INDY Week 2.14.18 by Indy Week

DURHAM • CHAPEL HILL 2|14|18

REASONS WE LOVE THE

RIGHT NOW A Valentine’s Day love letter to the place we call home p. 10

2 | 2.14.18 | INDYweek.com

WHAT WE LEARNED THIS WEEK VOL. 35, NO. 7 6 In North Carolina, the fetal-death rate for African Americans is more than double the statewide rate. 10 The No. 7 reason to love the Triangle? We tore down that Confederate monument. 16 The North Carolina coast has become known for producing some of the best oysters in the United States. 20 Stephanie Leathers took artist friends on walking trips through Durham and asked them questions: “How do you feel about this space? How does it make you want to move?” 22 PlayMakers’ two-course treat of The Christians and Tartuffe balances heavy food for thought with an airy, delightful dessert. 24 A.J. Finn definitely titled his new book, The Woman in the Window, to make you think of The Girl With the Dragon Tattoo and Gone Girl.

DEPARTMENTS 6 News 16 Food 19 Music 20 Arts & Culture

Green-gilled oysters served at Saint James Seafood in Durham (see page 16)

PHOTO BY CAITLIN PENNA

26 What to Do This Week 29 Music Calendar 32 Arts & Culture Calendar

On the cover PHOTO BY CHRISTOPHER WILLIAMS

INDYweek.com | 2.14.18 | 3

NCDOT TO HOLD PUBLIC MEETING ON FEB.15 REGARDING THE PROPOSED BRIDGE REPLACEMENT ON N.C. 50 OVER U.S. 70 AND IMPROVEMENTS TO INTERCHANGE IN WAKE COUNTY STIP Project No. B-4654 The N.C. Department of Transportation proposes to replace the bridge on N.C. 50 over U.S. 70, as well as make improvements to that interchange. A public meeting will be held at Garner Town Hall located at 900 7th Avenue on Thursday, February 15th from 4 to 7 p.m. The purpose of this meeting is to inform the public of the project and gather public input on the proposed design. Maps of the study area, environmental features and proposed designs will be available on the project website for public review and comment. Project maps are also available online at http://www.ncdot.gov/projects/publicmeetings/. The public may attend at any time during the public meeting hours, as no formal presentation will be made. NCDOT representatives will be available to answer questions and receive comments. The comments and information received will be taken into consideration as work on the project develops. The opportunity to submit written comments will also be provided at the meeting or can be done via phone, email, or mail by March 1, 2018. For additional information, please contact Mr. Elmo Vance, Assistant Project Manager, NCDOT Roadway Design Unit, by phone: (919) 707-6048 or via email at eevance@ncdot. gov; or by mail: 1582 Mail Service Center, Raleigh, NC 27699-1582. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who wish to participate in this workshop. Anyone requiring special services should contact Tony Gallagher, Environmental Analysis Unit, at 1598 Mail Service Center, Raleigh, NC 27699-1598, by phone (919) 707-6069 or by e-mail at magallagher@ncdot.gov as early as possible so that arrangements can be made. Persons who speak Spanish and have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the meeting by calling 1-800- 233-6315. Aquellas personas que hablan español o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 233-6315.

4 | 2.14.18 | INDYweek.com

Raleigh Durham | Chapel Hill PUBLISHER Susan Harper EDITORIAL

EDITOR IN CHIEF Jeffrey C. Billman MANAGING EDITOR FOR ARTS+CULTURE Brian Howe STAFF WRITERS Erica Hellerstein, Sarah Willets MUSIC EDITOR Allison Hussey FOOD EDITOR Victoria Bouloubasis STAFF PHOTOGRAPHER Caitlin Penna THEATER AND DANCE CRITIC Byron Woods CHIEF CONTRIBUTORS Amanda Abrams, Jim Allen,

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backtalk

Bleh, Blah, and Meh

reation facilities and that’s also easily accesWe’ve got quite the smorgasbord of comsible from U.S. 70. The next site Durham mentary this week. Let’s begin with Erik Parks & Rec should look at for playing fields, Kengaard, who writes in response to a story trails, and bike paths is the little-used Hillanon the seven hundred thousand North Carodale golf course. That would be a great, cenlinians who live in deep poverty. trally located place for more soccer fields and “According to LBJ,” he writes, “there other recreational uses. It would get far more should no longer be people in poverty, nor use by a wider population than it does now.” anyone dependent on means-tested welfare: On Michael Venutolo-Mantovani’s pro‘The days of the dole in our country are numfiles of NASCAR racers Kyle Busch and Ryan bered. Our American answer to poverty is not Blaney—by the way, did you know we have to make the poor more secure in their poverty a sports blog now? It’s quite fun—Sophie but to reach down and to help them lift themKopsar writes: “I will take Kyle Busch over selves out of the ruts of poverty and move the narcissistic, attention-seeking Ryan with the large majority along the high road of Blaney any day of the week and twice on hope and prosperity.’ What happened?” race day. Blaney will do anything to suck That’s a good question. up, to be ‘popular.’ However, he doesn’t put On our report about the state being willing nearly that much effort into winning races, to throw more than a billion dollars at Toyota so he will always be the popular nice guy to locate a manufacturing plant here, which without a championship. Between his huge quoted from a News & Observer story, Alan fan base, which the media tends to ignore, Ferguson writes in with a correction: “Actuand his huge ‘hate base,’ Kyle ally there was a significant Busch is NASCAR’s most error in the N&O story, which valuable asset. Kyle garners has now been corrected. It’s “They’re still more fan interest than bland in the last line, the ‘$100,000’ Jimmie Johnson with his to be paid by Randolph Counvehicles. championships and far ty. The actual number was On the roads.” seven more than the crop of alleged $100,000,000. Yes, that’s right, young stars that NASCAR is the taxpayers of Randolph churning out, who all have County were being asked to the racing prowess to match their personalifinance one hundred million dollars of the ties—bleh, blah, and meh.” project. In other words, the real number is Finally, Mark Neill responds to a letter one thousand times worse.” last week arguing that, because of automaOn last week’s feature about efforts to tion, money spent on new highways or light reform Durham’s cash-bail system, @scottrail is a waste: “Computer-driven vehicles? klair tweets: “Bondsman have a very strong Really? We’ve been saying that for the last industry lobby. The political influence of thirty years. And even if that managed to money always results in a ‘compromise’ paid come to fruition, in tandem with the Uber/ in damage done to other peoples’ lives.” Adds Lyft personal transportation-as-a-service, @quinn_kirlew: “Bail should be based on they’re still vehicles. On the roads. Which how much is valuable to the individual, not are already getting overcrowded. How does what a judge deems sufficient.” the advent of autonomous vehicles alleviate Next up, a pair of comments on our story traffic density? about the placement of a possible soccer field “Raleigh isn’t yet dense enough to have a in Durham. Ron Asher argues that the locapopulation that survives on public transportion, off Hoover Road in east Durham, is subtation and TaaS, nor does it have the public optimal: “A new park and more soccer fields transportation infrastructure to even make would be wonderful. However, the location that possible right now.” is really not great for those who would prefer to walk, bike, or take public transportation Want to see your name in bold? Email us at there. We could really use one more centralbacktalk@indyweek.com, comment on our ly located in the downtown.” Facebook page or indyweek.com, or hit us up Durham451 disagrees: “This is a good site on Twitter: @indyweek. for soccer near neighborhoods that need rec-

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indynews

Suffer the Children

NORTH CAROLINA HAS ONE OF THE COUNTRY’S HIGHEST INFANT-DEATH RATES. EXPANDING MEDICAID COULD CHANGE THAT. BY JEFFREY C. BILLMAN

he central premise is straightforward enough, and commonsensical: women who have better access to health care are less likely to have children who die soon after birth. So, since North Carolina’s infant-death rate is unnervingly high—thirty-ninth in the country—the state should expand access to health care for women of reproductive age. “Essentially, our argument is that research has already shown that mothers who have access to prenatal care are less likely to experience infant mortality,” says NC Child research director Whitney Tucker. “If we’re able to provide more health care, we’re likely to see those infant- and fetal-mortality rates go down.” Last week, the child-advocacy organization released a report, coauthored by Tucker, grimly titled “Giving Birth in North Carolina Is Still a Risky Business.” It lays out precisely that case: too many North Carolina women lack access to health care, but the state can remedy that by expanding Medicaid. And it’s not just infant mortality NC Child is worried about. To Tucker, the report’s most jarring finding is that, while North Carolina’s infant-death rate is still frustratingly high at 7.2 per one thousand live births, nearly as many children experienced fetal death (818)—meaning they perished after twenty weeks of gestation, which is commonly known as stillbirth—as infant death (873) in 2016. (The national infant-death rate is 5.8 per one thousand live births, which itself is higher than that of most developed countries.) The number of fetal deaths, the report notes, “has ranged from 753 to 895 per year over the past decade, and the fetal mortality rate fluctuated very little in the state between 2007 and 2013. The rate rose sharply between 2014 and 2015 and fell in 2016, but has yet to decline past 2007 lev6 | 2.14.18 | INDYweek.com

els despite increased statewide interest and investment in infant and maternal health.” It’s hard to get a sense of where North Carolina ranks in fetal deaths, as not all states maintain analogous records. But it’s not hard to see the racial disparities at play: while the state’s fetal death rate was 5.2 per one thousand live births from 2012–16, it was more than twice that—12 per one thousand—for African Americans. For both fetal and infant deaths, the underlying problems are the same. “Fetal and infant health is directly tied to maternal health status preconception and during the gestational period,” the NC Child report says. “Nearly half of the primary causes of infant mortality in North Carolina … have been linked to maternal risk factors occurring prior to pregnancy. Similarly, while direct causes of fetal mortality are less understood in most cases, studies have also found maternal health conditions to be leading risk factors for fetal death.” And underlying that is the fact that, in North Carolina, one in five women of reproductive age does not have health insurance. According to the report: “Uninsured women are less likely than their insured peers to receive treatment or counseling for a variety of pregnancy risk factors, including mental health concerns and the physical health conditions referenced earlier in this report. Uninsured adults are twice as likely as their insured peers to forgo seeing a doctor when they are sick, and are less likely to receive services to help them manage chronic disease or major health conditions.” There are state resources available to lower-income pregnant women; the Medicaid for Pregnant Women program covers women who earn up to 196 percent of the federal poverty line, or about $48,000 for a family of four. In fact, Medicaid covers 54 percent of all births in North Carolina, according to NC Child.

FETAL- AND INFANT-DEATH RATES, 2012–16, BY COUNTY (PER 1,000 LIVE BIRTHS)

10.9 5.8

5.6

Wake Fetal

7.1

7.0

Durham

5.6

7.2

Orange

7.2

8.8 6.7

7.2

4.5

Chatham

Infant

Alamance

NC*

*2016 data | Source: NC Child

PERCENTAGE OF WOMEN AGE 18–44 UNINSURED, BY COUNTY

14.4

Wake

23.6

24.7

Chatham

Alamance

18 10.4

Durham

Orange

Source: NC Child

“While Medicaid for Pregnant Women is a critical program,” the report says, “it is insufficient in providing all of the preconception and early pregnancy coverage women need to promote healthy pregnancies.” The answer, the report argues, is to expand Medicaid under the Affordable Care Act, which would give health care access to an estimated half-million North Carolinians. Currently, 43 percent of the state’s nonelderly uninsured adult women fall into what is known as the coverage gap—meaning they earn too much to qualify for Medicaid but not enough to obtain insurance subsidies through the Affordable Care Act’s marketplace.

able-bodied Medicaid recipients, something Republicans have long sought to do. Cooper sought a waiver to the workrequirement provision in November, but the requirements would only apply if the state expanded Medicaid, and then only to the people in the expanded Medicaid program. It was an olive branch. So far, legislative leaders haven’t accepted it. There are good reasons to be skeptical of work requirements. As the NC Child report points out, health problems are often a reason people are unemployed; according to a recent study in Michigan, 75 percent of outof-work Medicaid recipients had a chronic health condition, which would seem to indi-

“Our failure to expand Medicaid is the biggest disappointment I’ve had since I’ve been in the legislature.” Indeed, a recent study in the American Journal of Public Health found that infant mortality declined more in states that had expanded Medicaid than in those that did not, “with greater declines among AfricanAmerican infants”—which, as NC Child points out, is a particularly vulnerable population in North Carolina. But if the solution is obvious to NC Child, it hasn’t been to the General Assembly, which has steadfastly refused to expand Medicaid; in 2013, legislators even passed a law explicitly forbidding it. Democrats have pointed out that the state is leaving billions of dollars on the table, since under the ACA, the federal government picks up about 90 percent of the expansion tab. From 2013–22, according to a 2014 report from the Urban Institute, the state would have had to cough up about $300 million a year, in exchange for $3.9 billion a year in federal funding and another billion in hospital reimbursements. When Governor Cooper took office in the waning days of the Obama administration, he made noise about unilaterally expanding the program, which prompted a lawsuit by House Speaker Tim Moore and Senate leader Phil Berger. Cooper never followed through, however, so the lawsuit was dropped. But then, last month, the Trump administration changed the equation: it began allowing states to impose work requirements on

cate that work requirements are a solution to a problem that doesn’t really exist. But even so, advocates say, expansion is worth it. A bill filed last year in the legislature— HB 662—would expand Medicaid while imposing work requirements and a premium of 2 percent of household income. But what separates it from previous failed attempts to expand Medicaid is that its four primary sponsors are Republicans. “I do think having four Republicans as primary sponsors on there helps,” says Wake County Democratic state representative Duane Hall, a cosponsor. He’s supported Medicaid expansion since he joined the state House and has cosponsored straight Medicaid-expansion bills that went nowhere. He adds: “Our failure to expand Medicaid is the biggest disappointment I’ve had since I’ve been in the legislature.” Whether that means HB 662 will see movement once the short session convenes in May is anyone’s guess. After all, Hall told the INDY Thursday— the day the Republicans unveiled a classsize mandate reprieve that would also take control of an Atlantic Coast Pipeline mitigation fund and reestablish a bipartisan State Board of Elections that has twice been rejected by state courts—“You’re asking a Democrat who didn’t know what was on the floor before it was on the floor.” jbillman@indyweek.com INDYweek.com | 2.14.18 | 7

news

Trust Issues

DURHAM WANTS TO ESTABLISH A NEW HOUSING TRUST FUND THAT RELIES ON PRIVATE DONATIONS. WHAT WILL IT LOOK LIKE—AND WILL IT EVEN WORK? BY SARAH WILLETS

ast Monday, Durham Mayor Steve Schewel delivered his first State of the City address. The hour-long speech was wide-ranging: Schewel called on Durham residents to plant trees and help correct decades-old disparities in the city’s tree canopy. He sang the words inscribed on the Statue of Liberty and welcomed, in Spanish, the families of two men taking sanctuary from deportation in Durham churches. And he announced “some important, quiet work” being done to address the city’s critical lack of affordable housing. Under the leadership of Phail Wynn, vice president for Durham and regional affairs at Duke University, the city is working to set up an affordable housing trust fund. Housing trust funds aren’t uncommon, but it appears Durham’s will be unique in that it will rely on private contributions, rather than primarily on governmental resources. In an interview, Schewel stresses that plans for the fund are in the very early stages. As the Durham Housing Authority begins a massive redevelopment effort and the city gears up to deliver on its commitment to locating affordable housing around light-rail stations, Durham will need more resources to throw at the problem of affordability. According to the Housing Trust Fund Project, an initiative of the Center for Community Change, there are ninety-eight city housing trust funds across the country, including two in North Carolina—in Asheville and Charlotte. In addition, hundreds of jurisdictions in New Jersey and Massachusetts participate in broader funds in those states. There are also state housing trust funds, including one operated by the North Carolina Housing Finance Agency. All told, these funds dedicate more than $1.2 billion annually to housing efforts. Schewel says a trust fund would provide a more flexible addition to the city’s exist8 | 2.14.18 | INDYweek.com

Oldham Towers in Durham PHOTO BY CAITLIN PENNA ing Dedicated Housing Fund, a repository for the proceeds of portion of the property tax rate earmarked for housing and doled out through the annual budget. He envisions a $15 million fund, with about 10 percent of that coming from the city and the rest from private sources, such as Duke University or financial institutions. The money would be loaned mostly to nonprofit developers. Wynn is meeting with financial institutions, nonprofit housing developers, and city staff to bring the idea to fruition. “The key thing would be of course the willingness of private funders to contribute. The commitment of Duke will be very, very important,” Schewel says. “I think if the fund is going to work, the city is going

to have to put in the top loss, that initial risk capital. The other part of the picture is the potential for a housing bond.” (Schewel says he anticipates a bond issue will be needed “sooner than later,” given the DHA’s redevelopment plans.) The Dedicated Housing Fund would maintain the city’s regular commitments to affordable housing and the nonprofits that work to provide it, while the trust fund could be used for larger or off-budget-cycle expenditures. “You can be more nimble and have more money at your fingertips,” Schewel says. A trust fund could have come in handy last year, when the DHA had the opportunity to buy back twenty acres of land south of N.C. 147 and sought $4 million from the

city to make that happen before a deadline to purchase the property, known as Fayette Place, expired. Schewel says he could also envision the trust fund being used to renovate units that are exiting affordablehousing agreements as leverage to negotiate new affordability requirements. Michael Anderson, director of the Housing Trust Fund project, says that what Durham is proposing to do—based on the few details available—doesn’t fit the traditional definition of a housing trust fund. “Almost every trust allows for private contributions, but having private contributions as a core part of your business model is entirely different,” he says. Generally, city trust funds are primarily backed by tax revenue, developer fees, and bonds. Three jurisdictions in Iowa report using private dollars as a funding source. Those are mostly backed by money from a state housing trust fund, but they also receive private contributions. Anderson also notes a collaboration in Ithaca, New York, where Cornell University matches what the local government contributes to a housing trust fund. Addressing housing needs is often just too big a task for private funds alone, Anderson says. Housing trust funds that are reliant on private dollars “often never get a critical mass of funding,” beyond initial contributions made to jump-start them. “There’s just not examples of philanthropy stepping up in an ongoing way for a problem that for the last four decades in our country has been really consistent,” he says. That said, there’s nothing wrong with utilizing private dollars, Anderson says. “We always say leave that door open. There’s great examples of private money helping, but not taking the lead over public money.” Schewel hopes to have the fund in place by the end of this year. swillets@indyweek.com

NCDOT TO HOLD PUBLIC MEETINGS AND A FORMAL DESIGN PUBLIC HEARING FOR THE COMPLETE 540 – TRIANGLE EXPRESSWAY SOUTHEAST EXTENSION PROJECT TIP Project Nos. R-2721, R-2828, & R-2829 The N.C. Department of Transportation will hold three public meetings (open house format) and one formal design public hearing regarding the proposed Complete 540 project. The public meetings will be held on February 20, 21 and 22. The formal hearing will be held on February 22, following the public meeting. The Complete 540 project would extend the Triangle Expressway from the N.C. 55 Bypass in Apex to U.S. 64/U.S. 264 (I-495) in Knightdale, completing the 540 Outer Loop around the greater Raleigh area. NCDOT, in cooperation with the Federal Highway Administration (FHWA), has approved the Complete 540 Final Environmental Impact Statement (EIS). This document contains an explanation of the Preferred Alternative location and a summary of its impacts. The public meetings and formal public hearing provide an opportunity for the public to make formal comments that will be included in the project record. The three public meetings and one hearing are scheduled at the following times and locations: • Tuesday, February 20, 2018 Holly Springs High School Cafeteria 5329 Cass Holt Road, Holly Springs 27540 Public Meeting: 6 – 8 p.m. Note: no formal presentation on this date

• Wednesday, February 21, 2018 Barwell Road Community Center 5857 Barwell Park Drive, Raleigh 27610 Public Meeting: 6 – 8 p.m. Note: no formal presentation on this date

• Thursday, February 22, 2018 Wake Tech Community College Southern Wake Campus, Building L 9101 Fayetteville Road, Raleigh 27603 Public Meeting: 4 - 6:30 p.m., Hearing: 7 p.m. Note: This hearing presentation will be streamed live. See project website, noted below, for details.

NCDOT representatives will be available at the public meetings to answer questions and receive comments regarding the design of the Complete 540 project. The opportunity to provide verbal comments and/or submit written comments and questions will be provided. Interested citizens may attend at any time during the above hours. The formal design public hearing will include an explanation of the Preferred Alternative as well as land acquisition and relocation procedures. Citizens will have the opportunity to comment. The presentation and comments will be recorded and a written transcript will be prepared. Copies of the Final EIS and maps showing design details of the Preferred Alternative are available for review at the following locations, through February 22: • NCDOT District Office – Wake County, 4009 District Dr., Raleigh • Capital Area Metropolitan Planning Organization, 421 Fayetteville Street, Suite 203, Raleigh • Holly Springs Department of Planning &amp; Zoning, 128 South Main Street, Holly Springs • Fuquay-Varina Planning Department, 401 Old Honeycutt Road, Fuquay-Varina • Garner Planning Department, 900 Seventh Avenue, Garner • Clayton Planning Department, 111 East Second Street, Clayton • Knightdale Planning Department, 950 Steeple Square Court, Knightdale The Final EIS and maps are also be available for review on the project website at www.ncdot.gov/complete540. For additional information, please contact Jamille Robbins, NCDOT Public Involvement &amp; Community Studies Group Leader, at 1598 Mail Service Center, Raleigh, N.C. 27699-1598. You may also contact the project team through our toll-free hotline at 1-800- 554-7849, or via email at complete540@ncdot.gov. In addition, comments may be submitted electronically using the project’s website or NCDOT’s “PublicInput” site: ncdot.publicinput.com/complete_540. Comments may be submitted through March 23, 2018. NCDOT will provide auxiliary aids and services under the Americans with Disabilities Act for disabled persons who want to participate in these meetings. Anyone requiring special services should contact Robbins as early as possible so that arrangements can be made. Interpretive services will be provided at each meeting. Persons who speak Spanish and do not speak English, or have a limited ability to read, speak or understand English, may receive interpretive services upon request prior to the hearing by calling 1-800- 481-6494. Aquellas personas que hablan español y no hablan inglés, o tienen limitaciones para leer, hablar o entender inglés, podrían recibir servicios de interpretación si los solicitan antes de la reunión llamando al 1-800- 481-6494. INDYweek.com | 2.14.18 | 9

REASONS WE LOVE THE A Valentine’s Day love letter to the place we call home By Jeffrey C. Billman, Victoria Bouloubasis, Ryan Haar, Brian Howe, Allison Hussey, Caitlin Sloan, and Sarah Willets Illustrations by Christopher Williams

aybe it’s the beer. Maybe it’s the food. Maybe it’s our particular brand of progressive activism. Maybe it’s the fact that we have the greatest sports rivalry known to humankind. Maybe it’s our stages or the artists who perform on them. Maybe it’s the serenity of nature, which we have in abundance. Or maybe it’s all of these things and more. At the INDY, we’re often called to be the bearer of bad tidings. But there are also lots of reasons to love the Triangle—which is why we hold the place to such high standards. Every year (OK, at least since last year) on the week of Valentine’s Day, we like to celebrate the things that keep us here and fighting, that make Raleigh and Durham and Chapel Hill and Carrboro and Cary such vibrant, dynamic places to live. But this love letter to the weird, wonderful region we call home is also meant to whet your appetite. Later this month, we’ll launch voting for this year’s Best of the Triangle nominations and give you the chance to support your favorite stores and restaurants, hair salons and dentists. It’s almost your turn to tell us what you love about the Triangle. Keep an eye on our social media; details are coming soon. 1 BECAUSE WE HAVE THE BEST COLLEGE SPORTS RIVALRY ON EARTH. You’ve never experienced a hate like this. Whether you were born into a familyinduced prejudice for N.C. State, UNC, or Duke, or have chosen your allegiance through careful contemplation, there’s no denying your flaming hatred for the other two. This hate—present all year round but especially prevalent during basketball season—manifests in epic ways. Get caught up in the stampede of UNC students rushing Franklin Street after beating Duke, Duke students camping in Krzyzewskiville for weeks before a big game, or State fans lighting up the bell tower red. Oh, and don’t forget the bragging rights you earn when your team wins— otherwise known as a license to annoy the shit out of all your friends who rooted for the other team. —Ryan Haar

10 | 2.14.18 | INDYweek.com

2 BECAUSE OUR BEER SCENE IS CRAZY GOOD. The other day, I was in line at Total Wine buying a six-pack. The couple in front of me told the cashier they were visiting from Maryland. “It’s weird how you all have separate stores for beer and liquor,” one said. “But it’s cool how there’s beer everywhere.” Thank you, Maryland man, for putting so succinctly what we all feel. Not only are we blessed with award-winning breweries (like Lynnwood Brewing Concern, Bond Brothers, Crank Arm, Fullsteam, and Mystery Brewing), but there are hundreds of places to enjoy a pint, local or otherwise. Beer is so common that a whole economy of beer-based events has been born. We’re not just talking trivia night and Girl Scout cookie pairings, though we have those to spare. Explore the North Carolina Museum of Natural Science with a cold one in hand on “adult nights.” Join Fullsteam to plant trees in Durham or learn about astronomy. Or just grab a stool at your neighborhood bar, raise a glass, and toast the Triangle. —Sarah Willets

3 BECAUSE AMAZON LIKES US BETTER THAN CHARLOTTE. It’s OK to have mixed feelings about Raleigh’s bid for Amazon’s HQ2. Sure, you might be excited about those fifty thousand good-paying jobs but also a little trepidatious about the mass of traffic and gentrification that’s sure to accompany it, should the Triangle win. And that’s not even getting into the wisdom of throwing the richest man in the world a few billion dollars in incentives. We’ll see how that all shakes out in the next couple of months. The important thing for our purposes is that there were four North Carolina regions that submitted bids to Amazon— the Triangle, the Triad, Charlotte, and, um, Hickory—and the only one that made the list of finalists was the Triangle, much to Charlotte’s consternation. So say what you want about Amazon, but at least they recognize our region’s dominance. —Jeffrey C. Billman

BECAUSE OUR COMEDY SCENE ISN’T PUTTING UP WITH THAT TOXIC-MASCULINITY CRAP. Given the misogynist tinge of so much stand-up, it’s not too surprising that the #MeToo movement has flourished in the comedy world. And maybe it’s also not surprising that the women of the Triangle, an area with a rich history of progressive resistance, have so strongly pushed back. First, last year came the downfall of Zach Ward of DSI Comedy Theater, following an outbreak of accusations on Facebook of toxic masculinity, and the swift closure of Chapel Hill’s longtime improv magnet. Then came the premonitory outcry against its replacement, the People’s Improv Theater, which seems to have had similar issues with lax sexual harassment policies in New York. But there’s not just resistance, there’s also forward momentum: Erin Terry’s steadfast Eyes Up Here Comedy showcase, which features all women comedians, and newer troupes such as Mettlesome are all doing comedy for a world after the fall of Louis C.K. —Brian Howe

BECAUSE OUR CHEFS WIN JAMES BEARD AWARDS AND 5 OUR RESTAURANTS MAKE THE HOT-SHIT NATIONAL LISTS. Every time someone from out of town asks me about our famed local food scene, I yell, “Hot shit!” in my head like I’m Nelly about to launch into a lecture on country grammar. Except it’s more like country cooking—and dispelling myths about Southern food being ordinary. There’s a reckoning happening in our food scene, and our chefs are owning it—while racking up national accolades every year. For me, the most notable recent praise is Garland owner Cheetie Kumar’s James Beard nod for Best Chef Southeast (semifinalists will be announced February 15). A musician and chef, Kumar performs rituals in the kitchen that fuse a mastery of Indian spices with local ingredients that dance on our palates. (She just cooked up a late-night feast for Robert Plant.) And Brewery Bhavana was ranked among Bon Appetit’s top ten best new restaurants in the country—for good reason. It’s one of our most beautiful restaurants, for one, and blends Southern and immigrant hospitality effortlessly in its unique combination of Laotian entrees and Shanghai-style dim sum, a stellar forty-tap brewery, immaculate flower shop arrangements, and a woke AF bookstore. —Victoria Bouloubasis

6 BECAUSE OUR BARS TAKE THEIR BOOZE SERIOUSLY. You can hit up any dive bar to get your boozy fix, but there’s also a sophistication to getting sloshed around here. Our bars elevate cocktail menus and wine lists to the level of our food scene, making it a great place to try new things. Bar Brunello in Durham has an unparalleled selection of orange wines, celebrating the young Italian wine making big waves around the world. Raleigh’s Bittersweet boasts the largest selection of gin in the state. There’s bourbon aplenty at Blind Barbour, classic and innovative cocktails at joints like Foundation and Fox Liquor Bar, and plenty of brown liquor at the appropriately named Whiskey Kitchen. And we can finally get decent mezcal without booking flights to Oaxaca at Gallo Pelón. —VB

7 BECAUSE WE TORE DOWN THE GODDAMN CONFEDERATE MONUMENT. North Carolina state law prohibits the removal of “objects of remembrance,” like Confederate monuments. But last summer a group of protesters in Durham found a way around the law—by ignoring it, basically—looping a tow strap around a Confederate monument on Main Street and bringing it crumbling to the ground. Video was seen around the country and even brought a Dutch film crew to the Bull City. It was enough to frighten Baltimore officials into removing that city’s Confederate monuments under the cover of night. The action touched off a week of demonstrations in Durham, and months later, a conversation continues as to what people, places, and events should be memorialized. With Chapel Hill and Raleigh still stuck staring at their own Confederate monuments, it’s clear no other city can quite Do It Like Durham. —SW INDYweek.com | 2.14.18 | 11

24th annual Mary Stevens Reckford Lecture in European Studies

Brexit: The Reckoning Featuring Zia Haider Rahman, author of the acclaimed novel In the Light of What We Know

Thursday, February 22, 2018 | 7:00 p.m. Hyde Hall | 176 E. Franklin St. University of North Carolina at Chapel Hill www.iah.unc.edu Free and open to the public. Reception to immediately follow the lecture

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BECAUSE RADICALS DOMINATE DURHAM’S CITY COUNCIL. For decades—at least until revanchist Republicans retook control of the General Assembly in 2010—North Carolina considered itself something of a modernist, if not always progressive, lighthouse in the Deep South. Today, it’s the state’s urban areas leading the way, often in conflict with the legislature, on issues of civil rights and social justice. And nowhere in North Carolina is that dynamic as apparent as in Durham, where, following last year’s election and an appointment last month, all seven members, from Mayor Steve Schewel on down, could fairly be described as avowed and unwavering progressives, maybe even radicals. Theirs will be an activist council bound and determined to claim the mantle of most progressive city in the South, and, if nothing else, it’ll be fun to watch. —JCB

9 BECAUSE WE HAVE A BUNCH OF LOCAL POLITICIANS DESTINED FOR HIGHER OFFICE. Durham has the radicals—and among them, some pols we’d love to see take their game to another level (ahem, Jillian Johnson). But the bench is no less deep on the other side of the Triangle. On the Wake County Board of Commissioners, for instance, there’s John Burns, Matt Calabria, and Jessica Holmes, all smart, engaging potential stars in North Carolina Democratic politics. (Calabria is planning to run for state House this year.) On the Raleigh City Council, expect similarly good things from newcomer Nicole Stewart. Dig a little deeper and you’ll find Jenna Wadsworth, the youngest woman ever elected to office in North Carolina (the Wake County Soil and Water Conservation Board at age twenty-one back in 2010). There are others, of course, both in local bodies and the state legislature—and some that aren’t even on the radar right now. But the point is, the Triangle is awash in progressive political talent right now, and that’s pretty cool. —JCB 10 BECAUSE WE RUN AND THEN WE DRINK. It’s easy to hop on the fitness trend in a place with so many great options for breaking a sweat. The Triangle is littered with studios and gyms that are the fruition of the dreams of some very inspirational and motivated locals. Not into traditional classes? We’ve got organizations like Raleigh Group Fitness, which switches up small-group workouts around the Triangle to keep you on your toes. Maybe running is your jam, in which case hit up one of the many run clubs around the Triangle. With different pace and mile options for people of all levels, run clubs are a great way to break into the fitness community. Best of all? Many run clubs are also associated with some of our best local breweries: Big Boss Run Club, Fullsteam Run Club, Bond Brothers Run Club, and Nog Run Club out of Raleigh Beer Garden. Talk about work hard, play hard. —RH 11 BECAUSE WE BRUNCH LIKE CHAMPS. Say what you want about the popularity of brunch, there’s no denying we serve it up right. Sure, we’ve got avocado toast, biscuits and gravy, and all the other standard fare you could hunt down somewhere else. But our brunch spots have a lot more to offer: from vegan tofu breakfast burritos at Irregardless to the namesake chicken and waffles at Dame’s, from giant slices of quiche Lorraine at Coquette to churros at Beasley’s. Extra points for the Triangle getting on board with the state’s “brunch bill” this past summer; on Sunday mornings, nothing beats a bottomless mimosa from Mia Francesca or a bloody Mary at Flying Biscuit. —Caitlin Sloan 12 BECAUSE THERE ARE FIFTEEN PARKS WITHIN FIFTEEN MINUTES OF MY HOUSE. Within a fifteen-minute drive from my apartment, there are seven nature preserves and eight parks, not to mention access to the Eno River, Duke Forest, and Sarah P. Duke Gardens. It’s rare enough to have so much nature just outside your door, but in the Triangle, we have it alongside all the amenities of a midsize city. I’m partial to Johnston Mill’s 296 acres and five trails, which wind past hundred-yearold trees and a historic mill. Hollow Rock is a hidden gem near New Hope Commons. It’s great for a quick hike, especially if you take the trail backward and end at the dramatic Hanging Rock for a George-of-the-Jungle-style chest pound. You can enjoy a picnic on the banks of the Eno or take in massive sculptures at the North Carolina Museum of Art’s park. From Carolina North Forest to Umstead Park, there are thousands of acres to explore. —SW

12 | 2.14.18 | INDYweek.com

BECAUSE YOU CAN HIKE ALONG THE ENO RIVER UNTIL YOU COLLAPSE. There are dozens of quality hiking trails 13 throughout the Triangle—Umstead State Park in Raleigh, Occoneechee Mountain State Park in Hillsborough, and so on. But my favorite is a long hike along the Eno River itself. There’s a good entry point off Guess Road in Durham, just north of Rose of Sharon Road. From there, trek west—first the 2.5 miles on to Pump Station, then take the Pump Station Trail for a little less than a mile, until you can find the Laurel Bluffs Trail again, continue west past Cole Mill Road all the way to Pleasant Green Road. Double back and you’re looking at about twelve miles. And if that’s not good enough for you, you’re but a short drive away from the sundry winding paths of the Eno River State Park, particularly the excellent and gorgeous Cox Mountain Trail. —JCB

BECAUSE OUR LOCALLY MADE PRODUCTS RULE. The Triangle is home to some seriously amazing entrepreneurs who have infused our economy with original products that can’t be found elsewhere. Products like Chapel Hill Toffee, Bone Suckin’ Sauce, and Cackalacky Spice Sauce draw inspiration from our classic Southern roots. We have unique textiles at Raleigh Denim and Stitch. We have craft brews to beat the band from brewers like Gizmo Brew Works, Bond Brothers Beer Company, and Aviator Brewing Company, to name a few. And we have energy drinks to help with that hangover, courtesy of Mati. —RH

15 BECAUSE OUR COFFEE SCENE IS BOOMING. It used to be that really great coffee came from niche producers in the Pacific Northwest or other larger metropolitan markets. But in recent years, the Triangle has had its fair share of excellent coffee purveyors and roasters enter the game. In addition to established brands like Counter Culture, Joe Van Gogh, Slingshot Coffee, and Carrboro Coffee Company continuing to grow, new ones have popped up all over the area. In Durham, Cocoa Cinnamon launched 4th Dimenson Coffee with the opening of the shop’s newest location in Lakewood. Two former Counter Culture figures—and national award-winning baristas—founded Black and White Roasters in Wake Forest; inspired by her grandfather’s roasting business, Gabriela Kavanaugh founded Caballo Rojo in Durham. We’re all a-jitter waiting to see what new caffeinated concoctions they can make for us. —Allison Hussey BECAUSE NO MATTER WHERE YOU LIVE, THERE’S A FARMERS MARKET NEARBY. 16 Even with semi-erratic weather patterns, the Triangle can count itself truly blessed by a bounty of local produce all year round. With dozens of local farmers markets spread throughout the region (and nearly every day of the week), the ingenuity of our farmers is on full display. Our organic farmers have been toiling longer than any hobby urban farmer in New York City, and even tobacco farmers have converted fields into environmentally conscious plots of sweet potatoes and collards. You can rest assured that you’re buying direct from the farmer, too, as most local markets require that they’re present at their stands. From Holly Springs and Fuquay-Varina over to Hillsborough and Saxapahaw, markets abound. In the more central areas: Carrboro offers ECO Farm mushrooms (they’re experts at growing shitakes) and Tri Sa’s Burmese crops—including a diversity of chilis and gourds, as well as fresh lemongrass—from Transplanting Traditions Community Farm. Durham gives you a full street festival every Saturday morning; pack a cooler for Boxcarr Handmade Cheese and Sunset Ridge bison sausage, and pick up Lil Farm’s ginger syrup. Raleigh offers everything from a downtown weekday market to the enormous state-run market. Try Fertile Ground Cooperative’s offerings on the southeast side of town, too, and give back to social justice projects with your purchase. —VB INDYweek.com | 2.14.18 | 13

17 BECAUSE WE CARE ABOUT LOCAL LANDMARKS. Not the ones we pull down, but the beacons that preserve our regional culture against a flood of outside development. We’ve sustained heavy losses in recent years, to be sure, with two Nice Prices down and Manbites Dog Theater to follow this year. But look at what we’re saving. Local readers have raised more than $50,000 and counting so that The Regulator Bookshop, a venerable Durham bastion of touring readings and local letters, could carry on after the retirement of its founders. A similar community drive is currently underway to save The Chelsea Theater in Chapel Hill, with film lovers banding together to try to turn it into a nonprofit, defending a precious sliver of old Chapel Hill. (Should we go ahead and start GoFundMe pages for Sutton’s and The Shrunken Head now?) —BH

BECAUSE WE’VE GOT A VIRTUAL REALITY ARCADE IN DURHAM. Because of course we do, right? Here in the Silicon Piedmont. Augmentality Labs quietly opened on North Church Street last summer. It’s co-owned by Alicia Hetrick, who also runs the NC Escape game on nearby Orange Street, and who seems intent on creating downtown respites from reality for Durhamites. A variety of single- or multiplayer virtual reality games are on offer, from shooters and fighters to simulators, for twenty bucks per half hour. That’s pretty steep, but where else are you going to get your head in a $600 VIVE display? Lovers take note (and act fast): there’s a Valentine’s Day package at 30 percent off, because nothing says “we’re in this for the long haul” quite like spending Valentine’s Day flailing around a mostly empty brick room in a funny visor. —BH 19

BECAUSE OUR FOLKS ARE GENEROUS AND PHILANTHROPIC. Southern hospitality applies to all walks of life in the Triangle, as evidenced by the many locally based nonprofits and philanthropies that call RDU home. The Center for Child & Family Health in Durham works to prevent and treat childhood neglect, abuse, and trauma. StepUp Ministry in Raleigh aids adults in finding employment and giving them lifetraining skills. IntraHealth International Inc. of Chapel Hill seeks to improve the quality and accessibility of health services for people by. These are just three of the dozens of organizations and programs cultivated by our generous and motivated locals. —RH 20

BECAUSE OUR LOCAL CULTURE GOES ALL OVER THE WORLD. It’s always nice to be able to celebrate a locally made product, but the Triangle’s movers and shakers don’t just stay in their own backyards. Sure, we’ve got current bands like American Aquarium, Hiss Golden Messenger, and Sylvan Esso that tour the globe. Other musicians like Superchunk, Algia Mae Hinton, Libba Cotten, and 9th Wonder have permanently shaped indie rock, the blues, folk music, and hip-hop. Durham’s Duffer brothers are responsible for the smash hit TV show Stranger Things,, and Raleigh Denim’s carefully crafted wares are celebrated in high-end department stores. Even the podcast Criminal,, which is made in Durham, has fans around the globe. —AH 14 | 2.14.18 | INDYweek.com

21 BECAUSE LOCAL AFRICAN-AMERICAN ARTISTS ARE CHIPPING AWAY AT WHITE SUPREMACY. The local arts scene touts its inclusivity, but the structural reality is that it is dominated by white institutions that shape white spaces for white audiences. Often, African-American artists who are invited to the party still find their work distorted through a white lens. This will take generations to fully change. But it is changing, in both academic and independent contexts. Last November, Carolina Performing Arts presented Toshi and Bernice Johnson Reagon’s stunning musical adaptation of Octavia E. Butler’s Parable of the Sower, which demonstrated that, if the academy cedes its cultural perspective to African-American artists, then a robust African-American audience will come to the usually snowy Memorial Hall. Earlier this month, Monét Noelle Marshall’s independent immersive theater piece, Buy My Soul and Call It Art, viscerally confronted black and white artists and audiences with the stark differences between their privileges and experiences. And Black Ops Theatre Company’s new Bull City Black Theater Festival is coming to Manbites Dog in March. Inclusive isn’t enough, and we love the Triangle because local artists are trying to change the shape of the container. —BH BECAUSE THERE’S DATA FOR EVERYTHING. The Triangle is frequently recognized as a top tech hub. The explosion of this industry, along with a wealth of experts at local universities, means there is data for everything— even the percentage of North Carolinians who have, in the spirit of Petey Pablo, taken their shirt off and twisted it around their heads just like a helicopter (15 percent, per Raleigh-based Public Policy Polling). True, the growth of tech has driven up real estate prices, but sometimes our techy side collides with our social justice side and does some good. Analysis of traffic-stop data led to reforms at the Durham Police Department. DataWorks NC is studying Durham’s high eviction rate, and the Center for Responsible Lending is tackling pretrial detention. The NC Justice Center and UNC’s Poverty Research Fund are exposing issues of inequality statewide. If the first step to tackling any problem is understanding it, the Triangle is on good footing. —SW

BECAUSE N.C. STATE IS UPPING ITS ARTS AND CULTURE GAME. Traditionally, you look to UNC and Duke for arts, N.C. State for tech. But in recent years, the engineering school has been catching up. In 2015, it completed a major renovation on Talley Student Union, making the campus’s main auditorium, Stewart Theatre, much more inviting. Last year, the university moved its previously obscure Gregg Museum of Art & Design into a prominent, gracious Phil Freelon-designed building, giving State something like a Nasher of its own. The state-of-the-art James B. Hunt Jr. Library has become a reliable venue for all manner of culture events, including offsite presentations of big authors by Quail Ridge Books. And NC State LIVE, the university’s perf-arts presenter—whose most prominent shows used to tend toward “fun for the whole family” fare—is taking bigger artistic swings, with strong bookings this season such as legendary hip-hop choreographer Rennie Harris and the almost literal social-justice warriors of Urban Bush Women. —BH 24 BECAUSE WE’RE FINALLY GETTING HAMILTON. We are not throwing away our … shot!/ We are not throwing away our … shot!/ Hey yo, just like our country/ We like musicals a bunch, see/ And we’re not throwing away our … shot!/ I’ma get a comp ticket to Hamilton/ I probably shouldn’t brag, but dag, that’s the business I’m in/ The problem is we don’t know exactly when it’s coming/ But at DPAC, this year for sure, Lin-Manuel is stunting/ (OK, fine—not him/ It’ll be a touring cast/ And it might be next year before we see this thing at last)/ It’s only like three but it feels way older/ Do these Durham streets got mold, or …? We shoulder/ Every burden of being in a smaller-city market/ Upand-coming, waiting for our turn to really spark it/ A diamond in the rough, a shiny piece of coal/ Trying to reach our goal: blockbuster shows before they’re cold/ But we’ve learned to manage—there’s always The Sound of Music/ We’re hyped for Hamilton and we don’t mean to abuse it/ We get that New York is still the top of the game/ But damn, why can’t we see shit at the height of its fame? —BH

25 BECAUSE OUR ARTS INSTITUTIONS ARE EVOLVING TO MEET THE NEEDS OF ARTISTS. The longer an institution exists, the harder it can be for it to change. So it says a lot about the strength of local dance that, last October, the NC Dance Festival made a big change to meet our independent artists on their terms. After more than twentyfive years of presenting at Meredith College, the NCDF moved to The Rickhouse, a stageless event venue in downtown Durham, acknowledging that many dance artists now make work for intimate social spaces rather than large formal ones, and that you can’t just plunk the former down on the latter. This month, UNC and Duke both cut ribbons on small, open, flexible theaters—Current ArtSpace & Studio and von der Heyden Studio Theater, respectively—that will let audiences closely mingle with unconventional work, as our academic presenters follow the lead of artists beyond the proscenium arch. —BH BECAUSE WE HAVE THE DUKE 26 LEMUR CENTER. Have you ever looked an aye-aye in the eye? Or said hello to a sifaka? In Durham, you can. One of the city’s best sort-of secrets is the Duke Lemur Center, a research hub focusing on prosimian primates—our earliest evolutionary cousins. Research on lemurs, as it turns out, can tell us a whole lot about our human selves. Outside of the strictly science stuff, the Lemur Center has produced celebrities like Jovian, who was better known on TV as the titular critter of the PBS children’s show Zoboomafoo. To help with fundraising efforts, the center offers inexpensive tours that are as delightful as they are educational. You can’t take a lemur home with you, but you can take home a little souvenir finger painting by a lemur (they like to have fun, too!). —AH BECAUSE RALEIGH DROPS A GIANT NUT ON NEW YEAR’S EVE. Anyone can drop a giant ball to commemorate the new year. Boring. It takes a special group of people to suspend a 1,250-pound copper acorn in the middle of downtown to descend in time with the last seconds of the year. We are those people. Tacky? Yes. Weird? Yes. And we wouldn’t have it any other way. Speaking of tacky, weird traditions, also see Raleigh’s personal groundhog, Sir Walter Wally. —RH

The Durham County Alcoholic Beverage Control (ABC) Board will begin accepting applications on March 1, 2018 for its FY 2018 grant program. All 501 (c)(3) community based non-profit agencies and educational institutions with programs that address alcohol abuse education and prevention within Durham County are eligible to apply. Applications must be submitted online using our new ZoomGrants application process no later than midnight on April 30, 2018. 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, 2018 of their selection. To submit an application this year, applicants will need to create a ZoomGrants account or use an existing account, if applicable. Information about the ZoomGrants application process and the grant program guidelines can be found at https://durhamabc.com/grant-program/. Interested organizations are strongly encouraged to attend the Information Meeting at the Durham County ABC Administrative Office which is scheduled as follows: When: Tuesday, March 6, 2018 Time: 11:00 am to 12:00 pm Location: 2634 Durham Chapel Hill Blvd, Suite #10, Durham, NC 27707

Please RSVP by February 28th to grants@durhamabc.com with the subject “Grant Meeting” or call 919-419- 6217 x9064 if you plan to attend.

28 BECAUSE THERE’S STILL AN ALT-WEEKLY HERE. Look, we’ll be straight with you here: the business of being a free weekly paper isn’t easy. Alt-weeklies like the INDY have, historically, been essential pillars of journalism for their respective communities. We’re not bound to the formalism or deadlines of dailies, which allows us to dig deep and tell different kinds of important stories, like investigating hog farm corruption in the eastern part of the state. But alt-weeklies have been closing and contracting all over the country at an alarming rate—even the LA Weekly, which was once one of Los Angeles’s biggest papers, is now a shell of its former self. Same goes for the Houston Press, which ended its print run in the wake of Hurricane Harvey. The Pitch in Kansas City and Atlanta’s Creative Loafing have become monthlies. Even the freaking Village Voice, the granddaddy of them all, abandoned print last year. Fortunately, we at the INDY are lucky enough to still be here. We’re happy and grateful to have been part of such a strong local community that we’ve served for thirty-five years. Here’s to thirty-five more— we look forward to telling even more tough and vivid stories that you couldn’t get anywhere else. —AH backtalk@indyweek.com INDYweek.com | 2.14.18 | 15

indyfood

Emeralds of the Sea NORTH CAROLINA’S GREEN-GILLED OYSTER IS AS DELICIOUS AS IT IS INSTAGRAMMABLE BY MADDY SWEITZER-LAMME

farmers and fishers lease square miles of shaln a Sunday afternoon in the midlow water from the North Carolina Division of dle of January, The Durham Hotel Marine Fisheries. posted on Instagram that the roof“We have a lease where the algae grows top bar would be featuring green-gilled strong during the winter, so we’re able to cultiCore Sound oysters for one dollar each vate them consistently,” Cessna says. He farms “until seven p.m. or until they run out.” By east of Beaufort on the North River. the time I arrived at four, the bar had sold The oysters eat the blue algae and are out. When I asked the server what the deal stained an olive shade of green. When Cessna was, she simply shrugged. first began selling the green oysters, nobody In the last few years, the North Caroliwanted them—raw green meat isn’t very appena coast has become known for producing tizing. But as consumers learn more about the some of the best wild and cultivated oysters intricacies and history of the oyster business, in the United States. National media often green gill’s popularity grows. In the famous throw around the phrase “Napa Valley of French oyster region of Marennes-Oléron, oysters” when talking about our region. for example, green gills are among the most The Triangle’s appetite for seafood has prized cultivated oysters, which gives their certainly expanded to accommodate the American counterpart a boost of good French growth of oyster bars and seafood-centric appreciation. spots. Saint James Seafood in Durham, The “It has been a lot of education,” Cessna says. Cortez in Raleigh, the rooftop of The Dur“They are different from what people are used ham Hotel, and the second outpost of Saltto, but I think when they know the oysters are box Seafood, to name a few, consistently safe, people are excited to try something that serve North Carolina oysters. More interest in oyster varieties from chefs and consumseems new and different.” ers means that the fishers on the coast have But do they taste new and different? an audience eager to learn more about local “People never believe me when I say this, but seafood—and to buy it. they taste fluffy,” he says. “It’s just something David “Clammerhead” Cessna (a nickabout the texture and the aftertaste. They’re name from his clam-farming days) is the fluffy. People laugh but then when they taste first North Carolina oysterman to specifithem, they see what I mean.” cally market green Matt Kelly, owner gills. His comof Saint James Seapany, Sandbar food, describes “A fresh oyster is like a kiss, Oyster Company, green gills as a prodbut a green-gilled oyster is like uct within a prodhas trademarked a kiss when you’re in love.” them under the uct. “We get Core name Atlantic Sounders, for examEmeralds, which ple, all the time,” he Cessna cultivates in the winter near Beausays “But sometimes, in the winter, they come fort, North Carolina. in and they’re green-gilled, and that’s cool. PeoThe green gill is caused by a natural algae ple like them. I’m more interested in salinity that grows on the bottom of the ocean in levels—I like super salty oysters. But you do get the winter, when the water is clear enough a bit of that vegetal flavor, which is different.” to let the sunlight through, Cessna explains. When I finally got to taste them, I found To determine where they cultivate oysters, Atlantic Emeralds pretty salty, but with a 16 | 2.14.18 | INDYweek.com

Green-gilled oysters are served at Saint James in Durham. PHOTO BY CAITLIN PENNA smoother finish than most. They’re meatier than many North Carolina oysters, but less dense, which might be what Cessna means by “fluffy.” According to Locals Seafood, a Raleighbased seafood distributor that works directly with oyster farmers on the North Carolina coast, Atlantic Emeralds are currently available at Shucking Shack Durham, The Durham Hotel, and Coastal Provisions. Core Sound green gills are

available at The Cortez, St. Roch, 42nd St. Oyster Bar, Coastal Provisions, The Durham, Saint James, Lantern, and 18 Seaboard. Cessna recommends that you get to these oysters as soon as possible. “A fresh oyster is like a kiss, but a green gilled oyster is like a kiss when you’re in love,” he explains. “And they can be gone just as fast.” food@indyweek.com

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FANGS ARE OUT AND FUR FLIES ON THESE FEARLESS NEW ROCK RECORDS

BAT FANGS BAT FANGS DON GIOVANNI RECORDS 

A proper introduction to Bat Fangs requires but a single hypothetical question: If, by some strange miracle, pop rock and heavy metal were able to set aside their longstanding stylistic differences, shack up together, and produce offspring, what form would their progeny take? It’s an odd coupling, to say the least—and yet, on the duo’s self-titled debut, these diametrically opposed styles form a tough-as-nails nuclear family, united through a shared appreciation for acrid chug, murky psychedelia, and cutting hooks. In doing so, co-conspirators Betsy Wright and drummer Laura King hone in on a truth we’ve known all along: all forms of rock, be they sinful or sweet, speak the same populist language, albeit in vastly different tongues. Bat Fangs consists mainly of turbo-charged rock anthems with a mean riot-grrrl streak: think Sleater-Kinney reared on a diet of Thin Lizzy and Mötorhead. This punchy populism forms the nexus of Bat Fangs’ eponymous full-length, a twenty-six-minute tour de force that derives its gutter-punk gravitas from simple, potent contrasts. On the explosive opener “Fangs Out,” gnarled licks and haggard drum beats circle Wright’s buttery alto like a circle of sharks, spiking an otherwise straightforward stomper with just enough danger to offset the syrupy melodies; other cuts, like “Bad Astrology” exhibit a more soulful approach, with King yowling through the static like a young Janis Joplin, untamed and yet oddly approachable. That’s not to say the songs don’t sometimes pour on the sugar. “Boy of Summer” and "Heartbeat" find the women wiping off the grit to make room for ample harmonies and girlgroup “sha-la-lahs.” But, as suggested by the title of both the album its band who made it, Bat Fangs are a band built to bite— and when they sink their teeth into the darkness, on raucous highlights like "Rock the Reaper," the album soars accordingly. —Zoe Camp

F E B R UARY

TH 15 MUMU TUTU W/ DIRTY REMNANTZ

REESE MCHENRY & THE FOX HIGH COMMA SELF-RELEASED 1/2

High Comma, the debut EP from Reese McHenry & The Fox, features McHenry—whose voice is perhaps the most powerful in the Triangle—going back to a familiar two-piece format. She first made her name with such a layout more than a dozen years ago, with the original incarnation of The Dirty Little Heaters. McHenry has said that she loves the raw energy of a rock duo, and High Comma’s four tracks have that in spades. Since those early days with the Heaters, McHenry has also long admired multi-instrumentalist and songwriter Stephen Gardner, with whom she shared bills when he played with The T’s and The Cartridge Family. As The Fox, Gardner adds drums and backing vocals while helping craft arrangements for McHenry’s candid writing that give her the opportunity to show versatility beyond the Heaters’ bludgeoning blues-rock. The duo is still mighty forceful, bolstered on the recording by bass contributed by producer-engineer Dave Bartholomew. Opener “Heather” is a bit of a meta Triangle music scene moment in which McHenry recalls the first time she witnessed Heather McEntire—another of the area’s most captivating vocalists—fronting her former outfit Bellafea. “I sit still and teary/listening desperately,” McHenry howls over angular guitar and an aggressive rhythm that hints at McEntire’s more punk, less pastoral early material. Another of McHenry’s favorite things, the Rosie and the Originals song “Angel Baby,” inspired “May Baby,” which perfectly casts her emotive wail to a classic love tale set in the dying days of summer. There, McHenry toughens the influence of doo-wop and early pop-rock ballads with a heftier guitar crunch. “Workin’ Dog” and “If He Don’t” both blast out of the gate, favoring the rough-andtumble rock and McHenry’s rafter-rattling pipes. High Comma shows McHenry stretching into new territory while continuing to prove herself one of the most compelling leaders and voices around. —Spencer Griffith

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4/5 4/6 4/7 4/12

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indystage

Space Invaders

STEPHANIE LEATHERS’S STALWART SITES SERIES IS A PERFORMANCE-ART MAP OF DURHAM DEVELOPMENT BY MICHAELA DWYER

Stephanie Leathers PHOTO BY KIM GRAY

ne frigid night last November, as a part of Stephanie Leathers’s SITES project, the performer Ashlee Ramsey slithered around Golden Belt’s Liberty Arts complex while it was under renovation, with exposed columns, concrete divots, and piles of dirt. “She used every inch of that big warehouse,” Leathers remembers. “She used materials that I would have never thought of using. There were holes in the ground that she would jump into. She was licking dirt and spitting it out. She was eating the site, ingesting it. I wish all of Durham could have seen that.” Ramsey will return to investigate another warehouse, the Fruit, this Friday, along with about twenty others who have worked with Leathers in SITES, her multidisciplinary creative platform, which places artists in conversation with Durham’s changing urban landscape. Celebrate SITES will function as a twohour open laboratory for this group of

20 | 2.14.18 | INDYweek.com

artists as they “find solutions to being in [the Fruit’s] giant space.” The event’s location, a fixed venue rather than a transient site, is an invitation for Durhamites to intentionally witness the work Leathers has both performed in and championed for the past several years— work they’re usually more apt to stumble across in bars, skate parks, or empty storefronts. Leathers is sitting in the lobby of Unscripted Durham, a fitting place in which to recount the history of the project formerly known as Sunday SITES. Just after the 2016 election, in Home: the metamorphosis, Leathers and a group of local performers crawled across the chain-link construction fence on West Parrish Street and beckoned the crowd down Main Street, across the railroad tracks, and into the dusty shell of Fishmonger’s (now Saint James Seafood). It’s difficult to think of a place SITES artists haven’t touched; drop a pin for each of their events—Leathers prefers “experiences”

over “performances”—and you’d have a map of key sites in Durham’s post-2010 development. SITES began around 2011, when Leathers moved back to Durham, her hometown, for a dance-teaching position in the Durham Public Schools, after dancing in New York and pursuing graduate work at UNC-Greensboro. Both experiences edged her away from the stage and toward site-specific dance, though here again, she favors a different phrase: “site-responsive,” which indicates that you’re “inhabiting a space and responding to it, instead of just putting a preexisting thing in it.” Originally, SITES was a roving photography project. It’s impossible to distill Leathers’s creative output into a tidy phrase: she’s a choreographer and performer, photographer and documentarian, arts organizer and dance educator. “I was trying to relearn the city,” she says. “I noticed all this change happening. I wanted to be in these transforming spaces, notice them, have conversations with them.” Leathers took artist friends on walking trips through Durham and asked them questions: “How do you feel about this space? How does it make you want to move?” Then she photographed them. These investigations evolved into durational performances across several Sundays, the most convenient day for artists to meet and engage their curiosities and concerns about downtown’s rapid buildup, both in the studio and on-site. The construction pit, now sprouting a high-rise, at the corner of Corcoran and Parrish became a focal point of these concerns. “Our goal was to be there as long as possible before being kicked out,” Leathers says. “We never asked permission. It’s like asking permission to take up space.” As in Ramsey’s work at Liberty Arts, SITES artists experimented with exhausting a place. How long can a body

learn the contours of a fence, a crevice, a wall, until the body gives out? They used objects to make their relationship to these transitional spaces more tangible. A rope serves as an “umbilical cord to the city, and to these sites,” Leathers says. It’s a through line, tethering dancers as they slide on the checkered Fishmongers floor or Leathers as she performs solo, “trance-like” work in places such as CCB Plaza and Arcana. Seven years in, SITES stands out in Durham’s independent dance scene not only in its commitment to site work, but also in its artistic ethos of attentive innovation. It asks how artists can integrate themselves into the city’s changing infrastructure while also standing out, provoking unexpected encounters that blur the boundary between performer and audience. Lately, Leathers’s strategy is to step behind the scenes and give her platform to fellow artistic risk-takers—Anna Barker, Jody Cassell, Leathers’s Northern High dance students—so she can “see it all come together.” In January, Lee Moore Crawford led a community healing walk for the Ellerbe Creek Trail; attendees read poetry and made chalk drawings. Leathers documents these events as they unfold, and her photographs are an archive of independent performance and changing spaces in Durham. The thisfor-that creative exchange models the exchanges Leathers wants to see happen around the work. “I feel like there’s so much in Durham right now that’s forced,” Leathers says. “SITES is a way of being in the city without forcing change, forcing development, forcing performance, forcing all of it.” arts@indyweek.com

CELEBRATE SITES

Friday, Feb. 16, 8 p.m., free–$30 The Fruit, Durham www.durhamfruit.com

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The

barefoot movement

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

SATURDAY, FEBRUARY 17 8:00PM

“..best Acoustics for a small venue in the area...”

An evening with Jens, Uwe and Joel is always a specia Community Church ofmusical Chapelexperience. Hill UU

106 Purefoy Road, Chapel Hill, NC, 27514 “I used to think the banjo was somewhat limited to certain 919-942-2050 styles, un8l I heard Jens Kruger. Jens has played some of the most beau8ful and expressive banjo I’ve ever heard.“ www.communitychurchconcerts.org –Ron Block Tickets: InAlison Advance: At Door: $25 Krauss and $20 Union • StaTon

INDYweek.com | 2.14.18 | 21

stage

THE CHRISTIANS | ½ MOLIÈRE’S TARTUFFE | ½

Through Sunday, March 11 PlayMakers Repertory Company, Chapel Hill www.playmakersrep.org

Playing God

A WEIGHTY MAIN COURSE AND A FLUFFY DESSERT COMPOSE PLAYMAKERS’ TWO-PRONGED TREATISE ON CHRISTIANITY BY BYRON WOODS

s Christianity a religion predicated on coercion, punishment, and fear? If you remove those elements, is anything left? Those are the pointed central questions playwright Lucas Hnath probes in his controversial one-act drama, The Christians, part of a two-play symposium on religion now in rotating repertory at PlayMakers. It’s Sunday morning in a house of worship patterned on the megachurches that have sprung up across America in recent years. The church has just paid off the considerable debt on a stadium-sized building that boasts a coffee shop in the lobby and a baptismal as big as a swimming pool. Its earnest, charismatic leader, Pastor Paul (Joey Collins), is about to spring a

Nemuna Ceesay as Elmire and Joey Collins as Tartuffe in Tartuffe PHOTO BY HUTHPHOTO 22 | 2.14.18 | INDYweek.com

radical change—a new vision of the gospel—on his congregation, his board of directors, and his wife. Well, it worked for Moses. But then, that spiritual leader had two impressive visual aids as backup: tablets with commandments etched by the hand of God. All Paul has is a handful of receipts from a pastor’s convention at the Orlando Marriott to affirm his new belief that there is neither a literal devil nor a literal hell. “There is no little man with horns,” Paul claims a voice of conscience and revelation has told him. “There is only you and your fellow man … You Joey Collins as Pastor Paul and Nemuna Ceesay as Elizabeth wanna see Hell? Look around.” in The Christians PHOTO BY HUTHPHOTO When Joshua (Alex Givens), a younger, more conservative associate pastor, challenges him oppresses none. But, in the end, it’s unclear how many are mid-service, Paul calmly deconstructs the scriptures Joshua truly ready to embrace it. offers to support the premise of eternal damnation. By comparison, Tartuffe, David Ball’s adaptation of Paul’s new conclusion goes “against everything our church Molière’s consummate spiritual hypocrite, is a comic soufflé believes,” Joshua asserts, before leaving with his followers to whose absurdity is only heightened by the distinctive poetstart a new congregation. But as his adherents attack Paul’s ic rhythm employed whenever the title character speaks. change of faith from without—and schoolchildren tell Paul’s Because the last time most of us encountered this much vulnerable daughter her dad is going to hell—bedeviling fears trisyllable tetrameter was in the books of Dr. Seuss, Joey undermine Paul’s church and marriage from within. Collins’s Tartuffe comes off as something akin to a sanctiThe church’s board fears the change’s destabilizing effects monious Cat in the Hat, albeit one wholly disinterested in on what Elder Jay (Jeffrey Blair Cornell) calls “a massive cleaning up the mess he makes. corporation.” It’s poignant when a struggling single mother Shanelle Nicole Leonard shines as Dorine, the outspo(Christine Mirzayan) capitulates to the bullying of a new boyken maid to Orgon (Ray Dooley), the patriarch deceived by friend as she fears for the spiritual welfare of her child, but it’s the unctuous Tartuffe. Brandon Haynes’s rewarding paroxnearly tragic when she concludes that she can’t understand ysms of frustration as Damis, Orgon’s son, elicit laughter. Paul’s new idea of heaven: “If I can’t imagine it, then I can’t Adam Poole and April Mae Davis take quarrelling lovers believe it, and if I can’t believe in Heaven, that makes me feel Valere and Mariane for a rewarding spin, while family friend lonely and scared.” Cleante (Rishan Dhamija) tries in vain to restore sense to Paul’s conflicts with his wife point to the irreducible disthis addled house. Delectable dance breaks choreographed tance between visionaries and their followers and the vanity by Tracy Bersley add a certain je ne sais quoi to this theatriof a spiritual egoist determined to stage-manage revelations cal dessert—an appropriate counterbalance to Hnath’s far to maximize their impact and minimize risk. Paul’s vision weightier main course. of Christianity is tantalizing: a belief that lifts up all and arts@indyweek.com

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Game of the Name

DELIBERATELY DERIVATIVE TITLE ASIDE, THE WOMAN IN THE WINDOW IS MORE THAN GONE GIRL WITH THE DRAGON TATTOO ON THE TRAIN BY BRIAN HOWE

t’s one of those publishing-world stories journalists just can’t resist: a first-time novelist writing under a pseudonym sparks a bidding war with his au courant psychological crime thriller and winds up selling it to the publishing house where he works as an editor (handling Agatha Christie books, no less), then instantly enters the New York Times best-seller list at number one. In this case, the publisher is William Morrow, the book—which is damn good, by the way— is The Woman in the Window, and the author is A.J. Finn, known as Daniel Mallory back when he grew up in Charlotte and studied literature at Duke. We recently reached Mallory, whose background is part Southern but whose accent is Oxford, to learn about how his love of classic film and his experiences with agoraphobia fueled his Hitchcockian tale and how he was totally courting certain marketable comparisions with that title. INDY: I just got the book and plowed through the first hundred pages in one sitting. Those short, day-at-a-time chapters are pretty ingenious. You keep thinking, just one more day, and then it’s two in the morning. What’s the idea behind that device? DANIEL MALLORY: Oh, I stole it. It’s patented by James Patterson. I don’t read a lot of James Patterson, but when I tried, I found myself thinking, just one more.

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Mysteries and thrillers never really left, but they seem to be back in a big way. Why do you think they’re so popular right now? Going back to the inception of this genre in the nineteenth century, they’ve always been popular. This is the world’s dominant genre when it comes to best-seller lists and box office performance. I think that’s because it’s morally educative. When you read a Sherlock Holmes story, you know that by the end the guilty will be punished, the virtuous rewarded or redeemed, and justice upheld or restored. We find that reassuring.

Daniel Mallory, last known alias A.J. Finn PHOTO COURTESY OF THE AUTHOR Since Thomas Harris published The Silence of the Lambs in 1988, the market took a hard swerve toward serial-killer thrillers. I enjoy the serial-killer thrillers, but I didn’t have one in me. I’m not sick enough. By the time Gillian Flynn published Gone Girl, I think readers were perhaps a bit burnt out on serial-killer narratives, in part because they’re so alien to us. So-called domestic noir hits closer to home. It’s pretty impossible to imagine we’ll be carved up by a cannibal, but it’s a bit more credible to suspect someone you

know or love might not be who they represent themselves to be. As a fan of these modern psychological thrillers, I have to ask you about my favorite author of them, the American-Irish writer Tana French. Oh, yep. The three formative influences on me amongst contemporary writers are Tana French, Gillian Flynn, and Kate Atkinson. Tana French in particular because she’s such an exquisite prose stylist. I could just bask in her sentences.

Your book is inevitably being compared to Gone Girl and Girl on the Train. Were you courting those comparisons with the title? Oh, sure. I spent over ten years as a publisher of commercial fiction, so market imperatives are not lost on me. I liked the title, too, because it recalls a 1944 Fritz Lang film of the same name. I’m sometimes asked, do you find these comparisons flattering? Absolutely. Those two books were cultural touchstones—bona fide phenomena. I should be so lucky as to achieve those heights. Of course, the difference is that those female-perspective books were written by women. Did you have any trepidation about embodying that perspective? Not really, which might sound incredibly presumptuous. This character just strode into my brain. She was a woman. I think I craved a female protagonist in part as a corrective to a worrying trend in genre fiction: namely, that the female leads are often passive, reactive, they fret about and predicate their emotional welfare on men. In my experience, this is not how most women behave. Most women I know are at least a match for the men in their lives, if not more so. I think this is why Amy Dunne of Gone Girl and Lisbeth Salander of The Girl with the Dragon Tattoo—and indeed, the characters in Tana French’s Dublin Murder Squad novels—make such an impact. They are more than a match for the men in their lives. So whilst Anna Fox in my novel is a mess, she owns her mess, and I’ll say this for her: not once in the novel does she rely upon a man. She’s not a damsel in distress. It’s clear that one of the book’s major influences isn’t even an author. It’s Alfred Hitchcock, with the copious allusions to Rear Window, among other filmmakers. So you have this cinematic plot, which of course has already been optioned for a major motion picture. Why did you want to make it a book instead of trying to make a film? One, I assumed, perhaps wrongly, that writing a book would enable me to acquaint myself more intimately with the characters, as opposed to writing a screenplay, which is just dialogue. Secondly, I was influenced by Hitchcock’s sensibility and style, but principally by other crime writers. That’s what I grew up reading, studied as a graduate student, and launched my career publishing. It never occurred to me to write it as a script. Now I’m wondering if I missed a trick. Speaking of cinema, the New York Times story on you mentioned an anecdote in which you were eight years old and saw The Vanishing at an art house theater in North

Carolina. Which theater was it, and what did seeing movies there mean to you? I believe it was the Manor Theater in Charlotte. I remember feeling disturbed and horrified but absolutely riveted. As a teenager I lived down the block from the Manor, and every weekend they had classic movie nights and Hitchcock marathons. I was a very wellbehaved kid. I did not drink or smoke or party. I did camp out every weekend in the front row of the Manor and steep myself in all of it. That’s where I watched everything from Sense and Sensibility to Vanya on 42nd Street as well as a lot of old thrillers. I have very positive associations with that cinema, even though the seats were unbearably uncomfortable.

What is your family’s connection to North Carolina? When I was a teenager we moved there, so I went to high school in Charlotte and then went to Duke. I’ve not been back to Duke since graduating; I don’t know why, because I loved it there. But my family moved back to New York not long after I left. So you studied literature at Duke before you went to Oxford. When was this, and was there any way in which your time here influenced your life and work? Duke was ’97 to ’01. I got to work with some amazing professors and peers, none of whom had a direct bearing, I would say, on this book, although I remember in one class we were reading The Godfather, and I thought it was interesting to see a professor acknowledge literary merit in a quote-unquote “genre

novel.” I think the most crucial development for this book was not at Duke, though it was during my time there. I went to Oxford for a year as a junior and really loved it, and that’s why I returned and spent six more years there and then hung around the UK for another four. Your book sparked a bidding war and wound up at the publishing house where you worked as an editor at the time. Did this create any problems when your identity came out? The book was submitted pseudonymously because I didn’t wish to put my finger on the scale for the excellent acquiring editors who know me. But we outed me to publishers before we accepted any offers. Happily, no one, including my employers, backed off. It’s actually made life easier. It would have been very challenging to say to my employer, I know you wanted this book, but Random House got it and, by the way, can I have time off to promote it? But we sold it to them by and large because I thought they would do the best job and, lo and behold, they have done. This is the first debut novel since 2006 to enter the New York Times list at number one. Anna Fox suffers from agoraphobia. Is that something you approached through research or personal experience? I did consult psychiatrists and agoraphobes to make sure I was representing their experience correctly, but when I was twenty-one, my senior year at Duke, I was diagnosed with severe clinical depression. It persisted for fifteen years, during which time I resorted to every treatment imaginable, before the diagnosis was adjusted. It turns out I’ve got a variant of bipolar disorder, bipolar II. As soon as proper medication was dispensed, I felt immeasurably improved, and that’s what sparked the idea for this story. I wanted to explore depression. The thing is, no one wants to read about that because it is, well, depressing. In the guise of a thriller, I thought it might be more palatable. This is not a treatise on depression, it is a murder mystery. But I was able to tap into my own experiences of not being able to leave the house for days or weeks at a stretch. It seems like this is the book that has been building in you for your whole life. Do you have any sense of what you’ll do next? I do, I’m about two-thirds of the way through my next book, another psychological thriller, this one set in San Francisco. Just as the first book traffics pretty heavily in suspense cinema, this one traffics pretty heavily in classic suspense fiction. bhowe@indyweek.com

screen

BRIEF

FILM STARS DON’T DIE IN LIVERPOOL 

OPENING FRIDAY, FEB. 16

PHOTO COURTESY OF SONY PICTURES CLASSICS

Based on the 1986 memoir by British actor Peter Turner, Film Stars Don’t Die in Liverpool chronicles the final months of actor Gloria Grahame, who charmed audiences in the forties and fifties. Grahame made films with the biggest names in Hollywood, and she won an Oscar in 1952 for The Bad and the Beautiful. Annette Bening plays Grahame circa 1979, after she has been diagnosed with breast cancer and is taking small stage roles in England to supplement her fading film career. In a Liverpool boarding house, she meets Turner (Jamie Bell), an earnest working-class thespian three decades her junior. They enjoy a tender love affair, although Peter later learns that Gloria has left behind four ex-husbands in the States. Scottish director Paul McGuigan sets a gloomy tone. The dying Grahame moves in with Peter’s parents and siblings, adopting them as a kind of desperate, last-ditch surrogate family. A clever flashback structure illuminates deep dysfunctions in Grahame’s past in California. As Liverpool’s most eligible bachelor, Bell brings effortless charisma to the screen. (You may remember him as the original Billy Elliot.) And it’s a treat to see Vanessa Redgrave as Grahame’s old-school Hollywood stage mom. (“You were as good as the other one, what’s her name, the blonde girl who had the affair with the president.”) But this is Bening’s movie all the way, and she gives herself entirely to the role. She deploys the naturalism of contemporary acting while also suggesting that particular mannered style of postwar Hollywood. Liverpool gets a mite mawkish in spots, but Bening’s performance is a skillful tribute to Grahame and golden age filmmaking. —Glenn McDonald INDYweek.com | 2.14.18 | 25

Adam Trent PHOTO COURTESY OF THE ARTIST

WHAT TO DO THIS WEEK THURSDAY, FEBRUARY 15

THE MAGIC OF ADAM TRENT

FRIDAY, FEBRUARY 16– SUNDAY, MARCH 4

GIDION’S KNOT

The ancient Greeks knew that grief can transform us into something other than ourselves: something noble, disfigured, or monstrous. Gidion’s Knot playwright Johnna Adams knows it, too. At the end of a school day, a teacher in a sunny fifth-grade classroom is still trying to cope with the death of her troubled student, Gidion. Then his mother shows up for a parent-teacher conference that had been scheduled before the student’s death. Gidion’s mother now has a very different agenda for the meeting. She pursues it, calmly and methodically, in a merciless, everescalating war of nerves. Lakeisha Coffey and Shannon Malone star in Bartlett Theater’s season opener, directed by Bryan Conger. —Byron Woods

Adam Trent can turn a drawing of a goldfish into a real goldfish. Adam Trent can hoverboard across a virtual cityscape as if Back to the Future had collided with Tron. Adam Trent can make beautiful women suddenly appear under sheets while doing boy-band dance moves. Adam Trent can slice himself in half and show us both parts flopping around independently of each other rather than hiding them inside a box. Adam Trent can have an assistant chain him up and then trade places with her instantly behind a red curtain. Adam Trent can wear a tuxedo with high-top sneakers on national television. Adam Trent can sell out Broadway stages as part of hit show The Illusionists, so surely Adam Trent can sell out DPAC on his own when he brings his whimsical, hightech brand of stage magic to town on Thursday. —Brian Howe DURHAM PERFORMING ARTS CENTER, DURHAM 7:30 p.m., $30–$100, www.dpacnc.com

THURSDAY, FEBRUARY 15

THE LOVE HANGOVER

As with The Great Cover Up in January, Kings hosts another longstanding local tradition every February: The Love Hangover. Every year on the day after Valentine’s Day, duos coalesce to perform original and cover songs of a love-adjacent nature. It skipped 2008, but otherwise, The Love Hangover has operated in Raleigh since 2000, spawning offshoots in New York, Chicago, Kansas City, and other cities across the country. In Raleigh, the music will hit some romantic high points, but it’s a safe bet the duos—which include members of See Gulls, Miracles, The dB’s, and several others—will sing plenty of sad ones, too. Proceeds benefit Music and Memory, a nonprofit that helps arrange playlists and iPods for dementia patients, because music heals far more than aching hearts. —Allison Hussey KINGS, RALEIGH 8 p.m., $10, www.kingsraleigh.com

PSI THEATRE, DURHAM Various times, $15–$25, www.bartletttheater.org

WHAT ELSE SHOULD I DO?

ALIENS, IMMIGRANTS AND OTHER EVILDOERS AT HISTORIC PLAYMAKERS THEATRE (P. 35), THE CHRISTIANS & MOLIÈRE’S TARTUFFE AT PAUL GREEN THEATRE (P. 22), HAYTI HERITAGE FILM FESTIVAL AT THE HAYTI HERITAGE CENTER (P. 36), JOHN KESSEL AT QUAIL RIDGE BOOKS (P. 36), REESE MCHENRY & THE FOX AT LOCAL 506 (P. 19), CELEBRATE SITES AT THE FRUIT (P. 20), BILL THELEN AT 21C MUSEUM HOTEL (P. 32)

26 | 2.14.18 | INDYweek.com

SUNDAY, FEBRUARY 18

JEGHETTO: A CONVERSATION WITH FREDERICK DOUGLASS Tarish “Jeghetto” Pipkins strives to reach a wide audience with his Afrofuturist puppet artistry, and gigs on national TV shows and Missy Elliot videos haven’t deterred him from educational work in library activity rooms. A recent example is his creation of a Frederick Douglass puppet for a Black History Month show at the Chapel Hill Public Library. If you missed it, Pipkins is bringing his puppet of the famed nineteenth-century abolitionist to Culture Mill in Saxapahaw for a multimedia presentation on Douglass’s childhood and American slavery. The phrase “history comes to life” has seldom been more apt than it is of Pipkins’s marionettes, which take on an uncanny sentience, animated by his mastery of puppet manipulation. —Brian Howe CULTURE MILL LAB, SAXAPAHAW | 7 p.m., $10 suggested donation, www.culturemill.org

SUNDAY, FEBRUARY 18

Adam Trent PHOTO COURTESY OF THE ARTIST

PRE-PRESIDENTS’ DAY PARTY: ZOOCRÜ

Loosely tied to George Washington’s birthday, which is on February 22, the third Monday of February is demarcated as Presidents’ Day. Historically, it’s meant to be a day to tip a hat to our country’s esteemed leaders, but few feel as undeserving of the recognition as our current antagonist-in-chief. Rather than lend any shred of credibility to the current administration, Zoocrü is leading a party that’s actually worth celebrating. The young Durham outfit melds hip-hop, jazz, soul, and funk together, deftly weaving socially conscious lyrics into the mix. The band’s forward-looking blend will give you hope that, despite our miserable political climate, there’s a better future ahead—we’ve just got to keep reaching for it. ThejonDoe opens with smooth soul-funk, plus Atlanta’s Trash Panda. —Allison Hussey THE PINHOOK, DURHAM | 8 p.m., $10, www.thepinhook.com

2.14–2.21

sts ary: The ntine’s songs

aleigh icago, In oints, but of See ll sing and and s far

2),

Zoocrü

PHOTO COURTESY OF THE ARTIST

INDYweek.com | 2.14.18 | 27

2/15 COREY SMITH W/KASEY TYNDALL ($20/$25)

RECYCLE THIS PAPER

2/16 UNO THE ACTIVIST/ THOUXANBANFAUNI/ WARHOL.SS ($20/ $24) 2/17 THE BLACK LILLIES W/ SAM QUINN 2/18 SCREENINGS OF "BLACK BEACH / WHITE BEACH" AND "WILMINGTON ON FIRE" HOSTED BY KAZE AND BISHOP OF INTELLIGENTLY RATCHET 2/20 PHILLIP PHILLIPS ($27.50/$30) 2/21 PEDRO THE LION W/ MARIE/LEPANTO ($20/$22) 2/22 LIGHTS W/CHASE ATLANTIC, DCF ($20/$23) 2/24 ANDREA GIBSON W/CHASTITY BROWN ($18/$21) 2/26 POPUP CHORUS CRANBERRIES, U2, CURE SONGS ($8/$13) 3/1 QUINN XCII LD W/ CHELSEA CUTLER SO OUT 3/2 JOYWAVE W/SASHA SLOAN, KOPPS ($15/$17) 3/3 ABBEY ROAD LIVE! 2 SHOWS: 4 PM FAMILY MATINEE, 8:30 PM LATE SHOW ($10/$13)

FR 2/16

TH 2/15

COREY SMITH

5/7 MELVINS ($20/$22; ON SALE 2/16)

3/13 J BOOG W/JESSE ROYAL, ETANA ($20) 3/16 DIALI CISSOKHO & KAIRA BA AND THE OLD CEREMONY ($10/$12) 3/21 MOOSE BLOOD W/ LYDIA, MCCAFFERTY ($18/$22) 3/23 OF MONTREAL ($17) 3/24 TIMEFLIES: TOO MUCH TO DREAM TOUR ($25) 3/28 CRANK IT LOUD PRESENTS: OUR LAST NIGHT W/ I THE MIGHTY, DON BROCO, JULE VERA 3/30CIGARETTES AFTER SEX ($20/$23) 4/2 CRANK IT LOUD PRESENTS: UDO DIRKSCHNEIDER 4/3 ROGUE WAVE PERFORMING ASLEEP AT HEAVEN'S GATE ($17/$20) 4/6 SARAH SHOOK & THE DISARMERS W/ SPIDER BAGS ($12/ $14)

5/8 BAHAMAS ($16/$18) 5/9 PANDA BEAR W/ GEOLOGIST ($22/$25)

3/20 SHAME / SNAIL MAIL W/ SPECIAL GUEST BAT FANGS ($12)

5/10 WYE OAK ($16/$18)

3/21 COURTNEY MARIE ANDREWS W/ MAT DORRIEN ($12/$14)

5/12 NORTH MISSISSIPPI ALLSTARS ($20/$23; ON SALE 2/16) 5/18 DAVID BROMBERG (SEATED SHOW) 5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29) 5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20) 5/25 PETER HOOK & THE LIGHT ($28/$31) 6/19 STEPHEN MALKMUS & THE JICKS ($20/$23)

CAT'S CRADLE BACK ROOM

2/16 NORA JANE STRUTHERS W/ CHRISTIANE AND THE STRAYS ($12/ $15) 2/17 HANK, PATTIE & THE CURRENT W/ CAROLINA BLUEGRASS BAND ($7/$10) 2/20 MAGIC GIANT W/ THE BREVET ($12/ $14) 2/22 LARRY CAMPBELL & TERESA WILLIAMS W/ JON SHAIN 2/23 DRAG QUEENS ARE COMING (DRAG SHOW) $10 2/24 CALEB CAUDLE ALBUM RELEASE SHOW W/ JAKE XERXES FUSSELL ($10/$12) 2/27 DIET CIG W/ GREAT GRANDPA, THE SPOOK SCHOOL 3/1 MARK HOLLAND’S BLUES EXPERIENCE W/ THE 8:59’S AND RADAR’S CLOWNS OF SEDATION ($10) 3/3 TAN AND SOBER GENTLEMEN W/ TUATHA DEA, CODDLE CREEK ($9) 3/5 KOLARS W/ ESCONDIDO ($12) 3/6 ELLIOT ROOT W/ COMMON DEER ($8/$10)

4/10 AND 4/11 YO LA TENGO ($22/$24)

3/7 SONREAL W/ DAVIE AND NANCE ($15/$17)

4/12 JUKEBOX THE GHOST W/ THE GREETING COMMITTEE ($17/$20)

3/8 PRONOUN AND MICHAEL NAU & THE MIGHTY THREAD (COTTON JONES)

4/14 DUMBFOUNDEAD: THE YIKES! TOUR ($18/$22) 4/16 WOLF ALICE W/ THE BIG PINK ($18/$20)

3/9 VUNDABAR W/ RATBOYS, GHOSTT BLLONDE ($10/$12) 3/10 JON STICKLEY TRIO ($10/$12)

3/24 URBAN SOIL 3/25 STEVE GUNN W/ NATHAN BOWLES ($15/$17) 3/26 S CAREY W/ GORDI, XOXOK ($15)

ARTSCENTER (CARRBORO)

3/31 STOP LIGHT OBSERVATIONS ($10/$12)

3/21 NEIL HILBORN ($15/$20)

4/1 NOTHING, NOWHERE. W/ SHINIGAMI, LIL LOTUS, JAY VEE ($13/$15)

LOCAL 506 (CHAPEL HILL)

4/4 DYLAN LEBLANC AND THE ARTISANALS ($10/$12) 4/5 THAT 1 GUY ( $15) 4/6 GRIFFIN HOUSE

4/20 GREG BROWN ($28/$30) 5/5 ROLLLING BLACKOUTS COASTAL FEVER ($10/$12) THE RITZ (RAL)

2/17 SNARKY PUPPY W/ SIRINTIP 4/6 RAINBOW KITTEN SURPRISE

4/7 JPHONO1 AND THE CHEVRONS W/SHELLES, HECTORINA, AND HONEY DUCHESS ($6/ $8) 4/10 MESSTHETICS W/THE BRONZED CHORUS ($10) 4/12 MO LOWDA & THE HUMBLE ($10/ $15 FOR 2 TIX) 4/13 TYRONE WELLS W/ GABE DIXON ($15)

SOLD OUT

4/7 RAINBOW KITTEN SURPRISE

5/9 NATHANIEL RATELIFF & THE NIGHT SWEATS W/ LUKASLD NELSON & PROMISE OF THE REAL SO OUT 5/13 OH WONDER 5/15 TRAMPLED BY TURTLES W/ HISS GOLDEN MESSENGER 610: TASH SULTANA

4/14 HARDWORKER W / RUN COME SEE, RACHEL KIEL ($8/$10) 4/17 THANK YOU SCIENTIST ($15) 4/19 WEAVES W/ STEF CHURA ($10/$12)

KINGS (RAL)

2/17 PHOEBE BRIDGERS W/ SOCCER MOMMY 3/30 SORORITY NOISE W/ REMO DRIVE, JELANI SEI ($17/$20)

4/23 DURAND JONES & THE INDICATIONS ($13/$15)

4/5 THE MESSTHETICS W/ MOTHERFUCKER, PATOIS COUNSELORS ($10/$12)

4/26 PATRICK SWEANY ($12/ $15)

RED HAT AMPHITHEATRE (RAL)

4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) 5/5 THE COLLECTION W/ THE PINKERTON RAID 5/10 FRANKIE COSMOS W/ FLORIST AND LALA LALA 5/19 AMERICAN PLEASURE CLUB (FKA TEEN SUICIDE) W/ SPECIAL EXPLOSION ($13/$15 ) 5/20 ICEAGE ($14/$16)

MOTORCO (DUR)

4/24 THE MAINE W/THE TECHNICOLORS ($23/$25)

3/16 KYLE PETTY W/ DAVID CHILDERS ($20)

4/27 SUPERCHUNK W/ROCK*A*TEENS ($16/$18)

3/17 THE BAD CHECKS AND DEX ROMWEBER

4/28 THE AFGHAN WHIGS AND BUILT TO SPILL W/ ED HARCOURT ($35)

3/18 MEN I TRUST ($10/$12)

**Asterisks denote advance tickets @ schoolkids records in raleigh, cd alley in chapel hill order tix online at ticketfly.com ★ we serve carolina brewery beer on tap! ★ we are a non-smoking club

SNARKY PUPPY 3/3 AN EVENING WITH SOLD COWBOY JUNKIES OUT

3/14 BREW DAVIS W/THE HIGH TOP BOYS ($10/$12)

CATSCRADLE.COM ★ 919.967.9053 ★ 300 E. MAIN STREET ★ CARRBORO

SA 2/17 @THE RITZ

3/30 MOVEMENTS W/CAN’T SWIM, SUPER WHATEVR, GLEEMER ($13/$15)

4/21 YUNG GRAVY

3/19 BORN RUFFIANS

MAGIC GIANT

3/23 KYLE CRAFT

CAROLINA THEATRE (DUR)

4/20 SUSTO ($12/$15)

TU 2/20 @CAT’S CRADLE BACK ROOM

3/22 MARTI JONES & DON DIXON ($15- SEATED SHOW)

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

4/18 DR DOG ($27.50/ $30)

28 | 2.14.18 | INDYweek.com

SA 2/17

THE BLACK LILLIES

3/7 LP W/ NOAH KAHAN ($22/$25)

3/10 A TRIBUTE TO DOLORES O'RIORDAN WITH THE MUSIC OF THE CRANBERRIES

TU 2/20

PHILLIP PHILLIPS

5/4 BLACK REBEL MOTORCYCLE CLUB W/PETE INTERNATIONAL AIRPORT ($25/$28)

3/6 WALLOWS W/FIELD MEDIC ($15) 3/9 SENSES FAIL W/ REGGIE AND THE FULL EFFECT, HAVE MERCY, HOUSEHOLD

UNO THE ACTIVIST

3/24 LUCIUS

3/3 BRETT DENNEN W/ DEAN LEWIS ($22/$26) 3/23 GODSPEED YOU! BLACK LD EMPEROR W/KGD SO OUT 4/20 JEFF TWEEDY -- SOLO

SOLD OUT

5/12 TANK AND THE BANGAS W/ SWEET CRUDE ($16/$18) NORTH CAROLINA MUSEUM OF ART

6/8 FIRST AID KIT W/ JADE BIRD (ON SALE FEB 16) 6/23 MANDOLIN ORANGE (ON SALE FEB 16)

3/3: ELLIS DYSON & THE SHAMBLES W/ BOOM UNIT BRASS BAND ( $10/$12) 4/2 TWIN PEAKS W/ THE DISTRICTS 4/11 WAXAHATCHEE AND HURRAY FOR THE RIFF RAFF ($20/$22) 5/5 ALVVAYS W/ FRANKIE ROSE

5/3 FLEET FOXES HAW RIVER BALLROOM

SOLD OUT

5/7 HOP ALONG ($15/$17) 6/3 POND W/ FASCINATOR ($15)

8/18 VOODOO THREAUXDOWN FEATURING TROMBONE SHORTY & ORLEANS AVENUE WITH GALACTIC, PRESERVATION HALL JAZZ BAND, NEW BREED BRASS BAND WITH SPECIAL GUESTS CYRIL NEVILLE, WALTER WOLFMAN WASHINGTON (ON-SALE: 2/ 20) NORTH CHARLESTON PAC (CHARLESTON, SC)

2/25 STEVE MARTIN & MARTIN SHORT W/ THE STEEP CANYON RANGERS AND JEFF BABKO

music 2.14 – 2.21 FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

WED, FEB 14 2ND WIND: Yeaux Katz; 7-9 p.m., free. ACKLAND ART MUSEUM: Heartland Baroque Concert: Baroque’n Hearted; 7:30 p.m., free. BLUE NOTE GRILL: David Quick Jazz Band; 8 p.m. THE BULLPEN: Thomas Rhyant’s Sam Cooke Soul Revue; 8:30 p.m. CORNER TAVERN: Chris Overstreet; 9 p.m. HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free. IRREGARDLESS: Bobby Moody; 6:30 p.m. LOCAL 506: propersleep, Commonwealther, Ol’ Sport; 8 p.m., $8. NEPTUNES PARLOUR: Earther, Salt Creek, Sparrows; 10 p.m., $5. NIGHTLIGHT: Valentines Blues Dance; 7:30 p.m., $10. THE PINHOOK: Even the Losers: A Tom Petty Tribute; 8 p.m., $10–$12. POUR HOUSE: Cory Wong & Mr. Talkbox; 9 p.m., $15–$20. RUBY DELUXE: Dream Date 90s Dance Party; 10 p.m.

THU, FEB 15 2ND WIND: 2 fer; 7:30-9 p.m. 4020 LOUNGE: African Rhythms; 10 p.m., $5. ARCANA: Danny Grewen Residency: Tom Merrigan’s Hot Raccoons, Trombone Quartet; 8 p.m.

CAROLINA THEATRE:

The Earls of Leicester [$35–$45/8 P.M.]

Even in the realm of bluegrass, where songs are frequently covered and traded around, The Earls of Leicester are, essentially, a cover band. Led by the inimitable dobro pro Jerry Douglas, the band carefully recreates songs by the titanic bluegrass duo of Lester Flatt and Earl Scruggs. But the Earls are hardly some sort of scruffy bar rock band; they’ve picked up a handful of International Bluegrass Music Association awards and a Grammy for their efforts. In a 2014 interview with the INDY, Douglas said about the band, “Every time we play it, we come off stage grinning like possums. It’s like we fooled somebody again.” Don’t be fooled, though: if you’ve got a deep itch to enter a bluegrass time machine engineered by some of the genre’s best living players, including bassist Barry Bales and guitarist Shawn Camp. Jonathan Byrd opens. —Allison Hussey CAT’S CRADLE: Corey Smith, Kasey Tyndall; 8 p.m., $20–$25. DEEP SOUTH: The Upward Dogs, Daniel Anderson Trio, Azul; 8:30 p.m., $5. IRREGARDLESS: Frankie Alexander Trio; 6:30 p.m.

THE ARTSCENTER: PopUp Broadway; 7 p.m., $8–$13.

KINGS: The Love Hangover; 8 p.m., $10. See page 26.

BLUE NOTE GRILL: Satchmo Babcock; 7 p.m. Carolina Lightnin’; 7-9 p.m., free.

LINCOLN THEATRE: Mumu Tutu, Dirty Remnantz, Shamrock Saints; 8 p.m., $8.

Earls of Leicester perform Thursday night at the Carolina Theatre LOCAL 506: Webb Wavvy, Lucky Kaleem, Tracy Lamont, Vinnie Dangerous, DJ Kidfromthehill, (J) Rowdy; 9 p.m., $5–$10.

THE PINHOOK: Free Improvised Music: James Gilmore, Annalise Stalls, Vattel Cherry, Jonathan Curry; 8:30 p.m., donations.

MOTORCO:

POUR HOUSE: Local Band Local Beer: Hardworker, Dragmatic, Young Yonder; 9 p.m., $3–$5.

Bebel Gilberto [$40–$45/8 P.M.]

It wouldn’t be a stretch to guess that Bebel Gilberto, daughter of bossa nova creator João Gilberto, would follow in her father’s footsteps when it came to her own music career. But for thirty years, she’s developed her own distinct, easygoing catalog that blends bossa nova with jazz and quiet storm music. She’s cited John Zorn, Sade, Björk, Neil Young, and David Byrne as some of her many influences, and those varied nuances and textures all peek through in her music. Her richly detailed songs and warm voice are gentle and soothing—if you’re down in the mid-winter dumps, Gilberto can certainly turn you around. — Allison Hussey

RUBY DELUXE: Seize the Stage: No Love, Nikki Dixxx, Scarecrowe; 8 p.m., $5. UNC’S MEMORIAL HALL:

Pärt. In addition to solo albums, he’s appeared on albums by Kendrick Lamar, Esperanza Spalding, and practically everybody else. —Erin Martin

FRI, FEB 16 2ND WIND: Skinny Bag of Sugar. BEYÙ CAFFÈ: De’Sean Jones + Nomadik; 7 & 9 p.m., $15.

Ambrose Akinmusire Quartet

BLUE NOTE GRILL: Adrian Duke & Theresa Richmond; 9 p.m., $10. Duke Street Dogs; 6-8 p.m., free.

This year’s Carolina Jazz Festival is headlined by the brilliant young trumpeter Ambrose Akinmusire, who performs as part of a quartet. While Akinmusire studied and toured with Herbie Hancock and Wayne Shorter, he brings a spirit of fresh meditation to his music. Akinmusire’s influences span everything social commentary on police brutality to the holy minimalism of Arvo

Trey Anastasio

[$10–$15/7:30 P.M.]

PHOTO COURTESY OF HIGH ROAD TOURING

CAROLINA THEATRE:

[$70–$80/7:30 P.M.]

Trey Anastasio leads the band Phish, which is known for its playful, extremely loose jam rock numbers. Before returning to Raleigh in the summer with the full band and attendant lighting rigs in tow, he stops in Durham for an intimate solo gig. He’ll probably play a few of the hundred-fifty-something

songs he’s written for and with Phish, and several from his own abundant solo catalog. Maybe he’ll also throw in one of his cuts from the award-winning musical Hands on a Hardbody, which is about a competition to win a pickup truck (all of this is true, I swear). Duuuuuu uuuuuuuuuuuuuuuuuuuuuuuuu uuuude. —Allison Hussey CAT’S CRADLE: Uno the Activist, Thouxbanfauni, Warhol S.S.; 8:30 p.m., $20–$24. CAT’S CRADLE (BACK ROOM): Nora Jane Struthers, Christiane & the Strays; 8 p.m., $12–$15. THE CAVE: Down By Five; 9 p.m., $5. CITY TAP: Dmitri Resnik & Bootleg Beat; 8 p.m. DEEP SOUTH: Sportsmanship, Armani Mavinga, Sibilant Sounds, Youth Model; 8:30 p.m., $5–$10. DUKE COFFEEHOUSE: Alright, Naked Naps, Slime; 8:30 p.m., $5, free with Duke ID. INDYweek.com | 2.14.18 | 29

IRREGARDLESS: Foscoe Philharmonic; 6:30 p.m.

Cosmic Punk, Honey Duchess; 9 p.m., $7–$9.

BLUE NOTE GRILL: Jo Gore; 8 p.m., $12.

KINGS: Telepathy Dance Party: Simon Smthng, 2 Slices, Miniluv; 10:30 p.m., $7.

UNC’S MEMORIAL HALL: Chicago Symphony Orchestra; 8 p.m., $10–$89.

THE BULLPEN: Pat “Mother Blues” Cohen; 8:30 p.m.

LINCOLN THEATRE: The Shakedown: Tom Petty; 9 p.m., $10. LOCAL 506: Reese McHenry & the Fox, Erie Choir, Woodvamp; 9 p.m., $7. See page 19. THE MAYWOOD: Dealing Stan; 9 p.m., $10. MEYMANDI CONCERT HALL: N.C. Symphony: My Fair Lady in Concert; 8 p.m., $50–$69. MOTORCO: Justin Nozuka, Good Old War, River Matthews; 7:30 p.m., $20–$25. POUR HOUSE: Scott H. Biram, The Hooten Hallers, Hearts & Daggers; 8 p.m., $12–$15. THE RITZ: The Marshall Tucker Band; 8 p.m., $25. ROCK HARBOR GRILL: Bruce Clark Trio; 9 p.m.-midnite, free. RUBY DELUXE: DJ DNLTMS; 10 p.m.

THE WICKED WITCH:

The Bronzed Chorus [$7/9 P.M.]

Hailing from Greensboro, the duo The Bronzed Chorus makes complex, mathy rock music that sounds far too big for two people. Hunter Allen pounds on the drums at a gale force while guitarist Adam Joyce seems to do gymnastics across the frets of his guitar. Live, the band cranks up to a volume that ought to come with a warning label, but that just makes the band’s visceral details all the more affecting. With Spooky Cool and Zephyranthes. —Allison Hussey

SHARP NINE GALLERY: Jim Ketch Swingtet; 8 p.m., $10–$20.

SAT, FEB 17

SLIM’S: Atomic Buzz, Nathan Arizona & the New Mexicans, Slomo Dingo; 9 p.m., $5.

ARCANA: Strider, 3ZKL, Aviation Parkway, Thefacesblur; 10 p.m., $5.

THE STATION: Case Sensitive,

BEYÙ CAFFÈ: Yolanda Rabun; 7 & 9 p.m., $19.

TH 2/15

CAROLINA THEATRE: International Championship of Collegiate A Capella South Quarterfinal; 7 p.m., $29. CAT’S CRADLE: The Black Lillies, Sam Quinn; 8:30 p.m., $15–$17. CAT’S CRADLE (BACK ROOM): Hank, Pattie & the Current; Carolina Bluegrass Band; 8 p.m., $7–$10. THE CAVE: Jupiter & the Medicean Stars, Mammabear; 9 p.m., $5. DEEP SOUTH: The New Hillbillies, For Good Measure, Caitlin Washburn; 9 p.m., $5. DUKE’S BALDWIN AUDITORIUM: Smetana Trio; 8 p.m., $10–$38. DUKE’S DUKE CHAPEL: Choral Society of Durham; 8 p.m., $5–$22. DURHAM PERFORMING ARTS CENTER: Diana Krall; 8 p.m., $65. HAW RIVER BALLROOM: Moves & Grooves Dance Party; 6:30 p.m., free. IRREGARDLESS: Stevan Jackson; 11:30 a.m. Michael Jones Duo; 6 p.m. The Noah Powell Quintet; 9 p.m.

The Bronzed Chorus performs Friday at The Wicked Witch PHOTO BY ANN FLETCHER TILLEY

POPUP BROADWAY

(GIRL CRAZY/ONCE/BABES IN ARMS/SHOWBOAT) SU 2/18 FEBRUARY 48 PRESENTED BY ONE SONG PRODUCTIONS

WE 2/14 TH 2/15 FR 2/16 SA 2/17 SU 2/18 TU 2/20

VALENTINE DINNER/DANCE WITH DAVID QUICK JAZZ TRIO SATCHMO BABCOCK DUKE STREET DOGS ADRIAN DUKE BAND W/ THERESA RICHMOND FEBRUARY BIRTHDAY PARTY: JO GORE MYSTI MAYHEM TRIO TUESDAY BLUES JAM WITH CLARK STERN

IRA KNIGHT PRESENTS: THE MAN’S GUIDE TO WRITING LOVE LETTERS SA 2/24 A MIDSUMMER NIGHT’S DREAM SA 2/24

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SA 3/10 TU 3/20 FR 3/23

CHARLIE CHAPLIN’S THE KID – LIVE FILM RE-SCORING BY TIM CARLESS OMAR SOSA & SECKOU KEITA: TRANSPARENT WATER KEN WALDMAN AND THE WILD MEN FEAT. RILEY BAUGUS Find out More at

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KINGS: Phoebe Bridgers, Soccer Mommy; 8 p.m. LINCOLN THEATRE: Who’s Bad: The Ultimate Michael Jackson Experience; 7:30 p.m.

SHARP NINE GALLERY: Kate McGarry, Keith Ganz, Gary Versace; 8 p.m., $15–$30. SLIM’S: Ty Lake, Senator Jaiz, 80Lb Test; 9 p.m., $5.

LOCAL 506: Milo, Euclid, JPEGMAFIA; 9 p.m., $12–$14.

STEEL STRING BREWERY: Andrew Kasab; 6 p.m.

THE MAYWOOD:

UNC’S MEMORIAL HALL: Chicago Symphony Orchestra; 8 p.m., $10–$89.

Grohg

[$10/8:30 P.M.] Grohg’s omnivorous approach to heavy music serves the band well. The quartet builds from a solid foundation of midtempo doom slog and the double-kick drum barrage of melodic death metal, borrowing liberally from heavy metal’s many subdivisions: the snarling invective of hardcore; the textural inclinations of post-metal; the burly heft of Mastodonic alt-metal; the abstract spaciousness of black metal. The clashing subgenres create an alluring tension, which suits the music’s surges of momentum and frequent shifts in tone. Mo’ynoq, Voarm, Tyrannis, and Septicemic open. —Patrick Wall MEYMANDI CONCERT HALL: N.C. Symphony: My Fair Lady in Concert; 3 & 8 p.m., $50–$69. MOTORCO: Hamiltunes RDU; 6 p.m., $10–$15. NIGHTLIGHT: Labor of Love: A Benefit Party for UE 150; 9 p.m. THE PINHOOK: UGC Beat Battle; 9 p.m., $10. POUR HOUSE: Datura, Fulton Ave, The Hell No, Voidward; 8 p.m., $6–$8. THE RITZ:

Snarky Puppy [$35/8 P.M.]

You never quite know who you’re going to get with Snarky Puppy. The collective has upwards of twenty-five to forty members—many of whom play in the backing bands for Erykah Badu, Kendrick Lamar, D’Angelo, David Crosby, and more—meaning it’s anyone’s guess who will be on a given tour. What is guaranteed is that they’ll be vaguely funky, vaguely jammy, and vaguely jazzy, like a halfway point between Maria Schneider and, say, P-Funk. —Dan Ruccia RUBY DELUXE: DJ Luxe Posh; 10 p.m.

THE WICKED WITCH: DJ Bitchcraft; 10 p.m.

SUN, FEB 18 ARCANA: Freylach Time, Rakia; 8 p.m. BLUE NOTE GRILL: Mysti Mayhem Trio; 5 p.m., free. THE CAVE: Castle Black, River Otters, Car Crash Star; 9 p.m., $5. DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3. IRREGARDLESS: Gene O’Neill; 10 a.m. Steely James & Irish Lassie; 6 p.m. LINCOLN THEATRE: Y & T; 7 p.m., $22.50. LOCAL 506: MH the Verb, ArtHouse95, Defacto Thezpian, Danny Blaze; 8 p.m., $8. LONDON BRIDGE PUB: Q Soul; 2 p.m., free. THE MAYWOOD: Benefit for Marie & Joey: Purple School Bus, Matty Begs, Hansom Al & the Lookers, Jefferson Coker, Individually Twisted, Spank; 3 p.m., $10. NEPTUNES PARLOUR: Busman’s Holiday, Flash Car; 9 p.m., $7. THE PINHOOK: Pre-President’s Day Party: Zoocrü, ThejonDoe, Trash Panda; 8 p.m., $8–$10. See page 27. POUR HOUSE: Jason Adamo Band Unplugged, Nico Zarcone; 1 p.m., $5. The Hillbenders Present The Who’s Tommy: A Bluegrass Opry, Sarah Borges; 7:30 p.m., $20–$25. THE RITZ: Fetty Wap; 8 p.m., $35–$98. RUBY DELUXE: DJ Stone Zone; 10 p.m. SHARP NINE GALLERY: Kate McGarry, Keith Ganz, Gary Versace; 7 p.m., $15–$25. ST STEPHEN’S EPISCOPAL CHURCH: Chamber Orchestra of the Triangle: Resplendent Gems; 3 p.m., $30, students free. UNC’S HILL HALL: Katinka Kleijn; 7:30 p.m., $10–$15. WEST END WINE BARDURHAM: Eric Meyer, Noah Sager & Friends; 4-6 p.m., free.

MON, FEB 19 THE CAVE: Maitri, Corrine Wiesner; 9 p.m., $5. IMBIBE: Grewen and Griffin; 7-10 p.m., free. MOTORCO: Flash Chorus; 7 p.m., $7–$10. THE PINHOOK:

Dai Burger

[$10–$25/7:30 P.M.] Turn on the radio or your favorite curated Spotify playlist and you’d be hard pressed to find a rapper who isn’t also attempting that Auto Tune croon. Of course, singing instead of spitting used to be a demerit in the macho world of hip-hop, with R&B types generally relegated to the hook to fortify the surrounding bars. That said, an artist like Dai Burger doesn’t need backup, though the support she has is certainly great. With new school boosters like Cakes Da Killa and Junglepussy and classic cosigns by the inimitable Kool Keith, the Queens phenom can both carry a tune and deliver hot bars. Last year’s Soft Serve project proved her mettle in the evercompetitive rap game, with slick crossover cut “Tatted Up”and the hyperactive club fare of “Shake N Bake.” Yes, she reps the same New York borough as Nicki, but Dai is no clone. With UniiQU3 and ZenSoFly. —Gary Suarez PITTSBORO ROADHOUSE: Big Band Night with the Triangle Jazz Orchestra; 7 p.m., $10. POUR HOUSE: Earthkry, Resinated; 8 p.m., $10–$12.

Dai Burger performs at The Pinhook Monday night

POUR HOUSE: Reed Mathis, Scott Rager, Clay Welch; 9 p.m., $10–$12. SHARP NINE GALLERY: Durham Jazz Orchestra; 8 p.m., $10.

lived-in audio collage. It’s for fans of both hip-hop and the “Enviornments” ambient sound app. —David Ford Smith

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

SLIM’S: Ages of Sages, Maitri, Napoleon Wright II; 9 p.m., $5.

WED, FEB 21

TUE, FEB 20

THE WICKED WITCH:

2ND WIND: Yeaux Katz; 7-9 p.m., free.

[FREE/10 P.M.]

BLUE NOTE GRILL: Jamie McLean Band; 8 p.m., $10. The Herded Cats; 8 p.m.

CAT’S CRADLE: Phillip Phillips, Striking Matches; 8 p.m., $27.50–$30. CAT’S CRADLE (BACK ROOM): Magic Giant, The Brevet; 8 p.m., $12–$14. THE CAVE: Nate Mays, The Hoils Dilemma, Jonny Lame, Jen Berg; 9 p.m., $5. IRREGARDLESS: Douglas Babcock; 6:30 p.m. LOCAL 506: The Atlas Moth, Royal Thunder, Mirrors for Psychic Warfare; 8 p.m., $15.

RGB

On his latest single, “Montana Dream 1,” Raleigh beat king and Raund Haus affiliate RGB doubles down on the hazy atmospherics that have distinguished his music among recent Triangle electronic offerings. Falling somewhere at the intersection of ambient music and audio design, the track purees vocal samples, creeping bass pads, and water whooshes into a delicate,

CAT’S CRADLE:

Pedro the Lion [$20–$22/8 P.M.]

Originally formed in Seattle in 1995, Pedro the Lion is perhaps best known for its downtempo, sad-bastard songs for barrooms and concept albums. Releases like 2000s’ Winners Never Quit and 2002’s Control tackled macro issues like American

PHOTO COURTESY OF THE ROGUE AGENCY

consumerism and religion, as well as more personal stuff like modern marriage. After a hiatus that lasted more than a decade, frontman David Bazan has been holed up in his studio lately, writing and recording the band’s much-anticipated new album and gearing up for their first tour since 2005. With Marie/ Lepanto. —Howard Hardee THE CAVE: Al Riggs Residency; 9 p.m., $5. FLETCHER OPERA THEATER: Post Modern Jukebox; 8 p.m., $67–$188. HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m. IRREGARDLESS: The Holland Bros.; 6:30 p.m. LOCAL 506: Flor, Handsome Ghost; 9 p.m., $12–$15. RUBY DELUXE: Goth Night: DJ Bela Lugosi’s Dad; 10 p.m. INDYweek.com | 2.14.18 | 31

art

2.14 – 2.21

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

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

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

FRIDAY, FEBRUARY 16

BILL THELEN: HOTEL THEORY Around the time he stepped away from his twentyyear tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory, an exhibit that was previewed at the Rubenstein Arts Center’s debut party two weeks ago and now opens, this Third Friday, in 21c Museum Hotel’s Vault Gallery, where it will reside until summer. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. —Brian Howe

21C MUSEUM HOTEL, DURHAM

6–8 p.m., free, www.21cmuseumhotels.com

Artwork by Bill Thelen PHOTO COURTESY OF 21C

OPENING SPECIAL As·sem·blage: EVENT Ceramic sculpture by Rosalie Midyette. Feb 16-Mar 31. Reception: Fri, Feb 16, 6-9 p.m. Claymakers, Durham. www.claymakers.com. SPECIAL Behind the Eyes: EVENT Art as Therapy: Paintings by David Underwood and mosaics by Alyssa Draffin. Feb 16-Mar 10. Reception: Fri, Feb 16, 6-9 p.m. The Scrap Exchange, Durham. www.scrapexchange.org. Cary Photographic Artists: Photography discussion with Catharine Carter. Wed, Feb 14, 7 p.m. The Cary Theater, Cary. Durham Arts Council Third Friday Artist Reception: With dance performances from Huepa Culture & Arts Institute, live music, family friendly crafts, refreshments. Fri, Feb 16, 5-8 p.m. Durham Arts Council, Durham. www.durhamarts.org. 32 | 2.14.18 | INDYweek.com

FSP@PPG: Creative Responses to the Threat of Nuclear War: Discussion on the intersection of activism and art in response to the threat of nuclear war featuriung Erin Johnson, elin O’Hara slavick, Jenny Warburg, and Mandy Carter. Thu, Feb 15, noon. Power Plant Gallery, Durham. www.powerplantgallery.com. SPECIAL Hotel Theory: Bill EVENT Thelen. Feb 16-Jun 1. Reception: Fri, Feb 16, 6-8 p.m. 21c Museum Hotel, Durham. 21cmuseumhotels.com/ durham. Rising: Collaborative research project using photography and oral history to understand coastal communities’ beliefs regarding climate change. Photographs by Baxter Miller and oral histories by Ryan Stancil and Barbara GarrityBlake. Fri, Feb 16, 5:30-7 p.m. Love House and Hutchins Forum, Chapel Hill. SPECIAL Shades of Goldfish: EVENT Celia Gray, Charles

Chace, and Meg Stein. Feb 16-Mar 2. Reception: Fri, Mar 2, 6-9 p.m. SPECTRE Arts, Durham. www.spectrearts.org. UNC-Chapel Hill Art and Art History Department Auction: Art auction. Thu, Feb 15, 6-9 p.m. Light Art + Design, Chapel Hill. www.lightartdesign.com.

ONGOING Acadia, The Badlands and Other National Parks: Photography of U.S. national parks. Thru Feb 25. Nature Art Gallery, Raleigh. www.naturalsciences.org. America Wants: Photography by Owens Daniels. Thru Mar 8. Durham Arts Council, Durham. www.durhamarts.org. American Red Cross: Healing the Warrior’s Heart through Art: Thru Apr 1. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Analog Art in a Digital World: Sculpture by Joe Coates. Thru Mar 10. Durham Art Guild, Durham. durhamartguild.org.

Art to Live By: Paintings by Michael Banks. Thru Apr 22. Alexander Dickson House, Hillsborough. historichillsborough.org. Business as Usual: This is big all around—the largest exhibit ever mounted of large-scale sculptures by a large-looming North Carolina artist. Bob Trotman delights the eye and dazzles the mind with satirical figures from the world of big business, wrought with a master craftsperson’s panache. Some of the works include motorized mechanisms that are triggered by motion sensors, implicating the viewer in the vast, mysterious whir of late capitalism, but even the stationary sculptures are so charged with life that you might think you glimpse them moving in the corner of your eye. Thru Jul 1. Gregg Musuem of Art & Design, Raleigh. gregg. arts.ncsu.edu. —Brian Howe

LAST C Note: Original work CHANCE for $100. Paintings, sculpture, fabric, glass, clay, metal, wood, jewelry. Thru Feb 18. Hillsborough Gallery of Arts, Hillsborough. hillsboroughgallery.com. C o a s t s c a p e s: Coastal landscape paintings by Nancy Hughes Miller. Thru Apr 2. Liquid State, Raleigh. www. liquidstateraleigh.com. Austin Caskie: Artspace satellite exhibition. 3-D models. Thru Mar 31. HQ Raleigh, Raleigh. Colors of Latin America: Paintings by Yholima VargasPedroza. Thru Mar 26. Durham Arts Council, Durham. www. durhamarts.org. Contemporary South ‘18: Artists from the South. Thru Mar 24. VAE Raleigh, Raleigh. www. visualartexchange.org. SPECIAL Definition of Metal: EVENT Tom Dawson, Al Frega, Joe Galas, Jackie McLeod, and Renee Leverty. Thru Feb 25. Reception: Fri, Feb 16, 6-9 p.m.

Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Desire is Covetous: Paintings by Linwood Hart. Thru Feb 28. Joe Van Gogh, Durham. www.joevangogh.com. Distance: Works using São Paulo’s subway system and trips as main subject. Thru Mar 10. ANCHORLIGHT, Raleigh. www.anchorlightraleigh.com. SPECIAL Electric Avenue: EVENT Pleiades artists. Thru Mar 31. Reception: Fri, Feb 16, 6-9 p.m. Pleiades Gallery, Durham. www.PleiadesArtDurham.com. Folk Art in the Library: Bailey Jack, Eric Legge, Irene Tison, Cher Shaffer, Michael Banks. Thru Feb 25. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library. Fred Good and Friends: Group exhibition by Triangle Visual Artists in memory of Fred Good. Thru Feb 28. The ArtsCenter, Carrboro. artscenterlive.org.

SPECIAL Light Cycles: EVENT Photography by JP Trostle. Thru Feb 17. Reception: Fri, Feb 16, 6-8 p.m. Atomic Fern, Durham. atomicfern.com. Louis C. Tiffany: Art and Innovation from the Wester Collection: Stained glass windows, vases, lamps. Thru Mar 4. NC Museum of History, Raleigh. ncmuseumofhistory.org. Peter Marín: Paintings. Thru Feb 25. Horace Williams House, Chapel Hill. chapelhillpreservation.com. MC Hues Iris Art Alumnae Exhibition: Thru Mar 11. Meredith College: GaddyHamrick Art Center, Raleigh. www.meredith.edu. Mike’s Attic: Partnership with Mike’s Art Truck. Self-taught artists. Thru Feb 28. Durham Technical Community College (Orange County Campus), Hillsborough. www.durhamtech. edu/orangecountycampus.htm. Modern Japanese Shin-Hanga and Sosaku-Hanga Prints: Woodblock prints. Thru Mar 8. Gallery C, Raleigh. galleryc.net.

LAST Renzo Ortega: CHANCE Paintings. Thru Feb 18. UNC Campus: Hanes Art Center, Chapel Hill. art.unc.edu. Painted Medicine: A Ceremony of Color: Ashley Spero. Thru Apr 12. Durham Convention Center, Durham. durhamconventioncenter.com. Re(f)use: Triangle Book Arts Group. Thru Mar 3. Artspace, Raleigh. www.artspacenc.org. RESOLUTE: Mixed media paintings by Antuco Chicaiza. Thru Mar 8. Durham Arts Council. www.durhamarts.org. The Ridge: A Journey of Durham History in Vintage Postcards: Vintage postcards from the collection of John Schelp. Thru Feb 28. Horse & Buggy Press and Friends, Durham. www.horseandbuggypress.com. The Seizing of Joy: Mixed media by Jane Cheek. Thru Feb 28. The ArtsCenter, Carrboro. www.artscenterlive.org. Sentience: Paintings and drawings by Adam Cohen. Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org.

The Shape of Fashion: Dress trends from 1800s to 1900s. Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org. Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31. Ackland Art Museum, Chapel Hill. www.ackland.org. The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present. The show includes a generative digital video by Tabor Robak, a virtual reality installation by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site

for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe SPECIAL The Way Things Can EVENT Happen: Multimedia work about nuclear war by Erin Johnson. Thru Mar 3. Reception: Fri, Feb 16, 5-8 p.m. Power Plant Gallery, Durham. www.powerplantgallery.com. William Goodson Mangum: Painter: Paintings. Thru Mar 30. Lee Hansley Gallery, Raleigh. www.leehansleygallery.com.

food Acme’s 20th (Party Like It’s 1998!): Drinks, dancing, party snacks, and more in celebration of Acme’s twentieth birthday. $20 donation to Be Loud! Sophie Foundation. Sat, Feb 17, 8:30 p.m.-12:30 a.m. Acme Food & Beverage Co, Carrboro. www.acmecarrboro.com.

Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. co.orange.nc.us/library/carrboro.

Food Access in the Triangle: 3 Companies Providing Solutions to Food Waste: A Modern Food Movement: Fireside Chats for the Food and Food Tech Space panel featuring The Produce Project, Hungry Harvest, and Ungraded Produce. Samples from local vendors including Boxcarr Cheese Company, Carolina Kettle Chips, and Escazu Chocolates. Tue, Feb 20, 5:30 p.m. Loading Dock, Raleigh.

Jinxiu Alice Zhao: Chinese brush paintings. Thru Apr 12. ERUUF Art Gallery, Durham. www.eruuf.org.

Free Wine Tasting: Mondays, 5:15-7:15 p.m. Bottle Rev Chapel Hill, Chapel Hill. www.bottlerev.com.

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

Ponysaurus Brewing Co. Annual Chili Cook-Off: Chili cooking competition with Ponysaurus beer. Sun, Feb 18, noon-4 p.m. Ponysaurus Brewing Co. Durham. ponysaurusbrewing.com. Unscripted Durham & Bedlam Vodka Present: A Valentine’s Day Aphrodisiac Tasting: Five-course tasting accompanied by molecular mixology cocktails prepared by Bedlam Vodka. Sounds by DJ Mic Check and photography by NINE19. $49.00. Wed, Feb 14, 6-9 p.m. Unscripted Durham, Durham. Valentine’s Weekend Murder Mystery Show: Dinner and participatory murder mystery. $60. Wed, Feb 14, 7 p.m. Sheraton Chapel Hill Hotel, Chapel Hill. www.Sheraton.com/ ChapelHill.

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bar + beverage magazine on stands MARCH 28 • reserve by FEBRUARY 23

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stage

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

Coming February 21:

Downtown Raleigh For advertising opportunities, contact your ad rep or advertising@indyweek.com 34 | 2.14.18 | INDYweek.com

Rishan Dhamija as Cleante in PlayMakers’ Tartuffe. Read our review on page 22. PHOTO BY HUTHPHOTO

OPENING

Durham Arts Council, Durham. durhamarts.org.

Five Women Wearing the Same Dress: Play by Alan Ball. $5-$15. Feb 15-18. William Peace University: Leggett Theatre, Raleigh. theatre.peace.edu.

Hairspray: Musical. $27. Feb. 21-25. NCSU Campus: Stewart Theatre, Raleigh.

Gidion’s Knot: Play. $15–$25. Feb 16-Mar 4.

Peter Pan: Chapel Hill Dance Theater. $6-$10. Sat, Feb 17, 7 p.m. & Sun, Feb 18, 2 p.m. Chapel Hill High School. balletschoolofchapelhill.com.

Valentine’s Day Comedy Variety Show: Virginia Wallace, Grant Sheffield, Bry Bowden, Reid Pegram, Eric Clayton, Jody Oakley, and Tank Smith. Hosted by Kathleen McDonald and Josh Rosenstein. $8-$10. Wed, Feb 14, 9 p.m. The Peoples Improv Theater-Chapel Hill, Chapel Hill.

WEDNESDAY, FEBRUARY 21

ALIENS, IMMIGRANTS AND OTHER EVILDOERS While a woman sings a Gregorian hymn, a man walks onstage, struggling under the weight of a red wooden cross. Nine one-dollar bills are tacked along its crossbar. When he turns his face to us, we see an all but featureless mask with a paper label attached above the forehead. The label bears one word: “ALIEN.” From this vivid opening, veteran solo performance artist José Torres-Tama launches a sharp-toothed interrogation of American culture’s historic love, hatred, and exploitation of immigrants. There is a shamanic note in Torres-Tama’s performances as he effortlessly shifts among a series of characters to evoke a broad, deep, humane perspective on a divisive political issue. —Byron Woods

HISTORIC PLAYMAKERS THEATRE, CHAPEL HILL

Love the

7 p.m., free, events.unc.edu

ONGOING Anything Goes Late Show: Comedy. Saturdays, 10:30 p.m. Goodnights Comedy Club, Raleigh. goodnightscomedy.com. Bad Jews: Play by Joshua Harmon. $10-$18. Thru Feb 25. The Levin Jewish Community Center, Durham. www.abigwigproduction. brownpapertickets.com. LAST Bent: Two gay men CHANCE are talking over bowls of soup in a garrison in Dachau. “You didn’t think I’d make it, did you? Off the train?” the first man asks. “I’m going to stay alive ... because of you. You told me how.” The second man replies, “Yes. I did.” Then, after a moment’s silence, he adds, “I’m sorry.” Martin Sherman’s gripping 1979 drama follows a performer and grifter from the gay nightclubs of Berlin down through the nightmare world of Germany in June 1934. Hitler has ordered for homosexuals to be purged from the army. Storm troopers are rounding up social undesirables and placing them in “protective custody” in Dachau. We bear witness as prisoners resist a regime’s attempts to strip away their identity and humanity before it takes their lives. Joel Rainey directs this Justice Theater Project production starring Sean Wellington and Justin Brent Johnson. $15-$22. Thru Feb 18. Umstead Park UCC, Raleigh. thejusticetheaterproject.org. —Byron Woods

Bulltown Comedy Series: Third Tuesdays, 9 p.m. Fullsteam, Durham. www.fullsteam.ag. ½ The Christians: Reviewed on p. 22. Thru Mar 12. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org. The Dangling Loafer: Comedy. $5. Third Fridays, 8 p.m. Kings, Raleigh. www.kingsraleigh.com. The Harry Show: Ages 18+. Improv host leads potentially risque games with audience volunteers. $10. Fridays & Saturdays, 10 p.m. ComedyWorx, Raleigh. www.comedyworx.com. Hush Hush: Audience confession comedy show. Wednesdays, 8 p.m. Thru Apr 25. Fullsteam, Durham. thisismettlesome.com. Little Shop of Horrors: “Feed me, Seymour!” It’s one of those references you probably recognize even if you don’t know where it comes from. But you’ll never forget it after you see Raleigh Little Theatre’s production of Little Shop of Horrors, the musical based on Roger Corman’s cult movie about a nebbishy florist who accidentally grows a maneating, doo-wop-singing plantmonster and names it Audrey II after his unrequited crush. $15-$28. Thru Feb 25. Raleigh Little Theatre, Raleigh. www. raleighlittletheatre.org. —Brian Howe ½ Moliere’s Tartuffe: Reviewed on p. 22. Thru Mar 12. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

LAST  The Mound CHANCE Builders: In Ward Theatre Company’s Durham debut, 2016’s Jacuzzi, we couldn’t pick the two students making their stage debuts out of the quartet of actors. We can’t say the same of The Mound Builders, in which several actors didn’t convince us. In Lanford Wilson’s drama, dangerous schisms arise between self-absorbed researchers and poor, uneducated farmers in the backwoods of Illinois. We savored Evit Emerson’s work as Dan, a charismatic young anthropologist who rhapsodizes about the enigmatic Native Americans referred to by the play’s title. Emma Jo McKay anchors this troubled enclave of academics in the supporting role of Cynthia. But Rick Skarbez seemed nearly a generation too young to play a pompous senior anthropologist, and Margery Rinaldi was an improbably polite and circumspect as what was supposedly an ultra-highmaintenance jet-setting character. $25. Thru Feb 19. Ward Theatre, Durham. wardtheatrecompany.com. —Byron Woods LAST Sylvia: Play by A.R. CHANCE Gurney, presented by Forest Moon Theater. $13$15. Thru Feb. 18. Wake Forest Community House. www. forestmoontheater.org. The Vagina Monologues: V-Day Raleigh and ARClitE benefit reading. $12-$20. Wed, Feb 14 & Thu, Feb 15, 8 p.m. North Raleigh Arts & Creative Theatre, Raleigh. nract.org.

es s s e n i s u b e h t t r o p . p . . s Su u t r o p that sup

! l a c o l S hop

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

967-6159

(919) 967-6159

bill.burton.lawyer@gmail.com INDYweek.com | 2.14.18 | 35

SPECIAL SHOWINGS Black Beach/White Beach & Wilmington on Fire: Documentaries. Hosted by Kaze and Bishop of Intelligently Ratchet. $10-$15. Sun, Feb 18, 5 p.m. Cat’s Cradle, Carrboro. www.catscradle.com. Brewconomy: Documentary about the NC craft beer scene. $15. Tue, Feb 20, 6 p.m. Clouds Brewing, Raleigh. Burned: Are Trees the New Coal?: Dogwood Alliance screening and discussion. Thu, Feb 15, 7 p.m. NCSU Campus: Caldwell Hall, Raleigh. Periodic Tables: Alive Inside: Documentary on dementia patients and music. $5. Tue, Feb 20, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic.com. Spiritual Cinema: Religion at the Movies: International film series. Mon, Feb 19, 7 p.m. James B. Hunt Jr. Library, Raleigh.

OPENING Black Panther—The most hotly anticipated movie of the year so far is an Afrofuturist twist on Marvel superheroics. Check indyweek.com for our review. Rated PG-13. Early Man—Eddie Redmayne and Tom Hiddleston are among the voice talent in this British stop-motion Stone Age adventure. Rated PG.  Film Stars Don’t Die in Liverpool—Reviewed on p. 25. Rated R.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com. ½ Call Me By Your Name—If you can accept how walled off from the larger context of LGBTQ history it is, then this love story is nearly perfect. Rated R. 36 | 2.14.18 | INDYweek.com

Cooley High PHOTO COURTESY OF THE HAYTI

screen  Coco—This Day of the Dead-themed animated fantasy has one of Pixar’s richest worlds and weakest stories. Rated PG. ½ Darkest Hour—This Churchill biopic is bright and slight, but Gary Oldman turns in a tour de force performance as the UK’s iconic wartime prime minister. Rated PG-13.  I, Tonya—This kinetic, sympathetic biopic of a disgraced figure skater borrows liberally from Scorsese. Rated R.  Jumanji: Welcome to the Jungle—You’d need an awful lot of nineties nostalgia to see this reboot as anything but a utterly generic jungle adventure. Rated PG-13.  Lady Bird—Greta Gerwig’s nostalgic comingof-age debut as a writerdirector is winning and alert to class but falters on race. Rated R.  Molly’s Game—You either dig Aaron Sorkin’s talkative style or you don’t, and he really lets it rip in this directorial debut about the high-stakes world of L.A.’s underground poker scene. Rated R. ½ The Post— Spielberg’s film about The Washington Post and the Pentagon Papers is a filmmaking master class and an ode to the free press. Rated PG-13.  The Shape of Water—For better and worse, Guillermo del Toro’s fable of the love between a mute janitor and a strange undersea creature is like a children’s book for adults, beautiful but morally simplistic. Rated R. ½ Three Billboards Outside Ebbing, Missouri— Maybe the Coen brothers could have pulled it off, but Martin McDonagh has tonal problems with the weighty themes and discordant plot of this vengeful-mother tale. Rated R.

THURSDAY, FEBRUARY 15–SATURDAY, FEBRUARY 17

HAYTI HERITAGE FILM FESTIVAL In the age of social media, the hashtag #OscarsSoWhite is a flashpoint for discussions about racial imbalances in the Academy and the film industry at large. Consider, for example, that only one black producer has ever won a bestpicture Oscar, and that was just five years ago. The Hayti Heritage Film Festival is a necessary remedy, with a focus entirely on filmmakers and actors of color. This year’s selections—a varied collection of documentaries, features, and shorts—fill out a series of themes that include Black Love,

The Ground I Stand On, Black Genius, The Skin I’m In, and Black Future. Another program, Friday’s Real People–Reel Durham, exclusively features documentary shorts created in Durham. The festival also includes a master class discussion with Saleem Reshamwala and Katina Parker, who will share their thoughts on living and working in the South. —Allison Hussey

HAYTI HERITAGE CENTER, DURHAM Various times, $5–$35, www. hayti.org

page THURSDAY, FEBRUARY 15

JOHN KESSEL: PRIDE AND PROMETHEUS On the heels of the two-hundredth anniversary of Mary Shelley’s Frankenstein, John Kessel expanded his Nebula Award-winning 2008 novella, Pride and Prometheus, by adding Victor Frankenstein and his Creature as point-ofview characters around the story of Miss Mary Bennet, the youngest of Jane Austen’s famous Bennet Sisters from Pride and Prejudice. The prose leans toward Austen, with enough romance and London society manners to give more than a nod to Regency influences. But the novel is firmly set in Shelley’s Gothic milieu, its plot driven by dark, soul-searching questions of life, purpose, and meaning, embodied by the Creature’s desire for a bride, his awful revenge, and Victor’s quest to destroy his creation. It’s Kessel’s second novel in as many years, following The Moon and the Other, which ended a twenty-year span filled mostly with short stories. —Samuel Montgomery-Blinn

QUAIL RIDGE BOOKS, RALEIGH

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READINGS & SIGNINGS

Wed, Feb 14, 5 p.m. Barnes & Noble, Durham. barnesandnoble.com.

Black History, Black Futures: Poetry by Howard Craft, Fred Joiner, Crystal Simone Smith, and Gideon Young. Wed, Feb 21, 6 p.m. Orange County Main Library, Hillsborough. www.co.orange.nc.us/library.

Kate Rademacher and J. Dana Trent: Books and discussion on the Sabbath. Tue, Feb 20, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

The Hip Hop South: Regina Bradley & Mark Anthony Neal: Reading and discussion with Regina Bradley (Boondock Kollage: Stories from the Hip Hop South), followed by a conversation with Mark Anthony Neal. Mon, Feb 19, 7 p.m. Hayti Heritage Center, Durham. www.hayti.org. Tayari Jones: An American Marriage. Mon, Feb 19, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com. Kelly Starling Lyons: Children’s author. Sat, Feb 17, 1 p.m. Barnes & Noble, Cary. www.barnesandnoble.com. Eloise MacKinnon: Escaping Rapture Of Devotion.

Donald Rosenstein and Justin Yopp: The Group: Seven Widowed Fathers Reimagine Life. Thu, Feb 15, 7 p.m. Regulator Bookshop, Durham. www.regulatorbookshop.com.

LECTURES ETC. 2018 Great Durham Pun Championship: Presented by the Regulator Bookshop. Sun, Feb 18, 7:30 p.m. Motorco Music Hall, Durham. www.motorcomusic.com. Meredith College Woman of Achievement Lecture: Positive psychology expert Barbara L. Fredrickson. Tue, Feb 20, 7 p.m. Meredith College: Jones Auditorium, Raleigh. www.meredith.edu.

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