INDY Week 1.30.19

RALEIGH 1|30|19

THE CABIN IN THE WOODS For nearly forty years, Duke hosted a beloved summer camp for kids with serious illnesses.

A new lawsuit accuses the university of covering up the disturbing incident that abruptly shut it down.

BY JEFFREY C. BILLMAN, P. 11

NOT ENOUGH HOUSING, P. 9

LADY BOSS, P. 10

JOOKIN AND POPPING, P. 22

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2 | 1.30.19 | INDYweek.com

WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 36, NO. 5

DEPARTMENTS

6 African Americans comprise 37 percent of Durham County’s population but received just 20 percent of its home-mortgage funding.

6 News 14 Food

8 Durham awarded Allied Universal a $2.7 million contract, then learned about its history.

16 Music 20 Arts & Culture

9 Just to maintain its current affordable housing gap, Wake County needs to add nearly six thousand units a year.

24 What to Do This Week 26 Music Calendar

11 On July 20, 2017, the chairwoman of Duke’s pediatrics department sent an email to “Camp Kaleidoscope Families” asking “that you refrain from posting any information about the Camp on social media or in communications to parents or other individuals or groups.”

29 Arts & Culture Calendar

14 The space, service, and menus at Heirloom Brewshop reflect its owners’ shared Taiwanese, Japanese, and Laotian heritage.

16 Witnessing The Movement for Black Lives from the perspective of a fifty-something African-American parent inspired Ron Miles to make his newest record, I Am a Man. 22 Though they come from different regional street-dance traditions, Lil Buck and Jon Boogz converge in the fervent belief that dance can change the world.

Pastries and a latte at Heirloom Brewshop (p. 14) PHOTO BY RICHARD BARLOW

l a u l n a n u A n t n s A 1 t s s ’ 1 k s e ’ e k W e e Y W D N Y IIND

y r o t c e r i D t n e & v E & l a v i t s 9 1 0 Fe 9 1 2 0 , 2 7 2 , 7 h 2 c M aarr c h M

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We want to know your love story!

The Kruger Brothers

The Seldom Scene

Friday October 10th at 8:00PM Community Church of Chapel Hill 106 Purefoy Road, Chapel hill NC 27514 Advance Sale $20 at www.communitychurchconcerts.org

Tell us how you met, how you knew you were in love, a romantic episode, sacrifices made or a humorous ditty.

SATURDAY, An evening Jens, Uwe and Joel is always a special FEBRUARY 9,with 2019, 8 PM musical experience.

Community Church of Chapel Hill UU 106 Purefoy Road, Chapel “I used to think the bHill, anjo NC, was 27514 somewhat limited to certain styles, 919-942-2050 un8l I heard Jens Kruger. Jens has played some of the most beau8ful and expressive banjo I’ve ever heard.“ www.communitychurchconcerts.org –Ron Block Krauss and $25 Union $35 Tickets:Alison In Advance: • SAttaTon Door:

Newly in love? Many years together?

Gay? Straight?

We want to hear your story!

We’ll pick the top entries to appear in the February 13th edition.

Send to love@indyweek.com Deadline is Feb. 5th. Stories must be 250 words or less.

Include how you would like your name(s) to appear and the city/town where you live.

Feel free to include a photo; including date taken.

Photos will be published on a space available basis.

Raleigh Durham | Chapel Hill PUBLISHER EDITORIAL

Susan Harper

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ll

backtalk

Men Explain Things to Us

Men have thoughts about things this week!

Let’s begin with Ron Tanciar of Wake Forest, who begins by saying the chat-line Howe and gentlemen’s club ads in the back of s this newspaper make us hypocrites, then takes a fun detour into how NFL shouldn’t let women be announcers. We’re going to publish this one exactly as it came in: “Your tabloid newspaper is so liberal why would n, Cruz, you allow the exploitation of women in your newspaper? (see attached ad’s I cut out of iffith, your paper) It’s discussing!

“To see and hear all the liberal proorris, gressive women complain about equality, woman power, we are better than men, we are more then sex objects & ETC. ah Kiser, and then I pick-up your newspaper only to see how women are selling their bodies at these so called Men’s Club is just unconscionable. ms “Then we have women who come out 25, 30 or 40 years later to complaint about some sexual attack or encounter they had art with some man. If you noticed, most of the Nair, men have money $$$. mmons, “The liberal progressive woman can NOT have it both ways. Prancing around nude and then they wonder why men want a sexual encounter with them. Please! m Cordray, “For me, you tell all the damn secular liberal progressive women to go suck eggs. I’m nchard sick of listening to their crap. Please, I have to listen to women who interview NFL football players. Hell, it’s a man’s sport and 200 I want to listen to a manly man interview a NFL football player.

“Woman power my ass. Amen.”

Elsewhere on the dude front this week, Allison Hussey first broke the news that k.com Louis C.K.—who we learned in 2017 was eek.com 1972 a serial sexual harasser—was bringing his comeback effort to a brand-new club in Raleigh, then went to see his show and found it exceedingly boring. Men had feelings about that!

Take Kyle, who seems nice: “To put it nicely, stand-up comedy isn’t meant for you. These are the kinds of articles that hurt your credibility. You don’t like him.

You could’ve illustrated that with much less. You played too many cards. It comes off as an emotion-fueled temper tantrum begging for support. Put your torch down.

Take a deep breath. And go fuck yourself.”

“Also you’re turning straight men into this weird 3rd gender.”

Or Brian: “Louis C.K. isn’t ‘being forgotten,’ which is what motivated this obnoxiously obvious and crude attempt to smear him. His fans are clamoring to find him wherever they can, despite weird, selfimportant virtue-signaling pseudo-heroes like the author of this amateurish hit piece.

Exactly how INDY Week can justify hiring useless slime to jump on the ‘Smear Louis C.K.’ dogpile in a desperate and crude attempt to pass it off as ‘journalism’ should shock more of its readership than it is.”

Or Rocco: “Could the author be any more holier than thou? This was seriously the worst thing I’ve read in years, and I read college applications for a science school.

The best part is that she paid to go see a comedian she hates just so she could write it, even though she clearly didn’t need to go to the show to write such boring, predictable drivel. We get it. You’re better than Louie C.K. You’re better than everyone else who went to his show, and you’re better than us. Sounds like you listen to way better music than all of us too. Was that album specifically intended for people with no sense of humor whose favorite pastime is virtue-signaling? Seriously, get a life.”

Ric, meanwhile, believes that feminism is “an injustice to actual victims of sexual abuse.” Again, everything sic: “When you cry assault at even the thought of a guy asking permission to masterbate in from of a woman and then not doing it when not given permission—you do a huge injustice to women and girls that have actually been assaulted by monsters. Feminism used to be a good cause (and true feminism still is) but unreasonable extremists like you have perverted the word feminism and have done more harm than good. Also you’re turning straight men into this weird 3rd gender that will not longer open doors for women (to say the least).”

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

INDYweek.com | 1.30.19 | 5

indynews Old Money

IN DURHAM, AFRICAN AMERICANS GET FEWER MORTGAGES THAN WHITES, PERPETUATING THE WEALTH GAP

BY SARAH WILLETS

F

Carolina policy director for the Center for or anyone who follows Durham polResponsible Lending. itics, most of the contents of a new “It’s unfortunately not a surprising report on impediments to fair housreport, because it really reflects the nationing in Durham County will be unsurprisal trends that we see when we analyze the ing: Housing is expensive, it’s getting more Home Mortgage Disclosure Act data,” Torexpensive, and there isn’t enough of it. now says. “It increasingly shows that conBut on page fourteen of the report— sumers of color and low-wealth families which the county is required to complete still lack access to the mortgage market.” on a regular basis in order to be eligible for federal Community Development Block Grant dollars—is a detail that doesn’t always make it into conversations about the Bull City’s housing landscape: African Americans apply for home loans less often and are awarded less money than white borrowers.

According to the report— compiled by the civil and environmental engineering firm Withers and Ravenal as the county seeks $750,000 in grants for neighborhood revitalization—white people, who make up about half of the county’s population, applied for 49 percent of mortgages from 2014–17, and received 61 percent of the approved funds. African Americans, on the other hand, make up about 37 percent of the population; they submitted a quarter of loan applications and got just 20 ILLUSTRATION BY CHRISTOPHER WILLIAMS percent of approved funding.

The report looks at Home This can have an effect not only on Mortgage Disclosure Act data for the first prospective homeowners but also renters. mortgage on one-to-four-unit homes, If people can’t buy homes, they rent, adding including manufactured homes. Emily to demand for an already limited housing Edmonds, the consultant who worked on supply and driving up prices, Tornow says. the report, says that, according to HMDA According to the report, the median gross data, Latino residents in Durham County rent in Durham County rose from $797 are seeking and receiving mortgages on par in 2010 to $925 in 2016, and nearly half with their 13 percent share of the populaof the county’s 25,614 renter households tion, though she cautions that HMDA data is were cost-burdened, meaning they spent sometimes incomplete. more than 30 percent of their income on These lending disparities aren’t unique housing costs. to the Durham, says Kelly Tornow, North 6 | 1.30.19 | INDYweek.com

To address these disparities, the report recommends additional outreach to both lenders and potential borrowers, as well as the use of publicly backed mortgage programs offered by federal agencies.

The report doesn’t get into why Durham applicants were denied for loans. However, at the state and national level, borrowers of color are less likely to be approved for

mortgages regardless of factors like income and credit score.

According to the state’s analysis of impediments to fair housing, which was completed in 2015, an applicant’s credit history and debt-to-income ratio were frequent reasons for being denied home loans from 2004 through 2013, “so it is no surprise that denial rates tended to fall as the income of the applicant rose,” the analysis reads. “However, disparities in loan denial rates by sex, race, and ethnicity

tended to persist even when income was taken into account.”

Tornow says these patterns are partly due to the way banks responded to the 2008 mortgage crisis.

“Although very important consumer protections were put in place as a result of the mortgage crisis, unfortunately, there’s also been a restriction of access to credit for borrowers of color,” she says. “Rather than the market really opening up access to credit, allowing more borrowers to access the market, we’re seeing a really high-credit-score requirement and a debt-toincome-ratio requirement that’s actually higher than pre-crisis levels. That really locks people out of the market, and that’s particularly detrimental because it exacerbates the racial wealth gap that we see.”

The stage was set for these disparities long before that, however, through policies like redlining, in which banks refused to give loans in non-white neighborhoods, effectively labeling them undesirable and destroying their property values. Though redlining became illegal a half-century ago, the practice is still a primary contributor to the country’s persistent wealth gap: White Americans have nearly ten times the wealth of African Americans and eight times the wealth of Hispanic Americans.

“We know homeownership is really the number-one way people can build family wealth and pass that wealth on to the next generation,” Tornow says. “So if you lack wealth and, as a result, can’t get a mortgage, and as a result of not being able to get a mortgage, can’t build wealth—you can see how this cycle continues to perpetuate, particularly for borrowers of color.” swillets@indyweek.com

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 | 1.30.19 | 7

news

Blind Spots

DURHAM GAVE A SECURITY COMPANY A MULTIMILLION-DOLLAR PARKING-DECK CONTRACT, THEN LEARNED (FROM US) ABOUT ITS TROUBLING HISTORY BY LEAH ABRAMS AND SARAH WILLETS

A

fter the INDY brought to light allegations of harassment and discrimination against Allied Universal Security Services, Durham wants answers from the company it just awarded a $2.7 million contract to provide security for five downtown parking garages.

City staffers and elected officials say they were unaware of the lawsuits and criminal cases involving Allied when the council unanimously approved the contract in a work session on Thursday. The INDY first reported on the company’s troubling history of litigation on Thursday evening. On Friday, city officials sent the company a letter asking for specifics on how each case was resolved.

Thomas Leathers, the city’s chief parking administrator, sent the letter, which says the complaints are of “great concern.”

“The City of Durham values the fair and equitable treatment of all people, including employees, contractors, residents, visitors, stakeholders, etc.,” Leathers wrote. “… The City takes all complaints of this nature very seriously and will investigate fully and fairly.”

Typically, the council doesn’t take action during work sessions. But the Allied deal carried a sense of urgency because the previous contract for parking-deck security expired December 31. In the past, the city had contracted with a parking management company, which, in turn, hired guards. But it’s now bringing management of the five garages in-house.

During the lapse, city spokeswoman Beverly Thompson confirms, the decks were not staffed by security guards, though they were monitored more frequently by police.

In its search for a contractor, the city’s transportation department released a request for proposals, and six companies responded. Allied offered the cheapest price. Thompson says that, throughout the process, the transportation department worked with the company’s local division and was unaware of complaints brought in other cities.

8 | 1.30.19 | INDYweek.com

“Now that we know, it’s all of our responsibility to look at it,” Mayor Steve Schewel told the INDY after Thursday’s vote. “It’s our expectation that our administration will bring us contracts we want to approve, and usually they do a good job. We'll have to take a look at whether this one is an exception.”

This contract was approved the same week that the council created a Workers’ Rights Commission, which will advise the

or twelve hours at a time. Last month, two Allied employees pleaded guilty to beating a black man at a Denver transit station, which employees had tried to cover up. Separately, Allied employees described to The Boston Globe a culture of harassing homeless people after video surfaced in December 2016 of a guard beating a homeless man in Boston.

Steve Maritas, organizing director with the Law Enforcement Officers Security

ILLUSTRATION BY STEVE OLIVA

city on how to improve working conditions.

Labor organizers hope the commission will help protect workers from low wages, discrimination, and abusive work environments—in other words, the kinds of abuses that Allied is accused of.

One incident involves a 2018 religiousdiscrimination case, since settled, in which a Muslim security guard was fired after seeking a religious exemption to the company’s grooming policies. Another suit was brought by Allied employees in a New York City airport, who said they were harassed and pressured by supervisors for sex. The alleged abuse—detailed in an episode of This American Life—included supervisors denying female guards bathroom breaks for ten

Unions, which represents police and security professionals in the Northeast, says Allied is notoriously bad for labor.

“They’ve been buying up companies left and right to suppress wages,” Maritas says.

“If the city wasn’t paying guards fifteen dollars an hour, Allied never would. They’ll pay their guys whatever they can get away with.”

Allied is now the largest security provider in the nation, with more than two hundred thousand employees at forty-two thousand client sites, including Duke University. (An Allied supervisor at Duke did not respond to a request for comment.)

“While we are unable to comment on pending litigation, Allied Universal is

committed to equal and fair employment and maintains strict policies against discrimination and harassment,” the company said in an email to the INDY. The city wants to know how serious Allied is about these values. In its letter, the city asked the company for examples of actions aimed at mitigating harassment and discrimination. The city specifically took interest in supervisor training programs and changes in grooming policies.

“I wasn’t aware of the allegations prior to the vote, and I’m glad they’ve been brought to our attention,” says city council member Jillian Johnson. “We’ve asked staff to look into the issue more. I’m most interested in how these issues were handled by the company once they came to light.”

Schewel says the contract didn’t initially raise red flags. Typical council conversations about prospective contracts focus on workforce diversity and pay, and Allied met or exceeded the city’s goals on both fronts.

“We have certain mechanisms to make it really easy to test for things we care about,” Schewel says. “The other stuff you have to hear about.”

Council member Charlie Reece suspects the company’s potential issues weren’t flagged because the contract and its related materials mostly refer to University Protection Services, a division of Universal Services of America, the company that AlliedBarton Security Services merged with in 2016 to form Allied Universal.

Leathers has asked Allied to respond to the city’s questions no later than January 30, and Schewel asked staff to update the council at its February 4 meeting.

“Of course, we don’t want anything like what happened at those other sites to happen here,” Johnson says. “I think we need to determine whether these incidents are the result of a few bad actors or if there’s a culture within the company that encourages or enables harmful behavior by staff.” swillets@indyweek.com

news

Playing Catchup

WAKE’S NEW HOUSING AFFORDABILITY DEPARTMENT HOPES TO ADD HUNDREDS OF UNITS A YEAR TO CURB ITS SNOWBALLING CRISIS. IT WON’T BE ENOUGH. BY LEIGH TAUSS

PHOTO ILLUSTRATION BY MAXINE MILLS AND SKILLET GILMORE

E

veryone in Wake County government acknowledges the affordable housing crisis. It’s impossible to ignore. About 4 percent of county residents are considered extremely cost-burdened, meaning they pay more than half their incomes in rent; another 5 percent pay between 30 and 50 percent of their incomes toward housing costs.

To meet its current housing needs, officials say, Wake must fill a gap of 56,000 affordable units. If trends continue, that deficit will rise to 150,000 units by 2035.

Just to maintain the existing gap, however, the county needs to add 5,875 units a year.

It’s not even coming close.

Last year, the county committed to building 192 new affordable units, providing permanent vouchers to more than 300 families,

and supporting the rehabilitation of 217 affordable units. Combined with projects approved by the county’s twelve municipalities, developments begun in 2018 will eventually yield 1,030 affordable units throughout Wake County.

In 2019, the county’s new Housing Affordability Department, funded with a property tax hike that should generate $15 million a year, hopes to build at least five hundred affordable units itself. Raleigh and other municipalities should add more, too. But the total still won’t approach six thousand.

“We are not going to build our way out of an affordable housing crisis,” says Commissioner Matt Calabria. “Governmentsupported housing alone will not solve our problem.”

The county can’t just throw that $15 million at construction, says Lorena McDowell, who oversees the three-monthold Housing Affordability Department.

Instead, it’s trying to stretch its dollars through private-sector partnerships and by pursuing federal low-income tax credits. But that’s a competitive and onerous process.

Take the seventy-two-unit Zebulon Green project, whose total cost is $11 million.

Because of tax credits and private partnerships, the county is only paying $1 million, or $13,889 per unit. Without that assistance, each unit would cost the county more than ten times that. Similarly, the county is only paying $2.5 million for a $22.5 million project in Raleigh called Beacon Ridge.

But the tradeoff is that things move slowly and don’t always come through. Between the two projects, fewer than half of the 440 units for which the county sought tax credits to build last year were approved. For this year, the new department has $7 million in available tax credits, and has already received applications from developers to build 704 new units.

Not all of them will be approved, but even if they were, that still trails the number of existing units the county loses every year—somewhere between eight hundred and thirteen hundred, McDowell says. And therein lies the problem.

What’s more, a key piece to the puzzle is out of the county’s control. The affordable housing plan Wake County unveiled last year included a call for municipalities to increase density—allowing more housing to be built in an effort to keep costs in check and prevent the housing gap from spiraling.

But the county’s largest municipality doesn’t seem to be heeding its advice, according to Commissioner Sig Hutchinson.

“The Raleigh City Council is heading in the wrong direction, and something needs to change,” Hutchinson says. “Either they need to change the policy or change the council.”

A majority on the council has prioritized preserving neighborhoods over increasing

density in ways big and small, from proposing strict regulations on accessory dwelling units to approving overlay districts that prevent new construction, essentially freezing neighborhoods in time.

But council member Kay Crowder scoffs at Hutchinson’s characterization. The city is ahead of the county on affordable housing, she says—in 2016, a year before the county followed suit, the city council raised property taxes to generate about $6 million a year for affordable housing—and she argues that overlay districts are effectively a way for neighbors to self-regulate.

“I believe, as a democracy, citizens should always have a choice about what happens in their neighborhoods,” Crowder says. “In the future, who knows what will happen when the city grows denser. But right now, it’s an opportunity to continue to have people decide how they’d like their neighborhood maintained.”

Wake County commissioners say they want to work with Raleigh and other local governments this year to increase density, which includes adding things like ADUs but also so-called missing-middle housing—things like duplexes and triplexes. The lack of supply has created high demand, Hutchinson says, and that’s driven up prices faster than wages can keep up.

The only way out of the crisis, he argues, is to let developers take the reins—let developers build denser, taller housing projects that are currently prohibited by many zoning regulations, and constructing affordable developments along transit corridors to ease the cost of a daily commute for cash-strapped families.

Calabria says he’s proud of what the county’s done, but more is needed—and soon.

“What we have been able to accomplish by many measures is superlative, but there’s no doubt we have more to do,” he says. “It’s critical that we do what we need to do to avoid becoming San Francisco in fifteen years.” ltauss@indyweek.com INDYweek.com | 1.30.19 | 9

soapboxer The New Boss

DONALD TRUMP MAY BELIEVE HIS OWN HYPE, BUT THE SHUTDOWN PROVED THAT NANCY PELOSI ISN’T PLAYING AGAINST THE VARSITY

BY JEFFREY C. BILLMAN

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

INDYWEEK.COM 10 | 1.30.19 | INDYweek.com

I

f Donald Trump were a better politician, all of this could have been avoided.

I’m not speaking of his administration’s breathtaking incompetence or the president’s absurd inability to grasp even the basic points of actual governance, so amply demonstrated over the last two years.

Rather, I speak of the thing he so loves to brag about: his own supposed political genius. In Trump’s narrative, he won an election that no one else could have, a victory so incredible that its only explanation is his superior instincts and intellect.

It’s true that his victory over Hillary Clinton was an upset, given the polling and the state of the economy and (much of ) the media’s certainty that he would lose. But, in hindsight, it’s also true that he got extraordinarily lucky: He narrowly won three key Midwestern states while losing the popular vote by three million; he faced an almost equally disliked opponent dogged by the FBI and the media over email server management; and he was aided by a Russian regime allegedly being assisted by officials from his own campaign.

Yet instead of recognizing that he hit an inside straight, Trump believed his own hype—that he was smarter than everyone else, that he had tapped into a reservoir of real-American antipathy toward the elites, that people really wanted his brand of simple-minded faux-populism: building the wall and banning immigrants and burning coal and isolating ourselves in the name of nationalism.

But in office, he’s proven spectacularly bad at rallying the public to his banner and moving his agenda forward. Even with Republicans in control of Congress for two years, he enacted just one major law—a tax cut for the rich that did little more than explode the deficit and offer short-term stimulus to an already-growing economy.

He didn’t replace Obamacare. He didn’t build the wall. Sure, he rolled back some of President Obama’s environmental and civil and labor rights initiatives through executive action, and he pushed through lots of judges, including two Supreme Court justices, largely thanks to Mitch McConnell’s undying cynicism. But he failed to notch significant legislative victories or persuade the country that he was doing a good job, even with a good economy.

And come November, he got his ass kicked. The wall he’d made a centerpiece of his campaign—that unprecedentedly brilliant campaign, in his telling—was slipping away, and his base was restive.

So he dug in and made a stand, despite an obviously weak hand. No wall, no government funding, he said.

And he got his ass kicked again.

The thirty-five-day shutdown was an unqualified disaster. Eight hundred thousand federal workers suffered for no reason, the public blamed him, and Democrats held firm. The more Trump made his case to the American people, the more his approval ratings fell.

On Thursday, a bill to fund the wall failed in the GOP-led Senate. On Friday morning, so many unpaid air-traffic controllers called in sick that airports saw massive delays. On Friday afternoon, McConnell informed Trump that his caucus was cracking. And finally, on Friday night, Trump caved, signing a bill to reopen the government for three weeks.

He got nothing in return.

Actually, he got one fig leaf—a committee to negotiate a deal on border security ahead of the next budget deadline on February 15.

On Saturday, fearing a backlash from his base—Ann Coulter had called him a wimp— Trump returned to defiance, declaring that he’d get his wall in three weeks, come hell or high water.

Except he won’t, and he might be the only one who doesn’t realize it.

Nancy Pelosi always knew she wasn’t playing against the varsity; now Trump’s weakness has been put on full display. Democrats have no reason to give in to his demands.

Republicans have no way to force them to do so. If the government shuts down again, they know Trump will get blamed. And if he funds the government without a wall, Trump knows his supporters will smell weakness.

Either way, he loses.

Trump can beat his chest about another shutdown, but in truth, he doesn’t have many options. Maybe Senate Republicans can convince Democrats to fund additional border fencing and Border Patrol agents, and Trump can claim victory. Or Trump could make good on his threat to declare a national emergency and circumvent Congress to build the wall—which might be a hard sell to a judge, considering that he’s dithered over declaring an emergency for two months, which undercuts the idea that there’s an emergency worth declaring.

In the meantime, Trump gave Pelosi a perfect excuse to delay something he really could have used this week. With its pomp and circumstance, the State of the Union address, originally scheduled for Tuesday, offered Trump a national television audience and a temporary respite from his myriad troubles (hello, Roger Stone!), as well as a chance to—if he played it right—reassert himself and reset his presidency after his midterm spanking.

He’ll still give that speech, but on Nancy Pelosi’s terms, and on her schedule. Next Tuesday, she’ll let him into her house.

That power dynamic—and Trump’s pathological inability to deal with it—will be the story of the next two years. Pelosi is good at this game, and she’s got his number. Trump is bad at it, but his ego won’t let him see it. jbillman@indyweek.com

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THE CABIN IN THE WOODS

For nearly forty years, Duke hosted a beloved summer camp for kids with serious illnesses.

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PHOTO BY IVAN KMIT/ISTOCK

very July for nearly forty years, Duke University offered children and teenagers with chronic illnesses—cancer, asthma, lupus, heart disease—a chance to do a normal-kid thing that, for them, had seemed out of reach.

They could go to summer camp.

Most sleep-away camps couldn’t accommodate them. Counselors didn’t have the right training. Facilities didn’t have the right equipment. So they were forced to miss out on formative experiences that their peers took for granted.

In 1979, three Duke employees—a physician, social worker, and play therapist—set out to change that. The university rented a Girl Scouts campground overlooking Kerr Lake in Henderson, about an hour’s drive northeast of Durham. Kids between the ages of seven and sixteen who were being treated at Duke University Children’s Hospital could spend a week there free of charge, their stays funded by donations. Camp Kaleidoscope lasted three weeks, each week dedicated to a different age group. Duke residents, students, social workers, child life specialists, and other employees served as counselors and staff.

More than a thousand children attended Camp K, as it was known, over the next thirtyeight years, many of them repeat campers. For some, it was their first time away from home.

They played sports and learned to swim, did arts and crafts and were entertained by magicians. By all accounts, Camp K was beloved.

And then, suddenly, it closed.

INDYweek.com | 1.30.19 | 11

On July 20, 2017, Duke Medicine Department of Pediatrics chairwoman Ann M. Reed and camp director Judy Panella disclosed the decision in an email to “Camp Kaleidoscope Families.”

“This very difficult decision,” they wrote, “was made following an encounter among several campers last week that required us to take a close look at our operations to ensure that we have appropriate policies and procedures in place that our families expect when they entrust their children to our care. … We look forward to returning next year and hope you will join us to again experience the transformative joy of Camp Kaleidoscope.”

But Camp K didn’t return in 2018. And, according to internet and database searches, Duke never publicly announced the camp’s closure, much less explained the “encounter” that prompted it to shutter or how its “policies and procedures” might have failed the children in its care.

Three lawsuits filed in Durham County against Duke University and several of its entities, as well as Reed and Panella—two in 2017 that have previously gone unreported and a third on Friday—aim to shine an unsettling light on that mystery.

According to the lawsuits, in the summer of 2017, five boys between the ages of seven and ten who were attending Camp Kaleidoscope were left alone in a cabin for at least an hour on multiple nights. One of them, the eight-year-old son of a Duke respiratory therapist, allegedly “repeatedly sexually assaulted” some of the others and led his bunkmates to perform sex acts on each other.

Duke, the lawsuits charge, “colluded and conspired to conceal what took place at Camp Kaleidoscope” and engaged in a “conspiracy to hide child sexual abuse that took place as a result of their negligence.”

In a statement on behalf of the university, Reed, and Panella, Duke Health spokesman Douglas Stokke declined to comment, citing Duke’s commitment “to protecting the privacy of minors and their families.”

But in their responses to the first two lawsuits, Duke’s lawyers rejected allegations that the university tried to hide anything. They also denied the sexual assault claims and maintained that the defendants “exercised reasonable care and diligence in their respective roles at the camp.”

The evidence is clear, however, that something disturbing happened at Camp K that summer.

Records included in court filings show that, on July 13, 2017, the five boys were “left unsupervised for an unknown amount of time in a cabin.” Four of them were then transported from the camp to Duke 12 | 1.30.19 | INDYweek.com

University Children’s Hospital’s emergency department for an evaluation. There, one of them told a psychiatry fellow they had been “sucking on each other [sic] penises.”

Then, a week later, Duke pulled the plug on the camp.

Something happened.

What that something was—whether it was a sexual assault or something else, whether Duke tried to sweep a scandal caused by its own negligence under the rug or simply wanted to shield vulnerable children from psychological harm—will likely be the subject of a complex, confounding court battle that is only just beginning.

T

he lawyer representing the families of the three boys suing Duke, Robert Jessup, declined to comment or make his clients available for interviews.

Their version of events is laid out in the three lawsuits, the most recent of which is the most detailed.

The boy at the center of that case is identified as John Doe, then a nine-year-old with brain cancer. His two bunkmates whose families sued Duke in 2017 are identified in their respective lawsuits as M.M., then seven, who has sickle cell anemia; and A.E., then eight, who has visual impairments and unspecified physical disabilities. Court documents indicate that another child who is not part of a lawsuit, referred to here as Boy 4, also engaged in sexual activity.

According to John Doe’s lawsuit, one of these children was HIV positive, and another had oral herpes, though the lawsuit doesn’t specify who had what.

The lawsuits identify the fifth bunkmate, who was then about a week shy of his ninth birthday, as “The Instigator,” and accuse him of sexually abusing the other boys. According to the Doe lawsuit, he did not have a medical condition. Instead, he was attending the camp because his father, the respiratory therapist, was a camp counselor that week.

Court records suggest the boy may have had a tumultuous home life.

The Doe lawsuit references a court case in Wake County involving the boy’s parents. In a court filing—attached to the Doe lawsuit—his mother describes his father as “aggressive,” says he has “serious mental instability that has required hospitalization on at least three occasions,” and claims that he’s “threatened suicide on multiple occasions.”

In 2013, according to court documents, the parents separated, and the father sought custody of their three boys, of whom “The Instigator” is the youngest. The parents reconciled, but the mother then sought a domestic violence protection order

against the father, only to drop it a few days later. In December 2015, the father sued the mother’s alleged lover in Wake County under North Carolina’s alienation of affection statute. Finally, in February 2017—five months before the incident at Camp K— they divorced. (The INDY is not identifying the parents to protect the identity of the child.)

According to the Doe lawsuit, these five boys were supervised by two camp counselors—a Duke psychiatric resident and a child life specialist. Each night, the lawsuit says, the counselors left the boys “alone and unattended for an hour or more. These counselors were leaving these young children alone in the cabin, without any adult supervision, while they attended meetings in the staff house at the direction” of the camp’s leaders. (The counselors are not defendants in any of the cases.)

While state law makes it a misdemeanor to leave a child under eight “locked or otherwise confined” in a building without an adult “so as to expose the child to danger by fire,” there isn’t a statute specifying “a presumptive age at which a child may be left unattended,” according to the UNC School of Government.

On July 13, 2017, the last night of the camp week, the lawsuit says one counselor returned from that staff meeting and found “John Doe’s bunkmates performing oral sex upon one another.”

The most complete account of this event comes from an email, included in court files, that Boy 4’s mother sent to Panella and another Duke employee on July 16, 2017.

The mother tacitly acknowledges that young children aren’t always reliable narrators, but says, “I’m a good read of [her son], and I’m really confident he’s telling me the truth.”

According to the mother’s email, the counselor reported that she walked in and saw all five boys with their pants down.

However, Boy 4 told his mother she was mistaken. The boys had scattered when she entered their cabin, and John Doe—who the lawsuit says was present but not participating—was wearing shorts that were two sizes too big, so they might have fallen down. At the time, Boy 4 told his mother, John Doe was present and holding the flashlight while the other boys “engaged in activities involving mouth-penis, penisanus, hand-penis contact.”

This had also happened the previous night, she wrote. Her son told her that he’d “hung out with them both night [sic] because they had been up playing games previously and ‘what they were doing [with their pants down] was boring, and I was just wanting them to stop so we could start playing games again like before.’”

“This very difficult decision was made following an encounter among several campers last week that required us to take a close look at our operations to ensure that we have appropriate policies and procedures in place that our families expect when they entrust their children to our care.”

According to the Doe lawsuit and the mother’s email, the idea for all of this originated with “The Instigator.”

But Panella offered a different explanation to Lindsay Terrell, a pediatrician working at Duke’s children’s hospital the night of July 13, 2017. Four of the boys—all except John Doe—were taken there after the counselor discovered them.

According to a note—included in court records—that a Duke child abuse specialist later sent to Reed, Panella told Terrell that the words “suck my dick” had been written on the cabin’s wall “where children could read it and allegedly ‘got the idea.’”

Panella called M.M.’s parents that night and A.E.’s guardians the next morning to tell them their children had been sexually assaulted and potentially exposed to HIV, according to their lawsuits. In its responses, Duke admitted that she called but denied that she said they’d been assaulted or told them about the potential HIV exposure.

M.M., his family’s lawsuit says, began “undergoing a rigid prophylactic treatment for HIV/AIDS.” But no one informed John Doe’s parents or guardians what had happened, his family’s lawsuit says, or that his bunkmates “had sexually communicable diseases and that there may be a potential risk of exposure to HIV/AIDS and herpes.”

Instead, it argues, Duke “conspired to conceal” what took place and “hoped that John Doe would not tell his parents what he had witnessed. To date, [Duke has] refused to offer any compensation whatsoever or in any way offer to make right what happened to John Doe at Camp Kaleidoscope.”

T

he claim of a cover-up appears to rest primarily on one sentence from the email Panella and Reed sent to “Camp Kaleidoscope Families” on July 20, 2017, and how you interpret it: “To respect our legal and ethical requirements to safeguard patient privacy, we ask that you refrain from posting any information about the Camp on social media or in communications to parents and other individuals or groups.”

In the Doe lawsuit, this line is presented as an indication that Duke had something to hide. Reed is said to have “cryptically requested that the parents of campers, camp counselors, and staff of Camp Kaleidoscope not post about or otherwise communicate about the above described events … in an effort to conceal the occurrence of the same. This email was in furtherance of [Duke’s] conspiracy to hide child sexual abuse.”

Duke dismisses that argument. In its responses to the first two lawsuits, the university says the email was intended for the camp’s staff, not campers’ parents, despite it being addressed to “Camp Kaleidoscope Families.” (The email also says that news of the camp’s closure “will be communicated to families shortly,” which seems to support that claim.)

And that supposedly damning line, Duke’s lawyers argue, doesn’t show an intent to conceal anything.

Indeed, it would make sense that Duke wouldn’t want staffers or even campers’ family members gossiping about what happened—not merely to protect the university’s reputation, but to protect the

children involved, who the lawsuits allege had already suffered psychological distress.

As Duke’s lawyers put it: “The email speaks for itself.”

Exactly what transpired inside that cabin may never be known, at least with any certainty. The only witnesses, after all, are the children themselves.

But what is known, based on court documents, is unnerving: “Medically complex children” as young as seven were “left unsupervised for an unknown amount of time,” as Panella admitted when the kids were taken to the hospital. During that time, some of them had sexual contact with each other—what the lawsuits describe as sexual assault.

Something went wrong at a place that had done so much good for so long.

As Panella and Reed wrote in that email: “We are proud that Camp Kaleidoscope has been serving children with chronic medical conditions since 1979. In that time, we have safely and successfully cared for hundreds of children. The reevaluation of our policies and procedures will lead to an even better experience for all who attend Camp K in the future.”

But only if there is a Camp K in the future. And that’s not clear either.

After multiple inquiries about the camp’s status, Stokke, the Duke Health spokesman, responded Tuesday morning, “We don’t have anything further to provide.” jbillman@indyweek.com Additional reporting by Cole Villena.

Research assistance by Ahmed Mohamed.

INDYweek.com | 1.30.19 | 13

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indyfood

HEIRLOOM BREWSHOP

219 South West Street, Raleigh 919-297-8299, www.heirloombrewshop.com

Family Heirloom

THE BEAUTY AND THE PERILS OF BLENDING DIFFERENT ASIAN CULTURES AND CUISINES IN THE AMERICAN SOUTH BY LAYLA KHOURY-HANOLD

I

settle into a corner table by the fig tree with a mid-morning cup of oolong tea and Taiwanese pineapple cake. There is something so tranquil about Heirloom Brewshop, a coffee shop, tea house, and sake bar that opened in The Dillon in Raleigh last October, from the undulating wooden ceiling and the chill electronic music to the line-up of glass teapots filled with slowly steeping leaves. Looking out the floor-to-ceiling windows across South West Street, I see a mural with colorful handprints that gradually transform into human silhouettes, then a procession of people, one holding a sign that reads “Come each of you with your colors and forms fresh from dreaming.”

It’s fitting that this mural is located across the street from Heirloom, which is owned by husband-wife team Chuan Tsay and Anna Phommavong. As children of Taiwanese and Laotian immigrants, respectively, who both grew up in small towns in North Carolina, one of their founding principles for Heirloom was to create a canvas that represents the full range of who they are. The space, service, and menus all reflect the couple’s shared Taiwanese, Japanese, and Laotian cultures.

But the canvas is by no means a completed work. Rather, Heirloom is a foundation for the exploration and development of their identities—as individuals, as a couple, and as a restaurant—and for the evolution of downtown Raleigh.

When Heirloom was under construction, the couple introduced their concept to the public by wrapping the windows with vinyl coverings explaining their vision and story.

Tsay says that his mom, given her experience of how Asian Americans can be treated when they trumpet their heritage, at first wanted him to take the vinyl coverings down.

While Tsay and Phommavong were each navigating what it meant to grow up Asian American in the eighties and nineties, their parents were also struggling to preserve their cultures while assimilating in America. Phommavong grew up in

High Point and Greensboro; she recalls one of their restaurants serving pizza, sub sandwiches, and Chinese food in the front, while preparing Laotian food in the back.

Tsay, whose parents were born in a part of Taiwan with a strong Japanese influence, spent most of his childhood in Asheboro, where his family owned a restaurant that

Chuan Tsay and Anna Phommavong

In many respects, it is disheartening to see how little progress we’ve made in how we treat immigrants in this country.

But despite the current political climate, and despite their parents’ fears of having their children open a restaurant, Tsay and Phommavong felt there was no better time to take the plunge.

PHOTO BY AREON MOBASHER

served dim sum and Taiwanese fare, at a time when all Asian food was considered “Chinese” food. They also owned restaurants in other Southern states.

“The initial culinary concept wasn’t appreciated by most people in Asheboro,” Tsay says. “Some of their restaurants were loved and welcomed by some people, but I think the overwhelming majority of the communities back then were highly resentful of us.”

And sometimes, those hostile attitudes even became dangerous.

“I have been in the car with my dad when he was shot at,” Tsay says. “We have had restaurants torched before.”

“We want the community to see us as people, not just a store,” Tsay says. “Heirloom is the fabric of who we are, but we’re not limited to those three cultures. It is really a mindset of ‘be who you are.’ We want staff members to be proud of who they are, and we want to nurture that and have a safe sanctuary where people can be themselves, guests or otherwise.”

The creation of that environment stems, in large part, from the design of the space (both Tsay and Phommavong have backgrounds in design, too). Its focal point is the ceiling, which is an installation of individual planks of wood that was inspired by traditional Asian woodwork.

of each other’s cultures (and how to create “[It’s about] simple shapes creating something that honors them both). In Laos, a whole that’s stronger than any single the dish is called Thom Khem, and the pork piece,” Tsay explains. “Given the [political] is first pan-fried in fish sauce and caramellandscape of where we were three years ago, ized sugar to strike the salty-sweet balance our philosophy on people and communities characteristic of Laotian cuisine. The Taiis that, as people, we are nothing but simple wanese version that Tsay grew up eating, beings, but where we become strong and Lo Ba, which translates to ‘stewed meat,’ is where we become whole is when we come seasoned with vinegar, mirin, soy sauce, and together as a community.”

Chinese five spice, creating a sharper flavor.

Another intentional design choice, and a more literal breaking down of barriers, is the bar. The bar itself and the pastel pink Marzocco espresso machine sit low enough to allow baristas to have eye contact with customers, and there are stools along the “slow bar,” so customers can sit and watch the barista prepare their coffee in the lab-like vacuum pot or wait for their tea to steep. In the evening, it’s where cocktails are prepared, many of them inspired in both flavor Heirloom Brewshop PHOTO COURTESY OF HEIRLOOM BREWSHOP and form from the couDuring our interview, my eyes wander to ple’s travels across Asia, particularly Japan, the shelves near the entrance, lined with where presentation is paramount. dried flowers, jars of honey, boxes of tea, When I tell Phommavong that a friend of and bottles of sake, and I notice the small mine, upon noticing Heirloom, asked me, golden Buddha statue in the corner. There “When did Raleigh get so cool?” she smiles are cups of water, too, which Phommavong and pauses before responding. explains are offerings. Prior to Heirloom’s “It’s nice to hear that it’s cool,” she says. opening, the couple invited a monk to per“Because growing up as Asian American, I form a blessing ceremony, to not only offer wanted to assimilate to my peers, so to serve protection, warmth, and good luck, but also the food that we do, or to prepare coffee the to pay respect to the building’s heritage. way that we do, it’s nice to find that accep“The monk did say that there was a spirtance and hear that others are really enjoyit here who isn’t happy with the change of ing it as well.” the entire building itself,” Phommavong says.

Though Heirloom focusses a lot on drinks, “So, when we do the offering, we’re offering food is central, too. The menu is neither trato the Buddha and also the spirit itself for ditional nor fusion, but authentic, in that it allowing us to be here, because it’s not our remains true to Tsay and Phommavong’s space to begin with.” vision. For example, you’ll find Taiwanese A few weeks after the ceremony, a rabbi fried chicken, but you’ll also find Taiwanese stopped by inquiring about using Heirloom fried lotus root. When cooked, lotus root’s for a menorah lighting he was planning, saystarchy texture turns meaty like a mushing he felt it was a place that would respect room, and part of the appeal—besides its his culture. Tsay and Phommavong eagerly crunchy coating and supremely savory flaobliged, clearing a space at the far end of vor—is that the dish is vegan and gluten-free. the restaurant, trucking in kosher food from “It’s us being authentic to ourselves and New York, and arranging for a separate fryer. respecting different dietary needs, but also “It’s a two-way street. The enriching thing applying traditional frying techniques. And about having a space in the community is that’s where we create a new tradition in this not only having a canvas to express ourpart of Raleigh,” Tsay says. “I think people selves as people, it’s learning about other now think that [fried lotus root] is normal. people and other cultures,” Tsay says. “What That’s how tradition starts, when there’s no makes other people feel human and sperule on what is tradition and what’s not.” cial—that’s the same thing that makes us feel A braised pork dish the couple is workhuman and special.” ing on serves as a reminder that Tsay and laylakh@indyweek.com Phommavong are still learning the nuances

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

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JAZZ TRUMPETER RON MILES MINES CIVIL RIGHTS HISTORY FOR AN ALBUM UNBEHOLDEN TO EXPECTATIONS BY GARY SUAREZ

“T

here’s no real reason to keep doing records just to do them,” says jazz veteran Ron Miles, waxing practical about the crowded marketplace in these tumultuous times.

A cornetist and trumpeter who has previously recorded with Ginger Baker and Elvis Costello in addition to maintaining a steady creative collaboration with jazz guitarist Bill Frisell, the Denver-based Miles stands by that ethos and walks the walk too.

“We have to be discerning as artists in what we put out,” he says, “And I feel like this was a statement.”

His critically acclaimed, late 2017 album as a bandleader, I Am A Man, is anything but slight, containing that all too rare combo of sociopolitical heft and superb fulfillment.

Recorded at Mighty Fine in Denver and released via Germany’s Yellowbird label, the album project stemmed from witnessing The Movement for Black Lives from the perspective of a fifty-something African-American parent of college-age children. Conceptually and creatively, he aimed to bridge civil rights themes with corresponding musical traditions, a shared history too often bisected in our way of thinking.

“I was drawn to the idea of blues, the legacy of the blues, and triumph over despair,” he says of his inspirations for I Am a Man. “That was really the genesis of the record.”

Given Miles’s role as a professor at the Metropolitan State University of Denver, where he regularly teaches a jazz history course, that knowing approach proved altogether natural. He cites blues icons Robert Johnson and Bessie Smith as foundational to the project’s aims, as well as later greats of the jazz form like Ornette Coleman. Beyond the characteristics of that twelve-bar progression, listeners assuredly will pick up on elements of free jazz or post-bop throughout I Am A Man, as well as other subtler or seemingly less obvious touchpoints. Such is to be expected of a beautiful musical mind like Miles’s, as he’s spent nearly four decades of his life devoted to his chosen instruments and to composition.

Ron Miles PHOTO COURTESY OF DUKE PERFORMANCES

“Sometimes I feel like I’m being a little selfreferential,” he concedes, somewhat unable to shake his influence on his own work as a songwriter. “Most of these composition books are full of stuff that never sees the light of day.”

Friday’s show at Duke’s Baldwin Auditorium marks the live debut of I Am A Man, as played by a quintet featuring all but one of the original musicians from the recording’s ensemble. Joining Miles onstage as they had in the studio are drummer Brian Blade, pianist Jason Moran, and the aforementioned Frisell, with bassist Scott Colley standing in for Thomas Morgan.

“They are my favorite players on their instruments ever,” Miles insists. “It’s a blessing to get to play with them. We’re all song players, singers of song. So when we get together, I think of it like a choir.”

In particular, the interplay between Frisell and the bandleader comes off especially meaningful and proficient, the product of some twenty-five years or so of their ongoing alliance.

“We still challenge each other,” Miles says.

“He plays some stuff that just scares the dickens out of me sometimes.”

Acknowledging that the majority of his quintet features artists that others in jazz actively try to emulate, he counters that they’re not resting on their laurels or perceived catalog tropes. Despite the expectations that engineers or sometimes even critics project onto Frisell or Miles, they are unbound explorers of songcraft and technique, bound to disappoint anyone hoping for a redo of what either of them did back in the nineties. In contrast to the preceding trio recordings Miles did with Frisell and Blade, he wrote the basis for the material with the expanded quintet in mind. “Orchestrationally, it had more parts,” he says. “I hear more voices, not just the instruments.”

Though cognizant of how the respective players worked and sounded together on earlier projects, Miles remained open to surprise.

That state of mind rewarded him in the studio with double bassist Morgan, who, unlike the others, he’d never worked with before.

“I really couldn’t have predicted what he played. It was so perfect, what he did,” Miles says.

Another factor in making the I Am a Man recording sessions flow exceptionally well came from a lack of ego in the space, according to Miles.

“Everybody’s comfortable not having to play,” he says. “It’s constantly moving and everybody steps forward or back.”

It’s little wonder that he’s already actively plotting another album with the same band, hinting that some of those tunes may very well crop up during the Duke performance.

With the group’s masterful execution of his vision on this record—and soon to be recreated in a live setting—I Am A Man truly honors Miles’s forebears, not the least being the African-American workers of the 1968 Memphis sanitation strike. Prompted by pay concerns and perilous working conditions, the latter of these horrifically exemplified by the February deaths of two of their peers by trash compactor, their protest highlighted racial strife at a crucial time. The struggle drew Dr. Martin Luther King, Jr. there to support the workers and to draw national attention to their cause.

Tragically, the divided city proved the site of the leader’s assassination that April.

“I was five when he died,” Miles recalls. “I remember on the black and white TV seeing Coretta [Scott King], and what it felt like in the community at that time.”

Acutely aware of that history, he sees a clear lineage between the lessons of King’s “I’ve Been to the Mountaintop” speech at the Mason Temple in Memphis with the issues and conditions persisting today.

“There’s this constant use of distraction to get you off point and off message,” he notes.

In addition to the audio, I Am A Man joins a creative civil rights legacy on the visual side, too: Miles received permission to use conceptual artist Glenn Ligon’s 1988 reinterpretation of the sanitation workers’ signage and slogan, and was not charged for the privilege.

Out of respect for the strikers, Miles had made it a point not to use their photos in conjunction with the album artwork, knowing full well that such documentation exists in no small part due to the government attempting to identify and out them.

“Everyone was putting everything on the line,” he says, drawing parallels to contemporary race relations. “Standing on the shoulders of these giants, we can figure out a way to make it through this part now.”

Concerned deeply with the push-pull of sustained goal-oriented protest over wellmeaning yet ephemeral activism, Miles ultimately presents I Am A Man like a question, or even an outright challenge to humanity.

“Black Lives Matter and this current administration gives us a chance to see if we really believe what we say,” he explains. “Are these just empty platitudes we say to make ourselves feel better, or do we really believe in these ideals?” music@indyweek.com

RON MILES: I AM A MAN

Friday, Feb. 1, 8 p.m., $10–$25 | Duke’s Baldwin Auditorium, Durham www.dukeperformances.duke.edu INDYweek.com | 1.30.19 | 17

music

Regardless, Dacus seems to be holding up well under pressure. In 2018, she released her second solo album, Historian, to strong reviews that praised her atmospheric narratives and soaring vocals. She also found time to tour and record with pals Julien Baker and Phoebe Bridgers as the exquisitely harmony-heavy supergroup boygenius.

Nearly three years after her first Triangle stop at The Cave—which happened the day Matador first got in touch about putting out her debut album—Dacus caught up with us about her focus on her craft.

Sophomore Soar

ON THE HEELS OF A HECTIC BUT REWARDING 2018, LUCY DACUS SHIFTS INTO HIGH GEAR

BY JOSEPHINE MCROBBIE Lucy Dacus PHOTO COURTESY OF MATADOR RECORDS

W

hen I ask Lucy Dacus about her time in university, she reminds me that she was only a film student at Virginia Commonwealth University for a year and a half. “Then I dropped out,” she says. “Womp womp.” As she punctuates the sentence with the international symbol for losing a television game show, she sounds both a bit dismissive and a bit regretful, and it’s easy to understand the ambiguity. The twenty-three-year-old singer-songwriter, who rocketed to attention 18 | 1.30.19 | INDYweek.com

after the 2016 release of the scrappy No Burden and launched something of a label bidding war in the months thereafter (she went with Matador), is leaps and bounds beyond the dreams of many a college kid with a guitar. But Dacus, poised and analytical, also would have made a hell of an academic, and it’s also worth considering that suddenly having to live up to both logistical and critical expectations of a high-visibility music career is a lot to manage at a relatively young age.

INDY: You were busy in 2018, with both a solo project and boygenius. What do you have planned for this year?

LUCY DACUS: I’ve been writing a lot for my third record. If it were up to me, I’d record it in a couple of weeks and then put it out in a month. But I know that I need to give it more time, and that these songs are particularly sensitive. They’re really personal, and so I need time to adjust to this content.

I feel like having two modes of creating music actually makes both of them feel like less pressure. I really like switching my mindset between creative projects, so doing the band with Phoebe and Julien, I was able to bring a lot of that to my own record. And when I’m working on my own record, I’m like, “Oh, this is a good idea that doesn’t feel like just me,” so that idea can be sent back to boygenius. [boygenius] actually doesn’t have a plan to be together in 2019. We were all texting yesterday, and honestly, our priority is, like, when do we get to hang? Not even a mention of music yet. But I think we’re going to try to schedule a time to be together in the spring.

You’re in your early twenties and have probably experienced more success than many of your classmates and friends.

What has that experience been like for you, especially considering that this age is culturally considered a time to experiment and try new things, and you have a welldefined career?

I think you pretty much said it. It does feel a little out of place compared to my peers right now. A lot of my friends are on their

way to greatness or have already achieved greatness, whether or not it’s being recognized, but I feel like everything happened really unexpectedly and quickly for me. It’s been nice to be going through that first, because I can see how some of my friends are starting to branch out and build their own careers. One of the most rewarding things about this is being able to help my friends get their art heard or seen.

I gather you’re a bit of a book nerd. Is there’s anything that’s inspiring you right now or affecting your writing?

I read Giovanni’s Room by James Baldwin recently, and I feel like he’s one of the best writers that has ever lived. That book is a really important lesson in shame. He also uses architecture to mirror the character’s mental state. I really liked how he set the scene in that book, and how the physical aspects of the world are mirroring the internal aspects. I notice that a little bit in my own writing. A lot of the songs I’m writing right now are pretty narrative, and I have this impulse to set the scene and try to communicate a feeling from the physical surroundings, instead of just stating how I feel or how the character in the song feels. I want there to be matching contexts.

You tend to do an impactful introductory line to a song—you open “Night Shift” with “The first time I tasted someone else’s spit, I had a coughing fit,” for example. Is that something you pay specific attention to while writing?

I think that’s clearly the moment where you have the chance to capture somebody’s attention, and so I feel like you have to seize the moment and say something that will make somebody want to listen to you.

I appreciate songwriters where you have to take the whole song as one chunk, like the lyrics don’t really make sense without the other lyrics. I’ve been trying to practice doing that, but, in general, I do want each line to hold its own, because there’s nothing that says: “I deserve people’s attention.” So if they’re only paying attention for twenty seconds of the song, I want there to be something there that they can take away. music@indyweek.com

LUCY DACUS

Friday, Feb. 1, 8 p.m., $14–$16 Motorco Music Hall, Durham www.motorcomusic.com

1/31 EL TEN ELEVEN W/ JOAN OF ARC ($15/$17) 2/1 JOYCE MANOR/JEFF ROSENSTOCK W/ REMEMBER SPORTS 2/2 BOB MARLEY BIRTHDAY CELEBRATION FT. MICKEY MILLS AND STEEL ($12/ $15)

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2/6 DRIVIN N CRYIN W/ LAUREN MORROW 2/7 FRED ARMISEN

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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) 2/14 SPAFFORD W/ PSYLO JOE ($17.50/$20) 2/15 COPELAND W/ FROM INDIAN LAKES, MANY ROOMS 2/16 MATT NATHANSON

TH 2/7 @THE RITZ (RALEIGH)

DRIVE-BYTRUCKERS AND LUCINDAWILLIAMS

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2/23 HOUNDMOUTH W/ BEN KWELLER, MODERN LOVE CHILD 2/25 TOO MANY ZOOZ ($17/$19) 2/26 JUKEBOX THE GHOST, THE MOWGLI'S ($22/$25) 2/27 WET, KILO KISH W/ HANA VU ($25/$28) 3/2 COLE ESCOLA W/ HELP! I’M STUCK! ($20) 3/4 WATSKY 3/6 COLD CAVE W/ ADULT AND SEXTILE 3/7 STRFKR W/ SHY BOYS ($25) 3/8 CHELSEA CUTLER W/ ANTHONY RUSSO 3/19 TREVOR HALL W/ DIRTWIRE, WILL EVANS ($22/$25) 3/21 ANDREA GIBSON W/ ASHLEE HAZE ($20/$22) 3/22 NOVO AMORE W/ GIA MARGARET 3/25 ADHOC PRESENTS: HOMESHAKE 3/29 SLUGWIFE TAKEOVER TOUR ($20/$25) 3/30 CARBON LEAF ($20/$25) 3/31 THE MIDNIGHT ($20/$22)

SPAFFORD

VALERIE JUNE (SOLO)

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JOYCE MANOR 4/16 MITSKI W/ JAY SOM

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FR 2/15

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5/23 MARTI JONES & DON DIXON

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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

3/10 HOT FLASH HEAT WAVE W/ VACATIONS ($13/$15)

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

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2/1 MANDOLIN ORANGE LD SO OUT

MOTORCO (DUR)

2/24 MIKE DOUGHTY PLAYS SOUL COUGHING’S "RUBY VROOM" 25 YEAR ANNIVERSARY TOUR

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2/6 THE LIL SMOKIES W/ MICHIGAN RATTLERS

DURHAM PERFORMING ARTS CENTER

3/9 MATT KEREKES W/ JETTY BONES, JACOB SIGMAN

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2/20 JONATHAN RICHMAN 4/29 JOY WILLIAMS (OF THE CIVIL WARS) W/ ANTHONY DA COSTA

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3/11 MEN I TRUST W/ MICHAEL SEYER

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

WE 2/20 @ THE ARTSCENTER

3/28 MAX FROST($15/$17) 4/3 AARON LEE TASJAN W/ ROREY CARROLL 4/4 JUICE 4/15 BAYONNE ($12/$14) 4/16 THIS WILD LIFE 4/17 THE WILD REEDS ($14/$16) 4/18 TELEKINESIS W/ SONTALK ($13/$15) 4/21 VALLEY MAKER 4/22 KOLARS

SOLD OUT

3/24 ALL THEM WITCHES ($15) 5/14 THANK YOU SCIENTIST W/KINDO AND IN THE PRESENCE OF WOLVES ($16.50/ $20) 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

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deep dive EAT • DRINK • SHOP • PLAY

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indypage

Defensive End

IN NOT FOR LONG, A PRO FOOTBALL PLAYER TURNED SOCIOLOGIST SAYS ATHLETES NEED MORE PREP FOR LIFE AFTER THE NFL BY EMILY PIETRAS

W

hen Robert W. Turner II’s professional football career ended, he had dedicated more than half of his life to the sport.

“I spent sixteen years, from the time I was playing basically peewee football all the way up to playing into the pros in the USFL [United States Football League], the Canadian Football League, and the NFL,” Turner says. “At that point, when I was twenty-eight years old, I had spent more time in the game than I did out of the game.”

That level of commitment is not uncommon for those who aspire to turn pro. Neither is having a brief career—most NFL players are out of the league after about three seasons. (Turner played half a season with the San Francisco 49ers in addition to several seasons in the USFL and CFL.) When the playing days are over, many former athletes experience a loss of identity and purpose.

“From my personal experience, I knew that I had a real difficult time transitioning to life after football,” Turner says.

It was that struggle that inspired Turner to write Not For Long: The Life and Career of the NFL Athlete, which he will discuss at Quail Ridge Books on January 31 alongside Ron W. Rice Jr., chairman of the board of the National Football League Alumni Association and president of the NFLAA Detroit Chapter.

Turner, who has a master’s and doctorate in sociology and is currently an assistant professor in the department of clinical research and leadership at The George Washington University School of Medicine & Health Science, conducted a four-year ethnographic study and interviewed more than one hundred current and former NFL players, as well as their families, spouses, and coaches.

“People ask me all the time, ‘How did you gain access to so many of these athletes?’”

Turner says. “Well, it was pretty easy to

Robert W. Turner II PHOTO COURTESY OF THE AUTHOR tell them, ‘I’ve been in your shoes. I’ve been through the whole exact process that you have been in.’ And even former athletes: ‘I’m in the same exact place you are now.’”

In the NFL, there are no guaranteed contracts, which makes players more expendable and financially vulnerable. And the physicality of the game takes its toll on athletes long after they hang up their cleats; chronic health issues range from obesity to traumatic brain injury. Many of the problems players face during and after their careers stem from the power structure of the NFL, which, by design, disproportionately

favors team owners, general managers, and coaches over the athletes on the field.

“No matter how you look at it in the NFL, it comes down to a labor dispute,” Turner says. “The NFL owners look at the players as a commodity that’s easily exchangeable, so what I talk about in the book is: You have a huge reserve army of labor. … [Owners] know they have eighteen hundred slots to fill, and they get thirty or forty thousand people coming out of college every year who want to play in this position. Well, at that point, you can essentially say in your labor agreement that you’re bargaining from a position of power,

and the players are bargaining from a position of weakness.”

When asked what measures the NFL could take to better equip athletes for life after football, Turner disputes the premise.

“That’s supposing that the NFL is interesting in helping the athletes,” he says. “I believe what the NFL owners believe is they have provided athletes with all the resources and benefits they need to transition to life after football, and this is why they’re so unwilling to provide any more.”

Instead of waiting on the league to change, Turner says young people need to be better prepared for the business side of being a professional athlete.

“I think one of the things that has to happen is that so much earlier, like around eighth grade, we have to start grooming young people who are going to pursue these careers,” he says. “Give them skills and ability to manage money, understand money, understand ownership, understand management-labor relations—understand them real early in life.

So, as they move along, when they sign their first contract, they understand the game is more than just putting on helmets and shoulder pads.”

And collegiate football programs, which essentially act as “feeder systems to the NFL,” can do their part, too, Turner says.

“They have to do a better job preparing these football players while they’re in college instead of making them take classes that may or may not help them in the long run,” he says. “Let’s make sure we carve out some time to give them the education they might need to function as a professional athlete and well beyond. And even if they don’t [turn pro], they can start entrepreneurial classes to teach them how to survive and how to create and how to use their talents well beyond the football field.” arts@indyweek.com

ROBERT W. TURNER II: NOT FOR LONG: THE LIFE AND CAREER OF THE NFL ATHLETE Thursday, Jan. 31, 7 p.m., free | Quail Ridge Books, Raleigh | www.quailridgebooks.com

20 | 1.30.19 | INDYweek.com

indystage

stage THE HERD

Fault Lines

½

A TRAILBLAZING TENNIS PLAYER DOESN’T GET HIS DUE IN ASHE IN JOHANNESBURG

BY BYRON WOODS

I

t’s far too easy to scrutinize our ancestors’ courage in trying times—or their perceived lack thereof—through the perfect lens of hindsight, which requires no risk on our part.

Undeniably, the legacy of tennis star Arthur Ashe Jr. is a complicated one. The man who broke the color barrier in professional tennis by winning the U.S. Open in 1968 was viewed by many in his day as a Johnny-come-lately (or worse) in the fight for racial equality. This is understandable, as he certainly defied the orthodoxy of African-American liberation leaders of the time, who urged a global boycott of apartheid-era South Africa.

Ashe, the world's top-ranked tennis player, demanded entrance into the segregated South African Nationals in 1969; when he was denied a visa, he successfully led the drive to remove the country from Davis Cup competition and urged the International Tennis Federation to join the Olympics in banning South Africa as well.

Recent biographical research by Eric Allen Hall and others has shown that, before and after his controversial appearance in the 1973 South African Open, Ashe was becoming an increasingly effective advocate for racial justice in tennis, one of the world’s most segregated sports. But that story is not told at all in Hannah Benitez’s politically polarized biographical play, Ashe in Johannesburg.

After commissioning the work, Burning Coal Theatre Company produced its world premiere last Thursday night. Under artistic director Jerome Davis’s direction, a talented cast invokes a vivid array of characters. Joel Oramas makes the most of an abashed Ashe, and Steven Roten is animated as the oftexasperated Frank Deford, the famous Sports Illustrated journalist who accompanied Ashe on his South African sojourn. Preston Campbell grabs the role of boxer Bob Foster, and Jackie Markham’s take on tennis pioneer Althea Gibson grinds a justifiable axe about Ashe’s unfortunate early views on women in the sport.

BRIEF

Joel Oramas and Steven Roten in Ashe in Johannesburg

PHOTO BY DAVID RAUCH

tennis star is depicted humbly heading home after a second-place win at the Open.

True, Ashe did not fit the profile of the African-American athlete in revolt as Muhammad Ali and Bill Russell did. Still, to all but erase his ultimate achievements is a disservice to a quieter man who still did much to change the world. arts@indyweek.com

As activist Amahle, Maxine Eloi grills Ashe on the consequences of his appearance making the apartheid government look more progressive. Juan Isler and Natalia Soto provide strong support. But Benitez all but deletes Ashe’s agency, focusing instead on his supposed victimization at an academic conference in Stellenbosch and his nearframing for sexual improprieties, before the

ASHE IN JOHANNESBURG 

Though Sunday, Feb. 10 Burning Coal Theatre, Raleigh www.burningcoal.org

Though Sunday, Feb. 10 North Raleigh Arts and Creative Theatre, Raleigh www.honestpinttheatre.org “I find it very difficult to even look at you,” family matriarch Patricia (Lenore Field) says to her daughter’s ex-husband, Ian (Simon Kaplan), in a truly carbolic little heart-to-heart in The Herd, British playwright Rory Kinnear’s 2013 family drama.

The calmness and utter facticity of Field’s delivery gives the line a chilly sting.

Ian has decided to show up unannounced for his son’s twenty-first birthday, fifteen years after abandoning his wife, Carol, and their two children, Claire and Andy. (The latter’s developmental disabilities have only worsened since Ian left.)

Though he’s had the door slammed in his face and sustained a cut lip, neither injury matches the impact of Patricia’s words as she evenly, sincerely advises Ian of the antipathy that surrounds him on all sides.

It’s far from the only moment of superior acting in this Honest Pint Theatre production, co-produced by and staged at North Raleigh Arts and Creative Theatre. Some of co-artistic director David Henderson’s finest work to date is on display in the detailed characterizations and interrelationships he draws from this superior sextet on Tab May’s professional domestic set.

Jess Barbour’s finely nuanced depiction of Claire reveals a comfortless young woman at two crossroads, in both her life and her relationship with the earnest, rough-hewn Mark, whom Daniel Wilson gives great dimensionality in a robust performance.

I’ve never seen stronger work from Paul Newell than his deceptively avuncular take on the sharp-witted patriarch, Brian, and co-artistic director Susannah Hough ably navigates a series of jagged emotional peaks and valleys in her role as Carol.

For all its strengths, though, we question certain moments in this day of judgment. Neither playwright nor production fully develops Ian’s side of his relationship with Carol, which is needed to keep him from being a run-of-the-mill heel. Allusions to Carol’s dark side from several characters remain mostly unseen in a nevertheless-compelling family portrait whose mysteries were still unfolding on opening night. —Byron Woods INDYweek.com | 1.30.19 | 21

stage

JON BOOGZ & LIL BUCK: LOVE HEALS ALL WOUNDS NCSU’s Stewart Theatre, Raleigh Saturday, Feb. 2, 8 p.m., $30–$35 www.live.arts.ncsu.edu

How did your styles influence each other?

The way that poppers and jookers see musicality is almost the same, the way we bounce and vibe to the rhythms. But me and Boogz have always seen eye to eye on performance quality. When we street performed, we had shows that told stories, and that’s what separated us from other street performers.

We’d dance to some popping music and get down to some jookin music, then top the show off with Evanescence, a more classical feel. We’ve always had that as part of our performances.

When Jookin Met Popping

STREET, SCREEN, AND STAGE DANCERS LIL BUCK AND JON BOOGZ HEAL THE WORLD

BY BRIAN HOWE

Jon Boogz and Lil Buck

A

PHOTO BY TIM SALAZ

lumni of their respective hometown street-dance scenes, Memphis’s Lil Buck and Miami’s Jon Boogz saw things they recognized in each other when they met in LA: a certain theatricality, a drive to tell stories, and a technical capacity beyond belief. Buck, subsequently trained in ballet, was a prodigy of jookin, a fast and fluid street dance welded to the bounce of crunk music.

Boogz came from popping, a jumpy flicker of a style born in California. After first bonding in street performances, the pair embarked on separate paths to national renown. (Buck has worked with everyone from Yo-Yo Ma to Madonna on television and fine-arts stages.) They reunited when both worked on Cirque du Soleil’s Michael Jackson show and formed the company Movement Art Is, which produces narrative street-dance content for the web. They’re currently showing their collaboration with spoken-word poet Robin Sanders, Love Heals All Wounds, at select 22 | 1.30.19 | INDYweek.com

institutions—including N.C. State this weekend—before its official premiere at UCLA in May. We reached Buck by phone to learn how dance uniquely can change the world and the childhood encounter that set him on the path to stardom.

INDY: How do you approach showing the serious themes in Love Heals All Wounds to a general audience in entertaining dance?

LIL BUCK: Our process is pretty much, how does it make us feel? A lot of these issues we’ve either had experience with, or people very close to us have. So these topics hit home for me and Boogz and the other cast members. Whatever we’re bringing awareness to, we try to bring that emotion out through movement. We believe dance is a tool to push powerful narratives. We touch on climate change as well as social issues with mass incarceration and police brutality, and there are ways they can all connect seamlessly because they’re all connected. That’s what we’re really diving into right now.

Why did you and Jon Boogz click, and how did your collaboration come together?

We clicked because we both believe dance is much more powerful than just entertainment. It has the power to ultimately create social change in the world. When you communicate through movement, it reaches the soul. It’s deeper than a conversation. Me and Boogz met in LA years ago—he moved there from Miami, I moved there from Memphis. I knew Boogz was a special popper; he had so much flair to it. It was the same when Boogz saw me dancing and jookin. We’ve been good friends ever since. We used to street perform together, and then I started doing my thing touring, with Madonna, Yo-Yo Ma. I worked with the Michael Jackson: One show in Vegas, and when my contract was up, [Boogz] ended up doing the same show. That’s when we started reconnecting and putting our thoughts together, and, ultimately, we formed the company MAI.

Tell us about Movement Art Is and how it relates to this project.

MAI is a company me and Boogz started about three years ago. We produce short films and shows driven by movement with powerful narratives. Me and Boogz are so inspired by the Gene Kellys and Fred Astaires and Michael Jacksons, the way they combined film with art and dance. We do that through our films such as Am I a Man?, about mass incarceration, and Color of Reality, about police brutality. We want to give a platform to street dancers that don’t have one, because we believe street dance is a fine art, and it tends to be put in this box. So we use MAI to push that and to show that dance can be so much more than entertainment.

Is there a way that dance connects to the soul uniquely, different than visual art or music?

The thing about dance is it’s all in us. Dance is movement, and movement is life. We’re all connected by dance because we’re all connected by movement, all the gestures we make. When we’re dancing, most people who see it will feel something from it. You can change someone’s life right there on the spot.

I remember walking into a skating rink and having my life changed, watching this guy with gold teeth in his mouth and big, baggy pants glide across the floor. I was ten years old, and that picture in my head of him moving stuck with me forever, and inspired me to do what I’m doing right now. That’s the power of dance, to connect people on any level at any time. It’s not just for when the camera’s on. That’s the most powerful thing to me, to be able to walk outside and dance on the sidewalk and change a kid’s life that gets a glimpse of it. bhowe@indyweek.com

stage

A Bridge Too Far

CAUGHT BETWEEN A FAMILY'S GRIEF AND A FRIEND'S DEPRESSION IN THE PENSIVE, SURREAL PLAY JUMP

BY BYRON WOODS

F

a necessary prerequisite for cleaning out rom the first moments of Jump, we their childhood home before its sale. A know we’re in a surreal world. More similar sense of armed truce permeates Fay’s than a trace of Robert Wilson’s spare tense conversations with her dad, carefully manipulations of time, cause, and effect are sculpted by actor Trevor Johnson as a visible in the stage imagery director Whitgrieving, angry, self-medicating man who’s ney White’s design team achieves at the just as rocked by the family’s subtractions. start of this PlayMakers Repertory CompaAs a long day of housecleaning extends ny world premiere. well after dark, Simpson sets tentative Sinan Zafar’s Eno-esque ambient soundfamily rapprochements against the equally scape juxtaposes long, weightless chords with crisp, disconnected urban sounds, as actor April Mae Davis walks onto set designer Alexis Distler’s impressive section of a paint-peeling big-city bridge. Amith Chandrashaker’s lights set the time at twilight as Davis slowly brings a JUMP vape pen to her mouth HHHH and inhales. When the Through Sunday, Feb. 10 smoke ghosts from her PlayMakers Repertory Company, Chapel Hill pursed lips, it holds an www.playmakersrep.org eerie semi-corporeal form for a moment before April Mae Davis in Jump PHOTO BY HUTHPHOTO dissipating. After Davis tentative beginnings of Fay’s relationship nervelessly drops the pen over the bridge’s with Hopkins (Adam Poole), an edgy grad railing, she repeats the gesture, pulling out student she meets during her walks along a series of vaporizers, smoking, and then the local bridge. Mortality and alienation dropping them until the image is thoroughly tinge that relationship as well; Hopkins burned in. admits he’s been contemplating and With an opening that chimerical, we resisting suicide for reasons that challenge probably don’t need most of playwright his ability to put them into words. By play’s Charly Evon Simpson’s uncertain remindend, we learn he’s not the only one to have ers throughout Jump’s ninety minutes—in considered—or acted on—that impulse. too many non-sequitur light cues, rewound Like a strange cross between Marie Kondo dialogue, and references to sudden head and Jack Kevorkian, Simpson’s characpain and disorientation—that we’re viewters inventory the things they’re tempted to ing events through one character’s shifting keep—including childhood mementos, famstates of consciousness. ily structures, relationship dynamics, and That would be Fay, a twenty-something their lives—in a pensive drama with a candid office assistant who is still shaken a year concession: All that we value is contingent after the death of her mother. Fay hides her and in need of regular reexamination. unease behind a pugilistic front with her arts@indyweek.com older sister, Judy (Shanelle Nicole Leonard),

We want to know your love story!

Tell us how you met, how you knew you were in love, a romantic episode, sacrifices made or a humorous ditty.

Newly in love? Many years together?

Gay? Straight?

We want to hear your story!

We’ll pick the top entries to appear in the February 13th edition.

Send to love@indyweek.com Deadline is Feb. 5th. Stories must be 250 words or less.

Include how you would like your name(s) to appear and the city/town where you live.

Feel free to include a photo; including date taken.

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INDYweek.com | 1.30.19 | 23

WHAT TO DO THIS WEEK 1.30–2.6 Compagnie Marie Chouinard

FRIDAY, FEBRUARY 1 PHOTO BY NICOLAS RUEL

COMPAGNIE MARIE CHOUINARD: HIERONYMUS BOSCH: THE GARDEN OF EARTHLY DELIGHTS

FRIDAY, FEBRUARY 1–SATURDAY, FEBRUARY 2

WKNC’S DOUBLE BARREL BENEFIT

The Triangle received an unexpected reminder of the value of college radio after last year’s controversial decision by Shaw University to sell the frequency of its historic WSHA station. Keep that in mind this weekend when N.C. State’s WKNC hosts its largest annual fundraiser, which historically accounts for eight percent of its budget.

That money is even more essential after some hefty equipment expenses incurred with WKNC’s recent launch of its HD2 substation. Friday is headlined by the exquisite folk of Kate Rhudy, who captivates with mesmerizing vocals and candid storytelling, while Max Gowan conjures Beck with dreamy lo-fi pop steeped in melancholy. Real Dad’s retro electropop, which could soundtrack films by a darker John Hughes, contrasts sharply with Das Drip’s careening hardcore. Night two features both Young Bull and M8alla fusing hip-hop with R&B, the former’s live band occasionally treading in old-school soul while the latter leans into trap beats. Housefire adds abrasive, apocalyptic noise, and Moon Racer brings gorgeous bedroom pop. —Spencer Griffith KINGS, RALEIGH | 8:30 p.m., $13–$22, www.kingsraleigh.com

Locals already familiar with Compagnie Marie Chouinard are likely familiar entirely because of Carolina Performing Arts, the French choreographer’s constant champion in our state—and they likely sucked in their breath with anticipation upon hearing that CPA’s new co-commission from Chouinard is an evening-length work based on the immortal Hieronymus Bosch painting of the title. Chouinard’s stage pictures already resemble teeming classical friezes that swarm apart and recombine into figures of chaos, pathos, and horror, an idiom one might characterize as “transgressive ballet,” which grotesquely distorts timeless form and poisons themes of love and longing. In short, it’s a perfect visual and thematic match for Bosch’s sixteenth-century triptych of human existence, enigmatic in its meaning but almost monstrous in its vigor and abundance. —Brian Howe UNC’S MEMORIAL HALL, CHAPEL HILL 8 p.m., $37, www.carolinaperformingarts.org

WHAT ELSE SHOULD I DO?

ASHE IN JOHANNESBURG AT BURNING COAL THEATRE (P. 21), JON BOOGZ AND LIL BUCK AT NCSU’S STEWART THEATRE (P. 22), CAMILLE A. BROWN AT REYNOLDS INDUSTRIES THEATER (P. 31), DOUG BOCK CLARK AT FLYLEAF BOOKS (P. 30), LUCY DACUS AT MOTORCO (P. 18), FIRST FRIDAY AT ARTSPACE (P. 29), THE HERD AT NRACT (P. 21), JUMP AT PLAYMAKERS (P. 23), RON MILES AT DUKE’S BALDWIN AUDITORIUM (P. 16), LENARD D. MOORE AT QUAIL RIDGE BOOKS (P. 30), MOTION FOR PICTURES AT THE CARY THEATER (P. 32), ROBERT W. TURNER II AT QUAIL RIDGE BOOKS (P. 20) 24 | 1.30.19 | INDYweek.com

SATURDAY, FEBRUARY 2

BULL CITY LIP SYNC BATTLE

Lip Sync Battle as we now know it began as a recurring segment on The Tonight Show with Jimmy Fallon, wherein celebrities would duke it out over who could give the most impressive performance. The segment was such a hit that it became its own reality-show series in 2015, and it’s now in its fifth season with elaborate stagings and costumes. In Durham, the battle hits a smaller stage at The Pinhook. And the participants will be another sort of celebrity: Durham’s elected officials. Fifteen of them will compete, including state senator Mike Woodard, council members Vernetta Alston and Charlie Reece, and mayor Steve Schewel. Vivica C. Coxx, the city’s reigning drag queen, will be the evening’s charismatic host, and proceeds benefit trans programming at the LGBTQ Center of Durham. Who secretly has the best moves? And what in the world could Steve Schewel’s heart song be? There’s only one way to find out. —Allison Hussey

W

THE PINHOOK, DURHAM | 7 p.m., $10, www.thepinhook.com

THURSDAY, JANUARY 31–SUNDAY, FEBRUARY 17

LOVE IN THE TIMES OF THE DAY

Sometimes, the right artist finds a new technology at the right time. When the Paris publisher F. Champenois created a method for printing wall-size images—panneaux décoratifs—in 1896, he turned to Alfons Mucha, already a quintessential figure of the Art Nouveau period, to fashion a series of posters for sale. After his first set, The Seasons, sold out, Mucha created five subsequent series in which beautifully illustrated women epitomized flowers, precious stones, the live arts, and the moon and stars. When Carolina Ballet artistic director Robert Weiss saw Mucha’s fourth quartet, The Times of the Day, in a museum in Prague, he was inspired by the pictures—and by his tour guide, composer J. Mark Scearce—to create a new suite set to Scearce’s latest score, which draws on the beginnings of jazz during the period. We’ll see the premiere this weekend, with a revival of 2008’s Time Gallery. —Byron Woods

WEDDING GUIDE

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WEDDING GUIDE

Highlighting wedding possibilities around the Triangle

ISSUE: 3/13 • RESERVATIONS: 3/8

CONTACT YOUR AD REP OR ADVERTISING@INDYWEEK.COM

WEDDING GUIDE

Love in the Times of the Day

PHOTO COURTESY OF CAROLINA BALLET

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

Highlighting wedding possibilities around INDYweek.com | 1.30.19 | 25 the Triangle

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THE RAGBIRDS

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

Valerie June stops in Raleigh on February 6.

WED, JAN 30 ARCANA: Raven & Rose; 8 p.m.

THE CAVE: 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 p.m.

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music 1.30–2.6

Love the indy?

NIGHTLIGHT: Governance, Senator Jaiz, Wretched Martyr, Bryce Eiman; $7. 8 p.m.

POUR HOUSE: Andy Frasco & The UN, The Wright Ave; $12-15. 9 p.m.

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

THE RITZ: Trippie Redd; 8 p.m.

THU, JAN 31 ARCANA: Andrew Kasab; 9 p.m.

BLUE NOTE GRILL:

and songs at this rootsoriented songwriter showcase, which also features masterful flatpicker and singer Tommy Edwards of The Bluegrass Experience. Jessie Lang, who’s half of The Lang Sisters and a member of Carolina Pinecones, keeps a foot in both traditional bluegrass and modern folk camps. Kirk Ridge, who cohosts WHUP’s weekly live music program, Pass the Hat, performs his own rockabilly originals. —Spencer Griffith CAT’S CRADLE (BACK ROOM): King of the Hill: Hip Hop Showcase; $5–$10. 8 p.m.

CAT’S CRADLE:

El Ten Eleven, Joan of Arc [$15–$17/9 P.M.]

Longrunning indie rock acts El Ten Eleven and Joan of Arc make the most out of minimal membership. Kristian Dunn and Tim Fogarty have stubbornly refused to expand El Ten Eleven for decades, honing their varied and dynamic instrumental rock, which loops, layers and bends

Celebration of NC $10 Songwriting $10 advance advance // $12 $12 day day of of [FREE/7 P.M.]

Catch hall-of-fame bluegrass pioneer and old-time legend Alice Gerrard sharing stories

PHOTO COURTESY OF THE BILLIONS CORPORATION

like a sort of aural brain puzzle.

The Tim Kinsella-led Joan of Arc makes alluring and absorbing sonic collages. In Carrboro, Kinsella performs in a duo with fellow Chicagoan Jenny Polus in a set that pulls half from the catalog of Joan of Arc and half from Kinsella and Polus’s new project, Good Fuck. —Patrick Wall THE CAVE: Jeremy Blair’s Dance Party; 9 p.m.

DURHAM PERFORMING ARTS CENTER:

Toni Braxton [SOLD OUT/8 P.M.]

Best known for her career defining nineties mega-hit “Un-Break My Heart,” R&B mainstay Toni Braxton has had a storied career in the record business. While her career took an unexpected dip in the 2000s due to contractual issues, health problems, and a lawsuit with her former manager, she’s reached a career resurgence as of late with her 2018 album, Sex and Cigarettes. The queen has, at last, come back for her throne.

Nineties R&B slow-jam legends SWV open. —John Bohannon KINGS: Glove, Table Tennis Dreamer; $8. 10 p.m.

LINCOLN THEATRE: Resurrection; $14–$24. 8 p.m.

THE PINHOOK: Woodvamp, Harrison Ford Mustang; $8. 7 p.m.

POUR HOUSE: Local Band Local Beer: Morgan Wade & The Stepbrothers, Bigdumbhick, Maldora; $5. 9 p.m.

FRI, FEB 1 ARTS CENTER: The Austin Piazzolla Quintet; $15. 8 p.m.

CAT’S CRADLE:

Joyce Manor, Jeff Rosenstock [$22–$25/8 P.M.]

Joyce Manor carries the emo mantle into another decade in a manner that’d make its forebearers proud while nudging the genre bounds, adding subtle shoegaze textures and power pop charms to tender lyricism and

immediate melodies. Former Bomb The Music Industry! frontman Jeff Rosenstock has remained prolific at penning catchy anthems teeming with DIY eccentricities and ramshackle energy, even when exploring hopelessness on his most recent LP. Scrappy Philly foursome Remember Sports injects peppy pop-punk singalongs with heartfelt hooks.

—Spencer Griffith CAT’S CRADLE (BACK ROOM): Gabe Dixon; $10–$12. 8 p.m.

THE CAVE: Phatlynx, the Bo-Stephen’s, Cha Cha Cadillacs; 9 p.m.

DUKE’S BALDWIN AUDITORIUM: Ron Miles: I Am a Man; $25. 8 p.m. See page 16.

DURHAM PERFORMING ARTS CENTER:

Mandolin Orange [SOLD OUT/8 P.M.]

Mandolin Orange made its debut a decade ago with a sweet little self-titled EP, a meek and earnest set of seven songs. Since then,

Emily Frantz and Andrew Marlin have put in plenty of work behind their craft, and have become a textbook example of climbing the ladder of a successful music career. They’ve moved from selfreleasing CDs to working with a respected indie label, playing bigger and bigger rooms across the United States and Europe.

The release party for their latest LP, the tender-as-ever Tides of a Teardrop, is a grand affair indeed: a full house at the Durham Performing Arts Center.

—Allison Hussey HAW RIVER BALLROOM: Yonder Mountain String Band, Handmade Moments; $25–$30. 8 p.m.

KINGS: WKNC Double Barrel Benefit: Kate Rhudy, Max Gowan, Real Dad, Das Drip; $15. 8 p.m.

THE KRAKEN: Mystery Hillbillies; 9 p.m.

LINCOLN THEATRE:

Keller Williams [$20/9 P.M.]

It’s tempting to call Keller Williams a one-man band,

since his live looping techniques allow him to layer multiple melodies, rhythms, and vocals onstage. But when you hear the complex musical tapestries he unspools in his shows, incorporating the influences of rock, funk, hip-hop, R&B, folk, jazz, and more, it becomes obvious that there’s more than one person involved in Keller Williams’ performances—it’s just that all those people are hiding out in Williams’ head. —Jim Allen

but it doesn’t take itself too seriously, throwing down thick slabs of ferocious thrash with tongue planted firmly in cheek.

Red Death, Datura, and Essex Muro open. —Patrick Wall MEYMANDI CONCERT HALL: N.C. Symphony: Tchaikovsky Serenade; noon.

MOTORCO: Lucy Dacus, illuminati hotties; Sold Out. 8 p.m. See page 18.

POUR HOUSE: Casey & The Comrades, Barefoot Manner; $8-10.

9 p.m.

LOCAL 506: Local Flora, Luna; $8.

9 p.m.

THE RITZ: On the Border; 8 p.m.

THE MAYWOOD:

Darsombra

Iron Reagan [$15/9 P.M.]

Think Slayer’s too severe?

Find Metallica too serious?

Anthrax too self-important?

Try Iron Reagan on for size.

The Richmond quintet’s love of old-school crossover thrash is real—it draws its membership from thrash-loving heavies Municipal Waste, Cannabis Corpse and Darkest Hour—

SLIM’S:

[$5/8 P.M.]

Hot off a tour to Southeast Asia, Darsombra comes bearing white bellbottoms, a wall of amps, an overstuffed pedal board, and the occasional high kick. The duo started as a solo project showcasing the meditative shredding of Brian Daniloski, of defunct doom metal group Meatjack, and evolved to include video artist

Ann Everton on keyboard and gong. They’ve toured together incessantly since, performing heavy psychedelia in front of Everton’s impressive visuals.

Magma Opus, Demon Eye, and Snide open.

—Josephine McRobbie

SAT, FEB 2 ARCANA: The NCCU Jazz Student Combo; 9 p.m.

BLUE NOTE GRILL: Five Easy Pieces; $8. 8 p.m.

CAROLINA THEATRE: ICCA South Quarterfinal; $25. 7 p.m.

CAT’S CRADLE (BACK ROOM): Jphono1 and The Chevrons, Open Field, Triple X Snaxxx; $8–$10. 8 p.m.

CAT’S CRADLE: Bob Marley’s Birthday Bash; $12–$15. 9 p.m.

THE CAVE: Poor Pie, Scribblin’, Freedom Dreams; 9 p.m.

DUKE’S BALDWIN AUDITORIUM:

Schumann Quartet [$10–$25/8 P.M.]

Don’t get confused: the members of the Schumann Quartet are here to play Schubert, not the composer who shares their name. The string quartet is a family band, comprising three Schumann brothers and violist Liisa Randalu. All four are relatively young, and reviewers have noted their energy and wit.

Both will come in handy on Saturday, when they tackle a program that calls for boldness: two Schubert pieces, plus Charles Ives’ String Quartet No. 2.

— Elizabeth Szypulski KINGS: WKNC Double Barrel Benefit: Young Bull, M8alla, Housefire, Moon Racer; $15. 8 p.m.

THE KRAKEN: Mad Crush, Arrow Beach; 8 p.m.

LINCOLN THEATRE: Pigeons Playing Ping Pong, The Fitz; 9 p.m.

LOCAL 506:

Liz Cooper & the Stampede [$12–$15/9 P.M.]

Mandolin Orange headline the Durham Performing Arts Center on Friday.

PHOTO BY KENDALL BAILEY

Liz Cooper & the Stampede formed in Nashville’s bustling community of jam sessions and songwriter’s rounds as Cooper, a drop-out of Towson University in Maryland, worked to find her artistic footing. Now a tight-knit trio, the group’s sound ranges from introspective folk to jammy psych. On songs like “Dalai INDYweek.com | 1.30.19 | 27

Lama” and “Hey Man,” the influences are almost a little too on-the-nose, as Cooper narrates a studied songbook of sixties counter-culture references.

—Josephine McRobbie THE MAYWOOD: Billion Dollar Babies, Nightrain; 8 p.m.

MEYMANDI CONCERT HALL:

Kruger Brothers [$31–$39/7:30 P.M.]

The Kruger Brothers match their virtuosity in acoustic music—Jens was once honored by future collaborator Steve Martin for his excellence in banjo and bluegrass—to inventive compositions that blend classical sophistication with traditional instrumentation. Known for their frequent projects with the Kontras Quartet, this appearance features the Wilkesboro-via-Switzerland outfit sticking to the trio format, though they still bring fresh perspective to vivid, imaginative instrumentals that have forged new frontiers in American folk music.

—Spencer Griffith NIGHTLIGHT: Cosmic Liberation Front; $8. 9 p.m.

POUR HOUSE: Nashville NonProphets, Cliff Wheeler Band, Brent Byrd, Surreal Nation; $5-10. 8 p.m.

SLIM’S DOWNTOWN: Will Easter, Fallow Ground, Taxi Cab Preacher; $5. 9 p.m.

WICKED WITCH:

Thomas Strayhorn [$10/8 P.M.]

Outwardly, Thomas Strayhorn’s songs aren’t that deep. His simple melodies draw from folk but veer toward alt-country, likely thanks to Strayhorn’s brassy twang. They’re adorned with little more than bare-bones arrangements. (Think: Joe Pug or Langhorne Slim.)

But Strayhorn’s songs tell stories that unfold poetically and genuinely: “Back East” conceals a deep homesickness in details and scenic filigrees; “A Little More Proud” reckons with personal growth and sexuality in the wake of an affair with another man. (“Hotel with the walls so thin,” Strayhorn quips on “Proud,” “I think they’re gonna 28 | 1.30.19 | INDYweek.com

figure us out.”) He releases an EP, The Man That I Am, tonight. MKR opens.

—Patrick Wall

SUN, FEB 3 ARCANA: Jonathan Byrd & Pickup Cowboys, Lisa Rhodes; 8 p.m.

FIRST PRESBYTERIAN CHURCH: Kathie Stewart; 2 p.m.

NIGHTLIGHT:

W00Dy, Pamela and Her Sons [$7/9 P.M.]

Molten heavy hitters of the East Coast weird underground unite for an evening of myriad leftfield sounds at Nightlight.

Hynoptic dub oscillations via Pittsburgh’s w00dy, who specializes in a kind of burnt and danceable image of pop’s past. New York’s audacious Pamela and Her Sons go no-fi hysterical synth, though also with a hooky edge that doesn’t totally disinvite headbobbing. Crucial locals Liquid Asset and Gudiya round this into an admirable night of sizzling wires.

—David Ford Smith

wild Up perform at UNC-Chapel Hill on Sunday.

TUE, FEB 5 ARCANA: Serene Green; 8 p.m.

DUKE’S BALDWIN AUDITORIUM:

POUR HOUSE: School of Rock Cary; $5-7. 8 p.m.

Daniil Trifonov

MON, FEB 4

Daniil Trifonov isn’t quite a household name, but he deserves to be. At twentyseven, he’s earned a reputation as one of the most talented pianists working today. When people describe him, they tend toward elaborate superlatives, like “most spectacularly virtuosic.” Watch a video of him playing, and you’ll understand why. He plays with startling intensity and beauty, and makes each performance feel like a reinvention.

—Elizabeth Szypulski

LOCAL 506: Ghost Atlas, Landon Tewers; $12. 7 p.m.

POUR HOUSE: That 1 Guy, Barefoot Wade; $15. 7 p.m.

UNC’S HILL HALL:

wild Up

[$27/7:30PM] Los Angeles-based wild Up conductor and artistic director Christopher Rountree fell in love with music through “playing bass in a garage band, trombone in a brass band, and watching the Berlin Philharmonic play Brahms and Bartok.” The chamber music collective is a natural culmination of this wideopen approach to musical performance. A wild Up concert is just as likely to include arrangements of anti-capitalist feminist screeds by X-Ray Spex as it is compositions by the poetic minimalist Moondog.

—Josephine McRobbie

[$10–$62/8 P.M.]

KINGS:

Boy Harsher [$12–$14/9 P.M.]

Arguably the most stylish thing going in the aboveground realms of minimal synth, one of Boy Harsher’s last shows in the area was a Halloween exorcism at Nightlight a few years ago. It felt like an exact lock for the act’s sound, a cryptic matrix of primal, borderline-EBM analog anarchy

PHOTO COURTESY OF CAROLINA PERFORMING ARTS

rooted in singer Jae Matthews’s cryptic, disembodied synthpop fantasies. See Boy Harsher now before larger bands begin to swallow it up as cachet building tour support forever. With NIGHTCRWLER. —David Ford Smith LOCAL 506: As It Is, Sharptooth, Hold Close, Point North, The Second After; $15-20. 6 p.m.

THE MAYWOOD:

Tetrarch [$10/7 P.M.]

Los Angeles-via-Atlanta’s Tetrarch harks back to numetal’s late-nineties heyday: the drop-tuned dissonance, concrete-heavy palm-muted breakdowns and seasick lead lines all suggest pre-millennial alt-metal monolith Korn.

That Tetrarch’s latest, Freak, is similarly named to Korn’s biggest hit, “Freak on a Leash,” doesn’t help matters—but there’s far less scat-rapping, praise be. Tetrarch isn’t all lead and lumber; shredder Diamond Rowe unleashes some fiery solos spiced with whammy-pedal weirdness and mathematical inclinations.

Seeking Solace, Past Tense of Never, Continuations, and Heaven Forbid open.

—Patrick Wall

NIGHTLIGHT:

Courtney Hartman

[$10/8:30 P.M.] The Grammy-nominated guitarist Courtney Hartman, who recently departed raucous bluegrass group Della Rae, has been playing stringed instruments since the age of three. A deft instrumentalist with a low, strong voice, Hartman still thrives on collaboration. Libby Rodenbough & Friends open.

—Josephine McRobbie

WED, FEB 6

CAT’S CRADLE (BACK ROOM): The Lil Smokies, with The Michigan Rattlers; $15–$17. 8 p.m.

CAT’S CRADLE:

Drivin N Cryin [$15–$18/8 P.M.]

As the frontman for Atlanta’s Drivin N Cryin, Kevn Kinney (yes, that’s how he spells it) has been keeping the roots-rock faith since the mid-eighties and shows no signs of slowing down. Early on, the band had its dalliance with the majors and its brushes with chart success,

but such things are frequently fleeting. All these years later, what really matters is that Kinney and the band’s current incarnation are completely committed to their raw, roots-conscious take on allAmerican rock ‘n’ roll. Lauren Morrow opens. —Jim Allen FLETCHER OPERA THEATER:

Valerie June [$27–$32/7:30 P.M.]

Valerie June grew up singing a cappella gospel music in church before discovering both the twangy traditions of her Appalachian home and grungy nineties rock—her introduction to blues came via Nirvana’s cover of Leadbelly. With hints of Southern soul and Africain roots, the Tennessee native brings an otherworldly, cosmic spirit to the earthy trappings of her rural origins, earning a White House invite from Michelle Obama thanks to her striking songwriting and stunning voice. Thad Cockrell opens. —Spencer Griffith MOTORCO: Justin Nozuka, Craig Cardiff; $23–$27. 8 p.m.

POUR HOUSE: Billy Gilmore & Friends, Serene Green; $10-12. 9 p.m.

art

1.30–2.6

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

https://indyweek.com/submit#cals DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

FRIDAY, FEBRUARY 1

SECOND FRIDAY AT ARTSPACE First Friday brings a fresh crop of exhibits to Artspace, most notably the National Print Invitational curated by Judy Jones and Bill Fick. Fick, a Chapel Hill legend, is part of the international Outlaw Printmaking collective of iconoclastic, academy-bursting printmakers.

The exhibit, which runs through April 6, surveys the current breadth and vitality of the form, serving as a primer on both classic techniques and modern innovations. Artspace has a variety of other events programmed around the exhibit, including a printmaking demo with Fick on Saturday, February 23. And there are several other shows to see on Friday night, including Strictly NC, which focuses on ten local printmakers to complement the national ones; a lobby installation by the SuperGraphic print lab; and the closing of Brain Janitor, Dane Winkler’s exhibit of interactive installations and large sculptures. —Brian Howe

ARTSPACE, RALEIGH 6–9 p.m., free, www.artspacenc.org

A detail from Raj Bunnag’s print “Cheaper than Oxy” in Strictly NC at Artspace PHOTO COURTESY OF ARTSPACE

OPENING The Secret Ingredient: Jan 31-Mar 31. Pleiades Gallery, Durham.

SPECIAL Marlowe: EVENT DIMENSIONALIA: Mixed media. Reception: Feb 1, 6 p.m. Feb 1-Mar 1. Gallery C, Raleigh. galleryc.net.

SuperGraphic Print Lab: Feb 1-Apr 6. Artspace, Raleigh. artspacenc.org.

Strictly NC: Prints. Feb 1-23.

Artspace, Raleigh. artspacenc.org.

National Print Invitational: Curated by Bill Fick and Judy Jones.

Feb 1-Apr 6.

Artspace, Raleigh.

Elizabeth Keckley: It’s All About the Story: Feb 1-20.

Hillsborough Arts Council Gallery, Hillsborough.

Color and Light: Susan Filley, Sasha Bakaric, Sudie Rakusin, and Peg Bachenheimer.

Feb 5-Apr 6.

FRANK Gallery, Chapel Hill.

ONGOING LAST Above the Rim: CHANCE 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.

All the Pop: Thru Jun 2. Nasher Museum of Art, Durham. nasher.duke.edu.

SPECIAL Marie Arondeau: EVENT HagerSmith: Photos.

Thru Feb 28. Reception: Feb 1, 6-9 p.m. VAE Raleigh, Raleigh. vaeraleigh.org. bauhaus.photo: Photos. Thru Feb 15. NCSU Campus: Brooks Hall Gallery, Raleigh. design. ncsu.edu/bauhaus.

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

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

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

John Bechtold: BEIRUT: Photos.

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

LAST John Beerman: A CHANCE Field, A World: Paintings. Thru Feb 3. Craven Allen Gallery, Durham. cravenallengallery.com.

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.

Durham Arts Council, Durham. durhamartguild.org.

LAST Petere Filene and CHANCE Barbara Tyroler: Photography. Thru Feb 2.

FRANK Gallery, Chapel Hill. frankisart.com.

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.

MEGAGRAPHIC: Drawings.

Thru Feb 28. Durham Arts Council, Durham. durhamarts.org.

LAST Emily MoorheadCHANCE Wallace: Stationary Effort: Interactive sculpture.

Thru Feb 1. VAE Raleigh, Raleigh. vaeraleigh.org.

LAST Motion Stills: Thru CHANCE 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.

Renzo Ortega: What I Left and What I Brought: Paintings. Thru Feb 16. Power Plant Gallery, Durham. powerplantgallery.com.

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.

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

LAST Resolutions 2019: CHANCE Various media.

Thru Jan 31. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com.

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

RUPTURE | RAPTURE | REVOLUTION: Community art show. Thru Feb 9.

The Carrack Modern Art, Durham. thecarrack.org.

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.

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

LAST Dane Winkler: CHANCE Brain Janitor: Interactive installations and large-scale sculptures. Thru Feb 2. Reception Feb 1, 6 p.m. Artspace, Raleigh. artspacenc.org.

LAST Linda Yankowsky: CHANCE Soft Collision: Mixed media. Thru Jan 31.

The ArtsCenter, Carrboro. artscenterlive.org.

LAST Aaron Zalonis: CHANCE 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 | 1.30.19 | 29

page READINGS & SIGNINGS Barry Bergey and Tom Pich: Documentary photography book Folk Masters: A Portrait of America. Wed, Feb 6, 6 p.m.

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

Doug Bock Clark: Debut The Last Whalers. Thu, Jan 31, 7 p.m. Flyleaf Books, Chapel Hill. flyleafbooks.com.

Donna Everhart: The Forgiving Kind. Tue, Feb 5, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Jane Gabin: The Paris Photo. Thu, Jan 31, 7 p.m.

Regulator Bookshop, Durham. regulatorbookshop.com.

Bryant Holsenbeck: The Last Straw: A Continuing Quest for Life Without Disposable Plastic. Tue, Feb 5, 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.

Mesha Maren: Debut novel Sugar Run. Sat, Feb 2, 11 a.m.

McIntyre’s Books, Pittsboro. fearrington.com.

Ian Rankin: In A House of Lies. Sat, Feb 2, 3 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

Michael Joseph Roberto: The Coming of the American Behemoth. Sun, Feb 3, 2 p.m.

McIntyre’s Books, Pittsboro. fearrington.com.

Robert W. Turner II: Not for Long: The Life and Career of the NFL Athlete. Thu, Jan 31, 7 p.m.

Quail Ridge Books, Raleigh. quailridgebooks.com.

LECTURES ETC. Peter A. Coclanis: Ethnic Cleansing or Playing the Long Game? Interpreting the Rohingya Crisis in Myanmar. Tue, Feb 5, 4 p.m.

Flyleaf Books, Chapel Hill. flyleafbooks.com.

2019 Piedmont Laureate David Menconi: Wed, Jan 30, 7 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

Lenard D. Moore: The Geography of Jazz. Sun, Feb 3, 2 p.m. Quail Ridge Books, Raleigh. quailridgebooks.com.

OCCRC Symposium on Racial Terror: With Freddie L. Parker, Jaki Shelton Green, Claude Clegg, Fitzhugh Brundage, and student speakers. Sat, Feb 2, 10 a.m. Jerry M. Passmore Center, Hillsborough. south.unc.edu.

Dave Ramsey: Tue, Feb 5, 6 p.m. Memorial Auditorium, Raleigh. dukeenergycenterraleigh.com.

Bob Woodward: Sat, Feb 2, 8 p.m. Durham Performing Arts Center, Durham. dpacnc.com.

THURSDAY, JANUARY 31

DOUG BOCK CLARK: THE LAST WHALERS Durham resident Doug Bock Clark embedded himself with one of the last remaining indigenous peoples on Earth to write his nationally acclaimed new book, The Last Whalers: Three Years in the Far Pacific with a Courageous Tribe and a Vanishing Way of Life, which Allan Gurganus raved about in our pages just recently. Clark chronicles his stay with the Lamalerans, an Indonesian tribe on a volcanic island in a region so remote it’s nicknamed the “Land Left Behind,” who are some of the world’s last subsistence hunters of whales. But even as Clark learns of the Lamaleran society that few outsiders have ever been privy to, he also becomes aware of the painful struggle many of them face, from the perils of learning to hunt to those of trying to forge a modern identity in a tradition-based culture. The Last Whalers resulted in the BBC withdrawing the popular Human Planet after Clark helped determine that its footage of the Lamalerans was fabricated, so he’ll have plenty beyond the page to discuss at this Flyleaf reading. —Zack Smith

True to its title, distinguished Eastern North Carolina haiku poet Lenard D. Moore’s The Geography of Jazz is as much about place as it is about music. Here we have the Picasso on the venue wall. Here we have the diamond ceiling tiles. Here we have the van backed up to the club, where the musicians are unloading. Here we have shined shoes tapping on the stage. Moore also brings us into private spaces—a bedroom, a car on the highway—where he plumbs the liminal space between jazz as a collection of notes and as an emotional vehicle. As he listens to Miles Davis’s painfully gorgeous Porgy and Bess, for example, he writes, “Needle on vinyl, / Miles in the groove, / and ghosts hover / over the warped wooden shelf … This music heats me / like bad booze burns, / like promises never kept.” Moore is bringing a live jazz band for this reading. Evidently, when he writes, “I am inside the music,” he really means it. —Corbie Hill

FLYLEAF BOOKS, CHAPEL HILL 7 p.m., free, www.flyleafbooks.com

QUAIL RIDGE BOOKS, NORTH HILLS 2 p.m., free, www.quailridgebooks.com

The Last Whalers

PHOTO BY DOUG BOCK CLARK

SUNDAY, FEBRUARY 3

LENARD D. MOORE: THE GEOGRAPHY OF JAZZ

BILL BURTON 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

2.3

Lenard D. Moore - ’The Geography of Jazz’ 2pm

2.5

Donna Everhart - ’The Forgiving Kind’ 7pm

2.7

Mesha Maren - ’Sugar Run’ 7pm

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

30 | 1.30.19 | INDYweek.com

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stage OPENING Carolina Ballet: Love in the Times of the Day: Jan 31-Feb 17. Fletcher Opera Theater, Raleigh. carolinaballet.com.

Inspired Echo: Faculty Dances: Thu, Jan 31, 6 p.m.

Gregg Museum of Art & G BOCK CLARK Design, Raleigh. gregg.arts.ncsu.edu.

t Lenard is about have the b, where ng on the ar on the a collecs Davis’s eedle on wooden es never vidently, orbie Hill

ONGOING

Camille A. Brown: BLACK GIRL: $25. Feb 1-2.

Duke Campus: Reynolds Industries Theater, Durham. dukeperformances.duke.edu.

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

Compagnie Marie Chouinard: Dance.

Carolina Performing Arts co-commission. Fri, Feb 1, 8 p.m. UNC Campus: Memorial Hall, Chapel Hill. carolinaperformingarts.org.

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.

Mettlesome: Hush Hush: Improv comedy. Fri, Feb 1, 8 p.m. Monkey Bottom Collaborative, Durham. thisismettlesome.com.

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

Mettlesome: The Racket: Improv comedy. Fri, Feb 1, 9 p.m. Monkey Bottom Collaborative, Durham. thisismettlesome.com.

PHOBIAS: Sat, Feb 2, 7 p.m. The Peoples Improv Theater-Chapel Hill, Chapel Hill. littlegreenpig.com.

Love Heals All Wounds: $8-35. Sat, Feb 2, 8 p.m.

NCSU Campus: Stewart Theatre, Raleigh. live.arts.ncsu.edu.

Chippendales: Sat, Feb 2, 9 p.m. The Ritz, Raleigh. ritzraleigh.com.

The Simon and Garfunkel Story: Mon, Feb 4, 7 p.m.

Durham Performing Arts Center, Durham. dpacnc.com.

Jump: Thru Feb 10.

PlayMakers Repertory Company, Chapel Hill. playmakersrep.org.

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

Russell Peters: Comedy.

Wed, Jan 30, 8 p.m.

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.

The Talk: One-man show.

Thru Feb 10. Durham Fruit Company, Durham. bulldogdurham.org.

FRIDAY, FEBRUARY 1 & SATURDAY, FEBRUARY 2

CAMILLE A. BROWN & DANCERS By 2015, Camille A. Brown was exhausted from living between the stereotypes of the angry black woman and the strong black woman. While she was looking for anything else to talk about in her work, she was choreographing Fortress of Solitude, an off-Broadway musical about childhood and memory. That prompted her to look at her own childhood to find “the black girl joy that I [didn’t] see in the media,” as she told The New York Times. Then, Kyra Gaunt’s book The Games Black Girls Play revealed the hidden dimensions of Double Dutch and the intricate handclap games that teach girls about the social worlds they’re growing into.

In BLACK GIRL: Linguistic Play, the middle installment of Duke Performances’ yearlong production of Brown’s trilogy, playground fun morphs into competition tinged with adolescent sexuality, before a mother prepares her daughter to enter young womanhood in three duets. —Byron Woods

REYNOLDS INDUSTRIES THEATER, DURHAM 8 p.m., $10–$25, www.dukeperformances.com

Camille A. Brown & Dancers: BLACK GIRL: Linguistic Play PHOTO COURTESY OF CAMILLEABROWN.ORG

FOR OUR COMPLETE COMMUNITY CALENDAR

INDYWEEK.COM

INDYweek.com | 1.30.19 | 31

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

Big Time: Tue, Feb 5, 7 p.m.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Breakfast Club: Mon, Feb 4, 7 p.m. Schoolkids Records (Raleigh), Raleigh. schoolkidsrecords.com.

Cold War: $8-10. Fri, Feb 1, noon. Carolina Theatre, Durham. carolinatheatre.org.

Free Solo: Free. Wed, Feb 6, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Groundhog Day: Sat, Feb 2, 7 p.m. Ponysaurus Brewing Co., Durham. ponysaurusbrewing.com.

Happy As Lazzaro: Mon, Feb 4, 7 p.m. Rubenstein Arts Center - Film Theater, Durham. ami.duke.edu.

Isn’t It Romantic Advance Screening: Sold Out. Mon, Feb 4, 8 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Matrix and American Psycho: $12. Sun, Feb 3, 2 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Mikey and Nicky: New 4K restoration. Thu, Jan 31, 7 p.m. Rubenstein Arts Center - Film Theater, Durham. ami.duke.edu.

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

Of Fathers and Sons: Sun, Feb 3, 1 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Princess Bride: Feb 1-7.

Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

The Rider: Fri, Feb 1, 8 p.m. NC Museum of Art, Raleigh. ncartmuseum.org.

32 | 1.30.19 | INDYweek.com

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

The Running Man and Demolition Man: $10.

Fri, Feb 1, 7 p.m. Carolina Theatre, Durham. carolinatheatre.org.

Three Identical Strangers: Free. Thu, Jan 31, 7 p.m.

Carolina Theatre, Durham. carolinatheatre.org.

Three Identical Strangers: Tue, Feb 5, 7 p.m. Alamo Drafthouse, Raleigh. drafthouse.com/raleigh.

OPENING

Cold War—Paweł Pawlikowski tracks a love story across the Iron Curtain in this romantic drama.

Rated R. Miss Bala—Gina Rodriguez plays a woman drawn into a high-stakes world of border crime in this remake of a Mexican film. Rated PG-13.

They Shall Not Grow Old—Peter Jackson turns from fantasy to grim reality with his documentary about World War One. Rated R.

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

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 Koreeda 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.  Stan & Ollie—Steve Coogan and John C. Reilly do honor to the classic comedy duo’s physical slapstick and close relationship. 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.

WEDNESDAY, FEBRUARY 6

MOTION FOR PICTURES SCREENING SERIES There’s plenty to catch your eye at this showcase of local and international shorts, but we’re especially interested in Gill, a new film by Kieran Moreira. The sci-fi short stars Caitlin Wells, who left Durham for New York City a year or two ago but is well-remembered in the area for her stage work as a director (Yes to Nothing) and an actor (Orlando). It begins like a simple adventure, with Wells’s astronaut character testing out a teleportation device on an irradiated desert planet. But something more contemporary and socially charged soon emerges in her communication with the man at the other end of her headset. We got an early look, and the film shines with strong production values, satire and suspense, and a typically charismatic performance from Wells. Seven other shorts round out the evening, leaping from sci-fi to drama to romance to thriller with the free-spirited energy typical of independent cinema. —Brian Howe

THE CARY THEATER, CARY 7 p.m., $3–$5, www.thecarytheater.com

Caitlin Wells in Gill PHOTO COURTESY OF THE FILMMAKER

food & drink 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.

Super Bowl Chili Cook-Off: All invited to taste and judge. Chili cooks should show up by 3:30 p.m. with their various hot-plates or crockpots. Utensils, napkins, and tasting cups provided. $5.

Sun, Feb 3. 3 p.m.

The Kraken, Chapel Hill. thekrakenbar.com.

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POSITIONS AVAILABLE AT FAYETTEVILLE TECHNICAL COLLEGE Fayetteville Technical Community College is now accepting applications for the following positions: Practical Nursing Instructor -Sports Information Specialist: Athletics (Part-time) - MIS Support Manager -Industry training Instructor (CATV)Continuing Education. 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

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Bolinwood Condominiums Affordability without compromise

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www.bolinwoodcondos.com • 919-942-7806 Tell us how you met, how you knew you were in love, a romantic episode, sacrifices made or a humorous ditty.

Newly in love? Many years together? Gay? Straight?

We want to hear your story!

We’ll pick the top entries to appear in the February 13th edition.

Send to love@indyweek.com Deadline is February 5th. Stories must be 250 words or less, include how you would like your name(s) to appear and the city/town where you live.

Feel free to include a photo; including date taken.

Photos will be published on a space available basis.

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INDYweek.com | 1.30.19 | 33

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.

7 6

8 1

3

2

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

21

MEDIUM

# 22

su | do | ku

this week’s puzzle level:

© 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.

4

5

2

6 38 2

MEDIUM

7 8 3

1

# 24

MEDIUM 8 3 1 7 2 9 5 4 6

2 5 7 8 4 6 9 1 3

# 23

6 8 7 3 4 5 2 1 9

4 2 1 7 8 9 5 3 6

5 9 3 6 2 1 7 4 8

1 3 8 2 5 4 9 6 7

# 54 9 6 5 1 7 3 4 8 2

7 4 2 8 9 6 1 5 3

3 1 4 9 6 7 8 2 5

8 7 6 5 1 2 3 9 4

2 5 9 4 3 8 6 7 1

# 24

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

6 5 7 4 9 and click “puzzle “Puzzle Pages.”

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

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

8 7 9 2 8 1 7 2

solution to last week’s puzzle

Page 6 of 25

7

8 72 2 6 2 7 33 8 54 9 38 7 7 8 6 2 2 5 4 6 1 4 2 9 8 9

7

7

4

1 3 6 3 4

6 59

3 6

23

4 6 9 5 1 3 8 2 7

1

34 | 1.30.19 | INDYweek.com

1.30.19

CLASSY AT INDYWEEK DOT COM

30/10/2005

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PLACE YOUR AD ON THE

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

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INDYweek.com | 1.30.19 | 35

LIGHT OF MINE

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HISTORY TRIVIA: * American Tobacco Company incorporated under the leadership of James B. Duke on January 31, 1890. ATC became the world’s largest tobacco conglomerate and was dissolved in 1911 by a U.S. Supreme Court decision. * Henry Frye, NC’s first African American Supreme Court Justice, was sworn in on February 3, 1983.

Courtesy of the Museum of Durham History

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