INDY Week 12.27.17

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A YEAR OF

RESISTANCE WE LOOK BACK AT THE TOP STORIES OF A COMBATIVE 2017 AND STEEL OURSELVES FOR THE NEXT ROUND p. 5

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w w w. l i n c o l n t h e a t r e . c o m 2 | 12.27.17 | INDYweek.com

WHAT WE LEARNED THIS YEAR VOL. 34, NO. 51

5 As crazy as this year was on the national stage, things were just as crazy in the Triangle.

DEPARTMENTS

5 The Year in News

16 Records by some local bands addressed a world in turmoil while others charted sonic excursions to calmer climes.

14 The Year in Arts and Culture 16 The Year in Music 18 The Year in Food

18 Women made an indelible mark on the local food world and far beyond.

20 The Year in Theater 21 The Year in Dance

20 Outstanding works of theater this year ranged from reimagined Greek classics to dramatizations of contemporary sports figures.

21 The Year in Books 22 The Year in Visual Art 23 The Year in Film

21 Dance performances in unconventional spaces—bars, warehouses, hotels— were all the rage in 2017.

22 Art galleries and museums in the Triangle featured an array of exhibits that spoke of social and political resistance.

24 What to Do This Week 27 Music Calendar 29 Arts & Culture Calendar March 15: Glun Siu, a Vietnamese immigrant and member of St. Paul’s Christian Church, is part of a little-known refugee community in North Carolina—one of an estimated twenty thousand Montagnards who fled religious persecution. PHOTO BY BEN MCKEOWN

ON THE COVER A SCENE FROM THE WOMEN’S MARCH ON RALEIGH ON SATURDAY, JAN. 21, 2017 PHOTO BY BEN MCKEOWN

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A YEAR OF

RESISTANCE IF NOTHING ELSE,

Feb. 11: Thousands of demonstrators—the NAACP estimated eighty thousand, though that seems generous—participated in the Moral March on Raleigh, a mass protest against the Trump administration’s policies. PHOTO BY BEN MCKEOWN

2017 has been a Year of Outrage—or maybe better put, a Year of Outrages.

It was a year of Harvey Weinstein and Matt Lauer, of Muslim bans and white supremacy, of presidential Twitter tantrums and brazen obfuscation, of Donald Trump and Roy Moore, of tax cuts for the rich and tax hikes for the poor, of environmental malice and governmental incompetence, of Puerto Rico left to languish and Utah national monuments opened for fossil fuel drilling, of the quickly cresting Russia investigation and the Republican efforts to shut it down, of censored language at the Centers for Disease Control and Prevention and a callous attempt to kick transgender people out of the military, of nuclear standoffs and disinterested diplomacy, of Steve Bannon and Stephen Miller, of normshattering in Congress and Fox News turning into a state propaganda outfit, of the deadliest mass shooting in modern American history and zero response.

And that’s only part of it.

But as much as 2017 was a Year of Outrage, it was also a Year of Resistance, a year in which we took to the streets in response to the Trump administration’s bigotry and creeping authoritarianism, a year in which we protested en masse attacks on immigrants and refugees, a year in which we blanketed members of Congress with phone calls and emails begging them not to destroy our health care system, a year in which artists and musicians and chefs used their crafts to help marginalized populations, and a year in which women said “no more” to rampant sexual harassment and abuse.

And again, that’s only part of it.

We stand on the precipice of 2018, which is certain to be another roller coaster, culminating in critical mid-year elections and possibly fraught with constitutional crises that will necessitate us storming the streets once more. But for now, let’s reflect on the year that was.

In the INDY’s last issue of 2017, we wanted to take one final look back at this Year of Resistance. Here you’ll find our writers discussing the stories and trends that mattered this year, while our photographers provide a visual narrative of the last twelve months.

For better or worse—and truth be told, mostly worse— it’s been a hell of a ride. —Jeffrey C. Billman

INDYweek.com | 12.27.17 | 5

17

STORIES THAT MATTERED IN

2017

Here’s the most important local news that will affect the year to come

By Jeffrey C. Billman, Thomas Goldsmith, Erica Hellerstein, and Sarah Willets

A

January 6: Roy Cooper, North Carolina’s new governor, hugs his wife, Kristin, at the end of their first dance at a celebration of his inauguration.

Cooper, a Democrat, had defeated Governor Pat McCrory in November by a razor-thin margin.

s crazy as things were this year on the national stage, they were just as crazy in the Triangle. From municipal elections to legislative battles, mass demonstrations to scandals, Confederate monuments to Defend Durham, consequential stories came at us a mile a minute. Here, we’ve compiled the seventeen local stories we think mattered most in 2017.

PHOTO BY ALEX BOERNER

THE TRIANGLE VS. THE PRESIDENT

Donald Trump’s hard-line position on immigrants and refugees was formalized with the newly elected president’s infamous travel ban, an executive order barring entry for residents of seven Muslim-majority countries.

The order set off a wave of nationwide protest—including here.

The weekend after Trump signed his travel ban, more than a thousand people gathered at Raleigh-Durham International 6 | 12.27.17 | INDYweek.com

Airport, carrying signs expressing warmth toward immigrants and refugees. Protests have since popped up across the Triangle.

Just this month, in front of the Wake County Courthouse, youth activists staged a funereal protest mourning the “death” of Deferred Action for Childhood Arrivals, the Obamaera program that granted temporary work permits and a deportation reprieve to undocumented immigrants who came to the U.S. as minors.

Throughout North Carolina, faith com-

munities have coalesced around the sanctuary movement, opening the doors of religious institutions for undocumented immigrants facing deportation. Two of the state’s five immigrants taking sanctuary at churches are now in Durham: Jose Chicas, an evangelical pastor from El Salvador who has been residing at a religious education center on the property of St. John’s Missionary Baptist Church for months; and Samuel Oliver-Bruno, who took up residency at the CityWell United Methodist Church in mid-December.

The question now is what happens next for those who decide to go into sanctuary for what could be the remainder of Trump’s presidency. Three years is a long time to stay in hiding, but for many of them, it’s still a better option than being shipped home. —EH

COOPER VS. THE NCGA

No sooner was last year’s razor-close gubernatorial election certified than General Assembly Republicans moved to put incoming governor Roy Cooper in his place. In a

January 25: American Aquarium founder and frontman B.J. Barham gets tattooed by Shaun Bushnell at Blue Flame Tattoo Studio in Raleigh.

His band has survived— and thrived—thanks largely to Barham’s ability to sell himself.

PHOTO BY ALEX BOERNER

nances until 2020. LGBTQ rights groups were incredulous. The NAACP released a statement calling the legislation an “insult to civil rights”; the ACLU and Lambda Legal called it a “fake repeal.” Cooper himself admitted the repeal was far from perfect. In the end, it seemed, nobody was pleased— save, perhaps, for those who wanted to see North Carolina in the running to host championship events.

Beyond sports, it’s unclear if having HB 2 off the books will boost the state’s economy or attract big-name employers to the state, like Amazon’s coveted headquarters.

Although Charlotte, Raleigh-Durham, and Greensboro-High Point are all in the running for the sought-after opening, a CNBC analysis found that the fallout from HB 2 could hurt the state’s chances. So, even with the bill formally off the books, it seems, its stubborn legacy persists. —EH

THE GERRYMANDERING LAWSUIT AND THE NCGA’S BALANCE OF POWER

hastily convened special session in December, they passed a slate of bills to curtail his authority, including transferring some of the State Board of Education’s powers to the newly elected (and, of course, Republican) superintendent of public instruction, blocking him from filling more than a thousand agency jobs and the position of chairman of the Industrial Commission, and stripping Democratic control of the State Board of Elections.

Upon taking office, Cooper sued, arguing that the legislature had infringed upon the separation of powers. To date, state courts have seemed largely unsympathetic to his pleas.

Not suprisingly, the relationship between the legislative and executive branches has been acrimonious from the jump. In Cooper’s first year in office, he vetoed thirteen bills, everything from the budget to rollbacks of water pollution rules to judiciary changes to an effort to protect hog farmers from litigation. The Republican supermajorities in the legislature have overridden almost all of them—a clear signal about who’s really in charge on Jones Street.

It’s unlikely that rapport will improve in 2018. Democrats, emboldened by recent victories in Alabama and Virginia and sens-

ing a wave—not to mention legislative districts that are likely to be redrawn in their favor—have their eyes on overcoming those supermajorities in November, and thus fundamentally reshuffling the deck on Jones Street. That will be the big legislative story of the coming year, but don’t expect much camaraderie before November. —JCB

THE GOP VS. THE JUDICIARY

Since they took power and began passing sweeping laws—both with Governor McCrory’s approval and now over Governor Cooper’s objections—Republicans in the General Assembly have faced one seemingly implacable obstacle: the courts. Most of the time it’s been the federal courts telling them that their congressional districts are unconstitutionally gerrymandered or their voter ID law is unconstitutionally racist. But state courts have gotten in on the act, too, and that’s aroused Republican ire.

The response has been to overhaul the judiciary in a more Republican-friendly manner. Step one came late this fall, when the Republicans voted—over Cooper’s veto—to eliminate judicial primaries in 2018. They did this explicitly to give them more time to redraw the state’s electoral maps for judges and district attorneys, which would give rural

(read: whiter and more conservative) areas more say in who gets appointed to the bench.

That’s just the beginning. There’s also a plan to end all existing judicial terms next year and then limit judges to two-year terms thereafter, which would lead to an endless cycle of fundraising and campaigning. But really, the bigger play is to get rid of judicial elections altogether and replace them with judicial appointments. Expect to hear a lot more about that in 2018. —JCB

THE “REPEAL” OF HB 2

News of the legislature’s proposed HB 2 repeal came almost as quickly as the loathed bathroom bill itself: with a late-night, hastily convened press conference just days before a deadline imposed by the NCAA was set to expire. The sports association called on North Carolina to repeal the bill or lose championship games until 2022. Sports—particularly, college basketball—being what they are in the Tar Heel State, the specter of an NCAA-less future got the ball rolling, and fast.

What ultimately passed was quickly derided by critics as “HB 2.0.” The compromise wiped HB 2 from state statute, but it also prevented state agencies from making their own rules about bathroom use and banned cities from passing new nondiscrimination ordi-

In the 2010 elections, fueled by a wave of tea party rage, Republicans regained control of the U.S. House of Representatives and made historic gains in state legislatures. Among them: North Carolina, where the Republicans regained control of the legislature after more than a century of Democratic rule.

Then they got to work. The party that controls the legislature also draws legislative and congressional maps, and in 2011, Republicans wielded their newfound power.

The maps they drew earned North Carolina the dubious honor of being named one of the most gerrymandered states in the nation.

Lawsuits were filed, and their outcomes could, yet again, change the makeup of power in the General Assembly.

In May, the Supreme Court struck down two of the state’s congressional districts, ruling they were unconstitutionally racially gerrymandered. (These districts had already been redrawn in 2016 following a lower court ruling, so the Supreme Court’s decision didn’t mean much.) The following month, the high court upheld a lower federal court’s decision that twenty-eight state legislative districts were also illegally racially gerrymandered, giving the legislature a September 1 deadline to come up with new maps.

After the maps were submitted, federal judges found that Republicans hadn’t remedied all of the problems and appointed a special master to redraw some of the districts.

As of this writing, the court has yet to approve the special master’s proposal, but there’s little doubt they’ll be friendlier to Democrats than the current maps.

Whatever ends up happening could be consequential. Democrats need just three INDYweek.com | 12.27.17 | 7

STORIES THAT MATTERED IN 2017 March 4: Wildin Acosta, who spent much of 2016 in a private immigration prison in Georgia before his release on bond, is pictured here at the Green Flea Market in Durham. Acosta’s bid to stay in the country is still pending.

PHOTO BY ALEX BOERNER

seats in the House and six in the Senate to break the General Assembly’s Republican supermajority, which would hand Governor Cooper enough power to sustain his vetoes.

—EH

THOMAS FARR’S NOMINATION TO THE FEDERAL BENCH

With headlines dominated by Russia, neoNazis, and white supremacist rallies, it can be hard to remember exactly what decade it is. And with President Trump’s pick for a federal judgeship for the Eastern District Court of North Carolina, we were brought back to the Jesse Helms era.

If confirmed, Trump’s nominee, Raleigh attorney Thomas Farr, would fill a longstanding vacancy on the court. But his record is controversial—and a big red flag to civil rights advocates. The Congressional Black Caucus, in a letter opposing Farr’s nomination, wrote that the nominee has “amassed a record that puts him at the forefront of an extended fight to disenfranchise AfricanAmerican voters in his home state of North Carolina.”

Among the issues of concern: Farr’s defense of North Carolina’s racist voter ID law, which the Fourth Circuit Court determined targeted African Americans “with almost surgical precision”; his defense of the legislature’s 2011 gerrymandering; and, perhaps most relevant to his upcoming confirmation, his tenure as an attorney for two of Helms’s Senate campaigns.

As the INDY first reported, Farr may have lied to Senator Dianne Feinstein earlier this year when, in a written questionnaire, he 8 | 12.27.17 | INDYweek.com

said he did not know about the existence of thousands of postcards that a federal court said were intended to suppress the AfricanAmerican vote during Helms’s 1990 campaign. A federal attorney who was part of the Justice Department’s probe told the INDY that Farr was part of the team that decided to send the postcards.

Farr’s nomination has already been approved by the Senate Judiciary Committee, though, in light of this new information, civil rights advocates (and Senator Cory Booker) have called for the committee to re-examine the nomination. So far, no vote has been scheduled for the full Senate. —EH

THE HOG FARM PROTECTION BILL

This spring, the legislature passed a bill that shields agricultural and forestry operations from litigation—and kicked off a months-long INDY investigation into the commercial hog-farming industry.

The bill, introduced by former farmer and Republican state representative Jimmy Dixon of Duplin, was curiously timed. It came as more than twenty-six nuisance lawsuits—filed by more than five hundred plaintiffs against the world’s largest pork-production company, Murphy-Brown—were pending before a federal court. The plaintiffs alleged that the farms’ waste-management practices negatively affect their health and quality of life. Dixon’s bill would have capped the amount plaintiffs could collect in nuisance lawsuits filed against agricultural companies, including hog farms, and it would have also applied retroactively—

February 16: Steph Stewart and Mario Arnez form the duo Blue Cactus, which has found a home in the pomp and fashion of mid-century country music.

PHOTO BY ALEX BOERNER

effectively negating the twenty-six federal lawsuits filed against Murphy-Brown.

Dixon, it turned out, had benefited handsomely from the hog industry: over his career, he’d received more than $115,000 from donors associated with the hog-farming industry. But Dixon wasn’t the only industry beneficiary: cumulatively, House Republicans who supported the bill have netted more than $272,000 in campaign contributions from the industry throughout their tenure in the General Assembly.

The bill was vetoed by Governor Cooper in May, but the legislature overrode him.

However, during the legislative process, the provision nullifying the pending lawsuits was axed; those cases will start going to trial in April. —EH

THE FALL OF A CONFEDERATE MONUMENT

North Carolinians spent a lot of time in 2017 calling for the state to remove Confederate monuments on public land.

But so far, only one has come down, and state officials had nothing to do with it. In August, after protesters tore down the Confederate monument on East Main Street in Durham in response to a violent white supremacist gathering in Virginia, Governor Cooper initially condemned the action, saying there was “a better way” to go about such things. Later, via Medium, he called for the removal of all the state’s roughly one hundred Confederate monuments.

Cooper asked the state historical commission, which under a 2015 law must approve

STORIES THAT MATTERED IN 2017 February 25: Kamron Jackson gathers eggs at Sankofa Farms in Efland. Sankofa Farms runs a nineweek, tuition-free summer academy where low-income youths learn the value of food and farming.

PHOTO BY ALEX BOERNER

any requests to move Confederate monuments, to relocate three on state capitol grounds to the Bentonville Battlefield state historic site in Johnston County. But the commission demurred, voting to wait until April to take up the matter.

Students at the University of North Carolina in Chapel Hill, meanwhile, are waiting for a similar petition, after decades of asking that a statue of a Confederate soldier known as Silent Sam be moved from its prominent place on campus. This year, they upped their game, staging round-the-clock sit-ins, boycotts, and marches. Faculty and elected officials have lent their support, but university officials say their hands are tied by the state law. They’re taking public comment on the statue, but they haven’t asked the historical commission for permission to move it.

Maybe 2018 will be the year. —SW

THE RISE OF DEFEND DURHAM

In the week after Durham protesters pulled down the statue on East Main Street, demonstrators were arrested by the Durham County Sheriff’s Office, which seemed to take the action personally. A Facebook page, called Defend Durham, was created to share public statements from the arrestees and news about their upcoming court dates.

But in the months since the August 14 demonstration, the phrase “Defend Durham” has come to signify more than the Facebook page or the arrestees, who are awaiting trial next year. It even goes beyond the dozens of people who, later that week, showed up at the Durham jail to symbolically turn themselves

in for the action, or the hundreds who converged downtown on August 18 after hearing (errantly, as it turned out) that the Ku Klux Klan may be making an appearance.

In the most concrete sense, Defend Durham got rid of a statue of a dead white guy and jump-started a conversation about what to do with other Confederate remnants in Durham.

It inspired other cities, like Baltimore, where demonstrators threatened to “Do it like Durham” and dismantle their city’s Confederate monuments, prompting officials to remove them under the cover of night.

But more broadly, it brought Durhamites together and made the Bull City proud. —SW

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THE WAKE COUNTY REGISTER OF DEEDS SCANDAL

The theft of $2.3 million from the Wake County Register of Deeds office blazed up as a scandal on March 31, when District Attorney Lorrin Freeman and now-former county manager Jim Hartmann announced that the SBI was probing the operation. The most recent development came December 13, when former Register of Deeds Laura Riddick turned herself in to law enforcement, facing six indictments that charge her with pocketing $926,215 between August 4, 2010, and January 31, 2017.

(Three other employees were also indicted.)

In between, developments in the case kept Raleigh’s government, legal, and financial circles—not to mention taxpayers—buzzing with urgent questions: How could this happen?

Why wasn’t the Register of Deeds office audited? Who’s in charge here?

Some blame could be laid on a dubious

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“tradition” in which offices run by elected officials, such as the register of deeds and the county sheriff, didn’t get the same oversight as other county departments. (Sheriff Donnie Harrison quickly offered his own operation up for scrutiny when word came of Riddick’s problems.) And a comparison with jurisdictions as close as Durham County showed that some counties do audit elected officials—and do detect problems.

Taxpayers also learned that the county’s comprehensive annual financial record doesn’t address forensic accounting problems of the sort that showed up at the Register of Deeds office. Instead it relies on a sort of selfreporting by departments and just makes sure those numbers add up. As for the county’s internal auditor, John Stephenson, his department probed cash-handling practices in at 10 | 12.27.17 | INDYweek.com

least ten other county departments during the period when piles of dough were walking out the door at the Register of Deeds office.

But he didn’t audit Riddick’s.

Many of the questions surround Riddick herself, a popular Republican leader who was thought to run an efficient shop and had easily earned reelection in recent years. She had been in poor health in the year or so before the thefts came to light, but that doesn’t begin to explain the scheme described in the indictments. —TG

WAKE COUNTY COMMISSION VS. THE SCHOOL BOARD

The Wake County Public Schools System needs more money, the school board said once again this year.

Yes, but we can only afford so much, the

STORIES THAT MATTERED IN 2017 April 7: Renee Miller grew up in the house where she now lives in Warsaw. She is one of about five hundred plaintiffs suing the porkproducing giant Murphy-Brown LLC. PHOTO BY ALEX BOERNER

March 26: Laura Andrews (bottom), Sara Wakefield (center), and Carolyn Gilbert (top) practice yoga in the company of goats at the Hux Family Farm in Durham. Hanna Newman, co-owner of Bikram Yoga Durham, led the session.

PHOTO BY ALEX BOERNER

board of commissioners once again replied.

It’s by now a familiar dance, but there were some twists in 2017. The General Assembly hurled a plus-size wrench into the round of tempestuous exchanges between Wake County’s two governing bodies.

The legislature’s mandate for smaller class sizes, although modified for the current school year, had budget people from both boards scrambling to find seats for every child, not to mention paying for services the school board deems vital, including counselors for students with mental-health or behavioral problems.

The budget dispute ended in June, with the school system receiving less than half of its record request for $45 million in new funding.

“The big picture is that it’s a status quo

July 22: North Carolina FC, formerly the Carolina RailHawks, are trying to earn a franchise in Major League Soccer. This summer, team owner Steve Malik unveiled plans for a stadium in downtown Raleigh. PHOTO BY ALEX BOERNER

budget,” board of education member Jim Martin said after the June 19 county commission vote. “It just meets growth and inflation. It’s a subsistence budget.”

After that battle concluded, the conversation continued, even though Sig Hutchinson, county commission chairman at the time, said the budget process should not be revisited until January.

School board chairwoman Monika Johnson-Hostler and other members kept meeting, outlining additional needs and sending their conclusions to the commission. In November, Commissioner Matt Calabria proposed appropriating an additional $3.5 million to the schools for counselors and other needs. An additional proposal to require the school to match the amount remained under discussion.

“I proposed that we work on moving forward without requiring a match, because we know the school system has a number of issues they are dealing with,” Calabria says.

“It would be an extraordinary measure, but we think there is an extraordinary need.”

The extra funding would not extend into the 2018–19 school year. And that’s the point at which the state mandate for smaller class sizes in lower grades will really kick in.

In addition, both state and federal budget writers of the Republican variety are proposing changes that would route more money and/or tax deductions to charter and private schools, which are siphoning off an increasing share of the state’s students.

Schools advocate Jessica Holmes was named board of commissioners chair in December, perhaps helping Johnson-Hos-

tler as she leads her panel in funding talks to come. But commissioners, including John Burns and Erv Portman, are keeping an eye on the big picture of county needs, including behavioral health care and affordable housing.

The fun starts in January. —TG

NORTH CAROLINA FC BIDS FOR MLS

If you step back and think about it, it’s flat-out amazing what Steve Malik has accomplished since purchasing a fledgling soccer franchise two years ago. He infused the then-Carolina RailHawks with cash and energy and then, last December, gave them a new name—North Carolina Football Club—and a new mission: to earn a spot in Major League Soccer by the end INDYweek.com | 12.27.17 | 11

STORIES THAT MATTERED IN 2017 September 13: Daravahn “Donna” Sayarath prays in the entrance of Bida Manda every time she arrives at the Raleigh restaurant, where she’s worked since 2012. Sayarath fled the Laotian civil war with her mother in 1975.

September 9: G.O.U.G.E. Wrestling put on exhibition matches outside Ruby Deluxe during Hopscotch in Raleigh.

PHOTO BY ALEX BOERNER

PHOTO BY ALEX BOERNER

of 2018.

In July, Malik and company made their pitch to visiting MLS officials. There was a street party to show community support.

There was a slick presentation and glowing media. And, most important, there were unveiled plans for a new soccer stadium in downtown Raleigh.

North Carolina FC didn’t make the MLS short list in 2017, but it very well might next year. And that means the stadium— planned for thirteen acres of state-owned land—could well see a big debate in the years to come: How much will Malik want the state and local governments to fork over for infrastructure? What sort of deal will 12 | 12.27.17 | INDYweek.com

the legislature consider for the land? Is that the right location, or would it just cause a traffic nightmare?

All of which is to say, there are several big steps before Malik’s dream becomes a reality. But if it all comes together, it could reshape downtown Raleigh in a huge way.

—JCB

DOWNTOWN RALEIGH GETS A GROCERY STORE (OR TWO)

For years now, the downtown Raleigh crowd has lusted after a grocery store. The other pieces of downtown’s decade-long renaissance had been falling into place: according to the Downtown Raleigh Alliance’s 2017 State

of Downtown Report, land values downtown were up 106 percent over 2008; property values were up 31 percent; food and drink sales generated more than $200 million in 2016, and 1.5 million additional square feet of office space. More than fifteen thousand people live within a mile of the Capitol, and more than four thousand more will soon join them.

In other words, downtown Raleigh has been booming. But it couldn’t get a damn grocery store. Grocery stores are important, urban planners will tell you, because without them, if people have to get in cars and drive to pick up food, you don’t really have a neighborhood. This was the last piece of the puzzle.

Then, in a matter of weeks, DTR scored not one but two grocery stores. The first, announced in early November, was Publix, a Florida-based chain coming to the ground floor of an apartment tower at the corner of Peace and West. In early December, Carrboro’s Weaver Street Market, the largest food co-op in the Southeast, announced that it, too, would open a downtown Raleigh location, in the Warehouse District.

Downtown’s success isn’t the end-all-be-all of urban growth. Rising rents have exacerbated the city’s affordable housing and income inequality crises, for example. But the more DTR becomes a neighborhood, with neighborhood amenities and (eventually) a better mass transit system, the better off the entire city will be. —JCB

THE END OF DURHAM’S BILL BELL ERA

For sixteen years, Bill Bell has been the face of Durham—and especially of its downtown renaissance, for which he deserves

credit. So when the city’s longtime mayor announced last year he wouldn’t be seeking reelection, it kicked off a long, competitive race to fill his seat.

Bell served on the Durham County Board of Commissioners for twenty-six years and was instrumental in merging the county and city school systems. During his time as mayor, nearly $2 billion in public and private investment went into downtown. Reducing poverty and revitalizing other neighborhoods were also central to Bell’s tenure.

He launched a poverty-reduction initiative and threw city support at efforts to revamp struggling parts of northeast central and southeast central Durham.

But as downtown flourished, Durham’s poverty rate ticked up from 15 percent in 2000 to 19.2 percent in 2015, and people were priced out of their neighborhoods. This wasn’t lost on those vying for Bell’s seat, or voters. Conversations about equity and helping all residents participate in Durham’s newfound prosperity dominated the election cycle.

So the Bill Bell era comes to an end, and the next era will be guided by a largely new, young, very progressive city council. —SW

IN MAYORAL ELECTIONS, THE HAVES AND HAVE-NOTS

On the surface, the Raleigh and Durham mayoral elections had little to do with each other. In Raleigh, it was a popular, if anodyne, incumbent seeking reelection in a thriving city. In Durham, the popular mayor of sixteen years had stepped aside, opening the field to newcomers, but the favorite was always the eventual victor, Steve Schewel.

But as the election results rolled in—

STORIES THAT MATTERED IN 2017 both in the first round in October and the second round in November—a clear dynamic took shape in each city. The white candidate—Schewel in Durham and Mayor Nancy McFarlane in Raleigh—was winning the whiter, more affluent areas, while the African-American candidate— Farad Ali in Durham, Charles Francis in Raleigh—was winning poorer, more heavily minority neighborhoods.

This dynamic was more pronounced in Raleigh than Durham; Schewel is generally well-liked and has made good in-roads with Durham’s black community over the last thirty years.

That wasn’t the case in Raleigh. There, the election and its aftermath painted a picture of a city divided along race and class. In short, the renaissance and growth Raleigh has seen over the last decade have made the whiter, affluent populations happy but left the less-welloff neighborhoods behind. And so, despite Raleigh’s preeminent place on every top-ten list you can imagine, there was an undercurrent of discontent that took Francis closer to the throne than many observers expected.

Both Raleigh and Durham have big problems with income inequality, growth, and development that hasn’t been equally distributed. The haves are prospering; the have-nots have been left behind. Durham’s city government has been largely aware of this problem and committed to trying to figure out how to rectify it. In Raleigh—well, McFarlane’s close shave served as a wake-up call. —JCB

WOMEN IN LOCAL POLITICS

The selection in December of Jessica Holmes as chairwoman of the Wake County Board of Commissioners completed a trifecta of sorts, with women occupying the Raleigh mayor’s office and the chair’s post of the Wake County school board.

It’s a first, with some implications for the city and county’s future, says Raleigh Mayor Nancy McFarlane.

“The more women that are visible to the public in elected office, the more it becomes the norm,” she says.

McFarlane won re-election in November for her fourth term following a runoff with Democratic challenger Charles Francis. Her only female predecessor was Isabella Cannon, the pioneering neighborhood activist who served from 1977–79.

And Monika Johnson-Hostler, the school board chairwoman, was chosen to head the panel again on December 6. She’s been a school board member since 2013.

Why does having women in these positions matter?

August 18: Hundreds of people amassed in downtown Durham to protest a rumored KKK rally. The Klan never showed up.

PHOTO BY ALEX BOERNER

“I believe that it is important for women to serve in public office, especially in a visible office, for many reasons,” McFarlane says. “It is important to be a role model for younger girls, to let them know that they have the ability to pursue any opportunity or occupation they wish.”

Holmes, meanwhile, has spoken out often for causes such as affordable housing, education funding and help for the homeless. Her election as board of commissioners chairwoman, part of a trio of female city-county leaders, can only help as Raleigh strives to keep its sometimes precarious reputation as a progressive city.

The change in local leadership is taking place amid a much broader backdrop of female empowerment—both in the record numbers of women running for office throughout the country and, lately, in the #MeToo movement that has arisen in response to high-profile sexual harassment and predation by prominent members of the media, government, and entertainment industry. There is also President Trump, an accused sexual predator himself, who—thanks to the Elec-

toral College—narrowly defeated the first woman to be nominated for president by a major political party in a campaign marred by misogyny and innuendo.

To put it mildly, women aren’t taking Trump’s bullshit lightly. And many of them are now seeking their own positions of power. —TG

THE DEADLY YEAR IN DURHAM LAW ENFORCEMENT

This year was deadly for people of color who encountered law enforcement in Durham.

Two people were shot and killed by police, and two others died at the Durham County Detention Facility.

Three Durham officers have been absolved in the shooting death of Kenneth Bailey on February 15, although Bailey’s family has continued to question the department’s narrative, which holds that he fled officers who were there to arrest him for violating the terms of his house arrest and later pointed a gun at them. (An autopsy revealed that he’d been shot in the right leg and the upper back.) A preliminary autopsy showed Willard Scott had

been shot in the back by a state trooper after a vehicle pursuit on February 12. The State Bureau of Investigation has completed its investigation into Scott’s death, but there’s been no word yet from Durham County District Attorney Roger Echols on any charges.

The Durham jail saw its tenth and eleventh deaths since 2000. Seventeen-yearold Uniece “Niecey” Fennell was found hanged in her cell on March 23. Forty-yearold James Staton was found unresponsive in his cell on November 5. No investigative or autopsy reports regarding Staton have been released.

State inspectors, however, found the jail was at fault in Fennell’s death—even if she committed suicide, which her family has refuted. A review by the state Department of Health and Human Services suggests Fennell had spoken about harming herself, but she was not placed on suicide watch per jail protocol. The review also indicates that guards didn’t check on inmates as frequently as required in the hours around Fennell’s death. —SW backtalk@indyweek.com INDYweek.com | 12.27.17 | 13

ARTS 2017

Rewind and Remind REFRESHERS AND UPDATES ON SOME OF THE MOST IMPORTANT ARTS AND CULTURE STORIES OF A TENSE 2017

BY BRIAN HOWE

This year, the nation seemed to shatter and swarm into new configurations on a daily basis. The Triangle’s arts and culture world was no exception. In JANUARY, the INDY started the year with quite a bang when Scott Crawford, the chef-owner of Raleigh restaurant Crawford and Son, refused to sell our restaurant critic, Emma Laperruque, a plate of food, personally coming to her table to throw her out. Apparently, Crawford was mad about two prior articles, one in which Laperruque wondered if Standard Foods, his former restaurant, was better off without him, and another Standard Foods piece in which she mentioned, by way of conjuring ambiance, that the bartender wore an Apple watch. (We’re still baffled as to why that was so offensive.)

The fallout? The INDY never reviewed Crawford and Son, the Triangle was divided on whether Crawford was courageous or cowardly, and Andrea Weigl, the News & Observer’s former food editor, followed her pro-Crawford report on the contretemps with multiple even more pro-Crawford pieces (though her own paper’s editorial board took the INDY’s side).

But January wasn’t all free-speech suppression: there was good news, too.

Raleigh’s Community Music School, which shut down late last year because of financial troubles, announced it would reopen after donors came through, ensuring that kids who can’t afford music lessons got to play on. And when Durham’s Horse & Buggy Press, Dave Wofford’s long-running letterpress shop and gallery, got priced out of the 401 Arts complex on Foster Street, it didn’t hang up its saddle. Instead, Wofford found a new spot on Broad Street and reopened in short order, making downtown’s loss Watts-Hillandale’s gain.

In FEBRUARY, Chapel Hill lost an institution when Chapel Hill Comics closed because of downtown development pressures and some poor business decisions by a new owner. (Luckily, the Ultimate Comics empire is going strong, turning its NC Comicon biannual.) Carolina Performing Arts scored a major coup for the Triangle’s national stature when it booked Glass at 80, a sprawling tribute to composer Phil14 | 12.27.17 | INDYweek.com

The dining room at The Lakewood

PHOTO BY ALEX BOERNER

ip Glass that otherwise was seen only in larger cities. Durham musician and author John Darnielle released Universal Harvester, a follow-up to Wolf in White Van, which was recently picked to become a film as part of Sundance’s Screenwriters Lab program.

In the food world, numerous Triangle restaurants joined the “A Day Without Immigrants” campaign, a work stoppage to highlight immigrants’ contributions to the local economy. Restaurants that did the right thing and closed included Cocoa Cinnamon, Dain’s Place, Don Becerra, Elmo’s Diner, Geer Street Garden, Centro, Gallo Pelón, Garland, and Merritt’s Grill.

MARCH and APRIL were blessedly calm for a change, other than Durham craft retailer The Makery and coworking space Mercury Studios joining forces as the Mothership and new restaurant Viceroy coming to Main Street in Durham

. Then, all hell broke loose in MAY. Some of it was good—Raleigh Provisions brought a small grocery store to downtown Raleigh; Alley Twenty Six added a full kitchen to its fancy cocktail menu; and Walltown Children’s Theatre, which is emerging as a vital Durham venue, inherited some assets from the dearly departed Common Ground Theatre—but more of it was not.

Baba Chuck Davis, the legendary founder of Durham’s African-American Dance Ensemble, passed away. Several months later, Michelle Gibson was announced as his replacement as artistic director, though our attempts to reach her for an interview have yet to bear fruit.

In the music world, queer punk band PWR BTTM was dropped from both Hopscotch and a Pinhook bill after sexual assault allegations against band member Ben Hopkins came out (but good for our local presenters for doing the right thing).

And we reported on our concerns about the

uneven allocation of city resources between Durham’s jazz-focused Art of Cool Festival and the tech-focused Moogfest, not to mention some of the appropriative branding of the latter. (We raised an eyebrow at such an expensive, elite festival having something called a “Protest Stage.”) Moogfest’s heart seems to be in the right place, if only its head can follow—it recently caused another stir by announcing its first wave of 2018 programming as a female, trans, and nonbinary bill without telling the artists they were being marketed this way, drawing a sharp rebuke from Caroline Polachek, who tweeted, “Furious to be (without approval) on an all-female & non-gender-binary announcement list for @Moogfest. Gender is not a genre. I don’t need a sympathy pedestal, esp from a male curator. Take my name off this list and put me in the pit with the boys.”

On a lighter note, if you missed it, one of our favorite INDY reads this year came

when music editor Allison Hussey dug up the tale of a little-remembered The Handmaid’s Tale movie filmed in Durham in 1989, which had a script by Harold freaking Pinter and sparked controversy by staging the hanging scene at Duke Chapel—without telling anyone at Duke Chapel.

In JUNE, Raleigh’s Sonorous Road Theatre moved into a new home in the Royal Bakery Building on Hillsborough Street, avoiding a closure (after N.C. State bought its former spot on Oberlin Road) that would have deprived us of a recent four-star production of The Gift of the Magi and our itinerant theater artists of a crucial performance space. And Quarter Horse opened to make sure Durham wasn’t left out of the barcade trend that brought the Baxter to Chapel Hill and Boxcar to Raleigh.

JULY was a mix of ups and downs—the North Carolina Museum of Art reopened its renovated African art galleries, giving them new prominence, while longtime Chapel Hill indie bookstore The Bookshop closed its doors—but the month was dominated by the furor around DSI Comedy Theater, whose owner, Zach Ward, was the target of multiple allegations of harassment, sexual misconduct, and unfair work practices, leading to the theater’s abrupt closure in AUGUST. It was a disgraceful warm-up for the #MeToo movement that was about to engulf the country. (Prominent Raleigh concert promoter Craig Reed was also effectively put out of business by a swell of social-media-borne accusations of misogyny.)

The hits kept coming throughout the hottest month. We praised the opening of Brewery Bhavana in Raleigh but got a lot more attention for our review of The Lakewood, the new high-end restaurant in the Lakewood neighborhood from Scratch chef-owner Phoebe Lawless. INDY food editor Victoria Bouloubasis took a community-journalism tack, bringing Mexican

port enterprise. Shortly before this issue went to press, Manbites announced the sale of its building at 703 Foster Street to Modern Energy, an energy asset management firm, for $1.1 million.

Another conflict brewing since July came to a head in August.

With the blessing of the City of Durham, the Afro-Brazilian drum ensemble Batalá Durham had been practicing in Durham Central Park for more than a year, until an anonymous resident of the Liberty Warehouse Apartments started complaining about the noise to the police department. Police officers began showing up at rehearsals, threatening to shut them down and issue citations for violating noise ordinances. But after the INDY reported on the conflict, other Liberty resThe INDY’s homage to The Handmaid’s Tale in idents offered their support for Durham PHOTO BY ALEX BOERNER Batalá, noting that they wouldn’t live downtown if they weren’t preimmigrants who had lived in the neighpared for the trappings of city life. Batalá borhood for twenty years to find out what Durham received a permit from the Durthey thought of the atmosphere and the ham City Council, and the group continued fare. The review was more balanced than to deliver its powerful percussion without the response, which was split between further issues. extremes—anxious progressives who felt Quick bits: N.C. State finally opened its unfairly called out on one side, activists renovated Gregg Museum of Art & Design and Latinx people who felt seen and heard to acclaim, Proxemic Media started a new at last on the other. These anxieties on both Third Friday dance series at Durham’s sides were understandable, at a time when Empower Dance Studio (which played a Lakewood is rapidly changing. Following part in studio owner Nicole Oxendine’s the Scrap Exchange’s move there, Cocoa Indies Arts Award this month), and the Cinnamon also opened a Lakewood locaINDY published an epic profile of visiontion in August, and a second Scratch locaary puppeteer Jeghetto, who also shared an tion came in the fall.

Indies Arts Award with other staff at the More Durham development woes came Afrofuturist youth center Blackspace. to a boil in August as Golden Belt jazz club The Shed abruptly shuttered, effecAfter such a chaotic August, we all settively run out by developer LRC Propertled down to lick our wounds for a bit in ties. The venerable Manbites Dog Theater SEPTEMBER before OCTOBER brought announced it would close after the 2017– a mixed bounty. The good: Culture Mill’s 18 season and rebrand as an artist-supArticulating Value symposium ignited a

conversation about white privilege in the Triangle arts scene that is still reverberating; Raleigh restaurant Joule became the winning St. Roch under Ashley Christensen protégé Sunny Gerhart; and Duke Performances earned national notices for its Thelonious Monk festival, which was also an auspicious official debut for Durham venue The Fruit.

The bad: Neptunes Parlour booked a show by Biff Rose, a comedy musician whose website is a stew of alt-righty racism and anti-Semitism, though at least the INDY’s reporting got the show cancelled.

Unfortunately, a Charlie Daniels show with the race-baiting title “Carolina Uprising” at Koka Booth Amphitheatre went on, though at least the INDY’s reporting made some people leery of it.

NOVEMBER brought the sad news that Chapel Hill institution the Chelsea, one of the area’s last old-school art cinemas, would close at the end of the year unless it found a buyer (no updates yet; we’ll keep you posted). But the bigger news was an arrival, not a departure. The INDY’s investigation into the culture of toxic masculinity, racial bias, and unaccountability that pervade the PIT, the New York-based improv theater that bought DSI Comedy’s Franklin Street space, garnered widespread support and gratitude from the comedy community and some pushback from people who didn’t get what the big deal was about a few rape jokes and a nonexistent sexual harassment policy.

The Triangle ended the year on a high note in DECEMBER when a bumper crop of local artists, including Sylvan Esso, Rapsody, and Iron & Wine, pulled down Grammy nominations. We hope that, in next year’s wrap-up, we’ll have more good news along these lines to report. But let’s be real—the purging process that began this year is not stopping any time soon, and we’re not going to stop following it until it’s done. bhowe@indyweek.com

INDYweek.com | 12.27.17 | 15

MUSIC 2017

The Year in Music

TRIANGLE BANDS PUT OUT A WHOLE LOT OF RECORDS THIS YEAR. HERE ARE TWENTY OF OUR FAVORITES.

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e’ve said it before, and we’ll say it again: 2017 sucked. But if you were paying even the slightest attention to what was happening in the Triangle’s busy music scene, you found plenty of bright spots. Some bands confronted catastrophe head-on in their songs, while others offered calm, introspective reassurances. Several longtime local acts pushed themselves even further in pursuit of their craft just as often as rookies made strong starts. Here, you’ll find twenty of our favorite releases from Triangle artists this year. We hope you like them, too.

AMA DIVERS

Shadow Seeking Sun Built from Renee Mendoza Haran’s field recordings that she made while on business trips, Shadow Seeking Sun is rooted in specific places (most of the song’s titles are GPS coordinates), but its familiar sounds make it feel placeless, too. Haran’s bandmates, Brian Haran and Chris Girard, wrapped her recordings with layers of fuzzy guitars and electronic elements, and her vocals are distant, inviting calls. The resulting album feels cozy and oddly comforting, something in which to fully immerse yourself and keep still.

—Allison Hussey

BODYKIT

No-NRG Good luck finding a 2017 record as gloriously wrecked as Bodykit’s No-NRG. The first full-length effort from former Whatever Brains members Rich Ivey and Josh Lawson is a blown-out exercise in primal rhythm. It contains some of the finest, strangest production on any synth record this year, national or local.

On the somehow danceable “Exploded 16 | 12.27.17 | INDYweek.com

World View,” gargled, sardonic vocals and fried-wire noise flurry around the relentless stomp of an off-kilter EBM groove.

It radiates an appreciation for eighties underground punk and synth music while scanning as exciting and fresh—a nearly impossible trick these days.

—David Ford Smith

DRUG YACHT

The Van Warmer A band named Drug Yacht— implying excess, impulse, and hedonism— should be loads of fun, and the band’s The Van Warmer is exactly that. A rock band of particular burl and brawny, twitchy energy, Drug Yacht delivers raw, full-tilt boogie that doesn’t skimp on whiplashing riffs or whip-smart humor, deftly balancing breakneck sprints, juddering paroxysms, and jocular triple entendres.

—Patrick Wall

FITNESS WOMXN

Macho City Fitness Womxn’s debut LP is equally angry and insightful in its delivery of the realities and frustrations that come with being female. With chugging bass lines, jagged guitar riffs, and take-no-prisoners percussion, Fitness Womxn offer extra catharsis and affirmation via pointed, shout-sung vocals.

Macho City’s lo-fi production means you’ll have to listen closely to pick up all the barbs the band throws, but you’ll be better off for hearing everything Fitness Womxn have to say. —Allison Hussey

JAKE XERXES FUSSELL

What in the Natural World The term “folksinger” is almost always misapplied these days, but not in the case of Jake Xerxes Fussell. He’s a real-deal interpreter of traditional American roots music, from semiforgotten Duke Ellington tunes to songs from the Georgia Sea Islands. But while his nimble fingerpicking and his deep dives into music history for material mark him as a bit of a folk scholar, he’s no hidebound traditionalist.

He brings something of his own to the table, giving every tune he touches on his second album a fresh and thoughtful spin. —Jim Allen

THE HOT AT NIGHTS

Three Kids Ever eclectic, The Hot At Nights keep evolving on Three Kids by diving into electronic territory, augmenting adventurous arrangements of eight-string guitar, saxophone, and drums with extensive synthesizer explorations. The virtuosic trio’s inventive, progressive jazz instrumentals defy constraints and conventions—deriving then contorting elements from the rock, R&B, roots, and rap music that its members craft in their many other projects— to cast compelling atmospheres. Three Kids is both thrilling and somehow singular, its only aspects that aren’t unexpected. —Spencer Griffith

IRON & WINE

Beast Epic August’s excellent Beast Epic was somewhat of a return to form for Iron & Wine, whose frontman, Sam Beam, now resides in Durham. On his last two Iron & Wine records, Beam leaned into dense fullband arrangements, pushing him beyond his usual gentle, folksy territory. On Beast Epic, Beam turns back toward simpler arrangements, but his songs shine brighter than ever. They unfold like delicate origami: they’re carefully assembled masterpieces, impressive in the details that lie in every crease. —Allison Hussey

RACHEL KIEL

Shot from a Cannon Chapel Hill’s Rachel Kiel has demonstrated her estimable talents for the better part of a decade, but October’s Shot from a Cannon was a game-changing tour de force. With its crashing harmonies, surprise melodic twists, and yearning vocals, the record finds Kiel—abetted by a surfeit of local talent—finally alchemizing her diverse influences into a unique organic whole: equal parts noisy garage pop, decorous folk, and psych-addled roots rock. —Elizabeth Bracy

MARY LATTIMORE AND ELYSSE THEBNER MILLER

And the Birds Flew Overhead This LP from harpist Mary Lattimore (a North Carolina native who now lives in L.A.) and keys/synth maven Elysse Thebner Miller

(Some Army, Jenks Miller and Rose Cross NC) is a little tricky, as it only got a small vinyl release from a boutique label based in Virginia. You can’t stream it anywhere.

But that’s part of the magic of this gorgeous, spellbinding collaboration. Recorded at Kings last March as part of Three Lobed Recordings’ Sweet Sixteen bash, the pair’s two sprawling, improvised compositions are sparkling getaways. Their thoughtful interplay is fascinating, and carefully listening to every melodic detail they unwind is nothing short of meditative.

—Allison Hussey

REESE MCHENRY & SPIDER BAGS

Bad Girl A match made in rock heaven, the powerful, bluesy wail of former Dirty Little Heaters leader Reese McHenry finds the perfect foil in the warped twang and blustery roar of gritty garage gods Spider Bags. Bad Girl proves that the two forces of nature are even more unstoppable together, erupting with explosive energy across the album’s first side before mellowing on the more tender back half. Either way, it’s shot with enough passion to make one’s hair stand on end. (Disclosure: Spider Bags bassist Steve Oliva is the INDY’s editorial and graphic designer.) —Spencer Griffith

PAT JUNIOR

black & mild EP After the positive reception of last year’s Learning to Live in a Day, pat junior went back to the drawing board in 2017 to reshape his production and songwriting style in a way that would help him more effectively express his journey as an artist and as a human.

What resulted was an EP called black & mild, a six-track project that delivers on the musical creativity of his beatmaking abilities and in the intimacy of how deep he’s willing to let his listeners into his psyche. —Charles Morse

RAPSODY

Laila’s Wisdom With two Grammy nominations under her belt and a sold-out tour, Rapsody has proven with September’s Laila’s Wisdom that hard work indeed pays off. The album features soulful production from the legendary 9th Wonder and guest verses from hip-hop heavy hitters like Kendrick Lamar, Busta Rhymes, and Black Thought. You can hear the growth in Rapsody’s cadence and flow, and she takes risks by manipulating sounds while offering clever wordplay and double entendres. —Kyesha Jennings

RGB

Burgeoning Formerly of excellent Raleigh synthpop duo Faux Fleurs, Raleigh’s Pranesh Kamalakanthan, aka RGB, revamped himself this year on Burgeoning, a sprawling and astral electronic record that cements him as one of the Triangle’s premier young producers. Endlessly evocative and psychedelic, with cathedralsize pads and a minute attention to sample choice, Burgeoning rewards those who dig deep for its charms. The precise sequencing makes this a sturdy listen front-to-back.

—David Ford Smith

KATE RHUDY

Rock N’ Roll Ain’t for Me Made with assists from members of Mandolin Orange and Mipso, Kate Rhudy’s debut LP proves the young singer-songwriter has already joined those acts as local roots royalty. Like many of the finest folk albums, Rock N’ Roll Ain’t for Me is largely filled with frank, melancholy lyrics as Rhudy reflects on relationships and ruminates on life. Stunning harmonies gently lift Rhudy’s plaintive melodies, but there are just enough toe-tappers and snark to keep things lively. —Spencer Griffith

AL RIGGS

Hell House On Hell House, this indefatigable singer-songwriter produced one of his strongest efforts yet, combining a poignancy with a willingness to travel into sometimes dissonant places. On tracks like “Go When You’re Lonesome,” delicate fingerpicking contrasts with Riggs’s plainspoken baritone to conjure the dark beauty of Nick Drake and the GoBetweens. Emphasizing a sparse sound, Hell House keeps Riggs’s musings, which are rarely straightforward, at the forefront, beckoning you to lean in and ponder.

—David Klein

SOLAR HALOS

08.21.17 This is a Solar Halos release in name only. It’s by no means a direct or even spiritual successor to the power trio’s selftitled 2014 release.

It’s stripped of the blazing stoner-rock group’s roaring amplifier distortion and thundering drum rolls, of Solar Halos’ insistent urgency.

Rather, 08.21.17 is a moody and mercurial two-part cello suite, the first half of which is accompanied by drums and filtered through myriad guitar effects; though it’s wholly improvised, it seems considered and throughcomposed, no note or mute out of place.

Released to coincide with this year’s solar eclipse, it’s the perfect soundtrack for a freaky natural phenomenon. —Patrick Wall

SYLVAN ESSO

What Now Few local bands have ascended to the heights of popularity reached

by Sylvan Esso.

The duo’s second record, April’s What Now, documents the band in a place of uncertainty, questioning success on songs like “Radio” and “Kick Jump Twist” and examining intimacy on “Die Young” and “Slack Jaw.” What remains firm and unquestionable in Sylvan Esso’s sound, however, is the unique way the outfit can lay smooth, hooky melodies over eclectic, driving synth bloops, making for lovely music even in the midst of uncertain times. —Noah Rawlings

TRANDLE

hi key low key Durham’s Randy Maples tries to bottle the world in his art. He spent much of this as one of the several young minds behind the eclectic and exciting Durham label and art collective Raund Haus. Operating under his production moniker, Trandle, on the exhilarating hi key low key, his reach is unlimited, jetting from menacing piano to breakneck footwork to fried ambient to chipmunk soul. These varied interests play out over forty minutes in a warped display of raw production power. —David Ford Smith

WAILIN STORMS

Sick City On Sick City, Wailin Storms fully delivers on the promise of its name, hitting listeners with a Category 5 noise-rock squall that brings to mind the best of Young Widows, Swans, and Samhain. There might not be a more thrilling (or more horrifying) song written by a Triangle act this year than “Irene Garza,” a true-crime song about the rape and murder of a Tejana beauty queen that rages between manic and maniacal. —Patrick Wall

G YAMAZAWA

Shouts to Durham G Yamazawa has managed to capture the attention of many outside of North Carolina via social media and a sequence of viral videos that demonstrate his undisputed skills as an emcee. His album Shouts to Durham is an ode to the Bull City, and the lead single, “North Cack,” is a spiritual successor to Petey Pablo’s “Raise Up,” that celebrates everything Southern. With features from fellow North Carolina artists, Shouts to Durham is filled to the brim with unique storytelling and upbeat anthems. —Kyesha Jennings music@indyweek.com

INDYweek.com | 12.27.17 | 17

FOOD 2017

The Year in Food

WOMEN ACTIVISTS CRUSHED IT IN THE FOOD SCENE, AND THEY’RE JUST GETTING STARTED

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isn’t enough, she says, if you don’t also consider the conditions of the workers who make all that food possible. “When as chefs we wonder whether a pork chop tastes better if the pig ate corn or nuts but we don't talk about the people who worked in the slaughterhouse where it was processed, we are creating a kind of theater,” she wrote in a stirring piece for NPR’s The Salt this summer. Her call to action asks fellow chefs to consider issues of racism, immigration, and wage inequality when thinking about their food. — Iza Wojciechowska

his year empowered us in the food world to pay extra close attention to the emboldened local women who make us proud. And, in 2017, women were not just celebrated as chefs, they also strengthened our communities through activism and conscious efforts to give back.

Here are a few.

SHORLETTE AMMONS Center for Environmental Farming Systems (CEFS) For years, Shorlette Ammons has led antiracism workshops and initiatives for N.C. State’s CEFS. She helps organize food councils around the state to ensure that the issue of racial equity in food and farming systems is always on the table. In 2017, she and Greensboro-based colleague Bevelyn Ukah focused on empowering youth through food narratives, collaborating with public libraries and child care facilities to create learning packets that root life lessons in food traditions. Growing up in eastern North Carolina, Ammons says this “used to be my story. Now it’s their story.

[I’m working with] kids of white farmers and kids from farm-working families. It got me thinking about whose narrative is elevated.” —Victoria Bouloubasis ASHLEY CHRISTENSEN, AC Restaurants Ashley Christensen’s long-awaited first cookbook, Poole’s: Recipes and Stories from a Modern Diner, was published at the end of last year but quickly found its way into kitchens across the country, divulging the secrets of her mac and cheese au gratin. More important, Christensen solidified her position as an outspoken ally. After decrying HB2 last year, she again sent a strong message to her customers and the industry, this time about sexual harassment in the restaurant world. In a long Facebook post, she opened up about an incident at her own restaurant and the steps her team took to address it. “While these reports are difficult and disheartening and confusing, I’m grateful for the spotlight that it’s shining on the work that needs to be done,” she wrote. “Lewd language and behavior is so often overlooked or tolerated in restaurants, and as leaders, we have to take the steps to cleanse our industry of this.” For this, Eater named her chef of the year. —Iza Wojciechowska 18 | 12.27.17 | INDYweek.com

Angela Salamanca (above) PHOTO BY ALEX BOERNER Cheetie Kumar PHOTO BY JEREMY M. LANGE CHEETIE KUMAR, Garland In February, Cheetie Kumar, chef and owner of Garland in downtown Raleigh, was nominated for the James Beard Award for Best Chef: Southeast. “This was not on my radar at all,” she laughs.

“I definitely thought I was like four or five years away from being looked at.”

Her nomination served as an affirmation, given that the musician didn’t end up as a chef and restaurant owner through a normal trajectory. Kumar also participated in fundraisers fighting childhood nutrition scarcity in North Carolina and put out a new album—Operator’s Midnight—with her band, Birds of Avalon.

She is looking forward to finding more balance and harmony in 2018 with a trip to India for the first time in eighteen years. Kumar’s mother passed away last year, and she wants to visit and reconnect with her roots. “I never realized it, but she was the anchor that made us Indian. I just really need to know where I fit into all of that.” —Laura White

VIMALA RAJENDRAN Vimala’s Curryblossom Café Vimala Rajendran has long understood the need for restaurants to be gathering spaces, with a symbiotic relationship to the community. She has extended the motto “Vimala Cooks, Everybody Eats” to provide free meals for newly settled refugee families, both through organizations and her own community Thanksgiving dinners, now two years running. The nonprofit Curryblossom Foundation launches in 2018, to meet the needs of the working poor, she says, whether it's through food or other assistance. As always, anyone can walk into the restaurant and order a meal on the house, made possible through a community fund. —Victoria Bouloubasis ANDREA REUSING Lantern and The Durham As a James Beard Award winner and executive chef of two Triangle restaurant darlings, Andrea Reusing obviously thinks a lot about food and its origins. But whether strawberries are grown locally or chickens roam free

ANGELA SALAMANCA, Centro Creating community and sustaining it might just be why Centro celebrated a decade in September. Angela Salamanca and her crew have a longstanding tradition of service. In February Salamanca closed the restaurant so that her staff could participate in the Day Without Immigrants. This spring Centro hosted a brunch to benefit Alerta Migratoria, a Durham-based resource for undocumented immigrants seeking asylum. At work, the crew has been educating employees about their rights. Centro also hosts an annual Dia de los Muertos 5k, which just ran for a seventh year, to benefit the Brentwood Boys and Girls Club—the after-school programs which serve a population that is 98 percent Latino. Next year she hopes to work with Brentwood to raise funds for a new building. —Laura White STEPHANIE TERRY Sweeties Southern & Vegan Catering Stephanie Terry officially launched her catering business this year, which she proudly calls anti-racist. Terry shares her vision of an equitable society through her own experiences as a community organizer and a formerly homeless single mother of five. “There are historical roots in economic inequity," she says, a refrain that serves as a reminder to foodies who have been duped into thinking all soul food or Southern food is unhealthy. By catering Triangle anti-racism workshops and cooking for Durham Co-op Market’s Meatless Monday buffets, Terry roots her food in tradition with tweaks to highlight nutrient-rich, seasonal ingredients. She reminds us that we all deserve to indulge in good food. —Victoria Bouloubasis food@indyweek.com

YOUR WEEK. EVERY WEDNESDAY. Raleigh's Brewery Bhavana was voted among Bon Appetit's top ten restaurants in America. PHOTO BY ALEX BOERNER

FOOD • NEWS • ARTS • MUSIC

The Year in Restaurants

OUR RESTAURANT SCENE MADE BIG WAVES IN 2017

BY VICTORIA BOULOUBASIS If there’s been a common allure to the restaurants that opened in the Triangle this year, it swam in on a siren song. We sang the praises of every new seafood restaurant.

In Raleigh, the much anticipated openings of St. Roch and The Cortez gave us fresh local oysters whenever we want them. Both offer stellar cocktail lists that pair with menus inspired by more than just the North Carolina coast. St. Roch serves Cajun baked oysters that have become a standard winter bar food in lush, classic environs. The Cortez maintains vacation vibes year-round with an assortment of sharp ceviches reminiscent of the culinary renaissance happening now in Ensenada, Mexico, with Tiki-inspired cocktails that are fun wherever you are.

We even relished the seafood plates at new restaurants that are focused on other

things. A shining dish on Alley Twenty Six’s new dinner menu is the fried oysters. When H Mart opened with a Korean food court, we raved about the seafood paejon from the So Gong Dong food stall, a perfect savory pancake. MOFU Shoppe and Brewery Bhavana are both known for their dumplings.

But MOFU’s green curry mussels stand out from its meat heavy menu. And the whole fish steamed in banana leaf is a must at Bhavana, especially when participating in the community ethos of shared plates for which the restaurant has become known.

(Bhavana also made Bon Appetit's list of top ten restaurants in America.)

And then there are the newest ventures to open, of which we’ve only had a small taste. Saint James in Durham, the latest from Matt Kelly, mimics the seafood towers

of Vin Rouge, where the chef got his start, with a raw bar that has everything from lobster to Mexican-inspired aguachiles. Two fine dining chefs are prettying up ugly fish with high-end flair at Postal Fish Company in Pittsboro, complete with a beachy key lime pie. And Saltbox Seafood Joint finally opened a second location for neighbors in Lakewood and Forest Hills.

This is good news for our health, right?

We’re heading into 2018 eating clean.

As the year ends, INDY restaurant critic Emma Laperruque is off to her next adventure. She has accepted a job in New York as a food writer and recipe developer for Food 52. We’ll miss her unabashed wit, fair critiques, and cooking chops, and wish her the best of luck. food@indyweek.com

INDYWEEK.COM INDYweek.com | 12.27.17 | 19

STAGE 2017

The Year in Theater

OUR CRITIC SELECTS THE BEST PLAYS OF 2017, PRESENTED IN CHRONOLOGICAL ORDER

BY BYRON WOODS THE DELTA BOYS: ORLANDO (Manbites Dog Theater, Jan. 12–28) This smart, styl-

ish take on Virginia Woolf’s novella was exceptional in all aspects, including Elsa Hoffman’s intricate metal set silhouettes, Joseph Amodei’s lighting, and Kim Black’s costume design. Even more remarkable, superlative actors Skylar Gudasz, Rajeev Rajendran, Caitlin Wells, Dale Wolf, and Emmett (then Emily) Anderson in the title role, shared directing duties while confidently escorting us through Sarah Ruhl’s daunting stage adaptation, across a halfmillennium of developments in gender roles, all in eighty thrilling minutes.

MANBITES DOG THEATER: BRIGHT HALF LIFE (Manbites Dog Theater, Feb. 16–Mar. 4) What Duncan Macmillan’s Lungs did last season for a heterosexual millennial pair, Tanya Barfield’s affecting domestic drama does for an interracial lesbian couple, tracing the consequences of decisions small and large as the shock waves resonate throughout their relationship. Under Jules Odendahl-James’s direction, Tamara Kissane made striking new discoveries as an actor; by the time we really started worrying about the two, we already knew newcomer JoRose’s chemistry with her was legit.

BURNING COAL THEATER COMPANY: THE ROYALE (Murphey School Auditorium, Apr. 6–23) We could all but smell the sweat when set designer Trevor Carrier took us ringside to a boxing parlor more than a century ago, as Jay “The Sport” Jackson (Preston Campbell) crossed the border between calisthenics and jazz, pounding out the polyrhythms with his sparring partner, “Fresh Fish” Hawkins (Sheldon Mba). Playwright Marco Ramirez zeroed in on the psychological inside game as both prepped for a historic first interracial prizefight for the heavyweight crown.

BARTLETT THEATER: THE SEAGULL (5612 Cabe Ford Road, May 20–29) Stanislavski be damned; Anton Chekhov insisted he was writing comedies. Though it took 20 | 12.27.17 | INDYweek.com

Orlando

PHOTO BY ALEX MANESS

more than a century for British playwright Anya Reiss to take him up on the proposition, her sparkling 2012 adaptation ably proved his point—well, until the third act at least. Under Jonathan Bohun Brady’s direction, one of the year’s strongest ensembles took us across the grounds of a historic country house for a springtime foray into the tragicomic self-centeredness of artists and other selected jerks.

NCSU THEATREFEST: FULL GALLOP (Kennedy-McIlwee Studio Theatre, Jun. 9–24) The role of maverick mid-century tastemaker Diana Vreeland seemed as tailored for seasoned stage veteran Lynda Clark as director and costume designer John McIlwee’s slinky top-and-trousers couture. Equal parts solo show and acting master class, Clark’s performance conveyed the caged and cagey energies of a fashion genius at bay—uncertain of her next move after being unexpectedly fired from the top spot at Vogue—with precision and panache.

BURNING COAL THEATRE COMPANY: THE GREEKS (CAM Raleigh, Jun. 9–25) Ian Finley and Alex Tobey’s austere, streamlined, hauntingly contemporary adaptations of Oedipus Rex, Oedipus at Colonus, and Antigone reminded us that, because humanity is still grappling with autocracy, hubris, and unmerited exile after 2,500 years, the classics truly never go out

Lombardi

PHOTO BY ALEXA BLAZEVICH

of style. Jess Jones and Jonathan Able’s uncanny Chorus led us downward through the galleries of CAM Raleigh as tragedy unfolded in striking performances by Sean Wellington, Freyja Sindemark, George Jack, Mark Filiaci, and Ellie Barone.

THEATRE RALEIGH: LOMBARDI (Kennedy Theatre, Jul. 19–30) Coach Vince Lombardi was a nexus of contradictions: a gridiron micromanager whose famous power sweep play gave his players unprecedented autonomy on the field and a deeply principled autocrat who loved—and verbally and physically abused—his players and his family. Under Charlie Brady’s sterling direction, David Henderson’s latest careerdefining role got at the soul of a man isolated from those around him by a merciless drive for perfection.

STREETSIGNS CENTER FOR LITERATURE AND PERFORMANCE: CLOSER THAN THEY APPEAR (UNC’s Swain Hall, Sep. 14–Oct. 1) When actor Trevor Johnson’s Iraqi veteran sought to dial down his PTSD through a new virtual reality therapy, there was more than one ghost in the machine that Elisabeth Lewis Corley’s doctor used to treat him. Smita Misra was compelling as a young Fallujah woman who somehow haunted the digital scenarios until a simulation of war ultimately became something else entirely. Jared

Mezzocchi and Christopher Baine’s noteworthy tech supported Joseph Megel’s nuanced direction.

MANBITES DOG THEATER: LIFE SUCKS. (Manbites Dog Theater, Oct. 26–Nov.11) What are we going to miss when Manbites Dog Theater closes next year? Everything here: strong individual performances from an all-star cast including Rhetta Greene, Jock Brocki, Jessica Flemming, and Thaddaeus Edwards; an unshakable sense of place, world, and, above all, ensemble, under artistic director Jeff Storer; and a puckish, insightful, and contemporary script that fundamentally upgrades the Chekhov classic it’s based on. Geez, life is gonna suck when Manbites Dog is gone.

RALEIGH LITTLE THEATRE: PERFECT ARRANGEMENT (Cantey V. Sutton Theatre, Oct. 27–Nov. 12) The chemistry between Paul S. James, Benoit Sabourin, Amelia Sciandra, and a career-best Lauren Knott formed the heart of this production as two couples—one gay, the other lesbian— who thought they’d created an impermeable shelter at the height of the McCarthy era’s “Lavender Scare.” But as Topher Payne’s script tilts from domestic satire to desperate self-preservation, audiences got a good look at the terrors proponents of N.C.’s benighted “bathroom bill” were trying to reintroduce. bwoods@indyweek.com

ARTS 2017

The Year in Dance

OUR CRITIC SELECTS THE FIVE BEST DANCE PERFORMANCES OF 2017, PRESENTED IN CHRONOLOGICAL ORDER

BY MICHAELA DWYER impressive large-scale collaboration. The dancers left ghostly imprints on the building as construction cranes hovered nearby.

PAM TANOWITZ AND SIMONE DINNERSTEIN: NEW WORK FOR GOLDBERG VARIATIONS (Reynolds Industries Theater, October 6 & 7) Commissioned by Duke Performances, the modern dance choreographer (Tanowitz) and classical pianist (Dinnerstein) pursued a daunting mission: to pay homage to Bach’s legendary music while fashioning it into a new work of art. As Dinnerstein drew Bach’s work into her own generous gestural world, Tanowitz’s dancers encircled her with idiosyncratic movements. The result was a sublime stream of dances that delighted in the nuances of artistic interpretation.

Murielle Elizéon: Brown PHOTO BY BRIAN HOWE

AMERICAN DANCE FESTIVAL: FORTIETH ANNIVERSARY SEASON (Various venues, June–July) More than any one performance, the symbolic weight of the American Dance Festival’s fortieth season in Durham deserves a nod. Since 1978, this major international festival has made its home here, training hundreds of dancers each summer, showing the work of renowned choreographers, and, increasingly, integrating its programming into Durham’s yearround dance offerings. ADF’s partnership with Duke and the city has coincided with a period of massive growth for each, and has helped make Durham a dance destination.

COMPANY: NO. 19/MODULATIONS (CCB Plaza and 21c Museum Hotel, July

19–24) Under a humid late-July sunset, people gathered around the bull statue at the corner of Corcoran and Parrish. We turned our attention to our phones and to the nearby exterior of 21c Museum Hotel.

Both became portals as we watched the precise dancers of Justin Tornow’s COMPANY—beamed in via live video from ADF’s Scripps Studios across town—move in geometric patterns throughout this

MURIELLE ELIZÉON: BROWN (Monkey

Bottom Collaborative, December 3 & 4) In vignettes of great violence and great tenderness, Culture Mill codirector Murielle Elizéon invited us into memories and associations with death, dancing, and domestic violence. At one moment, she whispered a monologue; at another, she pounded her own skin. This remarkable solo performance (and the facilitated discussion afterward) invited us to hold space for our own remembrances, bringing a group of strangers into cathartic connection.

STEPHANIE LEATHERS: SUNDAY SITES (Various venues, various times) Local dance artists’ preference for “unconventional” spaces—bars, warehouses, and so on—has become a hallmark of our scene.

The enterprising interdisciplinary artist Stephanie Leathers has been at the forefront of this push, using her site-specific Sunday SITES series as a movement investigation into downtown development. This year, SITES became a generative platform for other local dance artists (including The Bipeds and Anna Barker) and audiences alike to consider how performance work fits into busy sidewalks and skate parks. arts@indyweek.com

PHOTO BY SAMUEL MONTGOMERY-BLINN

The Year in Books

THE TRIANGLE PRODUCES ALL KINDS OF BOOKS, BUT ITS GENRE WRITERS MAKE THE MOST NOISE. HERE ARE SOME OF OUR FAVORITES OF 2017.

BY SAMUEL MONTGOMERY-BLINN There was plenty to love about the year in speculative fiction by local authors, especially for those whose thoughts turn toward the stars.

Mur Lafferty’s Six Wakes sets interstellar sail for a distant colony with a motley crew of clones at the controls. Unfortunately, all six wake up in the cloning bay surrounded by their own murdered bodies, with no memories of who killed whom or why their ship is now drifting off course.

John Kessel’s The Moon and the Other envisions a system of colonies on the moon.

In one, the Society of Cousins, women have nearly all political power, leaving men to pursue athletic, musical, and sexual interests. In another, Persepolis, those who can’t afford air and water are frozen until a capitalist thaws them out and makes them indentured servants. When a prodigal expelled from the Society of Cousins after a failed rebellion returns from Persepolis, histories and cultures collide, with high

technological stakes threatening the balance of power.

Gray Rinehart’s debut novel, Walking on the Sea of Clouds, follows three couples on the frontier of the first lunar colonies, with excellent technical attention to detail and well-drawn, diverse characterizations—no surprise, as Rinehart is both a former commander of the Air Force’s largest satellite-tracking station and a Hugo Award nominee for his short fiction.

David Drake’s The Spark is unlike anything else of his I’ve read. Best known for his military science fiction, space opera, and epic fantasy, Drake blends far-future world-building with a fantasy sensibility drawn from Arthurian legend. In naïve, earnest Iowan prose, young Pal embarks on his path from frontier farming to becoming a Champion of Humanity. He explores a surreal cyberpunk road connecting disparate human settlements, threatened by frightening creatures and using rediscovINDYweek.com | 12.27.17 | 21

ARTS 2017 ered ancient artifacts as energy weapons and shields.

Lewis Shiner’s first collection in eight years, Heroes and Villains, collects his Subterranean magazine novellas The Black Sun (2014, nominated for both the Locus Award and Sidewise Award) and Doctor Helios (2013), and two new novellas. These unconnected pieces tide us over as we wait with high anticipation for his next fulllength novel.

When the apocalypse arrives, it probably won’t take the form of a retroviral plague loosed by an unsavory manufacturer of hair relaxers. Nonetheless, Michele Tracy Berger’s Reenu-You takes us through the lives of five women in the early days of just such a scenario. Profane, funny, and moving, it’s a taut, well-woven novella of friendship, loss, and abuse of power.

Fear not, fantasy fans: you have not been forgotten. Natania Barron has two novellas for you. In her dark, lush, lyrical epic fantasy Wothwood, revenge, desire, and adventure await in “the wood where the world is broken.” Meanwhile, in her smart, wickedly fun historical urban fantasy Frost & Filigree, we meet a pair of supernatural beings living in a Gilded Age Tarrytown, New York, who are investigating murders being committed by an unknown beast of darkest evil.

It’s hard to pin down a genre for John Darnielle’s second novel, Universal Harvester, in which a small-town video clerk discovers disturbing footage on returned tapes. Like Darnielle’s impeccable debut, Wolf in White Van, the book is unsettling and riveting—an intense character study with more questions than answers. Darnielle pulls the reader along with a gravity generated by the twin stars of suspense and longing.

If you’re looking for something outside of speculative fiction, Eryk Pruitt’s What We Reckon perfects his Southernfried Fargo-noir sensibility, taking a pair of career drifters into the East Texas countryside and letting all hell tear loose.

For those interested in writing as well as reading, Lafferty’s I Should Be Writing: A Writer’s Workshop is much more than a simple distillation of her award-winning podcast. Lafferty offers no-nonsense tips, engaging exercises, and encouragement in a wonderfully designed book. Plus, colorful speech bubbles of sarcasm (both a “Bully” and a “Muse”) entertain and motivate you along the way. arts@indyweek.com 22 | 12.27.17 | INDYweek.com

The Year in Visual Art

AESTHETICS BE DAMNED—OUR ART CRITIC ONLY HAD EYES FOR POLITICAL AND SOCIAL RELEVANCE IN 2017

BY CHRIS VITIELLO

I try to be balanced in my critical approach, but this year I wasn’t. If you weren’t making or showing work that was relevant to political or social resistance, I didn’t much bother with it.

That said, plenty of exhibits this year stayed with me. I keep thinking about Nina Chanel Abney’s work since Royal Flush closed at the Nasher in July. At first glance, I thought the bright colors and patterns of her hybrid scenes and figures interfered with their Afrofuturist power. But the cleareyed directness that emerges from the visual noise quickly redoubled that power and made me aware that the eyes I was seeing through are those of a white, straight, middle-class man. Suddenly, all of the presumptions that I had carried into the galleries as truths were revealed as the real noise in the room.

In other words, this show Nina Chanel Abney: "Ivy and the Janitor in January" COURTESY OF KRAVETS WEHBY GALLERY/THE NASHER challenged me and changed the way I look at art now.

Critics and casual art-goers alike rarely organized significant shows of André crucial shows in Durham. January’s get to say that.

Leon Gray’s work at The Carrack in Nasty Women was one of more than thirty NCMA’s reinstallation and expansion the spring and William Paul Thomas at nationwide sister shows to the art and of its African galleries, which opened in Raleigh’s Anchorlight in February. activism phenomenon that began at the June, was another revelation. Ranging Plenty of other shows were terrific and Knockdown Center in Queens. Focused from ancient artifacts to an overwhelmrelevant in 2017, including work from the on women’s rights and social issues, the ing mural by Nigerian-born, Washington, Subverbal Collective at both The Carrack wild and wonderful exhibit raised more D.C.-based artist Victor Ekpuk, the perand VAE, The Supernatural at 21c Musethan five thousand dollars for Planned manent exhibit combines works from difum Hotel, the continuing collaboration Parenthood and provided a high-enerferent eras to show thematic connections between visual artist Heather Gordon and gy, positive focal point at the moment of not just across centuries but across the choreographer Justin Tornow at CAM Trump’s inauguration; it was also a preAfrican diaspora. Ekpuk’s mural seems Raleigh, and the annual MFA show at the monition of the #MeToo movement. And somehow both ancient and alien, with a Ackland Art Museum at UNC-Chapel Hill.

Anthony Patterson’s Full Circle, which meaning that changes depending on the And plenty more shows just did what just closed Dec. 24, looked at police viocontext you bring to it. Overall, the exhibit they’ve done for years, pretending that the lence against black Americans through is an engaging and varied historical founart they hang on their walls doesn’t have abstracted, tortured figure drawings and dation for African-American consciousto relate to what goes on outside those remarkable poetic narratives written on ness in this moment of resistance. walls. Keep the pedal down, people. the gallery walls. Patterson’s show is part The Carrack bookended the year with arts@indyweek.com of the Black on Black Project, which also

The Year in Film

SCREEN 2017 CRITICS’ PICKS

OUR CRITICS SELECT THE TEN BEST MOVIES (PLUS FOUR PERSONAL PICKS) OF 2017

BY LUKE HICKS, BRIAN HOWE, LAURA JARAMILLO, GLENN MCDONALD, AND NEIL MORRIS 7. A GHOST STORY

At first glance, it looks like the worst kind of art-school pretension: a ghost story starring a guy in a bed sheet with holes cut out for the eyes. But director David Lowery makes it the year’s most thematically ambitious film, directly engaging blunt questions about life and death that we generally prefer to avoid.

Why are we here? What happens next? Casey Affleck and Rooney Mara explore some unsettling possibilities. —Glenn McDonald

The Florida Project PHOTO BY MARC SCHMIDT

1. GOOD TIME

Raw, rambunctious, and funny, Good Time redeems American cinema from the doldrums of pre-packaged comic-book franchises and inert middle-class dramas.

Connie Nikas (Robert Pattinson) traverses New York’s five boroughs, stealing and jumping fences, to rescue his mentally ill brother from a state-run facility. Dramatizing Connie’s odyssey with desperate dark humor, Ben and Josh Safdie emerge as unique filmmakers capable of toeing the line between exploitation and gritty social realism with actual heart. —Laura Jaramillo

2. GET OUT

Writer-director Jordan Peele pulls off an impossibly difficult maneuver with the fabulous, timely Get Out, delivering a real American horror story about race and violence that also works as grim satire. Peele understands that timing is key to both comedy and horror, and his beautifully crafted script unwinds with clockwork precision.

It’s the movie we didn’t know we needed until we saw it. —Glenn McDonald

3. THE FLORIDA PROJECT

After finding success by shooting Tangerine on iPhones, Sean Baker didn’t have to shoot on iPhones anymore. But this biggerbudget follow-up shone with the same intimacy, immediacy, and empathy, portraying the precarity and dignity of low-income families on the margins of Walt Disney World, so close to an American dream they can’t reach. The Florida Project is heartbreaking, heart-lifting, and hilarious, down to its perfect final scene. —Brian Howe

8. LADY BIRD 4. I AM NOT YOUR NEGRO

Raoul Peck’s doc about James Baldwin is required viewing for all Americans, this year, next year, and every year to come until his words cease to resound with insight and prophecy about the inner workings of white supremacy. Baldwin’s hypnotic authority is such that one feels racists would implode like dying stars if only they could be made to listen—a fantasy, no doubt, but one that speaks to the power of Baldwin’s thought and this film. —Brian Howe

5. PERSONAL SHOPPER

Writer/director Olivier Assayas can’t miss.

His newest film casts Kristen Stewart as Maureen, who is obsessed with the spirit of her dead twin brother and works as a personal shopper for a Lady Gaga equivalent in Paris. Stewart delivers one of the most emotional, tremble-inducing performances of the decade. A totally original blend of art horror and existential spiritual exploration becomes a narrative maze of thrills that will leave you speechless. —Luke Hicks

6. THE KILLING OF A SACRED DEER

Dark comedy reaches a new level in writer/ director Yorgos Lanthimos’s follow-up to The Lobster. Lanthimos wants you to question whether you are allowed to laugh at this bizarre, suspense-ridden film, which plays out like a demented game of “Would you rather?” Colin Farrell, Nicole Kidman, and relative newcomer Barry Keoghan hilariously convey Lanthimos’s deadpan dialogue without hindering the stark, severe drama beating at the heart of the film. —Luke Hicks

Christine “Lady Bird” McPherson (Saoirse Ronan) is an early-aughts high schooler growing up in Sacramento yet yearning for the bright lights of New York City, much like her creator, the writer-director Greta Gerwig.

Lady Bird’s ensemble cast is awards worthy, in a film that treats even its antagonists complexly and evenhandedly. This is an astute, refreshing coming-of-age dramedy, but it’s more than that—it’s a paean to home and how we are the product of our formative setting.

—Neil Morris

9. BLADE RUNNER 2049

Thirty years after the original sci-fi film noir classic, a laconic blade runner—an obedient LAPD replicant named K (Ryan Gosling)— makes a discovery that threatens to further blur the divide between humans and their avatars. Director Denis Villeneuve amplifies philosophical and religious themes, from creation and mortality to humankind’s technological and moral trajectory. The original’s visionary cinematography gets an update from the incomparable Roger Deakins, producing an eye-popping postmodern landscape of neon and chiaroscuro. —Neil Morris

10. NOCTURAMA

Bertrand Bonello’s Nocturama, perhaps the most chronically slept-on film of the year, is a riveting hybrid of action thriller and philosophical excursus on the dissolution of the social contract. The cast of stonefaced Parisian youths from different walks of life who band together to plan a bomb attack on the city, captured with hyperkinetic digital cinematography, presents a startling document of twenty-first-century alienation and inequality. —Laura Jaramillo

LANDLINE The collaboration between filmmaker Gillian Robespierre and comedian-actor Jenny Slate is among the most exhilarating in independent film. A follow-up to Obvious Child, their brilliant 2014 debut, Landline expands on the pair’s weird and wonderful dynamic with the story of an eccentric Manhattan family in the go-go nineties. The film caroms gleefully from filthy jokes to raw confessionals, with terrific performances from John Turturro, Edie Falco, and Abby Quinn.

—Glenn McDonald THE POST Steven Spielberg can make a better movie using muscle memory than most filmmakers can using their fullest efforts. Every element in The Post is finely crafted, from the scene construction to a hefty cast led by Meryl Streep and Tom Hanks.

Based on The Washington Post’s publication of the classified Pentagon Papers in 1971, the film is also a polished polemic, drawing on our contemporary zeitgeist to reiterate the importance of a free, independent press. —Neil Morris FOXTROT You will not experience the profound sorrow and magnanimous relief of Israeli director Samuel Maoz’s Foxtrot anywhere else. The gorgeous cinematography, fifteen-minute animation insert, and nonlinear progression combine to form a wildly imaginative look into familial love and loss that is grounded by stellar performances. (It was also controversial, denounced by Israel’s Minster of Culture for its portrayal of an Israeli Defense Force cover-up of the shooting of four Arab youths.)

—Luke Hicks BEATRIZ AT DINNER This discomforttinged drama poses as a mild comedy of manners. When Beatriz (Salma Hayek), a Mexican massage therapist, is accidentally invited to a business dinner at her boss’s house, tensions mount as she submits the group to a series of moral and ethical confrontations. Mike White and Miguel Arteta’s script quietly worms into the deepest chambers of American anti-immigrant sentiment and prods at its most tender parts until the deepest antagonisms become visible. —Laura Jaramillo

INDYweek.com | 12.27.17 | 23

PEt of the WEEK

HI. MY NAME IS LEON TONGO.

My family had me for 12 years, and sadly they were unable to keep me where they now live, so here I am, looking for a new home. They left some information about me to help my future adopter. I am GOOD with younger and older kids (always supervise children with any new pet), I play with dogs, but NO CATS for me. I also lived outside, but I’m sure with some guidance, I can learn how to be a spoiled pooch snuggling on my own doggie bed indoors! The volunteers here learned that I am GOOD ON A LEASH, TREAT MOTIVATED, I know SIT (for a treat, of course), and I am an ALL AROUND BIG, GENTLE GUY. In PLAY GROUP here at the shelter, I was appropriate, gentle, and even a little spunky with another female dog. So, if you want to share your life with one big HUNK OF A GUY, you’ve come to the right place! If you need tips about how to introduce me to other pets, please ask staff for assistance.

My adoption fee includes my neuter surgery, vaccinations, microchip, and much more. HANDSOME PAWS, LEON

For more information: https://pets.wakegov.com/gallery/164312 If you’re interested in featuring a pet for adoption, please contact advertising@indyweek.com 24 | 12.27.17 | INDYweek.com

Boom Unit Brass Band

12.27–1.3

FRIDAY, DECEMBER 29

BOOM UNIT BRASS BAND

Regardless of your musical tastes, there’s nothing quite as affecting as a big brass band. Done correctly, a brass band can wield a power that dwarfs that of Thor’s hammer, with a range of tones and timbres that shine as brightly as the instruments themselves. Chapel Hill’s Boom Unit Brass Band trades in exactly this sort of stuff. But beyond traditional, New Orleans-style second line jams, the ensemble also offers rousing covers that range from rock numbers like Rage Against the Machine’s “Killing in the Name” and Weezer’s “Say It Ain’t So” to pop hits like Bruno Mars’s “Uptown Funk.” They’re likely to blow the roof off Durham’s little Bullpen, but if you need some extra invigoration to push you over 2017’s finish line, they’ll do the trick. Prepare to party. —Allison Hussey THE BULLPEN, DURHAM | 8:30 p.m., free, www.thebullpenatc.com

SATURDAY, DECEMBER 30

THE MUSLIMS

For marginalized people, simply existing in public can be a radical act. That’s one of the tenets of The Muslims, a rowdy young punk act out of Durham. Its members are all queer people of color, and its songs are all short, mighty blasts against forces of oppression. The band summed up its multilayered mission statement in late November on Facebook: “We’re here to shit on all forms of white supremacy and fragility, Islamaphobia, homophobia, fuckboyism, liberal gummies, hipster trash cans and anyone who dislikes candy corn.” Well, there you have it, though we’re not quite sure what qualifies as a liberal gummy (Haribo? Trolli? Weird nonspecific off brands?). Durham’s Sister, Brother opens with an unsettling and immersive set of scattershot, synthy noise compositions. Plus Bucket and Truth Club. —Allison Hussey THE CAVE, CHAPEL HILL | 9 p.m., $5, www.caverntavern.com

WHAT TO DO

THIS WEEK

On Your Feet! PHOTO

COURTESY OF DPAC.COM

TUESDAY, JANUARY 2–SUNDAY, JANUARY 7

ON YOUR FEET!

THURSDAY, DECEMBER 28

The critics largely agree: the Chicago Tribune, The New York Times, and The Washington Post all call On Your Feet!, the story of pop sensations Emilio and Gloria Estefan, one of the better jukebox musicals of the last few years. Yes, they all ding the formulaic conventions of that genre: rags-to-riches storyline? Check.

Commercial polish? Yes. Self-congratulatory book? A given, since the subjects participated in the project. But the critics then say what makes it special. “The very air in the room seems to vibrate” as the show “roars through the up-tempo dance numbers,” says the Times, while the Tribune finds that Sergio Trujillo’s choreography “pays joyous and authentic tribute to the heritage of the Cuban people.” Noting the couple’s hits, including “Rhythm Is Gonna Get You” and “Conga,” the Post concludes, “If the Estefans’ musical remains pretty much by-the-numbers, at least those numbers really rock.” The dance floor’s open at DPAC. —Byron Woods DURHAM PERFORMING ARTS CENTER, DURHAM Various times, $25–$163, www.dpacnc.com

DURHAM CINEMATHEQUE

The turn of the year is a time for reflecting on the past as much as on the future.

For the former activity, you could hardly do better than to post up with vintage film buff Tom Whiteside. His long-running Durham Cinematheque series deploys archival film and gloriously archaic projection devices in public, often outdoor, spaces around the city. But for this celebration of the 122nd anniversary of cinema (the date is pegged to when Auguste and Louis Lumière screened the first scenes on their cinématographe), Whiteside is opening up his studio to the public. The celebration features screenings of films by the Lumières and other early cinema pioneers at 8 p.m.; Whiteside will also open his Analog Museum from 10 a.m. to 6 p.m. (admission is free), where you can feast your eyes on some of the tech behind the screening. Get ready to ring in the new year with some old film.

—Brian Howe 305 EAST CHAPEL HILL STREET, DURHAM | 8 p.m., $5, www.bit.ly/2hWZGAt

WHAT ELSE SHOULD I DO?

BIG HERO 6 AT THE N.C. MUSUEM OF NATURAL SCIENCES (P. 32), KINGS DOG SHOW AT KINGS (P. 31), NEW YEAR’S EVE CONCERTS TRIANGLE-WIDE (P. 27) INDYweek.com | 12.27.17 | 25

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3/30/18 CIGARETTES AFTER SEX ($20/$23)

2/22/18 LARRY CAMPBELL & TERESA WILLIAMS

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4/11 AND 4/12/18

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3/7/18 SONREAL ($15/$17)

5/8/18 BAHAMAS ($16/$18)

3/9/18 VUNDABAR W/ RATBOYS ($10/$12)

5/18/18 DAVID BROMBERG (SEATED SHOW) ($23/$26)

3/13/18 JESSICA LEA MAYFIELD W/ T HARDY MORRIS ($15)

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

CAT'S CRADLE BACK ROOM

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1/4/18 MELODIME W/ THE BREVET, THE ROMAN SPRING ($12/$14)

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1/6/18 MILLIE MCGUIRE W/ DJANGO HASKINS (OF THE OLD CEREMONY) $6/$8

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Teasers New Years Eve Party

FR 1/12

YONDER MOUNTAIN STRING BAND

2/24/18 ANDREA GIBSON W/CHASTITY BROWN ($18/$21) 3/1/18 QUINN XCII SOLD W/ CHELSEA CUTLER OUT 3/2/18 JOYWAVE ($15/$17) 3/6/18 WALLOWS ($15) 3/7/18 LP W/ NOAH KAHAN ($22/$25) 3/9/18 SENSES FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD 3/13/18 J BOOG W/JESSE ROYAL, ETANA ($20) 3/16/18 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12) 3/21/18 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/28/18 CRANK IT LOUD PRESENTS:

OUR LAST NIGHT

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1/28/17 1ST ANNUAL CARRBORO DJANGO FEST FT. STEPHANE WREMBEL AND ONYX CLUB BOYS; & GYPSY JAZZ GUITAR WORKSHOP WITH STEPHANE WREMBEL

2/17/18 SNARKY PUPPY W/ SIRINTIP KINGS (RAL)

1/31/18 THE DANGEROUS SUMMER W/MICROWAVE, THE BAND CAMINO ($15)

2/17/18 PHOEBE BRIDGERS W/ SOCCER MOMMY ($10)

2/2/18 BAT FANGS RECORD RELEASE PARTY W/ PIPE, SOLAR HALOS ($10)

3/30/18 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20)

2/7/18 WILLIE WATSON ($18/$20)

2/1/18 THE DEVIL MAKES THREE

2/13/18 TINY MOVING PARTS W/ MOM JEANS, OSO OSO ($13/$15)

HAW RIVER BALLROOM 3/3/18 BRETT DENNEN ($22/$26)

2/16/18 NORA JANE STRUTHERS ($12/ $15)

3/23/18 GODSPEED YOU! BLACK EMPEROR W/KGD ($27/$30)

2/17/18 HANK, PATTIE & THE CURRENT ($7/$10)

NORTH CHARLESTON PAC (CHARLESTON, SC)

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www.teasersmensclub.com 919-6-TEASER 156 Ramseur St. Durham, NC

26 | 12.27.17 | INDYweek.com

FINDER DER THE INDY'S GUIDE TO THE TRIANGLE

ON STA

NDS

NOW!

R

TANDS

W!

music WED, DEC 27 2ND WIND: Yeaux Katz; 7-9 p.m., free. • THE ARCHITECT BAR & SOCIAL HOUSE: Shane Smith; 9 p.m. • BLUE NOTE GRILL: Blue Wednesday; 8 p.m. • THE CAVE: Harvey Leisure Residency; 9 p.m. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The Holland Bros.; 6:30 p.m. • NIGHTLIGHT: 919 Noise December Showcase; 8:30 p.m. • POUR HOUSE: Roots of A Rebellion, Sons of Paradise, Six Shots Later; 8 p.m., $8–$10. • SLIM’S: Stephen’s Pharmacy, Mess, Reese McHenry & The Fox; 9 p.m., $5.

THU, DEC 28 1999 Problems If you’re not yet COVER TUNES through with holiday leftovers, consider letting Raleigh’s 1999 Problems offer a musical complement to your palate.

The band trades exclusively in covers of songs from the eighties and nineties, from the chart-topping hits to the semiforgotten deep cuts. Chris Hendricks opens. —AH [KINGS, $7/8:30 P.M.]

The Bondsmen In the late SOUL COVERS sixties, Durham cover band the Bondsmen clawed out a niche for themselves covering a couple of James Brown’s classics: the mashed potato foot shimmy prestidigitation of “Out of Sight” and the throat-ripping delivery of the soulful “I Love You, Yes I Do.” Out of business for decades, the band reunited with all original members for a 2015 Charlotte show and have been recreating past soul, rock, and funk glories ever since. —GB [BLUE NOTE GRILL, $10/8 P.M.]

12.27 – 1.3

FOR OUR COMPLETE COMMUNITY CALENDAR

WWW.INDYWEEK.COM

CONTRIBUTORS: Elizabeth Bracy (EB), Timothy Bracy (TB), Grant Britt (GB), Spencer Griffith (SG), Allison Hussey (AH), David Klein (DK), Noah Rawlings (NR), Dan Ruccia (DR), David Ford Smith (DS)

Local Band Local Beer: Debonzo Brothers, Happy Abandon, Bruxes LISTENER Longtime Local FRIENDLY Band Local Beer booker Chris Tamplin assembled this stellar, highly accessible bill of Triangle acts as a guest booker this week. The Debonzo Brothers’ radio-ready roots rock somehow flies under the radar, while Happy Abandon’s arena ambitions wrangle a host of wideranging influences into dramatic, dynamic orchestral rock with swelling hooks. Inspired by both nineties indie rock and eighties synth-pop, Bruxes adds a slick sheen to intimate introspection; the shimmering sextet will likely preview a new song or two as it breaks from recording its second EP. —SG [POUR HOUSE, $3–$5/9 P.M.] ALSO ON THURSDAY THE CAVE: Canine Heart Sounds Residency; 9 p.m., $5–$10. • IRREGARDLESS: Rick Keena Duo; 6 p.m. • NIGHTLIGHT: BAR: Djs Grant + Kat; 9 p.m. • RUBY DELUXE: K-Pop Deluxe; 10 p.m., free, $10 under 21. • SLIM’S: Black Naked Wings, Broke Jones, Cattle Mutilators; 9 p.m., $5. • THE STATION: Andrew Marlin Residency; 8:30 p.m., $8–$10.

FRI, DEC 29 Casualty Raleigh’s ALT METAL Casualty— which now boasts a new lineup—aims for the heavy metal excellence of named influences Metallica and Megadeth but churns out dour early-aughts post-grunge à la Chevelle or Crossfade. With Thundering Herd and Five Mile Radius. —PW [THE MAYWOOD, $8/9 P.M.]

ILLUSTRATION BY SHAN STUMPF

SUNDAY, DECEMBER 31

NEW YEAR’S EVE: SAY GOODBYE TO A GARBAGE YEAR Feeling a bit knocked around by 2017 but still keen on sending it off in style?

Well, whether that style is tasteful and traditional, laid-back or cranked-up, the Triangle is full up with musical options that will abet you in reaching your goal.

For some people, raising a toast in an elegant fluted glass is the ideal way to commemorate New Year’s Eve. For this class of reveler, a celebratory performance of seasonal favorites by the N.C. Symphony at Meymandi Concert Hall would seem to be a smart fit. The Blue Note Grill offers up a sophisticated dance-friendly evening of swinging jazz, fiery funk, and blazing blues-rock courtesy of the versatile Willie Painter Band. For a family-friendly outing, consider First Night Raleigh, which boasts performances from Kate Rhudy, Amythyst Kiah, Holy Ghost Tent Revival, Shana Tucker, and more.

For those of you who prefer to raise the horns up high while heralding the darkness to come, the Triangle has your thunderous New Year’s covered. Lexx Luthor will head up an all-metal bill at the Maywood, kicking out covers by

the screaming likes of Iron Maiden, Metallica, and Queensryche. At The Station in Carrboro, Hand of Doom will conjure the satanic majesty of Black Sabbath with a set of gargantuan classics. If you seek something in the brawny alt-rock department, BIG Something will preside for three nights at Lincoln Theatre.

Less heavy but no less emphatic, on tap at the ArtsCenter in Carrboro is the renowned Dirty Dozen Brass Band, a group that embodies the sound and party-hearty spirit of New Orleans.

Over at Local 506, Sarah Shook and the Disarmers offer a spirited, honkytonk-driven party. If you’re of a mind to sing along, the popular Undercover series returns to Deep South with LaureNicole leading a set of familiar hits from the nineties and aughts.

Big names like The Avett Brothers require big spaces like the PNC Arena to accommodate the legions of fans who will jump at the chance to ring in the New Year with these local heroes, as well as Mandolin Orange and The Felice Brothers.

And for those to whom midnight is just the beginning, you can dance if you wanna. Kings in Raleigh will be hosting a special Discovery Dance Party featuring d.j.s ShwnxSbtg and NIXXED; Chapel Hill’s Nightlight puts on the thirty-fifth edition of the Disco Sweat party, where you can count on hearing the very finest dance-floor dynamite. Hip-hop fans should find plenty to dig into at the Cat’s Cradle Back Room, which features a bill of local standouts: J Gunn, Young Bull, and Zoocrü.

Head over to Motorco if you’re looking for an anything-goes evening involving crazy getups of the “proto-industrial, velour, and polyester” variety, the decidedly not-quaint musical offerings from JFK Sr., and a general air of mirth.

New Queer’s Eve at Ruby Deluxe, part of First Night Raleigh, similarly embraces the anything-goes vibe and kicks it into the stratosphere, with a freewheeling dance party featuring d.j.s, drag performances, and untold delights that promises to be the Triangle’s loudest, shiniest and queerest year-end bash.

—David Klein

VARIOUS VENUES, ALL OVER THE TRIANGLE SEE VENUE WEBSITES FOR DETAILS INDYweek.com | 12.27.17 | 27

Ghost Piss Netflix’s Stranger HEADY WEATHER Things has spawlned plenty of other artistic tributes, but it’s doubtful that there’s anything else quite like Ghost Piss’s “Nancy, Oh Nancy.” Over a throbbing electronic beat, River Allen sings an ode to one of the show’s protagonists, but you don’t have to be a Stranger Things superfan to enjoy her heady electronic tunes. On her August EP, (bon air), Allen offers even more to love in the form of spacious, introspective numbers that are calm yet compelling.

Sunset Palette opens. —AH [RUBY DELUXE, $5/8 P.M.]

Hope Griffin Asheville folkie HOPE FOLKS Hope Griffin brings a smoky twang to her spirited roots rock, the better to emphasize the winsome charm and subtle melancholy of tunes like the waltzy “Little Willow” and self-explanatory “Singing Sad Blues,” which is reminiscent of Carlene Carter’s eighties high-water work. Steve Hartsoe and Michael Daughtry & the Drift open. —EB [DEEP SOUTH, $5/8:30 P.M.]

Ty Lake ELECTRO Raleigh’s proudly JAMS art-damaged Ty Lake creates discordant, experimental soundscapes which touch upon everything from the more outré experimentation of nineties-era electronic warriors Prodigy to the dissonant and challenging

portions of Brian Eno’s ambient catalog, to the unsettling, kitchen-sink sonic experimentation of avantgarde composers like John Cage. TYNY and Monarc open. —TB [THE CAVE, $5/9 P.M.]

Lionel Lyles Saxophonist BEBOPPING Lionel Lyles was born in Colorado but discovered music growing up in Baltimore, and capped off his training with a graduate degree from NCCU’s vaunted jazz studies program, working with Branford Marsalis and Joey Calderazzo. His sax playing is nicely by the books, doing all the things you could ask of a bebopper: find inventive ways to navigate the changes, going beyond mere Charlie Parker or John Coltrane riffage to show his own voice. —DR [BEYÙ CAFFÈ, $12/7 & 9 P.M.] ALSO ON FRIDAY ARCANA: Ally J, Kevin Clark; 9 p.m. • BLUE NOTE GRILL: Josh Preslar Band; 9 p.m., $8. Duke Street Dogs; 6-8 p.m., free. • THE BULLPEN: Boom Unit Brass Band; 8:30 p.m. See page 24. • FULLSTEAM: Folk Is People; 9 p.m., free. • IRREGARDLESS: Julia Price Jazz Ensemble; 6:30 p.m.

• LINCOLN THEATRE: BIG Something, Travers Brothership, Maradeen; 9 p.m., $18. • POUR HOUSE: Elephant Convoy, Elemeno Beat, Sensi Trails; 9 p.m., $7–$10.

The Backbeat U.K. INVA- The British DERS Invasion never ended for Chapel Hill’s The Backbeat. Although they specialize in the entire Beatles back catalog, employing period equipment similar to the Fab Four’s original gear, The Rolling Stones and The Kinks fill up a good chunk of the band’s sixties-era set lists, too. Despite the mop-top hairdos and affected Britspeak, the band also covers American rockers including The Monkees and Chuck Berry. —GB [BLUE NOTE GRILL, $8/8 P.M.]

Chuck Cotton, Tad Walters, and TA James Tad Waters BLUES MASTERS channels Muddy so convincingly you’d swear he’d dug him up and reanimated him. His Howlin’ Wolf is pretty scary, too. With Chuck Cotton battering the drums behind him and occasionally contributing soulful vocals and bassist TA James completing the rhythm section, there’s no excuse not to cut loose and howl along with these hellhounds on your trail. —GB [THE BULLPEN, FREE/8:30 P.M.]

Crave BACK TO This Raleigh ROCK quartet originated in the nineties with a sound that skewed more toward British Invasion bluntness than Southern jangle. Last

WE 12/27 TH 12/28 FR 12/29 SA 12/30 SU 12/31 TU 1/2

28 | 12.27.17 | INDYweek.com

SAT, DEC 30

BLUE WED: STERN & COTTON BONDSMEN REUNION SHOW DUKE STREET DOGS JOSH PRESLAR BAND THE BACKBEAT NEW YEAR’S EVE: WILLIE PAINTER BAND TUESDAY BLUES JAM

8PM 8PM $10 6-8PM 9PM $8 8PM $8 9PM $25 SEATED $20 STANDING 7:30PM

year, the band reunited after a lengthy hiatus with a set that includes originals by the band when it went by The 2nd along with crowd-friendly staples by the Who that invite singalongs. If rock ’n’ roll on the classic rock end of the spectrum is what you seek, or even Crave, this bill is for you.

Joe’s Cousin opens. —DK [DEEP SOUTH, $10/8:30 P.M.]

Datura Formed four years METAL MAYHEM ago in Raleigh, Datura whips up a sonic onslaught wrought from an amalgam of metals including death, thrash, doom, and djent while putting their own stamp on the maelstrom with intimations of Southern clay.

Vocalist Kellie Gates, who took center-stage after the band’s original singer left, brings a fresh sensibility as well as a demonic roar of which Beelzebub would surely approve. Green Fiend, Noctomb, and Gates of Endor complete the heavy scene.

—DK [THE MAYWOOD, $10/8 P.M.]

David Wax Museum Rooted in WAX POETIC extensive ethnomusicological research without being bogged down by scholarly seriousness, David Wax Museum’s self-described “Mexo-Americana” is inspired by Wax and Suz Slezak’s fascination with Mexican music. Ten years in, though, the Charlottesville outfit has toned down its tendency to incorporate traditional Mexican instru-

mentation into the more familiar structures of American folk and rock.

Passionate and prolific local guitarist and singer-songwriter Matt Phillips explores the overlap between blues, funk, and folk with a solo set. —SG [THE PINHOOK, $15–$17/9 P.M.]

Strange Rootz REGGAE Virginia Beach’s PLUS Strange Rootz is a diverse band that stays true to the core sound of its reggae roots, but has elements of psychedelic rock from influences like The Grateful Dead and Carlos Santana.

Their music is soulful with soothing lead vocals and entrancing guitar solos, backed by a steady horn section. —CM [BEYÙ CAFFÈ, $13/7 & 9 P.M.] ALSO ON SATURDAY THE CAVE: The Muslims, Bucket, Truth Club; 9 p.m., $5. See page 24.

IRREGARDLESS: Workbook; 6-9 p.m. Noah Powell Quartet; 9 p.m.

• LINCOLN THEATRE: BIG Something, Urban Soil; 9 p.m., $18. • LOCAL 506: James Hodge; 9 p.m., $10. • POUR HOUSE: Fireside Collective, Folk Soul Revival; 9 p.m.

• RUBY DELUXE: DJ Gemynii; 10 p.m. THE STATION: Jazz Saturdays; 2 p.m., free.

SUN, DEC 31 SEE BOX, PAGE 27.

THE ARTSCENTER: Dirty Dozen Brass Band; 8 p.m., $48. • BLUE NOTE GRILL: The Willie Painter Band; 9 p.m., $20–$25. • CAT’S CRADLE (BACK ROOM): FTMF’s 2018 NYE Bash: J Gunn, Young Bull, Zoocru; 9:30 p.m., $20–$25. •

IRREGARDLESS: Peter Lamb, George Knott, Billie Feather Trio; 6:30 p.m. • LOCAL 506: Sarah Shook and the Disarmers, Dex Romweber Duo; 10 p.m., $15. • THE MAYWOOD: Lexx Luthor, Widow, Neon Knights NC; 9 p.m., $10. • MEYMANDI CONCERT HALL: New Years Eve Celebration; 8 p.m. • MOTORCO: NYE Party with JFK Sr.; 10 p.m., $15–$18. • NEPTUNES PARLOUR: DSCVRY, SHAWNXSBTG & NIXXED; 9 p.m., $10–$12. • NIGHTLIGHT: Disco Sweat XXXV; 9 p.m. • PNC ARENA: The Avett Brothers, Mandolin Orange, The Felice Brothers; 7 p.m. • THE POINT: Al Williams Band; 10:30 p.m. • POUR HOUSE: Jack the Radio & 6 String Drag, Katie Basden; 9 p.m., $10–$20. • RUBY DELUXE: VIZ Queer Dance Party; 9:30 p.m. • ST MATTHEWS EPISCOPAL CHURCH: Jim Watson’s 13th Annual Hillsborough Holiday Concert; 7:30 p.m., $10. • THE STATION: Hand of Doom, Cobra Kahn; 10 p.m., $10.

MON, JAN 1 THE CAVE: Cosmic Punk, Nate Mays, Jen Berg, Bob Fleming and the Cambria Iron Company; 9 p.m., $5. • IMBIBE: Grewen and Griffin; 7-10 p.m., free. • RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

TUE, JAN 2 THE CAVE: The Paul Swest, Ben Cosgrove; 9 p.m., $5. • SLIM’S: Birth the Wretched, Infernal Coil, Septicemic; 9 p.m., $7.

art

12.27 – 1.3

Ely Urbanski’s “pw.bib.black.R” is on view in Imprinted, her exhibit at Duke’s Louise Jones Brown Gallery, through Jan. 5. PHOTO COURTESY OF THE ARTIST

ONGOING

Bruxes performs in Raleigh Thursday at The Pour House.

WED, JAN 3 Propersleep Pop-punk is a POP PUNK dependable genre. You can expect certain sonic elements (snare drum crescendos, moody, hyperbolic vocals, catchy-asheck chord progressions), and certain feelings (cathartic

angst, self-deprecation) to appear, and that dependability may be part of the appeal.

Propersleep delivers on the promise of pop-punk. Their vocalists sing in snarls that slide into breathy, emotive sighs, articulating tried-andtrue sentiments like, “When you left I lost my way, I’m all alone in my head.” With Ol’ Sport. —NR [LOCAL 506, $7/8 P.M.]

PHOTO BY ALEX BOERNER

ALSO ON WEDNESDAY 2ND WIND: Yeaux Katz; 7-9 p.m., free. • BLUE NOTE GRILL: Blue Wednesday: The Spoonbenders; 8 p.m. • THE CAVE: The Worst Residency Ever; 9 p.m., $5. • HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. • POUR HOUSE: Canadian Waves, Poor Pie; 9 p.m.

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

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

LAST Annual Holiday CHANCE Show: Artwork and jewelry. Thru Dec 29. Gallery C, Raleigh. www.galleryc.net.

LAST Annual Members CHANCE Exhibition: The Fine Arts League of Cary. Thru Dec 30. Page-Walker Arts & History Center, Cary. www.

friendsofpagewalker.org.

Art of Paper: Mary Ann Anderson, Pauline Galiana, Shiho K. Rice, Terry SchupbachGordon. Thru Jan 12. Durham Arts Council, Durham. www. durhamarts.org.

LAST The Boomer List: CHANCE Photography by Timothy Greenfield-Sanders.

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

Character Space: Text-based art

by Scott Hazard and Stephanie Strange. Thru Jan 27. Artspace,

Raleigh. www.artspacenc.org.

LAST The Disaster CHANCE Paintings: Donald Sultan. Thru Dec 31. NC Museum of Art, Raleigh. www. ncartmuseum.org.

Envision Saint Agnes Hospital: Community and student artists.

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

Exterminati Sunt Mechanica: John Elliott. Thru Jan 28.

NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

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A Field, A World: Charlotte native John Beerman spent three decades living and painting in the Hudson Valley.

Six years ago, he returned to his native North Carolina, bringing with him a delicate way of dealing with light. Beerman’s paintings, while indebted to the light-obsessed Hudson Valley painters of the nineteenth century, are less grandiose visions. His eye directs itself toward nature and landscapes, but he often frames only fragments of them, fixating upon uncommon angles of perception. Segments of tree trunks are foregrounded, the earth in which they are rooted and their leaves overhead unseen. This photograph-like framing, along with a gentle way of abstracting away shadow, lends his work stillness and softness. Thru Jan 20.

Craven Allen Gallery, Durham. cravenallengallery.com. —Noah Rawlings Fine Contemporary Craft Exhibition: Juried by Roger Manley. Thru Jan 13. Artspace, Raleigh. www.artspacenc.org.

Flash of Light, Fog of War: Japanese military prints 18941905. Thru Jan 7. Ackland Art

Museum, Chapel Hill. www. ackland.org.

further alter the proceedings.

Thru Jan 28. NC Museum of Art, Raleigh.ncartmuseum.org.

—Brian Howe

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

Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps.

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

Gutter Box: Translatio Imperii North Korea, 1950: Painting by Lien Truong. Thru Jan 4. Lump, Raleigh. www.teamlump.org.

LAST Holiday Salon & CHANCE Craft Exhibition: Pottery, glass, jewelry, photography, painting, fibers, books, and printmaking by twenty-five artists. Thru Dec 30. Horse & Buggy Press and Friends, Durham. www. horseandbuggypress.com.

Imprinted: When she lived in Japan, the Durham-based artist Ely Urbanski lacked access to a studio, so she adapted to meet her circumstances instead of fighting them. She turned from human models to pieces of their clothing, devising her own printmaking method of soaking the clothes in ink or bleach and then pressing them onto fabric with her body weight.

Obliquely but poignantly, the prints hint at the stories their former owners relate in accompanying videos; when

Low Country Life: Paintings

by Irene Tison. Thru Jan 4. Alexander Dickson House, Hillsborough. www. historichillsborough.org.

Heather Gordon’s And Then the Sun Swallowed Me is on view at CAM Raleigh through Feb. 4. PHOTO BY CHRIS CICCONE Urbanski deconstructs the clothes rather than printing them whole, they also capture something of memory’s degradation. And they are weirdly, simply beautiful. Thru Jan 5. Duke Campus: Louise Jones Brown Gallery, Durham. duke.edu.

—Brian Howe

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

by UNC-Chapel Hill associate

art professor Sabine Gruffat, whose interactive threechannel video projection remixes the story of a pagan tribe’s maiden sacrifice: realtime weather data from Paris affects the weather in the animation, and viewers can text to a number on the wall to

Mike’s Attic: Partnership with Mike’s Art Truck. Various self-taught artists. Thru Feb 28. Durham Technical Community College (Orange County Campus), Hillsborough. www.durhamtech.edu/ orangecountycampus.htm.

More Than One Story | Mas de una historia: Photography.

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

LAST New Works: Kenia CHANCE Brea. Thru Dec 30.

Artspace, Raleigh. www. artspacenc.org.

LAST Pop Realism: CHANCE Paintings by Robert

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Box. Thru Dec 31. Gallery C, Raleigh. www.galleryc.net.

Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. www. durhamconventioncenter.com.

LAST Barbara Rhode: CHANCE Watercolors. Thru Dec 31. Bull City Art & Frame Co, Durham. www. bullcityartandframecompany. com.

LAST Richer Than Gold: CHANCE Stephen Hayes.

Thru Jan 3. Durham Art Guild, Durham. www. durhamartguild.org.

The Shape of Fashion: Dress trends from the 1800s to the 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

LAST Simple Elegance: CHANCE Paintings by Stephen White. Thru Dec 31. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft. com.

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

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

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce—though we sometimes imagine we are crossing a boundary when we take thousand-dollar bikes into deceptively wild woods with our smartphones and moisture-wicking socks. The SuperNatural wades into this liminal zone, exploring how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist

food

Countdown to 2018: A Sophisticated New Year’s Eve Dinner: Four-course meal by executive chef Jason Cunningham. $75-$139.

Sun, Dec 31, 5:15-10:30 p.m.

Washington Duke Inn & Golf Club, Durham. www. washingtondukeinn.com.

Chris Doyle created “Dreams of Infinite Luster,” a digital animation, for the exterior vitrines. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for postcapitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

stage

FRIDAY, DECEMBER 29

5TH ANNUAL KINGS DOG SHOW

My knowledge of dog shows is limited to Christopher Guest’s mockumentary Best in Show.

Luckily, Kings’ annual puppy pageant sounds like it’s in a similarly satirical vein. Fifteen dogs and their human captors will strut their stuff in front of a live audience and a panel of judges, who will hopefully break out their best Fred Willard impersonations. Based on personality, looks, life story, and one trick (it can be legit or stupid), one furry friend will be crowned the top dog of Raleigh. Kings stresses that this is just for fun and open to all dogs, from the mangiest mongrel to the most pedigreed princess. There will be prizes for the top three, and proceeds go to the SPCA of Wake County. Finally, a little housekeeping: no one under eighteen allowed (no humans, anyway), no random Rovers on the day of the show (you have to enter your dog beforehand)—and hey, bring a poo bag, would you?

—Brian Howe

Test of Faith: Signs, Serpents, Salvation: Photographs by Lauren Pond. Thru Feb 4. Duke Campus: Rubenstein Library, Durham.

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

We’ve Met Before: Handwoven cloth has a certain rigor, a requirement for stitches to interact with structural integrity rather than spontaneity. Ink, meanwhile, has a quicksilver impulsiveness, a tendency to slip and run unbounded.

Andrea Donnelly holds this contrast in tension.

The images on her large textile pieces evoke bodies, Rorschach blots, abstract flora, and, most of all, memory.

Dyed, woven, unwoven, and rewoven, the work contains “a literal record of its own making.” Thru Jan 28. N.C. Museum of Art, Raleigh. www. ncartmuseum.org. —Brian Howe

KINGS, RALEIGH

8 p.m., $8, www.kingsraleigh.com

The Woman Who Made Snow: Photography by Anna Exum Snow. Thru Mar 31. Durham History Hub, Durham. www. museumofdurhamhistory.org.

Winter Corridor Artists Exhibition: Dana Ayscue, Cynthia Bickley Green, Stephen Cefalo, Eileen Hendren, Kelly Murray. Thru Jan 27. Artspace, Raleigh. www.artspacenc.org.

OPENING Faithful Friends: The Holiday Tea: $16-$32. Thru Jan 7, 2:304:30 p.m. Washington Duke Inn & Golf Club, Durham. www. washingtondukeinn.com.

National Bloody Mary Day: Mon, Jan 1, 9 a.m.-4 p.m. Tupelo Honey, Raleigh.

Boomstick’s Gams Glitz and Garters: Burlesque performance with music

by Paul Bomar’s jazz trio. $13+. Fri, Dec 29, 8:30 p.m. Champions at Mission Valley, Raleigh. www. championsbars.com.

John Heffron: Thu, Dec 28-Sun, Dec 31. Goodnights Comedy Club, Raleigh. www. goodnightscomedy.com.

ONGOING

Kings Dog Show: $8. Fri, Dec 29, 8:30 p.m. Kings, Raleigh. www.kingsraleigh.com.

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

On Your Feet!: $30+. Tue, Jan 2-Sun, Jan 7. Durham Performing Arts Center, Durham. www.dpacnc.com.

Eyes Up Here Comedy Showcase: Comedy by local women. $5. Wed, Jan 3, 8 p.m. Neptunes

Parlour, Raleigh. www. neptunesparlour.com.

The Harry Show: Ages 18+.

Improv host leads potentially risque games with audience participation. $10. Fri, Dec 29 & Sat, Dec 30, 10 p.m.

ComedyWorx, Raleigh. www. comedyworx.com.

INDYweek.com | 12.27.17 | 31

screen FRIDAY, DECEMBER 29

BIG HERO 6

How to teach our children well about living in the coming world of robot overlords? Why, treat them to a Disney movie! This screening of Big Hero 6, the vaguely Marvel Comics-inspired CGI film about a delightful, squishy inflatable robot and the boy who must use him to help save the day, features a Q and A afterward with Aaron Poteate, co-coordinator of the N.C. Museum of Natural Science’s Visual World Investigate Lab, which explains such concepts as scientific visualizations and augmented reality. Poteate will help sort out the science behind the movie, the future of artificial intelligence, and what will happen when the singularity hits and machines evolve beyond us, wipe us out with our own weapons, and imprison the survivors in the Matrix and— I’m sorry, my editor says I need to go take my pills again now. Anyway, fun for the whole family! There’s also a chance, starting at 5:30, to play with science stations before the movie at 7; Skip Elsheimer of the A/V Geeks brings the trivia and sarcastic remarks. —Zack Smith

N.C. MUSUEM OF NATURAL SCIENCES, RALEIGH 7 p.m., $2–$5, www.naturalsciences.org

Big Hero 6

Big Hero 6: Followed by a discussion with an A.I. expert and trivia with A/V Geek’s Skip Elsheimer. $2-$5. Fri, Dec 29, 8 p.m. NC Museum of Natural Sciences, Raleigh. www. naturalsciences.org.

Durham Cinematheque’s Microcinema: Program changes monthly. $5.

Saturdays, Sundays. Durham Cinematheque.

Motion for Pictures Screening Series: Jar of Bees, Whispers Among Wolves, Fish, Proximity, more. $5. Wed, Jan 3, 7 p.m.

The Cary Theater, Cary.

The Room: $5. Wed, Dec 27, 9 p.m. Kings, Raleigh. www. kingsraleigh.com.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.

32 | 12.27.17 | INDYweek.com

 Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.

 It—Blend vintage Spielberg with Stranger Things and you get this scary, heart-

 Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t, and he really lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene.

Rated R.  The Shape of Water— For better and worse, Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R.  Thor: Ragnarok—A stodgy, self-serious franchise springs to life with demigods delightfully out of their element. Rated PG-13.

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 The Disaster Artist— James Franco does a suspiciously good impression of a bad artist, The Room writer-director Tommy Wiseau, but the point eludes us. Rated R.  Downsizing— Alexander Payne’s satire, in which Americans are shrunk in order to get a mini version of the good life, is something very rare: a film that doesn’t resemble anything we’ve seen before. Rated R.

½ The Man Who Invented Christmas—Charles Dickens and his famous A Christmas Carol characters come to life in this pleasant holiday surprise from across the pond. Rated PG.

½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale.

Rated R.

PHOTO COURTESY OF DISNEY STUDIOS

SPECIAL SHOWINGS

 The LEGO Ninjago Movie—Expect weak puns, weary pop-culture references, and a waning sense of discovery from this Ninjagobranded minor entry in the LEGO franchise. Rated PG.

LECTURES ETC. Good Time is the INDY’s favorite film of 2017 (see p. 23). filled new version of Stephen King’s horror classic. Rated R.  Jumanji: Welcome to the Jungle—You’d need an awful lot of nineties nostalgia to see this reboot as anything but a utterly generic jungle

PHOTO COURTESY OF A24

adventure. Rated PG-13.

works. Rated PG-13.

½ Justice League— Uneven but much better than Batman v. Superman: Dawn of Justice, this collision of Zack Snyder’s bombast and Joss Whedon’s wit actually kind of

 Lady Bird—Greta Gerwig’s nostalgic comingof-age debut as a writerdirector is winning and alert to class but falters on race.

Rated R.

Economic Forecast: With Mark Vitner and Mark Yusko.

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