service dogs. It’s about creating humanity.

“Dogs bridge the gap between people,” Meredith says. “They become the common denominator, whether it’s racial, social, or economic differences. The support of these programs is important. They’re needed.” backtalk@indyweek.com

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ZenSoFly

T WIN ENGINES

OAK CITY SLUMS AND ZENSOFLY ARE REVVING UP RALEIGH’S BASS MUSIC SCENE

I

STORY BY ERIC TULLIS

I

n November, the music-and-techfocused Moogfest brought its traveling Dial-Tones event to N.C. State’s Hunt Library. Attendees toyed with Moog Werkstatt synthesizers and attended workshops about audio production, coding, and circuitry. After all the brainy stuff was over, everyone was invited to a free after-party and performance featuring several notable Triangle electronic beat musicians, each of them integrating the Werkstatt into their signature sounds.

20 | 12.7.16 | INDYweek.com

PHOTOS BY BEN MCKEOWN One of those producers, Rodney Finch— better known as Oak City Slums—spent the entirety of 2016 on a rapid musical tear, organically rising to local acclaim without big-name co-signs, label backing, or even high numbers of SoundCloud plays. The Welcome EP, an unexpected, untamed bassmusic masterpiece released earlier this year, set the stage for Finch to blow up CAM Raleigh with his rude, rousing bass lines during a festival-stealing set at Hopscotch in September.

“Hopscotch wasn’t a surprise to me,” Finch recalls. “It was a surprise to everyone else. In the back room, I told everyone that I was about to go out there and crush it. I didn’t care if there were ten or three thousand people in there. I saw it coming.”

It was the critical moment in Finch’s ascent. With one set, he became the chief conductor of the Triangle’s shifting beatdriven movement. Before Finch, Raleigh’s now-defunct Discovery dance party series had been maximized to extinction, while both the Durham and Chapel Hill hip-hop scenes had puttered into uncertain states.

But as these scenes petered out, Finch was picking up steam, transforming from a hiphop beat-battle champion into a bass-music messiah. Sonically, he was already ahead of some of the waves that newer collectives, like the Durham-based experimental beat crew Raund Haus, were introducing to the area’s music scene. In the months before and after his Hopscotch debut, Finch was integral in bringing a similar taste for beats to Raleigh, increasing his number of appearances there and booking his own shows with his own lineup of artists.

“It’s a responsibility that I chose to take and was necessary in Raleigh, because everyone is kind of hands-off with everything,” he says. “Nobody was willing to say, ‘Hey, I’ll take the responsibility to make sure that this thing keeps rolling.’ My whole career as a producer and DJ has been about saying, nSoFly ‘Well, nobody else is doing it so I’ll do it.’ It’s uncomfortable but I don’t really mind it.”

What he did mind, however, was a sharp critique from one of his musical peers about whom he was booking. On Facebook in October, Durham’s DJ PlayPlay accused Finch of not including women in his shows’ lineups, including the Dial-Tones event. (The entire thread has since been deleted.) Finch responded with a series of vehement rebuttals, taking offense to PlayPlay “slamming me, a black man, the only black promoter in the area doing what I’m doing.”

“You’re trying to promote women’s rights, but you’re slamming a black man who is trying to do something positive not only for women but for black boys and people with WN different sexual identities?” he asks. y Finch— Finch says that, shortly after the argums—spentment, the two settled their differences in a sical tear,private conversation. But he still felt insultm withouted, comparing the situation to a pillow fight— , or evenwhen feathers start flying everywhere, as lays. Thecomments in social media forums do, it’s med bass-impossible to gather up each one. Finch rlier thissays he often pays women more than their w up CAMmale counterparts and puts them in headbass lineslining slots, as he did with JIL at Neptunes Hopscotchin August. But he downplays the notion that sexism and underrepresentation are signifi-

cant factors that hinder women’s careers.

“It’s not because they’re women, it’s because you’re too busy talking about women’s rights instead of going into the studio and doing what you need to be doing,” he says. “Step your game up.”

Finch’s perspective is problematic, given the many other barriers of entry that women face in the music industry. But his view may have been shaped by what he witnessed firsthand from another one of this year’s best, breakout stars: Raleigh’s party-girl rapper, fashionista, and Youthful Records label head Zenaida “ZenSoFly” Reyes.

A

ffectionately nicknamed “the Mayor” of Raleigh’s cool-kid music scene, Reyes amassed a sizeable fan base in 2016, largely from curating the monthly #FreeLunchNC music showcase, being the co-owner and face of Youthful Records, and advertising her open-door policy as the owner and in-house engineer of a recording studio, The Studi0, which has served as a free-expression refuge for young musicians.

The Capital Boulevard building that The Studi0 once called home is scheduled for demolition, but in October Reyes raised $6,200 through GoFundMe to build a new studio in Boylan Heights. In September, Reyes released an EP of her own music, a

six-song joyride titled Little Miss Perfect.

“I’m such a perfectionist,” she says. “I was so scared to put out the EP. I had so many songs, but that was just my little kick-start to loosen myself up. I’m over being overly critical of myself.”

Reyes’s lifestyle is built on transcending trends and exploiting loopholes of what’s hip.

On Raleigh and Durham sidewalks, she may seem out of place—an ambitious, talented, and eye-catching person, perpetually perfectly styled. Her pop potential is obvious, but she often seems to be aloof about it rather than urgent.

“I’m becoming a household name around here, but I want to expand so that when I do come back I can be more celebrated,” she says.

She’s already on her way. In 2012, while living in Atlanta, Reyes was approached by members of the then-popular trap-step trio Watch the Duck, who told her, “You look like our music” and then recruited her to be their tour DJ. After that eighteen-month stint, Reyes moved back to Raleigh, where she decided to build her own recording studio, teach herself engineering through YouTube tutorials, and, as the saying goes, let the people come. They came, and now Reyes is trying to nurture Youthful Records into an experience as big as her Atlanta run was.

“A lot of people feel like we don’t have a scene here. We do, but it’s just very underground. I have to keep cultivating that and growing it,” she says. “We just have to support each other, grassroots-wise. I’ve always been a doer. I’m not really much about the approval thing. I’ll throw my own show and have my own lineup.”

But how can there be room for two hotshot Raleigh musicians to thrive in overlapping circles, without petty infighting or self-destruction?

“If anyone gets too much shine, Raleigh has a tendency to turn its back on people,” Finch says.

Over the past year, Finch and Reyes have both been working to dig their scene out of those tendencies, in the hope of getting everyone to think about the greater Triangle.

And they were successful at blurring those lines, amassing stage time in Durham as if it were their hometown.

Regardless of what stage they're on, it's space where Reyes can coexist with Finch.

It’s going to take more than plaudits at local music festivals to propel their reputations outside of a music scene that hasn’t been big on championing its top contenders. Maybe this time the pair’s North Carolina rhythm nation-building will be contagious.

Twitter: @erictullis

E

Oak City Slums

INDYweek.com | 12.7.16 | 21

indyfood

Patience for Potlikker

DESPITE URBAN SPRAWL AND INDUSTRY, A DURHAM FAMILY COLLARD FARM LIVES ON

BY MATTHEW POINDEXTER The rows of collard greens at Jenkins Farm owe their tidiness to a 1959 Ford tractor. A walk through the Jenkins farm, tucked just inside the city line in southeast Durham, is a tour of mid-century machinery, names like Farmall, Ferguson, and Ford. Near the ’59, a 1952 Ford Golden Jubilee sits waiting for repairs. It was originally on a neighboring farm, purchased new from the Ford tractor dealership less than a mile down the road.

Both the neighbor’s farm and the dealership are forest now.

“This all used to be farm,” Greg Jenkins says, waving his hand at half of Durham County.

The surrounding Lowe’s Grove community was so invested in farming that, a century ago, it had a residential farm-life school with two hundred students and North Carolina’s first credit union, overseen by the Department of Agriculture. Now the landscape is dominated by strip malls and the Research Triangle Park.

Bayer CropScience replaced the actual crops.

Except, that is, for the nine acres of collard greens at Jenkins Farm.

The Jenkinses survive because, as one woman tells me as she loads her SUV with the massive plants, “They grow the best collards you’ve ever had.” They also sell firewood, sweet potatoes, and pickled vegetables, but collards keep the gravel driveway full of cars, especially the week before Thanksgiving. Locals come regularly, some to haul as much as possible to relatives too far north to be in collard country. Mail-order requests go to New Jersey and California. Their customers, a mix of white, black, and Asian, look like Durham.

And at four dollars per plant, the price for the last decade, Jenkins Farm collards are a better deal than the $66 frozen greens Neiman Marcus will sell you. There’s no debate over whether the Jenkins family can grow collards. But what makes them continue when the neighbors have all called it quits?

Before I can ask, a customer arrives, and Gene Jenkins, who first farmed this land in 1971, walks her into the field. She totes a plastic bag only slightly smaller than the ones 22 | 12.7.16 | INDYweek.com

LEFT Farmer

Gene Jenkins’s hat says, “Happiness is eating collard greens.” RIGHT The Jenkins family on the farm PHOTOS BY ALEX BOERNER

used to store mattresses, and he carries one of the long machetes the family uses to chop the plant from its roots, creating what looks like an oversize bouquet of green elephant ears. Jenkins Farm customers choose their plants, but Gene suggests ones with smaller, more tender leaves.

When his father received a terminal cancer diagnosis and sold his farm in Chatham County, Gene brought his parents to Durham. And there on Jenkins Farm, the first two generations lived and farmed together until his father died in 1990.

“I’m sure that being here, in these fields, saved him,” Gene says. Generation three came soon after the farm started, when Gene’s children, Greg and Cindy, were born.

Greg married, and his wife, Kim, became the farm’s bookkeeper. Greg and Kim’s eightyear-old daughter, Langdon, is generation four. Langdon was less than two months old when a Thanksgiving rush hit, so they put her bassinet in the barn and Kim jumped back into the steady stream of customers.

When I ask who cooks the collards on Jenkins Farm, Greg and Kim send me inside the

house, where Greg’s mother, Tootsie, also known as the Collard Lady, coaxes a pot of greens to a boil. On the counter nearby, turnips rest like a box of new baseballs. Two slabs of fatback wait for their cue. The eggs and fats for her other task before lunch—a pound cake—sit beside the sink, coming to room temperature.

Tootsie worked at the Liggett & Myers factory until she left to be the Collard Lady, fulltime farm matriarch. Her guide to greens is less a recipe than a plea for patience. Have the patience to wash the greens two times, maybe more, to remove any grit. Have the patience to let them simmer on the stove as long as they must. Salt and pepper? Sure.

Serve with vinegar? It’s not her preference, but that’s fine. Those things matter so much less than patience.

Back outside, I still want to know why the family continues to plant and harvest.

The work is hard. Both Greg and Kim hold day jobs in addition to farming. Nine acres of crops aren’t going to make anyone rich in North Carolina, but an RTP-adjacent tract that size could bring a big return in the cur-

rent market. The answer comes when Greg mentions organic farming.

“We make it as organic as we possibly can,” he says. At first, I’m puzzled. Jenkins Farm isn’t chasing trends or selling at markets.

Why organic, then?

“Because that’s the tradition, the way we’ve always done it.” Greg recites a long list of natural fertilizers and biopesticides his family has used since “forever.” This place, and its crop, lets Greg and his clan reach back generations, keeping them alive, as present as their old tractors. When Greg tells me he is sure his daughter will carry it on, I understand why. I want him to be right. We walk into the field to find my plants.

Back home, I rinse my greens twice, as Tootsie says. I don’t rush them off the stove after an hour, letting another thirty minutes pass. The end result is a pot of dark, tender greens and potlikker worth drinking on its own. Patience pays off. But with as little as I did, I know the true credit goes to Jenkins Farm. After all, they grow the best collards you’ll ever eat.

Twitter: @mattpoin

food

Breadcrumb Trail A NEW LOCAL COOKBOOK CELEBRATES BREAD AS A STORIED SOUTHERN STAPLE

BY JILL WARREN LUCAS Certain smells can return Marilyn Markel to a time when her curly gray locks were dark and her grandmother stood in the predawn light of her kitchen, stirring biscuits, simmering beans, and frying pork.

“That was the core of my young life, to be in the kitchen with her,” says Markel, who credits her grandmother, Nellie Dee Wims, with inspiring her culinary career, which includes hundreds of recipes developed during her tenure as the cooking-school manager for Southern Season. “When I cook these things today, it’s like going home.”

Markel, who returns to the Triangle this week from her home in Charleston, puts classic Southern recipes in the hands of home cooks with Southern Breads: Recipes, Stories and Traditions. An informative read, it was cowritten with Chris Holaday of Durham, a former Southern Season colleague and historian who also photographed many of Markel’s mouthwatering dishes. Recipes from friends Nathalie Dupree, Sheri Castle, Ricky Moore, and others are also featured.

While Markel had long dreamed of writing a cookbook with a broad theme, the opportunity to collaborate on one focusing on Southern breads—especially biscuits and cornbread—proved to be an irresistible draw.

Among the many biscuit varieties, local readers will appreciate that Markel includes both her standard—a drop style in which they bake crowded in a skillet—and a traditional version favored by former Southern Season coworker Willard Doxley.

“We disagree on method, but I sometimes think we taught everyone in the Triangle how to make biscuits,” Markel jokes, referring to

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas!

711 W Rosemary St • Carrboro • carrburritos.com • 919.933.8226

the many sold-out classes the pair presented over the years.

In the chapter on cornbread, the authors assay one of the most controversial topics in Southern baking: whether “real” cornbread includes sugar.

Markel insists it does not. Like her granny Wims, she enriches the batter with bacon drippings and buttermilk. The simple ingredients have a starring role in one of the book’s most inviting recipes, a New Year’s-friendly panzanella with cornbread cubes, collards, and black-eyed peas.

Just thinking about cornbread carries Markel back on a fragrant current to that Nashville, Tennessee, kitchen, where her grandfather would slice crispy strips from the edge, leaving the tenderer middle for others. “Granny’d always scold him, but it wasn’t real anger,” she recalls. “She knew it was our special thing.”

In addition to classic recipes, including the no-knead Sally Lunn Bread, a briochelike loaf with English roots (see recipe at www.indyweek.com), Southern Breads offers a number of irresistible “go-with” recipes.

Pinto beans, made luxurious by a small but essential chunk of salt pork, are the ideal complement for cornbread. Country-ham compound butter for biscuits? Yes, please.

Twitter: @jwlucasnc

SOUTHERN BREADS: RECIPES, STORIES AND TRADITIONS Friday, Dec. 9, 4 p.m.

Quail Ridge Books, Raleigh www.quailridgebooks.com

Saturday, Dec. 10, 5 p.m.

Cup-A-Joe, Hillsborough 919-732-2008

Saturday, Dec. 10, 1 p.m.

The Regulator Bookshop, Durham www.regulatorbookshop.com

Sunday, Dec. 11, noon Whisk, Cary www.whiskcarolina.com INDYweek.com | 12.7.16 | 23

24 | 12.7.16 | INDYweek.com

indymusic

WOOD ROBINSON’S NEW FORMAL Saturday, Dec. 10, 8 p.m., $8–$10 The Station, Carrboro www.stationcarrboro.com

Just a Formality

MIPSO BASSIST WOOD ROBINSON STEPS FRONT AND CENTER FOR HIS SOLO DEBUT

BY SPENCER GRIFFITH

For the last five years, Wood Robinson has held down the bass position for Chapel Hill’s Mipso, largely remaining in the shadows while performing an occasional lead vocal on a verse and contributing to arrangements more than the initial songwriting process. While “The Tide,” the first of his originals, appeared on Mipso’s 2012 LP, Long, Long Gone, Robinson found that his own songs were better off as a separate project from Mipso’s modern string-band style.

Revisiting his days playing jazz as a young teenager through college—he was performing with combos and big bands in conjunction with the UNC jazz department when he took up folk and bluegrass with Mipso—Robinson began recording his own tunes more than two years ago for New Formal, where he blends acoustic jazz with bits of rock and Americana. On Wood Robinson’s New Formal, the new record that Robinson will be celebrating in Carrboro Saturday night, he tells melancholy tales of a traveling musician, depicting snapshots of America along the way.

INDY: How does it feel to step into the spotlight as lead vocalist and songwriter on this project?

WOOD ROBINSON: Being a bassist, I never really thought of myself as being anything of a frontman. That’s kind of the reason I got into the instrument. But I started writing a bunch of songs and realized that, stylistically, they didn’t fit so well into the Mipso canon. Over the years, that just kind of kept going and I didn’t want to stop recording. At a certain point, I had a whole record.

It’s scary because my role artistically in Mipso is more of a vessel through which these songs can live and not so much being the initial creative force, but now I inhabit both of those roles for New Formal. So it’s kind of a scary thing because the whole progress of the project rests on my shoulders. The only real artistic director is myself.

When you brought in the other players on the record, how did you shape their contributions?

I didn’t micromanage it so much, but I did communicate what I wanted the feel to be and I might have suggested a song that I wanted mine to allude to, in terms of the groove. For instance, I wanted “Desdemona” to sound like Paul Simon’s “50 Ways to Leave Your Lover” in terms of the syncopated rhythm. I would say, “Think of that when you’re playing it,” but I mostly just played my song for them, gave them a couple thoughts, and then we performed it.

When you first started playing bluegrass and folk, what were the similarities and differences that you found with playing jazz?

The differences are more apparent than the similarities, in that melodically and harmonically, bluegrass is simpler than jazz.

But the role that the bass plays in them is close to identical, particularly in swing music—not so much in funk or in free jazz.

In swing and in bluegrass or folk, the whole role of the bass is to be that pulse. It’s to translate the harmony to the rhythm to the melody. It makes it all make sense and makes people feel it more. It took me a long time to really own that as a beautiful similarity between seemingly very distinct types of music.

Wood Robinson PHOTO BY LEON GODWIN How do you approach songwriting as someone who primarily works as a bassist?

Most of it starts on guitar, but I wrote a couple of them on piano. Once I’ve kind of put the melody and lyrics together on guitar or piano, I usually put some sort of ideas on the bass. I think that’s the central place of the groove, so I write the feel on

the bass.

That was the other reason for the existence of this project—I was looking for a pocket, that communication between the bass and the drums, which I hadn’t really done since I was in college. I was thinking of these songs as inhabiting kind of a funkier or a more rock ’n’ roll role.

Are you planning on this just being a one-off side project?

The only shows I have planned are over the next month, but I’m going to keep writing songs for it and I’m excited to play these songs with a different band than the one I recorded with. I hope to get a better idea of what the New Formal sound is by performing it a bunch of times, because the only way I’ve performed these songs live is on acoustic guitar in coffeehouses, so this is going to be a different context. Maybe I’ll get a better idea of how I want it to sound for another record, but I’m going to have to wait to record again. music@indyweek.com INDYweek.com | 12.7.16 | 25

music

CARRACK FREE IMPROV TUESDAY: A TRIBUTE TO PAULINE OLIVEROS

Tuesday, Dec. 13, 8 p.m., free | The Carrack, Durham www.thecarrack.org

Ears to the Ground

THE DEATH OF BOUNDARY-PUSHING COMPOSER PAULINE OLIVEROS LEAVES US A BIG LESSON: LISTEN DEEPLY.

BY JOANNA HELMS Oliveros was a pioneer of early electronic music at the San Francisco Tape Music Center in the sixties, one of very few women composing in that genre at a time when access to electronic music equipment was extremely limited, and one of an even smaller (but growing) number of those women widely recognized today. As an educator, she directed electronic music programs at Mills College and the University of California at San Diego. She was also a celebrated performer, incorporating her training as an accordionist into her later work with live electronics.

And yet the question of which tracks or albums to listen to struck me as strange in this case, because Oliveros’s music has always called for a very different kind of listening.

Unlike some academic mid-century composers of experimental and electronic music, Oliveros definitely cared if you listened—and how you listened. Listening is the cornerstone of her musical work, especially in her compositions and writings that deal with “deep listening,” a concept she developed with several collaborators beginning in the late eighties. Oliveros described deep listening as an active practice involving both physical and meditative components—meant as a way to learn to better appreciate both sound and silence, in music as well as in everyday life.

The form of listening Oliveros describes in her writings is intensely personal, but is not meant to take place in seclusion or as a kind of taste making. It’s accountable and participatory. It requires trusting yourself and your experiences, and learning about yourself through interacting with others. In one deep listening exercise, participants are divided into two groups that call back and forth, analyzing and imitating the sounds made by one another. In another, two partners sit back-to-back and sing ILLUSTRATION BY CHRISTOPHER WILLIAMS

When composer Pauline Oliveros died last week at age eightyfour, I found myself caught up in a Twitter conversation about which recordings were the best points of entry for people wanting to learn more about her work. This isn’t an unusual question after the death of such an accomplished musician:

26 | 12.7.16 | INDYweek.com

tones to make each other’s spines resonate. One meditative piece directs participants to “listen to everything you can possibly hear in the whole field of sound both inwardly and outwardly.” Another asks, “Can you imagine your own resonance?”

These exercises can feel embarrassing. I’ve performed Oliveros’s instructions many times with small groups, in public and in private, and it’s common to notice nervous laughter or other signs that participants find the pieces a little uncomfortably personal. But this is by design: they are meant to challenge. Oliveros’s work with deep listening grew out of a series of text instructions called Sonic Mediations. When she first published these meditations in 1971, she described a “feminine principle,” a mode of female creative thought that had been suppressed by both men and women since ancient times.

Sonic Meditations and Oliveros’s other works were meant to push participants toward this feminine side, regardless of their gender, leading to a form of listening that emphasizes introspection and healing. Her language might come across as a little dated today, with wider societal acceptance of the idea of gender as existing on a fluid spectrum rather than as a firm binary, but the idea of prioritizing subjectivity and feeling in listening remains compelling and rewarding.

In recent years, Oliveros offered deep listening certification, personally training practitioners alongside her spouse, the writer and performance artist Ione. The process of certification requires substantial emotional, physical, and financial commitment, not unlike what might be expected of training to become an exercise instructor or even a spiritual leader. Both comparisons are apt, because deep listening reminds us that the act of listening is intensely bodily and personal, and that attending to it requires paying attention to yourself in ways that you might usually not. It is an intimate act that requires committed practice.

If you are just beginning to discover Oliveros’s work, there is much to choose from: electronic pieces “Bye Bye Butterfly” and “I of IV,” her 1982 album Accordion & Voice, and her work with the Deep Listening Band, to name a few. But the best place to start might be with yourself or a few friends. Following the first Sonic Meditation, you could try to “Teach Yourself to Fly.” Seated with others in a circle, observe your own breath, and gradually allow it to evolve into vibrations of your vocal cords. Continue in this way for as long as naturally possible, until everyone falls silent. In this piece, as in Oliveros’s listening practice, the cardinal rule is “Always be an observer.”

Observe, of course, but take care to immerse yourself in her work, too.

Twitter: @quietx3

Y: S

urham

indystage

WRITTEN ON THE HEART HHHH Through Dec. 18 Burning Coal Theatre Company, Raleigh www.burningcoal.org

THE TYPOGRAPHER’S DREAM HHH Through Dec. 17 Manbites Dog Theater, Durham www.manbitesdogtheater.org

Words with Bends

THE MEANING OF LANGUAGE IS A MOVING TARGET IN WRITTEN ON THE HEART AND THE TYPOGRAPHER’S DREAM

BY BYRON WOODS

W

e meditae’ve been here before with David thing you Edgar, the British playwright that h inwardly Burning Coal Theatre Company has repeatyour own edly championed since its inaugural season eighteen years ago. In many of Edgar’s works, rmed Olicharacters in the direst straits turn to lan, in public guage to defuse explosive situations or stop aughter or bloodshed already begun. That’s the case e uncomagain in WRITTEN ON THE HEART, a history nt to chalof the English Reformation, commissioned of a series in 2011 for the four-hundredth anniversan she first ry of the King James Bible. Its American d a “femipremiere is currently underway courtesy of t that had Burning Coal. ient times.

In Edgar’s The Shape of the Table and ere meant The Prisoner’s Dilemma, negotiators work gardless of against time, and without a political safety mphasizes net, to construct a verbal accord that might e across as permit the peaceful transition of power in of the idea the former Czechoslovakia and Yugoslavia n as a firm after the fall of the Soviet Union. A delicate feeling in dance of definitions and corrections takes place among ethnic factions in Pentecost, as certificapolitically freighted euphemisms are slowly, er spouse, cautiously exchanged for terms more accus of certifirate—and, at times, more blunt. Edgar’s chard financial acters labor, word by word, to construct a training to common tongue in which they can commuader. Both nicate their needs and address their grievds us that ances. The wrong term at the wrong time can l, and that shatter the prospects for peaceful cohabitalf in ways tion and cooperation. at requires In Written on the Heart, Edgar takes us to a similar moment in England in 1610. For work, there six years, fifty-four scholars have labored at Butterfly” the behest of James I on what will become d her work a cornerstone of Western literature: the t the best King James Bible. But at this stage of its ds. Followtranslation, words still divide theologians. ach YourShould Matthew 16:18 read “on this rock your own I shall build my church” or “my congregans of your tion”? Should Titus 1:5 refer to priests or urally poselders? The differences may seem small, but, Oliveros’s in a country that has been rocked for eighty observer.” years by monarchs’ attempts to break away self in her from the Roman Catholic Church, they have geopolitical as well as ecclesiastical signif@quietx3 icance. Adding to the challenge are the fac-

the struggles depicted in this challenging, insightful work.

F

Written on the Heart

PHOTO BY RIGHT IMAGE PHOTOGRAPHY

JoRose in The Typographer's Dream PHOTO BY ALAN DEHMER

tions growing within English Christianity.

Separatists who believe that the Reformation hasn’t worked are secretly separating from the Church of England. And, within the church, ecclesiasts like John Overall, the dean of St. Paul’s Cathedral (an agitated Fred Corlett), believe the Reformation has gone too far, while Puritans like Samuel Ward (an earnest Gus Allen) believe it hasn’t gone far enough. Depending upon who finds favor with the throne, state-enforced laws of worship change, sometimes radically, every few years.

The moment calls for a theological and political diplomat in a place of high power.

Edgar finds one in Lancelot Andrewes, the Bishop of Ely. In this production, under Jerome Davis’s direction, George Jack is a shrewd, if guileless, mediator, treading a verbal minefield in an effort to hold together a fragmenting faith. But flashbacks reveal that Andrewes’s moderation has come at a price, after his early days as something more like an

inquisitor. Areon Mobasher plays the darker notes of an earlier Andrewes whose actions effectively condemned those who held differing religious views.

Though we don’t entirely buy the older Andrewes’s anguish when he repeatedly repents for this, we’re charmed when he is upbraided by the lively ghost of William Tyndale (an irascible John Allore). Tyndale’s early English translation of scripture formed much of the basis for the King James Bible, but because he did the work while it was still forbidden, he was killed for it in 1536.

Tyndale criticizes Andrewes for elevated language that “sacrifice(s) the meaning for the music” of the words and for ceremonial trappings that abolish “the popish doctrine but kept its practices,” though they find a sublime moment of accord in reading the Beatitudes.

At times, the playwright and director both seem rushed, glossing over the semantic chasms between words, and later, two royal children suddenly appear to expedite the resolution. But the pageant retains gravitas on E.D. Intemann’s evocative set of arching pipes and screens. Katy Werlin’s thoughtful costumes literally place the scriptures on the characters’ bodies. And Ted and Julie Oliver’s arrangements of new, alternative hymns by Regina Spektor, Pink, U2, and Patti Smith give strange savor to

air warning: there’s a job fair from hell going on at Manbites Dog Theater. One speaker is a geographer who’s got some real boundary issues. Another’s a court reporter who has trouble reporting his views on almost anything. The third? A typographer whose diverse array of stammers, stutters, and vocal pauses indicates some difficulty in committing to complete thoughts. But in THE TYPOGRAPHER’S DREAM, playwright Adam Bock’s loopy one-act, a premise that, in the wrong hands, could have panned out as low-grade sketch comedy instead offers unexpected insight and delight.

In this staging by Durham’s Black Ops Theatre Company—its second production ever—brooding typographer Margaret (Jessica Flemming), geographer Annalise (JoRose), and pensive stenographer Dave (Lazarus Simmons) are all clearly geeks of a feather, obsessive about the intricacies of their crafts and charmingly oblivious to their profoundly limited scope of interests.

Matters change after Margaret, who loves getting lost in the design of type fonts, is confronted by the business element of her work.

This leads her to a moral quandary about how unethical typography can slant or falsify the world around us. After her monologue on this topic, Annalise shows pictures of geographical choke points around the world while she and Dave create a conversational choke point, preventing Margaret from getting a word in edgewise.

But things get more complex—and, occasionally, muddier under JaMeeka HollowayBurrell’s direction—as the characters shift between the present, a party on the night before where unwelcome revelations come out, and isolated, spotlighted moments of insight. By the end of seventy brisk minutes, this awkward threesome have learned a bit more about themselves, and they’ve managed to change our view of the world as well.

Twitter: @ByronWoods INDYweek.com | 12.7.16 | 27

indyscreen

Auteur Season

KENNETH LONERGAN’S QUOTIDIAN TRAGEDY AND TOM FORD’S TWISTED, GLAM PULP FICTION

BY NEIL MORRIS & GLENN MCDONALD

Casey Affleck in Manchester by the Sea PHOTO BY CLAIRE FOLGER/COURTESY OF AMAZON STUDIOS AND ROADSIDE ATTRACTIONS

As we first meet Boston apartment complex handyman Lee Chandler (Casey Affleck) in MANCHESTER BY THE SEA, the latest from writer-director Kenneth Lonergan, Lee is rolling his eyes while a tenant debates whether to replace a stopper or install a new toilet. Then Lee curses out another resident and refuses his boss’s order to apologize, before wrapping up the day with a drunken bar brawl.

Lee’s churlish malaise is interrupted by news of the unexpected death of his older brother, Joe (Kyle Chandler). Lee reluctantly rushes back home to the titular seaside location to handle Joe’s affairs and learns he’s been designated guardian of Joe’s obstreperous teenage son, Patrick (Lucas Hedges).

The sidelong glances and halting salutations that Lee is met with upon returning hint at a transformative trauma that he long ago sought to escape, but which still lingers in the community’s consciousness.

Still, Manchester By the Sea is about much more than great loss. It’s awash in the quotidian interruptions of everyday life, from 28 | 12.7.16 | INDYweek.com

profound to mundane to farcical, and the jarring juxtapositions between them. A bad cell phone connection interrupts Lee’s search for Patrick to inform him of his father’s death.

A trip to the mortician to plan Joe’s funeral turns into a hunt for a forgotten parking spot.

It’s hard as heck for anyone to say "Minnetonka, Minnesota."

The town’s milieu feels lived in; it mirrors the contrasts inherent in its denizens: convivial but cold, quaint yet insular. In a brilliantly restrained performance, Affleck portrays a man mired in silent self-flagellation, methodically gauging every waking moment to repel life’s pleasures. On four conspicuous occasions, he rebuffs the advances of women—a tenant, a barfly, a single mom, an ex-wife (the terrific Michelle Williams)— not out of disinterest, but as an emotional reflex against the pain love has brought him.

Patrick, on the other hand, juggles girlfriends to compensate for the void left by his estrangement from his mother, Elise (Gretchen Mol), and his father’s death.

Notwithstanding the flashbacks Loner-

MANCHESTER BY THE SEA HHHH ½

Opening Friday, Dec. 9

gan weaves into the present-day plotline, too little is revealed about Joe and his relationships, particularly with his son. Joe essentially serves to forge a volatile kinship between Lee and Patrick, each the victim of familial loss. Lee reviles Elise, whose alcoholism wrecked her marriage and who now compensates with a Christian piety foisted on her by her new husband (Matthew Broderick). They, too, share the unspoken bond of scarred souls battling internal demons.

Tomaso Albinoni’s longing Adagio in G Minor accompanies the film’s most revealing, wrenching sequence, which Lonergan interjects with the comically subversive spectacle of paramedics wrestling to load a gurney into an ambulance. It would be a routine worthy of the Marx Brothers were the gurney not carrying a delirious mother who has just suffered an unimaginable tragedy. Life is hopeful, maddening, awful, and absurd, sometimes all at once. As in Manchester by the Sea’s penultimate scene, it’s like a game of catch with a rubber ball—you don’t know which direction it will bounce next. —Neil Morris

NOCTURNAL ANIMALS HHHH Opening Friday, Dec. 9

One morning, Susan gets a package in the mail, a manuscript from her ex-husband, Edward (Jake Gyllenhaal). In flashback, we learn that Edward was Susan’s first true love, an aspiring novelist with a good heart but dubious prospects. Many years ago, Susan broke that good heart, choosing gold over love. As Susan reads, we enter the story of the novel, in which a vacationing family is menaced by a gang of terrifying desert rednecks.

Forced off the road, the father (Gyllenhaal again) has opportunities to fight back but never does. His wife and daughter pay the price, and Tony later teams up with a strange lawman (Michael Shannon) to seek justice.

The movie continues to crosscut between stories. The desert sequences are scary as hell. Ford blows out the Texas noir locations into a lurid pulp nightmare. We’re invited to compare the visceral violence in the book with the emotional violence in Susan’s life.

Lesser performers might get lost in all this twisty darkness, but Adams and Gyllenhaal provide an emotional authenticity that elevates Ford’s glammed-out pulp fiction.

At times the film feels like a cold aesthetic object, a piece of art meant to be admired from afar. But in other moments the story runs white-hot, at once a bloody thriller and a quietly devastating tale of lost love. This

In the opening images of NOCTURNAL ANIMALS, the new thriller written and directed by fashion mogul Tom Ford, obese naked women dance in slow motion, holding sparklers and looking directly into the camera.

It’s a provocative way to open a movie. It also feels like the kind of empty art that regards itself as delightfully impertinent.

This does not bode well.

Fortunately, Ford pulls back to a story that puts the opening images in context. The dancing ladies are part of an art exhibition by Susan Morrow (Amy Adams), a deeply unhappy L.A. gallery owner married to the Nocturnal Animals PHOTO COURTESY OF FOCUS FEATURES imperious Hutton Morrow (Armie Hammer) dynamic tension is weird and rewarding, and and surrounded by brittle cynics in the L.A. the final scene is a gut punch. Nocturnal Aniart scene. “Enjoy the absurdity of our world,” mals may not be the best film of the awards advises a dinner-party guest. “It’s a lot less season, but it just might be the most interestpainful than the real world.” The more we ing. —Glenn McDonald learn about Susan, the more her empty art arts@indyweek.com makes sense.

INDYweek.com | 12.7.16 | 29

12.07–12.14

Sad13’s Sadie Dupuis PHOTO

SAD13

BY SHERVIN LAINEZ

SATURDAY, DECEMBER 10

With her band, Speedy Ortiz, Sadie Dupuis slings gritty, ramshackle rock songs. But Dupuis has struck out on her own under the name Sad13, releasing a solo record, Slugger, last month. On it, Dupuis addresses sex and sexuality with a refreshing frankness that’s rarely found in indie rock circles, much less Top 40 pop. On “Get a Yes,” she refuses to mince words about consent: “I say yes to the dress when I put it on, I say yes if I want you to take it off,” she sings. Dupuis wraps her hard truths in sparkly synths, making Slugger a delightful, sugarcoated heavy hitter. Vagabon, Emily Reo, and Told Slant open.

—Allison Hussey THE PINHOOK, DURHAM 6:30 p.m., $10, www.thepinhook.com

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THURSDAY, DECEMBER 8– SUNDAY, DECEMBER 18

A TRAILER PARK CHRISTMAS

For the last eight years, Meemaw Hussy (Jeffrey Moore), Lorraine Dodson (Rachel Klem), and their unhinged crew of neighbors from across the greater Whispering Pines Trailer Park community have managed to save Christmas from addled kin, a disgruntled landlord, and a very late-season hurricane. But with the impending close of Durham’s Common Ground Theatre, this might be our last chance to raise a glass of lime sherbet and ginger ale punch or sample Lorraine’s savory Doritos and spray cheese hors d’oeuvres.

One new wrinkle in this holiday tradition: a not-safe-for-kids “blue” performance on December 11. But barring a wait-list Christmas miracle, tickets for that are basically unobtanium; it sold out in late October. —Byron Woods COMMON GROUND THEATRE, DURHAM 7:30 p.m. Thurs.–Sat./2 p.m. Sun., $21–$23, www.cgtheatre.com

WHAT TO DO THIS WEEK FOOD SUNDAY, DECEMBER 11

NAUGHTY AND NICE!

Leave it to a bunch of good ol’ girls to take on the challenge of maintaining one of the state’s earliest schools for young women. On Sunday, Triangle writers Lee Smith and Jill McCorkle will reunite with Nashville singer-songwriters Matraca Berg and Marshall Chapman for “Naughty AND Nice!” to raise funds for much-needed exterior renovation of the Burwell School Historic Site in Hillsborough.

Originally known as the Burwell Academy, the antebellum institution set the bar high for young women who, through scholarship, would become “useful members of society.” Sounds like any number of them easily could have become one of the characters bucking convention in Smith or McCorkle’s distinctly Southern novels. A reception and the holiday-themed performance, based on the foursome’s 2010 off-Broadway musical Good Ol’ Girls, begins at 6 p.m. at Leland Little Auctions. It will be followed by a rollicking after-party at Hot Tin Roof featuring Cajun favorites from LaPlace Louisiana Cookery. —Jill Warren Lucas

THURSDAY, DECEMBER 8

CHINA PHILHARMONIC ORCHESTRA

As we enter the time of year when orchestral programming turns its focus toward the holidays, Carolina Performing Arts offers a break in form as it flexes its international muscle.

Memorial Hall will welcome the China Philharmonic Orchestra, under the direction of Long Yu, as well as guest solo pianist Clara Yang. Founded in 2000, the orchestra has steadily earned a place among longer-running international orchestras of greater renown. The focus of the concert will be the American premiere of Four Spirits, a CPAcommissioned piece by composer Chen Yi that explores four creatures—a blue dragon, red phoenix, white tiger, and a black turtle-snake hybrid—that are central to Chinese mythology. —Allison Hussey UNC’S MEMORIAL HALL, CHAPEL HILL 7:30 p.m., $10–$59, www.carolinaperformingarts.org

LELAND LITTLE AUCTIONS/ HOT TIN ROOF, HILLSBOROUGH 6 p.m., $75–$125, www.burwellschool.org

Sat., Dec. 17th Lincoln Theatre 2016 Christmas YARN BALL & 12th Annual Dune Dog Holiday Extravaganza Featuring:

YARN AND THE DUNE DOGS

THURSDAY, DECEMBER 8–SUNDAY, DECEMBER 18

LITTLE WOMEN

The holidays are never easy when a parent’s in the military, on duty far away. But the March sisters—Jo, Meg, Beth, and Amy—are determined not only to persevere but to triumph over reduced circumstances in a future that doesn’t seem prepared to accommodate the dreams of young women. Four months after its inaugural season, the Women’s Theatre Festival returns with a new, local adaptation of the Louisa May Alcott classic, produced by Lorelei Lemon as an interactive holiday tea (with all refreshments included in the ticket price). Artistic director Michelle Murray Wells directs.—Byron Woods SONOROUS ROAD THEATRE, RALEIGH 7 p.m. Thurs.–Sat./3 p.m. Sun., $15–$25, www.sonorousroadtheatre.com

China Philharmonic Orchestra’s Long Yu PHOTO

WHAT ELSE SHOULD I DO?

BY YAN LIANG

JEREMY DENK AT DUKE’S BALDWIN AUDITORIUM (P. 35), LE WEEKEND AT THE POUR HOUSE/THE CAVE (P. 33), PATCHWORK HOLIDAY MARKET AT THE DURHAM ARMORY (P. 36), SOUTHERN BREADS AT VARIOUS VENUES (P. 23), THE ROLLING STONES OLÉ OLÉ OLÉ! AT VARIOUS THEATERS (P. 39), THE TYPOGRAPHER’S DREAM AT MANBITES DOG THEATER (P. 27), DANIEL WALLACE AT BOOK HARVEST (P. 39), WOOD ROBINSON’S NEW FORMAL AT THE STATION (P. 25), WRITTEN ON THE HEART AT MURPHEY SCHOOL AUDITORIUM (P. 27)

“Tape your ankles and wear your good robe” for this seminal Triangle Holiday collaboration!

lincolntheatre.com INDYweek.com | 12.7.16 | 31

SA 12/31

SA 12/17 @HAW RIVER BALLROOM

CHATHAM COUNTY LINE

THE LONDON SOULS

ELECTRIC HOLIDAY TOUR

FR 12/9 ROLLER RACES (BENEFIT FOR BE LOUD! SOPHIE FOUNDATION)

FR 12/9 @KINGS

CEREUS BRIGHT

SA 12/10

SOUTHERN CULTURE ON THE SKIDS

W/ THE WOOLLY BUSHMEN ($13/$15) SA 12/31

THE LONDON SOULS

SA 12/10

SOUTHERN CULTURE ON THE SKIDS

TWO SHOWS!

4/2/17

1/7/17 ABBEY ROAD LIVE! MATINEE AND EVENING SHOWS ($10/$13)

LAMBCHOP ($15) 4/11/17 WHY? ($16/$18) 4/20/17 FOXYGEN ( $18/$20)

1/13/17 MIKE DOUGHTY W/ WHEATUS ($18)

JUMP, LITTLE CHILDREN **

2/23/17: THE GRISWOLDS W/ DREAMERS ( $17)

4/25/17 PARACHUTE W/ KRIS ALLEN ($18/$20; ON SALE 12/9)

2/24/17: PENNY & SPARROW ($15)

CAT'S CRADLE BACK ROOM

3/7/17: MOOSE BLOOD W/TROPHY EYES, BOSTON MANOR, A WILL AWAY ($15/$17)

NYE PARTY ($15)

1/14/17, 1/15/17

WAKA FLOCKA FLAME W/ WELL$ ($22/$25) 1/26/17

4/21/17

($25/$30)

YONDER MOUNTAIN STRING BAND

W/ THE RAILSPLITTERS ($27.50/ $30) 1/28/17 COSMIC CHARLIE ($10/$13) 2/1/17 THE DEVIL MAKES THREE ($22/$25)

2/2/17 BLACK

TIGER SEX MACHINE W/ KAI WACHI ($18/$20; ON SALE 12/2)

G LOVE AND SPECIAL SAUCE

2/3/17

W/ RIPE ($25/$30)

BLIND PILOT ($18/$20) 2/8/17 PAPADOSIO

2/7/17

($17/$20; ON SALE 12/9)

2/10, 11/17 (TWO NIGHTS!):

RAINBOW KITTEN SURPRISE ($15) 2/12/17 PARQUET COURTS W/ MARY LATTIMORE ($15/$17)

2/16/17

THE RADIO DEPT. ($15/$17)

2/17/17 STRFKR ($20/$23) 2/18/17

CARBON LEAF** ($16/$20) 2/20/17 STICKY FINGERS W/ BOOTLEG RASCAL ($15/$18) 2/21/17: HAMILTON

LEITHAUSER

W/ LUCY DACUS ($17/$20) 2/26/17

NIKKI LANE HIGHWAY QUEEN TOUR

W/ BRENT COBB & JONATHAN TYLER ($15/$17) 3/1/17 JAPANDROIDS W/ CRAIG FINN ($20/$23)

SA 1/14 & SU 1/15

WAKA FLOCKA FLAME

2/26/17:

KEVIN GARRETT 3/5/17: ALL THEM WITCHES W/ IRATA ( $12/$14)

12/9,10,11: KING

MACKEREL & THE BLUES ARE RUNNING 12/13: IVADEL W/MOVER SHAKER, YOUTH LEAGUE ($5) 12/14: SHEARWATER W/CROSS RECORD ($13/$15) 12/16: MANDOLIN ORANGE LD (RESCHEDULED FROM 11/20) SO OUT 12/17: ELIZABETH HADDIX CD RELEASE PARTY W/ SPECIAL GUEST HARDWORKER ($7) 12/20: BIG

FAT GAP 12/26: THE MERCH HOLIDAY DANCE PARTY (FREE SHOW!) 12/27:

EMIL MCGLOIN AND FRIENDS 12/ 30: SHERMAN & THE BLAZERS REUNION ($10/$15)

3/10/17: TIM DARCY (OF OUGHT) ($10/$12) MOTORCO (DURHAM) 1/27/17: COLD CAVE W/ DRAB MAJESTY ($15) 1/29/17: AUSTRA W/ LAFAWNDAH ($17/$20) KINGS (RAL) 12/9:

CEREUS BRIGHT

W/ THE ANTIQUE HEARTS 5/3/17: ANDY SHAUF W/ JULIA JACKLIN (ON SALE 12/9) PLAYMAKERS (CH) BOTH

1/20,21/17: NIGHTS LD

TIFT MERRITT

SO OUT

CAROLINA THEATRE (DUR)

12/31:

GARY MITCHELL BAND

W/ BOOM UNIT BRASS BAND ($10) 1/6-7/17: ELVIS FEST! FEATURING: JOHN HOWIE JR & THE ROSEWOOD BLUFF, TCB ’56, THE GTV’S, PHATLYNX, PHANTOM PLAYBOYS, KITTY BX & THE JOHNNIES, WOOLLY BUSHMEN, GREG PHOENIX EXPERIENCE, CLAMBAKE SPINOUT

3/7/17: VALERIE 3/20/17:

JUNE

THE ZOMBIES

'ODESSEY AND ORACLE' 50 YEAR TOUR THE RITZ (RAL) (TICKETS VIA TICKETMASTER)

1/20/17:

RUN THE JEWELS

1/14/17: URBAN SOIL W/ GROOVE FETISH ( $8/$10)

W/ THE GASLAMP KILLER AND SPARK MASTER TAPE, CUZ

1/15/17: SOUND SYSTEM SEVEN W/ CONTROL THIEF, VANILLA ENVELOPE ($7)

2/23/17: SHOVELS & ROPE W/ JOHN MORELAND (TIX ON SALE 12/9)

1/17/17: BIG THIEF W/ SAM EVIAN

HAW RIVER BALLROOM 12/17

1/21/17: GASOLINE STOVE ALBUM RELEASE PARTY W/ MEMPHIS THE BAND ($8)

CHATHAM COUNTY LINE ELECTRIC HOLIDAY TOUR

3/12/17 SENSES FAIL W/ COUNTERPARTS, MOVEMENTS, LIKE PACIFIC ($15/$18)

2/2/17: BLACK MARBLE W/ YOU. ($8/$10)

1/27/17 KURT VILE AND THE VIOLATORS

3/23/17 SOHN**($17/$20)

ALLISON CRUTCHFIELD & THE FIZZ

3/6/17 COLONY HOUSE ($12/$15)

3/24/17 JOHNNYSWIM (22/$25; VIP ALSO AVAILABLE) 3/25/17 HIPPO CAMPUS ($13/$15) 3/28/17 THE MENZINGERS W/ JEFF ROSENSTOCK, ROZWELL KID ($17/$20)

2/3/17:

W/RADIATOR HOSPITAL AND PINKWASH ($10/$12)

2/6/17: MARGARET GLASPY W/ BAD BAD HATS** ($12/$15) 2/7/17: ISAIAH RASHAD

SOLD OUT

2/18/17: SUSTO ( $10/$12)

W/ ZEKE HUTCHINS, JAY BROWN AND JOHNNY IRION

W/ LUKE ROBERTS 3/11/17 SON VOLT ($22/$25)

4/1/17 PATRICK WATSON ($20/$22; ON SALE 12/9) DPAC (DURHAM 4/20/17:

STEVE MARTIN AND MARTIN SHORT WITH STEEP CANYON RANGERS

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

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club 32 | 12.7.16 | INDYweek.com

music

12.7–12.14

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Jim Allen (JA), Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Allison Hussey (AH), David Klein (DK), Drew Millard (DM), Desiré Moses (DEM), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)

WED, DEC 7

THE CAVE: Lacy Jags, Flash Car, Bad Balloon; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

• IRREGARDLESS: The Longleaf Pine Nuts; 6:30 p.m. • LOCAL 506: Sam Burchfield & Wrenn, Sugar Dirt and Sand; 8 p.m., $8–$10. • MOTORCO: Look Homeward, Reality Band; 8 p.m., $10–$12. • NEPTUNES PARLOUR: Pearl Harbor Day Experimental Showcase; 9:30 p.m., $5–$10. • POUR HOUSE: Electric Soul Pandemic, Litz; 9 p.m., $5–$7.

• UNC’S PERSON RECITAL HALL: UNC Flute Studio Recital; 5 p.m. University Chamber Players; 7:30 p.m., free.

THU, DEC 8 Etiolated DOOM Etiolated, meaning DUDES made pale or feeble by starvation of sunlight, is the perfect name for this excellent Raleigh crew. Whiplashing from crusty doom to excoriating black metal, the quartet’s dehydrating pummel is as bleak as its macabre outlook. “Life is the worst punishment inflicted,” James Storelli growls on “Exsanguinate.”

Sometimes, it’s hard to argue with that. Mangalitsva and Death Metal Pope open. —PW [SLIM’S, $5/9 P.M.]

Johnny Irion ELEVAT- Johnny Irion is most OR MUSIC often found in the company of his wife and duet partner, Sarah Lee Guthrie (daughter of Arlo), and more recently, with his relatively new roots-rock band U.S. Elevator. This time around, he’s strictly on his own. Will he be banging out Elevator music, digging into the folkie lode he mines in duet mode, or something else entirely? Unless you’ve got his cell number, there’s only one way to find out. Tim Bluhm opens. —JA [MOTORCO, $10–$12/9 P.M.]

Megan Jean and the Klay Family Band JEAN JAM Despite the multi-person foot-stomping raucous ensemble its name suggests, Megan Jean and the Klay Family Band is a duo, but that doesn’t mean that the Charleston-based musicians make any less of an impact.

Between Jean’s cutting vocals, an electrified banjo, and an occasional washboard, they’ve perfectly carved their niche as rockabilly punks. With Sinners and Saints and Severed Fingers.

—DEM [LOCAL 506, $8–$10/8 P.M.]

N.C. Master Chorale: Joy of the Season MERRY & The N.C. Master BRIGHT Chorale’s holiday concert has become a Triangle tradition, so what better way to take in the music of the season than to have it delivered by a vibrant chamber orchestra and a chorale of harmonious voices?

There will be no shirking on traditional carols or classical favorites by Haydn and Mendelssohn, and the program gets a sprinkling of the whimsical from A Charlie Brown Christmas and a holiday sing-along. —DK [MEYMANDI CONCERT HALL, $27–$38/7:30 P.M.]

Unlucky Sevens ALT Led by the emphatic COUNTRY singer-songwriter Justin Creed, this energetic Raleigh three-piece channels the pastoral romance and ferocious melodicism of early Bottle Rockets and Uncle Tupelo, with attendant preoccupations about small town life and love gone wrong. The edges are rough, but the spirit is right. Gabriel David and Christiane open. —TB [DEEP SOUTH, $7/8:30 P.M.] ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m.

• BLUE NOTE GRILL: Pinky Wyoming, Duke LaCrosse; 7 p.m.

• THE CAVE: Mumu Tutu,

Trike, Paper Dolls; 9 p.m., $5. • IRREGARDLESS: The Rick Keena Duo; 6 p.m. • POUR HOUSE: Local Band Local Beer: Le Weekend, SE Ward, Al Riggs & The Big Sad; 9:30 p.m. See box, page 33. • THE SHED JAZZ CLUB: Wes Swing, Kate Rhudy; 8 p.m.

• UNC’S MEMORIAL HALL: China Philharmonic Orchestra; 7:30 p.m., $10–$59. See page 31.

FRI, DEC 9 Cereus Bright KNOX Knoxville five-piece BOYS folk-rock kings Cereus Bright isn’t the next sliced bread, but it does craft capable, occasionally transcendent folk rock ditties that fans of the Avett Brothers and Fleet Foxes will salute up the flagpole. The fact that the band’s new record was mixed by Wilco associate Tom Schick is just icing on the home-cooked cake. —DS [KINGS, $10–$12/9 P.M.]

Jeanne Jolly and the Mistletoes HOLLY If you prefer your JOLLY holiday programming to lean in a rootsy direction, look no further than Jeanne Jolly’s Jolly Holiday Revue. She’s got some of the most powerful pipes in the state, and her backing band The Miseltoes is nothing to sneeze at either: she’s gotting Chris Boerner on guitar, Casey Toll on bass, Joe Westerlund on drums, and Allyn Love rounding it all out with pedal steel. —AH [SOUTHLAND BALLROOM, $15–$20/8 P.M.]

King Mackerel & The Blues Are Running SUPER King Mackerel & GROUP The Blues Are Running is the rather unwieldy title for what happens when you combine the talents of celebrated singer-songwriter and producer Don Dixon (who has worked with everyone from R.E.M. to The Smithereens), Bland Simpson of bluegrassers Red Clay Ramblers,

and theater performer and composer Jim Wann on a single stage. Their roots-soaked, Americana-oriented sound is all in the service of telling their “songs and stories of the Carolina coast” for three nights in the Cradle’s Back Room. —JA [CAT’S CRADLE BACK ROOM, $10–$30/7:30 P.M.]

Dee Lucas

PHOTO BY BEN SPIKER

THURSDAY, DECEMBER 8 & SATURDAY, DECEMBER 10

LE WEEKEND Two years into its now decade-long existence, Le Weekend almost imploded.

The band originally convened and operated as a quintet, until the December 2008 release of its debut, Suite. Guitarist Ben Ridings and keyboardist Missy Thangs split after the album’s release.

That might have spelled the end, had Ridings and Thangs not urged the remaining members— guitarist Matt Kalb, bassist Bob Wall, and drummer Robert Biggers—to continue. None of Kalb’s previous bands pulled through such a shift, and surviving that minor crisis, Kalb says, made Le Weekend into the band it is today.

“For whatever reason, that cemented in my mind the idea this particular band is the expression of what I want to do with music I write, which always ends up way better—and no longer simply mine— through the process of collaboration with Bob and Robert,” Kalb says.

“From then on that process meant Le Weekend, and Le Weekend meant us.”

Since paring down, Le Weekend has been one of the area’s most consistently solid rock acts. Its songs are flush with melodic allure and sonic complexity, its melodic zig-zagging culminating in fractured pop songs that dip and dart like roller coasters. Its elliptical approach and gentle detours suggest a number of sonic hallmarks—Polvo’s angular thrust, Arthur Russell’s structural dexterity, Pele’s proggy dexterity, Emperor X’s erudite charm—and the advanced vocabulary that comes with innate familiarity.

“More and more, this stuff is parsed out after the fact, not as we’re writing,” Kalb says. “It just feels like the way the band has come to talk.”

It Can’t Be Youth, Le Weekend’s latest LP, finds the band perfecting its intrinsic language.

“Tw1st’n’pl0t” leaves the gate at full sprint, paced by Kalb’s trilling hammer-ons and Biggers’s heavy tom-tom accents, before it abruptly downshifts into its placid, cello-laden coda. “The Movies” cycles through a dozen moods, time signatures, and instruments across its four minutes: some marimba and acoustic guitar here, some cymbal-scraping noise there. The ideas come rapidly from left field, but they’re not so disjointed as to sacrifice melody and hooks. Le Weekend’s hairpin turns never seem forced; they’re calm and natural, the product of a relaxed psychic rapport. In that sense, Kalb says, It Can’t Be Youth is a document that, ten years in, comprises band’s definitive musical statement.

“It can be daunting to pass a milestone like this,” he says. “There’s unhealthy temptation to compare what you’ve done to some vague idea of what you’re supposed to have done by that point in time—which, in my case, can make me second-guess that happiness.”

Le Weekend is ten years old and all of its members are over forty, Kalb concedes, but any semblance of a mid-life crisis for either doesn’t seem at all to be a hindrance. Rather, it’s a strength.

“Le Weekend is the best band to be in,” he cracks, “So long as you’re us.”. —Patrick Wall THURSDAY: THE POUR HOUSE, RALEIGH | 9:30 p.m., free, www.thepourhousemusichall.com SATURDAY: THE CAVE, CHAPEL HILL | 9 p.m., $5, www.caverntavern.com

SMOOTH An unabashed JAZZ practitioner of the frequently maligned smooth jazz sub-genre, Dee Lucas’s profoundly accomplished work on the alto sax can at times feel sanitized by its inoffensive-to-a-fault backing.

Lucas’s work is ideal for those who prefer technical proficiency over spontaneous outburst, and these two shows will feature past hits alongside new jams from his 2016 release, Going Deeper. —EB [BEYÙ CAFFÈ, $12/7 & 9 P.M.]

Mach 22, Streetlight Circus BALLS Philly’s Mach 22 OUT opened for Guns N’ Roses on one of its recent tours, which should clue you in to the sort of balls-to-the-wall Sunset Strip rock music it audaciously sprays on its audiences. Streetlight Circus are similar, with bourbonsoaked guitars and a vocalist who falls somewhere between Scott Weiland and Paul Stanley with a cold. With Last Call Messiahs.

—DS [THE MAYWOOD, $12–$15/9:30 P.M.]

Magpie Feast INDIE The Raleigh FOLK four-piece Magpie Feast has been quietly issuing EPs and LPs and developing its sound since 2009. The songs brush up against rustic Americana but also incorporate folk, indie pop, and garage rock elements, adding up to a sound that refuses to settle into one idiom from song to song.

On the recent To Keep It All Spinning, the band’s melodic gifts have come to the fore. Pale Horse, aka Eddie Taylor, opens. —DK [SLIM’S, $5/9 P.M.]

Pink Martini with the North Carolina Symphony ELEGANT Portland’s celebrated HOLIDAY Pink Martini styles itself as a “little orchestra” and

finds inspiration in myriad musical traditions, from samba to classical, Latin-infused jazz to retro lounge pop. Led by musical renaissance woman China Forbes, the group has performed all over the world and earned critical plaudits for its vibrant, original amalgam of sounds. The ensemble joins the North Carolina Symphony for this annual holiday gig. —DK [MEYMANDI CONCERT HALL, $40–$95/8 P.M.]

The Shakedown: Van Morrison ELECTRIC Raleigh’s The LIGHT Shakedown has built a steady seven-year career cribbing the catalogs of other artists, establishing itself as one of the Triangle’s strongest cover bands. At the Lincoln Theatre, The Shakedown leads a tribute to Van Morrison. You probably won’t hear any cuts from Astral Weeks, but make sure you stretch out plenty to high kick along to “Caravan” (sparkly jumpsuit not required).

Clint Roberts opens. —AH [LINCOLN THEATRE, $10–$20/9 P.M.]

Your 33 Black Angels 7-PIECE This seven-member WIZARDS band led by Dan Rosato and Josh Westfall has been making its “dandy-ass, candy-ass” psych-pop since the early aughts.

While the music has received critical acclaim, the group remains ambivalent about selling itself.

“We want attention but not scrutiny,” Westfall said last year.

You can attend for yourself. With The Mirrors and Daniel Chavis.

—DK [THE CAVE, $5/9 P.M.] ALSO ON FRIDAY 618 BISTRO: Randy Reed; 7-9:30 p.m. • BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. • CARY ARTS CENTER: General Assembly Chorus; 7:30 p.m. • THE CARY THEATER: Jonathan Byrd, Corin Raymond; 8 p.m., $20. • CAT’S CRADLE: Roller Races; 7 p.m., free. • DEEP SOUTH: Sweet Soul Social Club; 8:30 p.m., $10–$12.

• IRREGARDLESS: Stephen Anderson Duo; 6:30 p.m. • THE KRAKEN: Orange County All-Stars, The Milagro Saints; 8 p.m. • LOCAL 506: Palisades, Sylar, Blindwish, Artwork, Palamoda; 6:30 p.m., $12–$14.

• MERCURY STUDIO: Listening Room: Stephen Claybrook; 7 p.m., $8–$10. • MOTORCO: Merge Under the Mistletoe; 6 p.m. The Stray Birds, Miss Tess and the Talkbacks; 9 p.m.,

$12–$15. • POUR HOUSE: Zack Mexico, No One Mind, Et Anderson; 9 p.m., $7–$10. • RUBY DELUXE: DJ DNLTMS; 10 p.m. • SHARP NINE GALLERY: Angela Bingham Quartet; 8 p.m., $10–$20. • UNC’S PERSON RECITAL HALL: UNC Baroque Ensemble and Consort of Viols; 8 p.m., free.

SAT, DEC 10 Crowbar, Goatwhore NOLA With a name like SLUDGE Crowbar, you pretty much know what you’re in for. The long-running New Orleans sludge outfit, led by founding guitarist Kirk Windstein, is about as subtle as a gooseneck to the skull.

Crowbar has mastered its stylistic imperatives (think: slow, grinding, heavy) so thoroughly that their one-dimensionality seems a grounding presence as metal chips at its boundaries. With relentless NOLA brethren Goatwhore, one of the O.G. American blackened death metal bands. —PW [MOTORCO, $17–$20/7:30 P.M.]

Cool John Ferguson MUSIC Cool John Ferguson MAKER has been one of the cornerstones of Tim Duffy’s Music Maker Relief Foundation, serving as Director of Creative Development and helping artists showcase their material. He’s backed most of MM’s artists on tour and on record, adept at everything from blues to gospel to country on every kind of instrument. These days, Cool John focuses on fiery electric guitar in the Hendrix mode, but can lay down some killer country blues at a moment’s notice. —GB [BLUE NOTE GRILL, $12/8 P.M.]

Jazz at Lincoln Center Orchestra: Big Band Holidays YULETIDE Under the direction JAZZ of Wynton Marsalis, this ensemble has been charming audiences for more than a decade with a program combining familiar gems, songs of devotion, and seasonal baubles, all delivered with expert pizzazz and hints of New Orleans, soul, and church music. This year’s iteration features Catherine Russell, a world-class jazz and blues vocalist who carries on a storied family tradition and brings an elegance and soulfulness to the proceedINDYweek.com | 12.7.16 | 33

ings. —DK [UNC’S MEMORIAL HALL, $10–$109/8 P.M.]

idol Jojo, the woman behind such nostalgic breakup anthems as 2004’s “Leave (Get Out).”

Following a longtime legal battle with her former label, she finally blessed us this year with Mad Love, her first full-length in a decade. The tunes hint that she’s still a creative force to be reckoned with, and this tour with it-girl Charli XCX confirms it. With Gnash.

—DS [THE RITZ, $20/9 P.M.]

KIFFmas JINGLE People don’t BASH traditionally associate metal with Christmas, but let this super-shredding show serve as a corrector. Obscure-ish nineties N.C. metal act River Of Black reunite for one brutal night of guitar firepower alongside The Damndest Thing, Charlotte’s Warboys, Knowledge Is For Fools and Jehovah’s Witness Protection Program. Come thrash under the mistletoe. —DS [THE MAYWOOD, $8/8:30 P.M.]

Patriot ILM PUNK Cheerful punk warriors in the manner of Sham 69 and early X, this Wilmington-based four-piece possess an ear for enduring hooks and an aptitude for arguments well made. Alternately stirring and ramshackle live, those not engaged by Patriot’s potent political commentary of the lyrics will find plenty to love in the melodies. The Dirty Politicians, Blood Red River and Poison Anthem open. —TB [LOCAL 506, $10/9 P.M.] ALSO ON SATURDAY BEYÙ CAFFÈ: Freeport Jazz; 7 & 9 p.m., $15. • CARY ARTS CENTER: Triangle Wind Ensemble; 7:30 p.m. • CAT’S CRADLE: Southern Culture on the Skids, The Woolly Bushmen; 9 p.m., $13–$15. CAT’S CRADLE (BACK ROOM): King Mackerel & The Blues Are Running; 7:30 p.m., $10–$30. See Dec. 9 listing. • THE CAVE: Le Weekend, Organos, No One Mind; 9 p.m., $5. See box, page 33. • CLAYTON CENTER: We’ve Only Just Begun: Carpenters Remembered; 8 p.m., $30. • DEEP SOUTH: Flimsy, Autumn To May, Michael Daughtry Band; 9 p.m., $5. • DUKE’S BALDWIN AUDITORIUM: Jeremy Denk; 8 p.m., $10–$42. See box, page 35. • IRREGARDLESS: Matt Kanon; 11:30 a.m. Paul Bomar Duo; 6 p.m. Noah Powell Quintet; 9 p.m. • KINGS: DJ Fannie Mae: The Fanniversary; 9 p.m., $5–$10. • LINCOLN THEATRE: Shoot to Thrill, Dixie Dust, Mirror 7; 9 p.m., $8. • LITTLE LAKE HILL: Al Petteway, Amy White; 8 p.m., $20. • MEYMANDI CONCERT HALL: Pink Martini with the NC Symphony; 3 & 8 p.m., $40–$95. See Dec. 9 listing. • NIGHTLIGHT: Disco Sweat XXX; 10 p.m., $8. • THE OASIS AT CARR MILL: Rory Jagdeo; 8 p.m. • THE PINHOOK: Sad13, Vagabon, Emily 34 | 12.7.16 | INDYweek.com

Shearwater

Pink Martini performs with the N.C. Symphony in Raleigh this weekend. PHOTO Reo, Told Slant; 6:30 p.m., $10. See page 30. • POUR HOUSE: Nappy Roots, Ace Henderson, Mosca Flux; 9 p.m., $15–$20. • RUBY DELUXE: DJ Gonzo; 10 p.m. • SCHOOLKIDS RECORDS (RALEIGH): Hollows Eye, Five Mile Radius, Faith and Scars; 7 p.m. • SHARP NINE GALLERY: Brandon Lee/Aaron Matson Quintet; 8 p.m., $10–$15. • SLIM’S: Chimes at Midnight, Lofidels, Trent Fabio; 8 p.m., $5. • SOUTHLAND BALLROOM: Marty & Lee’s Birthday Bash; 8 p.m., $15–$20. • THE STATION: Wood Robinson’s New Formal, Matt Phillips; 8 p.m., $8–$10. See page 25. Queen Plz; 10 p.m., $5. Jazz Saturdays; 2 p.m., free.

• THE SHED JAZZ CLUB: Raund Haus: Contour, NahhG, Saint James + Pidari; 9 p.m., $5. • UNVINED: Angela Bingham; 7:30-10:30 p.m., No cover unless indicated.

SUN, DEC 11 Earthless CHEAP Though the San BUZZ Diego avant-psych band Earthless rejects the term “stoner rock,” it’s hard not to listen to its kraut-influenced undulations and not mentally conjure up a hefty cloud of ganja wafting throughout the room. But hey man, Earthless is just here to rock, they’re not gonna tell you what to do. Earlier this year, the band released the fifteen-minute track “Acid Crusher” as part of a split single with the dankly named Harsh Toke. Ruby the Hatchet and Lightning Born open. —DM [KINGS, $12–$14/9:30 P.M.]

Pivot PROG Local prog rockers ROCK Pivot top the bill of this Christmas show sponsored by Munjo Munjo, Human Skate Co., and Adam Lindsay Realty. The group’s last album, Enter the Exosphere, is an experimental journey for fans of radio punk or early-aughts alternative. Rookie of the Year, Summer Wars, Carolina Wray, Paper Dolls, and Jacob Dixon round out the lineup.

Proceeds benefit the Inter-Faith Food Shuttle. —DEM [POUR HOUSE, $7/7:30 P.M.] ALSO ON SUNDAY CARY ARTS CENTER: Concert Singers of Cary; 3 p.m. • CAT’S CRADLE (BACK ROOM): King Mackerel & The Blues Are Running; 7 p.m., $10–$30. See Dec. 9 listing. • THE CAVE: Mature Fantasy; 9 p.m., $3. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Gene O’Neill; 10 a.m. Great Father Whale; 6 p.m. • LINCOLN THEATRE: Afton Music Showcase; 6:30 p.m., $12–$15. • LOCAL 506: Together Pangea, Dollhands; 7 p.m., $12–$15. • NC MUSEUM OF ART: Raleigh Flute Choir Holiday Concert; 3 p.m., $6–$10. • NC MUSEUM OF HISTORY: Mary D. Williams; 3 p.m. • NEPTUNES PARLOUR: Museum Mouth, Mannequin Pussy, Spirit of the Beehive, Soccer Tees; 9 p.m., $6–$8.

• PAGE-WALKER ARTS & HISTORY CENTER: Cary Youth Voices; 4 p.m. • RUBY DELUXE: AIRHORN Dancehall Dance Party with DJ Luxeposh; 10 p.m. • ST. PAUL’S LUTHERAN CHURCH: Triangle Jewish Chorale; 3 p.m. • WEST END WINE BAR-DURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

COURTESY OF THE WINDISH AGENCY

MON, DEC 12 THE CAVE: Bob Fleming & The Drunk Girl Chorus, Evel Arc, Matthew Paul Butler; 9 p.m., $5. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m. • THE SHED JAZZ CLUB: Sessions at the Shed with Ernest Turner; 8 p.m., $5.

TUE, DEC 13 Jason Boland, Shooter Jennings ROWDY Recalling vintage COUNTRY country storytellers like Tom T. Hall, the Oklahoman singer-songwriter Jason Boland possesses talent and songs to spare. Meanwhile, Shooter Jennings, the gifted son of all-time badass Waylon Jennings, is a great act in his own right—prone to keep the atmosphere rough, ready, and challenging. —EB [LINCOLN THEATRE, $15–$20/8 P.M.]

Ivadell ROCK In a year where hard STEADY rock music felt commercially dead compared to festival indie and EDM-tinged pop music, most of its sub-genres have receded to the smaller, thriving club underground. South Carolina’s Ivadell lead this exemplifying lineup of nineties post-hardcore sensibilities with pinched falsetto vocals and punchy riffage. There’s also Durham’s great Youth League, who match frenetic math sensibilities with the best of Minus The Bear’s melodic side. With

Mover Shaker. —DS [CAT’S CRADLE BACK ROOM, $5/8 P.M.] ALSO ON TUESDAY DURHAM ARTS COUNCIL: A Celtic Christmas; 7:30 p.m. • IRREGARDLESS: Michelle Cobley; 6:30 p.m. • NEPTUNES PARLOUR: Defacto Thezpian, P.A.T., Junior, Jooselord Magnus; 10 p.m., $7. • POUR HOUSE: Cyclces, Bruteus; 9 p.m., $5–$8. • RUBY DELUXE: 2016 Experimental Tuesday Noise Showcase; 8 p.m. • SHARP NINE GALLERY: NCJRO; 8 p.m., $10–$20.

WED, DEC 14 The Malpass Brothers CLASSIC Brothers Christopher COUNTRY and Taylor Malpass were exposed to country music by the records their granddad brought home from his country store jukebox. The brothers toured with Merle Haggard for seven years before creating their own show, mixing hardcore country including Hank, Lefty, and Merle, a bit of Elvis with a few helpings of Johnny Cash, plus some bluegrass and rockabilly, too. Christopher says the brothers’ goal is to present traditional music in a respectful way. —GB [BLUE NOTE GRILL, $20–$25/8 P.M.]

Jojo POP STOP Among this year’s retrieved mid-2000s pop concerns was onetime teen

MILD Across its seventeenTIDES year expanse, Austin, Texas’s Shearwater has released a dozen records that hew closely to aughts-era indie rock form. In January, the band released Jet Plane and Oxbow, on Sub Pop, and it’s a solid, synth-flecked record that swings from Arcade Fire to David Bowie in its sonic hallmarks.

Fellow Cross Record, also hailing from Texas, opens. —AH [CAT’S CRADLE BACK ROOM, $13–$15/8:30 P.M.]

Trans Siberian Orchestra YULETIDE Christmas time is ROCK here, which means Trans Siberian Orchestra is coming to offer its classical-influenced guitar bombast for your yuletide pleasure. Fun fact number one: Trans Siberian Orchestra contains four guitarists, two drummers, two bassists, four keyboardists, two violinists, eighteen vocalists, and two “storytellers,” whatever the hell those are. Fun fact number two: If you buy a ticket to see them at PNC Arena, you get a free digital copy of their new Christmas album! —DM [PNC ARENA, $45–$75/7:30 P.M.] ALSO ON WEDNESDAY HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The Piedmont Pea Pickers; 6:30 p.m. • KINGS: Rod Abernethy and Songs from Downstairs Year End Bash; 8:30 p.m., $5. • LINCOLN THEATRE: The New Mastersounds, Turkuaz; 8 p.m., $17. • LOCAL 506: To Speak of Wolves, Iselia, Guts Of The Oven, Mirada; 8 p.m., $10–$12.

• POUR HOUSE: Stammerings, Hank & Brendan; 9 p.m., $5. • RUBY DELUXE: Goth Night with DJ Bela Lugosi’s Dad; 10 p.m.

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SATURDAY, DECEMBER 10

JEREMY DENK Pianist Jeremy Denk writes prose in such a way that it’s sometimes easy to forget that he is one of the best pianists in the world. His way of observing music in text is both exacting and overflowing, full of keen insights clipping by at a congenial pace. His essays play like an improvisation: themes build and recede, circle about and return, undergirded by a clear sense of form and a strong intellect. In a way, he writes like he plays. One of his best pieces is a 2012 New Yorker essay where he reflecting on the process of recording Charles Ives’s 1920 Piano Sonata No. 2 Concord, Mass., 18401860. The work is Ives’s attempt to synthesize all his ideas about music into one grand statement through a meditation on the Transcendentalists.

The Concord presents an especially devious challenge to the recording studio and performer alike, with sudden changes in mood and attack, chords that jam together seemingly unrelated notes, themes that pile on top of each other, and a sense of post-modern density that remains daunting a hundred years after its composition. It’s entirely haunted by the opening of Beethoven’s Fifth.

Denk’s essay details his search for balance between rigor and spontaneity in the sonata’s many devilish runs, the unexpected difficulties of recording a wooden board playing the piano, and the confounding process of finding just the right take when stitching the recording together. “I think about how precious live performance is,” Denk writes near the end, “and how terrible it is that more and more performances aim to sound like recordings rather than the other way around.” It’s a virtuoso account of the piece.

For this concert, Denk will make his case for the liveness of the Concord. His thunderous recording feels alive as it navigates Ives’s labyrinths. We got a sneak peak of what it sounds like in person when Denk last came to town in early 2015. After a concert jammed with demanding music, he played the third movement from the Concord as an encore. Denk’s performance was vivid, striking the proper equipoise between humor, delicacy, and transcendence. The rest of the work should sound just as spectacular. Denk fills out the program with two equally finger-twisting pieces, Beethoven’s “Tempest” sonata and Schubert’s Wanderer Fantasy. He’s never one to take it easy, and we’re better for it. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM, DURHAM 8 p.m., $10–$42, dukeperformances.duke.edu

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art

OPENING

SPECIAL Annual Community EVENT Art Exhibit: Group show. Dec 9-31. Reception: Dec 9, 6-8 p.m. The ArtsCenter, Carrboro. artscenterlive.org.

SPECIAL Consummation: St. EVENT George. Dec 10-Jan 21. Reception: Dec. 10, 5-7 p.m. Naomi Studio and Gallery, Durham.www.

NaomiStudioandGallery.com.

SPECIAL My Favorite Things: EVENT Group show. Dec 11-Feb 4. Reception: Dec 11, 2-5 p.m. Lee Hansley Gallery, Raleigh. leehansleygallery.com.

ONGOING LAST $25/$50/$100 Art CHANCE Show: Community show with reused materials.

Thru Dec 10. The Scrap Exchange, Durham. www. scrapexchange.org.

Annual Holiday Art Gallery Exhibit: Group show. Thru Jan 5. ERUUF Art Gallery, Durham. www.eruuf.org.

Annual Holiday Exhibition: Local artists. Thru Dec 21. Visual Art Exchange, Raleigh. www. visualartexchange.org.

Anywhere but here: Group show.

Thru Jan 20. Lump, Raleigh. www.teamlump.org.

The Art of Giving: Mixed media.

Thru Dec 31. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Beyond Bollywood: Indian Americans Shape the Nation: By examining the history of Indian immigrants as they assimilated into the U.S. and their contributions to American life—musical, political, culinary, scholarly, sporting, and cultural—this traveling Smithsonian exhibit reframes what it means to be an Indian American. The artifacts range from images of nineteenthcentury Indian railroad workers and anti-Hindu propaganda to twentieth-century small-town life and today’s Silicon Valley.

Thru Apr 2, 2017. City of Raleigh Museum, Raleigh. —David Klein

36 | 12.7.16 | INDYweek.com

12.7–12. 14 Chinese Lantern Festival: This holiday spectacular returns to Koka Booth Amphitheatre to celebrate the Chinese New Year. More than twenty LED displays illuminate the woods surrounding Symphony Lake, including a fiery dragon, a pair of intricate swans, and a forest of trees with Santa and Frosty in the middle. While many of these works of art were shipped overseas from China, others were crafted on site by Chinese artisans. The festival also hosts cultural performances and sells artisan crafts. $10-$15. Thru Jan 15. Koka Booth Amphitheatre, Cary. www.boothamphitheatre. com. —Erica Johnson Christmas at Captain White’s: Local, national, and international artists. Thru Dec 24. Captain James & Emma Holt White House, Graham.

Claymakers Instructors’ Holiday Showcase: Pottery. Thru Jan 7. Claymakers, Durham. www.claymakers.com.

Collections: Leah Sobsey. Thru Dec 31. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham.

Constants and Unknowns: Mixed media by Randy McNamara.

Thru Jan 13. Durham Arts Council, Durham. www. durhamarts.org.

Caroline Coven: Thru Jan 24.

HagerSmith Design Gallery, Raleigh. www.hagersmith.com.

Gordon Dean: Site-specific installation. Thru Feb 5.

Artspace, Raleigh. www. artspacenc.org.

Dress Up, Speak Up: Costume and Confrontation: In this visually dazzling, politically charged exhibit, artists of international renown and local legends alike unravel clothing, costume, and ornament into identity politics, especially those pertaining to race. Ongoing.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Chris Vitiello Eight is Enough: A Kick Ass Group Show: John Geci, Elijah

Leed, Ben Galata, Jean Christian Rostagni, Abie Harris, Peter Milne, Claire Ashby, and Peter Dugan. Thru Dec 23.

Bull City Arts Collaborative: Upfront Gallery, Durham. www. bullcityarts.org.

LAST Exchanged and CHANCE Revealed: Luna Lee Ray and Shelly Hehenberger.

Thru Dec 10. Durham Art Guild. www.durhamartguild.org.

Finding Each Other in History: Stories from LGBTQ+ Durham: Personal narratives. Thru Jan 15. Durham History Hub. www. museumofdurhamhistory.org.

SPECIAL Fired Lines: EVENT Calligraphy Meets Clay: Pottery. Thru Dec 11.

Reception: Dec 11, 1-4 p.m.

Roundabout Art Collective, Raleigh. www. roundaboutartcollective.com.

Flight Lessons: Mixed media

by Kim Wheaton. Thru Jan 1.

Pleiades Gallery, Durham. www.

PleiadesArtDurham.com.

The Great Outdoors: Robert Thurston. Thru Jan 29. Nature Art Gallery, Raleigh. www. naturalsciences.org. #Greenspaces: Paintings

by Judy Crane and Wendy Musser. Thru Feb 27. Betty Ray McCain Gallery, Raleigh. www. dukeenergycenterraleigh.com.

Ellen Hathaway: Thru Dec 17.

Elevation Gallery at SkyHouse Raleigh, Raleigh. www. skyhouseraleigh.com.

History and Mistory: Discoveries in the NCMA British Collection: This is the first time in decades that NCMA has curated an exhibit from its British holdings of Old Master painting and sculpture. Thru Mar 19. NC Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe hush, hush,: Anthony Ulinski and Kiki Farish. Thru Dec 31. Artspace, Raleigh. www. artspacenc.org.

Imagination Architectures: Eric Mack. Thru Jan 6. UNC Campus: Sonja Haynes Stone Center, Chapel Hill. www. sonjahaynesstonectr.unc.edu.

Learn to make a fabric wreath with Spoonflower at the Holiday Pop-Up Workshop.

PHOTO BY ALEX CRAIG

SUNDAY, DECEMBER 11

HOLIDAY POP-UP WORKSHOP If our Style Issue’s spotlight on local makers last week has you frowning at those rolls of shiny foil Hallmark paper moldering in your closet—and the mass-market merch you’re likely to stuff inside them—then this free holiday pop-up workshop on the second-floor mezzanine of the Durham Hotel is the perfect chance to boost your wrap game. A sideline to the Durham Patchwork Holiday Market, which runs from noon to five on Sunday at the Durham Armory, this hands-on event features a twenty-minute embroidery workshop with Fiona Podes of TangleWild Designs, in which you can learn to make your own ornament, and a custom gift-tag station courtesy of Spoonflower, which prints the patterns found in the embroidery kits. Buy stuff at the Patchwork Market and use this stuff to gussy it up, and cut out the middlemen between beautiful gifts and the hands that made them in your holiday shopping. —Brian Howe THE DURHAM HOTEL, DURHAM 1–4 p.m., free, www.thedurham.com

LAST Interstitial: CHANCE Photography by David Hilliard. Thru Dec 11.

Cassilhaus, Chapel Hill.

Inventing History: Cherished Memories of Good Times That Never Happened: Drawings by Richard Chandler Hoff. Thru Jan 13. Durham Arts Council, Durham. www.durhamarts.org.

Jake and Charlie: Folk Art

by Jake McCord and Charlie Lucas: Mixed media. Thru Jan 26. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Janie Kimmel: Mixed media.

Thru Dec 23. Bull City Arts Collaborative: Upfront Gallery, Durham. www.bullcityarts.org.

LAST Little Treasures: CHANCE Thru Dec 11. Litmus Gallery, Raleigh. www. litmusgallery.com.

Luminous Creatures: Digital images by JP Trostle. Thru Jan 6. Atomic Fern, Durham. www. atomicfern.com.

A Man Singing To Himself: Jill Snyder. Thru Dec 30. Durham Arts Council, Durham. www. durhamarts.org.

SPECIAL Natural Forces: EVENT Paintings and drawings. Thru Feb 5, 2017.

Reception: Dec 9, 6-9 p.m.

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

Nightscapes: Paintings by Charles Williams. Thru Jan 21. Artspace, Raleigh. www. artspacenc.org.

LAST One Root, Three CHANCE Branches: Mixed media by Doyun Yoon. Thru Dec 13. Meredith College: Gaddy-Hamrick Art Center, Raleigh. www.meredith.edu.

SPECIAL Planting Hope: EVENT Drawings. Thru Feb 5. Reception: Dec 9, 6-9 p.m.

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

Plein Air Painter’s Group Showcase: Thru Jan 28.

Artspace, Raleigh. www. artspacenc.org.

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

Post Mégantic: Photography

by Michel Huneault. Thru Feb 18. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Quiet Season: Group show. Thru Jan 1. Pleiades Gallery, Durham. www.PleiadesArtDurham.com.

JJ Raia: Photography. Thru Jan 14. Through This Lens, Durham. www.throughthislens.com.

Rolling Sculpture: Art Deco Cars from the 1930s and ’40s: On one hand, these ostentatious cars are the obscene baubles of the interwar industrialists whose progeny are today’s rogue traders, junk bond kings, and profiteering Wells Fargo executives. On the other hand, the cars offer a nuanced look at how design aesthetics responded to the production line and its consumerist culture with a mixture of fantasy and faith.

Thru Jan 15. NC Museum of Art, Raleigh. www.ncartmuseum.org.— Chris Vitiello Selma to Montgomery: A March for the Right to Vote: Photographs by Spider Martin.

Thru Mar 5. NC Museum of History, Raleigh. www. ncmuseumofhistory.org.

LAST Marcela Slade: CHANCE Paintings. Thru Dec 9. salon 2eleven, Carrboro. www.salon2eleven.com.

Southern Accent: Seeking the American South in Contemporary Art: This is less a simple exhibition than a speculative and critical archive of Southern identity. Slavery, the Civil War, racism, and their complex inheritances?

Much of the work explores and interrogates that. Connections to place so deep that land and body become the same thing?

Many artists unravel the warp and weft of that. The dissonance of the past’s intrusion into the present? The exhibit shimmers with that temporal disorientation. It’s powerful work by supremely capable artists, and the intensity of their proximity is life-changing. Thru

Jan 8, 2017. Nasher Museum of Art, Durham. nasher.duke.edu.

—Chris Vitiello

TRANSACTORS IMPROV: BIG CITY CHRISTMAS POPUP CHORUS FR 12/16 HOLIDAY SHOW THE BAREFOOT MOVEMENT SA 12/17 CHRISTMAS FR 1/13 ROBIN & LINDA WILLIAMS SCIENTIST TURNED SA 1/21 COMEDIAN: TIM LEE FR 2/3 CEDRIC BURNSIDE PROJECT WE 2/8 JOHN SCOFIELD SA 2/11 LUCY KAPLANSKY TU 2/14 NC YOUTH TAP ENSEMBLE TH 2/16 ALASH BALLAKÉ SISSOKO AND TU 2/28 VINCENT SÉGAL SA 12/10

Super Shitty Art Show: Group show. Thru Jan 20. Mercury Studio, Durham.

Dawn Surratt: Photography.

Thru Jan 14. Through This Lens, Durham. throughthislens.com.

Taking Flight: Stephen White.

Thru Dec 31. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

The Ties That Bind: Precious Lovell. Thru Jan 8. CAM Raleigh, Raleigh. camraleigh.org.

Traces: Drawings, photography, and sculptural objects by Angela Eastman and Sonja Hinrichsen.

Thru Jan 14. Artspace, Raleigh. www.artspacenc.org.

Transgender USA: Mariette Pathy Allen: Photography. Thru Dec 22. Power Plant Gallery, Durham.

What Was Film: Tom Whiteside, a filmmaker and historian of film technology, treads a thin strip of celluloid between screenings and art installations with his Durham Cinematheque series. He fully embraces the latter in W H A T W A S F I L M. The exhibit features fortyeight “narrative objects,” or strips of 16mm film pressed between glass, some more than a hundred years old—a reel-to-reel history, forty-four frames at a time. Other analog motion picture ephemera plays on windows and lightboxes. The best time to visit is during one of the many associated events; see the Carrack’s website for details. Thru Dec 17. The Carrack Modern Art, Durham. www. thecarrack.org. —Brian Howe William Noland: Dream Rooms: Long video takes examining technology and intimacy. Thru Feb 5. NC Museum of Art, Raleigh. www.ncartmuseum.org.

Zanele Muholi: Faces and Phases: Photography. Thru Jan 8. NC Museum of Art, Raleigh. www.ncartmuseum.org.

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TEASERS 16th Annual Christmas Party Saturday Dec. 10th Join us for special entertainment, door prizes and heavy hors d'oeuvres Members in FREE 7-9

919-6-TEASER for directions and information

www.teasersmensclub.com 156 Ramseur St Durham, NC An Adult Nightclub

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INDYweek.com | 12.7.16 | 37

food

2016 Bull City Holiday Food & Wine Soiree: Holiday market featuring North Carolina producers. Thu, Dec 8, 5 p.m.

The Rickhouse, Durham. www. rickhousedurham.com.

MANCHESTER

BY THE SEA NOCTURNAL ANIMALS

To advertise or feature a pet for adoption, Cider Class with Mattie please $25. contact Beason: Sat, Dec 10, eroberts@indyweek.com

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

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e

SEPARATION AGREEMENTS Mu s i c Bu s i n eDIVORCE ss Law UNCONTESTED In c o r p oBUSINESS r a t i o n / LLAW LC / MUSIC Toradvertise or feature ap pet for adoption, Pa t n e r s h i please contact eroberts@indyweek.com INCORPORATION/LLC Wi l l s To advertise or feature a pet WILLS please contact C o l l967-6159 e c t i o n s for adoption, eroberts@indyweek.com (919)

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3 p.m. Black Twig Cider House, Durham. www. blacktwigciderhouse.com.

Cooks and Books Dinner with Ashley Christensen: $125. Fri, Dec 9. The Fearrington House Restaurant, Pittsboro. www. fearringtonhouse.com.

Randall Kenan & Contributors: The Carolina Table: North Carolina Writers on Food.

To advertise or feature a pet for adoption, please contact eroberts@indyweek.com Wed, Dec 7, 7 p.m. Quail

a l’ ART Culinary Series: Sat, Dec 10, 9 am & Sat, Dec 17, 9 am. The Art Institute of Raleigh-Durham, Durham.

Whiskey Dinner: Fivecourse menu with Bernie Lubbers. $60-$85. Wed, Dec 7, 6:30 p.m. Piedmont Restaurant, Durham. www. piedmontrestaurant.com.

Marilyn Markel, Chris Holaday: Southern Breads: Recipes, Stories and Traditions.

Sat, Dec 10, 1 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Raleigh Downtown Farmers Market: Wednesdays, 10 am.

Raleigh City Plaza, Raleigh.

The Science of Distillation: With Durham Distillery co-founder Lee Katrincic.

Sun, Dec 11, 4 p.m. Durham Main Library, Durham. www. durhamcountylibrary.org.

stage OPENING Big City Christmas: Transactors Improv. $10-$15. Sat, Dec 10, 8 p.m. The ArtsCenter, Carrboro. www.artscenterlive.org.

Jamie Lee: Stand-up comedy. $16-$24. Dec 8-10. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

Lee Camp: Stand-up comedy. $14. Sat, Dec 10, 7 p.m. DSI Comedy Theater, Chapel Hill. www.dsicomedytheater.com.

Moscow Ballet’s Great Russian Nutcracker: Dance. $40-$70. Wed, Dec 14 & Thu, Dec 15, 7 p.m. Carolina Theatre, Durham. www. carolinatheatre.org.

Vivica C. Coxx Presents: Freak: $10. Sat, Dec 10, 10 p.m.

The Pinhook, Durham. www. thepinhook.com.

The Nutcracker: City Ballet Raleigh. $15-$30. Fri, Dec 9 & Sat, Dec 10. NCSU Campus: Stewart Theatre, Raleigh.

CUT&PASTE: Draft 1: Dance by Anna Maynard, Anna Renee Ohe, Elise Dorsett, Marco Levati, and Robin Spohr. $10.

Sun, Dec 11 & Sun, Dec 18, 7 p.m. The Carrack Modern Art, Durham. www.thecarrack.org.

NCSSM’s The Nutcracker: Dance. Fri, Dec 9, 7 p.m. NC School of Science & Math, Durham. www.ncssm.edu.

Durham Ballet Theatre’s Winter Aerial & Contemporary Dance Showcase: Dance. $12.

Sat, Dec 10, 7 p.m. & Sun, Dec 11, 6 p.m. Durham School for Ballet and the Performing Arts, Durham. www. durhamballettheatre.org.

ElecTrip Cabaret: $10. Sat, Dec 10, 9 p.m. Arcana, Durham. www.arcanadurham.com.

Goodnights Presents: Escape From New York: Stand-up comedy. $20. Mon, Dec 12, 7 p.m. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

38 | 12.7.16 | INDYweek.com

Ridge Books, Raleigh. www. quailridgebooks.com.

Triangle Youth Ballet’s The Nutcracker: Dance. $12-$29.

Sat, Dec 10, 11 am & 3 p.m.

Carolina Theatre, Durham. www.carolinatheatre.org.

The Santaland Diaries: Play. $18-$24. Dec 9-17. Theatre In The Park, Raleigh. www. theatreinthepark.com.

A Trailer Park Christmas: Play. $21-$23. Dec 8-18. Common Ground Theatre, Durham. www.cgtheatre.com. See p. 30.

Ira David Wood III’s A Christmas Carol: Musical. $30-$85. Dec 7-11. Raleigh Memorial Auditorium, Raleigh and Theatre In The Park, Raleigh. www.theatreinthepark. com.

ONGOING A Christmas Carol: Play. $14$25. Thru Dec 18. Temple Theatre, Sanford. www. templeshows.com.

LAST Ethelred the CHANCE Unready: Play. $8-$10. Thru Dec 10. Various venues, Triangle-wide. www. littlegreenpig.com LAST The May Queen: CHANCE PlayMakers Repertory. $15-$62. Thru Dec 11. PlayMakers Repertory Company, Chapel Hill. www. playmakersrep.org.

Rudolph the Red-Nosed Reindeer: The Musical: Musical. $13-$24. Thru Dec 24. Fletcher Opera Theater, Raleigh. www. dukeenergycenterraleigh.com.

The Typographer’s Dream: Play. $5-$20. Thru Dec 17. Manbites Dog Theater, Durham. www. manbitesdogtheater.org. See review, p. 27.

Written On the Heart: Play. $5-$25. Thru Dec 18. Murphey School, Raleigh. www. burningcoal.org. See review, p.

27.

screen SPECIAL SHOWINGS

13th: Mon, Dec 12, 6 p.m. The Carrack Modern Art, Durham. www.thecarrack.org.

Arrebato: Tue, Dec 13, 7:30 p.m.

Nightlight, Chapel Hill. www. nightlightclub.com.

A Charlie Brown Christmas: Fri, Dec 9, 9:45 am. Northgate Mall, Durham. northgatemall.com.

The Letters: The Untold Story of Mother Teresa: Fri, Dec 9, 7 p.m.

The Oasis at Carr Mill, Carrboro. www.oasisatcarrmill.com.

OPENING The Eagle Huntress— Documentary about a Mongolian girl trying to become her country’s first female eagle hunter. Rated G.  ½ Manchester by the Sea—Reviewed on p. 28. Rated R. Miss Sloane—A D.C. lobbyist (Jessica Chastain) takes on the gun industry in John Madden’s thriller. Rated R.  Nocturnal Animals— Reviewed on p. 28. Rated R.

Rudolph the Red-Nosed Reindeer: Wed, Dec 14, 9:45 am. Northgate Mall, Durham. www.northgatemall.com.

Office Christmas Party—A tech company tries to save itself with one epic Christmas rager in this comedy. Rated R.

Storyprint: The Creative Process of Mokuhanga Artist Andy Farkas: Sat, Dec 10, 6 & 8 p.m. & Sun, Dec 11, 2 p.m. Adam Cave Fine Art, Raleigh. www. adamcavefineart.com.

A L S O P L AY I N G

Threatened Forests: Thu, Dec 8, 6:30 p.m. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

The INDY uses a five-star rating scale. Read our reviews of these films at www.indyweek.com.  The Accountant—Matt Damon—er, Ben Affleck’s autistic assassin character doesn’t quite add up. Rated R.  ½ Allied—Sexual tension, spousal spying, and glossy

WWII nostalgia from director Robert Zemeckis. Rated R.  Arrival—Denis Villeneuve’s thoughtful aliens-to-Earth film is less about first contact than first communication. Rated PG-13.  Doctor Strange— Marvel’s magic master’s feisty cape almost steals his movie.

Rated PG-13.  ½ Fantastic Beasts and Where to Find Them—A promising start to a new Harry Potter franchise. Rated PG-13.  ½ Hacksaw Ridge—Mel Gibson clearly identifies with the religious persecution of conscientious objector Desmond Doss. Rated R.  ½ The Magnificent Seven—Despite an able cast, this remake adds little to the “band of disreputables” trope.

Rated PG-13.  Moonlight—Barry Jenkins’s must-see drama deals with a gay black man’s coming of age. Rated R.

page WEDNESDAY, DECEMBER 7

DANIEL WALLACE: THE HOLE STORY Chapel Hill author, illustrator, and scholar Daniel Wallace (Big Fish) makes a good match with Book Harvest. The sevenyear-old nonprofit in Durham’s Rockwood Shopping Center dedicates itself to putting books in the hands of young people (more than 500,000 to date) who wouldn’t ordinarily be able to afford them. Wallace’s novels, in their fusion of mythology and tall tales, speak in a language of wonder one associates with childhood. And, having spent more than a decade working in a bookstore, Wallace has a belief in the power of the written word that surely comes from the heart. He’s written for children twice before, most recently in The Cat’s Pajamas, and he’s donating the profits of his new book for kids, The Hole Story, to Book Harvest. Authors rarely read an entire work aloud, but Wallace debuts the whole Hole Story—twenty-one page books have many charms. Pick up a copy or three for the imps in your life, and support the cause of literacy in the Triangle. There will even be milk and cookies; pajamas are welcome.—David Klein BOOK HARVEST, DURHAM 6:30 p.m., rsvp@bookharvestnc.org, www.bookharvest.org

MONDAY, DECEMBER 12

THE ROLLING STONES OLÉ OLÉ OLÉ!: A TRIP ACROSS LATIN AMERICA Just when you thought the words, “Ladies and gentleman, the Rolling Stones!” had lost their power to thrill comes a documentary to prove you wrong. This doc about the Stones’ recent tour through Latin America is far from the expected tour journal, although it does provide the requisite behind-the-scenes moments and incendiary performances of iconic hits. The film derives drama from its culminating concert in Cuba, where rock ’n’ roll had been banned for decades. But the Stones are still revered there with a depth of feeling that makes the event feel nothing short of momentous. The film is beautifully shot, the locations are dazzling, and it’s no small kick to hang out with Keith, Mick, Charlie, and Ron, wiser, more wizened, and more charming than ever. It’s a vital reminder that reports of the death of rock music, at least as a societal force, have been greatly exaggerated. For one night only, the doc screens at Regal Crossroads in Cary, Carmike in Raleigh, and Carmike Wynnsong in Durham, courtesy of Fathom Events. —David Klein

READINGS & SIGNINGS Jean Bolduc: African Americans of Durham & Orange Counties: An Oral History.

Fri, Dec 9, 7 p.m. Regulator Bookshop, Durham. www. regulatorbookshop.com.

Gary Phillips: The Boy, The Brave Girls. Sat, Dec 10, 11 a.m.

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

Holly Rogers: The Mindful Twenty-Something: Life Skills to Handle Stress & Everything Else.

Thu, Dec 8, 7 p.m. Regulator

Bookshop, Durham. www. regulatorbookshop.com.

Daniel Wallace: The Hole Story. Wed, Dec 7, 6:30 p.m.

Book Harvest, Durham. www. bookharvestnc.org.

Marcia Zug: Buying a Bride: An Engaging History of Mail Order Matches. Wed, Dec 14, 7 p.m.

Regulator Bookshop, Durham. www.regulatorbookshop.com.

LITERARY R E L AT E D :

Fireside Tales To Warm Your Heart: “24th Annual Winter Stories for Children of All

Ages” with Brian Sturm and students. Thu, Dec 8, 5:30 p.m. UNC Campus: Wilson Special Collections Library, Chapel Hill. www.lib.unc.edu/ wilson.

The Monti: God: $20. Wed, Dec 14, 7:30 p.m. Motorco Music Hall, Durham. www. motorcomusic.com.

Tim Hallinan, Paul Oliver, Juliet Grames: SOHO Press. Thu, Dec 8, 6:30 p.m.

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

VARIOUS THEATERS, TRIANGLE-WIDE 8 p.m., $16, www.fathomevents.com INDYweek.com | 12.7.16 | 39

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THE INDY'S GUIDE TO THE TRIANGLE 40 | 12.07.16 | INDYweek.com

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

INTRODUCTION TO BEEKEEPING CLASS

Jan 9 to Mar 6 - nine Monday evenings 6:30-8:30.

VFW Post, Reedy Creek Rd, Cary - Details and sign up www.baileybeesupply.com 919-241-4236

919.286.6642

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

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Weekly deadline 4pm Monday • classy@indyweek.com