INDY Week 12.12.18

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RALEIGH 12|12|18 INDIES

ARTS AWARDS 2018

INDIES

ARTS AWARDS 2018

LAUGHING MATTERS

Erin Terry’s Eyes Up Here series breaks through the boys’ club of comedy

SILENT SAM’S SHRINE, P. 6

REAL FRAUD, P. 8

JOHN WATERS’S CREEPY CHRISTMAS, P. 24

2 | 12.12.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 50

6 UNC’s Board of Trustees thinks protests are getting out of hand, so it wants a system-wide police force to handle them.

8 As the General Assembly crafted its voter ID law, the world got a closeup look at real election fraud.

10 It says a lot about our 2018 Indies Arts Awards winners that so many had to be convinced to take the award themselves rather than sharing it with their whole community.

22 The first rule of Durham Burger Club: no guys allowed.

23 Take advantage of unlimited flavors, mix-ins, and crunches at Durham’s new Pokéworks.

24 At Christmas, John Waters says he feels like a drag queen at Halloween—it’s his time to work.

DEPARTMENTS 6 News 10 Indies Arts Awards 22 Food & Drink 24 Arts & Culture 26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

On the cover

Erin Terry didn’t see a lot of women comedians on local stages, so she set out to change that (page 12).

PHOTO BY BRETT VILLENA

PHOTO BY BRETT VILLENA

INDYweek.com | 12.12.18 | 3

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe STAFF WRITERS Leigh Tauss, Sarah Willets MUSIC EDITOR Allison Hussey FOOD+DRINK EDITOR Layla Khoury-Hanold EDITORIAL ASSISTANT Cole Villena COPY EDITOR Laura Bullard THEATER+DANCE CRITIC Byron Woods DANCE CRITIC Michaela Dwyer CONTRIBUTORS Amanda Abrams, Jim Allen,

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming December 19:

WAKE COUNTY

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backtalk

The Simplest Solution A few weeks ago, Leigh Tauss noted that Republicans in Wake County seem to be an endangered species, shut out of countywide offices and left with only one member of the legislative delegation.

Joshua Peters responds: “I wouldn’t say Wake County Republicans are an ‘endangered species,’ per se. Rather, they are significantly outnumbered by their Democratic counterparts. As someone who would classify himself as a liberal Republican, I definitely think the only way for a Republican to be successful in counties like Wake, Durham, and Mecklenburg is to differentiate themselves from their conservative peers (though this may categorize them more or less as a closeted Libertarians).

“I do agree with the article’s assessment that this faction of Republicans is an endangered species. With that being said, there isn’t much one can do at this point with regard to turning the trend around in favor of Republicans. The conservative branch pushes away anyone that thinks differently from themselves, so it would seem less likely we will see moderate Republicans being represented on the ballot in Wake. It’s a shame because this is the only type of Republican that will appeal to right-leaning Democrats and left-leaning independents. And what makes it even sadder is that conservatives and moderates only disagree at the margins when it comes to issues. I would say on economic issues, security issues, and individual liberties, there exists no contention; it’s only on social issues where we see disagreement—e.g. same-sex marriage, legalization of weed, and being pro-choice—and this is where moderates appeal to the left.”

Responding to Jeffrey C. Billman’s recent column on the effects gerrymandering had on the midterms in North Carolina, Stephen Cook writes: “Your article touched on some very interesting issues regarding the gerrymandering problem we have. Though I am fifty-seven years old and probably see many of our political problems (and solutions) in a different light from you, I bet we would agree that gerrymandering is definitely a problem, and the simplest solution would probably be the best.

“Personally, I would like to see us move to just using counties as districts or either some formula a seventh-grade math class

“Until the media can call out both parties in this sham, it’s just noise.” could devise so the corruption is taken away from the legislature. Both parties have severely corrupted the process. I still remember the districts drawn by the Dems that basically were as wide as the I-85 corridor in [some] places to meet a predetermined outcome. Until those in the media, social media, and other outlets can openly criticize and call out the misdeeds of both parties in this sham, it’s just noise.”

Commenter Steve chimes in on a recent story about the likelihood that Dix Park will fundamentally alter the neighborhoods around it: “This is 100 percent going to happen. Dix Park will be a magnet for development and park-side views. Just think about Lincoln Park in Chicago or Central Park in NYC—those park-side apartments are prime real estate. The areas around the park will be radically different, too.

Hopefully, the city can increase the density around the park so it eases affordability pressure in other parts of the city, but anything within walking distance of Dix is going to skyrocket. Frankly, the homeowners in those neighborhoods, should they choose to sell, should squeeze the developers for everything they’ve got.”

Finally, Tom Dalldorf, publisher of Celebrator.com, writes about our story on the demise of the Durham-based All About Beer magazine: “The early days of good beer appreciation absorbed pretty much anything we publishers could throw at our thirsty readers. As information and opinions on beer became ubiquitous and, ahem, free, the print publications struggled. Daniel, Julie, and company did their best, but the predominance of easy-access information seems to have doomed the pay-to-read world of print. Long live AAB!” Want to see your name in bold? Email us at backtalk@indyweek.com, comment on our Facebook page or indyweek.com, or hit us up on Twitter: @indyweek.

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indynews

Silent Sam’s Shrine

UNC DOESN’T WANT THE CONFEDERATE MONUMENT, BUT IT CAN’T FIGURE OUT HOW TO GET RID OF IT EITHER

BY SARAH WILLETS

W

hen the Board of Trustees for the University of North Carolina at Chapel Hill announced a proposal to build a new, $5.3 million history and education center to house the toppled Confederate monument known as Silent Sam last week, reactions were swift—and overwhelmingly negative.

Trustees were responding to a request from the UNC Board of Governors, which oversees the UNC system, for “a lawful and lasting path that protects public safety, preserves the monument and its history and allows the university to focus on its core mission of education, research, economic stimulation and creating the next generation of scholars.”

Their solution: build a new facility on the fringe of campus to house Silent Sam and teach the university’s history.

On social media and in public statements, students and alumni likened this new building to a “shrine” for Silent Sam and the white supremacy it stands for. At least eleven hundred alumni have pledged to withhold donations until Silent Sam is permanently removed from campus.

Teaching assistants and faculty members went on strike, withholding thousands of final grades and threatening not to teach when the spring semester begins if the Board of Governors approves the trustees’ recommendation.

The BOG is expected to consider the matter during its December 14 meeting.

Critics will likely find much more to be upset about in the appendices that accompany the proposal, which detail the recommendations of security professionals the university asked to weigh the safety implications of restoring the monument.

Among the panel’s suggestions: a systemwide mobile police force “to prevent or respond to civil disorder and violence at future campus events.”

UNC-Chapel Hill Chancellor Carol Folt has said that public safety was her top priority in handling the monument.

6 | 12.12.18 | INDYweek.com

ILLUSTRATION BY CHRISTOPHER WILLIAMS

Taken together, the trustees’ proposal and the safety panel’s recommendations suggest that controlling protests is part and parcel of that goal.

The panel comprised five law enforcement officials who “evaluated the general security climate on campus, the specific security challenges presented by the monument and the large-scale protests involving opposing factions that it attracts, and specific alternative locations for the Monument from a public safety and security standpoint.”

The panel concluded, and trustees agreed, that returning the monument to its previous spot in McCorkle Place would be dangerous. During last Monday’s trustees meeting, Folt repeatedly said that she and the board would prefer to move “the artifacts”—Silent Sam, which protesters tore down on August 20, and bronze plaques that adorn its base, which still stands— off-campus, but she couldn’t because of a state law passed in 2015. The university is being cautious in its reading of the law, which restricts the relocation of “objects of remembrance.”

Under the law, the North Carolina Historical Commission must approve any relocation—meaning the trustees will also need that body’s approval to bring its proposal to fruition. The law allows for objects to be moved to preserve them or to make way for construction, but mandates that they “be relocated to a site of similar prominence, honor, visibility, availability, and access that are within the boundaries of the jurisdiction from which it was relocated.”

UNC trustees plan to build the history and education center at a former student housing site known as Odum Village on the southern edge of campus. It may not seem like a similarly prominent location to McCorkle Place, but UNC general counsel Mark Merritt says it will be a hub of growth on campus, and it’s near a planned light rail stop.

Still, there are potential optics problems: The site is near a synagogue and, according to the UNC Black Student Movement, is “a significant location for Black students to live and congregate.”

Asked why trustees believe the monument can’t be moved off-campus, UNC spokeswoman Joanne Peters Denny directed the INDY to a passage in the trustees’ report that states that, by keeping the monument on campus, “there can be no question that it remains ‘within the boundaries of the jurisdiction from which it was relocated.’”

The trustees did not, apparently, consider leaving Silent Sam wherever it is now— even though, as their report notes, “most people who wrote to us said they want the Monument permanently removed or moved to a location either off campus or within a contextualized setting on campus.” Doing so would conflict both with state law and with the Board of Governors’ request for a plan that preserves the monument, Denny says.

“I understand there are strong emotions about this proposal,” Folt tweeted last week. “As the nation’s first public university, Carolina has a long and complicated history we must tell. We are recommending to build a center to tell all of that history, which includes the Confederate Monument.”

A new, state-of-the-art building was the best solution from a security standpoint, the safety experts concluded, and the majority of trustees agreed that it would also best satisfy the law and the BOG. Last Monday, all but two trustees present voted for the plan despite the safety panel’s own assessment that the university “faces a high risk of violence, civil disorder and property damage if the monument is restored to campus” and that the “risk to campus safety can be mitigated but not eliminated” by placing Silent Sam in a newly constructed building.

The new facility would also allow the university to place more restrictions on protests over the monument, the experts noted.

While McCorkle Place is a public space— where only narrow time, place, and manner restrictions (for example, you can’t block traffic) on speech could be imposed—the history and education center would likely be considered a non-public space where the university could impose content-neutral restrictions, such as limiting hours of visitation, crowd size, and regulating what items can be brought in or requiring visitors to go through scanners or bag checks.

Citing the International Association of Campus Law Enforcement Administrators,

the safety panel says on-campus protests are becoming more volatile across the country and few campus police departments—including UNC Police—are equipped to handle them. The greatest risk, the panel said, is the “threat of violence by extremist elements imbedded inside protest and counter-protest groups.” They know this because they “researched the backgrounds of individual protesters” and found most were not affiliated with the university. (It’s unclear how the panel decided whom to research; Denny says she has no more information than trustees’ publicly available proposal.)

To that end, the panel recommends a “mobile force” composed of forty officers that could be deployed to any of the seventeen UNC campuses across the state. The panel estimates the force would require about $500,000 in equipment, plus $2 million in annual operating costs.

It also suggests UNC Police expand its crowd-control, protest-management, and intelligence-gathering capabilities.

According to the report, UNC has “already begun the process of making necessary changes to enhance the capability of the UNC Police in these important respects.”

(Denny declined to discuss “security tactics.”)

The department currently has 79 officers covering the 729-acre main Chapel Hill campus, 40,000 UNC community members, and satellite locations. UNC Police have mutual aid agreements with about a dozen agencies. The safety panel says support from other agencies is “tenuous,” though, noting that Chapel Hill and Carrboro police can’t be counted on to help protect the monument.

The recommendations come after much scrutiny over how UNC Police and supporting agencies have handled protests in McCorkle Place. At a recent Silent Sam demonstration, UNC enlisted the help of the Greensboro Police Department’s civil emergency unit, whose officers protected members of a neo-Confederate group and pepper-sprayed and rammed bicycles into counter-protesters. Last year, Silent Sam protesters discovered an undercover UNC officer had been monitoring them and lying about his identity.

It’s unclear if the BOG will also consider the safety panel’s mobile force recommendation when it takes up the trustees’ proposal for the history and education center.

The trustees clearly think it’s important, however. As the proposal notes: “We believe that this recommendation warrants serious consideration and review by the Board of Governors.” swillets@indyweek.com

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soapboxer

How to Steal an Election

FORGET VOTER ID. THIS IS WHAT REAL ELECTION FRAUD LOOKS LIKE.

BY JEFFREY C. BILLMAN

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here’s no small irony to the fact that, the same week lame-duck Republicans conjured up their solution to a voter-fraud problem that doesn’t exist, the world got a close-up look at what actual election fraud looks like in North Carolina.

Last month, of course, voters approved a details-free constitutional amendment requiring residents to produce a photo ID to vote. On Thursday, the General Assembly—where Republicans have veto-proof supermajorities for just a few more weeks— put meat on the bone, passing a voter ID bill crafted to avoid running afoul of the Fourth Circuit Court of Appeals, which denounced their last attempt as targeting “African Americans with almost surgical precision.”

The 2013 iteration used racial data to exclude forms of ID commonly used by African Americans. Senate Bill 824 permits a wider range of IDs, including a new free ID card that local elections boards can issue. Those who lack ID will have to vote provisionally and then either file an affidavit claiming a “reasonable impediment” to obtaining an ID or present their ID to the county election board before the results are certified.

SB 824, and the amendment that enabled it, followed years of hyperventilation over the supposed evil of voter fraud, which the data shows is an exceedingly rare bird. A state audit conducted after the 2016 election found that voter ID would have prevented exactly one illegal vote out of nearly five million votes cast. In other words, this is a pointless endeavor—except if the point is to place another obstacle in front of brown and black voters. (The upside: Despite the intent, voter ID doesn’t appear to be all that effective in suppressing turnout.)

While Republicans have obsessed about voter impersonation—which, again, is virtually nonexistent—they’ve gotten considerably less hot and bothered about absentee voter fraud, perhaps because absentee voters tend to support Republicans. In 2013,

legislative Republicans rejected a proposal to tighten absentee ballot restrictions, and it took the massive scandal brewing in the Ninth Congressional District to convince them to even feign interest in the matter: A last-minute amendment to SB 824 tasks county election boards with figuring out some way to require absentee voters to show ID. It’s unclear whether that requirement would have prevented the possible fraud we’re seeing in the Ninth District, where

and Robeson, an unusually high number of voters requested absentee ballots but didn’t return them. The ballots that were returned overwhelmingly supported Harris—96 percent, in fact, in Bladen County.

Dowless’s employees appear to have descended on low-income apartment complexes and gotten people to fill out absentee ballot request forms. When the ballots came back, the employees offered to take the voters’ unsealed ballots and mail them in for them, which is illegal.

They were warned.

They did nothing.

They wanted to win.

Charlotte political operative McCrae Dowless Jr., who previously served time for insurance fraud, was hired to run an absentee-ballot initiative for Republican Mark Harris, a fundamentalist preacher who has proclaimed that women should do what their husbands tell them and that Islam is the spawn of Satan. (Harris’s campaign paid the consulting firm Red Dome Group, which contracted with Dowless, $525,000 during this election cycle, Reuters reported Friday.) Dowless delivered: When the ballots were counted, Harris was ahead of Democrat Dan McCready by about nine hundred votes—a margin attributable to Harris’s success with absentee voters in Bladen and Robeson Counties.

But then, in a stunning move, the State Board of Elections and Ethics Enforcement refused to certify the results. Over the last week, it’s become clear why: Something fishy went on. In Bladen County, for example, Harris won 61 percent of absentee votes even though registered Republicans only accounted for 19 percent of accepted absentee ballots. In both Bladen

Dowless and Harris have both denied wrongdoing. But a new election—either called by the state elections board or the U.S. House—seems increasingly likely. The evidence is so overwhelming that even Dallas Woodhouse, the head of the state GOP, has signaled an openness to a new election.

Here’s the crazy thing: Republicans were warned about Dowless months ago. After U.S. Representative Robert Pittenger lost the May primary to Harris by 828 votes— again, thanks in part to Dowless’s absentee efforts—he reportedly told GOP officials of his concerns about ballot stuffing in Bladen County. But the party did nothing.

And that’s one of the more revelatory details about this sordid affair: Despite their years of dire warnings about stolen elections, state Republicans, when confronted with credible allegations of actual fraud, looked the other way. Winning the seat was more important.

Which makes you think maybe—just maybe—all of that voter-fraud-related caterwauling wasn’t entirely on the level. jbillman@indyweek.com

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Performance Heart

INDIES

ARTS AWARDS 2018

Art of the State

We celebrate six people whom we can’t imagine life IinNthe without D ITriangle ES

T

ARTS AWARDS

BY BRIAN HOWE

he INDY always strives to support the arts in the Triangle, even while we scrutinize and criticize them. But for almost three decades now, in one of our favorite annual issues, we take a moment to pause and simply celebrate a group of people who had a notable impact on the arts, either that year or over time—people whose work is so fundamentally important that it can often be taken for granted.

The Indies Arts Awards vividly capture what mattered in the Triangle in a given year. Rooted in the arts but also transcending them, they open into political and social realms. The story of the Triangle’s art workers and leaders always turns out to be the story of the Triangle itself, and it’s inspiring to see afresh how much the arts matter, and how amazing the people powering them here are.

The winners we choose for these awards often must be convinced to accept the spotlight for a moment, rather than sharing the award with their entire creative community. This says a lot about why we select them in the first place. All of them—whether as creators, producers, administrators, or in other roles—serve those around them as much or more than they serve themselves.

All of them understand that, to matter, art must be a kind of community service, not a vanity project. And that means, first, knowing what one means by community, and, second, actually listening to what they want.

We are incredibly grateful to exist in the same creative ecosystem as people like this year’s winners: performance-art pioneer Monét Noelle Marshall, women’s comedy impresario Erin Terry, theater revolutionary JaMeeka Holloway-Burrell, powerhouse poet Jaki Shelton Green, Durham lifestyle leader Gabriel Eng-Goetz, and transformative NCMA director Larry Wheeler.

We know this is a humble honor, for us to write profiles of them and take their pictures. But we’re thankful we get the chance to tell them without qualification how much they mean to us, and how much they mean to this area for making life in the Triangle richer, more equitable, better.

We hope you’ll be inspired to reach out to tell them the same thing yourself, and to follow their example in your daily lives. We know we do. And we invite you to remember with us that the arts matter, but we all must work together to make them matter for everyone.

10 | 12.12.18 | INDYweek.com

2018

Monét Noelle Marshall’s many roles all serve to uplift Black art

BY KHAYLA DEANS

M

onét Noelle Marshall’s presence in a room is always felt. She moves through spaces fluidly, with a calm spirit of humility and wisdom. Even when she is seemingly alone, she stands as ten thousand, as Maya Angelou would say.

“This is more than Monét getting an award,” she says. “There are so many people that, because they exist, I’m able to exist, make, and do.” She means her family, friends, and frequent collaborators—people like Derrick Beasley, whose real title in her shows, she says, should be “Monét calls me and I show up.”

Marshall’s work spans many mediums and genres: community art experiences, choreography and dance, and bringing stories to life through the pen and on stage. Her artistry even comes forth in a simple conversation. The poetry in her words, her unique sense of style, and her bold ideas embody the essence of what it means to be an artist.

“I really feel like I didn’t have a choice [but] to be an artist,” says Marshall, whose mother—the playwright, choreographer, and director Robin Carmon Marshall—is one of her biggest inspirations. “My mother led a dance ministry at a church in New York, and she was the leader of thirty to forty women. One night, for rehearsal, she came in and washed all their feet. It had a really deep impact on how I thought about leadership.”

Years later, in 2013, Marshall founded MOJOAA Performing Arts Company with her family. Her mother co-directs; her dad serves as a producer, actor, and playwright; and her brothers give support onstage and backstage. MOJOAA was created in response to the lack of Black theater companies in the Triangle. It became a steward of history through interactive storytelling. Escape to Freedom is its annual immersive experience at Mordecai Historic Park, the largest former plantation in Wake County. It takes audiences on the journey to escape slavery during the Antebellum period.

Marshall learned early that art exists in community and should not just be saved for exhibitions and museums.

“Church is not the building, it’s the people. I want our arts institutions to move the same,” she says. “I care less about the painting or the show. What did it do for the people? If the answer is nothing, then what is actually the point of it?”

The use of art to create shared space is a thread through all of Marshall’s projects, including this year’s “Buy It Call It” performance installations. The trilogy is Marshall’s response to the systemic oppression Black artists encounter in the art world, the toll of capitalism on their minds and bodies, and the process of reclaiming one’s holiness and self-worth.

Creating three experimental performances that challenged white supremacy in art spaces was a bold decision, resulting in necessary honest dialogue.

“Her organizing and interdisciplinary performance work demand that people unpack how patriarchy and anti-Blackness show up in their public and private selves,” says Jamaica Gilmer, a friend and mentor.

After exploring arts institutions’ commodification of Black art in Buy My Soul and Call It Art, then revealing the impact of racial trauma and shame on her body in Buy My Body and Call It a Ticket, Marshall moved even further beyond traditional staged performance in Buy My Art and Call It Holy, which is ongoing this week (see last week’s INDY). A ten-day experience for communities to connect in freedom, movement, and authenticity, its main space at the former Old Havana Sandwich Shop is built to feel like home— or, as Marshall told us, her future kitchen as a queer Black grandma who serves you freshly baked bread and tea.

“I think if the work connects people to themselves, to one another, and serves our community better, then we won,” Marshall says. She wants you to feel at ease, surrounded by soft lighting, cozy couches, and books that are considered

INDIES

ARTS AWARDS 2018

DECE M B E R

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Monét Noelle Marshall

PHOTO BY ALEX BOERNER

holy texts, many written by Black women.

This reflects the many years Marshall sat at her own grandmother’s kitchen table.

“There was always someone listening to me,” Marshall says. “I never felt that what I said didn’t matter. That shaped me.”

The authentic fellowship of the kitchen table or front porch is also the foundation of Marshall’s approach as an artist and creative consultant. The old-school lessons of community-building that she learned from her grandmothers’ generation are guiding principles in how she addresses equity in arts institutions.

“My arts and consulting practices are married to one another, and I really think there are some old ways of being that we need to bring back: just coming to sit on your porch and talk to you before I need anything from you,” Marshall says.

This year, Marshall became director of programming at VAE Raleigh—and the first Black staff member in the arts nonprofit’s history. Her primary job is to create events around VAE exhibits and foster intentional relationships through art, especially with communities that often feel neglected by arts institutions.

“Monét has been the perfect addition to the VAE family,” says Brandon Cordrey, VAE’s executive director. “She heightens our staff ’s awareness of self-care in a

nonprofit culture that often values working yourself to the bone. She brings a lot of love and joy to the work we do, and a genuine and community-oriented focus.”

“I think in our art spaces, sometimes we can be seduced into the notion that we are inherently liberal, inclusive, and accepting, as if there are not symbols and messages that show people they are not welcomed in our spaces,” Marshall says.

“When you walk into the average arts space, the walls are white, it’s quiet, and you are not supposed to touch anything. If you are someone from the outside, no matter your race—if that’s not a world that you are used to, then it can feel off-putting.”

Marshall aims to break through silos that form in the art community, whether because of location, race, or socioeconomic factors.

“I want folks to know that VAE is a home for their ideas. The way that we are holding this definition of art is so broad it includes them, no matter who they are,” Marshall says.

As a queer Black woman artist, Marshall speaks from personal experience, knowing what it feels like to be ignored by arts institutions and museums. In part, she’s doing this for her younger self.

“Creating this type of work is deeply personal, vulnerable, and transparent,” she

says. “Growing up, I was really looking for someone like me. Now that I’m older and I’m able to make work, the thing that I most have is my truth. I know that there are similar worlds existing in other folks’ heads. And I want us to find each other and create a space for those young Black folks, folks of color, the little queer babies who say, ‘I didn’t know anyone like me existed.’”

Marshall’s impact in community and art spaces has been felt by many.

“Monét is such an important and vital presence in our community,” says JaMeeka Holloway-Burrell, another Indies Arts Awards winner (see page 13). “She is creating art that truly defies convention or easy categorization. She is breaking down barriers and defining on her own what it means to be a theater artist. This work is not for the theater critics or any antiqued idea of patrons—it’s for her, it’s for healing and our community.

She has compelled us all to think about decolonizing our art and rethinking antiquated ideas of storytelling.”

“For me, love is at the crux of it,” Marshall says. “I do this because I love you.

Whether that ‘you’ was myself or whether that ‘you’ was my family, friends, or my world. I do this because I love you, and the art is the tool in that.” arts@indyweek.com

TH 20 LOST GENERATION 8p FR 21 THE SOUL PSYCHEDLIQUE & LOVE TRIBE 8p

SU 23 SMELL THE GLOVE 9:30p FR 28 COMRADES & NOMADS BIS SOMETHING PRE-PARTY 7p

SA 29 BIG SOMETHING

W/ THE MANTRAS 8p

SU 30 BIG SOMETHING

W/ THE KIND THIEVES 8p

MO 31 BIG SOMETHING

W/ MIDNIGHT NORTH 8p JAN UARY

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Comedy Clout

Stand-up has long been a man’s world.

With Eyes Up Here, Erin Terry is changing that.

BY KATIE JANE FERNELIUS

A

s she approached her thirtieth birthday, Erin Terry decided to do something she’d never done before: stand-up comedy. She’d always been a funny person, the kind of person friends ask to retell a funny story that happened to all of them, but she didn’t think of herself as a comedian.

“I really had tried hard to ignore my leanings to get on stages and talk and try to make people laugh for a long time,” Terry says. She knew some acquaintances doing open mics; she thought she was funnier. That was the motivation she needed. “I decided that, before I turned thirty, I was going to get on stage and do a routine.”

She watched stand-up routines online. She practiced with a hairbrush in front of her mirror. For her first open mic, in February 2014 at Raleigh’s Tir Na Nog, she invited all of her friends and family—that way she knew someone would laugh. The real test, she says, came the next month, when she did another set for a room full of strangers. When they laughed at her jokes, she knew she was hooked.

It took her only a few months to notice how male-dominated the scene was.

Shows rarely featured more than one female comic, if any. But she’d already met lots of women doing comedy in the Triangle. Why weren’t they getting the same stage time?

“I started asking the women on the scene, ‘How do you get booked?’” Terry says. “Are there any shows that do more than one woman at a time? How do we tell them that there is room for more than one woman?”

She didn’t think the men were being intentionally malicious; she attributed the discrepancy to a gross oversight on their part. Through her conversations with these women comedians, one thing

became apparent: They could run their own show, by women, featuring women.

That way, Terry says. “We can all shine a bit more instead of trying to duke it out one at a time.”

To get an audience, Terry decided to do the show on First Friday in downtown Raleigh. She booked seven comedians, a tall line-up. The now-closed bar Common 414 agreed to let them do a one-time show there. Nervous about the turnout, she worked hard to promote it. Her efforts paid off: By show time, it was standing room only.

The inaugural Eyes Up Here showcase, in March 2015, was a smashing success.

Terry decided that night that Eyes Up Here couldn’t be a one-time thing. Common 414 couldn’t commit to a monthly show, so Terry approached Kings and Neptunes, both of which agreed to give her a regular show. She booked lineups of exclusively women, and began encouraging curious women to try out jokes at open mics.

“I joke that I started doing comedy so I would stop stalking my ex-boyfriend on Facebook,” says Elisse Thompson, a comedian who is now an organizer and host with Eyes Up Here. “Erin was very welcoming, giving stage time when I was really new. If you don’t get stage time, you can’t grow as a comic. And if you only do a couple of minutes here and there, you really won’t grow. Erin has given me a lot of stage time, and she does that for other new and aspiring comedians.”

Thompson now runs her own monthly show at Bull City Ciderworks, giving stage time for short stand-up sets of emerging comedians.

It’s easy to applaud Terry for bringing more women comedians to the stage.

But just as remarkable is that Terry took

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Erin Terry

PHOTO BY BRETT VILLENA

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a mean be suc ans an note h as reas been s “Now edy sce away,” doing Up He suppor is usua better I’ve do The Up He ing rel tent an most and de “Eri wanted “She’s She’s o she als issue w career in com In th Up He has gro with r Raleig Terry comed ington There targete Thomp works. specia Funny Terr growin tinue i the Tr femme “I’ve been d of my who ha twice, into it love in I can. T Twent

a meaningful concept and drove it to be successful as possible: Comedians and collaborators in the Triangle note her ingenuity and doggedness as reasons for why Eyes Up Here has been so successful.

“Now that I have been in the comedy scene for a little while, I’m blown away,” Thompson says. “I’m happy doing my comedy mainly with Eyes Up Here, because I know I will be supported that way. The audience is usually more engaged, bigger, and better than the other showcases that I’ve done that have been run by men.”

The ingredients that make Eyes Up Here so successful is its continuing relationship with venues, persistent and welcoming promotion, and, most important, how Terry grows and develops comedians.

“Erin is the sister that you always wanted to have,” Thompson says.

“She’s supportive and welcoming.

She’s one of the sweetest people, but she also keeps it real. I don’t have any issue with trusting her with my own career in comedy, my own ventures in comedy.”

In the almost four years since Eyes Up Here’s first show in Raleigh, it has grown into a multipronged effort, with regular shows in downtown Raleigh, Durham, and Asheville.

Terry has driven carfuls of women comedians to Charlotte and Wilmington to do femme-only shows.

There are workshops and open mics targeted at new comedians, including Thompson’s show at Bull City Ciderworks. Eyes Up Here has also done special themed shows like “Fat for a Funny Girl.”

Terry says Eyes Up Here isn’t done growing. In 2019, she hopes to continue its regular programming across the Triangle, as well as host an allfemme comedy festival in Durham.

“I’ve joked this year that I’ve now been doing comedy longer than both of my marriages combined,” Terry, who has been married and separated twice, says. “You get what you put into it. I put a lot of kindness and love into the community, as much as I can. There are so many shows to do.

Twenty nineteen is going to be busy.” arts@indyweek.com

Theater Transformer

JaMeeka Holloway-Burrell is reframing the local stage INTERVIEW BY HOWARD L. CRAFT | STORY BY BRIAN HOWE

I

n recent years, as director of Black Ops Theatre Company and the Bull City Black Theatre Festival, JaMeeka Holloway-Burrell has been a leading champion of Black theater in the Triangle. As she told acclaimed Durham playwright Howard L. Craft, a fellow alum of N.C. Central, the roots in Black art and culture that nourish her work were planted long before she became a professional theater artist.

They were planted growing up in the church, which was also her first taste of theater.

“It’s the epitome of a performance space, because you’ve got this really zealous word the preacher is going to give, and the atmosphere has to be set by praise and worship and dance and mime,” HollowayBurrell says.

They were planted sitting around her family’s kitchen table, listening to her uncles spin yarns.

“I appreciate all the lies I had the opportunity to witness,” she says with a chuckle, “Because I learned so much about how to tell a good story, how to be believable.”

They were planted by Bruce Bridges, proprietor of The Know Bookstore, which was a bastion of knowledge on Fayetteville Street for almost twenty years.

“Bruce was putting Black books in my hand at a very young age and articulating the importance of combating white supremacy in your life through Black literature,” Holloway-Burrell says.

And they were planted at N.C. Central, under the tutelage of professors such as Karen Dacons Brock and Johnny Alston.

“I like to say steel sharpens steel,” Holloway-Burrell says. “They instilled so much work ethic in me. I understand what it is to be a professional because of their capacity to manage their personal lives and still center their art so beautifully. A

lot of character-building happened for me in that department. Also, even if Dr. Alston was technical directing three shows, he would make time to go fishing, and that taught me the importance of self-care.”

Black Ops debuted in 2015 with Young Jean Lee’s The Shipment, an explosive indictment of American racism co-produced by Little Green Pig Theatrical Concern.

“I appreciated Jay [O’Berski] and Dana [Marks] for that, because we were introduced to this patron base of people interested in provocative theater,” Holloway-Burrell says. She’d been inspired to create the company while apprenticing at Cape May Stage in New Jersey.

“At that time, the only show on that featured Black actors was Our Town,” she says. “I knew there should be more variety in the way you get to see Black people on the stage. We can be doing just-as-poignant work by Black playwrights; we don’t

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JaMeeka Holloway-Burrell

PHOTO BY CAITLIN PENNA

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have to be recreating Thornton Wilder.

We did an Alice Childress celebration for her centennial, and so many people had never heard of her. Black Ops is me wanting to present everything I think is missing from our local community.”

Another goal is to serve an audience that is far from monolithic, a challenge that makes variety all the more important.

“There’s no way to create [one piece of ] Black art where everybody feels like they’re being seen and represented,” Holloway-Burrell says. “Some folks want to see Tyler Perry, and some want to see August Wilson. Some want us to do Shakespeare. Their dollars are supporting your art. That doesn’t mean commercializing it, but you’re trying to serve the whole community and sustain your life and practice.”

March’s Bull City Black Theatre Festival at Manbites Dog Theater became a flashpoint in consolidating the energy Black Ops had been cultivating.

“Something that became very clear to the Black theater community is that we need to be in conversation and collaboration with one another more often,” she says. “Not just for the sheer joy that we had collaborating, but for the sustainability of all our organizations and projects. We got a glimpse of what the impact could be if we’re being more intentional about programming with one another, sharing our resources, time, and talents.”

Monét Noelle Marshall, another Indies Arts Awards winner (see page 10), was part of the festival. Marshall says Holloway-Burrell’s “commitment to responsible community-building through theater edifies me, challenges me, and creates space for me and so many others.”

“She is a long-game legend,” Marshall adds. “We may not know the true impact of her work for decades to come.”

This year, Holloway-Burrell joined the new Bulldog Ensemble Theater, a group of artists who frequently performed at Manbites, the venerable Foster Street theater that closed this year.

“It’s bittersweet, because the other day I saw the doors of Manbites open, but it was for construction and not because a show was happening,” Holloway-Burrell says. “It’s the end of an era, but it was already trickling down when Common Ground and Deep Dish closed. I made the transition to Bulldog because I don’t want that light to burn out. And I’m taking this new route with Black Ops because I want to provide artists with the same sense of home I felt from [Manbites].”

14 | 12.12.18 | INDYweek.com

By “new route,” she means taking a year off from Black Ops and the festival to pursue an ambitious fundraising goal.

“I want to reach one hundred thousand dollars by the end of February 2020,” Holloway-Burrell says. “I want us to move into projects with abundance. I want people to know they’re going to get paid, that we value their time and their art. The goal is to build a sustainable foundation. I need to be in conversation more with funders and donors, not just about what they can do for my work, but how we can create a more equitable playing field inside funding organizations.”

She brings the same expansive vision to her own artistic work as she does to supporting the work of others.

“I try to decolonize my space, where we’re not in hierarchical practice,” she says. “I don’t feel the need to assert my authority as director. I don’t want anybody to feel like anybody’s work matters more, even if that is what traditional theater practices have shown us. And I’ve been able to prove that this kind of flowchart is not necessary as long as people feel comfortable [enough] to fail and take risks.”

The proof can be seen in the strong social-media-saturated update of Ibsen’s The Dollhouse Holloway-Burrell created this year, inspired by a clip of Kayne West patronizingly cleaning out Kim Kardashian’s closet in Keeping Up with the Kardashians.

“I love Ibsen; he’s one of my favorite storytellers,” Holloway-Burrell says. “As a Black artist, I’m always thinking about how my experiences and identity shape the way that I view stories. Sometimes, all you need is somebody who looks like you on the stage, and you can connect in a way that you never would have before. I always knew I wanted to cast a Black Nora and see how that changes the dynamics of the story, and I’m interested in what it takes to bring in more millennial audiences, and the generation following them.”

Black Ops and BCBTF may be taking the year off, but that’s all part of Holloway-Burrell’s strategy for building a strong foundation for Black theater in the region. As Marshall says, she’s playing the long game, and the next generation will benefit from her labor as much as the current one.

“This is unconventional, but I want to build it into my motto,” she says. “Drake says, ‘I just take my time with all this shit / I still believe in that.’ I’m going to take it one step at a time.” arts@indyweek.com

The People's Poet

As our state’s new poet laureate, Jaki Shelton Green amplifies her life’s work of literary empowerment

BY JAMEELA F. DALLIS

J

aki Shelton Green’s home in Mebane is unassuming on the outside, but inside, it transports you to another place. The space is full of artifacts from her travels to Africa, South America, the Caribbean, and beyond. It’s warm and welcoming, with family photos and heirlooms. It feels lived in and exudes creative, nurturing energy.

“You can have it all. You really can,” says Green, North Carolina’s ninth poet laureate—the third woman and first African American to be appointed to the role.

Since her appointment in June, she’s had a full calendar, traveling nonstop for poetry readings, lectures, and other speaking engagements throughout the state.

But this is business as usual for Green, who has the sort of calendar that people glance at and instantaneously feel anxious. While she visits many communities of color, she is also often “going into spaces where people don’t expect for [her] to go.” She says she feels welcome in those spaces but is also aware of what her presence means to people. At a recent reading in New Bern, Green says people of color brought their children to meet her because it was history.

“That’s the energy that has been feeding me,” Green says. “These people who see themselves in me—that, yes, I represent the people of North Carolina.”

Even as she carries the role of poet laureate, Green is teaching a documentary poetry course at Duke’s Center for Documentary Studies. She’s coordinating schedules with her family and friends and, of course, carving out time to write poetry. She is also the founder of SistaWRITE, which brings “women and spaces together for writing, community, sisterhood, and shared experience,” and has dedicated her life to serving and teaching others in North Carolina. In fact,

Green has taught people all over the world.

Writer and filmmaker Wesley Broome traveled with her on a writing retreat to Morocco that he says was “transformational for my creative writing.”

“I have been blessed to have a very supportive family and tribe of writers, women, elders, mentors, and mentees who are totally invested, as I am in them, in making sure that I can have it all,” Green says. “And I think that’s what we have to do for each other. We have to keep showing up and we have to be intentional.”

Born in 1953, Green grew up in Efland and has been writing since childhood.

She attended a segregated elementary school where she received public speaking instruction that helped lay the foundation for a life in front of audiences.

Then she received a scholarship to the George School, a private Quaker school in Pennsylvania. Green says it was during these years that she blossomed as a writer, and many of her poems were published in the school’s literary magazine.

In 1977, she published her first collection, Dead on Arrival. Over the next forty years, seven more collections and a play, Blue Opal, have followed.

Although she came home to write fulltime in 2004, for most of her career, Green has been a “working-class poet” and public servant. She has worked in diverse sectors, from the N.C. Department of Agriculture to literacy programs and legal services. But throughout these professional changes, she has “never not done the work” of teaching, writing, and advocating for the literary arts, serving on boards from the N.C. Arts Council to Poetry Out Loud. In 2009, she was named Piedmont Laureate, and in 2014, she was inducted into the North Carolina Literary Hall of Fame.

and in accessibility to all of our citizens, and especially in taking poetics out of the canon,” she says. “[Many people] think of poetry as Victorian poetry, or poetry that they studied in school years ago, which did not include an array of voices, did not include what our continent looks like.

I am very mindful of wanting to make spaces for the poetry of the nontraditional writer, the poetry of the nonacademic writer, and helping with the validation process for those voices.”

In a way, the role is just an official recognition of what Green has been doing all her life, as Ed Southern, the North Carolina Writers’ Network’s executive director, notes: “Jaki’s been doing the work of poet laureate for years, using poetry to connect people—or, maybe more accurately, to make people see how they’ve been connected all along.” arts@indyweek.com

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regional poetry salons and poetry symposiums celebrating poets who “aren’t the usual suspects.”

“I really want to be out there with people,” she says. “It’s exciting! At heart, I have all citizens in mind, and that’s the beauty of this laureateship for me. But I am concerned with communities that are underserved and isolated. For example, communities in rural Western North Carolina—where there aren’t a lot of people of color, in a region whose story has been vernacularized—I wonder, what are their truths, and who’s recording them, and who’s helping them create spaces for the telling of their poetry, their ballads?”

Poetry is always at risk of being an elite enterprise, but Green is a poet for the people, which makes her an ideal poet laureate.

“I’m definitely interested in the ordinariness, the everydayness, of the arts,

v

Green’s accolades reveal one part of her writing life, but, just as important, she has inspired and mentored countless other writers. Kynita Stringer-Stanback, a SistaWRITE attendee whose grandmother taught Green in school, describes her as a “great friend, mentor, and advisor, and legend” who leads with “love and intellectually robust discussions” as writers grapple with “the hard, difficult, painful, and many times triumphant truth.”

Stringer-Stanback says Green taught her that “talking back and directly to those who seek to destroy and oppress us is not only necessary [but] fundamental to the pursuit of freedom.”

Now, Green is embracing her role as an advocate for literary arts for all of North Carolina. As poet laureate, she can create self-initiated projects and envisions extending what she has started with SistaWRITE and her teaching through

804 W. Peace St. • Raleigh • 834-7070

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Jaki Shelton Green

PHOTO BY CAITLIN PENNA

INDYweek.com | 12.12.18 | 15

Fashion Forward

Runaway is ending after this season.

But its seven years in “Durm” leave a legacy that won’t end anytime soon.

BY JAMES MICHAEL NICHOLS

“C

lothing was really just a vehicle to push forward the scene that we wanted to create,” says Gabriel Eng-Goetz, the founder and creative director of the Durham-and-proud-of-it fashion brand Runaway. “It was the thing that actually made the money to do all of the fun things that we wanted to do.”

Eng-Goetz sent shockwaves through the Triangle arts community in November, when he announced that Runaway’s Winter 2018 collection would be its last, bookending a prolific run for a clothing line that’s served a much larger purpose for Bull City.

Over the past seven years, Runaway functioned as a multifaceted platform—a nexus of creative interest that ultimately brought people together in ways unparalleled by most local street brands. And it’s accomplished all of this through choices that have intentionally honored the history of Durham in ways both big and small.

In January, after just two successful years on West Main Street, Runaway will close the doors of its brick-and-mortar location as its team moves on to different projects and endeavors.

“When the brand first started out, we felt that the scene in Durham was really not where we wanted it to be,” Eng-Goetz says. “But instead of just going to New York or Los Angeles, we decided, let’s just try to create it here. We were young

kids. But how do you convince people that they can stay here, making amazing things, and how do you share that with the public—and ideally the world?”

Eng-Goetz and his team pursued this vision from different vantage points, producing and collaborating on art shows, podcasts, concerts, and documentaries.

They saw Runaway outside of the limited framework of a fashion line and more as an art and lifestyle brand that informed Durham creatives.

As Eng-Goetz puts it, “It was all a way to capture the subculture of art, music, and fashion here in Durham in a way that had never really been done or captured before through media.”

The brand was born in 2011 in Eng-Goetz’s basement through clothes he screenprinted with a sixcolor, six-head printing press. A Durham native, he’d recently returned home after earning an art degree at Syracuse and developing an interest in fashion during his four years in New York.

Eng-Goetz says he launched Runaway as a way to reconnect with the Triangle arts community, which he’d previously dabbled in during high school.

Runaway exploded in 2012 with the launch of its locally iconic “DURM” imagery, a nod to Durham authenticity that allowed Eng-Goetz to build Runaway into an influential community institution while paying tribute to the hometown he loved.

“We want to create clothing for people who really are invested in this city and have been here for a while.”

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Gabriel Eng-Goetz

PHOTO BY NOLAN SMOCK

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Engof the in othe Durham hangin Black acknow of raci this p of Run intimat history photog OGs”— Bell and grew u success the inte media c “All Durha “A big been th for peo in this while. ing for whethe new re whatev ly wan the cit “We seven y Freelon the fou ital m has an was an tive, to of the is noth multiti Engplans fo than to fine ar But no impact ham hi fashion for yea “I wa vided Eng-G provide for you thing p I feel li to do— of noth

Eng-Goetz began to honor the legacy of the Bull City through his products in other ways. While a design of the Durham skyline may seem like lowhanging fruit, the incorporation of Black Wall Street into his clothing acknowledged and honored a history of racial tension and inequality in this part of North Carolina. One of Runaway’s last projects is also intimately intertwined with the city’s history. The crew interviewed and photographed a number of “Durham OGs”—people like former mayor Bill Bell and local barber Akeen Miller, who grew up and charted a positive path to success in Durham—and plan to share the interviews on its website and social media channels in late December.

“All of these people have been in Durham forever,” Eng-Goetz says.

“A big part of the brand has always been that we want to create clothing for people who really are invested in this city and have been here for a while. But we also are making clothing for people who just moved here, whether they are moving back or are new residents or Duke students or whatever. The only thing is, we really want them to know the history of the city.”

“We were lucky to get him for the seven years that we did,” says Pierce Freelon, a friend of Eng-Goetz’s and the founder of the Afrofuturism digital makerspace Blackspace. “Gabe has an incredible talent, and Runaway was an opportunity, from my perspective, to see his talents on the canvases of the people of Durham. If Durham is nothing else, it’s multifaceted and multitiered and multitalented.”

Eng-Goetz wouldn’t discuss his plans for a post-Runaway world, other than to say he’ll be turning his focus to fine art and freelance graphic design.

But no matter what he does next, the impact of the amalgamation of Durham history and local art, music, and fashion that he created will resonate for years to come.

“I want to think that Runaway provided a positive light for Durham,” Eng-Goetz says. “And then ideally provided an opportunity and platform for young kids who chose to do something positive instead of negative. And I feel like that’s what our crew chose to do—make something positive out of nothing.” arts@indyweek.com

Art Ambassador

Over a quarter-century, ARTSLarry AWARDS Wheeler put NCMA on the world stage INDIES 2018

BY BYRON WOODS

D

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Portrait of Larry Wheeler by Damien Stamer

PHOTO COURTESY OF THE ARTIST

amian Stamer still remembers his first meeting with Larry Wheeler.

The Durham painter, whose landscapes of rural Southern homesteads focus on memory, impermanence, and place, was scarcely a year out of his MFA at UNC-Chapel Hill in May 2014 when he invited the director of the North Carolina Museum of Art to his first solo show of large-scale works at Raleigh’s Flanders Gallery.

It was a major gut check, he recalls: “I had no idea what he’d think. I had never gone to a show of mine with a museum director before.”

After touring the exhibition, Wheeler invited Stamer to lunch at Iris, the light-infused restaurant on the museum’s Blue Ridge Road campus. Somewhere between courses, Wheeler told him the museum would acquire a work from his exhibition.

“For me, it was like winning the lottery,” Stamer says. “It was the first museum I had ever visited. It felt like coming full circle.”

Stacy Lynn Waddell, a Raleigh native who indelibly marks her multimedia interrogations of historical figures and landscapes with branding tools, gilding, and lasers, first met Wheeler after her first museum commission in 2010.

It was an encounter with “an undeniable ball of energy, fire, and passion,” she says. “I didn’t expect to have a relationship, not just with the museum’s chief curator, but the director himself. I certainly didn’t expect I would come to think of him as a mentor.”

There’s no shortage of monumental benchmarks in Larry Wheeler’s career. He has helped shape NCMA, not only during twenty-four years as its director, but literally as well, supervising the construction of the first building on what is now the INDYweek.com | 12.12.18 | 17

museum’s 164-acre campus while serving as the Department of Cultural Resources’ deputy secretary from the late 1970s to the mid-1980s.

He returned to the region in 1994, after nine years as developmental director for the Cleveland Museum of Art, as a man with a flair for broad gestures, an appetite for risk, and an insatiable curiosity for all elements of the artistic process—a definite departure from the museum’s previous introverted leadership.

Several defining moves followed thereafter: an audacious personal appearance at Christie’s Auctions in New York, where he dueled with a telephone bidder before buying a significant new work by German expressionist Anselm Kiefer; construction of Picture This, an amphitheater on the grounds outside the museum incorporating a new work by conceptual artist Barbara Kruger; lavish parties where he courted new business leaders in Raleigh and Research Triangle Park as well as Jones Street politicians.

Capping them all was a series of increasingly ambitious blockbuster exhibitions calculated not only to generate local and regional interest but also to put the museum on the national and international map.

18 | 12.12.18 | INDYweek.com

The museum’s audacious Festival Rodin in 2000, the largest exhibition anywhere of the artist in twenty years, reached out beyond the museum doors, collaborating with other regional arts organizations, including Carolina Ballet, which commissioned a choreographic evening of tableaux vivants, Rodin, Mis en Vie. More than three hundred thousand people visited the exhibition.

When that achievement proved that the arts were an economic force to be reckoned with, further growth became inevitable. NCMA made plans to double its size with a worldclass second building. Those plans helped secure groundbreaking bequests in turn: a gift of thirty Rodin sculptures from the Iris and B. Gerald Cantor Foundation, making the museum the third largest Rodin depos-

itory in the U.S., and one hundred works of twentieth-century painting and sculpture from the Patton Foundation.

Exhibitions and events followed that were calibrated to bring in audiences who’d never been to the museum: A 2013 showing of mint-condition Porsches and a celebration of Art Deco automobiles tilted the museum’s traditionally female-heavy demographics.

Films and concerts at the amphitheater and edgy contemporary art exhibitions like 0 to 60 and this year’s insanely popular You Are Here appealed to younger audiences. A 2016 museum park initiative has permanently taken the museum beyond its building’s walls, making art available over three miles of walking trails every day of the year.

“Because he believes in the work, it pushes you to work harder, to go farther.”

Upon Wheeler’s retirement last month, he left a museum that half a million people had visited this year, with a projected income of $24 million.

Among such monumental benchmarks, it’s easy to lose sight of Wheeler’s longterm support of local artists. As chief curator Linda Johnson Doherty says, it isn’t every museum director who visits the studios of local artists and MFA students as often as he frequents professionals in New York.

“He does it at a relentless pace,” Doherty says. “He always has.”

And local artists like Stamer and Waddell appreciate it.

“You spend a lot of time alone in a studio, and there comes a point where you can feel so disconnected,” Waddell says.

“When someone like Larry comes in, that conversation creates a bridge between you and the outside world. To have him come in and say, ‘I see you, I see what you’re doing, and it’s as rigorous and important as what I see at the top levels of your discipline’—that helps that isolation and hard work feel like it’s going in the right direction. Because he believes in the work, it pushes you to work harder, to go farther.” arts@indyweek.com

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2116-D New Bern Ave., Raleigh 984-444-6620 drafthouse.com/raleigh

Holiday Gift Guide Aquavation® Original Signed by Artist Water Bottles, $20 For the dedicated Durhamite, no one captures the Bull City like hometown artist Darius Quarles. His work adorns Liberty Warehouse, Pleiades Gallery and now your custom bottle gifts. Order early for signed editions. BPA and Dye-Free. www.aquavation.org 857-302-2782

Counter Culture Coffee Iridescent: Limited-Release Winter Blend, $18.25 Each year we release Iridescent, a limited-edition winter blend, and earmark $1 per pound sold to fund development projects in the communities where we buy coffee.

Available at coffee shops, grocery stores, and more—including our Friday Tasting at 10 a.m. at our Durham roastery and HQ! 812 Mallard Avenue, Durham counterculturecoffee.com/iridescent

Carolina Performing Arts Give loved ones an unforgettable experience with a Carolina Performing Arts gift card!

If you buy a gift card by December 31, 2018, you’ll get a 20% bonus gift card to keep or give with your gift! (Ex: buy $100 gift card, get a bonus $20 gift card!) carolinaperformingarts.org 919-843-3333 Memorial Hall Box Office UNC - Chapel Hill | 114 East Cameron Avenue, Chapel Hill SPECIAL ADVERTISING SECTION

Carolina Theatre of Durham Gift Card

This holiday season, give the gift of concerts, comedy and cinema all in one package: a Carolina Theatre gift card. Cardholders may use cards like cash towards tickets to live events, films or to buy concessions at downtown Durham’s home for the arts since 1926.

309 W Morgan Street, Durham 919-560-3030 carolinatheatre.org

Cedar Creek Gallery

Blown Glass Ornaments, $17-$125 A destination for treasures. 4,000 sf of pottery, glass, metal wood fiber and more by over 200 local, regional and national craftspeople. 20 Minutes from Raleigh, Durham and Chapel Hill.

Open 10AM-6PM 7 days a week.

1150 Fleming Road, Creedmoor 919-528-1041 | www.cedarcreekgallery.com INDYweek.com • DECEMBER 12, 2018 • 19

e d i u G t f i G y a d i Hol

Glazed Expectations

Paint-It-Yourself Ceramic and Sculpture Studio.

Create your favorite dish! We have all the tools and instructions needed to help you with your ceramic projects. No reservations are necessary for groups under 6.

Clay summer camps and afterschool classes. Parties, events, and all day ceramic painting for children and adults.

Gift cards available!

205 W Main St. #104, Carrboro 919-933-9700 glazedexpectations.com

Crank Arm Brewing

Give the gift of beer! Crank Arm cans are the perfect stocking stuffer for the craft beer lover in your home. 4 packs are available in the tasting room or at one our retail partners. It’s the most wonderful time to drink beer!

319 W. Davie St., Raleigh crankarmbrewing.com

The Women Know Jewelsmith

Women Are the Solution to Everything Exercise Tank, $25 available in black, coral, purple

Pendant featuring two diamonds set in textured and high polished fine silver and 18kt yellow gold. This multi-dimensional piece hangs beautifully on white or yellow metal necklaces, as well as neoprene and leather cords. Pictured on a sterling silver chain.

2200 W. Main St., Erwin Square, Durham jewelsmith.com | @jewelsmithnc 919-286-2990

All The Women Know believes in women.

We want more of them in more places doing important work. We commit to empowering girls and supporting each other through trial and triumph. In that spirit, ten percent of sales will be donated to charities investing in girls and women in North Carolina. @allthewomenknow allthewomenknow@gmail.com 919-812-5158

Handmade Pendant by Cameron, $695

Mad Ethel’s Tattoo Cool Free Sh*t!

Now through the end of December, with the purchase of a tattoo, piercing or Gift Certificate, choose one merch item for you to keep or give to that tattoo lover in your life!

424 S. Dawson St., Raleigh 919-900-8345 MadEthel@MadEthels.com Or find us on Facebook

SPECIAL ADVERTISING SECTION

North Carolina North Museum of Art Membership Starting at $55

Give the Gift of Membership!

Includes an exclusive magnet set featuring member-favorite works of art, and a voucher for a free coffee at our café.

2110 Blue Ridge Road, Raleigh, NC ncartmuseum.org

INDYweek.com • DECEMBER 12, 2018 • 20

North Carolina Museum of Art

Paint Palette Cheese Platter, $44

Raleigh’s most artistic shopping destination with unique gifts for everyone on your list.

Museum Store at the North Carolina Museum of Art West Building, located next to Iris restaurant 2110 Blue Ridge Road, Raleigh 919-664-6784 | ncartmuseum.org

NC State Live

Still shopping for an idealist? Provocateurs Jon Boogz and Lil Buck take street dance to the highest level in Love Heals All Wounds at NC State LIVE on February 2nd at 8pm. There’s good reason these dancers have gone viral. Witness their choreography, which mesmerizes as it tackles vital issues...and ultimately encourages justice and joy!

Stewart Theatre, 2610 Cates Ave, Raleigh 919-515-1100 | go.ncsu.edu/LoveHeals

Raleigh Provisions

Looking for the best #local gift you can find for your loved ones this year? We’ve prepared a gift basket of All Raleigh Exclusives you can Mix & Match to curate the perfect gift with your choice of Mug or Tea Towel, Beer Soap, Chocolate, Beer, and T-shirt! Let’s do this.

107 E Davie St., Raleigh raleighprovisions.com 984-233-5600

Runaway

Durham Flag Beanie, $30 DURM Rabbit Hat, $30, DURM Rabbit Sweatshirt, $65 Durham Flag Jersey, $75 Runaway is an apparel and lifestyle brand encouraging you to run from convention.

Through a combination of apparel, art exhibitions, concerts, filmmaking, podcasts and more, our company is pioneering a new wave of creative hustle in North Carolina and beyond.

212 W. Main Street, Durham www.runawayclothes.com

The Glass Jug Beer Lab

Craft Beer, Glassware, & Bottle Openers

Give the gift of craft beer with a gift certificate to The Glass Jug Beer Lab! The Jug also has the best bottle openers in town and glassware to match the quality of the beer you pour in it. Perfect stocking stuffers for the beer lover in your life! Plus, an on-site microbrewery & beer garden!!

5410 Hwy 55, Suite V, Durham 919-813-0135 | glass-jug.com

SPECIAL ADVERTISING SECTION

The Wine Feed

Monthly Wine Club Four levels starting at $25/month Looking for the ultimate wine-lovers gift? A membership in The Wine Feed’s sommelier-curated wine club is the perfect way to share joy this holiday season. Explore two bottles each month that introduce you to new regions and varietals, and include proven pairing recommendations.

Membership includes $5 off classes, deals at our wine bar, and 20% off select retail purchases.

602 Glenwood Ave, Raleigh | 307 S. Roxboro St, Durham thewinefeed.com INDYweek.com • DECEMBER 12, 2018 • 21

indyfood

No Dudes, No Vegetarians, No Judgment DURHAM BURGER CLUB CELEBRATES FEMALE APPETITES, ONE JUICY DOUBLE PATTY AT A TIME

BY KATIE JANE FERNELIUS

Bar Virgile’s cheeseburger PHOTO BY HILL HONEK

T

he first rule of Durham Burger Club: no guys allowed. The second: meat only. No vegetarian or “other” patties allowed. Excess is permitted, even encouraged. Shame is not.

It’s a bustling Monday evening in December at Bar Virgile, and I am meeting with founder Kathryn Banas and members Kaitlin Briggs and Savannah Lennertz for cheeseburgers as part of an unofficial meeting of the Durham Burger Club. The women-only club meets monthly to eat burgers and catch up on life, but also to 22 | 12.12.18 | INDYweek.com

celebrate something that’s not often lauded: the female appetite.

Male critics around America make a sport of naming the best burgers. The Art of Manliness website has pages and pages of entries about burgers: how to eat them, how to cook them, even how to hold them.

Carl’s Jr. has built a whole brand out of women eating burgers under the male gaze: Paris Hilton, Kate Upton, Heidi Klum, and Padma Lakshmi have all licked, bitten, or moaned their way through a hamburger too big for their mouths.

In popular culture, to eat a hamburger is to fulfill a man’s appetite, gustatory or otherwise.

But the Durham Burger Club focuses on the appetites of women and insists on how expansive they can be. For Briggs and Lennertz, this makes the club a welcoming space to develop friendships with other women, and they’re grateful to Banas for setting up this unique sorority.

Banas, meanwhile, is in it foremost for the food: “I live to eat, so a food-based club made total sense, especially burgers, which

contain my holy trinity of deliciousness: red meat, carbs, and bacon,” Banas says.

Banas started her club in 2009 in New York City, when she was twenty-four years old, to catch up with friends who were scattered across the city and busy with new careers. Banas says they chose to exclude men because everyone was cycling through horrible boyfriends, and because she wanted it to be a safe space to indulge in greasy foods without being judged.

Sometimes, she and her friends would go out to a burger place, look around, and see other groups of women only eating salad, Banas says.

“In NYC, there are so many beautiful women, and there is so much internalized pressure to eat a salad at every restaurant, especially for the members [of the New York Burger Club] pursuing careers in the performing arts,” Banas says. “We could enjoy life, enjoy food, enjoy each other’s company, in public, unashamed.”

In 2015, Banas moved to Durham. She knew she wanted to keep up the monthly tradition in her new city, so she decided to start a Durham chapter. (The NYC Burger Club still exists, and there’s also a Boston chapter.) Banas invited a handful of the women she knew in the area and held the inaugural meeting of the Durham club in July of that year at Dain’s on Ninth Street.

It’s met nearly monthly since then.

To date, the Durham Burger Club has eaten burgers at thirty-seven different Triangle restaurants. Favorites include Beyù Caffè’s oversized sliders, Only Burger’s classic beef burger, Shiki Sushi’s wagyu burgers, and Town Hall’s pimentocheese-topped Carolina Burger.

Banas, a self-proclaimed burger expert, grew up in New Orleans, where she was known among her friends as a food evangelist generally. But her love of burgers looms largest. She’s more than just an aficionado; she’s a fanatic.

On that Monday night, she shows up wearing a Durham Burger Club T-shirt, accessorized with burger earrings, a burger necklace, and a curated selection of her extensive burger paraphernalia collection: a dog toy, mugs, Bob’s Burgers socks, underwear, Christmas ornaments, a kitchen timer, a pillow, greeting cards, a stress ball, a salt and pepper shaker, and commemorative glasses from famous national burger establishments. And this is only scratching the surface.

“My whole life is burger-themed,” Banas admits. “So this article is the pinnacle of my life!”

Banas, the club’s de facto president runs a tight ship, selecting interesting and delicious burger joints to visit the third Monday of each month. “First-bite” pictures are mandatory at every meetup for every member. (I’m now immortalized in the “first- bite” archive, chomping down on Bar Virgile’s cheeseburger with burger juice sliding down my fingers.)

The burger club broadly agrees on what distinguishes a good burger from a great burger. Juiciness, for one. When given the option at Bar Virgile, each orders her burgers “pink”—I imagine any digression might not be well-received.

A solid bun can also distinguish a great burger. Brioche and potato buns are favorites. Toppings are more personal, up to the whims of the individual eater.

Banas jokes that she often takes the lead in doubling patties, asking for sides of fries, and adding accoutrements to her burger. (She can’t resist bacon.) She wants to set an example for the other members, so they don’t feel shy about ordering exactly what they want, no matter how excessive it might be.

It’s this spirit that animates the Durham Burger Club: It’s not just about communing with other women and forming friendships; it’s also about being as ravenous as you want to be and knowing you won’t be judged for it.

It sounds simple. But it can feel radical for women who are conditioned to pick at lettuce and downplay their appetites.

And it’s that spirit that keeps women coming back every month.

“I remember my first burger club at Only Burger,” Lennertz, says. “Everyone was dressed up in their cute fall clothes, and they walked up to order, and they were like, ‘Can I have a triple cheeseburger, please, with extra bacon and chili on my fries, please? Also, can you give me a vat of ranch on the side?’ I knew then that this was the club for me.” food@indyweek.com

food

AMUSE-BOUCHE

POKÉWORKS

122 West Main Street, Durham 919-973-3372; pokeworks.com

Plenty of Fish in the Sea

POKÉWORKS SURFACES IN DOWNTOWN DURHAM WITH SIGNATURE POKE BOWLS AND INFINITE BUILD-YOUR-OWN COMBOS BY K MCKAY

T

he ever-increasing popularity of poke has spawned the creation of lots of build-your-own-bowl spots across the country, and the Triangle is no exception. Two years ago, only a smattering of niche restaurants offered interpretations of the dish on their menus; today, there are at least five dedicated poke restaurants in the area.

In November, national chain Pokéworks entered the fray with a location in downtown Durham, its first North Carolina outpost. Pokéworks takes its “Poke Your Way” tagline literally, with an endless number of build-your-own combinations that include kale noodles as a base option (in addition to grains), unlimited sauces and toppings, plus chicken, tofu, and cooked seafood for the raw-fish-averse.

Vibe: Go through the double doors on Main Street, and you’ll find Pokéworks’s cheery energy on full display, with yellow neon signage, bright accents in the brand’s signature orange, and an assortment of succulents and greenery. The Chipotle-style assembly counter and large, wall-mounted menus line the back wall. Your whole office crew could sit comfortably at a long high-top table, whereas the window-facing counter seats are prime real estate for solo diners. The place hums through lunch, so order ahead online if you’re in a rush.

Menu: There are three base options: poke salad (romaine and spring mix), poke burrito (sushi rice and seaweed wrap), and poke bowl (kale noodles, sushi rice, brown rice, or quinoa). From there, you call it.

Choose a protein, then pick out your mixins, such as seaweed, cucumbers, or edamame. Add in signature sauces or seasonings (think: sweet chili gochujang), then pick your toppings. Finish off your creation with “crunches” such as garlic crisps, toasted rice puffs, or shredded nori.

Feeling overwhelmed? Pokéworks also offers eight signature dishes, such as the

An assortment of poke bowls and a poke burrito PHOTO COURTESY OF POKÉWORKS Hawaiian Classic, an ahi tuna bowl dressed with green onions, sesame oil, and Hawaiian salt, and the Shiso Salmon, which deploys fresh shiso leaves and ponzu sauce to bring a citrusy, herbaceous bite.

Sides are limited but include novelties such as spam musubi, a nod to Hawaii’s beloved snack of grilled Spam atop rice wrapped in nori.

What to order: The poke bowl is both the best option for novices and an ideal way to experience Pokéworks, particularly since this format allows you to split the base between both tender kale noodles (a protein-packed pasta that incorporates the flavor and color of its principal ingredient) and a grain (opt for the warm sushi rice).

All the brightly colored raw fish is delivered daily on weekdays, but the more classic marinated cuts, such as ahi tuna and salmon, are crowd pleasers. As a mix-in, the purple-hued ogo seaweed, which has a nice bite and mild salinity, is a standout.

Take advantage of the unlimited flavors, mix-ins, and crunches to customize your bowl. Among the sauces, the Pokéworks Classic, a ginger sesame vinaigrette, layered with its “spicy ginger” and “umami shoyu,” adds a balanced depth of sweet and tangy flavor, while aioli blends, bolstered with Sriracha or wasabi, bring a touch of heat. It’s tempting to go overboard with the crunchy toppings, but don’t miss the stately floral-shaped lotus chips, which eat like a slightly sweet potato chip and add extra flair to an already supremely Instagrammable dish.

Price: Bowls are $10.95 to $13.50. Premium toppings, such as avocado and wasabi tobiko, are $2 or less. Sides range from $2.50 to $3.95. Drinks are $2.50.

Perfect for: Workday lunch dates; a graband-go option downtown; poke aficionados and novices alike. food@indyweek.com INDYweek.com | 12.12.18 | 23

indystage

A JOHN WATERS CHRISTMAS Fletcher Opera Theater, Raleigh Tuesday, Dec. 18, 8 p.m., $48–$128 www.dukeenergycenterraleigh.com

Shocking Stuffers

JOHN WATERS COMES BEARING ROACH-INFESTED CHRISTMAS CARDS, OBSCURE LITERARY PORN, AND FRACKED COAL FOR NAUGHTY KIDS

BY ALLISON HUSSEY

J

ohn Waters earned his reputation as America’s favorite weird uncle many times over during his long career of celebrating freaks in films like Pink Flamingos and Hairspray. But casual fans might be surprised to learn that one of his obsessions is decidedly more mainstream:

John Waters

the state of the holiday, the creative practice of his Christmas cards, and new alternatives to coal for those on the naughty list.

INDY: What are your thoughts on the Christmas creep into the beginning of November?

PHOTO BY GREG GORMAN

He loves the hell out of Christmas. He’s compared his fever for the holiday to a drag queen’s affinity for Halloween—it’s his time to work, he’s said—and, naturally, he brings the same level of gleefully garish enthusiasm to the celebration of the baby Jesus.

This week, Waters stops in Raleigh on his annual run of Christmas shows, in which he promises to help everybody get through the season with their holly-jolly intact. We caught up with him about his thoughts on 24 | 12.12.18 | INDYweek.com

JOHN WATERS: It starts on Halloween now; pretty soon it’ll be Labor Day. So we should make Christmas scary. Since it starts at Halloween, let’s put them together. They used to call Halloween “Gay Christmas,” so in a way, it is one big holiday season that we could put together and have scary things happen on Christmas. Like Santa’s head explodes on the top of the house, or something like that. Make it even newer and exciting.

What’s the best part of your Christmas tradition?

Every year, I design a card that I spend a lot of time on. I’ve been signing some two thousand of them; I’ve got about four hundred to go. I start doing it in the summer because people who work for me say, “What is it? It’s a big production; what are you going to do?” So I have to think up the idea, get it printed, have it made, do the envelopes, and all of that stuff.

That takes quite a bit.

How do you decide on what your Christmas card angle is going to be every year?

I just have to think of something that’s going to make me laugh and let my own sense of humor show through. One year, I sent Liza Minnelli a card, and it came back, and it said, “Moved, left no return address.” So I just photographed that, and that was my card the next year.

One year, I made an advent calendar, but all of the doors that opened up didn’t have religious pictures inside, they had pictures of Johnnie Ray, people that you wouldn’t really expect on an advent calendar. One year, I had a Christmas ball that had a fake roach inside it, and they thought it was real.

They would throw it against the wall.

You’ve said you most enjoy receiving books as gifts. What’s on your list this year?

I love books that I don’t know about that people find in thrift shops, like [books about] stars and their pets from the forties—really obscure, weird show-business books that nobody wants anymore. They aren’t highly collectible. They’re usually a nickel if you can find them. I like things on Beaver Cleaver or Ricky Nelson.

But I also like novelizations of movies.

They have to be old. They can’t be the new ones. And obscure porn paperbacks with great titles, especially if they have a literary sidekick. I have A Cockwork Orange, I have Simmer and Spoke instead of Summer and Smoke. All the porn twists on classic literary titles, I find pretty good. Clitty Clitty Bang Bang is the one that’s always the most amazing. I have one from A Patch of Blue that’s A Patch of Brown. That’s really hideous.

Environmentalism is a really big deal now.

There’s been some new data recently about how, in twenty years, we’re probably all screwed. So what should replace coal for people who have been bad?

Fracked coal. Wouldn’t that be the best?

Any kind of fracking products. Sticks and stones—who would care if they got them?

They even have fancy sticks and stones at expensive stores that you can buy. I guess fracked coal would be the most politically incorrect. Or maybe plastic bags, with plastic straws holding them down.

What do you feel is the best way one could have an anti-capitalist Christmas?

For one thing, you could have a failure tree.

You take all your bankruptcy notices, all your parking tickets, all your unpaid bills, and you hang them on the tree. That way, you celebrate your defiance of the Christmas holiday and money. ahussey@indyweek.com

stage

stage

Scary Little Christmas

THE ART OF THE THRILLER IS WHAT YOU LEAVE OUT, BUT LADY MISRULE TAKES THE RULE TOO FAR BY BYRON WOODS

M

y first encounter with “Christmas noir” was as a college radio DJ, when Donald Fagan intoned the stark lyrics of Steely Dan’s “Charlie Freak” over telltale sleigh bells and a tight studio band. Lady Misrule, Tiny Engine Theatre’s dark December offering at Walltown Children’s Theatre, also deals with death, dodgy motivations, and unwise bargains leveraged at someone else’s ultimately fatal expense.

We find ourselves on the mean streets of an unexpected urban dystopia: the North Pole, home of Santa Claus (a blunt Kurt Benrud), Tanya, who’s more of an enigmatic placeholder than Claus’s wife (Erica Heilmann), and a cadre of human and elven “helpers” whose motivations—and propensities for unpredictable, aggressive, antisocial behavior—remain obscure.

But director and playwright Paul Sapp’s challenging dramatic jigsaw puzzle attempts to transcend noir’s pulp-fiction pedigree when the murder that opens the work—the death of Nora Wurth, a young, idealistic, and seemingly universally adored helpmeet (a crisp Jessica Fleming)—only leads into broader mysteries. When her father, Stephen (David Berberian), has to be the unwilling gumshoe who investigates her death, the truths he stumbles upon raise questions deeper than those associated with the genre’s dime-store roots.

From a production standpoint, though, Lady Misrule repeatedly confirms the misgivings that tend to arise whenever playwrights direct their own works. The two jobs and their corresponding skill sets are far from identical. Playwrights have to clearly see the world they’re making; directors have to make sure we clearly see it. That doesn’t always happen in this production.

Mysteries are tricky. If too much is disclosed too soon, a big reveal evaporates into nothingness. But here, the lack of disclosure leaves too many plot points and characterizations unarticulated. Though thrillers thrive on functional ambiguity,

LADY MISRULE

½ Through Dec. 15 Walltown Children’s Theatre, Durham www.tinyenginetheatre.com PHOTO COURTESY OF TINY ENGINE THEATRE

the dysfunctional kind disadvantages Lady Misrule—the relationships, causalities, and tantalizing altered social structures they hinge upon remain too smudged past the final line. Noelle Barnard Azarelo’s lithe and lethal Kiki is an elf whose allegiances and motivations we never understand. Page Purgar’s gruff head of security, the hapless Tanya, and even Nora stay more shadowed than is useful.

Sapp’s script is promising, but it clearly needed another draft before production.

Ending too many scenes with a last-line cliffhanger becomes a recognizable crutch, and the stop-and-stop pacing of too many brief scenes sabotages momentum, which

is further dulled by the monotonous musical sound cues used in both acts.

That’s too bad, as this work engages worthwhile questions. When Santa’s estranged daughter, Connie (Laurel Ullman), seeks to shake up our core holiday tradition, Lady Misrule asks what’s lost when philanthropy crosses into coercion. Has capitalism fundamentally corrupted Christmas? What would a useful reset look like? And what happens when dehumanizing rhetoric is coded into the “others” in speculative fiction: elves, imps, and the like, who are and are not us?

Unfortunately, the answers aren’t always fully fleshed out in this Yuletide inquest. arts@indyweek.com

BRIEF

A NOT-SO-ANNIHILATED PATTON OSWALT BROUGHT SWEET VIBES TO RALEIGH Patton Oswalt’s 2017 Netflix special, Annihilation, is the most devastating hour of comedy I’ve ever seen. It was funny, of course, and there were some pretty good jokes about the shitshow of the Trump presidency—which, let’s be real, is the cheap meth of the current comedy world.

But the show was so effective, so visceral, because it was so much more than that—it was raw and intimate and personal and vulnerable, a laughing-throughthe-tears way of coming to terms with the sudden death of his wife, Michelle McNamara, two years earlier. It landed like a gut punch; you laughed, but you also grieved. Oswalt wasn’t just a comedian on TV; he was a friend working through unimaginable grief. It was a masterpiece of pathos as profound as it was hilarious.

Oswalt’s performance Saturday night in Raleigh wasn’t like that, not really.

Meymandi Concert Hall, with its massive, naked stage and high ceilings, didn’t feel intimate, even from the seventh row. (The sound was also annoyingly hit-and-miss, especially during opener Orlando Leyba’s set.) Oswalt steered clear of his personal tragedy. He also steered clear of Trump, aside from an extended riff on how easy it is to make fun of Trump.

Instead, he talked about the mundane: about nearing fifty, about taking hikes, about arguing with his new wife, about his daughter’s tantrum, about missing the Solo premiere—which had a full-size replica of the Millennium Falcon—because he had to attend his kid’s terrible art show.

For his encore, he FaceTimed his daughter and had the audience collectively tell her to eat her broccoli. That’s a pretty good encapsulation of what the show was like, which isn’t to say it was dull. Oswalt is one of the most consistently funny comedians out there, and he didn’t disappoint. His sharp-witted but good-humored jabs at a front-row millennial and his riff on the #MeToo movement and comedy— essentially, a live subtweet at Louis CK— were riotous.

Rather, the show was sweet. And that, in a weird way, was gratifying: Your friend was moving on, no longer drowning. And you were happy for him. —Jeffrey C. Billman INDYweek.com | 12.12.18 | 25

WHAT TO DO THIS WEEK 12.12– 12.19

FRIDAY, DECEMBER 14

ANDREW MARLIN

While there are plenty of artists who pour their heart and soul into their creative practices, there are a rarified few who treat their art as an all-consuming effort, as essential to everyday existence as oxygen.

Andrew Marlin is one of those artists. For the past decade, he’s dedicated himself to writing gentle, folksy songs as half of Chapel Hill’s Mandolin Orange. When he’s not doing that, Marlin busies himself with picking up almost every sort of side gig imaginable, from producing to playing pick-up shows at bars with a wide ensemble of local collaborators (I have, on multiple occasions, witnessed Marlin say he’s going to play “just one more,” and going on to play three or four).

In September, Marlin issued the all-instrumental Buried in a Cape; he celebrates that latest accomplishment on his home turf with Josh Oliver in the opening slot. —Allison Hussey THE ARTSCENTER, CARRBORO | 8 p.m., $15–$18, www.artscenterlive.org

FRIDAY, DECEMBER 14–SUNDAY, DECEMBER 16

JACOB MARLEY’S CHRISTMAS CAROL

Old Marley—dead as a doornail, and less than happy on that count— stared at the spectral accountant in dismay. “Scrooge? I have to redeem old Scrooge? The one man I knew who was worse than I was?

Impossible!” But what did he think the one deed that could keep him from Hell’s eternal bonfire would be? Easy? Then the old reprobate remembered the final, unpardonable disservice that Ebenezer Scrooge had done him, at his death, and that was that. “I’ll be damned if I’ll lift my littlest fingernail to save him! I’ll be damned if I will!” After a moment, a dry voice broke the silence: “Rather, old thing, you’ll be damned if you don’t.” In the title role of this NRACT coproduction with Actor’s Comedy Lab, Tony Hefner flips the script on Dickens’s tale as the world’s second-greatest miser, and sharp Scott Nagel plays the first. Bridget Patterson and Bonnie Webster support; stage veteran Rod Rich directs. —Byron Woods NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEGH 8 p.m. Fri. & Sat./3 p.m. Sat. & Sun., $17–$22, www.nract.org

SATURDAY, DECEMBER 15

THE SONGS OF BIG STAR

Big Star’s final album, Third, is an erratic masterpiece filled with twisted deconstructions, righteous rockers, and beautiful ballads, sometimes blurring the lines between all three. Cut in 1974, the album has long been considered a cult classic. As he did for the first time in 2010, Chris Stamey harnesses an impressive array of talents to bring the songs from Third alive onstage. He’ll be joined by some of his fellow dB’s, lone Big Star survivor Jody Stephens, R.E.M.’s Mike Mills, Yo La Tengo’s Ira Kaplan, Ken Stringfellow of The Posies, Mitch Easter, Gary Louris of The Jayhawks, and plenty more. The cherry on top is the fact that they’ll be working with the original orchestrations of Carl Marsh, who wrote the string arrangements for the album. But most important of all, the proceeds will be going to a great cause. The evening is a benefit for the Be Loud! Sophie Foundation, which aids young cancer patients and their families at UNC hospitals. —Jim Allen CAT’S CRADLE, CARRBORO | 8 p.m., $25, www.catscradle.com

WHAT ELSE SHOULD I DO?

Andrew Marlin PHOTO BY JEREMY M. LANGE 26 | 12.12.18 | INDYweek.com

ANY BLACK MAN AT ARTSPACE (P. 32), JEAN-JACQUES MARTINOD AT SHADOWBOX STUDIO (P. 36), THE SANTALAND DIARIES AT THEATRE IN THE PARK (P. 34), SO & SO READING SERIES AT CAM RALEIGH (P. 33), JOHN WATERS AT FLETCHER OPERA THEATER (P. 24)

SATURDAY, DECEMBER 15

SAMIA SERAGELDIN AND LEE SMITH

Hillsborough literary luminary Lee Smith, the author of more than a dozen novels, writes famously sprawling, voice-y works of intergenerational fiction that reconsider or reframe traditional notions of Southern womanhood. This makes her a well-paired editor, with Samia Seraldin, for the forthcoming UNC Press anthology Mother & Strangers, a collection of creative nonfiction that “expands our notions of motherhood in the South.” Photographers Elizabeth Matheson and Barbara Tyroler have joined the conversation around the book with a series (previously exhibited in this year’s Click! Photography Festival) of haunting, evocative photographs that circumnavigate the topic of mothers, daughters, and the writing life, which are on display at FRANK through February. A reception and reading by Smith and Seraldin—both of whom are featured in Tyroler’s photographs—kicks the exhibition off; Chapel Hill musical duo Red Nucleus Band accompanies. There’s been a spate of literature about motherhood in the past year, which speaks perhaps not to its topical trendiness but to its inevitable vastness. It’s nice to see some dimension, both from writers and pictorial perspectives. —Sarah Edwards FRANK GALLERY, CHAPEL HILL | 5 p.m., free, www.frankisart.com

Composite photos of Lee Smith

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music 12.12–12.19

CAROLINA THEATRE:

Delta Rae

[$30–$40/8 P.M.] ”Hands Dirty,” a newer cut from Delta Rae, seems to be the band’s effort at a heartfelt anthem for the #MeToo era. The song builds from a swampy, blues-soul foundation as Brittany Holljes reckons with sexism. But the song’s good intentions succumb to aggresive, overwrought vocals and too-busy production, and lines like “I will stand beside my sisters and all persistent rsisters” feel clumsy. Which is to say, it’s the same ol’ Delta Rae we’ve always known.

Emma Hern opens.

—Allison Hussey THE CAVE TAVERN: Poor Pie, Nathan Arizona and the New Mexicans, Girl Werewolf; 9 p.m.

CENTER FOR DRAMATIC ART: Songs of Light and Wonder; 7 p.m.

DEEP SOUTH:

Unifer

[$5/8 P.M.]

Durham’s Raund Haus brings STLNDRMS to The Pinhook Saturday.

WED, DEC 12

THU, DEC 13

ARCANA: Foothills Tap Takeover with Magnolia Project & Sarah Bolen; 8 p.m.

CENTER FOR DRAMATIC ART: Songs of Light and Wonder; 7 p.m.

THE CAVE TAVERN: The Basic Unit; 8 p.m.

DUKE ENERGY CENTER FOR THE PERFORMING ARTS: Celtic Thunder X; 8 p.m.

THE PINHOOK: Nostalgiaphile, Dolphins Daughter, YSL Sell, A Quest Called Life; 8 p.m.

HUMBLE PIE: Sidecar Social Club; 8 p.m.

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

THE PINHOOK: Weedie Braimah and the Hands of Time, Diali Cissokho, Kaira Ba; 7 p.m.

RHYTHMS LIVE:

Delbert McClinton [$45/8 P.M.]

Legendary Lone Star State singer and harmonica man Delbert McClinton has been delivering his distinctive blend of blues, soul, and rock

PHOTO COURTESY OF THE ARTIST

’n’ roll since the sixties, and he’s only gotten greasier and grittier as he’s gone along.

Um, that’s a good thing, in case you weren’t sure. Get in on it. —Jim Allen THE WICKED WITCH:

Lonnie Walker, Lilac Shadows [$10/9 P.M.]

Despite this year’s increase in the frequency of Lonnie Walker’s irregular appearances, headlining gigs have still been about as uncommon as the offbeat Raleigh outfit’s gripping combo of ruminative

lyricism howled over nervy guitars and jittery rhythms.

Lilac Shadows preview their planned 2019 LP, the follow up to the tense, terrific Brutalism’s moody psychedelic swirls, towering shoegaze fuzz, and propulsive post-punk rhythms. Raw but melodic Greensboro quartet Totally Slow adds blistering punk rock rage.

—Spencer Griffith

FRI, DEC 14 THE ARTSCENTER: Andrew Marlin (of Mandolin Orange), Josh Oliver; 8 p.m.

Miraculously, this is Deep South’s twenty-third annual Christmas Party. It is also their last, a melancholy node in Deep South Entertainment’s menagerie of December programming run leading up to their namesake Raleigh bar’s shuttering on December 31.

Emo punks Unifer (formerly known as Future Ghosts) throw themselves against the early aughts emoscape to celebrate, supported by Durham heavy prog dudes Youth League and Earther.

Come soak in that precious, precious dive ambiance during the holidays while you still can.

—David Ford Smith DUKE CHAPEL: Vocal Arts Ensemble of Durham Holiday Concert; 8 p.m.

HAW RIVER BALLROOM: Waylon Jennings Tribute with Louis Waymore Band and David Burney of Johnny Folsom 4; 8 p.m.

KINGS:

Metropolis Live Score [$10/7 P.M.]

Silent film, of course, was a misnomer: in the early days of cinema, screenings were hardly quiet, accompanied by barrelhouse pianists in small theaters and full orchestras in large ones. And now, nearly a century after The Jazz Singer

made talkies the toast of Tinseltown, silent films still have life, largely thanks to the composers and musicians still playing along. Austinite David Didonato spent four years on his original score to Fritz Lang’s 1927 expressionist sci-fi drama, Metropolis, crafting icy organic and electronic sounds and conjuring moods that reflect futuristic urban dystopia. Electric guitars slash, drum machines stutter and synths squawk, but the music is never intrusive, always in service of the moving image.

—Patrick Wall MOTORCO MUSIC HALL: The Wusses, Beauty Operators; 8 p.m.

NIGHTLIGHT:

Desert Secretary [$10/9:30 P.M.]

Desert Secretary’s wiry, nervy, dour music recalls the parallel early days of British post-punk and American no wave, both born from an art-school approach that offset their birthplaces’ derelict industrialism (see: Pere Ubu’s Cleveland; Joy Division’s Manchester). The duo’s lockstep precision recalls fine-tuned machinery. As drum machines hiss and thud in perfect time, angular guitar and basslines spin and catch like gears. But there’s a human element at the heart: “We could start over/this time,” Hannah Spector sings on “Start Over,” and the hurt and longing are palpable. —Patrick Wall THE PINHOOK: The Roman Spring, Surrender Human; 7 p.m.

SHARP NINE GALLERY: Ann Hampton Callaway; 7 p.m.

SAT, DEC 15 BEYÙ CAFFÈ:

Big Daddy Wilson [$15/7 & 9 P.M.]

The final month of live music at Beyù Caffè is full of familiar faces: Family Sircle, faculty from NCCU, and lots of smooth jazz and R&B. And then there’s blues-man Big Daddy Wilson.

The blues are a living, breathing force for this Edenton native, rambling well beyond the neat confines of that well-trodden twelve-bar formula. Twentyfive years of music making have given his richly hued baritone just the right tinge of roughness beneath its soulful surface.

—Dan Ruccia INDYweek.com | 12.12.18 | 29

CAROLINA THEATRE:

Daniel D. and Eric Stanley [$35–$75/7 P.M.]

Between their YouTube channels, violinists Daniel D and Eric Stanley have covered Rihanna, Eminem, Drake, Taylor Swift, Demi Lovato, Cardi B, Adele and on and on.

Both use their classical chops in the service of contemporary pop and R&B, preferring soulful melodies and trap beats to flashy runs. Their videos are decidedly lo-fi and intimate, often shot on their phones in various locations around their homes as they throw off a random idea or a new cover.

—Dan Ruccia CAT’S CRADLE: The Songs of Big Star; 8 p.m. See page 26.

CAT’S CRADLE BACK ROOM:

Pippa Hoover Find The Hot at Nights in Raleigh Wednesday.

PHOTO BY ALEX BOERNER

FOR OUR COMPLETE COMMUNITY CALENDAR INDYWEEK.COM

Love ? y d n i e h t Ann Hampton Callaway, Diva Power Two Shows - 7pm & 9pm Richmond, VA Bassist, SA 12/15 Michael Hawkins TU 12/18 NCJRO MO 1/7 DJW Session #1 TU 1/8 DJW Session #1 WE 1/9 DJW Session #1 TH 1/10 DJW Session #1 FR 1/11 Jason Foureman Adult, Youth, & Private Classes available!

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30 | 12.12.18 | INDYweek.com

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S hop local!

[$8–$10/7:30 P.M.]

Night Bird Singing, the solo debut of Honey Magpie cellist Pippa Hoover, finds the singer-songwriter adding bits of country and pop to that trio’s gentle folk. Twangy guitar meets cello swoops and cooing

background vocals on the toe-tapping “Black Hole” while “Everybody’s Working Hard” pairs a jaunty rhythm with sharp, snarky lyricism. She’s backed tonight by a five-piece band, while her Honey Magpie bandmates will also join for a few. The Moon and You, Magnolia Project, and Chessa Rich open. —Spencer Griffith THE CAVE TAVERN: Dan Melchior Band, Open Field; 9 p.m.

CENTER FOR DRAMATIC ART: Songs of Light and Wonder; 7 p.m.

HALLE CULTURAL ARTS CENTER: Concert Singers of Cary: A Holiday Messiah; 7 p.m.

THE PINHOOK:

STLNDRMS [$10/9 P.M.]

Pure, unadulterated joy and good tidings from ATL lo-fi acolyte STLNDRMS abound at this seasonal gig.

Under various aliases, he’s been making music for a minute, with a résumé that winds all the way back to the mid-aughts and music licensing deals for Sega PS3/ Wii titles like Anarchy Reigns and Madworld. Though he

vanished out of music for a time to chase other artistic pursuits, his eternally swelling, intricately sampled soul productions slot cleanly among the current Dilla-fied lo-fi pocket that has flourished in streaming arenas like Youtube. It’s lovable, humane lo-fi hip-hop spiked with just enough special sauce to feel useful. —David Ford Smith SHARP NINE GALLERY: Michael Hawkins Quartet; 8 p.m.

UNC’S HILL HALL: Voices, the Chapel Hill Chorus presents Hodie!; 7 p.m.

SUN, DEC 16 BLUE NOTE GRILL: Bulltown Strutters Holiday Throwdown; 5 p.m.

CAT’S CRADLE BACK ROOM:

Lynn Blakey [$10/8 P.M.]

Lynn Blakey is known around the Triangle as a stellar singer-songwriter thanks to her time with harmony-laden alt-country trio Tres Chicas and rootsy pop-rockers Glory Fountain. Aside from one gorgeous album of original tunes, her new Christmas

TEASERS 18th Annual Christmas Party Saturday Dec. 15th Free buffet Special Entertainment Door Prizes Members in FREE 7-9

919-6-TEASER for directions and information

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Jewel sto

album focuses on graceful treatments of familiar seasonal favorites, showcasing her splendid pipes with warmth and elegance. She’ll be joined by her studio band—multiinstrumentalist Ecki Heins, bassist FJ Ventre, and producer Jerry Kee—along with some surprise guests. Danny Gotham opens.

—Spencer Griffith DURHAM PERFORMING ARTS CENTER:

The Beach Boys [$34–$55/7:30 P.M.]

This time of year is supposed to be “full of good cheer,” but few acts exude an aura of joylessness like the 2018 iteration of The Beach Boys.

Sure, they’ll probably do a round of “Little Saint Nick.”

But staying at home with the original band’s 1964 Christmas album will give you as much—no, probably more— bang for your buck, with the added benefit of optional pantslessness. —Allison Hussey KINGS:

Music & Mario Kart 64 Tournament [$8/7:30 P.M.]

When it comes to racing, you’re the type of competitor who lays banana peels for your unwitting opponents—or simply shells them out of existence. Sounds like you’re already into playing Mario Kart 64, so you might as well sign up for this all-ages tournament with multiple TVs, which will culminate in a final showdown on Kings’ big projector screen.

Plus, there’s music by Absent Lovers, Magma Opus and Witchtit, as well as live visuals

by B.L.E.W. —Howard Hardee NC MUSEUM OF HISTORY: Raleigh Flute Choir; 3 p.m.

NEPTUNES PARLOUR:

Rod Abernethy & Friends [$8/8:30 P.M.]

Jewel stops at The Carolina Theatre on Monday.

PHOTO BY MATTHEW ROLSTON

This holiday show finds former Arrogance guitarist and award-winning video game score composer Rod Abernethy celebrating both The Man I’m Supposed To Be, his 2018 album that brought him back to his roots in folk

music, and his multitude of musical friendships.

Abernethy’s homespun songs are gentle and genuine, while his instrumentals showcase his dazzling fingerpicking. His guests tonight include a slew of local singer-songwriters— including Wyatt Easterling, Bett Padgett, Chad Lister, Rebecca Newton, and Barry Gray—along with Johnny Folsom 4’s David Burney, producer John Custer, Pinto duo Caroline Mamoulides and Steve Howell, and several members of The Connells.

—Spencer Griffith THE PINHOOK: Russell Lacy School of Music Presents; 3 p.m.

UNC’S HILL HALL: Voices, the Chapel Hill Chorus presents Hodie!; 3 p.m.

MON, DEC 17 CAROLINA THEATRE:

Jewel

[$50–$100/8 P.M.] For her Handmade Holiday Tour, Jewel aims to share traditions from her Alaskan family homestead, “building memories by sharing handmade moments.” Along with her favorite holiday tunes, the Grammy Award-winning singer-songwriter will also perform hits from the nineties, including “You Were Meant for Me,” “Foolish Games,” and “Who Will Save Your Soul.” With Atz Lee and Nikos Kilcher. —Julie K. Smitka

and Top 40 pop, the band has produced a decade’s worth of commercially successful singles and albums that are virtually indistinguishable from the broader genre of Pearl Jam-inspired butt-rock that got huge in the mid-aughts. You know the kind.

—Howard Hardee CAT’S CRADLE: Horton’s Holiday Hayride: Reverend Horton Heat & Junior Brown, The Blasters, Big Sandy; 7 p.m.

LOCAL 506:

Precious Child [$6–$8/9 P.M.]

Los Angeles’s Precious Child apply a avant-garde metal sensibility to arguably very metal topics like “fetish, gender deconstruction and post-internet intimacy,” as they put it. It’s a busy season for Precious Child: their art installation, Divinity, is now running simultaneously, through January, at Art Basel Miami. Come for the NSFW industrial grunge; stay for the NSFW industrial grunge.

—Sarah Edwards SHARP NINE GALLERY: NCJRO; 8 p.m.

WED, DEC 19 BLUE NOTE GRILL: The Herded Cats; 8 p.m.

CAT’S CRADLE: The Weepies Holiday Acoustic Duo Tour, Matt the Electrician; 7 p.m.

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

MCMANNEN UNITED METHODIST CHURCH: North Carolina Boys Choir and Girls Choir Christmas Concert; 7 p.m.

NEPTUNES PARLOUR:

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

Serving as The Hot at Nights’ hometown holiday party, this show presents the innovative instrumental trio in perhaps its purest form, leaving behind the synthesizers and electronics with which they’ve dabbled over the past couple years in favor of its original configuration of guitar, saxophone, and drums. Of course, the always adventurous crew adds a wrinkle: they’ll be performing only covers—not necessarily of the seasonal variety—though their interpretations are often as compelling as their originals. —Spencer Griffith

TUE, DEC 18 BLACK FLOWER BAR: Bassbunny & Madhouse Underground Present: Sub Rosa; 10 p.m.

CAROLINA THEATRE:

Daughtry

[$55–$123/8 P.M.] Chris Daughtry rose to national relevance on the fifth season of American Idol and went on to form and front a band bearing his last name. Occupying the noxious space between grunge

The Hot At Nights [$8/9:30 P.M.]

INDYweek.com | 12.12.18 | 31

art

12.12–12.19

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

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

ONGOING All-Star Group Exhibit: More than twenty artists and craftspersons in a wide range of media. Thru Mon, Dec 31. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

Anything Goes: Sixty-four local artists juried by Jayne Walther. Thru Thu, Dec 13.

Litmus Gallery, Raleigh. litmusgallery.com.

Freeman Beard: A Watercolor World: Watercolors. Thru Jan 31. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

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

THURSDAY, DECEMBER 13

ANY BLACK MAN: A COMMUNITY CONVERSATION ABOUT IDENTITY AND EMPOWERMENT The local artist Anthony Patterson told the Duke Arts website that participating in Sherrill Roland’s The Jumpsuit Project, in which he and other students of color showed up an art reception wearing orange prison jumpsuits, was a life-changing experience. He continued thinking about pervasive portrayals of and reactions to the idea of AfricanAmerican men as criminals in his mugshot-like portrait series Any Black Man. The questions the work viscerally raises through imagery— “Is the portrayal of black men in America fair and balanced? Do we perceive every black male as being the worst our society has to offer?

Are black men a monolith?”—will be verbalized in this community discussion, which is part of a Patterson exhibit in partnership between Artspace and the Black on Black project. —Brian Howe

ARTSPACE, RALEIGH 6:30 p.m., free, www.artspacenc.org

Art by Anthony Patterson PHOTO COURTESY OF ARTSPACE

32 | 12.12.18 | INDYweek.com

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

His dynamic black-andwhite photos from the scene capture now-famous names and local, proto-indie-rock

bands such as The Fabulous Knobs and Arrogance in their primes. More than two hundred photos are featured in the exhibit, along with flyers, videos, and other artifacts. Thru Jan 31.

Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

—Brian Howe Sam Ezell: Self-taught Hillsborough artist. Thru Fri, Dec 21. Alexander Dickson House, Hillsborough. visithillsboroughnc.com.

Allan Gurganus: A Writer’s Sketchbooks: Duke’s Rubenstein Library recently acquired the papers of one of North Carolina’s seminal authors, the fiction writer and essayist Allan Gurganus.

But before he wrote the nationally acclaimed books Oldest Living Confederate Widow Tells All and White People, Gurganus began his creative life as an artist, a discipline he studied at the University of Pennsylvania before consoling himself with his sketchbook while serving in the Vietnam War. To celebrate the acquisition, the Rubenstein is working with Power Plant Gallery to showcase sixty never-beforeseen drawings and paintings.

The colorful, imaginative, but ultimately humane style of Gurganus’s books is revealed in a new way through these visual works. Thru Jan 19.

Power Plant Gallery, Durham. powerplantgallery.com.

—Brian Howe Let it Snow, Let it Snow, It’s a Winter Show!: Work by female artists. Thru Dec 29.

Local Color Gallery, Raleigh. localcoloraleigh.com.

Edwin Lohmeyer: mobilemedic/oracle: Participatory sound installation. Thru Dec 29.

Artspace, Raleigh. artspacenc.org.

Gwen Lowery: Night Visions: Fiber art. Thru Sat, Jan 5. Durham Arts Council, Durham. durhamarts.org.

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

Thru Mar 31. 21c Museum Hotel, Durham. www.21cmuseumhotels. com/durham. —Sarah Edwards Vernon Pratt: All The Possibilities of Sixteen: Neverbefore-seen posthumous exhibit. Thru Sun, Feb 10. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

A Southern Review: Featuring the Pleiades member artists. Thru Sun, Dec 23.

Pleiades Gallery, Durham. pleiadesartdurham.com.

Allison Tierney: Glimpse: Mixed media. Thru Feb 7.

Durham Arts Council, Durham. durhamarts.org.

Blaise Tobia: Material Matters: Photography. Thru Jan 26.

Raleigh. artspacenc.org.

Stephen White: Golden Classics: Paintings. Thru Mon, Dec 31. Little Art Gallery & Craft Collection, Raleigh. littleartgalleryandcraft.com.

Tom Willis: Journey: Paintings.

Thru Fri, Apr 12. Durham Convention Center, Durham. durhamarts.org.

Dane Winkler: Brain Janitor: Interactive installations and large-scale sculptures. Free.

Thru Feb 2. Artspace, Raleigh. artspacenc.org.

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page READINGS & SIGNINGS THURSDAY, DECEMBER 13

SO & SO READING SERIES Heather Green, who headlines the latest installment of the So & So poetry-reading series at CAM Raleigh, has published her own poems everywhere from Denver Quarterly to The New Yorker. But in her new book from Octopus, Noontimes Won, she turns her talents to a translation from French of a book by Tristan Tzara, one of the progenitors of Dada. A writer as experimental as Tzara leaves a translator plenty of room to play, and Green locates a telegraphic swiftness and a penchant for echoes in his lines: “between each stroke of the clock / i speak of the clock / i help you on with your cloak / when the sun sweeps the horizon.” At this reading, Green is joined by local poets Laura Jaramillo and Mary Anna Rice. (Disclosure: Jaramillo is an INDY contributor.)

—Brian Howe

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

COMING JANUARY 23RD!

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Cathy Barrow: Pie Squared: Irresistibly Easy Sweet and Savory Slab Pies. Wed, Dec 12, 6 p.m. McIntyre’s Books, Pittsboro. mcintyresbooks.com.

Elizabeth Berg: Night of Miracles. Wed, Dec 12, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Bishop Michael Curry: The Power of Love: Sermons, Reflections, and Wisdom to Uplift and Inspire. Mon, Dec 17, 7 p.m. St. Michael’s Episcopal Church, Raleigh. quailridgebooks.com.

Samia Serageldin and Lee Smith: Anthology Mothers & Strangers. With photo exhibit Mothers, Daughter, and the Writing Life. Sat, Dec 15, 5 p.m.

FRANK Gallery, Chapel Hill. frankisart.com.

LECTURES ETC. Any Black Man: A Community Conversation about Identity + Empowerment: With Anthony Patterson. Thu, Dec 13. 6 p.m. Artspace, Raleigh. artspacenc.org.

Periodic Tables: Once & Future Plague: With Sherryl Broverman. Tue, Dec 18, 7 p.m. Motorco Music Hall, Durham. scienceandsociety.duke.edu.

Ira David Wood III: Meet and greet. Sat, Dec 15, 1 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

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stage OPENING Celeste Barber: Actor and comedian. Wed, Dec 12, 8 p.m. Fletcher Opera Theater, Raleigh. dukeenergycenterraleigh. com.

ONGOING Anything Goes Late Show. Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com.

Peter Battis: Charles Dickens Tells A Christmas Carol: $10. Fri, Dec 14, 7 p.m. The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

The Harry Show: Ages 18+. Potentially risque games improv games with audience volunteers. $10. Fridays & Saturdays, 10 p.m. ComedyWorx, Raleigh. comedyworx.com.

Black Nativity: $2127. Dec 14-18. NCSU Campus: Talley Student Center, Raleigh. thejusticetheaterproject. org.

Jacob Marley’s Christmas Carol: Presented by Actors Comedy Lab and NRACT. $20-$22. Dec 7-16. North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

Durham Ballet Theatre: Winter Showcase: Aerial and contemporary.

Featuring ShaLeigh Danceworks. $15-$18. Sat, Dec 15, 7 p.m. Durham School for Ballet and the Performing Arts, Durham. durhamballettheatre.org.

Lady Misrule: A Dark Tale from the Jolliest Place on Earth: Reviewed on p. 25. Dec 7-15.

Walltown Children’s Theatre, Durham. tinyenginetheatre.com.

FRIDAY, DECEMBER 14–SUNDAY, DECEMBER 23

THE SANTALAND DIARIES

For more than a quarter of a century, public-radio and live-theater audiences have given annual thanks that, once upon a time, the person least suited for a job as a holiday elf at Macy’s, David Sedaris, got the gig—and that he then kept a diary, meticulously documenting its workaday horrors. For those who haven’t seen it, The Santaland Diaries details the none-too-steady Plan B of a desperately unemployed writer who’s just moved to New York after his initial strategy—instant stardom upon being “discovered” by the producers of One Life to Live—doesn’t exactly pan out. In Sedaris’s subsequent descent into the belly of the Christmas-retail beast, he’s forced to wear a dorky costume and vend the “grinding enthusiasm” expected of a corporate elf, all while suffering fools gladly—well, to their faces, at least.

Jesse Gephart puts on the candy-cane stockings and curled-up shoes for his twelfth consecutive year in Theatre in the Park’s other long-term holiday franchise. —Byron Woods

THEATRE IN THE PARK, RALEIGH 8 p.m. Fri. & Sat./3 p.m. Sun., $17–$25, www.theatreinthepark.com

The Santaland Diaries

food & drink

A John Waters Christmas: Tue, Dec 18, 8 p.m. Duke Energy Center for the Performing Arts, Raleigh. dukeenergycenterraleigh. com.

The Monti StorySLAM: Chemistry: Stories told around the theme “Chemistry.” 18+. $12.

Wed, Dec 12, 7 p.m.

Motorco Music Hall, Durham. motorcomusic.com.

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

Oyster Garden Party: Free oysters to order. Live music

by The Nash Street Ramblers.

Sat, Dec 15. 2-10 p.m. Eastcut Sandwich Bar, Durham. www.eastcutsandwich.com.

A Trailer Park Christmas: $22-24. Dec 13-23. NCSU Campus: Thompson Hall, Raleigh. brownpapertickets.com.

Rudolph: The Musical!: Nov 23-Dec 24. Memorial Auditorium, Raleigh. dukeenergycenterraleigh. com.

Farmhouse Cider & Wine Tasting: Saturdays and Sundays, 2-6 p.m. Botanist & Barrel, Cedar Grove. botanistandbarrel.com.

Wine Tasting at Mandolin: Exploring Terroir with Pinot Noir: Wednesdays, 6 p.m. Mandolin, Raleigh. mandolinraleigh.com.

34 | 12.12.18 | INDYweek.com

PHOTO COURTESY OF THEATRE IN THE PARK

GREAT SALES TEAM SEEKS RALEIGH ADDITIONS A Little About Us:

John Hurld

Kim Cordray

Hanna Smith

Amanda Blanchard

Ashley Acker

I love my job here at INDY Week! Providing services to clients while supporting independent local news reporting, who could ask for a better job? I’m an avid foodie & cocktail lover, addicted to WUNC, and the New York Jets (They’ll win within my lifetime!) I have a long history of hospitality related jobs, lived in Durham for 8 years now, and have a cat named Lula - named after our favorite hot sauce, Cholula.

I love working at the INDY. I especially love the people I work with and getting to help small, local businesses.

I moved here last year from Portland, OR— but, I am originally from the mountains of North Carolina. I’m an artist who loves to draw and paint and I also teach art to kiddos in my free time. Currently, my favorite musician is La Feline—look her up, she’s awesome!

I’m a Kansas native with a background in small business, and passion for the local free press. One of my favorite things about working for the INDY is getting to explore all around the Triangle and find my favorite new local spots.

You’ll find me out at local eateries, bars, shows, and hanging out with my dog Darcy and my cat Luna. Ramen enthusiast. True Crime binger. Never underestimate the power of red lipstick and iced coffee.

I’m still fairly new to the INDY, but I absolutely love it! Not a NC native, but since I’ve lived here over 30 years, it’s definitely my home. I stay creative in my spare time sketching around town, making charcoal portraits, crocheting and knitting, even making my own clothes. I’m a fan of odd-ball and cult films, but totally influenced by Jim Henson creations.

I am new to the Triangle and INDY Week has helped make Raleigh feel more like home!

At the INDY, I get to explore the City of Oaks, connect with people in the community and support local brands and businesses. It’s what I love most about my job! I have a background in Photography and Mass Communications and I enjoy music festivals, hot yoga, old movies and a good sense of humor.

SALES DIRECTOR

MARKETING EXECUTIVE

MARKETING EXECUTIVE

CLASSIFIEDS ACCOUNT EXECUTIVE

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We are looking to add another Account Executive to our team based out of the downtown Raleigh Office.

A Little About You:

Self-starter, passionate about local news, culture, and events.

Enjoy meeting new people and able to connect with a diverse group of individuals.

Effective verbal and written communication skills. Ability to thrive in fast-paced environment.

Be part of supporting businesses in your community and the free independent press.

You would work from a great, modern, first-floor office in the heart of downtown Raleigh, equipped with all the requisite amenities. Full benefits with 100% company-paid health insurance and company-paid 401(k) match.

Come join our team!

Contact jhurld@indyweek.com

Are you a local business owner who wants to get the word out in your community? Contact us at advertising@indyweek.com for more information.

INDYweek.com | 12.12.18 | 35

screen SPECIAL SHOWINGS Die Hard: $12. 7:30 and 10 p.m. Dec 17 & 18. Alamo Drafthouse, Raleigh. drafthouse.com.

Double Feature: Kiss Me Deadly & The Killer is Loose: $10. Fri, Dec 14, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Elf: $12. Dec 14-20. Alamo Drafthouse, Raleigh. drafthouse.com.

It’s a Wonderful Life: $9.

2 & 3 p.m. Sat, Dec 15, Alamo Drafthouse, Raleigh. drafthouse.com.

Love Actually: $12. Thu, Dec 13, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.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.

Metropolis: With live score.

Featuring guitarist David DiDonato. $10. Fri, Dec 14, 7 p.m. Kings, Raleigh. kingsraleigh.com.

 Can You Ever Forgive Me?—Comic actor Melissa McCarthy shines in her first dramatic turn, but the characterization of a literary forger is muddled. Rated R.

National Lampoon’s Christmas Vacation: $12.

8 & 10 p.m. Wed, Dec 12, Alamo Drafthouse, Raleigh. drafthouse.com.

½ Creed II—The latest in the revived franchise is a good Rocky sequel, but it’s not a great Creed sequel.

Rated PG-13.

OPENING The Favourite—See our review at indyweek.com this week. Rated R. Mortal Engines—Peter Jackson had a hand in this post-apocalyptic fantasy.

Rated PG-13.

The Mule—Clint Eastwood offers a tale of an elderly horticulturist-turned-drugsmuggler. Rated R. Once Upon a Deadpool— Deadpool 2 gets a kidfriendlier cut for the holidays . Rated PG-13.

Roma—See our review at indyweek.com this week.

Rated R. Spider-Man: Into the SpiderVerse—See our review at indyweek.com this week.

Rated PG. 36 | 12.12.18 | INDYweek.com

½ First Man— Damien Chazelle shoots the moon in his glorious film about Neil Armstrong.

Rated PG-13.  Green Book— There’s some rose-tinting at play in this cross-racial buddy comedy set in the Jim Crow South, but it’s nice to see the good guys get a rare win. Rated PG-13. ½ Halloween—A backto-basics approach fails to restore the mystery and menace of Michael Myers.

Rated R. ½ A Star Is Born— Neither modern classic nor mega-bomb, this CooperGaga remake is best when it’s allowed to just be a tender country-western love story. Rated R.

FRIDAY, DECEMBER 14

JEAN-JACQUES MARTINOD It’s been awhile since we’ve heard from Unexposed, the experimental-documentary screening series that formerly traveled around Durham and even held down a dedicated microcinema on Hood Street. It’s always a treat when it pops up again, most often these days at Shadowbox Studio, as it does for this visit from filmmaker Jean-Jacques Martinod, who is best-known for films such as Rota, Beast, and Ozoners. He’ll screen the last, along with a curated slate of shorts by himself and other directors, at this free screening. Popcorn will be popped, and while it’s free, donations are welcome for the traveling filmmaker.

—Brian Howe

SHADOWBOX STUDIO, DURHAM 8 p.m., free, www.shadowboxstudio.org

Still from a film by Jean-Jacques Martinod PHOTO COURTESY OF UNEXPOSED

FOR OUR COMPLETE COMMUNITY CALENDAR

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NOTICE OF SERVICE OF PROCESS BY PUBLICATION STATE OF NORTH CAROLINA, DURHAM COUNTY, 18 CVS 2364. BILLY RAY DIGGS, PLANTIFF, vs. JAYLEN PATRICK EVANS, DEFENDANT, TO: JAYLEN PATRICK EVANS: PLEASE TAKE NOTICE that a pleading seeking relief against you has been filed in the above-entitled action. The nature of the relief being sought is an action by the Plaintiff for Motor Vehicle Negligence. You are required to make defense to such pleading not later than January 7, 2019, and upon your failure to do so, the Plaintiff will apply to the Court for the relief sought.

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PAPER LEGAL NOTICE PAPER NOTICE OF SERVICE OF PROCESS BY PUBLICATION PAPER STATE OF NORTH CAROLINA DURHAM COUNTY. In the PAPER General Court of Justice, Superior Court Division, 18 PAPER CVS 002632, Kathryn Peraza, Plaintiff vs. Waltraud Contratto, PAPER Rachel Parisi, and Joseph Jones, Defendants. To: Waltraud PAPER Contratto and Rachel Parisi, Take notice that a pleading seeking PAPER relief against you has been filed in the above-entitled action.

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INDYweek.com | 12.12.18 | 37

4 3 8 7 6 5 9 2 1

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

6

2 4

3 4 8 4 1 9 6 6 6 15 3 3 5 6 3 98 2 9 5 9 4 3 8 1 7 8 21 2 6 2 9 2 8 7 4 7 7 9 8 6 5 3 9 2 1 5 4 8 9 3 2 su |MEDIUM do | ku this week’s puzzle level: # 18 # 53

2 3

1

1

5

9 8

9

9

1 2

4 6

3

HARD

# 54

© Puzzles by Pappocom

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

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

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

6 2 5 8 4 2

9

1

9

4 9

2

8

1

9 7 29 5 2 1

3 7

5 7 3

6 1 4 2

5

2 5 4 82 5 7 9 1 2 6 8

79 # 55

HARD

9 5 2 6

3

# 54

7 5 1 9 4 2 6 3 8

3 7 5 9 1 4 8 6 2

1 9 2 8 6 5 4 3 7

4 8 6 3 7 2 5 9 1

8 5 4 6 2 3 1 7 9

9 3 1 7 5 8 6 2 4

2 4 8 5 3 7 9 1 6

5 1 3 2 9 6 7 4 8

7 6 9 4 8 1 2 5 3

4 5 2 8

5 7 1 9

2 3 4 6

6 1 8 7

9 2 # 56

# 55

3 9 5 2

9 2 7 4

7 8 9 5

8 6 3 1

# 56

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

6 8 7 2 5 and click 9“puzzle “Puzzle Pages.”

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

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

2025 2 3 6 8 9 7 1 4 5 Page 14# of

9 7 8 5| INDYweek.com 4 1 6 3 2 38 | 12.12.18 1 4 6 3

4 5

# 20 6 2 7 1 4 9 3 8 5

12.12.18

solution to last week’s puzzle

# 19

7

7 9 7 4

MEDIUM 9 2 6 1 3 8 4 7 5

2 8 1 3 8 6 5 3

8

1

3 8 7

3 5

8 7 2 3 5 6

4 9 6 7 8 1

3 5 1 4 9 2

1 4 3 2 7 5

9 2 8 1 6 3

5 6 7 9 4 8

7 3 9 6 2 4

2 1 5 8 3 7

6 8 4 5 1 9

4 8 1 9 7 2 3 5 6

9 7 3 6 4 5 2 8 1

5 6 2 8 1 3 4 9 7

3 5 9 4 2 6 7 1 8

6 4 7 1 5 8 9 2 3

2 1 8 7 3 9 6 4 5

1 3 5 2 9 7 8 6 4

7 2 6 5 8 4 1 3 9

8 9 4 3 6 1 5 7 2

CLASSY AT INDYWEEK DOT COM 30/10/2005

Book your ad • Email amanda: classy@indywEEk.com

PLACE YOUR AD ON THE

advertise on this page!

back page

reserve this space for $100! classy@indyweek.com

CONTACT AMANDA: CLASSY@INDYWEEK.COM last week's puzzle

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INDYweek.com | 12.12.18 | 39

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