INDY Week 1.23.19

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ION ECT GS SIN RTI DVE LA CIA SPE

Are You a Feminist?

RALEIGH 1|23|19

We asked men in the Triangle about rape culture, toxic masculinity, and gender inequality.

You might be surprised by what they had to say.

BY KATE R E NA DE PASQUALE, P. 12 SIG, SIDELINED P. 6

WOODWARD, WORRIED P. 10

METALLICA, MOLLIFIED P. 26

Eat & Drink Almanac The INDY’s Ultimate Guide to food and drink in the Triangle

Issue: 7/25 Reservations: 7/20

Contact your Marketing Executive or advertising@indyweek.com 2 | 1.23.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH VOL. 36, NO. 4

6 The Crooked Creek vote sketched the outlines of factions among Wake County commissioners.

8 A majority of the time, when ShotSpotter sensors detect gunshots, the cops don’t find evidence that shots were actually fired.

10 “We have a governing crisis,” says Bob Woodward.

“Trump does not know how to govern.”

12 Ninety-nine years after American women got the right to vote, we ask Triangle men what they think of feminism.

DEPARTMENTS 6 News 16 Food 24 Music 28 Arts & Culture 32 What to Do This Week 36 Music Calendar 37 Arts & Culture Calendar

16 The straightforward sandwiches at Eastcut Sandwich Bar are meant to be eaten, not just Instagrammed.

26 In its latter-day output, Metallica has mined its entire past to forge a new, more refined path forward.

28 In Charly Evon Simpson’s Jump, family members heal together, but they grieve alone.

Journalist Bob Woodward on Trump and journalism (see page 10) PHOTO COURTESY OF BOB WOODWARD

INDYweek.com | 1.23.19 | 3

NCDOT TO HOLD PUBLIC MEETING FOR THE PROPOSED WIDENING OF I-40 FROM I-85 TO THE DURHAM COUNTY LINE IN ORANGE COUNTY TIP PROJECT NO. I-3306A The N.C. Department of Transportation will hold a public meeting regarding the proposed widening of 11.4 miles of I-40 between I-85 and the Durham County Line in Orange County. The interstate would be widened by one lane in each direction to bring the highway up to three lanes each way, improving traffic flow along that corridor and helping relieve heavy congestion that develops during commuter times.

The project would also improve the N.C. 86 exit and sections of that highway for several hundred feet both north and south of the interchange.

The meeting will be held on Thursday, January 24 at the Passmore CenterGreat Hall located at 103 Meadowlands Drive in Hillsborough from 4-7 p.m.

The public may attend at any time during the meeting hours. Please note there will be no formal presentation.

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

All comments will be taken into consideration as the project progresses. The opportunity to submit written comments will be provided at the meeting or may be done via phone, email, or mail no later than February 8.

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

For additional information please contact Gene Tarascio of the NCDOT Project Management Unit at (919) 707-6046 or gtarascio@ncdot.gov or Consultant Project Manager Eric Midkiff at (919) 858-1820 or emidkiff@calyxengineers.com.

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

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

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

4 | 1.23.19 | INDYweek.com

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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backtalk

Quite Sensationalistic Last week, Leigh Tauss wrote about how the Raleigh City Council, led by Stef Mendell, voted to kill a sidewalk project that was five years in the making. In a lengthy response (edited for space here), Mendell calls the story “quite sensationalistic.”

“I was initially contacted by some members of the Fallon Park Garden Club in March 2018 and asked to meet with them to discuss their concerns about a proposed sidewalk on Oxford Road adjacent to Fallon Park,” she writes. “I had previously met a few Garden Club members, some of whom had supported my campaign, but I did not know many others. However, I shared their concerns about the intrusive nature of the design as well as the $600,000 cost and arranged a meeting for them with city staff.

As a result of the meeting, city staff undertook to modify the sidewalk design and came up with several alternatives, one of which was less expensive and much less intrusive into the park, but still concerning to some of the Garden Club members.

“At a public meeting in August, there were many area residents in attendance, some who supported a sidewalk and some who did not. During the meeting, I was asked if the sidewalk was a ‘done deal,’ and I said very publicly that this current council tended to side with what neighbors wanted and that if the neighbors did not want a sidewalk, then we probably would not approve a sidewalk.

“I was having trouble deciding on the appropriate course of action. The new design was much less intrusive, and staff had gone to a lot of trouble to address issues that had been raised. But concerns remained about the impact to trees on the edges of the park. And then I began hearing from residents of Oxford Road directly across from the park—they were concerned not only with potential harm to trees but also the impact of narrowing the road.

“I received an email from one of the Oxford Road residents who had initially supported the sidewalk and signed the petition in 2014, but now that she understood better what it would look like, she was adamantly opposed. She circulated a petition to the twenty-two homes that

“That is beyond insulting, and is the kind of activity that makes good people not want to become public servants.” had been contacted in 2014. Twenty of the twenty-two responded, and sixteen were opposed to the sidewalk; only four supported it. [Editor’s note: Because the city didn’t oversee this petition, it doesn’t consider it official.]

“Consequently, I decided to vote against it. After the vote, I began to hear from other neighborhood residents who were very much in favor of the sidewalk. Many said they had not understood that the sidewalk was in jeopardy. Now that I understand that the wider neighborhood desires a sidewalk, I would like to explore what other options are available to address their concerns about safety. A number of suggestions have been made, and I plan to schedule a meeting so that we can have a broader discussion, not only about Oxford Road, but about the sidewalk-petition process in general.

“I would like to note that I consider the article in the INDY not objective journalism, but rather quite sensationalistic. I have been attacked on social media with suggestions that I made the decision on the sidewalk because the opponents are my friends and because one of them made a $75 donation to my campaign. That is beyond insulting, and is the kind of activity that makes good people not want to become public servants.”

Rachael Wooten, a sidewalk opponent interviewed for the story, offers similar thoughts: “The premise appears to be that the decision proves ‘the council’s willingness to prioritize the needs of a few vocal residents over its own long-term vision.’ Then Tauss leaves out the very data that refutes her argument.

“The timeline of the decision-making process was long. It involved several public meetings in which dozens of voices were heard, both for and against this sidewalk. These meetings go back even further than Stef Mendell’s tenure. The council responded to concerned citizens’ need for input at every turn.

“Your reporter chose not to report on the two most important data points. First and foremost, a current resident of Oxford Road circulated a new petition against the sidewalk. The majority of current residents did not want it. Secondly, on the city’s comment site, where non-residents could also leave opinions, 69 percent of respondents were against it. [Editor’s note: Like the petition, the comments are also considered unofficial.]

“I told Tauss that I would like to see a meeting of people who are concerned about both maintaining the natural integrity of the park as well as safety issues related to the area.

Ways to address these issues could include professional trail maintenance around the perimeter of the park, speed bumps, bike lanes, signage, and other traffic-calming measures. Mendell is now planning to offer such an opportunity.

“The article reads like an opinion piece.

Critical data was left out. The article has a polarizing effect. Rather than suggesting creative ways for people to come together and find mutually agreeable solutions, the INDY creates an either-or, us-them scenario that serves no one.”

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

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 20:

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indynews

Power Plays

DESPITE LINGERING TENSIONS OVER CROOKED CREEK, WAKE COMMISSIONERS SET THEIR 2019 PRIORITIES

BY LEIGH TAUSS

E

arlier this month, in its first meeting since two new members were sworn in, a bitterly divided Wake County Board of Commissioners voted 4–3 to declare as surplus a former golf course it had acquired for $4 million just last year for parkland and put it up for sale.

The majority—Greg Ford, Jessica Holmes, James West, and newcomer Vickie Adamson—argued that they were correcting the previous board’s mistake and that developing a park at Crooked Creek wasn’t fiscally responsible, given the county’s other needs, such as schools and affordable housing.

On the other side were Sig Hutchinson and Matt Calabria, who voted for the park last year, and newcomer Susan Evans, who seemed annoyed at having to deal with something so fraught so soon. The park money, Hutchinson and Calabria pointed out, came from a separate pot than school funding. And Hutchinson chastised the anti-park camp for doing the bidding of political benefactors whose largesse helped Adamson get elected.

Tensions haven’t cooled in the two weeks since.

“That will be a park one day,” says David Carter, a former Wake County parks director who has advocated for the Crooked Creek park. “This isn’t going to go quietly into the night. We’re expanding our footprint when it comes to letting people know and making sure they understand what the commissioners have done. So, nope, not going to go away.”

The backlash—on social media and in Ford, Holmes, West, and Adamson’s inboxes—got so bad that, last week, they released a thirteen-page letter defending their vote and sharply criticizing the commissioners who’d supported the purchase, saying the county should “not be in the business of failed golf course bailouts.”

“They have questioned the potential influence of campaign donors who support public education, while remaining silent on the potential influence of their own donors 6 | 1.23.19 | INDYweek.com

The site of the former Crooked Creek Golf Course who are property owners, land developers, real estate agents, and others with potential economic interests in Crooked Creek, or in the precedent it sets for taxpayers buying failed private projects,” they chided.

“They started it,” Hutchinson retorts. “I have just responded to what they started, and it started off back when they came out with a statement questioning our integrity.”

(He’s referring to a letter Ford, Holmes, and West sent last April implying that a campaign event park supporters had invited four pro-park commissioners to could be seen as pay-to-play.)

It was within this context that the commissioners filed into the North Carolina Museum of Art Saturday morning for their annual retreat, an event at which they set goals for the coming year. The Crooked Creek vote had sketched the outlines of factions: the ascendant Holmes and Ford leading the majority; Hutchinson and Calabria having seen their clout wane.

PHOTO BY LEIGH TAUSS

But where Hutchinson has been visibly irritated, Calabria has opted to make peace with this new dynamic. He says he’s tried to avoid personal attacks, and he’s annoyed that he’s been caught up in the back-and-forth.

“That doesn’t mean I don’t have my share of frustration, but I am working hard to try and keep the lines of communication open among all commissioners,” Calabria says.

That’s left Hutchinson on something of an island.

In the first round of the retreat’s goalsetting process, Hutchinson suggested changing the county’s social and economic vitality priorities to focus on the health of the entire county rather than that of its most vulnerable populations. The majority wasn’t having it.

The rest of the day went much the same. While commissioners took up some of Hutchinson’s suggestions, including implementing the results of the Population

Health Task Force’s report, none became top priorities. He was clearly annoyed.

At the meeting’s conclusion, he was the only board member who didn’t thank his colleagues.

“I feel like some of my priorities were not held in priority,” Hutchinson says.

For the rest of the board, whatever tensions existed remained below the surface. The commissioners, all Democrats, prioritized developing a plan to support healthy mothers and babies, implementing a behavioral health plan, helping vulnerable populations in southeast and eastern Wake County, and expanding support for those released from prison as their top goals for 2019.

They also want to create strategies to support minorities, women, people with disabilities, and families struggling financially; bring together municipalities and other stakeholders on issues pertaining to growth, sustainability, and zoning; expand access to early childhood development programs; and work with the school board to establish a process for determining school funding.

The county’s staff is tasked with creating policies to meet those goals. The board will further discuss its priorities at a workshop on February 11 and vote on them at its February 18 meeting.

Holmes says she’s pleased with how the retreat went.

“We were all pleasantly surprised that everyone came to the table doing what we were elected to do,” she says, “which is to put politics and personalities to the side for the betterment of our community.”

Whether that bonhomie exists when the next tough vote comes remains to be seen.

“We have not healed,” Hutchinson says.

But then again, as he implicitly acknowledges, maybe he’s just speaking for himself: “You know, if you are in the majority and voted for the park [to be sold], I’m sure you are fine with it.” ltauss@indyweek.com

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news

Ears in the Sky

DURHAM MIGHT DEPLOY AUDIO SENSORS TO LISTEN FOR GUNSHOTS. WILL THEY ACTUALLY MAKE THE CITY SAFER? BY SARAH WILLETS

I

n the first eleven days of 2019, six people were shot and killed in Durham. There were two double homicides, including one whose victims were a young mother and her ten-monthold baby. Police consider three deadly incidents cases of domestic violence. One man was found dead after a standoff with county deputies, his son charged with his murder. And, in broad daylight, two teenage girls were struck by bullets fired by gang members shooting at each other from their vehicles, inflicting non-lifethreatening injuries.

“Every time a person is shot in Durham, it rips a hole in a family. It rips a hole in a neighborhood. It rips a hole in a community,” Durham Mayor Steve Schewel said at a news conference last week.

There were fewer gun crimes in 2018 than the three years prior, despite Durham’s population growth. But these recent shootings have alarmed the community, kept officers working long hours, and caused elected officials to examine the city’s approach to combating gun violence.

It’s against this backdrop that Durham officials, police, and sheriff ’s office representatives will get a pitch next week from a company called ShotSpotter to install its gunshot-detection technology around the city. If the tech is installed, sensors placed throughout the city will listen for “short, explosive” sounds like gunshots. When the sensors are activated, an audio clip will be sent to machine, and in some cases human, reviewers to confirm whether the recording is actually of gunfire.

If it is, local police will be dispatched to the scene. According to ShotSpotter, this all takes place within seconds.

The goal is to get police to the scene faster, dispatch them to incidents that aren’t reported to 911, and give them information on the kind of evidence—like the number of shots and caliber of the gun— to look for when they arrive. ShotSpotter boasts impressive results, saying the 8 | 1.23.19 | INDYweek.com

A ShotSpotter Incident Review Center

COURTESY OF SHOTSPOTTER

devices “detect 90%+ of gunfire incidents with a precise location in less than sixty seconds.”

But questions have been raised over whether ShotSpotter actually helps reduce crime—and whether the sensors could be used to record more than rounds fired in the street.

Developed in the 1990s from earthquakedetection technology, ShotSpotter is in use in about ninety cities across the U.S., including Rocky Mount, Wilmington, Goldsboro, and Greenville in North Carolina.

According to company spokeswoman Liz Einbinder, ShotSpotter sensors can detect gunshots up to a mile away. The devices don’t have live audio streaming capabilities and are only activated when a gunshot-like sound is detected. The three closest sensors then “triangulate the exact location of the event within eighty-two feet,” according to the company. The sensors—ideally installed thirty feet above the ground, most commonly on the tops of public and commercial buildings—can’t detect gunfire indoors.

City council member Mark-Anthony Middleton has been advocating for the city to consider ShotSpotter since 2015, when he saw it in action as part of a local delegation that traveled to Boston. Middleton grew up in Brooklyn and remembers gunfire being so commonplace that neighbors stopped calling the cops.

“Sometimes,” he says, “what would happen is that when you get up the next morning, there’s a body in the park because somebody actually did get shot, but because we had become so desensitized, people had stopped calling the police.”

While he wants to hear more from ShotSpotter and the community, he says that, given the level of gun violence in Durham, it would be irresponsible not to discuss the technology.

City officials first considered installing ShotSpotter nearly two years ago but didn’t move forward because they worried about the expense. As city manager Thomas Bonfield explains, gun crimes aren’t concentrated in one neighborhood, which means the city would need to install sensors

across the city to be effective. The larger the coverage area, the higher the bill.

In 2017, ShotSpotter crafted a pricing proposal covering parts of East Durham and areas around N.C. Central. According to the proposal, the city would pay a onetime $10,000 “onboarding” fee, $10,000 per square mile for installation, and an annual service fee of $65,000 per square mile. To cover the three-square-mile area in East Durham outlined by the proposal, Durham would pay $235,000 for the first year.

The city has been talking with N.C. Central and Duke about splitting the cost, which wouldn’t be unique. The city of Greenville is sharing its costs with East Carolina University, the local medical center, the sheriff’s office, and the public housing authority.

“It’s expensive, but so are human lives,” Middleton says. “What price do you place on a Bull City resident’s life?”

While working for the Atlanta Police Department, Durham Police Chief C.J. Davis “worked with the ShotSpotter representatives in Atlanta to assess its use,” according to the Durham Police Department. Since her departure in 2016, Atlanta has implemented ShotSpotter. (Davis declined an interview request.)

Other cities Durham consulted say the technology helped officers respond to more shootings faster, Bonfield says. But it hasn’t always reduced the number of gun crimes.

“Everybody has confirmed that the system was very, very accurate,” Bonfield says.

“There’s no question about the accuracy.

The question was, what’s the result of getting there quicker?”

Sergeant Brad Summerlin of the Rocky Mount Police Department says shots-fired incidents there have decreased by 60 percent since 2012, the first full year after the city became the first in North Carolina to adopt ShotSpotter.

According to Summerlin, the technology is helping officers get guns off the street and arrest the people using them illegally,

leading to a decline in gun crimes. While the sensors have picked up firecrackers and other loud noises, he says, those alerts get filtered out and, to his knowledge, officers had never been dispatched to a false alarm.

That hasn’t been the experience of all cities employing the technology.

In 2016, Forbes obtained ShotSpotter data and found that, across seven cities, authorities dispatched by a ShotSpotter alert were unable to find evidence of gunshots when they arrived between 30 and 70 percent of the time.

“The majority of ShotSpotter alerts lead to police closing the incident with words such as ‘unfounded,’ ‘unable to locate,’ or ‘gone on arrival,’ law enforcement jargon for: ‘We didn’t find anything,’” the story says.

(Outside of annual highlights, ShotSpotter doesn’t share its data.) Over the course of about a year and a half, Forbes reported, ShotSpotter devices in Wilmington produced 1,278 results. A third of the time, law enforcement didn’t find evidence of a shooting, and only five arrests were made.

In 2016, Charlotte decided ShotSpotter hadn’t led to enough arrests to justify renewing an annual $160,000 contract, The Charlotte Observer reported.

It’s unclear why some officers dispatched

by ShotSpotter alerts don’t find evidence of a shooting. But it is clear that ShotSpotter, by design, sends cops to the neighborhoods being monitored by its sensors more often than they were before—and when they arrive, they’re prepared to find a shooter.

That could create tension in communities that are already heavily policed, says state ACLU spokeswoman Molly Rivera.

“We know that ShotSpotter, just like other surveillance technologies that are used by police, are used especially against communities of color, and it creates an oppressive and stigmatizing environment in which that community and the people who live within that community are treated like prospective criminals,” says Rivera. “They’re going in expecting to find an active shooter, and entering a community like that creates a particular environment.”

Critics have also suggested that ShotSpotter could violate people’s Fourth Amendment rights against unreasonable searches by recording dialogue, intentionally or not.

While ShotSpotter sensors aren’t activated by human voices, they have recorded people talking around gunfire—including a few cases in which a victim’s dying words have been captured and used to secure a conviction.

“Our technology and privacy policy allow us to provide only a few seconds of audio just before and after a gunshot,” says Einbinder.

“If voices are concurrent with the gunshot,

and they are loud enough and close enough to a sensor, then they may be captured in the audio alert snippet. But that is a very rare occurrence and far from a conversation.”

Jeff Welty, an associate professor of public law and government at UNC, says that while “I don’t think the question is completely settled,” it’s unlikely that the technology would rise to the level of a Fourth Amendment violation because these conversations “are typically in outdoor public locations” where courts may find there’s no “reasonable expectation of privacy.”

“While there might not be specific privacy concerns with the technology itself, the real question is, well, what else can ShotSpotter do and how else can it be used?” asks state ACLU communications director Mike Meno. “That raises questions like: Are there going to be audio recordings? Are there going to be video recordings? What would trigger those recordings,? Where in the city is it going to be used?”

Some cities have synced devices to activate video cameras when gunshots are detected.

At least one, Boston, linked the sensors to ankle monitoring devices, to check whether parolees are close to gunshots and might be violating their parole conditions. In October, ShotSpotter acquired the predictive policing tool HunchLab, which is offered as an addon. (Bonfield says the city isn’t currently considering syncing surveillance cameras with ShotSpotter. DPD analyst Jason Shiess says the department already employs several tools to “forecast” where crimes may occur, and has for more than a decade.)

Meno says if the city implements ShotSpotter, there needs to be a public process to determine where the sensors would be placed, how they would be used, and what policies would safeguard the technology from abuse.

While ShotSpotter has come up in city council meetings, the council hasn’t yet discussed implementation, which it would have to approve via the annual budget. City and county leaders emphasized during last week’s press conference that Durham won’t eradicate gun violence without addressing its root causes, such as unemployment, and the ability to enact local gun laws, which state law preempts.

Middleton says he knows ShotSpotter won’t be a panacea, but the city should consider every tool at its disposal.

“Crime overall in Durham is down, but when a family member of yours has been shot, that’s not really a compelling argument to you,” he says. “If there’s a tool we can avail ourselves of that can possibly save one life, I don’t see how we cannot have a conversation about it.” swillets@indyweek.com

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“WE HAVE A GOVERNING CRISIS” Bob Woodward helped bring down Nixon.

He says you’re right to be worried about Donald Trump.

V

BY LEIGH TAUSS AND SARAH WILLETS

ery few journalists, living or dead, can credibly lay claim to having helped take down a president. Only one can do so and also say Robert Redford played him in a movie.

Bob Woodward is, of course, a legend in the journalism world.

His Watergate reporting with Carl Bernstein is required reading in J-school, a masterpiece of sourcing and shoe leather that exposed the corruption at the highest levels of the Nixon administration.

He’s covered every president since, both in books and for The Washington Post, where he still works as associate editor. His most recent book, Fear: Trump in the White House, based on thousands of pages of documents and hundreds of hours of interviews, offers an intimate and unsettling portrait of the chaos inside Donald Trump’s administration.

On February 2, Woodward will be at the Durham Performing Arts Center to talk about that book. Last week, staff writers Leigh Tauss and Sarah Willets asked him about Trump, Nixon, and the state of modern journalism.

SARAH WILLETS: Fear came out in September, and, as you know, the news cycle out of this White House is nonstop. Since then, we’ve had more high-profile departures, we’ve had all this talk about the migrant caravan and the so-called crisis at the border, and, most recently, the government shutdown. Is there anything that’s happened since your book came out that you wish you could have included?

BOB WOODWARD: People have said that so much of what’s happened since September is like another chapter in the book. If you look at the book and my reporting on then-Secretary of Defense [James] Mattis, actually what’s in the book is an outline of Mattis’s resignation letter, in which he argued that we need allies, we need partnerships, and we can’t do this alone. What I quote him in the book saying at these topsecret meetings is, “Look, we need to have these trade agreements. We need to have the military alliances and the top-secret intelligence partnerships.” He said that has 10 | 1.23.19 | INDYweek.com

done something important to this country to stabilize our position in the world. I’ll say very directly to you: We have a governing crisis. Trump does not know how to govern, and he’s got some ideas that are not based on facts.

LEIGH TAUSS: In your book, there’s a sense that Trump is an unstable and erratic figure. Staff members are on edge, tip-toeing around him, taking papers off his desk to stop him from signing them. I mean, are you concerned about the president’s mental state?

WOODWARD: Well, you know, I’m not a psychiatrist. What I’m concerned about is the governing, and the governing does not make sense and is too often against the interests of the country. I would argue Trump does things that are against his own interest.

WILLETS: What do you think has been the biggest missed story of the Trump presidency? What hasn’t been covered enough?

ILLUSTRATION BY STVE OLIVA / PHOTO COURTESY OF BOB WOODWARD

WOODWARD: We don't know. So much has been covered. We’re going to find out, I guess—I hope, at some point—about the Mueller investigation. What do they have?

They’ve got to have high-quality evidence to really lead to some sort of disruption of the presidency, or resignation, or impeachment and removal. And I don’t know anyone who knows the answer to whether Mueller has that information. In the case of Nixon, we had thousands of hours of tapes, which made the difference. Does Michael Cohen—who was Trump’s personal lawyer for ten years who now has turned on Trump and pleaded guilty and is going to go to jail— does he have tape recordings or evidence that will explain actions or show criminality? I don’t know the answer to that question. I don’t know anyone who does.

TAUSS: One of the things that strikes me about your reporting on the Nixon administration is the intelligence and sophistication within that operation. A lot of times, the Trump administration is depicted as kind of inept. What do you think are the similarities between what we’re seeing in Trump and Nixon’s administrations, and what do you think are the differences?

WOODWARD: Yeah. Well, that’s a great question, and my short answer is that it’s easier to describe the creation of the universe. There are some similarities, and there are some differences. On the Russian collusion question, Watergate was a series of illegal, passive actions by Nixon and his people to make sure that Nixon was reelected. He was reelected in seventy-two by a massive landslide. Is the Russian influence and the Russian role substantial enough and provable enough to show that this is why Trump got elected in 2016? I don’t know the answer to that question. That’s an important one, and we’ll see what the evidence is. But, of course, this calls on us to do what we hate the most, and that is to be patient.

WILLETS: Your reporting relies often on background sources. I wonder, in this climate of hostility toward the media, where a big point of criticism is the use of anonymous sources, how do you justify using anonymous sources to a country that’s concerned about “fake news”?

WOODWARD: The country should be concerned about it. Happily, I have the luxury of time, and I can get notes and documents.

If you’ve read the book, you see that we’ll take you to specific moments or a specific place in the White House. And so, to the reader, it’s not anonymous. It’s very specific about what went on. It doesn’t say where I got the information but, happily, it’s so specific. And it’s been so substantiat-

“In the case of Nixon, we had thousands of hours of tapes. Does Michael Cohen have tape recordings or evidence that will explain actions or show criminality? I don’t know the answer to that question.

I don’t know anyone who does.” ed since the book came out that I know it’s the best obtainable version of the truth. For instance, in the book, Trump’s lawyer, John Dowd, worked with Trump intimately for eight months—big Trump supporter and believer. He did a practice session of Trump testifying to Muller. They went through, and Dowd concluded that Trump can’t tell the truth and makes things up. Dowd concludes at the end—though he won’t say it to Trump’s face, because he doesn’t want to insult him—but he says you’re an effing liar and concludes that. Now that’s not Nancy Pelosi or some Democrat. That’s the president’s own lawyer.

WILLETS: Having observed politics for as long as you have, I wonder what lessons you think the media should take from the 2016 campaign coverage and apply to 2020.

WOODWARD: Dig in harder. Be more skeptical, but also be fair minded and try to bleach out the emotional reaction to candidates. I think there’s such an emotional reaction to Trump that it’s been very difficult for journalists to step back. It’s important. I’ve had lots of people read my book and say, “Well, you’re fair to Trump. You let him in.” It’s a very critical book because of what he did in his decisions, but the tone is not an attack. And I think sometimes there is a lot of that, particularly on cable television. Or praising him sometimes, like on Fox News, almost mindlessly.

TAUSS: How would you describe your personal relationship with the president? I

know that you didn’t get to interview him for this book.

WOODWARD: The title, Fear, comes from an interview Bob Costa, a reporter at the Post, and I did of Trump in which we discussed power—of course, that’s what the presidency is about, power—and the notion of what real power is. And that’s where he says real power is—I don’t like to use the word, but—real power is fear. It was almost a Shakespearean moment, Hamlet turning to the audience, saying, “This is what’s going on. This is what it means.” And when Trump said that, I was struck by the revelation about it—to scare people, and that’s how you get and maintain real power.

WILLETS: It’s almost Machiavellian. How does that inform the way that you view his actions as a president?

WOODWARD: It actually turns out to be one of the things he does. He uses his power and scares people in lots of ways.

Sometimes it may work, sometimes it may not, but that’s his mode of operation. He also said in that interview—it was in early 2016—that he brings out rage in people.

And he was almost proud of that.

TAUSS: One of the other things in the book that surprised me was Trump’s emotional reaction to the realities of being the president. When he met with the parents of a soldier who had been killed overseas, when he saw the photos of children killed with sarin gas, it was a side of the president that I don’t think many of us really see. He

A CONVERSATION WITH BOB WOODWARD DPAC Sat., Feb. 2, 8 p.m.

Tickets start at $39.50

was deeply affected by those things. How did that change the picture of him that you had in your mind?

WOODWARD: It doesn’t change the picture because you have to be empirical.

Those things happened, and I reported them, and I thought it was part of the story.

I thought it was central to the story.

TAUSS: Before you worked at the Post, you got your start at a weekly. What do you think the role of weekly papers is in the current media landscape?

WOODWARD: I love weekly newspapers.

After I got out of college, I served five years in the Navy, and I was thinking of going to law school. I realized, “Gee, I’m going to be thirty when I get out of law school,” and, of course, at that age, you think thirty is the end of life, right? I tried to get a job at the Post. They gave me a two-week tryout, which I failed. But, I realized I loved journalism and got a job at the Montgomery County Sentinel weekly outside of Washington. I worked there for a year, and it was great. We had four reporters and, as you know, when you have a small staff, you learn to cover everything or to try to cover everything. And it was a great training ground.

TAUSS: Self-serving question: You’ve written eighteen books. Do you ever get writer’s block?

WOODWARD: [Laughs] Actually, this is the nineteenth. As you know, writing is hard, and you just have to get up and start.

I always think, “Get something down, see how it looks. See if you can make it better if you corroborate it.” But writing is like anything. We are driven by habit, and I have the habit of doing a book and working on it and focusing on it.

WILLETS: Your appearance in Durham is on February 2. What should people expect?

WOODWARD: An outline and specifics about what’s going on in the White House, about the psychology of Trump having been elected president with never holding public office or running for office before, and then what the questions are and what’s on people's minds. I think that’s critical.

TAUSS: So what’s next after Fear?

WOODWARD: You know, maybe another Trump book? I’m not sure. What do you think? backtalk@indyweek.com Listen to this entire conversation on INDYcast, which you can download on Apple Podcasts or find at soundcloud.com/ indycast.

INDYweek.com | 1.23.19 | 11

Are You a Feminist?

We asked men in the Triangle about rape culture, toxic masculinity, and gender inequality.

You might be surprised at what they had to say.

BY KATERENA DEPASQUALE

I

n the U.S., one in five women will experience a rape or attempted rape in their lifetimes. In 80 percent of those assaults, the victim will know the assailant. One in four girls will be sexually abused before she turns eighteen. A woman in this country is beaten every nine seconds. And, of course, women still earn about 80 percent of what men make in the workplace.

Next year will mark the one-hundredth anniversary of the ratification of the Nineteenth Amendment, which guaranteed women the right to vote. Yet no woman has ascended to the White House, though one did receive more votes than any white man ever has. Instead, the current resident of the Oval Office famously boasted about “grabbing [women] by the pussy.”

Those comments were brushed aside as “locker-room talk” by politicians and preachers who saw in Donald Trump a chance to reshape the federal courts to deny women the right to control their own bodies. Last year, they got what they wanted: an anti-abortion Supreme Court justice who’d been credibly accused of sexual assault but was rammed through the Senate as a middle finger to the #MeToo movement.

The problem isn’t just Trump. It’s the culture that enabled him—a toxic masculinity that shames victims, deems ambitious women “unlikable,” and even whose cartoons teach little girls to think of themselves as hypersexualized objects.

But Trump’s election also awakened something—a wave of resurgent, unapologetic feminism determined to fight an old patriarchy that was desperate to maintain control. This new energy found a home in the Women’s Marches in January 2017 and 2018, in which millions of women all over the globe took to streets to demand respect 12 | 1.23.19 | INDYweek.com

and equal rights. It also lent support to the #MeToo movement and formed the foundation of November’s blue wave that thoroughly repudiated Trump.

At 1:00 p.m. Saturday, thousands of women—and men—will gather in Halifax Mall for the third-annual Women’s March on Raleigh. (While the national Women’s March has been dogged by allegations of anti-Semitism and LGBTQ exclusion, the local group isn’t affiliated with it.) Ahead of that event, I wanted to explore what feminism means today. More specifically, I wanted to find out what feminism means to men: What comes to mind when they think of the words feminism and toxic masculinity? How do they navigate rape culture, and what were they taught about consent? Do they believe our society is still fundamentally unequal and patriarchal?

The truth is, women need men to achieve equality, and equality is only possible when there are understanding and respect between genders.

Over the last few months, I conducted dozens of interviews with men in the Triangle, asking a series of questions about feminism and related issues, an exercise designed to help me better understand their perceptions of the roles they play and to raise their awareness of inequality. I’ve collected some of their responses here, edited for space and clarity. To ensure candor, I’m only using their first names.

I found many of their answers surprisingly aware—if they weren’t well-informed, they were at least willing to listen and learn.

But I also came away thinking that we don’t talk about this stuff nearly enough, that we as a community need to have more authentic conversations about what feminism and gender equality really mean, and that we as parents (perhaps along with sex-positive educators) need to have more forthright conversations with our kids about consent.

Matt, 35 DIRECTOR OF OPERATIONS

Are you a feminist?

I guess it depends on your definition. Do I support women’s rights? Absolutely.

Do you believe we live in an unequal, patriarchal society?

I wouldn’t say that it’s unequal. I would say there are certain segments of society and industries that have a bias either toward or against women, but I don’t think as a whole we are a biased patriarchal system, no.

Do you think women should be paid as much as men?

Absolutely. All things being equal, if you’re working hard, skill set for skill set, absolutely.

Do you think the government should require equal pay?

You know, I don’t know about the law, because that becomes legal mumbo-jumbo.

I don’t know about laws, but there definitely should be guidance within organizational policies that say that, and I think some companies are getting there, but there’s probably a long way to go.

Have you ever witnessed a sexual assault?

Not to my knowledge. You know, actually, I am going to retract that. Based on now what I understand sexual assault to be, yes.

And I understand the severity of it. Yes. If you asked me this question ten years ago, I would've said no to the same set of circumstances, but I think now having a much better understanding, being more mature, being more aware, actually, yes.

So I assume it was hard at the time to do anything to prevent it?

So yeah, I mean it was, you know, it was things that, you know, a twenty-four-yearold and, you know, obviously living in a very different time where issues weren’t as

broad, you didn't read stories on Instagram and social media, people weren’t coming out about being where an incident happened, there was nothing out there to really make you think about the implications of what at the time was considered “he was drunk or she was drunk,” whatever the case may be. And whether it is, you know, just an inappropriate, you know, kiss on the cheek or gesture with a hand and not necessarily anything that’s completely egregious, where, you know, somebody is going to get arrested, but still unwanted—which I think is the key term, right? You know, I think sexual assault these days is, as it should be, defined as any unwanted verbal or physical gesture toward another person. And that’s not something I would’ve recognized ten years ago. To have a look back, absolutely. But no, I think at the time, I probably didn’t realize it.

What does feminism mean to you?

Well, I think, unfortunately, in today’s society, it’s taken on a negative connotation.

People look at it as a bad thing. That it’s the female population trying to take advantage of a certain set of rules or regulations or policies. I don’t think that at all. Feminism is really, in a nutshell, equality for women that you shouldn’t have to be arguing for, but, you know, unfortunately, we have a history that puts us in a position where we have to argue for it. And, I think, in my lifetime, it no longer will have to be a discussion you have on purpose, it will just be something that happens by the course of nature, I hope.

Pete, 47 POLICE OFFICER

Are you a feminist?

I don't consider myself a feminist by label, no. I mean, I am an equalist. That’s the term I just made up myself. I work in a very

Do you think most organized religion is sexist? male-dominated profession; however, I love to see anyone who is qualified to do the job standing alongside me, and that person, of course, should be paid the same amount of money as me as long as we are both qualified, whether they are female or male or whether they don’t identify as either.

So whether I am a feminist or not, I don’t know. I am a humanist. I am an equalist.

What does feminism mean to you?

I think feminism has sort of morphed.

Unfortunately, the popular opinion, and this is not my opinion, the popular opinion of feminism is a bunch of angry, men-hating women who generally don’t have a concern about equality, but more superiority.

Brandon, 19 FOOD TRUCK OPERATOR

Have you ever heard the term toxic masculinity?

Yeah. It’s the way that lots of men were raised to suppress their emotions, to suppress their feelings based on societal norms, and it manifests itself into this masculine toxic energy.

Have you ever heard a sexist comment or a joke and felt pressure to laugh or keep quiet?

Yeah, not to laugh, but keep quiet. Because I have felt like it’s not in my place to speak up for someone because I’m not in that marginalized group. But I’m starting to feel more comfortable with speaking up for people who are being oppressed because I wish that someone would’ve done the same for me.

Did your parents ever talk to you about sex and consent?

They gave me a really half-ass conversation about sex and consent. It didn’t really pertain to how that applies to gay men. Really half-ass.

Ethan, 27 GRANT WRITER

Do you think we live in a patriarchal society?

Oh, absolutely! There’s no doubt this is a profoundly patriarchal and racist society.

What do you think about pornographic films that depict violence and domination over women?

I read a fair amount of academic literature on pornography, and I would say that some of it is definitely violently misogynistic and a lot of it is really neither sexist nor progressive. A lot of it is pretty milquetoast. I think there is definitely sexist violent pornography out there. Definitely not something that interests me.

Do you think strip clubs are sexist?

You know, I really don’t know. Again, there are issues of the economy of it and issues of economic power. But I could maybe imagine some weird sort of progressive stripping in a less profoundly sexist, patriarchal society. But like everything in the U.S., there is an element of sexism to it.

Do you think prostitution is sexist?

Not necessarily, because I think anyone can participate in sex work. So it’s not innately sexist even if there are serious economic power imbalances.

First Friday Friday, February 1st

5:00pm - 8:00 pm Hosted at Crank Arm Brewing: 319 West Davie St Raleigh, NC 27601 Featuring an INDY 2018 Best of the Triangle Best Artist Finalist- Tedd Anderson, offering interactive 10 min. face drawings.

Check out his work @dirtyconsumer

Sponsored by Crank Arm Brewing

Staff writer Leigh Tauss will be recording a special episode of INDYcast, the INDY Week’s new podcast during the event. Stop by, hang out and see what INDY Week is all about.

INDYweek.com | 1.23.19 | 13

Bill, 37

Phil, 71

CONTRACTOR

RETIRED

Have you ever heard the term rape culture?

Yes. When I hear it, I think of, you know, fraternal college behavior and the group mindset of men that just, you know, laugh off unwanted sexual advances. In their mind, it’s harmless, but it’s unwanted sexual advances, so it’s not harmless.

Are you a feminist?

Give me your definition of feminism.

Have you ever heard a sexist comment or joke and felt pressured to laugh or keep quiet?

Sure, yeah, I have a few different circles of friends, one of which is, you know, on the golf course. It’s a wide range of backgrounds of people that hang out together, and there are certainly, like, jokes at the expense of women.

Have you ever witnessed a sexual assault?

No. I didn’t. I mean, I’ve witnessed a good number of unwanted sexual advances, like, in college, but never an assault.

Did you try to prevent those incidents?

I don't think I did in every instance, because again, and going back to your question about rape culture, you know, it was in the minds of, like, buddies or whomever I was with who were doing that, they thought they were just having fun, and, you know, it was harmless. But I could tell it was making, you know, the woman in this example uncomfortable. You know, just leave it alone.

What does feminism mean to you?

For some of the people I know, they might cringe just at the word feminism, and I think that’s one of the biggest issues with it. Because it really is just simply a matter of, like, women need to be equals in society, and at this point, they are simply not.

Would you say you are a feminist?

Um, by definition, yes. I’m a feminist, but not an activist.

Jeff, 41 CRIMINAL DEFENSE ATTORNEY

Are you a feminist?

I don’t know what that is.

Would you agree that we live in an unequal, patriarchal society?

Yes. Do you think women should be paid as much as men?

Yes. Do you think the government should make laws requiring equal pay?

No. Have you ever gone to a Women's March?

No. Never been invited.

14 | 1.23.19 | INDYweek.com

Someone who believes in equal rights.

Oh, absolutely. Then yes, I am.

What does feminism mean to you?

In life, if I met some girl that I considered feministic, the more feministic, the more it would have brought out the gentleman in me.

Would you agree that we live in an unequal, patriarchal society?

Well, I think it’s getting better. Men are probably not used to women getting the same rights as they have or the way they are being treated. But I think it’s getting better.

Steve, 38 EDUCATOR

What does feminism mean to you?

My interpretation of being a feminist would be someone that is committed spiritually, personally, religiously, everything they do to promote champion, advocate, embrace equal gender rights for all.

Do you think the government should make laws requiring equal pay?

I do think there need to be interventions by institutions, and I am learning more and more the dynamics about the way that local and national governments play. But we need some way to intervene and break the momentum of the decades, of the centuries of bias that we had in our society. So yes.

Have you ever witnessed a sexual assault?

My initial instinct is to say no. But given some things in the news the last couple of months, I’d really like to go back in my memory banks and see. I’ve been fortunate to have really good role models, and I think I was taught some good values. I don’t know if I was naïve, and maybe the things I saw, definitely in high school and college—yeah, I’m sure there were a lot of what I would call unclear behaviors at that point in my life.

And again, I wouldn’t have counted them at the time as sexual assault, maybe because of my own naïveté. But it’s probably a good exercise for me to go back, because there was a lot of drinking. I didn’t see people engaged in acts, but I saw what I would hope would be consensual acts. I was out and around a lot of things that were more like what people will call a hookup culture, you know, in college. And so I don’t know that I can honestly say no now.

Did your parents ever talk to you about sex and consent?

I think they did. I was such a dorky kid. And I remember this idea of love and sex was supposed to be between married people who love each other. I know I would never do anything to someone without their consent.

I was raised to respect people. I don’t think they ever talked about, like, if you’re ever going to have sex with someone, because it was never presented as an option. It was more like this is something sacred that you should hold dear. I don’t think that was the part of the way they would describe it, and so that’s interesting that you ask about [sex and consent] together. Because as a parent now, I would absolutely include that in my talk to my children.

Charles, 32 MANAGER

Would you agree that we live in an unequal, patriarchal society?

Yes and no. I wouldn’t say that it’s a blanket statement that we are in an unequal, patriarchal society. I would definitely say that there is a ton of inequity for women in the marketplace, in tech. The numbers show it. So I will say yes and no.

Do you think women should be paid as much as men?

Of course.

Do you think the government should make laws requiring equal pay?

Anytime the government gets involved with things such as equal pay and things like that, I think, as long as we have the right people at the table and it is not a top-down approach … I think that’s what really gets us into a lot of hot water, especially when it comes to equity. We typically have a topdown approach.

What is your position on abortion?

I have two ways to think about that. One is women arguing for the right to choose, where they keep the baby or not. And on the pro-life side, if women are not given the right to choose, there need to be people, not just money, willing to step up to raise that child. Particularly, me being an AfricanAmerican man and also being a part of underdeveloped, economically fragmented communities of color, where there are too many babies being born into really tough situations. Even though they are not aborted, they are pretty much aborted into the system and left to die, or left to be incarcerated.

Do you think women should be paid as much as men?

Have you ever heard a sexist comment or joke and felt pressured to laugh or keep quiet?

Ben, 38

MASSAGE THERAPIST AND CYCLING COACH

Have you ever heard the term toxic masculinity?

I’m sure I’ve heard it. I think it is an expectation that men are to behave a certain way to their—in lots of cases—to their own detriment as well as a societal detriment.

Something that leads to certain expectations in the male culture, like, you know, when you’re supposed to have sex, and how you should feel about women, and how you should talk about women.

What do you think about pornographic films that depict violence and domination over women?

I think there’s some stuff out there that’s pretty awful. And I think that the problem is that the path that it leads us down is that the young men who are probably the ones

predominately watching it think that stuff is appropriate and the right way to engage in a sexual relationship. So it changes how we interact sexually in a very negative way.

Do you think most organized religion is sexist?

Hell yeah, absolutely.

Do you think strip clubs are sexist?

No, I don’t, in terms of the general idea of the strip club. But most strip clubs end up being sexist organizations because of the environment they create for people. So the idea of somebody going and seeing a strip show, I think, if people want to do it, it’s great, but if it’s something that, you know, if it leads to a company that gets wrapped up in sex trafficking and prostitution, that’s a problem.

Do you think prostitution is sexist?

I think our society has made it sexist. I’m not somebody who would advocate for prostitution, but I’m also a pragmatist, and I think

prostitution is something that will always exist. And it’s kind one of those really fuzzy lines where, do you push really hard against it and try to outlaw it, or do you give people who engage in prostitution the best chance to be as safe as possible by giving them free medical care and making sure that they’re not being sex-trafficked? And, you know, I support highly regulating something instead of pushing against it. We need to understand the underlying root cause of it. It’s a deeper societal problem. Just stamping out prostitution is not going to solve anything.

Zak, 31 SOFTWARE ENGINEER

What does feminism mean to you?

To me, it’s this kind of idea that feminism almost doesn’t have to exist. There shouldn’t have to be a group of people who go out of their way to believe that women should not have any discriminatory forces acting against them. And I feel that way not just about women but about other marginalized groups where people feel discriminated against for some intrinsic thing that has no bearing on who they are as a person.

What does toxic masculinity mean to you?

Where masculinity as an idea is so pervasive that it just amplifies itself, like when I’m around my friends who are really into cars—I just went to a car show, and there are one or two people who aren’t really into cars, just because there’s so much of that energy, we end up talking about cars too much, more than we would if we were on our own. And I think toxic masculinity can be like that in male-dominated environments. And I work in a 99-percent male-dominated field, and I try to make a point to avoid that. I actively seek teams that are at least somewhat equally represented by women.

Mark, 36 GENERAL CONTRACTOR

Are you a feminist?

I don’t know.

Would you agree that we live in an unequal, patriarchal society?

Absolutely.

Do you think women should be paid as much as men?

Yes. Do you think the government should be required to make laws to support equal pay?

I don’t care.

Have you ever heard the term rape culture?

No. What do you think it means?

Sounds like somebody getting raped. So it’s just like the way of life, where culture and society mean rape is OK, I guess.

Have you ever heard the term toxic masculinity?

No, not really. It almost sounds like you’re saying that people are going over the top with their masculinity thing.

What do you think about pornographic films that depict violence and domination over women?

I don’t really watch porn. I did as a kid a little bit. I hate it.

What is your stance on abortion?

I don’t think it’s right.

Do you think strip clubs are sexist?

I don’t know how to answer this. I don’t know what sexist means.

What do you think being sexist means?

Maybe thinking that your sex is superior?

Do you think that most of organized religion is sexist?

I disagree. Wait, let me take it back. Do I think some religious organizations are sexist? Yes. But because they’re not paying attention to what the Bible says. You should show honor to women and not disrespect them. And I guess some people interpret it as they should be lower.

Have you ever gone to a Women's March?

No. Why should I?

Darryl, 73 RETIRED

Are you a feminist?

Yes. What does feminism mean to you?

That women regardless of age, whatever, have the same rights and privileges as men.

Have you ever heard the term toxic masculinity?

I’ve heard of it, I think.

What do you think it means?

That men have privileges based on their maleness.

Have you ever gone to Women's March?

No. I don’t know if there was time or I just didn’t. Even though I have four daughters, and I know that they would encourage me to if I was nearby—where is this march? backtalk@indyweek.com INDYweek.com | 1.23.19 | 15

indyfood

EASTCUT SANDWICH BAR

AMUSE-BOUCHE

3211 Old Chapel Hill Road, Durham 984-439-1852; eastcutsandwich.com

On a Roll

EASTCUT SANDWICH BAR IS A SLICE OF SANDWICH UTOPIA IN DURHAM

BY CHRISTINE BYRNE

E

are a good reflection of the overall feel: astcut Sandwich Bar is a restaurant deliberately cute and energetic, but not in that could exist pretty much anyyour face. where. And actually, that’s what Staff is friendly, and the counter-to-table feels so present-day-Durham about it. The service is quick. Plenty of natural light owners are NYC-area transplants (as am I) who moved to the area for graduate school, fell in love with it, and decided to stay (as did I). It’s a familiar story that many Triangle-area students and young professionals can probably relate to. Eastcut capitalizes on that fact with a menu that draws from all over the East Coast and can satisfy a range of sandwich cravings, from an Italian deli sub to a messy cheesesteak.

A sign in the parking lot reads “Now Entering Sandwich Utopia,” a nod to the concept’s untethered appeal. What it also hints at is something a little more tangible: the sandwiches here are really, really good. The sesame roll, brought in daily from La Farm Bakery in Cary, is the best I’ve ever tried: sturdy, but not difficult to bite through, and thick enough to be an important sandwich component without being overwhelming. Most everything else, from deli meats to hand-pulled mozzarella, is made in house.

But, while the dishes are made from scratch and the space is contemporary, the sandwiches themselves are classics that stay true to their original versions. There are A smorgasbord at Eastcut PHOTO BY NANCY THAPA / YELP no made-for-Instagram mashups makes the dining room inviting, and the here—this is food that’s made to be eaten, place is busy on weekends but never connot just photographed and tweeted about. gested. You could be in and out in fifteen minutes, but a good beer list and novelty Vibe: The owners set out to build a neighboozy slushies (which can double as desborhood place for transplants from all over sert) mean it’s also a fun place to hang out. the country, which is a theoretical oxyThe front patio is nice in warmer weather, moron that works outstandingly well in and the (huge) heated backyard garden practice. The space feels very home-awayinvites year-round al fresco dining. from-home, too, with a wrap-around porch that makes it feel a little like you’re walkMenu: The ten core sandwiches are mostly ing into a house party, not a restaurant. familiar favorites drawing from different East Coast state license plates, arranged East Coast regions. They’re elevated in from north to south around the entryway, 16 | 1.23.19 | INDYweek.com

the sense that ingredients are fresh, wellseasoned, and made mostly in house, but unpretentious overall—no fancy add-ons or unnecessary riffs. The list is meatheavy, but both vegetarian offerings are

winners. A handful of substantial salads, hot and cold sides, and appetizers round out the menu. On weekends, a four-item brunch menu offers breakfast sandwiches and pancakes.

What to order: Start with the hand-pulled mozzarella sticks, which are bigger and way better than your average pizza-place appetizer. The salads are creative and fresh, but I wouldn’t recommend any of them over a sandwich unless you’re deadset on greens. (If so, go with the super

Tuscan chopped salad, which gets a good kick from cherry peppers.)

If you’re craving a deli sub, choose the spicy gabagool. You might laugh at the Sopranos reference, but fresh mozzarella and the trio of cured meats—prosciutto, salami, and the namesake hot capicola that New Jersey Italians somehow came to pronounce as “gabagool”—make for a seriously good sandwich. Whether or not you’re vegetarian, the beets and goat is a standout, with cream-cheeselike whipped goat cheese and a generous pile of tangy greens. Both the buff chick and the parm feature a generously thick cut of fried chicken that stays crispy even after it’s smothered in sauce (buffalo and marinara, respectively). The only real liberty Eastcut takes is with its cheesesteak, topped with sesamesoy onions and stuffed with curly fries. Specials change often, but are worth checking out: lox and cream cheese on a roll, a shrimp po’boy, and a meatball sub have all made recent appearances.

Many of the sandwiches come in two sizes; a small round is big enough for most appetites, and I’d opt to add a side over upgrading to a large hero. The potato salad and curly fries are good, but sweet potato tots are the best. For kids over twenty-one, there’s the Merry Meal: your choice of the buff chick or a burger, plus a side, a beer, and a free koozie.

Price: Sandwiches are $6-$12.50; sides are $1.50-$3; salads are $6.50-$12; appetizers are $8-$9; boozy slushies are $5-$8; a Merry Meal is $13.

Perfect for: A well-priced lunch away from your desk; a casual, kid-friendly family dinner out; a big weekend gathering. food@indyweek.com

Helping our readers plan their summer activities!

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INDYweek.com | 1.23.19 | 21

Roe vs. Wade Anniversary - Jan. 22, 1973 46 Years of Reproductive Choice

“Few decisions are more personal and intimate, more properly private, or more basic to individual dignity and autonomy, than a woman’s decision — with the guidance of her physician and within the limits specified in Roe — whether to end her pregnancy.

A woman’s right to make that choice freely is fundamental.”

Justice Blackman, Thornburgh Decision United States Supreme Court, 1986

We, the undersigned, support a woman’s right to safe, legal, and accessible birth control and abortion. We condemn the acts of violence and intimidation directed at women and their health care providers. We agree that these rights extend to all women regardless of economic status, and, as taxpayers, affirm our support of public funding for family planning services and funding for abortions for indigent women.

This affirmation of a woman’s right to choose was paid for by the North Carolinians whose signatures appear and was organized by the North Carolina National Organization for Women.

For more information on the North Carolina Organization for Women contact: North Carolina NOW, PO Box 24995, Raleigh, NC 27611 www.northcarolinanow.org 22 | 1.23.19 | INDYweek.com

Jennifer Albright The Rev. Dr. Betsy Alden Jennifer Alexander Andree Allen Carolyn Allen Jan Allen Amy Alspaugh Ora Aney Valencia Applewhite Molly Arnold Ann Ashford Ethelyn Holden Baker Ruth A. Baker Byron Ballard Esther & Henry Barkley Deirdre Barlaz Becky Battye William Battye Diane M. Beck Shana Becker Thomas S. Benton, MPA. MPH Marina Bernazani Dan Besse Sue Bielawski Nancy Blood Jackie Blue Violette Blumenthal Tolly Boatwright Susan Abernathy Bondurant Kathleen N. Bonfoey Susane Boukamel Pam Bowie Betty & Glen Boyd Vicki Vars Boyer Chad Boykin Kindra Bradley Shannon Bradley Aliza Bricklin Linda Brinkley Virginia Bristol Carol Brooke B. Susan Buie Lori Bunton Robin Burrs Macinda A.Byrd Max Byrd Rebecca Campbell Maria Cantu Erin Carrier Mandy Carter Becky Carver

Pamela Carver Kicab Castaneda-Mendez Cathy Chandler Grayson Chase Megan Cieri C. Perry Colwell Mary Gunz Conlon Nancy Cook Lea Cordova Kimberly Cordray Marylee S. Crofts Megan Cunningham, M.Ed. Gail Austin Curry Jeanne Dairaghi Mara Daltabuit Patty F. Daniel, RN Matthew C. Davis Robin R. Davis Darilyn Dealy Margaret Dean Vicky DeGroote Beth Dehghan Jade Dell Penney De Pas Lenore Jones Deutsch Lary Dial E. Jacquelin Dietz Rabbi Lucy Dinner Bethany Dusenberry D. Duvall Michael Eisenberg Sonia Ensenat Catherine Evangelista Melba Evans Bari Everitt Lisa Feierstein Susan Fetzer Laura & Michael Finan Robbin L. Flowers Dana Rees Folley Risa Foster T. Sharee Fowler Michael Freemark MD Vivian Fulk Joyce H. Gad Eva Gaines Suzanne Gaither George Garcia Lise Glazier Rachel Goldstein Randee Gordon

Dr. Ileana Gram Sandra Graves Kathleen Grave Kathy Greggs Patricia A. Grif Emily C. Grim Marena Groll Betty Rogers G Jonathan Halpe Jeannie Marie H Robin Hammo Valencia Handy Cindy Hanford Eileen HansonLucy Harber Linda Hartford Arianne Hartse Judith Hartsook Gwendolyn He Lindsey G. Hed Bob Hellwig Mary Kay Hen Thomas J. Hen Scott Herman-G Alma Hernand Beverly L. Her Jerry Herring Iris Tillman Hi J. W. Hill Emily Honeycu Marjorie T. Ho Linda Hopkins Christine & Joe Francie L. Huf Aiden Hutches Brian Hutcheso Eric Hyman Sharon Hyman Barbara & Geo Mary Deborah Dana Jennings Amy Jeroloma Gwendolyn Joh Jessica B. John Joseph N. John Keith Johnson Paige Johnson Sharon L. John Monika Johnso Janet Jones Ruby Jones

Dr. Ileana Grams-Moog Sandra Graves Kathleen Graves Kathy Greggs Patricia A. Griffin Emily C. Grimes Marena Groll Betty Rogers Gunz Jonathan Halperen Jeannie Marie Hamilton Robin Hammond Valencia Handy Cindy Hanford Eileen Hanson-Kelly Lucy Harber Linda Hartford Arianne Hartsell-Gundy Judith Hartsook Gwendolyn Hedgepeth Lindsey G. Hedrick Bob Hellwig Mary Kay Hennessey Thomas J. Hennessey Scott Herman-Giddens Alma Hernandez Beverly L. Herring Jerry Herring Iris Tillman Hill J. W. Hill Emily Honeycutt Marjorie T. Hoots Linda Hopkins Christine & Joel Huber Francie L. Huffman Aiden Hutcheson Brian Hutcheson Eric Hyman Sharon Hyman Barbara & Geoffrey Irvine Mary Deborah Jackson Dana Jennings Amy Jeroloman Gwendolyn Johnson Jessica B. Johnson Joseph N. Johnson Keith Johnson Paige Johnson Sharon L. Johnson Monika Johnson-Hostler Janet Jones Ruby Jones

Rabbi Raachel Jurovics Allan Kaplan Julie Keane Susan Kelemen Judy Kerr Elli Klein Dr. Cynthia Kleppinger Kevin Koplin McLean Kram Naomi J. Lambert Jeff Land Terry Landers Beth Landi Annie Lang Becky Gooding Laskody Barbara Lau Marry Ellen Lavoie Betty Jane Lazo Eva Lee Flora M. Lee Susan Lees Carol Lehman Bob Leker Julie Lentz Betty J. Letzig Charlee Liebers Charles Liebers Debbie Liebers Cathie Linkous Tracy Lischer Charlellitta Littlejohn Kathleen N. Lohr Nancy T. Edwards Long Judy Lowe Rhonda Lowe Sara Lowe Jan Lowe Connie MacLellan Thomas D. Macon Roberta Madden Dr. Margie Maddox Karen Mallam Joyce B. Malone Jacquelyn Manson Linda Margolin Dani Martinez-Moore Ann Matthysse Nancy Mayer Margaret McFadden J. Denny McGuire Y. Kim McKeithen

Daphne McLawhorn Renata McLeod Randa McNamara Rachel McNeil Maren McWilliams Carolyn Meigs Pat Meller Marsha A. Mello Don Mershon Loretta Mershon Wendy Michener Carolyn Miller Eula Miller Lynn Miller Lisa Misrok Tom Mitchell Cynthia Mixon Henry Mixon Sarah Moessinger Chante Morris Toni Morris Mary Moseley Jo Ann Mount Audrey Muck Jonathan Mull Linda A. Naylor Lynn Newsom Steve Newsom Devon Newton Karen Newton Lenique Nichols Carole Nicholson Jay Novello Marie Novello Lexie Nuell Paul Offen Michelle D.C. Ogle, MD Vivian Olkin Scott Olson Sara Oswald Elise Paliga Gailya Paliga Maurita Paprocki Cheryl Passarelli Sandy C. Pearce Margaret Peeples Louise Peters Mary Peterson John Pilutti Judith Pilutti Jessianne Pipkins

Darryl Pittman Anne Platsky Cheryl Posner-Cahill Helen Poston MaryCraven Poteat Tonya Powell Rosemary Prior Tami Purdue Evelyn Byrd Quinlivan MD Pat Randall Kathe Rauch Laura Rein Booth Carol Retsch-Bogart George Retsch-Bogart Thomas Rexrode Geraldine A. Richards William O. Richardson Douglas Rickert Christie Rife Jillian Riley Ann Ringland Pam Robbins Barbara Roberman Mary Roberts Patricia Robinson Bob Rodriguez Linda Rodriguez Mary Rodriguez Miguel M. Rodriguez Chris Roerden Lois Roewade Marilyn Roll Charles Roll, Jr. Tara Romano Louise Romanow Liz Ross Kathy Ruffner-Linn The Rev. Dr. Mark Rutledge Jack Sanders Jo Sanders Leigh Sanders Jill Sansoucy Ann Sargent Frank Sargent Nancy F. Sarno Margaret Scales Noelle Schofied Rob Schofield Wanda Webb Schrader B. Sue Scott Sue A. Scott

Kathy Seaton Sandy Seaton Shoshana Serxner-Merchant Mary Susan Sewell Sharyn Shapiro Deborah Shoemaker Lynn Shoemaker Nancy Shoemaker Cindy Sinkez Anne Slifkin Naomi P. Slifkin Anne Smiley Amanda Smith Hanna Smith Jim Smith Maxine Smith Jamie Sohn Rabbi Eric Solomon Rabbi Dr. Jenny Solomon Maxine Solomon Diane Spangler Brenda Sparks Jenna Spencer Dr. Jean Spooner Norm Sprinthall Lois Sprinthall Courtney Stallman Dr. Carol Stamm Susan Steadman Ellen Stein Sarah Stein Susan & Mike Stevenson Aimee Stewart Mary Stewart Joanna Stockton Jim Stolz Betsy Stuart Nanci Sturdivant Carrie Sutton Griselda Sutton Deborah Swain Joe Swain, Jr. Bill Swallow Arlene G. Taylor Mary Thomas Dale C. Thompson Miriam Thompson Stephanie Thompson Cindy Thomson Judy Thorne Julie Thorner

Jack Thornquest Lee Ann Tilley Beth Timson

Julie J. Tomlinson Charlene Torrest Bill Tucker

Jane Tucker

Joyce Johnson Tucker Mary Ubegone

Karen E. Vance

Ruth L. VanLehn Floyd Waddle Julie Waddle

Roberta Waddle Brittany Wade Kathy Wade Pam Wade

Mary K. Wakeman

Dr. LeAnn Wallace

Joan F. Walsh, PhD Margret Ward Shelby Ware

Jane C. Watson C. R. Watt

Meta A. Weaver Coaxum Wendee Wechsburg Dr. Joy Weeber

Margaret Young Weeber Hilde Weisert

Maureen Wertheim Jewel Wheeler

Gordon Whitaker

Ms. Barbara M. Widemuth Amanda Williams Judy Williams

Polly Williams

Linda S. Wilson, PhD Paula Wolf

Anna Wood

Felicia Wootsick Dianna Wynn Ann Yamrus

Susan Young Keels Lisbeth Zajac

Karen Ziegler INDYweek.com | 1.23.19 | 23

indymusic

MILFORD GRAVES FULL MANTIS Thursday, Jan. 24, 8 p.m., free Duke Coffeehouse, Durham www.dukecoffeehouse.org

Feel the Rhythm

LEARNING FROM MILFORD GRAVES SHOWED ME HOW TO EXPAND THE UNIVERSE WITHIN MYSELF

BY JOE WESTERLUND

“H

ey Joe, man! Which one is it, man? Which one is it, Joe?” I was speechless, sitting in a classroom inside the Bennington College music building, the converted attic of a 1940s gray stone mansion called Jennings Hall. The stuffy, carpeted room was littered with some well-worn congas, djembes, a broken shekere, an aging desktop computer, an upright piano, and an old drum set with the bottom heads removed in the corner. Milford Graves, or “Professor,” as he was known (against the normal first-name basis for the rest of the Bennington faculty), was standing at the doorway, dressed in his uniform of baggy homemade pants, a thick flannel, a fisherman’s vest, and an oversized flat cap. He was rapidly flickering the light switch on-off, on-off, onoff, playfully yelling his question to me in front of about a dozen of my snarky, permastoned classmates.

This was just another evening at Improvisation Ensemble, the only class I took every semester during my three years as an undergraduate student at Bennington.

That specific lesson remains a signpost throughout my creative life: Have an opinion. Is it good or bad? On or off ? Don’t deny your gut reaction. I kept it with me through my twenties, as I shakily positioned myself for a career in music, and presently, as I attempt to refine that chaotic seed desire in my late thirties. It was a lesson that was meant to challenge my painfully tepid, compliant, and ultimately illusory “earnest” Midwestern disposition. Since then, all of my creative choices and aesthetic opinions have been haunted by the image of a loud, light-flickering Milford Graves.

During a six-week winter “field work term” in New York City, I had fed my soul and scorching curiosity by hearing people like Cecil Taylor, John Zorn, Charles Gayle, Susie Ibarra, Pauline Oliveros, Bill Frisell, Anthony Braxton, and Wadada Leo Smith at clubs across New York, and various lesserknowns (though incendiaries in their own 24 | 1.23.19 | INDYweek.com

right) at the city’s endless reel of mysterious, unofficial loft venues. The light switch incident was a response to a comment I had made about a particular drummer I had heard in that time, of whom Milford had a strong opinion. The drummer had come up in the ongoing weekly conversation/lecture that was the Improvisation Ensemble. I had mildly defended said drummer, in my own Midwestern way, in saying I had “checked him out and thought he was okay.”

three-hour class would often cycle between a handful of topics: cooking, urban gardening, herbalism, heart arrhythmia, martial arts, growing up in Queens, and of course, music. The longer you studied with Milford, the more you would re-ingest his personal experiences on each subject, as the stories were recycled, returning slightly altered or with a different angle, making each one pertinent to the question at hand.

Milford Graves PHOTO COURTESY OF FULLMANTIS.COM This was the statement that had set Milford off into his disorienting charade, launching himself in a split second from his usual midcentury-hipster lean in the institution-issued plastic folding chair, and over to the light switch by the doorway. This particular charade had never been presented before in Improvisation Ensemble, and though it was extremely amusing to me and my classmates, it wasn’t at all shocking.

Class would usually start with questions from Milford that had no immediate answer, such as, “So, what’s your purpose, man?” In an attempt to illustrate possible answers to the question at hand, every

After a semester or two, I earned Milford’s interest in my musical development, and I ended up with some quality time playing for him. Most every percussion teacher I studied with in my life has packed lessons with oodles of rhythms, beats, and styles for immediate regurgitation. Milford gave me only a handful of the “greatest hits” of traditional rhythms to practice, and instructions to dive deep into the feel of them. He demonstrated by sitting behind the drum kit and delivering a standard rhythm like it was a malleable, viscous object waiting to be reformed into a million different shapes, each limb pulsing along at its own natural pace.

m

In

SARAH

BY JOS

W

“Now you try, and stay loose this time,” he would command. “Create a flow around the kit. Pay more attention to how you’re moving, and not what you’re playin’, man.” of the nat That was it. I would play in a way I to dive in had always felt, but never quite achieved ise Henso before. No one had ever given me the green wizard an light like Milford in these moments. I was Land with changed forever.

Morgan.

He encouraged me to go deeper with a the impa few as opposed to shallower with more, to mountain unlock the riddles of ancient communica- its “smoo tions and open it all up, and to listen to my delicate body while I play, in order to create a flow beneath that honors the biological song of my body: (and) ext the way my lungs fill with air, the way my tion,” has heart rate pulses in constantly fluctuating est album tempos. My experimental-music-obsessed and Morn brain initially heard the results of these At first teachings as ways to achieve some sort of album is f artistic abstraction, and soon learned that lier explor Milford was only trying to achieve the most tar and A biologically sound sonic clarity. ambient a To say Milford Graves is a master percus- like “Anci sionist with an idiosyncratic, yet fundamen- tin Flight tally accessible voice, is the mere tip of the ples prim iceberg. He has accomplished the same feat in guitar int all his other endeavors: his foray into Yoruban- Her deft influenced martial arts, herbology, cooking, noises ch a study of tonality of the heart that won him like inquis a Guggenheim in 2001, and now his human ic imager anatomy sculptures. Through all his pur- the intent suits, Milford makes everything he touches her home purely himself, yet simultaneously universal. is clearly My experiences with Milford Graves in the Ahead of student-teacher capacity continue to unfold Pinhook, H greater meaning with each passing year: a about her reminder to strive to act only on one’s own authentic impulses, reasoning, and voice.

INDY: For He has a true gift of being able to bring it what was all down to the human source, down beneath ing prima our societal roles, our socio-economic and more standings, even our cultural and racial iden- process? tities, beneath learned behaviors and intel- SARAH L lectual reasoning. He brings it all the way and fun. down to the root, the most basic and pure without f human level. was alrea music@indyweek.com ping arou

music

SARAH LOUISE

Wednesday, Jan. 30, 8 p.m., $10 The Pinhook, Durham www.thepinhook.com

Into the Woods

SARAH LOUISE DIVES EVEN DEEPER INTO NATURE ON NIGHTTIME BIRDS AND MORNING STARS

BY JOSEPHINE MCROBBIE

W

ith the January 17 death of Mary Oliver, often called the “poet of the natural world,” it feels fitting to dive into the work of Sarah Louise Henson, the twelve-string guitar wizard and one half of House and Land with fiddle player Sally Anne Morgan. Henson has often noted the impact that her home in the mountains of North Carolina, with its “smooth-stone creek bottoms, delicate lunar-born mushrooms beneath rhododendron boughs, (and) extreme changes in elevation,” has had on her music. Her latest album, the new Nighttime Birds and Morning Stars, is no exception.

At first glance, Henson’s third solo album is far removed from her earlier explorations of fingerpicked guitar and Appalachian folk songs. On ambient and decidedly digital songs like “Ancient Intelligence” and “Chitin Flight,” she manipulates samples primarily sourced from electric Sarah Louise PHOTO BY KATRINA OHSTROM guitar into spirited sound collages.

Her deft playing style is made abstract as How do you plan to play these songs live? noises chirp and sway around one another Do you have any worries about what folk like inquisitive birds. Henson uses the organpurists will think, or is your audience pretic imagery of webs and spirals to describe ty well primed for the avant-garde and the intentional process of layering sounds in experimental? her home recording software, and the result Yes, I will perform them, but it feels imporis clearly as grounded as her earlier works. tant to leave a lot of room for play and Ahead of her Wednesday night stop at The exploration within the performances. In Pinhook, Henson caught up with us via email addition to live guitar, I will be using an about her furthest-reaching explorations yet.

SP-404, which is a classic sampler. It’s such a versatile, interactive instrument with a INDY: For Nighttime Birds and Morning Stars, lot of room for improvisation. I can feel the what was it like to branch out to recordsame parts of my mind at work with that ing primarily with electric guitar, sampling, as I can when composing for twelve-string. and more of a collage-style composition It’s been an exciting process to integrate process? those two very different elements.

SARAH LOUISE HENSON: It felt really free I’m happy, because I feel like creating and fun. I could act on ideas immediately these performances is feeding my creative without fear of forgetting a part, because it practice rather than making pressure of was already recorded. It allowed my mind to rigidly recreating something. With any creping around at the pace it wanted to. ative practice, it’s so important to follow

Hour by Kacey Musgraves in the past couple of weeks, so, you know, in about five years I’ll make my pop-country debut! As for books, I’ve been working with exercises from Pauline Oliveros’s deep listening handbook and reading a lot about the spiritual dimensions of herbalism.

Your mother created the artwork for this album. How did you work together to make that happen?

My mom is an amazing artist, and I knew she would understand how to make a visual complement to my music. I told her I would love to have morning glories and a wood thrush on it, and she created this cosmic masterpiece. It was totally her idea to put it all in outer space!

where your interests lead you. My work comes from a deep place within me, and I don’t think it would turn out very well if I worried what some people might think. If you try to please this person or that group, you will lose your center. Folk purists are absolutely encouraged to attend!

What were you listening to, or reading, or otherwise inspired by while you were concocting the record?

This is always a hard question to answer, because I think years can pass after consuming some form of media and suddenly a grain of it will appear. I love all kinds of music and think that what I make is a product of everything I’ve ever listened to and every experience I’ve had. If I’m making one type of record, I usually avoid listening to music in the same vein while I’m working. I’ve been listening a lot to Golden

One of the things I appreciate about your music, and House and Land’s music, is how accessible you make it—whether it’s making a video with screengrabs of your Reaper digital software sessions, or contextualizing during a live show the history of the shruti box or a certain ballad. How do you see this educational or analytical component as fitting into what you do?

I’m a pretty big nerd, so I guess it just comes naturally. When I have a passion for something, my excitement for it makes it hard not to share. I have a strong sense that all music is connected, and an instrument like the shruti box is an interesting illustration of that. I think it’s important to honor where folk music came from. These old songs contain important information about living close to the land and our histories, which are relevant to our world today. I had a lot of fun making this record, and it has a lot of new sounds and techniques, so it felt like a cool idea to share more about it. music@indyweek.com INDYweek.com | 1.23.19 | 25

JAN UARY

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FR 25 GREENSKY BLUEGRASS AT THE RITZ 7p p

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AMERICAN AQUARIUM TH 31 RESURRECTION- A JOURNEY

music

METALLICA

Monday, Jan. 28, 7:30 p.m., $131+ PNC Arena, Raleigh www.thepncarena.com

Black to Basics

METALLICA IS A LONG WAY FROM ITS GENRE-DEFINING EARLY ALBUMS, BUT VETERAN FINESSE BRINGS CRAFTSMANSHIP TO THEIR CLASSIC BREW

BY BRYAN C. REED

TRIBUTE 7p

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SA 9 JUPITER COYOTE & THE BLUE DOGS 7p

MO 11 ALAN DOYLE BAND 7p FR 15 THE BREAKFAST CLUB W/ BAD INC 8p

SA 16 NANTUCKET W/ MAJ DEEKA/ PEGASUS PLUS 7p

FR 22 CORROSION OF CONFORMITY W/ CROWBAR/THE OBSESSED/ MOTHERSHIP 6:30p

SA 23 MAYDAY! & RDGLDGRN W/ LITTLE STRANGER 8p

SU 24 ASLEEP AT THE WHEELSTRING BAND TOUR 7p

WE 27 JJ GREY AND MOFRO W/ CRIS JACOBS BAND 7p

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126 E. Cabarrus St.• 919-821-4111 www.lincolntheatre.com 26 | 1.23.19 | INDYweek.com

ILLUSTRATION BY STEVE OLIVA

I

t’s easy, even tempting, to ignore Metallica these days. The once-great band that brought metal to the masses is decades past its fall into the realms of punchlines and punching bags. The band that once carved the template for thrash metal is now more often caught chasing trends.

That’s why the recent announcement that Metallica collaborated with Stone Brewing Company’s Arrogant Consortium to release a co-branded beer, “Enter Night Pilsner,” should feel a bit anticlimactic to fans of either craft beer or heavy metal.

Indeed, plenty of heavy bands have forged recent partnerships with independent brewers to craft adventurous, even extreme flavors: Indiana’s 3 Floyds brewed

two beers with Virginia-based grindcore iconoclasts Pig Destroyer; metalcore act Zao partnered with Louisville’s Against the Grain Brewery for a smoked stout; Mastodon—arguably the heirs apparent to Metallica’s progressive-yet-pop heavy metal crown—have done several collaborative beers, including a partnership with Mikkeller on a 12% ABV imperial stout called “Sultan’s Curse.”

Metallica, when its time came, partnered with Stone, one of craft beer’s largest and most established ventures. And they made a pilsner—a much lighter, blander style than the aggressive and boozy tastes that have pushed craft beer into the mainstream.

Could it be anything more than a limp cash grab from a past-its-prime rock band?

In fact, like Metallica itself, “Enter Night” is not to be dismissed.

Billed appropriately, if somewhat clumsily as “A Hoppy Pilsner Played Through a Distortion Pedal,” “Enter Night” is a crisp and surprisingly bold pils. It pours a predictable straw-yellow, transparent pint, but the piney hop bitterness on the nose, and especially in the aftertaste, subverts any expectations of blandness. A crisp carbonation makes for a sharp and lively complement to the beer’s bitterness. It doesn’t have to be overtly extreme to be bold.

After drinking it, the partnership between Metallica and Stone feels even more poignant. Both entities have forged long, successful careers by pursuing quality and ultimately finding a reliable foundation to support creative diversions. There have been missteps, sure, but at this moment, Metallica is one of few—if not the only— extant rock bands that can reliably fill arenas, play regularly on both modern and classic rock radio, and continue to influence (positively and negatively) the generations of headbangers that follow them. For some perspective, consider that in 2009, Metallica’s 1991 self-titled album surpassed Shania Twain’s Come On Over as the best-selling album of the SoundScan era.

Though for those of us who came of age in the era of Lars Ulrich’s anti-Napster crusades and poorly received albums like Load (1996), Re-Load (1997) and, worst of all, St. Anger (2003), Metallica seemed to be the quintessence of bloat. Who were these millionaire rock stars getting mad that nobody wanted to pay real money for their long-winded grumbling and post-grunge pandering?

As my own tastes careened into the world of blitzkrieg punk-rock, the notion of listening to these middle-aged sellouts and their indulgent nine-minute songs couldn’t have been any less appealing. Friends would rebut, praising the band’s musicianship,

their icon status, and even appealed to their popularity as if that would sway me. I knew all I needed to know from the constant rotation “Enter Sandman” and “Nothing Else Matters” still scored, a decade after their release, on the radio. All I wanted was three chords and the truth, played as fast as I could imagine. Ian MacKaye and Henry Rollins had more to say to me than James Hetfield ever could.

Or so I assumed.

“ Recognizing Metallica’s former glories doesn’t say anything about why, or even whether, it matters now.”

It wasn’t until years later, after skimming past countless magazine articles claiming 1986’s Master of Puppets as a heavy metal landmark—even above Slayer’s Reign In Blood!—and people whose taste I generally admired assuring me that, yes, the first four Metallica albums really are pretty great, that I finally gave the band a real chance.

Renting a car for a two-week trip, I found myself stuck with a CD player and nothing to listen to. And so a five-dollar copy of Master of Puppets became my primary sonic outlet for a fortnight. That’s when I discovered that, for a time, anyway, Metallica managed to craft dynamic, compelling narratives that both sounded badass and offered some real insight.

The band’s musicianship was, as promised, excellent, but its members managed to wrangle their impulses into songs that were still catchy. And as much as the band’s output smacked of tough-guy bullshit, its younger days betrayed a deeply relatable sense of uncertainty, insecurity, and vulnerability, even behind a facade of righteous anger. Hearing James Hetfield moan, “Welcome to where time stands still/ No one leaves and no one will/ Moon is full, never seems to change/ Just labeled mentally deranged,” on “Welcome Home (Sanitarium)” sounded newly revelatory.

From there, I went backward, to 1984’s Ride the Lightning (my favorite) and 1983’s

comparatively ragged but clearly inspired Kill ’Em All, before I worked my way to the transitional 1988 LP, ...And Justice For All, and 1991’s major breakthrough, the self-titled “Black Album.” Metallica’s run through the nineties still doesn’t do much for me, but I can at least respect that they were trying to figure out how to be the new, exponentially more famous Metallica in the midst of a turbulent music industry. Unlike another band who gained underground acclaim in the late eighties before bursting, somewhat uncomfortably, into the mainstream as the decade turned, Metallica survived tragedies and soldiered on as we were granted access to the group’s creative plateaus and interpersonal struggles. Hell, they even made a documentary about it.

Still, recognizing Metallica’s former glories doesn’t say anything about why, or even whether, it matters now, some thirtyodd years past its prime. Even recognizing the indelible mark the band has left on what would become modern rock and contemporary metal (both mainstream and underground strains), or the fact that there haven’t been any new rock bands to reach Metallica’s pinnacles of success since, demonstrates only that the band used to be relevant.

To its credit, Metallica seems finally to have arrived at the same conclusion many fans and critics have: It’s at its best when it embraces the thrash-metal mold it helped shape, and indulges prog-rock instincts with dynamic song structures and blazing melodic guitar leads. The band’s latest two albums, 2008’s Death Magnetic and 2016’s Hardwired...To Self-Destruct, offer something of a return to form for the veteran rock outfit. Glimpses of Metallica’s former glories are present. And even if the band can’t recapture Lightning, it can bring veteran finesse to substitute for youthful abandon.

Like that of the band’s peers and former tourmates in Corrosion of Conformity, Metallica’s latter-day output has mined its entire past to forge a new, more refined path forward. Besides, the band still has the old classics to bring out on stage every night.

It’s fitting, then, to note that in the world of craft beer, a persistent trend among brewers has been perfecting traditional lagers and other, mellower styles. While crowds might clamor for the latest triple dry-hopped and adjunct-laden boozebomb, beer connoisseurs have started to recognize that the ostensibly simpler styles demand better craftsmanship. There’s nothing to hide behind. At the end of the day, maybe nothing else matters. music@indyweek.com

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JUMP

Wednesday, Jan. 23–Sunday, Feb. 10, $15+ PlayMakers Repertory Company, Chapel Hill www.playmakersrep.org

Mortal Soil

A FAMILY MUST REGROW ANEW WHEN DEATH TEARS OUT ITS ROOTS IN CHARLY EVON SIMPSON’S JUMP BY BYRON WOODS

I

keepsakes and discard the flotsam of the n many extended families, a single pereighties in their childhood bedroom, they son—usually an elder—is the nuclebegin a conversation that tentatively bridges us around which the group coalesces. at least some of the divisions of the past.

When that person dies, a crisis takes place in But in these, and in Fay’s awkward the family structure. Playwright Charly Evon exchanges with her father, there is a singular Simpson has seen it in her own family; two dearth of sentiment. In their conspicuously years after her matrilineal grandfather died, she says, “We’re still figuring out what’s the balance here, and how do we relate on that side of the family without him.”

In Simpson’s new drama, Jump, whose world premiere begins this week at PlayMakers Repertory Company, a mother’s death from cancer provokes a similar crisis in a modern-day urban African-American family. The loss underscores the dysfunction and feelings of estrangement that have developed among its remaining members: sisters Fay and Judy, now young adults, and their unnamed father, who’s in his late fifties.

“You hope to be connected to your siblings and your parents, but sometimes, you’re not,” Simpson says. That’s certainly the case as we watch the sisters bristle and snipe in what at first seems like an endless relitigation of grievances dating back to high school. “I was a senior. You were a freshman,” older sister Judy flatly asserts at Charly Evon Simpson PHOTO BY JACKIE ABBOTT one point. “I didn’t have time to tearless reunions, no one ever hugs it out, think or care about you.” and it is telling when a stage direction in the When the siblings learn that their father script notes, “There is no comforting of the plans to sell their childhood home one year other. They are on their own, comfort-wise.” after their mother’s death, Judy could be Simpson is quick to differentiate between referring to the house or the relationships Jump’s family and her own. Still, in her charamong the survivors when she observes, “I acters, she explores some of the difficulguess none of us wanted to be here after she ties she has noticed family members having was gone.” over several generations in communicating But the act of cleaning out the house gives with their parents. “We’re totally capable the trio the chance to declare an uneasy of communication, but it’s taken all of us a truce and assess what, if anything, is left long time to find a vocabulary for it,” Simpbetween them. As Fay and Judy pack up 28 | 1.23.19 | INDYweek.com

son says. “It just took time and space and distance to figure out a way to communicate with each other.”

That plays out as well in the other relationship Simpson interweaves with this family’s potential rapprochement, as Fay and Hopkins, a local grad student, cautiously feel each

other out in a series of encounters after an unlikely bit of initial bonding: over vintage Queen, on a nearby bridge. Much of the meetcute evaporates in the subsequent mistrust between two strangers. And yet, something begins between them, something that persists even when one of them later admits to contemplating jumping off the bridge moments before meeting the other.

“When someone brings up having suicidal thoughts, the conversation stops, and we find it difficult to resituate ourselves back into a

conversation after that,” Simpson says. “But there is a way to shoulder and honor that concern, and then not diminish the rest of a person’s life. We probably need room for a different way of listening, or an openness to hearing the ways in which individuals think about and feel these things.”

“I feel I spend much of my adult life trying to find the people I can share myself with, and say the crazy thing, or the hard thing, to see who’s going to stay, who’s going to ask questions, who’s not going to freak out and blow it all out of proportion,” Simpson says. “Part of me is just interested in showing these sides of ourselves—they’re not even ugly, they’re just difficult, and harder to deal with—and figuring out if someone can be there with you.”

But suicide—now at a fiftyyear high in the United States, as the tenth leading cause of death overall and the second among Americans under age thirty-five—unavoidably raises the stakes in such relationships. In Jump, Simpson ponders how we balance caring and worrying about the potentially suicidal with giving them space to express themselves rather than “trying to put a band-aid on.”

“Rescuing is great when you need it, but if that’s not what you’re looking for, it can be frustrating and patronizing,” Simpson says. “Sometimes, you’re saying, ‘I didn’t come to you to fix it. I came for you to listen. I came because I needed to release the thought, to say the words out loud.

I came to hear you say I can’t fix it, but I’m here for you.’”

Many times we have to rescue ourselves, Simpson concludes. “What we’re looking for are the people who are going to be there, just to help support us on that road.” arts@indyweek.com

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The INDY’s guide for whomever, wherever, however saying “I Do” means to you.

Highlighting wedding possibilities around the Triangle

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Highlighting wedding possibilities around the Triangle

ISSUE: 3/13 RESERVATIONS: 3/8

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indyscreen Laughs Last

THE SLAPSTICK GRACE OF A COMEDY LINEAGE THAT RUNS CLEAR FROM LAUREL & HARDY TO SEINFELD

BY GLENN MCDONALD

S

Eat & Drink Almanac

The INDY’s Ultimate Guide to food and drink in the Triangle

Issue: 7/25 Reservations: 7/20

Contact your Marketing Executive or advertising@indyweek.com 30 | 1.23.19 | INDYweek.com

Watch how Coogan incorporates Laurel’s tan & Ollie, the buzzy new biographisignature onstage bits into his offstage cal film about legendary Hollywood movements. Watch Reilly’s big-man grace. double act Laurel & Hardy, is a perThese two deserve every statuette tossed fect example of a rabbit-hole movie. This their way this awards season. isn’t a two-hour commitment; it’s four hours, at least, because you’ll wind up diving into the internet afterward to read up on the history of it all.

Steve Coogan and John C. Reilly are perfectly cast in the lead roles of Stan Laurel and Oliver Hardy, the comedy team that powered dozens of movies in classic Hollywood. For anyone interested in the evolution of American comedy, it’s fascinatPHOTO BY NICK WALL, COURTESY OF SONY PICTURES CLASSICS ing material. Squint Halfway through Stan & Ollie, an amazhard enough, and you can draw a direct ing thing happens. Unexpectedly, the duo’s line from Laurel’s slapstick choreography wives show up, and a second double-act to Michael Richards’s physical comedy as is added to the bill. Veteran actors ShirKramer on Seinfeld. ley Henderson and Nina Arianda absolutely After a brief prologue, the movie focuses crush the usually thankless spouse roles and on the duo’s waning days trudging through give the film new facets of humor and heart. a modest U.K. music-hall tour. We learn Their performances generate a kind of expothat the pair’s famous onstage dynamic was nential quality, as the various relationships actually a weird inversion of their backfractal off into rounded elegance. stage relationship. Little Stan was the alpha Screenwriter Jeff Pope doesn’t dig overachiever, forever pushing big Ollie into too deep into his characters’ dark sides, escalating predicaments. But the bond although we get some glimpses of boozing between the two was so much more than and gambling. But that's on purpose. This that. Stan & Ollie plays like a romance, realis a tribute film, selective and affectionate. ly, as obstacles emerge to threaten the duo’s For additional context and some great friendship and genius-level creative partstories—well, pencil in a couple of extra nership. And, as in a romance, we’re desperhours for clicking around the old Wikipedia ate for them to stay together. rabbit hole.

Coogan and Reilly are brilliant, and each arts@indyweek.com delivers a master class on subtle physicality.

STAN & OLLIE |  | Opening Friday, Jan. 25

screen

GLASS ½

Now Playing

Smoke and Mirrors

IN GLASS, M. NIGHT SHYAMALAN’S BIG REVEAL IS THAT THERE WAS NEVER MUCH OF ANYTHING TO REVEAL AT ALL BY NEIL MORRIS

T

he twenty years spent analyzing M. Night Shyamalan’s oeuvre (yes, it’s been that long since The Sixth Sense) feel like they’ve included just as much analysis of his psyche. That’s a lot of curiosity about a director who has three good movies to his name, followed by a decade of disappointments. Perhaps it’s the irresistible rise-and-fall narrative of a filmmaker exhibiting so much promise and then falling off so precipitously. As with Shyamalan’s films and their inevitable surprise endings, we’re waiting for the redemption plot turn.

Shyamalan enjoyed a minor comeback with The Visit. Then, two years ago, the final, shocking shot in his modest horror thriller Split established that film as a sort-of sequel to 2000’s Unbreakable. The stage was set for a follow-up that unified and expanded upon the heady, neo-noir comic book milieu that Shyamalan conceived in Unbreakable. The result is Glass, which picks up several weeks after the conclusion of Split and brings together the three protagonists/antagonists from the previous two films, each representing a superhero character trope.

David Dunn (Bruce Willis) is the reluctant hero, who has spent the past nineteen years running a security agency with his son (Spencer Treat Clark, also reprising his role from Unbreakable), which is a front for David’s super-strong vigilante hero, now known as The Overseer. Kevin Crumb (James McAvoy, whose incessant shtick quickly ILLUSTRATION BY CHRISTOPHER WILLIAMS grows tedious) is an anarchist with multiple personalities, collectively referred to as The Horde, chief among them a the film’s last—the two are caught and comsavage monster called The Beast. After David mitted to the same asylum that houses the foils another kidnapping by Kevin—capped brittle but diabolical Elijah Price, aka Mr. by a rather uninspired fight scene that’s not Glass (Samuel L. Jackson). Elijah is the evil

genius, and he’s apparently spent the last nineteen years playing catatonic possum, waiting for the right time to continue both spreading mayhem and making the world aware that superheroes exist.

If watching a shrink spout psychobabble is your idea of a good time, then, by all means, Glass is the movie for you. A psychiatrist (Sarah Paulson) tries to convince her three patients that they’re suffering from delusions of grandeur, spawned by painful childhood trauma and perhaps overstimulated frontal lobes.

Indeed, while fictional superheroes are often born from personal tragedy, so are serial killers. The film’s most intriguing aspect is that, not only do the characters begin to believe her, but so does the audience. Later, during a climactic clash between David and The Beast, Shyamalan repeatedly shifts the angle of their tussle to long shots that make their supposedly titanic brawl appear comparatively insignificant. The effect is almost comical and, presumably, deliberate.

However, in his ever-present, insidious compulsion for twist endings, Shyamalan ultimately undermines any ambiguity, leaving us with a bog of plot contrivances, secret societies, and an underwhelming clarion call for supers around the world. The big reveal isn’t something that was hidden, but that there wasn’t really anything of substance to reveal all along.

As a denouement, it demonstrates that Shyamalan still places more importance on himself than his art, no matter how long it took to create. His imagination has always outshone his filmmaking, and so it is with Glass. We’re still waiting for that redemption plot turn. arts@indyweek.com

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deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 20:

DOWNTOWN DURHAM

For advertising opportunities, contact your ad rep or advertising@indyweek.com INDYweek.com | 1.23.19 | 31

WHAT TO DO THIS WEEK 1.23–1.30

MONDAY, JANUARY 28

DANIEL ROMANO

Daniel Romano is the rare sort of singer-songwriter who manages to be both a shapeshifter and a reliable presence. His songs mostly fit under the country-fried-rock umbrella: both 2016’s Mosey and 2017’s Modern Pressure felt like soundtracks for sunburned mischief. But on Finally Free, released in November, Romano sounds positively Lennon-esque as he sheds the sun-baked sensibilities of his last two records. He trades the heart-quickening arrangements that made Mosey and Modern Pressure feel bold and springy for more subtle gestures, which take the form in more intricate acoustic-guitar curlicues and mystical lyrics. Romano’s world-weary vocal delivery remains thoroughly intact. The freedom that coalesces on Finally Free feels both bittersweet and uncertain—it’s a new angle from Romano, but one that makes for an intriguing foil to the carefree air of his earlier material. T. Hardy Morris and Lonnie Walker open.

—Allison Hussey KINGS, RALEIGH 8 p.m., $12–$15, www.kingsraleigh.com

THURSDAY, JANUARY 24– SUNDAY, FEBRUARY 10

ASHE IN JOHANNESBURG

1968 was a year of profound changes in America.

Riots roiled following the assassination of Martin Luther King Jr.; a month after the disastrous Tet offensive, CBS news anchor Walter Cronkite called for an end to the Vietnam War. And an outwardly unassuming twenty-five-year-old named Arthur Ashe broke through the color barrier in tennis while on temporary leave from West Point, winning the U.S. Open and helping the U.S. team take the Davis Cup. The following year, Ashe was ranked number one in the world. But when he applied to join his peers at the South African National Championships, his visa application was denied by the apartheid government for three consecutive years. Under international pressure, Ashe was permitted to compete beginning in 1973, but an off-court experience in Johannesburg propelled him into a life of activism. Artistic director Jerome Davis directs Joel Oramas in the world premiere of a work the company commissioned from rising New York playwright Hannah Benitez. —Byron Woods BURNING COAL THEATRE, RALEIGH 7:30 p.m. Thu.–Sat./2 p.m. Sun., $5–$25, www.burningcoal.org

Daniel Romano PHOTO BY COTEY POPE

WHAT ELSE SHOULD I DO?

BAUHAUS.PHOTO AT NCSU’S COLLEGE OF DESIGN (P. 37), THE HERD AT NRACT (P. 39), JUMP AT PLAYMAKERS (P. 28), SARAH LOUISE AT THE PINHOOK (P. 25), DAVID MENCONI AT QUAIL RIDGE BOOKS (P. 38), METALLICA AT PNC ARENA (P. 26), MILFORD GRAVES FULL MANTIS AT DUKE COFFEEHOUSE (P. 24), SHIRKERS AT ALAMO DRAFTHOUSE (P. 40) 32 | 1.23.19 | INDYweek.com

SATURDAY, JANUARY 26 & SUNDAY, JANUARY 27

SONGS FOR DRELLA

Andy Warhol’s Factory was the fertile ground on which the Velvet Underground thrived, and it’s fitting that his passing provided an opportunity for Lou Reed and John Cale, two mercurial creators mostly estranged since 1968, to collaborate again. The band’s 1990 album, Songs for Drella, was concocted as a posthumous tribute to Warhol, a man as iconic as he was unknowable. Using this fragile foundation of inspiration, Cale and Reed wrote a suite of songs that, at their best, were everything that made the Velvet Underground so potent: infinitely melodic, tense and experimental, shit-talking, and scene-setting. At Living Arts Collective, a group of local musicians and artists will share their interpretation of Songs for Drella, creating an Inception-style tribute to a tribute to an artist. Performers include Little Green Pig director Jaybird O’Berski, multi-instrumentalist William Dawson, violist and composer Dan Ruccia, and quirky singer-songwriter Louis Landry, with live animation by installation artist Jaclyn Bowie and Paperhand Puppet Intervention’s Nyssa Collins. (Disclosure: Dan Ruccia is a regular contributor to the INDY.) —Josephine McRobbie LIVING ARTS COLLECTIVE, DURHAM 8 p.m., $10, www.livingartscollective.com

WE 2/6 @FLETCHER OPERA THEATER

VALERIE JUNE

2/1 JOYCE MANOR/JEFF ROSENSTOCK W/ REMEMBER SPORTS 2/2 BOB MARLEY BIRTHDAY CELEBRATION FT. MICKEY MILLS AND STEEL ($12/ $15) 2/6 DRIVIN N CRYIN W/ LAUREN MORROW 2/7 FRED ARMISEN

SOLD OUT

2/9 PETER MURPHY 40 YEARS OF BAUHAUS CELEBRATION LD FEATURING DAVID J SO OUT 2/12 JOHN MAUS W/NICK NICELY (PRESENTED BY CAT'S CRADLE AND MOTORCO)

SOLD OUT

2/16 MATT NATHANSON

2/23 HOUNDMOUTH W/ BEN KWELLER, MODERN LOVE CHILD 2/25 TOO MANY ZOOZ ($17/$19)

4/17 THE WILD REEDS ($14/$16)

1/24 ARSON DAILY, DADDY’S BEEMER, ECHO COURTS

4/21 VALLEY MAKER

1/25 HIGHER GROUND: A BENEFIT FOR TIM CARLESS W/ ANNE-CLAIRE + ANGELA WINTER (NO COVER / DONATIONS ENCOURAGED)

4/25 ACID MOTHERS TEMPLE W/ YAMANTAKA, SONIC TITAN

1/26 JULIA., PEOPLE OF EARTH, THE PHACTS

2/2 JPHONO1, OPEN FIELD, SUNNY SLOPES, TRIPLE X SNAXXX

3/6 COLD CAVE W/ ADULT AND SEXTILE

2/6 THE LIL SMOKIES W/ MICHIGAN RATTLERS

3/7 STRFKR W/ SHY BOYS ($25)

2/8 NICOLAY & THE HOT AT NIGHTS

3/8 CHELSEA CUTLER W/ ANTHONY RUSSO

2/9 BRONZE RADIO RETURN W/ SONTALK

3/19 TREVOR HALL W/ DIRTWIRE, WILL EVANS ($22/$25)

2/10 CAROLINA WAVES SHOWCASE & OPEN MIC ($5)

3/21 ANDREA GIBSON W/ ASHLEE HAZE ($20/$22)

2/14 DANILEIGH

3/30 CARBON LEAF ($20/$25) 4/8 RIVAL SONS W/ SHEEPDOGS 4/11 RUBBLEBUCKET W/ MIKAELA DAVIS 4/13 DURAND JONES & THE INDICATIONS W/ DIVINO NINO ($15) 4/15 BLACK LIPS W/QUINTRON & MISS PUSSYCAT ($15/$17; ON SALE 1/25) 4/16 MITSKI W/ JAY SOM 4/17 MITSKI

SOLD OUT

SOLD OUT

4/18 TOM ODELL 4/19 THE CHURCH (ON SALE 1/25) 4/25 LAURA JANE GRACE & THE DEVOURING MOTHERS W/ MERCY UNION AND CONTROL TOP ($20 / $23) 5/2 FOXING & NOW, NOW (ON SALE 1/25)

2/15 HANK, PATTIE & THE CURRENT W/ GRAVY BOYS 2/16 THE PARROTS / MOZES AND THE FIRSTBORN ($12) 2/20 DEAD HORSES & THE BROTHER BROTHERS ($12/$14) 2/21 BAY LEDGES 2/22 WORK CLOTHES / DOVE LEGS AND TEGULCIGALPAN 2/23 LOWLAND HUM W/ ANNA TIVEL 2/24 THE ACES

SOLD OUT

2/25 LILY & MADELEINE W/ BROTHER BIRD 2/26 WILLIAM RYAN KEY W/ SELFISH THINGS AND CORY WELLS ($15) 3/1 WILLIAM TYLER W/ JAKE XERXES FUSSELL ($15) 3/2 FUTURE THIEVES 3/7 SEAN MCCONNELL W/CALEB ELLIOT 3/8 MIKE KROL, SPIDER BAGS ($10/$12) 3/9 MATT KEREKES W/ JETTY BONES, JACOB SIGMAN 3/10 HOT FLASH HEAT WAVE W/ VACATIONS ($13/$15)

5/5 JAPANESE BREAKFAST W/ EX HEX AND ETERNAL SUMMERS

3/11 MEN I TRUST W/ MICHAEL SEYER

5/6 RIVERSIDE ($20/$25)

3/12 SEAN MCCONNELL ($10/$12)

5/13 THE DRUMS

3/15 THE GONE GHOSTS W/THE ANTIQUE HEARTS, OWEN FITZGERALD ( $7/$8)

5/14 PUP W/ RATBOYS

4/4 JUICE

CAT'S CRADLE BACK ROOM 1/23 FIDDLIN' AL MCCANLESS, JIM WATSON, ASHLEE AND ANDREW, MARK WEEMS & CAJAMMERS ($15)

3/4 WATSKY

3/31 THE MIDNIGHT ($20/$22)

3/28 MAX FROST($15/$17) 4/3 AARON LEE TASJAN 4/15 BAYONNE ($12/$14)

1/31 “KING OF THE HILL: HIP HOP SHOWCASE” ($5/$10)

3/29 SLUGWIFE TAKEOVER TOUR ($20/$25)

THE FRUIT, DURHAM | HISTORIC PLAYMAKERS THEATRE, CHAPEL HILL Jan. 24–Feb. 10 (Durham), Feb. 14–17 (Chapel Hill), $10–$20, www.bulldogdurham.org

8/27 ELECTRIC HOT TUNA W/ ROB ICKES & TREY HENSLEY ($45/$50)

2/27 WET, KILO KISH W/ HANA VU ($25/$28)

3/25 ADHOC PRESENTS: HOMESHAKE

Many white Americans didn’t know “the talk” existed until Eric Holder mentioned it in a 2013 NAACP speech. The then-Attorney General talked about sitting his own fifteenyear-old son down, after the death of Trayvon Martin, for a conversation that would increase his odds of survival if he were ever stopped by the police. “This was a father-son tradition I hoped would not need to be handed down,” Holder said. ”But as a father who loves his son and who is more knowing in the ways of the world, I had to do this to protect my boy.” In Sonny Kelly’s new one-person show, a coproduction of Bulldog Ensemble Theater and StreetSigns Center for Literature and Performance, the playwright, performer, and dad finds that the information his son needs to survive has radically expanded. It includes the historical, cultural, theoretical, and autobiographical contexts that ground the identity of a person who might otherwise be reduced to a screen on which prejudices, fears, and hatreds are projected. After a three-week run at The Fruit, the show closes with a week at Historic Playmakers Theatre in Chapel Hill. —Byron Woods

6/27 PARACHUTE W/ BILLY RAFFOUL ($20/$23)

1/27 PINKY DOODLE POODLE, HENBRAIN, M IS WE, GIRL WEREWOLF

3/22 NOVO AMORE

THE TALK

FR 2/1 @ HAW RIVER BALLROOM

YONDER MOUNTAIN STRING BAND

2/26 JUKEBOX THE GHOST, THE MOWGLI'S ($22/$25)

3/2 COLE ESCOLA W/ HELP! I’M STUCK! ($20)

THURSDAY, JANUARY 24–SUNDAY, FEBRUARY 17

WE 2/6

DRIVIN N CRYIN

1/31 EL TEN ELEVEN W/ JOAN OF ARC ($15/$17)

2/15 COPELAND W/ FROM INDIAN LAKES, MANY ROOMS

PHOTO BY HUTHPHOTO

(& JOYCE MANOR)

(SOLO)

2/14 SPAFFORD W/ PSYLO JOE ($17.50/$20)

Sonny Kelly in The Talk

FR 2/1

JEFF ROSENSTOCK

4/16 THIS WILD LIFE 4/18 TELEKINESIS W/ SONTALK ($13/$15) 4/22 KOLARS

5/1 STEVE GUNN ( $15/$17) 5/2 JULIA JACKLIN W/ BLACK BELT EAGLE SCOUT ($14/$16) 5/6 PEDRO THE LION W/JOHN VANDERSLICE ($20) 5/21 SHAME ($14) 5/23 MARTI JONES & DON DIXON ARTSCENTER (CARRBORO) 2/20 JONATHAN RICHMAN 4/29 JOY WILLIAMS (OF THE CIVIL WARS) W/ ANTHONY DA COSTA LOCAL 506 (CHAPEL HILL) 3/11 MASKED INTRUDER MEMORIAL HALL (UNC CH-HILL) LD 1/29 NEKO CASE SO OUT DURHAM PERFORMING ARTS CENTER LD 2/1 MANDOLIN ORANGE SO OUT MOTORCO (DUR) 2/1 LUCY DACUS LD W/ ILLUMINATI HOTTIES SO OUT 2/24 MIKE DOUGHTY PLAYS SOUL COUGHING’S "RUBY VROOM" 25 YEAR ANNIVERSARY TOUR 3/24 ALL THEM WITCHES ($15) FLETCHER OPERA THEATER (RAL) 2/6 VALERIE JUNE (SOLO) W/ THAD 4/3 GRAHAM NASH RED HAT AMPHITHEATER (RAL) 4/27 RAINBOW KITTEN SURPRISE THE RITZ (R AL) 2/7 DRIVE-BY TRUCKERS AND LUCINDA WILLIAMS W/ ERIKA WENNERSTROM 2/8 CODY KO AND NOEL MILLER SOLD OUT

HAW RIVER BALLROOM 2/1 YONDER MOUNTAIN STRING BAND W/ HANDMADE MOMENTS ($25/$30) 3/18 TEENAGE FANCLUB W/ ERIC BACHMANN AND THE LOVE LANGUAGE ($25/$28) 3/31 PATTY GRIFFIN ($35) 5/9 SON VOLT ($25/$28; ON SALE 1/25)

CATSCRADLE.COM  919.967.9053  300 E. MAIN STREET  CARRBORO INDYweek.com | 1.23.19 | 33

music 1.23–1.30 LINCOLN THEATRE: Ripe, The Brook and The Bluff; $14–$15. 8 p.m.

NIGHTLIGHT: Nixie Unterwelt, Distributed Systems, Trason, HFTV; $7.

9 p.m.

POUR HOUSE: The Dead Bedrooms, Phantom Phunk, Thirsty Curses; $7-10. 8 p.m.

THU, JAN 24

CAT’S CRADLE (BACK ROOM): Arson Daily, Daddy’s Beemer, Echo Courts; $7. 9 p.m.

MEMORIAL AUDITORIUM Scott Bradlee’s Postmodern Jukebox; 8 p.m.

LOCAL 506: Sibannac, Dead Casual, Some Antics, Car Crash Star; $8. 9 p.m.

THE PINHOOK:

Vanguard Party [$7/8 P.M.]

A Vanguard Party, according to Lenin, is a group of classconscious organizers working to establish the proletariat as ruling class. As a band name, it sets some pretty lofty ideological benchmarks that are difficult to meet.

Nevertheless, Vanguard Party gives it a shot with Pas En Ture, its third EP, released in November, which showcase Derek Alan Rowe’s impressively dexterous vocals on “songs about resilience and revolution.” The Lice and Impersona open.

—Sarah Edwards

FRI, JAN 25 ARCANA: Humble Tripe, Catherine the Great, the Gingersnaps; 8 p.m.

CAT’S CRADLE BACK ROOM:

Higher Ground: A Benefit for Tim Carless [DONATIONS/9 P.M.]

Last fall, Hurricane Florence flooded the home of Carrboro producer, musician, and 34 | 1.23.19 | INDYweek.com

THE CAVE: Phantom Phunk, Thirsty Curses, Car Crash Star; 9 p.m.

DUKE’S BALDWIN AUDITORIUM:

Jeremy Denk [$10–$25/8 P.M.]

The pianist Jeremy Denk is known for his mastery of some of classical music’s most challenging pieces. On Friday, he’ll take on Beethoven’s Five Variations on “Rule, Britannia” in D Major. He’ll also perform other composers’ tributes to the master, including SaintSaëns’s Variations on a Theme of Beethoven. In other words, if you love Beethoven and the composers who loved him, too, this is your chance to hear beautiful music performed immaculately.

—Elizabeth Szypulski FLETCHER OPERA THEATER:

NC Opera: Carmen [$23–$99/7:30 P.M.]

Obsession! Seductive dancing!

Knife fights! Opera isn’t as stuffy as you might think.

At least not Bizet’s Carmen, which tells the tale of an unconventional woman and the soldier who becomes obsessed with her after a brief flirtation.

Even people who aren’t opera fans know Carmen’s standout songs — the rousing, frenetic “Toreador Song” has been used in movies, cartoons, and way too many commercials.

At Raleigh’s Fletcher Opera Theater, you can check out the real deal. —Elizabeth Szypulski KINGS: The Great Cover Up; $10.

8 p.m.

PHOTO COURTESY OF WARNER BROS. RECORDS

DUKE’S BIDDLE MUSIC BUILDING: Rebecca Cypess: Rare Music Lecture and Recital; 7 p.m.

educator Tim Carless for the sixth time, destroying major appliances and the studio where he works. “Tim’s contributions to my album were rich, gorgeous, and wildly creative,” says Angela Winter, who organized this benefit. “He’d given me such a safe, open space in which to bring my songs to life,” she adds.

Tonight, Winter’s sparse, witchy folk contrasts with Anne-Claire’s lush, jazzy pop, and the proceeds from their performance will help get Carless back in business.

—Spencer Griffith

Cher headlines Raleigh’s PNC Arena on Sunday.

WED, JAN 23

MEYMANDI CONCERT HALL: North Carolina Symphony: Firebird; 8 p.m.

MOTORCO: The Pinkerton Raid, Time Sawyer, Charity Lane; $7–$10.

8 p.m.

THE PINHOOK:

Windhand [$15/8 P.M.]

Trafficking in riffs big enough to be given their own zip code and dirty enough to precipitate an entire line of cleaning products. Richmond, Virginia’s Windhand has been doling out a larger-than-life blend of doom metal and stoner metal for several years now.

At this point, they’ve earned too much attention to truly be considered underground, but with a dark, brooding vibe like theirs, Windhand will always appeal to those who abjure the mainstream. Genocide Pact and Solar Halos open.

—Jim Allen POUR HOUSE: CBDB, Raptor Taxi; $10-12. 9 p.m.

RHYTHMS LIVE MUSIC HALL: Larry Carlton; $45. 8 p.m.

Amen Dunes stop at Motorco on Sunday.

PHOTO COURTESY OF PITCH PERFECT PR

THE KRAKEN: Baffle, Rollin’ Dynamite; 8 p.m.

LINCOLN THEATRE:

American Aquarium [$30/9 P.M.]

Since its 2017 lineup overhaul, American Aquarium has rounded back into form as a well-oiled, muscular altcountry outfit, now with a strong Texas twang backing BJ Barham’s blue-collar, melancholic tunes. At last fall’s hometown hurricane show, the band sounded hungrier than it has in years. Friday also features Brent Cobb, who lends his down-to-earth songwriting to Nashville stars along with his own easy-going roots rock, with Courtney Marie Andrews’s slow-burning, softly-accented folk. On Saturday, SUSTO takes trips born from psychedelic indie rock and cosmic Americana, while Paul Cauthen’s weathered, imposing pipes power primal country.

—Spencer Griffith

THE RITZ:

Greensky Bluegrass [$25/8 P.M.]

LOCAL 506:

Grails

[$15/9 P.M.] Before the term became a catch-all for twinkling, crescendo-dependent instrumental rock music, post-rock was defined by synthesis. Its first practitioners (e.g., Talk Talk, Tortoise) brought together a host of influences to expand rock music’s dividing lines— particularly the pulses of jazz, krautrock, and dub reggae, and the fractal melodies of minimalism. On 2017’s Chalice Hymnal, Grails continues that tradition, burrowing its dark dirges deep into widescreen psych, library music, and Western film scores, hinting at the thrilling possibilities of teasing at the boundaries of instrument and genre. As if to reinforce the point, openers Helen Money and Nathan Bowles do the same with their instruments—the cello and banjo, respectively—opening new sonic worlds through expanded techniques and effects pedals. —Patrick Wall

Though rooted in traditional instrumentation, Michigan quintet Greensky Bluegrass is truly a jammy rock band, as evidenced by both the flashy picking on their electricinfused studio albums and their tendency to cover an electric array of artists—from Pink Floyd and Prince to John Hartford and Bill Monroe—in live settings. Cris Jacobs Band opens with soulful, bluesy southern rock.

—Spencer Griffith

1/24

RECENTLY ANNOUNCED: WED 29 8:00 PM, WED JUN JUN 29 @ @THE 8:00 PM, $12/$15 $12/$15 MONO, MARK FARINA, MURLOCS THU 1/24 The Monti StorySLAM: The Internet SO LD OUT FRI 1/25 THE PINKERTON RAID Time Sawyer / Charity w/ POISON ANTHEM Lane w/ POISONBACCHUS ANTHEM& THE LUCKIEST GIRLS RICHARD SAT 1/26 ALEX CAMERON & ROY& THE MOLLOY: SAT 1/26 RICHARD BACCHUS LUCKIESTTAKE GIRLS OF BUSINESS duo tour with FRI 7/1CARE LOOK HOMEWARD / THEAMIDATLANTIC ALEX FRI 7/1 LOOK HOMEWARD / THE MIDATLANTICCAMERON Holiday Sidewinder TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE

RICHIE RICHIE RAMONE RAMONE

1/27 2/1 2/8 2/10 3/1 3/2

& ROY MOLLOY

TUE 7/5 Crank It Loud: NOTHING / CULTURE ABUSE WAILIN STORMS / HUNDREDFTFACES w/ Holiday Sidewinder WAILIN STORMS / HUNDREDFTFACES Plus Cannonballz Spinning FRI 7/8 SolKitchenIn&The The Art ofDirectly Cool Project: GarageBar After The Show FRI 7/8 SolKitchen & The Art of Cool Project: The ArtDUNES of Noise #Durham SUN 1/27 AMEN / Arthur The Art of Noise #Durham MON 7/11 Regulator Bookstore presents MON 7/11 Regulator Bookstore presents HEATHER HAVRILESKY: Ask Polly Live HEATHER HAVRILESKY: Ask Polly Live TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS TUE 7/12 DANNY SCHMIDT / REBECCA NEWTON with WES COLLINS THU 7/14 Storymakers: Durham, Community Listening Event THU 7/14 Storymakers: Durham, Community Listening Event SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SAT 7/16 PINKERTON RAID / ST. ANTHONY & THE MYSTERY TRAIN SUNSUN JUL 1/27 17 SUN JUL 17 @ 8:00 PM THE RAGBIRDS @ 8:00 PM THE RAGBIRDS $12/$15 $12/$15

AMEN DUNES w/Arthur

TUE 1/29

Museum of Life & Science Presents TINKERING & DRINKERING THE STEEL WHEELS

THE THE RAGBIRDS RAGBIRDS

WED 1/30

MON 7/18 MAIL THE HORSE MON 7/18 MAIL THE HORSE

FRI JUL WED 1/30 22 FRI JUL 22 FRI JUL 22

@ 8:00 PMJOHN COWAN @ 8:00 STEEL PM THE WHEELS W/ HONEY MAGPIE $25/$30 JOHN COWAN $25/$30

Plus Post Show DJ Set By Brian Burns Spinning In Garage Bar Directly After The Show

JOHN JOHN COWAN COWAN Cat’s Cradle&Presents w/ DARIN BROOKE ALDRIDGE SO LD OUT w/LUCY DARIN & /BROOKE ALDRIDGE DACUS Illumanati Hotties

FRI 2/1

S D R I B G A R E TH WED SAT 2/67/23JUSTIN Girls Rock Showcase NOZUKA / Craig

Cardiff

SAT 7/23 Girls Rock Showcase Sweet Comedy Spot - Durham: TUE 7/26TheMotorco Night: TUE 7/26Level Motorco Night: UpWOODHULL - Comedy Valentine Edition ANDY / ADAM COHEN ANDY WOODHULL / ADAM COHEN FRI 2/8 H.C. McENTIRE / Blue Cactus opMatt er s -P FRI 2/97/29 YOUNG BULL Album Release Show er s el er s" SAT tr avRelease -P op Ma tt FRI 7/29Metal YOUNG Album s"Show tic tisMayhem arBULL e Pole tr av el er mm at tic DUB w/ ALIX AFFtis / DURTY "C on su e ar at mm w/ ALIX AFF / DURTY DUB su TUE 2/12 on "C Cat’s Cradle and Motorco Presents THU 2/7

SUN JUL17 COMING SOON: JULIETTE YARN,Nicely JARED & THECat’s MILL, JOHN MAUSLEWIS, / Nick SUN JUL17 COMING SOON: JULIETTE LEWIS, YARN, JARED &(at THE MILL, Cradle) HAL KETCHUM, NRBQ, LIZ VICE, WINDHAND, Doors: 7pm HAL KETCHUM, NRBQ, LIZ VICE, WINDHAND, Doors: 7pm COMING SOON:&Deerhoof, Lee “Scratch” Mike Doughty, CODY CANADA THE DEPARTED, RUSSIANPerry, CIRCLES, BAND OFNobigdyl, SKULLS, Show: 8pm CODYMontbleau, CANADA THE DEPARTED, RUSSIAN CIRCLES, BAND SKULLS, Ryan Bartok, Brother Ali, Smallpools, Alice OF Phoebe Lou, Show: 8pm&Bella’s SISTER SPARROW & THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM Southern Culture on the Skids, Jared & the Mill, All Them Witches, SISTER SPARROW & THE DIRTY BIRDS, KING, $12 ADV 723 RIGSBEE AVE DURHAM, NC MOTORCOMUSIC.COM DOYLE LAWSON & QUICKSILVER, THE RECORD COMPANY, ADRIAN LEGG, Strand Of Oaks, Girlpool, Xiu Xiu, Tim Heidecker & Gregg Turkington, $15 DAY OF DOYLE LAWSON & QUICKSILVER, THE RECORD COMPANY, ADRIAN LEGG, $15 DAY OF Flotsam Cavetown, SonataKARLA ArticaBONOFF,W! REBIRTH BRASS BAND,andMYJetsam, BRIGHTEST DIAMOND, O REBIRTH BRASS BAND, MY BRIGHTEST DIAMOND, KARLA BONOFF, N LE B A IL NOW! A TALIB KWELI, LOUDON WAINWRIGHT III V Also co-presenting at Cat’s Cradle: LE A B M A U IL A LB TALIB KWELI, LOUDON WAINWRIGHT III V A H" A W T E M R U N A E LB H Japanese Ex Hex and Eternal Summers (on A E TH" H T R5th) NEWBreakfast, & EAMay H LD E O H H T S E & R H T OLD HE "T THRE E RIGSBEE AVES-HDURHAM, NC - MOTORCOMUSIC.COM "TH723 The Threshold & The Hearth THE RAGBIRDS

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The Threshold & The Hearth THE RAGBIRDS

W W .T H AGBIRD W W W W .T H E R

SCHOOLKIDS RECORDS (RALEIGH): Moniker, Poor Pie; 7 p.m.

POPUP BROADWAY (HAMILTON) LUNA’S MAGIC FLUTE

PERFORMANCES IN BOTH ENGLISH AND SPANISH

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SLIM’S: Magician’s Hand Practice, Parallel Pool, The Born Agains; $5.

9 p.m.

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CAT’S CRADLE (BACK ROOM): JULIA., People of Earth, The Phacts; $5. 8 p.m.

THE CAVE: Natural Born Leaders; 9 p.m.

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years, takes seriously. Their goal isn’t just to share their music and cultural heritage, but also a message of peace.

The men’s choir sings and dances in a traditional Zulu style that’s both soothing and invigorating, with bright, clear voices and rich harmonies. It’s music that provided comfort and joy during the Apartheid era—things that are still vital today. —Elizabeth Szypulski CAT’S CRADLE (BACK ROOM): Pinky Doodle Poodle, Henbrain; $7–$8. 8 p.m.

DUKE’S BALDWIN AUDITORIUM: Jonathan Bagg & Emely Phelps; 4 p.m.

NEPTUNES:

Resonancy: Thom Nguyen, Speed Stick [$10/8:30 P.M.]

Grails stop at Local 506 on Friday.

DUKE’S BALDWIN AUDITORIUM: Caroline Stinson & Molly Morkoski; 8 p.m.

DUKE’S NELSON MUSIC ROOM: Duke University String School Faculty Recital; 4 p.m.

FLETCHER OPERA THEATER:

Phil Wiggins Blues House Party [$26–$34/7:30 P.M.]

The Piedmont blues style, sometimes known as country blues, was defined by the work of legends like Reverend Gary Davis and Blind Willie McTell in the twenties and thirties. But when singer and harmonica player Phil Wiggins and his band bring the music back to life, it’s like it never went away. And when dancer Junious Brickhouse joins in to add the terpsichorean tradition associated with the music, it takes the experience to a whole other level.

—Jim Allen THE KRAKEN: Armand Lenchek & Bluesology; 8 p.m.

LINCOLN THEATRE: American Aquarium, Susto, Paul Cauthen; $30.

8 p.m.

LOCAL 506: The Affectionates, Candy Coffins, Weird God; $7-10. 9 p.m.

THE MAYWOOD: Deathcrown, Malediction, Flood the Asylum, Origin of Disease; $10. 9 p.m.

MEYMANDI CONCERT HALL: North Carolina Symphony: Firebird; 8 p.m.

36 | 1.23.19 | INDYweek.com

PHOTO COURTESY OF GROUND CONTROL TOURING

MOTORCO:

Alex Cameron [$15–$18/8 P.M.]

Alex Cameron is a dirtbag, if his musical persona is anything to be believed. Forced Witness, his extremely danceable, synth-stroked second album, is crammed with the character studies of absolute assholes, from the internet lurker on “StudMuffin96” to the slick lonely heart on “Strangers Kiss.” These greasers might get vulnerable in a Springsteenlike burst of choral epiphany, but their ultimate common denominator is a swaggering, dead-end masculinity.

Still—art-sleaze is very fun to dance to. Saxophonist Roy Molloy shares the stage, plus Sidewinder. —Sarah Edwards NIGHTLIGHT: Energy Flash: DJ Devil Girl, Oliver Long, Rob Rousseau; $10. 10 p.m.

explodes with anger at the commoditization of women vis-à-vis Western standards of beauty; “Don’t Touch People” gives the finger to the normalization of rape culture.

Together and separately, the medium and the message are punk as fuck. The Muslims and Severed Fingers open.

—Patrick Wall POUR HOUSE: Zack Mexico, Nest Egg, Jenny Besetzt; $5-10. 9 p.m.

THE RITZ: Slander, Wooli, Wavedash; 6 p.m.

SCHOOLKIDS RECORDS (RALEIGH): The Dapper Conspiracy; 7 p.m.

[$26–$154/7:30 P.M.] In november, Cher—she of such power that she needs but one name—tweeted that, in response to someone asking her if she was too old to be cavorting on stage, she said “I don’t know, why don’t you ask Mick Jagger?” Fair enough.

For decades, Cher has been often unfairly maligned for her success among those who dismiss the power of pop artistry. But her endurance over more than half a century is proof of her prowess—you don’t have to see it to, uh, “Believe” it. —Allison Hussey POUR HOUSE: Hardworker, MKR, Rachel Kiel; $5. 2 p.m.

POUR HOUSE: Jake La Botz, Drunken Prayer; $10–$12. 8 p.m.

MON, JAN 28 KINGS: Daniel Romano; $12–$15.

8 p.m.

LOCAL 506: Tides Of Man, Youth League, Juxton Roy, Glow; $10–$13.

8 p.m.

THE PINHOOK: Daddy Issues, Leggy; $10. 7 p.m.

PNC ARENA: Metallica; 7 p.m.

MOTORCO:

TUE, JAN 29

THE STATION: Magnolia Collective, Mystery Ranch, John Pardue; 9 p.m.

[$15–$17/8 P.M.]

KINGS: The Band Camino, Hardcastle; Sold Out. 8 p.m.

SUN, JAN 27 ARCANA: Allison de Groot & Tatiana Hargreaves; 8 p.m.

[$7/9 P.M.]

THE ARTSCENTER: Luna’s Magic Flute; Spanish: 3 p.m. English: 4:30 p.m.

Fresh Cut, the debut tape from Durham’s Bangzz (which gets released tonight), perfectly sums up what the duo is all about. Its ripping songs buzz and bang, guitarist Erika Libero deploying serrated riffs and drummer Blair Coppage buttressing them with a Stooges-inspired stomp.

But the duo’s femme-punk seethes, too: “Pretty Is a Trap”

PNC ARENA:

Cher

SLIM’S: Palehorse, Richard Bacchus; $5. 9 p.m.

THE PINHOOK:

Bangzz

Asheville percussionist Thom Nguyen, who sits atop the marquee for this installment of Neptunes’ time- and spacebending Resonancy concert series, works with a long list of avant-garde collaborators.

He’s behind the kit for wild Asheville Kraut-psych freak rockers Nest Egg, forms the duo Manas with the guitarist Tashi Dorji, and provides percussion to Sarah Louise and Sally Anne Morgan’s avantfolk duo House and Land. By himself, Nguyen performs instrumental vignettes that explore the temper and timbre of his instrument. Speed Stick, the heavy improv duo of Triangle drummers Laura King (Bat Fangs) and Tom Simpson (Love Language), also plays.

—Patrick Wall

pointed contrast of textures.

The same easygoing sensibility stretches across Freedom: it won’t grab you by the lapels to get your attention, but its inviting charms are abundant when you take the time to lean in. Arthur opens.

—Allison Hussey

Amen Dunes ”Blue Rose,” the second track on Amen Dunes’ 2018 LP, Freedom, is an oddly mellow but upbeat tune. Its groovy bassline and loose rhythm keep it bobbing along, while Damon McMahon’s restrained vocal delivery makes for a

POUR HOUSE: Scott H Biram, Barnyard Stompers; $12-15. 8 p.m.

UNC’S MEMORIAL HALL:

Neko Case

[$19–$39/7:30PM] “God is a lusty tire fire/ Its bristles scrape and

strike the stage/A rockpaper-scissors rage,” sings Neko Case on last year’s Hell-On, her first solo album in five years. Case’s narration is unmistakable, both fragile and brimming with conviction. She often touches on every Southern Gothic trope in a single song, from the chaos of nature to the mysteries of sex and violence and capitalism, the straightjacket of polite society, and the endless inspiration of the Biblical.

—Josephine McRobbie

WED, JAN 30 THE CAVE TAVERN: Ultrafaux, Queen Bee, The Honey Lovers; 9 p.m.

MOTORCO: The Steel Wheels; $15–$18. 8 p.m.

NEPTUNES PARLOUR:

All Monk: Thelonious Monk Tribute [$8/9:30 P.M.]

It’s never not a good time to dive into the music of Thelonious Monk. His songbook is rich and challenging, full of endless zags and unexpected rewards, which can support a huge range of different possible interpretations.

This show brings together an interesting mix of voices who will do just that: saxophonist Chris Boerner (the Hot at Nights), guitarist Scott Sawyer, bassist Casey Toll (Mount Moriah, Skylar Gudasz), and Dan Faust (Zen Poets). —Dan Ruccia NIGHTLIGHT: Governance, Senator Jaiz, Wretched Martyr, Bryce Eiman; $7. 8 p.m.

POUR HOUSE: Andy Frasco &C40, The UN, C21, The Wright Ave; $12-15.

9 p.m.

RHYTHMS LIVE MUSIC HALL: Will Downing & Eric Benét; $75. 8 p.m.

THE RITZ: Trippie Redd; 8 p.m.

CAROLINA THEATRE:

Ladysmith Black Mambazo [$30–$50/8 P.M.]

Nelson Mandela once called Ladysmith Black Mambazo “South Africa’s cultural ambassadors.” It’s a role the ensemble, which has been running for nearly seventy

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

art 1.23–1.30

OPENING

Durham Arts Council, Durham. durhamartguild.org.

The Beautiful Brain: The Drawings of Santiago Ramon y Cajal: Jan 25-Apr 7. Ackland Art Museum, Chapel Hill. ackland.org.

SPECIAL Renzo Ortega: What EVENT I Left and What I Brought: Paintings. Jan 29-Feb 16. Artist talk: Jan 30, 6:30 p.m. Power Plant Gallery, Durham. powerplantgallery.com.

SPECIAL RUPTURE | EVENT RAPTURE | REVOLUTION: Community art show. Jan 25-Feb 9. Reception: Jan 25, 6 p.m. The Carrack Modern Art, Durham. thecarrack.org.

Petere Filene and Barbara Tyroler: Photography. Thru Feb 2. FRANK Gallery, Chapel Hill. frankisart.com.

ONGOING Above the Rim: Works from sixteen international artists about basketball. Thru Feb 3.

CAM Raleigh, Raleigh.

Across County Lines: Contemporary Photography from the Piedmont: Thru Feb 10. Nasher Museum of Art, Durham. nasher.duke.edu.

Marie Arondeau: HagerSmith: Photos. Thru Feb 28. VAE Raleigh, Raleigh. vaeraleigh.org.

SPECIAL bauhaus.photo: EVENT Photos. Thru Feb 15.

Reception: Jan 23, 6 p.m.

NCSU Campus: Brooks Hall Gallery, Raleigh. design.ncsu. edu/bauhaus.

Bert Beirne: Paintings. Thru Feb 12. Gallery C, Raleigh. galleryc.net.

Freeman Beard: A Watercolor World: Watercolors.

Thru Jan 31. Bull City Art & Frame Co, Durham. bullcityartandframecompany. com.

WEDNESDAY, JANUARY 23

BAUHAUS.PHOTO Even if you’ve barely heard of Bauhaus—either Walter Gropius’s early-twentieth-century German school or the design legacy it launched across the world—you’re deeply familiar with its aesthetics. A recent Guardian story commemorating Bauhaus’s one-hundredth anniversary detected its functional, minimalist influence in everything from modern airport signage to Apple’s iPhone and Ikea’s folding chairs. This nationally traveling exhibit of Bauhaus photos launches at N.C. State’s College of Design, noted as one of the first institutions in the U.S. to embrace Bauhaus after World Ward Two. It features one hundred significant works from the seventy thousand housed in the Bauhaus-Archiv in Berlin, showcasing not just the school’s style of photography, but also that of its products and architecture. Classic works by the likes of László Moholy-Nagy are mixed with those of little-known photographers, revealing unexpected facets of a twentieth-century flashpoint. After this reception and lecture by Margret Kentgens-Craig, the exhibit runs through mid-February. —Brian Howe

NCSU COLLEGE OF DESIGN’S BURNS AUDITORIUM, RALEIGH | 6 p.m., free, design.ncsu.edu

The Bauhaus building

PHOTO COURTESY OF BAUHAUS-ARCHIV BERLIN

John Bechtold: BEIRUT: Photos.

Thru Feb 22. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

John Beerman: A Field, A World: Paintings. Thru Feb 3.

Craven Allen Gallery, Durham. cravenallengallery.com.

LAST Julia Caston, Oami CHANCE Powers: Marriage of Opposites: Various media. Thru Jan 26. Artspace, Raleigh. artspacenc.org.

Laura Charlton, Harrison Haynes, Louis Watts: Some Twilight Land: Various media.

Thru Apr 6. Oneoneone, Chapel Hill. oneoneone.gallery.

Scott Eagle: Lost in the Liminal See: Thru Mar 9.

Ian Griffin: Sutured Compositions: Thru Mar 9.

Durham Arts Council, Durham. durhamartguild.org.

Hermes Illana: Hanging at MoMA: Thru Feb 11. Warehouse Artist Studios @ Golden Belt, Durham. durhamartguild.org.

Danielle James: I Fixed It! Thrift Store Neon: Thru Jan 31. The ArtsCenter, Carrboro. artscenterlive.org.

Left-Handed Liberty: Multiple artists. Thru Jun 23. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu.

LAST Beverly McIver: CHANCE Eyes Wide Shut: New Paintings from the American Academy in Rome: Paintings. Thru Jan 26. Craven Allen Gallery, Durham. cravenallengallery.com.

MEGAGRAPHIC: Drawings. Thru Feb 28. Durham Arts Council, Durham. durhamarts.org.

Emily Moorhead-Wallace: Stationary Effort: Interactive sculpture. Thru Feb 1. VAE Raleigh, Raleigh. vaeraleigh.org.

Motion Stills: Thru Jan 31.

Morning Times Gallery, Raleigh. morningtimes-raleigh.com.

No Citation Needed: Jessica Burke, Melinda Fine, Rene Galvan, Denise Holland, Bridget Leslie, and Cara Smelter. Thru Mar 23. VAE Raleigh, Raleigh. vaeraleigh.org.

Odili Donald Odita: Thru Jul 28. Nasher Museum of Art, Durham. nasher.duke.edu.

Portraying Power and Identity: A Global Perspective: Thru Mar 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Vernon Pratt: All The Possibilities of Sixteen: Neverbefore-seen posthumous exhibit. Thru Feb 10. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu.edu. reNautilus: Thru Jul 31. 21c Museum Hotel, Durham.

21cmuseumhotels.com.

Recognition Is a Form of Agreement: Painting, sculpture and video by Corey Escoto, Steve Mykietyn, and Carmen Tiffany. Thru Feb 2. Lump, Raleigh. lumpprojects.org.

SPECIAL Resolutions 2019: EVENT Various media. Thru Jan 31. Reception: Jan 25, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

Barbara Rohde: French Connections: Paintings. Thru Feb 28. Durham Arts Council, Durham. durhamarts.org.

LAST Serving Life: Thru CHANCE Jan 27. Pleiades Gallery, Durham. pleiadesartdurham.com.

Signals: Photos. Thru Feb 28.

Atomic Fern, Durham. japenet.net.

William Paul Thomas: Disrupting Homogeny: Portraits.

Thru July. 21c Museum Hotel, Durham.

Allison Tierney: Glimpse: Mixed media. Thru Feb 7. Durham Arts Council, Durham. durhamarts. org.

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

Artspace, Raleigh. artspacenc.org.

SPECIAL Jan-Ru Wan: The EVENT Noise We Make and the Shadow We Create: Mixed media. Thru Mar 24.

Reception: Jan 25, 6 p.m.

Cary Arts Center, Cary. janruwan.com.

Where We Find Ourselves: The Photographs of Hugh Mangum, 1897-1922: Thru May 19. Nasher Museum of Art, Durham. nasher.duke.edu.

Tom Willis: Journey: Paintings.

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

Dane Winkler: Brain Janitor: Interactive installations and large-scale sculptures. Thru Feb 2. Artspace, Raleigh. artspacenc.org.

Linda Yankowsky: Soft Collision: Mixed media. Thru Jan 31. The ArtsCenter, Carrboro. artscenterlive.org.

LAST Yousuf Zafar: CHANCE Congregation: Photos. Thru Jan 27. Horace Williams House, Chapel Hill. preservationchapelhill.org.

Aaron Zalonis: God, Lucifer, and Their Neighbor: Paintings.

Thru Feb 2. Lump, Raleigh. lumpprojects.org.

Arnold Zann & Margo Taussig Pinkerton: New Orleans: Photos. Thru Feb 9.

Through This Lens, Durham. throughthislens.com.

INDYweek.com | 1.23.19 | 37

page WEDNESDAY, JANUARY 30

DAVID MENCONI

Longtime News & Observer music critic and Ryan Adams chronicler David Menconi recently added a new leaf to his laurels when he was appointed 2019 Piedmont Laureate, a role previously held predominantly by novelists such as Nancy Peacock and Katy Munger (and hey, Menconi did publish that rock novel back in 2000). At this Quail Ridge Books appearance, Menconi will discuss his plans for the role, which have a special music-focused branding, “Come Hear North Carolina.” Menconi will also preview his next book, a musical history of our state slated for publication in 2020

by UNC Press, expanding his focus after 2012’s Ryan Adams: Losering, A Story of Whiskeytown. —Brian Howe

QUAIL RIDGE BOOKS, RALEIGH 7 p.m., free, www.quailridgebooks.com

1.27

Mary Davila - ‘Grandpa’s Tent’ 2pm

1.29

Barbara Bennett ’Smoke Signals from Samarcand: The 1931 Reform School Fire and Its Aftermath’ 7pm

1.30

A Night with 2019 Piedmont Laureate, David Menconi 7pm

1.31

Robert W. Turner II - ‘Not for Long: The Life and Career of the NFL Athlete’ 7pm

2.2

Ian Rankin - ‘In A House of Lies’ (Reserved Seating Available) 3pm

UPCOMING: North Carolina Book Festival, February 21-24.

Visit www.ncbookfestival.com for more info www.quailridgebooks.com • 919.828.1588 • North Hills 4209-100 Lassiter Mill Road, Raleigh, NC 27609 CHECK OUT OUR NEW PODCAST: BOOKIN’ w/Jason Jefferies

INDYWEEK.COM

Your week.

Every Wednesday.

38 | 1.23.19 | INDYweek.com

READINGS & SIGNINGS

Tue, Jan 29, 5 p.m. Franklin Humanities Institute, Durham. fhi.duke.edu.

Barbara Bennett: Smoke Signals from Samarcand: The 1931 Reform School Fire and Its Aftermath. Tue, Jan 29, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

North Carolina Poetry Society Reading: With Joan Barasokova, Sam Witt, and Tom Dow. Sun, Jan 27, 2 p.m. McIntyre’s Books, Pittsboro. fearrington.com.

Mary Davila: Christian children’s book Grandpa’s Tent. Sun, Jan 27, 2 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Barbara J. Risman: Where the Millennials Will Take Us: A New Generation Wrestles with the Gender Structure. Sat, Jan 26, 11 a.m. McIntyre’s Books, Pittsboro. fearrington.com.

Martin Luther King, Jr. Keynote Lecture and Awards Ceremony: With Ben Jealous, former NAACP president and CEO. Tickets required. Thu, Jan 24, 7 p.m. UNC Campus: Memorial Hall, Chapel Hill. diversity.unc. edu.

Deondra Rose: In conversation with Durham mayor Steve Schewel discussing Citizens

By Degree: Higher Education Policy and the Changing Gender Dynamics of American Citizenship. Tue, Jan 29, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Ruby Fridays: Community as Creator: Contrasting Experiences, New Sounds: Bassist Hilliard Greene in conversation with violist Stephanie Griffin. Fri, Jan 25, noon. Ruby Lounge at Rubenstein Arts Center, Durham. artscenter.duke.edu.

LECTURES ETC.

Tell About the South: Robert G. Williams on 3-D Genealogy: Light refreshments. Fri, Jan 25, noon. Center for the Study of the American South, Chapel Hill. south.unc.edu.

Frank Hyman: Hentopia: Create a Hassle-Free Habitat for Happy Chickens; 21 Innovative Projects. Thu, Jan 24, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Kristyn Kusek Lewis: In conversation with Barbara Claypole White on Half of What You Hear. Wed, Jan 30, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

David Menconi PHOTO COURTESY OF QUAIL RIDGE BOOKS

RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE RECYCLE

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David Morgan: Rescheduled from October. Faculty panel on Morgan’s Images at Work: The Material Culture of Enchantment.

Reception and signing to follow.

2019 Piedmont Laureate David Menconi: Wed, Jan 30, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Exploring Shamanism: Panel discussion with Mara Bishop, Amelia Vogler and Riverdave Owen. Fri, Jan 25, 7 p.m. The Episcopal Center at Duke, Durham. rhine.org.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t e d Di vo rc e Bu s i n e s s L a w UNCONTESTED In c o r p o r a t i o n / L LC / DIVORCE Pa r t n e r s h i p MUSIC BUSINESS LAW Wi l l s INCORPORATION/LLC WILLS C o l l e c t i o n s SEPARATION AGREEMENTS Mu s i c

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stage OPENING

ONGOING

American Ballet Theatre: Work-in-Progress: Sun, Jan 27, 3 p.m. Rubenstein Arts Center at Duke University, Durham. dukeperformances.duke.edu.

The Comedy in a Cave Comedy Show: With local comics, trivia, and prizes.

Thu, Jan 24, 7 p.m.

The Cave Tavern, Chapel Hill. caverntavern.com.

Ashe in Johannesburg: World premiere. $5-25. Jan 24-Feb 10. Burning Coal Theatre at the Murphey School, Raleigh. burningcoal.org.

The Herd: $15-20. Jan 25-Feb 10. North Raleigh Arts & Creative Theatre, Raleigh. honestpinttheatre.org.

Jump: Jan 23-Feb 10.

PlayMakers Repertory Company, Chapel Hill. playmakersrep.org.

The Monti StorySLAM: The Internet: Stories told around a theme. $12. Thu, Jan 24, 7 p.m. Motorco Music Hall, Durham. motorcomusic.com.

Peter Pan Jr.: Jan 25-27.

Sonorous Road Theatre, Raleigh. sonorousroad.com.

Russell Peters: Comedy.

Wed, Jan 30, 8 p.m.

Durham Performing Arts Center, Durham. dpacnc.com.

Ridin wit’ Joe Crack: Play. Sat, Jan 26, 8 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Songs for Drella: Song cycle about Andy Warhol. $10. Sat, Jan 26, 8 p.m.

Living Arts Collective, Durham. littlegreenpig.com.

The Talk: One-man show.

Jan 24-Feb 10. Durham Fruit Company, Durham. bulldogdurham.org.

 Measure for Measure: Reviewed at indyweek.com. $15-25.

Thru Jan 27. Raleigh Little Theatre, Raleigh. raleighlittletheatre.org.

Mettlesome: Golden Age: Comedy. $5. Wed, Jan 23, 8 p.m. The Pinhook, Durham. thisismettlesome.com.

Miss Saigon: Thru Jan 27.

Durham Performing Arts Center, Durham. dpacnc.com.

Six Pack Standup Show: Comedy. $5. Wed, Jan 23, 7 p.m. North Street Beer Station, Raleigh. northstreetbeerstation.com.

N

W

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

Susannah Hough in The Herd PHOTO COURTESY OF HONEST PINT FRIDAY, JANUARY 25–SUNDAY, FEBRUARY 10

THE HERD

It’s hard to host a birthday party, particularly if you’re a bit high-strung to start with, and you’re additionally stressing because the manager at your son’s advanced-care facility is so supremely passive-aggressive that he may or may not arrive with all his meds. And because your sweet, judgmental parents need even more help sitting, standing, and negotiating your bathroom than they used to. And because your daughter has invited an extra guest for lunch on a day when the house doesn’t need one more body in it, and—look! In the doorway! It’s your uninvited ex, whom guilt has finally compelled to appear after abandoning you all those years before. You can’t kill him just now, though, because the lasagna that your son can’t taste but everyone else will love is ready, and you have to grab the phone and hang it up, because one more unforeseen development will Be. The. End. Of. You. Honest Pint Theatre Company founder David Henderson directs Susannah Hough and a top-flight quintet in Rory Kinnear’s frenetic, kinetic dark comedy about a family that might just need to fly apart in order to come together. —Byron Woods

NORTH RALEIGH ARTS AND CREATIVE THEATRE, RALEIGH 8 p.m. Fri. & Sat./3 p.m. Sun., $15–$20, www.honestpinttheatre.org INDYweek.com | 1.23.19 | 39

screen SPECIAL SHOWINGS

Misery: Tue, Jan 29, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Baby Face: $7. Wed, Jan 30, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Naked Lunch: Wed, Jan 30, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh.

Blade Runner: The Final Cut and The Quiet Earth: $10. Fri, Jan 25, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Out of Sight: Wed, Jan 23, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Clockwork Orange: Wed, Jan 23, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh.

Requiem for a Dream: Wed, Jan 30, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Dave: $5-7. Fri, Jan 25, 8 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

Shirkers: Sun, Jan 27, 2 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Drive: Mon, Jan 28, 7 p.m. Schoolkids Records (Raleigh), Raleigh. schoolkidsrecords.com.

The Talented Mr. Ripley: Sat, Jan 26, noon. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Free Solo: Tue, Jan 29, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Torso: $7. Wed, Jan 23, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Goodfellas: Mon, Jan 28, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/ raleigh.

The Killing of a Chinese Bookie: Mon, Jan 28, 7 p.m.

Rubenstein Arts Center - Film Theater, Durham. ami.duke.edu.

Like Water for Chocolate: Sun, Jan 27, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

Milford Graves Full Mantis: Free. Fri, Jan 25, 8 p.m.

Duke Coffeehouse, Durham. dukecoffeehouse.org.

Minding the Gap: Sat, Jan 26, 2 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Tree of Life: Thu, Jan 24, 7 p.m. Rubenstein Arts Center - Film Theater, Durham. ami.duke.edu.

Undertaker and His Pals: Thu, Jan 24, 8 p.m. Kings, Raleigh. kingsraleigh.com.

OPENING

The Kid Who Would Be King— This fantasy film is a modernkid take on the legend of King Arthur and Excalibur. Rated PG. Serenity—Matthew McConaughey and Anne Hathaway star in this neo-noir about a boat captain plotting with his ex-wife. Rated R.  Stan & Ollie— Reviewed on p. 30. Rated PG.

SUBMIT!

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Submit the details at: https://indyweek.com/submit#cals

DEADLINE:

5 p.m. each Wednesday for the following Wednesday’s issue.

40 | 1.23.19 | INDYweek.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.

½ Aquaman—This ludicrous DC Comics film runs on seawater and flop sweat. Rated PG-13. 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.  Destroyer—Karyn Kusama’s bleak, bludgeoning cop drama features Nicole Kidman in a mode we’ve never seen. Rated R.  The Favourite— Yorgos Lanthimos (The Lobster) infuses this lurid period melodrama with his unmistakable sensibility of cruelty and absurdity.

Rated R. ½ Glass—In the conclusion of Shyamalan’s sort-of superhero trilogy, the big reveal is that there was never much to reveal at all.

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.  Mary Poppins Returns—While charming, the new version of the beloved Disney film apes the original so much that it’s hard to see the point.

Rated PG. ½ Shoplifters— What makes a family?

That’s the wrenching question Hirokazu Kore-eda asks in his latest film.

Rated R. ½ Spider-Man: Into the Spider Verse—Not only is it a good SpiderMan story, this animated film introduces welcome diversity to the tale of Peter Parker. Rated PG.  Vice—Christian Bale’s mimicry is the best thing in this cynical, shallow film about lizard-hearted former Vice President Dick Cheney.

Rated R.

Shirkers PHOTO COURTESY OF NETFLIX SUNDAY, JANUARY 27

SHIRKERS

Created by zinester teens Sandi Tan, Jasmine Ng, and Sophie Siddique, along with the much older Georges Cardona, the 1992 film Shirkers was to be a road-trip adventure filled with kooky characters and striking locales, a fever-dream time-capsule of pre-boom Singapore that could credibly be called a premonition of auteurs like Wes Anderson and a sibling of early Gregg Araki. But the film never made it past the editing booth. In a fit of creative jealousy, Cardona made off with the 16mm reels and held them hostage for many excruciating years. Directed by Tan with an unflinching eye, this Sundance-blessed 2018 documentary reflects on the fallout of the betrayal. The narrative around “greatest movies never made,” such as Herzog’s The Conquest of Mexico and Jodorowsky’s Dune, is one of visionary artists versus the bureaucratic studio system, broken relationships, and the outsize egos of mostly male creators. Shirkers adds a new perspective to this canon, one that is still complicated by gender, money, access, and power. —Josephine McRobbie

ALAMO DRAFTHOUSE, RALEIGH 2 p.m., $8, www.drafthouse.com/raleigh

food & drink

Brats & Brews: A portion of proceeds benefit the Food Bank of Central & Eastern NC. Sat, Jan 26, 2 p.m. Eastcut Sandwich Bar, Durham. eastcutsandwich.com.

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

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

Taste of Tobacco Road Cookoff: Local amateur chefs judged by celebrity chefs and event attendees.

$30-$35. Sun, Jan 27, 1 p.m.

Barrel Culture Brewing and Blending, Durham. tasteoftobaccoroad.com.

Winter Luau: Family-style luau dinner. $48.

Reservations required.

Sat, Jan 26, 6 p.m.

The Durham Hotel, Durham. thedurham.com.

indy classifieds misc.

employment AIRLINES ARE HIRING

Get FAA approved hands on Aviation training. Financial aid for qualified students Career placement assistance.

CALL Aviation Institute of Maintenance 866-441-6890

FTCC: BARBER & MATHEMATICS INSTRUCTORS NEEDED Fayetteville Technical Community College is now accepting applications for the following positions: Barber Instructor & Mathematics Instructor (10-month Contract) For detailed information and to apply, please visit our employment portal at: https:// faytechcc.peopleadmin. com/ Human Resources Office Phone: (910) 678-7342 Internet:http://www.faytechcc. edu An Equal Opportunity Employer

HEALTHCARE CAREER TRAINING ONLINE Start a New Career in Medical Billing & Coding. Medical Administrative Assistant. To learn more, call Ultimate Medical Academy. 877-6259048 (AAN CAN)

LEAD PRESCHOOL/ KINDERGARTEN TEACHER NEEDED Maracas Montessori LLC in Raleigh seeks Lead Preschool/Kindergarten Teacher for full immersion Spanish program. Requires Bachelor’s in Education or foreign equivalent. Must have 2 years experience in Teaching full immersion Spanish language Preschool and/or Kindergarten. Must be 100% fluent in written, spoken Spanish. Negative TB test; Medical Report; Criminal Record Background Check as required by NC DCDEE. Applicants send resume to contact@maracas-montessori. com, reference: Lead Preschool/Kindergarten Teacher.

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INDYweek.com | 1.23.19 | 41

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.

8

4 6 5 7 1 7 8 7 1 7 2 4 2 4 66 9 1

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this week’s puzzle level:# 21

MEDIUM

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MEDIUM

# 22

© 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.

2

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MEDIUM

# 55

MEDIUM # 53

9 6 1 8 3 7 4 2 5

8 5 2 6 1 4 3 9 7

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MEDIUM

7 9 3 4 5 1 8 6 2

6 8 5 3 7 2 9 4 1

5 7 6 1 4 3 2 8 9

2 1 9 7 8 6 5 3 4

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www.sudoku.com 9 4 6 5 3 1 7 2 8 3 8 7 2 9 4 6 5 1 | INDYweek.com 42 | 1.23.19 2 5 1 7 6 8 9 4 3 4 1 9 6 8 2 5 3 7 8 6 5 3 7 9 4 1 2 7 2 3 1 4 5 8 9 6

1 4 7 5 9 2 6 3 8 If you just5 can’t 3 8 4 wait, 1 6 9check 2 7 out the current 2 6 9week’s 3 8 7 answer 4 5 1 4 2 1 9 5 8 3 7 6 key at www.indyweek.com, 9 5 6 1 pages.”

7 3 2 8 4 and click “puzzle “Puzzle Pages.”

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

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

1.23.19 5 2 8 4 6 1

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# 22

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solution to last week’s puzzle

# 21

8 7 9 2 8 1 7 2 4 1 7 8 9 33 6 3 4 9 7 5 5 2 9 3 5 2 1 36 9 7 2 6 9 7 3 5 1 9

7 3 48 5 1 5 76 9 9 34 7 8 24 3 5 3 6 8 6 2 5 3 6 2 7 8 7 5

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INDYweek.com | 1.23.19 | 43

NUDE DOWN AT 7

Men’s naked supper club, Triangle, NC http://www.meetup.com/Triangle-Men-s-Naked-Supperclub

DANCE CLASSES IN LINDY HOP, SWING, BLUES

At Carrboro ArtsCenter. Private lessons available.

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

$474 FURNISHED, NORTH RALEIGH OFFICE SUITES FOR RENT

Conference room, Wi-Fi, flexible lease options (utilities included). Visit OfficeOurs.com or call 919-999-8931

BUSINESS EXPANSION (GUARANTEED) WWW.EASILYCREATIVE.COM

YOUR PERFECT ESCAPE AWAITS

Upscale Japanese Spa. Private Outdoor Salt Tubs, 26 massage therapists, overnight accommodations, hot cedar sauna and more. Starting at $45.

Shojiretreats.com 828-299-0999

SMOKY MOUNTAIN WHISKEY CRACKERS®

available at: Saxapahaw General Store, Southern Season, Special Treatsl

INDEPENDENT JEWELRY APPRAISER Graduate Gemologist 919-260-3686 www.ncjewelryappraiser.com

LEARN TAI CHI IN 2019!

Improve balance, flexibility, strength.

New classes start in January and February throughout the Triangle.

Visit www.taoisttaichi.org for details.

SINGING, SPEAKING AND COMMUNICATION TRAINING WWW.LAURECEWESTSTUDIOS.COM

WANT A 20X24 INCH FRAMED PORTRAIT OF YOUR PET? Acrylic portraits from cell phone photos.

Three-week delivery schedule. Gift certificates possible. contact@artbyminhvu.com 919-995-3213

HISTORY TRIVIA: * John Louis Taylor, the first NC Supreme Court Chief Justice, died in Raleigh on January 29, 1829. He was buried in the historic Oakwood Cemetery. * January 25, 1930, was the last day of streetcar service in Durham. Electric streetcar was the predominant form of transportation in Durham in the early 20th century, the Lakewood amusement park being a popular destination at the end of the line.

Courtesy of the Museum of Durham History

CECI N’EST PAS UNE PUBLICITÉ!

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Durham’s Leading Art Supply Store & Classes Formerly known as HappymessART artpostnc.com 718 Iredell St. 919.286.9763

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