INDY Week 2.10.2016

raleigh•cary 2|10|16

Cary is invaded by grocery stores p. 8 Chocolate beer is our valentine p. 25 R. Kelly is not our valentine p. 28 Can an undead psycho headline a blockbuster? p. 29

Dommes and Moms!

Swingers and Singles!

Craigslist Love!

And Sex with Thom Tillis!

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N

WHAT WE LEARNED THIS WEEK | RALEIGH VOL. 33, NO. 6

6

ed ue

DEPARTMENTS

6 Obamacare criticisms are “a great example of the massive and complex interconnectivity of causation.”

6 Triangulator

8 Cary already has twenty-six grocery stores. More are on the way.

8 News

11 Wake County will probably need to raise taxes to fund new schools.

11 Citizen

14 With swingers, there’s foreplay but not seduction. Everyone knows why you’re there.

15 The hardest part of dating with herpes is knowing when to tell.

25 The best parts of R. Kelly’s catalog combine big hooks, celestial singing chops, and intense sexual energy.

29 Deadpool comics writer Daniel Way thinks the movie hits the bullseye.

31 The Lion King’s puppetry is the biggest challenge for its dancers.

SIGN UP NOW FOR THE INDY’S

26 Music 29 Culture 32 What To Do This Week

23 Sugar-free caramel can actually be good.

Cooper—who declined to give his first name—moves kegs around Big Boss (see page 25). PHOTO BY JEREMY M. LANGE

12 The Sex Issue 23 Food

35 Music Calendar 40 Arts/Film Calendar 45 Soft Return

NEXT WEEK: THE SNITCH On the Cover: ILLUSTRATION BY CHRISTOPHER WILLIAMS AND SKILLET GILMORE

Coming February 17th

To reserve your ad space contact your ad rep or rgierisch@indyweek.com

ON S?

our or om

m INDYweek.com | 2.10.16 | 3

Raleigh Cary Durham Chapel Hill

COMING UP NEXT

PUBLISHER Susan Harper FEB

TUE

22 The Ghost of Montpellier Meets

EDITORIAL EDITOR IN CHIEF Jeffrey C. Billman, jbillman@indyweek.com MANAGING+MUSIC EDITOR Grayson Haver Currin, gcurrin@indyweek.com ARTS & CULTURE EDITOR Brian Howe, bhowe@ indyweek.com STAFF WRITERS Danny Hooley, David Hudnall, Jane Porter ASSOCIATE EDITOR Allison Hussey, ahussey@indyweek.com COPY EDITOR David Klein OPINION Bob Geary THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS Paul Blest, Tina Haver Currin, Spencer Griffith, Corbie Hill, Emma Laperruque, Jordan Lawrence, Craig D. Lindsey, Jill Warren Lucas, Sayaka Matsuoka, Glenn McDonald, Neil Morris, Bryan C. Reed, V. Cullum Rogers, David A. Ross, Dan Schram, Zack Smith, Eric Tullis, Chris Vitiello, Patrick Wall, Iza Wojciechowska

TUE

29 An Evening with Garrison Keillor

ART+DESIGN

THU & FRI

Throw Me on the Burnpile and

18 & 19 Light Me Up –Lucy Alibar SAT

20 The Count Basie Orchestra

with Diane Schuur and New York Voices

TUE & WED

Alvin Ailey American

23 & 24 Dance Theater THU

25 The Knights with Gil Shaham, violin

SUN

28 Swimming in Dark Waters:

MAR

FEB

FRI

APR

28

Other Voices of the American Experience featuring Rhiannon Giddens, Bhi Bhiman and Leyla McCalla

4 Fred Hersch and Julian Lage

the Samurai – Trajal Harrell

SAT

9 Gabriel Kahane and Timo Andres

FRI & SAT

Lil Buck @ Chapel Hill

15 & 16 A Jookin’ Jam Session SUN 17

SWIMMING IN DARK WATERS

FRI & SAT

FEATURING RHIANNON GIDDENS

“Rhiannon Giddens belongs to an era when music was not something to be sold but something from the soul.” - Jeff Tamarkin, All Music Guide

Abigail Washburn and Friends Martha Graham

22 & 23 Dance Company

La Verità 27 & 28 Compagnia Finzi Pasca

WED & THU

STAY TUNED! New season Announcement Coming in May!

PRODUCTION MANAGER

Skillet Gilmore, sgilmore@indyweek.com ART DIRECTOR Maxine Mills, mmills@indyweek.com GRAPHIC DESIGNER Christopher Williams, cwilliams@indyweek.com STAFF PHOTOGRAPHERS Alex Boerner aboerner@indyweek.com, Jeremy M. Lange, jlange@indyweek.com

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WWW.INDYWEEK.COM

FEB

23/24

Alvin Ailey American dance company

“Unbelievable. Go See Ailey.

It’s change-Your-LifeGood.” - NBC’s Today Show

FEB

MAR

4

25

The Knights with Gil shaham, VIOLIN

“Shaham has emerged as a Beacon...Of Collaborative Spirit.” - The New York Times

Fred Hersch, piano & Julian Lage, GUITAR

“Singular among the trailblazers of their art.”

- The New York Times

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backtalk

Snap Judgments

Ryan Johnson, BJ Barham, and Phil Cook take a break between takes on Barham’s new solo record, Rockingham. Check out a slideshow at INDYweek.com/blogs/music. PHOTO BY JEREMY M, LANGE

Lots of reaction this week to our fancy-pants redesign: “Snap judgment on the new @indyweek look/feel/layout: I like it,” tweeted @MaroonedChris. “Pretty excited about @indyweek’s redesign, but the best part is the style change to include Oxford commas. Thank god,” added @izza_woj.

Similarly, @bridgcd tweeted: “Arguably the best part of the @indyweek redesign is their usage of the serial/Oxford comma. THUMBS WAY UP.” Most—though not all—of the feedback we’ve received has been positive. Chris Tiffany posted on INDYweek.com that we’ve picked a “TERRIBLE thin grey [sic] print font; change from legible to practically illegible. … Penny-wise and pound foolish. You want to save money on ink? Easy: quit publishing the INDY.” For the record, the new font saves us nothing.

On to the actual content: Snookie Sroczynski writes that our story on the harassment trans people have reported at RDU [“What’s Going On with Your Crotch?” Feb. 3] “failed to expose the ignorant and horrific behavior thrust upon Dolores Chandler..”

On our website, Richelle Eileen Brake offers this suggestion: “I have what is called an ‘OUCH CARD.’ On our card it says: ‘If presented with this card you have used the Improper Gender, Title, or Pronoun. If you have been providing a service, your gratuity has been eliminated.’ Misgendering is a form of BULLYING!” Meanwhile, in a series of tweets, @misssysiphe takes us to task: “Dear @indyweek, pls get over self-congratulatory pretense that the singular ‘they’ is in any way difficult.

Don’t tell me your writers aren’t long practiced at blind/ unknown gender singular ‘they.’ … This myth of pronoun difficulty is cutely self-creating/-justifying/-sustaining, but nonsensical. Get a current stylebook.”

Want to see your name in bold? Email us at backtalk @indyweek.com.

INDYweek.com | 2.10.16 | 5

+THE MAN WHO KICKED THE HORNET’S NEST

Since the Affordable Care Act’s inception, conservatives have been predicting its imminent demise. The direst prognostications (recession! job losses! tyranny!) have gone bellyup, but it’s true that significantly fewer people enrolled in the exchanges than expected. It’s also true that insurance costs have risen (though at a lower rate than before). And so Republicans remain convinced that, any minute now, the ACA will collapse under the weight of its own awfulness.

Last week, Wayne Goodwin, North Carolina’s Democratic insurance commissioner, gift-wrapped them a present.

In a letter to Sylvia Burwell, the secretary of health and human services, Goodwin argued that Obamacare is driving up costs and running some insurance companies out of the market. “I am concerned with the impacts of insurer withdrawals and consolidations on the health insurance markets in North Carolina,” he wrote. “According to my staff, North Carolina had 29 insurers offering individual health insurance coverage prior to the ACA. For 2016, North Carolina has only 8 insurers who still issue such coverage.”

Based on anecdotal evidence, he continued, these companies “have left health insurance markets in droves due to the increased burdens of the ACA.” Blue Cross Blue Shield of North Carolina, he noted, lost $123 million in 2014. “I am highly concerned insurers may withdraw from the individual market in North Carolina altogether. That is unacceptable.”

Critics pounced. “Goodwin: Obamacare Driving Insurers from N.C.,” the Carolina Journal crowed. BCBSNC CEO Brad Wilson wrote in a letter to The News & Observer, “It’s clear that the ACA requires changes if it is to become a sustainable business model. No business can sustain losses like this.”

ACA defenders, in turn, accused Goodwin of being “alarmist.” Also, they said, context is needed: “This is not Goodwin’s broad thoughts on health reform,” Adam Linker posted on the N.C. Policy Watch blog. “Instead it’s addressing immediate problems he sees for the stability of insurance companies and agents.”

If that’s the case, then what are Goodwin’s broad thoughts on health reform?

“I do favor the ACA,” Goodwin told the INDY last week.

He was plainly annoyed at the firestorm his letter set off. He sent it, he says, because Burwell asked for an update. And the headlines—the ACA is driving away insurers!, etc.—led people to “[misinterpret] what I wrote.”

“This is a great example of the massive and complex interconnectivity of causation,” he says.

What he means is that many things that are creating this 6 | 2.10.16 | INDYweek.com

instability, and many of them are self-inflicted wounds. The state’s failure to expand Medicaid—which leaves an estimated half-million people without health insurance, even as more than 600,000 have signed up for plans through the ACA—has driven poorer and sicker people to the exchange.

“That’s why Blue Cross is taking it on the chin,” he says.

“These are folks the company is paying greater costs for the coverage. Without Medicaid expansion you’ll see more of this problem.”

And when the legislature reversed the state’s plan to establish its own insurance market, instead relying on the more cumbersome federal exchange, that both scared some insurers out of the market and limited Goodwin’s ability to rein in health insurers the way he can car or home insurers. So he can’t, for example, require insurance companies to phase in higher premiums over a period of several years—which is why you’re seeing double-digit increases.

He also faults a portion of the ACA itself. Congress promised insurers that, for the first few years, they would be reimbursed for losses. That created a perverse incentive for insurers to underprice their plans and gain market share. But Congress didn’t allocate enough funds to actually pay all of those losses. So when the shortfall came, insurers demanded steep rate hikes and threatened to abandon the exchange.

Congress could fix that, Goodwin adds, but it probably won’t.

“The gamesmanship needs to be ended,” Goodw says. “They need to look at what’s happening in the real world. They’ve lost the art of compromise. All these things fit together.”

+SYMBOLISM COUNTS

One could argue, quite convincingly, that federal immigration policy is beyond the scope of Durham’s Human Relations Commission. But the story of nineteen-year-old Riverside High School student Wildin David Guillen Acosta has brought a sense of helplessness.

Wildin crossed the U.S. border in 2014, seeking to escape gang violence in Honduras. After attending one immigration court date, he was told by his lawyer that he stood little chance of asylum and would likely be ordered to leave the country. He didn’t return to court and was subsequently issued a deportation notice. In late January, Immigration and Customs Enforcement agents arrested Wildin on his way to class. He’s currently being detained, awaiting deportation.

The HRC exists to address issues in underrepresented communities in Durham, and its monthly meeting, held last Monday, seemed a natural venue to voice concerns about ICE raids in the area.

Through a translator, Wildin’s mother told his story to the commission and the media-heavy audience. A resolution

ILLUSTRATIONS BY CHRISTOPHER WILLIAMS

triangulator

in support of immigrant youth in Durham had been drawn up: “We, the Durham Human Relations Commission, urge suspension of ICE raids in our local community and for the release of currently detained Durham youth. It has generated enormous fear among our immigrant and Latino community and has also disrupted their school attendance.”

A simple—and largely symbolic—statement of support.

If only it were that easy. Commissioners Dick Ford and Ricky Hart argued that the resolution was outside the purview of the HRC, touching off a forty-five-minute discussion.

It was suggested that the commission hold off on a vote until the next meeting. Then it was argued that Wildin’s situation was too urgent to wait. Finally, HRC chairman Phil Seib asked an ad hoc committee to go out in the hall and draft an amended resolution.

After a presentation detailing a new Bull City Connector bus route—during which Hart revealed, via his line of questioning, that he lacked a basic understanding of how public transportation works in Durham—the new resolution was read aloud by commissioner Girija Mahajan. Ford then asked if he could read an alternate version he had prepared. His had something about “Obama’s raids” in it. Mahajan shook her head: nope.

A vote was taken. The resolution passed 9–2. The next day, the Herald-Sun got a sic-laden follow-up email from Hart: “So now the commission condones and support [sic] crimi-

TL;DR: THE INDY’S QUALITY-OF-LIFE METER nal mischievous behavior. We are supporting a person that has spit in the face of the American justice system if he was schedule [sic] to go before a [sic] immigration court.”

The resolution wasn’t quite so controversial when it appeared before the city council a few days later. After hearing the statement’s language, Mayor Pro Tem Cora Cole-McFadden asked, “Where does this go from us, since we have no authority over ICE?” “It’s just a public statement of support,” replied councilman Don Moffitt, who also sits on the HRC. Cole-McFadden suggested sending the statement to local federal officials, including U.S. Representatives G.K. Butterfield and David Price. “I think that’s a reasonable suggestion,” Moffitt said.

“Let’s endorse the statement and let [the HRC] decide what they want to do with it,” Mayor Bill Bell said.

The motion passed unanimously.

Wildin is still awaiting deportation.

+STANDARDS OF CARE

Since 2004, Durham County has contracted with a Tennesseebased company called Correct Care Solutions to provide medical services at its jail. If an investigation faults CCS for the January 19 death of twenty-nine-year-old inmate Matthew McCain, whose family alleges that he received insufficient care for diabetes and epilepsy, the company may soon be headed to court—and it wouldn’t be the first time.

As the N&O reported last month, CCS has been sued by the family of jail inmate Dino Vann Nixon, a fifty-five-year-old who was awaiting trial for heroin trafficking when he died in August 2013. His family alleges that he was denied several prescription drugs, including Xanax, during that time.

PERIPHERAL VISIONS | V.C. ROGERS

That’s not all. Jennifer McCormack was thirty-one, pregnant, and dealing with opioid addiction in 2014, when she suffered a heart attack in her cell at the Forsyth jail, after several episodes of incontinence and loss of balance. She died five days later in a hospital from dehydration. Her family is also suing CCS. They accuse the company of denying McCormack the Xanax she was prescribed. According to Triad City Beat, experts advise against the abrupt discontinuation of opioids for pregnant women.

There are others. The family of fifty-six-year-old Donna Pillard in Lancaster County, Nebraska, settled with CCS in 2014 over her death three years earlier. Pillard, who had undergone triple-bypass surgery, had complained that she wasn’t receiving medication in jail.

Last year, two nurses employed by CCS were cited for “gross incompetence” in the 2013 death of inmate Rashod McNulty at the Westchester County jail in New York.

Perhaps the most disturbing story is that of David Stojcevski. The thirty-two-year-old Michigan man died in the Macomb County jail, under the care of CCS, from acute withdrawal from benzodiazepines in 2014. His agonizing deterioration over sixteen days was captured on twenty-four-hour jail video, which drew the attention of both the FBI and the ACLU. Last June, the Durham County Board of Commissioners renewed CCS’s annual contract for $3.35 million. When contacted by the INDY last week, commissioner Ellen Reckhow, who was on the board when the original contract was awarded, said these lawsuits were news to her.

A CCS spokesperson could not be reached by press time. triangulator@indyweek.com

-3

The Carolina Panthers lose the Super Bowl—badly. The devil puts away his ice skates. “Maybe next year,” he sighs.

+2

Citing racial gerrymandering, a federal court orders the General Assembly to redraw two North Carolina congressional districts. The state promptly appeals.

“Under God, our vindicator,” the appeal proclaims, “let our Southern racism stand!”

-2

A 58-year-old runner dies during Raleigh’s Krispy Kreme Challenge. A competitor quietly cancels its Dunkin’ Donuts Decathlon.

+3

Amazon launches its Prime Now delivery service in Raleigh. Mebane will keep its existing Prime Eventually service.

-2

To save money, the State Health Plan proposes increasing state workers’ health care contributions and eliminating coverage for spouses. Up next: eliminating spouses. Come on, people, let’s think out of the box here!

0

The Board of Elections puts out an ad trying to explain the state’s confusing voter-ID requirements. Watch it in slow motion to catch a subliminal message: “Don’t be black and poor.”

-2

The Carolina Theatre may soon be $1.6 million in the red. Related: plans for a weeklong Taylor Kitsch Film Series have been scrapped.

+4

The Pinhook in Durham raises enough money to pay off its tax bill. Encouraged, owners start a new crowdfunding campaign for chrome Jet Skis.

-2

UNC-Chapel Hill gives nine administrators raises. All of them are Margaret Spellings.

This week’s report by Jeffrey C. Billman, Danny Hooley, and David Hudnall.

This week’s total: -2 Year to date: -1 INDYweek.com | 2.10.16 | 7

indynews

The Grocery Store Invasion CARY ALREADY HAS 26 OF THEM. PUBLIX WANTS TO MAKE IT 27.

BY JANE PORTER A new shopping center has been proposed for property adjacent to Matt Schwabel's home. When he moved in, he was told that only residential development could occur there. PHOTO BY JEREMY M. LANGE

Matt Schwabel knew two years ago when he bought his home that the woods adjacent to the property, in the Arlington Park subdivision in northwest Cary, could be developed some day. The land is zoned as residential in the town’s comprehensive plan. So he expected more single-family homes or townhouses.

“I thought I might have backyard neighbors,” Schwabel says.

“I can live with that. You don’t think, ‘Oh, they’re going to rezone that commercial, I’m going to have shops back there.’”

But that’s what will happen if the town approves a proposal to build a 150,000-square-foot, Publix-anchored shopping center on the twenty-two-acre site. Doing so would require amending Cary’s comprehensive plan—something the town’s planning board agreed to in January—and then rezoning the land to allow for commercial retail. A town council vote is scheduled for February 25.

In many ways, the Arlington residents’ situation is typical of the growing pains neighborhoods face all over Wake County. There’s an immediate comparison to be made with the failed rezoning of a Publix-anchored shopping center in North Raleigh, as well as with a recent decision by the Apex 8 | 2.10.16 | INDYweek.com

Town Council not to rezone a residential property to allow for a Lidl. As in those controversies, residents here are worried about how their quality of life will be affected by bright lights, noise, long operating hours, and truck deliveries—and how the shopping center will affect their home values.

But this case is different because the applicant—the Lewter family, which has owned the land for more than a hundred years—wants to change Cary’s official land-use map, which has been in place since 2002, a heavier lift than a simple rezoning.

“There are legal requirements that the town council adopted to evaluate whether they can change the comprehensive plan,” says Ben Kuhn, an attorney who is working on behalf of Schwabel and other residents. “One requirement is demonstrating that they need more grocery-anchored shopping centers in Cary.”

That seems a difficult argument to make.

“Publix is great, but this is the wrong location, and it’s not suitable based on the comprehensive plan,” Kuhn continues. “You have places like southeast Raleigh that have been described as food deserts; Cary is a veritable food oasis.”

Indeed, the town of 155,000 already has twenty-six grocery stores, including a Harris Teeter a half mile from the proposed Publix site and a planned Whole Foods nearby. In addition, Publix owns another piece of property less than three miles away. (Big grocery chains are attracted to the town because its families are relatively well off and have lots of kids.)

The Florida-based Sembler Company, which wants to acquire the Lewter property, argues that northwest Cary is underserved by retail, that there are plenty of places in Cary where retail centers sit adjacent to neighborhoods, and that the rezoning meets the town’s goal of creating more walkable retail centers. Spokeswoman Amy Spoor says Sembler hosted three neighborhood meetings; residents’ feedback led to some changes.

Still, many neighbors aren’t convinced. They claim town council members have ignored them or been indifferent to their concerns, even though a petition is circulating with 299 signatures in opposition.

“It’s this whole condescending ‘Oh well, we know what’s best and you’ll thank us later,’” says resident Martine Goldman. “It’s very patronizing. If you’re trying to do something for us as residents of this community and citizens of this town, then you should take into account how we feel.”

Town council member Don Frantz, however, paints the aggrieved residents as a distinct, though loud, minority. He told the INDY in an email that he had “no interest whatsoever in helping any media outlet present a one-sided story that further divides our community and pits neighbor against neighbor. There are as many folks—if not more—in support of this proposal than those who oppose it.” (Other council members have not responded to the INDY’s request for an interview.)

If the council signs off later this month, opponents argue, that could indicate how Cary will deal with the town’s many other large, undeveloped tracts of land.

“In the past, commercial developments came first and then the houses came second,” resident Peter James told the planning board last month. “That’s perfectly OK, but this is almost the first time we’ve had the residential first, and then a change in the adjacent area to be commercial. That’s a precedent that will be back for the future—and will create uncertainty.” l jporter@indyweek.com

Mosaic Church, 2031 West Club Blvd, Durham WILLIAM SHAKESPEARE’S

HAMLET

FEBRUARY 18TH AND 19TH AT 7PM. 20TH AT 1PM AND 7PM Buy tickets at Enoriverplayers.com

GLAD Study

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

Transcranial current stimulation is a technique that delivers a very weak current to the scalp. Treatment has been well tolerated with no serious side-effects reported. This intervention is aimed at restoring normal brain activity and function which may reduce mood symptoms experienced with Major Depressive Disorder. We are looking for individuals between the ages of 18 and 65, diagnosed with Major Depressive Disorder currently not taking benzodiazepines or antiepileptic drugs. You can earn a total of $280 for completing this study. If you are interested in learning more, contact our study coordinator at: courtney_lugo@med.unc.edu Or call us at (919)962-5271 INDYweek.com | 2.10.16 | 9

news Camera Obscura

THE DURHAM POLICE DEPARTMENT’S BODY-CAM POLICY HAS YET TO WIN OVER THE CITY COUNCIL

BY DAVID HUDNALL

Body-camera policy is always a tricky balancing act of protecting privacy and holding cops accountable. You want the public to have reasonable access to recordings of most police interactions with the public, but not of things like strip searches or conversations with confidential informants.

There’s little disagreement that the Durham Police Department’s current proposal—draft policy number nine, deputy police chief Anthony Marsh told the city council last week—is responsive to privacy concerns.

The accountability part is another matter. The DPD still hasn’t clarified the path by which the public can actually see the foot-

age the cameras capture—and the cops want more restrictions than some council members seem inclined to give.

At the Thursday work session, newly elected councilman Charlie Reece, who was part of the push for police reform that ultimately led to body cameras, paraphrased concerns he had expressed to Marsh in an email the day before: “The primary reason that our community supports police-worn body cameras is to ensure police accountability where there are questions about the use of force by a DPD officer.”

Body cameras were on the agenda because of a simple contract purchase. The DPD has

THE ENO RIVER ASSOCIATION AND HONORARY CO-CHAIRS: Chuck Davis - African American Dance Ensemble David Price - US House of Representatives Katherine Skinner - N.C. Chapter of the Nature Conservancy Orrin Pilkey - Duke Nicholas School for the Environment Paula Alexander - Burt’s Bees with Master of Ceremonies Bill Leslie - WRAL TV INVITE YOU TO:

ENO

50th Celebration!

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Dinner, dancing, auction and music by the Wusses info @ www.enoriver.org 10 | 2.10.16 | INDYweek.com

identified the vendor it wants to buy from— a company called VieVu—and is asking the council to sign off on spending $366,000. (A vote is scheduled for February 15.) But Reece said he wouldn’t support the purchase with the policy in its current shape.

Draft nine, however, is nonetheless an improvement over draft one, which declared that the recordings constituted “records of a criminal investigation and/or personnel

tain period of time, become available to the public, cases involving juveniles and ongoing criminal investigations excepted.

At the Thursday meeting, Marsh and interim police chief Larry Smith were prepared for the criticism. Smith brought up the example of a person who acts out while being arrested for a DUI. “It’s often not a reflection of who that person really is, but it’d [the video] be out there online for five, ten years,”

“Any video where there’s use of force by an officer should be automatically flagged.” records and are not public records, pursuant to state statutes.” As the INDY reported last month [“No Watching the Watchers,” Jan. 13], these are hardly airtight justifications for refusing to release footage. The personnelrecords argument is wide open for a judicial challenge, and classifying all body-cam footage as part of a criminal investigation is preposterously broad. A new sentence has been added to the latest draft: “Inspection or review may be allowed at the discretion of the Chief of Police, the City Manager, and/or City Council who may elect to release such records in response to a compelling public interest.”

“While we appreciate the new language, we’d like to see more details regarding how that process would work, and how ‘compelling government interest’ is defined,” says Susanna Birdsong, policy counsel for the North Carolina ACLU. Councilwoman Jillian Johnson says she’ll also oppose the purchase until the DPD firms up the accountability issue. The process for ordinary citizens to access footage is too onerous as currently laid out, she says. “I think any video where there’s use of force by an officer should be automatically flagged.”

In this scenario, Reece says, officers uploading body-cam footage after their shift would be required to check a box on encounters where force was used. Any video that falls into this category would, within a cer-

Smith said. He added that the visual optics of physical altercations could distort reality. “Now matter how justified the officer’s behavior may be, it just does not look good,” he said. “And I worry about that.”

Marsh argued that there were already several mechanisms in place to prevent malfeasance. Officers can’t delete, alter, or redact a video, and they’re prohibited from obtaining personal copies for any reason. Videos are provided to the district attorney’s office via nonsworn staff. And officers who don’t record encounters will face disciplinary actions.

“The legislature has built a very balanced pathway,” Marsh said. “Go ask for a court order. If you get it, we give [the video] to you.

If it’s a large enough issue, the council can direct the chief to release it. A lot of these things being requested already exist.”

Councilman Steve Schewel says he, too, won’t support the contract unless the administration builds in more police accountability, but he expects the DPD to sort things out before the council votes next week.

“We’ve been meeting with them regularly, and my experience is that they’re listening,” he says. “They’re doing a good job. But I think the main thing here is that we need the presumption that these videos are public record unless there’s a good reason otherwise, and not the other way around.” l dhudnall@indyweek.com

citizen

Bonded Out

IF WAKE COMMISSIONERS THINK THEY CAN SKIP THE VOTERS ON SCHOOL FUNDING, THEY’RE SORELY MISTAKEN

BY BOB GEARY

I support the half-cent sales tax for transit in Wake County. That’s one reason it would be a mistake if the Wake County commissioners decide against taking a school-bond issue to the voters this year in hopes of bolstering the transit tax.

Let me anticipate the attack ad: “Wake voters!” it’ll say. “The Democrat commissioners are so determined to waste your tax money on buses that they’re willing to shortchange the public school system to do it! What do you think we need? New schools for our children?

Or more empty buses?”

No, it wouldn’t be a fair campaign. Art Pope’s Republicans don’t play fair.

Here’s the problem. Wake needs mass transit. Our explosive growth requires it. Wake also needs more schools. Ditto the growth, projected to bring 21,000 additional students into the schools over the next seven years.

When Republicans controlled the county board, they blocked a transit vote and dragged their feet on school construction.

Democrats won in 2014 on a protransit, proschools platform. They’re putting the transit tax on the ballot in November.

The question now is whether they’ll postpone a much-needed school-bond referendum for two years—the next possible date is 2018—believing that if the public votes on both, the school bond could undercut the transit tax.

That’s a misguided belief, in my opinion.

Putting the transit tax ahead of schools is pitting one against the other, and I can’t see how transit comes out the winner. The schools won’t win either, of course.

Misguided or not, a majority of the commissioners, including chairman James West, seemed to be headed in the wrong direction last week when they met in joint session with the Wake Board of Education.

The good news is, there’s time to change course, as two commissioners, Jessica Holmes and Sig Hutchinson, are urging their colleagues to do.

“This isn’t about schools or transit,” Hutchinson said when I talked to him a few

days later. “It’s about building the twentyfirst-century community we want to see, with schools and transit.”

Holmes predicts that voters, if asked, will support both.

Here’s where it gets complicated. The other commissioners aren’t saying we don’t need more schools. Nor are they saying we shouldn’t borrow money to pay for them. But instead of taking a school-bond issue to a referendum, they’re considering borrowing the money without voter approval.

None of the commissioners wanted to get up and pitch that idea last week, so they left it to deputy county manager Johnna Rogers to explain that the county could issue limitedobligation bonds instead of general-obligation bonds, which have to go on the ballot.

There’s nothing “limited” about the county needing to repay money it borrows with those bonds, Rogers told the boards. They’d be secured with liens on the schools. The only thing limited would be the voters. And the interest rates on the limited bonds would be slightly higher than on general bonds.

The difference in interest is insignificant, though, compared to the noxious precedent the commissioners would set by deciding that whenever it’s inconvenient, they can dispense with the public. To put it mildly, this is not the way to keep the voters engaged with what the school system needs or is doing. Not to mention that it may get the commissioners booted out at the next election.

But wait! The plan Rogers floated called for using limited bonds for two years only, with the county reverting to the referendum method in 2018 and every two years thereafter. That’s supposed to make it OK? To me, it underscores that the limited bonds are a scheme, a quick fix that should be reserved for an emergency.

There’s no emergency here. Rather, there’s a continuing need to build new schools and renovate old ones, and the process depends—as school board member Bill Fletcher said—on a continuing tradition in Wake that, when the public is consulted,

it says yes. “In our community,” Fletcher said, “school-bond issues are a habit and are almost always passed.”

Don’t mess with tradition, Fletcher was saying.

There’s another wrinkle. The plan for the limited bonds hinges on the county issuing no more debt over the next two years than it can repay without a tax increase. That’s not a legal prerequisite; however, incurring debt without voter approval and raising taxes is not a course the Democrats are likely to favor.

So here’s the math. Projected schoolbuilding needs for seven years: $2.5 billion, or an average of $358 million a year, not

including inflation. County debt capacity without a tax increase: in 2017, $160 million; in 2018, $280 million.

Not enough, in other words, even if all the available capacity is spent on public schools and not, say, on libraries or Wake Tech.

School board members—all Democrats save for Fletcher—weren’t anxious to tangle openly with the commissioners just yet. But several worried aloud that, as Jim Martin put it, “the magnitude” of a construction program funded with limited bonds will be insufficient.

“I will keep pushing,” Martin promised. “We need to be a community of and, not or.” l rjgeary@mac.com

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Good Golly, Miss Molly

ADULT BABIES, BUBBLE BATHS, AND POWER DYNAMICS: THE ADVENTURES OF A TRIANGLE DOMME

BY DANNY HOOLEY

THAT’S A PADDLIN’: Miss Molly will tan your ass, if you’re so inclined.

PHOTO BY JEREMY M. LANGE

S

earch backpage.com for “NC dommes,” and before long, you’ll find Molly Lioness, aka Miss Molly, a thirty-one-year-old New Jersey native who divides her time and services between the Triangle and New York’s Westchester County.

Her ads stand out from the rest partly due to a mischievous smile. In one photo, she sports a nurse’s costume, holds an enema bag, and grins. In a seven-second video, the smile entices potential “guests” while she taps a wooden spoon against her palm. Miss Molly doesn’t want to be scary. She wants to be fun.

The INDY recently caught up with Molly, who’s setting up a more permanent home in North Carolina after

12 | 2.10.16 | INDYweek.com

working here for a decade. She explained the crucial differences between professional dominatrices and “former escorts,” how she became the Triangle’s only provider of ABDL (keep reading), why the guy who wanted to dress her up as his stepdaughter creeped her out, and how being a domme keeps her sane.

INDY: I’ve noticed in the Backpage ads that dommes tend to move around the country frequently. Why is that?

MISS MOLLY: Honestly, a lot of it is just that there’s not necessarily the most competent dommes everywhere.

Those of us who have the ability to provide really good

services tend to travel, because you’ll be going somewhere for a weekend. And that means five grand, easily.

You said “competent dommes.” Are there a lot of people out there who just think they can get some toys from Adam & Eve and start a domme business?

Ohhhhh, yeah. There’s three types of dommes: There’s competent ones, who genuinely love what they do and know what they’re doing. Then you have escorts that don’t want to be escorts anymore, and they have no idea what they’re doing, no safety techniques. And then you have man-hating sadists who think they can just beat people, which is really, really not what BDSM is about.

I’ve seen other interviews with dommes in which they talk about apprenticeships. Did you do that?

I did. I was actually trained in New Zealand when I was eighteen. It was a gift given to me by a very close friend, my graduation present. And I was trained, initially, as a professional submissive, and then as a domme.

How did you strike out on your own?

I actually started just by doing fetish videos with a friend of mine who was already in the business.

Basically, through those videos, I had requests from people asking for private sessions. And so I started doing that, and it just spawned into something that I really, really enjoy doing. It kind of keeps me sane now. If I didn’t get it in, I would be cranky and pissy all the time.

“It’s easy to go to your wife after twenty years and say, you know, ‘Sweetie, I don’t think we’re having enough sex.’ It’s a very different conversation than going to your wife and saying, ‘Oh, and by the way, when you’re not home, I wear your clothes and play with your dildos.’”

What is “ABDL”?

ABDL is “adult babies or diaper lovers.” And it can be a combination of both, or it could be just one or the other. Some people like diapers for the toilettraining aspect of it, as opposed to regression or age play. Some like it combined.

What’s your favorite activity?

I like watersports a lot. Strap-on play is definitely up there on my list. In general, I like the introductory courses. It’s just fun for me to watch people the first time, just doing something exploratory.

What types of roles do you find yourself playing the most?

A lot of maternal, teacher, anything where there’s a power dynamic—boss and employee, or “I got caught.” It’s a really big role-play. It could be, “I got caught going through my sister’s underwear drawer. She’s gonna punish me.” People love to get caught.

What male personality type is most likely to visit a dominatrix?

Typically, I find that people who have very high-powered jobs, very demanding schedules, tend to be more drawn to dommes. They have to make decisions all day long. They have to be in control constantly in their lives. And it is truly an escape to give up that control.

PHOTO BY JEREMY M. LANGE

What is the most common request you get?

Foot fetishes are definitely huge. Toy play is a really, really big kink. In North Carolina, that’s fine. In some states, you can’t advertise that. Crossdressing and sissy training is big. In this area, there’s a huge community of ABDL, which I’m super happy about. I’m the only provider in this area for that.

clothes from my stepdaughter for you to wear.”

That just creeped me out to a level that I didn’t need to be at. ABDL is far less sexual. With the regression, it’s much more maternal. It’s literally, like, cuddling, a bubble bath, and things of that nature. I’m huge on hygiene. I don’t like stinky people. That is a huge issue that, I think, anyone in the sex industry deals with.

Do you suspect that any of your clients are members of the North Carolina General Assembly?

I would say [that type is] fairly common. I find a lot of military is very common. And yes, anything with judges, lawyers, police officers. Sometimes, too, a lot of medical professionals are drawn to the ABDL. It’s a situation where they’re putting out all of this care for other people 24-7.

So letting go and letting someone else care for you kind of makes up for that.

It actually sounds like there’s a lot of compassion involved in what you do.

There absolutely is. I have clients that I’ve seen for over a decade. And they come over, and it’s like, “Hey, how are the kids doing?” There’s definitely, a very cordial, very caring aspect.

In your ads, it says at the end of your list of services: “Not here? Just ask!” But there’s gotta be limits, right?

I definitely do have limits. I don’t do anything involving blood. Nothing involving implied children. I had a guest once who asked me to play his stepdaughter, and I just wasn’t into it. He was like, “Oh, I could bring over some

Do you get a feeling that many of your clients are married?

There are some that are obviously married. It’s easy to go to your wife after twenty years and say, you know, “Sweetie, I don’t think we’re having enough sex.” It’s a very different conversation going to your wife and saying, “Oh, and by the way, when you’re not home, I wear your clothes and play with your dildos.” And so, for a lot of people, it’s very difficult to bring up something like that.

They’re terrified that they’re gonna be judged, even by someone who loves them. Kink is one of those things that’s just in the back of your head.

You need, sometimes, to get it out.

I guess it could be easily rationalized that it’s not “cheating.”

Certainly. Most dommes will not provide any sexual services. I always tell people, “You are welcome to get off whenever you feel like getting off. Do your own thing, but I’m not gonna have anything to do with it.” This is something outside of sex itself.

Do you get couples?

I definitely do. Either the female wants to learn how to be dominant, or the male wants to learn how to be dominant.

It’s a little miniclassroom. I’ve had women come in, and their boyfriends said ahead of time, “She’s not going to do anything at all. She’s just going to sit there and watch.” By the end, she has him tied down and blindfolded, and she’s saying, “Take him in the bathroom and piss on him!”

What’s your favorite item in your playroom?

That’s hard. A lot of what I have down here [in North Carolina] are not my favorites. TSA is not very fond of me. So I don’t have a lot of my stuff. But hopefully, I can start to set up more of my fun stuff down here. I have a really, really cool mummification chamber. It’s like latex, with a little hole for their mouth, and there’s a big sheet that lifts up and then sucks the air out. It’s a really neat chamber.

That sounds intense.

It is really intense. I think your imagination is, hands down, your best toy. l dhooley@indyweek.com INDYweek.com | 1.27.16 | 13

T M

Not Hollywood Swinging

THE KNO

A TRIANGLE-AREA SWINGER RECOUNTS HER EXPERIENCES FROM HER PARTY TIME

N

AS TOLD TO GRAYSON HAVER CURRIN Is the Triangle swinger scene dead?

That’s what several people told me during the last two months, when I reached out to a few dozen anonymous contacts through Craigslist posts, message boards, and mutual friends.

If it wasn’t dead, one admitted, it was so small no one would run the risk of blowing cover by talking to a journalist.

But, on the condition of anonymity, one area veteran did agree to speak and to share not only the real details of oftenglamorized swinger parties but also to discuss the fulfillment one can find far beyond sex in such a club.

T

here are people who go into this with the Hollywood-fed idea that this is what all the cool kids do. They don’t typically last. I have seen people who came in the front door, looked around, and walked right back out. Everyone has a picture in their minds of what these encounters are like. It’s just usually not like that.

Mostly, the people are not movie stars. They’re ordinary folks.

It takes some intestinal fortitude, any time you’re opening yourself up and exposing the person you are and the things you like. You don’t want to be in a situation where you let people see this raw side of yourself and have them shut that down. In that way, the people that do this sort of thing are actually kinder than your average bar fling—the normal dance of boys and girl, if you will, in a lot of different spaces, like a bar.

There is a lot of attention paid to how rejection might be met. You’re all in this space together, and everyone understands that it is scary enough to put your heart out there.

Everyone is always very careful how “no” is said and when “no” is said. This is the one place where you can take the chance. If your boss is there when the door closes, you got nothing to worry about. The only people who are there are there for the same purpose.

The location will open an hour ahead of when doors close, let’s say at eight p.m. Most people will show up around seven thirty. Everybody knows that, when the door gets locked, if there is a knock, you put your clothes on.

You’re closing the door because what is going to happen is private. The people that have volunteered their homes for this don’t want to have open curtains and don’t want people to be parading back and forth in their birthday suits for

the neighbors to have anything to complain about.

At seven p.m., there is a room where there is already pornography going, but generally people will have a beer or a glass of wine and chat. At eight, the host will announce that the door is officially closed. The eight p.m. rule is not about socializing; it is about sex acts. No sex acts happen before the door is closed, but when the doors close, that doesn’t mean the socializing stops suddenly.

There are people who, as soon as the door closes, head off to one of the rooms because they’ve already done their whole dance—if you have been chatting with someone with the intention of them being the salad on the buffet, for instance. There is foreplay but not a lot of seduction.

Everyone knows why you’re there.

There is no required amount of time for you to stay. You can leave early, but not too early. It’s not fair for you to go, get your fill, and leave the party without enough people for it to continue.

Physiology allows women to have more than one partner in rapid succession, more than for men. This is one of the reasons why most parties don’t object to a slightly higher number of males. The males generally have two to five encounters, the females two to seven. The highest number I’ve seen is fifteen, because the girl was counting.

This is a place for experimentation, and this particular twentysomething wanted the whole gangbang thing.

You can have anything, from a group of people watching one couple on the bed or a female on a bed for forty-five minutes, taking several partners or two partners at a time.

There is what is called a puppy pile, where everyone just piles on. I should have written down the names of some of those mattresses. They had to be really sturdy.

For everybody, there has to be an emotional aspect.

What is the “opposite” of the emotional part of it? You have to be emotionally engaged to do this. People that tell you that this is purely recreational? Go play a damn game of tennis. I can’t recall doing the same thing twice, the same sex act with the same person. You have got to be able to open yourself up to experiences you haven’t had before or—if you have had them before—you’re giving them to someone who hasn’t. ● gcurrin@indyweek.com

first d the fut mome with th ually tr tion ha I’ve casual tizer a good, a ing of betwee Or m movie butter a soda is a no has he But is to s the firs close a breath have h to ruin need t this is tion w OK wi my vag looked would remem eyes fu you’ll l month if it wa Best public change from p tant, b ILLUSTRATION BY CHRIS WILLIAMS

14 | 2.10.16 | INDYweek.com

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THE HARDEST PART OF DATING WITH HERPES IS KNOWING WHEN TO TELL BY RYAN-ASHLEY ANDERSON

N

EW LOVE is supposed to be about anticipation, romance, and discovery. But after an amazing first date, instead of daydreaming about the future, I lie in bed wondering which moment I’m going to have to punctuate with the news that I have an incurable sexually transmitted infection. The conversation has to happen, but timing is everything.

I’ve thought about just slipping it in casually, somewhere between the appetizer and the salad: “These croutons are so good, and the wine’s got great legs. Speaking of legs, I have something interesting between mine …”

Or maybe during the trailers before a movie: “I’m so glad you like your popcorn butter layered, too. And you’ve got to have a soda. It’s such a rare treat, since caffeine is a no on the dietary list for someone who has herpes, like me.”

But what I really want is to say this, just before the first kiss, when they’re close and I can feel their breath against my skin: “I have herpes, and I’m sorry to ruin the moment, but I need to know right now if this is going to be a situation where you say you’re OK with it but then you’re afraid to touch my vagina because you might have overlooked a paper cut on your hand. That would just break my heart, and I’d rather remember you this way, looking into my eyes full of love and naïveté, than the way you’ll look when you break up with me six months from now, and I’ll always wonder if it was because of me or that.”

Best-case scenario: they’re either in public health or also have herpes. It doesn’t change the mechanics, because protection from pregnancy and other STIs is important, but it’s exciting to be able to relax,

knowing my partner doesn’t think that having herpes makes me a whore.

The truth is, 90 percent of Americans have been exposed to herpes, and one in six have some strain of it. Many don’t even know they have it. But hesitation and fear are as real as statistics, and there’s no sugarcoating that herpes is painful, and that having it leaves you more vulnerable to other STIs. Without medication, I’ve avoided symptoms for almost two years.

But when they’re there, I can hardly walk, my body aching nauseatingly from the inside out.

Still, herpes has forced me to have honest conversations about sexual health earlier—conversations that leave me open to judgment and rejection. I just don’t go on dates with people I think will disrespect me, trivialize my experience, or stigmatize me as dirty or damaged.

That’s been important for me as a person who has experienced a lot of sexual trauma that, for a long time, left me unable to insist a partner use protection or get tested.

Herpes sucks, but it hasn’t slowed down my sex life at all. As for when to tell, I’ve fallen comfortably into the second-to-fourth-date range—long enough for me to know if the person can be trusted with sensitive information, and long enough for them to know if they like me enough to keep trucking. I’ve found that right in the middle of a heavy make-out session is perfect—something like this: “You’re such a great kisser. Our chemistry is unbelievable. Hey, you know what else is unbelievable? I have herpes! But you can’t get it from kissing me, so don’t stop. I’ve got a pamphlet for you later.” ● Twitter: @ryanashleya

Samson in Stone:

New Discoveries in the Ancient Synagogue at Huqoq in Israel’s Galilee ELI N. EVANS DISTINGUISHED LECTURE IN JEWISH STUDIES II

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FEBRUARY 15, 2016 7:30 P.M. UNC GENOME SCIENCE BUILDING Free and open to the public. No tickets or reservations required.

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FREE PUBLIC LECTURE

It’s exciting to be able to relax, knowing my partner doesn’t think that having herpes makes me a whore.

INDYweek.com | 2.10.16 | 15

A Sexual War

IF NORTH CAROLINA’S LAWMAKERS WANT ME TO MAKE BABIES, WHY DON’T THEY ACT LIKE IT?

BY JANE PORTER

When Republicans in the General Assembly were attempting to push through their latest raft of abortion restrictions last year—their efforts culminated in a seventy-two-hour waiting period—state Representative Pat McElraft, R-Carteret, made this profoundly stupid comment: “We are multitaskers here in the General Assembly.

I am absolutely an advocate for jobs, but we can do lots of the things. And actually, when we can have a few more little taxpayers born, why not?”

Ah yes, a few more little taxpayers. Why not?

Actually, Pat, there are so many reasons.

For the first time in decades, for instance, North Carolina is among the worst states in the nation not only for the little taxpayers but for most of their mothers and fathers, too. That’s due mostly to the laws that have come out of McElraft’s ultraconservative General Assembly.

Sure, they hate abortion, but it goes deeper. For some conservatives, sex is a means to an end: procreation, in the context of (heterosexual) marriage. That’s it. They display active hostility toward all of the other reasons people have for humping each other.

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But if sex is for spawning and every little taxpayer-fetus is precious, wouldn’t it follow that our lawmakers would be bending over backward (definitely not bending over forward, as butt play is obviously verboten) to give children and families the highest possible quality of life, especially poor women? Why are they doing the opposite?

Forty-two percent of all abortions in this country are performed on women who fall below the federal poverty line, according to the Guttmacher Institute. Last week, I discussed this divide with Leah Josephson, who chairs the board of the Carolina Abortion Fund, a Durham nonprofit that provides financial assistance to low-income women who have chosen abortion. The fund, founded in 2011, has “a strong reproductive justice focus,” she says, which is “different from a reproductive-rights-andhealth focus.”

Reproductive justice means fighting against regressive legislation that makes getting an abortion in North Carolina more difficult—longer wait times, longer distances to travel, forced ultrasounds, forcing physicians to scare abortion-seekers.

For Josephson, it also means being a partner in other justice movements that affect the lives of children and families.

“Like a parent afraid that their child of color might be victimized by police for their race,” she explains. “Or these laws in other states that prosecute parents who are facing drug charges. Some of those judgmental restrictions are—philosophically, when thinking about enforcing values and standards as far as what a good parent is—frightening.”

North Carolina offers plenty of examples.

Why would an immigrant family, for example, want to live here when the state erects barriers to enrolling children in school or determining their eligibility for Medicaid? Why would an LGBT couple want their kids to grow up where lawmak-

ers have been overtly hostile to their right to be a family? What is the legislature saying to poor families by drug testing people before they are allowed to receive welfare benefits—which, presumably, help them care for their families? What’s it saying when it slashes unemployment benefits following a devastating recession?

The worst thing is what lawmakers have done to education. North Carolina is forty-ninth in the country for teacher-pay increases over the last decade. Per-pupil spending has actually declined since 2008.

So what does it say to prospective parents when the legislature is pillaging and resegregating the schools that are, according to the state constitution, meant to provide every child a free, quality education?

That’s a pretty big fuck-you to all the little taxpayers-in-waiting.

People will continue to have and raise children in North Carolina, of course.

The state has great cities, a temperate climate, and beautiful natural resources (though who knows for how long). Families with the means—and progressive local governments—will pick up the state’s slack. Things will probably work out fine for white, educated, working adults like myself. Still, my husband and I have serious reservations about having a kid in a place that’s increasingly antagonistic to gays and immigrants and Muslims and the less fortunate and, well, most everyone who’s not like us. But it’s the other little taxpayers—and the parents who wonder how they’ll possibly be able to take care of them—we should be worrying about.

As good as McElraft thinks the legislature may be at multitasking, maybe she and her colleagues should spend more time focusing on how to improve those kids’ lives and less time obsessing about my uterus. Then I’ll think about giving them a new little taxpayer. ● jporter@indyweek.com

FINDING LOVE—OR HELL, EVEN LUST—IN A NEW CITY IN AN APP-DRIVEN AGE

BY DAVID HUDNALL

I

joined Tinder for several reasons, none of which I am proud of. The most justifiable one is that I recently moved to the Triangle from another city and don’t know very many people here. The way I am accustomed to meeting women is through friends and acquaintances, at parties and bars. Lacking a local network, Tinder promised an effective shortcut.

The old model was beginning to show cracks even before I moved. I’m thirty-three years old. Most of my friends are married; many have kids. They don’t socialize like they used to, and I was starting to feel like the guy in that great Chris Rock bit about settling down: “Every club you go into, there’s always some old guy. He ain’t really old, just a little too old to be in the club.”

I don’t totally buy into his logic, and I would never get married just to avoid being that guy. But I did want to find a new club where other people like me existed.

Tinder, it turns out, is not that club.

First, let’s dispense with some common, if fading, misconceptions about Tinder. Most of my married friends seem to be under the impression that Tinder is some kind of appbased portal for free sex. In their minds, you punch in your location, find other people nearby who are ready to have sex, and then

go someplace and have sex. I am hardly so pure as to consider myself above such an app. It sounds great. But that is not the way it works. No app can reverse human nature.

At least in my experience.

A very attractive friend, on the other hand, once showed me his Tinder matches. Most of them seemed—sexually, at least—highly desirable. I asked him which ones he’d had sex with. He scrolled down and ticked through the list in earnest. He is not the kind of guy to lie about such things, and he reported it was more than half.

That’s life in the One Percent Hot Club. I nodded solemnly.

For an ordinary-looking man of my age, Tinder in the Triangle seems to be, roughly, 50 percent people who do not meet your own superficial standards of beauty; 20 percent people who, either because of attractiveness or age, you stand zero chance of matching with; 10 percent people who either quote a Bible verse or tout their NRA membership; 5 percent people who happened to be visiting the area and left their geolocation setting on; and 5 percent bots.

The 10 percent that remain are those with whom you could conceivably forge some kind of romantic connection. That is not so bad, really—not so far from IRL standards.

But, as in the real world, some of these people are terrible, too. Just because somebody’s profile says she does volunteer work and likes Os Mutantes doesn’t mean she’s not self-absorbed. It might even raise the odds.

The darkest thing about Tinder, for me, is how I unwittingly came to rely on it for some kind of sick ego boost. The sound of the “new match” alert—solid proof that somebody I think is attractive also thinks I am attractive—supplies a serotonin jolt.

But this joy has a remarkably short halflife. What’s worse is realizing that, most of the time, I don’t even want to go to the trouble of meeting these people. Maybe this suggests I am a sociopath or that I have more in common than I would like to admit with those Japanese millennials who are only interested in online relationships. Or—oh God!—people who spend real money buying things on Farmville.

There have been more grim realizations.

Based on a combination of a woman’s photos, personal style, and whatever information she reveals in her “About” section, I can often intuit that we will match. But sometimes these people are not quite as attractive as I imagined my ideal romantic partner might be. This is a horribly superficial thing to think, but that’s what Tinder

ILLUSTRATION BY CHRIS WILLIAMS

Love Me Tinder

is, too. Do I swipe left and dismiss them and feel bad about myself for being a terrible person? Or do I swipe right and then match with them, knowing I’m not really into it?

Geography in the Triangle, I have found, makes this all worse. Some of these already limited matches live in Raleigh. I live in Durham. That is a much greater distance than I was led to believe prior to moving here.

If I match with a woman in Raleigh, I would first have to think of some lame bit of conversation to message her with, based only on profile context clues. I would have to maintain that conversation for a little while, which is often grueling. I would finally need to schedule some kind of date, drive forty minutes to Raleigh, sit through the uncomfortable date, and probably drive back to Durham an hour later.

All this so I can eventually have sex, maybe, or, best-case scenario, find a longterm partner? I don’t know.

I’m already pretty happy watching Frontline and looking at Instagram memes alone, and maybe that’s the problem. With Tinder (or Bumble, the more tasteful new dating-app upstart), you gotta want it. I only kind of do.

Still, it’s nice to be in some kind of club. ● dhudnall@indyweek.com INDYweek.com | 2.10.16 | 17

Political Hardball

T

he following document was discovered in a floating bottle by a tribe of former humanities majors kayaking down Raleigh’s West Jones Street Canal while scavenging for bartering goods amid the toxic flood of the Greater Carolina Atlantic Basin.

Ever since sea levels rose and tsunamis of hog slop, fracking fluid, pesticides, coal ash, and Krispy Kreme glaze swept away almost everything, historical evidence has been hard to come by. We now suffer collective amnesia: Who are we? How did we get here?

This invaluable diary entry offers disturbing but necessary answers to these difficult questions. We present it here in samizdat. The public has a right to know. l l l

No one will ever read this. But I must unburden myself, anyway.

I began consulting on Governor Pat McCrory’s “Swipe Right!” voting initiative around the time the liberal media discovered that North Carolina’s 11th Congressional District looked exactly like [a certain general assemblyman’s] penis. The brood of mocking Mensheviks pissed into the wind as usual, but it was old news to our proud Republican establishment.

Months before [a certain general assemblyman’s] penile contours were superimposed on Western North Carolina for strategic gerrymandering purposes, Dick Burr

having sexual difficulties?

CALL DR. SARA

had seen [a certain general assemblyman’s] dinky on Art Pope’s Blackberry and thought it funny. During a postcoital embrace, he showed it to Maggie Spellings, who already knew about it from the time she pegged Renee Ellmers, who had spilled the beans during a feral Snapchat blitz with Kevin McCarthy, who grabbed a screenshot and back-channeled it to Don Yelton. The numbnard accidentally messaged it to Jon Stewart, who forwarded it to Thom Tillis, who had actually taken the original dick pic in the General Assembly’s men’s room and shown it to McCrory, who dispatched it to Pope. This is the end of our ugly circle.

And this is the beginning: As Tillis stood at the sink one day, agonizing over whether or not to wash his hands after an especially disheartening bowel movement, something in the mirror caught his eye. It was [a certain general assemblyman] laboring to restore the unprecedented girth of his meat-splotch to his britches.

“Lol wut?” Thom thought.

He felt something vibrate in his head—an idea. He discreetly snapped a pic while pretending to wash his hands, which he never actually did, and then ran to the governor’s office.

“This shlong is going to save our candy asses out west,

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ILLUSTRATION BY CHRIS WILLIAMS

A SECRET DOCUMENT, SOMEHOW SALVAGED FROM THE FUTURE, REVEALS WHO IN THE N.C. GOP IS SWIPING WHOM— AND HOW IT DOOMS US ALL BY VAUTEUR I. DELAWS

Pat,” I heard him say.

“It’s exactly the shape we’ve been looking for. Look there, where it swipes right—that’s where Asheville would be at.”

McCrory panted. “I have to show this to Art,” he gushed.

They noticed I was watching and closed the door so they could play a celebratory game of Silent Sam. I had just been appointed the governor’s social media consultant. My flair for peddling craven conservative garbage on Twitter had propelled me to the front ranks of

ILLUSTRATION BY CHRIS WILLIAMS

Get Your Heart On.

be at.” ushed. so they

media ve garnks of

gubernatorial trolls. The government needed a new shake-up for the old voter-suppression regime. The idea was not to keep voters away from the polls but to attract as many as possible. In the booth, a rigged touch-screen voting pad would force them to vote for conservatives forever. With shame, I must confess this was my idea: “Swipe Right!”

But the time seemed ripe. President Trump had been safely re-elected. Gender studies and the distinction between fetuses and babies had been dissolved by federal fiat. Poverty centers had been abolished. Scientists were on the run.

Teachers were on the ropes. No one could stop us, we assumed.

But for me, it all soured at Art Pope’s third-annual Jesse Helms Memorial Symposium of Plutocratic Pride, to which I’d been invited for live-tweeting purposes. I was entrusted with the sacrosanct @civitas handle. To calm my nerves, I guzzled vodka Cheerwines.

There was a certain buzz in the air, an optimism as of birdsong or Reagonomics.

I hemorrhaged tweets.

TheArtPope (@civitas)

Did Civitas main man Frank DeLuca just offer to give me “Dean Dome”? #wow #starstruck

TheArtPope (@civitas)

.@realMSpellings just did an epic bong rip of 600x salvia and gave impromptu speech abt “privatizing from the heart” #grateful

TheArtPope (@civitas)

.@KochBros told @ThTillis they’d <3 to see him bw the sheets; T left then returned in full White Knight regalia (maybe wasn’t him?) #baller

TheArtPope (@civitas)

Feeling #blessed to hear Art Pope recite his stirring ode to western civ: “Of corporate personhood/and the monoculture I sing…” #morepopelessart

TheArtPope (@civitas)

OMG McCrory is doing the worm— #Icanteven #squadgoals Properly snockered on Cheervodka, I was sating my munchies with canapés

and feminist cookies when things started to get weird. The doors flew open, and the asslessly bechapped bulks of Phil Berger and Tom Apodaca walked in, leather-clad and bearing a palanquin on which sat the great sibyl herself, Ann Coulter. A bauble of Gore-Bush ballots adorned her neck, dimpled chads glistering in the chandelier light. In her left hand, she held a yonic orb of deathless flame and, in her right, a brazen dildo.

The neocon succubus levitated from her seat in full lotus position.

“Esse cum videri,” she muttered on repeat, quietly at first. “ESSE CUM VIDERI, YOU ANIMALS! ESSE CUM VIDERI! ESSE CUM VIDERI!!!”

Like that scene in Indiana Jones where God melts the faces of the Nazis, an erotic lightning bolt ejaculated from the dildo and forked through the bodies of the GOP luminaries. They fell at once upon each other, hump-hungry, maws a-slobber. Naughty bits stiffened and moistened, parts clawing for holes in helpless psychosexual obeisance to the Coulter yoni that pulsed with the heat of a thousand Duke Energy plants. It was a veritable buffet of booty, an orgy of fleshly gorging inspired by a heady cocktail of amyl nitrate, vinegar-based lube, and supermajority.

Perhaps it was just the vodka and Red Dye No. 40 talking, but I had to get out of there. As I recoiled, something strange crept across me—a white-sheeted phantasm, pulling down my pants and attempting to insert its conical hat into my anus. It was Thom Fucking Tillis.

It was at this point that I realized voters should choose their leaders, not the other way around. I swiped hard left across the specter’s cloaked head and managed to dislodge myself from his shit-caked hands. I ran and ran and ran.

Now I sit here in this oaken dinghy with my corncob pipe and elaborate water-purification equipment, casting my lot with the sea, leaving this message in a bottle for a Moral Monday of the future that will be, rather than seem, first in freedom. ● backtalk@indyweek.com

Your Valentine’s Day Headquarters RALEIGH: 8629 Glenwood Ave. (919) 571-7209 Also at: 3802 Capital Blvd. (919) 872-6229 DURHAM: 6400 Fayetteville Rd. (919) 572-9922 SMITHFIELD: 225 N. Equity Dr. (919) 934-3777 WILMINGTON: 5500 Market St. (910) 392-4400

WWW.SHOPATADAMEVE.COM INDYweek.com | 2.10.16 | 19

Sides of Sex HIGHLIGHT REELS

“So, where is the vagina?”

Sitting on the couch of Lux Alptraum, several guests take turns answering this most basic sexual question with a plastic model of the female reproductive system.

Some of them, actual adults, fumble.

Nearly two years ago, Alptraum—a writer, comedian, and sex educator— began screening the outdated sex-ed videos she’d collected during her time as an after-school sex educator. Once a month at New York’s Union Hall, Alptraum’s The Wonderful World of Boning is a little Dr. Ruth and a lot of Mystery Science Theater 3000. Alptraum and comedian friends riff on her ever-expanding collection of awk-

SHORT TAKES ON THE AREA’S SEXUAL SCENES

ward short films, which span discussions of HIV in the eighties, and fifties films that address sex in absurdly oblique terms.

“They’re these ‘Don’t have sex!’ movies that are these weird little soap operas where nobody mentions sex,” Alptraum says, “but girls will talk about, like, ‘Oh no, we’re going to go too far!’”

Lux Alptraum PHOTO BY ELLLEN STAG

At a recent tour stop at Chapel Hill’s Local 506, Alptraum screened a few short films, including Disney’s The Story of Menstruation and the feature-length PBS production What Kids Want to Know About Sex and Growing Up. Sometimes these movies pack extra surprises, like a sixteenyear-old Dave Chappelle rapping about HIV and AIDS in one short, or a preteen Ashanti wondering, indeed, what kids want to know about sex.

Alptraum enjoys poking fun, but part of The Wonderful World of Boning’s mission is reconciling the numberous ways people learned—or more often, didn’t learn—about sex in school, from parents, and from peers.

“Even in the best of circumstances, we’re still very misguided a lot of times,” she says.

Her adult audiences generally arrive too late in life to learn much new stuff, but Alptraum hopes to affect how we approach sex talk among ourselves and with the next generation. The comedic element softens the blow and makes it easier to open up and ask questions—which, in turn, should lead to better sex for everybody. —Allison Hussey

CRAIGSLUST

I’m sorry if you’ve never scrolled through Craigslist’s Casual Encounters, a bastion of lusty advertisements for sex of all sorts— man for man or man and man for man, trans for woman, woman for couple, and so on. The postings, almost always explicit and lewd, are often hilarious, sometimes even intentionally so. They can be tragic and poetic, revealing unintentional biases or traumas, desires and demons of the person behind the keyboard.

Between February 1 and February 3, I read almost all the few thousand new posts

20 | 2.10.16 | INDYweek.com

on the Triangle’s Casual Encounters boards, chuckling, sighing, and clicking away about as fast I could scan. These are the ten sentences that sent me into fits.

From one young couple in search of another for a “full swap”: “After long time are back to cl. We are free whole weekend and we can definitely plan meeting up in downtown. She loves clubbings so we can do that.”

From a Southeast Raleigh man looking to get rewired: “Looking for an electrician that likes to work naked/nude.”

From one proud Durham homeowner: “Must have big dick. I have loud. And my own house.”

From a “bull” in search of his “first cuck/hotwife couple”: “I am a bit round about the gut, not fat so much as a barrel shape around the midsection, but despite this(Which I am currently working on getting rid of ), I am almost literally the perfect weight for My height and all of My chubbly is almost evenly spread out.”

From two thrifty dudes looking for one woman: “Not looking for a ‘professional’, if you know what I mean.”

From one woman to another, hopefully: “Looking now for a fat clip to slurp!”

A 47-year-old man, looking for a married housewife: “Please Please be real, no spam.”

From a Smithfield fella looking for ”hot soapy shower sex”—and socks: “mild to wild the wilder the better I keep ur underwear an socks” From a dude with a particular interest: “Lookn for men with hair shoulder”

From the amazing pickup line department: “Never appeared on America’s Most Wanted nor an episode of COPS”

Rhonda Coleman was just trying to get a drink at Carrboro’s Orange County Social Club when she encountered her new nickname—The Vagina Lady.

“But it’s so incorrect,” Coleman says, protesting with a laugh. “It’s the vulva. It’s like being an ass man, but you get called the asshole man. It’s the wrong part.”

However anatomically inaccurate, the handle was telling for Coleman, then in the midst of creating a lookbook of pubic hair sculpting options that she called The Vagina Catalogue. Many of the women at the bar’s patio table were clients at Moss Beauty, the women’s salon Coleman started in 2010 after a stint spent waxing at the nearby Moshi Moshi. That time proved pivotal for Coleman, an Oklahoma native who admits that she was a tad homophobic before she moved to Chapel Hill and had so many close vulval encounters.

“People would say, ‘Do whatever you think looks good,’ and I would think, ‘I’m not thinking about your pussy like that.’

I was worried that people would think I was gay. None of it was cool,” she remembers. “I thought I could make things less conversational by making a poster people could point to—a visual menu.”

That idea had unintended consequences: She began to see that this was the one chance woman had to talk about the topic. She found that process empowering, so much so that she decided not only to launch Moss Beauty (Moss being her euphemism for pubic hair) but also to turn the poster into a full book.

“It just started healing me,” she says. “I started liking myself better. These seven years have helped me grow into who I am.

I am no longer homophobic.”

Those earlier hesitations she had about being so intimate with privates have changed completely. She’s even started selling sex toys at Moss Beauty and is building a website, www.ladypositive.com, to serve as a more honest emporium for them. This

Rhonda Coleman PHOTO COURTESY OF MOSS BEAUTY

THE HAIR DOWN THERE

outlook and approach stem from the people who have come to trust her.

“Through the back and forth with my clients, I’ve learned things. We don’t talk about Kim Kardashian or the latest gossip bullshit, or the weather,” Coleman says.

“We talk about pretty intense stuff. People share a lot with me. We talk about sex.

We talk about the way their vulva looks.”

—Grayson Haver Currin

LINKED IN

Most people consider relationships to be an exclusively coupled affair. That’s just how things work, right?

But remaining indefinitely locked to one other human might not suit your preferences. As a therapist who specializes in counseling for nontraditional relationships, Durham’s Sheffa Ariens has seen a lot of this.

“Polyamory recognizes that people’s hearts get involved and that love, romance, and true intimacy can be a part of that,” says Ariens.

Monogamy preferences and practices vary greatly, Ariens says. Some people prefer complete monogamy. Others engage in ethical nonmonogamy, an umbrella term referring to a relationship format that involves more than two partners, where everyone involved is aware of the arrangement. Some are exclusively polyamorous. Many others operate somewhere in between.

The Durham County Alcoholic Beverage Control (ABC) Board is accepting applications for its FY 2016 grant program focused on alcohol abuse education and prevention. All non-profit agencies and community organizations with programs that address these areas are eligible to apply.

Applications must be submitted no later than midnight on April 30, 2016. All applications will be assessed to determine which applicants best meet the eligibility and performance criteria outlined in the Durham County ABC grant program guidelines. Grant funding decisions will be determined by the Durham County ABC Board. Grant recipients will be notified by June 15 of their selection.

Grant program guidelines and the grant application are available at www.durhamabc.com or by writing grants@durhamabc.com or by mail, ATTN: Grants, Durham County ABC Board, 3620 Durham Chapel Hill Blvd, Durham, NC 27707.

The Durham County Alcoholic Beverage Control Board would like to provide interested organizations an opportunity for Questions & Answers (Q&A). A Q&A meeting will be held at the Durham County ABC Administrative office at 3620 Durham Chapel Hill Blvd; Durham, NC 27707 on February 23, 2016 from 1:30pm to 2:30pm.

Please RSVP by February 19 to grants@durhamabc.com with the subject “Grant Meeting” or call 919-419-6217 x9064 if you plan to attend the Q&A meeting.

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Collecting and Presenting Work

by Artists of African Descent Thursday, February 11 7 PM

Thelma Golden, director and chief curator, The Studio Museum in Harlem.

Photo by Julie Skarratt.

Jack Shainman, owner, Pamela Joyner, Jack Shainman Gallery, San Francisco New York. Photo by Jackie art collector.

Nickerson. Courtesy of Jack Shainman Gallery, New York.

Photo by Jeff Gamble.

Franklin Sirmans, director, Pérez Art Museum Miami.

Photo by Angel Valentin. Courtesy Pérez Art Museum Miami.

Holland Cotter, art critic, The New York Times. Photo by Damon Winter,

The New York Times.

Join us, at the Nasher Museum, for a lively and critical conversation on collecting and presenting work by artists of African descent, moderated

by Richard J. Powell, Dean of Humanities and John Spencer Bassett Professor of Art and Art History at Duke. This event is a collaboration between the Nasher Museum, Ackland Art Museum at the University of North Carolina at Chapel Hill, the North Carolina Central University Art Museum and the North Carolina Museum of Art.

2001 Campus Drive, Durham I nasher.duke.edu ABOVE: Wangechi Mutu, Family Tree (detail), 2012. One of 13 mixed-media collages on paper, 20 x 14 1⁄4 inches (50.8 x 36.2 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by Trent Carmichael (T’88, P’17), Blake Byrne (T’57), Marjorie and Michael Levine (T’84, P’16, P’19, P’19), Stefanie and Douglas Kahn (P’11, P’13), and Christen and Derek Wilson (T’86, B’90, P’15). © Wangechi Mutu.

22 | 2.10.16 | INDYweek.com

THE STATE OF SEX

Are there any good North Carolinacentric sex positions, any novel arrangements named for state celebrities or geographical features? Surely, someone crafted “The Jesse Helms” in the eighties just to spite that prudish old tool, right?

ILLUSTRATION BY CHRIS WILLIAMS

Panel Discussion aT THe nasHeR MuseuM oF aRT

These relationships can take almost any form. It can be as varied as multiple people living and raising children together, having friends who are lovers, or even a partner-condoned arrangement involving a once-a-year romantic fling with an ex. In any case, approval, understanding, and honesty are paramount, says Ariens. With its focus on feelings, polyamory involves far more than just sexy fun and games.

“It really is like a graduate-level course in relationships,” she says. “Any issues you’ve had with honesty, with communication, with conflict—those kinds of things are going to be exponentially more complicated in a relationship with more than two people.”

If you’re interested in pursuing a nonmonogamous relationship, Ariens recommends starting with the book More Than Two: An Ethical Guide to Practical Polyamory. And online, OKCupid now allows couples to connect their profiles, making it easier for them to find other interested partners and vice versa.

—Allison Hussey

And Mount Mitchell has been the highest point east of the Mississippi since, well, before recorded history began— there’s got to be a pun there, right? Guess not.

To rectify the situation, we offer these eight potential Tar Heel sex handles. We’re not really sure what they mean, how they work, or who they’re for, but hey, use your imagination.

1. The Coal Ash Dump 2. The Phil’s Berger (alternate: The Renee’s Ellmers) 3. The Cardinal Sin 4. The Pulled Pork Sandwich 5. The Tar Hole 6. The Tyler Hansbr-O Face 7. The Hog Lagoon 8. The Cam Newton Read Option

indyfood

TOM & JENNY’S

www.tomandjennys.com

Dental Assistant

A DURHAM COUPLE WANTS TO FIX YOUR TEETH——WITH CARAMEL

BY JILL WARREN LUCAS

For candy makers, Valentine’s Day is the second-sweetest sales day of the year, bested only by Halloween. For dentists, it’s a different story. No one can ruin the dream of creamy chocolates or sticky caramels quite so easily as the person pressing a metal prong against a weak spot on your tooth. Thanks to a pair of Durham entrepreneurs, including a pediatric dentist, it doesn’t have to be that way.

Tommy Thekkekandam and Dr. Sindhura “Jenny” Citineni are the couple behind Tom & Jenny’s caramels, which they sell in four-ounce packages at area food stores and in local dental offices. Their blooming popularity has forced the pair to seek out a larger production facility. Billed as “deliciously good for teeth,” the treats swap sugar for xylitol, a natural sweetener popular in Europe and Asia. The audacious marketing claim stems from studies that show that the plant-based xylitol can reduce cavity-causing bacteria and enamel-eroding acidity. It’s a little candy revolution, just in time for Valentine’s Day and National Children’s Dental Health Month.

They taste great, too. Unlike some candies made with artificial sweeteners, which can impart a deal-breaking bitterness, Tom & Jenny’s have all the rich flavor and velvety mouthfeel of traditional caramel. That was essential for Citineni, whose motivation was to help frustrated parents in search of more toothfriendly sweets for their kids. The pair first experimented with Gummi Bear-type candies and chocolates, but those options presented costly challenges with flavor and texture.

“When we started doing research, we found caramel was one of the fastest growing food categories,” Thekkekandam says. “It was the most ripe for innovation. You could start with small batches, and it’s relatively easy to cook.”

The final recipes came in collaboration with renowned pastry chef Michael Laiskonis, known to many for his work with Top Chef: Just Desserts. He also spent eight years cre-

Tom Thekkekandam pours xylitol-based caramel into molds in his home kitchen.

The caramel is intended to help teeth, not hurt them. PHOTO BY JEREMY M. LANGE

ating dynamic desserts for Le Bernardin in New York City, earning four stars from The New York Times and three from the Michelin Guide. Those bona fides were initially intimidating for Thekkekandam and Citineni.

“I cringed when he tasted our first samples,” Thekkekandam recalls of their first meeting in 2013. They had been home-testing their recipes for years, to the point that the kitchen of their Manhattan apartment was dusted with “white crystalline substances” in a way that reminded him of the drug drama Breaking Bad. “We knew it was a long shot,” Thekkekandam says of Laiskonis, “but he thought they were good enough to work with us.”

Laiskonis has built his reputation by transforming real sugar into sweet delicacies. For him, the idea of Tom & Jenny’s offered an intriguing alternative.

“While I do normally operate in a world where conventional sugars and confectionery techniques reign, the challenge in breaking down those techniques and formulas and reconstructing them is at the heart of what I do,” Laiskonis says. “On top of that, I had a lot of fun helping to guide and encourage such a unique start-up—not to mention all of the insight gained on how different sweeteners influence dental health.”

The renowned chef came up with several iterations of the couple’s original formula, including chocolate caramel. The final recipe yielded a meltingly tender chew without cloying sweetness. To test the appeal, they set up a table at the upscale Long Island City Flea & Food market. Despite the premium pricing, they sold 300 bags in a few weekends.

Thekkekandam and Citineni met as UNC graduate students. They returned to the Triangle after she completed her pediatric dentistry residency in New York in 2014. She bought a forty-year-old practice, Triangle Kids Pediatric Dentistry, and he quit his consulting job to work full-time on building the candy business.

INDYweek.com | 2.10.16 | 23

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Currently, Tom & Jenny’s caramels come from their state-certified home kitchen, but the couple is in the process of transitioning to a commercial producer. That will allow them to scale up production and expand their product line before Halloween and Christmas—so far, these factors have limited the company’s growth.

To expand the product line, Tom & Jenny’s continues to consult with Laiskonis and another local pastry chef. Thekkekandam is cautious about sharing too many specifics because other companies, he says, are pursuing similar sugar alternatives, but they do plan to perfect those set-aside Gummistyle candies and chocolates and introduce some fancier confections for adults, including chocolate-enrobed caramels.

Selling more products should enable Tom & Jenny’s to achieve another goal—direct-

FOOD TO GO: THE TRIANGLE’S BEST FOOD EVENTS A LOVE OF FOOD

If you’ve got a date, you probably know that Sunday is Valentine’s Day, and a whole lot of restaurants are equipped with pricey prix fixe options. Andrea Weigl has kept an exhaustive list at The News & Observer for weeks, so check that out if you’re in the mood to spend. It seems the frigid weather won’t permit a picnic this year.

NEW ORLEANS ENERGY

In January, Joule chef de cuisine Sunny Gerhart debuted his new family-style dinner series at the coffee shop, which discarded its regular evening service late last year. He started with Italy and, for the Mardi Gras season, swings to his hometown of New Orleans for barbecued shrimp, braised greens, po’boys, and red beans and rice. You can get your $29 fill every Thursday and Friday for the rest of February. www.ac-restaurants.com/joule

FIRST IN FLIGHT

If you’re not done with the sweets after Valentine’s Day, the area’s undisputed ice cream dreams have you covered on Monday, Feb. 15. The Parlour continues its incredible “Flight Night” series of seated dessert samplings with, given the holiday, what else 24 | 2.10.16 | INDYweek.com

ing more profits to charities that help at-risk children in need of nutritional and dental health. The couple has long been involved with social justice causes, notably the Chapel Hill-based nonprofit Nourish International, which Citineni founded at UNC. The global organization helps communities in extreme poverty advance through sustainable development.

“They have an extraordinary executive director who is driving amazing growth,” Thekkekandam says. “Through it and other channels, we hope Tom & Jenny’s will soon be in a position to make a bigger commitment to social change.”

That would be mighty sweet—even if it’s sugar-free. ● Twitter: @jwlucasnc

but chocolate. A primer of truffles precedes a Bailey’s-loaded sundae and a raspberry-and-chocolate sorbet standoff topped with fresh mint. The Parlour excels at vegan ice cream, too, so the shop is offering up a vegan sundae option that includes a cassis sauce and reduction. For $15? Totally sweet. www.theparlour.co

HONESTLY, ABE

For five years, The Blind Pig Supper Club has wielded the South’s resurgent food reputation to raise money for a variety of charities.

Pairing interesting and often playful themes with some of the region’s true culinary badasses, the Asheville-based organization has a tendency to funnel amazing food into righteous causes. On Feb. 12, for the first area edition of Blind Pig’s fifth year, two Raleigh chefs—Ashley Christensen’s pastry guru, Andrew Ullom, and Standard Foods’ inked butcher, Steve Goff—link with two Asheville chefs, including series founder Mike Moore.

It’s Abe Lincoln’s 207th birthday, so expect five of the Great Emancipator’s favorite dishes. www.theblindpigsupperclub.com Got tips and events? Email food@indyweek.com.

food

BE HEALTHY BE STRONG EAT THIS

MANY THANKS TO ALL OUR VOTERS FOR YOUR CONTINUED SUPPORT. WE DO THIS FOR YOU!

Bean to Bottle

TWO LOCAL CHOCOLATIERS COLLABORATE WITH NORTH CAROLINA BREWERS FOR SEASONAL WONDERS Mother Earth’s Chocolate At Kinston’s Mother Earth Brewery, Travis Quinn and Josh Brewer often deal in limited-release beers. But the phrase “super OOP”—or super outof-print—has not yet made the jump from record-store nerdom into craftbrew obsession in describing the rarest of goods. They’ve never heard it.

For Valentine’s Day, Mother Earth will launch another limited-edition creation through its Window Pane series. The beer, simply named Chocolate, is an imperial oatmeal porter brewed with cocoa nibs from Raleigh’s Videri Chocolate Factory.

“The things we do year-round are rooted in traditional recipes and styles,” says Quinn, Mother Earth’s director of sales. “This is a fun outlet for us to try some different things.”

Now five releases deep, Window Pane focuses on brewing with nontraditional ingredients sourced in North Carolina. Previous editions have used Tar Heel peaches, berries, figs, and raisins. Each batch is barrelaged for at least three months.

“It’s turned into a series of whatever I have in my head,” says Brewer, the brewmaster. “The new beer is a little different than what I’ve done in the past, with things that grow outside.

But when I went to Videri, I knew I wanted to do something with them.”

These nibs are an organic, Guatemalan variety grown in a micro-lot. They impart an earthier, nuttier flavor than their processed cousin, chocolate. During the aging process, the whiskey and wood enhance the smoky sweetness. For a high-gravity beer, Chocolate has a surprising softness, achieving a substantial 8.7 percent alcohol content with minimal bite. That’s due to the oats, which coat the tongue and mellow the sharpness.

Mother Earth kegged and bottled Choco-

Big Boss’s Big Operator

Hello, Operator. PHOTO BY JEREMY M. LANGE

late at the start of February. The brewery produced twenty barrels, or about 600 gallons.

Only fifty cases of bottles and thirty-six kegs will make their way through the state by Valentine’s Day. “These things are almost like rewards.

They’re fun for us to brew, but they’re difficult to make in large quantities,” explains Quinn. “This might be a one-time, get-itbefore-it’s-gone beer.”

Quinn chuckles and adds: “Super-OOPEROOP!” —Tina Haver Currin Twitter: @tinacurrin

For eight years, Big Boss Brewing didn’t think to dress the Big Operator— its annual early-release black ale, made from lightly roasted Venezuelan cocoa nibs by Escazu Chocolates and a raspberry puree overnighted from Oregon— in appropriately romantic attire. The brown bottle’s label was a drab gray, with white letters declaring the name but nothing about its proximity to Valentine’s Day. But this year, marketing and distribution manager Dave Rogers decided to capitalize on the beer’s lateJanuary release and paint the paper on each $4 bottle raspberry red.

This isn’t the first change for Big Operator: Several years ago, the chocolatier that Big Boss had been using couldn’t meet the brewery’s volume demands, so the roaster passed the business to Escazu. The move changed the flavor, Rogers says, adding creaminess and more present chocolate notes to the beer, which depends on dark malts as the starting point. Escazu’s Hallot Parson knew just what the beer needed.

“We look at these new collaborations as an opportunity to experiment and dial in our flavors,” Rogers says.

“Hallot understood how this would be different and what dark malts would do to a beer. He gave us something to complement the beer and the raspberry.”

At 8 percent, Big Operator offers a rebuttal to the idea that chocolate-based beers are irreconcilably sweet or that fruit-based beers smack needlessly of berries. Instead, the balance is exquisite, with early touches of the fruit and the chocolate meeting in the middle in a strong, almost-whiskey-like coda. Big Operator tucks a lot of strong flavors into one subtle space, now packaged beneath a perfectly sanguine insignia. —Grayson Haver Currin gcurrin@indyweek.com

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To sign up, email BEresearch@duke.edu or call 919-681-9521 Protocol # Pro00064774 INDYweek.com | 2.10.16 | 25

indymusic Rap Lines

IN DURHAM, G YAMAZAWA WAS A CHAMPIONSHIP SPOKEN-WORD POET. NOW IN LOS ANGELES, HE’S USING HIP-HOP TO EXPLORE HIS MIXED HERITAGE.

BY SAYAKA MATSUOKA

George Yamazawa, better known simply as G, stands in the middle of an auditorium at UNC-Greensboro, his hair in a bun, his bushy goatee puffing out beneath his chin. About a dozen students have arrived between classes for his spoken-word workshop on a Wednesday afternoon. The students share their own pieces and Yamazawa listens, nodding along and offering encouragement. Finally, the kids convince him to perform one, too.

“All right,” he says, “here’s one called ‘10 Things You Should Know About Being an Asian From the South.’”

Yamazawa begins to spit verses about growing up liking both teriyaki and fried chicken, about the results of being torn between two cultures. He rattles off a list of famous Asians, including Bruce Lee and Jackie Chan, whom guileless folks use as their only reference points for his people. He talks about being called Chinese and correcting the perpetrators, only to know you’ll always be Chinese to them.

I look up from my notebook. The more lines Yamazawa performs, the more I recognize myself in his story.

G Yamazawa: ”Hip-hop has always spoken to me.” PHOTO BY RYAN COCCA

TICKETS $20/ADV. ($23/DOOR) + $15/GROUPS OF 15

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Garner Performing arts Center 742 W. Garner Rd., Garner • 919.661.4602

GarnerPerformingartsCenter.com 26 | 2.10.16 | INDYweek.com

“I won’t rap like you, because dog, I’m Asian,” he concludes. “I eat cats like you.”

The students whoop: “Yo, that’s dope!” one kid affirms.

On Yamazawa’s self-titled debut EP, set to be released this week, considerations of his complicated heritage dovetail with ideas about race, police violence, gratitude, and his hometown pride for Durham. Though he’s a relatively new rapper, Yamazawa, twenty-five, is a veteran of verbal acrobatics, an award-winning spoken-word artist who helped galvanized the Triangle’s poetry scene when he was still a teenager. He's since moved to Los Angeles, where he's using that past to write raps that reflect his complex, sometimes contradictory lineages.

“As an Asian rapper, I’m a mystery,” says Yamazawa. “People see my race as nonthreatening, while people are afraid of black men. People just don’t react the same way to me. In that way, I’m privileged.”

Yamazawa was born and raised in Durham

by Japanese immigrants who encouraged his interest in fashion design and dance early in life. When he was only 16, his dad took him to Harlem’s famed Apollo Theatre, a moment that stoked his entertainment ambitions.

His parents’ support has been a huge factor, he says, a claim he acknowledges in the centerpiece song of his EP, “Dining Room.”

The song honors his family while exploring the immigrant experience of making food meant to connect with Americans and, again, being torn between his Japanese and adopted American culture. In the tune’s video, Yamazawa raps inside his parents’ high-end Durham sushi restaurant, Yamazushi.

“From the ages of thirteen to seventeen, all I wanted to be was a rapper,” admits Yamazawa. “Hip-hop has always spoken to me.”

But the road to becoming a rapper wasn’t always easy. He had to fail before he started to write at all. At sixteen, Yamazawa was caught selling weed in high school. Officials transfered him to Lakeview Alternative

indymusic

School, a place for students who “have a history of chronic misbehavior or have received long-term suspension.”

“It’s where the bad apples from all around Durham gather,” Yamazawa says, laughing.

He talks about witnessing the city’s gang culture firsthand at school. “It got me some street cred though.”

After a year in alternative school, Yamazawa returned to Jordan High School. Those transitions became a formative framework for Yamazawa, who at last was moved to consider his parents’ Buddhist heritage and his own identity in tandem. G talks now about understanding karma through pacifism and taking responsibility for one’s actions in life. He stopped selling weed and cut ties with those he deemed not his real friends. He began performing with slam poetry groups, becoming obsessed with the art of it all. As a senior at Jordan, he even started a poetry club. The next several years, as he puts it, became “breakout years.”

In 2009, he won the Bull City Slam championship. His team performed at Brave New Voices, an international poetry competition, and came in second. By 2014, Yamazawa had climbed the national slam poetry ladder. He won America’s top prize.

By then, he had left Durham for Washington, D.C. “I had a great show there and I felt a connection to the city,” he says. “Durham was too comfortable. I wanted to push myself. I knew uraged his there was more that I wanted to do.” ce early in ook him to oment that

G YAMAZAWA

huge fac-YAMAZAWA EP (self-released) ges in the ng Room.” exploringOver the years, the spoken-word organizaking foodtion Sacrificial Poets has produced some of and, again,the area’s most talented wordsmiths. When nd adopt-those linguists inevitably pursued rap careers, e’s video,though, the results have varied. The ambition high-endof cofounder Kane Smego’s Soul Train Robshi. bers soared higher than its music, for instance, enteen, allwhile eccentric lyricist Danny Kaplan enrichs Yamaza-es his rap repertoire through the University of me.”

Wisconsin’s pioneering hip-hop program. per wasn’t Except Kaplan, perhaps no Sac Po veteran he startedworks better as an emcee than G Yamazawa. zawa wasOn his sharp eponymous EP, the Nation. Officialsal Poetry Slam champion chucks some of lternativespoken word’s emotive heft without aban-

In Washington, his restlessness became apparent. He published a chapbook of poetry, for instance, but realized that wasn’t enough to sate his ambition.

“It had a good reception, and it was fun.

But I felt so isolated,” says Yamazawa. “The academic world, which is so white-washed, was not for me. It wasn’t my battle, and I felt creatively tapped out.”

Hip-hop kept tugging at him. One night, Yamazawa put on some beats, started rapping over them, and liked the way it felt. He swiped some instrumentals from YouTube and kept rhyming. In November 2014, just months after winning the National Poetry Slam title, he released his first mixtape.

“It was like the stars had aligned,” says Yamazawa. “Winning the National Poetry Slam was enough closure and validation for me to go into rap.”

As we finish talking, I ask Yamazawa about the necklace and bracelet he always sports.

The first is a lotus flower pendant surrounded by wooden beads.

“As a symbol in Buddhism, the flower represents simultaneous pollination and blooming,” he says. “It’s cause and effect.”

The words “never be defeated” are etched into a curved sliver of metal on the bracelet.

“It’s the last line of a poem I wrote about my grandmother,” he explains. “It reminds me I can’t give up. Every moment is win or lose.” l music@indyweek.com doning its rich lyricism. Most of the muscle here comes from producer Ben Trill, while Yamazawa gets sophisticated over each beat without sounding too didactic. On “Dining Room,” he honors the lessons of hard work and sacrifice he learned by helping his family run its sushi restaurant: “That’s why immigrants be cookin’ that food,” he raps. “It’s the only way they communicate with you.”

During the Rhye-sampling “Echo,” he delivers his version of one of poetry’s most common devices, the metaphor, to reintroduce himself as a system of rap reverb, an echo of earlier legacies and histories. “This poetry taught me that the best rappers just really know how to listen,” he says. During this introductory mission statement, G Yamazawa proves he isn’t far off that path.

—Eric Tullis Twitter: @erictullis

Thu Fri Jan 22

Feb 11 www.lincolntheatre.com FEBRUARY

We 10 JOHN KADLECIK BAND 7p Th 11 CHERUB w/Gibbz @ THE RITZ Fr 12 THE SHAKEDOWN (Mardi Gras)

@ THE RITZ

w/ Al Strong & Friends 7p

Fr 13 WHO’S BAD Michael Jackson Trib.

w/Natural Wonder (Stevie Wonder) 8p

Su 15 BOOMBOX w/ Ben Silver 8p Th 18 THE MACHINE performs PINK FLOYD Fr 19 MOTHER’S FINEST 7p w/ The Soul Psychedlique

Who’s Bad

Michael Jackson Tribute

Fri Feb 13

Sa 20 NEVER SHOUT NEVER + 6:30p

w/Metro Station/Jule Vera/Waterparks

Su 21 KELLY HOLLAND MEMORIAL 4p

CRUSH / HANK SINATRA /BLEEDING HEARTS / AUTOMATIC SLIM / Tu 23 SISTER HAZEL w/Brad Ray + 7p Fr 26 GEOFF TATE’S of QUEENSRYCHE

OPERATION MINDCRIME Sa 27 DAVID ALLAN COE 7p Su 28 MIKE GARDNER BENEFIT MARCH

T u 1 Y&T 7p We 2 RANDY ROGERS BAND Th 3 Fr 4 Sa 5 We 9 Sa 12 Su 13 Th 17 Fr 18 Sa 19 Su 20 Tu 29 We 30 Th 31 4 - 1 4 - 2 4 - 3 4 - 7 4 - 8 4-15 4-16 4-17 4-21 4-22 5-14

w/ Wade Bowen

7p

7p

TITUS ANDRONICUS w/Craig Finn LEADFOOT w/Walpyrgus + THE CLARKS w/The Iller Whales JUDAH AND THE LION 7p JOHN MAYALL BAND CEE-LO GREEN MAC SABBATH w/Aeonic 7p THE BREAKFAST CLUB STEEP CANYON RANGERS + 8p WE THE KINGS w/AJR, She is We+ TWIDDLE w/Groove Fetish 8p AUTOLUX STICK FIGURE w/Fortunate Youth START MAKING SENSE THE MANTRAS THE INFAMOUS STRINGDUSTERS ELLE KING DELTA RAE 8p JJ GREY & MOFRO 8p LAST BAND STANDING & YARN DOPAPOD w/The Fritz 8p SOMO 7p BIG SOMETHING FLATBUSH ZOMBIES

Advance Tickets @Lincolntheatre.com & Schoolkids Records All Shows All Ages 126 E. Cabarrus St. 919-821-4111

Boombox Sun Feb 15

The Machine performs

PINK FLOYD Thu Feb 18

Fri Feb 19

Mother’s Finest Tue Feb 23

Sister Hazel Sun Mar 13

CeeLo Green INDYweek.com | 2.10.16 | 27

music

R. KELLY

PNC Arena, Raleigh Thursday, Feb. 11, 8 p.m., $72–$110 www.thepncarena.com

Stepped (In the Name of Love)

ON THOUGHTS MORE POWERFUL THAN R. KELLY’S PERFECT HOOKS BY MAURA JOHNSTON no-oooohhh, but my body, my bodyyyyy” outburst that opened the chart-topping “Bump n’ Grind” two decades ago. The best parts of Kelly’s discography—and he hits high notes not just within songs but within his catalog, too— combine big hooks, celestial singing chops, and intense sexual energy. That last quality simmers during the humming “Taxi Cab,” but goes on full display for metaphor-rich offerings like “Sex in the Kitchen.”

The song's references—“Cutting up tomatoes, fruits and vegetables and potatoes"—hint at Kelly’s flair for the ridiculous, a staple of his discography. He’s long ventured into weirdness, as with the “Trapped in the Closet” saga.

Those flights of fancy have taken on a

Stop it, R. Kelly. PHOTO BY CHRISTIAN LANTRY

Last month, I went to a karaoke night at a crowded Philadelphia bar. The drinks were cheap, the songs flowed. Early in the night, a fellow patron delivered a reverent, note-perfect version of R. Kelly’s “Step in the Name Of Love,” a pillowy 2003 ode to nights out.

What most surprised me wasn’t the quality of the performance. But the eagerness with which the crowd sang along, even with the ad-libs at the end, flummoxed me, as though the quality of the song was enough to excuse the sins of its maker. R. Kelly was still cool, turns out, so long as we didn’t have to think about him.

I guess I wasn’t too surprised: Kelly has been great at writing and singing infectious tracks at least since the “My mind is telling me

much more sinister feel recently. In last month’s winding, evasive interview with GQ, he denied knowing Dave Chappelle. And his defense of Bill Cosby—“When I look on TV and I see the 70-, 80-, 90-year-old ladies talking about what happened when they were 17, 18, or 19, there’s something strange about it.”—went viral just like the forty-five-minute song he once freestyled about his life, for all the wrong reasons. He called the women who claim he abused them liars, too.

According to Chicago music journalist Jim DeRogatis, these young, mostly black women were sexually assaulted, their stories subsequently buried by expensive cover-ups.

But Kelly wouldn’t hear it. “Look, if I break up with a girl, and she don’t wanna break up, and I’m R. Kelly, she’s gonna be pissed,” he told GQ, excusing himself by claiming superiority. He said plenty more, but you get the gist.

Despite all this, the appeal of going to an R. Kelly show is obvious, and the karaoke performance in Philadelphia offered a miniclass in why: He’s a master showman. He can 28 | 2.10.16 | INDYweek.com

sing. He knows how to wink at the audience and how to get serious. He can pace a show, bring the audience in, and then leave while they still want more. The last time I saw him, he had a bar and bartender onstage. He knows how to make his audience enjoy itself.

But since DeRogatis aired out his full reporting on Kelly, letting everyone know how bad the situation with the singer had been, I’ve had a hard time listening to his music, even though I was putting albums like Love Letter and Write Me Back on my annual best-of lists only five years ago. But I have yet to hit Play on his latest album, The Buffet, and I probably never will, even though it’s apparently a strong enough R. Kelly album.

I’ve decided to let the stories of those young girls echo in my head, not another batch of sex anthems by the brilliant singer and deeply vexing human who has never adequately reckoned with their accusations.

Sorry, R. Kelly, but I just can’t sing or play along anymore. l Twitter: @maura

indyscreen

Psycho Thriller

MORRISVILLE'S DANIEL WAY, A DEADPOOL COMICS WRITER, THINKS THE UNLIKELY MOVIE WILL HIT THE BULLSEYE

BY BRIAN HOWE

You might have caught a Super Bowl ad where Ryan Reynolds, dressed up like Spider-Man gone luchador, cracks wise while punting a ninja’s head and hurling a sword at a motorcycle. In Deadpool, opening this Friday, he’s reprising his supporting role from 2009 stinker X-Men Origins: Wolverine and taking another stab at headlining a superhero blockbuster after 2011’s borderline disastrous Green Lantern.

Reynolds is better suited to play Deadpool, Marvel Comics’s quippy antihero—the “merc with a mouth,” to those in the know—than DC Comics’s interstellar authority figure, but the odds still seem stacked against the movie.

An undead, mutilated psycho in an R-rated action-comedy that opens on Valentine’s Day weekend? That’s a far-out choice for franchise building.

Daniel Way, who lives in Morrisville, might know the character better than anyone else. He holds the record for writing the most consecutive Deadpool comics—fiftyfive issues, from 2008 to 2012. After consulting with director Tim Miller, offering script, story, and characterization feedback, Way is certain of one thing.

“This is the Deadpool we know from the comics,” he says. “This is our boy, Wade Wilson.”

Wilson is a special forces operative with terminal cancer who receives an experimental treatment with monkey’s paw-like consequences. Along with accelerated healing—he basically can’t die—he gets disfigured skin (“like an avocado had sex with an older avocado,” as someone says in the trailer) and an unstable mind. He becomes Deadpool and hunts down the scientist who saved his life by ruining it. “[The film] covers the origin pretty quickly but really well,” Way says. “If you want more, I would say to go the comic book store, because it’s all there in graphic detail.”

When Deadpool first appeared in X-Menrelated titles twenty-five years ago, he was fully a product of the day’s macho, juvenile comics style: a violent enigma in a costume dripping with superfluous pouches and ammo clips,

Off the ropes: A sometimes neglected Marvel Comics character bounces back in Deadpool. PHOTO COURTESY OF 20TH CENTURY FOX

uttering badass one-liners. But he slowly grew more complex, sprouting an elaborate backstory, multiple personalities, and a penchant for fourth-wall-breaking humor. These characteristics were developed by writers collaborating in the uniquely serial style of superhero comics.

“It took a while for [Deadpool’s] mania and psychosis to develop,” Way says. “The reason he was so good at what he does was because he was so unbalanced. He can try anything because he can’t die.”

Though Deadpool was popular in the action-oriented nineties, his book’s sales languished in the more story-driven aughts.

When it was finally canceled, Axel Alonso—then a Marvel editor, now editor in chief—called Way, with whom he’d discussed Deadpool ideas for years.

“Deadpool had gone off into his own corner of the Marvel universe, interacting with characters you only saw in his book,” Way says. “Those are my kinds of opportunities, when characters get brushed aside, because I could do whatever I want.”

Way quickly moved Deadpool back into

Marvel’s shared world, alongside the likes of Iron Man and Nick Fury, before putting his stamp on the character in a popular run.

“I wanted to show rather than tell,” Way says. “Often the reader would see the world as he sees it; it would look like a Wile E. Coyote cartoon, or a person would transform into a talking pigeon. I wanted to show all that, not just him jumping around and shooting people.”

Until several years ago, all Way knew was that a Deadpool script was stalled out at the studio level and that it starred Reynolds, a choice he liked even before getting involved with the production.

“The key is to write it straight and let Ryan Reynolds do his thing on top of it, because if you tried to put it all in the script, it could be clownish,” Way says. “But they nailed it, walking that line between comedy and tragedy.”

After receiving an email out of the blue from director Tim Miller, Way suddenly found himself giving feedback on a major Hollywood film, and even visiting the Vancouver set during a fight-scene shoot. He was immediately “blown away” by the script and early footage.

“Tim is a huge fan of the character,” Way says. “He’s smart enough to realize that was also a possible liability, because he might latch on to something that seemed important to fans like him—but we’re talking about a very expensive film production. We know that everyone from the comic book shop is going to the movie, but the inverse is not true.”

Deadpool is currently more central than ever in Marvel comics—he’s even an Avenger. His odd qualities might be particularly suited to a time when movies are driving new readers into comics shops. For those who aren’t yet inured to the routine soapopera absurdities of superhero comics, his sarcastic running commentary on them must be instantly relatable.

“You know you have a Deadpool story that works when it only works with Deadpool in it, and [the film] does,” Way says. “When a lot of comic book fans say ‘continuity,’ they think in terms of the way a costume looks. Continuity is that it’s the same character. In the first X-Men movie they’re all wearing black leather, but they were all the characters we knew.”

With a cameo from the X-Men’s Colossus in the trailer, Deadpool is flagged as a quirky annex to the 20th Century Fox X-Men franchise, much as Ant-Man was to the Marvel Studios Avengers franchise. Whether a smart-ass Ryan Reynolds will connect with a broad audience like a nice-guy Paul Rudd did is an open question. But if the movie founders, it won’t be because of a lack of faithfulness to the character Way helped shape. The writer is adamant on that.

“Everyone that worked on the film was either a huge Deadpool fan or converted because Tim sold it,” Way says. “If he’s happy with it, then I have a lot of faith other fans will be, because he is on our side, one hundred percent.” l bhowe@indyweek.com INDYweek.com | 2.10.16 | 29

y: t r e b i L f o s e c i o V g n i t a r Celeb

: y e n r u o J e l b o m o N d e e r One F d e k r a M x A Bo “..having satisfied myself of the value of freedom I resolved to purchase it whatever should be its price.”

–Henry “Box” Brown

A FREE theatrical performance by Mike Wiley in honor of Black History Month

Sunday, February 14 at the Friday Center Performance: 3 pm

Join us for a free theatrical performance by dramatic artist, Mike Wiley. His one-man play One Noble Journey: A Box Marked Freedom tells the real story of Henry “Box” Brown, an African American born into slavery who devises an ingenious escape plan—sealing himself in a wooden box for shipment to friends and freedom in Philadelphia.

RSVP 919-962-3000 or fridaycenter@unc.edu MORE INFO fri.center/libertyvoices 30 | 2.10.16 | INDYweek.com

indystage

THE LION KING

Durham Performing Arts Center, Durham Tuesday, Feb. 16–Sunday, March 20, $33–$83 www.dpacnc.com

The Pride of Broadway

THE LION KING CHOREOGRAPHER GARTH FAGAN ON THE RAPTURES AND CHALLENGES OF CRAFTING A HIT MUSICAL

BY BYRON WOODS

when you take some highly trained dancers and put them in puppets, we found, at first, they fall apart.

First, you’re not seeing the beautiful body in all its glory. Second, it’s added weight. Remember the scene where the gazelles come leaping in? Each dancer has a gazelle on one arm, a gazelle on the other arm, and one on the head! [Puppet designer] Michael Curry did such an excellent job. His wife was a dancer, so he understood that we didn’t need any extra weight. And my dancers were completely fearless. But their center of balance was off, because of these appendages.

The work for which most choreographers will be remembered remains a toss-up as long as they’re alive. Not so with Garth Fagan, whose five decades of fusing modern experimentation and balletic rigor with African and Caribbean dance won him a lifetime achievement award at Durham’s American Dance Festival in 2001.

Still, it’s his Tony-winning choreography for Disney's musical The Lion King that has been seen by millions since it opened in 1997. Now it’s the third-longest-running show on Broadway, and the touring version, directed

by Julie Taymor, begins a month-long run at DPAC this week. We spoke with the boisterously laughing choreographer about coming around to Disney, crafting a bona fide hit, and the challenges of dancing with puppets.

Sometimes success in these projects is obvious from the start, but other times it’s much less certain. When did you know you had a hit on your hands?

On opening night during the previews in Minneapolis.

After the opening number, the audience went completely bananas. Once that applause went up, oh my God, it never stopped for the entire night. That’s when we knew the public could see it.

INDY: How did you get to choreograph The Lion King?

GARTH FAGAN: At first, I really didn’t want to do it.

My kids were grown; my grandkids were grown by then.

I hadn’t seen the movie of The Lion King—my knowledge of Disney was Sleeping Beauty and Snow White and the Seven Dwarfs. When my office wanted to find if I had any interest, I said, “What am I going to do with Disney?”

Then, when I heard I was one of three finalists, I said to the woman in charge at NBC in New York, “Loan me your Lion King so I can see it.” I fell in love with it. And once I heard that Julie Taymor and Tom Schumacher, head of Disney’s theatrical division, were involved, I was happy.

These were people who knew what theater was about. Not just suits, you know. [Laughs] Had you had any previous experiences with Julie Taymor?

Julie had seen Griot New York, the piece I’d done with Wynton Marsalis [at BAM’s Next Wave Festival in 1991].

She asked me to meet with her, and I fell in love with the process, her detailed drawings, and the passion she had about the piece.

What was it like working with the composers and musicians on the project?

Elton John’s music was already written, but [South African composer and arranger] Lebo M. hadn’t put in his work yet. He changed “Can You Feel the Love Tonight.” He put the rhythm and drums under it. I would do the dances, Lebo

Do you have favorite moments in the choreography?

The lioness dance. They hunt for the pride, so they tear up great chunks of meat, but Julie dressed them in silk.

So I had to keep a duality of imagery, very female, but at the same time, in charge and strong.

I love the hyenas, because they’re the bad guys: strong, rhythmic, athletic, great big jumps, fast turns—all of that.

"I love the hyenas, because they're the bad guys": Garth Fagan PHOTO COURTESY OF DPAC would come in, and then he, myself, and Norwood Pennewell and Natalie Rogers, stars in my company, would all meet.

We’d say, “A little bit more, dance a little bit more” or “Can you accent that?”

What was the most challenging aspect of the production?

The puppets! You know, dancers pride themselves on their bodies, because the human body is the instrument of the dance. But

What’s the most difficult part?

The last dance. We call it “the confrontation,” when the lionesses and the hyenas meet. It has lots of leaps, turns, and lifts—and by then, remember, the dancers have already been dancing for two hours. It’s a very difficult dance. They have to give it their all. And when they do, it’s such a real boost, for them and the audience.

Why was it important to you to combine so many dance forms in The Lion King?

My dancers had to be able to do African and Caribbean dance, ballet and modern dance, because I wanted any child who came into the theater to see the dance that they had studied—and dance they hadn’t studied, but that might be interesting to them. l Twitter: @ByronWoods INDYweek.com | 2.10.16 | 31

02.10–02.17

WHA

THE SW

This party prizes from for a May provides m with Cultu participato

NIGHTLIG 7 p.m., $5–

FRIDAY, FEB. 12

CARLY RAE JEPSEN

Smokers who want to try investigational cigarettes that may or may not lead to reduced smoking are wanted for a research study.

This is NOT a treatment or a smoking cessation study.

Compensation will be provided.

Call: Triangle Smoking Studies at Duke at 919-684-9593 or visit trianglesmokingstudies.com for more information.

Pro00056069 32 | 2.10.16 | INDYweek.com

BY HAZEL & PINE

Carly Rae Jepsen PHOTO

SMOKING STUDY DUKE UNIVERSITY

Whether you’re long lost in love or simply feeling out a fling, Carly Rae Jepsen is the perfect primer for Valentine’s Day. Her two biggest singles to date, 2011’s “Call Me Maybe” and last year’s “I Really Like You,” are a complementary pop pair that showcase how having a crush can just be fun.

Jepsen’s second proper album, E•MO•TION, positioned her as a compelling underdog pop star, though critical acclaim has yet to translate into steady radio rotation or Billboard-busting sales.

Still, songs like “Run Away With Me,” “Your Type,” and “Tonight I’m Getting Over You” are bouncy, synth-powered numbers that never succumb to cloying clichés or overwrought insincerity. Jepsen is up-front with her feelings, but her strongest songs suggest she’s not about to let them run her life. Fairground Saints open. —Allison Hussey THE RITZ, RALEIGH 8:30 p.m., $25, www.ritzraleigh.com

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N.C. SY FRIDAY, FEB. 12–SUNDAY, FEB. 28

SWEENEY TODD

Fire and bl miss. Han all accoun combustib overture th rumble at

What is it about a bad guy who dispatches his enemies with a culinary flair? Two years before fava bean-and-Chianti enthusiast Hannibal Lecter first appeared in the pages of Red Dragon, a murderous barber who served up his victims in a decidedly less highbrow fashion was the toast of MEMORIA Broadway. When the Todd character first appeared, he was a base creature. But the 1973 retelling by Christopher Bond, on which Stephen Various tim Sondheim and Hugh Wheeler based their 1979 Tony-winning musical, began with a backstory that makes the singing psycho sympathetic, enabling us to both side with him and even take some delight in his handiwork. Denying us the expected uplift of a musical comedy, Sweeney Todd shines a light on the essential squalidness of human nature and hinges upon the involuntary ingestion of human flesh. Stepping into the bloodsoaked shoes of the title shaver is David Henderson, who has some familiarity with playing men with moral failings through his signature role as Jacob Marley in Theatre in the Park’s A Christmas Carol. —David Klein RALEIGH LITTLE THEATRE, RALEIGH Various times, $13–$27, www.raleighlittletheatre.org

WHAT TO DO THIS WEEK SATURDAY, FEB. 13

THE SWEETART PARTY

This party has a whole lot of bang for whatever buck you feel like forking over, with live music, late-night dancing, sweet treats, and a raffle with prizes from local artists and businesses. It’s a fund-raiser for (and preview of) Ginger Wagg’s AndAlwaysWhy, an “experiential installation” planned for a May premiere in the Durham Independent Dance Artists season. Rail Switch, the instrumental duo of Crowmeat Bob and Zeke Graves, provides music for Wagg, while Durham rapper Juan Huevos acts as the evening’s emcee. There are mysteries afoot, too, such as “queer tango” with Culture Mill’s Murielle Elizéon and something called “a mobile love booth” (no idea). After 10 p.m., the DJs hit the decks for some participatory dancing delight. —Allison Hussey NIGHTLIGHT, CHAPEL HILL 7 p.m., $5–$20 suggested donation, www.nightlightclub.com

SATURDAY, FEB. 13

WKNC’s DOUBLE BARREL BENEFIT

A dozen years ago, N.C. State’s student-run radio station, WKNC-FM, launched the Double Barrel Benefit to do the things its paltry school-supplied budget could not— boost the signal at 88.1, improve studio infrastructure, better educate its aspiring DJs and programmers. In the years since, the event’s aimed to evolve, introducing new updates and acts that piqued and re-piqued audience interest. A few years ago, for instance, WKNC split the barrels, staging one show in Carrboro one weekend and another in Raleigh the next. This year, the station introduces a new (and, honestly, overdue) tactic in turning the second gig into a righteous hip-hop showcase. For the first weekend, though, elemental indie rock rules the roster. The bill’s four acts—Des Ark, Schooner, Museum Mouth, and Naked Naps—share a pronounced strain of emotional vulnerability, whether detailing the terrors of childhood abuse or the worries of relationship instability. They uniformly push those feelings forward with gusto and are some of the best rock acts the state has to offer. —Grayson Haver Currin

Des Ark PHOTO

Feb 5-6, 11-13, 19-20 @ 7:30 pm Feb 7, 14, 21 @ 3:00 pm

KINGS, RALEIGH 9 p.m., $10–$12, www.kingsbarcade.com

BY MARC KRAUSE

THURSDAY, FEB. 11–SATURDAY, FEB. 14

N.C. SYMPHONY’S FIREBIRD

Fire and blazes, fireworks and firebirds: The theme for this weekend’s N.C. Symphony concerts, which span 250 years in four pieces, is hard to miss. Handel’s Music for the Royal Fireworks is perhaps the most on-topic, written at the behest of King George II for a firework display in 1749. By all accounts, the music went far better than the pyrotechnics. Haydn’s “Fire” Symphony, on the other hand, has absolutely nothing to do with combustibles. The nickname refers to its roaring first and smoldering last movements. Sean Shepherd’s Blue Blazes, from 2012, is a furious concert overture that contemplates all the meanings of “blue blazes.” And The Firebird was the ballet that launched Stravinsky’s career. From the surreal low rumble at the beginning to the incendiary glow of the finale, it sounds like nothing else happening in 1910. —Dan Ruccia MEMORIAL HALL, CHAPEL HILL & MEYMANDI CONCERT HALL, RALEIGH Various times, $41–$66, www.ncsymphony.org

WHAT ELSE SHOULD I DO?

ARALEIGH AT CAT’S CRADLE BACK ROOM (p. 36), BLITZ THE AMBASSADOR AT DUKE (p. 35) THE LION KING AT DPAC (p. 31), THE PASSION OF FLAMENCO AT MOTORCO (p. 41), SHIMMER IN CHAPEL HILL (see www.indyweek.com), VOIVOD AT KINGS (see www.indyweek.com)

MON, FEB 22 | 6PM HUMBLE PIE, RALEIGH Enjoy a delicious multicourse meal and an intimate performance of Mozart’s Divertimento in E Flat by North Carolina Symphony musicians!

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music

02.03–02.10

WED, FEB 10

CONTRIBUTORS: Jim Allen (JA), Grant Britt (GB), Ryan Cocca (RC), Grayson Haver Currin (GC), Spencer Griffith (SG), Allison Hussey (AH), Jeff Klingman (JK), Jordan Lawrence (JL), Bryan C. Reed (BCR), Dan Ruccia (DR), David Ford Smith (DS), Eric Tullis (ET), Patrick Wall (PW)

THURSDAY, FEB. 11

In “Shine,” the first in Blitz the Ambassador’s trilogy of selfdirected music videos called Diasporadical Trilogia, the GhanaianAmerican rapper plays a questionable detective who threatens to have a father and his daughter deported unless the father names other undocumented immigrants. The clip follows the daughter on a daylong solo journey through Brooklyn. Accompanied by a costumed ancestor spirit, she dances through the city, as though invoking the promise of a better life in her new country, given the sacrifice of her father.

During “JuJu Girl,” the story continues years later, in the daughter’s native land, Accra, Ghana. She has a put a love spell on Blitz. “The way you wind your waist make the boys go gaga/Me I just chock wey I wedge make they scatter,” raps Blitz in a thick Ghanaian tongue. “Then I step to you like, I never seen a goddess in the flesh ’til tonight.” When he tries to track her fleeting steps to a beach party, all he finds is a wilted lily. And during the trilogy’s final installment, “Running,” Blitz presides over a wedding on the island shore of Salvador, Bahia, where the female lead lives. By saving a young boy passed out in a stray canoe, she scares the demolition crew that has arrived to destroy her home. Her whole life has come down to this idea—protecting her right to live in yet another new land.

You can ask Blitz about this trilogy, his past work, and his upcoming Diasporadical LP during his three-day Durham residency, which includes conversations at Beyù Caffè and Duke and culminates with a Thursday concert at Motorco. Expect hard-hitting, immediate rap with an atypical, imported, and most welcome element. —Eric Tullis

Nathan Bowles, Jake Fussell OLD AND Nathan Bowles and Jake NEW Fussell are two rather recent additions to Durham, and their talents make for a mighty folk-minded doubleheader. Bowles picks a banjo; Fussell, a Telecaster. Rooted in tradition but focused on the now, the two consistently present thoughtful, magnificent sets. —AH [NIGHTLIGHT, $10/8:30 P.M.]

THU, FEB 11 Big Eyes BYE, RA- Kait Eldridge’s punk MONES outfit Big Eyes is a lot like Kim Shattuck’s underrated troupe The Muffs. There’s indelible charm in the three-chord riffs and primitive rhythms, and punk-pop hooks amp Eldridge’s vocal barbs. —PW [NEPTUNES PARLOUR, $7/9:30 P.M.]

Cherub BRO FAL- At best, Nashville SETTOS electropop duo Cherub overcomes syrupy, Bonnaroo-ready tunes with truly weird sounds. Who wouldn’t appreciate their use of talkbox vocals or addictive bubblegum-bass breakdowns? At worst, they suggest a three-liter off-brand dose of MGMT. At least they write great lyrics, right?

“Doses and Mimosas” even features a chorus endorsing “champagne and cocaine” to cope with “bitch-ass hoes” and “punk-ass fucks.” Party! With Gibbz and Mike Floss. —DS [THE RITZ, $18/8 P.M.]

PHOTO COURTESY OF DUKE PERFORMANCES

ALSO ON WEDNESDAY BLUE NOTE GRILL: Anne McCue Band; 8 p.m., free. • CAROLINA THEATRE: Graham Nash; 8 p.m. • CAT’S CRADLE (BACK ROOM): Griffanzo; 8 p.m., $8. • HARRY’S GUITAR SHOP: Compton & Newberry; 7 p.m., $20. • HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. • IRREGARDLESS: The String Peddlers; 6:30 p.m. • LINCOLN THEATRE: John Kadlecik Band; 8 p.m., $14.50. • POUR HOUSE: Input Electronic Music Series: Free Waterfalls, Drozy, Luxe Posh; 9:30 p.m., free. • THE SHED JAZZ CLUB: Ben Goldberg, Hamir Atwal and Michael Coleman; 8 p.m.

BLITZ THE AMBASSADOR

MOTORCO, DURHAM 8 p.m., $10–$22, www.dukeperformances.duke.edu

Colin Hay

Yo! N.C. Raps

NEW To most of the people WAVER on the planet who recognize his name, Colin Hay will forever be the lovably leering frontman of Men At Work, Australia’s answer to The Police. But those who ignore his solo singer-songwriter discography, now three decades and a dozen albums deep, do so at their own peril. If you can remain dry-eyed through a ballad like “I Just Don’t Think I’ll Ever Get Over You,” worry about yourself. —JA [CAROLINA THEATRE, $26–$52/8 P.M.]

BENEFIT While some Durham BARS venues have a reputation for shunning local hip-hop, The Pinhook has always opened its doors, even if few hip-hop acts took part in the recent Save The Pinhook benefit shows and none submitted songs to the venue’s Bandcampreleased benefit. Local rap advocates The UG Collective pick up the slack with this Pinhook benefit show featuring a producer and DJ showcase, as well as performances by K. Hill, Descendent MC, and Sean KYD. —ET [THE PINHOOK, $10/9 P.M.]

Pell MC Pell came out of ENERGY nowhere last year, surprising a lot of people with skill and versatility on his debut, Floating While Dreaming. If you like the contagious energy of Chance The Rapper, Pell is for you, too. Daye Jack, Chaz French, and Well$ open. —RC [CAT’S CRADLE BACK ROOM, $12–$15/9 P.M.]

VALLEYS HERO Raleigh’s VALLEYS POSES celebrate their debut, Experiment One: Asylum, tonight. The group’s prog-informed and metallic anthems twist through hardcore and show some genuine ingenuity, striking heroic poses not so distant from the soaring heights of Torche. Other times, scalding riffs guide rough-to-smooth vocal switches. With Her Echo, The Death in Me, A Boy Named Sue, take

Heart, Guard My Ways. —JL [SOUTHLAND BALLROOM, $6/6:30 P.M.]

Local Band Local Beer: Young Yonder, Barren Graves, Seabreeze Diner MIDWEEK This Local Band Local FUN Beer grabs some indie rock and Americana to go. Headliners Young Yonder slide between alt-country and pop formats, suggesting the soft-focus approach of Counting Crows and Ryan Adams’s Gold. The chiming, charming songs of Barren Graves swing between mope and bounce, sometimes within a single minute. A year ago, Raleigh quartet Seabreeze Diner released a sparkling, incisive pop-rock single that suggested The Love Language with more restraint, but the band doesn’t seem to get out much.

Perhaps this is the start of a busier 2016. —GC [POUR HOUSE, FREE/9:30 P.M.]

ALSO ON THURSDAY 2ND WIND: 2 fer; 7:30-9 p.m. • B-SIDE LOUNGE: Onyx Club Boys; 9 p.m. • BETH MEYER SYNAGOGUE: Sammy Rosenbaum; 7:30 p.m., donations. • BEYÙ CAFFÈ: Stephen Anderson Trio; 7 p.m. • BLUE NOTE GRILL: Green Level Entertainers; 7 p.m., free. • CARRBORO CENTURY CENTER: Red Nucleus; noon, free. • THE CAVE: Community Center, Joe Romeo, Cameron Stenger; 9 p.m., $5. • DEEP SOUTH: Summer Wars, Magnolia, Clever Measures; 9 p.m., $1.

• IRREGARDLESS: Ellis, Matt & Pete; 6:30 p.m. • LORRAINE’S COFFEE HOUSE: Lorraine’s Coffee House Band; 7:30 p.m. • MOTORCO: Blitz the Ambassador; 8 p.m., $10–$22.

See box, this page. • N.C. MUSEUM OF HISTORY: Melvin Parker; 6 p.m., free. • PITTSBORO ROADHOUSE: Laine Lipson and Avis Autry; 6 p.m. • PNC ARENA: R. Kelly, Vivian Green; 8 p.m., $53–$110. See page 28. • SLIM’S: Flagship Romance; 9 p.m., $5.

• SOUTHLAND BALLROOM: Jazz is Phish; 9 p.m., $15–$20.

FRI, FEB 12 Girlpool BFF JAMS It’s hard to pinpoint what makes the music of Cleo Tucker and Harmony Tividad read as punk. There’s no driving backbeat, no drummer at all. But the simplicity of the setup—guitar, bass, voices—hyper-charges the vulnerability shared by the two women. It approaches raw provocation. With Bobby T and Beverly Tender. —JK [THE PINHOOK, $12–$14/9 P.M.]

Great American Witch Hunt LOTTA Raleigh’s The Great BARK American Witch Hunt plays hard rock meant to sound mean.

Their riffs, thick with Southern sludge, move like they’re chasing Motörhead’s ghost. They can also settle into a broken-down garage groove with ease.

None of these traits are hard to find elsewhere, but GAWH brings enough swagger to make it work. With Charity’s End and Noesis. —JL [THE MAYWOOD, $7/9:30 P.M.]

Kooley High WAXING Triangle hip-hop RHYMERS headliners Kooley High dropped Heights last fall, but now they circle back to the nine-song EP thanks to its vinyl release. To mark the occasion, they’ll have an in-store celebration at Raleigh’s Schoolkids Records before next weekend’s blowout at Kings. Appearing in stripped down form, emcee Tab-One will kick out bars over laid-back, classic-sounding beats courtesy of Sinopsis and Foolery. —SG [SCHOOLKIDS RECORDS, FREE/7:30 P.M.]

Legendary Shack Shakers PSYCHO These heroes of roots SHOCK rock work a mix of rockabilly, punk, garage rock, and blues to put the “psycho” in psychobilly.

Stephen King’s a fan, and they’ve rubbed elbows with everyone from Jello Biafra to Marty Stuart. But when feral frontman J.D. Wilkes starts working his onstage voodoo, all eyes are on him and his merry band of maniacs. The Wild Tones and Hearts & Daggers open.

—JA [POUR HOUSE, $12–$15/8 P.M.] INDYweek.com | 2.10.16 | 35

FRIDAY, FEB. 12

JASON MERRITT’S ARALEIGH For two decades, Jason Merritt was too busy helping others capture their songs as an engineer and producer to worry much with his own musical ideas. But four years ago, after making so many albums with other acts, he finally decided to cobble together his first complete project since college— Araleigh, an ambitious and circuitous 14-track concept album that Merritt will release, for now, as an illustrated art book and with hopes of staging it as a theatrical production. How’s that for making up for lost time?

“I’ve always focused on the other side of the glass, and that’s something I knew I wanted to do with my life since I was seventeen years old,” says Merritt. “But with Araleigh, I knew I had a pretty full and realized picture. I would have done it sooner if I wasn’t so hesitant in asking people for favors.”

Merritt used his recording experience as field research, recruiting some of the best players he’d produced to help him build these songs. Members of Dillon Fence, Six String Drag and Birds & Arrows play pivotal roles, as do Tift Merritt (no relation) and her longtime bassist, Jay Brown. Merritt even met the young Rita Glynn—the singer who voices Araleigh, the tragic protagonist of the song cycle—while recording a school music project.

The result delivers a hard-luck, slow-redemption story of fratricide, hardline conservative values, and perseverance through songs that leap from folk-rock drift to chamberensemble balladry, from hard-rock pounce to psychedelic tizzies. It’s a curious and intriguing album, with styles pulled piecemeal from Merritt’s lifelong interests.

“I wasn’t worried about differences from song to song. That was deliberate,” he says. “I wanted to throw it all in the pot, all the stuff that I love.” —Grayson Haver Currin

Mutemath ATYPICAL The theatric live ALT ROCK performers in Mutemath deliver daring, dynamic takes on modern rock. Immediate melodies burrow behind moody synths and textured guitars. Nothing But Thieves open. —SG [CAT’S CRADLE, $23–$25/9 P.M.]

DJ Ripley

The Shakedown’s Mardi Gras Party FAT Raleigh party band and FRIDAY cover specialists The Shakedown—whose members double in acts like The Foreign Exchange and Orquesta GarDel—breaks from its series of artist-specific tributes for classic funk and R&B from New Orleans legends like The Meters, Dr. John, and Allen Toussaint. Al Strong leads his combo for an opening set of New Orleans jazz, while Papa Mojo’s cooks up Cajun food.

Part of tonight’s cover benefits The Art of Cool Project. —SG [LINCOLN THEATRE, $12–$25/8 P.M.]

Tango for Two PLUCKY The harpsichord is not TANGO dead. The locally rooted organization Aliénor projects this message, commissioning new works at a feverish clip and publishing anthologies every few years. This concert pairs harpsichord duos by Krebs, Rameau, and Couperin with a half-dozen new works by composers from the United States, United Kingdom, and Israel. Expect lots of sideway dances, ornate figurations, and the nasal twang only a harpsichord can produce. Part of the NC HIP Festival.

—DR [DUKE’S BONE HALL, FREE/5 P.M.]

36 | 2.10.16 | INDYweek.com

PHOTO COURTESY OF JASON MERRITT

POSTDJ Ripley will take you GENRE to school with the twenty-four-plus genres in her set, including bhangra, soca, and azonto.

Not on top of international music?

You’re all set, as she also dips into grime and juke. Expect to have your ears thoroughly challenged. Support comes from Durham’s DJ Playplay and Chapel Hill’s DJ One. —DS [NIGHTLIGHT, $8–$10/9:30 P.M.]

Wool, Wing Dam INDIE There’s nothing EROS necessarily romantic about this early “Valentine’s Day Bash,” but, hey, the bands are pretty good.

Great Baltimore trio Wing Dam bend and flex their memories of alternative rock, twisting ribbons of Pixies and especially Weezer into odd little anthems. Headliners Wool have added some welcome pep to their indulgent, softly distorted drift, giving Troy Brian Hancock’s heavily textured songs a push forward. With Faye. —GC [KINGS, $7/9 P.M.] ALSO ON FRIDAY ARCANA: Goth Prom: DJ NeatFreak, 20th Century Boy; 8 p.m., $5. • BEYÙ CAFFÈ: Jim Ferris Trio; 8 & 10 p.m.

• BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free. Crossoverdrive; 9 p.m., free. • CAT’S CRADLE (BACK ROOM): Araleigh, Shannon O’Connor; 8 p.m., $10–$12. See box, this page. • CITY TAP: Dmitri Resnik & Bootleg Beat; 8:30 p.m. • DEEP SOUTH: The Steppin Stones, Peak City Blues;

CAT’S CRADLE BACK ROOM, CARRBORO 8 p.m., $10–$12, www.catscradle.com

7:30 p.m., $8. • DUKE’S BALDWIN AUDITORIUM: Duke Jazz Ensemble; 8 p.m., $5–$10. • IRREGARDLESS: Workbook; 6:30 p.m. • THE KRAKEN: Zoltar’s Fortune, Whisky Christy & The Half Pint Orchestra; 9 p.m.

• LORRAINE’S COFFEE HOUSE: Sideline; 7:30 p.m., $5. • MEYMANDI CONCERT HALL: N.C. Symphony: The Firebird; 8 p.m., $18–$66. See page 33. • MYSTERY BREWING PUBLIC HOUSE: Classic Album Hoot Nite: Dark Side of the Moon; 8-10 p.m., free. • PITTSBORO ROADHOUSE: Nantucket Web Version 2.0; 8 p.m., $15. • REGULATOR BOOKSHOP: Ellen Ciompi: Cabaret for Valentine’s Day; 7 p.m., $15. • THE RITZ: Carly Rae Jepsen, Fairground Saints; 8:30 p.m., $25. See page 32. • SEBY B JONES PERFORMING ARTS CENTER: The Grass Cats; 7:30 p.m., $20–$22. • SHARP NINE GALLERY: Juan Alamo Latin Jazz Ensemble; 8 p.m., $10–$15.

• THE SHED JAZZ CLUB: Austin Piazzola Quintet; 8 p.m., $5–$10. Not For Human Consumption; 9:30 p.m.

SAT, FEB 13 Big Mean Sound Machine FUNK In case the name isn’t MEETUP clear, Big Mean Sound Machine is a collective of funk musicians who put about ten members onstage. The group has a penchant for sloshing around straight-ahead grooves with globe-hopping influences. At any moment, you might hear Caribbean rhythms, triumphant African funk, and sixties American psychedelia. They fill solid tunes that are just experimental enough to not insult your intelligence.

With Boss Nacho. —DS [POUR HOUSE, $7–$10/8 P.M.]

Bodykit SHOUT IT Raleigh’s Bodykit is the OUT Whatever Brains spinoff of former leader Rich Ivey and synth controller Josh Lawson. Together, they push their old band’s latter-day electronic tizzies to logical extremes,

with sneering vocals spinning out over stacks of beat machines, loops and keyboard lines. Likewise, the excellent Natural Causes takes the sharp song instincts of Last Year’s Men on a caustic, synth-abetted trip, full of invective and unfortunate incidents.

Abrasive Boone quartet KONVOI perfectly fits this bill. —GC [SLIM’S, $5/9 P.M.]

Danish String Quartet BEEDon’t let the THOVEN! Scandinavian neo-psych looks fool you: The Danish String Quartet is the real deal. This meaty program features three vastly different Beethoven string quartets. The 6th is a Haydn-esque romp. The delightfully quirky 16th is Beethoven with no compositional fucks left to give. And unfolding as a massive, single movement, the 14th may be his greatest statement. The variation set in the middle is simply sublime. —DR [DUKE’S BALDWIN AUDITORIUM, $10–$42, 8 P.M.]

James “Saxsmo” Gates SMOOTH Three-time GrammySTUFF nominated saxophonist James “Saxsmo” Gates offers two Saturday sets behind his third album, Gates Wide Open. Proudly repping smooth jazz, Gates isn’t trying to push any envelopes as he channels joy and thankfulness through his horn. His casual mix of originals and covers of tunes like “Remember the Time” and “Ain’t Nothing Like the Real Thing” is plenty accomplished. —CV [BEYÙ CAFFÈ, $10/8 & 10 P.M.]

Hey Marseilles BAROQUE Slimming down from a NO MORE septet to quintet has tightened the songs of Hey Marseilles.

What were once lushly arranged pieces of folk-estral chamber pop are now sleek triple-A pop songs marked by polished hooks. Whether that’s a plus depends on whether you could ever really distinguish Hey Marseilles from the legion of post-Arcade Fire startups that make the same music. With Bad Bad Hats. —PW [CAT’S CRADLE BACK ROOM, $12–$14/8:30 P.M.]

Kid Cudi SPACEEven for hip-hop’s OUT KING perennial black sheep, Kid Cudi is in uncharted waters. New music from the enigmatic rapper has garnered equal parts bewilderment and frustration from many hip-hop fans, plus scorn from critics. Last year’s Speedin’ Bullet 2 Heaven was an unpolished rock experiment that showed little signs of the genre-bending Scott Mescudi we once knew. That being said, Cudder undoubtedly laid the foundation for many of today’s biggest acts. If he brings even a hint of that old magic live, it’ll be worth the high price of admission. —RC [THE RITZ, $45/9 P.M.]

Michael Rank & Stag HEART Prolific local troubadour TROUBLE Michael Rank churns out beautiful roots ballads that fill yearly releases, chronicles of his post-relationship confessionals. Zachary Lucky’s mournful Canadian country features gripping vocals that suggest he, too, has witnessed pain. —SG [THE KRAKEN, FREE/9 P.M.]

Thrash Can FISTS UP This four-band bill pulls together several heavy Tar Heel threads, from the most basic and reverent to the convoluted and revisionist. Scowling Raleigh quartet Thrash Can aims to re-create the glory its name suggests by embedding big, bright hooks in thrash crunch. With bleary eyes, Durham’s Thundering Herd nods to the beer-can-and-bong crunch of Kyuss; their riffs are strong and sharp.

From Wilson, Origin of Disease dives into death metal, while Unspoken Hostility tries to turn punk, rock, and metal elements into wild hybrids.

—GC [THE MAYWOOD, $8/8:30 P.M.] ALSO ON SATURDAY BLUE NOTE GRILL: Mel Melton & The Wicked Mojos; 8 p.m., $10. • CARY ARTS CENTER: Anatoly Larkin; 3 p.m. • CAT’S CRADLE: Perpetual Groove; 9 p.m., $20–$25. • THE CAVE: The Affectionates, She Returns From War, Jordan & The Sphinx; 9 p.m., $5.

• DEEP SOUTH: Zinc Kings, Stray Local, Brothers Egg; 9 p.m., $5. • FIVE OAKS SEVENTH DAY ADVENTIST CHURCH: Molasses Creek; 6:30 p.m., $10-15. • HALLE CULTURAL ARTS CENTER: JazzLive; 7:30 p.m., $12–$15.

• HAW RIVER BALLROOM: Waltz Night Valentine Ball; 7:15 p.m., $12–$16.

• IRREGARDLESS: Glen Ingram; 11 a.m.

Gary Brunotte with Nelson Delgado; 6 p.m. The Noah Powell Quintet; 9 p.m. • KINGS: WKNC’s Double Barrel Benefit 13: Des Ark, Schooner, Museum Mouth, Naked Naps; 9 p.m., $10–$12.

See page 33. • LINCOLN THEATRE: Who’s Bad, Natural Wonder; 8:30 p.m., $17. • MEYMANDI CONCERT HALL: N.C. Symphony: The Firebird; 8 p.m., $18–$66. See page 33. • NIGHTLIGHT: The SweetArt Party; 8 p.m. See page 33. • NORTH87SOUTH: Piedmont 4; 8 p.m., $5. • THE PINHOOK: Coxx/ Play: A Goth Drag Show and Dance Party; 10 p.m., $10. • PITTSBORO ROADHOUSE: Tuesday Night Music Club; 8 p.m. • SOUTHLAND BALLROOM: Idlewild South, The Monika Jaymes Band; 8:30 p.m., $7–$10. • PEACE UNIVERSITY’S KENAN RECITAL HALL: N.C. Master Chorale Chamber Choir: Romance in the Air; 4 & 8 p.m., $10–$20.

SUN, FEB 14

unleashed a torrent of dense, sludgy grindcore brightened by flashes of frantic black metal melody. It’s a potent vehicle for misanthropy and self-loathing. By comparison, the punk-metal hybrids of Raleigh’s Shadows feel positively lighthearted.

1000 Lives opens. —BCR [THE CAVE, $5/9 P.M.]

Amythyst Kiah BLUES Bluesy and bold, BRAVERY Amythyst Kiah delivers compelling songs with attitude. Her arrangements for acoustic guitar and a tambourine are simple, allowing her strong, smooth voice its rightful spotlight. Kiah skillfully blends country and Americana to form a fantastic musical chimera. Her originals are strong, but the Tennessee-based Kiah also does Dolly proud with her soulful version of “Jolene.” —AH [N.C. MUSEUM OF HISTORY, FREE/3 P.M.]

Bob Margolin MUDDY’S For seven years, Bob MAN Margolin got paid to stand beside Muddy Waters and play guitar. That’s a pretty good situation.

Since then, Margolin has toured with legends such as Hubert Sumlin and Pinetop Perkins, spreading the gospel of blues. His latest, My Road, is his musical autobiography and a career best.

—GB [CAT’S CRADLE BACK ROOM, $10–$12/ 8P.M.]

Gino Speight LOVE Two soulful GLOW representatives of a not-so-distant Triangle R&B renaissance, Yahzarah and Darien Brockington, were originally scheduled to share this Valentine’s Day bill. In their place, a clear influence and R&B forbearer, Gino Speight, of the eighties R&B-and-funk group the S.O.S. Band, gets to conduct the mood. His replacement is timely, given the death of Earth, Wind & Fire’s legendary Maurice White last week. Maybe this V Day has been divinely designed to appreciate our beloved soul heroes.

—ET [BEYÙ CAFFÈ, $25/5:30 & 7 P.M.]

HateFace

Valentine’s Day Jazz Concert

LOTS O’ On an October EP, FROWNS Cincinnati’s HateFace

SWING For the past decade, the NO MORE jazz ensembles of Duke,

UNC-Chapel Hill, and N.C. Central have gathered for Valentine’s Day. I imagine that, back in the day, a concert like this would have needed huge dance floors to hold the hordes seeking to woo potential lovers. But now the audience will probably just be nodding along to those same tones from the comfort of their seats—their loss. —DR [UNC’S KENAN MUSIC BUILDING REHEARSAL HALL, $10, 3 P.M.] ALSO ON SUNDAY BEYÙ CAFFÈ: Andrew Berinson; 11 a.m.-2 p.m. • CARRBORO HIGH SCHOOL THEATER: Chapel Hill Philharmonia: Masterworks for Orchestra Large and Small; 3 p.m., free. • DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. • IRREGARDLESS: Larry Hutcherson; 10 a.m. Foscoe Philharmonic; 6 p.m. • LETTERS BOOKSHOP: Charles Latham, Reese McHenry, Shayne Miel; 5:30 p.m., free. • LINCOLN THEATRE: PULSE: Electronic Dance Party: 5Ever, Ra, Mt. Crushmore, Do Mii, Neuron Huskv; 9 p.m., $10. • LOCAL 506: 3@3: Lazy Circle, Them Damn Bruners, Adam Fenton; 3 p.m., free. • THE MURPHEY SCHOOL AT THE SHARED VISIONS RETREAT CENTER: Sacred Sound Bath; 3 p.m., $10–$30. • PITTSBORO ROADHOUSE: DeLorenzo & Sours Jazz Guitar; 11:30 a.m. Mr. Wonderful: Celebrating Dean Martin’s Music; 6 p.m. • POUR HOUSE: Jac Cain’s Valentine’s Day PJ Dance Party; 9 p.m., free. • STEEL STRING BREWERY: June Star; 4-6 p.m., free. • THE SHED JAZZ CLUB: Enjoy Sunday with Danny Grewen; 6-9 p.m., $5.

MON, FEB 15 BoomBox R&BONGS Think Sade’s Love Deluxe filtered through the weed haze of two Alabama bros.

BoomBox’s music isn’t bad, but that’s the thing with these R&B lounge bangers—they’re toxically inoffensive. If you’ve ever gotten intimate to the sound of Seal’s cover of “Fly Like an Eagle,” maybe give this a try? Ben Silver opens. —DS [LINCOLN THEATRE, $14.50/8 P.M.]

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Robert Cray Band BLUES Though Robert Cray’s GENT brand of blues includes strong R&B elements and has occasionally flirted with a rock edge, he’s a strange kind of purist. He’s never made desperate bids for fame via IndyWeek 02-10-16.indd 1

| 37 AM INDYweek.com | 2.10.16 1/28/16 11:05

all-star duet albums or aesthetic compromises, and he never descends to show-off licks. Instead, he’s spent the last thirty five years quietly but doggedly pursuing the art of excellence at blues guitar, and it’s a joy to watch him do so. —JA [CAROLINA THEATRE, $30–$79/8 P.M.]

The Love Hangover LEFTOVER A Raleigh tradition for LOVE seventeen years, The Love Hangover’s annual post-Valentine’s Day commemoration presents love and love-less songs played by unique duos.

This year’s slate includes the frequently collaborating twang team of Caroline Mamoulides and The Backsliders’ Steve Howell along with an intriguing pairing of anti-folk hero Charles Latham and the potent Reese McHenry of The Second Wife and Dirty Little Heaters. Dave Wright—leader of Countdown Quartet, Boneslinger, and a slew of other jazz outfits—meets Katie Stephens, while The Love Language’s Stuart McLamb and artist Alexis Price round out the bill as a couple. —SG [KINGS, $8/8 P.M.]

Wavves, Best Coast COWAIt’s easy to be cynical BUNGA! about Wavves and Best Coast, California acts who used rock atavism and attitude aggravation to climb to the top of the buzz bin five or so years ago. As they inspired waves of similar (and, often, better) bands, their respective charms soon grew, and they remain convenient circa-2010 punch lines. Still, V, issued by Wavves last year, might be some of his best work; it’s less focused on style and flash than quotidian, unnerved laments anchored by great hooks. Even Best Coast’s California Nights recovered from a pronounced sophomore slump. Perhaps this “Summer Is Forever II” tour restores some mutual shine. Cherry Glazerr opens. —GC [CAT’S CRADLE, $30/7:30 P.M.] ALSO ON MONDAY THE CAVE: Dust & Ashes; 9 p.m., $5.

• NEPTUNES PARLOUR: The Atomic Rhythm All-Stars; 8 p.m., $3–$5.

TUE, FEB 16 The Cory Band: A Space Odyssey BRASS IN The final frontier has SPACE inspired about a billion 38 | 2.10.16 | INDYweek.com

pops concerts. This time, it’s the Welsh brass ensemble Cory Band performing the usual suspects (Star Wars, 2001: A Space Odyssey, Holst’s The Planets) along with Hoagy Carmichael’s “Stardust.” Their uniforms are a very festive red. —DR [MEYMANDI CONCERT HALL, $15–$25, 7:30 P.M.]

Protomartyr ROCK Onstage, Protomartyr CITY singer Joe Casey turns into a conduit. He stands at center stage, clutching the microphone in one hand and perhaps a beer can with the other, his eyes often closed and his mouth pressed against the microphone.

He’s telling it—and you—a secret. As his band plays muscular post-punk, Casey delivers his verses in a magnetic monotone, like The Hold Steady’s Craig Finn detailing inner-city, inner-psyche scenarios with the elegance of The National’s Matt Berninger. Protomartyr is unequivocally one of the best contemporary American rock bands.

Spray Paint shares opening duties with Raleigh’s Bodykit; they’re both fine ways to start. —GC [CAT’S CRADLE BACK ROOM, $10/9 P.M.]

Bryson Tiller ’CLOUD This past year of music CROONER may have treated no one better than Louisville upstart Bryson Tiller, whose Soundcloud regularly does the kind of numbers you might expect from Kanye West or Jay Z. Few stars are burning brighter; now he just has to avoid burning out. —RC [THE RITZ, $25/8 P.M.]

Timmy’s Organism SEWAGE Fronted by Detroit punk ROCK rock lifer Timmy Vulgar (also of art punks Human Eye), Timmy’s Organism splices the best of the Motor City’s iconic punk acts (the freewheeling burl of MC5, the raw power of The Stooges) with Beefheart bedlam. Last year’s Heartless Heathens suggests the perfect soundtrack to a night of drinking sewage, cranking the stereo to ten and punching holes in the wall.

With Video and Regression. —PW [LOCAL 506, $10/8:30 P.M.]

Voivoid THRASH In its heyday a ICONS quarter-century ago, Voivod flirted with fame. But while peers in thrash’s Big Four went on to

headline stadiums, the Canadian outfit’s ambitious blend of heavy metal and prog—imagine King Crimson’s genes spliced with those of Venom—led to perennial cult status. That said, Voivod was and is one of metal’s most idiosyncratic bands. Its dystopian sci-fi narratives play as potent allegories, and its dissonant riffs are jarring and thrilling. The new EP, Post Society, arrives thirty four years after the band’s formation and stands as a strong entry in a classic catalog. With Vektor, Eight Bells, and Davidians. For an interview with the band, see indyweek.com.

—BCR [KINGS, $23–$25/8:30 P.M.] ALSO ON TUESDAY IRREGARDLESS: Elliott Humphries; 6:30 p.m. • PITTSBORO ROADHOUSE: Tony Gallani Trio; 6:30 p.m. • POUR HOUSE: Treehouse!, Bumpin Uglies, Oceanstone; 9 p.m., $6–$8.

WED, FEB 17 Dan Baird and Homemade Sin SATELL- Delivered barefoot from ITE MAN the back of a flatbed for the Georgia Satellites, Dan Baird’s “Keep Your Hands to Yourself” defines but doesn’t contain him. He’s since provided twang for Stacie Collins as well as the Yahoos and Homemade Sin. But for head-busting, down-and-dirty rock, his gigs with Nashville’s The Bluefields (alongside Scorchers guitarist Warner Hodges and Ryan Adams drummer Brad Pemberton) should set your pants on fire. Maldora opens.

—GB [POUR HOUSE, $12–$15/ 9 P.M.]

Just Jess FEELINGS Last summer, Durham’s ROCK Jessica Caesar debuted her new musical identity as Just Jess.

Her self-titled, intensely personal EP grappled with overcoming heartbreak against a thick backdrop of unexpected, busy instrumentation. The Bull City’s simpatico Blanko Basnet opens. —AH [THE PINHOOK, $5/9 P.M.] ALSO ON WEDNESDAY BLUE NOTE GRILL: The Dagmar Bumpers; 8 p.m., free. The Herded Cats; 8 p.m. • IRREGARDLESS: Undermanned String Band; 6:30 p.m.

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art

HARRIET BELLOWS: “MAMA SINGING” PHOTO COURTESY OF FRANK

02.10–02.17

GALLERY

carnivals and travels by Benjamin Frey. Feb 15-Mar 15. Little Art Gallery & Craft Collection, Raleigh, www. littleartgalleryandcraft.com.

SPECIAL Royalings: Ceramics EVENT by Peter Alf Anderson. Feb 12-Jan 28.

Reception: Friday, Feb 12, 6-8 p.m. The ArtsCenter, Carrboro, www.artscenterlive.org.

SPECIAL Shimmer: The Art EVENT of Light: 20 illuminated artistic displays. Fri, Feb 12, 6-11 p.m. Chapel Hill and Carrboro. www.shimmerevent.com.

THURSDAY, FEB. 11

“COLLECTING AND PRESENTING WORK BY ARTISTS OF AFRICAN DESCENT”

THE NASHER MUSEUM OF ART, DURHAM 7 p.m., free, www. nasher.duke.edu

OPENING SPECIAL Durham Under EVENT Development: Artistic reactions to development in Durham. Feb 10-Mar 6. Pleiades Gallery, Durham, www.

PleiadesArtDurham.com. — Discussion: Wed, Feb 10, 6 p.m.

21c Museum Hotel, Durham, www.21cmuseumhotels.com.

SPECIAL If I Were You and EVENT You Were Me: Polymer clay and found object sculptures by Elissa FarrowSavos. Feb 12-Mar 17.

Reception: Fri, March 4, 6-9 40 | 2.10.16 | INDYweek.com

p.m. Gallery C, Raleigh, www. galleryc.net.

La Sombra y el Espiritu IV—The Work of Stefanie Jackson: Feb 11-May 13. UNC Campus: Sonja Haynes Stone Center, Chapel Hill, www. sonjahaynesstonectr.unc.edu.

SPECIAL Love is on the Air: EVENT Listening party showcasing stories of love recorded in the Story Room. Fri, Feb 12, 6-8 p.m. Museum of Durham History, Durham, www. museumofdurhamhistory.org.

Mixed Media Journeys: Wax pencil drawings of circuses,

MORPHOLOGY AND THE BIOMORPHIC IMPULSE

ONGOING

PHOTO BY PETER PAUL GEOFFRION/© KEHINDE WILEY STUDIO/COURTESY OF THE NASHER

KEHINDE WILEY: “IVELAW III (STUDY)” (2006)

The Triangle’s museums, like those nationwide, are making new efforts to emphasize African-American art and otherwise break free from Eurocentrism. The Ackland in Chapel Hill recently opened Racial Violence and Resilience: Questions and Currents in African American Art, which includes probing, provocative works from the museum’s holdings by artists such as Kara Walker, Barkley Hendricks, and Kehinde Wiley. In Durham, the Nasher has long focused its contemporary collection on the African diaspora, ahead of the curve in rectifying what The New York Times described in 2015 as as generations of institutional neglect. This week, the two museums, along with the North Carolina Central University Art Museum and the North Carolina Museum of Art, cosponsor a free, public discussion about the necessity and challenges of changing the color of the canon. The panelists are notable, including Times art critic Holland Cotter, San Francisco art collector Pamela Joyner, and several major museum or gallery directors from New York and Miami. Esteemed Duke art historian Richard J. Powell, who has curated Nasher exhibits such as Archibald Motley: Jazz Age Modernist, is the moderator.

At the Nasher, you can arrive an hour early to mingle with the panelists and take in works by artists of African descent in Reality of My Surroundings: The Contemporary Collection.

—Brian Howe

FRIDAY, FEB. 12

African American Quilter Circle Show: Thru Mar 19: Hillsborough Arts Council Gallery, Hillsborough, www. hillsboroughartscouncil.org.

Americana: Textile & History as Muse: Robert Otto Epstein, Margi Weir and David Curcio.

Thru Mar 26. Artspace, Raleigh, www.artspacenc.org.

Animal Attraction: Multimedia works depicting animals.

Thru Feb 27. Tipping Paint Gallery, Raleigh, www. tippingpaintgallery.com.

The Art of Love: Painting by Laura and Trip Park. Thru Feb 29. ArtSource Fine Art, Raleigh, www.artsource-raleigh.com.

The Auctioneer and His Brothers: Acrylic paintings

by Lynne Clarke. Thru Feb 20. Naomi Gallery and Studio, Durham. www. naomistudioandgallery.com.

Aunties: The Seven Summers of Alevtina and Ludmila: Photographs by Nadia Sablin.

Thru Feb 28. Center for Documentary Studies, Durham, www.cdsporch.org.

Beach-Headz: North Carolina marine fossil portraits by Rick Jackson. Thru Feb 28. Nature Art Gallery, Raleigh, www. naturalsciences.org.

Black History: Artists’ Perspectives: Mixed-media work by Durham artists. Thru Feb 29. Hayti Heritage Center, Durham, www.hayti.org.

Books & Pages: Christine Adamczyk. Thru Feb 20. PageWalker Arts & History Center, Cary, www.friendsofpagewalker.org.

Boys Keep Swinging: Work by

Louis St. Lewis inspired by David Bowie. Thru Feb 29. Crook’s Corner, Chapel Hill, www. crookscorner.com.

Chisel & Forge: Peter Oakley and Elizabeth Brim. Thru Mar 20. North Carolina Museum of Art, Raleigh, www. ncartmuseum.org.

Constance Pappalardo: Paintings. Thru Apr 30.

Umstead Hotel & Spa, Cary, www.theumstead.com.

Contemporary South: Multimedia work from artists across the South. Thru Feb 25.

Visual Art Exchange, Raleigh, www.visualartexchange.org.

Dim Sum: Sculpture by Catherine Thornton. Thru Feb 28. Adam Cave Fine Art, Raleigh, www.adamcavefineart.com.

Disappearing Frogs Project: Environmental art project raising awareness of the global decline of amphibian populations. Thru Mar 3. NCSU Campus: The Crafts Center, Raleigh, www. ncsu.edu/crafts.

Drawn to Water: Robert L. Wood. Thru Mar 18. Cary Town Hall, Cary, www.townofcary.org.

Everyday Chaos: Re-Collaging

the Surface: Carlyn WrightEakes, Richie Foster, Harriet Hoover and Saba Taj. Thru Mar 13. Arcana Bar and Lounge, Durham, www.arcanadurham.com.

Failure of the American Dream: Installation by Phil America.

Thru May 8. CAM Raleigh, Raleigh, www.camraleigh.org.

Flow: N.C. artists and poets inspired by nature and rivers.

Thru Feb 21. Hillsborough Gallery of Arts, Hillsborough, www.hillsboroughgallery.com.

Hackensack Dreaming: Installation by Nancy Cohen.

Thru Mar 6. Power Plant Gallery, Durham, www. powerplantgallery.org.

Heralding the Way to a New World: Exploring Women in Science and Medicine through the Lisa Unger Baskin Collection: Thru Apr 1. Duke Campus: Perkins Library, Durham, www.library.duke.edu.

Hidden Things Revealed: Paintings by Patricia Williams.

Thru Feb 28. 311 Gallery & Studios, Raleigh, www .

311westmartinstreetgallery.com.

How to Grow Fresh Air: Lucia Apollo Shaw. Thru Feb 28. The

With its lush forms derived from a fantasy called the natural world, the biomorphic style of abstraction naturally flourished in the angular, industrial twentieth century.

You can see it in the treelike columns of a Gaudí church, the smooth skin of a Brancusi bronze, or the voluptuous fluids in a Yves Tanguy painting. At Franklin Street’s FRANK Gallery, three artists meet on this fecund terrain in one ponderously titled exhibit. (Could they not all agree on one title?) A sample we saw sliced up the spectrum between realism and abstraction: Bill McAllister’s stark photo of a human body turns into a wooden whiplash in Mark Elliott’s sculpture, and then shatters into colored panels in Harriet Bellows’s painting. With two other shows opening at the same time—Texture Transformed, featuring metalsmith Mirinda Kossoff and painter Mary Stone Lamb, and A Thousand Mornings, where Norma Hendrix offers years’ worth of renderings from one window in her house—FRANK should be humming with biological life in more ways than one during Chapel Hill’s Second Friday art walk. Take in citywide light show Shimmer while you’re out, too (see story at www.indyweek.com.)

Morphology runs through March 6. —Brian Howe FRANK GALLERY, CHAPEL HILL 6–9 p.m., www.frankisart.com

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

I Want Candy: Stacy Crabill.

Thru Apr 14. Durham Convention Center, Durham, www.durhamconventioncenter.com.

Illusionary Worlds: Kellie Bornhoft and Tedd Anderson.

Thru Feb 20. Artspace, Raleigh, www.artspacenc.org.

Inside Out: Work exploring relationships between architecture and psychology by Sandra Elliot. Thru Feb 29. Duke Campus: Louise Jones Brown Gallery, Durham, www.duke.edu.

Let It Go: Abstract acrylic and watercolor paintings by Janie Johnson. Thru Feb 28. Local Color Gallery, Raleigh, www. localcoloraleigh.com.

Linear Referencing: Matthew Rangel. Thru Feb 18. UNC Campus: Alcott Gallery, Hanes Art Center, Chapel Hill, www. art.unc.edu.

Revolver Dolls: Juliana Rodrigeuz. Thru Feb 28. The ArtsCenter, Carrboro, www. artscenterlive.org.

The Longitude and Latitude: Explorations of Land and Sea: Stephen Estrada and Tony Alderman. Thru Mar 12.

Durham Art Guild, Durham, www.durhamartguild.org.

The New Galleries: A Collection Come to Light: Thru Sep 18. The Nasher Museum of Art, Durham, www.nasher. duke.edu.

New Year—New View: Diana Coidan, Cynthia Mollenkopf and Barbara Smith. Thru Feb 23.

Cary Gallery of Artists, Cary, www.carygalleryofartists.org.

New Year Show: Jeff Bell, Kiki Farish, Heather Gordon, Warren Hicks, Sallie White. Thru Mar 12. Light Art + Design, Chapel Hill, www.lightartdesign.com.

Original Oils and Watercolors: William C. Wright. Thru Feb 29. Gallery C, Raleigh, www. galleryc.net.

Painting on Silence: Frank Myers. Thru Feb 20. PageWalker Arts & History Center, Cary, www.friendsofpagewalker.org.

Peculiar Light: Debra Wuliger. Thru Feb 28. Morning Times Gallery, Raleigh, www. morningtimes-raleigh.com.

Public Displays: Thru Feb 28.

Flanders Gallery, Raleigh, www. flandersartgallery.com.

LAST Prospect Refuge CHANCE Mystery Surprise: Installation by Tom Dawson.

Thru Feb 13. The Scrap Exchange, Durham, www. scrapexchange.org.

PULL: Screenprints. Thru Mar 27. Meredith College: Weems Gallery, Raleigh, www.meredith. edu/the-arts.

Racial Violence and Resilience: Questions and Currents in African American Art: Thru Feb 21. Ackland Art Museum, Chapel Hill, www.ackland.org.

Reality of My Surroundings: The Contemporary Collection: Thru Feb 28. The Nasher Museum of Art, Durham, www. nasher.duke.edu.

Robert Barnard: Paintings: Works by late UNC art professor. Thru Feb 29. Betty Ray McCain Gallery, Raleigh, www.dukeenergycenterraleigh.com.

Scherr Inspiration: Jewelry

by Mary Ann Scherr. Thru Feb 28. Roundabout Art Collective, Raleigh, www. roundaboutartcollective.com.

Side Roads: Folk Art from Mike’s Art Truck: Folk art by nine self-taught artists. Thru Feb 26.

Orange County Main Library, Hillsborough, www.co.orange. nc.us/library.

Silver Screens: Tama Hochbaum explores her mother’s legacy. Thru Feb 28.

Flanders Gallery, Raleigh, www. flandersartgallery.com.

Simple Ways: Folk Art

by Leonard Jones: House paint on scrap metal. Thru Mar 17. Alexander Dickson House, Hillsborough, www. historichillsborough.org.

Small Tapestry International: Works from the American Tapestry Alliance. Thru Mar 5. Artspace, Raleigh, www. artspacenc.org.

South Side: Photographs and writings by Jon Lowenstein.

Thru Feb 27. Center for Documentary Studies, Durham, www.cdsporch.org.

Southern Comforter: Abstract images of a down comforter

by Victoria Powers. Thru Mar 23. HagerSmith Design Gallery, Raleigh, www.hagersmith.com.

Spectrum: Light, Robots & Contrasts: Molly Chopin, Mike Slobot and Daniel Laffey. Thru Feb 25. Litmus Gallery, Raleigh, www.litmusgallery.com.

SPECIAL Walls of Color: The EVENT murals of Hans Hofmann. Thru Apr 10. — Lecture: Kenneth Silver on “Hans Hofmann, Modern Murals, and the Final Glorious Decade.” Fri, Feb 12, 5:30 p.m.

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

WOLFGANG STAEHLE:

In the Video Gallery at NCMA, Wolfgang Staehle is installing a portal from Durham to New York. Or so it seems, in “Eastpoint,” where the German-born digital artist updates real-time images of a lofty view of the Hudson Valley every ten seconds. “The Road,” meanwhile, is a piece that lasts almost literally forever: The artist claims its arrangement of 24 cards, changing every 6 seconds, have 1,686,553,615, 927,922,354,187,720 possible combinations. That’s a lot of fun with space and time.

—Brian Howe Feb. 13–June 5, North Carolina Museum of Art, Raleigh, www.

stage OPENING Crossing Delancey: Presented by the Cary Players. Fri, Feb 12Sun, Feb 14. The Cary Theater, Cary, www.thecarytheater.com.

PHOTO BY ANGELICA ESCOTO PHOTOGRAPHY

Qi Garden, Hillsborough, www. the-qi-garden.com.

FLAMENCO VIVO CARLOTA SANTANA

DANCE FRIDAY, FEB. 12–SUNDAY, FEB. 14

THE PASSION OF FLAMENCO

A host of local institutions, including Duke’s dance and romance studies departments and the Durham and North Carolina arts councils, have a great Valentine’s Day gift for you: A three-nightstand at Motorco by Flamenco Vivo Carlota Santana. The incandescent company was founded to increase the presence of Spanish dance in the United States, and it has succeeded in thirty-two seasons of international performance. Under cofounder and artistic director Carlota Santana, with extroverted displays of virtuosity and brio, Flamenco Vivo has not only mainstreamed flamenco traditions, but also widened them with the infusion of other dance styles in new, original works. Duke Performances brought the group to Page Auditorium a few years ago, but, seated at tables at Motorco, you can get much cozier with the passion and drama Flamenco Vivo stomps and swirls—and with your V Day date, if that’s how you roll. —Brian Howe MOTORCO MUSIC HALL, DURHAM, Various times, $10–$30, www.motorcomusic.com

Todd Glass: Stand-up comedy. $20–$33. Fri, Feb 12-Sun, Feb 14. Goodnights Comedy Club, Raleigh, www. goodnightscomedy.com.

Laugh A-Thon: Standup comedy from Corey Holcomb, John Witherspoon, Dominique, Anthony “Chico” Bean. $56–$79. Sun, Feb 14, 7 p.m. Meymandi Concert Hall, Raleigh, www. dukeenergycenterraleigh.com.

The Lion King: Disney’s musical returns. $39–$109. Feb 16-Mar 20. Durham Performing Arts Center, Durham, www.dpacnc. com. See story, p. 31.

Love Letters: Play presented by Bare Theatre. $10–$18. Fri, Feb 12-Sun, Feb 28. Sonorous Road Productions, Raleigh, www. sonorousroad.com.

Krish Mohan, Sam Mazany: Stand-up comedy. $5. Fri, Feb 12, 9 p.m. Slim’s Downtown, Raleigh, www.slimsraleigh.com.

Sweeney Todd: Sondheim musical. 13–$27. Fri, Feb 12-Sun, Feb 28. Raleigh Little Theatre, Raleigh, www.raleighlittletheatre. org. See p. 33.

They, Themself and Schmerm: One-person show by Becca Blackwell. $5–$10. Fri, Feb 12

& Sat, Feb 13, 8 p.m. Duke’s Sheafer Lab Theater, Bryan Center, Durham.

ONGOING Blue Sky: Burning Coal play.

15–$25. Thru Feb 14. CAM Raleigh, Raleigh, www. camraleigh.org.

Grease: $25–$87. Thru Feb 14.

Memorial Auditorium, Raleigh, www.dukeenergycenterraleigh.com.

Tuesdays with Morrie: Justice Theater Project play. $14–$22.

Thru Feb 21. St Francis of Assisi Catholic Church, Raleigh, www. sfaraleigh.org.

submit! Got something for our calendar? EITHER email calendar@indyweek.com (include the date, time, street address, contact info, cost, and a short description) OR enter it yourself at posting.indyweek.com/indyweek/Events/AddEvent. DEADLINE Wednesday 5 p.m. for the following Wednesday’s issue. Thanks!

INDYweek.com | 2.10.16 | 41

The Underpants: Play by Steve Martin. 18–$24. Thu Feb 21.

Theatre In The Park, Raleigh, www.theatreinthepark.com.

Basketball’s Lost Triumph. Thu, Feb 11, 7 p.m. Ravenscroft School, Raleigh, www. ravenscroft.org.

Venus in Fur: Play by David Ives. $12–$16. Thru Feb 14.

Common Ground Theatre, Durham, www.cgtheatre.com.

So & So Reading Series: Eric Martin and Kathryn L. Pringle. Thu, Feb 11, 6:30 p.m.

CAM Raleigh, Raleigh, www. camraleigh.org.

page

LECTURES, ETC.

READINGS & SIGNINGS Gavriel Savit: Anna and the Swallow Man. Wed, Feb 10, 7 p.m. Quail Ridge Books, Raleigh, www.quailridgebooks. com. — Fri, Feb 12, 7 p.m.

Flyleaf Books, Chapel Hill, www.flyleafbooks.com.

Halim Mustafa Al-Kanemi: The Development of Al-Islam in the African-American Community. Tue, Feb 16, 6:30 p.m. South Regional Library, Durham, www. durhamcountylibrary.org.

Karen Branan: The Family Tree: A Lynching in Georgia.

Thu, Feb 11, 7 p.m. Regulator Bookshop, Durham, www. regulatorbookshop.com.

Melanie Benjamin: The Swans of Fifth Avenue. Wed, Feb 17, 7 p.m. Quail Ridge Books, Raleigh, www.quailridgebooks.com.

Scott Ellsworth: The Secret Game: A Wartime Story of Courage, Change and

DARWIN DAY: A day of events celebrating the life and work of Charles Darwin.

Sat, Feb 13, 9 am-5 p.m. NC Museum of Natural Sciences, Raleigh, www.naturalsciences. org.

High-Tech Carolina Couture: Justin LeBlanc, fashion designer and Project Runway finalist. Sat, Feb 13, 3 p.m. NC Museum of History, Raleigh, www.ncmuseumofhistory.org.

Lecture Series in Musicology: “Choirbooks and Partbooks: Different Formats, Different Affordances” Tue, Feb 16, 4:30 p.m.. Duke Campus: Biddle Music Building, Durham, www.music.duke.edu.

Rare Music Harpsichord Lecture/Recital: Fri, Feb 12, 5 p.m. Duke Campus: Biddle Music Building, Durham. www.music.duke.edu.

Robert Weiss and J. Mark Scearce: Carolina Ballet’s artistic director discusses the new production of Macbeth.

Thu, Feb 11, 7 p.m. Quail Ridge Books, Raleigh, www. quailridgebooks.com.

screen SPECIAL SHOWINGS

All That Jazz: $5–$7. Fri, Feb 12, 8 p.m. NC Museum of Art, Raleigh, www.ncartmuseum.org.

Bande de filles (Girlhood): Free.

Thu, Feb 11, 6:15 p.m. NCSU Campus: Witherspoon Student Center, Raleigh.

Cartel Land: Free. Tue, Feb 16, 7 p.m. Carolina Theatre, Durham, www.carolinatheatre.org.

Many Beautiful Things: Free.

Thu, Feb 11, 7:30 p.m. Halle Cultural Arts Center, Apex, www.thehalle.org.

Sacred Sound: Free. Sun, Feb 14, 4:30 p.m. St Matthews Episcopal Church, Hillsborough, www.stmatthewshillsborough.org.

Sivas: Free. Mon, Feb 15, 7 p.m.

Duke Campus: Richard White Auditorium, Durham.

Wall-E: Free. Wed, Feb 10, 7 p.m. Duke Campus: Griffith Theater, Durham. www.duke. edu.

OPENING DEADPOOL—Marvel’s sour, sassy antihero (Ryan Reynolds) gets his turn on the big screen.

Rated R. See story, p. 29.

HOW TO BE SINGLE—A crew of young adults copes with the difficulties of being single and getting what they want. Rated R. ZOOLANDER 2—Derek (Ben Stiller) and Hansel (Owen

ART

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DEADPOOL • ZOOLANDER 2 • HOW TO BE SINGLE WHERE TO INVADE NEXT PRIDE, PREJUDICE AND ZOMBIES THE FINEST HOURS • THE BIG SHORT • 45 YEARS RIDE ALONG 2 • KUNG FU PANDA 3 • HAIL, CEASAR! THE REVENANT • THE CHOICE STAR WARS: THE FORCE AWAKENS For times please go to website

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42 | 2.10.16 | INDYweek.com

SC RE E N FRIDAY, FEB. 12

THE WARRIORS

What better way to kick off Valentine’s Day weekend than by watching a seventies action-thriller about a bunch of gangs running loose all over New York City? (Hear us out!) The Warriors, Walter Hill’s pulpy, sweltering odyssey about a Coney Island crew that spends one down-and-dirty night dodging rival gangs and looking for the killers who framed them for the murder of a powerful gang leader, had folks shaking in their Earth Shoes in 1979. Tragic, possibly gang-related ruckuses broke out during a few screenings in California and Boston, and people assumed more gang violence would follow at other theaters. When Village Voice critic Andrew Sarris attended a showing unmarked by violence, he didn’t get all the hubbub, saying the movie “looks as if Fritz Lang had directed The Wiz.” With negative reviews and meager box-office receipts, The Warriors wound up as an over-the-top curiosity rather than a controversial smash.

Nevertheless, it went on to become a cult favorite, with its most chuckle-worthy quotes (“Can … you … dig it?”, “Warriors—come out to play-eyyyy!”) popping up anywhere and everywhere, from Puff Daddy songs to Shaquille O’Neal interviews. —Craig D. Lindsey THE RIALTO, RALEIGH, 11:30 p.m., $5, www.ambassadorcinemas.com

Wilson) return to male modeling, but a villain seeks to take them out of the game. Rated PG-13.

A L S O P L AY I N G See our reviews of these films at www.indyweek.com. ½ 45 YEARS—A lifetime of regret unravels between a comfortably married couple (Tom Courtenay and Charlotte Rampling) as their wedding anniversary arrives. Rated R.  ANOMALISA—This fable about consumer capitalism and the male ego is familiar ground for Charlie Kaufman, but the material is elevated by the singular stop-motion animation.

Rated R.

½ BROOKLYN—The nostalgic melancholy of Colm Tóibín’s novel is preserved in this elegiac old-school immigrant’s tale. Rated PG-13.

 THE HATEFUL EIGHT—If Quentin Tarantino doesn’t jettison this kind of historical revenge fantasy, he will become as dated as his film stock. Rated R.

 CAROL—As director Todd Haynes (Far From Heaven) returns to the repressed ’50s, a friendship between two women morphs into a frowned-upon affair. Rated R.

 ½ THE REVENANT— Leo DiCaprio plays a historical fur trapper left for dead after a bear attack in the director of Birdman’s latest Oscar-bait. Rated R.

 DIRTY GRANDPA—Robert De Niro churcks the remains of his reputation in this filthy, unfunny spring-break comedy.

Rated R.  HAIL, CAESAR!—The Coen brothers offer a delightful satire of postwar Hollywood.

Rated PG-13.

 ½ ROOM—Adapted from an acclaimed novel, this is a cathartic exploration of the traumas of the love between mother and child. Rated R.  STAR WARS: THE FORCE AWAKENS—J.J. Abrams successfully remixes Star Wars mythology for a new generation. Rated PG-13.

BILL BURTON ATTORNEY AT LAW Un c o n t e s t eAgreements d Di vo rc e Separation Mu s i c Bu s i n edivorce ss Law Uncontested InMusic c o r p obusiness r a t i o n / Llaw LC / Pa r t n e r s h i p Incorporation/LLC Wi lls Wills C o l l967-6159 ections (919)

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For a list of job duties, or to send a resume for consideration, please email Pat Taylor, NCPA president, at pat@thepilot.com.(NCPA)

EXPERIENCED, NONJUDGEMENTAL TAX PREPARER NEEDED part-time during tax season.

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TAX SEIZURE AUCTIONWednesday, February 17, 10am.

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stuff AT&T U-VERSE INTERNET starting at $15/month or TV & Internet starting at $49/month for 12 months with 1-year agreement. Call 1-800-898-3127 to learn more. (NCPA)

employment assistance AIRLINE CAREERS begin here - Get started by training as FAA certified Aviation Technician. Financial aid for qualified students.

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Contact Steed Rollins at Peak Swirles & Cavallito Properties.

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FTCC Fayetteville Technical Community College is now accepting applications for the following positions: Psychology Instructor.

English-as-a-Second Language Instructor. For detailed information and to apply, please visit our employment portal at: https://faytechcc.peopleadmin.com/. Human Resources Office. Phone: (910) 678-8378 Internet: www.faytechcc.edu.

An Equal Opportunity Employer. (NCPA)

LOOKING TO BUY OR SELL YOUR HOME THIS SPRING?

Media star Promotions is seeking Brand ambassadors to conduct promotions within nightlife and retail establishments in market and surrounding areas.

This part time position is ideal for attractive, outgoing men and women who are looking for an interesting, challenging position within the nightlife and retail scene that will allow them to make good money and have fun.

Position Requirements: • 20-28 hours of daytime and/or evening availability over 3-5 days per week.

• clean, neat appearance, outgoing personality, excellent verbal and people skills.

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rent/ elsewhere FAIR HOUSING ACT NOTICE

All real estate advertised herein is subject to the Federal Fair Housing Act, which makes it illegal to advertise ìany preference, limitation, or discrimination because of race, color, religion, sex, handicap, familial status, or national origin, or intention to make any such preference, limitation, or discrimination.î We will not knowingly accept any advertising for real estate which is in violation of the law. All persons are hereby informed that all dwellings advertised are available on an equal opportunity.

For more information or assistance, contact Legal Aid of North Carolina’s Fair Housing Project at (855) 797-3247 or visit www. fairhousingnc.org.

rent/wake co.

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Well maintained, excellent quiet neighborhood. 1129 Marlborough Rd. $1150/ month, 1 Year Lease, deposit, lawn care included. Available March 15. (919)348-0816 - DO NOT DISTURB TENANTS.

APARTMENT FOR RENT 1 bedroom, 1 bath efficiency apartment available on Boylan Ave. One block from Glenwood Ave, one block from Hillsborough Street.

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music lessons ROBERT GRIFFIN IS ACCEPTING PIANO STUDENTS AGAIN! See the teaching page of: www.griffanzo.com Adult beginners welcome. 919-6362461 or griffanzo1@gmail.com

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soft return

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

Until Forever When I walked into the first night of the Save The Pinhook benefit concert series two weeks ago, I spotted several friends with whom I’d shared the club’s dance floor.

We all embraced. The space felt warm and, like always, endearingly gritty.

I sat on a stool, the same stool I sat on when I brought my chihuahua to the bar one afternoon, the same stool I sat on one night after a protest of Jesus “Chuy” Huerta’s death in police custody. I kept running into friends from different areas of my life, united for one cause—to save The Pinhook from extinction at the hands of a tax oversight, to save a room that’s always been more than a venue, both for me and for Durham.

The first time I went to The Pinhook six or seven years ago, I remember grown dudes in flannel playing with a Lite-Brite. I remember walking up to the bar and making a very poor attempt at hitting on the bartender, who happened to be owner Kym Register.

I joined the gaggle of raunchy, sparkly queers dancing to DJ Pancakes. In other bars, I tend to feel a little too hairy and dirty, a little too much like a freak. But at The Pinhook, I felt at home.

I was a new DJ, too, and The Pinhook would soon become the place that best supported my creativity and helped mold me into the unconventional DJ I am today. Kym has let me throw the strangest parties, no questions asked—a glam rock one, a series of nineties-themed events, even a goth/industrial night. Kym also took a chance on our monthly club night, Party Illegal, which has been going strong for three years.

The Pinhook’s events are the most diverse of any club in the Triangle. It’s large enough to host big-name touring artists such as Big Freedia and Sylvan Esso, but it remains intimate enough for and committed to political talks, musician workshops, and film screenings. The karaoke, trivia, and open mic nights all have cult followings. The Pinhook has created and fostered communities—the best any venue could hope for, really.

With real estate prices in Durham rising and the threat of gentrification seeming to invade every area corner, mainstays like The Pinhook are of utmost importance. They are rebuttals to the next new establishment with mediocre bookings, trying too hard to be cool. One of the most radical rooms around, The Pinhook doesn’t need to try. That’s why we saved it—and why it deserved to be saved.

—Jess Dilday Twitter: @DJPlayPlay

Book your ad • CALL LesLie at 919-286-6642 • EMAIL

cLassy@indyweek.com

INDYweek.com| |2.10.16 2.10.16| |45 45 INDYweek.com

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# 46

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.

8 9 7

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6 8 7 9 3 6

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MEDIUM

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# 47

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2 1can’t 9 7 wait, 4 3 6 check 8 5 If you just 3 6 4 week’s 5 8 1 answer 2 7 9 out the current 6 4 2 8 5 7 1 9 3 key at www.indyweek.com, 9 3 1 6 4 8 5 2 and click 71“Diversions”.

8 5 2 3 9 4 6 7 4 2 and 7 6 1have 5 9 fun!

3 8 Best of luck, 8 5 1 3 9 2 7 4 6 5 2 1

www.sudoku.com 9 3 6 4 7 8

If you are a woman living in the Raleigh-Durham-Chapel Hill area and take black cohosh for hot flashes, cramps or other symptoms, please join an important study on the health you cohosh are a woman livingbyinthethe Raleigh-Durham-Chapel Hill area and(NIEHS). effects ofIf black being conducted National Institute of Environmental Health Sciences take black cohosh for hot flashes, cramps, or other symptoms, please join What’s required? an important study on the health effects of black cohosh being conducted • Only one visit to donate a of blood sample • QualifiHealth ed participants will receive up to $50 by the National Institute Environmental Sciences (NIEHS).

• Blood sample will be drawn at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina What’s Required?

Who Can Participate?

Only one visit women, to donate sample • Healthy aged a18blood years and older • Not pregnant or breastfeeding Volunteers compensated upthe to $50 For will morebeinformation about Black Cohosh Study, call: Blood sample will be drawn919-316-4976 at the NIEHS Clinical Research Unit in Research Triangle Park, North Carolina Lead Investigator: Stavros Garantziotis, M.D. Who Can Participate?

National Institute of Environmental Healthy women, aged 18 years and older Health Sciences Research Triangle Park, North Carolina Not pregnant or breastfeeding

· · · · ·

National Institutes of Health • U.S. Department of Heath and Human Services

For more information about the Black Cohosh Study, call 919-316-4976 National Institutes of Health • U.S. Department of Heath and Human Services

Lead Researcher

Stavros Garantziotis, M.D. National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

National Institutes of Health • U.S. Department of Heath and Human Services

If you are a man or woman, 18-55 years old, living in the RaleighDurham-Chapel Hill area, and smoke cigarettes or use an electronic nicotine delivery system (e-cigarette), please join an important study on smokers being conducted by the National Institute of Environmental Health Sciences (NIEHS).

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• Healthy men and women aged 18-55 • Current cigarette smokers or users of nicotine-containing e-cigarettes (can be using both) The definition of healthy for this study means that you feel well and can perform normal activities. If you have a chronic condition, such as high blood pressure, healthy can also mean that you are being treated and the condition is under control.

For more information about this study, call 919-316-4976 Lead Researcher Stavros Garantziotis, M.D. • National Institute of Environmental Health Sciences Research Triangle Park, North Carolina

2.10.16

solution to last week’s puzzle

Page 12 of 25

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The Duke Dance Program, in collaboration with Duke Integrative Medicine, is seeking volunteers for a stress reduction research study. The study involves comparing an Africanbased healing ceremony with mindfulness practice and with walking. We are seeking volunteers ages 25 to 55 to meet weekly for 8 weeks on Sunday afternoons from 2 - 4 PM March 6 thru April 24.

Participants must be able to tolerate moderate exercise for up to 75 minutes at a time with breaks. Contact Ken Wilson 919-684-5878.

Do You Use Black C oho sh?

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Book your ad • CALL LesLie at 919-286-6642 • EMAIL

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